‘As Bees in Honey Drown’

The sweet stuff: Morgan Forsey stars in As Bees in Honey Drown.

Fame Game

‘As Bees in Honey Drown’ takes on celebrity culture

By Patrick Sullivan

EACH ONE sets out alone, but they arrive by the busload, wandering in wide-eyed crowds through the Port Authority or down Hollywood Boulevard, full of confirmed ambitions and untested talents. The honey-sweet propaganda of our celebrity culture pulls them in by the millions, but these aspiring actors and musicians soon learn that Nashville, Hollywood, and New York can be as merciless to the would-be famous as a backyard bug-zapper is to a hapless moth.

One small step above these pitiable swarms is Evan Wyler, the young writer at the center of Douglas Carter Beane’s As Bees in Honey Drown, a scorching take on the fame game now onstage at Actors Theatre in a production directed by Argo Thompson.

After nine years of struggle, Evan (played by Peter Downey) has finally published a novel to critical acclaim. But that doesn’t mean his need to succeed is any less. Indeed, we get a taste of how desperately hungry Evan is to cement his celebrity in the play’s first scene, when a domineering magazine photographer easily bullies the shy young man into taking off his shirt for a sexy picture to accompany a profile piece. “Now fuck the camera,” the photographer orders, and Evan obeys, though it seems clear that it’s actually the camera that’s fucking him.

That compromise will not be his last. When this little lamb encounters someone who wants more than a bit of fleece off his back, we learn that Evan is willing to sacrifice anything–from his artistic integrity to his sexual identity–to see his name in lights.

The predator in question is a glamorous woman with the unlikely name of Alexa Vere de Vere (played by the charming Morgan Forsey), who swoops down upon Evan with a modest proposal that promises to make him rich and famous. One character describes Alexa as “a combination of every woman I’ve ever loved in any movie,” and her mix of sexual chemistry and big talk about rock-star clients and investors in Milan easily seduces the hungry young writer. But Evan soon learns that her name isn’t the only unlikely thing about her.

Alexa is a whirlwind of cigarette holders and little black dresses, a nonstop talker who always says less than the truth. Her verbal powers overwhelm her prey: “I don’t believe in agents, do you?” she asks Evan, and he quickly agrees. It’s not giving too much away to reveal that Alexa is a con artist, though the exact nature of the con she’s running on Evan is more complicated than it first appears.

But there’s one problem here. If you’re a grifter, success lies less in what you say than how you say it. If you throw around phrases like “great lashings of butter,” you’d better not stutter. That advice goes double for an actor playing a con artist.

Unfortunately, by opening night Forsey hadn’t quite mastered the verbal dexterity required for the part of Alexa. To be fair, it’s not an easy role, and there were times when the actress succeeded admirably in carrying it off. But even slight stumbles have a big effect in a part this tightly written. Alexa is meant to cast a spell, but every fumbled line mars the enchantment.

Perhaps that’s one reason the play picks up in the second act, when Evan starts to reclaim both his life and the stage space from his oppressor. After discovering Alexa’s deception, the writer is torn between ideas of revenge and more complicated emotions. Downey does a convincing job of portraying his character’s transition from wide-eyed vulnerability to hard-won wisdom, and by the end we’ve learned as much about his maturing psychology as we have about Alexa.

We also meet Mike (played by Michael Fontaine), a talented but unknown painter from Alexa’s past who may play a prominent role in Evan’s future. Fontaine shines in this small but important role by delivering a nuanced portrait of a thoughtful man shot through with equal parts regret and resolution. Maybe that’s only fitting: in a play meant to critique the flash of celebrity without accomplishment, this understated performance is one of the chief highlights.

As Bees in Honey Drown continues Thursdays-Saturdays at 8 p.m. and Sundays at 7 p.m. through Sept. 16 at LBC, Actors Theatre, 50 Mark West Springs Road, Santa Rosa. Admission is $18. 523-4185.

From the August 17-23, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Reggae on the River

0

BJah love: Celebratory spirit and a sense of community pervade the annual reggae festival. Photograpn by Shelley Lawrence

Tribal Revival

Reggae on the River keeps ’em coming back for more

By Shelley Lawrence

HOT, POINTY ROCKS. Blazing sun. No grass, no shade, and thousands of sweaty people producing body heat for four days. Sound appealing? Not to me. But it did to the nearly 10,000 people who paid $100 a pop to be a part of the 17th annual Reggae on the River festival early this month.

Reggae on the River–which serves as a benefit for Humboldt County’s Mateel Community Center–is the most popular reggae festival on the West Coast. Each year, thousands of college kids, Rastafarians, families, hippies, and people from every walk of life check in for a weekend of music, food, and atmosphere on the banks of the Eel River, near the old logging town of Percy. Indeed, the festival sells out annually before the lineup is even announced.

What keeps them coming back for more?

“It’s the party of the year! I wouldn’t miss it for anything,” says one 10-year festival veteran. “Each year, I go and see people that I only see one weekend a year, but that I’m as close to as any of my friends at home. There’s a feeling of affinity between the people that you get to party with at every reggae [festival]. Everybody gets together and roughs it for a weekend. Once you create that history–you’ve done it a few times and have stories to share–it develops a feeling of family between the people that go together.”

“It’s definitely a family,” agrees Scout, second-in-command of the festival’s security staff. “I’ve been coming for 13 years, and my pay is reasonable, but that’s not why I’m here. I love the people that come, although they’re different from year to year.”

We arrived on Thursday afternoon, hot and cranky from traveling for three hours in 100-degree heat. The last thing we wanted to do was search for a campsite. We decided to check out the digs before we packed our stuff in, and were glad that we did. A bunch of acquaintances who’d been camped since Monday had saved us room under a pavilion as large as a small house. When we set up our tents, we had the coolest sarong-enclosed front yard ever.

When the gates opened on Friday morning at 6, the onslaught began. What on the prior afternoon had been an area of hot rocks and a handful of naked hippies bloomed today into a mecca for sunhatted campers with their hauled-in couches, vans, and tents . Before the afternoon concerts began, we wandered through “the bowl,” the actual concert site–an enormous outdoor stage surrounded on one side by food and beer vendors and on the other side by festival-gear vendors selling straw hats, cowry-shell necklaces, handmade hippie clothes, and the other usual festival accouterments. Behind the stage lay the Eel River, which we swam in after the tiring business of shopping for appropriate earrings.

On Friday evening after the headlining act Mixmaster Mike (DJ for the Beastie Boys), we returned to camp. Down the path in the volunteer campground stood three school buses with a huge parachute stretched over the top to form a dance hall. There was a DJ spinning house and hip-hop records in a cage on top of one of the buses. On closer inspection, I recognized him as an old friend from Sonoma County.

The reggae vibe had intermingled with the usual hip-hop vibe (or maybe it was the ganja smoke in the air?), and there were a bunch of frat boys alongside dreadlocked Rastas, all feeling the one love. Unfortunately, security pulled the plug after we’d been there only about 15 minutes (no generators are allowed at the event).

WE CRUISED UP and down the rocky camping and parking area, the happening place of the evening, and wound up at a school bus with history. Founded a few years back by the Wicked Crew, a collective of Bay Area house DJs who’ve since become too well known to bother playing reggae, the bus announces its destination above the windshield as HEAVEN. After grooving out to amazing Jamaican DJs, we returned to camp to regroup and collect more beer. The girls decided to stay at camp for a relaxing evening around the keg, and the fellas went out to have an “I can party harder than you can” testosterone competition.

We slept in till 10 on Saturday. After waking and breakfasting on fresh fruit and Zima, I wandered around the bowl, alone, snapping shots and listening to music by Natural Vibrations and Johnny Dread. Backstage, I ran into Fantuzzi, world-famous hippie and poster-boy for the original Woodstock (on the cover of Newsweek) and emcee for the Woodstock of the ’90s (he describes the 30th anniversary celebration as “a nightmare”).

When asked how the reggae festival scene has changed since the ’60s, he replied, “I don’t get tired of it. It’s the tribal revival getting started with the youth. The next generation takes the movement and moves it! It’s an honor and a blessing to have been chosen to be an ambassador of joy.”

With such legendary performers as Bunny Wailer, Jimmy Cliff, and Anthony B. encouraging festival-goers to practice peace, unity, and “one love,” it’s easy to see how acceptance and understanding between people of all ages, races, and social classes can grow. Reggae on the River offers world-class music 24 hours a day with thousands of people all in the same frame of mind. I’m sold!

Next year, I’ll be one of the hordes buying a ticket before I even know who’s playing. As a friend aptly put it, “If you didn’t like reggae music before you went to Reggae on the River, you’ll like it afterwards!”

From the August 17-23, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Erotic Art Show at the Soundscape Gallery

0

Heated glances: The walls of the Soundscape Gallery get a new look during the Erotic Art Show with such work as Nick Bennett’s Cayenne (above).

Photograph by Michael Amsler

Intimate Visions

Erotic Art Show returns to Soundscape Gallery

By Bill English

THE JAPANESE call it the moment of clouds and rain–the point of human climax. Normally, it’s an intimate span of time shared only by lovers‚ but at the sixth annual Erotic Art Show at Soundscape Gallery in Santa Rosa, this blissful juncture is hung on the wall for all to see. The show extends the boundaries of erotic expression with work in a wide range of media by some 20 artists. The walls are lined with everything from metal sculptures, paintings, and drawings to edible erotic cakes–but everything in the show challenges viewers to draw their own line distinguishing art from pornography.

Expect little help from the artists. For them the issue is purposely blurred. Soundscape owner Marc Silver offers no apologies for the raw nature of some of the pieces in the show. For most of the year Soundscape offers high-end audio/video entertainment systems, but for two months in late summer the walls and floors are graced with carnal images.

“I want to do something with an edge,” Silver says. “A real erotic art show. Something that pushes the envelope. I’ve had people walk into the store during the show‚ look around at the walls, and say: ‘I’m not going to do business with you.’ I’m sure this show has cost me thousands in retail sales over the years.”

Silver, 51, does show some restraint. Nothing offensive is visible from the Mendocino Avenue storefront during the show. But unsuspecting people still wander in looking for quality sound‚ only to get an eyeful.

“I put warning signs up all over the front of the store,” Silver says. “I even use that crime-scene police-barricade tape to alert customers that this show isn’t for everyone. But innocent people still come in.”

While many art shows of nude studies profess to be erotic, some of the work at the Soundscape Gallery goes well beyond a tasteful picture of a nude torso to hang over the couch. Many of these pieces venture into the realm of unabashed lust. Be prepared for a major turn-on.

The aforementioned image of the moment of orgasm was shot by Santa Rosa photographer Stephen Fitz-Gerald. While the model’s pouting lips and beads of sweat are arousing, the picture also has a reverent quality. Fitz-Gerald shot the picture of an ex-lover whom he clearly cared about a great deal.

“The difference between pornography and art is the difference between good and bad photography,” says Fitz-Gerald. “The subject matter and content don’t matter. It’s the form that’s important. This photo is an ode to all women.”

Of course, one man’s ode is another man’s beaver shot. Nick Bennett’s composite photography work gleefully combines the influences of David Hockney, Salvador Dali, and Hustler Magazine‘s Larry Flynt. In one large and dramatic untitled piece, the model is gazing into the camera with her legs spread and her aroused womanhood highlighted with moist fingers. The in-your-face nature of the work has a powerful effect. Bennett of Middletown seems joyous about pushing the ultimate female button.

“It’s the most sexual of my images–it really has tooth,” says Bennett. “I feel it’s the most potent method of pointing out the sexual nature of the female form. It’s the classic beaver shot. I looked at a lot of porno to come up with this. I was surprised how willing women were to model for these kinds of sexual compositions.”

But this is not a show strictly about male artists getting women to shed their clothes and inhibitions. Photographer Dorothy Reich of Santa Rosa has participated in the last five erotic art shows at Soundscape.

“I have always focused on the nude,” says Reich. “Ninety percent of my work deals with the male form. I like the male body, the diversity of hard and soft lines. Someone recently called me Mrs. Mapplethorpe. That’s great. The man did inspire people to collect erotic photography.”

Image conscious: Pure porn mixes with more subtle works like Elliot Burke’s Three Faces (above) at the Erotic Art Show.

KAREN D’ANGELO, who dubs herself the Queen of Wands, is not satisfied with erotic art that is merely seen. She wants you to be able to munch on it as well. Now you can have your cheesecake and eat it too, because D’Angelo puts nudes on cakes and cookies.

“My company [Edible Images] has the ability to turn any photograph into an edible piece of art,” says D’Angelo. “I appreciate all five senses. When you’re working with food, you imbue the art with a new energy. Why not eat erotic art? Nothing lasts forever.”

Silver feels the Erotic Art Show is an important community service that offers a venue for this seldom-seen form of art. He makes his selection of the artists shown at the event with care.

“Eroticism should have a loving quality,” Silver says. “I don’t include anything dealing with violence or children. I believe in consensual acts. I go to a lot of art events throughout the year looking for artists. The number of submissions I get every year is incredible.

“The hardest part is telling an artist no,” he continues. “I had a 16-year-old girl submit a simple line drawing of a nude. It just wasn’t erotic. I don’t think she’s ever actually seen anyone naked.”

One of the most mysterious works in the show is a large painting by Joe Jaqua of Santa Rosa. The painting, titled Mrs. Maxwell Stays for Lunch, features three figures in what appears to be a stately Italian salon. A woman in lingerie is mounting a submissive man while another, fully clothed lady looks on.

“I leave the story line of the painting up to the viewer,” Jaqua says. “The image does beg for the imagination to explain what’s going on, but that’s not the job of the artist. I’m merely trying to convey a feeling of sexuality and fun.”

Anyone who stands before these works will be tested. How far is too far? Your own attitudes and values will largely determine what you see. One thing’s for sure: this show is a hot ride in the back seat of erotic pleasure that makes no apologies for human lust.

Jaqua seems to typify the attitude of many of the artists in the show.

“If you’re offended by this kind of work‚” he says, “don’t stand in front of it too long.”

The Soundscape Erotic Art Exhibit and Sale opens Monday, Aug. 21. An artists’ reception will be held on Saturday, Aug. 26, from 5 to 9 p.m. Prizes will be awarded for the most outrageous costumes. Parental guidance is recommended. Regular visiting hours are weekdays, 11 a.m. to 7 p.m., and Saturdays, noon to 5 p.m. The show continues through Oct. 31 at Soundscape, 314 Mendocino Ave., Santa Rosa. For more information, call Marc Silver at 578-4434.

From the August 17-23, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘Love’s Labour’s Lost’

0

A renowned novelist sticks up for love and romance–but isn’t so sure about ‘Love’s Labour’s Lost’

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

Frank Baxter has been doing his homework. In preparation for a mid-morning screening of Love’s Labour’s Lost–the much-reviled new film by Kenneth Branagh, adapted from the play by William Shakespeare–Baxter, an author and professor of ;iterature at the University of Michigan, voluntarily set himself the chore of reading the play in the Bard’s original text.

Every single word.

On an airplane.

Baxter is currently touring the country to promote his new book The Feast of Love, a delightfully complicated medley of interconnecting love stories that some have compared to Shakespeare’s A Midsummer Night’s Dream. Faced with such large gobs of travel time, Baxter grabbed a late-night in-flight opportunity to read the play.

“It took me about four hours,” he says, his eyes glazing over to indicate exactly how long those four hours seemed.

Love’s Labour’s Lost,” he dramatically intones, “isn’t really among Shakespeare’s best works. Is it?”

According to armies of scholars, in fact, Love’s Labour’s Lost is so flighty and inconsequential a play that many insist Shakespeare couldn’t possibly be its real author.

The plot, such as it is, deals with the King of Navarre and his three best friends, bachelors all, who make a solemn vow to devote themselves to intellectual study for three whole years, during which they will all abstain from the company of women. Almost immediately, they break that vow when the princess of France, accompanied by her three ladies-in-waiting, comes calling on a diplomatic mission.

Before you can say “Act Two,” the bachelors have each become infatuated with a different lady. They skulk about, sighing and moaning. Each begins composing sentimental love poems, professing his undying devotion to the lady of his choice.

For their part, the ladies–after toying like cats with their would-be suitors–ultimately proclaim the love-struck bachelors to be unmarriagable, since the men have demonstrated a certain inability to keep their vows.

In Branagh’s film version–set in 1939 and starring Alicia Silverstone (making a bold stab at singing), Adrian Lester, Nathan Lane and Branagh himself–the poems have been dropped entirely, replaced by classic love songs by Cole Porter and Ira Gershwin. These are performed in full-scale musical sequences, complete with tap-dancing and the occasional water ballet. While most critics have labeled L3 an affront to Shakespeare, others (mainly those who, like Baxter, have read the play) have instead suggested that Porter and Gershwin are the real victims.

Baxter, however, enjoyed the movie.

To a degree.

“I thought it was close to brilliant, at times,” he admits after the show. “It was very clever. My problem with the movie wasn’t that Branagh threw a bunch of classic songs into a Shakespeare play. My complaint is the particular songs he used. I think they undermined what Shakespeare was trying to say about love.

“In my reading of the play,” he explains, “it’s saying that it’s okay to be infatuated with love, infatuation’s fine–but it’s equally important to keep your word. But in Branagh’s musical version, the songs he’s chosen–Dancing Cheek to Cheek, The Way You Look Tonight, Can’t Take That Away From Me–mostly go in the direction of just saying how wonderful it is to be infatuated.”

“So,” I insert, “you’re saying that the immature adolescent sentimentality of the songs runs counter to Shakespeare’s suggestion that love be approached with a sense of maturity and responsibility? And of course, popular love songs have always been about the infatuation part of love. They’re almost never about responsibilities and commitments.”

“Funny you should mention that,” Baxter replies. “When the pre-pub copies of this new book began to appear, I did a phone interview with a woman who began by asking, ‘You’re actually writing about love? Do you really think people talk about love anymore?’ This was a woman in her mid-twenties, and it struck me as very interesting.

“So I started to think about what’s happening culturally,” he continues, “and I thought that maybe, for a generation that is interested in being cool and ironic– though ‘love’ may not exactly have become a taboo subject, yet–infatuation is certainly off the table. Infatuation is something young people simply don’t want to talk about.

“It was a shock to me.”

Baxter is on a roll now.

“I got a review that said my title Feast of Love was a dreadful title,” he reveals. “It said that no one, man or woman, would dare carry a book called the Feast of Love onto a subway. And next to the article was another review of a book by a L.A. writer named Rachel Resnick, whose book is called Go West Young Fucked Up Chick. She thought that was a wonderful title.”

He laughs again, a gentle rumble tinged with rueful amusement.

“I keep thinking of the way the movie’s tone swings back and forth between earnestness and irony, and that the irony is usually often more entertaining that the earnestness,” Baxter muses. “It’s as if we know how to process the irony, but an earnest view of love is too hard to swallow.”

Not as hard to swallow as Alicia Silverstone singing, but I get his point.

“Perhaps,” he murmurs, “all this discomfort with love is a reaction to the older generations’ fondness for serious love-songs and sentimentality, a swing of the pendulum in a direction away from all that.

“If so, we only have to wait for the next generation, when the pendulum begins to swing back.”

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Jeremy Rifkin

Commodifying the human experience: an interview with author Jeremy Rifkin

By Tamara Straus

JEREMY RIFKIN believes one day soon you will wake up and find that virtually every activity outside your immediate family has become a paid-for experience. Almost everywhere you turn, almost anything you do will be based on an arrangement that involves forking over cash: think cable subscriptions, fitness club memberships, monthly installments on a leased car. On this near-dawning day, your life, in effect, will have become someone else’s mini-mart, a storehouse of commercial relationships with companies that base their worth not on what they produce but on how much of your time they own.

Sound frightening? Well, it should, according to Rifkin, a fellow at the Wharton School Executive Education Program and the author of such dystopian polemics as The Biotech Century and The End of Work. In his latest book, The Age of Access (Tarcher/Putnam), Rifkin charts the development of what he calls “the new culture of hypercapitalism,” in which owning material goods becomes secondary to paying for access to them–and a customer’s “lifetime value” becomes the ultimate market commodity.

Rifkin is an economist by trade. He lectures to CEOs about the social ramifications of their business practices and runs a nonprofit in Washington, D.C., called the Foundation on Economic Trends. His foundation is, among other things, currently suing Monsanto for not adequately testing its agricultural products.

But what Rifkin really is–when he puts fingers to keyboard–is a social science polyglot. His new book is a distillation of current thought on psychology, cultural anthropology, economics, and philosophy. It is, in many ways, a popularization of the ever-elusive theory of postmodernism. Rifkin uses such favorite postmodern terms as “immateriality” and “decenteredness” to describe how cyber networks, electronic commerce, and lifestyle marketing are resulting in a final, nightmarish stage of capitalism. In this last stage, the commercial sphere wallops the cultural one, and Homo erectus is reborn a time-stressed consumer whose most powerful tool is his credit card.

There is not much new in this quasi-Marxist approach to 21st- century socioeconomics. Yet unlike the postmodern treatises of Fredric Jameson and Jean-François Lyotard (both of whom are literary philosophers with a penchant for apocalyptic vitriol), Rifkin’s book is a mostly sober analysis of how capitalism is restructuring itself, backed up by close observation of the business world and hard statistical evidence.

Whereas Jameson writes without great substantiation about “the great global multinational and decentered communicational network,” and Lyotard poetically bemoans the “disappearance of the Idea that rationality and freedom are progressing,” Rifkin writes plainly and supports his postmodernist arguments with economic data. In The Age of Access, we learn, for example, that the average American visits a mall every 10 days for approximately an hour and 15 minutes; that the service industry now accounts for more than 77 percent of employment of the U.S. workforce; and that a typical U.S. citizen is bombarded by more than 3,500 advertising messages a day, thanks in part to U.S. television networks that now broadcast 6,000 commercials per week.

“What I was trying to do with this book is wade through all this postmodernist stuff and take what I thought was real and eliminate what I thought was bull, and get down to how this relates to economics,” writes Rifkin. “What people don’t understand is that we are entering a totally different form of capitalism.”

Rifkin’s main point is that the new era we are entering is as different from market capitalism as market capitalism was from mercantilism. Power is no longer based on property but on access to services. Business is no longer determined by place but by the decentered nature of cyberspace. Markets, the mainstay of industrial capitalism, are giving way to what Rifkin calls networks.

“In a market, you have a seller and a buyer and you exchange property, which is the way we’ve defined capitalism since Adam Smith,” says Rifkin. “In networks, there aren’t any sellers and buyers. There’s no exchange of property. There are servers and clients, suppliers and users and ‘just-in-time’ access to what you need, but the property never alienates. In other words, it stays in the hands of the suppliers and they lease it.”

Rifkin doesn’t just hope to influence social and cultural critics with his book. He also has spent more than the last half year introducing business leaders around the world to his Age of Access theories because, as he puts it, “they haven’t really thought about what they’re doing.”

“One of the things that really hit me while writing,” he says, “is it’s all been just about the hardware and software until now. Bill Gates and Alvin Toffler and my friend John Nesbitt–none of them have a social vision that’s powerful enough to share these fruits in a way that’s a leap forward for humanity. It’s all about cell phones and e-mail.”

FOR RIFKIN, what corporate leaders are failing to understand is that cultural capitalism, as he calls it, is threatening the very foundation of modern life. Rifkin points out that, historically, culture has always preceded commerce, yet now we are in a situation where commerce has become the primary institution–and culture, coopted and commercialized, is derivative. This, he believes, is leading to a breakdown in social trust that could have dire consequences for the very idea of freedom and the workings of a healthy civil society.

“Unfortunately, the market has become the defining presence in our lives,” writes Rifkin, “and it is deconstructing that whole civil and cultural sector. The AOL&-Time Warners, the Bertelsmanns and the Sonys, what they’re really selling is the cultural diversity of thousands of years of human life–everything from travel and tourism to destination entertainment centers.”

Opponents of Rifkin’s book will probably say that he is a technophobe and a neo-Luddite whose economic theories are skewed from spending too much time reading about postmodernism and fulminating about the Internet. To some degree, his main argument–that people’s very life experience is being commodified–seems an impossibility for those of us who know the difference between Disneyland and a walk in the park. Yet his historical analysis of economics is ultimately persuasive, for in the new economy, access to consumers, whether it be by an Internet magazine or a car company, is becoming more important to a company’s bottom line than selling actual products. Branding and marketing are key to the success of a business–as is customer loyalty. The AOL&-Time Warner deal, which took place while Rifkin’s book was at the printer, is item No. 1 in defense of his arguments.

Moreover, no one can accuse Rifkin of jumping to conclusions or not doing his homework. The Age of Access took him six years to write. It is based on 350 books and 1,000 articles, assembled from 50,000 index cards and 2,000 pages of notes. It is, above all, the most accessible summary to date on how corporate capitalism–gone global and now virtual–is affecting business, society, and individual identity.

Yet there are dubious arguments in his book. One of the weaker sections follows too close on the heels of postmodern philosophers in describing what Rifkin calls the “protean persona.” In his view, men and women in the Age of Access do not define themselves in terms of having a good character or a strong personality as their grandparents did, but in terms of being “creative performers” who “move comfortably between scripts and sets as they act out the many dramas that make up the cultural marketplace.” This postmodern person is constantly on the hunt for new experiences in the form of paid-for performances, entertainment, and fantasies. He is even, as a result, beginning to exhibit multiple personalities, particularly in cyberspace, where donning and discarding identities can be accomplished in a blink of an e-mail.

Like Jameson and his postmodernist-in-arms, Jean Baudrillard, Rifkin seems to believe that 21st-century man will emerge functionally schizoid, as in a sci-fi novel. As opposed to his forefathers, who sought to be autonomous and self-sufficient, this new person will be dependent on others–via telecommunications–to confirm the various parts of his fragmented identity. This argument smells strongly of an intellectual’s rush to connect up the dots. I wonder whether Rifkin is really serious when he writes that this new person, a networking junkie, will live by the belief that “I am connected, therefore I exist.”

RIFKIN REALIZES he may be somewhat out of bounds in describing the psychological consciousness of the dotcom generation. “The jury is out,” he says. “You can also make the case that kids are multitasking, they’re parallel processing, they’re more connected with the rest of this planet.” In the end, he says his main concern is that young people be aware that their “postmodern play” is taking place in a commodified cultural marketplace.

One might ask at this point: Whither progress in Jeremy Rifkin’s brave new world of hypercapitalism? Are there no upsides to the Age of Access? Are we doomed to fulfill the postmodernists’ screeds of 20 years ago, to live a life of short-lived connections, virtual realities, and commodified experiences?

The way out of the hypercapitalist conundrum, says Rifkin, is through social movements, such as the campaigns for biodiversity and cultural diversity, that underscore the local and the cultural. “If we lose the sense of place, the sense of being, if you will, we may lose our sense of responsibility to intimate relations,” he writes. “The contrarian rallying cry of our time should be ‘Geography counts, culture matters!’ ”

Rifkin is hopeful that those cries will grow louder. “I think Seattle was the beginning of a powerful coming together of movements that can provide an antidote to the forces of global cultural production,” he says. “Suddenly we had the biodiversity groups coming together with the cultural diversity groups and organized labor–and these groups are all lodged in geography, which is where intimacy and empathy and real solidarity happens.”

Rifkin–ever the activist, ever quick to deconstruct a trend–will certainly champion this solidarity. Yet he is skeptical about the future of social progress. In the same breath that he mentions Seattle, he adds: “It is not out of the question that cultural diversity can be exhausted. If you lose the rich cultural diversity of thousands of years, it’s as final and devastating as losing biodiversity.”

Rifkin’s postmodernist colleagues are undoubtedly nodding in agreement. The question now is: Will business leaders–or, better, politicians–pay any attention?

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Les Claypool

0

Fisher of men: Les Claypool of Primus is sailing solo once again.

Sportin’ Life

Les Claypool casts about for a creative spark

By Greg Cahill

“DURING THE PAST couple of years, I’ve been very uninspired by music in general,” says Les Claypool, head honcho of the Grammy-nominated thrash-funk group Primus, during a phone interview from the west Sonoma County home he’s dubbed Rancho Relaxo. “Nothing’s really gotten me. Since I did this Oyster Head thing [a one-off jam session a few months ago that teamed the avant-rock bassist and vocalist with guitarist Trey Anastasio of Phish and drummer Stewart Copeland of the Police] and played with some musicians that are very spontaneous, I’m excited again. I’m very much into playing music–and music that has nothing to do with image or MTV or demographics or any of that.

“It’s just music for music’s sake.”

Enter Col. Les Claypool’s Fearless Flying Frog Brigade, an improvisational rock band that will perform a handful of West Coast dates, including a night at the Phoenix Theatre in Petaluma on Aug. 20.

In recent months, Claypool has been getting serious about the jam-band scene, a Grateful Dead&-inspired spinoff that includes such popular bands as Phish, Widespread Panic, Blues Traveler, Moe, Vinyl, and Rat Dog (with former Grateful Dead guitarist Bob Weir).

This latest phase of Claypool’s long and varied career started earlier this year at Super Jam, an annual event organized by a New Orleans promotion company that enlists musicians to perform once-in-a-lifetime freewheeling jam sessions. “It’s this scene where you’re encouraged to go out and improvise as much as possible,” Claypool explains. “It’s not necessarily new, but it is fresh to me. Since New Orleans, the sort of jam-band hippie community has embraced me, and I’ve been getting offers to do various things.”

Offers to do similar projects began pouring in. Some recent ones involved jam sessions at the Mountain Air Festival with Frog Brigade and ex&-Grateful Dead bassist Phil Lesh. Other projects have included a date with the New York band the Disco Biscuits (at the JamBand.com awards ceremonies) and another at the Gathering of the Vibes, under the moniker Rat Brigade, which featured some of the same musicians who will join Claypool at the Phoenix Theatre and upcoming dates on both coasts.

“So it’s just this thing that has been perpetuating itself,” he says. “I’m enjoying it–having a great time.”

The rambling repertoire is a far cry from the tightly broken rhythms and surreal lyrical tales for which Primus is known. “A lot of the stuff we’re doing is a variation on different cover tunes,” he says. “We’ve done Pink Floyd, Beatles, King Crimson, Tom Waits–various songs that serve as a structure to jam around. When we did Frog Brigade at Mountain Air, it was Jack Irons and Tim Alexander on drums, so we did an 11-minute version of Led Zeppelin’s [drum solo opus] ‘Moby Dick.’ It was pretty awesome. I just sat back and enjoyed it.

“But that’s the spirit of it.”

At the Phoenix Theatre, the band will consist of former Primus drummer Jay Lane and keyboardist Jeff Chimenti, both of Rat Dog; (Primus co-founder) Todd Huth on guitar; and guitarist and multi-instrumentalist Eenor.

The addition of Eenor marks a move by Claypool to tap deeper into the avant garde. He met the East Bay musician (whose own band is called Channel 23) after running an employment ad in several Bay Area newspapers.

“I was really taken by his playing,” Claypool says, “so I called him up, and subsequently he’s now playing for Frog Brigade.

Skerik, a Seattle-based avant-rock saxophonist with Critters Buggin’, might also perform at the Petaluma date.

THIS LATEST FORAY into the avant-rock world is in the spirit of Primus, however–the band that the All Music Guide once called “a post-punk Rush spiked with the sensibility and humor of Frank Zappa.” The band has recorded 10 CDs over the past decade and gone through a couple of personnel changes. In 1996, Claypool released a solo album, Les Claypool and the Holy Mackerel’s Highball with the Devil (Interscope), a surrealistic set of “pure self-indulgences”–lyrically cartoony, sonically hallucinogenic song sketches laced with smatterings of twangy surf guitar, early Pink Floyd psychedelia, herky-jerky rhythms, and abstract jazz stylings.

Claypool also has maintained another side project, Sausage, that is somewhat more collaborative than Primus and features former Primus members Huth and Lane. The trio has recorded one album, 1994’s Riddles are Abound Tonight (Interscope), and the three toured together that same year.

More recently, Claypool can be heard plucking the bass on the tongue-in-cheek “Big in Japan,” from Tom Waits’ 1999 CD Mule Variations (Enigma).

An avid cartoonist and aspiring film writer, Claypool recently completed his second screenplay, now making the rounds in Hollywood. He describes it as being “another semi-suburban, mythical, drug-hazed, comedic tragedy,” and then adds with a big laugh, “Wow, that’s the first time I actually had to do a one-liner on it.” MEANWHILE, the current round of jam sessions is allowing Claypool to rekindle his creative spark after the dissolution of the punk-funk scene that once thrived in the San Francisco area. “You know, years ago we had a scene with Primus that was pretty incredible–it was us, the Limbomanics, Mr. Bungle, Psychofunkapus, and Fungo Mungo. Since [Primus] has grown and become an international act, I find that I’ve lost touch with a lot of what’s going on in the Bay Area. And to an extent, there doesn’t seem to be that much of a scene [in the region]; it’s pretty scattered and unorganized.

“Still it’s great to get to play with local musicians again–I’ve been checking out a lot of local acts and just jamming with a bunch of local musicians.

“For me, that’s very exciting. I’m beginning to feel more like a musician again, instead of some rock star with a big house in the country who goes out and plays on big stages every now and again.

“So it feels good.”

Col. Les Claypool’s Fearless Flying Frog Brigade performs Sunday, Aug. 20, at 8 p.m. at the Phoenix Theatre, 201 Washington St., Petaluma. Tickets are $18. 762-3566.

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Bear Korean

0

Bear hugs: Bear Korean owners Song Ae Ko and Chong Su Ko.

Kimchee Kitchen

Cotati’s Bear Korean satisfies a taste for the exotic

By Paula Harris

THE FIRST THING we notice about the Bear Korean Restaurant in Cotati isn’t the vaguely seafood fragrance in the air, or the simple tables covered with bowls of presumably exotic fare, or even the pretty illuminated aquarium decorating the front of the plain lunchroom–it’s the Korean karaoke.

The would-be songfest is in the form of a video blaring garishly from a color TV set elevated to deity status up in the corner. This karaoke video is unsettlingly entrancing. We have menus before us, but still can’t tear our eyes away from the poised and posed Asian couples modeling the story lines of unfamiliar songs, while the bouncing ball skips along over the lyrics–shown in Korean characters. The canned music plinky-plinks along relentlessly from one tune to the next. It’s like being trapped in an elevator.

Still, some customers seem to be enjoying the entertainment, gazing up at the screen while they raise chopsticks and small teacups to their mouths. In the past few months, since the restaurant opened, Bear Korean has attracted quite a following of regular clients (Korean and otherwise), all drawn to its exotic home cooking and tasty take outs.

The informal dining room is plain, clean, and comfortable, with a brown-and-white linoleum floor, pale gray walls with minimal art work (plus a few photos of family or maybe they’re clients). There are various sports trophies on a couple of shelves near the cash register. You can peek into the partly open kitchen, which is framed by lace curtains, and see what appears to be three multigenerational members of a family busy at work over the sizzling stoves and grills.

OUR SERVER is a rather quizzical fellow who seems to take a perverse delight in being flummoxed by non-Korean-speaking clients’ questions about the menu (a couple of items have absolutely no explanation of their content). He brings us cups of tea. The brew surprisingly is served cold (maybe to quench the spiciness of some of the food) and has a refreshing corn and barley flavor. He also brings us a dish containing a cluster of pungent white shreds–dried squid. The taste is fishlike, but the texture is dry and chewy.

There’s no wine on the menu, but there are bottles of OB–a light-bodied lager brewed in Seoul. It complements the food very well.

The server makes quite a production of bringing out nine small plates of various condiments and lining them up along the table. These are the panch’an–the various side dishes brought out at the beginning of a Korean meal. Our side dishes tonight include radish prepared two ways (spicy and sweetish); a mouth-scorching leek-based kimchee; cold spinach; mashed potato salad with apples; mung bean sprouts; yellow squash; and opalescent, slightly salty Korean bean cake. There’s also, of course, the standard kimchee of fermented cabbage in fiery chili marinade, the hallowed Korean dish (and everyone has his or her own secret recipe) that is said to have magical properties. Indeed, kimchee experts claim the taste comes from the fingertips of the maker.

All in all, quite an array of tastes and textures.

A GREAT BARGAIN is the jin man du ($4.25), the steamed wonton appetizer. We are surprised by the quantity: 10 fat little dumplings resting on a cabbage leaf on a steamer shelf. The parcels are crammed with minced pork and vegetables.

The rice omelet ($6.95) is an enormous roll resembling a burrito. But instead of a tortilla, the outer wrapper is a pale gold omelet curled around a tasty filling of vegetable fried rice. The whole thing, which has a kind of egg foo yung flavor, is draped with a thick brown sauce that tastes a bit like tamarind.

Another dish, japchae ($8.95), is a heaping salad of translucent slim buckwheat noodles dressed in sesame oil and chili sauce and containing various veggies like raw cucumber and carrot. It’s an unusual hot-cool flavor combo that’s very satisfying.

When the server brings me pork bul go ki ($10.95), Korean-style barbecue pork–instead of the pork gal bi ($11.95), the barbecue pork ribs that I’d ordered–I decide to just go along with it. This is another large portion (served with steamed white rice), featuring slices of meat and sliced fried onions sizzling on a hot metal plate. The charcoaly, slightly spiced pork is well flavored, but, disappointingly, rather tough.

Next time I’ll be sure to try the ribs.

There are no desserts at Bear Korean, but the server grins and brings us each a stick of Korean Haitai melon-flavored chewing gum in a fuschia pink wrapper to finish off the meal. As we leave, masticating furiously on the fruity adhesive, the karaoke video starts back up, finally playing something we recognize: “Tie a Yellow Ribbon.”

We beat a hasty retreat. But we’ll be back!

Bear Korean Restaurant 8577 Gravenstein Hwy., Cotati; 794-9828 Hours: Daily, from 10 a.m. to 10 p.m. Food: Korean Service: Friendly, though not very helpful Ambiance: Informal and comfortable Price: Inexpensive to moderate Wine List: No wine available Overall: 2 1/2 stars (out of 4)

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Sonoma Antique Apples

0

Picky, picky: Terry Harrison of Sonoma Antique Apples in Healdsburg has traveled throughout the United States in search of obscure apple varieties..

Antique Apples

Heirloom apples forgotten, but not gone

By Marina Wolf

NEXT TIME you’re at the grocery store, pay attention as you pass by the apples. Red, green, and yellow, maybe green with red stripes, right? Now, don’t buy anything. You know what they taste like. Instead, sit down and read a few excerpts from The Book of Apples (Ebury Press, 1993) and ponder the possibilities:

Ashmead’s Kernel: “Strong, sweet-sharp intense flavour reminiscent of fruit or acid drops and of Nonpareil [another apple], but sweeter than its probable parent. Firm, white flesh.”

Duchess of Oldenburg: “Very beautiful, boldly striped and mottled in red over pale yellow with bloom. Savoury, quite brisk, juicy, soft, deep cream flesh. Cooks to very lightly flavored purée.”

Reinette Rouge Étoilée: “Vivid flush and star-shaped russet freckles account for name. Intense, quite sharp flavour of raspberries; juicy firm flesh, often stained pink under skin and around core. With keeping, becomes drier, sweeter, and flavour seems almost distilled into raspberry essence.”

These are just three of the more than 2,000 varieties described in The Book of Apples, which catalogs the holdings of just one horticultural orchard in England. On the other side of the Atlantic, the New York State Agricultural Experiment Station in Geneva, N.Y., has either germ plasm or actual trees representing close to 4,000 varieties and records the existence of over 7,000.

Such numbers raise the question: Where have all the apples gone?

“Asking where the heirloom apples have gone is like asking where the Model Ts are,” says Tom Vorbeck, owner of Applesource, an apple-tasting service based in Illinois. “They’re still around, but they’re never going to be in significant commercial production again.”

“Significant commercial production” is perhaps a subjective phrase, as it turns out. A particular apple may have been all the rave for English Victorian garden parties, or it may have been the premier cider apple all along the Eastern seaboard in the late 1700s. Some apples have been in recorded cultivation for several hundred years. But in all that time, no one apple, or even half a dozen apples, ever dominated the market.

Before they were heirloom, these apples were grown either in home orchards for home consumption or on relatively modest-sized farms for local markets. The technology didn’t exist yet to keep them for very long; consequently, apple varieties were once nearly as seasonal as good peaches, with the first arriving in early August and the very last stalwart keepers ripening into perfection well into spring. Apples were chosen not only for their harvest dates and keeping properties, but also for specific end uses–hard and nonalcoholic ciders, sauces, pies, preserves, and a full menu of flavors and textures for eating fresh at the end of a meal.

By the mid-1900s, though, the many varieties of apples had lost much of their significance for people who had neither the space nor the time to make their own cider and applesauce, let alone grow their own food. Instead, people went to supermarkets, where, even in the produce department, appearance and packing determined shelf placement, stock rotation, and sales. Apple breeders searched out uniformly pretty and “inoffensively flavored” specimens–Red Delicious being the most (in)famous, and the public ate them up: at the height of their popularity in the ’60s, ’70s, and ’80s, around 50 million boxes of Red Delicious apples were being shipped out of Washington state each year.

“Most Americans buy with their eyes, not with their taste buds,” says Hoyt Adair, owner of the Classical Fruits nursery in Moulton, Ala. “You put Spitzenburg on the shelf, no one would buy it.”

Reportedly one of Thomas Jefferson’s favorite apples, the Esopus Spitzenburg has an acclaimed flavor. The Book of Apples calls it “rich [and] fruity,” with “lots of character.” As often happens, one person’s character is another’s character flaw: the Spitzenburg also suffers from a condition called russeting, or rough patches.

OTHER OLD-TIME apples certainly have their share of flaws that have proven fatal in the world marketplace. For starters, not all old apples taste that good.

“Just because you find something in an old orchard doesn’t mean it’s great,” says Terry Harrison of Sonoma Antique Apples in Healdsburg. The Harrisons have traveled the country to investigate apples, but they’ve left more than a few behind. “Some we didn’t collect because we didn’t think they were good enough.”

Even if an apple tastes great, it may produce lightly, erratically, or only every second or third year–all problems for a farmer who needs a regular, predictable crop for income. Others aren’t strong enough for weather extremes or are too susceptible to diseases (although there exist some heirlooms that have remarkably high resistance to the diseases indigenous to their region). Delicate or smaller apples such as the perfumed Lady apple have naturally higher labor costs, being more time-consuming to pick. The Gravenstein, a regional favorite in Northern California, where it was brought by Russian explorers in the early 1800s, nonetheless is like many old-time apples in not keeping well. Others have the reverse problem: they keep too long, requiring long storage to mellow, a disadvantage in our culture of instant gratification.

But the increasingly gourmet tastes of America, not to mention a heightened interest in local agricultural specialties, have fueled a renewed interest in these apples, say growers. “People are starting to realize that they don’t want beautiful apples. They want a good-tasting apple,” says Sam Benowitz, owner of Raintree Nursery in Morton, Wash. “We’re lucky to have a really terrible apple [the Red Delicious] as the standard. It makes people really interested in other varieties.”

IN RESPONSE, growers and breeders are moving their wares to a very modern arena and putting their catalogs on the Internet. But to cultivate new consumers, they rely on a very old-fashioned event: tastings. Hoyt Adair in Alabama now has close to 1,000 visitors during his tasting event. And the Harrisons of Sonoma Antique Apples get several hundred people to try 35 different apples at their tasting in early October.

“Apple tastings are really the best way that people find out about these apples,” says Carolyn Harrison.

Most growers agree that America’s new longing for old-time tastes has as much to do with nostalgia as it does with flavor. “Nostalgia plays a large part,” says Judy Wells of Southmeadow Fruit Garden, in Baroda, Mich., home of more than 300 apple varieties. “We get so many calls from people that start, “Grandma had a tree in her front yard, and it was the best apple.’ ”

But if Grandma moved to the suburbs and commercial sales are impossible, where does that leave the apples? Right where they were 100 years ago: firmly in the hands of a few farmers and dedicated home orchardists. “You can put them in a preservation orchard or save their germ plasm,” says Carolyn Harrison. “But if you want to really keep them alive, you’ve got to get them out there in everybody’s orchard.”

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Zero-Tolerance Policies

Running Scared

Public schools practice less-than-zero tolerance

By Sarah Cottrell Stokes

WHAT IF you were an artist in high school? And you were putting together your portfolio for acceptance into art school, working hard to represent yourself with different styles, all recognized by other serious and professional artists? What if someone then told you your work was threatening, assuming that you might even be a danger to your fellow students, and took you out of school for the remainder of your senior year?

It’s hard to imagine, but 17-year-old Sarah Boman, an honor student at Bluestem High School in Leon, Kan., faced this very situation just a few months ago.

It started with a piece of artwork she posted on the door. It was done in a style known as “repetitive art” in which the artist spirals words from the center outward. Boman’s graphic piece detailed the psychotic ramblings of a schizophrenic man obsessed with finding out who killed his dog. “I did it in the last 10 minutes of school, during tutorial–I just took it and hung it on the [art classroom] door. I did that with a lot of my work,” Boman says.

The next day, a school office employee saw the work and immediately took it down, according to Boman. It was brought before the principal. The principal felt it was inappropriate, even threatening, and Boman was called in for questioning.

During the meeting, Boman was allowed to go to the bathroom. “I took the original and tore it up and flushed it down the toilet. I was so scared. I never got in trouble before,” Boman says.

She was told the school operated under a zero-tolerance policy for violence. She was suspended for five days and was allowed to return to school only after a hearing with the school board.

Boman went home and called her mom. “I told her, ‘I think I’m going to be arrested for a piece of artwork I did.’ ” Boman wasn’t arrested, but that day was the beginning of a fight that involved the American Civil Liberties Union, the school board, and the U.S. District Court House in Wichita, Kan.

First, three representatives of the school board, gathered to hear what had happened and to hear people defend her. Thirty people showed up, including her parents and her sister. While the board agreed that Boman wasn’t dangerous, it refused to allow her to return to school.

“They decided I wasn’t a threat, but in case anything happened they didn’t want to be held responsible,” Boman says. She didn’t get officially expelled, but she received a suspension of 81.5 days–the rest of her senior year, exactly.

“I couldn’t believe it,” Boman says, remembering the moment vividly. “I told them that I would do anything to get back in school. I told them that I would take a psycho test. I would paint backdrops for the school plays. Anything to get back in.”

SINCE the school board wasn’t going to let that happen, Boman asked for help from the ACLU, who got her a lawyer, Paul Rebein. They began a negotiation with the school board, during which Boman and several other witnesses testified for her. Jill Eggers of Wichita State University and Mary Kay of Bethany College, both women artists with a master of fine arts degree, were among her supporters.

Boman’s hometown also rallied around her. “There were people outside with signs and they were singing ‘Kumbayah.’ The whole town wore yellow ribbons. A lot of people didn’t understand the [art] piece itself, but they know me. They thought the school went overboard.”

During this time, Boman’s initial fear turned into a sense of injustice. “I felt that the school board was trying to use me as an example,” Boman says. “I’ve never been in trouble. I’m a straight A and B student. They all know who I am and what I’m about–they know that I’m not a threat and that I am a serious artist. But at that point they didn’t really care.”

Boman’s legal counsel agreed. Once they felt they had built a strong enough case in Boman’s favor, they went before the U.S. District Court for a preliminary trial. Judge Wesley E. Brown heard from both sides and decided not to send it to trial.

“The judge said that I should go back to school and that the five days of original suspension was punishment enough. Anything further was basically uncalled for and really not legal,” Boman remembers. Judge Brown told the school board they were right to pursue the situation, but should have known within 15 minutes that Boman did not present a threat.

BOMAN immediately returned to her senior year. But things were not quite back to normal. “I didn’t expect anything would change, but some people were kind of mean,” Boman admits. “As time went by, people loosened up. I think there were kind of hard feelings. I don’t know if some people felt that maybe the judge ordered the wrong thing–I’m not sure what it was, really.”

Now Boman is looking forward to starting this fall at Bethany College in Lindsborg, Kan., where she has received a scholarship and plans to study (of course) art. “I’m very much looking forward to college. You can explore every realm of being without having to worry about limitations, about the way things are going to be perceived. People are more open-minded. You can focus on improving the meaning behind your art.”

The experience may be behind her, but Boman says that her art continues to be influenced by what happened. “I used to draw people scared of clowns and weird creatures. All I’ve drawn since I got back is people.”

Things have settled down, and Boman seems pleased about where her life is now headed. Remembering something Judge Brown told her the day of her preliminary trial, Boman gets serious.

“He told me not to prove him wrong. He said, ‘Young lady, you and your father know that today you received justice. Now it’s up to you to calm things down.’ ”

With a bright future ahead of her, Boman is doing exactly that.

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Great Voucher Debate

0

Ballot Primer

Getting ready for Prop. 38 and the great voucher debate

By Tate Hausman

LOOKING for a new blood sport? Then try this fun experiment: Enter a crowded room of education reformers, experts, professors–maybe even senators–and yell, “Vouchers!” If you don’t get trampled in the ensuing fray, you’ll be treated to quite a show.

Listening to some education policymakers, the average observer might think that the Great Voucher Debate represents a full-scale Armageddon, where the righteous are violently battling the wicked over the future of American public schools. The very term voucher has become a hollow buzzword that kills intelligent debate.

What the rhetoric fails to explain, of course, is what exactly vouchers are all about, and why the public–including California voters, who will vote for the first time on the issue when Proposition 38 hits the ballot in November–should either support or condemn them. The following voucher Cliff Notes, including key definitions of the terms used by policymakers and the media, should properly arm you with the jargon and opinions necessary to fling yourself headlong into the Great Debate.

Definitions:

* Voucher: A fixed amount of public money–usually about $2,000 to $3,000–that a state or school district gives to parents to enable them to send their children to private schools. The voucher pays for some or all of a private-school tuition, and the parents pay the remainder. Voucher plans have been implemented, with varying degrees of success, in Wisconsin, Vermont, Ohio, and Maine, and have been suggested or planned in many other states. Also called “tuition vouchers,” “tuition choice plans,” or “public scholarships.”

* Private Scholarship Program: Identical to a voucher system, but funds come from private philanthropists and foundations instead of from taxpayers. More than 30 cities, including Indianapolis, Cleveland, Washington, New York, and Los Angeles, have private scholarship programs.

* Donor Tax Credits: Income tax credit–usually around $500–given to anyone who donates money to private scholarship foundations or public schools. Would encourage private voucher programs at public expense.

Arguments for vouchers:

1. All children, regardless of their class background, deserve the opportunity to attend good schools. Vouchers would allow any child to attend a private school, which is better than a public school.

2. Introducing vouchers into the school system will make education a consumer good. This will naturally create competition in the market, which will create better schools. Bad public schools will either lose all their funding and close or be forced to improve their “product.”

3. Vouchers will give low-income parents–especially minorities–some leverage in the monolithic system that dominates their children’s lives. Since public schools, even in the inner city, are disproportionately controlled by middle- or upper-class whites, vouchers would give lower-class and minority parents the economic clout they desperately need to have a voice in their local schools.

4. The government never uses funds as efficiently as the private sector. Diverting public funds into private hands will stretch taxpayer dollars further.

5. By not allowing public funds to go to sectarian schools, the government is impinging on the freedom of parents to express their religious views, in violation of the First Amendment.

6. Any change in public education is good change since it challenges the status quo and creates innovation. Public education is too protected by its own inertia and bureaucracies, notably teachers’ unions and school boards. Vouchers will upset that inertia and create positive change.

7. Many public schools are unsafe. All children deserve to learn in the safe, drug-free, disciplined environments that private schools offer.

Arguments against vouchers:

1. Private schools are not necessarily better schools–in fact, they can be tuition-hungry diploma mills that allow lax discipline and poor academic standards in return for high tuitions and parental donations.

2. Competition in and between schools means cutting costs to produce cheaper, easier products. If schools are always concerned about their bottom lines, they will be tempted to reduce staff, to buy low-quality, cheap materials, to increase teachers’ burdens, and to pay teachers less–all of which have been proven to impinge on good teaching.

3. Vouchers will transfer too much power into the hands of consumers, whose decision to exploit the vouchers will undermine public school teachers and administrators by significantly decreasing their funding.

4. Diverting much-needed funds from already strapped public schools will only damage public education. Public schools need more support from our treasuries, not less.

5. Most private schools (in some states as many as 90 percent) are religiously affiliated–largely with the Catholic Church. Through vouchers, public money will inevitably be used in religious schools, violating the principle of the separation of church and state.

6. Vouchers will threaten the job security of many underpaid, overworked teachers, especially the most dedicated ones working at the toughest inner-city schools. Good teachers will be shuffled from school to school at the whim of a highly volatile market, destroying their ability to teach effectively.

7. Studies have shown that private schools are not necessarily any cleaner than public schools. Discipline, safety, and drug abuse depend on the administration of the school, not its funding sources.

From the August 10-16, 2000 issue of the Sonoma County Independent.

© Metro Publishing Inc.

‘As Bees in Honey Drown’

The sweet stuff: Morgan Forsey stars in As Bees in Honey Drown. Fame Game 'As Bees in Honey Drown' takes on celebrity culture By Patrick Sullivan EACH ONE sets out alone, but they arrive by the busload, wandering in wide-eyed crowds through the Port Authority or down Hollywood Boulevard, full...

Reggae on the River

BJah love: Celebratory spirit and a sense of community pervade the annual reggae festival. Photograpn by Shelley Lawrence Tribal Revival Reggae on the River keeps 'em coming back for more By Shelley Lawrence HOT, POINTY ROCKS. Blazing sun. No grass, no shade, and thousands of sweaty people producing...

Erotic Art Show at the Soundscape Gallery

Heated glances: The walls of the Soundscape Gallery get a new look during the Erotic Art Show with such work as Nick Bennett's Cayenne (above). Photograph by Michael Amsler Intimate Visions Erotic Art Show returns to Soundscape Gallery By Bill English THE JAPANESE call it the...

‘Love’s Labour’s Lost’

A renowned novelist sticks up for love and romance--but isn't so sure about 'Love's Labour's Lost' Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This is not a review; rather, it's a freewheeling, tangential discussion of art, alternative ideas, and popular culture. ...

Jeremy Rifkin

Commodifying the human experience: an interview with author Jeremy Rifkin By Tamara Straus JEREMY RIFKIN believes one day soon you will wake up and find that virtually every activity outside your immediate family has become a paid-for experience. Almost everywhere you turn, almost anything you do will be based on an arrangement that...

Les Claypool

Fisher of men: Les Claypool of Primus is sailing solo once again. Sportin' Life Les Claypool casts about for a creative spark By Greg Cahill "DURING THE PAST couple of years, I've been very uninspired by music in general," says Les Claypool, head honcho of the Grammy-nominated thrash-funk group Primus,...

Bear Korean

Bear hugs: Bear Korean owners Song Ae Ko and Chong Su Ko. Kimchee Kitchen Cotati's Bear Korean satisfies a taste for the exotic By Paula Harris THE FIRST THING we notice about the Bear Korean Restaurant in Cotati isn't the vaguely seafood fragrance in the air, or...

Sonoma Antique Apples

Picky, picky: Terry Harrison of Sonoma Antique Apples in Healdsburg has traveled throughout the United States in search of obscure apple varieties.. Antique Apples Heirloom apples forgotten, but not gone By Marina Wolf NEXT TIME you're at the grocery store, pay attention as you pass by the...

Zero-Tolerance Policies

Running Scared Public schools practice less-than-zero tolerance By Sarah Cottrell Stokes WHAT IF you were an artist in high school? And you were putting together your portfolio for acceptance into art school, working hard to represent yourself with different styles, all recognized by other serious and professional artists? What if someone...

The Great Voucher Debate

Ballot Primer Getting ready for Prop. 38 and the great voucher debate By Tate Hausman LOOKING for a new blood sport? Then try this fun experiment: Enter a crowded room of education reformers, experts, professors--maybe even senators--and yell, "Vouchers!" If you don't get trampled in the ensuing fray, you'll be treated...
11,084FansLike
4,606FollowersFollow
6,928FollowersFollow