In Session

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Long-running concert series Monday Night Edutainment (MNE) at HopMonk Tavern in Sebastopol inspires a feeling similar to that of listening to a new album from a band you love: you hear the familiar beats and rhythms, but you also hear new sounds, sometimes surprising and out of character.

For DJ Jacques, introducing audiences to new sounds is just as important as giving them the music they came for. This is the concept of MNE: music as not simply a form of entertainment, but also a channel for education.

DJ Jacques has been DJ-ing HopMonk’s MNE since its formation in 2001. His musical style starts with Jamaican bass and spins off to include hip-hop percussion or Latin rhythms, often playing with traditional and modern elements of reggae dancehall.

“I don’t believe in loving just one thing,” Jacques says. Although the Monday nights are sometimes characterized as simply reggae nights, Jacques rejects this classification, as he often includes Latin, hip-hop and jazz artists, basing criteria of new artists on quality rather than genre. “My job is to get the artists the audience needs to hear,” he says. “I find what is next, and curate the new stuff so that gems don’t get overlooked.”

Jacques’ knack for finding fresh talent comes from years of musical obsession. He was introduced to the world of music at home; his grandfather was a musician in the Cleveland symphony and his uncle, a conductor at the Metropolitan Opera.

“Ironically, my mother is deaf,” Jacques laughs. “Which is honestly a huge part of how I got into music.” When his mother would send Jacques to bed, he would bring the radio with him. “I was addicted to staying up late and listening to the top 100 countdowns,” he says.

Maybe it was the late nights with music beating beneath his sheets, or shouldering records across Europe and Central America, or maybe it’s just hereditary, but Jacques holds a natural inclination for musicians on the rise.

On Feb. 18, Jacques hosts Grammy-nominated group Los Rakas (pictured), a band melting Spanish beats and lyrics into Oakland-style hip-hop. As with every Monday concert, expect a night filled with “edutainment.”

Night Moves

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“Who are you?”

That’s the opening line from Laura Eason’s Sex with Strangers, running now through Feb. 17 at Left Edge Theatre. It’s a question that lingers throughout the Diane Bailey–directed production.

In the good ol’ days, getting to know someone meant hanging out, dating, talking on the phone for hours, etc. With the advent of the cell phone and social media, these days you get to “know” someone via a Google search and a look at a person’s Facebook or Instagram accounts.

But is a person’s online presence a true reflection of that person or is it simply a persona crafted for the medium? As Shakespeare said, “One man in his time plays many parts.”

What part is Ethan (Dean Linnard) playing when he happens to run into his literary idol Olivia (Sandra Ish) at a lakeside retreat? Is he the young, cocky misogynist behind the Sex with Strangers blog that documented 52 weeks of sexual conquests, or is he the sensitive, thoughtful scribe now seeking to be taken seriously as a writer? Is it really just a chance encounter between him and Olivia, or is there something nefarious going on?

Ostensibly, he’s there for the same reasons as Olivia. He’s there to write. He needs to deliver a screenplay based on the bestselling books compiled from his blog. Olivia, who basically gave up writing after the failure of her first novel, continues to write but only for herself. She’s retreated to the safety of academia, unable to fathom a return to the literary world.

Snowbound in a rural cottage and cut off from the world (no WiFi), what’s there to do but talk and, eventually, have sex? In between the bouts of coitus, they get to know each other with Ethan insisting he’s really not the person he portrayed himself as on his blog—OK, he is, but he won’t be to Olivia—and he wants to help bring Olivia back into the literary fold. Will Olivia succumb to his charms? And who is charming who?

Credulity is strained throughout Eason’s story, but if you buy into the premise, it’s a rather interesting tale. While often funny, there’s a dark current running beneath it all buttressed by the ambiguity of the ending.

Linnard and Ish do well with their multilayered characters. By the show’s conclusion, we still don’t know who they really are, which makes sense, because they don’t either.

Rating (out of 5): ★★★★

Parenting Below the Poverty Line

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The weight of living as a low-income single mother can be crushing. Surviving below the poverty line (i.e., no savings to dip into or family members to borrow money from) can mean spending every waking second hustling to simply scrape by.

The type of soul-sucking poverty that one can’t see a way out of—drinking coffee to quell hunger because you have to choose between feeding yourself or feeding your kid—can feel like a constantly shifting puzzle, never quite fully constructed and constantly at risk of collapse. Each bit of income, every expense, and each spare moment, is held in a fine balance. Faced with an unexpected expense like a car repair can mean going without meals, losing gas money and therefore missing more desperately needed work shifts, and risking water or electricity being shut off.

It can feel like running uphill through mud. In the dark. With no cash to buy batteries for your flashlight.

In Maid: Hard Work, Low Pay and a Mother’s Will to Survive (Hachette Books), Stephanie Land carries readers through the exhaustion of living below the poverty line. The memoir paints a candid picture of parenting while poor, and the stigma of being a public-assistance recipient in “pull up your bootstraps” America.

“People who have lived in poverty or very low income, they’re always scrambling for the next thing,” says Land by phone from her home in Montana. “I think it’s just ingrained in you to not really relax, because you’re always looking at the next thing and what you can do to keep the income coming in.”

And Land certainly knows a thing or two about scrambling. “As a poor person, I was not accustomed to looking past the month, week, or sometimes hour. I compartmentalized my life in the same way I cleaned every room of every house—left to right, top to bottom,” she writes.

As a young mother, Land fled an abusive relationship and found herself and her infant daughter Mia in a homeless shelter. From there she trudged along a rocky maze of transitional housing, community college, countless mounds of paperwork for public assistance like SNAP (Supplemental Nutrition Assistance Program, what used to be known as “food stamps”), low-income housing and a stint as a landscaper before arriving in a drafty studio apartment that she paid for by cleaning houses.

Land first published a story about her house-cleaning experiences for Vox in 2015. The viral essay, “I Spent 2 Years Cleaning Houses. What I Saw Makes Me Never Want to Be Rich,” eventually led to a proposal for Maid. The book takes a deeper look at the issues addressed in the Vox story, and chronicles Land’s long hours of schlepping mop buckets and cleaning supplies into the homes of relatively wealthy strangers.

Land describes the sometimes eerie sense that settles across an empty home that maids visit for deep cleanings. The owners know little to nothing about the cleaners; many didn’t even know Land’s name. She was like a ghost to them. Yet, after spending up to three hours alone in the homes on a regular basis—scrubbing bodily fluids off of bathroom surfaces, tucking sheets into beds and transporting trash to outdoor bins—Land developed an intimate understanding of who the homeowners were and what their lives were like.

She knew how much alcohol they drank and where they stashed their cartons of cigarettes. She knew the types of pornographic magazines they preferred. She knew about their physical and mental-health issues from the various prescription pill bottles lined up in medicine cabinets and clustered on bathroom counters. She knew about their relationships and how much they spent on groceries and household items.

Housecleaning work is physically and sometimes emotionally taxing—there is a reason people hire help to do the cleaning for them: it is really hard work—especially for domestic workers with chronic health issues.

Though I’d never tell my manager about it, nerve damage in my spine prevented me from gripping a sponge or brush with my right, dominant hand. I’d had scoliosis, a condition that made the spine curve from side to side, since I was a kid, but recently due to the cleaning work it had pinched a nerve that went down to my right arm. . . . My left hand took over whenever the right one got too tired, but in those first months of six-hour days, when I got home I could barely hold a dinner plate or carry a bag of groceries.

Most people don’t realize that after paying for a cleaning service, workers themselves often receive close to minimum wage for their labor. Land’s first cleaning jobs in 2009 earned her $8.55 to $10 an hour. For cleaners with only one income-earner at home (and children to support), this clearly isn’t enough to live on; low-wage earners often need the safety net of public assistance to make ends meet.

Yet public assistance can be problematic. Contrary to popular myth, being on public assistance is no easy ride and can be discontinued if paperwork isn’t completed accurately, or if monthly income exceeds the allowed amount—even by a few dollars. Land describes that at one point she was on seven types of assistance, from a low-income energy bill program to low-income housing. The requirements and piles of paperwork were daunting.

And yet despite receiving various sources of government support to fill in financial gaps while working up to 25 hours a week (she wasn’t paid for travel time or for washing her cleaning rags at home), Land still barely kept her head above water. The stigma of her circumstances also brought an unwavering sense of shame; spending a few extra dollars treating herself and her daughter to a meal at a restaurant on a rare occasion made her feel reckless; allowing herself any time to relax evoked guilt and anxiety.

“I think the legislators and the general voting public are obsessed with whether or not poor people work for their benefits, and so I think a lot of the paperwork that’s required is just proving not only how poor you are, but proving how much you do work,” says Land. “Even if you do prove it, you have to prove it even more, on a sometimes monthly basis, and it’s degrading. I don’t think people really understand that part of it either. There’re a lot of things about the system that work against poor people and just make it harder for them.”

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Land points to the proposed changes to the Farm Bill as an example of increased requirements for SNAP benefits. Although Congress voted for an $867 billion Farm Bill in December, just a week later the Trump administration declared that it would continue seeking more stringent regulations on who can receive SNAP benefits, including increasing work requirements for older workers between ages 49 and 59, and for workers with young children ages 6 to 12. The proposed changes would affect over 1 million households nationwide.

The perpetual fear of living with financial instability and working hard—while constantly proving how hard she worked—wasn’t the only thing that weighed on Land. In Maid, she opens up about living in a state of shame for receiving benefits, and the stereotypes and resentment often projected on to poor people, even by friends. She describes people commenting with snide voices, “You’re welcome” when they’d spot her using food stamps at the checkout line.

“It seemed like certain members of society looked for opportunities to judge or scold poor people for what they felt we didn’t deserve,” Land writes. “They’d see a person buying fancy meats with an EBT card and use that as evidence for their theory that everyone on food stamps did the same.”

For many, the mere idea of public assistance certainly evokes stereotypes and raises questions about who deserves help (and for those that are deemed worthy of help, how much support they deserve also comes into question). And of course, there’s a classist assumption that all moms use their food stamps strictly to buy junk food for their kids, which Land—unapologetically—said she did on special occasions.

“I used to do that for Christmas. I bought candy with food stamps,” she says. “I used to buy treats for my kid because that was all I could get her. I couldn’t afford to get her a toy or a lot of stuff, but I could buy her a piece of candy with food stamps. To me, I’m giving my child a moment of joy.”

In addition to the stress of financial insecurity and the grueling, often degrading experience of scrubbing other people’s toilets that Land addresses in Maid, she offers a glimpse into the isolation she often felt raising Mia alone:

Sometimes just walking behind a two-parent family on a sidewalk could trigger shame from being alone. I zeroed in on them—dressed in clothes I could never afford, diaper bag carefully packed into an expensive jogger stroller. Those moms could say things that I never could: “Honey, could you take this?” or “Here, can you hold her for a second?” The child could go from one parent’s arms to the other’s.

Land eventually left Washington and completed her English degree at University of Montana’s creative writing program. She continued cleaning houses until her last year in school, when her second daughter was just a baby. Since graduation, her career path has taken an upward swing; in addition to getting Maid published, Land now works as a full-time writer.

She’s been a fellow at Center for Community Change and the Economic Hardship Reporting Project, and has published in the New York Times, the Washington Post, The Guardian, Salon, The Nation and elsewhere.

“I felt like I had to hold myself accountable to the degree, and I stubbornly kept myself to that—not that there’s anything wrong with side gigs or having to go back into cleaning,” she says.

According to a report issued by the U.S. Census Bureau in September 2018, there are 39.7 million people living in poverty across the country, and based on the Bureau of Labor and Statistics, there are over 900,000 house cleaners nationwide in 2017, earning an average of $11 per hour. Maid takes these impersonal statistics and the topic of income inequality and gives them a face. Her voice represents millions who are attempting to survive on low wages—and reveals the truth of what it’s like for so many single parents struggling to get by, one day at a time:

I would hear the same thing again and again: “I don’t know how you do it.” When their husbands went out of town or worked late all the time, they’d say, “I don’t know how you do it,” shaking their heads, and I always tried not to react. I wanted to tell them those hours without your husband aren’t even close to replicating what it is like to be a single parent, but I let them believe it did. Arguing with them would reveal too much about myself, and I was never out to get anyone’s sympathy. Besides, they couldn’t know unless they felt the weight of poverty themselves. The desperation of pushing through because it was the only option.

Land says her book is succeeding, in part because “people are more apt to listen to someone who is on the other side and who is a success story, and I cringe at that, because the system is not a successful system.”

In a perfect world, Maid would become required reading in schools across the country. In the very least, it should evoke compassion and stir empathy in people who have never walked in Land’s shoes. And hopefully that empathy can lead to big changes in how poor people are treated in America.

“I’m really hoping that my book changes the way people think about the lower classes and working classes,” she says, “and I’m hoping it increases their view of humanity, and gives them more compassion. I hope it sets up the stage for more books like mine to come out, from women of color and from more people in the margins.

“I think the world should be ready to hear from angry poor people.”

High ‘Times’

American views on marijuana have shifted rapidly.

In 1988, only 24 percent of Americans supported legalization. But steadily, the nation began to liberalize. By 2018, 66 percent of Americans offered their approval, transforming marijuana legalization from a libertarian fantasy into a mainstream cause. Why has public opinion changed so dramatically?

In a study published this February, we examined a range of possible reasons, finding that the media likely had the greatest influence.

Our study ruled out a few obvious possibilities. For one, it’s not about marijuana use. Yes, its use has increased—but the increase from 10 percent to 13.5 percent is too small to have had much of an impact on attitudes. And it’s not about generational differences. Younger and older people developed more liberal views about the legalization of marijuana at a similar pace over the last 30 years.

Likewise, the pace of change has been similar across political parties, religions, educational levels, racial and ethnic groups and gender. As of 2016, 67.5 percent of Democrats and 47.6 percent of Republicans think that marijuana should be legal. As politically polarized as the country may seem, when it comes to marijuana, Americans have been changing their attitudes together.

What has likely made the biggest difference is how the media has portrayed marijuana. Support for legalization began to increase shortly after the news media began to frame marijuana as a medical issue. In 1983 and 1984, most articles on marijuana in the New York Times discussed problems related to the drug, such as crime. At that time, the Times was more likely to lump marijuana together in a kind of unholy trinity with cocaine and heroin in discussions about drug smuggling, drug dealers and the like.

During the 1990s, stories discussing marijuana in criminal terms became less prevalent. Meanwhile, the number of articles discussing the medical uses of marijuana slowly increased. Gradually, the stereotypical persona of the marijuana user shifted from the stoned slacker wanting to get high to the aging boomer seeking pain relief.

And, as Americans became more supportive of marijuana legalization, they also increasingly told researchers that the criminal justice system was too harsh—and the proportion of Americans who support legalizing marijuana has closely tracked with the proportion of Americans who think the criminal justice system is too harsh.

Our study found that the news media’s portrayal of marijuana began to change shortly before the public did—suggesting that the media influenced support for the legalization of marijuana.

Whatever the initial impetus, attitudes today are drastically more supportive.

Source: Alternet’s the Conversation. A longer version of this article with details on the study appears on Alternet.com.

Letters to the Editor: February 6, 2019

Quite Good
Poetry

Thanks for publishing the review of the Joni Mitchell concert documentary by Richard von Busack (“Lifesaver,” Jan. 30). Now informed, I will attempt to attend the not-sold-out screening.

But one statement by Mr. von Busack is wrong on two different counts—that Joni “was one of two female performers” in 1978’s Last Waltz, by which it appears he meant the movie, not the original concert, which was filmed in 1976 at Winterland. First, there were two post-concert inserts featured in the movie filmed on sound stages. One featured Emmylou Harris, as noted in the review, but the other featured Mavis Staples, albeit not solo, but as the primary lead singer in this joint vocal and instrumental effort between the Staples Singers and the Band. I found Mavis’ rendition of “The Weight” in the movie unforgettable.

As for the concert itself, Joni was the only lead female performer, period, an omission of fact that, if mentioned, would have strengthened the author’s point about her status as the most important female popular-music artist of her generation.

Finally, I would guess the author didn’t personally attend the Woodstock gathering. Because, as an attendee, I’d say Joni nailed the spirit of the gathering in her song, and thus did not, per the author’s claim, write something “airy-fairy”—at least not in the context of what actually happened there. That not enough folks subsequently lived up to the vision of a better world which was directly espoused at Woodstock does not seem relevant to the merits of the song. I’d say it still captured the moment very well, and thus was quite good poetry.

Tiburon

A Modest
Proposal

In light of PG&E’s proposal for bankruptcy, I would suggest the state of California buy it out. The state is proposing a requirement of all new housing to have solar panels. What would make more sense is if the state would also require installed batteries which would allow it to maintain electricity in case of failure of the electrical grid. This would allow the grid to be shut down in times of severe winds and low humidity, without having to warn people of the immediate danger of fire.

Further, the grid could be enhanced by the conversion to trunk lines to high voltage direct current. This could give the network the ability to be resilient, as all of its points of distribution would be converted into alternating current. At distributive centers it would be possible to place giant batteries such as vanadium flow. These could store electricity for relief in heavily populated areas and facilities that need to remain in operation, such as hospitals, fire stations and police stations.

A smart grid could collect electricity from wherever it is obtained, and can be saved and used where it is needed. The additional advantage of this system is that if one sub-area fails, it would not take down the whole system.

Cotati

Write to us at le*****@******an.com.

Let’s Talk About . . .

In recent years, the online porn industry has become the new default sex educator for your children. If you are the parent of a teen, you’re most likely concerned about that—and about what your kids are learning about sexual intimacy online.

It’s not an easy talk to have with your teenager, but help is on the way—
“A Conversation About Sex Education for Our Times,” which takes place this week at the Arlene Francis Center, will address issues confronting parents when it comes to sex ed.

Parents are asked to come prepared to ask questions to a panel that includes community organizations, teen clinicians, teenagers and teachers. The future of sex education in Sonoma County lies in our hands, and together we can meet the issues of the day with positive, effective solutions and advice.

Talking about teens and sexuality can be awkward and uncomfortable. But the issues and questions are critical: Why is sex education important for us to discuss now? How do we envision the future of sex education?

The issues that parents and teens face today often concern the over-sexualizing of teens. The discomfort parents face in this area can cause confusion and misconceptions of what real sexual intimacy is all about. Which is where this forum comes in. It’s time for parents, teens and community organizations to come together and discuss how we can more effectively deal with these issues.

Sasse Girls and Verity are sponsoring the event. Sasse Girls is offering a new program for teen girls between the age of 15 and 18 that provides a safe place to explore what being a sexually self-aware, savvy, smart and empowered young woman is all about. Check our Facebook page for more info: facebook.com/sassegirls.org.

For its part, Verity has been active in Sonoma County for almost five decades and offers the only rape crisis hotline in the county. The organization offers hotline training as well as services for abused women at ourverity.org.

A Conversation About Sex Education for Our Times takes place on Feb. 7
from 7pm to 8:30pm at the Arlene Francis Center, 99 Sixth St., Santa Rosa.

Luminessa Enjara is the director of Sasse Girls.

Open Mic is a weekly feature in the ‘Bohemian.’ We welcome your contribution. To have your topical essay of 350 words considered for publication, write op*****@******an.com.

Paths of Glory

How well can cinema help us understand something as inconceivable as a war?

That’s the problem with the remarkable They Shall Not Grow Old, which arrives a few months too late for the centennial of the Armistice. Peter Jackson, of The Lord of the Rings trilogy, weaves together documentary footage from the 1914–18 war and oral histories by 114 Western Front vets recorded a half-century ago.

In a prologue, the New Zealand director explains that he was given great latitude in working with a hundred hours of footage from the Imperial War Museums. It took him and his team four years to digitally cleanse, colorize and adjust the speeds of film from hand-cranked cameras. Footage, underexposed or overexposed to the point of uselessness, now reveals its details.

As a result, the front becomes visible onscreen as it never has before. The jerky black-and-white phantoms, marching in their puttees and tin helmets, now move like human beings and have faces that can be studied. There are no dates, no names of spring offensives or locations, just one long voyage. First the enlisting—the Army took people as young as 16—the training, and the boat to France. Then the marching to the zigzagged trenches, teetering on slippery duckboards over corpse-littered mud deep enough to swallow a man like quicksand.

Behind the lines, there’s toil or mild recreation: thin beer, brothels and ball games. Away from the front, the men pose with delight for the cinema camera, displaying captured German spiked helmets, and snuggling with the regimental goat.

Midway through, that new secret weapon arrives, the tank. The images here are clear enough that you can see the names painted on the sides of these oval-shaped steel monsters. At the blowing of a whistle, it’s over the top and into the face of the machine guns, through barbed wire snarled as thick as a blackberry patch.

This film is an achievement, but one feels that something is lost in translation, and it’s because of the narration. These old men are great subscribers to British understatement, and are observers of the law that one mustn’t grumble.

They Shall Not Grow Old helps us understand WWI, the scar between the old world of kings and horses, and our own world of total war and regimentation. It’s invaluable but has little immediacy—a strangely placid look at something that happened so long ago.

‘They Shall Not Grow Old’ is playing at select theaters.

Tables for Two

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Yes, dear. It’s that time of year again, when the calendar declares St. Valentine’s Day as the one day the entire population is expected to set the stage
for romance.

Although the legend of St. Valentine is murky, this sympathetic hero of the Middle Ages was alleged to be the first person to sign off a notecard with “From Your Valentine.” Beyond the notecards, the dozen red roses and the heart-shaped boxes of candies, there are lots of opportunities to shower affection on your sweetheart.

Expressions of appreciation are abuzz with restaurant specials and sweet activities sure to land you a bullseye from Cupid’s arrow. “If you have something sweet to tell her, say it with music, beautiful music,” sang Irving Berlin in his immortal love song. And if you can’t sing—say it with food.

SONOMA COUNTY

If you’re set to impress your favorite foodie, you’ll want to reserve one of the last spots available for the Valentine’s Day dinner at SingleThread Farm, Restaurant & Inn in Healdsburg ($325 per person). The 11-course dinner at this Michelin three-star restaurant is menu-driven by ingredients secured from the property’s Alexander Valley farm, local Sonoma ranches, and coastal waters of northern California.

In the heart of downtown Healdsburg, Spoonbar—h2hotel’s signature restaurant—offers a sweet and savory four-course Valentine’s Day menu prepared by recently appointed chef Matthew D’Ambrosi ($65 per person). The menu begins with a petite shellfish platter, followed by a butter lettuce endive salad and main choices of Mediterranean branzino with roasted lemon potatoes, garlic beet greens and shaved beets—or Tuscan-style prime ribeye steak. The meal concludes with a warm, flourless chocolate cake paired with chocolate ice cream, wild berries, candied pecans and gold flakes.

For those who want to send a truly over-the-top message of love, head to the Rooftop at Harmon Guest House in Healdsburg, the only publicly accessible rooftop bar with a fire pit and views of Fitch Mountain, the Sonoma Hills and downtown Healdsburg. On Feb. 14, an elegant three-course Valentine’s Day menu ($59 per person) begins with several canapés such as warm Dungeness crab cake, chilled prawn cocktail, beau soleil oyster, mignonette and warmed blinis topped with caviar. Lobster risotto is planned as the first course, followed by choices of red-wine-braised prime beef short ribs and mahi-mahi with crispy shiitake mushrooms and scallion salad. Dessert will not disappoint—a warmed Valrhona chocolate “ganache” fondue.

If your goal is to take romance up a notch, the best gifts are those that are handmade. Even better, why not forego the cost of a dozen red roses and make your own floral arrangement for your sweetheart? On Tuesday, Feb. 12, from 6:30pm to 7:30pm in Petaluma, Angela Faustino of Faustino’s Valentine’s Succulent & Roses Arrangement Class will be at 101 North Brewery to offer a special class all about building a succulent arrangement with roses. The $35 class price includes the glass container along with everything you need to make what will be your favorite valentine decoration for you or your sweetheart.

NAPA COUNTY

One of the most romantic ways to swoon your special someone is to ride the rail on the Napa Valley Wine Train ($165 and above per person). During a three-hour evening rail tour of vintage Napa Valley, you’ll pass spectacular landscapes on a ride that reflects old-world charm through one of the most romantic places in the world. The tour begins with a glass of sparkling wine, and a multiple-course dinner is enhanced with a serenade by a strolling violinist.

At TORC, a high-energy restaurant in Napa, a four-course Valentine’s Day prix-fixe menu ($115 per person) begins with choices of boar terrine or Ossetra caviar ($250 supplement). Move on with more choices of duck, tagliatelle with truffles, short rib or 28-day dry-aged N.Y. strip steak, and finish with a choice of desserts that include rouzaire affineur with quince jam and pistachio.

In downtown Napa, the CIA at Copia is cooking up some fun with the Chef’s Table Special Edition: Valentine’s Day ($150 per person). In this interactive dinner event, guests will gather around the table in the Napa Valley Vintners Theater demonstration kitchen and watch Culinary Institute of America chefs work their magic as they teach tips and techniques. Guests will enjoy food and beverage pairings, and chocolate truffles, departing with recipes to prepare shareable dishes for two.

Farther north in the Napa Valley, tickets are still available for a three-course Sweetheart Dinner at the CIA at Greystone in Saint Helena ($125 per person). This event will take place in the historic barrel room and will showcase the talents of CIA chefs along with live entertainment of Marc Teicholz.

MARIN COUNTY

As a precursor to dinner in Marin County, opt to set sail on the San Francisco Bay with that someone special for Valentine’s Day in Sausalito. Take a beautiful evening sail on the Schooner Freda B on Feb. 14, 4:30–6:45pm ($69 jper person), and cozy up under a blanket as you take in the bay’s most iconic sights—the Golden Gate Bridge, Angel Island, Alcatraz and the sparkling San Francisco skyline.

Now that you’ve set the stage for romance, dinner at the Michelin-starred Madcap Marin restaurant in San Anselmo is set to serve up a sweet menu on Valentine’s Day ($135 per person). Take a seat for dinner that begins with a lobster miso shot and evolves to the taste of a Shinjuku oyster with elderflower mignonette, shima aji with blood orange and young ginger, Stonington sea scallops with Ossetra caviar and salsify, Onsen tamago with black truffles and lemongrass, roasted Nantes carrots with pistachios, Flannery filet mignon, and a dessert course that features mignardises (sweet pastries).

Also in San Anselmo, L’Appart Resto is ready for the lover’s holiday with a prix fixe menu ($80 per person). Along with the regular menu, chef Alex has created a menu that lists lobster gratin with morels and spinach, paired with Laurent-Perrier’s Brut La Cuvée Champagne. Choices continue with herb-crusted roasted rack of lamb served with a butternut squash purée, crosnes (Chinese artichokes) and a black truffle sauce, paired with a 2015 Les Hauts de Lynch-Moussas, Haut Médoc.

For those sans sweetheart, there are more options to celebrate love. The EV Lounge in San Anselmo has you covered with a Valentine’s Day Celebration for Singles ($5 per person). The Society for Single Professionals invites you to dress to impress, with unattached adults of all ages looking to connect in the name of romance.

In San Rafael, Wine & Design ($90 per couple) offers a signature Valentine’s Day Picasso portrait if you prefer to opt for a fun and hilarious celebration while seated across from your loved one, friend or family member (so that you cannot see each other’s canvases). Artists on-site will guide you with shapes and colors to create portraits of each other Picasso-style. You’re not allowed to peek at each other’s pictures until the Big Reveal at the end!

Perfectly Claret

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When you’re not completely clear on claret, you’re already halfway to getting it. And you’re not alone in posing the question: what’s a claret?

“Well, first off, let me congratulate you on pronouncing it correctly,” winemaker David Ramey replies (well, thank you, Mr. Ramey) when I ask him if visitors to his Healdsburg tasting room want for some clarification on the topic. “That’s the first order of education. It’s an English word: it’s clare-et, not clare-ay!” It’s meant ‘wine from Bordeaux’ to them for a long time.”

That’s not to say there isn’t a similar word sporting a silent t, says Ramey, noting that claret derives from a French word meaning “clear and light,” which describes the style of wine that—summing up a brief history of Bordeaux wine from the
era of Eleanor of Aquitaine on up through contemporary modifications to the Tax and Trade Bureau’s labeling requirements for U.S. wines—English wine drinkers expected
from the region for many years: a pleasant, ruby quaff that generally contains Cabernet Sauvignon with friends Merlot, Cabernet Franc,
Petit Verdot and Malbec.

When Ramey made his first red for his own label, his distributors balked at his idea to call it “Petite Rouge.” So claret it was, and with good timing: soon afterward, the heavies from the EU stepped in, claiming claret for exclusive use by French vintners. Ramey objects, noting that it’s not even a proper noun: “You cannot find it on a map of Bordeaux; it’s not a place.”

In any case, Ramey’s 2016 Napa Valley Claret ($42) has a grandfathered right to the label, and earns it squarely with light cherry color, red licorice aroma and sharp red currant flavor. Dry, tart and lightly tannic, with a slight dark roasted coffee top note, it’s an upscale “bistro wine” to be sure. But wait, what’s this? The back label says there’s eight percent Syrah in the blend. Is it still claret?

Of course, and there’s method to the admixture, says Ramey: “It’s a tip of the hat to the 1800s,” when some Bordeaux wineries carted in barrels of Syrah from Hermitage, in southeastern France, to boost their limpid blends—as you know, claret and rosé just don’t rhyme together.

Budget and claret go together in Francis Ford Coppola’s 2016 Black Label Claret ($21), which is Cabernet Sauvignon in the main, and a deeper—nay, opaque—ruby hue in the glass (no rules for claret, remember), but a buoyant little breeze of sweet, raspberry-soaked, creamy oak on the palate.

Ramey Wine Cellars, 25 Healdsburg Ave., Healdsburg. By appointment, Monday–Saturday, 10am–2pm. 707.433.0870. Francis Fort Coppola Winery,
300 Via Archimedes, Geyserville. Daily, 11am–6pm. 707.857.1471.

What Dreams

0

To see or not to see? That is the question.

Anyone with even the slightest interest in theater has probably seen a production or two of William Shakespeare’s Hamlet in their lifetime. Considered by many to be Shakespeare’s—if not the world’s—greatest play, it’s one-third ghost story, one-third dysfunctional family drama and one-third revenge tale.

It’s also now the first-ever Shakespeare play to be mounted on the Nellie W. Codding stage at the Spreckels Performing Arts Center. Artistic director Sheri Lee Miller helms the production, which runs through Feb. 17.

Something is rotten in the state of Denmark. A spirit claiming to be the late king has appeared to Prince Hamlet to inform him he was poisoned by his own brother, Claudius, who then married the widowed Queen Gertrude and usurped the throne. The ghost
has one simple request of Hamlet—revenge!

Miller has gathered an impressive roster of talent to essay the Bard’s classic roles. First and foremost, there’s Keith Baker as the brooding prince. Baker is a marvel to watch and to listen to as Shakespeare’s words come trippingly off his tongue. Peter Downey is magnetic as the scheming Claudius, shading his villainy with a glimpse into his humanity and his true love of Gertrude. Eric Thompson’s Polonius brings a welcome lightness to the stage and is sorely missed upon his “departure.” Chad Yarish as faithful friend Horatio, Danielle Cain as the easily swayed Gertude, Ivy Rose Miller as the doomed Ophelia and the entire supporting cast do
honor to their roles.

The stark yet imposing set by Elizabeth Bazzano and Eddy Hansen in conjunction with Hansen’s lighting design and Chris Schloemp’s projections design give the production an otherworldly feel. Costumes by Pamela Johnson pop against the dark and dank (courtesy of ample fog) backgrounds.

An extremely effective addition is a live music “soundscape,” composed and performed by Nancy Hayashibara. Accompanying many scenes, Hayashibara’s contribution to this production’s success cannot be overstated.

Look, folks, I’m no Shakespeare pushover. It’s overdone, usually underproduced and often interminable, but I get it. It’s royalty-free, has roles that are on every actor’s bucket list, and comes with a built-in audience. Yes, it’s long, but director Sheri Lee Miller has put together an outstanding production of Hamlet that should reach beyond that “Shakespeare” audience. Will they come?

Aye, there’s the rub.

Rating (out of 5): ★★★★★

‘Hamlet’ runs through Feb. 17 at Spreckels Performing Arts Center, 5409 Snyder Lane, Rohnert Park. Friday–Saturday, 8pm; Sunday, 2pm; Thursday, Feb. 14, 7pm. $10–$26. 707.588.3400. spreckelsonline.com.

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What Dreams

To see or not to see? That is the question. Anyone with even the slightest interest in theater has probably seen a production or two of William Shakespeare's Hamlet in their lifetime. Considered by many to be Shakespeare's—if not the world's—greatest play, it's one-third ghost story, one-third dysfunctional family drama and one-third revenge tale. It's also now the first-ever Shakespeare play...
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