When my son was younger, he loved Charlie Brown and the woebegone world he inhabits. He liked jazz (courtesy of Vince Guaraldi) and he liked the fact the characters play baseball. The only cultural connective tissue I can draw between jazz and baseball is Ken Burns and his documentaries, Jazz and Baseball. If the Peanuts characters became Civil War reenactors, the kid would probably grow to believe Ken Burns and Charles Schultz were his real parents. That’s fine—they can pay for his college.
There there’s the A Charlie Brown Christmas app. It’s a quaint repurposing the source material that features some modest interactivity while flawlessly capturing the signature melancholic vibe. My kid loved the iOS version until Charlie and Linus’ arms came off. It was a glitch but imagine trying to explain that to a horrified child. Good grief, indeed.
Later, we pored through a “Look and Find” book entitled Merry Christmas, Charlie Brown that takes scenes from A Charlie Brown Christmas with random objects thrown in (a stuffed camel, a maraca, a pipe—basically the decor of the average freshman dorm), intended for young readers to find. Seeing the kaleidoscopic holiday landscapes of the Peanuts characters’ otherwise humdrum world in static, printed form makes apparent just how psychedelic they were.
In fact, the expressions of Linus and Charlie Brown look like the precise moment they realized, “Maybe we shouldn’t have dropped that acid, Charlie Brown.” This also accounts for how Charlie ended up with such a famously crap tree. He was trippin’ balls. In fact, LSD explains a lot of the Peanuts world—from hallucinatory flashbacks of World War II (featuring trippy rotoscoped footage of D-Day reminiscent of Yellow Submarine) to kite-eating trees and Linus’ Syd Barrett-style burnout fixation on a mythical pumpkin.
Rumor is if you turn down the sound on A Charlie Brown Christmas and play the second side of Pink Floyd’s Dark Side of the Moon simultaneously, the Brain Damage track comes on just when Charlie Brown takes his totally f’d-up Christmas tree out into the winter night.
“The lunatic is on the grass” syncs wonderfully with the image of a dazed-and-confused Chuck carrying around his ailing green plant. Naturally, his eyes are big, black pupils when he stops to watch the surreal light display on Snoopy’s doghouse, then bails, disconsolate over his comparatively shabby tree. That’s when his hippy-ass pals show up, wave their arms around (“You rearrange me ’til I’m sane”) and suddenly the twig Charlie Brown ditched becomes a proper Christmas tree. Evidently, everyone is high. The kids start caroling in time with the backing vocals on the chorus. All true. Ken Burns is doing a documentary on it. It’s a holiday treat one can cherish every year (for about 8 hours at 500 micrograms).
Christmas music for people who hate Christmas music
Musician, songwriter and producer Tim Eschliman traces the roots of the Christmas Jug Band back to December, 1977. That’s the date marked on the cassette he holds dear that features a live recording of the ensemble’s earliest holiday gathering, playing on Christmas Eve at the long-gone Old Mill in Mill Valley.
“When we first started doing it, we marketed it as Christmas music for people who hate Christmas music,” Eschliman says. “It’s not Perry Como.”
Of course, the band wasn’t called the Christmas Jug Band back then; they were simply a group of friendly musicians who gathered on Mondays to drink Wild Turkey and play jug band music.
Yet, the project snowballed from that first holiday performance, and more than 40 years later, the band is still an annual tradition that features Eschliman (Commander Cody, Rhythmtown-Jive), Gregory Leroy “Duke” Dewey (Country Joe & the Fish), Austin deLone (Elvis Costello, Boz Scaggs), Ken “Turtle” Vandermarr (Dan Hicks), Paul Rogers (Those Darn Accordions), Blake Richardson, Ken “Snakebite” Jacobs (Kinky Friedman) and special guests performing original holiday-themed tunes, parodies and classic songs that all get the raucous, acoustic jug band treatment.
“One of the jokes about the band is, ‘How do you guys stay together so long?’ Well, we have 50 weeks off a year,” Eschliman laughs. “It’s really a band full of bandleaders, but for a week or two we can just have fun as a group and drop the need to be the dictator and just enjoy the crowd.”
The Christmas Jug Band’s annual slate of shows this year also acts as an album-release tour for the group’s new album, Live From the West Pole; their first collection of new material released in a decade. The group recorded the entire album last year at Sweetwater Music Hall, their homebase that Eschliman dubbed the West Pole some years back.
“I just decided we’re going to name Mill Valley ‘The West Pole,’ because it’s the birthplace of this silly thing,” says Eschliman. “No one else has claimed that the West Pole is anywhere, so we’re claiming it .”
The Christmas Jug Band performs on Friday, Dec. 13, at the Big Easy (128 American Alley, Petaluma. 8pm. $15. 707.776.4631) & Sunday and Monday, Dec 15–16, at Sweetwater Music Hall (19 Corte Madera Ave., Mill Valley. Sun, 7pm. $19–$27; Mon, 8pm. $24–$27. 415.388.3850).
New roommate dislikes ‘Big Brother’ surveillance cameras in the living room
Q: My new roommate is uncomfortable with the cameras in the living room and kitchen. This became an issue for her after I saw a video of her being careless with my furniture and asked her to stop. My last roommate had no problem with the cameras, which I got after my home was broken into. My current roommate knew the deal when she moved in, but now she’s uncomfortable and complains about this constantly. She wants the cameras either removed or turned off when she’s home.—Annoyed
A: Sure, Socrates said at his trial, “The unexamined life is not worth living.” But this reflected his love of the pursuit of wisdom, not a desire to be under constant surveillance by his roommate.
Consider why your roommate might take issue with living in a two-person police state. Privacy, as explained by legal scholar Alan Westin, involves people’s right to choose what information about themselves gets released to others. Our longing for privacy comes out of our evolved concern for protecting our reputation—others’ perception of the sort of person we are. This became vital when ancestral humans started living cooperatively, improving their chances for survival by sharing food, work and defense against the elements and strangers. Having a rotten reputation could get a person booted from their band and made to go it alone.
Our reputation has a guard dog: shame. Contrary to popular belief, shame is not “unhealthy” or “toxic.” Cross-cultural research by evolutionary psychologist Daniel Sznycer suggests shame is actually a social-status management tool that helps us avoid being downgraded by others. Sznycer and his colleagues explain that the desire to avoid shame motivates us to “conceal damaging information” about ourselves and deters us from behaving in dishonest or unfair ways so we preserve our social standing.
The need to guard our reputation makes us behave differently when we have an audience. Knowing we are on camera removes a measure of freedom from us—freedom to relax and be ourselves. Consider the mealtime version of “Dance like nobody’s watching”: “Eat lunch like a member of the Donner Party.”
Your roommate knew about the cameras before she moved in, but a good deal of social science research finds that we’re bad at predicting how we’ll actually react to things. Also, we can’t just choose to power down the reputation-driven anxiety we feel when we know we’re being watched. Ultimately, it seems fairest to turn the cameras off when she’s home or only have them in the entryways and outside windows. The cameras should be for safety purposes, not so you have indisputable proof that your roommate has been chipping away at your leftover Chinese takeout.
Q: My neighbors, a lesbian couple, are my best friends. We have keys to each other’s apartments and just walk in and out. I love this, but I don’t want them walking in when I’m with a guy. If I call them to tell them I have plans and it’s just a hookup, I’ll get disapproving looks and lectures about how I won’t be able to handle it, will be miserable, etc. How can I keep them from walking in and from knowing what I’m up to?—Downstairs Neighbor
A: There are things your friends don’t need to know about you, and “Who wears the Jimmy Carter mask when you’re in bed?” is one of them.
You can hang some item on your doorknob to signal to your neighbors, “Now is not a good time!” (and, of course, let them know this new code). To solve the other part of your problem—unsolicited opinions about your sex life—consider using “strategic ambiguity.” Organizational communications researcher Eric Eisenberg points out that clear communication is not always in our best interest. Sometimes, being purposely vague, leaving room for “multiple interpretations,” is ideal, reducing conflict and preserving relationships.
Basically, you need to pair a clear message about when it’s a bad time to come in with an unclear message about why. This transforms a sign that would’ve meant one particular thing—I’ve ordered in from Tinder Eats—into a sign that could mean any number of things: I’m sick. I’m napping. I’m spread-eagled over a mirror trying to decide whether Martin, my mole, is cancerous.
Plagiarists deserve no quarter, particularly plagiarists who plagiarize their apology for plagiarism. But if we can trust Shia LaBeouf—and experience shows we cannot—his childhood was unusually rough. Honey Boy is a script the actor wrote in recovery. The buff, sullen LaBeouf-surrogate Otis (Lucas Hedges) languishes poolside, after a spree of violence and drunkenness that flashes before our eyes. The judge gave him a choice of four years in jail or a stint in a Malibu rehab. Under the unflinching eye of Dr. Moreno (Laura San Giacomo), Otis has to deal with the PTSD he acquired growing up as a child actor.
Once, he was a 12-year-old in an L.A. motel beside the railroad tracks. He shared a room with his hectoring father James (played by LaBeouf himself) who young Otis paid to be something between a PA and a manager. James was a motorcycle-riding combat vet and ex-con who did time for a sex offense he was too drunk to recall. Now he’s posing as a laid-back hippie in friendly-looking oversized eyeglasses. Four years in AA has done nothing for James’ King Kong–sized temper.
He’s particularly pissed off at his son’s success. Otis gets movie-of-the week roles; James never made it bigger than being an Oklahoma rodeo clown with a live-chicken novelty act. He never misses a chance to humiliate his son, to mock his tiny “golf-pencil” penis or to force him into juggling lessons, with pushup-penalties if he drops a ball.
At 33, LaBeouf’s come a long way. His mature performance in Fury was a far cry from the annoying, plucky-kid acting he did in what seemed like three dozen Transformer movies. This year, he brought credible heft and humor to Peanut Butter Falcon, maybe his best performance yet—he was authentically rural, light and touching.
But as a writer, he wallows. There’s the question of authenticity: is this memoir or fiction? Was his career as an actor just a blurry arc from being hit by a pie on a kid’s show to doing a ratchet-pull stunt during the filming of some alien-attack blockbuster? Didn’t he get something out of his career?
Honey Boy is a therapy movie
During the course of this therapy-movie, James describes his own childhood hell in a monologue at an AA meeting—the kind of scene that feels like a lazy writer’s crutch. In his bad-dad role, LaBeouf lacks the kind of magnetic evil or redeeming black humor that makes you want to watch.
James is the kind of bad joker who insists you laugh at his weird anti-gag about the white flecks in chicken poop. Chickens are symbolic—Otis, like a hen, must cross the road if he plans to get to the other side; ultimately he follows a symbolic yardbird into his father’s dwelling, to confront him at last.
It’s the performance-artist in LaBeouf that makes him take this all too far. His characterization of James is reminiscent of the punishing old man in Harmony Korine’s julien donkey-boy, which made an actor as interesting as Werner Herzog boring.
New San Rafael spot serves cocktails worth their weight
The space at 848 B St. has undergone such a massive renovation and redesign that it’s barely recognizable. Ignacio “Notch” Gonzalez, the owner of Top Notch Kustoms, an auto shop where he customizes hot rods, is the designer behind San Rafael’s newest bar. Critics have dubbed California Gold an “American pub with pre-Tiki era cocktails.”
Gonzalez is known for his over-the-top design at San Francisco’s Smuggler’s Cove and Whitechapel. And while California Gold is slightly more restrained, it still features plenty of dramatic touches including sumptuous red tufted-leather booths, a decorative tin ceiling, and dark forest green walls.
The space’s original 1906 mahogany bar runs the length of the room—back to where additional seating is available amid low lighting and walls adorned with paintings of clipper ships and old maps. Plenty of dark wood and bronze statues complete the masculine sensibility reminiscent of a gentleman’s study at the turn of the century.
Elevated décor is not the only thing of note here. Owner and manager Isaac Shumway is a Culinary Institute of America graduate and brings two decades of bar and restaurant experience to his new role. He has worked at Tosca Café, Bourbon & Branch, Alembic and other notable establishments. Likewise, co-owner Rhia Shumway (Isaac’s wife), is the wine director and brings her considerable industry experience from time spent at Saison and Absinthe among others.
California Gold mines classic cocktails
There is much to feast the eyes on at California Gold, but it is the beautifully illustrated cocktail list, featuring masterfully executed concoctions, that steals the show here. For tequila lovers, the tasty El Diablo of blanco tequila, fresh ginger, lime, cassis and soda is a must. There are almost 20 specialty cocktails on the bar’s menu; each with a whimsical description and illustration. Many—like the Nuestra Tropical with sherry, cognac, coconut cream, lime and bitters, and the Banana Cow prepared with dark rum, Straus milk, grenadine and lime—are undeniably Tiki-inspired.
While the cocktails are center stage, a carefully selected wine and beer list rounds out the offerings. Reasonably priced craft brews and wines by the glass are also available. Golden Hour—aka Happy Hour—occurs daily with specific selections priced as low as $7 a glass.
While California Gold utilizes a fair amount of artifice to recreate a time and a place, it is so tastefully designed and the cocktails so good, we are effectively and happily transported to an earlier era of our beloved state.
The largest, most-respected organic outdoor cannabis competition in the world returns to the North Bay this month when the 16th annual Emerald Cup returns to the Sonoma County Fairgrounds on Dec. 14 and 15.
Encompassing over 500 contest entries from sun-grown flower cultivators and currently licensed California cannabis businesses, the Emerald Cup is the premier place to support local, small-business growers and vendors still struggling to make their way in California’s newly legalized cannabis industry.
“I wish I could say it’s been an easier year (than 2018), but it’s actually in most ways been even harder for most people,” says Emerald Cup founder-and-producer Tim Blake. “Continued over-taxation, restrictions, lots of regulations—it’s a perfect storm. You’ve got not enough dispensaries opened up, so you don’t have enough places to sell product to, you don’t have enough product makers because they haven’t got their license from the state.”
While Blake foresees the market doing well in the next few years, he cites the state’s inability to be proactive in helping cannabis businesses thrive as a major problem for small-time merchants.
“The Cup’s going to do well this year, but we’re still watching people go through a lot of challenges,” he says.
As the Cup’s grown in size and status over the years, it’s been a boon to small farmers and makers who enter the respected contest, as well as a magnet for larger brands to make a splash on the scene.
“One cool thing that we’ve been able to maintain in the contest is the personal-use category,” says Associate Producer Taylor Blake. “The Cup started as a competition among friends—there were no brands—and it was important that a grower who wanted to have their six plants in their backyard could participate in the Emerald Cup. Last year was our first year with the personal-use category and we just did it with flowers. This year we are extending that to Solventless Concentrates, which we are excited about and had a lot of interest in last year.”
In addition to the cannabis competition, this year’s Cup boasts musical acts from headliners like dancehall-inspired indie-pop star Santigold and reggae legends Steel Pulse (see music, pg 22), as well as informative sessions on everything from federal cannabis legalization efforts to regenerative agriculture to psychedelics and plant medicine.
This year also features special guest Tommy Chong, who will receive the Willie Nelson Lifetime Achievement Award.
“We’re excited to have Tommy come and join us,” says Tim Blake. “He’s been an amazing advocate for our industry and our community.”
Other Emerald Cup highlights include live art, expos, organic food and a marketplace packed with vendors.
“Between all the speakers, music, VIPs and community; we’ve gone to great lengths to make it a unique experience,” Blake says. “Knowing that the whole tribe comes in to hang for the weekend is what it’s all about.”
The Emerald Cup takes place Saturday and Sunday, Dec 14–15, at the Sonoma County Fairgrounds, 1350 Bennett Valley Rd., Santa Rosa. Sat, 11am to 10pm; Sun, noon to 8pm. $90 and up. 21 and over. theemeraldcup.com.
San Rafael signed a $300,000 contract with organization accused of boozy, toxic culture
Homeless services provider, Downtown Streets Team, has contracts in Novato, San Rafael and other cities throughout the Bay Area. It also has a troublesome hard-partying culture that attendees of a 2014 holiday staff function at its San Jose headquarters say was fully on display.
A young female staffer hired a month prior recalls mingling with colleagues by the receptionist’s desk when Eileen Richardson, the homeless services provider’s CEO, walked up to join her. “Out of nowhere,” the employee recalls, Richardson asked, “So, you’re a lesbian?”
“We were standing at the front desk chatting, tipsy on wine, and talking about how I liked the job so far,” the newcomer, who requested anonymity to protect future job prospects, later wrote about the encounter. The woman says she laughed at the prying question but answered affirmatively. Richardson then inquired about her relationship status and physical preferences before waxing poetic about feminine beauty, the ex-employee says.
“OK, so what’s your type?” she says she asked Richardson, who “suddenly got serious and sultry-eyed, leaned in and said, ‘Well, you are.’”
The night grew “increasingly strange” as guests helped themselves to boxed wine and spiked fruit punch, did keg stands—that is, hand-standing on a keg to guzzle as much beer as possible—and took swigs of hard liquor, according to the woman, who says she drank so much that she threw up in the office toilet. All the while, the employee says, an “incredibly drunk” Richardson followed her around and “had her arm around me and kept telling my friends to go ahead and leave.” The staffer says her employer began “brushing my hair back from my face, snuggling her head into my neck” as onlookers shot worried looks at the pair.
Those same concerned co-workers eventually laid her down on the floor in the office of Richardson’s son, Director of Program Operations Chris Richardson, where the employee remembers waking up at one point to see her boss lying beside her “staring lovingly at me.”
One of the colleagues who witnessed the evening’s uncomfortably intimate conclusion “checked in with me often in the next few weeks” over Richardson’s “obvious coming on to me,” the employee says.
Others found humor in the escapade.
“Several other staff joked about Eileen having a crush on me, and there was a rumor that she’d kissed me,” the employee says. “If she did that night, I don’t recall.”
A couple of months later, the employee says she attended a Super Bowl party at Chris Richardson’s home, at which Eileen invited her to have a beer and view a photo album at her adjacent residence, where she followed her and “kissed me in the doorway of the bathroom.”
Downtown Streets Team: ‘A Frat House’
As the Bay Area’s homeless population ballooned amid an unprecedented affordability crisis over the past decade, Downtown Streets Team (DST) emerged as one of the most prominent local organizations trying to lift people out of poverty. By 2012 it had received commendations from future San Jose mayor Sam Liccardo, counted Palo Alto’s top cop as a board member and received nearly $400,000—about 40 percent of its budget—from direct government support.
In 2013, the nonprofit expanded into the North Bay, landing contracts with the cities of San Rafael and Novato.
In July 2018, the San Rafael City Council signed a fresh $300,000 contract with DST for services through June 2021.
Behind the do-good mission of employing the unhoused, however, a toxic workplace culture festered for years, according to a dozen former staffers.
In letters prepared by attorneys and echoed in reviews on job-rating platform Glassdoor.com, ex-employees accuse both Eileen, 58, and her son Chris, 33, of sexual harassment, making lewd comments, paying women less than men for similar work and promoting a culture of heavy drinking. Employees have described the workplace as “toxic,” “a frat house,” “full of nepotism and favoritism” and “a joke.” Multiple people compared working at DST to being in an abusive relationship.
Yet reporting misconduct proved difficult because of close friendships between the Richardsons and their strategically appointed board of directors and other managers, including Chief Operating Officer Elfreda Strydom, who until earlier this year fielded all personnel concerns.
In all, more than a dozen former employees interviewed allege harassment, sexual assault, and discrimination at DST. Two of those ex-staffers are coming forward publicly with their claims for the first time, comparing the problems at DST with those that prompted the Silicon Valley Community Foundation in 2018 to oust its top fundraiser, Mari Ellen Loijens, amid allegations of emotional abuse, discrimination and sexual impropriety.
“Things got really, really bad,” says 34-year-old Zia MacWilliams, a DST program manager who left the nonprofit in 2017 after four progressively stressful years on the job. “I honestly believe in the mission and loved working with my clients, but internally it was just out of control.”
Zia MacWilliams left Downtown Streets Team after four years because of what she describes as a toxic culture that promoted heavy drinking and tolerated harassment and gender-based pay discrimination. Photo by Greg Ramar.
Michelle Fox Wiles, 29, says she cut ties with DST for much the same reason.
“There was a really sexually charged environment,” she says. “One comment that really upset me—and this was right after I started working there in 2012—was when a manager said I got my job because the girl before me was ‘so hot’ that they didn’t want to work with her because she’d be a distraction. Chris said it. So, there was that constant of gender-based harassment, plus the nonstop drinking.”
Both MacWilliams and Wiles also accuse DST of perpetuating a pay gap that privileged their male counterparts.
After she left DST a little more than two years ago, MacWilliams teamed up with Wiles and nine of their ex-colleagues to pursue legal recourse. The nonprofit Community Legal Services in East Palo Alto (CLSEPA) took the case and offered the DST board a chance to resolve the allegations out of court.
“In some ways, it is unusual for our organization to investigate the workplace culture at a fellow nonprofit,” CLSEPA attorney Scott Hochberg wrote in an October 2017 letter to DST’s governing board. “What is motivating us to reach a positive outcome, in this case, is our belief that we as nonprofit staff must embody justice and quality internally before we can reflect it out into the world through our work.”
It took a year and a month before the DST board agreed to hire the Law Offices of Amy Oppenheimer—a firm one CLSEPA attorney described as “well-known in the workers’ rights arena”—to investigate the allegations.
The probe, which commenced in late 2018 and concluded this past July, “substantiated a culture of drinking and inappropriate joking in the workplace,” according to an Aug. 28 letter from CLSEPA lawyer Jennifer Smith to the 11 claimants. “The board seems to be genuinely concerned about the work environment that was described,” she wrote, “although … they believe that things are better now than they were three to five years ago.”
While the board insists that the investigation found no evidence of gender-based pay disparity, Smith said in her letter that trustees expressed a desire to “see changes made.” One of the most significant changes, Smith went on to write, is that DST ramped up its reporting system by allowing employees to complain to the board directly and created a human resources position for the first time in the organization’s 14-year history. The board also conceded that alcohol “has been an issue,” Smith said, and instituted a “total prohibition.”
Richardson says she never read any of the Glassdoor reviews and is only vaguely aware of the CLSEPA negotiation. But she denies there were ever any problems with DST’s work environment. “Those claims,” she says, “were unfounded.”
A Bold Vision
A successful venture capitalist who gained global notoriety on the cusp of the 21st century as the CEO of the groundbreaking but controversial music-file-sharing platform Napster, Richardson brought the same change-the-world ethos to the charitable sector. Inspired by volunteering at a local soup kitchen after her son Chris left for college, the inveterate visionary founded Downtown Streets Team in 2005 with the resolve to end homelessness through job training and placement.
Under the DST model, local governments and business associations hire a team of homeless people to clean up streets in exchange for gift cards and case management. On its website, DST says its homeless clients, to date, have cleaned up 4,000 tons of debris from waterways that flow into the San Francisco Bay and 1.9 million cigarette butts. Since its founding, the nonprofit says it has also helped nearly 1,000 clients find jobs with average hourly wages of $14.12 and just about as many secure housing.
DST’s “win-win-win” system of hiring the homeless, cleaning up trash and benefiting the broader community garnered renewed acclaim for the elder Richardson. Since its inception, DST has blossomed from a cash-strapped experiment in Palo Alto to a burgeoning enterprise spanning a dozen cities in two states with an $8 million annual budget.
Richardson—who makes upward of $200,000 in base pay as president and CEO of DST and an affiliated nonprofit clinic called Peninsula Healthcare Connection—has racked up numerous accolades for her nonprofit work. The San Francisco Chronicle named her a recipient of the Visionary Award earlier this year thanks to nominations from, among other dignitaries, Liccardo and his counterpart in Oakland, Mayor Libby Schaaf. “The honor salutes leaders who strive to make the world a better place and drive social and economic change by employing new, innovative business models and practices,” the Chron wrote about the distinction.
The New York Times gave her a similar honor a year prior. Also in 2018, the League of California Cities and the California State Association of Counties’ Joint Homeless Task Force recognized DST’s model as a “best practice” for supporting homeless people. In the conference room at DST’s main office, amid commendations from elected officials and chambers of commerce, there’s a shiny blue plaque designating DST as one of the “best nonprofits to work for.”
In a blog post a few years back, Richardson credited her success to running her charitable enterprise the only way she knows how: “like a high-tech startup rather than a social service—action-oriented versus service-oriented.” To that end, she said, “we improvised, tried new ideas and constantly corrected our course.”
That constant course correction may guide the nonprofit’s growth-focused public mission, but sources saythat it elided internal mismanagement, which exposed employees to workplace abuses and, at times, put vulnerable clients at risk.
Wine and Dine
When one of DST’s original clients reconnected with his estranged daughter, two case managers wanted to celebrate his success by taking them out to dinner at a white-tablecloth restaurant in Mountain View. Since the client had struggled for years with alcohol abuse, the case managers told Richardson they planned to keep it a dry affair.
“By the time I showed up with the client, Richardson already had a bottle of wine at the table and was obviously a few drinks in,” one of the case managers wrote in a play-by-play of the occasion to the DST board a few years later. “We all kind of side-eyed one another. It was super awkward and completely inappropriate.”
The case manager, who asked to withhold her name, added, “The dinner was extremely uncomfortable, as Richardson got more and more intoxicated and continued to give our client alcohol.”
The client abstained, according to the two case managers. But her dinner companions say Richardson drank enough that she began slurring her speech, and one of the staffers present felt the need to drive her home. “On the way out of the restaurant, Eileen asked [the client] if he needed her to buy him a couple of beers at 7/11 to tide him over, and he declined,” the case manager-turned-reluctant chauffeur wrote in the same summary. “I had to help Eileen walk to my car. On the way to my car, she accosted two strangers in the middle of their conversation. It was like she was leaving a concert venue or a New Year’s party; she was far too intoxicated to be the CEO of a company that just left a business-related dinner.”
After the case manager got home, she called her co-worker to ask whether she should continue working for a boss who offered booze to a client trying to get sober. “This was the first moment when I really thought there was something deeply wrong with the leadership at DST,” she wrote, “and alcohol continued to be a concerning trend at DST.”
Sources admit the drinking seemed fun when they were new hires, but it began to feel inescapable. At holiday parties, it was common for managers and staffers alike to bring sleeping bags so they could crash at the office after drinking enough to pass out.
Erstwhile employees say one high-ranking director who was known for heavily imbibing while dressed up as Santa Claus at the annual functions made it something of a tradition for attendees to sit in his lap before they could claim a gift from under the Christmas tree. A photo of a holiday office party in 2015 shows him in his red-and-white St. Nick finery rubbing an oversized dildo on his face while Eileen Richardson apparently tries not to laugh. Another photo from that same event depicts the Santa cosplayer pouring a bag of white wine straight into the mouth of Chris Richardson, who kneels on the floor with his right fist thrust victoriously in the air.
Like mother, like son
“Eileen had a history of getting extremely inappropriate at office functions,” one former staffer noted in a written recollection of her few-year tenure at DST. “Some of these moments were kind of funny, even to me, such as the time she twerked upside down at the office Christmas party. However, similarly to Chris, Eileen did not know when it to rein it in.”
Then there were the weekly Costco runs for booze, staff meetings where managers would partake and frequent klatches at Wine Affairs and other restaurants and bars near the office. Richardson didn’t respond to a query about whether the nonprofit footed the bill for any of the alcohol purchases.
“One concern I had with these events was that Chris would often get intoxicated and then offer jobs to various staff members,” said one of the same case managers who complained about the restaurant episode. “I can remember two separate occasions when Chris offered me [an] opportunity in a very drunken state. …I know from talking to other employees that some of them found that it would be a mistake professionally to not go out drinking with Chris, because that’s where conversations about promotions most often happen.”
MacWilliams says she felt the same way about the lush outings, which included annual trips to Wine Country where “everyone gets belligerently intoxicated.” On the Napa excursion in late August of 2016, she recounts how a manager asked Chris about having sex with a former co-worker. “Did you f*ck her in the ass?” the manager allegedly asked. “Chris laughed and went on to describe their sexual relationship,” MacWilliams says.
One could technically opt-out of the management trips, she adds, “but it is pretty well known that you won’t have a chance at a promotion if you don’t participate.”
Moving On
In addition to the review spurred by CLSEPA, an administrative law judge deemed MacWilliams’ claims of discrimination and a hostile work environment as credible. Separately, the California Department of Fair Employment and Housing reviewed found them valid enough to grant her the right to sue DST if she so chooses. MacWilliams says she decided against litigation because she hoped CLSEPA’s amicable intervention would usher in meaningful accountability.
But the probe’s conclusion dashed any hope of true reforms, says MacWilliams, who’s now an MBA student at UC Berkeley and senior manager of federal child nutrition programs at Second Harvest Food Bank. Other than a new HR chief, she notes, leadership at DST remains virtually unaffected.
“If the same people are in charge,” she wonders, “is that real change?”
MacWilliams says she’s concerned that Santa Clara County, San Jose, Palo Alto and other public agencies continue to grant DST millions of dollars a year in taxpayer money without demanding more from the nonprofit’s leadership.When she found out that the county was considering a new several-hundred-thousand-dollar agreement with DST earlier this year, she reached out to let decision-makers know about her troubling experiences with the organization.
“I don’t know if you’ve ever experienced what it’s like to be afraid to go to work, but it was a constant battle for myself and, I know, other women in the company,” she wrote in an Aug. 11 email to county Office of Supportive Housing Director Ky Le. “I started to believe that I had no value, and that there was nothing wrong with some of the behavior that I described in my statement.”
When she left DST, MacWilliams went on to write, she just wanted to claim unemployment benefits. Once her former colleagues went to CLSEPA, she said she began to hope “for some sort of justice” and her goals “shifted to a pursuit of leadership change, compensation for the women who … did not receive equal compensation for a period, and, ultimately, I wanted an apology.” However, she lamented: “Years later, none of this has happened. Although I have come to peace with this, I truly believe that DST should not have access to public funds until those responsible for irrevocably hurting so many people have been held responsible.”
Le says DST wound up withdrawing its application for the county grant. But Peninsula Healthcare Connection, Richardson’s other nonprofit, recently secured a federal designation that qualifies its clinic in Palo Alto for increased funding. “This is a huge step in providing quality health care services in the North County to the folks who need it most,” county Supervisor Joe Simitian, who pushed for $250,000 to help the nonprofit gain its new funding status, said in a press release about the recent milestone. “Frankly, the federal process is confusing as hell—a lot of agencies, acronyms, and aggravation. But in plain language, this new status means Downtown Streets Team will have the resources to provide health services for more people.”
DST board chair Owen Byrd—who serves as general counsel for intellectual property litigation researcher firm Lex Machina—disputes CLSEPA’s characterization that the inquiry sustained any alleged impropriety. Oppenheimer conducted “a thorough, comprehensive and professional investigation,” he says, that “unearthed no significant concerns.”
The hiring of an HR manager earlier this year had more to do with “good corporate hygiene,” he adds, than any of the claims leveled against the nonprofit. When asked for written corroboration to affirm as much, however, he refuses to share even a redacted copy or summary of the investigation. “You can take my word for it as an attorney and executive and as someone who’s dealt with stuff like this for most of my career,” Byrd says. “There’s no way on Earth that this board of directors of a valuable nonprofit in our community would not have addressed concerns that were real. We fulfilled our fiduciary duty under the law.
Marco Benevento proves that a lot can be accomplished on the 88 keys of a piano, both live in concert and on his new album, Let It Slide.
The songwriter and bandleader has experimented with piano’s funk, R&B, indie-rock and pop elements since he was a teenager.
“When I was a kid, I really loved putting my headphones on and plugging in my synthesizers,” Benevento says. “I had an old Korg PolySix analog synth and a four-track recorder. My musical curiosity started just like that.”
In college, Benevento dove deep into instrumental music and debuted in New York City’s experimental jazz scene in the late ’90s.
Now marking two decades on the scene, Benevento’s recent output has returned to the synths and analog inspirations of his youth for a sound that those who know him best have dubbed “hot dance piano rock.”
“Over the last 10 years we’ve made seven records, and the evolution of all that music has gone from a sit-down audience to 500 people in the room dancing,” Benevento says.
For Let It Slide, Benevento paired his songs with producer and multi-instrumentalist Leon Michels, whom Benevento befriended after filling in for him on tour with the Arcs at the request of Arcs member, the late Richard Swift.
“I went down the rabbit hole and checked out Leon, and was blown away by all his records,” Benevento says. “And I was at my wit’s end with my demos for this record, and I thought, ‘What if I asked Leon to help me make this record?’ I didn’t even know him, but I thought that if I could get my record to sound close to one of his records, that would be cool with me.”
Musically, Let It Slide works as a culmination of Benevento’s talents, showcasing the songwriter’s roots as a post-jazz improviser and funky groovemaster as well as delivering emotionally affective lyrics.
Taking the album on the road, Benevento plays at Sweetwater Music Hall on Dec. 9 in a trio with bassist Karina Rykman and drummer Dave Butler and with support from opening jazz duo the Mattson 2.
“It’s (going to be) a dance party, that’s for sure,” Benevento says. “We’re doing 11 shows in a row, I think it is—so we’ll be on fire by the time we get to Mill Valley.”
Marco Benevento plays on Monday, Dec. 9, at Sweetwater Music Hall, 19 Corte Madera Ave., Mill Valley. 8pm. $27–$32. 415.388.3850.
Welcome to Middletown. Population: stable. Elevation: same. They call the main street Main Street. They named the side streets after trees. Things are fairly predictable. People come; people go.
That paraphrasing of some of the introductory dialogue from Middletown, running now at the College of Marin through Dec. 8, is as much of a plot summary as one can glean from the goings-on in Will Eno’s (The Realistic Joneses) theatrical slice of Americana.
The residents of Middletown are as middle-of-the-road as the show title would suggest. There’s a small town ne’er do well (Luke Baxter) who’s hassled by a local cop (Ryan Pesce); an overly-helpful librarian (Floriana Alessandria) who’s thankful that Mary Swanson (Katherine Rupers), a new resident, has come in to apply for a library card because she thinks “a lot of people figure, ‘Why bother? I’m just going to die, anyway.’”; and a lonely handyman named John (Paymon Ghazanfarpour) who’s between two lousy jobs. He just doesn’t know what the second one is yet.
Small-town activities like sightseeing play out on minimalist sets in ‘Middletown.’
Various other characters come in and out but the central relationship, such as it is, is the one between the new resident and the handyman. Mary wants to build a family and is soon expecting. Her absentee husband leaves an opening for John—at least he thinks so—but life has its way of getting in the way of things. Soon there’s a birth; soon there’s a death. Life goes on in Middletown.
Which I guess is Eno’s point. The great commonality between the inhabitants of this planet is that we all are born and we all will die. What we do in the middle of those two events we call life and most lives are unexceptional.
And that’s OK. Late in the second act, one character asks another, “What do you want out of life?” The character responds, “To know love.” Who doesn’t? That is what makes a seemingly unexceptional life exceptional.
Molly Noble directs a strong cast (I was particularly taken with Baxter’s work) and the intimate studio theater setting serves them and the story well. The action—and I use that term loosely—takes place on a minimalist set in the middle of the theater with the audience placed on either side.
Middletown is a melancholy piece. It meanders and rambles, goes to irrelevant places and is occasionally full of itself. You know, like this review. And life.
‘Middletown’ runs through Dec. 8 at the College of Marin Studio Theatre, 835 College Ave., Kentfield. Friday–Saturday, 7:30pm; Sunday, 2pm. $15–$25. 415.485.9385. pa.marin.edu
Later this month, the Sonoma-Marin Area Rail Transit (SMART train) will open new stations in Larkspur and Novato, the latest step by the North Bay transit agency to lay the groundwork for a three-decade extension of its funding stream.
The new station in Larkspur may be as close as the train will ever come to the Larkspur ferry terminal, the ticket to an easy commute across the bay – and, possibly, greater public support for the train as a regional public transportation option.
SMART Train Data
After about two and a half years of service, SMART now has some hard data about its performance and its backers are preparing to ask North Bay taxpayers for more funding.
On November 6, SMART’s 12-member board of directors voted to place a bond measure to extend funding for the train for 30 years. The tax is expected to generate at least $40 million per year.
The current quarter-cent sales tax, approved by voters in 2008, will last until 2029. If the new bond measure is passed by two-thirds of Marin and Sonoma county voters in March 2020, the tax will be extended until 2059.
At a November 20 meeting, the agency’s board approved a new schedule. Beginning in January, the train will offer 38 daily trips instead of 34. The spacing of the journeys will also be altered. The agency says it coordinated with seven other transit agencies, including the Golden Gate Ferry, to develop the new schedule.
But, while SMART’s Larkspur station is a welcome addition to the system, it falls about a mile short of the expected target: The ferry terminal itself.
The train station is a ten-minute walk from the ferry terminal and local bike advocates have said that the route between the train and ferry isn’t ideal, according to Streetsblog, an online urban planning publication.
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Marco Benevento proves that a lot can be accomplished on the 88 keys of a piano, both live in concert and on his new album, Let It Slide.
The songwriter and bandleader has experimented with piano’s funk, R&B, indie-rock and pop elements since he was a teenager.
“When I was a kid, I really loved putting my headphones on and plugging...
College of Marin goes deep into suburbia onstage
Welcome to Middletown. Population: stable. Elevation: same. They call the main street Main Street. They named the side streets after trees. Things are fairly predictable. People come; people go.
That paraphrasing of some of the introductory dialogue from Middletown, running now at the College of Marin through Dec. 8, is as much of...
Later this month, the Sonoma-Marin Area Rail Transit (SMART train) will open new stations in Larkspur and Novato, the latest step by the North Bay transit agency to lay the groundwork for a three-decade extension of its funding stream.
The new station in Larkspur may be as close as the train will ever come to the Larkspur ferry terminal, the...