Ladysmith Black Mambazo and Miko Marks at Mendocino Music Festival

Sponsored content by the Mendocino Music Festival

Celebrating 38 years of music on the gorgeous Mendocino Headlands, the 2024 Mendocino Music Festival (July 11-27) will present its signature broad range of genres: bluegrass, country, classical, jazz, big band, folk, pop, opera, and country. 

There will be singing! The lineup includes Ladysmith Black Mambazo (remember Paul Simon’s Graceland?); Miko Marks, a rising Black country music pioneer; Julian “J3PO” Pollack, and other players in Chris Botti’s rhythm section, plus singer Sy Smith; Stephanie Anne Johnson who can bring a dive bar to a hush and also get a standing ovation on “The Voice”; and the Festival Big Band with vocal powerhouse Maiya Sykes singing everything from Aretha to Stevie Wonder. The Big Band’s rhythm section loves playing together so much that they’re doing their own concert.

Festival Orchestra and Piano Series

People often ask “Where did you get that great orchestra?” The Festival Orchestra, conducted by Artistic Director Allan Pollack, comprises mostly Bay Area professionals on their summer breaks. The three orchestra concerts start with Ginastera’s Estancia and culminate in the Brahms Requiem, with the Festival Chorus. Other works include the Elgar Cello Concerto, Moussorgsky’s Pictures at an Exhibition, Stravinsky’s The Firebird, and the Rachmaninoff Piano Concert No. 2.

Orchestra rehearsal for the Mendocino Music Festival
Festival Orchestra rehearsal in the Tent Concert Hall.

Associate Artistic Director Susan Waterfall will present a series exploring the life and music of Gabriel Fauré (a film and three chamber music concerts), and she has chosen extraordinary artists for the always popular narrated Piano Series. The Calder Quartet’s program includes Schubert’s Quartettsatz in C minor and the Fauré quartet. Guest conductor Ryan Murray will lead a rollicking concert version of Mozart’s Così fan tutte.  

Foot-Stomping Bluegrass

There will be plenty of foot-stomping, inspired by legendary fiddler Darol Anger’s band Mr Sun; Irish group JigJam, as it takes bluegrass back to its origins; Rose’s Pawn Shop’s fusion of bluegrass and folk-rock; and the “guerilla roots” sound of Damn Tall Buildings, with the energy of a ragtag crew of music students playing bluegrass on the streets. 

This Festival is in one of the most beautiful places on earth. The town is small, the people friendly, and during the day the sound of music is everywhere. This festive atmosphere fosters a community of music lovers and musicians; with chance encounters with musicians at the grocery store, in the shops, and on the hiking trails. Orchestra rehearsals are open to the public, providing a way to introduce children to the wonder and drama of classical music. Visiting bands and their audiences are encouraged to spend some time together after the concerts.  

Beer and Wine, Cookies and Music

Concert Hall of the Mendocino Music Festival
Tent Concert Hall on the Mendocino Headlands.

Most afternoon concerts are in lovely Preston Hall, a small venue, well suited to chamber music, a cappella, the Piano Series, and jazz singers. Evening concerts are in the heated, 800-seat Tent Concert Hall on the bluffs across from Main Street Mendocino, with its many excellent restaurants and interesting shops. Before the concerts and at intermission guests can enjoy a glass of wine, featuring a different Mendocino County winery each night, or have a beer from North Coast Brewing Company. There is coffee too, and the Mendocino Cookie Company cookies are legendary. 

View the full 2024 season and buy tickets at MendocinoMusic.org. Ticket prices range from $25 to $65, with youth tickets at $15.

Howell at the Moon: ‘Werewolf Serenade’ at The Rafael

With four months until camp lovers can go to their local showing of Rocky Horror, the Smith Rafael Film Center in San Rafael will be filling that hole with an 85-minute, campy, indie film on June 21. 

After the film screening, members of the cast and crew will hold a panel for Q&A. The film, Werewolf Serenade, serves as entertainment for the locavores of the Bay Area and wine valleys.

Like its title, the film doesn’t take itself too seriously, and the audience isn’t expected to either. Director, actor and writer Daedalus Howell—editor of this very paper—wrote the script as a course project he was assigned while finishing his degree at San Francisco State in the late half of the pandemic. 

Deciding to take it further, his wife, Kary Hess, joined him to make a husband-wife team making a film about a husband-and-wife team who elude evil and vastly improve their sex life.

Howell hopes that the film will fill the theater with laughter and excitement, as it had at the cast and crew screening in Petaluma. Hess and Howell (both artists, writers, filmmakers and journalists) chose their own town for the film’s setting. It’s an homage to the horror classics and to Petaluma, itself a movie town—think American Graffiti, Peggy Sue Got Married, Inventing the Abbotts and more. 

When the main character (played by Howell) runs through the town, growling and snarling, it’s the restaurant patrons at The Shuckery who turn with raised eyebrows. Easter eggs like that made the 280 attendees at the screening enjoy the film. 

The Kafkaesque narrative of the natural changes life brings is represented by the main character’s animal transformation. It’s this metaphor of lycanthropy that made the story so easy to write. “When you get to my age, at 51,” said Howell, “at this point, change is not just inevitable. You literally wake up with hair growing out of places you thought would’ve been impossible the night before.” 

Is that how the sideburns happened, Howell?

Peter MacTire, an on-the-nose tribute to the story Peter and the Wolf, is a college professor who notably hasn’t read Steppenwolf by Hermann Hesse—which, of course, has everything to do with the plot. His faculty peer, Stu, is a professor in the leading parapsychology department in the nation, according to the dean (Alia Beeton). Stu is running a secret research project for a wealthy donor and winds up dying under suspicious circumstances.

As every mad scientist is doomed to be, Stu ends up as his own guinea pig. Now desperate for a new researcher so she can keep the donor’s funding, the dean recruits someone who has absolutely no expertise on the subject, Peter.

With Howell’s natural sideburns to cut monster prosthetic costs, Hess’ wolf saint portrait that was needed to cover a mirror on the wall and a character whose t-shirt is a blaring statement on his current predicament, the film is entertaining and easy to watch. 

Sitting in a theater, out of the summer heat, knowing one doesn’t have to look very far for the jokes or the Easter eggs may just make one want to howl at the night’s full moon. And do it because it’s not only recommended, but there’s a prize for the best one—yes, there’s a pre-show howling competition.

‘Werewolf Serenade’ full moon screening, conversation and howling contest, 9pm Fri, June 19 at Smith Rafael Film Center; rafaelfilm.cafilm.org/werewolf-serenade.

Bathtubs on Stilts: Petaluma’s Most Divisive Public Art Piece Finally Going In This Summer

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Remember the controversial public-art proposal that emerged years ago in Petaluma, to install a riverfront sculpture of five clawfoot bathtubs towering 20 to 25 feet above ground? Its official title is “Fine Balance,” but most locals know it as “The Bathtubs on Stilts.” About one decade back, city arts planners bought the sculpture from San Francisco artist Brian Goggin for a cool $150,000, shelling out another $80,000-plus for environmental studies. And this July, against all odds, a slightly pared down and relocated version of the bathtub art that divided a community is going to be installed at last along the Petaluma River, according to the Press Democrat. Indeed: The artist has been posting Instagram progress pics from his studio as he puts the finishing touches on his tub art. The Press Democrat has a fascinating new story on the seven-member Public Art Committee that approved it for Petaluma, which a reporter calls “the least understood, and most harshly criticized, public service committee in town.” Committee members tell the PD that while they often see loads of criticisms after they approve stuff, they never hear a peep from anyone during the public-input period. That said: Given all the pushback on the bathtub art — including a GoFundMe campaign called “Citizens Against Tubs on Stilts” that raised nearly $10,000 on a rally cry that the art was locally irrelevant, potentially unsafe, “inappropriate for the location” and just plain ugly — the committee did agree to move it from its original proposed location on the Water Street promenade to a more out-of-the-way “pocket park on H Street,” still along the river. And there are now only two bathtubs on stilts, instead of five. Here’s some more fun history for you: Back in 2019, five years into the saga, the project landed in the Bohemian’s “Best of the North Bay” issue, taking the gold for “Best Public Art Dustup.” In the writeup, we called this “starkly steam-punkish” art piece “one of the most divisive happenings Petaluma has witnessed since Highway 101 split the town into west side and east side.” More from the issue: “The tubs — five old-fashioned, claw-foot bathtubs suspended on towering metal stilts — were paid for out of a mandated fund collected from private developers who build new stuff in town, and must either cough up 1 percent of their building costs or spend the same amount commissioning their own artwork on their site. The installation is expected to be erected this fall on Water Street, overlooking the Petaluma River’s turning basin. While there are plenty who actually look forward to the installation (proudly sporting ‘The Tubs Will Rise’ buttons), the howl of outrage from dissenters has become so vitriolic that discussion of the tubs has been banned on social media sights like the popular ‘I Love Petaluma!’ Facebook page. It’s not the first time Petalumans have seen an art display spark major controversy. Thirty-six years ago, in 1982, local artists Tim Read and the late Guy Scohy found themselves at the center of a massive maelstrom when they were invited to install a number of brightly colored metal sculptures outside the downtown history museum. The public outcry was immediate. Many called the sculptures ugly, too modern or too strange. Others (the project’s defenders) argued that ugliness was beside the point, that art is art and is intended to inflame public conversation. The city of Petaluma soon jumped in, citing the structures’ potential danger to the public (sharp edges, etc.) and ordered the sculptures to be removed. Disappointed in his fellow Petalumans’ lack of support for art and creativity, Scohy soon after left town. Read himself now lives in New Mexico. Will Petaluma once again cave to art critics and pull the plug on the tubs? It’s a real soap opera. We’ll just have to wait and see.” Now, I have the distinct honor of answering a fellow Bohemian writer from my perch in The Future: Bro. It’s really happening. (Source: North Bay Bohemian & Press Democrat & Press Democrat & GoFundMe & SF Gate & Petaluma Argus-Courier & Brian Goggin via Instagram)

Notorious Napa Valley Landfill Gets International Press

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As you probably know by now, the U.S. Department of Justice and the FBI have been sniffing around the Napa Valley for the better part of the last year, apparently looking into county government officials and their connections to wine-industry power players and ag interest groups. The feds’ hypothesis — what they think might be going on — has remained a mystery. But given the magnitude of the probe, they seem pretty sure of it, whatever it is. And now, one of the main subjects of their investigation — the beleaguered, decades-old Clover Flat Landfill near Calistoga — is getting some pretty major international press. The Guardian newspaper in the U.K. just published a piece called “Napa Valley has lush vineyards and wineries — and a pollution problem.” The reporting was funded by the Environmental Working Group organization, famous for publishing a regular list of chemicals to avoid in food called “The Dirty Dozen.” Here’s an excerpt from the new Guardian piece: “Two streams run adjacent to the landfill as tributaries to the Napa River. A growing body of evidence, including regulatory inspection reports and emails between regulators and [Clover Flat Landfill] owners, suggests the landfill and a related garbage-collection business have routinely polluted those local waterways that drain into the Napa River with an assortment of dangerous toxins. The river irrigates the valley’s beloved vineyards and is used recreationally for kayaking by more than 10,000 people annually. The prospect that the water and wine flowing from the region may be at risk of contamination with hazardous chemicals and heavy metals has driven a wedge between those speaking out about the concerns and others who want the issue kept out of the spotlight, according to [Geoff Ellsworth], a former employee of CFL. ‘The Napa valley is amongst the most high-value agricultural land in the country,’ he said. ‘If there’s a contamination issue, the economic ripples are significant.'” Ellsworth, the guy quoted in the story, used to be the mayor of St. Helena, and is now part of a core group of environmental and political activists in the Napa Valley who believe major corruption has been festering for years — embodied quite viscerally by the oozing chemicals at the Clover Flat dump. The group has created an impressively hi-fi documentary series called “Garbage & Greed: Trashed in Napa Valley,” which you can watch here. It’s cool to see their tireless crusade now paying off in the form of pressure from all the way across the pond. More from the Guardian story: “Both the landfill and Upper Valley Disposal Services (UVDS) were owned for decades by the wealthy and politically well-connected Pestoni family, whose vineyards were first planted in the Napa valley area in 1892. The Pestoni Family Estate Winery still sells bottles and an assortment of wines, including an etched cabernet sauvignon magnum for $400 a bottle. The family sold the landfill and disposal-services unit last year amid a barrage of complaints, handing the business off to Waste Connections, a large, national waste-management company headquartered in Texas. Before the sale, Christina Pestoni… served as chief operating officer for UVDS and CFL, said in a statement that the company’s operations met ‘the highest environmental standards’ and were in full legal and regulatory compliance. Pestoni is currently director of government affairs at Waste Connections. In her statement, she accused Ellsworth and ‘a few individuals’ of spreading ‘false information’ about CFL and UVDS. But workers at the facilities have said the concerns are valid. In December of last year, a group of 23 former and then-current employees of CFL and UVDS filed a formal complaint to federal and state agencies, including the US Department of Justice, alleging ‘clearly negligent practices in management of these toxic and hazardous materials at UVDS/CFL over decades.'” (Source: The Guardian & The New Lede & Garbage & Greed & Napa Valley Register & Environmental Working Group)

Sonoma Valley Real Estate Empire Crumbles

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A name you’ve probably been seeing in local headlines a lot lately: Ken Mattson. He’s a real-estate mogul who has built a small empire in the Sonoma Valley area southeast of Santa Rosa, buying up more than 100 properties worth a quarter billion — and now, this empire, propped up by a labyrinth of LLCs, is starting to crumble. Up to now, the main controversy following this guy around has been accusations from community activists that he’s letting many of his properties, including some pretty iconic local spots, fall into blight and disrepair, with no plans to rehab them. These activists even formed a group in 2022 called Wake Up Sonoma. “Shuttered businesses, chained-link fences and empty lots now litter the valley,” they said in an explainer video posted last summer. “The future health of our local small businesses and the fabric of our community are at risk.” So a bunch of local journalists starting sniffing around, too. But everything really imploded earlier this spring, when Mattson’s own business partner, Tim LeFever, reportedly tattled on him to federal regulators, claiming he was stashing their firm’s money in his personal bank accounts and otherwise being shady and screwing over investors. In statements to the press, Mattson has denied doing anything wrong and blamed LeFever for the mess. But for what it’s worth, it was Mattson’s home that the FBI raided a few weeks ago. More on the anatomy of the crumble, via the Press Democrat: “In March, the Sonoma Index-Tribune reported that a handful of Mattson’s 100-plus properties in Sonoma Valley faced at least $1.2 million in liens and back taxes. Mattson stepped down as CEO of the LeFever Mattson company in April. And [in May], Sonoma County sued KS Mattson Partners, a limited partnership Mattson controls, over a pair of perpetually under-construction homes at 70 and 74 Moon Mountain, registered as four separate parcels, that have served as the symbols of the neglect his sharpest critics say he has imposed on the valley.” Meanwhile, casualties have included 7-year-old local donut shop Dirty Girl Donuts — which was reportedly backed by Mattson, and lives in one of his properties along Broadway Avenue in Sonoma — and a nearly half-century-old classic car restoration business around 30 miles east in the town of Fairfield. “Specialty Sales Classics, which also had lots in Pleasanton and Benicia that were shut down, was owned by Ken Mattson, whose name first appeared on the company’s incorporation documents in 2011,” the PD reports. “The company now takes its place alongside other Mattson-controlled real estate holdings, investment funds and business ventures that are being shut down.” Amid this chaos, an intriguing new character has entered stage left: a young, redheaded Bay Area tech entrepreneur named Chris Fanini. As the San Francisco Chronicle reported yesterday: “Embattled Sonoma real estate developer Kenneth Mattson has sold off more than a dozen properties in Sonoma — including two buildings that house well-known businesses — to Chris Fanini, a San Francisco software developer and venture capitalist. Anidel Hospitality, a real estate company that Fanini owns, announced this month had purchased the Sonoma Cheese Factory and Sonoma’s Best Modern Mercantile, two beloved local Sonoma mainstays. A Fanini spokesperson also confirmed that Fanini had bought 11 other properties through ‘I Heart Sonoma LLC,’ another company he controls. ‘Sonoma holds a special place in my heart,’ Fanini said in a news release accompanying the announcement. ‘It’s a vibrant community that my family and I have long considered our home away from home.'” Time will tell if he’s the angel we need or just the devil we don’t know yet! (Source: Press Democrat & Press Democrat & Press Democrat & Press Democrat & Press Democrat & Wake Up Sonoma & Dirty Girl Donuts via Instagram & North Bay Business Journal & SF Chronicle & SF Chronicle & SF Chronicle)

Sonoma County Winemakers Plan Redo of 1976 ‘Judgement of Paris’ Wine Tasting

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Napa Valley winemaking legend Warren Winiarski died a week ago at age 95. He was one of two local winemakers who famously shocked France’s snootiest wine critics and forced our region onto the world map of prestige at the 1976 “Judgement of Paris” wine tasting, when their Cab Sauv and Chardonnay, respectively, emerged victorious in a blind taste test. “Not bad for kids from the sticks,” his fellow Napa winner, Jim Barrett from Chateau Montelena, famously told Time Magazine. It’s now the stuff of wine-country lore — a “shocking David-over-Goliath triumph that gave the fledgling California wine business a swift dose of international credibility,” in the words of the New York Times. That fateful moment has inspired books, documentaries, historical exhibits, countless PR campaigns and a lingering smugness in our subtle ego war against the French. And now, on the advent of Winiarksi’s passing, here we are all talking about it some more. Many are also talking about the man he became in the decades following his accidental slip into celebrity. “Winiarski, who founded Stag’s Leap Cellars with his late wife Barbara in 1973, poured some of his focus in later years into philanthropy, conservation, preparing vintners for climate change, and into preserving food and wine history,” KRCB news radio reports. Which brings us to a serendipitously timed announcement last month from Sonoma County winemaker Patrick Cappiello of Monte Rio Cellars, who has amassed an Instagram following of nearly 40,000 for his outspoken rants on the difficulties facing modern U.S. winemakers. Cappiello announced that he and a winemaker friend of his from Pax Cellars in Sebastopol will be attempting to stage a second coming this summer of the “Judgement of Paris” tasting. They’re calling it “The 1976 Redo.” And instead of just comparing Sonoma and Napa county wines to the best stuff from France, they’ll be blind-tasting wines from all across California and the rest of America — perhaps exposing some unexpected new underdogs from different U.S. winemaking regions, just like happened back in 1976. The Press Democrat explains: “Judging for The Redo will take place in stages, with a West Coast panel assessing the American wines and an East Coast panel judging the French wines. West Coast judges include winemaker Rajat Parr of Phelan Farms, winemaker Megan Glaab of Ryme Cellars in Forestville, Master Sommelier Carlton McCoy, winemaker Steve Matthiasson, sommelier Cara Patricia, wine writer Randy Caparoso, sommelier Alexandria Sarovich and sommelier Mike Zima of SommPicks. (The East Coast panel is still being finalized.) Tasted blind in each round, the American wines will be whittled down to 30 semifinalists, with five selected to go head-to-head with the best French wines. The five finalists from each country will be blindly assessed by a new panel of judges, with no knowledge of the wines’ country of origin.” Kind of exciting, right? Event organizers say on their website: “Forty-eight years after the pivotal Judgment of Paris wine tasting put American wines (and Napa in particular) on the map, we’re gearing up for a renewed showdown with our legendary French rivals to showcase the new generation of American winemaking.” Wineries have about one week left to enter the contest. There will be four categories — Cabernet Sauvignons, Syrahs, Chardonnays and Chenin Blancs — and only vintages from the years 2020-23 will be accepted. Let the ego wars begin… (Source: KRCB & New York Times & Press Democrat & Patrick Cappiello via Instagram & The 1976 Redo)

Climactic Climate

As temperatures rise, hope floats

Last year was the planet’s warmest 12-month span in at least two millennia, beating out the prior record year of 2016 by a wide margin. And 2024 is turning into another broiler.

Global temperatures continue to rise. With the wealthy of the Earth rapidly spewing carbon pollution despite international agreements to cut emissions, experts now say the planet is approaching a climate change tipping point. Once we cross it, change could become self-perpetuating and transform the Earth’s ecosystems.

The ship may not be sinking, but it’s almost certainly capsizing.

If the United Nations can’t even mobilize change, don’t hold your breath for the United States. California? Maybe.

What about your neighborhood? And what about you? Absolutely. Taking climate action at the hyper-local level is an easy and empowering starting point for reducing greenhouse gas emissions.

The question is: Does it make a meaningful difference?

Many activists have argued no—that top-down, regulatory changes to reduce emissions are the only way to make a significant dent in emissions and that they eclipse the relevance of individual action. Some even argue that focusing on individual change is counterproductive because it allows the industries that sell fossil fuel consumption, and which have attempted to hide climate science from the public, to sneak out the back door.

The counterarguments are many. For starters, action taken one person at a time is not entirely insignificant, for it makes at least one person’s worth of difference.

Moreover, in some cases doing something individually can spark a revolution. You just need to be seen doing it.

“Individual actions done privately aren’t really going to move the needle, but individual actions done collectively and publicly create culture change,” says Natasha Juliana, the cofounder and campaign director of Cool Petaluma, a collective of residents striving to remake their community through lifestyle adjustments that ease pressures on natural resources and the climate, one person, one household and one block at a time.

“You don’t have to get 100% of people doing something,” Juliana adds. “You only need a small part of the population acting publicly in a different way for it to suddenly become normal.”

Cool Petaluma’s list of “action plans” includes planting one’s own food garden, capturing and using rainwater, riding a bicycle instead of pushing a gas pedal and eating less meat. The organization suggests other lifestyle amendments: Fly less and vacation locally. Avoid plastic packaging and food wraps—oil in disguise—and quit wasting food, which translates into buying less in the first place. Wear natural-fiber clothing, and—since it will cost more than plastic clothing—wear it out before buying more.

Born in 2021, Cool Petaluma encourages neighborhood gatherings, even offering training sessions for individuals to become “cool team” leaders. These block meetings foster conversations about climate change, resilience and how to make a difference. Eventually, the idea goes, these household gatherings can change the community, and maybe the world.

“Our dream goal would be for every block to be a ‘cool block,’ where the neighbors know each other, share resources and take care of each other, and then so many things can build from that,” Juliana says.

Marin County’s Resilient Neighborhoods runs a similar program. The organization, oriented toward empowering people to take household-scale action against climate change, hosts online training and networking workshops. Its next five-session program kicks off this week, on the evening of Thursday, June 13. It will coach Marin-based participants in reducing household carbon footprints, waste generation and water use while preparing for climate emergencies, including wildfires and power outages.

Europe provides a sort of cultural yardstick by which to measure our carbon emission reduction goals. After all, Europeans live by standards comparable to those of Americans, but, per capita, emit one half the carbon pollution. The average French person, for instance, produces between four and five tons of CO2 each year, while Americans emit more than 14.

It makes sense then, that some of Cool Petaluma’s community solutions are modeled after life in Europe. The suggestion to “start a neighborhood Passeggiata” refers to the Italian tradition of strolling the square each evening. The group’s endorsement of using trains and bicycles also salutes landscapes of the Old World, where tracks and trails crisscrossed the land ages before the birth of motor vehicles. What emerged then remains today—a glorious network of railways, walkways and bikeways.

In contrast, California and cars have been best friends almost since their birth, giving rise to such asphalt grids of sprawl as the highway network connecting Sebastopol, Rohnert Park and Santa Rosa. Parts of these communities are about as friendly to cyclists and pedestrians as an active war zone, both infrastructurally and socially.

When feeble painted lines meant to make cycling a tad safer appeared along a mile of the Gravenstein Highway in 2018 and 2019, many residents of Sebastopol—the greenest town in the land, so long as motorists get two lanes in every direction—expressed their outrage on the community networking site NextDoor. Some claimed the bike lanes were part of a dark United Nations plot to force sustainable living upon the world.

No one was forced to do anything. However, they were given better options for emissions-free personal transportation. The Sebastopol saga showed how top-down change plus bottom-up individual courage can equal an overall community improvement.

That’s the combination that Deb Niemeier, a professor in the department of civil and environmental engineering at the University of Maryland—and until recently of UC Davis—says can lead to meaningful change. She says individuals, to collectively create a net improvement, must be guided with rules and regulations that encourage a desired behavior.

“You need a policy structure that incentivizes individual action toward societally beneficial outcomes,” notes Niemeier.

Those incentives may come in the form of rewards or punishments—that is, carrots and sticks.

“Think about speed limits as sticks,” Niemeier explains. “You can choose to drive as fast as you want, but the stick is that you will receive a hefty fine if you are caught. Or think about carrots. You can get a solar rooftop and receive a rebate.”

The power of people to make choices as individuals makes the fight to slow climate change feel a little more manageable. At its core is the age-old self-deprivation of monks and, among other messengers, the desert philosopher Edward Abbey, who wrote, “Sentiment without action is the ruin of the soul.”

It’s bad marketing, too. Fewer people would have taken Swedish activist Greta Thunberg seriously if, in 2019, she had touched down at JFK Airport in New York when she visited the United States. So, she sailed.

Another thing that individual efforts have going for them is their resilience against political influence. That is, a shift in leadership can lead to a quick reversal of policy-level gains made during a prior administration. One’s own personal convictions to live more sustainably, however, will not change with the political tide. Moreover, there are many things that government cannot, will not and maybe even should not regulate from the top down, making one’s lifestyle decisions the key to sparking wide scale change.

Consider meat and dairy, the production of which has undisputable impacts on water quality, biodiversity and climate. The beleaguered Colorado River might still reach the ocean, and support a thriving delta ecosystem, if Arizona and California farmers weren’t using so much of it to irrigate alfalfa.

And by some calculations, the great majority of deforested land in the Amazon basin is now occupied by cattle pasture and feed crops. While we’re unlikely to see regulations aimed at removing meat and dairy from our tables, individuals can reduce their own consumption of animal products overnight.

We have to do something. The world as we know it is rapidly changing, and not for the better. Low-lying coastal areas will soon be underwater. Millions of acres of conifers across California alone are burnt out and gone. Northern California’s kelp forests have nearly vanished. All of the state’s salmon populations have collapsed.

Micro- and nanoplastics—fallout of the fossil fuel age—are now found almost everywhere, including the deepest cracks and crannies of the seafloor and our own bodies. There is increasing belief, plus some evidence, that this pollution crisis is impacting our health.

But it’s not the end of the world. While many climate forecasts arbitrarily sunset at the year 2100, life for billions of people will continue into the 22nd century and beyond. This makes it imperative for people to act.

Juliana says her daughter is a personal source of inspiration.

“I want to be able to look her in the eye and say I did everything I could,” she explains.

Household lifestyle amendments almost seem laughable as mitigations against global warming, which has trapped an estimated 25 billion atomic bombs’ worth of energy in the planet’s atmosphere and oceans in the past 50 years.  Likewise, my own garden beds brimming with tomatoes and squashes look like a pitiful gesture at chemical-free food sovereignty against the backdrop of the neighbors’ pinot noir vineyards, which they keep presentable with herbicides.

But just as those chemicals drift across property lines into the homes of others, the little things individuals do to remain on the right side of history can also cross boundaries, whether political divisions, property fences or lines painted on the asphalt.

Street Art Legend: The Velvet Bandit

What I say will have the churchmen of the ossified old guard clutching their pearls, but today the most prominent North Bay artist on the national scene is the notorious Velvet Bandit.

That she also has the greatest impact on the street and the public sphere cannot be questioned, for her medium is wheat-paste graffiti.

The bandit is super prolific. But perhaps her most famous piece, dated just after the overturn of Roe v. Wade, is of a candy-colored taco reading, “I’ve seen tacos more supreme.”

As you read, reader, scroll and stroll her street art gallery on Instagram @thevelvetbandit.

CH: Velveeta, it is a matter of public record that you are a single mother of two in early middle age. The received stereotype of a tagger is that of an angsty teen with malt liquor. Is that image a myth?

VB: That stereotype is definitely a myth. I have met a lot of street artists, and many of them are around my age, parents working day jobs, just like me!

CH: Graffiti is illegal. How do you justify or defend the act?

VB: Since we all pay taxes, we all own part of public property. Therefore, I have the right to put my art up. To me, it is the same as putting a sign up for a garage sale.

CH: Strangely, given your fame, your pieces might increase the value of property.

VB: I like to think so!

CH: How do you site your pieces?

VB: As I drive around, I am always looking for new targets and surfaces and asking myself what part of town needs some art.

CH: Velvet, you said that the “commentary” between place and piece is important—what do you mean?

VB: Yes! My favorite part of street art is the visual conversations you have! You will put a piece up, and someone will come later and put something next to it or go over it, and it forms a conversation. It’s sooo much fun.

Yesterday, I was driving with a piece of a woman praying with the caption, “Thank God for abortions,” and I put it up right next to a piece that read, “ I love D.I.L.F.s.”

CH: Velvet Bandit. Folk hero or villain? You be the judge.

Learn more. This Q&A is part of a longer recorded conversation with The Bandit. In it, she solicits recruits for her local mom-graffiti-gang and gives the recipe for wheat paste. Search ‘Sonoma County: A Community Portrait’ on most podcast players.

Linktr.ee/cincinnatushibbard.

The Farce Awakens

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‘Lend Me a Tenor’ in Sonoma

Ken Ludwig’s Lend Me a Tenor, directed by Larry Williams and now playing at Sonoma Arts Live through June 16, is a classic farce where the comedy relies heavily on people opening, closing and passing through doors with laser-like precision while still portraying bumbling silliness.

This production of Tenor (featuring the revised 2019 script that cuts the problematic references to blackface) has eight actors and six doors. On top of all the literal moving parts, this is a Ken Ludwig play. Like all his work, the dialogue is funny, snappy and ruthless in its need for breakneck pacing. Even the premise is wackily over the top.

Renowned tenor Tito Morelli (Michael Coury Murdock) is making his American debut at the Cleveland Opera. Waiting for him at the hotel is Max (Robert Nelson), the wannabe singer and hapless right-hand-man of opera producer Saunders (John Browning). To complicate matters, Max is in love with his boss’ daughter, Maggie (Katie Kelley), who wants to experience a fling (hopefully with Tito). Unknown to Max and Saunders, Tito brings his wife, Maria (Tika Moon).

Maria is rightfully jealous of Tito’s female admirers and threatens to leave if one more upset occurs. Having her leave would be disastrous for Tito, who cannot live without her singing him to sleep every night. Adding to this already volatile mix is an opera-loving wisecracking bellhop (Kevin Allen), stubborn opera executive Julia (Kim Williams), hyper-sexed star soprano Diana (Tara Roberts), phenobarbital and (fortuitously) two identical Pagliaccio costumes.

If you haven’t guessed where the plot goes from there, I won’t ruin it for you. To be fair, the plot is so convoluted that I couldn’t explain it in this space. Happily, Williams has assembled a seasoned cast of actors who work well as an ensemble and handle the demanding physicality, operatic singing and witty lines with relative ease.

The real stars, however, are the costumes. Allison Sutherland has costumed a diverse cast of body types in period clothing from the 1930s, allowing the actors to perform broad physical comedy while still managing to make everyone look amazing.

While there are some pacing issues, an awkward first couple of scenes and a completely unnecessary panto at the end of the production (which confused an audience that was ready to applaud and head home), overall, this is a solid production that’s well worth the drive to Sonoma.

Sonoma Arts Live presents ‘Lend Me a Tenor’ through June 16 on the Rotary Stage at Andrews Hall in the Sonoma Community Center, 276 E. Napa St., Sonoma. Thurs-Sat, 7:30pm; Sun, 2pm. $25 -$42. 707-484-4874. sonomaartslive.org.

Todd Rundgren (Art) Rocks the Uptown

In the annals of popular music, one would be hard-pressed to find an artist as eclectic and prolific as Todd Rundgren. To call him creatively restless is like calling The Beatles a quaint pop band.

As a solo artist, Rundgren has notched 27 releases (with the most recent being 2022’s Space Force). And that doesn’t include projects he’s recorded as a member of The Nazz, Utopia and the New Cars.

If that’s not enough, the Pennsylvania native has an equally impressive résumé as a producer, having worked on albums for a number of seminal artists ranging from Badfinger (Straight Up), the New York Dolls (self-titled, Cause I Sez So) and Meat Loaf (Bat Out of Hell) to Grand Funk Railroad (We’re An American Band, Shinin’ On), XTC (Skylarking) and the Psychedelic Furs (Forever Now).

But for the man who once released an album called The Ever Popular Tortured Artist Effect, performing live does just as much as studio work to satiate his creative urges, with the most recent road jaunt being the Me/We Tour. And while recent live outings have found him going from performing 25 virtual shows from Chicago in the immediate aftermath of the pandemic to opening for fellow Keystone stater Daryl Hall, this current string of dates finds Rundgren wanting to do something specifically for his devotees.

“I figured when it was time for me to get to doing my tour, I want to give the fans something special and figure out some sort of sustainable production that can travel, but it’s still a show that’s worth coming out for,” he said.

“One of the things that I may not have done recently is a real deep dive of a lot of the stuff that rarely gets played or has never been played. A lot of it is fan favorites, but sometimes I can’t figure out how it will fit into what I’m doing. I think it’s going to be a very enjoyable evening for the fans despite the fact that for at least some segment of them, a lot of the material might be unfamiliar,” Rundgren continued.

While a quick peek at his set list from some recent overseas gigs reveals that he’s been trotting out well-known gems like “Hello It’s Me,” “I Saw the Light” and “Can We Still Be Friends,” the former “Hermit of Mink Hollow” promises to dust off a number of more obscure nuggets.

“I had never played the song ‘Afterlife’ before. It’s from the album called Liars, but it didn’t work in the context of the show, so we never performed it during the ‘Liars’ show,” he explained. “I just did a brief [swing through] Australia, and we worked it up for that tour, and it really sounded great. It sounded really good, and the audience liked it. ‘Liars’ was a pretty popular album among my fans. To find a song that hadn’t been played off of that was a little special.”

So where does Rundgren’s insatiable need to embrace the various aspects of the recording studio and any sort of emerging technology as a means of helping realize his artistic visions come from? Part of it starts with a childhood growing up in Upper Darby Township, PA, where early on, the budding creative genius started out being enraptured by his parents’ singles collection.

“The earliest musical memories I have are of a little RCA 45 player that my parents got. I remember it to this day,” he recalled. “It was a brown Bakelite with a little round grill on the front and a spindle with the red top on it. And you would stack singles on the spindle, and they would automatically play one after another.

“My parents had collected a lot of Boston Pops light classical performances like ‘Chicken Reel’ and ‘Skaters Waltz’ and that sort of thing. They were pressed on colored vinyl—red, green, blue and yellow. For me, listening to the music on that little player and staring through the red, blue and green record or putting one on top of the other—it was [my first] multimedia experience,” Rundgren explained.

While the young Rundgren spent time dabbling with various instruments, including flute, clarinet and his grandmother’s stand-up piano (…“it’s where I learned how to pick out melodies, which I actually turned out to be pretty good at…”), it was a specific instrumental that led to his parents purchasing their budding musician son an instrument when he was seven years old.

“Once I heard ‘Walk, Don’t Run’ by The Ventures, it was all about the guitar,” Rundgren remembered. “That was the future, and I knew I had to learn how to play. My parents realized that I wanted to do it badly enough and that I was serious that they bought a guitar, but they had to buy lessons along with it, which I hated.”

Within a year of graduating high school, he went from his first band, Money, to playing with the Paul Butterfield Blues Band-influenced Woody’s Truck Stop and eventually landing with rock band Nazz. Looking to record material more along the lines of The Who and The Beatles, Rundgren and his crew were signed by Atlantic Records subsidiary Screen Gems Columbia (SGC).

Assigned jazz musician Bill Traut as a producer for the 1968 self-titled debut album (“…he [Traut] essentially spent most of his time reading the trades in the [recording] booth”), Rundgren soon took it upon himself to remix the album himself because “…we didn’t get what we wanted out of this guy, even though we paid for him.”

Rundgren’s first turn at a console was the beginning of a storied production career that while he was technically proficient at, wasn’t level with his interactions with some of the artists whose projects he oversaw, most notably XTC.

“I knew how to make records and how to make them sound a certain way, but as time went on, there were a lot of painful moments between me and whoever I was working with because I was either incognizant or didn’t care about the personality part,” he admitted.

With so much life experience under his belt, the 75-year-old Rundgren shows no signs of slowing down. And much of it has to do with his willingness to follow his own muse.

“I think what I’ve learned is, and it seems especially applicable these days, is that you don’t measure your success by others’ estimation, and you have to be patient,” he said. “Sometimes what you do doesn’t fit with the zeitgeist of what’s going on.

“They say art is brief and history is long. The point is that you don’t do your art for this time. Do it in a way that it doesn’t matter when somebody discovers it. That way, maybe you’ll have a longer life as an artist,” Rundgren noted. “A lot of artists feel like if they don’t make it now, they’re never going to make it. It’s still an interesting experience for me. I don’t feel like I would run out of musical ideas. At least not in a reasonable human lifetime.”

Todd Rundgren performs at 8pm, Friday, June 28 at the Uptown Theatre, 1350 3rd St., Napa. For more information and tickets, visit uptowntheatrenapa.com.

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‘Lend Me a Tenor’ in Sonoma Ken Ludwig’s Lend Me a Tenor, directed by Larry Williams and now playing at Sonoma Arts Live through June 16, is a classic farce where the comedy relies heavily on people opening, closing and passing through doors with laser-like precision while still portraying bumbling silliness. This production of Tenor (featuring the revised 2019 script that...

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