Little Bit Country

0

It’s been three years since singer and songwriter Zoe Muth and her band the Lost High Rollers released their last record. And it’s been 16 months since the Seattle native left her hometown for the rolling hills of Austin. The move across so much country to an unfamiliar land, which Muth made with drummer Greg Nies, informs her new album, World of Strangers, available May 27 on Signature Sounds.

After the move, Muth reassembled the Lost High Rollers with some of Austin’s most talented musicians, including producer and bassist George Reiff, Brad Rice (Keith Urban, Son Volt), Martie Maguire (Dixie Chicks) and Bruce Robison. They set up in the studio with Grammy-winner Steven Christensen behind the glass, and Muth allowed for a more free-flowing, experimental approach to the recording. The result is an album chock-full of new ideas, grounded in Muth’s signature country-folk style.

World of Strangers opens with the sparse and forlorn “What Did You Come Back Here For?” with Muth’s resonant vocals laid prominently over acoustic and slide guitars. The opener sets a somber tone for the next nine tracks of Americana that explore hard times and hard living, a storytelling narrative Muth naturally gravitates toward with heartrending honesty.

Muth has a penchant for country ballads and an uncanny ability to channel the likes of Emmylou Harris when she takes the mic. No longer confining herself to any one niche, Muth makes the most of her new surroundings and ensemble with poignant, soulful moments and surprises throughout the album.

Tracks like “Mama Needs a Margarita,” with its lackadaisical laments, call to mind the south-of-the-border-blues of Jimmy Buffett, while “Make Me Change My Mind” is as close to rock and roll as anything she’s put together, though it’s still steeped in classic country melodies. And “Waltz of the Wayward Wind” is just that, a waltz, albeit one slow to build and cathartic in its culmination—a description that neatly describes World of Strangers.

Shuck Stops Here

0

One day soon, the fight over the fate of Drakes Bay Oyster Company will end.

And then what?

The family-run aquaculture farm, located within the Point Reyes National Seashore, has been operating in legal limbo since 2012, when then–U.S. Interior Secretary Ken Salazar closed the door on a push, led by U.S. Sen. Dianne Feinstein, to extend the popular farm’s lease for an additional decade beyond a disputed federal order to cease operations by 2012.

Salazar’s move prompted a set of legal challenges by the Lunny family, who owns the oyster business but not the land or Drakes Estero, which is owned by We the People.

“We didn’t have a guarantee,” says Kevin Lunny, who purchased the business in 2005. “We don’t have a right to renewal. It is OK to hope that it is renewed. That is not a crime.”

But the legal avenues to keep Drakes operational are running out. Two years after Salazar’s ruling, and numerous court dates later, “we’re toward the end, there’s no question,” says Lunny. Much of the court battle has hinged on the farm’s environmental impact on the Estero.

The fight over the oyster business has pitted sustainability advocates against save-the-wilderness folks—people who otherwise would find themselves in basic agreement over eco-issues. But the conflict has also been a lightning rod for right-wing activists and politicians to play out their ideological longings for a less intrusive federal government.

Louisiana senator David Vitter, for example, took up the cudgel of support for Drakes Bay in 2013, offering legislation that would have green-lighted the XL Keystone Pipeline, and kept the oyster farm in business.

Proponents of closing Drakes Bay see moves like Vitter’s as part of an effort to maximize private profits at the expense of the public—and see the Drakes Bay case on a slope that is quite slippery. “This is really an effort by industry to open up public lands and waters for uses that would go against what taxpayers purchased years and years ago,” says Neal Desai, Pacific region associate director of the National Parks Conservation Association.

Drakes’ fate is in the hands of the U.S. Supreme Court. A last-ditch petition to the high court is all that stands in the way of Lunny being compelled to begin removing traces of his business from the land and water.

One main thrust underpinning the Supreme Court petition is a recent 9th Circuit Court of Appeals ruling that Lunny’s lawyers argue created contradictory interpretations of federal law, a “circuit split,” that only the Supreme Court can resolve.

The high court fields upwards of 10,000 petitions a year and generally accepts 1 percent or fewer of them for legal review, says Desai.

“The truth is, we know that it is a long shot,” Lunny says. “But there are legal analysts who are looking at this; our case is meritorious.”

The “circuit split” argument, says Desai, indicates that Lunny’s legal team is “completely reaching for straws now.”

Whatever the outcome, there’s been a lot of bad blood spilled in West Marin along the way toward a final resolution. “The more local you get, the more it becomes about relationships and not about the values that hold our social fabric together,” says Desai.

The West Marin Environmental Action Committee, the lead local environmental organization pushing for the facility’s closure, has had its offices vandalized twice, says executive director Amy Trainer.

Trainer is also the subject of a Facebook page devoted to getting her fired. (The page has 33 likes at last count, with comments like “Can the bitch” from one Florida woman.)

Lunny, meanwhile, has faced accusations that he’s in the tank with the Koch brothers, a charge that arose when he accepted legal help from an organization called Cause of Action, which PBS and others reported had ties to the right-wing oligarchy-enablers.

More recently, the Koch-funded Pacific Legal Foundation has been providing pro bono legal work on Lunny’s behalf. Lunny also has high-toned sustainability advocate Alice Waters on his side, as well as numerous Bay Area restaurateurs and residents who have enjoyed Drakes’ oysters for decades. The farm has been in operation for about 80 years.

However it ends, “the healing is going to take a lot of time,” says Trainer, an Inverness resident.

She and Lunny at least agree
on that.

“I’m really interested in rebuilding relationships with the [National] Park Service,” says Lunny, who also owns a ranch near the oyster farm. “I had a great relationship with them over the years, and we want to rebuild that,” he says.

Lunny is less certain he’ll be breaking bread with Trainer’s Environmental Action Committee any time soon, whether or not he prevails in court. “Ranchers won’t even talk to them. It’s going to take a while.”

Quote of the Year

0

Sonoma County Superior Court Judge Gary Medvigy heard police tapes from Sonoma County Supervisor Efren Carrillo’s July 13 early-morning arrest in court last week. As reported by the Press Democrat, Carrillo told officers, “In retrospect, I should have had my pants on.”

Ya think?

Carrillo is lucky that the only charge being brought against him is the misdemeanor “peeking,” which carries a six-month maximum jail sentence. As he recalled the event to officers, Carrillo knew the woman, a neighbor, and thought she’d be interested in a little conversation and bubbly refreshment—”a couple of Plinys”—at 2:30am. After all, he’d run into her at the downtown Santa Rosa nightclub Space XXV (a dress-code kind of club), and she had her kitchen light on when Carrillo’s girlfriend dropped him off at the end of the evening. And what better way to converse in the middle of the night than wearing only underwear and socks, because that’s how real pals hang.

When he knocked on the door and identified himself as “Efren, your neighbor,” Carrillo told police he heard a man’s voice inside. Carrillo then left, he says, and doesn’t remember if he went to a bedroom window. (Police reported seeing a torn screen and the woman’s second 911 call came when she heard rustling blinds outside her bedroom window).

After his arrest, Carrillo checked himself into a rehab facility for a month, saying he has a problem with alcohol. He returned to the board of supervisors in August.

He told officers that night, “It was a bad read. A misperception on my part.” The trial kicked off Tuesday morning after jury selection was completed.

Ghost River Trickster

0

Let us honor the life of Mike Ruppert.

His last radio show’s theme was “If we can feel what we are doing to the earth, we wouldn’t do it.” After that show on April 13, Mike took his life in Calistoga, diving into the lunar eclipse, symbolically apt, as he was a deep-delving detective of all that is corrupt.

I hosted Mike on The Visionary Activist Show on KPFA, and afterward we were colleagues at the Harmony Festival, where he was dismayed and delighted to find himself teetering on the brink of happiness. Mike had been a strident dingbat, but he had just released the movie Collapse, which won acclaim from unlikely admirers. His playful, cannabis-smoking self was fleetingly available to be teased forth. One could see the faux-macho, self-mythologizing, L.A. cop and unhappy child, part of him melting, revealing glimpses of the “innocent dignity of his child heart.”

Just a flicker, but it was still pulsing.

“Better a trickster than a martyr” is a theme I proffered to him backstage and onstage: how do we not drown in the poison into which we delve to illumine the obscene? The martyr takes on the corruption of an unconscious family or culture, succumbing to the lonely futility of it all. The trickster takes on the unconscious, but then invites in what can metabolize the poison.

Absence of collaborative magic is evidence of the still-colonized mind. He was up for this conversation, but distracted.

Lest we strengthen what we oppose, embody what we decry, be possessed by the myriad sneaky guises of the colonized heart, let us honor Mike by withdrawing our complicity with the hyper-yang death frenzy destroying so much life, so that our manners and our language are in accord with our dedication.

Let us release our addiction to having an enemy. Let us dedicate to being in collaborative cahoots with nature’s against-all-odds ingenuity. Let us treat all beings with respect.

We welcome Mike’s scouting reports from the Underworld Ghost River, and can almost see him wink back at us, relieved of roiling, with a dark compassionate trickster gleam in his eye.

Caroline W. Casey hosts-weaves context for ‘The Visionary Activist Show’ on KPFA Thursdays at 2pm, and is the creator of Coyote Network News.

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.

Building ‘Fences’

0

It’s a basic truth about theater: the best plays are those that are both specific and universal, revealing vivid details about individuals or cultures or historical moments, while giving a glimpse of the common thread that connects us to the characters whose lives are unfolding onstage.

The late August Wilson was among the best practitioners of this art. His “Century Cycle,” 10 plays spanning a hundred years, one for each decade, is rooted in the larger African-American experience. The plays are filled with fury and frustration, humor and hope, and recount the heartbreak and resilient spirit of a segment of American society. At the same time, the plays are about fathers and daughters, sisters and brothers, husbands and wives, friends and foes. They explore getting ahead in the world, finding something to believe in, making and losing money, finding and losing love, discovering and losing a sense of one’s value and purpose.

As such, August Wilson’s plays are about everyone.

His Pulitzer-winning Fences, set in the 1950s, captures that sense of universality in a vibrant, emotionally driven production at the Marin Theatre Company. Directed with graceful attention to the connective tissue that binds a family together, Fences tells the story of Troy Maxson. A proud, deeply angry former Negro Leagues baseball player, Troy is at odds with his teenage son, Cory (Eddie Ray Jackson), who’s been offered a shot at a college football scholarship.

Troy is one of the great characters of the modern American stage: petty, mean-spirited and unapologetically unlikable one moment, then gentle, generous and loving the next. Played with combustible complexity by Carl Lumbly, Troy is an achingly believable character, whose strengths and flaws are all frustratingly raw and real.

As his wife, Rose, Margo Hall gives one of the great performances of the year. As aware of Troy’s flaws as anyone, Rose also sees what’s good and beautiful about him, perhaps even more so than he does. Her gradual evolution from help-mate to standalone powerhouse, a progression that unfolds right alongside Troy’s staunch, bitter obstinacy, is absolutely amazing to watch.

Some fences, we are told, are built to keep people out, while others are built to keep people in. In Wilson’s shimmering masterpiece, he creates a fence that somehow contains all of us at once.

Rating (out of 5): ★★★★½

Live Review: Good Friday Stabat Mater at St. Vincent’s Church

0

The rear windows at St. Vincent's Church in Petaluma were designed by Tiffany.
Sitting, eyes closed, in St. Vincent’s church in Petaluma, the usual first world annoyances do not penetrate my skin, neither physically nor mentally. The uncomfortable wooden pew, the cell phone ring—they hold no power now, not while countertenor Chris Fritzche and soprano Carol Menke sing Pergolesi’s Stabat Mater with Marilyn Thompson transcribing the full score, on sight, to church organ.
Giovanni Pergolesi composed his Stabat Mater in 1736, just a couple weeks before his death. The piece shares life timing with Mozart’s Reqiuem—his was composed on his deathbed, supposedly finished by another’s hand. Both are each composer’s most moving efforts. The pieces even share similar setting—the death and rebirth of Jesus—but Pergolesi’s is about half as long as Mozart’s, but still packs the same emotional wallop.
The music descended from the rear balcony as Good Friday churchgoers filed in the the noon mass. We saw no musicians but heard ethereal voices telling the story of a mother’s pain of watching her son die at the hands of another, holding him in her arms after his final breath had been taken. The English translation of the Latin text was read from the pulpit between movements, but otherwise not a word was spoken.
Religious or not, it was a very moving afternoon.
The 45-minute piece is divided into twelve movements. It’s quite varied, but the somber duets are the most transcendent moments, especially with the low bass of St. Vincent’s organ resonating the ribs while the notes resonate the heart. Gosh, that a cheesy take on such a magnificent piece, but sacred music is meant to be evocative.
Mozart’s Reqiuem is one of the most celebrated pieces of music ever composed. The D minor Mass is the most moving piece of religious music in the Western world, but it has a predecessor that moves me even more: Pergolesi’s Stabat Mater. Fritzche and a few other very talented singers in the North Bay perform this piece semi-regularly, and any chance to see it should not be passed up. It is traditionally performed with a small Baroque orchestra, but the arrangement is inconsequential to the music. It’s one of those pieces that’s just plain beautiful.

World’s Fair Presented in Awesome Digital Format 50 Years Later

worlds_fair.jpg

This is journalism porn, right here. The New York Times had really hit it out of the park with this digital layout of memories of the 1964 World’s Fair. It combines personal memories in short, meaningful, snippets with photos of the attractions. It’s tied together with enlarged, high resolution scans of the map, broken into sections, that appear and fold up into the top of the screen like a roll-up shade when the page is scrolled down. The names and ages of the writers are includes on their memories, giving the piece weight rather than reducing it to a trending Twitter feed.

A lot of work went into this, both in planning and execution. Major kudos to the team of Alicia DeSantis, Jon Huang, Matthew McCann, Jacky Myint, Dagny Salas, R. Smith, Daniel Victor and Amy Zerba. As with many digital efforts from the Times, it’s nearly flawless. In fact, I’m having a hard time finding something I don’t like about it. But despite its fascinating and thought provoking content and presentation, it brings a twinge of sadness.

[jump]

This could never be executed today, and it pains me that I will never experience the wonder, hope and fascination the World’s Fair brought. People today wouldn’t be as impressed with the technology, no matter how advanced it was, because almost everyone carries a computer in their pocket. There would be more geopolitical implications and reactions to the highlighted countries (as in, why isn’t country X represented? Or, why is country Z given so much prestige?). It would never get built on such a grand scale because of the payola to government officials and insurance requirements. And for some reason, religious groups would protest. I don’t know why, but they’d find a way. The lines would be hours long for everything, and considering a single ticket to Disneyland is now $92, admission would certainly cost too much for lower and middle class families to attend. It would simply become a playground for the rich, and cater to that audience. There wouldn’t be any surprising future ideas on display because it’s all patented and nobody would want their potential gold mines being stolen.

But enough with the Debbie Downer nonsense, here’s a video of Disneyland’s Splash Mountain ride, complete with characters from the incredibly racist yet heartwarming creepy Disney film, Song of the South.

April 17: Paris Combo at the Napa Valley Opera House

0

If you want the best French pop music today, you need to go to the source. Straight from the city of love, Paris Combo effortlessly craft that distinct Parisian mix of bright jazz horns, smooth bass riffs and demure vocals, and their bubbly fun is never more apparent than on their latest release, 5. The band’s first album in as many years, 5 is also their most lauded effort, an eclectic and energized collection filled with all the romanticism and joie de vivre that has been their staple sound since they formed in the mid-1990s. Paris Combo appear April 17, at the Napa Valley Opera House, 1030 Main St., Napa. 8pm. $25-$35. 707.226.7372.

Screen_shot_2014-04-16_at_11.43.43_AM.png

April 18: Opening Reception for “Landscapes” at the IceHouse Gallery

0

Digital Grange in Petaluma is a fine-arts service that specializes in (surprise!) digital imaging and graphic design. Their clients include the de Young in San Francisco and the Art Institute of Chicago, and now the collective opens its own gallery in the ivy-covered Burdell Building next door to their offices. IceHouse Gallery will feature Digital Grange’s impressive roster of artists, such as Chester Arnold (whose art is pictured below) and modern surrealist Don MacDonald. The gallery’s inaugural exhibit, “Landscapes,” opens with a reception April 18 at IceHouse Gallery, 405 East D St., Petaluma. 6pm. Free. 707.778.2238.

Screen_shot_2014-04-16_at_11.39.29_AM.png

April 19: Sebastiani Theatre 80th Anniversary Kickoff

0

The historic Sebastiani Theatre screened its first movie on April 7, 1934. Fugitive Lovers, starring Robert Montgomery and the Three Stooges, brought out a crowd of a thousand people who lined the streets around the Sonoma Plaza and welcomed the impressive structure. Admission was 30 cents. Times have changed, but the theater remains a cultural and community landmark, and this year its 80th anniversary kicks off with a deservedly festive variety show and celebration. The party highlights performances from local musicians, dancing, magic and more. The first of a yearlong series of events, the 80th Anniversary Celebration happens on April 19 at Sebastiani Theatre, 476 First St. E., Sonoma. 7:30pm. $25. 707.996.9756.

Screen_shot_2014-04-16_at_11.24.16_AM.png

Little Bit Country

It's been three years since singer and songwriter Zoe Muth and her band the Lost High Rollers released their last record. And it's been 16 months since the Seattle native left her hometown for the rolling hills of Austin. The move across so much country to an unfamiliar land, which Muth made with drummer Greg Nies, informs her new...

Shuck Stops Here

One day soon, the fight over the fate of Drakes Bay Oyster Company will end. And then what? The family-run aquaculture farm, located within the Point Reyes National Seashore, has been operating in legal limbo since 2012, when then–U.S. Interior Secretary Ken Salazar closed the door on a push, led by U.S. Sen. Dianne Feinstein, to extend the popular farm's lease...

Quote of the Year

Sonoma County Superior Court Judge Gary Medvigy heard police tapes from Sonoma County Supervisor Efren Carrillo's July 13 early-morning arrest in court last week. As reported by the Press Democrat, Carrillo told officers, "In retrospect, I should have had my pants on." Ya think? Carrillo is lucky that the only charge being brought against him is the misdemeanor "peeking," which carries...

Ghost River Trickster

Let us honor the life of Mike Ruppert. His last radio show's theme was "If we can feel what we are doing to the earth, we wouldn't do it." After that show on April 13, Mike took his life in Calistoga, diving into the lunar eclipse, symbolically apt, as he was a deep-delving detective of all that is corrupt. I hosted...

Building ‘Fences’

It's a basic truth about theater: the best plays are those that are both specific and universal, revealing vivid details about individuals or cultures or historical moments, while giving a glimpse of the common thread that connects us to the characters whose lives are unfolding onstage. The late August Wilson was among the best practitioners of this art. His "Century...

Live Review: Good Friday Stabat Mater at St. Vincent’s Church

Sitting, eyes closed, in St. Vincent’s church in Petaluma, the usual first world annoyances do not penetrate my skin, neither physically nor mentally. The uncomfortable wooden pew, the cell phone ring—they hold no power now, not while countertenor Chris Fritzche and soprano Carol Menke sing Pergolesi’s Stabat Mater with Marilyn Thompson transcribing the full score, on sight, to church...

World’s Fair Presented in Awesome Digital Format 50 Years Later

A must-read for a disenchanted generation

April 17: Paris Combo at the Napa Valley Opera House

If you want the best French pop music today, you need to go to the source. Straight from the city of love, Paris Combo effortlessly craft that distinct Parisian mix of bright jazz horns, smooth bass riffs and demure vocals, and their bubbly fun is never more apparent than on their latest release, 5. The band’s first album in...

April 18: Opening Reception for “Landscapes” at the IceHouse Gallery

Digital Grange in Petaluma is a fine-arts service that specializes in (surprise!) digital imaging and graphic design. Their clients include the de Young in San Francisco and the Art Institute of Chicago, and now the collective opens its own gallery in the ivy-covered Burdell Building next door to their offices. IceHouse Gallery will feature Digital Grange’s impressive roster of...

April 19: Sebastiani Theatre 80th Anniversary Kickoff

The historic Sebastiani Theatre screened its first movie on April 7, 1934. Fugitive Lovers, starring Robert Montgomery and the Three Stooges, brought out a crowd of a thousand people who lined the streets around the Sonoma Plaza and welcomed the impressive structure. Admission was 30 cents. Times have changed, but the theater remains a cultural and community landmark, and...
11,084FansLike
4,446FollowersFollow
6,928FollowersFollow