Feature
Second Glances
By Chuck Koplinski

Theatre
In Honor of Virginia
Restoring a Classic
By Jenny Southlynn

Movies

The Arts
Artists Against Aids:
Expression form Floor to
Ceiling, Wall to Wall
By Jason Pitzl-Waters and
Jacqueline Enstrom-Waters

Words
Michael S. Harper
By Jenny Southlynn

Food
Slow Food
By Laurence Mate
Through The Grapevine
By Liz O'Neill Noel

Music
Noisy Gators
By Nan Holda

Feature
Second Glances
The Who, What, When, Where and Why
Behind Roger Ebert’s 4th Overlooked Film Festival
By Chuck Koplinski

To say that Roger Ebert’s Overlooked Film Festival has grown by leaps and bounds would be a vast understatement. Attracting 8,000 viewers to its inaugural gathering in 1999, this celebration of ignored cinema drew 17,500 attendees last year. Surely the roster of films the local-critic-made-good has assembled for the fourth annual event, which runs from April 24-28 at the Virginia Theatre, will entice enough curious filmgoers to threaten last year’s record turnout. As in years past, the festival is a celebration of films that have either been ignored by audiences upon their initial release or simply weren’t given the distribution necessary for viewers to discover them. Sharing the spotlight are cinematic formats that are often bypassed by filmmakers who don’t see them as viable options in today’s marketplace and filmgoers who simply haven’t been exposed to them.

Constantly on the go, attending and conducting film seminars and festivals in addition to his regular reviewing duties, Ebert gets a special sense of satisfaction from coordinating this event. "I enjoy sitting in the theater while audiences enjoy and appreciate the films," he says.

"I love movies and realize that most people are disappointed by a lot of the choices they make, and I hope a festival like this will help point them away from multiplex fodder and toward movies that really try to accomplish something." Though it does sport some films that received initial widespread distribution (Wonder Boys and Grand Canyon), the festival schedule is composed mostly of movies that will be revelations for many in the audience. Sporting works from Iran (Two Women), Australia (Innocence), Britain (Paperhouse) and Japan (Metropolis, an updated continuation of the German silent of the same name directed by Fritz Lang, which will also be screened), the festival offers many opportunities for those wishing to experience something different from the by-the-numbers product Hollywood continues to churn out—a trend, the critic contends, that is hard to combat.

"Movies are mass produced for the multiplex feeding troughs, and Hollywood is forgetting how to take chances and play hunches," Ebert says. "The indie world is taking up some of that slack. Sometimes for a few days at Sundance I get a glimmer of the excitement of the 1970s, but then the real world comes crashing back."

That "real world" can be forgotten over the four days the festival will be held, which continues to call attention to formats that are no longer used or erroneously regarded as obsolete. Last year’s event was kicked off by screening a film presented in the 70mm format, a wide-screen process that many modern directors view as cost-prohibitive. By screening Patton in this format to start this year’s festival, Ebert will be reminding us once again of the overwhelming power this style contains, with its screen image twice as wide as normal films.

A free family matinee has been an "overlooked" mainstay, as have silent films, with this year’s selection paired with a current movie heavily influenced by it. The British feature, Paperhouse, which tells the tale of a young girl who is able to escape into a dream world of her own making, will be shown on Saturday, April 27 at 1 p.m., free of charge. A discussion with Bernard Rose, the film’s director, will follow. The German classic Metropolis, a science-fiction epic sporting a social agenda that has influenced the visual stylings of many other entries in the genre since its release in 1926, will be shown accompanied by the Alloy Orchestra. Following this, a new Japanese anime film of the same name will be screened which takes the premise of Lang’s film, updates it and expands upon it.

The festival will conclude, as it always has, with a musical, but one unlike the big-budget extravaganzas shown in the past. Say Amen Somebody, a documentary that looks at the roots of gospel music and unabashedly celebrates this form, is a film close to Ebert’s heart. "I saw the movie at Telluride in the early 1980s," he recounts. "It was an utterly electrifying experience, as anyone who sees it this year will understand. Then Mother Willie Mae Ford Smith (one of the subjects of the film) came out on stage to sing, with her keyboardist in a box by the stage, and that blew the roof off. I invited the film, Mother Smith and the Barrett Sisters to the Dallas Film Festival the following year, where the excitement repeated itself."

Those who stick around for the question and answer session after the screening of Amen will be treated to a similar experience as the festival’s coordinators have something very special in store. "We were excited to learn that the Barretts still perform," Ebert reports, "and were thrilled when they agreed to appear at the Overlooked."
In between the spectacle of Patton and the surely inspirational finale from the Barrett Sisters, an eclectic roster of films will be shown, all of which will feature question and answer sessions with those involved in the making of these works. Among the highlights this year will be an appearance by Kris Kristofferson, who will be on hand to discuss A Soldier’s Daughter Never Cries, the 1998 feature in which he portrays a character based on author James Jones (From Here to Eternity). Also on hand for this discussion will be Kaylie Jones, the focus of the film and author of the autobiographical book on which it is based. Robert Forster and writer/director Daniel Cohen will discuss Diamond Men, a movie that recounts the relationship between a veteran diamond salesman and the new partner he’s been saddled with to train. Forster stars in the film and serves as one of its producers, while Cohen brings first-hand knowledge to it drawing from the experiences of his father and grandfather who were diamond salesmen themselves. Australian director Paul Cox will be making his second trip to the festival to discuss his bittersweet love story Innocence and will be joined by one of the stars of that film, Terry Norris, while writer/director Michael Gilio and producer Rachel Tenner will be in town fielding questions about their feature Kwik Stop, a unique road-trip film that has yet to find a distributor.

If these question and answer sessions only whet your appetite for cinematic discourse, then the four panel discussions that focus on various elements of the modern film industry will surely be of interest. Held at the Illini Union (1401 W. Green, Urbana) in the General Lounge, these talks will convene on Thursday and Friday mornings. Panel 1, "The New Realities of Distributing Independent Films" begins at 9 a.m. on Thursday and will be followed by Panel 2, "Sex and Death vs. Love and Life: Women and Power in Hollywood" at 10:45 a.m. Friday’s discussions also begin at 9 a.m. with Panel 3, "Picture and Sound in Film," and Panel 4, "Race and Gender Beyond Grand Canyon," beginning at 10:45 a.m.

Within this eclectic group of movies, the most timely feature would be Two Women from Iran, while perhaps the most unique selection is Hyenes, a 1992 feature from Africa. Written and directed by Tahmineh Milani, Women focuses on the continued oppression of women in Iran following the journey of one young woman who sees her hopes of a bright future dashed by powerful men who surround her and adhere to outdated beliefs. Ms. Milani will discuss the film after it is screened. In regards to Hyenes, Ebert says, "I wanted to show an African film, and found a great one. That entire continent has been overlooked cinematically, as Chaz (Mrs. Ebert) and I realized in November when we attended a festival in Cape Town." The film focuses on an African village that has fallen into poverty and the efforts of the town elders to save it. They pin their hopes on a former resident, a rich and beautiful woman who has returned with a hidden agenda.

As for next year’s festival, Ebert’s keeping plans for it close to his vest. "There are lots of candidates for next year. But it would be too soon to say [what they are]. I’m toying about a fifth anniversary program that invited directors I have been particularly appreciative of over the years."

What with the remarkable popularity of the festival and the throngs that attend it, the critic eschews the notion of moving it to a larger venue. "I’m quite content to have it remain a local or regional celebration. Publicity and ‘growth’ are the bane of the movie industry, because it involves lowering standards. The moment we get an audience so big it starts grouching about the ‘obscure’ choices is the moment we have grown too much. So far people complain more that some choices are too mainstream, which is a good sign." Ebert’s enthusiasm for the festival (he’s referred to it as "unalloyed joy") and the ever-growing support for it points to a long and healthy future for this unique cinematic celebration that not only gives new life to deserving work but reminds viewers of the purity of the cinema and its inherent power when the artists behind it aren’t driven by the almighty dollar to create but by a personal mission to honestly express themselves. At the very least, the Pultizer-Prize winning critic will make sure that the citizens of his hometown will be treated to these gems.

Theatre
In Honor of Virginia Restoring a Classic
By Jenny Southlynn

Saved from ruin in 1999 when Governor George H. Ryan announced that $900,000 of Illinois FIRST funding was dedicated for its renovation, the historic Virginia Theatre in downtown Champaign, a beloved piece of CU history, has been reclaimed. The venue, while still undergoing a facelift, is looking better than ever this year.
Efforts began in earnest in January 2000 when the Champaign Park District, under the leadership of former General Manager Robert Toalson, took over operation and management of The Virginia. Thanks to the state grant and forgiveness of loans, many needed repairs and upgrades to the building are underway. The project, overseen by the Cleveland firm of van Dijk Pace Westlake Architects, whose portfolio also includes the restorations of Indianapolis’ Circle Theater and Phoenix’s Orpheum Theater, continues under The Virginia’s Managing Director Rebecca Cain.

Cain said that Bob Toalson spearheaded the Friends of The Virginia, an eclectic group of 23 citizens who have stepped up to the plate to save the theater. The group, co-chaired by Susan Lobdell and Barb Kuhl, planned a membership drive that kicked off in February. The Friends set up an annual fund strictly for restoration efforts, as well as an endowment, explained Cain. "The Capital Campaign will start in May, and is looking to raise $1.5 million to continue phase two of the renovations, and also a matching $1.5 million for an endowment for operations." The money will come from grants and from individual donors. "We want to equal it out with a lot of gifts from people who just want to give to an endowment. More of an in-perpetuity kind of gift," Cain said.
Local donations have already helped, including a $50,000 contribution from The News-Gazette that facilitated upgrades of the projection booth. The two Norelco AA-II projectors, now owned by The Virginia, are the original Todd-AO projectors. (Todd AO is a 70mm format that was used for classic musicals such as Oklahoma, as well as 2001: A Space Odyssey). One projector was left behind by GKC Cinemas. The donation allowed the district to rebuild that original and purchase an exact duplicate from James Bond of Chicago (as opposed to 007 of the U.K.), one of Roger Ebert’s favorite projectionists.

There’s also a $5,000 grant from the Community Foundation of Champaign County to kick off the capital campaign, as well as a $3,000 grant from Illinois Power to restore the marquee.

Rich History
The Virginia was commissioned in 1920 by A.W. Stoolman, a prominent local contractor, and designed by theater architects C. Howard Crane and H. Kenneth Franzheim assisted by local architect George Ramey. Stoolman named the theater after his daughter Elizabeth Virginia. The Virginia Theatre opened its doors in 1921 with a live stage show of the hit mystery The Bat by Mary Roberts Rinehart and Avery Hopwood. With seating for 1,548, The Virginia offered entertainment as a vaudeville house, legitimate theater and movie house as well.
The first films shown at The Virginia were silent, accompanied by the Hope-Jones Orchestral Organ played by George May. The two-manual, eight-rank Wurlitzer cost $50,000 when purchased in 1921. The organ is in working condition after having been silent for years. Its restoration is an ongoing project in the capable hands of Warren York who also plays. York picked up restoration of the organ back in 1988.

In 1929 the first talking picture-The Last Warning, starring Laura LaPlante-was shown. By 1992, after almost 65 years of showing moving pictures, The Virginia closed as a commercial venue for film. From ‘92 to ‘96, David and Sharon Wyper managed it, booking live music and many nationally known Christian artists, along with touring companies of Phantom of the Opera, A Chorus Line and Grease. In 1992 The Champaign-Urbana Theater Company (CUTC) was formed specifically to present shows there. And finally, the Champaign Park District bought it from the city of Champaign in July 1999.

Work in Progress
Immediately following Roger Ebert’s Second Annual Overlooked Film Festival, extensive work began to provide new lobby and restroom facilities, as well as upgrade those that remain from 1921. Other changes to the facility included the replacement of the huge curved movie screen with a slightly smaller (22 x 52 feet) flat screen, which can be flown off the stage.

The project’s goals are twofold: to bring the facility back to its original glory and bring it in compliance with modern building codes. It includes work on the heating, ventilation and air conditioning system, a new roof, restoring the lighting and sound system, stage rigging and the projection booth and movie screen. In addition, there will be general restoration of the stage, dressing rooms, lobby and concession area and the marquee. New furnishings for the theater are also included in the project.

There are four phases planned, with stage two well under way. Phase one included restroom, projection booth, roof and safety upgrades as well as demolition work in preparation for phase two. Phase three completes the renovation with restoration of the main theater gallery. Phase four includes the long-range dream of extending the stage area.

"In the second phase," said Cain, "we’re attacking the backstage arbor system, we’re going to replace the way we currently fly the scenery and go to a double-purchase arbor system." Backstage is a working piece of theatrical history with the fly system-pin rail, sandbags, hemp rope and all. The stage is a 28-feet deep-trapped floor with a metal gridiron 46 feet above the floor. The proscenium opening is 56 feet wide by 26 feet high. Although it is 28 feet to the back wall, there are 26 feet of usable stage.... Dressing rooms are located both backstage and under the stage.

Most of the issues faced now were caused by maintenance problems according to Jim Spencer, Director of Operations for the park district. For example, stains on the proscenium ceiling were for years believed to be caused by a roof leak. "Everybody pointed up there and said ‘there’s a roof leak, there’s a roof leak.’ There wasn’t a roof leak," stated Spencer. "The air handler system for the building is up there on the roof." Evaporation from the rooftop heating and cooling mechanicals was collected in a large pan. When full, the pan is supposed to drain through a pipe off the back roof. "It was clogged because no one had cleaned it in years. So it leaked. And it leaked for decades," Spencer said. "They kept seeing it and saying, ‘Oh well, it must be a roof leak, but we don’t have money to fix the roof now.’ We went up there, opened it up, cleaned it out." In fact, algae had simply clogged the drain and the problem was corrected. "They are working on the area now with an architect, investigating it structurally, repairing it and examining the finishes to do an ‘interpretation’ of them," said Spencer.

There are also plans to finish the east lobby, which will be redesigned to house a concession stand that can be stowed away. That space, according to Cain, will be completed at the same level of quality that the ladies restrooms are downstairs, and used for rental space. Those restrooms "set the standard for how we are going to approach the building," said Spencer. Those areas are sparkling with shiny new fixtures, and painstaking detail that evokes a step back in time.

Cain said plaster work in the main floor lobby, which has crumbed around the stairwells and fire exits, will be fixed and upstairs both men’s and women’s restrooms will be reconfigured to include storage space, possibly office space. "There is a lot of room up there that needs to be reconfigured to the best advantage," remarked Cain. Spencer pointed out that the front of the balcony has never been repainted. "Its never been cleaned and paint changes over time due to all sorts of things. Straight oxygen will change it," Spencer explained. Also, smoking in the auditorium for 50 years had taken a toll. One section has been cleaned by Evergreen Studios, a firm that is doing research on the original finishes. Gleaming gold, the cleaned section stands out from all the rest. The original paint was brighter and had more depth, Spencer noted. The original work consisted of a base coat covered in glazes, producing an effect that will be difficult to replicate. Examining a couple of panels in a corner, Spencer explained: "There are actually four colors of blue, two different kinds of gold, two different kinds of red and it’s because they all have the same base color, but the way the glaze was dealt with, each of those is different." What the restoration achieves are "interpretations" of the original finishes, said Spencer.

The Virginia Theatre is available to organizations and individuals wishing to produce or present a performing arts event, schedule a meeting, conference or reception. Rental rate is determined by day(s) of the week and type of usage (e.g., performance or rehearsal). Additional charges include technical assistance, provided by the stagehands’ union (I.A.T.S.E. Local #482), and equipment rental (lighting and audio). Contact The Virginia Theatre’s business office at (217) 356-9053 or by e-mail: events@thevirginia.org to receive a rental information packet. Estimates on total rental costs can be provided by the theater’s management.

For the past nine years in our community, on the last weekend in April, dozens of artists have gathered to participate in an act of love, hope and creation. With the annual return of spring, the event blossoms into being, each year with more participating artists than the year before, until it has grown into an event that draws the work of over a hundred regional artists every year. Starting from a tiny seed of an idea and the generosity of a handful of local artists, the annual Artists Against Aids (AAA) event has grown into something strong and vibrant that nourishes the hopes of people living with HIV/AIDS and brings beauty to the community as a whole.

The annual AAA event benefits the Greater Community AIDS Project (GCAP), a locally based, non-profit United Way agency. GCAP is dedicated to educating the community about HIV/AIDS, and to providing support services, such as rent/utility subsidies, transportation and temporary housing for those living with HIV/AIDS. AAA, now in its tenth year, is the largest and most profitable fundraiser of GCAP, raising over $30,000 at last year’s event alone. The event has become an unqualified success for GCAP and arguably what they are most known for.

While the AAA event became synonymous with GCAP over the years, it also has become a defining annual event for the local arts community. Most likely no one could have predicted the profound effect AAA would come to have on the local arts community when it started 10 years ago, but that it has become a major force is unquestionable.

"As important as (AAA) is for AIDS awareness, I think it is just as important for art awareness, and to keep the minds and eyes of the community open," said Deborah Fell, a professional quilt artist who has participated in the event for the last six years. Fell, who has shown her expressive, emotionally charged art quilts everywhere from Eastern Illinois University to the United Nations, says she loves the unique opportunity to show her work alongside dozens of other mediums and with artists of all skill levels. "One of the things I think we should celebrate about the event is that lots of people, from the big people on the art scene to amateurs and children, enter this show. It brings in a real diverse audience." Beaming with pride, Fell shares that her daughter is planning on entering art into the show this year, transforming Fell’s annual art tradition into a family art tradition.

Local artist Linda Linn speaks passionately about the uniqueness of the event, from the diverse list of artists creating in vastly different mediums to the dynamic way the art is presented. Volunteers gather at the AAA space, which is donated and is often a different location each year, the week before the opening night and cover every inch of the walls in art and create tables and pillars from found objects to display even more art when the walls are too full to hold any more pieces. Linn, who has often been one of the art hanging volunteers in years past enthuses, "I really love seeing a whole bunch of art in one space; I really love that (salon) gallery look. I like many kinds of art hanging on the wall at the same time. I find it very visually stimulating." Perhaps the facet that most impresses Linn about the AAA event is how it helps build bridges between the general public and art. "I love the non-exclusive social nature of it," said Linn, "a whole bunch of people coming out late at night to look at art, and to buy art. I mean, people don’t often buy art. It’s just not something that people consider doing. Now people will go [to AAA] and think, ‘I’m going to go try to buy a piece of art,’ and it isn’t something from Pier 1 or Pottery Barn, it isn’t something that is manufactured. People want to help out the cause so they will actually buy art and I don’t think they actually see a separation between themselves and art, and art suddenly becomes more accessible."

For local artist Suzanne Loechl, the most infectious thing about the event is "opening night, such a frenzy of Champaign people out buying art, and that at least half the money goes towards AIDS research is incredible." Loechl also expressed that she thinks that the artists of the community should participate in more fundraising galas for charity. Loechl shared exuberantly her dreams of what local artists could do for more issues, such as breast cancer, if they put their minds to it.

Some concerns expressed about the show ranged from how the art was handled and kept secure, to discomfort with the lack of "standards." One local jewelry artist, who requested that her comments remain anonymous, said, "You get a packet in the mail, drop off your work, and that’s it. I’d really like to see GCAP invite the local art community to get more involved with the event from its inception. I think many of us have good ideas that could make the event even better and that the art community might like to share the event more, take the opportunity to educate the public about art as well as AIDS and that could benefit both (GCAP and the arts community)."

Yet, while collecting artists’ thoughts about the event, concerns and disparaging remarks were by far in the minority. Linn comments, "What’s really meaningful to me about (AAA) is that people get together for ultimately philanthropic reasons and use their art to help out the community, and I think that that’s really beautiful. I would like to think that those who are entering are doing it to use their art to better the cause."

Local glass artist and owner of Glass FX, Richard Taylor, feels that is exactly why he is involved with AAA. Taylor says AAA is more important than ever in a society in which the AIDS crisis has fallen off of the radar of our consciousness. "Four years ago, when I first participated in the AAA art show we had a government that largely ignored the worldwide AIDS crisis," said Taylor. "Today, the current government ... has an ever more pathetic attitude about the crisis. Our government has spent over $300 billion (and climbing) on military spending this year but has less than $1 billion allotted for the AIDS epidemic." Taylor went on to explain, "we are fortunate to have such a compassionate, hard-working group of individuals in our community to make the AAA event so successful."

Taking a long pause after sharing her enthusiasm for the diversity of the event, Fell lowers her voice just a bit and added, "the AIDS issue is very important for me; someone I love is HIV positive." After a long talk with her friend about their condition in which they expressed how "daunting it was that there was no cure," Fell went to her studio and began creating an art quilt dealing with the emotions that surfaced during that conversation. Fell plans to show and, hopefully, sell the piece that came out of that conversation, a fabric collaged AIDS ribbon made from the repeating shape of broken hearts.

When asked what she thought it was that made AAA so special to so many artists, Linn concludes, "It’s a community event and it isn’t just about the art, it’s about the cause, and yet it is about the art ... and that is what makes it really meaningful to me, personally."

Food
SLOW FOOD | Laurence Mate

The Land Connection

This past Saturday, I drove up to Goodfield (located about halfway between Normal and Peoria), for a party to celebrate the 21 acres of farmland acquired by The Land Connection. The weather did not cooperate, with chilly temperatures and driving rain, but nothing could dampen the spirits of those who turned out to see this dream become a reality.

The Land Connection is an educational organization, "dedicated to educating the public about the many environmental and health benefits of organic farming." It’s about teaching people to make connections: the connection between that daily ritual we all participate in of sitting down to a meal and the land that our food comes from and those who are struggling to farm it. In short, the connection between good food and good farming as well as the connection between good farming and a good future for our planet.

As the refrain in Howard’s End urges us, "Only connect," and we can transform the world.

In a way, The Land Connection embodies the relationship to the land that it is trying to teach. The Land Connection was created to save this particular piece of farmland and to grow a future for organic farming in our area. It is wed to this land; they are one body, one flesh.

The Land Connection did not exist until a local 21-acre plot came up for sale. At a price of $5,000 an acre, the only people who could afford this prime farmland were not farmers but developers. We all read about how farmland is being devoured by urban sprawl, and how the high prices developers will pay are putting farmland beyond the reach of farmers, but in this case a small group of people committed to preserving organic, family farms decided to do something about it. They formed a registered, non-profit, educational organization and within nine months raised $85,000 to purchase this farmland and put it to good use. It’s a remarkable achievement.

To help grow the connection between all of us who eat and the few people who still farm, The Land Connection has a number of projects planned. They are making their organic farm available to farmers who would like to raise pastured poultry and sell the eggs, who want to grow grapes and make wine, who want to raise grains to use in baking their own bread. To connect these projects with consumers, they have organized four separate community-supported agriculture groups: one for fresh produce, one for grass-fed meats, one for fruits and one for eggs. They are also inviting groups of school children or adults to come out to the farm and learn about different aspects of food production and organic farming.

Appreciating the nutritional benefits of organic food and its superior eating qualities won’t do us any good if there aren’t any farmers left who know how to farm this way and if farmland is swallowed up by strip malls, parking lots and "starter castles." This is where The Land Connection comes in, preserving farmland, making it available, teaching the next generation of organic farmers and teaching the rest of us to care enough to make this connection.www.thelandconnection.org
(309) 965-2407

© Copyright 2002 Laurence Mate, lmate@prairienet.org

SMART BOTTLES | Michael Alberty

The New Age of Riesling

Riesling is the noblest grape of all and yet it has spent the last 100 years in the shadow of wines made from Chardonnay, Semillon, Sauvignon Blanc and, yes, even Chenin Blanc grapes. It boggles the mind that the versatile grape that produces age-worthy classics in Germany, Alsace and Austria could sit on the back burner for so long. Was it a million bad experiences with a blue bottle of cheap, sugary liquid masquerading as wine that put people off for so long? Could the impact of Liebfraumilch and a bunch of depressed nuns have so tainted our collective memories that we now view all white wines from Germany with a jaundiced eye? Well, I’m happy to report that Riesling is showing signs of making a well-deserved comeback throughout the New World. Here are five really good examples of New World Riesling that run the gamut of dry to sweet, inexpensive to moderately priced.

2000 Jekel Monterey Riesling ($12-$15)
Your initial sip will remind you of the first time you bit into a cold, crisp Pippin apple. After that, you’ll experience waves of apricot, honeysuckle and lime flavors that are nicely tempered by a good bit of acidity and a touch of spice on the finish. There is a slight touch of sweetness to this Riesling that would make it a great match for any spicy cuisine. In fact, if you drink this wine on a sunny day, outdoors, with a spicy jerked chicken sandwich from da Sandwich Boy, I swear you’ll become a better person.

2001 Bookwalter Johannisberg Riesling ($9-$12)
I don’t care who you are, there is going to be a time and a place where you need a nice sweet white wine that is moderately priced. This one is a surefire winner. Most of the grapes used to make this Riesling were grown in Idaho, but the flavors will make you think you’re stranded on a deserted island in the South Pacific. (Work with me here—if Tom Hanks can get a volleyball, Fed Ex ought to be able to get you a bottle of wine.) This wine will overwhelm your palate with flavors and aromas of ripe, lush pineapple, preserved lemons and white peaches. It could easily be dessert all by itself.

1997 Trevor Jones Riesling ($10-$12)
This little Aussie stunner is dry and sassy. There were so many different aromas going on in my glass that my head swirled. I could make out honeysuckle and spice before I gave up and concentrated on the magnolia/jasmine notes. It reminded me of the Garden District in New Orleans on a sultry summer night. The wine is really fruit driven, with lime and guava flavors that are nicely balanced by the crisp acidity. It’s excellent with warm goat cheese on a bed of greens.

2000 Felton Road Dry Riesling ($19-$24)
The Central Otago region of New Zealand may be fast gaining a reputation for making nice Pinot Noir, but I think they are doing an even better job with Riesling. This incredible wine should convince just about anybody that I’m right. It is a rich, complex Riesling that has flavors and aromas of pear, peach, tangerine and lime. Best of all, there are notes of petrol and minerals that you don’t expect to find in a New World wine. And after you swallow, savor the experience, because there is a finish here that goes on as long as a Bill Clinton speech, complete with lime and pineapple flavors. The fruit and acidity are in perfect balance and you get the feeling that this wine will only get better in the bottle over the next four to five years.

2000 Brooks Riesling ($17-$20)
Jimi Brooks is one of Oregon’s great new winemakers, best known for his Pinot Noir. On the side he makes about 100-120 cases of Riesling each year and it is well worth hunting it down. You could really lose yourself in the aromas of apricot, lime and various white stone fruits that are in this glass of wine. There are even hints of wet stone lurking underneath all of that fruit. The mouth-feel is round and gorgeous, with flavors of peach and apricot attacking every single one of your taste buds. The finish is aggressive, clean and crisp with lots of citrus fruit left over to enjoy long after you have swallowed. This is one of the best New World Rieslings I’ve ever had.

British wine critic Jancis Robinson recently observed that "Riesling enthusiasts tend to be cleverer, wittier and better-looking than the average wine lover." Who knows if she’s right, but if you drink any of the wines I’ve mentioned here, at least you’ll be smarter.

Michael Alberty manages the Corkscrew Wine Emporium in Urbana.