May 13: Amazing Inks in Santa Rosa

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Graphic designer Curt Barnickel is a collector and creator of screen-printed works of art, and his eye for exceptional pieces is on display at his new Agent Ink Gallery in downtown Santa Rosa. Featuring limited-run posters and apparel, Agent Ink’s walls are adorned with works by some of the best poster artists and screen printers from around the world. This week, Agent Ink officially unveils its eclectic collection with a grand opening that lets you feast your eyes on new releases by several famed West Coast artists. Food, beer, wine and live music will also be on hand for the party on Saturday, May 13, at Agent Ink Gallery, 531 Fifth St., Santa Rosa. 6pm. Free admission. agentinkgallery.com.
—Charlie Swanson

Debriefer: May 10, 2017

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FREITAS AND ICE

Jerry Threet has been taking a lot of grief from police accountability activists as head of Sonoma County’s Independent Office of Law Enforcement Review and Outreach, but he did manage to leverage a change in the Sonoma County Sheriff’s Office (SCSO) policy toward noncitizens who commit crimes.

As first reported in the Press Democrat on May 2, Freitas said he would release prisoners to Immigration and Customs Officials under guidelines set out by the 2013 Trust Act, which, as reporter Martin Espinoza noted, was supported by immigrant-rights groups. The California Trust Act set out conditions under which detainees could be released to ICE—and also under which conditions they could not.

Based on Threet’s recommendation, reported the PD, the SCSO will no longer contact ICE for non-serious crimes such as driving without a license, as Freitas pledged to abide the standards of the 2013 act.

Freitas had previously written to ICE to offer assistance to the federal agency as it warned of the Trust Act’s potential legal implications to the SCSO. In a May 7, 2014, letter to Craig Meyer, an assistant field director at the ICE office in San Francisco, Freitas noted that court cases that had been filed in the aftermath of the act’s passage had clarified that “local law enforcement agencies are free to disregard ICE detainers,” and highlighted that the court orders also suggested “that local law enforcement agencies may be exposed to potential civil rights actions for honoring ICE detainers, absent a showing of probable cause for detention.”

Freitas went on to inform Meyer that, given the risk of civil lawsuits, the SCSO would not honor ICE detainers absent proof of probable cause—such as an arrest warrant.

Then he offered to help ICE establish probable cause: “If you would like to meet to discuss possible other methods of providing probable cause, I would be happy to meet,” Freitas wrote.

The SCSO rejected any implication that Freitas had been working with ICE to assist the agency in deporting non-citizens charged with minor offenses. “The letter specifically states that we are no longer going to accept ICE detainers without probable cause,” says SCSO spokesman Sgt. Spencer Crum via email. “If there was another way to establish the probable cause without a warrant we would be willing to listen to Mr. Meyer’s ideas as we would consult with any other law enforcement agency. To this day, we reject all ICE detainers and will only hold people who we’d otherwise release if we have a valid warrant signed by a judge.”

POTOPOLY

A state Senate budget subcommittee met May 4 to discuss the implementation of Proposition 64. A rider bill to last year’s voter-approved legalization would address taxation and other issues, but the sticking point, says California Growers Association executive director Hezekiah Allen, is a proposed repeal of Section 26051, which gives officials latitude to deny canna-biz applicants if they are concerned they might “create or maintain monopoly powers.”

Proposition 64 protects local growers with a five-year window to grow their business and protect their flowers from corporate takeover. Section 26051 covers a range of deniable factors: Applications can be rejected if authorities believe they would encourage underage use or adult abuse; violate environmental protection laws; or contribute to the black market.

By every indication, the repeal-26051 effort is not being pushed by children, criminals, addicts or illicit streamside growers. Hmmm . . .

Fork in the Road

One of the big questions facing those who wish to participate in the emerging cannabis industry is whether to focus on the medical market or the adult-use market. The medical market in California is relatively mature, with existing infrastructure and patients used to going to the dispensary. However, it remains to be seen how that system survives the adult-use market which comes online Jan. 1, 2018.

Right now, in order to go to a dispensary and buy medical cannabis, one must get a recommendation from a doctor. Though this is a not a particularly difficult process, it still takes time and money—usually less than $100. When the adult-use market opens, one will be able to buy medical cannabis with a driver’s license. So who will go to a medical dispensary? Customer loyalty will only go so far if the adult-use market is more convenient.

I see two scenarios in which the medical-market survives. First, I expect a difference in how medical and adult-use cannabis is taxed. If the tax difference is significant, people may still find value in getting a recommendation and buying medical cannabis. Second, it is possible that the medical system obtains higher grades of cannabis, at least initially. While many Californians use cannabis, the adult-use market remains in its infancy, and it’s unclear how the industry will respond to this new system.

One concern is that, in either system, it is possible that the cost of cannabis will increase—or plummet. I think that this is a real tension in the system. There is no question that the cost of growing and producing is about to go way up. The draft of state regulations is out, and it is estimated that compliance will be hundreds of dollars per pound. Will growers operate on a much thinner margin, or will they try to pass those increases on to consumers? Will the average consumer be willing to pay $20 a gram, as has happened in other states? Given the availability of cannabis, and the right to grow six plants, I think consumers will push back. This may lead to a race to the bottom in pricing.

I think all of these problems are solvable. The market will mature and many of these questions will be answered. My fear is not that some people won’t be successful; my fear is that most of the people I know in the cannabis industry now will not be in it within a few years. To me the system seems to favor wealth and capital. Most small producers, unless they can find a niche market quickly or are doing it as a hobby, will soon find the cost of production too high to make a living. Again, I think this is a short-term problem, but by the time it gets sorted out, most of the small producers will have been driven out.

Ben Adams is a local attorney who specializes in cannabis law and compliance.

Freight Not?

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Here’s a question: If the regional transportation goal is to eliminate gridlock on Highway 101, why doesn’t a plan for expanded freight service enjoy the same support as the long-delayed Sonoma-Marin Area Rail Transit (SMART) commuter train?

Doug Bosco, an investor and lawyer for Northwestern Pacific Railroad, sounded nonplussed over the phone the night before a significant hearing before the California State Supreme Court in late April. If anything, Bosco, the former North Coast congressman, sounded mildly annoyed.

“We’ve won in every court we’ve been in,” he said, referring to ongoing efforts to bring freight service to the North Coast.

This latest legal scrum wasn’t itself the source of Bosco’s annoyance, but the $1 million in legal fees and the ongoing obstacles to reviving freight train service in Northern California.

“As a practical matter, this is a difficult undertaking,” says the state’s North Coast Railroad Authority (NCRA) executive director Mitch Stogner on the notion of reviving a successful freight industry in northwestern California.

The authority was born in 1989 via the North Coast Railroad Authority Act, Stogner says, to provide for continued rail service in the region. Along the way, the state purchased lines or arranged deals with rail owners to eventually create a connection from Schellville (outside of the city of Sonoma) to Willits.

At one time, there was bipartisan support to finance the act, but the project was dealt its first blow when Gov. George Deukmejian nixed a funding bill; the project was eventually awarded $500 million to restore the train lines in 2007 under
Gov. Schwarzenegger.

Freight service was set to begin in 2009 until a lawsuit filed by Novato stopped the train in its tracks. “We’ve had our share of disappointments, but we’ve not given up,” Stogner says. “It’s just a struggling little freight entity.”

The agency inked a five-year deal in 2006, and a 99-year lease with the railroad was signed in 2011; the freight service dates back to 1907, but has historically been subjected to a litany of financial setbacks, multiple operators and serial stoppages in service.

Under the lease, Northwestern Pacific would be forced into a partnership with SMART, as the two would have to share the tracks.

The respective railroads have relied on the same marketing materials to sustain public support: they claim to be a safer and more environmentally sound means of transport than cars and trucks.

“Trains are much more effective than trucks,” Bosco says, as he cites the federal regulations ensuring safe rail transit, adding that trains emit “far less pollution” than trucks.

The similar marketing posture is about the only thing the two rail companies have in common.

SMART is funded by a voter-approved quarter-cent tax, and has had unwavering support despite budget overages and delays in service. A who’s who of Sonoma and Marin county officials comprise SMART’s governing board.

The freight game isn’t so cushy. “It all depends on getting customers,” Bosco says, explaining that Northwestern Pacific can only gradually expand northward as the SMART tracks are finalized, and paying customers materialize.

“Now that SMART is built, we can pick up customers,” Bosco says. “It’s a slow process.”

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It will likely take up to five years to extend the freight route—currently functional from Schelville to Novato and up to Windsor—as far north as Cloverdale. For freight customers, rail is a viable alternative to trucks. Bosco says one dairy-feed client from Petaluma has already saved $1 million in transportation expenses.

There’s a joint-operating agreement between the commuter and freight lines, mostly agreeable but with maybe a tinge of sibling rivalry. “The challenge has been to share the line,” Stogner says. The two services have to coordinate maintenance and repair responsibilities, and determine a schedule to allow them both to flourish.

“Freight runs predominantly in the evenings, and does not currently conflict with SMART’s operating schedule,” says SMART spokesperson and marketing director Jeanne Mariani-Belding.

The plan is that SMART will rule the rails during the commuter hours; the freight service gets some track time in the middle of day, but primarily runs in the wee hours—currently Sunday through Thursday from 3am to 6am.

The two rail companies did have one public spat. Late last year, Northwestern Pacific allowed some cars to be parked on the tracks near its Schellville headquarters.

Locals sounded an alarm—what’s in those mysterious cars that never go anywhere?

Tanker cars filled with liquefied petroleum gas were being stored in the area, a lucrative practice that the rail relies upon to goose its revenue. The issue: the tracks in that area are owned by SMART, leading to a dispute that was finally resolved in February.

Stogner says safety was never much of a concern—the area is surrounded by remote dairy land, and the cars are heavily reinforced. “There’s not much that people can do to them,” he says, short of someone using “an Uzi or something akin to that.”

It’s also a common practice to store product on the track. “There’s never been a problem,” he says, adding that, after a legal standoff, “it was handled amicably.”

The squabble did engender a further question: while it was legislated that SMART would own those tracks near Schellville, shouldn’t they be the freight train’s responsibility, since they’re the ones using the track?

“It is a little bit nonsensical,” Stogner says. “They have no plans to ever use [the tracks]”—and that the freight rail is the only one that uses that branch.

“[SMART has] no immediate plans for any changes there,” says Mariani-Belding.

And then there’s the final obstacle, so far, for Northwestern Pacific: the aforementioned appearance in California Supreme Court.

This conflict has nothing to do with SMART, but with the Friends of the Eel River and Californians for Alternatives to Toxics, which filed the suit and wants to apply state safety standards that are in place for a high-speed commuter rail in central California to the freight trains—when Northwestern Pacific is under federal authority.

Bosco says it’s “very unusual not to uphold” federal authority and pledged to go to the Supreme Court if necessary. “It really is a federal issue.”

But Northwestern Pacific has already lost. Regardless of the outcome, they’re out more than $1 million in legal fees, with no SMART-style quarter-cent tax to rely on to offset the mounting legal costs.

Matrons of Music

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Growing up, vocalist and songwriter Pamela Rose didn’t want to be Doris Day; she wanted to be Aretha Franklin.

The San Francisco–based jazz and blues star celebrates several powerful female figures of music this weekend with her new show, “Blues Is a Woman,” that features a genre-spanning selection of music performed by a stellar ensemble.

Best known for her long-touring project “Wild Women of Song: Great Gal Composers of the Jazz Era,” Rose has spent the last two years creating “Blues Is a Woman” to shine a spotlight on often overlooked women singers and songwriters.

“Blues is thought of as a man’s world,” Rose says. “But the history shows that women really were the early popularizers of the form.”

Rose points to long-forgotten vaudeville and minstrel-show stars like Ma Rainey and Ida Cox, who toured the country at the turn of the 20th century, singing the earliest forms of blues and developing the genre’s emotional impact. From there, stars like Nina Simone and Etta James dominated charts in their time, though they rarely got the accolades that male contemporaries like B. B. King or Muddy Waters received.

Rose seeks to reintroduce these women to audiences with the new show, which traverses several eras of music, from boogie-woogie and big-band songs, to early R&B and even psychedelic protest songs made famous by vocalists like Janis Joplin.

“I knew when I wrote this show, I wanted an ensemble piece that was much more theatrical,” Rose says. In that vein, she recruited a cast of players to bring the blues to life. Her longtime accompanist, pianist Tammy Hall, joined the project as musical director, and theatrical director and writer Jayne Wenger took over staging duties. Rose also assembled a band that includes guitarist Pat Wilder, bassist Ruth Davies, drummer Daria “Shani” Johnson and saxophonist Kristen Strom.

Together the band has developed “Blues Is a Woman” into an engaging and inspirational concert experience that includes visuals and a rich theatrical arch, and Rose hopes to tour the show in the way she toured “Wild Women of Song” nationally for several years.

Just as women informed the lexicon of blues, Rose also notes that blues informed generations of women. “These songs have always been about freedom,” Rose says. “Blues really changed all American music, especially for women. It presented a very different view of what a woman could be: fierce, raw, feisty and independent. It made you feel that you were not the only one to feel that way.

“You were not alone. And that feels good.”

Dance Fever

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Skylight Motion Picture sounds like something out of a flashy 1980s movie. The new Napa-based electronic dance trio utilize the era-appropriate synthesizers and effects for a jazzy, melodic and beat-driven pop that would have taken the charts by storm in the decade of Miami Vice and New Order.

This week, Skylight Motion Picture premieres their debut, self-titled EP, with a dance party in Napa that also features San Francisco electronic wizards Vice Reine.

Made up of Napa-based wine-industry professionals, Skylight Motion Picture was founded by keyboardist Ezekiel Hampton and drummer Joel Quigley as a bedroom project done in the after hours. The two focused on creating swirling synth-pop that carried emotional weight. Soon after their initial sessions, they brought in singer and bassist Lamar Engel to add those lyrical dimensions to their music, and the trio recorded their debut at Napa’s Humanitas Wines over the last year. The EP boasts hook-filled pop sensations as well as spacey, atmospheric gems for a truly cinematic texture.

Skylight Motion Picture’s flashback of sound pumps with energy on Thursday,
May 11, at Silo’s, 530 Main St., Napa. 7pm. $10–$15. 707.251.5833.

Letters to the Editor: May 10, 2017

Let It Rest

Little is as Machiavellian as scoring political points off the tragic, legally justifiable shooting death of a teenager by a deputy doing his duty. Other than Andy Lopez’s family, no one grieves him more than Sgt. Erick Gelhaus (“Over a Barrel,” May 3).

Sgt. Gelhaus saved lives. A less skilled marksman shooting eight bullets would have sprayed them into the other children. Apparently armed with an automatic weapon bearing on two peace officers, Andy was hit seven times. Given the inhuman stress, that kind of weapon control is rarely seen even among weapons experts.

Time should have been put into teaching Andy how to properly handle a gun, i.e., never point it at anyone; always carry it encased when not in use; guns are not toys; gun ownership has very strict, highly enforced rules; and guns require absolute responsibility. At least as much time as put into designing the caps and T-shirts “memorializing” Andy’s life.

Let Andy and his family, Sgt. Gelhaus and his family, and the community rest. Work on the real problems in our criminal justice system and society.

Too many cunning, duplicitous, bad faith points have already been scored by people who don’t really care about Andy’s, Sgt. Gelhaus’ or your life.

Guerneville

Mother’s Milk

Last week, the Washington Post published a major exposé of the U.S. dairy industry, concluding that mega-dairies scam consumers into paying extra for “organic” milk that isn’t. The timing, a few days before Mother’s Day, could not be more appropriate. Dairy cows, worldwide symbols of motherhood, never get to see or nurture their babies.

The newborn calves are torn from their mothers at birth and turned into veal cutlets, so the dairy industry can sell their milk. The distraught mothers bellow for days, hoping in vain for their babies’ return. Instead, they are chained on a concrete warehouse floor, milked by machines, then impregnated artificially to renew the pregnancy and keep the milk flowing. When their production drops, around four years of age, they are ground into hamburgers.

This Mother’s Day, let’s all honor motherhood and our natural compassion for animals by rejecting the dairy industry’s cruelty. Let’s replace cow’s milk and its products, laden with cholesterol, saturated fats, hormones, and antibiotics. Let’s choose delicious, healthful, cruelty-free, plant-based milk, cheese and ice cream products offered at our grocery store.

Santa Rosa

Bud System

It seems to me that there is already more than enough wine industry. (“Branded Buds,” May 3). I’d like to see more food crops and, not just cannabis, but also other healing herbs and plants. Sonoma County could lead the nation in diversity, filling all the needs of a healthy population. And why not make it all organic while we’re at it?

Via online

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

Royal ‘Taj’

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There are works of art that are exciting and captivating to experience, but which quickly lose their initial spark of pleasure, diminishing in brightness the more you think of them. Guards at the Taj, by Rajiv Joseph (Bengal Tiger at the Baghdad Zoo), does the exact opposite. It leaves one a bit stunned and baffled, then gradually begins to reveal its own weird wisdom and audacious genius in the hours and days after.

That’s the effect that director Jasson Minadakis’ bizarre and beautiful new production at Marin Theatre Company had on me, anyway. There will surely be those who have a very different reaction to Joseph’s uncomfortably funny, heartbreakingly horrifying, Monty Python–tinged retelling of a certain gruesome ancient folktale about the famous Taj Mahal.

In other words, it’s not for everybody. In fact, Guards is as polarizing a piece of stagecraft as I’ve seen in years.

But for those who, like me, hunger for something different and who don’t mind a few hundred gallons of fake blood, then MTC’s twisty assault on its viewers’ hearts, heads and souls could easily become one of the most memorable and important theatrical experiences of 2017.

There is not much more I can say without spoiling Joseph’s carefully crafted storytelling. So if you’re already inclined to check the play out, please stop reading and go buy your tickets now. For the rest, allow me to reveal these few details.

The Taj Mahal, built in in India in the mid-1600s, is widely considered the most beautiful palace ever built. In Joseph’s inspired takeoff on a (probably) fictional myth, a pair of lowly guards—played brilliantly by Jason Kapoor and Rushi Kota—must stand watch outside the Taj during its construction. The ruling shah has decreed that none may look upon it before completion, on pain of death, and that no other structure shall ever surpass its beauty. In fact, he has devised a brutal plan to assure that none of its builders will ever attempt its equal.

Then things get really messy.

What follows is underscored by a brilliant verbal give and take between our two hapless heroes, delivered with modern, f-bomb-dropping, Cheech-and-Chong-ish parlance that’s as refreshingly funny as it is achingly endearing. Guards is a challenging, off-putting and amazing theatrical fable, one that you won’t, and shouldn’t, soon forget.

Rating (out of 5): ★★★★½

‘Guards at the Taj’ runs Tuesday–Sunday through May 21 at Marin Theatre Company. 397 Miller Ave., Mill Valley. Times vary. $20–$58. 415.388.5208.

American Pod

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The other day, I was driving through Petaluma, flipping through the radio, and there was Rush Limbaugh, engaging with a man who had called in to let him know that he didn’t believe anything he saw on the news anymore. Not a darn thing. It’s all fake news.

Say it, man, say it! Limbaugh cooed to the man.

The Pod People are coming! Defiant in their ignorance, pugnacious in their reactionary outbursts, the Trump invasion has snatched the body politic from the grasp of a culture-war victory and is pulling out the stops to enforce a platform of rote subjugation to whatever nutbag edict emerges from the White House.

Just in time, this week the Alexander Valley Film Society is airing the original ’50s-era Invasion of the Body Snatchers, and Charlie Swanson has the details in the Crush column (p19).

Body Snatchers was subjected to the politics of Hollywood editing, and wound up as both a critique of the Joseph McCarthy, anti-communist witch hunts, and a critique of the potential for American totalitarianism courtesy of the Russians. The more things change . . .

The film has something of a happy ending—Hoover’s FBI arrives in time to keep the pods and the Pod People out of the big cities—where, in our recent election, voters by and large did not turn out for Trump and the FBI was less than helpful.

The 1978 remake of the film stars Donald Sutherland and takes on the post-’60s cultural shift toward “Me-ism,” and does not have a happy ending—but it’s a great, scary ending. The Pod People are victorious in the remake—victorious in their mandate to enforce a monoculture sameness, and in San Francisco, no less.

The original version arrives in Sonoma County amid a national convulsion over free speech in the Trump era, where, for example, high-media supporters such as Ann Coulter blast Berkeley’s recent and reasonable decision to cancel her appearance after she refused to accept security demands made by the university.

It comes as “heritage”-supporting citizens arrive in New Orleans to stand by cultural signifiers of the Confederacy and make free speech arguments about the expressive content of a Robert E. Lee statue. And it comes as the White House just told federal agencies that the house TV channel is now Fox News, turn off that CNN—fake news.

The Pod People are coming! And they don’t care about free speech. Indeed, the queen-bee of the Pod hive-mind violently opposes the free speech rights of those she disagrees with. When the misguided Marin native John Walker Lindh joined the Taliban, Coulter noted that “we need to execute people like [him], in order to physically intimidate liberals.” When domestic terrorist Timothy McVeigh blew up a federal building, Coulter noted, “My only regret with Timothy McVeigh is he did not go to the New York Times building.”

The Pod People are coming! Keep an eye out for this nasty, invasive species in our parts. It’s a real killer. Break out the RoundUp if you need to, desperate times require desperate measures.

Cloud Cover

In any discussion about Napa Valley culture, the first two words that invariably come up are “wine” and “food.” But there’s a third dimension to the region—the arts—that has been steadily expanding in scope and inspiring residents and visitors to enjoy and embrace their creative side.

At the forefront of this cultural dimension is Nimbus Arts, a nonprofit arts center based in St. Helena that offers eclectic art classes for students and engages with the community through public projects and installations.

As Nimbus prepares for its annual Nimbash fundraising event on May 13—the valley’s biggest art party of the year—along with a summer filled with art camps, the close-knit community of artists and organizers involved in the nonprofit reflect on the center’s history and its two-fold impact on the cultural landscape of the North Bay.

“Our mission is to reach communities that need art,” says executive director Jamie Graff. “But our other big mission is to support local artists, to make life feasible for them here, because they’re such an asset to the community.”

Nimbus first took shape in 2005 after founder Dana Johnson’s daughter spent a week in a children’s hospital. While there, Johnson saw art projects in the hospital’s playroom that helped alleviate the stress of the situation. After her daughter’s recovery, Johnson sought to share her experience with the community at large, and recruited Graff to form Nimbus.

“It started out just trying to explore what the community wanted from an arts center,” says Graff, who spent 12 years as a winemaker before Johnson approached her.

One of the group’s earliest offerings was a sculpture camp, which Graff says involved studying and creating clouds through sculpture. “What’s important about that one is it’s where our name came from,” says Graff. “And it was also the model that would become the Nimbus style to teaching a multidisciplinary approach to creativity.”

From the early days of painting and drawing classes, Nimbus grew organically, and as Graff found more and more local artists to work with, the center’s ability to teach other disciplines expanded.

“We had a group of people here [in St. Helena] committed to making it work,” Graff says. Today, the center boasts metal, ceramics, glass and other media classes from nearly 40 artists.

“We have a think-tank style of developing our programs,” Graff adds. “We get the artists together for meals, and have conversations about the directions of the center; it’s a really dynamic, creative way to do it as a team.”

Graff calls the Napa Valley art scene bohemian and says the region’s artists have an ability to tap into people’s imagination with creative flair. “Everybody here knows everybody; seamstresses, painters, musicians. It’s a really close-knit community. You don’t have to go far if you need something from someone. It’s a really supportive environment.”

THE FAMILY

Anne Pentland has been living and working in Napa Valley for the last 25 years, teaching and making art, and organizing projects for the Napa Valley Wine Auction, the Calistoga Education Foundation and Safari West in Santa Rosa, among other groups.

Graff recruited Pentland while she was teaching after-school classes in Calistoga. Pentland, coming up on 11 years at Nimbus, is now the resident artist. She designs a lot of the programming and collaborations with groups like Mariposa, a prevention program of the Napa County Office of Education that empowers Latina youth in middle and high school to break the cycle of violence through the creation
of large murals in locations
like downtown Napa and the
St. Helena elementary school.

“The magic of Nimbus is that we are really a family,” Pentland says. “We’re a lot of artists doing different things, but when we come together there’s a synergy and the sum is greater than the parts.”

Nikki Ballere Callnan echoes that statement. A ceramicist who takes inspiration from natural forms and found objects, Ballere Callnan runs NBC Pottery with her husband, Will, and creates custom works for clients like the Restaurant at Meadowood. She has also taught at Nimbus since the satellite days.

“Where we live is a very special place. We are lucky enough to have a lot of people in the community who support art,” says Ballere Callnan. “Like a cat, Nimbus has always landed on its feet. We just want to share our passion, and Nimbus, when you’re there, you’ve found home.”

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HIDDEN GEMS

While art is largely supported by locals, tourists and visitors still struggle to see the creative side of Napa Valley when they swirl at the wineries and nosh at the restaurants.

“When I first moved here, I wasn’t sure we were going to see any art,” says artist and graphic designer Nick Cann. “We soon found out that there were thousands of artists in the valley, but you don’t hear much about it. Nobody talks about it; they just do it.”

After working in Los Angeles as a freelance set and costume designer and living in Sausalito for many years, Cann and his wife moved to Napa Valley to retire. But he says he’s nowhere near retirement, teaching classes at Nimbus and inspiring students to pursue their passion. Like many of the artists working for Nimbus, Cann credits the center with providing a place where artists can make a living and express themselves at the same time.

“It’s a lot more than meets the eye,” he says of the arts community. “The schools encourage art, but they really don’t tell young people all the possibilities for careers in art, from interior design to industrial design and all the rest. I consider it my job to let the students, and their parents, know that there is a future in the arts if they want to do it.”

In addition to the center’s calendar of classes, Nimbus, located on St. Helena’s Main Street across from the Napa Valley Wine Train’s rail line, is open for visitors to schedule customizable art experiences like one-on-one classes. “We encourage them to come in with a crazy, fantastical idea,” Ballere Callnan says, “and then let them see it happen.”

ARTISTIC VITALITY

“Art, at its core, is another form of communication,” Pentland says. “In this day and age, when everyone is so connected and you have the whole world at your fingertips, literally, to have a deeper understanding or sense of your world in all of its forms and formats is important. Art is another way of processing your world, and for me, creativity is one of the most important aspects of living.”

Pentland also notes that children learn in a variety of modalities. “Some are visual learners, some are auditory learners. So art and creativity is another format for children to learn,” she says.

As a nonprofit, Nimbus partners with several grant-donating organizations, such as the Clif Bar Family Foundation, and private individuals in the region to fund its programs and pay its artists a fair rate for their time and talent.

In the last few months, the political climate has not been encouraging for the arts, with the president eager to cut funding for the National Endowment of the Arts and further limit the potential for public schools to teach extracurricular classes like art. Still, the staff at Nimbus see these times as an opportunity to further the conversation about the importance of art in our daily life.

“In fact, as a result of the current national dialogue, there is a greater spotlight on arts and arts in education,” Pentland says.

“I think this is when Nimbus has to work harder to keep art at the forefront of our community and keep it alive,” says Ballere Callnan. “Everyone at Nimbus is passionate. We do art seven days a week. Sure, you gotta work a little bit harder these days, but that’s what you do when you love what you do.”

NIMBASH

Nimbash is a unique event, says Graff. “I really want the community to understand who we are through the event, and doing an auction just didn’t feel like enough.”

With that inspiration, Nimbash opens the fundraising evening with an interactive art party for guests that includes various hands-on activities, demonstrations, silent-auction items and live music. “We have trouble getting everyone out of that party when it’s over,” Graff says.

During dinner, an art fashion show and gallery of new works displays top-notch creations from artists like St. Helena’s Baker Sisters.

The annual event adopts a different theme each year, and this year’s theme of “Street Art” will drive the creative output. After the fashion show, a live auction and a dance party cap off the night.

For anyone looking to become involved in Nimbus’ programs, the center offers two seasons of classes open to everyone in the North Bay and beyond. Graff also says that any artists in the area who are interested in working with the center simply need to call her up.

“I’m always eager to get new people involved.”

May 13: Amazing Inks in Santa Rosa

Graphic designer Curt Barnickel is a collector and creator of screen-printed works of art, and his eye for exceptional pieces is on display at his new Agent Ink Gallery in downtown Santa Rosa. Featuring limited-run posters and apparel, Agent Ink’s walls are adorned with works by some of the best poster artists and screen printers from around the world....

Debriefer: May 10, 2017

FREITAS AND ICE Jerry Threet has been taking a lot of grief from police accountability activists as head of Sonoma County's Independent Office of Law Enforcement Review and Outreach, but he did manage to leverage a change in the Sonoma County Sheriff's Office (SCSO) policy toward noncitizens who commit crimes. As first reported in the Press Democrat on May 2, Freitas...

Fork in the Road

One of the big questions facing those who wish to participate in the emerging cannabis industry is whether to focus on the medical market or the adult-use market. The medical market in California is relatively mature, with existing infrastructure and patients used to going to the dispensary. However, it remains to be seen how that system survives the adult-use...

Freight Not?

Here's a question: If the regional transportation goal is to eliminate gridlock on Highway 101, why doesn't a plan for expanded freight service enjoy the same support as the long-delayed Sonoma-Marin Area Rail Transit (SMART) commuter train? Doug Bosco, an investor and lawyer for Northwestern Pacific Railroad, sounded nonplussed over the phone the night before a significant hearing before the...

Matrons of Music

Growing up, vocalist and songwriter Pamela Rose didn't want to be Doris Day; she wanted to be Aretha Franklin. The San Francisco–based jazz and blues star celebrates several powerful female figures of music this weekend with her new show, "Blues Is a Woman," that features a genre-spanning selection of music performed by a stellar ensemble. Best known for her long-touring project...

Dance Fever

Skylight Motion Picture sounds like something out of a flashy 1980s movie. The new Napa-based electronic dance trio utilize the era-appropriate synthesizers and effects for a jazzy, melodic and beat-driven pop that would have taken the charts by storm in the decade of Miami Vice and New Order. This week, Skylight Motion Picture premieres their debut, self-titled EP, with a...

Letters to the Editor: May 10, 2017

Let It Rest Little is as Machiavellian as scoring political points off the tragic, legally justifiable shooting death of a teenager by a deputy doing his duty. Other than Andy Lopez's family, no one grieves him more than Sgt. Erick Gelhaus ("Over a Barrel," May 3). Sgt. Gelhaus saved lives. A less skilled marksman shooting eight bullets would have sprayed them...

Royal ‘Taj’

There are works of art that are exciting and captivating to experience, but which quickly lose their initial spark of pleasure, diminishing in brightness the more you think of them. Guards at the Taj, by Rajiv Joseph (Bengal Tiger at the Baghdad Zoo), does the exact opposite. It leaves one a bit stunned and baffled, then gradually begins to...

American Pod

The other day, I was driving through Petaluma, flipping through the radio, and there was Rush Limbaugh, engaging with a man who had called in to let him know that he didn't believe anything he saw on the news anymore. Not a darn thing. It's all fake news. Say it, man, say it! Limbaugh cooed to the man. The Pod People...

Cloud Cover

In any discussion about Napa Valley culture, the first two words that invariably come up are "wine" and "food." But there's a third dimension to the region—the arts—that has been steadily expanding in scope and inspiring residents and visitors to enjoy and embrace their creative side. At the forefront of this cultural dimension is Nimbus Arts, a nonprofit arts center...
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