Open Mic: Petaluma Standard Time

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If you’re ever in doubt as to the time

There’s a clock shop here in town

Offering the hour of the day

To four locations without a chime

The local hour here in town

One for Manhattan and organized crime

Another for Tokyo if so inclined

Time for Denver and that piece of mind

The hour hands each tell a differing story

As do the minutes which makes one worry

Welcome to where time stands still

In this beautiful tree-lined little town

Known for the Great Petaluma Mill

We enjoy taking things slow up here

Welcoming all comers

The Sonoma County Fair

Our opera houses and vaudeville acts of yore

Brainerd Jones’ renowned architecture

And …

While the times on the clocks may not rhyme

A stroll down the boulevard, our wooden bridge

The World’s Egg Basket offers you

More than you know

Regardless of the season

Whatever time it actually is

Paul Cheney lives in Petaluma.

Calistoga Gallery Taps Dickinson

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Located in the heart of Calistoga, Sofie Contemporary Arts is one of Napa Valley’s premier purveyors of inventive modern art that is diverse in media, styles and approaches.

The gallery is run by director Jan Sofie and manager Scott Sofie. Since opening the gallery in 2017, the couple have endured fires, mass evacuations and, more recently, a Covid-19 pandemic that closed their space for the past six months.

Still, Jan and Scott Sofie remain hopeful, and they share that feeling with the community as Sofie Contemporary Arts reopens this month. The new exhibit—entitled “Hope Is the Thing…”—is running now and remains on display through October.

The invitational group show’s theme is inspired by Emily Dickinson’s 1862 poem, “Hope Is the Thing With Feathers,” in which Dickinson describes the capacity for hope in metaphor as a bird that “perches in the soul.”

That hopeful feeling is illustrated in the exhibit’s diverse art from more than 20 accomplished Bay Area artists, including many North Bay favorites.

“While talking with many artists over the past difficult months, it became obvious that we were all trying to keep focused on what we really cared about, what really mattered,” Jan Sofie says in a statement.

For this exhibit, many of the participating artists are displaying works that focus on what is personally relevant for them, and selections in the show hit on topics of the pandemic and social distancing as well as economic turmoil and environmental concerns.

Participating artist Sylvia Gonzalez creates natural scenes such as her piece “Goldfinches” (pictured) from pencil and pastel drawn over monotype backgrounds. Working from her studio in Petaluma, Gonzalez focuses her layered art not only on birds, but on foxes, coyotes and other wildlife that can be found in the North Bay.

San Rafael artist Bill Russell also uses birds as an artistic metaphor in his contribution to the exhibit. His acrylic piece, “Little Birdies,” features several feathered figures in a colorful collage of movement.

Napa Valley artist Anne Pentland’s piece in the show is also a nature scene, though Pentland finds hope among ashes in her oil painting, “Aftermath Australia.” The piece is from Pentland’s ongoing “Madonna” Series, which employs the religious symbol of protection to represent Pentland’s passion for nature and her concern over climate change and its effects on wildlife.

In addition to works that feature animals, plants and other natural wonders that act as essential sources of solace, the exhibit includes works that evoke notable historical and culturally significant figures and references that aim to bolster resolve as well as hope.

“Without hope, I don’t think we can muster the courage or grit to change or go forward with what we need to do,” Sofie says. “There is always intelligence and light even in the most discouraging moments, but it takes critical awareness and discipline to manifest it; I think you will see this in the exhibition.”

Sofie Contemporary Arts is located at 1407 Lincoln Ave., Calistoga. Open Wednesday through Sunday, noon to 6pm or by arrangement. 707.942.4231.

A Recitation for the River

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When it comes to quarantine hobbies, binging Netflix and day-drinking on Zoom top the list. Writer-performer David Templeton had something different in mind—he committed the entirety of the seventh chapter of Kenneth Grahame’s seminal work, The Wind and the Willows, to memory. Now that it’s—literally—in his mind, he’s bringing it out, word-for-word in an online recitation this Saturday to benefit Friends of the Petaluma River, the organization that stewards the conversation of the Petaluma River Watershed. 

The chapter in question, “The Piper at the Gates of Dawn,” finds the protagonists Rat and Mole on a late-night boat journey up the river in search of a lost baby otter. Who do they meet along the way? The god Pan—the goat-legged pipe-player of the title. For context, the 3,800-word chapter is about 10 times the length of this column (the contents of which I’ll forget immediately upon filing it). 

How Templeton managed to squeeze a beloved literary classic into his brain and keep it there likely comes from his skills as a solo theatrical artist, penning and performing one-person shows like his popular Wretch Like Me in the past decade (not to mention being a former Bohemian theater critic). 

The difference, beyond the text being that of another author, is that Templeton has forbidden himself the luxury of extemporizing should memory fail. It’s a literary tightrope walk across a roiling river of words. Will he make it? Tune into the free simulcast on YouTube, Facebook or the Friends of Petaluma River website this Saturday to see for yourself. 

Online donations are encouraged and donors will have the opportunity to win a “Wind in the Willows”–themed gift basket. I’ll be on hand, virtually, to introduce Templeton and to host a post-performance Q&A with him and Stephanie Bastianon, executive director at Friends of the Petaluma River.

As Templeton says, memorizing “The Piper at the Gates of Dawn” “has been a true joy and pleasure at a time when joy and pleasure sometimes seem in short supply.”

Indeed, it’s good to have a little Pan without all the “demic.”
David Templeton’s from-memory recitation of “The Piper at the Gates of Dawn” begins at 5:30pm, Saturday, Sept. 12. The performance will be available for free via Facebook, YouTube or the Friends’ website; for links and more information visit FriendsofthePetalumaRiver.org.

A Farm and a Dispensary Bloom in Sonoma

Mike Benziger has grown many things in his life, but not this. 

“We’re not growing placebos,” Benziger tells me at Glentucky Family Farm, where his pot patch looks and feels more like a jungle than a garden. It’s challenging to move around plants that press in from two sides and tower overhead.

Before he began growing weed, he grew grapes, made great wine and helped create the Benziger brand. As of August 2020, Mike has the crucial documents from both the State of California and from Sonoma County to cultivate weed legitimately. Hurray!

I sang Mike’s praises at a Sonoma Valley Planning Commission Zoom meeting, which gave him a thumbs-up, and later before the  Sonoma County Board of Supervisors, also via Zoom. A half-dozen others, including Mike’s neighbors, testified, along with cannabis lawyer, Omar Figueroa.

Also on Zoom, Kumail Raza, who works for Sonoma County in the permits department, described Mike’s operation: 50 plants on a 2,400-square-foot parcel, with no plants visible to the public and with no odors that could possibly offend visitors at nearby Jack London State Historic Park. The authorities scrutinized nearly everything about Mike’s Farm. The whole process felt to me like an invasion of privacy.

To grow cannabis legally these days you have to allow the authorities to inspect setbacks from roads and waterways, monitor wind direction, measure use of water and keep an eye on security systems meant to prevent, or to at least mitigate, break-ins and theft.

Supervisor Susan Gorin said that she had visited Glentucky Family Farm and talked to “the applicant” whom she described as “a well-known person in Sonoma Valley.”

Supervisor Shirlee Zane tried to sound like an advocate for employees’ rights and insisted that cannabis workers are habitually paid poorly. She urged Benziger to provide healthcare benefits for his workers and sick leave, too. Thanks, Shirlee!

Mike described his own garden as “pharmaceutical” and said his emphasis is on cannabis as medicine. He also testified that he grows 20 different kinds of fruits and vegetables and that he’s committed to agricultural diversity. Later the same day, I understood why he told me that if he had to do it all over again, he might not get into the cannabiz. It’s costly, time-consuming and emotionally draining. Sonoma County has made it nearly impossible for citizens to become legit pot farmers.

Mike tells me, “If small-time growers like me are to survive, we’ll need dispensaries that will carry our weed.”

Fortunately, the town of Sonoma now has a real dispensary. No, not right this minute. But in August the Sonoma City Council awarded SPARC, one of the coolest cannabis companies, a conditional certificate to operate a dispensary on Sonoma Highway about a 15-minute drive from the city’s center.

SPARC was a surprise winner. When the Justice Grown folks, one of the finalists for the certificate, announced that they would name their proposed dispensary “The Jewel Mathieson Wellness Center,” I thought that they were a shoo-in. Honoring the work and the memory of Mathieson, a longtime cannabis activist who passed away on Aug. 5, 2020, seemed like an idea whose time had come.

But it was not to be. Justice Grown is linked to a law firm in far-off Chicago.  SPARC is local, owns and operates a cannabis farm in Sonoma Valley, runs dispensaries in Santa Rosa, Sebastopol and San Francisco, and has a proven track record. The representatives from Justice Grown who testified before the council members tended to be overbearing. That was my impression. I watched and listened via ZOOM.

SPARC came across as humbler and smarter. “We haven’t been lobbying,” SPARC’s Erich Pearson told me, shortly before the city council voted to award him and his group a permit. “We don’t have to do backroom shenanigans.”   

Justice Grown promised to donate $1,000,000 to the city of Sonoma over the course of its first five years of operation provided it was granted a license. Was that a bribe? Some citizens thought so. SPARC’s offer to donate $4,000 per month in free cannabis to low-income medical patients, and those needing palliative aid, came across as genuinely philanthropic.

For more than a decade, residents of the town of Sonoma have traveled weekly, if not daily, to Cotati and Santa Rosa to buy cannabis and then gone home. That made no sense to many local citizens, and to cannabis activists such as Jewel Mathieson and her husband, Ken Brown, a former mayor and council member who planted the first idea for a dispensary ages ago.

Segments of the wine industry have been opposed to a cannabis dispensary in Sonoma, which would bring competition for tourist dollars. If SPARC’s dispensary is to succeed it will have to rely a great deal on sales to out-of-towners. That does mean a fight for disposable income.

Benziger thinks that in the long run cannabis has a good chance of becoming more popular than wine because of a generational shift.

Michael Coats of Michael Coats Public Relations and a leading cannabis activist, tells me, “Sometimes the city of Sonoma can feel like the most conservative place of earth.” Now with a dispensary, that perception will surely shift.

Before I left Benziger’s cannabis jungle, he gave me samples of two of his strains: La Bamba and Banana. At home, I smoked them both and emailed: “I’m glad you’re not growing placebos. Your weed worked wonders.”

Jonah Raskin is the author of “Dark Past, Dark Future: A Tioga Vignetta Murder Mystery.”

Left Edge Theatre Streams ‘Sweat’

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With no date in sight for the resumption of live, in-house theatre, Left Edge Theatre becomes the first North Bay company to move forward with a full season of streaming productions beginning with Lynn Nottage’s Pulitzer Prize–winning drama Sweat. The show streams through Sept. 27.

The play opens with a parole officer (Corey Jackson) interviewing two recent parolees—Jason (Skylar Bird), whose face sports a black eye and white supremacist tattoos, and Chris (Sam Ademolah), a young African-American who has found solace in religion. How these two are connected and what event precipitated their imprisonment will be revealed over the show’s time-shifting two-plus hours as it addresses issues of economic inequality, race, immigration, union-busting and what despair can do to friends and family over the span of eight years.

A Reading, Pennsylvania blue-collar bar tended by Stan (Mike Pavone) and his barback Oscar (Anthony Martinez) is the favorite watering hole and home-away-from-home of good friends and factory-line co-workers Tracie (Jill Zimmerman), Cynthia (Serena Elize Flores) and Jessie (Lydia Revelos). Cynthia’s announcement that she’s applying for a management position seems to sit well with her friends until she gets the position and has to announce plant reductions and layoffs. Labor unrest grows, latent prejudices are exposed, friendships crumble and soon the bar’s status as neutral territory is horribly revoked.

Director Argo Thompson has given this streaming production a more cinematic look, eschewing the infamous Zoom “Brady Bunch” boxes for single-screen shots. Another improvement was replacing green-screen background projections with individual set pieces constructed in the actors’ homes and on the Left Edge stage. Several scenes were pre-filmed, including a fight scene which didn’t come off particularly well and raised some questions in my mind with regard to Covid-safe practices.

Technical challenges with live-streaming still exist. Camera-focus issues, inconsistent audio and ragged transitions continue to be the norm. The cast must double as crew and, despite the occasional blip, handles those duties with aplomb.

The performances delivered by the diverse cast are generally strong. Actors with significant film and television experience (such as Pavone and Zimmerman) seem more comfortable with the medium, but each actor has their moment.

At its core, Sweat is an examination of how those on the lower rungs of the economic ladder tend to devour each other in order to survive when it would be better for them to direct their appetites towards those on top. It’s powerful food for thought.

Live performances of ‘Sweat’ are streamed through Sept. 13; recorded performance available for streaming through Sept. 27. $10–$30. leftedgetheatre.com.

Petaluma Student Hatchery Faces Unprecedented School Year

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No students are to be seen in the on-campus hatchery at Casa Grande High School in Petaluma.

There, United Anglers Program Director Dan Hubacker lectures about the Petaluma watershed and native species of trout and salmon to two 55-inch television screens, which display the face of his students via Zoom.

Though past classes have seen pushback from admin, devastating droughts and year after year of wildfires in the North Bay, none of these are perhaps as comparable—or impactful—as the coronavirus pandemic, which saw its first U.S. cases in January and has forced campus shutdowns of K-12 and colleges nationwide.

United Anglers got its start in the early ’80s, when teacher Tom Furrer and a group of Casa students spearheaded a massive clean-up of Adobe Creek. They removed over 30 truckloads of trash, including large kitchen appliances, car parts and several tires. During the Tubbs fire in October 2017, the on-campus hatchery was designated as an emergency facility for the Warm Springs Fish Hatchery in Geyserville.

Students enrolled in the class learn about the history of United Anglers, the Petaluma watershed, native strains of trout and salmon, and general wildlife. Those who pass the Tech II Exam, which requires a perfect score, are allowed to work with the hatchery’s equipment and are responsible for raising Steelhead trout later in the school year.

In 1993, students managed to raise over $510,000 to build the on-campus hatchery. Since then, the program has hosted an annual fundraiser at the Lucchesi Community Center, as Casa Grande High School offers United Anglers no funding for hatchery maintenance or class materials, which include nets and creek waders.

This year, with large gatherings banned, the plan for the November fundraiser is uncertain. Program director Dan Hubacker is hesitant to make any major decisions at this point, but he says that the program will still need support and funding, regardless of whether a fundraiser is held. Even if in-person classes are permitted in spring, massive modifications will have to be made to the building so that students can be allowed inside.

“We can either sit back and wait for in-person to occur, and then go, we don’t have any funding to cover that, or we can prepare … and we’re ready as soon as we get the go-ahead,” Hubacker says. “Right, wrong or indifferent, we can only go back if these changes are made. We have to keep our distance, we have to wear a mask, those are the things that are expected of us, so how do we get to that?”

In mid-March, amid talk of remote learning and campus shutdowns, Hubacker and his students began strategizing their next steps.

“The way I prepared the students was the idea that one way or another, we’re either coming back to class and running things status quo or, as we gain more information, we’ll make the call as we go,” Hubacker said in an interview.

Initial campus closures extended through the end of April, with an anticipated reopening date of May 1. However, in April, Petaluma City Schools announced that all classes would be conducted online for the remainder of the school year. For Hubacker, this forced the question of how to deal with the existing steelhead trout in the building.

“I didn’t want to cut the fish loose and find out a week later, hey, we’re coming back for in-person teaching and have everybody wonder, why did [you] cut the fish loose? There was that pull from both sides, so I held on to the fish through the end of the [school] year,” Hubacker said.

Hubacker recruited the help of the Department of Fish and Wildlife and UA’s Board of Directors. At the end of the year, the group successfully transported the trout to Warm Springs.

Hubacker says that the switch to remote instruction brought with it more than a few limitations. Holding class via Zoom means students aren’t able to get hands-on instruction, a hallmark of the UA program, and this presents challenges with distributing exams.

“We’re still, as educators, trying to wrap our head around how to assess students in a formalized setting,” Hubacker says. “With an exam, how do you do it? How do you not have a student sitting there with their notes open, a cell phone accessible, the internet accessible? Don’t even get me started with the idea of, how do you meet the accommodations of a student that has additional needs that need to be met? It’s not an equitable model.”

Remote instruction is new territory for Hubacker, who says that “all [the] field components have become part of our Zoom time.”

With the fate of in-person classes in spring semester left hanging in the balance, Hubacker says he will continue to modify the program’s schedule as more information is released.

“In the grand scheme of things, I’ve reached a point where—excuse my language—I’ve been pissed off,” he says. “I’ve vented to the point where it’s like, it’s not changing it. How much can I really complain if I can’t turn around and go, this is what I can do? Right now, this is what we have, what am I gonna do about it? How am I going to make this work to the best of my ability?”

Program alumna Izzy Fabbro, who graduated in 2018, says that the program provided her with a pathway to working with endangered species.

“I think the hatchery is important for showing students how important the environment is even at the local scale,” Fabbro says. “It allows us to get involved in improving our community. It also allows us an opportunity to get to do hands-on work that isn’t always available to everyone.”

The sentiment is echoed by Hubacker, who says that the cultural component of the class may not be able to return for the foreseeable future.

“The norms that you have, the chemistry, stressing, working together—I know it sounds small, but such a big part of this group is a handshake,” Hubacker says. “We spend an entire class period practicing handshakes. What’s going to happen with that? I don’t know.”

Still, even amid all the uncertainty, Hubacker feels confident in the abilities of his students. For now, the organization’s goal is moving forward—regardless of what will come in the next few months.

“I haven’t seen a group so fired up to prove a point than the group we have right now, because they know what they’re up against,” Hubacker says. “They know how easy it is to roll over and accept this, but as I keep telling them, this is stuff that is going to be written in the history books. We’re in times right now where it’s like, if you can get through this, you can get through just about everything.”

For more information or to donate to United Anglers, visit uacg.org.

Green Music Center Moves to Online Format for Fall Season

The Green Music Center–Sonoma State University’s world-class live music venue and educational centerpiece made up of the acoustically-pristine Weill Hall, the intimate Schroeder Hall and more¬–is accustomed to packing the halls with concerts and various live events featuring culturally significant musicians and other top-tier performers.

This year has been a quiet one at the Green Music Center, as the Covid-19 pandemic closed the halls and classrooms in March. After missing the summer season due to the extended social-distancing orders, the center in Rohnert Park is transforming their planned fall season into an online experience.

Dubbed ‘The Green Room,’ this new virtual program of events is inspired by the center’s green rooms, where performers hang out backstage, and ‘The Green Room’ events will feature conversations with artists as well as performances streaming online, beginning September 17 and running through December.

In addition to presenting online concerts featuring popular acts, The Green Room’s online fall programming reflects the Green Music Center’s commitment to student engagement with four artists-in-residence from a variety of backgrounds and disciplines who will also lead students in online discussions and workshops along with their scheduled shows.

The artists-in-residence performances begin with musician, performing artist and cultural Babalawo (spiritual guide) Michael Mwenso, who presents a ‘Black Music Series of talks and showcases starting September 17. The series opens with “A Form of Protest,” in which Mwenso examines music as a form of activism, and highlights the role it has played in pushing the boundaries on civil rights, human rights, class inequality and more through a discussion, historical recordings and performance.

Other artist-in-residence performers include Green Music Center favorites Las Cafeteras (pictured), who share their infectious genre-bending and lyrically-rich music and storytelling on October 15; visionary choreographer Liz Lerman, who returns to continue her new site-specific work “Wicked Bodies (Sonoma),” exploring the depictions of women’s bodies across multiple historic periods on November 5; and multicultural musical group and Navajo cultural music ambassadors DDAT, which performs on December 3.

‘The Green Room’ will also present three free online performances by the Chamber Music Society of Lincoln Center, and concerts by multi-cultural artists like acoustic and electric guitarist JIJI, instrumental band Invoke and the Juilliard String Quartet.

Aside from ‘The Green Room’ online season, The Green Music Center will still be the performing location for its resident orchestra, The Santa Rosa Symphony; which will perform, record and stream its redesigned Fall 2020 concerts from the Green Music Center’s Weill Hall stage.

The “SRS @ Home Virtual Fall Concert Series” will be streamed live on YouTube on October 11, November 15 and December 13 at 3pm, and each concert will feature a socially-distanced subset of the orchestra and Music Director Francesco Lecce-Chong.

“In the face of the difficulties behind us and the struggles ahead, the Symphony will share uplifting musical experiences, as it has during past crises,” Lecce-Chong says. “This is truly a historic moment in our Symphony’s long history, and we are so excited to present our first concerts, specifically programmed, directed and filmed for you to enjoy in your homes. We may not be in the Green Music Center in person, but imagine that across our community, we will all be gathered for a performance.”

Get tickets and the full details on ‘The Green Room’ online season at gmc.sonoma.edu.

Find more information on the Santa Rosa Symphony’s upcoming virtual season at srsymphony.org.

David Templeton Takes On ‘The Piper at the Gates of Dawn’

Local writer, actor (and former Bohemian contributor) David Templeton found himself with plenty of free time during the North Bay’s ongoing shelter-in-place response to the Covid-19 pandemic these past six months.

In the time, he’s been flexing his memory muscle by memorizing all 3800 words of “The Piper at the Gates of Dawn,” the beloved seventh chapter from Kenneth Grahame’s seminal literary work, Wind in the Willows.

This Saturday, September 12, Templeton will share the exciting and mysterious tale in coordination with the Friends of the Petaluma River in a live, word-for-word performance of ‘The Piper at the Gates of Dawn’ that can be seen on Facebook, YouTube or the Friends’ website for free at 5:30pm.

Written over one hundred years ago, Wind in the Willows is one of the most beloved children’s novels on the last century, and it’s anthropomorphic animal characters like Mr. Toad have endured in Disney adaptations and other films and animated fare.

Yet, many children who grew up reading Wind in the Willows may be unaware of “The Piper at the Gates of Dawn,” which is often edited out of many modern adaptations.

The chapter features a story that seems unrelated to the rest of the novel’s plot. Otter has lost his son and Rat and Mole get in their boat and row through the night to look for him. Just before the dawn they hear incredible music and come face to face with a deity who is clearly (though never named) the Great God Pan, with the lost otter boy sleeping at his feet. Rat and Mole load the boy into the boat and take him back to his family recognizing that they have had an unusual experience.

While this chapter is less well known than the rest of the story, it is arguably the most celebrated, studied and beautiful chapter of the book, and critics and fans alike regularly point to “The Piper at the Gates of Dawn” as Grahame’s best writing.

“‘The Piper at the Gates of Dawn’, filled with references to sleeping and dreaming and waking and drowsing, is, I think, all about awakening to beauty,” Templeton writes in a statement. “It’s about those transcendent moments when something jars us out of our habits and comforts and we suddenly see the world in a striking new way, then struggle to hold onto that vision as we return to our previous habits and comforts.”

For Templeton, memorizing “The Piper at the Gates of Dawn” was a personal project during the early days of quarantine that he describes as, “A true joy and pleasure at a time when joy and pleasure sometimes seem in short supply.”

Following his performance on Sept. 12, Templeton will engage in a discussion of the work with writer, filmmaker (and current Bohemian editor) Daedalus Howell and Friends of the Petaluma River Executive Director Stephanie Bastianon to further revel in the story’s themes and reveal it’s significance.

The performance benefits Friends of the Petaluma River, which has celebrated and helped conserve the Petaluma River and it’s watershed through education and stewardship since 2005. The event is free to watch, and donations are welcome and donors will have the opportunity to win a Wind in the Willows-themed gift basket. For information on how to watch the performance, visit FriendsofthePetalumaRiver.org.

Upcoming Exhibition Examines Marin’s Rock Legacy

From the lawns of Rancho Olompali near Novato to the Cushing Memorial Amphitheatre situated among the peaks of Mount Tamalpais, Marin County has seen it all when it comes to rock & roll.

For more than 50 years, Marin has been the home of iconic rock artists and bands, as well as the scene of legendary concerts. Now, locals can revisit those moments as MarinMOCA opens a new exhibit, “Marin’s Rock Art Scene,” on Saturday, Sept. 12.

“One of our board members had a memory of Olompali; how important it was to the start of the whole rock culture in the Bay Area and how early it was, in 1966 before the Summer of Love in San Francisco,” says MarinMOCA Executive Director Nancy Rehkopf.

Starting there in 1966, “Marin’s Rock Art Scene” looks back on several musical figures who made Marin famous, and features photography of the Grateful Dead, Carlos Santana and others, taken by prolific rock photographers including Herb Greene and Jay Blakesberg; both of whom worked with MarinMOCA on this exhibit.

“We curated the show primarily through word of mouth,” Rehkopf says. “We learned that rock culture is still very much alive in Marin and the Bay Area.”

Along with photographers, MarinMOCA worked with musicians, producers and even collectors of memorabilia for the exhibit, which also includes vintage posters for fondly-remembered concerts such as Marin’s 1966 outdoor rock concert at Mt. Tam and the infamous “Skeleton and Rose” poster for Grateful Dead’s 1966 show at Avalon Ballroom drawn by beloved artists Stanley Mouse and Alton Kelly.

Musicians also get into the act for this exhibit, and “Marin’s Rock Art Scene” displays original artwork by artists like Dave Getz of Big Brother & the Holding Company and Joan Baez, whose oil paintings included in the exhibit include a portrait of her younger sister, Mimi Fariña.

Fariña was best known for founding and running nonprofit organization Bread & Roses, which offers free live music to isolated residents of homeless shelters, correction facilities, health care centers and convalescent homes in the Bay Area and beyond. For this exhibit, 20 percent of all art sales will be donated to Bread & Roses.

Alongside the art and images, MarinMOCA will also show the documentary, Olompali: A Hippie Odyssey, as part of the exhibit. Narrated by Peter Coyote, it tells the story of the Marin estate that became a commune and kicked off the rock scene by attracting figures like Joplin and the Grateful Dead in the ’60s.

The exhibit also follows the local scene’s trajectory beyond the ’60s and ’70s with photos and album art representing heavy-metal superstars Metallica, Platinum-selling punk band Green Day, and even ’90s hip-hop icon Tupac Shakur—who attended Tamalpais High School.

Shakur is honored in Ashleigh Sumner’s 2018 mixed media painting, “I See No Change.” The piece features the rapper posed among stenciled red roses, layers of newsprint and images of cloaked Ku Klux Klan members and uniformed police officers. The words “No one taking the Blame” repeats across the canvas, resonating with the ongoing movements against police brutality and racial inequality.

“Marin’s Rock Art Scene” will be open to view in-person at MarinMOCA by appointment beginning Sept. 12. While a slideshow of the art will be available online soon, Rehkopf invites art lovers and patrons to make appointments to safely view the work in the museum.

“It’s a very comfortable experience here at the museum,” Rehkopf says. “You will be in the gallery with a maximum of 10 people, all of our doors and windows are open, everybody’s wearing masks, people are very respectful of social distancing. I’d like to encourage people to go.”

‘Marin’s Rock Art Scene’ runs Saturday, Sept. 12, to Sunday, Nov. 8. MarinMOCA is located at 500 Palm Dr., Novato. Open by appointment only. 415.506.0137; marinmoca.org.

Calistoga Gallery Reopens with Hopeful Exhibit

Located in the heart of Calistoga, Sofie Contemporary Arts is one of Napa Valley’s premier purveyor of inventive modern art that is diverse in media, styles and approaches.

The gallery is run by director Jan Sofie and manager Scott Sofie. Since opening the gallery in 2017, the couple have endured fires, mass evacuations, and more recently a Covid-19 pandemic that closed their space for the past six months.

Still, Jan and Scott Sofie remain hopeful, and they share that feeling with the community as Sofie Contemporary Arts reopens this month with a new exhibit entitled “Hope Is the Thing…” The show is running now and remains on display through October.

The invitational group show’s theme is inspired by Emily Dickinson’s 1862 poem, “Hope Is The Thing With Feathers,” in which Dickinson describes the capacity for hope in metaphor as a bird that “perches in the soul.”

That hopeful feeling is illustrated in the exhibit’s diverse art from more than 20 accomplished Bay Area artists, including many North Bay favorites.

“While talking with many artists over the past difficult months, it became obvious that we were all trying to keep focused on what we really cared about, what really mattered,” Jan Sofie says in a statement.

For this exhibit, many of the participating artists are displaying works that focus on what is personally relevant for them, and selections in the show hit on topics of the pandemic and social distancing as well as economic turmoil and environmental concerns.

Participating artist Sylvia Gonzalez creates natural scenes such as her piece “Goldfinches” (pictured) from pencil and pastel drawn over monotype backgrounds. Working from her studio in Petaluma, Gonzalez focuses her layered art not only on birds, but on foxes, coyotes and other wildlife that can be found in the North Bay.

San Rafael artist Bill Russell also uses birds as an artistic metaphor in his contribution to the exhibit. His acrylic piece, “Little Birdies,” features several feathered figures in a colorful collage of movement.

Napa Valley artist Anne Pentland’s piece in the show is also a nature scene, though Pentland finds hope among ashes in her oil painting, “Aftermath Australia.” The art finds several kangaroos in a burned landscape being helped by a woman in yellow. The piece is from Pentland’s ongoing ‘Madonna’ Series, which employs the religious symbol of protection to represent Pentland’s passion for nature and her concern over climate change and its effects on wildlife.

In addition to works that feature animals, plants and other natural wonders that act as essential sources of solace, the exhibit includes works that evoke notable historical and culturally significant figures and references that aim to bolster resolve as well as hope.

“Without hope, I don’t think we can muster the courage or grit to change or go forward with what we need to do,” Sofie says. “There is always intelligence and light even in the most discouraging moments but it takes critical awareness and discipline to manifest it; I think you will see this in the exhibition.”

Sofie Contemporary Arts is located at 1407 Lincoln Ave., Calistoga. Open Wednesday through Sunday, Noon to 6pm or by arrangement. 707.942.4231.

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