Jan. 27: Hoodoo Rhythm Devils at the Sweetwater Music Hall

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The Hoodoo Rhythm Devils were one of those bands from the ’70s that really should have made it big. They were tight, sounded great, put on an awesome live show and could play all day long. They played funky country blues that instantly turned a lazy Sunday backyard barbecue into a prime time event. They’re a no-bullshit band, and maybe that’s why they didn’t make it to that next level in the music biz—it’s tough to make it without makeup and stage effects. They made five albums for Capitol, Blue Thumb and Fantasy records throughout the ’70s, and reunited last year when they released The Lost Album, apparently recorded in their prime but never released. Hoodoo Rhythm Devils play Sunday, Jan. 27, at Sweetwater Music Hall. 19 Corte Madera Ave., Mill Valley. 8pm. $20. 415.388.3850.

Museum as Meta

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“Do you want to see the attic?”

I’ve been at the Sonoma County Museum for 45 minutes when Pat Lenz says the seven words I’ve been dying to hear. Of course I want to see the attic, and on she leads me up a narrow staircase, twisting and turning until, with a flick of a light switch, before me is an enormous part of the museum I’ve never seen before.

Parts of the Museum You’ve Never Seen Before take center stage at “In My Back Yard,” an exhibit opening Jan. 25. During October and November, over a hundred photographers visited the museum, given free access to every square inch; the result is an extensive series of 10-by-10-inch photos of the building’s corners, crevices and angles, displayed inside the museum itself.

“I think what’s going to be interesting is the mix of what we call professional versus amateur,” says Lenz, who, with co-curator Dominic Egan, first produced the “In My Back Yard” idea at her SlaughterhouseSpace Gallery in Healdsburg. When digital photography, and especially photo filtering services like Hipstamatic and Instagram, rose in prominence, many professional photographers dismissed it as cheating. But “you can’t fight it,” says Lenz, “and you have to kind of say, in a way, ‘This is good for photography.”

Interestingly, the photos are displayed without labels, so that professional photographers hang beside hair stylists popular on Instagram, tinkerers with Hasselblads, the clients of Becoming Independent and students from the SRJC. The prints are for sale at different prices, but how visitors react is based purely on the work itself.

There is an old saying about photography stealing one’s soul, but “In My Back Yard” serves instead to uncover the soul of the museum. Images were taken while laying flat inside the elevator, balancing on a ceiling joist, craning beneath a thermostat. “I did actually hear the staff say, ‘Oh, wow, I’ve never seen that part of the museum before,'” notes Egan.

The great stucco building, with four giant columns and Spanish-style roof tiles, was built in 1910 as the Santa Rosa Post Office and Federal Building, on Fifth Street. In the 1970s, misguided city planners negotiated construction of the mall, and the building was slated for demolition. In perhaps the most famed architectural preservation in the city’s history, historical architect Dan Peterson arranged for the building to be slowly towed for 800 feet, on railroad tracks, to its current site.

In the show, subjects range from the lobby’s elegant chandeliers—rescued in 1979 from the Poulsen Building at Fourth and A streets, another casualty of the city’s shopping mall—to unassuming piles of clutter in a back room. An image by Ned Kahn shows a splatter of water—from a fountain? a sink?—while others feature models walking, literally, on the walls of the space.

There’s a Dadaist sculpture by Boris Landau, a large 45-by-45-inch lenticular photograph by Margeaux Walter and Robin Lasser, and larger black-and-white prints by Bob Cornelis. Sausalito artist David Broom has a full wall, and Shanti Knapp, Hanya Popova Parker, Sara Webb, Cat Kaufman, Mary Jarvis, Mario Uribe and Jan Nunn are but a handful of the participants in this encompassing, inviting show.

From the attic, I find what I’ve been looking for. In the public staircase of the museum is a wall; about six feet up from the floor is a mysterious door with no steps or ladder leading to it, an awkward relic from the building’s former use. Like many museum visitors, I have often wondered where that door leads, and there in the attic, behind a chain, I find a similar-looking door. Could it be?

I crack the door slightly, and see the staircase below . . .

Letters to the Editor: January 23, 2013

Farewell, Tinker

It was with great sadness to learn of the death of an old River staple, Alex “Tinker” Lazlo. I feel compelled to not let Tinker’s passing go overlooked or let his importance in our community’s history be overshadowed by his scarcity in his fading years.

Tinker was a River icon, a man whose memory and words evoke a smile and a sense of being a part of something. He was the first person I met when I moved here over 30 years ago. He had his fix-it shop where the Gasco now stands, and I came to him with a broken chainsaw.

I grew up with guys like Tinker. He was from South Philly, I was from industrial northern New Jersey—downwind from each other, he used to say. When I met Tinker in my first week as a River resident in the spring of 1981, I knew I was home.

I knew Tinker through his lean years, during his golden ones after he married Jane and had his sons and beyond. I remember when he started his video store. This was back in the day where recorded VHS tapes were around $100. I had acquired a collection while writing for an underground free press in L.A. the year before I moved here. I loaned him the most bizarre ones I had to get his “Offbeat” section started. These movies were rated X—not for anything unsavory, mind you, but for their shocking content: Andy Warhol’s Frankenstein in 3-D, John Waters’ Multiple Maniacs and Mondo Trasho, replete with puke eaters and a giant homicidal lobster, to name a few.

When the town flooded shortly afterward, I stopped by to check on Tinker’s store. Basically, all was lost. While helping him clean up, we found my movies floating in mud and debris. He stood next to me, bumped my shoulder with his, smiled and said, “Just between you and me, some things are just too disgusting to exist.” In the midst of a disaster, Tinker’s humor, as always, prevailed, and we laughed like crazy in agreement.

Years later, at his beloved Jane’s memorial service, he was adamant about interring her eyeglasses with her, as reading to her students and her sons was her favorite thing to do. In the eyeglass case, I noticed a piece of paper. When I asked Tinker what was written on it, he told me there were two pieces, one of which he told me was “Hopefully, the sweetest love letter she’s ever read. “

We can measure our true worth by the friends we acquire along the way, and define ourselves by those moments we’ve shared with them. Thank you, Tinker, and goodbye, my old friend. For some of us, you made all the difference in the world.

Guerneville

Violence Against Women

The issue of violence against women is critical. While the statistic for violence against women varies within each city, county, state and country, the United Nations states that, globally, one in three women on the planet will be raped, beaten or sexually abused in her lifetime. Do the math—that’s 1 billion mothers, daughters, sisters, aunts, grandmothers, nieces. This is an atrocity.

VDay.org is inviting 1 billion women and those who love them to walk out, dance, rise up and demand an end to this violence on Feb. 14. One Billion Rising will move the earth, activating women and men across every country. V-Day wants the world to see our collective strength, our numbers, our solidarity across borders.

One Billion Rising is a global strike; an invitation to dance; a call to men and women to refuse to participate in the status quo until rape and rape culture ends; an act of solidarity, demonstrating to women the commonality of their struggles and their power in numbers; a refusal to accept violence against women and girls as a given; a new time and a new way of being.

While numerous One Billion Rising events are scheduled in the Bay Area, two, in particular, are scheduled for the North Bay: Dominican Rising (at Dominican University) and North Bay Rising (in Petaluma). To participate at the event nearest you, go to www.onebillionrising.org.

Join us, along with over 182 other countries, in rising and saying “No more!” to the violence.

Petaluma

Think Positve

I just wanted to send a gigantic thanks to Brian Thomas Gallagher for his terrific review of Oliver Burkeman’s new “anti-positive thinking” book. I’ve been waiting forever for this!

Santa Rosa

Write to us at le*****@******an.com.

Co-Op Country

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On Jan. 26, the Share Exchange presents a workshop on co-ops, focusing on worker ownership. Co-op developer and author of Holy Cooperation! Andrew McLeod will lead the presentation, which includes introductions to various cooperative forms and startups and envisions how Sonoma County could benefit from the unique business model. McLeod examines a cross-section of faith and cooperative economics, taking a hard second look at social practices that have fallen out of favor in mainstream business and religious circles. Sponsors include Summit State Bank, Alvarado Street Bakery, Community First Credit Union and others. Attendees are asked to bring their own bag lunch. The daylong workshop is on Saturday, Jan. 26, at the Share Exchange. 531 Fifth St., Santa Rosa. 9am–4pm. $40–$50. 707.583.7667.—Rachel Dovey

Co-Op Country

Cotati City Councilmember Pat Gilardi has accepted a job as district director for county supervisor Susan Gorin. Gilardi had served on the Cotati City Council for 13 years and won reelection last November, but the lure of working for Gorin—a $73,000 annual salary helps—proved too strong to resist. This leaves the city with another vacancy, the fourth in the past four years. Each of the other spots has been filled by appointment rather than special election, which could cost the city upwards of $20,000. This is by far the most positive of the four vacancies, however; other open seats being caused by campaign finance scandal, special recall election and a sudden, unexpected death. But it leaves the city with another new face to get used to, with a first-time mayor on the dais.—Nicolas Grizzle

Don’t Talk Back

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Songwriters Jerry Leiber and Mike Stoller met as teenagers in Los Angeles, and were one of rock ‘n’ roll’s most prolific songwriting team.

The legendary duo was responsible for hundreds of hit songs, many considered among the greatest rock songs of all time. Eschewing simple love-song formulas, Leiber, who died in 2011, and Stoller borrowed playfully from the vernacular youth speech and slang of the day, imbuing their songs with a potent theatricality that was more than just musically satisfying. From “Yakety Yak” and “Charlie Brown” to “Jailhouse Rock” and “Love Potion No. 9,” Leiber and Stoller’s songs were pure, infectious fun.

In 1995, one of Broadway’s biggest hits was Smokey Joe’s Cafe, a giddily entertaining, thoroughly plotless stage revue featuring 40 of Leiber and Stoller’s best songs. Named for the song of the same title, itself originally written for the 1950s doo-wop band the Robins, Smokey Joe’s Cafe—which has just opened a three-weekend run at Sixth Street Playhouse—is a big bouncing ball of nostalgia, with no dialogue whatsoever. Just songs, songs, songs, flowing from one to the next like a jukebox stuck in overdrive.

Directed by first-time director Alise Girard, who’s choreographed several of Sixth Street’s recent shows, the show features nine performers who take turns bringing this hit parade of tunes to life through Girard’s inventively kitschy chorography.

The songs are a heady blend of less familiar works—”Pearl’s a Singer,” “Neighborhood,” “Dance with Me,” “I Keep Forgettin'”—and tunes that evoke an instantaneous jolt of affection and sentimental recollection—”On Broadway,” “There Goes My Baby,” “Spanish Harlem” and “Stand by Me.”

Backed up by a first-rate band under the direction of Mateo Dillaway, the tunes unspool on a set that resembles a 1950s dance show. Girard keeps things spinning, with plenty of clever bits of business worked into the performances of the songs, spanning the emotional spectrum from puppy love to serious heartbreak.

Each performer is given an opportunity to display his or her individual gifts—for belting out a tune, dancing up a storm or engaging in wacky physical comedy—ultimately transforming the rather thin undertaking into a robust and energetic young artist showcase.

After all, Smokey Joe’s Cafe is basically a celebration of an art form born of youthful dreams, designed to make us feel young, or feel young all over again. In the words of the song that ends the show, baby, that’s rock ‘n’ roll.

Forks & Corks

Just because the last of the Christmas trees have been plucked from the sidewalks and the Santa plates packed away for another year doesn’t mean we need to stop eating, drinking and making merry. Case in point: Forks and Corks, a four-part dinner series at Healdsburg’s Spoonbar that kicks off this Saturday, Jan. 26. Seven chefs a-cooking. Three sommeliers a-pairing. Even a mixologist with a rare recipe.

Hosted by Spoonbar’s own executive chef, Louis Maldonado, each of the four themed dinners are co-created by top Bay Area chefs and wine experts. For the debut meal, Maldonado teams with Michelin-starred chef James Syhabout (pictured) to celebrate global influences and local Sonoma ingredients with dishes that include sea urchin and crab in a coconut bath, Guinea hen with green curry aromatics, and Parsnip milk tapioca with mandarins.

“Where Land Meets Sea” is the theme for the dinner on Feb. 23, which will feature Outerlands’ chef Brett Cooper alongside Sommelier Kevin Wardell of Bergamot Alley. The series wraps up with an as-yet-to-be-decided themed meal prepared by chef Lauren Kiino and sommelier David Lynch on April 20. With the exception of March’s Swine and Wine Dinner, which is part of the Annual Pigs and Pinot Celebration package, all meals include six courses for $110.

For more information and to reserve a seat, call 707.433.7222.

Power to Persuade

Preserving wildness takes certain skills. Many conservationists are lawyers, persuasive writers and speakers. But we can’t leave earth-saving to the professionals. “All hands on deck!” is the urgent cry. The internet gives us power to reach out, but to be effective in moving others, we need to take some tips from the radically altered world of . . . sales.

Daniel Pink, author of To Sell Is Human: The Surprising Truth About Moving Others, claims that all of us are now in sales—a pursuit so changed from what it once was that it is hardly recognizable.

If we loathe the very idea of sales (as the author did before he researched his book), it’s time to toss out obsolete stereotypes. Pink posits that the era of the sleazy used-car salesman is over—as irrelevant as the social structures that once gave him power to exploit naïve buyers. The internet gives (almost) everyone the power of information, so whether it’s retail purchases or medical treatments, we are virtually immune to victimization by sleazes—who, by the way, no longer thrive in today’s marketplace.

Most of us buy and sell online, but those of us who are not selling products or services for a living are nevertheless doing what Pink calls “nonselling sales”: moving others. We do it with every email we send, every pitch we make to friends or employers to entice them to see things or do things differently.

Moving others demands skills entirely unlike the ones used in scripted, predatory sales. Nonsales selling requires cooperation rather than competition, and compassion rather than coercion. Even more surprising, the new practice of moving others is rooted not in money-grubbing but in service to others and to making the world a better place. Pink is not pushing an imaginary idealism here, but rather demonstrating the results of scientific research. Studies show that we do better work (including traditional product sales) when we are serving more than our own self-interest, and we perform at higher levels when we know we are serving a higher cause.

To perform well in our work—as teachers, restaurant servers, doctors, shopkeepers, lawyers, health professionals, contractors and, yes, nature advocates—we must develop skills of attuned and empathic listening, seeing things from others’ perspectives, responding positively to the suggestions of others and measuring the success of our endeavors not upon whether we have sold an item or an idea but whether we have made things easier for another human being, and thus made the world a little better.

“In wildness,” Thoreau wrote, “is the preservation of the world.” In moving others is the preservation of wildness.

Butchery by the Bay

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Here’s a fun survey to take in a room full of beef industry executives: How many of y’all went through that phase in high school when you went vegetarian, you know, for ethical reasons? Any hands?

Count Anya Fernald, for one. Having read that it takes 12 pounds of grain to make one pound of beef, the earnest student swore off meat. After college, she worked with cheesemakers in Sicily, coordinated Slow Food Foundation programs in Europe and directed San Francisco’s Slow Food Nation event. Now, as CEO of Belcampo Meat Co., she says, “I love meat, I love talking about it, love thinking about it!” Clearly, she’s comfortable with the ethics of this new venture.

Belcampo is an ambitious “ranch to table” operation. Unlike smaller grass-fed operations that can only offer shares of animals in frozen parcels, Belcampo has scaled up a vertically integrated production, processing and retail system that’s set to go statewide. The first in a chain of butcher shop and restaurant outlets opened in Larkspur in November 2012.

Fernald was initially brought in as a consultant when investor Todd Robinson purchased land in Siskiyou County, she says, speaking a mile-a-minute from her Oakland office. Little wonder. She’s also developing a 20,000-acre sugar plantation in Belize with a “farm to bottle” rum distillery powered by biomass, plus coffee and chocolate, and a 12-room agritourism lodge.

“It’s bigger and more engaging in some ways than the California operation,” Fernald says. “There’s lots of chemical agriculture in Belize, and it’s a very, very delicate ecosystem in an amazing delta of rivers.”

As if that wasn’t enough, Fernald also consults for Belcampo’s cattle ranch in Uruguay. That’s a commodity operation, and the beef will never be shipped to the California market, Fernald insists. “I don’t care about the math, it just doesn’t feel right.”

Unlike Uruguay, however, lack of viable grass during summer months is a big issue in California’s grass-fed beef business. “I’ve seen enough of the shady side of grass farming,” Fernald avers. At Belcampo’s CCOF certified organic ranch, a crew of veteran ranchers and bright-eyed ecology graduates are able to keep the cattle on pasture for all but a one-and-a-half-month “bridge” during the year.

The secret to their system is, it’s not just cows. It’s a mob. Cattle, sheep, goats, heritage pigs, ducks and chickens are rotated through the pasture inside electrically fenced enclosures. “Keeping all those animals is kind of a party trick,” Fernald says. “The animals look almost crowded.” Because the differing species graze at different levels, Belcampo’s farm managers can extract more productivity from this relatively poor range land. Following just three days of grazing, a particular area is rotated into one full year of rest.

The contemporary farm buildings include a kitchen, where future events will be held—for instance, they’re talking with local author and Butcher’s Guild cofounder Marissa Guggiana about holding butchery classes there.

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“The whole production of food has been totally deskilled,” Fernald laments. “To get people to appreciate the quality, we need to re-professionalize the people who sell meat.” Belcampo opened its own slaughterhouse in Yreka, 20 minutes north of the farm. Animal Welfare Association–certified and designed according to the prescriptions of compassion-in-butchery advocate Temple Grandin, the abattoir is a key link in a transparent, easily traceable system, all the way to the consumer.

Echoing the farm’s Mount Shasta view, Belcampo’s Larkspur outlet is located at the Marin Country Mart, in the evening shadow of Mt. Tam, across from the Golden Gate ferry terminal. The big, red “B” painted on the building is hard to miss. Designed like an old-fashioned butcher shop, with white tile walls and marble counters, it’s a fairly straightforward space, with nothing stagey about it.

The cold case is neatly stocked with popular cuts, eclectic cuts and discovery meat: dry-aged picanha and bavette steak, ground beef and ground steak, lamb sirloin, pork belly, lamb hearts and lardo butter by the pound; quail, squab, duck and goose, too. So far, the lamb hearts are mainly popular with Marin County dog owners, says head butcher Chris Arentz.

Guardians of less gourmet dogs may be happy with the “dog grind” from the freezer case, comprised of lamb lungs and, well, other stuff. Leaving little opportunity to waste the animals that they’ve so thoughtfully raised is integral to Belcampo’s retail model.

If an item seems over-ordered, they can turn it around in the restaurant. The casual eatery adjacent the shop offers a short menu that changes daily. Order at the counter, take a number and sit; the wait isn’t long, and meanwhile, you can watch your Belcampo cheeseburger ($11) sizzling on the grill in the open kitchen—if the kitchen fans drown out the already unobtrusive music, that’s part and parcel. The burger is the real deal—fresh, moist ground beef on a toasted sesame bun, with butter lettuce, aioli and chutney. It’s simple, original and focused on the meat. A savory side of petite, fried Brussels sprouts ($6) is grilled blackly, caramelized and doused in citrus juice.

Menus change daily, and recently included a goat sandwich with Red Hawk cheese ($15), ham steak with honey and mustard ($11), beef tallow fries ($5) and several attractive-looking salads.

It’s not surprising to find Anya Fernald at a business meeting in the restaurant, although she’s slowed her pace just a bit, with infant daughter Viola in her arms. She’s taken a liking to chewing on lamb bones and goose thighs already, says her proud mother.

Belcampo plans a slow launch of shops in San Francisco and Los Angeles this year, topping out at 10 in California. They’re limited by what the farm can supply, and Fernald wants to make sure they’ll never be another sustainable-meat operation that ends up in the red.

“I want to be the one who figures it out and is here in 20 years,” she says. “And is thriving in 20 years.”

Belcampo, 2405 Larkspur Landing Circle, Building 4, Larkspur. 415.448.5810.

Blood Lines

North Bay rappers Distant Relatives consistently deliver as an emerging force in Bay Area underground hip-hop. Raised in Rohnert Park and Santa Rosa, lyricists Vocab Slick (Brian Gibson) and Maynee (Joseph Carter), along with Ireland native DJ Ricky Switch, are 10 years deep into representing the “Boondox” of Sonoma County. After releasing their second mixtape and fourth full-length album Re-Soul, Distant Relatives join Bay Area hip-hop legends Blackalicious on Jan. 26 at the Phoenix Theater.

The group’s lyrics are relevant, weighted with content and intentionally distanced from the materialistic assault of the commercial rap game. On the title track, Vocab rhymes: “Makes no difference what your skin color is / or where your residence / town house or tenements / Long as your sentiments / are well thought like sentences / We all have dreams that outweigh our measurements.”

“We speak a positive message,” says DJ Ricky Switch. “One song at a time, one person at a time makes a difference.”

For the Re-Soul mix tape, the group took it back an era. “We were doing a lot of dubstep and getting burnt out on it,” says Vocab. “Maynee and I started rapping to these soul inspired hip-hop beats, to sharpen our songwriting and get into the next Distant Relatives album. We recorded a few songs, and it took off from there. It’s a nod to the old school.”

Re-Soul is a beat-driven followup to Distant Relatives’ 2011 album This Changes Everything, an impressive live-instrument project produced by local audio wunderkind Rick Vargas, sound engineer for TRI Studios in San Rafael and producer for Carlos Santana, Furthur and Lauryn Hill. “I linked up with Rick at Laughing Tiger Studio [in San Rafael],” says Vocab. “After sessions ended for the day, we had the use of every instrument in the place, and he can play 90 percent of them. We have Hammond B3 organs on there, Wurlitzer keyboards, live drums, all kinds of shakers and guitars, trumpets. He was the brains behind what the sound was going to be, and pretty much scripted a movie score for us to rap to.” (The record features guests the Grouch & Eligh and Zion-I.)

Even with several side projects and another album in the works, Distant Relatives are far from satisfied. While preferring to proceed without a formal label, the group continues to rise. “We are independent,” clarifies Vocab. “Strictly DIY, do-it-yourself. What you see is because we worked hard to do it.”

Dignified Senility

Rather startlingly, Quartet is the first movie to be directed by Dustin Hoffman. You’d never guess in a thousand years he was behind the camera; there’s little trace of the actor whose against-the-grain, immersive performances changed movie acting in the 1970s.

The film is a cattle call for every British thespian over the age of 60. When not repeating the maxim about old age not being for sissies, the retirees at a home for aging musicians instruct visiting music students. The place is in fiscal trouble, and the hopes are that a charity gala might save the manor with the reunion of four singers whose performance in La Traviata is still cherished decades later.

Billy Connolly plays Wilfred Bond, recovering from a stroke which has left him an erotomaniac. (“It’s the stroke talking,” he says after delivering himself of some dirty reminiscences.) His good female friend and co-star Cissy (Pauline Collins) is drawn deeper into senility. And the most reluctant hold-out is the new arrival at the home, Jean Horton (Maggie Smith), once a heartbreaker, now so unnerved that even a passing cart full of laundry makes her jump.

She makes a twofold refusal to perform music live: she can’t give a substandard performance because “I can’t insult the memory of who I was.” But the other half of her reluctance is guilt: the fourth member of the proposed reunion is her ex-husband and former partner, already a resident when Jean arrived.

Tom Courtenay, playing ex-husband Reginald, asks the question “Did she know that I live here?” with two different emphases; it’s a taste of his range. When this movie gets overfond of its cast, Courtenay cools it down. He shows the cold blue light of old age, the irreconcilable hurt. He thought he could count on “dignified senility” in his last years, until the ex-wife who crushed his heart turns up to rekindle the pain. In a movie this essentially mushy, he stands tall.

Quartet is ultimately a gathering of actors lining up for a curtain call; however deserved that applause is, they have so much more to give.

‘Quartet’ opens Friday, Jan. 25, at the Rafael Film Center, 1118 Fourth St., San Rafael. 415.454.1222.

Jan. 27: Hoodoo Rhythm Devils at the Sweetwater Music Hall

The Hoodoo Rhythm Devils were one of those bands from the ’70s that really should have made it big. They were tight, sounded great, put on an awesome live show and could play all day long. They played funky country blues that instantly turned a lazy Sunday backyard barbecue into a prime time event. They’re a no-bullshit band, and...

Museum as Meta

At 'In My Back Yard,' the Sonoma County Museum is the subject

Letters to the Editor: January 23, 2013

Letters to the Editor: January 23, 2013

Co-Op Country

On Jan. 26, the Share Exchange presents a workshop on co-ops, focusing on worker ownership. Co-op developer and author of Holy Cooperation! Andrew McLeod will lead the presentation, which includes introductions to various cooperative forms and startups and envisions how Sonoma County could benefit from the unique business model. McLeod examines a cross-section of faith and cooperative economics, taking...

Don’t Talk Back

'Smokey Joe's Cafe' a nostalgic revue

Forks & Corks

Just because the last of the Christmas trees have been plucked from the sidewalks and the Santa plates packed away for another year doesn't mean we need to stop eating, drinking and making merry. Case in point: Forks and Corks, a four-part dinner series at Healdsburg's Spoonbar that kicks off this Saturday, Jan. 26. Seven chefs a-cooking. Three sommeliers...

Power to Persuade

It takes salesmanship to preserve nature

Butchery by the Bay

Belcampo Meat Co. poised for expansion, longevity in the sustainable-meat business

Blood Lines

Distant Relatives on 'Re-Soul'

Dignified Senility

'Quartet' an adagio on age and music
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