Trailer Park Blues

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Nearly two years after the North Bay fires burned more than half the homes in Santa Rosa’s Journey’s End mobile home park, the Santa Rosa City Council is considering legislation to speed the closure process for the park, opening the possibility for a new housing project on the property.

Although Journey’s End is located just across Highway 101 from Coffey Park (the single-family home neighborhood that the fires also seriously damaged), the two neighborhoods are at very different points in their recovery. Coffey Park is well on the way to being rebuilt, but Journey’s End still looks much as it did after the fires. The delayed rebuilding process has, in part, to do with the park’s zoning and state rules governing mobile homes, long a form of affordable housing in a state with sky-high housing prices.

Unlike single and multi-family housing developments, the California Department of Housing and Community Development regulates mobile home parks and the city requires park owners to file a special report in order to close the park

However, the city of Santa Rosa needs to update its rules for park closures with new regulations for parks damaged in natural disasters, says David Guhin, Santa Rosa’s planning and economic development director. Once Journey’s End is formally closed, the property will be one step closer to a new beginning.

Affordable housing developer Burbank Housing floated the idea of building housing on the land and giving preference to the former Journey’s End residents.

In February, Kaiser Permanente chipped in $1.6 million to cover planning and design costs for the future development.

Representatives from Burbank told the North Bay Business Journal the same month that it expected the project to take five years and $85 million to complete. The article did not specify how many units the project might include; however, it does state that Burbank “has control” over the property.

Since then, Burbank has remained quiet about its plans. The developer has not applied for planning permits at Journey’s End—at this point that would be a premature step since the land is still zoned for a mobile home park, not conventional housing—and did not respond to the Bohemian’s request for comment in time for the paper’s deadline this week.

On Sept. 30, the Press Democrat reported that Burbank would “take the lead” on the closure of Journey’s End. In order to build a multi-family housing development, Burbank will have to apply to change the zoning of the property. The property is currently zoned as a mobile park. The property owner did not respond to a request for comment.

The city is taking the project one step at a time, with no specific plans about the future use of the land, according to Guhin. That said, the destruction of more than one-hundred homes at Journey’s End was a big loss for the city’s affordable housing stock. Guhin calls mobile homes a “critical affordable housing source” for the city.

“Replacing those units with mobile homes or another form of affordable housing will be paramount,” Guhin says.

Emergency Ordinance

The ordinance under consideration at the council’s Oct. 1 meeting would alter a 1996 city code requiring mobile home parks to file a report outlining the reasons for and possible effects of their closing.

The current code does not describe the process of closing a park due to damage caused by a disaster, such as a catastrophic fire. In this case, the 2017 fires.

The proposed amendment is part of Santa Rosa’s new Resilient City Combining District, a special zoning district created after the fires to help spur rebuilding in fire-affected areas.

Although three Santa Rosa mobile home parks were partially damaged in the fires, the ordinance only applies to parks that lost more than 50 percent destroyed. Currently, Journey’s End—which lost 116 of 160 homes during the fires—would be the only park affected by the policy change.

The proposed ordinance makes several other changes to the standard closure report procedure aimed at speeding up the Journey’s End closure process. Under the proposed ordinance, a public outreach period will be reduced from 30 to 15 days; the applicant alone will decide on a consultant to prepare a closure report, instead of coming to an agreement with a representative of park residents; and the final decision will go directly to the City Council rather than the Planning Commission.

The closure process for Journey’s End is further complicated because no one currently resides on the property because the California Department of Housing and Community Development, the agency that regulates mobile home parks, deemed the heavily damaged park unlivable, even for those residents whose homes did not burn down.

Mobile and Affordable

Although there are just over one hundred licensed mobile home parks in Sonoma County, according to data from the Sonoma County Community Development Commission, this form of housing rarely make it into modern debates over the North Bay’s affordable housing crisis.

Unlike affordable housing developments, which are generally financed by vouchers and incentives from state and federal agencies, mobile homes are relatively cheap to buy or rent and, under state law, often protected by a form of rent control.

In Santa Rosa, rent increases on mobile homes are tied to the cost of living increase, capped at 6 percent annually.

However, in an age where glossy lifestyle magazines for millennials feature tiny homes and manicured micro-houses, mobile homes suffer from a lack of branding. Unlike their tiny-home cousins, which have not found favor among local leaders in Santa Rosa as a long-term solution to the regional housing crisis, mobile homes are often associated with retirees on a low income, not a daring lifestyle choice.

Still, for a generation that may be moving away from homeownership, mobile homes have long been a practical housing solution for hundreds of people in Sonoma County.

Although Point Reyes Station catches more than a few sun rays on a recent late-summer day, the northern tip of the Seashore, which is administered by the National Park Service, gets the Pacific Ocean’s full fog-machine treatment.

At historic Pierce Point Ranch, a windbreak of gnarled trees just beyond the parking lot is hardly visible. Yet the bugling of unseen male tule elk is as clear as a bell. The term, “bugling,” with its upbeat, brass instrument connotations, doesn’t do justice to this haunting screech that’s about as wild as it gets, just an hour north of the Golden Gate.

The rut, when male elk (called bulls) compete for influence with groups of females (cows), takes place from August to October, and it’s one of the Seashore’s many natural resource features—along with whale and elephant seal viewing—that draw up to 2.4 million visitors each year.

There are plenty of other bulls and cows to see here, too.

More than 5,700 dairy cows and cattle graze on Seashore land leased to dairy and beef operations. But considering their smaller number, about 750 animals in free-ranging herds and fenced in at Pierce Point, the tule elk surely rank highly among visitors.

“It’s not a popularity contest,” says Melanie Gunn, outreach coordinator for the Seashore, about the latest invitation for public comments on the Seashore’s plans to manage ranches and elk in the future. The comment period for the General Management Plan Amendment Draft Environmental Impact Statement closed on Sept. 23.

“One really important thing for people to realize,” Gunn clarifies, “…it’s not a vote. And we try to make that clear to people. What we’re looking for is substantive information to inform the process.”

Previously, the Park sought to implement an updated Ranch Management Plan (RMP), consulting the public in a series of workshops and comment periods. But a coalition of environmental groups, frustrated that the process did not include an Environmental Impact Statement (EIS), sued and halted it.

“Every park does it that way when they make a big management decision,” says Jeff Miller, a conservation advocate for the Center for Biological Diversity. “They do that through an environmental review.”

The park was trying to skip that step, according to Miller, who traces his activism in the park to family hiking trips when the Seashore opened in the 1960s. “When the park service tried to float the ranch plan, killing the elk was the last straw.”

The Amendment Draft now includes a more specific plan, “Alternative B,” to lethally remove elk from a contentious herd that shares pasture with cows, while extending ranch leases to 20-year terms. This is the NPS’s “preferred alternative.”

The statement does mention five more alternatives, from “no action” to “cessation of ranching operations.”

“It wasn’t about kicking ranchers out, which is what ranchers fall back on when anyone asks questions,” says Susan Ives, whose organization, Restore Point Reyes Seashore, encourages public commentary on the plan.

“It’s how to restore the native prairie—let’s try to bring back some of these native plants that are on the brink,” says Ives, who does not view the preferred alternative as an acceptable compromise. “There really weren’t a lot of alternatives that we could support.”

The Seashore will not release the public comments for several months, according to Gunn. Already, elk advocates are criticizing the process.

“I have helped to collect hundreds of comments from other citizens who also want the park to choose wildlife protection and restoration and to phase out ranching,” forELK founder Diana Oppenheim writes in a letter to park Superintendent Cicely Muldoon.

Melanie Gunn and the NPS refuse to accept those comments, stating a policy of not accepting bulk comments. “We can’t accept comments that have been submitted on behalf of others,” Gunn states. “So, we let that individual know, as soon as we got them, that she could take them back and ask individuals to send them.”

A preview of comments provided to the Pacific Sun highlight the disconnect between the Park Service mission, the environmental findings of the EIS and the preferred alternative. Among writers offering substantive perspectives, Ken Brower, who watched as a “fly on the wall” as his father, David Brower, worked with ranchers and politicians to establish the park, writes, “It is a historical falsehood—despite the widespread myth otherwise—that the park’s founders ever intended that ranching be permanent.”

Judd A. Howell, former ecologist and research scientist at Golden Gate National Recreation Area, questions why the Seashore’s 5,700 cattle units cannot tolerate 124 elk among them. “The notion that elk are a ‘problem’ is obviously misguided, since elk coexist with cattle on BLM and Forest Service grazing lands throughout the western U.S.,” he says.

It remains to be seen how many of the 7,000-plus comments received weigh in for or against the preferred alternative. Some may be classified as opinion only, and will not be incorporated at all, says Gunn. But they won’t be lost in the fog. “We provide a response to those comments.”

—James Knight

Under the Lights

As the actor and singer Judy Garland, Renee Zellwegger is held in tight closeup: a bundle of nerves dosing herself with pills, mouth crooked and trembling, wincing from cigarette smoke and bad memories. Half the time in Judy, she knocks you out, half the time you want to knock her out. Starved down to a shadow, Zellwegger’s bag-of-bones Judy is a wraith in her final year working.

It’s 1968 and the 47-year-old is a huge star in London. Her insomnia and vast need for love tortures her. Her personal life is in smithereens; back in L.A., her ex-husband Sid Luft (perennial rotter Rufus Sewell) is trying to get custody of her two young children. Meanwhile, she’s courted by Mickey, a persistent younger man (Finn Wittrock) of such untrustworthiness that his very presence should set off every burglar alarm for blocks.

Zellwegger embodies—impersonates may be the correct term—Garland and her vast yearning for applause. But without the the amphetamine-fed megalomania you hear in the tapes Garland made to soothe herself. There she sounds more like Martha in Who’s Afraid of Virginia Woolf. Unlike Judy Davis’ superior 2001 version of Garland, this victim is missing the other half of what made the woman behind Dorothy Gale such a sacred monster, a chronic no-shower and a meltdowner.

Director Rupert Goold delves for backstory in tinted postcard images of MGM, where Garland underwent a species of child abuse—overwork and over-medication.

On stage, after the film’s slow build, the performance of “By Myself” is just about perfect; well orchestrated and reflecting the dazzle Garland emitted. Also affecting is a very touching sequence about a late night with a pair of gay stage door johnnies (Andy Nyman and Daniel Cerquiera), who Judy flusters by revealing that their idol is just a lonely person who’d like to go get some dinner in a city that shuts down at 11pm. (Judy’s production design makes a point: Swinging London took place in a drab, decaying town that badly needed a coat of paint.)

There’s a word for a lot of Judy, and that word is schmaltz; I preferred the previous arrangement where she’d sing “Over the Rainbow” and we’d cry, rather than the role reversal here.

‘Judy’ is playing in limited release.

Sad But True

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Last week a man in a brand-new Metallica baseball hat stood outside a West Marin grocery and asked about the breed of a peculiar and hairless dog wandering nearby. “I’ll answer your question,” I responded. “But first—what’s with the Metallica hat? Are you with the band or something?”

The man, who appeared to be in his late 50s, pointed toward the store and said, “We just played with them.”

It took a moment for the casual comment to register. What? You just played with Metallica? “Yes,” he responded, affably. His partner was inside shopping. “My husband,” he said, pointing again at the store, “he’s the conductor of the San Francisco Symphony.”

Much laughter ensued and the conductor emerged for the store with his parcel. Michael Tilson Thomas lives in these parts, and the symphony performed two nights of Metallica music, “S&M2,” in early September. It was the second time the Bay Area thrash metal titans have worked with a symphony. A movie of the shows is due out Oct. 9; it will play locally at the Rialto Cinemas in Sebastopol.

The men departed. One of the high-holy hippies of West Marin was on the scene and noted, “You know, they say that conductors live longer than anyone—they have the longest life span.”

It makes sense, the high-holy hippie continued, and we checked off the various reasons why. Consider the aerobic aspect of a conductor fully in his element, for one thing. The musicians focus completely on the conductor as he gyrates and coaxes and persuades them to heights of symphonic glory. That’s ego-gratifying stuff right there, and quite uplifting from a spiritual perspective. Plus, the conductor is the star of the show and he or she’s got their back turned to the audience the whole time. That’s pretty punk rock.

The high-holy hippie declared it his favorite interaction of the day, maybe even of the month, and everyone went about their business. Days later, news emerged that Metallica frontman James Hetfield had entered a rehab clinic and the band was canceling tour dates to deal with the shared trauma. Reports highlighted that Hetfield had been sober for 15 years and helped other musicians with their addictions during that time.

Then news broke that longtime Grateful Dead lyricist and San Rafael resident Robert Hunter had passed on. A real double-shot of sad news. I always keep the “Uncle John’s Band” lyrics at bay for moments like these—when “life looks like easy street, there is danger at the door.” There’s a beautiful Jerry Garcia Symphony version of the song from Red Rocks that’s seen heavy rotation in my house this week.

Eat Impeach

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The pundits are pumped and declaring that it’s time to grab the popcorn, folks, because this is going to be a wild ride.

Under the circumstances, I’m reaching for the pierogi.

There’s nothing funny about impeachment—nothing at all, in fact—but a person’s got to eat. And nothing says “self care above all else” than impeachment-related foods that relate in some way to the clear and present situation the country finds itself in. Nothing says, “food therapy” than healthy local foods and drinks.

So, yes pierogi not popcorn. The potato dumplings are one of the national dishes of Ukraine and while they’re available around the North Bay, Not to be getting all presidential, I want you to do me a favor, though: Make your own.

Rodney Strong Vineyard in Healdsburg offers a really tasty-looking recipe on their website—a foraged mushroom and steak pierogi, stop the presses!—that they recommend you pair with one of their Cabernets. Go for it. More traditional versions include pierogi stuffed with cabbage or sauerkraut The Rodney Strong recipe is simple enough and looks like a fun way to spend a weekend afternoon when the only high crime or misdemeanor you’ll have to worry about is an abuse of flour. There’s nothing worse than a gummy pierogi, so go easy on that stuff.

The North Bay has a rich and long history of Russian meddling in our coastline, but it’s all been in the service of tourism and generally on the up-and-up. Russian and Ukrainian culture is one of the sublime through-lines that makes life up here interesting, and it’s not just because they named a river after mother Russia.

The cultures are celebrated as they should be, and despite whatever the guy on the other end of the phone is saying or sort-of threatening. The North Bay doesn’t have to worry about a lack of any reciprocal relationship with Ukraine, especially when it comes to food.

For instance, an early-September festival of Ukrainian foods and music took place in the City of Sonoma in early September (and how we pine for those recent and comparatively innocent days of pre-impeachment yore!). The festival was, according to the Sonoma Press Index report, a serious and seriously fun event with authentic eats from Ukraine—wine herring, smoked mackerel, eggplant relish, pear soda—and all sorts of traditional music from the former Soviet republic.

The Sonoma Ukraine event had a deadly serious mission along with the celebration, reported the Sonona paper. Organizer Tarney Baldinger, besides making the eggplant relish, was on hand to raise money for a Ukrainian warzone hospital and to help families of Ukrainian war veterans. Baldringer was also collecting clothing, medical supplies, “fabric for camouflage nets and pads for tank seats, underwear for soldiers and men’s socks” at the event.

Hey, it wasn’t quite $250 million in American military aid to help Ukraine stave off further Russian aggression on its eastern border, but then again, nobody was extorted to dig dirt on Sonoma’s city council in exchange for the assistance to Ukrainian war victims.

The North Bay has already dealing with the long hand of Washington when it comes to the Ukraine, its culture and people. Mexican immigrants aren’t the only immigrants on Stephen Miller’s list of unfriendlies, apparently: Last year, the longstanding Worlds Friends Dinner in Sebastopol got caught up in international immigration affairs after Ukrainian students’ visas were denied and they couldn’t come to town for for the annual event.

Maybe there was a perfect conversation with a Ukrainian leader over the past year, or maybe not, but the World Friends Day is back at full multicultural strength on Nov. 4. It’s being billed as “Where Sushi meets Borsch” and celebrates Sebastopol’s sister-cityhood with Takeo, Japan and Chyhyryn, Ukraine.

Country Classic

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Documentarian Ken Burns delivers an extraordinary series, Country Music, that holds up a mirror to reflect the people and country we were and are. Diligent research, photographic and film archives, interviews and performances make it clear—this genre of music represents many cultures within our nation.

The story encompasses 70 years, from the 1920s to the mid-1990s. During that time, musical instruments originating in Europe and Africa found adopted homes in the social and cultural environments of the rural Southern United States and Appalachia, before spreading westward through Oklahoma, Texas, the Mexican border and eventually to California. Tunes became infused with the playing of fiddles, guitars and other stringed instruments, as well as with gospel, to lift the spirits and bodies of disenfranchised and hard-working people worn down by their day’s labor. The stories told through song reveal the trademarks of human experience, some of it very difficult.

As the country went through its own growing pains during the 20th century, so did country music—reinventing itself often. Many artists rebelled and sought experimentation and inclusion, both musically and culturally, allowing the tent to become large enough for all. The music not only survived, but thrived and was revitalized.

But country music was not without its casualties. Many performers suffered extreme poverty growing up. Haunted by trauma, alcohol and pills, some could not escape their wounds and unrelenting demons. To their credit, these courageous and sensitive men and women were able to capture—through their plaintive lyrics, expressive voices, harmonies and melodies—the sadness and joy of their imperfect lives, live, on the phonograph record and over the airwaves. Their gift—a collective reflection and remembrance for their listeners and a reminder of our own common humanity.

E.G.Singer lives in Santa Rosa. We welcome your contribution. To have your topical essay of 350 words considered for publication, write
op*****@******an.com.

Kiev-ity

What is the difference between the president of the Ukraine and the president of the United States?

The president of the Ukraine is a comedian.

The president of the United States is a joke.

San Rafael

Bolt Vote

Since your editorial page is now a vehicle for advertising (for Budweiser beer of all things!), I’d like to contribute an advertisement for a product I love: the Chevy Bolt.

I don’t know why everyone isn’t driving this car. It’s all-electric and it gets 250 miles to a charge (there’s a 300 mile club, but we haven’t tried that yet). OK, if you’re a long-distance commuter without a place to plug it in at the end of your commute, perhaps this isn’t the car for you. But for everyone else this car rocks!

Every time I drive my safety-green Bolt I feel smug and self righteous about not contributing to greenhouse gases and global warming. OK, I know that our individual choices will not by themselves change the world, but if everyone drove electric cars we might make a dent.

You never have to breathe exhaust fumes or go to a gas station again! And it’s fun to drive, with lots of pep. We leased our Bolt from the local Chevy dealer with a rebate from Sonoma Clean Power (that rebate is over but there may be others).

I don’t often watch TV, but when I do the car ads are still promoting big, gas-guzzling trucks to macho men. WTF! Guys, you can still feel powerful driving the Bolt even if your penis is small. Powerful, smug and self righteous.

Via Bohemian.com

Moon Shot

Great—Gov. Moonbeam II can panic about a “youth vaping epidemic,” but he can’t take decisive action to ban from California an industry that’s dooming human lives and biotic diversity and water quality: the hydraulic fracturing criminal syndicate (“The Nugget,” Sept. 25). Gavin, you’re a dimwit, and worse, a collaborator. Karma’s gonna catch up with you.

Via bohemian.com

Raving Review

It doesn’t make sense to compare two different productions of two different plays as if they were written and performed with the same artistic intent (“Self Aware,” Sept. 15).

Does room for meaningful reflection mean that the action of the play is interrupted now and then in order for the audience to reflect on the ideas presented? Does the play have a focus? Is it about all the tender and tense moments that comprise a relationship? Or about how different women view their bodies in relation to art and sexuality? How being on the spectrum can lead to funny moments? What’s the main focus? What’s the action of the play centered on?

This is little more than a plot summary and a few unsupported compliments to some of the actors, which is apparently what passes for theatre criticism in the Bohemian.

Via bohemian.com

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

Real Treat

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It’s a virtual Merman-palooza in the North Bay as two theatre companies present “musical fables” with Ethel Merman connections. Santa Rosa’s 6th Street Playhouse runs Gypsy through Oct. 20 while Sonoma Arts Live runs Merman’s Apprentice, an original musical with a fictional Merman character, through Oct. 13.

Merman’s Apprentice is a throw-back to the classic Broadway musical—a simple plot, larger-than-life characters, a little schmaltz and lots of songs to tell its story.

Plucky 12-year-old Muriel Plakenstein (plucky 17-year-old Emma Sutherland) runs away to Broadway and runs right into her idol Ethel Merman (Dani Innocenti Beem). Merman, who’s about to begin a short run in Hello, Dolly!, is impressed with Muriel’s knowledge of her career and takes her under her wing. The next thing you know Plakenstein is set to star in an all-juvenile version of Dolly! for producer David Merrick (Patrick Barr). Or is she?

Playwright/lyricist Stephen Cole, a friend of Merman’s late in her life, joined up with composer David Evans to come up with this theatrical valentine to her and to Broadway. As the first full production of the show, co-directors Jaime Love and Larry Williams had no playbook to follow. Adding to their challenge, Cole and Evans were present for the final week of rehearsal, so last-minute changes continued to be made.

The opening night performance went very well, but a few more changes should be considered. The first act overran a natural concluding moment and continued for two additional songs. The second act ran under 30 minutes. The acts should be better balanced.

There’s nary a note of any Merman standard to be heard in the show, but Cole and Evans’ score evokes the feel and sound of classic Broadway with lyrics that are often clever—one jarring anachronism aside. (I highly doubt a song ostensibly written in the 1940’s and sung in 1970 would reference FBI Director J. Edgar Hoover in a dress.)

Sutherland is a dynamo as the title character. She more than holds her own with the estimable Beem, who catches the essence of Merman while wisely avoiding any attempt at impersonation. There’s a nice ensemble at work, with both Julia Holsworth and Sean O’Brien a lot of fun as Ethel’s Mom and Pop.

A theatre-lover’s treat, the exceedingly pleasant Merman’s Apprentice is what All About Eve would have been in the hands of Walt Disney.

Rating (out of 5): ★★★★

‘Merman’s Apprentice’ runs through Oct. 13 at Andrews Hall in the Sonoma Community Center, 276 E. Napa St., Sonoma. Thur–Sat, 7:30pm; Sun, 2pm. $25–$42. 866.710.8942. sonomaartslive.org.

Road Kings

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Nice view, but what do the wines taste like?

Cyclists who participate in Levi Leipheimer’s 11th annual King Ridge GranFondo this Saturday, October 5, will roll out on a flat road that’s flanked by vineyards, and a few wineries, in the Russian River Valley wine appellation. Nothing unusual about that, wine country-wise. As they gain elevation, they’ll enter the Sonoma Coast appellation. At the peak of the namesake climb, they’ll be smack in the midst of the Fort Ross-Seaview appellation. In these more far-flung regions, there are few wineries but many isolated pockets of vineyard, best seen and felt on a bike ride—a terroir experience that’s rewarding even without opening a bottle. But, we will open that bottle.

The Piccolo: Dutton Estate 2017 Dutton Palms Russian River Valley Chardonnay ($49) Anyone who can ride 30 miles out and back from Santa Rosa is no slouch, and this Chardonnay is no slouch, either. Picked from the vineyard that surrounds the family’s estate home on a hill in a picturesque little valley west of Graton, this dry-finishing wine is made with 40 percent new French oak, yet it’s just vanilla frosting on the apple cake, in flavor, not the butterball that some associate with California Chardonnay.

The Medio plus Willow Creek: Bohème 2015 Stuller Vineyard Sonoma Coast Pinot Noir ($55) I cheated on the biking bit: I drove my car to this little Occidental tasting room to get an updated tasting note, but found that it’s much the same as the 2008 that I tasted way back when: “From a vineyard nestled in a bowl of trees, peeks in and out of vanilla, potpourri and savory marjoram aromas, but the plum fruit flavor is zaftig and fresh.” Ditto for the 2015, and the 2013, which is also still on offer, but even more silky and sumptuous. These wines are some of Sonoma Coast’s hidden gems.

The Gran: Red Car 2013 Fort Ross-Seaview Syrah ($55) Where King Ridge meets Hauser Bridge before a notoriously steep descent, Red Car’s estate vineyard hugs the road. This neighborhood is lousy with big names in Sonoma Coast Pinot Noir, but the under-appreciated varietal here is the Syrah. Ever been skeptical about a tasting note about “grilled blueberries”? This is it, for reals. Smoky, Malbec-like, road-tar aromas also come to mind, but when this wine hits the palate, it’s all about tangy, fresh plum skin sensations. If you prefer the Pinot from this Sonoma Coast locale, the tantalizingly aromatic, olallieberry and cherry scented, dry-finishing Red Car 2015 Fort Ross-Seaview Pinot Noir ($75) is much more than the region’s medio, indeed.

Stay Gold

Director Nancy Kelly has been at her craft long enough to see her only feature film, Thousand Pieces of Gold (1990), come to life not once, but twice.

It concerns Lalu (Rosalind Chao), a Chinese girl sold by her parents and taken to the Old West, followed by her escape and a romance with a sensitive Westerner (Chris Cooper). In a new 4k restoration, the film will play at the Mill Valley Film Festival on Oct. 6 and at Century Larkspur Oct. 8. The restoration happened thanks to Sandra Schulberg’s Independent Film Project, which saves indie films whose original masters are starting to deteriorate with age. The quality of the 4k restoration left Kelly in tears. “I’ll be struck dead by the film guys for saying this,” she says, “but it looks better than it did originally.”

Kelly and her husband Kenji Yamamoto, who produced and edited, made A Thousand Pieces of Gold on a slim budget. “We raised money but didn’t raise all the money we actually needed,” she says. “We had to find a gold rush town that wasn’t a tourist trap, and we couldn’t afford to take out the parking meters and billboards.”

Kelly heard about Nevada City, Montana. “It’s where they shot Little Big Man. This fanatical collector lived there. Whenever a mining town building was coming down, he’d number all the logs or boards, and transport them and put them back together there. The place had a Chinatown and we needed a Chinatown—as long as we were out of there by Memorial Day we could rent it for an affordable price.”

Debuting at the SF International Film Festival, Thousand Pieces of Gold played all over the world.

“We were hoping to have a theatrical release, but we left Cannes without a deal,” she says. “After a year we got a small distributor, Graycat Films, and it aired on American Playhouse. Every cable channel ran it when cable was a big deal. When VHS was the latest thing, we sold it to Hemdale. We didn’t have a choice.” The infamous Hemdale Home Video organization siphoned off the money, but happily, Yamamoto and Kelly still own their film.

“When I look back on it, I realize that at every point where it got good distribution, things would evaporate,” she says. “Then you wait for the next big thing. We were lucky we had an agent who was honest and kept up with this stuff.”

She and Yamamoto headed to L.A. to further their careers, subletting an apartment and getting jobs teaching at UCLA.

Kelly recalled, “I went to a lot of meetings, and they’d ask me, ‘what do you want to do?’ And I’d tell them, and their eyes would glaze over. I didn’t have a sense of what would sell. Back then, it wasn’t female-driven films that would sell, and it also wasn’t women directors. The press says that what sells now are stories of immigration, stories of women! Things might have changed. But L.A. wasn’t a good home for indies; this is really where we belong.”

Kelly is from the working part of the Berkshires. She’s from North Adams, Massachusetts, on the silicon strip of Highway 128, a tech corridor that turned into a rust belt when globalization hit. Kelly later made a film Downside Up, about the beginnings of MassMOCA, the art museum built into the vacant Sprague Electric factory building where her father once worked. Documentaries about art are a specialty of Kelly + Yamamoto; they’ve done short pieces for KQED’s eclectic Spark and a profile of Rene di Rosa of the di Rosa preserve.

“I got a degree in public health education, and so I was hired to do five short, dramatic films to teach UMASS Amherst students to drink responsibly,” she says. “I personally did not drink my way to college.”

Kelly’s collaborator on the project was the filmmaker Gwendolyn Clancy, currently of Reno. Clancy headed west to Modoc County, and Kelly joined her. The two lived on a ranch for several years. Without film production equipment, much less electricity, it was hard to work. Coming down to San Francisco, Nancy met the SFAI-educated, experimental filmmaker Yamamoto and married him.

Recently, Kelly and Yamamoto made a documentary about something that surprised her as a new arrival here. Kelly was in Point Reyes, riding the horse she brought down from Modoc. How could San Francisco be so jam-packed with people and still have all that unspoiled terrain just across the bridge?

Nancy Dobbs of KRCB—founder of Sonoma’s only public tv station, who just retired this week—co-produced Kelly and Yamamoto’s Rebels With A Cause. It played Mill Valley in 2012. John Hart’s San Francisco’s Wilderness Next Door and L. Martin Griffin’s Saving the Marin-Sonoma Coast were Kelly’s guides to how a mix of local activism and federal action kept this heavenly domain from becoming a golf-course-covered purgatory. Kelly hired Frances McDormand, a sometimes-resident of Bolinas, to do the narration.

Since Thousand Pieces of Gold, Kelly and Yamamoto developed three feature films; one got as far as the casting stage before the keystone financer felt out. This didn’t stop Kelly, who is developing a new film, provisionally titled When We Were Cowgirls.

Regarding her 40-year collaboration with her husband, Kelly notes, “We get along pretty well. Whoever is the director on a project has the last word. Kenji is this happy, cheerful optimistic person, and we fight to have the best first joke of the day. Sometimes I do, sometimes he does.”

A word to the young filmmaker? “Oh, God. I think what Kenji said to me when I was ready to give up: nothing in the arts makes any sense. Go in one direction, and you just keep going. Keep getting ideas and doing them. I hope the parents of these young people don’t read that and start crying.”

Rut Causes

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Although Point Reyes Station catches more than a few sun rays on a recent late-summer day, the northern tip of the Seashore, which is administered by the National Park Service, gets the Pacific Ocean’s full fog-machine treatment.

At historic Pierce Point Ranch, a windbreak of gnarled trees just beyond the parking lot is hardly visible. Yet the bugling of unseen male tule elk is as clear as a bell. The term, “bugling,” with its upbeat, brass instrument connotations, doesn’t do justice to this haunting screech that’s about as wild as it gets, just an hour north of the Golden Gate.

The rut, when male elk (called bulls) compete for influence with groups of females (cows), takes place from August to October, and it’s one of the Seashore’s many natural resource features—along with whale and elephant seal viewing—that draw up to 2.4 million visitors each year.

There are plenty of other bulls and cows to see here, too.

More than 5,700 dairy cows and cattle graze on Seashore land leased to dairy and beef operations. But considering their smaller number, about 750 animals in free-ranging herds and fenced in at Pierce Point, the tule elk surely rank highly among visitors.

“It’s not a popularity contest,” says Melanie Gunn, outreach coordinator for the Seashore, about the latest invitation for public comments on the Seashore’s plans to manage ranches and elk in the future. The comment period for the General Management Plan Amendment Draft Environmental Impact Statement closed on Sept. 23.

“One really important thing for people to realize,” Gunn clarifies, “…it’s not a vote. And we try to make that clear to people. What we’re looking for is substantive information to inform the process.”

Previously, the Park sought to implement an updated Ranch Management Plan (RMP), consulting the public in a series of workshops and comment periods. But a coalition of environmental groups, frustrated that the process did not include an Environmental Impact Statement (EIS), sued and halted it.

“Every park does it that way when they make a big management decision,” says Jeff Miller, a conservation advocate for the Center for Biological Diversity. “They do that through an environmental review.”

The park was trying to skip that step, according to Miller, who traces his activism in the park to family hiking trips when the Seashore opened in the 1960s. “When the park service tried to float the ranch plan, killing the elk was the last straw.”

The Amendment Draft now includes a more specific plan, “Alternative B,” to lethally remove elk from a contentious herd that shares pasture with cows, while extending ranch leases to 20-year terms. This is the NPS’s “preferred alternative.”

The statement does mention five more alternatives, from “no action” to “cessation of ranching operations.”

“It wasn’t about kicking ranchers out, which is what ranchers fall back on when anyone asks questions,” says Susan Ives, whose organization, Restore Point Reyes Seashore, encourages public commentary on the plan.

“It’s how to restore the native prairie—let’s try to bring back some of these native plants that are on the brink,” says Ives, who does not view the preferred alternative as an acceptable compromise. “There really weren’t a lot of alternatives that we could support.”

The Seashore will not release the public comments for several months, according to Gunn. Already, elk advocates are criticizing the process.

“I have helped to collect hundreds of comments from other citizens who also want the park to choose wildlife protection and restoration and to phase out ranching,” forELK founder Diana Oppenheim writes in a letter to park Superintendent Cicely Muldoon.

Melanie Gunn and the NPS refuse to accept those comments, stating a policy of not accepting bulk comments. “We can’t accept comments that have been submitted on behalf of others,” Gunn states. “So, we let that individual know, as soon as we got them, that she could take them back and ask individuals to send them.”

A preview of comments provided to the Pacific Sun highlight the disconnect between the Park Service mission, the environmental findings of the EIS and the preferred alternative. Among writers offering substantive perspectives, Ken Brower, who watched as a “fly on the wall” as his father, David Brower, worked with ranchers and politicians to establish the park, writes, “It is a historical falsehood—despite the widespread myth otherwise—that the park’s founders ever intended that ranching be permanent.”

Judd A. Howell, former ecologist and research scientist at Golden Gate National Recreation Area, questions why the Seashore’s 5,700 cattle units cannot tolerate 124 elk among them. “The notion that elk are a ‘problem’ is obviously misguided, since elk coexist with cattle on BLM and Forest Service grazing lands throughout the western U.S.,” he says.

It remains to be seen how many of the 7,000-plus comments received weigh in for or against the preferred alternative. Some may be classified as opinion only, and will not be incorporated at all, says Gunn. But they won’t be lost in the fog. “We provide a response to those comments.”

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Although Point Reyes Station catches more than a few sun rays on a recent late-summer day, the northern tip of the Seashore, which is administered by the National Park Service, gets the Pacific Ocean's full fog-machine treatment. At...
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