You Say ‘Oporto’

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When a rich and potent wine like a Zinfandel is called “porty,” the word often drips with disparagement. It’s a good time to remember that, whether you like your Zinfandel crisp and light or super-ripe and sweet, there’s an entire, centuries-old category of respected wines that are exactly that: they’re porty port wines.

Unlike a sweet, late harvest wine, port is made to retain sugar when the fermentation is doused with actual booze—high-proof grape brandy. Wine yeast can only continue working up to around 17 percent alcohol by volume (ABV), leaving whatever sugar remains in a late harvest wine, for instance, for the eventual consumer to metabolize. Port wines, though they may be fortified to 20 percent ABV, don’t have to start with particularly overripe grapes.

Port, sometimes called Oporto, doesn’t even have to come from particularly Portuguese grapes, according to Bill Reading, owner of Sonoma Portworks. Reading notes a movement among some wineries to discontinue using the word “port” on their labels. In January of this year, several members of Napa Valley Vintners announced such plans, citing the need to preserve the “Napa” brand by playing nice with other international wine regions.

“I don’t think we should be so cavalier about the use of the word,” says Reading, who points out that port is not an actual place, like the Champagne region. But, Porto, sometimes spelled “Oporto” in English, is a place.

“I’m all in favor of protecting the label ‘Oporto,’ and many ports are labeled as such,” says Reading. “But there is no place in Portugal called ‘Port.'”

But there is an Oporto.Reading argues that the entire port category was developed and driven by English and colonial markets, including the former American colonies, where port-style wine has been made for 300 years. The story goes like this: During a spat with the French in the 1600s, Londoners were cut off from their beloved Bordeaux. Sailing farther south, shippers found a ready supply of wine in the ancient Douro region of Portugal, and juiced them up with spirits for the longer return trip. After an overly dulcet vintage, the sweet-toothed English couldn’t get enough of it, and entrepreneurs backed by London banks packed up for Oporto.

Sonoma Portworks is one of the few local producers for whom port is not just a sideline, and currently enjoys the “grandfathered” legal right to the word. They also employ a very old and rare method of pressing the wine: foot-treading.

There’s a brief window of time to press the mass of bubbling, purple muck at the right sugar level, so Reading relies on whatever help
is on hand; this evening, it’s a Portworks employee and a Canadian backpacker who happened to poke her head in the door earlier, who don rubber boots and improvise stomping and marching patterns across a wooden platform inside a half-ton macrobin, to the sounds of classic rock.

The finished product is delicious with ice cream, says Portworks’ Caryn Reading, but there’s more to pairing with port than dessert. Stilton cheese is a traditional pairing that Point Reyes Bay Blue approximates very well, while Reading says that Cowgirl Creamery’s Mt. Tam inspired one taster to exclaim, “Oh, it tastes like Christmas!”

Redwood Noir

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A wartime journalist and fixer exiled from Afghanistan, Osman (Dominic Rains) attempts to settle in a quiet Northern California town. But all is not as it seems in Burn Country, director Ian Olds’ first feature-length narrative film, shot in and around the Russian River Valley last year.

Burn Country features James Franco and Melissa Leo, and boasts several recognizable locations in western Sonoma County, like the Rio Theater in Monte Rio, where the film enjoys a Sonoma County premiere on Dec. 3, with Olds and local members of the cast and crew in attendance.

Tense and taut, Burn Country is a meditative thriller that takes time-tested noir tactics and assembles them in the rural setting around Guerneville. Redwood trees eclipse the light and cast angled shadows, while coastal fog smokescreens the rolling hills.

Osman relocates to Northern California due to his work with an American journalist, who helped him escape the Taliban. He is staying with the journalist’s mother (Leo), who also happens to be the sheriff. When Osman takes a job writing the police blotter, he inadvertently stumbles into a small-town underbelly of crime and collusion that doesn’t take kindly to outsiders.

Though the film slows in the middle, and the secretive nature of the town’s criminal element starts to frustrate, Rains, who won a best actor award at this year’s Tribeca Film Festival for Burn Country (formerly known as The Fixer), gives a great performance as the passionate and inquisitive Osman, even as his own curiosity predictably gets the better of him.

For North Bay audiences, the film is loaded with local color. And beyond the recognizable sights and faces, Burn Country satisfies with sizzling intensity and keeps you guessing until the end.

‘Burn Country’ screens on Saturday, Dec. 3, at the Rio Theater,
20396 Bohemian Hwy., Monte Rio. 6pm. $10. 707.865.0913. The film opens
in wide release on Dec. 9.

Aural History

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Randy Thom was a kid working in a Berkeley public radio station when he took a chance in 1975 that would change his life. Thom approached film editors and sound mixers Walter Murch (the man who coined the term “sound design”) and Ben Burtt (the guy who created the voice of R2-D2, among other sound effects in Star Wars) and asked them for a job.

From his first film gig, recording sound effects for Francis Ford Coppola’s Apocalypse Now, to his recent work on films like The Revenant, Thom, an Academy Award winner, has elevated the role of sound in film. Since 2005, Thom has been the director of sound design at Skywalker Sound, Lucasfilm’s audio branch located in Marin County, where he works on several films a year.

When he’s not in the studio, Thom travels the country and educates the public on the importance of, and innovations in, sound design in movies. His engaging presentations are packed with film selections and masterful storytelling.

Thom appears in conversation with veteran NPR correspondent and old friend John McChesney and shares ear-opening stories as part of the Sonoma Speaker Series on Monday, Dec. 5, at Hanna Boys Center, 17000 Arnold Drive, Sonoma. 7pm. $35; $75 VIP meet-and-greet. sonomaspeakerseries.com

Of Pirates and Elves

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“If you’ve ever been to the Dickens fair and seen one of their wacky adaptations of some classic story,” says actor David Yen, director of Spreckels Theatre Company’s Peter and the Starcatcher, “then you’ll recognize the fast-and-furious approach to storytelling that happens in this show. It’s hard to tell what’s in the script from what’s been invented on the spot. It’s crazy!”

Based on the young adult novel by columnist Dave Barry and mystery writer Ridley Pearson, the play—with a goofball, pun-strewn script by Rick Elice (Jersey Boys)—serves as a kind of prequel to James Barrie’s classic play and novel Peter Pan.

The Spreckels production features Larry Williams as the tongue-tangled pirate Black Stache (better known as Captain Hook), Chris Schloemp as Smee and Anderson Templeton (full disclosure: he’s my son) as the Boy, long before he takes the name of Peter Pan. The show has been given a decidedly Christmasy vibe, with a prologue involving a tree and presents and a pivotal lump of coal. Though the script provides room for improvisation, Yen says that he instructed the cast to resist the urge to include jokes referencing the recent election or other political concerns.

“This needs to be a play people walk away from feeling inspired and hopeful,” he says, “a play people are touched by, touched by the humanity and heart of the script’s conflict between growing up and staying young forever, between having a family and a home, and having to become an adult—and everything that might mean—in order to get that.

“Yes, it’s a very silly, strange story, with fart jokes and outrageous gags, but it’s also a very touching story. I think we all need this right now.”

While preparing Peter for opening night, Yen has also been gearing up to play Crumpet the Elf in the dark one-actor-comedy The Santaland Diaries at 6th Street Playhouse. This will be Yen’s ninth consecutive production of Santaland, based on David Sedaris’ wry memoir of working as one of Santa’s helpers at New York’s Macy’s department store.

“People won’t let me stop doing this show!” Yen laughs. “Though, honestly, if it wasn’t still fun, after nine years, I’d have stopped doing it. But Santaland really is a total blast to do.”

Change Agents

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The thing about unsustainability is that it’s, well, not sustainable. Students at Rohnert Park’s Credo High School are embracing that truth as an opportunity to transform their school and the world beyond.

Credo, a Waldorf-inspired public charter school, has adopted the One Planet Living (OPL) initiative and hopes to become the world’s first One Planet school. The ecological impacts of their efforts are being overseen by Bioregional, a London-based nonprofit that created the OPL initiative.

There are 10 guiding principles of OPL, which include health and happiness, equity and local economy, land use and wildlife, zero waste and zero carbon. Every OPL partner develops an action plan centered around these principles.

“My hope is that Credo will become the model for OPL schools throughout the world, and that our students and graduates can help other schools locally and worldwide to meet the OPL principles,” says Credo principal Chip Romer. “Credo students will spend four years within an OPL community, and the principles will inform our students, who will then disseminate those values as they move out into the world.”

One Planet Living was founded in 2003 during the creation of the BedZED eco-village in London and is guided by the philosophy that to succeed, sustainable living must be easy, attractive and affordable. “There is a long way to go, but there is no doubt it’s possible to be happier, healthier and more sustainable at the same time,” says Pooran Desai, co-founder of Bioregional.

Credo was founded in 2011 with 40 students and now enrolls about 300. The curriculum focuses on agricultural, economic, environmental and social sustainability and is already in line with many of OPL’s principles. It’s the only school to receive a Green Business Award from the Sonoma County Economic Development Board.

“Sustainability must be built into the curriculum,” says Marika Ramsden, Credo’s OPL director. “It’s hard not to be invested because it’s our future.”

OPL is already being put into practice in the classroom. Every freshman takes a class on climate change and one-third of the curriculum focuses on OPL ideas. In chemistry, students are scaling down the use of acids and heavy metals. In woodworking, more than 95 percent of materials are coming from “street” trees destined for firewood or landfill.

Reducing the consumption of nonrenewable energy sources is one of the greatest challenges, particularly achieving zero waste, says Romer. Credo will be 100 percent solar-powered once it moves to Sonoma Mountain Village in 2017.

“This generation has heard so much about the challenges and issues, and they’re ready to change the story,” says Ramsden. “They’re hungry for creative solutions instead of doom and gloom.”

Left Coast Rising

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California is now the capital of liberal America. Along with its neighbors Oregon and Washington, it will be a nation within the nation starting in January when the federal government goes dark.

In sharp contrast to much of the rest of the country, Californians preferred Hillary Clinton over Donald Trump, by a 2–1 margin. They also voted to extend a state tax surcharge on the wealthy, and adopt local housing and transportation measures along with a slew of local tax increases and bond proposals.

In other words, California is the opposite of Trumpland.

The differences go even deeper. For years, conservatives have been saying that a healthy economy depends on low taxes, few regulations and low wages. Are conservatives right?

At one end of the scale are Kansas and Texas, with among the nation’s lowest taxes, fewest regulations and lowest wages. At the other end is California, with among the nation’s highest taxes, especially on the wealthy; toughest regulations, particularly when it comes to the environment; most ambitious healthcare system, that insures more than 12 million poor Californians, in partnership with Medicaid; and highest wages.

So according to conservative doctrine, Kansas and Texas ought to be booming, and California ought to be in the pits. Actually, it’s just the opposite.

For several years, Kansas’ rate of economic growth has been the worst in the nation. Last year its economy actually shrank. Texas hasn’t been doing all that much better. Its rate of job growth has been below the national average. Retail sales are way down. The value of Texas exports has been dropping.

But what about so-called overtaxed, overregulated, high-wage California? The state leads the nation in the rate of economic growth—more than twice the national average. If it were a separate nation, California would now be the sixth largest economy in the world. Its population has surged to 39 million (up 5 percent since 2010). California is home to the nation’s fastest-growing and most innovative industries—entertainment and high-tech. It incubates more startups than anywhere else in the world.

In other words, conservatives have it exactly backward.

Why are Kansas and Texas doing so badly, and California so well? For one thing, taxes enable states to invest in their people. The University of California is the best system of public higher education in America. Add in the state’s network of community colleges, state colleges and research institutions, and you have an unparalleled source of research and powerful engine of upward mobility. Kansas and Texas haven’t been investing nearly to the same extent.

California also provides services to a diverse population, including a large percentage of immigrants. Donald Trump to the contrary, such diversity is a huge plus. Both Hollywood and Silicon Valley have thrived on the ideas and energies of new immigrants.

Meanwhile, California’s regulations protect the public health and the state’s natural beauty, which also draws people to the state—including talented people who could settle anywhere.

Wages are high in California because the economy is growing so fast that employers have to pay more for workers. That’s not a bad thing. After all, the goal isn’t just growth. It’s a high standard of living.

In fairness, Texas’ problems are also linked to the oil bust. But that’s really no excuse, because Texas has failed to diversify its economy. Here again, it hasn’t made adequate investments.

California is far from perfect. A housing shortage has driven rents and home prices into the stratosphere. Roads are clogged. Its public schools used to be the best in the nation but are now among the worst—largely because of a proposition approved by voters in 1978 that has strangled local school financing. Much more needs to be done.

But overall, the contrast is clear. Economic success depends on tax revenues that go into public investments, and regulations that protect the environment and public health. And true economic success results in high wages.

I’m not sure how Trumpland and California will coexist in coming years. I’m already hearing murmurs of secession by Golden Staters, and of federal intrusions by the incipient Trump administration.

But so far, California gives lie to the conservative dictum that low taxes, few regulations and low wages are the keys to economic success. Trumpland should take note.

Port Call

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Pedroncelli 2011 Four Grapes Dry Creek Valley Port ($20) Although this is a blend of four traditional Portuguese grape varieties, including Touriga Nacional and Tinta Cão, each grown on its own acre, the Pedroncelli is the most reminiscent of a big, ripe and chewy California Cabernet Sauvignon. Fresh and grapey, with flavors of chocolate, currant, plum and raspberry, all noted by Bohemians, this young vintage port doesn’t betray heat or cloying sweetness. ★★★★

Heitz Ink Grade Napa Valley Port ($35) Our runner-up favorite is more complex, suggesting disparate aromas of cigar wrapper and cherry liqueur, its red fruit flavors, though well-rounded with age, driven by a lively line of acidity. Decades ago, before his winery gained fame for pioneering the cult of single-vineyard Cabernet, Joe Heitz also made fortified wines. This is made from a plot of eight port varieties planted in the 1990s. ★★★★

Cockburn’s Special Reserve Porto ($18) Like Graham’s, Dow’s, and Taylor’s, Cockburn’s name isn’t particularly Portuguese in heritage, but they celebrated 200 years in the business in 2015 with this bottling. Nutty, complex and woodsy, with evolving notes of pomegranate, fig and molasses, it’s a classic, silky smooth tipple. ★★★½

Sonoma Portworks 2013 Aris Clarksburg Petit Verdot Port ($34) It isn’t just a few years of aging that lends this juicy port, made from a variety more often seen in Bordeaux-style blends with Cabernet, an intriguing, musty-in-a-good-way aroma of antique store. The grape brandy, distilled next door at Stillwater Spirits, is also aged in a four-barrel, fractional blending solera system before being used to quell the fermentation, adding a woody note of brown booze. ★★★½

Trentadue 2012 Alexander Valley Zinfandel Port ($26) Among the charms of port is that it keeps well in an opened bottle, so you can just have a nip or two over several days, or even weeks. Though three months is a stretch, this Trentadue still stands out among the oxygen-addled survivors of this lineup for its bright, bramble-fruit Zinfandel character. Jammy on the finish, but less cloying than their Petite. ★★★

Sonoma Portworks 2011 Aris Clarksburg Petite Sirah Port ($38) Portworks owner Bill Reading feels that classic California varietals like Petite Sirah have the potential to make better ports here. This nutty, spicy and chocolate liqueur-toned sipper makes a case—check out Portworks’ newly released, tawny-style port for a smoother, extra-aged rendition. ★★★

Trentadue 2011 Petite Sirah Port ($26) Intriguing aroma combo of ancient and fruity, like dried plum from the crypt, finishing a little more on the flat and sweet side than some others. ★★½

Community Asset

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This Tuesday, Dec. 6, the Santa Rosa City Council will hear a recommendation from city staff to terminate Santa Rosa’s contract with the Community Media Center, aka CMedia, and immediately dissolve the local organization.

As a lifelong citizen of Santa Rosa and a contributor to various CMedia film and TV projects, I believe this organization is an indispensable community asset for arts, education and documentation of local government meetings. Moreover, I believe that independent media outlets are a vital pillar of our freedom of speech, and to dissolve a local public access organization that has been serving Santa Rosa for the last 20 years would be a terrible loss.

In early November, the CMedia board fired its executive director based on the discovery of what they perceived to be inappropriate activity on CMedia’s financial account. Three weeks later, city auditors discovered that a total of $330,000 in city funds were missing and questioned numerous meal and bar tabs charged to the nonprofit’s credit card by its former executive director. This apparently led city staff to recommend shutting the organization down.

Whatever the full story, I think that instantly pulling the plug on our media center after alleged financial activities of its former director would be an unfortunate decision. You don’t shut down an arts program because of management problems. How would you justify shutting down CMedia to its producers, who rely on its resources to practice their craft? To the board members who have been fighting to run the organization transparently? And to the staff who will all lose their jobs, and in the midst of the holidays?

If the city council decides to eliminate CMedia at its Dec. 6 meeting, the voices of the people who utilize the center will be silenced and the facility will be vacant Dec 7. One day’s notice. Given the boot. After 20 years.

I believe that Santa Rosa should firmly reject this proposal and keep the media center alive, and I encourage everyone to write letters to ci*********@****ty.org and attend Tuesday’s city council meeting.

Jake Ward is a Santa Rosa music and arts promoter and founder of North Bay Caberet.

Open Mic is a weekly feature in the ‘Bohemian.’ We welcome your contribution. To have your topical essay of 350 words considered for publication, write op*****@******an.com.

The Bomb

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Gary Brandt’s novel The Vault Apocalyptia started with a dream. Not a dream of writing a book, but an actual dream. Thirty-odd years ago, Brandt dreamt he was on a walking tour of Earth after a nuclear war, smoking ruins and all. He was in a creative writing class at the time, and the dream begot a 10-page short story. That grew into a 100-page novella. In 2002, he embarked on turning his dream into a full-blown novel that he finally finished this summer. And what a novel it is.

The dense, satirical book follows a tour of the National Museum of Nuclear Science & History in Albuquerque, N.M. A chirpy docent leads readers through displays, songs, character studies and texts within texts that add up to an intricately fashioned alternative history of America’s absurdly horrifying atomic age.

Brandt’s tone blends Leave It to Beaver–era credulity and advertising hucksterism with a wry sense of humor about what’s really going on. The expansive, digressive style and delicious wordplay channel James Joyce and Thomas Pynchon.

Brandt, by the way, is the Bohemian‘s copy editor, but as his book makes clear, he’s a hell of a writer, too. The excerpt below introduces readers to one of the most gleefully drawn characters in the book, the bomb-making prodigy Ruben Boomerkoff.
—Stett Holbrook

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We keep first appointment with a man of immense stature and standing in his field. Great discourse has passed on the nature of his work. He verily invites controversy. He is loved. He is loathed. Few go unmoved. One spectator likened him to the gods (rightly so, though whose and which is subject to terrific debate): “That timeless man,” he fathomed, “ageold yet newborn!” He evokes metaphor: “Our common father,” another proclaimed him, and we “his bewildered children.” And swooned one incisive critic in a penetrating review: “An ape palm weighs the newly discovered element fire . . . A frail pink wrist balances the quiet generations to come . . . Never before so simple! Not until now so clear! A must! Flock to!”

Still, we gather numerous complaints. Certain taxpayers of sound mind claim our man’s been aiming for years to do them in with that “confounded hardware” of his, and average Joes of no frenetic stripe avow on their honor the hoodwinker has actually threatened them with employment offers making “the front ends of horses” or some such perversity. In truth not a one of us fares brightly under exalted credentials as his.

Listen: who taught himself in utero, to pass a dull gestation, the art of knots, convoluting his umbilical in pursuit of the flawless sheepshank, clove hitch, or bowline on the bight; who was the infant savant, a Hermes at the lyre, prattling off at eleven months the lexicons of no less than five major nuclear capable countries; who was the marvel tot, duddy’s little lummikins, in rompers yet and endeavoring nightly to dispel a chronic dyssomnia by enumerating decidedly unconventional sheep: “. . . 86000 seconds to a day, 31536000 seconds to a year, 61859136600 seconds since Jesus who loves me was born in a manger . . .”; who was the adolescent wunderkind, graduate cum laude, Massachusetts Institute of Technology class of seventyeight, hardly a year to the day after a razor first traversed those pimplecongested cheeks; who is the minder of machines, whom the experts call expert, with his inheritance of numbers (“No sweeter manna than a conundrum unraveled,” said he), heuristophile, technolurgist, selfstyled philosophizer—see him? Our genius with the bonus gem, he stirs in waiting just ahead. There in diorama, whitesmocked, hunched, and calculating. Now who, ladies and gentlemen, can that be there? It’s not Doppler. It’s not Wheeler. It’s not Planck. Is it Boltzmann? Is it Bernal? Is it Tesla? Barnhardt or Coulomb? R. Hume or Fizeau? Pascal? Laplace? Is it Kepler, Galileo Galilei? No?—Rube, is
that you?

Exhibit A. Curious beginnings. A misfortunate end. Rube, the scientist.

(With a broadly swept flourish the doctor, puffing, indicates the spread of his study: hissing blue jets kiss beaker bottoms; luminous elixirs in alembics boil; bellows huff; pelicans percolate; PC monitors glow greenly, cursors blinking, as lines of data march upscreen. In actinoponic greenhouses, silent underlings poke and weigh exquisite bloated peanut pods, and inject radiobe fertilizer into sturdy stems of ten-foot Arctic avens. Control group respondents, their cancers cured, file buoyantly toward officious technicians uncapping vials of radithor tonic and administering doses of eonite, meteorium, and cyclotrode X. Muted press men clamor at the panels; above them, cybershuttles, flying wings, orbit ivory spires, smokeless stacks. A harbor is visible. Leaving quays, nucleon schooners ply the corridor, exporting cargoes. Several blocks townward, lining broad bejeweled avenues, stand rows of white houses, roof tiles glittering, terraces dripping vines. Plastic clear autos on clean roadways hum by, skimming hushly. It’s springtime, the suns shine, teens steer mowers over lawn while moms in capris offer limeade in dixie cups to whistling postmen. Bluebirds trill. Wrens twitter. Downtown, in an immaculate plaza, round public monuments where tourists throng, an orchestra tunes, a parade commences, gongs, kettles, tenor drums echoing the faint rumble from below where the steel dynamos churn . . . )

A breathing testament to inspired fortitude, Rube over the years has drawn resolution from ingenious corners to deftly turn several physiological perversions toward ultimately his fatherland’s behoof. Consider the Rube of nursling years. Beset by developmental aberrations—one, a poorly oriented rooting reflex that provoked the neonatal Rubey at the fragile age of a single hour to nuzzle his sire’s feeble nipple over his mother’s firmer mamma (since deemed premier vocational training, as many in ordnance R and D are now suckled on the ungenial titsap of fatherhood); and the other, a latent third testicle misdiagnosed on first opinion as a lollock and on second as a scirrhoid and which only manifested outright following the onset of puberty (but then as a boon twice over, accountable for both Rube’s vigorous and inordinate nationalism (surfeit testosterone—it courses more thickly than blood!) and later inclination toward things protractive (like limited response scenarios) and things generative (like warhead delivery systems))—Rube, in firm defiance of ill effect or stigma and favored with a hankering for life of a less tender more gruffish nature, nonetheless went on to prosper from a boyhood not unlike the boyhoods of those destined to serve in either abbey or penitentiary, for how similar indeed are all in youth.

Gangly Ruben Boomerkoff, the quintessence of his kin, the flower of his predecessors (the New England Boomerkoffs, née Bombekopf, fine old Saxon stock), whiled a swannish youth in the Cambridge suburbs pursuing under the stewed eye of his father, a widower with too fond a taste for the Islay grain, his three passions: reading in the summer, ice hockey in the winter, and chemistry yearlong. His earliest recollections depict long days decocting pints of fresh whiz into urea precipitates, compounds of which he used to knock stray pets into slumber. Through the aid of some musty volumes misshelved behind histories of horsies and princes, Alexanders and Akbars in the public library’s Treasure Room, Rube nurtured a precocious fascination with explosives (but only for experiment, as dated police reports will corroborate), beginning with pelleted powder and guncotton and graduating in time to the simpler nitrogen iodides. Few possessions, indeed, gave Rube greater satisfaction than his collection of craters, arranged by row over the backyard lawn, depths and radii exactingly measured and logged in a binder kept pillowside.

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Mathematics, of course, and its applications engrossed him, for what, he reasoned, wasn’t improved through its precepts? Once, for instance, after observing at practice the varsity softball team, he confidently coached abler batters at what angle uppercut to shave off a swing in order to better bean a pitcher with a calculated line drive. While mates sucking Red Hots frolicked amid twilit hours in front yards and streetsides, playing at war with peashooters and water balloons, there was Ruben hunkered curbside over his Big Chief tablet, ponderously penciling grids by the edge of a balsa ruler and graphing ratios of targets hit to peas shot and balloons filled. When a pissing contest was called and the neighborhood boys gathered by the church lot after school, giggling like gnomes and peeling from the folds of their shorts dinky peckers tweezed between thumb and forefinger, Rube was there too doling out water and near beer and plotting pissarc trajectories by twigscratch in the sand.

He could exemplify the pacifistic introvert yet loved nothing more than the crunch of cracking bicuspids as he elbowed a home team’s forward. Naturally was Rube a reader, the kind that gorged on words. The dulcet sonnet could wrench a tear from his eye though tragic drama better suited his personal aesthetic, especially romances of the type ending in lovers’ mutual suicide. He read for elucidation treatises by Clausewitz, Sun-tzu, and Nicomachus of Gerasa; for pleasure works by Kaempffert, Gustave Le Bon, and the great Mesmer; and with gusto the utopian futures of Wells. Often, in recovery from the noise of days, he’d indulge a yearning for solitude and spend whole nights rooftop sketching in conté crayon the black void between stars and composing little sapphics on the hugeness of it all. He felt, at these times, the sensation of being observed, studied by some wadza in the heavens, prepared, he sensed, for something momentous by strangers above the clouds . . .

Under astonished tutors he mastered a host of additional tongues, rapidly, that he’d intone fluently as English though which he insisted on speaking, to his delight and his instructors’ chagrin, simultaneously, for a lark. He attempted romantic rondeaux, in Sanskrit, though confessed to his intendeds feeling stumped getting shringara and pralaya to rhyme right. High school held little challenge for the young Rube (he was then two years junior his freshman classmates), and to bide the odd hours he hatched reckless and elaborate pranks. He laced fruits with fun drugs, like the ergots, and stealthily set them on teachers’ desks during recess, stuck with cards forged in bullies’ script. One afternoon, to the principal’s dismay, he linked the school’s master clock to its phone system then privately chuckled as every incoming call projected the hands two minutes closer the final bell. His antics won him by turns the applause of fellow students, who thought him heroic and clever, and the reproach of exasperated faculty, who found him archly aloof. His spirits might ascend on wings of sublimest glory or as quickly plummet under weight of direst melancholy dispelled finally by his quandary over whether suicide, homicide, or omnicide would best abate his gripping teenage angst.

Buffeted by pubescence, Rube acquired the gawky features redolent of classic scientific “queerness.” He had a cropped rust do, freckles the size of lentils, a planktoothed girlshy rictus, and ears that stuck out like two ivory cabinet handles. He had a beetling brow with a stately tall forehead which inclined above it sheer as the Galveston seawall. His lips were thin, the width of a good thick one bisected, and he had a beakish nose, a hawk’s nose, that earned him the envy of his peers when he later found his calling. His eyes might seem claygray then silversteel or even oilbrown, with a gaze that looked piercing and sharp when imperturbable yet perturbed and dull when nothing in sight worth piercing appeared. From a long frame lithe limbs hung like halfwilling accomplices unsure of their role in a crime plot. His feet tripped over each other like newly paired dance partners, and his nimble fanlike hands, ambidextrous, which pantomimed tortuously when he spoke, as if explicating to a tribe of foreign laloplegics, seemed uncertain what the other was doing, so often did things twice. His neck was too spindly, like a lollipop stick, his shoulders too narrow, his complexion too fair, his chest too caved, his fingers too fine, his back too bowed, his grip too limp and his touch too clammy, and his arches were flat, with toes too splayed when they weren’t, in weather too cold, curling under.

For diversion Rube preferred fraternal outings but did attend, begrudgingly, his junior prom with one Tulia Hognose, a bookish and tubby sort (beauty frightened as much as it fascinated chary Rube), and it was during the course of the evening that he beheld his first breast. Something in its curve repelled him though and he sought in future to forswear its ilk, but his condition polyorchitis eventually exerted its influence and landed him a doomed marriage in later years. When, in his mid teens, his father’s bomb shelter was razed by a small brush fire Rube, then scouting universities, resolved to devote himself fully to the study of applied physics. He was sixteen when he entered MIT—the freshest yet to pledge Phi Beta Epsilon. He topped the curriculum with ease and swiftly, and among numerous honors won Rube earned that rare prize, an interview with the Hertz Foundation. High marks on their Industry Acronym Recognition Exam (the IARE) secured him a graduate fellowship at California’s Lawrence Livermore Laboratory, which led soon after to fulltime hire. Upon submitting his dissertation at the age of twentytwo Rube cultivated a magnificent mustache to mark the occasion, with bristly bars of sideburn to match. . . .

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The Vault Apocalyptia: A Response from a Far-off Reader

Upon receiving a copy of Gary Brandt’s ‘The Vault Apocalyptia,’ I knew there was one person—perhaps the only person?—who would really appreciate it, get in under Gary’s dense and dancing prose and revel in it. Bill Saunders isn’t just an ace decipherer of so-called difficult fiction; he absolutely thrives on the stuff. Saunders, a resident of New Haven, Conn., is an engineer-turned-freak who has the rare capacity and patience for sustained interactions with fiction from the likes of William Gass and Thomas Pynchon. Fiction that requires concentration and commitment over the long haul. As a former New Haven resident, I used to run into Bill at the local bookstore-cafe, head plunged into his latest difficult pleasure as he slogged back a dark coffee and cackled aloud at the insights and treasures unfolding from his latest intellectual mind-bender. I sent Bill a copy of Gary’s book recently and he quickly—scarily—sent the below response to it, a reaction, really, that speaks to the singular science-mind of Saunders and his limitless capacity for engagement and enjoyment for prose that’ll make your head spin like so many nuclear centrifuges.—Tom Gogola

Gentlemen: Someone from your offices recently dispatched to me (via post) a small package containing an Incendiary Device disguised as a First Novel.1

Quite frankly, I am shocked that a peace-nikky-named organization like

the Bohemian would be behind such a blatant propaganda scheme denouncing the virtues of “Free Energy.”

FOOL BEFORE—NOT THIS TIME

‘Terrorists already on a Watch List’ 2

As the slow-seconds pass3, it is clear to me that I am either:

(a) the Intentional Target of something Singularly Sinister;

or (b) a Hapless Victim —A ‘Mild-Mannered’ Everyman Caught in the Fray;

or (c) the Mark of a Cruel Joke (but that is kind of like (a))

Q: Does it really, Matter?

A: You have really created an existential crisis for me!!!

AFFIDAVIT OF AUTHENTICITY

I do hereby solemnly attest that I have thoroughly read all materials enclosed in an apparently vain attempt to diffuse this soon-to-be metastasizing situation. I swear that I’ve have sworn while puzzling through the countless codes enciphered and encrypted in this dense, dark and entertaining postmodern nuclear tour4-de-force (to no good-end, I might add); and finally, I will pray to ‘A-God-That-I-Do-Not-Yet-Believe-In’, if you will reply to me forthwith with some simple and possibly life-saving information . . .

“HOW DO YOU STOP THIS DAMNED BOOK FROM TICKING!?!!”

A-MEN/HURRY (time is of the essence)5

oppenheimer, out

p.s. Not to point fingers, but I Blame Weird-Al Einstein, Szilard the Lizard and Terror Fermi. These Little Boys spent so much time a-wooing their ‘Dream Baby‘, that as Fat Men . . . they’ve no energy left to keep ‘the bitch’ in-line. And if these Giants of Science can’t free the ‘City’ from the Atrocity Exhibition6, where does that leave us as an Enduring Nation and Gentle Race?

Let me Teller a story about a man that tried to count to a billion but lost his place . . .7

Shit! Where was I . . .

Surely some eager young Rube will rise to save the day . . .

Enter Stage Left, Right on cue, one Ruben Boomerkoff, a Particulist, born with an extra gonad, fed from his father’s feeble tit, an MIT graduate and collectible chapbook author of such renowned titles as Peace Is Hell and More Edible Spinoffs of the U.S. Weapons Program . . . this bomb-head with an uncontrollable hard-on really seemed to be on the verge of some necessary breakthrough before unexpectedly exploding on page 32.8

There are many outlandish theories about Ruben’s mysterious demise—was Boomer’s death caused by a gastrointestinal reaction of a steady diet of pork rinds and Pepsi . . . or was it just a quark of circumstance?9

Personally, I find these hypotheses to be as far-fetched as the moon landing.

Let’s face it, the closest someone ever got to going supernova was when young Franklin Richards had his telepathic mind overstimulated by the vengeful Annihilus.10

Save that radioactive horseshit for the pulps, I say.

Circumstances always change with the next issue.

Let’s relook at this problem using Occam’s Razor—the Law of Parsimony, the simplest answer being generally considered the most likely solution.12

Applying this century-old method, I can only come to one conclusion regarding this Bold Theoretician’s Untimely Death: Spontaneous Human Combustion.13

In fact, the answer was so obvious that these over-educated eggheads couldn’t figure it out . . . But it happens sometimes . . . people just explode.14

Upon further reflection, it became clear to me that this Purportedly Scientific Publication15 has been bombarding me with nucular mis-information from the minute I looked at ‘the flap.’

The Nuclear Regulatory Commission Report, nothing but a bad song and dance routine.16

That struck me as strange, but riddle me this:

If so many of the scientists working in the ‘Advanced Physics Department’ at the Los Alamos Research Facility grew wombs and gave berth to a Nuclear Family, what happened to all of their little Bombinos?—the author really should have provided a proper historical footnote.17

The Letter-Writer’s Counter-Proof (using hysterical anecdote):

A) I am a grandchild of “the bomb,” “the bitch,” whatever you want to call “it.”

B) My grandfather was a Navy sailor in the South Pacific during the Big One.

C) Equatorially speaking, he played King Neptune in the Line-Crossing Ceremony.

H) He witnessed many tests while serving on the USS A.E. Newman in a Bikini.

X) My Grandfather didn’t grow no freakin’ womb—no f’n way—FUN-GOO!!!

ERGO: IF THAT IS WHAT YOU’RE IMPLYING, THE CONSEQUENCES WILL BE ‘POSTAL’.

(NOTE: When they fried Ethel Rosenberg twice as an atom-spy, that was about ‘The Womb’.)19

It is lies like these that disgrace the honor of those who have sacrificed for our Great Country.20

If this boils down to a question of Manliness, Meat and Potatoes, what’s with all the Eggs?21

That is to say, if no one is going make steak tartare, what’s the Freaking Point???22

Whether a Scattering of Design, or just a Splattering of Luck,

If Certainty is the Ultimate Deterrent , We are Certainly Truly Fucked!24

Bombs Away,

Bobby Op

p.p.s. I will kindly thank you on Tuesday for saving my ass today. Meet me at 0.00 hrs in the snack bar25 for some irradiated milk and microwave weenies.

p.s.s.t. If this book doesn’t self-destruct, can I get it autographed?26

Endnotes:

1. The Vault Apocalyptia, written by Gary Brandt, copyright 2016, Stormy Day Books.

2. The Bohemian, future headline story by Tom Gogola, Special Uri Geller Edition

3. Russian Army Watch, Made in China, Yuri Gagarin 50th Anniversary Model

4. National Museum of Nucelar Science & History (formerly the National Atomic Museum), 601 Eubank Blvd., SE, Albuquerque, N.M., 87123

5. (or neither exist . . .)

6. Op. Cit., NAM, Pioneers of the Atom exhibit

7. Ibid., Decision to Drop exhibit

8. Op. cit., TVA, pgs. 12–32

9. Op. cit., NAM, Energy Encounter exhibit

10. Fantastic Four #141, (Dec. 1973), Marvel Comics11

11. Op. cit., NAM, Atomic Pop Culture exhibit

12. William of Ockham was a Friar, too.

13. Stranger than Science (1959), written by Frank Edwards, Lyle Stuart Publishing

14. Repo Man (1984), written and directed by Alex Cox; released by Relativity Media

15. Op. cit., TVA

16. Ibid., Uranium Cycle exhibit

17.18

18. The “proper historical footnote” remains Classified.

19. Op. cit., NAM, Secrets, Lies and Atomic Spies exhibit

20. Factoid: After witnessing the Destroying Angels, none of Newman’s seamen sired sons

21. Op. cit., NAM, Temporary Exhibit Hall

22. Of course, it is possible that I might have missed something—I duly admit that a denseness of prosody and plethora of poetic license provided ample containment from some of the lingering truths at the core of this atom-aged riddle.23

23. Headscratchers like: “Why Do Most Super-Powers Prefer their Detente Over-Easy, or is the Yolk on Them?”

24. Op. cit., NAM, Radiation 101 exhibit

25. Op. cit., NAM, Ground Zero Cafe

26. Ibid. Please visit our gift shop.

Watch the Music Video for Jason Wright’s “Mendocino”

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[youtube]https://www.youtube.com/watch?v=e9L91PiACxg[/youtube]
Earlier this month, North Bay guitarist Jason Wright showed up in the Bohemian’s recent cover story about heavy metal band Skitzo. Wright, who played with Skitzo frontman Lance Ozanix in Sonoma County metal act Oden Sun before joining Skitzo, is a performer full of thunder and lightning, shredding and thrashing on stage and on record.
So, it took this reporter by surprise when Wright revealed he was an accomplished flamenco guitarist as well. His identity as a “Guitarrista” shows another side to Wright’s technical prowess and natural musical sensibilities. Here, discover Wright’s flamenco chops with the video for his recent single, “Mendocino,” featuring flamenco dancer Olivia Gonzalez-Cruz.
You can see Wright live in a vineyard next on Friday, Dec 9, at Smiling Dogs Ranch in Kelseyville. Get details here and visit Wright’s site for more info and videos.

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Watch the Music Video for Jason Wright’s “Mendocino”

https://www.youtube.com/watch?v=e9L91PiACxg Earlier this month, North Bay guitarist Jason Wright showed up in the Bohemian's recent cover story about heavy metal band Skitzo. Wright, who played with Skitzo frontman Lance Ozanix in Sonoma County metal act Oden Sun before joining Skitzo, is a performer full of thunder and lightning, shredding and thrashing on stage and on record. So, it took this reporter by surprise when...
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