Hot Water

PG&E’s decision to turn off the lights on close to 700,000 Northern California customers last week was widely regarded as the latest debacle for the nation’s largest investor-owned utility.

Grappling with the fallout, local politicians called for increased oversight while activists push for a possible public takeover of the utility.

As if things couldn’t get worse, news broke Thursday that a dozen or so PG&E gas executives attended a customer appreciation party for 50 to 60 of the utility’s largest gas customers at Silver Oak Winery in Sonoma County on Tuesday, Oct. 8.

Not only did the utility shut off the power the next day; the party was held on the second anniversary of the 2017 North Bay fires.

PG&E’s CEO Bill Johnson acknowledged the timing of the gathering was “insensitive, inappropriate [and] tone deaf,” according to the San Francisco Chronicle.

In a later statement, PG&E said they had planned the party for about a year and that, “Moving forward, we will no longer hold these types of events.”

Even Gov. Gavin Newsom, whose 2018 gubernatorial campaign received $208,400 from PG&E and high-level PG&E employees, criticized the utility for its management of the outages and ongoing management practices.

“They’re in bankruptcy due to their terrible management going back decades,” Newsom said. “They’ve created these conditions, it was unnecessary. This can’t be the new normal.”

The power shutoffs were not only dangerous for drivers and residents with medical needs, they were also expensive.

Michael Wara, director of Stanford University’s Climate and Energy Policy program, estimated the power outage cost customers and businesses $2.5 billion. Other experts put the cost lower.

Santa Rosa Mayor Tom Schwedhelm estimates the power outage cost the city $250,000 due to additional staff time and emergency preparedness efforts, according to the Press Democrat.

The Big City

On Thursday, Sonoma County Supervisor Shirlee Zane and other county officials visited PG&E’s corporate headquarters in San Francisco. In an interview, Zane called the county’s relationship with the utility “rocky,” adding that, while she supports the need for limited power shutoffs as a tool to prevent possible wildfires, the recent outage was too broad and done without sufficient input from public agencies.

Zane said that among other requests, the county asked to have a representative in the utility’s emergency situation room next time the utility considers a planned power outage.

Another county supervisor, Lynda Hopkins, called for increased investments in infrastructure improvements, such as modern micro grids.

“We have to do more than trim trees,” Hopkins told the Press Democrat over the weekend. “We need to be investing in long-term solutions.”

Going Public

Some Democratic Party members and San Francisco officials are supportive of a bolder move, long advocated by activists: Purchasing, or seizing, PG&E property through eminent domain—the government’s right to take over private property in times of need.

In April, the Sonoma County Democratic Central Committee, a group of representatives from all the county’s smaller Democratic clubs, passed a resolution asking the state party to push for a public takeover of PG&E.

Citing fallout from PG&E’s ongoing scandals, the resolution proposes that California take over the investor-owned utility and run it as a “non-profit public utility owned by the people.”

“California has numerous municipal public utilities including [the Los Angeles Department of Water and Power and the Sacramento Municipal Utility District], and Nebraska has statewide public utilities, all of which can be used as models on how to run a nonprofit public utility owned by the people,” the resolution states.

Lowell Young, a member of the Mariposa County Democratic Club and a co-author of the resolution, says he’s helped push the idea through the state party apparatus for the past year.

“If we’re going to bail them out, let’s use that money to buy them out instead,” Young told the Bohemian.

Other entities within the state party, including the Rural Caucus, the Progressive Caucus, two regional democratic clubs and a handful of county and city clubs around the state, also passed the resolution, according to Young.

Stuck in limbo at the moment, the resolution awaits consideration at a party leadership meeting in March of 2020.

Despite the delay on Young’s proposal, a trial run is playing out in San Francisco, while the city attempts to purchase PG&E’s infrastructure within city limits.

Last week, PG&E rejected San Francisco’s offer to purchase the utility’s infrastructure within the city for $2.5 billion as part of the utility’s bankruptcy deal.

PG&E’s CEO Bill Johnson said, in a letter to city officials, that the deal would impact the utility’s ratepayers outside of San Francisco, according to the San Francisco Chronicle.

“We disagree with the suggestion that PG&E’s San Francisco customers would be better served by another entity,” Johnson wrote. “Our San Francisco customers—and our customers in the rest of our service territory—rely upon us every day to deliver safe, reliable, affordable and clean power.”

San Francisco Mayor London Breed and City Attorney Dennis Herrera defended the city’s offer and indicated their continued efforts to buy the utility’s infrastructure.

“We would not be leaving PG&E’s remaining customers in the lurch,” Breed and Herrera wrote in a Chronicle article. “San Francisco is only a small portion of PG&E’s service territory. Our city includes some of PG&E’s oldest equipment that will require substantial work to remain in service. If we take on that responsibility, PG&E can refocus on the balance of its system.”

IBEW 1245, the largest electrical workers union chapter in Northern California, began a campaign opposing San Francisco’s proposal, arguing that a takeover could harm workers’ compensation and pensions.

Young’s proposal calls for “keeping the existing employees of PG&E and installing a new executive management team initially appointed by the governor and the leaders of the state Senate and Assembly.”

While getting on the party platform is just a stepping stone for Young’s cause—most items added to the state party’s platform sit on the party’s website without ever becoming law—Young says he and his colleagues are speaking directly to lawmakers about a possible PG&E takeover due to the urgency of the situation.

“The only way we’re going to stop [PG&E] is through public ownership,” Lowell says, regarding the utility’s “negligent” behavior.

Tasty Tech

No wonder spice inspired Marco Polo’s adventures. A little goes a long way, much like Le Petit Chef, who guides the palates of diners on a global tour of the Silk Road via a three-dimensional dining experience at the Culinary Institute of America (CIA) at Copia in Napa.

The “Spice Trail of Marco Polo” journey leads participants through the wonders of augmented reality via light projection tech dubbed TableMation, literally turning the pages of history and sharing a story about five indigenous courses of spice-infused specialties.

All was dark when I entered the private dining area—except for the table settings, which were lit circles of vignettes the size of dinner plates. The lights hovered over actual books titled Dinner Time Stories. I took my seat next to a woman who introduced herself as Syeda, originally from Pakistan. My dining companions consisted of a mix of local residents, as well as intrepid travelers. We opened our books to blank pages and the scene was set, thanks to Skullmapping, a visual-storytelling technique developed in Belgium.

Zach, our human host for the evening, worked with Le Petit Chef to lead us through each course with a humorous, yet educational, tale to share the footsteps of “that crazy Italian Marco Polo” who discovered spices and exotic cuisine en route to the Silk Road.

Background music and Le Petite Chef’s squeaky techno French accent narration conveyed the story, along with dimension-enhancing visuals. The animation on our pages jumped as he began in Marseilles, France—his birthplace. Once the pages turned and the introduction was made, waiters placed an actual, travel-sized piece of hand luggage at each table setting. We opened the luggage to a taste of Piquillo Gougere Tart, a savory pâté a choux infused with red pepper. Our two-sip cups of tomato soup, paired with glasses of Brut Rosé from Domaine Carneros, were a nice touch.

From Marseilles, we sailed through ocean waters as each plate, and then the table, projected the sea, with waves crashing against the wall for added effect. Amid the thrill of the light show on the wall and the lively conversation among this communal table of diners, the delectable food and wine competed for my attention.

Onward to Arabia, where the table settings metamorphosed into a light show of scroll designs with a batik-blue background. Cartoon smoke from a cartoon hookah puffed over Le Petit Chef while the wall shifted into a desert scene with camels led by men wearing headscarves. Le Petit Chef humorously identified the camels as “big dogs” and then plucked a large red pepper that caused smoke to shoot from his ears. He ran across the book’s pages, madly plunging his face into a half-cut fig for relief.

Then, each of us received a portable tray laid carefully over our individual books, while we passed a handful of cloth bags between us. We played a blind guessing-game on what spices were in each bag. Every diner participated. Some aromas, like cloves and cinnamon, were easy to identify; others, like bay leaf, cardamom and fenugreek—not so much.

We were then asked to identify how these spices factored into our meal and the answers flowed like the complimentary sparkling wine served before dinner. The majority of us correctly identified “cardamom” in the room-temperature lamb meatballs, and a sprinkling of cinnamon over the bed of apricot chutney they were served on.

A few goat-cheese blinis and a sparse portion of lentil stew later, we finished the course with sips of a 2016 Joseph Burrier, Chateau de Beauregard, “Poncie” Fleurie AC paired with tiny bowls of candied hazelnuts and sumac-coated plums.

As our culinary journey continued into India, I devoured a decent portion of Halibut Masala served over a spread of curry with a golf ball–sized Indian eggplant, a few cashews and green peas. With this course, we sipped on a 2017 ZD Chardonnay from Napa Valley and sailed forward.

A palate cleanser of yogurt and a scoop of CIA’s own garden-strawberry sorbet, served in a teacup, awaited each of us at the Himalayas. They told us to restrain from eating this until instructed. Waiters distributed tiny pitchers of hot water to our trays and we carefully poured the water around the small saucer—not in the teacup. This resulted in a “smoke effect,” thanks to the clever use of dry ice, adding drama to the sorbet course.

Upon our arrival in China, dragons displayed on our plates, table and the wall chased Le Petit Chef. We also noticed our live staff of servers now wore red frocks.

While in China, a glass of 2017 Abiouness Pinot Noir from Stanly Ranch in Carneros paired nicely with our next course: a few slices of duck breast and delicious, transparent sweet-potato noodles and a few soybeans, baby carrots and enoki mushrooms.

Dessert was a mix of all the places and the spices we experienced throughout dinner—a cardamom cake, vanilla crème brûlée and a glass of Alvear, “Solera 1927” Pedro Ximenez Sherry, Montilla-Moriles DO, NV for those who purchased the wine pairings with the experience (an additional $50).

We departed with much laughter, newfound friends, bellies filled with food and a better understanding of the spices found along the Silk Road.

Witches Brew

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Lifelong horror film fanatics and Sonoma County natives Josh Staples, Jef Overn and Brian Henderson scare up a lot of fun as the trio behind the podcast Forever Midnight, a horror-centric audio series where the friends review classic and contemporary flicks and offer their wicked perspective on all things scary.

“Brian, Jef and I have a forum where we get to talk about our lives, and pass stories back and forth, and every time we say, ‘that would be such a cool movie,'” says Staples.

Three years ago, the Forever Midnight trio got their foot firmly in the door of horror film-producing by releasing the official soundtrack of the short underground cult film Coven, nearly 20 years after the film’s release.

Now, the aficionados take another huge leap into the genre, with their new short film, Night Drive, co-produced with Dogfilm Studios, and screening at a special Witchcraft & the Occult Movie Night event on Thursday, Oct. 24, in Santa Rosa.

All three members of Forever Midnight are multi-talented creative producers in their own right, and each contributed to the production of Night Drive. Henderson takes credit for creating the story, based on a real-life event, and oversaw the film’s special effects. Staples wrote the screenplay and the original score, which includes three original songs. Overn co-directed and co-edited the film alongside Sonoma County filmmaker Timmy Lodhi, the man behind DogFilm Studios.

The six-minute film concerns a group of friends on a late-night drive and a stranger on the side of the road who propels the group into a weird odyssey of terror.

Staples credits ’80s horror films like The Twilight Zone and Creepshow 2 as inspirations for the film.

Night Drive’s debut on Oct. 24 at the Roxy Stadium 14 in Santa Rosa also marks the release of a new collaboration beer between Forever Midnight and HenHouse Brewing, where Staples is the art director. The collab is a black saison aged in burgundy wine barrels that they call Batch 666: Witchcraft & the Occult.

After a beer reception and the debut Night Drive, the Forever Midnight crew is screening Coven with director Mark Borchardt in attendance for a Q&A and signing. Borchardt and Coven caught the nation’s attention when his attempt to complete the film became the subject of the 1999 documentary American Movie.

“Mark is a great personality, he’s a film historian, writer, actor and director,” says Staples. Coven is also an occult-centric horror film in which Borchardt plays an alcoholic writer who joins a recovery group that turns out to be more than it seems.

Capping off the night is a screening of the film Haxan, originally produced in 1922 in Sweden as a long-form silent film on witchcraft and re-cut as a psychedelic trip with narration by William S. Burroughs.

“This is a great opportunity to do a real witchy showcase,” says Staples. “It’s a perfect series of movies to drink to.”

Witchcraft & the Occult Movie Night happens on Thursday, Oct. 24, at Roxy Stadium 14, 85 Santa Rosa Ave., Santa Rosa. Beer reception at 6pm; movies start at 7pm. $8.50–$11.50. santarosacinemas.com.

Strangers No More

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North Bay bluegrass music fans likely know the name Hellman. Warren Hellman founded the Hardly Strictly Bluegrass Festival in San Francisco, and his son Mick Hellman and the family continue to run it. In addition, the Hellman musical family boasts bands and artists like Mick’s daughter Avery Hellman (Ismay) and the group the Well Known Strangers, formed by Mick and his other daughter, Olivia Hellman.

“The original idea was to back up my daughters and help them spread their wings musically,” says Mick Hellman.

The Well Known Strangers started as a barroom-ready country-rock band. “Our favorite thing was playing these kind of rowdy songs,” says Hellman, who plays drums in the group. “We had a term for this, which was ‘brutal country.'”

After releasing a self-titled EP of mostly covers, the Strangers broadened their scope, both musically and thematically, for their new LP, TMI, which the band plays on Sunday, Oct. 20, at Twin Oaks Roadhouse in Penngrove.

The album’s array of Americana tunes, largely written by Olivia and the band, get personal quickly. The title track, a stomping, blues-tinged number, is Olivia’s response to all the things men tell her when they’re drunk. The song “Look Me in the Eye” is a Generation X–inspired dirge about political disenfranchisement and frustration, and the album’s final track, “A Song For My Daughter,” is a letter Mick penned to Olivia in the wake of a family tragedy.

Despite the heavy theme, TMI is a raucous, exuberant album that maintains a rough-around-the-edges vibe while also offering robust harmonies and a newly developed musical tenderness.

Shortly after recording the album, Olivia moved to Nashville to further pursue her career, and Amber Morris, who appears on TMI as a guest vocalist, now fronts the band when they play live. Hellman says the group stays together, in spite of his daughter’s absence, because of strong chemistry and camaraderie.

“What we are talking about doing (at the show in Penngrove) is honoring the discontinuity that happened between losing Olivia and gaining Amber, to put the album in the context of the changes that are being made,” says Hellman. “And to celebrate the new material we are working on with Amber, where the focus—instead of [on] the brutal country vibe—is more country soul.”

Well Known Strangers perform on Sunday, Oct. 20, at Twin Oaks Roadhouse (5745 Old Redwood Hwy, Penngrove. 3pm. $10–$25. 707.795.5118).

Trickle-Up Economics

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Does anybody besides me think we’re looking at the wrong end of the horse? The wealthy of this country, and their political emissaries the Republican Party, attack Obama’s healthcare reforms declaring it will result in jobs being taken away from American workers. Jobs, jobs, jobs, they say, is what Americans need the most, and what government ought to focus on. This from the wealthy—the plutocracy, if you will—that have spent the last 30 years systematically eliminating jobs in this country by taking their business overseas to exploit cheap labor and, in effect, exploit our less organized, less represented, more desperate brothers and sisters.

Oh, that’s right—the money trickles up. The wealthiest 1 percent take home 23 percent of all the income in this country. The wealthiest 10 percent take 50 percent of the entire wealth of the country. By the way, it didn’t use to be this way. The largest period of growth for the middle class occurred between 1945 and 1980. But between 198 what we miss by looking only in this direction is that the wealthy are 0 and 2005, 80 percent of all new income went to the top what we miss by looking only in this direction is that the wealthy are doing just fine.

Remember the banking crisis? The deregulation sought and obtained by George W. and company created the ground for rampant exploitation of regular working people. And after they created the economic disaster, who did they turn to for the bailout? Us. We the People saved their sorry asses. So with foreclosures happening everywhere, job losses everywhere, basic services threatened everywhere, it’s a bit galling that Wall Street CEOs are now earning more money than they were before the bailout.

The depletion of money for basic services isn’t happening because there’s no money to be had; it’s because the wealthy have found ways to avoid paying their fair share. It’s an old story: the rich get richer while the poor, and now middle class, gets poorer. This is the conversation we’re not having. And to the extent that we don’t, we participate in our own demise.

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

Impeachment on the Table

With every passing hour, more evidence comes to light that Donald Trump is abusing the power of his office. The latest development: Trump pressured the Ukrainian government to interfere in the 2020 election by digging up dirt on a potential opponent and then went to great lengths to cover up the evidence that would expose his obvious wrongdoing.

Trump’s phone call with Ukraine demonstrated that he’s willing to betray our country for his own personal and political gain. This isn’t just a clear and open threat to the integrity of our elections—it’s an impeachable offense. No one is above the law in this country, including and especially the President of the United States. That’s why we need the House of Representatives to swiftly draft articles of impeachment and vote to impeach Donald Trump.

Lawmakers are more than capable of concentrating on kitchen table issues like health care and moving forward with impeachment. Both are critical to the health of our nation.

Santa Rosa

Trailer Park Blues

This whole process, as described in this article, stinks. It is more than plain that Santa Rosa City government is setting up the process to grant a special deal to politically influential, local housing giant, Burbank Housing.

Burbank should have to go through the same closure process as any OTHER owner of a mobile home park, so that residents will have a bigger say in that process and the public will have longer to weigh in on the effects of closure. It is appalling that they are using the fire disaster as an excuse to get a special deal.

IN ADDITION, it makes absolutely no sense to allow the loss of 100 TRULY affordable units of housing in Sonoma County, which are rare, in exchange for “possibly” 100 “affordable” replacement units. Those quotation marks on affordable for the replacement units are because it is VERY RARE in Sonoma County for housing units built in this way to ACTUALLY be affordable for folks in working-class jobs or the poor.

MOREOVER, Burbank has a well-deserved reputation among its Sonoma County tenants of being indifferent to their needs and the habitability of their units, especially among their disabled tenants. If this deal moves forward it SHOULD BE PREMISED ON Burbank replacing the existing truly affordable units on a 1.5 to 1 basis, with those units being guaranteed affordable for the lifetime of the project. Burbank will have plenty of opportunity to make a profit by building more units on site that are not affordable.

Via Bohemian.com

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

Gallows Humor

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Intense drama. Complex characters. Challenging themes.

You won’t find any of these in A Gentleman’s Guide to Love & Murder, running through Oct. 27 at Rohnert Park’s Spreckels Performing Arts Center. What you will find is a very entertaining, macabre musical that’s a perfect theatrical compliment to the Halloween season.

Upon his mother’s passing, Monty Navarro (Andrew Smith) finds out he’s actually a member of the distinguished D’Ysquith family. The family disowned his mother after she ran off with a (shudder) musician and Monty is actually ninth in line for the Earldom of Highhurst.

After being tossed aside by his shallow, materialistic girlfriend Sibella (Madison Genovese) for a wealthier man, Monty seeks to improve his lot in life and win her back. He contacts the D’Ysquith family in hopes of gaining a position with their firm, but they reject him. While seeking the support of a member of the family who’s a clergyman, circumstances arise that make it clear to Monty that the only way he’ll ascend to his rightful position in the family is to knock off those who precede him.

And so it goes for Reverend Lord Ezekial D’Ysquith, Asquith D’Ysquith Jr., Henry D’Ysquith, Lady Hyacinth D’Ysquith, Major Lord Bartholomew D’Ysquith, Lady Salome D’Ysquith Pumphrey, Lord Asquith D’Ysquith Sr. and Lord Adalbert D’Ysquith—all played by the delightful Tim Setzer, and most dispatched in clever, amusing ways. Will Monty—now Lord Montague—get away with it?

The plot may sound familiar, as the novel upon which it’s based was also the source material for the 1949 film Kind Hearts and Coronets starring Alec Guinness in his pre–Obi Wan days. Turned into a Broadway musical by Robert L. Freedman and Steven Lutvak, it won four Tonys in 2014, including Best Musical.

Director Michael Ross chose the relatively small cast judiciously. He assembled a crackerjack ensemble composed of North Bay regulars (Shawna Eiermann, Eileen Morris, Amy Webber, Erik Weiss), local young, emerging talent (Michael Arbitter, Emily Thomason) and some new faces (David Casper, Maeve Smith). All perform excellently.

Inventive stagecraft (Chris Schloemp’s projection design, in particular), nice period costuming by Skipper Skeoch, clever bits of choreography by Michella Snider and solid musical direction by Jim Coleman make for a terrific show. The few glitches that occurred on opening night will, hopefully, vanish quickly in the run.

Simply put, this show kills.

Rating (out of 5):★★★★½

‘A Gentleman’s Guide to Love & Murder’ runs through Oct. 27 at Spreckels Performing Arts Center, 5409 Snyder Lane, Rohnert Park. Friday–Saturday, 7:30pm; Sunday, 2pm; Thursday, Oct. 24, 7:30pm. $12–$36. 707.588.3400. spreckelsonline.com

Charm City

Moms love Healdsburg. And why not? The town centering Northern Sonoma County’s wine and tourism industry is as quaint as they come, with galleries, tasting rooms and all manner of gift shops lining a plaza so picturesque it feels like it could reside on Disneyland’s Main Street, U.S.A.

It wouldn’t hurt the rest of us to see Healdsburg through mom’s eyes; to slow at the shop windows, stroll through the park and take time selecting samples at the ice cream parlor. That’s just what this reporter did last weekend, and found all manner of art and fun for any age.

Beginning at the Northwest corner of the Healdsburg Plaza and moving clockwise, the first shop window to entice a closer look is the Ferrari-Carano’s Seasons of the Vineyard Wine Shop, located in the middle of Plaza Street. The boutique shop and wine bar features brightly colored seasonal home décor like the kitschy Gurgle Pot, a wine pitcher shaped like a fish, and ceramics—resembling Tuscon tableware—by Virginia Casa. The boutique’s wine bar pours Ferrari-Carano and Lazy Creek Vineyards wines, with chocolate pairings available. The current showcase of art by British painter Sam Toft is a particular highlight, featuring a cartoonish character, Mr. Mustard, and his gaggle of pets embarking on various outings.

The next stop is the Healdsburg Center for the Arts, located along the town’s narrowest sidewalk (what’s up with that?) a block east on Plaza Street. The non-profit organization has promoted the arts through community education programs, events and exhibitions for over 25 years, and resided at its current location since 2002. The Sonoma Land Trust sponsors the current exhibit—a group show, “The Great Outdoors,” featuring over 20 artists displaying all manner of paintings, photographs and multi-media works depicting nature—in the center’s main gallery space.

One artist is 15-year-old Santa Rosa resident Vijay Kareesan, whose artist statement, hanging next to two fine paintings, explains that he wants to sell paintings to help Sonoma and California fire victims, the Humane Society and St Jude’s Children’s Research Hospital, among other causes.

Kareesan may likely be a part of the Healdsburg Center for the Arts’ next exhibit as well, as the center’s “2019 Emerging Artists” show opens on Oct. 26. The exhibit is part of a larger Emerging Artist Sponsorship Program, in which, through the generous support of private donors, the HCA offers an opportunity for new emerging artists to regularly exhibit and sell their work at HCA as they learn about the business of art and develop their resumes.

The next shop on this plaza tour is Mr. Moon’s—a diverse gift, novelty, stationary and clothing store currently packed with masquerade masks and kids’ costumes as well as jewelry, bath and body works, and other accessories.

The 26-year-old Healdsburg store on Center Street is actually the store’s second location, after Patty Timmsen opened the original Mr. Moon’s in Calistoga in 1982. Now, Patty runs the Healdsburg store with daughter Jessica, offering an ever-changing array of fun merchandise.

A few doors down sits another family-owned and operated enterprise with a long history in Healdsburg—Levin & Company Bookstore. Founded by Adele Levin, her partner Jacquie Robb and her son Aaron Rosewater in 1991, the bookstore sells new and used books, but also houses a selection of vintage vinyl, CDs, tapes, greeting cards and more.

As an added bonus, the Upstairs Art Gallery shares space with Levin & Company, literally located on the mezzanine level at the back of the store. The gallery currently shows works by featured artist Susan Greer and Karen Miller. Greer’s “Conversations with Nature,” a collection of the North Bay native’s minimalist landscape paintings, reflects the calming quality of open spaces in Sonoma and Marin. Miller’s small works show, “Quiet Places: Sonoma County in Pastels,” also features contemplative and serene works. Both artists will attend their respective exhibit’s artist receptions, taking place on Saturday, Oct. 12, at 2pm with bites and local refreshments.

South of the Plaza, art lovers must take in the Paul Mahder Gallery on Healdsburg Avenue, which recently celebrated its five-year anniversary and which currently exhibits a “2019 Fall Salon” that features work from over 40 artists from around the world on display through November.
Art comes in another form at the Hand Fan Museum, which displays hand fans of exquisite beauty from around the world and tells the story of femininity through the ages.

Dads, of course, can and often do enjoy these same exhibits and offerings, and even if they don’t, there’s still Bear Republic Brewing Company. The Company’s original brewpub in downtown Healdsburg remains one of the region’s best casual spots for cold beer, burgers and other delicious fare. It even books brewery tours by appointment on Saturdays, and the relaxing outdoor beer garden is an oasis of chill vibes.

Anyone can also enjoy the many meats and frozen custard of the Wurst Restaurant on Matheson Street, owned and operated by former touring musician and longtime Healdsburg resident Charles Bell, who revived his passion for cooking by opening the restaurant in 2011 after surviving late-stage throat cancer.

Barbecue aficionados are sure to check out KINsmoke on Center Street, where longtime Sonoma County residents JC Adams and Brad Barmore combine their decades of restaurant work into an elevated barbecue experience.

Finally, no trip to Healdsburg Plaza is complete without a stop into Noble Folk Ice Cream & Pie Bar, where the menu easily conquers even the most stubborn sweet tooth. Founded by Sonoma County natives Christian Sullberg and Ozzy Jimenez of Moustache Baked Goods, the parlor is dedicated to creating one-of-a-kind treats, but that’s just one aspect of the organization. Both Sullberg and Jimenez give back to the community through involvement in groups like nonprofit Positive Images, providing mental health support to LGBTQ+ youth, and the Stanford Latino Entrepreneurship Initiative, which supports Latino entrepreneurs.

Other Healdsburg
Highlights

The Raven Players
The resident theater company of the Raven Performing Arts Theater on North Street is a community theater that presents both family-friendly fare and challenging stage plays that reflect and celebrate the North Bay’s diverse community.

Under artistic director Steven David Martin, the Raven Players just wrapped the classic dark comedy Arsenic & Old Lace, and they now change gears with the emotionally powerful drama, The Laramie Project, an examination of the horrifying hate-crime murder of Matthew Wayne Shepard in 1998 outside of Laramie, Wisconsin. While that crime rocked the world, the producers of the Laramie Project spent weeks in the town of Laramie gathering the very personal reflections of those closest to the crime, and The Laramie Project features 10 actors taking on over 30 roles of the locals, using their actual words. The Laramie Project runs Oct. 18–Nov. 3 at the Raven Theater. (Raventheater.org)

Alexander Valley Film Festival
Returning to Healdsburg, Geyserville and Cloverdale over four days, the fifth annual festival presented by the Alexander Valley Film Society once again screens feature-length, short and documentary films between Oct. 17 and Oct. 20.

The AV Film Festival’s selection of films playing at the Raven Film Center on Center Street includes The Woman Who Loves Giraffes, a feature documentary about the world’s first “giraffologist,” Dr. Anne Innis Dagg; Parasite, the Cannes Palme d’Or-winning thriller from South Korean auteur Bong Joon Ho (Snowpiercer); Portrait of a Lady on Fire, a French romantic drama about an 18th-century female painter charged with painting a wedding portrait of a young woman; and Unsettled, a feature-length documentary that follows LGBTQ refugees and asylum seekers who fled their home countries due to persecution and who resettle in the U.S., which screens in a special, closing-night event.

As always, the festival supports Alexander Valley Film Society’s ongoing, year-round educational and cultural programming that reaches over 5,000 North Bay residents and engages over 1,000 students. (avfilmsociety.org)

Art Trails in Healdsburg
For 35 years, Sonoma County Art Trails has invited the public to venture out on countywide, self-guided tours to visit artist studios and view their work. Beloved for providing direct access to art and those who make it, this year’s Art Trails, happening consecutive weekends on Oct. 12–13 and Oct. 19–20, features 140 artists opening their doors at locations from Petaluma to Cloverdale, and Occidental to Boyes Hot Springs, including close to a dozen artists showing their art in Healdsburg.

Stone sculptor T Barny creates works that beg for an explanation, with pieces that move with the graceful flow of a Mobius strip.
Mixed-media painter MC Carolyn explores both cultural and natural history in works that combine stunning colors and intricate details.
Large-scale abstract artist Sargam Griffin, born in Germany and now residing among the North Bay’s vineyards, celebrates local sights, light and consciousness with paintings composed of at least 40 layers of paint, varnish and resin.

Jenny Lynn Hall also works in large abstract works, using plasters and oils to create works that bridge the gap between fine art and ornate decorative appeal.

Sonoma County Art Trails also features Healdsburg artists Dana Hawley, Willow LaLand-Yeilding, Jamie L. Luoto, Nancy Morgan, Michael Rosen, Donna Schaffer and Robert Weiss. Studios are open 10am to 5pm, Oct. 12–13 and Oct. 19–20. Artist’s maps are available online. (sonomacountyarttrails.org)

Fresh Princes

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East Bay Pride: Richmond-based East Brother Beer Company is one of over 50 breweries pouring fresh beer this weekend at SOMO Village.

The table on the patio of HenHouse Brewing Company’s Palace of Barrels tasting room in Petaluma already overflows with beer flights and fried chicken sandwiches when HenHouse co-founder Collin McDonnell comes out of the back with several additional cans—of the craft brewery’s signature IPA.

We’re here for a taste test, except that all three of the IPAs placed before us appear to be the exact same beer.

Yet, appearances can be deceiving, and a closer look at the three cans reveals one small, but important, difference between them—the expiration date. Yes, HenHouse Brewing marks each of their cans with a best-by date, and it’s more than a suggestion.

Best-by dates are a mantra for McDonnell and the staff at HenHouse—one that makes freshness their top priority. That mantra is on full display this weekend when HenHouse Brewing hosts the first-ever “Freshtival” beer festival on Saturday, Oct. 12, at SOMO Village Event Center in Rohnert Park, in which more than 50 brewers pour over 100 less-than-a-week-old beers, celebrating the flavorful power of fresh beer alongside live music, great food, a gallery of beer industry art, interactive freshness demos
and more.

But, back to the taste test.

McDonnell first cracks open a five-day-old can of HenHouse IPA, then pops the tab on a three-month-old can and finally opens a nine-month-old can.

The differences in the flavor profiles are striking, with ripe notes of fruit and hops in the young can, and a stale, metallic flavor in the old can.

“So much about what we do is shortening the chain between us and the beer drinker,” says McDonnell. To that effect, HenHouse employs a strict, 28-day shelf-life policy for any beer it distributes to tap rooms or stores.

“You can really tell that the beer tastes so much better in those first 28 days,” says McDonnell. “I think it’s super important for the consumer to drink 28-day-old beer. You can tell how much brighter and vibrant and more fun the hop flavor is in new beer.”

McDonnell adds that the company’s 28-day shelf-life policy advocates for the consumer.

“Life is actually better for the people drinking the beer if they get it in the first 28 days,” he says. “At 90 days it’s a muted and boring experience, and when we get to nine months old it’s sad and gross. The more it oxidizes (in the can), the beer’s hop flavors get grating and it’s super unpleasant. Even under the best treatment, nine-month-old beer is still not fun to drink.”

HenHouse is not alone in this thinking; the entire craft beer industry has moved towards the fresh trend in recent years, meaning that the Freshtival comes at a perfect time for beer lovers.

“It’s something that Bay Area Brewers Guild and us put our heads together and collaborated about,” says HenHouse account manager and Freshtival co-organizer Kristie Hubacker. “It’s a change in the industry, people are moving to packaged-on or drink-by dates, and you can see consumers checking that, you’ll see people in the aisles turning the cans, checking the dates—that is a growing trend.”

Due to time constraints and travel logistics, the majority of breweries at the Freshtival will be Bay Area-based, with North Bay brewers like Barrel Brothers, Bear Republic, Cooperage Brewing, Crooked Goat, Iron Springs Brewing, Indian Valley Brewing, Russian River Brewing, Stone Brewing Napa and Third Street Aleworks getting in on the freshness.

Other West Coast breweries are taking advantage of HenHouse’s distribution side of the business and utilizing the company’s cold transport system to get beers from as far away as Los Angeles and Washington State to the fest in less than a week. “We were not exclusive, any brewery from anywhere can come if they can bring beer that’s seven days or fresher,” says Hubacker.

While there’s not exactly a competition for the freshest beer, HenHouse will use the event as a means to further propel the craft beer scene into the era of freshness. For its part, HenHouse will release an “Art of Freshness” IPA at the event, which McDonnell says will be kegged that morning. They will also pour a “Mr. October” double-IPA and other signature releases packaged that week.

“The Freshtival for us is about going out and making (freshness) a big deal in front of a lot of people,” says McDonnell. “Hopefully, it’s something we can do to not just make our beer better, but make beer better.”

Don’t Scream

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I ‌might never have been born if it weren’t for one of my favorite films.

Let me explain.

My parents worked together in San Francisco for a few years before dating in secret to avoid office gossip. They watched their first film together as a couple in May, 1979, at a theater in Corte Madera. The lead actress, a nobody, had only one prior credit—as an extra in Annie Hall. The simple sets included bomber-plane parts left over from World War II, Christmas lights and cathode-ray television sets. The even-simpler plot had been repeated a million times before: a spaceship crew, led by Sigourney Weaver, encounters a monster and fights for survival.

But the monster my parents—and millions of other moviegoers—first met in 1979 never left our collective unconscious.

The Alien

As Alien celebrates its 40th anniversary this year, I’ve thought a lot about both the movie and the creature that enthralled and terrified me as a kid. After three sequels, two prequels and two tie-ins with the Predator franchise, it’s hard for viewers to remember pre-1979 sci-fi aliens; the Alien changed the genre forever.

Beginning with H.G. Wells’ The War of the Worlds, just about every alien depicted in literature, film and television possessed either an intelligence or motivation people understood. Possessed with “intellects vast and cool and unsympathetic,” Wells’ Martians “regarded earth with envious eyes.” In the following decades, these and other “bad” aliens were either highly intelligent menaces or zoo creatures on the loose.

The Alien, however, was completely different—primal, dangerous and, as science officer Ash states near the film’s end, pure. It didn’t even need eyes to pick off the Nostromo‘s crew one by one.

The Alien possessed a Freudian nightmare of a lifecycle that combined rape, birth and a whole lotta phallic imagery—it wasn’t what hid in the shadows, it was the shadows. It wasn’t something to fear, it was fear.

The Alien as we know and love it resulted from two problems screenwriter and USC grad Dan O’Bannon encountered while writing the screenplay’s first draft. Firstly, in similar films, the alien always entered the spacecraft through a ridiculous plot device such as someone forgetting to close a hatch.

Secondly, O’Bannon received a diagnosis of Crohn’s Disease, a condition that led to his death in 2009. Feeling as if your guts are tearing apart from the inside out is one of Crohn’s main symptoms.

So, O’Bannon wondered, what if the creature entered the ship inside someone and then burst its way out of them?

“The thing emerges” are three words from the Alien script that describe the day the film’s cast entered the set—the spaceship Nostromo‘s dining room—and found the cameras wrapped in plastic and the air heavy with the stench of animal blood and formaldehyde. Two puppeteers, two technicians manning plungers full of all that nasty fluid, and most of actor John Hurt’s body—only his arms and head were visible—hid beneath the dining room table. The rest of his “body” above the table consisted of dummy legs and a chest cavity filled to the brim with rotting cow parts and the “chestburster” puppet.

The scene, from the chestburster’s bloody entrance to its now-famous scurry off-set, lasts only 25 seconds. But those 25 seconds are a master class in how to make actors perform genuinely in spite of them knowing everything that is going to happen well in advance. Veronica Cartwright, no stranger to horror since her days as a child actor in Alfred Hitchcock’s The Birds, let out a genuine scream of mixed horror and disgust.

And from that iconic moment on, monster movies, sci-fi movies and horror movies were never the same.

From Oct. 13-16, North Bay cinemas celebrate the 40th anniversary of Alien with special showings: Century Napa Valley (195 Gasser Drive, Napa), San Rafael Regency 6 (280 Smith Ranch Road, San Rafael) and The Clover (121 E. First Street, Cloverdale). Reserve your tickets online by visiting Fathom Events.

If you’re one of the few people who never saw Alien, I envy you. And if you can’t wait until later this month to view it on the big screen, do yourself a favor and watch it in a pitch-black room late at night with the sound turned way up. It’s an old movie, you might tell yourself. CGI didn’t even exist back then. How could it be scary?

I won’t lie to you about your chances of surviving the ordeal, but . . . you have my sympathies.

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<image-1] East Bay Pride: Richmond-based East Brother Beer Company is one of over 50 breweries pouring fresh beer this weekend at SOMO Village. The table on the patio of HenHouse Brewing Company's Palace of Barrels tasting room in Petaluma already overflows with beer flights and fried chicken sandwiches when HenHouse co-founder Collin McDonnell comes out of the back with several additional...

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