Chalk It Up

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Known for its great views and lively white wines, Chalk Hill Estate winery also offers a lunch tasting menu in a dining room high atop the 1,300 acre property.

The meals are largely sourced from culinary gardens just below the dining room, a modern, glass-walled building with sweeping views of the 300 acres of vines and points west.

Unlike many wineries that limit dining to wine club members, Chalk Hill Estate is open to the public. The 90-minute lunch goes for $120. For club members it’s $96. The experience, which includes a brief tour, is available by reservation, Tue-Sat at 11am.

The man behind Chalk Hill Estate is the late Fred Furth, an aviator and litigation lawyer who used his funding from a few big litigation wins to purchase his first three acres of land here in the 1960s. He planted some vines and by 1974 had produced a small lot of Chardonnay. Eventually, he purchased all 1,300 acres. In 2010, Bill Foley acquired the property as part of his ever-growing wine empire. Foley lives on the property half the year and produces 26,000 cases of Sauvignon Blanc and 12,000 cases of Chardonnay.

In spite of a large, domed horse pavillon, horses on property are a thing of the past, and the stables have been renamed as “VegStables.” Three culinary gardens on the property grow 80 percent of the daily culinary tasting menu. Produce is harvested early each morning for the kitchen.

Chalk Hill’s executive chef is Dave Thater. Lunch began with a tiny cup of delicious chilled leek soup served with bits of crunchy pancetta on top. The 2017 Felta Chardonnay pulled out the citrus notes of the Meyer lemon oil drizzled over the next dish: earthy, paper-thin slices of celery root carpaccio. Each slice varied the strength of the lemon that changed the acidity of each sip of wine. A garlic-cilantro emulsion and edible pansies added to the complexity of the dish.

The next course of roasted acorn squash topped with mint pistou of macadamia nuts was the size of a deck of playing cards. Underneath the block of squash was a bed of black lentils and wispy sheets of sliced carrots. Ricotta salata, pressed and aged one week, was strewn over the dish like confetti.

The 2015 Pinot Noir provided the perfect tannin structure for this pairing and was the only wine served that wasn’t grown on the Chalk Hill Estate vineyards. It’s a bit too warm for Pinot Noir here so the grapes come from the Russian River Valley.

Course three was a miso-braised octopus with pickled shiitake mushrooms and a briny vegetable broth served in a fire engine red Le Creuset crock. The earthiness of a 2014 Syrah served with it was a great pairing for this hearty dish.

The New York strip loin topped with a Petit Verdot saba (wine must reduction) and a dusting Bodega Bay sea salt ended the meal on a strong note, made even better with a glass of the 2014 Clara’s Blend (namesake of Furth’s granddaughter), a blend of Cabernet Sauvignon and a bit of Malbec and Petit Verdot.

Fitzgerald’s Game

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The venerable Ross Valley Players have a long history of presenting original works to their audiences. In 1984, they initiated the Ross Alternative Works (RAW) program, dedicated to staged readings and full productions of works by Bay Area playwrights. This season brings Scott & Zelda: The Beautiful Fools, running now through April 28.

Written by Sausalito resident Lance S. Bellville and directed by Lynn Lohr, it’s a look at the tumultuous relationship of writer F. Scott Fitzgerald and his wife Zelda. It’s not a strict bio piece per se, but a “stream of consciousness” play that takes place in the mind of Fitzgerald.

Set in the late 1930’s, we first meet Scott (Frankie Stornaiuolo) in the apartment of his mistress, Hollywood gossip columnist Sheila Graham (Marissa Ellison).

The play zips back and forth between the times and places—when he first meets Zelda (Emily Dwyer), their time together in Paris, his friendship with Ernest Hemingway (Izaak Heath), their Long Island residency with next-door neighbor Groucho Marx (Peter Warden), his parenthood of daughter “Scottie” (Charlotte Curtin), and Zelda’s decline due to mental illness. It’s all sort of “book-ended” with comments and exposition from Fitzgerald’s literary agent Harold Ober (Warden again) and editor Max Perkins (Ron Talbot).

There’s little depth to the characters and the hopscotching around their lives amounts to a Classics Illustrated approach to their story. Performance-wise, Dwyer does well as Zelda, a fascinating individual who deserves to have her story told (better). Stornaiuolo, who overcame script deficiencies with his character in the last RVP production, has no such luck here and is given little to do other than resemble Fitzgerald. Among the supporting players, Warden’s agent and Heath’s Hemingway come off best.

To paraphrase Fitzgerald’s contemporary Gertrude Stein, when it comes to Scott & Zelda, there’s no there there.

Rating (out of 5): ★★&#189

‘Scott & Zelda: The Beautiful Fools’ runs Friday – Sunday through April 28 at the Barn Theatre in the Marin Art and Garden Center, 30 Sir Francis Drake Blvd., Ross. Times vary. $20. 415.883.4498. rossvalleyplayers.com.

Letters to the Editor, April 17, 2019

If you as a school district or educator are denying a certain art form and subculture in our community, you’re also cutting arts and creative programs in the schools (“Small City, Big Dreams,” April 10). I never met a kid who didn’t appreciate learning, but I’ve met too many youth who didn’t get it in their schools. If you’re denying the existence of Latinos/Chicanos within hip-hop, you’re not understanding that it’s not just Latinos in hip-hop, it’s hip-hop that represents many multicultural people in various economic, educational and social struggles.

If you just don’t do hip-hop then you don’t value our culture, and you send the message that you only want hip-hoppers and Latinos who are catering to the beer, cheese, and wine industries.

Hip-hop is an art form that creates and channels art and music, and if that is not found in school programs, we can teach you how to do this. Rappers and the rap business industry are the people who rip people off and mess up venues and do bad business. We will continue to build in our own communities, like the community-block parties mentioned, despite the annexation and gentrification going on. We are not just a culture or a movement, we are the momentum.

Via Bohemian.com

WWJD?

One of the most extraordinary developments of recent political history is the loyal adherence of religious conservatives to Donald Trump. Trump won four-fifths of the votes of white evangelical Christians. This was a higher level of support than either Ronald Reagan or George W. Bush (an outspoken evangelical himself) ever received.

Trump’s background and beliefs could hardly be more incompatible with traditional Christian models of life and leadership. Trump’s past political stances (he once supported the right to partial-birth abortion), his character (he has bragged about sexually assaulting women), and even his language (he introduced the words pussy and shithole into the presidential discourse) would more naturally lead evangelicals toward exorcism than alliance. This is a man who has cruelly publicized his infidelities and made disturbing sexual comments about the size of his penis on the debate stage. Yet religious conservatives who once squirmed at
PG-13 public standards now yawn at such NC-17 maneuvers.

Evangelical used to denote people who claimed the high moral ground; now, in popular usage, the word is nearly synonymous with “hypocrite.”

Nevada City

Meatless
Celebration

Earth Day is April 22, marking a half century of promoting environmental awareness and calling for protection of our planet. But are we making a difference? Can we do more than reduce, reuse and recycle? Sure! We can adopt a plant-based diet and stop consuming animals. An environmentally sustainable world replaces meat and dairy products in our diet with vegetables, fruits, and grains, just as fossil fuels are replaced by wind, solar, and other pollution-free energy sources. We can celebrate the observance of Earth Day at our supermarket.

Santa Rosa

Write to us at le*****@******an.com.

Edible Complex

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MORE THAN THEY CAN CHEW Symptoms of those who ate too much pot include severe anxiety, vomiting, an exacerbation of asthma and severe intoxication.

We’re officially in the post-legalization era.

Five years after Colorado legalized recreational cannabis—and five years after New York Times columnist Maureen Dowd had her scary fetal-position encounter with a Rocky Mountain state edible in a hotel room (she ate too much of a candy bar)—that state has raised an alarm over an emerging problem with ingesting edibles in unhealthy amounts, and winding up in the hospital with severe anxiety or other symptoms.

How is this problem playing out in California, which legalized marijuana in 2017 and is now offering recreational cannabis consumers a range of edible products that range from chocolate bars to gummy bears to THC-infused soda?

In some measure, it’s a bit early to tell, say health officials and other experts. The state has only just embarked on legalization and the data is just starting to roll in to Sacramento officials charged with ensuring a safe rollout of California’s ambitious legalization regime for recreational cannabis.

The Bohemian/Pacific Sun contacted some 50 healthcare providers in the North Bay, from Marin General Hospital to small-town health clinics. We contacted paramedics and county health officials. What came back indicates that, if anything, this is an emerging story with scant detail from the state about the frequency of emergency-services calls and hospital visits related to cannabis use.

The survey of local healthcare providers, county health officials and emergency service revealed they don’t track the information. For example, Dean Fryer, a representative of Sutter Health in Sonoma County, said that the company does not monitor hospital admissions by cannabis-related admissions, and couldn’t therefore say whether they’ve seen a spike in edibles-related health issues since 2017.

“We have no way of really quantifying or knowing if this is an issue [or] if there’s a rise in admissions,” Fryer says. “It’s not tracked in that way.

Edibles-related calls for service do not appear to be tracked at the ground level, either. A representative of REDCOM Dispatch, the centralized agency which directs calls to fire and emergency service responders within Sonoma County, said the organization does not track emergency calls related to cannabis use.

Veteran emergency service officials in West Marin say that they have not seen any uptick in edibles-related calls since legalization took hold in California. For them, alcohol-related calls for service are predominant. Those officials amplify what others interviewed for this story have noted: Those who overdose on THC-infused edibles are often older persons who have not experimented with cannabis for some time—and are unaware that the cannabis they are ingesting has gotten far stronger since their youth. If anything, notes one high-ranking emergency services official in West Marin, young people are keenly aware that eating cannabis can be a far more potent experience than smoking it. And, say those officials, the handful of edibles-related calls they’ve gotten over the past couple of decades have not been for pre-packaged edibles on the legal market, but rather for an overly potent homegrown brownie or other food infused with cannabis.

Those edibles don’t come with the same degree of product information as is required under California law, including information about the potency of the product. But the state has struggled to square up its own regulations concerning THC potency in edibles, with conflicting regulations coming from two key state agencies—the Bureau of Cannabis Control and the California Department of Public Health.

Meanwhile, the production and manufacturing of edibles is overseen by one of the three legs of the California cannabis regulatory regime, the Manufactured Cannabis Safety Branch (MCSB). But, says CDPH spokesman Matt Conens, the MCSB’s role is not to assess whether edible health-related problems are on the rise—but to make sure the products it approves are safe and properly manufactured and packaged.

In February, as California’s interim cannabis regulations became permanent—and as first reported by the Marijuana Business Daily—state regulators moved to update regulations in the edibles industry. Officials moved in when it was discovered that the CDPH and the Bureau of Cannabis Control had differing regulations concerning the amount of THC that an edible could contain. The agencies in charge of regulating California’s legalization rollout, noted the MBD, “issued seemingly conflicting rules detailing THC limits, testing and packaging for infused products. That caused some testing labs to unexpectedly fail products based on different interpretations of the rules.

The snafu caused great upset in an edibles industry worried that, among other things, the discrepancies could expose edibles-producers to lawsuits from consumers, reported MBD, claiming they were harmed because the THC limits printed on the packaging didn’t reflect the exact THC contained in the product.

What this means is that localities are now sending their cannabis-health data to a state cannabis bureaucracy that itself may be in need of fine-tuning when it comes to allowable potencies in the products it is regulating. And, while the Office of Statewide Health Planning and Development is in charge of collecting patient data reported by hospitals (including ER visits and visits for cannabis poisoning) it’s yet to undertake an analysis of the data, says spokesman Andrew Diluccia, “and would not be able to provide any information/context as to why there might be rises or falls in cannabis poisonings. OSHPD does not have subject matter experts to address this issue. Also, the poisoning data does not contain how the cannabis entered the body (i.e., inhalation, ingestion), so there would be no data specific to edibles.

While the county “supplies all kinds of data to the state, it’s also just getting up to speed on any edibles-related health impacts that may be afoot in the county,” says Roshish Lal, the spokesperson for the Sonoma County Department of Health.

He notes that when the county eventually sends its cannabis-related data to the state Department of Health, “I don’t know whether it will be broken down specifically—there are so many products.

The main barrier to tracking the problem is that California has not formally defined the symptoms of a cannabis overdose and has not created a system to record cases, says Matt Willis, Marin County’s Public Health Officer. Although medical providers are likely able identify a cannabis-related incident when an individual comes into their care, they are currently unable to record it since the state has not defined the criteria.

The lack of state leadership has left county and city governments to attempt to track the problem on their own, he says. Many do not, but some are trying.

Six months ago, Marin Health and Human Services partnered with the county coroner to begin recording the level of THC during toxicology screenings in cases of accidental deaths.

“We are unlikely to have the same quality of data as Colorado does until we build a system to collect it,” says Willis, who adds that his department is also discussing ways of tracking cases in Marin County’s three emergency rooms.

If there has been an increase in the number of overdoses, Willis expects that it is due to the potency of cannabis since legalization. Legislators may be operating under outdated assumptions about the strength of the product; edibles are particularly dangerous because those experimenting with them may take a second or third dose while waiting for the drug to take affect.

While cannabis products are unlikely to be fatal on their own in the same way opioids and other drugs can be, Willis says he is concerned that the rate of DUIs because of cannabis use could increase.

Cannabis-related health issues are showing up in the South Bay since legalization, says Dr. Greg Whitley, chief medical officer at Dominican Hospital in Santa Cruz. The symptoms that users most often come in with, Whitley explains, include severe anxiety, vomiting, an exacerbation of asthma or emphysema, and severe intoxication. He says the last symptom is the most common one they are seeing in Santa Cruz which, like Sonoma County, has an historically liberal embrace with marijuana.

“Those people can come in with symptoms of just basically feeling really, really stoned—off-balance, difficulty walking, dizziness,” he says, and often it’s as a result of over-consumption of edibles. Sometimes people are lethargic,adds Whitley, who’s worked at Dominican since 2001 and served as the emergency room’s medical director until taking his new position April 1. Sometimes people look like they’re having a stroke because they’ve had basically an overdose of THC.”

Whitley also noted, anecdotally, that over the past couple of years, the number of people coming to the Dominican emergency room with acute cannabis-related symptoms has skewed older. A decent-sized chunk of the patients, he reports, have included fathers and grandfathers who’ve gotten into a family member’s pot brownies without realizing there might be any special ingredients.

And Whitley echoes the West Marin emergency services officials when he notes that lots of times, it’s older people who are surprised at the enhanced potency of the cannabis they are ingesting.

Bluesy Virtuosos

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Raised in San Rafael and now living in Novato, Rebecca Roudman makes her living as a cellist in the Oakland Symphony and the Santa Rosa Symphony. She started playing classical music when she was 7 years old, and after graduating as a music major in college, it was all classical music all the time.

“But classical music has never my first love,” says Roudman. “It’s been everything else; blues and bluegrass and rock.”

Eight years ago, she took a musical detour in that bluesy direction, teaming with her flutist-turned-guitarist husband Jason Eckl to form Dirty Cello, a crossover smashup of cello strings and stomping blues rhythms that hit a note with Bay Area audiences almost immediately. “There was interest, people thought it was kind of cool and kind of weird,” says Roudman. “That’s the kind of people we are.”

Musically, Roudman’s biggest hurdle was learning to improvise on the cello during performances, not a skill that’s emphasized in classical training.

“It was an uphill battle at first,” she says. “Now, it feels natural, which feel good.”

Soon after they started, Dirty Cello expanded from a duo to a full four-piece band, and today the group includes bassist Colin Williams, drummer Ben Wallace-Ailsworth and occasionally vocalist and multi-instrumentalist Sandy Lindop.

This year is shaping up to be one of the group’s busiest yet. They’re currently preparing to release Bad Ideas Make Great Stories, their second record of 2019 after Bluesy Grass, which came out in January.

“It’s a pretty unique record because it’s made from personal stories of all our adventure we’ve been on,” says Roudman.

After a record-release concert at the HopMonk Tavern in Sebastopol, Dirty Cello again goes international, performing in England, Israel and Iceland over the summer.

“If people are expecting to see a classically-trained cellist playing mellow, smooth music, it’s not that,” says Roudman. “They’re going to hear something they haven’t heard before.”

Dirty Cello performs on Friday, April 26, at HopMonk Tavern, 230 Petaluma Ave., Sebastopol. 8pm. $13-$20.707.829.7300. dirtycello.com.

Quite Contrary

The Eastertide story Mary Magdalene has an underpowered Rooney Mara in the title role as a girl of the lonely fisher-village of Magdala. She isn’t actually a harlot—that was a Dark Ages slander, but she’s the next worst thing; a daughter who disobeyed her parents.

Mary has a part-time career as a midwife. Her father Daniel (Denis Menochet) wants her to marry an established widower. The unwanted marriage causes the girl such torment that the community decides she’s possessed, forcing her into a watery exorcism. Alone and despondent, Mary meets a wandering rabbi familiar to us all. He comforts her, telling her he knows she doesn’t harbor demons.

At 44 years old, Joaquin Phoenix may be one of the oldest actors to play Jesus, and the choice for a sadder, aged Christ may be justifiable in a time and place where working people got old very early on in life. In real life, Phoenix was raised in a religious cult, and he has a deep understanding of both the grounded and the mysterious qualities of the role.

Australian director Garth Davis (Lion) shot this in the rock-strewn parts of southern Italy and Sicily, in a blue-filtered twilight. Johann Johannsson’s looped strings and pianos mirror the melancholy. Chiwetel Ejiofor’s Peter is a lieutenant who never quite understands what Jesus is getting at. Judas (Tahar Rahim, very good) is the zealot, certain that it’s the time to strike against the Roman occupiers.

As always, one dreads how the story ends. Davis makes it bearable, as opposed to the way it went down in The Passion of the Christ, bypassing the trial of Jesus with the convenient action movie shortcut of knocking a character out and letting them come to later. The sadness of what follows outweighs the disgust.

Phoenix’s sensitivity overwhelms the callouses one has against the Greatest Story Ever etc., and the bruises one accumulates in a lifetime of dealing with hateful Christians. Against this mysterious poignancy, Mara seems a bit lost and underpowered. Despite this, there are intelligent and careful moments throughout, such as the suspiciousness with which the elder Mary (Irit Sheleg) looks at this traveling woman, and the way she confides about her son, “He was never really mine.”

‘Mary Magdalene’ is playing in select theaters.

Visions of Moderation

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The good old days were good because you were young. As a rule, wherever you spent your 20s, the memories you made are precious and enduring. I was lucky. I made mine in the Bay Area in the 1990s: affordable rents, barbecued oysters on Drake’s Bay, biking over the bridge to the Marin Headlands or over to Sausalito for the ferry ride back to The City. A super beef-tongue burrito at La Cumbre cost less than $4 and Capp Street Project was on Capp Street. For a time, you could smoke in bars, restaurants and cafes. That was also the last time I took psychedelics—a magical day amidst the undulating redwoods of Muir Woods.

I thought I had left those days far behind me until a crisis loomed and I knew I needed to make some adjustments fast. My son was going off to college, my cannabis-addicted mother was going off the deep end, and I really had to quit smoking cigarettes. I had just finished Michael Pollan’s new book on the healing power of psychedelics, How to Change Your Mind.

I figured that a guided psychedelic experience could provide the quick jolt of therapy I needed, so I contacted a local shaman who worked with ayahuasca. The irony of scrambling my brains with a hallucinogenic DMT concoction from the Amazon to unscramble my comparatively cushy American life is not lost on me. But my insurance deductible puts regular therapy out of reach.

Alan Watts said this of the psychedelic experience: “If you get the message, hang up the phone.” I honestly don’t recall any message from my drug-induced 20s. I’m not sure if I even hung up or just hit “hold.” But I was about to pick up that phone again. Only now I wasn’t a carefree kid with most of his unexplored life ahead; I was a stressed-out 52-year-old single father with most of his unexamined life behind him.

Two weeks before my ayahuasca “sit,” I got instructions for how to prepare: “Rest, reflect on your intention, walk easily and eat whole foods—no red meat, alcohol, marijuana or other drugs. Consider lowering or avoiding coffee, sugar and salt.” The hardest thing for was to cut back to one cup of coffee a day.

I wasn’t surprised that marijuana was on the prohibited list. I started smoking marijuana in high school, but I’d stopped in college. The reason it took me even that long was that I was too intoxicated to notice how dull-witted, unproductively introspective, isolated and boring it made me. What’s surprising, in retrospect, is that I ever started smoking marijuana at all. I was raised by a “stoner,” which is to say, I raised myself. And, after a lifetime of smoking marijuana, my mother was the same emotionally stunted, rage-filled, paranoid narcissist she was when I was a kid.

So, as far as I’m concerned, there’s no message to be gotten from cannabis. There’s nothing on the other end of that line. That the shaman and “Grandma Ayahuasca” frowned on it made sense to me. If you’re looking for clarity, insight and growth from one drug, you should first step out of the paralyzing fog from another.

How my son turned out the way he did is beyond me. I was going to miss him when he left for college, but I was unprepared for exactly how much until I returned home unexpectedly one night recently, and found the aftermath of a teen party.

Popcorn and tortilla chips were scattered on the sofa and floor; two half empty bottles of Coke and ginger ale with their caps off sat on the coffee table, along with a half-eaten pan of brownies. Uh-oh. I took a bite.

It was pure brownie.

Who is this kid? When I was 16 I was climbing out my bedroom window to take LSD and drink and smoke anything and everything I could get my hands on. And now my own son wasn’t even having interesting parties when Dad was away. As I chewed on the brownie, it hit me how integral my son is to my identity. I’m going to miss the boy when he goes off to school in a way I hadn’t missed anyone since my father died.

Well then. After two weeks of minor deprivation and self-reflection, I arrived at the gathering place: a basement rec room in the basement in a subdivision. Most of the 15 other “sitters” seemed to be in their late 30s or early 40s. All were white. As we waited for the shaman we chatted. It seemed like half the group was in tech, the other half was in art. Half had money, but little meaning, and the other half had meaning, but little money. Only three of us seemed to have a profound need for healing: a recovering heroin addict, a man with obvious mental illness, and a woman who just got diagnosed with a death sentence in the form of Huntington’s Disease. The rest of the group was like me: the walking wounded.

When the shaman and his wife arrived they introduced themselves by their actual names and then by their shamanic names. We were in their home. They trusted us, we should trust them. He had taken ayahuasca more than 2,000 times. They explained what to expect with the “medicine,” how the visions were a gift from the plants’ spirit they called “Grandmother.”

The experience was visceral, physical and intellectual. It will connect you to your body in new ways. For the first 20 minutes after drinking the tea, there will be nothing.

Then the visions will begin, as if a switch was flipped. We were told, don’t fight it. Let Grandmother guide you and you will learn what you need to learn, though not necessarily what you thought you needed to learn.

A prayer was sung, sage and herbs were smudged, and the seekers, one by one, went before the shaman. Each sat or knelt and made some blessing while he stared into their eyes and measured out a portion of the ayahuasca, blew on it rapidly three times and then handed them the cup. When it was my turn I downed it without hesitation. It was viscous, thick and pulpy and tasted like licorice. Not unpleasant. I then returned to my spot and waited and watched.

The Shaman drank a big cup of tea and then his wife turned the overhead lights off. The room was candle-lit and the Shaman went around to each of us with his eagle feather. He touched the feather to our heads and shoulders, and waved them about our bodies. I noticed he spent a little extra time with the Huntington’s woman, the man with mental illness, and the heroin addict. When he returned to his seat, he began beating on a drum and singing. I guessed it was Quichua. It was rhythmic and powerful. His wife then joined in with harmonies, and it became so ethereally beautiful that I almost cried. Someone blew out the candles and we were left with only the moonlight, smoldering sage and the shamanic singing to guide us.

The purging started with the artist to my right. He doubled over, convulsed, and spewed a mighty torrent. I was worried the little bucket would overflow, but as quickly as he started, he stopped. I was surprised the sound didn’t gross me out. It didn’t even make me queasy. And there was no nausea-inducing smell. A benefit of the diet, no doubt. The vomiting then moved around the yurt like the fountains at the Bellagio. I stifled laughter, shut my eyes, and the visions began.

Geometric patterns shot across my eyelids until I was swimming in them. I felt a kindness welling up, some entity entering me. Grandmother! The visions were intense, but my ego, the “I” in my narrative, never completely dissolved. This was fine with me. Grandmother was kind. Her lessons had such a gentle wisdom that I spent much of the night softly laughing.

First she “looked” at me and gave me a quizzical smile: “You are fundamentally a happy person! Deep-down you are happy.”

“Really?” I thought.

And she smiled and shook her head in bemusement: “You seem to feel the need to pay for that happiness with being unhappy? That’s so funny! You don’t pay for happiness with misery! You pay by enjoying it! By sharing it!”

Then she took a tour around my body, racing like a child through a new house who opens up every door to peek inside each room. She would occasionally stop and I would notice—heart and beat; lungs and breath; she opened every door and bounced on every bed and sofa. When she was bouncing around my abdomen, I noticed a pain in my shoulder from my arthritis. She then bounded up to the pain, and as she explored my shoulder, the pain quickly and gently melted away. Same with my tortured knee. I recall wondering if DMT or the other chemicals in my body at the moment had anti-inflammatory properties. But even though I was making a more clinical evaluation than your typical mystic on potent drugs, I still said, “Thank you” to Grandmother. Whatever I chose to call it, this was powerful medicine.

“I am blessed!” was the next lesson from Grandmother. This message was, again, delivered with seeming wide-eyed wonderment and boundless love. This wasn’t guilt over my white, male privilege. It wasn’t nearly so rational or abstract as that. I actually felt these blessings: I had a comfortable home, a remarkable son, good friends, a creative and supportive community. My life was abundant with meaning. And again, gently, she pointed out the absurd calculus I made in paying for these blessings with guilt and self-loathing. Deserving or not deserving was not a part of the equation. You pay for your blessings by honoring them, by sharing them, by tending to them. But what does honoring your blessings look like? Is it as simple as keeping the house tidier? Unclogging the sink in a timely manner? Not chastising the boy when he spaces out and drops his wet towels on the floor eight inches from the laundry basket?

“That’s a start,” came her reply. “I think I could manage that,” I thought.

The final two lessons were simple and quick. They, too, involved reframing a problem that allowed the possibility for, if not resolution, then at least management. I saw my mother as a sad, confused, angry old woman who reflexively drove away the one thing she craved: love. “Have some pity on this old lady. She is powerless,” came the voice. “Yeah,” I agreed. And again, I felt it deeply. Seeing her in this light bypassed all my triggers and defenses and I was able for the first time ever to generate some sympathy for that woman.

Last came the smoking. “You can choose to have a cigarette, or to not have a cigarette. Just be sure it is you who is choosing. Say, ‘I am choosing to smoke this cigarette now, or I am choosing not to have this cigarette now.'” All of a sudden, I felt some agency in my relationship with tobacco. We actually practiced this a few times: “I choose not to smoke right now.” It seemed to work. A lot seemed to work with Grandmother holding your hand.

At some point Grandmother showed me a gate. It was of brown, twisted vines interwoven with hundreds of faces. Behind the gate was the real trial and transformation;, ego death and rebirth. I asked her if we were going through that gate. She smiled a compassionate smile and led me away: apparently not. Although I would have trusted the lesson that lay beyond it, I was relieved.

Throughout the evening the chanting and singing would come and go. It would pull us back, and refocus the visions, and remind us of our intentions, our “work.” At one point I sat up and opened my eyes. Sprawled all about the yurt were bodies; some prone, a few sitting upright, some twisting and heaving, some completely still. It occurred to me that if someone walked in here they would think this no different from a nineteenth century opium den. How would anybody know that this mass of shivering, twitching, writhing humanity was working on healing intentions and not just taking a holiday from the barely tolerable misery of modern life?

It’s hard to say if or when I awoke, because it’s hard to say if I ever slept. It seemed to me that the visions traversed both realms and blurred the distinction between my sleeping and waking self. At last I felt Grandmother had taken her leave of me and I sat up and looked around the yurt. It took me a moment to be sure that it was dawn coming through the opening in the center and not the moonlight. There were only two other bodies left Everybody else had gone back to the heated rec room.It was cold. So I bundled up my blanket and pillow and headed toward some warmth. In the rec room, I found a spot on the floor and promptly fell asleep.

Later when I was driving home, I felt like I was returning from summer camp. We had all hugged each other goodbye with a warmth that was astonishing considering we spent less than two days together and I couldn’t tell you a single one of their names. During the ride back home I chose to not have three cigarettes. I chose to have one. And I enjoyed the hell out of it.

Later that evening I found the boy reading in bed. He gave me a “Hey Dad,” without looking up from his book.

“You know, we are really fortunate.”

“Yeah.”

“We are, for lack of a better word, ‘blessed.'”

He cocked his head.

“We have a nice home, we have plenty to eat, we have an amazing community. And it’s not a question of whether we deserve these blessings or not, it’s our job to . . . honor them.”

“OK . . .

“Sometimes we feel like we have to pay for them by not acknowledging them or by not taking care of them properly, but that’s silly. We should tend to our blessings.”

Now his book was completely down, and he was looking at me as if there was some joke he wasn’t quite getting.

“We should, you know, tidy up more, do the dishes after dinner, put away our clothes.”

An audible sigh escaped from his lips.

“For a second, I thought you’d joined some Christian cult,” he said. We laughed, each honoring, in our way, the blessing of the other.

It’s been four weeks since my session with Grandmother. I still smoke, but I do it deliberately. I “choose” to have eight to 10 cigarettes a day. I drink one cup of coffee in the morning and I keep the house a bit tidier than before. I am grateful for a son who has not dulled himself with marijuana, and more forgiving toward a mother who has.

Henry the Great

0

For most mortals, a single major accomplishment can be satisfying enough for one lifetime.

eing an Academy Award–nominated producer, say; or a director-composer and cinematographer for multiple television series; or a university professor for nearly two decades; or a research diver with one of the highest numbers of dives under Antarctic sea ice; or creating your own record label still going strong in its fifth decade; or collaborating with an unprecedented array of artists across numerous genres from many different cultures—or, say, being one of the most outstanding guitarists of your generation—would be a laurel quite large enough to rest on.

Not so for Henry Kaiser, whose Promethean achievements encompass all of these and much more.

But let’s focus for the moment on Henry Kaiser, guitarist. Picking up the guitar at the comparatively late age of 20 and emerging as a cutting-edge improviser in the late seventies, Kaiser has continued to record an incomparably broad variety of music very much in keeping with his wide-ranging interests and influences. In a discography now north of 300 releases, one thing that becomes abundantly clear is how much this man loves to play, with an instantly recognizable, invigorating tone and sky (or is that sea?) diver’s fearlessness, and one who equally esteems the process of collaboration with many different kinds of artists.

That love of playing will be on full display during the weekend of April 20 as Kaiser performs in tributes to two major inspirational figures for him. First, on the exalted stoner holiday itself, Kaiser will join longtime friends and collaborators Rova Saxophone Quartet among many others for “Fly! Fly! Fly! Fly! Fly! A Tribute to Cecil Taylor” at CounterPulse in San Francisco. And the following day finds him once more joining drummer John Hanrahan’s ongoing project, performing the classic suite by the late saxophone titan John Coltrane, A Love Supreme, at Sweetwater Music Hall in Mill Valley.

Reached at his home near the Santa Cruz mountains, Kaiser recalled the memorable first time he heard Coltrane.

“Some girl played A Love Supreme for me in her dorm room while we made out on her bed! So, it made a strong impression,” he says.

Hanrahan has been leading the Coltrane project for several years with the work’s original instrumentation and recently decided to take the work in an electric direction. One of the first people he contacted was Kaiser.

“I said, ‘Let’s get some more electric players with us—let’s open it up and not do it all reverent,'” he recalls telling Hanrahan.

On April 21, Hanrahan and Kaiser will be joined at Sweetwater Music Hall by violinist Mads Tolling, keyboardist Scott Looney and bassist Murph Murphy. It’s one of several electric incarnations for this project, which has included such musicians as guitarist Steve Kimock as well as the legendary bassist for the iconic West Coast punk band the Minutemen, Mike Watt.

“Watt’s a super Coltrane freak and he was kinda terrified to do it,” Kaiser says. “And the big surprise about A Love Supreme is that it’s something that’s open. It’s a recipe and it makes different things every time. Like the Grateful Dead’s ‘Dark Star,’ it has a strong identity of its own that takes over and you don’t know what’s going to happen.”

That’s a telling reference both from Kaiser’s influences and his own discography, one that features several instances of him playing the Dead’s psychedelic anthem “Dark Star,” starting with a sidelong rendition on his 1988 album Those Who Know History Are Doomed To Repeat It, recorded for the Minutemen’s label SST Records. Kaiser has been effusive in his praise of the Dead over the years, extolling their pioneering blending of styles and their range of expression from the most familiar to the most avant of gardes, strikingly similar to Kaiser’s own musical journey.

His embrace of widely different musical approaches has resulted in a truly multicultural catalog, with Kaiser exploring music from Africa, India, Japan, Korea, Norway and elsewhere. Perhaps his most popular world music endeavor was his celebrated collaboration with fellow guitarist David Lindley and several musicians from Madagascar on the joyous two-volume A World Out Of Time.

“Lindley and I did not take any money for it,” Kaiser recalls. “All the money went to the Malagasy people.”

Alongside all this musical activity has been a parallel career as a research diver and educator. “I taught scientific diving at UC Berkeley since the mid-80s,” says Kaiser. “When our program went away in 2001, I became a diver in the U.S. Antarctic program and I’ve had 13 deployments. And I have the seventh-most dives in the program.”

This experience, in conjunction with his work in film and video, has served him well over the years, not least when he was nominated for an Academy Award as a producer while also serving as soundtrack artist and both land and underwater cinematographer for Encounters at the End of the World, one of several documentaries he has worked on for German director Werner Herzog.

Kaiser’s accomplishments seemingly know no bounds in yet another ideal metaphor for his music. One irony, sharper as we approach April 20, is that this self-described “psychedelic” guitarist has famously never taken drugs. When asked what “psychedelic” means for him in this context, Kaiser replies, “It means what Salvador Dalí said: I don’t need drugs, I am drugs!”

Kaiser expands on this thought in a follow-up email, writing, “I get the feeling that what my guitar has to say is psychedelic, rather than coming from psychedelics.

“When you were a preschool kid, did you–like me–lay in your dark bedroom at night and press on the lids of your eyes to generate phosphene patterns of internal light that danced in your head before going to sleep each night? Even though it may look like I’m smiling at the drummer or the audience, inside my mind, and without the addition of recreational chemicals, I’m drifting through glowing clouds of light; among coruscating fractal and geometric forms that shimmer in and out of existence. Rivers of light, like oceanic streams of phosphorescent plankton inflamed by the wakes of playful sea lions, dance in multi-colored time to the music before it happens; giving me my silent cues, like the clouds a glider pilot watches to catch updrafts.”

First Blush

0

If it doesn’t feel like spring has arrived by April 18, the team at Gravenstein Grill will darn well bring it when they host 24 Sonoma County wineries for a walk-around tasting of the season’s new crop of pink wines.

“When springtime comes, we think about freshness,” says Chris Sawyer, sommelier and partner at the Sebastopol restaurant. “And these are our greatest expressions of fresh wines we have.” Don’t date yourself by thinking rosés are sweet. These are not the simple, dulcet wines of decades past, he says.

Vintners are certainly not bashful about their blush. Hoping for a few representative samples of the April 18 tasting, we received an embarrassment of rosé riches:

Red Car 2018 Rosé of Pinot Noir ($28) This pale tea-rose-pink sipper treats the nose to a combo of creaminess and fruit that’s reminiscent of blanc de noirs—the sparkling wine that is also made with Pinot Noir—or baked strawberries nestled on a vanilla frosting-topped tartlet. The flavors balance the searing acidity. HHHHH

The Larsen Projekt 2017 Grenache Rosé ($20) Also pale pink, but tinted magenta, this is inspired by the Grenache-based rosés of Aix-en-Provence. I smell freeze-dried raspberries at an on-trend resto; I taste apricot, raspberry and vanilla. I like. HHHH

Acorn 2018 Russian River Valley Rosato ($29) Another style, also dry, this deep pink field blend of Sangiovese, Zinfandel and other grapes just crunches with cherry, strawberry, and even chile pepper. HHHH

Quivira 2018 Wine Creek Ranch Rosé ($22) This Rhône-style blend has a nose and a palate of juicy nectarine, that crazy stone fruit with shades of red and yellow fruit. HHHH

Balletto 2018 Russian River Valley Rosé of Pinot Noir ($20) From its red cherry perfume to its strawberry-lemonade palate, this is a pleasing quaff. HHHH

Claypool Cellars 2018 Sonoma Coast Pinot Noir Rosé ($35) Although this is the rosé version of the “Purple Pachyderm,” the nose says more about mollusks—sea shells, sea spray, and strawberry aromas. HHH

Friedeman 2018 Sonoma Coast Rosé of Pinot Noir ($30) Pinot Noir rosé 101: a pale salmon hue; light flavors of raspberry and strawberry. HHH

Talisman 2018 Dawson Vineyard Pinot Noir Rosé ($) Fermented with “feral” yeast in neutral oak barrels, this picks up a bit of caramel to accent the strawberries-and-cream flavor.

8050 Bodega Avenue, Sebastopol. Rosé tasting, appetizers and live band, Thursday, April 18, 5:30–7:30pm. $25. www.eventbrite.com/e/roses-of-sonoma-county-tasting-tickets-59422470208.

God, Complex

0

God takes center stage in two North Bay productions running through April 14. Sebastopol’s Main Stage West transports you to 1840 and an Appalachian Heathen Valley while Petaluma’s Cinnabar Theater takes you on a passage to India in search of A Perfect Ganesh.

Heathen Valley is referred to in the play as “the land that forgot God” and an Episcopal Bishop (John Craven) is determined to correct that by bringing God to the North Carolina mountain community.

The “violent, carnal and heathen” locals are represented by Juba (mollie boice), a midwife and a woman of unerring common sense, Harlan (Elijah Pinkham), a true mountain man who’s just buried his wife and sister (they are the same person), and Cora (Miranda Jane Williams), the mother to Harlan’s infant daughter who wishes to be Harlan’s wife.

The role of religion in society and the fuzzy line that separates superstition’s “charms and spells” from organized religion’s garments and practices makes for a very interesting drama under the co-direction of John and Elizabeth Craven with Bordi and Pinkham doing particularly fine character work among an excellent cast.

Rating (out of 5): ★★★★

The elephant-headed Hindu god of wisdom, success and good luck serves as the narrator in Terrence McNally’s A Perfect Ganesh. Director Michael Fontaine reteams with performers Elly Lichenstein and Laura Jorgensen to remount a production they first did at Cinnabar 19 years ago.

Margaret Civil (Jorgensen) and Katharine Byrne (Lichenstein) are best friends who don’t really like each other. Trading in their usual two weeks of shared vacation in the Caribbean for a tour of India, these two ladies have issues—issues with the world, issues with each other and issues with themselves. Ganesha (Heren Patel), the “remover of obstacles,” does his best to assist the ladies in overcoming their own.

Jorgensen and Lichenstein play well off of each other. John Browning’s work as every male character they meet along the way is quite entertaining and Patel’s Ganesha is a warm and welcoming figure, though his ornate headgear often led to muffled dialogue.

This play’s greatest obstacle is McNally’s script, which is overwritten and overlong.

Rating (out of 5): ★★★

‘Heathen Valley’ runs through April 14 at Main Stage West, 104 N. Main St., Sebastopol. Thu–Sat, 8pm; Sunday, 5pm. $15–$30. 707.823.0177. ‘A Perfect Ganesh’ runs through April 14 at Cinnabar Theater, 3333 Petaluma Blvd. N., Petaluma. Fri–Sat, 8pm; Sun, 2pm. $15–$30. 707.763.8920.

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Henry the Great

For most mortals, a single major accomplishment can be satisfying enough for one lifetime. eing an Academy Award–nominated producer, say; or a director-composer and cinematographer for multiple television series; or a university professor for nearly two decades; or a research diver with one of the highest numbers of dives under Antarctic sea ice; or creating your own record label...

First Blush

If it doesn't feel like spring has arrived by April 18, the team at Gravenstein Grill will darn well bring it when they host 24 Sonoma County wineries for a walk-around tasting of the season's new crop of pink wines. "When springtime comes, we think about freshness," says Chris Sawyer, sommelier and partner at the Sebastopol restaurant. "And these are...

God, Complex

God takes center stage in two North Bay productions running through April 14. Sebastopol's Main Stage West transports you to 1840 and an Appalachian Heathen Valley while Petaluma's Cinnabar Theater takes you on a passage to India in search of A Perfect Ganesh. Heathen Valley is referred to in the play as "the land that forgot God" and an Episcopal...
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