Crème de la Crème: Point Reyes Farmstead celebrates double decades

In 2020, the Point Reyes Farmstead Cheese Company celebrated its 20th anniversary. Long based in Point Reyes Station, the artisan cheese business opened a second creamery in Petaluma in 2018 to meet growing demand.

Last week, the Bohemian/Pacific Sun interviewed Lynn Giacomini Stray, a co-owner of the company, about the challenges of the past year—and the foreseeable future.

Indeed, between the Covid-19 pandemic, the worsening drought and ongoing debate about the future of agricultural leases at the Point Reyes National Seashore, this has been a historic few years for North Bay dairies. Struggling with a lack of water, dairies have started to truck in water from nearby cities or water districts—a practice which might prove prohibitively expensive for businesses in the long run.

Meanwhile, the debate over the future of the Point Reyes National Seashore continues to rage. Currently, the federal government, through the National Park Service, leases about one-third of the 71,000-acre public park to ranchers and dairies. Park administrators have delayed their decision on an Environmental Impact Statement which will determine whether agriculture stays long-term and, if it does stay, in what form.

The current drought has worsened the conditions for the Tule Elk which occupy part of the park. While dairy businesses throughout the North Bay have started to truck in water as needed, the National Park Service, which manages the Seashore, only recently installed water troughs for the elk in one area of the park.

Recent reporting for the Bohemian/Pacific Sun by Peter Byrne shows that over 150 elk have died in the past year due to a lack of nutrients—worsened by the drought—and crucial minerals in the areas where the elk herd live. On Saturday, Aug. 27, activists hiked into Tomales Point with about 100 gallons of water to give to the struggling herd of elk.

Although “Point Reyes” is in the company’s name and the Giacomini family, one of the North Bay’s historic dairy families, has leased park land in the past, Giacomini Stray says the company does not currently use any park land for its operations. Still, Giacomini Stray does support continuing leasing park land to dairy and ranching operations. “We do not operate a dairy in the park, but we fully support agriculture in the park,” Giacomini Stray told the Bohemian/Pacific Sun.

Here’s our interview. It has been edited for length and clarity.

Q: What have the impacts of the Covid-19 pandemic been on your business?

A: It’s been a huge impact. We sold a lot of our products to restaurants and hotels and food service. So when the pandemic hit, they closed; all of the restaurants and hotels and travel instantly stopped. And so our business decreased about 50%, initially. It is obviously starting to come back as things open up. But, as you know, with Covid closures the percentage of businesses that have been affected has gone up and down.

Labor has been another issue for everybody across the food industry and manufacturing. We were really hit initially with having to do a lot of layoffs. We have since hired back the same number of people that we had to lay off initially because of the decrease in business. So that’s been good. But we are still very much affected by the decrease in business from the food service industry. That has not fully come back. Nor has business travel or pleasure travel returned to pre-Covid numbers.

Q: How much of your business comes from your location in Point Reyes Station?

A: Consumer habits have changed, and people are buying at retail stores more instead of going out to eat. As a result, our business model has shifted to more retail sales nationwide. But a lot of Bay Area locals know us for The Fork, the culinary center on our farm. That is an educational center where we would have different value-added programs, including classes, wine-and-cheese pairings and educational tours of the farm. That shuttered back in March of 2020. When everything closed down, we had to close down The Fork. We just reopened that in June, with new Covid policies to make sure that everybody stays safe. Currently, The Fork is open by appointment on Friday and Saturday for two tastings each day.

Q: How has the drought impacted your business?

A: We milk about 400 cows, and they need about 40 gallons of water a day per cow. So the drought has drastically affected the dairy side of our business. We are hauling water, that’s an additional expense. Another reason why we have limited our tastings to the public at The Fork to only two days a week—we used to be open five days a week—was because of the water usage for that. So we really downsized everything because of the drought.

We’ve also added additional water reclamation programs in the past year, but sustainable agriculture programs have been a focus of ours for the past decade. We’ve been in and out of drought, but this is the most dramatic we’ve seen. Climate change is something that’s going to be around for a long time, and we’re trying to adapt to that.

Q: What do you think will happen if the drought continues to drag on?

A: Well, I think it’s definitely going to impact the dairy industry. There are agencies that help out agriculture with farm services. The county of Marin is offering agriculture with cost-sharing programs for water resources. That’s a huge help for us. Having said that, if this continues, in year two, dairies are going to have to look at potentially downsizing their herd. Because it’s a lot of money that we’re putting in upfront to haul water. This is the new normal, that we’re going to have to find ways to increase our water-reclamation programs. I think this is a bigger problem beyond even agriculture, it’s the residents. Everybody’s been asked to decrease the water consumption by 20–25%. We’re no different, it’s just that we have a lot more water needs than residents, but everybody is responsible. Everybody needs to find new ways to conserve water.

Killer Toys: Dangerous toys of yesteryear exhibit

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A new exhibit, “Dangerous Games: Treacherous Toys We Loved As Kids,” opens Sept. 25 at the Napa Valley Museum in Yountville. In light of the last two years of chaos, is there a more fitting show than one which highlights our best intentions gone horribly awry?

I personally think there’s an element of soothingly absurdity, a sort of ridiculous-balm, if you will, in revisiting toy concepts that turned out to be lethal. These toys give a whole new level of validity to Calvin’s Dad—of Bill Watterson’s Calvin and Hobbes—yelling, “you’ll put your eye out!”

I imagine those people who were kids in the era of Red Ryder Rifles are amazed they still have both peepers. As a 1992 baby, I missed the world of Lawn Darts—those kid-operated flying spears sent over 6,000 people to the hospital before being banned in 1988—and uranium kits, but I arrived well in time for Slip-n-Slides and giant trampolines. I still remember summer days spent flipping wildly through the air at the neighbors house until one fateful day when a fellow thrillseeker went flying off the side of the trampoline mid-bounce and crumpled on the sidewalk. How he came out uninjured is still a mystery to me. The trampoline was removed in short order. No one lets us have any fun.

“Dangerous Games” piqued my curiosity, and in researching the most dangerous toys of the last 30 years I can only say I’m nearly beyond words. If anyone reading this remembers the Swing Wing, or—God forbid—played with one, please write to me personally and tell me your spinal fluids haven’t hemorrhaged. For those who don’t know, the Swing Wing—it’s slogan, “It’s a What!?!”—is a toy helmet worn on one’s head with a “wing” attached to a string at the top that the wearer rotates like a propeller by flinging their head around in a circle like a maniac.

The commercial for this contraption, viewable on YouTube and not to be missed, features children hanging upside from trees swirling their Swing Wings with abandon—it seems the director chose not to use the B-roll footage of them vomiting upon dismount.

From the Swing Wing fiasco I found a frankly even more distressing toy—the Wham-O Water Wiggle. The commercial for this delight is also viewable on YouTube—where one can watch this thing wrap itself around a woman’s neck while the narrator says, “Kids love me, too, ’cause I’m so soft and playful”. Yikes.

This snake-like hose attachment, though not overtly lethal, could, when turned on full blast, chip teeth, bloody noses and—as the ad gleefully highlights—attempt to strangle. Wham-O is also responsible for Slip-n-Slide, which, by the 1990s, regretfully but rightfully had a warning on the box referring to the possibility of “spinal injury and death.” Yeesh. 

It gave me pause, considering all these “whacky” bygone toys, both because of the confirmation that human beings are the most absurd species to yet grace the face of the earth, and because I realized I don’t quite know what today’s youngsters play with. In the age of TikTok and Instagram Reels, what tangible toy is the average 11-year-old interested in? What is the 2021 version of the Wing Thing? Napa Valley Museum might want to follow this show up with something that highlights today’s world of tech-inspired playthings—who knows, maybe I’ll curate it.

For a laugh and a walk down Memory Lane, don’t miss “Dangerous Games.” Opening reception is at 5:30pm on Sept. 25; reserve your tickets at napavalleymuseum.org, and don’t forgo the $5 audio tour narrated by the one-and-only Bill Rogers, a.k.a the voice of the Disney Parks. It’s well worth the investment. Enjoy, and if you’ve ever slipped, slid, clacked or winged, count your lucky stars.

Earthly Delights: ​Marin Art and Garden Center

Continuing our How We Work Now series of conversations with local businesses and organizations enduring the continuing Covid crisis, our latest chat is with Antonia Adezio, executive director of ​Marin Art and Garden Center.

Bohemian: I’m thinking of Ray Oldenburg’s notion of a “third place” that’s not the home or the workplace, but a space where people can participate in a sense of community—which have been harder to come by the past 18 months. How is Marin Art and Garden Center one of these places, and how do you guys support this valuable contribution during Covid?

​Antonia Adezio: Marin Art and Garden Center really fits that definition, as a place to be away from ordinary activities—home and office—and to be open to other experiences. For 75 years, it has been a gathering place for communities of like interests, from artists and actors to young families and active gardeners. All these groups continue to be the life blood of the Center!

The community dimension of that became so clear during the first months of the pandemic, when we felt fortunate to be able to remain open and welcome people as a respite from their own four walls. People gathered with their kids, met with friends for lunch on a bench and clearly reveled in being in a safe and beautiful place with other people.

As things have progressed, and we have been able to open the doors of our gallery and shop and now our event spaces—and soon our preschool, the Garden School—these communities are regrouping around shared interests and excuses to meet up—whether for a design seminar, an art exhibition or an outdoor concert—and there is definitely joy in the air. We support this ideal of community by keeping our 11 acres and historic buildings open to the public 7 days a week, free of charge.

B: I love the phrase on your website that promotes the center as a place to be “inspired, educated and entertained—or to just be.” That’s all I ever want! Are people responding to this message, and how does it reflect the ethos of the center?

AA: I’m so glad this strikes a chord—it was a phrase proposed by a brilliant marketer, and it resonated immediately with all of us working at the Center. On any given day, there are options to engage actively with information and ideas; to relax and enjoy food and music in good company; and to simply bathe in the beauty of the big trees. There are lots of private nooks [in which] to read a book and listen to the birds, and to tailor a very personal experience. Whether you have an hour or an afternoon, it is an accessible place to disengage from the day-to-day.

B: Eleven acres in the heart of woodsy Marin County is a real estate coup, and the fact that it’s open to everyone is amazing. How have people been using the grounds during the pandemic? Any recommendations?

AA: Most of our daily visitors are local, and it is a place for a morning walk (often with a leashed and well-behaved dog!), an outdoor adventure with children or grandchildren, a place to take photographs of plants and wildlife, or to enjoy a picnic lunch. It has also become a destination for serious gardeners to see what’s planted in the gardens and get ideas for their home gardens from our professional staff. Weddings at the Center are a special part of what we offer, with a memorable and photo-worthy backdrop for these important moments.

B: Nature and art strike me as the perfect antidote to much of what ails us. Have you found that people are experiencing a “therapeutic” effect at the center?

AA: I see a lot of calm and happy faces as I walk the grounds, and people actually thank us for being there—so I think, yes, it is having that effect. We are eager to build the nexus of art and nature in a compelling way to give people insights into the way the natural world works and how artists interpret it. Our gallery shows are the starting point, and we love to present artists talking about their work—which gives so much insight into their motivation and inspiration. Our gallery space, called “The Studio,” is a real temple to visual art, and also a welcoming gathering place.  We are all currently masked indoors, but there are gardens on either side of the building where we host receptions and art demonstrations outdoors.

B: In terms of “hidden gem” status, the center might take the title in Marin. There’s a bit of a “hiding in plain sight” vibe. How will you preserve the sanctuary aspect of the experience as awareness grows? Or am I just being paranoid?

AA: I wish I had a proverbial nickel for every person who has said to me: “Oh, I drive by that place all the time, but have never gone in!” I encourage them to take the time and take a chance—and first-time visitors are typically amazed that they a) didn’t know it existed, or b) didn’t take the time to visit! We are ambitious in our goals to welcome more people from throughout the region to enjoy this beautiful place, and I think there is plenty of room for that audience to grow without threatening the peace and quiet. The word “sanctuary” is perfect—may we use that in our materials?

B: Yes! Are there any specific programs or events you would like to highlight?

AA: In September, we are excited to offer our first concerts in our recently-renovated Redwood Amphitheater. On Sept. 2, we are presenting the Eos Ensemble in a program of string quartets by Ravel and Dvorak. This is nearly sold out. On Sept. 22, it will be Brazilian jazz from Catia Machado and BEBE, the Brazil/East Bay Ensemble. www.brazileastbayensemble.com. Tickets at www.maringarden.org.

There are two exhibitions scheduled in The Studio in September: the first is a one-weekend-only show and sale by 12 plein-air painters called the BayWood Artists (Sept. 10-12). Marin Art and Garden Center will receive 50% of the proceeds of sales.

On Sept. 19, we will open the 24th International Exhibition of the American Society of Botanical Artists—truly the pinnacle of the artist’s interpretation of the natural world. This show will be on view through Nov. 28.

These shows are both open to the public, free of charge, Thursday/Friday/Saturday 10-4 and Sunday 12-4. Masks required. More info at www.maringarden.org.

Our annual fundraiser, the Harvest Dinner, will take place on Sept. 17 outdoors under the oaks in the Stratford Garden.
Dinner by Sage Catering, with a festive silent auction followed by a short fund-a-need in support of the Center’s programs. Tickets available at https://maringarden.org/harvestdinner2021/.

Regrouping: Marin men’s group sticks together for over 40 years

I was recently invited to meet with eight men in a beautiful home perched on a hill in San Rafael. They wanted to share the remarkable story of their deep-rooted friendships that have lasted more than four decades.

Together, the men, who are in their 70s and 80s, have experienced marriages, the birth of children and grandchildren, divorces, coming out, careers, career changes, retirement, aging, illness and death.

They weren’t school chums or fraternity brothers. Their odyssey began when some of the men answered an ad that two therapists ran in the Point Reyes Light newspaper on Oct. 13, 1977.

“Group for men forming. Sharing and learning. Grow towards more personal and interpersonal clarity, sensitivity and power. For more information, call Bill Schutt and Peter Beck.”

Though there were originally about a dozen men in the group, nine stuck together. Stan, Joel, Steve, Ken, Leif, Joe, Jim, Dan and Harry. Some responded directly to the ad, while a few were recruited. Leif invited Harry. Harry then enlisted Stan, the last to join.

They were young fellows, mostly concerned about relationships. Little did they know at the time, this group would forge some of the longest relationships of their lives—they’re still together almost 44 years later, with the exception of Harry, who passed away.

Therapists Beck and Schutt initially led the group, and the members paid them to attend the meetings, which took place at Schutt’s home in San Anselmo. Beck moved out of the area after a few years, but the group continued under Schutt.

“It was a time when men’s groups were being seen as a useful tool,” Leif said. “We started out as a therapy group.”

During the sessions, they went around the room to “check in.” Each man had the opportunity to speak uninterrupted, with no time limit. They each learned to hear people out. Schutt taught the men that they weren’t there to fix each other or to become perfect.

After the meetings, sans therapists, the members likely as not ended up at the now-defunct Spanky’s Restaurant in Fairfax, smoking cigarettes, drinking beer and bonding. Eventually, the nine members came to the realization that they enjoyed each other’s company and didn’t necessarily need to keep paying a professional to lead their meetings.

They decided to say goodbye to Shutt and save the therapy fees. Jim opened a bank account under the name R.E. Group, as in “regroup.” They used the funds for an annual group event with their partners.

“Our significant others were left home every Thursday night with crying babies,” Joe, who has been married since before the group formed, said. “We took the money and took them out once a year for our grand Christmas dinner in the city. We still do that. Before Covid, we had a fantastic meal in Oakland and went to a concert at a cathedral.”

Although many of the men had crying babies at home—between them, they have 11 children and nine grandchildren—some didn’t. 

Stan never married, and his longest romantic relationship lasted a year. The group, he says, is his social anchor.

Leif was married to a woman and then divorced. He came out as gay to the group before telling anyone else. Today, he’s been with his partner, Mark, for 42 years. All the men in the group spoke at their wedding.

Dan was also married to a woman, had a daughter and divorced. He, too, came out as gay in the place he felt most comfortable: the group.

“It was [in] transitioning from being a straight man to a gay man that I got enormous support from this group,” Dan said. “To come to that realization in one’s life, ‘I’m not straight, I am gay,’ for me, was tough.”

The men say they have an inherent commitment to the group, which is greater than the sum of its parts. It provides constancy and ballast in their lives. They care about each other; however, what binds them is more than friendship, because sometimes they don’t like each other.

“It’s another family,” Jim said. “When the immediate family is falling apart, the men’s group is a family you can go to for a reality check and understanding. It’s a really valuable thing.”

These days, they still meet regularly, but they haven’t had a group therapist in years, they’ve given up the smokes and drinking consists mostly of soft beverages. The meetings run in much the same way as when the men worked with the therapists. They meet on the first and third Thursday of every month for dinner, and they take turns hosting. There are two leaders, and they rotate the positions. The men still check-in, although sometimes they have more of a freeform conversation. At other times, the leader throws out a topic for the group to discuss.

Covid has been but a little blip to them. The group continued on Zoom during most of the past year, and they recently resumed their in-person gatherings.

Adamant that their group did not grow out of the New Age movement, the men heartily laugh as they admit to participating in one drumming circle, one biofeedback session and one sweat lodge ceremony. They also met with a women’s group once. In the ’80s, they appeared on the television show People Are Talking with a sex therapist from Mill Valley—though she did most of the talking.

During my meeting with the men, they talked about their significant memories, such as the time they asked Jim to leave. Jim was using “heavy duty” painkillers for acute neck pain, lost his job, got divorced and was depressed, all of which affected his relationships with group members. Though Jim says being without the group was a low point of his life, he mended fences within a couple of years and was welcomed back.

Harry, who died of melanoma 27 years ago, was another major subject. He was the eldest member and would now be 87.

With a larger-than-life personality, Harry was a successful graphic designer, responsible for the graphic identity of the original Gap stores. The men described Harry as powerful and competitive. His illness and death were also powerful.

At one of their annual group retreats, Harry announced he had melanoma. Already a year into his fatal disease by then, he had delayed telling them to avoid being treated differently.

The group immediately became Harry’s attendants, meeting mostly at his home. Although he underwent experimental immunotherapy, he began wasting away. An interesting phenomenon occurred during Harry’s prolonged illness. He decided to be blunt with each member of the group about how he felt about them. Needless to say, his words were met with mixed reactions. Harry lost his battle with cancer in 1994. Stan and Leif were at his bedside when he died, each holding one of Harry’s hands as tears streamed down their faces.

Aging and death are recurring themes in the group’s meetings. In their earlier days, they spoke of “growing old together.” Today, all the men have medical issues. While none of the issues are incapacitating, they say there have been some frightful moments. They added a sobering thought—one man will be the first to go, and one will be the last man standing.

While the group may discuss the Grim Reaper, the members certainly aren’t sitting around waiting for him to appear. In recent years they’ve rafted down the Colorado River in the Grand Canyon, gone on backpacking expeditions together and taken annual ski trips.

As they approach their 44th anniversary together, the men contemplate the reasons for their group’s success. The annual retreats, where they spend three days together out of town, resonate with all of them. They have the time to delve deeply and share what’s going on in their individual lives, and to also work out issues they have with each other. The sessions often become intense, yet the men say it brings them closer.

Aside from their foray into television decades ago, the group has never spoken publicly. It was a dilemma for some members to agree to meet with me, but in the end, they took the leap of faith with an altruistic motive in mind. Their lives have been dramatically enriched by developing their relationships within the group, and they want others to know what’s possible.

“We feel like we’re a special group,” Jim said. “We’re proud of our group. It’s a significant part of our lives, and we’re revealing ourselves to let people know men can do this.”

Spaghettoni, Sustainably

Bayview Pasta isn’t noodling around

Joshua Felciano points to a thick pair of millstones the size of wine-barrel hoops, stacked in the belly of a tall gristmill. “This here is 800 pounds of Vermont granite,” he says.

The Sonoma County native and owner of Bayview Pasta, a fresh-pasta manufacturer in San Francisco, hand-mills flour from sun-ripened wheat berries grown on a fifth-generation family farm in Eastern Washington while we talk. The drought-tolerant grains were dry-farmed leeward of the Cascade Mountains, he notes, raised strictly on a diet of rain, snow and nutrient-rich, untilled soil.

“But did they lead happy lives?” snarky Portlandia fans may be tempted to ask, and Felciano readily acknowledges the satirical overtones. Actually, the grains lead a parched, somewhat stressful existence—but that makes for tastier pasta, he says, as low moisture concentrates flavor and gluten.

Who knew? Wheat may be America’s third-largest crop and as flour, a pantry essential, but we’re more attuned to the origins of our syrah than to the source of our spaghettoni. Felciano, however, digs a deeper plow-to-fork connection by bringing the story of pasta full circle—back to where the grain comes from, how it is grown and when it was milled. And he challenges the Bay Area’s relationship to a culinary staple by crafting fresh, whole-grain pasta that’s less about the sauce and more about complex flavor, rich texture and higher nutrients.

“Pasta’s part of my heritage,” Felciano says. He grew up in a “boisterous Italian-American family” from Healdsburg. And as a former sous-chef, working with flour has always been central to his livelihood; he cut his teeth at Manzanita, moving onto Simi Winery before landing at Delfina. But he admits, flashing an affable grin and beefy, dough-pounding forearms, that he gave little thought to the refined Italian semolina that used to dust his workplace.

When Felciano established Bayview Pasta in 2017, he initially bought wheat on Amazon—free Prime delivery!—from a small grain company in Utah. It was located about an 11-hour drive from San Francisco, so he called it on a whim. Could he check out their mill, maybe visit their farm?

“We couldn’t tell you where the grain’s from,” he was told. “It’s all commodity [that gets] thrown into a community silo.” It was a stark realization—“we were so far from the story of where our [grain] comes from, so far from the field, so far from the farmer,” he said.

Humans have cultivated wheat since the dawn of civilization and grown it in the Western United States since the early 18th century. It’s a large—but also a largely forgotten—part of California’s agricultural legacy; the state once produced much of the nation’s supply, until dairy, produce and nuts supplanted it in the mid-1900s.

“Growing grain is the missing part of the food revolution,” says Alex Weiser, co-founder of the Tehachapi Heritage Grain Project. The small collective of farmers set out to re-establish a sustainable grain belt in Southern California eight years ago. On a patchwork of fields 100 miles northeast of Los Angeles, they grow heirloom wheat like King Desert durum, Red Fife and spelt, along with Oaxacan dent corn—hardy, regenerative crops with disease- and drought-resistant pedigrees.

Felciano recalls his first visit there with his wife; they joined Weiser and gang in harvesting purple corn, and ended up geeking out with them on grain. “These farmers were sitting around, showing and asking each other about their plantings, like ‘Where’s this one from? Why are you growing it? Who’s it for?’” Felciano says.

The deep connection they had to their fields, crops and farming practices was a revelation. “I could come back to San Francisco and say, ‘I know the person who grew this grain. I know why it works well, why it’s so different from a bag of King Arthur [flour],’” he says. “And it was all happening right there in this cornfield.”

The Grind

It’s 6am, and the sun casts a warm glow across the Bay in front of the Hunter’s Point Shipyard. Felciano grinds away in the commissary kitchen where Bayview Pasta is based—has been since 4am—milling plump, hard red wheat berries grown in the Horse Heaven Hills of Prosser, Wash. As he pours them into a spout, the mill roars into action, drowning out the chorus to Volare streaming in the background. The grains pulverize into a stream of silky, amber flour speckled with golden hints of their former selves, releasing the malty aroma of toasted oats.

Encased in a fire-engine-red steel frame, Felciano’s workhorse is a slick take on a classic piece of machinery. But it serves a basic purpose: it grinds the entirety of the grain, integrating the bran, germ and endosperm into whole flour. And the massive granite millstones manage to stay cool, effectively preserving the grain’s aromatic oils, nutrients and flavor.

Industrial mills operate differently, using steel rollers to crack and separate the bran and germ from the endosperm, Felciano says. Refined flour is then milled uniquely from this gluten-rich core—very shelf stable and great for making toothy pasta, he notes, but void of fiber, vitamins and healthy fats. “So when you buy a sack of flour in the store,” he says, “you have no idea how old it is.”

Fresh, whole flour, on the other hand, has a shelf life of about a week, but Felciano never lets it sit for more than a day. He quickly moves onto the next step of mixing the hard red with other fresh flours including spelt, Red Fife and Desert durum from Tehachapi. With the scantest addition of water, the flour blend turns it into a crumbly dough, which, when squished, is cohesive yet surprisingly light. The rich oils give it the consistency of egg pasta without the eggs, with fuller nutrients, taste and texture.

The morning pace picks up as Felciano’s three employees set up their individual stations. Each one extrudes a different kind of pasta; one rhythmically chops wide, stubby tubes of rigatoni that curl out of a traditional bronze die, while another slices ropes of bucatini, twisting them into nests with a flick of the wrist.

Other items on today’s docket: fettuccine tinted sage-green with nettles, brilliantly yellow turmeric spaghettoni and pappardelle, which Felciano makes by hand-feeding flattened dough through a pasta cutter. The wide, hearty ribbons are his favorite, he says, tossed with “just butter and parm[igiano-reggiano].”

The rich and robust flavor of the pasta, in fact, favors simplicity. Causwell’s, a bistro-style restaurant in San Francisco’s Marina District, rotates its offering of Bayview’s pasta every few weeks; currently it’s spaghettoni paired with a tomato-braised pork ragù and sprinkles of English peas and spring onions. It highlights the taste and texture of the pasta, with tender shreds of meat clinging to the thick strands without drowning them, all accented by a pop of fresh greens and pecorino cheese.

“The pasta has a really nice tooth to it—you can tell the quality of the grain,” says Chef Adam Rosenblum. And it’s in line with Causwell’s fresh-and-local ethos: “We make everything from scratch, so if I’m getting something from somewhere else, it needs to be of the same caliber and craftsmanship.”

The quality of the pasta, as Rosenblum points out, is sown in the grain itself—and that’s every bit the craft for Garrett Moon, of Moon Family Farm in Prosser, Wash. The fifth-generation farm grows “grain with big flavor and a small carbon footprint”—drought-tolerant heritage wheats like hard red, hard white and spelt—on 2,400 unirrigated and untilled acres.

Relying solely on precipitation and soil management, the farm avoids the energy costs and impacts of pumping water from aquifers or rivers, Moon says. But it faces increasingly steep challenges: the region, located in the rain shadow of the Cascade Mountains, is the driest in the state, and 10% of normal spring rainfall this year is putting a sobering strain on yields.

Artisan producers like Felciano “understand that we put a lot of extra effort into our grain, land and conservation efforts—things that aren’t recognized in a commodity market,” he says. “So we try to make connections with people who care about the same things, who appreciate wheat done right.”

It’s clearly a kindred connection. As Felciano boxes up the morning batch of fresh pasta, he points to a message printed on every label, below the stamped mill date of the flour: “We buy our grains directly from the farm that grew the grain.”

The boxes of pasta stack up by late morning, awaiting delivery to stores and restaurants around the Bay Area. The farthest, Felciano notes, is Big John’s Market in Healdsburg, where he held his first job as a teenager. “It’s the only place where I’ve been hired, fired, then rehired,” he says. It’s yet another wholesome loop in the story of his pasta.

The H Factor: Heaven vs. Hell

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The peak years of the British Empire saw the introduction of many ancient texts from the East, introduced by such scholar-adventurers as Sir Richard Francis Burton. One of them, translated in 1859 under the title The Rubai’yat of Omar Khayyam, was widely published well into the 20th century. You can often find a beautiful edition at a used bookstore for modest cost. The 11th-century Persian poem is not a tract on spiritual asceticism, but rather a celebration of wine, women and song. The following lines from the poem are used in the opening credits of the 1945 film adaptation of Oscar Wilde’s novel The Picture Of Dorian Gray:

“I sent my soul through the Invisible

For some letter of the afterlife to spell

And by and by my soul returned to me

And said, ‘I myself am Heaven and Hell.’”

The Abrahamic religions—Judaism, Christianity and Islam—have their concept of Heaven and Hell, which in the wisdom tradition might stand for states of being viewed either as suffering or nirvana, or what psychology would call contentment versus misery. Think of everyday consciousness as spanning a certain range required for a normal life. Expanding upwards brings the light of spiritual truth and increasing identification with the realm of Being, while egressing in the Hell direction brings a state of lessened consciousness in which one is prone to a kind of demonic possession by emotion or ideology.

The Heaven orientation makes one holy: radiant, calm, detached and capable of pure action for its own sake—such as creation, the most divine endeavor—without concern over outcome. The Hell direction, on the other hand, naturally brings about the opposite: a regression to chaotic and pre-personal levels of being in which one does not even have a soul, only a mugshot with a crazed look in the eyes.

David R. Hawkins, a successful doctor who experienced an intense spiritual awakening, withdrew from the world to live in a state of mystical ecstasy. Later he wrote a book called Power Vs. Force, endorsed by no less than Mother Theresa. Hawkins created a consciousness scale with shame registering 40 and 1,000 reserved for the likes of Jesus and the Buddha. Ordinary people require a level of 200 to get up each morning and face the day even when they don’t feel like it. This level is called courage.

The mere slightest drop downwards—to anger, fear, apathy, guilt—and a person’s already on the road to Hell. On the contrary, the path of acceptance, love and joy lifts them towards the clouds of Heaven, and might even open the gates of immortality.

Pollan’s Paranoia

If you don’t recognize the name Michael Pollan and haven’t read his books, you’ve missed a lot of good writing about drugs.

In his new book, This Is Your Mind on Plants (Penguin; $29), Pollan dives into the exciting world of opium, caffeine and mescaline. In The Botany of Desire, which is probably his best book, he focused on apples, potatoes and marijuana, and argued convincingly that over thousands of years humans and plants have co-evolved.

Slick writers have hijacked and distorted that notion and have insisted that plants kick our asses all over the planet. That’s not Pollan. It’s not his fault that his ideas have been corrupted. In the middle section of This Is Your Mind on Plants, he talks about caffeine, a drug that’s legal, that millions of Americans imbibe every day and that they probably don’t think is addicting. In the last part of his book he writes about mescaline—which is much harder to score than a cup of coffee or tea—and in the first part he gets into the realm of opium, which comes from poppies and which the British forced on the Chinese to successfully addict a whole nation. Poetry lovers might remember that opium was the drug of choice of Samuel Taylor Coleridge and his fellow English romantics.

Part one of this book is less about opium and more about Pollan’s harrowing bout with paranoia, a state of mind shared by many who try marijuana and swear never to use it again. Years ago, Pollan says, he was working on an article about opium and was terrified that if and when it was published he would be arrested, imprisoned and lose his property.

I know the feeling. For the first 15 years that I wrote about weed, coke and opium, I did so under the pseudonym “Joe Delicado.” Paranoia is real, and it’s powerful. I understand why Pollan cut the crucial section from his article. In This Is Your Mind on Plants he has finally published it. What he says is that opium has the effect of subtracting “things: anxiety, melancholy, worry, grief.” That’s how I felt when I used “O,” as my friends and I called it. Pain vanished. My whole body became a storehouse of pleasure. 

The problem was that when O wore off I felt every single little pain, magnified more than ever before. I knew I couldn’t go on using O, so I kicked my habit before it kicked my butt. I don’t recommend O, but I do recommend Pollan’s new book. It illuminates the war on drugs, which has created a kind of police state that generates mass paranoia and that hasn’t gone away yet.

Jonah Raskin is the author of “Marijuanaland: Dispatches from an American War.”

Yard Bard: Shakespeare in micro-doses or in full

For theater lovers who prefer their Shakespeare “al fresco”—or for those who are still hesitant about venturing inside—two North Bay companies are presenting free outdoor productions of Bard-centric plays. They are adhering to all city, county and state Covid protocols, and the casts and crews are fully vaccinated.

Mill Valley’s Curtain Theatre returns with Shakespeare’s comedic Twelfth Night, while Healdsburg’s Raven Players presents every Shakespeare play known to man via The Complete Works of William Shakespeare (Abridged).

Twelfth Night is one of Shakespeare’s most-produced plays. It contains all the familiar Shakespeare elements—shipwrecks, separated twins, gender-switched impersonations, trickery, unrequited love and sword fights—that, when delivered with gusto, usually make for raucous comedy.

Not this time. Aside from casting two actors (Isabelle Grimm, Nic Moore) as twins who actually appear as if they could be, I find Michele Delattre’s directorial choices somewhat confounding. The cast—many who’ve proven their comedic abilities in previous productions—never seem to get out of first gear. Nelson Brown’s Orsino is more flat-footed than head-over-heels in love with Olivia (Faryn Thomure.) Glenn Havlan’s Sir Toby Belch plays like he just came out of a 12-step program. Grey Wolf’s Malvolio is more milquetoast than malevolent. Energy and passion are woefully missing, and the pacing for everything just seems off.

The production does have its charms, but not nearly as many as it should.

Steven David Martin directs Nicholas Augusta, Matt Farrell and Katie Watts-Whitaker in The Complete Works of William Shakespeare (Abridged). The premise is simple: three actors compress Shakespeare’s 37 plays down to about two hours—including an intermission.

The show is pure goofiness. It’s silly, crass, mildly adult and occasionally gory—I saw a younger member of the audience dive under a blanket during the Titus Andronicus-as-a-Julia Child-type-cooking-show segment. Mixed in with the butchering of the traditional dialogue are topical references, improvisation and audience participation. The cast works hard to earn their audience’s laughter, which they did at the Sunday evening performance I attended.

Pack a picnic, dress in layers and bring a blanket. Old Mill Park by day, and Healdsburg by night, can get mighty chilly.

“Twelfth Night” runs Saturday–Sunday through Sept. 5 with a special Monday, Sept. 6 (Labor Day) performance at the Old Mill Park Amphitheater, 352 Throckmorton Ave., Mill Valley. All shows 2pm. Free. curtaintheatre.org“The Complete Works of William Shakespeare (Abridged)” runs through Aug. 29 at West Plaza Park, 10 North St., Healdsburg. Thursday–Saturday, 7:30 pm. Free. 707.433.6335. raventheater.org

Stage Re-Engaged: Live performances return, mostly

Fall is the time when a theater company’s fancy turns lightly to thoughts of a new season. Announcements are made, rehearsals are scheduled and the sound of buzzing returns to auditoriums as audiences enter and take their seats in support of live performance.

After being dark for a year-and-a-half, California’s June “reopening” gave theater artists hope that the hunger they felt to return to the stage would be fed by fall. Companies moved forward and scheduled their season openers. All looked promising until the Delta variant reared its ugly head.

As new Health Orders emerged, companies once more found themselves asking, “Should we cancel? Postpone? Move forward?” Throughout the Bay Area, the answer to all those questions has been, “Yes.”

Marin Theatre Company issued a press release on Aug. 11 trumpeting their Sept. 9 season opening with the West Coast premiere of the Obie Award-winning The Sound Inside. Eight days later they issued another press release announcing the postponement of MTC’s opening till Nov. 18, and a change in the opening show to the final installment of the Lauren Gunderson and Margot Melcon Christmas at Pemberley trilogy. The Sound Inside is postponed until May 2022.

This is all a way of informing the public that anything that follows regarding live theater this fall could change at any minute and several times.

Theaters moving forward have implemented stricter Covid protocols—audience members must show proof of vaccination, masks must be worn at all times indoors, concession sales have been moved outside or cancelled altogether, to name a few—and most require all members of their company—staff, crew and performers—to be fully vaccinated.

Yet with all that, a large question mark continues to hover over the theater community. Will the shows go on? Will audiences show up?

If they do, here’s a sampling of their possible options:

In Marin, the Novato Theater Company has scheduled four weekends of “variety” entertainment, starting in September, featuring open-mic nights for performers of all ages, comedy and a play reading. They’ll follow that up in late October with a full production of Oscar Wilde’s The Importance of Being Earnest.

September will also bring the Ross Valley Players production of David Lindsay-Abaire’s uproarious comedy Ripcord, a show last seen locally in a very successful production at Petaluma’s Cinnabar Theater just before the pandemic hit. RVP’s Barn Theatre will then host the Mountain Play production of Lerner and Loewe’s Camelot in November.

In mid-September, the Marin Shakespeare Company will present a new, pandemic-inspired version of Sarah Shourd’s play The BOX.  It’s an immersive, socially distanced experience about resistance and survival in solitary confinement in a U.S  prison, with each person in the audience seated in their own square of a grid at San Rafael’s Forest Meadows Amphitheatre.

In Sonoma County, the aforementioned Cinnabar Theater in Petaluma opens with Cry It Out, a dark-hued comedy about motherhood, female friendship, economic status and class.

The Spreckels Performing Arts Center in Rohnert Park will open with the pandemic-delayed production of David Templeton’s new sci-fi play Galatea. The set has been sitting on the Spreckels black box stage since the show shut down three days prior to its opening last year.  

Award-winning drag performer Michael Phillis takes his “Patty from HR” character out of San Francisco’s Oasis Club and brings her to Sebastopol’s Main Stage West for A Zoom with a View, Patty’s/Michael’s response to the current state of America.

Santa Rosa’s 6th Street Playhouse follows up their currently running Love, Loss, and What I Wore with a main-stage production in mid-September of Murder for Two. It’s a musical murder mystery performed entirely by a cast of two.

Left Edge Theatre will open their season with a couple of one-acts. Lauren Gunderson’s two-hander I and You is paired with Beautiful Monsters, an avant-garde performance piece written by Kelly Gray.

Sonoma’s Rotary Stage transforms into a decaying Hollywood mansion situated on Sunset Boulevard. The Sonoma Arts Live production of the Andrew Lloyd Webber musical is scheduled to open in late September.

San Francisco-based performer Dan Hoyle brings his long-running solo show Border People to the Cloverdale Performing Arts Center for a single night in September. The Beard of Avon, a farcical look at Shakespeare, will follow it in October.

The current drought won’t prevent Disney’s The Little Mermaid from splashing around Napa next month. Lucky Penny Productions has scheduled the family musical for a three-week run.

Check each theater company’s website for the latest on dates, times, ticket prices and possible postponements or cancellations.

The Graduate: Writing in degrees

Until this week, the only thing Rodney Dangerfield and I had in common was a penchant for one-liners and general anxiety about our respectability. Then we both went “back to school.” His experience was fictional—apart from the cameo by a real-life Kurt Vonnegut—and arrived in the local cineplex as the movie Back to School. My back-to-school experience was a protracted year-long Zoom odyssey as I finished a couple of semester’s worth of units at virtualized San Francisco State University.

What does this say about the relative merits of having a college degree in my industry? I’m not sure, though I think it speaks volumes about how we learn to write, which is and always has been by doing. Which SF State was fairly rigorous about—my last semester, which ended a couple of weeks ago, required me to write a children’s book, a research paper on a public relations campaign and a feature-length screenplay, all within the span of six weeks. This occurred, of course, while producing the newspapers and magazines required by my day job—not to mention a handful of writing-related side hustles. Tens of thousands of words poured out of my fingers into this laptop, and from my thumbs into my phone, where I do a fair amount of composition these days. So, if my columns sometimes read as prolonged texts, now you know why.

To say the output nearly killed me would be overly dramatic. Anyone who thinks writing is a hardship in any way is doing it wrong. It’s one of the most privileged gigs a dropout can have. The work did, however, temporarily turn me into a word-addled crank, from which I’m still recovering, glass by glass.

I never graduated from anything, unless we pretend that eighth grade promotion is meaningful to anyone but eighth graders. Sometime in the late ’80s, I left high school via the California Proficiency Exam, which I passed twice—once for myself and once for a dyslexic friend, for whom the testers would not allot extra time. This was during the Golden Age of fake IDs. That said, I think I did “technically” graduate from high school—it’s a cesspool of semantics into which I won’t wade. I was quite proud of being a “dropout,” which I boldly stated on my bios until a publicist for a project I was on asked if I could supply a version that was less, ahem, “punk rock.”

Now my bio reads, “Daedalus Howell has a bachelor’s degree in English with an emphasis in Creative Writing that only took 27 years to finish.”

Daedalus Howell gets graded at DaedalusHowell.com.

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