Talking Pictures

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Wild in the Seats

Tough-guy author Gifford not shaken by ‘City Hall’

By David Templeton

David Templeton specializes in taking interesting people to interesting movies in an ongoing quest for the ultimate post-film conversation. This time out David sees the recently released mayor-may-not thriller City Hall with the internationally renowned novelist/poet/screenwriter/playwright Barry Gifford.

The rain is falling and the streets are all adrizzle–slick, wet, and dangerous. A fine day for a movie and a fitting day for a talk with Barry Gifford. Though he’s best known as David Lynch’s collaborator on the genre-twisting cult-film Wild at Heart, based on Gifford’s novel of the same name, his reputation as one of the modern masters of crime fiction has been firmly established for years.

His numerous novels (including Port Tropique, Sailor’s Holi-day, and the recent Baby Cat-Face) are elegant, dark, and soul-shaking, quite disturbing but undeniably fun to read. The Gifford universe is a weird one, profoundly ugly yet profoundly sweet; magical, intense, violent, and funny, a volatile mix that has earned him a loyal following around the world.

In recent years, the ardent movie-lover has become engulfed in filmmaking. He and Lynch have just wrapped filming on Lost Highway, with Patricia Arquette, Bill Pullman, and Richard Pryor. The film version of his novel Perdita Durango is about to commence in Spain, to be followed by another collaboration with Lynch. In his films, as in his novels, Gifford is not content to provide simply a diverting two hours in a darkened theater; he expects much more. “I want the sidewalk to look different when people walk away,” he has said. “I want my stuff to change people’s lives.”

If you don’t know what he means, you probably haven’t seen Wild at Heart. Gifford is waiting for me, standing in the rain outside a crowded cineplex, just around the corner from his Berkeley home. With him is his longtime associate Vinnie Osorio. Wet and cold, our merry threesome ducks inside to claim our seats.

City Hall, starring Al Pacino, John Cusack, and Danny Aiello, is a com-petent, occasionally powerful study of idealism vs. big-city politics. Pacino is the practical mayor who watches his empire crumble in the wake of a shooting that left an innocent boy dead. Along the way, Cusack looks persuasively peeved and Aiello shares a tender kiss with a parakeet.

A riveting film, but no match for the Previews of Coming Attractions, during which my guests, seated on either side of me, play a spirited game of “Name that Remake,” during which I learn that Mrs. Winterbourne (a pregnant Ricki Lake, a train crash, a mistaken identity) was probably derived from the 1950 film No Man of Her Own, later remade as I Married a Shadow, and that the upcoming Indepen-dence Day is a ripoff of Invaders from Mars. “Don’t order anything with white sauce,” Gifford advises as we invade a nearby Lyons after the show.

“I want to know where I can get carpet like this,” Osorio says appreciatively. “I ask them and ask them and they just won’t tell me.”

“So,” I interject, “what about that movie?”

“You know what I think?” Gifford begins. “I think this was really in the vein of Manhattan Melodrama, right? It was with . . . who was in that?”

“I don’t remember,” Vinnie shrugs. (It was Clark Gable and William Powell, and it was the movie Dillinger saw just before being blown away outside the theater. Cool, huh?)

“Anyway,” Gifford resumes, “that’s what they were going for. It was very retro, in that sense. And I kind of enjoyed it. But it won’t change anyone’s life.

“Where the movie started going south for me was as soon as we had that shot of Danny Aiello, in his house.”

The bird-kissing scene. “Yeah. An interesting shot, but from that point on the movie was totally predictable. It was utterly predictable, and it was over. The movie was over from the minute he kissed that fuckin’ bird.”

A sort of discussion ensues wherein various alternatives to kissing are suggested for the offending birdie. They aren’t pretty. Come on, guys! It really wasn’t the bird’s fault.

“Pacino was good,” Osorio says.

“Yeah,” Gifford agrees. “He was giving a really good performance there for a while. He was terrific. And he was only let down by the material.” He ponders this a moment. “You know what bothers me? The paucity of imagination regarding closure in films. It bothers me a lot.” He brings up the film Seven, which he liked until the end. “Its lack of imagination offended me.

“One of the things in Lost Highway, when David [Lynch] and I were writing the film, we knew what we wanted the ending to be. You have to live with the ending throughout the movie. It’s upon you before you know it.”

Sounds mysterious.

“It is mysterious,” he nods. According to reports, the film concerns an accused murderer who metamorphoses into a young boy during his trial. Definitely mysterious.

“As David would say,” Osorio adds, “‘Do you have to explain it?'”

“Everything is explained,” Gifford continues, “in order to understand the metaphor, but even if you don’t . . .”

“It doesn’t really matter.”

“Right,” Gifford smiles. “Any-way, with City Hall it was fine. But it could have been better.”

“You know what I liked best?” Osorio teases. “The suits. Pacino’s suits were fantastic.”

“Oh absolutely!” Gifford agrees. “That tailored pinstripe was great. In fact,” he tells me, standing up, “Vinnie and I are going out right now to buy two suits exactly like that. See you later.”

Hmmmm. Maybe I’ll get one too. Who said City Hall wouldn’t change anyone’s life?

From the Mar. 7-14, 1996 issue of the Sonoma Independent

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

Poe Dismuke

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Lost and Found

For artist Poe Dismuke, everything new is old again

By Gretchen Giles

Squatting in the shockingly cold interior of his studio, a converted chicken coop in Petaluma, assemblage artist Poe Dismuke looks up from the disinteg-rating cardboard box of wood scraps that he is determinedly hunting through, looking for fuel ample enough to feed his wood-burning stove. An installation of steamer trunks large enough to hold hat boxes, corsets, and the high poof of floor-length dresses stacks up tall around a wooden structural beam, a gorilla doll smiling down from atop.

A white taxidermist’s blank of a roaring bear sits in two pieces on the floor, the powerful hind legs disassociated from the mute scream of the face. Along one wall are woodworking tools and old hardware; across the expanse of dusty wood floor are piled cigar boxes and the yellowing glimmer of old cans; stretched across the top beams of the coop are the plastic flags of a regatta. In this adult version of a mad child’s playroom, toys are everywhere.

His breath forming clouds as he speaks, Dismuke talks about his passion for what other people might charitably describe as junk. “I love the way that things age and weather,” he says, blowing on his fingers. “I love rust. I love peeling old paint. There’s a mystery about it. I love how things look when they’ve been used and handled a lot, so I give all my work a kind of patina, because I can’t stand to see things when they’re new.”

Once the artist-in-residence at Recycletown–the art center of the Sonoma County dump, where televisions tower into the glint of the sun and leaning sculptures are made from ironing boards and broken skis–Dismuke is an artist whose specialty has been in taking the castoffs and unusables of another age and fashioning them into his own, new vision of the past. Soon to be featured with Los Angeles painter Jim Barsness in a new exhibit, “Figment? Folly? Farce?,” opening on March 13 at the California Museum of Art, Dismuke has been having a harder time finding the raw materials of his art. Accordingly, he has changed his focus, creating his own facsimiles of old objects, all formed from products as new as fresh-dug clay.

“Collecting used objects can be a full-time job in itself,” explains Dismuke, now crouched down, submitting wood to the hot open mouth of the stove. “And it’s getting harder and harder to find things these days, especially up here because there are so many antique dealers. So a couple of years ago I just started manufacturing my own parts. Also, it gives me complete control–if I like something but it’s too big or too small, I can change it, I can change everything. Plus, I like using my own materials.”

Made of fabric, clay, wood, paper, and steel, Dismuke’s figures evoke circuses, carnivals, vaudeville acts–dusty reminders of ersatz love potions and the traveling shows that ceased to exist long before this 42-year-old was born. Sometimes using fabricated steamer trunks as bases–so realistic that they seem to emit a whiff of the smoky lug of steam-driven trains–Dismuke will fill or top them with figures ingeniously made with clay to look like leather and plastic, or use the trunks as toddler-sized coffins from which his handmade ventriloquist’s dummies can leer out. “I guess that some of the work that I’ve done in the past year and a half seems to have a nightmarish quality to it,” Dismuke laughs when the reporter gasps over a Napoleonic gorilla figure with a red light bulb stuck in its belly that Dismuke gleefully declares to be a night light. “I never see it. They all seem quite funny to me, but other people notice it.”

Preparing for the CMA show, Dismuke moves between different projects, making dolls on the fraternal order of “Frankenstein’s Brother” and “Jimmy Durante’s Brother”–the latter possessing evil little white nail teeth and Durante’s trademark bulbous nose–as well as fashioning moving musical boxes that can be cranked to make the wood-thumping melody of an old child’s toy, birds swarming at the top in an endless up-and-down motion.

Embraced by the folk art movement (he’ll have a June show at the Craft and Folk Art Museum in San Francisco’s Fort Mason), Dismuke falls narrowly outside that self-taught category, having educated himself on the fringes of various Bay Area colleges, preferring to hang out in the art department offices rather than in the classroom. But his first influence was his paternal grandfather. “He was one of those Italians from the old country who did everything,” Dismuke says, pointing to a worktable that his grandfather made when Dismuke was a child. “He picked mushrooms, he made wine, he built furniture, he built houses, he did electricity, and when I was very little I used to help him build birdhouses.”

Dismuke, who bemoans most artists’ dismal luck at making any money, and who fashions whimsical summer furniture and working clocks made from the perforated metal of old Chinese-checkers boards to help pay the bills, refuses to continue the birdhouse legacy that might actually earn him some cash in this age of kitschy home artifacts. “The problem is that birdhouses are really in now,” he sighs. “That really ruins it for me. I like to be out of fashion.”

“Figment?” opens on Wednesday, March 13, with a reception on Friday, March 15, from 5 to 8 p.m., and a gallery talk on Thursday, March 21, at 7 p.m. California Museum of Art, Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Hours: Wednesday-Sunday, 11 a.m. to 4 p.m. $2, non-members; free to members and children under 16. 527-0297.

From the Mar. 7-13, 1996 issue of the Sonoma Independent

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

Beatles

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Beatle Boots

Sizing up Fab Four rarities

By Greg Cahill

Would you pay $30 to hear Yoko Ono ramble on about the kitchenette of the Hyde Park apartment in which she lived in 1968? Well, this is where you separate the proverbial men from the boys, speaking snobbishly and in a most gender-incorrect way.

The huge success of 1994’s The Beatles: Live at the BBC (Capitol/Apple) and last year’s The Beatles: Anthology 1 proved that a lot of folks are willing to plunk down 15 bucks for a CD of Fab Four rarities. But only the most die-hard fan will cough up two to three times that amount for a disc that may hold just a few listenable tracks and the faint promise of a backstage pass inside the creative process that spawned the greatest pop group in modern music history.

Now The Beatles: Anthology 2, the second in a planned series of three double-CD collections of Fab Four rarities released in the wake of ABC-TV’s recent six-hour rockumentary chronicling the rise and fall of those famous Liverpudlians, is set to hit the racks March 19. It will include the newly recorded single “Real Love,” featuring the three surviving Beatles–Paul McCart-ney, George Harrison, and Ringo Starr–dubbed over the late John Lennon’s piano and vocals. The 45-track set also features three previously unreleased songs, numerous live tracks, and a host of alternate studio takes from the Rubber Soul, Revolver, Sgt. Pepper’s, and Magical Mystery Tour sessions, including the “Strawberry Fields Forever” demo.

The Beatles: Live at the BBC –the two-CD, 69-track collection that has sold more than 5 million copies since its release–confirmed that there is a lot of interest in vintage Beatles recordings. For most, the BBC discs were the first taste of rare, live recordings from the Fab Four. But many avid collectors of bootlegs–live concert material, studio outtakes, and other rare tracks released on illegal, unlicensed recordings–already were familiar with that vintage material.

The coveted BBC sessions, with their sonically superior sound, had been released illegally in 1993 as a nine-CD bootleg box set that featured a 36-page full-color booklet and a staggering 257 tracks recorded between March 8, 1962, and June 7, 1965.

That immense box (which had hit the black market years earlier as a 13-LP set) is regarded by bootleg collectors a five-star, hall of fame package.

Yet, despite Capitol’s rush to release Fab Four rarities, the appetite for Beatles boots is still strong. The reason: there are so many of them (the Belgium-based Hot Wacks bootleg guide lists 92 pages of unlicensed Beatles recordings) that a lot of this material simply is never going to see the light of day. And die-hard fans crave a glimpse at the genesis of these classic works.

For example, The Beatles: Sessions (Spank), a popular bootleg of an album compiled in 1982 by EMI on the 20th anniversary of the Beatles first single (“Love Me Do”) and then shelved for legal reasons, contains a startlingly stripped-down acoustic demo version of George Harrison’s “While My Guitar Gently Weeps” (with an extra verse subsequently deleted). That track probably will be included later this year on the third Anthology album; most of the 14-songs on Sessions are included on the first two Anthology releases.

Another likely candidate for commercial release is the 24-track Unsurpassed Demos (Yellow Dog), a mostly acoustic collection of late-’60s songs recorded in May 1968 at George Harrison’s house in preparation for the so-called White Album. Several of the rare Lennon-composed tracks from that session appeared a few years ago on the “Lost Lennon Tapes” radio special. The arrangements are very close to those used on the White Album, though warmer and more intimate than the final versions–the anthemic “Revolution” sounds like a cheerful campfire sing-along.

One Beatles boot that is unlikely to appear as a commercial release, however, is the quirky Revolution (Vig-O-Tone). This gem features a 90-second instrumental acoustic home demo of “Michelle,” recorded in late 1965 in which McCartney can be heard stumbling through the unfinished song; Lennon’s freaky 1965 spoken-word play “Lucy from Littleton,” recorded over McCartney’s home demo of “We Can Work It Out”; a 1967 home demo of “Good Morning, Good Morning,” which Lennon plays on a ukelele; and three spacey mellotron experiments that Lennon taped in 1968 at his home in Weybridge, England.

But the strangest track is a rambling 25-minute reality check of Yoko Ono taping the aforementioned kitchen tour and other personal observations for an aural love note to Lennon. Actually, it’s a very personal confession about shyness and relationships in which she shares her fears about death and celebrities after hearing that Andy Warhol had been shot and wounded at his office that day. In the background, you can hear the Beatles blissfully recording vocal overdubs on “Revolution” as the song blasts from studio monitors.

It doesn’t get any more intimate than that.

From the Mar. 7-13, 1996 issue of the Sonoma Independent

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

Land Grab

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Land Grab

West county coalition fights a controversial Santa Rosa wastewater plan

By Trine Miller

Eminent domain–that’s what ranch manager Jim Jacobs describes as we peer down the bright green, cow-speckled slope of Boothe Ranch just outside the small, rural, west county town of Valley Ford. It’s also the tale he tells of a huge earthen dam, erected and filled with tertiary-treated wastewater from Santa Rosa, completely covering the narrow valley, the 1850s homestead, the barn–everything.

And it’s what the city of Santa Rosa may have to claim if it wants any land out here.

This isn’t a Grimm’s fairy tale Jacobs is describing; it’s something called the West County Wastewater Plan. The city of Santa Rosa is studying five sites in the Valley Ford/Bloomfield/Two Rock area as potential locations for an enormous reservoir, which will hold 4 1/2 billion gallons of treated wastewater. The idea is that the reservoir could be used to irrigate crops and pasture, meeting the city’s goals to reuse and recycle wastewater instead of simply dumping it.

The problem is that a lot of west county ranchers may not want it.

At least one rancher on each of the targeted sites is against selling sell their land for reservoir use. Residents are concerned that the timeless towns, the small homesteads, and the bucolic landscape would all change with the West County Plan. Most of the beef-cattle ranchers and dairy farmers have been there for generations, and even those who might want to sell their land someday don’t want it destroyed.

Not to mention that the west county isn’t farmland. “There’s basically nothing to irrigate,” says Jacobs, slightly dumbfounded. “These are dairy people and ranchers.”

Jacobs has managed the Boothe ranch for 16 years. He knows the land like the back of his hand, pointing out gullies caused by natural springs and the water-rich reeds growing in the valley below. He says there’s no mistake that the west county is filled with cattle and dairy ranches.

The city believes land could be used to grow silage such as oats and ryegrass; however, by ranchers’ and engineers’ estimations, crops would require a slope of less than 15 percent. Amid the rolling hills, there are only about 12,000 acres that meet that standard. The project requires 6,500 for irrigation, and if unwilling ranchers decline to use the water, the city will be hard pressed to find a place to store it all.

Jacobs is part of the Agricultural Property Rights Alliance, a coalition of 250 dairy farmers, ranchers, and landowners who organized to fight the wastewater project. They have a red map showing landowners who won’t take water if it involves condemnation, and the red zone covers pretty much the entire project area. “People are on this map because they don’t want to see this land condemned,” Jacobs says.

APRA members say dialogue with the city has been limited to a one-way communiqué, most often a court injunction. Indeed, Santa Rosa is the only city in the area to deny APRA representatives a chance to schedule agenda time to talk about the problem with council members. “Nobody told [residents in the area] the ranch was targeted for a reservoir,” Jacobs says. Ranchers tried to keep the city off their land, but two lawsuits later, the city had court injunctions to survey all five sites (involving 15 landowners) and to do invasive studies of the soil.

Santa Rosa has about five different alternatives for wastewater disposal, including higher discharge in the Russian River and a south county irrigation plan. But Kathy Tresch, whose dairy farm extends to bucolic Button Ranch, doesn’t feel at ease. Of all the west county sites, theirs requires the smallest dam and may be the least costly.

“I still feel threatened,” she says. “But I do feel optimistic. I think we can prevent it from happening. If they couldn’t do it last time, when we were naive, I don’t think they’ll get through it this time.”

Button Ranch is also the water source for much of the Two Rock area. If a reservoir were erected there, it could contaminate that supply with nitrates, and a fresh-water source would have to be built. That would affect planning and growth throughout the west county region.

And the project could prove costly for consumers, critics say. Right now ratepayers are paying approximately $10 per person per month, perhaps the most expensive water rate in the state. That could double under the West County Plan, since the city estimates the project could cost upwards of $300 million.

APRA doesn’t tell the full side of the story, says Ed Brauner, Santa Rosa assistant city manager. He says the city has talked to people who are against the project, but also to people who are willing to sell and irrigate. “My personal feeling is that map somewhat misrepresents what the facts are,” he says about the group’s red-zone map. “They have concern over the condemnation, but many said they do want water.”

Neil McIsaac, who runs a dairy out of Two Rock, thinks irrigation could be beneficial. “I couldn’t say exactly what I’d use it for, but if water comes it opens up whole new possibilities,” he notes, saying that ranchers need to keep an open mind to agricultural possibilities. “I could be all wrong, too. It may not work for me.

“Personally, if it were a done deal, I don’t think too many farmers would say no [to the water]. But I think I’m probably in the minority.”

But APRA’s Tresch believes some people don’t understand the scope of the project. “Unless you read every document, there’s no way to know what this project really means,” she explains. “I think they’d really be shocked at how it would affect their property rights. . . . The city can come onto your property anytime. All these regulatory agencies move into your life.”

Brauner does say that if people don’t want water, the West County Plan is probably moot. He stands firm on the city’s decision to go through with the study, partly because he thinks it is viable, and partly because the city feels legally obligated to do an Environmental Impact Report for the state, and an Environmental Impact Study for the federal Army Corps of Engineers.

“We think all the alternatives are feasible,” he notes. “There are questions whether they’ll be politically feasible.”

APRA wanted the city to stop the project’s environmental studies altogether. When APRA members tried to get on the meeting agenda of the Santa Rosa City Council to voice their concerns, Mayor Sharon Wright said that would be “premature.”

“How can they have a full understanding [of the project’s impact] if they don’t have our side of it?” Jacobs asks incredulously.

The environmental effects of this project are a huge concern to residents and environmentalists, who fear runoff and groundwater seepage could pollute local waterways, as well as springs and wells. Clyde Nance, conservation co-chair for the Madrone Chapter of the Audubon Society, says reservoir sites include watersheds that are perilously close to two ecologically sensitive estuaries: the Estero Americano and the Estero de San Antonio.

“The water would have an adverse effect on the esteros if it were ever introduced,” he says. “It could create an entirely different balance of estuarine life.”

But Santa Rosa officials argue that the project is safe. “I haven’t seen anything in the EIR so far showing environmental effects that would be so devastating we couldn’t do it,” Brauner responds.

Still, many west county residents say the city will have to force the project every step of the way. Jacobs says the human factors are compelling enough to leave it alone. “These are people who could lose their homes, their ranches, their way of life.”

From the Mar. 7-13, 1996 issue of the Sonoma Independent

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

‘Pterodactyls’

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Old Bones

‘Pterodactyls’: a history lesson in the new Ice Age

By Gretchen Giles

A famous 12-step observation about dysfunctional families is that their problems loom as large as an elephant in the living room, yet somehow family members–through training or choice–seem able to obliviously walk around its stolid legs, duck under the trunk, and step delicately over the steaming piles, carrying on as though the pesky pachyderm weren’t any closer to their home than the city zoo.

Well, make that elephant a baby T. rex dinosaur skeleton and make that family as unhappily mad as they come, and you get a flavor of Pterodactyls, a dark comedy of extinction currently playing at the Cinnabar Theater.

Grace (Laurel Watt) is a drunk with what you might call a severe denial problem. When her son returns to the family home unexpectedly with the revelation that he has AIDS, she continues to natter on about a party she wants to plan for his arrival, exclaiming over details while he repeats his matter-of-fact declarations of illness. Her husband, Arthur (Dwayne Stincelli), has got a bit of a drinking problem too, and, sure, he loves his kids–he just can’t seem to sort memories of their childhoods out from his own. Daughter Emma (Lisa Graham) has almost no memories at all and feels that her skin is that of a little girl which has just been unconscionably stretched over her terribly adult figure. And brother Todd (Carlin Roth) just wants to seek the truth, build his skeleton (dug up appropriately enough, from the back yard), and wait to die. Pale and garbed in a knee-length maid’s uniform for most of the action is Tommy (Paul Horwinski), Emma’s fiancé . . . and Todd’s lover.

Directed by Michael Fontaine–who also designed the handsomely mid-upper-middle-class set–Pterodactyls could use a little less flesh on its bones. The wicked dialogue, complete with its laugh-o-meter lines, needs snappy attention from those who utter it, and there was a certain flaccidity to the actors’ hop-to.

Stagecraft ain’t no easy business.

What is easy in this production is Laurel Watt’s detestably lovely portrayal of Grace, the headstrong, bitchy, charming, dying drunk from another era–Watt can barely control her, but she eventually does.

Lisa Graham brings much nervous mischief to poor hypochondriacal Emma, always dressed in the same summer frock, always clutching at the hysterical onset of her next illness. The whole play is worth the delicious delight she takes in being dead.

The men fare less well, but perhaps that is the life of this play. Paul Horwinski’s Tommy is watery, coming in and out of focus with an unsatisfying blurriness. Dwayne Stincelli’s Arthur has a few moments of sharpness, as when he’s reminiscing, but is written out onto the patio and unseen rooms of the play so often that his character–as in real hard-drinking families–never really counts. And Carlin Roth’s Todd is inscrutable: Is he the dweeb of the show’s opening history lesson or the kind of man who would knowingly give another man AIDS?

Like an old episode of Family Ties on mescaline, Pterodactyls takes this queasy quintet from Emma and Tommy’s impending (impending like doom) marital plans to the eventual demise of this particular species of mammal, killed by their own hands and folly, a bad cold snap, and a terrible plague. Although many of off-Broadway playwright Nicky Silver’s lines are funny from the cute-as-hell school of laughs, there are several genuine aching chuckles to be had from this tragedy, as people rush to kill themselves by inches and degrees while the corpse of the ancient world rises next to the credenza.

Pterodactyls plays Fridays-Sundays through March 9. Special Thursday performance March 7 at 8 p.m. Fridays-Saturdays at 8 p.m.; Sundays at 3 p.m. Cinnabar Theater, 3333 Petaluma Blvd. North, Petaluma. $8-$12. 763-8920.

From the Feb. 28-Mar. 6, 1996 issue of the Sonoma Independent

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

News Briefs

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News Briefs

Riggs Flunks Again

WASHINGTON, D.C. The National Abortion and Reproductive Rights Action League has rated Rep. Frank Riggs, R-Windsor, as “one of the lowest-rated Republicans in the most anti-choice Congress in history.” Riggs’ 20 percent rating is “far out of step” with his predominantly pro-choice constituents, says Ann G. Daniels, executive director of the organization’s Northern California chapter. Among Riggs’ 18 anti-choice votes last year were a measure to prohibit military women–like those on the peacekeeping mission in Bosnia–and dependents overseas from obtaining abortions in military hospitals even if they pay for the procedure from their own money; and another to allow many states to deny Medicaid coverage for abortion to low-income women made pregnant from rape or incest. “Rep. Riggs epitomizes the damaging results of the 1994 elections [when voters] sent to Capitol Hill a new group of lawmakers who promised to get government out of our lives. What constituents got were lawmakers like Riggs who have voted to put government into the most personal and private reproductive decisions, making abortion more difficult and dangerous.” Riggs was unavailable for comment.

Sex Suit Settled

SANTA ROSA County supervisors have approved a $150,000 settlement in a sexual harassment suit filed last fall against former Public Defender Marteen Miller, who retired a year ago after 33 years in office. Shannon Hartwig, 31, of Sebastopol, charged that the married Miller persistently asked to date her and “to engage in various sexual acts with him,” while she was Miller’s secretary from 1990 to 1995. She further charged that her supervisors failed to intervene when she appealed to them, and that Miller increased his harassment thereafter, forcing her to quit her job and give up county employment.

Split Vote on Garbage Pact

SANTA ROSA Thanks to a generous interpretation of a letter from the state Fair Political Practices Commission, Empire Waste Management this week won a six-year extension of the company’s 48-year-old franchise to collect garbage from city residents and businesses. The vote was 3-2, with council members Jim Pedgrift and Pat Wiggins opposed. Action on the contract had been delayed three weeks while City Attorney Rene Chouteau sought an opinion from the FPPC regarding the potential conflict of interest posed by the professional associations of council members Janet Condron and Sharon Wright to Empire Waste Management. Condron is a top official in the Santa Rosa Chamber of Commerce, while Wright heads the business lobbying group the Sonoma County Alliance and also has a contract with the chamber. Empire Waste is an active member of both organizations. According to Chouteau, the FPPC said there would be no conflict of interest, as long as neither the chamber nor the Alliance had actively supported the contract extension, so Wright and Condron were able to cast the decisive votes. In public comments earlier in the meeting, the council was again besieged with calls to seek competitive bidding for the waste hauling contract, as recommended by the 1994 Sonoma County grand jury. Pedgrift and Wiggins both indicated they felt the city should move in that direction, although on differing timetables. Pedgrift suggested a three-year extension, with open bidding in 1999, adding that he expected that process would still result in Empire getting the contract, “but with a clean slate.” Wiggins wanted to open the bidding now, in order to remove “the cloud over this process.” The award of the contract extension has not put an end to the matter, citizen activists at the meeting declared. They announced their intention to seek a citizen referendum requiring competitive bidding, ideally on the upcoming November ballot.

Judges Bow Out of Timmons Case

SANTA ROSA Sonoma County Superior Court judges have recused themselves in the highly publicized molestation case against a former Santa Rosa priest because one of the priest’s accusers is the son of a local judge. Presiding Judge Elaine Watters announced last week that Marin County Superior Court Judge Lynn O’Malley will take the case. The Rev. Gary Timmons, 55, is facing felony molestation charges in three counties after allegedly molesting young boys left in his charge and dating as far back as 1971. Steven Gallagher, who recently won a civil suit against Timmons for the alleged molestations, is the son of Sonoma County Superior Court Judge John Gallagher. Timmons has pleaded not guilty to the criminal counts.

School Official Fires Back

PETALUMA Wilson Elementary School Principal Lee Oliphant says she will take legal action against parents in the district who last week accused her of “willfully endangering students” after the school’s drinking water became contaminated with harmful E. coli bacteria. Oliphant maintains she was complying with state health department instructions, which did not require her to post a public notice while the problem was being solved. However, many parents were furious they weren’t informed of the tainted water when it was first discovered in November. Several parents claimed children became sick in November and December, but were undiagnosed because of lack of information. During a heated school board meeting last Wednesday, Oliphant left the room to contact the school district’s legal counsel. Meanwhile, parents didn’t submit a threatened petition asking the board to oust Oliphant. Now Oliphant, who doubles as the one district superintendent, is fighting back. She says she will pursue litigation because her “reputation has been sullied.”

Land Use Disputed

GLEN ELLEN Open space and park enthusiasts disagree with advocates for the disabled disagree over the future use of several hundred acres of unspoiled mountainside behind the Sonoma Develop-mental Center on the slopes of Sonoma Mountain. State Sen. Mike Thompson, D-Santa Rosa, has introduced a bill that would allow local vintners to lease portions of the land for new vineyards, with half the proceeds to be set aside for the disabled. Last week, at the behest of local conservationists, he also agreed to approach the Sonoma County Open Space District about the possible acquisition of the entire acreage, which reaches across the ridgetop to the south side of the state-owned Jack London Historic Park.

River Park Approved

FORESTVILLE County supervisors on Tuesday unanimously approved the creation of a new county park along the Russian River at Steelhead Beach. The 27-acre park will ultimately be developed with campgrounds, a boat launch, and a swimming beach. It could attract more than 78,000 visitors a year. All those improvements will take at least eight years, however; the first phase calls for building a gateway and parking area for fishing enthusiasts in the next year. Construction of permanent restrooms and other facilities will have to wait until the area is served by a public sewer line, which does not presently exist in that area.

Logging Plans Cleared

SAN FRANCISCO Pacific Lumber may proceed with plans for “salvage” logging of 185,000 acres of disputed timberland in Humboldt County, a state appeals court ruled this week. However, the 6,000-acre area known as the Headwaters Forest remains off limits. It is a part of the 50,000-acre area in which U.S. District Court Judge Maxine Chesney has blocked all logging operations until their impacts on an endangered bird, the marbled murelet, can be assessed.

Short Takes:
There are 29 police chiefs, including three women, among the 62 applicants to succeed veteran Santa Rosa Chief Sal Rosano, who has announced plans to retire in June. Two applicants are from within the department. . . . Three 13-year-old boys who ran away from the True to Life Counseling center outside Occidental last week returned later the same night to trash and set fire to a classroom, causing an estimated $50,000 in damages. The center treats emotionally troubled youths who are referred by their schools or parents.

From the Feb. 28-Mar. 6, 1996 issue of the Sonoma Independent

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

George Clinton

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Atomic Dog

Dropping the bomb on Santa Rosa

By Greg Cahill

“The ’60s was a crazy, cool period,” George Clinton once mused to writer Chip Stern. “It let us know that we could have an infinite number of alternative realities. Acid busted that shit wide open. But at the time, we tried too fast, so we got scared and jumped back. But now that we know what it is, we can sort of sneak up on it slowly.”

No one’s ever going to accuse the clownish Clinton–part songwriter, keyboardist, producer, and arranger; part hustler, preacher, poet, and pimp–of being shy.

This pivotal figure in the funk revolution inspired the hip-hop movement and influenced everyone from the Red Hot Chili Peppers–as producer, he put his indelible stamp on their 1985 breakthrough album Freaky Styley (EMI) and helped launch the punk-funk onslaught–to Public Enemy to Prince (in the days before he attained “the artist formerly known as” status).

Clinton is scheduled to bring his intergalactic grooves to Santa Rosa next week in a show produced by the locally based Mestizo organization. For local funk fans, it will be a chance to savor the original brother from another planet; Clinton canceled a local show last March after a nasty rift developed between his management and another local promoter.

For three decades, this former barber from Plainfield, N.J., has been the driving force behind the landmark Parliament/Funkadelic spinoffs. As a part of a street corner doo-wop group, the Parliaments, Clinton landed a contract with Motown and scored a hit single with 1967’s “(I Wanna) Testify.” Motown proved too confining, however, and Clinton began absorbing influences from Sly Stone, Jimi Hendrix, the Beatles, and even Bob Dylan, all of whom informed his later work.

The result was a highly danceable sound that mixed searing psychedelic guitar (“Maggot-brain”), the funkified stylings of former James Brown sidemen like gonzo bassist Bootsy Collins and saxophonist Maceo Parker, synthesizer-laden R&B grooves, contagious pop hooks, black pride anthems (“Chocolate City”), and tripped-out sci-fi fantasy themes.

The culmination of that mid-period, The Mothership Connec-tion, produced the classic “Tear the Roof off the Sucker (Give up the Funk)” and led to concerts that featured Clinton and crew descending to the stage from a flying saucer, decked out in outlandish silver lamé space suits, and romping through bombastic stage shows that sometimes included as many as 45 performers, leading Village Voice writer Greg Tate to dub the shows “a cross between the Apollo and the circus.”

But Clinton is more than the P. T. Barnum of funk. He has consistently delivered poignant social commentary cloaked in relentlessly danceable revelations like One Nation Under a Groove, “The Bomb,” “Atomic Dog,” and the delectable “Do Fries Go with That Shake?”

Don’t be fooled by the kitschy clothes, Marilyn Monroe wigs, and buffoonish behavior–this cat is nothing short of a true pop genius leading one of the best rock bands on the planet.

George Clinton and the P-Funk All-Stars perform Friday, March 8, at 8:30 p.m., at Santa Rosa Veterans Memorial Building, 1351 Maple Ave. Tickets are $25 advance, $30 at the door, and available at various independent record stores throughout the county. 539-1470.

From the Feb. 28-Mar. 6, 1996 issue of the Sonoma Independent

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

Vintage Vintages

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Old-Vine Wines

In praise of reds: Savoring the taste of tradition among Sonoma County’s time-honored wines

By Steve Bjerklie

The vines that produced the grapes for a recent afternoon’s glass of zinfandel had once been owned by a Civil War general, and, after him, by the father of William Randolph Hearst. The land on which the vines still grow had once been owned by Gen. Mariano Vallejo, who gave it to his children’s music teacher in exchange for piano lessons. The man who had poured the wine, Harry Parducci, once drove grape trucks from Sonoma over to Christian Brothers in Napa Valley for his father, Enrico, and sold the brothers zinfandel grapes for $35 a ton. He smiled a little tiredly but contentedly as I tasted the wine his son, Harry Jr., had made, Valley of the Moon’s 1993 Sonoma Valley Old Vines Reserve Zinfandel. “It’s pretty good, eh?”

Yeah, it was pretty good. Like a Vermeer is a pretty good painting. The wine was deep, leathery, and well-grained; the sound of a cello would describe its complexity. “There’s a lot of history right there,” Parducci says. “People, land. No one really knows when that vineyard was planted. It’s old, all I know.”

Have a taste of these classic wines from Sonoma County.

This is zinfandel’s golden age, and no zinfandels in the world are better than the zins made from Sonoma County’s old vineyards. Indeed, it might be more accurate to say this is the golden age of old vineyards in general. As it happens, Sonoma County has the best of those, too.

“Old vines absolutely make better wines,” says Joel Peterson, partner and winemaker at Ravenswood in Sonoma, and one of the heroes of zinfandel’s ascendance. His Old Hill Vineyard and Wood Road/Belloni Vineyard zinfandels, both from Sonoma County grapes, have won rafts of awards and legions of devotees. “There is a depth of flavor in the grape when old zinfandel’s ready to pick. The berries have succulent fruit, flavors of strawberry and raspberry, with a thickness of the flavor at the center.”

“Old vines produce berries with extraordinary intensity,” agrees Sean Thackery, a specialist in old-vine wines who makes several celestially named blends–“Orion,” “Sirius,” “Pleiades”–under his own eponymous label. “They have a wonderful forwardness of fruit.”

Gordon Binz, who makes zinfandel for Renwood from the 127-year-old Grandpere vineyard in Amador County, says that “vines carry on like a human being. It’s not until they’re 40, 50, or 60 years old that the character and balance come out. In their 70s and 80s, production drops, but there’s new complexity to enhance the character and balance.”

Kent Rosenblum of Rosenblum Cellars, who makes a zinfandel from 80-year-old vines in Sonoma County’s Samsel Vineyard, concurs. “I can tell by looking at the grapes whether the wine’s going to be good.”

Thackery, who was once an art dealer in San Francisco, adds, in reference to himself, Binz, Peterson, and Rosenblum, that “finally, some guys have come along that take some of these old vines seriously. These vineyards are works of art. They were planted the way vineyards ought to be planted–dry-farmed, no irrigation–and a lot of them are on St. George rootstock, which is wonderful from a winemaker’s point of view.”

Peterson, who learned how to unwrap zinfandel’s gifts from the legendary Joe Swan, says that “farming and location are the two keys to a great, old vineyard. They’ve got to be dry-farmed and head-pruned. Head-pruning and zinfandel go together like mom and apple pie.” He comments that every old vineyard presents a specific challenge, or opportunity. In the case of Old Hill, the vines receive lots of sun, so the berries are thickly skinned. “There’s more tannin there, so the challenge is to balance it. Wood Road’s more acid, which has to be balanced with more fruit.”

Until fairly recently, says Peterson, zinfandel was the “ugly stepchild of cabernet. You got $5 a bottle for it. At that price, there was no way you could age it in French oak, and there was no way the growers could be happy with the limited production of old vineyards, which produce one and a half or two or maybe three tons an acre. They wanted younger vines that could produce six or seven tons an acre.”

But now, with top-priced zins fetching $15-$20 a bottle, the finest wine-making techniques and technology can be applied to once-lowly zinfandel.

Though zinfandel is the wine most commonly made from old vines, zinfandel is by no means the only grape growing in Sonoma County’s old vineyards. Turn-of-the-century and 19th-century plantings of alicante, sangiovese, carignagne, petite sirah, mourvedre, barbera, and other Mediterranean wine-grape varieties can be found throughout the region. Nearly all the old vineyards were planted by Italian or German immigrants, though a few were hobby farms for wealthy aristocrats, including Vallejo, state Sen. George Hearst, Joseph Hooker (the Civil War general), and, of course, Buena Vista winery’s founder, Agoston Haraszthy, the self-proclaimed “father of the California wine business.”

Actually, Haraszthy fathered four sons and two daughters, not an industry. He appears to have died, in 1869 in Nicaragua, in the jaws of a crocodile. And unfortunately, there appears to be nothing left of the vineyards planted in Sonoma County by two utopian societies: the Icarians, who were French proto-communists living in the 1880s near Cloverdale; and the Brotherhood of the New Life, a community of followers of free-thinker and free-lover Thomas Lake Harris, who lived above Santa Rosa beginning in 1892. The Brotherhood’s wine label was Fountain Grove, and their winemaker a Japanese nobleman, Baron Kanaye Nagasawa (who must’ve been the first Asian winemaker in America).

George Husman, a horticulturist at the University of Missouri who came to California to grow wine in 1881, described his fellow vineyardists as “comparatively poor men, many of whom have to plant their vineyards, nay, even clear the land for them with their own hands and work their way up by slow degrees to that competence which they hope to gain by the sweat of their brow.”

“The immigrants planted what they knew, and lucky for us, they planted on hillsides, because that’s how they did it back home,” says Ravenswood’s Peterson. This was particularly fortuitous for zinfandel, which seems to produce better, more flavorful fruit when the vines are somewhat stressed and, in Peterson’s word, “enfeebled.”

Also, bottomlands and valley acreage tended to be used for growing hay for livestock. Except in the cases of the estates of Hearst, Vallejo, and others, vineyards were largely planted in Sonoma County for homemade blended wines–vino de tavola, in other words. Most of the plantings were red-wine types, though some white-wine grapes were also planted. “But they were grapes for wines you and I wouldn’t want to drink, like Palomino and Sauvignon Vert,” says Peterson. “Junk grapes, mostly.”

The grapes planted by the aristocrats were on a different order, however. Some of the estate growers vied with one another for who could get cuttings from the most prestigious vineyards in France. Frona Eunice Wait’s book Wines and Vines in California, published in 1889, lists Sonoma County vineyards planted with cuttings from Château Lafite, Château Margeaux, and Hermitage, the famous Rhône appellation. However, the California phylloxera epidemic of the 1870s and ’80s, and a succession of grape-price busts beginning in 1858 and not concluding until well into Prohibition, caused many of the fancy vineyards, as well as the vineyards of the immigrant farmers, to be torn out.

Though the wine business tended to bust and boom, it was certainly a big business. By 1863, 12 million vines had been planted in California; by 1873 that number had increased to 43 million. As early as 1856, Kohler & Frohling, a wine firm in Los Angeles founded by two German musicians, shipped California bulk wine to England, Germany, Russia, South America, Japan, and even China.

Zinfandel was the backbone of the immigrants’ red blends. Many of the county’s original zinfandel vineyards survived the price busts and changing tastes because the grape is versatile and easy to grow; its hardiness–and St. George rootstock–helped it survive phylloxera. Luck helped, too. “Frankly, a lot of these old vineyards survived by inattention or accident,” comments Thackery, whose “Orion” blend is made from petite sirah and other grape varieties planted in 1905. “These are the real thing, too, the true smaller clone of syrah.”

No one knows who has the oldest vineyard in Sonoma County, or even the oldest in California. The Grandpere vineyard in Amador County is thought by many to be the state’s oldest continuously producing vineyard, but Kent Rosenblum says he’s found a half-acre of 137-year-old zinfandel vines, 10 years older than Grandpere, in Contra Costa County. If he has the age right, those vines were already 2 years old and producing grapes when the first shots were fired at Fort Sumter, S.C., beginning the American Civil War. “Kent’s kind of secretive about it,” says Peterson. “But really, it gets to be kind of a pissing match over who has the oldest.”

The first vineyard planted in the county was the planting of Mission grapes the Spanish friars at Mission San Francisco Solano de Sonoma put into the ground in the 1820s, and which later came under the ownership of Vallejo when Mexico secularized the mission properties in 1834. Across the street from the Sebastiani parking lot is a large Mission vine pruned into a huge canopy; this vine is a direct descendant of the original Sonoma mission’s grapes. A few old Mission grape vines may also exist in Bennett Valley.

The contenders for oldest vineyard in the county, like the Shaw Vineyard of zinfandel at Kunde Estate, seem to have been planted in the 1880s; Shaw went into the ground in 1882. It seems probable a few of the portion of those 43 million vines from 1873 that were planted in Sonoma County might have survived. If so, they’re likely to be discovered soon. Prices for grapes from old vines have increased dramatically, especially for zinfandel. “When we sold the grapes to Christian Brothers for $35 a ton, my dad said we had to go into the wine business,” remembers Harry Parducci. “There was no way to make money in grapes at $35 a ton. Now the price is way up there, over a thousand a ton. I can hardly believe it. But I think it does these old grapes right.”

From the Feb. 28-Mar. 6, 1996 issue of the Sonoma Independent

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

Classic Wines

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Finding Old-Vine Wines

The following is a list of readily available wines made from old-growth vineyards located in Sonoma County. Each wine states on its label or in accompanying notes that the grapes used to produce the wine come from old plantings or, in the case of Ravenswood, are from well-known older vineyards. Note that there is to date no legal definition of “old vines” (Sebastiani calls any vineyard older than 30 years “old”), but generally, 50 or 60 years is considered to be the youngest of the old plantings.

The list is not meant to be comprehensive, and many other non-vineyard-designated or blended wines contain juice from older vines.

All these wines are fairly easily found in better Sonoma County and Bay Area wine shops. Prices listed are averages.

Zinfandel:
Belvedere NV Dry Creek Valley Zinfandel ($10)
Château Souverain 1993 Dry Creek Valley Zinfandel ($9.75)
Deux Amis 1993 Sonoma County Zinfandel ($13)
Dry Creek 1993 Sonoma County Zinfandel, Old Vines ($14)
Kunde Estate 1993 Sonoma Valley Shaw Vineyard Century Vine Zinfandel
Marietta 1993 Sonoma County Zinfandel ($12)
Pellegrini 1993 Sonoma County Zinfandel, Old Vines ($7.25)
Preston 1994 Dry Creek Valley Zinfandel, Old Vines, Old Clones ($11)
Rabbit Ridge 1994 Sonoma County Zinfandel “Old Vines” ($11.75)
Ravenswood 1993 Old Hill Vineyard Zinfandel ($18)
Ravenswood 1993 Wood Road Belloni Zinfandel ($20.50)
Ravenswood 1993 Monte Rosso Zinfandel ($19.50)
Rosenblum 1993 Sonoma Valley Zinfandel, Samsel Vineyard–Maggie’s Reserve ($22)
Sebastiani 1994 Old Vines Zinfandel
Sonora 1993 Sonoma County Zinfandel, Old Vines ($10)
Rodney Strong 1993 Northern Sonoma Old Vines Zinfandel ($11)
Valley of the Moon 1993 Sonoma Valley Old Vine Reserve Zinfandel ($15)

Other Wines:
Côtes du Rosa 1994 Russian River Valley Red Table Wine ($12)
Crane Canyon Cellars 1993 Sonoma Valley Mourvedre
Meadow Glen NV California Old Vine Claret ($4.75)
Marietta 1993 California Syrah
Pellegrini 1994 Sonoma Valley Barbera, Old Vines ($10)
Rabbit Ridge 1992 Sonoma County Carignane, Westside Road Reserve, Hedin Vineyard Old Vines ($9.25)
Sebastiani 1992 Cherryblock Old Vines Cabernet Sauvignon
Sebastiani 1993 Mourvedre
Seghesio 1993 Alexander Valley Sangiovese ($14.95)
Seghesio Heritage Sonoma County Sonoma Red ($4)

From the Feb. 28-Mar. 6, 1996 issue of the Sonoma Independent

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

Wine Woes

The Vandals of Eden


Vineyard Vermin: The blue-green sharpshooter acts as a vector for Pierce’s disease, a bacterial infection which is turning mountain grapevines into dead stalks.

Local grape-growers get caught in sharpshooter’s attack

By Christopher Weir

A disease that ravaged Southern California’s vineyards in the late 1800s is back and threatens to destroy forever the Santa Cruz Mountains wine industry. Reducing vineyards to wastelands of sickly, skeletal stalks, a precocious little invader known as the blue-green sharpshooter is spreading a vicious bacterial affliction that renders the vines’ immune systems impotent. Once infected with Pierce’s Disease, vintners frequently choose never to replant again.

“Our vineyard is completely gone,” says wine grower Jane McHenry of her McHenry Vineyard in Bonny Doon. “It’s wiped out.”

As the sharpshooter continues to haunt local vineyards, dismal reports echo throughout the mountains. At the 28-acre site of nearby Bonny Doon Vineyard, the destruction has been complete and permanent.

“The property is for sale,” says vineyard manager Steve Tylicki. “There was no evidence that we could successfully replant.”

As the blue-green sharpshooter and Pierce’s disease unleash more viticultural chaos in the Santa Cruz Mountains, the potential impact could be devastating. It is, after all, a region whose solid reputation is maintained by a mere 700 acres of vines. In a worst-case scenario, many more vineyards would be wiped out, causing financial ruin, reducing local wine production and perhaps inhibiting future wine-growing efforts for the entire region.

The Santa Cruz Mountain landscape isn’t one of corporate farmers or winemakers in V-neck sweaters with pearl-white hands, but of families and hard-working dreamers who have invested their pride into small, low-yield vineyards for the sake of distinctive wines.

The coastal range represents a regional crossroads that includes portions of Santa Clara, San Mateo and Santa Cruz counties. The flatlands and valley floors of these counties were first enlisted for wine production by the missionaries. By the mid-1800s, scores of European immigrants were importing their wine-making inspirations to these areas and planting vineyards alongside other crops. The fertile, sizzling Santa Clara Valley and, later, the hardier Santa Cruz Mountains proved to be the locations of choice for early commercially oriented wine growers.

While the Santa Clara Valley gradually lost its agricultural identity under the onslaught of development, the Santa Cruz Mountains have retained a strong viticultural identity, a testament to the sturdy souls who first recognized the region’s potential. With, in the words of one historian, “an almost fanatic, idealistic devotion” to the craft of wine making, the forefathers of the Santa Cruz Mountains established a tradition that lingers today in the vineyards and cellars above Saratoga, Cupertino, Los Gatos, Scotts Valley and Bonny Doon. The region remains the heart of local wine-growing renown and is home to several industry leaders. Yet while more and more local vintners are branding themselves into the psyche of California wine, two little pillagers threaten to unravel the foundations of their success.

An assassinative duo when it comes to vineyards, blue-green sharpshooters and Pierce’s disease inspire worldwide fear and boast a century-old rap sheet in California. First noted in Anaheim in 1884, Pierce’s disease soon raged through Southern California vineyards, wiping out thousands of acres and, to this day, rendering them unfit for viticulture. It continues as the basis for quarantine restrictions placed on the movement of vine cuttings to Europe and other areas where the disease hasn’t established a foothold.

In a cruel twist of irony, the same attributes that define the Santa Cruz Mountains are those that could be its undoing if Pierce’s disease runs rampant. With hot summer days and cool, marine-influenced nights, many mountain vineyards possess a climate that is ideal for chardonnay and pinot noir, the most widely planted varietals in the region. And these early-ripening, Burgundian varietals are especially susceptible to Pierce’s disease.

Vineyard infection is a fairly simple process: the sharpshooter picks up the bacterium from host plants, then introduces it into another plant’s xylem–the fluid-conducting system–during its feeding ritual. Generally, dead spots develop and spread across the infected vine leaves, ultimately causing them to fall, with just the petiole, or leafstalk, remaining. As the infection spreads, vine canes (shoots) become stunted, and the grape clusters discolor and wither. Within a few years the vine, literally choked of its lifeblood by internal immune-system combat, dies.

“You see this rapid collapse,” says Larry Bettiga, the local University of California viticulture farm advisor. Because sharpshooters and Pierce’s disease are nothing new to the forest, there’s something else at work behind the sudden vineyard outbreaks. “The cyclical nature of the severity has never been explained. It’s part of the great mystery.”

The cyclical pattern, however, applies more to North Coast vineyards. Along the Napa River, the situation has been called “horrendous,” while in Sonoma County the disease has merely turned itself up a notch. But in the Santa Cruz Mountains, the assault is without precedent. Blue-green sharpshooters reproduce not only in the riparian vegetation of streambeds, but also on the blackberry and elderberry plants that flourish in the sunnier areas of the mountains’ lush redwood forests, and serve as hosts for Pierce’s disease, an interaction that renders the sharpshooter a vector for the bacteria.

Some have blamed drought for chasing sharpshooters out of the parched woodwork, while a more traditional perspective holds that late, heavy rainfalls are conducive to sharpshooter population explosions that jumpstart outbreaks.

Strangely, both could be true, depending on other regional characteristics. Science has yet, however, to fully grasp this complex matrix of hosts, climates and transmissions. In 1993, Bettiga and Alexander “Sandy” Purcell, a professor of entomology at UC- Berkeley, toured infected vineyards in the Santa Cruz Mountains and conducted a variety of tests to monitor the behavior of the local blue-green sharpshooter populations. Hundreds of yards of yellow sticky tape were stretched around the vineyards to catch sharpshooters and determine their travel patterns, and the vineyards themselves were placed under ongoing scrutiny. What they found was that the vine-attacking sharpshooters’ favored habitats and movements in the Santa Cruz Mountains are different than those in hot spots on the North Coast, where they breed in the peripheral riparian habitats. In the Santa Cruz Mountains, however, they breed primarily on the vines.

What occurs, then, is a vicious cycle, whereby the disease is not only spread from peripheral vegetation to vines, but also by young sharpshooters that, after feeding on diseased leaves, spend the winter in the forest, only to return to the vineyard to reproduce the following spring.

“The problem with the Santa Cruz Mountains area is that it’s an edge-effect disease,” says Purcell, explaining that sharpshooters restrict most of their vineyard activity in proximity to their surrounding habitats. “Small vineyards are all edge.” So, unlike the North Coast, where many vineyards sprawl for hundreds of acres, most of the vines in the Santa Cruz Mountains are at risk because they reside in small blocks.

“When the situation gets rolling, you have a major problem,” Purcell says.

Greg Stokes watched powerlessly as Pierce’s disease decimated row after row of prized vines at David Bruce Winery, a 25-acre estate vineyard located between Los Gatos and Ben Lomond ,which for decades yielded some of the region’s most distinctive and critically acclaimed wines.

“It just mowed through everything,” the vineyard manager says of the Pierce’s disease infestation. “It was amazing.”


Fine Vine: Pierce’s disease has mowed through vineyards in the Santa Cruz Mountains, including the critically acclaimed David Bruce Winery, which recently replanted in hopes of survival.

Planted in the early 1960s, David Bruce’s vineyard produced what many considered some of the area’s finest chardonnays and pinot noirs. But in 1991, sharpshooters started to stoke the disease into a limited but undiagnosed fury. Then all hell broke loose.

On one five-acre block, Stokes recalls, they picked a normal crop in 1993. And just one year later, only five vines of the entire block remained healthy. In that same year, the estate yield fell from 36 tons to two.

“We lost the whole vineyard to Pierce’s disease,” he says. As the winery awaits a full crop from its recently replanted vineyard, it’s relying on grapes from a local, independently owned seven-acre vineyard that it manages under contract. Meanwhile, the loss of production coupled with the cost of replanting have put the winery’s tenacity to the test.

“Economically, it’s kind of tough,” Stokes says, his tone that of classic understatement.

Bonny Doon Vineyard’s Tylicki takes a more apocalyptic view.

“It’s kind of like closing the barn door after the horses are out,” he comments. “There’s a certain amount of denial to Pierce’s disease because essentially there’s nothing you can do about it. After employing every available option, he says of the vineyard, “We just struck out.”

With that, the area lost a unique vineyard, one planted to the more esoteric Rhone varietals of Roussanne, Marsanne, Syrah and Viognier. Fortunately for the winery, the vineyard’s yield comprised only a fraction of its total production.

The McHenry’s over at McHenry Vineyard haven’t fared much better. “The last of the vines were pulled up at Christmas time,” says Dean McHenry, who is also chancellor emeritus at UC-Santa Cruz. The McHenry’s four-acre vineyard, planted in 1973, was the source for the family winery’s 400-case production of chardonnay and pinot noir. “We were perhaps the epicenter of the attack.”

He shakes his head. “Ultimately, the vines were just dead stalks.”

The outbreak has made other vintners wary. As if to demonstrate its nefarious mobility, Pierce’s disease is starting to flash around Kathryn Kennedy Winery, where the eight-acre estate cabernet sauvignon vineyard in Saratoga is surrounded not by sharpshooter-ridden host plants, but by residential development.

“It has some very distinct symptoms of Pierce’s disease,” says Kennedy wine grower Marty Mathis of the vineyard. “That’s very worrisome to me.”

Others who have been spared such symptoms are glancing nervously over their shoulders.

“Sometimes you don’t want to look for those things,” says Ron Mosley, vineyard manager at Cinnabar Vineyards and Winery. “But to be a good rancher, you need to monitor it,” he adds. Although Pierce’s disease hasn’t hit Cinnabar’s 30-acre estate vineyard, its fearsome reputation has Mosley on alert and grasping for the words to express his situation. It all comes down to one thing: “You have to do the best you can.”

In the ecological labyrinth of the Santa Cruz Mountains, there exists no easy battle plan against the blue-green sharpshooter. Evading Pierce’s disease is almost as tricky and aggravating as dealing with it, and insecticides are not the panacea of choice.

“You can’t spray for everything,” Mosley says. “You have to coexist with some of these problems…and be ecologically minded.”

The region has traditionally enjoyed an ecological balance that keeps vineyard pests in check by entertaining a number of predatory pests and parasites that feed on them. Insecticides are not selective, so while they can eliminate a focal problem, they also eliminate predators. That, in turn, can set the stage for exponential viticultural headaches and a reliance on chemicals. And that’s something the wine growers want to avoid.

Sometimes, however, spraying is the only option when faced with sudden infestations. Vineyard application of dimethoate insecticide, says Purcell, can reduce the sharpshooters’ “threat rating” by not only reducing their population, but also the percentage of those infected with the disease. Purcell, who is recognized as the leading researcher on the subject, says a more proactive approach is surgical perimeter clearance of host plants that catalyze the vectoring process.

But overall, says Tylicki, “It’s not realistic to talk about eliminating the sharpshooter” without evoking the helicopter armadas of the infamous Mediterranean fruit fly wars. And as for the disease itself, he says, no proven antibiotic mitigation has surfaced. And because it’s illegal to use antibiotics on vineyards in California, “The point is moot.”

Jim Beauregard, a veteran Santa Cruz Mountains vineyard owner, has seen significant portions of his chardonnay vines succumb to the disease in recent years. In the absence of scientific conclusions, he is resorting to the farmer’s best friends: intuition and innovation. He’s ripping the soil to increase air and nutrient circulation to the roots, and is also severely pruning the vines. Ideally, this rids the vine of its infected and dead wood, and concentrates its energy toward fresh, healthy growth. He says he’s already had some success with this approach.

“My vineyard has become an experiment,” he says with a mirthless chuckle.

Ultimately, the branding by Pierce’s disease could be indelible. As it reshapes the region by eliminating vineyards altogether or restructuring their varietal content, the Santa Cruz Mountains are losing acres of vines and varietals that have crystallized their legacy.

“It’s hard to know what will happen in the future,” says UC’s Bettiga. “It’s a very tough situation.” The hardest-hit area, Bonny Doon, could become a viticultural ghost town.

But the misfortunes of Pierce’s disease may, after all, yield some hidden blessings. At David Bruce Winery they’ve chosen some different vine clones and trellising systems that will enhance the quality of their fruit, Stokes says. They’ve also added syrah to their lineup, which is in step with sharpening consumer interest in Rhone varietals.

“We’re going to make better wine,” he says.

And while his optimism remains untested, it resonates in the fighting words of Jim Beauregard: “I don’t think we’re doomed.”

Because in an industry hallmarked by innovative New World defiance, doom is rarely a safe bet.

From the Feb. 28-Mar.6, 1996 issue of Metro

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&copy 1996 Metro Publishing and Virtual Valley, Inc.

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