Charged Up

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Richard Heinberg is surprisingly chipper for a man who, if projections by the U.S. government and global-energy analysts are to be believed, might just have seen the basis for his career virtually debunked.

The Post Carbon Institute senior fellow smiles easily in the art- and book-filled living room of the Santa Rosa home he shares with his wife, Janet, even as he talks about the implications of a fracking-fueled petro-boom from North Dakota to Pennsylvania that’s got U.S. energy executives crowing about abundant fossil-fuel-derived energy to last the next century or two.

It’s a claim that directly flouts the concept of peak oil—the point at which global petroleum production goes into terminal decline—and Heinberg’s assertion that growth (as we know it) is headed into irreversible decline.

Wearing a blue-checked Oxford shirt, jeans and house slippers, Heinberg’s relaxed demeanor could be due to time spent among the fruit trees and chickens in his backyard permaculture paradise. Maybe it’s the two hours of violin the self-described “violin junkie” plays each day. Or it could be the possible ace in his pocket—a February 2013 report by retired geo-scientist J. David Hughes and published by the Post Carbon Institute which claims to debunk the possibility that unconventional fuels might turn the United States into an energy-independent petro-state.

The report forms the foundation for Heinberg’s new book, Snake Oil: How the Fracking Industry’s False Promise of Plenty Imperils Our Future, out on July 1.

“We’re really being sold a bill of goods,” Heinberg says, handing over a copy of the Hughes report, “Drill, Baby, Drill: Can Unconventional Fuels Usher in a New Era of Energy Abundance?” Using data provided by a Texas company called DI Desktop, which analyzed production data for 65,000 fracked wells from 31 shale plays, the report examines natural gas as a commodity. According to their findings, production rates at many of these sites are already in decline. Operators then must drill more and more to keep overall production steady, and with that comes increased energy needs, making the whole endeavor more expensive.

Aside from fracking, methane hydrates—the trapped natural gas molecules currently being scouted by Japanese research vessels and found in abundance on the sea floor—have been heralded as the next frontier. The speculative fossil-fuel goldmine forms the basis for Charles C. Mann’s May 2013 cover story for The Atlantic with the headline that declared, with the impact of a lightning storm in summer, “We Will Never Run Out of Oil.”

But then there’s the problem of net energy, Heinberg points out. “The vast majority of those resources we won’t burn for economic reasons,” Heinberg says, “because it just costs too much—not only investment capital, but it costs too much energy to get the stuff out of the ground to use it.” It’s a concept defined as EROEI—energy return on energy invested.

Heinberg’s previous seven books, including The End of Growth: Adapting to Our New Economic Reality and Peak Everything: Waking Up to the Century of Declines, came out on traditional publishers. But for Snake Oil, the Post Carbon Institute turned to Kickstarter, raising $15,000 for self-publishing costs.

“The subject is so hot we just wanted to get it out as soon as we could,” Heinberg says. Snake Oil takes on what he calls dangerous oil-industry claims that the U.S. has enough tight oil to provide a decade’s worth of cheap, abundant gas. “Now, suddenly, with a bump in production of U.S. oil and gas, everyone is talking about, well, gee, isn’t this great?” Heinberg says. “And so the conversation about how to get off fossil fuels has just been put on the back burner.”

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It’s true. In his 2012 State of the Union speech, President Obama estimated that there’s enough gas “down there” to fuel the country for nearly 100 years. Daniel Yergin, considered one of the world’s foremost authorities on global energy, told Radio Free Europe on June 2 that the shale gas windfall “means that there is a rebalancing of world oil production that is now occurring, and it points to greater stability in the oil market and not that fear of shortage and peak oil that was causing so much difficulties for the global economy half a decade ago.”

Even George Monbiot, The Guardian‘s environmental columnist, conceded defeat after years of writing about peak oil. “There is enough oil in the ground to deep-fry the lot of us, and no obvious means to prevail on governments and industry to leave it in the ground,” he wrote in July 2012.

Heinberg, on the other hand, appears unshaken. The increase isn’t something we should get used to, he says, pointing to the data uncovered by the Hughes report. What we should be doing, rather than looking for ways to extend and continue our fossil-fuel dependent lifestyle, is investing time and energy into building renewables, while there’s still the energy available to build wind turbines and solar panels.

Heinberg is also a big supporter of the Sonoma Clean Power initiative, not only because it will allow the county the chance to get out from the grip of the PG&E monopoly, but because of its potential to function as a bridge to the other side: “It can speed up the rate at which we transition to renewables here in Sonoma County,” he adds.

Heinberg’s obsession with energy began in 1972, at the age of 21, after reading The Limits to Growth, a controversial, statistics-driven study that projected possible scenarios for the 21st century based on world population, industrialization, pollution, food production and resource depletion. Dismissed as doomsday prophesying by the economics world, it triggered others to seriously consider resource depletion.

The book sent the young writer into a period of thinking the apocalypse was just around the corner. He spent the ensuing years studying—acting as personal assistant to mythologist Immanuel Velikovsky and writing books that would help him sort out why “one species would be driving the whole world toward the precipice.”

Heinberg’s first two books focused on mythology and summer solstice rituals around the world. It wasn’t until the late ’90s that he began to understand that the history of energy was the biggest story around.

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“As time has gone on and as I’ve studied the data, I’ve come to realize that it’s more of a process, not just falling off the cliff,” he explains.

Part of the process, for those not involved in the higher echelons of government and society where policy decisions are decided, is to live consciously. Heinberg and his wife Janet have started that process at the suburban Santa Rosa home they purchased 12 years ago.

“We wanted to show that this could be done,” says Heinberg, as we tour the backyard. The backyard is a dreamy oasis—and one that you’d never guess existed from the street. Herb spirals bloom with thyme, rosemary and lemon balm; a vegetable garden overflows with greens; solar panels generate power, and a water catchment system harvests rain. Apple, pear plum and pomegranate trees shade the yard. In one corner, potatoes sprout in burlap sacks stuffed with straw. What Heinberg is most excited about, though, are Buffy, Scarlet and Azalea, his three chickens. The “pets,” he calls them, cluck around our feet, scrambling for insects and bits of scraps. Call it country living, with easy access to a future SMART train station and the amenities of the city.

It’s also in close proximity to Loveland Violin Shop in downtown. “I’m a bit obsessed with it, as my wife would tell you,” he says with a laugh.

Living here, with the garden, the chickens and the violins, Heinberg looks to be a man in his element, negotiating a careful balance between the heavy realization that life as we know it is headed for irrevocable change, and the simple joy of everyday living.

If humans look honestly at the crisis at hand, begin sharing, using less, being nice to each other, there’s no reason we can’t have a perfectly acceptable future, he tells me. But that means facing facts. To make a true transition, the technical piece would be relatively easy, he explains; it involves building lots of solar and wind, prioritizing electric rail and redesigning cites for walking and bicycling. Heinberg mentions his admiration of the Transition Town movement, which started in the United Kingdom and uses permaculture concepts to build resilience in communities to weather gracefully the coming economic and environmental upheavals.

Of most concern is whether the “fossil fuel” industry is successful in making people believe that there’s enough oil and gas to keep us going for another century, in the style in which we’ve become accustomed, he emphasizes. The oil boom in North Dakota (and elsewhere) is going to be short-lived, but it’s bought us some time—a few short years—to get to work on renewables.

“If we use that time—maybe it’s five or 10 years—to really invest in renewable energy and conservation, than so much the better,” he says. “But if we just take those five or 10 years and delay what we ultimately have to do anyway, at the end we’ll be in a much worse position than we already are.”

Steel Reserve

It’s not your father’s Superman, but is it your kid’s? Man of Steel reprises the plot of Superman II (1980), with Earth attacked by a squad of evil Kryptonians. Their leader, the fascist General Zod (Michael Shannon) sports a Mongol beard and a mark of Cain scar; he escaped from entombment in living fiberglass in the Phantom Zone.

Can Superman stop them? Maybe. Henry Cavill plays the part with simplicity. Director Zack Snyder prepares us for the circusy uniform by muting the colors and animating the cape so that it’s jaunty even in a dead calm.

Longtime fans get a small taste of what we came for: a balletic pirouette as Superman glides to earth with Lois Lane (Amy Adams) in his arms. But mostly, Man of Steel is not a graceful movie, in form or subject. It is about things getting smashed.

The filmmakers do the Christian side of the story proud. Superman is 33, the traditional age of Jesus in his last year. In a moment of doubt, he poses in front of a stained-glass window depicting Gethsemane. There’s not so much of the Jewish side, though—the idea of Krypton as Superman’s Zion.

Man of Steel gives us some of the most unhappiest sci-fi visualization of a planet since Prometheus. At one moment, the rise and fall of Krypton is illustrated in what looks like gilded debris from a 1930s World’s Fair pavilion.

But is Earth any nicer? A muddy sepia tints Superman’s flights around the world; it’s “Spare the Air Day” even before the apocalypse begins. In Smallville, where Snyder tries to evoke something like the Kansas of Terrence Malick—an upended Radio Flyer; a torn, dying monarch butterfly—we seem to be viewing our world through a sheen of crankcase oil.

‘Man of Steel’ opens in wide release on Friday, June 14.

Jericho Canyon Vineyard

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The minute I start to describe Jericho Canyon, I know what some readers are going to say: “Oh boy, here we go.” Boutique Cab from celebrity winemaker Michel Rolland and some Napa Valley folks who used to jet to Hawaii for the other half of the year? That’s what I thought also, when their press agent suggested I check them out. And that’s pretty much what founder Dale Bleecher thought to himself, too, when friends suggested that his family stay at their house in the island paradise.

Like many who once shunned Hawaii, says Bleecher—a one-time logger and tree planter who at long last made his way to college and a one-time career in finance—he had preconceived notions involving tourist hordes. But his family liked the island life so much that the Bleecher daughters stayed on for high school, while mother Marla Bleecher taught at a local school. So what about Napa? Long story short, another “Oh boy, here we go” moment, culminating in the purchase of a cattle ranch on Old Lawley Toll Road where, yes, old man Lawley used to collect toll from carriages. But he also provided refreshment in a bar inside his barn.

The barn’s still standing, refreshments now being served in a handsome new redwood winery. Dale Bleecher’s son Nick, who, when we was a young sprout, liked to sleep under the vines while his older sisters did their mandatory summer work in the vineyards (his family likes to tease him about it today) eventually woke up from his nap and earned a winemaking degree from UC Davis. Nick and high school sweetheart Tara Katrina Hole, who tagged along when the family returned to Calistoga, run the hospitality angle—which includes an ATV tour up and down the steep vineyard terraces—with the unaffected enthusiasm of young folks who’ve lucked into a dream job.

The Polaris cup holders are perfectly sized for a glass of 2011 Sauvignon Blanc ($30). Lychee fruit, melon, a nice middle—this is not a swirl-and-spit situation, so down it does. Likewise, the 2009 Jericho Creek Cabernet Sauvignon ($55). With a dusting of anise and leather, but plush, black cherry fruit, this and the 2009 Jericho Estate ($90) are not your overblown “mountain Cab” monsters, they’re fun to drink, and have some class.

The wine, the landscape, the buzzards lazily gliding on thermals: it’s a coffee-table-book-perfect scene. But much of the vineyard is under contract, custom crush helps to pay the bills in the winery, and visitors roll in almost daily. This little corner of paradise is a real place, too, so it’s back to work for the Bleechers.

Jericho Canyon Vineyard, 3322 Old Lawley Toll Road, Calistoga. Tour and tasting by appointment only, $30. 707.942.9665.

Dig This Douglas

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Wanna make it big in the music biz? Get a vest, some wool pants, old shoes and some kind of stringed instrument, sing about something nostalgic, and—boom! Get ready for a television appearance on a late-night talk show!

All jest aside, for all the success the Americana genre has garnered recently, Jerry Douglas should be honored with a statue outside every general store in every small town in America. Douglas has been playing his dobro guitar on solo albums since 1979, and has 13 Grammy awards to his credit, including Album of the Year for 2001’s O Brother, Where Art Thou? soundtrack. He’s written songs for Mumford and Sons, and is an amazing producer and musician whose songs go deeper than most of those currently filling hipster iPod playlists.

Douglas has played with Alison Kraus and Union Station since 1999, visiting Sonoma County with the group last year at the inaugural opening weekend of the Green Music Center at Sonoma State University. It was one of the most enchanting performances I’ve ever witnessed, and Douglas’ solo songs were a highlight of the evening. He held the audience and the rest of the world in the palm of his hand without having to say a word.

Jerry Douglas plays with Peter Rowan’s Big Twang Theory on Saturday, June 15, at the Uptown Theatre. 1350 Third St., Napa. 8pm. $35. 707.259.0123.

Northern Lights

With summertime come festivals aplenty in Sonoma, Napa and Marin counties—but what about the many just a short trip outside the immediate North Bay? Down south, there’s Outside Lands, Treasure Island and First City, but if you’re like us, you find yourself headed up 101 North at least once a year in an annual migration.

A cherished music tradition on the West Coast and believed to be the first major reggae festival in the United States, Reggae on the River has finally come home to French’s Camp. After years of controversy between the Mateel Community Center and outside organizers, ROTR has reclaimed its spirit and venue for this 29th anniversary party.

Roots music is the foundation of the fest, and this year promises to mend old factions with positive vibes and incredible talent. Artists include Morgan Heritage, Julian Marley, Anthony B, J Boog, Les Nubians, Tarrus Riley and others. The roots-to-fruits philosophy also brings back the Meditations, who played the very first ROTR in 1984. According to festival organizers, this year’s event will be scaled back to restore the family vibe. Once hosting close to 15,000 attendees, there are only 6,000 tickets available this year. (Aug. 1–4, French’s Camp, Inyo. $190–$250. 707.923.3368. www.reggaeontheriver.com.)

What can we say about the Sierra Nevada World Music Festival, except that it has consistently provided one of the most impressive lineups every year since 1994? This year’s artists include Damian Marley, Ghetto Youths Crew, Alpha Blondy, Max Romeo, Sister Carol, Gappy Ranks, Protoje and plenty others. (Alongside Gaudi and Jah Shaka, Sonoma County’s own Comanche High Power will hold it down in the late-night dancehall.)

What’s special about Sierra Nevada is the sheer variety of world music. While headliners fill the Valley Stage, lesser-known bands from all over the globe play the Village Stage nestled in a shady grove of redwood trees. This is a family event, so kids are welcome everywhere, especially in the festival’s wildly eccentric Children’s Parade. If you are bringing kids, make sure you choose quiet camping, since all-night sound systems have become the norm. (June 21–23, Mendocino County Fairgrounds, 14480 Hwy. 128, Booneville. $60–$170. 916.777.5550. www.snwmf.com.)

The Enchanted Forest Festival is taking root as the premier electronic music festival on the North Coast. The “intentional tribal gathering” deep within the redwoods of Mendocino County—at a Boy Scout camp, no less—offers an auditory banquet including Love & Light, Phutureprimitive, Andreilien and some 30 other DJs. Lasers and visuals from world-class designers create an otherworldly ambiance, as do elaborate altars formed around the trees.

The festival’s deepest ritual takes its cue from the oldest traditions of sacred music, a dance-till-dawn ceremony that’s been played out by pagan cultures for thousands of years. For many in our era, bass and tribal rhythms along with the deep whomp of dubstep are considered the organic, transformative sounds of modern sacred music. The amalgam of beats is like unraveling layers of sacred symbolism. Add this to the visionary art of Derek Heinemann and other live painters, and you’ve got one trippy forest gala. Remember: this event is 100 percent alcohol-free. (June 28–30, Camp Masonite-Navarro, Highway 128, Navarro. $165. www.enchantedforestmendo.com.)

Hip-hop . . . in Ukiah? It’s true. The Cali Grown Festival features Roach Gigz, Rappin’ 4-Tay and Mac Mall with reggae and dub artists. (July 20, Redwood Empire Fairgrounds, Ukiah. $20–$25.) And for the long trekkers among us, High Sierra has Robert Plant, Primus, Thievery Corporation, Steel Pulse and many others. (July 4–7, Quincy. www.highsierramusic.com.)

Letters to the Editor: June 12, 2013

Not Misleading

Hey, Cordell, Gabe here. You’re a good guy with a tough job, which is why I ran your op-ed last week in support of Sonoma Clean Power (“Moving Forward,” by Cordell Stillman, June 5). But I can’t get over one thing: your statement that Rachel Dovey’s overview of the four companies vying for the Sonoma Clean Power contract “misled” readers.

Since you didn’t actually dispute any of the information in Dovey’s article, I assume you agree that it was accurate. You took no issue with the tone, which was plain and informational. So all I can gather is that you’re dismayed about the very existence of such an article.

I understand that it’s your job to get Sonoma Clean Power passed, and that verifiable facts about power companies’ environmental violations, business practices and human-rights abuses probably don’t help you out. That information, though, is the very opposite of misleading. We vet our candidates for office, our schools, our cable companies, our ISPs, our electric-car choices—why would we not also vet our power company, with whom we are about to sign a very large contract? If finding a more ethical alternative to PG&E is one of Sonoma Clean Power’s main sales pitches, why not let the press do some reporting to help find the most ethical alternative?

We’ve been big fans of Sonoma Clean Power since day one, but we’ve also kept a keen eye on where that power will come from, as you’re surely aware from several articles we’ve run over the last few years. We want to know as much as we can about the company supplying our power. We think it’s in Sonoma County’s best interest to know, as well. Call it misleading if you want—we call it doing our jobs.

Who Is This Ignoramus?

Who is this ignoramus Nicolas Grizzle? The fact that most school lunches suck is no reason to come down on a school that is trying to fix the problem (“Je ne sais whaaaaat?” June 5). From my understanding, the extra funding came in support of organic healthy food, not “fancy food.” I would also like to know why you were inclined to call it a “mostly white charter school”. Do you know what a charter school is? I won’t bore you with the answer but you should look it up. It is definitely not what you think it is. If you don’t like French, start your own charter school of your choice and raise the bar yourself. As far as I’m concerned, any second language is a good second language, and considering the number of local French schools, I would say they are in the minority. In closing, why don’t you stop your “economic-racial segregation in our already-segregated schools”? I hope that any other school that can’t stay afloat is lucky enough to get swooped up by someone with a dream of a better education.

Bodega

Feinstein: Busy

If you wonder why so many Americans are alienated from politics, here’s more evidence: Several weeks ago, I sent a letter to Sen. Dianne Feinstein about the recent flap over the Transportation Security Administration’s (TSA) proposal to change its policy on the length of knife blades permitted through airport security checkpoints. I supported the change as a former TSA federal security director with experience on such issues.

What I received in reply was a form letter acknowledging my opposition to the TSA change—the exact opposite of the position I outlined in my letter. Does anyone on the senator’s staff actually read constituent mail? Just to make a point, I wrote back complaining about the response and received another form letter saying, “The truth is, my office receives thousands of letters and telephone calls per week and regrettably, in your case we made a mistake. I have made note of your comments and am aware of your point of view.”

The truth is neither Sen. Feinstein nor any of her Senate colleagues would send such careless or dismissive responses to any of their big campaign contributors. This is because U.S. Senators have two classes of constituents: the masses like you and me, whose correspondence, opinions and concerns appear to be largely ignored or misinterpreted; and the big contributors who have the private phone numbers of senior staff to be used to personally discuss an issue of concern or to make an appointment with the senator to make special pleadings in person.

Even for those of us whose political preferences align with Sen. Feinstein, we insist on not being taken for granted.

Santa Rosa

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

Back on the Block

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Back in dim old 2002, I enthused in these pages at enormous length about that unknown time ahead when star architect Michael Maltzan would transform the Sonoma County Museum (SCM) into a 44,000-square-foot, block-long international phenomenon including a James Turrell sky space, an Andy Goldsworthy nature installation and a Gaye LeBaron history room. Foie gras, now so very illegal, was even mentioned as a logical museum cafe food. It was all figured to be completed in 2005.

OK, so big dreams don’t always come true. The SCM returned Maltzan’s architectural models in 2006 and waited out the recession like the rest of us.

Then came developers Hugh Futrell and Bill Carle, full of plans to renovate the maliciously ugly downtown AT&T building near Santa Rosa’s core, give the bottom space over to the SCM, lease the upper spaces and call the whole thing Museum on the Square. It sounded groovy then, and it still does, except now it won’t be called Museum on the Square and the SCM won’t be in it.

Instead, the SCM has decided to go ahead with plans to take over the Conklin Brothers building it owns next door on Seventh Street and turn it into an exhibition and new media space. The old Federalist post office that has housed the SCM since the turn of the last century will be devoted exclusively to Sonoma County history. And executive director Diane Evans is more than ready for this transition to begin.

Speaking by phone while vacationing in Maui, Evans sounds relaxed and glad to have a decision made. “People were disappointed to some extent because we had waited so long,” she says of the reaction to letting the Museum on the Square idea go. “But it got harder to do that. We knew we needed to expand, so it feels great to be able to say that we’re cleaning out the building and it’s right there, it’s right next door.”

She laughs. “I went in there and started ripping off wallpaper. It’s very exciting!”

But the shows, quite literally, must go on—and the SCM has long planned to spend a good season featuring the work of differently abled artists supported by Creative Growth in Oakland, Becoming Independent in Santa Rosa, as well as NAMI and Santa Rosa’s Wellness and Advocacy Center.

Evans spent time in Korea last September and was struck by the work of Korean and Japanese artists sheltered by Creative Growth’s Asian network. Upon return, she selected painter Bob Nugent as a co-curator, and went to Creative Growth’s Oakland site, stunned by the offerings. The result, “Margins to Mainstream: Contemporary Artists with Disabilities,” opens June 15. Several of the artists are collected by New York’s MoMA, and two in particular—Dan Miller and William Scott—are full-fledged art-world darlings.

Often, work by developmentally disabled or differently abled folks is put up for sale to benefit those nonprofits that serve them. This exhibit is different; the work is canonized, not sold. Nugent sees this as an exciting twist.

“I think that having people from Becoming Independent and Creative Growth participate in exhibits like this in a different setting gets the work appreciated in a different way,” he says.

“When you change the venue, you bring another quality to the work.”

As the SCM prepares to change its own venue, it too will assuredly bring another quality to the work.

Highway Blues

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The spoils of a bitter war between Caltrans and Mendocino County environmental advocates—5.9 miles of oak, fir and ash trees that will be leveled and chipped to make way for the Willits bypass—have again been ceded to the contractors clearing them. But unlike redwoods that previously sat on public land in Sonoma County, these trees won’t turn a private profit.

In January, we reported that Ghilotti Construction had cut down redwoods lining Highway 101 and sold a portion to the Sonoma County Water Agency for $98,000. Because these trees were planted in Caltrans’ right-of-way, they belonged to the state, making the fact that a private construction company was able to sell them to another public agency alarming.

Spokesmen for both the county department of planning and the water agency confirmed that this was standard practice for Caltrans projects: the contractor is responsible for clearing so-called debris and can sell it if it has any value. (Ghilotti, who also donated a portion of the redwoods to Sebastopol’s Sturgeon’s Mill, did not return a call seeking comment.)

A similar transaction is taking place in Mendocino County—but without private profit. Benicia-based Flatiron Construction and Dublin-based DeSilva Gates Construction are joint bidders in the $200 million project to bulldoze trees for a four-lane extension of 101 around Willits, through what the Environmental Protection Information Center has termed “major wetlands and endangered species habitats.” Now those same embattled trees—cleared in the path of Caltrans’ right of way, on taxpayer-owned land—become the property of the contractors felling them.

“They own [the trees],” Caltrans spokesperson Phil Frisbie Jr. confirms. “They are responsible for them.”

Echoing Sonoma County officials, Frisbie explains that this is common practice. “It allows the contractor to optimize their operations,” he says, adding that bidders can lower their overall fee if they are permitted to resell valuable timber, a theoretical money-saver for the state agency.

This wasn’t part of the initial bid negotiation between Caltrans and the joint contractors in Willits, however, because unlike Ghilotti, Flatiron and DeSilva Gates won’t be selling any of the wood. Most of it will go back into the Caltrans project as bark chips around the freeway, and some will be donated to state parks and local nonprofits like the Brooktrails Fire Safe Council to be used as firewood.

Frisbie says that 80 logs will go into Mendocino creek beds to provide shade and erosion control to endangered fish as part of the project’s environmental-mitigation agreement. Approximately 200 redwood logs that once lined Santa Rosa’s north 101 corridor have a similar fate, becoming structural enhancements along Dry Creek to benefit coho and steelhead. But in Sonoma County, those felled redwoods weren’t donated; they were sold back to a public agency at fair value lumber price of roughly $490 a log, with Ghilotti Construction pocketing the profits.

“We had prior communications with some of these agencies up here,” Frisbie says of the donated logs. “We were able to make those arrangements and include them in the contract before it even went out to bid.”

So what happened in Sonoma County? Did the presence of valuable timber lower Ghilotti’s initial bid, or was that nearly $100,000 sale of property that once belonged to the humble taxpayer simply a bonus?

It’s difficult to say. The construction company, once again, did not return a call seeking comment. However, in Ghilotti’s initial project bid obtained by the Bohemian, there is no mention of the value of the redwood trees. And according to another Caltrans’ spokesperson, Jason Probst, assets that can be resold aren’t required to be itemized in the contract between Caltrans and private contractors. “Basically, it’s delineated on their side,” he says.

Meanwhile, despite Caltrans’ mitigation efforts, environmental groups in Willits claim the four-lane freeway will damage nearly 100 acres of wetlands and hurt stream and riparian habitat for endangered Chinook and coho salmon and steelhead trout. With this in mind, the Willits Environmental Center’s Ellen Drell says determining the final ownership of the trees feels a little bit like “squabbling over carcasses.”

However, she does believe their removal is indicative of a larger issue, in which private contractors pave the local landscape and can line their pockets with money from the “debris.”

“These trees have been here for 150 to 300 years, and in three minutes they come crashing and crumbling to the ground,” she says of the construction. “Talk about exploitation. They’re living, breathing things contributing to coolness in the atmosphere, and then they just become goods—trash—that can be divvied up like spoils.”

Tipsy-Turvy

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When a bartender pours a beer, he gets a buck. Maybe two or three, all but guaranteed, even if his service includes first ignoring the customer for several minutes, chatting it up with the little blonde who’s wriggled to the front of the line, and then, if time permits, pulling a tap for five seconds.

Compare it to the job of the tasting-room host. She greets everyone who wanders in, even if they’re peering in the doorway with much hesitation. If there’s no room at the bar, she makes room. She tells them the winemaker’s story and technical information on the vintage, including the percentage of each grape cultivar, their names pronounced correctly in French, Italian or German. There may be cheese pairings, concierge service and a long, informative conversation. The customer might walk away with a $600 case of wine, while the employee punches the clock for a $12 hourly wage.

Is it time to have a conversation about tips in the tasting room? Given that the grumbling over a tasting fee of any kind can still be heard in some corners of wine country, it may be a challenge.

At Harvest Moon, employees even hung a cheeky little plea for tips to a discreet jar on the counter—like you’d see at any coffee shop. But their supportive boss is right behind them. “Our staff spends 35 minutes passionately discussing winegrowing philosophies and vineyard-management techniques, pouring various samples of our tiny production wines, and we gotta fight—sometimes—for a lousy $10 tasting fee,” winemaker Randy Pitts explains. Comparing what they offer to the dining experience, Pitts asks, “Can one visit a restaurant and say, ‘I’m not sure if I’ll like your calamari—may I try some first?'”

The proliferation of small plates and food pairings in tasting rooms brings the tip question forward. After sinking into deep cushions on Mumm Napa’s Oak Terrace, for instance, and enjoying a $40 flight of sparkling wine with gourmet snacks, the average person may feel uneasy not leaving a little extra for their host. Yet there is no tip line on Mumm’s credit card receipt. “If people ask,” says assistant visitor center manager Lauralee Larson, “we tell them it’s not expected. We don’t forbid it or encourage it.”

Elsewhere, it’s expressly forbidden, according to Sean Beehler—or so he’s heard. Beehler slings Zin at St. Anne’s Crossing, where tipping is fine, just uncommon. Having grown up in wine country, that’s all right with him. But some visitors ask him what they should do, since at the last winery they were told, “Oh, no, we can’t. There are cameras everywhere!” while at another, there was a tip jar.

That’s the case at Artesa, where management also added a tip line to receipts. Still, tipping varies from none to $40, says a tasting-room associate: “The benefit for us is it lets us know we’re on the right track.”

St. Francis also recently added tips to its receipts for food service, like patio tasting with charcuterie plate. Even then, sometimes customers tip, sometimes they don’t. Sometimes they even cross out the tip line.

The scene at Thumbprint is wine-lounge-chic. Flights for two run $25 to $35 and include local cheeses, honey, nuts and dried and fresh fruits—similar to St. Francis, but with no tip line. “It’s certainly not something that we expect,” says Thumbprint’s Daniel Webber, “but of course, it’s always appreciated.”

At Westwood Winery’s tasting salon, where seated tastings are intimate and time-involving, winemaker and part-owner John Kelly doesn’t accept tips offered to him personally, but he leaves it up to his employees to decide for themselves how to respond. “One of my guys often gently declines on the grounds that he sees himself as an educator, not a server—and how often do you tip your teacher?”

So who’s tipping at the tasting room? “Most of the time, it’s industry people,” says Erin Callahan at Red Car. Several others agree. Tasting room, restaurant and other hospitality folks understand. Plus, they’re usually getting the tasting comped and 30 percent off the wine.

The only standard at tasting rooms, says Harvest Moon’s Brad Schroeder, is that employees generally receive commission for signing up wine club members. Besides that, don’t bet that they’re getting a dime on bottle sales, and it’s a safe bet that they’re not taking home the $100 a day in tips that Schroeder says his roommate gets from the good patrons of Napa Valley’s Silver Oak Cellars.

As for formalized tipping guidelines, it looks like we’re not there yet, especially as winery staff can only agree among themselves that while tipping is nice, it’s absolutely not expected.

That’s odd, says Callahan, because it’s almost the same thing as sitting down at a bar for a spell: “You’re serving the alcohol, you’re giving your time, you’re creating a friendship.” And with that, she returns to a couple of tourists at the bar, creates an entire day’s itinerary along the Russian River for them, while pouring their next Pinot Noir and deftly describing its floral, bright cherry character.

Ten Things I Learned from Cheryl Strayed

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Cheryl Strayed and Albert Flynn DeSilver

  • Cheryl Strayed and Albert Flynn DeSilver

On June 1, Cheryl Strayed taught a daylong writing and craft workshop in Petaluma. The author of Wild: From Lost to Found on the Pacific Coast Trail, as well as the voice behind Dear Sugar, the popular advice column on The Rumpus, has a huge following, one that’s grown especially large after Wild was featured on Oprah’s Book Club. Organized by poet Albert Flynn DeSilver, Marin’s first poet laureate and the face behind The Owl Press, the event on a sunny Saturday brought together a few hundred Strayed fans to hear about her process and do a little writing themselves.

So without further adieu, here are:

Ten Things I Learned from Cheryl Strayed.

1. If you have small children (and the money), hotel rooms can be a good place to write. Strayed got Wild written by checking into hotel rooms for 48 hour stretches where she would “write like a motherfucker.” She doesn’t write everyday. She calls herself a “binge writer.” The most important thing is to find time to write, whether it’s everyday, one day a week or in weekend spurts. There’s hope for us Moms yet!

2. Memoir gets a bad rap as narcissistic, but Strayed says that successful memoir is the opposite of narcissism. “You’re transcending the difference between you and me,” she told us. We do this by using self, and the narrative tools of fiction, to create story.

3. How do you write your truth while protecting those you love? “I got to a place where I was genuinely writing about people on the other side of forgiveness,” Strayed said. But it took years of writing to get there, and even then, though her father was abusive, tyrannical and “not a good person,” she woke up “breathless with sorrow” when she thought about him reading what she’d written in Wild. The important idea to try to remember is that the entire picture is often broader and more complex then we realize when we begin writing.

4. People want to read a human story, with all the mistakes, bad choices, ugliness and triumph that comes for all of us at one point or another. Nobody wants to hear about somebody who never makes mistakes, who never shows a shadow self. “Use the places where you rubbed up against yourself,” she said.

5. “Trust however weird you are, a whole bunch of us are just as weird.”

6. Think about the question at the core of your work. For Strayed, whose mother’s death forms the spine of Wild, it grew from “How do I live without my mother?” to “How to bear the unbearable.”

7. Strayed believes in radical honesty, sparing no shadow. She said that most people fear condemnation when they speak their deepest truths, foibles, when they excavate their darkest matter, but rather than being condemned, when people write to the place that makes them uncomfortable, to the point of revelation, that’s when the bridge is crossed between the reader and the writer.

8. She’s all about “Trusting the heat.” “Do it so righteously that we can’t help but look,” she told us. “It’s up to you to make a place for yourself in this world.”

9. It was pretty damn wonderful to see 250 people writing together in one large room.

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10. Write what haunts you. What are you obsessed by? What keeps you up at night? Remember, everyone starts out with some kind of handicap and without an audience. But that doesn’t mean you can’t write like a motherfucker. Nobody can (or will) give you permission to do this but yourself.

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Ten Things I Learned from Cheryl Strayed

Cheryl Strayed and Albert Flynn DeSilver On June 1, Cheryl Strayed taught a daylong writing and craft workshop in Petaluma. The author of Wild: From Lost to Found on the Pacific Coast Trail, as well as the voice behind Dear Sugar, the popular advice column on The Rumpus, has a huge following, one that’s grown especially large after Wild...
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