Sustainability

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Photograph by Rachel Robinson

Waste Not: Environmentally minded restaurants do their best to avoid wasteful items like styrofoam containers, water bottles, and plastic cutlery.

It’s So Easy Eating Green

Restaurants inch toward sustainability

By Sara Bir

The restaurant industry accounts for 10 percent of the U.S. economy. That means that tons of crumpled napkins, countless gallons of sanitizer-laced dishwater, and millions of those little squeezable ketchup packets result from our national obsession with eating out.

Running a conventional foodservice outlet is hardly an environmentally benign pursuit. Restaurants–both casual and fine-dining–have a thirst for resources. Anyone who’s ever worked in one, and especially anyone who’s ever owned one, knows that for sure.

There are tablecloths to wash, menus to print, ovens and burners to keep cranked up all day long, and walk-in coolers that your kitchen staff dart in and out of about a thousand times per shift. There are surfaces to sterilize, grease traps to unclog, and piles and piles of broken-down cardboard boxes to deal with. And that’s not even counting the food.

Staying on top of what seafood is overfished or sustainably caught from week to week is in itself a huge chore. But for the growing number of chefs out there who respect good food and want to continue to share it with other people, seeking out fresh, locally grown, organic food is worth the effort. It’s also a draw for savvy customers, and it’s more and more common for restaurants to proudly proclaim the pedigree of the meat and produce on their menus.

There’s more to being green than using organic products, though. Organic produce keeps pesticides and chemical runoff out of our water and soil, but it does not keep trash out of landfills and it does not conserve energy within the restaurant. Restaurants are one of the country’s top consumers of energy. According to the National Restaurant Association, they account for 42 percent of all retail spending on fuels for heating. That’s why some chefs and restaurateurs are pitching in to make dining out a greener experience.

Erin Wheeler is a chef and one of the five co-owners of Sparks, a vegan restaurant that opened in Cotati in 2001 and later moved to Guerneville. Sparks’ earth-friendly consciousness extends beyond the food on the plate to the plate itself and the napkin next to it. “We pretty much recycle everything that we use,” Wheeler says. “Granted, we do have trash, but it’s very minimal. Lots of the goods we use come in recyclable containers, because they are from sustainable, organic companies.”

One of Sparks’ employees does all of the recycling, including the organic waste, which she composts for her garden. “All of our entrées come with a vegetable, usually broccoli or chard or kale. We all have dogs, and we take the stems of those and make doggie stew,” says Wheeler.

Instead of using paper napkins, Sparks has cloth hemp napkins, and its menus and promotional literature are printed on paper made from recycled U.S. paper money. “We use biodegradable to-go containers,” says Wheeler. “We have cornstarch and wheat-starch spoons, forks, knives, and straws for to-go orders. We get our peanut butter and tahini in nine-pound buckets, and we sterilize [the buckets] and use them as part of our storage of food and whatnot. We try to reuse everything.”

That makes sense from a profit standpoint too, since the restaurant has already paid for the packaging of those items once. Reusing these instead of buying other food storage containers saves money.

For catering–one of the most waste-intensive segments of the foodservice industry, since everything must be packaged and transported–Sparks avoids going through spools of plastic wrap by using Tupperware-type containers with tight-sealing lids.

As for the food, “we definitely do on-site composting and recycling at caterings,” Wheeler says. “We take responsibility of disposals for both and bring them back to the restaurant and incorporate that into our normal composting and recycling.”

Another not-so-obvious aspect of the foodservice industry–transportation–can also be approached with a sustainable mindset. All of Sparks’ catering and deliveries are done with a vehicle that runs on biodiesel.

Roxanne’s, a fine-dining raw-foods restaurant in Larkspur, whose arrival over a year ago was much touted in glossy lifestyle magazines, built sustainability down to the smallest detail into its restaurant from the ground up. For instance, all of the wood used in the construction of the restaurant was recycled or certified sustainably harvested.

The painted walls are free of chemical sealants or dyes; the counters are sunflowers pressed into composite board; the chair covers and banquettes are made from organic hemp chenille; and the curtains, tablecloths, and napkins are of unbleached organic cotton. To keep the loop as closed as possible, Roxanne’s even has a photovoltaic solar plant installed on its roof.

Chef Roxanne Klein and husband/co-owner have been criticized in some circles as idealistic dilettantes using the restaurant as an expensive hobby; the couple made millions in telecommunications, which they’ve used to finance the restaurant, and most restaurateurs, of course, don’t have that kind of money to funnel into their business. Whatever the case may be, Roxanne’s commitment to sustainability is very clear.

Still, you don’t have to break the bank to save the earth. Wheeler says that because Sparks was set up to produce as little waste as possible from the get-go, it’s just an established part of operations.

“It’s very much built into our routine,” she says. “That’s how we started–wanting to be a sustainable business. It does take a little bit of time, but I think it also saves us time. Gathering all of the compost and recycling when leaving a catering site takes five more minutes than it does to just leave the trash there. But it’s something we’re committed to, and it’s worth our time.”

Make that everyone’s time.

Dine Out and Cut the Waste

Ultimately, it’s not up to restaurants to make positive environmental choices–it’s up to you. Every time you eat out, your dollars support the practices, good or harmful, that a restaurant follows. And while you may not always feel motivated to dine at establishments with reclaimed timber beams and biodegradable cutlery, there are still many ways to be a more conscious consumer.

* Bring your own damn coffee cup to the coffee shop. Many places offer discounts for this, anyway. If nothing else, decline the very pointless extra cup some places use as a barrier for heat.

* If you don’t want something–butter for your bread, water glasses, cream for your coffee–request that it not be brought to the table. Often, it just gets tossed anyway, even if it wasn’t used.

* Find out where the restaurant’s meat, produce, and bread comes from. Is it a local farmer or baker? If so, you are helping to cut down on transportation, supporting local economy, and probably getting fresher food.

* If a takeout place you fancy uses styrofoam containers or just plain excessive packaging, ask them to change it. Better yet, tell them you’ll bring your own container. (Be warned: You will get weird looks.) And decline plastic bags.

* Drink draft beer. It takes energy to cart bottles to the recycling plant or landfill. Kegs use much less packaging, and draft beer is usually cheaper and better anyway.

* With napkins, straws, and mustard and ketchup packets, only take what you assume you’ll need.

* Instead of taking out, dine in. You’re already paying for the food, so why not get the dining experience–with real plates and food whose pedigree is known–to go along with it?

Resources

Chefs Collaborative is a national network of more than 1,000 members of the food community who promote sustainable cuisine by supporting local, seasonal, and artisan cooking. Their focus is on sustainable food choices. Local members include Farmhouse Inn and Restaurant in Forestville and Roxanne’s in Larkspur. www.chefscollaborative.org.

Slow Food, the much-ballyhooed international organization, has a clear manifesto: to protect “the right to taste.” In the North Bay alone there are five convivia, or chapters. www.slowfood.com.

The Mountain Peoples Warehouse–a division of United Natural Foods–is the first distribution company in the country to be fully certified as a handler of organic products. Mountain Peoples Warehouse distributes wholesale to natural food stores, supermarkets, buying clubs, and restaurants. www.unfiwest.com

The nonprofit, San Diego-based Green Restaurant Association offers consulting, education, marketing, and community organizing to provide a convenient way for all segments of the restaurant industry to become more environmentally sustainable. To become a certified green restaurant, establishments commit to implementing a recycling program and completing four environmental steps per year of membership. www.dinegreen.com.

From the July 17-23, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Sustainability Tours

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Photograph by Michael Amsler

Making Waves: Trathen Heckman’s sustainability tours spread the good word about what locals are doing to live light on the land.

The Magical Sustainability Tour

Daily Acts’ ongoing Sustainability Tours series is an idea with legs

By Sara Bir

Reading about straw-bale construction in a magazine can be inspiring, and hearing a story on the radio about organic waste composting can spark some interest. But it’s much easier to get geared up about concepts of sustainability when you can actually see people putting them into action, and can look and feel and touch and smell and ask questions.

It’s that concept–seeing is believing, and maybe even a little bit more–that propels the Sustainability Tours organized by the group Daily Acts. Since the first tour last year, folks have seen how biodiesel is made, nibbled on organically grown medicinal herbs, and gotten their hands dirty putting in sheet mulch–all viable options that can be easily implemented into our daily lives.

The magical but hardly mysterious tours began last May, spearheaded by Trathen Heckman, whose inspiration had come from an article he read about a bike tour in Berkeley where participants pedaled from one instructional site to another to see volunteers demonstrate sustainable-living practices.

Heckman put together a Memorial Day tour of various West County sites, including Laguna Farms’ Community Shared Agriculture farm in Sebastopol and a naturalized conventional home in Ocean Song. Over 70 people signed up. The group was divided in two, and eight donated Toyota Prius hybrid cars crisscrossed West Sonoma County, carting folks from Sebastopol to Monte Rio.

The tour brought many people in contact with new ideas, but it only scratched the surface of the sustainable efforts already going on in the North Bay. So this year, Daily Acts didn’t just reprise last year’s tour, they put together a whole series of tours, each with a specific focus: green building, agriculture, community.

“The idea is to use the style and approach of last year’s tour,” says Heckman, “but expand it and do a series of six to 10 different tours, highlighting everything from green and natural building to permaculture, farms, veggie vehicles–all of it.”

Each tour visits three to four locations, and if driving is necessary, roughly 70 percent to 80 percent of the transportation furnished is through vehicles using alternative energy–hybrid cars and vehicles converted to run on biodiesel and vegetable oil–creating an additional demonstrative resource for participants.

This summer’s first tour, May 25th’s “Green Building Tour,” included stops at an environmentally sustainable estate home in Sonoma, 40 Oaks Intentional Community, and Sonoma State’s Environmental Technology Center.

A walking tour through Sebastopol on May 31 wove together three examples of urban dwellers working both independently in their homes and together as a community to make sustainability happen on small and large scales. Led by Erik Ohlsen, a cofounder of the RITES Project who was involved with last year’s tour, the day began in Ohlsen’s backyard garden, which calls on permaculture principles for a distinctly suburban setting.

The tour then proceeded downtown, where Green Party mayor Craig Litwin led the group in sheet-mulching one of the pesticide-free flower beds in front of the police station. The afternoon concluded with a visit to the site of the Sebastopol Community Garden and the proposed sight of the West County Skateboard Park and permaculture garden project.

Heckman, whose impish grin radiates contagious enthusiasm, has seen the tours, particularly the green building tour, draw crowds with all ages represented. One woman, who was present at last year’s inaugural tour on May 25–which happens to be her birthday–showed up for this year’s “Green Building Tour” with her three twenty-something sons in tow. “She’s making it a regular birthday event,” Heckman says.

Most recently, June 29th’s “West County Delight” brought participants to the Occidental Arts and Ecology Center for a “Brock Walk” with Brock Dolman, and then to Taylor Maid Farms to hear Michael Presley. The tour’s finale was Heckman’s own Monte Rio house, an inspiration in itself with its terraced gardens, which Heckman has been reclaiming from the perilously steep hillside for two years.

“Each tour, people have been beyond satiation,” says Heckman. “We’re actually going to scale them down to three sites, because it’s such an overload of good stimulus. And as well as introducing people to all of the great sites, we want to have the space and the time built into the tours for people to just connect.

“In the total five tours we’ve done, we’ve visited 19 locations, ranging from individual backyards to county officials to nonprofits to farms to businesses. Just a really wide range of organizations and groups we’ve pulled in.” About 160 people have attended the tours so far.

Participants receive a copy of a resource list and a “magic seed ball,” an orb of clay, about the size of a large marble, containing native plant sees which you can toss out into the woods during a walk or even from the window of your car. They also get to take home a copy of Ripples, a journal which Heckman produces for Daily Acts that’s infused with a casual, positive tone and filled with easy-to-apply solutions and meditations on striking a sustainable balance in our lives.

The “Good ‘n’ Plenty” tour on June 7 had an agricultural focus and featured Shone Farm, the site of Santa Rosa Junior College’s sustainable agriculture program. Laura Mendes, coordinator for the sustainable ag program, led the Shone Farm tour.

“The sustainable ag program is fairly new, it’s kind of in its infancy. Over the last five years it’s been developed,” Mendes says. “We use the Shone Farm as an outdoor laboratory for hands-on instruction.”

The farm, which is on River Road in Forestville, about 10 miles from the SRJC campus, has 120 acres of forest, 60 acres of vineyard, and a 5-acre organic market garden, as well as a 1-acre food-pyramid garden that represents all the food groups.

For sites like Shone Farm, participation in the sustainability tours can help get the word out about their programs, which many people might not be aware of otherwise. “It’s grown steadily, but I think there’s a lot of people who don’t know it actually exists,” Mendes says of the sustainable agriculture program. “It’s kind of been word-of-mouth. It’s been really exciting to see the program grow. There’s always more room for it to develop even further, though. I think the tour will be a good opportunity to show some people what we’re doing.”

New July tours and August tours are in the works, with ideally one tour a month over the next four months. “On one end, we’re getting more people in the community involved, and raising the ecological literacy, and then we’re drawing new folks in,” says Heckman. “On our end, you have these people who are working really hard to make it their livelihood. And they need more support, and they don’t often have the time to get the recognition. So we’re better linking up our own sort of green networks.”

The next tour, set for July 26, tentatively includes the California School of Herbal Studies, Laguna Farm, and the Food for Thought AIDS food bank. Closer toward winter, the tours will have less of a gardening focus and more of a slant toward watersheds and green building–a topic that can withstand inclement weather.

Most of this year’s tours are designed to be done more than once. “By doing the same tours, it’s easier logistically to have as many as 15 or 20 tours, if it comes together well,” Heckman says. “The idea is to create a strong framework and base to grow the tours and have them everywhere in the county by next year, with lots of folks involved . . . and to also set it up as a model that can be duplicated or used in other counties and states.

“It’s one of those things, as far as a permaculture maxim: least amount of energy for the greatest amount of change. Overall, the tours–because all of the work’s already being done and we’re linking it up–reap an enormous amount of change.”

For questions or reservations for the ‘Food, Medicine, and Wonder Tour’ on Saturday, July 26, or the ‘Green Building Tour’ in late August, send an e-mail with contact information to da*******@****sp.com, or mail to Daily Acts, P.O. Box 826, Monte Rio, CA, 95462. Cost per tour is on a sliding scale of $20-$50, with no one turned away for lack of funds.

From the July 10-16, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Rosemary

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Love Goes Where Rosemary Grows

There’s no need to pine for plentiful rosemary

By Sara Bir

Dear Neighbors: I owe all of you an apology–but not really. Though first I must explain that if you have spotted a shadowy figure of limited stealth darting around the fringes of your yard with a pair of scissors at dusk, it was probably me, violating your rosemary bush.

It’s simply impossible to resort to buying rosemary at the grocery store, since it’s much more logical to steal a sprig or two from you. Buying rosemary makes about as much sense as investing in pet rocks when you’ve got a gravel driveway. Though my residence is the only house on the block that has not incorporated rosemary as a landscaping element, I do intend to rectify this situation. But in the meantime I shall continue to rape the locks of your shrubs’ plumage.

In your yards you will find two general types of rosemary shrubs: upright and prostrate. The upright has longer, spindlier leaves, straighter stems, and takes well to being shaped into whimsical topiary forms. The prostrate type’s leaves are shorter and stubbier, so this type is best suited for herb pots, edging, and rock gardens. You find both types in abundance in yards throughout Northern California–and, yes, our block. Pruning helps to keep rosemary young and shapely, so my thieving actions are in reality quite helpful to you.

A recent visit to my parents’ home in Ohio clarified our fortunate situation here in California. Despite all efforts, my mother’s rosemary refuses to grow into anything beyond a few anemic sprigs, and she can’t toss the stuff around as casually as we can in its many applications, culinary and otherwise.

Hearty rosemary thrives in cool climates tempered with salty winds from the sea. The rocky coasts of France and Spain were originally home to rosemary. Pliny the Elder gave the herb the name rosmarinus, which means “sea dew.”

Rosemary’s potency will impart a lingering perfume, clinging and sticky, upon the fingers after even the slightest brush. Perhaps this is why the herb has, for ages, been equated with strengthening memory. This attribute has made it an emblem of lovers and fidelity, giving it strong symbolic ties to wedding ceremonies.

During the dark and smelly Middle Ages, rosemary’s pungency was called upon for all sorts of household freshening. Clothes and bed linens were stored in chests filled with rosemary sprigs, and it was said that bedding on rosemary-scented sheets would rid sleepers of evil dreams. Branches were strewn on floors to release their fragrance when trod upon. Even today, rosemary branches placed under doormats will omit welcome doses of low-tech freshness highly preferable to a Glade Plug-In.

There’s a charming legend of the Virgin Mary which claims that while resting on the flight from Egypt, she draped her cloak over a white-flowered bush of rosemary, and for ever after its flowers were as blue as her robe. Another legend likens the growth of a rosemary shrub to that of Jesus, and states that after 33 years, it increases in breadth but never in height.

With the exception of landscaping, we now most commonly see rosemary employed in the kitchen. Very liberal use of the herb most often will not pay off, as rosemary can be a stage hog if you let it, spoiling all the other ingredients’ fun. There’s also a texture issue: Rosemary’s spiny, stiff leaves have a penchant for cramming themselves between your teeth.

There are a few ways to harness the flavor of rosemary and get around the unsightly smile problem. One is to tie the rosemary in cheesecloth to simmer in soups and stews (you could just throw a whole sprig in there, naked, but the leaves will most likely fall off the stem).

Another method is to infuse your cooking oil with rosemary just prior to sautéing or roasting. Over medium heat, allow the herbs to steep in the oil until they are fragrant and dark, but not black. I especially enjoy this technique for flavoring puréed white-bean dips, because the rosemary leaves can make them look oddly speckled.

Rosemary’s piny heft pairs well with meats like beef or pork but especially chicken, and in particular roasted chicken. All you need to do is stuff the cavity liberally with rosemary sprigs and roast away, maybe scattering some roughly chopped rosemary on the outside, too. To make a quick sauce for sautéed chicken, quickly simmer lemon juice, honey, and rosemary in the pan drippings.

Rosemary and lamb have long been a good pair. I like to make a highly seasoned green herb paste with basil, parsley, rosemary, olive oil, and a few cloves of garlic to smear all over a leg of lamb before roasting.

Recipes for bar nuts can get an unusual punch from the inclusion of roughly chopped rosemary, tossed in while the nuts are still warm from roasting. And olives, marinated with garlic and rosemary leaves, are also a real treat.

Rosemary, an herb with muscle, can stand up to the grill–kebabs, vegetables, whatever–and in many applications beyond rubs or marinades. Use the branches as brushes for basting the meat, and during the last moments of grilling, toss them over the coals for a fragrant burst of smoke. Woodier branches of upright rosemary can, when stripped of their leaves, even be used as skewers for shrimp, vegetables, or fruits (pineapple and grapes work well).

So use all you want. Heap branches upon the grill, shear off piles of the sticky, piny leaves for all sorts of uses culinary, medicinal, and decorative. There’s plenty to go around.

Grape and Rosemary Focaccia

The idea for this comes from Nancy Silverton’s Breads from the La Brea Bakery. Make your favorite focaccia dough, shaping and proofing as you usually do (I hope this involves a good brushing of olive oil). Just before sliding the focaccia into the oven, push red grapes into the surface of the dough. Use as many as you like; the more you use, the more of a pretty polka-dot effect you’ll get. Sprinkle with sea salt and roughly chopped rosemary. Bake and eat for a nice breakfast or lunch, preferably with goat cheese.

Rosemary Potatoes

There’s no need to give a recipe for these, really–just a loose method. The glory of rosemary potatoes results no so much from following precise measurements as it does from affectionate adherence to a short list of steps. These potatoes, eaten out of hand warm or at room temperature, will leave a slick of salty grease on your fingers, easily beating out potato chips for decadent snacking when no one is looking. That is why I prefer to use smaller potatoes, which make better finger foods.

Heat the oven to about 425 degrees. Rinse off and pat dry 5 to 8 smallish skin-on new potatoes or fingerling potatoes (I prefer the buttery roundness of the former). Don’t use russets, whose interiors will be too cottony and not creamy enough. Across the length of each potato, make deep, crosswise incisions about 1/8 inch apart (the more incisions, the more yummy salt, oil, and herbs penetrate the potato). Use the handles of two wooden spoons or chopsticks as guides to keep from slicing all the way through the potato.

Place potatoes on a foil-lined baking sheet or roasting pan and drizzle each potato with a little olive oil (more, if you are bold in this manner, is preferable to less). Sprinkle generously with sea salt, freshly ground black pepper, and a smattering of chopped fresh rosemary. Massage the oil and seasonings affectionately into each potato for a few seconds.

Roast for 30 to 60 minutes. This is a very liberal time frame, but roasting time will depend on the size of the potatoes. You will know they are done when their skins are wrinkly, the oil sizzles, and the incisions yawn open and look like accordions. Give the potatoes a little roll or two in the excess oil during the cooking time to keep them nice and glossy.

Serve however. If you are roasting a rosemary chicken, you can cook the potatoes in the same oven (or the same pan, even) for an enduringly one-dimensional meal.

–S.B.

Send a letter to the editor about this story to le*****@*******ws.com.

From the July 10-16, 2003 issue of Metro, Silicon Valley’s Weekly Newspaper.

© Metro Publishing Inc. Metroactive is affiliated with the Boulevards Network.

For more information about the San Jose/Silicon Valley area, visit sanjose.com.

Wine Country Film Fest

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Strike a Chord: Isabel Rose, as Billie in ‘Anything but Love,’ finds someone to share her music with.

Music Is the Message

The Wine Country Film Fest mixes music and social commentary

By Davina Baum

It’s hard not to get excited about film–just look at the opening weekend numbers for a film like Charlie’s Angels: Full Throttle. A full $37 million worth of excited fans found refuge in the film’s mindless blather on the first weekend alone (and even that was a disappointing number for the studio). But though that’s often the caliber of summer film offerings–big money, little thought–that’s not the excitement I’m talking about.

For Steve Ashton, founder and artistic director of the Wine Country Film Festival, summer has nothing to do with mindless blockbusters, but everything to do with excitement.To Ashton, along with wife Justine and a horde of volunteers, summer means the culmination of a lot of work, putting the final touches on the almost month-long film festival that brings a bevy of thought-provoking cinema to Sonoma and Napa starting July 17.

While the festival focuses each year on “films from commitment,” meaning films that focus on social and political issues, Ashton and his team have managed to tweak that theme slightly each year, offering a slew of cinematic delights that leapfrog boundaries. For this, the 17th annual festival, the idea that music can expand cultural and social boundaries, as well as tear them down, has spawned one of the festival’s themes: music in film.

It’s a generic term, “music in film,” and Ashton and company have interpreted it liberally. From a panel discussion with David Robbins, brother of Tim and music man behind the films Dead Man Walking, Bob Roberts, and more, to a documentary about quirky indie rockers They Might Be Giants, to a charming independent film about a lounge singer finding her music, the offerings projected out over Sequoia Grove and Kunde Estate vineyards, as well as film-fest fave the Sebastiani Theatre, tickle the ivories in various ways.

Even the festival’s closing-night film, The King Is Dancing, which is seeing its stateside premiere at the festival, puts music at the forefront. Director Gérard Corbiau calls music “one of the main characters of the narrative.” The film is about the young Louis XIV and his relationship with the composer Lully, whose music enchanted the future Sun King.

Ashton looks to the philosophical underpinnings of the era, the beginning of the Age of Enlightenment, to extract a context for the idea of music’s link to film. “Music,” he says, “was not considered to be an art.” In fact, though the art of music is hard to deny, 17th and 18th-century philosophers still considered music to be a science. “It was designed to have an objective effort on the listener,” notes Ashton. “There was the concept that we could engineer people’s feelings, that there was a direct connection to the soul through music.”

And that right there is the very heart of the matter. That music is an art seems a nobrainer, and the strict delineation between art and science being a thing of the past, the idea that music strikes at the soul–even manipulates feelings–is a concept familiar to adolescent *NSYNC fans and Beethoven lovers alike.

Gigantic (A Story of Two Johns) will be soulstriking to a certain segment of the population that came of age in the ’80s and ’90s. Short on the sort of social commentary found in spades elsewhere in the Wine County Film Festival, the documentary about the band They Might Be Giants (which opens with former senator and avatar of nerd-cool Paul Simon comparing the boys from Lincoln, Mass., to Abraham Lincoln) serves mostly to map the career of one of the longest-lasting (platonic) couplings in rock. As the strains of the iconic “Birdhouse in Your Soul” ply the eardrums, it’s hard to resist that time-travel feeling, back to when “alternative” was new, before grunge and before MTV was co-opted by major-label tastemakers.

The film enlists the help of intellectual hipsters like Sarah Vowell, Dave Eggers, and Ira Glass to deconstruct the band composed of John Flansburgh and John Linnell, from their modest beginnings at East Village performance art shows to their 1990 major label debut, Flood (which, in case you need reminding, inaddition to “Birdhouse,” also contains the songs–nay, cultural touchstones–“Istanbul (Not Constantinople)” and “Particle Man”). Amid record-label trauma and general maturing (i.e., baby making), the boys haveevolved into überhip rock icons, in recent years composing music for the journal McSweeney’s, the film Austin Powers, and the theme to the TV show Malcolm in the Middle.

Coming at music from an entirely different angle (a fictional one, to start), Anything but Love is similarly charming and heartstring-plucking. Taking both overt and subtle cues from classic romances of the ’50s, the film follows Billie (Isabel Rose), a beautiful, underappreciated cabaret singer who, according to her mother, lives her life “like she’s in a technicolor dream.”

Billie starts dating a man she knows from high school (where, in their production of Guys and Dolls, she was just a chorus girl and he was Sky Masterson), who is now a rich lawyer. The classic love triangle is complete when the scruffy, gruff man who sabotaged one of Billie’s auditions (the long-missing Andrew McCarthy) becomes her piano teacher.

The little touches are perfect. Billie dresses like a latter-day Audrey Hepburn; the lawyer boyfriend just doesn’t appreciate her style. She does things like kicking up her heels and doing little dancer swirls when she’s happy, and while the overall effect could easily come off as terribly sentimental, it’s all so sweet– including Eartha Kitt’s life-changing advice to choose the man who “hears the same music”–that one can’t help but be drawn in. And Rose’s performance (she also co-wrote) is pitchperfect, in her singing as well as her acting.

Other festival offerings that fall into the music-in-film category move more toward the social commentary direction, or at the very least toward expanding borders. Los Zafiros: Music from the Edge of Time aims its lens at postrevolutionary Cuba, where the doo-wop quintet Los Zafiros swept the nation, second only in popularity to the Beatles.

The film is no Buena Vista Social Club, primarily because it’s so sad; three of the members are dead, and although the remaining two have fond memories, the pain and divisiveness caused by the Castro revolution–and the self-destructive behavior of some of the band members–is a shroud hanging over the documentary.

Footage of the group performing is delightful. They resemble the Platters in their mannerism and style–classic ’50s synchronized dance steps and crooning vocals, with a distinct Cuban sensibility. That’s what gets to you about these guys–their swiveling salsa hips and quirky vocals, combining R&B with bossa nova and calypso beats. It’s a formula that should have worked wonders in the States, but the band remains obscure outside Spanish speaking populations.

The film festival’s Latino music sub-theme continues with Queen of the Gypsies, a marvelous film about Carmen Amaya, the woman who popularized flamenco outside Spain and brought the dance into the 20th century.

Amaya was born in a Barcelona barrio and grew up in abject poverty, dancing for pennies with her father. Her impoverished beginnings seem ripe for a deeper look, yet the documentary is more of an overview of her life and influence. Her fame grew in Spain, and when the Spanish Civil War started, she fled to South America and then the United States. She performed at Carnegie Hall and the White House, and played stereotypical Gypsies in films like Knickerbocker Holiday (1944) and Los Tarantos (1963), her last and most well-known role. She died in 1963.

Amaya’s revolution in dance was in appropriating the previously male role of tapping out the rhythm with the feet. The furious heel-stomping of modern flamenco dancers both female and male is now familiar, but it was Amaya who paved the way, as it were, for the modern style.

The film captures her determination–she never stopped dancing, never stopped supporting her extended family–and the adoration of her friends and family. It also captures her passion, through extensive footage of her performances, which sometimes are so frenzied they appear to be sped up.

Were Amaya still alive, a deeper look into her psychology would be fascinating; her story in the film is told entirely through interviews with family, friends, and experts, and one wonders what lies beyond the hero worship. But as a document of one woman’s love of flamenco and tireless talent, the film stands strong.

Steve Ashton notes that “flamenco has the earthiness of the blues–it’s very tied to the American blues–in its form and folk art,” pointing out that, like film, music and dance tell stories. The story told in PeaceJam, though not specifically about music or the Columbine tragedy, tells of both. PeaceJam is an education program which organizes retreats that put kids together with Nobel Peace Prize laureates in an attempt to spread the skills and wisdom of peacemakers.

Richard Castaldo, who survived the Columbine shooting (familiar to viewers of Bowling for Columbine as the wheelchair-bound boy who joins Michael Moore in a successful plea to stop Kmart from selling ammunition), is active in PeaceJam and used what he calls “whatever fame [he] has” to gather supplies for war-torn East Timor.

Castaldo, too, uses music to express himself. He is shown playing the keyboard in the film, and he wrote three songs for the film’s soundtrack. He will be in attendance at the film’s screening (Aug. 8 at Kunde Estate Winery) and has agreed to perform.

We’ve come a long way since Louis XIV’s era, when music was denied its status as an art. From the characters–real and imagined–in the Wine Country Film Festival’s “music in film”series, there is little doubt that it flourishes as art, while retaining the sociological and anthropological qualities of science. As Ashton says of The King Is Dancing, “The philosophy and attitude about music [in the film], the direct connection to the human self, is similar to the way film music can be considered. . . Great film music takes you into the film.”

Ashton goes on to say that “we see [music] as an enhancer of the cinematic experience. . . and in some cases, music is the subject matter. It’s a bridge to a deeper understanding of the other arts.” It’s also a bridge to a deeper understanding of what it is to be human–which is, in a wide sense, one of the particular beauties of the Wine Country Film Festival.

A reception and panel on music in film with David Robbins will take place on Saturday, July 26, at 5:30pm at Sequoia Grove Vineyards. ‘Queen of the Gypsies’: July 26 at 3pm, Native Sons Hall, 1313 String St., St. Helena. ‘Los Zafiros’: July 31 at 5pm, Sebastiani Theatre, 476 First St. E., Sonoma. ‘Gigantic’: Aug. 1 at 7:45pm, Sebastiani Theatre. ‘Anything but Love’: Aug. 7. Gates open at 6:30pm for food demo, cheesesteak debate, live entertainment, and dancing (film at 9pm), Kunde Estate Winery, 10155 Hwy. 12, Kenwood. ‘The King Is Dancing’: closing night, Aug. 10 at 6:30pm at Kunde Estate Winery.

From the July 10-16, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Street Fight

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Street Fight

Petaluma’s attempt at a clean, well-lighted place for cars isn’t gaining many advocates

Good news! As of July 1, the downtown Petaluma parking garage is free again. Now the bad news: There’s no guarantee it will stay that way. Back in April, after months of remodeling and nearly $800,000 in physical improvements, Petaluma’s Keller Street parking garage was officially reborn. True to promise, it is no longer the dark, ominous, pigeon-packed, graffiti-dotted, urine-stained, vandal-attracting atrocity it once was. There are full-time guards to chase away thieves and taggers, and a cagelike mesh to discourage the presence of pigeons. And for the first time in years, the stairwells do not smell like a neglected urinal.

On the other hand (and it’s a very big hand), the once-free garage started charging patrons half a buck per hour to park there, and it employed a confusing, frequently malfunctioning prepay system involving memorization of space numbers and little coin-operated kiosks. The result was that after three months of operation, the nice and shiny garage remained mostly empty, abandoned, deserted, which was costly to the city as well as to the merchants whose patrons ought to be filling those fresh new spaces every day.

According to original estimates, the downstairs portion of the refurbished garage was expected to bring in $9,000 a month but brought in far less than needed to maintain the facility. The two upstairs levels, set aside for monthly permit holders–$35 for the second level and $20 for the top–weren’t doing much better. Local employees, expected to be the primary takers of the upstairs monthly permits, were more or less boycotting the garage, parking instead on the already congested streets, while shoppers, intimidated or confused by the new system–or angry at having been ticketed for exceeding their allotted time–apparently found other places to shop.

“People are upset,” agrees Jeff Mayne, president of the Petaluma Downtown Association. “The first three months [didn’t go] well, and the downtown merchants are taking the flack. Since the parking garage went to a pay system, a lot of merchants [showed] a loss in revenue.”

Although the loss in revenue could be attributed to a soft economy, businesses are ready to blame the parking garage. Art Kusnetz, manager of Copperfield’s Used Books, says they’ve had the worst sales “in the eight years we’ve been open. Traditionally, used book sales go up during a recession, but our sales are down, because people are reluctant to come downtown and deal with parking.”

Tuttles Drug, which used to be easily accessed from the garage’s nearby handicapped spaces, distributed flyers, in effect to apologize for the inconvenience of the new pay system and to suggest that disgruntled patrons complain to the city.

Early Work Learning Center, the popular toy and education supplies shop that has become a popular downtown institution, was forced to move, taking over an abandoned furniture store a mile away. One attractive advantage to the new location was prominently mentioned in postcards sent out to frequent customers: “You’ll love our free parking lot!” it read.

Since the garage’s new security guards were required to do double-duty–patrol the garage for signs of trouble and distribute tickets to cars who’ve parked longer than they guessed they would–some people found they’d rather stay home than risk getting a ticket. One longtime Petaluma businessman, who asked not to be identified, says that he used to have breakfast three times a week at Hallie’s Diner on Keller Street, directly adjacent to the garage, but after finding a ticket on his car after exceeding his hour by a few minutes, he’s now reluctant to park there and admits he’s patronizing Hallie’s only once a week or less.

“Clearly,” says Mayne, “something had to be done.”

Following a contentious meeting on June 17, wherein numerous downtown merchants met with representatives of the city and the department of economic development and redevelopment, it was decided that the bottom floor of the garage would be made free again–for two months only. According to the new agreement, a task force will be formed to dream up solutions to the problem.

“Basically,” Mayne explains, “we’ve got a two-month grace period in which to find ways to finance the maintenance of the downtown garage, while encouraging people to come downtown and shop.” Those solutions could include keeping the garage free while slapping merchants with a fee to subsidize the facility’s maintenance and security costs, installing parking meters on the streets to raise revenue, or refiguring the parking garage so that people pay on their way out for whatever time they used.

“Here’s the bottom line,” says Paul Marangella, director of economic development and redevelopment. “The garage is safe and clean, with not one reported incident of vandalism in three months. But the garage is not working for the merchants. Still, maintaining the garage requires a certain amount of cash flow, but that anticipated cash flow isn’t coming, because for whatever reason, people aren’t using it.”

Marangella looks forward to building a sense of collaboration between the downtown merchants, the consumers, and the city of Petaluma.

“The garage is a critical asset to the vision of downtown,” he says. “The question is, how do we use this resource that is supposed to create economic vitality in the downtown area? How do we make it work for everyone?”

Petalumans now have two months to find the answers.

From the July 10-16, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Randy Jacobs and the Boneshakers

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Photograph by Theo Fridlizius

Bred in the Bones: Sweet Pea Atkinson (left) and Randy Jacobs rock the R&B tip as the Boneshakers.

Detroit Wheel

Randy Jacobs and the Boneshakers ready to rattle Sweetwater

By Greg Cahill

OK, so Randy Jacobs and the Boneshakers aren’t a household name, but rest assured that this hard-rockin’ R&B band’s upcoming show at Sweetwater in Mill Valley probably will stand as a benchmark on the local club scene this year.

How good are these guys? Let’s just say that few musicians have the courage even to attempt to record an audacious cover of soul brother No. 1 James Brown’s “Cold Sweat.” Their version comes complete with visceral funk grooves and mind-numbing Hendrixesque guitar lines, all wrung through the funk filter to reshape this soul classic into something that is distinctly their own, as the Boneshakers did on their 1996 debut Book of Spells.

Sculpted initially around the creative core of guitarist Randy Jacobs and vocalist Sweet Pea Atkinson–both alumni of the eclectic pop band Was (Not Was)–the Boneshakers have consistently delivered a beguiling bitch’s brew of soul sorcery. Over the past couple of years, the Boneshakers have gone through a few personnel shakeups, with Atkinson at one point leaving, only to return for a guest spot on the recent Pouring Gasoline album, which also features Dave Immerglück of Counting Crows and organist Billy Preston.

No doubt about it, the band revolves around Jacobs. Or as the band’s website declares, “Randy Jacobs is the Boneshakers.” And that means this band rocks hard. For some, that’s almost unsettling because, hey, African Americans aren’t really supposed to play rock, right?

“I feel a lot of different times that people are almost shocked that I’m a rocker,” admits Jacobs, 40, during a phone interview. “I mean, the band is an R&B rock band–like the old Bar-Kays or Rick James or Prince. It’s a hard thing to pull off, and sometimes people almost have to see it to understand what it is.

“When they used to see Sweet Pea walk on stage in his hat and silk suits, they’d think, ‘Oh, Bobby ‘Blue’ Bland,’ but when you hear the music, it’s a lot more modern than that.”

You could say that rock is very much in Jacobs’, uh, bones. Growing up in Detroit, he started playing guitar at age 13. “I used to put my Fender super-reverb amp and Sears guitar in a little red wagon to go play around the corner,” he recalls with an infectious laugh that punctuates much of his conversation. “Older guys would stop me and ask, ‘Hey, can you really play that thing?’ And I’d set up and show them. That’s how I got a lot of my first gigs.”

It wasn’t long before he’d left those childish pursuits behind. In the early ’70s, the Motor City was fertile musical ground, ranging from the gonzo guitar rock of protoheadbanger Ted Nugent to the rockin’ soul of singer Mitch Ryder. “It was fairly diverse,” says Jacobs, whose stinging guitar licks signify his Detroit roots. “When you played at a fraternity or a sorority on one of the local campuses, you’d play ‘In-A-Gadda-Da-Vida’ by Iron Butterfly, but then you might also play ‘Chocolate Buttermilk’ by Kool and the Gang.”

It wasn’t long before Jacobs earned a reputation as an ace session guitarist. Unfortunately, that led to some fairly forgettable gigs. For instance, he backed Detroit boxer Tommy Hearns on a dreadful take of Queen’s “We Are the Champions” (Hearns lost to champ Sugar Ray Leonard). It did, however, spark a burning desire in Jacobs to front his own band.

In 1981 he met Atkinson when they both began recording with Don Fagenson and David Weiss, the studio wizards behind Was (Not Was). “We hit it off right away,” Jacobs says of Atkinson. “I think we just shared musical tastes and styles.”

During his tenure with Was (Not Was), Jacobs honed his songwriting talents, co-writing the band’s only Top 10 hit, 1987’s novelty tune “Walk the Dinosaur,” a playful dance song that started out as a lament about Armageddon.

Four years later, the band split up. Atkinson and the other Was (Not Was) singers inked a deal with Fagenson’s MCA-distributed label. Jacobs joined John Butcher’s Axis and toured with Australian rocker Paul Kelley. “I learned a lot from Paul, and that made me all the more want a band of my own,” he says, “because I had spent too much time just collecting a paycheck.”

He returned to the States and backed everyone from rapper Coolio to pop star Elton John, and from punker Iggy Pop to Yemenite dancehall queen Ofra Haza. In 1995, Jacobs and Atkinson reunited, blending groove-heavy R&B and hard-rock riffs. The next year, Fagenson–who has produced acclaimed albums for Bonnie Raitt, Bob Dylan, and Willie Nelson–left to produce the Rolling Stones, leaving his home studio to Jacobs and Atkinson to work on Book of Spells. The Boneshakers followed up with three more great cult albums.

For Jacobs, the Boneshakers are a dream come true. “This is a great band,” he enthuses. “Sometimes when we’re playing, I just get chills because it’s so funky and it’s so hard.”

Randy Jacobs and the Boneshakers perform Thursday, July 10, at 9pm at Sweetwater Saloon, 153 Throckmorton Ave., Mill Valley. Admission is $10. 415.388.2820.

From the July 10-16, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Lookouts

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Photograph by Rory McNamara

Keep an Eye Out: Lucas MacMath, a fire lookout for 40 years, tends to the lookout at Marin County’s Mt. Barnabee.

Lighthouses of the Land

Why sex, poetry, and Zen are no longer on the Lookout

By Gretchen Giles

Somewhere outside of Cazadero on a glum summer day, Ed Poe pulls his old Dodge pickup to a stop. Locked with a wrap of chain, a simple forestry gate blocks the road. Behind it, a family of wild turkeys scatters hurriedly back into the brush, the tom braving outstretched wings as he tries to scare away our group of doubtless predators.

A heron slips gracefully from the sky toward a small nearby pond. Berry bushes heavy with blossoms and fog-wet leaves line the drive. Amid this bucolic roadside display, Ed Poe turns merrily to me.

“Now that I’ve shown you the way, young lady,” he laughs, “you do realize that I’m going to have to assassinate you!”

I chuckle. That’s funny. But he means it.

Humorous death threats abound because Mr. Poe–a courtly 77-year-old gentleman whose WW II duty and 40 years of Forest Service history make him a firm Mister–is taking a photographer and this reporter up to the secretive reaches of Pole Mountain.

The last active fire lookout tower in Sonoma County, Pole Mountain is now a nonprofit corporation, privately funded and selectively staffed. Mr. Poe was once its president and keeps reminding himself that he should sometime resign from the board all together. The Pole Mountain lookout’s entire mission is to serve the select public living in the narrow canyons near Cazadero, though it perhaps cannot be overly emphasized that the general public is not welcome here.

Mr. Poe unlocks and opens the gate, and we climb back into the Dodge. Over the next 45 minutes, the truck will buck and rut and strain its way up just a few miles of raw road, passing through three private land tracts as we unlock many more gates. One of them is adorned with a skull-and-crossbones image; another bears the lonely protest, “Trespassers prohibited. Police take note.” Were the sky clear, it’s entirely possible that we, teetering at 2,800 feet above sea level, could note the police, but it is highly unlikely that they could note us.

The road that we’re negotiating was built partly by subdividers obliged to put tractors through to reach homes on the other ridge; partly by firefighters like Mr. Poe himself, who cut stretches of it in order to battle the Magic Mountain fire that burned near Duncans Mills all the way to the coast in 1964; and partly by detainees of the now-abandoned Black Mountain Prison Camp.

“Yep,” Mr. Poe replies laconically as he works to keep the steering wheel straight, estimating that the camp disbanded only five years ago. “They did good work, too.”

This surprising information is almost forgotten as we round a corner dense with tan oak, suddenly bursting through the wet air into the high, clean sunshine. Past a pond, up and down more of the rocky red earth, and there it sits, the unlikely grandeur of the Pole Mountain lookout.

Painted the familiar mocha brown that the Forest Service favors, the lookout stands about 20 feet off the ground. A short staircase leads up to the shelter, with its 360 degrees’ worth of windows that on a clear day offer views from the Farallon Islands to Lake County to San Francisco to Mt. Diablo.

Most important to the residents who help fund Pole Mountain, the lookout looks directly down on the curvy and mostly impassable hillsides stretching from north to Ft. Ross and beyond. Springy new vineyards are visible to the uninformed eye; the dope farms that the Pole Mountain lookout regularly observes and ignore are not.

The lookout’s tiny interior is mainly spray-painted black to cut down on glare. An Alidade fire finder, the 80-year-old stationary compass used by lookouts in conjunction with geological maps to accurately pinpoint smoke, dominates the tiny room.

Exactly three feet of space on each of the Alidade’s four sides comprise the rest of the interior. Poorly laid AstroTurf-type carpeting buckles underfoot, and a naked light bulb hangs from the ceiling’s middle, directly above the map. A solar-powered electrical cord hangs lonely, awaiting this year’s lookout’s necessary radio.

There is no inside water, there are no books, and no single other distraction exists outside the view.

This is a breathtakingly sexy place.

Minds of the Mountains

Typically built on the highest available peaks, fire lookout towers live large in the poetic imagination. In fact, it’s possible to assert that Beat poets Gary Snyder, Philip Whalen, and Jack Kerouac wouldn’t have attained such Buddhist states of enlightenment had they not each served their time upon lookouts in their youth.

According to John Suiter’s recent book, Poets on the Peaks, Snyder was the first among his set of heady young intellectuals drunk enough on William Blake, Henry David Thoreau, and the lure of solitude to hitchhike west, hotly intent on summers spent all alone on a mountaintop. By age 23, Snyder–who now teaches at UC Davis when not living in a mountain hermitage near the Sierras–had worked an enormous number of outdoor jobs and was ready for a stint with the relatively well-paying, low-profile rigors of the Forest Service. Catching random rides, he arrived in Oregon and was assigned to the Sourdough Mountain lookout, now a mecca for fans hoping to beg a splinter from the fabled tower.

Snyder thrived in the loneliness of a job that sent a young man off with six weeks’ worth of food around July 4th and kept him away from all human contact not available by radio until the first snows randomly called an end to fire season. It was there that he began in earnest the Buddhist practice that has sustained him for life, reading and writing voraciously when not scanning the landscape every 20 minutes of each day-lit hour for smoke, and hunkering down into the life of the mind.

Described by Kerouac as “one hundred and eighty pounds of poet meat,” Whalen too found immense treasure in Zen contemplation when he followed Snyder up the mountain in 1953 to become the lookout at Oregon’s Skagit Peak. While the job required his poetic meat to hike a mile or two, he found the solace of his stints as a lookout to be the perfect recipe for what became a full-fledged immersion into Buddhism, the poet eventually becoming a monk until his death just last summer.

Kerouac, not surprisingly, found it an itchy job. Halfway through his first (and only) lookout summer, he tragically ran out of tobacco. He also ran out of people, ideas, and fresh things to do. He, in fact, went halfway to stir crazy, choosing to hike miles away from his outpost to retrieve a can of Prince Albert tobacco and to hear the local gossip. Kerouac, however, died a young drunk; Whalen a wise old monk; and Snyder seemingly has no intention of going anywhere.

Could the power of the lookout experience prove more than that?

Mountain Mistresses

Henry Isenberg, the cofounder of the Forest Fire Lookout Association, gets almost tender when sketching the personality of the lookout of yore. By phone from Massachusetts, where he is a full-time lookout, he says, “It had to be the kind of person who could hike 20 miles to a fire after spotting it and not think anything of it. He had to be able to sleep right there afterwards, and then hike back to his post. The kind of person who could find food and cook it for himself, and collect rainwater to drink.”

The first documented fire lookout wasn’t a mountain man, but rather a woman, the cook for a lumber outfit who went twice a day up a “dead tree with a couple of boards nailed to it,” according to Isenberg, to check that the company’s stock was thriving. Local women have traditionally been the fire watchers in rural areas, allowing the men to work outside while they dashed up and down their posts between meals and childcare and laundry.

During the first and second world wars, women became even more active as watchers, not only checking for smoke but also for enemy aircraft. Today, a woman tends the tower on Mt. Tamalpais; Pole Mountain alternates male and female lookouts.

Regardless of gender, it takes a certain type of person to be good at this isolating job. “It’s a disease,” Mr. Poe jokes seriously. “It’s something that gets to you. And it’s hard work. As a kid, I had to do some relief lookouts, and I didn’t like it at all.”

Isenberg concurs. “It takes the kind of person who doesn’t mind being alone,” he says. “You don’t get a lot of visitors. People don’t take to the woods like they used to.”

Lucas MacMath, 58, who tends Marin County’s Mt. Barnabee tower reflects, “It is very tense. The first thing getting up in the morning, you’re tuned in to the weather, the temperature and the humidity and wind, because those are the factors that really promote fire. The regimen of discipline required . . . ,” he shakes his head.

“I’ve had five primary jobs in my life,” MacMath continues, “and this is the most responsible of all of them. It’s also one of the most tedious and difficult to do, because there’s nobody there. The only way that anybody knows if you’re doing a good job or a bad job would be maybe if, after five fires, you never got the first call. They can only know by how you sound on the radio, if you’re with it, and that kind of thing. It really requires a lot of attention.”

Calling It In

California’s fire lookout towers have gone the way of the lighthouse into the dim recesses of state-sponsored obsolescence. Technology has mostly usurped them, and the politics of economics have completely exhausted them. Built mainly in the 1920s and during the Civilian Conservation Corp’s stout efforts against the Depression, the country’s active fire lookouts once numbered some 8,200 nationwide. Today, less than 2,500 lookout towers are left intact throughout the country, numbering far fewer when one excludes those used for nightly rentals or souveniring trips.

California once had upwards of 600 lookouts, 200 of which remain, only 30 of them still active. The state funded a full 22 of them until just this May. Governor Davis’ recent savaging of the state budget eliminated that remaining quorum, and today only those supporters canny enough to get nonprofit status for their tower or to cut a sweet deal with the fire coffers of their resident county are able to keep their lookouts open.

Pole Mountain is one of the canny; Mt. Barnabee, one of the sweet.

Conventional wisdom now says that ordinary citizens armed with cell phones are generally just as effective as a trained firefighter, a camp cook, or a Zen poet. Fire agencies, particularly in California, are making the uneasy economic decision to save some $700,000 annually by trusting the public to call for help when they see flames, rather than paying $10,000 to $15,000 a season to have professionals scan the horizon.

“You’re delving into an area that’s so gray that no one wants to admit that they’re either right or wrong,” Isenberg says. “Some states tried replacing lookouts with aircraft and found that it was both too expensive and overly efficient. In a stationary tower, all a guy has to do is turn around. If you fly 50 miles and the fire starts after you’ve just passed it, you have to turn around and make your 50-mile loop before you see it, whereas the fire lookout could see it from its inception.

“Everyone’s hitting the money wall,” he sighs. “They’re maintaining them, but the staffing isn’t what it used to be.”

And as for Joe and Jane Public rushing to the rescue, Isenberg snorts, “I had a fire, less than a mile away, right along the interstate, and no one called it in. People are indifferent; they don’t want to be involved. They figure that somebody else will call it in, don’t worry. Even when you see a car accident, how many people call those in?”

Yet Mr. Poe agrees that a motorist with a cell phone stumbling stupidly across a smolder can sometimes be effective, though Pole Mountain remains too outlying to trust to fate. “The board and I have predicted that there will come a time when the lookout isn’t necessary, but in a rural area like this at this time, it is still needed,” he says stoically.

Forest for the Trees

According to MacMath, the Native Americans were the first to use the idea of natural height for fire safety. While they didn’t build simple, utilitarian structures like the government, they did send a scout out each summer to camp out, watching for burns. Unlike modern man, the natives didn’t try to stem the fire, but sensibly fled, the lookout running down from his peak to alert his neighbors that it was time to pack the village up out of nature’s way.

Years of hanging stalwart, a King Canut to the natural ravages of flame, have put the fire lands of the United States in a particular bind. Where we once stemmed each lick of flame, we’re now inclined to let nature do her job of clearing “fuel”–new growth and underbrush–from the forest floor, fuel that we have been allowing to grow lush during decades of no-burn exactitude.

But during this time of steadfast fire fighting–Mr. Poe roughly estimates that he himself participated in combating “a couple three thousand fires”–we have also grown in population and built our homes smack in the middle of natural burn zones.

MacMath, who has been a fire lookout on and off for 40 years, points to Marin County as being uniquely situated to understanding what that means, citing the urban Oakland hills and national seashore Mt. Vision fires as being the twin mirrors of the absolute worst.

“Marin County is sitting right amid these two types of fires,” MacMath says, assuring that in reality, our area experiences “very few fires. I once did work at a lookout where there were so many that the adrenaline rush became a real workaday kind of thing, but here it’s quite unusual.”

Admitting that he’s mistaken dust raised by commuting sheep herds and tractors for fire, MacMath says, “Maybe once a month I’ll have a fire–smoke that’s legit, that needs some action.”

Pole Mountain sighted about five legitimate smokes last summer, and Mr. Poe avers that if the lookout there catches even just one fire, “it’s worth it.” Driving back down from the tower, he indicates a pretty forest stand on the left. The hollow is shady and quiet, the trees appear healthy, and the undergrowth is thin.

“They took half a million board feet [of lumber] out of here,” he says, “and it looks pretty good. Forests can be managed and they can be logged, if you do it right. People say that they want fires, but they don’t. But there’s nothing wrong with burning if it’s done at the right time.”

Having an allegiance to the Forest Service that began with his father and extends to his son, a 28-year fire veteran, Mr. Poe won’t comment on the record about forest-management issues. But he does hate to see the end of the lookout era. “After we have a couple of fires,” he predicts, “they’ll find a way to pay for them.”

From the July 10-16, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Charlie’s Angels: Full Throttle’

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Find Your Wings: Taking a short break from fighting crime, the Angels (Drew Barrymore, Cameron Diaz, and Lucy Liu) get jiggy.

High Heeling

Butt-kicking crime writer Cara Black on fistfights, really good shoes, and ‘Charlie’s Angels’

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate postfilm conversation. This is not a review; rather, it’s a freewheeling, tangential discussion of life, alternative ideas, and popular culture.

Ten minutes into the new film Charlie’s Angels: Full Throttle (or has it been longer? Who can say? It’s rushing by so fast!), Drew Barrymore, Cameron Diaz, and Lucy Liu steal a bad guy’s helicopter and, having brazenly cheated death for the 20th time since the movie started, gloriously soar off into the sky, leaving behind a pile of dead and disappointed men. As the sequence ends, author Cara Black, sitting to my immediate right in the movie theater, turns to me with wide eyes, mouth hanging open in adrenalized shock and obvious delight, and silently mouths three, short words.

“I like it!” she says.

And what’s not to like? Following up on the successful 2000 release of Charlie’s Angels, itself a spinoff of the popular ’70s TV show, the new Angels has everything the first film did, with the happy exception of Tom Green and those disturbing rape-threat scenes. It piles on a few extras too, notably the big-screen return of Demi Moore as a former Angel turned very, very bad–but in a bikini.

“It was fun!” Black shouts as we leave the theater after the last kick has been thrown and the last plot thread tied up. “It was a good escapism,” my guest asserts, “and escapism is good!”

She would know. Black, based in San Francisco, is the author of the increasingly popular Aimée Leduc Investigation series by Soho Press. An absorbing set of tightly plotted, freshly conceived mysteries, the Aimée Leduc books debuted in 1999 with Murder in the Marais, continued in 2000 and 2001 with Murder in Belleville and Murder in the Sentier, and is finally back with Murder in the Bastille.

While each book features a grisly homicide taking place in one of Paris’s 20 distinct districts, the star is Aimée, a refreshingly independent, endlessly resourceful heroine who is hip, funny, smart, and saddled with a tragic past but possessed of a keen fashion sense. When forced to, she can also kick a guy’s ass.

“It’s true, Aimée kicks butt in high-heeled shoes,” says Black, as we sit down at a small cafe near the theater. “That’s one of the things I like about the Angels. They kick butt, and they do it in great shoes. I like that. A lot.”

“Aimée could be an Angel,” I point out.

“She could be,” agrees Black, “if they asked her, though she’d never leave Paris. But if they’d help her find her long-lost mother, the one who was involved with those terrorists in the ’70s before disappearing from Aimée’s life, she might agree to join the French branch of Charlie’s Angels. She’d certainly raise the Angel intelligence level a notch, and she could teach them all a thing or two about tying a scarf.”

As Black stabs a plastic fork into her poppy-seed cake, dissecting it cleanly, I ask if she’s ever had to, you know, kick someone’s butt.

“Have I hit anybody? Sure!” she nods. “I’ve been hit, too, and I can tell you, it’s not like in the movies. It’s not that glamorous or exciting, getting hurt. Given a choice, I’d rather be the one doing the hitting.”

“So,” I ask, making a mental note never to anger Cara Black, “did you used to watch the TV show of Charlie’s Angels?”

“I did, but I always thought it was really stupid,” she says. “I like the movies a lot more, because the Angels seem more real, and they’re always making mistakes. They aren’t trying to be superwomen; they’re just doing their job.”

Black smiles sweetly and continues. “Their biggest strength is their friendship–that’s the message of the movie. They liked being together, they needed each other, so they were a powerful team. Demi Moore left the Angels, but she didn’t have that friendship–so she didn’t succeed.”

“She didn’t have a girlfriend.”

“Right! And they were Girlfriends, with a capital G,” she laughs. “I mean, were they having fun together or what?

From the July 3-9, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Parks and Wreck

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Parks and Wreck

Like everyone else, state parks slim down as a result of the budget crisis

By Joy Lanzendorfer

The state budget crisis has touched every part of government. Ripples are going through the different departments, forcing them to draw into themselves and to reach into everybody else’s pocketbooks to survive. Everywhere, fees seem to be going up, and there are few Californians who will escape the effects of this crisis.

That includes those who frequent California’s many parks and recreation sites. The California Department of Parks and Recreation, the largest in the nation with 274 parks visited by roughly 85 million people a year, is facing cuts of $35 million from its $270 million budget.

The cuts will make it difficult for the parks to keep things running smoothly next year. And it will make it nearly impossible to get the $600 million needed for deferred maintenance projects. These problems are looming larger as the parks plow through the busy summer season.

“It’s been a different kind of summer already,” says Tom Lindberg, chief ranger of the North Bay District. “And we’re holding our breath to see what the rest of the summer will look like with these cuts.”

To compensate for the $35 million chunk taken out of the budget, State Parks raised fees for most activities earlier this year. Park entrance fees have increased from around $2 to $3, camping fees from $12 to $13, and some fees have been reinstated, such as the $4 boat-launch fee.

Though the fee increases are fairly incremental, they are enough to make a difference in the budget cuts. Through the increases, the park department has been able to make up nearly $20 million out of the $35 million total cut.

“Fees were cut several years back when the economy was thriving, so though they have gone back up, they are still not as high as they were before they were reduced,” says State Parks spokesperson Steve Capps.

Sonoma County Regional Parks Department is raising fees as well. Entrance fees for parks went up from $3 to $4, and park passes that give access to all parks and some activities for a flat fee increased from $40 to $50.

For the remaining $15 million cut out of the budget, State Parks is condensing the number of districts from 23 to 18. In the North Bay, it is reducing four districts to two districts. On July 1, the Russian River District and the Marin District were combined into the new North Bay District, which covers 15 parks from Salt Point to the Golden Gate Bridge.

Likewise, parts of Sonoma County and Napa County not covered in the North Bay District were swallowed into the new Diablo Vista District, formerly the Bay Area District and the Silverado District. This district covers another 15 parks stretching from Napa County over to Mt. Diablo.

By combining districts, State Parks is hoping to increase savings. “They say it’s more efficient,” says Joe Mette of the North Bay District. “In my career, we’ve gone from big to small and small to big. I don’t know what good it did. It’s never perfect. It never solves all the problems.”

The reorganization means some positions could be eliminated, around four or five people per district. But since the parks haven’t been able to fill open positions, the elimination of any position puts stress on the remaining employees, especially during the hectic summer season, when every person is needed.

The Marin portion of the North Bay District is so short-handed that four maintenance positions remain unfilled, and rangers sit in contact points and entrance booths instead of attending to the parks.

“It’s getting to the point that we are concerned about carrying on day-to-day operations,” says Lindberg.

Then there’s the matter of the $600 million in deferred maintenance. Considered separate from the main budget, deferred maintenance refers to most nonessential projects, big or small, that can be put off. These projects vary from key upkeep that keeps the parks running to the most ambitious wish-list items.

In 2000 Governor Davis earmarked $157 million to go to deferred park maintenance, but the parks haven’t received anything since then. And that amount barely made a dent.

Letting ongoing maintenance go can cause problems to build and become more expensive over time, according to Lorrie Thomas-Dossett, maintenance chief for the Diablo Vista District.

“Every year on the schedule, we want to prepare the hinges and the rust on the bathroom doors,” she says. “If we don’t repair them, they get worse. It gets to the point that it’s either repairing the rust on the door or repairing the water line.”

Historic buildings need extra care to keep them up, which can mean more expensive and pressing problems. Fixing one thing can mean putting off another. In normal economic situations, maintenance becomes a matter of choosing what not to fix.

And in tough economic times, the choices get harder.

“The maintenance just has to happen next year,” says Thomas-Dossett. “I don’t see how we can continue as we have been. Even if we don’t get the normal maintenance budget, which is about $217,000, they’ll just have to find some money somewhere.”

From the July 3-9, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Green Music Festival

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Photograph by Nancy Ellison

Down by the Boardwalk: Celebrated violinist Chee-Yun participates in the Green Music Festival’s impressive program.

Shining Brightly

The Green Music Festival spotlights world-class chamber music stars

By Greg Cahill

The Donald and Maureen Green Music Center may still be just a twinkle in the eye of the Santa Rosa Symphony (which eventually will make its home there) and a handful of Sonoma State University officials, having hit a snag in their efforts to raise cash for the ambitious performing arts center, but the spirit of the project is alive and well.

This year, the summertime Green Music Festival–held near the site of the planned multimillion dollar 1,400-seat auditorium on the SSU campus–has nearly doubled the size of its popular chamber music series, which sold out in short order last season. Expect to be dazzled: Artistic director Jeffrey Kahane has tapped some of the world’s top chamber performers for what should be four spectacular evening concerts.

The programs, an invigorating mix of the old and new, are called “Jeffrey Kahane and Friends I, II, III, and IV.” Works by Debussy, Ravel, Osvaldo Golijov, Franck, Mendelssohn, Messiaen, Schubert, Rachmaninoff, Haydn, Dohnanyi, and Brahms will be featured. The concerts will be held at the Evert B. Person Theatre on the SSU campus (1801 East Cotati Ave., Rohnert Park) on Sunday, July 13, and Sunday, July 20, at 4pm, and on Thursday, July 17, and Saturday, July 19, at 8pm.

The acclaimed Borromeo String Quartet– the quartet-in-residence at the New England Conservatory of Music and for the past two seasons members of Chamber Music Society Two, the emerging artists program of the Chamber Music Society of Lincoln Center–will return to the festival in a much-anticipated program. Among the other nationally and internationally acclaimed soloists and principals appearing throughout the series are virtuoso violinist Chee-Yun, New Jersey Symphony Orchestra concertmaster Eric Wyrick, San Francisco Symphony principal violist Geraldine Walther, San Francisco Symphony associate principal cellist Peter Wyrick, cellist Alisa Weilerstein, and clarinetist Todd Palmer, former principal clarinetist for the Minnesota Orchestra.

Kahane, the renown pianist and conductor of the Santa Rosa Symphony (as well as music director of the Los Angeles Chamber Orchestra), has promised a most lively series.

Take him at his word.

On July 13, Kahane (piano) and Eric Wyrick (violin) will launch the program with Debussy’s Violin Sonata. That will be followed by Ravel’s Duo for Violin and Cello, played by Eric and Peter Wyrick (cello). The Borromeo String Quartet will be accompanied by clarinetist Palmer in a rendition of cutting-edge composer Osvaldo Golijov’s Dreams and Prayers of Isaac the Blind, a powerful piece for string quartet and clarinet that is an homage to a 12th-century kabbalist rabbi of Provence.

The work is a musical expression–reflecting joy and sorrow, laughter and tears–of a mystical Jewish belief in a constant state of communion in which human consciousness nurtures and renews itself through meditation. Palmer recorded the piece last year on the St. Lawrence String Quartet’s stunning Grammy-nominated album Yiddishbbuk. Kahane and the Borromeo Quartet will end the afternoon with Franck’s Piano Quintet.

On July 17, Peter Wyrick, Kahane, and violinist Chee-Yun, one of the rising stars of the international string world, will open the concert with a performance of Mendelssohn’s D Minor Trio. Clarinetist Palmer and Eric Wyrick will join Kahane and Peter Wyrick for the finale, Quartet for the End of Time by Messiaen.

On July 19, pianist Jon Kimura Parker and Kahane will team up for Schubert’s Fantasy for Piano, Four Hands. Cellist Alisa Weilerstein, who made her Carnegie Hall debut at age 15, will join Kahane–widely regarded as one of the best interpreters of Rachmaninoff–in Sonata for Cello and Piano by Rachmaninoff. Parker and Kahane will conclude the program with another piano duet called Symphonic Dances by Rachmaninoff.

On July 20, Kahane, Chee-Yun, and Peter Wyrick will kick off the final day of the chamber music series with Haydn’s Trio in G Minor “Gypsy.” Geraldine Walther, principal violist for the San Francisco Symphony, will join Eric Wyrick and Peter Wyrick on stage to perform Dohnanyi’s Serenade for String Trio. Brahms’ G Minor Quartet finale will be performed by Chee-Yun, Walther, Weilerstein, and Kahane.

Tickets for the individual chamber music concerts are $30 for adults, $25 for seniors, and $15 for youths. For additional information or to order tickets, visit http://festival.sonoma.edu or call 707.664.2353.

From the July 3-9, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

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