Art at the Fair

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The closest thing we get to a football pool around here at the Bohemian offices is our annual “Art at the Fair” pool. Or, to be more precise, we take bets on how many photographs of the Golden Gate Bridge there will be in the “fine art” pavilion in E.C. Kraft Hall at the Sonoma County Fair.

This year, we expanded on the idea. Gabe started the betting by predicting there would be five, count ’em five photos of the Golden Gate Bridge. Sara’s prognosis was that at least one of them would have a ribbon, and Gary went out on a limb by betting there’d be a series of Golden Gate Bridge photos—that is, more than one photo in the same frame—and furthermore, that one of the photos in the series would be a close-up of one of the bridge’s huge cables.

The totals:

Six, count ’em six photos of the Golden Gate Bridge.

Three photos of the Golden Gate Bridge with ribbons.

One series, titled “The Many Faces of the Golden Gate Bridge,” featuring three photos.

No closeups of the cables though. We still think Gary wins. And in a notable tangent, there were three paintings of the Golden Gate Bridge.

Kraft Hall enthusiasts can each year also count on. . . a pencil drawing of a famous celebrity! In the past, charcoal likenesses of Michael Jackson, Eminem and Marilyn Manson have graced the walls. What could it be this year? Let the betting begin! Gabe predicted Zac Efron, Sara guessed Obama and Gary went for Ian McKellan as Gandolf.

Alas, none of us were correct. Still, no one could have guessed there would be this impressive portrait, by Roger O’Meara, of Clarence “Gatemouth” Brown:

And I was especially amazed to find a painting by Heidi Snowden of my personal celebrity, Juanita Musson, who owned a series of restaurants in Sausalito and the Sonoma area in the 1950s-1970s:

Juanita’s favorite two phrases were “pour your own coffee!” and “eat it or wear it!” Diners who left food on their plate would find themselves chased out into the parking lot, where Juanita would viciously chuck the plate of leftovers at their head. My kinda gal. There’s an excellent book by Sally Hayton-Keeva about her life in restaurants, and anyone interested in the way restaurants ought to be operated should read it.

The Boys are Back in Town

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Riding with our good Irish correspondent Fionnan Sheridan around the city of Dublin—where, as you can imagine, U2 are revered—my brain settled on a perfectly reasonable question. “Do any members of U2,” I asked, “still actually live in Dublin?”
I say “perfectly reasonable” because in 2006, U2 notoriously moved their enormous assets out of Ireland and into a Dutch tax shelter once the famous Irish tax exemption for artists was capped. I’d say that constitutes a pretty big “up yours” to Ireland, especially when just months before, Bono had loudly appealed to Irish Prime Minister Bertie Ahern to increase Ireland’s overseas aid. Following the money, wouldn’t the band’s members leave Ireland behind and move to France, New York, or—in Bono’s apparent wishes—a mansion in Heaven next door to Jesus?
“Some of them still live here,” said Fionnan. “Right up here a ways is Larry Mullen’s house, actually.” And in minutes, we were driving down a narrow street of large houses with big front yards, stone fences, and locked gates. Fionnan continued: “Phil Lynott’s mother lives somewhere on this road, as well.”
My heart skipped. Really? “Oh, sure,” he replied, like he was talking about the shopkeeper down the way, or the guy who sells newspapers on the corner. He then pointed out the church in Howth that was the site of Lynott’s funeral, and quickly thereafter we were driving by Saint Fintan’s Cemetery, where the great Thin Lizzy frontman is buried.
Anyone who knows me knows that I can’t pass up a celebrity grave—and certainly not the one of Phil Lynott. So we hoofed it across the long, flat cemetery with flashlights, trying in the dark to locate where he’s buried. Like most celebrity graves, it was easy to spot from far away: flowers, guitar parts, leather necklaces, steel bracelets, and handwritten and photocopied tributes piled all around.
I reflexively sang the riff to “The Boys are Back in Town,” which is naturally the first Thin Lizzy song I ever heard. But then I remembered the vast catalog of great Thin Lizzy songs I’d discovered about five years ago, thanks largely to my friend Josh, and so I hummed one of my favorites: “Dancing in the Moonlight.” Sort of apt, actually, under the dwindling Dublin skies.
I talked with Fionnan’s brother a little bit about Phil Lynott, and what it was like growing up in the same neighborhood. “When I was little,” he told me, “you’d see ’em walking on the beach here together, Phil and his mom. And you’d just think, ‘wow.'”
“He’s got a pretty unmistakable profile,” I offered.
“Oh, yeah. An’ in that time especially, seeing a black person in Dublin was unheard of. It’s still rare now, but back then you really noticed it.”
On this graveyard expedition with us was my 15-year-old niece Qiana, who had never heard of Thin Lizzy at all. So I tried to explain that they were this total kickass rockin’ band that was known for these crazy rockin’ songs, and I air-guitared the solo to “I’m a Rocker” to demonstrate, but that they also had this really tender side, too, with tortured pleas like “I’m Still in Love With You,” and come to think of it, their first album was pretty weird and psychedelic and had this great song called “The Friendly Ranger at Clontarf Castle.”
Qiana just laughed at me. I guess I can’t blame her. She’s into Zac Efron and Kanye West.
When we got back to the house and to a computer, I showed Qiana some Thin Lizzy videos, but I’m pretty sure it only cemented my looniness—especially when I showed her the video for “Sarah,” a.k.a. the most amazingly dorkiest video ever made. Seriously. Watch it, and try to imagine any 15-year-old in the world today thinking that it’s at all cool.

Wine Tasting Room of the Week

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The Curse of the Elbow Curtain returns at this styling downtown Healdsburg salon. I’ve got an incredible knack for sauntering in just when every last place at the bar is planted with winetasters, glorying in their experience with exaggerated zeal. So we do a walk-around and find a kiosk where we can explore La Crema with glamorous winemaker Melissa Stackhouse—or her interactive video doppelganger—with no appointment. The uncannily enchanting computer-animated Stackhouse taps her fingers and rolls her eyes while we demur on what kind of wine to try first, when a voice hails us from over the bar: “Hey, you guys want to taste today?” All-right, outstanding. The buzz is palpable at this bar made of metal, wood, light and cachet, and staffed with wise guys threaded in black and gray. It’s Wine Spectator crossed with Details. “We’ve got questions . . .” a twenty-something seeker ventures. “I’ve got answers,” the server immediately responds. Ba-da-bing.

According to its marketing materials, La Crema is “everything that the name implies.” It’s a division of Jackson Family Wines that K-J gobbled up in a 1990s buying spree. Today, La Crema is an “artisan” machine. Raw coastal grapes go in one end, get the royal oak treatment in the middle, and a nationwide spigot fills diners’ glasses at the other. It’s a top-selling restaurant darling, and the eager young crowd in this tasting room is testament to its enviable level of brand recognition.

La Crema’s popular Sonoma Coast series account for something like 99 percent of production, we’re told. Here, only limited production wines are offered—la crème de La Crema. All-right, outstanding. We start with the 2007 Sonoma County Viognier ($20): jasmine blossom and citrus, razor sharp. The Pinots are everything that the appellations imply. The 2006 Los Carneros Pinot Noir ($34): lean and tart, a cherry inside of a cherry pit. The 2006 Russian River Valley Pinot Noir ($34): cranberry-cola, red and green forest berries. The 2005 Sonoma County Syrah ($20): scraps of smoked meat, cedar chest and violet with flavors of fruit leather, plum skin and olallieberry. A fist pump to L.C. for a nice showing of this underappreciated varietal (note the anomaly: though at the end of the list, it’s cheaper).

But when all seems done, what’s this? Our host has revealed a reserve Pinot, a country cousin to the  refined Sonoma Coast. A faint bouquet of animal husbandry, sautéed vegetables and firm cranberries nestled in the blanched brush of a winter thicket? Ahhh . . . The drawback to the “9 Barrel” RRV Pinot Noir ($75)? Just nine barrels.

La Crema Winery, 235 Healdsburg Ave., Healdsburg. Open daily, 10:30am to 5:30pm. 707.431.9400.



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Greywater Guerrillas

08.06.08

On July 26, the morning of the “Greenhouses and Greywater” tour hosted by Daily Acts, I stop to buy food to contribute to the potluck lunch. I’m running late, a fact made worse by my inability to decide whether or not it would be tacky to bring salami. Eventually, I decide to go for the salami (it’s nitrate-free, for goodness sake), a loaf of French bread, some dolmas, mixed olives and a hunk of raw cheddar cheese. Thirty-five dollars later, I’m making my way south, cursing myself for not having the foresight to whip up a pasta salad the night before. Economics aside, there is still the chance that my salami might be offensive. Do permaculturalists eat salami? I don’t really know, but I have my doubts.

Gehlen shows us her graywater system. It’s an ingeniously simple plan that involves tapping into the washing-machine water and running it down a gravity-fed path through three bathtubs filled with lava rock and an array of towering reeds and trees. The end result is purportedly drinkable. Gehlen doesn’t drink hers, but she does use it to water her garden, which is peppered with native plants that thrive in the salty air of the Sunset district. As she introduces her garden, Gehlen tells us that she is a renter, a fact that I am awed to note does not seem to deter her from working the ground.

The group is friendly, intelligent and engaged. Some take notes, others ask questions, some snap pictures. Trathen Heckman and Kevin Bayuck, permaculturalists and tour coordinators, act as seamless facilitators. They combine their knowledge with a distinct lack of pretension that only serves to deepen the feeling of community.

Our next stop is hosted by Ben Jordan, farmer and yet another permaculturalist. The backyard of his home—which he rents and shares with three others—has over the last year and a half been transformed from a dusty sandlot covered in ice plant into a thriving garden, replete with green house, graywater system, active compost pile and a composting toilet.

Jordan talks about eco-literacy. You can tell a lot, he says, by watching people in their backyards. As a group, we glance left, we glance right. The majority of the other rectangular yards stand empty, thick with dry weedy grass, and not much else. Jordan tells us that urban sustainability is about understanding our sense of place. We are left to ponder what it means, exactly, when our sense of place appears to be deserving of so little care.

Partway through Jordan’s talk, people arrive bearing a newly welded “rocket stove.” In this household, one of the goals is to live, as much as possible, without imported resources. This means more than just growing food. The rocket stove will allow the housemates to cook outdoors, using a minimal amount of wood, thereby slowing down reliance on the electric company’s imported gas.

Next, I learn about urine diversion, and briefly examine a book called Liquid Gold: The Lore and Logic of Using Urine to Grow Plants by Carol Steinfeld. I have never heard of such a thing, and yet here I am, being mentored by a man whose garden appears to thrive on diluted urine. If high school had been this interesting, I might not have dropped out.

Too soon, our tour is up. I have seen many things that have defied my vision of what is possible in an environment where, were it left up to me, there might not even be a single potted plant. The weather is unforgiving, the ground is made of sand and the presenters are renters.

How many times have I said, “What’s the point? I’m a renter.” More times than I would care to remember. The Sustainability Tour was enjoyable on many levels, but for me, personally, the gift that really came home was the realization that my environment is precious, and that it doesn’t matter who “owns” the soil where I live—because it’s both my responsibility and in my best interest to do everything I can to transform my space into one of abundance.

 

 For more information on the Sustainability Tours go to www.daily-acts.org, or call 707.789.9664. For more information on putting in your own graywater system go to [ http://www.greywaterguerrillas.com/ ]www.greywaterguerrillas.com.

Here I am, being mentored by a man whose garden appears to thrive on diluted urine.


Letters to the Editor

08.06.08

Guise of the Geysers

 

P. Joseph Potocki brings to our attention (“Blowing Hot Air,” July 9) the fact that “the largest green energy field in the United States is actually run by old-school oil interests.” So he poses the obvious question: “Who’s behind the steam at The Geysers?”

To answer this question, he offers:

Kenneth Derr. But he is no longer associated with Calpine or The Geysers, so he’s not the “old-school oil interest” running The Geysers. Robert May, who was brought in to turn around the bankrupt Calpine, completed that task, and announced that he was leaving last March. Not him either.

That leaves David Leuschen, who’s the founder of Riverstone Holdings. Riverstone is a partner in over 20 energy-related companies. Of the 20 companies, one is US Renewables. US Renewables is a partner in about 18 renewable energy companies. These are all either geothermal, biomass, biodiesel, or solar businesses. Of those 18 companies, one is Bottle Rock.

Bottle Rock owns a generating plant at The Geysers that was shut down in the ’90s for lack of steam. Our wastewater now makes the steam, so it refurbished the power plant and sells the power to PG&E. So he must be that “old-school oil interest” who is running the Geysers that you speak of.

With Potocki’s thorough analysis, we can clearly see how he arrived at his conclusion that The Geysers are “a tiny sub holding tied to trillions of international finance dollars, massive worldwide pollution, carbon energy, corporate rip-offs, juicy scandals, Third World oppression, neo-con and Republican Party politics, and even to the machinery of war.”

Brilliant investigative reporting! Thanks for connecting all the dots for us, and giving the words “tied to” a whole new meaning. As the headline states, you are truly “Blowing Hot Air.”

P.S. He forgot to mention that The Geysers were largely developed by Union Oil and Sacramento Municipal Utility District in the ’60s and ’70s. So this conspiracy of renewable energy from geothermal sources by the “old-school oil interests” goes back for years! If only J. D. Grant or Luther Burbank had an extra billion dollars, they could have developed The Geysers!

Charles Evans

Santa Rosa

 P. Joseph Potocki responds: Actually, (1) ex-Chevron chief Ken Derr, recently resigned from Calpine notwithstanding, wielded enormous influence over the firm for the past seven years. (2) Robert May remains, at this very moment, Calpine’s CEO. (3) Carlyle/Riverstone and US Renewables are entirely separate entities. David Leuschen’s energy investments are overwhelmingly carbon-based. (4) Bottle Rock is the name of the generating plant, not the name of its owners. (5) Your P.S. contends that I “forgot to mention” Union Oil and its role in developing the Geysers. Again, not true.

Next time you accuse an investigative reporter of blowing hot air, Mr. Evans, best to get your facts straight first.

You Should Care

Have you ever paid property taxes? Have you ever been to the Sonoma County Animal Shelter? Have you ever obtained a building permit? Have you ever been married or had a child in Sonoma County? If you have answered yes to any of these questions, you have been directly served by a Sonoma County employee. Your civil servants in Sonoma County are working without a contract. The county is negotiating our new contract, but it is trying to take away what attracted us to our jobs in the first place—our affordable healthcare—by proposing to reduce the employer contribution to our healthcare from a percentage to a flat rate. For those with children, this could make our cost go from $200 per month, to over $1,400.

I realize many citizens don’t care about our benefits, but you should. The county managers have recently received substantial raises, while the county wants to take from the workers. Call the Board of Supervisors and tell them you want us to have a fair and equitable contract, and that you aren’t happy with them giving themselves thousands of dollars in raises! Help us so we can help you!

Tina Barry

Santa Rosa


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Brain Tattoos

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08.06.08

Commercials are the new radio. You may have already suspected it, but now it’s official, as evidenced by the recent runaway successes of artists such as Canadian singer-songwriter Feist and Israeli crooner Yael Naïm. Plucked from semi-obscurity to provide the soundtracks for, in Feist’s case, the Apple iPod Nano with the bouncy “1,2,3,4” and, in Naïm’s case, the new Apple MacBook Air with the unforgettable “New Soul,” both songs have subsequently catapulted up the Billboard Hot 100.

Then there’s the rock trio Lifehouse, who in 2007 created the haunting “From Where You Are,” specifically for an Allstate Insurance ad. The song soared into the top of the Billboard charts as a direct result of the TV exposure. And last year’s catchy clip advertising Rhapsody’s availability on TiVo opened with American singer-songwriter Sara Bareilles performing “Love Song” at a piano in the living room of a Rhapsody customer. The response to the ad was immediate. The week after it aired, sales of her album Little Voice more than doubled from the previous week to 15,000, according to Nielsen SoundScan. Two weeks after airing, it almost doubled again, to 27,000 copies.

And that’s just the tip of the musical iceberg of established and new singers and bands leasing their vocal chords and compositions to major marketers. Russian-born songstress Regina Spektor trills for Vodaphone, XM and JC Penney; Norwegian duo Royksopp play for Geico; and electro-pop duo Bitter:Sweet lend their sultry sound to the likes of Korbel and Victoria’s Secret. And so on, and so on. As Rob Schwartz, executive creative director at TBWAChiatDay in Los Angeles, which handles such clients as Apple, Nissan and Anheuser-Busch, points out, “Music in commercials is where the currency is. A lot of times you go to YouTube to look for a commercial, and the first question is, ‘What’s that song?'”

With the walls surrounding record labels, advertisers, brands and artists, entertainment and marketing all tumbling down, Josh Rabinowitz, a director of music for Grey Worldwide, thinks it’s only a matter of time before an original musical composition for a commercial hits No. 1 in the Billboard charts. “You’ll definitely find much more of that happening,” he says.

“TV is the new radio, and it’s been that way for a while,” says Steve Scharf, senior vice president for Carlin Music, which licenses songs for TV, film and commercials. Scharf also has his own company that reps about 50 independent acts for TV and advertising. “It helps expose and make money for the artist. They make more money from a license like that than they will from selling a couple of hundred records.”

Jerry Plotkin, founder and president of New York’s Headroom Digital Audio, says TV is definitely the place to break a band these days. “When I started, back in the heyday of the jingle, everything was song-based, which it still is. But the difference now is that most ad-industry creatives feel that if the song is written specifically for a product, it’s cool, whereas to sing about a product isn’t cool. Commercials have become little bits of entertainment. It’s more about a vibe.”

In fact, so ubiquitous is the trend, there are even suggestions that the Grammys add two new categories to their roster: Best Original Song and Best Original Score—in a commercial. While Evan Greene, the chief marketing officer of the Grammys, says that’s not likely to happen any time soon, he does point out that the Grammy awards are willing to adapt to evolving times. “It certainly makes sense,” he says. “Never before has there been more music and in more forms, and never before have there been fewer people to hear it.”

All of which is hardly surprising, given the shakeup in the music market since the advent and demise of Napster, generally dismal record sales and the phenomenal success of iTunes. It’s hardly any wonder that new bands are relying more and more on commercials, as well as TV and films, for exposure, fame and fortune.

And forget any notion of selling out. While obviously Neil Young wouldn’t agree (though “Keep on Rockin’ in the Free World” would be a great song to use, Schwartz points out), “At this juncture in capitalism, there’s no such thing as selling out,” he says. Historically of course, this wasn’t always the case.

“Back in the day, the last thing you wanted to be associated with was a commercial,” Plotkin says. “I remember how horrified people were when the Beatles’ ‘Revolution’ was licensed to Nike.” Since then, the whole paradigm and model has shifted, as established singers and musicians in addition to the Beatles, such as the Rolling Stones (Apple), Bob Dylan (Cadillac) and Led Zeppelin (Cadillac), have increasingly agreed to license their own music for use in commercials.

“For me, it began eight years ago, when Lenny Kravitz put out his album 5,” says Scharf. “The song ‘Fly Away’ became a huge car commercial [for the Peugeot 206 in 2000], and it was only after that that Virgin Records and the radio jumped on the song. That, to me, was a real marker in the road and the beginning of advertisers using original masters of existing records of artists, as opposed to creating a new jingle.”

It’s impossible to ignore the impact Apple has had on the whole business. It all started, Schwartz says, back in 1997 with the Apple tagline “Think Different.”

“Visually, you saw Bob Dylan and John Lennon for a computer brand, and that started a trend,” he says. “The next step was when Apple launched the original colors iMac to the Stones’ ‘She’s a Rainbow.’ At the same time, Nissan launched the Maxima with the Who’s ‘Won’t Get Fooled Again.’ So, historically, the breakthrough came when the legends said it was OK to do it, and it suddenly had currency.”

The difference between then and now, he says, is that now “you’re breaking new artists as well through product launches. With each Apple launch, there’s a new music composition that comes with it, like Feist and Yael Naïm. Clients also often do multiple media formats, not just TV, but YouTube and their own websites. That kind of marketing muscle is not really around for the record label, which is so crushed and squeezed they’re looking for all the help they can get on how to market.”

It was a masterful stroke that led Apple to launch iTunes, thus ensuring even more sales. “Apple has set up to be structured for success,” says Schwartz. “They find the right song, they market it on TV and the web, and the first place you can get it is iTunes. The distribution is built into the marketing.”

But before new music was used in commercials, it first appeared on TV shows. Current hot picks include hits such as Grey’s Anatomy, The Riches and Nip/Tuck. According to Scharf, “Indie music has been on TV and in films for well over 10 years, and I was one of the early people who got into it through licensing. More people want their music in film and TV than they do in commercials—not that they wouldn’t want a commercial if it was right for them.”

Rabinowitz, who writes a column for Billboard on the subject of music in advertising, thinks it’s all good news for the ad industry. “Advertising is supposed to be creative, and in a way it’s not, because sometimes we’re just serving up what people want us to serve them. But if the clients are open to it, they can really have a say in what people are listening to, and there’s something significant about that.”

The implications for the music industry itself, however, are less clear. “Before, the music industry was dominated by the record industry. Now it’s not, it’s shifting,” says Rabinowitz. “It’s much more about live performance and the digital space, and much less about record sales. The implications for the record business as a whole are pretty dismal.”

Music in commercials can also have a major impact on the brands themselves. “Think what advertising has done for Old Navy and Target,” Rabinowitz says. “Their image has been heavily influenced by the music they use in ads. They’re both inexpensive stores. There’s nothing cool about them, but music has helped elevate them and their brand awareness to a unique place.” It was Target, for example, that recently commissioned Sophia Shorai to re-record the Beatles’ “Hello Goodbye” for use in an ad.

  

While licensing a Beatles song does not come cheap, for many advertisers the marketing pros far outweigh the financial cons. As Rabinowitz points out, “Sound stays with you longer than any other sensory input. It’s irrefutable. We can filter out visuals, but sound, and especially melody, kind of tattoos itself on your brain.” 


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On Deck

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the arts | stage |

DARK SUMMER: Poet Anne Sexton’s feminist phantasmagoria ‘Transformations’ opens this fall at the Cinnabar.

By David Templeton

Get out your calendars, theater fans! It’s time to take a look at the latest batch of announcements from North Bay theater companies, finally ready, after months of tinkering, to tell us what they’ve got planned for their upcoming seasons.

Santa Rosa’s Sixth Street Playhouse follows its upcoming revival of The Music Man (Aug. 15–Sept. 14), starring local favorite David Yen as Professor Harold Hill, with a whopping 10 shows, seven (including Music Man) to be staged in the large G.K. Hardt Theater and four in the new black-box Studio Theater. Arthur Miller’s transcendent Death of a Salesman (Oct. 3–26), directed by Sheri Lee Miller, will feature, according to certain enticing rumors, stage, screen and television heavyweight Daniel Benzali (Murder One, LA Law, Jericho) as Willy Loman, with a strong local cast including Tim Kniffin, Michael Navarra, Eric Burke and Jeff Coté.

Ted Swindley’s Always, Patsy Cline (Nov. 7–Dec. 7), with a live band onstage, will be directed by Elly Lichenstein and feature Mary Gannon Graham. The Scene (Jan. 16–Feb. 8) is Theresa Rebeck’s scathing comedy about Manhattan party people, while La Cage Aux Folles (Feb. 27–March 29) is Harvey Fierstein and Jerry Herman’s adaptation of the farcical French film about two gay men attempting to play straight for the benefit of their son’s bigoted in-laws.

Joe DePietro and Jimmy Roberts’ I Love You, You’re Perfect, Now Change (April 17–May 10), currently Broadway’s longest-running show, looks at love and marriage through a series of comical vignettes, and In the Mood (June 5–28) is Patrick Watkins’ musical adaptation of Shakespeare’s Much Ado About Nothing, set in an Italian USO retreat during WW II, with period songs like “In the Mood,” “I’ll Be Seeing You” and “Someone to Watch Over Me.”

In the Playhouse’s Studio Theater, the season kicks off on Aug. 29 with Rebecca Gilman’s Sweetest Swing in Baseball, a comedy-drama about an institutionalized artist who thinks she’s baseball legend Darryl Strawberry. Brian Friel’s Molly Sweeney (Oct. 24–Nov. 16) is a three-actor drama about a blind woman, her husband and the doctor who may or may not be able to restore her eyesight. In The Blue Room (April 3–26), playwright David Hare adapts Arthur Schnitzler’s sexy-funny LaRonde, with one actor and one actress playing five sets of would-be lovers in the act of almost having sex. And in the experimental drama Well (June 12–July 12), Lisa Kron portrays her family’s wrestling match with illness, healthcare and healing.

Petaluma’s Cinnabar Theater kicks off its new season on Sept. 5 with Philip Barry’s ever-popular Philadelphia Story, the iconic comedy about a rich heiress, her yacht-building ex-husband and the cynical journalist who thinks he loves her. It’s the story that taught the world the meaning of “yar,” and, no, that’s not a pirate expression. Following on TPS’ heels is Conrad Susa’s new musical adaptation of Anne Sexton’s very adult fairy tale fantasia Transformations (Oct. 24–Nov.15), featuring a cast of eight singing and darkly emoting their way through some very edgy interpretations of Rapunzel, Sleeping Beauty, Rumpelstiltskin and others.

Always, Patsy Cline (Dec. 31–Jan. 11) hops over from Sixth Street for a few weeks after its Santa Rosa run, followed by an as-yet untitled performance piece from Fred Curchack and Laura Jorgenson (Jan. 23–31). Leonard Bernstein’s musical/comical adaptation of Voltaire’s Candide (March 20–April 12) heralds spring, and the season ends with Donald Margulies’ Collected Stories (May 22–June 13), a searing two-woman drama about literature, art, friendship, plagiarism and truth.

Local theater veteran Carl Hamilton has created a new theater company, Fools Circle Repertory Theater, and plans to kick off with a three-show season beginning with the raucous off-Broadway musical-comedy hit Zombies from the Beyond (Sept. 25–Oct. 31), followed by a revival of Hamilton’s Nick Twisp adaptation Youth in Revolt and a new reinvention of Shakespeare’s Antony and Cleopatra (dates are still not set).

The young Turks of Santa Rosa’s Narrow Way Stage company launch their summer onslaught with a double whammy of David Ives’ Don Juan in Chicago (Aug. 28–Sept. 14) and Dan Farley’s incendiary home-front drama Darryl, Come Home (Sept. 5–14).

 

And finally, Healdsburg’s Raven Players plan six shows this season: A Few Good Men (Aug. 15–Sept. 7), The Foreigner (Oct. 10–26), Joseph and the Amazing Technicolor Dreamcoat (Jan. 22–Feb. 15), Steel Magnolias (May 1–24) and Suessical: The Musical (June 19–July 19).

Pegasus Theater in Monte Rio has yet to announce its new schedule, but will open Christopher Hampton’s Art on Aug. 23. Check its website (www.pegasustheater.com) for announcements of upcoming shows.



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Racing for the Green

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08.06.08


On July 20, Sarah Trejo joined 2,000 other athletes to race the Vineman 70.3 Half Ironman Triathlon starting in Guerneville. Though Trejo only had to drive eight miles from Santa Rosa, many of the other athletes and 10,000 spectators traveled farther by car, plane and even a few by foot and bike.

In Guerneville, Trejo lined up behind the world-class professionals to swim 1.2 miles through the Russian River. She then biked 56 miles to Windsor, where she began the 13.1-mile run to finish at the high school.

In the fields of Windsor High School is a giant fenced-off transition area, where the racers leave their bikes and pick up their running shoes. The night before the race, Trejo had to drive to registration to pick up her race packet and number, her T-shirt and goodie bag, then drive to the transition area to drop off her running shoes.

“I could have biked,” she concedes, “but I didn’t really want to do about 16 miles of riding before my big day.”

A similar transition area is set up at Johnson’s Beach in Guerneville, where Trejo left her wetsuit and picked up her bike. She loaded her wetsuit and whatever else she had at the start into a plastic bag, which was transported by truck back to the giant finish area at Windsor High School.

Every one of the 2,000 racers has specific drinks and food for the race, which they supplement with sports drinks and water at one of the aid stations along the bike or the run. As they speed along, the athletes rip open their power bars, discard the wrapper, slam down drinks and toss the bottles. Simply put, a triathlon route is a mess.

“By the time I was on the run, the road was completely littered with cups. This is nothing new for a race—and the volunteers dutifully clean it all up,” Trejo says.

This is all typical of a large triathlon.

Ben Collins, a first-year professional triathlete who lives one-third of his year in Tiburon, raced this June in Escape from Alcatraz, one of the most popular triathlons in the country. To compete, he had to fly from Seattle, drive to San Francisco, ride a bus with the other athletes to the ferry and then take a ferry out to Alcatraz Island.

While Escape from Alcatraz has unique circumstances, the race bags—carriers stuffed with freebies—can be a burden. They typically contain coupons (which Collins admits he’d probably forget on the way to the store), a visor (which he intends to donate), a race belt (which he gives away) and various samples.

“I’m not a big fan of race bags,” Collins shrugs. “They haunt me for months as I try to get rid of it all without feeling like I’m wasting something.”

While triathlons are meant to celebrate human fitness and endurance, they’ve so far lacked a commitment to the environment. A recent study of the upstate New York-based Musselman Triathlon estimates that last year, the roughly 1,400 participants produced 3,240 pounds of trash in just one day of racing. But as going green gets cooler, local triathlons are leading the eco-charge.

Large amounts of waste may be standard for a big race, but what is not standard (yet) are the recycling bins that the Vineman race provided for the swim caps that the athletes would otherwise throw away and recycling bins for plastic and bottles. The bags the racers get at registration were reusable and the race numbers recyclable, as were all the napkins and utensils in the food tent. The composting behind the food tent was also different from other races. And all the generators at the expo and finish line were powered by a local solar company.

Still, while Trejo appreciated the steps that had been taken, she feels that goodie bags “filled with advertisements” are “hypocritical.” “I just wish there was a way, in general, to cut down on so much waste,” she says.

Growing Pains

Triathlon is one of the fastest growing sports in the country. No longer the domain of eccentric die-hards, there are now over 100,000 members registered with USA Triathlon (USAT), the sport’s governing body, and many more who buy one-day memberships to race in USAT-sanctioned races.

Five years ago, there were just over a thousand races registered and sanctioned by USAT of varying lengths. In 2007, there were 2,340 events. There are local, small, nonsanctioned races constantly hosted by different groups; even Jennifer Lopez is training for a triathlon.

In 1998, there was just one Ironman race in the continental United States; this year, there are six full Ironman events and more half-distance (70.3) events. For a sport that started with 15 competitors in Hawaii in 1978, this kind of growth brings with it unexpected side effects as serious racers fly across the country or around the world for races and own multiple bikes, wheels, shoes and clothes.

“You can’t have the sport of triathlon if you don’t have clean water, clean air and clean venues,” says Jeff Henderson of the Council for Responsible Sport (CRS), who explains that bacteria and pollution levels affect where races can be held. “Already, that’s becoming a problem.”

Kathy Matejka, event services director for USAT, echoes this sentiment. “Without taking care of the environment, we won’t have places to pursue the multisport lifestyle.”

Both Matejka and Henderson serve on the USAT Sustainability Task Force, which was convened over just such concerns. The task force recently submitted a resolution to its board of directors that would create a strategic plan with short- and long-term goals and the likelihood of USAT sanctioning official “green” races.

Triathlon is one of the few governing sports bodies beginning to address environmental and sustainability issues.

“Organized sport, in general, is slow to embrace the solutions and practices to further environmental and social responsibility,” Matejka says.

The initiative to take on these growing environmental challenges has fallen so far on individuals’ shoulders.

Leading by Example

Chris Lieto, a professional triathlete from Danville, has become a poster boy for environmentally conscious training and racing. Lieto has been a pro for six years, has won some of the sport’s top races and placed sixth in last year’s Ironman World Championships. And he’s using his visibility to launch a new challenge, the Green Athlete.

“I don’t want it to just be a wasteful time. I want it to have some purpose, to leave it better in some way,” Lieto says of his sport.

Lieto’s sustainability initiative is focused on bringing together different environmental programs and bringing more attention to the issue. Many of his sponsors already have their own programs, such as Trek’s One World, Two Wheels bike-riding project and the Soles4Souls shoe recycling venture. By working with his sponsors, with other athletes and with local races, Lieto is spreading the word about simple things triathletes can do, such as commuting to races, buying in bulk and with less packaging, and using reusable bottles and water filters.

As more and more professional athletes express interest in getting involved, and more and more races want to make an attempt at going green, Lieto’s biggest focus has been his website (www.thegreenathlete.com), where he gives tips and advice, and his biodiesel van, which he drives to those races he can.

“Miami’s a little far,” he says. But when Lieto had to fly to Miami for a race, he looked up the carbon impact of flying. “It was crazy,” he exclaims. “Sometimes I have to [fly]; it’s my occupation,” Lieto says, but he recommends focusing on local races or planning vacations around destination races, so it’s not a wasted trip or wasted carbon.

Lieto’s biodiesel van features four beds, a flatscreen TV, a PlayStation, a fridge and water filter. When driving it to races, he opens it up to amateur racers, encouraging them to think about doing local races or using a water filter instead of disposable water bottles.

“It’s not about me being the prefect green example, but about striving, encouraging people,” Lieto says. “Anyone can limit what they’re using.”

Pulling Out All the Stops

Mark Liebert, who is directing the first annual Marin County sustainable triathlon, echoes Lieto’s idea of leading by example.

“It’s not like we’re going to change the world, but we can bring attention. If we can do this large event sustainably, then one family, maybe, will take away one thing they learned,” Liebert says.

The Marin County Triathlon, slated for Oct. 26, will not only be Marin’s first large-scale triathlon race, but it will also be an all-sustainable event.

With about 90 percent of large race events in the country not even recycling, there are a lot of steps that can be taken in making an event green.

“There is a lot of low-hanging fruit,” says the CRS’ Henderson.

Bruce Raynor of Athletes for a Fit Planet is working closely with Liebert on the Marin County Triathlon, as well as with a number of other races and events across the country.

“Most of them start from ground zero,” Raynor says. He attempts to create a long-term plan with each of the races, which usually starts with the simple three R’s—reduce, reuse, recycle—and becomes more complex from there. “But [Liebert] is pulling out all the stops,” Raynor praises.

As Liebert started planning his race, which was inspired as he ran the Marin trails, he realized he could do things very differently. He needed shuttle buses—why not make them biodiesel? Similarly, the lead vehicle is a hybrid. Instead of plastic water bottles, athletes will use stainless steel. Instead of plastic trophies, racers will get awards made from recycled bike parts. The T-shirts will be organic with nontoxic ink. All race information is distributed by email. Perhaps most importantly, the race is focused on local athletes, with no national advertising, and carbon offsets will be bought for all athletes traveling from outside the Bay Area.

“I love Google,” Liebert, who has researched all these aspects of the race himself with the help of Henderson and Raynor, enthuses. “Most of it’s pretty common sense.”

Is It Enough?

But to suggest that becoming environmentally friendly is solely common sense isn’t giving credit to how difficult some of the obstacles are to overcome.

Sometimes, the biggest obstacle is how things have always been done. On Lieto’s website, naysayers have left negative comments about the selfishness of triathlon in general and of Lieto in specific. For years, triathletes have expected to get more from their registration fees: more goodies, more coupons, more water bottles, more aid stations with more paper cups, more events in more places. They expect transport around the events and they want the newest equipment all the time. This means buying more carbon wheels and fancier bikes. If “reduce” is the first adage of sustainability, it is also the hardest for most competitive triathletes.

“We think we’re being green just by riding our bikes everywhere,” Collins says, “but that’s not true. Triathletes tend to buy huge SUVs that don’t really hold bikes any better than the trunk of a sedan or a roof rack, and even though it’s nice to have a little extra leg room for tired muscles, that alone probably counteracts the good of riding to work three times a week.”

Collins also points out that working out a lot means eating more, and, besides the fact that energy bar wrappers are difficult to recycle right now, a lot of the food we eat comes from far away and is not always grown in the best conditions.

“How many apples were shipped from New Zealand to feed triathletes last year?” he asks.

And it’s not just the way individual racers think, but the way event producers themselves approach their races. Most race companies are for-profit, and the main—if not the only—concern is the bottom line.

“The biggest challenge is rethinking the way events are produced,” Henderson says.

“But it’s easy to get corporate sponsors to jump on the green bandwagon, so if cost is an issue, it’s most likely just a matter of knowing the right person,” Collins says.

The biggest issue remains travel to races.

According to the Council for Responsible Sport, just over 1,700 athletes flew 18 million miles round-trip to participate in the Ironman World Championship in Kona, Hawaii, last year.

Collins, in his first year of traveling around to professional races, flew 5,500 miles to South Korea for an International Triathlon Union race.

“It was a long, long trip for three days,” he says.

Last year, North America Sports, the company that runs the Ironman and Ironman 70.3 events, introduced a policy that gives preference in registration to those who register in person at the event the year before. This policy is meant to stem some of the registration issues at the extremely popular events that sell out immediately, but it also effectively means a person might travel all the way to an event one year just to register, and then travel back the following year to compete. Obviously, the number of people who do this is few. But the policy has still come under attack.

How Could People Not Support Us?

More and more events are becoming environmentally conscious, because the athletes are demanding it. The Ironman events are attempting to go green too, focusing on reducing waste at the recent Coeur d’Alene event by 25 percent this year and working with the Recycling Foundation.

USA Triathlon conducted a poll of its members and 44 percent said that the best way to be environmentally responsible is to support “green” events.

“Right now, a lot of race directors are thinking, ‘I want to do something, what can I do?'” says Raynor, who is working with 10 different events, including marathons and triathlons.

But after the basics, where do race directors turn? How do they know what is and isn’t good for the environment?

With partner Jonathan Eng, Henderson’s CRS is hoping to answer that question by working on a process for events to become third-party-certified green at different levels. This year, their nonprofit initiated a pilot program of 15 events that cover a cross-section of geography, sport and type (long-established or more recent). The Marin County Triathlon is one of the pilot programs and the only first-year event in the program.

Each of the events works with CRS to establish what criteria they will attempt to achieve. There are up to 40 “credits” that races can go after, including categories for waste, climate, equipment, community and health. Some 21 credits are required to obtain certification as a green event, and more credits achieve higher certification levels. Credits are obtained through things like recycling, composting, using local food, offsetting participant travel and sharing or borrowing equipment.

The organization then verifies the event and writes up a case study. They are attempting to document what problems events encounter, what criteria are realistic and create a cohesive process for all events to go through.

“Lots of things are difficult to quantify,” Henderson says, citing as an example the identifying of food sources for a race.

The final report will be released in November and races will be able to obtain official certification next year. There have already been a number of inquiries for next year and there were more than 35 applications just to participate in the pilot program this year. Because Henderson also works closely with USAT and serves on its task force, there is the likely possibility of having up to 300 USAT-sanctioned, certified green events in the next few years.

An important part of the certification process includes not just being environmentally responsible, but also socially responsible. Credits can be earned for outreach to under-represented minorities, health education or giving some of the profits to local charities.

This is also an important aspect of the Marin County Triathlon, which instead of awarding a purse to the athletes, is focusing its awards on three specific charities.

“I don’t need the money,” Liebert says. “Business is fine, my life is good. I decided to give it all away.”

This may well be the future of the sport.

“How could people not support us?” Liebert asks simply.

NorCal Races to Look For

Triathlon is expensive and resource-intensive, with few minority participants and many chances for excess. But it is also a sport that offers its athletes a chance to appreciate the outdoors that they will have to make an effort to save.

Trejo has two more large races on her calendar: Santa Barbara Long Course and LA Triathlon. These will both involve lots of travel from Santa Rosa, but this time she’ll be carpooling with other friends doing the races. They plan to make a fun trip out of it. “The one goal I always have is to have fun,” Trejo says.

Aug. 10: Santa Cruz Sprint Triathlon, Santa Cruz

Aug. 16: Tri for Fun #3 Sprint Triathlon, Pleasanton

Aug. 24: Escape from the Rock, San Francisco; Luna Bar Women’s Triathlon, Sacramento

Sept. 7: *Folsom International Triathlon, Folsom; Big Kahuna Half Ironman, Santa Cruz

Sept. 13: *Triathlon at Pacific Grove, Pacific Grove

Sept. 21: Tri for Real, Pleasanton; Sentinel Triathlon, Santa Cruz

Sept. 27: See Jane Tri, Pleasanton

Oct. 11: Tri Girl Tri, Napa

Oct. 26: *Marin County Triathlon, San Rafael

Nov. 8: *San Francisco Triathlon at Treasure Island, Treasure Island

*Denotes prize purse offered to professionals

 


Strung Out

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08.06.08

In a summer movie lineup crowded with comic-book heroes and larger-than-life action sequences, an unassuming documentary turns the spotlight on a real-world superhero. Most people have probably never heard of Philippe Petit, but he can dance on air—without any special effects.

Man on Wire, the latest release from documentary filmmaker James Marsh (The King, The Team), is not a formulaic superhero movie. It’s better. Marsh, who has said he sees the film as a heist movie, directs the story with all the suspense and wit of a film noir murder mystery and all the adrenaline of a blood-pumping bank-robbery flick. And the best part of all is that Petit is more than real—thriving, actually, now into his 60s—and every moment of the story is made more incredible for it.

On Aug. 7, 1974, Petit, an energetic and daydreaming Frenchman, set out to do the impossible. With the help of a small group of friends, he smuggled equipment and cables into the newly erected World Trade Center, secured the cable across the 200 feet between the towers and proceeded to walk back and forth for the better part of an hour.

Petit, his face lost in memories, tells the camera that he had been dreaming of the towers for six years, watching them grow from across the ocean and idly doodling a wire across the tops of them in pictures. The towers were being built for him, he says. When the time came, Petit infused a giddy desperation into his entire life, devoting everything to his final moment of performance. Of course, Petit was promptly arrested after coming down off of the wire, and the camera watches as reporters whip themselves into a frenzy trying to discover why Petit risked his life for such a stunt. “There is no why,” he says simply. In context, it makes complete sense.

The film entirely captures the soul of the man behind the “artistic crime of the century”; his quirks, his passion for the art of wire walking, his joie de vivre are all communicated through Petit’s excited, undeniably charming narration. Miraculously, a friend had the good sense to film and record nearly every stage of the crazy operation, and these surprisingly articulate home movies make up the bulk of the film. Marsh substitutes missing moments by recreating them in black-and-white, which thankfully does not interrupt the flow of the narrative in the slightest. That spine-tingling something about defying both physical and mental laws is exhilarating to watch and mesmerizing to imagine, but the actual images and footage of Petit lying down calmly along a thin cable 1,350 feet above Lower Manhattan, a goofy smile plastered on his face, is simply breathtaking.

Seeing the birth and construction of the World Trade Center is more than a little chilling. A stunt like Petit’s could only have occurred at the time it did—security issues and terrorism paranoia prevent any such thing happening again—and a hazy sort of sad nostalgia is vaguely present throughout the film. “I figured I was watching something that nobody else would ever see again in the world,” says a wide-eyed young cop who was sent to retrieve Petit from the roof, in a clip from the 1974 nightly news. “Thought it was once in a lifetime.”

Petit did not fall, nor did he die, but the amount of tears shed in the film is staggering. The sheer beauty of the stunt, the risk and the drive to accomplish a dream loosens the tear ducts unexpectedly for many of Petit’s friends, who helped him endlessly to his destiny and fame. But Petit’s eyes stay dry, glittering instead with childlike joy as he recounts every second and emotion of the operation. “Life should be lived on the edge,” he says emphatically, punctuating the point with his hands. “See every day as a true challenge, and then you live your life on the tightrope.”

‘Man on Wire’ opens Friday, Aug. 8, at the Rafael Film Center (1118 Fourth St., San Rafael, 415.454.1222) and Rialto Cinemas Lakeside (551 Summerfield Road, Santa Rosa, 707.525.4840).


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News Blast

0

08.06.08

Dianne’s Casino

Stop the Casino 101, an organization opposed to Vegas-style gaming development here in the North Bay, claims Sen. Dianne Feinstein recently brokered a deal between Sonoma and Marin counties and the Federated Indians of Graton Rancheria (FIGR) to pave the way for a proposed casino-hotel complex just outside Rohnert Park in Sonoma County.

Casino opponent Frank Egger, former Fairfax mayor and progressive activist, attended a July 22 meeting of the Marin County Board of Supervisors at which Egger alleges Marin County counsel Patrick Faulkner was videotaped admitting the senior senator’s role in the deal.

Frank Egger belongs to Stop the Casino 101 Coalition. “I was in the audience at the time,” Egger says. “What he [Faulkner] said, in effect, was that this agreement was brokered through Sen. Feinstein’s office.”

But Feinstein’s director of communications, Scott Gerber, disputes the claim, telling the Bohemian that Egger’s accusation “is simply false.” Gerber says the senator “had no role in brokering the agreement, nor has she agreed to introduce any legislation on the subject.”

Jeff Brax, the deputy counsel for Sonoma County concurs with Gerber, insisting Feinstein played no role, then adding, “There’s no quid quo pro with this particular agreement. And that agreement provides for no second casino anywhere in Sonoma [County], and in exchange the county will not contest the decision to put the Rohnert Park site into trust, although the county can still challenge development of the casino itself.”

And yet, “by statute,” says Egger, “each tribe is allowed two casinos in California. The Graton Rancheria has said they’ll only build one. Apparently the Graton Rancheria has claimed they’ve given up their sovereign immunity. I don’t think you can give away your rights.”

A July 24 press release from Stop the Casino 101 Coalition contends that this is the second deal Feinstein has struck with the tribe. The first, in 2003 with Greg Sarris, chairman of the Graton Rancheria, “was that if the FIGR moved its casino site from the original Highway 37 site near the Marin/Sonoma border, she [Feinstein] would not obstruct the acquisition of any future site, a promise she apparently continues to keep.”

But the Rohnert Park casino issue is by no means the whole story. “No one’s looking at the cumulative impact of these casinos on our communities between the Golden Gate Bridge and Laytonville,” Frank Egger insists, addressing the five tribal casinos presently proposed along the 101 corridor. “It’s going to be another Vegas strip if, in fact, they all come to pass.”


Art at the Fair

The closest thing we get to a football pool around here at the Bohemian offices is our annual "Art at the Fair" pool. Or, to be more precise, we take bets on how many photographs of the Golden Gate Bridge there will be in the "fine art" pavilion in E.C. Kraft Hall at the Sonoma County Fair.This year, we...

The Boys are Back in Town

Riding with our good Irish correspondent Fionnan Sheridan around the city of Dublin—where, as you can imagine, U2 are revered—my brain settled on a perfectly reasonable question. "Do any members of U2," I asked, "still actually live in Dublin?" I say "perfectly reasonable" because in 2006, U2 notoriously moved their enormous assets out of Ireland and into a Dutch...

Greywater Guerrillas

08.06.08On July 26, the morning of the "Greenhouses and Greywater" tour hosted by Daily Acts, I stop to buy food to contribute to the potluck lunch. I'm running late, a fact made worse by my inability to decide whether or not it would be tacky to bring salami. Eventually, I decide to go for the salami (it's nitrate-free, for...

Letters to the Editor

08.06.08Guise of the Geysers P. Joseph Potocki brings to our attention ("Blowing Hot Air," July 9) the fact that "the largest green energy field in the United States is actually run by old-school oil interests." So he poses the obvious question: "Who's behind the steam at The Geysers?"To answer this question, he offers:Kenneth Derr. But he is no longer associated...

Brain Tattoos

08.06.08Commercials are the new radio. You may have already suspected it, but now it's official, as evidenced by the recent runaway successes of artists such as Canadian singer-songwriter Feist and Israeli crooner Yael Naïm. Plucked from semi-obscurity to provide the soundtracks for, in Feist's case, the Apple iPod Nano with the bouncy "1,2,3,4" and, in Naïm's case, the new...

On Deck

the arts | stage | ...

Racing for the Green

08.06.08On July 20, Sarah Trejo joined 2,000 other athletes to race the Vineman 70.3 Half Ironman Triathlon starting in Guerneville. Though Trejo only had to drive eight miles from Santa Rosa, many of the other athletes and 10,000 spectators traveled farther by car, plane and even a few by foot and bike.In Guerneville, Trejo lined up behind the world-class...

Strung Out

08.06.08In a summer movie lineup crowded with comic-book heroes and larger-than-life action sequences, an unassuming documentary turns the spotlight on a real-world superhero. Most people have probably never heard of Philippe Petit, but he can dance on air—without any special effects.Man on Wire, the latest release from documentary filmmaker James Marsh (The King, The Team), is not a formulaic...

News Blast

08.06.08 Dianne's CasinoStop the Casino 101, an organization opposed to Vegas-style gaming development here in the North Bay, claims Sen. Dianne Feinstein recently brokered a deal between Sonoma and Marin counties and the Federated Indians of Graton Rancheria (FIGR) to pave the way for a proposed casino-hotel complex just outside Rohnert Park in Sonoma County. Casino opponent Frank Egger, former...
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