May 25: James Hunter at Sweetwater Music Hall

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Although he’s toured with Aretha Franklin, Van Morrison and Etta James, James Hunter still continues to play shows at small venues like Sweetwater Music Hall. Hunter spent most of his early career playing at clubs in London, so it’s no surprise that he’s happy to return to his roots. Hunter’s style is so unique that even Van Morrison took notice and sang backup vocals on his songs “Turn on Your Love Light” and “Ain’t Nothing You Can Do.” The energy delivered by Hunter’s new group, the James Hunter Six, is more than most bands half their age. See the Grammy-nominated singer on Saturday, May 25, at Sweetwater Music Hall. 19 Corte Madera Ave., Mill Valley. $22. 8pm. 415.388.3850.

May 24: Jimmie Vaughan at Hopmonk Tavern

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Though it’d be tempting for him to be a family tribute act, Jimmie Vaughan, older brother to guitar legend Stevie Ray Vaughan, has retained his own distinct style. He also offers listeners something novel: good music to dance to. Growing up in Dallas, Vaughan credits his musical abilities to hearing vintage blues, classic rock ’n’ roll and jazz at an early age—not to mention the radio stations in his area that played the good records. “I never got over that stuff,” Vaughan once said, “and I never will.” Hear songs like “Six Strings Down” and “Don’t ‘cha Know” on Friday, May 24, at Hopmonk Tavern. 230 Petaluma Ave., Sebastopol. $45. 8pm. 707.829.7300.

May 23: Preservation Hall Jazz Band plays at the Napa Valley Opera House

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Preservation Hall, in the heart of New Orleans, continues to be a place where a love of jazz can be felt in every room. The dedicated musicians of the Preservation Hall Jazz Band work daily to bring some of this feeling to every venue they play. Although the group’s lineup has changed throughout the years due to death or illness, the sprit of Preservation Hall is unchanged. With a long roster of Dixieland classics and New Orleans anthems—some of which the band recorded with Tom Waits a few years back—the Preservation Hall Jazz Band plays on Thursday, May 23, at the Napa Valley Opera House. 1030 Main St., Napa. $30—$100. 8pm. 707.226.7372.

Warehouse Stories

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The guy on the sidewalk sizes me up.

“You from the Boho?” he asks.

“Yeah,” I say, as he swings around and opens the door. I pass through a cluttered lobby, and then walk into the biggest graffiti art show Santa Rosa has ever known, with over 40 artists collaborating on the walls of a vacant 4,000-square-foot downtown warehouse.

“I’ll go get him,” the guy says, disappearing past numerous cans of the spray paint and Mickey’s variety, and I’m left with the aroma of aerosol in the expansive, high-ceilinged space, its walls covered in huge, beautiful murals.

“Hey,” says Roman D’Argenzio, the curator of this wholly unique exhibit, “Out of Order,” extending a hand. “Thanks for coming.”

I should be thanking him. “Out of Order” has been the county’s best-kept art secret for months now, and only after my visit will the address of the show be released. Combining the clandestine hush-hushness of a rave and a DIY mentality of a punk-house show, “Out of Order” has already obtained sizable underground cachet; today’s sneak preview while the floors are still sticky and the art still unfinished is rare.

And with its staggering array of artists and breadth of style, the show more than delivers on its buzz. From floor to ceiling, it’s like reading an issue of Juxtapoz in real time. Today, atop shaky scaffolding, Julia Davis puts outlines on a group of cannibalistic fish; in a nearby corner of the warehouse, Jared Powell evaluates a mural populated with misplaced eyeballs. Around the corner from a Ricky Watts mural are two more artists—but they don’t want to be mentioned in the paper.

Standing in the center of all this, a show four months in the making, D’Argenzio allows himself a bit of satisfaction. “I’m proud of the whole thing,” he says. “I’m proud of how it all meshed into one piece and all the artists respected each other. So many artists came in here not knowing what to expect, and a lot of them were blown away.”

Some of the murals depict animals—there’s a two-eyed raven overlooking a vortex; a breastfeeding wolf; a black-and-white terrier; an Andre-the-Giant-sized cat lovingly cradling a fish; owl-like birds by the artist known as Berds. Still others depict a comic-book-type fantasy: monsters, dildoes, naked women, Obama with his face ripped off, skulls, zombies.

Taken together, the collaboration has a staggering heft. “We must carry each other,” typefaced in 3D on a large hallway wall, takes on an especially elevated meaning when surrounded by work from dozens of mostly struggling artists.

D’Argenzio is 26, with brawn beyond his years: a thick beard, plugs in his earlobes and a serious mind about art. A don of vacant buildings in Santa Rosa, he enjoys the cooperation of his father, real estate manager Dino D’Argenzio, who lets Roman utilize otherwise unused spaces. Until recently, he and partner Jimmy Hits filled these spaces as Kaleidoscope, a monthly transient party with DJs, breakdancers and live art.

When D’Argenzio put Kaleidoscope to bed, this building—the former Santa Rosa Printing warehouse—opened up. His ideas began to churn. He made some calls. And once word got around, participation began to snowball. D’Argenzio met all of the artists here, let them in, and sometimes, as in the case of two artists from Oakland, picked them up from the bus stop, brought in some mattresses and gave them free food and beer for two days while they worked.

It’s the least he could do. “I didn’t give anybody any paint, I didn’t pay anybody, the whole show’s free,” he says. “All the artists are donating their time, paint and creativity.”

All in all, “Out of Order” is legitimizing an oft-maligned art form—sometimes called “street art,” sometimes called “mural art,” all of it stemming from the graffiti world. On the eve of the opening, D’Argenzio takes delight in knowing the show will change people’s minds.

“This is one of the most beautiful things I’ve seen in Santa Rosa,” he says, looking up at the walls. “When people come in, they’re blown away. My mother was, like, stunned.”

‘Out of Order’ opens and closes on Saturday, May 25, at the former Santa Rosa Printing building. 575 Ross St., Santa Rosa. Free. 4:30pm–midnight.

Correction: A previous version of this article incorrectly identified the words “we must carry each other” as lyrics from the rock band U2. They are no such damn thing. We regret the error.

Saison Time

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It’s the season for light beer. But rather than reaching for a can of Tecate, why not stretch the taste buds with a saison? French for “season,” appropriately enough, the saison is yeasty, hoppy and clean; in other words, it’s not your common light beer.

The story behind this beer—and one that Randy Mosher, author of Tasting Beer, argues is not altogether accurate—is that it originated as a farmhouse ale, brewed to make the midsummer days of labor easier for farmworkers. Locally brewed saison specimens include En Suite Saison by Baeltane Brewing, a fruity and tart farmhouse ale with Champagne-like effervescence. Available at Baeltane’s tap room as well as Taps in Petaluma, it rings in the summer solstice with grace.<

Recently, Taps had a hopless saison from Petaluma’s HenHouse Brewing on tap, though it wasn’t to my taste. Flat and slightly grey, with little to no carbonation, it carries a sourness appealing to palates that like a challenge. HenHouse also makes a standard saison, one with all the hops and carbonation you would expect. (HenHouse’s beers are hard to find, but Petaluma Market is a good source; feel free to call for stock inquiries at 707.762.5464.)

Spiced with ginger, coriander and star anise, Anderson Valley’s Mowkeef Bahl Hornin saison (which loosely translates to “hay reaper great drink of liquor”) is the perfect poolside accompaniment to a Us Weekly and some coconut oil. Golden like the sun, it satisfies that need for something bubbly and refreshing on a hot day.

Design for Eatin’

A few years ago, restaurant designer Shawn E. Hall was hired to rebuild the Pine Cone, Sebastopol’s longstanding diner, which had served up eggs and hash to the community for almost half a century. After gutting the interior, exposing the original brick and beams, and installing a new kitchen, Hall agreed to help find a new owner for the space.

“Designing a restaurant is like giving birth to a child and then giving it away,” Hall tells me on a recent morning. “I get into a space and I find its bones and I bring it to life. So I decided it might be fun to actually have my own restaurant.”

And that’s how Hall, designer of 35 restaurants, including Hopmonk and Willi’s Wine Bar, found herself running Sebastopol’s hippest diner, the Gypsy Cafe.

First, let’s get one thing straight: all rhetorical nuances and political correctness aside, the “gypsy” refers not to the Roma people, but to Hall’s eclectic flea-market-and-architectural-salvage aesthetic. “‘Gypsy’ is an attitude,” says Hall, who’s been re-purposing materials since “distressed” referred to someone’s state of mind, not their shabby-chic end table.

In this, Gypsy Cafe is an homage to Hall’s mother, Norma, an orphan who once made a dress out of her bedspread so she could go to the school dance, where her scalloped hem made her the belle of the ball. A self-taught designer, contractor and seamstress, and a single mother, Norma supported her daughter by renovating houses in exchange for rent.

“We lived in 13 houses in eight years,” Hall tells me. “She was the first person I ever saw make a table out of a door.” (Fittingly, Hall is likely the first person most have seen make an elegant table out of an old radiator grate.)

A native of Missouri, Hall earned a degree in environmental studies from UC Santa Cruz. The first restaurant she designed was a Jamaican joint called Miss Pearl’s Jam House in San Francisco, where she lived for 20 years. “I wanted to make it as authentic as possible,” says Hall, who loves to uncover the intrinsic beauty of a space. “So I went to Jamaica.”

Remnants of her wanderlust can be seen all over the walls of the Main Street Sebastopol cafe, hung with old signage, blown-up photographs (a Jamaican fruit stand, a Moroccan egg cart), and gathered antiques—boxing gloves, a transistor radio, even a turquoise kiddie T-Bird.

Each item tells a story—like the framed yellow crocheted doily in the shape of a pineapple (the symbol for hospitality), a gift from a customer in honor of the cafe’s first anniversary. Or the old sign that says “Draperies” hanging over the bar, given to Hall by a couple who collects antiques. “They basically ate free for a year,” she laughs.

Several old doors are incorporated into the cafe’s décor, apt metaphors for Hall’s personal philosophy. “It’s about having an open door to life, being open to new experiences and cultural diversity,” Hall says. “Besides just getting sustenance,” she says, eyes twinkling, “I want people to feel like they’re on a little vacation.”

Staffed by Hall’s friends and family—including her boyfriend, two best friends from college and a daughter-in-law—Gypsy Cafe breeds repeat customers, whether they be daily locals or far-flung travelers. (Just recently, a British couple vacationing in Yountville were thrilled to find a great restaurant that was, as they put it, “not too posh.”)

“We’re not highfalutin’, we’re not trying to be the best,” Hall tells me, “but we’re darn friendly. We will take good care of you.” Perhaps this is why an astounding 1,400 people have signed up to receive Hall’s weekly email newsletters, which keep people posted about upcoming events like the Tilted Shed Ciderworks pourings and the popular Friday night dinners (pot roast and fried chicken are menu favorites).

But if it’s standard diner food you’re after, take note: this is no greasy spoon. Yes, all the usual suspects are on the menu—pancakes, corned beef hash, huevos rancheros, Cobb salad, a slew of burgers—but chef Martin Maigaard brings a fresh approach to the classics. Standouts include the Grits and Greens, with eggs, garlic wilted greens and bacon lardons ($12), and the Sriracha burger with pickled cabbage, limed onion and Sriracha mayo on a potato roll ($11.50). This being Sebastopol, vegan and gluten-free options abound.

Running a breakfast and lunch joint in a flimsy economy may seem like a fool’s gamble, but a year and a half after opening, the Gypsy continues to carry the Pine Cone’s “town cafe” torch. At 10:30 on a recent Thursday morning, the place is buzzing with life; Hall greets an incoming regular, who, she mentions, always gets scrambled eggs.

“My mom dreamed of having a storefront in a small town,” says Hall, who recently designed Mateo’s Cocina Latina in Healdsburg and is at work on the Point Reyes Oyster Bar. Though Norma died 20 years ago, her legacy clearly lives on here.

“I’ve been successful thanks to my mom,” says Hall. “My longtime friends visit the cafe, and the first thing they say is, ‘Norma would have loved this.'”

Gypsy Cafe, 162 N. Main St., Sebastopol. 707.861.3825.

‘Son’ Down

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All My Sons was Arthur Miller’s first Broadway success as a playwright, and its brilliance and beauty are still clear after 66 years. But in live theater, a play is only as good as its presentation. Hobbled by some unclear direction and generally weak acting, a new production at Ross Valley Players—despite an occasionally strong lead performance by Craig Christiansen—ultimately fails to capture the power, or much of the authenticity, of Miller’s play.

The post-WWII setting of the early masterpiece, driven by Miller’s piercing questions about morality and business during wartime, carries a strong contemporary resonance. When done well, with a skilled cast up to the challenges of Miller’s rich, multitextured language, All My Sons can be devastating. Under the direction of Caroline Altman, who’s had success in the world of opera—and whose best ideas are the pop musical interludes between scenes—RVP’s uninspired staging is consistently flat.

Joe Keller (Christiansen) is a force of nature. A self-educated man, he built his own manufacturing empire through hard work and a canny sense of business. Three years after his son Larry, an Air Force pilot, disappears in World War II, Joe finds himself caught between the desperate hopes of his wife, Kate (Kristine Ann Lowry), who insists that Larry is still alive, and his other son, Chris (Francis Serpa), who announces his plans to marry Larry’s former fiancée, Ann (Amber Collins Crane).

Hanging over everything are the wartime deaths of 21 pilots, whose planes crashed due to faulty equipment manufactured by Joe’s factory. While many in the town suspect Joe of having knowingly sold the damaged parts to the military, it is his longtime business partner Steve—Ann’s father—who is serving a prison sentence for the crime.

As written, revelations unfold slowly, almost casually, at first, but the intensity picks up with the arrival of Ann’s brother George (Philip Goleman), a lawyer who believes he has evidence proving that Joe let Steve take the fall for his own mistake. Ann, too, has a secret she’s been keeping, and it has the power to turn everything the family believes upside down.

Miller’s carefully crafted writing, in RVP’s version, is washed out by a lot of unmodulated hollering, made worse by a number of unfortunate line readings indicating that the actors don’t always understand what their characters are saying.

That’s a shame, because in All My Sons, Arthur Miller is saying a lot.

Rating (out of 5): ★★

Tourist Trap?

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A grant application by the Sonoma County Regional Parks that envisions the Occidental Community Center as an “adventure day lodge” for tourists, complete with small shuttles to Jenner, Bodega Bay and Willow Creek, has stirred up concern among some residents. A June 4 meeting has been organized to raise awareness about the “Gateway to West Sonoma County Project,” says Jacques Levy, one of the meeting’s organizers. “Many people in the community are even surprised to know about the project,” he says. There is a worry that this has been a “top-down” process with little participation from the very people who would be affected by such an ambitious undertaking, explains Levy.

But Caryl Hart, Regional Parks director, says that the idea for a tourist hub is just that—one idea out of many, and only one piece of an application for technical assistance to the National Parks Service. “The Gateway is a working title for a concept that would improve recreation access for everyone to thousands of acres of public land in West County,” Hart tells the Bohemian. Nothing will happen without community input, she adds, and, with no current funding, that’s a process that will take time.

Currently, the former Vets Hall is being leased from Sonoma County Parks and Recreation by the YMCA and rented out for the occasional class. A community meeting to discuss the West County Gateway Project, moderated by Eric Koenigshofer of the Bodega Land Trust, will be held on Tuesday, June 4, at the Salmon Creek School Gymnasium. 1935 Bohemian Hwy., Occidental. 7pm. For more information about the meeting, contact ja*********@***ic.net.

No Escape

A curdled version of “America the Beautiful” plays in the trailer for the home-invasion thriller ‘The Purge’ (June 7), and some kind of equally subtle political allegory can be discerned in the gated community taken to outer space in ‘Elysium’ (Aug. 9), which depicts a have-not/got-more civil war in the year 2154. The executive mansion gets it yet again in ‘White House Down’ (June 28). Escapism keeps getting harder to find, even in summer movies—and this year, they’re darker than ever.

The previews for ‘Man of Steel’ (June 14) reveal that our hero (Henry Cavill) is a war refugee and that the “S” on his mighty chest is actually a Kryptonian rune for “hope.” This potential Obamaism may trigger wails of “Benghazi!” among loyal right-wingers, even if in Man of Steel the crypto-religious origin story is once again rehashed. Russell Crowe plays the godly Jor-El, while Kevin Costner appears as a corn-fed St. Joseph to the immaculate superhero. Through youthful confusion, Superman rises to face the Hitler of Krypton, General Zod (Michael Shannon). Ad astra per aspera.

Joss Whedon used to encourage impromptu Shakespeare readings during rehearsals for Buffy the Vampire Slayer, and in that tactic lies the basis of ‘Much Ado About Nothing’ (June 7), a low-budget Shakespeare adaptation featuring modern dress, presented in black-and-white and shot in the spurious Tuscany of Santa Monica hillside mansions. Amy Acker from TV’s Angel makes a witty Beatrice, with Alexis Denisof as a sarcastic Benedick determined not to marry (“thrust the neck into a yoke, wear the print of it, and sigh away Sundays”).

Simply colossal, and perhaps rekindling the love of super-robots that Michael Bay tainted in three lousy Transformer movies, ‘Pacific Rim’ (July 12) is fantasy creator Guillermo del Toro’s marriage of Japanese kaiju with a plot seemingly pilfered from John Wyndham’s 1953 novel The Kraken Wakes. An alien enemy nested in the oceans repelled with skyscraper-size battle robots called “jaegers”—it’s big, big, big.

Bright-but-not-brittle director Noah Baumbach (The Squid and the Whale) collaborates on ‘Frances Ha’ (May 17) with the ever-rising Greta Gerwig, who was last glimpsed in the most recent Woody Allen film. She co-writes this comedy about a hapless New Yorker who wants to be a dancer. Gerwig’s persisted through a string of half-baked indie movies. She ought to be a star by now, and Frances Ha may finish the job.

‘World War Z’ (June 21), directed by Marc Foster, may either be the flop that finally ends the zombie craze or sparks a whole new round. Brad Pitt plays a U.N. investigator piecing together accounts of the global conflict. Rewrites galore have plagued the project, so the only certainty is that the film has Pitt and several hundred million zombies.

Maybe it’s the graveyard wit, maybe it’s the campiness, maybe it’s the attention to glowing fine surfaces in the era when the digital changeover is making for a lot of ugly movies, but Pedro Almodóvar is one of the few directors who makes completionists out of the hardest to please. ‘I’m So Excited’ (June 28) follows a damaged and seemingly doomed plane of fools headed for Mexico City in an airborne allegory about the horrors of the Spanish economy.

For years, the sweet, bizarre and convulsive Kristen Wiig supported the entire cast of Saturday Night Live on her shoulders. ‘Girl Most Likely’ (July 19) is described as Wiig’s passion project. She plays a cracked-up boomerang girl bounced off the New York theater scene who moves in with her mean mom (Annette Bening) and her mom’s mendacious pal (one of the underrated funny ones, Matt Dillon).

Finally, director Rick Rowley’s ‘Dirty Wars’ (June 7) documents Jeremy Scahill, the journalist investigating the Joint Special Operations Command, which tracks and kills terrorists from Yemen to Central Asia . . . or people who to our best knowledge are terrorists . . . or people who were driving in a truck that was the same make of truck that a sought terrorist was known to drive . . . or people who were just in the wrong tent at the wrong time.

Letters to the Editor: May 22, 2013

Ironic, Ain’t It?

Why is it that nowhere in this story (“Steep Climb,” May 15) is Amgen (the tour sponsor) mentioned as the manufacturer and clandestine provider of the primary drug in the scandal? Why do the riders get slammed over and over while the creator and pusher of EPO gets the publicity, and praise, for the Tour of California—despite being deeply and darkly implicated in some seriously ugly drug controversy?

Via online

Dirty Power

I’d love it if PG&E were on this list (“The Final Four,” May 15) to weigh these companies fairly, and if the Bohemian asked Sonoma Clean Power to talk about what it’s like to try to buy cleaner power with a cheaper price in a market known for being dirty in general.

We as citizens just didn’t push hard enough to demand a nationwide clean-energy supply, so now we’re stuck with playing in the dirty muck of the energy market as it is.

Sebastopol

I, too, would like PG&E to be compared with the four companies being considered by Sonoma Clean Power. I am shocked at the heavy involvement in nuclear, and would never support that. And I grew up in New York City with ConEd, which I associate with belching smokestacks. I suspect that PG&E might look angelic in comparison.

Although I spoke last night in favor of Petalumans having some choice, what I have read here is looking like “out of the frying pan and into the fire.” I am concerned and would like to hear what Sonoma Clean Power has to say about the advantages of going with their plan.

Petaluma

On Wilderness

With great respect for Lynn Hamilton, her letter regarding Drake’s Bay Oyster Company is off the mark on a critical issue. Pt. Reyes National Seashore is not wilderness. “Wilderness” is defined as “an area where the earth and community of life are untrammeled by man” and “an area of undeveloped Federal land retaining its primeval character and influence.” In our region, “primeval” was before white people radically changed the landscape and ecosystems. This area was wilderness when elk and antelope grazed the coastal bluffs, millions of fish filled the waters and humans lived in close relationship with the land, burning, pruning, harvesting and seeding, working respectfully in balance with nature. Those days are long gone and cannot be recreated. Millions of people live in the Bay Area, the great predators and grazers are history, and annual grasses and other nonnative species have replaced native bunch grasses. The bays not only lack the populations of fish and shellfish that used to keep waters clean, but the “nutrient” load is massive.

Oyster farms provide essential “ecosystem services” by removing excess nutrients. Yet oysters are very sensitive to pollution, so the farmers have a vested interest in protecting against “upstream” pollution. Research has shown that grazing with cows and other livestock, when done with careful attention to the land, reduces invasive species, helps to bring back native plants and increases soil carbon sequestration. Now that the landscape is so radically altered, leaving it “alone” only exacerbates the problems.

This is why farmers who live on and with the land have such an important place in today’s world, especially in some of our national parks, where it is our national duty to keep them beautiful and healthy.

Community Alliance with Family Farmers strongly supports the Lunny Family and Drake’s Bay Oyster Farm.

Vice President, North Coast Chapter CAFF

Dept. of Thingamajigs

Last week’s illustration of Lance Armstrong raising a pill-filled trophy with syringes hanging out of his arms was not, as we had deduced after much investigation, an uncredited guerrilla public art project (“Steep Climb,” May 15). In fact, it is the work of the very talented local artist Mike Koftinow.

Because some confusion persists, let it be known that we feel BottleRock was a great success against mammoth odds (“Best of the Fest,” May 15). People sucking face, free beer, dominatrixes, boyfriends eating food off the ground—all that so-called negative stuff in last week’s roundup kicks ass in our book, and makes a fun, chaotic, lively festival instead of a boring, staid, dull one.

Likes Weird Things, I Guess

Write to us at letters@bohemian.com.

May 25: James Hunter at Sweetwater Music Hall

Although he’s toured with Aretha Franklin, Van Morrison and Etta James, James Hunter still continues to play shows at small venues like Sweetwater Music Hall. Hunter spent most of his early career playing at clubs in London, so it’s no surprise that he’s happy to return to his roots. Hunter’s style is so unique that even Van Morrison took...

May 24: Jimmie Vaughan at Hopmonk Tavern

Though it’d be tempting for him to be a family tribute act, Jimmie Vaughan, older brother to guitar legend Stevie Ray Vaughan, has retained his own distinct style. He also offers listeners something novel: good music to dance to. Growing up in Dallas, Vaughan credits his musical abilities to hearing vintage blues, classic rock ’n’ roll and jazz at...

May 23: Preservation Hall Jazz Band plays at the Napa Valley Opera House

Preservation Hall, in the heart of New Orleans, continues to be a place where a love of jazz can be felt in every room. The dedicated musicians of the Preservation Hall Jazz Band work daily to bring some of this feeling to every venue they play. Although the group’s lineup has changed throughout the years due to death or...

Warehouse Stories

'Out of Order' a massive graffiti street-art show with over 40 artists

Saison Time

It's the season for light beer. But rather than reaching for a can of Tecate, why not stretch the taste buds with a saison? French for "season," appropriately enough, the saison is yeasty, hoppy and clean; in other words, it's not your common light beer. The story behind this beer—and one that Randy Mosher, author of Tasting Beer, argues is...

Design for Eatin’

Gypsy Cafe's main-street eclectica in Sebastopol

‘Son’ Down

Arthur Miller masterpiece thwarted by weak acting

Tourist Trap?

A grant application by the Sonoma County Regional Parks that envisions the Occidental Community Center as an "adventure day lodge" for tourists, complete with small shuttles to Jenner, Bodega Bay and Willow Creek, has stirred up concern among some residents. A June 4 meeting has been organized to raise awareness about the "Gateway to West Sonoma County Project," says...

No Escape

This summer's movies all have a dark streak of reality

Letters to the Editor: May 22, 2013

Letters to the Editor: May 22, 2013
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