Coyote Hills Regional Park and Storm Center

This article is about the park in Alameda County, California. For other uses, see Coyote Hills. View of Coyote Hills from the south, across a salt marsh View across wetlands of the Coyote Hills park from the hills

Coyote Hills Regional Park is a regional park encompassing nearly 978 acres of land and administered by the East Bay Regional Park District. The park, which was dedicated to public use in 1967, is located in Fremont, California, on the southeast shore of the San Francisco Bay. The Coyote Hills themselves are a small range of hills at the edge of the bay; though not reaching any great height, they afford tremendous views of the bay, three of the trans-bay bridges (Dumbarton Bridge, San Mateo Bridge, and the Bay Bridge), the cities of San Francisco and Oakland, the Peninsula Range of the Santa Cruz Mountains and Mount Tamalpais. In addition to the hills themselves, the park encloses a substantial area of wetlands.

There are a number of archaeological sites within the park, preserving evidence of habitation by Native Americans of the Ohlone group of tribes, including shellmounds. Access to these sites is not allowed for casual visitors, but they can be visited by arrangement.

There is a substantial network of hiking trails in the park, most of them also available to equestrians, and 3.5 miles (5.6 km) to cyclists. Most of the trails are wide fireroads that go around the hills and the marshes, and one fireroad that runs north-south through the hills ridge. There are few narrow trails which are off limits to bikers and equestrians. These trails connect to others in the east bay, and the San Francisco Bay Trail passes through the park. Cross country meets for local schools are held occasionally in the park. The waters to the south and west of the park form part of the San Francisco Bay National Wildlife Refuge, and a great deal of wildlife can be seen from the park trails. History

Coyote Hills is home to the remnants of a large Project Nike missile base. It has intact facilities that are in disrepair and some still in place are used as radio transmission & microwave antenna stations. Guard stations are still visible throughout the park.

After the NIKE Missile Base was decommissioned, the Stanford Research Institute occupied the base and area, and used the marshlands as facilities for Advanced Sonar Research, harboring many marine mammals, including dolphins. A firing range and aquifer exist on the southernmost hills.

The East Bay area's original inhabitants were the ancestors of the Ohlone Indians, hunters and gatherers whose skills enabled them to live well off the land's natural bounty. At Coyote Hills Regional Park, some of this rich wetland is preserved, along with 2,000-year old Tuibun Ohlone Indian shellmound sites.

Programs at the main shellmound site allow visitors to see a reconstructed tule house, shade shelter, pit house, and sweat lodge.

Storm Center and Coyote Hills Regional Park

Storm Center (1956) is an American drama film directed by Daniel Taradash. The screenplay by Taradash and Elick Moll focuses on what were at the time two very controversial subjects, Communism and book banning, and took a strong stance against censorship. The film stars Bette Davis.

Contents 1 Synopsis 2 Production notes 3 Principal cast 4 Other cast 5 Principal production credits 6 Critical reception 7 References 8 External links


In the first overtly anti-McCarthyism film to be produced in Hollywood, Alicia Hull is a widowed small town librarian dedicated to introducing children to the joy of reading. In exchange for fulfilling her request for a children's wing, the city council asks her to withdraw the book The Communist Dream from the library's collection. When she refuses to comply with their demand, she is fired and branded as a subversive.

Judge Ellerbe feels she has been treated unfairly and calls a town meeting. Ambitious attorney and aspiring politician Paul Duncan, who is dating assistant librarian Martha Lockeridge, uses the meeting as an opportunity to make a name for himself by denouncing Alicia as a Communist. His forceful rhetoric turns the entire town, with the exception of young Freddie Slater, against her.

The boy, increasingly upset by the mistreatment his mentor is suffering and affected by the influence of his narrow-minded father, finally turns on Alicia himself and sets the library on fire. His action causes the residents to have a change of heart, and they ask Alicia to return and supervise the construction of a new building. Production notes

In 1951, it was announced Mary Pickford would return to the screen after an 18-year absence in The Library, produced by Stanley Kramer and directed by Irving Reis. The following year, she withdrew from the project a month before filming was scheduled to begin, ostensibly due to the fact it was not a Technicolor production. Within days, Kramer signed Barbara Stanwyck to replace her, but scheduling conflicts with his new star repeatedly delayed the start of filming. Kramer eventually dropped out of the project, and it remained in limbo until Taradash decided to direct it himself with the new title.

Although set in New England, the Columbia Pictures release was filmed on location in Santa Rosa, California. It is the only film ever directed by Taradash.

The film is also notable for featuring an early poster and title sequence created by noted graphic designer Saul Bass. The opening title sequence features flames that eat away at both the face of a boy and pages from a book.

While the events the movie were largely fictional, the character played by Bette Davis was based on Ruth W. Brown, the Bartlesville librarian, and her struggle with the county commission over communist literature. Principal cast Bette Davis ..... Alicia Hull Brian Keith ..... Paul Duncan Kim Hunter ..... Martha Lockridge Paul Kelly ..... Judge Robert Ellerbe Joe Mantell ..... George Slater Edward Platt ..... Rev. Wilson Kathryn Grant ..... Hazel Kevin Coughlin ..... Freddie Slater Other cast Michael Raffetto ..... Edgar Greenbaum Principal production credits Producer ..... Julian Blaustein Original Music ..... George Duning Cinematography ..... Burnett Guffey Art Direction ..... Cary Odell Title Design ..... Saul Bass Critical reception

In his review in the New York Times, Bosley Crowther felt "the purpose and courage of the men who made this film not only are to be commended but also deserve concrete rewards. They have opened a subject that is touchy and urgent in contemporary life . . . put a stern thought in this film, which is that the fears and suspicions of our age are most likely to corrupt and scar the young . . . However . . . the thesis is much better than the putting forth of it. The visualization of this drama is clumsy and abrupt . . . Mr. Blaustein and Mr. Taradash have tried nobly, but they have failed to develop a film that whips up dramatic excitement or flames with passion in support of its theme." Of Bette Davis, he said, " a fearless and forceful performance as the middle-aged widowed librarian who stands by her principles. Miss Davis makes the prim but stalwart lady human and credible."

Time said the film "makes reading seem nearly as risky a habit as dope . . . is paved and repaved with good intentions; its heart is insistently in the right place; its leading characters are motivated by the noblest of sentiments. All that Writer-Director Taradash forgot was to provide a believable story."

In the Saturday Review, Arthur Knight opined the film "comes to grips with its central problem with a forthright honesty and integrity . . . It may be that in fashioning the story the authors have made their film a bit too pat, a bit too glib, a bit too easy in its articulation of the various points of view expressed. Bette Davis's enlightened liberalism sounds at times as dangerously smug and self-righteous as the benighted politicos and anti-intellectuals who oppose her."

The National Legion of Decency stated the "propaganda film offers a warped, over simplified emotional solution to the complex problems of civil liberties in American life." Daily Variety responded to the Legion by suggesting "it's almost impossible to over-dramatize human liberty whether it's a depiction of Patrick Henry ... or a librarian sacrificing her reputation rather than her democratic principles."

Time Out London calls the film a "didactic, laborious piece."

TV Guide says, "While the film was forthright in its attempt to deal with censorship, the execution was dismal. The sudden alteration in the town's beliefs is just too nonsensical to accept. Davis, however, is quite convincing as the principled librarian, but there just isn't enough of a story to complement her performance."

Of it Davis herself said, "I was not overjoyed with the finished film . . . I had far higher hopes for it. The basic lack was the casting of the boy. He was not a warm, loving type of child . . . his relationship with the librarian was totally unemotional and, therefore, robbed the film of its most important factor their relationship . . . was the nucleus of the script."

In 1957 Storm Center was awarded the Prix de Chevalier da la Barre at the Cannes Film Festival, where it was cited as "this year's film which best helps freedom of expression and tolerance."
45/275 42 43 44 46 47 48 49 s49 resnik