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For the two years and counting, the producers/coordinators of The Dickens Christmas Fair, Red Barn Productions are eager to establish a new tradition of The Marin Irish Festival which will be held this weekend at the Marin County Fairgrounds.

Based upon a long-standing Irish tradition called ‘Ceílí’ (pronounced KAY-lee) a social gathering celebrating singing, dancing and storytelling. ‘Ceílí’ is derived from the Gaelic word for visiting and company/companionship.

Along with the custom of ‘Ceili’ is that of the May Day festival known in Gaelic as ‘Beltane’ which celebrates the summer solstice and the start of the summer season. It is in this spirit of the ‘Beltane’ that the festival offers a full weekend of performances, hands-on cultural experiences, and family-friendly fun all rooted in Irish heritage.

“The Marin Irish Festival brings people together through shared traditions, storytelling, and celebration,” said event producer, Drew Patterson. “Whether you’re honoring your heritage or discovering Irish culture for the first time, it’s a weekend filled with connection, music, and fun.”

Festival-goers can explore six stage areas featuring live entertainment, including acclaimed Irish musicians, high-energy dance performances, a dance competition, storytelling, and a free children’s game area.

More than 40 craft vendors will offer handcrafted and rare goods, while food vendors serve classic Irish fare, such as corned beef and cabbage, shepherd’s pie, fish and chips, and sweet treats, along with pints of Guinness, locally brewed ales, hard ciders, and soft drinks.

The Patterson Family which established the Dickens Christmas Fair and the Bay Area’s unique rendition of the Renaissance Fair is pleased that this Marin Irish Festival is back by popular demand.

The festival will once again host an authentic feis (pronounced fesh) - a fully sanctioned Irish dance competition in partnership with the Jackie Flynn Irish Dance Academy.

The Ceílí on the Lake Championships brings dancers of all ages together to compete for the coveted Champion of Champions title.

This year’s entertainment lineup includes renowned Irish music acts, such as The Black Brothers, The Black Irish Band,Avalon Rising, Ceol sa Cheo, Paddy on the Binge, and more.

Musicians of all ages and skill levels are invited to participate in open seisiúin (pronounced seh-SHOON) - open jam sessions - inside the Bearded Goose Pub, a relaxed, communal setting celebrating the shared joy of Irish music.

Beyond music and dance, the festival offers immersive cultural experiences, including:

United Irish Cultural Center (UICC): Showcasing the “Keepers of the Steps” exhibit and activities, along with hard-to-find Irish imports, including rare books and traditional salty and sweet treats. 

Falcon’s Court: A captivating birds-of-prey environment featuring falcons, owls, and hawks. Guests will have the opportunity to meet these majestic raptors up close, with the option to hold them and take photos in exchange for a suggested donation.

Beginner Irish Language Workshop: Festival-goers can learn basic phrases and a poem or song (or two) at the Poet’s Corner.

Marin 4-H: An interactive and up-close opportunity to meet Marin County’s young agricultural leaders and the rabbits, chickens, and cows they expertly raise and show.

The festival marketplace showcases Irish craftsmanship, including jewelry, textiles, ceramics, artwork, and traditional goods. Returning favorites include the Bearded Goose Irish Pub, joined this year by a second pub, The Gander, offering even more space to enjoy drinks, music, and camaraderie.

And for those who want to do more than watching the formal competitions, festival attendees are invited to join open set dancing sessions led by instructors throughout the weekend. 

Dancers interested in participating can learn more and register to compete at marinirishfestival.com/feis.

The 2026 Marin Irish Festival & Ceílí on the Lake Championships will be at Lagoon Park at the Marin County Fairgrounds located at 110 Armory Dr, San Rafael, CA

 Festivities begin at 10 AM and continue until 6:00 PM, Saturday & Sunday, May 16–17, 2026.

Tickets are Available now at tickets.marincenter.org

Single day tickets: $30 adults | $15 children (ages 5–11) 

Two-day weekend pass is available for $50 adults | $25 children (ages 5–11)
Parking is FREE onsite and along the street.
For more info visit the Marin Irish Festival website.

Espionage is perhaps the oldest “conspiracy theory” storyline out there, long before there was social media or even The Internet.

Espionage be traced back to 130 years ago to the 1890s. And, some historians point to the 1821 novel ‘The Spy.’ Yet some historians say that Erskine Childers' 1903 book ‘The Riddle of the Sands,’ is often considered as the first modern spy novel.

Regardless of the debate between historians, one thing is certain, espionage stories are enthralling. This probably why James Bond as a character has become “a franchise,”

even long after the actors who portrayed agent 007 have either retired or died.

This is why author Avery Mann continues to write. Or rather the real life man behind the author is Bruce Janigian, a former diplomat, international lawyer, and strategic adviser.

His real lived experiences spent decades advising governments and global organizations.

Drawing on firsthand experience in diplomacy, international law, and high-stakes negotiations, Janigian as Avery Mann writes geopolitical thrillers rooted in authenticity and strategic realism.

His latest political thriller Mr. Gobscheit has been named a recipient of the Literary Titan Book Award.

Mr. Gobscheit was awarded the award for its compelling storytelling, sharp geopolitical insight, and high-stakes suspense.

“Blending espionage, diplomacy, and the fragile realities of modern global infrastructure,” is what I aimed for when writing Mr. Gobscheit,” said Janigian.

Pleased that this novel has captured attention as a sophisticated spy thriller, Janigian said. “I think it speaks directly to today’s international tensions.”

This new novel inaugurates the Gobscheit Series.

Readers are now introduced to Mark Jamison, a semi-retired U.S. naval officer and diplomat whose quiet life is abruptly interrupted when he is drawn back into service for a dangerous intelligence mission.

Charged with helping protect the undersea communication cables off the coast of Ireland, Jamison must move through a world of covert loyalties, political manipulation, and rising Russian aggression.

As Jamison works undercover within the Irish defense ministry, he confronts corrupt officials, ruthless oligarchs, and a web of espionage that threatens not only America’s strategic ties to Europe, but the future of global alliances themselves.

Exploring the intersection of power, infrastructure, and covert operations, the character of Jamison conveys his espionage capabilities with unusual depth and credibility.

Having worked within the systems that shape nations and markets, Janigian’s writing brings readers an insider’s perspective on the forces that operate behind closed doors. He has crafted a powerful genre-piece of fiction that is as intelligent as it is suspenseful.

The origins of Mr. Gobscheit were shaped in part by Janigian’s time in Ireland, where he attended a literary conference in Dublin. He traveled extensively across the Emerald Isle, and wrote about the places that helped inspire the atmosphere and characters of the book.

Janigian’s background in diplomacy and national security allowed him to create the fictional storyline rooted in the gray zones of global power. “This is where personal relationships, political leverage, and intelligence operations are inseparable,” said Janigian.

Readers can expect an espionage story that will also appeal to fans of Tom Clancy, political thrillers, as well as spy fiction, and contemporary suspense subjects grounded in real-life international stakes.

With the Literary Titan Book Award now adding to the growing recognition of Mr. Gobscheit, Janigian hopes that this novel series is poised to reach an even wider audience of readers. An audience that is eager for smart, suspenseful fiction that feels strikingly close to the world is what Janigian aimed for. As he said, “It is the world we live in now.”

And, perhaps at some point, Janigian hopes a movie will be in the works featuring Mark Jamison a 21st Century version of a James Bond 007.

Mr. Gobscheit is available now on Amazon and Barnes & Noble.

Ireland these days is in the midst of social unrest. The issues include heightened social tension, housing pressures, and political volatility regarding Brexit, with ongoing, scattered protests; some dealing with refugees/asylum seekers, as well as rising political challenges.

It could be said that Ireland has always been in some sort of unrest as The ancient Romans could never conquer Ireland. And that is why Ireland was outside Hadrian’s wall. Nevertheless!

The Emerald Isle seems to weave an enchanting spell on many an unsuspecting visitor, even in the 21st Century. This is the situation of writer Martha Conway.

“On my 42nd birthday, I was with my husband and our two children and we were flying over the Atlantic Ocean, coming back from Europe,” she said.

“About an hour into the flight, says Conway, the pilot made an announcement that there was airplane trouble, and we had to turn around and do an emergency landing in Shannon, Ireland.”

When the heart-palpitations of what could have become a ‘near-death experience’ simmered down Conway was inexplicably charmed. As she explained.

“We landed, and the airline put us up in a little hotel outside Shannon. When my husband took our kids downstairs to get some food, I stayed behind because I wanted to take a moment.”

“Here I was in Ireland, said Conway, where my ancestors on both sides of my family had lived for 500 years.”

“It was my birth-day, she reiterated, and although I didn't just have a near-death experience, it FELT like I had a near-death experience.”

“I had wanted to write about Ireland, and now here I was, in Ireland, said Conway and it just felt like a sign.”

From the unexpected visit, emerged Conway’s latest novel ‘We Meet Apart.’

It has officially been released this month and Conway is currently promoting the book. Her schedule of appearances begins tomorrow in Santa Cruz and will continue throughout the country.

Conway’s writing has become over the past decade, a very powerful expression of the historical novel. Yet this recent novel has been compared to the works of Japanese novelist Haruki Murakami.

Murakami’s work has been described as “magical realism” with surrealist elements.

With this new novel ‘We Meet Apart,’ Conway ventures into new territory. As she explains. “I did it completely backwards. I came up with the idea, and then I started researching, hoping I would find something that I could pin it on and I did,” said Conway.

“I found a 17th century pamphlet, said Conway, about pookies and ghosts and how they are best seen at twilight. And I was like, bang, that's it. I can do it.”

The premise of “We Meet Apart” is as follows. When World II shuts down ocean travel in 1940, two American sisters are trapped in Ireland– but in different realities. In 18-year-old Gaby’s world, and true to history, Ireland has claimed neutrality and is not fighting in the war. But in 17-year-old Sabine’s world Germany has invaded Ireland, and as an enemy alien she must survive on the run.

Both sisters believe the other one has died. But when they each arrive at a grand Irish manor owned by distant relatives, they find one another again. For one hour at dusk– “the time of pookies and ghosts” in Celtic tradition– their two worlds overlap. However, when Sabine falls in love with a German officer in her reality, a man who is charming but devious in Gaby’s reality, even this short time together is threatened.

As a creative writing instructor for Stanford's Writing Certificate program, Conway has written five historical novels centered on family drama.

As she says, “I grew up in a large Irish family with six sisters—no brothers.”

“Both my school best friend and my neighborhood best friend also only had sisters, noted Conway and no brothers.”

“So I write a lot about sisters. Also, I always have a little kid in my book, because I think little kids are hysterical,” said Conway.

‘We Meet Apart’ has received praise and the unexpected enchantment of Ireland is definitely alluring. The Irish Times this past March published a list of the best Irish novels & short-stories so far for the 21st Century. Perhaps, ‘We Meet Apart’ will be among them!

To learn more about Martha Conway’s latest novel visit her website.

When incidents of road rage and violence in schools hits the newsfeed, Karen MacDonald Chief Instructor & owner at the Petaluma Karate Club, recognizes that something is very “off-center.” She is very aware about the way people react and relate to the world around them.

Since 2016, Sensei MacDonald has owned and operated Petaluma Karate Club. Yet her experience and training in Karate goes back further to when she first started taking Karate classes at age 11.

“I was bullied in elementary school,” she recollected. “And, when my sister took some Karate/Martial Arts classes, I followed her into it.” Back in 1983, she explained, “Both my sister and I started at the same time.”

MacDonald was raised in Canada. Yet she has been in the Sonoma area for decades. She noted. “In fact, my sister and I were the first females in Bolton, Ontario, Canada to start Martial Arts.”

At first, MacDonald’s intentions were simply to defend herself and push back at the bullies. That she did. And with powerful results; the bullies didn’t bother her again.

But over time, she discovered that Karate like almost all Martial Arts, are about building a ‘core strength’ as a way to avoid violence and resolve conflicts.

Martial Arts, especially Karate helped “ground” and anchor her.

“I was ‘centered’ said MacDonald, and was able to hold myself together differently.” The awareness and confidence she gained was life-changing.

Comparing certain aspects of Karate to dance, she said. “I liked the movement of it; “it’s dance with a kick, especially the kick!”

MacDonald also noted that it was the sense of community in the Karate class that helped her as well as the training itself.

“The sense of community comes from the trust that has to be established, said MacDonald, when training and learning with and from others.”

She emphasized that every ‘dojo’ (or school) of Karate must maintain the standard.

No matter what type/style of Karate be it Shotokan or any other, “the tradition and standards are established.” “They go back centuries,” said MacDonald.

“One thing I’ve noticed, especially since COVID-19, is that many people are impatient; they think it all can be done in just a few steps, said MacDonald, in just a few classes.” “It takes time, focus and commitment.”

Interestingly, according to recent research and surveys at UC Berkeley, since the COVID-19 pandemic, aggressive behavior has increased. Released last year in July the study uncovered that for the fifth year in a row, respondents have perceived aggressive driving and road rage as the largest behavioral change.

The downside to all the current technology is the sedentary and indoor lifestyle that many people are entrenched in.

“Technology can be a marvel,” said MacDonald. “But in some of my classes, there are kids who are not able to do basic aerobics & calisthenics.”

One aspect to Karate/Martial Arts that MacDonald sees as important, is the sense of dedication and discipline. The camaraderie among the students as MacDonald describes, is all part of it.

“No other sport is like Karate, said MacDonald, and I always liked sports and participated in many.”

“But in Karate you learn something new each time you do Karate with a sparing partner,” said MacDonald. “It’s an art.”

Each time is different because it’s about being present/aware and centered. Each person/situation of combat/challenge is unique. Different levels, different ages, abilities, strengths, vulnerabilities, etc.

MacDonald upholds that Karate is one way to improve self esteem and deter and avoid violence and conflict.

She has been involved with the Martial Arts for Peace Program began for over 20 years.

The program specifically teaches young people about Peaceful ways to manage bullies, by Nationally and Internationally acclaimed author Dr. Terrence Webster-Doyle.

“I became a Certified Martial Arts for Peace Instructor in 2003 and focused on bringing Karate to schools in my area, said MacDonald and teaching it as part of Health Education.”

Like all forms of martial arts, Karate has something for everyone who is willing to learn.

When the local shoe repair shop owner Vince Pacheco considered taking up Karate classes again, after some time, he didn’t know what to expect. As he noted. "Sensei MacDonald has created something really special with The Petaluma Karate Club.”

“I remember speaking to her on the phone for the first time,” he said. “I was describing my age and chronic injuries,” said Pacheco.

“Karen then humorously stated, 'you sound like half of my dojo!' We laughed”

“And then Karen said, in almost a Miyagi (meaning: ‘peaceful/balanced’) type of wisdom,  'Not to worry!’  ‘We all have to find our own Karate.’  Pacheco was then immediately at ease.

“When Karen said to me… ‘We all have to take it at our own pace.' “I knew all would come together and work out fine,” said Pacheco.

Pacheco received his official ‘Black Belt’ certificate from the International Karate Diagaku this past February 23. He was thrilled and humbled at the same moment.

"Some people think, once you've earned your black belt, then you’re a Karate master!” He exclaimed. But that’s not it!

“Vinny has been my student for three years,” said MacDonald. “And, I was so excited that Vinny was officially awarded the certificate of Shodan; which is the 1st degree of Black belt,” she explained.

“A ‘Black Belt’ isn’t the end of Karate training, said Pacheco, it is the beginning of understanding."

Pacheco explained further. "Because of my previous training with several different styles of martial arts throughout the years, Karen helped me advance at a comfortable pace.”

To Pacheco’s surprise, he said. “Karen has encouraged me to teach and to one day, become a Sensei.” Definitely unexpected, and an honor for Pacheco.

MacDonald teaches seven classes a week with about 25 students. “I teach 4 to 12 students per class, said MacDonald, various ages & levels.”

To learn more about the Petaluma Karate Club, and Sensei Karen MacDonald, visit the website.

Petaluma Karate Club is located at 213 Western Ave, Petaluma, CA. Located only two to three blocks from the heart of downtown Petaluma. For more info call 707-206-8393.

Today, February 11 marks the 168th anniversary of the apparition of the Blessed Virgin Mary at the of Grotto of Massabielle in Lourdes, France.

In less than a century, Lourdes became a major shrine and place of healing due to the natural spring uncovered there by Bernadette Soubirous, the then 14 year old peasant girl who received visions 18 times.

The 1943 movie “The Song of Bernadette,” based on real historical accounts and Franz Wuerfel’s novel of the same name, became a religious classic.

Yet underneath the stirring portrayals, the inspiring score by composer Alfred Newman and cinematic craftsmanship are hints, if not subtle lines of a ‘Film Noir.’ And, maybe there’s even a slight touch of a horror film. An article in America The Jesuit Review from 2018 points this out.

It seems the obvious element in the movie that nudges toward Film Noir and a touch of horror is the presence of consummate actor, Vincent Price.

Price portrays the Imperial Prosecutor, Vital Dutour. His role provides not only the skepticism but the shrewdness of those not eager to believe in miracles or even in God. Price is at his prime and dashingly-handsome best in this role.

It will be a couple of decades more before he reaches his horror film pinnacle with the roles like that of Dr. Phibes. Yet, his performance is crucial to the weighty aspect of the storyline. Without him, the religious aspect is too gushingly pious.

Lee J. Cobb as Doctor Dozous provides the “scientific perspective,” which works alongside the other civic and secular authorities, like Price’s character, in analyzing and cross examining Bernadette.

Another character that gives a bit of ‘Film Noir’ to “The Song of Bernadette,” even further is that of Sister Marie-Therese Vauzou portrayed by actress Gladys Cooper. While the screenplay embellished the role beyond actual historical context, Cooper’s portrayal vexes between vitriolic and vengeful.

As Price’s character is honestly skeptical, Cooper’s portrayal of character is one of resentment and jealousy. Which to be blunt, shows the audience that religion, (any form of religion) can bring out the worst in people.

Sr. Vauzous’ gripe is that she as a dedicated consecrated nun should be the one to have a vision of the Blessed Virgin Mary, not some ignorant “stupid” peasant girl who didn’t even know or understand the concept of the Holy Trinity.

When Bernadette’s tuberculosis of the knee condition, finally convinces her superior that Bernadette was suffering, Sr. Vauzous expresses repentance. Sr. Vauzous goes to chapel vowing to help Bernadette from then on.

With Cooper’s distinctive voice, Sr. Vauzous pleads for forgiveness crying out, “God help me!” Ironically, that type of voice was almost the same as the character of André Delambre, the scientist in the 1958 movie “The Fly.” In the ending scene, (which also starred Vincent Price by the way) André Delambre’s other half, is caught in a spider’s web and cries out “help me” as he is about to be eaten.

Interestingly, Cooper herself, decades later also would be in a horror/Sci-Fi genre production of “The Twilight Zone.”

Some film historians and fans do recognize the cinematic similarities to Film Noir in the movie such as techniques of utilizing shadows and backlighting. Yet, the typical aspects to a ‘Film Noir’ are not in “The Song of Bernadette” at all.

Although, one might argue that the persistent skepticism and interrogations are antagonistic to the point where it seems like a sinister plot. Yet by the end of the movie, all the skeptics are won over.

Without losing any of his unique qualities as a secular-minded skeptic, Price conveys a gentle point of view.

Price’s character conveys that even in the midst of something truly mystical, there is no way to force the mystical to happen; or in the situation with Vital Dutour as Imperial Prosecutor, there’s no way to make it go away.

Even as France is no longer a Catholic country and current statistics show that 24 percent of the global population identifies as secular, the Shine at Lourdes still receives between 3 to 6 million visitors per year.

Last month movie affection-ado ‘Depressed Bergman’ on X (formerly Twitter) noted that December 2025 marked 61 years since the debut of the now classic film, “Zorba The Greek,” premiered.

“The movie ‘Zorba the Greek’ had such a profound effect on audiences then in 1964 and even now,” said Katerina Mavroudi-Steck, Director of the annual San Francisco Greek Film Festival.

Fellow SFGFF staff members Maria Nicolacakis and Kleon Skourtis agreed. “The film is full of deeper meanings and messages,” added Mavroudi-Steck.

The surprise smash-hit film made actor Anthony Quinn an immediate international sensation; so much so, it became a signature role. “‘Zorba the Greek’ is often remembered for its exuberance — the dancing, the music, and Anthony Quinn’s larger-than-life presence,” said Kleon Skourtis.

Yet as he points out… “beneath that surface joy, the film is deeply philosophical and even tragic,” said Skourtis.

Based on Niklos Kazantzakis‘ novel, the film as Skourtis surmises, is about two opposing ways of being in the world.

The story begins as Zorba meets a young British gentleman named Basil (portrayed by Alan Bates) taking a boat from Athens to the island of Crete. Rainy and stormy, the Mediterranean at that moment is anything but sunny and warm; a hint of the unpredictable that is to come.

As Basil explains, his “father was Greek, but I was born/(raised) in England.” Very much an educated and cultured English man, Basil is at the prime of his life seeking something that he anticipates will help him out of not only his writer’s block, but a conventional rut he is not aware he is in.

Zorba, a man at mid-life, recognizes this rut Basil is in and tries to convey this fact to the 25-to 30-something academic fellow.

Immediately without hesitation Zorba tells Basil he would like to accompany him to Crete and to work for him, addressing Basil from then on as “boss.”

Basil is willing to take Zorba on because Basil’s other intention is to restore an old lignite mine that his father left to him. Zorba has experience in working in a mine as well as many other experiences. These experiences are what make Zorba the unique character he is.

The two arrive at the little village on Crete to an enthusiastic welcome by the villagers and “the foreigner” Madam Hortense.

Madam Hortense is a French woman (portrayed Lila Kadrova) who settled into the village after World War II.

She operates the only hotel available to the few and seldom visitors who come to the impoverished village.

The scenes with the eccentric French women are charming and peculiarly sweet. Madam Hortense explains that the villagers are “ungrateful” of the efforts she made with the British Navy to save their village from “the boom-boom” of the war.

Filmed in black and white and with a modest budget, part of the film’s magnetism is in its simplicity. “The beach in this film is located in Chania, Crete. It’s called ‘Stavro Beach,’” noted Maria Nicolacakis.

Nicolacakis serves as the annual film festival’s co-director.

“The Akrotiri peninsula with its mountains, play a part in the film. Yet they also serve as a backdrop which provides a rustic canvas,” said Nicolacakis. “Especially for the passion of Zorba as well as the other characters like that of Madam Hortense.”

Amid a lilting dialogue of a storied career as a cabaret entertainer, Madam Hortense’s precarious circumstances in that setting give witness to the unease that is always present living in the village.

This then opens to the next scene which is that of the young widow of the village. “A beautiful wild widow” as Zorba describes her.

She tries to retrieve her goat that the men of the village have hidden from her, in an effort to tease her.

Portrayed by Irene Pappas, the young widow has few words in the entire movie. But her presence is palpable.

Portrayed by Giorgos Fountas, Mavrandoni, the leader of the men of the village antagonizes her because his son is infatuated with the young widow.

Yet the young widow isn’t interested in any of the men of the village. This, as Zorba explains, aggravates and frustrates the men of the village especially, Mavrandoni.

To complicate and aggravate things further, the young widow takes a liking to Basil. While Zorba encourages him to approach the young widow, Basil is reserved, reluctant.

Inexperienced in romance Basil is cautious and hesitant. Whereas, Zorba is eager and seemingly fearless in just about everything he does. He tells Basil he analyzes too much.

Needless to say, the efforts to restore the lignite mine and bring it back into operation fail. But the dynamics between the young Basil and the middle-aged Zorba is at the heart of the story.

Expressing comedic moments, unusual tenderness and heart-wrenching drama, its clear to understand why the film was an unexpected success-hit.

The crescendo of the film is the disturbing demise of both the “foreigner” Madam Hortense and the young widow.

Skourtis explains, “the cruelty of the villagers in ‘Zorba the Greek’ is absolutely not random or merely a dramatic device.”

“It is deeply connected, said Skourtis, both to Greek historical experience and to a timeless human pattern.”

Providing some historical context, Skourtis noted. “Kazantzakis wrote his novel shortly after World War II and the Greek Civil War.” The Greek Civil War took place almost immediately after World War II between 1946 to 1949.

“At that time, said Skourtis, Greece was extremely poor, socially traumatized, filled with loss, fear, and violence.” “It was deeply conservative and was a country/region of closed communities.”

When reflecting upon the tense and disturbing scene when the young widow is killed, Skourtis said. “In a patriarchal society, this is already ‘guilt’ and the goat scene is highly symbolic.”

“The men of the village hide the young widow’s goat,” he said.

“They take it so to take away her livelihood.” “They watch her silently, said Skourtis, a collective voyeurism.” “The men laugh and take pleasure in her humiliation,” he added.

The young widow’s refusal to give in to them or to follow the conventional conditions the entire village believes she must adhere to makes her dangerous in their eyes. She is dangerous even though she does nothing bad or harmful to anyone.

Skourtis explains further. “The young widow is very clearly a scapegoat.” Elaborating a bit more, he said. “She is not punished for what she does, but for what she is: young, beautiful, alone, not owned by a man.”

Ruminating deeply on the script and it’s cinematic impact, Skourtis said in pondering…“Why kill one of their own?”

“This is one of the darkest truths of the film: “Societies often hate free people more than outsiders,” he said.

“The young widow reminds them of: the life they lost, the desires they suppressed and the courage they never had,” he said.

“So she must disappear.” The scene is even more chilling because the young widow is killed during a church service. Only Basil, Zorba and the village beggar, whom the young widow fed mourns her; everyone else is indifferent, callous.

Skourtis points out… “Kazantzakis’ deeper message is not simply condemning the villagers. He reveals something brutal: When people cannot bear their own lives, they destroy anyone who reminds them that another life is possible.”

Even with the death of Madam Hortense and the killing of the young widow, Zorba mourns, but is still determined to live. He urges Basil to do the same.

Right from the beginning of the movie, Zorba expresses a zest for life and a passion that defies logic. His attraction to and love for Basil seems off-kilter. Yet as Mavroudi-Steck says.

“Zorba centers around the meaning of freedom, the passion for life and the acceptance of how perishable we are.”

She also points out. “It confronts rationality with instinct, teaching that real happiness is ‘here and now’ in the ability to dance even when everything around you falls to ruins.”

This is why the film ends with Zorba and Basil dancing. Is Basil the unexpected embodiment of Dimitri the first-born son? Perhaps!

Zorba lost his first born son Dimitri when the little son was 3 years old. That’s when Zorba was married with wife and house “and the whole catastrophe,” as Zorba tells Basil on the boat when they first meet.

So full of grief, to keep from bursting with sorrow, he danced. People at the funeral thought Zorba was mad.

Yet Zorba then realized that at that moment his zeal for life is a madness.

One needs a bit of that zealous madness he tells Basil cut the rope of fear in order to be truly free and dance, no matter what happens in life.

“The legendary dance at the end, Mavroudi-Steck says of the film, symbolizes human endurance and the ability to continue regardless of adversities.”

Recommending audiences to watch one of Greek cinema’s enduring iconic films, Mavroudi-Steck said. “The movie leaves you with a feeling of freedom. It’s freedom from social musts, prejudices, and fear of death.”

To learn more about the San Francisco Greek Film Festival, visit the website. And to watch “Zorba The Greek,” it’s available on streaming platforms such as Apple and Fandango as well as Amazon Prime.

As the Sausalito Center for the Arts celebrates the Figurative Art Movement with its current exhibit ‘Drawn from Life: The Bay Area Figurative Movement Continues’, among the sculptors exhibited are the Fort Mason Artists teachers and board members, Konrad Dunton, Sandy Frank, and Tebby George.

“They were and still are very much a key element of the Figurative Art Community here in the Bay Area,” said sculptor Catherine Merrill. 

Merrill serves as the exhibit’s curator (along with Susan R. Kirshenbaum) and is also a ‘Drawn from Life’ exhibit participant. 

When some people look back upon the 1970s, it’s usually about the impact of the Vietnam War which the United States got entangled in through its allies as well as its anti-communism foreign policy at the time. 

An undeclared war, the decade-long conflict spurred the Peace Movement and disenchanted the optimism of American political life. 

While some historians cite the 1970s as a time of lackluster style and an apathetic cultural experience, the 1970s were a significant time for the arts. 

The post-WWII economic boom saw unprecedented growth. Yet as the pinnacle of that began to dissipate, significant shifts were occurring in the 1970s. 

Inflation, an oil embargo, and the Watergate scandal had a ripple effect. 

Factory facilities, military bases and old buildings were underutilized if not vacant. This provided an opportunity for the arts to flourish unexpectedly.

An example of this was the former military complex in San Francisco’s Marina District called Fort Mason.

After more than 100 years, serving as a command center in various ways during World War I and WW II, Fort Mason with its large buildings, docks and ports was ideal for the flourishing of creativity that was thriving in the San Francisco area at that time. 

Called simply Fort Mason Art Center, it  operated as a lean yet vibrant hub for cultural activities and especially art education. “Elio Benvenuto's leadership was crucial,” said Konrad Dunton. 

Dunton among the sculptors exhibited at SCA, is Board President of the Fort Mason Artists nonprofit school. 

Dunton explained the history. “Elio immigrated to the United States after WWII.”

“He saw potential in the buildings that by that time were mostly empty and neglected,” said Dunton. 

“Elio was an internationally recognized artist and a skilled teacher, said Dunton, a beloved mentor and cultural leader.”

"Elio was instrumental in establishing the San Francisco arts infrastructure we enjoyed at the Fort Mason Art Center” said Dunton.

“It was Elio who founded the San Francisco Arts Commission Gallery, and who was instrumental in establishing the Fort Mason Art Center” said Dunton. 

As the facilities at Fort Mason were gradually refurbished, art and cultural activities began to anchor themselves there. 

For example, the Dickens Christmas Fair operated from Fort Mason for a number of years before moving to where it is hosted now at The Cow Palace. 

“The large and varied buildings, as well as being situated along the water, yet still in San Francisco lent themselves to art of all kinds,” said Dunton. 

Once San Francisco City College (CCSF) got involved courses in ceramics, printmaking, stained glass, textiles, and business in art attracted a wide range of students.

Tebby George a member of the Fort Mason Artists school. Her work is also exhibited at SCA. She remembers those days. 

“It was a community there at Fort Mason,” she said. George verified that long before City College, got officially involved, “like around 1969, ‘70” there was artistic activity going on. 

“That was back in the days when Elio was coordinating the efforts to have Fort Mason utilized for art and culture activities,” said George. 

The renovating of an old facility such as Fort Mason wasn’t isolated. Other older facilities like The Cannery and Ghirardelli Square (once old factories and warehouses) were also being refurbished. 

The enthusiasm of such wasn’t just in San Francisco, examples of this also occurred in Sausalito with Village Fair and Napa Valley with the opening of Vintage 1870. 

“I remember that artists back in the early 1970s flocked to Fort Mason,” she said. 

Jewelry making, weaving, pottery and the emergence of macramé among many other crafts and art objects, were among the things that artists were doing in and around San Francisco. 

The Ecology movement, ‘back to the land’ movement as well as the Peace Movement all coincided with the art scene which culminated in San Francisco and around the Bay Area. “But especially, at Fort Mason,” she said. 

George was privileged to be a part of something first as a student, then later as an artist and teacher. 

Efforts were made in 1975 to bring something of an accredited school into the faculty. Yet as she recalled; “It was in the 1980s when City College of SF made a satellite campus at Fort Mason,” said George. 

“Credit classes, continuing education courses, and older adult education classes;” mentioned George, “this was a time when a lot was flourishing and the sense of community at various levels was happening.” 

The availability of space, plenty of parking and it’s proximity to transit made Fort Mason a hub. “It was a place where everyone could go to,” said Dunton. 

Fellow ‘Drawn from Life’ exhibitor Sandy Frank agreed as she said. “It was fun, because everyone that was there was there mostly just to do art.” 

Frank who initially began as a student in George’s class, back in 2001, eventually became an instructor at Fort Mason Artists herself. 

Dunton, Frank and George are unanimous when they recollect how the art scene at Fort Mason Center for Arts & Culture was very special.

For 30 years, the community college collaboration with Fort Mason Center was a success. 

But as the Dot Com boom hit the San Francisco area, things began to change. 

Not that the Dot Com boom impacted Fort Mason directly, it was the way the City was changing. Real  estate values went up all over the SF Bay Area. 

And as City College of San Francisco faced budget deficits with more than 11 satellite campus locations, eventually difficult decisions were made. 

The onset of COVID-19 was the catalyst for CCSF officials. 

“It broke my heart,” said George. “Everyone turned out to try and save it and keep the collaboration with CCSF going.” 

Yet with a lease agreement costing $408,000, annually, CCSF Board Member, Ivy Lee told the SF Examiner back in May of 2020. 

“Between the choice of cutting classes and laying off teachers or maintain that location, we chose people and programs over a place,” Lee said. 

Even though Dunton along with the others was very disappointed, he understood. 

“Maintenance issues, retrofitting and Fort Mason Center having a new director, also played a role in CIty College’s decision,” said Dunton. 

Rising costs and the need to have more upscale tenants and events to cover expenses was an inevitable outcome. 

“When efforts to save the program through CCSF were exhausted, our coalition channeled its energy into building something new,” said Dunton.

A nonprofit organization was formed, called Fort Mason Artists (FMA).

“Through fundraising and community support, a new home was established, said Dunton at the MPIC Clubhouse in the Glen Park neighborhood of San Francisco.”

 “And in Fall 2021, FMA began offering classes in figurative arts, he explained, rekindling the sense of joy and connection that had long defined the Fort Mason art community, which was a ‘Mecca’ for many.”

“As of now, Fort Mason Artists continues to grow and thrive,” Dunton added.

“We kept the name of Fort Mason Artists group in honor/homage of a special place and time,” said Dunton. 

It definitely helped make the community what it is. “Perhaps at some point in the future we will change our name,” said Dunton. The exhibit continues until Feb 8. For more details visit the Sausalito Center for the Arts website.

Few contemporary songs immediately identify the holiday season as “The Christmas Song.” And, few singers can match the unique quality of Nat King Cole, who made the song an enduring standard of the season; except perhaps, vocalist Allan Harris.

Harris turned a chilly winter afternoon in Sonoma into a delightful two hours of live entertainment at the landmark Sebastiani Theater on December 7.

With the accompaniment of Bruce Forman on guitar, Doug Miller on bass and Sylvia Cuenca on drums, the full house crowd that attended that Sunday afternoon was pleased and eager for more.

Local radio KSVY host Dick Conte welcomed annd introduced Harris and his accompanists. Conte applauded the work of the Sonoma Valley Jazz Society and others that helped bring Harris to Sonoma.

Brooklyn-born, Harlem-based vocalist, guitarist, songwriter, and band leader, Harris included his love of poetry to the performance.

Just as vintners like to pair a glass of wine with a certain food, Harris added a poem before a song.

Utilizing the sonnets of Shakespeare as well as the love sonnets of Nobel Prize-winning poet Pablo Neruda and the Pulitzer Prize winning prose of the American poet Mary Oliver, Harris punctuated the universal appeal of Nat King Cole.

As reported by Commentary magazine (June 2021) Cole’s singing was as extraordinary as his playing. With the sole exception of Louis Armstrong, Nat King Cole is the only major jazz musician to have been identically distinguished and influential as both an instrumentalist and a vocalist.

The audience was thrilled to hear Harris’ rendition of familiar songs such as ‘Nature Boy,’ ‘Smile’ ‘Too Young’ and ‘The Falling Leaves.’

To say that Nat King Cole’s music transcended the genre of Jazz is an understatement.

According to the Grammy Awards Museum, Nat King Cole recorded nearly 700 songs for Capitol Records, including 150 singles that charted on Billboard‘s Pop, R&B and Country charts.

Ironically, Capitol Records was reluctant to release ‘The Christmas Song’ because executives were doubtful of commercial success.

It has been said that Nat King Cole built Capitol Records. So, for company executives to be hesitant or reluctant of an immediately likeable song is absurd. But those were the times of the 1940s and 50s.

Adding a full orchestra to many of his songs, including the famous holiday song composed by Robert Wells and singer Mel Tormé, gave Nat King Cole’s voice an ethereal touch.

As noted by WBUR/NPR newsletter, commemorating Nat King Cole’s 100th birthday, “He's a baritone with absolutely perfect pitch,” said author and biographer Daniel Mark Epstein.

“Nat King Cole sings the notes true and he hits them right in the center."

Epstein in his 1999 biography “Nat King Cole,” points out that Nat King Cole was primarily/initially a musician and not a singer.

Yet it was his voice that took Nat King Cole from a trio musician performing in nightclubs to international fame.

Like many singers of his era the eminence his music had on popular culture was eclipsed by the advent of the Beatles and the trends that followed.

Even so, as a stylist, Nat King Cole’s music endured, especially through ‘The Christmas Song.’

Sonoma Valley Jazz Society Executive Director Janice King was pleased with the turn out at Sebastiani Theater as she noted.

“Allan Harris is a true luminary in the world of music.” An award winning artist of many accomplishments, Harris is also a two-time recipient of Hot House Jazz Magazine's "Best Male Jazz Vocalist" award and has been honored with a Back Stage award for "Ongoing Achievement in Jazz."

For more information on the upcoming schedule of shows and events sponsored by the Sonoma Valley Jazz Society, visit the SJS website.

CGI - Computer-Generated Imagery is an $11 billion dollar industry. And, even as streaming services are negotiating to take over beloved television shows like ‘Sesame Street’ and ‘The Muppets’, the appeal of live-action puppet characters remains.

As Brian Patterson of the Dickens Fair explained. “It’s intriguing to audiences, especially to kids, because they don’t see live-action performances much.”

In addition to providing the ‘Punch & Judy’ show at the Dickens Fair, Patterson has done shows at libraries and in Golden Gate Park.

“Kids are so immersed in screen time with an electronic device, a screen is so flat,” he said.

The constant availability and presence of technology has made simple live entertainment less frequent.

Over the years, Patterson has noticed that kids (as well as others in an audience) are hungry for live entertainment and experience.

He and his team of Sarah Rice and Terry Mulrooney work together to present three shows a day at the Dickens Fair -- one in the morning and the others in the afternoon.

Not as well known here in the United States, Punch & Judy are more than an entertainment staple in the United Kingdom. “It’s an art form,” said Patterson.

“It’s part of English history and culture and a Dickens Fair wouldn’t be complete without a Punch & Judy or a pantomime show,” he said.

“‘Punch & Judy’ can be traced back three hundred years ago to the 1600s, and even further to the Commedia dell‘arte, in Italy,” he said.

Eventually, variations of the Commedia dell’arte spread across Europe. (Punch & Judy is one form of it) “It basically consists of stock characters, said Patterson, which are standardized archetypical characters.”

Costuming and exaggerated features for the characters evolved over time. This is so audiences can recognize and identify with the characters immediately, such as ‘the clown,’ ‘the thief’ ‘the lovers,’ etc.

In this case, the outline of Commedia dell’arte extended further with the marionette and later a puppet show.

‘Punch’ is derived from the character of Punchinello, in the Commedia dell’arte.

“He’s kind of an ‘Everyman,” said Patterson. “Yet more mischievous as he likes to play tricks on the other characters.”

Typically, Punch speaks in a distinctive squawking/squeaking voice, adding to the antics of a scene.

And usually, he’s “a henpecked husband.” “Judy as his wife is a foil for his antics,” Patterson said.

There’s no defined written script as like a Shakespeare play. “This was all handed down, from generation to generation,” said Patterson.

Much of the banter in a scene is between Punch his wife Judy and the other characters who interact with them.

In general Punch is the center of attention who faces obstacles to his gleeful antics.

Punch’s mischievousness occurs when he seeks ways to vanquish each obstacle. “He’s neither hero, nor villain,” said Patterson. “But like most of humanity, he learns to attend to things himself, usually when Judy after having enough, walks out or leaves on vacation.”

That’s how Patterson likes to present the show, especially to young audiences.

“This is when Punch learns to use his wits,” said Patterson. Even as the scenes can be zany, there’s a universal quality.

The Victoria & Albert Museum of London cites that…

While Punch integrated himself from Italy into Britain, a similar process took place in other parts of Europe. This resulted in Punch's European cousins; including Kasperle in Southern Germany and Austria, Polichinelle in France, and further afield, Karakoz in Turkey and Petrushka in Russia.

The scenes of a Punch & Judy show can vary and often lend themselves to improvisation.

Rice and Mulrooney serve as a "bottler" who corral the audience outside the puppet stage booth. They introduce the performance and help with the change of scenery and props.

The London of Charles Dickens’ day was familiar with a ‘Punch & Judy’ show, they could be seen just about anywhere.

The cast & crew of the Dickens Fair work fervently to recreate an authentic atmosphere of Victorian era London.

More than 800 performers take part annually at this holiday event.

All performers complete workshops in theatrical living history, characterization, dance, costuming, dialect, and more to prepare for 11 days of immersive holiday merriment. Both Brian and his brother Kevin and extended family are very proud of the work.

“It’s all part of the ‘emersion theater’ experience my parents Ron and Phyllis Patterson taught us,” he said.

Balancing historical element alongside a carnival entertainment atmosphere isn’t always easy.

And, competing for an audience’s attention amid an array of technological devices is a challenge. Still, the Patterson family endures to present something that an entire family/community can enjoy.

Punch & Judy were in Dickens’ time as popular as Ernie & Bert or Cookie Monster and Big Bird are on Sesame Street today.

Dickens does mention the puppet show in his works, like in “The Old Curiosity Shop,” and others.

Satire, farce and sarcastic humor often were mixed in with a scene. Yet as shows in the Victorian era were more focused on ‘moral values’ characters like ‘Pretty Polly’ Punch’s mistress, were omitted.

When asked which of the scenes audiences (especially kids) like the most, Patterson replied, the one with the Ghost character.”

Even though it’s not a traditional character that is used in in the United Kingdom, Patterson said. “I put the Ghost character in because of the reactions - the kids are excited.”

And, the Ghost character keeps it slapstick and playful with no knockouts.

This year’s Dickens Fair opened on the weekend of Nov 22, and continues weekends, plus the Friday after Thanksgiving, until the weekend of December 21, 2025. To learn more visit the Dickens Fair website.

Photo by Rich Yee, courtesy of The Dickens Fair

From ancient times, be it Alexander the Great, Emperor Qin Shi Huang of China or Spanish explorer Juan Ponce de León, the allure of finding an elixir of youth has played upon the human imagination for centuries.

Yet health and medical experts say that there are ways to maintain longevity, naturally.

Among them is Jessica Rose who was at Adobe Drugs in Sonoma on November 25 to promote her book, “Healthier Beauty: the Ultimate Guide to Radiant Skin, Hair, and Wellness.”

“My philosophy is grounded in the belief that true beauty is not just skin deep,” she said.

“It radiates from a foundation of inner-health and well-being,” she added.

Understanding how important living a healthy lifestyle is, Rose has for over 15 years, spent a significant amount of her life studying and working to improve the health and wellbeing of others.

“Jessica used to work here at Adobe, when we used to be Pharmaca,” said longtime herbalist and trusted supplement consultant Paul Clark.

Clark was eager to introduce Rose to customers; especially those who shop loyally every Tuesday for the weekly discounts.

Ever since rebranding and becoming an independent locally and family owned drugstore, Adobe Drugs has remained committed to a nature/wholistic approach.

Pleased to be welcomed to present her book in a familiar place, especially where she used to work, Rose applauds pharmacist Aman Garg and his family’s dedication to the community.

Ever since taking over the previous Pharmaca location and re-branding it, the local independent pharmacy/drug store remains a hub for the community.

Community is something Rose fosters. She explained why she made natural and wholistic medicine approach her focus.

“My mission is to empower people to live healthier, more vibrant lives by embracing a holistic approach”

“By harmonizing the power of balanced nutrition, she emphasized, wholistic beauty practices, and overall wellness, I aim to teach individuals how to look and feel great at every age.”

A graduate of Bauman College in Emeryville, which has been providing quality curriculum/degree programs in wholistic health for nearly 40 years, Rose is also a licensed cosmologist.

She advises women on the importance of reducing toxins as a wholistic approach to better health and vitality.

“I understand that achieving lasting beauty isn’t about quick fixes or fleeting trends,” she said.

She recognizes that true health encompasses more than just diet.

Through personalized guidance, some of which is in her book, Rose aims to educate and inspire individuals to make choices that support their unique needs.

“This can be by optimizing a particular diet for glowing skin, discovering natural beauty solutions, or building healthier routines that enhance one’s overall vitality.”

Rose has been featured in five magazines and on television as with LATV Network of Los Angeles.

Her knowledge and expertise has become a trusted source of information for many as Rose has established herself in the wholistic health field.

“Graceful aging isn’t about erasing time, she said, it’s about embracing it with confidence, energy, and a radiant glow that comes from within.”

While Rose has established a presence on the Internet, she still wants to maintain connections in the local communities. She looks forward to making presentations and appearances at local events and business in Wine Country as well as other parts of the Bay Area.

To learn more about Jessica Rose and her book, visit her website.

With the ubiquitousness of streaming services on the Internet these days, a movie about somewhere in the American South is easily stumbled upon. And for this reporter/movie fan it was “God’s Little Acre” from 1958.

Of course, it helps to find such a gem of a genre-movie like “God’s Little Acre,” when the storyline has a star such as the legendary Tina Louise in the cast.

This was her motion-picture debut. And I reckoned she would simply be a “walk on” character as her stunning figure and beauty would be a rallying point for an off- beat comedy.

Well, ‘surprise, surprise!’ What seemed to begin as a Li’l Abner romp, about a man (Ty Ty Walden) (portrayed by Robert Ryan) digging for his grandfather’s gold on the family farm in rural Georgia had unexpected twists and turns.

Lots of familiar “family drama” is in this, similar to Tennessee Williams and William Faulkner, as Tina Louise and an extremely inebriated masculine personality of Aldo Ray push the screen to make it crackle with sensual tension.

Louise’s character of the daughter-in-law Griselda, is married to one of the man, Ty Ty’s sons on the farm. Yet she still has feelings for Bill, portrayed by Ray.

Bill is married to Rosamund Ty Ty’s oldest daughter. Rosamund is in love with Bill but not as much as Bill has feelings for Griselda.

The chemistry between Griselda and Bill expresses an energy that right from the get-go speaks of a libido going off the rails.

Yet as Rosamund prefers to see it, the sensual tension is because her husband Bill needs work. The closing of the cotton mill in the nearby town of Peachtree has Bill on edge for months.

Like Ty Ty, he is stubborn in his belief. Bill believes that the cotton mill is the only viable work for a man like him. “No farm life for me,” he says.

All the men in the story are strapping and hard working. Whether they are on the farm or a “factory man” as Bill describes himself. The women in this story are either aching or itching, passionately eager to love a man.

Envy and resentment is palpable of course. Yet “God’s Little Acre” provides an unusual overview of a ‘Southern Story.’

Ty Ty’s other daughter Darlin’ Jill has the county sheriff-wannabe, Pluto (portrayed by Buddy Hackett) wrapped around her little finger as it were.

The scene where she urges Pluto to pump some more water at the bathtub where she’s bathing/cooling herself off amid the hot weather is reminiscent of Tennessee Williams’ ‘Baby Doll.’

The characters and bits and pieces of the storyline of “God’s Little Acre” are all familiar. Be it in Harper Lee’s work, Carson McCullers or even in Truman Capote’s “A Christmas Memory,” they all have an emotional cadence that’s very familiar, beguiling and upsetting all at the same time. 

Ty Ty as head of the family just wants everyone to stay together and be happy. And sooner or later, after 15 years of digging holes in the ground, “scientifically” he’s believes, Ty Ty is bound to find grandpa’s gold. Even when this belief is illogical and in denial of the facts, Ty Ty is so certain.

A heartfelt earnestness to have honor and be respectable and an unusual grandiosity go together in these Southern stories. And they tend to be the main ingredients of most Southerner people in these situations. 

The juxtaposition of absurd comedy and smoldering sensuality seems predictable.

Yes! It does implode. Only, not as anticipated. The unexpected twist is in the “men out of work,” frustration.

Bill wants to go back to work, no mater what! Not even the pleading of an alluring Griselda will deter him from forcing the cotton factory to open.

Here’s where “God’s Little Acre” makes a sudden and unexpected swerve into “On The Waterfront.”

With a bravado like Marlon Brando, Ray’s performance is beefy, bold but tragically foolhardy.

All of the men in the quirky comedy-turned serious drama are short-sighted and stubborn.

Yet, like Griselda and the other women in the story, you have empathy for them.

While the movie and story-line is somewhat ‘dated,’ Roger’s Movie Nation blog applauded director Anthony Mann’s ability to bring Erskine Caldwell’s 1933 novel to the big screen.

“Here, he guides a stellar cast, says the blog, that hurls itself into accents, melodramatics and stereotypes in a story of fake piety and pointless poverty, sex, lust and sin in 1950s Georgia.”

While the time-frame of “God’s Little Acre” in the move is the 1950’s, obviously, to me, it’s atmosphere is from a time even earlier, when a peculiar ‘caste system’ dominated every aspect of Southerner culture.

Louise gives a memorable performance for which she won a Golden Globe award.

For fans of William Faulkner, Tennessee Williams, “God’s Little Acre” will surprise. Check it out on Tubi or YouTube.

As cold weather crops up during autumn season, in addition to reaching for hand lotion, there’s lip balm.

Dry, cracked, chapped lips are uncomfortable in chilly weather and can make the seasonal beverages and treats, people usually enjoy like pumpkin lattes, apple cider, etc, a little bit painful.

A really good lip balm does for the lips what a quality hand lotion does for the skin; it moisturizes and protects.

With a U.S. market sales rate of over $3 billion dollars last year alone, there are so many different brands and varieties/forms of lip balm on the market, according to some market analysts, the exact number is uncertain.

Yet based upon the latest data of cosmetic manufacturers in the United States, which is over 4,000, IBIS World reports says that the forecast of growth in this sector grows by at least 3 percent annually.

Moisturizing restores the lips, helping them to maintain suppleness and resist effects of wind and cold.

This is something that Caryl Brandes of Caryl B Personal Care Products understands well.

Like all of her products, Brandes sought to make not only an effective and reliable lip balm but also a high quality one.

“I couldn't find a lip balm that I liked,” she said.

“It either irritated my lips and or was too greasy.” Brandes didn’t like that most lip balm brands are made with petroleum.

Some brands have as much as 45 percent petroleum in their ingredients.

While petroleum jelly has been around for decades, it’s easy to forget that it is a byproduct made from crude oil.

Which means, the lip balm brands that use mostly petroleum jelly also have traces of polycyclic aromatic hydrocarbons (PAHs) within them. The petroleum ingredient used in many lip balms gets mixed with beeswax.

“The lip balm I offer is Vegan and has no beeswax,” said Brandes.

Caryl B lip balm is all natural.

“And, noted Brandes, “the lip balm I make does not irritate.”

Ironically, petroleum jelly for all its seemingly moisturizing feel and “greasy” texture doesn’t really provide moisture. As featured in USA Today three years ago, all it does is make a greasy barrier on the skin.

More likely what’s being absorbed is things like naphthalene which is in the PAHs group of chemicals.

The skin on lips are thin and even for the rugged individual, can be sensitive to wind and cold.

Again, according to market researchers, the exact number of natural lip balm brands is unknown. Yet this particular niche is growing.

What’s most important to local artisan-producers like Brandes (who is based in Marin County) is as she said. “it’s high quality and my customers asked me for more.”

And for those who wear make up, Brandes reiterated. “it’s not greasy! And, I can put my lipstick on over the lip balm.”

Caryl B Personal Care Products, ‘Gifts that Pamper!’ will be featured at the 17th annual Holiday Boutique - Craft Fair sponsored by the Sonoma Valley Women’s Club. The Caryl B booth will be there on the weekend of Saturday & Sunday November 1 and 2, 2025.

For more information visit the Sonoma Valley Women’s Club website.

As Halloween and Dia de Los Muertos draw nearer, some cities are scaling back celebrations. But for San Francisco Bay Area artist Cynthia Tom it’s not only a sacred time of remembering loved ones but the opportunity to stand up to oppression. 

In addition to harvest festivals, autumn has been a time for artists with ‘Open Studios’ exhibits and gatherings, encouraging people to engage in the creative aspects of human activities. 

For artists like Cynthia, autumn and art merge. It allows Dia de Los Muertos (Day of the Dead) as well as Hungry Ghosts & Mid-Autumn Moon Festival and yes even Halloween to express something deep within, harmoniously. 

Each year Cynthia participates in some way with Dia de Los Muertos and or Hungry Ghosts celebrations. The ripple effect celebrations like these have is palpable. And, that’s why Cynthia (along with other artists) honor them. 

The recent deployment of Federal agents by the Trump Administration to the San Francisco Bay Area is sparking both fear and resistance in the eclectic culture diversity that is California. 

While Cynthia’s career as an artist spans over 40 years, and during that time her sense of artist as activist has grown. She established this activist work through A PLACE OF HER OWN™ (an art-based healing program for women of color, a just beginning to expand into non-binary and male spaces).

“My work as a visual artist (painter, mixed media, found object sculptor, installation, photographer) and curator explores ancestral patterns of trauma,” she said. “I work towards healing, empowerment, spirituality, and feminism through the lens of social justice, community and collective healing.” 

Surrealism is complex and often is misunderstood. Yet Cynthia has utilized this art form to such an extent that her work has not only earned a spot locally but nationally.

Cynthia’s work is in The Smithsonian National American Art Archives.

Recently she has been named as one of nine on California Arts Council's Northern California Legacy Artists.

This was administered by Youth Speaks alongside Yerba Buena Center for the Arts Creative Corp projects.

The aim is to work with Asian American therapists.

Cynthia was also awarded the Pacific Asian American Women Bay Area Coalition's Women Warriors honor for her extraordinary work using the arts to help heal community.

Her achievements wouldn’t be possible if it weren’t for community. 

Much of Cynthia’s sense of community as artist has been through 1890 Bryant Street Studios. 

Once an abandoned/underutilized mayonnaise factory building in San Francisco’s Mission District, 1890 Bryant now stands as a pinnacle of artistry. It houses over 100 passionate artists on all three floors, ready to share their vibrant creations and unique processes.

In addition to its annual fall ‘Open Studios’ 1890 Bryant was featured and celebrated at The Sausalito Center for the Arts in Sausalito (SCA). 

The exhibit at SCA, entitled “Perspective/SF: The Artists of 1890 Bryant Studios’ was featured there from September 15 to October 5. 

SCA Executive Director, Shiva Pakdel described the exhibit as “extraordinary.” 

Because as she noted. “It was a unique opportunity to view works by 1890 Bryant artists presented together for the first time outside of their studio building.”

For Cynthia this was a delight because it brought together several artistic communities: artists in San Francisco and artists in Marin County, of which Sausalito has been an epicenter for decades. 

“I’ve worked with the artists of Marin and the artists of San Francisco at different times, Cynthia said, so to have all these people come together for an exhibit was amazing and special.”

As a founding artist of 1890 Bryant, for Cynthia 1890 Bryant is more than a work space. “It has been a home; a community for over 20 years,” she added. 

Especially since its inception in 2004, 1980 Bryant has been through difficult circumstances. 

When the dot-com boom hit it’s peak in the 1990s and early 2000s San Francisco was transformed.

“Technology is a marvel,” said Cynthia. “But when the dot-com boom was spinning it had a negative impact on neighborhoods like the Mission District and the artists who lived and worked there.” 

At the time, Mayor Willie Brown took full advantage of the opportunity to renovate and expand San Francisco. 

The Eastside of the City (where The Mission and South of Market - SOMA) are located went from a predominantly industrial, working class area made up of a diverse range of people, to a “tech hub.” 

“Rents went way up as The Mission and SOMA became popular,” said Cynthia.

She recalled the change of vibe and atmosphere. “Young people were pouring in.” 

“I remember seeing one group of young techies in particular,  Cynthia recollected. And one of them said to the others, let’s go into ‘the Mish,’ tonight.” 

‘The Mish’ that sounded strange to her ears. 

“I sensed immediately, said Cynthia that the neighborhood was changing.”

She and other artists worried that such change would impact the community.  

Cynthia became committed to resilience.

"1890 Bryant continues stands as a pillar of permanence for heart and community,” she stated. “It’s a place open to those that need it, all of it" 

Observers and scholars such as the Bernard -Columbia University Review, recognized the impact. 

“In San Francisco, specifically within the Mission District, gentrification threatens the very essence of the area, and the city as a whole.”

Change is inevitable as Cynthia understands in any time and place. Yet when a neighborhood is suffering from increased homelessness as a consequence that makes it more difficult.

 “The artists are hear to maintain the heart and soul of the City and through the San Francisco Arts Commission and ArtSpan Open Studios,” said Cynthia.

“It’s goal of keeping the arts in San Francisco is primary,” she said.

Frustrations and disappointments set aside, Cynthia and her artist community continue to work because of these obstacles.

As a community the artists continue to share their experiences as artists with one another and with the public; often times in defiance of the social and political conditions that surround them. 

The recent effort by the Trump Administration on Thursday Oct 23, to deploy Federal agents to San Francisco is no exception. 

It is events such as the Dia de la Muertos and Hungry Ghosts that provide Cynthia and artists like her who are committed to social justice, a platform to protest and resist with passion, heart and healing. “As artists we are hoping and working for a better future,” she said.

Both Mission Culture Center for Latino Arts and Precita Eyes Muralists, mainstays in The Mission District have celebrations planned. Neither has announced as of yet any schedule changes or a cancellation. 

Meanwhile, since Oct. 13, Cynthia has been busy putting together her installation for Dia de Los Muertos at SOMArts Cultural Center. It’s called, “Let Me Disappoint You - This is Radical Self-Love.” 

The outpouring of community spirit was inspiring, as Cynthia said. “Total strangers stopped into 1890 Bryant during Open Studios, they helped create the art Tassel Tags,” she said.

The Tassel Tags contained Cynthia's phrases reminding people to practice self love and kindness.

The visiting strangers to Cynthia's Studio helped create a deeper dimension of gifts of kindness for visitors to SOMArts to receive.

“People were continually moved by the sentiments and saw themselves in the phrases,” said Cynthia.

Phrases such as…. “Saying No is a full sentence" "You have permission to care for you first" "You are the cartographer or your healing map"

“Some of these visiting helpers were from 1890 Bryant,” said Cynthia.

“They came to SOMArts to continue to help over the five days it took to create this installation for Dia de Los Muertos,” said Cynthia. “And, I’m so grateful.” 

Artist Cynthia Tom’s installation for Dia de Los Muertos at SOMArts Cultural Center, entitled: “Let Me Disappoint You - This is Radical Self-Love,” is currently on display.

Her installation will conclude Nov 7, 2025. For more information visit SOMArts Cultural Center website.

For those who enjoy expressionist art and ceramics, two new exhibit/shows are set to be ushered into Sausalito Center for The Arts’ ‘Cornershop Sausalito’ this coming September 3. The two exhibit/shows will continue on into the Fall.

On the heels of the successful exhibit of Berkeley artist, Lauren McIntosh, ceramic artists, Paige Valentine and Annie Duncan will each have their own exhibit; Valentine beginning in September and Duncan’s exhibit beginning on October 16.

Both women have displayed their works at galleries and exhibits around the world. And, both use paintings and ceramics as a way to express humor as well as complex emotions and themes impacting women and all of humanity in today’s society.

Not to be confused with the Alternative/Indie rock music singer of the same name, this Valentine is an East Bay- based multidisciplinary artist. Valentine teaches hand-building ceramic techniques and gas/soda firing at The Potters Studio in Berkeley.

Her ceramics often defy traditional functionality, creating scenes through combined and assembled elements. Valentine merges painting and ceramics with themes of humor, tenderness, grief and interspecies connection. Valentine graduated from the San Francisco Art Institute with a BFA in painting.

In the midst of the COVID-19 pandemic, Valentine was able to participate in exhibitions in Paris, France, Los Angeles and San Francisco.

Similar to Valentine, Duncan also explores, many emotions, such as heartbreak, joy, and meaning in the jumbled world humans inhabit. Also utilizing the varied aspects of painting and ceramics, Duncan explores femininity, symbolism, and art historical references.

A graduate of Vassar College and California College for The Arts with an MFA, Duncan has participated in exhibits locally, like at The San Francisco Art Fair at Fort Mason and as far away as Seoul, South Korea.

Leaning into her affinity for collecting, sorting, and obsessing over objects, here is where Duncan’s work finds humor.

Recognizing a bit of the serendipity of focus in the two women’s type of art work, Sausalito Center for The Arts (SCA) is pleased to have these two accomplished and well-traveled artists featured.

SCA Cornershop Sausalito coordinator, Jennifer Wechsler noted. “They share something in common, but each is different and unique.”

“Annie makes larger-than-life ceramic sculptures and paintings,” said Wechsler. Pointing out further, Wechsler noted. “Annie uses a “trompe-l’oeil effect referencing traditional still life painting, the language of cartoons, and the aesthetics of digital consumer culture in her work.”

Whereas, Paige’s work can be at a much smaller scale; with no piece measuring larger than a cubic foot. Back in 2023 at Part 2 Gallery in Oakland, CA, Valentine created a series of vessels sitting upon structural ceramic shelves that affix to the gallery walls.

This ability for the intricate allows Valentine’s unique concepts and expressions more available for functional items for the home.

Yet even though there is considerable distinction between the two artists in their work regarding to size and scale, the depth they both express with tactile aspects is considerable.

Duncan explains, “my work confronts the vulnerability of our innermost yearnings.” “Which, moment-to-moment can feel attainable or completely out of reach.”

“My sculpture and paintings, says Duncan, are monuments to the bittersweet nature of longing, striving, and failing—the ever-tipping scales of our expectations versus reality.”

Weather it be on a grand scale or something petite, Wechsler senses that the two upcoming exhibits will have something for just about everyone who is enthralled by art and ceramics.

The two exhibits are:

Paige Valentine: ‘Odds & Ends’ opening on Wednesday, September 3 until Sunday, October 5.

Annie Duncan: ‘Jewelry Box’ opening Wednesday, October 16 and continues until Sunday, November 16.

Opening Party/Reception:

September 7. For details visit Sausalito Center for the Arts website.

The integrity and spirit of the artisan and artist will converge and be spotlighted in an upcoming show on June 14th in Sausalito. 

Sausalito Center for The Arts Executive Director Shiva Pakdel is pleased to announce the debut of the new @cornershopsausalito within the SCA complex and its galleries.

The curated show will feature the craft works and paintings of Berkeley artist Lauren McIntosh. 

Art and crafts from a preindustrial time have always attracted McIntosh. 

Of particular interest were gouache paintings that she encountered during visits to museums. 

The use of gouache paints can be traced far beyond their most popular era of the 19th century. Some art historians say that a form of gouache can be found as far back as ancient Egypt and Greece.

 "My aesthetic reflects my deep engagement with the art of previous centuries,” said McIntosh. 

“I like that gouache looks matte and sort of dusty like fresco paintings or paintings on plaster,” said McIntosh. 

In fact, the term gouache comes from the Italian word ‘guazzo,’ which means ‘mud.’ 

Speaking about her work, "When I first started painting with gouache, I began small, and then my work grew into larger works.” 

As someone who grew up in California surrounded by art and artists, McIntosh always knew she was an artist. She studied art at the University of California at Berkeley. It was there at Berkeley she took classes and studied with Joan Brown, Robert Colescott, Elmer Bischoff, Sylvia Lark and Harold Paris.

Even though McIntosh was immersed and well-trained in art, it wasn’t until she started using gouache that her involvement with painting intensified.

A further deepening came when she utilized her experience from psychoanalysis counseling sessions; “that’s was when I really got into painting,” said McIntosh. 

“I was at a point in my life where I underwent a psychoanalysis  that lasted 

for four years and that profoundly deepened my work,” she said. After a few sessions, the analyst said to McIntosh, “Can you paint what you are describing?” 

That was the “ah ha!” moment.

So then began the visualization of her inner world even more expressive  than words could describe--manifesting her dreams and fantasies and it all felt more authentic. Her inner world is an Edenic world comprised of beauty, botanical images, female figures and fauna of all varieties.

When asked, do world events, current political/cultural trends impact your work? Or, is it more about personal interests and issues that shape your work?

McIntosh responded, “both; or it can be one or the other.” Mentioning COVID-19 back in 2020, she said. “I did a series of works and settled into constant daily painting during the lockdown.” 

"The combination of painting with analytic experience resulted in being less  afraid or disrupted as I was before,” noted McIntosh. 

“Oh, in the current world situation and political climate, I am very concerned and I do feel worried,” she said. 

The 21st century does seem dystopian at the moment. 

“But the application of analytical thinking to my painting does help clarify things, and dispels fears, with more understanding,” McIntosh said. 

Here is where the artist and artisan converge and collaborate. 

McIntosh will have plenty for people to see and experience in addition to her paintings at Sausalito Center for The Arts this Saturday. 

Some of her prints and paintings have been made into cotton and silk scarves with the help of Jennifer Wechsler who curated this show at the SCA. 

“These creations of Lauren’s are ones that I helped to realize by getting them printed in Italy,” said Wechsler. “Lauren’s work is one-of-a-kind and unique,” Wechsler added.

“The eight separate designs of her Silk Art scarves are all based on her original art,” said Wechsler.

The following are what will be offered and created by her:

•Framed gouache and acrylic paintings

•Printed cards - various flora and fauna designs 

•Notebooks - covers are based on her artwork 

•Art-based silk and cotton scarves and bandanas

•Calendars

•Block prints in hand crafted frames 

•Original block prints and linoleum prints

 “This show happened so fast,” said McIntosh. “I’m very excited and honored that the Sausalito Center for The Arts is featuring my work. It is my first time at SCA!” 

For more information about Lauren McIntosh’s various craft work and paintings at the Sausalito Center for The Arts, Visit the SCA website or her Instagram @laurenmcintoshpainting or @minnieolga

 Debuting on June 14, the curated show will be for a limited time until July 13. Admission is free.

This coming weekend of June 7, the Scottish Rite Masonic Center will be the place for Art Fiesta - “Experience The Magic of Art” a fundraiser sponsored by the Kiwanis of Sacramento.

The two-day event will be featuring art of multiple media paintings, pottery, glass, photography, jewelry, and more.

This will be the 67th Suburban Art Fiesta coordinated by the Kiwanis of Sacramento.

In today’s 21st Century of high tech innovations, climate change, economic challenges and a sense of uncertainty amid a seemingly dystopian mood, Kiwanis International seeks to build community.

Similar to fraternal organizations and civic groups, like the Elks, Moose, Rotary and such, the goal of the Kiwanis has always been about serving the community.

Whether it’s about helping other community groups pull together for a common purpose or providing scholarships, the Kiwanis of Sacramento have been working with the community for 100 years, since 1925.

“I’m so looking forward to this,” said Caryl Brandes of Caryl B Personal Care Products.

Traveling the two-hour drive up to Sacramento from Marin County, this will be her third time participating in such an event at the Scottish Rite Masonic Center.

With the fundraiser’s theme of art & magic, Brandes will be among the many vendors providing unique and one-of-a-kind merchandise.

For more than a decade, Brandes has established a presence at local craft fairs, maker’s markets and holiday festival events.

Her Caryl B line of personal care products has grown in its outreach and customer base, (not only due to online sales) yet because of her commitment to high quality and exceptional customer service.

Utilizing essential oils and other quality ingredients like Shea Butter, Brandes makes ‘small-batch’ soaps, lotions, creams and bath salts.

Coordinating small batches maintains quality control and ensures excellence in every aspect.

“Experience luxury and nourishment with our best selling Hand Cream with Shea Butter,” exclaimed Brandes.

“Infused with the customer favorite scent of Gardenia, noted Brandes, this cream will leave your hands feeling soft and hydrated.”

Regardless of economic conditions, according to trade publications like Fortune Business Insights, Grand View Research and others, skin care and the personal care market has been resilient. Some estimates have pointed to over $370 billion dollars spent in 2024 and it’s anticipated to continue grow in sales.

The reason for this as RetailNext explains is… “Amidst economic uncertainties and daily stressors… individuals seek solace and self-expression through beauty rituals.”

Little moments of a daily regimen provides some stability. This is especially so when stress and anxiety is high. This is why as Brandes says…

“Treat yourself to a moment of gentle indulgence with every use.”

With more than a dozen fragrances and varieties to select from (including unscented) Brandes’ Caryl B products aim to please with an understated and nurturing elegance.

Art Fiesta - “Experience The Magic of Art” opens at 10:00 AM on June 7 at The Scottish Rite Masonic Center located at 6151 H Street in the historic part of Sacramento. Admission is Free as well as Free parking.

Open until 4 PM, the two-day event continues until Sunday, June 8, opening at 10:00 AM and concludes at 3:00 PM.

All proceeds from the event go to helping youth and families in need in the Sacramento area community. For more info visit the Scottish Rite Masonic Center website.

Room 110 downstairs at the Sonoma Community Center was at full capacity on April 29 as Angela Nardo-Morgan from the Glen Ellen Historical Society presented the story of preserving and repurposing the Sonoma Development Center (SDC).

Nardo-Morgan sees it as more than crucial. It’s extremely important that residents fight to save this unique landscape and the entire SDC campus.

“What is there in Eldridge at the SDC is ‘a carbon sink’ for the environment.” “Let me explain,” she said.

“A ‘carbon sink’ refers to what holds the carbon in so that it is not spewing out into the atmosphere heating up the planet and contributing to global warming.”

Clarifying more she continued. “Waste materials from demolished buildings would be considerable and end up in landfills.” “Which then, would exacerbate the problem as the materials themselves are toxic and the landfills produce harmful gases like methane contributing to global warming,” she said.

Nardo-Morgan explained further that… “if the developers, The Grupe Company and Rogal & Partners, get their way, the demolition of the campus would be disastrous.”

The audience that Tuesday evening gasped as Nardo-Morgan noted. “The plan these developers want to go forward with is to destroy more than 90 percent of the buildings & structures.”

She elaborated saying… “Restoration of buildings conserves resources by reusing existing materials and avoids the energy-intensive process of building new structures.”

This approach is more cost-effective and environmentally sound.

Nardo-Morgan has spent most of her education and career in environmental science. In addition to her work with the Glen Ellen Historical Society, she currently serves as Director of Development for the Marine Conservation Institute.

With her background, Nardo-Morgan and her colleagues documented and analyzed the entire SDC Campus and all of Eldridge. They pitched a more comprehensive environmentally-friendly plan.

Together with many others, they envision a more viable and economically sustainable future for the area.

For more than 130 years, the buildings/facilities that comprise the campus at Eldridge have become an essential part of the Sonoma Valley. “At one time, said Nardo-Morgan, the campus (then known as the Sonoma State Hospital) was the largest employer in the entire County of Sonoma.”

Since its complete closure by the State of California in 2018, the SDC campus has been neglected.

Nardo-Morgan pointed out that from the viewpoint of the developers who were selected by officials of the State of California, the SDC campus/building’s history is "repugnant" and should be erased.

Citing some the horrors and errors of previous notions towards those with mental or developmental disabilities, Nardo-Morgan shed light on the little-known origins behind the establishment of the SDC campus.

In the 1880s when not much was available for children with special needs and disabilities, two women, Frances H. Bentley and Julia M. Judah, wanted to relocate their school.

As mothers of special needs children, they took it upon themselves to make a place when few to no such places existed.

Eldridge the little town which is home to the SDC, gets its name from Oliver Eldridge. He was a ship captain who served on the commission that selected the site for the two women and their vision of a school and place for what then was called, The California Home for the Care and Training of Feeble-Minded Children.

With the help of and funds from the State of California more than 1700 acres were purchased.

With time and several name changes which eventually became the SDC in 1980, over the decades facilities expanded.

Eldridge itself has a reservoir, its own post office, a power station and everything needed for a town to be fully operational. It was designed to help people with disabilities live in a home-like, safe and caring environment. With the hope that a more gentle but structured approach would lead to a better quality of life and a possible chance to enter into regular society.

Lakes, streams, forests, wetlands and many open field spaces characterize the natural beauty which is Eldridge and the SDC.

Long before, even the faintest plans of a place for those with special needs was convinced, the expansive acreage, hills and mountain range was home to dozens of ancient native tribes as well as a biodiversity of wildlife.

“To allow this unique irreplaceable treasure to be bulldozed by developers, said Nardo-Morgan would be devastating on so many levels.”

Plans for more than 900 luxury homes and a resort hotel were halted when residents and advocates like Nardo-Morgan brought the developers plans to a halt when they sued the county over a faulty EIR and won.

“All we are asking for, added Nardo-Morgan is a plan that actually addresses and fits the requirements and particular scale of this one-of-a-kind place.”

Understanding that restoration is truly possible, even for buildings that are over 50 to 100 years old, Nardo-Morgan mentioned “second-skin” renovation techniques.

“This has been used in Europe with much success,” she said.

This approach of “second skin” aims to update buildings, by retrofitting, utilizing prefabricated or modular-tech systems without demolishing. “Thus this noninvasive approach actually renovates, by reducing waste and embodied energy,” she said.

Despite all of Nardo-Morgan’s efforts for a decade, approaching elected official after elected official, County and State officials avoid the topic of the SDC.

“Governor Gavin Newsom is on the side of the developers,” said Nardo-Morgan.

“The State of California is hungry for money,” chimed in Teresa Murphy, speaking on behalf of the Glen Ellen Historical Society.

As the hour-long talk-presentation winded down with a brief questions and answers segment, Murphy said.

“State officials think that more revenue will pour in from property taxes.”

Murphy pointed out that revenue from property taxes on new homes will not solve the State of California’s budget deficit.

The Sonoma League for Historic Preservation which helped promote the presentation/talk that evening vowed to make the SDC a priority.

Speaking on behalf of The League, both the Executive Director, Robert Demler and Board of Directors member Hewitt Jackson highly recommended that letters and emails be sent. “It’s important that it’s on record,” said Jackson.

As residents and citizens, “we need to write, call and email all of our elected officials.” “Don’t give up!” Murphy said.

Demler then reiterated a bit more saying… “letters should be sent at least to the Office of Historical Preservation, California State Parks, and to Rebecca Hermisillo, First District County Supervisor.”

And as the more than 80 people dispersed, Jackson added. “We residents of Sonoma Valley must gird our loins as it were, for a difficult fight to save the SDC and Eldridge.”