Rising food and gas prices spell trouble for North Bay nonprofits

In the North Bay, as across the country, the price of doing good is rising.

In 2018, two years before the pandemic, 60,000 Sonoma County households, roughly one third of the total, “couldn’t afford enough food to eat a healthy three meals a day,” according to a February 2020 report prepared by the Sonoma County Hunger Index, a coalition of local nonprofits and government agencies. 

Now, two and a half years into the COVID-19 pandemic, North Bay nonprofits big and small are struggling to keep up with demand from residents seeking food and other necessities. The Hunger Index has not released a report since the start of the pandemic, but food banks and other support nonprofits say the massive wave of demand at the start of the pandemic and other disasters never fully subsided.

“We have everyday disasters that are familiar, you know, whether people get injured, unemployed, sick, whatever the issue might be, and then we have these sort of larger scale public disasters, whether they are fires or floods or global pandemics. After each one of these, we have a new baseline… Service never returns to pre-disaster times. Our numbers never went back to pre-pandemic levels in terms of service,” said David Goodman, the executive director of the Redwood Empire Food Bank. 

Making matters worse, increases in the costs of food, gas, rent and other necessities over the past two years have impacted struggling residents and the nonprofits attempting to help them. 

Price hikes paired with decreased donations, recently led Food For All/Comida para Todos, a volunteer-run group which has offered weekly deliveries of food and other necessities to Sonoma Springs families since April 2020, to make the painful decision to cut back the number of families they serve. 

“During the height of the pandemic, it was pretty easy to raise money. That’s no longer the case,” Maite Iturri, one of the group’s members, said. “The demand, and the need, for food has only increased, and our food costs have dramatically increased. So much so that we’ve had to cut back the number of people we’re serving [to 100 families from an average of 140].”

Iturri thinks that inflation and financial uncertainty may have slowed donations. However, another factor is the lack of visibility of the ongoing problem. At the start of the pandemic, swelling food lines drew news coverage. But, now that pandemic-era economic supports have tapered off and politicians have declared the worst of the pandemic over, the world is “back to business as usual,” and hunger has become less visible.

“Our hashtag right now is ‘It’s not over,’” Iturri said. 

Food For Thought Food Bank, a Forestville-based nonprofit which serves people living with serious medical conditions throughout the county, is grappling with many of the same issues, according to executive director Ron Karp.

At the start of the pandemic, Food For Thought received significant donations from foundations and individuals—including some who handed over their stimulus checks—but those one-time contributions have fallen off, despite persistent demand. The food bank has served about 6,000 individuals per year since the start of the pandemic, up from 1,100 in 2019.

Meanwhile, costs have gone up across the board, Karp said. Increased food prices and gas prices make deliveries and operations costs more expensive. The nonprofit is even grappling with real estate costs. This year, the food bank’s property insurance premiums skyrocketed 300% due to fire risk adjustments, according to Karp.

“A lot of people were able to recover quickly from COVID or really never had an issue other than being confined at home. But the people at the bottom of the ladder, now that prices and rents have gone up—you know, rents have gone up way faster than inflation—it’s just making it really hard for people,” Karp said.

While the pandemic-era benefits like the Child Tax Credit, boosted unemployment benefits and stimulus payments reportedly temporarily lifted millions of families and children out of poverty, the definition of “poverty” itself is woefully out of date.

In 2020, the federal government defined “poverty” as a family of four making less than $26,200 per year.

However, the amount of money needed to get by comfortably, even before inflation worsened things, was much more. The living wage—the amount of money needed to support an individual or family in Sonoma County—is $128,336 per year for two working parents supporting two children, according to the MIT Living Wage Calculator. (In 2021, the average median wage for an individual was $40,531, much lower than the cost of living, according to the 2021 Portrait of Sonoma County report.)

Searching for a silver lining, Goodman said that the pandemic and other disasters may help with the “generation of empathy, where people just realize that ‘that’s me.’ ‘That could be me.’ And ‘why it’s not me is almost just dumb luck.’”

“We serve people that have nothing all the way up to people who are gainfully employed and are just struggling,” Goodman said.


Support Network

If you have the resources and would like to support someone in need by contributing or volunteering, contact one of the following nonprofits working on food access on this (incomplete) list:

Ceres Community Project (ceresproject.org)

Community Action Napa Valley (canv.org/emergency-food-pantry)

F.I.S.H. (Friends In Service Here) of Santa Rosa (fish-of-santa-rosa.org)

Food For All/Comida para Todos (foodforallsonoma.org)

Food For Thought Food Bank (fftfoodbank.org)

Petaluma Bounty (petalumabounty.org)

Redwood Empire Food Bank (refb.org)

San Francisco-Marin Food Bank (sfmfoodbank.org)

Sonoma Acts of Kindness (socoactsofkindness.org)

Mommyheads Have Faith

Sometimes you need to go back to go forward. Knowing when to mine what came before and when to blaze a way forward is a kind of wisdom. After 35 years of relentless effort to find that balance, the Mommyheads manage to do both at the same time.

This month, Mommyheads return to the Bay Area where they were based during the heady San Francisco alternative music scene of the ’90s. The band will play Santa Rosa’s Lost Church on Oct. 26 and the Chapel in San Francisco on Oct. 27.

Although the Mommyheads’ lyrical, timeless, retro-now sound draws from across the eras of rock, the legacy of the ’90s post-punk takeover looms large in the feel of the band. Their weird mix of musical styles is almost normal to the ear now, enriched by the alternative rock legacy of noise fused with melody.

The Mommyheads’ new album, Genius Killer, is a tight, self-assured affair that sounds all the more youthful for its maturity. 

Adam Elk’s raw vocals, brazen for their limited—if any—production, sound familiar and edgy, like listening to the patient arguments of a kid home from college trying to open the mind of a beloved uncle.

Oscillating wildly from the electro-tweak of the title track to the straight up Stevie Wonder future-funk of “Distill Your Love into Your Dying Light,” to an album closer with trip-out electro-rock worthy of the Doors, the Mommyheads produce that heart swelling pull of rock anthems without sounding like Panic at the Disco. 

Reflecting on the band’s time in the Bay Area, Elk told the Bohemian how different the nurturing local scene was compared to the band’s original and current home, NYC. “[In the Bay Area if] you connected with the audience, you played for three hours,” said Elk. “In New York, you got half an hour, 40 minutes. In LA, you had to pay to play in the ’80s and ’90s.” 

We also shared memories of the idiosyncratic local experimental noise scene of the ’90s and 2000s.

“A band like Mr. Bungle would never come out of a big city like … New York,” Elk said. “In the Bay Area, you could woodshed a little bit, work on your [music] without the pressure of having a big crowd so fast,” or having to appeal to the attention of industry players.

“We’re number 58 this week in college radio,” Elk enthused. “There’s some 20 year olds that like a band in their 50s. That’s an accomplishment,” he laughed. 

Even with an outsider mentality from the start, Elk has come to see more clearly than ever that the band’s endgame is to have fun and play music.

“[So many] artists are wrapped up in their ego, and they’re just gunning for something … but they don’t know where they’re going. I think when you finally realize what you’re trying to get [as a band], it can be as simple as what’s right in front of your nose, [which] for us is a better show and better music,” said Elk. “That’s where we’re at, which is very healthy.” 

When I congratulated Elk on his wisdom, which seems lacking in music now as much as ever, he said, “Well, music wisdom. It’s all I got.”

The Mommyheads play on Wednesday, Oct. 26, at the Lost Church, 427 Mendocino Ave. in Santa Rosa. 7:30pm, $15, all ages. Local electro-funkers B3PO open for the Mommyheads.

Feldsott Show at Paul Mahder Gallery

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The artist known by the single moniker Feldsott is something of a hidden secret. And something of a legend. And he’s having a show at Paul Mahder Gallery in Healdsburg. 

Feldsott’s prolific artistic career, which began at 17 when he moved to the Bay Area and enrolled in the California College of the Arts, took off so quickly that in 1970, he found himself the youngest artist ever to exhibit at SFMOMA. By the late 1970s, Feldsott, whose style of painting mixes Picasso-esque lines with street art style, was an artist on the rise, featuring in multiple group and solo shows. 

And he didn’t like it. 

“When I was younger,” Feldsott reflected over the phone, “I got a lot of attention, the kind that most artists work years for. It came to me fairly easily, and all at once. And I started feeling like there were a lot of people around me who had opinions and ideas, about where my work should go, how I should be doing it. And I was too young and naive to be able to handle that kind of input. It felt completely antithetical to my role as an artist.” 

Unable to handle the overbearing voices surrounding him and endeavoring to direct—and profit from—his work, Feldsott opted out.  

“Without the ability to respond, I felt my only option was to retreat. To abandon the artworld, which seemed corrupt to me at that time.”

Instead, he went to Southern Mexico and South America, traveling with a friend passionate about environmentalism. Not totally clear on his path, but following his heart and enthusiasm, Feldsott met a woman who worked with Indigenous communities, helping them preserve their cultural, environmental and resource identities. She took a liking to Feldsott, and began teaching him her methods of work, and the techniques of community organization. He spent more than 25 years studying Indigenous cultures, and becoming a student of traditional medicine, learning methods of healing and teaching that he practices to this day. 

During this time, Feldsott never stopped painting. In 2002, the National Museum in Quito, Ecuador offered him a show—his first in nearly two decades. He felt ready. Twenty-five years of self and world exploration will do that.

Fast forward to 2022, and Feldsott’s show at Paul Mahder Gallery, featuring a body of work called “The BuDah Paintings.” In his signature blocky, thick-brush style, Feldsott has produced myriad different paintings, all depicting the Buddha. He explained the reason behind his study to me. 

“I wouldn’t have told you this when I was younger because I don’t think I could have articulated it, but my work has always been about an exploration of the primordial world. The world of primordial energies that exist underneath the day to day events. There is an energetic architecture that is like the substrate, and there are certain aspects of human consciousness and human nature that are archetypes, kind of embedded in the DNA of human consciousness. You can see them showing up across the world, these archetypal images and concepts, mythologies and cosmologies, repeated over and over again.”

For Feldsott, the Buddha is one of these figures. An archetype that embodies universal attributes like wisdom, compassion, equanimity and so on. 

“These concepts existed long before there was a Buddha, long before there was the organization of Buddhism. It felt congruent to me to explore the Buddha on a primordial level. To look deeper in, to beyond the religious iconography, to look into the Buddha as an archetype of human consciousness that belongs to all human beings.” 

Feldsott, back in the art world with a clear sense of mission behind his creativity, wants to show people, through in this case, the medium of painting, that we all have the ability to be inspired by ideas such as those the Buddha personifies, regardless of any religious affiliation or organized ideology. These concepts are universal. 

For more information on Feldsott, visit www.feldsott.com. For gallery hours, visit www.paulmahdergallery.com

Pan Solo: Life-sized ‘Star Wars’ bread art

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Sure, too many baked goods could make you look like Jabba the Hutt, but has it never occurred to you to consider what Jabba the Hutt would make with baked goods?  

Thanks to French Laundry-trained baker Hanalee Pervan, we have an answer. Meet “Pan Solo”—a life-sized tribute to Han Solo, frozen in carbonite, made entirely out of bread. 

Before she put the “carb” in carbonite, Pervan, co-owner and head baker of Benicia’s One House Bakery (onehousebakery.com), had another Star Wars-themed hit with her 2020 masterpiece: “The Paindoughlorian”—a life-size sculpture of the Mandalorian and Baby Yoda, also made entirely from bread.

Pervan’s award-winning bakery (which has supplied bread to Michelin-rated Bouchon Bistro, among other laudable clients) made “Pan Solo” as part of Benicia’s Annual Scarecrow Contest, a Halloween mainstay for the city’s First Street merchants. That said—kid, I’ve flown from one side of this galaxy to the other. I’ve seen a lot of strange stuff, but I’ve never seen anything to make me believe that baked carbonite is edible. What’s in it?

“Dead dough, which is a bread dough made without yeast and a higher concentration of sugar. That helps make it harder when it’s baked. We also used some plywood and some glue,” said Pervan via an email Q&A.

DH: After Kylo killed Han in The Force Awakens, is this your way of making him “rise again?”

HP: That’s also a great take on it! We were also thinking about how Han was suspended for over a year and how it echoed our pandemic experience. Everything stopped; businesses closed; we didn’t go anywhere or do anything except work and go home. When he is rescued from the carbonite, it’s a new start, an awakening and a continuation of life. Our bakery is reopening to the public this month since we closed our doors over two years ago, and is a brand new start for us.

DH: Clearly, you are a talented baker and have a thing for Star Wars, (sky)walk me through your experience as a fan and when/how/why it occurred to you to mix your passions as a professional and a fan?

HP: There are so many iconic characters in the ‘Star Wars’ franchise, it’s hard to choose just one. The main constraint is whether the figure will fit into our bread oven. We did the Pandelorian and Baby Yoda with a Pan droid two years ago, and we knew we wanted to revisit the universe, and Han Solo just kept coming up. It’s quite a scary image, with his face contorted into an expression of pain and fear; his hands are clenching and reaching for escape. We thought it would be a nice scary image for Halloween.

Prior to Pervan’s creations, a mashup of baking and Star Wars hasn’t been this successful since the early Hardware Wars’ film parody replaced Princess Leia’s iconic side buns with cinnamon rolls. Pervan’s creation breaks new, um, bread and begs the question, what kind of bread does Pan Solo fly? Millennium Focaccia. How is it? “Chewy.” …I’m a Gen X dad, I can do this ’til the gluten-free droids come home.

For more pics of “Pan Solo,” visit Instagram.com/p/CjlKAzUr6cK.

Daedalus Howell goes solo at DaedalusHowell.com.

Free Will Astrology – Oct. 19-26, 2022

ARIES (March 21-April 19): “We must be willing to let go of the life we planned, so as to have the life that is waiting for us.” Aries mythologist Joseph Campbell said that, and now I’m passing it on to you just in time for the Sacred Surrender Phase of your astrological cycle. Make sage use of Campbell’s wisdom, Aries! You will generate good fortune for yourself as you work to release expectations that may be interfering with the arrival of new stories and adventures. Be brave, my dear, as you relinquish outdated attachments and shed defunct hopes.

TAURUS (April 20-May 20): Plastic bags are used for an average of 12 minutes before being discarded. Then they languish in our soil or oceans, degrading slowly as they cause mayhem for animals and ecosystems. In alignment with current cosmic rhythms, I’m encouraging you to be extra discerning in your relationship with plastic bags—as well as with all other unproductive, impractical, wasteful things and people. In the coming weeks, you will thrive by focusing on what will serve you with high integrity for a long time.

GEMINI (May 21-June 20): Achilleas Frangakis is a professor of electron microscopy. He studies the biochemistry of cells. In one of his research projects, he investigated how cells interact with the outside world. He didn’t learn much about that question, but as he experimented, he inadvertently uncovered fascinating new information about another subject: how cells interact with each other when they heal a wound. His “successful failure” was an example of what scientists sometimes do: They miss what they looked for, but find unexpected data and make serendipitous discoveries. I suspect you will experience comparable luck sometime soon, Gemini. Be alert for goodies of which you weren’t in quest.

CANCER (June 21-July 22): Renowned Brazilian novelist Osman Lins was born under the sign of Cancer the Crab. He wrote, “I will now live my life with the inventiveness of an engineer who drives his locomotive off the tracks. No more beaten paths: improvisation is the rule.” In the coming weeks, I am all in favor of you, my fellow Cancerian, being an inventive adventurer who improvises liberally and departs from well-worn routes. However, I don’t recommend you do the equivalent of running your train off the tracks. Let’s instead imagine you as piloting a four-wheel-drive, all-terrain vehicle. Go off-road to explore. Improvise enthusiastically as you reconnoiter the unknown. But do so with scrupulous attention to what’s healthy and inspiring.

LEO (July 23-Aug. 22): In recent years, art historians have recovered numerous masterpieces that had been missing for years. They include a sculpture by Bernini, a sketch by Picasso, a drawing by Albrecht Dürer and a painting by Titian. I’m a big fan of efforts like these: searching for and finding lost treasures. And I think you should make that a fun project in the coming weeks. Are there any beautiful creations that have been lost or forgotten? Useful resources that have been neglected? Wild truths that have been buried or underestimated? In accordance with astrological potentials, I hope you will explore such possibilities. 

VIRGO (Aug. 23-Sept. 22): The most important experience for you to seek in the coming months is to be seen and respected for who you really are. Who are the allies best able to give you that blessing? Make vigorous efforts to keep them close and treat them well. To inspire your mission, I offer you three quotes. 1. Franz Kafka said, “All the love in the world is useless if there is a total lack of understanding.” 2. Anais Nin wrote, “I don’t want worship. I want understanding.” 3. George Orwell: “Perhaps one did not want to be loved so much as to be understood.”

LIBRA (Sept. 23-Oct. 22): Libra poet Wallace Stevens said that the great poems of heaven and hell have already been written, and now it is time to generate the great poems of Earth. I’d love to invite all Libras, including non-writers, to apply that perspective in their own sphere. Just forget about heaven and hell for now. Turn your attention away from perfection and fantasylands and lofty heights. Disregard pathologies and muck and misery. Instead, explore and celebrate the precious mysteries of the world as it is. Be a connoisseur of the beauty and small miracles embedded in life’s little details. Find glory in the routine.

SCORPIO (Oct. 23-Nov. 21): Here are two top Scorpio pastimes: 1. exploring and deploying your intense, fertile creativity; 2. spiraling gleefully down into deep dark voids in pursuit of deep dark riches. Sometimes those two hobbies dovetail quite well; you can satisfy both pursuits simultaneously. One of my favorite variations on this scenario is when the deep dark void you leap into turns out to actually be a lush wonderland that stimulates your intense, fertile creativity. According to my analysis of the astrological omens, that’s likely to happen soon.

SAGITTARIUS (Nov. 22-Dec. 21): “I don’t want to be made pacified or made comfortable. I like stuff that gets your adrenaline going.” Sagittarian filmmaker Kathryn Bigelow said that. With the help of this attitude, she became the first woman ever to win an Academy Award for best director. Her film was The Hurt Locker, about American soldiers in Iraq who dispose of unexploded bombs while being harassed by enemies. Anyway, Bigelow’s approach is usually too hard-ass for me. I’m a sensitive Cancer the Crab, not a bold Sagittarius the Centaur, like Bigelow and you. But I don’t want to assume you’re in the mood for her approach. If you are, though, the coming weeks will be a favorable time to deploy it. Some marvelous epiphanies and healing changes will be available if you forswear stuff that makes you pacified or comfortable.

CAPRICORN (Dec. 22-Jan. 19): Author Jan Richardson tells us we can’t return home by taking the same route we used when we departed. This will be wise advice for you to keep in mind during the next nine months. I expect you will be attempting at least two kinds of homecomings. For best results, plan to travel by different routes than those that might seem natural and obvious. The most direct path—the successful passage—may be circuitous.

AQUARIUS (Jan. 20-Feb. 18): In the coming days, maintain strict boundaries between yourself and anyone or anything that’s not healthy for you. Be ultra-discerning as you decide which influences you will allow to affect you and which you won’t. And rather than getting sour and tense as you do this, I recommend you proceed with wicked humor and sly irony. Here are three saucy self-protective statements you can use to ward off threats and remain inviolable. 1. “The current ambiance does not align sweetly with my vital soul energy; I must go track down some more harmonious karma.” 2. “This atmosphere is out of sync with my deep precious selfness; I am compelled to take my deep precious selfness elsewhere.” 3. “The undertones here are agitating my undercurrents; it behooves me to track down groovier overtones.”

PISCES (Feb. 19-March 20): While asleep, have you ever dreamt of discovering new rooms in a house or other building you know well? I bet you will have at least one such dream soon. What does it mean? It suggests you want and need to get in touch with parts of yourself that have been dormant or unavailable. You may uncover evocative secrets about your past and present that had been unknown to you. You will learn about new resources you can access and provocative possibilities you had never imagined.

Fashion 101 On Display at
One-o-One in Healdsburg

Sponsored content by One-o-One

To understand the design aesthetics of Chris Bryant, the owner of One-o-One, fashionistas need look no farther than the website, 101Healdsburg.com.

There, Chris and a friend model new fall and winter arrivals to the chic Healdsburg boutique. They’re twirling, dancing, posing and having fun in front of the camera wearing stylish prints, subdued tones and lush fabrics. Welcome to Chris’ latest finds for the season.

In an interview from her Cazadero home between trips to New York Fashion Week and the Prêt a Porter in Paris, Chris remains as enthusiastic about her passion for fashion as the day she opened her first shop in 1978.

A self-confessed former hippie who attended UC Santa Cruz, Chris got her start stitching leather purses for craft fairs when she worked at a tannery selling leather. Those in-demand accessories became the backbone of Out of Hand, a store she opened in October 1978 in Duncans Mills and closed in Healdsburg in 2008. Chris made everything there herself, out of hand. “I used to make everything, all my own clothes. I made clothes for plays and friends. Then we had children, and that was the end of making everything for the shop” she laughed.

Around her 50th birthday in 2002, as life settled a bit, Chris contemplated a high-end boutique like One-o-One to showcase independent European clothing designers. She and her husband, Bill Bryant, refurbished the space at 101 Plaza Street, to create the exclusive women’s store Chris had been dreaming of.  She opened One-o-One in November 2002, right next door to their mens’ store, Outlander.

Today, One-o-One brings in unique treasures with a bit of quirk and whimsy by designers from around the world. Each purveyor is a small designer, and many are women who not only design their lines, but also run their own small businesses. “They are all someone’s vision of interesting clothes for interesting people and also someone whose vision I appreciate and agree with,” Chris said, singling out Pal Offner, a designer collaboration between two young German women. “There are few young women designers that really have a vision like mine, making clothes that are a little unusual, a little eccentric.”

one-o-one, outlander, fashion, clothing stores in healdsburg

What’s on the racks at One-o-One? “Not trendy clothes at all. They are all stylish clothes that stay nice for years,” said Chris, who eschews fast fashion in favor of fewer, nicer and pricier garments to hold onto. “Nothing here is going to be thrown away next year.”

Chris is drawn to clothes that make her feel comfortable, and this fashion maven decidedly will not tolerate discomfort. “None of my clothes go with high heels–that’s what I mean,” she said. “I want people to smile when they look at my clothes and think how nice I look.” Chris, who prefers fashion that enhances her own personality and style, said, “I want to show confidence, and I look for a sense of play in my clothes. I don’t like them to be super strict or restrictive. I like them loose and playful.” You won’t find intense colors or wild prints in Chris’ collection, because she doesn’t want to be wearing an “art piece.” Instead, she views herself more like an artist using her clothed body as an everyday canvas for fashion that will endure the test of time.

On the buying front, this savvy retailer goes for what she likes and follows a simple philosophy: If she likes it, she buys it, and if she loves it, she buys a lot. 

Over the years, Chris has developed a loyal base of customers, catering to Healdsburg locals and regional customers from Ukiah to the Bay Area, but also attracting shoppers from all over the country. 

One annual event that regular and new customers alike adore–and very much look forward to–is One-o-One’s annual New Year’s Day sale, when the merchandise is marked down to half price. It’s Chris’ way of putting some truly expensive items into a more reasonable realm. “It’s quite a big deal,” she said.

chris bryant one-o-one, Healdsburg boutique

Chris said she’s been lucky to have Bill Bryant as her partner in life and business, summing up their relationship this way: “He is the starter in our lives, and I’m the finisher. You need both.”

While Chris has been searching the world over for unusual and unique designers and lines for decades, she hasn’t tired of it one bit. In fact, she relishes her time alone at the annual apparel and fashion trade shows where she can do as she wishes and go where her eye and heart tug her.

It could be that even after 44 years in business in Sonoma County, Chris doesn’t consider what she is doing to be work at all. 

“I am proud to say I have not had a real job since 1974,” she said—just before heading off on her 39th buying trip to Paris. 

One-o-One, 101 Plaza St., Healdsburg, CA, 707-433-2800, 101Healdsburg.com, open daily 10 a.m. to 6 p.m. 

Mustache: Should I shave or should I grow

The prevalence of unironic mustaches is growing. By “unironic,” I mean mustaches grown in earnest without self-conscious consideration, self-parody, critique or “cool.” By mustaches, I mean hair facial growth above the lip, unaccompanied by a goatee, beard, chinstrap, soul patch or fashion sense.   

Banished as relics from the ’70s (when only hippies and rock stars were permitted to grow them), those who came of age in the ’80s like myself have long perceived lone mustaches as suspect markers of machismo and Marlboro cigarettes. We recall a decade of bare faces and eurocentric undercuts, occasionally underscored by eyeliner (and later, pink eye). 

The Reagan era was not only clean shaven; men’s hair fashions were a veritable throwback to the ’50s, thanks to a nostalgia fest exploding at the box office (Back to the Future, Peggy Sue Got Married, Stand By Me, etc.).

Sure, there were outliers, rogue mustachioed loners like Sam Elliott or Wilfred Brimley and the occasional cowboy flick that found a pretty mug like Val Kilmer’s festooned with a Guy Fawkes’ mustache (looking at you, Doc Holliday). But by and large, the ’80s were a good time to own stock in Gillette.

Then it all began to change within a few distinct outgrowths: First, there was the designer stubble of the ’80s, courtesy of Miami Vice and post-Wham George Michael. Then came an outbreak of grungy Van Dykes in the early ’90s that persisted in various forms (and lengths) until the relatively clean-shaven aughts. 

This was the calm before the storm that arrived in the form of the so-called “hipster beards” that have blown in the winds of time since 2010. They come, they go, they have blogs and Instagram accounts, and sprout from the faces of those who identify as men, in part, I suppose, to remind them that they are. 

I’ve personally worn all the above and more (I starred in a werewolf movie, after all), but I’m three days into the week and have yet to shave, which is an inflection point for relatively hirsute gents like myself. Should I shave or should I grow?   

Generally, this quandary is answered by whether or not a fresh blade is on hand. Thanks to the proliferation of razor subscription services, they usually are (first rule of Dollar Shave Club, you do not talk about Dollar Shave Club).

My wife says, “shave.” My boys say “grow”—they’re young teens, still enamored of the possibilities of male grooming, blissfully unaware of the tedious ritual that will be their own soon enough. The compromise, of course, would be a mustache—grown as a gesture of goodwill. 

The irony.

Editor Daedalus Howell cuts it close at DaedalusHowell.com.

What It Looks Like to Buy Weed in 2022

Sponsored content by Solful Dispensary

The days of buying weed from a neighborhood dealer seem like a distant memory. So much has changed in the last decade and even in the last few years since cannabis legalization. Although California has always had a rich cannabis culture, the widespread adoption of mainstream weed has significantly changed how we buy and consume cannabis. The consumer experience has seen a massive overhaul, from dimestore drug dealers to hole-in-the-wall dispensaries to luxury retail experiences. Where are we now? 

The Evolution of the Cannabis Industry

Medical dispensaries used to be limited in selection, but the relationships built between patients and budtenders were solidified in trust, community, and wellness. Consultations were never limited; the goal was to help someone find what they needed to manage their pain, illness, or whatever led them to become a card-carrying patient. 

The dispensaries themselves were a mixed bag. Often the physical location of the dispensary was on the fringe of town or in a less-than-aesthetically pleasing building. It’s not that retailers weren’t concerned about their image, but times were different. Landlords and real estate agents weren’t ready to take a risk on marijuana businesses for fear of theft or other seedy behaviors on their property.

From Medical to Recreational

As cannabis legalization transitioned from medical marijuana to adult-use recreational, potential retailers applied for licensing in hopes of becoming the go-to shop for their community. This time, they had greater acceptance from property owners and their cities, so the options were much more vast. Physical locations improved, and the sheer volume of stores multiplied. Now, the question was how retailers could set themselves apart from the pack.

With several regulations governing their ability to remain in compliance, store owners had to get creative with their shop setup. Retailers looking to stand outspent their time and money creating environments geared toward legitimizing the cannabis industry. This often looked like clean, white, sterile environments featuring shiny glass cases and budtenders wearing matching uniforms. Perhaps there was a plant wall or logos in neon lights, or maybe nothing adorning the walls at all.

The intention was to have that Apple store feel, to indicate the luxury of waltzing into a brick-and-mortar store to buy weed, dabs, vapes, and edibles. Of course, there’s nothing wrong with this model, and plenty of these types of stores are still operating successfully today. Yet, the retailers that stand out—creating positive, memorable experiences for their customers—have taken a slightly different approach. 

solful cannabis dispensary, buy weed in store, online

When Quality Meets Care

When new legal retailers rushed the scene, they were quick to set up shop and stock their shelves with products designed for recreational users. The name of the game was “sell more weed,” and in the wake of the green rush, some of the connections the medical community was known for got left behind. 

However, not all retailers lost sight of the purpose of legalization. Instead, they honored it with a hybrid model focused on providing exceptional care in a pleasant environment. One retailer that took this approach is Solful. With two locations in Sebastopol and Santa Rosa, Solful created a dispensary model that prizes high-quality, locally-grown cannabis products and prioritizes the customer experience.

“We believe in the power of cannabis to improve health and wellness and always aim to meet the consumer where they are. We have built our team member training program to empower our Health and Happiness Consultants to offer an educational, hospitality experience to everyone—from in-depth consultations to quick recommendations in the store.” —Eli Melrod, CEO and Co-Founder of Solful dispensary

Solful dispensaries are cozy, comfortable, and welcoming, and the staff members are just as friendly and sincere as they are knowledgeable. Instead of “budtenders,” Solful has “health and happiness consultants” whose primary job is to have a one-on-one conversation with customers to discuss their wellness goals with cannabis. Although they are not medical professionals, the consultants offer guidance based on their collective knowledge and consumer feedback about the types of products that have helped others with similar needs. 

solful cannabis dispensary

The Modern-Day Dispensary Experience

Dispensaries like Solful fill their shelves with products they would use or recommend instead of whatever brand name is trending. Sure, this sometimes includes the latest and greatest edibles or THC drinks, both of which have evolved immensely in recent years. Today, consumers can shop for every strain on the planet in flower, vape carts, shatters, live resins, and rosins galore. 

Edibles used to consist of baked goods like brownies, and gummy candies have evolved to meet dietary needs and varying tastes. Shop for edibles like mints, gum, honey, tea, coffee, lozenges, and chocolate bars. 

In addition to shopping in-store, customers can now shop online and order pickup or, in many cases, choose delivery. Talk about a nod back to the black market days when you didn’t even have to leave your couch, and weed just showed up at your door. However, now, it’s thoroughly inspected and tested by a third-party lab to ensure it’s free from contaminants and contains what it says it does. 

“We prioritize getting to know our farm partners personally. We can then share what we know and love about the farmers, unique strains, growing practices, terroir—everything we learn, we aim to pass on to our customers.” —Eli Melrod, CEO and Co-Founder of Solful dispensary

Even the weed market has improved significantly, though this is mainly due to rising competition in the market. However, in Northern California, the standards remain the same. That means many growers stay true to their sun-grown roots, growing organically in the unique terroir native to the Emerald Triangle. 

The beauty of today’s dispensary experience is that you can have whatever you desire. Hang out and chat with the staff and ask everything you want to know about a strain’s lineage. Find out about the farmers who grew the weed to ensure that their values align with yours. Buy sparkling THC seltzers made with strain-specific live resin. Don’t forget to pause for a moment and take in the magic of legal weed and how it wasn’t that long ago that none of this existed. We’ve come a long way! So, spark it up and enjoy. 

The Moors at Sebastopol’s Main Stage West

Playwright Jen Silverman is known for work that bends genre as much as it bends reality, and The Moors, now playing at Sebastopol’s Main Stage West through Oct. 23, is no exception. It’s a little Jane Eyre mixed with a little Hound of the Baskervilles, but it’s also a modern look at relationships, expectations and identity. 

Set somewhere between 1820 and 1899 in an old parsonage on an endless moor, the play begins with a new governess (Katherine Rupers) arriving. Hired by the head of the household (who may or may not be dead) to look after a child (who may or may not exist), she slowly realizes that beauty and peril are closely aligned. Added into her confusion is a staff which may or may not be all one person (Taylor Diffenderfer), an attention-hungry younger spinster (Maddi Scarbrough), a tough-as-nails older spinster (Brenda Reed), a depressed mastiff (Kevin R. Bordi) and an injured moorhen (Nora Summers). 

The actors all handle the existential absurdity well. Scarbrough brings a lot of believability to the neurotic sister. Reed is well grounded in the Brontë bad-boy trope. Bordi plays the mastiff with his usual aplomb trimmed with despair. Rupers could have found more naivety earlier in the show to make her character arc more defined, but her choices are consistent and her instincts are sound.  

While everyone delivers a solid performance, standouts are Diffenderfer as Mallory/Marjory/Margaret, who may have typhoid or may be pregnant, but is definitely up to no good, and Summers, as the anxiously adorable moorhen with a short memory but a better grasp of reality than anyone else on the moors. Both women play to their strengths to create successfully compelling characters out of what could have been simple silliness.

To aid the actors in this world are a beautiful costume design by Tracy Hinman and a lushly spooky set by David Lear.

Though this play is billed as a dark comedy, do not expect this to be a laugh-out-loud experience. It is a comedy with clear inspiration from Ionesco—absurd and cruel. And like all theater of the absurd, this play will require careful thought to follow. In short, if you enjoy your entertainment a little on the darkly-unsettling side with a deep meditation on loneliness and a healthy dose of absurdity, you should go see The Moors. And we should grab coffee sometime.

‘The Moors’ runs through Oct. 23 at Main Stage West, 104 N. Main St., Sebastopol. Thu-Sat at 8pm; Sun, 5pm. $20-$32. Masking required. 707.823.0177. mainstagewest.com

‘The Moors’ at Sebastopol’s Main Stage West

Playwright Jen Silverman is known for work that bends genre as much as it bends reality, and The Moors, now playing at Sebastopol’s Main Stage West through Oct. 23, is no exception. It’s a little Jane Eyre mixed with a little Hound of the Baskervilles, but it’s also a modern look at relationships, expectations and identity. 

Set somewhere between 1820 and 1899 in an old parsonage on an endless moor, the play begins with a new governess (Katherine Rupers) arriving. Hired by the head of the household (who may or may not be dead) to look after a child (who may or may not exist), she slowly realizes that beauty and peril are closely aligned. Added into her confusion is a staff which may or may not be all one person (Taylor Diffenderfer), an attention-hungry younger spinster (Maddi Scarbrough), a tough-as-nails older spinster (Brenda Reed), a depressed mastiff (Kevin R. Bordi) and an injured moorhen (Nora Summers). 

The actors all handle the existential absurdity well. Scarbrough brings a lot of believability to the neurotic sister. Reed is well grounded in the Brontë bad-boy trope. Bordi plays the mastiff with his usual aplomb trimmed with despair. Rupers could have found more naivety earlier in the show to make her character arc more defined, but her choices are consistent and her instincts are sound.  

While everyone delivers a solid performance, standouts are Diffenderfer as Mallory/Marjory/Margaret, who may have typhoid or may be pregnant, but is definitely up to no good, and Summers, as the anxiously adorable moorhen with a short memory but a better grasp of reality than anyone else on the moors. Both women play to their strengths to create successfully compelling characters out of what could have been simple silliness.

To aid the actors in this world are a beautiful costume design by Tracy Hinman and a lushly spooky set by David Lear.

Though this play is billed as a dark comedy, do not expect this to be a laugh-out-loud experience. It is a comedy with clear inspiration from Ionesco—absurd and cruel. And like all theater of the absurd, this play will require careful thought to follow. In short, if you enjoy your entertainment a little on the darkly-unsettling side with a deep meditation on loneliness and a healthy dose of absurdity, you should go see The Moors. And we should grab coffee sometime.

‘The Moors’ runs through Oct. 23 at Main Stage West, 104 N. Main St., Sebastopol. Thu-Sat at 8pm; Sun, 5pm. $20-$32. Masking required. 707.823.0177. mainstagewest.com

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The Moors at Sebastopol’s Main Stage West

Playwright Jen Silverman is known for work that bends genre as much as it bends reality, and The Moors, now playing at Sebastopol’s Main Stage West through Oct. 23, is no exception. It’s a little Jane Eyre mixed with a little Hound of the Baskervilles, but it’s also a modern look at relationships, expectations and identity.  Set somewhere between 1820...

‘The Moors’ at Sebastopol’s Main Stage West

Playwright Jen Silverman is known for work that bends genre as much as it bends reality, and The Moors, now playing at Sebastopol’s Main Stage West through Oct. 23, is no exception. It’s a little Jane Eyre mixed with a little Hound of the Baskervilles, but it’s also a modern look at relationships, expectations and identity.  Set somewhere between 1820...
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