Kiss and Tell

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Love, sex, acting and mathematics. It’s all a messy business.

Two new plays explore the sloppy intersection of sexual attraction and artistic (and/or scientific) pursuits. In Lauren Gunderson’s surreal 2010 drama Emilie: La Marquise du Châtelet Defends Her Life Tonight (Marin County’s Ross Valley Players), the real-life du Châtelet, an 18th-century physicist and sometime lover of French playwright Voltaire, finally gets a chance to tell her little-known story. Unfortunately, she’s just died.

“I’m not done!” cries the desperate Emilie (Robyn Grahn, charming yet strangely distant). Offered a chance to relive her life, possibly getting to finish her book describing the life force as a mathematical equation, she finds that actually touching these memory-people leads to electric shock, so whenever her story gets “physical,” she calls in a younger version of herself (Neiry Rojo) to handle all the kissing and groping.

Director Patricia Miller takes a bold (but unsuccessful) risk in casting Catherine Luedtke as Voltaire. Luedkte, first-rate, does everything she can, but the choice doesn’t work, taking an already over-analytical, convoluted story and pushing it further from the grasp of the audience’s emotions. Though the scientific stuff is frequently thrilling, the sexy parts—mainly men chasing women while shouting “Hoo-hoo-hoo”—is about as un-sexy as a Bugs Bunny cartoon.

Rating (out of 5): ★★★

Considerably sexier and more convincing—though so oddly structured as to require constant audience effort to absorb—is 6th Street Playhouse’s production of Sarah Ruhl’s Stage Kiss, directed with welcome farcical fury by Marty Pistone. Structured as a play-within-a-play (followed by another play-within-a-play), Strange Kiss introduces us to two ex-lovers, He and She (Edward McCloud and Jenifer Coté). The characters are thrown together in a very bad play, saddled with a cast of delightfully underachieving actors (Rusty Thompson, Lydia Revelos, Abbey Lee, all funny, plus an excellent Tim Kniffin), guided by their woefully unprepared director (Mollie Boice).

Stage Kiss contains a whole lot of kissing—some serious; some very, very funny—and it’s fun to watch the fake kissing lead to real kissing, then back again. Though ultimately somewhat pointless, vague and overly mean-spirited, Stage Kiss is an entertaining romp and an often clever comparison between the easy promises of
love-struck fantasy and the hard but worthy work of achieving real love.

★★★★

Burger Bomb

Director John Lee Hancock has gone from Davy Crockett (The Alamo) to a greasier kind of pioneer with The Founder, the off-again, off-again-again story of Ray Kroc, the burger baron who franchised McDonald’s from the original owners, a pair of idealistic restaurateurs from San Bernardino.

Making the Golden Arches an interstate phenomenon, Kroc created the fast-food nation we live in today. Exuding gall and desperation, Michael Keaton plays Kroc with a Midwestern honk to his voice and a never-ending line of patter. Watching him get a series of doors slammed in his face and seeing him taking solace with a hip flask, it’s like Beetlejuice died and went to hell.

Keaton’s helmet-like forehead and barely repressed snarl suggest a deeper conception of Kroc’s climb. We’re supposed to grudgingly admire the nerve of the blinkered man, with his devotion to homilies, as when we see him alone in his motel room, listening to an LP of the “Press On” speech by Calvin Coolidge.

A squandered Laura Dern plays Kroc’s first wife, left alone all night while her husband works his territory. Dern’s effort only serves to reveal the thinness of the script.

The movie is a symphony of false notes, with very little atmosphere of the times. The Founder sells itself on Kroc’s patter about how America needed his Golden Arches—a wishy-washy conception of this business giant that makes it look as if McDonald’s corporate headquarters had approved every scene.

Given the tepid material, it’s odd how choice the soundtrack is. Carter Burwell overlays solo piano for the small-town scenery. A Penguin Café Orchestra track plays over the “burger ballet,” McDonald’s employees in a mock restaurant floor plan, outlined in chalk on a tennis court. Despite the music, those who have a bit of PTSD about the time they spent at McDonald’s may not be sold on the ingenuity and persistence of this credit-grabbing hustler.

‘The Founder’ is playing in wide release in the North Bay.

In the Loop

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Chart-topping musician and longtime Sonoma County resident Zoë Keating combines classical cello training and the latest technology to make her enthralling musical compositions.

Known as a one-woman-orchestra, Keating takes a DIY approach to music, recording and releasing her albums without a record label, and amassing over a million followers on social media through word-of-mouth and her performances.

This weekend, Keating takes the stage at the Luther Burbank Center for the Arts in an event that pairs her with Jad Abumrad, creator and host of the popular Radiolab program, for a music and spoken-word affair.

For Keating, the road began when she was eight years old, when found herself assigned the cello in class because she was the tallest student. After completing a liberal arts program at Sarah Lawrence College in New York, she moved to San Francisco in the late 1990s to work in the emerging tech field and live in an artist-run warehouse space.

“It was the turn of the millennium, and it was a really creative environment,” says Keating.

Being surrounded by other like-minded artists who were combining computer tech and musical performance inspired Keating to take her cello in a new amplified direction. “It was very organic and gradual,” she says.

Keating created original pieces using pedal-looping technology, which allowed her to layer cello melodies into an expansive and atmospheric music unlike anything else being produced at the time.

“I was lucky, it was right-place, right-time for me,” says Keating. When she decided to release her debut solo EP in 2006, Keating shopped it to record labels but got zero positive feedback, so she released it herself the year iTunes opened its platform to independent artists. With the help of a little NPR coverage, her debut went to No. 1 on iTunes.

The upcoming performance is titled “Gut Churn,” in which Radiolab’s Jad Abumrad presents a narrative accompanied by Keating’s live, mostly improvised score that touches on “the idea of the feeling of fear leading to art,” Keating says.

Keating says she and host Jad Abumrad, with whom she’s collaborated since 2008, share so many similar sensibilities that for the upcoming performance they probably won’t even discuss the show until sound check. “We really trust each other.”

The Santa Rosa show is a welcome addition to Keating’s schedule of international touring that included a trip to the White House last October. “I like that I can go around the world and come back here,” she says of her home near Occidental. “This is my refuge.”

Omnivorous

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One issue poised to dominate 2017 is the place of meat in the modern human diet. The issue strikes at the core of our omnivorous nature, while tugging at our heart strings and challenging our intellects.

The more I learn about the impact the meat industry has on world hunger, our changing climate and other facets of our environment, the more foolhardy and selfish eating animal products appears to be—unless, perhaps, you’re raising or hunting your own, or purchasing from a livestock operation that’s sensitive to its environmental footprint.

By contrast, consumer interest in the quality of life experienced by the animals that provide us their meat, organs and secretions has spiked. The likes of Walmart and McDonald’s are happy to oblige, having pledged to phase out their use of chicken eggs that were laid in a cage. Whether the chickens are truly any better off is an open question.

Not coincidentally, 2016 was the year that the veggie burger came into its own, largely on the back of the Impossible Foods burger. This plant-based, umami-rich patty sizzles and browns in the pan, and sheds plant-based red “blood” with each bite you take. Even the least apologetic of meat eaters surveyed have admitted to respecting the Impossible burger, fortified with wheat and potato protein and lubed with coconut oil.

The fake-animal-product space has also exploded with the likes of vegan cheese alternatives made from cultured nuts, pink-hued fake shrimp and crab meat, nut- and grain-based “milk” products like almond milk and soy milk, egg-free “mayo” and every kind of vegan substitute for eggs, chicken and most every other piece of flesh or fluid you can imagine.

It’s not just vegans who are into this stuff. Locavores, climatarians, ovo-lacto-paleo-bacon-vores and good old-fashioned omnivores are finding their way to animal-product-free alternatives for entirely different reasons.

Me, I eat meat. Mostly wild game, for which I feel zero guilt, assuming the hunt goes well. While I don’t avoid animal products as a rule, I do limit my intake of milk products. I know it isn’t cool to admit it, but I like soy milk. I like milk, too. And heavy cream. And cheese, though I long ago settled on mayonnaise as my go-to cheese alternative.

The various animal-product industries have not been pleased with these developments, and pushed back big-time in 2016. Unilever, owner of the Hellmanns and Best Foods brands of mayo, took vegan-food processor Hampton Creek to court for using the word “mayo” on the label of its egg-free mayonnaise substitute, Just Mayo. The National Dairy Council attempted, and failed, to make it illegal to use the word “milk” to describe nut- and grain-based milk substitutes like soy or almond milk.

In 2016, public understanding and perceptions of fat continued to be turned inside out, especially saturated fat, which has long been assumed to be the culprit behind obesity and related ailments, like heart disease. Once practically unassailable, this position is now being openly questioned, as expert opinion is shifting to the camp that regards sugar as the primary dietary culprit behind obesity.

“Saturated fat” is a fancy way of saying “animal fat,” but with one big exception: a pair of oils, coconut and palm, derived from closely related tree species. Saturated fats are increasingly understood to benefit brain health, as well as other crucial body functions. The relative merits of unsaturated fats, meanwhile—especially those found in grain-based oils like canola, safflower, sunflower and soy—seem to worsen the more we learn about omega-6 fatty acids, in which the grain-based oils are high.

And it isn’t clear that all meat is bad for the environment, either. A vocal minority of ranchers are making the ecology-based case that certain landscapes can benefit from properly managed herds of certain ungulates. In the absence of buffalo and other native grazers, many ecosystems could spin out of control without tasty creatures like cows to fill that vital niche.

Rotational grazing, if done correctly, can result in healthier ecosystems and carbon sequestration, proponents claim. It’s a compelling vision, but even if it’s true, the cattle-carrying capacity of the landscape is much less under rotational grazing than under traditional feedlots. If the world were to make a dramatic switch to rotational grazing, it would mean a lot less meat to go around.

This could be the year of the fight over the legal definition of the word “burger.” It will be a year of glory and evolution for imperfect produce, and in celebrating the innate beauty of plant parts. But amid the angst, celebration and exploration of a plant-based diet, don’t be surprised if meat makes a little comeback too. The relative places of meat and plants in an omnivorous animal in a modern context will continue to be a fluid, evolving situation in 2017.

Letters to the Editor: January 25, 2016

Poverty Stinks

I was a maintenance supervisor as part of a low-income property management team, and I can tell you from experience that low income housing has become a de facto psychiatric ward, rehab center, retirement home and hospice all rolled into one. I was raised to judge a society based on how they treat the least among them, and Palm Inn (“Off the Streets,” Dec. 11) serves as further evidence of barbarism. It simply bridges the gap between official policy and grim reality. Poverty does indeed have an odor: it smells like sulfur and putrescine.

Via Bohemian.com

Woman Up

The recent marches, with thousands of women, men and children showing up in Santa Rosa and Sonoma, prompted me to do something I’ve been thinking about for months. And that is to write to the Bohemian about the lack of women in its pages. In the recent issue, I found not one article with a women’s byline. On the masthead, only male names appear as editors or contributors. Over the past few years, seldom do women appear on the cover. What’s up with this?

I want to see a real change where women are substantial and regular contributors to the paper. Man up, guys, and make some changes.

Kenwood

Vote with
Your Feet

Now that Donald Trump is president, it’s time for people trying to keep the government out of their minds by wearing tin or aluminum foil hats (TFHs) to remove their headgear and start wearing steel-tipped boots instead. The TFHs never worked because the governmental access port into its citizens is not through their head but through their feet, and most aluminum foil is made by Reynolds or another corporate giant that is not going to sell a product that helps people maintain their independent thought, when independent thought is the only defense against being rounded up into a herd by a government controlled by those very corporations.

The only defense against this vile scourge against our sovereign selves is wearing steeltoed boots, preferably ones with steel shanks. This will protect you from receiving unwanted signals, but that alone will not protect you from the government using your feet to keep tabs on you. To prevent that, you must also keep very close track of your socks. Have you ever wondered why your socks disappear? Socks are also made by corporations, and whatever is in those cotton blends is perfect for recording your every thought and deed. We do not all lose our socks. The government comes and takes them without any warrant or justification of any kind.

The next four years are going to be trying times for this country. Don’t make it easy for them. Protect your feet and keep track of your socks. To be safe, tie-dye all your socks. For some reason, tie-dye messes with the cotton blends, turning the downloaded data into lousy sounding bootleg recordings of old Grateful Dead songs.

Cotati

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

Sub Rosa

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Is it too much to say that I found the guys at Hobo Wine Company down by the railroad tracks? Not really, because that’s exactly where I found them, doing some of the daily tasks of making wine on a gray and rainy January day in Roseland.

The last time we caught up with them was back in 2008 when winemaker Kenny Likitprakong opened shop in Downtown Wines, a Healdsburg tasting room that offered his Hobo, Banyan and Folk Machine labels in a hip setting to the soundtrack of vinyl records. Since then, they closed the tasting room, shut down the wine club and retreated to an unmarked warehouse down by the railroad tracks in south Santa Rosa.

What went wrong? Nothing at all—that’s the paradox of Hobo, which appears to be going gangbusters, adding tens of thousands of cases of production, several new labels and garnering multiple plaudits from the New York Times in the same year—all while eschewing the direct-to-consumer, hyperactively social-media model that marketing sirens warn is the only way to go in today’s wine market.

“I’ve never had a Facebook account,” admits Likitprakong, who grew up in Healdsburg and Santa Rosa, and even today looks like he just hopped off a skateboard in the 1990s. The intense self-promotion just didn’t suit the easygoing vintner.

True, Likitprakong’s wife does run a winery Facebook account, and Kenny dabbles in Instagram. But the business model is as decidedly traditional, selling via distributers to restaurants and retailers, as the style of the wines—not traditional to the 2000s, “but of the ’70s and ’80s,” Likitprakong says, humbly qualifying, “not that I’ve had a lot of wines from the ’70s and ’80s.”

The already reasonable price of Folk Machine 2015 Antle Vineyard Pinot Noir ($30) has to be put in perspective of provenance; it’s from a parceled-off piece of the original Chalone vineyard, all Pommard clone, a new and bright, vaguely hay bale–scented sipper that’s got glory days ahead of it.

The Folk Machine 2015 White Light ($15) is a creamy but dry, fruit cocktail–flavored blend of mostly out-of-favor white grape varieties, while the Camp 2015 Sonoma County Merlot ($18) is a fifty-fifty blend of organically and biodynamically farmed grapes that, because of the winery’s very minimal use of new cooperage, delivers the fruity, puckery charm of the grape without making a big show of toasted oak.

Hobo Wine Company is open for tastings by appointment. Find the wines at Peter Lowell’s and Handline restaurants, Big John’s Market, Bottle Barn and soon Oliver’s Market. 707.887.0833.

Boutique Boom

Sonoma County is famous for its great wine, natural scenery and low-key vibe, a contrast to the denser, glitzier wine country tourist attractions in Napa Valley. One other contrast to Napa: there aren’t as many boutique hotels to match the region’s growing reputation as a wine country destination.

While Sonoma County has plush hotels, they are few and far between. But that looks like it’s about to change.

Last year there were several hotel openings and more are coming this year in the boutique niche characterized by the hotel’s small size, attention to detail, elevated approach to hospitality and, yes, high prices.

According to Sonoma County Tourism, the county’s hotel assessment-funded tourist bureau, there are 34 new hospitality developments in the works. While some are big-name projects from the likes of Holiday Inn and Marriott, the majority, from Healdsburg to Sonoma, are smaller, independent projects with a hundred rooms or less.

According to Tim Zahner, Sonoma County Tourism’s chief marketing officer, the average hotel occupancy in the county was almost 78 percent in 2016, “meaning 8 out of 10 hotels rooms were occupied every month.” Investors see those numbers as an opportunity to step into the lodging market, says Zahner.

“I’ve been definitely getting more calls this year, from private entrepreneurs as well as ’boutique’ arms of established hotel chains,” he says.

Last year, tourism spending reached $1.82 billion, a significant increase from 2015.

“As more and more people discover Sonoma County, the need for unique lodging has been on the rise,” says Liza Hinman, chef and co-owner of the popular Spinster Sisters restaurant in Santa Rosa.

Her solution? A plan to open the Spinster Inn above the restaurant later this year. The inn will include nine rooms, as well as a pantry selling foods prepared by the Spinster Sisters kitchen. Hinman says it’s time to offer a chic alternative to Santa Rosa’s booming Airbnb market.

“Our inn is looking to provide a new option for a traveler who wants to stay somewhere a little different,” she says. “We feel like an inn is a natural extension of the hospitality business and will bring another dynamic to our neighborhood.”

Combining a restaurant with a boutique hotel is a national trend and has already proven to be successful in the case of another Sonoma County newcomer, SingleThread Restaurant & Inn. Five rooms sit atop the Michelin-stars-bound, Japanese-inspired restaurant. Rooms include rarefied snacks and sweets from the kitchen, premium beverages as well as a range of breakfasts: Japanese, Persian or a vegetable frittata made with produce grown at the restaurant’s nearby farm. All that pampering doesn’t come cheap. Rooms start at $800 a night.

Other projects in the works will stand alone as hotels. Michael Marino, the owner of California Wine Tours, is opening the Hawker House on a historic site on West Napa Street in Sonoma. In Healdsburg, the Piazza Group is constructing its H3 Guesthouse. The hospitality company, which owns the Hotel Healdsburg and H2, is also developing the Hotel Sebastopol on the site of what was a tractor-supply business on the town’s plaza, a sign of the times if there ever was one. The hotel received final design approval from the city this month.

“Following 2008, it was very difficult to get hospitality financing,” says Circe Sher, a partner at Piazza Hospitality. “A lot of projects were stalled or never started due to lack of available financing. With the improvement of the economy, more financing has become available, and many projects have restarted or gotten underway.”

Sher hopes its Guesthouse project will appeal to “younger, tech-friendly, eco-conscious, do-it-yourselfer types,” while in Sebastopol the aim is to “attract visitors interested in eco-tourism and agri-tourism, who will be taking advantage of Sebastopol’s unique location nearby many natural attractions, the great food and wine and healing community here.”

Meanwhile, several hotels have attempted to redefine themselves with remodels to appeal to the growing tide of tourists. Up Highway 1 north of Jenner, the venerable Timber Cove Resort underwent a top-to-bottom renovation last year in an effort to freshen up its look and appeal to a new generation with a minimalist, Scandinavian-inspired redesign. From the portable turntables and vintage vinyl in each room to the hand-embroidered pillows with uplifting messages, the vibe is certainly more millennial-friendly.

Last spring, the Hotel Petaluma’s courtyard and lobby underwent a major overhaul. The lobby is now connected to a winetasting room hosted by Barber Cellars and will soon include a bar operated by the newly opened Shuckery restaurant nearby.

“With the new owners stepping in in 2016, we’re really aiming to bring the hotel up to the standard of what travelers expect,” says Dustin Groff, the hotel’s general manager.

Those travelers—the “younger generation and the social-media-savvy”—says Groff, are “interested in a unique experience of a modern yet historic hotel.”

Of course, the growth of pricey new hotels raises the specter of rising housing prices, which are already out of reach for many residents.

“There’s definitely a community discussion now about the ways tourism affects people’s lives in the county,” says Zahner. “Personally, I believe that, aside from the financial benefits, tourism also brings cultural and other assets that might not be originally cultivated by the community, and enriches it. I’m sure the positives will outweigh the negatives.”

Let us sleep on it.

Paper Trails

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The Press Democrat is being sued for defamation by prominent Santa Rosa real estate developer William Gallaher and his son-in-law Scott Flater.

The Dec. 21 complaint, filed in Sonoma County Superior Court by Santa Rosa attorney Michael Miller, stems from a series of six articles that ran in the Press Democrat late last year which raised questions about donations made on behalf of a trio of Santa Rosa City Council candidates running for office in 2016. Two of the three candidates won their races.

The donations were independent expenditures, the paper reported, made possible through the Citizens United Supreme Court ruling that allows for campaign spending beyond a Santa Rosa rule that limits individual contributions to candidates to $500.

The gist of the series of stories was that Gallaher is suspected to have funneled campaign cash—totaling about $195,000—to preferred candidates through his son-in-law, Flater, and an independent expenditure campaign created by Flater.

The paper reported that Flater is married to Molly Flater, who is CEO of Oakmont Senior Living, which operates the sprawling Oakmont Village retirement community in Santa Rosa developed by her father.

The first in the series of stories by Kevin McCallum ran on Oct. 20 during the height of a fevered campaign season that saw record amounts of cash flow into the Santa Rosa city council races. McCallum reported that “Scott Flater, the son-in-law of politically active developer Bill Gallaher, recently reported spending nearly $40,000 to help support two other candidates—Jack Tibbetts and Ernesto Olivares. While he didn’t give the money directly to either candidate, the contributions raise questions about whether Flater or people close to him are exploiting gaps between state and city campaign finance laws that limit campaign contributions to $500 each but allow ‘major donors,’ such as Flater, to spend unlimited funds.”

The paper published another five stories about Flater and campaign contributions, capping off the series with a “what is to be done” story on Nov. 20 that surveyed local elected officials on their thoughts on the unlimited donations and how to address them in future elections—using the Flater-Gallaher storyline as the jump-off.

The defamation complaint names the Press Democrat, the corporate owners Sonoma Media Investments, reporter Kevin McCallum and Sonoma State University political scientist David McCuan as defendants (along with 20 unidentified John Does). The complaint seeks unspecified monetary damages and charges the paper with defamation, libel per se and portraying its clients in a false light.

The complaint followed a letter sent to McCallum and Press Democrat executive editor Catherine Barnett by Miller on Nov. 21 that demanded the paper retract six stories that he alleged contained defamatory comments against Gallaher and Flater. When the paper didn’t retract the stories, they sued.

The complaint highlighted a Nov. 5 article that reported, “Mr. Flater’s spending spree . . . has telltale signs of someone who has agreed to act as a front man for other donors, allowing them to shield their political contributions and potential economic interests in the race from public view.”

McCuan was included in the complaint, and he was also sent a letter from Miller, partner at the Santa Rosa firm of Perry, Johnson, Anderson, Miller & Moskowitz, for quotes he provided to the Press Democrat that furthered a running theme that Gallaher was likely the hidden hand behind the contributions. An Oct. 28 story highlighted ongoing donations from Flater, as it noted Gallaher’s work as a developer in Santa Rosa as “one of the city’s most successful developers.”

According to media reports and documents on file with the city of Santa Rosa, Gallaher is involved in a years-long negotiation with the city to build the “Elnoka” project on land adjacent to Oakmont Village. As it laid out its reporting on the Flater contributions, the Press Democrat reported that a proposed project comprising 447 units had already been rejected by the city. The latest updated Elnoka proposal, as first reported in the Kenwood Press, was submitted to the city last October and nearly doubles the proposed units to a 778-unit retirement community.

The Press Democrat noted that Gallaher, his wife, daughter and son-in-law all contributed the Santa Rosa legal limit of $500 to Tibbetts.

Tibbetts told the Press Democrat on Oct. 28 that he had never met Flater and believed that the donations were “part of a bundle” of contributions to other city council candidates. He told the paper the $62,675 Flater had by then spent on mailers and canvassing for him was “a disgusting amount of money to come into a local race,” even as he accepted the support.

Teeing off on the Tibbetts “bundling” assertion, McCuan told the Press Democrat in that same Oct. 28 report that the alleged bundling was part of “a pattern Gallaher has of ‘sprinkling money around’ to family members to maximize payments to—and potentially influence with—council candidates.”

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McCuan went on to say that “Bill Gallaher uses his family as a shell game, and has for a long time in order to channel support to candidates of his liking. . . . It sounds to me what they have done is against the letter and intent of the law.”

The defamation suit denies the premise of the Press Democrat series and McCuan’s assertion of illegality.

In his letter to the newspaper (a version was also sent to McCuan), Miller wrote, “The political contributions from Mr. Flater were made on his own and did not originate from Bill Gallaher. Neither Mr. Flater nor Mr. Gallaher violated state campaign finance rules. Mr. Gallaher has never used anyone, including family members, to make political contributions on his behalf.” That language is more or less repeated in the defamation lawsuit that was filed after the paper declined to retract the articles and remove them from the paper’s website.

The suit may have sprung from a potential journalistic danger zone that exists somewhere between two underlying conceits that appeared to drive the series of stories, beyond the basic follow-the-money backdrop: The first is, “That just doesn’t look right.” The second is, “Well, we wouldn’t put it past him.”

On the former point, the Press Democrat reported that the son-in-law of a successful local developer (who has ongoing business before the city council), after showing little apparent interest in local politics in previous elections, suddenly decided to start sending outsized sums of cash to three candidates’ campaigns—while identifying himself in disclosure reports only as a “homemaker.” Meanwhile, Gallaher is looking for a green light on an ever-expanding Elnoka project years in the making. No doubt, that just doesn’t look right.

But in raising the question about Gallaher’s “suspicious” role in the alleged laundering and bundling of independent expenditures, the paper never answered it. Neither Gallaher nor Flater responded to McCallum’s attempts to get them on the record about the contributions, a point highlighted in an email statement sent to the Bohemian by San Francisco attorney Thomas Burke of the media-law practice of Davis White Tremaine, which is representing the Press Democrat (the firm has defended affiliates of the Bohemian in past litigation).

“The Press Democrat is being sued for fairly and accurately reporting on the source of 195K in political contributions to the City Council election,” Burke says. “As a part of its reporting, the newspaper made repeated efforts to interview Mr. Flater and Mr. Gallaher about the source of the contributions, but they repeatedly refused to comment. The Press Democrat will vigorously defend its reporting on this matter of significant public interest.”

On Nov. 5, the paper reported that Chris Grabill, a local contractor, took matters in hand and reported Flater to the Fair Political Practices Commission (FPPC), a state watchdog agency. In its report on the filing of the Grabill complaint, the Press Democrat noted that Gallaher had been cleared of similar laundering-and-bundling charges in 2015 by the commission.

In that same story, McCuan also took a shot at the watchdog and said whatever they discovered wouldn’t come out until after the election, when it didn’t matter anymore, as he described the organization as “toothless and feckless.”

Spokesman for the FPPC Jay Wierenga cited the ongoing investigation and couldn’t answer any questions about it.

“Investigations, although not trying to sound trite, take the time they take,” he wrote in an email. “It all depends on each case. Generally speaking, about two-thirds of all cases are concluded in 180 days and about 90 percent are concluded within a year.”

McCuan says via email that he can’t talk about the case on advice of counsel. The Sonoma State University public-affairs office was sent a set of questions, which included whether the university was paying for his lawyer.

“Dr. David McCuan is an esteemed member of our faculty and is valued for his breadth of contributions in the North Bay and beyond,” responded SSU spokesman Nicolas Grizzle in an email. “The University does not customarily comment on litigation. We can say on a broader level that Sonoma State safeguards the academic freedom of its faculty, including the extramural speech and opinions that our faculty members express as citizens.”

Miller says neither he nor his clients wished to comment.

“[N]either my clients nor I wish to in any way litigate this matter through the press,” he wrote via email.

The parties will head to Superior Court April 25 for a case-management conference with Judge Nancy Case Shaffer in courtroom 16 at 3pm.

(This story has been updated to include the disclosure that the firm representing the Press Democrat has represented affiliates of the Bohemian in past litigation.)

Clean Slate

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With the passage of Proposition 64, Californians took a major step toward ending the war on drugs and repairing some of the damage inflicted on people’s lives by marijuana prohibition.

Although the most serious marijuana-related crimes, such as providing it to minors or attempting to smuggle pot across state lines, remain felonies under Proposition 64, most marijuana-related misdemeanors and felonies have been reduced or altogether eliminated. These sweeping reductions in criminal penalties are retroactive, meaning past convictions for marijuana offenses reduced or eliminated under Proposition 64 can be reclassified on criminal records through the courts for free.

The Drug Policy Alliance is working at all levels to ensure that as many people as possible obtain relief under Proposition 64. To that end, we have developed a new website, Myprop64.org, to serve as the hub for information on implementation of the law. Visitors can find specific steps to reclassify marijuana-related convictions, as well as links to the appropriate reclassification forms, free legal clinics and contact information for local courts and public defenders’ offices.

Individuals with prior marijuana convictions on their record, who are no longer in the criminal justice system, can apply to the court where they were convicted to have an offense reclassified as a misdemeanor, infraction or have it dismissed, no matter how old the conviction.

In general, the process for reclassification will not involve a hearing, but you should work with a legal clinic, lawyer or public defender to assist with the process.

After submitting your forms, the court may proceed without a hearing. In most counties, you will be notified by mail once the superior court has ordered and then recorded the reclassification. Some counties may require that you return to court to learn the status of your application. However, if there is a dispute and your application is denied, you will be entitled to a hearing.

Proposition 64 is a step toward undoing damage caused by the draconian and punitive policies born out of the war on drugs. By reducing and removing the criminal penalties for marijuana offenses, we are simultaneously reducing the barriers to employment and housing.

Moreover, we are creating opportunities for second chances by investing hundreds of millions of dollars of marijuana tax and licensing revenue into low-income communities that have been most negatively affected by the war on drugs.

Eunisses Hernandez is a policy associate at the Drug Policy Alliance. Cat Packer is a policy coordinator at the Drug Policy Alliance.

Magical Folk

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There must be something in the waters of West Marin, for it seems lately a new wave of up-and-coming indie rock artists are arriving and returning to their folk roots among the region’s rolling hills and foggy coastline.

The latest transplant is Brooklyn singer-songwriter Luke Temple, who relocated to Pt. Reyes Station last year, and recently unveiled a stunning and eloquent folk album,

A Hand Through the Cellar Door.

Temple performs from the new album on Jan. 21 at ink.paper.plate in Point Reyes Station.

Born in Massachusetts, Temple lived in Seattle briefly before moving to Brooklyn 10 years ago. He already had two critically acclaimed folk albums under his belt when he switched gears in 2009 and formed indie pop band Here We Go Magic.

Temple’s rhythmic tunes and often stream-of-consciousness lyrics were a key feature in Here We Go Magic, and the band’s sound had crowds on their feet at festivals around the world. In the last few years, Here We Go Magic underwent some lineup changes, and while the band still performs occasionally, Temple’s main focus these days is his solo career.

Released last November, Cellar Door, finds Temple in full storyteller mode, crafting eight acoustic songs that explore family struggles. His hypnotic rhythms come through on tracks like opener “Estimated World,” on which a guitar riff and minimalist backing drums, bass and organ slowly build. That unfolding sound appears again in the cathartic “Maryanne Was Quiet.”

Other tracks, such as “The Birds of Late December,” feature Temple’s lilting voice taking on delicate falsettos and hushed tones that remind one of a blend between Nick Drake and Paul Simon. Elsewhere, Temple commands the listener’s attention with off-kilter elements, such as the cellos and almost spoken-word delivery of “The Complicated Men of the 1940s.” Cellar Door isn’t background music; it’s a powerful amalgam of social lessons wrapped in personal stories.

Temple’s performance this weekend will also feature two other rising folk stars: MAITA, from Portland, Ore., whose debut EP Waterbearer comes out soon, and Petaluma’s own Ismay, a country-western singer who appeared at last year’s Hardly Strictly Bluegrass Festival in San Francisco.

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