News Briefs

March 21-27, 2007

Trail troubles

Those who build and maintain trails and the folks who like to pedal them at high speeds are clashing again in Marin County. Dana Beckstoffer, 43, of Petaluma, is one of three mountain bikers who say they narrowly missed being injured by barbed wire and bent fence posts on a narrow pathway off the official Split Rock Trail above Fairfax. “We came upon two barbed wire barriers or booby traps,” Beckstoffer recalls angrily. “The barbed wire was strung about neck or head level. For anyone not looking up, it would be very, very hard to see. It would hit you in the head or neck.” When she discovered that the barriers were placed by the Marin County Open Space District, she was outraged. Beckstoffer is convinced the goal was physical harm. There was no such intent, says district director Sharon McMamee. The trail, built illegally about 10 years ago, passes through sensitive habitat. It’s closed to all traffic–hikers, equestrians and bikers–but McMamee says that the “restoration area” signs are stolen almost as soon as they’re posted. “We block it routinely, mostly with habitat such as rolling a tree or a boulder over the trail,” McMamee explains. “Unfortunately, this time one of our staff got a little more zealous with barbed wire and posts. It was not a booby trap. I feel so bad that word is being used.” The wire and posts were removed immediately, McMamee assures, and the habitat signs reposted. Beckstoffer says she’s been riding the trail for years. “I’ve never seen any signs,” she argues. “It’s a well-ridden and very well-known trail in the biking community. People ride it without getting citations all the time, so it has been believed to be kind of in the gray area.” Mountain bikers want access to more single-track trails rather than just wide fire roads. McMamee says, “We’d love to find a way to [give access to single-track trails] in areas that aren’t through sensitive preserves.”

Full disclosure

As discussed extensively in these pages, a San Francisco-based insurance agency that has promoted itself to Medicare recipients nationwide as Senior Educators, a “free” service for seniors, now has to add “Insurance Services” at the end of its name, according to Melinda Aval of the California Department of Insurance. Advocates for seniors charged that shortening the company’s legal DBA from Professional Senior Educators Insurance Services to just Senior Educators was misleading and obscured the fact that the company earns its income through commissions from private insurance companies. State officials determined that using “Senior Educators” was a technical violation, Aval says. The company agreed to always use the name Senior Educators Insurance Services and the investigation is closed. “This appears to solve the problem,” Aval says. The company could not be reached for comment.


Dead Rock Stars

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music & nightlife |

By Gabe Meline

Death can really make you look like a star.–Andy Warhol

The house that Jared Powell inhabits, from the entryway to the back porch, is a living monument to the obsessed artist: canvases laid vertically against furniture, a coffee table blanketed in supplies, the walls in each room covered with finished and half-finished works. His kitchen on a recent evening is perhaps the most cluttered, as Powell, pushing aside pens, paints, markers and notebooks, pulls together material for “Cottonball Resurrection,” a silk-screen art show celebrating iconically troubled musicians that opens this weekend at Santa Rosa’s A Street Gallery.

In mostly collaborative pieces, Powell and artists Joe Leonard, Jayson Taylor, James Williams and Sal Lopez apply a crisp acrylic makeover to the bedraggled faces of great talents who deserved better in life. The top two images on the kitchen table tell the story. One is Lightnin’ Hopkins, his gold teeth shining beneath sunglasses and a fedora, concealing the ex-con who notoriously signed the world’s worst record contracts. Next to him is Ol’ Dirty Bastard, or, as the sprouting apparitions of crucifix-adorned milk bottles hint, “Big Baby Jesus,” his preferred nickname imagined in the deranged haze of cocaine that would eventually turn fatal.

Digging deeper into the pile, there’s penetrating perspectives of Marc Bolan, Sonny Boy Williamson, Wendy O’Williams and Keith Richards–“People who were fucked up,” Powell explains with a small trace of admiration, “but who still were prolific and put out quality work.” Adventurously presented on 12-inch LPs and sheet metal, the images contain so much detail and filigree that a second or third look yields miniscule, sometimes hidden clues to the stars’ woes (Richards, the only living musician in the show, floats among syringes).

Though the process does not imitate its subject to an illicit degree, it’s a well-known fact that Powell, Taylor, Leonard, Lopez and Williams pride themselves on burning both ends of the clock under a self-ordained “can’t stop, won’t stop” philosophy of insomniac obsession, explaining the collective drive behind the show. “It’s as much about educating people as it is about art,” Powell says. “Some girl came by and saw Leadbelly and was like, ‘Who’s that?'” With this, Powell pauses, leans forward to mimic his irritation, and reenacts his direct response: “The reason you have music.”

‘Cottonball Resurrection’ opens Saturday, March 24, at A Street Gallery. 312 S. A St., Santa Rosa. Live music will be provided by The Aces; very limited T-shirts from the show will be available. 5:30pm to 8:30pm. Free. 5707.578.9124.




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The Bohemian’s Best of the North Bay 2007

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Trapped within the airless confines of a Writing for the Web conference last fall, I learned many things. I learned that most of the presenters hadn’t actually seen the World Wide Web since we stopped calling it that, for one thing. But the most valuable lesson I came away with was presented by one of those slick youngsters who rule today’s media. While daily newspapers are throwing reporters overboard and TV news becomes viewer-driven, alternative newsweeklies, he said, have a special role. I yawned, thinking of the box lunch ahead. The alt weekly, as with the Bohemian, he counseled, offers two things that other media don’t. I idly wondered if there would be a cookie. And then he startled me with a three-word blurt: “Love and soul.”

Pardon? Yes, he repeated, love and soul are what alt weeklies can give to their communities that no one else can.

I wrote that baby directly down. But because I can’t translate it to Latin, we aim close with “Hand and Heart,” the spirit of this year’s Best Of issue in which we offer as much love and soul as can be packed into one super issue, highlighting all the many things that make the North Bay such a wonderful place to extend hand, live with heart, offer love and experience soul.

Contributing to the Best Of Writers Picks this year are editorial heroes Brett Ascarelli, Sara Bir, Ethan Hartmann, Andrea Hollingshead, Molly T. Jackel, James Knight, Gabe Meline, Matt Pamatmat, Lois Pearlman, Bruce Robinson, David Sason, David Templeton, Christopher Tomera and Tara Treasurefield. We’re hepped to the Love and Soul beat.

–Gretchen Giles

Culture Writers’ Picks | Readers’ Choice

Everyday Writers’ Picks | Readers’ Choice

Food & Drink Writers’ Picks | Readers’ Choice

Kids Writers’ Picks | Readers’ Choice

Recreation Writers’ Picks | Readers’ Choice

Romance Writers’ Picks | Readers’ Choice

Stand Down Rudy

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music & nightlife |

By Gabe Meline

Straight out of Kingston, Jamaica, the Skatalites are a sufficiently epochal act that naming them the real deal would be almost facetious. While the band can’t claim to have invented the genre–ska was already a growing concern in its native Jamaica by the time the Skatalites formed in 1964–the group have long established themselves as the venerable standard and soul-bearers for the genre, presiding over every major ska wave that has come and passed in the four decades since.

Many members have cycled through the Skatalites, as the group at times has resembled more of a loose collective than a traditional band lineup. In the early days, the collective served as a backing band for the likes of Bob Marley, Peter Tosh, Jimmy Cliff and countless other reggae and ska icons. But if one thing remains constant with the group, it’s the snare-drum-tight arrangements the ensemble have become recognized for, a rhythmic chug that has persisted through decades of ebbing and flowing interest. But with an emphasis on collective collaboration, the individual members are less crucial than the group as a whole. The Skatalite’s philosophy is typified by the recording process behind their new record, On the Right Track, the group’s first original set in seven years. They appear March 24 at the Last Day Saloon.

According to the band’s keyboard player and manager Ken Stewart (who is a relative newcomer to the group, having joined in 1989), On the Right Track was recorded and written in a manner similar to those early ’60s Skatalites records that fetch enormous sums on eBay nowadays. Songs were composed on the fly, and recordings were done in-between, before and after sets, Stewart explains. “We didn’t have any material, so we had to scramble,” he says. “Each member of the band composed a track, so 11 of the 12 songs are originals.”

For a band that once spent innumerable hours in the studio, seven years is a long time to go without recording, even if in the Skatalite’s case, it’s a relatively short period of their history.

Stewart isn’t a huge fan of the third-wave punk-ska revival, believing “that the really fast punk ska loses some of the soul,” but he notes that the founding and long-term Skatalites members preside over the considerable legacy they helped establish with an enormous sense of pride. Traveling across the world, they find that legacy remains as vital and relevant today as it did decades ago. “They say imitation is the highest form of praise,” Stewart says. “Well, every country we go to we meet people playing their version of the Skatalites. We’re flattered by this. We go to Russia, and they know more about the Skatalites than even the Americans do.”

The Skatalites perform on Saturday, March 24, at the Last Day Saloon. Sol Horizon opens. 120 Fifth St. (at Davis), Santa Rosa. 8pm. $20-$25. 707.545.5876.




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Morsels

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March 14-20, 2007

This August, the Olympics of the coffee world will take place in Tokyo. Qualifying baristas from all over the world will strut their shots, compare microfoams and vie for the best latte art before a panel of discerning judges.

Last year in Bern, Switzerland, Klaus Thomsen of Denmark took home first place at the most important international coffee competition, the World Barista Championship (WBC). In an interview on TheCafeGuide.com, he credited the people who had counseled him during intensive training. In addtion to his roast master, a sports psychologist, a glass designer and his girlfriend, whom he said “watch[ed] my techniques and performance like a hawk for almost every day for three months,” one of the key players was Anita Klemensen, among the best chefs in Denmark. She helped Thomsen turn his idea for a “signature” drink–something each contestant must devise and serve–into reality. The result was called Symphony of Coffee, a drink of espresso, coffee panna cotta and frozen foam.

After the competition ended, a photograph of the Symphony ran in a CoffeeGeek.com article about WBC controversies. Among other things, the author mused that the judges hadn’t drank enough of the signature drinks to be able to judge them accurately. CoffeeGeek.com also expressed ambivalence over the fact that one of the judges had also been hired by several of the competitors as a consultant. But in the end, the article concluded that, for the most part, he served as a fair judge with a remarkable palate.

The road to Tokyo begins this spring with the Specialty Coffee Association of America’s round of regional competitions. Contestants will make espresso, cappuccino and a signature drink, and will be judged on both the technical execution and the sensory aspects of the coffees. Hopefuls in the North Bay should already be working on those extraction times (20 to 30 seconds is ideal) and perfecting the hue of their crema.

The Western Regional Barista Competition (WRBC) is open to baristas in California and Hawaii, and to those members of the public who want to watch them give it a shot. The WRBC is hosted by the North Bay’s own Flying Goat Coffee, Taylor Maid Farms and Dolce Neve. It also includes a trade show, damned good free coffee and educational seminars for coffee consumers (that’s probably you) and for industry professionals. The event runs from Friday-Sunday, March 16-18, at the Sheraton Sonoma County, 745 Baywood Drive, Petaluma. Registration for full roster of educational lectures, $75; competition registration, $50; viewing the fun, priceless (and free). Visit www.wrbc2007.com for more information than you could possibly imagine.

Quick dining snapshots by Bohemian staffers.

Winery news and reviews.

Food-related comings and goings, openings and closings, and other essays for those who love the kitchen and what it produces.

Recipes for food that you can actually make.

Come Together

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March 14-20, 2007

We use the same vehicle, share a joint bank account, give each other the same colds. When we go out, I drink half his beer and he could care less. Our married life is fully integrated–almost. Forget kids, pets, a house; it’s music. You may be in my heart, dear husband, but keep your hands off my CDs.

Up until now, we’ve kept our CDs separate. There are very few things in our lives we have complete control over, and I find solace in knowing exactly where all of my CDs are and that their spines are flush with the edge of the shelf and their titles are all facing the same direction.

But both of our CD collections have grown too large and unwieldy to store in different areas. So Mr. Bir Toujour and I are going to bring them together, and I am having combination anxiety.

As a former library employee, I have a deep affinity for the alphabet–the indisputability of its sequence, the way one letter flows to another so naturally. I shelve my CDs just as one would shelve novels in a library, grouping albums by artist, then arranging one artist’s multiple albums chronologically by release date.

Mr. Bir Toujour also organizes albums by letter, but not the right way. He’ll put an Ian McCullough CD with the I‘s not the M‘s. In an especially distracted moment, he might even put Ian McCullough with Echo and the Bunnymen. And he lumps each letter together generically, so that you might see a random sequence like this: Pell Mell, Pale Saints, Polvo, Pell Mell, Pelican, Pale Saints. What cruelty, to separate Pale Saints and Pell Mell from their album kin!

It’s the miserly part of me that blanches at the thought of blending my CDs with Mr. Bir Toujour’s. I might wear one of his T-shirts every now and then and I will happily spend the money he earns, but I am unhappy to think of my CDs in danger of disorder.

Back when we were first dating, each of us bought a copy of Ride’s excellent three-CD box set. At the time, it made sense, because I wanted my own copy and I had no idea that we would wind up spending the rest of our lives together. And after I moved in, we still each had our own copy. Until one day, when I noticed Mr. Bir Toujour’s was gone. “I sold it back to the record store,” he said. “We don’t need two copies.”

I would argue that anyone’s happiness would double according to the number of Ride box sets they own, but that was not the root of my objection. “What if we get divorced?” I said. “If we split up, I would need my Ride box set to get me through.” Though I neglected to say so, I’d seen St. Elmo’s Fire enough times to vividly remember the scene where Judd Nelson and Ally Sheedy, in the midst of a messy breakup thanks to Andrew McCarthy, fight over who gets to keep the Police album.

I didn’t want that to happen to us. I didn’t want us to split up, either, but I like to think of preparation as a talisman to ward off disasters. Remember which one of us bought that reissue of Pavement’s Wowee Zowie? Terrific–we’ll stay married forever!

A friend I went to school with lived out of his backpack. He fancied himself a vagabond, and though he loved music, the only CD he owned was a battered copy of T Rex’s Tank. That’s not hard to organize at all: “Hey, where’s Tank?” We lost touch, but he and Tank are out there somewhere, perhaps happily settled with the right woman, because in the end, unless you are married to Donald Trump, you are with a person for the person, not his stuff. Even so, I do very much enjoy Mr. Bir Toujour’s music, wrong order and all.

But I’ll still extract Polvo from Pell Mell before adding my Pulp CDs.


The Byrne Report

March 14-20, 2007

Sen. Dianne Feinstein has resigned from the Military Construction Appropriations subcommittee. As previously and extensively reviewed in these pages, Feinstein was chairperson and ranking member of MILCON for six years, during which time she had a conflict of interest due to her husband Richard C. Blum’s ownership of two major defense contractors who were awarded billions of dollars for military construction projects approved by Feinstein.

As MILCON leader, Feinstein relished the details of military construction, even micromanaging one project at the level of its sewer design. She regularly took junkets to military bases around the world to inspect construction projects, some of which were contracted to her husband’s companies, Perini Corp. and URS Corp.

Perhaps she resigned from MILCON because she could not take the heat generated by the Bohemian’s exposÈ of her ethics (which was partially funded by the Investigative Fund of the Nation Institute). Or was her work on the subcommittee finished because Blum divested ownership of his military construction and advanced weapons manufacturing firms in late 2005?

The MILCON subcommittee is not only in charge of supervising military construction; it also oversees “quality of life” issues for veterans, which includes building housing for military families and operating hospitals and clinics for wounded soldiers. Perhaps Feinstein is trying to disassociate herself from MILCON’s incredible failure to provide decent medical care for wounded soldiers.

Two years ago, before the Washington Post became belatedly involved, the online magazine Salon.com exposed the horrors of deficient medical care for Iraq War veterans. While leading MILCON, Feinstein had ample warning of the medical-care meltdown. But she was not proactive on veteran’s affairs.

Feinstein abandoned MILCON as her ethical problems were surfacing in the media, and as it was becoming clear that her subcommittee left grievously wounded veterans to rot while her family was profiting from the occupations of Iraq and Afghanistan. It turns out that Blum also holds large investments in companies that were selling medical equipment and supplies and real estate leases–often without the benefit of competitive bidding–to the Department of Veterans Affairs, even as the system of medical care for veterans collapsed on his wife’s watch.

As of December 2006, according to SEC filings and www.fedspending.org, three corporations in which Blum’s financial entities own a total of $1 billion in stock won considerable favor from the budgets of the Department of Defense and the Department of Veterans Affairs:

  • Boston Scientific Corporation $17.8 million for medical equipment and supplies; 85 percent of contracts awarded without benefit of competition.
  • Kinetic Concepts Inc. $12 million, medical equipment and supplies; 28 percent non-competitively awarded.
  • CB Richard Ellis The Blum-controlled international real estate firm holds congressionally funded contracts to lease office space to the Department of Veterans Affairs. It also is involved in redeveloping military bases turned over to the private sector.
  • You would think that considering all the money Feinstein’s family has pocketed by waging global warfare while ignoring the plight of wounded American soldiers, she would show a smidgeon of shame and resign from the entire senate, not just a subcommittee. Conversely, you’d think she might stick around MILCON to try and fix the medical-care disaster she helped to engineer for the vets who were suckered into fighting her and Bush’s panoply of unjust wars.

    Note to those feminist-minded liberals who hold-up Feinstein as a “role model” for women: She is not a feminist, she is not a liberal. She is every bit as patriarchal as the amoral neoconservatives who have militarized America for profit. Here is a sample from a speech the California senator made at the “Power of Women” Luncheon in Century City last March:

    “We need more women in the House, in the Senate and in the boardroom as well. We are going to be in a war of terror for a considerable period of time. You can reposition men in Kuwait; we need more in Afghanistan where the Taliban has a resurgence. We know there are problems in the horn of Africa, and we know that Southeast Asia remains a place for terrorists and a place for insurgents. . . . There are terror cells operating in this country and in some 60 countries, so we are going to be fighting this war for some time to come.”

    Feinstein is chanting the mantra of endless terrorism and war without end in tandem with the neoconservative Heritage Foundation, which calls for increasing military spending until domestic programs for the poor are deader than an Iraqi baby run over by a Humvee filled with Halliburton engineers.

    If “breaking the glass ceiling” means more power for Feinstein and her ilk, beware.

    or


    Zombies Live Again

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    music & nightlife |

    Reborn pop: Colin Blunstone and Rod Argent, back from the living dead.

    By Bruce Robinson

    For decades, they resisted it. But today, 38 years after they last graced the pop charts, the Zombies are back.

    “For years, people were pressuring me to get the Zombies back together again,” Rod Argent, the group’s keyboard player and primary songwriter, explains by transatlantic telephone, “and I always resisted it. But within the context of recording and writing new stuff with Colin [Blunstone, the original Zombies’ signer] and having a creative path forward, it felt very different to be playing the old stuff. And because the Zombies broke up just as Odessey and Oracle was coming out, we realized we’d never played some of this stuff live onstage.”

    That final Zombies album, now widely regarded as a quintessential set of pop psychedelia, was recorded in 1967 but wasn’t released for another two years. When “Time of the Season” belatedly soared onto the top 5 charts, the band had scattered, Blunstone to craft a series of solo LPs, and Argent to assemble the harder rocking quartet that bore his surname.

    By 1975, Argent (the band) had run out of steam, despite scoring a major hit of their own with “Hold Your Head Up.” Argent (the man) admits, “I thought that was it for live performance for me, in a major way, onstage.” But he readily agreed to do a couple of solo songs for a benefit organized by his neighbors, jazz couple Cleo Laine and John Dankworth, in 2000.

    “In the audience that night was Colin,” Argent recounts, “and just on the spur of the moment, he got up and sang “She’s Not There” and “Time of the Season” with me, and it sounded as if we’d been together just two weeks before, instead of 30 years or whatever. He suggested that just for fun we put together six gigs. And we did this, and to my astonishment, it was very well received and felt absolutely natural. And suddenly those six gigs have turned into six years of traveling around the world, and several albums.

    “And it was absolutely unplanned, which perhaps is the best way to do things.”

    Later this month, a 2003 Zombies concert is being released as a double CD and DVD, a set that effectively summarizes the band’s history and showcases the potent performing unit they are now. Playing the old songs “is a thrill, and quite unexpected,” Argent says. “We even go back and do some of the old covers that we used to do in the original Zombies act, and it’s such great fun to do that. It brings back a lot of old memories, and some of them I think we play better now than we played back then.”

    Blunstone, whose breathy tenor lent a distinctive timbre to “Tell Her No” and the other early hits, has become an unexpectedly assertive vocal presence, and wades into the handful of revived Argent material with considerable enthusiasm. “He always loved it, you know,” the keyboardist comments. “When Argent was together, Colin would always come to our gigs, so he knows the stuff and has a longstanding affection for it.”

    The odd Argent tune, a few new songs and, of course, their greatest hits, will comprise the set list planned for the eight-date West Coast mini-tour that kicks off at the Raven Theater in Healdsburg on March 14, as well as selected tracks from Odessey and Oracle, one of the rare albums to have gained in sales and stature over the decades since its creation. “If anyone had told me 40 years ago that people would still be playing it around the world to the extent that they do, I wouldn’t have believed it,” Argent marvels. “The fact that it didn’t really sell anywhere in the world when it came out, and then 15 years later started to sell gradually and then picked up momentum and now, year in and year out, sells in really substantial quantities around the world–I’m amazed.”

    As for the reasons for the Zombies’ enduring appeal, Argent demurs. “I just couldn’t begin to say. I think all of us had the philosophy of not trying to write or make records for the day. We always tried to do a song the best way that we could, without nodding in the direction of any particular fashion. Maybe in the long run that makes something last a little bit longer.”

    The Zombies appear on Wednesday, March 14, at the Raven Theater with Ian Hunter and the Charms. 6:30pm. $27.75-$59.77. 115 North St., Healdsburg. 707.433.6335.




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    Here There Be Monsters

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    March 14-20, 2007


    Millions of immigrants from Latin America began streaming north to the California coast two years ago. No one knows why they came here. No one knows the impact they will have on the state’s economy and the environment. Scientists are on the case, but answers elude them. After all, these aliens do not speak our language and they currently reside miles from shore, more than 100 fathoms down, occasionally rising to the surface when overcome by a feeding frenzy.

    Clearly, the giant Humboldt squid (Dosidicus gigas) is not your ordinary migrant. It’s a cephalopod that grows to over a hundred pounds, eats voraciously and may possess an intelligence quotient comparable to that of many mammals. Originally named for the Humboldt Current that flows northward along the coast of Chile, the creature’s presence in California has baffled local biologists, ecologists and fishermen. Now, just a decade after their discovery in our waters, they have become an expected wintertime phenomenon.

    Stanford professor Dr. William Gilly has studied the Humboldt squid for about five years, but it was almost three decades ago that he first heard about the animals. In the 1980s, he traveled up and down the Baja California peninsula seeking out the squid in the Sea of Cortez, but to no avail. Finally, in 1994, he made contact near Santa Rosalia. He discovered on the beach a bustling squid-processing plant, based on a strong localized fishery that had existed for years. He observed fishermen in the middle of the night beaching their small skiffs and weighing in thousands of kilos of the hefty squid.

    “There’s also a big fishery off Peru and Chile,” says Gilly, “and we’ve identified them as far as 60 degrees north. They’re incredibly temperature-tolerant and oxygen-tolerant, so why they’re only expanding their range now, I don’t know. They’ve been fishing for them off South America since the 1960s, but where they started before that and where they spread from is unclear.”

    In spite of their large size, Humboldts live only one to two years. Their growth rate approaches one millimeter per day, a phenomenal pace. In these regards, Gilly likens a Humboldt squid to a human baby that has achieved blue-whale dimensions before its parents have even thought about signing the kid up for preschool. And so Humboldt squid are gluttonous eaters. They eat and eat and eat. They ingest krill, they chomp fish, they attack small sharks, they devour each other and they do not stop, ever.

    That, of course, has left fishermen in California wondering: What impact will the squid have on our already struggling fish stocks? Gilly, one of the premier experts on the Humboldt squid, says it is too early to know. No one is even sure yet how many squid are presently out there, how long they will stay or what group of fish they will choose as their staple.

    Ink Fest!

    Rick Powers, a fishing boat captain in Bodega Bay, believes that the squid have selected rockfish as their dish of choice, and are currently devouring what remains of local populations. Powers’ livelihood once thrived on those deepwater fish. He ran boatloads of customers out to Cordell Banks, a region of submarine terrain hundreds of feet underwater off the coast of Northern California. In several hours of fishing, his customers would fill gunny sacks full of the colorful, big-mouthed, spiny-backed rockfish, and every day Powers motored back to the dock and shepherded his clients onto solid ground again, each of them toting an 80-pound sack. Then, in 2003, the Department of Fish and Game put Cordell Banks off limits to rockfishing, and the legendary fishing trips came to a halt.

    But the Humboldt squid have spawned a new and profitable fishery, and for a year now Powers has been taking customers out to his old stomping grounds. He began running his first squid trips in the winter of 2005. The results were spectacular. His boat hauled in 10,000 to 20,000 pounds of squid almost on a daily basis, according to web and newspaper fishing reports. The high and consistent scores from Powers’ boat gained the captain a following of anglers who began coming from as far away as Nevada to fish under his guidance and enjoy the messy thrill of an “ink fest,” a brand-new experience that might find an angler by noon covered in the black emissions of the squid and standing knee-deep in expired specimens.

    This past November, as with last year and the year before, the squid showed up abruptly en masse, and Powers’ expeditions started again. As a fisherman, I follow the daily reports and confess that I found the prospect of sliming myself in dead squid very appealing. My brother Andrew had also been reading the online fishing reports, dreaming of ink and slime and chaos, and in early February I called Rick Powers to reserve two spaces on his boat, the New Sea Angler.

    As dawn broke over the eastern dairy-land hills of Sonoma, the 65-foot-boat steadily filled with fishermen. Each had a pocket full of cash, a heavy-duty fishing rod and images of monster squid dancing in his head. When 30 of the 35 expected fishermen had signed in, our captain called us back to the stern of the vessel to give his morning introductions.

    “Welcome to the New Sea Angler,” he said. “I’m Rick Powers, and this is my boat.” The two young and sleepy deckhands stood sullenly by as the captain detailed the mission plan in a speech they had doubtless heard a hundred times before. “You guys are warriors,” Powers said gravely. The harbor was quiet with the soft sounds of a new day, and the captain’s voice produced an intense excitement about what would soon take place 20 miles from shore. “I see you laughing over there, but it’s true: you are warriors, and today we’re going to war. We are going to do battle with giant Humboldt squid.”

    Powers introduced himself as the man who discovered the Humboldt squid in local waters 10 years ago. At the time, he was donating his services as a captain toward Department of Fish and Game fish counts at Cordell Banks. While fishing for rockfish and lingcod, the biologists on board began to haul up from the depths 20- and 30-pound squid, animals that had scarcely been seen before in local waters.

    In subsequent years, the squid showed up in increasing numbers, and Powers began to suspect two things: one, that the squid were eating his rockfish; and, two, that bored fishermen would pay prime cash to pursue the beasts. Powers was right about the fishermen. They zeroed in from all over the state, over freezing mountain ranges and terrible deserts, across valleys and rivers, all the way to Bodega Bay to take part in what Powers calls “the most exciting fishery you’ll ever see, hands down.”

    I See Color

    With the sun rising above the harbor, Powers described how a school of squid will follow the hooked individuals toward the surface, how the animals go nuts and begin to eat each other and attack the anglers’ lures with accelerating fury.

    “And there’s no legal limit on these squid. That’s the beauty of this fishery. And right now, they’re out there devouring our rockfish, and you’re actually doing them good by taking these squid.”

    After explaining the ecological virtues of filling the New Sea Angler with tons—literally tons—of squid, the captain added in a solemn tone that a responsible fisherman never takes more than he or she needs.

    “Some people are happy once they’ve gotten two, others want 22, but the bottom line is, no squid gets left on my boat at the day’s end, and you only take what you can utilize.”

    With that, Capt. Powers promptly disappeared into the wheelhouse, fired the engine and motored the happy lot of us out of the harbor to do some eco-friendly damage at Cordell Banks. The ride there from Bodega Bay would take two solid hours, and my brother and I crammed in beside each other at one of the small wooden tables in the cabin. The men around us (there was only one woman) were of varying sorts. Many were salty veterans of the Cordell Banks squid runs; others were soft-skinned doctors and real estate agents who didn’t know a fishing rod from a power drill.

    Two old, gray-haired fishermen from the Sacramento suburbs sat across from Andrew and me. They began to tie knots and sharpen fishhooks while discussing their favorite Central Valley hobbies. One evidently poached salmon in the Feather River in season, another shot black bears out of trees, and each used racial slurs as casually as a veterinarian calls a dog a bitch. Andrew asked them about cooking squid. The men growled that they did not care much for the stuff, and that they would be using most of their squid steaks for crab bait.

    The boat’s motor slowed at about 9am, and the captain began to turn in a wide circle. He must have something on the screen, the fishermen in the cabin mused. We put on our coats, went outside into the fog and began to line the rails and ready our tackle. We each tied an eight-inch-long, missile-shaped squid-jig to the line, a dangerous lure furnished with 42 sharp steel needles that point upward and serve as so many hooks. The boat meandered slowly through the mist for 10 suspenseful minutes before the engine halted and Powers’ voice roared through the intercom.

    “Giant squid below! Drop the lines, go all the way to the bottom!”

    That meant a drop of more than 500 feet. Each fisherman flipped his reel out of gear and let the heavy lure dive for the bottom of the sea. Three minutes later my squid-jig finally hit bottom. I engaged the reel and cranked back several feet of 50-pound line when a great weight halted my efforts and bent the rod over the rail.

    I gasped at the power pulling from below. Andrew, fishing beside me, suddenly hooked up as well. I glanced up the rail toward the bow and back toward the stern, and all but two or three anglers were evidently hooked into Humboldt squid. The heavy creatures came up slowly. Periodically they resisted and pulled 10, 20 or 30 feet of hard-earned line off the reel before the angler could resume the long haul up from the depths.

    In other types of fishing, the exciting moment comes when the fish first strikes. The angler shouts “Fish on!” and his neighbors all bubble with excitement and lean this way and that to admire the fight. Meanwhile, the deckhand comes running with the net, and a minute later the fish is flopping on the deck. But in the pursuit of giant squid, the strike is hardly dramatic—just a sudden dull resistance—and the fight lasts 15 minutes or more and is relatively boring. In due time, however, the creature from the deep finally appears some 30 feet below the surface as a reddish brown mass, and the fisherman’s cry comes as “I see color!”

    This prompts the deckhand. He appears in a hurry, clad in yellow slickers with a 10-foot-long gaff in his hand. The squid grows larger in the clear water as the angler gains line. The deckhand stands by as the fisherman struggles to gain the last 10 feet. The squid approaches the surface, as alien and dangerous to it as the bottom of the sea would be to a person. The gaff goes down and meets the four-foot animal. The deckhand sinks the giant hook into the base of the head and black ink jets 12 feet into the air, splattering the boat and several occupants.

    The 20-pound squid comes over the rail and hits the deck with a dull plop as another shout for the gaff comes from the other side of the boat. Then comes another cry from the stern, another from the bow, then a chorus of cries from all around the rail, and just like that the poor deckhands enter a four-hour squid-gaffing marathon: “I see color!”

    A fishing session at Cordell Banks lasts generally from 9am until about 2pm. By 1 o’clock, my brother and I had nearly 200 pounds of Humboldt squid. My arms and back ached with the strain of reeling them to the surface. The animals lay strewn over the deck less than ankle-deep—a relatively slow day so far. Yet my bothersome conscience loaded my shoulders with guilt as I contemplated the killing. I generally approve of dispatching an animal if one intends to eat it, but I wasn’t sure that I wanted so much squid.

    I recalled an occasion in Baja California when I found a large Humboldt dying on a remote beach north of Mulege. I chased away the gulls that had liberated the three-foot long squid of its eyeballs, and I proceeded to kill and butcher it with my knife. I went away with a two-pound hunk and cooked it over a fire. I ate most of the meat, then vomited in the bushes and experienced stomach difficulties for two days.

    “Andrew,” I said in a mild state of epiphany, “we’re going to have to eat all this stuff.”

    I set my rod down for a moment to make an exact count and an estimation of the slimy biomass we would soon be cramming into my brother’s car. A deckhand saw my idleness and hurried over to ask why I was not attempting to catch another squid.

    “I’m done. We can’t take any more,” I said. “We’re driving a Honda Civic.”

    “Drop your line,” he commanded. And then to the whole starboard side of the boat: “Drop your lines back down, everybody!” And then came Powers’ voice on the intercom: “Keep fishing! Don’t lose ’em! Keep the squid at the surface! Get your lines in the water! You’re fishing like a bunch of grandmas!”

    Under the watchful eyes of deckhand and skipper, I reluctantly dropped my squid-jig again. Powers announced that the school was holding at about 250 feet, so I dropped only 70 feet before engaging the reel again and hanging my lure in barren waters. I figured I would be safe there, but lo and behold, Powers’ excited voice roared through the intercom again.

    “The squid are coming up! I see ’em at 225 feet, and they’re rising. Two hundred! Oh, 180! There’s 90! Squid at 90 feet!” I began to reel up frantically lest I wind up hooked into another 20-pound piece of meat. “Sixty feet!” Powers shouted. “They’re right under the boat. They’re charging the boat! Man your battle stations, put your helmets on! Let’s get some squiiiiiiiiid!”

    I could not keep my lure from the rising school, and at about 40 feet, my rod bent over and pulled me against the rail. My brother, too, reeled his lure up as fast as he could. His white squid-jig came into sight below. A big Humboldt followed in hot pursuit, however, and then another appeared. Each scooted forward with eager tentacles reaching for the tempting little trinket. “No, no, no!” cried Andrew as he cranked away, but 10 feet from the surface the foremost squid slipped its tentacles around the jig—and its fate was sealed.

    The deckhand saw us each hooked up again and said, “Nice, nice!” Andrew’s squid remained just under the boat. We watched it struggle 20 feet down. As it tired, one of its own mates sensed a disadvantage. It charged, tackled and took a bite from the doomed squid’s meaty mantle.

    Meanwhile, every other fisherman was engaged in a battle of his own. Bright red squid splashed at the surface all along our side of the vessel. They waved their alien tentacles in the air and spewed ink in large arcs that rained down on the fishermen as they shouted for the gaff. The deck of the boat grew thicker with dead squid, and through the intercom, Powers told his customers to use caution as they moved about the slimy deck—and to keep on fishing.

    This killing frenzy reminded me of the old days of whaling and passenger pigeons and bison. It reminded me of men who killed for fun, killed for days, killed for blood, killed by the thousands. What was the point of all this? Would all these animals really be eaten?

    I was tired of the ink fest, and I was not alone. Several fishermen had already sneaked away to the cabin, yet the deckhands remained busy. They raced around the boat. Sweat beaded on their foreheads and ran down their cheeks in black streams as they hauled more and more squid onto the New Sea Angler. “Don’t let ’em get away!” ordered Powers from the comfort of the wheelhouse. The animals swarmed beneath the vessel. We watched them attack lures and cannibalize each other. “I see color!” anglers cried, and the frenzy went on for another hour.

    Beyond Sunlight

    On the ride back to port, Andrew and I again claimed a table. With inky hands, we each opened a beer and drank to the day. We estimated that we and our fellow fishermen on the New Sea Angler landed about 10 squid each—a total catch of 350 to 400. Yet Captain Powers would later report on www.usafishing.com a precise catch of 625 squid, the largest weighing exactly 46 pounds. Yet no squid count or weigh-in ever took place. But what the hell. Powers knows that these tremendous numbers attract customers who will almost certainly go home at the day’s end with all the squid they can manage. Nobody counts his catch, another inflated report goes on the web, more hungry fishermen reserve spots on the New Sea Angler, and the cycle goes on.

    The prevailing aspect of the squid fishery is its grotesqueness: the ink, the slime, the squid writhing on the gaff, the sheer mass of dead creatures, and the fact that fishermen happily pay 80 bucks apiece to produce such pulpy carnage. They say that squid harbor first-rate intelligence within their squishy heads. It bothers me to think that they knew what we were doing to them, that they comprehended their fate as they came over the rail spewing the last of their ink and fluttering their fins.

    Dr. Gilly feels for the animals, too. “I’ll admit that it gets pretty sad to see them hacked up and thrown all around a fishing boat,” he says.

    But Gilly himself fishes for Humboldt squid now and then. He even eats his subjects on occasion and reports that squid from colder waters taste better than varietals in the lower latitudes. Primarily, though, Gilly catches, tags and releases squid. Commercial and recreational fishermen recover some of these tags while other tags correspond with satellite signals, and Gilly has documented Dosidicus gigas traveling 100 miles in as little as three days.

    His tagging studies have also enabled him to make educated guesses at the number of Humboldts swarming in the Pacific. For example, in a region of just several square miles in the central Sea of Cortez, Gilly estimates that there live over 4 million Humboldt squid.

    But where was the stronghold of Dosidicus gigas before the great migration began? While the squid have been a routine presence in the Sea of Cortez for as long as most living people can remember, Gilly believes that they came from elsewhere still. He cites the 1940 sea voyage of John Steinbeck and Ed Ricketts. The pair traveled with a small crew from Monterey south around Cabo San Lucas and northward far into the Sea of Cortez. Their voyage was exploratory, and the men made observations of sea creatures in both tide pools and offshore waters. In 2004, Gilly and several biologists replicated the journey. They compared notes to the journals of Steinbeck to see what changes had occurred in the Cortez over the decades. They visited the same places on a similar boat.

    “We went everywhere they did,” says Gilly. “We saw squid every night, but Steinbeck never reported squid. Maybe 1940 was an anomaly, but no evidence suggests that it was an El Niño year.”

    Gilly suspects that sometime since 1940 Dosidicus gigas invaded the Cortez. Does that make the species today non-native to Mexican waters? And what about Northern California, where it has thrived for less than a decade? Is it an invader? Does it belong here? Rick Powers wavers on the issue, enjoying a highly successful new squid-fishing business while simultaneously condemning them as destructive intruders.

    But Gilly gives the matter more thought. “Dosidicus is an incredibly devastating predator,” he says, “but they’re also prey for lots of bigger predators. They’re destructive on one side and incredibly beneficial on the other side. People should understand that these things in ecology aren’t always good or bad. They’re a double-edged sword.”

    I agree with Gilly. The world changes. Species come, others go. Remember the dinosaurs? Mammals took over the world. The woolly mammoths? We killed them all. All those strange birds endemic to Hawaii? Replaced last century by mongooses and exotic snakes. It’s sad in some respects, very interesting in others. The Humboldt squid expansion may bring disaster to fish populations, but we are currently observing an unexplained phenomenon in the eastern Pacific Ocean’s ecosystem.

    Well, sort of. The squid dwell beyond sunlight and beyond the eyes of science. The details of their private lives and habits remain largely unknown, and these fascinating mysteries will likely persist for some time. As 20-pound slabs of meat, Humboldt squid are quite easily hauled up from the depths—it just takes a little muscle—but as reliable pieces of informative data, Humboldt squid remain in the dark. About all we can say for certain is that along the West Coast of the New World, at 100 to 400 fathoms, Dosidicus gigas swarms.

    Meanwhile, hapless rockfish perish over the deep reefs, Dr. Gilly speculates at Stanford University and out at Cordell Banks, on the deck of the New Sea Angler, the cry for the gaff comes again and again: “I see color!”


    Paris Postcard

    March 14-20, 2007

    A few years back, Amélie gave us the idea of a gamin rehabilitating Paris. OK, let me phrase that: Amélie reinforced the idea most of us have of Paris, as a celestial city pearly with clouds, a place of permanent residence only for the very lucky living and the celebrated dead.

    Director Danièle Thompson’s Avenue Montaigne isn’t going to rouse us out of that swoon. Give it credit for an intellectual zest missing from Amélie, even in a similar story of a girl blessing hard-working artists and art lovers.

    “You’re a ray of sunshine,” says the grandmother of the heroine Jessica (Cécile de France), and Thompson (La Bûche, Jet Lag) treats Jessica as if that’s what she were, illuminating and warming the people she passes by. Jessica’s grandmother has a story she likes to tell about how she managed to rub up against the presence of wealth by getting a job at the Ritz. Her granddaughter, in town from her home in Macon, has a short haircut, a tight T-shirt and enough overbite to make her look like a friendly squirrel. She talks her way into a waitress job at the Bar des Teatres on Avenue Montaigne.

    The bar is at a nexus of two theaters and an auction hall. Barkeeper Marcel says he’ll break sacred tradition that says only men shall be garçons, and bring Jessica as a temporary waitress. He has no choice; there’s a perfect storm brewing of cultural events all on the same night: an art auction, a performance by the renowned pianist Jean-Francois Lefort (Albert Dupontel) and the opening of a revival of Feydeau’s farce Mais n’te promène donc pas toute nue. (My translation is “Don’t Run Around Naked Like That,” but anyone with a real grasp of French can surely do better.)

    As a waitress, Jessica is privy to the problems of the three people deepest involved in these happenings. Take the leading lady in the Feydeau, a renowned soap-opera star. Catherine (Valérie Lemercier) is as impossible as Barbra Streisand. She drives her director nuts trying to find the psychological realism in a play that needs to be performed like a Monty Python sketch in order to work.

    Catherine’s ordinarily prickly temperament is worsened when she learns that the American movie director Brian Sobinski (Sydney Pollack) is in town, trying to cast the leads in a Sartre biopic. The process is underway, as we can see from a shot of a line of auditioning actors on a bench, all trying to look rumpled, preoccupied and wall-eyed. Catherine knows she’s Simone de Beauvoir, damn it, and makes herself miserable trying to land the role.

    On her rounds, Jessica brings mint cordials to the pianist Jean-Francois. He is dying inside; he’s overbooked and deeply sick of the pomp surrounding the world of classical music. His wife, who is accustomed to his nerves, can’t take his outbursts seriously. And she refuses to listen to his complaints that he’s being smothered.

    Jean-Francois’ acquaintance Grumberg (Claude Brasseur) must be suffering something similar, since he’s liquidating his collection of modern art. Grumberg is a rarity in French cinema–a self-made millionaire who doesn’t have a single crime in his background. Having risen up from a taxi driver to become an airline magnate, he’s now getting rid of the treasure-trove of art he and his late wife collected on a whim. Grumberg is amused by the circumstance: “I’m selling these paintings, but I couldn’t afford to buy them.” Grumberg’s bitter son Frederic is angry enough at seeing his patrimony on the auction block, but he has another barb in him: the old man is also carrying on with a girl half his age.

    I suppose no one deserves the Legion of Honor for making Paris look good in a movie, but Thompson demonstrates special taste and intelligence. If she gives us the bridges and the river light, she also gives us a rainy morning at a public hospital. Avenue Montaigne is sweet, but it’s not candy-coated. It notes the effect big money has had on Paris, and how that loot has corroded our dream of a place where everyone can find his or her niche, and where natural aristocrats can rise. Thompson notes this obscene wealth in a glance: a shop window that advertises a pair of gloves selling for 550 Euros, while he suggests the reality of a city–like New Orleans or San Francisco–that sells what it used to give away.

    ‘Avenue Montaigne’ opens March 16 at the Smith Rafael Film Center and on March 22 at the Rialto Cinemas Lakeside.


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