History


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Talk about being timely (that’s our name after all), I had no sooner written about several topics in Time in My Coffee, Inverness artist/architect Igor Sazevich’s newly published autobiography, than another topic in the book was suddenly all over Bay Area news.

Igor captioned this collage, “From top: Father’s portrait of Victor Arnautoff; Detail from Victor Arnautoff’s mural at Washington High School; Father in his studio; Me on [a high school friend] Don’s shoulders; Father’s sketch of me.”

Time in My Coffee took on new significance this past week after a public controversy arose over Arnautoff’s mural at Washington High in San Francisco. As the book relates, Victor’s father Zygmund had helped produce the mural.

The muralist had met Igor’s father “at the California School of Fine Arts, become friends, and worked together on a few projects. At Washington Victor had been commissioned to paint large frescos on each side of the grand stairway leading to foyer, and father had helped with mixing the plaster undercoats….

“While the majority of the panels portrayed the struggling working class, one wall depicted Washington pointing the way forward to his troops, a slain Indian warrior at his feet. While I was at the school, this mural was a rendezvous spot: ‘Meet you under the dead Indian.’”

In response to 75 years of such comments, school board members are now talking about getting rid of the mural, possibly by painting it over or moving it somewhere.

Better to teach the history. As The San Francisco Chronicle editorialized on Wednesday: San Francisco school leaders have “taken up an unwinnable argument in deciding what to do about murals at George Washington High School — depicting the first president’s life and times — that some find hurtful and racist.

“The paintings should stay for several important reasons. They’re hardly a one-sided glorification of the past. Instead they underline the harsh treatment of Indians and slaves. To miss this shot at the Founding Fathers era is to miss the subversive message by muralist Victor Arnautoff, a noted Depression-era leftist….

“Contemporary views and sensitivities shouldn’t be ignored. An explanation of the artist, his times, and the suggestive power of the mural should be provided for viewers. The sight of a dead Indian or hunched-over slaves cannot be ignored without comment or thought.”

I would add that Arnautoff’s work also deserves to stay because he was a major artist in San Francisco history. Arnautoff was, for example, also responsible for several significant murals in Coit Tower, which were themselves once controversial, as Igor notes. One mural that upset some people during the Red Scares of the McCarthy era included a newsstand selling the Communist Daily Worker but not mainstream newspapers.

‘Time in My Coffee’ is available at Point Reyes Books, Gallery Route One, & Book Passages in Corte Madera

Caveat lectorem: When readers submit comments, they are asked if they want to receive an email alert with a link to new postings on this blog. A number of people have said they do. Thank you. The link is created the moment a posting goes online. Readers who find their way here through that link can see an updated version by simply clicking on the headline above the posting.

Inverness artist/architect Igor Sazevich has just published “an art-full autobiography,” and it is indeed a work of art. It describes the joys of architecture, such as designing restaurants for Nordstrom department stores, and the pains, such as doing design work for Jack Kent Cooke, owner of the Los Angeles Lakers.

Igor likewise writes candidly about his romantic adventures and his marriage into the Romanov family. His late wife, Natasha, was the niece of Prince Vasili Romanov, the nephew of the last tsar of Russia. She was also a cousin of Andrew Romanov of Inverness.

Igor Sazevich sitting behind Toby’s Coffee Bar.

Igor’s parents were both refugees from post-revolutionary Russia. His father was a sculptor and teacher while his mother designed window displays for San Francisco’s famed City of Paris department store.

At left, a home along the water in Marshall originally designed by Igor for professor/poet Mark Linenthal. At right, Igor’s Cedar Landing building in Inverness. (Photos from Time in My Coffee)

Igor spent much of his adult life working in his San Francisco office and then moving to his Sausalito office. From reading his accounts, one begins to understand just how complicated architecture can be in unexpected ways. For example, after buying what had been a private parking lot, Igor in 1992 built his new office on Sausalito’s Caledonia Street.

When a contractor unearthed human bones, however, it turned out the parking lot had been a Native American burial site some 3,000 to 4,000 years earlier. The discovery prompted the City of Sausalito to halt construction — creating a financial nightmare for Igor. Eventually Igor arranged for a representative of the Native American Commission to conduct a culturally appropriate reburial after which he was allowed to resume construction.

A Mendocino County home Igor designed in the style of a Native American wickiup.

Igor details his problematic dealings with the multimillionaire Cooke, who built the Inglewood arena called the Forum and owned several sports teams, including the Lakers basketball team. While living in Sausalito, Igor received a call one Sunday at sunrise from someone who began, “Good morning, I’m Jack Kent Cooke. You are that famous architect who designed the wickiup I spotted this morning in Sunset magazine?”

“Yes, that’s me,” Igor replied.

“Good. I have just purchased some land next to Sequoia National Park, and you’re the person I need to talk to.”

“Give me a moment,” Igor answered, “I’m just waking up. Are you asking me to be your architect?”

“You heard right, dear boy, and I want you to come down here to Los Angeles and stay at my house to go over the details.” When Igor responded that he’d need to check his schedule, Cooke condescendingly cut him off. “I need you here, dear boy, this coming Tuesday. You’ll be staying the night, but have a bite before you get here. I’ll have my chauffeur pick you up at the airport. Here is my phone number and the office number at the Forum.”

“Give me a moment to talk to my wife,” Igor replied, but Cooke again cut him off: “No time, dear boy. Call with your flight number and the time you’ll be getting in and what you’ll be wearing so the chauffeur can spot you. It’s been a pleasure getting to know you, and I’m looking forward to our meeting.” After saying that, writes Igor, “the man on the phone was gone.”

Igor twice flew south for the project and began to design a lodge for Cooke; the multimillionaire, however, again on a Sunday morning called him at home to cheerily announce, “As much as I love working with you, I’m dropping the project and will be selling the property. I also will not be paying you…. If you want, you are welcome to sue me.”

When Igor told the onetime Point Reyes Station attorney John Burroughs about all this, Burroughs volunteered to sue Cooke for him and charge only 30 percent of the take if they won. Because Burroughs misunderstood where the meeting between Cooke and Igor had taken place, he managed to have the case tried in San Francisco and not L.A. After three years of postponements, with no comment Cooke had his lawyers pay what was owed.

Many of the illustrations in ‘Time in My Coffee’ are vertical collages such as this one, which is captioned, “From top: big John Burroughs, Cedar Landing project, headline from Point Reyes Light, Andrew Romanov.”

Igor’s account of Andrew helping him push a 4-inch pipe under Sir Francis Drake Boulevard from one side to the other is another fascinating story. Igor owned bay-front property in downtown Inverness, but it had no place for a septic system. Igor got permission from a neighbor across the street to put a septic leachfield on his land if Igor could pump the sewage to it. To do this, Igor and Andrew pushed a conduit pipe under the roadway. They almost hit an Inverness Public Utility District water main in doing so, but nothing bad happened, and the septic system worked.

Igor also writes about his time in the military where he seemed particularly good at talking his way into better assignments. And he writes about his romantic and sexual experiences over the years. One brief encounter in particular stands out.

While still in high school, Igor was asked by an art student named Virginia to come to her mother’s apartment and sketch her for a class she was taking. After he’d drawn half a dozen sketches and was finishing, Virginia surprised him by uncovering her breasts and then her new lace panties. Igor was worried that Virginia’s mother would come home, but the girl suddenly straddled his lap and began rubbing herself against him. Then, just as Igor thought he would soon experience his “coming of age,” she surprised him again.

“Suddenly she stopped and raised herself slightly, reached under her skirt, and thrust her hand down into the foamy floral lace. What followed was Virginia’s total immersion in satisfying her body. Hers alone; I was only an observer. When she arched back, exhaling, and her spasms pulsed against my leg, I knew our time together was over….

“As we parted by the door, Virginia begged me to forgive her. She was sincerely embarrassed and said she had been afraid of going all the way with me.”

Sexual exhibitionism in order to preserve innocence, wow! That’s a new one.

The first home Igor built for himself and Natasha in Inverness burned in the 1995 Inverness Ridge fire, and he subsequently built another on the same site.

The grandparents of Igor’s wife, Natasha, were forced to flee Russia after the 1917 revolution and moved to the United States. Although she was born and raised in Los Angeles, Natasha spoke Russian. She also played guitar, sang folksongs, and had an interest in art and design.

Igor met Natasha when he was asked to drive her home to Berkeley after a party. They hit it off, but Igor was drafted into the Army and shipped overseas. When he returned, he briefly dated a woman named Cathy and almost married her. Cathy, however, was an alcoholic, and after seeing the movie Anastasia, Igor broke off their engagement and sped off to L.A. to spend Easter with Natasha’s family.

Natasha as a young woman in her parents’ Los Angeles home.

Natasha too was dating other people, but they reconnected when Igor arrived in Los Angeles. The family all went to a Russian Orthodox church for Easter, and Igor writes that “from some hidden corner, my heritage gripped me.” On the spur of the moment, he suggested to Natasha that they go outside into the church’s garden.  He recalls that “as a soaring chant from within the church, verifying that Christ had risen, arose, I appealed to Natasha to become my wife…. I expected her to laugh it off, but she accepted.”

Natasha in the window seat of the old Inverness house.

The couple lived happily in Sausalito and then Inverness and became the parents of two daughters, Katia and Nina. Natasha, however, died in 2000 of cancer, and Igor’s account of her passing is both moving and eloquent. When her family was present shortly before she died at home, Natasha rose from her bed “and holding onto it declared, ‘Someone bring some glasses and the white wine. I need to make a toast.’

“As we stood there with glasses in hand, Natasha raised her glass too. ‘I just want to toast my family for all the wonderful times we shared, and Igor, without you I wouldn’t be able to stand here to bless you for making our life such an incredible adventure; I love you.’ Glasses clinked, wine drunk, tears shed, I assisted Natasha back into bed.”

The author beside the bay.

“A few years after Natasha’s death, Katia ran into a friend from London whom she had known in India; I met her once at a dinner party. She suggested that Katia introduce me to Marna Clarke, a mutual friend from the ashram — she had been a professional photographer until she sold her equipment and most of her possessions to travel…. I agreed, and Katia arranged for the three of us to take a walk along the beach at Point Reyes National Seashore.

“When Marna and I began dating, we experienced a closeness and eventually a desire to be together. Within two years, she moved up to Inverness Ridge to join me and be my partner.

“We have shaped our lives to blend her artistry as a photographer and my functioning as a painter. We have exhibited together and separately at different local galleries and are members of our community showroom, Gallery Route One, on the main street of Point Reyes Station.

“I still drive down there to have my cup of coffee and glance at the steaming ripples while I contemplate what the day holds for me.” Igor will turn 90 in June.

‘Time in My Coffee’ is available at Point Reyes Books, Gallery Route One, & Book Passages in Corte Madera

Caveat lectorem: When readers submit comments, they are asked if they want to receive an email alert with a link to new postings on this blog. A number of people have said they do. Thank you. The link is created the moment a posting goes online. Readers who find their way here through that link can see an updated version by simply clicking on the headline above the posting.

An impressive exhibition of Point Reyes Station photographer Art Rogers’ black-and-white portraits are on display until the end of April in the gallery at Toby’s Feed Barn. The display opened last weekend.

Bob Borello in the 1970s holding Stan Marsi’s dog, Buster, in front of the Western Saloon, which Bob owned. The two men, both now deceased, had just gotten off work at Bob’s rock quarry near Millerton Point, which accounts for their grime.

Art, as his website notes, “is widely known for his portraits of families, children and babies, large groups, and rural scenes and landscapes of West Marin.  He is a recipient of a Guggenheim Fellowship and has also received fellowships from The National Endowment of the Arts and The Marin Arts Council and the SECA Art Award from the San Francisco Museum of Modern Art….

Art and his wife, Laura Rogers.

“His background includes stints as a baby photographer, a photojournalist and as a teacher at the San Francisco Art Institute and Indian Valley College. His photographs are included among the collections of the San Francisco Museum of Modern Art; the International Center of Photography, New York; the Center for Creative Photography Archive, Tucson; Le Musée de l’Elysée, Switzerland; and the de Young, San Francisco….

“He has produced a series entitled ‘Yesterday and Today’ in which the same subjects have been photographed in the same place after a time span of as much as 30 years….

A cow belonging to Point Reyes rancher George Nunes (pictured) produced triplets, which is very rare, one in a million births.

“He has documented the agricultural community on the North Coast for over 35 years….

“Rogers’ work has appeared in The Point Reyes Light for 45 years in his column titled “The Point Reyes Family Album.” It features a photograph every week of people and events in the community and is an ongoing historical documentation of these West Marin towns and villages.”

In addition, the Marin County Cultural Commission has named Art a Cultural Treasure of Marin.

The staff of The Point Reyes Light back when the newspaper was in the building now occupied by Coastal Marin Real Estate, Epicenter, and Rob Janes tax services. In 1984, The Light moved to the Old Creamery Building. It would later move again, this time to Inverness.

‘Puppies’

Art shot this portrait of Mary and Jim Scanlon of the San Geronimo Valley in 1980 only to have pop artist Jeff Koons produce a painted parody of it, which a court found to be a copyright violation. Koons settled a lawsuit with Rogers in 1986 for an undisclosed amount.

That same year Italian porno actress Ilona Staller, better known as Cicciolina, was elected to parliament in Italy and went on to marry Koons in 1991. The couple split up in 1994; to Koons’ chagrin, Cicciolina didn’t want to give up acting in porno movies.

Restaurateur Pat Healy in 1975, four years after she bought the Station House Café. During the 1980s, Pat relocated the restaurant to the former Two Ball Inn building down the street. That bar had been owned by George and Shirley Ball, and their sign out front featured a No. 2 pool ball.

Art Rogers’ exhibition consists almost entirely of West Marin subject matter, several landscapes but mostly people, presented with affection. On just this wall there are 64 portraits of different West Marin babies.

Caveat lectorem: When readers submit comments, they are asked if they want to receive an email alert with a link to new postings on this blog. A number of people have said they do. Thank you. The link is created the moment a posting goes online. Readers who find their way here through that link can see an updated version by simply clicking on the headline above the posting.

For Valentine’s Day my wife Lynn gave me a book with an intriguing title. It’s Lust on Trial by Amy Werbel (Columbia University Press, 2018).

Dr. Werbel is associate professor of  the history of art at New York State University’s Fashion Institute of Technology. Her book explains how 40 years of misguided attempts to maintain New England Calvinism as America’s culture made it possible for almost any works showing a naked body — from fine art, to erotica, to medical texts — to be prosecuted as obscene. Unfortunately, some laws shaped by that era still haunt parts of our country today.

           Professor Amy Werbel 

At the center of her account is a Puritanical, anti-vice crusader from New Canaan, Connecticut, Anthony Comstock (1844-1915). He for 40 years wielded so much clout that the 1873 federal anti-obscenity law was named the Comstock Act.                                                  

Comstock helped found the New York Society for the Suppression of Vice. Working with police in the state, the NYSSV seized tons of supposed obscenities, which even included pictures from Paris that were regarded as fine art in France. 

“The leaders of the NYSSV all presumed the existence of a ‘racio-cultural hierarchy,’ with ‘Teutonic/Anglo Saxons at the top,'” Werbel writes. “Given their belief that Anglo-Americans already possessed the greatest culture on earth, it seemed natural to view French influences generally as a form of pollution.”

French Catholicism, in NYSSV eyes, failed to condemn all public exhibition of nude art whereas American Protestantism recognized a social need for enforcing Calvinistic standards of morality.

 

Anthony Comstock in his New York office around 1900. (All photos in posting from ‘Lust on Trial’)

For 40 years as an inspector in the post office department, Comstock “vigorously asserted his power to serve as a Christian censor of morals within a supposedly secular government position,” Werbel writes. Among the “obscenities” Comstock also sought to suppress as supposed threats to morality were condoms, dildos, and birth-control information. He also fought in court to prohibit abortion. Ironically, his opposition to birth control and abortion was largely to insure that couples indulging in illicit sex would pay the penalty of having a baby.

‘Nymphs and Satyr’ by William-Adolphe Bouguereau, 1873.

In Bouguereau’s “playful” painting, Werbel explains, “the satyr had been caught spying on a group of nymphs who are now taking their vengeance by dragging him into a nearby pond. Satyrs can’t swim, and so his lust has been swiftly transferred into mortal terror.”

The Grand Saloon in the Hoffman House.

Although photos of the painting were ruled obscene in New York in 1883, they continued to circulate. The original painting of Nymphs and Satyr meanwhile hung on the wall of “the Grand Saloon” in the Hoffman House Hotel. The large painting had remained in place despite Comstock telling the hotel’s owner in 1885 to remove it. This was an expensive establishment geared to the wealthy upper class, and Comstock would soon learn that such people could not be successfully prosecuted.

An 1896 cigar label was considered an example of yet another medium being used for disseminating “obscenity.”

Comstock’s primary goal in suppressing all erotic images seems odd today. In his mind, the greatest danger they posed was to inspire lust which, in the case of boys, could lead to masturbation, and he considered self-gratification the worst of sins. We know his thoughts on this because Comstock at the age of 19 made an apparent reference in his diary to masturbating: “I debased myself in my own eyes today by my own weakness and sinfulness, was strongly tempted today, and oh! I yielded…. What suffering I have undergone since, no one knows.”

A year later having joined Connecticut’s Company H in the Union Army, Comstock saw the pornography that other soldiers had ordered through the mail, and he “again recorded giving into the same vices that plagued him in New Canaan.” His diary, two other biographers have noted, was “filled with confessions of guilt and outbursts of bitter remorse during these years.” Nor did “Comstock’s obsession with lust and masturbation” ever change, the book notes.

In the case of girls, as he saw it, the main danger of any lust resulting from obscenities was not that it would lead to masturbation but that it tended to make the girls indecent. When a short-lived American Student of Art magazine published nude pictures of both men and women, Comstock put it on trial for influencing girls to “turn to lives of shame,” insinuating that the arousal of girls “might lead them to prostitution.”

Although Comstock seized hundreds of dildos, they confused him. He believed respectable women were “passionless” and that for any female, arousal depended on “male impetus.” When his investigations turned up a dildo which was somewhat expensive by standards of the times, he wondered who the customers were? “Prostitutes don’t use them,” he reasoned. “The married do not. Their cost being about $6 would seem to preclude their use by the poor and the low.” Werbel writes that Comstock was “entirely unable to fathom that an unmarried woman of means might want to take pleasure from masturbation using an artificial penis.”

Ironically, as the author notes, “one of the most common diseases serious doctors diagnosed among women in the mid-nineteenth century was ‘female hysteria’…. Many recommended curing the problem with induced orgasms, either produced by physicians who massaged the vulva by hand, often on a weekly basis, or hydrotherapy that directed a strong stream of water onto the clitoris.” This was time-consuming, Werbel adds, and ultimately led to doctors inventing the electric vibrator.

 

Figure in Motion by Robert Henri.

Since the reason displays of nude bodies were obscene, as Comstock saw it, was that they inspired lust, arousal was his personal test for obscenity; if something turned him on, it was obscene. When it came time for his defendants to go on trial, juries for their own protection were for years not allowed to see the “vile” evidence that had been seized, and even when defendants were acquitted, they often didn’t get their goods back.

By 1900, however, Comstock’s judgment was being increasingly challenged. After he led a string of raids on “vendors of improper photographs” in Philadelphia in 1886, the vendors argued in court that the photos were high art or were pictures to be used by artists who couldn’t afford a live model.

Even though Comstock argued that the New York Court of Errors and Appeals had found the same pictures to be obscene, the Philadelphia judge quickly threw out the cases. “It seems absurd for New York detectives to come over here and try to demonstrate that recognized works of art are obscene,” he remarked.

When the American Society of Artists publicly protested seizures of art, it declared, “We believe that the study of the nude in art is not only innocent, but is refining and ennobling.”

After Comstock seized art from the Knoedler gallery in New York, The Evening Telegram responded by printing on Page 1 the pictures that he didn’t want the public to see. Comstock then tried to get the district attorney to indict The Telegram but was abruptly turned down.

Other newspapers were also beginning to mock Comstock’s censorship.  Commenting on all this, The New York Times wrote that Comstock exemplified “persons of a low grade of intelligence and a prurient turn of mind.” The Springfield Republican called him “the most preposterous ass that walks on two legs.”

‘Anthony Comstock: The Village Nuisance’ by Louis Glackens was published as a cartoon in a humor magazine called Puck. “While he holds up his hands in protest, Comstock at the same time fixes his gaze firmly at his enticement,” Werbel points out. “The scene is a clear reference to his ineffective campaign to rid shop windows of such suggestive displays.

“At the upper left, Comstock leads clothed horses down a park path, and below that he attempts to serve a warrant on ‘a shameless French poodle.’  On the right… we see Comstock bathing fully clothed and, finally, in the last scene he ‘gets what is coming to him,’ tormented by winged devils in the fiery abyss of hell — in which he wears only a peek-a-boo carnival mask across his ample posterior.”

In his prosecutions, Comstock typically cited England’s Hicklin test for obscenity. If something erotic could disturb even the most vulnerable people, such as small children, it was considered obscene. Not until 1957 did the U.S. Supreme Court finally stop the use of the Hicklin test for determining obscenity. From now on, it ruled, Congress could ban only material “utterly without redeeming social importance.” What mattered was “whether to the average person, applying contemporary community standards, the dominant theme of the material taken as a whole appeals to the prurient interest.”

It seems significant that when Comstock died in 1915, there was far more sexual material in the country than when he began his anti-vice campaign. Indeed, he “had helped to make figure painters, sculptors, and nude models extremely sexy,” the author observes. Moreover, his prosecutions frequently proved to be valuable publicity for whatever was on trial.

By our standards, some of Comstock’s own standards would be considered immoral. For example, “he viewed child sex trafficking as largely the fault of the victims,” according to the author. He “placed the blame for ‘White Slavers’ squarely on the girls who had ‘already been dragged down to perdition by the perverted imagination.'”

Over several weeks in 1899 alone, a series of girls, who were caught in the nets of traffickers, out of desperation committed suicide (using poison) in one particular tavern, McGurk’s saloon in the Bowery. “Comstock,” the book says, “ascribed their deaths to ‘reading light novels.'”

Werbel quotes Christine Stansell, who also writes about art, as saying one of Comstock’s great unintended accomplishments was to make the opposition coalesce: “The battle to protect free speech linked artists, writers, and professionals of  progressive bent to working-class militants.” These factions Werbel adds, “disagreed on many subjects, but they all wanted the opportunity to be heard, to be read.

“In the following decades, that right waxed and waned both in law and custom, but it has never again been as diminished as during the reign of Anthony Comstock.”

Caveat lectorem: When readers submit comments, they are asked if they want to receive an email alert with a link to new postings on this blog. A number of people have said they do. Thank you. The link is created the moment a posting goes online. Readers who find their way here through that link can see an updated version by simply clicking on the headline above the posting.

For the fourth time in eight months a friend got me to read a book that turned out to be worth writing about. This time it was Linda Sturdivant of Inverness Park, who gave me the book Haunted Salem Oregon by Tim King. It was published last year by Haunted America, a Division of the History Press, Charleston, South Carolina. I don’t believe in the paranormal, so I wasn’t sure the book would interest me, but it did.

 

Tim King in his days as a motorcycle journalist.  (Photo by Tom King)

The publisher describes the author as: “a former marine [who] spent more than 20 years working for a variety of local TV news stations in Oregon, Arizona and Nevada, including ABC, NBC and FOX affiliates. Tim founded Salem-News.com in 2004.

“Later in 2006, he took an assignment with Oregon Guard’s 41st Brigade Combat Team in Afghanistan, reporting for Portland, Oregon ABC affiliate, KATU. During the summer of 2008, Tim went to Iraq, where he covered the war. In addition to motorcycle journalism, Tim coauthored the book Betrayal in 2013. In 2015, Tim launched Salem Ghost Tours.”

Despite being an experienced reporter, King writes about “paranormal investigators” as if they need no explanation: “Experts explain that there are several different types of ghosts. Among the different categories are intelligent ghosts, residual spirits, poltergeists, demonic ghosts, and shadow people… Paranormal investigation [can become] highly addictive.”

Underground passageways found when an old building was demolished.

Salem is the capitol of Oregon, and along with tales of its ghosts, readers learn about the odd way the city was originally constructed. “A labyinth of tunnels snakes its way under Salem’s old downtown section,” King writes. “These underground passageways were used by the public to navigate between buildings in the late 19th century. There was a main tunnel system and numerous catacombs, many of which still exist…

“I would not be surprised if Salem qualified as a record holder for the largest number of underground tunnels in a US city.” Indeed, “the state hospital tunnels are notorious and long known for their ghostly presence…. Stories about ghosts in the old tunnels are rife. Employees of the state hospital still talk about tormented, lifeless spirits clinging to our world and roaming the grounds.”

A safe found under a demolished building.

“Today, quite sadly, much of Salem’s underground has been filled in,” King laments. “Long passageways that had access to spacious rooms only accessible through underground tunnels are now blocked off and filled in…. All efforts to preserve the tunnels failed.”

 

The Fairview Home for the Feeble Minded

“The Fairview Home for the Feeble Minded, as it was originally called, easily competes as one of Salem’s most haunted places,” according to King. That comes about because of the “tragic abuse people suffered…. In the beginning, Fairview’s patients were called ‘inmates.’ That word set the tone for a zero-tolerance environment.

“Over time more than 2,500 forced sterilizations took place…. Forced hysterectomies, tubal ligations, vasectomies and even castrations were requirements for discharge from Fairview through the late 1970s…. The place seems to hold or possess the spirit that loomed over people here, making them alone and fearful and often in pain over their own physical and mental shortcomings.”

Salem’s Reed Opera House which opened in 1870.

“The man who built this immense brick structure,  a former Civil War general, Cyrus Reed, has reportedly been seen for decades in his military uniform, greeting people and welcoming them into the building before disappearing,” King writes. “Similar stories tell of a striking woman in a red dress. Like the general, she welcomes guests and then disappears. Like the general, she is noted for her armless and legless appearance,” King reports.

“The stories about ghosts on the second floor, the site of the old theater, abound. People talk about a pair of poltergeists that cause endless mischief. They are believed to be the spirits of two teenage boys who, in the early years of the theater, learned to draw a reaction from the audience with their vaudevillian antics. They enjoy hiding items that the maintenance crews are searching for.

“Today the second floor of the three-story building is probably the most active. A shadow figure of a man who reportedly wears a top hat is the topic of regular discussion among the councilors who primarily occupy the floor. The shadow man is disturbing, though the figure does not approach people.”

Of course, there are no photographs of any of these ghosts, although King writes that several people have recorded the sounds they make. And that is the essence of Haunted Salem Oregon. If readers are willing to momentarily suspend disbelief, they’ll read some fascinating tales.

Tim King in a recent photo.

Caveat lectorem: When readers submit comments, they are asked if they want to receive an email alert with a link to new postings on this blog. A number of people have said they do. Thank you. The link is created the moment a posting goes online. Readers who find their way here through that link can see an updated version by simply clicking on the headline above the posting.

Los Angeles policeman Richard Grotsley shows the 4.5-foot rattlesnake that the Synanon cult, then based in Marshall, used in its attempt to murder attorney Paul Morantz in October 1978. Two members planted the snake with its warning rattles cut off in Morantz’s mailbox. The snake bit the attorney and likely would have killed him were it not for a swift response from paramedics. (United Press International photo)

NBC Sports Bay Area next week will air a documentary titled Split End: the Curious Case of Warren Wells. It should be of special interest here. Wells was an All-Pro wide receiver who played four seasons for the Oakland Raiders. After alcoholism led to his receiving  two drunk-driving convictions and an assault conviction, a judge in 1971 ordered him to enter Synanon in lieu of going to jail. Wells spent only six months in the cult, but he never recovered from having his spirit broken there and was unable to play professional football again. Wells, who died last month at the age of 76, was interviewed for the documentary. In it, he is clearly confused at times as a result of serious dementia.

The showing will be at 8:30 p.m. Thursday, Jan. 24.

Were it not for his legal problems and time in Synanon, Wells might have been one of the greatest wide receivers in history. In 1969, for example, he led the American Football League in yards received (1,260), yards per catch (26.8), and touchdowns (14).

Synanon founder Charles Dederich

Charles Dederich, a recovering alcoholic, started Synanon in 1958 in a rented storefront in Santa Monica, touting it as a rehabilitation organization for drug addicts; however, it soon turned into a highly profitable corporation which avoided taxation by calling itself a religion.

In 1964, Synanon began buying its three properties in Marshall. Those three are now the state’s Marconi Conference Center overlooking Tomales Bay plus the S-2 Ranch and the Walker Creek Environmental Ed Center, both on the Marshall-Petaluma Road. At various times Synanon also owned properties in Santa Monica, Oakland, Badger and Visalia (both in Tulare County), and Lake Havasu (in Arizona). 

Members lived at Synanon where no alcohol or drugs were available and Dederich could direct their lives. When they recovered from their addictions, members were often convinced not to leave but to remain as employees. In addition, more and more non-addict “squares” began moving into Synanon for the lifestyle, often cajoled into turning over their houses, bank accounts, and cars. Synanon justified this with a promise to take care of them for the rest of their lives. Many members became low-paid salesmen for Synanon’s highly profitable Advertising Gifts And Premiums business.

ADGAP was a distributor of promotional souvenirs to merchants such as car dealers. The souvenirs were often keychains, cocktail glasses, or other knickknacks inscribed with the merchants’ names. Synanon’s sales pitch was essentially: ‘You’re going to buy this stuff anyway, and if you buy it from us, your money will help cure drug addicts.’ The ploy was so successful that ADGAP eventually grossed $11 million a year.

Meanwhile Dederich was becoming increasingly authoritarian and demanding. Synanon already prevented members from having much contact with family members on the outside. To insure that members were totally committed to Synanon as it had evolved, Dederich launched what amounted to a series of conformity tests.  In 1975, all members — male and female — were required to shave their heads. In early 1977, Dederich coerced men who had been in Synanon five years or longer to have vasectomies and pregnant women to get abortions. Later that same year, virtually all couples, married or not, were required to “change partners.” Members who objected to any of this had to get out, leaving the more zealous members as the core of the cult.

Critics, including lawyers suing the cult, were considered “enemies” and now could be marked for violence. Initially violence had been forbidden by Synanon, but Dederich soon dropped the ban.

Atty. Paul Morantz being interviewed for ‘Split End.’

After atty. Morantz won a $300,000 judgment against the cult for a Southern California woman who had been brainwashed and wrongfully imprisoned in Marshall, Dederich went on a rant recorded by Synanon itself. On the recording, which was seized by police, Dederich can be heard growling: “I’m quite willing to break some lawyer’s legs, and then tell him I’m going to break your wife’s legs, and then we are going to cut your kid’s ear off. Try me. This is only a sample, you son of a bitch. And that’s the end of your lawyer. And that’s the end of him and all his friends. It’s a very satisfactory and humane way of transmitting information.”

Yours truly being interviewed in the documentary.

In 1978 with Synanon violence becoming increasingly common in West Marin and elsewhere, editorials in The Point Reyes Light, which I published at the time, began criticizing law enforcement’s failure to see the pattern. Each incident was treated as unrelated to all the others until ……… the rattlesnake in Morantz’s mailbox. That crime was so bizarre that California’s criminal justice system was finally forced to pay more attention to the group.

Dederich and his two snake handlers were soon arrested and in court made no claim of innocence but instead pled no contest to charges of conspiracy to commit murder. The two were sentenced to a year in jail. After he complained of frail health, Dederich was not jailed but sentenced to five years probation and ordered to stay away from Synanon. In fact, he lived 17 more years, dying at the age of 83 in 1997.

By then, Synanon was no more. In 1991, the IRS had taken away the cult’s tax-exempt status, which forced it to disband. After viewers of Split End see the damage Synanon did to Wells, most will agree that Synanon should have been disbanded long before then. I’d recommend the documentary even if I didn’t have a cameo in it.

Prompted by President Trump’s intemperate rhetoric, the word fanatic kept coming to mind, so I decided to look up the word’s origin. “Fanatic comes from the Latin word for temple, fanum, and meant mad as if inspired by a god,” or so I read in the Morris Dictionary of Word and Phrase Origins, which I’ve quoted here before. Perhaps the most scathing definition of fanatic, however, is Winston Churchill’s: “One who can’t change his mind and won’t change the subject.”

The dictionary’s explanation of cold shoulder is a bit of a surprise: “When knighthood was in flower, a wandering knight would be received at any castle with a sumptuous hot meal. However, the common traveler would do well to be offered a plate of cold meat. Since mutton was a common food of the times in England, he would be likely to get the cold shoulder. Today when we turn the cold shoulder to anyone, we treat him with disdain bordering on contempt.”

Another surprising phrase is the toast chin-chin. It comes from Italy, where it is spelled cin-cin and means something like to your health. I heard the expression in Italy and France while traveling as a college student and started using it instead of cheers. Recently in both Point Reyes Station and Sausalito, however, I used chin-chin with a friend who had lived in Japan and with an acquaintance from there, and it got each woman laughing. Turns out that in Japanese, chin-chin means penis.

I doublechecked online and read this account: “One of our Japanese engineers had once told us a story about … a Japanese business man [who] goes to a dinner event. During the course of the dinner, an Italian raises his glass and toasts ‘Chin-chin!’ to the Japanese man. At first, the Japanese looks stunned. He looks at the Italian, and apparently detecting that the Italian meant no harm, he raises his glass and sips his drink sharing in the toast. He smiles broadly.

“Later in the evening, someone who noticed his facial expressions during the toast, goes to the Japanese man and asks him about his reaction. He smiles and explains: ‘I had not heard this particular toast before. In Japanese, the word chin means penis. So when he said ‘chin-chin‘ to me, I thought at first he was insulting me. Then I thought about it, and decided if this man wants to toast my penis, who am I to argue? So I accepted the toast gladly.'”

 — From a 1933 New Yorker magazine

The Morris Dictionary gives two alternative explanations for the origin of the phrase bring home the bacon. One is that the winner of greased-pig contests at county fairs often got to bring the porker home. The other, which I prefer, goes back to 1111 A.D. in the town of Dunmow in England: “A noblewoman, wishing to encourage marital happiness, decreed that ‘any person from any part of England going to Dunmow and humbly kneeling on two stones at the church door may claim a gammon [side] of bacon, if he can swear that for twelve months and a day he has never had a household brawl or wished himself unmarried.'”

However, judging by these standards, such happiness was rare. “Let cynics make what they will of the record,” Morris Dictionary commented, “in a period of five centuries (1244-1772), there were only eight claimants of the prize.”

Computer techie Keith Mathews gave me his copy of the dictionary when he moved from Point Reyes Station to Augusta 11 years ago, and I remain indebted to him.

 

 

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We are in the midst of holiday crafts fairs from the community center in Muir Beach to the community centers in Bolinas, the San Geronimo Valley, and Point Reyes Station. 

And that is in addition to last Friday’s Christmas-tree lighting in Point Reyes Station and an exhibit that opened Sunday in Inverness’ Jack Mason Museum of West Marin History. It focuses on key women in early Inverness and on Point Reyes.

Photo by Lynn Axelrod Mitchell

Point Reyes Station celebrated its 20th annual Path of Lights Friday. Many stores stayed open late, and luminarios lined the sidewalk in front of them. West Marin Senior Services sponsored the lighting of the town Christmas tree beside the bank.

Also in Point Reyes Station, the Dance Palace Community Center held its 48th annual artisan craft and holiday market all weekend. Terry Aleshire (center) confers with his elves.

Working the table at the Dance Palace fair’s raffle were (from left):  Allie Klein, Amelia Aufuldish, Bella Schlitz, Zoe Rocco-Zilber, and Melissa Claire.

Cannabis-based remedies for various ailments were on sale.

Photo by Lynn Axelrod Mitchell

San Geronimo Valley’s community center held its 49th annual holiday crafts fair on the portico and inside the building, 89 years since it first opened as a public school.

Amy Valens, left, talks with local vendors Rebecca Maloney (center) and Denise Jackson. (Photo by Lynn Axelrod Mitchell) 

Richard “Santa” Sloan determines who’s been naughty or nice.  (Photo by Lynn Axelrod Mitchell)

Suzanne Sadowsky sits behind the Hanukah menorah. The holiday commemorates the oil that miraculously lasted eight days, lighting the Temple recovered by the Maccabees in 165 B.C. The holiday begins tonight.  (Photo by Lynn Axelrod Mitchell)

Sarah Riddell Shafter (1823-1900) married Oscar Lovell Shafter in 1841 and bore him 11 children.

‘Those Shafter Women’ is the name of the exhibit that just opened in the Jack Mason Museum of West Marin History. “It focuses on the wives and daughters of the original six children born to Mary Lovell Shafter and William Rufus Shafter,” the museum newsletter notes. The eldest was named Wealthy Loretta Shafter Edminister…” Yes, her first name really was “Wealthy.”

Emma Shafter Howard married Charles Webb Howard in 1861. In 1890, they separated, and he agreed to support her for life and to leave half of his extensive West Marin holdings to her. However, he left her only Bear Valley Ranch, as Emma discovered when he died in 1908. Emma, who was known as “a strong woman,” sued to get her half of the property and was successful. This, however, caused bad feelings with some of the other heirs, her children and younger sisters.

Emma took part in numerous social causes. She was a lifetime member of the National American Woman Suffrage Association. She founded the Women’s Agricultural and Horticultural Union of California. 

The exhibit is in large part a genealogical presentation with history told as it relates to members of the Shafter family.

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A friend I met in Sausalito’s No Name Bar where I go Friday evenings to listen to jazz, poet Paul LeClerc, has again recommended a fascinating book I would not know about otherwise. It’s Cain’s Book by Alexander Trocchi. As The New Yorker once commented, “Mr. Trocchi’s ideas…are set down in prose that is always clean and sharp and often ferociously alive with poetry.”

Poet Paul LeClerc in Sausalito’s No Name Bar.

This is the third book LeClerc has recommended that is set in a low-rent, mostly industrial area along the docks of Manhattan Island. The first two were Up in the Old Hotel by Joseph Mitchell and Joe Gould’s Teeth by Jill Lepore, which I wrote about in the postings linked above. Much of LeClerc’s interest in that setting stems from his having driven taxis in New York City, where he also worked in bookstores. (He later did the same in San Francisco.)

Alexander Trocchi as a young man with his typewriter .

Born in Glasgow, Scotland, in 1925, Alexander Trocchi in his 20s moved to Paris where he became a life-long heroin addict. He wrote six pornographic novels and edited an avant-garde literary magazine, Merlin. The magazine lasted from 1952 to 1954 when the US State Department canceled its many subscriptions because, according to Trocchi, of an article by Jean Paul Sartre that praised the homoeroticism of writer Jean Genet.

Trocchi then moved to the US, first to Taos and later settling in New York City, where he became a bargeman on a Hudson River scow. The character Joe Necchi in Cain’s Book is a stand-in for Trocchi. Often Joe spends days alone moored on a scow, at night sleeping in a shack atop the deck. Inside the shack he fixes himself with heroin, smokes marijuana and cigarettes, and types manuscripts by the light of kerosene lamps.

On the scow, “I became fascinated by the minute-to-minute sensations, and when I reflected, I did so repetitively and exhaustingly (often under marijuana) on the meaninglessness of the texture of the moment, the cries of gulls, a floating spar, a shaft of sunlight, and it wasn’t long before the sense of being alone overtook me and drained me of all hope of ever entering the city with its complicated relations.”

Alexander Trocchi with his wife Lyn Hicks.

Trocchi neither condemns nor romanticizes heroin addition. He simply shows what it is like. His character Joe lives in an unmoral world where junkies rip off their friends. Joe seduces men and other men’s wives. Women resort to prostitution to pay for their drugs.

And it was all real. When Cain’s Book was published in 1960, notes Wikipedia, “Trocchi was deep in the throes of heroin addiction; he even failed to attend his own launch party for [the book]. His wife prostituted herself on the streets of the Lower East Side.”

Trocchi playing chess with pieces made from used heroin syringes.

“To be a junkie is to live in a madhouse,” Joe muses. “Laws, police forces, armies, mobs of indignant citizenry crying mad dog. We are perhaps the weakest minority which ever existed; forced into poverty, filth, squalor, without even the protection of a legitimate ghetto.”

Growing up, Joe had also been in poverty — but not because of drugs. His mother took care of the house, but his father became a total shirker and stopped contributing anything, he recalls. “Whenever I contemplated our poverty and how it situated me at the edge of an uncrossable gulf at whose far side strolled those fortunate few who had lived their lives in well-mannered leisure, I felt like a tent pegged down in a high wind.”

Yet for all this, Cain’s Book is not a downer. Rather it’s enlightening, making it understandable how some people get hooked on heroin and what then happens to them. Norman Mailer called the book “different from other books: it is true, it has art, it is brave.” In a time when this country is in what’s called “an opiod crisis,” Cain’s Book makes clear that it is possible to become addicted and yet examine oneself through art.

Trocchi died of pneumonia in 1984 at the age of 59.

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My appointment book says Sunday, Sept. 23, will be the “first day of fall.” My Humane Society calendar says it will be the day “autumn begins.” Which is it? Or both? And if so, why does the season have two names. Both originate in the British Isles, but “autumn” is the more-common term there while fall is preferred here in the US.

From what I read, “fall” came into use around the 1500s in such terms as “fall of the year” or “fall of the leaf.” Within a century it was contracted to simply “fall.” Autumn, which comes from the Latin autumnus by way of the French automne, means the same thing but didn’t become popular in the British Isles until the 1600s.

Every year in West Marin, leaves with fall colors — poison oak’s red leaves in particular — decorate the countryside. Which reminds me of my itchy youth in Berkeley. When I was learning to read and write at Hillside Elementary School, one teacher at the start of a school year told our class to write poems about autumn. Expressing my chagrin at the end of vacation, I wrote:

“Autumn, it comes in the fall./ Autumn should not come at all./ For when it’s fall, it is a rule/ All of us go back to school.” I can’t remember the teacher’s reaction to my rhyme, but I know she didn’t always understand what I wrote. When I once used “mise” in a paper, she drew a circle around it. “What’s that word?” she asked. I was astounded that she didn’t know. My parents were always saying, “We mise well do this” or, “We mise well do that.”

The summer was so dry that the horses grazing on the hill next to Mitchell cabin ate down all the grass and are now living off bales of hay distributed by their owners.

A hillside in the Murray Buttes region of Mars. (NASA photo)

Mars or mythology? Recently while looking into the origins of words, I became curious as to the origin of “Hesperian.” There’s a city called Hesperia in San Bernardino County and an Elementary School called Hesperian in San Lorenzo. Hesperian is also the name of a major boulevard which parallels the Nimitz freeway in Hayward.

But when I looked up Hesperian in Wikipedia, the first definition listed said, “The Hesperian is a geologic system and time period on the planet Mars characterized by widespread volcanic activity and catastrophic flooding that carved immense outflow channels across the surface.” The Hesperian probably began about 3700 million years ago. Why would anyone name a city, or a school, or a boulevard after that?

Apparently as it’s being used, however, Hesperian suggests “western.” In ancient Greek and Roman mythology, Hesperides referred to both a garden producing golden apples at the western edge of the world and to nymphs who guarded the garden with the aid of a dragon. Again I ask: why would anyone name a city, or a school, or a boulevard — even in the West — after nymphs with a dragon or their garden?

In keeping with the western garden myth of Hesperides, the Greeks called the Evening Star (which rises in the west) “Hesperus.” Even if this were the reference, I would similarly ask: why anyone would name a city, a school, or a boulevard after the evening star?

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