Worth the Wait

For 45 years, more questions have surrounded author Harper Lee than answers. After publishing the seminal To Kill a Mockingbird in 1960, Lee became a reclusive figure and never completed another book. Though Mockingbird is still taught in schools and has been read by millions, fans have always wondered if Lee was more than a one-hit literary wonder.

They got the answer this year when it was announced in February that Lee, now 89 years old, would finally publish her long-awaited next novel, Go Set a Watchman. A sequel to Mockingbird, this new release was actually Lee’s original novel. The story goes that Lee’s publisher convinced her to take flashback sequences written in Go Set a Watchman and expand them into what would become the now-classic To Kill a Mockingbird.

Set for release July 14, Go Set a Watchman is one of the most highly anticipated books to come around since teenage wizards and sparkly vampires took over the literary world. For those who just can’t wait, Napa’s Bookmine is holding a release party on the evening of July 13, with a screening of the classic-in-its-own-right 1962 film To Kill a Mockingbird, and a midnight unveiling
of the new novel. The film screens at
9:30pm. 964 Pearl St., Napa. 707.733.3199.

War Was Hell

The new adaptation of Vera Brittain’s memoir Testament of Youth proves one glib rule of filmmaking and disproves another. First, it really is best to start a story as late in the plot as you can. Second, a war movie doesn’t necessarily have to endorse war.

Director James Kent is allowed far more realism than the previous BBC miniseries adaptation of Brittain’s WWI memoir of being a nurse to the wounded. We can see that the conditions in a Western Front field hospital haven’t changed much since the Crimean War; for that matter, a crane shot of casualties laid out on stretchers in a muddy field resembles the similar carnage of the Atlanta depot scene in Gone with the Wind.

Alicia Vikander (Ex Machina) plays Vera, a young lady who yearns to go to Oxford, despite the fact that her family believes education is wasted on women. Vikander plays the role with anachronistic fury—it’s as if she’s surprised by the discrimination against women and hadn’t grown up with it all around her.

Vera sees her loved ones consumed by the war one after another. The decorum of her class makes the story sadder. One never expects upper-class Brits to emit howls of grief, as they do here.

The terrific opening begins with Vera coming out of a fog on the morning of Armistice Day. Her numb horror at the crowd’s screams of joy drive her into an empty church. There, she sees a painting of Noah’s flood, and she imagines herself tumbling in the tide.

The reminder of the price of war also serves as a showcase for young actors. As Edward Brittain, Taron Egerton evokes the loss of an entire generation simply by turning up in an ill-fitting woolen army uniform. It’s too soon to tell if Kit Harington, as Vera’s lover Roland, will go places beyond Game of Thrones. But there is warmth enough between Vikander and Harington to draw in a romance-seeking audience, while those who never heard these stories of wastage before will be pierced quite deeply.

‘Testament of Youth’ opens July 10 at Rialto Cinemas, 6868 McKinley St., Sebastopol. 707.525.4849.

Homewrecker

And now let us pause to contemplate Richard Blum’s participation in the destruction of the American dream at the hands of a new phenomenon known as the “Wall Street landlord.”

Blum’s wife is Sen. Dianne Feinstein. The California legislator’s latest financial disclosure report, filed with the U.S. Secretary of State on May 15, includes a 2014 Blum Family Partners investment of at least
$1 million in Colony American Homes Holdings.

Blum is the billionaire founder of the private-equity firm Blum Capital Parnters. Colony homes are owned under the umbrella of Colony Capital, one of the largest investment firms in the world.

The senator’s disclosure describes Colony American Homes as a “leading owner and provider of high-quality single-family residences for rental across the United States.”

What it doesn’t say is that the rental stock is made up of foreclosed homes purchased by a handful of investor groups and hedge funds in the aftermath of the 2007–08 financial crisis and real estate crash. The Blackstone Group and Waypoint Homes join Colony Capital in this business, along with American Homes 4 Rent and Silver Bay Realty.

Blum is often identified as a quintessential Democratic Party insider, with ties that run the gamut from Jimmy Carter to the Dalai Lama. His private-equity firm manages about $500 million in assets, and the bulk of the fund’s portfolio is dominated by holdings in CBRE, the world’s largest commercial real estate services firm.

Though Blum has taken pains to deny it, reports say he’s worth at least $1 billion. According to a recent Roll Call survey, Feinstein’s net worth is $45.3 million, which puts her in the top tier of wealthy Washington lawmakers.

Colony American Homes was one of several investor-owned landlords highlighted in a June report from the anti-poverty advocates at the California Reinvestment Coalition (CRC). That study focused on the rise of the Wall Street landlord and its impact on California renters and would-be homeowners.

The verdict from the CRC is that Colony American Homes has not been an especially good landlord: rents are above average, utilities generally aren’t included, and maintenance is poor, at best. Moreover, would-be first-time homeowners in California often find themselves squeezed out by cash-rich corporate buyers like Colony American Homes. Rents are going up, and the landlord is nowhere to be seen.

“Neighborhoods are changing, income diversity is changing, the tenure of residents is changing,” says CRC associate director Kevin Stein, an author of the report. The investor grab of housing stock, he says, “is destabilizing neighborhoods and creating a lot of displacement.”

The CRC survey found that real estate investment trusts, private equity firms and hedge funds have spent $25 billion buying over 150,000 distressed homes around the country since 2012.

“This whole situation is only possible because of a financial crisis that was engineered by Wall Street,” says Stein. “This is investors profiting off of foreclosure.”

What can be done? Stein says Gov. Jerry Brown could “use his bully pulpit to talk about the importance of neighborhood stability, and to acknowledge that there’s extreme gentrification and displacement going on.”

Or Brown could pay back the $331 million he diverted from foreclosure relief for homeowners in 2012 to solve the state budget crisis. The Associated Press reported this week that lawmakers and community groups have called on Brown to repay the money, after a Sacramento judge ruled that he had illegally funneled the foreclosure monies into the state’s general fund.

A May report from the California advocacy group Tenants Together also weighed in on so-called Wall Street landlords. The organization reported that Colony has, to date, purchased more than 2,000 formerly foreclosed properties in California and flipped them into rentals.

Banks help investors do this by converting future rental income on properties into securities, which are then turned back to the investors as loans. “Wall Street has also issued over $8 billion in securities tied to almost 60,000 homes,” some owned by Colony, reports the CRC.

The loans are then used to purchase additional distressed properties, notes CRC. This has conspired to fuel a growing market in investor-purchased single-family homes.

The investor-led push to buy distressed single-family homes, says Stein, means individual buyers often get pushed out of the market. The CRC survey heard from numerous would-be first-time homebuyers, he says, “who could get decent loans but couldn’t successfully bid on properties.”

Nonprofits and developers who want to build affordable housing are often outbid, and local businesspeople, many of them from communities of color, “feel that they are being circumvented. These deals are going around local businesspeople,” says Stein. “There is an issue of the amount that [investors] are bidding and that their offers are in cash.”

Fair Housing of Marin was one of 70 signatories to the CRC report. Over the past few years the North Bay housing nonprofit has identified chronic maintenance failures at bank-owned homes in poor communities.

Fair Housing of Marin Executive Director Caroline Peattie describes a full-circle foreclosure dynamic that hit poorer communities in the North Bay. “Banks targeted communities of color with a disproportionate number of unaffordable subprime loans,” she says. “Those same communities suffered a disproportionate number of foreclosures; the banks then failed to maintain and market those properties; and, finally, banks have been selling foreclosed homes in bulk to investors who care nothing about the property, the tenants who live in those properties, nor the neighborhood.”

Just as Feinstein was putting
the finishing touches on her
May 15 financial disclosure report, Tenants Together released its study, “The New Single-Family Home Renters of California,” on May 12.

The statewide tenants-rights organization found that renters of single-family homes from the three biggest corportate landlords in the state—Blackstone/Invitation Homes, Waypoint Homes and Colony American Homes—”pay higher rents than their neighbors and face challenges getting repairs.”

Those companies together own about 9,500 properties in California, according to Tenants Together.

A scan of available investor-owned properties for sale or rent in the North Bay doesn’t yield many hits—but that may not mean anything, says Stein.

“It could be that there’s more happening than what you see, because some of the sales are happening before anybody even knows a property is available,” he says, “and it’s not known because it has already been sold to Colony.”

Doug Henwood, an economics journalist and author of Wall Street: How It Works and for Whom, says investor-driven home purchases follow the general model of private-equity deals. “They are in it for the short-term, the medium-term,” says Henwood. “They are not in it for the long haul. The incentive is to screw the tenants over completely, minimize repairs and maximize rents.”

The senator’s disclosure report lists the Colony American Homes investment in the section of Feinstein’s “non-publicly traded assets and unearned income sources,” which also includes another Colony distressed-asset fund, Colony American Homes War I, LLC.

According to the report, Blum Family Partners has a $50,000–$100,000 investment in Colony American Homes War I and no reported 2014 income from that investment.

The disclosure form exempts Feinstein from having to provide any further detail on Colony American Homes, since the investment is held independently by Blum. As such, Feinstein didn’t have to indicate anything beyond that the investment eclipsed
$1 million.

No surprise there, says Henwood. “This is entirely consistent with the Democrats. Real estate, and especially urban real estate, is one of the lifebloods of Democratic party financing.”

The investment in Colony American Homes earned Feinstein and Blum between $50,000 and $100,000 in capital gains and interest in 2014, according to the disclosure report.

In contrast, the average down payment for a single-family home in 2014 was $32,000, according to the online real-estate service RealtyTrac.

In response to questions about the investment, Feinstein communication director Tom Mentzer says that “Sen. Feinstein has no involvement in her husband’s business decisions. Her assets are in a blind trust, which has been the case since she arrived in the Senate, and I have no information on her husband’s assets.”

A phone call to Blum Capital Partners was not returned.

Debriefer: July 8, 2015

FRACKING REGS

Last week California saw the implementation of 2013’s
Senate Bill 4, the state hydraulic fracturing law written by
Sen. Fran Pavley (pictured). Depending on your perspective, SB 4 was either a giveaway to a frack-crazed energy industry or it represents the arrival of the toughest fracking regulations in the country. (The latter determination is according to a Los Angeles Times report on SB 4 from last week.)

Both can be true. The Pavley law was signed by Gov. Jerry Brown after legislative attempts to ban fracking failed.

Anti-frackers charged that Pavley’s bill gave the state oil and gas industry two years of unfettered fracking before the regs kicked in. SB 4 also served to stymie a robust statewide push to ban fracking when it created a set of regs under which the practice can continue. Among its other highlights, fracking involves lots of wasted water, the potential for earthquakes and, possibly, blue flames shooting out your faucet.

NO VIOLATION

Last week several federal agencies wrapped up their investigation of the Andy Lopez shooting. Conclusion: The 13-year-old’s federal civil rights weren’t violated when he was killed by a Sonoma County Sheriff’s deputy in late 2013.

The Lopez family lawyer vowed to press on; a civil rights case against the sheriff’s office is scheduled to hit federal court in April 2016. Arnoldo Casillas argues that even as the sheriff’s office says the feds’ decision endorses its position that there was no violation of Lopez’ civil rights, “the feds confirmed that this was not the case, and that their decision is simply that they will not prosecute deputy Erick Gelhaus under the federal statute.”

Uke-A-Palooza

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Napa’s Oxbow Public Market and Judd’s Hill Winery will present the fifth annual “Uke-A-Palooza,” a night of Polynesian music, food and fun, on July 31 from 6pm to 9pm.

The event will feature a performance on the Oxbow River Deck by good-times Polynesian band the Maikai Gents. The band is headed by Judd Finkelstein himself, second-generation winemaker at Judd’s Hill Winery. Attendees are encouraged to bring their own ukulele and perform. The evening will include a raffle to benefit Voices of Napa. Polynesian-themed merchandise and food will be offered by Oxbow merchants, and Polynesian and vintage beach clothing by Melissa Gruenhagen of Retro Diva. Admission is free.

Oxbow Public Market is located at
610 and 644 First St. in Napa. 707.226.6529. Visit oxbowpublicmarket.com for more info.

In the Club

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I imagine it’s easy to play it safe when opening a restaurant attached to a resort. If it’s the vacationing folk you’re catering to, they’d probably eat anything you serve them, as long as it’s close to their room.

That could have been the fate at the new Sam’s Social Club at Calistoga’s Indian Springs Resort & Spa. Named after resort founder Samuel Brannan, this is Indian Springs’ first full-service restaurant.

A number of things take Sam’s to a different level. It’s both elegant and fun. Vacationing and feeling glitzy are easy here, even if you live nearby. The new establishment fits right into the country-club motif. There’s beautiful scenery, a fire pit and outdoor sitting. All spaces exhibit a laid-back, easy-going vibe, with muted beige and sandy hues blending well into the natural setting. It’s a restaurant where you wear designer flip-flops and spend hours relishing the summer weather.

With plenty of dining opportunities in Calistoga, chef Kory Stewart had to go beyond the obvious. The dinner menu does contain some classics like the hamburger ($15) and blue cheese salad ($12), but Sam’s isn’t afraid of adventure either. Grandma will be happy, but so will the millennial foodie.

We started with a couple of snacks, $6 each. The deviled eggs, saved from banality by a hint of truffle oil and a crispy sunchoke chip on top, were a promising start. The Brussels sprouts were less creative. Fried and served with a lemony aioli, they’d be a perfect side dish along with something more dominant, but as a standalone, they left me wanting.

From the appetizer list, almost everything was a hit. The butter lettuce salad ($11) had crunchy fennel, lettuce and creamy avocado blended nicely with juicy navel oranges and flakes of manchego cheese. The market ceviche ($16), highly recommended by the knowledgeable waiter, was satisfying and fresh. Served with sweet potato crisps and avocado slices, it set us in a breezy, ocean-centric mood we decided to keep going with the grilled octopus ($13). It was on the rubbery side, but the sweet and tangy romesco sauce saved the day, even lending itself to the leftover Brussels sprouts.

Being able to make vegetarians and vegans smile is mandatory for a modern-day restaurant, and Sam’s addresses the issue with an intriguing dish of trumpet mushrooms, sunchoke purée, corn, tomatoes and zucchini ($25). The sunchoke purée delivered deep, earthy tones, and the mushrooms played a meaty, juicy role. The ingredients were individually flavorful, but the components didn’t come together as harmoniously as I’d hoped and left me craving a bigger flavor moment.

The kitchen has a more traditional approach to dessert: chocolate Valrhona pudding, and a strawberry and rhubarb crisp (both $8). Both were great.

The kitchen may take some time to bring all of its menu up to speed, but Sam’s Social Club already has a lot going for it. A resort restaurant that feels truly indulgent and memorable? Easier said than done, and Sam’s got that part totally right.

Sam’s Social Club, 1712 Lincoln Ave., Calistoga. 707.942.4913.

One Crazy Play

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There’s an unwritten law in theater that says if you’re going to mess with the text of a Shakespeare play, you’ll get less blowback if you pick a play few people know.

Cymbeline, one of the playwright’s last works, is rarely performed, despite the fact that it’s one of his most complexly plotted, surprise-packed and satisfying plays, all of which made it very popular, once upon a time.

Modern critics tend to turn their noses up at it, as they do anything Shakespeare wrote for the sheer hell of it—which is exactly what Cymbeline feels like. As the Latin critique goes, Prolixior est unum rabidus fabula. Roughly translated: “This is one crazy play!”

Cymbeline, running outdoors through July at Marin Shakespeare Company, carries so many plot ideas reminiscent of Shakespeare’s other plays that it often seems like a cross between self-parody and a career retrospective. There’s a woman disguised as a boy, an aging ruler losing his kingdom and his sanity, a soldier convincing a married man his wife is unfaithful and a magic potion that makes the living appear dead.

Though the play is named for the recently remarried English king Cymbeline (Paul Abbott, in a performance as over-the-top as a circus tent), the true heroine is his daughter, Imogen, played with brilliant simplicity and sweetness by Stella Heath. Imogen has angered her father by refusing to marry the obnoxiously self-loving prince Cloten (a hilarious Thomas Gorrebeeck), marrying instead the lowly Roman orphan Leonatus Posthumus (also Gorrebeeck, apparently a quick-change artist).

Imogen becomes the target of her duplicitous stepmother, the queen (Lee Fitzpatrick) and also the subject of an egregious test of fidelity on the part of Posthumus. She ends up on the run, with Cloten in pursuit.

A pair of kidnapped princes raised as mountain men figure into the storyline, which packs enough twists, turns, mistaken identities and hairs-breadth reversals for three Shakespeare plays. Director Robert Currier makes the dangerous choice of rewriting certain bits of exposition, either introducing the info in original songs (yep, it’s kind of a musical) or adding enough comical commentary to make the sometimes-dense prose crystal clear.

While I’d have preferred Currier to have solved these problems the way most directors do—by directing the play so that it makes sense—in this case, it kind of works. And, hey, since very few audience members will have seen Cymbeline before, it’s likely no one will know the difference.

Rating (out of 5): ★★★★

To Boldly Go

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I think I have just crested the hundredth viewing of Star Trek II: The Wrath of Khan, arguably the best in the Star Trek movie franchise. Watch a movie more times than is, well, sane, and the finer points of filmmaking shine forth.

In The Wrath of Khan, the special effects—especially the phaser blasts—are as stunningly realistic as anything that could be accomplished today, and one could make a case that the shiveringly beautiful James Horner score is destined for the classics. I wonder if Mr. Horner got goose bumps while conducting his orchestra.

The one-minute sequence treating us to a visual tour of the Enterprise in space dock, with the triumphant music behind the camera angles, is a testament to Nicholas Meyer, a director who knew how to shoot for the big screen. Beautiful close-up shots. No need for 3D, just good cinematography.

Sometimes, when I’m feeling as if today’s youth have some great advantage over me, with their computers and iPads and all sorts of gadgets (having cable TV in one’s neighborhood was cause enough to feel imperious in my day), I take solace in the fact that there’s one thing I can claim as precious and special, something to jokingly lord over youngsters. It is the fact that I had the privilege of seeing
The Wrath of Khan on the big screen when it came out, with the added blessing of my not knowing, one way or the other, if the rumors were true that Spock would die and holding on to the hope that it was just some clever misinformation scheme from Paramount Pictures.

I remember driving home that night, speeding down the freeway in my nearly brand-new Toyota Corolla GT-S sports coupe, pretending I was traveling at warp speed five and bawling like a great big sissy. I had never been more emotionally affected by a motion picture than I was by The Wrath of Khan and, truthfully, have never been since. I was 21 years old and I felt . . . young. I felt young.

D. T. Allison lives in Santa Rosa.

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.

All In

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Since forming in Santa Rosa in 1999, the Velvet Teen have served as the standard bearers for indie rock in Sonoma County.

Founded by singer and multi-instrumentalist Judah Nagler and bassist Josh Staples, and joined by drummer Casey Deitz in 2006, the band has continually delved into varied arenas of music, be it piano-driven chamber pop or electro-prog noise rock.

Nine years after their last full-length release, the Velvet Teen return with an eclectic and energizing new album, All Is Illusory, on Top Shelf Records.

“We’ve taken each album up to this point as an exploration,” says Nagler from his home in Petaluma. “I feel like now we have any one of those sounds at our disposal, we have all those colors in our palette. For this last album, we drew from all those sources. It just organically happened that all those elements became a part of this bunch of songs.”

All Is Illusory was in the works for several years and is their most collaborative album to date.

“[Collaborating] tends to lend itself to a better end result,” says Nagler. Certain tracks, like the euphoric power jam “You Were the First,” were born out of single jam sessions, while others, like the shimmering slow burner “The Giving In,” were built piece by piece. Throughout, Nagler’s signature pleading vocals soar over Deitz’s hyper-yet-precise beats and Staples’ rumbling bass lines.

Between this album and the last, the band faced a series of personal and professional challenges. Founding drummer Logan Whitehurst died in 2006 after a battle with cancer, and the group struggled to get a new record out, though their 2010 EP, No Star, was an expressive blast of fresh air.

“I’m grateful that we’ve been able to stay together in one form or another. Now things are feeling a lot more solid than they have in quite a long time,” says Nagler.

All Is Illusory is a triumphant statement from the band, crafted from half a lifetime spent creating countless musical conversations. This summer, the Velvet Teen take their record on the road for a massive tour that wraps up with a concert Aug. 22, at the Phoenix Theater in Petaluma.

Intimate Art

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Artist Richard Diebenkorn’s large-scale paintings made him an influential figure in multiple art movements of the 20th century and a worldwide sensation in his lifetime.

Best known for his dramatic Ocean Park series, his expressive abstract and figurative masterpieces fetch millions at auctions.

The Sonoma Valley Museum of Art is hosting a career-spanning retrospective exhibit, “The Intimate Diebenkorn,” that presents a revealing look at many of the artist’s previously unseen sketches and drawings. The exhibit runs through Aug. 23.

“I think he’s the most well-known modern California artist,” says SVMA executive director Kate Eilertsen. “Everybody’s seen the paintings, but nobody has really understood how the paintings came to be.”

In that spirit, the museum gives a rare glimpse into the mind of the artist. Working with the Diebenkorn Foundation, the museum presents a number of Diebenkorn’s works on paper, including figurative, abstract and still life pieces. The selections in this exhibit highlight his working process and his evolution as an artist.

“He loved to draw; he loved charcoal, gauche, watercolors,” says Eilertsen. “You can tell he tries to get the most out of whatever medium he’s in.”

Born in 1922, Diebenkorn was raised in the Bay Area and at a young age developed his style of abstract expressionism before participating in the Bay Area figurative movement of the mid-20th century. He lived in Santa Monica when he began his vivid Ocean Park paintings in the late 1960s.

“I think he captured the West Coast light and colors in a way that allowed people to see it from a different perspective,” says Eilertsen.

Returning to the Bay Area and working prolifically until his death in 1993, Diebenkorn and his wife, Phyllis, split their time between Berkeley and Healdsburg for the last decade of his life.

“Most artists, when they become successful, feel like they have to stick to what they’re doing, but he wasn’t ever safe,” says Eilertsen. “He pushed himself to try new things. “

The most intriguing pieces in “The Intimate Diebenkorn” come in the form of a number of seemingly simple figure and portrait sketches, most of which capture Diebenkorn’s favorite muse, his wife, in casual or relaxed poses.

These fluid and freewheeling works offer a peek into Diebenkorn’s everyday experience. “I think it’s a sweet and personal show,” says Eilertsen. “You don’t get to go into the mind of the artist very often.”

In addition to the exhibit, the museum is hosting several educational events. On Saturday, July 11, Diebenkorn’s daughter, Gretchen Diebenkorn Grant, will offer a talk titled “A Daughter’s Perspective,” in which she relates stories about her father’s life and work.

On July 14 and 16, the two-part Spotlight Seminar with educator Ann Wiklund looks at Diebenkorn’s lasting influence on West Coast art. Also, on July 18, artist Jan Wurm presents a talk focusing on Diebenkorn’s work while he lived in Berkeley.

The show includes archival video presentations showing Diebenkorn in his home and studio. The museum also invites the public to get interactive with a working studio space where visitors can draw and sketch their own scenes.

Worth the Wait

For 45 years, more questions have surrounded author Harper Lee than answers. After publishing the seminal To Kill a Mockingbird in 1960, Lee became a reclusive figure and never completed another book. Though Mockingbird is still taught in schools and has been read by millions, fans have always wondered if Lee was more than a one-hit literary wonder. They got...

War Was Hell

The new adaptation of Vera Brittain's memoir Testament of Youth proves one glib rule of filmmaking and disproves another. First, it really is best to start a story as late in the plot as you can. Second, a war movie doesn't necessarily have to endorse war. Director James Kent is allowed far more realism than the previous BBC miniseries adaptation...

Homewrecker

And now let us pause to contemplate Richard Blum's participation in the destruction of the American dream at the hands of a new phenomenon known as the "Wall Street landlord." Blum's wife is Sen. Dianne Feinstein. The California legislator's latest financial disclosure report, filed with the U.S. Secretary of State on May 15, includes a 2014 Blum Family Partners investment...

Debriefer: July 8, 2015

FRACKING REGS Last week California saw the implementation of 2013's Senate Bill 4, the state hydraulic fracturing law written by Sen. Fran Pavley (pictured). Depending on your perspective, SB 4 was either a giveaway to a frack-crazed energy industry or it represents the arrival of the toughest fracking regulations in the country. (The latter determination is according to a Los...

Uke-A-Palooza

Napa's Oxbow Public Market and Judd's Hill Winery will present the fifth annual "Uke-A-Palooza," a night of Polynesian music, food and fun, on July 31 from 6pm to 9pm. The event will feature a performance on the Oxbow River Deck by good-times Polynesian band the Maikai Gents. The band is headed by Judd Finkelstein himself, second-generation winemaker at Judd's Hill...

In the Club

I imagine it's easy to play it safe when opening a restaurant attached to a resort. If it's the vacationing folk you're catering to, they'd probably eat anything you serve them, as long as it's close to their room. That could have been the fate at the new Sam's Social Club at Calistoga's Indian Springs Resort & Spa. Named after...

One Crazy Play

There's an unwritten law in theater that says if you're going to mess with the text of a Shakespeare play, you'll get less blowback if you pick a play few people know. Cymbeline, one of the playwright's last works, is rarely performed, despite the fact that it's one of his most complexly plotted, surprise-packed and satisfying plays, all of which...

To Boldly Go

I think I have just crested the hundredth viewing of Star Trek II: The Wrath of Khan, arguably the best in the Star Trek movie franchise. Watch a movie more times than is, well, sane, and the finer points of filmmaking shine forth. In The Wrath of Khan, the special effects—especially the phaser blasts—are as stunningly realistic as anything that...

All In

Since forming in Santa Rosa in 1999, the Velvet Teen have served as the standard bearers for indie rock in Sonoma County. Founded by singer and multi-instrumentalist Judah Nagler and bassist Josh Staples, and joined by drummer Casey Deitz in 2006, the band has continually delved into varied arenas of music, be it piano-driven chamber pop or electro-prog noise rock. Nine...

Intimate Art

Artist Richard Diebenkorn's large-scale paintings made him an influential figure in multiple art movements of the 20th century and a worldwide sensation in his lifetime. Best known for his dramatic Ocean Park series, his expressive abstract and figurative masterpieces fetch millions at auctions. The Sonoma Valley Museum of Art is hosting a career-spanning retrospective exhibit, "The Intimate Diebenkorn," that presents a...
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