Making Bank

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PQ:

“The activities of the top big banks in fossil fuels and many other activities gives us limited, to no options regarding large, socially responsible banking options. We are truly stuck between Scylla and Charybdis until a public banking option is available.”

Too Big? Public bank advocates want to see cities invest in Main Street, not Wall Street.

For Shelly Browning, it’s been a long road from the Arab Spring to the Occupy Movement to Santa Rosa’s support of a public banking bill now under consideration in Sacramento. Browning’s a Santa Rosa small-business owner who’s been active on the public banking front for years and says her inspiration to get Santa Rosa to divest from Wall Street banks begins in Cairo’s Tahrir Square—and ends, perhaps, with an eventual “North Coast” public bank that would exist alongside Chase and other Wall Street banks.

She’s been meeting with city leaders to raise awareness of the public banking bill. Browning was moved, she says, by the small-businessman who was arrested in Tunisia for failing to have a permit in 2011, and whose suicide sparked protests in Egypt that then gave rise to the Occupy moment in the United States. The economic forces that gave rise to Tahrir Square are the same that are driving the push for public banking: All roads lead to
Wall Street, while Main Street
gets crushed.

“Private banks’ mandate is to serve the shareholders,” says Browning, who runs a foreign language–translation service that does business with the state. “Public banks’ mandate is to serve the public interest.”

Assembly Bill 857, authored by Assemblymen David Chiu and Miguel Santiago, sets out to create a regulatory framework to allow California to license public banks that would give cities the option to stop doing business with the likes of JP Morgan Chase and Wells Fargo, and invest taxpayer money into local communities instead of Wall Street banks.

Chase and Wells Fargo have significant investments in the so-called “extreme fossil fuel” industry, which includes coal mining (Chase) and fracking.

A public banking law would make good on the California Public Banking Alliance’s slogan of “Our Money. Our Values. Our Bank.” That’s the idea, anyway. The getting there is a different story, and, upon review of the city of Santa Rosa’s investment portfolio, it’s a story that’s as much about investment as it is about divestment, given Santa Rosa’s high-performing investments in foreign banks with big investments in extreme fossil fuels.

The public banking bill sailed through the state assembly with support from local assemblymen Jim Wood and Marc Levine, and now rests in two senate committees, awaiting a hearing and a vote. It’s a feel-good bill of sorts and a pretty safe bet given that it doesn’t require anyone to do anything. The bill merely opens the door to localities who’d like to pursue the option. It’s gotten endorsements from a handful of cities around the state, including Oakland and Santa Cruz, and from the California State Democratic party as a whole. The California Banking Association and the state’s community banks have come out in opposition, though Browning notes that a handful of community banks around the state have individually endorsed the bill. None of the North Bay’s community banks, including Redwood Credit Union and Exchange Bank, have weighed in on the bill.

The bill is now parked in the Senate Government and Finance committee chaired by North Coast Sen. Mike McGuire. McGuire’s office did not respond to requests for comment.

If signed into law, the bill would allow municipalities to apply for a banking charter from the California Department of Business Oversight. The bill encourages those entities to partner with credit unions to extend credit to communities and their residents, and, says Browning, provides the opportunity to build a socially and environmentally responsible banking system, “by enabling cities and counties in California to recapture public dollars and reinvest in their local communities.” Residents would rely on community banks for their personal banking needs, and the local public bank could, for example, offer residents stock options for local schools, instead of making investments in the booming domestic dirty energy economy.

Browning envisions a North Coast bank that could serve Sonoma, Mendocino and Humboldt counties. Santa Rosa, as the largest city in the tri-county region, would be the key to make this dream a reality. As a practical matter—and based on the North Dakota public bank that’s held as a model—the well-versed Browning explains that there’s a scalability issue with public banks; you need a sufficient tax base to generate the revenue needed to support a commercial lending institution in the public domain. North Dakota’s 100-year-old state-run public bank is a success in a state with a population of 750,000. The aggregate population of Sonoma, Mendocino and Humboldt counties is right around that same number. It’s a heady idea that’s taken hold of the public imagination around the state. Imagine, says, Browning, being able to buy stock options in local schools from a municipal or regional bank—instead of endless rounds of higher taxes levied on residents to pay for school services.

But even as the Santa Rosa City Council voted to support the bill this week, the focus on divestment from the fossil fuel industry raises questions about the city’s investment strategy. Since the wildfires, the city has made big investments with banks that invest in fossil fuels—the same fuels that are linked to the rise of climate change-fanned fires. The city, however, says one has nothing to do with the other.

According to city documents, Santa Rosa has made more than a dozen investments in foreign-owned banks that invest in the unclean end of the fossil fuel industry. And, it banks with the single largest financier of fossil fuel industries, JP Morgan Chase, according to a comprehensive study on fossil fuel investments by domestic and foreign banks.

According to its May 2019 investment report, 13 investments in banks such as UBS, Credit Suisse and the Bank of Montreal total $43 million from interest-bearing securities (certificates of deposit) that are earning between 2.6 and 3.9 in interest. Of the 13 investments, 11 were made after the 2017 wildfires that punched a $20 million hole in Santa Rosa’s $122 million operating budget. The post-fire investments range from between $3.25 million with USB and $4.2 million with the Royal Bank of Canada, both of which are detailed in a new study, Banking on Climate Change: Fossil Fuel Report Card 2019, for their poor showing in the extreme-fossil-fuels department. As of last month the investments had accrued nearly $480,000 in interest. Despite the timing of the investments—most took place through 2018—the city says they had nothing to do with fiscal fallout from the 2017 wildfires.

Banking on Climate Change is an annual analysis undertaken by the Rainforest Action Network that details domestic and foreign banks’ investments in various fossil fuel industries and grades them on their climate change awareness as reflected in those investments. Most of the 13 foreign-owned banks that Santa Rosa has invested taxpayer money in received poor grades in the report because of their fossil fuel investments. Browning notes the benefits brought to bear by the nation’s only public bank, the Bank of North Dakota, which came into the public spotlight during the Standing Rock demonstrations that peaked at the end of 2016.

“There is an alternative,” says Browning, and time is running out to adopt it. “We’ve got 12 years to turn it all around,” she adds, a reference to the accepted wisdom of our time that says climate change impacts will really start to accrue in about a decades’ time. “The time is now to turn it around.”

Banking on Climate Change reports that Chase is the nation’s leading financier of the nation’s booming domestic energy industry, with $64 billion in total investments. Wells Fargo is not far behind at $61.4 billion. A review of the city’s investments reveals that they’ve gone into business with some of the least environmentally conscious foreign banks in the world after the 2017 wildfires. Except for one bank.

The Nordea File

There’s one bank that Santa Rosa does business with that doesn’t appear anywhere in the extreme fossil fuels report, but that does appear in numerous investigative reports that tell a different sort of dirty-business story—raising another set of questions about the city’s investment strategy.

In December 2016, executives from Nordea visited Standing Rock and stood in solidarity with the Sioux and their blockade of the pipeline. Before reporters, the company warned is fund managers to divest from any company associated with the pipeline. The climate-change divestment movement took note. The environmentalist-journalists at Ecowatch reported that “Nordea had put companies behind DAPL on watch,” and in early 2018, Nordea made good on its word and banned its fund managers from investing in firms tied to the Dakota pipeline.

Stateside news reports on Nordea’s altruism made no mention of the banks’ connections to the Panama Papers, or to money laundering allegations associated with the bank. For those reports, you’d have to turn to the Scandanvanian-based Yle News and the Organized Crime and Corruption Reporting Project, whose detailed reports on Nordea read like they are straight out of a footnote to the Steele Dossier, with allusions to Russian oligarchs, money laundering and possible organized crime.

Just this month Yle News updated its previous reports on money laundering allegations with a report on a data dump that revealed “a secret network of shell companies that have funneled billions of euros through the global banking system,” using shell accounts in Nordea banks. The bank has denied any wrongdoing.

Did Nordea’s pro-Sioux posture influence the city’s decision to invest $5.8 million with the bank that same month? Santa Rosa communications director Adriane Mertens says it did not.

The Nordea CD was scheduled to mature on Nov. 30 2018, and paid a 1.72 percent interest rate on the investment. According to city documents, at the time of the October 2017 wildfires, the Nordea investment was losing money.

The investment reports indicates that in February 2018, the city sold $3.25 million of its poorly performing Nordea security back to Nordea Bank of Finland, and then reinvested the $3.25 million in Nordea Bank AB NY, at a yield of 2.72 percent. That note is due to mature in February 2020. The new investment left $2.25 million of the initial 2016 investment with Nordea Bank Finland at the original, 1.72 rate of accrual. By April 2018, both investments were earning a positive yield.

Investments in these negotiable CDs are managed by the city’s outside investment advisor, Public Finance Management (PFM), says Mertens. “The inclusion of these securities is consistent with the objective of managing a diversified portfolio,” she adds, and the city’s been investing in the negotiable CDs “since at least 2012.”

Santa Rosa city council member Julie Combs weighed in on the city’s investments as Santa Rosa was expected to pass a resolution in support of AB 857. “We have established a socially responsible investing policy several years ago under a different council,” she says. “At the time I believed the policy was not clear enough and it has a loophole that is not made clear,” she adds, without identifying the loophole. The city council approved the new rules even after Combs tried to get an investment criteria added to the rules that would require the investments be “socially beneficial.” That effort failed.

Combs is supportive of the concept of a regional public bank and supports AB 857, but recognizes the challenges, adding that she’s “aware of trying to ensure we bank locally as much as possible, but many of our local banks and credit unions are not able to work with the large sums because they must have more cash on hand than they do. They are insufficiently capitalized.”

The city defends its investment in banks with ties to the extreme fossil fuel made in its name by Public Finance Management, and says the timing of the investments had nothing to do with the 2017 wildfires, Nordea’s posture around DAPL,
or any other factor other than the fiscal health of the city. “The events and circumstances referenced in [your questions] caused no change in investment strategy,” says Mertens. “All the negotiable certificate of deposits in the portfolio meet the investment advisors credit criteria and the inclusion in the portfolio is consistent with the city’s investment objectives. These types of securities are widely held by public agencies with objectives similar to Santa Rosa.”

The investments underscore the difficulties inherent in divesting from the fossil-fuel industry as the public bank moment in California gains steam in Sacramento, San Jose, Oakland and at Santa Rosa City Hall. Combs notes that “the activities of the top big banks in fossil fuels and many other activities gives us limited, to no options regarding large, socially responsible banking options. We are truly stuck between Scylla and Charybdis until a public banking option is available.”

For public banking advocates like Alison Malisa, it’s time to bring those legendary sea monsters to heel. She’s a Sebastopol teacher with a background in economics who, like Browning, was moved by the domestic activism of Occupy that was itself inspired in part by the Arab Spring. There’s a triple bottom line at play, she says—people, profits and the planet. She repeats the public banking mantra—Our money, our values, our bank—and says that whether it’s the city or Chase bank, fossil fuel investments present a stark choice during stark times: “It’s either a vicious or virtuous cycle,” she says.

Right Moves

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Shakespeare’s Romeo and Juliet has been the source material for umpteen movies and plays. The tale of star-crossed lovers had its most successful theatrical iteration with the 1957 Broadway musical West Side Story, which is playing now through July 7 at Santa Rosa’s 6th Street Playhouse.

Groundbreaking at its time for its innovations in dance and music and its frank addressing of social issues, Arthur Laurent’s version of Romeo and Juliet transplanted Shakespeare’s Verona to New York’s Upper West Side and transformed the feuding Montague and Capulet families into rival white and Puerto Rican street gangs. Leonard Bernstein composed the music, Stephen Sondheim’s lyrics made their Broadway debut and Jerome Robbins handled stage direction and choreography. West Side Story was then followed by a multi-award-winning film adaptation.

Casting requirements (and the possible criticism of “whitewashing”) along with a very difficult score make West Side Story an extremely challenging show to produce, and Jared Sakren surmounted these obstacles, in part, by casting numerous Latinx performers in this production. Program bios indicate many of these performers are in, or graduated from, the Santa Rosa Junior College theater arts program, or participate in their high schools’ drama or dance programs. This results in a wide range of on-stage actor experience and, while it shows, it proves to have been a tradeoff worth making.

Jonah Robinson (as Tony) and Carmen Mitchell (as Maria) have significant training and experience behind them and it shows. Both exhibit fine voice, though I found Mitchell’s accent a bit forced at times, and Robinson was plagued with microphone issues at the performance I attended.

Good character work is done by Denise Elia-Yen as Anita (despite also suffering from sound issues), Justin Thompson in the dual roles of Lt. Schrank and Gladhand, and Al Kaplan as Doc. Notable among the younger cast members are Benjamin Donner (Chino), Katerina Flores (Consuela), and Noah Sternhill (Action).

Joseph Favalora’s choreography honors Robbins’ original work while making the necessary adjustments for the varied dance experience of the large cast. Favalora was fortunate to have a number of experienced dancers to literally do the heavy lifting.

Music director Ginger Beavers and a seven-piece orchestra more than meet the challenge of the Bernstein/Sondheim score and fill the house with such classic numbers as “Maria”, “Tonight”, “America”, “I Feel Pretty” and “Somewhere”.

Despite the obstacles any production of West Side Story faces, the 6SP artistic team has managed to mount a pretty respectable production.

Rating (out of 5):★★★&#189

Kaiser Could be a Model

The pending strike by psychotherapists at Kaiser hospital has highlighted the ongoing challenges members have in accessing services. Most of the proposed solutions include staff recruitment, retention and compensation. While necessary, in the long run these strategies fall short. If the goal is to improve mental health outcomes, then the solution requires a wider lens. Here are my suggestions:

Every medical unit would have a designated mental health professional. We need a 24/7 mental health urgent care system in person and online that is actively promoted as crisis intervention. Contract with a network of private providers and adequately compensate them to provide services for members with mild or moderate issues. Clinicians should be able to work part-time. Kaiser therapists should focus on specific populations such as those with severe mental health issues, those with complicated co-occurring physical and mental health or medication issues, and those who can’t find a therapist through the network. Treatment plans should indicate individualized services that are not based on what is available. Each Kaiser member should be entitled to four hours a year assistance for problems such as transportation, childcare and employment problems that can impact on mental health.

Kaiser members contract to receive all medically necessary and appropriate services, sometimes paying high premiums and out-of-pocket costs. Kaiser won’t pay for them to go outside of their system. Kaiser is not keeping its end of the contract and is missing an opportunity to develop a national model.

Rohnert Park


Tickled by
Pickles

I want to compliment writer James Knight on the “Pickle People” article (June 12) and his writing. It was informative and I’ll try the pickled stuff, but mostly it was a treat to read. Some of the turns of phrases are so clever and funny that it kept me happily reading in anticipation of the next ones.

Fairfax

I Have a Plan

What’s better than raising the minimum wage (“Minimum Rage,” June 12)? Reducing rents! Why? Because: Nobody says lower rents would force employers to cut staff. Nobody says lower rents would feed into higher prices for the poor. When you allow for income tax and withdrawal of welfare, a dollar saved is worth much more than a dollar earned. By definition, the benefit of lower rents isn’t competed away in higher rents as a rise in wages would be. Landlords might even try claw back the “gross” increase in wages Lower rents mean lower barriers to job creation. Jobs can’t exist unless (a) the employers can afford business accommodation, and (b) the employees can afford housing within reach of their jobs, on wages that employers can pay.

And how do we reduce rents? Impose rent control? No! That makes it less attractive to supply accommodation. But a tax on vacant lots and unoccupied buildings makes it less attractive not to supply accommodation. Better still, the economic activity driven by avoidance of that tax would broaden the bases of other taxes, allowing their rates to be reduced, so that the rest of us would pay less tax.

Via Bohemian.com

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

Sole Man

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Two years ago, Petaluma-based singer-songwriter and bandleader Saffell seemed to have it all.

On the surface, he had a great relationship to the band members in his piano-driven

funk-rock ensemble. Gigs were coming, fanbases were growing, but Saffell found himself struggling personally and creatively.

“I got to the point where I’d been grinding so long like all musicians do,” he says. “I knew I wanted to keep doing it, but it was the way I was doing it. Something wasn’t working.”

So, he stopped to take stock and says he had to find a new balance in the joyful-versus-jaded approach to making music. For that, he stepped into the unknown, turning Saffell into a one-man show both live onstage and on his new LP, Lay It on the Line, which he debuts on Saturday, June 22, at Twin Oaks Roadhouse in Penngrove.

“There was a sound I had in my mind, of an album that I always wanted to make, but it required a lot more production, and I never had the money to do that,” says Saffell. Once the band dissolved, Saffell returned to the idea of that album just as he was gifted some recording gear and found a cheap grand piano. Suddenly, he had the tools he needed, and he spent the last two years diving deeply into the engineering side of recording, mastering live-looping and embracing the electronic effects that would become the basis for much of Lay It on the Line.

“I didn’t want to end up with a bedroom demo,” he says. “I wanted to have the time to learn, explore, investigate and reach those sounds.”

Keeping the music funky and fun, Lay It on the Line sounds like a full band effort in its made-from-scratch beats and blips, while also keeping the emotional core of Saffell’s songwriting intact.

“The trick is not to get lost in the tech,” he says. “I stayed rooted in the songwriting. I want the song to be able to live and breathe with just me, the piano and my voice.”

That said, the upcoming album-release show promises lots of techno-flair, with Saffell performing with synthesizers, organs and live-looping and with opener Sebastian St James and analog-visual artist Bill Wiatroski projecting real-time modulated images.

“One thing worth mentioning, live-looping is not meant to replace a band,” says Saffell. “I think it’s its own craft, as a different kind of artistry.”

Saffell performs on Saturday, Jun 22, at Twin Oaks Roadhouse, 5745 Old Redwood Hwy, Penngrove. 8pm. $8. saffellmusic.com.

The Walking Meh

Like the zombies it depicts, Jim Jarmusch’s The Dead Don’t Die is dead on its feet and ambles toward no clear destination. The existential nonchalance of Jarmusch’s many films (Down By Law, Only Lovers Left Alive, Patterson) harmonizes well with love stories of bemused, alienated characters. But it doesn’t quite work with horror-show material.

“Centerville, Population 738: A real nice place”, reads the welcome sign. Fans of Zappa’s 200 Motels—this one’s for you. When Chief Cliff Robertson (Bill Murray) and officer Ronnie (Adam Driver) investigate a chicken theft, the mild-mannered pair are easily run off by the accused thief, Hermit Bob (Tom Waits), who’s living in the bushes. As they head back to the cop shop, the policemen worry about the unnatural amount of daylight and televised reports that polar fracking may knock the globe off its magnetic axis. “This isn’t going to end well,” says Ronnie.

Other signs and wonders mirror troubling disturbances in the small town, until Chief Robertson stumbles into a hole in the cemetery and discovers the dead gophering their way out of their graves.

For unknown reasons, the ensuing zombie attacks make the two cops more laconic than they already are. Officer Mindy (Chloe Sevigny), the other member of the three-cop police force, is the only one who actually expresses emotions and she alone faces the hordes of walking dead with some degree of hysteria.

By the time the fourth wall is broken—a tacit admission that the film isn’t working—The Dead Don’t Die has regressed from puzzling, to just plain dull. Though zombies have served as a parody of hypnotized consumers for 40 years now—ever since the first Dawn of the Dead—Jarmusch can’t find new flavor in this long-standing cliche.

Jarmusch tries his usual method of directing warm, humane actors as they negotiate a zone of vagueness and disconnectedness. It doesn’t work here, even with celebrity zombies including Selena Gomez, Carol Kane and Iggy Pop. From foreshadowing to end-game turkey shoot, it’s an exhausting movie.

‘The Dead Don’t Die” is playing in limited release.

Deep Roots

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Need evidence that cannabis is now fully in the mainstream? The Museum of Sonoma County has debuted a summer-long exhibit on the weed’s local and national history.

It will likely blow minds both in and out of the cannabis industry with stunning photos and pithy quotes about hemp and cannabis from the likes of botanist Luther Burbank, novelist Jack London—who loved hashish—and the Emerald Cup entrepreneur genius Tim Blake.

The exhibition is supported by many of the usual North Bay suspects: Mercy Wellness, CannaCraft, Fiddler’s Greens, Lagunitas Brewing Company, Rogoway Law Group and Sonoma Patient Group.

I can claim some credit for the exhibit that’s billed as “Grass Roots: From Prohibition to Prescription,” which traces how we as a culture got into the pot mess and how we’re slowly digging our way out. Nearly 10 years ago, I suggested to the museum’s history committee that it was imperative to mount an exhibit devoted to marijuana. “You planted the seed,” says Eric Stanley, the co-curator of “Grass Roots,” a week before the show opened. “The idea has always been in the hopper. Now is a perfect time for it to become a reality. We’re post Prop-64, and, as a society, we’re trying to figure out where we go from here.”

If 2019 is a perfect time for “Grass Roots,” Santa Rosa is a near perfect place for it. After all, for more than 50 years cannabis has been grown both indoors and outdoors, in and around Santa Rosa by farmers of
all kinds and not just by first-, second- and third-generation hippies. The city has also provided, unintentionally, the locations of hundreds, if not thousands, of clandestine deals where cash and cannabis changed hands.

Conveniently located between the vast cannabis-growing regions to the west and the north, and the huge markets to the south, Santa Rosa has for decades been a truck stop on the cannabis highway. Much of that story has never been told in print or on film. Some of it might never be told. Dealers have disappeared. Records are non-existent and the black market days of old have faded. Still, the Museum of Sonoma County has located a trove of long-hidden materials.

In fact, the “Grass Roots” exhibit breaks new ground, though the Oakland Museum of California hosted a cannabis show in 2016 and helped raise awareness with voters who approved of Prop 64 in November of that year. The museum brings the history, the politics and the culture of cannabis to visitors who’ve never entered a dispensary nor understood the lyrics to Little Feat’s 1978 hit, “Don’t Bogart That Joint.” After all, it’s not everyday that marijuana memorabilia appears in a museum as a subject for serious attention.

Forestville’s Nathan Henry Silva installed much of the exhibit and says he enjoyed nearly every moment of it.

“I have a personal connection to the topic,” he says as he holds a power drill in his right hand. “My parents used marijuana and I use it, too, so it’s not totally new to me. But I’m learning a lot of the history as I work. I’m glad to see that marijuana users are being de-stigmatized and people are realizing that cannabis is less harmful to minds and bodies than alcohol.”

Stanley learned the hard way that mounting a cannabis exhibit was more challenging than many of the other exhibits he’s curated. Over the last few months, he’s been a detective looking for clues and evidence to tell a vital story.

“A lot of the history of cannabis has been underground,” he says. “People who have been involved haven’t documented their activities. Sometimes we can’t find the kind of solid, reliable information, like names and dates, that are necessary for a museum.”

Still, members of the community have come forward, offered their expertise and shared hundreds of posters, flyers and photos, some of which will be displayed. Vince Dugar, an amateur archivist from Petaluma, offered his cannabis collection of memorabilia. Joe Rogoway’s Santa Rosa law office made a cannabis timetable for the exhibit and Sarah Schrader from Americans for Safe Access handed over a box of her old photos.

“Sonoma had a medical cannabis ordinance in 1993, six years before the state,” Schrader says. “I’m excited that the exhibit will highlight some of the pioneering role that our county has played.”

With help from Schrader and others, Stanley has uncovered a treasure of cannabis lore, legend and real products manufactured in Sonoma County, including a remedy for corns concocted by a Sebastopol pharmacist more than 100 years ago. Stanley also unearthed an 1883 news story from The Press Democrat about a 12-foot hemp plant that grew in Santa Rosa, prompting locals to wonder why hemp wasn’t grown as a commercial crop.

“Grass Roots” is divided into five sections that cover almost everything related to cannabis including its origins, classification, medical use and commercialization.

Commercialization is what’s happening now. There’s also a section at the end of the exhibit that Stanley calls “a fun space” that has humorous cartoons, like those of the stoned hippie icons, the “Fabulous Furry Freak Brothers” who appeared in underground newspapers in the 1960s and ’70s.

Co-curator Brian Applegarth is as excited about the exhibit as anyone else at the museum. A cannabis tourism pioneer and historian, he says, “As we go forward into the multi-billion dollar global hemp and marijuana industries, we need to remember the history and the pioneers and preserve the positive values of the past so they aren’t swept away.”

What are those values? “Reverence for nature, appreciation for sustainability and mindfulness,” Applegarth says.

Forty-five years ago, when I first saw cannabis cultivated in direct sunlight in Sonoma County, I never imagined the day would come when it would be the star of a museum show. We’ve come a long way since helicopters raided gardens and sheriffs deputies’ arrested growers, took them to jail in handcuffs and stigmatized them as the enemies of society. Maybe there’s hope for the future of cannabis, after all.

Reflux Redux

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Whiskey fans have even more reason to celebrate the arrival of summer on June 21, when Sonoma Distilling Co. officially reopens for tours and tastings.

The first time I visited the distillery’s new digs in Rohnert Park, founder Adam Spiegel stood in a then-empty corner of the warehouse beneath a large overhead crane, and promised there’d be a bar and tasting room there the next time I stopped in. A month later, there’s a bar in the corner alright, but the crane’s still suspended above it, a leftover from the previous tenant, a machine shop. And it’s still a warehouse, not the expensively-styled artisanal whiskey lounge I’d pictured.

That’s the right style for Spiegel. It’s bare-bones, it’s industrial, it’s authentic, says the whiskeymaker, who’s rebranded Sonoma Distilling Co. (formerly Sonoma County Distilling Co.) yet again, this time with a simple, somewhat retro label. The company’s singular new-and-shiny luxury piece is around the corner—a 3,000 gallon copper still. Spiegel designed the one-of-a-kind gleaming behemoth himself; Forsyths in Scotland built it after await of a few years—the customer in line before him was Macallan.

The body of the still is based on those used by Highlands distiller Glenfarclas, while the top mimics the 250-gallon traditional alembic stills which now handle the secondary distillation, Spiegel explains on a tour of the facility. But with increased volume, he’s actually brought prices down.

So, how about that whiskey? Hang on. Tours, and the transparency of the operation to consumers, are important to Spiegel, who says he’ll be jumping in now and then to relieve his tasting room manager, and lead groups of up to 12 visitors himself. He’s sure to point out that the new fermenting tanks, constructed in Healdsburg, capture ambient yeast from the Rohnert Park air, and to note that leftover water is used by a local farmer.

Got it. Now, the whiskey? Sonoma Distilling Co’s signature spirit is the all-rye Sonoma Rye Whiskey ($39.99), made with 20 percent malted rye. It’s a dry, minty rye with the structure for cocktails, but with a vanilla cream soda note to please the neat sipper. The Sonoma Bourbon ($39.99) is only on the slightly sweeter side, and the Cherrywood Rye ($49.99) is made with malted barley that’s smoked onsite with California cherry wood, to evoke a Manhattan cocktail or a slightly smoky Scotch—just the right style for me.

Sonoma Distilling Co., 5535 State Farm Dr., Rohnert Park. By appointment at 11am, 2pm and 4pm, Friday–Sunday. $15. Schedule a tour and tasting at sonomadistillingcompany.com or call 707.583.7753.

New Outdoor Venue Coming to Downtown Napa

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This Summer, Rock & Roll Hall of Fame members The Steve Miller Band and country legend Marty Stuart & His Fabulous Superlatives perform in the kick-off concert for a new series of outdoor events at Napa’s newest outdoor venue, the Oxbow RiverStage, located at the Oxbow Commons in the heart of historic downtown Napa.
The festival-style venue, which will hold up to four thousands attendees, opens with the two headlining icons on August 25, and the producers of the forthcoming series, Blue Note Entertainment Group and Another Planet Entertainment, have announced that this inaugural 2019 season will feature both ticketed and free concerts, spanning many genres of music.
More concerts will be announced in July. Tickets for the August 25 concert go on sale Friday, Jun 21 at 10am and can be purchased at OxbowRiverStage.com, Ticketmaster.com and at the Blue Note Napa box office located at 1030 Main Street in downtown Napa.

Local Mixers

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The conversation around locally sourced food and beverage products is so much about organic microgreens, heritage pigs and that sort of wholesome, farmers market stuff. Nice, yeah, but how about the booze, the icy cocktails that are shaken, not stirred, and served up in that very international symbol of tippling, the martini glass?
To answer this pressing question, I narrowed the field of cocktails to five unfussy, mostly standard-issue drinks you’d order in any bar, anywhere, with the stipulation that both booze and mixer—garnish, if possible—be North Bay-made, and presented samples in little plastic cocktail cups to a group of Bohemians.
Gin and Tonic
This citrusy, balanced, not too sweet and very summery refresher was the hands-down favorite. The gin was the easy part—Spirit Works Distilling of Sebastopol makes one from organic winter wheat. It has a sweet nose, big on coriander, with a vanilla note and a silky mouthfeel—if you can believe I’m still talking about gin, here. Finding a local craft tonic alternative to the mass-market, high-fructose corn syrup or artificially sweetened brands was the hard part. I asked Phaedra Achor, maker of Monarch Bitters in Petaluma, if she knew of any. “I make a delicious tonic syrup!” she replied. Her product is a concentrated syrup made with organic cane sugar and organic lemon peel, plus herbs and bark. It’s customizable—just add carbonated water to your liking. I liked best a mix of one-half ounce syrup to 4 or 5 ounces soda water—a higher dose seems to suppress the bubbles. The only local fail here is the lime—ask friends and neighbors if they’ve got a rare lime tree, or more likely, a Meyer lemon tree tucked away in the yard.
Runner up: Bummer & Lazarus gin, a grape-based spirit from Raff Distillerie of San Francisco, is more forward with green herbs and crushed juniper leaf aromas, and lends a more medicinal character to the G&T. H.O.B.S. gin, from Healdsburg’s Young & Yonder Distillery, is also juniper forward, but the aroma here is a bit too “medical” for my taste, reminiscent of depressing well drinks from dive bar days gone bye-bye.
When I asked a bartender for a ready-to-go list of classic cocktail recipes, I was at first disappointed that he couldn’t offer advice unless he’d tasted all of the components to make sure the balance was correct. But when I started mixing, beginning from recipes cribbed from the International Bartenders Association (IBA) and Wikipedia, I not only understood, but also was more excited about the project. Mixing an all-local cocktail is more than just a feel-good subbing of a craft spirit for a corporate brand—it’s a whole new cocktail.
Just for kicks, I mix 3 ounces gin with 3 ounces club soda, and 1 ounce Monarch tonic syrup, and find it’s just hard to overdo it on that Spirit Works.
Martini
Forget about where the martini was invented—Martinez or San Francisco—because we can reinvent the martini right here in the North Bay. Let’s start with 2 ounces Spirit Works gin, again, but where to find the vermouth, besides those bottom shelf brands that smell like stale wine breath? It’s rare—just 67 cases of Paul Hawley’s side project, Menagerie white vermouth ($22), were made from fortified Sonoma County Sauvignon Blanc and Viognier, but it smells just as pretty as you’d expect from those grapes, plus a whiff of fresh fennel.
Mixed at 2 ounces gin to one-fourth ounce vermouth, this martini was clean and pretty, and it’s even nice at the old-school ratio of two to one. But it’s almost too pretty too dirty up with a splash of juice from McEvoy Ranch’s spiced olive blend. Vodka partisans will find Spirit Works’ vanilla-scented vodka makes the martini so pillowy and soft, a thin slice of Meyer lemon peel is the better garnish.
Like it dirty? That’s where Young & Yonder’s H.O.B.S. gets its turn to shine in the neon light. The Menagerie warms the aroma, but it retains that cool, alcohol edge, and can take an olive or two. Alas, the Raff had a bummer reaction to this particular vermouth.
Manhattan
Years ago, I liked Manhattans for about a week before I tired of the sickly-sweet vermouth. Menagerie red vermouth ($22), made from Sonoma County Zinfandel, is wholesomely delicious with real red cherry-like fruit, scented with fennel, and is not at all sweet.
The Bohemian Manhattan is a fairly dry and adult beverage matching 1 part vermouth to 2 parts Sonoma Distilling Sonoma rye. Monarch provides the bitters. The “dash” of bitters called for in the recipes was too subtle, however, so I consulted Achor—she likes to add at least 5–10 drops, and that was about right for her aromatic bitters, which round out the palate like an oak addition in wine. This is very dry with less vermouth—Sonoma rye stands up to a 2 to 1 mix, with Monarch’s cherry-vanilla bitters adding a tease of a sweet topnote. It’s cherry season, so go find a fresh one for garnish instead of the grotesquely colored candied kind.
Sazerac
Sonomify this New Orleans cocktail with 2 ounces Sonoma rye, and just one-fourth ounce of Raff’s Emperor Norton absinthe adds more than enough green herbal notes (Young & Yonder also makes a fine absinthe). Instead of Peychaud’s bitters, Monarch’s bacon-tobacco bitters, which does not contain nicotine, contributes a leathery note, like a smoky Johnnie Walker.
White Russian
The dude abides in the North Bay, if you skip the vodka and just pour Griffo Distilling’s Cold Brew coffee liqueur, made from their grain-to-glass distilled vodka and Equator Coffee’s mocha java, over ice. No syrupy Kahlua-like liqueur, Cold Brew smells transparently like coarse-ground medium roast coffee. Add a splash of Straus Family organic cream to tie the whole drink together.

The Bohemian Manhattan is a fairly dry and adult beverage matching 1 part vermouth to 2 parts Sonoma Distilling Sonoma rye. Monarch provides the bitters. The “dash” of bitters called for in the recipes was too subtle, however, so I consulted Achor—she likes to add at least 5–10 drops, and that was about right for her aromatic bitters, which round out the palate like an oak addition in wine. This is very dry with less vermouth—Sonoma rye stands up to a 2 to 1 mix, with Monarch’s cherry-vanilla bitters adding a tease of a sweet topnote. It’s cherry season, so go find a fresh one for garnish instead of the grotesquely colored candied kind.SazeracSonomify this New Orleans cocktail with 2 ounces Sonoma rye,

New Jam

0

Welcome to the Neo-Heathen Male Bonding and Drumming Society’s annual camp out, where a dwindling group of aging death metal fans communes in the desert to ceremoniously beat their bongos, reveal their deepest fears and failures, pass around a really big stick and pay tribute to the Egyptian lord of death. But unbeknownst to the membership, this year’s recruit—AKA “The New Bitch”—is actually Anubis, the lord of death himself. Will anyone make it out alive? Let the mead flow and the rituals commence!

Outrageously funny and surprisingly poignant, Drumming With Anubis makes its world premiere at Santa Rosa’s Left Edge Theatre through June 30. Local playwright David Templeton (and occasional Bohemian contributor) has crafted a clever tale as unique as it is hilarious, imbuing grave material with carefree humor, indelible humanity and ample room for heartfelt reflection.

Under the capable direction of David L. Yen, a well-matched ensemble scores with impeccable pacing and lively action. Chris Schloemp is hysterical and endearing as the tribe’s makeshift leader, “Chick,” chanting “Dethdog” songs around the campfire. Nick Sholley delivers a touching performance as arthritic Neil (“Professor”), earning laughs with his steadfast recitation of group regulations. Leather jacket-clad Anthony Martinez brings the right amount of fragile masculinity to macho “Bull,” and Richard Pallaziol is the perfect fit for reformed alcoholic “Stingray,” whose wide-eyed reactions and strange obsession
with a cooler add much to the
general amusement.

Mark Bradbury shines as Anubis, evolving from innocuous to ominous and ultimately sympathetic. In fact, the lord of death turns out to be a pretty complicated dude. But he’s not the only unexpected guest at this year’s retreat, nor is he the only one harboring a secret. When no-nonsense Nicky Tree (Ivy Rose Miller, also excellent) shows up to crash the party, everything tumbles out into the open.

Argo Thompson’s static set is appealing and immersive, brought to life by Schloemp’s beautiful projections. Costumes reflect clear attention to detail, aptly chosen by Sandra Ish. Technical work is commendable, too, thanks to Joe Winkler’s desert nightlife sounds and April George’s seamless lighting.

To put it bluntly, there is nothing about this show that isn’t highly enjoyable and remarkably good. It’s a one-of-a-kind, must-see production.

Rating (out of 5): ★★★★&#9733

“Drumming With Anubis” runs through June 30 at Left Edge Theatre. 50 Mark West Springs Road, Santa Rosa. Fri & Sat, 8pm; Sun, 2pm.
$25-$40. 707.546.3600.

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New Jam

Welcome to the Neo-Heathen Male Bonding and Drumming Society's annual camp out, where a dwindling group of aging death metal fans communes in the desert to ceremoniously beat their bongos, reveal their deepest fears and failures, pass around a really big stick and pay tribute to the Egyptian lord of death. But unbeknownst to the membership, this year's recruit—AKA...
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