SF Weekly Sold to the Guy Who Also Owns the Bay Guardian

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Just in time to miss what would have been the world’s most awkward company Christmas party, Village Voice Media announced today its sale of the SF Weekly to the boringly-named San Francisco Newspaper Company. The company, led by Todd Vogt, also owns the Examiner—which I guess is still a paper?—and more importantly, the competing Bay Guardian.

The sale creates strange bedfellows indeed. The Bay Guardian, sold by Bruce “Read My Paper, Dammit” Brugmann to Vogt last year, played the role of Riff to the SF Weekly‘s Bernardo in a much-publicized altweekly turf lawsuit that ended in a $15.9 million settlement to the Guardian. Basically, the SF Weekly and the Guardian hate each other’s pulp. Now they’re both owned by Pappa Vogt. How’s this going to play out?

The Voice also sold Seattle Weekly, because duh, The Stranger.

Press Release, Come On Down:

Voice Media Group today announces the sale of SF Weekly and Seattle Weekly. Specifically, SF Weekly LP has closed on the sale of SF Weekly to the San Francisco Newspaper Company, which is the publisher of The San Francisco Examiner and the San Francisco Bay Guardian.

The deal, effective immediately, means that the San Francisco Newspaper Company (“SFNP”) will assume operations for the paper beginning today. The sale of SF Weekly will allow Voice Media Group to focus on growth opportunities for mobile and online platforms and to develop core digital offerings in its other key markets.

“This is a strategic decision aligned with the long-term business goals of VMG,” said Scott Tobias, CEO of Voice Media Group. “Todd Vogt is known for his expertise in the local paper space and he is a great choice to take ownership of SF Weekly.”

Todd Vogt, President and Co-Owner of SFNP, added, “This is an exciting day for our company as we add a title that is recognized as one of the leading alternative weekly newspapers in the country. Village Voice Media Holdings built a great company of excellent newspapers. SF Weekly expands our commitment to deliver the very best local media coverage in San Francisco.”

Best of luck to all our friends at the SF Weekly, who no doubt are very nervous right now. Don’t worry, guys—Tim Redmond’s “JDLR” speech is actually kind of endearing the first 28 times you hear it.

Alive in the Valley

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Paul Slack is not doing “the butter-knife-and-wine-glasses stuff.”

At his building off Main Street in Napa, in a modest room with a stage, he’s hosted live music, open mics, political debates, writers’ workshops, human-trafficking awareness seminars, ethnic studies presentations, improv comedy troupes and just about anything else that’s been suggested. “When somebody comes and has an idea for something, that’s what this place is for. There are 365 days in a year, and so far we haven’t had to turn down much.”

For a year and a half, Slack has also kept his all-ages venue somewhat under the radar, in a perpetual soft-opening phase. But in a move that benefits Napa Valley at large, Slack, a recipient of the Bohemian‘s 2011 Boho Awards, is ready to make the place official.

The newly christened Black and White Center aims to encompass not only the edgy and underground artists of Napa Valley, but also progressive up-and-coming student art of the type created in the adjacent Slack Collective, a hub of artist studios. Paul moved to Napa himself at 17, on his own, and understands the importance of having such a gallery and gathering space for younger residents. “I want to make sure Napa has a place like the Black and White Center—especially for the youth,” he says. “Art and music are major part of social existence and the human condition.”

The center will continue to serve as a home for the annual InDIYpendent Culture Fair, the Napa Valley Battle of the Bands, the Unwatchables improv troupe, writers workshops, seminars and meetings. The biggest crowd-drawing event in the space has been the open mic held the second Friday of every month—”Wall to wall people,” Slack explains, estimating that 70 percent of the crowd are teenagers.

“Now we’re ready to actually make it legit. Put a name on it, fix it up, get some rules and get it going.”

To that end, the Black and White Center is running a Kickstarter campaign for $2,500, which serves a dual purpose, Slack says, of simply getting the word out. The effort toward an all-ages venue in Napa has been lengthy, stretching back to 2008 with the group Wandering Rose, and some of that energy clearly survives in this project.

As a musician, Slack often sees spaces like the Black and White Center in other cities. “Everywhere I’ve ever been has this element—everywhere we go there’s a gathering place like this,” he says. “Art and culture and music are important. Local youth think, ‘I have dreams in my head, so I must be a freak.’ No dude, you’re a human being, and good for you for having dreams!”

On the Horizon

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Twenty thirteen promises a steady diet of new musical adventures. On Feb. 4, Kranky Records offers a double dose of Grouper (pictured) with a reissue of Liz Harris’ atmospheric 2008 gem Dragging a Dead Deer Up a Hill, followed by The Man Who Died in His Boat, a collection of unreleased material written at the same time.

Azealia BanksBroke with Expensive Taste brings the young rapper’s official debut on Feb. 12, while Atoms for Peace, a supergroup fronted by Thom Yorke of Radiohead and Flea from the Red Hot Chili Peppers, debuts on Feb. 25.

If “Year of the Glad,” from freaky-deaky guitar god Marnie Stern‘s latest, The Chronicles of Marnia (Feb. 19), is any reflection of what’s in store, this is going to be a damn good piece of work. That same day, Nick Cave returns to the solemn ceremony of the Bad Seeds with Push the Sky Away. After taking a break to write an opera, Swedish electronic duo the Knife return with Shaking the Habitual in April 2013.

Spring brings a new album from Yeah Yeah Yeahs, who debuted a new song, “Despair,” at a Hurricane Sandy benefit last year in N.Y.C.; in May, look for ’80s synth-lords Depeche Mode‘s first release on Columbia Records. Currently in a remote studio, Arcade Fire are toiling away on the follow-up to The Suburbs. Look for at least three songs to be produced by James Murphy of LCD Soundsystem; the record is due near the end of the year. Superstar records are also on the horizon, with unconfirmed release dates from Beyoncé, Eminem and Lady Gaga.

Mind’s Eye

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Charlie Sheen might actually redeem himself from a year of living dangerously with his latest role in A Glimpse Inside the Mind of Charles Swan III. The film is writer-and-director Roman Coppola’s first feature since CQ in 2001; it boasts Bill Murray, Jason Schwartzman and Aubrey Plaza (from Parks and Recreation, pictured).

The storyline revolves around a sex-obsessed hedonist (played, naturally, by Sheen) who’s trying to win back the love of his life—she seems to have taken up with a pack of women dressed as stereotypical Native Americans rampaging through the high desert—with the help of a bearded, Ben Stiller–like Schwartzman.

Coppola hit the mark as co-writer on Wes Anderson’s sweet-faced Moonrise Kingdom, so his latest project should hold some pleasant surprises. Cameo Cinema offers a sneak preview screening of the film Jan. 15, including a Q&A with Coppola himself afterward. The screening is part of a year’s worth of special events commemorating the centennial of the Cameo, a single-screen theater purchased by Cathy Buck in 2005 that’s retained its charm for a hundred years. The $50 ticket price includes admission to a live simulcast of the 70th annual Golden Globe Awards on Sunday, Jan. 13, at 5pm. Charles Swan III screens on Tuesday, Jan. 15, at Cameo Cinema. 1340 Main St., St. Helena. 8pm. $50. 707.963.3946.

“Visualize” This!

I don’t remember when I began saying it, though as a worldview it seems to have always been with me. Whenever things are bad—annoying, unpleasant, dire, morbid, arduous, depressing—and someone offhandedly says, “It could be worse,” I always reply, “And it probably will be.”

I certainly never thought of it as a morale booster—more of a sardonic rejoinder to a mindless remark, a platitude in response to a platitude. It turns out, though, that this approach might be a more helpful response to the darker corners of human existence than I thought.

In his new book, The Antidote: Happiness for People Who Can’t Stand Positive Thinking (Faber & Faber; $25)—which is to say, intelligent people—Oliver Burkeman recalls finding himself chatting with pre-eminent behavioral psychologist Albert Ellis, then in his 90s. One of the main methods Ellis advocates for modulating one’s view of life is realizing “the difference between a terrible outcome and a merely undesirable one.”

Many of the events that cause us anxiety and unhappiness are in fact not nearly as bad as the level of emotional fervor we cover ourselves in while fearing them. Taking this thinking to its extreme, to prove the point, Ellis pointed out, “If you are slowly tortured to death, you could always be tortured to death slower.” In other words, it could be worse. (And it probably will. Ellis died shortly after Burkeman met with him.)

Burkeman begins his study of the power of negative thinking with a foil. He finds himself in a basketball stadium outside San Antonio at a mass meeting of Get Motivated!, an organization run by Dr. Robert H. Schuller, the happy huckster responsible for Orange County’s Crystal Cathedral and the nationally televised Hour of Power. Get Motivated! is a secular organization devoted to pushing the positive, and its meetings often boast noteworthy keynote speakers, like George W. Bush, Rudy Giuliani, Colin Powell and Mikhail Gorbachev.

The group’s approach consists mostly of telling yourself good things—whether true or not—and allowing the uplifting power of positivity to do its work. “The doctrine of positive thinking at its most distilled isn’t exactly complex,” Burkeman writes. “Decide to think happy and successful thoughts—banish the specters of sadness and failure—and happiness and success follow.” This is the method of the grand tradition of sanguine self-delusion stretching from Tony Robbins back to Dale Carnegie and Norman Vincent Peale (a copy of whose pamphlet “How to Handle Tough Times” has a place of honor next to the bar in my apartment).

Burkeman rightly sees this as a mostly moronic approach, and quickly pinpoints its inefficacy. If intelligence is the greatest barrier to happiness, the gullible and the simple too have the capacity for misery: “The person most likely to purchase any given self-help book is someone who, within the previous eighteen months, purchased a self-help book”—a fact that aptly demonstrates that the self-help industry is mostly just helping itself.

Moreover, the happiness industry is based on a tautology that prevents any real inquiry and inures it to the questioning bound to arise in the mind of any mildly reasonable individual. “If you voiced [an] objection to Dr. Schuller, he would probably dismiss it as ‘negative thinking,'” Burkeman writes. “To criticize the power of positivity is to demonstrate that you haven’t really grasped it at all. If you had, you would stop grumbling about such things, and indeed about anything else.” That is, I’m OK, you’re OK. Now shut up and get happy.

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Not only does this mindset not lead to happiness, it can actually exacerbate the gloom of being alive. “Again and again, we have seen how merely not wanting to think certain thoughts or to feel certain emotions isn’t sufficient to eliminate them,” Burkeman writes. “It is our constant efforts to eliminate the negative—insecurity, uncertainty, failure or sadness—that is what causes us to feel so insecure, anxious, uncertain or unhappy.”

He cites a study in which every time a bell rang, subjects were to say to themselves “I am a lovable person.” Those with low self-esteem “didn’t feel particularly lovable to begin with—and trying to convince themselves otherwise merely solidified their negativity. “Positive thinking” had made them feel worse.”

Indeed, the whole scenario is a bummer just to imagine.

This is an example of “ironic process theory,” which explores the ways in which our efforts to suppress certain thoughts or behaviors result, ironically, in their becoming more prevalent. The idea, as outlined to Burkeman by Harvard professor Daniel Wegner, is as familiar as the parlor game in which someone is told not to think about a white bear. Of course, thereafter, she can think of nothing else.

What, then, is someone to do when the idea of bucking up is just not enough? To use the parlance of the season, go negative. “Many of the proponents of the ‘negative path’ to happiness take things further still, arguing—paradoxically but persuasively—that deliberately plunging more deeply into what we think of as negative may be a true condition of true happiness.” That is exactly what Burkeman does. Over the course of Antidote, he seeks out thinkers who illustrate the way in which things traditionally thought of as antithetical to happiness—failure, embarrassment, death, etc.—can actually be a way toward a more gratifying life.

As is generally the case with books of this sort, Burkeman makes himself both narrator of and the test case for this approach. Along the way, he attends a weeklong, silent Vipassana meditation retreat, visits the museum of failed products in Ann Arbor, Mich. (A Touch of Yogurt shampoo, Pepsi AM Breakfast Cola, etc.) and travels to a Kenyan ghetto. He also speaks with experts on various versions of the “negative path,” including one of the world’s foremost stoics (his name is Keith, and he lives in Watford, England) and Oprah-approved spiritual writer Eckhart Tolle.

Naturally, any discussion of the negative soon arrives at the greatest white bear of them all: death. Here, positive thinking is laughably moot, since the circumstance of death is incontrovertible and universal. Instead of trying to deny death or think their way around it, as the positivos do with other “negative” experiences, they simply ignore it or mask it with notions of purpose and solidarity.

“Society itself is essentially a ‘codified hero system’—a structure of customs, traditions and laws that we have designed to help us feel part of something bigger, and longer lasting, than a mere human life,” Burkeman writes. The existential prank being played on us all is that this is manifestly not the case—that while we may be loved by those close to us and accomplished in whatever endeavors we pursue, even on a grand scale, one day it’s going to be over, and there’s nothing we can do about it.

The philosopher Epictetus pointed out that fearing death is illogical. “Death is nothing to us,” he wrote, “since when we are, death has not come, and when death has come, we are not.” An elegantly morbid chiasmus of the subjectivity of mortality, nevertheless easier said than done, on the not-fearing-death front. But in fact, Burkeman asserts that an increased familiarity with death, a more constant reminder of its imminence, can actually lead to an increased appreciation for life and less anxiety about our own expiration dates. The memento mori, a literal or mental reminder, on a regular basis may not only help to ease the fear but also to give vigor to one’s appreciation for being alive at that moment.

“Since the time of the ancient Greeks,” Burkeman puts it, “certain radical thinkers have taken the position that a life suffused with an awareness of one’s own mortality—as a matter of everyday habit, not just when direct encounters with death force our hand—might be a far richer kind of existence.” All aboard the winged chariot!

The real point here is that a relentless positivity is a dishonest way to live, and it attempts to deny not only reality but also vital aspects of human experience. No doubt, since the condition is terminal. Best to accept the diagnosis and act accordingly.

‘The Antidote’ is in stores now.

This article originally appeared in the New York Observer.

Where’s the Money?

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Outraged citizens are protesting that millions of dollars of Napa County treasury funds are in the hands of banks whose unethical business practices contributed to the 2008 financial meltdown: Bank of America and Wells Fargo. Wells Fargo is being sued by the U.S. government for fraudulent mortgage-issuing practices, and both banks are part of last week’s $8.5 billion settlement with federal regulators for foreclosure violations.

Move Our Money is a citizens’ group that, since January of last year, has been investigating county treasury practices and seeking policies for different management of public money. The group wants public funds to be held instead by institutions that are socially responsible.

Paul Moser, 63, is a Move Our Money member who lost much of his retirement in the 2008 meltdown. Moser says this is the first time in his life that he’s participated in activism of any kind. “At my age, it’s kind of difficult to make it all back,” said Moser, who, after the banking failure, spent eight months picketing in front of Wells Fargo and Bank of America in Napa.

“People want Wells Fargo to be about the Old West stagecoach and for Bank of America to be the same institution that granted loans after the earthquake of 1906,” said Moser. “But things are desperately different now. The financial sector is no longer a responsible partner in our society. It’s the kind of shock that is way too disturbing for us to handle.”

The pending federal lawsuit against Wells Fargo is an attempt by the U.S. government to gain compensation for money the bank wrongfully obtained as a result of “breach of fiduciary duty, gross negligence and . . . [mortgages] wrongfully certified.” The Los Angeles Times on Dec. 10 reported another lawsuit by defrauded homeowners accusing “Wells Fargo & Co. of reneging on a sweeping mortgage-modification deal” established in a San Jose case in 2010.

The county of Napa uses Wells Fargo and Bank of America for checking accounts. Treasurer Tamie Frasier says the treasury amount in investments can fluctuate daily, but on Dec. 7 was over $465 million invested in bonds and treasuries held for safekeeping with Bank of New York. The remaining millions circulate as part of the cash flow. “The amount in checking accounts at Wells Fargo and Bank of America,” Frasier told the Bohemian last month, “is about $8 million in outstanding checks.” (Between July 1, 2011, and June 30, 2012, the county paid $99,000 to Wells Fargo and $3,500 to Bank of America for checking services.)

During tax time, incoming tax payments can reach between $15 million and $20 million per day. The Napa County “Monthly Investment Report” from Dec. 2011 shows that on Dec. 15, checking account funds totaling $72,028,011 were used for overnight investment. On Dec. 20, the same investment was made using $56,580,408 in checking account funds. Figures for March 1 shows that $17,525,578 of checking account funds were used.

According to Move Our Money co-organizer Gary Orton, the Wells Fargo checking funds were applied to an investment practice known as overnight sweep repo, in which checking deposits are used as overnight investments by Wells Fargo and returned the next morning with interest. After the group began investigating in January—including letters to and meetings with the treasurer, the Treasury Oversight Committee and the board of supervisors—the treasurer’s office discontinued these investments with Wells Fargo.

“There is a depositary function and an investment function of the treasurer’s office. When you do the overnight sweep repo, that’s investment,” says Orton. “The county stopped them. But they could turn around tomorrow and start them up again because there is no policy to stop them; they have no written internal control policy.”

Frasier explains that the sweeps were stopped because the interest income was not sufficient, and that the funds were not at risk because they were over-collateralized. Frasier adds that the county has been working with Wells Fargo and Bank of America since 2003.

The county is now planning to put out a bid so that banks can be chosen according to policy. “We’re going to put out an RFP [request for proposal], so any bank in the area can respond,” says Frasier, who explains that it might be difficult for a small institution to put up the collateral required by state code and supply services required by the county.

Orton fears that when the banking services contract goes out to bid, Wells Fargo and Bank of America may underbid smaller institutions. “We shouldn’t be rewarding the unethical banks,” says Orton.

Letters to the Editor: January 9, 2013

Weapons of Mass Destruction

Basically, I’m writing in response to letters by Stephen M. Weiss and Mark Groah (“Rhapsodies and Rants,” Jan. 2). But specifically, I am writing about the proliferation of weapons worldwide.

Many right-wingers use the Israeli or Swiss example of an armed population when trying to justify arming citizens in the United States. The problem with that is that the Swiss and Israelis are relatively small, homogeneous populations who engage in universal military training before arming their citizens. So the analogy is false. We are a diverse country with a history of gun violence, race hatred and domestic violence, and kill each other more often than we kill armed criminals.

As a retired law enforcement officer, I know that untrained civilians, and even trained off-duty police officers, are killed frequently when they attempt to take action against armed assailants. It is better to run and call 911 when faced with an armed opponent.

So where better to start disarmament than here at home in the U.S.A.? What better example can we set for the world about getting rid of assault weapons, as the plague they are in a civilized society, than by banning them here at home?

Rohnert Park

Beauty Treatment

The Beauty and the Beast cast did an amazing job (“Top Torn Tix 2012,” Dec. 26)! Not only is the music difficult to live up to, it has held an amazing record on Broadway. Maybe I am biased from being an SRJC student, but I also saw the original Broadway cast of Beauty and the Beast. I know this show very well, and I must remark I have never seen a performance of this musical by a nonprofessional production that put more energy and enjoyment into the play. Normally, I am bored with school productions of Beauty and the Beast, but thankfully this production team, as well as the cast, created something fresh without simply making a copycat of the original.

This production has been nominated for the American Conservatory Theatre Festival as well as being one of only 10 plays or musicals nominated to perform a scene there. It’s about time the Bohemian recognizes a musical and an SRJC production.

Via online

Grange Traditions

I just ran across this article (“Estranged Grange,” Nov. 28). I want to thank you for such wonderful testimonies. I’ve been a member of Ripon Grange for almost 60 years. I grew up in it, as my parents were beekeepers here, and my husband and family carry on the tradition. The members all are longtime friends, and the traditions and support for families, small town and farm interests are still on going in this area. Our membership slips a little each year, but we hope to come through in a strong position to build support. The Proposition 37 aspect is one I hadn’t thought of, though. Very interesting!

Via online

Hacking Trees

Had PG&E been doing a proper job of caring for the trees in the shared utility easement corridor, when the extra high voltage transmission line (EHVTL) was first installed, they would not be in the position of reclaiming the right of way by removing 90 percent of the trees today. Deferring the annual routine maintenance of vegetation under and around an EHVTL is an act of neglect on the part of the company who is responsible for the safe and reliable operation of those lines in our urban community.

Shame on PG&E for allowing areas to get overgrown, since they did not perform their annual routine work to adequately maintain the necessary clearance. The trees, it seems, are the sacrificial lamb in this reclamation project, adopted by PG&E to resolve its oversight in essential planning for the proper care of the trees in the rural and residential landscape. In moving forward, it will require the concerted effort of both the local power company and individual property owners who share the utility easement corridor to reach a compromise in the best management practice for their trees.

Santa Rosa

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

In Full Bloom

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It was the late 1970s at Sonoma State University, and Jay DeFeo was not doing particularly well.

“She was struggling to survive,” says Sebastopol artist Susan Moulton, then the department head at SSU. “She didn’t make a lot of money. And at that time, she wasn’t selling a lot.”

Finances were one issue, but something else plagued the famed artist at the time: toxins. In creating her subsuming masterwork The Rose, DeFeo had ingested substantial amounts of white lead, resulting in a loss of teeth and hair. At SSU, she got her first cancer scare—not that it hindered her. “She started eating really well and jogging every day at noon, and taking real control of her life,” says Moulton. “I saw her at Mills College right before she died, and she had just climbed Mt. Kilimanjaro.”

DeFeo’s few years teaching at SSU, alongside Moulton, William Morehouse and others, are but a brief brushstroke in DeFeo’s life, which was extinguished by cancer in 1989. But the artist’s biography has taken on a life of its own, sometimes bolstering, other times hampering critical appraisal of her achievements. A new retrospective at SFMOMA brings together for the first time significant examples of her work and makes a powerful case for elevating her to the top ranks of post–World War II American artists; a concurrent exhibit at di Rosa, titled “Renaissance on Fillmore, 1955–65,” gives historical context from the apartment building that served as an incubator for DeFeo’s work.

Starting in the late 1940s, DeFeo established herself as part of the Bay Area abstract expressionism movement. At SFMOMA, early pieces, like Untitled (Florence), 1952, feature dynamic passages of bold colors anchored by simple geometric gestures. Later, she shifted to a monochromatic palette. The large canvas Untitled (Everest), 1955, builds from a smooth gray bottom section into a flurry of blacks and whites applied vigorously in overlapping waves like roiling clouds announcing a storm.

More controlled but just as action-filled is Origin, 1956, a tightly bunched series of narrow vertical strokes of black and gray—the painting is poised between a upward thrusts, like jets in a fountain, and a downward crashing, like a great falls pouring over a rock rim. Her work echoes and equals that of several major figures from the period: early Diebenkorn, Hassel Smith, Clyfford Still and Frank Lobdell.

The exhibit also shows DeFeo’s forays into other media. She fashioned oddly crude wood and plaster sculptures of crosses and primitive totemic creatures (which influenced Manuel Neri). She made meticulous charcoal drawings in which fine waving and spiraling lines course through blank space. She experimented with collages of found images in the manner of fellow San Franciscan Jess.

In the late ’50s, DeFeo embarked on a series of large paintings distinguished by the dense application, with a palette knife, of oil paints. These works take on a 3-D aspect, as much sculpture as painting. In The Jewel, 1952, a vertical starburst pattern of heavily caked paint converges across a spectrum of dark reds to a dazzling white center. Along the vertical axis, the paint has been cracked open to reveal deep fissures, as if bones has been pulverized to get at the marrow.

These major works are mere preludes, however, to the piece that came to dominate DeFeo’s life, The Rose. Beginning in 1958, DeFeo devoted herself almost exclusively to the creation of this immense painting. It took over her apartment on Fillmore Street that she shared with her artist husband, Wally Hedrick.

Taking up again the starburst pattern of The Jewel, she made it rounder. From a concave center point (located at just about eye level), the incised rays jet outward, growing thicker and more clotted until they disintegrate into blobs of gray and black. Carefully positioned in a special alcove at the museum, The Rose is a riveting, transcendent work, a grand vision of creation or universal flux. Photographs don’t do it justice; the scale and physicality have to be seen in person.

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The arduous process of creating The Rose became the stuff of legend. DeFeo built up and tore down the work over and over again. She applied so much paint that The Rose ended up weighing more than a ton. San Francisco’s Beat-era poets and artists often visited her apartment and witnessed the extended birth pangs of the painting. When Jay and Wally were evicted, the moving of the painting was an engineering feat, memorialized in Bruce Conner’s short film The White Rose.

It’s the same apartment at 2322 Fillmore that’s paid tribute in the di Rosa exhibit. Consisting of work by DeFeo, Joan Brown, William H. Brown, Bruce Conner, Jean Conner and Wally Hedrick, “Renaissance on Fillmore” captures that most elusive of breeding grounds, the accidental artist’s colony. “It wasn’t just her and Wally Hendrick painting great work; it was this locus for a lot of really great people,” says the show’s curator Michael Schwager. “There was a pretty stellar list of people who lived in the building, but I refer to those two as the heart and soul of that particular building, because they were the longest-standing tenants.”

Because of the massive SFMOMA retrospective, DeFeo is represented at di Rosa with Songs of Innocence, a 40-by-40-inch painting from 1957, and some smaller works. In gathering material for “Renaissance on Fillmore,” Schwager visited the legendary address, still in use as an apartment building today. Though the neighborhood is much nicer these days, a trace of The Rose remains: “If you stand on the street,” Schwager says, “you can look up to the bay window and you can still see the outline of the repaired hole where they pulled it out.”

The Rose had a showing in Pasadena, and then no one knew what to do with it. At the San Francisco Art Institute, it was covered by a wall of plaster; the work was unseen for two decades until finally rescued and moved to the Whitney in New York.

For many art historians, The Rose is a splendid climax with no second act. But the SFMOMA exhibit documents DeFeo’s return to significant art making in a variety of styles and techniques. After Image (1970) is a splendid graphite and gouache drawing of a strange shell form with spiral ridges. DeFeo mounted it with a piece of torn paper on top as if the shell had been hidden for many years and only recently exposed to view—surely a comment on her own resurgence.

“She was a very exuberant person, even when she was struggling,” says Moulton. “She just had this ebullience around her. Just a love of what she was doing.”

Down to the Bone

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The expression “stocking up” refers to the many acts of gathering and processing food, usually in preparation for winter. Chopping chutney, canning pickles, freezer-bagging meat and simmering a pot of sauce are at the core of a lifestyle that a friend calls “Third World, first-class.” And stock, the noun, is an essential ingredient in my Third World, first-class kitchen.

One of the more noteworthy nonsoupy applications of stock is in the making of espagnole sauce, one of the five “mother sauces” of classic French cooking. Espagnole sauce can be mixed with yet more stock and reduced by half to make demi-glace, a rich, flavorful and altogether labor-intensive sauce that is itself the base for many other sauces. Demi-glace is the most valued ingredient in many a chef’s kitchen, and is frequently compared to gold.

For all the prestigious places it goes, a good stock can be made from ingredients that a wino could find in a dumpster, like bones, fish heads, chicken backs and vegetable scraps. Made from mammal bones, it’s called “brown stock,” which is what goes into demi-glace.

Long bones, i.e., the animal’s front and rear leg bones, work best, as that’s where the most marrow is. To allow the marrow to melt into the stock, the bones need to be opened. Purchased bones usually come pre-cut. If you’re processing meat at home, a bone saw really helps. Or do like me: wrap bones in a towel and smash them with a cast-iron skillet on the sidewalk. But that comes later.

I begin by placing the bones on a pan in the oven at 350 degrees for about an hour, stirring occasionally so they’re golden brown all the way around but not burned. Twenty minutes before you’re done browning the bones, remove them from the oven and allow them to cool to the point where you can comfortably rub the bones with tomato paste (I use homemade ketchup). Roast for another 20 minutes, checking often to make sure the tomato paste doesn’t burn.

Remove the bones from the roasting pan. Now is the time to smash them with that frying pan or hammer. Place the broken, browned bones in a large empty pot along with the roasting pan drippings. Put the pan on the stove over medium heat and deglaze with wine or water, gently scraping the bits of goodness stuck to the bottom of the pan—assuming said fond is not burned. Pour the deglazed pan contents into the stock pot.

Add a bay leaf and a few peppercorns, and cover everything with water. Cook very slowly, at your stovetop’s lowest setting, for 12 to 24 hours, maintaining full coverage of water over the bones. You don’t want the stock to boil; try to keep the pot at the “lazy bubble” stage.

Let the stock cool to room temperature and then put it in the fridge overnight. By morning, the fat will be floating on top in a solid raft that you can easily remove.

Reheat the stock back to the lazy bubble. While it’s heating, prepare a mixture of equal parts celery, carrot and onion. Add this mirepoix to the stock and cook for three more hours of lazy bubble. Strain the bones and mirepoix, and freeze or refrigerate your stock.

And as the mercury drops, your stock’s value will go through the roof. In the Third World, first-class lifestyle, bone stock is a valuable asset, already liquid.

Happy Returns

“Each time I revisit her,” remarks actress Mary Gannon Graham, “I discover something wonderful and new. You can’t play a character two or three times, in two or three different productions, without discovering lots of new things.”

Graham (Always, Patsy Cline, Souvenir) is describing the character of Shirley Valentine, the primary character in Willy Russell’s enduring one-woman show of the same name. Graham first played Shirley—whom she describes as “a frumpy English housewife who goes to Greece and changes her whole life”—in 2008, in a production directed by John Shillington. They reprised the show in 2011, playing to sold-out crowds. Later this month, they’ll be bringing Shirley back one more time, with a four-weekend run at Main Stage West.

“I’m not the same person I was when I first played this character,” Graham says. “Some of those life changes will probably appear in Shirley, one way or another. It’s just what happens when you play a character honestly, in the moment. Who that character is becomes fused with who you are, right then and there.”

For Taylor Bartolucci, it’s more or less the same. “I’m just excited to be playing a stripper again,” she laughs.

It’s only been a few months since Bartolucci first played Pippi, the broken-hearted stripper in the delightfully trashy Great American Trailer Park Musical, which enjoyed a sold-out run at Sixth Street Playhouse last September. The hit show begins an encore run later this month at the Napa Valley Playhouse, and Bartolucci is thrilled for a second chance to slip into Pippi’s skimpy stripper’s outfit.

Trailer Park,” she says, “was the most fun I’ve had in any show I’ve ever done in my life. But it was a challenge for me. I don’t usually show off that much, um, skin. Still, it’s fun to play somebody who you’re totally not.”

Directed by Barry Martin, the show has kept its entire cast, with the exception of Daniela Innocenti Beam, whose back surgery forced her to drop out. Her character, trailer park manager Betty, will be played this time by Sarah Lundstrom.

“A lot of people saw this show as just fluff,” Bartolucci says, “but we saw these characters as real people, with real problems and real emotions. We hope people will see it a second or third time—and maybe see it in a whole new way.”

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