Reggae: Past, Present and Future

Another treasure from Kim's archives: Reggae on the River No. 1 at French's Camp with Humboldt's own Rod Deal on stage with The Dreadbeats.

[Note: Kim's online Reggae archive just goes back to 2000, but he's been shooting since the beginning.]

Listen to Rod's song, Shockwave by clicking on the title (thanks to Humboldtmusic.com).

You can hear more of Rod's music at the I-Deals's MySpace page (www.myspace.com/roddealandtheideals) Don't forget to friend them.

The poster above is on Pernell's Reggae on the River West Side Posse Webpage
where you'll also find more posters and his "Unofficial RoR History," which is pretty good, although it has not been updated too recently. It ends with a little bit about Rod.

I was not at that first show (maybe because my son was born that year) but I'd love to hear some memories from those out there who attended.

This interview with county planner Michael Richardson took place on Friday, Feb. 16. Some of the issues discussed are also covered in the Executive summary of the Planning Commission report, which can be found here on Eric's blog.

What is the status of the Reggae permit at this point?

The permit has been approved for ten years; last year was the first year so they’ve got nine to go. Part of the approval was a condition that they submit annual reports documenting things that went wrong and how effective the mitigations requirements were.

For example?

There was a requirement that they keep the dust down by taking certain steps. There was a requirement that they have a certain number of firefighters on site and that they have an emergency response plan, that they do traffic mitigation on the freeway and such. The report showed how well those conditions the planning commission imposed are working, how well they mitigate the impacts.

Who exactly is they?

In this case the report was submitted by Carol Bruno, People Productions.

As you are probably aware the Mateel has filed a lawsuit against Carol Bruno and against Tom Dimmick, the property owner, challenging his right to break their lease. Also Dimmick and Bruno have announced a music festival called Reggae Rising on the same weekend as Reggae on the River. Both sides seem to be marshalling their forces to attend the planning commission meeting March 1.

Oh great.

What will happen at that meeting?

We’ll be recommending that the Planning Commission receive and file the annual report. And we will set the attendance level for this year’s event.

Has your staff made a recommendation for that level?

It hasn’t been finalized yet [it has since] but tentatively I’m suggesting that they not increase the attendance levels.

What are the official levels?

(He takes a minute to find a document, then reads from it.) The attendance level shall range from a low of 8,500 ticket sales plus 2,000 personnel to a maximum of 14,500 ticket sales and 2,400. Attendance approved for the 2006 was 10,500 sales and 2,400 personnel. We’re recommending that they not increase it for 2007.
[Note: the final report actually suggests a drop by 1,488, a number whose significance will become clear later in this interview.]

Where does the low number come from? 2005?

Yes. That was the approved number up until 2005.

For French’s Camp, not including Dimmick Ranch.

Correct.

And the highest number is the potential maximum within the next ten years?

Right.

Boots Hughston of 2B1, the producer hired by the Mateel mentioned an independent count of the actual attendance. Do you know anything about that?

Yes. That’s included in the report submitted.

Do you know who did the count?

You’ll see that they signed it. It’s awfully hard to read the signature so it seems we do not know who it is.

This was someone hired by People Productions?

Apparently.

[Not to spread idle rumors, but a reliable source told me the report was done by Bob Barsotti from the Hog Farm. Barsotti did not return my calls asking for confirmation.]

And what were the numbers?

They say Thursday there were 8,306. Friday it was 13,618. Saturday: 15,888. And Sunday it was 13,451.

So the peak on Saturday exceeded the permit.

It exceeded the permit by more than 1,400.

Is that a problem?

Well, I think so. And I think the Planning Commission will have a hard time approving an additional increase, especially given that there's no explanation offered as to why the levels exceeded what was approved. And there was no proposal regarding how to keep that from happening in the future.

A major bone of contention between the two sides is this permit. You’ve been quoted previously saying the permit is for the property itself. The Mateel says it’s their permit because they put on the event. Which way is it?

Well, we issued the permit to the property owner. The permit runs with the land. Any contractual arrangements between the property owner and the Mateel are outside the scope of the permit.

So it’s not your business who runs the festival.

That’s right. There are conditions of approval that any producer will have to meet, that’s what we’re focused on. All of the reviewing agencies have to be onboard, the Army Corps, Fish and Game, Dept. of Forestry, Fire Protection, Caltrans, CHP, the Sheriff. They have to demonstrate that they have the support of all those agencies going into it.

Those supporting Reggae Rising have repeatedly mentioned concerns regarding "safety and security." That would seem to be obvious things those agencies would be looking at, and presumably the Planning Commission would also be looking at the same things. Is there an issue with safety and security in your mind?

I think a lot of the mitigation efforts in place address those concerns. So yes.

Are they adequately addressed?

In some ways yes. For instance the traffic mitigation measures put in place seemed to work really well. According to the traffic engineer hired to monitor all that there was no point where traffic was backed up beyond the Piercy exit, which had happened in years past.

Have you had input from the residents of Piercy regarding the plan for the festival?

We haven’t received anything in writing yet. We did receive a phone call, a voice message from (garbled Porter) complaining about some things, but there was no follow-up.

Have you received any public comments?

Not yet. [Note this interview took place before there was a call to write Richardson with concerns.] We’ve had comments from some of the agencies. For instance the Heath Dept. was not so happy with some of the ways they dealt with securing the permits last year and the work that was done covering those permits.

What do they look at?

They were mostly concerned with the drinking water system. I forget whether they had issues with waste disposal.

Back to the permit, as far as the Planning Commission is concerned the festival will move forward and who produces it is not an issue.

We are anticipating that the use permit will be used.

There has been talk about the potential for additional concerts using the same facility, Dimmick Ranch and French’s Camp. What would that entail?

They’d have to modify the approved use permit.

But no additional permit would be required.

That’s right.

Would you see any major problems arising from another 2 or 3 concerts in the course of a summer?

Certainly the Piercy residents might speak out against it, as the have in previous years. It could be that the only reason they’re willing to accept the event is that it occurs only once a year. More times to them may equal more impacts.

What is the direct impact on Piercy? The concert is down the road a few miles.

They submitted comments last year when the commission was looking at approving the current permit. They noted that traffic blocks those on-ramps and creates an inconvenience. I don’t know that that happened when the festival took place (in 2006).

Aside from possible complaints from Piercy, do you see any other problems that would come with having more than one music festival?

If you were to assume that the other festivals would adopt the same mitigation measures, then you could make the argument that the environmental impacts are reduced to less than significant levels, so there would not be additional environmental impacts from more than one event per year.

What else is on the agenda for the March 1 meeting where the permit will be addressed?

There are four items on the consent agenda. This one (Reggae) would come after any items pulled from the consent calendar. The only other item is a project from public works concerning a Coastal permit for construction on the hole in the Hammond Trail.

As far as the hearing goes on the Reggae permit, what do you consider to be relevant public testimony?

I think when the chairman kicks off the public comment section he’ll have something to say about that. The relevant testimony will be in regard to the use permit and the ability of the county to impose new restrictions on that use. I think they’ll ask that the testimony just apply to those areas and not get into all the other drama that’s surrounding the event this year.

Andy writes saying:

Put this on the blog if you want

Everyone down here who opens his mouth on all this claims "cred" in some way or other. Yeah, yeah, me too. I fell in love with the sohum vibe at the Fireman's Hall (Levon Helm show in 81), helped build the new hall, and did various projects for the MCC Boards over the years. I helped conduct two community-wide surveys that gave info to the board before the MCC/PP split, and during Katherine M's tenure. Here's my hit.

The audit confirmed what seemed obvious to me: ROTR was run like everything else down here: friends hiring friends with a lot going unrecorded. $300M with no paper trail? 3000 unaccounted wristbands? 11000 given away to staff/volunteers/guests? Woah. That's WAY over the permit, right? Is that a business or a potluck?

The sad part: the MCC knew all this was happening-- or should have seriously
suspected-- for YEARS. But the money kept coming, so, "shut up and trust
us" worked for everybody. Until the cow dried up.

The MCC trusted their star milkmaids (PP) to keep churning out the cream
from the cash cow. Fine. But to let the milkmaids keep the cow under lock
and key with no input on how the old cow was cared for??? I'm not saying
there was skimming. PP has always done the best job they can, in my view.
But they had nothing to lose and got their cream first. To expect PP to
watch out for the MCC? That's the MCC's job.

Both parties blew it big time.

Now the slack in the tether holding the cash cow in check is being reeled in
FAST. Too bad Judge Watson has to do it. PP and MCC just didn't have the
balls to face the music and grow up, act like adults, admit mistakes and
face the music.

Carol says she'll give a guarantee. With what? The last two years tanked.

Is the MCC gonna FORCE Dimmick to have ROTR at his place? Not possible in
America. All they can do in the best case is to sue him for loss of use. How
do they expect to prove value with no figures? Now THERE'S a victory for the
community.

Is Boots nuts? He signs over $300M with no clear path to putting on a show?
Oh. I forgot. He loves the Mateel. Cool.

We are all crazy down here. Maybe this will wake us up to the lunacy of
counting on 10 to 15 thousand kids from the Bay Area to fund our hideout in
the Redwoods. It's back to pay as you go, folks. Heather Kornberg, MCC Board
member, 2nd generation Mateelie, had it right. Each affinity group has to
reach out for the REAL community support.

The money is here. Is the will? As far as a music festival goes, get over
it. Look to the future of Hip Hop (Spearhead et al). Get over it.

Onward,

Andy Barnett

The original Mateel Community Center in Garberville, a November morning, 1983

I'm still working my way through Tom Dimmick's counter to the Mateel's request for a preliminary injunction.

The short version: the "opposition" flips the Mateel's allegations, saying that the Mateel can't prove it's case, that the suit "has no hope for success on its merits," and that rather than the People Productions interfering with the Mateel's plans to produce a reggae festival in August, it's the other way around.

Dimmick contends that the Mateel breached its lease agreement by firing Carol Bruno who was still performing her duties as producer of Reggae on the River. Proof? Exhibit A is an e-mail dated Dec. 27, 2006, sent by Bruno to Mateel E.D. Taunya Stapp letting her know she was ready to submit the wrap-up report on Reggae 2006 to the county planning commission. This was "the day before Mateel purported to terminate the agreement."

"Accordingly, Mateel's continuing public statements that it proposes to hold an event on land it no longer has the right to occupy, along with its new producer's efforts to hire acts that are likely performers as an event Mr. Dimmick is fully entitled to hold on his own property, constitute tortious interference with Mr. Dimmick's economic advantage and unlawful obstruction of Mr. Dimmick's efforts to mitigate his damages from Mateel's breach of the lease. Mr. Dimmick fully intends to recover any and all resulting damage from Mateel."

There's a lot more, basically saying that the Mateel's suit has no merit. Dimmick concludes by asking the court to deny the Mateel's request for a temporary restraining order or, in the event that a TRO is issued against People Productions plans for Reggae Rising, to require that the Mateel post a $250,000 bond to cover possible losses in the case the TRO is later reversed.

photo of the day from Kim

I remember this shot from the 1980's very well. The roof trusses gave shape to our community center.
Chris Walker fell from these trusses while putting his ass on the line reaching out to get it done. Luckily he wasn't seriously hurt.
Nice bounce, Chris, old buddy.
We didn't think we were building the hall to house a three ring circus of bickering, or to stage death duels in the ring of public opinion.
We built it to share our collective skills and knowledge to create fun, and opportunities for ourselves, our kids, and their future families. Read that; our family.
It is the House That Reggae Built.
Is it also going to be the house that Reggae tore apart?
I am praying for that not to happen.
I can show you all the smiles in my files that prove that we are capable of what we set our minds to when we have a plan and some leadership.
I refuse to believe the better days are past.
I have always been an optimist because it has served me better than being a pessimist.
It is time for some Unity to emerge from this struggle.
Please, please, please.
Kimba

a note from Bob: This e-mail from Casandra showed up in my mailbox today along with other Reggae oriented things. I've started transcribing the interview I did with Michael Richardson, who is mentioned below, and will post it soon. From talking with him I'm not sure what good it will do to send him stories about your experiences at Reggae -- unless they relate to the permit in some fashion.

Members and friends of The Mateel Community Center,

The planning commission needs to know your views, opinions and experiences about Reggae on the River. If you have positive experiences working with and confidence in the Mateel Community Center and 2B1 multimedia please show your support.

Email your letters of support for The Mateel Community Center to retain the Conditional Use Permit for Reggae on the River to:
Michael Richardson
mrichardson@co.humboldt.ca.us
Please c.c. to Casandra@mateel.org

Show your support- Wear your Mateel Forever T-shirt, Reggae on the River T-shirt, or Mateel Community Center hats and T-shirts when you attend the following meetings.

The Planning Commission Meeting on March 1st @ 6:00pm in Board of Supervisors' Chamber, Humboldt County Courthouse, Eureka, California.

The Hearing on March 5th @ time-TBA at the Humboldt County Courthouse in Eureka. It is unknown at this time if this hearing is open to the public, so please stay tuned.

Come into The Mateel Community Center office today to sign the petition!

Please forward this email to all your friends and family so we can retain the permit for Reggae on the River and prevent our most important economic community asset from being privatized.

Mateel Forever!

Casandra Taliaferro

Special Projects
Mateel Community Center

Apparently this went out over the weekend, but for some reason the Journal was not sent a copy. It was forwarded to me today by a third party.

Feb. XX, 2007


EVENT: Reggae Rising, Festival
DATE: August 3rd, 4th and 5th
PLACE: Dimmick Ranch/ French’s Camp, Piercy Calif.
CONTACT: Carol Bruno, People Productions LLC


People Productions and the Dimmick Ranch are pleased to announce a summer Reggae festival, benefiting the community, in the Southern Humboldt tradition. Reggae Rising will take place on August 3rd, 4th and 5th at the Dimmick Ranch and French’s Camp in Piercy, California. The festival will feature three days of camping, music and the beautiful Eel River.

The festival will be a fundraiser for the Southern Humboldt community and its nonprofits. People Productions and its staff of Coordinators will produce the event with the expertise that is based on a 22-year track record hosting similar festivals. The Dimmick Ranch location, which has secured all necessary permits, as well as a lease to the adjacent French’s Camp property, promises a safe, festival-friendly environment for sponsors, volunteers and attendees.

“We are saddened that our attempts to resolve our differences with the Mateel Community Center – attempts that have included two mediation sessions and three multi-million dollar offers with the potential to preserve the fiscal health of the MCC -- have not produced a reasonable solution for all,” said Carol Bruno of People Productions. “However, the South Humboldt community deserves its annual reggae festival and the proceeds from this annual fundraiser, which support many of our regions non-profits. People Productions Dimmick Ranch and our many local supporters are committed to maintaining this tradition through the Reggae Rising benefit.”

Artist lineup will be announced soon and tickets are on sale now at www.reggaerising.com.
For information call the hotline at 707-923-4583.

I would like to comment on the remarks that Boots made regarding Reggae medical and me. I am David Moss, "Mossman." I have been the medical coordinator at ROTR for over 10 years. First I would like to comment on the fact the "no one is indispensable." I agree with that statement, but let me clear up some "spew" or what I would call, misinformation.

First of all, Dr. Ross Chapman is a great guy, but he doesn't do Sierra Nevada World Music Festival, I do SNWMF along with my long time assistant, Patte Rae. Dr. Ross works as a volunteer for me at that festival. While Dr. Ross is a great guy, he has no idea of the logistics involved with coordinating the event. He has no personal relationship with any of the local agencies, ie: sheriff, CHP, Parks & Rec, CDF Ambulance Helicopter, etc... I am rarely able to even get in touch with him until the day of the event, so I would think that his ability to be available to handle all the personal issues will be minimal at best.

Dr. Bustamonte, excuse me, RN Bustamonte (once again check your info Boots) also works for me as a volunteer at that event. I think Boots, once again you should get your facts correct before spewing them out there. Misinformation does nobody any good. While the Bustomantes are excellent people and some of my very close friends, I doubt highly that they are up for the task of coordinating Reggae medical. Just because they showed up to one of your meetings doesn't mean they are now heading up your team (if we can even call it that at this point). While they are very capable at what they do, I don't believe they have the experience to pull together at team capable of doing Reggae. I haven't spoken with them since reading this article but intend to, and suggest you do as well.

As for Diana Totten, the fact that you can even post such misinformation amazes me. Where in the world (or should I say) when in the world did Diana ever tell you she would consult with you??? The fact that you are misleading the public into believing you have all these critical positions filled and covered speaks volumes (at least to me) as to how you are going about handling this event. One piece of non factual information after another.

As for the critical Incident team you mention that the Bustomantes have, please, again, I love them and have much respect for them, but they have no critical incident team, not in the sense of the team that we developed over the past 3 years at Reggae on the River. Also, I too have spoken with the critical incident team you mention in your interview and it seems that once again we have conflicting information. NONE of the actual Critical Incident Team is coming or thinking of coming back to an event that is being produced by someone other than People Productions. Thought you should know that, rather than trying to make people think you have all these very critical positions covered. You are a disaster waiting to happen and that really scares me!!!

Finally, I just want to say, that I appreciate the comments that Boots made about me personally, but to date we have never formally met, so I'm not sure how he draws his opinion. I will say that I did attend one of the meetings he held early and I was not impressed with the staff that was present. I expressed some of my concerns for the safety of the event and he said he wanted to talk with me privately. To this date, he has yet to attempt to talk with me about anything regarding the safety of patrons, volunteers or staff at Reggae on the River. It really amazes me how cavalier of a stance he is taking with such an important part of this show. Boots, if you want to continue to mislead the public, go for it, but the mess will fall directly on your shoulders -- remember you're here to "heal this community," I think those were your words at one of the first meetings -- Not doing such a good job at this point....

Mossman
Reggae Emergency Services Coordinator,
SNWMF Emergency Services Coordinator,
Health & Harmony Festival Emergency Services Coordinator

I called Boots Hughston of 2B1 Multimedia, the firm hired by the Mateel to run Reggae on the River 2007, on Friday, Feb. 16, at his office in San Francisco for an update at a crucial juncture in the future of Reggae: the Mateel had just filed its lawsuit and Reggae Rising had just been announced.
(photo by Kim from last week's coordinator meeting at the Mateel.)

We are halfway though February. In the past Reggae on the River tickets have gone on sale early in March with some sort of tentative a line-up announcement. Where are you on planning? Any acts confirmed?

We have confirmed somewhere between 22 and 23 out of 27 acts I’m planning to book. Contracts and deposits should be going out this coming week. I don’t really want to say exactly who the acts are at the moment because I don’t want to give the other side a pecking list to bump our acts. It’s already happened a little bit already.

I’ve talked with some people in the reggae industry who have told me both your production company and People Productions are bidding on some of the same acts.

That’s partially true. What happened is, we started booking in January. We pretty much got out ahead of them, but I did find out that it looks like they have Ziggy Marley on hold and they might have Burning Spear who they pulled off of our side and they also booked Anthony B, out of the 22-25 acts we had partially confirmed.

So in those cases, you’d been working with the booking agents, but through...

Through their friendships or whatever, it blew our deal.

The Mateel lawsuit seems to imply that [P.P.] is using its business contacts to dissuade people from working with you.

That’s starting to happen, but the good news is, we’ve been in business for so long it hasn’t really hurt us too much. But we’re only a week into their attempt to mess up our show. I personally feel that Carol should be above that and know it’s not the right thing to do. I don’t think she’ll stir the pot much more; it would not be smart for her legally. It could become real damages. The intent of that lawsuit is to make sure that People Productions does not interfere with the Mateel’s show. The whole idea is to keep them from jeopardizing the survival of the Mateel. What happens from this point on becomes a pretty serious matter.
The good news is we have most of the show booked. We plan on putting out a press release around the first of March stating all the acts. Tickets go on sale as of March 1. That’s where we’re at.

So you are moving forward under the assumption that Reggae on the River will take place as in the past, but with 2B1 as production company.

They way I look at it is this: There’s a binding contract with Dimmick and he can’t just say it’s breached; he has to prove that breach. So there is a venue [for the show]. That’s the first thing that needs to be proven in a court of law. If he wants to prove that the lease is breached, more power to him, but I don’t think he can do it before August 2 comes around.
The next thing is the permit process and our interpretation of the permits. There’s a history of 24 years of the Mateel having the permits. Just because a [Planning Dept.] employee working out of Eureka sees a different interpretation doesn’t really mean that’s the way it is. The permit is in the Mateel’s name on Dimmick’s property. It’s not the landlord’s permit; it’s the Mateel’s permit. We have the permit hearing March 1, where we’ll be discussing mitigation on the CUP filed. Some of this will be addressed then. I believe Michael Richardson is a good guy; he’s just been swayed by other people’s opinions. I think it will come back around toward the Mateel.

It has been reported that you have already paid an advance on the licensing fee. Can you say how much?

Yes. I gave the Mateel $300,000, to kind of bail them out, to keep the ball rolling.

So you gave them the full fee upfront?

Yep. I gave them the full amount. It should keep them going for a year or two. That’s the intention.

What if the judge decides for Dimmick and People Productions and you don’t get to do the show?

Technically the Mateel wouldn’t have an effective license and I guess the contract would be null and void.

They’d owe you that money.

They would, but there’s no argument between us about it. I’m a big boy and I understand how things go. I’ve looked at the negative side as well, but I respect the community and this is my way of helping out.

So you are not planning on foreclosing on the community center to get your money back?

(laughs) No. No I’m not.

There was some speculation about doing the show at French’s Camp without using Dimmick Ranch. Is that an option?

The permit is for Dimmick Ranch and Arthurs’ (French’s Camp).

Is the Cook Valley campground included?

From what I’ve been told that’s a separate permit held by Bowman. I think that’s from Mendocino.
As to Dimmick, the Mateel still has a binding contract and he’s going to have to prove that’s not a valid lease. He’s saying that he is relying on People Productions [as producers], and since the Mateel hired an outside company, that contract is breached. But People Productions breached the contract with the Mateel by overselling tickets, -- an outside entity clicked the tickets and showed there were more sold than was permitted, let alone the other 12 or so breaches addressed [in the suit]. That means the Mateel had to find an outside producer to fill their fiduciary responsibility as a nonprofit. They have a business to run. They had to hire somebody; they hired us. And we’re going to try to do a heck of a good job.

Do you see the fact that a number of coordinators have pledged loyalty to Carol as a major hurdle? How do you move forward without all that institutional memory?

The first thing is, when something like this happens, all the top guys’ heads roll and they’re replaced with other people. And there’s good reasons for that, one is because the loyalties lie with the former boss. The new promoter doesn’t want to deal with disgruntled employees, so he gets new people.

You’re talking as if you’ve seen something similar happen.

I have.

Can you give a specific example?

Burning Man. All the heads rolled at Burning Man, not once or twice, but three or four times in the last 20 years.

Aren’t they in the middle of a court battle for control of the festival right now?

That’s true too. Then there was the North Beach Photographic Art Fair we did. I did it for 14 years, then it became the North Beach Fair, which is now in its 35th year. They’ve had three or four board struggles, cases where all the heads rolled and everybody was rehired to start all over again. It happens. And it usually happens around 10 or 12 years where people start getting unhappy with what’s going on. People get tired and so forth.
But on my end here, I want to keep everybody aboard. The reason why is because I want to keep the community intact. I feel that all of the coordinators have earned their place, earned their keep. What I’m trying to do is remind them all that the door’s not closed. They’re welcome to come back any time. I understand their loyalty is with Carol, and I actually respect that. I pretty good with it. As to the amount of coordinators, there’s roughly between 100-120 coordinators from last year rank and file. Out of those 120, between 60-70 have been to our meetings, maybe even more. There are 20 or so who are definitely not coming back. They’re etched in stone that if it doesn’t happen Carol’s way it’s not going to happen. Then there are a lot who are on the fence, waiting to see what happens in the next few weeks.
I want to keep the same organization as much as I can but I’ve already made plans to incorporate new people, to bring new people in, and if we don’t fill the coordinators position in the next few weeks, I’ll start putting those new people in. I’ll bring some up through the ranks, and where I can’t fill positions I’ll bring in outside people.
I’ll give you an example. Medical for instance. I love Mossman, he’s really intelligent and a fine person, and I think he’s done an excellent job, but he’s not the only guy in the world who can do medical. There’s Dr. Ross Chapman who does Sierra Nevada and many other festivals; there’s Dr. Bustamante and his critical response team and there’s others like Diana Totten who’s said she’s willing to consult and help us. We’ve talked to others from the Critical Incident Team who are interested and might change their mind and come aboard. In my mind the door’s wide open; I’m not closing it on anybody. It’s looking like we’ll have people who have been here before, just a different captain.
Reggae on the River is a complicated festival -- no doubt about that. In my mind the reason has to do with it going back 25 years, it goes very deep in the community. You have people who have down the same job for 20 years and maybe their brothers have some other job moving the rebar or digging ditches. When something like this happens it gets pretty complicated. You lose one guy then his brother may not want to do it either -- a complicated infrastructure has grown up around Reggae. I’ve done shows with 35,000-40,000 people where we had 300 volunteers, not 4,000. I’m not saying you don’t need volunteers, but we could do it with less.

Getting back to what happens next, it looks like it’s going to be in the hands of lawyers and judges for who knows how long.

Let’s put it this way: The Mateel is moving forward 100 percent. They have a binding contract with Dimmick and he has a contract with the Arthurs. Whatever happens next depends on Dimmick proving that his contract is invalid. He has to go to court to prove there’s a breach. Until that happens the show moves on. You can’t impede the Mateel from doing business. Everybody’s marching forward. There’s a huge amount of loss to the community if this doesn’t happen. I think it would be smart for everyone to get along and stop all the fighting.

From my perspective it just seems so sad. I read the comments on the blogs and see all this backstabbing and it gets depressing. I’ve always thought of Southern Humboldt as the last remnants of the old hippie culture of the ‘60s and all the strife makes it seem like a dream has died.

That’s the way I feel too. It’s hard to believe people are doing what they’re doing. I’m still fighting for the goodness, and the good will prevail. The morals from the ‘60s were really important. Without us this would be an uglier world. You’d have everyone living in Eichler homes with everything painted green and pink...

In houses made of ticky tacky...

We changed all that. Our generation changed that. We stopped a war. We made music that was never heard before. All that came from our generation, and it’s not going to come to an end. I always thought of the Mateel and Humboldt County as the last bastion of those wonderful hippie values. And I don’t think the dream is over.


At that point my tape ran out. Where things go next remains to be seen...

The Reggae Suit

As predicted in the Hum last week, The Mateel Community Center has filed a lawsuit in the court of Judge Bruce Watson in an attempt to stop People Productions and Tom Dimmick from moving forward with their own Reggae festival the first weekend in August, in place of Reggae on the River.

I’m not a lawyer. That said, I’ve compressed much of the legalese trying to explain the suit clause by clause in layman’s terms the best I can. Suits like this one are long and necessarily redundant. What you see in quotes comes straight from the document. Otherwise the language is my interpretation and reduction of the Mateel’s allegations. As they say on the radio and TV, the opinions expressed are not those of this blogger or this blog. If someone reading this is a lawyer and you see something I got flat out wrong, let me know and I'll adjust accordingly.

A special rule for comments on this post: No anonymous comments allowed whatsoever. If you have something to say about this sign with your first and last name. And don't waste your time crafting clever insults, they will be rejected. This is serious business.

“Mateel Community Center, Inc., a California non-profit corporation, Plaintiffs, vs. People Productions, LLC, a California limited liability company, Carol Bruno, an individual, Thomas Dimmick, an individual, and Does 1 to 20 inclusive, Defendants.”

“Complaint for damages for breach of contract, interference with prospective economic advantage, misappropriation of trade secrets, infringement of trademark, unfair business practices, conspiracy conversion, accounting, declaratory relief, preliminary injunction and permanent injunction.”


An intro simply states that the Mateel owns the trademark for Reggae on the River® and contracted with Carol Bruno and P.P. to produce the festival on Tom Dimmick’s land in 2006.
I assume adding 20 unnamed John/Jane Does as potential litigants is routine. I do not know who they might be. (Maybe you, if you are working on Reggae Rising.)

Then comes the meat, 13 causes of action:

Cause No. 1: Anticipatory Breach Of Contract (against People & Bruno)
The Mateel contracted with P.P to produce Reggae for 6 years starting in 2006, with an option for the next 4 years, with P.P. working for a set fee and the Mateel sharing the net profits.
In a roundabout way with lot of history, the suit basically says things did not work out as planned -- not enough profit went to the Mateel.
The Mateel asked for an audit to try to explain why there was less profit than anticipated in 2005; they allege that P.P. did not supply sufficient information to complete the audit.
In Oct. 2006, Mateel heard from Dimmick, saying Carol told him, “in no uncertain terms, that she will not, under any circumstances again produce the ROTR event for the current Mateel administration.” The next day Bruno sent the Mateel Board a letter proposing an agreement to end the production contract, stating that “the reality is that I am finished with the fighting and the amount of energy the persistent bad relations takes is not worth it to me.” At the Mateel membership meeting Nov. 17, Bruno, again declared she would not produce Reggae for the Mateel under the then-active contract.
On Dec. 28, The Mateel served notice of termination of People’s production contract based on “anticipatory breach of the contract.” Because of that breach the Mateel “suffered damages in the amount not yet fully ascertained -- to be determined...”

No. 2: Breach Of Contract (against People & Bruno)
PP contracted with the Mateel to handle all aspects of production and presentation of ROR, but ultimately breached the contract by “failing to pay for the equipment, supplies and assets needed for ROR, failing to deposit all receipts from ticket sales in the ROR account, and failing to inform Mateel in a timely manner of the extra expenses being incurred.” The result: “lost profits in an amount as of yet unascertained.”

No. 3: Intentional Interference with Prospective Economic Advantage (Against People & Bruno)
Under the contract with People, the Mateel “reasonably expected to continue hosting future ROR events and derive economic benefit therefrom.”
Knowing that, “People failed and refused to produce the event in a professional manner.” The Mateel “believes that defendants collected revenues from the sale of wristbands which were not reported as ROR revenues; failed to adequately monitor payments to subcontractors; failed to adequately monitor payments to employees; and failed to adequately monitor payments for supplies.”
Further, PP knew that the Mateel has contracted with a new producer (2B1) after terminating the PP production contract “with the intention of producing future ROR events and deriv[ing] economic benefits therefrom.”
“Despite such knowledge, defendant, and or its agents, interfered with plaintiff’s business by promoting a Reggae event at the same time and same place as ROR; conspiring with the landowner, defendant Dimmick, to terminate Mateel’s lease of his property; contacting prior ROR employees, contractors, coordinators, and performers in an effort to dissuade them from working for Mateel and the new producer; refusing to return property owned by Mateel which is necessary for the production of the event; and using plaintiff’s proprietary information to promote their own music festival” specifically Reggae Rising.
As a result of this “intentional conduct,” Dimmick has terminated the Mateel’s rental agreement and “many employees, coordinators and volunteers have informed [the] Mateel they will not work for the new producer” [Boots Hughston].
This will ultimately lead to “lost profits and loss of prospective future revenues in an amount as of yet unascertained but within the jurisdiction of the Court.”
The Mateel sees the actions of PP as “willful and malicious, in that defendants knew that their failure to produce the event in a professional manner, and intentional acts to disrupt the production with the new producer, would cause plaintiff to lose the benefit of the subject business” and that the Mateel “would be unable to continue producing ROR” make money from it. The Mateel asks for “punitive damages in an amount which the Court deems appropriate.”
Further, “unless restrained and enjoined by order of this Court,” PP will disrupt the business relationship with 2B1, because PP is “in possession of personal property, and plaintiff’s proprietary information that is necessary for the production of the event, which constitutes a misappropriation of trade secrets.” The Mateel also alleges that this interference with ROR will cause “injury to plaintiff’s reputation in the musical industry and its good will.”


No. 4: Negligent Interference with Prospective Economic Advantage (Against People & Bruno)
This seems to repeat allegations in No. 3, concluding, “As a proximate result of defendants’ conduct plaintiff suffered damages in the form of lost profits and loss of prospective future revenues in an amount as of yet unascertained but within the jurisdiction of the Court. Plaintiff prays leave of Court to amend this Complaint when such sums become known.”


No. 5: Conspiracy to Interfere with Prospective Economic Advantage (Against People, Bruno & Dimmick)
Incorporates all of the above (each cause does so) and adds Dimmick into the equation:
“Defendants People and Dimmick have formed a partnership for the purpose of conspiring to interfere with plaintiff’s business relations, by producing a Reggae festival at the same location and time as the annual ROR festival.”
Knowing that the Mateel had planned a festival to be produced by 2B1, “defendants, and or their agents, disrupted plaintiff’s relationship with its new producer by wrongfully terminating plaintiff’s lease of property from defendant Dimmick; purchasing an option to lease land previously used by plaintiff for parking and camping for ROR (French’s Camp); promoting a Reggae event at the same time and same place as ROR” (Reggae Rising) and hiring the old crew. Again, resulting in potential lost profits to be determined.

No. 6: Misappropriation of Trade Secret: Statutory (Against People & Bruno)
This section basically says that Carol Bruno’s legendary Rolodex (my language, not legalese) belongs to the Mateel since she was employed by the nonprofit when it was compiled, and she should not be using it to produce a festival of her own.
“The database has economic value in that it contains information not generally known within the trade and represented many years of research and communication.” Said database is “a trade secret which merits legal protection from defendant’s misappropriation” in that has reason to believe that PP “used this information to contact prior ROR customers, contractors, coordinators, volunteers, suppliers and performers with the intent to injure plaintiff.”
Dec. 28, 2006, when the Mateel terminated the PP contract, “due to defendant’s anticipatory breach” they asked PP to hand over the Rolodex, which at this point has evolved into a collection of digital databases. PP did not do so and “continue[d] using plaintiff’s database to try to produce their own event and to disrupt plaintiff’s ROR event, thus, “defendants will be unjustly enriched by obtaining business profits through unfair business practices.” The Mateel alleges that this also was “willful and malicious” meaning the Mateel is “entitled to punitive damages,” and “reasonable attorney’s fees.”

No. 7: Misappropriation of Trade Secrets - Common Law (Against People & Bruno)
Reiterates No. 6. again alleging that “defendants were willful and malicious in that defendants misappropriated plaintiff’s database with the deliberate intent to injure plaintiff and benefit itself. Plaintiff is therefore entitled to punitive damages.” (A lawyer can probably explain the difference between statutory and common law secrets.)

No. 8: Conversion (Against People & Bruno)
Here the Mateel adds “certain identifiable funds in an amount not yet fully ascertained” to the above, saying “plaintiff has expended time and money in attorney fees and staffing to pursue the converted property, all to plaintiff’s damage in an amount as of yet unascertained but within the jurisdiction of the Court,” which “justify the awarding of exemplary and punitive damages.’

No. 9: Accounting (Against People)
This portion of the complaint basically says that the Mateel hired PP to produce Reggae 2006, but has not received an adequate accounting of net profit. The Mateel believes it might have money coming.

No. 10: Breach of Contract (Against Dimmick)
The Mateel entered into a lease/rental agreement with Dimmick on July 27, 2005, “for the purpose of putting on the ROR festival.” The Mateel paid $33,000 in advance for ROR 2007, and notified Dimmick of a change in producer, “as provided for under the Agreement.”
Then, “on or about January 19, 2007, Dimmick breached the lease agreement by notifying plaintiff it had unilaterally terminated the agreement,” resulting in “damages in the form of lost profits in an amount as of yet unascertained but within the jurisdiction of the Court.”

No. 11: Declaratory Relief (Against Dimmick)
Since the Mateel leased land from Dimmick to put on RoR, “An actual controversy has arisen and now exists between plaintiff and defendant concerning their respective rights and duties.” The Mateel “contends that the lease does not require that ... People be the exclusive producer for ROR.” Dimmick contends that “the lease requires Mateel to use defendant People as the producer for ROR, and plaintiff’s retention of a different producer directly breaches the lease.”
The Mateel asks the judge to sort out “its rights and duties,” and to declare “whether the lease requires defendant People to be the exclusive producer.” Again the Mateel “suffered damages in the form of lost profits in an amount as of yet unascertained but within the jurisdiction of the Court.”

No. 12: Unfair Business Practices (Against People, Bruno & Dimmick)
“During the relevant time period set forth herein, defendants committed, and continue to commit, acts of unfair competition as defined by Business and Professions Code 17000” including “intentionally interfering with plaintiff’s economic relations” by using the Reggae database to produce a non-Mateel Reggae “in violation of its duty of good faith and fair dealing,” due to this “unfair competition” the Mateel (and 2B1) have “been restrained in hiring performers, contractors, and coordinators and therefore ... continue to suffer damages in an amount not yet fully ascertained but to be determined according to proof at trial -- plus interest.”

No. 13: Injunctive Relief (Against People, Bruno & Dimmick)
In brief: The Mateel wants Tom, Carol, etc. to stop it right now.
Specifically, plaintiffs demand that defendants stop:
“1).promoting a “Reggae” musical festival on the same date and location as plaintiff’s Reggae on the River (“ROR”) musical festival;
2). denying plaintiff access to property on which they hold a lease with defendant Dimmick;
3). contacting contractors, coordinators and volunteers of prior ROR festivals, to discourage them from working for the current producer of the Mateel’s musical festival; and
4). using information defendant gained as agent for plaintiff, such as lists of contractors, coordinators, performers and volunteers, to promote their own musical festival.”
Otherwise “the Mateel will not be able to sell tickets, and its producer will not be able to contract with performers, hire coordinators and contractors for the 2007 ROR event, which will prevent the ROR festival from taking place and destroy the Mateel financially.”
“The full amount of damage is not now known.”

The rest of the suit goes back through the 13 causes, in short asking that the court stop People Productions, Tom Dimmick and associates from moving forward on their festival, “for a declaration that the lease [with] Dimmick does not require that People be the exclusive producer of ROR,” additionally The Mateel wants damages, general and punitive and attorney fees and “such other and further relief as the court may deem proper.”

Reggae photographer Kim Sallaway sends me (and a bunch of other folks) a photo every day. This one from his archives was extra.

the year was 19&84.
It was back in the day.
Shelby designed the t-shirt.
This was the sound booth...
You can publish this one if you want.
Jimmy would really be happy.
Kim

PUBLIC NOTICE

HUMBOLDT COUNTY PLANNING COMMISSION

NOTICE OF PUBLIC HEARING


On Thursday, March 1, 2007 at 6:00 p.m., or as soon thereafter as the matter can be heard, the Humboldt County Planning Commission will hold a public hearing in the Board of Supervisors' Chamber, Humboldt County Courthouse, Eureka, California, to consider the matter listed below. If you have specific questions regarding the proposed project contact: contact: MICHAEL D. RICHARDSON, Senior Planner, at (707) 268-3723.

Review of the Annual Report for the 2006 Reggae on the River Music Festival. Case No. CUP-04-38M; MATEEL COMMUNITY CENTER (REGGAE ON THE RIVER EVENT) applicant; File No. APNs 33-271-05, 33-271-07 & 33-041-23; Cooks Valley area. Review of the Annual Report for the 2006 Reggae on the River music festival. The approved Conditional Use Permit allows the event to be held over the first weekend of August, from Friday to Sunday for the next nine (9) years on the 120 acre property known as Dimmick Ranch (a portion of the former site east of the river will still be used for camping). Ticket sales were allowed to increase 12,000, and with the commensurate increase in staff and volunteers, the total number of persons at the event was allowed to increase to 14,400 persons. Campers were allowed to enter the site a day earlier (Thursday), although the hours of the performance remained the same. The Planning Commission will be setting the attendance levels for the 2007 event. The applicant requested ticket sales be allowed to increase to 14,500 ticket sales plus 2,400 personnel for a total of 16,900 persons for the 2007 event.

THE PROJECT SITE FOR THE MUSIC FESTIVAL IS LOCATED IN THE COOKS VALLEY AREA ON THE EAST SIDE OF US HIGHWAY 101 EXTENDING EASE FROM THE INTERSECTION OF COOKS VALLEY ROAD WITH US HIGHWAY 101 ON THE PROPERTY KNOWN AS THE "DIMMICK RANCH" (240 COOKS VALLEY ROAD).

Any person may appear and present testimony in regard to these matters at these hearings. The Planning Commission needs ONE ORIGINAL AND 14 COPIES of any materials submitted either prior to or at the meeting. The Planning Commission's decision will become effective if an appeal is not filed within the appropriate filing period. An appeal may be filed by any aggrieved person and must be submitted in writing with the required fees to the Planning Division of the Humboldt County Community Development Services before the end of the appeal period. If appealed, the decision will not become effective until the appeal is resolved. If you challenge the nature of the proposed action in court, you may be limited to raising only those issues you or someone else raised at the public hearing described in this notice, or in written correspondence delivered to the Planning Commission, at, or prior to, the public hearing.

General questions regarding the Planning Commission, the permit process, submission of materials, and other information not specific to this project may be obtained from the Planning Division of the Humboldt County Community Development Services, 3015 "H" Street, Eureka, California 95501. Telephone (707) 445-7541.

http://co.humboldt.ca.us/planning/commission/noticing/7-0301/mateel.htm

note from Bob: I spoke with Michael Richardson on Friday and will share his answers to my questions here as soon as I work my way through the interview.

This note showed up in my mailbox last night.

Anonymous has left a new comment on (one post or another) saying,

“it isn't that easy to put your name to every idea/thought that you want to post when you live in a community like southern humboldt. why don't you stop censsoring so many posts, Mr.Arcata????????”

Since you asked, I’ll try to explain. First, I must point out that I do not reject all that many comments. I don’t actually get all that many, although things seem to be picking up in the last few days with the important new developments. I’m guessing the fact that Eric has asked for a moratorium on name-calling and rants may have moved some of that over here. (Not that it worked on his blog.)

It’s pretty easy to sit down at your keyboard and crank out an angry letter lashing out as some person or force you don’t like. In fact, I’d say it’s all too easy. The result is a battle of insults and falsehoods, unsubstantiated rumors and often downright cruelty. You say it’s hard to put your name to something like that, well it should be. Each comment that comes to this blog requires a judgment call from me: Publish or Reject. I read what shows up in my mailbox and decide if it’s something that moves the discussion forward. Most of the comments I reject say something like so-and-so is an asshole or a greedy something-or-other, or worse. I don’t see any need to publish such thoughts. If that’s censorship, I’m guilty.

You refer to me as “Mr. Arcata,” which is suppose is intended as some sort of insult, or is meant to imply that I’m not from SoHum, so I can’t possibly understand what you face. It may be that all you know about me is what you can read in the upper corner of this page. Let me fill in some details.

My full name is Bob Doran and I’m a journalist by trade. I am employed full time by the North Coast Journal where among other things I write a music column called The Hum, and edit the arts section of the paper. I’ve been covering Humboldt’s music scene for a long time; I have attended Reggae on the River for 15 years, always with press credentials. I’ve known Carol Bruno for over 15 years, same with Boots Hughston, and P.B. and Mossman and Doug Green, and pretty much all of the players in this drama. I’ve known Taunya Stapp since she took the job at E.D. for the Mateel. I also know a number of the playa-haters in the conflict. I’ve spent hours at Reggae talking with all sort of people about how the whole thing works, and more recently I’ve spent hours on the phone talking with various parties about what’s going on in SoHum, both on the record and off the record. I’ve tried to use the information I’ve gathered judiciously and not to become a tool of one side or another.

I did not set this site up as an unfettered forum for anyone who wants to blast someone they don’t like with an uninformed rant. Frankly I don’t see a lot of value in publishing “every idea/thought” you might want to post anonymously. The bottom line is, this is my blog, it’s my party, I set the rules. You got a problem with that? Take your business and your nastiness elsewhere.

Publish this comment.

Reject this comment.

Moderate comments for this blog.

Posted by (moderator) Bob Doran (shown above in a vendor's booth at Reggae 2006) to Reggae: Past, Present and Future

This note came in last night from one of the "No Confidence" coordinators, David Moss, aka Mossman, who headed the medical team at Reggae 2006.

Subject line: Reggae Rising 2007

So in a nutshell, I give you the scoop…..We (people productions and Tom Dimmick) are moving forward with an event the first weekend of August at French’s and Dimmick. All the coordinators who signed the vote of no confidence were present tonight at a meeting called by Carol. I must say, it was nice to see the familiar faces in such force. It was a very positive meeting and all are convinced that the Mateel and 2B1 just don’t have the resources or the venue to pull off Reggae. Carol is committed to making sure the event remains a benefit for our community. All the non profits will be there, and a foundation will likely be formed to deal with any profits from the event. We all want the Mateel to survive, we just don’t see it happening with the present Executive Director. We basically are the Mateel, we are the members……There is new site, reggaerising.com (may not be up until tomorrow). Tickets will go on sale next few days…and at this point we are moving forward. There is also a big planning commission meeting on March 1st. I would recommend coming out for that. It’ll be at the courthouse.

Talk later,

David

note from Bob: more to come later today. I got a look at the lawsuit aimed specifically at stopping this festival and I'll have a report soon. I also had a long talk with Boots of 2B1 about where he's at with planning for the Mateel's festival. a little teaser: the dueling festivals have each signed a number of acts, apparently some artists are signed for both.

Re: Termination of Lease between Mateel Community Center and Dimmick Ranch
January 13, 2006

We are truly disappointed that mediation has not resolved the issues surrounding the annual reggae event. However, our commitment is – and has always been – to the community, and we have and will continue to work closely with key non-profit organizations to uphold this commitment. Our goal is simply to produce a successful event that supports our community and makes public safety a priority. It is for these reasons that we originally entered into the contract for public use of our ranch and aligned with People Productions, which has a 23-year history of managing this event.

Thank You, Dimmick Ranch

(note: photo shows distribution of free Dimmick Ranch water bottles at Reggae 2006)

This came from Mateel E.D. Taunya Stapp:

Talks with Dimmick Fail to Resolve Reggae on the River® Site Dispute

February 12, 2007. Redway, CA

A mediation held on February 8, 2007, between the non-profit Mateel Community Center and Piercy landowner Tom Dimmick over whether Reggae on the River® would be held on the Dimmick Ranch failed to resolve the heated controversy. At issue is Dimmick's announcement that he intends to cancel the Mateel's ten-year lease because the non-profit ended its contract with the events promoter, People Productions, after that for-profit entity announced that it would not fulfill its obligations under the production agreement.

The long-standing contentious relationship between People Productions and the Mateel Community Center came to a climatic ending this year when it was announced that for two years the for-profit production company had raised little or no money for the community center. A recent attempt to audit People Productions’ Reggae on the River® accounting showed disturbing implications for the non-profit center. The audit was returned with a scope limitation showing three major areas of material weaknesses in the production company’s financial reporting that are material to the accuracy of the financial statements given to the Mateel's Board of Directors. Per contract, People Productions, LLC. collected the income, paid the expenses, and maintained the accounting records of Reggae on the River® 2005 -- yet did not fully cooperate with the auditor. Further, as former People Productions partner Paul Bassis left the partnership and moved to work as a representative of Tom Dimmick, an apparent conflict of interest and perceived ethical breaches only served to heighten suspicions.

The Mateel Community Center maintains that it's lease with Tom Dimmick is still valid and, accordingly, plans to put on Reggae on the River® 2007 are well under way with new promoter Boots Houghston of 2B1 Multimedia of San Francisco. The Mateel also maintains that People Productions founder and President Carol Bruno resigned publicly at the Mateel Community Center's annual meeting last November 2006 in front of 400 people. Bruno denies having done so. Bruno’s statement made at that meeting can be viewed at "http://www.youtube.com/watch?v=Y_d-gLLOQ-s".

"We are extremely disappointed that Tom Dimmick is not honoring his contract and his word," said Mateel Executive Director Taunya Stapp. "Furthermore, Dimmick's announcement that he plans to hold a similar reggae concert on the same dates on his land constitutes nothing less than a for-profit takeover of our non-profit's community-supporting event." The Mateel is considering all of its available options to ensure that Reggae on the River® 2007 will go on as planned.

Tom Dimmick has indicated that he plans on holding a multitude of events on his land every year as part of a larger plan. "That he feels he must destroy the community center's biggest fundraising event, which benefits scores of non-profit groups every year with much needed funds, is very sad. It would be hard to imagine how he could walk down the street and hold his head up in this town given what we know of his plans." She added, "Millions of dollars are at stake here. It's not surprising that some people are placing their own self-interest above that of the community. That is the community's investment that they will be reaping."

"The active and ongoing continued interference in our event simply will not be tolerated." said Mateel Vice-President Garth Epling. "Dimmick seems to be advocating a scorched earth policy regarding Reggae on the River® -- if he can't do it his way, then no one will have a concert. We believe in the spiritual message of reggae -- unity and respect. The concert will go on and the Mateel will prevail," added Epling.

Reggae on the River is a Registered Trademark of the Mateel Community Center.

Note from Bob: This showed up in my mailbox today sent by a Mateel board member who writes, "This is meant for his Reggae on the River blog. Let me know if you have any questions." Thanks, - Garth Epling

I don't know who Casandra is or what she coordinates, so I asked.

"Last year she coordinated the Mateel information booth @ ROR. She's one of the well known local people of our so-hum community. I think she worked with Hospitality at Reggae for years as well." - Garth

I should note that the point Casandra makes re: the conditional use permit for the event is her interpretation of what's likely to be a key legal issue in the weeks and months to come. According to a recent report in the Redwood Times, Humboldt County Planning Commission's designated Reggae point man, Michael Richardson, said that "the Conditional Use Permit for Reggae on the River is issued to the property owner and is an entitlement for the use of the property without taking into consideration the private contractual agreements between the property owner, applicant, and producer of the event." Richardson also allegedly told the R.T. that "Dimmick can apply for the permit on his own and that minor changes in the permit, such as changing the name of the event, would not require a modification of the permit."
A source on the Mateel side tells me that either Redwood Times reporter Mary Anderson got it wrong or Richardson overstated Dimmick's control over the future of Reggae. As I've said in the past, at this point it looks like a judge will decide what happens next.

And now Casandra's letter:

To the editor and community,
The following is my perspective and opinion to disclose my own concerns as a community member, volunteer and coordinator of Reggae on the River and employee of The Mateel Community Center. Despite the so called facts that have been circulated, and the emotional personal history, this is a business deal with contracts and agreements. When you step away from the gossip, take a look at the big picture it is easier to see what’s right from wrong.
The Mateel Community Center is a non-profit organization. The purpose of the Mateel Board of Directors is to protect the fiduciary community assets of the organization and determine its strategic direction and create policy. Mateel owns Reggae on the River. Reggae is the communities’ asset.
People Productions is a limited liability corporation. People’s was contracted to act in the best interest of the Mateel to produce the festival. There were numerous board members and staff people who have resigned due to this relationship, contract negotiations and citing treatment by People’s.
Industry standards are the production company foots the bill, and then pays the owner a contracted amount. The Mateel has always footed the bill to produce Reggae. Yet, the Mateel and the community have always been told it is the reverse. The Mateel never received all the funds that were contracted for in 2005 and 2006.
The conditional use permit is issued to the applicant who is the Mateel Community Center for the project Reggae on the River. There have always been several properties that are covered with the Conditional Use Permit, not just the Dimmick Ranch.
The contract was publicly terminated at the annual membership meeting. The public expressed the need for a “divorce”. The Mateel requested mediation to negotiate the terms of People’s termination. Peoples’ requested a one-day only mediation. A resolution was not reached at the mediation and the contract was terminated by both parties before the new year. After the Mateel researched other production companies they hired 2B1 multi media to put on Reggae 2007.
Boots Hughston of 2B1 multi media is willing to work with all the Reggae coordinators, non-profits, make the festival greener, safer and bring it back to its roots. There are many other music festivals put on by a variety of production companies in rural areas all over the world. If you are in doubt as to Boots Hughston capability of putting on Reggae check out their website http://www.2b1records.com.
These are the questions I have to ask myself as a concerned community member. Why and how did P.B. leave People’s? “No financial stake”? Only to represent the Dimmick Ranch and be hired as a private contractor to Reggae? Can you say conflict of interest? Is this acting in the best interests of the Mateel? Where did the money go? Why won’t they work with the Mateel? No one is perfect but, the Mateel has been very patient and compassionate and gave them every chance to work with the community. Did they have any intention of trying to make it work, or did they throw out every unsubstantial accusation and blame the Mateel for why it didn’t work? Who is Danny Scher? What is his history and involvement in the big picture? Is he the reason Peoples doesn’t need the Mateel to foot the bill any longer? Why does Dimmick not want to work with the Mateel? What were they promised? The Mateel did not put itself into this position, it was put their by a long term strategic hostile corporate takeover. This corporation draws its strategy directly from the Bush Administration releasing lies and going to war in the name of communities safety, when really it’s the dollar that’s the driving force. No MCC means more profits for PP.
Think critically about what you hear, who and why they are telling you? Ask questions! Telling 10% of the truth to drive people emotionally to act on your behalf is misleading to say the least. The rumor mill has generated and perpetuated many strategically released lies and accusations that the media says have been flying both directions. Personally I have only seen it flying in one direction. Some of you may think I have made some accusations in this letter but I am only asking people to think critically. The divide is not equal. I see it as the privileged few who have been on top of the Reggae payroll verses the rest of the community. The Mateel’s stance has been to take the high road, because we are a public organization responsible to this community. Do you want to see Reggae on the River privatized?
To clarify a few of the rumors that I have heard about the Mateel;
“Where did the reserve funds go?” The rainy day fund was used to keep the hall open for the two years that the Reggae money didn’t come in, to put a new roof on the hall and to help fund the big move to the new site (even though the investment in infrastructure was not contracted to be paid for by the Mateel). Originally, when the reserve funds were set aside they were designed to only last one year, this board and staff made it last two years and then some.
“Why put on the Hoedown and the Medieval Festival?” It is true that the Mateel invested money in two new diverse cultural festivals. The Mateel also invested money into Reggae the first years and for the Mateel the money was actually never received these last two years.
Recently two of our community elders came to the Mateel to look at the books- which are always open to the membership- after they chose to become lifetime members. The Mateel has requested transparency of the Reggae books and hired a professional to conduct an audit. An audit is a business tool that many businesses choose to have done regularly allowing for improvements and efficiency. Not having transparent books threatens the non-profit status of this community center.
It’s hard watching the founders of the Mateel who claim to be working for the community vengefully railroad the progress and put out of business the most important economic asset of this entire area. They’re attempting to steal the communities’ most precious asset in the name of the community. It’s not right.

Mateel Forever!
Casandra Taliaferro
Seely Creek

postscript from Bob: The "rumor mill" link to SoHum Parlance is included only as an indication of where the action is in the discussion re: Reggae. I'm not trying to criticize Eric, the dedicated blogger who maintains the site. While Casandra says she sees them, "flying in one direction," rumors true and false from both sides have show up there and elsewhere in quantity.

and from BobMarley.com

The singular impact of 'One Love'
By Christopher John Farley

In the walkup to the annual Grammy Awards on Feb. 11, Bob Marley's song "One Love" was recently chosen as an inductee to the Recording Academy's Grammy Hall of Fame. It will join a select group of other tunes that have been judged to be among the most important and lasting recordings in musical history. This year's inductees include "London Calling" by the Clash, "Are You Lonesome Tonight?" by Elvis Presley, "Whole Lotta Love" by Led Zeppelin and "Brown Eyed Girl" by Van Morrison.

About a year ago, National Public Radio asked me to talk about the origins of the song "One Love." I felt then, and I feel now, that "One Love" feels like a song that's timeless. It sounds like a traditional number, one that wasn't written by any specific person and was passed down from generation to generation, like "Auld Layne Syne," "I've Been Working on the Railroad," "Danny Boy," or "Linstead Market." Many traditional tunes are rooted in a single culture or nation or ethnic group. They are Scottish or American or Irish or, in the case of "Linstead Market," Jamaican.

"One Love" is, of course, a Jamaican reggae song. But most listeners don't see it as being part of any one region — it has been embraced around the globe as an anthem to the human spirit. The song's title has also become a greeting — people the world over will say hello and goodbye with the words "One Love." A few years ago, the BBC chose "One Love" as the song of the century.

Only some songs become hits. But there is something grander than being a success on the charts. Only a few special songs that were authored by individual songwriters go on to become traditional numbers — compositions that touch something so deep and profound in listeners that they seem as if they emerged from the culture as a whole. "Blowin' in the Wind" by Bob Dylan would be another example. It's hard to imagine someone actually took pen to paper and wrote the song. It seems like an ancient part of the landscape, like mountains, valleys and rivers.

People around the world love "One Love," but one person authored it and his name is Bob Marley. In fact, almost no song in Marley's catalogue better represents his growth as a songwriter and the increasing sophistication of his philosophical outlook than "One Love." It's a song that actually underwent many changes throughout Marley's career.

"One Love's" early roots were in American soul. The song draws from the song "People Get Ready" by Curtis Mayfield. (In fact, Mayfield is credited as a co-writer in the song's later incarnations) The original Wailers were admirers of American soul, and Marley and his bandmates, Peter Tosh and Bunny Wailer, closely studied the work of Curtis Mayfield and the Impressions.

The original "One Love" also moved to a different beat than the version that would achieve worldwide popularity. The earliest performances of "One Love" were rooted in ska. When the original Wailers performed the song in 1965, it was jerkier, faster-paced, and it made no overt reference to the philosophy of Rastafari that the group members would later embrace.

When Marley recorded the song for the 1977 album "Exodus," the lyrics were more informed by the teaching of Rastafari. But the song was broader than a single doctrine. It was a tune for people of all faiths and all backgrounds to find themselves in. "One Love" wasn't just a song about unity — it came to embody the concept as well.

Christopher John Farley is the author of the biography "Before the Legend: The Rise of Bob Marley" and the novel "Kingston by Starlight."