Metal Comeback

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Mettling in Metal


Lance Mercer

Big Hair Days: Night Ranger pauses for the camera before taking off in search of heavy-metal gold on the revival circuit.

The big-hair bands of yore, like Communism, refuse to go away–and Night Ranger leads the heavy-metal revival pack

By Zack Stentz

History repeats itself, first as tragedy, then as farce.
–Karl Marx

IT SEEMS LIKE only yesterday that America’s rock critics took heavy metal’s cold, stiff corpse, planted it six feet under and danced happily on its grave like young Germans boogieing down atop the Berlin Wall in 1989. In February, Spin magazine ran an article on the shrunken fortunes of big-hair poster boys Skid Row, former arena fillers reduced to playing small clubs and touring in a station wagon.

The story prompted rock writer Johnny Angel to gloat: “Well, how my achy-breaky heart bleeds gallons of tomato juice for Skid Row, Warrant, Poison and all the varmints out of the past. … Well, dig this, pinheads. He who lives by MTV, dies by MTV.”

Indeed, post–“Smells Like Teen Spirit” and Jagged Little Pill, it was adapt or die for the one-time mastodons of rock & roll. Metallica cut their hair and ditched the umlauts above the name. Def Leppard traded spandex and Lycra for grunge-friendly plaid flannel. Jon Bon Jovi looked into an acting career, while Mötley Crüe drummer Tommy Lee settled into life as Baywatch babe Pamela Anderson’s male concubine.

Hell, even my Ozzy/Iron Maiden/Black Sabbath­listening pals from high school have muted their enthusiasm for all things metallic. On a recent visit to my redneck hometown of Fort Bragg, some old stoner friends I hadn’t seen in nearly a decade invited me to come to their band practice. The last time I had heard them, they were a Judas Priest cover band. But now, even they’ve gone alternative, albeit the sludgy Alice in Chains­end of the alternative spectrum.

“Metal?” the lead guitarist asked rhetorically. “We’ll never get anywhere playing that.”


Neil Zlozower

Gone Yesterday, Hair Today: David Lee Roth (seen here circa 1986) has rejoined his well-coiffed mates in Van Halen.

WELL, FOLKS used to think communism was dead, too, and look how that seemingly discredited ideology has been stirring back to life recently. And music is just as cyclical and Newtonian as politics, with each action spawning an inevitable reaction against it.

Just as how, during the heights (or depths) of the ’70s revival not so long ago, a few brave souls dared to flaunt their skinny ties, Swatch watches and Devo albums, now that we are in the midst of early to mid-’80s indie-rock’s belated triumph, signs of another pendulum swing are brewing.

KISS is touring again–in makeup! Van Halen finally ditched hard rocker Sammy Hagar and rehired their one true singer, “Diamond” David Lee Roth. And even local hard-rock/lite-metal heavyweights Night Ranger, whose megahits “Sister Christian” and “Don’t Tell Me You Love Me” provided the soundtrack to a thousand make-out-in-the-back-of-the-Camaro sessions, is reunited and playing gigs again, with an upcoming concert at Edge in Palo Alto.

“I had the summer off, and my other band, Damn Yankees, is on hiatus, so I talked to the other guys from Night Ranger and we thought it would be fun to play together again,” explains Jack Blades, Night Ranger’s affable lead singer/bassist.

Asked about the connection between Night Ranger’s re-formation and the similar reunifications of KISS and Van Halen classic, Blades replies: “I imagine if you looked at it from a bigger, more historical perspective, it would look like all those things were connected. But I think it’s just coincidence. We had already decided to play together again when we heard the news about Van Halen.”

He adds, “We’re not doing this to make a bold statement or be part of a trend. We just like playing music together and going places and hanging out in the tour bus, smoking cigars. It’ll be just like it was in the ’80s, except without all the debauchery.”

SO, IT’S TRUE. Everything old and spandexed is new again. Look at rap music by way of comparison. Good-time rapper LL Cool J saw his fame evaporate in the age of Public Enemy and K.R.S.–in part because he preferred to champion the glories of a Big Ol’ Butt over those of militant black nationalism. But now, he’s been embraced by the new generation of pot-fueled party-music rappers, riding the backlash to the backlash, as it were.

More than anything, though, it’s pure and simple economics that drives the current revival. Just as nature abhors a vacuum, the modern entertainment industry can’t abide a market niche unfilled, and the music scene has a gaping demographic hole where metal’s fans once happily moshed.

After all, big-hair music once had a huge audience, and despite my possibly naive, Gene Roddenberry-ish faith in the ongoing evolution of the human spirit, I can’t bring myself to believe that the former headbangers have all abandoned Whitesnake’s suck-my-dick-and-get-me-a-beer mentality to instead embrace the feminist rage of Ani DiFranco or the impassioned politics of Rage Against the Machine.

Despite the Lollapaloozization of rock and all the predictable “alternative goes mainstream” articles of the last five years, much of alternative music is still too, well, alternative for many listeners. Nirvana, especially, seemed to sense that its huge success was a bit of a fluke, and that many of the bodies in the arenas it filled would have been happier seeing Megadeth and probably were deeply uncomfortable with the band’s characteristically alt-rock use of dissonance, eschewing of showmanship and championing of lefty political causes and antisexism.

“I never OD’d or shot myself in the head,” sneered Skid Row’s Sebastian Bach of late Nirvana honcho Kurt Cobain, but seeing the “woo-woo” girls shrieking from atop their boyfriends’ shoulders during a benefit concert Nirvana played for Bosnian rape victims a few years back just about made me want to swallow the barrel of a 12-gauge.

Lately, though, a lot of alternative acts have come across as downright hostile to musicianship and the notion that perhaps some schmo who has forked over 25 hard-earned dollars for a ticket deserves to be entertained by a band, an attitude that is no doubt helping fuel the hard rock/heavy-metal revival.

“Don’t get me wrong, I’m a huge fan of Smashing Pumpkins and a lot of alternative rock,” says Blades. “But these bands who come out on stage and can’t be bothered to entertain their audience? They should just stay home and let the Aerosmiths and the Night Rangers play instead.”

So, led by its resurrected warhorses, will metal once again occupy the lofty ramparts of pop music that it held for so long against the onslaughts of punk, rap and alterna-pop? It’s too early to make a definitive judgment, but the overall fragmentation of the pop marketplace is working against it, as is the rise of a new generation of female artists.

Lita Ford aside, the only time one typically saw a woman onstage at a metal concert was when she was gyrating or writhing in a cage. While many guys may look forward to a return to shouts of “Rock & roll all night!” and “Show us yer tits!” it’s safe to bet that most female music fans, once exposed to the crop of feminist-tinged women rockers, won’t be eager to take the place assigned them in the big-hair pantheon as grateful groupies or death-deserving bitches.

But to be fair, Night Ranger never engaged in the misogyny that besmirched many of its compatriots, and this relatively enlightened approach was rewarded with a large female audience years before it occurred to Bon Jovi and Poison to court the feminine demographic.

And beyond the macho posturing and pyrotechnics, what many people miss most about the big-hair bands of yesteryear are their clean, well-crafted pop songs. Blades believes it’s the music that will lead audiences to rediscover Night Ranger.

“A miniature Stonehenge isn’t gonna drop from the ceiling,” he promises, alluding to the This Is Spinal Tap metal parody movie. “When people come to see us, what they’re gonna get is really good rock songs played by a bunch of guys who are really enthusiastic about their music.”

And that isn’t such a bad thing, is it?

Night Ranger plays July 15 at the Edge, 260 California Ave., Palo Alto. Call for ticket information. (415/324-EDGE)

From the July 3-10, 1996 issue of Metro

This page was designed and created by the Boulevards team.
© 1996 Metro Publishing and Virtual Valley, Inc.

Fire Safety

Blazing Mad

By Bruce Robinson

FIRE PROTECTION is a hot issue in Rohnert Park. While the City Council may create a citywide assessment district to pay for more firefighters, the level of service is coming under increasing scrutiny for slow response times and inadequately trained personnel.

The bid to raise funds for the city’s Public Safety Department comes after months of controversy, including a critical 1995 Sonoma County grand jury report that called for increased fire training and a need to be “more vigilant” in fire code inspections; numerous citizen complaints about the department’s poor response to blazes; and the firing of a top official for falsifying time cards to indicate higher levels of fire station staffing than were actually on duty.

The public safety problems are compounded by equipment failures and blazes at shoddily constructed houses and condominium complexes, some with faulty firewalls that allowed flames to spread easily throughout the building.

Last year, the grand jury also found that in some cases firefighters had failed to inspect their hoses for eight years.

The proposed Fire Services Benefit Assessment District would raise a little over $1 million a year to hire 10 more public safety officers. It would fund two fire stations fully staffed around the clock, says Assistant City Manager Carl Leivo, and allow the city to increase its overall staffing to three fully manned stations.

Right now, two stations are staffed at all times, Leivo says, but “we cannot continue to do that” without additional funds. Without the parcel tax, he adds, the city would have to cut back to a single full-time fire station.

City officials notified Rohnert Park residents and property owners by mail when the proposed assessment was announced, so the public could comment on it. If enough people protest, the City Council would be blocked from unilaterally adopting the charge, which would be about $64 a year for an average single-family home. For that to happen, the city would have to get letters of protest from property owners whose proposed assessments total $100,000 or more.

However, the council could still decide to place the issue on the ballot in November, unless a higher threshold of resistance is reached. Should the letters of objection add up to $500,000 in proposed assessments, the issue would by law have to be abandoned.

The deadline for letters is Tuesday, July 9, when the Rohnert Park City Council meets to consider the measure. As of June 25, when city officials held an earlier hearing on the subject, 127 letters had been received, many of which opposed increased taxation in general.

“I don’t believe the funding of a fire department by a city government should be a special tax,” objects Terry Butler. “This is what city government is supposed to do. By funding other programs ahead of the fire department for years, this city has become warped in [its] values.”

While most of the letters are from individual homeowners, other protests have come from business owners and the owner of a 136-unit apartment complex–letters that represent larger shares of the total proposed assessment.

More than a dozen local residents also spoke out against the proposal before the City Council last week, including one who noted that the assessment lacks both a cap on annual increases and a cutoff date. At the council’s direction, city staff is now working on adding both.

UNDERLYING THE DEBATE over the assessment district is the city’s unusual structuring of its police and fire services. Rohnert Park is the only city in the county to combine the two public safety functions in a single department. It relies on the same pool of officers to perform both police work and, when needed, firefighting.

“These are policemen acting as firemen, not full-time firemen,” protests Paul Stutrud, a studious critic of his city’s government. “Most firemen have to have 450 hours of training before they’re allowed to fight fires. Rohnert Park has on-the-job training; then we rotate them out, bring someone else in and start all over again.”

Stutrud cites numerous stories of inept performance by firefighters responding to structure fires in Rohnert Park, including truck drivers unable to find addresses, officers unfamiliar with the hoses and hydrants they need to use, and two-man crews that had to wait valuable minutes for a third officer to arrive before they could begin active fire-suppression efforts.

One Thanksgiving Day blaze that destroyed 10 apartments was “within sight of the Public Safety Building,” but a Rancho Adobe Department truck from Cotati arrived on the scene before the local crew, which Stutrud charges was delayed by the awkward configuration of the city’s public safety compound.

“There have been numerous fires . . . where people on the scene said the engine arrived but they wouldn’t put any water on the fire until the second engine arrived,” adds Charles Kitchen, another long-term critic.

What’s worse, Kitchen says, is that unsigned letters to the council suggesting changes that could be made to improve the performance within the department have triggered an internal investigation trying to identify the source. “Chief Patrick Rooney was kind of bent out of shape about the letters,” says Kitchen, who knows but will not identify the author. “He had more than one person in his office” being questioned about them.

Public safety officers who serve as both policemen and firefighters earn around $85,000 a year in salary and benefits, salaries well above those commanded by either profession separately.

One outgrowth of the dissent over the fire assessment plan is renewed interest in restructuring the Public Safety Department. “There are a lot of people who want to go back to separate police and fire” departments, Stutrud says.

A critical evaluation of the assessment proposal submitted to the city suggests that substituting trained firefighters for the higher-paid public safety officers could save the city $120,000 annually, money that could then be used to hire additional police officers or more firefighters.

Councilwoman Dawna Gallagher, who says she agreed to study the assessment district because she was confident the public would rise up to reject it, favors a plan to separate the services. “I’m very clear that the public sentiment is, Don’t take any more money out of my pocket unless you’re going to assure us real firefighters,” she says. “The guys are doing the best they can with what they’ve got, but I don’t believe you can be a policeman and a fireman at the same time.”

From the July 3-10, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
&copy 1996 Metro Publishing and Virtual Valley, Inc.

Utopia

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Inventing Eden

By Steve Bjerklie

The best in man can flourish only when he loses himself in the community.
–Albert Einstein

DAVE HENSON is so enthusiastic about what he does and how he lives that he practically zings. He’s one of those people who seem to spend most of their waking hours outside of themselves. At various points in our conversation at the Occidental Arts and Ecology Center, Henson drums a table, dives his hands into dark, sun-warmed loam just to feel its goodness, and waves broadly at the sky and at trees as if grand-marshaling a parade.

“The primary dynamic of the universe,” he tells me, “is the relationship between individuality and community.” When he says this, we are looking across one of the center’s two-acre flower-and-vegetable gardens that, like Persian cities, are forested with spires of colorful foxglove.

Now we are seated outside in brilliant light at a weather-worn picnic table, drinking chilled water freshened with mint leaves. Henson’s wearing a faded orange T-shirt (“cotton but not organic, unfortunately”) and dusty khakis with leather work gloves waving from a back pocket. “The natural world is our model,” he says, tossing back his coppery, Tom Petty­like hair. Henson’s face and arms are teak-tan from being outdoors most of the time. “No one part dominates the system. Every time something new is introduced, the system adapts to it, or around it.

“The model, of course, has its limits,” he adds. “We assume the need to operate collectively.”

The thought reminds me of something I’d heard earlier the same morning from Michael Black, a Sebastopol architect: “Our society has a need for real community. We need to stress the importance of openness and telling the truth,” he tells me in the living room of the pleasant, quiet home he shares with his wife, Alexandra. “We’re trying to form in our community a real extended family, a collection of diverse people with diverse needs and backgrounds who can share and teach each other.

“The Balinese have a phrase for it, suka duka. ‘Laugh together, cry together.'”

The Arts and Ecology Center and Black’s designs for a Sebastopol co-housing development on Robinson Road are the latest efforts in Sonoma County to create an ideal human society. Utopia, in a word. Local history is abundant with utopias dating back to the 1870s. The legacy includes free love, communism, faith healing, financial scams, accusations of medical malpractice, media frenzies–and that’s just the 19th century.

Why Sonoma? Fertile and affordable (until recently, anyway) land, a steady influx of immigrants from all over the world, and easy access to one of the world’s most tolerant and intellectual cities, San Francisco. The same reasons, in fact, that upstate New York has also been home to a host of utopian experiments, from the Oneida community to the Shakers. The two regions have accommodated more utopias than anywhere else in the United States.

Utopianism in Sonoma County in the 20th century has brought a samurai warrior, organic gardening, sweat lodges, drugs, invasions by bulldozers, and–in a special 1990s touch–murder.

But violence of any kind, except for chewing on mint leaves, seems far away from the Art and Ecology Center, which occupies the old Farallones Institute’s 80-acre site on Coleman Valley Road. Founded in the summer of 1994, the center sponsors a broad range of art classes, workshops, and seminars, including “Permaculture Design,” “Theory and Practice of Ecopsychology,” “Three-Day Seed Saving,” and “Rethinking Corporations/Rethinking Democracy” courses.

The center’s land and buildings are “owned” in equal shares by eight partners, of which Henson is one. Six of the partners, along with four other people, live on the property in a residential “intentional community”–the ’90s way to say “commune”–and the community is also a legal California general partnership. Decisions in management at the center are made by “process,” which Henson describes as “a way to structure accountability, a way to establish consensus about what needs to be done tomorrow, and a way to be very pragmatic but also empowering.”

Henson graduated in 1983 from the University of California at Santa Barbara with a degree in sociology, and later went to law school at New College in San Francisco. In between, he spent time with rebels in El Salvador and worked at the Earth Island Institute, as well at Tennessee’s Highlander Research and Education Center (formerly the Highlander Folk School), the venerable wellspring of 20th-century American social movements.

More idealist browsing:

Local folks founding communes, past and present.

Bibliography of communal living.

MICHAEL BLACK, too, came to contemplate utopia, as embodied by co-housing, through his involvement in social movements. A successful architect in Palm Springs in the ’60s–his first home was featured in Time magazine–Black got involved with the local Cahuilla tribe of Native Americans through a federal Housing and Urban Development program, as the destitute Cahuillas struggled to rebuild themselves in the wake of the holocaust of Manifest Destiny.

“I was pretty successful with them because I became an advocate, not an adversary,” says the elegant, snow-haired Black. “I even received the blessing of the tribe. They put me on the board of directors for the reservation’s Malki Museum.”

But what caught Black’s attention was the strong sense of community that held together the Cahuillas in the face of enormous difficulties. He was reminded of the safety he felt in the extended Jewish family he grew up with in Los Angeles.

“Co-housing is a humanistic and pragmatic way of approaching living,” Black says. “The heart of it is in the building of community.”

In a co-housing development, certain shared indoor and outdoor spaces promote group activities and exchanges. Residences are private, but meals, for instance, might be shared, and so might day care. An important factor is diversity in the incomes and interests of residents; that way, according to Black, everyone teaches everyone.

“The depth to which a community bonds varies greatly,” says Black, who designed a co-housing development in Chico before undertaking the Sebastopol project. A second co-housing project in Sonoma County, not designed by Black, is planned to be included as part of the 550-home Courtside Village development in Santa Rosa. However, snags in the cost of sewer installations have slowed down the potential Courtside co-housers for the time being.

Black expects to move into the Sebastopol co-housing development (which is nameless, though “Jewel Hill” was used earlier) in 1998, when he’s 60. Back in ’74, he hoped to raise his children in a co-housing environment. Now it looks as if it’ll be the grandchildren. The articulate Black, who also designed Sebastopol’s downtown plan, is careful when he uses the U-word. “Utopianism, idealism–it’s all a matter of perspective,” he tells me. “What some people call utopian others might find horrible.” He’s referring to the partial sacrifice of individuality that successful co-housing requires, but his words jog something in the back of my mind. Ironically, later in our conversation, Black himself brings up the old community of Preston. I mention Altruria, Icaria, and Fountain Grove, and finally Morning Star and Wheeler Ranch.

“Oh, Morning Star!” Black’s graceful eyebrows suddenly jut up into accent marks. “You must talk to Alexandra! She was one of the first settlers there! She and Lou Gottlieb and Ramon Sender. What a time!”

No man is an island, entire of itself; every man is a piece of the continent, a part of the main.
–John Donne

SIR THOMAS MORE, prior to becoming Henry VIII’s lord chancellor, wrote Utopia as his world exploded. When Utopia appeared in 1516, Michelangelo had just completed his frescoes on the Sistine Chapel’s ceiling. Machiavelli had written The Prince three years earlier. In 1517, the same year coffee was first introduced in Europe, Martin Luther nailed his 95 theses to the dark wooden door of the castle church in Saxony to begin the Reformation. Velasquez had just discovered Cuba. In 1519, Cortez was to arrive in Mexico.

Though More’s book, written in Latin, wasn’t the first description of an ideal human society–the earliest recorded journey in search of an earthly paradise was made by Gilgamesh in 2000 B.C.–the title coined the word’s definition as we know it: in the original Greek, utopia means both “good place” and “no place.” From More to the present day, literally thousands of attempts have been made all over the globe to create Utopia on Earth.

The success rate seems to be fairly low.

Robert Hine, a professor emeritus of history at both the University of California campuses at Riverside and Irvine and a specialist in utopian attempts in California, says that utopia is a simple concept but a hard-won paradise. “Utopia, as I’ve seen it tried, is a kind of equal parceling in balance: shared work, shared goals, and shared religion or spirituality,” he says. “The difficulty is when someone doesn’t quite pull his or her own weight, or when the community becomes overwhelmed by outside forces and factors, or when one person simply gains too much power.”

UTOPIANISM first came to Sonoma County in 1875 in the person of mystic spiritualist Thomas Lake Harris and his Brotherhood of the New Life. Harris, a mesmerizing speaker with piercing eyes and the de rigueur William Morris­style beard, was a human smorgasbord of spirituality: prior to arriving in Santa Rosa he had sampled Calvinism, Universalism, Swedenborgism, and plain old spiritualism. He dabbled in poetry. He claimed to know Henry Wadsworth Longfellow and Edgar Allan Poe. William James called him “America’s best-known mystic.”

In 1857, Harris had a series of revelations in which the message and teachings of Respirationism were revealed to him. The basic idea was that “supernatural breathing” enabled Man to commune directly with God–whom Harris conceived of being both male and female. After building a band of followers in the British Isles and the eastern United States, Harris established communities in Wassaic and Brocton, N.Y., before buying (for $21,000!) 700 acres on the sunny west-facing hillside just north of Santa Rosa. Shortly afterward he doubled the size of his property, which he called Fountain Grove, and then bought still more land.

By 1884, the Brotherhood’s colony numbered about 30, and, according to Hine’s excellent history, California’s Utopian Colonies, Fountain Grove had 1,700 acres planted in cabernet, pinot noir, and zinfandel grapes. In 1886, the colony produced 70,000 gallons of wine.

The Brotherhood members probably needed all of it. In addition to giving supernatural breathing lessons, Harris taught a complex sexual theology in which every human soul is paired with a spiritual counterpart. The ultimate human experience is to consummate sexually with your counterpart. The problem is, you don’t know in whose body your counter-spirit lodges until you . . . well, consummate. In all likelihood, taught Harris, your marriage partner was not your spiritual counterpart.

He also believed little fairies live in the breasts of women.

Fountain Grove actually harbored a lot less free-loving than neighbors thought. Most people on the outside were influenced by what they read about the community, not what they saw for themselves. In 1891, Harris invited Miss Alzire Chevaillier, a Christian Scientist, and her mother to Fountain Grove to have a look-see, and Harris allowed as how he thought the beautiful and feisty Alzire might, indeed, be the spiritual counterpart he had been searching his whole life for. He wanted to find out for sure, anyway. She turned down the famed mystic, and then she went to the newspapers.

Her series of stories about Fountain Grove in the San Francisco Chronicle began a widespread media-feeding frenzy, which proved to be the beginning of the end for the colony. By 1892, the charismatic Thomas Lake Harris left Fountain Grove (with a new wife), never to return. He died in 1906 at the age of 83.

Once Harris was gone, the Brotherhood took over Fountain Grove, and eventually the entire property came to be held by the last surviving member, a Japanese samurai named Kanawe Nagasawa. The highly educated Nagasawa–diplomat, architect, builder (it was he who constructed the round barn still standing on the old Fountain Grove property), and skilled winemaker–continued to manage the Fountain Grove Winery until his death in 1934.

Back when the brothers and sisters of the Brotherhood of the New Life pressed those 70,000 gallons of wine, another utopian experiment was getting under way on a fertile, 885-acre tract just south of Cloverdale. This was Icaria-Speranza, founded by French-speaking Icarians, so named because they modeled their communistic community after Etienne Cabet’s influential 1840 book, Voyage en Icarie. “The book was basically a description for enlightened socialism,” says Dale Ross, a descendant of Icarians and a member of the active National Icarian Heritage Society. “High value was placed on families, the arts, and so on.”

He adds: “Icarians were communists in the sense that they shared all the wealth and didn’t believe in private property.”

In America, the immigrant Icarians struggled until they discovered a bonanza: the ghost town left behind by the Mormons at Nauvoo, Ill. Brigham Young had set out for the Utah Territory in 1846; two years later the Icarians moved into a perfectly empty but still intact village (ironically, one of the first tasks undertaken by the French Icarians was the planting of vineyards on land the teetotaling Mormons had previously planted in corn). Yet disenchantment among the Icarians eventually led to the exile from Nauvoo of Cabet himself, who had joined his followers in America. More splits occurred until finally, in 1881, Armand Dehay and Jules Leroux scouted the Sonoma County property and bought it for $15,000. The commune’s original name, Speranza, came from L’Esperance, an Icarian newsletter; by 1884 it was known as Icaria-Speranza. Vineyards, fruit orchards, a prune orchard, and vegetable gardens were planted.

But mundane financial difficulties of the capitalist variety found their way into the communist society. Hopes that the sale of land in the Midwest would allow Icaria-Speranza to pay off the debt on the Sonoma County land were dashed when the Midwest property could be sold for only cents on the dollar. An experiment in breeding Norman and Percheron horses proved disastrous. By 1887, Icaria-Speranza was no longer a functional community, its property divided among the colonists. The community lives on, however, in the name Icaria Creek and in several Dehay, Leroux, and other Icaria-Speranza descendants who still live in Sonoma County. The heritage society meets in Cloverdale quadrennially.

WHETHER the Altrurians, yet another band of utopia-seekers in Sonoma County, had heard of the Icarians and the failure of Icaria-Speranza is not known. They established the community of Altruria about eight miles up Mark West Creek, just east of present-day Highway 101, and were also inspired by a book, A Traveler from Altruria by William Dean Howells. The novel tells the story of a man, a Mr. Homos, who visits a chichi New England summer resort hotel and thrills the guests with stories of his utopian homeland. Not only does Mr. Homos spellbind his listeners with tales of paradise; he also does radical things like help the baggageman, the bootblack, and waitresses.

In October 1894, a young Unitarian-Christian Socialist minister, Rev. Edward Biron Payne, led a group of 18 adults and eight children up Mark West Creek to the 185 idyllic acres the group had already purchased. Payne was a social activist who grew up in Connecticut and Illinois. In 1875, the 30-year-old Payne, newly graduated from Oberlin, arrived in Berkeley to take over a chaplain’s position at the still-new University of California. He had worked with the poor in Chicago’s slums and with textile laborers in New England. His brand of Christian Socialism focused on saving society rather than the individual, and was popular in the Bay Area of the 1890s.

The down payment on the Mark West land came from the $50 each Altrurian contributed as a membership/entrance fee. Shortly after arriving in Sonoma County, the colonists had orchards and gardens in the ground. Some of the produce was sold at an Altrurian store in San Francisco.

Perhaps it was this taste of small financial success that led the colony to begin construction of a hotel in Altruria, which proved to be the fledgling community’s undoing. Plans for the structure grew like a house of cards–a third story would be added, along with a library, office, and dining hall. The project sucked up huge amounts of money, most of which had to be borrowed. Throughout early 1895, the hotel’s uncompleted shell reminded every Altrurian of their unattained dream. By June of that year, a short nine months from their optimistic beginning, the Altrurians and Altruria were history.

And finally, Preston. Professor Hine doesn’t count it as an actual utopia, for the community northeast of Cloverdale was mostly a colony of invalids gathered around the charismatic presence of Madame Emily Preston, a faith healer and dispenser of patent medicines who could give Elizabeth Clare Prophet a run for her money. While some of her beliefs were fairly straightforward–“All can go to heaven if their hearts are right,” reads part of Madame’s creed that was written on the walls of Preston’s own church–others were a bit odd. “We believe in inspiration and that it lets us read out of the book of life that is printed in the air everywhere,” states another part of the same creed.

Her place of worship was called the Church of Heaven on Probation. Varene Anderson, who studied Madame’s teachings as part of her Sonoma State master’s thesis, says Madame’s sermons, of which Varene has copies, “are pretty boring.” On the other hand, some of Madame’s followers believed she had an X-ray eye that could see through the human body.

No one really knew where she came from. Col. Hartwell Preston, who seems to have earned his rank in the Confederate Army, was her third husband. She had children by other men; she barely spoke of the men or the children. The key and most functional ingredient in her patent medicines, which contained a veritable goulash of herbs and spices, was alcohol.

Local medical doctors were infuriated by Madame’s “healings.” But an attempt to have her prosecuted for selling medicine without a license failed, though the advice of Sonoma County physicians to their patients not to use Madame’s concoctions surely must’ve had a financial impact. What finally did her in, more or less, was passage of the Pure Food and Drug Act in 1906, which stopped her–and thousands of other purveyors of patent medicines–from commercially selling homemade drugs.

Madame died, still quite wealthy, in 1909.

The community’s property has suffered its share of calamities since, including a disastrous wildfire in 1988 that burned the once-elegant Preston mansion to the ground. The Church of Heaven on Probation still stands, however, as does a graceful, adjacent clock tower that still works–and still tolls.

Nothing’s for certain
It could always go wrong
Come in when it’s raining
Go on out when it’s gone
We could have us a high time
living the good life
Well, I know
–Robert Hunter, “High Time”

ON ASSIGNMENT for Harper’s Magazine, Sara Davidson walked into a bar in Occidental one night in 1970 and asked for directions to Wheeler Ranch. “Heads turned,” she wrote later. “People froze, drinks in hand. A woman with an expressionless, milky face said, ‘Honey, there isn’t any sign. You just go up the road six miles and there’s a gate on the left. Then you have to drive a ways to git to it. From where I live you can see their shacks and what have you. But you can’t see anything from the road.'”

Today, Bill Wheeler strolls into the saloon at the Union Hotel in Occidental to meet me for a beer, and he’s welcomed by those in the room like an old friend. The beers are quickly poured from the tap. When Bill’s lawyer and the lawyer’s family unexpectedly show up, there are hugs, laughs, jokes, and invitations from Bill to come out for the annual May Day party at the ranch. “You mean like we used to, dancing naked around the Maypole?” asks the lawyer, who fills out a lawyerly dark-blue suit with a chest grown by success. “Nah, Bill, I can’t. . . . I mean, can you see me doing that now?”

Hearty laughs refill the saloon.

The first thing Wheeler says is “I’m not a teacher, I’m not a leader, I wasn’t anyone’s guru.” He drapes himself across a chair like a bearskin rug. He’s dressed in thick, hard-working clothes torn in the legs, and looks like an old-growth cedar. “It was all an accident of history.”

From 1967 until 1973, Wheeler Ranch west of Occidental (five miles, not six, on Coleman Valley Road) was Sonoma County’s second great experiment in open-land communalism. Bill Wheeler simply opened his 320-acre property up to anyone who wanted live there. The population eventually reached 400, including cows and horses. Besides dozens of flower children from San Francisco and elsewhere, the community hosted a few runaways and soldiers AWOL from Vietnam. Residents lived in tents, shacks, and lean-tos angled out like parasails from redwood stumps. There were absolutely no rules. Whatever happened at Wheeler happened because an individual or a couple or a group on the ranch was in the mood for it to happen.

“It was a social experiment that couldn’t last,” explains Wheeler, who insists he’s but a humble landscape artist. “I knew from the beginning it couldn’t last. But it was the closest thing that came to the forming of a tribe, to people relating on a new tribal level.”

He sips his beer. With a Moses-like forehead, a nose like a battleship prow, and dense, multigreen eyes, Bill is what used to be called ruggedly handsome. “The problem was, we assaulted the traditional sense of private property,” he observes.

A best-selling book, Living on the Earth, as much an icon of the ’60s as the first Whole Earth Catalog, was written by Alicia Bay Laurel when she lived at Wheeler’s. Indeed, Wheeler Ranch, after Sara Davidson’s article “Open Land: Getting Back to the Communal Garden” appeared in the June 1970 issue of Harper’s, became in the popular imagination the very definition of a hippie commune.

“We are separate from the land now; we have to get back to it in the manner of the Native Americans,” Wheeler, still a believer, tells me at the saloon.

The accidental part of the history is that Wheeler opened his ranch after county sheriff’s deputies driving bulldozers invaded his friend Lou Gottlieb’s Morning Star Ranch. Morning Star refugees were the first communal Wheeler Ranch residents.

Gottlieb, a member and musical director of the early ’60s folk-pop group the Limeliters, had bought the 32-acre property on Graton Road in 1962 (the year Bill Wheeler graduated from Yale with an art degree) originally as a getaway and retreat. In 1966, along with such friends as Ramon Sender and Alexandra (then called Rain) Jacopetti, he opened the land to all comers.

In part two of an amazing six-part series titled “The Happiness People,” published in early summer of 1967 in the Press Democrat, Gottlieb explained his philosophy for Morning Star: “The people here are the first wave of an ocean of technologically unemployables. The cybernation is in its early snowball stages.” (Really, he used the word cybernation in 1967.)

Less than three weeks after the “Happiness People” series ran, the PD reported: “Morning Star’s Gottlieb Arrested on Health Charge.” The ranch’s story unfolds in headlines:

July 9: “Planners Ponder Way to Restrict Hippies”

Aug. 14: “Gunfire Erupts at Hippie Ranch”

Sept. 8: “Is Gottlieb’s Hippie ‘Heaven’ Fading?”

Sept. 11: “Hippie Colony Protest Meeting Saturday”

Sept. 12: “Gottlieb Doesn’t Fight County ‘Outhouse’ Charge” (“Maintaining his cool throughout the 20-minute Municipal Court proceedings, the 43-year-old former Limeliter said he decided to change his plea ‘because I think it’s below the dignity of the court to try a case’ involving an outhouse, [though] Mr. Gottlieb’s description of a bathroom facility was much more colorful.”)

Sept. 14: “New Injunction Aimed at Gottlieb’s Ranch”

Sept. 15: “Dejected Gottlieb Gets Order to Close”

Sept. 24: “‘Filth’ of Morning Star Described by Neighbors”

And then, on Oct. 8: “Gottlieb Arrests Hippies for Trespass.” The article states, “The era of Morning Star­1967 came to a strange end here yesterday when Lou Gottlieb wearily arrested 15 of his ‘brothers and sisters’ for trespassing. Faced with a $500-a-day price tag for allowing his friends to stay on the ranch . . . Gottlieb called his action a ‘rude practicality.'”

It got stranger still. In 1969, returning from India, Gottlieb deeded Morning Star Ranch to God. But a judge held that the Divine, not being “a natural or artificial person,” couldn’t hold title. Headlined the PD on July 10, 1969: “Gottlieb Offers His Piano to Settle Fines.” After collecting evidence that Gottlieb still ran Morning Star as an open-land community, the county moved in with bulldozers.

AFTER THE BULLDOZER blitz, the concept of Morning Star Ranch in effect moved to Wheeler Ranch, which was 10 times larger in acreage. Gottlieb’s vision of a non-authoritarian, non-governed utopia took root in Wheeler’s gently undulating hills and forested canyons. But the bulldozers eventually came to Wheeler’s, too, in 1973.

When I ask Bill Wheeler at the Union Hotel what he most feels about those days, he quickly responds. “Nostalgia. Extreme nostalgia.” He takes another sip of beer. “I remember music all the time, flutes in the forest, and guitars. You’d walk along the road and all you’d hear was beautiful music. It was a blast.”

On May Day this year, in an open meadow on Wheeler’s property, I hear the old call. The meadow’s thrumming with bees, birds, bells, drums, and a saxophone. A huge Maypole’s hung with pink and blue streamers and tied with rags torn from what look like a lot of favorite bedspreads. Except for the abundant tie-dye T-shirts, the super-prolific hair on most of the men and women and children, and the sweat lodge built and supervised by Kingfisher, a Cheyenne Indian, this could be a reunion in Minnesota on my mother’s side. I listen to parents talk about colleges for their kids, and to kids complaining about their parents. A beautiful girl in scarves and beads jangles by. Dogs bounce through the grass. Birds jump from fruit tree to fruit tree. It’s a spectacular day, blue as sapphire and green as a pippin. “There are no rules!” someone shouts.

A map of the world that does not include Utopia is not worth even glancing at, for it leaves out the one country at which humanity is always landing.
–Oscar Wilde

THE SOCIAL movements of the ’90s have learned a lot from the ’60s and ’70s,” says Dave Henson. “This is an interesting time for intentional communities, an interesting moment right now. People are expressing a direct interest in what’s going on.”

“I believe community is in our genetic code,” comments Michael Black. “I think it’s extraordinarily important in our own lives to make changes we want to see in the country, to materialize our ideals. Co-housing is just a small part of the big picture, but hopefully we’ll have an effect.”

Hope. Hopeful. Hopefully. One wonders how many times over the past 125 years those words have been spoken and thought in Sonoma County. Still, the record of utopian survival is pretty spotty. Of all the utopias described in this article, only the Occidental Arts and Ecology Center is actually up and running.

The old professor Dr. Robert Hine, who has made the study of utopias his life’s work, becomes defensive when I ask him why utopias always seem to fail. “I never like to measure the colonies in terms of success or failure,” he responds. “Many people who have moved away from utopian colonies say the years they spent there were the best years of their lives, the happiest and most fulfilling. Can you call that failure? People who build utopian communities are experimenting with an idea that may still come.”

When? Probably not until the schism Michael Black describes–“What some people call utopian, others might find horrible”–disappears. For now, the only thing disappearing are traces of Sonoma County’s old utopias. Nothing whatsoever remains of Altruria. Icaria-Speranza exists only in a brass California historical marker and in the name of a creek; noisy Highway 101 bisects the old commune. Only Lou Gottlieb himself lives on Morning Star Ranch. Bill Wheeler throws his May Day party every year, but that’s it. And Fountain Grove lives on only in the name of a parkway, housing developments, a motel, and executive and medical centers–the asphalt and dark-glass uglies that Santa Rosa’s “planners” would have us believe constitute New Utopia.

But what Michael Black’s words really remind me of is what happened up at the site of Preston last September. Preston’s pretty much gone, too, except for the church, clock tower, and scraps of outbuildings. A handsome 26-year-old kid named Ted Van Dorn, who had grown up around Madame’s old spa, took a late-summer hike in the hills one hot afternoon. He found someone else’s new utopia. Or may have; no one knows for sure. All anyone knows is that whatever secret, or treasure, or utopia Ted Van Dorn stumbled across that day in the hills where people once sought healing (most likely a marijuana field, say authorities), was worth killing him for. The murder remains unsolved.

From the July 3-10, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
&copy 1996 Metro Publishing and Virtual Valley, Inc.

Camp Food

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Eating Out

By Gretchen Giles

NO. YOU CAN’T have that,” I admonish in the market as my son looks up hopefully from the breakfast food that he’s tragically clutching. The garishly colored box holds the kind of white-sugar high-spike cereal that gives pediatricians nightmares.

“That’s for camping.”

No, I tell myself later, as I linger with an unfortunate erotic desire over the triple crème at the cheese counter, smoothing the little French triangle voluptuously through the supple plastic: That’s for camping.

That’s-for-camping because when we’re outdoors cuz there’s no indoors, even the most determined Jack Sprat wants to eat with boundless hunger. It’s got to be all that fresh air and sunshine. Fog and rain. Thunder and lightning. Small earthquakes.

It’s the vigor gleaned from setting up a tent whose commitment to the gravitational pull of the earth is stronger than your own. It’s the aerobic exercise gained from shouting unheeded warnings about poison oak patches. It’s the muscle-building repetitions occasioned by deep knee-bending for a midnight pee among sharp-clawed and curious nocturnal animals.

And all this pain and gain is caused by sissie old car camping, not the 50-pound-pack kind of camping that requires speaking of distance in foot-miles while carrying equipment termed “ultralight.” When it comes to food, car campers eschew to chew anything that fluffs up whenever mere water is added. Make it wine–hell, make it gravy. Car campers are notorious for gravy.

After all, one reasons, with so much damn exercise it’s got to be all right to power down a few (OK, tons of) treats, too.

But first you’ve got to plan, purchase, and prepare the stuff. And so back I am at the market, now sadly agreeing to every that’s-for-camping item promised since the early days of the Nixon administration.

DUE TO JOIN friends south of Big Sur for three days of yelling at other people’s kids and hand-washing dishes outside in the dirt, I waver over the meat.

“Just bring yourselves and some lettuce,” my host had advised. Yeah, right. What if we did arrive with a just few limp bunches from the garden? Imagine the gastronomic joy others will feel when I further reveal that I have also remembered to bring napkins.

I am full of resolve: There must be meat.

After all, there will be fires and men. (One of whom was to jump happily from his family’s tent before 8 a.m. on Sunday morning to shout “It’s a four-sport day!”) It’d be rude to arrive without meat, as though someone would then be obliged to club me and drag me off by my hair to a cave. I settle on a tri-tip steak, an oddly whittled cut of beef that looks as though it could spin on a coffee table.

On the Central Coast, where I learned to camp, the tri-tip is revered as a kind of roastable deity, with special equipment–the Santa Maria barbecue–having been created just to cradle it. Hewn from the halves of a well-scrubbed (one hopes, one hopes) oil drum, the Santa Maria boasts a special levering grill able to bring the cut flirtatiously up or down over hot coals. Not only can you cook your meat; you can control it.

But a tri-tip needs a little help. Plainly said, it can be like chewing a street hood from an old motorcycle movie: tough at first, then really kind of bland. Marinade is the answer, and this diamond-shaped griller got stashed in a bag with a little red wine, extra-virgin olive oil, chopped fresh ginger and garlic, a dash of soy, salt, and a grind of pepper.

Well sealed–and you do want to seal it well (think of oily marinade and watery ice in an ugly marriage at the bottom of your cooler)–this will soak happily for up to three days. When you’re ready to roast, just sacrifice this baby onto the grill provided at the campsite. It will blacken, but don’t panic. My mother has always said that the charcoal-burn crust is good for your teeth, although my dentist made a great show of laughing his head off at this news.

With the children briefly sedated by a premature foray into a box of that’s-for-camping cookies, we sidle back over to mon amour, the cheeses. In addition to lettuce, my friends require that I bring my own particular desecration: Brieg.

Catchy, huh?

Delicately put, Brieg is the contraction of the words Brie and goo. Go ahead and scoff–although it’s difficult to do with a mouth full of Brieg–it tastes infinitely better than it sounds. (But so does hot Tang, and that’s not saying much.) Brieg is a concoction of peeled, cubed ripe Brie, diced fresh tomatoes (seeds and skin and all), a half of a bunch of chopped fresh basil, and three to five pressed garlic cloves, all tossed with extra-virgin olive oil, a bit of balsamic vinegar, salt, and pepper.

In addition to its outrageously proud calorie count, Brieg is versatile. Really pretty gorgeously super spread naked on bread, Brieg also drapes itself all over hot pasta. Fresh mozzarella makes a healthier alternative to the Brie, and if you discount the cheese altogether, the resulting fresh tomato sauce is outstanding over just-drained tortellini. Sprinkle on some grated Parmesan or Asagio, and this is an elegant, satisfying pasta dish that keeps well for tomorrow’s cold lunch.

So I have the start: meat and cheese (or pasta). But I’m going to want corn, and the word “shuck” has always had a certain coarseness to it (unless one is talking oysters, and then shuck becomes backwards-East-Coast-elegant, like “dungarees”). While camping, I don’t shuck the suckers, but just throw them triumphantly into the coals, silk and all. Roasted until they are turning black but not yet actually on fire, they are then thrown into a big paper bag, sealed, and left to steam.

Red peppers can be roasted alongside the meat. Not surprisingly–a theme is emerging–they too are done when they are black, and should be steamed in a paper bag until they’re cool enough to handle. Skinned and sliced, the peppers are babied in a salad of chopped garlic and shallots, with the ubiquitous extra-virgin, balsamic, s&p dressing.

Like some annoying Martha Stewart of the KOA, I bring my lettuce already washed, spun, bagged, and ready to be torn and dressed. One of the Darwinian joys of living outside for the weekend is that even the most sophisticated camper gets the indulgence of using savage verbs to reconnect oneself and one’s dinner with mankind’s humble beginnings.

Bread, tortillas, and corks also go into the fire–though I hope you don’t mean to retrieve the corks–and flour products are happiest protected in foil. Dessert slides easily from the Tupperware surprise of a cake brought forth hot from the trunk to my preferred fireside pleasure of a shared bar of chocolate and a measure of good port drunk from a plastic cup.

And then there’s that lone pear that the children have overlooked.

(In case no one has ever told you since you became an adult, s’mores are a nightmare of stick and stuck and unhappy faces as wet drooping marshmallows plop into the dirt. The chocolate is never shared to the satisfaction of fraction-vigilant children and the graham crackers crumble helplessly at the first bite. Avoid this happy memory with your life.)

One friend counts among his favorite camping memories the impromtu tuna-couscous casserole, replete with packaged Mediterranean sauce mix, that his wife whipped up during a night’s outdoor stay on the frigid Humboldt coast. While you may not wish to ever–in any way–taste such a thing yourself, it just goes to show that it’s not what you eat as much as where, and with whom, you eat it.

From the July 3-10, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
&copy 1996 Metro Publishing and Virtual Valley, Inc.

The Nields

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Riding High


On the up and up: The Nields

The Nields live a world of wonder

By Greg Cahill

NERISSA NIELDS, a Yale grad with a plucky spirit and a reputation for helping to reinvigorate the oh-so-serious alt-rock scene, shows no sign of buckling from the rigors of touring in a crowded van packed with drum kits, guitar cases, and four bandmates.

In fact, she sounds a lot like a kid on her way to summer camp.

“It’s been a long learning process as to how one lives a life out on the road. But it can be done,” says Nields, 28, phoning from a rest stop on the Pennsylvania Turnpike, somewhere between Philadelphia and Pittsburgh. “It’s gotten to the point where we actually look forward to driving days because we’ve finally figured out just how many Wendy’s baked potatoes one can eat in a given week before you can’t take it any more.”

Any road weariness is alleviated by rave reviews for Gotta Get over Greta (Razor & Tie), the latest release from the Nields–guitarist/vocalist Nerissa, husband/guitarist Dave, sister/vocalist Katryna, bassist Dave Chalfant, and drummer Dave Hower. The CD–which blends the Nields’ acoustic-folk roots with an intense but inviting electric sound–was produced by Kevin Moloney, who engineered U2’s Sunday Bloody Sunday and produced Sinead O’Connor’s The Lion and the Cobra.

Musician magazine compares it to “a gentle explosion of high-strung harmonies and spare arrangements of songs that snap like cinnamon sticks.” Spin lauds “the twists in the tales, the quirks and ironies that make every song a short story.”

“It’s really nice,” says Nerissa of the praise. “It’s sort of like getting A’s from your teachers.”

The disc is rife with quirky tales–sort of the flip side of cuddlecore. “Best Black Dress” suggests the joys and sorrows of an affair with an older man. The title track is a poignant, painful look at a childhood friendship that becomes a terrifying trap. “When those friendships break up, there’s nothing in my experience that’s more painful,” says Nields. “It’s different than a romance because there’s not a lot of discussion about why things aren’t working out. When a friendship breaks up there’s just silence–that’s the defining quality.”

Churning guitars are the defining quality of Gotta Getting over Greta, a straight-ahead alt-rock outing from the one-time folk trio. “Katryna, David, and I always at some level wanted to be a full band,” says Nields, who still plays acoustic guitar. “The influences that were closest to our hearts when we were growing up were the classic ’60s rock bands: the Beatles, the Stones, the Who. So the dream always was to be a band, though we spun around as a trio for a couple of years.”

Enter bass player Chalfant. “It was like he opened all the shades on the windows in a darkened room,” Nields says. “Suddenly there was all this space, all this room, all this light. It was a pretty exciting moment for us.”

Chalfant brought in drummer Hower and produced 1994’s Bob on the Ceiling, the Nields’ self-produced electric album. “We wanted to be more than a band,” Nerissa adds. “It sounds really corny, but you do need to have a love for each other to get you through the hard times that bands all go through.”

For the Nields, these aren’t hard times. “The ride up is always fun and we realize that we’re on the ride up right now,” Nields says.

And what about the thrill of playing in a rock band after all those years on the acoustic folk scene? “It’s like flying,” she says matter-of-factly. “There’s nothing like it. You become the song in a really wonderful sort of way.”

The Nields perform Saturday, July 6. Strangewood and the Supernaturals open. Inn of the Beginning, 8201 Old Redwood Hwy., Cotati. 9:30 p.m. $5. 664-1100.

From the July 3-10, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
&copy 1996 Metro Publishing and Virtual Valley, Inc.

Talking Pictures

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‘Moll’ Pall


Look at her pretty face: Sarah Halprin wonders at this defaced Defoe.

Therapist sees ‘Flanders’ flounder

By David Templeton

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This time around, he takes iconoclastic author and therapist Sarah Halprin (Look at My Ugly Face) to see the new cinematic adaptation of Daniel Defoe’s Moll Flanders.

WE ARE EXACTLY 27 minutes into a screening of . It is my first time seeing this adaptation of Defoe’s 1722 novel, while it is Sara Halprin’s second. She didn’t like it the first time. Even so, she has approached Moll today with her mind firmly set on finding some redeeming quality in the film. Ha!

We are witnessing the opening movements of a scene wherein the virtue of Ms. Flanders (Robin Wright) is about to be auctioned off, against her will, to a seedy band of brothel patrons. At this point, Halprin’s resolve has thoroughly evaporated.

“I’m ready to go when you are,” she whispers. “Unless there’s something else you need to see.” I glance back at the screen. Nothing occurs to me. And with that, we’re out of the theater faster than you could say “Adaptational Travesty.”

Halprin, of Portland, Ore., is a former professor of English literature and an award-winning documentary filmmaker. She is a therapist in private practice, and is the author of a fascinating new work of social criticism, Look at My Ugly Face!–Myths and Musings on Beauty and Other Perilous Obsessions with Women’s Appearance (Penguin Books, 1996). Arriving amid a flurry of similarly themed books, Face takes its title from the Taoist tale of Sun Pu-erh.

An intelligent 11th-century Chinese woman, Sun Pu-erh asked to study the Tao, but was denied because of her beauty, a certain distraction to the male students. After horribly scarring her features with burning oil, she returned, exclaiming, “Look at my ugly face!” No longer a sexual distraction, she was allowed to attend.

Halprin’s book intelligently examines the limitations and psychological damage caused by our most cherished perceptions of beauty and ugliness. Engaging and honest, full of stories from various cultures, Face is an eye-opener.

So is Moll Flanders, the book. The film is another story.

“If they’d filmed the book, it could have been wonderful,” a soft-spoken Halprin asserts over lunch. “There was no fidelity to the book whatsoever.

“If you look at the whole movie, it’s just a series of stereotypes of women. This is not a woman’s view of women. What’s interesting about the novel is that it’s not clichéd at all!,” she exclaims. “It is a relentless examination of a woman whose morality is based on materialism. She has passion and lust–in the sense of results–but she reckons everything in dollars and cents.

“In the movie, she has one true love and one child,” Halprin goes on, “but in the book, of course, she has five husbands, and numerous children whom she cares nothing about and she gives them all away to other people.

“I would love to see a movie really based on Moll Flanders. I think it would be incredible,” Halprin laughs. “It would be very shocking.”

And what about Robin Wright as Moll, a woman whose beauty (as the character states at the opening of the film), like Sun Pu-erh’s, created as many problems as opportunities?

“Robin Wright was an interesting choice. She’s not your standard pretty woman,” Halprin answers, “though she is typically scrawny, in keeping with modern standards. If you’ve read Defoe, though, it’s clear that Moll is not skinny. She’s a fine figure of a woman, by 18th-century standards.

“The obsession with skinniness has been growing since Twiggy, I think, in the ’60s,” she continues. “Audrey Hepburn certainly picked up on that. But if you look at Marilyn Monroe and then you look at Robin Wright, what a difference! Marilyn was curvaceous and juicy and round, not the least bit skinny.”

In the movie, Halprin contends, the skinny goodhearted heroine and the girthy, malevolent madam are just two of the many simplistic images used to place moral value on the characters. The selfish sisters are bucktoothed and awkward. The kind and maternal foster mother is plump and wrinkled. Then there’s the spectral figure looming in the background as the film begins.

“The mysterious woman,” as Halprin identifies her, “on whom the whole plot of the movie turns, she’s out of focus, unclear. That’s a big stereotype. She’s the blank slate on which men can project their fantasies. The minute you see this fuzzy blur of a woman, you know you are in a mainstream movie directed from a male perspective.”

Would a woman not have conceived of an image like this? A Mystery Woman?

“She might, but you would still understand that the movie was directed toward the male spectator. When Moll is portrayed as pure and chaste and holy, I know that the polar opposite of that is the image of woman as a whore, a bad, wicked woman. These are two split-off projections that have nothing to do with the complexity of male-female natures. They have entirely to do with the construction of woman by men.

“It’s so odd,” she laughs. “The filmmakers were as obsessed with making Moll seem pure and untouched as they were in showing her being humped by one man after another. It’s quite ridiculous, isn’t it?”

From the June 27-July 3, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
&copy 1996 Metro Publishing and Virtual Valley, Inc.

Random Ridge Vineyards

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Surf and Turf

By David Templeton

WITH LONG, QUICK strides, Bill Hawley leads a visitor up to the vast, rambling farmhouse that he built–in full appreciation of the romance of it all–with his very own hands. To the left of the house, which was constructed from reclaimed (read: used) lumber, is a wide path that leads around to the back, and then down into the vineyard.

“Watch out for rattlesnakes,” he warns, adding, “I kind of like them. They don’t eat grapes and they keep away the animals that do.”

This is Random Ridge Vineyards, the whimsically titled wonderland located 3,200 feet above the Sonoma Valley, atop the craggy volcanic eminence of Mt. Veeder. It is here that Hawley, a native of Southern California, sometime poet (in the Gary Snyder vein of nature-inspired verse), and a rabid enthusiast of surfing, established himself, along with his lawyer wife Susan, in the late 1970s. Settling in, the pair cleared several acres to make room for Hawley’s slowly fermenting vision: the creation of an independent winemaking business producing unique, world-class wines that would capture the muscular essence of all that is Mt. Veeder.

Today, by all accounts, Hawley has done just that. Producing no more than 1,000 cases of wine per year, Random Ridge has charmed its way to the forefront of an expanding number of small “boutique” wineries. Priced in the middle to high range ($12 to $30 per bottle), Hawley’s product is in great demand, as much for its character and flavor as for its understandable scarcity.

“They are all handcrafted, all wonderful wines across the board,” gushes wine consultant Les Ferguson of Traverso’s Gourmet Food & Wines in Santa Rosa. “All of the Random Ridge offerings are just exceptional. The red table wine is as good they get. It’s ready to drink now, and it ages wonderfully.”

Handcrafted wines

It is a charming, homey little phrase that is dangerously close to becoming an industry cliché, yet in Hawley’s case, the description “handcrafted wines” is completely apropos. He tends his own crop, with only one hired hand and the occasional conscription of his two sons. He also farms other small-scale vineyards, thanks to a variety of handshake deals that give him use of his neighbors’ grapes. The grapes are sent down the mountain to Peter and John Wellington, who operate a small winery in Glen Ellen, and with whom Hawley has been collaborating since 1981, when they began bottling wines under the Random Ridge label.

And speaking of that label, the handcrafted category has no handier or craftier a label than the wildly enchanting, look-Ma-I-can-draw-type badges that are affixed to each bottle of Random Ridge wine. The “Old Wave” zinfandel features a chimerical cork riding a surfboard, a reference to Hawley’s lifelong, wave-riding hobby. The Random Ridge Red Table Wine is a hallucinogenic montage of tiny images: dangling horseshoes, hat-waving buckaroos, and, of course, surfboards. The sangiovese label is even less fancy: two bravely drawn wine glasses, exchanging a wave of multicolored drips, and nothing else.”

We are inside the house now. A light-filled, multiwindowed beauty, Hawley’s home is eccentrically designed, its wraparound lofts and creative use of space the result of working with whatever materials were available at the time.

“My first career was in construction,” he says, explaining his house-building know-how. “After I bought this property, I was working at different wineries in the valley. I’d started collecting reclaimed lumber and windows and stuff. Whenever I thought I had enough to work with, a contractor buddy and I would take a look at my pile and figure out what to do with it. We’d build on the house until I ran out of material, and then I’d start collecting again.”

Since his home is too far away from town for the county to provide electricity, Hawley powers it with solar-powered roof panels and a number of generators. Leading the way through the house, he points out his collection of surfboards–several rooms worth–ingeniously stored on the ceiling, where they fit nicely between rafters. The walls are adorned with paintings, photographs, and framed poems from writers the Hawleys respect.

Bill Hawley’s own writings, most of which he has self-published in low-volume quantities throughout the years, stand in a place of honor beside other poets’ works.

A brief peek into the bathroom reveals Hawley’s enthusiasm for old-fashioned sinks and fixtures. “I have kind of a sink fetish,” he admits with a grin. “I have antique sinks all over the place.”

He’s a hard one to describe, this Bill Hawley. Vintner-poet-surfer-builder-farmer-father-husband­sink fetishist. One description he does not appreciate is the word eccentric.

“I don’t think of myself as eccentric at all,” he shrugs. “I prefer ‘rugged individualist.'”

But a term that he will allow to be applied to himself is the word lucky. “I am lucky,” he states gratefully. “I wouldn’t say that I’m fully content. I don’t know if I ever will be. But it’s certainly a good life I’ve got. I don’t know how I could live any other way.”

He gazes out the window, a sweeping view of his vineyards and all the tree-filled vastness of the mountain beyond. “If I ever had to go get a real job again, I’m sure I could do it,” he acknowledges. “But I’d be pretty bummed.”

From the June 27-July 3, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team. &copy 1996 Metro Publishing and Virtual Valley, Inc.

Third Party

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Third Party Blues


Janet Orsi

Stars and stripes forever: Viet vet-turned-state Assembly candidate Al Liner is waging a low-cost campaign for political reform.

Al Liner has a plan to revolutionize California politics. Why isn’t anyone listening?

By Greg Cahill

IS IT MY IMAGINATION or does the fabric of our society seem to be held together with bubble gum right now?” asks Al Liner as he tackles a messy McDougall burrito at a noisy Santa Rosa taqueria between observations about how politics affects people’s lives. Clad in casual slacks and a charcoal-gray T-shirt emblazoned with a pencil rubbing out the word eracism, 46-year-old Liner–who looks like a middle linebacker and speaks passionately about his convictions–is no stranger to the peculiarities of politics. As the shelter program coordinator at People for Economic Opportunity, a local non-profit agency based in Roseland, he deals on a daily basis with the way in which decisions made on the floor of the state Legislature affect people on the streets.

The burly Vietnam vet is a Peace and Freedom candidate who is challenging incumbent Valerie Brown in the 7th Assembly District race. He’s struggling to get respect in the press, since third-party candidates are seldom taken seriously in the media.

So it’s perhaps no surprise that on this hot, sunny afternoon the topic of conversation is political reform. All the more so because an increasing number of people are growing disillusioned by politics-as-usual–in Sonoma County, for instance, the number of those registered to minority parties has increased 51 percent in the past four years to 11,461, or about 5 percent of registered voters overall.

Yet, the news media have virtually blacked out stories about third-party candidates–unless, of course, they’re bankrollers with a few million bucks of their own cash or being portrayed as flaky New Age hucksters.

Liner has plenty to say about that.

Right now, he’s livid about how hard it is to get press coverage for a plan that he says will revolutionize California politics.

“During the spring primary election, it was especially frustrating because I was seeing all these stories in the local daily about other parties and other candidates–Republicans, Democrats. Hell, I even saw a story about Santa Rosa City Councilman Jim Pedgrift saying that he was considering the possibility of running for the state Assembly in 1998.

“Yet they wouldn’t do a story on me.”

So, Liner phoned Marilyn Duck, assistant editorial page director at the Press Democrat, and asked what the deal is.

“She said that I was running in an unopposed race, so they didn’t need to cover me,” he recalls, adding that the PD covered the Republican and Natural Law party candidates even though they also were running unopposed. “I asked her about that. She said the Natural Law Party has a catchy position on transcendental meditation,” he explains. “She said that’s new and different, whereas the PD knows what the Peace and Freedom Party is all about.”

“I said, ‘Oh, really? Can you tell me what proportional representation is, because that’s a cornerstone of our party?’

“She couldn’t.”

Ah, yes, proportional representation–the Peace and Freedom plan that, Liner says, could change the face of California politics. It goes like this: The state Legislature is comprised of numerous Assembly districts in which the candidate who wins a majority of the votes gets to represent everybody in the district. So, even if you didn’t vote for them–and even if their ideological beliefs run counter to your own–well, they represent you anyway.

“We believed that’s not a very democratic way of doing things,” Liner says. “So we looked around for an alternative.”

What the Peace and Freedom Party came up with is a model that has multiple-member districts in which each party wins a proportion of the representation–thus the term proportional representation–based on the percentage of the vote garnered by each party within the district. For example, if the 7th Assembly District has 10 legislators and the Green candidate wins 30 percent of the votes, the Green Party gets three members in that district’s legislative delegation.

Proponents say that such a multiple-member system would encourage voter turnout, foster issue-oriented campaigns instead of those nasty negative campaigns we’ve all love to hate, and open up the political system to new ideas. Critics argue that it would be unwieldy because the Assembly would have too many members, leading to factionalization and fierce battles.

“We have to accept the idea that we don’t live in the most democratic system possible,” Liner says. “The fact of the matter is we live in a two-party system and less than 50 percent of those who are registered to vote actually go the polls. So the minority rules–and that’s not very democratic.”

PROPORTIONAL representation is not a new idea. Nor is it particularly radical. In his book Real Choices, New Voices: The Case for Proportional Representation Elections in the United States (Columbia University Press, 1993), Mount Holyoke College professor of politics Douglas Amy blasts the single-member plurality system used to elect officials in the United States as “unfair, outmoded, and undemocratic.” While voters often express anger and frustration about the poor quality of candidates, the constant re-election of incumbents, and the role of special-interest money in politics, Amy notes, little attention is paid to the most basic mechanisms of our electoral system–the method of casting votes and electing winners.

“It would hardly occur to us that this voting system is deeply flawed or that it routinely violates the principles of fairness and equal representation that we believe are the hallmarks of our political system,” Amy writes.

Countries using proportional representation include Belgium, Denmark, Finland, Germany, Greece, Ireland, Israel, Italy, Luxembourg, the Netherlands, Norway, Portugal, Spain, Sweden, and Switzerland. All those countries knew about the single-member plurality system, but rejected it.

They aren’t the only ones.

When the emerging Eastern European democracies went shopping for election systems after the fall of the Soviet empire, they embraced many aspects of the American political system. The single-member plurality model wasn’t one of them.

In fact, the only Western countries that still use the first-past-the-post process to elect officials are Great Britain, Canada, New Zealand, and the United States–all heirs to the British tradition of government.

Minority party candidates in California–wary of the monopoly control exerted by the Republican and Democratic parties–would like to change that. “Everybody from Perot down is concerned that third parties never get a word in edgewise,” says Coleman Persily, a perennial Peace and Freedom Party candidate from San Rafael. “The Libertarians, Greens, Reform Party, and others all agree that something has to change.

“Otherwise we’ll have tweedledum and tweedledee for the rest of our lives.”

Proponents of proportional representation point out that one need only look at eroding voter turnout to see that the current system is failing. “We have to ask ourselves why people in the United States are not participating, and I believe that the problem is that they’re not being represented by the two major parties,” Liner says. “Our government has become exclusive rather than inclusive, and that’s just the opposite of what democracy is all about. You have to have either a lot of money or a lot of influence to participate in the government.”

As a result, he adds, public officials are often elected by a mere margin of the eligible voters, including a significant number of folks who just don’t even bother registering anymore.

“The thing that is really mind-boggling is that those so-called major parties–the Republicans and the Democrats–are actually the minority,” Liner says. “They’re each getting less than 30 percent of the votes cast on the ballot, even though the majority of registered voters are from those two parties. When push comes to shove and it comes down to whom you believe in during the general election, people simply are not turning out.

“I’m not saying that proportional representation is going to make us the best government in the world or solve all our social ills,” he adds. “What I am saying is that it’s a step in the right direction. By proposing it, at least we are looking at the problem. Nobody else is even doing that, and evidently the major media don’t want to look at it either. It challenges the status quo and means that the Republicans and the Democrats are not going to have all the power.”

Clearly, proponents of proportional representation are waging an uphill battle.

TO GET THE MESSAGE out, Liner is aggressively canvassing door to door, setting up tables at shopping centers in Napa and Sonoma counties, stumping the local farmers’ markets, and hosting coffee klatches.

The response, he says, is overwhelmingly positive.

“The biggest concern people have is that government is just not responsive to them,” he says. “People are not apathetic. The reason that more people don’t vote is that they are disenfranchised. They feel that it doesn’t matter who–they vote for–who the winner is–because the voters are going to get screwed.”

Liner has raised about $1,000 for his grassroots campaign, from yard sales and other modest sources. By comparison to most state races, his campaign is strictly low-rent–no bumper stickers, no lawn signs. Without press coverage, he’s quick to point out, it’s very difficult to get people to take him as a serious candidate.

“It’s hard to raise money, because people don’t hear about us,” he says.

Indeed, Liner has received scant radio coverage and a mention in only a couple of smaller community newspapers in the 7th Assembly District, which includes most of Santa Rosa and runs east through the Napa Valley and then south through parts of Vallejo. It’s not unusual for minority party candidates to get so little press attention, nor is it just the mainstream news outlets that snub them; the alternative newspapers also turn their backs on third parties. At a panel discussion about political coverage at the 1995 Association of Alternative Newsweeklies regional convention in San Francisco last fall, the editor at one influential California newspaper, who later asked not to be named, said that his paper did not cover third-party candidates “because they’re not a factor.”

That’s starting to change a bit. “If a third-party candidate is running a strong campaign and they have something interesting to say, then we would give them a guest commentary,” says Melinda Welsh, editor of the Sacramento News & Review. “But if it’s just a matter of somebody putting their name on the ballot for a vanity campaign or just to say there should be more options on the ballot, then we’re not interested.

“Why should we in the media jump through hoops and take them super-seriously if the candidates don’t even take themselves seriously?”

Back at the Press Democrat, Marilyn Duck eventually asked Liner to send her some information about proportional representation. He did. Three and a half weeks later, Liner still hadn’t heard from Duck. So he phoned the office and ended up speaking to editorial page director Pete Golas. Thinking the information had been intended as a letter to the editor, Golas said the paper had no intention of publishing it. Liner told him it was meant only to brief the editorial staff on the proposal.

“He basically said,” Liner recalls, “‘We’re not going to cover proportional representation. The voters don’t want to know about it.’ Then he added, ‘We’re not going to put it in and I doubt very much that we’re going to cover your campaign or the Peace and Freedom Party.’ He added that the people already know what it’s about and they don’t care.

“Now, I don’t know how he knows that. I’m the one who’s been out there knocking on doors and finding plenty of people who really want to hear about an alternative.”

IF THE NEWS MEDIA aren’t taking third parties seriously, mainstream politicians are. Rep. Lynn Woolsey, D-Petaluma, recognizes the potential for the Peace and Freedom Party to act as a spoiler, especially since Peace and Freedom candidate Darlene Comingore siphoned 15 percent of the liberal vote in 1990, helping to lead to the defeat of Democratic incumbent Rep. Doug Bosco by then neophyte Republican Frank Riggs. Last fall, Woolsey called a meeting with local Peace and Freedom Party central Committee members and asked them to work for her campaign in a united effort to stave off a challenge by Republican businessman Duane Hughes of Petaluma.

According to Liner and others at the meeting, Woolsey–an old-school liberal Democrat–said she felt more “sympatico” toward Peace and Freedom ideals than to those of her own party, which has shifted in recent years toward the political center. “We asked if she would consider switching parties,” Liner recalls. “She flatly refused. So we told her that might be political suicide, and asked her, ‘But what, then, is the Democratic vision of the future?’ She had no answer. She got angry. She said she wasn’t here to discuss that.

“How can you lead if you have no vision?”

Those who question whether a vote for a third-party candidate isn’t just one less vote for a Republican or Democrat–the same folks whose decisions at the polls often are governed by the lesser-of-two-evils rule–should re-examine their democratic principles, Liner says. “If you believe in what I say and you vote for Valerie Brown, then I’m not taking anything away from her–she’s taking votes away from me,” he says. “The real issue is that in this so-called democracy, if you’re not allowed to vote your conscience, then something is drastically wrong.

“The mere fact that people ask that question should tell us that something is wrong. Desperately wrong.”

Under the monopoly control of the two-party system, the whole concept of party politics has gotten a bad rap, he adds. In recent years, that even has led to a discussion about adding a “none of the above” category to ballots to indicate that voters want the parties to field better candidates. “Two-party politics can be extremely valuable if it’s used correctly,” Liner adds. “But the Democrats and the Republicans have used it largely to fulfill their own self-interest and to cut people out of the process.”

Meanwhile, Liner readily acknowledges that Valerie Brown is a well-liked elected official, especially in her hometown of Sonoma. But he points out that his campaign is driven by issues and not by a dislike of her performance. “I have had to search my soul about why I’m running,” he says. “Am I here to get votes? If I’m here just to get votes, then I will avoid campaigning in her backyard. If I’m not here just to get votes, but to get a message out, then I’m going to campaign, not just in her backyard but at her front door. I’m taking the latter of the two options. We have a message here and it is an important message. I firmly believe it is one of the most important political messages to face Californians in this century.

“If you want to deal with proportional representation, I’ll drop out of this race and help you. But if not, I’m coming back at ya.”

From the June 27-July 3, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
&copy 1996 Metro Publishing and Virtual Valley, Inc.

Carol Setterlund

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Fully Figured

By Gretchen Giles

ARTIST CAROL SETTERLUND lives alone, but her house is fully peopled. Opening the front door to her Cloverdale residence, she invites the visitor in and for a few moments there is absolutely nothing to talk about. We are silenced by the indoor view.

Set past a slight rectangular breezeway that leads off to her workroom, the front room that Setterlund has converted to a home gallery of white walls and skylights confronts the viewer with stark impact.

Standing caught in their acts are several of her life-sized wood sculptures of men and women, many with hands clasped in supplication, others blinded by scarves of metal gauze and cheesecloth. One proffartays back her shoulders to show the low valley between her breasts to be pocked with a found object, and a third has turned to reveal an obsidian jugular running from cerebrum to heart. The nude man in the corner balances a beach-softened root ball as a rakishly sacred hat.

“I don’t draw, I don’t use photographs, and I don’t know what I’m doing when I start,” says Setterlund settling atop a low stool. “I start with a piece of wood.”

Hewn primarily from thick pieces of redwood, Setterlund’s sculptures belie their origins. Whittled, chopped, shaped with chain saws and die grinders, these graceful figures and busts really look more like objects culled from the forge than the forest.

Surfaced in putty, sand, and acrylics, the wood grain is invisible and the seams–joining arms to shoulders, legs to hips–are lost. “I like the transformation,” Setterlund explains. “I guess I see my hand on it more. And I hadn’t known how to handle the seams. A lot of people have asked me why I don’t show more of the wood, and I have tried to, but by the time I was through with a piece and satisfied with it, the wood was all covered up.”

Completely self-taught, this artist–whose one-woman show at the Quicksilver Mine Company opens Friday, June 28–was given two fence posts 25 years ago. “I got some tools and started fooling around,” she says–as if wrestling art from that which most people would consider to be good kindling were the most natural thing in the world.

Then a wife and mother of small children, Setterlund had been trying to compose short stories “before computers and rewriting got to be as pleasant as it is now,” she smiles. “All of a sudden I was just completely sick of sitting over a typewriter and redoing and redoing. By the time I was finished, it wasn’t something that I even understood. It was lost to me. I wanted to do something that I could have in my hands when I was finished.”

Setterlund admits, “I have a problem with story. Beginning, middle, and end are really a problem for me, which makes me think that sculpture is really quite perfect. It’s timeless, because beginning, middle, and end are all there in just one piece.”

The kind of “fooling around” that Setterlund characterizes as sparking her early interest in woodworking led her to create highly glossed abstract pieces, studies in grain and form. Sitting in the cool afternoon gloom of her kitchen, she points to photographs of that phase. “I was interested in doing beautiful work, with far less tension,” she sighs. “I think that then the tension was more in the craft than in how far I could push the work. Now, it’s how far can I push the emotion or the idea.

“I have no interest in doing this kind of thing anymore,” she says definitively as she turns the page.

ONE CAN SEE why. While her earlier work has an affable living-room quality–the sort of attractive, sensuous objects easily bought and caressed–the challenge of her current figures has brought her work to the fine-art level that tightens the stomach of the viewer: This is the real stuff.

An unfinished leggy torso stands with Sasquatch grace in Setterlund’s small studio. Armless and headless, fashioned from redwood, and covered with rough paint and putty that cancel the desire for touch, it’s called “Witness.”

“It’s a witness of being rather than seeing,” Setterlund elucidates, citing the idea of paradoxes that characterize her work. “I try to get opposing things together without being too conflicted or having too much tension. That’s probably my biggest problem.”

With its pitiful mammalian evidence of nipples and navel, “Witness” is simply human, with the strength of a man’s legs and a tender spot on the lower abdomen that curves like the belly of a young girl. Just below the thorax of the ribs’ butterfly is one smooth swath of cool bluish paint; if “Witness” were a lover, this would be a cherished place.

“When I started out with this piece,” Setterlund explains, “I wanted to make it be something that you couldn’t decide whether or not you wanted to touch. You wanted to touch it but were repelled. I lost that urge along the way. It wasn’t that I didn’t want it to be that, but I just got engrossed in the being.

“This is very close to finished,” she says as we get near the piece. “It had genitals, but I decided that it didn’t need them. I hesitated a long time before cutting them off, because what I didn’t want is attention in that area, and I was afraid that cutting them off would make that more of an attention area. I don’t think that it has done that,” she finishes appraisingly, looking at the wood putty patching she has applied to the figure. “He actually had a head and arms. The arms are over there,” she gestures. “And,” she says impishly, going up to the piece and turning it. “He has a great butt.”

Agreed.

After the cackling has died down, she continues more soberly. “I decided that I wanted him just as a . . . it’s hard to put in words exactly, how I feel about this piece.

“A head is not involved,” Setterlund says slowly. “It’s a piece that doesn’t have a story. It just is. It’s a being.”

The exhibit of Carol Setterlund’s figurative sculpture shows at the Quicksilver Mine Company June 28 through Aug. 4. A reception is planned for Friday, June 28, from 5:30 to 7:30 p.m. 154 N. Main St., Sebastopol. Gallery hours are daily, 10 a.m. to 5:30 p.m. 829-2416.

From the June 27-July 3, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
&copy 1996 Metro Publishing and Virtual Valley, Inc.

Grand Avenue

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Mean Street


Light of Day: Irene Bedard plays Reyna.

‘Grand Avenue’ is brave and beautiful

By David Templeton

THERE IS A FUNNY story that author Greg Sarris likes to tell. It’s about his days as a student at Stanford, writing stories based on the motley, moneyless American Indian families of Santa Rosa’s Grand Avenue, people whom he had come to think of as family in the late ’60s when they all but adopted him. One of his English professors, an established novelist, was derisive of young Sarris’ efforts, telling him that such starkly drawn tales had zero chance of ever being published.

Sarris, enjoying the irony, began telling this story at book signings after Grand Avenue: A Novel in Stories was published by Hyperion in 1984. The story became even funnier when he told it last fall, as a massive movie crew from HBO descended on Santa Rosa to film a three-hour movie based on the book and produced by Robert Redford.

By the time he told it again last Thursday night, speaking before a standing-room-only audience at the glitzy world premiere of HBO’s production of Grand Avenue, the story become downright hilarious. “I never forgot that professor’s words,” Sarris grinned, standing in front of the giant screen at Luther Burbank Center. “And I recently heard that his latest novel was just rejected by the same publisher that printed mine.”

If there is a touch of gleeful vengeance in his voice, this audience forgave him, responding with a deafening round of applause. For Sarris and the entire community of urban Native Americans–a group that remains virtually invisible to the dominant culture–all this positive attention and the lavish trappings of a movieland premiere must be very sweet indeed.

In fact, by the time the crowd, a large number of whom were members of the local Pomo and Miwok communities, had taken their seats in the auditorium, the excitement had built to a nearly excruciating degree. Then came Sarris’ emotionally charged address to his people. “Someone came up to me earlier,” he beamed, “and said, ‘Greg, haven’t we gone a little too Hollywood here?’ And I said, ‘That’s not what’s happening at all. It’s not that we’ve gone Hollywood. It’s that Hollywood’s gone us!'”

AND GRAND AVENUE is deserving of star treatment. Aside from its position as the first major film (on television or otherwise) to present an honest glimpse into the lives of modern, urban Native Americans, it is also a solid work of art. Confidently directed by Emmy-winning Danny Sackheim (NYPD Blue, ER), this two-part event is as grand as it is raw and gritty, a powerful illumination of the inner lives of three loosely related Pomo Indian families. Connected by the ramshackle street on which they all live, and by a common struggle to rise above a bleak reality, these characters surmount the seemingly hopeless circumstances of their world.

Molly (Sheila Tousey) is an overwhelmed, alcoholic mother, drowning in despair. Her differently fathered children–Justine (Deeny Dakota), Alice (Dianne Debassige), and Sheldon (Cody Lightning)–test the waters of sex, gang association, and, in Alice’s case, the spiritual practices of their people. Anna (Jenny Gago), Molly’s cousin, is on the verge of losing her marriage as she fights to save her own teenage daughter, Jeanne (Simi Mehta), who’s battling a malignant brain tumor.

Steven (A Martinez) is a guilt-ridden high school teacher, trying to face responsibility for his illegitimate daughter–who has unknowingly moved in down the street. His wife, Reyna (Irene Bedard), a nurse at a Native American health clinic, struggles to find a place within her husband’s expanding familial identity. Then there is Nellie (Tantoo Cardinale), an Indian singer/
healer and basket maker, viewed as dangerously crazy by the local gangs, who finds that her simple songs still have a purpose, even in an era of desperation and disbelief.

Complicated and topical, this is no soap opera: the large ensemble cast is uniformly magnificent. Sarris’ screenplay is strong, and Sackheim’s direction (likely to put him in the running for another Emmy) is skillful, relentlessly presenting the ugliest details while sorting through them for fragments of beauty, wisdom, and hope.

The first half of Grand Avenue is, in fact, so despairing and grim that some viewers may not return for the second. They would be missing out on something extraordinary. The answers presented are nothing new–love, faith, trust, and forgiveness–but the possibilities they represent are seldom shown this powerfully.

Grand Avenue is brave and poetic. Its characters seem increasingly real, burrowing into the heart, taking hold with the same fierceness with which they fight for a small, good place in the world.

Grand Avenue premieres on HBO cable on June 30. Check your listings for times.

From the June 27-July 3, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
&copy 1996 Metro Publishing and Virtual Valley, Inc.

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