Reality Grip

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As locals reel over the Kincade fire, the Napa Valley Film Festival (NVFF), running Nov. 13–17, keeps a grip on reality with apt screenings of powerful films.

First up, Code and Response, which tracks four coders bent on using technology to fight the wrath of Mother Nature. The IBM-produced documentary goes inside the aftermath of some of the worst natural disasters of 2018, as four “coders,” from California, Japan, Puerto Rico and Mexico, use technology to support front-line first responders.

“We were compelled to get on the ground and learn more from first responders but also learn from some local coders who are making a difference,” said executive producer/writer George Hammer. “When we actually saw towns turned to ash and the personal toll on individuals, it really hit home. I am pleased that we can premiere the film for the people of California as their battle with Mother Nature rages on and their search for answers inspires the next generation of ideas.”

The war against anti-LGBTQ laws peacefully unfurls through a song in Gay Chorus Deep South, which takes viewers on an emotional ride of reckoning. The award-winning film follows the San Francisco Gay Men’s Chorus, as they perform throughout the Southern states, to enlighten and shift thinking in a place where people remain divided over faith, politics and sexual identity.

Motherload propels the cargo-bicycle movement and the mission to decrease the carbon footprint, one cycler, bike and family at a time. Director Liz Canning went in search of a way to bike with her young twins and unearthed a new way of life. Canning posted a trailer for the film in 2011 and invited submissions that captured the cargo-bike experience. The effort fueled a crowdsource initiative that resulted in the feature-length documentary. “There’s a Fairfax family in the film who replaced a car with a cargo bike after watching the trailer online,” she says. “They were one of hundreds of local families whose lives were transformed by Jelani Bertoni and The Bicycle Works [one of two Marin-based cargo/utility/e-bike shops featured].”

Provocative programing continues with Coach, which follows the plight of San Francisco State Women’s Soccer Coach, Tracy Hamm, who the U.S. Soccer Federation denied access to an internationally recognized accreditation. Martha: A Picture Story, chronicles the life of Martha “Marty” Cooper who upset the continuum when she documented the first images of graffiti to appear in New York City subway cars in the 70s and became the first female photographer at the New York Post. Cooper’s book Subway Art went on to become one of the most stolen books of all time.

Frothy features like Greener Grass step in to lighten the mood. The farcical romp stars Upright Citizens Brigade mainstays Jocelyn DeBoer and Dawn Luebbe, who make their directorial debut. They set the film in a candy-coated, soccer-mom-infested, Stepford-like suburbia, where family members are “swapped,” braces reign, and social-climbing and neighborliness hit hilarious highs.

Good vibes roll on at the screening of I Want My MTV, where ’80s-lovers and MTV-worshipers unite. The buzzed-about doc takes viewers on a nostalgic ride that chronicles the rise of the network that brought music videos to the masses. Commentary from Sting, Pat Benatar, Billy Idol and more is sure to get people dancing not only with themselves, but down the aisles. The throwback theme continues at the Saturday-night Gala at Lincoln Theater, which encourages attendees to tease up their hair, stick on the shoulder pads and slide into a pair of acid-washed jeans to rock the night away.

A-list celebs will light up screens throughout the fest, starting with the Tuesday Sneak Preview of Ford V Ferrari (Matt Damon and Christian Bale) and the Wednesday Opening Night screening of Just Mercy (Jamie Foxx, Brie Larson).

This year’s Celebrity Tribute programing honors Kevin Bacon, Olivia Wilde, Vanessa Hudgens, Jillian Bell, Mena Massoud, Kelsey Asbille, Dean-Charles Chapman, Jacob Elordi, Kelvin Harrison Jr., Liana Liberato and others, who should attend events on Thursday, Friday and Saturday.

The fest rolls out the red carpet for locals with a new community-screening program that grants Napa Valley residents free entry to all morning screenings at Lincoln Theater.

No NVFF would be complete without a hefty pour of wine-related screen talk. The closing night showing of Verticals delivers. The series, directed by Jason Wise, focuses on Napa Valley winemakers and the human condition that comes with the territory. The Sunday screening at the Uptown Theatre marks not only the world premiere of Verticals, but the launch of SOMMTV, the first food and wine dedicated streaming platform. Wise, whose filmmaking cred includes the SOMM trilogy, describes the venture as a Netflix-like streaming service for wine and culinary enthusiasts. After days of turmoil over wildfires, public safety power shut offs and the general state of the union, a clink of the glass to honor the strength and endurance of our valley and the people who inhabit it feels like the perfect “wrap” to the festival week.

Oiled Up

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Now that the grape harvest is complete, it’s time to turn to the olive groves to pick, crush and extract the oil. According to Jamie Anzalone, in about a week, olives in Napa Valley will be ready for harvest, and he should know. As the former owner of two storefront olive oil companies in Upper Napa Valley, Anzalone’s experience dates back to 2011.

Initially lured from his roots in Buffalo, New York, to enroll in a food and beverage education at the Culinary Institute of America 20 years ago, Anzalone last worked at Solbar at Solage Calistoga as maître d’ before he switched his career to accommodate his restructured family life.

He knew he wanted to do something different, so when he found an available retail space on Lincoln Avenue, he transitioned to an olive oil sommelier and opened the storefront, Calistoga Olive Oil. He later changed the name to Napa Valley Olive Oil and opened a second storefront in St. Helena.

At first, he bought olive oil direct from producers, but when the late Bob Pecota of Bennett Lane entered the store and asked if he’d be interested in picking from the 100 olive oil trees on his property, Anzalone accepted the opportunity to produce his own olive oil and began to research the process.

“That year when I picked olives, I took a gold medal at the 2012 New York International Olive Oil Competition,” he said. “The valley proved to be the perfect growing area.”

He knew he was onto something—utilizing a crop he noticed usually falls to the ground and goes ignored. Through connections he made while working at Solbar, Anzalone arranged to source from olive trees at several wineries and estates within the Napa Valley. His neighbor introduced him to some olive pickers and everything fell into place.

He worked with viticulturists on properties where he picked from the olive groves, advising them on pruning techniques and necessary nutrients. When the time is right for harvesting, he takes his crew in to pick and then press the olives. Once they’ve harvested the olives, the processing begins at a local mill in either Sonoma or Lake county. The mill process takes about an hour per ton.

“Once they go in the machine,” he explains, “an hour later you’ve got fresh olive oil.”

Anzalone allows the oil to rest for 45 days, or until the sediment falls to the bottom.

The business deal varies with each grove, but in the case of Pecota, Anzalone forfeited 10 percent of the olive oil in exchange for owning the olives.

“Sometimes they hire me to pick with the crew, and they pay the mill and own the oil,” Anzalone explained. “I’m like a consultant. They keep the oil, but I can buy it back from them.”

When his family situation changed, however, so did Anzalone’s business model. His young daughter moved to San Diego with his ex-wife and he could no longer work 12-hour days with the new visitation in place. So, in one slick move, Anzalone closed the doors to both his storefront Napa Valley Olive Oil companies and succumbed to the online shopping world. That was in 2016, when he realized the online presence of his company was enough to sustain him.

“I trimmed the fat,” he said. “Looking at the numbers, I asked myself why I gave landlords so much money every month?”

The online plan allows him time to participate at local events such as Calistoga Food & Wine and Festival Napa Valley’s Taste of Napa and across the country to a circuit of food and wine shows. He continues to source from olive groves on Mt. Veeder, Diamond Mountain and in St. Helena. A few wineries, such as Cliff Lede, Duckhorn, and Spottswoode, are sources as well.

Next year, he plans to sell his olive oil and products at the St. Helena Farmers Market on Fridays, and every other Saturday at the Napa Farmers Market, alternating between the San Diego Farmers Market during visitation with his daughter.

Storefronts that carry his new label, Anzalone’s Olive Oil (honoring his Sicilian surname), include Cal Mart in Calistoga, Oakville Grocery and potentially the new Gary’s Wine & Marketplace in St. Helena. Restaurants such as Perry Lang’s in Yountville serve Anzalone’s Olive Oil with their bread service, and it’s also on the menu at Angèle’s Restaurant & Bar on the riverfront in Napa.

The new business model agrees with Anzalone, who has more time to spend with his daughter and more time to travel.

“Now, I love it. It’s the dream for me,” he said. “It’s afforded me a great lifestyle, freedom and the ability to make great olive oil—100 percent pure, property-specific from the Napa Valley.”

Anzalone plans to create a food line based on olive oil, and to create a healthy line of olive oil beauty products such as soaps and lotions, in the new year. He admits olive oil is best served in its raw form as a finish to soups, as a salad dressing, over risotto and for use in baking (he says it’s a natural preservative). His personal favorite is to make scrambled eggs pooled in his own olive oil.

Saving Salmon

Salmon three feet long seem to clog the water as the chrome-colored fish, fresh from the ocean, begin their journey upriver toward the high-elevation gravel riffles where they were born. Here, in the remotest tendrils of the watershed, they will lay and fertilize the eggs that ensure the next generation of salmon.

At least that’s how it once was early each autumn on the Eel River. But nature’s security system for fish survival is only as good as the health of a river. In the case of the Eel, a local power company built a dam on the Eel’s main fork in 1920. As a result, Chinook salmon lost access to about 100 miles of spawning habitat. Steelhead, which swam farther upstream into smaller tributaries, suffered even greater impacts. Intensive in-river commercial fishing, water diversions, logging and other land degradation took their toll, too. Today, annual salmon runs in Eel River that once may have totaled a million or so adults consist of a few thousand. Lamprey eels, too, have dwindled.

Now, there is serious talk of removing Scott Dam, owned by PG&E since 1930.

For fishery proponents, such a river makeover is the optimal way to revive the Eel’s salmon runs.

“We want to see volitional passage, both ways,” says Curtis Knight, executive director of the conservation group California Trout.

Volitional, in this context, means the salmon are able to make their historic migration on their own—downstream as newly born juveniles and, later, upstream as sexually mature adults—all without the assistance of human hands.

“We think dam removal is one possibility here,” Knight says.

California Trout is one of several local groups and agencies now formally considering taking over the operation of Scott Dam from PG&E. As a hydroelectric facility, Scott Dam is not very productive, and with PG&E’s operating license scheduled to expire in 2022, the utility giant recently stepped away from the project. PG&E even briefly put the Potter Valley Project up for auction, though the offer attracted no takers.

Potter Valley Project

Congressman Jared Huffman began eyeing the orphaned dam-and-diversion operation as the future of the project came into question over the past several years. Recognizing an opportunity to revive fish runs by overhauling the dam and a variety of connected infrastructure pieces—collectively called the “Potter Valley Project”—Huffman rounded up more than two dozen local stakeholder groups, including tribes, environmental groups, government agencies and farmers, to weigh in and help steer the process.

Huffman determined that everyone with a stake in the Eel River, its fish and its water would need to make compromises.

“The two-basin solution is built around a fairly central compromise,” Huffman explains. “There are certainly folks in the Russian River basin who, in their perfect world, would not be making changes to provide fish passage or alter the way the project is operated, and there are people in the Eel River drainage who would like to see the dam and the diversions go away completely.”

Huffman describes his vision as one of “coequal goals,” and a “two-basin solution,” which treats the needs of fish and people with equal consideration. The hope is that no stakeholders will be left high and dry, says Huffman, who represents people in both river basins.

But keeping this process civil to the end could prove a challenge in an era where water management often takes shape as a tug-of-war between farmers and fishery advocates.

A core consideration in amending the project to help fish will be a community of about 150 farms in Potter Valley, actually in the upper Russian River basin, which receive water from Lake Pillsbury, contained by Scott Dam, via a one-mile tunnel bored through a mountain in the first years of the 20th century.

Scott Dam effectively creates a pool of water that can be drawn from in the summer months. If the dam comes down, Potter Valley farmers will need an alternative source of summertime water—a complicated problem.

“If we didn’t have that diversion, you’d be putting a whole lot of people out of business,” says Mac Magruder, who irrigates 300 acres in the Potter Valley for his grass-fed meat farm.

Altering the operation of Scott Dam and the diversion tunnel a few miles downriver will require a new license—what California Trout, Humboldt County, the Sonoma County Water Agency, the Mendocino Inland Water and Power Commission and the Round Valley Indian Tribes are now pursuing. They will first conduct a feasibility study and submit it to the Federal Energy Regulatory Commission no later than April.

Currently, representatives for the relicensing stakeholder groups try to talk in careful terms, without showing strong preference for one plan over another.

“All options are on the table,” says Janet Pauli, the chair of the Inland Water and Power Commission.

However, there is no doubt that the interests of farmers and fishery advocates hardly align. For farmers in Mediterranean climates where virtually no rain falls for four straight months, dams and aqueducts make farming possible.

Dam-nation

But for 21st-century river and salmon advocates, dam removal is the holy grail of achievements.

“A free-flowing river without dams is optimal for anadromous fish,” says Joshua Fuller, a fisheries biologist with the U.S. National Marine Fisheries Service. “Unfortunately, in today’s world that setting doesn’t exist in a lot of places. It’s a major reason why we have many listed salmonid species.”

In Washington, the removal of two dams on the Elwha River five years ago reportedly resulted in increased returns of depleted salmon.

On the Klamath River, four dams face dismantling as part of an aggressive effort to revive the river’s Chinook and Coho salmon runs, once among the largest on the West Coast.

Fuller says providing access to the spawning habitat upstream of Lake Pillsbury is a key component of his agency’s Chinook-and-steelhead recovery plan. Creating that access would be, in some ways, simplest by removing Scott Dam.

But it’s not the only way. Building fish ladders is another means of opening the higher reaches of the watershed to spawning salmon and steelhead. These winding stairways of cascading water allow migrating fish to climb up and over otherwise impassable dams. They allow juveniles to safely return downstream, too.

But the Eel River system poses complications. Scott Dam bridges a deep canyon, and building a fish ladder up and over the dam could prove technically difficult. Ascending such a ladder might be difficult for fish, too.

The other big problem with relying on a fish ladder system at Scott Dam involves a non-native predator called the pikeminnow that was somehow introduced to the system in the late 1970s. Pikeminnows, which can grow to about four feet in length, prey aggressively on smaller fish and are abundant in Lake Pillsbury. Thus, a system that requires young salmon and steelhead to swim across the lake to the outflow might be a death sentence for many, if not most, of the fish.

The pikeminnow is a major reason why dam removal remains a favored option among environmentalists.

“A salmon smolt in a reservoir full of pikeminnows hardly stands a chance,” says Craig Tucker, a natural resources consultant working for the County of Humboldt.

David Keller, with the Friends of the Eel River—a stakeholder group but not one of the relicensing applicants—says elaborate systems are necessary for assisting the juveniles across the lake.

“It would be extremely labor-intensive and time-intensive,” he says. “You’d have to have people there at the right time, when the fish are coming through.”

Like Knight, he wants to see fully volitional passage.

“The only way that makes ecological sense is to allow the fish to do it themselves, and that means taking out the dam,” Keller says.

Keller thinks more efficient storage in Lake Mendocino, on the Russian River’s east fork just upstream from its confluence with the main fork at Ukiah, could meet summertime irrigation needs for Potter Valley farmers. This would involve pumping systems that push water various directions, often against gravity. It could also require increasing the height of Coyote Valley Dam to store more water in Lake Mendocino—what stakeholders say would be a very expensive strategy.

Using Lake Mendocino for new storage would be complicated, too, since the U.S. Army Corps of Engineers, which operates Coyote Valley Dam, prefers not to fill Lake Mendocino in the winter months and instead maintain significant available storage for flood control purposes. Only in the spring could surplus water be retained in the lake—though relying on late-winter rains in California is a chancy gamble. In many years under such a system, they may find it impossible to top off the reservoir with water for the Potter Valley farms.

“We don’t see increased storage in Lake Mendocino as a very likely, affordable option,” says David Manning, the environmental resources manager with the Sonoma County Water Agency.

Keller also says Scott Dam is a hazard and “a disaster waiting to happen.” He says its south side is “anchored to an ancient landslide” that is liable to continue sliding.

The dam is also situated almost on top of Bartlett Springs Fault, an offshoot of the Hayward fault that runs beneath Lake Pillsbury and which seismologists have modeled for the potential to cause a 7.5 earthquake.

“Scott Dam was not built for that level of shaking,” Keller says.

Writers have cited the hydroelectric barrier before as a poster child for poor dam building.

“This dam is literally a textbook example of where not to build a dam,” Keller says.

Water wonk and
a fish-head

The evolutionary sharpening stone that honed the Chinook into the most resilient and adaptive species of the Pacific salmon could not prepare the fish for the advent of the concrete hydroelectric dam. Beginning early in the 20th century, state and federal agencies reengineered California’s major rivers with massive walls of cement and steel, connecting canals and tunnels, and pumps to move water.

In their respective waterways, Chinook salmon nosed up against the newly built barriers. In the San Joaquin River, where salmon runs of half a million to a million fish survived for millennia migrating every summer through a valley as hot as the deserts of Saudi Arabia, Chinook evaporated into extinction about five years after Friant Dam’s completion.

While effective fish hatcheries maintained the Chinook of the Sacramento River, the Eel River’s salmon were already nearly gone. So was the Eel’s namesake representative species, the Pacific lamprey.

Now, salmon in California face even greater challenges than dams. Global warming will make the cold water the fish require for spawning a rarer and rarer asset. In fact, Knight, at California Trout, co-authored a report in 2017 warning that most of the salmon and trout species and subspecies in California are likely to go extinct if efforts are not made to preserve their habitat. In some watersheds, there may be no saving the fish.

But rivers born in high elevations, and fed by year-round, ice-cold springs, have the potential to keep salmon and steelhead alive and running.

The uppermost tributaries of the Eel River constitute precisely this type of habitat.

“It’s high and it’s got cold water and it’s going to be cold for a long time,” Knight says.

Fuller, with the National Marine Fisheries Service, also sees that habitat as critical for maintaining salmon runs in a warmer future.

“Tributaries above Scott Dam contain high-value habitat with cold water and perennial flows essential for long-term population viability and recovery of anadromous salmonids within the Eel River,” he says.

Human beings are more adaptable than salmon, and if they remove Scott Dam, nobody will perish, though the livelihoods some now enjoy could be shaped by new and unwelcome pressures.

“We have more than a lot to lose—we have everything to lose,” Magruder says.

Tucker, with Humboldt County, says he is open to all options now being discussed in the relicensing feasibility study.

But full dam removal is the one he thinks may be most amenable to salmon while still allowing human users to get the water they need.

“There are engineering possibilities for producing agricultural diversions without Scott Dam,” he says.

Huffman calls himself a “water wonk and a fish-head.” He says the potential of creating “a win-win” solution that sustains fish populations amid dense human populations and thriving farm economies drew him to the project.

But he also knows all bets are still off.

“There’s no guarantee that this plan holds together,” he says. “There are centrifugal forces at play that could pull it all apart before the end.”

Evil Never Sleeps

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The best parts in Doctor Sleep, the sequel to The Shining (1980), do without Stanley Kubrick and Stephen King’s sense of gigantism. It’s not a haunted house movie trying to end all haunted house movies, even as it reprises shots of Danny pedaling his Big Wheel down endless hallways.

Director Mike Flanagan sources David Lynch, who scares me more than Kubrick ever did. The music is also familiar even beyond the quotes of Wendy Carlos’s Moog of Doom from The Shining, there’s that echoing violin screech they’ve been using since Buffy the Vampire Slayer.

We commence with a pack of non-humans. Like the other-world denizens in Twin Peaks, they live on “steam”—the distilled essence of pain and suffering. The best quality is hard to come by, complains Rose the Hat, the queen bee of this traveling coven. Something’s polluting the essences these days.

The lovely and malign Rose (Rebecca Ferguson) is kind of a witch, kind of a vampire. Though her age and exact backstory are vague, she might have become whatever she is now about the time Guns and Roses’ Appetite for Destruction came out. The undead are always a little unfashionable in their dress.

The boy casualty of the Overlook Hotel, Danny (Ewan McGregor, at his best) grew up to be a mean alcoholic like his late dad Jack. Danny floats into a small town in New Hampshire and is bailed out by a good-guy municipal worker (Cliff Curtis) who is in AA. Cut to eight years later; the chip is in Danny’s hand, not on his shoulder. He landed a job as an orderly at a hospice, where his empathy is put to good use.

Meanwhile, there’s Abra (Kyleigh Curran) who has The Shining in abundance, a beacon bright enough to summon Rose’s family of fiends all the way cross-country. Abra has been in communication with Danny for years as a psychic friend. He warns against challenging Rose and her gang. But being the headstrong, affluent, Harvard-bound girl that she is …

As it ends, this movie starts to cycle a reunion of the old beasts from the Overlook. Flanagan hardly needed to revisit this familiar house of horrors when the story he’s telling was already a highly satisfactory horror movie: a bonbon for those of us who haunt theaters and suck up other people’s suffering.

‘Doctor Sleep’ opens in wide release on Nov. 8.

Musical Action

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Two years ago, North Bay musician and producer Scott Mickelson made headlines when he assembled and released After the Fire, Vol 1, a benefit compilation album that raised several thousand dollars for local fire-relief efforts.

Now he’s back with a similarly pressing cause, teaming up with Bay Area nonprofit organization Blanket the Homeless—which distributes blankets and care packages to unsheltered residents in San Francisco—to release a double-LP benefit album largely recorded in Mickelson’s Mill Valley studio.

“Everybody knows about the homelessness in the Bay Area, and everyone wants to try to do something,” Mickelson says.

The project with Blanket the Homeless began on the heels of the success of After the Fire, Vol 1, when Mickelson approached musician and organization co-founder Ken Newman, who Mickelson had been producing for.

“He and I were wrapping up his first solo record and we got to talking,” Mickelson says. Together, they assembled a roster of popular bands to contribute to the record, first landing two-time Grammy winners Fantastic Negrito.

“They were on tour and couldn’t come in to record, but they gave me the rights to use their song, ‘Working Poor,'” Mickelson says. From there, he was able to recruit 14 other acts, recording 13 bands in his studio for the Blanket the Homeless compilation.

Bay Area–based contributors to the album include the Brothers Comatose recording a new stripped-down version of their song “Angeline,” Sonoma County folk-trio Rainbow Girls singing their song “American Dream” and Mother Hips’ frontman Tim Bluhm performing his tune “Clean Me Up.” Other artists on the album include the Stone Foxes, King Dream, Goodnight, Texas, Whiskerman, Marty O’Reilly & the Old Soul Orchestra, John Craigie, Tobias the Owl and both Mickelson and Newman, who each contributed a new song. The album caps off with a special, unreleased version of Con Brio’s “Body Language,” recorded live in Amsterdam.

“Every artist came in open minded and gracious,” Mickelson says. “I didn’t ask artists to write songs about the homeless, I just wanted them to come in with something original and something they were excited to record.”

This week, Blanket the Homeless get a release party in San Francisco, and confirmed performers include King Dream, Ben Morrison of Brothers Comatose, Shannon Koehler of Stone Foxes and Avi Vinocur of Goodnight, Texas.

“I hope people show up,” Mickelson says. “It’s such a simple thing to do; come to a show, enjoy the music and help the homeless.”

‘Blanket the Homeless’ record-release party is Thursday, Nov. 7, at the Independent in San Francisco. 8pm. $15–$17. blanketthehomeless.org.

Politicos Back Public Takeover of PG&E

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A group of local elected officials sent a letter to state regulators urging them to consider transforming PG&E, northern California’s controversial investor-owned utility, into a public nonprofit.

In the letter, the 27 leaders, including the mayors of Sonoma, Petaluma, Windsor and Cotati, urge regulators at the California Public Utilities Commission and Governor Gavin Newsom, argue that the two “Wall Street titans” fighting over PG&E’s remains in bankruptcy county will not serve the long-term interests of Californians.

In short, the letter argues that Californians will be better served by a public, nonprofit utility than one owned by a private company with a profit motive.

“A customer-owned PG&E will better focus its scarce dollars on long-neglected maintenance, repairs, and capital upgrade, and mitigating some part of the substantial upward pressure on rates,” the letter states.

Amy Harrington, mayor of Sonoma and a board member of Sonoma Clean Power, said she signed the letter after several years dealing with PG&E officials in her dual roles.

“Dealing with PG&E both at the city level, where we want to know exactly what’s going to be turned off is almost impossible … and then dealing with PG&E [at Sonoma Clean Power] trying to make sure ratepayers aren’t overcharged is also almost impossible,” Harrington said. “They just don’t have any real incentive to provide information to anyone.”

Except for nominal oversight from the CPUC, “They don’t answer to anyone, not really,” Harrington added.

PG&E pushed back on the letter in a statement to the New York Times yesterday.

“We remain firmly convinced that a government or customer takeover is not the optimal solution that will address the challenges and serve the long-run interests of all customers in the communities we serve,” Jennifer Robison, a PG&E representative, told the paper.

Harrington says the letter is just a first step. In the future, cities, counties and agencies like Sonoma Clean Power may send additional letters endorsing the model outlined in the letter.

For now, Harrington hopes the letter will help start a conversation about the potential benefits of a publicly-owned utility.

“The fundamental question is who should own these assets? Should it be a for-profit corporation or a nonprofit?” Harrington said.

The signatories in the North Bay so far are:
Cotati Mayor John Dell’Osso
Petaluma Mayor Teresa Barrett
Sonoma Mayor Amy Harrington
Windsor Mayor Dominic Foppoli
Marin County Board of Supervisors Chair Kate Sears

The full letter is available here.

Homerun

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I ‌can’t do it, I just can’t do it.” This statement was made by Sean Doolittle, pitcher for the World Series Champion Washington Nationals. It was a response to the invitation to visit Mr. Trump and the White House. Showing his humanity, integrity and character (traits sorely lacking in the political circles of Washington D.C.), reflected his upbringing. As he told the New York Times, “When I was a kid, I remember my parents would say, ‘Baseball is what you do, but that’s not who you are.'” That he felt that the current administration’s policies and rhetoric had widened the divide in this country, and in good conscience, (another trait, absent from the halls of Congress these days), could not attend.

Many professional athletes, as well as other celebrities, address social issues, through financial donations, setting up foundations, or volunteering and speaking out for causes close to their hearts. Sean is one of the many fortunate individuals to be able to do that. To generalize about wealthy, snobby movie stars or spoiled athletes, especially when they choose to be outspoken, is to take a myopic and cynical view of these people.

It should be remembered that these individuals, who may be known by face and profession in the social media, are also compassionate human beings, who may in their own private lives, also face certain difficulties—whose lives may have been or presently are touched by the numerous problems that confront us all.

Most pitchers are not known for their hitting acumen—they do one thing well, they pitch. Most athletes won’t be remembered for their statistics, which is reserved for a very small group. But Sean Doolittle has exemplified through his words and actions what it means to live by certain principles, about crossing that line—and that has nothing to do with record books. But his decision has surely made him the most valuable player of this 2019 World Series. He has hit a tape-measured home run right out of the park!

We welcome your contribution. To have your topical essay of 350 words considered for publication, write op*****@******an.com.

Canyon Candidate

Though we are still a year out from Election 2020, I’d like to introduce you to a Congressional candidate who promises progressive representation for Californians in the 5th district.

Jason Kishineff lives in American Canyon, went to Napa College and is a former pharmacy technician who has witnessed the injustices brought by big pharma and bad legislation. You can find his platform at kishineff.net.

As a former candidate for California governor, a “Dark Horse” as reporter Janet Wells called me (MetroActive, 1998), I understand how difficult it is to garner the support needed to succeed. But, I think times are different and people are ready for change. Please support Jason Kishineff for Congress, District 5.

Napa County

Take Control

Mr. Peter Byrne,

I very much agree with your editorial “Pull the Plug.” (Open Mic, Oct. 30) PG&E is a shareholder-owned corporation that will always put shareholder and management materialistic self-interest above customers, or rate payers. Their fiduciary duties are to owners, not fire victims or other Californians.

The interests vying for control of PG&E are also profit-driven enterprises which will not owe allegiance or duty to us.

While never perfect, Californians need public control of our energy at the very least, otherwise we will continue to be in fire danger and sacrificed to corporate greed and avarice.

Napa

Open Letter
to PG&E

PG&E, three little letters with a whole lot of power. Well, here’s three little letters for you: WTF? You try living without power or gas for four or five nights at a stretch and tell me what letters come up for you.

I want to know why this company can’t shut off, and more importantly, turn on power quickly and timely? Where is the money from your considerable profits going ($1.6 billion from one quarter in 2017!)? besides the pockets of your executives and shareholders? How much of our money goes to lobbyists and PR-peddlers in Sacramento working on PG&E’s behalf?

These aren’t rhetorical questions: I’d really like to know.

PG&E has had decades to prepare for weather-related events, improve service for its dependent customers, and troubleshoot future likely events. It has failed mightily and has proven its ineptitude in the power business. Proof of this is their financial failure.

PG&E has no business being in the power business. May the fickle finger of fate find its way to your backdoor.

*This is not directed at the myriad workers who do the labor and the management for the company. This is to the top brass of this failed corporation and those that have gotten fat off it, which includes the shareholders.

Boyes Springs

Write to us at le*****@******an.com.

Dark City

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Local theaters seem to be in a New York state of mind with two very different shows set in the Big Apple running on North Bay stages. 6th Street Playhouse brings the somewhat ironically titled Wait Until Dark to their Monroe Stage while Left Edge Theatre places their audiences somewhere Between Riverside and Crazy.

Wait Until Dark–playwright Frederick Knott only wrote three plays, but two of the three (the other being Dial M for Murder) became theatre standards. Film adaptations led to increased audience familiarity with the material, robbing them of a bit of the suspense Knott built into his scripts.

Photographer Sam Hendrix (Steve Cannon) unwittingly transports a child’s doll full of heroin from Canada to New York and leaves it in the care of his sight-impaired wife Susi (Olivia Marie Rooney). Soon a trio of very nefarious gentlemen (Ezra Hernandez, Matt Witthaus, Justin Thompson) arrive on the scene determined to get the doll surreptitiously by playing a deadly game of impersonation.

Director Meghan Hakes’ cast works well here, but lighting-designer Vincent Mothersbaugh is the show’s MVP. Without giving too much away, lighting plays a big role in this play, and Mothersbaugh delivers.

Playwright Stephen Adly Guirgis’s Between Riverside and Crazy won the Pulitzer Prize for Drama and a stack of theater awards. An odd mixture of comedy and drama, at its heart it’s a story of families—father/son, son/fiancé, father-figure/son and the “brotherhood” of law enforcement.

Retired New York City police officer Walter “Pops” Washington (Corey Jackson) lives in a rent-controlled apartment with his recently paroled son Junior (Sam Ademola), his son’s fiancé Lulu (Pilar Gonzales) and their friend Oswaldo (Jared Wright).

Walter’s former partner Audrey (Sandra Ish) and her fiancé Lt. Dave Caro (Mike Schaeffer) try to get Walter to sign off on a settlement agreement stemming from a shooting. The powers they represent aren’t above threatening Walter with the loss of his home to get his signature. Walter, who always seems pissed, gets really pissed.

It’s a solid production, and credit director Argo Thompson for bringing some theatrical diversity—both in casting and subject matter—to the area.

Rating for both (out of 5):★★★½

‘Between Riverside and Crazy’ runs through Nov. 10 at Left Edge Theatre. 50 Mark West Springs Road, Santa Rosa. Thu–Sat, 8pm; Sun., 2pm. $15–$42. 707.536.3600. leftedgetheatre.com
‘Wait Until Dark’ runs through Nov. 10 on the Monroe Stage at 6th Street Playhouse, 52 W. Sixth St., Santa Rosa. Thu–Sat, 7:30pm; Sat–Sun, 2pm. $18–$29. 707.523.4185. 6thstreetplayhouse.com

Rock On

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The smoke wasn’t quite as thick this year in wine country, but the love needn’t be any thinner. That spirit was on full display last weekend when I stopped by Soda Rock Winery, having heard rumor of a “pop-up” wine tasting, and found the parking lot nearly full, and the grounds teeming with wine tasters sipping caramel-scented Chardonnay. I could hardly get an elbow on the bar.

Yep—that Soda Rock, the Alexander Valley winery that recently burned down in the Kincade fire of October 2019. Turns out, the historic redwood barn adjacent the winery, although it leaks daylight through its spindly boards, rebuffed the flames (with the help of firefighters who arrived in the nick of time) and still stands, only slightly singed. With my nose in a glass of red, cherry-fruited Postmaster Zinfandel, I stroll over to inspect the site of the wine’s namesake. Soda Rock’s stone facade was originally built as the area’s post office. And it wasn’t really a winery when embers jumped across Highway 128 the week before. “Soda Rock primarily was an events center with a fabulous tasting room,” explains Antoine Favero, winemaker and general manager for Mazzocco Sonoma, where he also makes Soda Rock wines. “So the good thing is that we still have some juice. Unfortunately, we did have case goods there.” The Wilson Artisan Wineries group owns Mazzocco and Soda Rock.

“I went there yesterday and it was not a good day,” Favero says. But he’s sanguine about the future. “We’re going to pick ourselves up and rebuild and keep on going!” For now, he’s focused on the challenges that power outages, evacuations and smoke present for the 2019 vintage. “We were very, very lucky this year, because about 97 percent of the grapes had been picked before the fire,” Favero says. “The bad thing was, yeah, we had to leave some behind,” because of smoke tainted grapes, he explains. “But you can’t win it all—it’s just the nature of the beast right now.”

Grapes safely picked and crushed, however, were bubbling away when the power went out. “I grew up in South America, where every other day we had a power outage,” Favero shrugs. “So I don’t freak out. But in the United States? It’s kinda going back to my third world country.” Modern wineries control temperatures with cooling systems to guide fermentations to suit the winemaker’s style. “This is something brand new for me. I have never, in my 30 years of winemaking, been away from my fermentations for eight days,” Favero says. He could check on them nearly every day, but do little else. Nevertheless, he feels that the high quality of the fruit this year will prevail. “Whatever we had in tank before the fire, I think is going to be wonderful.”

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Dark City

Local theaters seem to be in a New York state of mind with two very different shows set in the Big Apple running on North Bay stages. 6th Street Playhouse brings the somewhat ironically titled Wait Until Dark to their Monroe Stage while Left Edge Theatre places their audiences somewhere Between Riverside and Crazy. Wait Until Dark–playwright Frederick Knott only...

Rock On

The smoke wasn't quite as thick this year in wine country, but the love needn't be any thinner. That spirit was on full display last weekend when I stopped by Soda Rock Winery, having heard rumor of a "pop-up" wine tasting, and found the parking lot nearly full, and the grounds teeming with wine tasters sipping caramel-scented Chardonnay. I...
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