Gourmet au Bay

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Wine at the coast is a mixed pleasure. On the beach proper, it makes a fine accessory to good times, but not to good winetasting notes. And then there’s the issue of glass. Sure, a fine time can be had with boxed wine and plastic cups—maybe throw in some soda and call it a cooler.

Advertisements in travel magazines and tourism brochures, however, make it seem that the major activity couples enjoy on the seaside is clinking wine glasses whilst silhouetted in the foreground of a golden sunset shimmering over the waves. And seafood takes to wine even better than water.

I made a little headway toward resolving these contradictions while wine surfing Bodega Bay—with just one taste of Mahoney Vineyards Carneros Vermentino ($21), a lean and lively pale white, perfumed as subtly as sea spray, that rides the edge of refreshing limelike acidity with deceptive ease. In a light, perpetual afternoon breeze, overlooking the partially sheltered waters of Bodega Bay from the deck of Gourmet au Bay, this was vino perfecto. My group reflected that while we don’t get any actual fresh catch out of these waters anymore, hell, at least we’ve got great local wine. And the views.

Wine flights are efficiently served on custom wooden “surfboard” trays, an invention of the previous owners. Hard to believe this shop has been here on Highway 1 since 1995—for locals, the sign promising, “wine, gifts” is not a sure lure—but the new owners are a young couple who’ve done a good job of increasing its visibility and viability as a nice coastal joyride pit stop.

The wine racks stock a modest, eclectic selection of locals—Longboard, naturally; also Vision Cellars, Fort Ross, Fleur—weighted in the $20–$30 price range, and a few South African or New Zealand specials. The Chardonnay list, in particular, demonstrates both a savvy understanding of their clientele and a principled approach to the list. Plenty of unspendy bottles under $20 for vacationing fans of Americans’ favorite wines and no run-of-the-mill big brands. Besides hooch, Gourmet au Bay is well stocked with gifts, wine ware and books; again, mainly eclectic, not the usual bric-a-brac.

The second wine off the board, a woody Mackenzie Chardonnay ($18), might have been better with the artisan cheese and cracker plate ($12). That’s all for snacking, but Gourmet au Bay encourages patrons to bring a picnic or takeout lunch to enjoy on their deck (conversely, they’ve got a free corkage arrangement with local restaurants). Cold crab cakes and sparkling wine by the sunset over bay? Sounds like a date.

Gourmet au Bay, 913 Hwy. 1, Bodega. Wine surfing, $8. 707.875.9875.



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Two Towers

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05.13.09

GRAY LADY, GRAY: Would the ‘Press Democrat’ be better off without its parent publication?

Anyone who is a regular reader of the Santa Rosa Press Democrat has to have noticed that the once robust flagship of Sonoma County media is shrinking like Saran Wrap in a bonfire. That the staff has been laid off like auto workers. That advertising is running out like tourists from Mexico.

As if there isn’t already enough bad news for the paper, on March 30 two former employees filed suit against the Press Democrat in Sonoma County Court Superior Court. Regardless of whether their allegations are upheld, the picture they paint shows that confusion and tension over how to manage news resources at the PD continues more than a year after the two women separated from the paper. What the lawsuit additionally makes clear is that the online and print sides of the PD have coexisted more than uneasily. One PD source who asked to remain unnamed described the two sides of the operation as dual towers with no bridge between them.

Leigh Behrens, who before hiring on the PD in 2006 was a hotshot web administrator for the Chicago Tribune, and Laurie Barton, who was a web editor and content manager for the Los Angeles Times and the Orange County Register before her 2007 PD gig, are suing the Press Democrat and its parent company, the New York Times, along with senior PD editors, managers and publisher Bruce Kyse for, among other things, gender harassment, sex-based discrimination, retaliation, pregnancy discrimination and wrongful discharge.

Among Behrens’ complaints are that emails from reporters sent with PD management’s implied consent called her a racist. Behrens and Barton also claim that senior editorial staff, after specifically being directed not to publish news of the sports blog PDPreps.com, published the news anyway just to offer a “fuck you” to the two. (The complaint says “F.U.”)

The women further charge that PD managing editor Bob Swofford and other male managers physically and verbally intimidated and insulted them. Behrens claims that men in the newsroom gossiped in emails that she was having an affair with publisher Kyse and that the affair was the reason for her success.

Furthermore, Barton says that on Feb. 5, 2008, Swofford was so angry with her handling of online election coverage that he yelled at her until she cried. Barton claims Kyse backed Swofford and even joined in on the intimidation. (Kyse refused multiple requests to be interviewed for this article.) When human resources director Kathy Grant, named in the suit, tried to mediate, Barton alleges Grant told her that there was nothing to say about the complaints and suggested the tearful Barton “go and have a drink.”

Barton says that the alleged harassment and intimidation caused her to become nervous and ill. In May 2008, Barton left the Press Democrat on maternity leave. She was later invited back to work but has not returned because she says she believes going back would injure her health, safety and well-being.

Behrens was fired from the Press Democrat in February 2008 after the paper held termination hearings based on complaints made against her by male members of her staff.

I emailed Swofford to ask him for clarification of the complaints that got Behrens fired. Like Kyse, Swofford refused to be interviewed, replying, “We can’t comment on pending litigation.” 

(Avoiding reporters may be a New York Times corporate policy. Times owner Arthur Sulzberger refused to talk to reporter Mark Bowden for a feature article on Sulzberger in the May issue of Vanity Fair. Bowden commented, “Ducking interviews is an awkward policy for the leader of the world’s most celebrated newspaper, one that sends a small army of reporters—1,300 of them—into the field every day asking questions.”)

Behrens and Barton both must have thought they had big journalism futures when they joined a New York Times publication. Behrens was recruited when she was running a website for the Chicago Tribune called Metromix. The site was generating 700,000 hits a month at the time with its postings of social news, event listings, activities and restaurants and bar reviews. Metromix typically carried stories on topics like where to get Chicago’s best spray-on tan.

You can see where Behrens’ work must been attractive to Kyse and the Times. They may have started salivating when they saw Metromix attracting lots of users between the ages of 18 and 35, a highly desirable demographic group for advertisers with a reputation for not reading newspapers.

Kyse had just left the corporate offices of the New York Times in 2005 when he hired Behrens. Kyse knew as well as anyone that the corporation was losing money at an alarming and increasingly fast rate. In 2000, Times common stock was worth more than $50 a share; two months ago, shares were selling for less than $4. Behrens, with her proven ability to attract that 18–35 demographic, would have looked like pork chops to Kyse and the slowly starving wolves at the Times.

Barton was hired by Behrens early in 2007 to be her top assistant as online content editor. Barton had spent her career working at two papers with major, well-publicized financial problems. It’s possible, even likely, Barton saw Behrens’ job offer as a professional life raft.

Both Behrens and Barton moved house and husbands in order to take jobs with the PD, likely seeing their new positions in Sonoma County as a step toward center ring in the big national newspaper circus. Instead, they ended up with tarnished careers, a hole in their résumés and the hope that a successful outcome to their lawsuit will redeem their professional reputations.

When David Cardiff, one of the two attorneys representing Behrens and Barton, returned my call, he was cordial when he said he wouldn’t talk to me. Cardiff said not only would he would not comment on the lawsuit, he’d advise his clients not to talk to me. “We don’t want to litigate this in the press,” he said. Cardiff gave another reason for not wanting to talk; he said that he didn’t want to spoil an opportunity for settlement talks.

Yet the lawsuit is broad in its assertions and vague in its details. Reading the complaint is like watching a bubble dancer. The stripper teases you into thinking you will see everything but in the end she shows you nothing.

Behrens chose to run an online operation separate and autonomous from the print newsroom. She and her small staff worked on a separate floor from the newsroom. Staff sources say there was little to no communication between the online publication and the editors of the print edition.

Here’s an illustration: Behrens reportedly once saw a staff reporter watching a video created by the online desk as an in-house promotion. The film was playing on televisions in the building lobby. She asked the reporter looking at the video what he thought of the production. He told her he thought it was a waste of resources. He said he thought the money would be better used in paying salaries. Behrens allegedly followed the reporter back to his desk, demanded his name (though he was a veteran with near-daily bylines) and then angrily complained about his remarks to management.

Bleys Rose, the PD‘s California Media Workers Guild chair at the time, confirmed a major online versus print fight erupted soon after Behrens came on the job.

Most contentious was Behrens’ refusal to edit comments on stories posted online. Reporters complained to her that certain pieces—particularly stories concerning Latinos—were targets for racist reader comment.

Reporters twice circulated petitions that asked the paper to stop allowing racist remarks in its online readers’ comment. The reporters attached a threat in those petitions to withhold bylines from the online edition of the paper if the PD didn’t begin monitoring and editing online comments.

“There was an atmosphere of hostility towards Behrens in the newsroom because these comments were not being edited,” Rose acknowledged. Editors were forced to mediate the disputes with Behrens.

Rose said he believes angry reporters did send emails to Behrens protesting the racist remarks. Reporters, Rose said, had two problems with the unedited comments. First, they didn’t want the racist remarks attached to their story because it impacted the newspaper’s credibility. Second, sources were refusing to talk to reporters because they didn’t want to have to deal with the abuse.

Rose said he never saw any emails accusing Behrens of sleeping with Kyse, but that he could easily imagine flippant remarks emailed from one reporter to another that said something like Behrens must have gotten her job by sleeping with the publisher.

Rose said Behrens explained her refusal to edit reader comment by saying that if the paper edited any reader comment then legally the paper was responsible for verifying all reader comment on the website. Behrens, Rose indicated, believed that leaving the remarks unedited relieved the paper of legal responsibility for libel or slander published in online reader comment.

Rose said he had lawyers at the Guild look at the issue. “Her explanation,” he said, “was something most people in the newsroom didn’t buy.” The Guild lawyers determined that papers all over the country edit online reader comment, and the Press Democrat could too if it chose to do so.

After Behrens was fired from the paper and new men took over the online publication, a desk in the newsroom was setup for the online editors. The online staff now works closely with print editors on a daily basis. The online editor is frequently seen in the newsroom, particularly when deadlines are approaching. Print editors now have responsibility for posting print stories online.

The Guild has little to do with the online side of the PD. This is in part because Kyse always attempted to keep the Guild out of the online side of the operation, according to Rose. To a great degree, Kyse has succeeded in that goal. The Guild has agreed to stay away from all online employees who do not provide original content for the site—in other words, almost all of them.

So when Behrens and Barton started complaining of bullying and intimidation, the Guild was not involved in any investigation or hearings on those complaints. Still, Rose, who’s says he’s no fan of managing editor Swofford after years of knocking heads with him over Guild issues, says the accusations about Swofford in the complaint don’t sound like the Swofford he knows.

“In six years of my dealing with Bob Swofford as Guild chair,” Rose said, “I never found him to be confrontational, assaultive or acting in a manner to show any great emotion or theatrics. We’ve been on totally opposite sides of heated issues. He’s certainly not a friend of mine. But in my view, I have to say it would be out of character for Bob Swofford [to act in the manner described in the complaint].”

The marriage of the New York Times and the Press Democrat is a story of ironies. For example, the New York Times is the envy of the newspaper business with a website that brings in 173 million or more hits a month, but there is no reader comment at www.newyorktimes.com.

The Times bought the PD in 1986. In retrospect, it appears the Old Gray Lady is now the ball and chain in a partnership drowning in an ocean of debt and declining sales. Counselors say finances are often the root cause of trouble in a marriage. That appears to be the case here.

A New York Times company press release says in the first quarter of 2009 the company lost $61.6 million, down 9.5 percent from the same quarter last year when the company made a small profit of $6.2 million. The company is carrying more than $1 billion in debt.

The Press Democrat is a member of the Times’ Regional Media Group. Advertising for this group is down 29 percent from last year in the first quarter of 2009. The PD‘s budgets are not publicly available. The Guild estimates that the company at the height of its profitability in 2003–2004 had an approximately 25 percent profit margin on gross revenues of about $67 million. The Guild believes the Press Democrat now has about a 6 percent profit margin on gross revenues of about $37 million.

Press Democrat profit apparently evaporates from Sonoma County without materializing with any apparent impact on budget sheets in New York. Meanwhile, the Times continues to demand job cuts to sustain overall corporate profitability. The paper has lost 70 jobs, about 30 percent of the work force, since 2004.

The quick reduction of so many reporters, editors, photographers, graphic artists and copy desk-layout people, Rose admits, has the Guild worried about the jobs that are left.

Of course, just because there are fewer reporters doesn’t mean there is any less news. Those newsroom staffers left must take pay cuts while assuming more responsibilities. Editors are doing online jobs in addition to their print jobs. Reporters are now carrying cameras and video recorders along with their notebooks and tape recorders as they cover multiple beats.

Meanwhile, the Guild estimates younger online workers at the Press Democrat make as much as 6 to 8 percent more than do veteran colleagues in the print newsroom.

Some think newspapers may not be justified in putting their faith in the new dogma that online editions are the future of the industry. Research released in December by a firm called ContentNext claims that the New York Times, were it to survive as a web-only product, would need to generate 1.3 billion hits per month, about seven times what it is generating now. Meanwhile, representatives of the Times are publicly admitting online advertising may decrease in 2009, and executives may be toying with the idea of charging for access to its online edition.

Everyone I talked to on staff at the Press Democrat—and there were five different sources—said morale can be a problem. But most are just happy to have a job right now.

Rose said the Guild believes the paper would not have to make such drastic cuts if it operated independently of the New York Times.

His statement leads to a couple of speculations. One, the Press Democrat may sink and drown with its mother ship New York Times, leaving the redwood empire without a large mainstream media source. Alternatively, the Times will hold a fire sale and try to find a buyer for the PD.

It’s hard to imagine anyone wanting to buy the Press Democrat if the Times decided to sell. Why take on the debt incurred in buying thePress Democrat when a new daily paper could be started in Sonoma County for half the cost? Why would a new publisher want to take on Guild agreements already in place when they can start negotiations from scratch—if the Guild was even part of a new paper?

Sonoma County is a rich market for advertisers with few mainstream outlets for their advertising. A mainstream daily newspaper, as anachronistic as it may seem in this computer age, still looks like a viable business here. But the Press Democrat, as chained to the New York Times, may not be capable of being that viable business model, even as a bridge between the two towers is being built.


Live Review: Bettye Lavette at the Independent

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Of all the ways to shoot down a heckler, Bettye Lavette has the most effective method by far.
During Lavette’s heart-stopping, unfathomably brilliant performance Friday night at the Independent in San Francisco, after the same fan had three times been denied the same request for the Who’s “Love, Reign O’er Me,” she strutted right up to the gentleman, demanded “What did I tell you?!,” and planted a big kiss right on his lips.
The guy didn’t shout anything for the rest of the set—or, if he did, he was drowned out by the chorus of cheers that followed every song, every story, every single outpouring of emotion uprising from every cell and molecule in the depths of Lavette’s body and up to her throat and out of her mouth.
Lavette’s story by now is one all to familiar, even if her music is not: supremely talented singer eludes solid footing at record labels and languishes in obscurity until rediscovered decades later and, at least in Lavette’s case, sings Sam Cooke songs for Barack Obama. During a medley of early hits on Friday, Lavette ran down a quick biography by year: “By 1963 I thought I had grown,” she said, introducing “You’ll Never Change.” “I thought I was a star. I made this record, an’ boyfriend”—putting her hand on the shoulders of a man in the front row and staring him straight in the eyes—“it did not sell one copy. But I made it, I liked it, and I’m gonna sing it for you.”
Or, leading into her career-defining hit “Let Me Down Easy”: “This is the single recording that has literally kept me alive. When there was still black radio, this was number one in San Francisco,” she said to the blue-eyed crowd, “and I’d like to introduce it to the rest of you.”
And yet a good story alone does not a stellar performance guarantee. What sealed the night as Lavette’s—and not Booker T.’s, the headliner—was the constant intensity of her presence. During the third number, a beautiful, achingly pleading version of Willie Nelson’s “Pick Up My Pieces,” the sold-out club was pure silence, save for the whirring of the drummer’s electric fan. During “Souvenirs,” the John Prine song that she credited Village Music’s John Goddard for introducing to her, she sat on the floor of the stage, sometimes singing off-mic and holding the audience rapt.
And yet Lavette wasn’t all poignancy and heartache. In high-heel stilettos, she stomped, kicked, danced and jumped across the stage, delivering hip bumps on the beat and grinding away with guitar solos. By the end of the set, after leaving the stage, the applause was so strong that the soundman turned down the house music, Lavette came back out on stage, and she stood there awestruck, genuinely grateful for the turn in her career and the chance to sing again for a receptive audience.
And then, Bettye Lavette clutched the microphone and alone, sang an unaccompanied acapella of Sinead O’Connor’s “I Do Not Want What I Haven’t Got.” She dominated the song, set the microphone down, waved, and left the place in disbelief.
Booker T. didn’t have a chance.

Set List:
The Stealer
Take Me Like I Am
Pick Up My Pieces
It Ain’t Easy
How Am I Different
I Guess We Shouldn’t Talk About That Now
-1960s Medley-
You Don’t Know Me At All
Souvenirs
Right In The Middle
Before the Money Came
Heaven

I Do Not Want What I Haven’t Got

Go Left Fest: Sunny Murray, Marshall Allen, Roswell Rudd and More Coming to Yoshi’s

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I was plenty thrilled that Abdullah Ibrahim is coming to Yoshi’s in San Francisco (June 5-7), but today’s announcement from hit-the-ground-running Artistic Director Jason Olaine officially blows away worrisome reports of booking more mainstream fare like Joan Osborne and Bruce Hornsby.
Attention, free jazz fans: The inaugural Go Left Fest, two days of avant-garde legends at Yoshi’s in San Francisco, is coming on June 22 and 23.
It’s crazy enough that Marshall Allen, the 85-year old Sun Ra cohort and torchbearer, is part of the festival. It’s insane enough that Roswell Rudd, whose New York Art Quartet and New York Eye and Ear Control are essentials, is appearing too. Throw into the mix author Ishmael Reed, pianist Matthew Shipp, pianists Myra Melford and Mark Dresser, bassist Joe Morris, clarinetist Beth Custer and saxophonist Oluyemi Thomas, and a joyful noise unto the rock of our outer planes is guaranteed.
The cause of my personal hysteria? The drummer on the dates, Sunny Murray. I picked up Eremite’s deluxe reissue of Murray’s hailed-but-impossible-to-find 1969 album Big Chief recently, and it’s as blistering and intense as a hailstorm of roofing nails. (Limited to 600 copies—laminated cover, pressed at RTI, 180 gram, the whole bit. Dusty Groove seems to still have some in stock.)
I assumed Murray, pictured above, was living as a hermit these days in some out-of-the-way neighborhood in Paris, stockpiling newspaper clippings and watching static on TV sets and baking bread or something. I’m glad to know he’s still playing—after an incredible career backing up key Cecil Talyor and Albert Ayler dates, along with leading his own groups.
Murray’s classic album An Even Break (Never Give a Sucker), on BYG Actuel, is a must-have, but Murray is unlikely to see any royalties from it, according to this stellar interview by Clifford Allen. Most record companies are shady, but BYG Actuel made it an art—it turns out that BYG Actuel’s contracts were presented to American musicians drafted in French:
I made three albums, Archie made four; we were like children in a candy field. And we signed contracts, but Archie was the only one who understood a little French. And like you said, the contracts are so artificial. Like one of the lines, they said they owned the music for infinity. [laughs] It’s impossible! I showed my lawyer and he laughed, and we didn’t know what to say.
The Go Left Fest at Yoshi’s in San Francisco, which should hopefully toss some money in Murray’s bank account, is on June 22 and 23. There’s one long show each night, at 8pm; tickets are $40 each or $65 for both days. You can buy tickets here.

The Cool Kids – Gone Fishin’

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Just a quick one to let you know that the Cool Kids, who get unfairly maligned into some sort of off-limits “hipster rap” category—because, I don’t know, they sound like the ’80s and wear neon?—have released an altogether decent teaser mixtape of new songs called “Gone Fishin’.” You can download it here for free.
I was smitten with the Cool Kids back when they only had two songs up on MySpace, a once-relevant website where MCs Mikey Rocks and Chuck Inglish originally met. I worried that our love affair would be short and sweet, but it’s been a year, and here we are, face to face, a couple of silver spoons.

May 11: Julie Chavez Rodriguez at SSU

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Julie Chavez Rodriguez, the granddaughter and torch-bearer of civil and labor rights activist Cesar Chavez, was introduced to the plight of the farmworker in early childhood and hasn’t abandoned the fight since. Now the program director for the Cesar E. Chavez foundation, she works with youth in Latino communities toward more involvement and self-empowerment, upholding her grandfather’s idea that “we don’t need perfect political systems, we need perfect participation.” Chavez Rodriguez has developed numerous after-school programs based on Cesar Chavez’s ideals, and has even developed a web-based K–12 curriculum on the life and work of her grandfather. She also works hand in hand with the United Farm Workers on issues like voter registration and activist programs, and tours the country giving speeches which share her personal memories of her grandfather’s work and promote education, human rights, community service and justice for all. She speaks on Monday, May 11, at Sonoma State University Cooperage. 1801 E. Cotati Ave., Rohnert Park. 7:30pm. Free. 707.664.2382.Gabe Meline

May 9: MURS and Tech N9ne at the Phoenix Theater

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Coming up with the Living Legends crew in the East Bay, MURS was once known best for selling tapes on Telegraph Avenue and hosting a series of “Broke Ass Summer Jam” concerts. Talent intervened, however, and now the rapper with the birth name of Nick Carter (you’d change your name too if you shared it with a Backstreet Boy) has been seen on tour with Atmosphere, in the independent film Walk Like a Man and as an occasional host on CurrentTV. MURS is possibly the most East Coast–sounding MC to live exclusively on the West Coast, with a direct, understandable style more indebted to Masta Ace than Rodney O., although he represents California with a fervor—he’s even got a rib-length “Cloverdale” tattoo (it reflects the area off Wilshire and La Brea in L.A.). Tech N9ne, who headlines the show, knows a thing or two about the hustle himself, although instead of selling tapes on the street, he usually erects an enormous merch booth. Both appear on Saturday, May 9, at the Phoenix Theater. 201 E. Washington St., Petaluma. 8pm. $26–$30. 707.762.3565.Gabe Meline

May 9: Simone at the Lincoln Theater

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“It took a long time for my mother to accept that I was going to go into the entertainment industry,” said Simone, daughter of Nina Simone, in a recent interview. “When I told my parents, neither one of them were very happy at all. It wasn’t until Broadway embraced me, and I was going onstage as Mimi in Rent, that they both came to the show and were like, ‘Well! Maybe you do have a little talent!’” Of course, Simone’s mother, one of the most unique interpreters of jazz—and then, in the ’70s, of popular song—didn’t get a very fair shake from the entertainment industry, and Simone is careful to avoid both the industry pitfalls and the perils of comparison (it’s an easy peril to avoid; the only singer possibly to compare to Nina Simone, the greatest female singer to sound like a man, is Jimmy Scott, the greatest male singer to sound like a woman). With the Napa Valley Symphony, she pays tribute to her mother, now six years gone but deathless in the annals of American music, on Saturday, May 9, at the Lincoln Theater. 100 California Drive, Yountville. 8pm. $35–$60. 707.226.8742.Gabe Meline

May 9: Kathleen Battle at the Marin Center

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Probably the only woman in history to sing for Stevie Wonder, James Levine, Bono, Herbert von Karajan, Wynton Marsalis and the pope, Kathleen Battle is a modern wonder, with an ability to adapt to any setting while avoiding the “crossover” tag. Few who witnessed her performance last year of “Superwoman” on the American Music Awards with Alicia Keys and Queen Latifah would think of Battle as an opera singer, and yet since her professional debut in 1972, singing Brahms’ Ein Deutsch Requiem, she’s been one of the world’s best. Battle has also displayed, at times, a temperament worthy of her last name; she was actually dismissed from the Met in 1994, citing unprofessional actions. A retirement from opera immediately followed, but her recitals and concert appearances the world over are the stuff of legend. Expect a combination of arias, standards and spirituals when Battle drops into town on Saturday, May 9, at the Marin Center. 10 Avenue of the Flags, San Rafael. 8pm. $35–$70. 415.499.6800.Gabe Meline

May 9: American Philharmonic at the Wells Fargo Center

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With 10 years of bringing excellent and free classical music to Sonoma County, the time is now to stand up and salute the American Philharmonic and its director Gabriel Sakakeeny. What began as a small Cotati orchestra has now grown into one of the county’s most forward-thinking ensembles, with Sakakeeny always making interesting and daring program choices. This weekend, he unveils his own composition, the world premiere of The Lion and the Rose, a piece for mezzo-soprano, chorus and orchestra. Rounding out the thrilling program is another world premiere (Charles Sepos’ Pentangle), an all-time classic piano concerto (Tchaikovsky’s Piano Concerto no. 1) and a challenging, thundering finale (Ravel’s Daphnis et Chloé Suite no. 2). The two performances this weekend celebrate a fantastic decade—and provide a wonderful and free Mother’s Day outing—Saturday–Sunday, May 9–10, at the Wells Fargo Center. 50 Mark West Springs Road, Santa Rosa. Saturday at 8pm; Sunday at 3pm. Free. 707.542.8234.Gabe Meline

Gourmet au Bay

Two Towers

05.13.09 GRAY LADY, GRAY: Would the 'Press Democrat' be better off without its parent publication? Anyone who is a regular reader of the Santa Rosa Press Democrat has to have noticed that the once robust flagship of Sonoma County media is shrinking like Saran Wrap in a bonfire. That the staff has been laid off like auto workers. That advertising is...

Live Review: Bettye Lavette at the Independent

Of all the ways to shoot down a heckler, Bettye Lavette has the most effective method by far. During Lavette’s heart-stopping, unfathomably brilliant performance Friday night at the Independent in San Francisco, after the same fan had three times been denied the same request for the Who’s “Love, Reign O’er Me,” she strutted right up to the gentleman, demanded “What...

Go Left Fest: Sunny Murray, Marshall Allen, Roswell Rudd and More Coming to Yoshi’s

I was plenty thrilled that Abdullah Ibrahim is coming to Yoshi's in San Francisco (June 5-7), but today's announcement from hit-the-ground-running Artistic Director Jason Olaine officially blows away worrisome reports of booking more mainstream fare like Joan Osborne and Bruce Hornsby. Attention, free jazz fans: The inaugural Go Left Fest, two days of avant-garde legends at Yoshi's in San Francisco,...

The Cool Kids – Gone Fishin’

Just a quick one to let you know that the Cool Kids, who get unfairly maligned into some sort of off-limits "hipster rap" category—because, I don't know, they sound like the '80s and wear neon?—have released an altogether decent teaser mixtape of new songs called "Gone Fishin'." You can download it here for free. I was smitten with the Cool...

May 11: Julie Chavez Rodriguez at SSU

Julie Chavez Rodriguez, the granddaughter and torch-bearer of civil and labor rights activist Cesar Chavez, was introduced to the plight of the farmworker in early childhood and hasn’t abandoned the fight since. Now the program director for the Cesar E. Chavez foundation, she works with youth in Latino communities toward more involvement and self-empowerment, upholding her grandfather’s idea that...

May 9: MURS and Tech N9ne at the Phoenix Theater

Coming up with the Living Legends crew in the East Bay, MURS was once known best for selling tapes on Telegraph Avenue and hosting a series of “Broke Ass Summer Jam” concerts. Talent intervened, however, and now the rapper with the birth name of Nick Carter (you’d change your name too if you shared it with a Backstreet Boy)...

May 9: Simone at the Lincoln Theater

“It took a long time for my mother to accept that I was going to go into the entertainment industry,” said Simone, daughter of Nina Simone, in a recent interview. “When I told my parents, neither one of them were very happy at all. It wasn’t until Broadway embraced me, and I was going onstage as Mimi in Rent,...

May 9: Kathleen Battle at the Marin Center

Probably the only woman in history to sing for Stevie Wonder, James Levine, Bono, Herbert von Karajan, Wynton Marsalis and the pope, Kathleen Battle is a modern wonder, with an ability to adapt to any setting while avoiding the “crossover” tag. Few who witnessed her performance last year of “Superwoman” on the American Music Awards with Alicia Keys and...

May 9: American Philharmonic at the Wells Fargo Center

With 10 years of bringing excellent and free classical music to Sonoma County, the time is now to stand up and salute the American Philharmonic and its director Gabriel Sakakeeny. What began as a small Cotati orchestra has now grown into one of the county’s most forward-thinking ensembles, with Sakakeeny always making interesting and daring program choices. This weekend,...
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