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vacuums, rakes and brooms, but they have not presented documented evidence of the loss of jobs in the many cities where bans have been enacted.

In fact, more people are usually hired when bans pass and less money goes to buy, maintain and fuel machines and protective gear. Green, sustainable landscapers and gardeners who do not use blowers have received business boosts in Santa Barbara and elsewhere that have banned blowers. On the other hand, documention shows that blowers create air pollution and cause asthma attacks, which can ruin more than livelihoods.

A vote on the ban is likely to come before the Sebastopol and Sonoma councils sometime in the fall. Both cities also have three seats up for re-election on their councils on Nov. 2, so leaf blowers are likely to become an election issue. Sonoma’s leading advocate for a ban, Lisa Summers, is apparently considering a run for the council.

Members of Quiet Orinda (www.quietorinda.com), a Contra Costa County town, attended the Sonoma meeting. They hosted a June 26 summit that launched the No Blow Coalition. At that meeting, physician Michael Kron likened workers who use leaf blowers to coal miners whose lungs are damaged by their hazardous work and who need protection.

Does researching health studies and facts and educating the public and lawmakers seem “extreme,” as Santa Rosa’s daily tries to paint the increasing number of leaf-blower opponents?

The logic (or lack of it) used by the daily resembles the faulty thinking employed to fight laws to restrict cigarette smoking and second-hand smoke. Such fallacious arguments were used to oppose laws requiring seat belts and other protective regulations against deadly practices.

Once the public is educated about leaf blowers’ multiple offenses, the widespread banning of the machine is likely. Better that it happen sooner here in Sonoma County, rather than later, after our common air has been more spoiled and people are further injured by that contamination.

Shepherd Bliss has owned an organic farm in

Sebastopol since l992 and currently also teaches

at Sonoma State University. He can be reached at

sb3@pon.net.

Open Mic is a weekly feature in the Bohemian.

We welcome your contribution. To have your

topical essay of 700 words considered for

publication, write openmic@bohemian.com.

By Shepherd Bliss

he city councils of Sebastopol and Sonoma, both by 4-to-1 votes, moved closer this month toward banning leaf blowers. They could

join dozens of California cities that already restrict what some describe as “debris” blowers. Though a few Marin County cities already ban them, no city in Sonoma or Napa counties yet does.

For its part, Sebastopol passed a comprehensive noise ordinance, prohibiting most noises above 55 decibels by day and 45 decibels by night. Leaf blowers tend to scream significantly above 55 decibels, as well as shoot air and debris up to 200 mph, kicking up many toxins. After Sept. 6, any Sebastopol resident can call the police for blower noise; violators can be fined up to $500.

Over in the valley, Sonoma referred the issue to its Community Services and Environment Commission. A ban was supported by strong editorials in both Sonoma newspapers and by articles and letters from various residents, as well as testimony at the city council meeting by eight residents. Lynn Clary, for example, objected to the blowers because they create “huge clouds of dust containing urine, feces and dog hair,” which regularly blow across her yard. Only one person defended the highly polluting machine.

Sonoma councilmembers Ken Brown and Joanne Sanders, who typically represent different constituencies, combined efforts to put a ban on the agenda. Objections to leaf blowers tend to unite people who differ on other political issues but agree that leaf blowers create noise and air pollution, and thus threaten the quality of life.

Sanders noted that leaf blowers are not used in France. “They vacuum the leaves,” she noted. “They have clotheslines there, and clotheslines and leaf blowers don’t go together well.”

On the day of the Sonoma vote, the ill-informed Santa Rosa Press Democrat launched its second defense of the harmful, frivolous blowers in an editorial with the subheadline “Sonoma should listen before enacting possible blower bans.” Actually, that newspaper should listen to the majority of local residents, who seem to favor a ban.

The editorial echoes the fear of change with the erroneous charge that there are “those who depend on blowers for their livelihoods.” Some landscapers do fear changing away from blowers to sweepers,

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Why not indeed a “One-State Solution” (Open Mic, July 7)? The state of Israel was created to fulfill the 2,000-year yearning of the Jewish people for a state of their own, where they will be able to live as a nation, same as all other people on this earth. Jews constitute the majority—80 percent presently—of the population of Israel, and they are entitled to the same self-determination rights that, I assume, the writer would grant to any other nationality.

The writer makes a huge mistake confusing the issues of a peaceful resolution to the Israeli-Palestinian conf lict and the so-called one-state solution. A majority of the Jewish population is in favor of a Palestinian state based on the 1967 borders and living in peace with Israel. Almost none of them is in favor of the one-state solution that runs against their national aspirations.

Last point: the Gaza f lotilla. Gaza is free and

has been so since 2005, when Israel withdrew its army and all settlers from it. Since then, the Hamas, which rules Gaza, has conducted numerous acts of war against Israel. This is the same Hamas that in its charter opposes any idea of peace and preaches killing Jews wherever they are. There is no precedent in international law requiring a combatant state to allow the passage of goods to its enemies, and international law allows imposing an embargo. Despite that, Israel continues to allow the f low of humanitarian goods to Gaza and to supply most of its electricity. The rest is just propaganda.

Last week, the Bohemian wrote a fabulous article about the Rivertown Revival (“Reviving the River,” July 14). I’m afraid in the interview I gave to Caroline

Osborn, I foolishly used a phrase that is widely associated with the amazing Handcar Regatta. Regatta co-founder Spring Maxfield always says, “We are throwing the party we want to attend!” The truth is, she said this to me recently when we were out and it apparently stuck—it’s a pretty good line, you have to admit. So I subconsciously stashed it, used it in your article. Of course it was unintentional, but when a friend pointed it out to me, I felt terrible and wanted to publicly apologize to her and all the hard-working, fabulously creative folks over at the Handcar Regatta. My most sincere apologies.

So: Remember “Average Town Bill” Bradley whom Anna Schuessler profiled last week? (“What Makes Bill Run?” July 14.) Dude who is currently—right now, in July—running through Death Valley, careful to tread only on the painted line down the center of the road so that the soles of his shoes don’t actually melt as he goes? That guy?

Yeah, well, two things: (a) He has a publicist; and (b) he is far more whack than we could begin to wrap our heads around.

Said publicist asks to clear up a few important points. Anna stated that his current goal is to complete a 135-mile race beginning in Death Valley and ending on Mt. Whitney, an elevation change of some 8,500 feet, because certainly any other figure is surely a misprint. Turns out, she got that shit all wrong.

Bradley is actually running 292 miles (in 130 degree heat) for a total elevation change of 14,495. Did we mention that the man just turned 50? Death Valley, indeed. Perhaps we should retitle this correction “Dept. of Rooting a Man on to Athletic Suicide”? Fingers crossed not.

In far happier news, it pains us not at all to announce that Gabe Meline’s solo blog, City Sound Inertia (bohemian.com/citysound), has won first place for such from the Association of Alternative Newsweeklies. The Boho itself placed second in the “Special Sections” category for our Best of the North Bay 2009 issue. It ain’t Mt. Whitney in melted shoes, but we’ll take it. Yay, Gabe!

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news for Sonoma, Marin & Napa Counties

New research says industrial ag is slowing climate changeBy Stett Holbrook

esearchers at Stanford University are trumpeting new findings that they say show agriculture’s so-called green revolution has greatly reduced forest clear-cutting and

its resultant climate-warming emissions, an unforeseen benefit to industrial agriculture. Because agricultural “advancements” like fertilizers, genetically engineered crops and pesticides have boosted yields, there has been less need to slash and burn for additional fields, and this has meant fewer carbon emissions, the report says.

The study, titled “Greenhouse Gas Mitigation by Agricultural Intensification,” was published last month in the Proceedings of the National Academy of Sciences and posits that advances in high-yield industrial agriculture over the latter part of the 20th century have prevented massive amounts of greenhouse gases from entering the atmosphere. The researchers estimate that if not for increased yields, additional greenhouse gas emissions from clearing land for farming would have been equal to as much as a third of the world’s total output of greenhouse gases since the dawn of the Industrial Revolution in 1850.

“Our results dispel the notion that modern intensive agriculture is inherently worse for the environment than a more ‘old-fashioned’ way of doing things,” said Jennifer Burney, lead author of the paper.

Needless to say, many food-policy analysts are taking issue with that assumption. While reducing greenhouse gasses is great, they argue, reliance on the “green revolution” is inherently unsustainable because it is based on massive inputs of fertilizers and pesticides, GMO technology, corporate ownership of seeds, global transportation and the destruction of biodiversity.

In Oakland, the Institute for Food and Development Policy/Food First has some very different ideas about agriculture and global warming. In a comprehensive report titled “Smallholder Solutions to Hunger, Poverty and Climate Change,” the organization lays out an alternative to the destructive methods of the green revolution that have the potential to feed people and greatly reduce greenhouse gas emissions.

“Although conventional wisdom assumes small family farms are backward and unproductive, agroecological research has shown that given a chance, small farms are much more productive than large farms,”

the report says. “Small, ecological farms help cool the planet and provide many important ecosystem services; they are a reservoir for biodiversity and are less vulnerable to pests, disease and environmental shock.”

The report cites research by the University of Michigan that examined 293 examples comparing alternative and conventional (i.e., chemical-dependent) agriculture from 91 studies, and concluded that ecological agriculture could increase global food production by as much as 50 percent, without relying on the petroleum inputs that fueled the green revolution. Additional research has suggested that the conversion of 10,000 small to medium-sized farms to organic production would store carbon in the soil equal to taking 1,174,400 cars off the road.

To be fair, the researchers say intensive, large-scale agriculture should be prominent among several strategies to reduce global greenhouse gas emissions. But since there’s plenty of research showing that small-scale, ecological agriculture is as productive or more so than destructive, petroleum-dependent industrial agriculture, some are saying it’s time to dump the green revolution in favor a truly revolutionary approach.

“Official Newspaper of the Ubiquitous Zucchini”

Perhaps the folks at the all-organic Green String Farm would be surprised to learn how fantastically great chemically dependent farming actually is.

y

THE BOHEMIAN 07.21.10-07.27.10 09

Whether citrus or no, the good stuff is really more than just skin deep

wild. Theresa, the manager, irrigates with well water, so these small groves are not dependent on water from Northern California aquifers. On a walking tour, she recites common and scientific names of native plants on the way to the chicken coop. Wild honeysuckle. Indian paintbrush. Canyon oaks. Sycamore.

We walk around an inert rattlesnake protruding from a small cairn of stones. “Don’t step on that,” she warns. “It might not be dead yet.” This place seems more refuge than

ranch. Rabbits feed in the open until the owls come out. Coyotes walk

indifferently past the house in the morning. Humming birds

surround a vine near the house and occasionally, according to Theresa, f ly in to visit a bouquet on the table.

The shared habitat in this rich ecosystem is part of the farmed land, something that f lavors the oranges. If she were growing grapes instead of citrus, Theresa could call it terroir and stand secure of its future. But instead she

worries about a dark shadow falling over her

world, the encroachment of housing, accelerated

by the latest agricultural silver bullet. “You know about

it, right?” she asks in almost a whisper, as if saying it aloud might

wake the monster. “Vertical farming.”Vertical farming is an engineer’s dream.

It takes the greenhouse concept and raises it many stories so farming operations go, in the catch phrase of its proponents, “up rather than out.” Vertical farming is depicted as tall, glass structures with crops in all the windows and presented as an urban enhancement, something that takes place only in cities. But would it accelerate development? Farms have often inadvertently stood off developers, as with Napa’s agricultural preserve. If food growing goes “up rather than out,” will the housing industry make a land grab and become unstoppable?

Vertical farming sounds like a logical arm of urban redevelopment. But it can’t replace traditional farms, especially while creative individuals are bringing agriculture back to its organic and cultural roots. Farms help shape the soul of the community—even in Malibu, where the best stuff really is more than skin deep.

I was tasting food in its exhilarating

natural state.

By Juliane Poirier

he North Bay is what it is in part because of those once-famous orchards long-gone and because of the farms now emerging, because of

generations of ranchers and growers and the efforts of individuals determined to farm sustainably and creatively. This insight came home to me strongly on a road trip last week, when I picked up some local organic oranges in Malibu.

Yes, Malibu, home to those West Coast stereotypes born of favorable surfing conditions, exclusive beachfront property and inhabitants who appear to support a thriving plastic-surgery industry. But just below the skin of this town is an environmentally progressive soul. And a few miles straight up from the Pacific Coast Highway there is an old 200-acre ranch where cell phones don’t work and where there’s no TV or internet access in the dilapidated house, the lone structural survivor of serial wildfires.

My son and I stayed there because we know the manager. By night we heard coyote howls echo in the canyons, and by day we observed orange trees that grow fruit in its natural state. This means the oranges are not all the same size nor all brightly hued. Their surfaces are imperfect. But peeling away the skin of those orbs exposes a fruit so f lavorful that when I sampled it, there where it came out of the ground, I knew I was tasting food in its exhilarating natural state.

Supermarket oranges and other engineered consumables are rarely exhilarating. Products of the grocery industry in league with the bioengineering industry, these altered foods no more reflect the ag heritage of California than does Malibu Barbie reflect the social heritage of Malibu, the kick-ass community that banned expanded polystyrene foam in 2005, banned single-use plastic bag distribution in 2008 and just last month became perhaps the first U.S. city to support a statewide measure to ban single-use plastic bags (AB 1998). Dude!

But meanwhile, back to the ranch.Only a few acres are in citrus; the rest is

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By Ari LeVaux

’ve always enjoyed casual conversation and rarely been averse to chewing on a nice hunk of fat. But the expression “chew the fat” never resonated with me, until some muchileros showed me the phrase’s literal meaning.

The muchileros are a tribe of Argentine wanderers (“muchilero” means backpack) who camp their way across some of the finer parts of the landscape, banding together around the fire by evening to drink maté, play guitar and plan the next day’s adventures. It was next to one such fire, under a starry night in San Martin, that I finally understood fat chewing.

A piece of meat had been cooked over wood coals. Red wine was f lowing. There was a bowl of salad, a loaf of bread and everyone ate his share. As we lingered in our joyous, collective afterglow, I sat there literally chewing the fat with the muchileros as I gnawed on a bone to which a glob of fatty material was attached. Several times I put my bone back on the grill

to heat up and re-melt. The matrix of fat and connective tissue attached to that bone continued to surrender f lavor as I chewed.

I imagine language evolved in ancient scenes like this, around the same fires that hardened the spears and cooked the meat of our ancestors, while keeping away the wolves. They chewed the fat, told stories, worked on their communication skills and planned the next day’s adventures.

In addition to stimulating conversation, some anthropologists believe that cooking food facilitated human brain development by increasing the efficiency with which calories are extracted from food. Because cooking produces soft, energy-rich foods, fewer calories are spent in digestive efforts, leaving a higher margin of caloric recovery. This supposedly allowed our brains, the most energy-intensive organ we have, to grow.

Though fire was the original stove, today’s cooks have largely left it behind. With the loss of fire, we’ve also lost touch with the feelings and f lavors associated with it. But fire remains

available, at our service, a genie in a bottle that can be conjured anywhere, anytime. And when we do, the experience of tending hot coals takes us to an archetypal place of smoke and ash—things, by the way, that we’re now told are carcinogenic.

In his recent cookbook, Seven Fires: Grilling the Argentine Way, Argentine chef Francis Mallmann writes: “I adore dissonance in food—two tastes fighting each other. It wakes up your palate and surprises you. . . . The right amount of burning or charring can be delicious and seductive: a burnt tomato, for example, has a dark crust bordering on bitter, while the inside is soft and gentle in texture and taste.”

Applying the right amounts of smoke and fire to your food is a delicate act, and easy to overdo. You want these harsh f lavors to be team players and not take over.

One common rookie maneuver is to start cooking before the fire completely burns down to coals. This exposes your food to licking f lames that can char the food and make the smoke f lavors too strong. Start the fire about

Hot meat, white ash, Argentine travelers, chimichurri and summer nights

THE BOHEMIAN 07.21.10-07.27.10 13

Cookbook author Francis Mallmann explicates the fiery

joys of Argentine cuisine.

an hour before you want to cook. Spread the coals evenly under your grill grate and wait for them to develop a layer of white ash.

Some woods burn hot and quickly, some have sweet smoke and some throw a lot of sparks. Hardwoods are generally better for cooking than are soft woods. Wood from fruit trees is a safe bet, although, true to form, chokecherry wood has bitter smoke. Cherry, on the other hand, is one of the best, burning hot without too much f lame and producing a sweet smoke. Apple is right up there with cherry. Hickory, alder and mesquite are common, good options. Whichever wood you use must be fully dry.

Your meat should be at room temperature, seasoned with salt and pepper. Some meat cooks love their marinades. But I say if you have good meat, you should be able to taste it. If anything, I’ll serve my simply cooked meat with a sauce. Lately I’ve been into chimichurri, an Argentine garlic and herb vinaigrette.

Chimichurri is best prepared a day ahead so the f lavors can develop. It will continue to age nicely for a few days in the fridge. Applied to fire-cooked meat, the spicy, oily, acidic fragrance of the chimichurri interacts with the slightly crispy, slightly smoky, slightly charred exterior of the meat to create the kind of harmonic dissonance that would make Mallmann cry.

To make chimichurri, dissolve one tablespoon of coarse salt into a cup of water. Chop a head of garlic, a cup of fresh parsley and 1/4 cup fresh or dried oregano (or marjoram) and add it all to a blender. Blend, adding 1/4 cup red wine vinegar and then 1/2 cup olive oil. Finally, blend in the salt water. Transfer to a jar with a tight-fitting lid and keep in the refrigerator.

When your coals have burned down and you’re ready to cook, make sure the grill grate is clean, and oil it with a piece of fat or an oil-soaked paper towel. You should be able to hold your hand at grill level—a distance of two to four inches from the coals—for about two seconds before the heat forces it away. The meat should sizzle when it hits the grill.

(The following instructions are intended for this hot of a grill, and for an inch-and-a-half-thick steak. Adjust the times appropriately to your conditions.)

After five minutes, lift the steak and rotate 90 degrees. This prevents overburning by the hot, metal grate. After four more minutes, turn the steak over and repeat the process, turning 90 degrees after five minutes. After that final turning, it’s two minutes to medium rare.

Chewing the fat continues to guide and reflect human evolution. As the primal act of cooking with fire contrasts with the newer, sophisticated arts of wine and sauce making, a harmonic dissonance develops. It’s even better than a burned tomato.

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The USDA estimates that 20 percent of

domestically grown food is thrown away due to aesthetic imperfections or mechanical errors. Such waste is unimaginable to the nonprofits that answer calls from overly bountiful growers, gather extra produce and transport it to locals in need of a fresh bite to eat. This process is known as “gleaning.”

“It’s very rewarding and very real,” says Patty Sherwood, Bounty Hunters coordinator at Petaluma Bounty. “I get to pick up the food and take it right to the source of people who need it the most.” Petaluma Bounty is an independent nonprofit dedicated to helping citizens grow food and redistributing the surplus to low-income families and seniors. Currently in their fourth year of service, the organization has distributed more than 210,000 pounds of fresh produce. The nonprofit solicits volunteers and trains them to be “bounty hunters.” These 20 volunteers are trained to harvest leftover food with a discriminating eye. Petaluma Bounty also receives plenty of donations.

“I picked up 67 pounds of zucchini today,” Sherwood says proudly. In keeping with the nonprofit’s deal with local agriculturalists, Sherwood scours the Petaluma farmers market for produce left unsold at the end of the evening. Farmers don’t miss the unsold food, which would spoil by next week’s market anyway. Petaluma Bounty often leaves the market with a pickup truck full of fresh produce and delivers it to seniors in need.

The Farm to Pantry nonprofit serves all of Sonoma County. Volunteers deliver the food they salvage to county food pantries, soup kitchens or shelters. Since its birth in 2008, Farm to Pantry has distributed over 27,000 pounds of fruits and vegetables headed for the dumpster. They have since initiated community canning events to preserve produce for food pantries. In addition to the altruism, Farm to Pantry unites the Sonoma County community in a common purpose.

Marin Organic provides a similar service in the neighboring county, but it primarily targets schools, along with several camps and underserved communities. With food gleaned from Marin Organic Farms, the nonprofit organization delivers food to more than half of all public and private schools in the county. Marin Organic even drives the produce to schools in biodiesel trucks. Each school’s acceptance of gleaned produce offsets its overall food cost, and thus makes sound environmental and economic sense. The Marin Agricultural Trust also has a call out for gleaning help.

With a focus on educating teen volunteers, Ceres Community Project uses gleaned food to prepare meals for Sonoma County residents battling life-threatening illnesses. This healthy and affordable alternative teaches youth about sustainable eating habits while nourishing those who need it most.

Other gleaning projects at www.igrowsonoma.org/resources.

Caroline Osborn

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They’ve made an

impressive entrance for having been in the neighborhood a while. No presto-château is this, but a cellar door adjacent to the modest little winery leads to the finest wine caves this side of, well, this side of State Route 12. Unlike neighboring cave dwellers Kunde Estate, however, Deerfield’s new tasting room is in the very center of the 20,000-square-foot underground lair—perfect for keeping wine and wine tasters cool on a summer’s day. It’ll take a while to walk the barrel-lined tunnel to get to there, so let’s talk giraffes.

Tall, rusted giraffe sculptures add a touch of whimsy to the drive up; smaller versions available for purchase help to fund restoration of the historic Kenwood Marsh. The estate contains part of this wetland that once saturated the area for much of the year. How about all those fences? Critters of the real, live variety roam freely past each vineyard block, from the woods to the wetlands, thanks to this organic estate vineyard’s thoughtful fencing scheme.

Formerly located in a family co-op tasting room down the road, Deerfield has built up the slow and steady way. Owner Robert Rex first made wine in his Berkeley garage, before trading in a singular career in flavored pipe tobacco innovation for the clean air of the Sonoma Valley.

The inner sanctum is a series of rooms hollowed out in the center of the cave, furnished with a small bar but plentiful sofas, chairs and tables for relaxed, sit-down tasting. Rex says that, having observed a fair number of tasting rooms, he didn’t want his guests to have to wade into an elbow forest.

The 2007 Windsor Oaks Vineyard Sauvignon Blanc ($18) has a crisp golden honeyed palate, with aromas of dried apricot and pineapple. Reds dominate the list. One touted feature is that Deerfield wines are purportedly less likely to cause headaches, due to special treatment of fermentations, and may not affect those who suffer from sulfite sensitivity—such as Robert’s wife PJ Rex, who swears by it. The 2002 Cohn Vineyard Pinot Noir ($75), a guest release from vintage past, is more floral than fruit-forward, with dried fruit potpourri, and a silky finish that’s time’s reward.

The 2006 Organic Estate Syrah ($28) shows lavender, spice and fresh raspberry aromas over a dry finish. All five Bordeaux grapes have a healthy dose of Petite Verdot, the 2003 Meritage ($75) being fruity in blueberry, licorice and assorted dark berries, accented with sage and coriander on the finish.

Ah, but is there a chateau in Deerfield’s long-range plan after all? In a corner, the next phase is illustrated in architectural pastels: a grand winery above the cave, modeled partly on Jack London’s Wolf House. Coming sometime soon. Just not presto.

Deerfield Ranch Winery, 10200 Sonoma Highway, Kenwood. Open daily 10:30am to 4:30pm. Tasting fee, $10-$15. 707.833.2270.

James Knight

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Is leaving his record label the best decision Eric Lindell’s ever made?

By Gabe Meline

park alongside two Harleys and poke my head in the back door of the Forestville Club. There, between an old decrepit stove that hasn’t been used in forever, a desk and piles of empties, sits owner Wayne Speer, holding court with a few regulars.

Smoke fills the air. Small talk centers around the changing face of Forestville. Where so-and-so went. People promising to pay their tab on Thursday. That sort of thing.

Then I mention Eric Lindell. Speer leans forward in his chair to pontificate at length. He tells of the first time Lindell played the club, when 600 people showed up and the sheriff shut down the show. He tells of the way Lindell’s kept coming back to the dark little roadhouse. Mostly, he talks about Lindell’s determination.

“He’s fairly talented,” Speer surmises. “Well, I shouldn’t say ‘fairly talented.’ He’s very talented. But the thing about Eric is, he wakes up every morning and asks himself, ‘How can I improve? How can I make myself better and further my career?’”

The part about furthering his career sticks

with me, because Lindell, at age 40, has just committed what outsiders might call career suicide. Signed for a successful run to Alligator Records, one of the top blues labels in the world, Lindell last year voluntarily left to put out records on his own f ledgling label, Sparco Records.

What’s more, Lindell released his record on vinyl, which is a stylish but tough sell. What about his promotional budget to advertise the album, to service it to radio stations, to fund tour support? Think of Alligator Records as the Empire State Building. Then notice that Sparco Records’ logo is the Flatiron Building, 100 stories down.

Yet here’s what matters: Between Motion and Rest, the album that Speer actually loaned money to Lindell to release, is incredible. It’s full of grit and soul, with an honest rawness built on his limited budget as much as his hard-fought freedom. It breathes. I’m not alone in baldly decreeing to him it’s the best record he’s ever made.

“Thanks a lot, man, several people have said that,” says Lindell, on the phone from Chicago. “That’s just a great feeling after going out on a limb like this to do what I believe in my heart is the right thing.”

indell is in the Windy City with his band, his 15-year-old son and some still-friendly ties to his old label executives, whom

he’s about to meet for lunch. No business is to be discussed—it’s purely casual. “We left on good terms,” he assures. “I got nothin’ but good things to say about them, helpin’ me and furtherin’ my career.”

Not that the Sonoma County–bred musician hadn’t been working his ass off already. When Alligator came chomping, Lindell had been in New Orleans for years, playing constantly and releasing EPs independently. They ended up reissuing those EPs as Change in the Weather, which enjoyed extensive play on radio stations and good sales. Lindell, assuming he’d secured the label’s trust, was dismayed to find himself soon butting heads with label owner Bruce Iglauer.

“For the second record, he wanted me to make demos, and he was critiquing me,” Lindell recalls. “I couldn’t believe how hard it was to make that record. I wasn’t used to someone looking over my shoulder.” Even the album artwork, Lindell says, was “muscled” by the label. For his next Alligator release, Gulf Coast Highway, he handled all the art, but as for the music itself ? “It was like pulling teeth,”

Eric Lindell cleaned up, came home and made

his best record yet.

THE BOHEMIAN 07.21.10-07.27.10 19

Lindell groans. “It was kind of challenging, to put it politely, makin’ records for the guy.”

When Lindell finished his newest album, he was honest with Iglauer. “I called him and said, ‘Look, you’re not gonna like this record, I can tell you right now.’” Iglauer was unfazed; he didn’t want Lindell to release another record for another year and a half anyway. Lindell bristled at the time frame.

After Lindell and Iglauer had spent five years and made three successful albums together, the dreaded meeting was called. “He came down to New Orleans and met with me and my lawyer to talk about it,” Lindell says, “and basically we were dead in the water, right there.”

indell’s very first band was called Broken Solitude, a tiny bit of trivia he’s since forgotten. But jazz phenomenon

Adam Theis, who’s been in almost two dozen bands with Lindell since 1991, remembers their skate-punk style vividly from the River Theater in Guerneville. “And then the last week of my junior year,” Theis remembers, “my sax-player friend Dave Andrews said, ‘Eric has a new band. They want us to be their horn section.’”

That band was Grand Junction, a 10-piece juggernaut led by the lanky, 15-year-old Lindell. Listening to the songs today on a MySpace tribute page is like digging up a Rosetta stone with Sly Stone, Stevie Wonder and Boosty Collins as overlapping languages. “Eric always stood out to me as one of those old souls,” Theis says. “When I first hung out at his house, he was always playing vinyl from old ’70s funk, and it blew my mind, all this stuff he knew about.”

After a few years, an incarnation called Eric Lindell and the Reds conquered Sonoma County with club dates and a debut album, Bring It Back, recorded at Petaluma’s Grizzly Studios. Lindell packed his bags for New York City, then Louisiana. Hooked on Junior Wells and other old bluesmen, he’d expected to find a bustling roots-music scene in New Orleans but instead found brass bands and funk groups. “I never considered myself a singer-songwriter until Stanton Moore from Galactic called me one!” Lindell laughs. “A singer-songwriter—shit, that sounded like James Taylor to me.”

But New Orleans embraced the tattooed Californian, and Lindell was playing constantly around town—so constantly that his years of drinking finally caught up to him. He finally quit “about five or six years ago,” he estimates—he doesn’t keep track—by coming out to Bodega and drying out.

“That was the best thing I ever did, man,” he attests. “I was pretty bad off. I was doing a bunch of coke, and I’d been drinking my whole life. I’d drink beer at lunch and just keep going into the night. You know, in New Orleans, the level of partying, you wouldn’t believe what is accepted as normal. People passing around

their coke bag, and it never closes, so you can drink ’til the sun comes up. And I just ran it into the ground.”

ast year, Lindell drove with keyboardist Ivan Neville to meet a quickly assembled band at Grizzly

Studios to record Between Motion and Rest. “I said, ‘Look, I ain’t been there in about 10 years, I don’t know what it’s like. Last time I was there, there was busted-up bikes, laundry and shit everywhere. I just wanna prepare you,’” he says. “And we walk in, and sure enough, the same busted-up bike is laying right there!”

Grizzly Studios is that kind of place. There are stains on the carpet, graffiti on the couch, and on that particular day, the studio’s computer was on the fritz. No matter. Lindell and a gang of old friends—including Theis, longtime drummer Jake Brown and Thomas Johnson, who’s releasing a solo record on Sparco soon—warmed up as engineer Roger Tschann strung up some two-inch analog tape. Soon they were laying down songs: the romantic “Matrimony,” which Lindell wrote on the spot, one week before getting married; “Bodega,” an ode to his West Coast sanctuary; a couple covers of Curtis Mayfield and Magic Sam.

With so many local friends involved (plus art designed by Josh Staples, who released Lindell’s first album in 1996, and silkscreened by longtime pal Jayson Taylor, who handles his merchandising), the record was “a real sentimental thing, man,” Lindell says. The songs f low freely, naturally, and it shows in the grooves. It feels like a homecoming record, one tinged with gratitude (“Lucky Lucky”) and love (“True Blue Love”). In a way, it couldn’t have been released by anyone but Lindell himself, straight from the heart.

Is it working, his great experiment of independence? Encouragingly, Lindell’s sold about 3,000 copies of Between Motion and Rest, including 800 copies on vinyl. Without having to pay a label, that translates into some decent money. He’s also signed a licensing deal for song publishing, has kept his radio contacts and is in talks for distribution. He’s even been able to pay back his old friend Speer from the Forestville Club.

“Obviously,” he says, a sense of pride in his rasp, “to walk away from that Alligator deal, there’s been times when it was hard to get the money together. Obviously there’s been times I’ve had doubt, like, ‘Oh God, what am I getting into?’ But creatively, which is somethin’ that’s important to me, I needed to have free reign to do what the hell I want to do. I don’t even have no money to be doin’ what I’m doin’. But I just—I don’t know why I feel so driven to do it. I just feel like as a musician, it’s my duty.”

Eric Lindell plays Friday, July 30, at the Last Day Saloon (120 Fifth St., Santa Rosa; 8:30pm; $15; 707.545.2343), and Saturday, July 31, at 4pm at the Sonoma County Blues Festival (Sonoma County Fairgrounds, 1350 Bennett Valley Road, Santa Rosa; fest, 1pm–7pm; $12 plus fair admission; 707.588.0707).

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Found beach plastic is used in assemblage by artists Judith and Richard Lang.

Marin artists ‘curate’ the beach of trash

THE BOHEMIAN 07.21.10-07.27.10 21

By Gretchen Giles

udith Selby Lang’s 60th birthday began with an ordinary routine. She and her husband Richard Lang went to the beach and picked up trash. But make no mistake, the Langs—artists and co-owners of San

Francisco’s Electric Works Gallery and fine art publishing house—are not merely trawling for any old garbage. They’re looking for plastic.

And, boy, do they find it. Since 1999, when they began religiously walking the half-mile stretch of Kehoe Beach in the Pt. Reyes National Seashore, a short drive from their West Marin home, the two estimate that they have gathered literally tons of the stuff—one barrette, disposal lighter or Happy Meal toy at a time.

“The estimate is around 70 pounds every trip,” Richard says. “We don’t want to overestimate, because hyperbole really gets you in trouble and then nobody believes you. The small end of the spectrum: it’s at least two tons of plastic that we’ve picked up, and probably four—maybe five.”

The Langs call what they do “shopping” or “curating the beach,” as the plastic doll parts, oyster netting and ubiquitous Bics are taken home, washed of sand and sorted—by color. Accordingly, their airy basement studio is lined with cardboard boxes labeled “big black” and “small green.”

“When we’re composing, these pieces of plastic are not what they once were,” Richard explains. “It doesn’t matter what they were. They are there for color and shape, and very much like a piece of paint lifted from a palette and put on a canvas.”

The pair collaborate on poetic assemblage, photographing the resulting

work. Sausalito’s Cavallo Point recently commissioned a work for every guest room in its lodge and is exhibiting the Lang’s art in the resort’s in-house gallery.

Because their art materials consist almost solely of found beach plastic, the Langs have become unwilling pollution experts. They have detritus from the North Pacific gyre dumped down by their barn, huge “ghost” nets and other plasticine rope in a tangle, but most of the plastic in the world’s five gyres isn’t tensile at all. “We describe it more like a minestrone,” Judith says. “It’s more like this stew of stuff all mixed up, and you really can’t see it. That’s where the deniers say, ‘Oh, if you can’t see it, it doesn’t exist.’ But where they have taken samples, it’s just tubes of this sloshy, swirly kind of mix of stuff.”

The couple say that increasing public awareness of plastic pollution and the state of the oceans gives them hope. And mostly they just keep doing what they do because they would never want not to.

“I think the really crucial element of the story is what happens when you focus your attention on one thing and just keep doing it,” Richard says. “We had no idea this would turn into artwork. We had no idea we would actually make part of our living doing this. It’s a fantastic story of what happens when you do the same thing again and again.”

‘From Kehoe to Cavallo: The Mystery in the Mess’

shows at Cavallo Point through Oct. 22. A free

public reception is slated for Thursday, July 22,

from 5pm to 7pm. 601 Murray Circle, Ft. Baker,

Sausalito. 415.339.4700. To learn more about the

Lang’s work, listen to ‘Arts I.D.’ on KRCB 91.1-FM

on Wednesday, July 28, at 7pm.

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Marin Shakespeare Co.’s ‘Travesties’ entertaining in spite of itself

William Elsman and Alexandra Matthew perform unperformable Stoppard.

By David Templeton

n 1974, when playwright Tom Stoppard premiered Travesties, he was still hot from his 1966 freshman effort, Rosencrantz and Guildenstern Are Dead, which had won him

a shelf-load of trophies, including the Tony award for best new play.

Travesties, a historical fantasia (today we’d call it a mashup), is a blend of Oscar Wilde’s Importance of Being Earnest and some minor historical footnotes from 1917. Packed to overflowing with limericks, rhymes, newspaper quotes, art-world trivia, lesser-known Shakespeare lines and obscure literary references, the play was a great cause of conversation. Some deemed it to be rambling, overstuffed and out-of-control. Others (the folks who actually got the esoteric references) claimed it to be cheekily brilliant. It did win Stoppard another Tony, and after that, having apparently gotten whatever it was out of his system, Stoppard gained some self-control and spun off a string of masterpieces: The Real Thing, Arcadia, India Ink, The Coast of Utopia and Rock ’n’ Roll.

With such good, tightly crafted plays in his canon—and with Rosencrantz and Guildenstern still available for anyone with a taste for lovable literary vandalism—there seems little reason to foist Travesties on audiences ever again. The lit majors would probably prefer to read the thing, anyway.

So what in the world were they thinking when Travesties was chosen for this year’s season opener of the annual outdoor Marin Shakespeare Company? Were the rights to Stoppard’s good plays unavailable? Did someone lose a bet? Or was director Robert Currier simply up for a hard directorial challenge?

I will assume it was the latter.

The company’s production certainly gives Currier (known for his own bad-boy sense of humor) plenty of opportunities to dig deep and pull out all his tricks, and it is a testament to his inventive talents—and those of his first-rate cast—that this production is as entertaining as it is. Stoppard’s long, long soliloquies are made less endless by Currier’s staging, which occasionally involves staircases spinning across the stage as the actors deliver their detailed speeches. At least there is something to look at. Currier has also added syncopated library bells, spinning clocks, food fights—and anything else he could think of to make things interesting.

The cast is equally energetic, from the reliably slaptickish Darren Bridgett as the certifiably odd Dadaist artist Tristan Tzara and Stephen Klum (brilliant) as Vladimir Lenin to Lucas McClure’s restrained James Joyce and Alexandra Matthew’s lit-loving librarian Cecily. As the central character of Henry Carr, the low-level English diplomat around whom the various characters interact, William Elsman is especially outrageous, leaping back in forth in time from his young days serving in Switzerland (when he once played a role in a production of Earnest), to the present, when his slightly senile brain can’t quite remember everything exactly the way it happened.

In the end, watching MSC’s Travesties is like watching people juggle fire while walking blindfold on a tightrope over a pit of hungry alligators. Whether done skillfully or not, the main entertainment comes from knowing that they are crazy to be doing it in the first place.

‘Travesties’ runs Friday–Sunday through Aug. 15

at Forest Meadows Amphitheatre, at Dominican

University, San Rafael. Friday–Saturday at 8pm;

Sunday at 4pm. $20–$35. 415.499.4488.

07.21.10-07.27.10 THE BOHEMIAN 22

Box Offi ce 707 523 4185, ext 152 West 6th Street,

Santa Rosa, CA 95401

6thStreetPlayhouse.com

By Richard von Busack

ince The Kids Are All Right is getting a reputation as the lesbian Brokeback Mountain, it’s interesting to draw a couple of parallels. The first is the

superior job Focus Films did unrolling this small film, the same kind of effort they made for Brokeback. The second is that, just like the Anne Hathaway and Jake Gyllenhaal scene in Brokeback, the most ardent sex in this particular film is heterosexual, a moment of Julianne Moore’s yelp of delight when undressing a man for a f ling.

This tryst doesn’t at all negate The Kids Are All Right as one of the funniest and most incisive portraits we’ve got of a gay marriage. Director Lisa Cholodenko and co-writer Stuart Blumberg take their film away from the realm of the typical gay and lesbian film-fest talkathon and bring it up to speed.

As in her previous film High Art, Cholodenko gains most respect for not being a utopian. In this prime, tart comedy, she makes the pair of wives as capable of passive aggressiveness, sneakiness and ruthlessness as any straight couple. How could anyone deny gay people a right to marriage after seeing that they go through it as badly as anyone straight?

We can see how the two harmonize as they share the home they’ve had in Venice Beach for at least 10 years. Moore’s Jules is a classic California girl: no intellectual, very earthy, a blurter-outer of things she probably shouldn’t have said. Her wife, Nic, an obstetrician (Annette Bening, amusingly dour), comes back from work in a miasma of disapproval, trying to get some relaxation in the very dead bed they share.

The couple have two children, both by a sperm donor: Joni (Mia Wasikowska of Tim Burton’s Alice in Wonderland) and Laser (Josh Hutcherson). Joni, ready to leave for college, wants to meet the anonymous donor who

A family is what you make it.

‘The Kids Are All Right’ a mean, affectionate comedy

fathered her. He turns up, a shaggy chef named Paul. It’s Mark Ruffalo in a classic Mark Ruffalo part, a slackerly analogue to the chef of desire Edoardo Gabbriellini played in I Am Love.

Nic and Jules’ kids get along with the man well enough that he starts to become a sort of member of the family. And Jules finds herself becoming disturbingly attracted, despite being as gay as they come.

This story carries a strong sense of place, with deft scenes of life west of the 405. The sense of place gives dimension to these characters, makes the acting reminiscent of the lived-in performances in Mike Leigh films. The most Leigh-like moments are when the cast gather around a dining table, when Nic gets enough wine in her to sing a Joni Mitchell song. (Mitchell is a presiding deity in The Kids Are All Right, the Angeleno who has always insisted in her music that her morals weren’t better than anyone else’s just because she was a woman.)

The reason the “kids are all right” is that they’re young enough to still have clear motives. In this comedy, it’s the adults who dissemble and wound each other. Nic looks right through the spouse she supposedly loves, Jules sneaks out and victimizes a co-worker who seems to be learning about the affair. And Paul isn’t any more innocent. It becomes clear that what he really loves isn’t Jules herself, lovable as the pint-sized, fearless and charming Moore always is onscreen. Rather, it’s the sense of settlement that draws him in.

As a director, Cholodenko is a dry wit. But the way she analyzes the needy, unpretty cores of these characters is what takes The Kids Are All Right out of the realm of the domestic comedy/drama and makes it a film to remember.

‘The Kids Are All Right’ opens on Friday, July 23,

at the Rialto Cinemas Lakeside, 551 Summerfield

Road, Santa Rosa. 707.525.4840.

THE BOHEMIAN 07.21.10-07.27.10 23

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07.21.10-07.27.10 THE BOHEMIAN 24

Bargain Tuesday - $7.00 All ShowsSchedule for Fri, June 22nd - Thu, June 28th

“Wise, Humble and Effortlessly Funny!” – NewsweekWAITRESS

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Michael Moore’sSICKO

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“Raw and Riveting!” – Rolling StoneA MIGHTY HEART

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Bargain Tuesday - $7.50 All ShowsSchedule for Fri, Feb 20th – Thu, Feb 26th

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Demi Moore David DuchovnyTHE JONESES

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THE MOST DANGEROUS MAN IN AMERICA

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“Suspenseful, Surprising And Subtle!” – NY Times

WINTER’S BONE(2:45) 7:30 R

Please Note: No 7:30pm Show on Thu

“John C. Reilly & Jonah Hill Are Hilarious! A Freewheeling, Unpredictable, Dark Comedy!” – NY Post

CYRUS(12:40) 5:00 9:50 R

Please Note: No 5pm Show on Thu

“A Ripping Good Thriller!” – Hollywood ReporterThe Second Installment Of The Millennium Trilogy

THE GIRL WHO PLAYED WITH FIRE(1:30) 4:15 7:00 9:40 R

“Sprawling, Ambitious...Amazingly Accomplished!” – Los Angeles Times

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I AM LOVE(1:15) 4:00 6:45 9:15 R

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Checkov go Bragh in this new adaptation of his short story, ‘The Duel.’

Film capsules by Richard von Busack, Caroline Osborn and Anna Schuessler.

THE BOHEMIAN 07.21.10-07.27.10 25

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GhostbustersWe’ve all heard the rumors, repeated over and over again, that Petaluma’s Phoenix Theater is haunted by ghosts. The stories about a “strange presence” in the balcony and wispy apparitions f loating around the ceiling are as old as the theater itself. Are they true? Ghosts of the Phoenix Theater, an all-day workshop, aims to find out. Led by Amy Bruni and Britt Griffith from the SyFy Channel’s hit series Ghost Hunters and abetted by Mark and Debby Costantino of Ghost Adventures, the workshop includes lectures during the day and an honest-to-goodness paranormal investigation of the building at night. Bruni grew up at the Phoenix with first-hand experiences at her old haunt, and even theater manager Tom Gaffey makes casual allusion to the theater’s ghosts. Do they exist? See for yourself during the definitive examination on Sunday, July 25, at the Phoenix Theater. 201 E. Washington St., Petaluma. 11am–1:30am. $129. 707.762.3565.

Gripping SuspenseEveryone knows about The Birds and Shadow of a Doubt. The lucky ones know about Smile. But too few people know about one of the greatest films ever shot in Sonoma County, ‘Thieves’ Highway.’ Opening in a Sebastopol apple orchard, the 1949 film essentially follows a fruit truck on its travels down to a San Francisco fruit market. Sounds drab? It’s anything but. With a loaded underworld plot about the cutthroat fruit-distribution business and featuring the absolute, most incredible tire-changing scene in the history of cinema, Thieves’ Highway is suspenseful, intriguing and beautifully shot by blacklisted director Jules Dassin (Rififi, The Naked City). With a brilliant performance by Lee J. Cobb and a crisp new transfer from the Criterion collection, Thieves’ Highway is an afternoon must-see on Saturday, July 24, at the Sonoma County Museum. 425 Seventh St., Santa Rosa. 2pm. $2–$5. 707.579.1500.

Where’d He Go?After penning the acclaimed volume Bicycle: The History, noted cycling historian David Herlihy had nowhere to go but up. Or out. Or around—the world, as it turns out. A cross between Erik Larson’s Devil in the White City and Richard Branson’s current around-the-globe exploits, Herlihy’s latest bestseller, ‘The Lost Cyclist,’ tells the story of Frank Lenz, a determined man who in 1892 set out to be the first cyclist to bike around the world. Using

THE BOHEMIAN 07.21.10-07.27.10 27

Lenz’s written correspondence as well as news accounts of the day, Herlihy doesn’t just tell the story of Lenz’s mysterious disappearance, he also paints a vivid picture of the era’s cycling

pioneers who geeked out on the new “safety bicycle” and all of its attendant, mostly regional gadgetry back in the formative years of the sport. Herlihy appears in discussion and signing on Sunday, July 25, at Book Passage. 51 Tamal Vista Blvd., Corte Madera. 7pm. Free. 415.927.0960.

Port AuthoritiesWhat do we do when the economy is bad? Historically, we dress up, put on a brave face and pretend that everything’s glamorous (see: art deco, The Great Gatsby, swing dancing). These days, we’re more likely to dress down and rehash the roles of our Depression-addled ancestors while accepting the fact that everything is

ruined. But we have fun doing it! Enter the Rivertown Revival, a let’s-pretend-we’re-broke event celebrating Petaluma’s heritage with art-boat races, f loating river sculptures, food, music and more. It might seem like the

Handcar Regatta on water, but event organizers promise it’ll be “less steampunk, more Tom Sawyer.” Music, of course,

is in great supply, with Arann Harris and the Greenstring Farm Band, El Radio Fantastique, Baby Seal Club, Old Jawbone, Hillside Fire, Eli Jebidiah, the Crux and more on Saturday, July 24, at Steamer Landing Park, Petaluma. 11:30am–6pm. Free. 707.763.7756.

No Haggling!Based on the San Francisco Free Market every month in Dolores Park and the wonderfully named East Bay Hella Free Day at Lake Merritt, Napa’s very own Really Really Free Market Napa follows the same very basic rules: (1) bring stuff to give away; (2) take stuff for free; (3) meet people in your city, listen to music, enjoy life and

don’t spend a dime doing so. Everyone wins! This concept would surely horrify columnist Terry Savage, who recently penned the much-Tweeted

socialism fear-fest in the Sun-Times about young girls ruining America by giving away lemonade for free—which is great because he needs to be horrified. (And fired.) Founded by Melody Harris, who writes a much better column in the form of her zine Napkin News, the Really Really Free Market is an idea whose time is timeless. Bring all your cool stuff you don’t want to bother selling on Craigslist and take some new stuff home on Sunday, July 26, at Veterans Park, Third and Main streets, Napa. Noon. Free. napkinnews@gmail.com.

07.21.10-07.27.10 THE BOHEMIAN 28

Silian Rail kick major ass July 22 at the Guayaki Mate Bar in Sebastopol. See Clubs, p29.

THE BOHEMIAN 07.21.10-07.27.10 29

Samantha Lane plays July 25 at C. Donatiello Winery’s ‘Live at the Middle Reach’ series. See Concerts, p28.

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Across the bridge

By David Sason

hen singer-songwriter John Legend burst onto the R&B scene in 2004, his confidence was striking, in everything from his music to his

surname. And in just a few short years, he’s lived up to that name with endless awards, acclaimed albums and projects with the likes of Kanye West, Lauryn Hill, Al Green and even the late Michael Jackson. His latest album, Evolver, shows the Ohio native diversifying his palette to include reggae and folk rock, along with his signature soul grooves.

“I see being a musician as the right, and opportunity, to be experimental and explore, and this album was an experiment of sorts,” says Legend, who performs at the Wells Fargo Center on July 31. “It took me back to my roots musically, with a lot of soul-f lavored, gospel-f lavored reggae, funk and hip-hop kind of all mixed together.”

Legend has also been increasingly visible on the activism scene, playing benefits for New Orleans and Haiti, hobnobbing with Cornel West on Real Time with Bill Maher, and helming the Show Me Campaign, his nonprofit focusing directly on stopping the cycle of poverty. While certainly unique in today’s R&B/soul scene, the 31-year-old’s thoughtfulness is not that surprising.

“I grew up in a house that encouraged me to read,” he says of his home-schooled upbringing, which saw him graduating salutatorian from high school at age 16. “We read a lot of history and whatever was going on, so I was always aware and I really had the desire.”

His two loves are combined in the upcoming album Wake Up!, a highly anticipated collaboration with hip-hop band the Roots inspired by Obama’s 2008 presidential campaign. The record, slated for a September release, is a collection of ’60s and ’70s soul

John Legend’s collaboration with the Roots revisits songs of the past to advocate for future social change.

Soul sensation John Legend spreads his creative wings

covers whose themes of awareness and activism still ring true. “I think the music and the lyrics on this album retain their relevance, back when Bush was in office, and they’re still relevant now,” Legend says.

The intense buzz seems well warranted judging from the group’s version of “Our Generation,” an obscure Ernie Hines song. Within a loose and funky arrangement by the Roots, Legend croons potent words of unification and enlightenment. “Our leaders make us fight, we don’t know what for,” he sings. “If they want people killed, then let them fight the war.”

“This album really isn’t about an election. It’s about the condition of the world and this country,” Legend says. “Even though we’ve seen a lot of positive changes on the policy front, there’s still 10 percent unemployment, two wars going on, a persistent gap between poor and rich and how they experience life in this country, a problem with public education. There are still many problems that we have to deal with.”

Never one to rest on his laurels, Legend has also been working on a project with dubstep collective Magnetic Man and Toronto electronic group MSTRKRFT, further expanding the varied appeal which he admits is simultaneously his most impressive and frustrating attribute.

“I feel it’s a gift and a curse, because people don’t know where to put you sometimes, and you kind of get lost in the shuffle at radio and stuff like that,” Legend says. “But it’s fun being able to travel the world, knowing that you’ve got fans in Korea and in South Africa and in France and in California. It gives you a lot of cool places to travel to, I’ll tell you that.”

John Legend plays Saturday, July 31, at the Wells

Fargo Center. 50 Mark West Springs Road,

Santa Rosa. 8pm. $20–$115. 707.546.3600.

THE BOHEMIAN 07.21.10-07.27.10 31

DON’T FORGET…WE SERVE FOOD TOO!

Mc Near’s Dining HouseBreakfast • Lunch • Dinner

BBQ • Pasta • Steak

For All Ages Shows • No Children Under 10 Allowed

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SAT 7/24 • 7:00PM DOORS • $25 ADV/$28 DOS • 16+FOLK

IRIS DEMENTPLUS JASON WILBER

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ROBBEN FORD &THE FORD BROTHERSPLUS THE KIRK FLETCHER BAND

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THE LOST BOYSWED 8/4 • 6:00PM DOORS • $11 • ALL AGES

SINGER/SONGWRITER COMPETITION

WEST COAST SONGWRITERNORTH BAY COMPETITION

PLAYOFFS

Museums

Comedy

Events

Books made of art rule the day at Marin MOCA. See Openings, adjacent.

07.21.10-07.27.10 THE BOHEMIAN 32

F&D

THE BOHEMIAN 07.21.10-07.27.10 33

Paula Poundstone embraces the 21st century

“This is awkward,” Twitters Paula Poundstone, “I can’t understand my iMac for Dummies book.” In

our social-media age, quick, witty humor rules, and Poundstone has hit her stride. The standup comedian, whose one-liners have been in style since the early ’80s, kept the old and embraced the new when she developed her prowess on sites like Facebook and Twitter. Speaking by phone from her home in Santa Monica, Poundstone describes her first encounter with Twitter as “a match made in heaven.”

“I thought, God, that is so great, the idea that you can just talk directly to people and not have that kind of gatekeeper of television.” Twitter also gives her the sort of pressure she needs to keep churning out the tearjerkers. “I spend a lot of time crafting things into the 140 characters, for better or for worse,” she says, but she prides herself on sparing the world from the more mundane of her daily activities. “One thing Twitter has taught me is that I do the same damn thing day after day.”

Poundstone keeps it fresh with a rigorous standup tour on the weekends that takes her to some of the farthest edges of the country. Her tour hits Napa with her epigrammatic humor on July 29. Poundstone doesn’t need to go the distance for fame, though; she’s well-known these days for her quick wit on NPR’s Wait Wait . . . Don’t Tell Me! Poundstone says she’s always willing to make the commute to Chicago, the program’s home place, where she can collaborate with a host of comparably scintillating comedians. “For many, many, many years, I worked alone. It was just plain me,” she says, reflecting that collaboration can be extremely refreshing.

In the end, face-to-face contact with people who come to laugh is what really motivates Poundstone. “I love talking to the people who come to see me. I like knowing who they are,” she says. She follows the stories of people who come to see her in more than one place, and that for her is what gets her out of bed every morning. Juggling a family and full-time career, Poundstone finds herself questioning her choices. “I ask myself sometimes, ‘How’d I get this way?’ And then I remember: I guess it was me. It’s not like I got knocked up or anything. I signed the papers for every goddamn one of them.” In reality, she never questions them for very long. “I just think about how much fun it is to tell jokes to a group of people,” she says. “And in the end, that trumps everything.”

Paula Poundstone appears on Thursday, July 29, at the Napa Valley Opera House. 1030 Main St., Napa. 8pm. $40. 707.226.7372.

Anna Schuessler

all shows are 21+ unless noted

for reservations: 707.545.5876

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THE BOHEMIAN 07.21.10-07.27.10 35

Sonoma County Fair lives it up in wine country

It’s that time of year again. With its staycation “Grape Escape” theme, the Sonoma County Fair celebrates the

wine industry in all its bacchanalian (and, let’s face it, monetary) glory.

The biggest themed flower show in the nation, the Hall of Flowers returns with “Gardens of Sonoma County Wine Country.” This year’s production features 12 gardens, each of which displays one famous local wine grape appellation. As always, tickets to the Flower Show preview on Sunday, July 25—two days before the fair opens—are available to those who would rather schmooze amid flowers, wine and hors d’oeuvres than navigate the crowd that populates a general admission day.

As the only NorCal fair to have invested in both a turf racing track and a high-quality dirt track, the Sonoma County Fair begins one of the region’s most highly anticipated horse racing meets on Wednesday, July 28. Although the first post time isn’t until 12:45pm, bettors eager to get a leg up on the competition can arrive at 11:15am in Shade Park for tips from the experts. The track announcer, handicappers and other knowledgeable voices will offer inside information on which horses are feeling fast. Aficionados who can’t make it to the seminar can check Twitter for continuous up-to-the-moment betting advice. Those who love horses and winning but hate throwing money away can enter the Win, Place & Show free cash drawing, Sonoma County Harvest Fair ticket drawing or the Big Hat Contest. No risk and goofy hats. Win-win.

Fans of blues, country, rock and even Mexican ballads can find something to appreciate in the Sonoma County Blues Festival (July 31) and headliners Miranda Lambert (Aug. 2), Blue Öyster Cult and Foghat (Aug. 4), and Banda Cuisillos (Aug. 1). While these shows require a ticket in addition to fair admission, the Park Stage showcases new local talent at no extra cost, and the Redwood Theater hosts club and tribute bands.

Along with the usual agricultural animals, fairgoers can expect to witness the paradox of trained cats walking high wires, riding skateboards and ringing bells. Those tired of the majesty of racing horses can turn their attention to small dog racing in the Derby Dog Dash. More traditionally inclined attendees can tour the agricultural section in a horse-drawn wagon, back by popular demand.

If that somehow isn’t enough to get excited about, fairgoers can always just celebrate their good fortune of living in a county where the signature industry is not something lame like Brussels sprouts.

The Sonoma County Fair kicks off on Tuesday, July 27, and runs through Aug. 8 at the Sonoma County Fairgrounds. Horse racing extends its Wednesday-through-Sunday schedule to Aug. 11–15. 1350 Bennett Valley Road, Santa Rosa. 11am–9pm. $3–$9 general admission; children six and under free; $6–$8 parking. 707.545.4200.

Caroline Osborn

07.21.10-07.27.10 THE BOHEMIAN 36

Fort Baker, Sausalitowww.BayKidsMuseum.org

Open late by popular demand!

Select Fridays, 5 – 8 p.m.

ShipwreckedDread Pyrate Gregory

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Live from the Middle Reach

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Summer Music Series

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September9-5 Hotel Cafe tour

Buddy & Friends*

9-12 Troubaduo

9-19 Brian Bergeron

9-26 Lelia Broussard

& Chris Pierce

October10-3 Audra Connolly

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July

7-18 Pat Jordan Band

7-25 Samantha Lane

August8-1 The Speedbumps

8-8 Chris O’Brien

8-15 Fred odell

8-22 sol Horizon

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*9-5 will take place from 3-6pm

37THE BOHEMIAN 07.21.10-07.27.10

BOHEMIANCLASSIFIEDSPlacing an Ad Contacting Us

§By PhoneCall the Department at 707.527.1200 Mon.-Fri., 8:30a.m.5:30p.m.

√By FaxFax your ad to the Classified Department at 707.527.1288

Bohemian Classifieds847 5th Street, Santa Rosa, CA 95404Monday through Friday, 8:30a.m. to 5:30p.m.

ph: 707.527.1200

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Certification in Ayurveda & Aromatherapy with DeAnna BatdorffPractical & Clinical Experience. Pulse/Assess-ment, therapeutic bodywork, nutrition, traditional medicine & more. In Sebastopol-Starts Sept. 2010. Curriculum online dhyanacenter.com 707-823-8818

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Rocks and Clouds ZendoOne Day Introduction to Zen Meditation. Sunday

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Meditation for Everyone – Mahakuna Buddhist CenterSummertime Meditation Classes just $5 per Class. Jun through Sept 2nd. Three In-troductory Meditations each Week: Tues, Wed, & Thurs 7:30–8:45pm. Everyonewelcome. Make your summer meaningful. 304 Petaluma Blvd., N, Petaluma.www.meditateincal.org

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39THE BOHEMIAN 07.21.10-07.27.10

In addition to this column, Rob Brezsny offers expanded weekly audio horoscopes and dailytext message horoscopes. To buy access, go to www.realastrology.com. The audio horoscopes are also available by phone at 1.877.873.4888 or 1.900.950.7700.

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