Global Warming Negotiations

Hot Air

How the U.S. deflated the global climate talks

By Bill McKibben

DEPENDING on how you spin it, the collapse two weeks ago of the climate negotiations in The Hague, Netherlands, could leave you confident that much progress has been made, despairing that a Bush presidency may doom the future of new talks, or convinced that this is simply a problem too big for human beings to get their heads around.

I think, though, that it really leaves us in pretty much the same position we were in three weeks ago, before the conference began: We’re waiting on the weather.

Exhaustive and exhausting negotiations tend to leave all involved with a severe case of tunnel vision. Inside the mammoth meeting hall, everyone came to believe their own hype: that they were on the verge of an agreement that would truly change the way people used energy, and hence kick-start the process of reducing carbon dioxide emissions into the atmosphere.

Indeed, the Kyoto treaty did represent a kind of triumph of implacable bureaucratic optimism. At each potential breakdown point, someone came up with yet another fix. After six large-scale conferences, the document resembled one of those late-Ptolemaic maps of the universe, with a bewildering variety of epicycles and adjustments added to somehow make the model comport with the real world. There were Clean Development Mechanisms to allow the rich world to purchase easy credits and to buy off the poor world; there were Hot Air provisions and complicated Baskets of Gases; and there were the Carbon Sinks, also known as trees, designed to make the whole package easy on Americans.

That is, instead of a straightforward plan to wean the world from coal and oil and gas, there was a Rube Goldberg machine that attempted to meet every national interest. And it might, just possibly, have worked–that is, it might have provided enough incentives to get the energy industry serious about researching and developing alternative technologies, and those technologies might have taken off so spectacularly that they would have provided us energy junkies with the methadone we seem to require.

But in the end–in the waning hours of Saturday morning–the Europeans decided they couldn’t sell this particular contraption at home. It was simply too easy on the Americans, who, arrogantly, had never really believed anyone would call their bluff. The French did, and shortly thereafter the cleaning crew arrived to cart away the tons of thin carbon sinks known as sheets of paper that rose daily like an ever-higher tide.

Even if the Europeans hadn’t stood tough, though, the document wouldn’t have made it through the U.S. Senate. Not with George W. Bush as president, and not with Al Gore as president. And the reason is simple: The American public still does not believe with the necessary passion that climate change represents a problem serious enough to require any compromises in our way of life.

ONE OF THE IRONIES of the entire global-warming debate is that America–chief contributor to the problem–is geographically situated in such a way that it will be one of the last places to feel the pain. With the exception of Florida (take that, Katherine Harris!) and a few other parts of the Gulf Coast, our shorelines are not especially vulnerable, nothing like Bangladesh or the small island states or the Nile Delta. Sure, we’ve had some floods and hurricanes, but we’re a vast and rich land and we recover easily, at least for now. Drought over one set of fields is usually offset somewhere else in the grain belt. That won’t help us much when the temperature really climbs, as every computer model now predicts, but so far the public is not scared enough to make it an issue, something that our politicians instinctively realize.

Europeans care–or at least enough of them care that in a parliamentary system they can exert sufficient pressure to move their governments. Americans don’t, not yet.

For those of us who have been working on this issue for a decade or more, it’s sometimes hard to imagine that there could be anyone anywhere who does not realize that the freaking earth is coming to an end. But, of course, the guy I sat next to on the airplane home–a perfectly decent engineer who had voted Democratic–greeted the news of where I’d been with only the most casual interest. “Oh yeah, I’ve heard about that,” he said when I mentioned global warming. “So tell me, is that stuff for real or not?” It’s a strong indictment of the insider, deal-making, tech-talking American environmental community–and of the Clinton-Gore administration, which blew almost a decade it could have spent educating the citizenry.

The day will come when Americans will be convinced of the reality of climate change–probably the day after a really big hurricane. When that day comes, we will badly need all the ideas that have been patiently hammered out in places like The Hague. But until that day comes, events like the collapse of these talks may be (sadly) less momentous than they seem.

Bill McKibben is the author of ‘The End of Nature’ and ‘Maybe One,’ among other books.

From the December 7-13, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Open Mic

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This year, I’ll be presenting my friends with the same gift we employees used to receive from the grateful catalog company: a nice warm handshake.

By C. D. Payne

LIKE MILLIONS of other Americans, I’m an alumnus of McDonald’s. Back when I was flipping burgers for high school pocket change, I discovered that this preparation dramatically reduced my fondness for said sandwich. After two weeks on the job, I couldn’t look a burger in the buns.

Don’t get me wrong, it was a superb burger for its modest price of 15 cents. I was just sick of them. No doubt makers of candy and doughnuts feel the same, although in the case of the latter confection I don’t really see how that’s possible.

Fast forward a decade or so.

Now I’m writing copy for a well-known San Francisco catalog company that sells electronic gadgets and pricey executive toys. It’s my job to write the product description that sends you screaming to your phone with your credit card to order that nifty combo golf putter and tanning lamp. The pay is better than McDonald’s and I get much less grease splattered on my tie.

But again, overfamiliarity breeds a problem: Now I can’t bring myself to buy stuff. Especially the stuff people like to receive as gifts around this time of year.

After 15 years in the catalog game, I got sensitized to hype.

Consider how I used to write copy. Sometimes all I had to work with was a blurry Polaroid of a prototype and the phone number of an engineer in Taiwan who spoke English about as well as I spoke Chinese. So how did I write my 600 words of benefit-rich sales copy?

I made it all up.

Yup, it’s a dirty little secret only we copywriters are supposed to know. That’s why I approach the purchase of gifty-type stuff with fear and loathing.

Hey, I’m not cheap. I’m just skeptical.

“A revolutionary new breakthrough!”

Sorry, I think I’ll pass.

“Certain to thrill everyone on your guest list!”

Care to submit that claim to the Federal Trade Commission?

This year, I’ll be presenting my friends with the same gift we employees used to receive from the grateful catalog company: a nice warm handshake. Everyone appreciates a little human contact and there’s no gift-wrapping required.

On second thought, maybe I’ll splurge and get some gift certificates from that popular burger chain.

Sebastopol writer C. D. Payne’s first novel, ‘Youth in Revolt,’ is being dramatized this month on Germany’s SWR2 radio.

From the December 7-13, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

The Wide-Eyed Gourmet

Neither gourmet nor gross

By Marina Wolf

‘TIS THE SEASON to be snarky, fa la la la la. It must be Christmastime because the food-drive barrels are out and the jokes-in-passing are getting tossed around as carelessly as boxes of off-brand macaroni and cheese: “They’re going to be eating better than we do.”

Yes! I’ve heard this, and even then I couldn’t believe I was hearing it. Sure, the barrels are overflowing, but all that stuff gets divvied up among hundreds of boxes. And when it comes out of a single box, the daily menu is as narrow and pinched as an empty change purse. Crackers. Canned peaches. Tomato chunks. Dry pinto beans. Some food is better than nothing. A body’s got to eat, right? But what the hell do you do with this stuff? Would you know?

All I know is, disentangling privilege from provisions is difficult, more difficult than one might think. Look at my basic procedure for a simple pot of beans, the kind I make when I’m “feeling poor”: heat up some olive oil in a big pot, chop an onion and throw that in, press in some garlic through a garlic press, and, um . . . See what I mean? I haven’t even gotten to the cheddar cheese on top, and already the recipe contains at least five different ways to knock a completely underequipped pantry out of the loop.

If you’re not used to cooking this way, it’s a real puzzle (though not as much of a challenge, of course, as actually getting used to cooking this way on a regular basis). If you’re up for it, visit www.OnTheRail.com, a restaurant industry site that’s sponsoring the Dare to Care Recipe Challenge. Recipes submitted will be tested for food-box or food-bank compatibility, and then passed on to Dare to Care, a Kentucky-based food bank that hopes to get its forthcoming cookbook out to low-income households and shelters around the country. Deadline for entries is Dec. 20, and a randomly selected entrant will receive $500 from On the Rail, plus publication of the recipe on its site.

SO WHAT CAN you put in your potentially winning recipe? Not much. Items in a typical food box may include canned juices, crackers, canned fruit, canned soup, canned tuna or meats, canned vegetables, tomato products, dry beans, pasta (yes, including that orange mac ‘n’ cheese), rice (instant), powdered milk, and maybe peanut butter or sardines. Shelter or group-home cooks have a little more leeway, with such extravagant ingredients as sugar, dried eggs, frozen vegetables, potatoes, limited seasonal produce, and a sprinkling of basic seasonings.

Complete rules are on the Web, but basically you need to be thinking inside the box. Cooks at shelters can spend maybe $1 per person per meal, and food-box recipients may not even know how to cook. On the Rail gave this recipe as one example of the genre:

Chicken and Rice

1 can cream of chicken soup 1 can water 1 1/2 cups instant rice (Minute Rice)

Put the soup and water in a pot and bring to a boil. Add the rice and cover. Cook over low heat for 5 minutes and serve. (Add cooked vegetables like broccoli or peas, if available. Other cream soups like mushroom or cheese may be substituted.)

Simple, with some basic elements of nutrition: it’s something to eat, but not much. If this is, in fact, better than what you’re eating, talk to your local food bank. But if it’s not, then stop joking about it. Because it’s not funny.

From the December 7-13, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

‘Amargosa’

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Desert Dance

‘Amargosa’ tells mesmerizing tale of eccentric ballet dancer

TODD Robinson’s Amargosa is a mesmerizing cinematic surprise, an offbeat, often-moving tale of a singularly odd woman. Marta Becket, age 76, is a semi-reclusive painter and ballet dancer who resides in a remote ghost town: Death Valley Junction, population 10, a slowly crumbling collection of shacks located at the edge of California’s Death Valley.

For decades, Becket has been out there in the middle of nowhere, performing inexplicable “dance-mime” shows for anyone willing to drive the necessary hundreds of miles. Her venue is the grandly named Amargosa Opera House, a once-deteriorating meeting hall that Becket named the Amargosa after the former mining town’s original name.

Crowds were scarce at first, so Becket painted her own audience on the interior walls of the theater. For no apparent reason, she painted them as Renaissance Italians. Filling the theater, these silent peasants and courtiers cavort merrily and watch the stage, beautifully crafted characters in an intricate al fresco fairy tale.

Amargosa, the movie, of course, is nothing if not a fairy tale. It’s a story of loss and redemption, in which an eccentric dreamer attempts to lose her demons in the desert and half-succeeds. It’s also an inspirational tale in which a lone soul bravely pursues her art for the sheer pleasure and blissful salvation of the artistic act.

If this were fiction–if Marta Becket were not a real person–then the whole oddball-in-the-desert scenario might seem like something dreamed up by David Lynch. Or Sam Shepard. But Becket is very much the real thing, and she has made quite a name for herself out there in the desert. The performances she continues to give–twice a week, every month from October to May–now sell out every show. The theater’s murals have made the building a candidate for landmark status.

Robinson’s respectful, knowingly tangential documentary–a finalist for last year’s Best Documentary Oscar–explores Becket’s enigmatic existence with equal parts affection and amusement.

Scenes of Becket toe-dancing on stage, sinewy and lithe despite her years, are intercut with segments that initially seem to have little to do with anything: Becket leading a midnight tour of the town’s “haunted” hotel; Tom Willet–Becket’s swaggering, semi-toothless stage-partner–tearing through the desert on his three-wheeled motorcycle or showing off a model train track he’s run through every room of an abandoned house; Becket feeding wild horses from her back porch, or weeping softly as she remembers her father’s disdain for her artistic inclinations, or firmly detailing her plans to be buried in the horse graveyard behind her house.

The film is poetically narrated by Mary McDonnell (Dances with Wolves), and intercut with lively interviews by such Amargosa fans as science-fiction writer Ray Bradbury. Indeed, it is Bradbury who sums up Becket’s importance when he says, putting the message of her life and work into words, “If you want to do something, don’t talk about it. For God’s sake, do it.”

In the end, the film, like Becket herself, is both whimsical and a little bit baffling–but, like Becket, it is also moving and quietly astounding.

‘Amargosa’ opens Friday, Dec. 8, at the Rafael Film Center, 1118 Fourth St., San Rafael. For details, see Movie Times, page 31, or call 415/454-1222.

From the December 7-13, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Wine and Bowling

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Lane Change

Days of wine and 10 pins

By Bob Johnson

LET’S PLAY word association. C’mon–it’ll be fun. I’ll list a word or two, and you say the first beverage that comes to mind. That’s right, I want you to say the drink type out loud; depending on what you say and where you’re reading this, it could be a new way to meet people . . . or get arrested. Ready to discover on which side of normal you reside? Here goes:

1. Gin and . . .

2. Oreo cookies and . . .

3. Bowling and . . .

Seeking America’s best and brightest for this highly scientific study, we surveyed only Florida residents who voted for Buchanan but meant to vote for Gore.

The most popular answers gleaned from this brain trust, in order:

1. Tonic.

2. Milk.

3. Beer.

Given the answer to word-association item No. 3, it may surprise you to learn how your faithful chronicler of all things vino got into wine.

It was through bowling.

Yup, the very sport/recreation/way-to-kill-a-few-hours-on-a-Saturday-night that prompted syndicated sports radio blabbermouth Jim Rome to recently rant: “Anything that you get better at as you get blasted can’t be a sport.”

We’ll save the “bowling-as-sport” debate for another time. For now, I’m here to tell you that were it not for bowling, you would not be having the pleasure of reading this wine-themed story.Since you’re dying to know, here’s how it happened . . .

Fourteen years–and even more moons–ago, a group of bowling writers (please don’t laugh) from the southern half of our fair state was transported to a Bay Area bowling center by a manufacturer of synthetic lanes. Reason: to examine, toss a few balls on, and presumably subsequently write about these high-tech substitutes for maple and pine.

That’s right, a paid junket for bowling writers (I asked you not to laugh).

Following the festivities at the bowl, our host treated us to dinner at a Yugoslavian restaurant. We were instructed to order anything we wanted and to select a few bottles from the wine list.

A couple of the older writers immediately went into a panic, simultaneously realizing there were no wines named Bud, Miller, or Coors. (They have since retired to Florida.)

So it was left to us younger guys to make the appropriate vino selections. Not wanting to appear uncouth or uninformed, we stood up the hardcover wine list on the table in an attempt to camouflage our blindly pointing at a selection on a randomly opened page.

Neither the varietal nor the vintner meant anything to us until we took our first sips of wine after our first bites of meat.

We didn’t know why, but we did know that we were consuming perhaps the greatest meal of our lives. Fortunately, neither of us hailing from America’s southeast quadrant, we were smart enough to realize that the wine had something to do with it. (We certainly had no idea that we had stumbled upon perhaps the most revered brand of merlot being made at the time.)

Back at the swank bowling writers’ hotel that night (you’re laughing again; that’s not polite), we perused the Rand McNally atlas and noticed that the Napa Valley was less than an hour away. So instead of heading back south the next day, we trekked northward.

What we found was heaven on earth: dozens and dozens of wineries, and almost all of them pouring free wine! Good thing my buddy’s wife was along to serve as chauffeur, because by 11 a.m., we were feeling no pain . . . swaying in the breeze . . . completely snockered . . . OK, I’ll stop sugar-coating it: we were shit-faced.

But that didn’t stop us. No, sir (or madam). After a quick stop at the A&W on Highway 29 for a Papa Burger and a frosty mug, we were back at it. By the end of the day–which turned out to be 4:30 p.m., the latest we could find a still-open tasting room–we had hit 14 wineries and sampled 86 different wines.

As wine newbies, we were not familiar with the concept of sipping, swirling, and spitting. Furthermore, we considered it impolite not to finish a free sample. (What kind of guest would insult a host in such a way?)

It’s entirely possible that our wine adventure that day in 1986 is responsible for the tasting fees now commonly charged at tasting rooms up, down, and across the Napa Valley. (You’re welcome.)

In the nearly decade and a half since that wild bowling-and-wine weekend, we’ve learned quite a few things. Among them:

1. All things in moderation.

2. Spitting is a good thing.

3. Nothing, but nothing, beats an Oreo dipped in milk.

From the December 7-13, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

‘Angels in America, Part Two’

Angels in America.

Heaven Sent

Impure paradise at AT’s ‘Angels in America, Part Two’

By Daedalus Howell

ALL RIGHT, angel freaks, choose your weapon: Charlie’s Angels, that retread TV jiggle-fest assaulting pie-eyed peepers at the local cineplex, or Pulitzer Prize-winning playwright Tony Kushner’s epic endnote to his “Gay Fantasia,” Angels in America, Part Two: Perestroika, currently on the boards at Actors Theatre.

Both have their purposes, both share a noun, but only one will save your soul.

Perestroika, a pre-millennial tangle of subplots mired in the AIDS epidemic and GOP-centric politics of the late 1980s, is a kinder, gentler version of its predecessor, supported by a raft of unforgettable performances expertly shepherded by director Argo Thompson.

Owing to a few Miltonic visitations from, as one character puts it, “a mixed-up reactionary angel” (silky-voiced Bronwen Shears), AIDS-infected Prior Wallace (Peter Downey) has dubbed himself a prophet. His ex-lover, Louis (Steven Abbot), navigates an ill-begotten relationship with a married Mormon law clerk. Both endure heartbreak on the ever-forking road to redemption.

Those reprising their roles from last year’s stunning AT production of Angels in America, Part One: Millennium Approaches (restaged this year in rotating repertory with Part Two) include an electric Danielle Cain as the Valium-addicted Mormon housewife Harper, Armond Dorsey as gayer-than-thou nurse Belize, Joe Winkler as the despotic real-life attorney Roy Cohn, and Shears as the Angel.

Interestingly, Downey returns this season as Prior, leaving his original role of Prior’s lover Louis happily available to Abbot (which makes Downey one of the few actors to have ever played his own lover).

Drifting across the stage like a spectral vision swaddled in a black scarf, coat, and Jackie O. sunglasses, Downey’ s Prior is a revelation–every line is an honest discovery, his earnestness is heart-wrenching, his ability to convey courage in the face of tragedy is riveting. Downey’s characterization is absolutely realized–from Prior’s off-the-cuff wit to his sudden bent toward prophecy.

As Prior’s wayfaring lover Louis, Abbot, too ,turns in a topnotch performance. Watch for his seduction of Cohn’s lackey, Joe Pitt (aptly played by John Shillington): it’s a disarming study of attraction imbued with a delicious olfactory conceit. Abbot’s delivery of Kushner’s text is exquisite, including such ear-boxing lines as “If you have to talk, talk dirty.”

Winkler’s Cohn is theatrical genius. The actor effortlessly dispatches the onerous task of making the loathed Cohn an endearing portrait of an ego gone awry (Winkler could play Hitler at a children’s party and shame Mr. Rogers). Winkler’s conception of Cohn is impenetrable–not one crack reveals the actor’s artifice behind the character.

As his nurse and conversational foil Belize, Dorsey turns in a well-hewn comic performance as when, to account for his erratic behavior, he quips, “I’m trapped in a world of white people–that’s my problem.”

AT’s Perestroika is truly a gift to its audiences. One needn’t see both Angels to enjoy either play, but it’s highly recommended in order to understand the scope of both Kushner and AT’s awesome talents.

‘Angels in America, Part Two: Perestroika’ continues through Feb. 10 at Actors Theatre, 50 Mark West Springs Road, Santa Rosa. Tickets are $18. No one under 15 admitted; those under 18 must be accompanied by a parent. For details, call 707/523-4185.

From the December 7-13, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Newsgrinder

Important events as reported by daily newspapers and summarized by Daedalus Howell.

Saturday 11.25.00

Things have gotten fishy with the Sausalito Arts Commission, reports the Marin Independent Journal. The commission is recommending that the City Council allow a six-foot-tall, two-ton bronze sculpture of a mermaid to be installed at one of two public parks in this bayside town. “Public art should put a song in your heart and speak to you at some level,” said Arts Commissioner Linda Pfeifer, who has yet to propose simply installing a stereo system in lieu of the statue. Arts Commissioner Luz-Mary “Bah-humbug” Harris, cast the lone vote against the statue at a recent hearing. “I didn’t want the mermaid to become a symbol of the art in Sausalito,” she said. No word if she would condone it as a symbol for seafood. Built on spec, the half-woman, half-sushi work was sculpted by Sausalito artist Jennie Wasser, who says, “I’m determined that government will work if I just stay with it.” Nope, go fish.

Saturday 11.25.00

The Santa Rosa Press Democrat reports that the Humane Society fears that dalmatians will again become the dog du jour with the release of Disney’s 102 Dalmatians, the sequel to its 1996 smash 101 Dalmatians, which had thousands of kids buying that little spotted puppy in the window, only to discard it after the trend abated. With the release of the first flick (which also stars Glenn Close as that shrieking villainess Cruella de Vil), some shelters reported a 25 percent increase in abandoned dalmatians, according to the Humane Society. Cast-off canines that aren’t adopted end up being destroyed. Breeder Denise Powell of the Dalmatian Club of Northern California says, “We want people to know that these are good dogs, and if you are a responsible pet owner, we can steer you toward where you can find one.” If you are an irresponsible and trend-conscious pet owner, however, you can follow the lead of Close’s character in Fatal Attraction and die a miserable death.

Sunday 11.26.00

Happiness ain’t a warm gun for the bevy of protesters who picketed the T.S. Gun Show at the Marin County Exhibition Hall on Nov. 25, reports the Marin Independent Journal. Among them were members of the Marin chapter of the Million Mom March Foundation (a grassroots organization that supports strict gun legislation), who are not mothers of participants in the Million Man March or the Seven Sister Sashay. Don Kilmer, an attorney for the gun show, argued that “more people get killed in soccer games in Great Britain than they do at gun shows in Marin County.” To extrapolate from Kilmer’s logic, one could also say more fish drown than horticulturists whistle. Says Kilmer, “I don’t run into a better class of people than at these gun shows.” That’s right, Kil, them’s good ol’ American folk who can relax, pull back the white hood, and shoot the breeze with a Heckler and Kosch 9mm standard NATO-issue machine gun. “I don’t mind regulation. I just don’t want to be regulated out of a hobby that I love,” said handheld-death-machine enthusiast Robert Orr, failing to realize that most hobbies aren’t lethal. “I totally respect people who aren’t interested in guns.” Indeed, they’re easier targets. Pull!

Sunday 11.26.00

In an unrelated gun matter, the Napa Valley Register reports that battle lines are being drawn on public lands in Knoxville, popular for off-road drive-by gun shooting and the study of rare plants. Botanical researcher Christy Brigham was on a field trip last spring when she was surprised by a truck full of “guys driving over the plants, with beers in one hand and guns in the other.” Brigham says that last Easter Sunday she came across three guys “sitting in folding chairs and blasting away with pistols at three crosses and a stuffed purple Easter bunny.” Who says religion is dead?

Sunday 11.26.00

Eight years ago, Santa Rosa twins Nick and Rick Batres thought they had embarked on a career as department store ad models when they agreed to be photographed by Novato’s Steven Underhill. In 1996, they opened a copy of the gay youth magazine XY and were greeted by their own mugs beaming back at them (I hate it when that happens). The now 24-year-old bros, who swear they are not gay, filed a lawsuit in Sonoma County Superior Court claiming misappropriation of their likeness, libel, infliction of emotional distress, and being photographed in vertical and horizontal stripes, reports the local daily. “I felt pretty violated by the whole thing,” said brother Nick. “I got a real bad sour taste from it.”

Tuesday 11.28.00

Color us jaded. Sebastopol Vice Mayor Bob Anderson is seeing red over the possibility that the nation’s only Green Party municipal majority will pass him over for the chief seat on the City Council in favor of City Councilman Larry Robinson. In fact, Anderson is so steamed that he alleges Robinson and City Councilmembers-elect Sam Spooner and Craig Litwin violated the state’s Brown Act (which requires a majority of a public body to meet in public) when the elated newcomers stated at an election party that they wanted Robinson to be mayor, a position that traditionally goes, ahem, to the vice mayor. It’s unclear whether unseated politicians are restricted under the Brown Act. But it’s a sure bet that Anderson won’t be tickled pink by the actual mayoral selection, which takes place after Spooner and Litwin are sworn in Dec. 5.

From the November 30-December 6, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Stu Blank Benefit Concert

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Photograph by Michael Amsler

Band Aid

Sonoma County musicians rally for Stu Blank benefit

By Bill English

SOME ACTS you just never forget. Stu Blank of Santa Rosa has always been a musician’s musician. Back in the ’70s and early ’80s when his band, the Nasty Habits, was a major attraction on the Bay Area club scene, Blank gained a reputation for being a consummate keyboard player with a penchant for outrageous displays of showmanship.

On closing night in 1996 at the Rio Theater in Rio Nido, Blank lit his piano on fire, pushed it out into the audience, jumped on top of it, and did a harmonica solo while it burned.

Earlier this year, Blank was making a strong comeback both musically and personally. He’d done some sessions with Boz Scaggs and had reunited with his wife and five children. But then tragedy struck. In early September, he was diagnosed with skin cancer that quickly metastasized throughout his body.

Although Blank does have medical insurance, Frank Hayhurst and Musicians Helping Musicians–a nonprofit organization founded by Hayhurst that assists ailing musicians and their families with medical costs and living expenses–have scheduled a major benefit in Cotati to help Stu and his family.

“Insurance covers the basic treatments when someone is very ill,” says Hayhurst, owner of Zone Music in Cotati. “But the medical establishment quickly runs out of options. If you want to seek any type of alternative medicine that won’t be covered by insurance.

“First and foremost we want to take care of Stu, but we also want to help the Blank family,” he continues. “We want to pay down their mortgage and other debts and see if we can provide some future security for his wife and children.”

Hayhurst, who this year was a recipient of the Bohemian‘s Indy Award for his work with MHM, founded the organization in 1994. To date, MHM’s musical benefits and donations have raised over $300,000 for various causes.

Hayhurst has set a goal of $40,000 for the Blank benefit, which he hopes to raise through the musical event itself and a silent auction to be held at the Inn of the Beginning on the night of the show.

A preview of auction items will be displayed at the Powerhouse Brewing Co. in Sebastopol on the Sunday afternoon before the benefit.

A separate benefit concert, organized by pop writer Joel Selvin and held last week at the Galleria in San Francisco, featured Skaggs, Blank, Steve Miller, Petaluma keyboardist John Allair, and others.

Among the performers scheduled to perform at the Cotati event are Norton Buffalo, Nick Gravenites, the Pulsators, Mark Naftalin, Michael Bolivar, Chris Hayes, Steve Kimock, the 40-member Stu Blank Inspirational Singers, Love Choir, Sarah Baker, and the Kay Irvine Band. Each group will play a short set in what should prove to be a memorable musical marathon.

“This will be one of the biggest gatherings of performing musicians in the history of the North Bay area,” Hayhurst promises. “Hopefully we can use our local MHM efforts as a template to show the National Association of Music Merchants how to do this sort of thing on a national level.

“Our program is a way people can raise money and be sure it’s going directly to the people who need it,” he continues. “It truly is musicians helping musicians.”

Hayhurst has high hopes for the Cotati event. “Beyond the incredible outpouring of love from the bands themselves, people have donated all kinds of things for the auction, including massages, artwork, posters, and jewelry,” Hayhurst says.

“Zone Music also has donated a Fender Squire Stratocaster guitar that will be autographed by all the musicians playing in the event.”

More than 30 bands and over 300 musicians have agreed to appear at different venues in downtown Cotati. Hayhurst feels everyone is sure to be comfortable at one of the locations.

“The bands will play at four separate spots,” says Hayhurst. “The Tradewinds and Spanky’s are bars. The Inn of the Beginning is a nightclub, and the Redwood Cafe is a restaurant. Even if you don’t drink or you’re underage, you can still listen to some great music.

“Each venue will have its fair share of top acts.”

In the past, Stu Blank was always quick to take part in MHM benefits. He appeared at the first-ever MHM event (to aid two musicians’ wives with breast cancer) with a group of local players who billed themselves as Stu Blank and Friends. Blank is also one of the founders of the Sonoma County Music Association, which puts on showcase concerts for young musicians in addition to offering professional legal advice.

“Stu has been at the front of the line whenever the call went out for North Bay musicians to play,” says Hayhurst. “He’s also a guy we all recognize as a musical genius. I’ve seen Stu do some amazing things. He can sit at a piano by himself in a bar and make up songs. I mean, these are great tunes with strong hooks that could be potential hits.

“The man is a boogie-woogie Mozart.”

Blank is currently undergoing intensive chemotherapy in an effort to turn his cancer around–though he did play the San Francisco benefit concert–and was unable to speak to the Bohemian. He did e-mail a thank-you to everyone involved in the benefit, however, and asked people to “please send light and prayers.”

The Stu Blank benefit concerts take place Sunday, Dec. 3, from 6 to 11:30 p.m. at various venues in downtown Cotati. Admission is $10 at the door. For details, call 707/664-1213, ext .9.

From the November 30-December 6, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Open Mic

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Spring Back

By Shepherd Bliss

THE BOOK Silent Spring, by the imminent scientist Rachel Carson, was published nearly 40 years ago, in 1962. It led to the banning of the oft-used insecticide DDT, at least here in the United States. Though we named a hall at Sonoma State University after Rachel Carson, did we really listen to her? I think not, or we would never even consider the mass forced spraying of that deadly nerve poison carbaryl on innocent people, as the workplan against the glass-winged sharpshooter proposes.

I am old enough to remember when the birds started disappearing from our Iowa farms because of the insecticide DDT. The award-winning and history-changing Silent Spring was stimulated by the forced spraying of fire ants on Long Island. Carson led that fight, with the aid of Justice William O. Douglas and Laurance Rockefeller. They lost, but eventually won a larger struggle against pesticides. By threatening us with forced spraying, again, the wine industry has made a historic, tragic mistake. It has revealed its disregard for human and animal life and for private property in its prideful overvaluation of its luxury product.

Carson starts her book: “A grim specter has crept upon us almost unnoticed. What has silenced the voices of spring in countless towns in America? This book is an attempt to explain.”

I suggest you read or reread Carson’s scientific indictment of pesticides. She concludes, “The current vogue for poison has failed utterly to take into account these most fundamental considerations. As crude a weapon as the caveman’s club, the chemical barrage has been hurled against the fabric of life. . . . The ‘control of nature’ is a phrase conceived in arrogance.”

If ever there was an appropriate word to describe the wine industry, it is arrogance. Here is what the New York Herald Tribune wrote about Silent Spring: “A smashing indictment that faces up to the disastrous consequences, for both nature and man, of the chemical mass warfare that is being waged today indiscriminately against insects, weeds, and fungi.”

Carson describes what she calls “man’s war against nature,” which today’s wine industry unfortunately continues. I remember when the hawks soared again, when the birds came back to our Iowa farm. The deadly nerve poisons lorsban and carbaryl should go the way of DDT. They should be banned, here in Sonoma County, in California, and in the United States.

We are losing so much of nature here in Sonoma County. We should not let the state spray carbaryl or lorsban or any other deadly chemical on innocent, vulnerable people.

Shepherd Bliss Kokopelli Farm Sebastopol

Shepherd Bliss is an organic farmer and owner of Kokopelli Farms in Sebastopol.

From the November 30-December 6, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

Paul H. Ray, Sherry Ruth Anderson

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Photograph by Michael Amsler

Secret Society

Authors say a silent revolution is brewing

HOLD ON, HUMANS. A revolution is coming. When it strikes, you’ll know it, because this revolution will dramatically change the direction of our country, the world, and probably the human race. Unfortunately, we may have to wait for it. See, most of its leaders don’t even know it’s happening yet.

That’s right, the revolutionaries themselves are not aware of their part in the revolution. And according to anthropologist Paul H. Ray and psychologist Sherry Ruth Anderson, it is that very lack of knowledge that is delaying the inevitable explosion. If the bold revolutionaries only knew that there were other revolutionaries out there–50 million of them–all separately dreaming of a brave new world, well . . .there would be no stopping them.

But alas! They remain unaware: unaware of each other; unaware that they are, already, a significant part of the movement that could end up being the most important sociological evolution of the New Millennium; unaware, even, that they already have a nifty nickname.

They are the Cultural Creatives.

Named and identified by Ray in a 1996 report titled “A Study of the Emergence of Transformational Values in America,” the Cultural Creatives are apparently an emerging force of disparate but ethically similar people–passionately altruistic, devoted to social justice, and deeply concerned about the environment–that is growing exponentially across the planet and is already having an irreversible impact on global society.

These conclusions are based on 13 years of survey research studies by Ray, executive vice president of American LIVES Inc., an opinion-polling firm researching the values and lifestyles of Americans. The findings are meticulously and entertainingly revealed in The Cultural Creatives: How 50 Million People Are Changing the World (Harmony; $25), co-authored with Anderson, co-author of the best-selling The Feminine Face of God.

The married duo, who live in San Rafael and speak Dec. 6 in Sonoma, are just now wrapping up a months-long speaking tour to promote the book–and to sound the wake-up call to latent CCs everywhere.

These people, say Ray and Anderson, will be the shapers of a whole new agenda for the 21st century.

“This is not about official policies,” says Ray. “This is not about businesses making small, incremental changes. This is about a fundamental change in the whole way of life of the culture. We’ve got to deal with big structural changes in the next 25 years, or we’re going to be in big trouble.”

Anderson and Ray, holding forth in the living room of their comfortably book-crammed, art-filled home near Dominican College, are articulate and authoritative on their subject. Asked to define the average Cultural Creative, they refer to the 18-point checklist at the front of their book.

According to the list, the anything-but-average CCs–of which the authors are themselves more-or-less typical–are lovers of nature “deeply concerned about its destruction,” are unhappy with both the left and the right in politics, are working to ensure equal status for women, tend to be distrustful of media cynicism, and are rather optimistic about the future.

Hmmm. Environmentalism, social justice, equality for women; on first pass, it kind of sounds like “Cultural Creative” is just another way of saying “Liberal.”

Not so, says Ray.

“Cultural creatives are no more likely to be liberal or conservative than anyone else in the population,” he insists, citing the studies. “The highest percent, like 45 to 48 percent, something like that–are none of the above, neither left nor right.”

“There are two pieces to the story of the Cultural Creatives,” expounds Anderson. “One piece is, ‘Who are they, how come there are so many of them, and what do they care about?’ The other piece is, ‘OK. So what? So we have one more group of people. We already have the baby boomers and Generation X. Why do the Cultural Creatives matter?'”

The reason, says Anderson, is immensely simple.

“The reason it matters is because these are people who care,” she says. “They want to make a difference.”

If Anderson and Ray’s predictions are correct–that the CCs will step in to act as midwives for the next level of human sociopolitical achievement–they will have to get organized pretty soon. Does that mean there will one day be a Cultural Creative political party?

In short, yes.

But first they’ll have to come out of the closet.

And that might not be a simple maneuver. Because of course, they still don’t know they’re a movement yet.

“Right now, if you ask any one of them, the Cultural Creatives will tell you, ‘Oh, maybe 1 percent of the population agrees with my values,'” says Ray. “They’ll say, ‘Five percent at the most.’ I’ve had focus groups where people have said, ‘I don’t know how you got so many of us in a room together. I thought it was just me and my friends who had these ideas.’ ”

“Since the ’60s, we’ve had 20 kinds of new social movements, consciousness movements, and trends,” says Anderson, “and those have, basically, been the seedbed from which the Cultural Creatives have come. But in the ’80s, people in these movements started to say, ‘Hey. Where did everybody go?’

“They didn’t go anywhere. They became the Cultural Creatives.”

Such is the worldwide Zeitgeist, say Anderson and Ray, that these proto-CCs have since been joined by others. Many others. And the American members have now been officially outnumbered.

“There are 50 million Cultural Creatives in America,” Ray says, again citing the studies described in the book, “but there are 80 or 90 million in Western Europe. They’ve been growing steadily since the ’60s, a very slow growth process, about a half a percent a year. When I started this work 13 years ago, the Cultural Creatives were around 18 to 20 percent. Now they’re at 26, and I expect it will be half the population in another 10 years.”

At which point, the movement will break on through to the surface.

“Then,” says Ray, “there will be major changes.”

By that time of course, the Cultural Creatives–and everyone else on the planet Earth–will know exactly who and what they are.

Paul Ray and Sherry Anderson discuss their ideas on Wednesday, Dec. 6, at 7:30 p.m. at Readers’ Books, 130 E. Napa St., Sonoma. For details, call 707/939-1779.

From the November 30-December 6, 2000 issue of the Northern California Bohemian.

© Metro Publishing Inc.

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