Resilient City

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Santa Rosa is a resilient city. It’s also a Resilient City.

In the aftermath of October’s devastating fires, the city adopted an ordinance on Oct. 24 aimed at speeding reconstruction in areas impacted by the disaster. The ordinance 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 with a streamlined permitting process and various “resiliency initiatives.”

“We are dedicating additional resources to those residents who are trying to rebuild homes lost in the fire,” says Santa Rosa Mayor Chris Coursey. “At its core, our effort is to help the city bounce back from what is an obviously serious blow.”

Toward that end, the city has created a Resilient City Department to oversee building permits, inspections and other functions for those affected by the fires. The city’s Planning Department will handle non–fire related business.

The resilient city ordinance waives many fees associated with building permits and inspections and exempts projects from state environmental review, which can add time and money to projects. The ordinance “exercises the land-use powers of the city to protect the health, safety and welfare of the public which would be put at risk if fire-damaged neighborhoods were not quickly repaired and repopulated.”

The ordinance further declares the legislation won’t be detrimental to the public interest because it “will provide a means by which to restore portions of the city damaged by the fires to their previous land uses and intensities, with modifications for compliance with current code and added resiliency.”

There’s that word again.

“Resiliency” is having a moment in urban-planning circles much like “sustainability,” another buzzword of late. Google searches for “resilient” have never been higher.

The term “resilience” appears to have moved from the fringe to the mainstream. Resiliency, however it is defined, is part of growing range of social movements and nonprofit organizations but Santa Rosa’s efforts are not aligned with any one group or organization.

“It’s not connected to any particular movement or agenda,” Coursey says. “It’s an aspirational term.”

The Rockefeller Foundation launched its 100 Resilient Cities campaign in 2013 to support cities around the world to become more resilient to physical, social and economic risks and challenges.

The Transition movement that began in the English town of Totnes in 2006 has become an international network of “transition towns” that aim to become self-sufficient in the face of perceived threats of peak oil, climate change and economic instability. The guiding principle of the movement is building “resilient communities.”

“No one was using the term transition or resilience 10 years ago,” says Carolyne Stayton director of Transition US, which is based in Sebastopol. “Over time, a term does get watered down. It’s just the life cycle. That what happens when something gets more mainstream.”

But she’s happy to see the term spread.

“It’s great to see it used more in the mainstream. I think it’s a good thing overall.”

The organization held a forum on Dec. 12 at the Sebastopol Grange called “Celebrating Resilience” that featured Sebastopol Mayor Una Glass, Post-Carbon Institute fellow Richard Heinberg, and Bob Stilger, author of AfterNow, a book about recovering from the Fukushima disaster. While the event was designed as a festive fundraiser, October’s fires served as a backdrop.

“Resilience as a planning and managing priority for cities is on a meteoric rise, with NGOs, governments, planners, managers, architects, designers, social scientists, ecologists and engineers taking up the resilient agenda,” wrote New School urban ecology professor Timon McPhearson on the Nature of Cities blog in 2014. He cautioned against supplanting the term for sustainability, lest it lock cities into “undesirable trajectories, away from sustainability.”

He cites discussion after Superstorm Sandy hit New York and New Jersey to build massive sea gates to protect the region against future storm surges, a huge technical fix with serious ecological side effects.

“Resilience needs to be linked to sustainability so that the resilience we are trying to plan and design for actually helps us more toward desired future sustainable systems,” McPhearson wrote.

In addition to “bouncing back,” the definition of resilience refers to the ability of a material (or presumably a city) to resume its original shape or position after being bent or stretched. Santa Rosa’s resilient city ordinance calls for rebuilding to “previous land uses and intensities,” albeit up to new city and state codes.

Given that climate scientists predict more wildfires of greater ferocity, should the city resume its original shape? Would that make the city more resilient to future calamities like fires, floods and earthquakes?

Coursey says the city is discussing additional measures beyond the ordinance to become more resilient, such as how to exceed building code requirements to meet the state’s 2020 “zero net energy” mandates for new home construction without passing financial burdens to residents.

“If we can find funding, we’d like people to build to that code,” he says.

David Guhin, Santa Rosa’s director of planning and economic development, says resilience informed the city’s priorities before the fires. He approaches the term on a systemic, citywide basis.

“We approach most things with that term in mind,” he says.

While the city’s resilient city ordinance is focused on helping residents rebuild, is rebuilding in fire-vulnerable areas like Fountaingrove or Montecito Heights an example of resilience or folly?

The new housing and fire codes enacted after homes in those areas were constructed will better prepare newly constructed homes from future calamities, Guhin says.

“Codes makes building in those areas more resilient,” he says. “We have to continually look at how we build a sustainable community that understands those potential risks and mitigates them to the best of our ability.”

Haz Matters

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Local physicians and labor organizers charge that workers cleaning toxic debris sites from the North Bay fires may be—and may have been—inadequately equipped for the task at hand.

Invoking the catastrophic 2001 terror attacks in New York City, Dr. Panna Lossy, a family-medicine resident at Sutter Santa Rosa, submitted a letter to the Sonoma County Board of Supervisors this week which noted that long-term exposure to toxic materials “can compromise lung function irreversibly and may lead to an increased risk of prostate and thyroid cancer as well as multiple myeloma.”

Lossy expressed concern over recent reports about the ash-removal cleanup now underway, where “workers who are cleaning up the toxic debris left by the devastating wildfires may not be provided with adequate protective gear . . . It is important to protect the hardworking crews from long-term consequences they many not be aware of.” A fire-related fact sheet from FEMA stresses that “crews are specifically certified to handle household hazardous waste.”

The worker-safety issue was highlighted after KPIX reported Dec. 4 on numerous environmental and safety issues disclosed to the Army Corps of Engineers during the first phase of cleanup. That report focused on work being done by Ashbritt, a Florida-based company, and featured a comment from Santa Rosa Vice Mayor Jack Tibbetts (pictured), who attested that he had observed contracted cleanup workers not wearing the proper safety gear.

California’s Division of Occupational Safety and
Health (Cal-OSHA) was looking into the charges, reported KPIX.

Glory Days

It’s like WWII, only fun! In Star Wars: The Last Jedi, the alt-right First Order has the rebels bottled up—”the RESISTANCE,” the title crawl says in capital letters, a stealth-howdy to anti-Trumpers. On the throne is Supreme Leader Snoke, a granddaddy version of Baby Eraserhead played by Andy Serkis. This moldy dictator faces the same problems Lord Vader had back in the day: sass from a supercilious general (Domhnall Gleeson) and disappointing results from a prize pupil, Kylo Ren (Adam Driver), who returned empty-handed from his mission to find Luke Skywalker.

In writer-director Rian Johnson’s entry in this series—maybe the strongest and sharpest in the 40-year-long epic—fractiousness abounds. Skywalker (Mark Hamill) sulks in his island monastery, overrun with cute space-puffins called porgs (the birdies turn the Millennium Falcon into their rookery). The noble finale of the last episode had Daisy Ridley’s Rey passing the lightsaber to the bearded hermit Luke. It’s picked up right where we left off: Luke tosses the unwanted weapon over his shoulder and vows that he will no longer teach the Jedi arts.

Eventually, of course, he changes his mind. Here, the Force is a spiritual discipline anyone awake can feel their way into. This is opposed to what could be called George Lucas’ single worst idea: making the Force into an inherited quality, found in aristocrats with midi-chlorians in their blood.

The rebels are a matriarchy now. When General Leia (Carrie Fisher, doing a lot of postmortem acting) is incapacitated by an attack, a new admiral takes over, Amilyn Holdo (Laura Dern), whose idea of an insurgent’s uniform is a lavender evening gown with ruffles. Dern carries herself like a goddess, but she has some strife with one of her rebellious pilots “a hot-shot flyboy”—Poe Dameron (Oscar Isaac).

The 1990s Star Wars entries had big-name actors, but they stood around like chess pieces. Watch Last Jedi and think, “My God, it’s full of stars.” Isaac has never looked better than he does here in the cockpit, stripping the cannons off the dreadnaught with his missiles, and later asking for more: “Permission to jump into an X-wing and blow something up.”

Rich with minutiae is a new wretched hive of scum and villainy, a casino planet. Johnson speeds the camera through like a drone so we can admire the fauna at this chimera-Vegas. One is a drunk little punter in evening clothes who mistakes the beachball-shaped android BB8 for a slot machine. Finn (John Boyega) and his new comrade, Rose (the show-stealing Kelly Marie Tran), who are there looking for help and end up arrested for a parking violation. In the lockup, they meet a scurvy yet adept thief (Benicio del Toro)—a jailbird who’s been inside enough times that he knows to sleep with his boots around his neck, so that they don’t get stolen.

Kylo Ren’s walking-wounded emoism looks even more handsomely thwarted than it did last time; to paraphrase Hunter Thompson, Driver has the embarrassing sensuality of a 13-year-old girl’s drawing of a horse. “You’re just a child in a mask,” jeers Snoke. As if stagecraft hadn’t impressed Snoke, too.

In a movie in which most of the interiors are cluttered with steaming, smoking aircraft, and gridded in with catwalks, Snoke’s throne room is an empty Cinemascopic hangar in glowing vermillion, with a few shiny flunkies in eyeless suits of crimson armor on guard. And there is a rumble to come on this dance floor, illuminated with light sabers.

As always in these spectacles, stuff is scribbled in the margins that makes it dense, such as a sea monster breaching and diving, unnoticed in the sea behind the cliffs Luke paces over. The movie recalls echoes of the first film: just as we first saw Luke on a planet of two moons, a double-sunset illuminates our last sight of the old knight. The movie’s richness invites more than one viewing. Johnson’s mature and questioning attitude illuminates this stirring movie about rebellion—reveling in the panache of suicide warriors as well as feeling for the choices of traitors and cowards.

‘Star Wars: The Last Jedi’ is playing in wide release.

Best for Last

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Some plays, not surprisingly, get a little old after a decade of repetition. Others, miraculously, get better.

The key, as evidenced by David Yen’s 10th annual performance of David Sedaris’ Santaland Diaries, at Left Edge Theater, is changing things up from time to time. Adding a fully stocked bar to the set one year, and using it. Adding a playful elfin striptease. Giving the audience silly and inappropriate elf names (Funky Little-Skank, at your service). Encouraging people to stand up, shout out loud and dance in the aisles, all while keeping things mischievously acerbic and politically incorrect.

A certified North Bay Christmas tradition, The Santaland Diaries—adapted by Joe Mantello from Sedaris’ hilarious radio essay—has certainly evolved over the years, even as it’s traveled through seven different venues. Under the playful direction of Argo Thompson, Yen first performed the solo show in 2008, as a pop-up production in a Santa Rosa art gallery. Since then, Yen and Thompson have carried their audience with them, with productions all over the North Bay. And now, for one final run, the show comes to Left Edge Theater, at the Luther Burbank Center for the Arts.

Yes, the final run. After 10 consecutive years of playing a disgruntled, unemployed actor forced to entertain unpleasant children as a holiday elf at NYC’s Macy’s Department Store, Yen has announced he will be hanging up his trademark striped tights and jingle-bell hat once and for all, but not before a last, profanity-laced, alcohol-fueled appearance as the world’s least enthusiastic denizen of the North Pole.

I have, to date, seen Yen in
five separate productions of
The Santaland Diaries. This
one, easily, is the best.

The script itself still carries a number of notable flaws, including some basic plotlessness, distractingly dated details and a tendency toward mean-spirited, sick-and-twisted humor when sick-and-twisted alone would suffice. Amazingly though, Yen and Thompson have gradually improved the joyously crass script, packing it with additional gags, infusing a surprising amount of depth and even a touch of genuine sweetness.

The best part, of course, is just watching Yen at work mixing drinks, dropping F-bombs and wry observations, lip-synching in German and having a blast.

Makes sense, right? After a decade, this is a role Yen wears as comfortably and colorfully as those crazy, trademark tights.

Rating (out of 5): ★★★★

Miming for Cheer

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It’s been a beloved Christmastime affair in its native England since the Middle Ages, but the art of panto, influenced by the ancient traditions of pantomime, is not well-known in the States.

Featuring staged musical comedy productions full of ribald humor as well as family-friendly sentiment, one of America’s best panto groups resides in San Francisco and annually presents glamorous shows based on classic tales like “Cinderella” each holiday season.

Now in its fourth year, Panto SF is debuting a colorful and outrageous adaptation of “Sleeping Beauty” this Christmas, starring drag legend Peggy L’Eggs as the evil queen Maleficent and featuring silly songs inspired by Bay Area history and iconic periods like the Summer of Love.

Before Panto SF runs its production at San Francisco’s Custom Made Theatre near Union Square, the cast comes to the North Bay for a special free preview performance aimed at bringing holiday cheer to families in the community who are healing and rebuilding from the fires.

Enjoy the magic of Panto SF on Saturday, Dec. 16, at the Arlene Francis Center,
99 Sixth St., Santa Rosa. 1pm. Free admission. pantosf.com.

Working-Class Act

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If there’s a musical job in the North Bay, Kalei Yamanoha is the man to do it.

The Sonoma County native is one of the busiest multi-instrumentalists in the region, working as a freelance musician and performing full-time in San Francisco western swing band the Vivants, Santa Rosa chain-rattling folk-punks the Crux and his own instrumental world-folk outfit Oddjob Ensemble.

Earlier this year,Bohemian readers bestowed Oddjob Ensemble with the NorBay Music Award for best folk band. Now, Oddjob Ensemble officially unveil their new album, The Silver Sea, with a show on Dec. 22 at HopMonk Tavern in Sebastopol.

Though Yamanoha began his musical journey by playing the guitar as a kid, his primary instrument these days is the accordion. He also sits in on banjo and trombone from time to time.

“I grew up in Cotati, right across the street from the accordion festival,” says Yamanoha.

That early exposure combined with an interest in Eastern European folk music guided him to the squeezebox a decade ago.

Yamanoha’s love for the accordion has translated into a part-time job at the Petaluma-based Accordion Apocalypse Repair Shop, though his main source of income is playing music as a hired hand both in studio and on the road. Two years ago, he formed Oddjob Ensemble to showcase his own creative work. “It’s my baby project,” says Yamanoha.

Writing melodies on the accordion, Yamanoha draws from his diverse musical experiences and the places he’s traveled, while crafting instrumental music around imaginative themes, such as The Silver Sea‘s maritime concept.

“There’s an underlying storyline with a lot of sea creatures and being on river boats that are taken over by ghosts,” says Yamanoha.

While the album is largely instrumental, Yamanoha’s accordion, joined by Ben Weiner’s percussion and Violette Morier’s bass, sounds like it was transported straight from a cabaret in early 20th century France or taken from a sea chantey sung on some ancient galleon. The album’s few tracks with lyrics tell very Lovecraftian-tales of mystery and wonder, and the record’s overall effect is that of a soundtrack to an epic adventure.

Like life imitating art, Oddjob Ensemble have just returned from their own adventure, a two-month tour of the United States that included highlights ranging from busking in the New Orleans’ French Quarter to getting robbed of six bucks in Harlem.

In spite of the recent fires, the band is happy to be home.

No Cheer Here

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In comedy, timing is everything, and the timing is so off in 6th Street Playhouse’s Mrs. Bob Cratchit’s Wild Christmas Binge, the fact that it manages to extract any laughs from its audience is somewhat of a Christmas miracle. Plagued with pre-production challenges ranging from a change in director to the untimely passing of its lead actor (Robert Finney), director Jared Sakren and his cast have done their best to present local audiences an option for alternative holiday fun.

Christopher Durang’s musical parody of Dickens’ Christmas Carol—with detours through the worlds of Oliver Twist, The Gift of the Magi and It’s a Wonderful Life—has not aged well since its 2002 premiere. Full of political and pop-culture references that might have seemed dated even then (Enron? Leona Helmsley? TV’s Touched by an Angel?), it follows Ebenezer Scrooge (Kit Grimm) on his Christmas Eve journey through his past as guided by an incompetent ghost (Debra Harvey, alternating with Serena Flores). Their visit to the Cratchit household reveals an angry and bitter Mrs. Bob Cratchit (Tika Moon), who’s fed up with her milquetoast husband (Conor Woods), their 20 children—most of whom live in the root cellar—and her lot in life.

Soon it’s off to the pub, where she’ll knock back a few followed by a London Bridge plunge into the Thames. Scrooge and Cratchit’s fates become intertwined, as Scrooge finds himself oddly attracted to his underling’s miserable wife and Mrs. Cratchit wishes she had never been born. The show concludes with a decidedly un-Christmas-like moral: you can be poor, loving and noble, or rich, mean and happy. God bless us, everyone!

Dickens’ original story is ripe for parody, and Durang does manage to mine a few silly laughs out of it, but this show never really gets off the ground. There are hints at what Ms. Harvey might have been able to do with the lead role of the ghost with sufficient rehearsal time, but the necessity of her reading from a script played havoc with the show’s pacing. Without a strong, central performance, it was left to the supporting cast to veer out on their own and bring the laughs. The most successful of those were Moon’s bitingly sarcastic Mrs. Cratchit, Laura Levin’s ebullient, cherubic Mrs. Fezziwig and Erik Weiss’ rubber-limbed not-so-Tiny Tim.

Credit to them and the entire ensemble for gamely marching on in the hopes of producing some Christmas cheer. While the punchbowl they’re serving it from is far from full, there’s at least enough in it for a couple of glasses.

Rating (out of 5): ★★

Called Home

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For nine years, Santa Rosa’s experimental performing arts group the Imaginists have housed their original dramatic works in the storefront space of
461 Sebastopol Avenue, in the South A Arts District.

“This building is very symbolic of the neighborhood,” says Imaginists executive director Brent Lindsay. “It’s always been a place where you can pass by artists’ studios and their doors are open, and you can inspire one another.”

That’s why, when the building’s owners, Mario and Liz Uribe, announced last January that they were selling it, the Imaginists embarked on a mission to buy it themselves.

“It was always a conversation on our end saying, ‘If you ever think about selling, please run it by us first,'” says Lindsay. With performance space a rare commodity, Lindsay knew that losing the lease would make things difficult for the group.

When the Uribes put the building up, the Imaginists started a capital campaign to raise the necessary funds to secure the building. They’re almost there.

In July, they received a grant from the William and Flora Hewlett Foundation for $235,000. The Imaginists were also approached by the Northern California Community Loan Fund, which has focused on saving art spaces in San Francisco and Oakland. The CCLF offered a short-term bridge loan for the Imaginists to help guarantee close of escrow, which is scheduled for February.

“The ways the numbers shake down, the bridge loan is $350,000. Our responsibility was to match that, and with the Hewlett grant, we were a little over $100,000 shy,” Lindsay says.

With that incentive, the Imaginists hope to raise the final funds at events like the recent Winterblast.

In the wake of the fires, the Imaginists met at their longtime home base, still filled with smoke, and committed to continuing with the plan. “We said, ‘It’s time to plant a tree,'” says Lindsay. “We need to plant a tree right now, so it bears fruit every year for this community that’s going to be healing for a long time. That’s what art does.”

This week, the Imaginists invite the community to partake in
A Shifting Reef, which opens Dec. 14 with formal rehearsals in a format where audiences can view it as a work-in-progress. Written by Lindsay, and based on his fascination with Jules Verne’s 20,000 Leagues Under the Sea, the new theatrical work tells a humorous and timely story about a rogue vessel of eco-warriors. The play touches on issues of climate change, with a focus on resilience and community strength that has new meaning in the face of the wildfires.

Dec. 7 & 8: Party Like It’s 1992 in Petaluma

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Music lovers in the North Bay have long called Petaluma’s Mystic Theatre & Music Hall one of the area’s best concert venues. It’s gone by many names over the last century, but this week the Mystic celebrates its 25th anniversary with several shows and fan-appreciation events. The shows start with hip-hop stars Bone Thugs-N-Harmony, performing on Thursday, Dec. 7. The next night, the 25th-anniversary party features tribute band Saved by the 90s and lots of free goodies from local sponsors. 23 Petaluma Blvd. N., Petaluma. Thursday, 8:30pm. $42–$48; Friday, 8:30pm. Free (two ticket limit). 707.775.6048.

Dec. 9: Hands-On Holiday in Healdsburg

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This weekend, the Healdsburg Shed hosts a packed day of gatherings in the Making Merry Holiday Open House. Foodies, crafters, even kids can enjoy one of nearly a dozen individual events, including chocolate tasting, oyster shucking, a pie-dough-making demo, winter shrubs workshop, a gift-wrapping demo, a holiday appetizer workshop and more. Each event ranges in prices and availability, so check ahead to RSVP for the open house’s offerings, happening Saturday, Dec. 9, at Healdsburg SHED, 25 North St., Healdsburg. 10:30am to 7pm. Free admission, workshops and tastings, $10–$95. 707.431.7433.

Resilient City

Santa Rosa is a resilient city. It's also a Resilient City. In the aftermath of October's devastating fires, the city adopted an ordinance on Oct. 24 aimed at speeding reconstruction in areas impacted by the disaster. The ordinance created a "Resilient City Combining District" that loops Coffey Park, Fountaingrove, Oakmont, Montecito Heights and the Round Barn/Highway 101 corridor into a...

Haz Matters

Local physicians and labor organizers charge that workers cleaning toxic debris sites from the North Bay fires may be—and may have been—inadequately equipped for the task at hand. Invoking the catastrophic 2001 terror attacks in New York City, Dr. Panna Lossy, a family-medicine resident at Sutter Santa Rosa, submitted a letter to the Sonoma County Board of Supervisors this week...

Glory Days

It's like WWII, only fun! In Star Wars: The Last Jedi, the alt-right First Order has the rebels bottled up—"the RESISTANCE," the title crawl says in capital letters, a stealth-howdy to anti-Trumpers. On the throne is Supreme Leader Snoke, a granddaddy version of Baby Eraserhead played by Andy Serkis. This moldy dictator faces the same problems Lord Vader had...

Best for Last

Some plays, not surprisingly, get a little old after a decade of repetition. Others, miraculously, get better. The key, as evidenced by David Yen's 10th annual performance of David Sedaris' Santaland Diaries, at Left Edge Theater, is changing things up from time to time. Adding a fully stocked bar to the set one year, and using it. Adding a playful...

Miming for Cheer

It's been a beloved Christmastime affair in its native England since the Middle Ages, but the art of panto, influenced by the ancient traditions of pantomime, is not well-known in the States. Featuring staged musical comedy productions full of ribald humor as well as family-friendly sentiment, one of America's best panto groups resides in San Francisco and annually presents glamorous...

Working-Class Act

If there's a musical job in the North Bay, Kalei Yamanoha is the man to do it. The Sonoma County native is one of the busiest multi-instrumentalists in the region, working as a freelance musician and performing full-time in San Francisco western swing band the Vivants, Santa Rosa chain-rattling folk-punks the Crux and his own instrumental world-folk outfit Oddjob Ensemble. Earlier...

No Cheer Here

In comedy, timing is everything, and the timing is so off in 6th Street Playhouse's Mrs. Bob Cratchit's Wild Christmas Binge, the fact that it manages to extract any laughs from its audience is somewhat of a Christmas miracle. Plagued with pre-production challenges ranging from a change in director to the untimely passing of its lead actor (Robert Finney),...

Called Home

For nine years, Santa Rosa's experimental performing arts group the Imaginists have housed their original dramatic works in the storefront space of 461 Sebastopol Avenue, in the South A Arts District. "This building is very symbolic of the neighborhood," says Imaginists executive director Brent Lindsay. "It's always been a place where you can pass by artists' studios and their doors...

Dec. 7 & 8: Party Like It’s 1992 in Petaluma

Music lovers in the North Bay have long called Petaluma’s Mystic Theatre & Music Hall one of the area’s best concert venues. It’s gone by many names over the last century, but this week the Mystic celebrates its 25th anniversary with several shows and fan-appreciation events. The shows start with hip-hop stars Bone Thugs-N-Harmony, performing on Thursday, Dec. 7....

Dec. 9: Hands-On Holiday in Healdsburg

This weekend, the Healdsburg Shed hosts a packed day of gatherings in the Making Merry Holiday Open House. Foodies, crafters, even kids can enjoy one of nearly a dozen individual events, including chocolate tasting, oyster shucking, a pie-dough-making demo, winter shrubs workshop, a gift-wrapping demo, a holiday appetizer workshop and more. Each event ranges in prices and availability, so...
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