Showing posts with label Sausalito. Show all posts
Showing posts with label Sausalito. Show all posts

Friday, March 5, 2021

Insomnia, roosters, mistletoe and Agnès Varda


 I still haven’t gone to sleep & now the freaking roosters are up—gossiping with the waning moon & some guy is arguing with me about Agnès Varda. Really? Varda’s niece, a Hungarian filmmaker used to stay with her uncle Jean on the Charles van Damme ferry in Sausalito. I had posted on someone’s site a video clip, that I was at one of those famous Jean Varda parties as a child, and it seemed familiar, and one of them must’ve been Agnès—as she was familiar too. This guy decided to argue with me saying that it wasn’t possible. I said, I beg to differ, it was MY MEMORY...and I went from there, growling. We worked it out but it sure made me hopping mad. How typical of a guy to mansplain and attempt to erase or negate someone’s comment. Well, as you well know, I’ll have none o’ that, now.

Meanwhile, the chickens were already up and crowing. No hope of retrieving lost sleep. Whenever the chickens see me near my car they come galumphing, listing from side to side like drunken sots, especially if I melodiously croon Chickens! and say BuckBucks. Because, well, food. Handsome Pele and his girls. Alpha flock. Except for the dingbat silkie who doesn’t know the front end of the chicken from the back end. No danger there of him passing on his genes.

A lot of people were up at 3 AM, it was a virtual Facebook pajama party. Gary Glazner, Margaret Maughan, and on the other side of the world, my Irish cousins were even chiming in. It was quite the night. Meanwhile Ken Bullock was also up, but then, he’s my resident nightowl, and we were trading Cornish insults as our wont because it was, and still is St. Piran’s Day. Gool Piran da dheugh why oll!

I also I had a long, if busy, day yesterday. I edited several month’s worth of photos, and then made small photo albums for the California Native Plant Society, with several needing IDs from its sister group, California Invasive Plants. So my mind was going like a race car. My daffodil post came from this planty intersection, as did the pond turtle story. I thought I was done for the day. But like Steve Jobs saying, wait, there’s one more thing....

The most astonishing post of all was of some mistletoe I had taken a photo of, still attached to a branch with leaves, and a Cazadero biologist was more interested in the attached oak leaves than the mistletoe. He said the oak was a hybrid, an Oracle oak. 

Unfortunately some mistletoe was an invasive legacy introduced by Luther Burbank. But I was gobsmacked. Hybrid oracle oaks are rare, and are usually not a coastal phenomenon. 

Suddenly I cold actually see what he was talking about—the leaves were hybrid, not deeply lobed like a black oak, but with little spines like a live oak, but the leaf was not cupped or curled like a live oak Why didn’t I notice this when I first found the mistletoe? I was too busy looking at the mistletoe and not the oak. Well, it was December.

Understand that I am a ballpark amateur in the realm of native plant ID. I can a get close ID, but I can’t tell the difference between subspecies. I can’t really hone in like the pros. Why I joined the group in the first place was to learn. I was expecting a simple answer. The universe did not comply. 

Once I was content with knowing if an oak tree was a Coast Live Oak, or if it was a deciduous one. My mind stopped there. End of story. Sure I could say valley oak, or black oak, and I knew that there are nine kinds of oak trees in California—but did I know the difference?  Not really. I barely knew all the interior oaks.

Well, this has certainly been an interesting and productive twinned goosechase, curtesy of Luther Burbank, and apparently, the wind. Expecting a simple ID, I got way more than I bargained for. Steep learning curves. And I guess I needed to post my mistletoe find under invasive plants vs native ones. interior live oak.

And suddenly I’ve entered the realm of multitudes of oaks that can hybridize with each other. My mind is reeling. My grandmother once told me that the word for door comes from the Irish duire, simultaneously meaning both door and druid, aka fios, or knowledge. You can’t ever shut that door once it opens.

And Geoffrey Davis, also enter into this conversation, obliquely, for he was always pointing out the black oaks in the valley...whereas I was only aware of our coast live oak, because that was the extent of my entire ecosystem on Arroyo Road. I think of him each time I pass a stand of black oaks. Then, of course, there was the Black Oak restaurant...

I can see where this is going....

Wednesday, September 5, 2018

Virginia Rae interview: Sausalito's Gate 5 Theater & beyond


Vee Rae (Virginia Rae Kane) was an actor friend of my mother's at the Gate Playhouse Theatre in Sausalito during the late 1950s- early 1960s. I was young, still in the single digits, so my memory was sparse. But my first blog pieces in 2007 were on Gate 5, Tiki Junction, and also Juanita, which led to this post.

The photo that started it all. My mother, Kellé Reilly (later it was Kellé Green—
her stage name as there was already an actress, Maureen Hurley in SAG), 
Richard Knablin, Skip Rognlien and Vee Rae, Christmas, 1960. 
(Photo by Chris Gracida, courtesy of Richard Knablin.)

Somehow my mom's friend, Richard "Dik" Knablin stumbled across my blog post in 2009, and contacted me which led me to an email from Vee Rae. He sent me a photo of my mother with him and Vee Rae, and the memories came flooding back. Wow!

So this interview is a decade, or more like a lifetime in the making. Also, my drama teacher from College of Marin, James Dunn just passed away, he was also part of the lively and vibrant theatre scene in Marin. Come what come may, time and the hour run through the roughest day.

I was able to glean information on Skip Rognlien and Les Abbot, thanks to Google. I found a few reviews that mention Vee and other actors in the ensemble (Bill Edwards, Jim Holiday, Vickie Frazer, Sharleen Lambert, Diane Santich, John Rose, Jack Brennan and J. W. Cheetham, see newspaper archives at bottom), but nothing in print on my mother who worked so tirelessly behind the scenes with costuming, and she was also in most of the plays as well. I only have a few stills of her.

Friday, April 29, 2016

BOOBJOB


Inter-
stisal
line-
ages and
dharma
bums
united alliances
on the mudflats
during king tides.
The Charles
van be damned.
Forget Varda's nudes.
Juanita's was the g-spot
to be for breakfast.
Fishermen never for-
got her boob muff-

in special.
No one
ever went
away
hung-
ry.

4/29/2016

You'd have to have known Juanita, Gate 5, Alan Watts, Varda, and crew... oblique references, at best. Locke would have to have been part of that Sausalito scene. Alan was living in the pilot house atop the Charles van Damme. Varda was downstairs. He nailed his painting to the wall to defy gravity, much to my delight. My mom worked for Juanita Musson, You didn't mess with her. She was a friend of Sally Stanford's. Her special was a boobjob, a muffin sandwich draped around some unsuspecting man's ears. Few ever fully recovered from Juanita's ministrations.

Sunday, January 18, 2015

Tiki Totems

It begins as one tiny memory, and suddenly I am remembering sheaves of information. In the early 1960s, Barney West was carving a totem with a chainsaw, me sitting in the white convertible watching him work as my mom met up with some friends at one of the Sausalito houseboats. The day was harsh and Barney, dressed in shorts, and little else, was swarthy, sweat rolling off his back. She must've told him to keep an eye on me because he was cranky. He bristled. Wouldn't even talk to me. So, I sat there in the car, silent, and watched monsters unfold from the trunks of redwood trees. They glared menacingly from the shadows. Followed me home in sleep.

Wednesday, July 9, 2014

ALAN WATTS

    
Alan Watts, early 1970s, Everett Collection, Brain Pickings
 —The only way to make sense out of change 
         is to plunge into it, move with it, 
         and join the dance. —Alan Watts

When I was a child, I swear
Alan Watts was older than dirt.
Now from a photo, he gazes out 
looking younger than I am today. 
Sausalito in the good old days, 
when Varda lived on the old ferryboat 
and nailed his paintings to the walls, 
& from the captain's cabin,
Alan danced at the helm,
with his seadog legs braced
against the raging '50s tide, 
steering the '60s into oblivion.

7/9/14

Saturday, April 5, 2014

Bio Notes for Brian Kervin

For all you North Bay folks, Neil O"Neill and Maureen Hurley will be on the air live reading poetry (and music) on The Learnin' Kirven Show April 6th, from 4-6 pm at KWMR West Marin Community Radio  at 90.5 FM Point Reyes Station, and 89.9 FM Bolinas kwmr.org (live stream). Maureen will be reading poems of place, growing up in West Marin, highlights of our upcoming CPITS' 50-year anniversary, West Marin kids to read their poems. Neil will talk about coming to Marin in the 1970s, Ross Valley Players, his 30-year gig with Bread & Roses, and play some music.

I began to write Brian some bio notes and it got out of hand. Bloggy material, it is.

Wednesday, October 2, 2013

TALKING FISH & SEA WHISPERERS


The sounds that fish make
when no one is listening
in the koi pond, do they mouth
& baise-moué l'ail to the sky
and dream of swimming among the stars?
But in the depths of the ocean,
there's a piscean clack & growl,
the sonic boom and tump of black drumfish
travels up canals through bedroom walls—
their song akin to water-boarding, or a hydraulic engine.
At Strawberry Cove, the first high tide after the full moon,
we'd wait for the grunion run, they'd crawl out of the sea,
the only fish that must be caught by hand.
But the town drunks and Asians gathered them up in buckets
In a bioluminescent sea, we heard shoals of herrings
fart out a Morse code—like an angry army of Jimmy Choos
let loose in Grand Central Station at rush hour.
Those droning toadfish, those heavy metal rockers
sitting by the dock of the bay, no Country Joe & the Fish
singing We don't give a damn, drive Sausalito houseboaters
stark-raving-mad on warm summer nights.
Cusk eels jackhammering in the key of sea,
force sleep-deprived oceanographers inland.
We listened to miked pirañas, castenetting
like SETI radars in the Steinhart Aquarium.
Runaway seahorses, chirping clownfish,
yellow croakers, pistol shrimp, cod & haddock
thrumming up an aquatic din—
fishily belting it out in the name of love.
From Ensenada to Point Lobos
fish are chorusing a grand stadium "wave."
No passive acoustics, they sing the body electric
with a cacophony of barks and grunts
worthy of a Liberian ship engine with thrown rods.
Midshipmen looking for love in all the wrong places,
might have stumped Aristotle and sailors alike.
But no one has ever heard a butterfly fish make a sound.
Merely a whisper and sigh of fin and wing, like rustling leaves.

10/2/2013

Friday, June 28, 2013

Facebook Nostalgia Groups, and SGV thread


I belong to three different Facebook Nostalgia (remember when) groups. It's amazing how all the threads and lost memories surface in the collective memory process. I have found long-lost friends, their siblings, a relative, and even gained a new friend or two. One group is for my grade school as there isn't another for the area, another is for my high school, and the third group is for the county where I grew up.

You know you're from Marin when...  is mostly a southern Marin group. It's interesting to learn what happened "over the hill." Some of it I can't even begin to relate to. But even with the Sonoma County group, it's a similar situation. I realized that rural West County—be it West Marin or West Sonoma, there was a very different reality than in the more civilized parts of SonoMarin.

Sir Francis Drake High School I can't say I liked high school, it was a miserable time for me—and other "valley rats." You can see by the moniker, why it might not have been all roses. Interesting to own up to a time that was painful—and not be attached to any of it. 

And the third group is Lagunitas School District and an Geronimo Valley peeps...  Sometimes it's interesting, it's definitely more scattered. Wide age range. There were multiple LSD groups. This one is the most vibrant. There also a San Geronimo Valley group—but if a group is too small, I tend not to join it. Too secular. 

We grew up during some unusual times and that the entire rock world descended upon us, along with everybody else. So the stories are interesting. I'm gleaning many backstories, not just the stories of what we remember, but the why behind them that set the stories in motion. But we were really there! One thing that's cool is that the groups are inter-generational. Multiple perspectives.

I also belong to Sausalito Children as I had many childhood experiences there. My mom lived in Sausalito during the 1960s, worked for Juanita, and was an actress at the Gate Playhouse–so it all comes together. A memory here, a memory there. And I've got me some blog fodder. Group creator Andrew Fekses and I discovered that we knew each other when we were kids—through Miranda-Micaela and Chris Wall. How small, the world.

Some nice vintage photos posted in I Love Sonoma County, CA:  Not much by way of info on West County. We reveled in our weirdness. Where I came of age as a writer, and an artist in the schools. I was always a west county girl—it was a very different reality than the more civilized parts of SonoMarin. (I got kicked out of that group, unbeknownst to me the moderator was dog crazy and I had the temerity to object to a dog slobbery post from a whinging woman who brought her filthy dog into Le Bourdain.)

Anyway, all this to say, that an incredible nostalgia thread emerged from these Facebook groups. This one began on the SGV post, and migrated to my page. Much fodder for another blog post. But I'm posting it here: stet. Verbatim. Whatevers. It’s all fodder and grist for the wheel.

Wednesday, December 5, 2012

Take Five, Dave!

If you make a mistake in jazz, you don't give up. You work it into the next line, so it isn't a mistake —Dave Brubeck, December 6, 1920 - December 5, 2012
Jazz musician Dave Brubeck thought he was going to be a cowboy when he grew up. He was born and raised on a ranch in Concord, and at age 11, his family moved to a 45,000-acre ranch in the Sierra foothills near Ione, Ca. He could ride and rope with the best of them. But his mother, afraid for his hands, wouldn't let him rope anything older than a yearling. His uncle had lost a finger that way.

While at school, Dave was studying to be a veterinarian, but music led him astray. No matter that he couldn't read sheet music. He memorized everything from Chopin to cowboy songs. One thing led to another.
Brubeck's mother, Elizabeth Ivey, was a classically trained pianist who had studied in London. "When Dave was 4 or 5, he would position himself under the piano while she was playing Chopin," Gloyd said. Because of poor eyesight, Mr. Brubeck had trouble reading (music), and "his mother gave up on trying to teach him." Mr. Brubeck learned by listening, and by the time he was a teenager, he was playing with adults in a local dance band. —SF Gate
Dave's family had a ranch and hotel on the east side of Honey Lake (Amedee). He had numerous relatives including the Gibson/Haley clan of Litchfield, Carol Doyle of the old Doyle Motor etc. His aunt is buried there.  —Tim Purdy

During the late 1950s, Dave used to hang out in North Beach and at the Sausalito Gate Playhouse theater, where my mom was an actress. I met him when I was very young. I thought the opening line to Take Five was like the rhythm of galloping horses. He liked that.


I remember asking my mom what the Off Broadway stage director Skip Rognlien meant when he said, "Take Five everybody!" during a rehearsal—I was still putting two and two together. I wanted to know what that had to do with Dave Brubeck's Take Five. She laughed and said it meant that they could all take a five-minute smoke break. I was disappointed. Dave's music was more exciting.

I was five-going-on-six, precociously collecting numbers. Quartet was four. Fourfivesix! This many? Two hands. She said: "jazz interlude."

Take Five  peaked at #2 on the Top 40 Billboard singles chart in 1961. It was a signature piece for that era. You heard it playing everywhere. Down Bridge Street to Caledonia in Sausalito. Take Five (with Blue Rondo on the B-side) became the best-selling 45 rpm record ever released. But Dave Brubeck had a heart as big as the wide open skies of California. He never forgot his roots. The album cover was signed.

To be viewed in 5/6 time. When I was young, I loved the album art on Brubeck's album cover by S. Neil Fujita, and probably embellished it with crayons. For some reason, I insisted that it was mine, and not my mother's, though the record was hers. It must've held some triggerpoint of memory of my meeting Dave. It was a half-pint's wild west standoff. Reasoning was not going to work. She finally relented, and let me keep it. 







“One of the reasons I believe in jazz, is that the oneness of man can come through the rhythm of your heart. It’s the same anyplace in the world, that heartbeat. It’s the first thing you hear when you’re born—or before you’re born—and it’s the last thing you hear.” —Dave Brubeck, NYTimes obit
Dave Brubeck was into collaborating with other musicians and poets. He didn't pull rank or status. My friend Ken Bullock said that there may be a tape—rare as a photo of Khrushchiev's shoe pounding the UN table—somewhere of poet Jack Spicer reading to Brubeck's combo. Herb Caen heard it & said it was good.
The Spicer-Brubeck tape—one of the great missing treasures. From his pre-serial poem period, as in The Collected Books. He was a great reader in those days. For all the wonderful collection of mostly serial poems—again, the real stuff—on PennSound, it lacks his finest extant reading, at the Poetry Center in '57, including great, even eerie readings of "Poem for Bird & Myself," "Imaginary Elegies" & "Psychoanalysis: An Elegy" to a crowd primed to the hilt. Can only begin to imagine what he would've sounded like with Brubeck. —Ken Bullock
Tom Pich photo courtesy of National Endowment for the Arts

After a long interlude indeed, I ran into Dave during the early 1990s, at the Russian River JazzFest—I was on assignment taking photos for The West Sonoma County Paper, and Dave and I got to talking about those days of Beat-Bohemia in the SF Bay Area.

Being painfully shy and also being at odds with being so out in the public as a photojournalist, I broke the ice by way of introduction, by giving Dave an anthology of my student art and poetry from my California Arts Council artist residency at Mark West School in Santa Rosa.

Dave thumbed through it, thoughtful, pausing here and there, then he asked me to read a poem or two (I chose Trevor Yeats—This Body is to Ask), and then he handed it back to me and said, "Now, sign it!" There was no early warning signal for paradigm change. There I was. There we were. Is-ness incarnate.

Because I was a poet-artist-photographer working in the schools, Dave introduced me to the musicians (Bob Dorough (Doboro sp?—I can't find a reference to him but I can sing you his song about an old mattress tag he once knew, "Do Not Remove Under Penalty of Law"). The incredibly sweet, Blossom Dearie, and Polish pianist Adam Mankowicz) were interviewing me! Tables turned. What did I know about jazz? Nada.

Not exactly sure what to do, I gave all the jazz musicians poetry books. For some reason, poetry was my ticket to ride. What I didn't know was the role that poetry played in jazz, or repressed nations—like Poland. (Bell learning curve ahead. I later wound up in Russia.)

Dave and I held other held themes in common. He wanted to be a rancher like his father, he grew up on a cattle ranch in Ione; my grand-uncle, Wild Bill Walsh, sold his truck for a bottle of bad whiskey and a good hand of cards in Ione.

Dave wanted to be a veterinarian. As did I. His first love was rodeo roping. I was a fan of All Things Horses—my religion was The Grand National—and rodeo champ Larry Mahan was an idol. But art hogtied us in 30 seconds flat and that was that.

We did not discuss Dave's myriad accolades, we just sat in the warm sun like a couple of cowboys and talked about other things that moved us, as the California hills cradled us, and the long silvered tongue of the Russian River played a riff toward the sea.

Perhaps my editor, Nick Valentine, was disappointed because I didn't mine Dave for pithy quotes. But Dave wanted to blur the boundary between subject and object. I was fine with that.

I found I didn't have the reporter's cold heart, I was no ambulance chaser, after all. The being at-one in the moment was more important than the storyline. Strange meadowlarks, indeed.

I wrote a little story of praise on Dave for The West Sonoma County Paper, and sent the clipping to him. Dave wrote ME a letter (to the editor) in praise of my story and photography. I have it somewhere, along with the photos.

Dave’s letter to the editor, The Paper, December, 1983

RIP Dave Brubeck, your heart never failed you. Take five, Dave. Take Five.

It's a staccato of horses hooves, pounding an opening heartline to the melody. Trust me, I'm not that intellectual, I suck at math. I never set out to find jazz, but jazz just keeps on finding, and outing me.

Wednesday, August 1, 2007

At the No Name Bar

We are at the No-Name bar in Sausalito, once my mother’s favorite haunt. Tonight it’s a different crowd, there’s a whole lot of hog-washing and posturing going on before this event. Sign up for open mic was at 8:30. Everyone’s late. First one up is a drone, drowning on in his own voice. Whole herds of hopeful guitarist enter the doors. Women aredressed for poetry readings. There’s a couple deep throating it. Yuck. This is a very tolerant audience. Anything goes. He drones on and on. I’m doing the math, at 15 minutes per person, we will be here all night. The emcee is lame. Number two plays a classical piece. I’m scanning the crowded room for people I might know but everybody I knew is long gone. The next one is a mouth harp piece, dude is on LSD. And now it’s 10 PM. It’s turning into an endless Neil Young kind of night.  I’m taking photos in the dark where people are ghosts, moving faster than light. I am bored. It’s all relative, we talk of those neutrinos moving faster than the speed of light. My camera is demonstrating the principle now. A truck passes, it’s transparent in the camera —only the lights show where it has been. I am nameless in the dark at the No-Name with Neil and Jack McElroy who is knocking it back on heaven’s door. Jack, an Irishman, is passive aggressive. I can never figure out his game. It’s like sliding your hands up and down a guitar neck seeking the right fret. At this rate, Neil’s turn will never come. I haven’t hung out in a bar in ages. I did this open mic thing for 20 years and I’m antsy. Luckily the photography is a good distraction. I am literally shooting to keep my sanity. Hostile boredom is a lethal combination. Am I shooting through photographer Jan Bogaert’s eyes, or is it in my own composition emerging through the lens? Will this night never end?

No date

Thursday, March 22, 2007

You rarely got what you wanted at Juanita’s Galley, but you got a lot of it




THE most distinctive memory I have of of my mother during Sausalito's halcyon Bohemian Gate 5 days, was when she worked for local legend, Juanita Musson, circa 1958.

Friend of Sally Stanford, former madame and unlikely restauranteur, Juanita Musson, in her trademark Hawaiian muu-muu, and acres of hair piled atop her head, was a local—if not infamous—institution. Of ample body and heart, Juanita, who tipped the scale at 300-pounds, was renowned for her eclectic cooking and unorthodox style of restauranteuring, which was more akin to rest-RANT-eering.

Truly a unique dining experience was had by all who crossed her many thresholds. Juanita was both a finicky diner's and health inspector's worst nightmare; she was immune to the mundane trivia of sanitation health codes, brushing them off like midges. I remember a turkey being served in an oval enamel baby's bath pan.

Juanita's was open at 5 AM, and she fed everybody in town, including the local fishermen (Sausalito was still a real fishing village in those days). Her heart was so big, she fed starving artists and equally starving actors (everybody was thin as a rail) and of course, myriad stray dogs.

On fine Sunday mornings, everyone turned up en masse at Juanita's Galley, which was often so full, she fed the overflow crowd on long picnic tables made of sawhorses and old doors in the dirt parking lot at Gate 5 Road.

Doorknobs poked up through the tablecloths—if you got one. Generally there was nothing more than the unvarnished truth between your plate and the door. In those days, anything resembling a dish or a vessel—from ferries to jam jars to bedpans—was also pressed into service. It made the Baghdad Cafe look like a 4-star Marriot.

You rarely ever got what you ordered at Juanita's restaurant, not like Alice! and if you protested, well, then, she'd wave her arms like a windmill and scream bloody hell seasoned with plenty of verbal (as)salt at you in that big crass Panhandle voice, "Eat it, or wear it!" And if, God forbid, you didn't finish your food, then, you had to take it with you. Or else.

Feeling very grown up at the age of six, I ordered a rare treat, pancakes. It was a tough decision between pancakes and French toast. The kitchen was already out of French toast. My mouth watered in anticipation. I wasn't allowed to eat them except on Sundays. My usual fodder was my grandmother's oatmeal mush.

But, after an intolerably long wait, my order finally came. My mother was busy waiting on customers at the other end of the parking lot, so Juanita herself hustled out in her red muu-muu, and plonked down a real fisherman's breakfast: eggs, runny side up, bacon, a big leathery slab of steak, toast, and mountains and mountains of white rice—more than I could possibly eat in several Sundays. I was aghast. No syrupy sweet pancakes?

I just stared at those two quivering yellow orbs staring right back at me from the rim of the plate and did what any reasonable six-year-old would do, I cried. The sunshine had gone right out of my day. Thunderclouds on the horizon.

I was six, and I knew the clean plate rules, firsthand. I also knew about starving pagan babies in China, and all that. And as ill luck would have it, there were no street dogs or starving Chinese kids to the rescue. And mailing my breakfast to China was not an option. I didn't have the postage.

The insurmountable mountain of food would have challenged even a fisherman's prodigious appetite. As customers watched, transfixed—to see what would happen next—Juanita, startled by my tears, softened a bit, seeing as it was me, after all. And so she grabbed a stack of pancakes from a hapless customer who, knowing from experience, the futility of complaining to Juanita, was just about to tuck in to what HE didn't order.

Now instead of giving my first plate to the man, I was stuck with TWO breakfasts. And Juanita took no prisoners. You cleaned all your plates—even if you were six! I began to wail in earnest, while plotting an escape—perhaps I could crawl under the table. Then what? Make a run for the car? My mom was pretty swamped waiting on tables at the other end of the parking lot, so she couldn't run interference, or rescue me until the brunch crowd had been fed.

Someone finally took pity on me and helped me out. I think it was my mom's good friend, the tall, skinny bespectacled New Yorker, Skip Rognlien, who was a Gate Playhouse set designer, playwright and director (along with Les Abbott); he happily polished off a second breakfast.

There are many outrageous stories of Juanita's restaurants—and all of them apparently true. But unfortunately it's hard to find the active bearers of oral tradition. Hence this blog. To see what will crawl out of the woodwork. Most people remember Juanita, but not the specifics. Painter and sonic artist, Richard Waters remembers it was pretty crazy washing dishes for Juanita during his starving artist days the 1960s, but little else, other than he ate well. As classmate, Robin Williams famously quipped, "If you can remember the '60s, you weren't really there..."

Sometimes Juanita, with her auburn hair piled high and red lipstick often askew, or decorating a tooth—she had a large toothy smile—would sneak up from behind and wrap her big boobs around the ears of a hapless male customer and if he turned around, she'd smother him, rocking his nose deep into her cleavage, and then she'd laugh like a hyena while he struggled for breath. Wives later reported that Juanita's boob-muffin worked like viagra. I remember Juanita muu-muu-ing some poor fisherman who entered the galley kitchen. At Juanita's Galley, you were expected to pour your own coffee and to bus your own dishes—or you might be wearing them as ornaments upside the back of your head.

The kitchen was really a ferryboat galley. Was it The MV Vallejo? I don't remember. Someone insisted that it was the Charles Van Damme but that ferry was stuck high in the mud at the north end of Gate 5 or Tiki Junction and this Juanita's Galley was still floating. I remember that it moaned and shifted like an uneasy horse on the tide.

If I remember correctly, the ferry sported a forest green trim and the Charles Van Damm was white. Maybe Juanita moved the Galley over there later? Some of the mothballed green and white ferryboats were later retrofitted and sent to Puget Sound—in the 1970s, I rode the MV Lagunitas ferry to Anacortes. Does anyone remember what happened to The Trade Fair ferryboat by the park? Please drop me a line...

In her house above Casa Madrone, Juanita kept a strange menagerie of animals. One sunny afternoon when my mother and I were visiting (we lived out in Forest Knolls, my mom must've had a rehearsal at the Gate Playhouse), Juanita wore so many bangles on her wrists, they sounded like an empty closet of coathangers. She offhandedly offered me some grapes. But the monkey beat me to them. Beauregard leaped down from the ceiling molding and stole the grapes right from my hand.

Juanita kept a blind cockerel rooster that perched on her shoulder like a parrot, and there were rampant chickens, myriad cats, stray dogs and goats wandering in and out the front door. I remember she adopted an orphaned fawn named Sissy that rode around on a bed in the back of her white Ford Falcon station wagon. I remember that the fawn still had its spots, like a dusting of snow, and its fur was coarse to the touch. But its ears were shaped like the air scoop on the ferry and it had the longest lashes I'd ever seen.

I was already scandalized by the idea of a monkey in the parlour and a rooster on her shoulder. But I was particularly flummoxed by the conundrum of Juanita's owning a pet fawn, because even at the age of six, I knew that deer belonged in the wild, not in captivity.

I was putting together a list of things that had their rightful order in the universe, but with the fawn, Juanita had upset my idea of order. I didn't give a thought to how a nursing fawn could survive on its own. Or the compassion Juanita must've felt as she nursed that orphan from a glass milk bottle with Lucas Valley Dairy imprinted on its side. The fawn was clearly imprinted on Juanita and followed her like a little dog on reed-thin legs. Tiny hooves clattered on cement like a staccato of hard rain.

I was just getting my first glimpses of life lessons and I was learning that my mother was becoming too fey and fragile for this world. It was as if God had made a deal with my mother—trading talent for emotional stability. She opted for talent and it drove her crazy. More than once, Juanita picked my mom up and put her back on her feet. Juanita was that kind of woman. Picked you up by the scruff of the neck and plopped you in front of the trough with the rest of your littermates.

It seems Juanita was always picking up and setting down roots herself (she was a plucky old gal—built like a Peterbuilt) and it seems that someone was always burning down her restaurants—by her own count, she had some eleven establishments.

Several of Juanita's legendary venues were opened in Sonoma's Valley of the Moon: Boyes Hot Springs, Fetter's Hot Springs and Glen Ellen. Then, I'd heard she moved to Port Costa, then to Vallejo and lastly, to Winters.

A surprising number of her places really did burn down. One—was it in Winters?—was lost to back taxes, or maybe Juanita just grew tired of it. There was always wild speculation that she did them in herself for the fire insurance, but as far as I know, Juanita always ran a lean shop, so there was no money for frilliness like fire insurance. Someone said she had a thing going with an insurance salesman....but you know how rumors spread like wildfire.

In the early '70s, I went to Juanita's Fetter's Hot Springs restaurant, and the joint was crammed to the gills with odd antiques and old hunting lodge memorabilia, with dusty moose heads and bucks with impressive racks—sort of like Speck McAuliff's bar in Lagunitas (another fabled Marin institution that fell to an arson's hands).

Cobwebbed candles stuck higglety pigglety in any convenient corner over the fireplace mantle and chimney, with bright layers of wax stalagtites dripping down the rocks in rainbow hues. Diners were crammed in knee-to-knee, tighter than a party of sardines at a canning factory. Sweet-old-Bob, my boyfriend from the 'burbs, was left speechless by his first (and only) Juanita dining experience.

The menu was prime rib for two and you had to share it with someone, or else. Heaven help the lone diner. When Juanita came out the kitchen with the cleaver in hand to divvy up the slab of meat, diners were surprisingly meek. The Juanita's Galley House Rules were printed on the dining check: 1. Pour your own coffee. 2. Write your own order. Be sure to put your name on your order so we can find you. 3. Our food is guaranteed—but not the disposition of the cook. Check Here for Special Service: Slow. Don't Care. Damned Big Rush. Those in the know never checked the last box.

Goats tethered in the yard on long chains (they ate through ropes), mowed down the weeds. There was Erica the white pig and even a holstein cow looking longingly toward the greener pasture out back of the restaurant. And there were flocks of randy ducks were swimming in the old bathtub cum water trough, or recreating, and nailing everything in sight—including escapee enamel bedpans from Sonoma State Hospital.

In 2006, I heard there was a "Juanita Roast" at Little Switzerland in Sonoma, replete with Juanita's signature dinner: moose-sized slabs of prime rib—enough to feed triplets, set in an acre park of mashed potatoes. The only thing un-Juanita-like about the dinner was the price. She'd never charge $40 a plate! During the Roast, Tommy Smothers (my one-time babysitter at Gate 5), or someone quipped, "Well, now, Juanita was never very good with candles...," and the audience roared with laughter. Ya hadda be there....

I recently ran into someone who remembered Juanita during the Sausalito days, and I had the opportunity to ask her: "Did Juanita really walk around with a rooster perched on on her shoulder or is my memory playing tricks on me?" She answered, "Yes, Juanita really did. So the story is true—which, BTW, inaugurated this blog.

Remember that blind, one-eyed rooster? Well, the story goes, that Juanita would amble up to men in the restaurant with that little banty rooster riding shotgun, and she'd say, "How do you like my cock?" Of course, at age six, that allusion went right over my head. I had to ripen a good decade or three before I finally got it.

© 2007 Maureen Hurley

A shorter version of this story appears in Marin Nostalgia (in fact, this story was revised and expanded in December, 2008 because Jason Lewis wanted to use it on his website.

Tiki Junction, Sausalito



When my mother, actress and costume designer, Kellé Reilly (aka Maureen Hurley) was working at the Gate Playhouse theatre, I was often left behind with friends to be babysat on one of the houseboats at Tiki Junction, Gate Five or Gate Six. My favorite babysitters were the Smothers Brothers and Sterling Hayden lived in a railroad car by Tiki Junction. I loved it when my mom parked the big white Ford convertible right in front of the tikis at Tiki Junction because then I could stand up on the red car seat and see them eyeball to eyeball.

My mother knew Barney West, the woodcarver who learned his trade in the South Pacific. He once told us he had to padlock the tikis together like a San Quentin chain gang because people were always trying to steal them. These tikis were huge, stealing them must've taken some planning. Not something you could pop in the trunk on a whim without blowing out your rear tires and busting an axle.

Barney West salvaged a lot of his wood after the big storms. Winter of '64 was record flood year (we measured rain by the foot in '63 too), and when it retreated, (following on the cusp of the big Alaska quake and tsunami) left a lot of debris and salvaged boatwrecks behind.

Years later, there were still huge beached logs and big burls shipwrecked and marooned in the oddest places up and down the coast. (I remember the Good Friday quake, I was home, sick, leaning back on the couch the wall, with a fever, and the wall suddenly slapped the back of my head like a cricket bat. Marin was hit hard, the tsunami, though small inside the Gate, stacked the bay water up. Many boats, snapped from their moorings, were turned into kindling).

At the junction, there was always a tiki boneyard in reserve. We'd climb the logs and burls like they were Mt. Everest. Sometimes they'd be floating in the bay, seasoning, I guess.


I remember watching Barney work, shirtless, his sun-baked skin glistening like mahogany, sometimes he worked with chainsaw and axe, or with mallet and chisel.

Barney was not one for smalltalk, or for small kids pestering him, but I was fascinated, watching the progress from blank wood to terrifying tiki. Sometimes painted, sometimes not. What remains in memory, a flotsam carpet of woodchips, the sonorous chainsaw idle and whine, the resinous odor of carved wood left me with a lifelong urge to visit the mo'ai of Easter Island.

Wednesday, March 21, 2007

Gate 5, Gate Playhouse, Sausalito


Gate Playhouse Theatre, ca. 1961. (Photo courtesy of Richard Knablin)

During the 1950s and early 1960s, my mother Maureen (Kellé Hurley) Reilly was an actress and costume/ set designer/painter for the Gate Community Playhouse Theater Company, on Bridgeway, catty-corner from the No Name Bar, in downtown Sausalito.

After a show closed, I used to love playing dress-up with the discarded costumes and remnants mouldering in my grandmother's basement. Yards of purple netting from Guys & Dolls at the Music Circus, loud silk print dresses, Victorian capes and witches' rags.

Sometimes I went to the theater or work with my mother when she was staying with us out in Forest Knolls. She never lived with us for long. She'd drive over White's Hill in her big white convertible with the top down and the known world spun past my forehead in the form of cerulean blue sky, green oak canyons and golden hills. I must've been about six or seven.

My mother supported her ephemeral art by working as a waitress in nearly every coffee shop in Sausalito. So I got to know them all from the inside out. The Kettle, The Valhalla, Juanita's.

Juanita was unforgettable with her menagerie (a rooster perched on her shoulder, a spider monkey and an orphan fawn named Cissy) following her around the parking lot as she served customers on Sunday mornings at Gate 5.

I don't remember the infamous Trident (until I was older) because it was on the other side of town by the bronze seal (though for a time, my mother did move into the big shingle house overlooking the water near Sally Stanford's infamous Valhalla). I do remember meeting The Kingston Trio. Perhaps that's why Tommy Smothers and others were hanging out at Gate 5. (It may have technically been Gate 6, but it was always called Gate 5.)

There was the time when my mother was working for Sally Stanford at the Valhalla and who should walk in but Perry Como! Richard Knablin happened to be hanging out at the bar that night, and said (my mother) Kellé looked great standing there in her Valhalla costume, fishnet stockings, tall heels, a merry widow and not much else, as Perry Como walked in and sit at one of her tables. She had the classic tall willowy showgirl figure for it.

Perry left a nice tip. There might have even been an autographed napkin involved as well. I've a vague memory of something like that....


My mother, Kellé Reilly (later it was Kellé Green—her stage name as there was already an actress, Maureen Hurley in SAG), Richard Knablin, Skip Rognlien and Vee Rae, Christmas, 1960. (Photo by Chris Gracida, courtesy of Richard Knablin.)

When a show was running at the Gate, sometimes I went to the theater (I saw Guys and Dolls, Pipedream, The Fantastics, Anything Goes, Annie Get Your Gun, On the Town, Of Thee I Sing, and a children's matinee, Hansel & Gretel—my mom played the evil witch. It was in November of 1960?, because The Gate Players had a tradition of bringing all the birthday kids onstage after the show for a big birthday cake and ice cream party. But it quickly became ice scream.

We were all gathered round the cake singing Happy Birthday to blow the candles out when my mom came out from the wings still in costume and makeup to give me a hug. I knew it was my mom, but the other kids didn't, they saw the witch had come to eat them, so when she hugged me, pandemonium broke out as they all ran off the stage—screaming.

I was the only one left standing so I blew out the candles by myself. I was also the last kid left standing, mortified, glued to the spot, but I had the whole cake to myself as none of the kids would come back on stage even after my mom took her makeup off. I shrugged my shoulders as if to say, it's their loss and went on with the serious business of eating cake.

Les Abbott and the Marquee. Vee Rae photos 1961

Courtesy of Vee Rae photos 1961

But more often than not, I was left on one of the houseboats at Tiki Junction or at Gate Five or Gate Six.

Before the show, I was deposited at Dick and Tommy Smothers' houseboat where there were folks sitting around on chairs and pillows in the living room singing and playing banjos and guitars. With all that adult attention, I was pretty precocious and I'd dance around in circles to the music. In hindsight, it was probably The Kingston Trio and entourage down from The Trident.

My babysitters were the funny men: There was big black Sam the actor, with a fabulous physique who looked like a bald muscleman genie from Aladdin. I asked him if he was Samson but where was his hair, did Delila cut it all off, and was he still strong? He roared with laughter and tossed me up into the air. I'd never seen a black man before wearing a single gold earring so I knew he was exotic and not of this world.

In those days, I was preparing for my first communion, I was busy equating everyone with Biblical characters—trying to reconcile imperfect metaphor with reality. The nuns at the Lagunitas church, St. Cecelia's, told us me that whenever it rained, it was God's tears because we were so bad in church. I said He was peeing on us and let me tell you, I got into deep doo-doo for that remark. I was never was asked again to be Queen of the May, never again to crown the statue of the Virgin Mary.

Unlike his dour brother, Dick, who didn't seem to like kids, Tommy Smothers was kind and funny, if not funny looking with his ears sticking out like teapot handles. I liked Tommy the best. He was a real kid magnet. Whenever I'd spot him, I'd launch myself at him and he'd sing me around the room by the arms and then throw me through his legs and toss me back up into the air until I nearly hit the ceiling and I screamed with laughter. (And I probably immediately fell asleep exhausted).

In the '60s and 70s, I was shocked to later see Tommy's name on billboard at the Purple Onion, or on TV —The Smothers Brothers Show. A few years ago, when I ran into Pat Paulson's daughter and we exchanged stories, she said Pat was living in Sausalito too, but I don't remember him. Weird to think I might have played with her as a child.

Gate Playhouse. Vee Rae photos 1961

I remember seeing Sterling Hayden in a movie—The Ten Commandments—I was in Switzerland as an "exchange" student in 1973—I'd seen very few movies in my lifetime and almost no TV when I was young, so I tended to remember everything in minute details. I asked my mom why he seemed so familiar and she said because I knew him from the Sausalito days. Another veil lifted. I have only one image of Sterling, taller than forever, tossing me up into the air by the elephant fountain. I thought he was a Viking God.

During the '50s and '60s, McCarthyism drove many Hollywood folks north to the Bay Area. In the '80s I remember seeing converted chicken ranch barns in Sebastopol and Cotati made from Hollywood backdrops and movie props. Whatever happened to the Gate Playhouse director, Skip Rognlien, from New York, or to beautiful Greek Athena Martin the actress living in the Alta Mira above the Village Fair, who looked like Jackie O?

Back of the Gate Playhouse. Vee Rae photos 1961

Back of the Gate Playhouse opened abruptly into the bay,
a tiny ledge & nothing more than air. Vee Rae photo 1961

I ran into my mom's sidekick, Sally Lacey, who lived near Sally Stanford's Valhalla, they'd all meet for coffee and sit on the deck with the whiskey-voiced chain smoking Madame, Sally Stanford, and later mayor of Sausalito holding court. I ran into a toothless Sally Lacy—in the looney bin at Napa State Hospital where I was teaching poetry to the inmates. Sally Lacey remembered me, but that was about it. Time had not been kind to her. Was Sally one of Madame Sally's girls from 1144 Pine Street in the City? Or another colorful character from Sausalito's past? Vee Rae said Sally was Marilyn Monroe's stand-in in Hollywood.

And I haven't even mentioned Pat Wall, Piro and Alice, Peter Wolfe and Jean Varda....but that was my second Sausalito incarnation, when I was ten and learned to pilfer at the Trade Fair. Fodder for another blog.

The Ark, 1967

Sally Stanford died in 1982. I heard that Juanita died in a fire, when someone torched her restaurant in Boyes Hot Springs. But rumors of her death are greatly exaggerated. She's alive, and well, living in Sonoma County, (She died in 2011) Sterling died in 1986 in Sausalito.

They cleaned up the waterfront, blew up the ferryboats and a bit of the past along with it. Tommy opened a Volvo car dealership in Santa Rosa, and Pat opened a winery in the Valley of the Moon. My mom died in 1994, Lloyd, in 1998. With them, the rich stories of Sausalito in the 1950s, are irrevocably lost.

The 7 Seas

© 2007 Maureen Hurley

Wednesday, February 28, 2007

Letter to Herb Gold

Herb Gold, c/o Letters to the Editor
Image Magazine
110 Fifth St.
San Francisco, CA 94103

It was interesting to read your reminiscences of the other Sausalito; I found myself looking for the other story, the characters and places I remember as a child: The No Name habitué, Lew Welch, and bartender/novelist Don Meredith. The Gate Theatre (my mother was an actress, costume/set designer); where I first met Sterling Hayden—one of my favorite babysitters. I liked Tommy Smothers better because he was so goofy.

At The Gate Playhouse Theatre, I sat through countless performances of Pipe Dream, Of Thee I Sing. My mother was the wicked witch in the Hansel and Gretel matinee. After the performance, we birthday kids were nervously lined up on stage, the audience singing Happy Birthday to You as the cake was carried out by my mother—while still in costume. When she hugged me, there was pandemonium; all the other kids ran off the stage crying and screaming.

No story about Sausalito is complete without some mention of Juanita Musson, the legendary restaurateur who, to my horror, kept a fawn in the back of her white Ford Falcon station wagon. Meals at Juanita’s (the Bridgeway parking lot on weekends) were always a surprise. Juanita’s wrath was legendary; customers quickly learned to shut up and eat, even if what they got wasn’t what they ordered.

Instead of pancakes, Juanita brought me runny eggs and rice. I was crushed, my mother (the waitress) signaling, Let it go. . . When I burst into tears, Juanita exploded, Fer Chrissakes! her cursing louder than her parrot or her muu-muu. The more experienced patrons instinctively ducked as she charged back to the kitchen. Juanita pysically endorsed the clean plate club; for my crocodile tears, I got a lovely stack of pancakes the size of dinner plates, and as tall as Everest, my work clearly cut out for me. . .

Juanita’s apartment above Bridgeway was a realm of filtered pink light, with beaded curtains, gizmos in every available space—and the menagerie—a monkey who might pinch, pee on us (or worse, fling shit), if we didn’t feed him the grapes Juanita handed us. At least one big rooster strutted his stuff in the living room.

At the Village Faire, and the Trade Fair, a converted ferry boat, we were regular little filching Olivers with our five-gallon wide-mouthed black naugahyde purses. We’d sit on the retaining wall outside the Village Faire, pool our money for fish and chips, and compare the day’s catch: wooden mice and cheap silver Navajo rings that we later mailed off to Micaela’s parents’ puzzled friends and relations.

My friend’s father, Patrick Wall, was a retired art dealer from Carmel, and his wife Betty, a potter, so we ran wild through many an artist’s party including one on Varda’s ferry boat. The Charles Van Damme was so rakishly angled that Varda had to nail his cobalt and vermilion montages to the walls. Caught stealing food in the kitchen, and compounded by a case of mistaken identity—as some guest’s brats—we were sent upstairs to the captain’s deck, prisoners with nothing to do but watch the Spreckles House slowly sink further into the mud.

When we were 86ed from another party, we balanced on the thin warped boards that threatened to toss us into the raw sewage as we peered in the portholes of Piro and Alice’s houseboat at Gate Five. Piro Wolfe, who founded the successful Anchor Steam Beer Company, once made legendary history when he and Alice, dressed to the nines, took a dingy to the opera—neglecting to check the tides—only to arriving hours after the opera was over.

The first major influx of tourists came hard on the heels of the flower children. Comedian Robin Williams (with whom I went to school) was right to repeat the Marin adage early and often: If you remember the ’60s, you weren’t really there. I will forgive you for bungling a few facts. We’ve all had to reconstruct our past from the literary fragments that followed. We had no idea we were living through a significant era until after it was over and done with, dead and anthologized, taken from us by the coffin of time and by the tide of eager hordes that followed.

Maureen Hurley

Friday, January 30, 2004

Dressing to challenge freewrite

An old boyfriend, Lee always said that I dressed to challenge, but he was from Boston, and I was a child of California, that place where if you put the country on end, all the kooks would roll to—or so it is said. He was like a lone dog scolding the night. They were all round pegs from the carefully guarded squares of the eastern seaboard in search of a home, or a state of mind. But once they landed here, they tried to re-create the places they had fled from.

Perhaps I wear the clothing that challenges the norm, but I was caught up in the shine and flow of texture and color—whether it was campy old 40s blouses with lace inserts and rhinestone buttons material training under the arms by some well-dressed woman decades long gone. Or muflon jackets and black crepe dresses with embroidered green cherries and plastic hands for buttons.

I imagine someone dressed in gabardine suits, or Rosie the Riveter leftovers from the war effort. Women invincibly moving into the workforce sort of like Katharine Hepburn and Spencer Tracy in Desk Set. Or Rosalind Russell in His Girl Friday. I even had a real Victorian blouse but it required constant mending. Fine lawn sewn by hand with tiny tucks and mysterious straps to tie to a bustle but my back was so long they were like little new bird wings on a wayward angel. 

Each day I slipped into another decade of costume, mixing and matching my clothing with wild delight. In those post-1970s days in Sonoma County we were an enclave unto ourselves. It was as if time had suddenly stopped or was ossified, and we were the retro hippies keeping alive the flame long after the rest of the nation had given up the Goodwill castoffs for chinos and Lacoste shirts.

I still love finding old clothes. I envision those Desk Set women still alive again in the clothing of the dead. Now I dress in the drab uniform of the masses. Uniform Jeans and T-shirt with a pullover sweater as if I were endorsing a blandness of mind, or was I cowping to the conformity of the masses? Monopoly uniforms. Don't think. Don't challenge.

What happened to me? I guess I got tired of being challenged, or I grew up somewhere along the way and left behind the clothing of my youth. And I also left behind something of myself as well. And now another man is wanting me to dress up, to don a costume of suburbia. Or worse, to dress as a woman as object— kept, or otherwise. But he doesn't want to actually keep me.

The suburban Victorian women of the 1870s and 1880s dressed to attract a man. They were extolling virginal purity. The flappers of the Roaring 20s were selling raw sex. I have no interest in skirts or nylons and shoes too uncomfortable to wear. Let him wear those goddamn stilettos with nylons and see how uncomfortable it is. Besides, he wears the skirts in this house. There's always kilt mending on my to-do sewing list. 

I was a child of the theatre, my mother was a wardrobe mistress, and my fondest memories were of dressing up in clouds of lace and yards of purple toile netting, while listening to the rustle of watered silk whispering secret assignations in deep closets.

1/30/2004 Writers' Group

Wednesday, October 31, 2001

SANTOS folk narrative

SANTOS FAMILY FOLKLORE as if told by Jimmy's grandson, Sean

(We pieced this family folklore together while we were in the Azores, and I added bits to it right after we returned. It's a story for my 1st cousin once removed, Sean Dinsmore, who was a child at the time. Now Sean is 21. I transcribed the folklore as if told from Sean's point of view, so he would have a family record for later. (I was taking a monologue class at the time....I did one for each family name. I was planning to use them in a monologue in several voices, since I couldn't use them for my folklore class.)
At the time, I was desperate to fill my required 40 bits of collected folklore for my anthropology professor, Dr. Alan Dundes' folklore class at UC Berkeley, and this unexpected piece came out of the collecting process. 
My informants were my aunt Canice, who was married to Jimmy Santos, and her daughter, my cousin, Sinead Dinsmore, who was Jimmy's step-daughter. So it all came from second-hand informants. I wasn't sure how to clarify the information from two sources.  It was disjointed, Sinead and Canice would begin a story, we'd be interrupted, then, out of the blue, hours or days later, they'd finish the story.
Alan Dundes said he only wanted first-hand informants, in their own authentic language structure, replete with hem-haws, ahems, and warts. So I wasn't able to use this piece. Then I changed the story, to be read as if told from Sean's point of view. I have the original fragments in my journals, but they are fragments, not contiguous.
How I collected the stories: We were traveling together, over a period of a month, In September, right after 9/11. The fragments were collected in San Francisco, Boston, Azores, London—in hotel rooms, boats, and planes. The stories are fragments, as they were always interrupting each other. A tape recorder would've come in handy. Or not. Canice was on a pilgrimage to the land of Jimmy's ancestors, in the Azores.
Canice and Sinead were the ones Jimmy told these stories too. And my cousin David, too (I've never collected his Jimmy stories). I heard a few stories too at Thanksgiving dinners. Sadly, Jimmy (James J. Santos in the story) never met his grandson Sean. Jimmy died too soon, at the age of 54, in the 1990s, of heart failure, though his heart was big.
I never finished writing this piece. There were a lot more stories that I didn't capture—Jimmy in Mill Valley, and working in Sausalito, etc. Sinead still tells a few Jimmy stories, and I always mean to write them down, but I never do. If I wasn't trying to upload and post-date my old writing for this blog, this piece might have languished in cyberspace forever. Several of my old files from 2000 are corrupted, with bits missing. This blog is an attempt to rescue old files.
Regardless of how this memoir was captured, and transcribed, it does chronicle the times. The story was as true as I could make it. A record for the future. And now that that little boy I traveled to the Azores with, Sean, has a son, Jameson, perhaps it's time to give Sean this small piece of his past, now that he's a father, himself. —MH 11/20/2015)

As if told by Sean Dinsmore:

Great-grandpa John J. Santos and great-grandma Bernice D. Santos were new parents to my grandpa, James J. Santos. Great-great grandma Desalla didn’t approve of how her grandson was being cared for. She took it upon herself to whisk James home to her house. He lived with his grandparents until he was ready for school. 

One day his mother decided it was time, and brought him home. His grandmother would be an important figure in his growing up. He often went fishing with his Uncle James and played in Sausalito amongst the boats. His father took his favorite car and sold it without his permission, because Great-grandpa needed the money. This bothered James for the rest of his life, so he supported his sons when they bought their first cars.

During the Big Fire on Mount Tam in the ’40s, Grandpa told stories. How his father worked on the Fire Crew and all the men. The canteen service that worked the fire, the giant amount of food they served. Grandpa was a small child and the portions of steak and chicken were huge massive servings. These men worked long and dangerous hours that seemed longer and they were filled with emotion. This was a defining memory of his childhood.

Great-uncle Jimmy was a fisherman during his youth, and when he was older, he took men sport fishing. The sea was his environment and he fished and worked the sea his whole life. He lived in Mill Valley with Sally in his parents’ house where Great-great-grandma lived. Stories of Grandpa coming home from school crying and sad because the kids were mean. Great-uncle Jimmy telling James to stick-up for himself.

The next day he came home with a smile on his face. The story is that Grandpa James didn’t back down from the bullies and so his battle was over. Grandpa had problems with discrimination his whole life because he was dark, not black but not pure white. So kids who didn’t know him would think wrong thoughts. Adults that he worked with often mistook his ancestry and assumed it wrong.

The Azore Islands is were my great-great-grandpa was from. The Azore Islands were discovered in the 14th century by the Portuguese and Europeans. My mother and grandmother and godmother went with me to the Azores a few years ago. When we were there, we saw volcanic rock beaches. The landscape is similar to Ireland with fields marked with stone fences. We saw a farmer riding his donkey from the corn field with the fresh corn under his bottom. 

The Soares and Bettencourts and Desallas are names in my family tree. My father John, and uncle James would fit right in with their dark hair and eyes, though they're half-Irish. My father John, is very tall—6’5,” and for his heritage, he’s a little big—with size 15 shoes, a little hard to find. 

After the Azores, we went to Lisbon, and to Fatima, a religious site. Then we went to London, England, and stayed in Maidenhead. In “Harry Potter” they show the train station Mom and Grandma took me through. We visited Buckingham Palace and Westminister Abbey as well as Harrod’s department store. The lemonade was very expensive.