Anniversary of Annihilation

Ever since the atomic bombings of Japanese cities in August 1945, the world has been living on borrowed time.

The two small atomic bombs dropped on the cities of Hiroshima and Nagasaki killed between 110,000 and 210,000 people and wounded many others, almost all of them civilians. In subsequent years, hundreds of thousands more people around the world lost their lives thanks to the radioactive fallout from nuclear weapons testing, while substantial numbers also died from the mining of uranium for the building of nuclear weapons.

Despite the enormity of the nuclear danger, governments could not resist the temptation to build nuclear weapons to safeguard their national security. Consequently, they plunged into a nuclear arms race and, on occasion, threatened one another with nuclear war.

By contrast, much of the public found the prospect of nuclear war unappealing. They rallied behind organizations like the National Committee for a Sane Nuclear Policy. And in the fall of 1958, the governments of the United States, the former Soviet Union and Britain agreed to halt nuclear weapons testing as they negotiated a test ban treaty.

In recent decades, the dwindling of the popular movement and the heightening of international conflict have led to a revival of the nuclear arms race. The Doomsday Clock of the Bulletin of the Atomic Scientists has been set at 89 seconds to midnight, the most dangerous level in its 79-year history.

The catastrophe of nuclear war can be averted. To accomplish this, however, a revival of public pressure for nuclear disarmament is essential. The movement could focus on its campaign for the signing and ratification of the Treaty on the Prohibition of Nuclear Weapons. This treaty was adopted in 2017 by most of the world’s nations and went into force in 2021. Thus far, it has been signed by 94 nations and ratified by 73 of them. None of the nuclear powers has signed it. But with widespread popular pressure and enhanced international security, they could ultimately be brought on board.

Dr. Lawrence Wittner is the author of ‘Confronting the Bomb.’

Your Letters, Aug. 13

Fiddling With Fire

I enjoyed Cincinnatus Hibbard’s Aug. 6 piece on The Museum of International Propaganda; fascinating subject, well told. But it left me thinking about how the implicit biases of local media, including the Bohemian and Pacific Sun, might be shaping what we see—and what we don’t. By focusing so much on the vitality of the local arts, are we not ignoring the obvious cultural apocalypse we’re living through?

I’m all for coverage of the arts (God knows, we need beauty, meaning and a little escapism), but at what cost? The world outside our gallery openings and music festivals is a dumpster fire of political instability, environmental collapse and creeping authoritarianism. It’s hard not to feel that we’re distracting ourselves into oblivion.

And then there’s the optics: Putting a “professional” air guitarist on the cover of the Bohemian is charming on one level, but isn’t it also the modern version of Nero fiddling while Rome burns? I’m not saying we shouldn’t celebrate creativity, but maybe—just maybe—we should also keep our eyes on the bigger picture, even if it’s uncomfortable to look at.

Micah D. Mercer
North Bay

Micah, I hear you—but the arts, and our dedication to covering them, isn’t fiddling while Rome burns. Art is the bucket brigade. It carries meaning, empathy and vision across the firebreak. Without it, we’re just spectators to the flames—with it, we stand a chance of imagining and building something better from the ashes. Moreover, it starts conversations … like this one.

—Daedalus Howell, Editor

Afroman at the Mystic & More

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Petaluma

Because I Got High

Get ready to inhale … the vibes—Afroman is bringing his legendary laid-back lyricism to Mystic Theatre on Aug. 26. Best known for the chart-topping anthem “Because I Got High,” the SoCal rapper blends party beats with punchy social commentary and signature stoner wit. Whether in it for the laughs or the legit hip-hop, Afroman’s live show is all about the good times and real talk. 8pm, Tuesday, Aug. 26, at Mystic Theatre, 23 Petaluma Blvd. N., Petaluma. Tickets start at $37 at bit.ly/afroman-mystic.

Napa

Flavors of Film

The Culinary Institute of America at Copia is bringing back its Flavors of Film series with a family-friendly twist. Beginning Sunday, Aug. 17 and continuing every third Sunday through December, organizers are pairing a family-friendly movie with an interactive scavenger hunt in the Chuck Williams Culinary Museum or gardens. First up is Pixar’s A Bug’s Life, paired with a themed, food-focused activity that encourages healthy eating. It’s a recipe for fun, learning and local flavor in one package. 2-4:30pm, Sunday, Aug. 17, CIA at Copia, 500 1st St., Napa. Tickets and info at ciaatcopia.com.

Fairfax

Photo Club Exhibit

With 16 photographers but countless perspectives—this year’s Fairfax Photo Club exhibit transforms the Fairfax Library into a gallery of local imagery. From intimate portraits to sweeping landscapes, the work on display offers a window into the diverse ways we see our world. It’s a visual journey that reflects the community’s creativity and connection to place. 9am-8pm, through Aug. 14, Fairfax Library, 2097 Sir Francis Drake Blvd. Free.

San Anselmo

High Fiber Art

From weaving and spinning to quilt making and fiber sculpture, Tying it Together: The Art of Fiber, on view at Artist Within – A Cedars Gallery, showcases the many ways thread becomes art. It also offers a glimpse into the origins of the Cedars Textile Arts Collaborative, founded in 1982 by Connie Pelissero to create a vocational program where individuals with developmental disabilities could earn income, hone their craft and share their talents with the community. It’s fiber art with a local story woven in. 10am-4pm, through Aug. 15, Artist Within – A Cedars Gallery, 603 San Anselmo Ave., San Anselmo. Free.

Pt. Reyes’ Space Suit goes the distance at Big Easy

Anyone who has spent time in or around Point Reyes Station in the past five or so years has likely seen Seamus Tomkins—a lanky, bespectacled man serving his community at several different locations.

Maybe it was outside at the Thursday food bank, where he worked for West Marin Community Services. Or, perhaps the Dance Palace, West Marin’s go-to local spot for events and community gatherings. Or maybe as a kayak guide during an excursion out on Tomales Bay? Ah, yes, he is also the sole member of the local musical act Press on Randy as well.

Similarly, if one has spent any amount of time in or around Point Reyes Station in the last decade, local squire and unofficial mascot Flyn Q.—a wiry, long haired, bearded, hippie-ish whirling dervish of dance, positivity and profound grasp of our current human condition—has likely crossed one’s vision. But, you know, in a good way. He can also hold a handstand from around three to five minutes. And if one genuinely lends an ear and listens to what he’s saying, they will walk away a little better for it each time.

These two similar but very different men are a sort of yin to each other’s yang in that they’re deeply committed in their own way to community, music and kindness. And their beat and sample heavy hip-hop duo, Space Suit, is now gigging all around the North Bay, including an upcoming free show Saturday, Aug. 16 at Petaluma’s all-ages club, The Big Easy. A free show? In this economy? One may read on and find it apparent as to why.

A recent stop by the Space Suit practice space (aka Flyn’s house “on the Mesa,” as they say in Point Reyes) saw the two working on several songs and accompanying music videos, all at once.

A massive computer monitor with editing software and hi-def speakers are all keyed up to a new song called “Entropy,” to which Tomkins has already put together beats and samples and dropped in some of his vocal musings on the heady and intriguing topic of the title. But he’s set up a perfect spot for Flyn to drop in and contribute his take on the topic. So Flyn does just that, creating lyrics on the spot that both incorporate Tomkins’ takes while adding his own, numerically flavored thoughts.

In terms of how Tomkins and Flyn began working together, Tomkins says, “Before we became Space Suit, I had wanted to get Flyn up on stage with me at a Press on Randy show, and I composed more of a hip-hop style song for him to come up and freestyle rap. He got up on stage and absolutely crushed it, and it really infused new life in the Press on Randy thing.”

After a quick rat-a-tat-tat with his hands on the arm of his chair to some beats banging through the speakers, he adds, “That was a few years ago and the start of our musical collaboration. One song became two, then another, and we started collaborating in the studio space as well as live settings. The first few songs we did together were before I knew he was also an incredible music producer in his own right.”

Watching the two work on “Entropy” indeed shows Flyn’s almost uncanny memory of where parts of the song are and where spots are that could be tweaked across the editing program that looks daunting, to say the least. He leans over and notes, “We saved this part for a female vocalist to come in and sing” before trailing off, lightly imitating what the woman might sound like in the song.

Look, there’s no easy way to put this; listening to Flyn’s concepts isn’t difficult, if one is willing and open to a person who could easily be waved off as merely an eccentric local character. Tomkins realizes this, saying, “He is one the most misunderstood people I know because he is one of a kind. Sometimes he can be written off by those who don’t know him as crazy, on drugs, out of his mind, etc. All of which he is very much not. In fact, he is one of the most consistent, intentional, smart, thoughtful and loving people that I know.”

Still, it’s incredibly difficult to transcribe his ideas and concepts in written form. Rather than attempt to do so, perhaps highlighting some recurring themes is the best way to give an accurate representation of our man, Flyn.

One concept that is repeated throughout the night is that all of us on this planet are at a turning point of change, one where, Flyn believes, we will all come together as one in peace and harmony. Maybe that’s not a new concept, and it’s one older than chemtrails controlling the weather but, when Flyn breaks it down, it makes sense. As we shift gears to the music video for their new single, “Revelation,” Flyn hits play and Tomkins, as the kids say, lets him cook.

The video features the Space Suit members rapping and dancing in and around Point Reyes and Petaluma as the vocals speak in different ways about being present, or in their words, omnipresent, as droplets of religion, magic, friendship and community flow over electronica samples and a bubbly beat.

And the visual is intercut with Flyn literally cooking. Later in the video, the two hand out sandwiches to passersby. There’s also heavy religious and numeric symbolism which Flyn makes reference to several times, saying, “When people realize what these numbers and symbols all mean, we will be closer to peace. Peace leads to freedom; freedom leads to prosperity.”

From here it’s off to an actual live rehearsal in another area of the garage. Tomkins has Midi sampling devices, an iPod serving as a master control and his guitar plugged in as well. Flyn is on the mic and often uses a voice modulator as he freestyles and spits rhymes.

While obviously Space Suit’s music isn’t going to be for everyone, their message should be—especially in these divided times. Plus watching the duo in their artistic groove is nothing short of inspiring.

As the night comes to a close, Flyn gets to riffing about the notion of DIY creation (“all of these things we’re using here, anyone can buy, anyone can learn how to use them”), as well as noting, “By doing this job [the music], the compensation is the smile we see, knowing that that frequency is being picked up and building, and continuing.”

Tomkins smiles at this, visibly moved. “I mean, how can you not want to get behind that?” he asks. And just like that, Space Suit loads up another fun and energetic creation as they prepare to launch their message to the masses.

Space Suit performs as part of Dimitri’s Social Mixer at 8pm, Aug. 16, at The Big Easy, 128 American Alley, Petaluma. Free. More about Space Suit at spacesuitmusic.com.

Video Killed the Newsletter Star

When I was a kid in the ’70s and ’80s, they told us, “You can be anything you want.”

Thus empowered, Sesame Street’s Big Bird decided to be a firefighter. Failure ensued. Later in the same episode, a camera-toting cast member named Olivia sings “You Can Be Anything You Want To” with Big Bird, who then decides to be a photographer. This is what shrinks call the “Chameleon Effect”—unconsciously mimicking the behaviors of others—and it’s a symptom of borderline personality disorder. No matter—Olivia offers her camera, and Big Bird mistakenly peers into the lens. Sigh.

The message was clear: You can’t be anything you want. Or, you technically can, but it’s going to suck, like Big Bird.

I wanted to be a writer. And through some quantum fluke, I became one—or as my wife once pointed out, “You pretended to be a writer until you were.”

Now, I’m pretending it was the right career choice. Sure, it’s been one lovely, long, if largely lateral trajectory, but recently a raft of disruptions hit the trade in rapid succession.

The Writers Guild of America strike of 2023 shed light on screenwriters’ mounting financial struggles, partly due to the radical recalibration of fee structures because of streaming. Journalism remains a bruised industry, with post-pandemic newsrooms emptied or closed and waning public trust in media—only 14% of journalists believe the public has much faith in news outlets (Pew Research Center). Novelists? Fuhgeddaboudit. Meanwhile, evolving technologies like generative AI keep the silicon sands shifting throughout.

For indie authors, the news isn’t all bad—new spins on old models have emerged, allowing writers to bypass traditional gatekeepers and monetize their work directly with their readers. But each new possibility demands a new kind of hustle.

Consider the emergent newsletter trade. I quit writing a personal newsletter because I already write a couple on the job. And, frankly, so much spam goes out under my name that I should buy stock in Hormel. And a newsletter isn’t just a newsletter anymore. It’s TikTok for grownups if one’s following newsletter platform Substack’s “vertical video” initiative. Apparently video is where the money is … for writing…? The company’s recent billion dollar valuation affirms this.

In a matter of a few months, I’ll mark my 30th anniversary of going pro in this racket. And I’m still learning: You can be anything you want to be—even a writer—but don’t be alarmed by my dead-eyed stare into the lens. It’s just another chapter.

Editor Daedalus Howell is at dhowell.com and 95.5 FM, 2pm, weekdays.

Transcendence brings ‘Carole’ to Sonoma

It’s been 14 years since the Transcendence Theatre Company landed and took root in the Sonoma Valley with their Broadway-caliber musical revues. They added the occasional fully-produced Broadway show to their repertoire in 2018 with A Chorus Line, and in 2023 they showed The Full Monty in Glen Ellen.

After a few years of taking their shows on the road, the company relocated to Fazio Field in Sonoma’s Field of Dreams. Now, after a successful first year at the venue, they’ve decided to return to the world of Broadway book musicals with Beautiful: The Carole King Musical. The show runs in Sonoma through Aug. 17.

As the title makes clear, the show is a musical journey through the songbook of Carole King. Carole (Britta Rae), along with writing partner and husband Gerry Goffin (Billy Cohen), wrote such classics as “Some Kind of Wonderful” for The Drifters, “Will You Love Me Tomorrow” for The Shirelles and “Pleasant Valley Sunday” for The Monkees.

The dissolution of King and Goffin’s marriage led to King’s blossoming as a solo performer, culminating in the release of her classic album, Tapestry, featuring such songs as “It’s Too Late,” “You’ve Got a Friend” and “Natural Woman.”

Beyond the King/Goffin contributions, we also get the works of their best friends, Barry Mann (David R. Gordon) and Cynthia Weil (Anne Terze-Schwarz), including “On Broadway” for The Drifters and “You’ve Lost That Loving Feeling” for The Righteous Brothers. All began their work under the tutelage of music impresario Don Kirshner (Tony Clements).

Yes, it’s a jukebox musical, but it’s a good one that puts Transcendence’s experience in mounting musical revues to good use. Director Tony Gonzalez and choreographer Vasthy Mompoint do an excellent job in guiding their talented cast through a very busy two-plus hour production. All the leads give excellent performances, with Bae truly inhabiting her character. Transcendence regular Gordon provides most of the comic relief, and both are well paired with their characters’ significant others.

A lot of credit goes to the ensemble, and their off-stage support, as they whisk set pieces on and off the stage and go through some very quick costume changes to become The Drifters (Kameron Askew, Conroe Brooks, Damon Mctoy, Nathan Andrew Riley), The Shirelles (Arielle Crosby, Charis Gullage, GiGi Lewis, Joy Pointe) and others.

Classic songs, great voices and energetic movement combine to make this production of Beautiful: The Carole King Musical Transcendence’s best fully-staged musical to date.

Transcendence Theatre Company’s ‘Beautiful: The Carole King Musical’ runs Thurs-Sun through Aug. 17 at the Field of Dreams, 151 First Street West, Sonoma. Venue opens at 5pm, show starts at 7:30pm. $35-$185. 877.424.1414. bestnightever.org.

Activists Fast for Sanctuary

Socorro Diaz is one of seven community members who are fasting in front of the Sonoma County Board of Supervisors’ building for a Sanctuary ordinance. Spurred by Donald Trump’s executive orders that have swept up many immigrants — even some in the US legally — and sent them to detention centers, Diaz said, “I prefer to die on the hunger strike, than in a detention center.”

Originally from Oaxaca, Mexico, she has lived in Sonoma County for 24 years, where she has a husband, three children, sisters and brothers and many friends.

“I brought my family here for a better life,” she said, sitting on a collapsible chair, under a canopy to shade her from the summer heat.

Along with the other hunger strikers, five from the Latinx community and two non-Latinos from the religious community, Diaz plans to remain on the hunger strike until the supervisors pass a Sanctuary ordinance.

The strike is organized by the Sonoma County Sanctuary Coalition, a group of religious and activist organizations.

During an interview on the second day of the hunger strike, Diaz elaborated on her request to the supervisors.

“For me it is not acceptable what is going on with the immigrant community,” she said. “I am feeling a lot of emotions,” she continued. I am thinking of what will be going on in the next couple of years. I hope to get Sanctuary to protect our community, our workers, our women and kids. They (the supervisors) are not doing enough. They could do more. They have to stand with the people.” 

But county supervisors say they are doing plenty.

“The board of supervisors has done a lot of things to protect immigrants,” said Third District Supervisor Chris Coursey. It has spent hundreds of thousands of dollars for immigrant defense. We appointed a new district attorney just to defend immigrants.

“Sanctuary is not a solution to anything. It does not protect anyone. It doesn’t change any of our policies or actions. It is a false promise. We asked the sheriff if it would change anything they’ve been doing. He said nothing it does helps anyone. But I respect people’s right to speak freely. But I respect hunger strikes.”

“I wish they weren’t so paternalistic,” said Renee Saucedo, a local attorney and human rights activist, and founder of Almas Libres (Free Spirits), one of the organizations supporting the hunger strike. “They are out of touch with what people are living through every day of their lives. 

“The federal government is pumping billions of dollars into rounding up immigrants. We can’t trust that the county wouldn’t be pressured to join in. We need an enforceable law. Sonoma County is already on Homeland Security’s hit list, according to its website. There is no way to predict what will happen. People are afraid to leave their homes, to go to work, to access services,” Saucedo elaborated, “It’s (Sanctuary) not a solution to everything, but it’s a good start.”

Although she is not an immigrant, having been born in the U.S., Saucedo is one of the hunger strikers. Rev. Lindsey Bell-Kerr, lead pastor at the United Methodist Church in Santa Rosa, is another one of the non-immigrant hunger strikers, along with Dan Vroman, a member of the Catholic organization, Emmaus.

Bell-Kerr said several religious organizations are participating, primarily as support people, including Cotati synagogue Ner Shalom, Dharma Heart Zen in Sebastopol and the Unitarian Universalist Community (UCC) in Santa Rosa. There is always a faith leader onsite and other members of the faith community are functioning as liaisons to the board of supervisors and the sheriff’s office. In order to maintain the strikers’ health during their ordeal there is a medical team headed up by Dr. Jenny Fish, and the strikers are drinking fluids with electrolytes.

But the unpredictable sweeps of immigrants by Immigration and Customs Enforcement (ICE) is not the only thing that keeps some immigrants hiding in their homes. They are also concerned that the Sonoma County Sheriff’s office provides release dates for incarcerated immigrants to ICE, which allows the enforcement agency to pick up immigrants as they leave the jail or the courtrooms.

But Sonoma County Sheriff Eddie Engram says his department is only cooperating with ICE when it is required by law. It is not initiating offering information to ICE. At a Truth Act forum earlier this year Sheriff Eddie Engram said the release dates are public information and his department does not hold anyone on immigration detainer, only on warrants issued by judges. Last year, according to Engram, ICE called the sheriff’s department with 484 requests and the department only responded to 64 of them.

In a telephone interview Fifth District Supervisor Linda Hopkins said, “We can’t control the policies of the sheriff’s department.”

Although the supervisors provide the sheriff’s department with a budget, the sheriff has complete control over how to spend it.

Still, the hunger strikers and their allies believe the immigrant community would feel more supported by the county if there were a Sanctuary ordinance in place.

Bell-Kerr said, “Even if it’s only symbolic, why not give the community what it wants.”

Summer Horns with Jazz Man Dave Koz in Napa

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A name that for many is synonymous with smooth jazz, Dave Koz has over the past three decades continued to captivate audiences worldwide with his sublime saxophone melodies and infectious energy. 

Koz performs at the Blue Note Summer Sessions at The Meritage Resort and Spa in Napa on Aug. 15. The show is part of his Summer Horns 2025 tour and will feature Marcus Anderson, Jeff Bradshaw, Leo P and Evan Taylor. 

Born in 1963, Koz, an Encino native, grew up in a musical family, where he developed an early fascination with horn-driven bands like Chicago; Tower of Power; Earth, Wind & Fire; and Blood, Sweat and Tears. But by the time Koz reached his teens, rock and soul bands had largely moved away from using horn sections.

It was around that time the upstart musician became fascinated with instrumental jazz, particularly that of the acclaimed alto saxophonist David Sanborn, who passed away last May at the age of 78. 

“David Sanborn changed the way that instrument will be played forever,” Koz said in a recent interview. “He took the saxophone from a traditional jazz setting and brought it into a more contemporary jazz setting.”

A pivotal moment in Koz’s artistic development came when the young musician was introduced to his hero backstage at a concert. “I was so nervous,” he recalled. “I’d learned every lick, every melody, and it was like, gosh, l want to be just like you, you know, the typical young kid meeting their idol. And he was patient, and he was smiling, and finally he just said, ‘Stop. Let me be me, and you find out who you are.’”

Koz took Sanborn’s advice and learned how to blend smooth jazz with elements of R&B, pop and funk in ways that set him apart from his contemporaries. Over the course of the last few decades, he’s gone on to become one of the most in-demand saxophonists of his era. He’s collaborated with a remarkably diverse range of artists, including Ray Charles, U2, Postmodern Jukebox, Kenny G, Shelby Lynne, Burt Bacharach, Michael McDonald; the list goes on. 

Along the way, he’s also earned nine Grammy nominations while releasing nearly two dozen albums under his own name, many of which happen to be Christmas albums. So it comes as no surprise that he continues to celebrate his favorite holiday season with Christmas tours every year.

The Christmas tours aren’t Koz’s only recurring outings. He’s also put together “Summer Horns” recordings and tours, where he joins with other musicians to perform music that predates his move toward jazz. This summer, his latest edition for the Summer Horns trek finds him joined by vocalist Marcus Anderson, trombonist Jeff Bradshaw, trumpeter Evan Taylor and sax players Leo P and Marcel Anderson.

“That was an opportunity for us, in many different iterations, to pay tribute to some of these amazing bands,” he said. “You listen to these records, whether it’s Tower of Power; Blood, Sweat and Tears; Chicago; or Kool & The Gang, and they hold up, even after 40 or 50 years, because the songs are so good, the arrangements are so good and, of course, above all else, their musicianship is so superior.”

And through it all, there remains David Sanborn’s advice, to be who you are, which continues to resonate with Koz on a more personal level. 

“Those words were very prophetic and really helped me establish my own identity,” said Koz, who would come out as gay midway through his career. “I did it about 20 years ago. I never thought I would, but something sort of happened and changed in me, and I was like ‘OK, well, I’m gonna do this. And if this changes my career trajectory, or it all stops, I’ve had a great run.’”

As it turned out, it “was” a major change, but for the better. Not only was he accepted; he also felt a renewed creative energy. “I was finally able to express myself musically in a very authentic way that I felt like I hadn’t quite accessed before. Like right now, I’m doing an album with this wonderful artist named Bob James. It’s just piano and saxophone, so there is no place to hide. I don’t think I would ever have been able to make this album, really baring my true heart, had I not come out,” he noted. 

For Koz, it was an internal change he explains with a personal metaphor.

“I’d created this huge mountain in front of me that I thought I would never be able to scale,” Koz said. “And then I got over it. You face your fear, and you turn to look at the mountain thinking, ‘I’ve done it, I’ve done it.’ And when you look back, there is no mountain. That was the surprise of it all: There’s no mountain.”

Dave Koz performs 8pm, Friday, Aug. 15, at the Blue Note Summer Sessions at The Meritage Resort and Spa, 850 Bordeaux Way, Napa. The event is outdoors and will take place rain or shine. 

Shakespeare in the Piazza: ‘Two Gentlemen’ at Bacchus Landing

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For years, Healdsburg’s Raven Players have been presenting a summer Shakespeare production “under the stars” at the perfectly serviceable but rather bland West Plaza Park. They’ve upgraded a bit this year by relocating to Bacchus Landing for their production of Two Gentlemen of Verona. The Wine & Event Center is hosting the production through Aug. 16.

There’s a small elevated stage in the center’s piazza with a wall over which the Players have draped a backdrop to provide a sense of location. Rows of padded chairs face the stage, with a few tables and cushier chairs in the front available to those willing to shell out some more bucks. Wine and wood-fired oven pizza are available for purchase to make the evening more of an outing.

The show itself is one of Shakespeare’s earlier works. I’ve always thought it was one of the Bard’s easier plays to follow, written before he got all “Shakespeare-y.” It’s the tale of besties Valentine (Matt Farrell) and Proteus (Paul MacKinnon), whose friendship is tested by (of course) a woman. 

Valentine leaves Verona for Milan, where he falls in love with Sylvia (Kate Edery). Proteus stays back in Verona, as he can’t bear to leave his love, Julia (Alyssa Rempel), but soon finds himself sent to Milan anyway. He becomes smitten with Sylvia himself, and, as all best friends do, plots to have Valentine removed from the picture. Word gets back to Julia what Proteus is up to, so she disguises herself as a man and heads for Milan to see what’s up. Comedy ensues.

Co-directors Steven David Martin and Jenna Vera Dolcini have made this a “concept” production, with the concept being Shakespeare set in 1950s Italy. That means leather jackets and bad pompadour wigs for the boys, poodle skirts and saddle shoes for the girls, and really bad Italian accents for everyone. Adjusting one’s ear to the language of Shakespeare is a bit more challenging with the wildly over-the-top and often inconsistent accents.

Also challenging is the occasional low-flying jet from nearby Sonoma County Airport, the constant beeping of pizza pagers, and the inflow and outflow from the audience of those pizza-seeking patrons.

The Raven’s summer Shakespeare productions have always been sort of light-hearted larks, as is this one. Your enjoyment of it may be in direct proportion to the amount of wine you ingest beforehand.

The Raven Players present ‘Two Gentlemen of Verona’ through Aug. 16 at Bacchus Landing, 14210 Bacchus Landing Way, Healdsburg. Thurs-Sat, 7:30pm. $5-$25. 707.433.6335. raventheater.org.

The Shows Must Go On, DIY Music Promoters Keeping a Scene Alive

El Infierno Cantina sits within a nondescript building on a street corner in Santa Rosa’s Railroad Square. 

Through the entrance area, past the bar and a scattering of high-top tables, and up a set of stairs lies a surprisingly large venue space with a full-sized stage, sound booth and elevated booth seating wrapped around a sizable dance floor. 

Formerly the location of The Last Day Saloon, El Infierno Cantina (on Santa Rosa’s 5th Street) is packed from 9pm, every Friday and Saturday, as a nightclub that specializes in high-energy Latin DJs and bands. On Sunday, July 27, though, it opened its doors to host the fifth anniversary of Nothing to Fear, a punk and metal festival put on by local promoter Down the Street Booking.

From 3 to 10pm on that Sunday, 16 bands from Sonoma County, the greater Bay Area and beyond congregated in the space to rip through 25-minute sets across three different stages, or one stage and two makeshift floor-pits, to be more precise. 

Some folks in attendance came to see local favorites like New Low, a brutal post-hardcore outfit, and Sex-Ed, a freaky mishmash of electronic production and high-energy punk, but many in attendance were there for the sake of supporting the show or discovering something new. Most striking was the generational spread of the audience. Teenagers with dyed liberty spikes, grandpas wearing Asics and everyone in between were interspersed in the crowd, throwing up horns and trying not to get laid out in the pit.

It may be surprising to learn that Santa Rosa has a relatively robust scene for DIY and heavier genres of music. Running along the fringes of Americana, funk and cover shows that pop up in every winery and brewery in town is a collective of bands, fans and organizers dedicated to keeping things a little louder.

Gabriel Ferreira was born and raised in Sonoma County. In 2006, as he and his friend were walking out of a Taco Bell, something happened that changed the general trajectory of his life. “Some hipster on a bike rode up to us and gave us the tiniest little pocket-sized flyer for a show at Last Day Saloon (now El Infierno),” he says. “We went, and this band played a lobby show. That was my first introduction to the music scene in the city that I lived in.” 

Years later, Ferreira now runs Down the Street Booking, a local booking platform that puts on one to two shows monthly across town. Many of the acts in Down the Street shows are local or from surrounding cities, but Ferreira will also work with out-of-town bands on tour, hoping to fill out their dates on a West Coast run.

“I do come across people occasionally who come to a show and say they had no idea we had national touring acts coming through our scene,” says Brandon McCubbin. He runs Bitter End Booking, another Sonoma County-based booking agency that focuses on heavier genres. McCubbin has recently expanded the scope of Bitter End to include band management and regional booking, and he has his eyes on building toward a national platform. But at the same time, he remains loyal to his hometown. “I will always book shows here in Sonoma County. This is my home, and I’ll never leave,” he notes.

Since right after the Covid lockdowns were lifted, Ferreira and McCubbin have been operating at full-tilt booking shows around Santa Rosa. One of Ferreira’s first shows was called Outside Bands and took place at the now closed Whiskey Tip on Sebastopol Road. He has been working with El Infierno for some time to bring in regular shows. McCubbin consistently books at the Arlene Francis Center in Railroad Square and Shady Oak Barrelhouse, and recently brought Death Metal to the California Theater in Downtown Santa Rosa for the first time.

While both acknowledge there are challenges to booking in Santa Rosa, neither complains about a lack of available talent. Here is an incomplete list of local bands worth checking out, as compiled by McCubbin in under 10 minutes: Laceration, Hexen House, Coffin Hunters, Hangnail, Deer Lord, Burning Palace, Sex-Ed, A Hero To Fall, Intrinsic Maleficence, Trecelence, Scythe. This doesn’t even include the innumerable acts from Oakland and Sacramento that he and Ferreira have working relationships with. It would appear that our city has an embarrassment of riches when it comes to music to hit something to.

The real obstacle to booking shows in Santa Rosa is two-fold. First, getting people to come to shows. “A good attended show for what I’m doing is 30 to 35 people,” says Ferreira. At this number, he explains, he can break even on his costs and pay out a bit to the bands he’s booked. “We don’t always get there, but it usually works out,” he adds.

“Santa Rosa is what is called a B-market,” says McCubbin. In booking-industry terms, that refers to the quantification of potential audience turnout and cultural interest in a specific genre of music. With a metropolitan population of roughly 175,000 people, it feels reasonable to assume that there are at least 35 people in Santa Rosa who are interested in punk and metal, but many of them may already have plans to attend a different show locally or go see a bigger act in an A-market venue in San Francisco. 

The other obstacle is venues. Santa Rosa is in constant flux for available venue space, especially during peak weekend hours. One option for DIY bookers is to just hold shows at off-the-books spaces. I have been to shows in tattoo shops, taquerias and barns, but these spaces inevitably get shut down. “There aren’t many venues that are all ages and serve alcohol. Which is crucial when you need a big turnout,” says McCubbin.

“There will always be somewhere to throw a show because people want to have shows here,” says Ferreira, “but it’s hard to find something permanent.”

As a result, bookers in the area will create a patchwork of shows at various venues, which can be hard for people to track. The best bet for anyone trying to keep a finger on the pulse of DIY shows in Santa Rosa would be to follow the bookers themselves on social media.

Despite the challenges inherent to putting on this type of show in Santa Rosa, neither Ferreira nor McCubbin gives any indication of wanting to stop. 

For Ferreira, there is an element of giving back inherent to what he does. “I’m a dude who plays guitar in a band first and foremost,” he clarifies, “but I really like being able to help other bands get shows when they reach out to me.” He also hopes other people in the area get inspired to start throwing their shows as well. “You don’t need to be where I am with equipment and experience to do this. You just need to have the drive and passion to do it and stick with it,” he continues.

McCubbin’s thoughts on continuing are in a similar vein: “Music is my life. I do it because I love it, and I don’t see myself ever stopping, even when it gets hard or I lose money on big touring packages.”

In terms of the future of the scene, there is only so much a handful of folks can accomplish. The truth is that supply shows up for demand. If someone wants there to be more punk in their area and say, hypothetically of course, they read an article in their local paper about two guys working hard to make that a reality, perhaps the best thing they can do is find out when and where the next show is and go to it.

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