Burn Notice

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Someone is burning down houses.

In Aurora Theatre Company’s outstanding, entertaining new staging in Berkeley of Max Frisch’s The Arsonists, a sly fable about a town beset by an epidemic of arson, the playwrights (this version is a translation by British playwright Alistair Beaton) cleverly demonstrate the insidious banality of evil, and the ways in which good, well-meaning people often allow danger to exist and escalate, right beneath their noses.

While the town’s firefighters patrol the streets, Mr. Biedermann (Dan Hiatt), a wealthy homeowner and unscrupulous businessman, is self-righteously convinced of his own invulnerability. Hearing that a band of anarchistic troublemakers have been setting fires in the attics of houses all over town—growing increasingly bold with each new act of arson—he smugly rails against the stupidity of all who would unwittingly invite such incognito firebugs into their homes.

Then comes the knock at his door.

Schmitz (Michael Ray Wisely) is a charmingly eccentric, unemployed circus wrestler, who drops by asking for a sandwich and a bed. Biedermann is initially suspicious, but whatever he expects an arsonist to look like, this unmenacing goofball is not it. In fits and starts, Biedermann gradually warms to the sweet-faced newcomer, his easily manipulated sense of decency tangled into knots by Schmitz’s stories of his life as the orphaned son of a poor coal miner.

Biedermann’s wife, Babette (Gwen Loeb), is also suspicious, resenting the presence of the strange man lurking in her attic, but despite the gut-feeling warnings of their no-nonsense maid, Anna (Dina Percia), and a chorus of resolute firefighters (Kevin Clarke, Tristan Cunningham and Michael Uy Kelly), she eventually consents to Schmitz’s guilt-tripping guile.

Even after the arrival of the straight-talking, tuxedoed ex-con Eisenbing (Santa Rosa’s Tim Kniffin, menacingly cordial), and the rapid accumulation of gasoline barrels, fuses and detonators in the attic, the Biedermanns are afraid of appearing judgmental, their self-justifications pushing them closer and closer to complicity in the disaster that seems to be formulating right in their home.

Brilliantly directed by Mark Jackson, with a tense and escalating sound design composed of ambient noise and overlapping melodies, The Arsonists is crisp, superbly performed and deliciously fun to muse over afterwards, at once challenging, playful, and thought-provoking.

As the firefighters ominously demand, in one plaintive voice, “If the odor of change frightens you more than the odor of disaster . . . how will you stop disaster?”

Rating (out of 5): ★★★★★

If You Dare

‘Tis not folly to be Wiseau. Tommy Wiseau, star and director of The Room, is the man behind the cult film that, in some cities, has played for two or four or even 10 years.

The Room is an unusual movie. It’s mumblecore and melodrama wrapped into one big burrito. It’s a love story in a cinematic culture that pigeonholes such films as chick flicks. On April 25, it finally makes its way to Santa Rosa as part of the Roxy Theater’s weekly cult film series, which in the last seven months has brought fan favorites like Creepshow, Evil Dead, My Bloody Valentine, Troll 2 and dozens of others in popular double features every Thursday.

Local improv troupe Opposing Media will riff on the movie, MST3K-style, during the screening, and they’ll have plenty of source material. Like Troll 2, The Room is routinely cited as one of the worst movies of all time. And—by “Roomies”—one of the best.

“What people don’t understand,” says Santa Cruz filmmaker Jesse Goldsmith, “is that The Room isn’t a bad movie at all. The Room is a masterpiece. Really. One of the few essential San Francisco movies since Vertigo.”

Considering Wiseau’s international promotional tours, CNN interviews and a choice line-drop on The Simpsons (“Lisa, you’re tearing me apart!”), he must have done something right. Loosely, The Room is the story of a brooding, long-haired and heavily accented man savaged by romantic betrayal in San Francisco.

“It was a movie made by design,” Wiseau explains by phone from Los Angeles. “I spent a lot of money to create this little baby. As a filmmaker, the more colors you use, the better; the more details, the better. The elements of the story—the drugs; two are better than three; three’s a crowd—all this stuff is based on life and the interaction between humans.”

The 10th-anniversary edition of The Room on Blu-Ray includes new documentary footage that Wiseau says proves that there was a method to his romantic madness. Wiseau’s source was his own 800-page novel, which he then shortened into a play—and then a film script. (The source book may be published soon.)

The origin of the film’s cult status can be traced to an Oscar-qualifying Los Angeles screening in a theater where the only available slot was late at night. Wiseau purchased a billboard (“With good traffic—it wasn’t cheap”) to promote the screening. Thanks to word of mouth, the film drew a crowd. Wiseau ended up extending the billboard contract for five years.

The Room‘s fame has even changed the opinions of people who worked on it. “After 10 years,” Wiseau relates happily, “I’m running into people who quit the film who now want credit on it.”

‘The Room’ screens in a double feature with ‘The Big Lebowski’ on Thursday, April 25, at the Roxy Theater. 85 Santa Rosa Ave., Santa Rosa. 7pm. $10. 707.522.0330.

Heavy Machine

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Peter Williams came from Yoshi’s San Francisco to the Napa Valley Opera House last year, and as artistic director wasted no time booking world-class jazz talent: Branford Marsalis, Jack DeJohnette, Joshua Redman, Bill Frisell and many others.

This week, the Opera House’s jazz offerings continue with avant-funkalicious trio Medeski Martin & Wood. The cacophony of these bad daddies of cool are sure to light a fire under the usual provincial wine-and-cheese audiences. Many recent MM&W albums have been live, like last year’s Free Magic, and this show sees them on acoustic instruments, just like their early days of the 1990s.

MM&W get into some serious jams, but don’t compare them to Phish—these guys bring in hip-hop and funk, and even released a children’s album. Will they lay down a clown carnival of confusion and dissonance? Will it be a night dedicated to Thelonious Monk? Whatever’s on the itinerary, the show will no doubt unsettle the town with psychedelic soundscapes and unresolved riffs resting on beautiful musical architecture. Ready to take the trip? Medeski Martin & Wood lead the way on Friday, April 19, at the Napa Valley Opera House. 1030 Main St., Napa. 8pm. $25–$30. 707.226.7372.&

Invested Interests

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An overview of the city of Santa Rosa’s investment portfolio raised several eyebrows at a city council meeting on April 9.

According to a presentation by the city’s investment management team, PFM Asset Management, Santa Rosa’s $298.2 million portfolio is invested in a variety of federal, state and corporate pools. The city’s corporate investments, totaling $44.7 million, include JPMorgan Chase, General Electric and the Walt Disney Company in amounts of roughly $6 million each, and Wells Fargo, Pepsi and Toyota in amounts of roughly $3 million each, among others. Additionally, roughly $3 million is invested in the Metropolitan Water District of Southern California.

While PFM advocates so-called socially responsible investment policies by refusing corporate investments in the tobacco, firearms, alcohol, pornography, gambling and petroleum industries, councilmember Gary Wysocky pointed out that many Sonoma County residents may not consider JPMorgan Chase, GE and Wells Fargo to be socially responsible. He also questioned investments in Southern California’s water district.

Councilmember Jake Ours agreed with some of Wysocky’s concerns, calling the water district in question “the big bad guy.” Councilmember Julie Combs expressed a desire for the city to invest more in the local economy, ultimately voting not to amend the city’s current practice to allow municipal investments out of state.

While the amendment passed, council asked city staff to research the boundaries of the poorly titled social responsibility clause, to be discussed at a later date.

Rollin’ Deep

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“This Is the Roll You’ve Been Looking For,” proclaims the Jedi mind trick at Haku Sushi in Santa Rosa. Except it’s no trick—upon tasting the tuna, salmon, yellowtail, avocado and tobiko roll wrapped with cucumber and drizzled with sunomono sauce, it’s apparent that this is, indeed, the roll you’ve been looking for all along.

This crunchy, super-fresh delight is one of the dozens of rolls with deliciously witty titles at Haku Sushi, which opened last month in Santa Rosa’s Brickyard Center. Others include “What She’s Having” (if the table next to you starts to shake, this is probably what was ordered) and the deep-fried cream cheese-and-salmon spectacular, “Thunder Down Under.”

Haku also offers udon, bento boxes and other traditional Japanese fare; it’s not easy to choose with so many enticing options. Perplexed diners could just yell out, “Roll Me a Fatty!” and find themselves rewarded with a tasty combination of tuna, white tuna, salmon, avocado and cucumber wrapped in daikon radish sprouts and crab. But try to avoid eye contact with the live betta fish used as shelf decoration: after too many “fatties,” things could get weird. 518 Seventh St., Santa Rosa. 707.541.6359.

Radio Days

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Radio Days

KSRO 1350-AM and its radio-dial siblings (97.7 the River, Hot 101.7, Froggy 92.9 and Mix 104.9) have been sold to local owners by Connecticut-based parent company Maverick Media. The assemblage of new investors is led by former KSRO owner and Sonoma County resident Lawrence Amaturo.

The sale was announced to employees on Monday, says KSRO news producer Tony Landucci. “I’m definitely optimistic with the ownership being local,” he says. “I’m excited to see how it will be different having local ownership rather than someone on the other side of country.”

Amaturo, who is a co-owner of Nissan and Kia of Santa Rosa, sold KSRO and three other stations in 2000 for $30 million, reportedly paying $4.5 million for the radio properties in this deal.

Maverick Media was not exactly popular with local listeners. When afternoon host Steve Jaxon of The Drive was cut in 2010, listeners protested and he was back on the air within weeks. In 2011, the company killed popular hard-rock station 101.7 the Fox and replaced it with a Top 40 format, prompting a protest outside the station. And when the Good Food Hour with John Ash was axed from KSRO last year, the response was a mix of anger and confusion.

“Everybody’s very happy, because no one liked being owned by a company in Connecticut that didn’t know anything about Sonoma County,” says Jaxon of the sale. On Amaturo’s ownership, Jaxon has nothing but enthusiasm. “I was there in 1996 when he bought the stations,” he says. “He was new to the market then, but now he’s been here 25 years, and he knows the market inside out. It’s gonna be a great day for radio.”—Nicolas Grizzle

Hands in the Air

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Recently, after an audition at a local theater company in one of Sonoma County’s popular tourist towns, I was looking for a place to eat. It was a balmy spring evening, and as I walked from one restaurant to another, perusing the posted menus and sticking my head in the doors to check out the atmosphere, I realized that none of these white-tablecloth places were calling my name.

“Oh, my God,” I exclaimed to my partner. “Hi Five has ruined me.”

“We could go back to Guerneville,” she responded patiently.

“No, no,” I said. “I’m too hungry. Let’s eat here.”

The next evening, we were back at Hi Five.

We ordered bibimbap—a rice bowl with vegetables, fried egg, seaweed, kimchi and a choice of protein—and giant beer-battered shrimp with sushi rice and a variety of Korean condiments. Our appetizer was a paper cone of hand-cut french fries, smothered in whole chili peppers, garlic cloves, seaweed and scallion rings. It was all deeply satisfying, as expected.

Those who haven’t been to Guerneville in the past few months might be wondering what I’m talking about. The truth is, you could walk right by Hi Five without noticing it. That’s because it’s a dinnertime pop-up situated in the 1950s-style diner Pat’s, where the Hines family has been serving breakfast and lunch since they purchased the place in 1943.

At 3pm, Pat’s closes for the day and the Hi Five crew rush in to prep for dinner, stashing all the Pat’s paraphernalia in a back kitchen and bringing out the Hi Five platters and condiments.

David Bloomster, who owns Hi Five with business partner and chef Eugene Birdsall, says he’s had his eye on Pat’s for years, and sharing the space with a dinner-only restaurant is a not-too-risky way to begin.

“It’s so authentic,” he says, noting its old-fashioned soda fountain, giant wall map of Russian River fishing holes and minimalist décor. “I could never have designed it myself.”

Bloomster and Birdsall met next door at Boon Eat + Drink, one of the first major contributors to Guerneville’s culinary renaissance. At the time, Bloomster was the manager and Birdsall was the chef. They worked together for four years, developing respect for each other’s expertise.

Bloomster, whose background is in art and design, had an idea for what he calls a “postmodern” restaurant, where the setting is laid-back, the food is sophisticated, and the approach is about having fun. Birdsall, he decided, was the man who could pull this off, with years of hardcore experience and a fearlessness about which foods work together.

And it is working. So far, the restaurant is crowded every night, chock-full of locals, tourists from the Bay Area and day-trippers from Santa Rosa, Healdsburg and beyond. Clearly, there is something unique happening here, between the vintage décor, the ’80s disco music (they will turn it down if you ask), the personable, intelligent waiters and the food.

Oh, yes, the food. Birdsall combines his intimate knowledge of the Korean dishes his mother cooked in Solano County with a whimsical appreciation of American comfort cuisine and an artist’s sense of how to make food on a long, gleaming white plate look like a yummy still-life.

This results in everything from bossam—a lettuce-wrap plate with kimchi, garlic, chiles, rice, Korean soybean paste, a choice of tofu, chicken, shrimp or pork, and a huge mound of fresh butter lettuce — to mac and cheese with Korean-style beef short ribs and Asian garnishes.

Many of Birdsall’s ingredients are locally sourced, including whole pig that he butchers each week in a back kitchen. His mother joins him to make the kimchi.

The menu is divided into five sections, priced at increasing increments of $5. Each section features five dishes, except for the last one, the weekly surprise.

Many of the selections are already vegetarian and/or gluten-free. The amazing Korean fried chicken (KFC) is dipped in rice flour, instead of the usual wheat flour, before frying, and then finished with a spicy soy-ginger mixture that is made from organic, gluten-free soy sauce. The noodle bowl comes with soba, udon or rice noodles, and meat or vegetable stock. Many of the entrées offer a choice of tofu, shrimp, chicken, pork or beef.

Bloomster, who has been a vegetarian for most of his adult life, is proud that at least half of the dishes can be prepared vegetarian-style, and that one even includes tempeh.

“It’s so West County,” he says.

There’s also a small selection of local wine by the glass, good beer and designer sake, all served from the bar.

It might be an exaggeration to say that eating at Hi Five could spoil you for other restaurants, but try it once, like my partner and I did, and you’ll be back.

Hi Five, 16236 Main St., Guerneville. 707.869.8006.

Road to Destruction

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Look, I know they’re called CalTrans, and I know their name doesn’t stand for “Caring Always, Loving the Rain and Noble Soil.” They’re in the business of roads, which by their nature pave paradise.

But CalTrans has a problem, and since it’s that time of year when the words “Earth Day” appear so cheerfully in marketing materials but not as often as they should in indictments of public agencies, let’s look at CalTrans’ relationship with the environment right now.

First came Rachel Dovey’s report in the Bohemian, in January, about the dozens of redwood trees cut down recently along Highway 101. Rather than protecting the redwoods, CalTrans promoted their removal by allowing the job contractor, Ghilotti Construction, to take possession of and sell the trees for a profit. In fact, Ghilotti was able to pocket $98,000 by selling 200 of the logs back to a public agency—the county of Sonoma. How can a private company profit from removing, then selling, public property? Because, in the words of a county planner, CalTrans classifies redwood trees as “debris.”

Then, at the beginning of April, CalTrans called on a CHP SWAT unit to forcibly remove five tree-sitters protesting the Willits bypass, a project with assured environmental impacts. At dawn, the SWAT officers used cherry pickers and lead bean-bag bullets to extract the protesters from the trees and arrest them, despite there being mediation talks planned with state leaders over the project.

And last week, CalTrans netting along the Petaluma River bridge on Highway 101 was found to have ensnared and killed over a hundred cliff swallows, a protected species. Sebastopol’s Veronica Bowers of Native Songbird Care and Conservation alerted the agency one month ago to the issue, but despite a rising chorus of protest and filmed documentation of the birds’ twisted necks and wings caught in the netting—killing them dead, dead, dead—CalTrans has repeatedly refused to remove the nets.

Yes, CalTrans is in the business of roads—those things that help with forward motion. Would that the agency overseeing them could embrace some forward thinking as well.

Gabe Meline is the editor of this paper.

Open Mic is a weekly op/ed feature. To have your topical essay of 350 words considered for publication, send it to op*****@******an.com.

You Have Died

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“Welcome to Death Cafe!”

Linda Siniard stands before a mix of newcomers and regulars—Siniard calls the latter “repeat offenders”—on a sunny Saturday afternoon in Sebastopol. About 25 people have gathered here in the bright, windowed lunchroom of O’Reilly Media, where Siniard works. Near her is a small round table, on which a makeshift altar—flowers, stones, candles and photos—shares space with several stacks of paper: a questionnaire; downloaded information about end-of-life services; a fill-in-the-blank list that, when filled out, provides all the personal information loved ones might need—computer passwords, location of birth and marriage certificates, phone numbers for family members, insurance carriers, business and medical contacts, and so on.

There’s also a stack of business cards.

On one side is a photo of a latte with a death skull swirled into the coffee’s foam. On the other, Siniard’s smiling face and the catchy slogan, “Where life and death meet, make friends . . . and eat cake.”

Thus begins another Death Cafe.

“Is there anyone here who is in the early stages of grief?”

Siniard watches as a few hands slowly rise around the room.

“You’re welcome here,” she says, “and we hope you’ll stay, but you should know that some people in the early stages of grief find that this is not a great fit for them. Death Cafe is not a therapy group, though it does sometimes have therapeutic outcomes. We laugh a lot more than we cry. We do cry here, but we laugh even more.”

After her introductory remarks, Siniard invites everyone to find a table with three or four others and start the conversations. There are no rules and no guidelines.

At one table, a spontaneous review of the Albert Brooks afterlife comedy Defending Your Life leads to a lively exchange about great death-themed movies. At the next table, after each person has explained his or her particular interest in death, the topic rapidly turns to parents and the struggle of finding end-of-life options for parents unwilling to face that they can longer be independent. At another table, an artist who claims to be able to speak with the dead describes her process of sculpting dolls to help the living with their grieving process.

Today’s cafe has drawn a wide mix of people, from grounded and fact-based realists to more spiritually inclined adventurers. Some want to talk about their feelings. Some are seeking practical information about how to write a will. Around the room, the tone is respectful, curious, interested and supportive.

“This is a personal mission for me,” explains Siniard, who’s currently working toward her Ph.D. in thanatology, the study of dying, death and grief. “A lot of us here are involved in death and dying in some way. Some are grief counselors or hospice workers; some are doctors, ministers or funeral directors—something that has to do with end-of-life or post-life work and thought.”

The Sonoma County Death Cafe is one of about 60 that take place all over the world. Siniard’s Sebastopol-based version, which she started in December, was recently featured in an NPR segment about the worldwide Death Cafe movement (www.deathcafe.com), started in 2011 by English web designer Jon Underwood.

Underwood was inspired by the work of French sociologist Bernard Crettaz, who, recognizing that modern-day humans are widely uncomfortable with death, began hosting public discussions on the subject of mortality, meeting in Paris cafes. Deciding to create his own Death Cafe in London, Underwood held the first meetup in the basement of his house, with his mother, a psychotherapist, serving as moderator for the discussion.

Tea and cake were served, which immediately became one of the expected elements of any new Death Cafe. Other guidelines are that they must be free, they must encourage confidentiality and a sense of security, there must be no intention of leading participants to any particular conclusion, product, belief system or course of action—and there must be cake.

“Death Cafe is very much a grass-roots type of movement, all-volunteer,” Siniard explains as a few latecomers grab a cup of coffee or tea and a slice of cake, and find a conversation-in-progress to join. The goal of the cafe, simply put, is to take some of the stigma out of death, the one element of life that everyone shares in common. We all die. We might as well have a little fun with it on our way to facing it.

“For me, the Death Cafes have been a very positive experience,” nods Siniard, who lost her son a few years ago. “The goal of the cafe is to take the subject of death out of the closet, out of the very secret, painful place it’s been kept for years, and to make it normal.

“Because, really, what’s more normal than death?”

Project Censored: The Movie

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The 16th Annual Sonoma International Film Festival was host to a bevy of films, and one, Project Censored: The Movie, may be the most important film I’ve seen in terms of inspiring media consumers to seek outlets that speak the truth.

If you know about Project Censored, you’re probably not surprised that I am a fan. For those unfamiliar, it is a nonprofit located at Sonoma State University whose mission is to “teach students and the public about the role of a free press in a free society — and to tell the news that didn’t make the news and why.” Each year, Project Censored publishes a book of the 25 “top censored stories and media analysis.” The stories are collected by students and faculty and are vetted by media professionals.

Project Censored was founded in 1976 by Carl Jensen and was housed in the Sociology Department at Sonoma State University until it spun off and became its own nonprofit, the Media Freedom Foundation. This allowed Project Censored to be more autonomous and to reach out to other schools across the country in order to have a wider net with which to catch untold stories.

Project Censored: The Movie is directed by Doug Hecker, a former participant in Project Censored, and Christopher Oscar. In it, the two attempt to answer the question: “What will it take to end the reign of corporate media’s junk food news?” The night the film premiered at the Sonoma festival, 200 people were turned away. There was an additional showing later in the weekend, and a third showing was added at 9 p.m. Sunday night to accommodate the crowds.

Hecker and Oscar’s inspiration to make the film stemmed from their role as fathers, and wanting to leave behind a news legacy worth something. They talk about “junk-food news” and why corporate media fails to report the truth. Interviews with Howard Zinn, Oliver Stone, Noam Chomsky, Michael Parenti, Daniel Ellsberg and Dan Rather, among others, are eye-opening, particularly to the uninformed media consumer.

Khalil Bendib, a political cartoonist, talks about the top-down structure of the news and how corporate ownership hides the truth.

“General Electric owns NBC. General Electric is a bomb maker. NBC is not going to be against war,” he said.

My personal hope is that this film is widely distributed. It seems to me that often, films like this are only seen by people who already know the problems, and simply preach to the choir. If this film is seen by many, it could shed some light in otherwise dark corners of reality and inspire people to take a more active role in their news consumption.

When asked to reflect on the role of the alternative media, Bendib says, “I would compare it to oxygen, really.”

Burn Notice

Aurora's 'Arsonists' is incendiary

If You Dare

Is 'The Room' the worst movie ever, or a masterpiece?

Heavy Machine

Medeski Martin & Wood lay down grooves in Napa

Invested Interests

An overview of the city of Santa Rosa's investment portfolio raised several eyebrows at a city council meeting on April 9. According to a presentation by the city's investment management team, PFM Asset Management, Santa Rosa's $298.2 million portfolio is invested in a variety of federal, state and corporate pools. The city's corporate investments, totaling $44.7 million, include JPMorgan Chase,...

Rollin’ Deep

"This Is the Roll You've Been Looking For," proclaims the Jedi mind trick at Haku Sushi in Santa Rosa. Except it's no trick—upon tasting the tuna, salmon, yellowtail, avocado and tobiko roll wrapped with cucumber and drizzled with sunomono sauce, it's apparent that this is, indeed, the roll you've been looking for all along. This crunchy, super-fresh delight is one...

Radio Days

Santa Rosa's oldest radio station returns to local ownership

Hands in the Air

Hi Five in Guerneville an unassuming, rewarding pop-up

Road to Destruction

This Earth Day, raise a middle finger to CalTrans

You Have Died

How are people going to remember you? The Death Cafe is here to help

Project Censored: The Movie

New documentary on Project Censored an eye-opener
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