Sep. 10-12: National Heirloom Exposition at the Sonoma County Fairgrounds

0

images.jpg

Giant pumpkins can grow to be bigger than humans. Forget jack-o’-lanterns—one could carve a nice little reading nook out of a giant pumpkin. But these and other amazing plants might not be around forever. Seed preservation is becoming more and more important in the world of monoculture and bioengineering of our food, a fact that led Dr. Vandana Shiva to create Navdanya almost 20 years ago. She and over a hundred other food experts speak at the National Heirloom Exposition, a three-day festival featuring over 3,000 heirloom varieties and 300 food vendors (and, yes, a giant pumpkin contest), on Sept. 10—12, at the Sonoma County Fairgrounds. 1350 Bennett Valley Road, Santa Rosa. 11am. $10. 707.545.4200

Sep. 7: The Beach Boys at the Wells Fargo Center

0

48846f0bbdcb0d4a69a2dfbbf2ac8894.jpg

Sometimes life is stranger than fiction. The only member of the iconic 1960s American surf rock group the Beach Boys who actually surfed with any regularity, Dennis Wilson, drowned in the ocean in 1983. The band’s former creative leader, Brian Wilson, was kicked out of the band again after a brief reunion last year. Not to be derailed, Mike Love and friends have been traveling the country singing hits like “Surfin’ USA,” “Surfer Girl,” and “Surfin’ Safari” for decades, and no matter the lineup, people still love ’em. They return to Santa Rosa on Saturday, Sept. 7, at the Wells Fargo Center. 50 Mark West Springs Road, Santa Rosa. 8pm. $65—$85. 707.546.3600.

Sep. 4: ‘School Projects’ opens at the Schulz Museum

0

index.jpg

It’s back to school time! You know what Miss Othmar says: Wah, wah wah wahhhwahh wah wahhh. Wah wahhh wahwahwah, wah wah, wah WAH wah wahwahhhhh wahwah, wah wah. Wah wah, wah wahhhhhhhhhhh wahwah, wah. Wah? Wahwah? Wah! WAH! Wah. Wah wahwah, wah wahwah, wahwah, wah. Wahwah, wah wah. Wah wah, wah. Wah. Wah. Wah wah wah wah wahwah, wah wah wahwahwah wah waaaaaah wah. Wah wah wah. ‘School Projects,’ a new exhibit, follows the Peanuts gang as they struggle through a typical school year in original comic strips from Charles Schulz. Sept. 4—March 2, Schulz Museum. 2301 Hardies Lane, Santa Rosa. 707.579.4452.

Jane’s Addiction On Tour Again

The greatest rock moment of recent memory has got to be Perry Farrell chugging a bottle of über-expensive Napa Valley wine on stage at BottleRock last May. His boozed-up theatrics shifted between social welfare rants and parading the stage with two talented, uummm, dancers. Aside from a few more shades of grey, Farrell, Dave Navarro and drummer Stephan Perkins, still look awesome. It’s been 25 years since Nothing’s Shocking (1988) and under those same power chords, their sound still flaunts Farrell’s ethereal voice over heady guitar breakdowns.
It is the weekend after Labor Day. Take advantage of the deserted tourist destinations and cruise up to Tahoe. Jane’s is playing in Reno at the Grand Sierra Resort and Casino on Monday, September 9th.
Even though the Casino seats 1,800, it wouldn’t be too far off to expect an intimate showcase. Jane’s Addiction has spent the summer touring with the Rockstar Energy Uproar Festival,  sharing the bill with Alice In Chains and 11 other dark-alt-rock bands. But Alice won’t be appearing in Reno. The Casino gig is just a quick layover before the festival hits the Shoreline Amphitheater next Wednesday. (tickets here)
Check out their newest single, released this summer, vamping up the creepiness of online dating.

More Parts Per Million

0

Few landscapes connote dystopian waste like Richmond’s Chevron refinery. Razor wire circles the 2,900-acre complex—a gray metropolis of rusting train tracks, lake-sized oil drums and charred smokestacks that smolder like giant cigarettes. It’s difficult to look at the site without remembering the 93 air-safety violations the refinery’s been slapped with since 2008, or the black clouds that engulfed the smokestacks when a diesel leak caught fire last August, hospitalizing 15,000 residents who inhaled the vaporized sludge.

In other words, it’s the perfect setting.

As fog dissolves into concrete heat on an August morning, 2,000 protesters march down West MacDonald toward the refinery’s gates. They carry signs echoing other social movements—”Occupy Chevron”—and sing “America the Beautiful” and “We Will Overcome.” From white-haired hippies holding sunflowers to Ohlone tribe members carrying a giant banner reading “Pissed” to college kids in camo with painted cardboard messages of “Separate Oil and State,” there’s a distinctly moral tenor to the rally. It will end almost too poetically with a massive sit-in in the refinery driveway—where a Chevron flag waves beside the one with stars and stripes—and 210 arrests.

Along with protests in Ohio, Washington, D.C., and Utah, this rally’s stark, urgent narrative of good vs. evil is intentional. Cosponsored by environmental nonprofit 350.org, it’s part of a national effort to shift the climate-change debate from partisan gridlock at the congressional top and do-what-you-can green consumption at the individual bottom. According to founder Bill McKibben—contributor to Rolling Stone and the New Yorker and author of The End of Nature—it’s time to organize, Civil Rights–style. And it’s time to vilify oil conglomerates like Chevron as though they were tobacco companies or Apartheid-era South Africa, divesting from pensions that fund them, getting arrested on their properties and giving the fight against climate change what it so desperately needs: an enemy.

McKibben’s approach may sound simplistic, especially to an environmental mainstream that has, for years, preached something equally true: Chevron was not created in a vacuum. After all, the company’s tea-colored, shimmering liquid is filling our SUVs—aren’t we the problem, not them? But McKibben argues that the personal responsibility mantras of hybrid buying and biking, while important, just aren’t enough. They aren’t enough to combat wildfires and hurricanes, ocean rise or carbon flooding the air. They aren’t enough to mandate cap-and-trade laws or encourage solar on a massive scale, even though the technology exists. And they’re no match for the billions of dollars poured into studies and campaign contributions assuring 46 percent of the country that everything is A-OK.

And so, perhaps fueled by simple desperation, McKibben’s moral movement is gaining some unlikely support.

A gangly, white-haired college professor from Vermont, McKibben comes off like a doomsday prophet—albeit a humorous one that can back up his claims.

“I’ve now, quite unexpectedly for me, been arrested a few times, and it’s not the most fun thing in the world, but it’s not the end of the world, either,” he says to the thousands gathered at the march, right before he walks into Chevron’s driveway and is cuffed and led to an armored car.

“The end of the world,” he says, “is the end of the world.”

[page]

In a political sphere where climate change, if accepted, is usually viewed as a problem that we should prepare for somewhere in the distant, murky future, his words might sound sensationalist at best, run-for-the-hills at worst. But read his detailed, three-decade coverage of continental ice melt and hurricanes like giant whirlpools spinning the warming seas, and his words start to sound sane—especially coupled with his equally detailed, three-decade coverage on why nothing’s being done.

One of McKibben’s most widely read pieces—”Global Warming’s Terrifying New Math”— appeared last summer in Rolling Stone. It outlined several things. The Copenhagen Accord, an agreement signed by world leaders in 2009, set a cap of 2 degrees Celsius average global temperature rise. When the article ran, scientists estimated that industrialization had already caused an average bump of 0.8 degrees, which had by then caused one-third of the Arctic’s summer ice to disappear and made the world’s oceans 30 percent more acidic. That marker was contested by two leading climatologists, James Hansen of NASA and Kerry Emanuel of MIT, who predicted that 2 degrees could churn up wetter, stronger, deadlier hurricanes and obliterate low-lying island nations and most of Africa. But it stuck.

And so a “carbon budget”—the amount of CO2 that can still be allowed into the atmosphere before we reach 2 degrees—was set at 565 gigatons, which the global economy will reach in about 15 years, according to many analyses. And the amount of oil and gas reserves that energy companies and countries like Venezuela and Kuwait (which “act like fossil-fuel companies,” McKibben writes) already have right now—that amount would release five times the carbon budget. According to McKibben, those reserves are “figured into share prices, companies are borrowing money against [them], nations are basing their budgets on the presumed returns from their patrimony.”

In other words, he says, they want to burn it all.

The scariest thing about McKibben’s armageddon is that it’s real. He may be shouting fire, but he’s no outlier. While the exact course that temperature rise will take is difficult to predict, a staggering 95 percent of the scientific community believes that unless we do something soon, we’ll roast. More tidal waves will crunch coastal homes. More Yosemite camp-outs will be replaced with photos of sequoias charred in a pink, dreamlike haze.

And as McKibben wrote over 20 years ago in The End of Nature, rising temperatures could be escalated by “feedback loops.” If the arctic disappears, there will be less white stuff reflecting light and heat back into space. And if the arctic tundra goes, there will be a whole lot less springy, moss-colored vegetation soaking up CO2. And so one thing—like that infamous butterfly wing—can set off a chain reaction in which this whole beautiful, devastated orb dissolves in wind and flames.

But McKibben didn’t run for the hills; he took to the streets. In an email interview—he was zipping from rally to rally at the time—I asked when he finally switched from impartial journalist to activist.

“Right about the time the Arctic melted in 2007,” he replied. “It [was] pretty clear physics was forcing the pace of the discussion.”

He added that 350.org was also created with “the desire to go on offense against the fossil fuel industry, not just playing defense against bad projects. We need people to understand that they are today’s tobacco industry, a set of thoroughly bad actors that we must take on if we’re ever going to get rational policy out of D.C.”

But when the fate of cap-and-trade legislation is to litter the Senate floor, when Chevron donates millions to keep republicans in the House and when nearly half of the country is still unconvinced by climatologists near-unanimous statement that, yes, this is man-made—what can 350 do?

The only thing they can, say members. Expose the Chevrons of the world, and hope that someone takes notice. And do it everywhere, not just in D.C.

‘We’re with our supporters, standing on the side of the political system looking in,” says Jay Carmona, a divestment campaigner with 350.org. “We’re working with the folks who are saying ‘It’s a pretty rigged game.'”

The nonprofit aims to be a traditional grassroots organization, empowering individuals instead of political reps. Along with marches like the one in Richmond, it tries to do this through an ambitious website, which is a basically a one-stop-shop for activists in training. Visitors can read the works of NASA climatologists and learn the ins and outs of divesting their schools, churches and city governments from pension funds or endowments in companies like Chevron or Shell. They can start petitions and sign up for “de-escalation” trainings, where they’ll learn how to politely risk arrest. And they can educate themselves about everything from the Keystone Pipeline to fracking in Delaware to India’s battle with coal.

Sonoma County’s chapter mirrors national’s loose structure.

[page]

“Many of the other organizations around here have a more specific focus,” Gary Pace, one of the cofounders of local 350 says, mentioning the Post Carbon Institute and Climate Protection Campaign. “We’re trying to be a place for someone who reads the paper and gets concerned, and can go to a demonstration or work on divesting or get involved with any of those more specific projects.”

The organization’s decentralization, online base and distrust of business-as-usual politics beg a comparison to Occupy. In Richmond, the earlier movement is palpable. A training for those risking arrest takes place before the march at the Bobby Bowens Progressive Center, where posters read “Criminals Wear Suits.” Later, while McKibben is speaking, a 350 volunteer walks around with a clipboard and “99 percent” T-shirt. It’s pretty clear that many of the players, at least on the local level, are the same.

But though Occupy is often caricatured as drifting aimlessly in leaderless decentralization, McKibben believes that parts of its structure (or lack thereof) could actually work for a climate movement. After all, global warming is just so . . . global. It’s difficult to see how all the pieces fit together, difficult to care. As Joey Smith, a teacher at the Santa Rosa Junior College beginning a 350 divestment campaign says, the dry concepts of climate change can seem impersonal.

“The numbers have been so incremental, it would be like getting people to be upset about trash in space,” he says, adding that unless you understand how climate change is directly harming people, it can seem as intangible as the weather. “I’m positive 350’s been trying to put a human face on the issue.”

Or many regional faces. As McKibben says in Richmond, places where Chevron has been a bad neighbor are everywhere. Global warming may be impersonal, but that black vapor which rose like a mushroom cloud over the bay last year—that’s not. That makes people angry enough to organize, angry enough to march into a driveway and risk arrest.

A line of police in riot gear greets the crowd that walks onto the cement slab bordered by an iron fence. Immediately, they begin pulling sitters to their feet, cuffing them and leading them away. One says that she’s a nurse.

“I treated people from the fire last year,” she shouts, as she’s pulled up.

Unlikely activists abound, and for many, this is their first arrest. There’s Melody Leppard, a 21-year-old with red hair and a knit hat who admits to being nervous but tells me “petitions and protests just aren’t enough.” There’s Nancy Binzen from Marin, a 64-year-old who’s also never been arrested. There’s Pace—of Sonoma County’s 350—who’s here with his kids. While waiting at the end of the driveway to go forward toward the police, he says he’s here because getting arrested is something he can actually do. “I’m a family doctor in Sebastopol,” he says. “I’m part of the system.” There’s a short, white-haired woman who comes forward and announces that she’s “90-and-a-half,” to be cuffed along with her grandson. Her shirt reads: “We are greater than fossil fuels.”

Not everyone is impressed with the waving sunflowers and chants of “Let the people go, arrest the CEOs.” A photographer covering the arrests—which take hours; there are over 200 people sitting in the driveway—tells me he thinks it’s a waste of time.

“This does nothing to convince the people who aren’t already convinced about climate change,” he says, alluding to that 46 percent. “This only makes people feel good.”

It’s a fair point. While 350 has so far successfully helped four colleges divest from fossil fuel companies and held rallies all over the country—one in Washington, D.C., attracted 50,000 people—its end goal has to be sweeping political overhaul if it’s serious about keeping oil in the ground. And that has to come in part from an energized voting population, not one that’s deeply split. I overhear one police officer muttering to another, about the crowd: “OK, you’ve made your point.” Another adds, “There could be a triple homicide today, and where would we be?”

But with 90-year-olds and 21-year-olds getting arrested, with white people from Marin and Latino labor unions from the East Bay and women and children in hijab, this feels less like some kind of privileged agenda—as environmental causes are so often portrayed, alienating many—and more like a community coming together. It’s a year after the fire. The city is suing Chevron. Even the police chief will later tell reporters, “We don’t work for Chevron. We work for the community.”

It feels like there’s a collective enemy. And it feels like a start.

Texas Turmoil

The Marin Shakespeare Company has a hit on its hands with the original musical adaptation
A Comedy of Errors, by playwright-directors Robert and Lesley Currier. Based on Shakespeare’s rambunctious play (Willy’s version starts with “The” instead of “A”), this adaptation is silly, sexy, fluffy and funny.

The Curriers take the basic plot of the original—along with portions of Shakespeare’s distinctive text—and blend it with wide swaths of fresh dialogue, outrageously tweaked lines and several clever new songs by Leslie Harib, which are employed to replace some of the Bard’s complexly textured exposition and labyrinthine proclamations.

Running in repertory with Shakespeare’s dark romantic comedy All’s Well That Ends Well, the musical version of Errors takes the action originally set in the ancient town of Ephesus and moves it to Texas, transforming the characters into cowboys, rodeo clowns, gun-slinging sheriffs, Wild West madams, Jewish-Indian medicine men and square-dancing town-folk, all of whom burst into song or occasionally pick up instruments to sit in with the onstage orchestra.

The story is essentially the same as Shakespeare’s, itself adapted from the works of Plautus. A road-weary stranger (Jack Powell) from the town of Amarillo arrives in Abilene, where, he discovers, people from Amarillo have been outlawed. Sentenced to die, he earns pity from the sad tale of his life.

Once married with two identical twin boys, both named Antipholus, he and his wife essentially adopted two other twin boys, both named Dromio, but a terrible sandbar accident on the Mississippi resulted in the stranger’s wife being swept away, along with one infant Antipholus and one infant Dromio. He raised the other pair, who set off years ago to find their brothers, never to return.

Given till sundown to find his sons, the stranger is set free.

In Abilene, one now-grown Antipholus (an excellent Patrick Russell) and one of the Dromios (a rubbery Jonathan Deline) are reasonably respected members of the community. When the other set of twins stumbles into town (also played by Russell and Deline), an escalating series of mistaken identities, near seductions and disastrous misunderstandings takes place.

As staged by the Curriers, the tale is rich with hilarious bits and even a few truly sexy-sweet moments, as the out-of-town twins discover their true histories, and maybe even find love in the process.

It’s not quite Shakespeare, but it’s a whole heap of fun.

Rating (out of 5): ★★★½

Old & New Ways

‘If I don’t allow my cooks to play with all the crayons that we have in our coloring box, then what kind of a jerk am I?”

Art metaphors, I’m quickly learning, come easily to Ruben Gomez, the new executive chef
of Corks.

So does humility. “It’s not about me, it’s about us,” Gomez continues. “A kitchen is not something you do alone. My strength is giving the cooks I work with the chance to play and make mistakes. We all need the opportunity to paint what we want to paint.”

After working in some particularly hostile kitchens as a youngster (Gomez recounts the tale of a chef who stabbed cooks in the shoulder with a carving fork by way of greeting), he takes pride in creating an environment of collaboration and appreciation. “Some chefs think they’re the first person to make chocolate chip cookies,” he marvels. “I try to keep my ego out of my cooking.”

It’s fitting that Corks, the restaurant at Russian River Vineyards in Forestville, would have chosen such a down-to-earth chef. Housed in a restored 19th-century farmhouse with a redwood-shaded outdoor seating area, Corks exudes homey comfort. Eschewing contrivance, the well-loved acreage is charming and inviting. The resident pooch lurks underfoot. A few flowers are ready for deadheading. Thousands of bats have taken up residence in the old hop kiln with a crumbling staircase, where the vineyard’s wine ages. A couple of 1930s Chevy pickups (one refurbished, another awaiting its turn) lounge on the property, which slopes downward to some chicken coops and freshly watered vegetable garden.

“My cooks know that if something pops up in the ground,” Gomez enthuses of the garden, “then we need to get it on the plate as soon as possible.” A fisherman and mushroom hunter in his spare time, Gomez delights in the forage-friendly nature of Sonoma County, a far cry from his native El Paso, where he got his start breading fish during Lent at a seafood joint.

Beginning at the age of 15, Gomez spent nearly two decades working in restaurants—as waiter, dishwasher, bartender, line cook—you name it—while also pursuing his passion for teaching art. But it was Texas, it was the late ’90s, and funding for education, especially art programs, was hard to come by.

After moving to San Francisco to attend culinary school, Gomez, like so many of his ilk, was lured north of the Bay by the sheer abundance of locally produced food. “This area is super-saturated with great chefs,” Gomez confesses. “The competition is huge. So we don’t all get to play. Sometimes you have to wait on the sideline.”

Though Gomez has enjoyed stints as executive chef at both the Applewood Inn and Iron Horse Vineyards, where he worked for four years, he’s also felt the sting of being let go. “There are no beautiful parting shots when you lose a job,” Gomez laughs. And so he’s also spent years rustling up catering gigs and picking up vacation shifts and working the line, most recently at the Hyatt Vineyard Creek Hotel in Santa Rosa.

“Being able to work on the line is the most important part of being a chef,” Gomez tells me. “Maybe it was a step down, but sometimes you gotta get humble. You don’t always get a choice about how you make your money.”

In characteristically optimistic fashion, Gomez used the experience to refine his Hollandaise sauce and master the art of cooking breakfast for a large volume of people, skills which have come in handy at Corks, where the brunch menu is classic and unpretentious. An assortment of salads balance out the meatier offerings, which include grass-fed steak and eggs ($19) and Ruben’s Reuben ($15), with house-made smoked pastrami, house-made sauerkraut and Sriracha remoulade.

The smoked salmon and asparagus Benedict ($16.75) comes with a generous helping of each, and showcases Gomez’s rich, silky Hollandaise. Another unexpected treat is the smoked chicken tinga salad tostada ($14.50). Inspired by his grandmother’s repurposed leftover Thanksgiving turkey, Gomez’s creamy chilled chicken salad blends notes of citrus and chile that pair well with a side of peach salsa. The simplicity of fresh scones (a basket of three for $5)—plumped with sweet dried cherries and slivers of almonds—cannot be beat.

Corks is especially delightful in the honeyed light of late summer. Down at the edge of the vineyards, giant sunflowers bow their regal heads. The tasting “room” (a portable table and chalkboard) is set up in the redwood grove, presided over by a giant unicorn statue whose stained glass horn catches the sunlight. At dusk, diners can watch one of Sonoma County’s largest bat colonies swoop outside in search of their own dinner.

And in the kitchen, chef Ruben Gomez garnishes his plates with fresh-picked red radishes. The artist is at work again.

Slice of Sunpie

0

King of Rock and Roll. King of Pop. And now, King of Zydeco?

Recently, some have suggested crowning Bruce “Sunpie” Barnes the new king of zydeco music. Now, that would certainly be a shame, because it would restrict him to playing only one type of music—when he’s so good at many more. “His music reflects the whole New Orleans ‘gumbo’ idea of all the cultures colliding,” says Sebastopol Cajun-Zydeco Festival chairman Scott Hensey. Sunpie and the Louisiana Sunspots headline the 18th annual festival this weekend.

Sunpie’s versatility includes zydeco, blues, Creole, Caribbean, rock, gospel, jazz and more. “I call it Afro-Louisiana music,” he says over the phone. He tells stories, as music is intended to do, and “one of the best ways history is told is through the music of people,” he says. “They’re going to tell their history honestly through music.”

Barnes, a renaissance man whose life experiences infuse his New Orleans music, plays accordion, harmonica and a handful of other instruments with the group he’s been with since the early ’90s. But his full-time job is that of a park ranger at New Orleans Jazz National Historical Park. In that capacity, he’s made five CDs, including one for children with a park ranger in Colorado, and a book, due in November, designed to teach kids about New Orleans jazz. He’s a bona fide scientist, too, studying fish in parks across the country.

Barnes also works with kids as the chief of the Mardi Gras group the North Side Skull and Bone Gang. The tradition, which dates back some 200 years, involves dressing up in handmade skeleton costumes (with masks) and waking the spirits at the crack of dawn on Fat Tuesday. “We come out there and bring all those spirits back to life,” says Barnes. Three Skull and Bone songs in Creole figure on the new Louisiana Sunspots album, Island Man. “I like to keep that aspect of the real culture and music alive,” says Barnes.

With his outsized personality, Sunpie appears regularly in films and documentaries, not to mention several appearances in the HBO series Treme. His music decorates the soundtracks to about a dozen films, too. In addition, Barnes is a former All-American college football player, and also did a stint in the NFL for the Kansas City Chiefs.

“Also,” “too,” “in addition”—these words and phrases are sprinkled throughout any article about Barnes like sugar on beignets. With so many passions, how does he choose what to focus on? The short answer is, he doesn’t.

As the reluctant King of Zydeco says: “I have a passion for life. Period.”

Mouthwatering Memories

0

For many, the most important room in the home is the kitchen. And for some, it’s also their hands-down favorite room. This week, the Sonoma Valley Museum of Art opens an exhibition that’s a gold mine for the latter group.

“Kitchen Memories: Kathleen Thompson Hill Culinary Collection” showcases over a thousand gizmos, gadgets, catalogues and cookbooks from the past century or so. Hill, a Sonoma-based culinary writer, is a collector of the estranged bits of cooking ephemera, and this impressive display represents merely a fraction of her collection. No less then 20 different egg beaters—hand-cranked, of course—are on display, and potato mashers of every style imaginable, including wooden mortar and pestle. Several species of graters, mandolin slicers, weird, unsafe-looking toasters and specialized tools are included. Don’t get me started on rolling pins—who would have thought there are better ways of flattening dough than a floured-up wine bottle? But apparently there are dozens of better ways. Go figure.

“Kitchen Memories” is on display
Sept. 7–Dec. 1 at the Sonoma Valley Museum of Art. Hill speaks in conversation with
food reporter Elaine Corn Sept. 7 at 2pm.
551 Broadway, Sonoma. 707.939.7862.

Letters to the Editor: September 3, 2013

The Book of Right-On

The Green Center was wise to bring Rick Bartalini on board. He is a talented, innovative, true professional who will bring a whole new level of excitement to this beautiful venue!

Petaluma

Bridges & Balloons

It’s typical of Caltrans and the MTC, throwing themselves an elitist invitation-only party to celebrate the new Bay Bridge. These are the same fools who helped drive up the costs from $1.6 billion to $6.4 billion and delayed the construction all these years. Notice that the public who paid for the bridge and the rank and file workers who built it were not invited.

Lagunitas

Inflammatory Writ

President Barack Obama has threatened to bomb targets in Syria because Syria’s president Bashar al-Assad has used illegal chemical weapons on civilians. The Peace & Justice Center is taking a stand against military intervention, because we believe that violence begets violence. Others are calling for U.N. verification of the Syrian government’s role in the massacre. We are against bombing even if there is verification. Others are saying that a bombing cannot take place without congressional consent. We are against bombing even if there is congressional consent.

Of course, the Peace & Justice Center cares whether President Obama commits the “supreme international crime,” established since Nuremberg, if the United States bombs Syria without U.N. approval. Of course, we care whether President Obama violates Article 1, Section 8, Clause 11 of the U.S. Constitution. But we also believe firmly that killing always begets more killing.

We also believe that the United States has no moral grounds for this action in light of its use of the atom bomb, Agent Orange, white phosphorous, napalm, depleted uranium, landmines and cluster bombs. In fact, the Uniated States refuses to sign treaties banning some of these weapons. As for chemicals that kill? The Obama adminstration has few objections if they come from fracking, the tar sands, GMOs, chemicals in our food and so many other potentially deadly components of modern industrialized life. In fact, a number of their purveyors hold high positions in that administration. But war itself, chemical weapons or not, is “a moral obscenity.”

Though hypocrisy over decades of foreign policy makes it difficult for the United States to be considered an honest broker, we ask President Obama to work to bring all parties—particularly the nations supporting the various factions—to the table to work out a ceasefire.

It is time to stop seeing killing as the most viable option. It is time to stop putting U.S. interests over the interests of other people and countries. Say no to military intervention in Syria.

Peace & Justice Center, Santa Rosa

Have One on Me

Here we go again, another well-connected politician getting special treatment! The second delay in formal charges against Efren Carrillo has all the makings of a backroom deal. Why do you think Carrillo is allowed to run free for six more weeks? His “supporters” (i.e., Doug Bosco, owner of the Press Democrat) likely needed more time to concoct a story, or they’re gathering dirt to smear the victim. Meanwhile, Carrillo shows up to work at the board of supervisors and reads a written statement from paper, claiming that his arrest has nothing to do with his work representing the public. He was in his underwear after terrorizing a woman at 3am! Any other county employee would be handed his walking papers. Instead, Efren is handed another month to get his story straight. Shameful.

Cotati

Good Intentions Paving Company

In a listing in last week’s Fall Arts issue, we implied that musical genius Brian Wilson would be part of the band when the Beach Boys play at the Wells Fargo Center on Sept. 7. As much as we’d like to see noted Dodgers fan Mike Love patch things up with his former band mate, Brian Wilson is not, in fact, part of the touring group.

Hoist Up the John B. Sail

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

Sep. 10-12: National Heirloom Exposition at the Sonoma County Fairgrounds

Giant pumpkins can grow to be bigger than humans. Forget jack-o’-lanterns—one could carve a nice little reading nook out of a giant pumpkin. But these and other amazing plants might not be around forever. Seed preservation is becoming more and more important in the world of monoculture and bioengineering of our food, a fact that led Dr. Vandana Shiva...

Sep. 7: The Beach Boys at the Wells Fargo Center

Sometimes life is stranger than fiction. The only member of the iconic 1960s American surf rock group the Beach Boys who actually surfed with any regularity, Dennis Wilson, drowned in the ocean in 1983. The band’s former creative leader, Brian Wilson, was kicked out of the band again after a brief reunion last year. Not to be derailed, Mike...

Sep. 4: ‘School Projects’ opens at the Schulz Museum

It’s back to school time! You know what Miss Othmar says: Wah, wah wah wahhhwahh wah wahhh. Wah wahhh wahwahwah, wah wah, wah WAH wah wahwahhhhh wahwah, wah wah. Wah wah, wah wahhhhhhhhhhh wahwah, wah. Wah? Wahwah? Wah! WAH! Wah. Wah wahwah, wah wahwah, wahwah, wah. Wahwah, wah wah. Wah wah, wah. Wah. Wah. Wah wah wah wah wahwah,...

Jane’s Addiction On Tour Again

The greatest rock moment of recent memory has got to be Perry Farrell chugging a bottle of über-expensive Napa Valley wine on stage at BottleRock last May. His boozed-up theatrics shifted between social welfare rants and parading the stage with two talented, uummm, dancers. Aside from a few more shades of grey, Farrell, Dave Navarro and drummer Stephan Perkins,...

More Parts Per Million

Few landscapes connote dystopian waste like Richmond's Chevron refinery. Razor wire circles the 2,900-acre complex—a gray metropolis of rusting train tracks, lake-sized oil drums and charred smokestacks that smolder like giant cigarettes. It's difficult to look at the site without remembering the 93 air-safety violations the refinery's been slapped with since 2008, or the black clouds that engulfed the...

Texas Turmoil

The Marin Shakespeare Company has a hit on its hands with the original musical adaptation A Comedy of Errors, by playwright-directors Robert and Lesley Currier. Based on Shakespeare's rambunctious play (Willy's version starts with "The" instead of "A"), this adaptation is silly, sexy, fluffy and funny. The Curriers take the basic plot of the original—along with portions of Shakespeare's distinctive...

Old & New Ways

'If I don't allow my cooks to play with all the crayons that we have in our coloring box, then what kind of a jerk am I?" Art metaphors, I'm quickly learning, come easily to Ruben Gomez, the new executive chef of Corks. So does humility. "It's not about me, it's about us," Gomez continues. "A kitchen is not something you...

Slice of Sunpie

King of Rock and Roll. King of Pop. And now, King of Zydeco? Recently, some have suggested crowning Bruce "Sunpie" Barnes the new king of zydeco music. Now, that would certainly be a shame, because it would restrict him to playing only one type of music—when he's so good at many more. "His music reflects the whole New Orleans 'gumbo'...

Mouthwatering Memories

For many, the most important room in the home is the kitchen. And for some, it's also their hands-down favorite room. This week, the Sonoma Valley Museum of Art opens an exhibition that's a gold mine for the latter group. "Kitchen Memories: Kathleen Thompson Hill Culinary Collection" showcases over a thousand gizmos, gadgets, catalogues and cookbooks from the past century...

Letters to the Editor: September 3, 2013

The Book of Right-On The Green Center was wise to bring Rick Bartalini on board. He is a talented, innovative, true professional who will bring a whole new level of excitement to this beautiful venue! —Sheila Groves-Tracey Petaluma Bridges & Balloons It's typical of Caltrans and the MTC, throwing themselves an elitist invitation-only party to celebrate the new Bay Bridge. These are the same...
11,084FansLike
4,446FollowersFollow
6,928FollowersFollow