May 11: Ruthie Foster at the Sebastopol Community Cultural Center

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Ruthie Foster has come a long way since her days of singing Top 40 covers in a Navy ensemble band. The Texas-bred blues and soul singer has released six albums, performed with a fantastic roster of musicians—including blues firebrand Paul Thorn—and, without the help of any major label, forged a career that’s netted two Grammy nominations. Her latest album, Let It Burn, finds Foster covering songs by Adele, the Black Keys, Los Lobos, the Band and others, in addition to new original material. Foster appears in a solo performance on Saturday, May 11, at the Sebastopol Community Cultural Center. 390 Morris St., Sebastopol. 8pm. $33—$35. 707.823.1511.

Dierk’s Midtown Now Open

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Fans of the always crowded but always delicious “parkside” location now have another option for upscale breakfast at decent prices. Dierk’s Midtown Café (1422 Fourth St., Santa Rosa) is now open for breakfast and lunch.

They’ve been open a week so far, and the buzz hasn’t caught on yet. Dierk’s Parkside is one of the most consistently

It’s a good time to get Dierk’s thick bacon, poached eggs or goat cheese in any of the breakfast dishes without having to elbow for position in line. Plus, the jam they put out on each table is as good as ever, and there can neer be too much on a slab of toast. Think of the Mad Hatter in Alice in Wonderland, swishing around his knife on the White Rabbit’s pocket watch, getting jam everywhere. Now imagine that watch as a piece of toast about to enter your mouth. That’s my kind of toast.

Dierk’s expansion has been planned for a few months now. It’s taking over the former Midtown Café, a well-intentioned dining spot that just didn’t catch on. The small space is full of light, making a great atmosphere for reading a newspaper like the Bohemian during breakfast. In case it isn’t obvious, I might still be on a bacon high from this morning’s breakfast. Does that count as “Gonzo” journalism?

BottleRock Countdown: Violent Femmes

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It’s hard to imagine how such a minimalist band can incite such riotous reaction from crowds around the world. A plain-sounding guitar, melodic bass riffs and a simple snare drum with one cymbal makes up the Violent Femmes, who formed in sunny Milwaukee, Wisconsin in 1980. One might argue that his band, with hits like “Blister in the Sun,” “Add it Up,” “Gone Daddy Gone” and “Dance, Motherfucker, Dance” is truly what made Milwaukee famous.
These are the original folk-punkers. It’s music that simply does not give a shit about what anyone thinks, and these days, that’s a refreshing sentiment. This stripped-down mindset and musical style makes for a memorable concert, creating those fleeting moments where we forget where we are, what we’re doing and all the bullshit in our daily lives.
The only shame is Violent Femmes are playing at the same time as Primus (8pm, Thursday). These bands have many fans in common, and it would be easy to make the completely not hyperbolic comparison to Sophie’s Choice. Which band will you see perform, and which band will die?

Apples for Grapes

Over 400 people signed a petition last week against Paul Hobbs Winery and its plans to convert an apple orchard into a vineyard surrounding five schools in rural Sebastopol.

Hobbs is an international wine baron who owns vineyards in at least half a dozen countries, and who has a history of clearcutting without permits and then paying fines afterward. He is among those responsible for changing the Redwood Empire into “wine country.”

Though the orchard-to-vineyard conversion in Sebastopol has been in process for around a year—as some school officials have apparently known—parents didn’t find about it until last week, when workers in hazmat suits showed up.

“Nobody wants their child exposed to something that could hurt them,” said mother Christine Dzilvelis who, along with others in the new Watertrough Children’s Alliance, is concerned with pesticide drift, asbestos, lead and arsenic poisoning in the soil and water contamination.

“As the director of a preschool on the Apple Blossom campus,” writes Barbara Stockton, “I am utterly appalled that his development might occur.”

“We have children at Apple Blossom and Orchard View schools,” wrote Michelle Muse upon signing the petition. “Our children will be within feet of herbicide and pesticide applications. This is not acceptable.”

Mothers and allies met last week with various officials, including agriculture commissioner Tony Linegar, who has the power to deny a permit for the vineyard conversion, which is still being reviewed.

Hobbs—who took over a portion of neighbor John Jenkel’s land in a contentious and highly criticized maneuver in 2011, and then cut down even more trees along a designated scenic corridor—is often called a “bad apple” of Sonoma County’s wine industry. But the obvious issue rose from Amy Taganaski, who has two children at Apple Blossom School: “How can the school continue to be called Apple Blossom if there are not apples to be found nearby?”

Shepherd Bliss operates a farm near the proposed vineyard, teaches college, and can be reached at 3sb.comcast.net.

Open Mic is a weekly op/ed feature in the Bohemian. We welcome your contribution. To have your topical essay of 350 words considered for publication, write op*****@******an.com.

Political Prisoners

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It’s no secret that the FBI has targeted the Black Panthers since the establishment of COINTELPRO in the 1960s. Just last week, Assata Shakur (née JoAnne Chesimard), the former Black Panther and Black Liberation Army activist accused of being an accomplice to the murder of a New Jersey state trooper in 1973—and who famously escaped from prison in 1979 to live an exiled life in Cuba—was reclassified as a “domestic terrorist” by the FBI and added to its Most Wanted List. A $2 million bounty is offered for her capture. Since the announcement, Shakur has received overwhelming support, with “Hands Off Assata” becoming a rallying cry around the world.

Shakur’s case resembles that of Mumia Abu-Jamal, the journalist and writer who was convicted of murdering a Philadelphia policeman in 1981. Abu-Jamal has been imprisoned for the past 30 years for a conviction built on shaky evidence. Abu-Jamal reports regularly from his Pennsylvania prison cell, critiquing and calling to task the actions of the U.S. government on the domestic and international front.

Mumia: Long Distance Revolutionary, a new documentary directed by Stephen Vittoria, tells the story of Mumia Abu-Jamal through prison interviews, archival footage, dramatic readings and testimony by Alice Walker, Democracy Now!‘s Amy Goodman, Cornel West and Dick Gregory, among others. The film offers viewers a chance to learn about the man that Angela Davis calls “the most eloquent and most powerful opponent of the death penalty in the world . . . the 21st century Frederick Douglass.” Mumia: Long Distance Revolutionary opens as part of the Rialto’s daily film schedule on Friday, May 10, at Rialto Cinemas. 6868 McKinley St., Sebastopol. $7.25–$9.50. 707.525.4840.

Kitchen Call

Over a decade after first joining the army in 1992, Scott Shore served as convoy commander of the very first unit to Iraq in 2003, stationed in what he calls “the wild west of Baghdad.” For the first six months he was there, encountering snipers and bombs daily, he was not allowed to contact his wife, Shawna, to let her know he was alive. Six more months of chronic fire took its toll on his body, and he left the service in November of 2004.

“I’ve got a laundry list of injuries,” Shore tells me over the phone recently. “For nine years, I’ve been in constant pain.”

But despite sustaining severe back and neck injuries, broken ribs and clavicle, and a traumatic brain injury, Shore misses the military. Which is why just a few weeks ago, he joined a handful of other vets at boot camp.

Instead of fatigues, however, they dressed in tall white hats and coats. Instead of surveillance and scuttling, they spoke of dashes of spices and slicing on the diagonal. Wielding paring knives and spatulas, six vets and their spouses learned how to trim duck breasts and make soup stock at the Culinary Institute of America at Greystone in St. Helena.

The CIA and the military go way back—to 1946, when its original New York location was founded as a vocational training school for returning World War II vets. Now the prestigious school offers culinary boot camps for vets of Iraq and Afghanistan who were wounded in the line of duty.

The boot camp is just one of the 18 different programs sponsored by the Wounded Warrior Project, a nonprofit serving vets who were injured after Sept. 11, 2001. Founded by a group of post-9-11 vets in 2003, the project is devoted to helping vets transition back to civilian life, because, as their motto goes, “The greatest casualty is being forgotten.”

Admirably nonpartisan (“It’s about the warrior, not the war”), the nonprofit has been a boon to Shore, who was reluctant to partake of their services. “I didn’t think I deserved to take the spot of someone worse off than me,” says Shore, who was unemployed for four years and struggles with post-traumatic stress disorder.

For Shore, who is the main cook in his house, the boot camp was a chance to connect with other vets, sharing stories as well as tips for negotiating the notoriously nightmarish VA. (Eight years after filing his disability paperwork, the VA has finally recognized and compensated him).

After a morning of lectures and demos, vets at the five-day boot camp spend the afternoon applying their chopping, roasting and braising techniques to all manner of poultry, pork and potatoes. They end the day with a shared meal—indeed, a more nutritious and flavorful one than the mess hall variety.

“There is no slacking, and they come prepared,” says CIA instructor chef Lars Kronmark, who is impressed that some vets bring their own knives, utensils and, in the case of a vet with only one hand, a specially designed cutting board. “It had spikes that acted as his holding hand,” Kronmark marvels, “so he was still able to chop everything.”

The boot camps are held in the CIA’s quieter first-floor Viking kitchen because, as Kronmark points out, “the vets are often sensitive to sudden loud noises.” Amid the stainless steel equipment that’s turned many amateurs into star chefs, vets learn more than how to make pomegranate glaze and fish tacos.

“The boot camp gave me the confidence to eat healthier,” says 26-year-old Manny Del Rio, who joined the Navy in 2004, right out of high school.

Del Rio was stationed on an aircraft carrier off the coast of Japan when a jet ran over his leg. “I could see the tire coming up against the back of my heel,” says Del Rio, who was pinned beneath the jet for a full 20 minutes, the loud drone of the engine drowning out his screams. Del Rio didn’t know his lower right leg had been amputated on the ship until a doctor on the mainland told him days later.

Physical injuries like his often lead to inactivity and depression, making vets especially vulnerable to unhealthy eating habits, obesity and heart disease. Though Del Rio is grateful for the ability to navigate stairs (“Having a knee makes all the difference”), he had become accustomed to eating takeout and frozen, prepackaged food. “Cooking my own food,” he realizes, “is healthier and cheaper.”

Del Rio, who’s lost 25 pounds since attending the boot camp six months ago, also appreciated the sense of camaraderie the class rekindled from his days on the ship, when everyone worked together toward one goal. “I loved working as a team again,” he tells me. “It was also interesting to see how other vets cope with all kinds of different trauma, especially the kind you can’t see.”

Indeed, for vets like 32-year-old Melissa Gonzalez, who suffered a traumatic brain injury in Afghanistan, their injuries are often camouflaged. “I used to bake and cook all the time,” says Gonzalez, who spent months relearning basic speech and cognitive abilities. “I’d lost that love and confidence.”

In addition to learning how to poach and sauté, she left the boot camp armed with an arsenal of recipes. Though she knows she will never fully recover, “I got my confidence back,” Gonzalez says. “The Wounded Warrior Project encourages vets to overcome their disabilities and get back to life.”

Both Shore and Del Rio, who have kept in touch with vets they met in class, echo this sentiment.

“We all struggle,” Shore tells me, “which means we can all help each other.”

Much Ado

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‘This is a role I’ve dreamed of playing my entire life,” says actress Taylor Bartolucci of Napa, describing her lifelong goal of playing Fanny Brice in the 1964 musical Funny Girl. “When I was a little girl,” reveals Bartolucci, “I’d walk around my house belting like Barbara Streisand, singing ‘Don’t Rain on My Parade.'”

Well, the good news is, Bartolucci’s big day is finally here.

This weekend, Bartolucci—cofounder, with Barry Martin, of Napa’s Lucky Penny Theater Company—takes the stage in a two-week run of Funny Girl at the Napa Opera House. It’s Lucky Penny’s most ambitious and costly production since its inception in 2009, and its most high-profile effort since becoming a nonprofit in 2011.

“It’s a little scary to me,” Bartolucci says, “because the show is very different from the Streisand movie, which everyone remembers so well. But we’ve worked very hard, and I think we’ve done the show justice.”

Which brings us to the bad news: there has been a bit of rain in Napa to threaten Lucky Penny’s parade.

The troubles began in January, when the BottleRock festival announced its five-day event, three days of which overlap with the opening of Funny Girl. According to Martin, show director, there was great concern that Funny Girl—with lavish sets, large cast, lush period costumes and overall costs in the area of $55,000—could be adversely affected by the simultaneous draw of BottleRock.

And in recent weeks, allegations arose that Martin might have used his day job as Napa’s community outreach coordinator to secure improper financial support from BottleRock’s co-producer Bob Vogt. The brouhaha was reported in the Napa Valley Register, which described a purchase of a block of Funny Girl tickets by Vogt.

With Martin serving on the city staff overseeing the potential impact on the residents of Napa during BottleRock, the appearance of a possible conflict of interest was called to attention by a number of local business owners.

No evidence has come up that Martin offered BottleRock any sort of quid pro quo in exchange for the ticket purchase, yet the resulting kerfuffle has been awkward for Martin at an already sensitive time before opening weekend.

“I immediately realized this was going to look odd to people, and I was right,” Martin says, adding that he hadn’t even known about the ticket purchase until reading in the paper that BottleRock was offering some inconvenienced residents close to the festival a choice between free BottleRock passes or tickets to Funny Girl.

Vogt, who, as a partner in the Uptown Theatre in Napa, says he knows how it feels when a larger event threatens to adversely affect attendance, vehemently denies any conflict of interest. “It’s a nonissue,” he says.

“It was always our intention to offer our neighbors nearby here free tickets to Thursday night, so they could get a feeling for the festival and maybe feel better about it,” Vogt says. “And right before that, we thought, ‘Some people don’t like rock and roll, some of these people might be a little bit older, and they might really like what the Opera House is doing.’ So at the last minute, it came to mind that maybe it’d be nice to offer them a choice. That’s all there is to it. Sometimes a goodwill gesture is just that.”

Both Martin and Vogt have stated that the purchase of 100 pairs of tickets from the Opera House box office—originally reported as worth $10,000, but estimated by Martin at just under $5,500—was made after Martin approached Vogt to ask for suggestions of local BottleRock sponsors who might be willing to underwrite part of the costs of Funny Girl, as many local businesses had already done.

“BottleRock’s permit process, which was being handled by [Bob Vogt’s] staff, was essentially complete, and I don’t sign off on any of that anyway. My role is merely coordinating different departments and making sure information moves around properly.

“But it looked bad,” Martin continues. “I regret that, but there really was no deal-making taking place, and even if I were the kind of person who’d do that, I’m not the guy who could offer any kind of deal. It’s just not within my power.”

Martin is cautiously optimistic that the public controversy will remain separate from the work of his cast and crew on Funny Girl, which has been a labor of love for everyone involved.

“Taylor is just so incredibly good in this,” he says. “I hope the BottleRock issue doesn’t overshadow that. She has a tremendous work ethic, and she brings such an infectious commitment to the show.”

Start of Something Big

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Gabe Meyers walks the empty grounds of the Napa Valley Expo, imagining how it’s going to go off. Some workers assemble scaffolding down the way. The occasional golf cart whizzes past. Banners out front announce a barn dance for the local 4-H chapter and the Napa-Solano Home and Garden Show.

Meyers’ event is a little bit bigger—and louder. BottleRock Napa Valley, in fact, is the largest, craziest event that’s ever been planned for Napa. Sixty-eight bands. Sixteen comedians. Four stages. Up to 35,000 people each day.

4-H barn dance, eat your heart out.

“If there’s one way to protect the future,” Meyers says confidently, “it’s to go big. We’re on the map now. Our goal was to establish this as a must-do, for artists and fans alike, early on in the festival season.”

With big size comes big headaches. Today, a week before BottleRock kicks off with a pre-festival concert by Macklemore and Ryan Lewis, Meyers has been pummeled with logistics. He’s been in even more meetings with the city today. He’s just talked again to the fire marshal. A couple days prior, Furthur, his Thursday night headliner, canceled, citing Bob Weir’s collapse onstage the week before in New York.

But Meyers is nothing if not determined, and one can sense he’s certain he’s already won. “Clearly, the response from the talent, the response from the customer—it’s something people want to be a part of,” he says. “This is already happening; we’re not going backwards on this.”

In other words: Napa, open your doors to the biggest, craziest lineup the North Bay has ever seen.

The night before the full BottleRock lineup was announced in January, a photo of a fax on BottleRock letterhead featuring a hoax “lineup” spread around the internet. It listed the Dave Matthews Band, Pearl Jam, Beck, Jack White, Robin Williams, the Pixies, Louis CK, New Order, Fiona Apple and other bands that were surely too good to be true.

But come the next morning’s official announcement, the fake fax lineup had also listed many of what turned out to be verified bands. Flaming Lips. Alabama Shakes. Macklemore. Zac Brown Band. Ben Harper. Bad Religion. Jackson Browne. Andrew Bird. Wallflowers. If you’re reading this, you know the others—the Black Keys, Primus, the Avett Brothers, Kings of Leon, Jane’s Addiction, Dirty Projectors, Violent Femmes, the Shins, Dwight Yoakam, Iron & Wine and many, many mind-boggling more. “Too good to be true” was, well, just plain true.

How’d they do it? Credit must be given to talent buyer Sheila Groves-Tracey of Notable Talent, a Petaluma resident who in the past has booked New George’s in San Rafael and the Mystic Theatre in Petaluma, and who now manages the Uptown Theatre. Both Vogt and Meyers credit Groves-Tracey with being “a huge help” in handling the booking.

But the biggest question is about who’s putting up the money, and on that point, Meyers and BottleRock cofounder Bob Vogt keep quiet. “I don’t think it’s appropriate to discuss that,” says Vogt, in the middle of the fairgrounds’ huge, empty field, soon to be filled with screaming fans. Meyers is only slightly more forthcoming: “The funding specifically for this event has come from a variety of sources: private equity, sponsorships, and ourselves.”

“Ourselves” means two guys who have only a little experience in the concert-promotion business—they’ve held numerous benefits for Giants fan Bryan Stow at Napa’s Uptown Theater, in which Vogt is a partner—and none putting on a festival. Which is what makes BottleRock such a tremendous underdog story. Most festivals of comparable stature are booked by Live Nation, AEG Live, C3 Presents or Another Planet Entertainment. That two Napa locals and a Petaluma talent buyer are presenting BottleRock, with no outside promoter, is more than impressive—it’s got everyone in the industry talking.

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It certainly has locals talking, too. Because 35,000 people is nearly half the population of the city—and because there’s only a handful of roads in and out of town and fairgrounds parking is scarce to nonexistent—some critics of the festival suggest the possibility for disaster.

“People talk about all these logistical issues and everything,” says Vogt, “and I keep coming back to the basic point that it’s as great a lineup as anyone has seen, I think, in a long time. People will figure out how to park and get here when there’s great music.”

Meyers likes to say that the idea for the festival came to him when he was in utero at Altamont—he was born in August 1970—and, in fact, he and Vogt thought about using Altamont’s original location, Sears Point Raceway (now Sonoma Raceway) for BottleRock. Vogt and Meyers also bandied around the idea of a South-by-Southwest–type setup, with concerts at multiple venues around town nightly. But after talks with other promoters, it was decided that the Napa Valley Expo had the type of infrastructure perfect for a festival—power, toilets, buildings, big open fields. And, Vogt notes, the Napa Valley itself provided an alluring reason for a lot of bands to say yes.

“We just thought it would be a historic opportunity for the Napa Valley to come together,” says Vogt, “to kick off something of this size, and of this transformational sort of nature.”

The festival is transformational for Napa from an economic standpoint, as well. Hotel rooms normally going for $329 are going for $799, Meyers says, and “if we average 30,000 people a day, I’m sure there’ll be a calculation coming in around $30 million of economic impact.”

Today, while the large wooden guitars made by Napa artist Richard Von Saal are going in at the Expo, and while around the corner, artists Tim Kopra and Paul Slack construct a triangular sculpture for the VIP area, Vogt says he’s thinking only of preparations for executing everything properly. But Meyers allows a little bit of wistful nostalgia for when the last bands load out and BottleRock is over.

“It is really, really gratifying that so many friends and family have participated. So knowing me, I’ll feel a little bit like summer vacation’s over, ’cause everybody’s gonna disappear,” he says.

Don’t rule out a 2014 BottleRock, however.

“We’ll get back together,” Meyers promises. “We’re planning for next year, definitely.”

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THE BANDS
This is only a select list. For full lineup, see www.bottlerocknapavalley.com.

The Black Keys

What You Need to Know The duo once recorded an album inside an old rubber tire factory in their hometown of Akron, Ohio.

Song You Hope They’ll Play “Keep Your Hands Off Her,” a Junior Kimbrough cover.

From the Gossip Pages In 2011, drummer Patrick Carney’s ex-wife wrote “Snapshots from a Rock ‘N’ Roll Marriage,” about the couple’s tumultuous marriage and eventual split.

Alabama Shakes

What You Need to Know Just see them. Then you’ll know.

Song You Hope They’ll Play “Hold On,” which blows away the Wilson Phillips song of the same name by miles.

Let’s Compare! Singer Brittany Howard gets the Janis Joplin comparison on an hourly basis, but she’s far more reliable live.

Primus

What You Need to Know Primus is led by the best damn rock bassist in the world. Even folks in the pit will stop at one point to gawk at the thunderous pounding and plucking of Les Claypool’s mindboggling fingers.

Song You Hope They’ll Play An incredible claymation video for “Southbound Pachyderm” was made in 1995, involving a kidnapped elephant and an evil dictator. Hopefully, they’ll show the video, too.

Join in the Chant Fans routinely chant “Primus sucks!” at their shows. It’s a term of endearment.

Kings of Leon

What You Need to Know In 2010, the Kings cut their set short in St. Louis because a flock of pigeons decided to shit all over the band.

Song You Hope They’ll Play “Taper Jean Girl,” the last song the band played while pigeons were shitting all over them.

What Could Go Wrong Napa has even bigger pigeons than St. Louis.

Dirty Projectors

What You Need to Know This hip group uses a lot of electronic sounds on record and recreates them live almost perfectly.

Song You Hope They’ll Play The badass rhythm, powerful yet sweet female vocals and sweet ear candy guitar parts of “Stillness Is the Move” are groove-inducing.

You Should Bring Dancing shoes, tight pants, dark sunglasses and a goatskin pouch.

Best Coast

What You Need to Know It’s as if this band were cryogenically frozen in 1994 and thawed out a couple years ago to teach overproduced hipster bands a lesson. And they don’t even know how to use the “three seashells.”

Song You Hope They’ll Play “When I’m with You,” the saddest happy song you’ll hear all day.

Surf’s Up Best Coast is often categorized as surf rock, which is odd considering they don’t surf and their music has nothing to do with the sport. Don’t be fooled.

Café Tacuba

What You Need to Know They’re one of the biggest bands in Latin America and won three Grammy awards for their last album.

Song You Hope They’ll Play That haunting acoustic version of “Maria,” about a beautiful ghost that roams the city at night. And “Chilanga Banda”; Mexico City is famous for its slang dialect that almost no one can understand—and the band put every single catcall and cussword in existence into this rowdy crowd inciter.

What You’ll See Lots of spastic jumping around, Spanish-speakers belting out the lyrics and maybe some artist-inspired communal hugging.

Dwight Yoakam

What You Need to Know The baddest honky-tonker to ever pull a ten-gallon hat over his eyes.

Song You Hope He’ll Play “Little Ways.”

Watch Your Back, Though An occasional actor, Yoakam played an abusive boyfriend in Sling Blade and a psychopathic killer in Panic Room.

Richard Thompson

What You Need to Know He once recorded an album, 1,000 Years of Popular Music, spanning traditional songs from 1068 to Britney Spears.

Song You Hope He’ll Play “1952 Black Vincent Lightning” is as technically thrilling as it is emotionally moving.

As a Laddie Thompson was born in Notting Hill, before the movie of the same name and before the neighborhood got all fancy-schmancy.

Justin Townes Earle

What You Need to Know Steve Earle is his pops; Townes van Zandt is his namesake.

Song You Hope He’ll Play “Harlem River Blues,” with its catchy chorus of “Tonight I’m going uptown to the Harlem River to drown,” is sure to be crowd-pleaser.

What Could Go Wrong The dapper singer-songwriter always looks impeccable, but in front of such a large crowd, in the heat, it’s hard not to wonder if the hair gel will run or bow-tie go askew.

Iron and Wine

What You Need to Know Lead singer Samuel Beam is not related to Jim Beam; his band name comes from a dietary supplement; and his cover of “Such Great Heights” was the wedding song for a certain Bohemian staff writer.

Song You Hope They’ll Play “Sodom, South Georgia” once inspired said Bohemian staff writer to take a road trip through the Peach State until she realized it wasn’t a real place. It’s desolate and hopeful and heartbreaking enough to be real.

Watch the Crowd For White people drinking Jim Beam and crying like fools.

Violent Femmes

What You Need to Know Started busking in Milwaukee and hit college radio with “Blister in the Sun,” featuring the most recognizable bass line from the 1980s.

Song You Hope They’ll Play “Never Tell,” a hypnotic minor-key dirge that the band inhabits and completely transforms live.

So Happy Together Singer Gordon Gano broke up the band by selling “Blister in the Sun” to Wendy’s against band mates’ wishes; they recently kissed and made up.

Rodrigo y Gabriela

What You Need to Know They perfected their magnificent guitar skills playing in a thrash metal band in Mexico City before moving to Europe.

Song You Hope They’ll Play A medley of Metallica and Slayer covers mixed in with “Stairway to Heaven,” and the original flamenco-inspired “Tamacun.”

Viva Obama! They were invited to play at the White House when the Obamas hosted the president of Mexico.

X

What You Need to Know John Doe once punched out a guy at a party in L.A. for making moves on his then-wife, singer Exene Cervenka.

Song You Hope They’ll Play “The Hungry Wolf,” a driving beast of a song.

Is He a Statue? Guitarist Billy Zoom tends to stand immobile on stage, legs spread, strumming and smiling calmly.

Girls & Boys

What You Need to Know These Sonoma County darlings were crowed Best Indie Band at the 2012 NorBay Music Awards.

Song You Hope They’ll Play The heart-wrenching tribute to local guitar legend Johnny Downer, “Johnny’s Song,” which might provoke a few tears in the crowd.

Why They Are Awesome Because only a handful of local artists were selected to perform on the BottleRock stages.

Sharon Van Etten

What You Need to Know Last year’s album, Tramp, keeps making new converts.

Song You Hope She’ll Play “I’m Wrong,” which builds in emotional intensity to inexplicable, joyful terror.

The Page Factor It’s not unusual to see her backing band playing their guitars with violin bows.

Carolina Chocolate Drops

What You Need to Know One of their members actually, legitimately plays a jug.

Song You Hope They’ll Play Although most of their numbers are based on traditional roots music from the Piedmont region of North and South Carolina, they do a mean cover of “Hit ‘Em Up Style.”

Watch the Crowd For Tweens wanting to hear that one song from The Hunger Games soundtrack.

Joan Jett

What You Need to Know Known as the Queen of Rock ‘n’ Roll, Jett was named by Rolling Stone as one of the 100 greatest guitarists of all time.

Song You Hope She’ll Play “Bad Reputation” is the anthem for justifying unladylike behavior of females everywhere.

Watch Out For Lake County biker chicks pummeling frat boys.

This is only a partial list of bands—for full lineup, see www.bottlerocknapavalley.com. Especially make sure to check out the WildCat local band stage inside the festival.

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WHERE DO I PARK?

There are 12,000 spaces for parking at BottleRock. Parking is $20 per prepaid space, $30 the day of the event. VIP pass holders can park for free in special lots. Five people in a vehicle equals a free space. Shuttles to the festival are free.

From the south: Parking lot is at the Napa Pipe property on Kaiser Road. Opens at 9am. Service starts at 10am, with shuttle frequency every 10 minutes; drop off is at Third Street and Soscol Avenue.

From the north: Parking lot is at Vintage High School and Napa High School (weekdays after 5pm, weekends all day). Service starts at 10:30am. Shuttle frequency is every 10 to 20 minutes; drop off is at Clay and Juarez streets.

Free valet bike parking is offered at Third Street and Soscol Avenue.

Round-trip buses are available from San Francisco, Oakland, Concord, San Rafael and Sacramento for $29 per seat.

BUS TRIP

Buses leave at 10am and arrive in Napa in time for the first act. Departure time from the festival is 11pm. There’s also a 1am bus for stragglers.

Bus pickups are: San Francisco Caltrain Station at AT&T Park (700 Fourth St.); San Francisco Union Square (335 Powell St.); Oakland Rockridge BART Station (5660 College Ave.); Concord BART Station (1451 Oakland Ave.); San Rafael, Marin Civic Center (10 Avenue of the Flags); and Sacramento Capitol (10th Street between L and N streets).

For more, see www.bottlerocknapavalley.com.

My Lambo Is Hot

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When Guy Fieri’s Lamborghini disappeared last year from a San Francisco garage, and when the perpetrator was revealed to be a 19-year-old kid who rappelled from the ceiling at night and drove it away, it was only a matter of time before someone filmed a rap video about the stealth job.

Enter Brilliant & Timbalias, whose “Max Wade” is basically the funniest response to the ordeal. Over a beat and cadence borrowed from Lupe Fiasco’s “Building Minds Faster,” the rappers profess their respect to Wade for pulling off the heist, and manage to invoke the Marin County Jail and the Marin IJ while rhyming next to—you guessed it—a yellow Lamborghini.

The Marin County duo are part of the 707 Bay Area Showdown Rap Battle Contest this week in Petaluma, alongside HD and the Bearfaced Gang, Sean E, Yung Weeybo and Tha Realest House, Elated Havoc, Notrotious, Luke Jones, Big Green and Legacy 9. For only $10, that’s a lot of verses—just hold on to your car keys.

The show goes off on Saturday, May 11, at the Phoenix Theater. 201 E. Washington St., Petaluma. 8pm. $10. 707.762.3565.

Shifting ‘Shape’

Neil LaBute’s Shape of Things is hardly a fragile play. The writing is tough, aggressive and packed with memorable, quotable lines. The story is immediately engaging, and LaBute’s four young college-grad characters are all rich, human and well-defined.

But I still feel I must be very cautious in describing The Shape of Things, now running at Main Stage West, because the experience of watching it for the first time is greatly enhanced by a certain sense of shocking discovery, a series of ingenious surprises and a whopper of a twist, constructed in such a way that the effect could be ruined were too many details revealed.

All of which makes reviewing the show extremely tricky.

Suffice it to say that The Shape of Things takes place at a small liberal arts college (possibly based on Brigham Young University, which LaBute attended), where a smart but insecure lit major named Adam (another brilliant, risk-taking performance by Keith Baker) is stunned to have attracted the interest of a gorgeous and self-assured, if slightly intense, art major named Evelyn. As Evelyn, Jennifer Coté is scathingly effective, though her strong performance might have benefited from a bit more variation and softness, especially early on when Adam is falling for her.

Adam—whose best friends Philip (John Browning, extremely good with LaBute’s sardonic language) and Jenny (Dana Scott, vulnerable and sweet) are initially surprised at the effect Evelyn has on their friend—allows his new girlfriend to slowly transform his appearance: new hair, new clothes, new contacts. Eventually, Adam’s friends grow alarmed as his personality begins to change as well. But to say more would risk dampening the impact of the story.

Directed with a keen sense of balance, never letting the script’s comedy or darkness tip the scales too far, The Shape of Things is further proof that LaBute (In the Company of Men, Fat Pig, The Mercy Seat) is one of the theater’s best modern chroniclers of the uneasy relationship between educated, upwardly mobile human beings in an age when cruelty is often viewed as an enviable asset and kindness is akin to social surrender. His are angry yet funny plays, requiring actors who are able to deliver his hyperverbal dialogue while suggesting more than one conflicting motivation.

Sure to provoke debate with its vicious insights and uncompromising pessimism, The Shape of Things is smart, brilliant, nasty and savagely entertaining.

Rating (out of 5): ★★★★½

‘The Shape of Things’ runs Thursday–Sunday, May 3–19, at Main Stage West. 104 N. Main St., Sebastopol. Thursday–Saturday at 8pm; 5pm matinees on Sundays. $15–$25. 707.823.0177.

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