‘Politics as Unusual’ at Hippie Nudist Retreat

There were two men in the hot pool with me: One was a middle-aged white man like myself; the other, hoary, wiry and regal in the manner of a mad Shakespearean king. 

His eyes sparked with electricity—a dangerous quality, considering we were sitting in water. I never learned his name. To me, he was Lear.

I’d eased myself into the water and their conversation. It was a mistake. They were talking about the election and, worse yet, in cheerful tones.

We’d all just entered the strange and liminal time between election and inauguration. The side I’d chosen had lost. Badly and decisively. Pickup trucks cruised through downtown Petaluma, flying giant “Trump Nation” flags. It seemed a grim confirmation that the America I thought I’d known was gone. But the election had just been the foreshock; the earthquake wouldn’t start until Jan. 20, 2025. The “one really violent day” that Trump promised was yet to come. Probably that was a bluff. Probably.

I’d decided to take a mental health day for this and other reasons and to spend it in a place I thought of as an ultra-left bubble in a bubble—my hippie nudist retreat in the liberal Bay Area in the left-leaning state of California.

But in the hot pool, I sighed and asked, “Are we discussing politics?”

Lear looked me over and replied, “Yes, we’re talking about Donald Trump. Did you have something to contribute?” He was a commanding presence, even naked. Perhaps especially naked.

Well, yes, I had thoughts. I recently posted this on Facebook: “Every four years we flip a coin. If it’s heads, we get a $20 Starbucks gift card. If it’s tails, we get terminal cancer.” I’d thought Harris was the gift card—not a revolutionary, just someone to keep the lights on until the next coin flip for democracy. Most understood the joke, but I had to clarify for a few concerned friends that I was healthy and was referring to the cancer on the body politic.

How to respond to Lear? I considered my words, the possible outcomes. None seemed good. “There are a lot of problems in this country,” I began. Safe enough. “And I think Trump will only add to them.”

The magician Penn Jillette worked with Trump and had this to say: “However bad you think he is, he’s worse.” But I honestly couldn’t imagine thinking any less of the man. All of the qualities that I value—intelligence, honesty, empathy, humility—seemed to me to be utterly absent in the person of Donald Trump. And his policies, his lawlessness, worried me even more than the man himself.

Lear and I sparred, eventually landing on policy. “Why not cut the Department of Education?” he asked me. “Just leave education up to the states?”

A complex topic. I gathered my thoughts, preparing to point out the hypocrisy of the GOP’s argument to “move education back to the states” when they’d imposed a SALT cap in Trump’s first term that punished residents of high-tax states, especially working people like myself.

Fine, slash the federal government. I no longer cared if Kentucky replaced science education with Bible study. I was in the process of a divorce myself, and my marriage had never been as adversarial as the one between red and blue states. I saw the benefits of separation; I just didn’t believe that Trump and the GOP were guided by principles of fairness, and I had the tax bill to prove it.

But I only got out the words, “I don’t really care if my taxes are going to the federal government…” before he interrupted. “To kill Palestinians?” he grinned victoriously.

He’d outflanked me, and with a vicious non sequitur. Say you’re concerned with Israel’s actions and the plight of Palestinians. Why then support an Islamophobe who calls himself “the most pro-Israel president in American history”? And anyway, what did this have to do with public education?

“Now you’re putting words in my mouth,” I said. It was as good a rejoinder as I could manage. There was now blood in the sacred healing waters. We were at a retreat center dedicated to “the practical, living embodiment of oneness,” but it seemed possible that this argument might end with one of us drowning the other.

Lear pressed on. “Child trafficking is a real problem in this country,” he continued, “and Trump will put an end to it.”

A moment ago, I’d decided to stop engaging with him, but the absurdity of this statement broke my resolve. At that time, Donald Trump had just nominated Matt Gaetz to be his attorney general, a man literally under investigation for the sex trafficking of a minor. And of course, Trump himself. “You mean Jeffrey Epstein’s best friend?” I asked. The words slipped out, delaying my escape.

He paused. I’d finally scored a point. The third man in the pool gave me a smile, as if to indicate we shared at least an adjoining reality. “That’s just hearsay!” retorted Lear.

I thought of mentioning the recording of Epstein saying just that, but no, I was done. Leaving the pool, I offered up a rhetorical olive branch, attempting to relieve the tension: “Who knows what the truth is anyway?”

He took my olive branch and slapped me across the face with it. “I do,” he insisted. “I know what the truth is.”

“Sure you do,” I muttered, dripping my way toward the quiet pool. Steam rolled off my skin and likely out of my ears.

Why had this interaction surprised me? The extremes of political ideology resemble each other more than either resembles the center; that’s basic Horseshoe Theory. Rednecks with Confederate flags and naked hippies were both Trump’s natural constituency. He was the counterculture, a breaker of norms.

But it wasn’t my political differences with Lear that bothered me; it was the epistemological ones. The argument over truth and belief.

You know the problem. Two doors, one to freedom, one to death. One guard who always lies, one who always tells the truth. The solution seems obvious when one guard proclaims, “Windmill noise causes cancer” and “We’ll wipe out our national debt with a little Bitcoin.” Then your teammates point and shout, “That’s him, that’s the one who always tells the truth!” and you’re dragged toward what’s obviously the wrong door.

That is what America feels like to me right now: a $6.2 million dollar banana duct-taped to a wall, all reason suspended. Avian flu outbreaks increased the price of eggs, and in response, we gave the nuclear codes back to Trump, whose former chief of staff, Gen. Mark Milley, called “the most dangerous man in America.” Lunacy.

I remembered the play Rhinocéros, written by Eugène Ionesco in 1959, as an allegory of rising fascism. In the play, a society crumbles as its citizens turn one by one into rampaging beasts. They stampede, lose their reason and speech, and literally become inhuman. 

Bérenger, the last man left, has managed to hold onto his humanity but at the cost of being utterly alone. He listens to their braying and laments: “Their song is charming—a bit raucous perhaps, but it does have charm! I wish I could do it! … I’ve only myself to blame; I should have gone with them while there was still time. Now it’s too late!”

My alienation and paranoia were growing. Was that muscular and trim man to my left sporting a swastika tattoo on his arm? Were the acronyms inked into his skin white power sigils? I looked away; I didn’t want to know. I wasn’t capable of that conversation, not then.

I found my way to a sitting area beneath the roots of a fig tree that spilled down into a waterfall of wood. The roots intertwined, making phantasmagoric and sinuous figures—sensual, horrific, peaceful. And nothing more than roots as well. There I sat and looked and felt the weight of history.

A few days before, I’d listened to a former ICE director give an interview on Trump’s planned mass deportation. It made me think. My Jewish-European grandparents were brought to America as children back when immigrants were welcome. They’d entered officially through Ellis Island. But what about their ancestors who’d come to Germany and Poland long before in search of a better life? Did they have the proper documents?

How were my distant Jewish-European ancestors so different from the immigrants in my country doing the jobs that native-born Americans generally won’t do, providing easy scapegoats for demagogues like Trump to accuse of blood libel and eating cats and dogs?

The electoral map had just been stained red. But if the Republican Party was still “The Party of Ideas” and “The Law and Order Party,” then they had lost because Trump and his allies clearly belong to neither. The true victors then are Republicans in Name Only. The RINOs have won.

Facing his own rampaging crash of rhinos, Bérenger overcomes his cowardly urge to join them. Defiantly, he delivers the final line of Rhinocéros: “I’m not capitulating!”

Sadly, I fear we’ve capitulated by degrees, acclimating to our rising political temperature in the years between Reagan and Trump. Perhaps now we are cooked.

Time will tell if we can recover from this. However it turns out, Bérenger had it right. Stay human, hold your head above the rising tides of fascism, and proclaim with him: “I will not capitulate!”

March On, ‘Little Women’ in Sonoma

Even though Jo March was written as an outsider to society’s views on women, she’s the one that every girl in the friend group secretly thinks they are. 

It’s almost a rite of passage for young American girls to go through their Jo March stage. Jo is loud, brash, driven, unabashedly herself and loyal to a fault, which, coupled with her strong family, creates a story that is still relatable 156 years after Louisa May Alcott’s Little Women was initially published.

A Broadway musical version was unveiled in 2005, and this is Sonoma Arts Live’s holiday show. Directed by Sandra Ish, the story of Meg (Hannah Passanisi), Jo (Lauren Hartley), Beth (Joanna Lynn Bert) and Amy (Emma Sutherland) runs on the Rotary Stage at the Sonoma Community Center through Dec. 22. 

All four sisters are well cast. Bert’s Beth hits the perfect mix of delicate strength. Passanisi’s Meg is believably grounded and down to earth. Sutherland’s Amy hits the challenging combination of adorable but volatile while keeping the character likable. Hartley is a talented actor with great musicality, but Daniela Innocenti Beem’s Marmee steals the spotlight. This show was written for women with powerful voices, and the role of Marmee seemed tailored for Beem. 

Also noteworthy is Owen Hardisty’s Professor Bhaer. Before Team Edward vs. Team Jacob, there was Team Professor vs. Team Laurie, and as a youth, this critic was firmly on Team Laurie. Hardisty’s performance, however, brought warmth and smart stability to the role, which caused this critic to reconsider a lifelong affiliation. He made unexpected choices that stripped the character of its stodginess, making him a believable partner for the headstrong Jo.

Allison Sutherland’s beautiful costumes and Andrew Patton’s set exhibit his characteristic attention to detail. Despite all their fine work, they are up against an overly long script that often sinks into saccharine lyrics.

The cast does its best to keep the momentum going, but two and a half hours is a long time for a show that is so ballad-heavy. Though, at times, the script lets down the actors and the classic novel upon which it is based, there is still some truly beautiful work in this production. If nothing else, the final tableau is a sucker punch to the gut showcasing Ish’s talent for staging and storytelling. 

Be prepared to be patient with this script. The March sisters are worth it.

Sonoma Arts Live presents ‘Little Women’ through Dec. 22 on the Rotary Stage at Andrews Hall in the Sonoma Community Center, 276 E. Napa St., Sonoma. Thurs-Sat, 7:30pm; Sun, 2pm. $25-$42. 707.484.4874. sonomaartslive.org.

The Imaginists Bonded by Vision

For this pencil-wrist Hercules, writing this column sometimes seems an impossible task.

This week, my word limit must be made to contain the three-headed giant of the local arts scene—Amy Pinto, Steven K. Patterson and Brent Lindsay—the co-directors of The Imaginists theater company. 

For containment and contentment, I recommend the spacious 90-minute interview I recorded (in the Linktree below). Better catch a show in their converted garage container. I would buy any ticket they issued blind. They have the trust of the local art community.  Across a span of 24 years pushing limits on A Street, they have certainly earned it.

CH: Amy, can you recall and recollect a poppy POV moment in which you were really living your arts mission?

AP: In 2009, I conceived and co-directed a play with two other women. At the time, we all had kids ranging in age from 18 months to seven years. The piece was called Women’s Work and was about the history of unpaid labor, told in stories by the three of us while our children were on stage with us. We agreed that whatever our kids did, it would be part of the performance. And what happened basically is that children cried and were handed off to audience members, or they ran around and disrupted everything we tried to do, and the whole piece pretty much fell apart.

CH: Thus illustrating your point about unrecognized and uncompensated maternal labor.

AP: It was an incredible moment for me—emblematic of what we want to do—because these two women, who didn’t formerly consider themselves performers and now do, were up for this experiment and seeing what happened. Also, it was bilingual English/Spanish. 

CH: Your mission affirmed.

BL: Affirmation is such an important thing. Because artists in this county are not affirmed. But when you finally find your family of artists and that inspiration, that bar gets raised to such a point that it inspires not just your work but your artistry and personhood. It’s so important because it keeps you waking up and doing this art thing.

CH: Weakly attempting to encapsulate your company, I would say you have an abiding interest in progressive messaging and inquiry, the participation of non-professionals on an equal footing with yourselves, on-stage spontaneity, discovery, and also, I might say … silliness?

SP: In the search for what is true or what can be truth … I believe that truth is where the funny is.

CH: Then you’re very truthful.

Get involved:  linktr.ee/theimaginistsLINKS.

‘Gladiator’ all over: Try on these sword-and-sandals epics

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Regarding Ridley Scott’s Gladiator II, the sequel to his Gladiator (2000): What would the world do without gladiator movies? The ones set in the ancient Roman Empire, of course, preferably in the vast and menacing Colosseum. Where else would audiences get their regular dose of metaphorical decadence, cruelty and bloodshed, from the bad old days before killer drones and social media?

To help prospective audiences sort through the swords and sandals, here’s a handy overview of some noteworthy gladiator pics, the gaudier the better:

Old-fashioned filmmakers understood that if they wanted to get away with murder, perversion and other naughty ancient pastimes, they needed to present them in a suitably religious wrapper to placate the censors. The sorrowful plight of persecuted Christians dying in the Colosseum fit the bill nicely for director Cecil B. DeMille, whose The Sign of the Cross (1932) featured singing martyrs being torn apart by lions, sexy Claudette Colbert as Empress Poppaea and the perfervid hamming of Charles Laughton as mad Emperor Nero.

Mervyn LeRoy and Anthony Mann’s Quo Vadis (1951) upped the ante in all categories. Actor Peter Ustinov’s Nero has never been surpassed for inspired fruity insanity, and the requisite conscientious objector role of court-satirist Gaius Petronius Arbiter, author of the Satyricon, is ably handled by British thespian Leo Genn. That Technicolor blood is RED.

Spartacus (1960), the epic story of the rebellious slave/gladiator whose name later became a rallying cry for social revolutionaries, was a major career highlight for both actor Kirk Douglas and director Stanley Kubrick. The presence of tough guys Woody Strode and Charles McGraw at the gladiator academy set the violent parameters for every “savage Roman Empire” movie that followed, including Gladiator II.

For drive-in-style thrills and laffs, the 1973 Roger Corman production The Arena opened up new avenues of cheap sadism, as captured barbarian female warriors Pam Grier, a Nubian princess, and Margaret Markov, a Gallic amazon, take on all comers in the title venue. The joyous absurdity of movies like this naturally led to jokes from the Monty Python troupe. Their Life of Brian (1979) ramps up the iconoclastic irony, and the mayhem, with scenes of gladiatorial combat—“Children’s Matinee” at the Jerusalem Colosseum—and the funniest mass crucifixion ever staged. It’s directed by the Pythons’ Terry Jones, who also plays the Virgin Mandy.

And then there’s Barabbas (1961), with Anthony Quinn as the law-breaking would-be-martyr whose place on the cross was taken by a certain rabble-rousing carpenter from Nazareth—directed by Richard Fleischer. Or 1954’s Demetrius and the Gladiators, starring Victor Mature as yet another doomed slave/combatant with a guilty Christian itch that needs scratching. Throughout motion picture history, moviemakers looking for a way to get sweaty swordplay and religious platitudes—plus a little sex—on the same super-duper screen went to the Romans-versus-Christians spectacle well repeatedly.

Scott’s Gladiator II follows the blueprint faithfully. Fearsome captured fighter Lucius (Paul Mescal), son of the late Maximus (Russell Crowe, from the previous installment), also happens to be the long-lost grandson of the noble emperor Marcus Aurelius. So he’s not just some ignorant prole. Lucius’ gory exploits in the Colosseum naturally gratify his mother Lucilla (Connie Nielsen, one of the film’s best performances), but not so much the unscrupulous gladiator dealer Macrinus (Denzel Washington, also in fine form).

The “twin emperors” Geta (Joseph Quinn) and Caracalla (Fred Hechinger), a pair of pallid, effete boobies, mince around the palace while gladiators are disemboweled and party guests are served a buffet from the head of a rhinoceros. Sample dialogue: “This city is diseased.” 

Filmmaker Scott’s visuals are as sumptuous, and obviously expensive, as usual, but this is plainly a rehash of familiar material, garnished with nonstop brutal action and a certifiable hint that the Roman populace is fed up with bread and circuses presented by utterly corrupt rulers. Maybe that applies to the rest of us as well.

In theaters

Free Will Astrology: Week of Dec. 18

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ARIES (March 21-April 19): If you worked eight hours per day, seven days a week, it would take you 300 years to count to the number one billion. I don’t recommend you try that. I also discourage you from pursuing other trivial tasks with zero power to advance your long-term dreams. In a similar spirit, I will ask you to phase out minor longings that distract you from your major longings. Please, Aries, I also beg you to shed frivolous obsessions that waste energy; you should instead devote your time to passionate fascinations. The counsel I’m offering here is always applicable, of course, but you especially need to heed it in the coming months.

TAURUS (April 20-May 20): In 1951, minister and author Norman Vincent Peale was working on a new book. As he wrote, he would regularly read passages to his wife, Ruth. She liked it a lot, but he was far less confident in its worth. After a while, he got so discouraged he threw the manuscript in the trash. Unbeknownst to him, Ruth retrieved it and stealthily showed it to her husband’s publisher, who loved it. The book went on to sell five million copies. Its title? The Power of Positive Thinking. I hope that in 2025, you will benefit from at least one equivalent to Ruth in your life, Taurus. Two or three would be even better. You need big boosters and fervent supporters. If you don’t have any, go round them up.

GEMINI (May 21-June 20): I love how colorfully the creek next to my house expresses itself. As high tide approaches, it flows south. When low tide is on its way, it flows north. The variety of its colors is infinite, with every shade and blend of green, grey, blue and brown. It’s never the same shape. Its curves and width are constantly shifting. Among the birds that enhance its beauty are mallards, sandpipers, herons, grebes, egrets and cormorants. This magnificent body of water has been a fascinating and delightful teacher for me. One of my wishes for you in 2025, Gemini, is that you will commune regularly with equally inspiring phenomena. I also predict you will do just that. Extra beauty should be on your agenda!

CANCER (June 21-July 22): Just 81 billionaires have commandeered half of the world’s wealth. Even worse, those greedy hoarders are usually taxed the least. That’s hard to believe! How is it even possible that such a travesty has come to pass? I also wonder if many of us non-billionaires have milder versions of these proclivities. Are there a few parts of me that get most of the goodies that my life provides, while other parts of me get scant attention and nourishment? The answer is yes. For example, the part of me that loves to be a creative artist receives much of my enthusiasm, while the part of me that enjoys socializing gets little juice. How about you, Cancerian? I suggest you explore this theme in the coming weeks and months. Take steps to achieve greater parity between the parts of you that get all they need and the parts of you that don’t.

LEO (July 23-Aug. 22): Anthropologist Robin Dunbar theorizes that most of us have limits to our social connections. Typically, our closest circle includes five loved ones. We may also have 15 good friends, 50 fond allies, 150 meaningful contacts and 1,500 people we know. If you are interested in expanding any of these spheres, Leo, the coming months will be an excellent time to do so. In addition, or as an alternative, you might also choose to focus on deepening the relationships you have with existing companions and confederates.

VIRGO (Aug. 23-Sept. 22): Uncle Tom’s Cabin was the best-selling novel of the 19th century. It was written by a Virgo, Harriet Beecher Stowe. Her story about the enslavement of African Americans in the U.S. was not only popular. It awakened many people to the intimate horrors of the calamity—and ultimately played a key role in energizing the abolitionist movement. I believe you are potentially capable of achieving your own version of that dual success in the coming months. You could generate accomplishments that are personally gratifying even as they perform a good service for the world.

LIBRA (Sept. 23-Oct. 22): According to my reading of the astrological omens, you will be teased with an abundance of invitations to grow in 2025. You will be encouraged to add to your current skills and expertise. You will be nudged to expand your understanding of what exactly you are doing here on planet Earth. That’s not all, Libra! You will be pushed to dissolve shrunken expectations, transcend limitations and learn many new lessons. Here’s my question: Will you respond with full heart and open mind to all these possibilities? Or will you sometimes neglect and avoid them? I dare you to embrace every challenge that interests you.

SCORPIO (Oct. 23-Nov. 21): Scorpio-born Rudolf Karel was a 20th-century Czech composer who created 17 major works, including symphonies and operas. His work was interrupted when Nazi Germany invaded and occupied his homeland. He joined the Czech resistance, but was eventually arrested and confined to Pankrác Prison. There he managed to compose a fairy-tale opera, Three Hairs of the Wise Old Man. No musical instruments were available in jail, of course, so he worked entirely in his imagination and wrote down the score using toilet paper and charcoal. I firmly believe you will not be incarcerated like Karel in the coming months, Scorpio. But you may have to be extra resourceful and resilient as you find ways to carry out your best work. I have faith that you can do it!

SAGITTARIUS (Nov. 22-Dec. 21): What is the perfect gift I could offer you this holiday season? I have decided on a large square black box with nothing inside. There would be a gold ribbon around it bearing the words “The Fruitful Treasure of Pregnant Emptiness.” With this mysterious blessing, I would be fondly urging you to purge your soul of expectations and assumptions as you cruise into 2025. I would be giving you the message, “May you nurture a freewheeling voracity for novel adventures and fresh experiences.”

CAPRICORN (Dec. 22-Jan. 19): One of my paramount wishes for you in 2025 is this: You will deepen your devotion to taking good care of yourself. You will study and learn more about the sweet secrets to keeping yourself in prime mental and physical health. I’m not suggesting you have been remiss about this sacred work in the past. But I am saying that this will be a favorable time to boost your knowledge to new heights about what precisely keeps your body and emotions in top shape. The creative repertoire of self-care that you cultivate in the coming months will serve you well for the rest of your long life.

AQUARIUS (Jan. 20-Feb. 18): To fulfill your life mission, to do what you came here to earth to do, you must carry out many tasks. One of the most important is to offer your love with hearty ingenuity. What are the best ways to do that? Where should you direct your generous care and compassion? And which recipients of your blessings are likely to reciprocate in ways that are meaningful to you? While Jupiter is cruising through Gemini, as it is now and until June 2025, life will send you rich and useful answers to these questions. Be alert!

PISCES (Feb. 19-March 20): Mysteries of the past will be extra responsive to your investigations in 2025. Persistent riddles from your life’s earlier years may be solvable. I encourage you to be aggressive in collecting previously inaccessible legacies. Track down missing heirlooms and family secrets. Just assume that ancestors and dead relatives have more to offer you than ever before. If you have been curious about your genealogy, the coming months will be a good time to explore it. I wish you happy hunting as you search for the blessings of yesteryear—and figure out how to use them in the present.

Homework: Get yourself a holiday gift that’s beyond what you imagine you deserve. Newsletter.FreeWillAstrology.com

Your Holiday Music Menu

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Strawberry Village

Chanukah Lights

The Marin Chanukah Festival is all set to light up Strawberry Village in Mill Valley (and the hearts of Marin’s citizens) on Thursday, Dec. 26, from noon to 3pm. Those in the North Bay community may not want to miss out on this holiday celebration, hosted by Chabad of Tiburon with support from Chabads across the Bay Area. To ensure the Marin Chanukah Festival is celebrated in style, Strawberry Village will be transformed into a vibrant, festive space filled with sparkling lights, lively music and the scents of seasonal treats. There’s something for everyone, whether one is enjoying live music, getting crafty with Chanukah projects or even decorating donuts (because, really, who doesn’t love a sweet treat?). For the kids—and kids at heart—there’s a special “fun zone” to keep little ones entertained while adults indulge in goodies from the hot latke bar and kosher menu. Best of all? Admission is completely free. Reserve a complimentary ticket in advance at marinchanukahfestival.com.

Petaluma

The Heard Eye

It’s time to Jingle Bell Rock and funk this way to attend a performance put on by none other than the North Bay’s own musical group, The Heard Eye. This collection of local musical magic-makers is keeping the good times rolling with updates to end the year on a high note. Most notably, The Heard Eye’s self-produced, self-financed and self-promoted video, Boomerang (which dropped in November), has become a hit in time for the holidays. The video racked up 93,000 views on YouTube in just a few short weeks, which just goes to show what a loyal fanbase means in the music industry. If one hasn’t seen The Heard Eye’s new video yet, now’s the time to check it out and experience the funky, high-energy vibes. The Heard Eye is also still set to continue its monthly residency at The Big Easy in Petaluma. One can grab a friend or their whole family for a funky, rock-filled seasonal outing there on Thursday, Dec. 19 at 7:30pm. The Heard Eye show is free to attend, so one may come out early, grab a drink and catch some live music before next year is here. To learn more about The Heard Eye and its recent and future success, visit theheardeye.com.

Occidental

Solstice Soul

One may ring in the holiday season with some straight-up ear candy at the Barbara Higbie & Friends Winter Solstice Concert on Saturday, Dec. 21 at 7pm at Occidental Center for the Arts. This North Bay holiday show features Grammy-nominated, Bammy Award-winning pianist and multi-instrumentalist Higbie, known for her musical mastery and dynamic performances. Higbie will lead an ensemble of musicians, including Michaelle Goerlitz (Blazing Redheads), Vicki Randle (Mavis Staples), Lena Anderson, Jasper Manning, Kofy Brown (Skip the Needle) and Mia Pixley (Fantastic Negrito). Together, this star-studded group will guide their audience through a musical journey that blends genres and fills the room with festive cheer, perfect for celebrating the winter season. Alongside the show of the season, the Occidental Center for the Arts also offers refreshments, an open art gallery and accessible seating for patrons with mobility needs. Tickets for this magical musical evening cost $32 in advance, $27 for OCA members and $5 more at the door (if available). To secure a seat at this holiday performance, visit occidentalcenterforthearts.org.

Mill Valley

All That Jazz

Here comes a holiday show that’s anything but ordinary—that’s right, Maria Muldaur in Marin with her seasonal Christmas at the Oasis show, set to play at Sweetwater Music Hall in Mill Valley on Friday, Dec. 20. This special holiday performance promises a night of snazzy, jazzy and slightly irreverent holiday entertainment. Starting at 8pm, Muldaur and her “A-Team” of Bay Area jazz musicians will deliver a fresh twist on holiday classics, with swinging songs from jazz and blues legends. One can forget the predictable carols—this show is packed with rare gems that’ll have feet tapping and audience members grooving in their seats. Muldaur calls it “Christmas tunes for hipsters,” and it’s an antidote to the usual holiday ear fare. Whether one is in the mood for bluesy cheer or jazzed-up holiday magic, Christmas at the Oasis is designed to fill the night with style and soul. Tickets are $35 in advance, $40 at the door. So as not to miss out on this festive celebration, tickets can be obtained now at sweetwatermusichall.org.

Your Letters, 12/18

WWBD?

I used to go sit with Spirit Rock, starting when they were at the small community church in West Fairfax. As they grew, it felt more and more like a continual fundraising shakedown of greedy grasping expansion to build this and build that as more people drove, flew and consumed to sit on a cushion and be still.

I’m sure the Buddha never made anywhere near $250,000 per year, let alone took Ubers. Boo-hoo! Personally, I’d rather stay home and sit and be where I am.

Wow, just look at the Beauty of Nature—no need to do or undo; no need to buy and toss. Can we just Be?

Sierra Salin

Fairfax

Lines Crossed

Former President Barack Obama declared that if one side attempts to cement “a permanent grip on power” through suppressing votes, politicizing the military or weaponizing the judiciary and criminal justice system to target opponents, “a line has been crossed.”

Where has he been? All these “red” lines have been crossed already!

“Red” line Obama enabled Vladimir Putin to annex the Crimea and had so many other “red” lines that he has become superfluous. Obama couldn’t even help Kamala Harris.

Gary Sciford

Santa Rosa

We appreciate your letters to the editor—send them to le*****@******an.com and le*****@********un.com. Letters may be edited for clarity and space.

Human Evolution: A Cautionary Conversation

Me: “Have you heard biologists have found that new human species have evolved recently?”

You: “No, I thought evolution was done, after Homo sapiens kicked the butts of Homo neanderthalensis, Homo erectus and the likes of Australopithicus species.”

Me: “Actually, current humans contain a small amount of Neanderthal DNA, which is expressed in the brains of certain individuals, but that’s another story for a different time.”

You: “Yeah, so, … what’s these new species?”

Me: “You shouldn’t start a sentence with ‘So’ if you’re not reaching a conclusion from earlier statements.”

You: So, “Like, what’s some of these new species?”

Me: “You shouldn’t … never mind! The most important one is Homo politicus, characterized by an obsessive and pathological striving for domination over others using lies, threats and money.”

You: “There’s others?”

Me: “Yes, there ARE others. Another important one is Homo economicus, characterized by views of the world as a quid pro quo marketplace of business opportunities, requiring total lack of empathy.”

You: “How many more?”

Me: “There’s Homo homo, but we won’t go there, since it’s not really new.”

You: “Even more?

Me: “Homo religionensis,” having cult-like tendencies to see the world as a battle between Good and Evil, in which the Good prevail and all the rest die.”

You: “I’m not sure about that one.”

Me: “Homo modernicus, with a compulsive need for continuous change, for the sake of change.”

You: “What’s wrong with change?”

Me: “Nothing; it’s the fuel for all evolutionary development. Take Homo sensibilis, who exhibit clear, rational thinking and an acceptance of the real world of diverse individuals that care for and help each other.”

You: “Which of these will survive and win the evolutionary race?”

Me: “I don’t really know … We’ll see. But it’ll be only those who prove to be most fit; that is, the ones who live long enough to successfully reproduce.”

Jeff Lemontt is a retired biomedical scientist who lives in Novato.

American Idiot: ‘POTUS’ play at Left Edge in Santa Rosa

From the very first word uttered on stage in POTUS or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive’, it’s clear you are in for a very atypical Sonoma County theatre presentation. The word is number four on George Carlin’s list of seven dirty words, and you will hear it, along with the other six, repeatedly throughout Selina Fillinger’s farcical take on a chaotic 24 hours at a not-so-fictitious modern-day White House. The Left Edge Theatre production runs in Santa Rosa at The California through December 21.

The (unnamed) President of the United States (POTUS)  uttered a variation of that word at a White House gathering and his staff has gone into full crisis mode. Harriet, the President’s Chief of Staff (Jill Wagoner), and Jean, his Press Secretary (Sarah Dunnavant), are trying to figure out how to spin it. It’s just the latest in a long series of Presidential gaffes and screw-ups the women around him have had to “fix”.

Margaret, the First Lady (Serena Elize Flores) and target of the President’s remark, has issues of her own as she deals with the press’s fixation on her shoes instead of her voluminous charity work. Her scheduled interview with reporter Chris (Jeanette Seisdedos) couldn’t come at a worse time.

To make that time even worse, the President’s lesbian, drug dealing sister Bernadette (Laura Downing-Lee) has arrived looking for a pardon, and Dusty (Allison Lovelace), one of the President’s “friends”, has arrived bearing a gift. It’s all the President’s secretary Stephanie (Shawna Del Sol) can do to limit their access to him and his exposure to everything.   

Fillinger throws the issues of foreign policy, nuclear disarmament, reproductive rights, and the patriarchy in amongst the discussions of lactation, rough sex, anal abscesses, blow jobs, and dildos. She even throws in a sink, though not the proverbial kitchen one.

Director Beulah Vega has a fearless cast at work here. A true ensemble piece, the cast’s uniform comedic energy is dissipated only during some scene transitions. The original Broadway production eliminated this by putting the set on the theatrical equivalent of a Lazy Susan with quick spins from scene to scene. Here, Vega has the action spread throughout the theater with the cast entering and exiting from all over including through the audience. While this may add to the overall sense of the chaos, it does hurt the timing.

And timing is everything in comedy, especially farce. Thankfully, this cast displays the comedic skills necessary to pull it off, both physical and verbal. Del Sol’s Stephanie is almost completely physical comedy, but by the show’s end everyone gets into the act. The physical bits, like the scene transitions, could stand to be sharpened a bit, which should happen quickly over the show’s run.

Fillinger’s snappy dialogue comes at you at a machine gun, Mamet-like pace, with the best bits coming from Wagoner’s Harriet, Dunnavant’s Jean, and especially Downing-Lee’s Bernadette (in a particularly ballsy performance.)  

Left Edge’s POTUS… is definitely a show for mature audiences and won’t be to everyone’s taste. For those looking for escapism, it’s topical. (Sadly, maybe a bit too topical.) Folks who cringe at words like ‘damn’ or ‘hell’ would have a tough time getting past the opening line, let alone the whole show.  

But for people who want to laugh…

Even Mike Hunt would approve.  

Left Edge Theatre’s ‘POTUS, Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive’ runs through December 21 at The California Theatre. 528 7th Street, Santa Rosa. Thu – Fri, 7:30pm; Sat., 1pm. $11–$44. 707.664.7529. leftedgetheatre.com

California’s Wine King Left Behind Japanese Hometown

The year 1865 was a monumental one in American history. 

After four years of fierce fighting, the Civil War ended, and the Constitution abolished slavery. And the 2,000 or so people living in what would become Santa Rosa likely felt a world away from these transformational events. Little did they know that something happening in the direction opposite from the battlefields and halls of Congress would have just as significant an impact on their young city’s development.  

In 1865, a 27-year-old Scottish tea exporter and part-time gun runner living in Nagasaki, Japan, Thomas Glover, added human trafficking to his resume. Santa Rosa would never be the same.

Geography and distance saved Glover’s home, the oldest Western building in Japan, from the atomic blast in 1945. There, perhaps in his ornate dining room, rebellious samurai asked him to smuggle 15 young men out of the country. The plan was for them to travel to Great Britain in secret, learn everything they could in English schools and use that knowledge to make Japan equal to any Western nation. 

Glover, agreeing to charter a ship, put him and the would-be travelers at great risk. If caught, the punishment for him would be a lengthy imprisonment, and the punishment for the 15 Japanese would be death. The youngest among them, Hikosuke Isonaga, was only 13 when he set sail from his native Kagoshima. He left behind more than just his home. To shield his family from the Shogun’s retribution, he also left behind his name. Hikosuke Isonaga became Kanaye Nagasawa. 

The young Nagasawa could have had no idea what lie in store for him while watching his hometown retreat from view. Like the others, he expected to return in a few years when, by that point, a revolution had overthrown the Shogun. 

However, fate had other plans for Nagasawa. After studying in England, he traveled to New York before settling in our very own Santa Rosa. For decades, his vineyards covered our city’s hills, and his Round Barn (Rest in Peace) adorned Fountaingrove like a crown. Upon his death in 1934, the wine king of California was undoubtedly the most famous person in city history. 

Every day, Santa Rosa residents and tourists pass by the very land that Nagasawa nurtured, and many of us enjoy the park bearing his name. But what of the place Nagasawa left behind, Kagoshima? What, if any, connection exists between it and the city where he left his tremendous mark? 

Another Kind of Smoke

Just off the coast of Kagoshima exists Sakurajima, the most active volcano in Japan. The magma bubbling underneath produces the hot, mineral-rich water pumped into the city’s famed onsen baths. What classifies as an eruption happens annually, and the mountain puffs up smoke nearly every day, the dark ash trailing in the wind for miles. 

Kagoshima residents live under the threat of a major eruption, just as we do in Santa Rosa with wildfires. It’s not uncommon for the air to turn to smoke, or ash to fall on the city. On less fortunate days, elementary school students venturing outside wear helmets to protect them from debris.

The situation is more dangerous on Sakurajima, where the few thousand residents, many elderly, live with familiar terms such as “advisory notice” and “evacuation warning.” Why do they remain? Why not abandon the island and relocate to the relative safety of Kagoshima proper upwind?

It’s because Sakurajima, like Northern California, has some of the richest soil on the face of the Earth. One may take the 15-minute ferry from the city to discover succulent oranges and plump daikon radishes. Visitors hiking the island’s lava trail can find fruit and vegetable stands selling these and other agricultural delights for pennies on the dollar nearly every month of the year.

The land taketh, but the land certainly giveth. 

Thriving Beverage Industry

Kagoshima may be too hot and humid for wine grapes (think Miami weather), but the soil produces sugar-rich sweet potatoes that are best enjoyed roasted during the region’s short winter. This agricultural staple is also the foundation for Kagoshima’s most famous beverage—shochu. 

Coming in around 25% ABV and served over ice, shochu shares some similarities with Japan’s other national beverage, sake. To a Western consumer, both carry complex flavors that their simple ingredients, at first glance, seem impossibly capable of creating. Even Francis Xavier, who came to Japan in 1549 to spread Christianity, commented on the unique and perplexing beverage in his writings. 

Just as during Nagasawa’s childhood, shochu production drives a sizable portion of Kagoshima’s economy. In 2024, any restaurant worth its salt (or, in this case, sweet potato) offers an extensive list of shochu options. Gift shops at the train station and airport carry hundreds of unique-tasting and strikingly beautiful bottles from different distillers. Oh, and expect a multitude of tasting rooms with English-speaking staff if one should ever visit. 

But one must not forget to pay the duty on any shochu they bring home. 

A Legacy Recognized

Kanaye Nagasawa never returned to Japan, never fulfilled the hopes and dreams of the samurai who smuggled him out of the country. Even so, Kagoshima recognizes the accomplishments of its native sons who ventured abroad with an impressive monument just outside its Shinkansen station. There, immortalized in bronze, stands the teenage Nagasawa among his peers. His face is proud and hopeful, yet completely unaware of where his long life will take him.

You have no idea, I thought while standing in front of it on a fine fall morning. Santa Rosa wouldn’t be what it is today without you. Thanks. 

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