Freedom of Hate Speech

03.26.08

N early six and a half years ago, Novato High School’s student newspaper, The Buzz , published a controversial editorial entitled “Immigration.” Penned by the paper’s journalism program student-elected opinion editor, Andrew Smith, then a senior, “Immigration” suggested non-English-speaking immigrants be stopped and questioned. “Seems to me,” Smith wrote, “that the only reason why they can’t speak English is because they are illegal.” Smith advised, “If a person looks suspicious, then just stop them and ask a few questions, and if they answer ‘Que?’ detain them and see if they are legal.”

Smith went on to suggest that peace officers “should treat these people the way cops would treat a suspected criminal.” In fact, Smith claimed many undocumented aliens were just that. “Criminals usually flee here in order to escape their punishment.” Smith suggested that illegals work “manual labor while being paid under the table tax-free,” and are often involved in “drug dealing, robbery or even welfare.”

Reaction to Smith’s op-ed was swift. Many Novato community members were outraged by the piece. On Nov. 14, 2001, the day following publication of Smith’s editorial, about 150 students and parents met to protest it on the Novato High School campus. In response, the school’s superintendent ordered all remaining copies of the paper be seized, and a letter sent to Novato parents insisting Smith’s op-ed should never have found its way into print because it “negatively presented immigrants in general and Hispanics in particular.”

Smith felt his First Amendment rights were infringed upon and that he was being unfairly blamed for writing something both the school principal and his journalism teacher had originally OK’d. Moreover, because of the school administration’s irresponsible and arbitrary actions, Smith felt that he had suffered harassment, ridicule, taunts and that he had “become a target.”

“The only reason I wrote the article and the way I wrote it,” Smith told Fox News, “was to get people to read it and to think about the topic I was presenting.”

On May 2, 2001, Smith’s father, Dale Smith, filed a civil suit on behalf of his son in Marin County Superior Court. The suit claimed that because Andrew Smith had expressed an unpopular opinion, he had been illegally censored.

Thirteen years prior, in 1988, the United States Supreme Court gave public school officials the right to censor their school newspaper’s content, ruling that such abridgement does not violate a student-author’s First Amendment right to free speech. However, the State of California’s public school code Section 48907 ensures each student’s right to free expression unless it “so incites students as to create a clear and present danger of the regulations, or the substantial disruption of the orderly operation of the school.”

This alleged incitement became the basis of the Novato school district’s claim that they had acted legally and responsibly in the case of Smith’s op-ed piece. The larger question was, which would take precedence, state or federal law?

The Smith family obtained counsel from the conservative Sacramento-based Pacific Legal Foundation. Their case was heard first by Marin County Superior Court Judge John A. Sutro Jr., who ruled in favor of the Novato Unified School District. Sutro upheld the school’s right to both remove Smith’s first op-ed piece, as well as allowing them to set limiting conditions on a second piece he’d written on the subject of “reverse discrimination.” This second piece never found its way into print.

Shortly after the Smith lawsuit was filed, Novato Unified School District spokesperson Dianne Pavia said, “It was never the district’s intent to usurp any student’s rights to freedom of speech, but the school district is charged by law to consider issues of safety and disruption to educational programs.”

California State’s First District Court of Appeal disagreed. On May 22 of last year, they reversed the Marin County Superior Court decision, ruling that the school district had indeed usurped Smith’s free speech rights. Speaking for the court, Justice Linda M. Gemollo wrote, “Schools may only prohibit speech that incites disruption, either because it specifically calls for a disturbance or because the manner of expression (as opposed to the content of the ideas) is so inflammatory that the speech itself provokes the disturbance.” Andrew Smith was awarded a declaration that his protected speech rights had been violated, along with $1 in nominal damages.

Novato’s school district challenged the Appeal Court ruling, taking the case before the highest court in the land. On Feb. 19 of this year, the United States Supreme Court decided against hearing Smith v. Novato Unified School District , giving precedence to California’s code 48907 over its own 1988 Supreme Court ruling, thus letting stand the Appeals Court decision favoring the Smiths.

In response to the Supreme Court deciding to forgo the case, Paul J. Beard II, the Smiths’ lead attorney said, “Andrew Smith can now claim a conclusive victory. But in a larger sense, all student journalists in California are winners, because this case establishes once and for all that they can’t be censored for not conforming to some ideological agenda.”


Outside Lands Festival – Full Lineup Announced

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Just got back from the Warriors game. Seven separate heart attacks. Baron matching Kobe point-for-point. Behind-the-back, over-the-shoulder layups and insane hail marys. Last few minutes, the lead dribbles back and forth. Bell: tied. Overtime. Place is in a frenzy. Came down to four seconds left. Monta gets a whistle and it’s bullshit. Kobe sinks two from the line and it’s over. Lakers 123, Warriors 119.
After pounding for three hours, my heart wasn’t even strong enough to break.
You see a game like that, you think you’ve seen it all. But no. I got home and caught the just-announced full lineup for the Outside Lands Festival in Golden Gate Park on August 22, 23, and 24. Have you taken a look at everyone that’s playing this thing?!
I’ve got my own draft picks for the festival: Broken Social Scene, M. Ward, Manu Chao, Radiohead, Sharon Jones, Black Mountain, The Cool Kids, Lyrics Born, Tom Petty, Two Gallants, Nellie McKay, Primus, Steve Winwood, Beck, Little Brother, The Coup, Drive-by Truckers, Cafe Tacuba, and K’naan is where you’ll find me.
Also on board for the weekend: Wilco, Ben Harper, Widespread Panic, Rodrigo y Gabriela, Regina Spektor, Jack Johnson, Devendra Banhart, Cold War Kids, Andrew Bird, Steel Pulse, ALO, Matt Nathanson, Dredg, Grace Potter, Donovan Frankenreiter, Mother Hips, Sidestepper, Goapele, Bon Iver, Ivan Neville, Sean Hayes, Felice Brothers, Rupa & the April Fishes, and Back Door Slam.
Here’s the turnaround: 3-day general admission tickets are $225.50 – before service charges. I’ve got a feeling that single-day tickets will be available before too long.
Check the full details online here. Tickets go on sale this Sunday, March 30.
Chalk up another slam dunk for the folks at Another Planet, who in addition to booking the Independent and the Greek Theater are also forging ahead with the return of their excellent Treasure Island Festival in September.
Music fans: stoked. Warriors fans: hosed.

Annie Leibovitz at the Legion of Honor

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I wasn’t planning on stopping by the Annie Leibovitz exhibit at the Legion of Honor, A Photographer’s Life: 1990-2005, but I’m glad I did, if only to now have the authority to say that I shouldn’t have. It’s a very personal collection, burdened with the weight of death, and though there might have been some emotional strength that went into its assemblage—at least in the many photos of her dying father, her dying lover, and the birth and growth of her two children—I was neither wowed by its artistic merit nor moved by its naked storytelling. The overtly “revealing” timbre of the exhibit, in fact, reminded me of Lauryn Hill’s indulgent Unplugged album, which is a total piece of “this is the real me” crap that no one ever wants to suffer through again.

Visitors gathered instead, shoulder-to-shoulder, in the exhibit’s sadistically narrow “celebrity hallway,” packed with hundreds of tiny prints and magazine pages of Leibovitz’s famous photos. Likewise, there was much crowding around larger photographs sprinkled throughout the exhibit; of the famously pregnant Demi Moore, of Johnny Cash on his porch, of Queen Elizabeth II without her crown. And there was surely lots of talk, on the fifth anniversary of the Iraq war, around Leibovitz’s 2001 “Evil Empire” photograph of Bush, Cheney, Rice, Powell, Rumsfeld, Card and Tenet.

Many of these photos, and especially the gigantic landscape prints from Monument Park and Venice, are dazzling, and contain insightful and often sardonic descriptions by Leibovitz about her process (remarking on her portrait of Richard Avedon, she essentially says that Avedon knew how to take portraits correctly and that she still does not). But there’s an extreme sense of disconnect with the many, many personal photos, the banal explanations of which are like a very dull person’s slide-show commentary—“We went here. We did this.” The show’s accompanying $75.00, eight-pound book hopefully offers some more insight, but the choice of letting the viewer make up their own mind about these images is misguided.

At the end of it all, I can say two things. 1) I still really like Annie Liebovitz quite a lot, and 2) If I have to look at another photograph of Susan Sontag, I am going to throw up.

The Velvet Teen at the Phoenix Theater

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Partway through the Velvet Teen’s set last night at the Phoenix, Judah Nagler started noodling on the keyboard, playing snippets of music from game shows and Nintendo games. The crowd, of course, loved it, just as everyone at the Phoenix, whether they knew it or not, loved what it represented: that the Velvet Teen is loosening up. Weathering a difficult third album, a major lineup change, and a sporadic schedule, the band’s finally got their shit dialed back in, and last night’s show was the best Velvet Teen show I’ve seen in two years.
The set started with one of a few new songs—a good sign—but it wasn’t too long before they dipped into an oft-neglected back catalog, namely a brilliantly reworked “Red Like Roses” from Out Of The Fierce Parade. The opening keyboard chords, instantly recognizable, gave way to atmospheric guitar sounds from Matthew Izen that washed through the song like windblown silk. “Penecillin” sounded amazing, marking the welcome return of preset laptop tracks, and “Forlorn,” having found its home at the piano again, resonated across the crowd.
Sometimes I think the Velvet Teen should just re-record Cum Laude. “333” and “Building a Whale” have evolved into the violent Casey Deitz-driven juggernauts they were always meant to be, and the delicate mannerisms in the band’s expansive, slower version of “Noi Boi” bring out the song’s inner beauty. All told, it’s like they’ve settled in, kicked off their shoes, watched some Jeopardy! and played some Super Mario Bros., and learned how to breathe as a band again.
The topper on the band’s excellent set was the surprise encore—”Chimera Obscurant,” all 13 crashing, crazy minutes of it. For, like, the first time in forever. It’s a favorite of mine for reasons too long to get into here, and the Velvet Teen drove it straight through the heart of a raptured crowd, ditching the “free speech shouldn’t cost” stop and letting it just roll on and on and on and on and on and on and on. Pure bliss.
Opening bands: I missed Goodriddler, which sucks because Nick’s amazing, and I watched all of Aloha and remained underwhelmed. They’re like the band that has a lot of great things going for them—distorted vibes, interesting guitar phrases, an incredible drummer—but somehow they just don’t add up. My friend Josh is all over ’em (“Sugar is sweet!” he remarked of the band’s 2002 full-length, completely unaware of what he’d just said), which is a sign that in five years, I’ll come around and slap myself on the head.
At the end of the night, people were still talking about Body or Brain, who played the lobby. Best new band right now, no contest. Upbeat, hyperjangly infectious pop, led by Jakie Lieber, a madman. Jakie plays unbelievable riffs on the electric guitar with his bare hands, no pick, and he simultaneously moves around like a clock spring that’s frantically uncoiling. I hunched down near the floor and watched as he jumped, kicked, slung the guitar around his back, tap-danced, did the fucking splits, and moonwalked, all while playing the guitar and not missing a note. I met him a few weekends ago while writing an article about his hardcore band, the Grand Color Crayon, and he’s also got solo recordings that sound like Doug Martsch’s acoustic stuff. Is there anything the kid can’t do? I mean, besides finally move out of Napa someday?
(Jakie jumps around way too fast to be photographed, and this is the best I could do. —–>)

Boredoms at the Fillmore

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Unless you own a ticket stub from seeing God, I can guarantee that you’ve never seen anything like the Boredoms.
As for me, I’d witnessed neither deity when I bought my tickets to Tuesday’s show at the Fillmore, but after what can only be described as one of the most inspiring and incredible performances ever given, I feel like I got a 2-for-1 deal.
First off, the band set up in the middle of the floor of the Fillmore, with towers of speakers placed in each corner of the room. Three drum sets bordered the stage, all facing each other, alongside a gigantic tower of electric guitars, sawed flat at the ends and bracketed together with their necks sticking out on either side. Racks of electronics, percussion, keyboards, and amplifiers lined the circular setup, and the Fillmore’s lights landed squarely in the center of it all like a boxing ring. In other words: holy shit.
The Boredoms, one by one, entered through the crowd and climbed on stage, and all the lights went out—even the Fillmore’s purple chandeliers. Boredoms ringleader Yamatsuka Eye appeared with illuminated globes on his hands, and an unholy static ravaged the speakers, like an extraterrestrial message that flitted in and out of recognizance as Eye thrashed his arms around and around. His head tilted back towards the ceiling, and he repeatedly shouted something resembling “hello,” as if trying to contact life on other planes in the swarm of strange theremin-like hand noise.
Suddenly, three drummers simultaneously pounded a propulsive, hectic beat, and Eye worked an electronics board, adding more and more layers to the already thick sound. A slowly building crescendo built dramatically over the next six minutes, until Eye grabbed a five-foot staff and, with a sweeping, athletic motion, slammed it against the tower of electric guitars, striking all seven necks at once with a powerful, thundering curdle of distortion that shook the entire audience like the walls of Jericho. The drums raced on, and Eye flipped his dreadlocks around to shout more things to the sky, slamming himself upon the tower of guitars, and I’ll be damned if somewhere in the middle of it all I didn’t see the ceiling open up and the divine light of salvation fill the room.
This was no regular noise jam: throughout the set, a tight compositional structure was clear, despite the grand illusion of improvisational mania. Themes emerged, then disappeared, then re-emerged 20 minutes later. Yoshimi turned away from her drums and played keyboards, then sang, then turned back to her drums to participate in triple call-and-response drum fills while singing. Eye adjusted the capos placed on the guitars to create different notes, beating their strings individually in repeating patterns and hammering away at them collectively during climaxes with cymbals and vocals.
How does one react to this music? Many stared, agape and dumbfounded. Some threw their arms up and pumped their fists. Still others tried various forms of interpretive swirly-dancing, appropriately coinciding with the sounds swirling around all four corners of the room. I didn’t know how to react; I was mesmerized. When it ended, over an hour later, the crowd clapped and clapped and clapped and probably didn’t even want an encore—we all just needed to.
But the most amazing thing, I think, is that after a full set of Olympic gymnastics, after jumping and heaving and dancing, and after a beautiful encore that eventually came and closed the night out with appropriate serenity, Eye climbed off the stage and onto a pair of crutches, hobbling backstage. Can Eye really not walk, and could all of that energy and physical exertion really have come from a disabled man? Unbelievable.

The Last Record Store

There are certain things we say in life that we never thought we’d ever, ever say. Things like, “Let’s go out to sushi,” or “I’ve been kinda into reggae lately.” And today, I find myself saying one of those unthinkable things. After 14 years, I have worked my final day at the Last Record Store.
Maybe “worked” isn’t the right word, since my last day at the store on Monday was full of telephone calls and people stopping in, wishing me well, shaking my hand, reminding me of the first record they bought off me, telling me how much I’d helped them out in different ways—basically flashing 14 years of my life before my eyes. It was an overwhelming display of what I’d meant to the store, which is something I’d never really thought about, because the store always meant so much more to me.
I started coming to the Last Record Store in 1988, when I was 12 years old and used to ride my skateboard all over downtown Santa Rosa. My mom would give me $5 for food, but of course I starved myself and bought hardcore records instead. In fact, I still have the first record I ever bought there—a 7″ compilation called ‘We’ve Got Your Shorts.’
As time went on, I guess I grew to be a familiar face around the store. I was hooked on records, buying everything from DRI to Sinatra, and bridging the styles by recording ‘Punk Piano’—punk rock songs played easy-listening style—to sell in the local demo tapes section. The store also stocked my zine, Positively Fourth Street, and sold records by my band, Ground Round. I still distinctly remember asking a fairly bewildered Scott if it was okay to put up a flyer bearing the phrase “In the Name of God, Fuck You.” Then, in 1993, a miracle happened: I got asked to work there.
I didn’t know, at the time, that everyone in the world wanted to work at the Last Record Store, but at 18, I definitely knew that it was the place for me. I loved the atmosphere, the freedom to be myself, and the fact that Hoyt and Doug really ran the place in their own anti-corporate and unconventional way. I began a crash course in every single section, starting with a heavy jazz infatuation, going through a deep country phase, diving headlong into hip-hop, eating up everything and finding myself surprised at every turn.
Oh, I learned a lot about life, too. Things like how to treat people properly, and how not to be a snob, and how actions and achievements mean more than opinions and ideals. But I dug learning about music most of all; my co-workers, naturally, being founts of information, along with most of the customers. Eventually I was put in charge of the vinyl annex, which opened up whole new possibilities for listening, be it crazy international music, old blues records, new electronica stuff, the standard classical repertoire, any classic rock I might have missed. There was always one threshold, however, that I refused to cross: I never, ever listened to reggae.

It’d be impossible, and would definitely get some people in trouble, to list all of the amazing things that happened at the store while I worked there. Nevertheless, interesting stuff seemed to happen every day, like the time that Doug rigged a huge PA speaker up on the roof and blared Mule Variations at midnight, all over downtown Santa Rosa. The day that Seth walked in and plopped an owl on the counter, very beautiful and very dead. The crazy half-naked stripper who invited me to dinner, or the many other solicitations one gets when they work at a record store, none of which need to be retold here.
The strangers who met in the aisles and would later start coming in together. The beautiful girl who I met in the aisles, fell in love with, and married. The bands that made flyers out of vacuum cleaners and folding chairs, the folks who dropped off their insane flyers and zines and mix CDs, and the people who brought us free things like cake and chocolate and beer and movies and tickets to shows and chicken casserole. Why? Just because.
I’ve also seen the Last Record Store skillfully adapt to a lot of changes over the years. Getting a cash register, for one. Closing the vinyl annex. Moving to Mendocino Avenue. Getting a computer and an email list. Weathering the mp3 storm. Weathering the economy and the changing face of the music industry. Watching Musicland, the Wherehouse, and Tower Records all go under. And yet, through it all, standing strong, because in mine and many other people’s opinions, it’s still the best and most amazing record store in the world.
For the last four years, I wrote the Last Record Store Newsletter every week, which, if you’re interested, can be perused here. But I’ve also for the last four years been writing more and more for the Bohemian, which is where I’m going to be full-time from now on. For those lovable ones among you who are going to miss my dependable presence behind the counter—my misguided recommendations, my unintelligible blathering, and my failed jokes—well, hopefully it’ll translate in print. Between you and me, I’ve actually been kinda into reggae lately. Just a little.
So thanks to Doug and Hoyt for giving me a job and treating me like a son for fourteen years. Thanks to all my awesome co-workers for the camaraderie. Thanks especially to all the wonderful regular customers who I’ve met over the years—you, more than anyone, and more than you know, made it worthwhile. I’m gonna miss the shit, for sure, but another door has opened, and it’s time to move on.

Gogol Bordello’s Eugene Hutz Coming To Sebastopol!

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People at Gogol Bordello’s typically frenetic and crazy show at the Warfield Theater last week might have been too caught up in the mayhem to notice, but amidst the gypsy-punk rollicking and flailing bodies, singer Eugene Hutz announced to the crowd that he was going to be part of some sort of Gypsy festival in Sebastopol. With his Eastern European background, surely, he must have meant Sevastopol, the Ukranian city on the Crimea peninsula. Right?
Sonoma County, get out your herring and borscht: confirmed by Voice of Roma—the group who puts on the yearly festival—Eugene Hutz of Gogol Bordello will appear as a guest DJ at this year’s 12th Annual Herdejezi Festival at the Sebastopol Veterans Building on Friday, May 2nd. Also on the bill for the rest of the weekend’s festivities are Yuri Yunakov, Vadim Kopalkov, Petra Safarova, Reyhan Tuzsuz, and Brass Menazeri. Crowd-surfing on top of a marching bass drum is optional.
For those who don’t know, Gogol Bordello is one of the most mind-blowing live bands in the world right now, recalling the raucousness of the Pogues, the passion of the Clash, and the endurance of a young Bruce Springsteen. Hutz, the band’s enigmatic frontman, also has a show-stealing role in the wonderfully off-kilter film Everything is Illuminated.
Thanks to Caitlin for the heads up.

First Novels at the Toad in the Hole

The Toad in the Hole has an official fire capacity of, like, 48, and I usually feel really bad for Eddie, their doorman. Part of his job is to be the messenger of bad news and to turn paying customers away when the place is hopping—which was definitely the case last Saturday night. Chalk it up to First Novels, with the match-made-in-heaven pairing of Andy Asp and Brian Fitzpatrick, to pack the tiny Toad in the Hole and to leave latecomers stranded on the sidewalk outside.
Andy and Brian, who for years played together in Cropduster and seem essentially like soulmates at this point, are a thrill to watch together—sometimes you think Brian’s the luckiest guy in the world to play with Andy, sometimes you think Andy’s the luckiest guy in the world to play with Brian. Their songs, influenced by tunesmiths like John Prine, Tim Hardin and Neil Young, are microcosms of wonder, and between Andy’s voice and Brian’s guitar work, they’re played with a hypnotic, untainted delicacy. Note to people who try to talk to me when Andy and Brian are playing: dude, be quiet.
Special mention must be made of Muir Houghton, upright bassist extraordinaire, who picks up songs on the spot and plays them like he’s played them forever. I’ve seen him a few times now, and whether bowing or plucking, whether playing with John Courage or Amber Lee or First Novels, he’s always on top of his game.
The Spindles played last, and incidentally, I don’t think they’ve ever been better, benefiting greatly from the addition of new drummer Jonathan Hughes, who plays with a really thoughtful and compatible sense of taste. Sweet-lookin’ drum kit, too.

The Shopping Dilemma

03.19.08

Lately, I have been approached by readers with a recurring question. “Where,” they demand, as if it is my fault that this is a problem, “am I supposed to shop?” They often take on a combative stance: legs spread, hands on hips, elbows akimbo. Their eyes tend to narrow, and, as the wind ruffles their well-coiffed hair, I feel that I must weigh my answer carefully, avoid flip answers or even better, avoid the question altogether.

Depending on how intimidating the aggressor, my answers up until now have ranged from a timidly squeaked “Don’t?” (after which I duck and cover) to an even more tentative “The thrift store?” (as I brace myself for the inevitable look of disgust that is sure to follow).

Sometimes my inquisitors will take their queries even further by posing impossible moral quandaries. Why is it OK to buy from a thrift shop when it’s not OK to buy at the mall? Does the fact that someone else bought it first remove the stain of human and environmental-rights abuses that follow your average item of clothing from the cotton field to the hanger? Does consumer responsibility get nullified by the redemptive repurchase of someone else’s initial selfish buy? And as for not shopping at all, for those who consider fashion an extension of their personalities, who have not yet overcome that basic human instinct to look appealing, this is not even remotely close to an answer they are willing to accept.

In search of an alternative, I meet with Erin Turko, who co-owns E= Ethical Clothing Etc. in downtown Petaluma with Carolyn Leupp Albinana. This chic little apparel shop has been open for the last 18 years, but since November, E= has taken on both a new look and a new mission. Turko walks me through the recently remodeled store and points out the variety of green choices they have made for their remodel: locally built furnishings, organic carpeting, earth-friendly paints and paper stone countertops—choices that mirror their commitment to carrying ethically sound clothing.

I ask Turko if this change from imported apparel to ethical, domestically made lines was due to a shift in the consumer marketplace. Quite the contrary, she says. This was a leap of faith, one made not to meet the demands of their customers, but because she and Albinana believed they needed to do something with their business that they could feel good about. When Albinana contracted lung cancer, the ladies decided it was time to reconsider their daily environment and to make a dramatic change in their business that reflects their commitment to global consciousness and health.

Turko stresses that, after 18 years in the apparel industry, there are certain things you just get used to. The strong odor of pesticides, for instance, that arrives with every shipment of clothing, necessitating that the new articles be aired before hanging in the showroom. There is also the incredible amount of packaging waste. Each shirt arrives from overseas wrapped in its own sheath of plastic, replete with silica gel packet and a nice dose of formaldehyde.

Now all of the clothes E= carries are sewed and dyed domestically, predominantly in California. The dyes used are vegetable or water-based, all clothing is formaldehyde-free and the packing materials are biodegradable. Even the fabrics used must be sourced from factories that adhere to ethical standards of production. Turko stresses that when she and her partner look at product lines, specifically fabrics, organically sourced fibers are not the only factor to consider. What’s the point of an organic item if the fabric is still treated with toxic dyes and pesticides before shipping? The most toxic of all treated fabrics, denim serves as a perfect example. E= carries only domestic denim, not organic necessarily, but free from the highly toxic processes commonly used to give denim that “cool” look. Along with the domestic apparel, E= carries bags made from recycled tractor tires, the work of local artists and organic cotton and bamboo bedding. The few nondomestic items, the sheets and towels for instance, come from co-ops that practice fair trade.

There’s something refreshing about being in a room full of clothes that don’t say “Made in China” on the label, and self-restraint is the only thing that stands between me and a bamboo-fiber shirt. After exiting the premises, I take a brief tour of nearby clothing boutiques. What I discover is a plethora of clothes imported from other countries. None of them makes claims against sweatshop labor or toxic processing, and all of them are priced at or above the clothing available at E=. The fact that I now know where to find a pair of domestically made jeans for the same price as a pair weighed down by a bloody trail of corporate neglect is a relief. For those interested in taking a look for themselves, mark Earth Day, April 22, on the calendar. E= will be holding a daylong event with lectures and educational panels, as well as some damn cute clothes.

E = Ethical Clothing Etc. 122 Kentucky St., Petaluma. 707.769.8564.


Bohemian Best of Culture 2008 Readers Choice

03.19.08
Best Art Gallery

Marin

Gallery Route One

11101 Hwy. 1, Pt. Reyes Station. 415.663.1347.

Napa

Di Rosa Preserve

5200 Carneros Hwy., Napa. 707.226.5991.

Sonoma

First Place Tie

Riverfront Art Gallery

132 Petaluma Blvd. N., Petaluma.707.775.4278.

The Quicksilver Mine Co.

6671 Front St., Forestville.707.887.0799.

Honorable Mention

A Street Gallery

312 S. A St., Santa Rosa.707.578.9124.

Best Outdoor Art Event

Marin

Sausalito Art Festival

www.sausalitoartfestival.org

Napa

Napa Wine & Crafts Faire

www.napadowntown.com

Sonoma

ARTrails

www.arttrails.org

Honorable Mention

Petaluma Art in the Park

Walnut Park at D Street, Petaluma. 707.793.2113.

Best Dance Studio

Marin

Dance Arts Studios

704 Mission Ave., San Rafael.415.459.1020.

Napa

Napa Valley Dance Center

950 Pearl St., Napa. 707.255.2701.

Sonoma

The Dance Center

56 W. Sixth St., Santa Rosa.707.575.8277.

Honorable Mention

Ellington Hall

3535 Industrial Lane, Santa Rosa. 707.545.6150.

Best Ballet Company

Marin

Marin Ballet

100 Elm St., San Rafael.415.453.6705.

Napa

Napa Valley Ballet

P.O. Box 4256, Napa. 707.294.2568.

Sonoma

Petaluma City Ballet

110 Howard St., Petaluma.707.765.2660.

Honorable Mention

Sebastopol Ballet

390 Morris St., Sebastopol.707.824.8006.

Best Performing Dance Company

Marin

Marin Ballet

100 Elm St., San Rafael.415.453.6705.

Napa

Napa Valley Dance Center

950 Pearl St., Napa.707.255.2701.

Sonoma

The Dance Center

56 W. Sixth St., Santa Rosa.707.575.8277.

Honorable Mention

La Fibi Flamenco

208 Hayes Ave., Petaluma. 707.762.5201.

Best Theater Troupe

Marin

Marin Theatre Company

397 Miller Ave., Mill Valley.415.388.5200.

Napa

Dream Weavers

1637 Imola Ave., Napa. 707.255.5483.

Sonoma

Sixth Street Playhouse

52 W. Sixth St., Santa Rosa.707.523.4185.

Honorable Mention

Raven Players

734 Johnson St., Healdsburg.707.433.6335.

Best Place to Dance

Marin

Rancho Nicasio

1 Old Ranchero Road, Nicasio.415.662.2219.

Napa

Hydro Bar & Grill

1403 Lincoln Ave., Calistoga.707.942.9777.

Sonoma

Last Day Saloon

120 Fifth St., Santa Rosa.707.545.2343.

Honorable Mention

Seven Ultralounge

528 Seventh St., Santa Rosa.707.528.4700.

Best Festival

Marin

Italian Street Painting Festival

999 Fifth St., Ste. 290, San Rafael.415.457.4878.

Napa

Mustard Festival

www.mustardfestival.org

Sonoma

Harmony Festival

www.harmonyfestival.com

Honorable Mention

Apple Blossom Festival

www.sebastopol.org

Best Performing Arts Center

Marin

Marin Civic Center

10 Avenue of the Flags, San Rafael.415.421.8497.

Napa

First Place Tie

Lincoln Theater

100 California Drive, Yountville.707.944.1300.

Napa Valley Opera House

1030 Main St., Napa.707.226.7372.

Sonoma

Wells Fargo Center for the Performing Arts

50 Mark West Springs Road, Santa Rosa.707.546.3600.

Honorable Mention

Spreckels Performing Arts Center

5409 Snyder Lane, Rohnert Park.707.588.3400.

Lincoln Theater and Napa Valley Opera House: Napa’s Finest

Nestled among the grounds of the Veterans Home of California with its old buildings and remote valley location, Yountville’s Lincoln Theater is a thing of beauty, even before one walks in the door. Approaching the property for an evening summer show, attendees are sprinkled by late-day sun streaks that shine through the thick trees covering the driveway, and a walk from the parking lot to the theater lobby passes stucco barracks, rusted cannons and historical markers.

Once inside, a grand, curving staircase leads to the balcony section, while stratospheric ceilings and large works of art give the lobby a formal elegance. The raked hall makes for good viewing whether in the back row or in the box seats, and their hosting of select Festival del Sole events each summer brings out world-class classical performers—just a few of the reasons that you chose the Lincoln Theater in a first-place tie with the Napa Valley Opera House as the best performing arts centers in Napa County.

And what a tie it is. Whereas the Lincoln Theater holds a large audience yet manages to seem intimate, the Napa Valley Opera House holds a small audience but manages to appear sweeping and grand. The performance hall’s second-floor placement makes for crowded clusters near the lobby stairs after the 10-minute light warning, but the place turns open and inviting once you get up and inside, a miracle of restoration to the old theater’s original 1879 décor.

Rounded walls, wooded wainscoting and illuminated crown molding enliven the theater with classicism, and with only 500 seats, there’s no feeling whatsoever of a wall between performer and audience in the miniature space. Recent headliner Rufus Wainwright said it best: “This is such a cute little opera house!” he exclaimed from the stage. “I’m imagining a cute little production of Aida, with baby elephants playing big elephants, and little midget singers!” And, yes, amid its regular bookings of theater as well as jazz, pop, folk, and classical music, the Napa Valley Opera House still does opera—look for Cosi Fan Tutte, Don Pasquale and La Boheme later this year.

Lincoln Theater, 100 California Drive, Yountville.707.944.1300. Napa Valley Opera House, 1030 Main St., Napa. 707.226.7372. —G.M.

Best Media Personality

Marin

Gus Conde, KWMR 90.5-FM

P.O. Box 1262, Pt. Reyes Station.415.663.0905.

Napa

L. Pierce Carson, Napa Valley Register

1615 Second St., Napa.707.226.3711.

Sonoma

Bill Bowker, KRSH 95.9-FM

3565 Standish Ave., Santa Rosa. 707.588.0707.

Honorable Mention

Brent Farris, KZST 100.1-FM

3392 Mendocino Ave., Santa Rosa.707.528.4434.

Gus Conde and KWMR: Radio’s sweet and savory audio pie

It’s just what you’d expect from the land of cosmic hot tubs, proud liberality and stratospherically priced bungalows. Indeed, KWMR 90.5-FM community radio is everything you’d expect—and then some. As Marin County’s one and only broadcast station, it serves up hot, fat slices of both the sweet and the savory: fruity, nutty, meaty and cool creamy slices of radio pie. Musically, KWMR casts an eccentric/eclectic net over programming, ranging from the deep tracks of Bach and Bartók to space jazz, bluegrass, Tibetan Monk chants, old-timey rock ‘n’ roll and bowhead whale whistles, those subpop genres you’d expect every sophisticated Marin west-ender to bury between his or her well-fed ears.

KWMR has a paid staff of just four, an 18-watt low-power signal, lots of accomplished dedicated volunteers and a mission to western Marin County that extends to its role as the area’s sole broadcast emergency info provider.

Among the regular favorites is “Barrio Vibes,” broadcast at 8:10 each Friday morning and hosted by Point Reyes National Seashore ranger and part Mayan Indian, Augusto “Gus” Conde, your pick for Best Media Personality in Marin. “Barrio Vibes” is a bilingual talkfest-cum-music-show combining Spanish tunes of the Americas as well as English and other language songs from Conde’s personal collection. In addition to the music, Conde and his guests discuss issues facing the large and growing Spanish-speaking populace of western Marin.

Beyond the tunes and disasters, KWMR comes in with “West Marin Green Cuisine,” lit blasts, environmental updates and intrigues, historical sketches, Commonweal school conversations, nature explorations, kitsch, a show called “The Hippie from Olema” as well as programming for Sufis, deep-sea ocean-life divers, fine-art junkies and film nuts, while featuring audio scenes from interesting places like the Cockroach Hall of Fame, as well as interviews with the obscure, the notable and such famed guests as Noam Chomsky. KWMR calls itself “Homegrown Radio for West Marin,” which is to say that it’s not Manhattan, Montana or Mississippi.—P.J.P.

Best Band

Marin

Til Dawn

www.myspace.com/123tildawn456

Napa

Johnny Smith Group

www.johnnysmithgroup.com

Sonoma

Pat Jordan Band

www.patjordanband.com

Honorable Mention

Pumps: Fire

www.myspace.com/pumpsfiresound

Best Music Festival

Marin

Novato Music Art & Wine Festival

www.novato.org

Napa

Mustard, Mud & Music Festival

www.calistogajazz.org

Sonoma

Harmony Festival

www.harmonyfestival.com

Honorable Mention

Russian River Blues Festival

www.russianriverfestivals.com

Best Music Venue

Marin

19 Broadway Nite Club

19 Broadway Blvd., Fairfax.415.459.1091.

Napa

First Place Tie

Outdoor Concerts at COPIA

500 First St., Napa.707.259.1600.

Napa Valley Opera House

1030 Main St., Napa.707.226.7372.

Sonoma

Mystic Theatre

23 Petaluma Blvd., Petaluma.707.765.2121.

Honorable Mention

Wells Fargo Center for the Performing Arts

50 Mark West Springs Road, Santa Rosa.707.546.3600.

Best Media

Napa

KVON / KVYN

1124 Foster Road, Napa. 707.258.1111.

Sonoma

KRSH 95.9-FM

3565 Standish Ave., Santa Rosa. 707.588.0707.

Best Movie Theater

Marin

Christopher Smith Rafael Film Center

1118 Fourth St., San Rafael.415.454.1222.

Napa

Cameo Cinema

1340 Main St., St. Helena.707.963.9779.

Sonoma

Rialto Cinemas Lakeside

551 Summerfield Road, Santa Rosa.707.525.4840.

Honorable Mention

Roxy Stadium 14 Cinemas

85 Santa Rosa Ave., Santa Rosa.707.522.0330.

Best Museum

Marin

First Place Tie

Marin History Museum

1125 B St., San Rafael.415.454.8538.

Bolinas Art Museum

48 Wharf Road, Bolinas.415.868.0330.

Napa

Di Rosa Preserve

5200 Carneros Hwy., Napa.707.226.5991.

Sonoma

Charles M. Schulz Museum & Research Center

2301 Hardies Lane, Santa Rosa.707.579.4452.

Honorable Mention

Sonoma County Museum

425 Seventh St., Santa Rosa.707.579.1500.


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