Rolfing

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Cry for Joy

By Dylan Bennett

IN AN AUSTERE aisle of screws and nails at the new Yardbirds on the hill in Santa Rosa I was almost in tears. It wasn’t because I’d missed the turn going north on Mendocino Avenue. Or that I’d gotten lost in the bleak social realism of upper-crust suburbia while trying to find the godforsaken entrance of this colossal hardware store.

And no, it wasn’t any intellectual epiphany, a childhood ghost returned, or even PMS. Only this: Within myself I could feel the pure salty tears that flow when my black heart dares to acknowledge love for another person. Not a lover, just love; love unrestrained amid the nuts and bolts of a misplaced city on a hill.

Such an emotional deluge should have come as no surprise. I’d been warned this could happen. Just the day before I’d been Rolfed, a specialized form of bodywork known to straighten the body through the deep manipulation of muscles and connective tissue. It also releases the repressed emotions that hide buried in our body. Certainly, I was too jaded and road-tested to fall prey to any such quaint emotionalism.

I was wrong, and there I stood, glazed over in aisle No. 54.

Biochemist Ida P. Rolf developed the basis for Rolfing before World War II. But the alternative therapy first entered the public realm in the ’50s and ’60s at the Esalen Institute, the New Age center and think tank in Big Sur, where Rolf collaborated with celebrated psychologists Frederick (Fritz) Perls and Abraham Maslow.

In recent years Rolfing has gained acceptance as a growing list of professional athletes have used Rolfing to improve performance, speed recovery, and bring relief from injuries. Big-name devotees include ice skater Michelle Kwan, basketball powerhouse Charles Barkley, country star Willie Nelson, and concert pianist Leon Fleisher, who credits Rolfing with returning him to his craft after tendinitis had sidetracked his career for many years.

What took off as an alternative therapy in the Age of Aquarius now may be the perfect antidote for the human carnage of the computer age. For aching workers suffering from repetitive-motion syndrome and the stress of hunching over a computer, Rolfing holds a tempting carrot: better posture, more relaxation, ease of movement, and often the end of nagging migraines and lower back pain.

“I had chronic shoulder pain for the last eight years,” says Kory Sessions, a Santa Rosa travel agent who works in a busy corporate environment. “Chiropractic didn’t help it. Regular massage didn’t even do much. After the first Rolfing session I was free of pain. It was really startling, the difference that I felt after one session.”

The Associated Press reports that the world’s largest custom hearing-aid manufacturer, Starkey Laboratories Inc., in Minnesota, saved over $1 million in worker compensation costs for repetitive-motion stress injuries with the help of Rolfing

Here’s how it works. Rolfers ply their knowing hands on the soft tissue in the act of “structural integration”: the bodily alignment of muscles, ligaments, tendons, and the fascia, a matrix of thin, stretchy tissue that runs through the whole body. These tissues stiffen and limit both movement and, according to Rolfing practitioners, emotion. Rolfers pay attention to their client’s personal history and say our bodies have a “physical memory.” Thus, in my case, a wall that crushed me on a construction site 15 years ago may still affect how I hold my chest.

Historically, Rolfing has had a dubious reputation for being quite painful.

ON THE MASSAGE table of Petaluma Rolfer Debbi Stone, the part that was supposed to hurt didn’t. Instead, it was the slow, deep, patient massage I’d longed for; the kind of treatment your spouse is unlikely to share at the end of a workday. It felt like the kind of body tune-up that seems lacking in some professional massages that feel good but don’t get past the surface while trying to cram a “full body massage” into an insufficient hour.

Stone says advancements in Rolfing have eliminated much of the pain for which it was known in the past. “Sometimes it’s mildly uncomfortable,” says Laura Sandoval, a Santa Rosa website developer. “Sometimes you are extremely happy that Debbi is so nice to talk to because you think you’ll die from the pain. The interesting thing is, after she loosens you up, that spot that hurt before doesn’t hurt anymore, so it’s beneficial pain.”

According to Sue Seecof, publicist for the Rolf Institute in Boulder, Colo., the amount of pain really depends on how skillful the touch of the individual Rolfer is. Also, she explains, the therapy has improved with age. Instead of pushing hard on the soft tissue to release tension, Seecof says Rolfers now wait instead, applying a gentle touch and staying within each client’s pain threshold.

Seecof reports there are only 1,002 certified Rolfers in 26 countries, with 676 in the United States. Of those, 125 are in California. Most Rolfers start with a background in bodywork of some kind, and Seecof reports that doctors, nurses, physical therapists, and Olympic athletes are among the new generation of Rolfers.

“It’s hard work,” responds Stone when asked why there are so few Rolfers worldwide. “Training is a big commitment financially, and there are a lot of prerequisites such as college-level anatomy and physiology. After you are certified, you must do advanced training and continuing education.” Seecof acknowledges a Rolfing education takes two rigorous years of study and can cost $6,000 or $7,000. This compares to only a few months of training and less than $1,000 to become a certified massage therapist.

“You have to really want to be a Rolfer,” says Stone. “It’s like getting a master’s degree.”

HAPPILY, Rolfing is not an open-ended therapy, but a set program of 10 intensive bodywork sessions, followed by occasional tune-ups if someone really suffers from repetitive-motion stress.

Still, it’s the psychological side of Rolfing that crowns its clear physical success; Rolfing unleashes a semi-mystical, bug-eyed metamorphosis as never-seen creatures are hauled from the psychic deep. “Whatever emotions are repressed will probably come to the surface,” muses Sessions.

Sure enough, 20 minutes after my own single session with Rolfer Stone I was rolling around the floor in animated childlike excitement. By nightfall I was wiping my tears alone in the garage. “I had a really bad emotional trip after the second visit,” says Sandoval. “I felt like I was in a grouchy mood for two weeks–on and off–but still in a grouchy mood. On my third visit I didn’t have any emotional response aside from feeling good.”

Stone notes that Rolfing can work well in conjunction with yoga and psychotherapy. “A lot of people just feel like it’s changed their life. They’ll quit their job, get a boyfriend, start making movement in their life. I don’t know what it is exactly. A couple of things happen: People feel really good being in less physical pain. Pain really drains people’s energy. [After Rolfing] they realize, ‘I can move.’ It creates movement in their bodies, and that echoes into other aspects of their lives.”

From the January 14-20, 1999 issue of Metro.

© Metro Publishing Inc.

Mad Dog

True Fact Alert!

By Mad Dog

IT’S HARD NOT TO categorize people. I’m sure you’ve heard the stereotypes, if not uttered them yourself: Italians are gangsters, Mexicans are lazy, Arabs are terrorists, feminists are men-haters, loners in Montana are militiamen, yuppies are scum, presidents lie, politicians care only about re-election, and TV programmers live to insult our intelligence. But, as rational human beings, we know that not all the people in a given group fit the stereotype.

Well, except for presidents, politicians, and TV programmers.

While we know it’s not good to stereotype people, we do it anyway, largely because it makes us feel superior, since as a rule stereotypes aren’t flattering. Sure, there are exceptions to this, like Brazilian women are beautiful and Asians are exceptional in math and science, but how many more can you think of?

We also stereotype people because, well, sometimes it’s true. The French, for example, are generally regarded as being rude, arrogant, and smelling bad. It turns out they are.

Before you get your pate in an uproar, the proof comes from the highly regarded French newspaper Le Figaro (Motto: “Sure, we’re named after an Italian opera written by an Austrian composer, but we’re so arrogant and rude we can get away with it”), and if they don’t know, who would? Among a batch of recently published surveys, the newspaper revealed that fewer than half of the French take a bath or shower every day, 40 percent of the men and 25 percent of the women don’t change their underwear daily, and only half of the French bother to use deodorant.

Besides demonstrating that their national cleanliness is nowhere near anyone’s sense of godliness, this lack of basic personal hygiene also proves that the French are indeed rude and arrogant, since they obviously don’t care what the rest of the world thinks. They figure that if we’d stay away from their country and leave them alone we wouldn’t have to smell them, so that makes it our fault.

Their neighbors in Germany, on the other hand, have a different set of stereotypes to battle. Like being neat-freaks. This also turns out to be true, as borne out by those same surveys that found that the Germans use twice as much soap in a year as the French. They’re so obsessed with being neat, in fact, that some of them have banded together to form (True Fact Alert!) Messies Anonymous, a zwölf-step program designed to help the 10 percent of the population who are in danger of being ostracized because they’re vacuum cleaner-challenged, miss appointments, misplace their belongings, have a messy house, or inadvertently smile in public, especially to a foreigner.

HERE IN the United States we have out own stereotype problems. People around the world think we have a poor work ethic, we eat lots of junk food, and we’re all rich. Well, it should come as no surprise then that they’re pretty close to the truth, since unscheduled employee absenteeism is at a 7-year high, breakfast cereal turns out to be the main source of vitamins and minerals for children, and Bill Gates just bought the rest of the world, which will teach them to laugh at us again.

Luckily, there are still stereotypes that we can believe in, like the sanctity of mom, apple pie, and the Mouseketeers. Well, two out of three ain’t bad. Yes, I’m sorry to have to break the news, but the image of Mouseketeer as Purity is dead.

I’m sure you remember the Mouseketeers. They were those happy, bubbly, impossibly clean-cut kids who starred in the “Mickey Mouse Club”. The first batch started in 1955, followed years later by some impostors–I mean new members–in 1977. The original shows can still be seen on the Disney Channel. The New Mickey Mouse Club can be seen only in your worst acid flashbacks.

Now it turns out that original Mouseketeer Darlene Gillespie, who broke as many hearts –though not as many box office records–as Annette Funicello, has single-handedly blown the Mouseketeer stereotype by being convicted of stock fraud, mail fraud, obstruction of justice, perjury, and conspiracy. And she wasn’t even an elected official! She’ll be sentenced in March, but it’s a safe bet they’ll strip her of her ears, digitally erase her from the tapes of the show, and make her stand guard over Walt’s frozen body until she learns to behave.

By now your head is probably spinning as fast as a Whirling Dervish, since all this makes it very difficult to know whether to believe a stereotype or not. So the safest thing you can do is what you were taught growing up: don’t stereotype people. Well, except for presidents, politicians, and TV programmers. Everyone knows they lie, care only about re-election, and live to insult our intelligence.

From the January 7-13, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Tom Foolery

Foolin’ Around

Highbrow humor: Michael Fontaine, Elly Lichenstein, and Dwayne Stincelli mine humor from the periodic table in Tom Foolery.

‘Tom Foolery’ makes a comic success out of Lehrer’s dated musical humor

By Daedalus Howell

GOOD CLEAN FUN. Unless he was being facetious, those are surely three words Harvard-bred mathematician (qua satirical songwriter) Tom Lehrer never associated with his black-humored ditties “Poisoning Pigeons in the Park” and “The Masochism Tango.” Yet that’s what they have become.

Penned during Lehrer’s brief sojourns from academia in the mid-’50s and again in the early ’60s, the University of Santa Cruz professor’s oeuvre has undergone the test of time. The diagnosis? What was once thought malignant and anti-establishment has become benign, adolescent, and silly. And that might be precisely what the doctor ordered.

The Cinnabar Theater’s Quicksilver II Theater Company administers a healthy dose of the unabashedly puerile material in the form of Tom Foolery–The Words and Music of Tom Lehrer, brought to the stage by director Michael Fontaine and musical director Jason Sherbundy.

Framed as a quasi-seminar of the prof’s work, the production features Cinnabar triumvirate Michael Fontaine, Elly Lichenstein, and Dwayne Stincelli traipsing through nearly 30 tunes, alighting on canned segues replete with ye olde quips, and one-liners between numbers. The shtick is thick, the patter patent, but the quaint revue works splendidly, though Lehrer’s gallows humor does leave some ring around the collar.

At their best, Lehrer’s songs recall Mad Magazine’s studied riffs on popular culture, sporadically crackling with Monty Python-like surrealism. However, clammy humor of the Weird Al variety abounds, and some attempts to put schisms in one’s isms fall short, owing to the relaxed social mores of the ’90s. Somewhat antiquated, many songs are little more that the lyrical equivalent of a Bronx cheer, but others are buoyed by Fontaine’s efforts to update them. “Smut” (an ode to all things prurient), for example, gets a face-lift with an apt reference to the Starr Report.

Fontaine shows off his splendid, croon-to-loon vocals in his rendition of the Mr. Rogers-like “My Home Town,” a ballad of neighborly decay that recalls author Sherwood Anderson’s grotesques. Fontaine’s deadpan delivery sells the campy tune.

Lichenstein’s performance of “The Irish Ballad,” a protracted narrative relaying the exploits of a Gaelic Lizzie Borden, is well executed, as is her torch-song solo “Wienerschnitzel Waltz,” which she performs with an appropriate nod to Marlene Dietrich.

Likewise, Stincelli stops the show with his solo, “The Masochism Tango,” replete with riding crop and copious acts of self-flagellation.

The three performers complement one another well, and their onstage enjoyment occasionally rises to infectious heights. Ultimately, Tomfoolery, it seems, is a preservationist effort–required viewing for students of counterculture, past and present.

Cinnabar Theater’s Tomfoolery–The Words and Music of Tom Lehrer plays through Jan. 23 at 3333 Petaluma Blvd. N., Petaluma. Thursdays, Fridays, and Saturdays at 8 p.m.; matinee at 3 p.m., Oct. 4. Tickets are $9 to $15. 763-8920.

From the January 7-13, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Mishandled Rape Cases

A Case of Rape

Michael Amsler



Four years ago, DA Mike Mullins pledged to get tough on rape. But a pending case raises doubts about that promise

By Janet Wells

A SONOMA COUNTY deputy district attorney has been removed from a rape case less than two weeks before trial in the midst of accusations from a women’s advocacy group that he and his department have “willfully” mishandled domestic violence and sexual assault cases.

After more than eight months of letters and phone calls from the Women’s Justice Center complaining about “lying,” “demeaning” behavior and “prosecutorial misconduct” in the handling of a recent rape case, Assistant District Attorney Greg Jacobs last week abruptly removed Deputy District Attorney Brooke Halsey from the case, which was scheduled to go to trial Jan. 11 in Superior Court.

“We’re happy with the results in this particular case, although it came way too late and with much pain and disruption to [the victim’s] life,” says Marie De Santis, director of the Women’s Justice Center in Santa Rosa, a private non-profit victims’ advocacy group. “While Greg Jacobs cares about and knows about violence against women, he has completely failed to monitor what is at times abusive conduct by his attorneys.”

Jacobs acknowledges that removing an attorney from a case is a “serious matter,” but declines to go into specifics about Halsey’s handling of the case, which has been continued to March 15 with Deputy District Attorney Robert LaForge as the newly assigned prosecutor.

“After confirming how the victim felt about the case, I felt there was a strong enough concern not to force people to be together,” Jacobs says. “In the meantime, I’m still looking into it as an internal matter to see if there’s anything to be done further with Mr. Halsey or with anyone else. I’m taking steps to formalize a lot of procedures in our office regarding domestic violence.”

Halsey, who was asked by Jacobs not to comment on the case and did not return calls, has worked in the District Attorney’s Office for eight years, and has spent more than a year on the department’s Domestic Violence, Adult Sexual Assault, and Child Abuse Team. “Mr. Halsey is a very dedicated attorney” who has handled “very difficult sexual assault cases,” Jacobs says. “I would strongly dispute [De Santis’] characterization of his handling of the case as ‘malicious.’ “

Jacobs adds: “This is not the first time that a victim or a victim’s advocate has been dissatisfied with the way we handled a case. Things happen. I try like heck to determine that attorneys don’t do anything inappropriate or make a wrong decision. You want to avoid it, but sometimes it’s unavoidable. Now we will take the case, start fresh, and do our best.”

The rape victim who pushed for Halsey to be taken off her case says she is satisfied with the resolution, but “appalled” at the way the case has been handled.

“Valerie,” who asked that her real name not be used to protect her three children, says she felt both demeaned and ignored by the District Attorney’s Office. She received little response to letters or phone calls on behalf of her case, she claims, and had to rely on reporters or advocates for information about her case’s status.

“Brooke Halsey shouldn’t be within 100 yards of a rape case. Apparently he doesn’t take them seriously,” Valerie says. “He makes me feel that I’m the one on trial, that I’m the one who’s done something wrong. I feel like if I go on the stand with him as my DA. he’s not going to fight for me.”

A TALL, ELEGANT 34-year-old with hazel eyes and auburn hair, Valerie has accused her brother-in-law of raping her about a year ago. Living with her mother while going through a divorce, Valerie says she endured a year of sexual assaults from her brother-in-law, who, while living in the same house, married to her sister, would sneak into her room and put his hands under her clothes.

“He would do it even when the kids were in bed with me,” she says. “I told my mom, but she said it was hard to believe, that it must be the way I look, the way I act.”

Valerie, a Sonoma County native, says she began barricading her door, and eventually moved out, even though she wasn’t making enough money in her part-time job as a sales consultant for a home insurance company to cover her family’s expenses. When her brother-in- law moved out of her mother’s house, she and her kids moved back in. Within a month, her sister and brother-in-law moved back in as well.

One night, in early 1998, the three, along with Valerie’s new boyfriend Jimmy, went out to hear a friend’s band play at a Rohnert Park nightclub. The two couples shared a motel room. “I thought it would be safe since I was with Jimmy,” Valerie says, wiping her eyes. She and Jimmy went to bed while her sister and brother-in-law stayed downstairs socializing with members of the band.

“I woke up after about two hours, and felt someone one top of me. I thought it was Jimmy. When I opened my eyes I saw it was my brother-in-law.

“I was paralyzed, in shock. I turned over and woke Jimmy up. Jimmy says, ‘You just got raped. You have to call the cops,'” says Valerie, her voice breaking as she starts to cry. “I was afraid of the family politics. I was still trying to protect my sister.”

After the incident, Valerie says, her brother-in-law went downstairs and “tried to tell my sister that he had mistaken me for her. There’s no way. He wasn’t drunk, and she weighs about 100 pounds more than me.”

The police took her brother-in-law into custody, and took Valerie to the hospital for a standard rape examination. “In the middle of it my sister and mother called the hospital,” Valerie says. “Instead of asking ‘Are you OK?’ they said, ‘Why are you doing this to the family? You’re destroying us. We could have handled it.'”

The family, Valerie says, has continued to back her brother-in-law.

BROOKE HALSEY was assigned to Valerie’s case. Their first meeting, apparently at Halsey’s insistence, was in the lobby of the District Attorney’s Office, a constrained, heavily trafficked, and highly public place in the county administration building.

According to Valerie, as well as victim’s advocates, Halsey tried to dissuade her from testifying, refused to bring essential testimony into the case, and told her that he wanted to “keep it short and sweet” and “get the family back on track.”

“All the DA’s office can do is worry about my family,” Valerie says. “It’s just really degrading. I almost felt victimized all over again when I got done talking with him.”

Halsey also apparently tried to persuade Valerie to agree to a reduced charge against her brother-in-law of felony sexual battery. Valerie was adamant about pursuing a charge of rape.

According to De Santis, another victim’s advocate heard Halsey make the sexual battery plea bargain offer in court to the defendant, who apparently declined. “[Halsey] said he hadn’t made an official deal on the record, and he did,” De Santis says. “He lied.”

VALERIE’S CASE is just one of many mishandled by the District Attorney’s Office, De Santis says, despite departmental reforms that were supposed to toughen the prosecution of sexual assault cases. “This is daily fare. This is how they dump rape cases. They isolate the victim, tell her there’s no case, give a lot of legal mumbo jumbo. Rape victims are very easy to intimidate,” she says.

Three years ago, in response to the murder of Maria Teresa Macias by her estranged husband, Sonoma County District Attorney Mike Mullins assigned a new chief deputy district attorney to coordinate a team to handle all cases of domestic violence, sexual assault, and child abuse. In addition, he promised that he would double the number of prosecutors assigned to such cases from two to four, and provide additional training in the proper handling of paperwork related to those cases.

For most of the past year, there have been only three district attorneys–Halsey, LaForge, and Scott Jamar–on the team. The team has been downsized because of office shortages on other criminal matters and a 25 percent decrease in the number of domestic violence cases referred to the office by law enforcement staff, Jacobs says.

Marie De Santis has a different take on the reason: “They don’t care about women,” she says. “[Jacobs] brags about it, but the fact is that team is so ragged that those cases get handed off all the time. What happens to the majority is that they get filed out as misdemeanors and it gets kicked off the felony team.”

In late 1996, Sonoma County’s Municipal Domestic Violence Court was established to handle all misdemeanor domestic violence cases after the state eliminated deferment programs. The District Attorney’s Office handles only felony domestic violence cases.

Jacobs disputes the idea that cases are wantonly dumped onto Domestic Violence Court to get them off his office’s agenda. In a criminal charge, the law has provided the option of a “wobbler”–filing a felony or a misdemeanor, depending on the evidence and circumstances. Says Jacobs: “When we pick a case to go to Superior Court, we try to pick a case where the facts provide persuasive evidence. To hope for a felony conviction is not ethical for a district attorney.

“If you think you can prove the case, that’s when you go for it.”

And Domestic Violence Court–where there is a 74 percent conviction rate–is no picnic, Jacobs says. “You’ve got a guy who’s immediately prosecuted, Polaroids taken by law enforcement laid on him, two domestic violence counselors contacting the victim by phone and giving reports to the judge,” he explains.

“The probation department investigates the guy for his record and reports to court as well. The judge has all this a few days after it happened, and there’s a lot of pressure [for the defendant] to plead guilty.”

Once the defendant is convicted, he must be tested regularly for alcohol or drugs and attend a mandatory 52-week batterers’ program. “Now, with rigorous sentencing in Domestic Violence Court, they are getting as stiff a punishment as they might get in Superior Court,” Jacobs says.

What happens to cases once charges have been filed isn’t the only issue, says De Santis. Another is the numerous cases that are never prosecuted.

During 1998, the District Attorney’s Office received an average of about 228 domestic violence cases a month referred by local and county law enforcement, Jacobs says. The average number of misdemeanor charges filed was 88 a month, with another 15 felony charges each month. The number of cases that resulted in formal charges decreased from 56 percent in 1997 to 45 percent in 1998, according to Jacobs.

In addition, in 1998 an average of six adult sexual assault cases were referred each month, with charges filed in about half of the cases.

So what happens to all of the cases that are dropped before they get out of the District Attorney’s Office? “They have broad discretionary powers,” De Santis says. “They can look at the penal code and treat it like a menu in terms of which crimes to prosecute. They have no legal obligation to try a rape case or an auto theft. And they don’t have to answer why.

“When they dump a rape case, they dump a lot of work,” she adds. “When you do a drug felony all you need is a baggie full of stuff and a police officer’s statement–and, boom, a felony conviction. Easy. When you do a rape case, you have to make a relationship with the victim, you have to investigate, you have to talk to a lot of human beings about very sensitive subjects and talk to very upset women and children.

“They can’t handle it.”

JACOBS, a 24-year veteran of the District Attorney’s Office, vehemently disputes De Santis’ opinion of his team’s conduct. “Each attorney looks at the cases, uses state training, a checklist, the domestic violence handbook, and looks at what we can prove,” he says. “My take on this is that Marie [De Santis] has ideas on how we should be handling cases. Sometimes I can’t make her happy. But she always knows where to find me and she always has my ear.”

As a result of a two-hour meeting with De Santis on Valerie’s case, Jacobs also agreed to work with the Women’s Justice Center on new guidelines for attorneys, have the center do a training for prosecutors on handling domestic violence and sexual assault cases, and hire a half-time bilingual victim’s advocate.

“The proof is in the pudding,” De Santis says. “We’ve had these conversations before. The improvements need to be institutionalized and not just a whim of a few months and we’re back to where we were before.”

From the January 7-13, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

America’s Wetlands

Paradise Lost


Michael Amsler

Despite strict regulations, we’re losing America’s wetlands

By Sally Deneen

SHE-CRAB SOUP arrives at restaurant tables on North Carolina’s Outer Banks as a rich, sweet concoction, delighting tourists and new residents whose cars still boast license plates from their old states: Florida, Ohio, New York. As the ocean breezes sweep away the day-to-day worries of beach-bound visitors, Environmental Defense Fund scientist Doug Rader realizes the days of the regional soup may be numbered. It’s a simple axiom: No wetlands, no seafood.

Across San Francisco Bay from the Golden Gate Bridge, the salty bay waters mingle with the melting snowcaps of the Sierra Mountains to form the largest estuary on the west coast of North and South America. Yet, almost all of the freshwater marshes in this California delta are gone. Half of the tidal marshes have been destroyed, while others have been transformed into surreal, sunken farmlands. From the Gulf of Mexico’s salt marshes to North Dakota’s “prairie potholes,” America’s wetlands are disappearing rapidly, according to U.S. Fish & Wildlife Service statistics comparing the Colonial 1780s to the 1980s.

The rate: an acre a minute.

California has lost the greatest percentage (91 percent), but 21 other states have paved over or tilled at least half of their original wetlands. Fast-growing Florida has filled in the most acreage–a land size bigger than all of Massachusetts, Delaware, and Rhode Island combined. Add the entire land size of California to that, and you can mentally picture the amount of wetlands lost since the Revolutionary War.

In cold, hard, economic terms, each acre of wetland is worth 58 times more money than an acre of ocean in the benefits it provides, according to Science. Wetlands act like sponges: The porous, jet-black peat helps soak up heavy rains and melting snow that otherwise may flood suburban yards. They also function like kidneys, filtering out dirt, pesticides, and fertilizers before the unwanted runoff reaches lakes and streams. Without wetlands, excessive sediment can smother fish-spawning areas and fertilizers can kill the prized fish sought by anglers.

Some of these soggy lands also serve as broad water-storage areas, allowing people to later enjoy these waters for iced tea and showers. And wetlands are a smorgasbord for frogs and migratory birds, and home to America’s ducks. According to the National Audubon Society, wetlands compare to tropical rainforests in the diversity of species they support.

Yet which is more valuable to humans? According to Science, an acre of tropical forest is worth $817 for its ecosystem benefits. An acre of open ocean is worth $103. An acre of wetlands: $6,017.

Yet they continue to vanish.


Michael Amsler

Morning on the Laguna de Santa Rosa: The 22-square-mile waterway in Sebastopol faces the same threats as wetlands across the nation–namely, fragmentation, or broken habitat–and decreasing biological diversity. “The key is not just protecting what we have left, because we’ve gone way beyond that,” says Laguna Foundation executive director Kim Cordell. “We need to reassemble and re-establish a sustainable habitat. That takes more than laws–it requires a real community effort.”

Permit Panacea?

RIGHT NOW, Vice President Al Gore’s office is fielding phone calls from concerned environmentalists and wildlife lovers who hope he will stave off “the biggest challenge to wetlands protection,” says Robin Mann, an outraged member of the Sierra Club’s Wetlands and Clean Water Campaign Steering Committee.

Shopping centers and riverfront homes conceivably could sprout up on soggy land without the usual requirements: notifying the public or asking for permission from the U.S. Army Corps of Engineers, the agency in charge of regulating the use or destruction of wetlands. The new “quick permits” would allow up to three acres of non-tidal wetlands to be developed or farmed, and up to 10 acres of any non-tidal wetlands to be destroyed as part of a “master planned development,” notes Julie Sibbing, assistant director for wetlands and wildlife refuge policy at the National Audubon Society.

In some cases, a builder wouldn’t have to notify the Corps at all. And the traditional requirement that wetlands be avoided where possible wouldn’t apply–a crucial failing, say environmentalists and wildlife specialists. Don’t like what’s being built next door? Sorry. No public input would be allowed either, Sibbing adds.

Ironically, these “rubber-stamp permits,” as Clean Water Network’s Kathy Nemsick calls them, are meant to quell public outcry, not rekindle it. They would replace the controversial and apparently more protective Nationwide Permit 26, which allows up to three acres of isolated or headwater wetlands to be destroyed. The Corps has promised to ditch the more stringent permit by year’s end.

It’s no surprise the oil and gas industry want the current permitting system changed.

But this would’ve been a welcome innovation for retirees Bob and Mary McMacken, too. Their case is an example of how the old wetlands law was used badly: They received permits to build a house on less than an acre in a still-developing subdivision in Pennsylvania’s Poconos, and lived there four years before a letter arrived in the mailbox telling them to cease and desist. Their property was a wetland, the Corps wrote. The message: Get out.

“This was a real emotional process to go through,” says Nancie G. Marzulla, president of Defenders of Property Rights, the nation’s only public-interest legal foundation dedicated exclusively to protecting property rights. “It took us two years to work with the Corps to get them absolved of all liability.”

Trouble is, government scientists say the Corps’ new proposal would destroy more wetlands and streams than the current dredge-and-fill permits. It also expands the scope of waters that could be filled in, and the Corps hasn’t gathered data on the resulting environmental impacts either, writes a concerned Jamie Clark, director of the U.S. Fish & Wildlife Service. And what about endangered species? It could take two to three years to consult with Clark’s agency and the National Marine Fisheries Service to hash out the possible impact. But that’s too late: Some of the 16 new permits could be the law of the land as early as March.

And, the proposal “may not be consistent with” the Clean Water Act, which requires only “minimal adverse environmental impact,” Clark wrote in a letter to Michael Davis, deputy assistant secretary of the Army, representing the Corps of Engineers.

“What we’re demanding is that they withdraw the package,” says environmentalist Mann, who is encouraging the public to write to Vice President Gore.

RADER, the EDF scientist, speaks quickly, matter-of-factly. Rader can mentally connect the dots between the tasty sea creatures on dinner tables–softshell crab, blue crab, and flounder–and the health of local wetlands. “All of those fish are directly linked to brackish-water estuaries that are girdled by wetlands,” notes Rader.

Only four states have more wetlands than the popular resort destination of North Carolina, which has lost about half of its original soggy lands–transformed into homes for new retirees, developments, and farms. Time was when the state’s two-legged population doubled just every 50 years. But as resort towns and cities grow, residents in some counties may quadruple in 50 years, Rader says: “We’re looking at a huge increase–particularly in the northern Outer Banks. It means all bets are off in terms of estuarine environments.

“In 20 years, will all the fish here come from fish farms and foreign waters? I think that’s a possibility.”

That may be surprising, since some of the nation’s largest fish nurseries are found along North Carolina’s Pamlico Sound. The estuaries also have been rocked by headline-grabbing outbreaks of a fish-killing neurotoxin called Pfiesteria piscicida, believed to be caused by a chain reaction that occurs when waste draining off farms enters the rivers. The puzzling toxin causes a variety of symptoms in anglers, including wheezing and nervous and respiratory system ailments. So people are advised not to eat fish when outbreaks occur.

Such suggestions aren’t good for business: Commercial and sport fishing each year add at least $152 billion to the U.S. economy and provide about 2 million jobs, and three fourths of the nation’s fish production depends on marshes, estuaries, and other wetlands, according to the Izaak Walton League of America.

Though Rader feels a sense of optimism after the August announcement that about $221 million in federal money is on the way to restore local watersheds, and a 1997 state Marine Fisheries Reform Act now requires “no net loss” of wetlands, that doesn’t mean all is well. For one thing, pigs outnumber people in North Carolina, and some of the fecal waste of the 10 to 12 million swine end up in rivers. Meanwhile, farms and other development continue to eliminate wetlands and riparian buffer vegetation. So “the kidneys of these landscapes are being eliminated,” Rader explains.

In trendy Portland, Ore., about 40 percent of area wetlands have vanished in a decade, even though protective regulations were in place, according to wetland ecologist Mary Kentula of Oregon State University. The lesson, Kentula determined, was the need for better monitoring and protection in fast-growing areas around the United States.


Michael Amsler

Waddling in the wetlands: Migratory geese forage at Chanslor ranch, Bodega Bay.

Down South, almost three quarters of Louisiana’s bottomland hardwood swamps have vanished as farmers till land drained long ago by the U.S. Army Corps of Engineers. Such swamps have always been the most common type of wetland in the United States, claims the EDF. They’re in the floodplains of rivers, such as the Mississippi, and they’re found along slow-moving southern streams.

Draining the swamps of Louisiana has left the state’s estimated 80 remaining black bears stranded in carved-up patches of land too small to support significant numbers of bruins, and is linked to the decline of at least 80 other threatened or endangered species, according to an EDF and World Wildlife Fund study. Residents took the unusual step of passing a constitutional amendment to start a wetlands conservation fund a decade ago, and other anecdotal successes can be pointed out. Still, the EDF claims, “The expectation that public funds will become available for drainage continues to encourage destruction of bottomland hardwoods today.”

In the willow wetlands of the sky-high Rocky Mountains, where moose delight hikers and 51 percent of the Southwest’s birds depend on plants for some meals, estimates place wetland loss at 90 to 95 percent.

The reasons: Cattle grazing, housing developments, ski resorts, and conversion to agriculture.

That’s not good news for anglers in what may be the nation’s best trout fishery. “These streamside wetlands play a vital role by trapping and detaining large quantities of sediment, keeping it out of streams where it could otherwise obstruct spawning,” reports the EDF.

Plus, for the anglers to eat trout, the trout need to eat invertebrates, which need to eat leaves. And those leaves drop from the wetlands’ alder and willow around this time of year.

The Clinton administration aims for a net increase of 100,000 acres of wetlands per year by encouraging the building of artificial wetlands. Yet, studies have shown that artificially created wetlands often dry up or die because scientists don’t fully understand how to re-create the original soggy lands. In some cases, homeowners’ associations or commercial developers are left to tend the puzzling marshes, with decidedly checkered results.

That hasn’t stopped a new trend toward “mitigation banking,” which allows developers to destroy wetlands if they, in turn, give money to a mitigation bank such as Fort Lauderdale-based Florida WetlandsBank. The banks use the money to restore wetlands elsewhere–measures like restoring drainage or killing invasive exotic plants. The banks promise to maintain the restored wetlands forever. Their value is, instead of having postage-stamp-sized wetlands dotting the landscape, you’ll end up with a bigger stand of wetlands in an ecologically sound place, such as at the edge of the Everglades. The problem is, original wetlands function better.

“We still understand wetland functions relatively poorly. This hampers our ability to properly restore wetlands or create new ones to replace those lost to developmental pressures or erosion,” says Ed Proffitt, chief of the Wetland Ecology Branch of the U.S. Geological Survey in Lafayette, La.

Northwestern University civil engineering professor Kimberly Gray is creating wetlands in the unlikely industrial setting of Chicago’s South Side, but she cautions that re-created marshes “aren’t the same thing.”

“It’s important for us to try to restore them, but I don’t think we have in our power yet to go destroy one and re-create one that is comparable in substance and structure. When we create wetlands, they’re usually not as diverse or robust,” Gray says.

The struggle to meet the needs of people while recovering diminished wetlands has set up a curious dichotomy: Every day, permission to build new homes, businesses, and farms in original wetlands continues to be granted by local or regional governments. Meanwhile, billions of tax dollars or private dollars are earmarked to restore other wetlands. Consider the ongoing restoration of Chesapeake Bay, where the fresh waters of 48 rivers mix with saltwater to produce the nation’s largest estuary.

The splashing sound of fish breaking the watery surface and the harsh, noisy squawks of rails flying overhead make the Chesapeake’s wetlands among Michael Weinstein’s favorite spots. Weinstein, director of the Sea Grant Program in New Jersey and an expert on wetlands and marsh habitats, is optimistic about the makeover: Fish immediately began using previously off-limits areas after a dike was intentionally breached. Yet, years of draining and damming destroyed nearly 60 percent of the wetlands in the three main bay states, sparking a goal of not just maintaining what’s left, but adding even more wetlands.

More than 13 million people from six states live in the bay’s watershed, and the next 25 years are expected to bring enough people to populate two more Baltimores and two Districts of Columbia, adding to area pollution. “Just one year of stormwater from the Washington, D.C., metropolitan area alone dumped between 1 and 5 million gallons of oil, 400,000 pounds of zinc, 64,000 pounds of copper, and 22,100 pounds of lead into the bay,” the EDF reports.

More than one in two Americans now lives on or near the coast, requiring an average of one-half acre of land apiece for new schools, post offices, and other public services, Weinstein notes, and by 2050, 70 percent of Americans are expected to live on the coast. “So the pressures are ever increasing,” he adds.


Michael Amsler

Sign of the times: A rusted relic at the Chanslor ranch.

Uneasy Neighbors

THAT PEOPLE and wetlands make uneasy neighbors is nothing new to Burkett Neely. A woman called him to complain that an endangered wood stork had relieved itself in her backyard pool in tony Boca Raton, Fla. What could Neely say? At the time, Neely tended the northern Everglades as manager of the Loxahatchee National Wildlife Refuge west of Boca Raton. He knew the stork was–and is–an endangered species. You can’t kill it, or even bother it, he says. As urban sprawl marches closer to the marshy refuge, “I think you’re going to see all kinds of conflicts,” adds Neely. Neighbors already pine for mosquito-spraying, which is only marginally effective, since it isn’t allowed in the refuge. “Living next to a swamp, you deal with swamp creatures,” Neely replies.

The Everglades are close to the largest wetlands in the nation, despite being reduced to half their original size. Restoring the “River of Grass” is expected to become the largest freshwater wetlands restoration project in the world: It will take at least 20 years and an estimated $1 billion. It’s also overseen by the U.S. Army Corps of Engineers–the same agency that did most of the swamp drainage a half century ago.

But already, the Everglades may be losing some of their luster with politicians who favor the restoration. Last year, Congress provided $76 million for buying land as a buffer between the Everglades and urban sprawl. This year, a Senate bill slashed that to $40 million for fiscal year 1999, and a House bill provided even less–$20 million. Buying land is widely recognized as crucial in restoring the Everglades, contends the National Audubon Society. Expect more homes and businesses to move in otherwise, the organization warns.

As south Florida adds a new resident every 12 minutes through the year 2020, geographers contend the population center of the region won’t be the coastal cities of Miami or Fort Lauderdale–but farther west, near the wetlands of the Everglades. Four out of five new residents are expected to live in or fairly near suburban Sunrise, home to the new arena of the Florida Panthers professional hockey team.

“For the most part, we have come a long way from the old view that wetlands were mosquito-plagued swamp wastelands full of snakes and alligators, and that their only worth was to be drained or filled for construction or agriculture,” Proffitt says.

In its simplest form, the threats to wetlands seem to boil down to a curious circle. People need a place to live, work, shop. They look for affordable, attractive choices–which may be in former wetlands. Developers build homes where demand indicates people want to live. So more people move into new ranch houses in the former wetlands. More builders build there. Soon, you have a suburb where herons once stood like statues, waiting silently for a meal to float by.

At any point, people could stop buying homes or doing business in former wetlands, encouraging developers and businesses to stay in centralized cities. Or developers could stop building in wetlands–that would force homebuyers and businesses to look elsewhere. And government agencies could stop granting permits to develop them.

Maybe the cycle can be stopped by the folks in Washington, D.C. But don’t bet on it. That city itself is the site of a former wetland.

This article, here slightly abridged, originally appeared in E magazine.

From the January 7-13, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

New Century Chamber Orchestra

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New Moves

New Century Chamber Orchestra starts ’98-’99 season–and a farewell tour

By Greg Cahill

NINETEEN-ninety-seven proved a banner year for the New Century Chamber Orchestra and its brilliant musical director, Stuart Canin. The Marin-based conductorless ensemble’s second CD, Written with the Heart’s Blood (New Albion), garnered a coveted Grammy nomination, NCCO’s concert audience nearly doubled, and Canin–who has served as concertmaster to such big-name Hollywood films as Forrest Gump and Schindler’s List–contributed a violin track to the film Titanic (you can hear him during the climactic “and the band played on” scene).

But unlike the director of the ill-fated band depicted in James Cameron’s Oscar-winning blockbuster, Canin is moving on from his current post this spring while he’s on top, so to speak. “There are a lot of forces moving one through life … ,” says Canin, 72, “and there comes a time when you want to be, in a sense, your own boss.”

That’s a sentiment that underlies the innovative orchestra itself, which just released its third CD, Echoes of Argentina (d’Note). The 15-member ensemble often performs standing in a semi-circle around the audience and gives its players artistic freedom unheard of before NCCO was formed, springing from a desire to break away from the regimented, “punch-the-clock” music-making that symbolizes most classical groups.

“I’m not in any sense retiring from the violin,” Canin explains, “but the position is quite time-consuming–I do a lot of administrative work and the programming itself takes a lot of time,” Canin explains, “so it’s become a nine- or 10-month position rather than the three or four months that we actually perform.”

Indeed, Canin’s new job–as guest concertmaster of the New Japan Philharmonic in Tokyo, under the guidance of music director and longtime collaborator Seiji Ozawa–will give him a high profile and a chance to perform without the constraints of administrative work.

“This has been a difficult decision to make,” says Canin. “The New Century Chamber Orchestra has been a great source of joy for me over the last six years. It has kept me more active than I had ever anticipated. But I feel that the time has come to pass our ‘invisible baton’ and allow myself the opportunity to spend time with my family, my grandchildren, and to do some of the traveling my wife and I have talked about for years.

“I also feel that by the end of the season it will be appropriate for me to let the orchestra try new ideas and explore new paths. Wait until you see this year’s program [which begins Jan. 14 in Berkeley]. I’m going out with a bang, not a whimper.”

The opening program of the new season, which brings the NCCO to Osher Marin Jewish Community Center in San Rafael on Jan. 17, features a reprise of Shostakovich’s “Octet” from Written with the Heart’s Blood, an obscure piece by Russian composer Alfred Schnittke, and Tchaikovsky’s seldom performed “Serenade.”

ASK CANIN the greatest challenge of directing a conductorless ensemble and he laughs gently. “Well, you’ve hit on it right there–directing a conductorless ensemble,” he says. “Since it’s a pretty free-wheeling organization, and everyone comes on board knowing that there are no constraints–you can contribute what you feel in terms of how fast or how slow, or how loud or how soft you can play a certain piece–everyone has their own idea of how things should be done. As music director, I have to sort through those ideas and decide how everything will go. That process is nonexistent in a full-size symphony in which a conductor says things will go a certain way and that’s that.

“So the challenge is to put together an interpretation that has a certain point of view musically and doesn’t resemble the camel, which is a horse put together by a committee,” he adds with a laugh.

Co-founded in 1992 with Mill Valley resident Miriam Perkoff–who later left the NCCO to create her own Stratas ensemble–the conductorless format at the time of its inception was an entirely unique concept. “I liked the idea of a string orchestra,” Canin adds, “because there is a whole body of literature that hasn’t been played and is ignored by the big orchestras–apparently the boards of governors only like to see 100 people onstage.”

This year, the NCCO is experimenting with that all-string format by adding one or two non-string players for select pieces. For instance, in February the ensemble will give several performances of Britten’s “Serenade for Tenor, Horn, and Strings,” featuring David Krehbiel, principal French horn player in the San Francisco Symphony, and Norman Shankle, rising star at the San Francisco Opera.

Canin hopes those performances will signal a continuing commitment to the spirit of experimentation that is the foundation of the NCCO. “I’d hope that the orchestra will continue to be innovative and display a good balance of music that will last forever,” he says, “your Tchaikovsky ‘Serenade’ or Bartók ‘Divertimento,’ great pieces that are never heard in full symphony concerts, and that should be heard. And I hope that whatever is in the mind of some younger musical director, innovation is always there.

“I think the future looks pretty bright.”

The New Century Chamber Orchestra performs Sunday, Jan. 17, at Osher Marin JCC, 200 N. San Pedro Road, San Rafael. For ticket information, call 415/479-2000. For programming and subscription ticket information about NCCO’s 1998-99 season, call 415/381-6226.

From the January 7-13, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Wine Predictions

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Glass Ball

Wine predictions for 1999

By Bob Johnson

A NEW YEAR has dawned, and with it much speculation, consternation, and anticipation over what lies ahead. Little wonder: In the year just concluded, the most “challenging” grape-growing season of the decade resulted in much lower yields than the record-breaking crush of 1997; one of Sonoma County’s top wineries–Geyser Peak–was gobbled up by a giant spirits conglomerate; and new housing tracts contributed to the clogging of the county’s primary transportation artery, Highway 101, further stripping the region of its historic agricultural atmosphere.

What can Sonoma County wine lovers expect from the world of vino in 1999? A glimpse into the trusty Wine Lines crystal ball reveals the following likely developments:

Commemorative wines. Since a new millennium comes around only once every thousand years, expect numerous wineries to release special millennial bottlings during the year ahead. These releases will feature artsy labels and appropriate verbiage, and because of their caché with collectors, undoubtedly will cost a few bucks more than “regular” bottlings.

An example would be the 1990 Cuvée Dom Perignon, scheduled for a March release. This special bottling of arguably the world’s most acclaimed sparkling wine will include a keepsake cork designed by Cristofle, the renowned French silversmiths. The cork is hinged to open side to side, includes the inscription “31 Decembre 1999,” and is suitable for additional engraving.

The suggested retail price for this commemorative bottling is $200. The keepsake cork is available separately by mail for $65. Also look for Sonoma County’s sparkling-wine producers to unveil millennial packages, and don’t be surprised if a number of high-end winemakers come up with commemorative releases of cabernet sauvignon, chardonnay, and other varietals.

Steady, and perhaps even lower, prices on many red wines. Because of the record-setting California crush of ’97, numerous white wines released in 1998–particularly chardonnays–saw their prices remain unchanged from the year before, with some even going down. As an example, in recent weeks the 1997 vintage of one of California’s more popular chardonnays, the Meridian bottling from Santa Barbara County, has been seen in supermarkets for as low as $6 (the wine normally sells for around $10).

In 1999, the market will be flooded with red wines from the 1997 vintage, and for one of the few times in recent history, the law of supply and demand may actually work in favor of the consumer. Wines that in the past have sold for $20 or less are the most likely to see stable prices or possibly even decreases, especially if the glut remains after July.

Growing demand for syrah. Just as the popularity of merlot exploded a few years ago, expect sales of syrah (aka shiraz among local Aussie vintners) to skyrocket in 1999. There are two reasons for this: Syrah is a tasty alternative to more traditional red varietals, and record tonnage of California syrah grapes was harvested in 1997. A vast majority of the resulting wines will gain wide distribution in the months ahead.

Meanwhile, local corporate giant Kendall-Jackson has released three syrahs from previous vintages, each with unique aroma and flavor characteristics, and all including grapes grown in Sonoma County:

Kendall-Jackson 1996 Vintner’s Reserve possesses a touch of terroir in the nose, leading to bright, sweet red fruit flavors. Featuring grapes from two vineyards in Sonoma County and one in San Luis Obispo, this is a serviceable syrah. $16. 2.5 corks.

Kendall-Jackson 1995 Grand Reserve Grapes from Sonoma County’s Durell Vineyard make up 95 percent of this jammy, mouth-filling wine, which has an aroma and flavor of mild blackberries, complemented by a hint of pepper. Though just $4 more than the Vintner’s Reserve, it’s light years ahead on the enjoyment scale. $20. 3.5 corks.

Kendall-Jackson 1995 Durell Vineyard is an excellent example of what talented winemakers can accomplish with exceptional grapes. The Durell Vineyard is situated on an eastern hillside in the Carneros growing region near San Pablo Bay. Unlike many vineyards in this area, where cooler climes dictate the planting of chardonnay, pinot noir, and merlot, the Durell Vineyard receives full sun exposure, making it ideal for syrah grapes. This wine oozes aromas and flavors of blackberries, plums, blueberries, and pepper, finishing with tongue-tingling spices and a hint of chocolate. Better still, it’s an outstanding value. $16. 4 corks.

(Wines are rated on a scale of 1 to 4 corks: 1 cork, commercially sound; 2 corks, good; 3 corks, very good; and 4 corks, outstanding.)

From the January 7-13, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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Star Crossed

By David Templeton

For over five years, writer David Templeton has been taking interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This time out, he does the dinner-and-a-movie thing with Naomi Epel, famed San Francisco author and “media escort.” The movie in discussion is the hit comedy Shakespeare In Love, in which the star-crossed Bard wrangles with love, poverty and a bad case of writer’s block.

“David! It’s Naomi,” announces Naomi Epel. “Clara and I are going to a movie tonight. We’re thinking of seeing Shakespeare in Love. Shall I still save that one for you?” Epel is calling, a few days before the New Year, to remind me that I’d once suggested we see S.I.L together–whenever the film was finally released.

Save it. Save it,” I plead, aware that, should she see the film tonight–and it turned out to be awful–she’d be unlikely to want to see it again with me. “You’re the perfect person to see this one with,” I add, quite honestly (knowing full well that she’s not, um, especially fond of Shakespeare’s plays). “It’s a film about writer’s block–and these days, Naomi, you’re the expert on that subject. How about Wednesday night? I’ll bring Susan.”

“Wednesday’s fine,” Epel affirms. “I’ll bring Clara. We’ll make it a double date.”

This chatty little exchange is the result of years of professional association with Ms. Naomi Epel. As a respected “media escort,” this long-time Berkeley resident has been a secret, unofficial Talking Pictures guest more times than either of us can remember. You see, it’s Epel’s job to schlep visiting authors around town–from the airport to the hotel to any scheduled book-readings or interviews–and occasionally to the movies to scarf popcorn and to wax philosophical with someone like me.

So we’ve gotten to know each other fairly well.

In the course of Epel’s literary chauferism, she’s had happy access to the minds and psyches of our greatest living writers and thinkers. Her first book Writers Dreaming was an exploration of how some of these authors are inspired by their own nocturnal visions. In addition to quizzing writers about their dreams, she’s also been picking their brains for hints on how they retain their creative powers, what methods they use to focus on their work–and what they do whenever they’re blocked. Ray Bradbury and William Saroyan, she learned, take long walks to get the ideas moving; others, like Stephen King, observe peculiar rituals before writing; Maya Angelou copies lists of rhymes whenever she’s stuck.

Now, Epel has pulled all of these ideas together in The Observation Deck (Chronicle, 1998). A kind of “creativity kit,” it consists of an absorbing, 160 page book describing hundreds of writers’ suggestions, and a deck of 50 cards, each one stamped with a different block-busting idea. Feeling blocked? Close your eyes and pick a card. Try the suggestion in question and see what happens. It’s not surprising that The Observation Deck, released last October, has been an instant hit among struggling writers–and looks to be propelling Naomi to a kind of “writer’s block guru” status.

So what does Epel have to say about William Shakespeare’s little problem?

“Gee, it wasn’t much of a block, was it? Shakespeare got through it pretty fast, didn’t he?” We’ve just seen the movie, and the four of us are now sampling the cuisine of Singapore at a bustling San Francisco restaurant. In the movie, a young, fictionalized Shakespeare (Joseph Fiennes), struggling with his latest comedy, Romeo and Ethel the Pirate’s Daughter, is smitten with the beautiful Viola (Gwyneth Paltrow)–the soon-to-be-married daughter of a wealthy merchant–and, suddenly unblocked, creatively and emotionally, snatching plot ideas and character names from everyone around him, is profoundly compelled to write the increasingly tragic Romeo and Juliet.

“My blocks should be so short, and end so favorably,” I remark. Tapping my copy of The Observation Deck, I ask, “You don’t have ‘falling in love’ in here, do you? Didn’t any author ever say that falling in love started their literary juices flowing again?”

“No. No. Not one,” Epel says, laughing. “I think falling in love is bad for the creative process. It distracts you from your work for at least a year.”

“And yet love inspired Shakespeare’s sonnets, probably,” I argue. “Love inspires reams of poetry, good and bad.”

“That’s true. That’s true,” she nods. “But what kind of literature–what kind of novels–do we know about that came from someone falling in love? While they were still in love? I think the novels come around after love is over, don’t they?”

As for the entertainment value of the film, we are divided. Naomi gives it a six. Clara concedes that it’s pretty, but far-fetched. I loved every minute of it. And Susan, whom also enjoyed the film, was especially taken by how much the film stole from other sources, down to the colors and posing of the Romeo and Juliet death scene, which she points out was modeled on Gustav Klimt’s 1908 painting The Kiss.

Which leads us to the film’s comic notion that Shakespeare’s creative process was partly fueled by, um, stealing anything he could from other writers.

“I have a whole chapter in the deck about that,” Epel points out, laughing. “It’s called Learn from the Masters. It’s one of my favorites.” She reaches over to pick up the book. “There’s a great quote in there from Voltaire. Let’s see. ‘Originality is nothing but judicious imitation.’

“The most original writers borrowed from one another,” she says, “and in so doing they developed their own craft. This is all about imitating. Joan Didion used to copy, line by line, whole stories from Hemingway, to learn how he made sentences. And–who was it? Somerset Maugham I think–who used to copy out a page of Jonathan Swift every day. I think you have to be willing to take from other people, because stories don’t come from nowhere.”

“Well,” I interject, “Don’t some people writers believe its unethical to borrow ideas from others?”

“Maybe they do,” she replies, “but then they’re not real artists. Borrowing, changing, using, adapting, It’s what true artists do.

“And I’m not talking about plagiarism,” Epel continues. “These people use other people’s work to explore and to learn something for themselves. They’re using the bones of the story with which to discover and explore the issues that they are wanting to deal with.”

Romeo and Juliet,” I have to admit, “wasn’t original to Shakespeare. But he didn’t piece it together from bits stolen from Marlowe and friends, like in the movie. It was actually an adaptation of a William Paynter novel, Palace of Pleasure–which was based on a poem that was inspired by a short story that was derived from an old Italian folktale.”

“So there you are,” Epel answers. “But we really do take ideas from the events and people around us. And that’s fine. There’s another quote that I love.” She reaches again for the book. “Tony Kushner, the playwright, says, “The fiction that artistic labor happens in isolation, and that artistic accomplishment is exclusively the provenance of individual talent is … in my case at least, repudiated by the facts.’ He goes on to say that Angels in America, without the input of two dozen people, ‘would have been entirely different–would, in fact, have never come to be.’

“So a play could go from Romeo and Ethel to Romeo and Juliet, because we don’t create on our own, all by ourselves in a vacuum. I think so many people suffer because they think that they have to act solely on their own–that every idea must leap up from our own little pea brains, as opposed to just being open to whatever ideas and inspirations happen to arise.

“And speaking of Romeo and Ethel, there’s another point,” she goes on. “He wrote badly at first. That’s also part of some writers’ process. Because, face it, Romeo and Ethel was really stupid, but if he hadn’t started with that, he might not have written anything at all. He had to put something on paper. That’s the essence of the writer’s craft, I think. You have to dare to write stupid ideas, and to slowly make them your own as you discover what it is you are trying to learn.

“I think what stops a lot of people from being truly creative,” she adds with a grin, “is that they aren’t daring enough to start out being stupid.”

Web extra to the January 7-13, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Scoop

Liar, Liar

By Bob Harris

I DON’T KNOW what’s more doomed to failure: the Senate trial of Clinton or my love life. And let’s start here with the important stuff that’s really affecting our nation: my personal life. (Which, I might add, has roughly as much to do with the national interest as Clinton’s.)

I’m not complaining, but I’m probably the only guy in the world who went to see Saving Private Ryan to cheer myself up. I’m not saying there aren’t people you can trust in L.A. I’m just saying there are only 11 of them, and they’re all in that Hindu temple in Malibu.

And I just don’t have the wardrobe.

So while my hopes for true love narrow faster than Ellen DeGeneres’ career options, at least I can pick up a newspaper and see I have a kindred spirit in the world: the Republican Party.

There has never been the slightest hope of removing Clinton from office at any point in this process. The GOP doesn’t have the votes, never did, and never hoped to win that many in the last election. But that didn’t stop this sad parade of sanctimonious adulterers and liars from trying.

A man’s gotta dream, y’know?

You almost feel sorry for the poor guys. They finally get an impeachment and Clinton’s approval ratings go up, to a level 18 points ahead of Reagan. It’s like getting a girl to meet you at the movies, and she brings a date.

Can’t win for losing.

The latest sad flail comes from GOP Majority Whip Tom DeLay, who says the Senate should consider the reams of uncorroborated evidence even Ken Starr wouldn’t publish. Never mind due process. The guy thinks the reason the public likes Clinton is because they still haven’t seen a sufficient amount of dirt.

Which is a lot like when an obsessed stalker thinks the reason that cute weather girl won’t go out with him is that he’s not calling enough.

Put the phone down, Tom. Stop with all the drawings of Paula Jones in red lipstick.

Give it up.

Most Americans know our politicians are liars, thieves, and whoremongers. We made our peace with that long ago. What Americans really can’t stand is when the lying, thieving, and whoremongering turns mean.

At least that’s what most people think at the singles mixer under this giant statue of Ganesh.

HERE’S SOME good news: You guys are a lot less likely to kill me this year. The Justice Department says the violent crime rate is now at its lowest level since they started the index 25 years ago. Now, they’re really only talking about 1997’s data, since the FBI takes longer to transfer files than AOL. But in 1997, there were only 39 violent crimes per 1,000 U.S. residents.

And if you don’t count the Jerry Springer show, the number is less than half that.

When the survey was started in the 1970s, the number was 25 percent higher. And it proceeded to go up drastically throughout the 1980s before turning down sharply at the beginning of the 1990s.

Experts attribute this to everything from the economy to changing demographics. Personally, I think it has more to do with the band Journey, whose record sales track the national crime rate almost perfectly. (Look it up. I’m not kidding.) Coincidence?

I think not.

Look, Journey singer Steve Perry’s voice could make anybody a little nuts. So, for the good of the country, I hereby suggest we round up the members of Journey, Styx, and REO Speedwagon, take away their instruments, and prohibit them from playing anything besides klezmer.

The statistics also show that you’re far more likely to be killed by someone you know than by a total stranger. Which means your best chance to reach retirement age is simply not to have any friends.

In a related story, GE President Jack Welch is 62 this year.

Finally, the bad news: Other data show that only 44 percent of violent crimes are ever reported to the police. Which means there’s still more crime out there than the Justice Department can keep track of. Of course, Journey is reportedly planning a reunion tour.

This blight on our nation must be stopped.

From the December 31, 1998-January 6, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

North Bay Rave Scene

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Rave Up

Text by Shelley Lawrence
Photos by Brian Gaberman



NO, BABY, I don’t sell drugs!” Waldo says when asked for a comment on what it’s like being a drug dealer. “I just help my friends out. So, Shellacious, are you documenting everything, like, even the pre-rave trip to Safeway for power snacks?”

Waldo–a friend of mine whom I’ve chosen to follow around all night at the Harmony rave party–opens a plastic bag to reveal an air-sealed packet of Beer Nuts, an apple-cinnamon-oat PowerBar, a bottle of ginseng pills, three BlowPops, and a package of gum.

Gregarious and highly sought after, not for his snacks but for his illegal wares, the ever-grinning Waldo wears a red-and-white striped ski hat (as in the “Where’s Waldo?” kids’ book series), a bright-red polyester shirt peppered with large white polka-dots, a lime-green soccer jersey, and huge, tubelike jeans. His shoes remain a mystery because the elephantine pants cover his feet completely. He’s bedecked with sweet-colored plastic jewelry on all limbs, and peers at me through pink sunglasses that cover fully half his face.

Tonight, we’re on our way to a rave–a clandestine dance party characterized by ear-splitting electronic music at a location kept secret until hours before the event is announced on a voice-mail message. A blurb, printed on the back of the shiny, pocket-sized flyer that sports a picture of a baby swimming in a computer-generated star, lures ravers with visions of ecstatic experiences. The flyer reads like an advertisement for a New Agey self-help forum, promoting the event and setting the tone for the all-night happening: “On Saturday, Oct. 24, the Harmony Family will collectively go on a journey. A journey deep into our inner selves. We will connect not only with ourselves, but with our family as a whole. We will find the positivity and love inside that drives us all, and share it with our sisters and brothers. By dancing to celebrate life, love, and harmony, we will center ourselves and return to our INNERCENSE.”



It’s another episode in the scene that–with its big pants, funky dancing, electronic music, oddly shaped tennis shoes, and sparkly barrettes–first entered Sonoma County in 1992. Raves originated in London and northern Germany as huge (sometimes over 100,000 people), all-night, underground warehouse parties with live techno DJs galore, and spread from there into most of northwestern Europe, making the transition to America’s East and West coasts in the late ’80s.

These days, ravers are being chased out of the Bay Area urban centers where they were spawned. Greg Sandler, rave promoter and founder of the Santa Rosa-based Harmony party production company, claims that, owing to the intervention of San Francisco mayor Willie Brown, all Bay Area cities (excepting Oakland) have stopped issuing permits for the parties and shut their doors to DJs and drugs. Raves now are often held in out-of-the-way sites in the ‘burbs, but even there they are not free from hassle. Sandler claims that a recent Harmony party, held on private land in Vacaville, was broken up by Vacaville police. A lawsuit against the police department is planned, Sandler contending that the officers acted abusively and without provocation. Sandler refused comment on the lawsuit.

“Our job is to make these people trip out, and have an awesome experience. [A rave is] people all striving for the same thing. We all want to be loved and to have a community … . [For] a lot of kids we are there as their family–if they need help, we’re there; if they need love, we’re there; if they just wanna dance, we’re there,” says Sandler.

After a set, teenagers in bright yellow vests boredly usher us into a parking spot with green glow sticks. We enter Santa Rosa Armory’s rhythmically thudding hallway, which is hung with flowery, blacklit-glowing banners reading “We Are the Givers of Life.” We are patted down by same-sex bouncers and move into the main room.

Waldo’s glasses immediately fog over with the condensed sweat that hangs in the moist air.

“Groovy, baby!” he shouts in a nearly perfect Austin Powers impersonation, before bouncing toward the dance floor. “Sensory overload! Sensory overload!” screams my neocortex.

Once inside, I take stock of my surroundings. The decoration crew has done an impressive job with the armory’s austere interior. Suspended above a sea of wildly undulating, sweaty, glow-in-the-dark dancers, an enormous TV screen flashes computer-generated stars swooping over various landscapes. The ceiling is covered with drooping white veils, and on it brightly colored lights are projected from the corners and walls, casting quickly swirling threads of mesmerizing fluorescent green light. Large pink and blue stars appear occasionally around three huge disco balls.

The music isn’t at all the headache trance I’d expected. It’s intricate and, well, musical, and it’s hard to keep my feet still. The DJ, surrounded by scads of expensive equipment on the raised stage, intently mixes and spins loud techno-beat records. He’s doing a good job of matching the different bass beats perfectly and keeping the crowd’s mood high. I shuffle and bounce a little as I try to keep up with Waldo, who stops and chats with every second or third person we pass.

One of the main fashion themes is aliens: People are swinging plush alien backpacks, stuffed aliens are tied to the kids’ belts, and alien jewelry and clothing abound. The bathroom is filled with a swarm of girls (I’d guess their average age at about 14), wearing lots of makeup and practicing dance moves in the mirror–glitter covering their skin, pants hanging low, bright-colored shirts cropped right below their breasts, hair in kiddie pigtails.

As I wait in line, I’m given the once-over by several girls who appear to dismiss me, probably because of my now bland-looking street clothes: jeans, sneakers, and a tank top (maybe I would’ve been thought cooler if they’d seen my pierced tongue). But I feel less invisible when someone kindly hands me toilet paper over the stall as they hear my exclamations of dismay upon discovering the lack of supplies.

As I’m exiting, a young man wanders through the girls’ line. “Hey, Happy, what are you doing here?!” a beglittered and multicolored girlie shrieks. Happy grins vacantly and affirms that he always goes into girls’ bathrooms because the conversations there are much better.

I emerge from the restroom to find Waldo sitting on the floor, surrounded by a group of seven or eight girls (older than their counterparts in the bathroom, they look about 16), busily pasting him over with stickers. One reads “Hello, my name is Sasparilla Sweetcheeks.” He obligingly poses for a few photographs, kneeling among the girls, who look adoringly up at him.

It’s odd to see kids I went to high school with at this rave. A girl I knew is wandering around in running pants and a leopard-skin bra, sucking on a baby pacifier (to keep her teeth from breaking when her jaw starts to clench and chatter–symptoms that appear about two hours after taking the popular hallucinatory drug Ecstasy). She keeps tripping over her feet.

Many kids are wearing paper surgical masks that I find out have been soaked in Vicks VapoRub or eucalyptus oil, which is supposed to enhance any kind of high.

I consider borrowing a pacifier to keep my teeth from being jolted out of my head by the shaking bass that permeates every corner, even outside.

Waldo ambles over to a group of guys and begins removing his stickers and talking about what he did last weekend. The conversation revolves around drugs and parties past, the logistics of warehouse renting, and the designing of glossy fliers.

“Listen, you can take it or not,” he says to a dubious-looking young man. “You can have it, man. Put it in a bowl and smoke it–do whatever you need.”

Waldo hands the pill over and accepts in return a free capsule of “prescription speed,” whose donor recalls, “Uh, I can’t remember what it’s called, but it will get you a helluva high. My ex-girlfriend used to take it.” Waldo swallows it cheerfully with a gulp of water from his industrial-sized bottle. He sells two hits of Ecstasy (at $20 each, the standard price) from a full sandwich bag and then pulls out another baggie.

“This is St. John’s wort, baby! It’s a mood enhancer. Just try it and see.”

He turns quickly to a few people who have congregated on his other side. “You want some pills? The best, baby, the very best. I have zee best pills.” He sells another three hits of “E,” “pills,” or “candy,” depending on whom you ask. Waldo’s giving away free ginseng and St. John’s wort. My theory is that when he gives potential buyers free “drugs,” it makes him more popular, thus making it easier to sell more of the real McCoy. I notice that the eyes of the people who are milling about with pacifiers in their mouths are growing notably wider. One teenaged girl, overhearing Waldo’s conversation, gazes at him and then says emphatically, “Life is not reality. Reality is not life.” She takes a drag of her cigarette.

“What do you mean by that, baby?” asks Waldo.

She thinks hard, takes a few more ecstatic drags, and says, “You know? Reality isn’t life! And life isn’t reality! Think about it, man, just think.”

A friend nods sagely, and they wander off together amid the muttered cries of “Doses, speed, crystal meth. Crystal, doses, speed.”

A wiry, bleached-blonde boy runs by, shouting loudly, “Does anybody know where I can get some crank?”

I wonder, do all these mind-altering substances create an illusion of community that isn’t really there? When asked about the use of drugs at his parties and the “friendship bonds” that they form, Sandler answers, “Is it an illusion or is it a reality? If you have that experience, then it’s reality. If kids come to do drugs, to experiment with their consciousness, then they need to experiment. Through raving, I learned how to be a good person here on earth, and I try to spread the word. Our main force is to give the kids a safe place to be with their friends.”

But others disagree with that assessment. A friend of mine named Jennifer, who used to rave but has since become disillusioned with the scene, sums it up this way: “It’s too synthetic. Synthetic lights, synthetic music, synthetic drugs, synthetic feelings … I just can’t be around it for too long anymore. Plus, it’s scary to see all those 15-year-olds running around with pacifiers in their mouths, all high on drugs.”

My own night of rave ends early. After two hours, this “safe place” is starting to drain me. I’ve been asked three times if I want to buy drugs, twice if I have any to spare. I’m sweaty; my head hurts from speedy music, gyrating lights, and too many spinning dancers with glow-sticks. I walk quietly home, thankful to be inhaling deep breaths of smoke-free air.

From the December 31, 1998-January 6, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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