Short Reviews

Book Leaves

Gretchen Giles, Liesel Hofmann, Sara Peyton, Zack Stentz, David Templeton, and Jenna Templeton (age 10).

Theresa Sheppard Alexander
Facing the Wolf: Inside the Process of Deep Feeling Therapy
New York: A Dutton Book, Penguin Group, 1996, 176 pp.; $20.95

An unusual and moving account about what actually goes on behind the therapist’s door. Over two decades ago, Occidental’s Alexander, then 20, entered an intensive three-week primal therapy program, through the generosity of Dr. Arthur Janov, the developer of the method and author of The Primal Scream. It was the beginning of a profound transformation that forever changed Alexander’s life. She returned to college, studied to become a therapist, and trained at the Primal Institute in Los Angeles. Today she practices what she calls Deep Feeling Therapy, based on many of Janov’s techniques. In her book, Alexander illuminates the therapeutic process from both the patient’s and therapist’s point of view based on her own experiences. We learn about the importance of developing a healing bond between patient and therapist. And we learn about Alexander’s childhood struggles as the daughter of an abusive father who routinely beat his kids. By the end of the book, you will applaud Alexander’s triumphs and may decide it’s time for some deep feeling work yourself.–SP

Dr. Reinhold Aman
Maledicta 12: The International Journal of Verbal Aggression
Santa Rosa: Maledicta Press, 1996, 160 pp.; $12.50

Volume 12 continues in the same iconoclastic, shock-’em-and-shake-’em vein of intellectual brain-porn that Aman established years ago with his first collection of essays dedicated to the examination of verbal aggression. There are 22 essays in all, each one illuminating a different aspect of the dirty little ways that people use words. Catch Gwen Foss’s wild glossary of Domino’s Pizza slang (pepperoni, mushroom, and sausage pizzas, with the acronym PMS, are called “Bitch Pies”; “extra blood” means extra sauce). Other notable entries include Henk Salleveldt’s discussion of graffiti left in latrines by Dutch soldiers, and Aman’s own provocatively titled essay, “Linguistic and Blasphemous Aspects of Bavarian Micturation and American Toilet Names.”–DT

Marsha Arnold
Illustrated by Lisa McCue
Quick, Quack, Quick!
New York: Random House, 1996, unpaged; $3.99

This Step into Reading book by Sebastopol author Arnold (whose Heart of a Tiger last year was an absolute keeper for kids) is short and sweet, just the way young readers like ’em. Designed for preschoolers to first-graders who are struggling out the words themselves, Quick, Quack, Quick! is the simple tale of little Quack the duckling, a dawdler whose slow ways eventually help him save his feathered family from the claws of Cat.–GG

Elizabeth Davis and Carol Leonard
The Woman’s Wheel of Life: Thirteen Archetypes of Woman at Her Fullest Power
New York: Penguin Arkana, 1996, 239 pp.; $22.95

Maiden, mother, crone. For women who run with wolves, strollers, the wind, and with high heels on, these have long been identified as the three stages of female life. Now Windsor-based midwife Elizabeth Davis and her colleague Carol Leonard have identified a fourth stage, the Matriarch. As delineated in The Woman’s Wheel of Life, the Matriarch emerges in that pre-menopausal stage of the late 30s to 40s, when children are becoming more independent, and career and creative efforts become paramount in a working woman’s life. Citing longer life spans and later menopausal onsets as reasons for the new distinction of this stage, the authors depict the phase of the Matriarch–or queen, which has a nice ring to it–as a celebratory time of strength.–GG

Eliot Fintushel
Please Don’t Hurt Me!
Glen Ellen.: Self-published, 1996, 268 pp.; $7

If the makers of Independence Day had been locked in a room for a month with nothing but pen and paper, blotter acid, and a big stack of Thomas Pynchon and Philip K. Dick novels to keep them company, they might have written Please Don’t Hurt Me! instead of the turgid scenario they ended up with. Of course, Fintushel’s bizarre story of the deranged followers of an elderly biker mama and their battle against a cult of fitness nuts led by an exercise guru and the First Lady of the United States might not have grossed $300 million at the box office, but who cares. This is a lot more fun, anyway. As absurdity piles on top of absurdity and the alien Boorfahs make their presence known by pulling the postmodernist trick of manipulating the very book in the reader’s hand, one has no choice but to give up any hope of fitting the pieces together and instead sit back and enjoy the surreal ride. Be warned, though: Please Don’t Hurt Me! isn’t one damned thing after another; it’s every damned thing you could ever think of, all at once.–ZS

Robert W. Funk
Honest to Jesus: Jesus for a New Millennium
San Francisco: HarperSan Francisco, 1996, 320 pp.; $24

Honest to Jesus, Funk’s new book about the subversive Galilean sage so exploited by theologians, presents the historical Jesus rather than the manipulated and controlled Jesus myth. Easy reading, even for unstudied secular humanists, Honest to Jesus is liberation theology for those caught short of breath by unrelenting doctrine and rigid ideology. “Everything is on the table,” writes Funk, whose annual Jesus Seminar event attracts hundreds of the nation’s top biblical scholars to its conferences. “There is nothing . . . in Christian tradition . . . that is immune to critical assessment and reformulation. We cannot put a protective shield around any part of Christian heritage if we aspire to set Jesus free.” Honest to Jesus hits the stands in November with a seven-city author tour and a new highwater mark for Funk’s rejuvenating work about a guy named Jesus.–DB

Michael E. Gerber
The E-Myth Revisited: Why Most Small Businesses Don’t Work and What to Do About It
New York: HarperBusiness, 1996), 268 pp.; $15

Petaluma business guru Gerber says that small business needs a system. Entrepreneurs, writes Gerber, make the fatal assumption that “if you understand the technical work of a business, then you understand a business that does technical work.” Not so, he says. Complete with anecdotes, jargon, and a self-promoting plug–typical of self-help business books–The E-Myth Revisited rings true: Work on your business, not in it; create a business that is systems-dependent, not people- or expert-dependent. –DB

Jean Hegland
Into the Forest
Corvallis, Ore.: Calyx Books, 1996, 193 pp.; $13.95

Something about the California redwood forests brings out a person’s latent survivalist tendencies. My high school biology teacher up in Fort Bragg used to enthrall his students with lurid fantasies of a post-holocaust North Coast reduced to feudalism and lorded over by gun-toting rednecks like himself. Now, my deranged teacher’s dream becomes Hegland’s nightmare in her new novel, Into the Forest.

The Healdsburg writer tells the story of two home-schooled teenage girls living far from the nearest town and their efforts to survive amidst the slow collapse of civilization. Hegland’s fresh twist is to mostly ignore the details of her larger post-apocalyptic scenario and concentrate almost exclusively on the relationship between the two girls as they weather dwindling supplies, their father’s death, and interlopers both friendly and hostile. Into the Forest makes an ideal companion and counterpoint to David Brin’s The Postman (no relation to Il Postino), which also takes place in the Pacific Northwest. While liberal optimist Brin writes of society’s slow rebirth from the ruins, eco-feminist Hegland tells of learning to trust and embrace wild nature. Both visions are compelling, and which one seems most plausible probably depends on the reader’s own views on civilization and its discontents.–ZS

Jan Freeman Long
Illustrated by Kaoru Ono
The Bee and the Dream
New York: Dutton, 1996, unpaged; $15.99

There is an old Japanese saying that goes like this: “When you see a bee fly from someone’s nose, good fortune will be yours.” I kind of like that saying, and I was amused by the wonderful book that Petaluma writer Jan Freeman Long has adapted from a Japanese folk tale that begins with a bee and a nose and a curious dream. The Bee and the Dream is written in a fun way that will probably be enjoyed by everyone, not just children. The illustrations by Tokyo artist Kaoru Ono are very colorful and silly. You just might like this imaginative story of Shin, his dream of gold buried under a faraway camellia bush, and his surprising voyage to see if the dream is true. The Bee and the Dream may not be my very favorite new book, but it sure is good. I hope you like it.–JT

Megan McDonald
Illustrated by Peter Catalanotto
My House Has Stars
New York: Orchard Books, 1996, unpaged; $15.95

Local book treasure Megan McDonald (who presides over the register at Rohnert Park’s Treasure Books) follows up her Insects Are My Life with another clever and moving children’s tale. Aimed at grades kindergarten through third, My House Has Stars takes one night in the homes of eight different children situated in such vastly different areas of the world as Alaska and Mongolia. While their homes are hewn from materials as diverse as wool and wood and ice and clay can be, and while the families eat and speak disparately from one another, McDonald wisely narrows the focus down to the one home that we all share equally, the earth, and the heavenly roof of stars that shelters all of humankind.–GG

John A. McDougall, M.D.
Recipes by Mary McDougall
The McDougall Program for a Healthy Heart: A Life-Saving Approach to Preventing and Treating Heart Disease
New York: A Dutton Book, Penguin Group, 1966, 430 pp.; $24.95

Bizarre. That’s what some call Dr. McDougall’s diet. But it’s the American way of eating, he asserts, that’s bizarre, and he has the scientific and historical evidence to prove it. In his unstinting efforts to get the sludge out of the arteries of Americans and help them bypass the bypass surgery that’s rampant, Santa Rosa’s McDougall offers the rudiments of the highly successful program he uses in his clinical practice. This readable, meticulously documented book offers life-saving advice on diet, exercise, lifestyle changes, medical tests, and medications–plus over 100 great recipes.–LH

Jennie Orvino
Heart of the Peony
Rohnert Park: Piece of My Mind Publishing, 1996, 39 pp.; $10

Orvino was a winning contestant in the Independent‘s Java Jive contest last year. Now she shows up again, this time bearing that greatest bugaboo of all: a self-published poetry book. As a rule, we try to shy away from such books when we do our book roundups because quite often there is a reason the writer had to pony up the cash to self-publish it in the first place. Happily, Heart of the Peony is an exception. Toughly erotic (the title refers to female genitals), the book begins with poems to Orvino’s parents and ends with a meal’s worth of recipes, but between family fidelity and kitchen duties lie sex-stank sheets, the feel of worn place mats under the despondent elbows of a woman who’s been left behind, and more honesty than you’ll be lucky to ever get from a lover.–GG

Jim Panttaja, Mary Panttaja, and Bruce Prendergast
The Microsoft SQL Server Survival Guide
New York: John Wiley & Sons, 1996, 432 pp.; $36.95

If you’re a database programmer or developer working with Microsoft SQL Server 6 (and who isn’t these days?), then this book is The New Testament, The Iliad, and Our Bodies/Ourselves all rolled into one. Forget all that trial and error programmers typically encounter–the Survival Guide is a life preserver thrown into the digital sea, teaching you all the tricks of the trade needed to build business applications to die for. And if you’re not a programmer working with Microsoft SQL Server 6? Hell, buy the book anyway. It’s much cheaper than a Halcion prescription.–ZS

Richard Paul Papp
Bear Flag Country
Petaluma: Analecta Publishing, 1996, 220 pp.

Local entomologist Papp weaves together his twin loves of history and stamp collecting into one narrative in which he documents how old mail routes in Sonoma County were the skeleton that shaped the county’s growth and development, with the post offices themselves being the acorns from which sprang the mighty oaks of cities we now live in. Think about that the next time you complain about junk mail or late delivery.–ZS

Joan Price
Yes, You CAN Get into Shape!
Pacifica: Pacifica Press, 1996, 210 pp.; $17.95

Hey, you. Yes, you on the sofa watching Hard Copy, shoveling Pringles and malt balls into your maw, then washing them down your gullet with Diet Coke because, hey, you’re watching your calories. Sebastopol author Joan Price would like a word with you. She wants to help you get up off your well-padded buttocks and turn those plaque-clogged arteries as smooth as a Republican’s cerebellum. How?, you might ask incredulously, pausing between bites of butter-soaked pastry. By making exercise fun, and incorporating it into enjoyable, everyday activities instead of treating fitness like cod liver oil for the muscles.–ZS

Norm Ray
Smart Tax Write-Offs
Windsor: Rayve Productions, 1996, 112 pp.; $12.95

Windsor resident Norm Ray has got to be the kind of accountant with whom it’s a gas to sit up late on the bleary night of April 14, finally figuring out exactly what taxes your small business owes. Norm might lean forward and point a pencil at your purse. “Got a wallet in there?” he could ask. “Keep business credit cards in it?” If the answer is affirmative, Norm might smile slowly. “Write it off!” For in Smart Tax Write-Offs, Norm offers a whopping 600 write-offs that might not have occurred to the average business owner–from the coffee you grind, to the music you play to keep your workers from going berserk and rifling each other down in the hallways, to the aforementioned wallet and its solemn duty to hold and protect your business-aimed plastic. And there’s gotta be a way that you can deduct the cost of the book and the time you spend reading it.–GG

Rayford Clayton Reddell
Illustrated by Lourdes Livingston
Full Bloom: Thoughts from an Opinionated Gardener
New York: Harmony Books, 1996, 276 pp.; $22.50

Don’t expect any sanctimonious guff rhapsodizing about flowers from Petaluma gardener Reddell. This columnist for the San Francisco Chronicle is much too mean and funny for that. He hates gladioli, the smell of too many gardenias, and the very notion of a green thumb–precisely because he doesn’t have one. This collection of his biweekly newspaper writings is segmented into tips, musings, seasonal worries, kitchen gardening, planting for the nose, and his specialty–the care of roses. Reddell, who lives among some 6,500 different rose bushes, knows a bit about this thorny problem. Fresh and funny, Full Bloom is a gardener’s delight, a book that doesn’t make neophyte planters feel simply like vegetation murderers. –GG

Nancy Shipman
Nancy’s Candy Cookbook: How to Make Candy at Home the Easy Way
Windsor: Rayve Productions, 1996,190 pp.

Shipman, the sugar and spice lady of Nancy’s Fancy’s Santa Rosa confectionery, gives easy basics on everything from deciphering the mysteries of chocolate (temperature and the simple eye of attention) to the rotund sugary heights of balled truffles and popcorn, Shipman–who is understandably unable to escape such titles as “yummies”–offers straightforward recipes that utilize few special tools (the microwave is as high tech as it gets) and whose titles promise plenty of “foolproof” results. Hard to beat that.–GG

From the September 12-18, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Staff Night Reading

Good Books

The Independent’s editorial staff couldn’t bear to be omitted from the I-list of personal bedtime favorites. Therefore we offer some of our favorites, pulled–dust bunnies and all–from our own bedsides.

Greg Cahill, editor

America loves mobsters. Excellent Cadavers: The Mafia and the Death of the First Italian Republic, Alexander Stille’s newly released paperback, plumbs the dark gloom of the mob’s power base in Palermo, Italy. This meticulous crime reporter dissects the recent fatal hits on Judge Giovanni Falcone and prosecutor Paolo Borsellino, two boyhood friends who went after Costra Nostra bosses who infiltrated every level of Italian industry and government, killing 10,000 people in mob-related violence during the 1980s–three times more than in Northern Ireland’s unrest.

Gretchen Giles, arts editor

The paintings of Henri Matisse provide the springboard for the three works in A. S. Byatt’s The Matisse Stories, each taking a portion of painting, execution, or style and manifesting them in the written word. . . . Guerrilla writer Will Self’s The Quantity Theory of Insanity is not sweet bedtime fare, but better for sitting up late slightly nauseous– streamlined and as infectious as giardia. . . . And making most sense of all is East Bay writer Meredith Maran’s What It’s Like to Live Now, a non-fiction muse on raising urban kids, keeping family, and keeping cool.

Liesel Hofmann, copy editor

Physicist Alan Lightman’s exquisite tiny novel, Einstein’s Dreams, conjures up 30 dreams Einstein might have had shortly before he stunned the scientific word with his theory of relativity, catching one up in a whirl of possibilities about the nature of time. . . . The hearty reminiscences of former Washington Post editor Ben Bradlee are gratifyingly candid, free of braggadocio, and irreverently enlightening about the fourth estate in The Good Life: Newspapering and Other Adventures. . . Achingly beautiful, Elizabeth Arthur’s Antarctic Navigation is a sizzling novel about a frozen continent, telling the story of a woman so enthralled by the Antarctic and by Scott’s ill-fated expedition to the South Pole that she undertakes a harrowing adventure to retrace his steps.

Sara Peyton, correspondent

Talk Before Sleep by Elizabeth Berg, a sad, poignant novel about a woman with breast cancer and the friends who love and care for her. . . . Selected Poems by Emily Dickinson, a lovely gift from a dear friend. . . Word Perfect for Windows, a reference book that weighs about 100 pounds and is almost incomprehensible. . . . Paula by Isabel Allende.

Bruce Robinson, correspondent

SRT’s Huck Finn musical, Big River, inspired me to revisit Mark Twain. Huck also narrates Twain’s Tom Sawyer, Detective with delightful understated wit, but the mystery, such as it is, takes a back seat to his lively depiction of life along the Mississippi more than a century ago. . . Of contemporary mystery writers, only Robert B. Parker shares the capacity to make me laugh along the way, but Thin Air is not one of his best. . . . Ticket to Ride is Barry Tashain’s diary of the last Beatles tour, for which his band, the Remains, was the first opening act. Although it’s a little thin, it’s well-illustrated and benefits from the extra-cultural context provided. . . . Finally, Martin Cruz Smith’s Rose, in which the well-plotted mystery is secondary to his remarkable re-creation of life in a gritty coal-mining town in 1870s north England.

Zack Stentz, managing editor

Philip Kenan isn’t a loser. Sure, he lost his father and first wife to suicide, his ex-girlfriend thinks he’s nuts, no one will publish his novel, and he’s drifted through a series of dead-end corporate jobs. But it’s not his fault–it’s those damned alien monsters that keep messing things up. So goes the devilishly funny story of Résumé with Monsters, wherein author William Browning Spencer takes the eldritch terrors of H. P. Lovecraft out of their original jazz-age New England settings and plops them down in the contemporary milieu of high-tech wage slavery, corporate downsizing, and psychoanalysis, where fax machines and copiers are incorporated into unholy rites and fiendish intelligences secretly manipulate companies for their own sinister purposes. On second thought, maybe poor Philip isn’t so cracked after all.

David Templeton, correspondent

By the Shores of Gichee Gumee by Tama Janowitz is the story of a white-trash family that revels in its own lower-rung societal status. It’s “welfare chic,” goofy and unsettling, twisted and often hilarious.

From the September 12-18, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Talking Pictures

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Weird Science


The horror, the horror: Marlon Brando spends a pensive moment wondering what he’s doing in this film.

Techno-author bites back at ‘Dr. Moreau’

By David Templeton

Writer David Templeton takes interesting people to interesting movies in a quest for the ultimate post-film conversation. This time out, he calls up scientist and writer Edward Tenner, author of Why Things Bite Back, to discuss the new Frankenstein-esque revenge fantasy The Island of Dr. Moreau.

IT WAS EXACTLY 100 years ago that H. G. Wells published a weird little novel about a scientific genius who cooks up a race of freaky animal-people on an isolated island. The Island of Dr. Moreau has since been translated into cinematic form three times, most recently with Marlon Brando as the mad scientist and Val Kilmer as his assistant. Like such camp-classics as Planet of the Apes, it’s kind of fun, but makes no logical sense whatsoever. Even so, that eerie old theme of science turned back on itself does lend the film a modest touch of philosophical power, despite all the wacky monster-movie trappings.

“It’s a combination of a literary genre and a technological imperative,” says Edward Tenner of the whole mad-scientist plot line. “The technological imperative is to employ the latest advance in special effects, in this case to show monsters, which have been a fascinating thing for people, really since the Middle Ages. There’s also a tradition, starting with Mary Shelley’s Frankenstein, of the scientist, in that case a medical school dropout who inadvertently creates a monster.”

Tenner, who holds a visiting research appointment in the Department of Geological and Geophysical Sciences at Princeton University, is the author of a fascinating new work of scientific theory. In Why Things Bite Back: Technology and the Revenge of Unintended Consequences (Knopf, 1996), the author develops his theory of the “revenge effect,” a phrase that has already begun to be appropriated by the popular culture, as in the recent California-wide power failures, which many newspapers described in terms of “technological revenge.” In a series of wry-humored, mind-boggling examples, Tenner shows how Murphy’s Law (the historical genesis of which he reveals in detail) has taken hold on a vast number of technology’s attempts to improve the world. I reached him at his home in New Jersey.

“I think there was one interesting element of the revenge effect in Dr. Moreau, and it had to do with the pain implants,” Tenner suggests, referring to the little microchips that Kilmer implanted in the flesh of the creatures, causing shocks of pain whenever Mo-reau pushed a button. “His only real means of controlling them was this electronic device, so anything that rendered that device inoperable would expose him to unusual risk. So yes, there was definitely a technological revenge factor there.”

A staple of the mad-scientist genre is the apocalyptic bloodbath where the doctor gets his just desserts. Dr. Moreau is no different, with its jeep-riding, Uzi-wielding beasties celebrating their turn to “be god,” as they blow up everything in sight.

“It’s an old impulse that goes back well before the tension of the master and the servant, or humanity and beast,” Tenner chuckles. “We are definitely very ambiguous about scientists, who in some ways are the victims of the effectiveness of their own propaganda. The other side of talking about your immense power to do good is that people will start to believe in your immense power to do evil, to mess things up.

“There are a certain number of elite scientists who do consider themselves godlike. They do have a certain messianic complex. The question is whether they really have any chance of having power. One of the biggest surprises of the 20th century, certainly one of the biggest since Wells’ day, is how powerless scientists have actually been as a group. I ask you,” he continues rhetorically, “which of the 20th century’s great leaders, for good or ill, has been a scientist? Other than Margaret Thatcher, who was a chemist, but not a Ph.D.

“I do have hope for the future,” he concludes, belying the film’s doomsday warnings. “It’s not that I’m confident that everything is going to be OK, but I feel reasons for hope. The real characteristic problems are not the disasters. They’re matters of the slow degradation of things. Things like gradual declines of biological diversity, the gradual warming of the earth. I think we haven’t been able to address those problems. On the other hand, if you look at all the ways that life really is better as a result of properly used technological access, I think it does a tremendous disservice to say that technology is by its nature anti-human.”

He pauses a split second, then adds, “But I understand that that often seems to be the case.”

From the September 5-11, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Sonoma Gangs

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Malice in Gangland


Photos by Janet Orsi

The accused: Tomas Galvan, 16, is charged with attempting to murder a Windsor youth in a gang-related assault. Galvan is the youngest person ever tried as an adult in the Sonoma County.

Two Windsor teens prepare to go on trial as adults for the brutal beating of a local youth. Fear rises over gangbangin’ in suburbia

By Dylan Bennett

HE’S A SKINNY KID, nearly six feet tall. His father says he likes skiing and basketball, a “recreation kind of guy”–a rebellious teenager who doesn’t like school. His mother says he has a “heart of gold” and loves kids and animals. Sixteen-year-old Dylan Katz got his braces off in May, just a week before moving from Concord to Windsor. Six days later he lay battered on the pavement near a shiny new elementary school right around the corner from rows of crispy-clean housing developments in the county’s newest town.

Twelve hours later, Katz’s mother, Donna Meza, could barely identify him as he lay in Santa Rosa Community Hospital. “I can’t think of anything more horrible,” she says. “He looked like a freak. His head was about the size of two basketballs. You couldn’t even see his eyes, they were all closed in. You couldn’t see his eyelashes, that’s how swollen his head was.”

Today, after two months in a coma, Katz once again can communicate with his father, John, though he is still hospitalized and unable to walk. Raise one finger for yes, two for no. As a result of the brutal beating, Katz suffered severe brain damage. He breathes on a respirator and has an intravenous-feeding tube to his stomach. “Do you know why you are here?” Katz’s father asks him. In response, Dylan scrawls, almost illegibly, on a white board with a blue pen: “I got the shit beat out of me.”

On the night of May 2, two rowdy youths allegedly punched and kicked and stomped him. The teens were accompanied by three others in a car driving on the west side of Windsor. One of his assailants reportedly boasted of jumping on Katz’s head like a trampoline, leaving the attacker’s basketball shoes soaked in blood. Tomas Galvan, then 15, and Jose Madrid, 17, Katz’s alleged attackers, the story goes, are members of Varrio Westside Windsor, a local youth gang.

GANGS. The word strikes fear into the heart of middle-class suburbia. Kids gone bad. It raises images of stereotyped baggy clothing, intimidating rap music, and confrontational, sometimes violent behavior. The victimization of Katz appears random and senseless, but what is the context to this heinous crime?

Nine out of 10 acts of gang violence are against other gangs, rarely spilling over into society at large. Dylan Katz was caught in that 10 percent of bloody spillover. In the Katz case, two teen-aged boys of Mexican ancestry stand accused of attempted murder, robbery, and most notably, of being gangsters, which could mean additional years in jail if found guilty. Both have pled not guilty. Both will stand trial as adults. If convicted, they could spend 35years in prison. Their trial begins Sept. 20.

Galvan, 16, is the youngest person ever to be tried as an adult in Sonoma County. His father Tomas Sr., says his teenaged son is wrongly accused. “We feel that Tom is being made an example by the media and the system,” he said after a recent court hearing. “Our son is wrongly identified as a gang member and has been described as being vicious and animal-like. It as if it is a crime to be a Mexican in this courtroom. There have been cold-blooded murders by juveniles who have not received such cold-blooded treatment such as my son has been given. I speculate that it is because a Mexican boy supposedly assaulted a white kid.”

Katz’s mother says: “It’s not even animal-like. It’s worse.”

Police officials say there are 20 certified criminal street gangs in Sonoma County–twice as many as just two years ago–and many more that are uncertified, but clearly dangerous. “They may start out throwing rocks, but inevitably they move to guns,” observes Petaluma police Sgt. John Turner.

Beyond the confines of simple cops-and-robbers, understanding the sudden rise of gangs in Sonoma County means tackling complex issues of criminal justice, class conflict, and racial antagonism. All the local gangs have a Mexican cultural orientation, law enforcement officials say, although membership crosses racial lines. Certified gangs must meet stringent legal criteria of organization and felonious intent, all set by the state Attorney General’s Office.

In Santa Rosa, police anti-gang efforts focus on neighborhoods around Apple Valley Lane, Papago Court, West Ninth Street, and South Park. That’s where the gangs are and that’s where many of the poor people are. That’s also where many people of color are. To pragmatically disrupt gang crime, police teams patrol these areas heavily. The result often is an adversarial cat-and-mouse game between blue uniforms and brown-skinned people.

Gang crime, focused mostly in communities along the Highway 101 corridor, falls in the middle of the range of public mayhem and includes drug dealing, burglary, and fighting–and sometimes murder. Heroin and home-cooked bootleg methamphetamine, on a continued rampage locally, are readily available in gangland. Sgt. Turner–the burly cop who heads Petaluma’s anti-gang unit–says local gangs like to steal firearms for resale and personal firepower. Citizens with firearms are a favorite target for those robberies, he adds.

Traditionally, the landscape of Mexican gangs in California is divided between two rival camps. There are “Norteños,” the Northerners, second- or third-generation Mexicans who wear the color red and flaunt the number 14. And there are “Sureños,” the Southerners, first-generation or immigrant Mexicans who wear blue and tout the number 13. “They kill each other left and right,” says Meza. Historically, Fresno–in California’s Central Valley–was the line of demarcation, but distinctions of colors and north-south geography are not strictly followed anymore.

Driving around the back streets of East Petaluma, Turner draws a crude picture of an umbrella on his notepad. The umbrella’s skin, he explains, is the overall identity of the Bloods or the Crips or, in this case, Norteños and Sureños. Under that skin, local gangs–or “sets”–are the ribs of the umbrella that support the skin. They claim local territory and signify themselves with red or blue. But they may have little or no contact with red and blue gangs in other cities.

Detectives say individual gang rosters in the county range from about a dozen to over a 100. Average age of the members falls between 13 and 24. Beyond that, police say, gang members either get out of the gang at a young age, go to jail, or die. A curious exception: Local police blotters include one motorcycle gang with a 70-year-old member, possibly a holdover from the heyday of the Hell’s Angels, whose notorious deceased founder Sonny Barger grew up in Roseland on the outskirts of Santa Rosa.

In recent years, local law enforcement officials have confiscated semi-automatic pistols, ranging from .22 to .45 caliber, plus rifles and shotguns, and once in a photograph they identified gang members with an AK-47 and an AR-15 assault rifle.

The letter of the law is specific. A group is officially designated a criminal street gang when it has a common name, identifying sign, or symbol; when there’s evidence that a primary activity is the willful promotion of felony crime; when participants engage in a pattern of criminal activity; and when the district attorney agrees the group meets the criteria.

The spirit of the law is confusing. Is being in a gang a crime? “Yes,” says Sheriff’s Detective Dennis Smiley. “No,” says David Dunn, a gang prosecutor at the Sonoma County District Attorney’s Office.

Sort of, not really.

This discrepancy suggests the ambiguities involved in stopping gangs. Crime is crime, and committing a crime as a member of a gang is two crimes. But if a person is in a certified gang and doesn’t commit a crime, is he a criminal? No.

“They can be in a street gang as long as they don’t violate any laws,” says Dunn. “That’s not a violation. But then it wouldn’t be a street gang. There are people who are believed to be members of street gangs, but as long as the so-called street gang doesn’t engage in any criminal behavior, then you can’t prosecute them for being in a street gang.”

Dunn, an 18-year veteran of the District Attorney’s Office, has prosecuted four cases this year in which he sought enhanced sentencing for gang status. One involved three youthful members of Varrio South Park in Santa Rosa, all charged with assault. They pled guilty and got probation, so the sentencing enhancements had no effect. A second assault case went to a jury and resulted in an acquittal. In the third, Dunn charged a gang member with intimidating a witness. At the preliminary hearing, the judge ruled there was insufficient evidence. The defendant was released.

The fourth case involves Dylan Katz and his assailants.

In this “pretty damn complicated” legal environment, the fate of Katz’s alleged assailants will be determined. Those are the words of Madrid’s appointed defense attorney, Joe Stogner, who says there is a danger that in the pubic fervor over this case his client will be convicted of a crime he did not commit. Stogner says specific intent to kill will be difficult to prove and claims the gang element of the trial will not withstand jury scrutiny.

Prosecutor Dunn agrees gang crime is hard to prove. “Most crimes committed by gang members are done under circumstances where we are not able to prove that there is any other gang member actually involved in the crime,” he says. “And, similarly, we [often] are not able to prove that the motivation for the crime was to further a gang’s activity.

“You can pass all kinds of laws, but if you can’t prove that the crime comes within the law, then the law is not going to be any help.”

Still, Dunn says, he will press for sentence enhancements based on the reported conversation between the alleged assailants and the victim in which Katz supposedly was asked about his “colors,” the evidence of a red Stanford University sweatshirt stolen as a trophy, and gang symbols drawn on a deodorant can and stereo speakers found in the defendants’ homes.

“This is not a gang case,” says Stogner. “It’s a case about young people without stable families and with a lot of pent-up anger who release it on impulse with no intent. My client: his mother was brutally murdered in 1987 when he was between 8 and 10 years old. And his father not too long thereafter went to prison, after my client found out that his mother’s body had been thrown near a creek. My client had been basically in unrelenting emotional pain for many years with no family structure, with no guidance, with no one to help him out.

“It’s very difficult to explain the background of someone accused of a crime because people assume you’re trying to justify that behavior, but it’s a huge factor.”

The designation of Varrio Westside Windsor exists only to identify those residents that lived on the west side prior to the recent development boom, Stogner says. The alleged gang is a loosely affiliated group that doesn’t qualify as a criminal street gang, he insists.

It’s true that the Varrio Westside Windsor is not a certified street gang. But according to local westside kids, their associates are plentiful and specialize mostly in graffiti and physical intimidation. At Healdsburg High School, where the accused teens attended classes, Principal Bob Harbaugh says he has 50-gallon trash bags filled with confiscated red and blue, extra-long, webbed belts with brass belt buckles, scarves, and other gang-related paraphernalia. He estimates that about 5 percent of the student body is involved in a relatively immature gang culture–enough to disrupt the learning process with fights and posturing.

Throughout contested gang areas in the county, graffiti found on walls, large trucks, and fences testify to an emotional war of words, symbols, and turf marking. Typically, gang initials and numerals are crossed out or mocked by follow-up graffiti rivals who paint their own scheme. Gang-prevention work stresses that such graffiti be quickly painted over, but many remain a long time.

At the Sonoma County Jail, classification Sgt. Ray Fleming, responsible for housing inmates, says 10 percent of the nearly 1,000 inmates are certified gang members. When Fleming counts “associates and affiliates,” that jumps to four or five out of 10. He separates Norteños and Sureños to prevent violence, and this segregation puts a strain on the number of beds available for the general population.

Sureños, Fleming adds, accept only Hispanics and whites, while the Norteños accept people of any ancestry. The parent organization of the Sureños is the Mexican Mafia, according to Fleming. Of the two groups, the latter cause the most discipline problems, he claims, always maintaining a tough face, an aversion to authority, and resistance to jail rules and policies.


Struggling to understand: Nancy Orvalle, left, and Donna Galvan, mother of one of the accused.

According to Nancy Ovalle, executive director of the Sonoma County Peace and Justice Center in Santa Rosa, the brown-on-white violence in Windsor is not a random accident, but has its roots in historical animosity. “People are being pushed out of their neighborhoods, particularly up in Windsor because of the developing bedroom community,” she says. “They want to push out the old Windsorites. I was talking with a household in Windsor a week ago. They are being surrounded by developments on all sides, and there are only the little enclaves left. They are renters. They want to know: Where are they supposed to go after this?”

Many of them have lived in Windsor all their lives and are shaken by the rapid social changes. “It gets into your survival instinct, and when a person’s basic survival–food, shelter, clothing–is threatened, then people are going to react,” she adds. “I don’t advocate violent reaction, although I can see how it could come about. There are roots you can definitely trace it back to. You can only beat a person to death for so long.

“There is no justification for what they [Galvan and Madrid allegedly] did, but you can look at social trends and you can say, ‘Well, you know, it’s not too surprising that something like this happened.’ I don’t think that these boys are vicious animals, given the circumstances of growing up Mexican in Sonoma County. It’s a hard thing to do. It’s a hard place to grow up.”

Violence like the Katz case can happen “like this,” says Chris Castillo, a gang counselor with Petaluma People’s Services. “You are somewhere with the least bit of intention and . . . ” Windsor was developed without a plan for kids, she adds, and the community is beginning to feel the repercussions. “You’ve got all these kids crammed into a small area with no services for them, activities, really valuable activities that interest kids.”

Castillo describes a social and economic split between whites and those “indentured [to] servitude and the white power base.” The historical element behind gang violence, she says, is “huge.”

Others also blame the lack of activities in the town for the rise in youth violence. “I think Windsor is more worried about getting their new Wal-Mart as opposed to taking care of things,” says Dylan’s father. “Maybe if these kids had something to do they wouldn’t be getting ‘jumped into’ gangs. I think a lot of those kids could be saved if there was something for them to do.”

Dylan’s mother agrees: “[Windsor kids] have nothing. [Windsor] did open up a community center here, but it’s all new. And these gangs have been building here for the last five years. [The community is] building a Boys and Girls Club.

“When they have more for kids to do, I think that’ll help.”

Since the assault on Katz, continued gang violence has left at least one person dead in the county and several others injured. A man, apparently a rival gang member in blue, was stabbed in the neck and died near the same street corner where Katz was beaten. In that recent case, youth violence–gang against gang, brown on brown–did not make local headline news.

Being a gang “participant” may or may not be crime, but it’s enough of a reason for police to enter an individual’s name on an international database without arrest, court-presented evidence, or conviction.

The Gang Reporting, Evaluation, and Tracking system holds the names of 960-odd local gang “participants” from throughout the county and provides law enforcement officials with valuable “intelligence” in their anti-gang work. Individuals are called gang participants and put in the GREAT system if they meet one of seven criteria: admission of participation; identification by a “reliable informant”; identification as a person residing in or frequenting a particular gang’s area; use of a style of dress, hand signs, symbols, or tattoos that are gang-related; association with known gang participants; or identification as a participant by known participant.

This year, police entered about 100 new names into the database.

Gathering such information dovetails with the police belief that if a person acts like a gang member, dresses like a gang member, and talks like a gang member, he will almost certainly become one.

That approach is controversial.

Steve Fabian, assistant public defender and vice-chair of the local chapter of the American Civil Liberties Union, says the criteria for entering names into the GREAT system are wrong and poorly followed by police. “If you look at the certification, they don’t distinguish between members and participants,” says Fabian, who has 17 years’ experience as a public defender. “They’re all put in the GREAT system the same. That’s a big, big difference. If you are in danger of becoming a gang member, then you are a gang member [as far as law enforcement officials are concerned]. You are what you are in danger of becoming.

“There’s a big difference,” he adds. “A lot of people dress in the clothes, but they don’t commit the criminal acts. But police are saying: ‘You wear the clothes. As far as we’re concerned, you do [commit the acts].’ And that’s a big difference–a big jump they make.”

Says Assistant District Attorney Dunn: “A number of people who admit to being gang members have never been arrested. It’s kind of surprising that sometimes these people will get arrested, but they will have no criminal record whatsoever. Yet they will be self-identified gang members with all the trappings, tattoos, and everything.”

Recent raids by the federal Immigration and Naturalization Service in Petaluma, Santa Rosa, Rohnert Park, and Windsor were supported with data from the GREAT system, Fabian says. “These people are being taken outside the criminal-justice system. They are being punished for being in the wrong neighborhood because of these crazy gang criteria, which are no criteria at all.”

Fabian suggests that people wrongly entered into the GREAT system will encounter bias and unfair treatment owing to their classification as gang “participants” if ever they do enter the criminal-justice system. “Before they start listing you, it seems like you should do something wrong,” he says. “It’s making you a criminal without having committed a crime.”

Detective Dennis Smiley, a Sheriff’s Department gang expert, says that’s “conjecture” on Fabian’s part. “We list people for what they do, not how they dress.”

IN THE MOVEMENT to keep kids out of gangs, activists say young kids need to be steered away from gangs in junior high school and even earlier. Counselor Castillo says a typical candidate for gang involvement doesn’t have a great life and may suffer from low self-esteem; a lack of friends; violence, drugs, or sexual abuse at home; a lack of food, housing, and clothing. Often they are kids without family structure or family communication. “The family awareness is really critical,” Castillo says. “Parents need to get involved in school. Don’t just leave it for the teachers. It’s also about setting boundaries for kids. Where are they? What are the phone numbers [of their friends]?

“Don’t let them run you.”

Detective Smiley agrees that it’s important for parents to get involved in their kids’ lives and to help them stay away from gangs. “Know where your kids are,” he advises. “Kids aren’t getting the attention they need at home. Gangs take the lead with bored kids. Throw your kid’s closet open. If it’s all red or blue, you’ve got a problem.”

The parents of Jessica Roe have such a problem. Their daughter was found guilty Aug. 28 in Sonoma County Juvenile Court of being an accessory to attempted murder in the Katz case. Once the queen of a high school dance at which Jose Madrid was the king, Roe is one of three youths alleged to have been with Galvan and Madrid when the attack occurred. Afterwards, she aided their escape and concealed their whereabouts and identity from the police.

Roe, 17–with fair skin, dark hair pulled back in a bun, and dressed in a loose-fitting purple T-shirt–sits quietly and teary-eyed as Judge Arnold Rosenfield explains how narrowly she missed incarceration at the California Youth Authority, a system of brutal youth prisons operating at 175 percent capacity. Instead, Roe will likely serve about six months in the local Sierra Youth Center, with rehabilitation, counseling, and possible access to work and school.

In the small, crowded courtroom, a view of the bleak grounds of the Juvenile Justice Center on Pythian Road is visible through the windows, Roe’s mother weeps silently as Rosenfield sternly lectures her daughter about morals and the need to make right decisions.

“What we are talking about,” he tells Roe, “is human dignity, human mistakes, and human spirit. You’ve got a choice to make as to whether you are a human or not.”

From the September 5-11, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Ronnie Dawson

0

Monkey God


Rex Fly

Rock on: Rockabilly idol Ronnie Dawson is on the comeback.

Ronnie Dawson’s got the beat

By Greg Cahill

I THINK I HEARD something in music that nobody else around me heard,” says rockabilly legend Ronnie Dawson, describing his fascination with music as a kid in Waxahachie, Texas. “Being around it and having a father who had his own swing band certainly didn’t hurt my enthusiasm at all. But I remember it really happening when I was at a Pentecostal church. Dad had taken his bass to church and was playing up on the platform. I went up there and started to beat on the arm of the preacher’s chair.

“That’s when it bit me really bad.”

Thanks to Dawson, 57, a lot of other folks have been bitten by the rockabilly bug. His edgy hillbilly rock has inspired a horde of latter-day sinners, including the Rev. Horton Heat, the Cramps, Big Sandy and the Flyrite Boys, and Southern Culture on the Skids.

As a blonde flat-topped teen, guitarist and singer Dawson had regional hits with “Action Packed” and “Rockin’ Bones.” Rock impresario Dick Clark signed Dawson–who upstaged Elvis Presley in 1955 at the Big D Jamboree in Dallas–to his own fledgling label. Stardom was within his grasp when the ’50s payola scandal rocked the music industry, toppling DJ Alan Freed and discouraging Clark from promoting his own acts on his popular “American Bandstand” show. Clark dropped Dawson. The young Texan was crushed, but remained fiercely faithful to rockabilly.

Then, in 1995, he blew the roof off of the Late Night with Conan O’Brien TV show with an explosive set that drew attention in the music industry. Earlier this year, Crystal Clear Records, a small Texas indie label, released Monkey Beat!, recorded 10 years ago in England. Dawson’s most recent CD, Just Rockin’ and Rollin’ (Upstart/Rounder), is a wild drive through high-octane, guitar-driven roots rock, featuring guest guitarist Eddie Angel of Los Straitjackets, among others.

Later this month, Crystal Clear will release a two-CD set of vintage Dawson rockers that should set fire to more than a few stereos.

But just don’t call it a comeback.

“I’ve taken some slowdowns, here and there,” he says in a soft, Texas drawl, during a phone interview from a Tucson resort hotel, “going into different types of things.”

After the Dick Clark deal collapsed, Dawson disappeared from the national limelight, but continued to perform and record, releasing records for Columbia Records under the moniker Snake Munroe and Commonwealth Jones, and working as a session drummer on Paul and Paula’s cuddly ’60s pop hit “Hey, Paula.”

Between 1975 and 1982, Dawson had a real long slowdown. To pay the bills, he recorded commercial jingles for Hungry Jack pancakes and others. “You can’t really get your musical jones taken care of playing jingles,” he laughs, “but you can keep the wolf away from the door and still stay at least on the fringes of the business.”

In 1987, British record collector Barney Koumis phoned Dawson to say that a couple of his old songs had become cult classics among British rockabilly buffs. He agreed to reissue them as the Rockin’ Bones (No Hit Records) compilation, establishing Dawson as the keeper of the rockabilly torch.

The retro-rock scene had caught up with Blonde Bomber.

“This music is timeless, man,” he offers. “It just kind of takes its dips every now and then. But the secret is that when really good bands come along–like Big Sandy–you get that good buzz going and people get excited about it.”

These days, Dawson isn’t getting rich, but he is getting the national exposure denied him so long ago. “I don’t require a whole lot of money,” says Dawson, whose Dallas apartment is furnished with little more than a mattress on the floor and a small bookshelf. “I just never really worried about things like that. Things just kind of seem to take care of themselves.”

Pleasing his fans is reward enough, he adds. “You know, there’s a song that was written for me called ‘It Wouldn’t Do No Good’ that has a lyric that goes, ‘Drivin’ in my car from place to place, I know I’m doin’ right when I see a happy face.’ That kind of says it all. It’s hard to describe in words, but sometimes you get on the road and travel 500 miles and your hotel might be shitty–I mean, we lucked out really good this week, but it’s not always that way–and you forget about how good it can be. You know, it can go to the other end of the stick. And you say, ‘God almighty, why the hell am I doin’ this?’

“But just about the time you start to think like that, you have a dynamite show; people are smiling and thanking you for coming. God, there’s nothing like it!”

Ronnie Dawson performs at 9:30 p.m., Saturday, Sept. 14 , at the Inn of the Beginning, 8201 Old Redwood Hwy., Cotati. The Sorentinos open. $5. 664-1100.

From the September 5-11, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

West Side Cafe

0

Go West!


Janet Orsi

Seventies something: Petaluma’s West Side Cafe combines retro ambiance with up-to-date eating options.

West Side Cafe stays kid-friendly

By Dwight Caswell

IF YOU CAME OF AGE in the ’70s, you’ll feel right at home in the carefully articulated ambiance of the West Side Cafe. Nestled next to a thrift shop on the (what else?) west side of Petaluma, this restaurant is nothing if not unpretentious. I have not applied the Independent’s four-star system to the West Side Cafe, which does not deserve the rating it would receive if compared to more upscale restaurants.

A simple neighborhood eating establishment, the West Side Cafe is a place where you can feed a family of four for the cost of a solo dinner at some other restaurants, and it’s a place to take the kids when you want to feed them something healthy that they’ll actually eat.

The extensive menu has a vast array of vegetarian and “light meat” dishes; Thursdays through Saturdays are sushi nights. We took a proper black saucer of California rolls ($4 for four) to our table.

The sushi, complete with wasabe, ginger, and soy sauce, was good, if a little heavy on the avocado, which I didn’t mind at all. There is a small but adequate selection of juices, waters, and microbrews, but the wine . . . well, you don’t go to the West Side Cafe for the four-bottle “wine list.”

Soup or salad comes with dinner, and the salads were fresh and organic. The honey mustard dressing was on the sweet side, but the poppy seed was properly piquant. There was an odd sameness about the salads, however. The difference between the garden green and the Athenais Greek seemed to be the presence of feta cheese in the latter. All the salads had a palate-confusing number of ingredients.

The big hit of the evening was the tempeh Monterey burger, with jack cheese, avocado, lettuce, tomato, and sprouts ($5.25).The texture and flavor were excellent; don’t tell the kids that “tempeh” is code for soy and they’ll never know the difference. The vegetarian pizzas ($2 a slice) looked delicious, but we didn’t have room. Newly installed ovens and an expanded pizza selection (including dairy-free choices), make these a must-try on the next visit.

The mushroom cashew stroganoff (a special, $5.85; the most expensive entrée is $6.95) had plenty of cashews and pine nuts, and the pasta was perfect, but the overall effect was bland. Vegetarian restaurants usually depend on spices to replace meat flavors, but the food here, though substantial, was underspiced. The chicken burrito ($4.50) had big chunks of chicken, fresh tomato, and enough cheese for flavor without becoming a gooey mess, all wrapped in a whole wheat tortilla generously topped with salsa–with hardly a hint of spice. Not a problem; there were three kinds of hot sauce on the condiment table.

For dessert we had espresso ($1.15) and split a blackberry cobbler ($3) that looked too good to pass up. The crust was a little tough after being nuked to warm it, but the flavor was everything we had hoped for.

The West Side Cafe is a labor of love and an exercise in honesty. The food is healthy and the portions large, though the menu tries to be too many things for too many people. Stick to the basics–Mexican, pizzas, and veggie burgers–and you’ll find good value and taste.

West Side Cafe and Coffee House

Address: 316 Western Ave., Petaluma; 763-2429 (no reservations)
Hours: Monday-Friday, 7:30 a.m. to 9 p.m., weekends, 8 a.m. to 9 p.m.
Food: Eclectically semi-vegetarian
Wine list: Minimal
Service: Friendly, informal
Ambiance: Early 1970s
Price: Extremely inexpensive
Overall: N/A

From the September 5-11, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Charlie Byrd

0

High Flyin’


Sweet sounds: Bossa nova innovator Charlie Byrd returns.

David Fischer


Jazz master’s six-string love affair

By Greg Cahill

CHARLIE BYRD is anxious. The celebrated jazz and classical guitarist–whose 1962 Brazilian music collaboration Jazz Samba with saxophonist Stan Getz launched the U.S. bossa nova craze–has “a rigorous regimen of practice” that starts at the crack of dawn and lasts most of the day. It leaves little time for phone interviews.

“I like to practice,” says Byrd, his soft Southern drawl and gracious manner barely masking a desire to return to his studies as he speaks from his Maryland home. “I’ve played every day since 1963. I even managed to get in a couple of hours this morning . . . before the phone started to ring.”

OK, let’s just say that the guitar is an all-consuming passion for Byrd, who co-headlines a stellar jazz bill Sept. 1 at the final concert in the third annual Rodney Strong­Piper Summer Music Series. “Charlie Byrd’s versatility in the literature of the guitar surpasses that of anyone else,” music writer Willis Conover once opined. “He is a masterful jack-of- all-guitar-trades.”

Indeed, Byrd’s well-known flirtation with bossa nova is just part of a deeper love that has spanned five decades. In fact, talking to Byrd about the six-string guitar is like dialing into a living repository of music history. He has performed, recorded, or studied with many of the most prominent instrumentalists in the world, including sitar master Ravi Shankar.

A pivotal turn in that career came in the mid-’40s. During World War II, former infantryman Byrd returned to France as an Army Special Services performer and tracked down legendary Gypsy guitarist Django Reinhardt–a pioneering jazz guitarist in his own right–at a small Paris club. “Usually, no one quite knew where he was going to be,” Byrd recalls. “But I met his brother and about an hour later in walks Django with an entourage of friends. He always traveled with a large group–carried his own admirers with him, the most sinister-looking bunch of hoodlums you’ve ever seen. I walked up and offered to buy him a drink. That seemed to be the right thing to do.”

The brief encounter had a lasting effect on Byrd, who last year recorded a stunning tribute to Reinhardt, Du Hot Club de Concord (Concord Jazz). “He was the first really brilliant solo guitarist I ever became aware of,” Byrd explains. “I had records of his when I was 10 years old. It just blew my mind that anyone could play a guitar like that. Still does.”

But in 1950, Byrd switched to classical guitar, studying with legendary guitarist Sophocles Papas. Four years later, he flew to Siena, Italy, for a six-week class with Spanish classical guitar master Andrés Segovia. The hottest player in the class was soundtrack composer and orchestra leader John Williams–then a scrawny 12-year-old with an impressive command of his instrument. “That was a lesson in humility right there,” Byrd laughs.

But his breakthrough came in 1962 when Byrd initiated a Brazilian jazz project. “I had been to São Paulo the year before and became pretty well acquainted with the music of composer Antonio Carlos Jobim,” he says. “I had already started playing that music, and the audience response had been pretty good because those songs are so melodic. I knew it would be something that would be appealing; I wasn’t thinking that it make the top of the pop charts or anything like that.”

A few months later, Byrd’s wife suggested that he hook up with tenor saxophonist Stan Getz. “She said, ‘He’s the one. Get Getz and record those Brazilian songs and you’ll have something,’ ” Byrd recalls. The result was Jazz Samba, an album that changed American jazz and popular music and helped usher in the recent world-music craze. Byrd’s dynamic style left an indelible print on those bossa nova collaborations.

On “Desafinado,” from that landmark album, Byrd’s lush jazz guitar chords hang like an rare exotic bird in the languorous summer heat.

“The guitar is a means of expressing music,” he muses. “When you get into the emotional side of it, then it’s not the guitar that matters so much as the music itself. But the guitar is the vehicle I use. It’s how I express myself. As for the emotional side, music takes up where language leaves off. To try and verbalize what music says, emotionally and spiritually, is futile.

“Let me put it this way,” he chuckles. “Louis Armstrong once said if you’ve got to ask, you’ll never know.”

‘Nuff said.

The Charlie Byrd Trio co-headlines Sunday, Sept. 1, at 1 p.m. with the Bobby Hutcherson Quartet and the Cedar Walton Trio at the Rodney Strong Vineyards, 11455 Old Redwood Hwy., Healdsburg. Tickets are $25 advance and $28 at the door. 433-0919.

From the August 29-September 4, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Fall Jazz

0

Go, Man, Go!


New standard: Jazz keyboardist Herbie Hancock serves it up straight.

James Minchen


Who needs watered-down wine country jazz?

By Greg Cahill

WHAT’S THE DIFFERENCE between pop-jazz sax phenom Kenny G and an Uzi submachine gun? An Uzi only repeats itself 50 times. Ba-da-boom! OK, I like to veg out occasionally to the smooth sounds of wine country jazz that waft over the airwaves on those Sunday morning specialty radio shows. And I admit that I’ve diced my share of zucchini listening in the kitchen to the easy pop-jazz offerings of KJZY, the west county station that offers mostly an updated version of the Quiet Storm format pioneered 15 years ago by Berkeley radio station KBLX (the exception being ex-KJAZ deejay Jerry Dean’s Sunday night dinner jazz show).

But as a huge fan of traditional jazz with a particular lust for fiery bebop sax solos, I’m left cold by the lineup at the 20th annual Russian River Jazz Festival–which reads like a Who’s Who of Jazz Lite. In past years, the fest has featured some of the biggest names on the Latin and traditional jazz scenes: bebop saxophonist Joe Henderson, mambo king Tito Puente, young lion Wynton Marsalis, tenor great Stan Getz, trumpeter Roy Hargrove, jazz diva Betty Carter–not to mention such mentionables as Count Basie and Dizzy Gillespie.

One would think that for the 20th anniversary, the fest would have a headliner deserving of the event’s status. Like Coltrane enthusiast Kenny Garrett, vocal sprite Cassandra Wilson, or New Orleans pianoman Marcus Roberts. And, hey, let’s just pretend that the adventurous hip-hop jazz and acid jazz movements never happened.

Instead, this year’s fare is, well, uninspired. Most of the performers have been milling around the “contemporary” jazz scene for years: R&B singer Randy Crawford (a festival press release says she’s in big demand by jazz legends like Cannonball Adderley, except that he’s been dead for years); fusion guitarist Lee Ritenour, who at least has made a couple of respectable forays into trad-jazz terrain; soprano saxophonist George Howard, probably best known for his lightweight soundtracks; the Yellowjackets, whose vapid sound defined the vapid fusion genre in the early ’80s; and Tower of Power, who are funky, to be sure, if you just want to groove to ’70s East Bay grease.

Only alto saxophonist John Handy, who did a short stint with jazz innovator Charlie Mingus’ band, has any solid jazz credentials in this line-up.Of course, that doesn’t mean lovers of jazz orthodoxy can’t find fulfillment locally–they’ll just need to look elsewhere. A good place to start is the Luther Burbank Center in Santa Rosa, which on Sept. 24 is presenting jazz keyboardist Herbie Hancock–no stranger to commercial projects, but a reputable player whose recent New Standards album tackles the likes of Kurt Cobain’s “All Apologies”; the Carnegie Hall Jazz Band, a night of big-band jazz on Nov. 5 led by master trumpeter Jon Fadis; and mondo mandolinist David Grisman, whose infectious dawg music swirls around a formidable jazz-bluegrass hybrid.

No word yet on Sonoma State University’s 1996-97 season, but in recent years the Evert B. Person Performing Arts Center has hosted great jazz shows by both Joe Henderson and rebop saxophonist Joshua Redman.

Meanwhile, don’t miss the final performance in the Rodney Strong Summer Music Series. The Sept. 1 event (see page 29 for details) brings the summer to a close with the good vibes of the underrated Bobby Hutcherson Quartet, the Cedar Walton Trio (performing selections from the acclaimed new Composer album and included in this year’s Monterey Jazz festival lineup), and legendary jazz guitarist Charlie Byrd, who helped launch the bossa nova craze.

Sounds like jazz heaven.

From the August 29-September 4, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Fall Arts

0

Artfull Fall

Dream Girl: Deborah Colotti’s witty work, like the above”Dreambox,” is among the original art featured in ARTrails.

Hap Sakwa


Our highly arbitrary guide to arts, events, and entertainment

By Gretchen Giles

A SONOMA COUNTY summer rounds the corner to autumn less at a gallop than at a stroll, the kind of leisurely walk best taken at a toddler’s pace, stopping to explore the late-bloom flowers, the low-slanted, warm quality of early fall light, wandering distractedly off into Indian summer, and then meandering back to the business of moving us toward winter. And while Nature takes her very sweet time getting us there, the visual and performing arts scene in the county wakes itself up very briskly indeed. With a languid stretching, allow us to offer our guide to falling into autumn.

September

Russian River Jazz Fest

It was 20 years ago today (or some approximation of today) that the Guerneville Chamber of Commerce came up with the bright idea to mount a modest jazz festival on the strand at Johnson’s Beach. Figured that it might perk up business, they did. And zounds, they were right. Now a major non-profit corporation that donates thousands of dollars to local schools and arts organizations, the Russian River Jazz Festival annually draws some 8,000 to 15,000 music and sun fans to the hot sands by the river, and features some of the best end-of-summer sounds to fill the air since, well, since they did it all the year before. On Saturday, this celebration features the strong vocal presence of headliner Randy Crawford, saxophonist George Howard, the improvisation of the Yellowjackets, the world beat of the Andy Narell Group, and the samba sounds of Ginga Brasil. Sunday is topped by jazz guitarist Lee Ritenour, the funky, be-horned sound of Tower of Power, alto saxophonist John Handy, the contemporary jazz of Three of World, and the gospel morning strains of the Mighty Clouds of Joy. All of this plus some of the best crafts around, plenty of food and drinks, and that cool water right by your toes. Bring the Sunday paper and your favorite squeeze for a day on the green Russian River. No glass, cans, audio or video equipment, or pets–and they mean it. Sept. 7-8. Gates open at 10 a.m.; music starts at 11 a.m. Johnson’s Beach, off Hwy. 116, Guerneville. $33-$68. 869-3940 or 546-BASS.

Faculty Show

The Art Gallery at Sonoma State University begins the semester with a peek at what the art instructors did on their summer vacations, featuring work by Marsha Red Adams, Kathryn Armstrong, Chester Arnold, Cynthia Handel, Kurt Kemp, Victor Krispin, Frances McCormack, Susan Moulton, Bob Nugent, Mark Perlman, Oli Quezada, and Shane Weare. On display Sept. 12 through Oct. 27, this exhibit is followed by one that gallery director Michael Schwager is understandably excited about. Slated to open Nov. 7 is the tentatively titled “Re-presenting the Figure: The Body in Contemporary Art.” Welcoming works in all media from artists nationwide, this show aims to examine the ideas of “the body as a carrier of meaning,” according to Schwager, rather than the usual pastel pose of a gauze-skirted woman at the shore, or some other such literal-minded representation. SSU, 1801 E. Cotati Ave., Rohnert Park. Hours are Tuesday-Friday, 11 a.m. to 4 p.m.; Saturday-Sunday, noon to 4 p.m. 664-2295.

Art on the Road

Take a private guided tour of three Sonoma County studios, each belonging to an artist working in a different stage of a fully evolved creative career. Led by California Museum of Art director Gay Shelton (whose grave and thoughtful pronouncements often include the word “juicy,” making her lots of fun to tag along after), this benefit for the museum visits the workspaces of emerging artist Philip Buller and mid-career abstractionist Mark Perlman, and the emeritus aerie of the assemblage artist Raymond Barnhart–whose recent death has saddened us all–and his wife, Genevieve, a bronze sculptor. Former CMA director Duane Jones will host the Barnharts’ studio event. Afterwards, guests are encouraged to decamp to “The Fence Show” held on Charles Schulz’s former estate, featuring landscape work by Sonoma Four members Jack Stuppin, Bill Wheeler, and Tony King, as well as plein-air artist Jerrold Ballaine, hanging their views of the outside world outside on a fence. Supervisor Ernie Carpenter and open-space guru Caryl Ohrbach will host. Of course, food will be served; we get hungry just thinking about all of this nourishment for the eye and soul–the stomach must follow. Sept. 14. $50-$65; scholarships available. For details, call 527-0297.


Peter Sanders

Traveling Troubadour: Celtic rocker Richard Thompson comes to the LBC in September.

Sebasto’pol Celtic Fest

Now in its second year (giving festival promoters 365 entire days to come up with that unique spelling for their hometown), the Celts invade the west county with a weekend of jigs, reels, dancers, fiddlers, historical recreations, clan tents, and the ubiquitous more. Festivities begin Friday night with local storyteller and musician Patrick Ball, appearing with Mairead Sullivan at the United Methodist Church on Main Street, while Saturday finds Planxty founder Andy Irvine headlining a bill at the Community Center with Alasdair Fraser, Jez Lowe and the Bad Pennies, Jody’s Heaven, Mairead Sullivan, the Caswell Carnahan Band, Atlantic Shore, Greenhouse, Spiral Bound, and others. Look for “Scottish Heavy Athletics”–which must involve the hurling of weighty objects, right?–bagpipes, workshops, jam sessions, and children’s events. Master fiddler Martin Hayes stars Saturday night at Analy High School, appearing with Dervish and Jez Lowe and his band. This slice of the Emerald Isle also includes such adjunct events as pub-based musical draws, Irish films at the Sebastopol Cinemas, and Main Street Theatre’s staging of Playboy of the Western World. Sept. 20-21. Friday at 7:30 p.m.; Saturday from 10:30 a.m.; Saturday night at 8:30 p.m. Various locations. $5-$38. 823-1511 or 829-7067.

Rohnert Park Founders’ Days

While there is a possibility that the bed races may take a rest this year for a downturn in interest, Founders’ Days still pull Rohnert Park residents out of the bedrooms of their community and into the streets, where they belong–at least during the annual parade. Now in its 34th year, this weekend boasts a diaper derby, art shows for kids and adults, live music on two stages–one just for the teens to move manically about–children’s games, and a Big Bash Variety Show of local talent to close the affair with a curtsy and applause. Sept. 21-22. Saturday, parade at 10 a.m.; other events at the Community Center, 5401 Snyder Lane, from 9 a.m. to 6 p.m. Free. Variety Show Sunday at 7 p.m. at the adjacent Spreckels Performing Arts Center, 5409 Snyder Lane. $5. 522-9800.

‘The Barber of Seville’

The fat lady ain’t sung yet for those of us whose knowledge of opera stems primarily from watching Bugs Bunny don a breastplate and blonde braids. There is still a chance to enjoy, and even understand, opera when the Western Opera Company–the touring branch of the San Francisco Opera–brings The Barber of Seville by for a close shave with Figaro. In this costume farce, our mane man is enlisted to help a love-struck count win the fair hand of his lady love. What could be simpler than that? As the opera will be sung in the original Italian penned by Gioacchino Rossini, supertitles will kindly be projected above the stage so that patrons can finally understand just exactly what all the commotion is about. Sept. 20 at 8 p.m. Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. $20-$30. 546-3600.

Blowing Zen

No, this doesn’t mean spending 20 saffron-robed years of solitude in a monastery only to emerge blinking into the material world and promptly order a steak, drive an unsmogged Cadillac, and torture kittens. We are referring here to the considerably more elegant art of the shakuhachi meditative flute. Performing several rarely heard works by the Komuso monks, flute master John Singer appears with Sumi Honami and Fumiko Kodama in an evening of blowing Zen. Sept. 21 at 8 p.m. Luther Burbank Center, Concert Chamber, 50 Mark West Springs Road, Santa Rosa. $10. 546-3600.

Green Eggs and Ham

Sam I Am and the rest of the Geisel gang are represented musically in this special family concert presented by the Santa Rosa Symphony. With a witty score by young composer Robert Kapilow, this musical adaptation faithfully follows Sam (who really should try those damn green eggs and ham a good 10 pages before he does) and is performed by maestro Jeffrey Kahane’s son Gabe. Coming in at a one brisk hour, this could be a nice way to introduce the kids to the wonders of sitting still and listening. They might even find that it’s worth it. Sept. 21 at 3 and 4:30 p.m. Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. $5-$15 or $40 for a family of four.
54-MUSIC.

Richard Thompson

You could have caught him for just about free two years ago at the Sausalito Art Fest, but as most fans will agree, it’s Richard Thompson–and we’d sell the kids to be able to sit in the dark and listen to the richness of this Celtic rocker’s voice and lyrics. Guitarist Sonny Landreth begins this terrific evening out in other psyches. Sept. 27 at 8 p.m. Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. $19.50. 546-3600.

Children’s Arts

The Luther Burbank Center continues its tradition of offering a slate of fine performing arts pieces for tomorrow’s leaders, beginning on Sept. 29 with the Westwind International Folk Ensemble hoofing it to dances from ’round the world, clad in authentic costumes. Oct. 15 finds Jim Gamble’s “curtain of light” puppet theater returning with its wise goofiness. This year it’s the “Carnival of the Animals,” a vivid tale set to classical music. Nov. 22 has the American Family Theater presenting the awakened-by-a-kiss dreaminess of Sleeping Beauty, and the holidays go south with Navidad Mexicana on Dec. 5. The series ends in January when the Inflatable Theater Show gases up balloons of fun on the 10th. 50 Mark West Springs Road, Santa Rosa. $25-$35 series; $5-$10 individual shows; ArtReach scholarships available by calling 523-ARTS; otherwise, 546-3600.

October

Art for Life

Now in its ninth year of using art to forestall the ravages of HIV-related illness, this Face to Face benefit event is almost getting too big for its popular britches, making this year a bit different from previous events. Usually filled to bursting for the annual auction, the event this year stretches lazily out for three days, offering the public plenty of breathing time to wander around the auctionable art. Not to worry, the swank preview party is still slated to overtake a fine restaurant, and the actual selling-to-save will proceed on course. Preview, Oct. 2-4. Wednesday and Friday, noon to
7 p.m.; Thursday, noon to 4 p.m.; free. Preview party, Oct. 3, 5 p.m.; $75. Art for Life auction, Oct. 5, 3:30 to 7 p.m.; $39 (the equivalent of three hours of in-home care). Friedman Center, 4676 Mayette Ave., Santa Rosa. 544-1581.

Stephen Mitchell

Pre-eminent translator and scholar Stephen Mitchell (Tao Te Ching, Gospel According to Jesus, Selected Rilke) will read from and sign his latest work, Genesis, a new translation of the biblical book said to retain the “powerful earthiness of the original Hebrew.” Published to coincide with the airing of the PBS Bill Moyers TV series of the same name–in which Moyers interviews Mitchell, authors John Barth, Mary Gordon, and Oscar Hijuelos, and scholar Elaine Pagels on the meaning of the Genesis stories in everyday modern life–Genesis promises to stand alone as one of the most important translations of this ancient work. Oct. 3 at 7 p.m. Copperfield’s Books, 138 N. Main St., Sebastopol. Free. 823-8991.

Comedy Competition

To the stand-ups who compete in the rigorous rounds of this laff-race, winning is no joke. Previous champions have included such clowns as Robin Williams, Dana Carvey, Sinbad, Marsha Warfield, Ellen DeGeneres, and satirist Will Durst–all of whom have managed to scrape together a modicum of the ol’ fame and fortune from their efforts. Performing night after night in grueling semifinal and final rounds in clubs around Northern California, these bright new hopefuls will do their best to make you cough up a chuckle for the 21st year in a row when they swing through Santa Rosa to illuminate the Luther Burbank Center on Oct. 4. 50 Mark West Springs Road, Santa Rosa. 8 p.m. $19.50. 546-3600.

Harvest Fair

So you think that you’ve had enough of fairs? Well, you thought wrong, as the Harvest Fair proves each year. Featuring more apples and grapes than you can shake a cornucopia at, the Harvest Fair emphasizes oral gratification of the higher order, with wine tastings and seminars, a world championship grape stomp, and an entire building devoted to nuthin’ but the fruits of temptation themselves, apples. Pack in a two-day rodeo, animal exhibits, an art show, kids’ activities, and horticultural exhibits–and, man, it looks like you’ve got yourself a fair. Oct. 4-6. Friday, 10 a.m. to 8 p.m.; winetasting begins at 2 p.m. Saturday-Sunday, 10 a.m. to 7 p.m.; tasting after 12:30 p.m. Sonoma County Fairgrounds, 1350 Bennett Valley Road, Santa Rosa. $2-$4. 545-4203.

Santa Rosa Community Concerts

This subscription-only series of five concerts is an act-now-or-regret-it-all-season musical offering. Beginning on Oct. 6 with the New Century Chamber Orchestra, the series continues Nov. 6 with the unclassical approach to the classical provided by the Brassissimo Vienna. The Black Mountain Male Choir of Wales appears in February, the Hungarian Festival Virtuosi with pianists Ralph Markham and Kenneth Broadway appear in March, and the season ends with the piano artistry of Frederic Chiu in April. All concerts are held at the Luther Burbank Center, and series tickets are $40 general; $20 for students. 542-2032 or 545-6850.

Rohnert Park Chamber Orchestra

Under the innovative guidance of musical director and conductor Nan Washburn, the RPCO begins another season of thoughtful and unusual presentations. Dedicating this year to a commemoration of composer Henry Cowell, these concerts commence with Cowell’s “Old American Country Set,” moving on to “Graciala y Buenos Aires” by José Bragato, and Mendelssohn’s Italian Symphony. Of unusual note is a middle choice, “Stitch-Te Naku,” by Katherine Hoover, with music based on the Native American tale of a grandmotherly spider deity who wove the world into her web. Cellist Sharon Robinson is the featured soloist. Oct. 12-13. Spreckels Performing Arts Center, 5409 Snyder Lane. 584-1700.

California Small Works

The California Museum of Art launches its annual exhibit of works in all media that measure up, if not much taller than one foot high. Judged this year by Phil Linhares, the senior curator of the Oakland Museum, this prestigious exhibit proves once again that good things do come in small packages. Hand-delivered submissions will be accepted on Sept. 28-29 at the museum. Exhibit dates are Oct. 16 through Dec. 22. At the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. 527-0297.

Santa Rosa Symphony

Conductor Jeffrey Kahane continues his dedication to young performers and audiences with a concert that includes Ravel’s Mother Goose Suite, 15-year-old Canadian pianist Sonia Chan performs Beethoven’s Third Piano Concerto, and the symphony swells into the strains of Rachmaninoff’s Symphonic Dances. Oct. 19-21. Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Saturday and Monday at 8 p.m; Sunday at 3 p.m. $11-$28. 54-MUSIC.

Trailing After Art

For the last 11 years, the Cultural Arts Council of Sonoma County has been coaxing artists to open up a bit and let the public take a look with its annual ARTrails event, allowing cluckers and admirers alike to stroll through the artist’s workspace, ask questions about style and method, and just generally whip out their checkbooks without the middle ground of a gallery adding on that goodly percentage. Aside from the pure voyeuristic thrill of tramping through others’ studios and homes (often one and the same), ARTrails is popular for the wide variety of artists who participate, offering practically everything from acrylics to zincography. New this year is a streamlined schedule, with every participating studio open both weekends, rather than the geographic patchworking of previous years. Oct. 12-13 and 19-20. For maps, details, and everything else you might want to know, call 579-ARTS.

Over the hill in Sonoma, artist Fred Parker hosts his own Valley of the Moon­based open studio event, encouraging any and all who would like to hang up a shingle and display their work to join. Called Artist Access, this map-led tour coincides with the ARTrails weekends and features some 70 artists. 938-1729.

November

This most autumnal of all months belongs this year to the Spreckels Performing Arts Center, which boasts three of the most important offerings. 5409 Snyder Lane, Rohnert Park. 584-1700.

Pocahontas

You’ve heard and seen her story told every which way from tale to ‘toon and back again. Now Children’s Storybook Theatre brings its version of the brave chief Powhatan’s daughter to the stage, featuring authentic costumes and an emphasized reverence for Native American customs and themes of honor, respect, and tradition. Stuff the kids with a little folklore and knowledge before it comes time to stuff ’em with turkey. Nov. 2-3. Saturday at 2:30 and 7 p.m.; Sunday at 2:30 p.m. $7-$9.


Peter Sanders

Frieze Frame: The Smuin Ballets/SF returns to the Spreckels Center.

Smuin Ballets/SF

Award-winning choreographer Michael Smuin and his company have agreed to dance twice a year in Rohnert Park, and this performance marks their third appearance in our fair county, making us really, really lucky. Famed for their urbanity and intelligence of movement, the Smuin Ballet, which launched the first-ever mambo-based ballet last year, promises to perform a range this year that includes sections of that premiere effort, as well as the more traditional Brahms/Haydn Variations. They’ll be back in March, but wise folks’ll see them both times. Nov. 16-17 at 2:30 and 8 p.m.

Festival of Harps

This is the seventh year in a row that Spreckels has chosen to become this highly strung, with harpists playing everything from jazz to Celtic to Chinese styles on their versatile instruments. Harps ain’t just for the angels anymore. Nov. 30 at 2:30 and 8 p.m. $13-$17.

From the August 29-September 4, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Bus Route

0

Bus’ a Move

By David Templeton

THE RESTAURANT HUMS with activity. The house is full, and arriving guests are attended in turn by various people: the hostess or maitre’d, the waitpersons, even the restaurant manager making an appearance at each table to ensure that all is going well. They each wear a badge or announce themselves at the outset. Yet around the periphery of the restaurant is a team of agile professionals that most diners scarcely notice.

Like phantoms winding and weaving among the living, the busers–known in politically incorrect circles as busboys and occasionally referred to as backwaiters–glide anonymously through the room, depositing freshly chilled glasses of water and baskets of warm bread while swiftly spiriting away the used dishes and dessert forks.

The busers set and clear tables, fold napkins to look like puffy flowers, and can tell at a glance when someone is using their dinner fork to eat their salad. They contribute as much to their customers’ dining experience as the chef or the waitperson or the interior decorator. Yet they are the invisible people, unsung heroes of the restaurant world.

If they are noticed at all, it is only barely so.

Customers may not recognize the contribution of a restaurant’s busing staff, but savvy managers and other food workers do. In the words of one Sonoma County waitperson, “Without the busers, the whole machine would grind to a halt.”

Luis Gonzalez is known as “the king of the busers” to his fellow workers at Hemenway’s Restaurant, Santa Rosa’s stylish eatery in Montgomery Village. A former accountant in his homeland of Mexico, Gonzalez has carved a niche as one of the restaurant’s most valued employees; when his parents were injured in an auto accident back home, and he took a two-month leave, his absence was acutely felt. “Oh, we felt his absence deeply!” laughs restaurant manager Linda Cade, as Gonzalez sits shyly nearby. “It took two busers to do what Luis does all on his own.

“He is the king!”

“I like doing it,” Gonzalez says of his job. “I like the people, the customers. I like to help them do their job. I like keeping busy, moving fast. It’s good.”

Though other workers tell him he’d make a darned good waiter, Gonzalez likes the pace of his present position. “I wouldn’t want to have to slow down,” he grins.

“A buser has to have the personality of a dingo dog,” suggests Hemenway’s business manager Robert Muszynski. “They wait on the perimeter and just watch everything. Then when they see something that needs to be done, they pounce. This is not a job that just anybody can do.”

Andrea Jones is the restaurant’s wine buyer and one of the wait staff. “If the busers weren’t out there,” she says, “we couldn’t keep up. Luis and the others make me look even better. I wouldn’t make nearly the tips I make without him.”

SPEAKING OF TIPS, most waitpersons know how important the busers are, and will graciously “tip out” to them, giving the busers a minimum of 15 percent of their own tips. Many give even more. Like waitpersons, most busers and other back-of-the-house employees work for the minimum wage and depend on the tip system to make ends meet. Aside from the percentage they receive from the waitpersons, there is the occasional tip from a customer who is aware that their buser deserves a little extra.

Underlying the issue of back-of-the-house workers is the notorious mistreatment of such employees that sometimes occurs in the industry. Last year, a federal labor investigation revealed that more than 20 Sonoma County restaurants had been underpaying their busing, dishwashing, and prep-cook staff, many of whom were undocumented workers and some of whom were not being paid at all. As a result of the probe, 255 local workers ended up receiving back wages totaling $121,000.

“Back-of-the-house workers tend to be Latinos,” asserts Alicia Sanchez, spokesperson for the Union of Hotel Employees and Restaurant Employees, Local 18, who mentions that only one restaurant in Sonoma County, the Nutty Irishman, pays union scale. “We’re always fighting over issues of respect,” she says. “These jobs take a lot more skill than people notice.”

“Busing staff is the hardest staff to keep,” offers Bridget Lee, business manager of Petaluma’s Graziano’s Ristorante. “They can easily get to feel like peons. If you don’t work for waitpersons that appreciate you and share their tips, it’s a hard job to want to stay in. Our busers do pretty well here,” she adds. “Customers frequently tip them separately and all the waitpersons tip out. We try to treat them well.

“If we find a buser who’s good, we do everything we can to keep them.”

“I make good money,” enthuses Dennis Johnson, head buser at Graziano’s for over a year. He also finds that as a full-time student, the nighttime schedule serves him well. “People call up to make a reservation and sometimes they’ll specifically ask that I be their buser. When that happens, I know that some people appreciate what I do for them.”

Asked to describe his most difficult night on the job, Johnson recalls a meeting of podiatrists, during which slides of diseased feet were shown during dinner. “That was pretty nasty,” he laughs. “I earned my pay that night.”

That’s nothing compared to Gonzalez’ story of finding an envelope that was left on the table. It contained $10,000 cash, some jewelry, and a gun. Thinking drugs were involved, he reported the finding to management. It turned out that the goods belonged to an elderly woman who’d stopped at Hemenway’s for lunch to celebrate moving from a retirement center into her daughter’s home.

Then there’s Trish Bagley, who has bused tables for years. She is completing her final month at Hemenway’s, after which she’s going off to college to become a nurse. “I once worked at the Flamingo,” she shyly recalls. “And this one guy started choking to death.”

The future nurse leaped to the diner’s rescue, performed the Heimlich maneuver, and saved his life.

“I got a huge tip!” she beams.

From the August 29-September 4, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

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