High Tide High

Dash (voiced by Jason Schwartzman), the hero of the animated teen comedy My Entire High School Sinking into the Sea, is a hard-hitting reporter for the Tides High Gazette, the Xeroxed student newspaper. The Gazette‘s editor, Verti (Maya Rudolph), is trying to split up the friendship between Dash and his best pal, Assaf (Reggie Watts).

Verti, in turns out, is trying to get Assaf for herself. An upset Dash turns his attention to the new school auditorium and the apparent forged signature on the inspection permit. The place is dangerously unsound—built on a precarious cliff over the ocean and ready to collapse at the first small temblor.

When it strikes, 900 students are soon floating off to sea. Enraged by spilled blood-transfusion bags from the nurse’s office, man-eating sharks pick off the kind of kids no one can seem to remember and no one will miss. Meanwhile, Dash, Assaf, Verti and their new nodding acquaintance, Mary (voiced by Lena Dunham), make the torturous trip up to the higher levels, the inner sanctum where the seniors are cowering.

The school’s crisis produces a hero in Lunch Lady Lorraine (Susan Sarandon), a wise woman with cross-hatched hair net and a tragic back story. She bucks the kids up, nurses a jellyfish sting by boiling the stung kid’s elbow and kung-fus the school’s bullies when they try to push the bad situation into anarchy.

It’s a veritable Poseidon Adventure for a new century. The school may be wet, but director Dash Shaw’s writing style is dry, having the tang of brilliant, bored high-school-kid comedy. Tracing the outline of a disaster movie, as Shaw does, picks up the central messages of the genre: there is no such thing as a tragedy that isn’t the result of corner-cutting. Be stalwart, but be nice, the film says, and the wheel of fortune will render today’s shiniest and most important pig into tomorrow’s bacon.

‘My Entire High School Sinking into the Sea’ is screening at the Summerfield Cinemas, 551 Summerfield Road, Santa Rosa. 707.525.8909.

Branded Buds

As California’s cannabis industry gathers mass, the message to small growers seems to be, get big or get out.

Harborside Farms, Oakland’s heavyweight cannabis dispensary, also operates a 47-acre farm in the Salinas Valley alongside more traditional lettuce and flower crops. The farm, much of it under greenhouse glass, has about 360,000 square feet of growing space and the capacity to produce 100,000 plants.

“Harborside takes grief for being the 800-pound gorilla,” says Jeff Brothers, chief executive of Harborside Farms’ parent company in an interview with the New York Times last month. “But if we want cannabis to be widely accepted, we need it to be cheap.”

Is that true? Big farms and cheap pot sends chills down the spines of Northern California’s cottage-scale growers who fear the rise of industrial-scale cannabis. But third-party certification and branded, boutique farms may help small-scale growers compete.Single-vineyard-designated wines have found a lucrative niche. Why not artisanal pot?

A small but growing number of biodynamic certified farmers are adding cannabis to their crops. Biodynamic agriculture is a holistic method of farming that goes beyond organic standards and draws esoteric concepts developed by Rudolf Steiner in the early 1920s. Among other things, certified biodynamic marijuana has to be grown outdoors without light deprivation. (Cannabis farms cannot be certified organic under the U.S. Department of Agriculture because of federal marijuana prohibition.)

Elizabeth Candelario, managing director of the biodynamic certification nonprofit Demeter USA, says California wineries were early adopters of biodynamics because of the superior wine it produces and the ecological benefits. “Those of us who worked in the wine industry need look no further to see where cannabis is going to go,” she says. “The only difference is this a plant that can really help heal people.”

Mike Benziger is a nationally recognized expert in biodynamic viticulture whose small plot of medical cannabis was certified by Demeter in 2015. He’s also a two-time cancer surviror, thanks in part to pot, he says.

“I want to raise the level of respect for the land and farming practices,” Benzier says. “My dream for Sonoma County is, of course, for a vibrant wine industry, but also a vibrant farm industry with some medical marijuana to help with the income stream.”

Healdsburg’s Shed will hold a panel discussion on biodynamic cannabis
on May 7 at 1pm. The panel will be moderated by yours truly. Panelists include Mike Benziger, Alicia Rose of Herba Buena dispensary, grower Steve Terre of Red Tail Ranch and Jim Fullmer of Demeter USA. 25 North St. $15.

Spotlight on Petaluma

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Master instrument maker Anthony Lane coaxes
sweet music from wood

Violin maker Anthony Lane and his twin brother were well on the way “to becoming successful hoodlums,” Lane says with a laugh, recalling his South Chicago upbringing as he leans back in his Petaluma workshop and reflects on the life of a master instrument-maker.

Lane comes from a family of musicians, craftsmen and all-around arty types, and was introduced to the work of legendary Chicago-based luthier Carl Becker. As a young man of 22, he says, “it never occurred to me that people were still making instruments.” After considering a career in international business, “I decided I would do what I was most afraid of doing.”

Thirty eight years later, Lane is part of a select coterie of violin, viola and cello makers whose instruments wind up in top orchestras around the world. The violins and violas sell for $20,000; his cellos are double that. He lives out in unincorporated Petaluma with his wife, Ruth, a cellist with the San Francisco Opera.

Makers like Lane are at something of a disadvantage in a world where players will be a lot more forgiving when it comes to old Stradivarius instruments, the standard-bearer of violins.

When players are assessing
an instrument, he says, the counterintuitive fact is that “the value is never based on how the instrument sounds. That is subjective. They are interested in the condition of the instrument and its provenance—how it sounds is at the bottom. It’s an artifact that carries with it, and will continue to carry that whole social compact with it through time.”

He recounts stories of master violinists who didn’t like a Strad at first and had to learn how to play it, for three or four months sometimes, “until they are inseparable, they can’t live without it.”

Not so with his instruments. “Players don’t let a modern instrument grow on them,” Lane says, adding that “for every person who says yes, 12 to 20 say no thanks, ‘I love it, but it’s not right for me.’ And I’m OK with that.” In 300 years, Lane says, he hopes people hold his instruments in the same high regard as Stradivarius.

Lane’s workshop is full of blanks and works-in-progress. He has a set of hand-hewn bridges on a windowsill that looks over a hilly Petaluma landscape. He’s one of a select coterie of master violin makers around the globe who work at the highest level of craftsmanship, where variances are measured in millimeters and sculpting the sound is an intricate dance of carving, bending and shaping the wood, mostly maple and spruce.

There’s a natural process that the instrument undergoes called “humidity cycling” which describes the way the wood expands and contracts, and how that process lends toward the sound of the instrument itself—a kind of “settling in” of the wood.

And it all starts with the wood, says Lane as he describes the
three main keys to building a successful instrument. When it comes to the wood, you want an instrument that will resonate with the least amount of force—here’s where the actual physical properties of the wood, its density and its grain, are critical.

Then comes the arching of the instrument, which Lane describes as the “sculpting sound” part of the job. The arching is accomplished through carving the wood, which is then planed to between 2.3 and 3 millimeters. “Different parts of the instrument vibrate at different pitches,” Lane explains. “The amount of variability you can build into the instrument through the arch—it’s incredible.”

As he describes the labor-intensive process, Lane breaks out a box filled with finger planes, including one he made himself from an old billiard ball and an antler. The tiny, hand-made plane is a work of art in itself.

(By the way, Lane’s twin brother turned out OK, too—he’s a pro flutist.)

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LOCAL KNOWLEDGE

Phoenix Theater board member Jim Agius dishes on the city of butter and eggs

How would you spend your perfect day in Petaluma?

Surrounded by people that I love in a place that I love. And I love Petaluma. It feels like home. I have so many wonderful friends that live here. And what’s nice about framing it that way is that it gives every day the potential of being a perfect one, or at least a happy one. The community and roots here provide a great foundation for that. And what more can a person ask for in the place that they live?

Where is your favorite place to eat in Petaluma and why?

Petaluma Market is my favorite place to eat in Petaluma. I’ve had the same sandwich from the market deli thousands of times—no exaggeration. It’s good. But beyond the meal, I enjoy the ritual of it. It only takes a few minutes for the sandwich to be made, but in that time I always run into a handful of different people that I care about and want to catch up with. This is true of doing just about anything downtown after you’ve spent enough time here.

Where do you take first-time visitors to Petaluma?

Downtown. Maybe start by getting some food at the market then going to say hi to Tom [Gaffey] at the Phoenix Theater. Maybe coffee downtown while running into a dozen people on the way. Helen Putnam Park is a good place for people who like nature and beauty. Walking the historic residential area nearby is a good backdrop for long conversations with friends. There is so much to see in this area, and it’s all within walking distance. A blessing.

What do you know about Petaluma that others don’t?

I know the quirky historical stuff and information about the wild characters that preceded us. Some laid the blueprints for what the town would turn into. Some lived lives that make for great stories. Some of those stories we probably shouldn’t repeat, but that’s what makes them great. Some were protagonists. Some were antagonists. But they all make up the wild and weird lore of a town that’s been around for nearly 160 years now.

If you could change one thing about Petaluma, what would it be?

People are finding it hard to live here due to the high cost of housing. Some are folks who come from Petaluma families going back generations. Others have more recently discovered the town and would love to live here. This is a problem that’s much larger than Petaluma, obviously, and is fairly complicated. But regardless, it would be great if people who love this town and would like to live in it weren’t priced out of doing so.

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THINGS TO DO IN PETALUMA

Film Fest Petaluma

Petaluma Film Alliance curates a world of cinema with its annual Film Fest Petaluma, showcasing shorts from several countries as well as locally made mini-films. This year’s ninth installment of the festival once again promises to pack the historic McNear’s Mystic Theatre in downtown Petaluma with a full day of screenings. Broken into four blocks of programming, Film Fest Petaluma kicks off with one of Alliance’s favorite North Bay filmmakers, SRJC student Miles Levin, who makes his fourth consecutive appearance with “Little Soldiers,” about a young boy who makes a puzzling discovery in the woods. Among the diverse lineup of films, including entries from New Zealand, Ethiopia, Argentina and other locales, several other North Bay talents make their mark. Jarrod Wallace examines our final moments with the one-take short “The End.” Louie Poore follows a young boy who believes he can fly in the imaginative film “Lift.” And Sonoma State University student Ken Davis’ short thriller “Labeled” features an online order that’s more than meets the eye. Film Fest Petaluma screens on Saturday, May 6, at the Mystic Theatre, 23 Petaluma Blvd. N., Petaluma. Noon. $10–$30. filmfestpetaluma.com.

Cruisin’ the Boulevard

“Where were you in ’62?” That’s the question that birthed George Lucas’ seminal 1973 film, American Graffiti, and the annual event Cruisin’ the Boulevard that salutes the movie. Largely filmed in Petaluma and featuring a nostalgic blend of classic cars and adolescent craziness, American Graffiti is Lucas’ personal vision of growing up in Northern California, and much of downtown Petaluma still retains much of that classic, small-town appeal today. Founded in 2005, Cruisin’ the Boulevard recreates the scene and relives the excitement with three days of vintage fun. First, the Jump Start dinner at Cattleman’s Restaurant gets the weekend in gear on Thursday, May 18. The following day, the Cruise-In and Kickoff Social invites everyone to show off their hot rods in a casual setting, with entertainment and activities. The weekend wraps on Saturday, May 20, with the official classic car show that takes to the same streets seen in the film. Oldies will be playing on 88.1-FM, and local merchants and vendors add to the throwback theatrics. Proceeds from the event will raise funds for local arts, education and welfare programs. For vehicle registration and other info, visit americangraffiti.net.

Art & Garden Festival

Since its inception 16 years ago, Petaluma’s Art & Garden Festival has blossomed from a simple street fair to an extravaganza that highlights hundreds of local vendors and live entertainment. Past years have featured performances from local favorites like Soul Section and Foxes in the Henhouse, blasting feel-good tunes while local restaurants, wineries and brewers offer bites, wines and brews for tasting and North Bay artisans display crafts. With a focus on gardening, the event is the perfect place to shop for outdoor decorations and embellishments while a kids corner chock full of fun activities makes for a family-friendly day in the sun on July 9, Kentucky and Fourth streets, downtown Petaluma. Free admission. petalumadowntown.com.

Petaluma
Music Festival

The Petaluma Music Festival‘s motto is “Keeping music in the schools,” and now in it’s 10th year, the fundraising event, which directly benefits music programs in Petaluma city schools, offers its most
eclectic and impactful day of unforgettable performances yet when it returns on Aug. 5. Featuring over a dozen bands on four stages spread across the Sonoma-Marin Fairgrounds, the festival’s lineup includes first-time headliners the Chris Robinson Brotherhood, whose ramblin’ roots-rock has never been better than on their latest album, Anyway You Love, We Know How You Feel. There’s also a gaggle of North Bay psychedelic jam masters, like Scott Law & Ross James’ Cosmic Twang, Stu Allen and Lebo. Performers like Poor Man’s Whiskey, Midnight North and Grateful Bluegrass Boys kick in a country-rock vibe,
and harmonizing groups like
T Sisters and Bootleg Honey soar to new folk heights. petalumamusicfestival.org.

Over a Barrel

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A lawsuit filed by the parents of Andy Lopez enters its next phase on May 10, when a three-judge panel at the U.S Court of Appeals for the 9th Circuit in Pasadena will consider an appeal filed by defense attorneys on contract with Sonoma County.

At issue is the liability of the Sonoma County Sheriff’s Office employee involved in the 2013 shooting of the 13-year-old, and whether Sgt. Erick Gelhaus should be granted qualified immunity as the family seeks damages for the death of the boy.

Lopez was shot seven times and killed while carrying a replica AK-47 pellet gun and a replica handgun along Moorland Avenue in Santa Rosa. The county has argued that Gelhaus’ use of deadly force was reasonable and constitutional under the rapidly unfolding circumstances.

One issue that the Pasadena court may confront as it hears arguments was highlighted by 9th District Judge Phyllis J. Hamilton in a January 2016 ruling at the U.S. District Court in Oakland, and revolves around the position of the barrel of the replica at the time Gelhaus fired his weapon at the boy. The court may consider whether the county’s version of events is consistent with what the officer himself told investigators with the Santa Rosa Police Department in the aftermath of the shooting.

Lawyers for the county asked for a multi-point summary judgment from Hamilton on the civil suit against the county and Gelhaus. Hamilton granted three of the county’s requests and denied two, and said the issue of whether the shooting was reasonable ought to be determined by a jury, which prompted the county’s appeal to the Pasadena district court.

Hamilton wrote that in asking for a summary judgment and dismissal, defendants never established that “Andy actually threatened the officers with the rifle that he was holding” and never pointed it at anyone. She noted that Gelhaus, in his declaration, only said that as Lopez turned to face the officers, “the barrel of the weapon was coming up.”

In their appeal to the Hamilton ruling, the defendants’ attorneys stressed that Gelhaus, a military veteran, had confiscated actual AK-47s within blocks of the Lopez shooting, as they highlighted the weapon’s 30-round lethality and Lopez’s failure to comply with Gelhaus’ demand to “drop the gun.”

They wrote that he also “started to raise the gun up and towards the deputy and his partner.” Hamilton said the county oversold this argument in its request for a summary judgment with “carefully phrased language,” such as that Lopez “turned and began to point” the weapon and “that he was ‘in the process of pointing [it] at the deputies'” (Hamilton’s emphasis).

The FBI was on-scene in the aftermath of the Oct. 25 shooting, and in an unclassified assessment of the incident says that “as Lopez was turning around, Deputies said the gun was being raised into a position directed at them.”

Both sides in the case agree that the barrel was pointed downward as Lopez began to turn and face the deputies, but in her ruling Hamilton said there was no way the officers could have known he would continue to move the weapon up and in their direction. Nobody disputes that Lopez was shot within three seconds of Gelhaus’ exiting his patrol car driven by Deputy Michael Schemmel, who did not fire his weapon.

In their appeal, the county’s lawyers said Hamilton had erred in allowing hindsight to guide her, rather than the totality of the circumstances that led to the shooting. Of course, they argued, if Gelhaus knew that Lopez was 13 years old and the weapon was a replica, he would not have shot him.

The Pasadena oral arguments begin at 9am, and Sonoma
County residents can check the website for a live video and/or audio feed from the court at
www.ca9.uscourts.gov/media.

*It’s a replica.

Moving Pictures

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Not a term used much in the United States, cinema is sometimes called the seventh art in Europe and Latin America.

Coined by Italian writer Ricciotto Canudo in 1919, the designation puts film alongside architecture, sculpture, painting, music, poetry and dance as a tool for expression and storytelling. Borrowing this nomenclature, a new nationwide film series, the Seventh Art Stand, is using film to stand against Islamophobia.

In cooperation with Rialto Cinemas, the Seventh Art Stand is hosting a screening of the 2016 documentary Tickling Giants, in Sebastopol on May 10, a documentary that offers a window into the Arab Spring democratic uprisings in 2011.

The Seventh Art Stand was conceived and organized by several filmmakers and distributors, and came together a bit randomly, in a good way, says Vivian Hua, a filmmaker, political activist and longtime editor-in-chief at Redefine magazine.

“I had started writing a short film about a Syrian refugee family that visits an American Christian family’s home for Christmas dinner,” Hua says. “I thought because of the current political climate, it would be good to have a discussion series around it.”

Hua’s initial plan to gather faith leaders in a community setting to talk about her film happened at the exact time Donald Trump placed a travel ban on seven Middle Eastern countries, which many opponents decried as an Islamophobic order.

Hua shared her idea with Courtney Sheehan, executive director at Northwest Film Forum, and Richard Abramowitz, from theatrical distributor Abramorama, who agreed to show films from those seven banned countries.

“Initially, it started as a travel-ban series,” Hua says. “But the way that the policies [of the White House] have continued, we decided that the issue was Islamophobia.”

From there, the project took off, and now the Seventh Art Stand boasts an entire month of screenings at more than 50 theaters, museums and community centers in 25 states throughout May.

The critically acclaimed Tickling Giants is certainly one of the Seventh Art Stand’s more light-hearted selections, though it is still a powerful look into a world many have never experienced.

The film follows Bassem Youssef’s transformation from heart surgeon to television star. After watching Jon Stewart on The Daily Show, Youssef created Al Bernameg, the first political satire show in Egypt. The show attracted 30 million viewers every week it aired.

“What’s become really heartening with this series,” Hua says, “is the ways the theaters are getting people together and talking. Which is the way to make real change.”

The Haymaker

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Not long ago, a Colorado-born farm boy named Verlyn Klinkenborg wrote a book titled Making Hay, which made him famous in certain literary circles. Klinkenborg went on to write and publish several other books that made him even more famous, including More Scenes from the Rural Life. He also became a columnist for the New York Times.

Not surprisingly, Making Hay didn’t make hay itself famous. (For those who don’t know, hay is a cured grass not a grain, and it’s not straw either; it’s a many splendored thing unto itself.) Thirty-one years after Klinkenborg’s first book was published, the complex art of making hay is still largely a secret known only to those who actually practice it.

Doug Mosel knows almost all of the secrets. Born in Nebraska in 1943, he came to the San Francisco Bay Area in 1994 and settled in Ukiah in 1999, where he founded the Mendocino Grain Project in 2009. More about Mosel at a later date. Here the focus is on his friend and partner Stuart Schroeder, who lives in Sonoma County, and who has never written a book about hay or about the rural life, though he could write volumes about both topics.

Schroeder grew up on a farm in the Midwest, where he was born in 1960 and where his family raised cattle, chickens and pigs. They also grew soybeans, corn, oats, sunflowers, alfalfa and tons of hay. All across Iowa and Nebraska, diversified farming of that sort is now mostly a thing of the past. These days, corn and soybeans are the big commercial crops.

Schroeder left home many years ago to seek his fortune and explore the world beyond the Midwest, taking a few farming skills with him. Now, with his wife, Denise Cadman, he grows all kinds of heirloom beans and grains, along with organic melons, potatoes, tomatoes and broccoli at Stone Horse, a beautiful farm on the outskirts of Sebastopol and on the edge of the Laguna de Santa Rosa.

Schroeder grows hay by the ton. Indeed, one might describe him as a hay maven and a kind of hay apostle. “Making hay was a giant step forward in human history,” he says on an overcast spring morning. “It made the domestication of animals possible and provided a way to feed cows, sheep and goats during winter months when plants are dormant and grazing in fields isn’t possible.”

Not surprisingly, Schroeder encourages young farmers to grow hay and learn to love it as he does. Perhaps more to the point, he feeds his hay to his three workhorses—Ben, Bonnie and Baron—that he uses to plow and cultivate his fields. The hay that he grows also helps with soil conservation, no small matter on a parcel of land that slopes and where erosion can be a problem when there’s heavy rain and run-off, as was the case this winter.

All across northern California hay crops tend to be grown in winter when they don’t need irrigation. If a farmer wants a second or, rarely, a third cutting, then irrigation is usually necessary.

Schroeder keeps a close eye on changing weather patterns and on the ever-shifting shape of the land. “If I see even a little soil moving, it freaks me out,” he says. “Not on my soil! That’s my goal.”

Schroeder sells his melons and his vegetables at the Sebastopol Farmers Market, and he shows up at social functions in the county and drinks wine, mixes with the crowds and makes polite conversation. But he’d rather be on the farm making hay or tinkering with his tedder, a kind of mechanized pitchfork that allows cut hay to cure effectively and to look and smell much better than hay that develops mold. His goal is to make a palatable and nutritious product and to enjoy the whole haymaking process.

“The fact is, I don’t like to leave the farm,” Schroeder says. “If I have my druthers, I’d rather not be out and about.”

One of the unsung heroes of Sonoma County agriculture, Schroeder doesn’t advertise his farm and doesn’t want it to be a destination for tourists from the city. He’s also a Jack of nearly all trades who has dozens of tools used to repair much of the farm machinery that he always keeps in good running condition. Schroeder buys old, discarded equipment, fixes it and puts it to work. Yes, he uses a tractor—an old International—as well as his three horses, whom he treats like members of the family. The tractor saves time, but it’s noisy. With the horses, he can hear the birds sing.

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“I’m the welfare agent for my horses,” Schroeder says. “They get dental and medical attention and pedicures, too.” He added, “Horses like to eat and go, and eat and go day and night. I supply that psychological need.”

Primitive agriculture of the sort that the pioneers practiced isn’t for Schroeder, though he likes to keep farming simple, to stay close to the earth and maintain what he calls a “quiet profile.” But every now and then he enjoys going public and talking about hay, which rarely if ever receives as much attention as those two high-profile crops, grapes and marijuana.

Hay plays a big part in Sonoma County agriculture. Indeed, it’s a major crop all the way from Sears Point to Petaluma and Healdsburg, and from Valley Ford to the outskirts of Santa Rosa. Haymakers like Schroeder labor long hours in the hot sun and on windy, chilly days, too, especially when the skies threaten rain. They’re a kind of tribe known mostly to one another.

At 57, Schroeder still works like a man of 27. He and his fellow haymakers plant, cultivate, harvest, bale and then stack 50-pound bales in barns that provide habitat for owls. On big farms, stacking machinery does the work quickly and efficiently. Schroeder, Doug Mosel and their friends don’t ask for applause, though the work they do ought to be applauded.

“Oh, goodness—any place you see livestock, you know that hay will be grown,” Mosel says. “It’s almost everywhere.”

Schroeder sells a good part of the hay he grows. It’s a good source of income. “People with horses always want good, clean, weed-free hay,” he says, adding, “I like to think I grow good hay.” Indeed, Mosel gives Schroeder’s hay the highest marks.

Standing in a field that he’s recently seeded, Schroeder gazes at the red-winged black birds that dart overhead. He wears a red cap, a red jacket, jeans and high boots, and he looks as though he could be cast as the iconic farmer in a Hollywood movie about a heroic haymaker who battles the elements, survives floods and droughts, and comes out ahead of the game.

“Not everyone makes good hay,” Schroeder says without sounding competitive or boastful. “You need to have the right balance of air and moisture. You need to know when to plant and when to harvest. You don’t want the hay to become brittle and dry out. When you open a bale, you want to see green inside.”

In Ukiah, 70 or so miles north of Schroeder’s Stone Horse Farm, Mosel adds his own observations. “To grow good hay, you have to be a keen observer and read the fields,” he says. “You have to know grasses and harvest them when they’re young and tender and not tall and stemmy.” Mosel harvests most of the hay in Anderson Valley. “I also put almost all of it up,” he says. “I cut it, rake it and bail it. Then the ranchers pick it up and store it.”

Not all of the hay that’s sold in Sonoma County is grown here, though it’s often advertised as Sonoma hay. There’s just not enough land here to grow the quantities of hay needed to support the livestock population, so much of the horse hay sold in Sonoma County comes from the Central Valley and Scott Valley in Siskiyou County.

In fall when he’s harvesting, and in spring when he’s planting, Schroeder’s life gets hectic and even a bit crazy both outdoors and indoors. He and his wife do a huge amount of canning, bottling, preserving and pickling.

“A farmer eats what he can’t sell and a gardener sells what he can’t eat,” Schroeder says. He and Denise do a bit of both.

There’s almost nothing that feels better to him than a barn full of hay.

“It’s my larder,” Schroeder says. ‘It gives me a tremendous sense of security to see all those bales under my roof.”

The bales might also make Schroeder’s workhorses feel secure knowing they won’t go hungry in winter.

Jonah Raskin is the author of ‘Field Days: A Year of Farming, Eating and Drinking Wine in California.’

To the Dogs

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Sam on my lap I scratch his ear

gaze into his sadly happy eyes

wonder just what I’ve done

to deserve him

he who can also be

the loud barking nuisance

startling the hell out of me

who in Vietnam

daily heard both loud

and more muffled blasts

constantly reminding me

mortality expends its time

as explosion or terrier barking.

So to the question of whether or not

our self-centered president

ever even pondered the company of

a pup he would need to kibble-feed

I only can attempt to imagine

the starved and wanting puppy

explosively reminding the Donald

about food, that one necessity

required and craved, sustenance and

attention withheld by

the president playing

golf in Scotland texting Kellyanne Conway,

“Is that greedy little mutt still around?

Feed its ass and name it anything

except Ted or Jeb Ben Mike or Marco

all losers.

And give my dog, whatever

you name it,

the blue ribbon for terrificness

such a winner!

Huge!”

Ed Coletti is a poet who lives with his wife, Joyce, in Santa Rosa.

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.

Whiskey Business

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There’s a new smell in the air in Rohnert Park. It’s a good smell, but unfamiliar: a little industrial, a little sweet, it’s reminiscent of the malty, slightly soapy savor of a brewery at full steam. It smells like beer gone to heaven.

What it doesn’t smell like is straight-up grain alcohol, which is the principle product of Sonoma County Distilling Company. All but hidden in a workaday warehouse behind other businesses, this distillery specializes in the brown booze—whiskey, which starts life as clear and fresh-looking as the Cobb Mountain spring water it’s made with. Like a slow spring, the spirit dribbles out a copper spigot into a steel drum flanked by a battery of direct-fired pot stills that run six days a week, their flamboyantly looping copper pipes feeding the drum, drop by drop.

It’s no accident that the alembic-style stills are fashioned in a distinctly Moorish style, says owner and distiller Adam Spiegel. The design is straight out of the 11th century, but more often seen in cognac production today than American whiskey making.

Spiegel quietly amassed a cellar full of whiskey since the business was founded in 2010 as 1512 Spirits. By 2013, he had bought out his business partner and rebranded as Sonoma County Distilling Company with a madrone tree logo. For Spiegel, although he commutes from San Francisco, it’s more than a name: he’s aiming to produce a signature “grain to glass” style, even inviting local yeasts to contribute to the fermentation, that can’t be reproduced elsewhere.

The fruity esters of all this effort are available to taste, five days a week, in another surprise: a furnished tasting room that looks kitted out for a whiskey party, complete with an out-of-tune old player piano. But it’s no “bar” bar, since state law limits each visitor’s imbibing to six quarter-ounce samples. If you like it, you may take three bottles to go—and some whiskeys are available at the tasting-room only, like the spicy, cask-strength, single-barrel Sonoma Straight Rye Whiskey ($50, 375ml) that they’re awfully proud of for taking home Best of Whiskey at the 2017 American Craft Spirits Association awards. Tours are recommended, not only to glean a better understanding of why these craft whiskies cost more than some others, but for the souvenir Glencairn whiskey tasting glass you get to keep. It’s the proper way to appreciate the new smell of Sonoma whiskey.

Sonoma County Distilling Company, 5625 State Farm Drive, Unit 18, Rohnert Park. Wednesday–Sunday, 11am–5pm. Tasting, $10; tour and tasting by appointment, $20. 707.583.7753.

Raising the Bar

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At last year’s inaugural Next Level Music Conference, Sonoma County’s wealth of musical talent was treated to a full day of keynote talks, panel discussions from music-industry veterans and info on grants aimed to enrich and empower local bands to take their craft to the “next level.”

Hosted by the county’s artistically minded, economic development outreach agency Creative Sonoma, the conference returns May 7 with engaging speakers and another round of grant offerings for Sonoma County musicians.

The conference’s lineup includes local luminaries like Lagunitas Brewing Company founder Tony Magee and North Bay talent buyer and booker Sheila Groves-Tracey. In addition, Creative Sonoma is flying in professionals such as Glenn Lorbecki, a producer and engineer who has recorded everyone from White Stripes to Dave Matthews, and songwriter and producer Sam Hollander, whose résumé includes over 20 songs that hit the Top 40 pop charts.

“As a writer who’s dabbled in so many genres, there’s one unifying message that I want to get out there,” Hollander says, “and that is how important the shaping of a song is.”

Hollander grew up in an era of music that featured songwriting teams creating Motown and pop hits for other artists, and he says he always dreamed of pursuing that. However, he stepped into the music industry just as Nirvana changed the world, and suddenly no one was looking for songwriting teams.

Still, Hollander sweated away in the industry for a decade, and says things turned around when he worked with Carole King in 2001, co-writing the title track from her acclaimed album,

Love Makes the World. Since then he’s worked with Katy Perry, Weezer, Tom Jones and Michael Franti, to name a few.

“My job shifts daily based on who I’m working with,” he says. “The bulk of my time now is spent co-writing with artists, but that job is equal parts psychiatrist, editor or other heavy lifting.”

These days, Hollander excels at guiding the shapes of songs by knowing how to merge melody with lyrics, how to create sonic space and how to speak to diverse artists’ sensibilities.

He’ll share all of these tips and tricks with local musicians when he hosts a special pre-conference workshop on Saturday, May 6, and speaks at Next Level on Sunday.

“When I grew up, there was zero entryway into the music business,” Hollander says. “For me, any time I can go to a town where there’s all this undiscovered talent and inspire a dialogue is exciting.”

Watch the Music Video for The Down House’s “Parker Posey”

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[vimeo]https://vimeo.com/213106227[/vimeo]
Sonoma County post-rock outfit The Down House recently released one of the year’s best albums, “Our Mess,” available as a cassette on Broke Hatre Records. With a darkly laidback vibe and catchy guitars, the band’s first single off the record is the excellent drone-pop tune “Parker Posey,” and now the song gets a sweeping single-take music video directed, filmed and edited by Jim Agius and Timmy Lodhi.
Taking over the grocery aisles of Petaluma Market, the music video looks at what happens after hours, as a walkman-equipped employee dances throughout the store. Seemingly unseen, The Down House occupies the corners of the store and congregates in the produce section for the grand finale. Watch the music video now.

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Watch the Music Video for The Down House’s “Parker Posey”

https://vimeo.com/213106227 Sonoma County post-rock outfit The Down House recently released one of the year's best albums, "Our Mess," available as a cassette on Broke Hatre Records. With a darkly laidback vibe and catchy guitars, the band's first single off the record is the excellent drone-pop tune "Parker Posey," and now the song gets a sweeping single-take music video directed, filmed and...
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