Cursive

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You Can’t Keep a Good Band Down

Cursive heads up a mighty bill of noise at the Phoenix

By Sara Bir

The Omaha, Neb. band Cursive, whose name most likely rings unfamiliarly unless you are one of the legion of fans, was all set to embark on a West Coast tour this summer. They didn’t get too far: on June 8, the band’s lead singer and primary creative force Tim Kasher suffered from a collapsed lung, and they were forced to cancel all of their upcoming tour dates.

After spending nearly two weeks in the hospital recovering from surgery, Kasher did what any convalescant would do: He went into the studio with his band and recorded an album.

At first listen, Cursive has all the marks of an emo band: loud/soft/loud instrumentation, touches of punk and hardcore, and vocals that go from delicate to blisteringly raw in a matter of seconds. What sets Cursive apart is that even in their most menacing moments, there’s a fragility and humanity to the band’s songs that you don’t encounter often in the emo genre. From Kasher’s pen and throat, Cursive’s songs display emotional vulnerability not through mopey despair but with aggressive frustration.

Kasher’s lung is getting better every day, and Cursive is now back on the road, joining up with Thursday for the Plea for Peace/Take Action Tour. The Ugly Organ, the fruits of Cursive’s recent stint in the studio, will be out sometime in February. It will be their first full-length since 2000’s terse, poetic, and turbulent Domestica, a cycle of songs depicting the breakup of a marriage that paralleled Kasher’s own divorce, as well his dissolution of Cursive itself (the band obviously got back together).

Domestica so hauntingly painted the decay and implosion of a relationship through angular, jagged intersections of guitar and Kasher’s scream/sing/whisper vocals that fans and critics attached themselves to it to the point that the album became almost confining.

Since then, Cursive has overcome the obstacle of following up a masterpiece by breaking expectations. The band became a quintet with the addition of cellist Gretta Cohn and released two EPs. The forthcoming Ugly Organ will feature Cohn’s cello moving into a more prominent role in the mix and adding a darker, chamber-music feel that intensifies the internal drama of Cursive’s songs.

The band’s upcoming appearance at Petaluma’s Phoenix Theatre reflects the trusty venue’s recent spurt, after a scaled-down summer, of hosting more well-known underground touring acts such as Sevendust, Thrice, Hot Water Music, and Unwritten Law. The bands sharing the bill with Cursive–locals Velvet Teen and Benton Falls (who will be releasing their second CD, Guilt Beats Hate), and Richmond, Va.’s Engine Down–are more on the straight-ahead indie tip than the Phoenix’s usual punk fare.

If there have not been too many shows with more established local indie bands in the past year or so, the reason is twofold. First, there’s the obvious: the lack of an appropriate venue. But the second reason–that well-established local bands like the Velvet Teen and Benton Falls are simply not around as much because they are out touring–is a good sign, a testament to their dedication as well as their talent, and a reminder that it’s important to maintain a community that fosters and encourages that kind of creativity.

Cursive plays with the Velvet Teen, Benton Falls, and Engine Down on Friday, Oct. 11, at 8pm. Phoenix Theatre, 201 Washington St., Petaluma. $8. 707.762.3565 or www.sectionm.com.

From the October 10-16, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Mill Valley Film Festival

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On the Circuit

‘Personal Velocity’ embodies the film-festival zeitgeist

Rebecca Miller’s newest movie, Personal Velocity, is a small, dark, difficult film that is full of surprises, is highly literary, consistently brilliant, and pretty much impossible to shake off. As such, Personal Velocity is seemingly unmarketable as a major mainstream movie.

In other words, it’s the perfect film-festival film.

Which may be why the 25th annual Mill Valley Film Festival (running Oct. 3-13) has chosen Miller’s movie to close out this year’s 11-day movie-grazing event. Not only is it the work of a gifted writer-director with a prodigious pedigree–she’s the daughter of Pulitzer Prize-winning playwright Arthur Miller–Personal Velocity, based on the younger Miller’s award-winning book of short stories, stands up as a potent example of what is good, necessary, electrifying–and frequently frustrating–about that modern cinematic phenomenon that is the film festival.

“There are a lot of movies that are, for lack of a better term, film-festival films,” states Chris Gore, author of The Ultimate Film Festival Survival Guide. “These are films that may only work with a specific kind of audience, and that is an audience of avid moviegoers, the kind of audience who goes to film festivals and who just can’t get enough of nonmainstream stuff.”

Now it’s true that such movies do sometimes cross over to the cineplexes. The Blair Witch Project is one example, though no one’s saying it was literary or brilliant, just small, dark, and hard to shake off.

But it is rare in the extreme for that to happen, because it requires the efforts of a fully funded distributor with loads of vision, excitement, and energy, who also happens to believe that the film will make them a bundle of money out there on those mean, festival-free streets. When the big sale does not come, those inspired but unmarketable films are left as little more than a calling card–and example of what that filmmaker is capable of–to show future financiers and family members.

Or they remain the personal property, so to speak, of those festivalgoers with the stamina and courage to take a chance on an unknown quantity. Perhaps that film will develop good word of mouth, start some serious buzz. Maybe it will pick up a few awards along the way and end up leaping over, in spite of the odds against it.

“I always like to believe it can happen,” Gore says. “And it certainly could happen in the case of Personal Velocity.”

Then again, Gore is an admitted optimist who sees a lot of bad movies, so one can’t fault him for championing any film that smacks of quality and intelligence, both of which characterize Miller’s movie.

The More Things Change: The MVFF continues to impress.

Personal Velocity is stunning. And unpredictable, in spite of the fact that it sounds a lot like a Lifetime Channel movie of the week. It’s not.

The film has already accumulated some prestigious prizes, including the big one at last January’s Sundance Festival: the Grand Jury Prize for Drama. It doesn’t hurt that Miller’s previous film, 1995’s Angela, took that year’s awards for Best Director and Best Cinematography.

On the other hand, those honors didn’t exactly propel the edgy Angela into mainstream status. Still, it was enough to make United Artists open the old wallet, however cautiously. Personal Velocity is scheduled for a Nov. 22 art-house-only release, but good word of mouth could, one supposes, take the film even further.

Personal Velocity (“Everyone has their own personal velocity,” observes one of the film’s characters) is populated by a strong cast of truly fine actresses who’ve either got solid indie-film credits (Parker Posey, Fairuza Balk) or who stand to gain some of that with their performances in this film (chiefly the suddenly remarkable Kyra Sedgwick). The low-low-low-budget film is a trio of tales linked together by the merest of threads: the same radio newscast, reporting a slightly freaky traffic accident, is heard in the background of each story, in which a different woman faces a crossroads moment of crisis or decision.

It starts with Delia (Sedgwick), a physically abused wife and mother who falls back on her once formidable sexuality as a way of reclaiming some sense of power. Oscars have been given for the kind of performance Sedgwick gives, anchored by the scene in which she tries in vain to literally stifle a powerful flood of tears and wailing and almost terrifying grief.

The second story follows Greta (Posey), a happily married book editor whose latent ambition is awakened when she gets an unexpected promotion. At one point, she seriously considers leaving her husband when she reads his Ph.D. dissertation, and is horrified to discover that he’s an overly redundant writer.

In the final segment, a pregnant goth girl (Balk), on the run from a traumatic event in New York City, picks up a strange, silent hitchhiker and finds herself awakening to a sense of kindness and empathy she doubted she was even capable of.

Each segment is extensively narrated by the unseen John Ventimiglia, and it is this muscular and pitch-perfect commentary–taken almost verbatim from the book–that gives the film its extraordinary literary aura.

Fortunately, Miller (who is married to actor Daniel Day Lewis), finds plenty of images to match the power of the narration, yet the film feels all but baptized in well-scented prose, which helps carry the film into wholly unexpected waters.

“Those kinds of journeys are the most fun,” says Gore, “the moviegoing journeys in which you have no idea where you’re headed. Were not just talking about radical stories but radical ways of telling stories. Again, that’s what I love about film festivals and independent film.

“Hollywood may come along and mine a lot of that stuff, might end up turning out a mainstream version of some radical storytelling approach, but the film festivals are the places to catch this stuff in its purest, most original form.”

From the October 3-9, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Lafferty Park

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Can’t Get There From Here: Police cars line up at a Jan. 13 protest walk to the gate of Lafferty Ranch.

No Parking

Ten years later, the protracted battle over Lafferty Park continues

By M. V. Wood

It’s another hot, late summer day, and the housing developments around me look blanched and whitewashed under the stark afternoon sky. Almost all the mature trees have been cut down to make way for the neat, uniform grids. And the evenly spaced saplings lining Sonoma Mountain Parkway in Petaluma aren’t offering any relief.

The light and heat bounce off the concrete. I shield my eyes with sunglasses, shut my car windows tight against the world, and turn on the air conditioning. And I imagine sitting under the cool shade of oaks, their branches forming a canopy over a creek beside me.

Up on Sonoma Mountain, this place exists, just a few minutes away from here. And this place is owned by the people of Petaluma. Water flows in the stream up there, even during the height of summer when everything else is dry. This year-round water supply is why the city of Petaluma originally bought the property over 40 years ago. On a clear day, you can see San Francisco ahead of you, Mount Tamalpais to the side, and the countryside below.

I head west to Sonoma Mountain Road and up to this land, Lafferty Ranch. And up there, beyond the locked gates, I can see the 270 acres of community land before me. But I can’t walk onto it. I can’t sit by the creek. I can’t look at the view. And neither can you.

In 1959, the city of Petaluma bought Lafferty Ranch, located at the headwaters of Adobe Creek, to serve as a watershed. By the mid 1960s, the property was already designated as a nature park site in both the city and county general plans. Back then, residents of this agricultural community had little need to drive 15 minutes to a park when they already had plenty of open space just outside their doors. And so Lafferty remained closed.

A decade ago things began to change. The population was growing, land was becoming more expensive, and home lots were shrinking. In the new housing developments, there was enough room for a small manicured lawn and some flowers. The citizens of Petaluma wanted a nearby wilderness area so nature could be a part of their everyday lives instead of just some occasional weekend trip.

So the city budgeted about $200,000 for opening Lafferty Park (volunteers said their free labor would have slashed that figure in half). The funds would go toward building a parking lot, installing a couple of toilets, and building some trails, including a short handicap-accessible trail from the parking lot to the first knoll, which overlooks the valley below. But 10 years and close to $900,000 of city funds later, Lafferty Park is still not open.

In 1984, more than 20 years after Lafferty was designated a future park site, Peter Pfendler bought an 800-acre property adjacent to Lafferty Ranch. Pfendler is a very private multimillionaire (some say billionaire) with a team of skilled lawyers by his side. When the city started the process of opening the land to the public, Pfendler teamed up with some of his mountaintop neighbors to fight public access.

The reasons the opposing neighbors give for why the park should stay closed are many and varied. Here’s one example: The opposing neighbors claimed that sedimentation due to construction of a trail might negatively affect aquatic life in Adobe Creek. In response, the city spent thousands of dollars on studies.

Ironically, right around the same time, a bunch of dead fish started showing up in Washington Creek, which runs through Petaluma. It turned out that one of the mountain residents opposed to the park–someone presumably very worried about aquatic life–had dumped 732,000 gallons of concentrated cow manure and urine into the creek. He was fined.

Opposing neighbors also claim that Sonoma Mountain Road is too narrow and curvy for additional drivers. They say about $2 million worth of upgrades and widening and straightening of the road must be completed before the park can be opened. Yet under similar conditions throughout the county, the solution has been to put up signs reminding drivers to use caution and warning them of upcoming dangers.

Neighbors are also concerned for their personal safety. If Lafferty were to open, strangers, including potentially dangerous ones, could freely come up the mountain and park there.

For a man as private as Pfendler, the idea of having complete strangers milling about next to his own place must not sound very pleasant. When talks of opening Lafferty started a decade ago, Pfendler offered to buy the property, but the city declined. Pfendler then bought a larger parcel of land lower down the mountain and offered to trade this plot, called Moon Ranch, for Lafferty (the city would also have paid him an additional $1.4 million). The proposed deal became known as “the Swap.”

On paper, Moon Ranch sounded like a good deal, and many supported the Swap. But then those favoring Lafferty Park insisted that the public be allowed to view Lafferty and make an informed decision about which parcel it wanted.

Once that happened, the tide quickly changed. Not only did many of those who viewed the property become firm opponents of the Swap, but they also started volunteering to help save Lafferty Park. The “Citizens for Lafferty” began collecting signatures to pursue an initiative process and make sure that the Swap didn’t go through.

In response, the opposing mountain neighbors started their own signature drive to either push the Swap through or at least keep Lafferty Park accessible only to escorted tour groups. The neighbors hired the aides of two county supervisors to run the petition drive; they ended up forging over 3,000 signatures. The forgeries were discovered, and the aides were convicted in California’s largest voter fraud scam. In the end, the measure was disqualified and the Swap didn’t go through.

There were a lot of lessons to be learned from that fiasco. And one lesson that came through clearly is that if people see Lafferty Park, they will fight to keep it.

Interestingly, that fiasco was also the last time the public has been allowed onto Lafferty. Pfendler and another neighbor claim they own a strip of land located between Sonoma Mountain Road and Lafferty Ranch–which they won’t allow the public to cross.

But the city says the Lafferty property extends all the way down to the road and there are no strategically positioned private strips of land separating the county road from the city land. A professional land survey was conducted, and the results supported the city’s claim. Nevertheless, the two neighbors say they’ll sue if the city allows anyone to cross.

And that’s a battle the city can’t afford to enter. In light of the many worries and concerns of the opposing neighbors, the city had to provide an environmental impact report. Most of the nearly $900,000 the city has spent on trying to open the park was in some way connected to the report.

The report was finally approved in October of last year, but the battles over the supposed strip of land and upgrades to the road continue. The city is expecting–and has been threatened with–lawsuits at every turn.

The city is confident that the report is airtight and that it would win in court–as long as there is enough money for a defense. But if the city opens the park, is sued, and then doesn’t have enough money to defend the environmental impact report, there is the possibility that the entire report could be judged null and void. Because the city is so short on funds, it doesn’t dare make the first move.

The city has been pleading with the county to stand behind its little brother and flex some financial muscle. But the Sonoma County Board of Supervisors is none too eager to join the fray.

For the past decade, the citizens of Petaluma have been paying hundreds of thousands of dollars to open their park. Yet for the past seven years, they haven’t even gotten a peek at what they’re paying for. The memory of Lafferty is fading while other needs are growing.

Some residents are understandably tired of watching their tax money slip away while potholes widen. They’re tired of hearing about this whole expensive, convoluted mess surrounding Lafferty. And as long as there isn’t a united public outcry to open Lafferty Park, the supervisors have little incentive to get tangled up in a quagmire which they can just as easily avoid.

In the meantime, park supporters have organized monthly marches to the Lafferty property. The group meets at the parking garage on Keller Street in Petaluma, then marches through downtown and on to Prince Park. Some of the supporters stop there, while up to 50 are allowed to continue up the mountain. They finish at the Lafferty entrance and before turning back down the mountain, they sing:

“This land is your land, this land is my land From California to the New York Island, From the Redwood Forest, to the Gulf Stream waters, This land was made for you and me.”

But of course, this land doesn’t feel much like yours or mine right now. Today, I’m not allowed to sit in the shade of the oaks by the creek. I can’t see the view of San Francisco and Mount Tam. Instead, all I can see is a glimpse of Lafferty through locked gates. I make my way down the mountain and turn into yet another new housing development. The front yards have manicured lawns with flowers, just like those in the other development. The backyards are small too, just like the others.

I see four children riding scooters, snaking their way down the concrete sidewalk. They pass a driveway, a mailbox, a neat patch of grass, a small tree, then another driveway, mailbox, grass, tree, and so on, all the way down the street.

I wonder how they will someday feel about nature’s inherent wildness and seeming chaos. When it’s time to make decisions, will they vote in the same ways as the people who were raised with forts and frogs and old trees and weeds? Or by that time, will the entire notion of voting seem naive? Because I can’t help but wonder what all our children are now learning about democracy, wealth, and power.

From the October 3-9, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Chefs in the Movies

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There’s a Hair in My Soup: Four people, four plates of food, and approximately 10 million hairs.

Chefs on Film

There’s a fine line between reality kitchens and movie kitchens

By Sara Bir

Mostly Martha is a charming if clichéd romantic comedy, and its only major drawback is the awful smooth jazz saxophone that dominates the score. The other problem is that not once in the movie does chef Martha ever wear a hat.

Martha is supposedly a top chef in a swanky restaurant in Hamburg. Being German, Martha is efficient, exacting, controlling, and anal (“I’m not obsessive; I’m precise,” she says). What exactly does one of Germany’s top fictitious chefs thinks she is doing, however, presiding over her spotless, immaculately organized kitchen with no hat on?

In fact, throughout the whole movie, none of the kitchen staff even dons anything approximating a hairnet. For all we know, Martha is sending out precisely plated, succulent roasted pigeons unintentionally garnished with stray human hairs.

Considering that hairs are a constant enemy in the food-service world, it’s disappointing to scan over some of the best-loved of so-called food movies–such as Big Night and Babette’s Feast–and notice that nary one cinematic chef bothers to restrain his or her hair. This is not only a bad example (hairs, besides being unsightly, transmit staphylococcus), but incredibly inaccurate.

In the real world, Martha would probably be wearing a toque–one of those tall, cylindrical chef hats–because anal German chefs seem to have an affinity for toques. Toques, however, are not sexy; they are (tradition nonwithstanding) buffoonish. There is one big reason that Martha and her crew never wear hats: their kitchen exists in a movie, and in movies looking sexy is more important than looking real.

Food movies, therefore, can never be truly faithful to the experience of slaving away in a kitchen, be it a first-class, white-tablecloth establishment or a fast-food drive-in.

First, there’s the inconsistency of real time vs. movie time. In Big Night, two brothers prepare a detailed feast for bandleader Louie Prima in what appears to be one afternoon. One of the brothers even has time to test-drive a Cadillac and screw the wife of a rival restaurateur.

So in a matter of hours, three people churn out multiple pounds of fresh pasta, two timpano, three kinds of risotto, a roast suckling pig, soup, salmon, a few salads, and some crostini for good measure. Big Night probably communicates a devoted chef’s conflict between art and commerce better than any other movie–so much so, in fact, that you don’t notice its characters performing superhuman feats that challenge the space-time continuum.

Most real chefs don’t have time for real lives. A movie calls for a certain amount of action and plot development, requiring a bit of cheating when it comes to spare time. In reality, Big Night‘s Stanley Tucci and Isabella Rossellini (well, their characters, at least) would not have had time for sex, but the movie was richer for that twist.

Some critics regard food movies with an eyeball-rolling hostility, as if the entire genre is guilty of compensating for flaccid plots with a parade of sumptuously shot gastroporn. This is only sometimes the case, but it does bring up the interesting point of films fetishizing food rather than revering it.

What’s more interesting is that food movies of late have been fetishizing the chefs as well as the food, probably because chefs have risen in the public eye from working-class servants to alluring shamans and showpeople with the powers, via their Food Network show, to captivate with a mere flip of the sauté pan.

You know that chefs are bona fide cash-in material when you hear that the ol’ Fight Club team of Brad Pitt and gritty-slick director David Fincher are again joining up on a fictionalized adaptation of chef, Food Network personality, and bestselling writer Anthony Bourdain’s exposé, Kitchen Confidential. The movie version is tentatively titled Seared.

Seared‘s setup runs like an exaggeration of The New Yorker‘s recent Mario Batali profile: 30-year-old Luke Casdin is the executive chef at Horatio, Manhattan’s restaurant of the moment. New York City restaurants have the teeniest, tiniest kitchens in the entire world, and I wonder if Seared is going to be true to this–a claustrophobic kitchen version of Das Boot, which would be very David Fincher.

Casdin leads a life of hard-driving, flamboyant excess, like a young Iggy Pop but with better taste in food and fewer venereal diseases. Being young and played by Brad Pitt, Casdin is still hunky and virile enough to be balling a 17-year-old artist and a foxy, well-respected, middle-aged restaurant critic.

Maybe this sort of thing could really happen, though I’d like to think both restaurant critics and chefs have more noble ethics than that. It’s not too far-fetched a plot, perhaps. Cooks have always been a motley bunch, as Mötley as the Crüe. If Tommy Lee were a groundbreaking chef, I’m sure he’d behave the same way.

When did chefs’ thrilling yet tedious lives become so glamorous? Being a chef is a profession of antiglamour: You never see the light of day, you spend all of your time sweating away in a ridiculous outfit, and the physical and mental demand wear down your resistance, making drug, alcohol, and tobacco abuse a common thing–just like among rock stars. No wonder chefs garner little foodie groupies.

And just as we dote on rock stars, we dote on chefs. Both represent life on the edge. People want rock-star chefs, they’ll get rock-star chef movies: entertainment on the screen as well as the plate.

It would be refreshing for Hollywood to tackle a more enduring, less MTV’d chef movie, like a biopic of Ferdinand Point, a (literally) larger-than-life figure in 20th-century French gastronomy who tipped the scales at some 300 pounds. Point ran La Pyramide in Vienne, France, and legend has it that he commenced each day with a ritual shave out of doors, two roast chickens, and a magnum of Dom Perignon.

La Pyramide is still around today; Point, however, given his lust for (and generous intake of) life, died at 57. He’d go to bed in the wee hours of the morning, and, expectant for Dom Perignon and roast chicken, arise bright and early a few hours later at 4:30am.

Ferdinand Point’s life is fascinating but unfilmable; there seems to be a shortage of bankable 300-pound leading men, and Marlon Brando just does not seem right for the part. It’s also doubtful that a Miramax budget would have space for funding a Nutty Professor-type cosmetic transformation. For Eddie Murphy, yes; for a chef movie, no.

A chef with some personal bulk can be sexy, but it is tough for a camera to sex up a man whose frame overextends the lens. And chef movies, being movies for cultured adult foodies, must be sensual and therefore sexy.

Seared may, in fact, function as a hopped-up portrait of Point’s present-day culinary disciples. Point was one of the first chefs to bridge the gap between kitchen and dining room. He’d venture out into the front of the house and chat with his guests to deepen the connection between chef and diner, so that La Pyramide’s food could be as close to individual perfection as possible.

Celebrity chefs are now making out-of-kitchen appearances in spades–you can’t be a celebrity chef without leaving the kitchen–and those awed stares at the mysterious figure in white (“There’s the chef!”) bring with them a buzz that’s as lucrative as the power of pleasing the palate.

The allure of chefs is so powerful, in fact, that it’s drawn in Brad Pitt, who in Seared will hopefully at least bother to cover his hair.

From the October 3-9, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Massage Therapy Regulation

Hands On

Massage therapy is a huge industry–and a regulation nightmare

By Kimberly Arnold

The slight Swedish lilt in Terry Jay’s voice adds charm to this feisty, rugged wrangler. At age 52, and at a petite 5’3″, she spends her days working with horses, routinely picking up 120-pound bales of hay. It takes a lot to set her back.

Then one day it happened. The young colt Jay was riding spooked. He bucked and bolted, causing Jay to twist her back: “I felt a sharp pain. I expected it to go away in a few days.” Two weeks of soaking in the hot tub and high levels of ibuprofen didn’t do any good.

True to Jay’s grit-yer-teeth-and-bear-it nature, she had no plans to seek help. Out of concern, a good friend introduced her to Bev Emery, a massage therapist. “She’s a miracle worker,” Jay says with unequivocal enthusiasm. “Bev said the muscle was practically torn and severed in places. It hurt like hell. She was pushing and pressing on the injury.” Jay went back for a second session. “This time the pain was gone. I mean gone, and I have never felt it since.”

Emery specializes in treating severe muscle injury. “I use a more clinical approach, not like most foo-foo massage, when you go for an hour to a spa,” says Emery. Most people who come to Emery come for a torn muscle, an injured shoulder, or damaged tissue. A lot of her patients are referred to her through the physical therapy department at Kaiser Permanente. These people are seeking a cure rather than momentary relief.

The chasm between healing and curing is but one of the issues that is up for debate among massage therapists. For years practitioners have argued for and against state licensure for certified massage therapists. California currently does not have a standard that massage therapists are required to meet in order to obtain their certificates, and as a result, training varies widely.

Certification is available through various nongovernment venues (such as one of California’s many institutes or vocational programs), but licenses are issued only from a government agency. There are 30 states that require practicing massage therapists to have a license. California is not one of them.

Bureaucratic Headaches

Over the past years, massage therapists, health spas, and massage shops have propagated across the country. According to a recent article in L.A. Vocational, massage therapy is one of the fastest growing healthcare fields in the country today.

There are presently 170 individual and group massage therapists and practices listed in the 2002 Sonoma County yellow pages, and that doesn’t include practitioners working for health spas, clubs, supervised medical institutes, and doctor or chiropractic offices. According to the records of the City of Santa Rosa Revenue and Collection Department, nearly 50 new massage therapists applied for business licenses in the last 15 months alone.

Individual schools, teachers, or workshop facilitators issue certificates; states issue licenses. Certificates are voluntary; essentially, certificates can be issued by anyone who decides to offer one. As a result, a certified massage therapist, or CMT, could be someone who has completed an 8-hour class or someone who has completed 1,000 hours of course work.

A certificate from a vocational school is no guarantee that the CMT has completed the minimum standard of 500 hours of training required for most state licenses. Proponents for licensing in California feel concerned by the lack of uniformity in the profession and the disparity in certification requirements from state to state.

Each state determines for itself whether or not it will require massage therapists to be licensed and the regulations for licensure. There is also an optional national certificate–the NCTMB–that individual practitioners from either licensed or nonlicensed states can obtain.

According to Dorothy Schwartzberg, NCTMB, the current president of the Redwood Empire unit of the California chapter of the American Massage Therapy Association, “There is no real title in California; there is no CMT. People put it there for legitimacy, but there isn’t a certifying agency. [People] are certified by the school they attended. But there are no set hours required by a governing body.”

To gain credibility, a school will seek the stamp of approval from a professional organization such as the AMTA or the International Massage Association to establish that they meet that organization’s particular requirements. A state license would guarantee that a CMT has completed a minimum of 500 hours of approved course work and passed a state exam.

Man against Machine

A growing organization with a powerful influence politically as well as professionally, the AMTA is the largest massage therapy professional association in the country, with over 18,000 members representing all 50 states, the District of Columbia, and the Virgin Islands. Without its backing, it is much harder to establish a practice or run a school. For the past decade, the AMTA has actively lobbied for state legislation, and if it gets its way, every state in the nation will require licensing.

The AMTA is an affiliate of the Commission on Massage Therapy Accreditation, which accredits schools in both licensed and unlicensed states. Accreditation is voluntary, although without the commission’s accreditation a school can’t provide courses that qualify for the NCTMB. According to the AMTA, “The National Certification Exam has become the standard for licensure used by most of the 30 states that regulate massage, to measure a competent and qualified practitioner.”

Hands-on Training

If California were to require a license for massage therapists, the level of required training would also come under scrutiny. If the state required a license, someone practicing stress-relief massage would be held to the same educational requirements as a muscle specialist like Emery. Her training in Britain included anatomy, physiology, aromatherapy, reflexology, deep tissue massage, lymphatic drainage, nutrition, iridology, kinesiology, and even psychotherapy. Most European students complete 1,000 hours of training for certification.

“Indian head massage is part of the basic training, but it is not used in the U.S.,” says Emery. “Here, everybody learns Swedish massage, and that’s about it.” In the end, Emery believes, “training does make a difference in quality.”

Not everyone agrees. “The truth of it is, there is absolutely no regulation about what goes into those hours,” says Schwartzberg. “There is no equality in the level of training [in the United States].”

Dionne Nelsen, CMT, is a graduate with 500 hours from the Western Institute of Science and Health in Rohnert Park. She chose the school because she felt they had one of the more comprehensive programs, with high standards for its students. Much of the curriculum is comparable to the course work in Europe.

Nelsen is a strong proponent for state licensing. She feels that it would improve the legitimacy of the profession, as well as assure a set standard that clients can count on. “I want to give the best care I can to my clients, and I can’t do that if I don’t have a basic understanding of anatomy and how the body works. You might get a really nice massage from someone with minimal hours, but they may miss some important health issues for each client,” says Nelsen. “It takes experience and training to know what to look for.”

But quality training isn’t necessary for the client’s sake alone, Nelsen argues; it is also important for the therapists’. “There is a high burnout rate in the profession, with practitioners staying an average of two and half years. One of the things I was taught . . . was how to take really good care of myself,” Nelsen explains. “How can I tell other people how to take care of themselves if I don’t practice that myself?”

Nelsen is careful to schedule time between clients to release any tension. She centers herself with meditation, getting a drink, and resting her body. During each treatment she is careful to use appropriate posture, leg support, and arm-stroke techniques to prevent injury to herself.

Emery is also vigilant about taking care of herself. “I never work on more than three people a day. I’m very careful and don’t want to damage myself. I have a massage every other week through trading with a friend who is also a massage therapist. I have seen therapists who have damaged shoulders or arms and can’t work any more.

“It happens a lot here [in the United States], more than in Britain,” Emery continues. “I know people who have worked for the past 15 years and are still going strong.”

Schwartzberg has been a practitioner for 22 years and considers herself to be a Swedish eclectic massage therapist. She has also taught infant massage at the Sebastopol Community Center for 10 years. “I have probably had just as much training as someone who is into remedial massage treatments. Doing a good healing, relaxing massage takes as much training as the other kind,” she says. “I am more into the healing aspect rather than curing. Why would that be less valuable?”

Measuring value based on training gets into a sticky area. Schwartzberg has her own set of questions and concerns, “How do you train to touch someone with healing energy? . . . You have to know when someone needs more and to be able to refer.”

While lack of training may cause problems for the practitioners themselves, there appears to be little data to support the idea that lack of training can cause any real damage to clients. Even if the quality of the massage may be less, there is no documentation of a client sustaining any long-term physical discomfort, let alone injury, from a poorly administered massage.

“It is difficult to injure somebody,” says Emery. “It isn’t like chiropractics where you are manipulating the spine and can cause damage. You may not help them if you are not getting it right, but I don’t know of any occasions where somebody has been damaged by massage.”

Patricia Oberg, MsT, director of the Sebastopol Massage Center and member of the International Massage Association, has trained hundreds of massage therapists in Sonoma County since 1985. She asserts that someone who has completed only 50 hours may give a better massage than someone who has done thousands of hours of massage. “A license doesn’t necessarily guarantee that the therapist will be sensitive to a client’s particular needs,” Oberg says.

Nelsen agrees, acknowledging that “even experienced therapists may lack a certain bedside manner or neglect to inquire into a client’s medical history.”

Clients are more likely to suffer from practitioner abuses of healer-client trust than from physical manipulations. Requiring further training could be a little like requiring lawyers to study elocution in order to make them better lawyers. It might help their style, but it will do nothing to stop unethical behavior.

Concern for client welfare is admirable but unfounded, according to Keith Eric Grant, Ph.D., NCTMB. Grant believes that those in favor of further regulations are doing so out of a noble desire to protect clients. But what is really at issue has more to do with professional ethics than with the qualifications and experience level of a particular practitioner.

According to Grant, licensing will do nothing to stop therapists who abuse the trust and vulnerability of the clients under their care. He compares the effectiveness of state occupational regulations to that imposed on physicians. A June 16, 1998, ABC News report stated that “40 percent of physicians punished for sex offenses continue to practice.”

If consumer protection is the goal, suggests Grant, then following up on complaints and enforcing disciplinary actions would do far more good than regulating training.

The Oldest Profession

Nelsen argues that state licensing will also help to elevate the reputation of massage therapists. Professional massage therapists still combat the public’s impression that they are simply providing a professional front for a business that is actually of less reputable nature. Many do not believe licensing itself will solve this problem.

The purpose of licensing from a local police perspective has to do with controlling prostitution. Schwartzberg considers what it would mean if state licensing were actually carried out. “Will they come and investigate me? See if I’m clean? Have the right shots? . . . A TB test, am wearing certain clothes, STD testing? People have really struggled with this.”

While the police involvement worries her, Schwartzberg says she “would like to have regulations so that we know what we can do and what we can’t do. How much should we charge for this or that?” Despite Schwartzberg’s heavy involvement with the AMTA, she has a few doubts about the desirability of state licensing. “I slightly lean towards regulation, only because I think it would clean up something that has been messy for a long time.”

Emery also has mixed feelings about regulation. “It is a difficult issue. For years people have looked at it as a sexual venue,” she says. “I’ve known girls–massage therapists–on cruise lines who have been propositioned. There will always be that kind of image to it until the public has been educated. I don’t know that licensing will change that.”

Paying the Price

At the conference in Roseville for owners of massage therapy schools last April, most of the school owners did not want to see state regulated licensing for individual massage therapists. Many feel there is already enough red tape in order to get a license from the local municipality and from the state for a business license to operate a school. The added expense for practitioners will undoubtedly be passed on to the consumer and there is little guarantee that the state will regulate the rates.

Some of the state’s resistance may have to do with the cost of administering the program. As Schwartzberg points out, “The fees might not cover the cost of overseeing it.”

Part of the rise in the popularity of massage as an alternative form of healthcare is due to the relative affordability of a session. Currently the cost for liability insurance, certification, and a business license is minimal.

According to Toni Knott, director of the organizational behavior program at the California School of Professional Psychology at Alliant International University in Fresno, “Annually, $26 billion [is] paid out in disability claims related to stress.” Massage is currently a quick, effective, and relatively low-cost way to reduce stress. Those supporting increased regulation insist that licensing is essential for consumer protection. It is this very argument that ironically may be the best reason not to regulate.

“Many clients on disability couldn’t afford to come to me as often as they do if I had my fees up,” says Emery, who only charges $50 a session. Further regulations will certainly increase costs and in so doing discourage the availability of massage.

No one is arguing for less training. “I’m very much for people learning as much as possible,” says Emery. “At the end of the day, you’ve got somebody’s health in your hands. It’s about making somebody better.”

From the October 3-9, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘The Banger Sisters’

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Groupie Hug

The world’s most famous rock and roll muse sizes up ‘The Banger Sisters’

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.

Pamela Des Barres is awake. Sort of. “Um, can you call me back in 15 minutes? I just got up,” she yawns, all husky-voiced. I’ve called her at the pre-arranged time of 10 in the morning to talk about The Banger Sisters, in which Goldie Hawn and Susan Sarandon star as one-time rock and roll groupies doing the Big Chill thing after 20 years.

Former groupie Des Barres–the free-spirited author of I’m with the Band: Confessions of a Groupie–managed to score an invitation to last night’s big Hollywood premiere of the film and clearly she has yet to fully recover from the postfilm party. “Yeah, I guess I had one too many free drinks last night,” she laughs, and we agree to try it again in, say, a half hour.

That should give time for the caffeine to kick in.

Des Barres–whose numerous fluid exchanges with famous rockers are related in juicy detail in her book–is without question the most famous groupie alive, right alongside the infamous Cynthia Plaster Caster. Cynthia’s the one you may have heard of, who made plaster molds of rock-star genitalia–and who, it so happens, was Des Barres’ thoroughly appropriate date at last night’s party.

Still based in Los Angeles, Des Barres was once a member of the legendary GTOs, Frank Zappa’s pet-project girl group. Now something of an icon, she’s written extensively about the rock and roll scene of the ’60s and ’70s, and contributes a regular column to E! Online. She’s even established her own slightly eccentric and characteristically unabashed website (www.pamelades-barres.com). The way Des Barres sees it, the groupies of the ’60s were not mere sex partners for testosterone-poisoned guitar players; they were groundbreaking, chance-taking muses, selflessly nurturing the creative impulses of the world’s up-and-coming musical geniuses.

And that’s pretty much how they are remembered in The Banger Sisters.

“I have no complaints about the way the music scene and the groupie situation was depicted,” she enthusiastically proclaims after we’ve reconnected later in the morning. “In this movie,” she says, “there was no guilt and no shame attached to having been a groupie; there was no sense of naughty-naughty-naughty going on.”

Barely stopping to take a breath–caffeine, it’s a wonderful thing–Des Barres says, “A groupie was more than just some girl who wanted to get laid by any member of the band. Sure, it may have been like that in the late ’70s and the ’80s, but when we were doing it, it was more about being a part of the scene. It was about being embraced by the group, like we were embraced by all of Led Zeppelin–who, I must say, adored me.

“Eventually,” she continues, “the word groupie became so tarnished. That’s why this particular film will be very uplifting for the real groupie. It definitely takes some of the stigma from the word groupie.”

To hear Des Barres describing the good old groupie days, it almost makes one wish The Banger Sisters wasn’t set entirely in the present. Aside from one wistful montage of footage from the ’60s–beautiful people cruising Sunset Boulevard, blissful crowds surrounding the Whisky-a-Go-Go, dancing in the streets–the film never attempts to recreate the past.

“But that footage was great, wasn’t it?” Des Barres almost shouts. “I kept looking for myself in that footage. It was so incredible. It was such a nostalgic moment for me, sitting there watching that. I went, ‘Oh, my God! Oh, my God!’ I’d almost forgotten what it looked like. It was like watching some mythological era spring to life. It stunned me.”

“But isn’t it hard to look back at the ’60s,” I ask, “without also thinking of all those dark pieces in the picture? Vietnam? Altamont? Manson?”

“It turned dark eventually,” she allows, “but there was so much incredible optimism at first–the Beatles era and all that. And that’s important to remember. Also, musically, the 1960s was the most profound moment in history. So let’s think about that. It was a revolutionary time. I truly believe that in hundreds of years, people will look back on the ’60s and see it as a great musical renaissance. And Frank Zappa will be revered as a kind of Beethoven.”

“And how about you and Cynthia?” I ask. “How will you be viewed by future generations?”

“Oh. Well,” Des Barres laughs, “I think people will see us as the pioneer women of the rock and roll world.”

From the October 3-9, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Osmosis Spa

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Spa-Go

Absorbing well-being at Osmosis

By Davina Baum

There’s always a new, hip spa treatment just aching to garner all the attention. Hawaiian this, aromatherapy that–there are plenty of divine luxury treatments out there to spend a lot of hard-earned money on. Japanese enzyme baths perhaps sound like the next fad to hit the cover of Spa Life magazine–but Osmosis has been providing this soothing treatment in Freestone for 17 years, ever since proprietor Michael Stusser came back from Japan entranced by the magic of the baths.

“I was so captivated by it. I was totally convinced it was my mission to bring it back to the United States,” says Stusser, a lithe salt-and-pepper-haired man with kind eyes. Stusser was a gardener at the Occidental Arts and Ecology Center before he left for Japan, where he wanted to learn how to create a meditative environment–“an important missing piece in our culture.”

He discovered the baths, which are used in Japan for therapeutic treatment, and decided to introduce the treatment to Americans as a spa experience. Osmosis is still the only place in the United States that offers an enzyme bath. Now visitors come from all over the country–spa junkies and vacationers–though Stusser feels that locals are strangely underrepresented.

Everything about Osmosis promotes meditation and wellness. Entering the building, I am escorted into a tea room that looks out on a small Japanese garden. A bath attendant, Leah, shows me the changing room, where I change into a robe, then return to the tea room.

After a few minutes, Leah brings a tray of tea. In the cup is a white substance, an enzyme powder, Leah explains, to aid in digestion before I enter the bath. She pours peppermint tea over it, mixes it, and answers my questions while I sip.

I’m given more time alone in the tea room, until Leah takes me into the bath room, which is dominated by a large, square tub filled with what looks like finely cut wood chips. It’s light brown in color. Leah has dug out a spot for me, and I disrobe and step into the bath, settling down into the hollowed-out area while Leah covers me with the material.

The tub contains a bioactive blend of cedar fibers, rice bran, and plant enzymes, which are in a process of fermentation–thus the warmth. It’s strange. It feels like I’m sitting on a straw mat: not itchy but not smooth. It’s spongy, soft. I’m covered up to my neck, and I can move my hands and feet, although I don’t really want to. I don’t ever want to move again.

The weight of the material on top of my body is soothing, like a very heavy blanket. The smell is intense, the scent of cedar, but more earthy, alive. I try not to imagine Night of the Living Dead zombies reaching their hands up through the sawdust.

Leah comes in every once in a while to put a cold compress on my face and feed me water through a straw–it’s hot. I can feel that my heart rate is up, although I’m not moving. The enzymes don’t just clean pores; the bath is said to be soothing for the nervous system and good for digestion.

When 20 minutes are up, I rise from the tub and stand so that Leah can help me brush the material off. Then I step into the shower and rinse off–the material gets everywhere.

Back into the robe I go, and into clogs that Leah has put out for me. She leads me outside, to one of the massage pagodas. There Leah leaves me, passing me on to Janice, my massage therapist.

It’s bliss. For 75 minutes, all I hear is leaves falling, birds calling, lavender oil rubbing. When Janice is done, I make my way back to the main house, straight to a facial with Roberta. Osmosis uses Jurlique products, which are entirely organic. The facial is 75 minutes long and includes a foot spa and a neck and shoulder massage. I am limp.

After the treatment, I walk with Michael Stusser out to the meditation garden, which is Osmosis’ latest addition. A huge pond is at the center of the garden, and around it landscaping provides ample space for walking or sitting after a treatment. It’s a beautiful place to finish the experience, and there I sit for a while, reluctant to reenter the real world.

An enzyme bath at Osmosis is $75 (includes tea room and blanket wrap); bath with massage is $150. Aromatherapy facials are $90. Osmosis, 209 Bohemian Hwy., Freestone. 707.823.8231 or www.osmosis.com.

From the October 3-9, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

20th Century Fashion Overview

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You’ve Come a Long Way, Baby!

A century of fashion innovation, novelty, and faux pas

By Dara Colwell

While fashion largely remains in the eye of the beholder, clothing has always served its purpose–be it social, sexual, cultural, or individual. Since man evolved from his naked-ape status (and because nudity is often perceived as a threat), he has cloaked himself in threads, accentuated this, minimized that, tucked those neatly away and managed to avoid sitting on cold surfaces unprepared.

Now that we’ve arrived at the early 21st century, fashion will no doubt take new, unexpected turns. But one thing remains certain: Western fashion has gone through such rapid changes and bizarre extremes that looking back inevitably evokes morbid fascination.

What better time to start than at the turn of the last century. The popular figure at the time was the “Grecian bend”–a pigeon-breasted bosom, tiny corseted waist, and full swayback hips.

The corset itself had appeared in the late 19th century and caused considerable debate. The popular practice of tight-lacing and the inward-curving busk at the corset’s front raised the question whether it was harmful to the wearer’s health. (Pretty much a no-brainer.) Dress was, of course, exceedingly formal and reflected social status.

The 1920s was a decade notorious for scandalous changes in fashion, drinking habits, and Mafia activity. It was the era of the streamlined, curveless figure. Skirts fell sordidly short, between the knee and mid-calf depending on the season, and formal clothes hardly differed from casual ones. Clothing was straight, hairstyles were tomboyish, and fashion was much less restrictive, giving both sexes ample room to run when the cops crashed the local speakeasy.

Let’s skip to the bouncy and bubbly ’50s (the previous two decades everyone dressed like their parents), a time when cardigan twin-sets were all the rage. Full-length, shawl-collared coats and furs draped glamorously across the shoulders of starlets. Women waltzed into rooms in full, wide skirts layered in taffeta, while men–who still dressed like their fathers–wore casual sweaters. Of course there were also the incredibly engineered bullet bras, which will likely cause us to mix metaphors, so we’ll mention them only in passing.

The ’60s signaled a time of fashion innovation: PVC designs, straight Nehru jackets, shapeless capes, tweed reversible coats, and–who can forget–the miniskirt.

Because ’70s retro fashion is currently en vogue, there’s little need to go into polyester three-piece suits, platform shoes, floral muumuus and free-flowing bell-bottoms. Just watch That ’70s Show.

As for the ’80s slew of grotesque fashion–skinny leather ties, ripped sweatshirts, suburban punk fashion, and bandannas–some things deserve to be forgotten by history.

Today, fashion seems influenced more by advertising and our television screen than, say, those bra-burning episodes of yesteryear. But it’s also more fun. There are fewer constraints dictating what is formal or casual, office wear or leisure.

So whatever the fashion era, the next time “What could they have been thinking?!” flits through the unschooled mind, just remember: Decades from now, you might have to explain that those sausage-casings you donned in the ’80s were actually jeans.

From the October 3-9, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

‘The Stone Trilogy’

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Peace Talks

‘The Stone Trilogy’ tells stories about peace and conflict

By Davina Baum

Guns are rarely destroyed. They migrate–finding the closest hatred, the most willing buyer–from conflict to conflict, getting passed through hands like gardeners might pass on valuable heirloom seeds.

One smoking gun is what links the three episodes in The Stone Trilogy, a play by Ian Walker being staged at the Luther Burbank Center on Oct. 5. The performance benefits CONTACT Africa.

“I think of it as an intimate epic,” says Walker, who wrote the play “from ideas that had been pushing around in my head for a while about conflicts and repeating histories and what’s common about them.” The three pieces are set in 1999 and follow the gun from Ireland to South Africa to San Francisco. The underlying element, says Walker, “has to do with love in the face of societal or racially motivated conflict.”

Though the play was not written in conjunction with the activities of CONTACT Africa, Walker notes that it does deal with the “issues that create the conflicts that CONTACT Africa is trying to deal with.” And as Rick Brown, a managing partner with the Results Group in Santa Rosa and a founding member of CONTACT Africa, points out, the first step to “conflict transformation” is understanding the root histories that can lead to dehumanizing the “other.”

CONTACT Africa grew from the CONTACT program (Conflict Transformation Across Cultures) at Vermont’s School for International Training. There on a sabbatical last summer, Brown met a group of people, mostly from Africa, who were interested in seeing CONTACT’s methods applied to the countries of Africa.

CONTACT’s approach has grown largely from the theories and experience of Dr. Paula Green, executive director of the program and one of the key leaders internationally in developing this conflict transformation notion.

“The notion of conflict transformation is something that has emerged in the peace-building field in the last 10 to 15 years,” says Brown, sitting in his Santa Rosa office. “The primary focus,” he says, “is on taking people . . . who are interested in not just stopping conflict but actually using conflict situations as a foundation for building the capacity for societies to be more peaceful.” This means exploring the conflict’s history and the mythologies that lead to it.

Mythologies play a large role in the conflict transformation process. In Africa, as in many places, conflicts have arisen based on the mostly arbitrary lines drawn by the colonial powers. Brown points to the Tutsis and the Hutus in Rwanda as an example. “Genetically, they’re no different; culturally, they have the same basic value systems, but in order for the Belgians to control Rwanda during colonialism, the basic technique was divide and conquer. So they created the mythology of being different. People come to believe these things; they become the truth.”

CONTACT Africa’s method breaks down this mythology by using deep listening and really understanding the roots of subconscious prejudices–rehumanizing the “other.”

Participants tell stories–positive and negative–about themselves and others. “Deep analysis” is the next step, in which assumptions that come up in the listening and the telling are analyzed. The point, says Brown, is that you see and hear the other person “through the lens of that assumption set. The act of that dehumanizes them, which makes it more likely that you can commit violence against them.”

This listening and analysis goes both ways–between listener and teller–because “it’s one thing to see how what they’ve done to you has formed your impression of them, but to get to the level where you see what you did to them–what your people did to them–and to accept that responsibility, that’s where you get the transformational aspect.”

CONTACT Africa is working to support people who are doing this kind of peace-building work in Africa. The goal is to “build a critical mass of leadership who promote this model,” Brown says.

Saturday’s performance will raise much needed funds for the project, and in a time when peace building is waylaid in favor of war mongering, The Stone Trilogy offers thoughtful alternatives.

‘The Stone Trilogy’ will be performed on Saturday, Oct. 5, at 8pm at the LBC, 50 Mark West Springs Road, Santa Rosa. $25. 707.546.3600.

From the October 3-9, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Peter Tork

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For Pete’s Sake

No Monkees business for Peter Tork

By Greg Cahill

Back in the day, Peter Tork graced prime-time television, helped sell millions of records to adoring teens, and partied with the Beatles. Now he’s got the blues–the Shoe Suede Blues Band, to be precise–and he’s having the time of his life.

For the most part, the new band is a straight-ahead blues review in which Tork and friends play everything from Louis Jordan-style jumpin’ jive to Southside Chicago classics popularized by Muddy Waters to recent Bob Dylan tunes to a handful of originals. “And we do play a couple of Monkees songs,” he adds. “You can’t get away from those.”

Tork–an L.A. resident who lived for five years in San Anselmo after he quit the Monkees in 1968–returns to the North Bay on Sept. 28 for a show at the Mystic Theatre. Shoe Suede Blues started out as a casual gig. It’s still casual–and occasional–but the band’s shows and CDs are drawing critical acclaim.

Tork first got involved in the new project a few years ago, he explains, when a friend’s wife asked him to play at a church charity dance. “It used to be something we did once or twice a year, but eventually we realized this is sounding good,” he says during a phone interview from his home. “There’s something special here–there’s a real quality to it.

“We just love that blues bag. I always wanted to play the blues, and now I’m doing it,” adds the former pop star. “I get to play a scorching lead guitar, and there’s not much that’s more fun than that. Of course, what’s really fun is the interaction with the other band members. It’s just glorious. I don’t think I could be happier.”

Happiness is foremost on Tork’s mind these days. Born Peter Halsten Thorkelston, Tork is a Washington, D.C., native who grew up as a home-schooled child proficient on banjo and guitar. During the early ’60s, he moved to Greenwich Village, jammed with members of the Lovin’ Spoonful, and dated Mama Cass Elliot. He later fled to the West Coast in search of fame and fortune. He found both.

In 1966, TV producers Bert Schneider and Bob Rafelson hoped to cash in on the popularity of the Beatles with a TV show that would capture the madcap zaniness of the Fab Four’s musical comedy film A Hard Day’s Night. The producers placed an ad in Variety calling for musicians.

Legend has it that all four band members–bassist Tork, singer Davy Jones, guitarist Mike Nesmith, and drummer Micky Dolenz–answered the ad. Actually, only Nesmith saw the ad; the remaining members heard about the auditions through word of mouth.

The Monkees first aired on NBC in September of 1966 and ran for three seasons. The high-spirited shows featured simple, humorous plots, a light-hearted take on teen rebellion, and pre-MTV musical segments. It didn’t take long before the band was riding high on the charts with songs penned by Gerry Goffin and Carol King, Neil Diamond, Harry Nilsson, and Tommy Boyce and Bobby Hart, the kings of bubblegum pop.

At first, the band members contributed only vocals to their chart-topping singles but eventually gained more control over their own music while crafting a catchy garage-pop sound. It all came to a crashing close after the band’s ambitious 1968 experimental film Head, co-written and co-produced by Jack Nicholson.

Tork, just 23 when he signed on with the Monkees, gives a measured response when asked to sum up his experience with the band. “I did as well as I knew how and have nothing to be ashamed of,” he says. “The most significant thing about the Monkees as a pop phenomenon is that we were the only TV show about young adults that did not feature a wiser, older person. We were out to throw off the shackles of an outmoded authoritarianism that was full of lies–and still is.

“Our music may not have been daring, but the TV show was and deserves at least a footnote in history on that account.”

In recent years, the world has seen the inevitable Monkees reunions–five in the past 15 years. Meanwhile, Tork has appeared in numerous TV shows and films (including The Brady Bunch Movie) and released a couple of well-received solo albums. While he still enjoys working with the Monkees, clearly the new project is his main focus.

“This is definitely a step up because it’s the kind of music I want to do,” Tork says. “The humor and the heart are all there.”

Shoe Suede Blues with Peter Tork perform Sat., Sept. 28, at 9pm at the Mystic Theatre, 21 Petaluma Blvd. N., Petaluma. Tickets are $15. 707.765.2121.

From the September 26-October 2, 2002 issue of the North Bay Bohemian.

© Metro Publishing Inc.

Cursive

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