The Award Goes To…

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If nothing else, the annual Academy Awards is good for two things: it finally signals the end of awards season, and it lets us play at guessing who will take home the trophies.

It’s a game many take part in almost instinctively, and while the more technical categories (I’m looking at you, sound mixing) mostly entail blind speculation, there’s no shortage of opinions about who should win in the big ones. These predictions seem to show up everywhere, especially in the week leading up to the red carpet and envelope opening, and this newspaper is no exception.

Best Actor Matthew McConaughey (Dallas Buyers Club)

Though fellow nominees Christian Bale (American Hustle), Bruce Dern (Nebraska), Leonardo DiCaprio (The Wolf of Wall Street) and Chiwetel Ejiofor (12 Years a Slave) are strong, all signs point to McConaughey taking this one by a mile. The Academy loves it when well-known and well-liked actors suddenly turn in such unexpected and fine performances, and McConaughy here is unrecognizable in as cowboy-turned-drug-supplier Ron Woodroof, living with and fighting against AIDS.

Best Actress Cate Blanchett (Blue Jasmine)

This race is much closer and honestly could go to any of the nominees (Amy Adams, American Hustle; Sandra Bullock, Gravity; Judi Dench, Philomena; Meryl Streep, August: Osage County). Adams has been doing great stuff for years now, and somehow lost last year to Anne Hathaway (I mean, c’mon!), so she could see her work in American Hustle rewarded. But it’s likely that Blanchett will walk away with it for her performance of a challenging role in Blue Jasmine.

Best Original Screenplay Her (Spike Jonze)

Tough year for nominees American Hustle (Eric Warren Singer, David O. Russell), Blue Jasmine (Woody Allen), Dallas Buyers Club (Craig Borten, Melisa Wallack) and Nebraska (Bob Nelson), because Spike Jonze has a slam dunk on this one.

Best Director Gravity (Alfonso Cuarón)

David O. Russell lost in 2011 and again last year with his universally loved Silver Linings Playbook, and though this year’s American Hustle is fine and entertaining, again, it’s not quite enough. Ditto for Martin Scorsese (The Wolf of Wall Street), who seems to specialize in larger-than-life films but received his statue semi-recently, back in 2007. That leaves little doubt that director Alfonso Cuarón will take home the trophy this year. Gravity goes for the gut right away, and had me literally ducking debris and gripping my seat tight every time actress Sandra Bullock blew out a hatch and held on for dear life.

Best Picture 12 Years a Slave

The list is pretty impressive: American Hustle, Captain Phillips, Dallas Buyers Club, Gravity, Her, Nebraska, Philomena and The Wolf of Wall Street. This was a year of accomplished films in wide-ranging genres, with sci-fi (Gravity), romance (Her) and even action (Captain Phillips). The Academy usually sides with historical dramas, and there are a few here, but none that makes so lasting an impact as 12 Years a Slave. This true story is heart-wrenching and emotionally consuming, and director Steve McQueen in top form.

Quivira’s Liquid Gold

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After 10 years of publishing this wine column, we’ve learned at least one thing: we may never run out of wineries.

New brands have cropped up, while dozens of standbys have been transformed by new owners. There are some good wineries we’ve thoughtlessly driven past time and again. Allowing for hot topics like pairing turkey with wine, and the breaking news that rosé is perfect for springtime, there are still maybe 300 to 400 bodegas, brands and bottle shops yet to be discovered in Sonoma, Napa and Marin counties. And yet we’re coming back to this one little Dry Creek Valley winery for the fourth darned time.

Writer Heather Irwin memorably launched this column with a visit to Quivira in February 2004, with the words: “It’s hard to get all snobby about tasting wine when you’ve got oyster juice dripping down your chin.” Returning two years later in a philosophical mood, she found that a sip of wine reflected time, place and the good intentions of the owners. In 2008, I reported that new owner Pete Kight had picked up the cow horn where the Wendts left off, continuing biodynamic farming practices while building a new garden and chicken coop.

In the cellar, new winemaker Steven Canter, succeeding Gray Wann, who had continued a stylistic tradition initiated by Doug Nalle in the 1980s, introduced Acacia barrels to age Quivira’s signature Sauvignon Blanc without imparting strong oak aromas. Today, winemaker Hugh Chappelle says that looking a few years out in a crystal ball is part of the job. “The verdict’s still out on Picpoul,” he says of the winery’s continuing experimentation with Rhône varietals.

Zinfandel remains Quivira’s mainstay out in the market, and Zin has made a comeback in the past decade among the scorning critics, says Chappelle. Now they’re asking how they could possibly have forgotten about this grape. Vineyard manager Ned Horton helps to determine when the grapes have the combination of lower potential alcohol and bright flavors they’re looking for; some blocks are picked up to a dozen different times. Still, the 2011 “Elusive” Dry Creek Valley ($34) is an outlier, a subtly fruity, savory Rhône-style blend from a cool vintage.

Weather comes and goes, the blend of people, too. Quivira changes from year to year, becoming more itself all the time—maybe because it’s been run by people who prioritize the winery’s place in its environment over, say, big point scores, and allow it to stand on its own name. Anyway, it’s hard to get all snobby about wine when there are chickens scratching and clucking nearby.

Al Dente Clemente’s

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Passing by the doorway to Val’s Liquors, the aroma of crushed basil and simmering meat draws in passersby like metal to a magnet. Through an ordering window, one can see the source of this heavenly scent: the Cittoni family at work in their kitchen, bringing a little piece of Italy to downtown Napa.

“Papa” Clemente Cittoni, a septuagenarian with a twinkle in his eye, emigrated from Lake Como, Italy, in 1959. Finding his way to Napa, he began working in the kitchen of the Depot restaurant under the tutelage of Teresa Tamburelli and her family. She shared the recipes for her signature malfatti, minestrone soup, pot roast, ravioli and much more.

In 1974, Cittoni became a part owner of the restaurant and continued to work there, all the while perfecting the food and gradually bringing in his family to work with him. His wife, Mary, sons Steve and Dino, and daughter Joanne joined him at the Depot for 30 years and put their stamp on the menu. In 2004, ownership changed, signaling an end to the Cittonis’ run at the restaurant.

But the family set up an operation inside Val’s Liquors on Third Street, and they’ve created a mini dynasty in this unlikely spot.

Clemente’s Authentic Italian Takeout is well known in the valley for its food. Everything is made from secret recipes, and the menu is full of much-loved classics as well as lesser-known specialties. One such specialty is malfatti ($4.50 per dozen), which was invented by Teresa Tamburelli in 1925. According to legend, she was booked to serve a baseball team visiting from San Francisco and was out of ravioli, so she took the filling, rolled it into balls and boiled it, then served it with the house meat sauce. The dish was a huge success and continues to be one of the most ordered items on the menu.

The raviolis and gnocchi ($4.50 per dozen) are handmade each day, then cooked to order and doused with rich, hearty sauce. The minestrone ($5) is thick, creamy and laden with vegetables (perhaps its velvety texture comes from Arborio rice, although the recipe is closely guarded). Classics like veal scallopini ($10.99) and chicken saute sec ($7.99) are seasoned to perfection with garlic and herbs before being covered with mushrooms. The pot roast ($9.99) attracts a following from the old Depot days—fork-tender with a gravy that begs to be sopped up with a hearty crust of bread.

The Cittonis offer sour baguettes from Sciambra-Passini, another family-run operation with a long history in Napa. Besides sopping up the sauces, the baguettes are used in Clemente’s signature sandwiches like the Dino Jr. ($7.25), a kind of pizza pocket stuffed with cheese and sauce. (The scallopini or pot roast can also be ordered on a sandwich.)

As for specials, the risotto alla milanese con funghi ($6.50) is a must-order special when available—creamy rice with a hint of saffron and earthy mushrooms that make the flavors hum.

Clemente’s is a hidden gem, waiting to be discovered by foodies scouring for the “new”—it’s a rarity in the valley, and one worth seeking out.

A Night at the Shakespeare Fest

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One of Shakespeare’s very first plays, a reclaimed stage version of the Marx Brothers first Broadway hit, a revival of Lorraine Hansberry’s last play and Shakespeare’s own final play—these are the first four shows to kick off the current year-long Oregon Shakespeare Festival in the scenic mountain town of Ashland.

This year, there seems to be an initial emphasis on firsts and lasts, and on the specific discomfort and pain we feel when trapped in worlds that seem to be both ending and beginning at once. Between now and fall, a total of 11 shows will eventually open. Here’s the scoop on the first four.


The Sign in Sidney Brustein’s Window

The best of the bunch, so far, is Hansberry’s final play, The Sign in Sidney Brustein’s Window. Whatever else is said about it, it’s certain to become one of the most hotly debated plays of the spring season.

Lorraine Hansberry is the playwright best known for writing A Raisin in the Sun, which made her the first female African-American writer to open a show on Broadway.

That was 1959.

By the time The Sign in Sidney Brustein’s Window opened in 1964, Hansberry was in the final months of a losing battle with cancer. An act of love to the very end, Sidney Brustein was polarizing, to say the least. Critically savaged by some, though earning fierce devotion from others, it was attacked by critics for packing in too many different contemporary social issues. Watching the play today, it’s obvious that it’s the work of an artist desperate to say as much as possible in the short time she had left.

The story of Sidney Brustein (Ron Menzel), a Greenwich Village artist struggling to make a positive impact on the world but thwarted by his own self-doubts and cynical views, The Sign in Sidney Brustein’s Window is kind of a mess. Plot points are packed with minute details one moment and left maddeningly vague the next. And there’s a sequence of theatrical absurdity so jarring and unexpected it would shock Edward Albee, whom it seems to be making direct fun of.

In spite of all of that, as presented by OSF, Hansberry’s last work is about as meaty and thought-provoking a play as I’ve seen in years. If it’s guilty of caring too deeply and attempting to say too much, I wish more plays tried to commit a similar crime.

Simultaneously large-hearted and hard-headed, Sidney is an amazing character, capable of nonjudgmental acceptance but also adept at vicious, verbal cruelty. He’s been hurt by his own failures and the failures of the political system, and his marriage to Iris (Sofia Jean Gomez) is straining at the seams. Iris, an actress too self-loathing to actually audition for anything, is tired of Sidney’s schemes. No sooner has his latest labor of love failed (a folk club where people listen to records instead of live music), he buys a failing Greenwich Village newspaper, immediately testing his resolve to avoid taking sides in any political contest.

“You’re gonna wear out your ass sitting on that fence,” warns his best friend, Alton (Armando McClain), a light-skinned African American who most people assume is white. Alton is in love with Iris’ beautiful sister Gloria (Vivia Font), not knowing she’s a high-priced call girl. Iris’ other sister, Mavis (Erica Sullivan), is a right-wing Republican who serves as Sidney’s chief antagonist, especially when he decides to jump off the fence and support the candidacy of his politician buddy Wally (Danforth Comins), who vows to fight the “bosses” who control the city.

“Fight Bossism,” that’s the sign Sidney hangs in his window, a straight-forward but simplistic message that comes back to bite him, as he gradually learns some devastating messages about the way the world, his marriage and his own belief systems actually function.

Brilliantly acted by a first-rate cast and directed with unflinching passion by Juliette Carrillo, Hansberry’s final work surges on a wave of authentic dialogue and clashing intellectual ideas, making Sidney Brustein a wild, unfocused but truly volcanic eruption of heartbreak and wounded rage.


The Tempest

If only Berkeley Rep director Tony Taccone’s new production of The Tempest had a fraction of the same stormy energy. In the beloved shipwreck fantasy, Shakespeare, like Hansberry, was also writing his final play, saying goodbye to the theater, while cramming in a boatload of thoughts on life, love humanity and art.

Prospero (Denis Arndt) has dreamed of revenge since being shipwrecked on a magical island, with only his daughter Miranda (Alejandra Escalante), the spiteful man-monster Caliban (Wayne T. Carr), and the spirit Ariel (an excellent Kate Hurster, all watchful fire and icy strength). When a chance wind brings near the island a ship containing those who betrayed him, Prospero conjures a storm that sinks it, putting all his enemies within his grasp.

It’s a story in which Shakespeare examines the pro-and-con possibilities of vengeance and forgiveness, and there is much richness to bring to the surface—much of which is missed here.

Taccone does bring some strong visual ideas to the stage—bald ethereal dancers, a metal-winged spirit, a spare set covered in red carpet—but except for these enchanting visual adornments, the overall production feels strangely flat and recycled. As the shipwrecked sorcerer Prospero, Arndt is oddly tentative and lifeless, and his speeches are often mumbled and hard to hear.

It’s unfortunate, because unlike Sidney Brustein, in which so much is said so beautifully, this Tempest aims mainly at looking beautiful and ends up doing little more than that.


Comedy of Errors

Compared to The Tempest, Shakespeare’s much earlier A Comedy of Errors, directed by Kent Gash, is crackling with cleverness and sheer spirited fun. With the action set during the Harlem Renaissance, Gash fills the story of two long-separated sets of identical twins into an eye-popping, music-filled romp that is clever, funny, sexy and satisfying.

In Shakespeare’s play (believed by many to be his first attempt at comedy), the towns of Ephesus and Syracuse are at war, declaring death on anyone from the opposite town. In Gash’s staging, it’s New Orleans, La., against Harlem, N.Y., where the action is set. In OSF’s small Thomas Theater (if there’s a better spot for intimate, innovative interpretations of Shakespeare on the West Coast, I don’t know where it is), the story plays out on a slab of faux concrete emblazoned with the names of Harlem landmarks of the 1920s, with a tall clock tower overlooking everything from one corner.

Into town comes the wealthy Antipholus (Tobie Windham) and his servant, Dromio (Rodney Gardiner), both from New Orleans. They have been wandering for years, searching for their lost twin brothers, who, for some reason, bear the exact same names. Separated in childhood by a storm at sea (Shakespeare did like his storms), they’ve arrived in Harlem. Unbeknownst to them, their grownup twins also live in Harlem, where Antipholus (also Tobie Windham) is a respected businessman and Dromio is his wise-cracking, much-put-upon assistant.

Nothing that happens afterward quite makes sense, but the fun of this staging is how entertainingly Gash and his energetic cast keep all the various plates spinning.


The Cocoanuts

One thing about OSF, they do keep their seasons varied. The Cocoanuts, directed by David Ivers, reassembles the original details of the Marx Brothers’ show, which made them famous in 1925 and was later turned into the film of the same name. Mark Bedard, who also adapted George Kaufman’s original play for this production, channels Groucho in a performance that frequently veers off script into some outrageously silly audience improv.

The story, such as it is, takes place at a Florida hotel during the 1920s land boom, where the Cocoanuts Hotel is being run (into the ground) by the outrageously avaricious Mr. Hammer, aka Groucho. His put-upon head clerk, Jamison (Eduardo Placer, in the Zeppo role) has fallen in love with the wealthy Polly Potter (Jennie Greenberry), whose mother (the splendid K. T. Vogt) prefers that her daughter marry Harvey Yates (Robert Vincent Frank), who is only pretending to be wealthy. Into the mix come two con men, Harpo and Chico (Brent Hinkley and John Tufts, both brilliant), who add complications to Mr. Hammer’s plan to marry Polly’s mother.

This is the show that gave the Marx Brothers’ famous “viaduct” bit (“Why a duck? Why not a chicken?”), and the loopy scene where a half-naked detective sings “I want my shirt” to music from the opera Carmen. It’s also got Berlin’s sweet love song “Always,” and a bunch of other early Irving Berlin tunes that are clever and melodic, if not very well-known.

The comedic power of the play is not the story, of course, or the songs, as nicely put together as they are. For audiences in Ashland, this will be all about seeing the Marx Brothers alive onstage again (or almost). The entire cast has the uncanny skill to celebrate the timeless genius of the Marx Brothers while at the same time playing with material’s unavoidable datedness.

This is the second Marx musical to land at Ashland in the last three years. Earlier, the same team brought Animal Crackers to the stage. Will there be more? Well, as Groucho/Bedard says at the end of the show, “See you when we return for another chapter, here at the Oregon Marx Brothers Festival!”

The Hive Minders

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April Lance is behind the wheel of her father’s old Ford pickup, talking honeybees as the truck bounces through the Alexander Valley en route to White Oak vineyard and winery for a “hive dive.”

It’s a cool and sunny day in the valley as Lance tells the recent and troublesome history of the honeybee (Apis mellifera). She’s headed to the vineyard to check on two wooden-box hives vineyard proprietor Bill Myers has set up, using local Italian honeybees that Lance breeds and sells. Her bees, she says with pride, are known for their gentle, calm demeanor, and are raised in a chemical-free environment at her place along the Dry Creek in Healdsburg.

Lance offers many intriguing—and troubling—factoids about the honeybee, industrious apian pollinators in the great ecological cycle of life responsible for about one-third of the food humans consume. Without the honeybee, she says, we’d be eating a diet, basically, of oat gruel.

The bees have been up against the ropes since the winter of 2006–’07. That year, commercial beekeepers around the country and abroad faced an outbreak of a rare phenomenon known as “colony collapse disorder” (CCD). Beekeepers would go out to attend to their honeybees, only to find “empty hives and dead bees all around,” Lance says. “There had been dips before, but the bees had overcome it,” she says. “This was a massive collapse.” The bee situation in Thailand is so dire that farmers there are reduced to hand-pollinating their produce.

It hasn’t gotten that bad in the United States, where lots of research and money has been poured into figuring out the cause of CCD.

On Feb. 25, the U.S. Department of Agriculture said it would provide $3 million to Midwestern farmers and ranchers to help improve the health of bees. “Honeybee pollination supports an estimated $15 billion worth of agricultural production, including more than 130 fruits and vegetables that are the foundation of a nutritious diet,” says Ag secretary Tom Vilsack in a statement. “The future security of America’s food supply depends on healthy honeybees.”

Cause & Effects

The USDA hosted a honeybee conference in 2012 and offered numerous interlocking explanations for the scourge of colony collapse disorder. A report from the conference noted that 10 million beehives had collapsed since the November 2006 collapse, at a cost to beekeepers of about $2 billion.

During the peak of CCD, beekeepers were losing up to one-third of their bees (where the historical annual die-off rate is between 10 and 15 percent). The report noted that the phenomenon had tapered off by 2012, but that the fragility of the bees’ situation was such that any single determinant could kick the collapse into high gear. It identified drought as one such determinant.

The “whys” of the collapse do not fit neatly into one convenient causality, which shouldn’t come as a surprise given the bee’s critical position as an enabler in the human food chain. The Environmental Protection Agency offered attendees of the conference a numbing run-down of the various factors that contributed to the 2006 bee-pocalypse, and it ain’t pretty:

• The invasive varroa mite, a pest that enters the bee’s neck, bores holes in it, and eventually kills it

• “New or emerging diseases” such as Israeli acute paralysis virus and the gut parasite Nosema

• Pesticides applied to crops and used for “in-hive insect or mite control”

The EPA also cited “bee management stress” and “foraging habitat modification” as possible drivers, along with poor nutrition, drought and “migratory stress brought about by the increased need to move bee colonies long distance to provide pollination services.”

Lance adds fungicides to the list and is also concerned (and convinced) that the advent of genetically modified organisms is playing a role in the honeybees’ dodgy health situation over the past decade or so.

Buzzin’ Along

The bees are doing their part to try and survive the various postindustrial onslaughts they now face.

Conscientious and a little neat-freaky, honeybees are hardwired to never die in the hive. “They keep the hives spotlessly clean,” says Lance. If a mouse should enter the hive, the bees will encase the rodent in their wax so it doesn’t befoul the living space.

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They have other interesting habits as well, like only pollinating one plant species at a time. If it’s Tuesday and the hive is pollinating daffodils, every bee is pollinating daffodils. At Myers’ vineyard, they seem to have been snacking on mustard ground cover in an adjacent field. (Grapes, in contrast, are wind-pollinated.) And though they are sometimes confused with the comparatively aggressive yellow jacket, which is a meat eater that can sting multiple times, honeybees are vegetarians that can only sting once, if at all.

Bill Myers is waiting in the driveway as Lance pulls up to the vineyard. An industrious and bustling fellow in his own right, Myers is engaged in some light “biodynamic” vineyard practices here, which includes the bees, some olive trees and a raised-bed garden patch where he’ll grow tomatoes and other produce come springtime.

“He doesn’t make money from any of that,” says Lance, “but he does take good care of the bees.”

Everyone gets suited up in the familiar beekeeper’s garb—the suits are white to keep the bees from thinking we’re bears—and Myers fills Lance in on the activity in his hives as she lights a smoker, which helps further calm the bees during the hive dive.

There’s not much going on inside the first hive, which is made from stacked wooden boxes and filled with man-made honeycomb racks that the bees will use as a basis for their own industrious output of wax and honey. Lance and Myers pry off each of the stacked wooden boxes and perform some sanitizing maintenance on the hive that’s not hosting any bees by giving the wood a light burn with a propane torch. This hive isn’t working, Lance says, because of a lack of available pollen, which itself stems from a lack of available water in drought-stricken California.

The other stack, well, it’s a veritable beehive of activity. Pollen-laden honeybees crowd the entranceway, and thousands of bees buzz about as the hive is taken apart, cleaned and put back together.

Lance spots the queen among her thousands of offspring, and great care is taken to ensure that she is returned to the hive after Lance and Myers finish the hive dive.

The hexagon-shaped pockets are filled with honey, or with bee larvae. It’s a pretty amazing social structure. Honeybee hives are the ultimate matriarchal society—the large queen lives out her days surrounded by an all-male brood, whose lifespan is a frenzied four to six weeks. The queen lays about a thousand eggs a day and will “invite” various wild-eyed suitors into the hive in the springtime, who are known as “drones.” The drones don’t have a stinger; their entire purpose is to mate with the queen bee.

The thousands of in-house bees—the brood—have a honey-do list, so to speak. Some of the brood are guards, who watch over the hive for yellow jackets or other unwelcome intruders; others are foragers, out in the world collecting pollen; and then there are scouts, who head out to see where the hot pockets of pollen are for the rest of the crew. All of them strive to keep the hive at a cozy 98 degrees with heat from their wings, which flap about 200 times a second.

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The hive-minded inhabitants give drones the boot in winter, when it’s just the queen and her brood eating honey they’ve stashed away in the comb—or, if the hand of a human is involved, drinking sugar water from a bottle near the entrance.

With the onset of spring, a new queen is born; the hive splits in two, and the old queen leaves with her brood. These homeless broods are the source of the swarms that North Bay residents will start to see in March, inciting panic, fear and indiscriminate use of insecticides, Lance says.

But truthfully, the swarm is a comparatively less dangerous way to encounter bees, Lance says. They don’t have babies, honey or a hive to protect, and are just flying around looking for a new place to hive-up.

Are You the Beekeeper?

It’s the bimonthly meeting of the Sonoma County Beekeepers’ Association at the 4-H Club in Rohnert Park, and the place is buzzing with activity. In the wake of the 2006 CCD outbreak, North Bay beekeepers flew into action, and local beekeeping groups saw their ranks explode with new members.

Organizations in Marin, Napa and Sonoma counties led public-education campaigns, started monitoring naturally occurring hives and gave nervous homeowners options other than poisoning the bees they’d suddenly discovered had taken a liking to that walnut tree on their property.

Katia Vincent is co-owner (with her husband, Doug) of Beekind in Sebastopol, a store that opened in 2004, just a couple of years before the big bee crisis. As beekeepers and would-be beekeepers start to gather at the 4-H, Vincent marvels at the growth in interest among North Bay residents in the plight of the honeybee. The Marin beekeepers group, she says, had eight members before 2006. “Now it’s huge,” she says. The Sonoma group was a handful of bee loyalists, now it numbers over 400, says attendee Jim Spencer.

A father-son team is chatting up the sign-up folks near the door, expressing interest in becoming beekeepers. Others are sharing information on swarm locations in their towns and trading war stories about the health of their hives. There’s even a guy walking around barefoot.

Katia says her store gets up to 500 calls a year from terrified homeowners, many of whom have already sprayed the bees on their property by the time they call the store. Now there is a network of beekeepers who will go and collect the bees, as an army of bee friends has spanned out across the North Bay to keep an eye out for hives.

She notes that California has protocols and applications for agribusiness when it wants to deploy a particular pesticide or fungicide, but none for home use of pesticides in urban areas. “Individuals are not monitored at all,” she says. “We tell them, ‘Don’t spray, call the beekeeper.'”

Doug Vincent got into beekeeping around 1999, when he was trying to figure out why his vegetable garden was a bust. “Then it dawned on me that what I was lacking was pollinators,” he says. He ordered a kit for amateur beekeepers, “and made every mistake you can make,” he says with a laugh. But within a few years he went from having three, to six, to 25 hives, and before long he and his wife had so much honey they were selling it on the side of the road.

They opened Beekind in 2004 and saw their business double every year for the next six years. “My husband was a quiet fisherman before this,” says Katia. “Now he has bee fever.”

“It just gets into your blood,” says Doug.

Jimmy Fallon Steps Comfortably into Tonight Show; Seth Meyers Stumbles Awkwardly into Late Night

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Watching NBC’s Late Night with Jimmy Fallon over the past year or so, I grew to appreciate his sketches like “Thank You Notes,” “Superlatives” and the all-too-rare “Let Us Play With Your Look.” I was excited for the former Saturday Night Live star’s transition to the Tonight Show on NBC, which started last week with a who’s-who of famous guests, not just because it meant Jay Leno was finally off television but because he deserved it after five years on Late Night. Fallon’s a good talk show host and I love me some Justin Timberlake, who had been a frequent guest previously and has already appeared on the Tonight Show. Fallon’s first week was a little awkward, with a lot of blubbering and guests reassuring him of his obvious and multiple talents, but he’s gotten over that and looks to be beginning a long tenure as America’s favorite background noise for nighttime activities (whatever those may be). But Seth Meyers, another SNL alum, who took over Late Night this week, is a different story.

Let’s start with the positive. He has a great bandleader in Fred Armisen. The former Saturday Night Live writer and star is a great fit due to his previous history as a touring rock musician and general musical know-how. Seth Jabour and Syd Butler from Les Saavy Fav on guitar and bass, respectively, Eli Janney from Girls Against Boys on keyboards and Beyoncé’s drummer, Kimberly Thompson make up the 8G Band with Armisen, who is as musically versatile as they come. But those bright spots are not enough to carry the show.

First of all, the set is, well, it looks a little cheap. The Crate and Barrel desk in the middle of the floor with Myers’ dull, gray computer chair behind it brings to mind more of a Wayne’s World public access late night show than the one and only Late Night Show on a major TV network. The backdrop is a boring blue square pattern, like a faux Japanese screen in my great aunt’s guest room. His guests sit on individual chairs, again probably from Crate and Barrel; what happens if he has more than two guests? Or if he interviews a band? Do they sit on the floor? Come on, even I can afford a couch.

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Secondly, he needs a new monologue writer (so does Fallon, but at least he admitted it, albeit in joke form, on his Monday night broadcast). His jokes fell flat, possibly due to the lack of banter that usually accompanies jokes in this format. He didn’t connect with the audience, and having the Vice President of the United States on your first program, while pretty impressive, definitely sends a “second string” message. Especially considering President Barack Obama and first Lady Michelle Obama each appeared on Fallon’s version of Late Night.

And finally, the end of the show featured a musical guest that had no business being on television. There are now two iron-clad variety show rules: Thou Shalt Not Allow Lana Del Rey as Thy Musical Guest; and Thou Shalt Not Allow A Great Big World as Thy Musical Guest. His repetitious piano chords and whiney voice made the string section sound not like it was supporting his song with heartfelt emotion, but begging for him to stop plucking out their ingrown moustache hairs. The whole thing was screechy and went on far too long, like a poorly maintained Tilt-a-Whirl at a tiny, off-the-road Mexican carnival. And it made me just as sick.

Sorry, Meyers, but you’ve got to step it up. Call in some favors from famous friends, hire new writers, get Armisen involved more. You’re good enough, but you’ve got to surround yourself with good people to make a successful show.

Big Smiles at Smiley’s

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It was Friday night and Smiley’s in Bolinas was popping hard with the sounds of the Fairfax-based Tom Finch Group. I mean them guys was smoking, throwing off some funk-fusiony originals between California-cool takes on Led Zep and a “Not Fade Away” that you could hear all the way to the Phil Zone over yonder a-ways at Terrapin Crossroads. Got to talking with the bass player, Andius Jent, who played a ferocious, driving solo that went on for six glorious years. I’d have paid the $10 door just to hear “Ramble On” and the bass solo, the end. Punishing! Awesome! A great way to end the week, in a great saloon, in a great town, fully immersed in the glorious mythopoetic freakaliciousness of West Marin. Anyway, we got to talking and Jent says that Fairfax is basically the New Orleans of Marin County, music-wise. That seemed a stretch, given the stark demographic differences between the respective towns, but hey, we’re just talking. That bass solo was so freaking epic, I’ll give it up for Jent and figure on a Fairfax outing in coming days to check his claim. What the heck, it’s Mardi Gras season and nothing says One Love like a spiritualized second-line parade through the redwoods.

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Feb. 23: Escher String Quartet

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Formed in New York, N.Y., in 2005, the four musicians that make up the acclaimed Escher String Quartet take their inspiration from the artist they’re named for. M.C. Escher was known for his complex paintings that featured mind-boggling and paradoxical concepts. Moving these principles from a visual to aural medium has given the Escher String Quartet a reputation for dazzling interplay within a cohesive and moving artistic expression. The group has played the world over, from Paris to Beijing, and even performed on the BBC a few years back. Now they bring stirring classical music to the North Bay courtesy of the Mill Valley Chamber Music Society, Sunday, Feb. 23, at Mt. Tamalpais United Methodist Church. 410 Sycamore Ave., Mill Valley. 5pm. $15—$30. 415.381.4453.

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Feb. 21: Colin Mochrie and Brad Sherwood

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In the annals of television comedy, improvisation has proven to be a fickle mistress. Either you get it—like the late Sid Caesar—or you don’t. Even the idea of putting on a program sans scripted laughs seems unlikely given the big bucks behind it. So how is it that a show like Whose Line Is It Anyway? could be so dominating, and so funny, on both U.K. and U.S. TV sets for decades? Look no further than stars of both incarnations Colin Mochrie and Brad Sherwood, two of the original stars now performing as a two-man group delivering “Live and Dangerous Comedy.” Just like the format of Whose Line, the funnymen will take audience suggestions and run wild. This never-to-be-repeated night of comedy happens Friday, Feb. 21, at the Marin Center’s Veterans Memorial Auditorium. 10 Avenue of the Flags, San Rafael. 8pm. $30—$60. 415.499.6800.

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Feb. 22: Vespertine Orchestra

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Emphasizing minimalist electronic compositions, Petaluma’s Vespertine Orchestra (in fact, a duo) put their classical training to use to create eerily dark and intriguing pop. Partners Sadie Sonntag and Jesus Contreras do it all. Both music teachers are comfortable in many genres, combining mezzo-soprano voice and multi-instrumental mastery in songs that carry a throwback new wave sound seamlessly into the new century of electro-pop-influenced music. The Vespertine Orchestra play Saturday, Feb. 22, at Clear Heart Gallery. 90 Jessie Lane, Petaluma. 7pm. $20. 707.322.0009.

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Big Smiles at Smiley’s

It was Friday night and Smiley's in Bolinas was popping hard with the sounds of the Fairfax-based Tom Finch Group. I mean them guys was smoking, throwing off some funk-fusiony originals between California-cool takes on Led Zep and a "Not Fade Away" that you could hear all the way to the Phil Zone over yonder a-ways at Terrapin Crossroads....

Feb. 23: Escher String Quartet

Formed in New York, N.Y., in 2005, the four musicians that make up the acclaimed Escher String Quartet take their inspiration from the artist they’re named for. M.C. Escher was known for his complex paintings that featured mind-boggling and paradoxical concepts. Moving these principles from a visual to aural medium has given the Escher String Quartet a reputation for...

Feb. 21: Colin Mochrie and Brad Sherwood

In the annals of television comedy, improvisation has proven to be a fickle mistress. Either you get it—like the late Sid Caesar—or you don’t. Even the idea of putting on a program sans scripted laughs seems unlikely given the big bucks behind it. So how is it that a show like Whose Line Is It Anyway? could be so...

Feb. 22: Vespertine Orchestra

Emphasizing minimalist electronic compositions, Petaluma’s Vespertine Orchestra (in fact, a duo) put their classical training to use to create eerily dark and intriguing pop. Partners Sadie Sonntag and Jesus Contreras do it all. Both music teachers are comfortable in many genres, combining mezzo-soprano voice and multi-instrumental mastery in songs that carry a throwback new wave sound seamlessly into the...
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