‘Chicago’

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Buy ‘Play Money’ by Laura Pedersen.

Buy the ‘Chicago’ movie soundtrack.


Killing Me Softly: Renee Zellweger gets the job done by any means necessary in ‘Chicago.’

Gender Wars

Go-getter Laura Pedersen on work, women, murder–and ‘Chicago’

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate postfilm conversation. This is not a review; rather, it’s a freewheeling, tangential discussion of art, alternative ideas, and popular culture.

Author Laura Pedersen is a tough customer. A one-time professional gambler–way back in the 1980s, when she was a mere teenager–Pedersen went on to parlay those steely nerves and scary mathematical talents into a lucrative career as a stockbroker, banking her first million dollars before she was old enough to buy a drink.

Since then she’s become a New York Times columnist–the youngest woman to ever do so–has written several books (Play Money; Street-Smart Career Guide; Going Away Party), and landed a job hosting the popular Oxygen Media personal finance show, Your Money and Your Life. The native New Yorker–raised in upstate Buffalo–could not have achieved such accomplishments without possessing a serious set of killer instincts.

Still, unlike Roxie Hart and Velma Kelly–the sexy jazz-era murderesses from the estrogen-charged new movie Chicago, which Pedersen and I have just watched in all its immoral glory–Pedersen has never actually killed anyone.

“Not yet, anyway,” she laughs when I ask her. “Though I’ll admit that when you’re making and losing $1.3 million in a single afternoon–which happened to me in the crash of ’87–your emotions do run high and people do get desperate. When there’s a lot of money at stake, tempers run hot. That’s why there are such stiff fines for fighting on the stock exchange floor, because there are some real knock-down, drag-out fistfights from time to time. I had more than a few close goes myself.”

As she speaks, there is a wistful tone in Pedersen’s voice, a leftover shred of nostalgia for those good old stock exchange days, when adrenaline and fortune ran as high and free as the bullets flew back in the days of Roxie Hart’s Chicago. In her latest novel, Beginner’s Luck, Pedersen lets fly with a warm-hearted comic yarn about Hallie, a wily teenage cardsharp whose fortunes take a turn when she meets the refreshingly offbeat Stockton family, a clanful of oddballs and very strong women, whose little eccentricities provide the fertile ground that Hallie needs in order to find her own sense of inner power. It is, of course–guess what?–a fictionalized version of Pedersen’s own story.

“I was always moving in the opposite direction of the crowd,” she admits. “My parents raised me with all the freedom and independence and rope-to-hang-myself-with that I wanted. I was not exactly sheltered from the ways of the world.” Perhaps that’s why she enjoyed Chicago, the story of two women whose individual career paths include killing their rotten scoundrel lovers and using the notoriety to become stars of the stage.

“I think everybody loves a rags-to-riches story,” she says. “Women know that, historically speaking, the system has given us a hard time. We’ve been taken advantage of because we were female and made to feel that we had no power. So when we go to a movie like Chicago, and we see a woman craftily using her wiles to beat the system, it’s hard not to want to cheer her along.”

“Even though she’s, you know, killing people?” I have to mention. “She’s cheating and lying and using everybody in sight.”

“Hey, whatever it takes,” she replies. “In the scene where the women on death row all perform the cell block tango, singing about the men they’ve killed–‘He had it comin’ / He had it comin’ / He only had himself to blame’–there’s a big underlying sense that these women have been put through a lot by those men. Not that all men are bad or all women are saints. We’re not. But I have to tell you, when those women stand up there without apologizing and tell those stories, I wanted to cheer like we all did when Chief Brody finally blew up the shark at the end of Jaws.

“It was just,” she laughs, “so satisfying to watch.”

From the January 23-29, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Hiro’s

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Photograph by Michael Amsler

Holding Out for a Hiro: Gen Mizoguchi prepares chirashi zushi.

Hiro Worship

A new Japanese restaurant in Petaluma ups the ante

By Davina Baum

There are good reasons behind having more than one newspaper in town. Different coverage, different viewpoints–it all adds up, in theory, to benefit the readers.

In the case of Hiro’s, the new Japanese restaurant in Petaluma which Jeff Cox wrote about a few weeks ago in the Press Democrat, the benefit is all mine for having tried it, and I pass the joy onto you, the reader. Cox, who was “astounded” by Hiro’s, focused on the restaurant’s cooked food and rolls, rather than nigiri–the simple combination of fish and rice that can make or break a sushi restaurant. The omission became the perfect opportunity for me to pounce upon the unsuspecting eatery.

On a Thursday night, Hiro’s was packed, thanks in part, the waitress said, to the recent review. The space is dramatic, with a bar up front and a long, deep sushi bar stretching into the front half of the restaurant. Most sushi bars have a raised, glassed-in refrigerated section, but the sleek version at Hiro’s was sunk into the bar, making it easier to watch the three sushi chefs (including a woman, which is rare) slice and dice to keep up with their orders. The place was loud and lively, with undefinable, upbeat music bumping somewhere in the background.

Owner Hiro Yamamoto and managing partners Zach Woods and Mathieu Royer have spared no effort in making their restaurant visually stunning. Even the bathroom (I can only speak for the ladies room), with a beautiful, artfully designed sink, adds to the experience. The artwork, right down to the carved wooden table in the restroom, is by Naoki Takenouchi. The huge Japanese block print above the sushi bar is arresting, though the caged black and white crumpled paper above the tables left this diner a little perplexed.

Let your brain chew on the art while your mouth chews on something else. We started with cocktails, for Hiro’s offers a huge sake and sake cocktail list. I ordered the house-made lemon infused sake, and Zach Woods–very personable and taking a clear interest in his menu–came over to tell me that he had taken the lemon sake off the shelves because it wasn’t tasting right (it’s since been taken off the menu).

Instead, I tried the cucumber sake ($6)–cool and crisp with a lingering sake sweetness. Like vodka, sake takes well to infusions; it’s the perfect platform for fresh flavors. My companion had an umai mango ice ($6.50), sake and mango blended and bursting with the taste of the fruit.

With the drinks, we ordered a couple
of appetizers to munch while we focused on the sushi menu. The calamari tempura ($7.50) was a generous serving, hot out of the fryer. The batter, slightly on the salty side, coated the little tendrils just right, and the seafood was fresh and tender.

Sunomono ($6) is the ubiquitous cucumber salad that is so often doused with a cloyingly sweet dressing. Hiro’s version went much lighter on the dressing, and the thinly sliced cucumbers avoided the dreadful, syrupy end that so often befalls them. The salad, served in a martini glass, was topped with shredded crab meat, which provided a good textural counterpoint to the crisp vegetables.

As our sushi order started to weigh down our table, we ordered another round of drinks. The frozen white peach bellini ($7)–sake, white peaches, and champagne–was another fruit bomb, with the champagne getting lost in the blending. I tried a sake off the extensive list, which is quite helpful in listing a dryness index to indicate how sweet or dry a sake would be, as well as the prefecture the sake comes from.

I chose the Katana ($7.50) for its moderate price and its dryness (I’m a fan of sweeter sakes and wanted to taste the difference). The clean, sharp sake was poured into a glass that sat within a cedar box–the overflow into the box signifies the generosity of the hosts (and also imparts a wonderful cedar aroma to the drink). Hiro’s also has an interesting selection of sho-chu cocktails (sho-chu is a Japanese distilled spirit, usually made from potatoes, rye, or corn) and, of course, wine.

Throughout the meal, the service was good if hectic. Hiro’s seems to have a lot of people on staff, and every once in a while they tag teamed us to get a drink order or check in. The staff were all very friendly, though, and seemed to enjoy their work.

And then the hedonism truly began. Our table soon filled to capacity with beautiful dishes. The sushi, fresh and sparklingly clean, was perfectly cut–not an out-of-place tendon to be found, teeth slicing through it with abandon. It’s not hard to find fresh sushi in the North Bay, though it tends to be much more expensive than in San Francisco, Hiro’s being no exception. The talent of the chefs at Hiro’s comes through, however, in how they slice and put it together: not too much rice, the right amount of wasabi.

The saba (mackerel, $3.50), always one of the cheapest options on a sushi menu (and one of the most flavorful, as long as it isn’t overly fishy) was delightful, the oily freshness shining through in its silvery color. Maguro zuke (marinated tuna, $5) is something I had never seen on a menu before. It was deep burgundy in color, a much deeper red than regular maguro, and very tender, but it tasted like maguro.

The katsuo (bonito tuna, $4) is usually served lightly seared, which can dry it out, but Hiro’s chefs managed to keep it perfectly moist. The tiny red bubbles of tobiko (flying fish roe, $4) encased in their nori wrapper burst in the mouth with a salty pop, and the unagi (freshwater eel, $4.50), warmed and dabbed with tare sauce, tasted smooth and rich.

And then there were the maki sushi, or rolls, which perhaps are the downfall of anyone with eyes bigger than their stomachs. Rolls are where sushi restaurants have learned to innovate for their American patrons, and with each new restaurant come bigger, more ambitious–or foolhardy–options. They are also where restaurants have learned to gouge money from their patrons.

Hiro’s has its fair share of expensive, mayonnaised options. The red roof roll ($12) is shrimp tempura and cucumber wrapped in rice and nori, with a slice of salmon and a dollop of spicy mayo (the red roof in question). It’s a bit much; the individual flavors don’t come through clearly. The caterpillar roll ($11) was whimsically arranged into a sinuous caterpillar shape with sprouts for antennae, and filled with eel and cucumber and wrapped in nori and avocado.

The hamachi frito roll ($12.50) was a study in excess–yellowtail, eel, green onion, and avocado wrapped in rice and nori and dipped in tempura batter, then fried–but perhaps not surprisingly (excess is rewarded), was the best of the bunch. The hamachi was served well by its warming dip in the fryer, and the roll came out not too oily and wonderfully rich, with flavors shining through.

Needless to say, we had sushi to take home, but it’s wise not to overorder. Sushi, of course, doesn’t last long, and it doesn’t taste as good when it has sat in the fridge. We couldn’t even look at a dessert menu. But hey, Jeff Cox had written about the desserts already–thanks, Jeff!

Hiro’s, 107 Petaluma Blvd N., Petaluma. 707.763.2300. Open Tuesday-Saturday for lunch, and Tuesday-Sunday for dinner.

From the January 23-29, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Tunnel Vision

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Photograph by Michael Amsler

Red Tape: Environmentalist Zeno Swijtink bemoans the lack of agency cohesion.

Tunnel Vision

Atascadero Creek damage reveals lapses

By Tara Treasurefield

It took me a couple of days to gather courage and go and see the destruction,” says Zeno Swijtink, coordinator of the Atascadero Creek-Green Valley Creek Watershed Council, of the damage done to Atascadero Creek in Sebastopol by bulldozing. “When I stood there at its edge and looked out over the piles of uprooted trees–a veritable war zone–I felt lonely in my grief.”

This is an auspicious time to speak up for greater environmental protections in Sonoma County. The general plan is under revision, the Citizens Advisory Committee is accepting public input, and recent damage to the creek makes the need for change in county and state agencies obvious.

The man responsible for the damage is Sebastopol property owner John Tomich, who had the land bulldozed over Thanksgiving weekend. Outraged neighbors and passersby promptly reported the destruction to county, state, and federal regulators.

What concerns the Department of Fish and Game, says Bill Cox, district fisheries biologist, is “the loss of woodland habitat for wildlife, especially bird habitat, and the potential for increased erosion.”

Tomich is also in trouble with the North Coast Regional Water Quality Control Board and the U.S. Army Corps of Engineers. But the Sonoma County Permit and Resource Management Department has no argument with him.

Tomich claims he called the PRMD several times in advance and was told that no permits were required. On Jan. 8, Nancy Lingafeldt, code enforcement supervisor at the PRMD, said, “Our county code enforcement inspector for the area has gone out, taken a look at [the damage at Atascadero Creek], and has discussed it with my manager, Ben Newman. It’s my understanding that the area wasn’t in a riparian corridor, and that it is not a biotic resource area. [Therefore], the person who is removing the trees and shrubs along there does have the right to do so to clear his property.”

But according to both Bill Cox and John Short, senior water resource control engineer at the North Coast Regional Water Quality Control Board, the area is in a riparian corridor.

Commenting on discrepancies between the PRMD and other agencies, Lingafeldt said, “If regulations between state and county conflict, the appropriate agency does the enforcement of it. Our county can’t enforce state regulations. Unfortunately, sometimes county and state regulations don’t completely agree.”

What qualifies as a riparian corridor is one of the discrepancies between county and state regulations. Another is that with few exceptions, county regulations don’t protect wetlands, but state and federal regulations do.

If you want to build something, you have to go to the county. But it’s the task of the U.S. Army Corps of Engineers to determine if a wetlands is involved. If a creek bed, bank, or channel is involved, the state Department of Fish and Game has jurisdiction. If the project affects water quality, then the Regional Water Quality Control Board has jurisdiction.

Speaking on condition of anonymity, a county official shed a little light on this arrangement. “You’re not nuts. It’s just that it’s all crazy. The county is going to have a different layer of jurisdiction from Fish and Game or Army Corps or Water Resources. There are agencies that you would think would have the same definitions and the same arms of jurisdiction that don’t, and that don’t have the same definitions for terms as each other.”

More interagency communication might help. In fact, until last year’s budget cuts, state representatives were housed at the PRMD. Says Swijtink, “I sometimes think that the situation would be so much better if there were group-level enforcement, if county and state worked together. Even without new environmental protections, that would be a major advance. So much falls through the cracks here. It’s really embarrassing.”

The Citizens Advisory Committee subcommittee on riparian areas will meet at the PRMD on Jan. 23 at 4pm and Jan. 30 at 5pm, 2550 Ventura Ave., Santa Rosa. 707.565.1900.

From the January 23-29, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

The Dead Kennedys

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Buy the Dead Kennedys’ ‘Frankenchrist.’


Still Got the Fight: Amidst changing lineups and feuds over profits, the Dead Kennedys still manage to be punk rock.

Punk Redux

A watered-down DKs stage a return

By Greg Cahill

I caught the Dead Kennedys’ first North Bay appearance 20 or so years ago at the tiny movie house turned performing arts center in the center of Novato’s quiet business district. It was a fittingly raucous affair at which the band’s rapid-fire, hardcore punk-rock riffs brought down the house–literally.

A few minutes into the show, and as lead singer Jello Biafra likened adulthood to a life sentence, excited fans ripped the cushions from the seats and flung them about like Frisbees in an orgy of wild play. Onstage, sequestered in Novato’s sprawling suburbia, the DKs presided as the Lost Boys gone to seed.

The band raged. Seat cushions sailed. It was euphoric.

“Yeah, that wasn’t really cool,” DKs founder and guitarist East Bay Ray (real name: Ray Peperrell) recalls when I remind him of the incident during a phone interview.

This week the DKs return to the North Bay with a show at the Phoenix. These days, a new generation of fans is embracing the band, which has regrouped with Dr. Know singer Brandon Cruz replacing political lightning rod Jello Biafra.

“In the past few months, I’ve really started to notice that the audiences are mixed, with teen fans numbering about half of the crowds,” says East Bay Ray. “We sometimes even have parents and their kids at our shows.”

Who would have thought that the Dead Kennedys would become a family affair?

It’s been 25 years since the DKs exploded onto the music scene. During a short and volatile reign, the band pioneered California hardcore and took a radical lyrical stance that almost put Biafra in jail.

It was in 1978 that Ray placed an ad in a San Francisco magazine seeking musicians to join a punk band. He got responses from singer Biafra (aka Eric Boucher), bassist Klaus Flouride (who won’t reveal his real name), and a drummer named Ted (Bruce Slesinger). Within a year, the band had released the independent “California Über Alles,” a scathing attack on then governor Jerry Brown and other “Zen fascists.”

Over the years, the DKs influenced countless bands and railed against the U.S. war machine, Reagan-era repression, corporate corruption, the American work ethic, and the record industry.

In 1985 the band released perhaps its best record, Frankenchrist, which included the anthem “Stars and Stripes of Corruption.” The LP also included a poster insert of Oscar-winning Swiss designer H. R. Giger’s Landscape XX, also known as Penis Landscape. The poster depicted an assembly line of festering phalli plunged into anuslike orifices.

One Southern California mother was not amused after her 14-year-old son bought the album. She filed obscenity charges against Biafra, who beat the rap.

The DKs disbanded in 1987. Now East Bay Ray, Klaus Flouride, and drummer J. H. Peligro are at legal loggerheads with Biafra. A highly publicized lawsuit over unpaid royalties has been settled with the courts ruling that Biafra–who operates Alternative Tentacles, the band’s former record label–defrauded his old band mates out of more than $20,000. “It was horrible that we were forced to go to court,” says Ray. “That should not have happened. The label should have just paid it when they owed it. But power corrupts.”

Biafra is appealing the judgment and has filed a couple of lawsuits of his own against his old chums. “It’s my opinion that it’s time for him to acknowledge that he did wrong and to move on with his life,” Ray adds. “Giving more money to his attorneys is not going to make it right. I mean, how punk is that that he keeps dragging us into court?”

(Biafra’s website paints a different picture of who’s dragging whom. A posting dated Oct. 15, 2002, states that “East Bay Ray and Co. have filed a new lawsuit against Jello Biafra claiming he is interfering with their ability to profiteer off of Dead Kennedys.”)

Last year, and against Biafra’s wishes, the revamped DKs released Mutiny on the Bay (Manifesto), a set of previously unreleased live shows from 1982-1986. More recently, the band’s albums have been remastered and reissued. A new vinyl version of Frankenchrist is due out next week, but don’t look for the infamous Giger poster.

“I don’t really want to get into telling people what to think,” Ray explains. “The whole thing about the Dead Kennedys is telling people to think for themselves, to get the facts and then make their own decision.”

The Dead Kennedys perform Sunday, Jan. 26, at 8pm at the Phoenix Theatre, 201 Washington St., Petaluma. Tickets are $13.50. 707.762.3565.

From the January 23-29, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Fugitive Kind’

Buy the ‘Fugitive Kind’ script by Tennessee Williams.


Photograph by Ed Smith

Testing Ground: Emily Ackerman and Scott Coopwood as Glory and Terry Meighan in one of Tennessee Williams’ earliest works.

Rebel Souls

Misfits fight back in ‘Fugitive Kind’

By Patrick Sullivan

It’s a theatrical experience that offers the thrill of opening a time capsule. More than half a century has passed since Fugitive Kind, a two-act drama by a then unknown playwright named Thomas Lanier Williams, last took to the stage. Virtually no one saw the play then, since it received only two amateur performances. But now, this long-lost work by the late, great Tennessee Williams is back in an ambitious production directed by Lee Sankowich at the Marin Theatre Company.

Of course, the revival of an unknown work by one of America’s greatest playwrights could be a good thing, or it could be profoundly disappointing. Literary critics will argue until the ivory tower falls about whether any work can be truly timeless in the grandest sense. But no one can dispute that some literature is painfully dated from the moment a writer puts down his pen.

There’s no question, at any rate, that Fugitive Kind is heavily stamped by the circumstances in which it was written. Williams was 26 at the time and struggling to get through night school during the Great Depression. At its best, Fugitive Kind conveys all the desperation of that grim period.

The play, set in a flophouse on the St. Louis waterfront, sports a large cast of alcoholics, prostitutes, drifters, and other examples of the “fugitive kind.” But a pair of lovers lies at the heart of the narrative. “I’m a misfit, an outcast,” cries Terry Meighan (played by Scott Coopwood), as he tries to explain his chaotic life to his new love, Glory (Emily Ackerman), the young woman who runs the hotel reception desk.

Terry is a typical Tennessee Williams bad boy–tough, ruthless, and cocky, but also sexy and inclined to make reflective remarks about snow. Childhood poverty drove him to crime. Now he has the sensitive soul of a poet and the sensitive fingers of a safecracker. Unfortunately, his recent bank jobs didn’t go well, and he’s got half the cops in America looking for him.

Glory is another Williams stalwart–the tough-talking dame whose hard exterior hides a wounded soul. As she copes with Terry’s romantic advances, she’s also trying to keep control over the menagerie of misfits that comprises her clientele and keep her rebellious brother Leo (Richard Gallagher) from being kicked out of college for publishing leftist propaganda in the school paper.

There are subplots galore in this complicated play, and there are also probably a few too many characters. What keeps the slightly unwieldy work moving is this production’s generous supply of acting talent. Coopwood and Ackerman are excellent as the romantic leads; they both manage to put interesting spins on their (by now) clichéd characters. Among the minor roles, Michael Ray Wisely stands out as Chuck, the flophouse’s alcoholic handyman. There’s no role easier to overplay than a drunk, but Wisely lends his character a painful dignity.

Frankly, it’s not hard to see why Fugitive Kind didn’t win the acclaim scored by the playwright’s later work, lacking as it does the psychological complexities of Cat on a Hot Tin Roof or A Streetcar Named Desire.

Still, there’s much to enjoy here, from the melodrama of Glory and Terry’s dangerous love to some finely drawn minor characters. Perhaps it’s best to enjoy Fugitive Kind for what it is: a minor work that signaled the budding development of one of the most remarkable talents in American theater.

Fugitive Kind continues through Feb. 9 at the Marin Theatre Company in Mill Valley. For details, call 415.388.5200.

From the January 23-29, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Voicetrax

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Talk Is Cheap: Coach and actress Samantha Paris has dedicated herself to the art of the voiceover.

Talking Points

The fine art of voiceover is honed at a Sausalito school

By Sara Bir

Ron, a middle-aged laid-off sales rep, has an amazing, booming bass voice, rich and warm. Cynthia, an older woman, is a drama teacher in San Francisco; as she reads, her facial features twitch to match the expressiveness in her voice. There’s Sherri, a younger woman who works as a cashier at a grocery store. Her squeaky voice is ultragirlish, and she had probably come here to cash in on what has most likely been, up to this point, the bane of her existence–a voice that’s too adorable, a voice that makes Sarah Vowell sound husky.

There’s Paul, a carpenter, a friendly guy whose library of goofy voices comes spilling out of him with a frequency usually reserved for fifth-grade playgrounds. He looks like he’s having the time of his life. And Gail, an older, soft-spoken woman who initially comes across as too demure to belong here, reveals layers and layers of life once she sets foot in the recording booth.

We’re in a classroom in Sausalito, and we’re here to find our voices.

Our existence is filled with voices without faces, the anonymous narrators of the age of mass communication, from hokey (“Sale at World of Waterbeds!”) to dignified (James Earl Jones’ monolithic “This is CNN”) to everything in between. We know these voices because they enter our lives every day, over the radio, over computers and television, and on training videos and books on tape.

They are the commanding presences that narrate movie trailers (“A desperate man . . . a helpless woman . . . the diabolical lawyer who will stop at nothing to keep them apart!”); the measured tones of instructional CD-ROMs (“First, insert the gray cable into the terminal located above the blue switch plate”); the refined poshness of the luxury-car commercial voice (“The new Marxux Z-235 Townhouse Edition. It’s not just an SUV–it’s a lifestyle machine.”)

There are people in this world whose job it is to say stuff. Not talk-radio goons like Howard Stern or vaudeville nostalgia hounds like Garrison Keillor, but people who make a living by reading scripts (“copy,” to use the jargon) into a microphone. Their mouthpiece, as it were, may be a an interactive exhibit at a science museum or an animated blue thing, like a Smurf. The flat, omnipresent voice at the airport that comes from nowhere and everywhere, forever repeating the same five phrases in the same five languages, was, at one point, emerging from the throat of a real, live human.

As often as voiceover actors step into our lives, we never give them much thought. A voice that can earn a living–or a person disciplined enough to earn their living by their voice–must begin somewhere. Voiceover acting is acting, after all–there are demos, there are agents, there are auditions. And, before any of that, there is training.

While stage actors can cut their chops in community theater, there is no such thing as community voiceover theater. That’s where Voicetrax comes in. And that’s why there are 10 people, of all ages and professional backgrounds, assembled in a classroom on a Tuesday night trying not to mess with the mic.

Loud and Proud

Based in Sausalito, Voicetrax bills itself as the nation’s leading voiceover training academy. (There’s a smaller voiceover school in Sonoma called Radio Magic.) Founded in 1988, Voicetrax offers group workshops, seminars, small labs, and private one-on-one sessions for aspiring and professional voiceover actors. In 1990 Voicetrax launched a casting company to fill Bay Area producers’ need for voices in all kinds of media, from CD-ROMs to books on tape to radio.

The engine behind Voicetrax is a small blonde woman with short hair and pixieish looks named Samantha Paris. Call her Sam, just like the pink neon sign hanging up in the Voicetrax classroom does in its curlicue script: “Sam’s Place,” it reads.

Samantha Paris was born into a radio legacy. Her grandfather, Martin Block, created “Make Believe Ballroom” in New York and is recognized as one of the first radio DJs to gain fame in his own right. Raised in Los Angeles, Paris yearned to break into acting, but because she had a chubby face (and, no, Sam is not fat–she’s a tiny thing), her career in front of the camera didn’t meld with casting directors’ images of gaunt Hollywood types.

So Sam diversified, working as a voiceover actress, at first specializing in young voices. Eventually she landed recurring roles in a few animated series and won three Clio awards (sort of like Oscars for the advertising industry). But as we here in Northern California like to say, L.A. sucks, and so Sam came up here to get away from the frenzy–though hardly to get away from voice acting, because there are many more opportunities for a voice actor in the Bay Area than one might assume.

A few myths about voice acting debunked:

*Being a radio DJ and doing voiceover are two very different things.

*Voiceover actors don’t just do cartoons and radio spots (in fact, here in the Bay Area, there are very few cartoons).

*Voiceover acting is not as easy as you’d think.

That last myth is the realization I come to while sitting in on one of Voicetrax’s beginning workshops, a six-week course that serves as an introduction to the world of voiceover. The other students in the class had, in the previous five weeks, gone over script interpretation, microphone technique, dialogue, and improvisation.

I figured beforehand that the class would consist of students sitting in folding chairs, scribbling away at note taking while the instructor prattled on about voiceover theory. This was not the case. I would be, I had been informed, participating in the class just as if I had been in it from the get-go, and this included reading scripts with everyone else.

The Disembodied Voice

Voiceover acting is more about the fun than it is about the glory; even people who become pretty famous beyond the industry are more or less unrecognized beyond their names. Sure, we know Nancy Cartwright is Bart on The Simpsons, and we can instantly recognize the pipes of Lorenzo Music, famous for providing his voice to Garfield and Carlton the doorman on The Mary Tyler Moore Show (Music passed away in 2001).

Tom Chantler, a full-time voiceover actor who previously worked as an industrial designer, averages 30 to 40 auditions a month, primarily in the Bay Area. He says it’s very hard work–it just never seems like it. “When you get paid for it, there’s always some little giddy part of me that says, ‘I can’t believe they’re paying me for this!'”

Chantler’s been teaching classes at Voicetrax since 1993, which he likes because it helps him keep in shape for auditions and jobs. While he can do goofy voices, Chantler is hired mostly for his natural speaking voice (which is pretty much the classic “regular guy” voice) for anything from radio ads to CD-ROMs, as well as what is called “industrial”–anything that’s not so much in the public sector, such as spots for trade-show booths, that sort of thing. You might come across Chantler’s voice saying “Stick your ticket in here” coming out of a ticket-validating machine in Las Vegas.

Voiceover actors have to not only read copy in an engaging way, but they also have to do it in an evocative way, because they are typically not working to back up images, says Chantler. “Television has pictures to support it. Pictures do way more talking than you need to do, so in a way, you are supporting the images that are onscreen. In radio you are creating those images. You have to be more in the moment in that sense and try to work what is a two-dimensional problem into three dimensions.”

Johnnie Anderson, another Voicetrax instructor, has a glowing elfin smile that rarely leaves her face. She works with Voicetrax’s new “Put Some Power in Your Presentation” class, which is aimed at helping corporate business people enliven their presentations with voiceover techniques.

Anderson, the very model of warm composure, was a sales rep for Delta Airlines for many years, so she knows a few things about corporate America. Because there is so much industry in the Bay Area–think Silicon Valley or Lucasfilm–there are lots of less high-profile opportunities for working voice actors.

“We’re very fortunate in the Bay Area with having so many corporations and production companies,” Anderson says. “That’s a very good reason for voice actors to be as versatile as possible–not just doing narration, not just doing character work or CD-ROM work, but to try to be as versatile as you can so that you can get more work.”

On the Mic

Sam herself is a very intense person, the kind who scoots her chair close and looks you straight in the eye as she speaks to you. There’s nothing particularly amazing about her normal speaking voice either, though it is pleasant.

She has not yet met any of the members of this class, though she has seen many groups like this one become acquainted with voiceover. I ask her if there is a prototypical Voicetrax beginner. “Most of the people have never done anything like this before,” she says. “If there are two people in this room that are actual actors with acting experience, I’ll be surprised.”

In that case, how does a person wind up there in the first place? “Usually people have told them, ‘Oh, you have an interesting voice,’ or they’ve always had this hidden desire to be a performer, but the thought of performing in front of groups of people is kind of scary, so they like the idea of hiding behind a microphone.”

Even though they’ve only met for a few hours on the past five Tuesdays, the nine have a loose rapport with each other. It’s what happens when a bunch of people with creative, outgoing personalities take a class together. So far, they’ve studied simple monologue, short 30-second pieces, and they’ve worked on trying to sound natural without sounding like they are reading. They’re about to enter the recording booth.

The recording booth is where the magic happens. It’s a small space in the corner of the room, the size of a closet, really, with a few mics and stands for scripts. (“See the mic?” Cynthia asks me. “Don’t ever, ever touch it! Speak into it closely, but don’t touch it!” she warns. “Why?” I ask. “Just don’t!” I do not tamper with the mic.)

I’m put into a group with Paul and Cynthia, and we read over a script for a Godfather’s Pizza ad. I’m Guy, Cynthia is Man One, and Paul is Man Two. In the copy, I ask Man One and Two how to get to the nearest Godfather’s Pizza, and they give me convoluted directions. After a few run-throughs, we go into the recording booth to try reading in there.

Something interesting happens in the recording booth. For a bona fide hater of commercial radio, I find it’s still very fun to deal with radio commercials when you are the person who makes the annoying voice instead of being the person stuck listening to it. Suddenly, doing the best damn job as Guy that I can is the most important, serious thing in the world. It’s up to me to pick up on and play off the nuances of Man One and Man Two. Be expressive, but be natural. And don’t stall. Or sound fake. Or sound too normal. And do it under 50 seconds. And for God’s sake, don’t touch the mic.

Sam makes suggestions from the control board, giving us little directions of character. “Sara, with the Guy, maybe you are a half-hour late and you are in a rush and you don’t know what they are talking about. Don’t start off annoyed but get annoyed as the conversation goes on. Be more quizzical when you say, ‘Past the Godfather’s Pizza.'” I make a note on the script.

“The stronger your acting skills get, the more you’re going to stand out on tape,” says Sam. “It’s not about always being wacky and nutty. Besides the creative, silly side, there are other areas that require a lot of discipline.”

Sam’s talking about demo tapes. A demo tape is what gets you work–it’s like a talking résumé, with snippets of different things a voice actor has done, all edited neatly together. Sam is really big on students not rushing into making a demo tape. “You don’t make a demo tape until you’re ready!” she stresses multiple times, in class and during interviews.

The reason is that, for a person just starting out who has no ads under his or her belt, a demo tape consists of fake ads. Many hours can go into making a demo tape, and there is, with the assistance of good editing, room for error. At an audition, there is not.

“You’ve got to get to a point where you can pick up a script and, within a matter of minutes, deliver a really fantastic performance,” Sam relates. “You’re going to go in the recording booth, you’re going to rehearse it down to two or three sentences, and the agent’s going to say, ‘Let’s do a take.’ You get one take only, and then you’re out.”

Later, after the Godfather’s ad, the class rifles through a stack of photocopied cartoon-character drawings. Student will select a character and create a voice for it. Then we’ll pair off and go into the recording booth to do improv from Sam’s prompts. I choose a sketch of Flo Rubble from The Flintstones Kids. She looks like an older Betty Rubble, though I assume she is actually Barney Rubble’s mother. She has an upturned nose, stone-age horn-rimmed glasses, and evokes quite the busybody.

I go into the booth with Paul, who’s chosen a hound dog for his character. We do an improv where he (the dog) wants to come over to my (Flo Rubble’s) house and sit on the furniture. We record it, and Flo’s voice comes out in my generic “mom voice” –we all have one, the voice we use when imitating our moms.

It’s very amusing, a playtime for adults. After the class–the improv especially–it becomes clear that people come here to get comfortable with their voice and the things it can do, and the things their brains can push out of their mouths. Two of the students in the class called it “therapeutic.” And it is, in the way a yoga class or a watercolor class can be, and that way of being in a communal room making something out of nothing is.

“For beginners, they did quite well,” says Sam. “It was fun.” I am told that I did very well for not having any experience, and for a moment I indulge in grand illusions of me providing the voice for an eBay ad, a big hunk of change in the bank and a cool thing to tell people I just met. Maybe voiceover training could help me get on NPR’s This American Life. Or maybe not.

Sam was right, though; it was fun, and at least now, when stuck in traffic and enduring terrible radio commercials, I can instead appreciate the work that went into them, that someone reading a Godfather’s Pizza ad put all of their being into bringing Guy One to life.

For more information on Voicetrax, visit www.voiceover-training.com or call 415.331.8800. Radio Magic, in Sonoma, can be found at www.radiomagic.com, 707.996.3073.

From the January 16-22, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

noindoctrination.org

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Cut on the Bias: Luann Wright, creator of noindoctrination.org, seeks to limit prejudice in the classroom.

Just the Facts

A website targets classroom bias

By Joy Lanzendorfer

Two years ago, Luann Wright began to suspect that her son’s critical writing class at UC San Diego was inappropriately biased. He was required to read five essays about white racism against black people. In the context of a class on race, this would have been appropriate, she says, but in a writing class, she expected the students to focus on writing.

The professor directed class discussion around race and made what her son felt were “sweeping generalizations” about racists. What’s worse, her son felt intimidated whenever he disagreed with the professor and at one point felt put on the spot for his views. Wright believed the professor was taking advantage of her position by forcing her personal beliefs on the class.

After complaints to the professor, administrators, alumni, and legislators failed, Wright began researching biases in the classroom. The result is the website www.noindoctrination.org.

The website offers an online forum for students to post notices about professors who appear to be pushing social or political agendas in an attempt to “indoctrinate” students to a specific way of thinking. The posts are anonymous, but the name of the school, course number, and professor are listed. Professors are notified of the post and have a chance to write a rebuttal. So far, only one professor has written a rebuttal, which he later requested be taken down.

The website has generated quite a buzz and receives as many as 7,000 visitors a day. Online educational forums have discussed it at length, and up to 600 different universities have been known to visit the site in a week.

“Of course, we’re all biased,” says Wright, who lives in La Mesa, Calif. “This site is for when professors show a hostile bias, like when the professor ignores alternative viewpoints or hinders the expression of viewpoints outside of his own.”

The site is not affiliated with any political or religious group. Though most of the complaints list liberal biases, Wright is hoping that students who have experienced conservative biases will also come forward and post.

A former high school science teacher, Wright has strong feelings about what is fair in teaching. She dealt with these issues firsthand when she taught evolution.

“It’s about what belongs in the classroom,” she says. “With evolution, there are two areas students object to. One, the teaching of creationism doesn’t belong in a science class and should be taught in religious classes. But the other, the validity of certain accepted scientific methods or conclusions, was certainly up for debate in my class.”

Often professors are accused of being biased because a student holds ideological differences from the course material, as with the case of creationism and evolution. If a person believes creationism is scientific, he may think a professor only teaching evolution is biased. Yet in that case, the professor is merely teaching the accepted assumption in the field.

So while some professors probably do cross lines, where those lines actually lie can be a matter of perspective. Because of this, academic freedom–roughly defined as the right of a teacher to pursue all aspects of a subject in a classroom without censorship–protects a professor’s right to bring up controversial subjects in the classroom unhindered.

“That’s what people find difficult,” says Ed Buckley, vice president of academic affairs at Santa Rosa Junior College. “A professor might bring an example up from modern culture that doesn’t square with a student’s idea of truth, and the student gets offended.”

But with academic freedom comes certain responsibility. At SRJC, professors are asked to create an atmosphere where students are free and even encouraged to express differences of opinion. Most of the time, SRJC professors respect other points of view.

“Once in awhile I’ve had a student who says his grade is low because he disagreed with the professor,” says Buckley. “But usually when we look into it, we find that the professor bent over backwards to not appear to do that.”

While some educators have dismissed noindocrination.org as “silly,” others have called the anonymous postings “dangerous” and an attempt to stop free speech in the classroom. But Wright believes she is standing up for the rights of students while still being fair to professors.

“I only put up complaints that have excessive biases,” she says. “I have no problem with controversial points of view, only when they are inappropriate in the context of the course.”

From the January 16-22, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Rosen’s Eastside Grill

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Photograph by Rory McNamara

Rack ‘Em Up: Randy Sommerville, executive chef at Rosen’s Eastside Grill, digs into one of his own creations.

Eastside Story

The other half of Petaluma gains a funky and family-friendly eatery with Rosen’s Eastside Grill

By Sara Bir

It’s an odd sensation to walk into a place that boasts a cosmopolitan feel when that place makes its home in a suburban shopping center. Petaluma now has such a place in Rosen’s Eastside Grill, a new and boxy building in the G&G shopping center. The Eastside Grill is the spawn of Rosen’s Waterfront Grill, a fine-dining favorite in downtown Petaluma.

The Rosen sisters, Jan and Michelle, have charmed diners all over the country with their justly career-making cheesecakes (which are shipped down to swanky and famous restaurants in L.A.). But you cannot build a restaurant on cheesecake alone (never mind that those abhorrent Cheesecake Factory places are so popular). Thankfully, the Rosens and chef Randy Sommerville keep this bar and grill’s noncheesecake fare simple, satisfying, and entirely up to snuff.

One reason the Eastside Grill works at this location is that it’s clearly the kind of place where parents can take their families on a Friday night and the kids won’t make a stink about it. There’s a wide-screen TV above the bar, silently broadcasting some sports-channel stuff, so it could also make an after-work hangout for sports fans.

Those on a first date will also feel pretty comfortable at this casual yet stylish location. The banquettes are dark, rich wood, and Roy Lichtenstein and Picasso prints hang on the walls. Even the plates–whose rims are edged in primary-colored benday dots–are splashy and funky. The noise level, usually so high at places like this, is totally manageable; we could barely hear the generic saxophone music wash in the background (thank God!), so low was the volume.

The menu is rather all-encompassing, with wood-fired pizzas, pastas, burgers, and entrées whose basic approach is almost a breath of fresh air. No balsamic-reduction-drizzled roasted avocado-topped seared skate wings in a citrus crust here. Nope, you can get yourself things like a hamburger steak with onions and mushrooms or beer-battered fish. Those who lean away from red meat are best off if they have a soft spot for starches or fish.

We started off with parmesan olives ($6.95), what you might call a classier version of jalapeño poppers: green olives stuffed with parmesan cheese, breaded, and taken for a dip in the deep fryer. They arrived at the table in a martini glass (clever!). Like any breaded-and-fried cheese thing, these kind of explode in the mouth, but the salty olives cut through the gooeyness of the melted cheese. Since I love olives, I’d rather have just olives, but these were undoubtedly delicious.

The Eastside Grill’s salads are classic affairs, the kind of salads you’d see published in an issue of Gourmet about half a century ago–chef’s salad, Cobb salad, the ubiquitous caesar, and the iceberg wedge with blue-cheese dressing.

The spinach salad with candied pecans, dried cranberries, pancetta, and feta cheese was ample (all of the servings here are) and didn’t skimp on the ol’ bacon or pecans. The dressing, which tasted sort of bottled, came on the side, though. This is a heresy! How is a person supposed to toss her own salad when it’s on a plate and not get salad all over the table? Somehow we managed, and the salad was good enough, but I’m sure a decent tossing back in the kitchen would have transformed it into the salad it had the potential to be.

The pesto pizza ($12.95) had a crisp, thin crust, but not so thin that it was impossible to lift up a slice without it going flaccid, all too often a mark of lesser wood-fired pizzas. The promised fresh tomatoes were smothered under a profuse amount of melted mozzarella and sliced so thinly that they sort of disappeared, but as a whole the results were good. The pizza’s large enough to have some slices to take home and have the next day for lunch.

Mr. Bir du Jour, always a cautious fellow, got himself a cheeseburger ($9.50) with fries. Lovers of burgers–substantial ones, whose burly patties run with greasy juice–are on a constant quest for a reliable source for a killer non-fast-food burger, a big fat one that’s not refined or gloppy or out of control. Go ye, I say, to the Eastside Grill! The patty came on a nonmushy, lightly toasted bun and was cooked exactly to the medium doneness ordered. The fries were, you know, fries. Mr. Bir du Jour was happy. I was envious.

The only big flop of the night was the chicken pot pie ($12.95), whose generous proportions carried over into farce. This thing came to the table, and–no kidding–it had the diameter of a ’76 Impala steering wheel. All four people sitting at the table could have shared the pie for dinner and not gone home hungry. I felt dwarfed and gluttonous sitting behind it.

The broad expanse of golden pastry covering the top was overworked and tough instead of tender, and the sea of filling it obscured was flavorless, a random assortment of overcooked green beans, cauliflower, red bell pepper, potatoes, and plump hunks of chicken. The gravy was thin but tasted of flour, like mediocre diner gravy, and it sloshed around in there more like a so-so chicken stew than a homey pot pie. Halfway through dinner, one of us noticed a soup spoon on the far reaches of the rim of the plate, so apparently it’s supposed to be like that, though I’d prefer a normal-sized chicken pot pie that requires no spoon.

The pot roast ($14.95), on the other hand, put the so-called pot roast my mother set on my family’s dinner table to shame. Tender and cooked perfectly (no toughness lingered), the meat had the succulent richness of a good beef cheek. Our friend declared it the best pot roast he had ever had. The accompanying mashed potatoes (entrées come with a choice of two sides) were creamy, smooth, and full of fatty dairy goodness.

To wash down the pot roast, we tried a 2002 Santa Barbara Rock Rabbit Syrah ($6.50 glass), which was big and fruity and not all that distinctive, but it’s a good, versatile match to many of the items on the menu (as were most of the wines on the short but serviceable list).

We were very full but also very curious about Rosen’s deep-fried cheesecake ($7.95). Because cheesecake is the cornerstone of the whole Rosen operation, skipping it would be like visiting the Blarney Stone and not kissing it. But deep-fried? Such treatment sounded suspiciously British. We had imagined a beer batter-dipped wedge of runny grease, but upon inquiry to the waiter we discovered it’s sheathed in a very non-British won ton wrapper.

Still, we skipped it in lieu of the apple crisp ($6.95), piping hot and with a pleasingly firm Granny Smith apple filling under a sweet crust of caramel and a dollop of vanilla ice cream. (It would have been nice had our waiter brought the bill after he brought us the dessert, though. He seemed a bit scattered that night.)

Mr. Rosen himself then came to check in on us and, dismayed that we had failed to kiss the Blarney Stone, sent us a piece of cheesecake on the house. Well, no wonder they are famous for this stuff! It’s light and airy, not as dense as a New York-style cheesecake but just as creamy and still with substance. The top was beautifully browned and the graham cracker crust wielded a citrus punch.

Rosen’s Eastside Grill is an amazingly friendly place–the staff was all very pleasant, and it was easy to feel relaxed and at home. You eastsiders of Petaluma are pretty lucky folks, I’d say. Just stay away from that pot pie and you’re home free.

Rosen’s Eastside Grill, 701 Sonoma Mountain Parkway (in the Parkway Plaza, by G&G Market), Petaluma. 707.763.4644.

From the January 16-22, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Dr. Lisa Pesch

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Buy ‘Natural Healing for Dogs and Cats A-Z,’ by Cheryl Schwartz, D.V.M.


Photograph by Michael Amsler

The Doctor Is In: Dr. Lisa Pesch gives 6-month-old Tricksy an acupuncture treatment.

Spoonful of Sugar

Holistic veterinary medicine is an easy pill to swallow

By Davina Baum

Lisa Pesch just might save the world. Considering that the world of a pet owner often revolves around her cat or dog, rabbit or guinea pig, this is not such a dramatic statement. Whether it’s a homemade plate of organic food morning and night or a slice of pie straight from the table, little hand-knit sweaters or a Halloween costume tailored for four legs, our domesticated loved ones often get treated to more and better of what we give ourselves.

Lisa Pesch specializes in acupuncture, homeopathy, and herbal remedies–on animals. From cats to dogs, horses to rabbits–even fish–no domesticated creature need go without the healing power of a well-placed acupuncture needle.

In a sense, it’s quintessential California. Whereas in much of the country alternative medicines are still met with a confused, squinting “Huh?”, in California even the cats get arnica.

It’s logical, really, comparative anatomy being what it is: If it works on humans, why can’t it work on animals? Having long subjected our pets to the same antibiotics and surgeries that we’ve put ourselves through, enlightened pet owners (or guardians, if you must) are turning more and more to alternative medicines.

And pet owners are happy. Pesch, who got her veterinary degree at Tufts University School of Veterinary Medicine, sees the results. “I’m constantly amazed at what my patients are able to do. I’m honest with people. I tell them, ‘Well, this looks bad, and I’m totally willing to try; we can at least make them more comfortable,’ and lo and behold, three treatments later, the animal’s turning around.”

Pesch, who lives in Cazadero, works out of Nancy Walters’ practice in Occidental two days a week.

As a teenager, Pesch was introduced to alternative medicine when she was in a car accident and needed chiropractic work. A subsequent bout with asthma and all its attendant steroids and pills drove her to try acupuncture, and she was a convert. “I’m 17,” she says, looking back at the incident, “I’m looking at all this stuff and [thinking], ‘This isn’t going to make me better. I’ve got to figure out why I have this and how to make myself better.’

“By the time I was in vet school, I was pretty familiar with the treatments,” she says. At the time, Tufts didn’t have any courses in alternative medicine. But during her fourth-year rotations, Pesch worked with someone who was doing acupuncture on horses. She then did an internship with Cheryl Schwartz, one of the more prominent holistic practitioners, who works in San Francisco.

Once out of school, Pesch got certified by the International Veterinary Acupuncture Society while working at a clinic in Oakland, and then moved into Schwartz’s practice in San Francisco, where she still practices a few days during the week. Her studies have continued since school; she’s taken Dr. Richard Pitcairn’s Professional Course in Veterinary Homeopathy as well as the Options for Animals’ Course in Animal Chiropractic; her herbal work is mostly self-taught, under Schwartz’s tutelage.

She’s now in her third year of a course on a form of treatment called psychomotor therapy, which focuses on balancing the muscles in the body. “The idea,” says Pesch, “is that physical and emotional trauma gets anchored in your muscles, and [psychomotor therapy is] a way to release that muscle memory that’s anchoring negative experiences or physical traumas.”

Heady stuff indeed, especially for a cat–who can’t quite articulate exactly what is bothering her. But it’s only in modern times–as affordable healthcare for people is more and more of a struggle–that alternative treatments for animals are seen as indulgent.

Acupuncture has been practiced for thousands of years, and ancient Chinese used a form of acupuncture on animals. Homeopathy and chiropractic, too, have long been applied to animals. The value of animals–for practical purposes and companionship–has long been appreciated, and as Pesch says, “people have used whatever they used on people for their animal friends. There probably was a natural drive to use whatever tools they had.”

Those tools, in recent history, have primarily been the antibiotic and the scalpel. But as more and more people turn to holistic practices as an alternative to invasive procedures for themselves, it follows that they will turn their pets in that direction.

Pesch finds a philosophical distinction in the choice of modalities. “Health is a state of balance,” she says. “It’s a dynamic state, so things are moving and shifting, but there’s overall a balance within the body and the interaction of the individual to its outside environment. The idea of disease or getting sick is when you start having challenges in terms of your ability to [keep in balance].

“What I do with holistic medicine is I support that natural ability in the animal and I strengthen its ability to come back into balance.”

So instead of attacking the disease, you strengthen the body’s ability to fight the disease itself. Pesch says that with traditional medicines, “a lot of times in killing that bacteria or fighting off whatever that disease agent is, the animal gets injured in that attack as well. If you’re in a war zone, you might get some wounds, even though you’re not a target.”

Those niggling side effects are, in fact, the results of new damage that a medicine has caused to the body–whatever kind of animal it may be. “The holistic medicine, in my experience, causes less of that,” Pesch says.

Pesch’s clients (i.e., the owners of the patients) vary from people who know, practice, and believe in alternative medicines for themselves; clients who’ve done everything they can in terms of Western medicine and are trying a last ditch effort; and clients whose animals are seriously ill or really old and need hospice care. Pesch aims to educate people about the preventive aspects of alternative medicine.

“In ancient China,” Pesch says, “you paid your doctor when you were healthy, and when you got sick you didn’t have to pay. . . . It’s ironic that I’m using this medicine that’s so carefully correlated to keep someone healthy, and I’m not seeing very many patients in that way.”

True to its name, holistic practice works best when integrated into the patient’s life. As a result, says Pesch, “over the animal’s lifetime you’re going to spend less money, put it through less traumatic procedures, it’s going to have a better quality of life and less stress, and in the long run you’re not going to spend as much time in the vet hospital.”

There are some standard procedures that alternative medicines don’t apply to. Vaccinations and neutering and spaying, in particular, are Western procedures that Pesch does for her patients. Pesch neuters and spays animals–she is naturally concerned about irresponsible owners–but she is careful about how old the animal is. “[Some vets] do it as early as eight weeks,” she says. “They feel that they’re not seeing any side effects.” Pesch disagrees and says that she’s seen a more likely occurrence of urinary infections and blockages. “It just makes sense that your hormones are important to your development.”

Pesch does vaccinate animals, but she times it so that they have the most protection with the least number of vaccines. She also uses homeopathic remedies at the time of vaccination to reduce the reactions. Titres–measurements of antibody response in the body–are also helpful to make sure that the animals stay immune.

Our pets are important to us, it’s true, and they should get the best care. But as Pesch points out, it’s not just about care. “What I’m doing with animals is like a microcosm of what’s going on with the world,” she says. “Are we going to choose to live within the bounds of nature and learn how to find the balance, or are we going to try to control things?”

True to her holistic training, she extends the analogy. “That’s part of why Americans treat the environment the way we do; that’s the mindset of the way we were raised and the way we treat our bodies, and it trickles down to the way we treat the environment.”

And with that, Lisa Pesch continues to change the world, one pet at a time.

Lisa Pesch, DVM, can be reached at 707.874.2417. Her North Bay practice is at 3996 Bohemian Hwy., Occidental.

From the January 16-22, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Freedom: Songs from the Heart of America’

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Buy the ‘Freedom: Songs from the Heart of America’ soundtrack.


Alternative Nation: William S. Burroughs howls over the betrayals of human dreams.

‘Freedom’ Songs

Singing the nation’s praises out of tune

By Greg Cahill

What is the soundtrack of America? Freedom: Songs from the Heart of America (Columbia/Legacy), the newly released three-CD box set that serves as a companion to the new PBS series Freedom: A History of US, attempts to answer that question but falls sadly short of its goal. The 16-part TV series is based on Joy Hakim’s popular 10-volume, kid-friendly history book series of the same name, which first appeared nearly a decade ago through Oxford University Press. The books are billed as a storyteller’s history of the United States–long on anecdotal material and chock-full of short, snappy sidebars that help to flesh out the people, places, and events that shaped this disparate nation.

The much anticipated TV series, hosted by Katie Couric of The Today Show, features voiceovers by such celebs as Tom Hanks, Julia Roberts, Angela Bassett, Robert Redford, Samuel L. Jackson, and Matthew Broderick.

The three-CD box set is culled from Sony Records’ vast archives and also features big names: Bob Dylan, Louis Armstrong, Bruce Springsteen, Simon and Garfunkel, and Johnny Cash, among others.

Here’s what Hakim has to say about the song collection: “We are a singing nation, and without songs our history is incomplete. Our musical heritage is found in the voices of ordinary Americans who sing their woes and triumphs and hopes. If you want to understand who we are and how got here, listen up. This is US–singing and trumpeting our saga.”

Fair enough. Several of the tracks on the set fit that bill: Gene Autry’s “The Death of Mother Jones,” Billie Holiday’s “Strange Fruit,” the Impressions’ “People Get Ready,” and Jerry Garcia and David Grisman’s “Shenandoah Lullaby,” for instance.

But do we need “The Battle Hymn of the Republic,” “Semper Fidelis” (the Marine Corps anthem), “Stars and Stripes Forever,” “The Star-Spangled Banner,” and “America the Beautiful”? It’s nationalistic overkill.

And there’s something disingenuous about Sony culling its archives–no matter how vast–and passing these songs off as representative of our rich musical heritage. Where are the Native American songs? The field hollers? The Cajun laments? After all, Billy Joel’s “Goodnight Saigon” pales next to most Vietnam War-era songs. Country Joe and the Fish’s “I-Feel-Like-I’m-Fixin’-to-Die Rag” would be a better choice.

No rap, no raucous rock, no regional ethnic music. You almost expect to hear U.S. Attorney General John Ashcroft bellowing his scary über-Christian ballads.

This soundtrack needed far more diverse voices to help reflect America’s catastrophic failure to deal with 400 years of racial and ethnic intolerance toward Native Americans, African Americans, Japanese Americans, Arab Americans, et al. Since that didn’t happen, I’m compiling my own alternative soundtrack to our crumbling empire. Here’s a sample:

Gil Scott-Heron, “Whitey on the Moon”: Protorapper Gil Scott-Heron, one of the most important recording artists of the 1970s, put racial strife to an Afro-Cuban beat in a poignant blend of defiance and wit.

Public Enemy, “Power to the People,” from 1989’s Fear of a Black Planet: Self-described lyrical terrorist Chuck D and the Bomb Squad production team launch a full-scale aural assault replete with street-wise beats and an uncompromising radical stance.

Randy Newman, Good Old Boys: This 1974 concept album took a stroll through the seamy Southern side of the American soul and still has a lot to say about how we pin our hopes on political charlatans.

John Fahey, America: In 1971 Fahey released the single-disc America that many consider a masterpiece, a classic example of solo acoustic guitar from the man who defined the instrumental folk genre. The 1998 reissue adds several previously unreleased tracks, restoring the album to its original conception as a double LP. It is rapturous in its beauty, a majestic and spacious work as grand in its deceptive simplicity as the early American landscape from which it draws inspiration.

Archie Shepp Meets Kahil El’Zabar’s Ritual Trio, Conversations: This 1999 outing is far from legendary free-jazz saxophonist Archie Shepp’s most incendiary work, but it still captures his belief that jazz is a political statement. And it proves that you can’t separate the political from the spiritual.

William S. Burroughs, “A Thanksgiving Prayer,” from 1990’s Dead City Radio: The best of the beat poets hurls a litany of cynical barbs in this biting indictment of American society, concluding with the succinct benediction: “Thanks for the last and greatest betrayals of the last and greatest of human dreams.”

From the January 16-22, 2003 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘Chicago’

Buy 'Play Money' by Laura Pedersen.Buy the 'Chicago' movie soundtrack.Killing Me Softly: Renee Zellweger gets the job done by any means necessary in 'Chicago.'Gender WarsGo-getter Laura Pedersen on work, women, murder--and 'Chicago' Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate postfilm conversation. This is not a review; rather, it's a freewheeling,...

Hiro’s

Photograph by Michael AmslerHolding Out for a Hiro: Gen Mizoguchi prepares chirashi zushi.Hiro WorshipA new Japanese restaurant in Petaluma ups the anteBy Davina BaumThere are good reasons behind having more than one newspaper in town. Different coverage, different viewpoints--it all adds up, in theory, to benefit the readers.In the case of Hiro's, the new Japanese restaurant in Petaluma which...

Tunnel Vision

Photograph by Michael AmslerRed Tape: Environmentalist Zeno Swijtink bemoans the lack of agency cohesion.Tunnel VisionAtascadero Creek damage reveals lapsesBy Tara TreasurefieldIt took me a couple of days to gather courage and go and see the destruction," says Zeno Swijtink, coordinator of the Atascadero Creek-Green Valley Creek Watershed Council, of the damage done to Atascadero Creek in Sebastopol by bulldozing....

The Dead Kennedys

Buy the Dead Kennedys' 'Frankenchrist.'Still Got the Fight: Amidst changing lineups and feuds over profits, the Dead Kennedys still manage to be punk rock.Punk ReduxA watered-down DKs stage a returnBy Greg CahillI caught the Dead Kennedys' first North Bay appearance 20 or so years ago at the tiny movie house turned performing arts center in the center of Novato's...

‘Fugitive Kind’

Buy the 'Fugitive Kind' script by Tennessee Williams.Photograph by Ed SmithTesting Ground: Emily Ackerman and Scott Coopwood as Glory and Terry Meighan in one of Tennessee Williams' earliest works.Rebel SoulsMisfits fight back in 'Fugitive Kind'By Patrick SullivanIt's a theatrical experience that offers the thrill of opening a time capsule. More than half a century has passed since Fugitive Kind,...

Voicetrax

Talk Is Cheap: Coach and actress Samantha Paris has dedicated herself to the art of the voiceover.Talking PointsThe fine art of voiceover is honed at a Sausalito schoolBy Sara BirRon, a middle-aged laid-off sales rep, has an amazing, booming bass voice, rich and warm. Cynthia, an older woman, is a drama teacher in San Francisco; as she reads, her...

noindoctrination.org

Cut on the Bias: Luann Wright, creator of noindoctrination.org, seeks to limit prejudice in the classroom.Just the FactsA website targets classroom biasBy Joy LanzendorferTwo years ago, Luann Wright began to suspect that her son's critical writing class at UC San Diego was inappropriately biased. He was required to read five essays about white racism against black people. In the...

Rosen’s Eastside Grill

Photograph by Rory McNamaraRack 'Em Up: Randy Sommerville, executive chef at Rosen's Eastside Grill, digs into one of his own creations. Eastside StoryThe other half of Petaluma gains a funky and family-friendly eatery with Rosen's Eastside GrillBy Sara BirIt's an odd sensation to walk into a place that boasts a cosmopolitan feel when that place makes its home in...

Dr. Lisa Pesch

Buy 'Natural Healing for Dogs and Cats A-Z,' by Cheryl Schwartz, D.V.M.Photograph by Michael AmslerThe Doctor Is In: Dr. Lisa Pesch gives 6-month-old Tricksy an acupuncture treatment.Spoonful of SugarHolistic veterinary medicine is an easy pill to swallowBy Davina BaumLisa Pesch just might save the world. Considering that the world of a pet owner often revolves around her cat or...

‘Freedom: Songs from the Heart of America’

Buy the 'Freedom: Songs from the Heart of America' soundtrack.Alternative Nation: William S. Burroughs howls over the betrayals of human dreams.'Freedom' SongsSinging the nation's praises out of tuneBy Greg CahillWhat is the soundtrack of America? Freedom: Songs from the Heart of America (Columbia/Legacy), the newly released three-CD box set that serves as a companion to the new PBS series...
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