Full Tilt

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When it comes to global climate change and what to do about it, there’s a meme you hear in California politics that says Jerry Brown was a man of ambition but Gavin Newsom’s a man of action.

It was Gov. Brown, after all, who set California’s highly ambitious 2045 goal for the state to be weaned off of fossil fuels and fully shifted to an all-renewables energy matrix. Now Brown’s gone and it’s upon Newsom’s administration to decide or declare whether the state should get onboard with an ambitious new offshore wind-farm plan released by the Berkeley-based American Jobs Project in February.

“We hope that state policy leaders take a look at this,” says Mary Collins, managing director and co-founder of the American Jobs Project.

The American Jobs Project (AJP) paper endorses two wind farms currently under consideration for development—in Morro Bay and off the Humboldt County coast—and could add some 18,000 jobs to the California mix by 2045. Given California’s deep-water offshore challenges, the AJP proposal would emphasize cutting-edge offshore windmill technology—huge floating windmills with massive, football-field-length fins that would be tethered to the ocean floor. The AJP’s jobs-focused vision also discusses future technologies such as giant wind-catching kites called Makani devices to fully leverage the renewable promise of wind energy, especially on a cloudy day.

That’s all very ambitious, but is it politically feasible?

Newsom has taken an all-of-the-above approach as he entered office pledging to meet the 100 percent goal. As lieutenant governor he chaired the Lands Commission and in a statement online from late 2017 noted that “we must continue diversifying our energy supply—that means increasing our output of solar, wind, geothermal, hydro and ocean-based energy.”

The AJP is a nonprofit think tank founded by former Michigan Gov. Jennifer Granholm that was incubated out of Berkeley and has an office in the Washington, D.C., area. The organization says it’s been engaged in New Green Deal–type work in 24 states over the past five years but that this is its first foray into California climate-change waters.

The AJP California Offshore Wind Project: A Vision for Industry Growth proposal came about because of the 2045 goal set by Brown and pledged to by Newsom on his first day in office—and because the federal Bureau of Ocean Energy Management (BOEM) started the leasing process for offshore wind-farms development as of last year.

As a result of these intersecting forces, says Collins, “We could see a federal lease as early as 2020 in California waters.”

Could being the operative word.

The AJP has dotted the expected i‘s and crossed the mandatory t‘s in its exhaustive wind project blueprint for California energy independence—it has interviewed the fishermen, solicited input from environmental groups, gotten the public-private ball rolling, engaged in discussions with the Department of Defense, and made sure that organized labor has a place at the table.

The AJP vision comes with the promise of thousands of permanent jobs in the renewable and clean-energy industry—and with big-ticket investment interest in the California project from the likes of Google, Shell and Apple. If fully implemented, the AJP says “offshore wind could be utilized to achieve 100 percent carbon-free energy, improve grid reliability, and support over 17,500 California jobs in 2045.”

That’s a ways off. In the shorter term, Collins says there’s work to be done between now and next January, but is optimistic that the various stakeholders and interested parties will see their concerns fully mitigated.

Historically, onshore and offshore wind projects have been fraught with concerns over negative interactions with birds. North Coast U.S. Rep. Jared Huffman has taken an exceedingly dim view of offshore oil platforms but has signaled an openess to offshore wind farms (his district includes Humboldt County).

Huffman notes that the BOEM hasn’t indicated yet whether the lease procurement will be a wide-open bidding process or “whether they could go right to a decision right away with the local energy project.” He’d prefer the latter option and says that while the “devil is in the details” (transmission issues, impacts on fisheries) the Humboldt project—which he’s more familiar with than the Morro plan—is “a site that looks like a spot that could be appropriate. I am for it in concept for sure. We’ve got to find some ways to say ‘yes’ to projects like this—but it also has to be done thoughtfully.” The conditions are very favorable in Humboldt Bay, he notes: “The wind is good, the conditions are good, and the Department of Defense doesn’t need to protect it for military purposes.”

Fishermen have been wary of offshore wind farms because of the potential negative impacts on where they can fish, and for their gear getting torn up in the windmills. Environmentalists, and Donald Trump, have pointed to the deleterious impacts on birds. But there’s been a attitudinal sea change in recent years over offshore wind farms, as the existential issue of massive global catastrophe has trumped concerns about pelicans flying into the windmill fins.

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The East Coast has led the way in offshore wind projects domestically, but for many years, commercial fishermen along the Atlantic were among the biggest critics of the development of a wind farm off the coast of Rhode Island and New York. That project came online in 2016 and, irony of ironies, fishermen there are now charging windmill tourists for a boat ride to go check out the aesthetically appealing wind turbines, says Collins.

“People are really intrigued with this,” says Collins. “There’s a fusion of this renewable energy technology with new maritime opportunities. We’ve seen it in Germany—a tourism industry bubbling up.”

California fishermen were at the table as the AJP put together its private-public blueprint for California, she adds, and have been since an intergovernmental task force was created at the beginning of the BOEM wind-farm lease process in 2016. What’s needed moving forward, she says, is data. “We need more data on fisheries, that’s one thing.” Fishermen have given input to the renewables industry on issues such as whale migration patterns, she says.

Land-bound aesthetic concerns won’t be an issue, she adds, given that the turbines will be tethered about 20 miles offshore and out of view—or barely visible—from land. Besides, she says, after the installation of the wind farm off of Rhode Island, a survey of tourists there found that only one in 10 had a problem with the visible windmills.

Collins says the mainline environmental groups—Sierra Club, the National Resources Defense Fund—have submitted comments under the lease proposal that indicates that they’re open to offshore wind farm development. “They are not against it but want it to happen in the right way,” says Collins.

The Sierra Club has applauded offshore wind project developments on the East Coast and says on its website, “Offshore wind is a key part of transitioning our nation off dirty energy sources like coal, and toward our clean energy future.”

Still, there are concerns that these new proposed leases could be a portent for what’s to come. There’s a possibility that wind farms could one day appear in California’s coastal marine sanctuaries, says Paul Michel, superintendent for the Monterey Bay National Marine Sanctuary, which stretches from San Luis Obispo County to Marin County’s Rocky Point, seven miles north of the Golden Gate. Just beyond the sanctuary’s border there are two more, including the Greater Farallones National Marine Sanctuary, which stretches all the way to Point Arena.

Oil drilling is prohibited in the sanctuaries, barring a reversal from the feds, but Michel, who works under the federal National and Oceanic and Atmospheric Administration (NOAA), says that sanctuary officials are working on a permitting process that could potentially allow wind farms in these protected areas.

So what’s in it for Sonoma and Marin counties? Potentially a lot, says Collins, especially given recent events surrounding PG&E.

The AJP proposal notes that offshore wind projects could sync with the emergent and growing community choice aggregation movement, where counties and regions are determining their energy future through a mix of renewables. Offshore wind could be a dynamic addition to the mix. The AJP estimates that there’s enough wind energy blowing offshore to provide California with one and a half times its annual electricity needs. The proposals in Humboldt and Morro Bay aim to harvest 18 kw a year through an array of the floating windmills. In Huffman’s view, ideally, the energy would be created and utilized by the Redwood Coast Energy Authority (the local CCA)—and as Collins notes, could also be procured by the regional CCAs Sonoma Clean Power and Marin Clean Energy, which purchase renewable energy from solar and wind farms that are often many miles down the electric wire from the point of consumption. “There’s way more energy potential than there is demand” in Humboldt County, says Huffman.

The offshore wind farm push from AJP arrives as the state is engaged in multiple legislative efforts and discussions about how to upgrade its electric grid, especially in light of the recent catastrophic wildfires and how they’ve put the finger on the aging grid. The CCAs rely on that same grid to deliver renewable energy to its customers—whether it’s from local geothermal sources, or from massive solar panel farms or distant wind farms.

“One question we have to ask,” says Collins, “especially with the PG&E fallout, is: can the Marin and Sonoma CCAs be early procurers of this and share the costs and benefits of this new technology?”

Speaking personally, Collins notes that the PG&E bankruptcy has raised broader questions about power-grid systems as they relate to wildfire risk. And again, she says, this is where offshore wind can be a win-win.

She decries “proposals to connect us to high wind areas in Wyoming—we’d build these long-range transmission lines from Wyoming to California to connect us to areas of wind.”

The argument often made against cross-state power procurement is that it bleeds jobs from California. “But I think the issue is one of fire risk,” says Collins. “Why don’t we instead look at offshore resources closer to home?”

Letters to the Editor: February 27, 2019

Dark Stage

Beware! Once again, Main Stage West has chosen a very dark theme with its latest production of After Miss Julie. It portrays men and women at their worst, this time mixing cruelty with the heightened vulnerability of sexual intimacy. (See Harry Duke’s review, p18.) In The House of Yes, we were expected to laugh about the suffering caused by incest, suicide and mental illness. For me, and many of my friends, with our current world full of hostility and strife, when I go out to be entertained, I would like to be uplifted, or at least see some redemption in human suffering. If you want to see a provocative play, try Left Edge Theatre’s Sex with Strangers.

Sebastopol

Us & Them

You can write about the problem we are facing here in Sonoma County, but the problem is deeper (Open Mic, Feb. 20). Why can’t those in government get off their asses and open their eyes to what is failing around them. I was once told by a gal who works for the city of Santa Rosa that landlords will not sign on to rent control because they don’t want “those kind of people to live in their homes.” Those kind of people? WTF? Some of those folks are working two or more jobs trying to make ends meet. Some of those same folks don’t have children, but the wages in Sonoma County will never sustain the rental costs or leasing costs to live here. We saw how the Napa Valley screwed its locals out of being able to rent, lease or buy in the early to mid ’80s. Sonoma County is going down that same nasty path.

Via Facebook.com

Normal Behavior

I heard that Robert Kraft and R. (couldn’t afford a first name) Kelly petitioned the Catholic church to designate them Cardinals, so folks wouldn’t consider their “transgressions” anything other than normal behavior.

Monte Rio

Small Price

I am disturbed, disappointed and frightened that so many mainstream Americans continue to place all responsibility for the dangerous rivalry between the United States and Russia on the shoulders of Vladimir Putin. The future of humanity is in grave danger from the ongoing destructive competition between the U.S. and the former Soviet Union. It should be obvious to almost everyone who follows the events of the world that unless the United States and Russia are able to change this dangerous and hundred-year-old rivalry into a more friendly and cooperative relationship, ridding the world of nuclear weapons will never be possible. In addition, without this marked improvement in our relationship, stopping the progression of global warming will also remain a virtual impossibility.

Clearly humankind’s only real hope for our long-term survival on this planet requires that both we Americans and the Russians can somehow manage to end our hostile relations and move into a new era of genuine peace and harmony.

I hope that this change becomes possible. And every sacrifice in our excessive national pride will be a small price to pay for saving the entire human race from total destruction.

Fairfax

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

Healdsburg’s Challenge

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As a 53-year resident of Healdsburg, I know that we as a community show what we value by where we put our resources.

For instance, we rightfully value tourism, which has brought many positive changes to Healdsburg over the past 37 years. We continue to spend $225,000 per year to promote Healdsburg as a “world-class small-town.”

We rightfully value our parks and trails. The city is currently planning to spend $1.6 million to extend the Grove Street trail north of town, a wonderful amenity for our residents who have the health, time and energy for long walks.

But do we value all of our residents? Are those with the least resources being given their fair share of attention? Given our current revenue, the city is spending $6,906 per capita on 11,840 residents. How much of that money is being allocated to our residents with no or little income? Currently, .00085 percent.

Many Healdsburg residents, with roofs over our heads, are comfortable with our lives but unhappy with the lack of compassion and care for those who have no place to call home. For more on this, please view our three-minute video at NoPlaceToCallHome.org.

According to the most recent report from the county, 84 percent of those who are homeless lived in Sonoma County before becoming homeless. Fears that temporary legal encampment and even transitional and permanent housing, the end goal, act as a “magnet” are unfounded.

According to that same report, 64 percent of our county’s homeless population report living with one or more health conditions.

The U.S. Department of Housing and Urban Development reported that in 2017–18, of 10 California counties, Sonoma had the largest increase in its homeless population. The report revealed that 72 percent of our homeless cited lack of affordable rent as the primary obstacle in obtaining permanent housing.

A group of residents, acting on their own behalf and independent of organization, find the lack of the city’s attention to our shelterless population unacceptable. And we are trying to do something about it. Won’t you join us?

Gail Jonas is a resident of Healdsburg.

Open Mic is a weekly feature in the ‘Bohemian.’ We welcome your contribution. To have your topical essay of 350 words considered for publication, write op*****@******an.com.

Got DTS?

I‌admit to chronically suffering from Deranged Trump Syndrome and have tried to take steps in recent months to mitigate against the disease’s worst health impacts, since, who needs this, really? Life’s too short to have some boorish loonie-boon in the White House ruin it—unless he already has ruined it, in which case, here’s another round of DTS as I think about those poor kids separated from their parents. Grrrr.

I’ve discovered three cannabis products that serve to take the edge off the daily dilemma of dealing with President Trump, who in his own way could sure stand for dab or two. Each of these products addresses a specific DTS symptom that gets knocked back upon consumption of the cannabis product.

Kiva Confections Kiva Bar has emerged as my go-to dessert choice for lunch, and I’m especially taken by the tangerine take on their dark-chocolate bars. The tangerine flavor is fresh and fruity and is an aid to anyone seeking to reclaim any and all orange-tinged things from the Cheetoh Jesus, as he is known affectionately in some quarters. At $27 per candy bar, you’d half expect to get an online degree from Trump University along with the chocolate—but like the warning-label says: You don’t have to eat the whole darn thing at once. In fact, that’s not a good idea. A little bit goes a long way and provides for a delightful escape from the present reality, and into Wonka-land.

But be warned—if you eat the whole candy bar at once, you may get so high that you’ll start thinking things like, “Hey, this Trump guy’s not such a menacing idiot, after all.” You’ll be hallucinating a second term where he morphs into Bobby Kennedy. So go easy on this stuff. Kiva also offers a CBD rich chocolate bar that’s quite lovely in its own right, with none of the bizarre side effects should you overdo it.

Marigold’s Pineapple-Harlequin pre-roll is a high-CBD joint with a bit of a THC boost underneath it that brings some euphoria along with the medical benefit. Mostly, you’ll notice the immediate health benefit. My chronic case of TDS takes form on occasion as very painful bone spurs in my feet. Ouch! This number’s the perfect end-of-day accompaniment to putting your feet up and relaxing over a nice taco bowl.

Farm Direct’s Night Owl pre-roll is an Indica-rich doobie that goes down easy and with a very tasty, sort of fruity-spice aftertaste. It’s the perfect come-down enabler after a long day staring at the Twitter screen waiting for the next presidential emergency declaration so you can give yourself an excuse to sulk around the office. That sort of stress can really take a toll—on you and your fellow co-workers—but the only emergency you’ll be declaring after puffing one of these suckers is: I hope they don’t run out of the Night Owls again at the dispensary.

Questlove Pops Up in Napa This Week

With a singular name and an eclectic resume, Questlove knows how to get around. He’s a drummer, DJ, producer, best-selling author and musical director for The Tonight Show Starring Jimmy Fallon, where his longtime outfit The Roots serves as house band. He even showed up on the red carpet at the Oscars last Sunday.

Now, Questlove is making his way to the North Bay for a rare appearance, performing a DJ set in Napa on Friday, March 1.

A dedicated DJ, Questlove puts a love of love and creativity into his sets, but not every gig goes perfectly. Watch this clip below about his DJ horror story that made him quit the turntables for six months.

Thankfully, Questlove is back to spinnin records, and his recently announced Napa show is sure to sell-out, so grab tickets now.

Questlove hits the stage and spins tunes on the first of March at JaM Cellars Ballroom at Margrit Mondavi Theatre, 1030 Main St, Napa. Doors at 8pm; show at 9pm. $35 and up. Get more info and purchase tickets here.

What Comes After

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Sometimes the most interesting dramas are the simplest: a single set, a few characters, a conflict. “Naturalistic” plays, as they are sometimes called, were the result of a movement in late-19th-century European theater to enhance the realism of plays with an understanding of how heredity and environment influence an individual.

The most famous play of the period is Swedish playwright August Strindberg’s Miss Julie. Set in the downstairs kitchen of an estate, it’s a three-character piece examining issues of sex and class. The title character is a count’s daughter with an eye for her father’s valet, complicated by the presence of the manor cook who happens to be the valet’s wife-to-be.

Playwright Patrick Marber adapted the play for British television in 1995 under the title After Miss Julie, and a stage version premiered in 2003. It’s running now through March 3 at Sebastopol’s Main Stage West.

Marber moved the time and setting of the play to post-WWII England, specifically to the night of the Labour Party’s landslide victory over Winston Churchill’s Conservative Party. The significant upheaval to Great Britain’s political and social system is reflected in the characters.

Miss Julie (Ilana Niernberger) is “to the manor born,” but that doesn’t stop her from slumming with the servants. John (Sam Coughlin) is the lord of the manor’s valet who, while harboring a long love for Miss Julie, is to be married to Christine (Jenifer Coté), the manor cook. Miss Julie is used to getting what she wants, and that includes John. John wants something, too, and that is to “improve” his lot in life, and Miss Julie can facilitate that. Christine wants a simple life with a husband and a pension and a family.

Co-directors/scenic designers Elizabeth Craven and David Lear elicit strong performances from the cast. Niernberger’s Julie is lost in a changing society, turning on a dime from entitled superior to groveling submissive. Coughlin’s John is the villain of the piece, desperate to be something other than he is at any cost, but destined to be no more than a (literally) bootlicking lackey. Coté’s Christine is the most aggrieved of the party, but even she is willing to forgive John’s boorishness to ensure she gets what she wants.

After Miss Julie is a classic love triangle told exceedingly well, though the question of how much “love” exists between any of them is up for debate.

Rating (out of 5): ★★★★

Down Home Stars

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Sonoma County vocalists, multi-instrumentalists and songwriters Erin Chapin, Caitlin Gowdey and Vanessa May have already made a name for themselves in the Bay Area as folk trio Rainbow Girls, garnering acclaim for their harmonious live shows and their breakout 2017 album, American Dream.

Now Rainbow Girls are gearing up for worldwide acclaim. Ahead of this month’s release of a new covers album, Give the People What They Want, the group found a massive online audience with their homemade music video cover of Alvin Robinson’s 1964 hit “Down Home Girl,” which was viewed more than 6 million times on Facebook in six months.

“It’s very exciting,” says May of the group’s viral success. “You ask yourself, ‘How does that happen?'”

Originally, the group’s viral video was simply a one-off cover song filmed to promote a local show last September, recorded with an iPhone on the back porch of the band’s west Sonoma County home.

“All of a sudden we were getting requests for that song from all over the place,” says May, who says they even received an email from a radio station in Austria asking to play the song.

From that video, Rainbow Girls were inspired to create a full LP of covers that became Give the People What They Want, available now.

“The name of the record came pretty naturally,” says May. “People wanted a recording of this song, and people have been asking for other songs that are on this collection.”

In addition to “Down Home Girl,” the trio also tackle monumental folk anthems like Bob Dylan’s “A Hard Rain’s Gonna Fall” and John Prine’s “Angel from Montgomery.” Other artists that get the Rainbow Girls treatment on the new record include Gillian Welch and Nat “King” Cole.

This week, Rainbow Girls give North Bay audiences what they want, opening for acclaimed folk siblings Shook Twins in concert on March 3, at the Mystic Theatre in Petaluma.

The band’s touring schedule this year is busy, including festival appearances and international tours in the works.

“We have a lot that people can look forward to this year,” says May. “We have a bunch of new music always flowing out, and it feels good to present it to our audience.”

Telling Tubbies

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Wine country tourism has “relaxing” in its mission statement, and the latest addition to the leave-your-troubles-behind premise is apparently a bathtub. But unlike the spontaneous soak you might enjoy in the home, recreational bathing is a carefully planned affair, and part of a nationwide soaking craze.

Urban bathhouses have been popping up this year in cities like Chicago, New York and Seattle. The format is a twist on the traditional Scandinavian, Turkish and Russian baths, with upgraded amenities and a better design.

In Sonoma, Indian Springs Resort has been offerings soaking experiences since its inception in 1910, and this year, two new options have joined the bathing movement.

They couldn’t be more different.

The Calistoga Motor Lodge is a decidedly retro establishment, with rooms lining the parking lot. The property’s MoonAcre Spa is reminiscent of films like The Road to Wellville, with a tile-covered room full of tubs and outdoor showers for mud treatments.

On the spa menu, you’ll find mud baths and salt-infused soaking tub treatments for $70. “Baths and soaks are a throwback to an earlier era of spa treatments, and nostalgia seems to be in vogue,” says Chris Hilburn, MoonAcre’s spa director, though bathhouses of the past “tended to be quite public, meaning you enjoyed your bath in full view of others.”

Hilburn describes the spa experience as “unfussy, friendly and whimsical,” perfect for younger audiences, though the spa enjoys a mix of age groups. Speaking of Millenials is unavoidable. “Millennials tend to prefer experiences,” Hilburn says. “They desire not just any experience, but something distinctive and separate from the mainstream.”

In Glen Ellen, the historic Gaige House + Ryokan underwent a refurbishment process in 2006, adding nine Zen Suites to the property. In those, granite Japanese soaking tubs were recently installed, outfitted with hinoki stools and ladles for cleansing before getting in. “Completely immersing yourself in these super-deep tubs is a tremendously relaxing experience,” says Sharon Rooney, director of PR for Four Sisters Inn, a group of historic inns, including the Gaige House, located in Northern and Southern California.

In addition to actual bathing, included in the price of the Zen Suite (starting at $438), Gaige offers forest bathing, a guided experience focused on immersing oneself in nature, at nearby Sugarloaf Ridge State Park. While soaking is on its way to becoming a nationwide trend, Rooney sees Sonoma County as its natural home.

“We find that many visitors choose Sonoma Valley precisely for the low-key vibe,” she says, “and it’s also presented in a relaxed way—no stuffy attitude, no need to pack stiletto heels.”

Soaking in a tub is a great stress reliever, but it’s worth noting another factor that may have contributed to the rise of modern bathing culture: while wet and soaking, it’s really hard to get a hold of your smartphone. What could be more relaxing than that?

Calistoga Motor Lodge, 1880 Lincoln Ave., Calistoga. 707.942.0991.
calistogamotorlodgeandspa.com.

Gaige House + Ryokan, 13540 Arnold Drive, Glen Ellen. 707.935.0237.
thegaigehouse.com.

Drinkable Art

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Used to be that what’s on the inside is what counted, but in a rapidly changing craft-beer landscape overflowing with a variety of hoppy concoctions, it now seems that what’s on the outside is what matters most. Store shelves are no longer a place to merely display product; they’ve become de-facto art installations, and the products are no longer merely alcoholic beverages; they’ve become works of art. For modern-day microbrew artists, the canvas of choice: a can.

Chicken Nuggets

The artist handling the graphic design work for HenHouse Brewing Company is the “one-man art department” of Josh Staples, who worked with the owners at a warehouse facility prior to the brewery’s taproom opening in 2016. Unlike other local breweries, HenHouse has a particularly noticeable mascot taking center stage on its cans: the hen. “Animal logos are iconic,” says Staples, “and people can relate to that and the love of nature.”

HenHouse’s founding members hold a strong connection to chickens, hailing from Petaluma. Staples grew up on a farm and chose a “Petaluma-style hen” as inspiration for the HenHouse mascot. “I had a few renditions of the hen, and it went from being ornate to a little more realistic,” he says. “I tried using a wood-cut print at first, then combined hand-drawn elements. You can’t have a brand called HenHouse and not have a hen. We want people to know it’s a HenHouse beer when they see it.”

HenHouse’s recognizable lineup of beers catapulted the brewery into something of a ruler of the roost for the North Bay craft-beer scene. The brewery developed a hardcore following of hop-heads, eagerly anticipating releases of their “conspiracy theory” line of India pale ales, like the Chemtrails IPA, throughout the year.

As the brewery’s tap list has expanded, so have the designs. The hen has found herself standing atop a mound of cash outside a bank vault for the Inside Job IPA, directing airplanes as an air traffic controller on the Denver Airport IPA, and going where no chicken has gone before, standing on the lunar surface in the Hollow Moon IPA.

“As a kid who grew up interested in conspiracies, it’s fun to play with them in my art now,” Staples says. “But it’s also tricky because you want to make it light and relatable, and when putting the hen in there, I try to make her safe.

“In the beginning,” he adds, “she was stoic and always on her own, but when we started putting her in outer space and driving tractors, I wanted to make sure she still looked dignified.”

Staples’ favorite design outside of the conspiracy theory line is a brut IPA called Joy Delivery System. The design is a fantasia of frightful fun, featuring a hop-juggling, unicycle-riding beer can, a giant clown face, hot-air balloons and, of course, rainbows. The Joy Delivery System artwork serves as a delightful tapestry of amusement, conveying the euphoric sensation one might feel after imbibing the brut IPA.

“It’s really colorful and wacky, and reminded me of an ’80s cartoon puzzle. We actually ended up releasing a jigsaw puzzle based off that label,” he says.

Although Staples and HenHouse continue to push the look of their cans to new frontiers, Staples prefers to rely upon an old-school aesthetic.

“The creativity and the hand-drawn elements are most important to me,” he says. “I still draw on paper. We have several binders full of hand-drawn designs at the brewery.”

Flying the Coop

While there aren’t binders full of hand-drawn designs at Cooperage Brewing Company, the taproom features an eclectic array of artwork from local artists on its walls to accompany the eclectic spectrum of suds on tap. The hop-forward hub serves up its flavorful style in spades with a frequently rotating list of IPAs. Owner and head brewer Tyler Smith estimates that Cooperage has brewed 140 different beers in just three-and-a-half years, deviating from the brewery’s initial intentions to focus on barrel-aged, sour beers.

Bay Area-themed ales such as Steph Curty and McCurty Cove, to name a few, are reaching cult-like status among a dedicated fan base of North Bay beer buffs.

Cooperage recently unveiled its inaugural beers to go in the can: fan-favorite Kegslayer IPA and the Smeltron 3030 DIPA. Local designer and HenHenouse brewery shift supervisor Nicky London-Sorgman was tapped for the designs.

“We can literally go anywhere with these cans because of their crazy beer names,” London-Sorgman says. “Sometimes I have to ask what the names of the beers mean so I get the inside joke.”

The Kegslayer IPA design of a heavy metal heroine, slaying her way through a mound of Cooperage kegs with a sword, was created as a surprise tribute to one of the brewery’s original tasting rooms members, Rachael Ingram. The design, created by an artist who designs for Cellarmaker Brewing in San Francisco, was initially intended for T-shirts; however, the beer and corresponding shirt’s popularity made it an easy choice to can. With the existing image in place, London-Sorgman provided the final touches, adding a few more destroyed kegs and a post-apocalyptic wasteland to the backdrop.

For the Smeltron 3030 can, a riff off Oakland-based rapper Del the Funky Homosapien’s collaboration with S.F.-born producer Dan the Automator, London-Sorgman decided to take a giant leap in the future by visiting the past.

“I knew I wanted to do a space scene, so I dove into the world of imagery with Deltron. They have a ’50s noir, futuristic-space thing going on, and that’s what I used as a reference. Then I came up with the idea of having hops as aliens attacking people, like

Mars Attacks meets The Simpsons aliens,” he says.

The resulting image is a whimsically wonderful, pulp-art space odyssey—which could also serve as tasting notes to describe a few of Cooperage’s beers.

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“Tyler [Cooperage owner and head brewer] is the easiest client I’ve worked with; he’s so laid back and chill. I have so much freedom with him. He’s willing to make a constant variety of beers, and it’s translated into the product and the art,” London-Sorgman says. “We talked about keeping the cans standardized and simplistic, but I told them we shouldn’t because they have such unique beer names.”

Brotherly Love

Another Sonoma County standout garnering well-deserved attention for its inspired beer names is Windsor’s Barrel Brothers Brewing. The brewery is a family affair, founded by brothers-in-law and a father-in-law in 2015. The brewery started canning in June 2016, and now produces some of the most inventive labeling and flavors on the market. Barrel Brothers works with a friend in Phoenix to create all of its labels, although brewmaster Wesley Deal admits that his brother-in-law, Daniel, deserves more credit than he does in visualizing and developing the design process.

“Craft beer is like skateboarding was—a little alternative that pushes the boundaries as far as you can get away with,” Deal says.

Imitation may be the sincerest form of flattery, but not so much in the corporate world; Barrel Brothers received multiple cease and desist notices for a few of its designs. The brewery’s take on a 40-ounce malt liquor bottle reimagined as a WD-40 can, and its tongue-in-cheek usage of a certain basketball team’s logo raised a few eyebrows.

“The WD-40 concept came together over a couple of beers and throwing stupid names out there. We ended up going with my initials,” Deal says. “The beer is hand-labeled, hand-wrapped, and we even put the red straws on there by hand,” Deal continues. “Because of how hands-on it was, we weren’t planning to produce a high amount of it, but we had people flying in from around the country to add it to their 40 collections. I didn’t know people had 40 collections.

“Eventually, we had to stop producing it. WD-40 sent us a funny cease and desist letter. We also got a letter from the NBA on our Taking My Talents to New England Hazy IPA label.”

One Hazy IPA label that’s safe for now is State Sponsored Juicing. Deal says several concepts came together when creating the design. “The Russian Olympic ban due to juicing was a current event [at the time] that many people were aware of,” he says. “The beer itself has the duality of being a juicy IPA, but also one that’s on PEDs because it’s so intense. The hazy IPA style is also exploding in a way that the style itself is practically ‘state-sponsored.'”

The brewmaster’s favorite design thus far is their take on a Pilsner-style beer, aptly named, Dad Pants. Deal points to the label’s vintage jean-theme, complete with a braided belt looping across the top of the can as playing on the notion that the Pilsner style has “traditionally been your dad’s beer.” The design is equal parts simplicity and boldness, a proper representation of the liquids commonly found inside the brewery’s cans.

But the modern craft-beer world sure isn’t your dad’s frothy pint from yesteryear. “Beer is around 5,000 years old, but how it’s being sold now is so new and changing so fast. Social media is accelerating that. Beer buyers started ordering our beer through social media because of how many posts are popping up of our beers.”

This developing trend in the beer market prompted Barrel Brothers to alter its approach when whipping up new brews. “We started with how the beer would taste, then we’d think about how the label would look. Now we start with the label first,” Deal says. “Everyone wants to try a new beer. They almost don’t want to drink the same beer twice anymore. Consumers want something they can say they found first.”

Although the brewery benefits from a strong social media presence through creative labeling, coupled with a consumer base’s seemingly unquenchable thirst for more, Deal acknowledges the importance of the product itself. “You have to make a good beer, first and foremost, to stay in the business,” he says. “The modern craft-beer consumer can taste the difference between good and bad, fresh and not fresh.”

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Simplicity Sells

Despite the staggering number of craft breweries reappropriating, reimagining and remixing the way beer is brewed and viewed, there remains a small contingent of microbreweries opting for a “less is more,” scaled-down approach.

Santa Rosa’s Moonlight Brewing is renowned for crafting classic beer styles for over 20 years, and Fogbelt Brewing Company has developed a unique, albeit understated, look behind its brand of brews since opening in 2013. Fogbelt’s theme of a tree-lined setting under a dense layer of fog is the staple imagery for many of its flagship beers, the majority of which happen to be named after coastal redwood trees found only in the fog belt. The brewery rarely strays away from this region-centric marketing, a concept that took root from the beginning, says Fogbelt’s principal graphic designer Paul Hawley.

“The theme comes from our personal affinity with the area,” he says. “Besides, what’s better than hiking in the redwoods and enjoying a nice IPA afterward?”

Hawley comes from a wine background, designing labels and serving as general manager for his family’s winery, Hawley Winery in Healdsburg.

“I wanted a label that looked somewhat high-end and got away from the loud and cartoony stuff,” he says. “At Fogbelt, we want the label to show that we take the beer seriously and that we aren’t going to make fun of what’s inside.” What’s inside is a refreshing elixir as crisp and cool as any coastal morning fog.

For Hawley, the challenge is developing fresh ideas for the label art but keeping it consistent with the brand. “If we suddenly released a label that had android-armadillos, people might be like, ‘What the hell is going on at Fogbelt?'” he says.

Android-armadillos notwithstanding, Fogbelt has branched out on occasion with imagery outside of the forest. Fogbelt’s Wet Hop series of cans featuring a head full of hops is a label Hawley designed based on a Soviet, anti-alcohol propaganda poster. Hawley removed the original illustration’s inclusion of hawks inside an empty mind in favor of hops.

“I think reappropriating images is more out of necessity. We don’t have a huge staff of graphic designers. We have to work with what we’ve got,” he says. However, Hawley doesn’t consider himself a graphic designer, “just a guy who taught himself Adobe and likes to tinker around.” Hawleys says that Fogbelt plans on expanding its portfolio of label art by recruiting local artists to design original labels in the future.

An original design of note for Fogbelt from a packaging standpoint is its recently released Godwood Triple IPA. The label of the 12-ounce can displays a giant redwood ascending up the side, and when one Godwood can is stacked atop another, it displays the full-sized image of the tree. “I was just playing around with the format and seeing how I could turn it into more of a canvas,” Hawley says. “We’ve seen the one-upmanship of hopping rates, ABV, and other ingredients, and now what’s left is the packaging—it’s almost an arms race to outdo one another with the hippest and coolest label art.”

A ‘Can-Do’ Attitude

As Sonoma County’s craft-beer landscape continues to evolve and recreate itself with ever-changing brands and styles, one thing appears unanimous among those in the North Bay craft-beer scene: cans and the art wrapped around them aren’t going away anytime soon. The 16-ounce, four-pack of cans has established itself as the standard format of packaging for most in the industry.

“Breweries have to buy in bulk, so more breweries are going to cans, and it’s easier now to go with labels,” Barrel Brothers’ Deal says. “Printing companies are now offering more product options for labels.”

Cooperage’s Smith believes the need to stand out and further enhance brand recognition will only increase in the immediate future. However, he feels this approach mainly applies to breweries looking to dominate certain retail spaces. “When it comes to over-the-top designs, do you need it? No. If it’s for the grocery store, it should stand out,” he says. “But the brewers who’d rather sell their beer at taprooms and bottle shops are more about the freedom of expression.”

It’s this freedom of expression that London-Sorgman feels separates the craft-beer can from the corporate behemoths. “Labels help put a face to the personality of the brewers who make the beer,” he says. “The people at Cooperage like to have fun, and it shows in their designs.”

As much as London-Sorgman appreciates the creativity and independence found in the art of the craft-beer world, he also understands how such a bold style of branding can leave a bad taste in some consumers’ mouths.

“People could look at the labels and say we’re trying too hard—’Just be a beer, be a silver can.’ And that’s totally OK. I get that,” he says. “But if you don’t like the labeling, you don’t have to buy it. If I can get someone who doesn’t drink beer to stop and look at the can, then I’ve done my job.”

Fogbelt’s Hawley likens the art of the can to a cultural touchstone of the past. “The craft-beer can is like the record album; it’s an opportunity to show the world the culture and personality of your company,” he says.

HenHouse’s Staples, who says the most he’s spent on a single beer was $20, primarily because of the artwork, shares in Hawley’s sentiments. “It’s like any art form,” he says. “There’s going to be something different that will appeal to everyone.”

Whose Recovery?

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Despite the prolonged recovery from the 2007–09 Great Recession, inequality in Sonoma County has soared, median household income has stagnated and wages have fallen for the bottom 60 percent. The number of families in the county who are working poor has increased since 2005, and the crisis of affordable housing has deepened as renter wages and incomes have not kept pace with skyrocketing rents.

A new report published by Jobs with Justice, “The State of Working Sonoma County 2018,” documents that:

• Nearly one in three Sonoma County residents live in families receiving annual incomes of less than 200 percent of the federal poverty line, or about $50,200 for a family of four.

• One in five county residents live in working-poor families earning less than 200 percent of the federal poverty line with at least one member reporting income from work.

• Women, Latinos and other people of color experience the highest rates of poverty and disproportionately comprise the working poor.

• A living or self-sufficiency wage for Sonoma County in 2017 was $23 an hour, but more than one-half of the new jobs created since 2014 pay less than a livable wage.

• Nearly one in two Sonoma County renter households are rent-burdened and pay more than 30 percent of their gross monthly income for rent; one quarter are severely rent-burdened and pay more than 50 percent for rent.

• Between 2000 and 2016, median rents increased by 25 percent in the county while median renter incomes rose by only 9 percent.

North Bay Jobs with Justice and the Alliance for a Just Recovery have proposed several policy initiatives to address structural inequality and the housing crisis including $15 citywide minimum wage by 2020 (phasing in three years faster than the state $15 minimum) to lift the wage floor; rent control and just cause eviction and other protections for tenants; and raising the real estate transfer tax on homes selling for more than $1.5 million to fund affordable housing.

To download the report please go to northbayjobswithjustice.org

Mara Ventura is executive director and Martin Bennett is co-chair of North Bay Jobs with Justice.

Open Mic is a weekly feature in the ‘Bohemian.’ We welcome your contribution. To have your topical essay of 350 words considered for publication, write op*****@******an.com.

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