Amid growing movement, Santa Rosa protestors call for ceasefire in Gaza

Joining an international upsurge in Palestinian solidarity protests in late October, roughly 150 people gathered in downtown Santa Rosa on Oct. 29 to call for an immediate end to Israel’s ongoing bombardment of Gaza following Hamas’ attack on Israel.

During Hamas’ Oct. 7 surprise assault, the group killed 1,400 Israelis, mostly civilians, and took more than 200 hostages.

As of Monday, Oct. 30, Israel’s siege of the Gaza Strip—a bombing campaign paired with severly limited supplies of food, water and other necessities for 2.2 million residents—had killed an estimated 8,300 Palestinians, mostly women and children. More than 1.4 million people in Gaza had been displaced from their homes due to bombing and evacuation orders.

While international bodies and nongovernmental organizations have raised humanitarian concerns about Israel’s ongoing response to the Hamas attacks, American politicians still largely support Israel.

Sonoma County for Palestine, the newly-formed coalition which organized the Oct. 29 protest, is urging the North Bay’s Congress members, Rep. Jared Huffman and Rep. Mike Thompson, to sign on to House Resolution 786. The non-binding statement written by Rep. Cori Bush calls for an immediate ceasefire and de-escalation. It has been signed by 18 Congress members.

In a press release issued on Saturday, Oct. 28, Sonoma County for Palestine highlighted some of the historical context leading up to Hamas’ Oct. 7 attack—“At the root of violence in Israel and Palestine is the 75+ years of occupation [by Israel]”—and stated the “Forced displacement of over 1 million Palestinians from their homes, depriving people of essentials of survival, and subjecting them to constant bombardment is dehumanizing and genocide.” Longterm, the group supports “an end to the Israeli occupation of Palestinian land, and an end to ongoing U.S. aid to Israel.”

Huffman and Thompson have both weighed in on the conflict multiple times since Oct. 7.

On Oct. 27, Huffman issued a lengthy statement on the “worsening humanitarian crisis in Gaza.” After condemning Hamas’ Oct. 7 attacks and restating Israel’s “right to defend itself militarily” against the Oct. 7 attacks and ongoing missile attacks, Huffman wrote, “Every effort must be made to minimize non-combatant civilian casualties and avoid any form of collective punishment. Israel can and should punish Hamas, but not the hundreds of thousands of Palestinians who have nothing to do with Hamas.”

In the statement, Huffman makes no mention of a ceasefire, but does support calls for a “humanitarian pause,” a more limited option backed by the Biden administration and others last week. J Street, an advocacy organization which leads politicians on tours of Israel and has endorsed both Huffman and Thompson, also came out in support of humanitarian pauses last week.

However, the scale and length of the pauses politicians are calling for is often unclear. According to the United Nations’ definitions, a humanitarian pause is a “temporary cessation of hostilities purely for humanitarian purposes… usually for a defined period and specific geographic area where the humanitarian activities are to be carried out.” A ceasefire, meanwhile, is defined by the U.N. as “A suspension of fighting agreed upon by the parties to a conflict… intended to be long-term and [which] often covers the entire geographic area of the conflict.”

On Oct. 13, Huffman signed a letter to President Joe Biden with 54 other Congress members, repeating concerns from the European Union High Representative for Foreign Affairs and the United Nations Commission on Human Rights (UNCHR) that a “complete siege” of the Gaza Strip called for by some Israel Defense Forces leaders would be “a violation of international humanitarian law.”

Weeks later, as Israel’s campaign continued, humanitarian concerns from the same bodies heightened. The UNCHR released an Oct. 27 statement beginning, “All parties to the conflict in Israel and Gaza have shown reckless disregard for civilian life and must comply with international law to prevent atrocities from continuing.”

The same day, the U.N. General Assembly passed a nonbinding resolution calling for “an immediate, durable and sustained humanitarian truce leading to a cessation of hostilities,” along with other demands. The resolution passed with a vote of 120-14 with 45 abstensions. The United States and Israel were among the “No” votes.

Thompson’s public statements since Oct. 7 have been brief by comparison to Huffman’s, with little to no mention of humanitarian concerns for Palestinian civilians. In an Oct. 26 Facebook post, Thompson wrote, “Last night, I voted to pass a Congressional resolution condemning the horrific and savage war crimes committed by Hamas terrorists and to reaffirm our commitment to standing with Israel. We must work to free the hostages being held by Hamas and support our ally in their fight against terrorism.”

Huffman and all but ten other congressmembers voted in favor of the resolution, HR 771, which makes no mention of the thousands of Palestinians killed in Israel’s ongoing bombing campaign.

‘Inflamed’ highlights some of the heroes of the Tubbs Fire

A new book provides an in-depth account of the rescue of residents of two opulent Santa Rosa retirement care homes from the rapidly-spreading Tubbs Fire in early October 2017.

Families of residents of the Villa Capri and Varenna facilities often shelled out over $10,000 per month for a room and full-time care at the facilities, which were built by developer and banker Bill Gallahers’ Oakmont Senior Living in the fire scar of the September 1964 Hanly Fire.

While the buildings were beautiful, the actual living conditions were subject to criticism, according to Inflamed: Abandonment, Heroism, and Outrage in Wine Country’s Deadliest Firestorm by Anne E. Belden and Paul Gullixson.

A lawsuit filed on behalf of four residents a month before the fires alleged that the Santa Rosa Oakmont facilities were understaffed, leaving residents at risk “of not having their care needs met and of suffering frustration, pain, discomfort, humiliation, and/or injury from inadequate care and supervision.”

During the fires, things turned dire. According to the book, the evacuation of the seniors was left at first to a few low-paid, largely unprepared night shift employees, juggling multiple jobs in order to get by in the ever more expensive Wine Country. The final 105 residents, many unable to move on their own, were evacuated by family members and first responders.

The account of the lengthy, chaotic and harrowing evacuation eats up a large portion of the book, but a few images that illustrate the problems stick out. For instance, as flames became visible from Villa Capri, a large bus sat in the parking lot, inoperable because none of the staff on duty knew where the keys were.

Although none of the residents ultimately died in the fires, residents and their family members were understandably left traumatized, and several residents passed away in the weeks and months after the evacuation.

The book is based on interviews with over 100 sources. Although Gallaher and employees of his companies did not agree to on-the-record interviews, Belden and Gullixson quote from depositions given by some company officials in the various lawsuits which followed the Tubbs Fire.

Inflamed rightfully touts the actions of those who risked their lives in the fires. However, by the end of the book, this reader was mostly left with a deep disappointment in the legislative and justice systems’ response to the problems highlighted by the Oakmont residents’ traumatic experiences.

When Oakmont faced multiple lawsuits and investigations by government agencies relating to the fires, the companies lawyered up, flatly denying the numerous allegations against them and successfully avoiding any jury trials. As part of the various settlements, the companies agreed to pay fines, accept additional oversight for a few years and make changes—some of them temporary—to their management practices.

Ultimately, Gallaher companies were allowed to rebuild and reopen the Santa Rosa facilities. Elsewhere, Oakmont Senior Living has continued to expand, becoming the 27th largest senior living company in the country in 2022.

Belden and Gullixson are scheduled to appear at Copperfield’s Books Santa Rosa store at 7pm on Friday, Nov. 3, and at Readers’ Books in Sonoma at 6pm on Wednesday, Nov. 8.

Free Will Astrology: Week of November 1

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ARIES (March 21-April 19): “Our bodies sometimes serve as the symbolic ground where order and disorder fight for supremacy,” writes storyteller Caroline Kettlewell. Here’s good news, Aries: For you, order will triumph over disorder in the coming weeks. In part through your willpower and in part through life’s grace, you will tame the forces of chaos and enjoy a phase when most everything makes sense. I don’t mean you will have zero problems, but I suspect you will have an enhanced power to solve problems. Your mind and heart will coordinate their efforts with exceptional flair.

TAURUS (April 20-May 20): I recently endured a three-hour root canal. Terrible and unfortunate, right? No! Because it brought profound joy. The endodontist gave me nitrous oxide, and the resulting euphoria unleashed a wild epiphany. For the duration of the surgery, I had vivid visions of all the people in my life who love me. I felt their care. I was overwhelmed with the kindness they felt for me. Never before had I been blessed with such a blissful gift. Now, in accordance with your astrological omens, I invite you to induce a similar experience—no nitrous oxide needed. It’s a perfect time to meditate on how well you are appreciated and needed and cherished.

GEMINI (May 21-June 20): Unless you are very unusual, you don’t sew your clothes or grow your food. You didn’t build your house, make your furniture or forge your cooking utensils. Like most of us, you know little about how water and electricity arrive for your use. Do you have any notion of what your grandparents were doing when they were your age? Have you said a prayer of gratitude recently for the people who have given you so much? I don’t mean to put you on the spot with my questions, Gemini. I’m merely hoping to inspire you to get into closer connection with everything that nourishes and sustains you. Honor the sources of your energy. Pay homage to your foundations.

CANCER (June 21-July 22): Cancerian singer-songwriter Suzanne Vega has had a modest but sustained career. With nine albums, she has sold over three million records, but is not in the Rock and Roll Hall of Fame. She has said, “I always thought that if I were popular, I must be doing something wrong.” I interpret that to mean she has sought to remain faithful to her idiosyncratic creativity and not pay homage to formulaic success. But here’s the good news for you in the coming months, fellow Cancerian: You can be more appreciated than ever before simply by being true to your soul’s inclinations and urges.

LEO (July 23-Aug. 22): “Everything in the world has a hidden meaning,” wrote Greek author Nikos Kazantzakis. Did he really mean everything? Your dream last night, your taste in shoes, your favorite TV show, the way you laugh? As a fun experiment, let’s say that yes, everything has a hidden meaning. Let’s also hypothesize that the current astrological omens suggest you now have a special talent for discerning veiled and camouflaged truths. We will further propose that you have an extraordinary power to penetrate beyond surface appearances and home in on previously unknown and invisible realities. Do you have the courage and determination to go deeper than you have ever dared? I believe you do.

VIRGO (Aug. 23-Sept. 22): How many glowworms would have to gather in one location to make a light as bright as the sun? Probably over a trillion. And how many ants would be required to carry away a 15-pound basket of food? I’m guessing over 90,000. Luckily for you, the cumulative small efforts you need to perform so as to accomplish big breakthroughs won’t be nearly that high a number. For instance, you may be able to take a quantum leap after just six baby steps.

LIBRA (Sept. 23-Oct. 22): In the 17th century, John Milton wrote a long narrative poem titled Paradise Lost. I’ve never read it and am conflicted about the prospect of doing so. On one hand, I feel I should engage with a work that has had such a potent influence on Western philosophy and literature. On the other hand, I’m barely interested in Milton’s story, which includes boring conversations between God and Satan and the dreary tale of how God cruelly exiled humans from paradise because the first man, Adam, was mildly rebellious. So what should I do? I’ve decided to read the Cliffs Notes study guide about Paradise Lost, a brief summary of the story. In accordance with astrological omens, I suggest you call on similar shortcuts, Libra. Here’s your motto: If you can’t do the completely right thing, try the partially right thing.

SCORPIO (Oct. 23-Nov. 21): Who would have guessed that elephants can play the drums really well? On a trip to Thailand, Scorpio musician Dave Soldier discovered that if given sticks and drums, some elephants kept a steadier beat than humans. A few were so talented that Soldier recorded their rhythms and played them for a music critic who couldn’t tell they were created by animals. In accordance with astrological omens, I propose that you Scorpios seek out comparable amazements. You now have the potential to make unprecedented discoveries.

SAGITTARIUS (Nov. 22-Dec. 21): Sagittarian novelist Shirley Jackson wrote, “No live organism can continue for long to exist under conditions of absolute reality; even larks and katydids dream.” Since she wrote that, scientists have gathered evidence that almost all animals dream and that dreaming originated at least 300 million years ago. With that as our inspiration and in accordance with astrological omens, I urge you to enjoy an intense period of tapping into your dreams. To do so will help you escape from absolute reality. It will also improve your physical and mental health and give you unexpected clues about how to solve problems.

CAPRICORN (Dec. 22-Jan. 19): Capricorn writer Kahlil Gibran believed an essential human longing is to be revealed. We all want the light in us to be taken out of its hiding place and shown. If his idea is true about you, you will experience major cascades of gratification in the coming months. I believe you will be extra expressive. And you will encounter more people than ever before who are interested in knowing what you have to express. To prepare for the probable breakthroughs, investigate whether you harbor any fears or inhibitions about being revealed—and dissolve them.

AQUARIUS (Jan. 20-Feb. 18): November is Build Up Your Confidence Month. In the coming weeks, you are authorized to snag easy victories as you steadily bolster your courage to seek bigger, bolder triumphs. As much as possible, put yourself in the vicinity of people who respect you and like you. If you suspect you have secret admirers, encourage them to be less secretive. Do you have plaques, medals or trophies? Display them prominently. Or visit a trophy store and have new awards made for you to commemorate your unique skills—like thinking wild thoughts, pulling off one-of-a-kind adventures and inspiring your friends to rebel against their habits.

PISCES (Feb. 19-March 20): I’m glad we have an abundance of teachers helping us learn how to be here now—to focus on the present moment with gratitude and grace. I love the fact that books on the art of mindfulness are now almost as common as books about cats and cooking. Yay! But I also want to advocate for the importance of letting our minds wander freely. We need to celebrate the value and power of NOT always being narrowly zeroed in on the here and now. We can’t make intelligent decisions unless we ruminate about what has happened in the past and what might occur in the future. Meandering around in fantasyland is key to discovering new insights. Imaginative ruminating is central to the creative process. Now please give your mind the privilege of wandering far and wide in the coming weeks, Pisces.

Homework: What is the kindest act you ever did? Care to do it again? Newsletter.FreeWillAstrology.com

The High Window

One afternoon in the French Alps near Grenoble, an 11-year-old boy named Daniel and his dog Snoop discover the dead body of Daniel’s father, Samuel, lying on the ground at the base of the family chalet. Daniel is blind. His cries bring his mother Sandra to the scene, and eventually the police investigate Samuel’s death as a possible homicide. How did the man end up there, with a head wound bleeding into the snow, four stories below an open window in the chalet’s attic?

Anatomy of a Fall (Anatomie d’une chute) turns out to be more than just a murder mystery. In the hands of French director Justine Triet—working from a screenplay she wrote with Arthur Harari—the death of Samuel unleashes a wave of painful memories and conflicted feelings for both Daniel and Sandra. It’s a splendid actors’ vehicle starring artists American audiences are not accustomed to seeing. More than that, it’s one of the year’s best-written screen dramas.

From its first scenes, the family story is established as a stressed-out ordeal. Daniel’s mother, Sandra (Sandra Hüller), is being interviewed at home in the chalet, in connection with her new book—“a mixture of truth and fiction,” as she describes it. But the in-person discussion is interrupted by piercingly loud music from the upper floors—“P.I.M.P.,” by 50 Cent—so much so that the interview has to be postponed. Daniel’s father, Samuel (Samuel Theis), a would-be writer and musician, is evidently up to his familiar attention-grabbing antics.

A few moments later, Daniel (Milo Machado Graner), led by his beloved border collie, is guided to his father’s corpse. The police have questions, particularly about the trauma injury to Samuel’s head. Did it come from the fall, when he landed on the shed in the yard? Or did it occur from a blow to the head before Samuel plunged from the window? And what about that prominent bruise on Sandra’s arm?

The cause of death is ruled inconclusive and, furthermore, the evidence suggests the fall was not accidental. Suddenly Sandra emerges as the defendant. From that point forward Anatomy of a Fall essentially becomes a courtroom drama, suspensefully punctuated by flashbacks illustrating not only Sandra’s role in her troubled relationship with Samuel, but also the pathetic plight of their son.

By all appearances Daniel is a quiet, introspective boy devoted to practicing the piano. “Asturias,” from Isaac Albeniz’ Suite Española, amounts to something of an obsession with him. The sensitive Daniel also enjoys playing duets with his mother. And yet, in courtroom testimony, Sandra admits that the relationship with her son had taken second place to the “intellectual stimulation” she received from her late husband in their early years together. It’s further revealed that Daniel’s blindness was caused by an accident. He was struck by a motorcycle in the street after being picked up late from school—his father’s fault—and the guilt for that tragedy has resonated through the family life.

In the film’s most lacerating scene, a flashback reveals that Samuel was a childish, unstable personality prone to capricious mood swings, who among other things resented his German immigrant wife’s use of English as a useful common language at home. Sandra’s characterization as essentially a stranger in France even surfaces in the courtroom, with suggestive remarks by the judge that seem to present the defendant as the object of subtle chauvinism. Such is the Pandora’s box of evidence and conjecture that come into play as the murder trial proceeds.

Sandra’s attorney, Vincent (Swann Arlaud), emerges as a key figure in the scenario, vigorously defending his client against the slippery innuendo of the prosecutor (Antoine Reinertz), who doggedly tries to fit the calm Sandra into a box. Secrets are revealed. Innermost emotions erupt. But Anatomy of a Fall provides no easy answers. With exquisite timing, filmmakers Triet and Harari paint a narrative portrait as complex and multi-layered as life itself. Chapeau!

In theaters

Just say Yes: Classic rock giants in Napa on Halloween night

Fans of progressive rock staple YES, have suffered through myriad line-up changes due to health issues, death, and personal issues. Whatever the case may be, the end reward has always been the same: new music and touring by YES is always good news. 

The band is currently knee-deep on their ‘Classic Tales Of Yes’ that finds the band revisiting some lesser-known but equally compelling YES tracks. What started in Bethlehem, PA, towards the end of September will carry on until the first week of November in Riverside, CA. 

The current line-up is original member Steve Howe (guitars, vocals), along with mainstays and longtime members Geoff Downes (keyboards), Jon Davison (vocals, acoustic guitar), Billy Sherwood (bass guitar, vocals), and new (er) member Jay Schellen (drums). Together, they will be also supporting YES’ latest record, ‘Mirror To The Sky,’ on InsideOut Music. 

Additionally, each show will commence with a presentation by English artist and designer Roger Dean, whose striking art has been featured on classic album covers by YES and, of course, Asia (which featured Howe and Downes). 

North Bay Bohemian: There were many skeptics but also many who rallied for you. What kind of pressure did you feel even though Jon Anderson had been out for some time?

Jon Davison: On day one of agreeing to join Yes, the press announcement widely spread online. Right away, there were heated discussions among Yes fans. I remember thinking there was really no need to pay attention to it all. I was more concerned with getting my voice trained up and fit to go onstage and give the music everything I could give. That’s really the only “pressure” worth applying. Such discipline transforms into motivation, whereas the pressure you referred to can only be limiting.

North Bay Bohemian: Your newest album is a massive leap from the ‘Heaven & Earth’ LP. What made this album better than ‘The Quest’ aside from possibly preparation time?

Jon Davison: Since the making of the ‘Heaven and Earth’ album, we’ve greatly evolved as a performing and writing unit, having grown from so much personal loss, inside and outside the band. We lost Chris and then Alan. Steve had an extremely tragic personal loss as well. As a result, the band has found a renewed strength, and its creative efforts are exponentially expanding toward greater heights of productivity. 

‘The Quest’ was a rewarding experience for us, but to a large degree, one of uncertainty. Because it was created during the Pandemic—which was such an incredibly strange time – it meant not being able to convene much and only writing remotely. There was a lot of file sharing from our respective places of isolation. 

Nonetheless, the process was successful and it therefore gave us the confidence and momentum to then leap into the creation of our latest album, ‘Mirror to the Sky.’ Whenever I listen to it, I can smile and hear that we were truly inspired. I feel we possess a renewed sense of appreciation for being in a band and having the ability to express ourselves creatively.

North Bay Bohemian: You have written songs with Howe, Sherwood, Squire (RIP), White (RIP), and Downes. Does any particular member make the songwriting process easier? 

Jon Davison: As a true Yes fan, I can say all the varying writing processes with different members past and present have all been fulfilling in their own unique ways. It’s thrilling just to be invited to the creative table with those you have deeply admired. I also love the challenge of taking on another’s musical style which is so unique to that of the others, and finding a voice or character in that style. For example, the mood and shades of Geoff’s writing are very different to that of Steve’s, yet as the lead vocalist, I’m the common denominator. This allows me to wear slightly different hats of compositional approach. I really enjoy having that challenge of creative diversity. 

North Bay Bohemian: Were all the current members of YES involved in this year’s ‘Classic Tales Of Yes’ setlist?

Jon Davison: What generally happens is Steve will first propose an outline of a set which we can all then help tweak. For the longest time he’s had a heartfelt desire of doing a ‘Tales of Topographic Oceans’ medley. He played a massive role in the conception of the four-song double album and therefore wanted to find a way of portraying much of its musical essence without taking up too much of the show. The rest of us wholeheartedly decided to take on this endeavor and help realize his vision. Currently on tour, the medley has really been a fun experience to share with so many surprised and delighted fans.

As well, we all voted on what new songs we should perform from our latest studio effort, ‘Mirror to the Sky.’ I also suggested we do “Turn of the Century” which is one I had missed singing since it last appeared in a set in 2014.

North Bay Bohemian: Any songs you particularly enjoy playing / singing live more than others from the classic YES years? What about songs from the last three studio records?

Jon Davison: It’s been a real rush to perform the new material and witness just how supportive audiences are. Then of course, I love singing all the classics as well. As I mentioned earlier, “Turn of the Century” is one that is so rewarding to sing. I’ve also been enjoying singing and playing guitar on, “Time and a Word,” which is from the 60’s album of the same name. 

North Bay Bohemian: How do you cope with the long travel days and 22 hours you’re not playing?

Jon Davison: It can all feel quite grueling a lot of the time. The secret for me is to stay engaged in diversions which help for a time to escape the pressures of tour life. Hopefully to this end I can enjoy watching inspirational or often humorous films or series. Lots of rest is vital, as is moderate exercise to help boost the immune system. Then at other times, I feel inspired from performing and so desire to create music. I actually work in GarageBand on my iPad, which means I can create music during the long hours of riding in the back of a car or van. 

It’s a mad life, I realize. Although it can also be one of excitement and adventure. I reckon, once a road dog always a road dog. 

YES plays The Meritage Spa & Resort located 875 Bordeaux Way in Napa. Live Presentation and Art Gallery outside at 850 Bordeaux Way. Tickets can be bought in advance at www.bluenotejazz.com/napa/shows starting at $69 for Bronze seating and topping out at $244 for the YES VIP Tour Package – Gold Ticket. Doors open at 5:30pm and the show starts at 7pm. Ages 8+ are welcome. No babes in arms.


Marin ‘Muckraker’ In Memorium: Pulitzer-winner David Mitchell

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David Mitchell, the retired editor and publisher of the Point Reyes Light, died in his sleep Wednesday, Oct. 25, a month shy of his 80th birthday. 

Born Nov. 23, 1943, Mitchell was among a handful of editors of weekly newspapers to win a Pulitzer Prize, in this case, for an exposé of Synanon Incorporated, a Marshall-based drug-rehabilitation program-turned-cult led by Charles Dederich.

Mitchell’s dogged efforts to reveal the cult’s criminality included revelatory coverage of a bizarre reptile attack on a Los Angeles-based attorney. When Dederich lost a judgment against the cult to the tune of $300,000 on behalf of a married couple, the wife claimed she was held against her will by Synanon, which had also attempted to brainwash her.

The cult leader ordered an attack on the couple’s attorney, Paul Morantz, that involved placing a poisonous rattlesnake in his mailbox. The snake subsequently bit the attorney—he survived—and Dederich and two accomplices eventually pled “no contest” to charges of conspiracy to commit murder.

Mitchell’s wife, Lynn Axelrod Mitchell, who accompanied him to the 2014 International Society of Weekly Newspaper Editors conference in Durango, Colorado, when he won the Eugene Cervi Award, recalled that the journalist had “…been very brave this past year. You all know he was dedicated to helping the ‘little guy’ against government overreach. He loved being called a muckraker.”

Mitchell later co-wrote The Light on Synanon: How a Country Weekly Exposed a Corporate Cult, which won the Pulitzer Prize gold medal for “Meritorious Public Service.” 

“He personally helped people down on their luck and taught me, through example, about long-term help to strangers, not just for a single time—who then became his friends,” said Axelrod Mitchell.

‘Sleepy Hollow’ at 6th Street

Santa Rosa’s 6th Street Playhouse continues to provide trips down memory lane for this reviewer.

Their recent production of Fiddler on the Roof made me harken back to my days in high school theater while their current production of The Legend of Sleepy Hollow plunged me even further back into my youth. The West Coast premiere of John Minigan’s adaptation of the Washington Irving story runs through Nov. 5

One of my fondest childhood memories is of my father reciting the tale of Ichabod Crane and the Headless Horseman as our family traveled by station wagon from northeastern Pennsylvania through the Delaware Water Gap to my grandmother’s home in Northern New Jersey. It was a guaranteed way to keep six kids quiet for the better part of the trip.

That sense of rapt attention was recreated by the opening night audience as Skylar Evans took the stage to tell the tale of an itinerant teacher; his pursuit of the fair Katrina Van Tassel; his rival for her affections, the loutish Abraham “Brom Bones” Van Brunt; and the restless spirit of a horse-riding Hessian mercenary who lost his head to a cannonball.

Closer in spirit to Walt Disney’s 1949 animated featurette than Tim Burton’s 1999 gorefest, Minigan’s approach is 100% old-fashioned storytelling. Set in a nameless New England tavern, Evans enters and introduces himself as Washington Irving. He engages with the audience as if they were fellow tavern-goers and soon begins the telling of the tale.

One-person shows are challenging enough for a performer. The added requirement of portraying a dozen or more characters really ups the ante. Evans, who is alternating in the role with Marin-based theater artist Nic Moore, is up to the challenge. With the exception of the Horseman, Evans brings each resident of Sleepy Hollow to vivid life through vocal or physical affectations. The Horseman appears via the judicious use of projections.

Director Marty Pistone understands how important atmosphere is in the telling of a ghost story and had a top-notch team of designers really bring it to the Monroe Stage. In particular, the sound design by Ben Roots in conjunction with original music by Nate Riebli significantly enhanced this production. April George does her usual fine job of using light to bring darkness to the stage.

With moments of good humor to leaven the story’s slow-building tension, 6th Street Playhouse’s The Legend of Sleepy Hollow is quite the Halloween-season treat.

’The Legend of Sleepy Hollow’ runs through Nov. 5 on the Monroe Stage at 6th Street Playhouse, 52 W. 6th Street, Santa Rosa. Thurs-Sat., 7:30pm; Sat-Sun, 2pm. $24–$45. 707.523.4185. 6thstreeetplayhouse.com.

‘Halloweird’ Comes to the Mystic

Halloweird is a combo variety show/costume party and very grown-ups-night-out on Friday, Oct. 27 at the Mystic Theater in Petaluma.

Boasting a wide array of acts such as comedians, pole dancers, drag queens and masters of the macabre, Halloweird sprang from the mind of North Bay Events proprietor Jake Ward, who most recently pulled off a burlesque themed party on May 4 (ie; “Star Wars Day,” as in…May the 4th Be With You…) at the Mystic. The Halloweird lineup looks like it too will push the boundaries of adult entertainment to fun yet extreme heights.

Billed as “A Halloween extravaganza like no other,” some highlights of the evening are set to include:

  • Award winning filmmaker, slam poet, activist and fiery ringmaster Jamie Dewolf, who the San Francisco Chronicle called “a high-octane mix of the profane and the profound.”
  • Professional neo-traditional “shocklesque” and fire dancer Roxy Mirage (formerly known as Afina Flint), who blends risqué burlesque with dance, storytelling and what they call “unique prop elements” in their performance.
  • Up and coming TikToker Grawlix the Clown, who self-describes as “not your child’s party clown” on said TikTok page.
  • One-woman ukulele songstress Karenna Slade, whose YouTube channel boasts original songs with titles like “The What If?” and “Slam the Door,” as well as fun covers of hits like Survivor’s “Eye of the Tiger” and Chamillionaire’s “Ridin’ Dirty.”
  • Torture revivalist and sideshow survivalist Charlie Pain and Oakland’s “pussy stunt artist” (further description not completely appropriate for Bohemian readers of all-ages) Max Mad Madame set to bring the pain.
  • Semi pro “classique” pole theater performer Cezar Lopez, will be on hand to entertain with Sonoma County drag queen Frida Whales, who is known for their dance and karaoke performances.

Plus, there will be many more artists of various trades, backgrounds and zaniness.

At this point, perhaps one is asking if this is simply a passive event where the audience sits and watches. The answer to that is a ghastly “No!” After the show, Halloweird will potentially keep getting stranger with a dance party that goes late into the night and features DJs Dyops and Die Wies.

Tickets range from upper tier VIP tables at $400 for four people and $200 for two people, premium tables for two at $175, gold circle seated tickets at $44 each and reserve seats at $34 each, as well as $29 balcony reserved seats.

Body of Work: Blood is magic for drag artist Hollow Eve

Drag performer Hollow Eve has brought their art to hundreds of stages all over the country, from dive bars to fine art galleries to reality TV.

They found their biggest audience on the small screen when they competed on season 3 of reality TV show The Boulet Brothers’ Dragula. There, Hollow’s impassioned speeches and acts involving live worms, body modification and menstrual products garnered diehard fans and virulent critics.

On Friday, Oct. 27, Hollow will perform at North Bay Cabaret’s “Halloweird” at the Mystic Theatre. Taking the stage in Petaluma marks a full-circle moment for them; Hollow, who grew up in Sebastopol, first donned drag as a young teen in the mid-’90s at a performance of The Rocky Horror Picture Show at the Phoenix Theater.

Though they can’t reveal much about the performance, they said, “There will be worms and there will be needles and there will be staples.”

North Bay Cabaret host and founder Jake Ward does not even know what Hollow has planned—he prefers to be surprised along with everyone in the audience.

Watching Hollow Eve perform is always a surprise. They are known for alternately bringing gravitas and levity, high art and raunch. One night they’ll serve a probing meditation on grief—literally bleeding on stage—and the next night they’ll swim in nacho cheese.

“There’s not more to the avant garde than there is to the filthy,” they said. “They activate different emotional spectrums and experiences of existing, and they’re both extremely valid and important to me as an artist as I craft my work.”

Ward said Hollow, who has performed at North Bay Cabaret twice so far, gives audiences the exhilarating feeling of watching something they’ve never seen before.

“Their performances are dripping with so much emotion and intent, never shocking for the sake of being shocking,” Ward said.

While the world of drag is chock full of queens and kings, Hollow said they never wanted to be a monarch. Instead, they describe themself as a “post-binary drag socialist with a penchant for anarchy.”

“It’s ridiculous,” they said. “It’s a mouthful and it’s a touch pretentious, which I love because it’s as pretentious as calling yourself a king or a queen, but it’s also saying, ‘We don’t have to be in this social strata of class in order to empower ourselves.”

Early in their drag career in San Francisco, Hollow felt self-imposed pressure not to repeat an act. The constant schedule of creating new work was expensive and exhausting.

Hollow said today, some 20 years into doing drag, repetition is an important part of their work. For one, it can take 10 or more performances just to earn back the money they invest in creating new work. Yet, beyond economics, repetition is how Hollow emotionally processes their life through art and refines each act.

“I know when I’m [satisfied with a piece] because I don’t need to know what anyone thinks. The second I’m asking, ‘How do you think it went?’ I didn’t like how it went,” they said.

Hollow knows their art is polarizing and “not for everyone.” The human pin cushion is a striking combination of thick-skinned and vulnerable. They speak in equal measure about their knack for not caring what their critics think and their desire to create vulnerable community spaces to connect with their audience.

“[When I perform], I’m not interested in telling you what I think; I’m interested in asking you a question that I’m also working on answering….It’s curiosity and emotional connection,” they said.

In one of their favorite and most extreme acts, Hollow does a three-hour durational performance called “Dandelion Wish.” Their head is covered in 150 staples, then strings are attached to each staple and tied to a blacklit cube-shaped frame that surrounds them. The effect is that they become the stem of a dandelion with each string becoming a seed. They also wear a necklace of needles.

Staged in art gallery spaces, audience members approach Hollow, make a private wish, and the performer seals the wish by removing a needle from their neck. Once all the wishes have been cast, they perform their way out of the box “to release all the wishes into the world,” according to Hollow.

It’s a performance about collective generosity and sharing energy, said Hollow. Yet some critics regard Hollow’s work as a dangerous display of self-harm.

Hollow considers their ability to tune out certain types of physical pain a superpower forged from a childhood dancing ballet, where not having toenails was good luck. They often reflect on what society considers acceptable pain.

“It’s OK for women to fill their necks with needles and have their faces rollered and call it ‘beauty care,’ but when I do it, it’s wrong,” they said.

For Hollow, their piercing acts are about loving their body and creating beauty with it, which they find liberating.

Bringing a plethora of skills to their craft, Hollow learns new skill sets and evolves endlessly through drag. They studied lighting design at San Francisco State University and once hoped to direct plays for a living. Drag allows Hollow to integrate mediums to an extent other art forms don’t allow for, they said.

“Drag is this endless wormhole where you just keep learning new skill sets and feeding your creative mind,” they said.

In drag, where one’s own body is essential to the form, said Hollow, they get to be the “director, performer and executor of all of the things.”

Some of the artists who inspire Hollow are the musicians whose work they most often perform to—Bjork, Joanna Newsom and Bikini Kill among them. These aren’t artists Hollow wants to meet. Yet Hollow also draws inspiration from other Bay Area drag performers they call family.

Hollow’s late drag mother, Phatima Rude, was an iconic San Francisco artist who helped shape the city’s contemporary drag scene, bringing avant garde, punk performance to her craft. Many remember Phatima for stapling money to her body—a sideshow stunt she is credited with bringing to a drag stage. Yet Hollow described her as a limitless shapeshifter who could alternately serve grotesque filth, high glamor or suburban housewife.

Phatima died in 2021 at 55. Even while performing drag regularly, she spent many years unhoused.

“Her story is not an easy one, but if you encountered her in a bar, she was so kind and gentle….Just to be in her presence was such a calming and beautiful space,” Hollow said.

Hollow honored Phatima’s legacy alongside drag siblings Jillian Gnarling and Kochina Rude at a show called Rebirth in 2022. They hope to produce the show again.

Ever the shapeshifter themself, Hollow is currently grant-seeking and learning 3D mapping so they can cast 100 body molds for a forthcoming installation.

See what Hollow Eve has in store at Halloweird at 7pm on Friday, Oct. 27 at the Mystic Theatre. Tickets and more information: mystictheatre.com/seetickets-event/halloweird.

Fam Plan: Contraception is…bad?

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As the International Catholic “Synod on Synodality” convenes this month, topics discussed are how much power the Church will grant women (not much), marriage for priests (as practiced historically) and will queer people be accepted (the Bible says no).

Apparently, the Good Book says birth control is bad, too (considered a “sin”). I wrote an Open Mic article when human population reached 8 billion. Now, I must confess (though I’m not Catholic) my outrage, upon reading that contraception will not even be discussed at the Synod. How can any world institution—which has a nominal membership of hundreds of millions—be against birth control in the 21st century?

The answer: “Marriage and conjugal love are by their nature ordained toward the procreation … of children. So the Church, which is on the side of life, [emphasis added] teaches that it is necessary that each and every marriage act remain ordered per se to the procreation of human life.”—from a “Natural Family Planning” tract.

Natural Family Planning excludes contraception in all forms, including any non-procreative pleasure, and any form of sex other than the “marriage act.” But, “Catholic health institutions may…help couples conceive.”

What? What if married (as well as unmarried, or divorced) couples don’t want children for financial or health reasons? (Is this a plot to produce more Catholics?)

Has the Church ever truly been pro-life? What about the Crusades, which murdered countless Muslims and Jews? The Inquisition, when as many as 9 million “witches” were burned? The superstitious murder of witches’ familiars, cats, which led to the proliferation of rats and the Black Plagues? The centuries of wars that ravaged Europe over the Catholic Church fighting its Protestant rivals? Giordano Bruno’s burning and Galileo’s arrest for professing that the sun is the center of the universe, not the Earth?

Billions and billions of mass-produced humans are the cause of the current destruction of Earth’s four billion-year nurturing habitat for millions of other species. I declare Catholic dogma anti-life. I am not against religion per se. I just have this to say: Karma runs over your dogma.

Barry Barnett is a professional writer and activist in Santa Rosa.

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Fam Plan: Contraception is…bad?

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As the International Catholic “Synod on Synodality” convenes this month, topics discussed are how much power the Church will grant women (not much), marriage for priests (as practiced historically) and will queer people be accepted (the Bible says no). Apparently, the Good Book says birth control is bad, too (considered a “sin”). I wrote an Open Mic article when human...
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