Letters to the Editor: September 17, 2014

MRAPs in Napa

Thanks for publishing with
the correction from Tom Gogola (“Missing Tank,”
Sept. 10). Most useful to those of us in the community would be to hear the official explanation of why this was acquired, how it is being maintained and how it would be used! War on drugs? War on glassy-winged sharpshooters? War on phylloxera? Seriously, even if the war on terror should have an active beachhead on the banks of the Napa River, this vehicle would not be very effective.

Healdsburg

Vibrant & Beautiful

Thanks for your recent piece (“Community in Transition,” Sept. 3) about improving the diet and health of the residents of my neighborhood, Roseland. It’s about time this vibrant, venerable and beautiful area is featured front and center without making it about crime.

Santa Rosa

A Worrisome Trend

The appointment of legislative aides to political office is a worrisome trend. Like the relatives of well-known politicians getting elected purely on the basis of name recognition, these aides comprise a kind of “legacy entitlement” similar to the preferment of alumni’s children over others in getting into prestigious colleges, thereby freezing out the general public.

Because maintaining a democracy is hard work, some voters might be more comfortable with these dynastic successions out of an unconscious yearning for monarchy that was evident in the preferences of some of our Founding Fathers like John Adams and Alexander Hamilton, and the recent development of the imperial presidency.

Besides their succession being less than democratic, these aides bring a lot of baggage, having been collectors of favors and insiders carrying their bosses’ water. They are more likely to perpetuate the status quo and turn an institution inward when new blood is sorely needed.

For this reason, I urge the voters to elect Fairfax’s Larry Bragman whose hard work and independence has been proven as an elected city councilman when they mark the ballot for Marin Municipal Water District director.

Lagunitas

Sharing the Road

As a bicycle enthusiast who loves being on two wheels, I share this: the jackasses in clown suits riding their bikes down rural roads with no shoulder are endangering everyone involved. It’s way too common to see bikes in critical mass, side by side, or too far into the middle of the road. I’m not fond of moving my car over the double yellow line into oncoming traffic. Join your local bicycle coalition and support the further installation of bike lanes and trails. Get the hell off of roads with no shoulder to support you!

Via Facebook

So are we supposed to cross a double yellow in order to give this three-foot window? Which law takes priority?

Via Facebook

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

Head Games

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‘The future becomes the present, the present the past, and the past turns into everlasting regret if you don’t plan for it.”

This warning, declared in Tennessee Williams’ Glass Menagerie, has been interpreted many ways since the 1944 premiere of this gorgeous, fiercely loved play. Now 6th Street Playhouse is putting its own interpretation on that famous line, caustically uttered by the resentful, aging Southern belle Amanda (Jacquelyn Wells) to her would-be-poet son, Tom (Dallas Munger).

Director Craig Miller, inspired by the quote’s examination of past and future, has elevated the play from a memory into a vivid full-on alcoholic hallucination. What normally plays out on a living room set, now plays in the homeless Tom’s demented head, as he mutters and barks beneath a fire escape in a New Orleans alley. Trapped in an inescapable loop of regret—predicted by his mother—Tom rages to the air. The characters of his past materialize in the alley as he replays the memories, using trashcans and wooden pallets in place of the usual faded furniture.

In particular, Tom replays the night he finally abandoned his mother and mentally frail sister, Laura (Katie Kelley Stowe), following a “dinner party” in which a gentleman caller (an excellent Ben Stowe, alternating with Rusty Thompson) almost pulls Laura from the dreamy fantasy world she hides in. Fueled by sorrow, Tom is now trapped in a world of his own.

It’s a bold idea, born out of Miller’s obvious love of the play, and whether it works or not will depend on how theatergoers feel about this kind of reinvention. I’ve always believed that theater is elastic. Plays can be twisted, pulled, bent and stretched, and then the script snaps back into place after the run is over, returning to its original form, ready for others to tackle it again.

In the case of 6th Street’s version, the concept works surprisingly well, bolstered by clever sound design that gives us noisy street traffic in the background, disappearing when Tom enters his memories and returning with a jarring rush whenever he’s pulled back to the present.

The cast is deeply committed but wildly uneven, keeping some scenes from achieving the depth they deserve, while others leap up raw, fully alive and unforgettable. Still, the show’s built-in power is unstoppable, and Miller’s gutsy vision makes for an evening of challenging and thought-provoking theater.

Rating (out of 5):★★★½

Songcatcher

Roots music titans Bonnie Raitt, Taj Mahal, Ry Cooder and Richard Thompson weigh in on the importance of Chris Strachwitz in the thoroughly beguiling This Ain’t No Mouse Music: The Story of Chris Strachwitz and Arhoolie Records.

Strachwitz deserves to be ranked with field collectors and ethnomusicologists John and Alan Lomax and the Anthology of American Folk Music‘s Harry Smith. In an era of banal, pasteurized sounds—earwash Strachwitz refers to as “mouse music”—Strachwitz’s various labels recorded or reissued countless artists from all over the jazz, ethnic, blues and gospel spectrum.

Strachwitz was born a landowner’s son in Silesia (now Poland). After he and his family were chased out by the communists, Strachwitz came to America. He became fascinated with the folk-blues revival of the early 1960s. He tracked down Mance Lipscomb, and thus also got to know Lightnin’ Hopkins and Big Mama Thornton.

The Texas/Louisiana border area and the swamp lands south of New Orleans produced numerous finds. Clifton Chenier, the “King of Zydeco,” with the crown to prove it, emulated Hammond B3 licks and Junior Walker–like mouth-harp on his piano accordion. Down south, Strachwitz met the Savoys and the Doucets—trad-Cajun musicians of sterling dexterity and spirit.

That’s just a few of the musicians seen and heard here. Directors Maureen Gosling and Chris Simon show us Strachwitz’s facets. He was a shrewd businessman who got the publishing rights to the anti–Vietnam War song “I-Feel-Like-I’m-Fixin’-to-Die Rag” from Country Joe McDonald, and who earned enough money with them to open his still-surviving El Cerrito store Down Home Records.

Strachwitz can be prickly, however, and sometimes demonstrates Werner Herzog–levels of hedgehog-like irritation. But this film shows that his career has been like a paraphrase of Will Rogers: Chris Strachwitz never recorded an album he didn’t like.

‘This Ain’t No Mouse Music: The Story of Chris Strachwitz and Arhoolie Records’ opens Friday, Sept. 19, at Rialto Cinemas, 6868 McKinley St., Sebastopol. 707.525.4840.

Free Beer

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Gluten-free is more than a buzzword for people who suffer from celiac disease or who are gluten-intolerant. Having to negotiate the minefield of the standard American diet on a daily basis—pass on the cake, no pizza, skip the power bars—is enough of an inconvenience for them. But the prospect of life without beer is truly tragic.

The standard beer recipe uses malted barley, one of the family of grains that contains gluten, even after the brewing process. Recognizing a need, brewers have stepped in with an increasing variety of alternatives, including beer made from sorghum, rice and millet, and traditional malted barley that has been stripped of much of its active gluten—manufacturers claim—by a proprietary enzymatic process.

I was curious how the new slate of U.S.-made alternative ales (some of the oldest and most popular hail from the U.K.) stacked up in a taste test, and also whether or not two locally made, regular ales inserted into the blind tasting would stand out in contrast. No gluten-intolerant persons were harmed in this taste test.

New Planet Pale Ale Because there is no malted barley in this beer, it’s subject to odd labeling rules. Nutrition facts are listed below the government warning. Ingredients: sorghum and brown rice extract, molasses, tapioca maltodextrin, caramel color, hops and yeast. The best that can be said is that it generates the foamiest head. Bretty, sour aromas—tequila, maybe—tangy acidity and an unflattering finish undermine this product. If they’d gone all-out Belgian-sour style, it might have worked. From Boulder, Colo. 6.7 percent ABV. ★★

Red Bridge Anheuser-Busch’s bid for the gluten-free tailgater contains sorghum, corn syrup, hops and yeast. I’ll say one thing for it: With its aroma of skunky hops and grapefruit, crisp, watery mouthfeel and metallic aftertaste, it beats Bud Light. The real punch line is that major market beers like Bud and Corona are made with corn and rice additions and are low in gluten anyway. But this is absolutely celiac-friendly and would be refreshing enough with a wedge of orange on a hot day. 4 percent ABV. ★★

Omission IPA Widmer’s savvy but slightly controversial entry. The label does not say gluten-free because the beer is made with malted barley. How so? Before brewing, the company explains, they add “a brewing enzyme called Brewers Clarex, which breaks apart and detoxifies the gluten protein chains.” The Omission website is supplied with lab results attesting to the gluten levels at less than 10 ppm. The Omission IPA is not supplied with the expected IPA profile. Floral, fruity and innocuous; slightly bitter finish. 6.7 percent ABV. ★★½

Bard’s Sorghum Malt Beer Bard’s smells sweet and malty, like beer made from a kit. Slightly fruity and nutty, with grassy, alfalfa notes, it’s lightly effervescent and makes an acceptable light beer substitute. From Utica, N.Y. 4.6 percent ABV. ★★★

Omission Pale Ale Light amber color, grain and malt syrup aroma. Smooth, with an agreeable ESB profile. Our favorite of the alternative beers. 5.8 percent ABV. ★★★½

Bear Republic Grand-Am American Pale Ale It’s not the aggressive, fresh hop aroma that made this easy to guess—gluten-free producers are free to stuff as many oily green cones into their brew as they wish (I have a friend who “wet-hops” Omission beers, in fact, with fresh hops just to get an acceptable flavor). Ridiculously hoppy, full, rich and balanced. 6 percent ABV. ★★★★

St. Florian’s Flashover IPA It shouldn’t be the deep hue that identifies this as a regular, barley ale—what with their caramel colorings, producers of sorghum and syrup beverages have a rich palette to play with. And it doesn’t stand out as an IPA—more like an amber ale, hops bringing up the finish after sweet, smoky aromas of toasted grain. But it’s obvious that sorghum brewers are not stepping it up to this level. 7.3 percent ABV. ★★★★½

Feel the Heat

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Writer Thomas Wolfe once said you can’t go home again, but you won’t convince blues guitarist and vocalist Ana Popovic of that.

Popovic, a headliner at this year’s Russian River Blues Festival on Sept. 21, left her native Serbia for Holland in 1998, just before war and terror became the norm. Though she managed to avoid the fighting, she wasn’t allowed to come back during that period, even to see her family. In 2010, she performed for 75,000 people, the largest turnout ever in Belgrade.

Popovic, who has garnered five Blues Music Award nominations, returns to the Russian River Jazz & Blues Festival after a smashing 2011 performance, with a whole new show, backed by her band, that includes Hammond organ, bass and drums. The new set will focus on her latest release, Can You Stand the Heat? which she describes by phone from her Memphis home as a tribute to deceased blues masters Albert King and Albert Collins.

“I thought they were missing on the blues scene nowadays,” she says. “The album is old-school blues and funk, something different for me, and a challenge in terms of writing for a modern audience, without having the personal experiences those artists had. It’s much easier to write a pop song than to write a good blues song.”

The 38-year-old says she grew up listening to American blues. She formed her first band, Hush, as a teenager in Belgrade, playing the music of Albert King, Roy Rogers, Sonny Landreth and Jimi Hendrix. She’s been part of the Experience Hendrix tour for 12 years.

“I thought I was born to do that tour,” she says. “It’s real to be there, and a huge honor. For me, it’s only Jimi and Dylan as far as that kind of songwriting goes.”

When she came to America
10 years ago, Popovic found it challenging being a female guitarist from Serbia, playing the blues. “I didn’t want to give up what’s special and different about me,” she says. “It’s very important for women to stand up for what they do.”

The other side of her life is her two children, a son born in 2008 and a daughter in 2012. She brought them on tours shortly after they were born, breastfeeding them backstage between sets.

“They absolutely were rock ‘n’ roll babies,” she says. “Here’s thumbs up for all the mothers with careers.”

Now, with the invaluable help of her husband, she confines her music to weekends, avoiding traveling with the kids. “It’s a lot of juggling. During the week, I’m a mommy, leading a kind of double-life, which I love as much as being on the road. I’ve become more serious, and a better musician, after the kids were born.”

While living in Holland, the war in her homeland was very hard to watch, Popovic says. “What kept me going was my passion and love for music. When I’m onstage, I’m very concentrated on the band and the groove. I’m searching for that specific moment when nothing comes between me and my instrument.”

Alt.beer

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I like a cold, bitter IPA as much as the next guy, but the ascendancy of aggressively hopped beers has shoved many other respectable styles to the side. In this year’s annual beer issue, we take a look at a few alternatives to the hoppy hegemony of IPA. In the pages below, our writers look at unhopped brews, the boozy, malty power of barleywine and even—gasp!—non-alcoholic beer. Elsewhere in this beery issue, we look at gluten-free beers, Lagunitas’ live music offerings and what brewers do with
all that grain when they’re done brewing. That’s a six-pack of crisp and
refreshing content. Cheers! —Stett Holbrook

BREAKING THE HOPOPOLY

What’s the wildest, craziest kind of beer out there? Here’s one hint, because you won’t guess by scoping a shelf of today’s hopped-up ales with amped-up labels glorying in ruination, damnation and evil: it’s not IPA. Want a wild and crazy party? Stock the ice chest with gruit.

“Hops weren’t always the darling we think of them as today,” says Moonlight Brewing’s Brian Hunt. “There are a bazillion alternatives.”

Hunt, whose 1,000-barrel microbrewery has an avid following in the North Bay, is himself an avid follower of brewing history. Beer was once used the way herbal tea is today, he says. Dozens of herbs were brewed in beer, or a fermented grain beverage made without hops called “gruit,” for medicinal purposes, as well as to enhance storage life—a property that hops hold no monopoly on.

Hops are light-green, papery little pillows packed with resin that the vine Humulus lupulus sprouts with abandon. When added to beer (often processed into pelletized form that resembles animal feed or fertilizer) during its boiling, fermentation or aging step, hops contribute floral, fruity aromas and a dry, bittering quality that counterbalances beer’s malty sweetness on the palate.

But through the Middle Ages, it was one of dozens of popular additives—some of which are mildly psychoactive—and was perhaps better known as a mild sedative. Hops became the fashion around the time of Martin Luther, says Hunt. It was “especially in fashion because a lot of the herbs used in brewing tended to make wilder and crazier inebriated people.”

Martin Luther had no gripe with beer, Hunt says, but had a notable beef with the Catholic Church, whose monastic orders had a lock on the production of herb-brewed gruit. Reformation-era German beer laws favoring hops were, the argument goes, partly a bid to curtail the Church’s power, with the benefit of promoting a more sedated, “civilized” populace less likely to seek its services. “Maybe uncivil behavior led to more repentance and more babies? Who knows,” Hunt speculates.

In 16th-century England, hops were denounced as “immoral and unpatriotic,” although a distinction was made between English ale and beer for some time. Industrialization following the world wars finally swept away the holdouts, as manufacturers sought to appeal to the broadest possible segment of the population—resulting in the blandest possible beers.

Enter the craft-beer scene, in most respects wild, free and full of creativity. Except for a one-dimensional emphasis on hops—double hops, triple hops and more hops—that Hunt is emphatic about calling out.

“It’s not that I have some horrible aversion to hops; it’s just that they are being horribly overused,” Hunt says, admitting he’s getting a little burned out on the trend. “Imagine: there are 50 herbs that have historically been used in beers—and commonly! There’s such diversity of beers right now, instead of using one species of hops, what if we delved into the other 50 choices? We haven’t scratched the surface of what our options are. Isn’t that crazy?”

Most Moonlight beers are made in the traditional style with hops—but maybe that’s a problematic term, in context. “It’s very traditional in Norway to use juniper,” Hunt discovered. “A lot of my heritage is Scandinavian, and it’s very traditional in all of Scandinavia to use spruce tips.”

Inspired, Hunt looked around for a locally sourced equivalent, and found redwood trees growing right outside the brewery. He can’t brew enough of Working for Tips to meet demand, but only releases it once a year when the tips of the redwood branches grow just right.

Anderson Valley Brewing also brews its Boont Oude Bruijn with redwood tips—but that’s “a nice ‘tip’ we picked up from Brian Hunt,” says brewmaster Fal Allen. He also uses spices such as ginger, star anise and lemon grass in seasonal releases, while Marin Brewing’s Chi Tonic contains medicinal herbs.

Like these, New Belgium’s Lips of Faith gruit contains at least some hops in addition to horehound, bog myrtle, yarrow and wormwood; otherwise, it cannot legally remain in the beer category. San Francisco’s Magnolia Brewing makes Scottish-style Weekapaug Gruit, while in Scotland, Williams Bros. Brewing’s Fraoch is made with heather, following ancient recipes. In Kentucky, says Hunt, brewers are experimenting with bald cypress, which reputedly contains 20 cancer-fighting compounds.

“How many people would like to have a beer like that? So it’s not, ‘Why is this Brian guy putting this crazy stuff in this beer?'” says Hunt. “It’s, ‘Why isn’t everybody putting other things in their beer?'”—James Knight

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STRANGE BREWS

About 200 years ago, brewers in England discovered a way to make beer stronger and last longer in bottles. They called the style “barley wine” for its depth of flavor and high alcohol content, but the dark, aged, fermented liquid served in a snifter glass is still very much a beer; it’s just a little more grownup than those cans overflowing from the frat house recycling bin.

America, still catching up with our grandfathers across the pond, only started making barleywine in 1976, when craft-brew pioneer Fritz Maytag sought out a new style for his Anchor Steam Brewery in San Francisco. Marin Brewing was also one of the first microbrews in the state to make it, brewing its inaugural batch in 1989.

“The English have a couple hundred years on us,” says Marin Brewing master brewer Arne Johnson, who has been making beer there for 19 years.

Though American barleywine (the combining of the two words into one was seen as a necessity by Maytag to assure state regulators that this was indeed beer and not wine) is generally hoppier than its British counterpart, it’s also generally higher in alcohol. These beers range from 7 to 13 percent ABV on average, and some, like Sam Adams’ Utopias, can reach the
20 percent range.

“It’s one of those perennial styles,” says Ken Weaver, editor of RateBeer.com and author of the Northern California Craft Beer Guide. “Even in the early days of craft beer, it was one of those styles that stood out, one that you could age, and it stayed pretty popular.”

No, “aged” beer isn’t just a fancy way of saying “old” beer. Barleywine changes over time, and American styles can be stored for up to seven years before they start to go south. “If it’s well packaged and well kept, it’ll develop other flavors,” says Johnson. The aggressive hoppiness tends to mellow out, and the caramelized malt comes through with a touch of honey flavor.

Lagunitas Brewery, which started making its barleywine (which it named “GnarlyWine”) in the early 2000s, hasn’t made the style since 2011 due to the increased time and storage it demands. Brewer Mark Hughes says it might come back this year, though, now that the brewery has expanded its capacity. That doesn’t mean the flavor was absent from the brewery’s lineup, though.

“Brown Shugga—yeah, I’d consider it a barleywine,” says brewer Mike Hewitt of the seasonal Lagunitas beer that has a similar ABV, depth of flavor and tendency to mellow out with aging. “The sugar kind of throws off the barley part, though.”

A vertical tasting of 2008 and 2010 GnarlyWines showed the difference aging can make.
The 2010 has a higher ABV,
10.9 percent, and is lighter than the 2008, which is 9.7 percent and has a good amount of sediment in the pour. The older beer is more malty and visually darker, with a pronounced syrupy mouthfeel. Both have subtle hop notes, are not as bitter as expected, and the characteristic sweetness of the style has mellowed. There were no changes in the recipe, Hughes says. A slight variance in ingredients from year to year and the aging process is what changes the flavor.

Barleywine is usually aged in bottles, but what happens when it’s aged in barrels? And, because this is beer, we aren’t talking about Pinot—try bourbon barrels.

Marin Brewing is releasing its barrel-aged barleywine in about a month.

“It’s a pretty stellar version,” says Johnson, who says the brewery will sell wax-dipped bottles for aging at the release party in Novato. The Old Dipsea Bourbon Barrel Aged Barleywine is ranked in the top 20 (out of hundreds) on RateBeer.com, with reviews describing it having flavors like bourbon, vanilla, toffee, oak, stone fruits and even Nilla Wafers.

“A lot of the beer geeks seek them out,” Johnson says of the style. “They’re super-rare, and they take a little extra coddling and all that.” And since barleywines are typically released when the weather gets colder, they make great gifts (hint, hint). —Nicolas Grizzle

NO NEAR BEER HERE

The North Bay is craft beer heaven. There are dozens of brewers and brewpubs dotting the lager-friendly landscape, offering lots of creative concoctions, fun names for the beers and interesting labels to round out the crafty picture.

But there’s one glaring absence on the brewpub scene, and that’s the lack of a brewer who kicks out a homegrown non-alcoholic beer.

Help may be on the way for nondrinkers who like the taste of beer and don’t want to order a Coke with dinner. Brendan Moylan, owner of the Novato pub and restaurant Moylan’s, says he’s hard on the case trying to concoct a palatable non-alcoholic beer.

It’s a challenge, he says, but a fun one to tackle. Moylan’s a veteran craft-beer maker; he founded Larkspur’s Marin Brewing Company in 1989.

“I am working on a little bit of a project right now,” says Moylan, who notes that he doesn’t have a name yet for his possible non-alcoholic product.

How does it work? The process, he says, starts with one of his more ferocious ales, the Kilt Lifter Scotch Ale. The ale is run through a still, the still vaporizes the alcohol, the remaining “stillage” is carbonated, and—voilà!—a non-alcoholic beer is born. But is it drinkable?

Moylan may offer the work-in-progress to consumers, and plans a taste test soon to see if there’s interest. But he notes that there’s just not a whole lot of demand for the non-alcoholic stuff. The central coast brewer Firestone tried to market a line of non-alcoholic beers years ago, he recalls, and went nowhere with it.

Now the brewer is only producing brews with the booze in them—a cautionary tale for any North Bay brewer who may think there’s a market to exploit.

Moylan cites two big impediments to making non-alcoholic beers: That extra, labor-intensive step of distilling the liquor out of the beer, and the fact that “people don’t necessarily have a still” (Moylan makes beer schnapps in Novato using the still).

The distillation process is the key step in rendering a boozy beer into a non-alcoholic version—and one of the reasons why nobody else is doing this in the North Bay.

But for Moylan, there’s a sort of built-in business sense to repurposing old beers or surplus suds that aren’t moving in the brewpub—if only there was a market for it.

“If you have too much of a certain beer, or if it’s past its shelf life, you can re-distill it into [non-alcoholic] beer.”

Moylan carries the popular non-alcoholic Clausthaler in the Novato brewpub, but only because there’s a regular customer who likes it: Moylan keeps it on hand for that one guy.

Meanwhile, over at the Lagunitas empire of ales, the word on non-alcoholic beers is: blech. Lagunitas doesn’t make one, they’re not going to be making one, and there’s none of the big-brewer commercial versions available in the bottle at their TapRoom, either.

“Non-alcoholic beers are expensive to make because you need to first brew the beer then de-alcoholize it,” says Lagunitas marketing director Ron Lindenbusch, echoing Moylan.

“On top of that, I have yet to taste one that I would prefer to other [non-alcoholic] options,” says Lindenbusch, more popularly known as the “beer weasel” at the company. “I don’t get it.”

The Lagunitas TapRoom in Petaluma pushes out some non-alcoholic, non-beer product, including Revive Kombucha, characterized as “delicious and practically non-alcoholic” by Lindenbusch.

The folks at Russian River Brewing Company in Santa Rosa are similarly hardcore when it comes to the hops: they don’t make a non-alcoholic beer, and they don’t sell any of the commercial non-alcoholic beers by the bottle. “We just make beer,” says Jasper, the friendly host.

There are a few options at the Third Street Aleworks, just around the block from Russian River in Santa Rosa. Manager Megan Chaney says the brewer has a root beer on tap with the beers, and bottles of non-alcoholic St. Pauli Girl.

“We do not brew a non-alcoholic beer, kind of out of tradition,” says Chaney.

Here’s to new traditions!
—Tom Gogola

Tank to Trough

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Beer isn’t just a cold and refreshing beverage; it’s an integral part of North Bay agriculture.

Spent grain from the beer-making process makes for great animal feed. Chances are if you’re drinking a North Bay beer, it’s helped to feed pigs, goats or cattle nearby. It’s also a reminder that beer is an agricultural product too.

At its most fundamental level, beer is made from water, grain and yeast. Grain, usually barley, is boiled to extract sugars that feed the yeast, which in turn produces alcohol and carbonation. Every time a batch of beer is brewed, there’s a large quantity of grain left over. Brewers could dump the soggy barley into the trash, but that’s costly and wasteful.

Fortunately, most brewers don’t need to do that, because there is a waiting list of farmers and ranchers who want to get their hands on the beer byproduct. Instead of paying the garbage man to haul it away, local agriculturalist pick it up for free, a good deal for both parties.

Given the slim margins most dairies and farms operate on and the high price of hay and animal feed, the free grain helps keep many farms afloat.

“Spent grain is crucial to the ability to have dairy farms,” says Moonlight Brewing Co.’s Brian Hunt. “They can’t survive on buying all their animal feed.”

Plus, Hunt says, spent grain still has nutritional value. “It’s stupid to use that [grain] for compost or landfill,” he says. “It’s really what we need to do to be a more sustainable planet.”

Windsor cattle rancher Rick Olufs has been getting grain from Russian River Brewing Co. since its days at the Korbell Winery. Some of the grain also goes to the goats at Petaluma’s Achadinha Cheese Co.

“It’s a super green way of disposing our spent grain,” says brewery co-owner Natalie Cilurzo.

It’s a deal that saves Olufs a lot of green, too.

“It’s really important to me,” says as he loads four 350-pound barrels of grain onto the back of his truck. “If I had to buy all my hay and feed, it wouldn’t be worth it. I probably wouldn’t be doing this.”

Given the number of farms and ranches in the North Bay, demand for the grain is high.

“It’s crazy,” says Seth Wood, co-owner and brewmaster at Sebastopol’s Woodfour Brewing Co. “I’ve got a whole section in my Rolodex of people who want our spent grain.”

Adam Davidoff of nearby New Family Farm got to Woodfour first. He feeds the grain to his pigs. In exchange for the grain, the restaurant sometimes gets free produce and Davidoff gets a free beer when he stops in. Davidoff also arranged pick-up with Warped Brewing Co. across the street before they opened earlier this year.

Wood says he likes to know the half-ton of grain he’s left with each week isn’t going to waste. “We like the idea of the full-circle concept.”

But free grain isn’t a free lunch. Recipients of the grain must be at the beck and call of local breweries, because it spoils in just a few days. Plus, it takes up a lot of space, and breweries want it gone. And barrels of water-logged grain are very heavy. Picking it up and feeding it to hungry animals takes a lot of work and time.

“For me, the important thing is the ethic,” says Davidoff. To be truly sustainable farmers, he adds, “we’ve got to close these loops.”

Fresh Toast

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It started as a funky, face-melting experiment that grew into one of the most popular indie bands of the North Bay, but five years ago the Petaluma duo that forms Toast Machine called it quits.

In the time since, life has taken the members, drummer Paige Warner and bassist Gio Bennedetti, in very different directions. Yet the two reformed back in March, and this weekend play a reunion show at their favorite North Bay venue, the Phoenix Theater, with support from Arrythmia, the Honey Toads and Finit.

In an interview, Bennedetti describes the impulse to reunite as musical withdrawals. “We are both eager to play loud, fun music again. That catharsis we get when we play—there’s nothing else that feels that way.”

Paige Warner (formerly known as Brandon) came out as transgender in 2012, and transitioned with full support of family and friends. She currently works at Industrial Light and Magic and creates apps in her spare time. Meanwhile, Bennedetti and his wife have become the parents of two girls. He played and toured with the Brothers Comatose, though he retired from the road in January of this year to focus on family. Since reforming, the duo have crafted a slew of new songs and will be performing these as well as old favorites when they play on Friday, Sept. 19, at the Phoenix Theater, 201 Washington St., Petaluma. 8pm. $10. 707.762.3565.

Fork in the Road

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It’s hard to keep track of how many restaurants have opened and closed at 9890 Bodega Highway just west of Sebastopol. Five? Six? You know the spot. It’s on the north side of the road and painted a brick-red now. The last business to make a go of it was the short-lived Stillwater Cafe, a restaurant that barely lasted four weeks before it went dark. Chef Sarah Piccolo is hoping the fifth (sixth?) time will be the charm.

Piccolo runs Sebastopol’s Fork Catering and Fork Cafe, and she plans to open Fork Roadhouse at the Bodega Highway location sometime next month. She’ll be open for breakfast and lunch, and dinner for special community events.

“It won’t be anything formal or fancy, just good food,” she says. “Even the farmers will be able to afford it.”

Look for dishes like paella, pork belly fried egg tacos, paninis and burgers. The company’s food truck will be parked out front to offer quick to-go meals.

While some people say the location is cursed, Piccolo disagrees and thinks the right concept just hasn’t come along yet.

“I think it’s a great spot. We really want to make it a community-minded place,” she says.

Meanwhile, the building at her current location at 330 South Main St. has been sold and will become a vegan bakery.

Fork Catering, 707.494.0960.

Creek Cracks Open

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The workers had finished about half the restoration work in a section of dry Stuart Creek when all of a sudden—there’s water in them-thar creeks!

That was the recent cry in Glen Ellen, and all around Napa and Sonoma counties: drought-stricken creek beds throughout the area sprang to life with a fresh flow of water, thanks to the South Napa Earthquake.

“It’s kind of a trip,” says Bob Neale, stewardship director at the Sonoma Land Trust, the organization at the helm of a project to restore habitat for threatened steelhead in Stuart Creek.

The organization is deconstructing a dam and adding chute-pools for migrating steelhead, among other restoration efforts along a roughly two-mile stretch of the creek, but the sudden flow of water briefly threatened an Oct. 31 completion deadline set by state Fish and Wildlife officials.

That’s when the water is supposed to start flowing, and nobody’s allowed to be working in the creeks.

The surprise outburst made for a stressful moment at the Stuart Creek site. “We got about halfway through the creek channel work [and] then the water started coming,” says Tony Nelson, Sonoma Land Trust project manager.

“I was concerned that the flows would increase to the point it would affect our ability to finish this in time for the deadline,” he says.

Here’s what happened: The state requires that projects like Stuart Creek divert any water that’s flowing in the proposed work zone. The water is pumped around the work area and then re-enters the flow.

“We had the plans, but with the drought and everything else, when we got to one of our sites, there was no surface water at all. We didn’t have to move the water—there wasn’t any.”

Hence, there was no pumping at this part of the job site when the water started flowing downstream.

Nelson says the diversion system was installed by the contractor, Hanford ARC, and work continued in that part of the project area. “Right now, we are on track,” he says.

As for the sudden flow of water, its source and timing, experts
say it isn’t unusual after an earthquake, but it did bring with
it a couple of surprises. Water is released as a result of the earthquake’s shaking and subsequent dislodging of the
earth and rock that has it locked underground. Generally speaking, the bigger the earthquake, the more water seeps from the earth—and it’s almost definitely groundwater in this case, say experts.

“Some of the spring flow is pretty large in volume,” says Tom Holzer, a Menlo Park–based seismologist with the United States Geological Survey. “This is an earthquake on the smaller side, so I’m a little surprised at that, but I’m not stunned.”

The renewed creek flows—whose likeliest source is shallow groundwater reserve broken loose by the quake—are fleeting, says Holzer, and the unshackled water will likely recede before too long. “We would expect this to decay fairly quickly in a few weeks to a trickle,” he says.

Once abundant in the stream, steelhead are now faced with the dam, a dilapidated bridge that blocks their passage and other impediments to a proper spawning run.

Not to mention the drought. Neale says the steelhead population likely got an immediate benefit from the new flow.

“It was probably a good deal for the fish,” he says. “The creeks dry up and the fish have to find pools to overwinter. These flows are probably now helping deepen the pools that have fish in them,” he adds. “It’s always good to have a little more water in the creeks.”

A little is one thing. “We didn’t anticipate that it would turn into Niagara Falls kinds of flows,” says Nelson with a laugh. “It definitely made it more tricky and probably a little more expensive.

The Santa Rosa–based nonprofit purchased properties adjacent to the creek, including the Glen Oaks ranch in 2011, says Neale, and this spring it got a $700,000 grant from the California Department of Fish and Wildlife’s Fisheries Restoration Grant Program.

The creek is a critical “pinchpoint” between the Mayacamas and Sonoma mountains—a sensitive wildlife passageway for the steelhead, a federally designated threatened species in California.

Letters to the Editor: September 17, 2014

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Creek Cracks Open

The workers had finished about half the restoration work in a section of dry Stuart Creek when all of a sudden—there's water in them-thar creeks! That was the recent cry in Glen Ellen, and all around Napa and Sonoma counties: drought-stricken creek beds throughout the area sprang to life with a fresh flow of water, thanks to the South Napa...
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