How Gov. Brown can honor late NY Gov. Mario Cuomo

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Jerry Brown in 1992

I worked at the Albany, New York alternative weekly, fresh out of college in the late eighties, when Mario Cuomo was governor and capital punishment was the political cage-match of the era (endless budget standoffs were second on the card). Cuomo, who died on New Year’s Day, prevailed in a 12-year battle with state Republicans over the death penalty. 

Cuomo is beloved for this, and rightly so. .

And yet there was a Cuomo mantra around the Metroland office back then. It came in the form of a hard fact, and it confronted my idealism and whatever rosy-eyed view of liberalism I’d come to hold at that point, which was minimal at best. I was trending anarcho-hothead, even then. But the fact is:

Mario Cuomo built more prison cells than any other governor in state history.

He’s said it himself, and the New York Times noted it in their obituary on the three-term governor this week.

Cuomo was loved; he kept the hangman at the door, with soaring rhetoric and logic. 

He also helped to condemn, especially, a generation of young black men—along the way to the fortification of our growing prison-industrial complex.

Yet the biggest buzz in Albany those days was always about whether Cuomo would run for president. The signs were everywhere you looked or wanted to: The big 1984 Democratic National Convention speech, mystery trips to Japan, ruminations on foreign affairs, Lofty Thoughts on America and Spirituality, money at the door with the donor smiles.

Cuomo never ran, the Democrats got their Dukakis kicked in 1988, and there then emerged the triangulation Democrats with a pro-death penalty Clinton as beaming avatar of the new way.

Those were the days, Arsenio. I always thought, from afar and in the cold Albany night, a young man with dreams, and, perhaps, visions—that Jerry Brown was the far preferable West Coast bookend to our lord and liberal Cuomo of the East. Brown was the Zen Hipster governor hanging out with Jerry Garcia, where the Catholic Cuomo would just go on and on about St. Francis of Assisi. I’ve since come to appreciate my saints and all, but back then… 

When he ran in 1992, it seemed Brown was last man Left to carry the soaring Cuomo trumpet on capital punishment—but now played through a didgeridoo less and less pleasing to queasy-on-crime voters. Then Bill Clinton with that infernally callow saxophone of his, and it was all over. Pass the pentobarbital, mama, I’m comin’ home. 

Sigh.

As governor this time around, Brown’s solution to his major prison problem—too many prisoners—has been to send the non-violent overflow downstream to the county lockups. And he’s had the flexibility, unlike Mario Cuomo in his day, to undo some of the harsh sentencing laws that drive the numbers and feed the prison-industrial beast.  

There’s a moratorium on the death penalty in California, and has been since 2006, owing to a very cruel and unusual problem with the lethal concoction used in most modern executions around the country. Yet despite his historical opposition, at last glance Gov. Brown was still working to get the state’s execution protocols into “constitutional” compliance. C’mon, man.

Mario Cuomo defied public support for capital punishment and won three elections.

New York finally got its death penalty after George Pataki beat Cuomo in 1994 and pushed a bill through the legislature. It was on the books for about a decade, nobody ever got executed, and here’s some details about how it went down, from the Death Penalty Information Center.

“In 2004, that statute was declared unconstitutional by the New York Court of Appeals, and in 2007 the last remaining death sentence was reduced to life, leaving New York with a vacant death row and no viable death penalty laws. In 2008 Governor David Paterson issued an executive order requiring the removal of all execution equipment from state facilities.”

Gov. Brown could start with the executive order if he wants to honor the old commitments and kinships. 

Jan. 2: Going Solo in Mill Valley

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Rebecca Mimiaga
was born and raised in Marin County and began performing at a young age. At 16, she began writing her own music, developed her skills on piano and fronted various folk and rock groups, most notably the indie outfit Louiza in New York, where she studied classical voice at the New School for Jazz and Contemporary Music in New York City. Now Mimiaga has returned to the North Bay, and this week she debuts her first solo album release, Words in the Dark, an intimate collection of piano-driven arrangements that accompany her powerful voice. Rebecca Mimiaga plays on Friday, Jan. 2, at Sweetwater Music Hall, 19 Corte Madera Ave., Mill Valley. 8pm. $15–$17. 415.388.3850.

Jan. 3: Uplifting Tribute in Sebastopol

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Five years ago, the North Bay music scene lost Johnny Downer. The beloved friend and remarkable guitarist, most known for his work with Free Peoples, left behind a legacy of love, and now a huge group of musicians and well-wishers will gather once again for the annual Johnny Downer Tribute show in Sebastopol. More than 30 musicians will be on hand, performing throughout the day and remembering Downer’s music. Free Peoples will of course take the stage, as will MC Radio Active, the Thugz, the Jug Dealers, the John Gonzales String Band and many others. The concert benefits music instruction in schools. Saturday, Jan. 3, at HopMonk Sebastopol, 230 Petaluma Ave., Sebastopol. $10. 1pm. 707.829.7300. 

Jan. 4: Poetic Melody in Pt. Reyes Station

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More than a hundred years ago, Austrian poet Rainer Maria Rilke completed his hallmark collection of poetry, The Book of Hours. This week, North Bay sisters and classical artists Juliana and Lia Kohl weave their voices, piano and cello together for an illuminating concert based on Rilke’s poems. The Kohl sisters perform with a warm sensitivity and a spontaneous flair. ‘Songs from the Book of Hours’ comes to life on Sunday, Jan. 4, at the Dance Palace, 503 B St., Point Reyes Station. 4pm. $10–$15. 415.663.1075.

Jan. 7: Pop Done Right in Napa

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For Grammy-winning singer and songwriter Marc Cohn, music is all-consuming. Growing up on Motown and pop music, Cohn began his own career as a back-up musician and studio hand for artists like Tracy Chapman and Jimmy Webb before breaking out on his own in 1991 with his self-titled debut album and hit single “Walking in Memphis.” Since then, Cohn has been an unrelenting storyteller and performer, drawing from his life in his songwriting, re-imagining old favorites in his cover songs and constantly touring. Cohn already has dozens of dates lined up in just the first few months of 2015, and his first show of the new year takes place on Wednesday, Jan. 7, at City Winery. 1030 Main St., Napa. 8pm. $35–$45. 707.260.1600.

Western Winter

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Sonoma County Americana duo the Easy Leaves (Kevin Carducci and Sage Fifield) are often found singing their perfectly distilled pairing of country tinged tunes and folk ditties in the dusty dives and popular clubs north of the Golden Gate. Yet for the last few years, the Easy Leaves have curated and performed at their special Western Winter Formal concert in San Francisco, and this year, the duo is offering a ride to the show on one of two party buses heading to the Great American Music Hall on Saturday, Jan. 3.

Here’s the deal: a $30 ticket gets you a seat on the bus and a pass to the show, where the Easy Leaves will be tearing up the stage alongside S.F. traditional country and rockabilly band the Better Haves, Sam Doores of the Deslondes and DJ Golden Gram. The buses leave Santa Rosa Park & Ride, at Highway 12 and Brookwood, at 6:30pm, and stop at the Petaluma Fairgrounds at 7pm to pick up the rest of the riders. Then you kick back and relax while heading down, and catch a ride back at the end of the night. Demand is high and seats are limited, so get in on the fun by heading to eventbrite.com or theeasyleaves.com for info on tickets.

Floor-Lickin’ Good

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Chile verde is a simple dish, but so rich and complex that one might expect it to be harder to prepare than it is. The ingredients in my chile verde combine into something greater than the sum of their parts in remarkable fashion, such that the finished product can make an average cook look like a genius.

I call it “my” chile verde recipe, but it’s adapted from bits and pieces I’ve picked up from various other recipes. I kept messing with my recipe until it got to the point of such awesomeness that, when a housemate once knocked a finished batch off the counter before dinner one night, the five-second rule was cast out the window. We scooped it off the floor and into bowls with a spatula, and ate it with the abandon of desperate drug addicts sharing a soiled needle.

Pork is typically used, but most any meat will do. I like it with venison, and recently made a batch with lamb, which resulted in a dish that tasted like something from an Indian restaurant. It seems that chile verde can do
no wrong.

The tomatillos’ tartness penetrates the meat, tenderizing it and creating new flavor combinations. Meanwhile, the tomatillo becomes transformed into a surprisingly rich and edible version of itself, with a softer, less tart and less strange flavor.

Floor-Lickin’ Chile Verde

1 pound tomatillos

1 pound meat (pork, lamb, venison, beef)

1 pound chile peppers (the more variety, the better)

2 c. cilantro, chopped

1 large onion, chopped

1 head garlic, peeled

5 bay leaves

red wine for cooking

1 quart chicken broth

1 tbsp. cumin powder

1 tbsp. garlic powder

Cut the meat into one-inch (or smaller) cubes, and brown it in the pan or under the broiler. Using a tender cut of meat makes the job a bit simpler. After browning, tough cuts of meat should be braised in three parts water and one part red wine, with five or so bay leaves and a sprinkle of salt. Bake at 300 degrees in a covered dish until the meat softens, adding more water and wine as necessary.

With your meat in an oiled pan on medium heat, cook until it begins to sizzle and add the onion and garlic. Savor the aroma as you stir.

Season with salt, pepper, garlic powder and cumin. When the onions are translucent, add one quart of chicken stock (or jus from your braising) to the pan. Simmer for 30 minutes.

As the meat simmers, the next steps take place in the food processor. Remove and discard the husks from the tomatillos, slice them in half and purée, along with the cilantro, garlic and chile peppers, trimmed and de-seeded as necessary per your heat tolerance.

Stir this mush into the meat pan and simmer for another hour or two on low heat, seasoning with salt and pepper, stirring frequently and adding water or stock as necessary. When you’re ready to finish cooking, stop adding water and allow the gravy to thicken a bit. Serve with tortillas or rice, or in a bowl like soup.

Whether made with a succulent piece of pork or a slow-cooked lamb shank, chile verde is a dish worth waiting for. And if necessary, it’s a dish worth eating off a dirty floor.

The Leftovers

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It was the day after Christmas and the Tupperware tub was loaded with the last of the Dungeness. I had a mess of crab to contend with, all pre-cooked, cracked and cleaned at wondrous Oliver’s Grocery.

The refrigerator was a little bare beyond the crab, but I did spy the remains of an extra-pungent hard slab of goat cheese, also from Oliver’s. A plan formed in the hungry mind.

Bounce quick to the Bolinas People’s Store for some bacon, eggs, butter, milk. Grab a bouquet of parsley and some fruit. You see where this is going: frittata country, by way of a pastry-free quiche—through the corridor of an attempted omelet. I broke out the junior skillet and sawed off a quarter of the bacon.

Into the pan: some scalloped sweet potato and an old red onion from the larder, diced. Into the bowl: four eggs, a splash of milk, a fistful of chopped parsley, and all the rest of the crab, shredded. Let the baconian activities in the skillet proceed awhile. You’ll know when it’s time. Pour the eggs into the sizzle, add the goat cheese. This is getting good. Let it burble a little while longer.

Now transfer the skillet to the oven for a proper finish, 10 minutes at 350 works for me. In the meantime, make some toast and coffee while cranking Big Mama Thornton’s “Wade in the Water.” Think about the government, or a woman you met. Chunk up a cantaloupe for a refreshing counterpoint to the rich burbling mess in the pan. Eat the damn thing.

Top Torn Tickets

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It’s that time again. Each December, as the year draws to a close, I always take a moment to sort through the numerous tickets stubs I’ve saved from the 80-something shows I’ve seen over the previous 12 months.

Carefully, I recall each show, assembling the torn tickets in order, with my 10 favorites on top—my top 10 torn tickets. While many of these could arguably be called the best of they year, my choices are a highly personal assortment, the shows that I most enjoyed experiencing, the plays I couldn’t stop talking about, the ones I often wished I could go back in a time machine and watch all over again.

As usual, some very good shows did not make this list. Spreckels Theater Co.’s delightful Annie Get Your Gun and its moving Book of Matthew, for example, along with Cinnabar’s luminous Marriage of Figaro, the Imaginists’ highly innovative War Circus and Marin Theater Company’s eye-popping Lasso of Truth. I liked those shows. A lot. I just liked these other 10 a little bit more.

And with that, here are my personal top 10 torn tickets of 2014.

1. ‘Of Mice and Men’ (Cinnabar Theatre)

“Tell me again about the rabbits, George.” Propelled by heart-wrenching performances from Samson Hood (the iconic man-child Lenny) and Keith Baker (George, the patron saint of difficult choices), John Steinbeck’s aching American masterpiece was resurrected with grace, verve and raw emotional poetry by director Sheri Lee Miller. Shepherding a strong cast of local character actors, with emphasis on the gritty humanity that defines and unites Steinbeck’s broken men and desperate dreamers, this lyrical Cinnabar production opened in March, and nothing that I saw since could unseat it as my favorite show of the year.

2. ‘The Whale’ (Marin Theatre Co.)

Samuel D. Hunter’s scathingly humane tale of an obese shut-in’s clumsy attempt to connect with his angry, estranged daughter was unlike any other play about father-child relationships I’ve ever seen. As directed by Jasson Minadakis, with an astonishing performance by Nicholas Pelczar, this show transcended the conspicuous trappings of Pelczar’s fat suit, refusing to present typical theatrical resolutions, breaking our hearts as we watched one very large heart break before our stunned and freshly opened eyes.

3. ‘Next to Normal’ (Novato Theater Co.)

A searing rock musical about manic-depression and shock therapy, this one is so far beyond the capabilities of most community theater companies, there is no way it should have worked. And yet it did, rocked hard by a compassionate, power-voiced cast who were nothing short of electrifying, helmed with passion and panache by director Kim Bromley. It was crazy good.

4. ‘Return to the Forbidden Planet’ (Novato Theater Co.)

Shakespeare + outer space + classic rock tunes + sexy robots on roller skates = one loony-tunes delight of a mashup musical.

5. ‘Other Desert Cities’ (Main Stage West)

Jon Robin Baitz’s 2012 Tony nominee (and Pulitzer Prize short-lister) was every theater company’s favorite in 2014. This year, I saw three productions of this sly and shattering comedy-drama in the North Bay alone, including a very good one at Pegasus Theater. My favorite was Main Stage West’s vibrant staging. With masterful direction by Beth Craven, a sensational ensemble of local veterans (John Craven, Laura Jorgenson, Sheri Lee Miller) and relative newcomers (Sharia Pierce, Sam Coughlin) found the right balance in Baitz’s tricky tale of ancient family secrets, luring us with laughter before smacking us with truth.

6. ‘An Ideal Husband’ (Marin Shakespeare Co.)

Nearly 120 years after its creation, Oscar Wilde’s sneaky examination of political power and those who would use secrets as leverage against the decent politician still stands as a broad comedy on the surface, but as directed by Robert Currier (and with a spot-on cast including Nick Sholley, Cat Thompson, Darren Bridgett and Marcia Pizzo), it played out as an edge-of-seat thriller, with one supremely satisfying conclusion.

7. ‘Journey’s End’ (Ross Valley Players)

The alternating boredom and terror of war, as sharply illustrated in R. C. Sherriff’s outstanding WWI trench drama, is at its most excruciating when nothing at all is happening. It’s the experience of waiting underground for the next battle, and the way soldiers fill the spaces between, that made RVP’s season opener so gripping, tense, funny and devastating. With a fine ensemble led by David Yen, Steven Dietz and Tom Hudgeons, director James Dunn expertly paced his claustrophobic tale, a rare story of action in which little ever happens until suddenly, and violently, it does.

8. ‘Mother Jones in Heaven’ (Main Stage West)

Irish-American activist Mary Harris Jones may have been the subject of Si Kahn’s skillful musical monologue, but make no mistake: this was Mary Gannon Graham’s show. Set in Heaven’s tiniest whiskey bar, Kahn’s affecting biographical theater piece, directed with laser-focused energy by Beth Craven, was packed with historical details of Jones’ life as a voice of justice, and punctuated with great songs, but it was Graham’s twinkly, transcendent, angry, loving, raw and nakedly brilliant performance—along with her emotionally engaging singing voice—that coaxed Mother Jones’ spirit and legacy back to sweet, breathtaking life.

9. ‘The Beauty Queen of Leenane’ and ‘Lonesome West’ (6th Street Playhouse)

Two plays by Martin McDonagh—both set in the same Irish village, with overlapping characters and references—were presented in repertory at 6th Street. Essentially one story told in two parts, The Beauty Queen of Leenane (directed by Bronwen Shears) and Lonesome West (directed by Chris Ginesi) were memorably off-the-wall, violent, profane, hilarious and riveting.

10. ‘T.I.C. (Trenchcoat in Common)’ (Main Stage West)

It wasn’t the classiest or most coherent play of the year, but Peter Sinn Nachtrieb’s outrageous comedy thriller was possibly the strangest. Equal parts madness, mayhem and mystery—with one particularly well-timed instance of full frontal nudity—Nachtrieb’s unpredictable fantasia on boredom, bombings and teenage angst was directed by Sheri Lee Miller, and showcased Ivy Rose Miller as the only sane person in an apartment complex crammed with oddballs.

Crass and Grace

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‘The thing about Edith Piaf,” notes musician Al Haas, of the North Bay music trio Un Deux Trois, “is that her life was really the most interesting thing about her, even more interesting than her music.”

Haas, co-musical director of Cinnabar’s Theater’s upcoming Beneath Paris Skies: The Life of Edith Piaf, does not mean to devalue the worth of Edith Piaf’s musical legacy. The iconic artist’s songs, including the indelible “La Vie en Rose,” are among the most beloved French cabaret tunes of all time.

“But her life was very dramatic,” Haas continues. “To be literally born on the street, to be raised by prostitutes, with a father who was a tightrope walker, learning as a child to perform on the streets to make money—that’s just the beginning of a very colorful, very dramatic life.”

The world premiere show was written for Cinnabar by Michael Van Why, Valentina Osinski and Lauren Lundgren; Van Why and Osinski appeared in last year’s Jacques Brel Is Alice and Well and Living in Paris.

“They really wanted to do something similar but original, as a kick-off to the 2015 year,” says Robert Lunceford, co-musical director with Haas. “A lot of it was inspired by the book Piaf, by Edith Piaf’s half-sister Simone Berteaut. What’s interesting is that, in the show, Edith Piaf is played by four actors, two women and two men, who each play different pieces of Edith Piaf’s personality.”

The play alternates between scenes of Piaf’s life and performances of her best-known songs, with a few lesser-known tunes tossed in for good measure, including the obscure “The Woman in White,” a song about psychiatric nurses.

“It’s a very chaotic song,” laughs Lunceford.

“It’s like Edith Piaf on LSD, is what it is,” says Haas. “It’s fantastic!”

In many ways, the song is a perfect summation of Piaf’s life, which included a stint in an asylum.

“Her life is full of paradoxes,” acknowledges Haas. “Her life story is packed with pain, but there’s also sweetness and romance and beauty. There is crassness and crudity, but then there’s elegance and grace. Bit by bit, as her career rose from the streets, she found teachers and supporters who got a hold of her and taught her what she needed to know to be successful in ‘polite society.’ But she maintained her original crassness all the way through.”

“And for what it’s worth,” Lunceford laughs, “some of that crassness has ended up in the show.”

How Gov. Brown can honor late NY Gov. Mario Cuomo

Jerry Brown in 1992 I worked at the Albany, New York alternative weekly, fresh out of college in the late eighties, when Mario Cuomo was governor and capital punishment was the political cage-match of the era (endless budget standoffs were second on the card). Cuomo, who died on New Year’s Day, prevailed in a 12-year battle with state Republicans over...

Jan. 2: Going Solo in Mill Valley

Rebecca Mimiaga was born and raised in Marin County and began performing at a young age. At 16, she began writing her own music, developed her skills on piano and fronted various folk and rock groups, most notably the indie outfit Louiza in New York, where she studied classical voice at the New School for Jazz and Contemporary Music...

Jan. 3: Uplifting Tribute in Sebastopol

Five years ago, the North Bay music scene lost Johnny Downer. The beloved friend and remarkable guitarist, most known for his work with Free Peoples, left behind a legacy of love, and now a huge group of musicians and well-wishers will gather once again for the annual Johnny Downer Tribute show in Sebastopol. More than 30 musicians will be...

Jan. 4: Poetic Melody in Pt. Reyes Station

More than a hundred years ago, Austrian poet Rainer Maria Rilke completed his hallmark collection of poetry, The Book of Hours. This week, North Bay sisters and classical artists Juliana and Lia Kohl weave their voices, piano and cello together for an illuminating concert based on Rilke’s poems. The Kohl sisters perform with a warm sensitivity and a spontaneous...

Jan. 7: Pop Done Right in Napa

For Grammy-winning singer and songwriter Marc Cohn, music is all-consuming. Growing up on Motown and pop music, Cohn began his own career as a back-up musician and studio hand for artists like Tracy Chapman and Jimmy Webb before breaking out on his own in 1991 with his self-titled debut album and hit single “Walking in Memphis.” Since then, Cohn...

Western Winter

Sonoma County Americana duo the Easy Leaves (Kevin Carducci and Sage Fifield) are often found singing their perfectly distilled pairing of country tinged tunes and folk ditties in the dusty dives and popular clubs north of the Golden Gate. Yet for the last few years, the Easy Leaves have curated and performed at their special Western Winter Formal concert...

Floor-Lickin’ Good

Chile verde is a simple dish, but so rich and complex that one might expect it to be harder to prepare than it is. The ingredients in my chile verde combine into something greater than the sum of their parts in remarkable fashion, such that the finished product can make an average cook look like a genius. I call it...

The Leftovers

It was the day after Christmas and the Tupperware tub was loaded with the last of the Dungeness. I had a mess of crab to contend with, all pre-cooked, cracked and cleaned at wondrous Oliver's Grocery. The refrigerator was a little bare beyond the crab, but I did spy the remains of an extra-pungent hard slab of goat cheese, also...

Top Torn Tickets

It's that time again. Each December, as the year draws to a close, I always take a moment to sort through the numerous tickets stubs I've saved from the 80-something shows I've seen over the previous 12 months. Carefully, I recall each show, assembling the torn tickets in order, with my 10 favorites on top—my top 10 torn tickets. While...

Crass and Grace

'The thing about Edith Piaf," notes musician Al Haas, of the North Bay music trio Un Deux Trois, "is that her life was really the most interesting thing about her, even more interesting than her music." Haas, co-musical director of Cinnabar's Theater's upcoming Beneath Paris Skies: The Life of Edith Piaf, does not mean to devalue the worth of Edith...
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