Tunes For a Hot Summer

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He’s got those honky-tonk blues: Country music pioneer Hank Thompson is still swingin’!

Honky-Tonkin’

Cowpie-kickin’ tunes for a hot summer

Joe Ely Live at Antone’s Rounder

TEXAS SINGER, songwriter, and guitarist Joe Ely’s brash self-will and decidedly regional sound locked him out of the Nashville mainstream long before “alt-country” became a commercial option. His late-’70s albums, such as Honky Tonk Masquerade, were the strongest country-rock works since the 1973 death of musical pioneer Gram Parsons, as Ely wrapped Tex-Mex, folk, flamenco, honky-tonk, and hard-blues boogie around his muscular and exuberant voice, braying stellar songs by fellow Texas outlaws (and former fellow Flatlanders) Jimmie Dale Gilmore and Butch Hancock. Besides those early classics, the new Live at Antone’s serves as a fine introduction to Ely. It’s more sprawling and less reckless than 1981’s Live Shots (recorded when Ely opened a British tour for the Clash), and it’s proof of Ely’s tremendous and natural concert prowess. From the opening epic, “The Road Goes on Forever,” to the closing rave-up, “Oh Boy!” his originals and covers are spiced with tastefully dueling guitar and pedal steel leads, images of dusty drifters and sweaty roadhouses, and the cheers of hardcore fans who at one point yell out, “We love you, Joe!” Karl Byrn

Jim Weider & the Honky Tonk Gurus Big Foot EKG

TELECASTER master Jim Weider is a highly sought-after session player who has performed with Levon Helms and the All Stars, Johnny Paycheck, and the Band (filling Robbie Robertson’s shoes after his departure). Of late, Weider has contributed his fat Fender sound and production skills to tribute albums celebrating Bob Dylan, Elvis Presley guitarist Scotty Moore, and Doc Pomus. Big Foot–featuring guest appearances by Rick Danko and Garth Hudson of the Band, and bassist Tony Levin–runs the gamut from a snarling cover of Jimi Hendrix’s “Little Miss Lover” to a sassy Texas shuffle to his own hard-bitten but melodic blues. Does this guy have an axe to grind? Bet on it! Greg Cahill

Hank Thompson Seven Decades Hightone

SOMEONE’S gonna have to work damn hard to top this western swing legend this year. Hank Thompson is a true musical pioneer: the first country artist to record a live album; the first to garner corporate sponsorship; the first to record a stereo album; the first to perform on a TV variety show; and the first artist of any ilk to travel with his own state-of-the-art sound and lighting systems. But those would be but footnotes in musical history if Thompson weren’t the purveyor of a western swing sound as smooth as the silk sheets in a Reno cathouse. His last album paired this country pioneer with Vince Gill, George Jones, Garth Brooks, Lyle Lovett, and other country greats. This disc (slated for a July 18 release) is 100 percent unadulterated Hank–a honky-tonk titan dishing up a tasty backyard barbecue of rollicking blues boogies and red-hot Tex-Mex polka beats with equal aplomb. Most satisfying. G.C.

From the June 22-28, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Local Artists

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Wide world of art: Dozens of local artists plug into the vast audience available on the Internet with the help of an online art gallery run by Sonoma artist Katherine Spiering and her partner, David Heller.

Web Wonders

Why are artists seeking their net worth in the unrefined world of cyberspace?

By Paula Harris

“MY FATHER was a black polka musician, my mother a Puerto Rican country-western singer who defected from France. Being politically naive, she didn’t know it wasn’t necessary. I was raised by an order of dyslexic nuns in Canada–consequently my confusion with God or Dog! . . . ‘You have one cobra eye, one tiger eye.’ These words whispered to me on the streets of Bombay 20 years ago began my art career. Or maybe not . . .”

Welcome to the vivid virtual reality of art on the Internet. This colorful back-story is an excerpt from the fantastical biography of Sonoma artist and virtual-art-gallery curator Katherine Spiering. Posted on her web site, it serves as Spiering’s counterculture jab at the traditional fine arts establishment–that world of swanky galleries hawking their artists with impressive and increasingly colorful bios.

“They want a shtick,” says the mischievous Spiering, shaking her black curls, dark eyes glinting. “They want some kind of bio that lends to the art world mystique–they want a hook. So this is my response.

“And some people actually believe it,” she adds. “Some people will come over and say, ‘Hey, I didn’t know your father was black!’ ”

Spiering, 43, who formerly co-published an arts magazine in Mendocino with her partner, David Heller, decided to go the Internet route six years ago. She and Heller moved to Sonoma and started a home-based business called Left Coast Art, which offers an online art gallery–one of the first in Northern California–plus an online arts magazine.

The web site, which can be found at leftcoastart.com, showcases the works of some 20 to 40 mainly local artists, including Spiering’s own pieces–a vibrant mix of pastel and acrylic with themes she describes as “urban neurotic.”

The site currently features the work of three sculptors, one potter, and various craftspersons, but the emphasis is on the fine arts. Computer users navigate the site by clicking their way through brief biographies of the artists and thumbnail sketches of their work.

“I’m an artist myself, but more of a facilitator,” explains Spiering, leaning against her desk in the white-walled studio and home office off the kitchen. The space is crammed with computers and multimedia equipment, with a tangle of wires beyond. The room also sports rows of books on technology and on art.

“I like discovering artists and promoting those I think are good,” continues Spiering, who often visits galleries in the real world in the hope of enticing artists online. Those who take her up on the offer pay a nominal fee upfront and then a 20 percent commission to Left Coast for any work sold.

“I like to keep rotating artists through the site, and I like them to keep refreshing their work,” says Spiering. “If an artist loses interest, I don’t like to keep them online.”

The arrangement works well for many artists who don’t want to pay high overheads and would rather circumvent the gallery and go directly to the people. “A lot of my friends won’t even deal with [traditional] galleries,” says Spiering. “By the time they paint it, frame it, schlep it, and schmooze, it’s all too much.”

Heller, 50, a jeans-clad, lanky computer whiz with a ponytail, says the pair decided to go cyber because of the low overhead. Regarding the magazine, he says, “It’s still publishing, but now I don’t have to pay a driver to distribute the magazine, or for a storage locker to hold paper, or printing costs.”

He says the Internet art gallery business–with its low overhead, unlimited access, and high traffic–is paying off, pulling in between 12,000 and 90,000 hits per month. “We’re linked to just about every search engine–and we get a lot of hits from Europe,” he says.

THE PARTNERS like the idea of reaching a larger, more global audience. “You’re walking a lot more people by an image as opposed to a traditional gallery,” Spiering says.

Another advantage to online art is its spontaneity. Spiering recalls an instance when a local man browsing the Web came upon one of her paintings and immediately purchased it as a centerpiece for a cocktail party he was throwing that night.

“The snobbery level is still there, but it’s not so prohibitive,” she adds. “As an online artist, you don’t have to have the proper background or education or be in the right circles, all the things that are traditionally attached to fine art. There’s definitely an underground movement. You can put your own art online if you can’t get into a gallery. It’s great for small-time artists and students.”

THANKS to broad-based sites such as NextMonet.com and Visualize.com, the work of virtually unknown artists shows up on computer screens around the world as big and bright as that of Degas or Picasso. Some web sites are even dedicated to, um, inferior images, such as The Gallery of Very Bad Art, at www.badart.com.

A growing number of artists are soloing–creating their own sites because the overhead isn’t as high and because the egalitarian notion of a virtual gallery appeals to them.

For some artists, the Web is more than a place to market their wares or network with colleagues. It is a liquid canvas for making art itself.

And in this virtual world the cyber artist can use digital media to interact with the user.

“The World Wide Web is a new world, and its artisans are using new tools to create within it. Technology has become a technique, and technique is the result of technology,” says Amy Stone, founder of the Museum of Web Art, an interactive art gallery in Brentwood, Calif., that is designed especially for the Web.

For artists who design their own web sites, the cost is usually minimal. But despite that, some sites don’t do well. Two Sonoma County­based online art galleries display defunct telephone numbers on their Web page.

“It does cost money to keep a gallery online,” Heller says. “Some artists use free sites, but then it gets objectionable when ads pop up. Another problem is if you get too popular and you have a server capacity that can’t handle it.”

Then too, not everyone likes virtual art galleries. At first they aroused significant opposition in the art community. “People weren’t into it,” says Spiering. “They wanted everything done traditionally.”

One of the complaints was about the loss of tactile experience: You can’t get up close and personal to online images. Another was that potential buyers were leery about spending money on something they could gauge only from their computer monitors.

One additional qualm is copyright ownership. “Some images carry digital watermarks, numbers embedded in the file–it puts [artists] on a better footing if they need to sue,” says Heller. “We limit the [on-screen] size to a printable 4-inch-by-4-inch [image] that’s not enlargeable.”

Even with all these difficulties, the majority of art galleries and university galleries are now online. The San Francisco Museum of Modern Art awarded its first SFMOMA Webby awards for excellence in online art in May.

“There’s a good future for Web art because it’s a visual medium in all aspects. There’s a lot of potential for artists,” says Spiering.

“It’s great for the collector too,” adds Heller with a grin. “You can see art at three in the morning in your pajamas!”

From the June 22-28, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘God’s Army’

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Missionary position: Mormon elders prepare to take on the world in God’s Army.

Meet the Mormons

‘God’s Army’ explores missionary life

By Marina Wolf

FIRST THINGS FIRST: I’m a cranky ex-Mormon. I’ve sat through my share of soggy-eyed speeches from returned missionaries. So I have to confess that I was tempted, on first viewing, to dismiss the Mormon feature film God’s Army as slick propaganda. But after considering the phenomenon of minority subcultures creating characters in their own image . . . well, even this skeptic was able to relax past the religion and enjoy the story within.

Written and directed by Mormon moviemaker Richard Dutcher, God’s Army rallies a stalwart band of earnest actors to a stirring “week in the life” film about LDS missionaries, the foot soldiers in the church’s effort to save the world–or, in this film, just L.A.

Against that backdrop of carnality and chaos, we meet Elder Allen (Matthew Brown), a tousle-headed newbie from Kansas, who fits into the missionary life as well as Dorothy did in Oz. Even his new home, a dorm-style apartment shared with other missionaries, is raucous and noisy, a kind of (un)Real World populated with an assortment of races and backgrounds and even a “bad seed” (Michael Buster), who reads anti-Mormon literature “to keep up with the other side.”

In this strange new world, Elder Allen finds a harsh sort of refuge in the sharp-eyed senior, Elder Dalton (played by Dutcher). He is Obi Wan to Allen’s Luke, Mr. Miyagi to Allen’s Karate Kid. Dalton is one of God’s great salespeople, but he can’t do everything for his protégé. When Allen bottoms out in a sleepless night of spiritual angst, triggered by a fellow elder’s defection, he must find his way alone.

Predictably, the morning after finds Allen a new man. He mysteriously develops his own sense of what to say and when. And he participates in a medical miracle that is audacious in its immediacy. This is the stuff of missionary legends, as are dramatic turnarounds by a hooker and a Latino Catholic father. It’s a whole body of oral folklore that Mormons relish in the retelling.

What the film does for non-Mormons is something else entirely. Diehard atheists and easily irritated individuals may want to stay away or take a sedative: you can pack a lot of prayer into 100 minutes. Still, many viewers will be fascinated by an inside look at the lives of these handsome young men, who are among the most easily identifiable in the religious landscape but are as misunderstood as nuns. They look so self-assured on those bikes, but inside, we learn, many are seething pits of self-doubt.

Missionary life isn’t all psychospiritual drama. In some of its missionary-meets-world material, God’s Army displays wry humor. One scene shows a bedraggled backyard with screaming kids and a shrill wife in the kitchen. Meanwhile, Elder Allen is telling his prospect about eternal family life (one of the key selling points of the LDS faith). “You mean I could be with my family forever?” asks the weary man. “Thanks, I don’t think I’m interested.”

Dutcher has experience in non-Mormon cinema, and it shows in the hip yet restrained use of lighting and music (in-house LDS documentaries use a lot of golden fog and swelling orchestral arrangements).

But it’s not just a matter of mastering the conventions of contemporary cinematography: Dutcher must receive credit for writing a respectable human drama, complete with ambivalent heroes and wrenching dilemmas. As the first filmmaker to present Mormons to the world, and to themselves, he has more than done his duty.

God’s Army opens Friday, June 23, UA Cinemas 6, 620 Third St., Santa Rosa. For details, call 528-8770.

From the June 22-28, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Usual Suspects

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Sonoma County supervisors give themselves yet another pay hike

By Greg Cahill

SAYING that they work hard for their money, the five members of the Sonoma County Board of Supervisors voted unanimously on Tuesday to give themselves a 10 percent pay hike over the next three years.

Under the new changes, supervisors–who earn $64,851 a year–will receive a series of three annual raises–4 percent the first year and 3 percent in each of the next two years–totaling $71,336.

That is far short of the 15 to 20 percent raise that Supervisors Mike Cale and Tim Smith had wanted, but still too much for one critic. Bill Pisenti, president of the Redwood Empire chapter of TRIM (Tax Reform Immediately), warned the supes that the salaries of all county employees should be re-evaluated to prevent what he called an inappropriate payout to public servants. “When is the government going to do something for the taxpayers?” he asked the supes during a public hearing on the matter. “You keep raising salaries and pensions. Where we’re headed is for a downfall. The youth of today are going to pay for it.”

For the past 23 years, the supervisors’ salaries have been based on a formula that granted them 55 percent of the earnings of a Superior Court judge, based on rates set by the state Legislature. The new ordinance will set the proportional amount at 80 percent of a judge’s salary.

“There is no rhyme or reason for this approach,” newly appointed Sonoma County Administrator Mike Chrystal said of the existing rate.

While supervisors had received no pay increases for four of the past 10 years, they had gotten two large raises in the past two years. In 1998, the consolidation of the county courts resulted in pay hikes for judges and a 9 percent increase for the supes, whose pay went from $53,768 to more than $58,607. Last year, another judicial raise led to an increase for supes to $64,851, or 11 percent.

The average pay raise for most Americans is 3 to 4 percent a year.

This week’s pay hike had the blessings of the Sonoma Alliance, an influential business group, and the Sonoma County Taxpayers Association.

County Administrator Chrystal said the supes deserved the raise because they were underpaid relative to those in other counties of like size and because they performed many tasks on a full-time basis.

“I don’t do this with any trepidation at all,” Smith said of the salary increase. “There needs to be a fair and equitable salary for doing this job in the future.”

Supervisor Cale echoed those sentiments, adding that “if you want the cream of the crop coming in [to public service] to put up with the flak that we do, then [the raise] is highly justified.”

Not all municipal lawmakers are comfortable with the hefty raises granted by the state Legislature of late. For instance, most of the 15 members of the Los Angeles City Council have announced that they won’t accept their most recent raises, and Los Angeles Mayor Richard Riordan has said he will accept only $1 of his latest raise.

Sebastopol Bans Aerial Spraying

THE POSSIBILITY that the county agricultural commissioner might order aerial spraying to control the glassy-winged sharpshooter–a newly found vineyard pest that could devastate the region’s $2 billion wine industry–has prompted the Sebastopol City Council to call for a ban on the spraying.

While county officials have said they will first consider ground spraying of powerful pesticides designed to kill the pest, Sebastopol City Councilman Larry Robinson proposed the ban to get a jump on the situation before the county acts. In what is seen as a largely symbolic act, the ban also calls on the county to employ nontoxic methods to eradicate the sharpshooter.

The council approved the ban on a 3-0 vote; Robinson was absent.

Earlier this year, Robinson led a successful bid to have Sebastopol designated as the county’s first pesticide-free zone, banning the use of the toxins by city work crews, fashioning the restrictions on a similar ban in the Humboldt County community of Arcata.

On Tuesday, several speakers urged the Sonoma County Board of Supervisors to explore nontoxic control methods for the bug. The supes responded with indifference and even laughs. One speaker told the supes that a proposal to enforce mandatory ground spraying of pesticides in backyards was “not a war against the glassy-winged sharpshooter but a war against our own property owners.”

The ban–which Sebastopol City Council members hope will spur similar measures in other Sonoma County cities–has infuriated county officials, who have accused Sebastopol of stepping on their jurisdictional turf.

From the June 22-28, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Banking on the River

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The tide is turning: After years of neglect, the Petaluma River turning basin and various waterfront properties are drawing the attention of developers and city officials, who are considering a nearly $50 million plan to revitalize the area.

Banking on the River

Everyone from boaters to developers has high hopes for the Petaluma waterfront

By Paula Harris

IT’S A MELLOW afternoon as John FitzGerald–a tanned, outdoorsy guy in a paisley shirt and khaki pants, with well-cut graying hair and a crinkly smile–plans to meet his fiancée for an after-work glass of cold lager at Dempsey’s Restaurant and Brewery on the Petaluma River. A slight breeze ruffles the patio umbrellas and ripples the surface of the nearby river.

FitzGerald has a passion for this tidal estuary that flows past sloping farmlands and waterfront neighborhoods, past earthen levees and salt marshes, from San Pablo Bay to the center of the city.

He strolls toward the Great Petaluma Mill and continues behind it to the watery “plaza” that’s the Petaluma River turning basin–the hidden heart of downtown. A couple of dog owners meander with their pets around the historic waterfront, meeting along the gently curving basin and breaking their stride to pause and exchange dog pats and pleasantries.

–John FitzGerald

But the once-bustling turning basin of a century ago has taken on a listless, neglected feel in the past few years. Where once the city turned toward the river for its very life, the opposite has become true. The Golden Eagle Shopping Center, constructed in the 1970s on the site of an old flour mill, literally turned its back on the river–aligning its businesses away from the waterfront. The water itself, often shallow and silted up, languished for years beneath the rotting pilings, broken wharves, and weather-faded signs that lined its banks.

The ebb and flow continue. Steamer Gold Landing, a lively watering hole and riverfront restaurant that closed several years ago, transformed into a health club. And the wildly popular annual Petaluma River Festival, a daylong pack-’em-in celebration that honored the city’s waterfront heritage, folded in 1997, after 12 years, because its organizers, including FitzGerald, got tired of shouldering the huge event with little assistance from the business community or city officials.

The problem-plagued but photogenic Petaluma Queen paddle wheeler–a longtime feature of the turning basin–steamed out for good soon after that, leaving in its wake an echoing trail of calliope music and an uncertain future for the area. A planned replacement steamer scheduled for repairs remains in ruins farther downriver.

Most important, the projected riverfront development and recreational boom that so many have anticipated in recent years hasn’t happened–yet.

While he waits, FitzGerald strolls over to the small structure known as the Balshaw Pedestrian Bridge, constructed in 1989 and named for contentious former City Councilman Jack Balshaw. Standing here on the wooden planks that arch across the murky expanse, joining the Golden Eagle Shopping Center and Steamer Gold Landing, FitzGerald leans forward to rest his tanned forearms on the metal railing that’s still warm from the afternoon sun.

Today, the river is the shade of green olives left out too long at a picnic.

Riverfront development: Haystack Marketplace would replace the ramshackle warehouses and piles of old wooden ties that litter the rail station area.

“WHEN I LOOK out at the river, it’s like looking at a history book,” FitzGerald murmurs, breathing slowly, his eyes intent on the backdrop of gently flowing, muddied water. “I have a vision in my head of what was going on here 50, 70, 100 years ago: the boats, the trains, all the activity, all the changes, except the shoreline–that hasn’t really changed.

“I think about all the thousands of people who got off their boats right here because it was the focus of the city, and I get a warm, fuzzy feeling.”

FitzGerald has long been a Petaluma River advocate. As a civil engineer and land surveyor in Petaluma, he’s been involved with the river in a variety of ways for more than 20 years. He is one of the founding members of the Petaluma River Association, a longtime nonprofit that created the now-defunct river festival. And he’s chairman of the Petaluma Area Chamber of Commerce River Committee and serves on the citizens’ advisory committee for the Petaluma River Access and Enhancement Plan, a $40 million to $50 million project adopted by the council four years ago that still awaits much of its funding.

Besides all that, the river serves as FitzGerald’s liquid playground. He’s kayaked on it, water-skied on it. Even swum in it–a brave feat considering the residential and commercial pollutants that sometimes contaminate the water.

“When I look at the river, I’m encouraged,” FitzGerald continues. “If we can just keep people’s attention focused on [the river] and what a wonderful resource we have, in the next 10 years we’re going to see a tremendous amount of growth along here.”

Ben Stone, director of the Sonoma County Economic Development Board, agrees, saying Petaluma is following a nationwide trend of the last decade in revamping riverfronts as centerpieces to regenerate downtown areas. “The river certainly has great potential, and the prospects can be very bright for Petaluma,” he says of the once-languishing farming community that’s now experiencing a boom through its recent metamorphosis into Telecom Valley.

“There’s a confluence of events: the big concentration of telecom manufacturers in Petaluma, the prosperity of that industry, people like Bill White coming forward from that industry with dramatic plans to revive Petaluma, new eating establishments by the river, and a new creation of awareness and the idea of investment prospects in the area.

“It’s all going hand in hand.”

IT SEEMS he’s right. Petaluma is poised to make some mighty changes in river enhancement and development–changes that could finally open the floodgates to transform a once-sleepy farming community into a major player in the North Bay’s economic picture.

Market rate: Gerald and Gina Pittler envision Haystack Marketplace as a key player in Petaluma’s riverfront renaissance.

*A group of developers–including Kirk Lok, who owns two other hotels in Sonoma County–want to build a $26 million Sheraton Hotel at the city-owned and financially troubled Petaluma Marina, a four-story building in the style of an East Cast resort, complete with 183 rooms, conference and banquet facilities, a restaurant, gym, pool, spa, and telecommuting facilities for business guests. “We’re ready to order the concrete piles now; we’re ready to go,” says Lok. The facility is expected to be completed in 2002. Lok hopes that the hotel, which is expected to create 100 new jobs, will be a Petaluma landmark. “It’s not going to be just for business functions; it’s where your daughter might want to have her wedding,” he says. “The hotel will be an asset by which we can define our community.”

* Bill White, an influential developer who built Petaluma’s Telecom Valley manufacturing hub, the Redwood Business Park, could dramatically change the face of downtown, the turning basin, and the neighboring riverfront warehouse district. White, who has owned the Petaluma Mill building since 1998, has entered escrow to purchase several properties in these downtown areas and plans to construct a three-story office complex; a 120-room 1920s-luxury style Hilton Gardens Hotel; and, eventually, 75 upscale riverfront apartments. The office complex would have a view of the turning basin, with decks overlooking the river. The apartments would be built on the west bank and replace a row of ramshackle corrugated-metal warehouses. “We hope to start work on the hotel and the office this fall,” says White. “Everything we’re doing is consistent with both of the [river] plans for the city. The river is critical to the whole thing. It’s the reason for the changes; it’s the attraction. How many other towns have a river running right through the downtown? It’s the reason Petaluma is such a neat place.”

* Petaluma optometrist Gerald Pittler and his wife, Gina, have big plans to renovate the area surrounding the historic train barns on Weller Street, parallel to the river and near the Lakeville Highway train depot. To create their Haystack Marketplace, the couple purchased the three-acre property three and a half years ago for $680,000 and plan to begin construction later this summer if they obtain the necessary financing and permits.

“Haystack Marketplace will feature a European-style shopping experience with local culinary artisans and their products, courtyard cafes, and specialty retail shops, as well as office spaces,” notes their web site. The three-phase project would transform the barns into an open-air market housing eight to 10 individually owned and operated food-oriented businesses, possibly including wine sales and winetasting.

“We’d like to create a meandering effect,” explains Gina Pittler. “Our goal is to create the type of atmosphere that will support local entrepreneurs, and we’d prefer not to bring in big-box names.”

Phase 2 would involve an additional 60,000 to 70,000 square feet of retail, offices, and residential space, plus cafes and restaurants. Phase 3 would include a hotel and spa.

“It’s really exciting,” says Pittler. “We have a chance to make an extended downtown, something most cities don’t get to do.”

* The Washington-based cruise company American Safari Cruises is ready to set sail on the Petaluma and Napa waterways, which they have trendily dubbed the Wine Rivers, making Petaluma a cruise destination and port of entry for Wine Country tourists. Starting in October, the company’s 21-passenger Safari Quest deluxe “mega-yacht” will sail passengers to the turning basin (the company has a new dock near the River House Restaurant) and then on to Napa.

The upscale Wine Country cruises–which cost from $1,395 to $2,495 per person for three or four nights, respectively–will focus on fine dining and wine tasting, plus such river activities as kayaking and fishing. Also on the itinerary is an afternoon of antiquing in downtown Petaluma. “You’re enjoying the good life today,” notes the company’s slick brochure. A second vessel, Safari Spirit, will join the fleet later in the year.

“We’re 70 percent booked right now for our first trip,” says American Safari Cruises president and CEO Dan Blanchard. “When we first were exploring this project, we knew from the very beginning that Petaluma was going to be a hit. It’s a quaint slice of Americana, and people really enjoy it. Plus, it’s a great way to explore the river.”

But won’t tourist kayakers be a bit disappointed by the Petaluma River’s often brackish, silty water, which looks invitingly clear blue in the brochure photo? Not really, says Blanchard. “Our clients accept this is like a river barge trip in Europe,” he says, “They want to explore all the nooks and crannies.”

Room at the inn: Real estate tycoon Kirk Lok wants to construct a $26 million Sheraton Hotel at the embattled Petaluma Marina.

TOURISM is definitely on the minds of many, since bed-tax revenues are an important contributor to the city coffers. Sondra Costello, promotion coordinator for the Petaluma visitors’ program, asserts the river is not currently a forgotten resource. She says the visitors’ program still stresses the Petaluma River in its public relations efforts.

“The riverfront has always been the focal point of the community, and it definitely still is–it’s where the community started,” she says. “The river is very much a part of us.”

However, FitzGerald says the loss of the Petaluma River Festival has taken the turning basin out of the public eye. The event was partly organized by the Petaluma Chamber of Commerce to get downtown merchants to see what a good resource the river could be, hoping they would realize that if the river could be successful, so could downtown. After the first year, the eight-member Petaluma River Association broke away from the chamber to organize the event by itself.

“We pulled in many people, more and more each year,” says FitzGerald. “The City Council saw the movement and claimed it all as their idea, but that’s OK–that’s how you influence policy. So things started to get done. They constructed the Balshaw Bridge in 1989 and there was attention to maintenance [and] policing, and things seemed to be done. But the past two or three years, it’s lost momentum–they’re not as enthusiastic about the river and the turning basin.”

According to FitzGerald, the festival’s fundraising activities attracted about 250,000 people to the Petaluma riverfront during its 12 years, and the organization used the proceeds to promote downtown Petaluma and enhance the waterfront. Past proceeds have helped purchase and install new docks in the turning basin, add lights to the Balshaw Bridge, renovate the historic schooner Alma, and support related educational and informational programs.

A boater survey completed by the Petaluma River Association, from the late 1980s to the early 1990s, indicated that boaters coming up for the weekend spent an average of $300 per weekend in Petaluma restaurants.

FitzGerald says that boating has declined, but Costello insists the river is still experiencing a lot of boating activity. “The Petaluma River [was] voted one of the top 10 leisure boating destinations in the Bay Area in the May 1999 [issue of the boating magazine] Latitude 38,” she says. “About 1,200 leisure boats travel on the Petaluma River each year.”

Although the Petaluma Queen has relocated to Vallejo and the Petaluma River Festival has ended, Costello says that annual events like Santa’s arrival by tugboat, the Christmas holiday lighted boat parade, the self-guided River Walk, and riverfront dining are still big draws.

“We’re still trying to change our image from ‘Egg Basket of the World’ to ‘Victorian Riverfront Town of Petaluma,’ ” she says.

FitzGerald thinks that city officials can do a lot more to move things along. He would like to see the City Council adopt a 2-year-old central specific plan for Petaluma and help developers carry it out. “If someone has the vision and can capture the right idea for the city, they should encourage them, help them, and speed the process. If you want mixed use [retail, residential, and office spaces], then you’ve got to get out of the way and get on with the process,” he says. “But I know of several projects in which developers walked away from the area because the process was too costly.”

He adds that, under current policy, the financial burden would be on developers–to replace old gas lines and pipelines and basically upgrade an infrastructure more than a century old.

ACTUALLY, an official master plan for the riverfront is in place–sort of. “Petaluma is a river town. The Petaluma River is its lifeblood”–with these words begins the Petaluma River Access and Enhancement Plan, a document adopted four years ago by the City Council. It describes the community’s vision for the river, including its waterfront uses, activities, and development.

The hefty 266-page document goes on to note: “Implementation of this plan will result in a waterfront environment that is the jewel in Petaluma’s crown.”

But such ambitious plans take time to process. Petaluma City Councilwoman Jane Hamilton, who notes that the river was the reason she got into politics almost a decade ago, says one of the council’s top priorities is to implement the River Plan. The obstacle: funding.

Hamilton is optimistic that plans for the river will fall into place in rapid succession once things get started. “Redevelopment needs to happen,” she says. “But state and federal funds need to be sought,” she says.

There’s already a low- to moderate-income housing development under construction on East Washington Avenue on the east bank of the river and also limited development in the Foundry Wharf area, Hamilton says. She also mentions that the city’s River Walk–designed to encourage pedestrian traffic through town and onto the waterfront–is continuing to take shape.

“It’s happening piece by piece,” she says.

In gear: The 63-year-old D Street drawbridge this week closed for 10 weeks of repairs. The $2.4 million renovation project is needed to keep river traffic flowing.

And then there’s the central Petaluma specific plan, completed in September 1998. The document calls for most of the pedestrian-friendly enhancements detailed in the more comprehensive River Plan. It also projects a striking overhaul of the turning basin area, including the addition of an 80-room hotel, an amphitheater suitable for large musical events, and a 2,000-seat multiplex cinema. “A cinema complex that is integrated with restaurants, shops, and public parking, developed around park space surrounding a newly improved turning basin, could prove to be highly successful,” notes the document.

Mike Moore, the city’s newly hired community development director, says his office is trying to get the draft plan back to the City Council to determine the process for final approval, perhaps this summer.

The plan has a lot of river-related redevelopment opportunities, he says, mainly in the downtown area and south of downtown. He adds that there’s also an interest in development of the river warehouses on the west side of the river for office, retail, and residential uses.

Prospective developers have been eyeing residential and commercial opportunities in the largely neglected Foundry Wharf area. Moore says that from a recreational standpoint, there’s still a lot of river use. “People are becoming a lot more aware of the river and wanting to pay attention to it,” he adds.

As a point of comparison, Napa County voters recently approved a $170 million plan to enhance and manage the Napa River. A new waterfront restoration plan is in the works, calling for a flood-protection project, a six-mile Napa River trail, and a waterfront restoration plan.

That plan will create “an extensive system of bridges and walkways to connect the galleries, restaurants, theaters, attractions, historic sites, one-of-a-kind retail shops, open spaces, public places, and other amenities which will fill the area,” boasts the “Downtown Napa Renaissance” blurb from the city’s redevelopment/economic development department.

Petaluma River advocates suggest that the Napa projects could serve as a working model.

MEANWHILE the Petaluma River has had its share of problems. “It hasn’t been a good year for travel on the river,” says FitzGerald. “Word is out that the river is silted up, and the powers that be are not paying attention to the turning basin. They’ve been preoccupied with other matters.”

The U.S. Army Corps of Engineers dredges that stretch of the river every four years [the last time was in 1996], but the project was omitted from the new federal budget, and now officials are scrambling to achieve a “congressional add-on” to secure funding for the task.

“[The siltation] makes it difficult for pleasure craft to come in to dock,” says FitzGerald. “If the tide is out, the boats rest on the bottom.”

The sediment also compounds another of the river’s problems–flooding. The city recently reluctantly agreed to pay $1.5 million to the U.S. Army Corps of Engineers, part of an over-budget bill, to keep the Petaluma River Flood Control Project going, to ease flooding in Payran Avenue neighborhoods on the north end of the river.

Ironically, the funding for the flood control project may have to come from revenue earmarked for river enhancement.

Still, as the sun sets over the muddy gray-green water and FitzGerald heads over to the brewpub for a cold one, he’s optimistic about the future of the beleaguered waterway.

“Inattention has brought us to a point of new awareness. The next big move in Petaluma isn’t going to be the big spread of the east side like we’ve seen in the past years; it’s going to be a huge move in the center of town. In the next 10 years we’re going to see a tremendous amount of growth along the river,” FitzGerald emphasizes, adding a few predictions for good measure.

“I think the River Plan will be implemented quicker than we thought, and buildings and walkways will be opened up for people to enjoy the river. There will be a new trolley running along the riverfront and a small electric ferry from the marina to the turning basin,” he says. “There’re a lot of things in place–it will all eventually happen if everyone keeps the river in mind.”

From the June 22-28, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Tom Lehrer

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Slice of wry: Tom Lehrer, the master of social satire and topical humor.

King Lehrer

CD retrospective celebrates godfather of sick humor

By Greg Cahill

HE HAD a dreadfully normal childhood. So how did Tom Lehrer–hailed by the All Music Guide as “one of comedy’s great paradoxes, a respected mathematics professor by day, [who] also ranked among the foremost song artists of the postwar period”–become the godfather of sick comedy?

That is one of life’s little mysteries, though the newly released anthology The Remains of Tom Lehrer (Rhino), a three-CD box set replete with a 78-page hardcover booklet, does a swell job of showcasing the skewed wit that 50 years ago laid the groundwork for such musical parodists as Mark Russell and Weird Al Yankovic.

Maybe it was all that Gilbert and Sullivan that Lehrer ingested during his childhood. Or perhaps it was the hours spent admiring the goofy on-screen antics of actor Danny Kaye. Or maybe his musical lunacy was just an outlet for a bright kid flexing his intellect.

For his part, Lehrer once joked about his scientific “attempt to prolong adolescence beyond all previous limits.”

By the time he entered Harvard University–at the tender age of 15–Lehrer already showed a proclivity for purple prose. Here’s a written sample (a long verse in the style of Gilbert and Sullivan) that he submitted to the Harvard admissions department: “I will leave movie thrillers/ And watch caterpillars/ Get born and pupated and larva’d/ And I’ll work like a slave/ And always behave/ And maybe I’ll get into Harva’d.”

The urbane singer, songwriter, and pianist was already well on his way to entertaining America with hilarious song satires about cannibalism (the corner druggist who kills his grandmother and sprinkles “just a little bit of her” on his ice cream sundaes), nuclear obliteration (sung as a campy cowboy anthem, of course), and obesity.

This ambitious tribute to the silly songster–feted in the popular 1980 musical Tomfoolery–contains Lehrer’s entire recorded output: 1953’s Songs by Tom Lehrer (recorded for $15 worth of studio time and eventually going on to sell 350,000 copies),1959’s More of Tom Lehrer, featuring “Poisoning Pigeons in the Park” and “The Masochism Tango”; 1959’s An Evening Wasted with Tom Lehrer; 1960’s Tom Lehrer Revisited; 1965’s That Was the Year That Was, which featured material written for the NBC news satire program of the same name, including his scandalous “Vatican Rag”; a series of tracks recorded in 1971­72 for The Electric Company kiddie show; and three new songs recorded last year with producer Ron Fisher.

Today, Lehrer remains the second most requested artist on the syndicated Dr. Demento Show–second only to Weird Al.

Lehrer himself–who has stayed largely out of the public eye for two decades, except for contributing an occasional song to NPR demigod Garrison Keillor’s show and conceding to a 1997 Internet chat (reprinted in the anthology’s booklet)–attributes the longevity of his work to the lack of sophistication in the mass media during his formative years.

“The songs spread slowly,” he told participants on the 1997 Internet chat, “like herpes rather than Ebola.”

What do you expect from the godfather of sick comedy?

From the June 22-28, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Bridal Registry

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Bridal Bounty

Ritual of the registry gets some new twists

By Marina Wolf

COME WITH ME to a mystical long-ago land where all brides were virgins, all weddings were huge, and the bridal registries were exercises in prim, proper overindulgence. Twenty place settings of china were de rigueur, silverware sets came with fish knives and butter knives, and monogrammed table linens were chosen with the same care–and cost–as the bridal dress itself.

Admittedly, not everyone really wanted or could afford such a grand opening of their housekeeping endeavors. But the fantasy, pushed forth by bridal magazines, was there in the minds of many a bride-to-be. Now marriage is an entirely different ball game, and the ritual of the bridal registry has changed to match.

Not surprisingly, the computer age has made its mark on the matrimony business. Online registries, where newlyweds can set up their own Web page with lists of their choices, are becoming increasingly commonplace: everyone from Crate and Barrel to the old-school Bloomingdale’s is getting clickable. Target, a relative newcomer to the field of registries, took its Club Wedd online earlier this year, but it was way ahead of the pack back in 1995, when it started handing out scan guns to new couples and letting them loose in the store to pick-and-point their lists.

While the ease of picking items for the lists may lead to some bizarre choices (one Club Wedd couple put dog food on its list), online registries are the perfect choice for guests whose only spare time may be at 11:30 p.m., long after Bloomie’s has closed. They also greet the challenge of America’s increasingly mobile way of life, says Doris Nixon, director of educational services for the National Bridal Service. “Brides are more apt to not be living in their hometown,” says Nixon. “They’ve gone off to college and then moved again to find work, so many weddings have become cross-country affairs, and that can make local shopping a real hassle.”

The fast pace of the modern age has affected not only how registries are set up, but what goes into them as well. Socializing has gotten much more freewheeling, and the accouterments have changed accordingly. At Crate and Barrel, there are 100,000 couples registered at any given time, and many are switching their focus from gourmet cookware to serving ware, according to spokesperson Betty Kahn. “They’re getting beautiful serving platters to put their takeout on,” she says.

The most popular item at Crate and Barrel is the humble chip-and-dip plate. “For some reason every bride wants one. It’s a real basic entertaining tool,” says Kahn.

Another item that shows up repeatedly on bridal wish lists is the buffet plate, which didn’t even exist 40 years ago. It’s larger than a dinner plate and has a rim, making it easier to carry while you’re walking around looking for the wine. “It’s about casual entertaining,” Kahn says. “It’s a lot less pressure on the hostess as well as on the guest if everybody can just pick up their buffet plate and sit wherever they want in the living room.”

Even if new hostesses do want a more formal setup, they likely don’t have the room for it, either in the dining room–what dining room?–or in the kitchen. “More brides are looking for mugs; they don’t want the cup and saucer. They don’t want all those plates,” Kahn says. “You couldn’t have bread-and-butter and salad plates in small city apartments.”

BEYOND simple space considerations, newlyweds are much more savvy in the field of kitchen stuff. They have to be; they’re often on their own for much longer before they marry.

The median age of first marriage for women increased from 20.6 years in 1970 to 24.0 in 1990 (the median age of men showed a corresponding increase, from 22.5 years to 25.9). Add into that the folks coming into second or third marriages and the skyrocketing rate of premarital cohabitation, and you’ve got a lot of folks who are already fairly well stocked. Couples often look outside the kitchen altogether, into the booming field of garden or home-office equipment, or else they go for the upgrade.

Louise McCoy of McCoy’s Cookware, a small specialty store in Santa Rosa, observes a great deal of upgrading in the older clientele that her store attracts. These older brides, women over 30, are more choosy about their registry selections. “They are very clear about what they like,” she says. “They have more opinions and, based on their experiences, they know better what will be useful.”

Newer shoppers, she notes, often need to be guided through a selection process.

What many younger brides seem to know instinctively, say McCoy and other shopkeepers in the bridal-registry industry, is that not all of their guests can afford to be as generous as they might want to be with the Calphalon eight-piece set or Cuisinart blender. McCoy tries to meet this need with her careful selection of lower-priced gadgets and utensils, but admits that Target has a lock on the lower-price-tag items.

“They have good options for people with less money, a good range in price,” she says. “Young people are sensitive to these concerns.”

From the June 22-28, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Petaluma River

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The world in a hard shell: John Thompson of the North Bay Rowing Club calls the Petaluma River the best rowing water in the region.

Life on theWater

A long, lazy trip down the Petaluma River–a day in the life of the folks who live, work, and play along this meandering waterway

Text By David Templeton/Photos By Michael Amsler

SOMEWHERE up there, hidden behind a moist canopy of low-hanging clouds, the sun is rising over the Petaluma River. A gray morning light gradually spreads along the slippery brown-green surface of the water, now being gently pebbled by a thousand drops of falling rain. Down by the Foundry Wharf, an old riverfront mill that’s been converted to upscale offices, there are signs of movement.

The tide is low, revealing the shiny silt-slick banks of mud, riotously marked by the gluey footprints of shore birds and muskrats. A mitten crab sidesteps through a rotting tire, coated with ooze, that protrudes from a spot near the boat-launching dock.

On the dock, nine pairs of tennis shoes stand freshly emptied, silently soaking in the drizzle. A small yacht is moored nearby. Its occupants–resident watch-persons for this bit of the river–are just beginning to stir, sending soft muffled mumblings out along the water, where sounds commingle with the unmistakable bump and swoosh of oars on the water.

Bump-swoosh! Bump-swoosh! Bump-swoosh!

The source of these sounds turns out to be the owners of the orphaned shoes: a hardy handful of rowers, out on the water for their ritual morning workout. Half a dozen racing skiffs–some with one rower, others with two–skim serenely down the waterway in a graceful and elegant waterborne procession, like mysterious water phantoms parading in the mist.

Several mornings a week, the brightly colored skiffs and racing shells of the hard-working, early-rising diehards of the North Bay Rowing Club can be seen here, usually working the six-mile stretch from the turning basin, half a mile north of the Foundry, to Gilardi’s Landing five and a half miles to the south. On occasion, valiant rowers will venture all the way to San Pablo Bay, negotiating a picturesque, though largely unappreciated, 15 miles of truly remarkable river.

The 16-year-old club boasts 50-plus members, men and women, young and not so young.

This morning, however, there are only eight of them, racing south down the river in single file. The rowers face north, effectively traveling backward.

After a few moments, a ninth boat skims by.

“This is the best rowing water in the North Bay,” enthuses longtime rower John Thompson, who leans into his stroke, then pulls easily back as his oars propel him swiftly across the water. “It’s 15 miles of clean, flat water with no waves. In rowing, you don’t want any waves.”

Patiently coaching the first-timer who shares his two-man skiff, the articulate Coast Guard engineer has let the other rowers speed on ahead while he takes a practice trip up to the turning basin. Slicing through the water, just inches above its murky surface, Thompson guides the craft by way of a small rearview mirror extending from his headband.

Master storyteller: “The waterfront has a tendency to attract colorful characters,” says Petaluma Marina harbormaster Wayne Kipp.

The short stretch from the turning basin to the Foundry is usually a highly populated one, though all is quiet now. Even the D Street drawbridge, normally singing with the rumbling percussion of passing cars and trucks, is mostly silent. There’s no sign yet of the anonymous homeless man who’s been sleeping beneath the bridge of late–only the bright orange and purple flowers he’s recently planted in the hollowed-out bowls of the wooden pilings beneath the bridge’s control house. Farther down, the massive crust-bottomed barges and towboats of the Jerico Products construction company, a common sight along the river, are harbored end to end. Across from them is a row of rotting pilings and planks that serve as the back door of the historic Bar Ale feed company, with its corrugated metal siding.

A large “For Sale” sign hangs above the water.

Someday, if city planners have their way, this part of the riverfront will be lined with upscale shops and restaurants, pristine offices, luxury apartments, and walkways. For now, it still bears the marks of the bustling waterway it was for nearly a century until water commerce declined around the mid-1950s.

Though all of this is surely familiar to anyone who’s explored the riverfront by foot, Thompson and his fellow rowers are privileged to view these sights from the middle of the river. From this vantage point, the river’s vibrant atmosphere, thick with the ghosts of old Petaluma, seems especially strong.

AT THE FOUNDRY–a once dilapidated pile of old metal and brick buildings, now a pleasantly refurbished complex of offices and commercial quarters–the river begins to resemble some otherworldly avenue, lined with a motley assortment of oddly parked cars. Here, of course, the cars are actually boats and houseboats, some in shiny shipshape, others in advanced states of decay and berthed at a small dock. The castlelike image of Shamrock Materials’ giant rock mill looms in the distance. The rust-red hulk of an old paddle wheeler floats semi-sideways in the drink; nicknamed The Duke, it was reportedly once used in an old John Wayne film. The spectacular craft was intended to be the replacement for the Petaluma Queen, the famous but troubled Petaluma tourist boat that was relocated two years ago to the Napa River. Those plans were abandoned, and The Duke sits forgotten, eerily entombed in dust and cobwebs.

A new housing complex features a flower-lined walkway right along the river to the south of the Foundry; a woman is out jogging this morning, trotting through the rain with a lanky Labrador galloping beside her.

Thompson speeds past all these sights, now intent on his rowing form. As he maneuvers beneath the towering Highway 101 overpass, he stops suddenly, letting the skiff glide to a stop. He stops to look around, pointing out the odd rotating railroad bridge designed to swing across the river when needed.

A short jaunt from here is the Petaluma Marina.

The tidal currents gently pull the skiff southward, easing Thompson and his student out from under cover of the overpass. It seems to have stopped raining. The other rowers now begin to return from their excursion farther downriver. Gracefully wielding the oars, Thompson turns the boat around and heads back to the dock.

THE PETALUMA River, ironically enough, is not technically a river at all. It’s a tidal slough, an estuary of San Pablo Bay, surrounded by a vast saltwater marsh to the north. Its brackish water rises and falls as the bay’s tides pull it out of a winding, twisting course before sending it all back up the slough again. Unlike real rivers that rid themselves of sediment–and pollutants–as they flow from their source to their final destination, the Petaluma River, so named by an act of Congress in 1959, merely fills and empties at a slow pace, constantly churning up mud as it does so.

Thus the infamous brown-green color.

Before Spanish explorers stumbled upon the channel in 1776, the area was peopled by Miwoks and Pomos, who for centuries had thrived along the marsh’s rich and fertile waters. A major breeding ground for fish and migratory birds, the area was rediscovered in the mid-1800s, this time by hunters looking for meat to send to the burgeoning gold fields. A hunter’s camp was set up near the northernmost tip of the slough. That camp eventually became Petaluma. Over the next 100 years, the channel became one of the busiest waterways in the West, constantly trafficked by steamboats and barges running food and game, grain and eggs, and a significant number of cobblestones–pulled from quarries in Penngrove–down to the growing metropolis of San Francisco. To make things easier for the barges, which had a difficult time maneuvering through the Petaluma slough’s twistier turns, a handful of cuts were dug into the channel just south of town, effectively straightening out the river. Dredging is necessary from time to time to keep the waterway from silting up and becoming unnavigable.

After World War II, when Highway 101 was constructed, the river was no longer the best mode of transportation, and business soon declined. A small amount of remaining barge commerce was just enough to keep the government interested. The act of Congress that bestowed the “river” designation was a necessary legal step to ensure that federal money would continue to pay for the exhaustive dredging efforts. For a time, the river became a mere dumping ground for local businesses: a smelly, polluted trickle of water behind Petaluma Boulevard–and a convenient place to build in the floodplain.

By the mid 1970s, so much shoaling had occurred that a large island of silt had formed in the middle of the river’s turning basin. Around 1976, fueled by a surge of bicentennial enthusiasm, enormous efforts were made to repair the river and recapture some of its former glory. These efforts have been mostly successful. Yachts sail up and down the river again. The marina is undergoing an expansion, and a nearby resort hotel is planned. Clubs like North Bay Rowing have taken to the waters in droves.

Yet to this day, it is a constant struggle to keep the river from becoming too shallow. And there are other concerns as well: fish are no longer plentiful, owing in part to the silt and in part to alien mitten crabs that are eating the smaller bait fish. Though the days are long gone when raw sewage was routinely flushed into the river, lingering fear of contamination still keeps most people from so much as touching the water. The shallowing is beginning to take its toll on yachters, many of whom are once again reluctant to enter the turning basin for fear of becoming grounded.

Especially among the river people, folks are beginning to fear that the Petaluma River is once again being neglected.

River keeper: David Yearsley acts as an environmental watchdog.

THE RIVER PEOPLE are a remarkably mixed lot. Their ranks include tugboat pilots, barge workers, boat dwellers, weekend yachtsmen, kayakers, joggers, photographers, painters, nature enthusiasts, canoers, fishing pole-toting kids, duck hunters, and commercial fishermen. The last group, fishermen, divides into those who claim to eat the fish they catch and those who insist they’d never dream of it. There are the homeless who make their beds near the river, and sometimes on it, taking possession of abandoned boats that cling to the banks a mile or two south of the downtown area. Utility workers visit often, mending the docks and reinforcing the riverbanks with concrete and wooden pilings, while taking time now and then to raise the D Street bridge for passing boats. Environmentalists sometimes patrol the river, keeping an eye out for ecological wrongdoing, as do the Sheriff’s Department and the Coast Guard and, mainly for recreation and training, the hardy young Sea Scouts.

Then there are those who merely come to the river to sit and watch.

River people, by and large, have little in common save their collective fondness for this muddy meandering waterway. They know the river’s drawbacks better than most, yet are often the first to defend its sometimes sullied honor.

“It’s a nice river,” says Nancy Wright, one of the rowing club’s avid early-morning river riders. “It’s just brown.”

“The silt makes the water slimy,” admits Greg Sabourin, founder of the club. “But it’s still a beautiful river. It’s not as bad as it’s maligned to be. As far as pollution goes, the water quality of this river is better than a lot of other bodies of water in the North Bay.”

For the most part, recent environmental reports bear this out. A 1999 study of insecticides in the river, conducted by Petaluma’s Baseline Consulting, revealed low-level traces of diazinon (banned from lawn products last week by the EPA) and chlorpyrifos, common residential pesticides, but concluded that these toxic agents currently exist at levels too low to affect fish and plant populations.

A 1996 study conducted by Sonoma State University’s environmental studies department indicated that the water quality of the river has markedly improved since the 1980s, when massive fish kills were common. Though the study confirmed the drastic reduction of fish populations in the Petaluma River, it pointed to increased upstream filling as the primary culprit–nothing that would cause mutations like three-eyed fish, a surprisingly common joke among longtime river people.

The environmental watchdog Bay Keeper has sued on several occasions in recent years to stop auto dismantlers in Penngrove and other areas along the northern stretch of the river from allowing water tainted with heavy metals to drain into the waterway.

“I’ve seen some weird things in this river,” says Petaluma fisherman Doug Tucker. “I’ve seen pink jellyfish. I’ve seen sea lions. I even saw Humphrey the humpback whale up at the Marina. But I’ve never seen a three-eyed fish. Not yet.”

At high noon in the turning basin behind the downtown, Tucker is shooting the bull with Don Bayer. The unofficial “boat cop” of the basin, Bayer lives aboard his fishing vessel, the Mahalko II, commonly moored near where the Petaluma Queen once docked.

In the evenings, passersby often see him out on his deck, amiably chatting with anyone who’ll stop. On warm days, he’s been known to pull out his barbecue and cook the fish he caught earlier out in the bay.

THE PETALUMA turning basin isn’t a bad spot to sit and relax at the end of a day. The oblong feature is encircled by local eateries and other businesses, some with patios that reach the water’s edge. A series of walkways and docks stretch from the parking lot of the Golden Eagle Shopping Center, down along the water, and over to the River House restaurant on the opposite side. There, a mysterious sculpture rises 20 feet into the air. Resembling a pair of crab arms, or perhaps a set of melting spoons, the stone-gray structure is intended, says Tucker, to represent two people dancing.

“That’s what they tell me anyway,” he says with a laugh.

It is only midweek, and there are an even dozen boats here, with a handful of resident boat people out on their decks, talking, reading, or working. It’s high tide, so most of the mud is hidden beneath the water. A few hours from now, the docks and some of the boats will be resting on a shiny bed of slime.

Bayer points across the basin to the Petaluma Yacht Club. On the weekend, he says, up to a dozen yachts will be moored there. “But I remember the days when there would be hundreds of yachts in this turning basin,” says Bayer. “You could walk across the river, stepping from boat to boat. But now the river is so shallow [from siltation and lack of dredging] that people are afraid they’ll run aground.”

He shakes his head.

“This river is steadily, slowly going into garbage,” he laments. “I remember catching stripers and salmon right here in the turning basin.”

“I caught a 15-pound bass here less than 10 years ago,” agrees Tucker. “I’ve caught salmon, striper, and sturgeon in this river.”

“But not lately, because of the silt,” adds Bayer.

“And the crabs,” concludes Tucker. “Little by little, this river will be dead of fish.”

The two men have plenty of ideas about how to fix the problem, their main solution being better and more frequent dredging of the basin.

“But the city doesn’t seem to care,” says Bayer with a shrug. “The politicians don’t live down here, so they don’t know what’s really going on. But I do. I’m up and down this river every day.

“A lot of problems could be fixed,” he insists, “if the city would only listen to the boat people.”

MATT HODGES is on vacation. Therefore, he is fishing. “Whenever I get some time off, I get the fever,” he says. “I’ll be here all week long.” With a big plastic bag full of anchovies, Hodges–joined by his wife and son and a few of his friends from the East Bay–is fishing from a comfortable little public platform, constructed at the place where C Street meets the river.

Hodges may have the fever, but his friends aren’t catching it. They haven’t been catching any fish either, so they’re packing up to leave.

“There aren’t any fish in there,” grouses one of the men. “And I came all the way here just to catch one of those famous three-eyed fish.” Everyone laughs.

After they leave, Hodges points to a spot in the middle of the river.

“My brand-new fishing pole is down there somewhere,” he says. “I was fishing here yesterday with a brand-new pole. It was the first time I’d used it. I had a line in the water and the pole standing up against the railing. All of a sudden the end of my pole dipped way down, and I thought, ‘OK, finally I have a big one.’ But it wasn’t a fish. It was a duck,” he laughs. “A duck was flying by and hit my line. Before I could catch it, the whole pole went over the edge. So it’s down there somewhere. The duck wasn’t even hurt.”

Hodges, who has lived in Petaluma his entire life, has returned here often.

“I’ve been pulling fish out of this river forever,” he says. “But the last couple of years, it’s really gone down. I used to go through a bag of anchovies in an hour. This bag is still almost full.” He pulls up his line. The bait is gone.

“Crabs,” he sighs. “The crabs take the bait before the fish can find it.” As he begins to thread another anchovy onto the hook, a blue heron flies over and lands about 10 feet away. Seeing it, Hodges breaks into a big smile.

“I come here to fish,” he says, “but I also come down here just because I like it. It’s a pretty nice place to be.”

By midafternoon, every hint of rain has burned away. As one travels south, it’s become a bright, sunny spring day along the river. At the Petaluma Marina–a man-made cove just south of the railroad bridge–a slight breeze is blowing among the rows of neatly harbored boats. The sprawling business center, a series of large adjoining three-story office buildings, looms above the water.

Near the harbormaster’s office, alongside the marina’s launching ramp, a tall, bearded fellow bends over, looking at something in the water. He wears grubby, disheveled jeans and a red bandanna that makes him look like a pirate. He is talking to a pair of ducks. “Now you show up,” he scolds, waving an empty brown paper bag at them. “I just gave my last piece of bread to the seagulls. Next time don’t wait so long.”

With that, he ambles away across the parking lot.

“The waterfront has a tendency to attract colorful characters,” says Wayne Kipp, the marina’s harbormaster since 1993. “Waterfronts have attracted wanderers of all kinds since the beginning of time.”

There are a number of such “colorful characters” who frequent the marina, admits Kipp. He affectionately refers to them as the Wharf Rats. “They’re always kind of interesting to talk to,” he says.

Kipp describes his job as being “part Jack-of-all-trades, part hotel manager for boats.” He oversees the docks, collects launching fees, maintains the facilities, operates the fuel dock, and spends a lot of time talking about the river.

“Everyone who comes down here ends up having very strong opinions about the river,” he says. “And they are very happy to share them.”

The marina is a popular spot to launch recreational vehicles onto the river, from pleasure craft to fishing boats, jet skis to inner tubes. The stretch of river just south of the marina is perfect for such activities. In spite of concerns about the river’s health, Kipp says a lot of people still come to play on the river.

“On a hot day,” he calculates, “I see 60 or 70 people go down this ramp.”

BUT NOT ALL of the river people are looking for recreation. Some, like the flower planter beneath the D Street bridge, are simply looking for a place to sleep. According to John Records of COTS, a local homeless service program, the river has been host to a large number of homeless people over the years.

“The river is one piece of the larger ecology of homeless people and how they meet their needs in the community,” says Records, whose nonprofit agency operates a shelter on the south end of town, just across the boulevard from the river. “There are few remaining low-income housing options in Petaluma, and the river can provide that. Some people live on boats and some camp along the water. People are very resourceful. They often acquire inexpensive boats, sometimes even nonfunctioning boats, and they live on them along the river. It’s like living in a trailer.”

Such situations, Records admits, create sanitation problems that need to be addressed.

“There’s certainly been ongoing concern in the community about people living along the river,” he says. “So there’s a constant turnover. People will camp for a while in one place, and the authorities will pretty much leave them alone until someone in the community complains; then they are told to move on. So they find another place to camp.”

Occasionally, people will move into abandoned boats, of which there are plenty along the river. An elderly couple fortunate enough to have their own powerboat are often seen docking at the turning basin, loading up with groceries at the nearby discount grocery outlet, then motoring back downriver to wherever they’ve been living. “It’s a matter of balance,” says Records. “We must somehow balance the needs of the homeless–who should be able to use the river along with the rest of us–and the needs of the rest of the people in the community.”

The bottom line, he says, is that the homeless who’ve found a way to live on the river have something they can’t get from living in a shelter.

“They have privacy and safety,” he says. “And even a sense of dignity that comes from being allowed a degree of self-reliance. That’s a good thing.”

South of the marina, the Petaluma River widens significantly.

This is the part of the river that most people never see, since it can’t easily be glimpsed from the land. On the east side is Haystack Landing, the site of a ramshackle Victorian and a long series of barge docks, junkyards, and construction storage areas. Intermingling with these are ancient, dilapidated houses, some on stilts that dip into the river, which bunch together alongside houseboats that look like giant wooden blocks floating on the water. In this stretch are also a surprising number of rotting hulks, former boats that have dragged up onto the mud to decompose.

Across the river from this hypnotically crumbling aquatic corpse-yard is the city-owned Shollenberger Park, with a walking-jogging path that wraps itself around a migratory bird sanctuary and runs along the river for about half a mile. The path is much trafficked by bikers, joggers, birdwatchers, and dog walkers. From benches along the water, onlookers can watch the spectacle of Jerico barges attempting three-point turns in the channel, preparing to dock at their southern landing across the river. The city plans to connect the popular park with the nearby marina.

After a few large twists and turns, and close to the Marin County border, the architectural decay all but disappears for a while as the river enters a stretch that is mainly rural, with extensive wetlands and marshes. Fog-caked hills, lush and tree-dotted and pretty as a postcard, stand majestically in the distance. Herons and hawks and ducks and Canadian geese glide in for their watery landings or rise in a cheery blast of tumult from the grass.

Running more or less parallel to Lakeville Highway, the river now flows past a series of farms and pastures on the east and grassy marshlands on the west. A random derelict vessel or a few collapsing buildings are the only structures close to the water. A few miles later, a motley grouping of structures appears on the left, growing in number and joined by a boat or two until Gilardi’s Landing materializes like something out of a John Steinbeck novel.

KNOWN MAINLY as the roadside location of Papa’s Taverna Restaurant–a popular Greek eatery that draws weekend boaters from Napa, Marin, and San Francisco–Gilardi’s Landing provides a well-used entry to the southern stretch of the river. Along the water is a haphazard throng of docks and ramps, tiny fishing platforms, and ancient shacks that appear to be barely standing. Just inland is a surreal village of eccentric houses, many with optimistic yards festooned with whimsical decorations.

Today, the area is mostly deserted, except for one boater attending to his docked vessel–and an energetic pair of women who’ve come to the landing this afternoon, sketchbooks and paint boxes in hand, to paint the river.

Dorothy Porter of Petaluma and Cornelia Watley of Belvedere gleefully refer to themselves as “the Monday-morning painters.” They travel the Bay Area in search of picturesque places to stop and paint. The paintings that aren’t framed and hung in galleries–the two artists have jointly held several shows over the years–are collected in handmade books having covers of corrugated cardboard.

“This is one of our favorite spots,” says Porter, letting her eyes sweep across the view before her. “We both have lots of pictures of the river.”

“Look at the colors!” exclaims Watley, gesturing at the marshes and hills. “Today is fabulous! All those greens and violets and sienna.”

“Those greens are marvelous,” Porter chimes in. “And look at all the shapes the trees make. It’s a painter’s paradise.”

“And when we come here,” adds Watley, “we don’t have to bring a lunch. We can eat right here.”

“Altogether,” smiles Porter, “it’s a perfect arrangement.”

DAVID YEARSLEY eases his small powerboat away from Gilardi’s Landing, careful to observe the 5-knot speed limit until he’s a sufficient distance from the area. As soon as he begins to pick up speed, leaves the river proper and speeds into the narrow Donahue Slough, bordered on both sides by tall grasses.

We have entered the Maze.

Yearsley is the Petaluma river keeper. Supported by the San Francisco BayKeeper Foundation–an organization of environmental butt-kickers dedicated to protecting California’s waters–Yearsley patrols the Petaluma River and its surrounding marshland and numerous ancillary waterways. Following up on calls to BayKeeper’s hotline, Yearsley collects evidence of deliberate or accidental polluting, unlawful agricultural waste, and other environmental crimes. He reports his findings to BayKeeper. If there is sufficient evidence of wrongdoing, the organization will inform the offender of their involvement.

If the charges are not taken seriously, BayKeeper may file a lawsuit.

It is an effective strategy that has already repaired environmental damage at hundreds of sites throughout the North Bay. Yearsley, a professional cabinetmaker, volunteers his time on the river.

Today he is patrolling the marsh, his favorite–and surprisingly the least explored–segment of the Petaluma River.

“This is the largest remaining natural marsh on the West Coast,” he says, turning left up another, even narrower, channel. “This marsh is a nursery for striped bass. It’s so wound with sloughs that it acts as a filter for the bay. This is a very valuable resource.”

And a hauntingly beautiful one, besides.

The muddy banks are so cracked and buffeted by nature they seem to be lined with a thousand smooth round cobblestones. Pickleweed grows everywhere, along with high salt grasses and gum plants, pepper plants, and cord grass. Dozens of century-old structures, cabins, and duck-hunting blinds are rooted here and there in the marsh, most of them nearly disintegrated.

The marsh–adjoining an area once proposed for an Indian casino, replete with visiting riverboats–was a duck hunter’s playground before most of the ducks moved on in the 1960s to other feeding grounds. Though hunting is still allowed here during hunting season, few hunters bother to come out anymore since the area is accessible only by water. Additionally, the siltation problem that threatens the river is equally present in the marsh. Some channels have completely filled in.

Still, there are hundreds of acres of marsh here, crisscrossed and interlaced by so many smaller sloughs and channels that unless novices take a map, they are sure to get lost. Yearsley dreams of repairing the marsh, cleaning out the garbage that has accumulated over the years, and establishing an official “water trail” through the channels.

It will have to be a well-maintained, well-marked trail.

Yearsley has explored most of the marsh, and even he finds surprises every time he comes here. “The marsh,” he says with a grin, “is ever-changing.”

Case in point: Rounding a sharp bend, he comes upon a mass of boards and wires, partially floating in the water but anchored deeply enough that it can’t be moved out of the way. He’s blocked. “That’s new,” he says, maneuvering the boat around to go back the way he’s come. Once out in the Donahue Slough again, Yearsley ventures deeper into the marsh before turning down a channel he’s never explored before.

“You feel like you’re a discoverer every time you come out here,” he says, happily. “That’s one of the wonders of this place. Think about it. We’re less than a mile from the road, but it feels completely removed from the stresses of civilization. The Petaluma Marsh is a gem.”

Suddenly, Yearsley comes face to face with another obstacle. A capsized, partially submerged boat is barring further exploration of this channel. Yearsley stands up and appraises the situation. This is part of his job, locating foreign materials that are clogging the waterways. His own boat is already carrying a load of discarded whiskey bottles and trash some hunter or fisherman left behind among the grasses.

The sunken boat is a more serious problem. It will have to be removed at a later date.

“That’s another thing about this place,” he says. “A whole lot of stuff comes here to die. I don’t know how it all gets here. But it gets here.”

And that’s that. The tide is beginning to fall. Soon the waters will recede and many of these channels will be little more than alleys of mud. Turning his powerboat around, Yearsley begins once more to weave his way out of the Maze, out of the marsh, back to the river.

MOST RIVER PEOPLE don’t fall in love with the river all at once. It happens gradually, little by little. Love tends to grow at a pace commensurate with the amount of contact you have with the river. The more you discover about the river, the more it works its way into your life. You come to the river by necessity, or out of convenience, or by sheer coincidence. And then the river works its weird magic on you.

Not surprisingly, the magic runs deepest in those who’ve grown up on the river. Therefore the youngest of the river people will be the ones to defend and protect the river into the next century.

“Introducing young people to the river,” says skipper Barry Thorsson, “is among the most important things we can do for the river.”

Thorsson is sitting in the pilothouse of the Compass Rose, watching his able crew of teenagers steer the enormous launch southward down the Petaluma River and on to the East Bay. Outside, the day has grown windy. Sunset, still 90 minutes away, will bring a very chilly evening.

These are the Petaluma Sea Scouts, a coed affiliate of the Boy Scouts that has been working the waters of the Petaluma River since 1927. Yet somehow this river-based unit is not all that well known.

“We’re the best-kept secret in Petaluma,” jokes Thorsson.

In Sea Scouts, teens learn all the standard knot-tying, radar-reading details of seamanship while serving as the crew on the their very own boat. Boasting a crew of 12 kids (the majority of them young women), the Compass Rose–a refurbished 1969 Navy torpedo retrieval boat–is on its way to Alameda for a big Sea Scout regatta that will last three days.

“This is all run by the kids,” says Thorsson proudly.

His daughter Rose, the ship’s boatswain, relays orders from the skipper to the rest of the crew, all busy at various assignments. Casey Marketos is stationed outside in the wind, fulfilling her duties as the bow watch. Mainly, she’s eyeing the river for boats and other obstructions in their way. Here, about two miles from San Pablo Bay, the river is choppy and wide, almost 90 yards from bank to bank.

FROM THE DECK, all there is to see on either side of the river is gorgeous rolling pastureland, hayfields, an occasional dairy, and a vineyard or two. An old green wreck of a boat appears on the right, smashed into the west bank. A little bit later, an upended couch is spied along the east bank.

The crew points this out and laughs.

“How does this stuff get here?” someone asks. “You sure see some weird stuff out here.”

There follow numerous jokes about three-eyed fish, while inside the pilothouse Rose is leading a chorus of “Old MacDonald Had a Farm.” Amanda Lefler sits nearby tying a half-hitch. Occasional yachts and other craft pass by in the opposite direction, headed toward town, gleefully tooting their horns. The Marin County hills draw closer. The Compass Rose is reaching the end of the Petaluma River.

Steven Trickel sits happily at the stern, cracking jokes.

“This is an interesting river,” he acknowledges, turning his face into the wind. “It’s fun to hang out on it. We all like the river a lot.”

They like it. A lot. Of course they do. After all, these kids are river people. They like the river.

And they’re learning to love it.

From the June 15-21, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Usual Suspects

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Millions for ag interests, but grape pest war could threaten public health

By Tara Treasurefield

WEST COUNTY activist Lynn Hamilton, director of the Town Hall Coalition, is worried that chlorpyrifos, a highly toxic organophosphate, may be used in Sonoma County to fight a newly found pest threatening local vineyards. Chlorpyrifos is being used in Southern California to combat the glassy-winged sharpshooter, which devastates vineyards by spreading Pierce’s disease. Through Senate Bill 671, signed by Gov. Gray Davis on May 19, the state Legislature has allocated nearly $15 million to fight the sharpshooter, no holds barred.

In March, and again this week, a 260-acre citrus grove in Temecula, Riverside County, was aerial-sprayed with chlorpyrifos to combat the sharpshooter, even though on June 8 the federal Environmental Protection Agency banned all residential and commercial uses of chlorpyrifos. (In residential/ commercial sectors chlorpyrifos is known as Dursban; in agriculture, it’s called Lorsban.) The EPA also placed restrictions on the use of chlorpyrifos on food crops, but stopped short of an outright ban.

Currently, chlorpyrifos isn’t approved for use on wine grapes in California, but if the wine industry exerts enough pressure, grape growers could get an exemption. Or they could use some other organophosphate.

“Pierce’s disease isn’t encephalitis or malaria; it affects wine grapes, not the public health,” says Hamilton. “Yet they’ve already used chlorpyrifos against Pierce’s disease in Temecula and could use it here.”

Hamilton fears that Sonoma County regulatory agencies may endanger the public health and the environment to protect wine grapes, used to produce alcoholic beverages. She hopes that regulatory agencies will instead use only those pesticides approved by California Certified Organic Farmers, and that they’ll consult local experts in biodynamics and organic agriculture before taking any action against the sharpshooter.

ACCORDING to Californians for Pesticide Reform, chlorpyrifos inhibits nervous system function and can cause headaches, dizziness, mental confusion and inability to concentrate, blurred vision, vomiting, stomach cramps, uncontrolled urination, diarrhea, seizures, birth defects, and multiple chemical sensitivities. In children, acute exposure most often results in seizures and such mental changes as lethargy and coma. Laura Breyer, a specialist in integrated pest management for vineyards, says that all organophosphates have similar effects.

Nick Toscano, an entomologist at UC Riverside, says that using pesticides against the sharpshooter is “like putting a Band-Aid on an amputation.” But he expects that Riverside County will continue to use insecticides to control infestations for some time to come.

According to Joseph Gray, senior agricultural biologist at the Sonoma County Agricultural Commissioner’s Office, “The ideal situation [for controlling the glassy-winged sharpshooter] would be to have a state interior quarantine.”

The first step toward a quarantine is monitoring, and the Agricultural Commission is monitoring nursery stock from the south and sending it back if there’s any evidence of the glassy-winged sharpshooter.

Counties that are already infested with the sharpshooter can be expected to lobby heavily against a quarantine, as it will have a negative impact on their economies. When asked his opinion of a quarantine, Toscano laughs. “I don’t know how they’re going to keep it [the sharpshooter] out,” he says. “But people down here have already lost money ’cause they can’t move their grapes.”

It’s probable that a state interior quarantine is many months away at best. In the meantime, agricultural interests are intent on protecting their crops, and the aerial spraying of Lorsban in Temecula has set a troubling precedent.

One of the provisions of SB 671 is that the Board of Supervisors in each county will designate “a local public entity” or “local public entities” to create an anti-sharpshooter work plan for that area. Supervisor Mike Reilly, chairman of the Sonoma County Board of Supervisors, autonomously designated the Agricultural Commission as the sole local public entity for Sonoma County. But the supes have the discretion to designate more than one public entity to develop the local Pierce’s disease work plan.

Hamilton would like the supes to place this critical issue on the board’s agenda and allow public input. “It’s just too important to leave up to the Agricultural Commission alone,” she says. Hamilton recommends that the supes also designate the Environmental Health Division and the Public Health Department as local public entities to participate in developing the work plan.

On Tuesday, June 20, the Agricultural Commission will present its Pierce’s disease work plan before the supes, at 575 Administration Drive, Santa Rosa. For the time of the meeting or to express your concerns, call the Board of Supervisors at 565-2241.

From the June 15-21, 2000, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘Battlefield Earth’

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Author-historian Jeff Shaara looks at heroism, racial slurs–and ‘Battlefield Earth’

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

“America,” suggests writer-historian Jeff Shaara, “is suffering from a hero deficiency. Ever since the Vietnam war we’ve lost faith in our government. We’ve become suspicious of our own national history. So we’ve deconstructed all our old heroes–Patton, Custer, Thomas Jefferson, George Washington–tearing down the same types of people we once looked to for inspiration.

“This explains why people are now flocking to see a film like Gladiator,” he surmises. “We’re fairly starving for heroes.”

To press the metaphor further, Shaara is feeling particularly hero-hungry today after seeing Battlefield Earth, the futuristic shoot-em-up based on L. Ron Hubbard’s classic science fiction novel. He found it overdone, hard-to-swallow, and frequently tasteless.

In short, he couldn’t stomach it.

Put another way, says Shaara, “It could be the worst film I’ve ever seen in my life.”

Set in the year 3000, it’s the tale of plucky, cave-dwelling humans, led by a one-dimensional wild-eyed hunter named Goodboy (Barry Pepper), who somehow take arms against the Psychlos, an evil race of colonizing, strip-mining aliens, (including a sneering John Travolta) heck-bent on the elimination of mankind–and the systematic exploitation of Earth’s few remaining natural resources. Space ships hover. People blow up. Things die.

“Yet by the end,” bemoans Shaara, “who really cares? The problem with Battlefield Earth is that the hero just isn’t someone we want to rally behind. He doesn’t make us proud to be human.”

Currently residing in Missoula, Montana, Shaara is the author of two best-selling Civil War novels. Gods and Generals and The Last Full Measure are the prequel and sequel, respectively, to The Killer Angels, the Pulitzer-winning epic written by Shaara’s late father Michael Shaara. That esteemed novel was the basis of the 1993 film Gettysberg. Jeff Shaara’s newest book is another prequel, of sorts: Gone For Soldiers (Ballantine), a novel of the Mexican War, features colorful glimpses at the youthful Robert E. Lee and Ulysses S. Grant, learning the rules of war in a conflict that preceded the Civil War by 13 years.

The author is currently working on a novel about America’s founding fathers. Taken as a whole, Shaaras’ oeuvre plays like a veritable parade of multi-layered, complicated manliness. These flagrantly flawed heroes are, above all, men of conviction, often equally worthy of respect and reproach.

To hear Shaara explain it, our rekindled desire for believable symbols of strength and character may signal a new chapter in the story that began with the simplistic, white-hatted heroes of our old westerns and war movies and histories.

“In most old movies,” says Shaara, “you had the good guys and the bad guys, the John Waynes against all those guys in the black hats, John Wayne against the ‘godless Indians,’ John Wayne against the ‘inhuman Japanese.'”

John Wayne vs. the Psychlos.

“There was no confusion about who the heroes were and who we were supposed to root for,” he says. “War is essentially barbaric. No matter what army you’re in, no matter what part of the world or what time in history, it’s extremely important that you convince your troops that those people over there, the enemy, need to be killed. It’s necessary to dehumanize the enemy in order to be willing to slaughter them.”

Of course. In Battlefield Earth, the Psychlos always referred to their captors by dehumanizing slurs: Man-animals. Rat brains. That, says Shaara, is one of the most basic tools of war.

“It was the Japs and the Krauts and the Nips during World War II,” he says, “and the Gooks and the Slopes during Vietnam. They were Commies during the Cold War. All those derogatory terms serve only one purpose: to dehumanize the guy over there so it’s easier to kill him without feeling bad.”

Shaara mentions Confederate General James Longstreet, a veteran of the Mexican War who, at the battle of Gettysberg, told General Lee, “‘You know, I never saw those Union boys as the enemy.’ This because Longstreet had fought side by side with those same soldiers in the Mexican War.

“Historically, the more enlightened you are, the less likely you are to commit these acts of barbarism on your fellow human,” Shaar continues. “Traditionally, the average foot soldier has always been poor and under-educated. Then, in the 1960s, you had so many soldiers who were college educated, people who’d been watching the Civil Rights movement, and that was the downfall of the old doctrine, ‘Those people over there aren’t really human.’ Because the soldiers in Vietnam had enough awareness about the world, they didn’t buy that anymore.”

With the growing cynicism of the ’60s and early ’70s, that hero was all but erased, suddenly deemed a non-existent figment of our childish imaginations.

“Suddenly we were taking delight in saying things like, ‘Hey. Thomas Jefferson was no saint,'” says Shaara. “We point to his failures and say, ‘See? He fathered illegitimate children with his own slave. He was no good.’ But Thomas Jefferson still wrote the Declaration of Independence. He still helped design our system of democracy. He may not have been all good, but he is still worthy of some respect.”

Judging by the success of Shaara’s novels, and the public’s willingness to embrace films like Gladiator–and to fly from the anemic histrionics of Battlefield Earth–one could make a case that our culture is ready for a new breed of hero, without the white hat, but still ready and willing to perform admirable acts.

“I’m convinced that we are all looking for heroes,” insists Shaara. “We desperately want to root for the good guy, we need to root for somebody who does something worth doing.

“Because we long to have worthwhile lives ourselves.”

From the June 15-21, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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Usual Suspects

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Author-historian Jeff Shaara looks at heroism, racial slurs--and 'Battlefield Earth' Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This is not a review; rather, it's a freewheeling, tangential discussion of art, alternative ideas, and popular culture. "America," suggests writer-historian Jeff Shaara,...
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