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.”

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.

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.

Is Print Dead?

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For years, the media related rhetoric has been: “Print is dead.” The news of the last print edition of the Seattle Post-Intelligencer and the closing of the Rocky Mountain News, both in 2009, shook newsrooms to their core.

Online news sites like the Huffington Post, Politico, Patch and Salon have gained popularity and shifted the way people get their news. Newspapers have gotten smaller and there are fewer subscribers. But is it because people don’t want papers? Or just that there isn’t as much money in them and the content is declining?

Last year, New Orleans became the largest U.S. city to not have a daily paper. The Times-Picayune became a three-per-week publication with more focus on the online content. That apparently is not what people want. In an article in the New York Times, reporter David Carr noted the publisher decided to bring back the paper as a daily because of the public engagement. Also, the Philadelphia Inquirer is set to publish again; though only on Saturdays.

Now it is debatable, apparently, whether the method in which New Orleans’ paper is being distributed is a good one. Says Carr:

On Wednesdays, Fridays and Sundays, a broadsheet called The Times-Picayune will be available for home delivery and on the newsstands for 75 cents. On Mondays, Tuesdays and Thursdays, a tabloid called TPStreet will be available only on newsstands for 75 cents.

In addition, a special electronic edition of TPStreet will be available to the three-day subscribers of the home-delivered newspaper. On Saturdays, there will be early print editions of the Sunday Times-Picayune with some breaking news and some Sunday content.

But the public demanded it and they listened.

When I went to J School, everyone I knew said I was studying a dying industry. After all, “Newspaper Reporter” is apparently the worst job out there.

I always argued it was reporting I was studying, not newspaper reporting. And I figured no matter what, there would be a medium for the message. I am sure there will be a day when print is dead—environmentally speaking, it certainly makes more sense to have news delivered electronically. But apparently even today, people argue for print. And while I am a news junkie and look at it online constantly, there is nothing like a cup of coffee and the Sunday New York Times—in print—to make me happy.

The War on the News Industry

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While politicians like Michele Bachmann and Anthony Weiner are taking the press into their own hands, effectively making press conferences irrelevant, Attorney General Eric Holder and the DOJ are attacking reporters from another direction, approving search warrants, signing subpoenas and collecting phone records. Oh yeah, and the NSA is wiretapping, well, everyone, in what the ACLU is referring to “beyond Orwellian.”

Meanwhile, Congress and “our beloved president” are arguing about whether this stuff really matters. And claiming it has been done with “congressional oversight and congressional reauthorization and congressional debate.”

Is the government saying they don’t want a free press and they don’t care whether everyone’s information everywhere is up for surveillance? It certainly seems so. It used to be when a politician had something to announce, they called a press conference where journalists would gather, listen to their statements, and then ask questions. Of course, a journalist could ask any sort of question, making the politician have to face things he or she may not want out there, but they are elected officials, are they not? They should be held responsible for what they do.

Oh yeah, there also used to be this thing called privacy, where one could assume they weren’t being looked down upon by the overlords. The whole communication system has allowed for global expansion, technological breakthroughs and many other incredible things. And it has made the world smaller, and a place where it is much easier to track what anyone does, anytime, anywhere.

This time, the conspiracy theorists were right. And I’m not surprised.

‘I Don’t Want to Eat Octopus’

I don’t eat octopus. It has a lot to do with respect. If I were less hypocritical, I would probably not eat any meat, even fish. But no, I have standards. An animal has to impress me somehow in order to stay off my plate. There are too many reasons to list why octopus meets this criteria for me, but they are damn smart, adaptable to any situation, can communicate with sudden changes in color, mimic other animals, can crush far more than its body weight, etc.

This kid (I believe he’s speaking Portuguese) doesn’t want to eat his octopus. Not because the taste, but because it’s a living creature. He then launches into a beautiful and articulate diatribe about why he doesn’t want to eat animals, and even makes his mom cry. The weirdest part is he looks a little bit like me as a kid.

BIEBS… IN…. SPAAAAAAACE

Is it just me, or does Justin Bieber always look like he just pooped on the carpet and he's weally, weally sowwy?
Justin Bieber is headed to space. One can only hope he stays. Reports say the Canadian pop star and notorious annoying teenager is booked on one of Virgin’s forthcoming rocket-powered space flights. He will reportedly be flying with Sir Richard Branson, king of the cool rich people. We can only hope he fulfills his duty to the world and takes Biebs on a space walk. A long space walk. Off a short space pier.
It’s not that Justin Bieber isn’t contributing anything to the music world–there are many people getting paid as a result of his celebrity. Bodyguards, Ferrari salesmen, social media story spinners, hair mousse manufacturers, paparazzi–some good paychecks result from this guy. But it might have run its course. Maybe Branson can hire Biebs’ ex-cronies to help him cross dress when he loses another bet.

Media Moguls’ Money Machine

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As a full-time reporter for most publications in the North Bay, with the possible exception of the Press Democrat whose reporters are union, you make between $28,000 and $35,000 a year.

Spends Quality and J. Kendall Album Release Party

Sonic Bloom members, lyricist Spends Quality (nee Spencer Williams) and saxophonist-turned-vocalist J. Kendall dropped new three albums on Williams’ independent label CFO Recordings in April, and they are hosting an official SoCo album release party at Hopmonk Sebastopol this Friday night. You can read about it this week’s Bohemian.
There are three more music videos in the works, but check this brand new vid from Time Piece‘s title track. Filmed under the Redwoods and out along the coast, you can’t get much truer to Sonoma County than this. Represent.
CFO Recordings triple album release party is this Friday, June 7, at Hopmonk Tavern. 230 Petaluma Ave., Sebastopol. 9pm. $10–$15. 707.829.7300

Highway Blues

As Ghilotti Construction cuts down and sells state-owned redwoods for a profit, let's look at how it's going in Willits

Back on the Block

Sonoma County Museum ready to expand in more ways than one

Tipsy-Turvy

At long last, a trend toward tipping at the tasting room

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...

Is Print Dead?

Maybe not as dead as some think

The War on the News Industry

And, well, everyone...

‘I Don’t Want to Eat Octopus’

The moment when this child becomes a vegetarian is beautiful.

BIEBS… IN…. SPAAAAAAACE

Justin Bieber is headed to space. One can only hope he stays. Reports say the Canadian pop star and notorious annoying teenager is booked on one of Virgin's forthcoming rocket-powered space flights. He will reportedly be flying with Sir Richard Branson, king of the cool rich people. We can only hope he fulfills his duty to the world and...

Media Moguls’ Money Machine

As a full-time reporter for most publications in the North Bay, with the possible exception of the Press Democrat whose reporters are union, you make between $28,000 and $35,000 a year.

Spends Quality and J. Kendall Album Release Party

Sonic Bloom members, lyricist Spends Quality (nee Spencer Williams) and saxophonist-turned-vocalist J. Kendall dropped new three albums on Williams' independent label CFO Recordings in April, and they are hosting an official SoCo album release party at Hopmonk Sebastopol this Friday night. You can read about it this week's Bohemian. There are three more music videos in the works, but check...
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