Won’t Get Fooled Again: Nu Journalism in the Age of AI

In the media game, AI is eating our lunch. “I think we might reach 90% of online content generated by AI by 2025,” said Nina Schick, an adviser and AI thought leader, in a recent Yahoo Finance Live appearance. “I believe that the majority of digital content is going to start to be produced by AI.”

Well, now it’s 2026, and Schick is probably right.

Which brings us to an old, half-forgotten term that suddenly feels timely again: Parajournalism. The word comes courtesy of Dwight Macdonald, who, opining in the New York Review of Books in 1965, described it as a “bastard form, having it both ways, exploiting the factual authority of journalism and the atmospheric license of fiction.”

To which I reply—channeling the surrealist Man Ray in Midnight in Paris—“Exactly correct—you inhabit two worlds—so far I see nothing strange.”

There’s no point in re-litigating a 60-year-old press club brawl. But in an era of fake news, alternative facts and the accelerating prevalence of generative AI in what we read, the individual experience—on the ground, in the moment or at the bar—is more necessary than ever. Not as a replacement for facts, but as a reminder that facts do not arrange themselves into meaning without a human consciousness doing the work.

This hybrid practice eventually became better known as New Journalism, and its celebrated practitioners—Tom Wolfe, Hunter S. Thompson, Joan Didion, Gay Talese, among them—made a persuasive case that voice, presence and subjectivity weren’t bugs but features.

And this was nothing new—not then, not now. Subjective reportage goes back at least as far as Mark Twain, if not the Gospels. The Rashomon-esque tension between truth and fact is ancient. But what felt novel in the 1960s and ’70s feels necessary again now. As Sari Azout writes in her essay, The End of Productivity, “AI can produce infinite amounts of content; quantity is its game. Quality, intention, taste, originality, vision—that’s where we come in.” Voice and individual creativity, she argues, will be the new currency of success.

Agreed. And journalism is where this distinction may matter most. As AI flattens language into competent sameness, what rises in value is the writer’s lived experience—not just where we were and what happened, but why we care.

Critics have argued that New Journalism is what happened when journalism got high on its own supply and started talking about itself. It favors narrative, attitude and texture over the fantasy of pure objectivity—a Zen-like pursuit that’s admirable but impossible, subject as we are to subjectivity. Precisely the point, and why it’s salient today. AI doesn’t have subjectivity. It has no personal experience, no capacity to be there. It doesn’t have fingerprints or singular folds in its brain. It can seem like it’s everywhere at once when, in fact, it’s nowhere.

It’s not you or me. Sure, it can produce a credible simulacrum of my voice and style. (Basic tenet: Why use a five-cent word when one can expense a 50-cent word to the publisher?) But pastiche does not perception make.

Which is how I’ve come to propose my own modest contribution to the journalism lexicon: Nu Journalism—it’s like nü metal, but without the pretentious umlaut. New boss, same as the old boss, but with contemporary branding to differentiate the era.

In a landscape flooded with machine-made content, the human voice matters more. We can’t compete with AI on speed or scale, but we can compete on meaning. And that’s a game we humans are still very much equipped to win. Do this right, and writing in the first person might keep us from writing as the last person.

Daedalus Howell sends arts and media newsletters from dhowell.com.

The Don, Making an American Mafioso

It is quite surprising that, for nearly 10 years, millions of people continue to spell MAGA incorrectly. Please let me explain that the correct spelling of MAGA is M-A-F-I-A. 

The leader of this mafia is unequivocally “The Don.” Throughout these years, The Don has relied essentially on the same strategy. 

He, himself, does not directly perform the mafia’s violent and murderous acts. Like all Dons, he gets others—in his case, the Proud Boys, the Oath Keepers, the January 6th insurrectionists, and more recently, ICE and the U.S. military—to perform the acts that he orders. He has violated his oath to faithfully execute the laws of the United States nearly every day he has been in office.

Inside The Don’s world, there are only two possible positions: One is either on his side, or one is the enemy. Like all mob bosses, The Don’s primary weapon is extortion. His pattern of interaction is that he initiates conflict by making massive threats, then sadistically stomps his foot on his opponent’s neck, followed by a superficial retreat, claiming he is willing to negotiate. 

There is one critical factor that distinguishes The Don’s criminal operations from many other mafia organizations: Despite the exception of his unrelenting secretive and corrupt business maneuvers, he generally conducts most of his criminal behaviors openly in public.

The open display of his criminal behavior has a paradoxical effect on the public. Millions of Americans reason that The Don’s criminal behaviors must not be illegal because, if they were illegal, he would be arrested. But The Don is not arrested, in part, because he has successfully corrupted nearly the entire American judicial system. 

There will be a day when this M-A-F-I-A boss is gone. However, the longer The Don sits in that White House office, the greater the destruction to life and the planet. It is a moral duty of every American to stop this criminal.

Alan Kanner, Ph.D., is a psychologist in Amherst, MA. 

Caviar Dreams: Chef Jesse Mallgren Sets the Table

Chef Jesse Mallgren spent 13 years as the Michelin Star-winning executive chef at Healdsburg’s Madrona Manor (now The Madrona Hotel). 

In the culinary world, 13 years is a lifetime, an esteemed prelude for Mallgren’s current role as executive chef at Jordan Vineyard & Winery. 

He has a vast “playground” to work with at the 1,200-acre estate, where he utilizes produce from their onsite garden, honey from the winery’s apiaries and forages for ingredients from the property. 

All of this goes into the culinary-driven, wine-paired experiences one can enjoy at Jordan, on tours and tastings, at full lunches or even during a daily breakfast at their Chateau Suites. Mallgren also puts together menus for special events like the upcoming Caviar Tasting at Vista Point on Valentine’s Day weekend. 

An exclusive Chef’s Reserve Caviar by Tsar Nicoulai will be served with blinis made with Jordan Chardonnay yeast, all paired with beautiful wines, of course.

Amber Turpin: How did you get into this work?

Jesse Mallgren: I’m continually inspired by memories of my childhood, watching my mother cook dishes that came alive with global, exotic flavors. That early exposure sparked my passion for the culinary arts. Along the way, I was fortunate to learn from mentors like Gary Danko and Jeremiah Tower, whose guidance helped shape both my skills and confidence in the kitchen. Before joining Jordan, that journey led me from serving as chef de cuisine at Aspen’s Syzygy to becoming executive chef at Madrona Manor in 1999.

Did you ever have an ‘aha’ moment with a certain beverage? If so, tell us about it.

It was an older Bordeaux that truly changed the way I thought about wine. I was 23, working at Stars with Jeremiah Tower, and although I can’t recall the exact bottle, I know it was from the 1970s. Experiencing how beautifully a wine could evolve over time completely shifted my perspective.

What is your favorite thing to drink at home?

I love variety, so it’s usually a different cocktail every night. Rum one evening, bourbon the next. I’m always looking for inspiration and follow more than 20 cocktail-focused Instagram accounts to keep things fresh.

Where do you like to go out for a drink?

Anywhere with a great view, especially if it overlooks the ocean. The setting is just as important as what’s in the glass.

If you were stuck on a desert island, what would you want to be drinking (besides fresh water)?

Coffee, with just a splash of whole milk.

Jordan Vineyard & Winery, 1474 Alexander Valley Rd., Healdsburg. 707.431.5250. jordanwinery.com

Your Letters, Jan. 21

Forever Young

In reference to “Don’t Get Old,” Jan. 14, 2026, in my house, when it comes to age, the word old is verboten. If you think you’re old, then you will be old. On the other hand, growing older is a mathematical equation that can’t be controlled. One plus one plus one will always equal three.

Soon, I will be 73, and my wife will be 70. I have had fourth-stage cancer on my liver, hepatitis, Hepatitis C, and a few years back, my leg became so infected they wanted to take it (they didn’t). My wife has lupus, kidney disease and a bad back; some days it’s difficult for her to even sit up.

That said, on our next birthdays, we will be turning 16. Life is tough enough, not knowing what’s from one day to the next, what’s coming down the pike, so in our house, there’s just no other way to go about it. Sixteen it is.

Never quit; never give in to the age thing. Make them drag you out of this world kicking and screaming. Long live date nights, dancing and loud music. Long live sex, rock & roll and….

David Dale
Sonoma Valley

Nabob Kabob

Elon Musk’s disastrous changes at X (such as rolling back content moderation policies and creator payouts) have turned it into a platform where the right mainly argues with the extreme right. Now, even right-wingers are perturbed by how popular bigotry and conspiracy theories are becoming on X, as feuds and controversies erupt there and shake the GOP. 

Now, this I do not understand. The GOP/MAGA-“not so” right wing wanted this. Now they’re saying there are too many nattering nabobs of negativism?

Gary Sciford
Santa Rosa

Free Will Astrology, Jan. 21-26

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ARIES (March 21-April 19): Master astrologer Steven Forrest understands you Aries people well. He says that the riskiest strategy you can pursue is to constantly seek safety. It’s crucial for you to always be on the lookout for adventure. One of your chief assignments is to cultivate courage—especially the kind of brave boldness that arises as you explore unknown territory. To rouse the magic that really matters, you must face your fears regularly. The coming months will be an ideal time for you to dive in and celebrate this approach to life.

TAURUS (April 20-May 20): You are an ambassador from the material world to the realm of spirit—and vice versa. One of your prime assignments is the opposite of what the transcendence-obsessed gurus preach. You’re here to prove that the flesh is holy, pleasure is a form of prayer and the senses are portals to the divine. When you revel in earthy delights, when you luxuriate in rich textures and tastes and scents, you’re not being “attached” or “unspiritual.” You’re enacting a radical sacred stance. Being exuberantly immersed in the material world isn’t a mistake to overcome but a blessing to savor. May you redouble your subversive work of treating your body as a cathedral and sensual enjoyments as sacraments.

GEMINI (May 21-June 20): Everything that’s meant for you is trying to find its way to you. Here’s the problem: It can’t deliver the goods if you’re in constant motion. The boons trying to reach you are circling, waiting for a stable landing spot. If you keep up the restless roaming, life might have to slow you down, even stop you, so you’ll be still enough to embody receptivity. Don’t wait for that. Pause now. Set aside whatever’s feeding your restlessness and tune into the quiet signal of your own center. The moment you do, bounties will start arriving.

CANCER (June 21-July 22): Artist Louise Bourgeois said, “I am what I do with my hands.” I will adapt this declaration for your use, Cancerian: You are what you do with your feelings. You are the structures, sanctuaries and nourishment you create from the raw material of your sensitivity. It’s one of your superpowers. I understand that some people mistake emotional depth for passive vulnerability. They assume that feeling everything means doing nothing. But you prove that bias wrong. You are potentially a master builder. You can convert the flood waters of emotion into resources that hold, protect and feed. I hope you will do this lavishly in the coming weeks.

LEO (July 23-Aug. 22): Admiring writers often say that the Balinese people have no traditional word for “art.” Making things beautiful is woven into everyday life, as if everything should be done as beautifully as possible. I aspire to carry out this approach myself: infusing ordinary actions with the same care I’d bring to writing a story or song. Washing dishes, answering emails and walking to the store: All are eligible for beauty treatment. I highly recommend this practice to you in the coming weeks, Leo. It’s true that you’re renowned for your dramatic gestures, but I believe you also have an underutilized talent for teasing out glory from mundane situations. Please do that a lot in the coming weeks. For starters, make your grocery list a poem.

VIRGO (Aug. 23-Sept. 22): Some American Indigenous cultures have “potlatch” ceremonies. These are elaborate gift-giving rituals where hosts gain prestige by generously and freely bestowing their riches on others. Circulating wealth, instead of hoarding it, is honored and celebrated. Is that economically irrational? Only if you believe that the point of resources is individual accumulation rather than community vitality. Potlatch operates on a different logic: The purpose of having stuff is to make having stuff possible for others. I invite you to make that your specialty in the coming months. Assume that your own thriving depends on the flourishing of those around you.

LIBRA (Sept. 23-Oct. 22): Sufi poet Rumi wrote about a “treasure in ruins.” He meant that what we’re searching for may be hidden in places where we would rather not look. Your life isn’t in ruins, Libra, but I suspect you may have been exploring exciting locations while shunning mundane ones that actually hold your answers. What do you think? Is that possible? Just for fun, investigate the neglected, ignored and boring places. Try out the hypothesis that a golden discovery awaits you in some unfinished business or a situation you feel an aversion to. 

SCORPIO (Oct. 23-Nov. 21): In 1839, Scorpio artist Louis Daguerre perfected the daguerreotype, an early version of photography. The images were so detailed that you could count the threads in a subject’s clothing. Alas, they required minutes of perfect stillness to capture. To prevent blurring and distortion, people held their breath, fixed their gaze and avoided fidgeting. Your power metaphor for the coming weeks, Scorpio, is this: the long exposure. The vivid truths in your life will reveal themselves only if you give them more time than you’re used to. So please resist the temptation to leap into action. Be willing to let every process fully develop. Don’t push the pace beyond what yields clarity. Linger on the threshold until all the details sharpen.

SAGITTARIUS (Nov. 22-Dec. 21): As I have promised you a million times, I will NEVER exaggerate. And though you may wonder if the statements I’m about to make are excessive and overblown, I assure you they are not. The fact is, dear Sagittarius, that everything you have always wanted to enhance and upgrade about togetherness is now possible to accomplish, and will continue to be for months to come. If you dare to dismantle your outmoded beliefs about love and deep friendship—every comforting myth, every conditioned response, every inherited instinct—you will discover new dimensions of intimacy that could inspire you forever.

CAPRICORN (Dec. 22-Jan. 19): In Renaissance painting, chiaroscuro refers to the use of strong contrasts between light and dark. It’s a technique that enhances the sense of depth.​ I believe your life may be in an intense chiaroscuro phase. As your joys grow bright, your doubts appear darker. As your understanding deepens, your perplexity mounts. Is this a problem? I prefer to understand it as an opportunity. For best results, study it closely. Maybe your anxiety is showing you what you care about. Perhaps your sadness is a sign of your growing emotional power. So find a way to benefit from the contrasts, dear Capricorn. Let shadows teach you how to fully appreciate the illumination.

AQUARIUS (Jan. 20-Feb. 18): You are a spy from the future. Thank you for your service. I love to see your boldness as you smuggle innovative ideas into a present that may or may not be ready for them. Your feelings of alienation are sometimes uncomfortable, but they are crucial to the treasure you offer us. You see patterns others miss because you refuse to be hypnotized by consensus reality. Keep up the excellent work, please. May you honor your need to tinker with impossibilities and imagine alternatives to what everyone else imagines is inevitable. You are proof that we don’t have to accept inherited structures as inevitable.

PISCES (Feb. 19-March 20): Your unconscious mind is extra communicative, dear Pisces. Hooray. Take advantage. Pay attention to weird images in dreams and songs that linger in your head. Be alert for seemingly random thoughts as they surface. Bypassing logic, your deep psyche is trying to show you ripe secrets and provocative hints. Your duty is to be receptive. So keep a journal or recording device by your bed. Notice which memories rise up out of nowhere. Be grateful for striking coincidences. These are invitations to tune in to meaningful feelings and truths you’ve been missing.

Freedom From Fear and the Tactical Side of Terror

This is the second of a three-part series on ongoing issues with U.S. Immigration and Customs Enforcement as it reaches into our areas. –Editor

Part 2: True designs of the administration

Let me be emphatic; all undocumented immigrants have committed a crime. They have all broken immigration law. All of the undocumented immigrants I spoke to frankly admitted this.

And almost all of them also expressed a real desire for immigration reform.  That surprised me—at first. Although, on second thought, they would almost certainly benefit from any rationalized system—which would necessarily recognize their indispensable importance to the U.S. economy. 

In all justice, it might trigger a second amnesty—like that signed into law by President Ronald Regan in 1986, granting 3 million undocumented immigrants a path to citizenship. People who have served here in our hardest jobs for 20 years have earned it. Call it sweat equity.

Reform is badly needed. But Donald Trump’s new ICE is not the reform we need. 

Surprisingly, it is not even effective at arresting the undocumented for deportation. “You’re not going to arrest illegal immigrants by marching down the street in full battle regalia,” Jason Houser, a former ICE chief-of-staff, is quoted as saying (The Economist, “Trumpforce,” Nov. 15, 2025).

Given the real danger and dire poverty of their counties of departure, ICE terror is unlikely to inspire mass “reverse immigration” either. As bad as things are, none of the people I spoke to spoke of fleeing. They spoke of hiding.

But mass deportation doesn’t appear to be the real objective of Trump’s terror campaign. It is doubtful that the Republican Party’s billionaire and trillionaire donor class or its millionaire Congress would ever allow for the mass deportation of 11 million undocumented workers—even if it were logistically or politically possible. They wouldn’t—their wealth and status depends on the mass exploitation of immigrant labor. 

A showy surge in immigration arrests, emphasizing terror tactics, and the production of salacious anti-immigrant propaganda would deliver all the emotional “satisfaction” of Trump’s “build a wall” campaign promise, while actually deepening America’s economic status quo. 

Thoroughly terrorized, the remaining mass of undocumented workers would be less visible in the public sphere, more silent and more compliant in their own exploitation. They would become much less political—and much more profitable. That is precisely the effect this deportation campaign is having, and I would argue, that is its intended aim. It fits the facts, and it fits all the political requirements. It fits.

Moving Targets

But it’s worse—much worse than that. Seemly, by design, the target of this terror is wider in its scope than undocumented immigrants. The target appears to be “all brown people” in America. 

During a much needed break between our interviews, I asked my translator, “Marisol,” whether she felt targeted by ICE herself. A second-generation Mexican-American and an elected public official, she should feel safe. By way of answer, “Marisol” related a bitter joke to me, which illustrates how the campaign has been widely perceived in the Latin-American community. “ICE agents use ‘the brown bag test.’ They hold a brown bag to your face, and if the color matches—bam, you’re an illegal. Off you go to Alligator Alcatraz,” she said.

“Are you afraid?” is a question I asked all the Latino U.S. citizens I spoke to for this article. I quote “Marisol” because her answer is representative.

She spoke to me of the waves of fear within this American community touched off by each made-for-TV raid. The last and the biggest wave came when it seemed San Francisco would be next. That fear is still rippling and reverberating throughout the Bay Area. The chill is on. 

There are still prominent Latino events in her district—she showed me photos from a Mexican rodeo the week before on her phone—but there are fewer now. And being out in the community now involves second guessing, precautions, some bravery—and political defiance. Many are choosing to keep their heads down.

To test the prevalence of the belief that ICE was using promiscuous, “brown paper bag” racial profiling, I asked a sample of Americans of Afghani, Indian, Egyptian, Brazilian, Filipino, Black, Chinese and Native descent. By degrees of severity, they all felt targeted by Trump’s ICE campaign—perhaps they would be harassed by gunmen at CVS or their status challenged. Several related ICE to the end of DEI visibility and their erasure from American history curricula.

The anxiety, isolation, concealment and dread now seeping through Black, Brown, Native and Asian communities—under pressure from a predominantly white enforcement apparatus answering to a white government that treats them as criminal—gives Trump’s open-ended mass deportation campaign the character of a white supremacist restoration in America. One abetted by billionaires seeking even greater economic power over us.

“National minorities” are the broad target … for now. By pretext of immigration reform, Trump now commands his own secretive police force operating throughout the country. It can target individual opponents or it can create economic and political chaos in whole regions. “Which political opponent, community or state in America will be targeted next?” was a live wire theme running through our taut private conversations. It is a question all Americans should be asking now.  By pretext of the law, it could be anyone. 

I, reader, am a white man. But I am also a journalist. Will armed presidential police bring a trumped-up charge of “aiding and abetting alien enemies” to my door? Who isn’t economically involved with illegal immigrants? Who hasn’t said a disparaging thing against Trump?

REMEMBER The recent Santa Rosa protest came on the heels of the shooting of Renee Good, the Minneapolis driver shot and killed by ICE agent Jonathan Ross. Photos by Bill Clark/Pro Bono Photo.

American Fascism

Whether white nationalist restoration is the express design or an approved byproduct, that is the outcome, and it tracks with what we’ve seen and what we know of an administration that canceled the observation of Juneteenth (marking the end of slavery in America).

This article is a table—crunch the numbers:

In this new, muscular ICE, there is now, for the first time in the history of America, a large national police force that answers solely to the president. 

There are no democratic checks or limits to this new presidential power.

All the qualities and characteristics of this force appear chosen and calibrated to inspire terror. It is secretive and non-transparent to review. Its arresting officers are masked, armored, anonymous—often refusing to give their names or show their badges. They are heavily armed, militarized, aggressive—often violent; they are dismissive of Miranda rights, dismissive of warrants. 

They violate declared sanctuaries, homes, schools, hospitals and churches.

They attack peaceful protestors.They stage political propaganda. They claim immunity from prosecution. 

They strike in lightning raids at any location in the nation. Their deployment has been heavily partisan, a tool not for law, but for the consolidation of political power.

With charges of violating immigration law, they frequently carry trumped up charges of the most monstrous kind—rape, murder, treason. They dehumanize the most vulnerable among us.

They disappear people—that is their work. By a pattern that appears to be a policy, they often fail to inform families of these disappearances or their judicial process—family members just “disappear,” fanning the terror.

They disappear people into a dark judicial process that frequently violates human rights and international norms of due process before the law—some of our most important checks against tyranny.

They are linked with barbaric secret prisons.

By its practical effects, their mission takes on a white supremacist cast, suggesting a limited form of racial cleansing through forced removal and the political and economic subordination of nonwhites broadly through terror.

This is not a historical metaphor or a rhetorical flourish; the newly reformed ICE is being operated as an authoritarian secret police force. They are acting like Gestapo—albeit Gestapo adapted to a modern American context of ubiquitous smart phones, steroidal militarism, social media obsession, show biz politics, billionaire aristocracy, and stars and stripes iconography. If their use and tactical pattern is allowed to harden into the new normal, the United States will have crossed the line into a white supremacist police state.

Finally, of the one who wields this enormous power, Donald Trump—the billionaire president: ICE’s arbitrary and vindictive commander-in-chief is sustained by a nascent cult of personality; his crushing policies flatten institutional checks and exaggerate existing economic and racial hierarchies to concentrate power in his own hands. 

He behaves in openly authoritarian ways, seeking to terrorize his many political opponents.  He has already tried to overturn the result of one presidential election he lost, and his allies have spoken openly about seeking an unconstitutional third term. In ICE, he now has his terror weapon.

Their tactical masks are off, reader. In the scale and spectacle of this “mass deportation campaign,” the Trump administration’s intentions can no longer be disguised. If judged only by the all pervading fear, this is fascism—fascism in a new form, fitted to a new era. At the end of 24 interviews, the only question that remained to me was “Will the fascists win this time?” 

It’s time to take our gloves off.

Next week, Part 3: Fighting Fear.

Learn more: linktr.ee/iceterrorANDamericandemocracy.

‘Phenotype,’ the art of visible consequences

Walking into Phenotype, Annette Goodfriend’s new sculpture exhibition at Sonoma’s Alley Gallery, is like stepping into a natural history museum curated by Dr. Frankenstein.

Rib cages bloom into unlikely appendages. Limbs seem to hesitate mid-evolution. Bodies appear assembled from plausible parts, yet refuse to resolve into anything anatomically correct. The notion of teratomas (tumors that sprout their own teeth, hair and nails) looms large. And yet, for all the Cronenberg-esque body horror, it’s beautiful.

Goodfriend’s work has long occupied the fertile overlap between art and science. The exhibition takes its name from the biological term describing the observable traits produced when genes encounter the environment. It’s the visible expression of invisible code. As Goodfriend explains, “The definition of phenotype is the visible characteristics that you see of an organism that result from its genetic makeup and environmental factors.” In other words, it’s not the blueprint but the outcome. And, if one is an artist like Goodfriend, a lot can happen along the way.

To be clear, her sculptures aren’t literal illustrations of genetic disorders or medical anomalies. They are speculative, surreal, even mordantly humorous (the knotted, noodly appendages leading to oddly expressive feet will draw a smile). Goodfriend describes the work as “looking at malfunctions in the genetic code that result in kind of perverse physical forms,” while emphasizing that the results are intentionally interpretive rather than diagnostic.

Materials play a crucial role in grounding that speculation. Working with steel and aluminum armatures layered with epoxy resin, rubber, plaster and wax, Goodfriend builds forms that are tactile and appear credible. The surfaces recall skin, cartilage, bone, and are expertly executed. The forms are convincing enough to persuade the eye of their verisimilitude, but not natural enough to reassure that something hasn’t gone terribly awry on a molecular level.

As she puts it, “I am telling a surreal story of biology. It is a visceral investigation of the perversity of nature, the role of science, and how our bodies both affect and are affected by the world around us.”

That phrasing—perversity of nature—captures the exhibition’s tone. In previous bodies of work, Goodfriend focused on the ocean and humanity’s impact on marine systems, examining environmental change from a global vantage point. Here, that same logic collapses inward. The site of consequence is the human body itself.

Perhaps tellingly, Goodfriend studied genetics at UC Berkeley while spending equal time in the art studio, eventually earning an MFA from California College of the Arts. The scientific curiosity never left; it simply found a more elastic medium. Now a full-time artist, she integrates cast body parts—sometimes her own, sometimes her son’s—with constructed forms, allowing her concepts to dictate material and method. “Whatever feels right for the piece,” she says, becomes the rule.

There’s a quiet narrative coherence to the show that benefits from being experienced as a whole. Solo exhibitions allow for that kind of sustained argument, and Goodfriend clearly values the opportunity. 

“When you have a solo show,” she notes, “you’re able to put your different works in a single place, and it tells a story. … It kind of creates a narrative.” 

In Phenotype, that narrative unfolds as a progression of altered anatomies—each one a different answer to the same underlying question: How does change manifest? Or, even more tantalizing: Why?

‘Phenotype’ is on view now through Jan. 25, with an artist conversation with Susanne Cockrell at 4pm, Jan. 17, Alley Gallery, 148 East Napa St., Sonoma. alley.gallery

Dust Bowl in the Wind: ‘Woody Guthrie’s American Song’ at Mercury Theatre

It would be nice to live in boring, mundane times where one is not constantly reminded about the injustices of this country and art is not always a battle cry. Unfortunately, we are on a trajectory that’s coming back around to familiar historical territory: migrant scapegoating, corrupt leaders abusing power and the common folk caught up in it.

Mercury Theater’s latest production, Woody Guthrie’s American Song, keenly reminds us, wearily and sadly, that history often repeats. Directed by Elizabeth Craven, the musical tribute runs in Petaluma through Jan. 25. 

Woody Guthrie was a balladeer-poet-cowboy-hobo who traveled the country by train with a shabby guitar that had a sticker on it that read, “This machine kills fascists.” He wrote songs about the people he encountered during the devastation of the Dust Bowl, Great Depression and World War II. One has probably heard his music and not known it was him. 

Guthrie was a prolific American folk songwriter of more than 3,000 songs. American Song features about 28 of these, and they hit hard right now, especially “Deportee” and the iconic “This Land is Your Land.” This reviewer ain’t afraid to say she shed some tears, as did the rest of the audience.

The ensemble (Victor Ballesteros, Samuel Gleason, Hannah Johnson, Tika Moon, Joshua Norwitt and Skyler King), backed by an absolutely sensational three-man band (led by music director Tom Martin with Kenny Blacklock and Gordon Lustig), does well with this piece—not really a theatrical narrative, so much as a musical review with vignettes. They all took off in the second act, especially Norwitt and Johnson, who both sound as world weary as the current era they’re living in and the past era they’re singing about.

Costumes by Adriana Gutierrez well reflect the threadbare, impoverished world of a population worked to the bone. Missy Weaver’s lighting design creates a nostalgic sepia tone at times.

There is some dissonance having a primarily white cast representing the whole of a diversely populated America in the ’30s and ’40s, especially when singing from the perspective of dead Mexican immigrants. That mainly everyone on stage was white, considering Guthrie’s allieship with people of color, seemed an oversight.

However, the poetry and power of Guthrie’s legacy stands. If one is looking for a gentle call to action, they may consider a ticket to American Song.

Mercury Theater presents ‘Woody Guthrie’s American Song’ through Jan. 25 at 3333 Petaluma Blvd. N., Petaluma. Fri & Sat, 7:30pm; Sun, 2pm. $20–$35. 707.658.9019. mercurytheater.org.

Saving Sundays, Da Components Collective Has a Plan

Sunday nights are liminal spaces. The weekend isn’t quite over, but the remaining time is tainted with the looming responsibilities that come with a Monday morning. 

And we are left to fend for ourselves. Perhaps this isn’t a systemic issue but one of individual discretion. Maybe there’s just no demand for events on that certain, nebulous day. I mean, who would even show up?

At the time of writing this, Da Components Collective has hosted Sunday Night Spotlight for 86 Sundays in a row, and they give no indication of stopping soon. 

Spotlight is a weekly showcase for local music artists to perform at a variety of venues around Santa Rosa. While their bills are usually filled with hip-hop performers, they claim to have an open door to any genre or style of performance. On the nights I’ve attended over the past six months, I have seen jazz, punk, dance, folk and experimental acts on the card.

To explain the full roster of Da Components Collective would require a cork board and dozens of feet of yarn. No one in the collective was able to give a definitive number on their current membership, but most guess they are well more than 20-deep at this point. And no one, not even the founding members, was able to say when exactly the collective officially started, either. 

The short version of their origin goes like this: As the smoke of Covid was starting to settle and people began going out more often, a group of musicians, DJs and promoters found themselves working the same shows together and then started throwing shows together. These shows were popular and soon attracted other creatives who wanted to contribute. 

At some point in 2024, it was decided this group should officially put their energies together to support each other, throw shows and promote a higher quality of entertainment in Sonoma County, and thus Da Components was born.

“There’s strength in numbers,” says Beethoven, a founding member of Da Components. “In-house, we have people who are skilled at performing, producing, stage managing, choreographing … you name it.” True to the idea of a collective, there is no definitive leader of Da Components. Members contribute toward the group’s ultimate goal based on their capacities. Beethoven is the de facto DJ of Sunday Night Spotlight, while other members run the door, handle promotion, and take photos and videos of performances.

Sandy Soze, another original member, adds to this thought of what a collective means. “We are trying to bring in like-minded artists to help build community according to their interests and contribute what they can to the vision,” he says. “We want there to be room for everyone, regardless of their lane.” 

In the same year that it formed, Da Components decided to leave their mark by tackling the hardest day of the week, thus creating Sunday Night Spotlight. “When we had the idea, a lot of people told us how hard it would be to have a show on Sundays,” says Chill-e, another formative member of Da Components. “But we took that on as a challenge and wanted to prove that consistency could win.” 

Beethoven echoes this idea: “We put a high value on being consistent. When Sunday comes around, I want people to know where to go.” In an act that could be considered brazen or just positive manifestation, the Sunday Night Spotlight Instagram bio includes the hashtag #weownsundaze.

In researching this story, I attended eight Sunday Night Spotlights. Some were sparsely attended, and others had a considerable turnout. What struck me is that the crowd size didn’t seem to be much of a determining factor in the energy or atmosphere of the shows. Everyone, consistently, was stoked to be there, whether as a performer or an audience member. I suppose one of the benefits of having a 20-plus collective is that when all else fails, one can be one’s own audience if the need arises. 

The Spotlight is a bit of a travelling act and will change venues sometimes week to week. And the current primary rotation of locations shifts between Trailhouse, El Infierno Cantina and Mr. Chile Taproom. One benefit to running a Sunday show is there isn’t much competition over booking venue-space. The collective has also been able to work out amenable arrangements with the spaces regarding overhead. This is good because, as Beethoven puts it, “We are community-funded and collectively built.”

In July of last year, Da Components Collective took a big swing with Sunday Night Spotlight and partnered with Backroom Ent., another local promotion company, to bring out Dubee, Coolio Da Unda Dogg and Mac Mall, three well-established legends of Bay Area rap, for a show on a Sunday night. It was a risk, with members coming out of pocket to finance the show, but one that paid off. 

“I was blown away when I saw the turnout,” says Chill-e. I was at this show and have to admit to a similar feeling of surprise. My initial concerns about the sustainability of throwing shows on a Sunday were assuaged. Standing in a packed house at 9pm on a Sunday night, the old adage from Field of Dreams crossed my mind: If you build it, they will come.

“Not everyone’s day off is the weekend,” says DJ Prodkt, who founded Backroom Ent. and has been throwing shows in Sonoma County for 15 years. “I think it’s beautiful we have a group of people trying to widen the amount of available entertainment throughout the week.” 

Prodkt makes a cogent point. With a hefty economy of service and retail jobs in the area, it is unwise for me to assume that Sunday means the same thing for me as it does for everyone else. Perhaps, then, for others Sunday night is a kind of purgatory, one where they wish there was something to do, but no one has thought to put anything on.

The point for  Da Components Collective seems to be building each other up and making sure there is a stage for any artist who wants to perform. While growth is, obviously, a goal for Da Components, Beethoven believes that will happen on its own as long as they continue to deliver on their commitment to consistency and quality. As he observes, “You don’t have to wait for Friday or Saturday, or go out of town for a quality show anymore.”

For more, visit instagram.com/components.collective.

Storied Radio Career, Big Bike Bash and Tibet’s Lost Enclave

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Santa Rosa

Action for Jaxon 

For 17 years, Steve Jaxon’s afternoon basso profundo and dry wit were a steady presence on Sonoma County airwaves, guiding listeners through the afternoon on The Drive—first on KSRO, later on Wine Country Radio. A lifer in the medium with more than five decades behind the mic, Jaxon signed off for good in August at age 73, closing the book on a 53-year radio career. Now, the community is returning the favor. Over the past six months, a series of health setbacks—including ministrokes layered onto long-standing hip and back issues—has left Jaxon with limited mobility and the need for in-home care. A GoFundMe campaign has been launched to offset his medical and care expenses, which is closing in on its $16,000 goal. Jaxon’s path to Sonoma County began his 53-year career in Detroit and followed with stints at stations across the country, but it was here that he became something more than a broadcaster. When The Drive debuted on KSRO in 2008—and later migrated to Wine Country Radio’s 95.5 FM—it evolved into a kind of daily town square. When Jaxon stepped away, he passed the microphone to frequent guest host Daedalus Howell (editor of this paper). To make a contribution to Jaxon’s fund, visit bit.ly/jaxon-aid

Mill Valley

Big Bike Bash

The Marin County Bicycle Coalition puts on a party with a purpose at its annual gala, an evening that turns bike advocacy into a full-bodied celebration. This one mixes civic-minded mission with high-end indulgence: a gourmet dinner by Emmy Award-winning chef Ryan Scott, craft cocktails, live music from Bay Area favorites Mercy and The Heartbeats, and a live auction led by celebrity auctioneer Chad Carvey. Every ticket supports MCBC’s work toward safer streets, expanded trail access and a more bike-friendly Marin. 5:30pm, Thursday, March 12, Mill Valley Community Center, 180 Camino Alto. $250. marinbike.org/mcbc-gala.

Yountville

Art & Mustard

Yountville leans into its most photogenic season with the Art & Mustard Celebration, an evening that pairs mustard-hued creativity with local flavor—literally. Presented by the Yountville Chamber in partnership with Yountville Arts, the event doubles as the opening of the Napa Valley Mustard Celebration Photo-Finale exhibition, showcasing images inspired by the region’s iconic winter bloom. Expect mustard-themed art, bites inspired by the season, pours from local wineries and a chance to shop select vendors, including Jessel Gallery. The Photo-Finale exhibition remains on view through March 26, extending the glow of mustard season well into spring. 5:30–7:30pm, Thursday, Jan. 22, Steve Rogers Gallery and Community Hall, Yountville Community Center, 6516 Washington St. $25 advance/$30 door, yountville.com/events.

San Geronimo

Faces of Dolpo

The San Geronimo Valley Community Center presents Faces of Dolpo, Tibet’s Lost Enclave, a photographic exhibition by David Hoffman that documents a rarely seen Himalayan world on the edge of modernity. Drawn from Hoffman’s 1971 journey to the remote region of Dolpo, Nepal, the images capture landscapes, daily life and cultural rituals encountered by few outsiders. Hoffman—better known for his decades of work traveling Asia in search of rare, organic teas—brings the same patience, respect and attentiveness to this photographic essay, preserving moments shaped by tradition, isolation and change. Artist slideshow and presentation 6:30pm, Friday, Jan. 16; artist walkthrough 3:30pm, Saturday, Jan. 24, San Geronimo Valley Community Center, Maurice Del Mue Galleries (West Room), 6350 Sir Francis Drake Blvd. Free.

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Storied Radio Career, Big Bike Bash and Tibet’s Lost Enclave

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