Twenty years ago a short local film titled “Tire Tracks” was released in Stonington to local and regional acclaim.
“Tire Tracks” captures without judgment the voices and stories of those who delight in the local/rural practice of “burning rubber” – i.e., using the tools at their disposal to leave their marks on the world.
The creation of the film was a direct response to public complaints by new downtown Stonington residents of noise and disturbance in our hard working commercial fishing village. The film is a cultural response to gentrification: the changing of property ownership and ultimately local culture and decision making toward those with more money, often from other places, increasing property values and taxes and pricing out working, lower income residents.
The film was made by a young, first-time filmmaker from Stonington, John Steed. It was the first in a local series of documentaries commissioned and produced by the Imagination Project, a public digital media studio component of Opera House Arts (OHA) at the Stonington Opera House’s community-based programming. As founding Executive Director/Producer role at OHA, I remain proud to have commissioned, participated in the making of, and presented this film.
I believe it to be one of the most important works we created during my 17-year tenure with the Opera House. Living in coastal Maine, I think a great deal about the impacts of gentrification. I think we all need to. Continuing to financially push our fishermen and working people away from the shore doesn’t serve any of us well.
Are there ways our local communities can stem the losses of our authentic, commercial, working fishing communities to "destination housing" and too-short seasonal tourism? Are there actions, policies and investments we can all make together to better support our working waterfronts and year round workers/businesses/commerce? Or do we continue to allow "market forces" their own agency without balancing them against the common needs of a whole community, including those with less money (and therefore power/voice)?
When we made “Tire Tracks” our beautiful, remote coastal communities, in the aftermath of 9/11 just as after the pandemic, had experienced a surge of migration by those trying to escape urban life: a different type of “refugee.” Current migrations are often spurred by climate changes, with people relocating to Maine in attempts to escape locations of regular and severe fire, floods, or extreme temperatures.
In 2001-2006, I was a pretty new resident here myself, having moved from New York City to help restore and reactivate the Opera House. From that prominent Main Street corner, we had a front seat for and also a conscious role in the changes and conflicts happening in town. And we observed as many other new downtown residents didn't appreciate the noise of the commercial fishery (trucks going and coming in the middle of the night) or of rural young people with not many options.
They especially didn't like that our young people were hanging out together in their downtown and on its commercial piers, making all the sounds groups of young people make, getting into some of the types of adolescent trouble that groups of young people do, and -- burning their tires going off the fish pier and up the hill (past the Opera House, in more than one instance causing us to scramble to be sure our stage lighting had not caught fire!).
These new residents wrote letters to the paper and attended municipal meetings to advocate for the “relocation” of our young people from downtown. Of course, when we developed and released “Tire Tracks” we learned that it is not only "young people" who enjoy the art, practice, and opportunity of using their vehicles to leave their marks on our roads.
And it's not only young people who like to gather downtown -- and perhaps when in larger groups, to make music and other noise.
I could go on with reasons why this film was and remains both important and popular, and the most critical of these is simply that it gives visibility, voice, and pride to ways of living that middle-class and wealthy America would like to make invisible and erase.
The resentments defining our current political era, the accusations of elitism, are not without basis.
Working to balance these types of economic trends is a very tricky line to walk thanks to the famous “unseen hand” of market forces which makes many changes feel unintentional to individual participants.
Most of us want increased investment, prosperity, safety and opportunity in our communities. We strive for the "tide that lifts all boats."
The challenge is to achieve an equitable prosperity, one that doesn't continue to drive up property values and rents and displace our generational, lower-income residents. How do we prioritize our working waterfront and year-round commercial downtowns over a market that demands our beautiful coast for high-end housing?
The tricky line is further complicated by the fact that property owners relocating to rural, less developed areas from other places too often believe that success/wealth/education in and from those other places makes us "right." We arrive with confidence and credentials, even when our public positions might only represent a prioritization of self-interest. Wealthy property owners don't hesitate to use their resources to get their way, often costing our very small towns and taxpayers thousands in unanticipated legal fees.
Our communities need and want the resources of money and expertise new residents offer to be channeled more thoughtfully. We are very grateful for those seasonal residents, visitors, and “transplants” who listen, learn and understand the need for their capacity to invest in solutions for year-round housing, business development, education and more.
Living in close community, like a downtown area, can be tough: an understanding we hope those of us like myself who have lived in very dense places such as New York City bring along with us. You live alongside and with others not like you. They are fishermen, or drummers, or tire track artists, or young vibrant families with screaming children. You accept the arrival of new businesses, such as boat engine repair shops, because in the most thriving neighborhoods -- as acclaimed author Jane Jacobs noted -- the mix of commercial and residential properties is what keeps places alive and lively.
And if you believe you are moving to a rural community "to get away from it all” (as my father, a campground manager, liked to say) then we hope you use your privilege to buy a place on a point or in the woods; listen to the generations preceding your arrival; and contribute generously to your community's year-round survival by learning and respecting local culture, paying higher taxes, volunteering, and making other financial investments and/or charitable contributions.
Long live “Tire Tracks,” its stars and its window into a hard working, energetic, loud and smelly world of fishermen and their trucks. Let's celebrate and use its 20th anniversary to step forward together.







