Not Lost Anymore: Napa Valley History, Told Through Food

Alexandria Brown isn’t a foodie, but she wrote this year’s most compelling North Bay book on food. In fact, Lost Restaurants of Napa Valley and Their Recipes, released in April by The History Press, was written while its author lived in a kitchenless apartment. In it, Brown—a historian—uses restaurants-past as a lens through which to tell stories of the immigrant and people-of-color communities that shaped the esteemed culinary region. 

At first, Brown—who has master’s degrees in library science and U.S. history—wasn’t eager about her press’s proposal to write about restaurants. But she did a bit of research and soon got excited about the project. 

“I found all of these people of color, immigrants and women who were doing really interesting things with food but whose stories had never been told or had been white-washed,” says Brown, who is a Black woman raised in Napa.

While focused on Napa, Lost Restaurants is also a book that traces how “exotic” and “foreign” foods become “American” classics. 

Several of the book’s chapters focus on a specific cuisine. “Chili Queens and Tamale Men” tells the stories of Mexican-American cuisine in the 19th and early 20th centuries. 

The chapter “Chow Chop Suey” explores three 20th-century Chinese restaurants that specialized in the wildly popular dish of the time. Brown’s book couldn’t tell the stories of Chinese food and local restaurants without also telling the story of Chinese immigration to Napa, xenophobia, racism and pervasive “model minority” myths. 

Brown likens her book to Padma Lakshmi’s new Hulu series, Taste the Nation.

“I feel like we’re doing similar things and our audiences are similar,” she says. “We’re both looking at history, food, race and immigration. We’re mixing these topics together in one big pot and doing it in a way that’s approachable but educational at the same time.” 

It’s worth noting that Lakshmi’s show began as a research project on immigration. According to The Atlantic, food was later chosen as a way to become more acquainted with the communities Lakshmi was investigating. Similarly, the intimacy and universality of eating are often what make Brown’s book—including its tough truths about racial inequity—palatable.

Brown says older locals will delight in the book and may remember going out as children to some of the mid-century restaurants spotlighted, such as the drive-in Taylor’s Refresher. The cover of Lost Restaurants, with its signature ’50s diner-esque font and vintage photographs, evokes this nostalgia. 

One photo on the back cover is meant to bait some readers who may expect a different book. 

“Reagan announced his gubernatorial campaign at the posh Aetna Springs in Pope Valley,” Brown says. “I really like the idea of grumpy conservatives looking and thinking, ‘Ooh, Reagan! Yes!’ Then they’ll open the book and find out that it’s all about immigrants and Black and Indigenous people of color.” 

What Constitutes a Restaurant?

Restaurants, as we think of them today (or as we thought of them throughout our lifetimes until a global pandemic exploded this March), are a fairly recent concept. 

As readers will learn, the French word restaurant initially described a rich meat broth that would restore one’s health. Later, it came to refer to the places that sold such broth.

In 19th-century Napa and other Western towns, restaurants weren’t places you went out to eat at for a fun time. 

“You ate where you could get food because you weren’t cooking because you were a transient man with no house and no wife or a woman who was working in a hotel,” Brown says.

With this in mind, Brown’s definition of “restaurant” was broad—covering any place that prepared and sold food to the public. That allowed her to talk about bars, resorts, hotels and wholesale vendors.

“We had a lot of home tamale makers,” Brown says. “Latinx women who were Californiana descendants who would make tamales and sell them to bars and markets.” 

Most of Brown’s research began with old newspapers and their advertisements, sometimes as spare as a note saying, “So-and-so is now selling tamales at this local grocer!” Many local newspapers are digitized through the Napa County Library, but Brown’s research also included a trip to the Huntington Library to look at some original Napa newspapers from the 1850s. 

From these leads, she could often learn more about restaurateurs by digging into census data and genealogy research to piece together fuller stories of her subjects’ lives. 

However, she sometimes met dead-ends.

“Old newspapers tend to be fast and loose with facts,” Brown notes.

She was fascinated to learn that two men of Japanese ancestry briefly owned a restaurant on East First Street—near where Oxbow Market is today—in the early 1900s. Their names, listed in two old ads, were spelled differently each time. Brown even looked in the Japanese internment database, but could find no record of them. Since their story is unknown, it doesn’t appear in Lost Restaurants

Brown wishes she knew more about these men.

“We don’t talk about Black people in Napa, but we really don’t talk about Japanese people pre-internment here,” she says. 

Though records of most early Napa restaurants aren’t difficult to find, little has been written about them. Unless someone was really famous, people didn’t write in-depth stories about restaurants of the time.

The Recipes

Brown’s book contains 18 recipes, though not all are user-friendly. Readers should keep in mind that, in many cases, people cooked over fire and their recipes didn’t offer cook times or temperatures.

“There’s a wedding cake recipe that has absolutely no cooking instructions in it and I wouldn’t probably recommend attempting it,” Brown says. 

There are two chop suey recipes presented—one from 1902 and another from 1931.

“Every recipe would be like, ‘This is the official recipe for chop suey—this is exactly how they make it in China,’” Brown says, “and it would be completely different than the next recipe that made the same claim.”

Like many recipes of the time, readers are told what ingredients to combine (mostly animal offal), but not how much of them. 

That said, Brown tasted the parmesan polenta recipe from Caterina Nichelini, the late founder of the still-existent Nichelini Family Winery (established 1895), and it stands the test of time. 

Brown still hasn’t prepared any of the recipes herself, but would love to hear from adventurous readers who do. She can be reached through her website at bookjockeyalex.com

Watch the author read from Lost Recipes of Napa Valley and talk more with Chelsea Kurnick about her book here on YouTube at https://bit.ly/3fvwptP.

When should movie theaters reopen?

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Netflix fatigue. It’s practically a pandemic itself. The remedy? A shot of real-life cinema—square in the eye—coming soon to a theater near you. Someday. Maybe. Not.

Back in April, the Los Angeles Times reported, “Theater owners have increasingly begun to float the possibility of reopening sometime in July, in the middle of what would normally be Hollywood’s key summer blockbuster movie season.” On Monday, Gov. Newsom made it clear that theaters would not be opening any time soon—and so go the best-laid plans of Mickey Mouse and men. 

Were it not for the recent surge (wear your masks, people!), cinemas could have seen their re-opening “under strict physical distancing protocols,” according to a proposed “Phase One” plan. Frankly, even when that was a possibility, at present writing the prospect of sharing a room full of recirculated air with hundreds of strangers seems so passé. And, you know, suicidal.

I shouldn’t quibble about theater air quality—in the ’80s, I used to work at a theater that still had a smoking section. But even if one takes precautions (like forgoing popcorn to wear an N95 mask), it’s difficult to imagine losing oneself in a film when every cleared throat could be a cornucopia of contagion.

And I love movie theaters; they’ve been good to me and I want them to survive. Besides some kind of quantum reset to get us back on a pre-pandemic timeline (and eliminate Trump and systemic racism in the process), I suppose all we can do is get healthy, which is a group sport (and not everyone is playing). 

Until then, I’ll stay home and experiment. Browser extensions like Netflix Party or Amazon Prime’s new “Watch Party” button are possible pathways to a shared cinematic experience. We successfully ported Happy Hour to Zoom, so why not movies? Last night I laid out $12 to stream Beyond The Visible: Hilma Af Klint, about the under-appreciated inventor of abstract expressionism. At least part of the ticket fee went to the Berkeley Art Museum/Pacific Film Archives (BAMPFA) via a digital daisy chain that included Roku, KinoNow on my mobile phone, and the microchip in my head. It was worth the hassle—and the dough—because cinema is still important. Movies are still big, it’s just, to borrow a line from Gloria Swanson, “the pictures that got small.”

Black journalists are needed now more than ever

Last month, The Associated Press announced it would capitalize the “b” in “Black” when referring to people in a racial or ethnic context. In a June 19 blog post, John Daniszewski, vice president for standards, wrote, “These changes align with long-standing capitalization of other racial and ethnic identifiers such as Latino, Asian American and Native American. Our discussions on style and language consider many points, including the need to be inclusive and respectful in our storytelling and the evolution of language. We believe this change serves those ends.”

The Associated Press is the standard language for all journalists, and anyone who has studied in the field must be familiar with The AP Style Guide before graduating. As goes AP, so goes the mainstream press. Though seemingly innocuous at first, the style change is reflective of what is going on in journalism as the result of covering the deaths of George Floyd, Brianna Taylor, Elijah McClain, Ahmaud Arbery, Tony McDade, David McAtee, Nina Pop and countless others—and the resulting Black Lives Matter protests taking place all over the country right now. The heightened “need to be inclusive and respectful” when it comes to not only how Black people are covered in the news, but also an examination into who does the reporting, has inspired a long-overdue “day of reckoning” in mainstream journalism.

In a June 23 New York Times opinion piece, “A Reckoning Over Objectivity, Led by Black Journalists,”” two-time Pulitzer Prize–winner Wesly Lowry wrote, “The view and inclinations of whiteness are accepted as the objective neutral. When Black and Brown reporters and editors challenge those conventions, it’s not uncommon for them to be pushed out, reprimanded or robbed of new opportunities.”

This observation came following a June 6 Washington Post article, “Pittsburgh paper accused of barring Black reporters from covering protests, censoring stories,” which reported that a Black journalist and photographer had been pulled from covering Black Lives Matter protests there. In the article, photojournalist Michael Santiago says, “the paper has barred him and at least one other reporter from covering anti-racism protests in Pittsburgh because they are seen as biased for being Black. Journalists are also accusing the newspaper of removing and censoring at least two articles published online Friday that reported on protests over George Floyd’s death and police abuses, as well as of penalizing reporters who came out in support of their black colleagues,” while pointing out the possible remedy by saying, “With the country gripped by an anti-racism uprising, what’s been unfolding inside the local Pittsburgh newspaper has underscored one of the fundamental challenges American media faces with its coverage: a lack of diverse voices, including of black journalists, in newsrooms. It’s also laid bare the challenges of trying to change that.”

There are challenges ahead in changing the status quo and how we, as reporters and editors, mean to meet them. Former KRON on-air reporter, East Bay Bureau chief and CNN anchor, Soledad O’Brien, cited in her July 4 New York Times Op-ed that, “According to the News Leaders Association in 2019, 21 percent of newspaper employees and 31 percent of online-only news employees belonged to so-called minority groups—that includes African-Americans, Latinos, Asian-Americans and Native Americans.”

In a time when Black journalists are needed most, media outlets, old and new, have failed to meet the rising call for representation, while reinforcing white supremacy in hiring, reporting and access to opportunities. What this “day of reckoning” shows is that this was not done by happenstance, but by design.

As a Black editor in the Weeklys family of newspapers and the first Black, Culture Editor of East Bay Express (the new sibling paper of the Bohemian and Pacific Sun), I am committed to elevating all voices of our diverse community. If you or someone you know is a Black or Brown journalist who has been locked out of the industry, our door is always open.

Email D. Scot Miller at ds******@*****ys.com.

Open Mic: Remembering Carl Reiner

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“Dying is easy, comedy is hard.”

This quote is purported to have been spoken by an English actor, Edward Gwenn, on his deathbed, when questioned about his health.

Carl Reiner, a comedy giant, has left the stage at only 98 years of age. Most Americans will not recognize his name or his contribution to the world of humor, but the above quote applies to him.

We old-timers have fond memories of the man. He wore many hats: auteur/actor/movie director, 1950s TV comedy writer (during the first days of live television­); creator of the revered 1960s sitcom, The Dick Van Dyke Show; and the man behind comedy albums such as his 2,000 Year Old Man album with fellow comedian/writer, Mel Brooks.

Comedy is hard—just ask any comedian. It is a tightrope, working without a net, thinking on your feet, where pushing the envelope is oftentimes required. It takes years to hone the art and craft of what is funny; to not shy away from topical material; to gauge the audience’s temperament; and to consistently set up, time and deliver the lines that will seduce the audience and melt them into fits of laughter. It takes not only courage, but chutzpah!

For those of us who came of age in the 1950s and ’60s, there were countless comedians who left a mark and influenced future comedians with their distinct styles,  leaving us breathless, tearful and perspiring, our faces and bodies tired and weak from convulsive laughter. These funny people found the humor in their own personal life experiences that displayed the collective human foibles within us all, and encouraged us to take a break from life’s difficulties—to not take ourselves and the world so seriously (not always an easy task).

Or, as Wavy Gravy says, “Keep your sense of humor, my friend; if you don’t have a sense of humor, it just isn’t funny anymore …”

Thank you Carl, for all the years of laughter.

E.G. Singer lives in Santa Rosa.

Letters: Signs of the Times

Why did the city allow this against the sign ordinance? When it rains who will clean up the mess! BAD DECISION by Petaluma. Shame on you!!!

Not in the Park!

via Bohemian.com

Good move, Petaluma. The Kindness Committee will certainly take care of the installation—and it never rains in the summer in Sonoma County. #blacklivesmatter #kindnesscommittee

Olive Petaluma

via Bohemian.com

Automobile Investigation

The following were online comments in response to a July 9 online article, “Focus of SR Police’s Investigation Into Porsche-Protester Incident Remains Unclear.”

As a person who was quite literally shoved out of the way of this vehicle after it sped past the front cyclist, yeah. There is a lot more than frustration for how the police handled this, the biased and awful press release, and this faulty, super-flimsy claim of the driver, who had her window up when she nearly hit me and “was punched” AFTER driving through a crowd of more than 150 peaceful people.

AL 1

via Bohemian.com

Two similar incidents at the June 26 march in Healdsburg are currently being “investigated” by HPD. Nothing has been done and now investigating officer Craig Smith has gone silent, not responding to my request for an update. Chief Burke is finessing the city council member who asked for info. So Alex Z gets to just drive right at a group of 50 protesters with impunity. I am disgusted.

Karen Miller

Via Bohemian.com

Marijuana Act reverses Nixonian law

Cannabis groups come and go, but NORML, the granddaddy of cannabis organizations, has been around ever since 1970. The National Organization for the Reform of Marijuana Laws has never wavered from its goal of making weed legal in every state and at the federal level.

Keith Stroup, 76, who founded NORML 50 years ago, still gets pleasantly stoned and still advocates for the rights of marijuana users. I met him in San Francisco in the 1980s and have followed his career ever since.

Stroup tells me: “Right now, NORML is behind the Marijuana Opportunity, Reinvestment, and Expungement (MORE) Act, a federal bill that would remove marijuana from the Controlled Substances Act (CSA), which reefer maniac Nixon signed into law in 1970.” He adds, “We have big support from the recently founded Cannabis Caucus in Congress, though the MORE act won’t pass until we remove Trump from the White House.”

A self-defined “farm boy” from Illinois, Stroup was radicalized by the War in Vietnam and the threat of the draft. He became a public-interest lawyer after meeting Ralph Nader, the consummate consumer advocate.

Stroup remembers that the marijuana future looked bright when Jimmy Carter became president, in part because his sons smoked weed. He also remembers that there was a shift even before the Georgia peanut farmer moved into the White House. In 1973, Oregon decriminalized cannabis. Nebraska followed in 1978.

“Then along came Reagan and there was no progress until 1996, when California legalized medical marijuana,” Stroup says.

When I asked Stroup why the federal government still classifies cannabis as a “Schedule I” drug with no medical benefits, he tells me, “Once something gets into the federal bureaucracy it’s hard to get it out.”

Most Americans, he says, want full legalization of pot.

“The majority of U.S. citizens are anti-Prohibition,” he tells me. “They think that the anti-marijuana laws have created far more problems than marijuana itself, which is increasingly used for a variety of medical reasons.”

In many ways, the U.S. is still in the Dark Ages when it comes to weed. Whites and Blacks smoke it in equal proportions, but across the country, Blacks are arrested 3.6 times as often as whites for possession. In some Ohio and Pennsylvania counties, Blacks are 100 times more likely to be arrested than whites, according to an April 2020 study by the American Civil Liberties Union.

“It’s none of the government’s business who smokes weed,” Stroup tells me. “There’s nothing wrong with responsible marijuana use.” 

Jonah Raskin is the author of “Marijuanaland: Dispatches from an American War.”

Musicians Munch & Chat in New Video Series

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Four months in, and social distancing is not getting any easier for anyone in the North Bay, especially artists, musicians and others who rely on social gatherings for income.

Such is the case with musician, event producer and promoter Josh Windmiller, who runs the Railroad Square Music Festival in Santa Rosa, among other music-related endeavors.

That festival, like many in the North Bay this summer, was cancelled due to Covid-19. Yet, Windmiller is not taking the summer off. Instead, he’s figuring out new ways to entertain the masses and support his fellow artists virtually.

In May, Windmiller took on hosting duties for the “Living Room Live” online variety show, hosted by the organizers of Rivertown Revival. This month, he and the Railroad Square Music Festival crew launch a new online project, RSMFtv, which will feature several virtual series exploring musical exploits of North Bay artists.

“RSMFtv is about fulfilling the mission of the festival without being able to assemble in masses,” Windmiller says. “Railroad Square Music Festival is here to showcase what Santa Rosa is and foster what it can be through the eyes of its artists.”

The new digital initiative, sponsored in part by the City of Santa Rosa, is aimed at highlighting local artists with different projects including a series of lyric videos, video blogs featuring album reviews, and RSMFtv’s latest series, a socially distant virtual talk show Musicians at Home Eating Food, which debuted last week on Facebook and Instagram.

The series, much like Jerry Seinfeld’s online sensation Comedians in Cars Getting Coffee, pairs food and conversation.

“It seemed like a good idea, because the restaurants are hurting and musicians are hurting, and this is a way to give some attention to both,” Windmiller says. “That’s a key part of this, how music and the concert experience and such can be paired with other aspects of life in the community. It also lets people see artists in a different way, other than just on the stage.”

The premiere episode of Musicians at Home Eating Food begins as all good things do, with coffee. In this case, Windmiller opens the show by picking up some coffee and brunch at Big River Coffee in Santa Rosa and delivering it (contactless) to accomplished local drummer, solo artist and social activist Libby, before the two engage in a socially distant conversation over Zoom.

Big River Coffee is a family-owned-and-operated business that’s been brewing coffee since 1991. With indoor dining cut, the café is still offering outdoor service and takeout, with a full espresso and coffee bar, pastries, made-to-order breakfast sandwiches, breakfast burritos and a lunch menu.

In the video, Windmiller orders an Everything Bagel for Libby and the “Next Level” Avocado Toast for himself, with a 16-ounce black coffee and a 16-ounce Aztec Mocha with oat milk.

“The toast was fantastic,” Windmiller says. “It was the top-of-the-line avocado toast.”

Based in Santa Rosa, Libby performs in several bands around the North Bay in addition to writing and performing under their own name. Libby recently released the full-length digital album, i forgive myself, a sequel to their 2018 album, TERROR JAZZ!!!.

Libby’s latest album is a cathartic cacophony of drums, Casio keyboards and experimental noise-rock elements that emulate the tones of an 8-bit video game sent through a threshing machine. While the record is instrumental, the sonic journey evokes an emotional response and Libby describes the record as “a picture into my brain” on the album’s Bandcamp page.

In the Musicians at Home Eating Food premiere, Windmiller and Libby engage in a long, free-flowing conversation that touches on topics such as those video games that inspired Libby’s sound, art, history, the Black Lives Matter movement, Libby’s involvement in the recent protests in Sonoma County and much more. At times funny, at times frank, the discussion is engaging and the food looks delicious.

“Libby’s album is very moving and powerful,” Windmiller says. “And then Libby taking a big role in these protests in the area, it made it an amazing opportunity to talk to someone who’s so present at these demonstrations, who’s put a lot of time and thought into this and is a great communicator in the community. To point a camera at them and get them really caffeinated seemed like a great idea.”

RSMFtv can be found at facebook.com/RSMFest and instagram.com/rsmfest.

Report: Santa Rosa Police Violated Human Rights During Protests

[NOTE: This article was updated at 6:30pm with information from Chief Ray Navarro’s statement and the city’s After Action Report Request For Proposals.]

A 40-page report published by a Sonoma County commission this week offers the most comprehensive account so far of how police handled local racial justice protests in May and June.

At a meeting Friday, July 10, the Sonoma County Commission on Human Rights voted to publish and distribute a report titled “Human Right Violations in Santa Rosa California – Policing the Black Lives Matter Protests.”

In addition to detailing numerous alleged human rights violations by law enforcement officials during the recent protests, the report—which is available at the bottom of this article—summarizes several high-profile police-involved deaths and other incidents dating back to the 2000 publication of a U.S. Commission on Civil Rights report titled “Community Concerns About Law Enforcement in Sonoma County.”

All together, the Human Rights report describes the protests as the latest chapter in a decades-long history of distrust between residents—particularly people of color—and local law enforcement agencies.

“We felt it was really important to place these Black Lives Matter protests within the context of the history of white supremacy and racism in the county as well as the strained relationship between law enforcement and BIPOC (Black, Indigenous, and people of color) communities,” D’mitra Smith, the chair of the commission, said in an interview.

“When there’s a narrative of not really wanting to dig into that, you’ll see things posed in a kind of ‘Wow…where did these protests come from in idyllic Wine Country?,’” Smith added. “We felt that it was an opportunity to really talk about this stuff in a comprehensive way, because ever since I’ve been on the Commission (since 2012), we’ve been receiving reports of racist actions and assaults by police.”

The Human Rights report was prepared after the Commission hosted a June 19 meeting in which protesters described their experiences—some of which are detailed in the report—to local officials, including Santa Rosa Mayor Tom Schwedhelm, Police Chief Ray Navarro and Sonoma County supervisors Susan Gorin and Lynda Hopkins.

The commission, which had a $12,000 budget this year, is tasked with “Creating awareness of human rights issues faced by members of our community”; “Advocating for policy changes necessary to better protect human rights”; and “bringing attention to human rights issues of concern to County residents,” according to the Commission’s mission statement.

In line with the Commission’s mission, the report amplifies protesters’ demands, including having the city hire an “individual of impeccable and publicly recognized independence and integrity” to complete an independent review of the police department’s use of force policies, use of military-grade weaponry on residents and the human rights abuses described in the report.

The protesters also demand that police stop using tear gas, rubber bullets, grenades and other projectiles on residents, especially during peaceful protests. They also demand that SRPD discipline officers for the behavior detailed in the report, “with a minimum standard of termination of employment.” Lastly, the protesters demand that SRPD stop using kettling, a crowd control technique which involves compressing marchers into smaller and smaller spaces, which can lead an otherwise-peaceful protest to turn confrontational.

In a statement about the report released Tuesday afternoon, Navarro, the police chief, highlighted the city’s actions so far, including beginning work on a “Community Empowerment Strategy,” establishing a city council subcommittee, and banning the use of the Carotid restraint, days after Gov. Gavin Newsom announced that he would remove the controversial neck restraint from the state law enforcement training manual.

“We take allegations of violence against protestors and/or misconduct very seriously and investigations related to filed complaints are underway,” Navarro stated, before adding that the city is in the “final selection process” of hiring a contractor to complete an After Action Report (AAR).

A review of the city’s Request For Proposals, a document used to hire an outside contractor, indicates that the scope of the AAR will be limited to the first week of protests—May 30 through June 5—and be subject to edits by Police Department and city staff prior to presentation to the City Council.

Additionally, the RFP states that although the SRPD “received mutual aid from several Sonoma County agencies and the CHP (during the timeframe covered by the report). This AAR should remain focused explicitly on the Santa Rosa Police Department’s planning and response to the events.”

Proposals for the RFP were due on June 30 and the city expects to select a contractor in July, according to an estimated timeline included in the RFP.

[UPDATE – July 15, 10:30am: The Sonoma County Commission on Human Rights has released a statement in response to Chief Navarro’s July 14 statement.]

Historical Matters

The timeline laid out in the Human Rights report begins in 2000 when the Citizens Advisory Committee to the U.S. The Commission on Civil Rights published a report outlining community concerns about local law enforcement agencies’ practice.

“At a September 24, 1997, meeting in Santa Rosa with Commission staff, community spokespersons detailed their frustration with officers who, they allege, view deadly force as the only alternative; questioned the methods of investigation of shootings; noted their lack of confidence in the system; alleged the district attorney allowed the department whose officer perpetrated the shooting to investigate; suggested that officers are not trained to deal with mentally impaired individuals; alleged the departments try to ‘criminalize’ their victims and marginalize their critics; generally noted that the police departments and county sheriff have poor communications with the communities they serve; and alleged the police are not accountable to anyone,” the 2000 Human Rights report states.

According to the Human Rights report—and the concerns local protesters have raised during recent protests—little has changed in the past two decades.

High profile cases over the past 20 years described in the Human Rights report include the 2007 killing of Jeremiah Chass, a 16-year-old Black youth, in Sebastopol; the 2013 killing of Andy Lopez; a 2015 lawsuit against the county over the Sheriff’s “yard counseling” policy; the 2017 killing of Branch Wroth in Rohnert Park; and, most recently, the killing of David Ward on the morning of Nov. 27, 2019. According to a count cited in the Human Rights report, Sonoma County law enforcement officers have been involved in the deaths of 91 people since 2000.

Despite the continuation of high-profile deaths involving local agencies, the law enforcement agencies named in the 2000 Civil Rights report—the Santa Rosa Police Department, the Rohnert Park Department of Public Safety and the Sonoma County Sheriff’s Office—have not fulfilled one of the report’s central recommendations: creating civilian review boards, the Human Rights report states.

Instead, in the years after the 2013 killing of Andy Lopez and associated protests, the county created the Independent Office of Law Enforcement Review and Outreach (IOLERO), an independent office with limited powers to review internal investigations by the Sonoma County Sheriff’s Office.

In 2016, Santa Rosa hired an attorney to review the Police Department’s policies and internal investigations but, in late 2018, after a public disagreement with the City Council, the city declined to renew the attorney’s contract. So far, the city has not hired a new auditor.

On top of the high-profile cases, the report cites decades-long community concerns about racist policing grounded in the region’s Confederate ties.

“This Commission has received numerous reports that law enforcement agencies regularly engage in arbitrary stops and questioning of BIPOC (Black, Indigenous, and People of Color) residents, and that racial profiling is understood to have been the standard procedure of all (Law Enforcement Agencies) in Sonoma County for generations,” the report states.

The report also describes similar community reports of white supremacist behavior by law enforcement, which “is believed by many to correlate to the deep historical relationship to the Confederacy that exists in Sonoma County,” as recorded in newspaper archives, oral histories and apparent today in the ongoing use of Confederate flags.

Protest Accounts

The report goes on to detail law enforcement agencies’ response to local protests over the past six weeks, including several protesters injured by law enforcement’s “less-lethal” weapons and the June 2 mass arrest of over 100 protesters during Santa Rosa’s short-lived curfew order.

In addition to the agencies’ actions during protests, the report also raises concerns about statements by local officials—including the District Attorney and Santa Rosa Police Department—which protesters believe suggest that local law enforcement officials hold a bias against protesters.

“The lack of adequate investigation of… incidents (involving protesters), combined with the violent policing tactics used by SRPD against peaceful protesters, has created an environment of extreme distrust among community members, who believe SRPD has displayed an institutional bias against peaceful protest of police violence, and in favor of those who would harm protesters,” the report states.

Some of the cases which have caused distrust between law enforcement and protesters involve motorists threatening protesters with their vehicles. The Human Rights report lists eight instances of possible vehicular assault reported by protesters, beginning on May 30 when a red truck drove through a protest in downtown Santa Rosa. So far, local law enforcement have only made an arrest in the May 30 incident, according to the report.

The most recent high-profile case happened during an evening march in Santa Rosa on June 20, when multiple protesters filmed a white Porsche SUV directly towards the crowd. The driver, ignoring protesters’ pleas to slow down and drive around the march, accelerated into the crowd instead.

In a press release the next day, the SRPD spread an account of the incident slanted in favor of the driver.

Nearly a month later, despite several videos of the incident and dozens of accounts by protesters, it remains unclear whether the police investigated the protesters or the driver. The Sonoma County District Attorney’s office began reviewing the case on July 7.

The Human Rights report includes more stories than we can fit in one article. The full report is available here.


Lucy Liu Talks to You in Virtual Art Tour

Award-winning actress, director, social justice advocate and artist Lucy Liu was in Yountville last February to celebrate her first U.S. solo art exhibition, “Lucy Liu: One of These Things Is Not Like The Others,” at the Napa Valley Museum.

Best known for roles in films like Charlie’s Angels and Kill Bill, Liu is now making waves in the art world with large-scale and deeply personal works such as erotic Japanese “shunga” woodblocks and paintings, embroidered art, found-object sculptures and silkscreens featuring bold designs and even bolder subject matter.

“We wanted to showcase women who were doing something extraordinary,” Napa Valley Museum Executive Director Laura Rafaty said in February when the exhibit opened. “Lucy’s work is very intimate, in some ways shockingly so. It’s emotional, it wants you to challenge cultural and gender stereotypes and I think people are going to find it thrilling to see.”

All of these impressive works of art were on display at the Napa Valley Museum until the Covid-19 pandemic shut the museum’s doors in mid-March.

While other venues in Napa County have begun opening back up, Napa Valley Museum is still shut to the public, due in part to the fact that the museum sits on the grounds of the Veterans Home of California. In the meantime, the museum has put together a virtual art tour of Liu’s exhibit, available now online.

The interactive 3D online tour of “Lucy Liu: One of These Things Is Not Like The Others” allows visitors to virtually walk through the museum’s gallery as if they were there in-person.

The tour includes a special message from Liu welcoming visitors to the exhibition and explaining the meaning behind her deeply personal works of art.

The virtual tour is a fundraiser to help the museum reopen its galleries. Reopening is tentatively scheduled for August 1, and the “Lucy Liu” exhibition will be extended through September.

“We are thrilled to give Lucy’s fans all around the world the opportunity to see her extraordinary artwork through this virtual exhibition at the Napa Valley Museum Yountville,” says Rafaty in a new statement. “Lucy has been wonderfully generous in allowing us to extend the exhibition through September and in granting permission for this tour, which preserves this first U.S. museum exhibition of Lucy’s work.”

In addition to Liu’s wood sculptures and oversized paintings, the virtual tour showcases works from her “Totem” series, in which intricate embroidered “spines” are fashioned from fabric, paper and thread. Also on display are examples of her silkscreens, and artworks from her “Lost & Found” series, in which found objects are incorporated into books, which become works of art themselves.

The virtual tour also features videos of Liu working in her studio and talking about her art to provide additional insight into her process and inspiration. Throughout the tour, visitors can see the large-scale works up close by clicking on the artworks.

The exhibition also features videos displaying the creation process behind her silkscreens and found object series, and it incorporates an example of a traditional Japanese Shunga hand scroll like those that inspired Liu’s woodblocks, provided by San Francisco’s Asian Art Museum.

“I’m so happy to collaborate with the Napa Valley Museum and to share my work with the community,” Lucy Liu says in a statement about the exhibition. “Art has been an important part of my life and development since I was a child; it helps cultivate imagination and also fosters critical thinking skills. Supporting lifelong arts education is imperative and I am thrilled to be a part of this important endeavor.“

To view the virtual tour, visitors are asked to make a suggested donation of $5 to help the museum make health and safety improvements to the galleries to combat Covid-19.

Due to the exhibit’s adult subject matter, Napa Valley Museum recommends that those under 18 get parental permissions to visit the exhibit virtually.

Napa Valley Museum is also offering a free virtual tour of it’s other current exhibition, “Not From Around Here,” its fourth annual youth art show presented in partnership with Napa’s Justin-Siena High School visual arts department.

Nearly 30 student artists are participating in this year’s online exhibit, representing Justin-Siena High School, Vintage High School, The Oxbow School, Saint Helena High School, Marin Catholic High School and Novato High/Marin School of the Arts.

NapaValleyMuseum.org

Meet a ‘Calistogan’ at Napa Valley Art Exhibit

Since moving to Calistoga in 2015, editorial photographer Clark James Mishler has taken hundreds of photo portraits as part of an ongoing “Portrait a Day” project that appears in the Calistoga Tribune’s weekly column “Who We Are.” Some of the photos are funny, some are poignant and all are uniquely “Calistogan.”

In March of this year, Mishler collected several of these photo portraits in a major exhibition at Calistoga’s Sofie Contemporary Arts. That show opened on March 8, and featured hundreds of portraits of locals grouped into categories such as At Work, At Home, Individuals, Family, Friends, Artists and Best Friends—which highlights Calistoga residents with their family dogs.

Like other venues in the region, Sofie Contemporary Arts was forced to close its doors as the Covid-19 pandemic forced the North Bay to shelter-in-place, and the exhibit was shuttered in mid-March. Nearly four months later, Napa County’s restrictions have eased, and Sofie Contemporary Arts is able to welcome back visitors for a new opportunity to see these portraits and to meet Mishler.

On Saturday and Sunday, July 18–19, Sofie Contemporary Arts hosts a “Meet the Artist” weekend, with the “Calistogans” exhibit on display and Mishler on-hand to answer questions and share stories about the scores of people who live or work in or near Calistoga.

Because of the very limited access to the exhibit, the gallery is offering a 40-percent discount this weekend to multiple purchases of the works. Increased sanitation measures are being implemented and all protocols for safety, including face coverings and social distancing, are required.

“The ‘Calistogans’ series is beautifully photographed and its technical and formal artistic elements are extremely satisfying, but Mishler also reveals the subjects and their surroundings in the most sensitive, authentic and appealing way,” Jan Sofie, gallery director and exhibit curator, says in a statement. “Some are quite funny and many extremely poignant, but the best part for me is that although the portraits depict simple moments and commonplace aspects of life we are all familiar with, they are also so intensely human, the viewer can’t help but be moved.”

The unframed works are installed clipped onto tiered wires, in their related groups. Sofie says this contemporary approach creates an accessible exhibition that both visitors and locals will appreciate.

“The idea here is that Calistoga is both exceptional and comfortable in itself,” Sofie says. “We wanted the exhibition structure and shape to communicate the sense of our strong, honest and beautifully diverse community that Mr. Mishler so deftly portrays.”

Before moving to Calistoga in 2015, Mishler spent several years in Alaska. In 1970, he first worked with a documentary film crew specializing in community development in the lower Yukon delta. In 1977, he took the job as layout editor at the National Geographic Magazine in Washington, D.C., though he soon returned to Alaska in 1979 and became a freelance editorial photographer, a profession he continues to practice and enjoy today.

Mishler’s “Portrait a Day” project also dates back to his time in Anchorage, Alaska, and he kept the project going on his first day in Calistoga in 2015. Mishler says that photographing those who live and work in Calistoga has made the transition smoother and greatly helped the couple assimilate into the community and meet many new friends.

“Beyond that, I think that these portraits in the Tribune have helped all of us better know our neighbors and, in some cases, made it easier for us to reach out across social, economic and cultural lines,” he says.

“I think the best reason for making a portrait every day is that it keeps me on my toes, gets me out the door and has taught me to be a better photographer,” Mishler says. “Most of all, I love meeting the people of Calistoga while documenting who we are at this time and in this place. I just hope to continue the project as long as I’m able to hold a camera in my hands.”

‘Calistogans’ displays with Mishler present on Saturday and Sunday, July 18–19, at Sofie Contemporary Arts, 1407 Lincoln Ave., Calistoga. 12:30–4:30pm each day. 707.942.4231.

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Lucy Liu Talks to You in Virtual Art Tour

Napa Valley Museum’s exhibit goes online due to Covid-19

Meet a ‘Calistogan’ at Napa Valley Art Exhibit

Sofie Contemporary Arts hosts local photographer July 18-19
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