Natural Appeal

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Nestled in the foothills of Sonoma Mountain since 1979, Coturri Winery might, by contemporary California standards, be said to be a winery of a certain age. The scene on the cellar floor, however, is positively antediluvian.

“It’s astounding to me,” winemaker Tony Coturri says approvingly of his new collection of amphorae, buried in the dirt floor of his cellar in between stacks of tarnished oak barrels that are looking fairly ancient too. “For 8,000 years they’ve been using these things.”

These clay vessels are actually quite younger than that—brand-new, shipped from the nation of Georgia, where wine made in the beeswax-lined fermentation vessels is enjoying a renaissance among new fans of old traditions.

Coturri says he’s been getting interesting results from the odd-looking ovoids—a cloudy fermentation cleared up after the full moon, for instance. But how to clean these things, when they’re buried deep in the earth? Luckily, he’s got a lanky assistant in the person of Caleb Leisure, a globetrotting young winemaker who, after stints in France, has been helping Coturri to reboot the winery in the last two years to meet increasing demand for the “natural” wine category.

Coturri grants that that he’s been called the godfather of natural wine, a loosely defined term that generally means wine made without added yeast or sulfites. When you’ve got good grapes, says Coturri, there’s no need to add sulfites.

Yet after Leisure lifts a heavy glass cover off the clay seal of an amphora to extract a sample of a firm, flavorful 2017 white wine that was fermented on its skins, he tops it with inert gas with the greatest of care. Even in this rustic setting, hygiene, not sulfur, is the key, says Coturri, relating what a Southern California wine distributor told him: “Tony, your wines are a bridge between conventional and natural wines—because they’re so clean, you can’t tell they’re natural.”

Strangely enough, there isn’t much of a market for such wines in the North Bay, Coturri says, even if he was the poster boy—or poster graybeard—for organic winemaking pictured on the wall of the local Whole Foods‚ until he pointed out that they no longer carried his wines.

An everyday red blend from Mendocino and Sonoma County fruit, the non-vintage Sandocino North Coast Lot No. 2 ($25) smells like mixed berries in a bed of hay, and brings me right back to the first Coturri Zins I sampled from a folding table they’d set up in the Sonoma Plaza for some wine event or other, about 10 years ago. Or is there something about this aroma more ancient than that?

Find Coturri wines at Crocodile Restaurant in Petaluma, and at coturriwinery.com.

Green Dawn

As we head into 2018, we find ourselves, in this part of the world, embarking on a journey that’s been millennia in the making.

Cannabis—possibly our oldest cultivated plant ally, a camp follower to the core, a plant in which we have a receptor system designed specifically for—has taken to the mainstream and garnered the attention of a global audience of patients and detractors. Its future begins here, in California, the nucleus of contemporary cannabis culture,

From a grounded state of an
8 to 1, CBD to THC ratio, this is what I see as I look back at how we got here and where we are going.

We have smashed taboos and proclaimed, through experience and wisdom, now supported daily by new medical science discoveries, that cannabis is a medicine and is the key to reclaiming autonomy over one’s health and vitality. Through this, we have unlocked the power of cannabinoids, following our nose into the therapeutic abilities of terpenes, embracing the entourage effect of whole plant medicine. Understanding how and why our endocannabinoid system functions and is tuned through cannabis has reopened alliances with the rest of the plant and fungal worlds. Cannabis is the great potentiator.

California cultivators grew more cannabis this past season than any place ever has. It’s been a full-scale agrarian takeover, monumental and unrivaled in the history of plant medicine.

Yet this is a moment of duality and uncertainty. Medical or adult-use? Renegade or regulation? Raging against the machine or assimilating with it? The challenges this new era poses, especially to the localized economies and individual members of the cannabis community, are daunting. Yet this move to legality demands creativity, community and collaboration. Innovation spawns from perceived catastrophe. The unbounded ability for the cannabis community to shine is exciting to imagine.

It is my belief that we, myself included, are doing the bidding of the plant herself. We have placed her in our bodies, minds, communities, economic and political systems. The abundance of resource, the catalyzing of effects medical discovery and the community support created by this moment is real.

This is what brings me the most joy contemplating this inevitability. We get to show the world how this is done. So in true California fashion, let a wild rumpus begin!

Patrick Anderson is a lead educator at Project CBD and patient consultant at Emerald Pharms.

Shifting Sands

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All is quiet on a breezy winter morning at Lawson’s Landing in Dillon Beach as land-use negotiations continue to play out between the Lawson family and the California Coastal Commission.

In its latest appearance before the 12-member commission in November, Lawson’s long-in-the-works wastewater-removal plan was rejected because it reportedly posed a threat to federally endangered red-legged frog habitat.

I spent the morning with Lawson’s lead legal consultant and self-described environmentalist Tom Flynn and the affable Mike Lawson, a co-owner of the grounds, touring the variegated acreage and getting the rundown on their plan for a new wastewater system after the coastal commission shot down their latest iteration of the plan.

To hear the pro-Lawson’s forces tell the tale, Lawson’s has been working in good faith to come into compliance with various upgrades and state demands since 2008 when the Environmental Action Committee of West Marin (EAC) appealed a Marin County Board of Supervisors’ decision to approve low-cost camping on about 90 acres in the 950-acre property.

Lawson’s has been in operation since the 1950s and mostly serves out-of-town campers rolling in from the Central Valley. It’s a wind-scrubbed haven near the mouth of Tomales Bay that features camping, fishing and boating, and hosts a boat livery and machine shop for boat repairs.

The site had numerous environmental issues that predated the takeover of the facility by a younger generation of Lawsons. A sand-mining operation has been shuttered. Numerous old bathrooms have been shut down and hundreds of camping spaces have been closed in order to accommodate the demands of the coastal commission.

The Lawsons submitted a Coastal Development Plan (CDP) that was approved by the commission in 2011 and which set out the contours of a plan that would keep Lawson’s in business, while addressing environmental-remediation issues over a period of years and projects.

Over the following six years, the family tried to meet the demands of both the EAC and the Coastal Commission, says Flynn, as it set out to bring the facility into full compliance with environmental law, and which included retiring some old bathrooms in sensitive camping areas. This transition at Lawson’s appeared to reach its most physically obvious and painful nadir when the Lawsons removed the last of the funky old legacy trailers from the site in 2016 as part of the 2011 agreement.

In early December, the place felt like it was lost in a limbo as the latest coastal commission vote represented a “back-to-the-drawing-board” moment for the Lawsons and Flynn. They’ve been busily sussing out a new pathway for the wastewater pipes that won’t run afoul of the commission, by avoiding areas that the coastal commission says would unduly impact the frogs. In the transition from the old wastewater system (which has been removed) to the new one (which has yet to be approved), Lawson’s has leaned heavily on portable toilets for its guests.

As for those old funky trailers, the idea was to replace them with higher-end cottage-trailers, says Lawson, and to expand the camping areas to accommodate tent campers.

Those spots now remain vacant, save for the addition of some picnic benches. It’s the slow season and the biggest crowd they’ve seen lately were the 500 or so folks who showed up after getting burned out in the North Bay fires.

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Scott Hochstrasser, a former Marin County environmental review officer, submitted a letter to the coastal commision that summed up the history at Lawson’s to date, and the pro-Lawson’s frustration at the EAC. Hochstrasser wrote that Lawson’s was “an appropriate place for expansion of visitor-serving facilities including overnight camping and boating, providing appropriate environmental resources were protected and sewage disposal facilities were improved to State Regional Water Quality Control Board standards.”

The latest setback for Lawson’s ensued after the commission voted 8–4 against a wastewater-treatment plan that was prepared by the hydrologist recommended by the EAC, says Flynn. In the meantime, says Mike Lawson, the family has been making all sorts of improvements to the business. Lawson’s is now hosting a Friday-night beer-and-oysters shindig, offering succulent bivalves from its recently upgraded camp store. And they’ve put in new picnic tables with great views of Tomales Bay for day-use adventurers who head to this remote little part of Northwest Marin County.

The Coastal Commission vote and push by local environmentalists to reject the Lawson’s wastewater plan has given rise to what pro-Lawson’s forces describe as a “move the goalposts” dynamic.

The characterization is not shared by the EAC, says the organization’s director, Morgan Patton.

At issue in the latest ruling is the fate of a resident population of red-legged frogs and making sure a wastewater system doesn’t impact their habitat.

On the one hand, Lawson’s was given permission to build new camping spaces under that part of the California Coastal Act that guarantees coastal access to all. But the Coastal Act also restricts development in “environmentally sensitive habitat areas,” which is exactly where the frogs currently reside.

In essence, the original 2011 agreement with Lawson’s set out to find a balance between the two Coastal Act edicts, and hinges on the installation of a new wastewater-removal system in wetland areas that host the ponds that the frogs populate.

Flynn cites reams of documents and counter-arguments to the coastal commission, as he says the wastewater plan was supported by commission staff, but that a push from local environmentalists swayed a few of the commissioners.

In a bristling op-ed in the Marin Independent Journal that followed the commission’s no-vote, Flynn also claimed that the Lawson’s plan to protect the frog was even superior to the one offered by the EAC. During a visit to the facility, Flynn and Lawson pledged to continue to work with the organization to find a solution to the wastewater dilemma, and they’ve already set out to offer a revised plan to transport wastewater to a place where it can be properly filtered before re-entering the watershed.

In his letter to the Coastal Commission, Hochstrasser accused the EAC of setting out to “exclude rural property owners from succeeding to provide low-cost, visitor-serving recreational opportunities on coastal lands for future generations who live outside of Marin County.” In effect, he accused the EAC of trying to drive Lawson’s out of business.

The EAC’s Patton notes that the latest offering from Lawson’s had two problems: the impact on frog habitat, and a preexisting conflict-resolution process enshrined in the Coastal Act that was already adjudicated in the original deal with Lawson’s.

That was the heart of the 2011 resolution between the competing demands of the Coastal Act, she says, when Lawson’s was given permission to develop recreational camping in wetlands areas, and also agreed to build a new wastewater system along with other environmental upgrades.

“The EAC has worked with the Lawsons along the way,” says Patton, strongly dismissing any notion that move-the-goalposts chicanery is afoot, or that the EAC is indifferent to the recreational needs of out-of-town beachgoers. “We are supportive of what they are doing. We just want to make sure it’s in the appropriate place that’s not damaging the habitat.”

Patton says that the EAC is simply trying to hold the Lawsons to the agreement they signed in 2011 that set out their Coastal Development Plan.

“It’s not moving the goalposts,” she says. “It’s looking at the
CDP.”

Dirty Ice

A “much ado about nothing” movie, I, Tonya retells the true-life tale of the assault on skater Nancy Kerrigan in winter 1994, when a hired thug wielding a baton tried to get the Olympic athlete out of the way of her rival, Tonya Harding.

Over 20 years later, the circumstances of the assault are still murky, swamped in he-said, she-said details. Here, the story is heightened by frame-breaking. Its star and co-producer, Margot Robbie, strangely excels at direct address to the camera, as in The Big Short, when Robbie took a bubble-bath to better concentrate the minds of viewers while she explained the concept of the sub-prime mortgage.

Those convinced by Suicide Squad that Robbie couldn’t act will be astonished by the glittering, scowling vehemence she brings to this performance. It’s furious, and yet it’s never monotonous; she’s dead impressive as a talented woman whose troubles were arguably not her own causing.

I, Tonya reminds us of the scope of Harding’s achievements as a skater, as well as the way her dirt-poor Portland upbringing skunked her with the patricians in charge of the world of figure skating. But the movie adds pleading for Harding. First, it focuses on the battery she took from her mother (Allison Janney, a deep-down dirty figure from a melodrama—hissable but hard to believe). The abuse continues from her porn-‘stached husband, Jeff Gillooly (Sebastian Stan), whom mom warned Tonya about.

To the camera, Tonya denies she took a potshot at Jeff, even as we see her pumping the smoking shell out of the shotgun. After the scandal, we see her short-lived career as a boxer. The best known of Tonya’s bouts was the foxy-boxing match she did with Monicagate veteran Paula Jones for a loathsome reality show on Fox. There’s juicy material in Harding’s story, but director Craig Gillespie’s quest for excitement muddies the water.

‘I, Tonya’ is playing in wide release in the North Bay.

The Race Is On

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Standing in front of an 11-foot-tall Christmas tree, former Los Angeles Mayor Antonio Villaraigosa laid out a vision for housing and redevelopment in California, surrounded by a living room crowd of mayors, city councilmembers, county supervisors, former politicians and Democratic heavyweights.

Villaraigosa, a leading candidate in the 2018 California governor’s race, came to Santa Cruz for a meet-and-greet at the home of former county treasurer Fred Keeley, a friend of Villaraigosa going back to their days in the state assembly together. Villaraigosa preached an “all-of-the-above strategy” to bring down housing costs.

“If you don’t have a strategy of ‘all of the above,’ we’re really not going to deal with this crisis,” Villaraigosa said in a brief interview, after speaking and answering questions from the crowd. “Everybody talks about homelessness, everybody talks about the housing crisis, and we’re not treating it like it is a crisis, like it’s an emergency.”

Villaraigosa is campaigning in advance of the June 5 primary election. If no candidate receives more than 50 percent of the vote, the top two candidates will go to a runoff in November.

Villaraigosa, 65, said he remembers buying his first home in a far different housing market at age 24, just by saving up—something he knows is impossible for most young people in 2017.

He has big ideas for how to make housing affordable once again. Some are hotly contested topics like increased housing density and building along major transit corridors.

He broke that plan into five bullet points:

• Put together a housing trust fund. Create a statewide revenue source to fund affordable projects.

• Bring back redevelopment in what Villaraigosa calls “Redevelopment 2.0.” Even though the original decision to ax redevelopment programs was a controversial one, Villaraigosa knows that bringing it back won’t be easy, because legislators have already gotten used to having the nearly $2 billion a year that comes from local property tax. Still, he hopes to restore those tax increments—some of which used to go to affordable housing—to local governments. If elected, Villaraigosa hopes to restore the program, with the support of mayors from around the state, while eliminating the excesses that Gov. Jerry Brown had criticized while unveiling a plan to gut redevelopment in 2011.

• Encourage cities to plan “smart growth” housing construction. Cities that want to access state money would need a plan for affordable housing. That would include building for a variety of lower incomes, adding density and building along major transportation corridors. “Every mayor here, every councilmember here knows part of why we have a crisis,” Villaraigosa said. “Because the more affluent communities, with single-family dwellings, constantly complain about the lack of housing, homelessness, and then push back every time you try to build. And the fact of the matter is you’ve gotta build.”

• Introduce regulatory reform. Require that local governments quicken permitting for proposed projects. Villaraigosa said the state also needs to look at reforming the California Environmental Quality Act, without weakening environmental requirements.

• Make everyone pitch in. Under his plan, Villaraigosa said he would not give a pass to the affluent communities that don’t want to build “smart growth” and affordable housing. Villaraigosa said they will “have to put money in a kitty for the region so they can build that housing.”

Just hours earlier that same day, the Los Angeles City Council approved a linkage fee for new development that will charge developers between $1 and $15 per square foot, depending on the type of project and location. Villaraigosa supports that approach and says these tools are important, even though they could get in the way of housing construction if they’re too cumbersome.

“You gotta find the balance,” he said. “Obviously, if it’s overly bureaucratic—that’s the argument that a lot of developers make. New York has inclusionary zoning. Probably a hundred cities in the state have inclusionary zoning. Let’s look at the best practices, let’s look at the places that are doing it well. I agree there is no question that some of these things could have the effect of delaying and raising the cost of housing. But in a crisis like this, we can’t let the perfect get in the way of the good.”

The idea of building may not go over well in all corners of the state, but Villaraigosa’s fellow candidate, Lt. Gov. Gavin Newsom, has also called for a housing boom. Newsom, who leads Villaraigosa in the polls, says California needs to nearly quadruple its housing construction.

The race also includes state treasurer John Chiang, former state schools chief Delaine Eastin, attorney John Cox, and Assemblymember Travis Allen.

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Villaraigosa on the Issues

On support for the state’s public universities

“I’m a product of UCLA. I was going to UCLA when our tuition was $275 a quarter. Even with that, we had Cal Grants. I think we’re going to have to really figure that out.”

On pension reform

“If you talk to College Futures, and you ask, ‘What are some of the biggest driving costs for higher education?’ it’s pensions. When I was mayor, we were looking at a bankruptcy. At the time, I said, ‘Not on my watch.’ I was going to have to lay off 5,000 employees out of 37,000 folks. I worked with our unions, and I said, ‘Look I don’t want to lay off people, but we’re going to have to do something.’ Under our constitution, you can’t take away someone’s pension. It’s an earned right, so you have to give them something of like value. So what I gave them was early retirement, and they went from 6 percent to 11 percent. Not everyone’s going to agree with it, but the fact of the matter is a progressive is going also to have to balance budgets. And we’re going to have to acknowledge that she [pointing to a young woman] has a right to a decent pension [too].”

On high-speed rail

“I’m the guy who said, ‘We’ll build a subway.’ In the middle of the recession, we put a half-penny sales tax, generating $40 billion, built four light rails, lined one busway. We’re in construction on two more. I’m the infrastructure candidate. Having said that, we have to drive down the costs in value engineering. I think we have to look at a public-private partnership. . . . I do think we’re going to have to think out of the box in terms of cost.”

On the race

“When I go to faith leaders, and they say, ‘I want to pray for you to win,’ I say, ‘No, pray for wisdom.’ Pray for that. I’d love your vote, but you know what I want you to do? I want you to pay attention.”

Top Torn Tickets

Another year of theater has passed, and I’ve got a cigar box filled with torn ticket stubs. It’s time to reflect on the shows that moved me most to laugh, cry and change my view of the world. I present, once again, my 10 favorite theatrical experiences of the last 12 months.

‘Bondage’ (AlterTheater) Gorgeously written by playwright Star Finch and directed with passionate ingenuity by Elizabeth Carter, this world premiere opened in the spring, but has stuck with me all year long. With surreal, dreamlike staging and lyrical prose that flows like poetry, Finch, Carter and a brilliant cast breathed compelling, compassionate life into the story of an enslaved 13-year-old girl on an island plantation, and her relationship with the childhood friend who is strongly encouraged by relatives to take the role of “owner.” By pleasant happenstance, Bondage is being restaged by AlterTheater Jan. 13–20, at ACT’s Costume Shop Theater in San Francisco. altertheater.org.

‘The Birds’ (Main Stage West) Directed by Elizabeth Craven and stunningly well-acted, Conor McPherson’s eerie and unnerving adaptation of Daphne du Maurier’s taut tale of ornithological apocalypse was tense, exciting, terrifying and, at times, sad and beautiful. The chilling sound design by Doug Faxon lets us hear the birds we never see but quickly come to fear as much as the four survivors whose story we watch unfold.

‘In The Heights’ (Santa Rosa Junior College) Lin Manuel Miranda’s joyous celebration of the people who live, love and dream in New York’s Washington Heights was gorgeously and energetically staged by Santa Rosa Junior College. Fueled by hip-hop and dancing, director John Shillington, musical director Janis Wilson and their vast multicultural cast brilliantly presented the North Bay with its best musical
of 2017.

‘Native Son’ (Marin Theatre Company) Nambi E. Kelley’s urgent and elegant adaptation of Richard Wright’s game-changing 1940 novel—which tells the tale of a frustrated, furious Chicago black man on the run from the law and the press who sensationalize his story, and thus unleash a racist rabble—was beautifully told in this shattering MTC production, viscerally directed by Seret Scott.

‘Peerless’ (Marin Theatre Company) A little bit Macbeth, a little bit Hunger Games, this wicked satire by Jihae Park skewers America’s current dog-eat-dog academic system. Directed with dizzying razzle-dazzle and breathless pace by Margot Bordelon, it easily ranks as one of the year’s most savagely unforgettable plays.

‘You Got Older’ (Left Edge Theatre) Claire Barron’s drama about growing up in a kooky family, directed with breezy warmth by Argo Thompson, was weird but wonderful, kinky but kind, with an ending that was as lump-in-the-throat breathtaking as it was sweetly satisfying.

‘Paggliaci’ (Cinnabar Theater) Ruggero Leoncavallo’s operatic tragedy about infidelity and jealousy among a troupe of clowns, directed with aplomb by Elly Lichenstein, was paired with an immaculately staged silent clown–comedy presented by Clowns on a Stick. The first was beautifully sung and the second was drop-dead hilarious—an unlikely but effective pairing that demonstrates Cinnabar’s ongoing commitment to opera and to shaking things up now and then.

‘Little Women’ (Spreckels Theatre Company) Spreckels’ delightful musical adaptation of Louisa May Alcott’s classic tale of the March sisters was charmingly staged with musical simplicity (a piano, a cello and a violin) and a huge amount of humanity and warmth, generously supplied by director Michael Ross, musical director Lucas Sherman and a strong cast powered by first-rate voices.

‘Becky’s New Car’ (Sonoma Arts Live) Steven Dietz’s fresh and funny comedy about a woman suffering a midlife crisis—the kind usually only talked about when men are doing it—was given a gregarious and highly entertaining production
courtesy of director Carl Jordan and a coy cast who knew how to play against expectations for
maximum comedic impact. A
real charmer.

‘The Odd Couple’ (Cinnabar Theater) Neil Simon’s classic classic comedy was up-to-date and as funny as ever in director Jennifer King’s sprightly and open-hearted production. I’ve seen this show half a dozen times, and have never enjoyed it as much as here, with a stellar cast giving some of the best ensemble work of the year. This is how to make an old play seem new again.

Letters to the Editor: January 3, 2017

What a Year

Thanks, Tom (“The Year in Review,”
Dec. 20). You’ve recapped a momentous year that we are all looking forward to putting behind us. Now I’m relaxed.

Via Bohemian.com

Humans Before Institutions

Alan Wayne and Paul Livingston got letters printed in your Dec. 27 edition. Although Mr. Wayne only hinted at it,
Mr. Livingston actually brought out the old communist boogeyman. I do not want to get rid of either the market or the central government. I don’t think either of them is inherently evil. I am not a communist, but that doesn’t mean I don’t think Marx ever made any good points. Like all of us, he was sometimes right and sometimes wrong.

One of the things he was right about is that human institutions are just that—human institutions. Money and the market are human devices intended to aid in the distribution of goods and services among the population. When they are not serving the interests of a given society, it makes sense for that society to change how they are being managed. In a democratic republic, it is up to the representatives of the people to manage the above-mentioned institutions for the good of the society as a whole, not only for the good of those obsessed with the accumulation of money and power. To put human institutions above the humans they are intended to serve is one of the prime foundations of authoritarianism.

Santa Rosa

Journey
Not Over

Wondering where the coverage of Journey’s End mobile home park has gone? No news story of the fire in the last month, in any local media—KSRO, the Press Democrat, the San Francisco Chronicle or the Bohemian—mentioned how these victims are doing. Where are they? What is their situation now? Surely they deserve more recognition.

The omission is glaring in some cases. For instance, “Resilient City” in the Bohemian’s Dec. 13 issue read: “[T]he city adopted an ordinance aimed at speeding up reconstruction . . . [that] created a ‘Resilient City Combining District’ that loops Coffey Park, Fountaingrove, Oakmont, Montecito Heights and the Round Barn/Highway 101 corridor into a special building zone.” Not a mention of Journey’s future. Where is Journey’s End in the mix?

Santa Rosa

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

New Light

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Folk songwriter and multi-instrumentalist John McCutcheon cannot keep himself from singing. Since 1975, McCutcheon has written, produced and put out a staggering 39 albums, and his latest, Ghost Light, is slated for release in early February.

“I had not planned on making [another] album this year,” says McCutcheon, whose last album, Trolling for Dreams, was released in early 2017 to some of his best reviews. McCutcheon’s thought-provoking and socially conscious approach to storytelling music continues with Ghost Light, written last spring after McCutcheon led a songwriting camp.

“In the closing of camp, people wanted to know how we keep this up,” says McCutcheon, referring to the inspiration to write music such as they produced in the camp’s setting.

In response, McCutcheon shared the story of Vedran Smailovi, known as the “Cellist of Sarajevo,” who, in 1992, performed a piece of music every day for 22 days in a bombed-out downtown Sarajevo marketplace after a mortar round killed 22 people there during the Bosnian War.

“It was a vigil, it was a defiant thumb in the eye of the violence surrounding him,” says McCutcheon. “This is what musicians can do, and must do, in fact. So if you want an exercise, honor that. Sit down and make music every day.”

McCutcheon took his own advice, and on May 27 last year, the 25th anniversary of that bombing, he began a daily songwriting exercise. Ghost Light is the result, and the 13 songs that make up the album are some of McCutcheon’s most revealing and heart-wrenching tales yet.

Songs like “Burley Coulter at the Bank” and “She Just Dances” examine seemingly mundane events that relate larger ideas of loss or joy in their presentation. McCutcheon’s penchant for activist songs comes through in tracks like “The Machine,” which addresses the rise of white nationalism in the U.S. over the last year through the perspective of a WWII veteran and references “This Machine Kills Fascists,” a message that Woody Guthrie wrote on his guitar in 1941.

Ghost Light also features a collaboration of sorts with Guthrie, as McCutcheon transformed 10 lines of unused lyrics from Guthrie’s archives into the song “When My Fight for Life Is Over.”

McCutcheon calls himself an anachronism for his prolific output, but he has no plans of slowing down any time soon.

“In this world where people don’t buy CDs anymore, I’m putting out these things still believing in the power of a group of songs, telling a story, that’s greater than the sum of its parts.”

The Unmediated

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Last week, as the holiday loomed and the news was pretty much all bad, I left the office in Santa Rosa for a homefront vacation notable for its descent into an immediate no-media sloth. I had one agenda, and a seemingly counterintuitive one for a news-gathering professional: in a desperate act of self-care, I resolved to commit to a total news-media blackout for five days.

Friends, that is harder to do than it sounds. But I stuck to it, and over the Christmas break did not tune in to CNN or Fox or MSNBC, or scan the New York Times or the Guardian. There was no Washington Post to toast, no Rachel to revel in, no Politico, Salon, Slate, New Republic, Nation, or L.A. Times. There was no Vox, no Vice, and no Vogue, either. I said no to the New Yorker, the Atlantic and the National Review, and blew off PBS too.

I also pledged to avoid Breitbart (not so hard) and would derail any hostile sneers I might be inclined to send in the direction of Drudge. For the sake of purity (and to indulge my obsessiveness to its nth degree), I refrained from checking out the local Press Democrat. Hell, I didn’t even pick up the latest issue of this paper, or spend more than two minutes screwing around on Facebook over the break.

Total media blackout means just that, and I’d recommend it to anyone feeling that familiar sense of dread whenever the subject of President You-Know-Who comes up. There’s nothing like letting go of it all and taking a long walk in the woods instead.

I just looked at the calendar, and Lent is still six weeks away. But I’m in the mood for giving stuff up now. After five gloriously media-free days, I feel fresh and clean and un-befouled of the sinful vapors that have stunk up the American-discourse joint over the past couple of fake-news years. I’ve returned from the desert.

If I could continue my no-media fast, I would. But duty calls as the haranguing, taunting headlines are coming hard and fast again. The afflicted are in need of comfort, and the comforted are in need of a can of California whup-ass. That’s where we come in. And so I’m breaking my media fast in the new year with a spin through the latest issue of Madthe paper of record for our times, and perhaps the most trusted source for news this side of the Bohemian.

Tom Gogola is news editor for the ‘Bohemian.’

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.

U.S. Court of Appeals rejects Sonoma County appeal in Andy Lopez case

In the latest development in the Andy Lopez civil lawsuit, The U.S. Court of Appeals for the Ninth Circuit has rejected a petition from Sonoma County attorneys that would have put a recent 2-1 appeals court decision in favor of the Lopez family, to a so-called “en banc vote from an 11-judge appeals-court panel.

This setback for the county is a significant development in the ongoing lawsuit against Sonoma County and an officer with the Sonoma County Sheriff’s Office.
Lawyers for the family of Andy Lopez filed paperwork in federal court several weeks ago asking that the Court of Appeals reject the county’s petition for a so-called “en banc” ruling.

A three-judge panel had ruled in favor of the Lopez family late in the summer in a ruling which would have kicked the case back to U.S. District Court for a civil trial. The county appealed and asked for an en-banc hearing, and the court ruled las week that it would not rehear the case.

The federal civil trial would be held to determine whether Erick Gelhaus can be held liable in the death of Lopez, who was killed by the SCSO officer late in 2013 while carrying a replica toy rifle in the Roseland neighborhood. The youth was also carrying a replica handgun.

The appeals court ruled earlier this year, 2-1, that there were enough facts in dispute to warrant a review by a civilian jury at the U.S. District Court. The county in turn appealed that decision and asked for the en banc proceeding, now rejected, by the judges who first heard the appeal. Two judges were against it, and one was for it.

“The full court has been advised of the petition for rehearing en banc and no judge of the court has requested a vote on it,” reads the paragraph-long ruling issued on Dec. 22.

Sonoma County, which has spent upwards of $4 million in taxpayer money to defend the SCSO and Gelhaus, against the Lopez suit, now has to decide whether to settle the case with the Lopez family, take its chances before the civilian jury at the District Court in Oakland—or appeal again and try to find an audience before the U.S. Supreme Court.

The latter is an unlikely scenario given that the Supreme Court, according to the U.S. appeals court website, “typically will agree to hear a case only when it involves an unusually important legal principle, or when two or more federal appellate courts have interpreted a law differently.”

The basic factual issues that would be presented to a jury center on whether Lopez was pointing his replica weapon at Gelhaus at the time he was shot, and whether the child had time to comply with a police order that he drop the weapon.

Natural Appeal

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Last week, as the holiday loomed and the news was pretty much all bad, I left the office in Santa Rosa for a homefront vacation notable for its descent into an immediate no-media sloth. I had one agenda, and a seemingly counterintuitive one for a news-gathering professional: in a desperate act of self-care, I resolved to commit to a...

U.S. Court of Appeals rejects Sonoma County appeal in Andy Lopez case

In the latest development in the Andy Lopez civil lawsuit, The U.S. Court of Appeals for the Ninth Circuit has rejected a petition from Sonoma County attorneys that would have put a recent 2-1 appeals court decision in favor of the Lopez family, to a so-called “en banc vote from an 11-judge appeals-court panel. This setback for the...
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