Kitchen Envy

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Kitchen Envy

Michael Amsler


No room at dinner table
for green-eyed monster

By Marina Wolf

ALMOST everyone has done it at one time or another: You slip into a friend’s kitchen for a spoon or a refill or the mop, and you just happen to look into a drawer. It’s a big drawer, you notice, made from smooth, well-oiled pine, probably shipped in by sailboat from Scandinavia and installed by a celibate vegetarian Buddhist cabinetmaker from Maine.

You remember the particleboard face that fell off when you yanked open your lone kitchen drawer last week. Or the cupboard that you’ve tried to open ever since you moved into your apartment, and now, six months later, you’re too scared of the contents to keep trying.

Does your blood boil? Do you retreat to the bathroom to sulk over a stiff drink?

Then you’ve probably got it: kitchen envy.

Kitchen envy is an inevitable development in densely populated urban areas where the level of food consciousness is inversely proportional to the amount of choice one actually has in choosing the arena in which this consciousness plays out. Those suffering from kitchen envy experience an irresistible attraction to other people’s food-preparation spaces and a feeling of teeth-grinding bitterness when a stash of pizza-parlor pepper packets and splintery wooden chopsticks are found therein.

This kitchen deserves better, dammit!

Kitchen envy usually has its roots in that most formative period of a young person’s life: post-high school. Campus slums and other affordable establishments effectively prime us for shock by leading us to believe that this is as good as it gets. Red-papered kitchens with dorm-size refrigerators and rotten soggy cutting boards, counters so slanted that even cubes of butter slide off–these are merely conversation starters, punch lines to an opener that everybody knows: my kitchen’s so bad …

But it is after you graduate, or acquire co-workers whom you wouldn’t be frightened to visit at home, that kitchen envy kicks in. Because it’s brought on, not by what you don’t have but by what others do have. You see for yourself, visiting the rental pads of other, more fortunate souls, that it is architecturally possible to extend the countertop more than six inches on either side of the stove or sink. You observe that no building or aesthetic code is violated by having more than one electrical outlet in the kitchen. Maybe you get invited to a dinner party at an actual house, and stagger at the sight of butcher-block countertops with more surface area than some elementary-school gyms, a range that could support the heating requirements of hell and several busy Chinese restaurants, and a greenhouse window where the squirrels perform little Disney dances every morning.

KITCHEN ENVY is all the more bitter because of its seeming unsolvability. Most people can’t just go out and buy their own house to accommodate their slobbering lust for counterspace or roll-out appliance garages. And the more disgustingly bad your kitchen space is, the more likely it is that you live in an establishment where the landlord won’t even let you paint the walls a cleaner shade of white, let alone put in shelves.

The true horror of kitchen envy, much like its better-known Freudian counterpart, is that you may just have to live with it until you can afford to install different plumbing.

There are, however, a few things you can do in the meantime:

Simplify. The more stuff you have, the more space you need to store it. Look into specializing your output. Chinese cuisine, for example, demands very little in the way of equipment–a wok, some chopsticks, a bamboo steamer, maybe a battered saucepan with lid for rice–and it makes for lively dinner parties. You could go American colonial with one-pot cooking, or avoid the kitchen altogether by eating only what fits on the top of your engine block. Make your kitchen a walk-in closet. You probably need one of those too.

Improvise. The Surreal Gourmet offers a recipe of steaming salmon in the dishwasher as a pièce de résistance for a dinner party. If you’re a typical disgruntled rental dweller, you may not even have a place to put a dish drainer, never mind a dishwasher. But there are always other ways of improvising. That ironing board that falls open across the front two burners of your stove at dangerously inopportune moments? Leave it down, cover it with thick bright cloth, and use it for a pot rest. How often do you use more than two burners, anyway? To extend your food-prep surface, pick up one of those wooden bed trays. Put a cutting board on top, line the side cubbies with plastic bags, and you’ve got a portable work station that’s everywhere you want to be–the bed, the TV chair, the front porch (if you have one). It’s even better than an island on wheels because it’ll never get caught on that cracked linoleum.

Highlight the positive. Fabled food writer M.F.K. Fisher waxed lyrically of her tiny kitchen in Lyons, France, with a cranky two-plate burner and the water source down a flight of stairs. But it did, after all, have an enormous window that looked out over a picturesque square. Discounting even her youthful romanticism and incredible gift for language, we can safely say that Fisher felt good enough about her window to render the 3-by-5-foot kitchen, and everything cooked in it, completely charming. You probably don’t live in Lyons, but there has to be something that makes your kitchen utterly, endearingly unique. Find it and let the awareness seep into your culinary life like a good marinade. Harmonize with the hum of your refrigerator. Caress your antique drawer pulls with loving fingers–whoops! not too hard! Admire the caramelized patina of the grease-enameled stovetop.

You can’t buy character like that!

From the August 20-26, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Scoop

Say What?



Subliminal ads make a return

By Bob Harris

ADVERTISERS are now betting hundreds of thousands of dollars that you can and will be manipulated– in just a second. A guy named Wilson Bryan Key wrote a book almost a quarter century ago called Subliminal Seduction, claiming that if you look really closely at the airbrushed ice cubes in liquor ads, clothing folds in cigarette ads, or still frames from TV beer commercials, you can see dirty words and all sorts of organs and orifices.

Supposedly, if you really look closely, even the surface of a Ritz cracker is a veritable orgy of profanity. Well, you know me.

I spent a couple of days afterward squinting at everything from Cosmopolitan magazine to the jar of honey in my fridge, and I’m here to tell you, there are weird things hidden in a lot of places, but the only sexy thing you can connect to a Ritz cracker is getting crumbs in the bed afterwards.

Some of what Key thought he could see is probably the result of a psychological phenomenon where you often see things you’re looking for, even if they’re not really there–like faces in the clouds, or the man in the moon, or a reason for another “Donny & Marie” show.

But we know there really isn’t any such thing.

(And by the way, in Los Angeles there’s a giant “Donny & Marie” billboard on Melrose Avenue behind my apartment building. There’s probably one on a street near you. Next time you see one, look closely. Is it just me, or does it sort of look like Donny is about to do an action-movie thing with his hands and snap Marie’s neck to the side, killing her instantly? My first thought was that maybe they were doing something on Pay-per-View, but no.)

But there is such a thing as subliminal communication, and it does work extremely well, because it bypasses the conscious mind. We see it every day in politicians and other skilled salespeople, who are able to tell us things we know are false with body language that powerfully communicates honesty. The non-verbal subliminal message wins. We believe them.

And the fact is, there is a lot of weird sex stuff in advertising, and it’s probably only there because it works. Did you ever really look at Joe Camel’s face? Look again. It was completely obscene–essentially a giant coital close-up with nostrils. Next time you tape a football game, slow down the commercials frame by frame and notice the incredible implied sexual violence some of them contain.

Or here–this one is easy–have a look at the bright red posters for the new movie The Negotiator, where Kevin Spacey and Sam Jackson stand side by side, glowering. Look at their hands, which could be positioned any of a million ways, and keep in mind that the studios spend millions of dollars on these things, so the final art choice can’t possibly be an accident. You won’t believe what’s right in front of you: a perfect silhouette of matched male and female genitals. Apparently the main thing they’re negotiating is which one has to sleep in the wet spot.

(Think I’m kidding? Go. Look. See if I’m making that up.)

ONE of the earliest attempts at subliminal advertising was a machine called a tachystoscope, which would flash brief messages on a movie screen, stuff like “you’re thirsty” or “eat popcorn” or “this movie doesn’t really suck much.” It was never clear whether the thing really worked or not, and they don’t use it anymore.

But something very much like the tachystoscope is suddenly back in vogue–in television, where advertisers have begun buying one-second spots. The first one aired on ESPN just a couple of weeks ago. If the new tactic works–and I’d bet the ranch that it will–we’ll soon see (but just barely) a barrage of similar ads, battering our helpless subconscious minds into submission.

What can you do to fight back? Not much, as long as the TV is on. The ads are over before you can even recognize what they are. Which is the whole point.

So, once again … turn the dang thing off. Read a book. Protect your mind. Unless there’s something really cool on Pay-per-View.

From the August 20-26, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Laurie Anderson

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Wild Joy

Gert Krautbauer


Fasten your seat belt–
Laurie Anderson travels
at ‘Speed of Darkness’

By Greg Cahill

IT’S JUST 10 o’clock in the morning but performance artist Laurie Anderson already has written a song in Latin and stitched together guitar parts for an upcoming multimedia recording of Herman Melville’s quintessential American tale Moby Dick. Now she’s busily explaining to a curious reporter the meaning of life.

“I’m glad you asked about that–it’s really been on my mind lately,” says Anderson, light-hearted and humorous, during a phone call from a New York recording studio. “There are so many ridiculous things that get in the way of finding that answer and so many events swirling around people that prevent them from actually thinking about it.”

Of course, creating a leviathan production–replete with music, Corsican singers, and a dozen stage actors–all based on the search for a vindictive white whale, has given Anderson the chance to contemplate the big questions. “[The recording] is about that hunt, actually. Besides all those ‘whaling’ details, Moby Dick really is about someone who’s looking for something completely unknowable, so huge, something they’ve wanted all their life, yet they know that when they find it, it will kill them.”

And what of Anderson’s own quest?

“My whale?” she asks with a laugh. “Oh, I guess I try to find it in the sensual cornea, in music, because it will take you somewhere you don’t expect. You see, the other thing about whaling, it’s like trolling–the way a whale ship moves, it doesn’t really have a goal. Its goal is to look at things, just to keep a lookout. So for me the path is just zigzagging intuitively and trying to keep your eyes open. What you find may not be what you’re looking for.

“It’s kind of great.”

In trolling the art world, Anderson has parlayed her share of critical raves for her quirky, highly evocative performances. The Trouser Press Record Guide has hailed her 1982 breakthrough album Big Science (Warner Bros.) as “perhaps the most brilliant chunk of psychedelia since Sgt. Pepper.”

Anderson’s latest performance piece–The Speed of Darkness–is light years away from the complex tribute to Melville that she’s cooking up in New York. The new show–which brings Anderson to the Luther Burbank Center on Sept. 3–is a stripped-down collection of stories and songs about the future of art and technology. Using the models of three disparate settings–a theater, a mental hospital, and a control room–Anderson will talk about how these places are merging to form a late-20th-century techno-culture. While she is best known for her lavish multimedia shows, The Speed of Darkness is billed as an informal evening with only keyboards, the spoken word, a violin, and digital processing.

Among other things, the piece will touch on the recent trend to combine work and fun, exploring the role of coffee, websites, and therapies for people who have used too much technology. “For example,” Anderson explains, “there’s Identity Therapy, which is based on the principle that if you don’t know who you are anyway, it frees you. I got this idea from some friends who work in an office and they said that they were getting really nervous from their coffee breaks. Every time they had coffee, it made them feel more and more driven. It wasn’t relaxing at all.

“So they started to have ‘wig breaks’ instead. Around 11 o’clock every morning they all went into a small room and tried on wigs for 15 minutes. After a while they weren’t really certain about who they were anymore and they found this pretty relaxing.

“So that’s Wig Therapy.”

The beauty of The Speed of Darkness, Anderson says, is that it suits her love of things in their simplest form. “This is something I wrote two years ago. I realized, God, I still really think all of this stuff–it’s not like it’s gone away from me.

“But it’s based on large mental jump cuts, which I really enjoy making. The first few minutes tells you the jump cuts are going to be really wide. People kind of go, ‘Oh, OK, I’ll make a really large leap.’ Then it’s fun. But if they want to make a certain kind of logical sense, well, then it probably wouldn’t be fun. But, hey, you can get logic in school. I’m not really into teaching more messages or anything like that. I’m into making images that resonate with other people.”

ANDERSON’S eccentric life has prepared her for that mission. Over the years, she has collaborated with everyone from beat-poet William Burroughs and monologist Spalding Gray (Anderson wrote the score to the acclaimed film Swimming to Cambodia) to filmmaker Jonathan Demme and Peter Gabriel.

In 1972, she taught art history at various New York colleges and spent the entire East Coast winter wearing no coat. The next year she met avant-classical composer Philip Glass, the start of a friendship that led to an artists’ collective comprised of sculptors, painters, and musicians who often worked on one another’s creations and blurred the lines between art forms.

In 1974, Anderson hitched her way to the North Pole. Three years later, she spent two weeks not speaking in a Buddhist retreat, beginning a continuing association with that Eastern religion. In 1978, she created sound and visual installations at various museums and galleries in the United States and Europe, and worked as a shill for comedian Andy Kaufman on Coney Island (helping the seminal shock comic to taunt wannabe he-men on the midway). She also did a stint as a migrant cotton picker in Kentucky.

The following year, Anderson performed Americans on the Move at Carnegie Hall. In 1981, she released “O Superman,” a single that soared to No. 2 on the British pop charts and led to the release of Big Science stateside.

In 1987, her film Home of the Brave was presented at the Director’s Fortnight at the Cannes Film Festival. In 1989, she fell into an open manhole. Four years later, she fell off a Tibetan mountainside, a brush with death that inspired the reflections on mortality in her 1994 CD Bright Red.

THE SUM of that experience is an artist who fearlessly stretches the boundaries, and challenges audiences, especially in her spoken-word multimedia theater pieces, to imagine a world without limits. That often flies in the face of critics who are frustrated in their search for pop hooks in her haunting art pop.

“The fewer expectations you have the better,” Anderson says of critics who sometimes charge her work is all style and no substance. “I can completely relate to people not liking things, but it’s when you don’t like it for the reason that it’s supposed to be something else, you realize how strict we are.

“You realize, wow, those critics have got the world predesigned. Let’s say I’m in a meeting and I wanna scream really loudly or I wish I’d worn my pajamas or something like that, and I realize I can’t wear my pajamas to this meeting or scream because I’m not that kind of person. Then I think, well, maybe that’s a design flaw. Maybe when I designed my personality, it should have been a bigger design.

“A lot of people don’t do things because they say, well, I’m just not the kind of person who would do that, just I wouldn’t do that. I think, but why wouldn’t you? It’s because you’ve made this sort of picture of who you were and what you would do under various circumstances. A lot of people just follow that sketch and they don’t go and say, ‘I’m going to get out of my thing here for a minute, I’m going to do something really different.’ Whether you’re a writer or a critic or whatever, the world sort of pushes you in that direction because stylistically you’re supposed to be a little bit consistent.

“But it’s too bad. I think it locks people in–it limits their lives.

“So I think writers sometimes want to summarize, ‘What does this mean? What did we learn from this? What is this really about?’ But that’s a very 19th-century way of thinking about art, because it assumes that it should make our lives better or teach us something. I think maybe school has that application, but artists don’t, ’cause if you did, you’d just be handing out propaganda to make people’s lives better. You’d be giving them coherent tips about how to do it instead of vague ones.

“So I guess it’s a long way of saying, performance art is about joy, really, about making something that’s so full of kind of a wild joy that you really can’t put into words.”

Laurie Anderson performs Thursday, Sept. 3, at 8 p.m. at the Luther Burbank Center, 50 Mark West Springs Road, Santa Rosa. Reserved tickets are $26.50. 546-3600.

From the August 20-26, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Windsor Fire Dept.

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Fire Storm



Windsor Fire Dept. sparks a hellacious sexual harassment suit

By Paula Harris

Editor’s note: Certain language in this article may offend some readers.

WHEN THE 1993 VERDICT in the Rodney King beating case was announced, Shirlee Ploeger says, Windsor Fire Chief Ron Collier commented to her: “Well, that shows you what we can do to a man. Can you imagine what we could get away with doing to a woman?”

After eight years as a secretary, Ploeger recently filed a lawsuit against the Windsor Fire Protection District, alleging years of sexual harassment that she says culminated in wrongful termination.

While firefighting is often seen as one of the last bastions of back-slapping male camaraderie, if Ploeger’s claims are true, employees at the district have elevated sexual harassment to an art form, even going so far as to post a vulgar slur on the business card of a company that offers sexual-harassment awareness training.

The 16-page suit contains a litany of allegations– including many involving firefighter Troy Collier and his father, Fire Chief Ron Collier, both of whom are named in the suit as the primary persons involved in the sexual harassment–that Ploeger says began in 1989. Included in the complaint are 17 pages of obscene jokes, cartoons, postcards, and other material that Ploeger alleges were frequently posted on the fire station’s bulletin boards and in the break room. Among the charges, Ploeger claims the all-male firefighting force screened pornographic movies after mandatory training meetings and often circulated sex magazines during work.

In the suit, Ploeger also alleges that the firefighters made “comments about women’s and young girls’ bodies, breasts, buttocks, including about women who entered or passed by the fire station or who were seen on fire or medical calls.” Troy Collier also made crude statements about women and young girls, Ploeger claims, such as: “I’d like to come in her hair and send her home with her tits hanging out” and “I’d like to treat her like the rubber fuck doll she is.”

The suit also claims that Troy Collier would make gestures and sounds imitating masturbation and oral sex, and that he would refer to women as “come sponges,” “cunts,” and “gashes.”

Chief Collier, who has held the position since 1985, would not comment on Ploeger’s lawsuit, and declined even to discuss the department’s current policy on sexual harassment. He instead referred the Independent to his attorney, Bill Arnone, of the Santa Rosa-based law firm Merrill, Arnone, and Jones. “Miss Ploeger has already made similar allegations against the department in a workers’ compensation proceeding and it was denied then,” says Arnone. “The hard part is proving what you allege.”

According to Arnone, the Windsor fire district has always had a policy to comply with the law on sexual harassment. “The district is doing its best to keep up with current trends and heighten awareness of personnel,” he says. “It makes me sad to see the name of the district bandied about like this. It doesn’t do it the credit it deserves.”

Included in the suit is a copy of a letter dated Jan. 16, 1992, allegedly from Troy Collier to Ploeger, with statements that include:

“Dear Shirlee, Today I was informed that I have been promoted from my probationary status. Taking this into consideration, I will expect the following from you: Your courtesy level towards me shall increase immediately. You shall no longer question my authority or anything that I ask you to do. You shall respond immediately upon my calling of you. You no longer shall give me any guff regarding any comments made by myself about the role of the female in society… . These regulations will begin immediately!!! I expect you will use some common sense and abide by these rules.”

The letter was signed by Troy Collier and cc’ed to the file, the chief, the Windsor fire protection board, and Fire Capt. Alex Bowlds.

“This [letter] is a compelling document,” says Ploeger’s attorney, Newman Strawbridge. “It’s a threat that crushes this woman’s entire expression and being.”

He says that despite Ploeger’s frequent complaints, there was no investigation and disciplinary action taken during her employment. The suit claims that a supervisor of one of the alleged harassers acknowledged to Ploeger that she was being sexually harassed, but there was nothing he could do about it.

BY OCTOBER of 1997, Strawbridge says Ploeger was barely coping. She was forcing herself to go to work because as a single middle-aged woman she needed her job. For Ploeger, the final straw came when she received an anonymous memo, also included in the lawsuit exhibits. Addressed to “clueless dried up gash,” the memo says: “Why if you are so overworked don’t you quit… . The next female that will get hired to work for this department will be skinny with some nice big tits that are still pointing nortjh [sic] and will only open her big mouth when a fireMAN wants to put his cock in it. Do yourselve [sic] and us a faver [sic] and get your fat smelly cunt out of hear [sic].”

Ploeger then went on disability leave. “Eight years of absolutely disgusting and vulgar sexual talk and behavior were more than any reasonable woman could take,” explains Strawbridge.

An appeal for Ploeger’s workers’ compensation claim is pending. Floyd Coakley, president of the fire district board, did not returns calls for comment on why the district denied Ploeger’s workers’ compensation claim.

“Stress caused by sexual harassment is apparently not considered real stress,” says Ploeger, “although high blood pressure; loss of a job, identity, and self- esteem; and the inability to pass a medical exam for the next job all seem real enough.”

Another document, from the workers’ compensation filing, shows a photocopy of a business card from L.B. Hayhurst, a Sausalito-based firm that offers sexual-harassment awareness training, above which Windsor Fire Department training officer Joe Giordani had allegedly scrawled: “Chief, I don’t know about you, but they can blow me. Joe.”

Lonnie Hayhurst of L.B. Hayhurst recalls that the company sent a letter about its services to the Windsor Fire Department a while back after “someone from the city of Santa Rosa contacted us to say the Windsor Fire Department may need some sexual harassment training.” He says the fire department never contacted his company.

WINDSOR TOWN officials say there is little they can do about the allegations. The Windsor Fire Protection District is not affiliated with the town. It is a separate entity, with an elected board, in which members serve four-year terms, that contracts its services to the town. Currently, the board consists of five members, all male–at least three of whom are former firefighters. It is funded through taxes paid by residents who live in the Windsor area.

According to June 1998 figures provided by attorney Arnone, the department consists of nine paid male firefighters, one female bookkeeper, two male volunteer officers, nine male volunteer engineers, and 12 volunteer firefighters, including 10 males and two females.

This isn’t the first firestorm of controversy to swirl around the department. The Windsor Fire Protection District recently met with criticism from the Sonoma County grand jury, which in the annual report released last month stated that it had investigated a complaint that the district illegally met in closed session to negotiate a contract giving Chief Collier a salary increase, a violation of the state’s open-meeting law known as the Brown Act.

“The Windsor Fire Protection District’s casual and laggardly responses to the grand jury’s requests for information reflect an uncooperative attitude and lack of respect for the grand jury’s statutory duty to investigate a complaint by a citizen of Sonoma County,” the report notes.

Critics say that incident is another example of the district’s cavalier attitude. Strawbridge comments that Ploeger’s allegations involve a completely open degrading environment where intentional sexual harassment blatantly occurred.

“The boldness is an indication of how much [department employees] think the community will support them,” says Marie De Santis of Women Against Rape. “This is widespread, systematic. It’s not an isolated incident, but a total pattern in our county. Municipal emergency services need a major fix.”

Meanwhile, Ploeger has asked for an injunction ordering the fire district to notify employees about its sexual harassment policies and how to report and investigate harassment.

“It brings to mind the little poem we learn as children: ‘Sticks and stones can break my bones, but words can never hurt me.’ As a 53-year-old woman, I know how much of a lie this is–words do hurt you,” says Ploeger, adding that she came forward partly to help others who may be trapped in a similar situation.

“There is nothing to weigh [in my decision to speak out],” she says. “If we don’t speak out, [harassment] will only grow like a very invasive, fast cancer. We have no choice–we must end the silence.”

From the August 13-19, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Kurt Kemp

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Dark Man


MICHAEL AMSLER

Pressing concern: Artist Kurt Kemp produces his darkly imaginative art on the old-fashioned printing press in his Bodega studio.

Artist Kurt Kemp sounds off about his provocative work

By Patrick Sullivan

ART GALLERIES, like libraries and mortuaries, have a reputation for quiet solemnity. But anyone harboring such easy illusions would have quickly surrendered them at this month’s opening of an exhibit at the California Museum of Art featuring work by Bodega artist Kurt Kemp. Packed with dark absurdity and mordant wit, Kemp’s art has a reputation for provoking strong responses ranging from disgust to hilarity, and the CMA show proved no exception.

One woman in particular, Kemp recalls, simply could not stop giggling as she moved from piece to piece.

“She was just laughing and laughing,” Kemp says, chuckling a bit himself at the memory. “So someone asked me, ‘Geez, do you like that response?’ And the fact is that, yeah, I kinda do. There were some pretty funny things in some of those pictures, and that’s just as effective a way of making someone think as to make them believe that everything we do is somehow full of profundity.”

Not that Kemp–who also teaches at Sonoma State University–doesn’t take his art seriously. A blackness both literal and emotional mingles with the absurdist humor in many of his pieces currently on display in simultaneous exhibitions at the CMA and the SoFo2 Gallery in Santa Rosa. Kemp calls his art “confessional,” and it’s not hard to see why: There is something very old-school Catholic about these dark scenes, full of smoky shading, tortured faces, and the occasional hangman’s noose. Martyred saints shot full of arrows would feel right at home.

A slender man with deep brown eyes, Kemp talks with thoughtful intensity about his work as he sits on a couch in his hot living room on a sunny afternoon in Bodega.

“People laugh sometimes when they look at my art, but then I want them to regroup and look again,” Kemp says. “What made you laugh? Are you whistling in the dark? Are you laughing because you don’t understand it, or because you understand it really well?”

Human relationships, with all their painful pitfalls and tragic ironies, serve as the artist’s main theme. Kemp draws on his experiences growing up in a large family to create such works as Grievous Angel, which was inspired by his relationship with his two brothers.

“I think being a brother can be extremely painful,” Kemp says. “That’s part of the twine that binds us together: Not just that we’re brothers and we love each other, but that there have been some bad times too.”

LITERATURE also informs Kemp’s work. Nineteenth-century poets rarely cross paths with modern pop culture. But, even if you’ve never taken a class in French poetry, you may well have heard of Arthur Rimbaud, if only because Leonardo DiCaprio played the troubled young poet in Total Eclipse. Kemp has seen the 1995 movie, but he’s also taken those challenging college classes.

Indeed, reading Rimbaud’s masterpiece The Drunken Boat–written when the poet was only 16–made such an impression on Kemp that 15 years later, when he found an opportunity to provide his illustrations to accompany a new translation of the poem, he didn’t hesitate.

The result of that two-year effort–just published in a very limited edition by Uroboros Press in San Francisco–is a striking pairing of Rimbaud’s surrealist poetry and Kemp’s darkly absurdist visuals.

“I was fascinated by the image of this man leaving civilization … going on this very mystical, surreal journey that has all kinds of ramifications,” Kemp says. “You don’t have to be in a boat on the water to take that trip.”

The new book is unlikely to hit the bestseller list anytime soon, in part because 19th-century poets don’t have the celebrity sales punch of, say, Monica Lewinsky, and in part because only 20 of the hand-worked copies have been produced. But the illustrations are on display at the SoFo2 gallery, and there will be a reading of and talk about the book Aug. 22 at a progressive dinner party jointly hosted by the CMA and the SoFo2 Gallery.

Kemp’s studio–which crowns the quirky old creamery building in Bodega–provides vivid testimony to the artist’s demanding craft and wide-ranging sources of inspiration. Decorating the walls of his workroom are everything from old magazine illustrations to his son’s handwritten math homework to sign-language charts. In one corner squats an old-fashioned printing press that must be cranked by hand.

The artist switches back and forth between drawing and printmaking and often mixes the two in his work. Kemp has been drawing since he was a child, but the demanding craft of printmaking caught his eye early in his college career.

“It seemed a really good venue for my obsession, for the way I work, which is very obsessive and detailed,” Kemp says. “It’s a gritty process. … I’m always attracted to surfaces that are distressed–I like the history.

“Often, I’ll actually let a piece of paper or a plate get scratched up and dirty before I start working.”

KEMP’S ART has long been an intimate part of his life. Before he moved to California eight years ago to teach at SSU, he often used the family garage as a studio, filling it with equipment and works in progress. One of Kemp’s favorite stories is about taking his 4-year-old son Cole on a visit to a friend with a more orthodox household arrangement. On the way home, Cole sat in the back seat, looking puzzled.

Finally, he explained what was bothering him: “Dad, why does that man keep a car in his studio?”

Perhaps the intimate connection Kemp has with his work stems from the fact that each piece demands an enormous investment of time and energy. Printmaking is an arduous process with built-in delays: Kemp draws an image, etches it onto a plate, then cleans it, and prints it. All this leaves plenty of opportunity for revision and new inspiration, but it also means that each piece can take a long time to finish. How long?

Even Kemp isn’t sure.

“Maybe because I don’t want to know, I’ve never actually kept track,” Kemp says. “I might scare myself if I found out how long it actually takes to do these damn things. But you don’t get to where I want to go without taking that time. There are no shortcuts.”

“Kurt Kemp: Inches across Miles” at the California Museum of Art and “The Drunken Boat and a Confluence of Inventory” at the SoFo2 Gallery–simultaneous Sonoma County exhibits of Kurt Temp’s work–run through Sept. 20. See the Art listing in the calendar on page 42 for more information. A progressive dinner party to celebrate the publication of the new translation of Rimbaud’s The Drunken Boat and to raise money for both art organizations will be held Aug. 22, beginning at the SoFo2 and finishing at the CMA. The dinner is limited to 50 guests. Tickets are $75. Call 527-0297 for more information.

From the August 13-19, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Freestyle!

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Stylin’!


MICHAEL AMSLER

Crossing the Rubicon: Freestyle! executive chef Scott Newman, also of the Rubicon in San Francisco, has brought a fresh taste to the Sonoma eatery.

Freestyle! stays true to form

By Paula Harris

IT’S CALLED Freestyle! (yes, complete with exclamation point), but this year-old Sonoma eatery has nothing to do with the swimming scene; rather, the name embraces its free-form cuisine. “The chef doesn’t want to be tied down to any one cuisine,” explained our server during a recent visit.

Changes are under way at Freestyle!, former chef Steven Levine has moved on, and owners Drew and Tracy Nieporent, who own 12 restaurants nationwide, have brought in chef Scott Newman from their successful Rubicon restaurant in San Francisco. Freestyle! is holding up well during the transition.

The interior is the same: warm blond wood tables and chairs supplemented by luxurious maroon velvet banquettes. (The comfortable overstuffed cushions we lolled against on a previous visit were gone, but our server assured us they are being replaced.) The peachy faux marble walls and ceiling, the glowing cone-shaped light shades, and the recorded jazz create a warm, easygoing atmosphere. The professional Freestyle! staff strike a good balance between formality and cordiality.

Our server immediately brought us a small cutting board with rustic bread, a tiny cast-iron skillet of sweet butter and a miniature crock of sea salt, and a complimentary tidbit of house-cured salmon with lemon dressing, as we scanned the menu, which contains some minor adjustments.

Unfortunately, the restaurant’s popular signature “appetizer taste of the day,” which used to spotlight one ingredient and offer a tapa-sized taste done three different ways, is no longer offered. However, the appetizers we sampled were good.

The heirloom-tomato salad with baby greens and basil oil ($8.50) was a colorful, almost Oriental presentation on a black oblong plate. We munched on six types of tomatoes of various hues and sizes, along with whole aromatic basil leaves.

The seared-scallop salad with arugula and sweet corn ($8) was a winner. Four perfectly seared, large, plump scallops were served warm around a bed of cool greens, and the dish was scattered with sweet toothlike kernels of white corn and cherry tomato halves.

The vegetable risotto ($17) was brimming with tender white baby turnips, baby carrots, chunks of tomato, fava beans, sweet peas, and leeks, and flavored with tarragon. It had a lovely light flavor and a good texture–the grains of rice were moist and tender without being mushy.

Next, we tried the grilled Bradley Ranch hanger steak ($21), a survivor from the previous menu. Served in red wine sauce and accompanied by sautéed spinach and potato galette, this was a very tender cut of meat with an intense, almost gamey flavor. The thick, rich potato cake, with luscious layers of cream and cheese, added to the flavor wallop. A glass of 1995 Topolos Piner Heights Zinfandel ($6.50 a glass), a hearty, prune-scented red with a bittersweet finish, paired nicely.

The pan-roasted chicken with crispy polenta, fennel, and bell peppers ($17) was beautifully golden and juicy, and the exceptionally crisp triangles of polenta with a creamy interior containing a hint of spice were like a savory french toast.

Freestyle! has a full bar and an impressive wine list featuring wine regions, such as Chalk Hill, Alexander Valley, Russian River, Dry Creek Valley, and Sonoma Mountain. There are also several ever-changing wines by the glass.

The 1996 Benziger Imagery Series Pinot Blanc ($7.50 a glass) was deep gold, with a mellow melted butter flavor and a deep, creamy finish that was wonderful with the scallops.

Many of the desserts at Freestyle! have their roots in classical, homey, American sweets. A warm peach tart ($6), cooled with a scoop of peach ice cream and floating on a lake of peach sauce, was like eating a bushel of the succulent fruit.

But a nectarine-blueberry shortcake ($6) was tarter and heavier than we remembered from a previous visit. The sconelike shortcake was less airy, the lemon filling more sour. If the previous chef’s shortcake was like a summer fantasy, evoking garden parties and floaty chiffon dresses, this version was like the chiffon dresses with platform shoes and woolen shawls.

The sin-filled devil’s food cake ($6), made with Valrhona chocolate and topped with espresso ice cream and malted-milk sauce, was decorated with a wafer-thin chocolate cookie Satan’s fork. The ice cream packed a caffeine punch, and the fudgy-spongy cake made for a delicious combo. It was especially nice with a glass of the portlike Domaine du Mas Blanc Banyuls 1979 ($7), which seemed to echo the chocolate flavor.

“How was dinner?” inquired our server as we prepared to leave.

“I’m not sure whether we’re floating or sinking at this point” was my dining companion’s happy response.

Freestyle!
Address: 522 Broadway, Sonoma; 996-9916
Hours: Open for dinner only, 5:30. to around 9:30 p.m.; closed Tuesdays
Food: Eclectic but sophisticated mix incorporating different cuisines and flavors
Service: Very professional
Ambiance: Intimate casual-chic; comfortable place to linger
Price: Moderate to expensive
Wine list: Impressive selection, with wines from each local region
Overall: *** (out of 4 )

From the August 13-19, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Scoop

Fen-Phen Fun

Getting to the heart of the matter

By Bob Harris

ATTENTION, former fen-phen users: They can fix that scary side effect now–by punching a hole right through your heart. Happy? I thought so.

Last summer, when fen-phen first crossed our path, the main concern was that it could lead to a really deadly heart thing called primary pulmonary hypertension, or PPH, which is this deal where really high pressure builds up in your lungs and causes your heart to fail and makes you drop dead.

Which, I suppose, is one way to lose a lot of weight, but it does seem kind of drastic.

Well, if you’re one of the Kate Winslets out there who gulped down a whole bunch of the stuff in an effort to transform yourself into Kate Moss, there’s good news. If you do wind up with a tight set of lungs, there’s now a treatment for PPH.

A Mexico City doctor named Julio Sandoval (which anagrams into Loud Jon Saliva, a name I vastly prefer and will use from here on) is treating PPH using a procedure called “graded balloon dilation atrial septostomy,” which is docspeak for punching a small hole in the wall between the left and right sides of your heart, sliding a little balloon through the hole, and then inflating the balloon until the hole is just big enough to relieve the pressure.

Of course, you coulda just ate your dang veggies, but noooooo …

Surprisingly, Dr. Loud Jon Saliva’s procedure actually works pretty well. It’s no cure, but if you suffer through PPH without the deal, 50-50 you’re dead in two years. But let the dude run a balloon through your ticker, and your odds go up to 90 percent.

Granted, it sounds unpleasant. But then again, a lot of former fen-phen users are already walking around with balloons in their chests. What’s one more?

ARE YOU PAYING any attention to the stock market? Several weeks ago, investors–or speculators, to be more accurate, even if they’re working for major institutions–drove the price of Internet stocks through the roof, past the sun deck, off the satellite dish, and into the neighbor’s tree.

Now, I’m very fortunate and blessed to have the ability to do second-grade arithmetic, so I went on the air right then and there, on the radio edition of The Scoop, and pointed out that paying $200 for a business that’s only making about a nickel a month–that’s what the numbers were for Yahoo–displays the kind of financial acumen worthy of a baseball owner.

They say they’re not buying earnings, they’re buying growth. Fine. It’s still stupid. Let’s dream wildly for a second that earnings will double every year for straight five years. OK, now you’re paying 200 bucks for a company that will hypothetically make all of $1.60 a month five years from now. Which ain’t likely in a business where the rules change every three months.

This market had a phonier top than Anna Nicole Smith.

So now the market’s coming down off its high faster than people driving home from a Grateful Dead concert. And it’s just as likely to stop itself gracefully.

On Aug. 3, the Dow had lost almost another 100 points and now sat almost 600 points below its high point of three weeks before, when, as noted, I told you so. The techie NASDAQ was pushing a 10 percent drop, and the small-company Russell 2000 index was down more than 15 percent since topping in May. In less than a month, Yahoo (which I’ve chosen arbitrarily to pick on as a representative Internet play) had lost one sixth of its entire market cap. And counting.

And the story gets worse.

They don’t like to mention much in newspapers and TV shows that they are trying to sell you stuff (which is all of them), but the National Associations of Purchasing Management’s figures are at their lowest level in years. They’ve indicated a coming economic contraction–or even a full-blown recession–since June.

So now we can only hope that people don’t sell stocks with the same mania that they bought, or else the next big market for investors will be the black kind. In which case, your broker’s next “Buy” recommendation might be a great deal on cigarettes and soap.

Really, it could happen. After all, somebody said so on the Internet.

From the August 13-19, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Back to School

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Cyber Kids

JANET ORSI


New child’s play, new children?

By Dominic Gates

JEREMY KOJIMA remembers using an Apple IIe computer when he was 3 or 4 years old. Now 17, he has his own office at his parents’ Toronto home, equipped with continuous Internet access. While doing his homework, he usually leaves open his Web browser, his e-mail program, and a Web chat program called ICQ for keeping in constant touch with his friends. On evenings, weekends, and vacations, Kojima makes money doing Web-design work.

“The Net has become an integral part of the way I work,” says Kojima, “I’m basically sitting in front of the computer from the minute I get home to the time I go to sleep.”

Welcome to the digital reinvention of childhood. Kids have a staggering breadth of material readily available online. Their reach is global. Nowadays school projects may be completed as cut-and-paste jobs, with hyperlinks to sources. Kids can chat freely with friends half a world away. Meanwhile, parents are torn. On the one hand, they scurry to ensure their kids are at ease with the high technology of the future; on the other, they are scared of what they hear might be lurking in cyberspace to derail their children.

What effect is Internet access having on a new generation of children? Some cyber-gurus gush about the unlimited potential of a generation “liberated from linear thinking.” Others worry that we’re raising a generation that is losing the ability to conduct logical, coherent discourse.

Is high technology reshaping the child? Or will the effect of the digital media on the young minds of the wired generation depend upon some decidedly old-fashioned factors?

Start Them Early, Rein Them In

KIDS TODAY often can get a high-tech start in life to satisfy the pushiest of baby-boomer power parents. What’s red and blue and yellow, with a big splash of Barney-purple, made of durable tantrum-proof plastic, features a keyboard designed for kiddy fingers, and a screen with large type and colorful pictures? A play computer? Yes. But one that nonetheless runs Windows 95–and costs $2,400.

Designed for kids aged 3 to 7 years, this newly available “fun and learning computer center” consists of a brightly colored plastic kiddy desk and computer console, complete with spill-proof keyboard and a barely-off-the-floor kiddy bench to seat two digital toddlers. It has an Intel Pentium chip, an internal CD-ROM drive, and a two-gigabyte hard drive, and it comes loaded with kids’ software. The manufacturers– IBM and the Little Tikes Co., a division of Rubbermaid– assert that the Young Explorer will give schools, day-care centers, and children’s hospital wards “an all-in-one computing solution.”

The kindergartens and preschools of America are ready. The Wall Street Journal reports that KinderCare Learning Centers has computers in all of its 1,151 child-care centers, while another offers computer training to children as young as 2. The Journal also reports a surge in the sale of software for babies. In 1997, parents bought $27 million worth of software targeted at infants ages 18 months to 3 years. Titles such as “Jumpstart Baby” from the Cendant Corp. reveal the marketing impetus: affluent boomers seeking to give their kids a head start in the information age. Who would want to disadvantage their kids by sending them to a preschool where the play equipment doesn’t rise above picture books, wooden blocks, and sandpits?

In one “Computertots” nursery school, the mother of a 3-year-old who was signally failing to give the computer screen his undivided attention told the Journal, “He’s got to keep up with the other kids. If he falls behind he’ll be lost.”

Commercial interests are happy to cash in on parents who push legitimate concerns to such extremes. By the time kids reach adolescence, though, parental obsession may swing in the opposite direction. It is estimated that nearly one third of America’s 20 million teenagers use the Internet. Many of those are more comfortable with digital media than their parents are. Often the worry is not whether they are coping with the new information technology, but what they are doing with it that their parents don’t know about. In any discussion of the dark sides of the Internet–whether pornography, hate sites, or cyber-predators–it is the potential for access by kids that stirs an impulse to censor. And then there is the fear of nerdiness.

How can it be healthy for kids, like Jeremy Kojima, to be “sitting in front of the computer from the minute I get home to the time I go to sleep”?

Actually, Jeremy’s mother, Anne Kojima, vice principal of a Toronto high school, has no such fear. Yes, Jeremy’s enthusiasm for the Net dominates his spare-time activities, but she knows her son is sensible and balanced. She insists that, despite his own impression to the contrary, he does spend time on face-to-face encounters as well as online ones. And his time online is directed:

“He’s not just having endless chats,” explains his mother, “He’s doing research for school projects or for the companies he works with.” One such company, KidsNRG, hires Jeremy not only to do computer design, but also to run Web development projects. He attends client meetings, seminars, and conferences, and acts as a mentor for new hires. He consults with top designers in the United States.

Far from turning him into a nerd, such exposure has brought out his personality and raised his level of confidence.

An Effusive View of the Net Generation

ONE REASON the Net has been such a positive experience for Kojima is readily apparent. He has involved parents, very aware of what he does and fully supportive of it. They have the means and the education to provide sensitive backup. They are ready with guidance and encouragement. With such a platform from which to launch, the only pitfall in his path might be having to cope with too much material success too soon.

Kojima is an exemplar of the “Net Generation” model teenager, which author and consultant Don Tapscott has glowingly portrayed in his book Growing up Digital. In an interview, Tapscott maintains that the new digital network media are creating “a whole new youth culture,” one that he lauds to the skies.

Tapscott contrasts the effects of the new media with the long-lamented deficiencies of television. “When they’re online, rather than being the passive recipients of somebody else’s broadcast video, [kids] are reading, analyzing, evaluating; they’re sifting good stuff from bad stuff; they’re authenticating; they’re writing, they’re composing their thoughts.” Then he adds, as if weary of the negative spin that pervades the media, “This is not bad for kids.”

Tapscott also warns that the baby-boomer generation better get ready for displacement at the workplace by this new culture. “There’s a demographic tsunami, in the United States alone of 80 million of these kids, that’s about to hit up against Dilbert Inc.,” says Tapscott. “Their culture is antithetical to the culture of the command and control hierarchy.”

He characterizes this new “interactive culture” as curious, assertive, self-reliant, and accepting of diversity. Among the major “themes” of the culture he identifies “fierce independence,” “emotional and intellectual openness,” and “innovation.”

Tapscott goes so far as to say that this digital revolution will transform today’s kids into something entirely new in the world. “Kids aren’t kids,” he says. “For the first time ever, children are an authority on a central innovation facing society.”

Listening to such descriptions, one cannot help thinking of Jeremy Kojima. A brave new world has opened for kids like him. Once they might have been bored in school; now they can interact with a machine and self-direct their youthful energy and passion to formidable creative heights.

Reality Check

BUT MOST KIDS don’t have the support and guidance Kojima has. And absent such support, the effects of access to cyberspace may be more limited. Even negative.

Professor James Collins, a specialist in writing and the teaching of writing at the State University of New York, at Buffalo, sees several educational problems surfacing among schoolkids that are directly traceable to their exposure to the online world. Kids who have trouble with writing are increasingly using the Internet to do mindless copying (those research project cut-and-paste jobs); the chattiness and informality appropriate to e-mail communication is spilling over into high school students’ essays; and many children are finding it difficult to distinguish between significant and trivial information.

(Contrary to Tapscott’s experience, Collins says, “The kids I know think that if it shows up on the computer screen, it’s true.”)

Collins has a broader problem with the claims of cyberspace visionaries that the interactive, hyper-linked modes of online expression will supersede older forms of communication and ultimately of thinking. Tapscott, for example, writes positively about “the idea that computers could free humans from linear thinking.”

But the result is often negative when what Collins calls the “hyper-text, logic-be-damned quality” of electronic discourse shows up in the classroom.

“Discourse moves in a line; there’s a beginning, a middle, and an end,” explains Collins. “That’s what took us out of the unscientific period of human thinking. We moved from mythology to science.” For Collins, linearity and logic go hand in hand, and from that springs rational scientific thought. Linearity indeed may be the hallmark of the Western contribution to civilization, including the field of computer science.

“Will we communicate in a linear way in the future?” asks Tapscott. “We write that way now because we have primitive writing tools. Maybe we’re going to write in hypermedia, where I as a recipient can have some influence over how this information is adjusted, depending on my cognitive and learning style.”

Collins is unconvinced. “Linear thinking is not the only way, but the linearity of discourse is of immense value,” he says. “I don’t think hyper-text and the undisciplined thinking it encourages is progress at all.” One outcome of the computer revolution, he suggests, is more words than ever–more text, more trees cut down for printout paper, and yet less thought and less logic.

The Universals of Youth

STRIPPING AWAY digital buzzwords like “interactive” and “non-linear,” it’s easy to spin around every positive label that Tapscott applies to the Net Generation. For fiercely independent, read ungovernable. For open, read empty. For innovative, read disrespectful of the past. For accepting of diversity (a quality supposedly fostered by the anonymity of online communication), read divorced from real-world problems. For assertive, read arrogant.

What is striking about this list, whether spun positively or negatively, is that you could apply it to any previous unwired generation. These are the characteristics of the young, not especially of the wired. Who could deny that the baby boomers had their share of independence/ungovernability or assertiveness/arrogance? This isn’t really such a revolution.

It should come as no surprise, though, that some of the qualities of childhood endure. After all, there are some rather fundamental universals. We are all trapped in time. Time’s arrow proceeds unerringly in a line. Language, the locus of our humanity, is linear. “Speech makes us human and literacy makes us civilized,” wrote the distinguished scholar David Olson of the Ontario Institute for Studies in Education in the Harvard Education Review in 1977. We speak in a linear mode. We write in a linear mode. That linearity imposes a logic that shapes our thinking.

If kids in the future have trouble putting their thoughts in order, getting their ducks in a line, then those thoughts will be literally unspeakable.

But there is no reason to expect the worst. In an afterword to The Future of the Book, the Italian scholar Umberto Eco discusses the alleged displacement of the traditional book by the new electronic media. “The problem is in saying that we have replaced an old thing with another one,” writes Eco. “We have both.”

Yes, online technology will give more power to a privileged elite within the new wired generation. But even lucky kids like Kojima still need a broader educational context to ground them, to wire them to the earth.

Some basics persist, even through revolutions. Despite the child’s newfound ability to interact with a machine, human interaction cannot be displaced. Good parenting and adult mentoring still matter more than any technology.

The new children are not so different from the old. Kids are still kids.

Reprinted, with minor emendations, with permission from PreText magazine.

From the August 13-19, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spins

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Lovestruck



Dave Alvin chronicles affairs of the heart


Dave Alvin
Blackjack David (Hightone)

IT’S A THIN LINE between love and hate. Ex-Blaster-turned-roadhouse philosopher Dave Alvin straddles that nether region of heart in a loosely knit concept album. Alvin breathes life into a series of vignettes featuring a working-class cast of the love-struck and the love-lorn. Incest, infidelity, and the infinite possibilities presented by hitting the highway inform these little morality takes, all seen through the sweet sentiment of a whiskey haze. Not as immediately catchy as 1996’s King of California, but well worth the visit.
GREG CAHILL

Gerald Collier
Gerald Collier (Revolution/Warner)

Josh Rouse
Dressed up Like Nebraska (Slow River/Rykodisc)

AMBIANT soundscapes and hybrid grooves may be all the rage, but the straightforward singer/songwriter is very much alive. Gerald Collier and Josh Rouse have made impressive debuts in this field. Both Gerald Collier and Rouse’s Dressed up Like Nebraska employ spare, shuffling folk-rock and personal, yearning lyrics, with ringing guitar attempts supporting up-front vocals. Collier has more of an urban rocker’s instinct, with heavier, stinging arrangements, a Pink Floyd cover (“Fearless”), and a propensity to shout. Rouse tends toward softer musing and strumming, with delicate string parts and a more plaintive, sometimes countryish feel. Both artists find strength in the classic confessional mode of the singer/songwriter, where each shares his attempt to make peace with the past. Collier has made more progress, taking a cavalier comfort in his fall from grace, but the cost has been losing touch with feelings (“My tears are so bored they won’t come down”). Rouse, although stuck in sentimental memory, has a sure footing–he knows better than to abandon “the common thread that wound from me to you.”
KARL BYRN

Split Lip Rayfield
Split Lip Rayfield (Bloodshot)

The Sadies
Precious Moments (Bloodshot)

FORGET everything you know about so-called alternative country. These bands on the Chicago-based Bloodshot Records–the same guys that gave us 1994’s ass-kickin’ anthology For a Life of Sin: A Compilation of Insurgent Chicago Country and the follow-up CD Nashville: The Other Side of the Alley–tear up a shitstorm of trouble that leaves BR5-49 and their ilk chokin’ in their exhaust. The Sadies bill themselves as a feral, guitar-crazed cattle drive through Malibu and the Motor City. They are a junkyard-dog band that unleashes a ferocious blend of spaghetti Western soundtracks, surf, and rabid monkey swang! It’s Iggy Pop and the Stooges-meet-the Stanley Brothers at a beer-and-sweat-stained biker bar. Meanwhile, Split Lip Rayfield–the three horsemen of the bluegrass apocalypse–are hell-bent on firing up their scorched-earth brand of hillbilly mayhem, delivering white lightning-fast guitar picking and banjo strumming, and–get this!–that ain’t no bass gittar, baby, it’s a one-string incendiary device made out of a Ford truck gas tank and a weedwhacker string. Alternative country? Get out of town… .
G.C.

Mark Hummel
Low Down to Uptown (Tone-Cool)

FOR 20 YEARS, harmonica man Mark Hummel has been a staple of the Bay Area blues scene–an accomplished journeyman who has built a solid reputation with his gritty Chicago-style harp playing and a sure-footed command of the idiom. Low Down to Uptown finds Hummel at the peak of his powers. With a guest roster that includes the legendary Charles Brown on keyboards and East Bay singing sensation Brenda Boykin, Hummel crafts a toe-tappin’, heart-poundin’ set of sizzling swing and infectious jump blues. Catch him in the act on Saturday, Aug. 15, at 9 p.m. at the Mystic Theater, 21 Petaluma Blvd. N. in Petaluma. Tickets are $5.
G.C.

Ernest Ranglin
In Search of the Lost Riddim (Palm)

Baaba Maal
Nomad Soul (Palm)

HE IS BEST KNOWN in reggae circles as the man who taught Bob Marley how to play guitar, but Ernest Ranglin’s contributions to the world music scene are legendary. As a member of the Blues Blasters, Ranglin became a fixture on the 1950s shuffle boogie scene. Later, as guitarist for the seminal Skatalites, Ranglin helped create the upbeat sound that launched three waves of modern dance music. On his latest release (one of the first on the new Palm label, headed by former Island Records chief Chris Blackwell), Ranglin journeys to Senegal in search of the percolating rhythms that inform ska. The result: some of the most tasteful jazz-style riffs ever laid down to shimmering high-life beats. The ultimate summer world-music album. On board is a host of top African musicians, including labelmate Baaba Maal, the Senegalese guitarist and vocalist whose latest CD offers sometimes introspective, often powerful lyrical insights into the soul of the continent.
G.C.

From the August 13-19, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

7th Day Rototiller

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Plowing Ahead

MICHAEL AMSLER


7th Day Rototiller cultivates a catchy punk/lounge/exotica hybrid

By Charles McDermid

ONE THING we’ve always wanted to do is give people something to remember us by,” says Justin Paulsen, guitarist and vocalist for 7th Day Rototiller, a theatrical Santa Rosa-based band that’s been known to dress up as milkmen, soda jerks, and gas station attendants for its live shows. “We’ve never done a show that we didn’t have a theme or costumes.

“Music is the main thing, but image is important to have.”

Taking a cue from such late-’70s New Wave bands as Devo, the Rototillers have used costumes, stage props, and progressive marketing tactics to cultivate a cartoonish image that aptly mirrors their unorthodox brand of party music.

“We’re into the campy thing–if it’s campy it’s cool. We’re a serious band, but we don’t ever take ourselves too seriously,” says Paulsen, who formed the band four years ago with drummer Brian Pirkle and bassist Shawn Burrell.

The Rototillers have correctly seen that the realm of self-promotion is changing rapidly. Along with maintaining a photo-laden website, the group undoubtedly has the cleverest promotional material on Sonoma County’s music scene–“eye candy” is the media term. “If we know one thing, it’s that it isn’t just the music, it’s the whole thing–putting a package together that’s entertaining,” says Pirkle, mastermind of the group’s image.

“For the next show, we’re making 7th Day prayer candles in the form of Easter Island heads.”

Fittingly, this zany, tongue-in-cheek exuberance is also evident in the group’s music. The set list for their newly released self-titled debut CD contains, among other comical concerns, an exotic ode to the martini, a song strictly about bacon, and, of course, the localized lament “The Ballad of the 440.”

The Rototiller band careens over the musical map like a drunken sailor–“from punk to lounge, surf to exotica,” as they word it.

“We grab from everywhere we can. Punk, surf instrumentals, everything from Burt Bacharach to White Zombie,” says Pirkle.

CALL IT what you will, the CD, set for release Saturday at a live performance at the Moonlight Restaurant and Bar in Santa Rosa, is pure party music. The opening track, “Drinkin’ Song,” as well as “Overdrive,” and “Sick of the Violence,” is an aggressive pop-punk carryover from the band’s early days as a power trio. In contrast are the bevy of more melodic songs featuring new vocalist Carol Muelrath.

“Our attitude and our diversity are the best things,” says Muelrath. “We such have a range of sounds–there’s always one the crowd can tap into.”

The CD does throw the listener a schizo little twist with the inclusion of several dark and somewhat nihilistic numbers penned by Paulsen. Rearing its head in “Gotta Get out of Here” and “The Taste” is a certain suburban ennui–a lyrical landscape fraught with anger, loneliness, and an air of desperation.

“What can I do?” jokes Paulsen. “There will remain a certain amount of angst for a person living in these times and playing rock and roll.”

If there must be a critical comment, it would be that at times the music can be unchallenging to the listener. However, this is not a CD to be mulled over in the hope of unearthing layers of subtle meaning.

This is intended to be live music, and should be enjoyed fast and loud and as close to the amp as possible.

“Our message is to have fun and enjoy us–nothing political,” says Pirkle.

“We want everybody to have as much fun as we are having.

7th Day Rototiller perform Saturday, Aug. 15, at 9:30 p.m. at the Moonlight Restaurant and Bar, 515 Fourth St., Santa Rosa. The show is a CD release party. Jumbo Shrimp, featuring former Dead Kennedys Klause Fluoride and East Bay Ray, open. Call for cover charge info. 526-2662.

From the August 13-19, 1998 issue of Metro Santa Cruz.

© Metro Publishing Inc.

Kitchen Envy

Kitchen EnvyMichael AmslerNo room at dinner tablefor green-eyed monsterBy Marina WolfALMOST everyone has done it at one time or another: You slip into a friend's kitchen for a spoon or a refill or the mop, and you just happen to look into a drawer. It's a big drawer, you notice, made from smooth, well-oiled pine, probably shipped in by...

Scoop

Say What?Subliminal ads make a returnBy Bob HarrisADVERTISERS are now betting hundreds of thousands of dollars that you can and will be manipulated-- in just a second. A guy named Wilson Bryan Key wrote a book almost a quarter century ago called Subliminal Seduction, claiming that if you look really closely at the airbrushed ice cubes in liquor ads,...

Laurie Anderson

Wild JoyGert KrautbauerFasten your seat belt--Laurie Anderson travelsat 'Speed of Darkness'By Greg Cahill IT'S JUST 10 o'clock in the morning but performance artist Laurie Anderson already has written a song in Latin and stitched together guitar parts for an upcoming multimedia recording of Herman Melville's quintessential American tale Moby Dick. Now she's busily explaining to a curious reporter the...

Windsor Fire Dept.

Fire StormWindsor Fire Dept. sparks a hellacious sexual harassment suitBy Paula HarrisEditor's note: Certain language in this article may offend some readers.WHEN THE 1993 VERDICT in the Rodney King beating case was announced, Shirlee Ploeger says, Windsor Fire Chief Ron Collier commented to her: "Well, that shows you what we can do to a man. Can you imagine...

Kurt Kemp

Dark ManMICHAEL AMSLERPressing concern: Artist Kurt Kemp produces his darkly imaginative art on the old-fashioned printing press in his Bodega studio. Artist Kurt Kemp sounds off about his provocative workBy Patrick SullivanART GALLERIES, like libraries and mortuaries, have a reputation for quiet solemnity. But anyone harboring such easy illusions would have quickly surrendered them at this month's opening...

Freestyle!

Stylin'!MICHAEL AMSLERCrossing the Rubicon: Freestyle! executive chef Scott Newman, also of the Rubicon in San Francisco, has brought a fresh taste to the Sonoma eatery. Freestyle! stays true to formBy Paula HarrisIT'S CALLED Freestyle! (yes, complete with exclamation point), but this year-old Sonoma eatery has nothing to do with the swimming scene; rather, the name embraces its free-form cuisine....

The Scoop

Fen-Phen FunGetting to the heart of the matterBy Bob HarrisATTENTION, former fen-phen users: They can fix that scary side effect now--by punching a hole right through your heart. Happy? I thought so.Last summer, when fen-phen first crossed our path, the main concern was that it could lead to a really deadly heart thing called primary pulmonary hypertension, or PPH,...

Back to School

Cyber KidsJANET ORSINew child's play, new children?By Dominic GatesJEREMY KOJIMA remembers using an Apple IIe computer when he was 3 or 4 years old. Now 17, he has his own office at his parents' Toronto home, equipped with continuous Internet access. While doing his homework, he usually leaves open his Web browser, his e-mail program, and a Web chat...

Spins

LovestruckDave Alvin chronicles affairs of the heartDave Alvin Blackjack David (Hightone)IT'S A THIN LINE between love and hate. Ex-Blaster-turned-roadhouse philosopher Dave Alvin straddles that nether region of heart in a loosely knit concept album. Alvin breathes life into a series of vignettes featuring a working-class cast of the love-struck and the love-lorn. Incest, infidelity, and the infinite possibilities presented...

7th Day Rototiller

Plowing AheadMICHAEL AMSLER7th Day Rototiller cultivates a catchy punk/lounge/exotica hybridBy Charles McDermidONE THING we've always wanted to do is give people something to remember us by," says Justin Paulsen, guitarist and vocalist for 7th Day Rototiller, a theatrical Santa Rosa-based band that's been known to dress up as milkmen, soda jerks, and gas station attendants for its live shows....
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