Big Skills Tiny Homes teaches on the job

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The homes may be tiny, but the career options are big with Big Skills Tiny Homes. This Marin nonprofit provides self-discovery, mentoring and skill development to students interested in the trades.

During the nine-month program, students learn the trade skills needed to build a house—a tiny house—that is then sold to fund the next team of student builders. 

Sean Ticknor, president and founder of the nonprofit, explains why he began the program.

“As a construction-industry professional for the past 20 years I am aware of the need for more skilled tradesmen and tradeswomen,” he says. “And, as a parent actively engaged in the community, the high schools are not providing any kind of pipeline for skilled tradespeople, but there is pressure to go to college.”

Ticknor wanted to fill that gap. So last fall, with 18 years of experience working as an engineer and structural designer, he led three student builders—Melena King, Melkyn Mazariegos and Owen Navarro—through the entire home-building process.

“I see the need to offer high school graduates an additional option—an option that would give a young person the opportunity and time to experience the trades,” Ticknor says. “An option that would build a young person’s skills and confidence. And, an option that would result in the identification of a financially rewarding and satisfying career—without the accumulation of considerable debt.”

Indeed, students these days need more options upon graduation, as well as mentors to help them navigate those options. Through the process of building a tiny home from start to finish, students are exposed to a variety of trade disciplines and are then mentored afterward to use their experiences to identify their future career path.

A natural mentor, and regular volunteer at his two sons’ schools, Ticknor found that the kids in the program were eager to learn and that experts in the trades were also very willing to share what they knew. 

“It was a delightful year, the kids learned so much,” he says. “Tradespeople are thrilled to share their expertise and are more than happy to share their skills and knowledge. Guest speakers and field trips were easy to arrange.” 

From September 2019 through May 2020 the team worked Monday–Friday from 8:00am to 12:30pm, learning every skill needed to build a tiny house. In the fall, they learned everything from trailer preparation and foundation work, to floor, wall and roof framing, sheathing, and door and window installation. In winter, it was time to install siding, a roof, plumbing and electrical, gas lines, HVAC and insulation; and to do the trim work. In late spring, the finishing touches were added—appliances, a complete kitchen and bathroom, built-ins and paint.

“The first build couldn’t have gone much better, except for the Covid-19 lockdown at the end,” Ticknor says. “All of them have a job if they want it—two are working right now, the other is in school.”

The beautiful home they built was finished in May and is now for sale. When it sells, the money will go toward funding the next tiny house build. They are now accepting student applications or the next round of the paid program, which begins Sept. 8, 2020. 

“We believe in self-discovery through real-world experiences, because knowing what you like to do and what you are good at leads to a career you love,” Ticknor says. “Being a mentor is a real privilege—I am so delighted with this first round of three students; each one was so hard-working, smart and attentive. It’s great to see that each one is working toward something that matches their personality.”  

Besides, tiny houses are the wave of the future, especially if you can build one yourself.

www.bigskillstinyhomes.org

Matt Reischling Takes a Holiday

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Petaluma-native Matt Reischling has been around. He attended UCLA, lived on a boat in Oakland for a year and has made his home in a hodge-podge of places such as Italy and San Diego, where he began his first band, The Marinators.

“I wrote a lot of bizarre topical songs about inhalers, sea lions and basketball,” Reischling says.

For a decade, he called Los Angeles home, recording and playing music under the moniker Confessions of a Corn Silo, though he says “the L.A. intensity” began to creep into his psyche, and he moved back to the North Bay five years ago.

“I needed to get out of there (L.A.), and the best place to do it was to come back to where I first lived,” he says. “But I wanted to try to reinvent myself after all these experiences, and in the past three years I’ve found my voice again.”

That new musical voice shines through on Spirit Holiday, the debut album from Reischling’s new solo project, Matt Reischling & the Black Box.

Available now online, the 12-track LP is a melodic and lyrically reflective collection of original tunes (and one David Bowie cover) that looks back on Reischling’s adventures and imagines new ones.

“The album is essentially, among many different things, a reintroduction of my music, which I’ve been writing for 20 years,” Reischling says. “Some people ask me, ‘Is it weird to come back to where you grew up?’ And I say, ‘No, I’ve had 20 years of living away.’ This place has changed, I’ve changed and it was all kind of meant to be.”

Reischling credits that feeling of fortuitousness upon his return to the North Bay with the group of musicians he fell in with, including guitarist Lincoln Barr and drummer Anthony Vaccaro.

Both appear on Spirit Holiday, as do bassist Daniel Spree, cellist Linda Amari and percussionists Juan ‘Tato’ Pacheco and David Gray.

Musically, Spirit Holiday is a mix of alternative-rock, indie-rock, folk and pop tunes that call to mind artists like Neil Young, Grandaddy and Sparklehorse. Lyrically, the record is a vulnerable exposé on Reischling’s changing emotional headspace.

For example, opening track, “Willingly,” begins with Reischling singing, “Well, I lost myself recently / I let go of myself willingly.”

“That’s how I felt at the time playing the song, as that’s how I felt coming back here,” Reischling says of the song’s lyrics. Through the course of the album, Reischling’s mindset changes as he writes about developing a positive outlook in the album’s title track.

“The last two or three years, I’ve been getting back into good health,” Reischling says. “I went to Mexico, Cuba, Chiapas, various places in search of healing and inspiration. I wrote that song about going somewhere to seek something out, even if you don’t know what it is.”

Other tracks on Spirit Holiday reference a wide range of topics, from grocery store flirtations, to the late actor Philip Seymour Hoffman, to a child ghost; proving that Reischling still has that penchant for the bizarre in his songwriting.

Now that Spirit Holiday is available on streaming sites such as Bandcamp, Spotify and Apple Music, Reischling is looking forward to the next iteration of Matt Reischling & the Black Box, including planned publishing projects and other creative avenues.

“I’m grateful anytime I can play anywhere,” Reischling says. “The band thing was happening for a couple years. That is on hiatus, so I’ve refashioned the Black Box to be a solo thing with different players. I’m always going to be vacillating between playing solo, which I feel like I do well, and with a group of people who want to play with me at the time. I’m open to everything.”

‘Spirit Holiday’ is available online wherever you stream music and available to purchase as a digital album on Mattreischling.bandcamp.com.

Night In: Transcendence Theatre Presents Virtual Season of Shows

For the last eight summers, Transcendence Theatre Company has taken up residence among the historic Kohler & Frohling Winery’s open-air ruins at the Jack London State Park in Sonoma County to perform “Broadway Under the Stars.”

Dubbed “the Best Night Ever,” this long-running season of theatrical showcases regularly features top Broadway professionals singing and dancing to the greatest musical theater hits within four different offerings that include family-friendly concerts and an end-of-summer gala celebration, to boot.

“This is our ninth season and it’s been amazing because the entire community has made this possible,” artistic director Amy Miller says. “We’ve had over 700 artists perform on the stage, but we are growing because of the support of the community. We all built this together.”

This summer, Jack London State Park’s ruins will remain closed to gatherings due to the ongoing Covid-19 pandemic. In lieu of a now-canceled theater season, Transcendence Theatre Company is transitioning to a virtual incarnation of the “Broadway Under the Stars” series to present the “Best Night Ever Online,” featuring four different performance compilations from the company’s last eight years of shows, all captured on rarely before seen videos.

“It was always part of the vision to have an online media network and education network,” Miller says. “I never thought a worldwide pandemic would push that into being, but now we are working on it sooner rather than later, with what’s going on.”

The “Best Night Ever Online” virtual season opens this weekend with Don’t Stop Believin,’ running on the internet on Fridays, Saturdays and Sundays July 10 through 19. The video presentation includes pre-show entertainment and interviews, and the performance compilation features more than 80 artists combining their talents over the years, highlighted by popular Broadway numbers such as Chicago’s “All That Jazz” and Hamilton: An American Musical’s “My Shot.”

“We taped our shows in extremely high-quality film from the beginning,” Miller says. “We’ve sung over a thousand songs, and we have many years of the best of the best. You’ll see performances from 2012 up to 2019.”

Miller adds that in watching the videos, Transcendence Theatre Company’s evolution as an organization is also on display, as three-piece bands turn into a dozen-piece orchestra through the years.

“You see the stage grow and the performers grow, so it’s kind of like reminiscing,” Miller says. “This is also never-before-seen footage, we never shared a lot of this online before.”

Beyond the entertaining videos, “Best Night Ever Online” teams up with several Sonoma County food vendors and wineries, which will create special menus for each show, and pair them with selected wines. These meals and wines will be available for delivery and pick-up to further enhance the at-home experience. Participating vendors include the Girl & the Fig, Perkins Catering Company and Sonoma Valley–based Chef Kyle Kuklewski.

“What we’re doing is trying to create online, what happens in the park,” Miller says. “We’re encouraging people to make their own ‘Best Night Ever’ while we’re not together.”

“The Best Night Ever Online” series continues through the summer with virtual versions of the popular Fantastical Family Night running July 24–26, a moving I Hope You Dance performance showcase running August 14–16 and 21–23 and a season-closing Gala Celebration running online September 11–13.

Reservations to the online shows are offered on a donation-only basis, meaning many North Bay theater lovers who have never had the chance to check out the “Broadway Under the Stars” series in person now have the opportunity to catch up on nearly a decade of Broadway-level performances.

As a nonprofit, Transcendence Theatre Company also gives back a portion of donations to a different fellow North Bay nonprofit for each of this summer’s 18 online performance nights.

“We’re trying, like we always do, to unite the community,” Miller says. “We’re trying to uplift the community in the best way we can. We’re grateful for the whole community and I’m also grateful that we can make these inspiring shows.”

‘Don’t Stop Believin’ runs online July 10–12 and July 17–19. Fridays, 7pm; Saturdays and Sundays, 1:30pm and 7pm. Online reservations are free, donations welcomed. Bestnightever.org.

‘Peanuts’ Gang Goes Back on Display This Month in Sonoma County

UPDATE (JULY 13): After a brief reopening last week, the Schulz Museum is temporarily closed again due to the latest state and county COVID-19 safety orders. The museum will be closed through August 2, and until further notice thereafter.

Fans of the  “Peanuts” comic strips have something to look forward to this summer, as the popular Charles M. Schulz Museum and Research Center in Santa Rosa is scheduled to reopen on Wednesday, July 8.

Following guidance from the State of California and the County of Sonoma as well as the Centers for Disease Control and Prevention (CDC) and the Occupational Safety and Health Administration (OSHA), the Charles M Schulz Museum will reopen with several Covid-19 safety measures in place to provide a safe, low-risk environment for all visitors and staff. When the doors open, the public is invited to view several new features, including new exhibitions and a selection of rarely seen items from the Museum’s archives.

“In this time of daily unease, we are grateful to be reopening our doors and providing a place for people to have a joyful escape,” said Jean Schulz, widow of “Peanuts” creator Charles Schulz and museum board president, in a statement. “I think we could all use some good cheer right now.”

The museum closed its doors to the public on March 16 when Sonoma County issued the shelter in place order in accordance with the state’s efforts to stop the spread of Covid-19. That sheltering order is now eased for indoor museums in Sonoma County allowing them to reopen with safety guidelines in place.

As such, the Charles M Schulz Museum is implementing policies such as requiring visitors wear face coverings and maintain social distancing rules that will be denoted in the museum’s high-traffic areas by Snoopy paw prints on the floor.

Current exhibitions at the museum include “Lucy! Fussbudget to Feminist,” the first exhibition to focus exclusively on “Peanuts” character Lucy, and which opened just one day before the museum’s temporary closure. Also on view is “Greetings, Charlie Brown! The Peanuts-Hallmark Connection” and a new exhibition, “Girl Power in Peanuts,” that opens at the end of July.

The Charles M Schulz Museum also hints that a new addition is also on the way and will be revealed in mid-July in the museum’s Biographical Gallery. For now, the museum is only saying that four large cases with built-in drawers will be installed to allow more artwork, correspondence, and personal effects from Charles Schulz to be shared with the public.

“We’re taking this opportunity to curate the cases from scratch,” museum curator Benjamin L. Clark said in a statement. “In the nearly 20 years since the museum opened, new objects, stories, and information have come to light, giving us a better understanding and a more complete view of Charles Schulz. These updated cases will reflect our best and latest research in a way that we’re excited to share.”

The museum also reopens under new leadership, as outgoing museum director Karen Johnson recently announced her retirement after 15 years heading the institution. Gina Huntsinger, the current general manager of Snoopy’s Home Ice for the past three years and the Museum’s marketing director for 12 years prior, will be stepping into the role of director.

“While this is an unusual way to start my tenure as the museum’s director, I am so excited to return to my roots of celebrating the legacy of Charles Schulz and his art,” Huntsinger said in a statement. “During the temporary closure, the staff took the opportunity to deeply clean and revitalize the building. We are looking forward to welcoming the public back and sharing some laughs—even if under the cover of our masks!”

For those who are high-risk for Covid-19, or limiting travel and out-of-house activities, the museum has also increased its online offerings, including a ‘Schulz Museum at Home’ webpage full of free resources and activities to enjoy from home.

The museum has also introduced online art and cartooning classes for kids, teens and adults that allows students to join artist instructors virtually from many different locations and time zones. Those classes include a new “Peanuts” live drawing series led by staff artists that continues with a class on “How to Draw Woodstock” on July 13 and “How to Draw Snoopy” on August 10. In addition, the museum hosts an online panel discussion on July 27 on the topic of “Exploring Intersectional Identities Through Queer Comics.”

“This fall marks the 70th anniversary of Peanuts,” Huntsinger said in her statement. “Whether you join us in person or online, we invite you to connect with Snoopy, Charlie Brown, and the ‘Peanuts’ gang and see why this comic strip has endured for so many generations.”

The Charles M Schulz Museum reopens, Wednesday, July 8. For more information on hours and safety protocols, visit schulzmuseum.org.

Derby Weekend in Petaluma Raises Funds for Redwood Empire Food Bank

Located on 15 acres in East Petaluma, Sonoma Valley Stables is the North Bay’s top spot for horses and their humans to train for the sport of Hunter/Jumper, also known as show jumping. Owner Ned Glynn and a world-class team of trainers teach a full range of riding and jumping programs that are customized for the horse and its rider.

In addition to training young riders in the North Bay, Sonoma Valley Stables has a history of giving back to the community with its annual Derby Weekend. Despite this year’s Covid-19 pandemic, the Stables was able to host its third annual Derby Weekend last Friday, June 26, to Sunday, June 28.

The event, which safely hosted 60 rider participants and their families over the course of three days, raised over $25,000 to support the Redwood Empire Food Bank’s “Every Child/Every Day Initiative” to end hunger in the community.

In the past three years, Sonoma Valley Stables has raised over $70,000 for Redwood Empire Food Bank by hosting the Derby Weekend event and receiving donations from sponsors.

“We are at a critical moment in time as we continue to innovate, adapt and expand our services,” Redwood Empire Food Bank CEO David Goodman said in a a statement. “The ongoing and generous support of our partners, like that of Sonoma Valley Stables, is imperative for us to keep up with the food demand this pandemic has brought on.”

Redwood Empire Food Bank’s “Every Child/Every Day Initiative” is currently providing hot and healthy meals through the summer to the nearly 1,000 Sonoma County children who risk experiencing hunger over the summer months. The initiative will serve more than 41,000 hot and healthy meals this summer through August.

While planning for this year’s Derby Weekend, Sonoma Valley Stables was initially concerned that the COVID-19 pandemic would cancel the outdoor event, but Sonoma County Supervisor David Rabbitt informed Glynn and the staff that the county would allow equestrian activities like Derby Weekend to take place.

“After careful consideration, we decided to move forward with hosting Derby Weekend this year,” Glynn said in a statement. “We believed this event would be beneficial for many during this challenging time, especially since our local food bank is working extra hard to meet the needs of our community right now. We took every effort to make sure the riders, attendees, and staff felt safe and comfortable throughout the entire event.”

To follow safety guidelines, Sonoma Valley Stables regularly disinfected the facility, placed hay bales eight-feet apart to ensure physical distancing, used a non-contact thermometer to check temperatures, and cancelled their Saturday evening party. ShadyLady Sun Protection, one of this year’s sponsors, also donated face coverings for participants to wear.

Derby Weekend started a few days early for most of the riders, as the Stables hosted a clinic with equestrian coach and event judge Cynthia Hankins. This clinic was an opportunity for the young participants to learn what judges look for during riding and jumping competitions to gain an edge in the Derby.

The official event kicked off on Friday, June 26, with morning Hunter classes, and the Hunter competitions continued through Saturday. Hunters-over-fences champions were Nico Alario and Chaparral’s Hawkeye for the pony class, Aliana Ashburn and Educated Guess for the 2’0”, Aimee Lafayette and Gucci St. Anne for the 2’3”-2’6”, Amy Brubaker and Frascati for the Jr/Am 2’9”-3’0”, Kylee Arbuckle and Brown Sugar for the professional 2’9”-3’0”, Avery Glynn and Nostalgic for the Jr/Am 3’0”-3’3”, and Arbuckle and Opulence for the professional 3’0”-3’3”. MacLean Sennhenn and Franktown’s Heaven’s Sake took first for the Cross Rail Hunters. Francesca Mortensen and Well Said won the Walk-Trot over Poles competition.

On Sunday, June 28, four different derbies took place. Elsa Warnelius-Miller and Illumination won the 2’0” derby, Nico Alario and Chaparral’s Hawkeye was crowned champion of the pony derby, Lafayette and Gucci St. Anne came in first for the 2’6” derby, and to wrap up the weekend, Margaret Pogue and Edesa’s Iggy Pop took the victory for the 3’0” derby. Finally, Estaban La Paz was crowned this year’s Best Horse.

Sonoma Valley Stables plans to host Derby Weekend again next year. For more information on the facilities’ horses and trainings, visit Sonomavalleystables.com.

Newsom Clamps Down on Bars and Restaurants, But Not in Sonoma

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California Gov. Gavin Newsom on Wednesday ordered bars and restaurants in 19 counties to close their indoor dining options for at least three weeks, as the state faces increasing numbers of Covid-19 cases and residents plan for the busy July 4 weekend.

The state saw 5,898 new cases on Tuesday, Newsom said during a noon press conference, adding that 110 deaths linked to the virus were reported in the 24 hours leading up to the announcement.

The order applies in Contra Costa, Fresno, Glenn, Imperial, Kern, Kings, Los Angeles, Merced, Orange, Riverside, Sacramento, San Bernardino, San Joaquin, Santa Barbara, Santa Clara, Solano, Stanislaus, Tulare and Ventura counties.

Those counties were placed on the state’s new County Watchlist for more than three weeks. The list was created for those that show increased numbers of new cases and hospitalizations due to Covid-19.

While neither Sonoma nor Napa counties are affected by the closure order, Newsom also announced that the state is closing parking facilities at state beaches in Southern California and the Bay Area.

“I want to remind everyone that if we want to be independent from Covid-19, we have to be much more vigilant in terms of maintaining our physical distancing from others, and be much more vigilant as it relates to the prospects of being in situations where are transmitting Covid-19,” Newsom said.

Face masks are still required statewide for most indoor activities, however, and social distancing is either required or strongly encouraged in most places.

Newsom did not discuss statewide face mask requirements during the press conference, after hinting Tuesday that he would require local jurisdictions to step up their enforcement. He also indicated that the state has the financial resources to do so.

“We have conditioned $2.5 billion in our state budget on applying the spirit and the letter of the law as it relates to health directives at the county level,” Newsom said. “If local officials are unwilling to enforce and are being dismissive, we will condition the distribution of those dollars.”

Newsom also urged that residents refrain from holding family gatherings, which he said was one of the likely causes of the surge in new cases.

“This is about keeping you safe, keeping them safe, your friends neighbors and family members, and moreover just making sure we mitigate the spread and don’t do harm and damage to the lives of those that we love,” Newsom said.

The new restrictions, Newsom said, will be enforced by a “multi-agency strike team” made up of the California Department of Alcoholic Beverage Control, the California Division of Occupational Safety and Health, the Department of Business Oversight, the Department of Consumer Affairs and the California Highway Patrol.

Violators could face fines, but most people will likely comply with the new restrictions, Newsom said.

“I’m not coming out with a fist,” he said. “We want to come out with an open heart, recognizing the magnitude of some of these modifications.”

Letters: Who’s Worried?

It has been 3 months since Congress passed the bill that gave many of $1200, while leaving others out. There has been nothing to help with rents and mortgages or to help landlords, which means a HUGE housing crash when the economy opens up and 25% of us get eviction notices.

The people who have lost their jobs need Medicare For All and a $2000 UBI for all the months of the lockdown. But instead of sending a bill with those things to the Senate for a vote, Speaker Pelosi wrote a bill with Cobra instead of Medicare For All and removed UBI from the bill, but including a bailout for lobbyists. McConnell clearly doesn’t like this bill, but Pelosi really wants people who lost their jobs to get shafted with Cobra, so she’s not sending another bill.

Meanwhile, millions of people never received the FIRST $1200 check and it’s been three months! Was Congress worried about the homeless? No. Was Congress worried about families with an undocumented immigrant that didn’t get the check? No. What about starving students, most of which, it seems, did not get a check? Is Congress worried about them? No.

Well, what IS Congress worried about? There are millions of people who never got help. There are millions and millions without health insurance. They’re worried about renaming military bases named after Confederates, they’re worried about some story about Russian bounties, which even if it’s true, wouldn’t be anything new between the two countries. We’ve been fighting proxy wars, trying to use others to kill each other, for decades. And they’re worried about November. That’s right, elections. Rep. Anna Eshoo even has a bill that addresses microtargeting of political ads.

But if Members of Congress were REALLY worried about November (hint: it’s more profitable being the opposition party) they would want you, the voters, to see that they truly cared about you and your ability to survive this crisis. They would be fighting for Medicare For All and would be saying, over and over if they had to, that “we have to get the people some help”. If YOUR Representative and Senators aren’t doing THAT, I guess you know where they stand.

What can you do? Well, you can start by contacting your elected representatives and telling them what you want them to support. Demand they fight for you. And you can share this information and advise others to do the same. Will it make any difference? It depends on how many people contact them.

Jason Kishineff

American Canyon

No Holds Barred

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Karlene Navarro, Director of the Independent Office of Law Enforcement Review and Outreach (IOLERO), has now revealed herself to be an extension of the Sheriff’s Office public relations arm.

Navarro has given cover to Sheriff Mark Essick’s refusal last year to ban the carotid artery hold, a move she applauded, saying the hold needed more study.

In fact, the Community Advisory Council (CAC) of IOLERO spent a few years working on Use of Force policy recommendations after studying best practices around the country and meeting with members of the public. Those thoroughly researched recommendations were presented and rejected almost a year ago.

Last summer, Navarro told the members of the CAC that they would be terminated at the end of 2019 and scheduled no monthly meetings for the rest of their terms. The Board of Supervisors made her hold one more meeting. 

Navarro then created her own CAC, which has done little work according to their reports at their June 2nd meeting. Navarro recently recruited interns from SSU to work with the CAC, but a CAC member had to ask the status of that program. 

Now she says that their “research,” which had not begun on June 2nd and was to include studying the policies of 52 sheriff’s offices in the state, was completed in the next couple of days, was determined to support ending the carotid hold and was sent on to the Sheriff so that he could support banning the carotid hold, coincidentally, just as the state was enacting such a ban. We’re to believe that the work began on June 3rd and Essick accepted it in time to institute his ban on June 6th.

I’m not buying any of it.

Essick and Navarro have had their hands forced by public protest and are covering their tracks, but this hold should have been banned last year, before a sheriff’s deputy used it to kill David Ward. And all of it gives the lie to the word “independent” in IOLERO under Director Navarro.

Susan Collier Lamont lives in Santa Rosa.

Surreal Santa Rosa Art Show Looks at the Occult in America

It may sound supernatural, but the Occult is very much a real movement that fits in somewhere between religion and science. It’s a term that came about 500 years ago when people began practicing astrology and alchemy, and it became a belief system in natural magic that made land in the earliest days of America.

Santa Rosa artist Cade Burkhammer is a student of the Occult in America, and he’s traced its movements and influences in his artwork. Best known as the creator and artist of the Wise Fool Tarot Card set, Burkhammer now turns his attention to American mysteries in a new solo virtual exhibition, “Occulture.”

The art show features 30 new paintings and drawings inspired by America’s history of Occult practices and the country’s modern day problem with Kleptocracy and environmental peril. Due to the Covid-19 pandemic, the exhibit will be available to view virtually on YouTube beginning Saturday, July 4.

Originally from Ohio, Burkhammer traveled the country as a young man, living in New York City and Austin, Texas, before moving to San Francisco in 2000. More recently, Burkhammer got married and moved to Santa Rosa. He also artistically moved into the Backstreet Gallery & Studios in Santa Rosa’s South of A (SOFA) Arts District near Juilliard Park.

As an artist, Burkhammer is interested telling stories that incorporate Surrealism and Symbolism in his work.

“I appreciate Narrative art, and I think Surrealism and Symbolism are very narrative and creative, very imaginative,” he says. “And I like the history of them, the way that Symbolism was a response to the industrial revolution and World War One, and they went back to the ancient Greek mythologies for their inspirations. The Surrealists and Dadaists did something similar during World War Two, but they added political and spiritual ideals to it.”

Picking up where those artists left off, Burkhammer is interested in creating a new art movement that addresses technology, wealth and social class disparities and the climate crisis.

“I want to bring back the narrative interaction with the audience,” he says. “Kind of mix the imaginative with the facts of what’s going on right now.”

Before this current “Occulture” project, Burkhammer spent 15 years creating his Wise Fool Tarot Deck, which was released in 2017.

“I had to do about 80 paintings for that,” he says. “I mostly worked on it in my free time, and spent a lot of time researching it as well as raising funds to print it.”

For those who don’t know, tarot cards are much like playing cards, but instead of Kings and Queens, the cards illustrate figures like magicians, emperors, stars, moons and even Death itself. In the Occult world, tarot cards are seen as tools for divination such as predicting the future or answering secret personal questions.

After completing his own Wise Fool Tarot Card deck, Burkhammer also did the illustrations for a new version of a deck created by renowned writer RJ Stewart called the Dreampower Tarot. Currently, Burkhammer is working on a set of oracle cards, which differs from tarot cards in that their meanings are more up to the interpretation of the artist.

“Oracle decks have less dogma to them,” Burkhammer says. “This one is a Nightmare Oracle deck that’s saying that we are kind of living in a nightmare right now. The American dream is nightmarish right now.”

Burkhammer’s “Occulture” exhibit is also a story of America, and his paintings on virtual display this weekend use ancient mythology to relate today’s problems to the mythological influences he has studied.

That mythology includes the Greek and Roman Furies, who ancients believed were goddesses of vengeance that punished men for crimes against nature. Burkhammer turns those ancient Furies into the “Furies of Industry,” depicting elements of Earth, fire, air and water that are being destroyed by modern society.

Burkhammer also depicts modern gods and goddesses such as Columbia, which was the feminized personification of the United States up until the Statue of Liberty and then Uncle Sam replaced her as symbols of American independence. Even today, Columbia can be seen as the logo for Columbia Pictures, and she is still the namesake of the country’s federal capital, the District of Columbia.

In this exhibit, these gods and goddesses are depicted as reminders of the United States’ pre-Christian origins, such as the Freemasons who were among the country’s founding fathers. Burkhammer’s art also delves into environmental issues and tackles the modern-day cult of capitalism.

“As a Pagan, we worship the ground, the Earth as a living being, and I see our natural church being destroyed for unnecessary technology,” he says. “I think that’s another type of Occult that’s negative and dark.”

Artistically, the paintings on display in Burkhammer’s show are a blend of photo-realism and expressionism that he developed over the years.

“To be recognized as an artist, you need something that’s either very traditional and acceptable or something that’s extraordinary and original,” he says. “I didn’t want to do the traditional, so I’ve always gone towards being experimental.”

Burkhammer’s experimental technique includes combining mixtures of latex and enamel paint to further juxtapose the styles of realism and expressionism in the subject mater. His process also finds him adding charcoal, graphite, ink or spray paint to his drawings.

Originally, Burkhammer was hoping to show “Occulture” in person, though with the shelter-in-place restrictions still happening and concerns of Covid-19 still spreading in the community; he is filming the work as it hangs in the hallway of Backstreet Gallery. “Occulture will be available to view as a virtual exhibit beginning Saturday, July 4. Visit Burkhammer’s YouTube page to see the show.

Petaluma Police Say They Can’t Charge Man Who Removed Artwork

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On June 20, a man tore down Black Lives Matter artwork on a fence in Petaluma’s Leghorns Park. The action, which was witnessed by numerous protesters, kicked off a legal debate between police and protesters.

The Petaluma Police Department, citing advice from the Sonoma County District Attorney and Petaluma City Attorney, argue that although they do not condone the man’s actions, they also can’t do anything to stop him because the artwork is not formally permitted.

The action of removing the artwork could be considered free speech under the First Amendment, Deputy Police Chief Brian Miller said in an interview last week. He said that the District Attorney’s office advised that the man was “acting on behalf of the City” when he tore down and destroyed the signs.

Miller said that Police Chief Ken Savano discussed the artwork issue with William Brockley, an assistant district attorney, as well as Petaluma City Attorney Eric Danly.


Asked for comment, Brian Staebell, a chief deputy district attorney, said that Brockley spoke to the chief, but he did not say that the man was acting on behalf of the city or that his removal of the signs was protected speech. Staebell explained that the District Attorney’s office does not “advise police departments on who to arrest and who not to arrest and who to cite and who not to cite.”

Miller did not respond to a query asking why he told the Bohemian that Brockley had given that legal advice to the police when Staebell said that he definitely had not.

Petaluma City Attorney Eric Danly said, “The person who removed the signs was not acting as an agent of the City. It is unlikely that mere sign removal would qualify as expressive activity protected by the the U.S. Constitution or the California Constitution.


In three cellphone videos of the man forcibly removing artwork and speaking with protesters on June 20, protesters claim that the man, whose name has not been disclosed by law enforcement, visited the park several times over the course of days to remove artwork created in support of the nationwide Black Lives Matter protests. In response, organizers now regularly drop by the park to keep an eye on the artwork.

In the videos, protesters form a line in front of the artwork and hold a somewhat heated conversation with the man, dressed in a hooded jacket, face mask and gloves, about the meaning of the nationwide protests. Eventually a protester calls the police, hoping they will be able to handle the problem.

In the videos, protesters discuss pressing charges against the man for destroying the artwork and hitting one woman in the face with his elbow while removing the artwork.

The police have opted not to press charges against the man for shoving and striking artists and removing the art.

In a videoed interaction, a Petaluma Police officer explains that he can not arrest or charge the man for removing and destroying the art work because the artwork exists in something of a legal grey zone.

Confused, one woman responds, “It sounds like there’s nothing we can do to stop him from ripping down the signs.”

The officer explained that the city was choosing not to enforce the municipal code that usually bars citizens from installing unpermitted art or signs in many spaces. Because the art was technically not permitted, the police could not prosecute the man for removing it, the officer says.

“We can’t play favorites, so to speak,” the officer comments. “If we’re charging him with taking down the signs, then we’d have to charge you for putting up the signs.”

He later tells a woman who had been struck by the man as he vandalized the artwork that she would have to “make a citizen’s arrest” if she wanted the matter pursued.


Indeed, the twisting legal logic of this episode leads to an odd place. If it stands, the man would essentially be allowed to remove and destroy the artwork with legal impunity. And it would open the door for anyone to destroy unpermitted signs and artwork that was located on City-owned property, including at City Council meetings or during a political protest or, to be a bit surreal, during the Butter & Eggs Day Parade.


Is Art only allowed to be displayed in public places if The Law approves of if?

City Attorney Danly said, “The signs have only remained on the fences by virtue of the City choosing not to enforce the section for the time being. As a result, there are not readily available or clear legal bases for the police department to prohibit the removal of signs that are prohibited from being affixed in the first place.”

Danly did not respond to yet another follow-up question about whether members of the public are allowed to remove and destroy the art work, which could be considered private property, similar to a car parked beyond the parking meter time limit on a public street. Although the car may be parked in violation of a municipal code, that does not give a public citizen permission to take the law into their own hands by removing and destroying the vehicle. Or does it?

The long term fate of the artwork may be addressed at a city council meeting next week, Danly says.


City staff are preparing an agenda item for the City Council’s Monday, July 6 meeting to formally permit the artwork. If that resolution is passed and the man returns to remove the signs again, police would be obligated to press charges.


But the Council members might want to ask Chief why he apparently told his officers that the man was expressing his right to free speech and acting on behalf of the city when he vandalized their private property, the artwork. And why Miller later claimed that the District Attorney and City Attorney had created that argument, when they did not.


And the most important underlying question looms huge: If the out-of-control man had been Black or Latino or Native American, would he be alive today?

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