Spins

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Jazz Party


Michael Amsler

Gone fishin’: Tom Waits, left, and John Lurie fish and cut bait.

New CDs by John Lurie, Duke Ellington

By Greg Cahill


John Lurie
Fishing with John (Strange & Beautiful Music)


The Lounge Lizards
Queen of All Ears (Strange & Beautiful Music)

IT SEEMS LIKE a simple concept. Independent film star (Stranger Than Paradise, The Last Temptation of Christ) and multi-instrumentalist John Lurie snares a few friends–including Petaluma resident Tom Waits, Matt Dillon, Jim Jarmusch, and Willem Dafoe (Waits gets to travel to sunny Jamaica; Dafoe freezes his butt on an icy Maine lake)–for a series of tandem fishing expeditions in exotic locales for the Independent Film Channel program Fishing with John (the episodes repeat this fall on the Bravo! cable channel).

There just one catch: Lurie doesn’t know Jack about fishing. Funny stuff. And the best part is that Lurie–the driving force behind the Lounge Lizards avant-jazz ensemble–has spun off a loopy musical score to accompany this loopy bit of conceptual TV. Loopy, that is, but not without interest, as in “Canoe,” a track that accompanies Waits in Jamaica (Lurie on harmonica, Brazilian percussion master Nana Vasconcelos on drums). Or “The Beast,” featuring the John Lurie National Orchestra with Medeski, Martin, and Wood drummer Billy Martin.

Meanwhile, Queen of All Ears carries on in the hip downtown New York vein that leans heavily on feeling rather than structure. Featuring Lurie on alto and soprano saxes, these offbeat tracks lope through sometimes Afro-Cubanesque, often funkified terrain that is at its best when it strays into such minimalist dreamscapes as “Scary Children.”


Duke Ellington
Jazz Party in Stereo (Mobile Fidelity/Sony)


Count Basie
Live at the Sands … Before Frank (Reprise)

THIS NEWLY reissued classic 1959 Ellington recording gets the 24k gold treatment from Sebastopol-based audiophile company Mobile Fidelity. Released after the Duke’s mid-’50s resurgence, the super-cool Jazz Party boasts a swingin’ rendition of Billy Strayhorn’s “U.M.M.G.” and features trumpeter Dizzy Gillespie, reedmen Johnny Hodges and Paul Gonsalves, vocalist Jimmy Rushing, and pianist Jimmy Jones. This is pure Ellingtonia–exotic orchestral jazz rife with dynamic, bluesy arrangements and bristling with stunning solos. One of Ellington’s finest-sounding live dates just got better.

Kansas City big-band legend Count Basie has been largely overlooked in the trendy swing revival. This unexpected previously unreleased 1966 date– which gratuitously caps on the Sinatra mystique– captures Basie in Vegas and helps to set the record straight on one of the genre’s greats. And what a band! Big, brassy, and bold–Basie at his best.

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

© Metro Publishing Inc.

Caffeine and Children

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Generation Wired


Michael Amsler

The brand names are pulsing with power: Surge, Zapped, Full Speed, Outburst. And Josta is laced with both caffeine and the pick-me-up herb guarana, which is hyped as “raw, primal power.” Is it any wonder caffeine consumption is on the rise among kids?

By Helen Cordes

ANYONE REMEMBER when caffeine was off-limits for children? (“It’ll stunt your growth!”) These days constraints on caffeine consumption for kids and young teens are nonexistent. Kids are having caffeine early and often–high-octane Mountain Dew is the preferred soda of the under-6 set–and in much bigger doses than before. Caffeine Inc. is raking it in, often targeting teens and younger kids, and while Coca-Cola’s polar bears get the attention, studies showing the negative consequences of child caffeination are virtually ignored.

Look at fast-food joints, convenience stores, and restaurants, where many kids get up to 40 percent of their meals. It’s common to see young children and teens downing “big gulp”-size caffeinated sodas or lining up for seconds and thirds at refillable soda stations. These megadrinks can pack a wallop equal to three cups of strong coffee–all bombarding a body that may be one-half or two-thirds adult size. And kids are eagerly reaching for the aggressively marketed new drinks that are at or near the legal limit for added caffeine (which is 6 milligrams per ounce) such as Coca-Cola’s Surge (51 milligrams in 12 ounces), Pepsi-Cola’s Josta (58), Jolt (72), the caffeinated herbal drink XTC (70), and others.

And kids may get a near double-dose of caffeine if they buy these juiced-up drinks at vending machines, which increasingly offer only 20-ounce bottles instead of 12-ounce cans.

Check out school cafeterias: Kids are bypassing milk for cans of Coke (45 milligrams), Pepsi (37), Mountain Dew (55) and Sunkist (40), bought at school pop machines or served at the fast-food franchises now at 13 percent of the nation’s schools. Glance at family shopping carts: Sodas are the best-selling product at grocery stores–$11.7 billion annually in sales. And four of the five most popular soft drinks in the United States are caffeinated, with No. 4 Sprite the sole exception.

The most conservative estimates have children and teens guzzling more than 64 gallons of soda a year–an amount that has tripled for teens since 1978, doubled for the 6-11 set, and increased by a quarter for under-5 tots, according to a 1994 survey by the Agriculture Department.

The top drinkers, teen boys, pop open an average of three sodas a day.

And check out the local coffee shop. For tons of teens, and kids as young as elementary school, the local Starbucks or its equivalent has become the favored hangout. Many juvenile customers scorn decaf in the sugary coffee drinks they prefer. (Twelve ounces of a regular Starbucks coffee contains around 190 milligrams of caffeine. Since coffee is naturally caffeinated–sodas have caffeine added to them–it is not regulated for caffeine content.) Caffeine is even showing up on the playing field: Competitive-minded parents are bringing along high-caffeine drinks or packets of the new carbo- and caffeine-packed “sports goo” to help give their young athletes a winner’s edge.

Why is “Generation Next” (as Pepsi puts it) downing caffeine at rates never seen before? One likely reason is that most parents are unaware of the health problems associated with caffeine. Solid scientific research has linked caffeine to anxiety, respiratory ailments, possible bone loss, and other health worries–although there has been slight coverage of this.

But what turned children on to caffeine in the first place? Kids’ desire to get wired didn’t simply occur as a mass switch in personal preference. The major caffeine suppliers to kids have been throwing millions into advertising and giveaways. Mountain Dew, for example, has distributed half a million free pagers to kids, who can use them to call friends–but only after they read the Mountain Dew promo that automatically pops up.

The soft-drink companies have also spent tens of millions placing their products and ads where youths are a captive audience: schools. Dozens of school districts have been paid up to $11 million each by Coke or Pepsi for the assurance that only that company’s products will be sold on school grounds, and for the right to put ads on gym walls and school buses. And the soda barons have used dozens of other sly marketing ploys, such as plastering ads and logos on everything from free textbook covers to computer screensavers and mousepads.

Children have few places left to look where they are not exposed to a soft-drink product or logo.

The marketing strategy behind the new high-caffeine products is ingeniously suited to a generation confronting more family instability and a less secure job future, and dogged by stress and powerlessness. The brand names are pulsing with power: Surge, Zapped, Full Speed, Outburst. Josta, laced with both caffeine and the pick-me-up herb guarana, is hyped as “raw, primal power.” Mountain Dew promises there’s “nothing more intense than slammin’ a Dew.”

Caffeine, then, is the perfect antidote for youths facing the pressures of the ’90s : It provides a boost of sociability, enhanced performance, and energy. Sure, there’s the inevitable droop that follows, but that only reinforces the need to have more.

As for kids’ rising attraction to coffee, that may be fueled by the proliferation of coffee shops–Starbucks opens another one every business day–and the perennial desire of kids to ape grown-up behavior. “Coffee bars are the only legal places for kids to hang out,” says Gerald Celente, author of Trends 2000. Direct youth advertising by coffee interests is minimal, but the coffee industry is busy courting younger drinkers, who “love coffee products that are cold and sweet,” notes Ted Lingle, executive director of the Specialty Coffee Association of America.

Plenty of coffee parlors are expanding their sweet-drink menus. Starbucks, in partnership with Pepsi, is pushing its bottled creamy coffee drink Frappuccino and test-marketing Power Frappuccino, its coffee and carbo drink aimed at the hot youth-directed “energy drink” category.

ALL THE MAJOR caffeine suppliers insist they’re not targeting the under-12 set. “Our core market is the teen and young adult category,” says Pepsi spokesman Larry Jabblonsky. “We don’t make a concerted effort to reach those under 12.” And Chris Gimbl of Starbucks says, “We don’t market to teenagers. However, anyone is welcome at our stores.” But Terry Barker, whose company makes the caffeinated water Krank2O, notes, “The only market available is to start them out younger and younger.” (He hastens to add that Krank2O markets to those 15 and older.)

Barker’s remark reflects economic reality. For the market bulge of the century–baby boomers–caffeine is becoming something to avoid. Coffee drinking is on the rise only for those between ages 15 and 24, while java jiving takes a steady dive thereafter. Ditto for soft-drink consumption: Statistics show that teens and young adults slug the most, with soda sipping sinking slowly from there.

In Barker’s view, caffeine suppliers are following the example of another supplier of an addictive substance: the tobacco companies. “The goal is to perpetuate the market,” he says.

Indeed, there’s evidence that the caffeine lobby has borrowed a tactic or two from the nicotine gang. Ask industry representatives about the health consequences of children consuming caffeine, and they frequently point to two “non-profit research organizations”–the International Life Sciences Institute and the International Food Information Council. Both are funded by major food, beverage, and agribusiness multinationals, including Coca-Cola, Pepsi-Cola, and major coffee suppliers Kraft and Procter & Gamble.

Both refer questions to scientists who maintain that there is absolutely no cause for concern about caffeine and kids. “The studies are really quite reassuring,” says Dr. Peter Dews, an ILSI board member and a Harvard School of Medicine professor emeritus. “Nothing has been shown to be harmful.”

Asked about a 6-year-old ingesting the quantum dose of caffeine in a “big gulp,” Dr. Richard Adamson, vice president of scientific and technical affairs for the National Soft Drink Association, asserts, “People generally don’t drink big gulps all in one sitting.” (Kids ration their big gulps?) Asked why caffeine is necessary in sodas, he says, “It’s there solely for the taste. Just take a sip of caffeine-free Pepsi and then a sip of regular Pepsi. Try it! You’ll be able to tell!”

(I did! I can’t!)

Asked if there is any health value to caffeinated soda, Adamson claims, “They’re a good source of water. Kids need lots of water.” Reminded that caffeine is a diuretic, which causes water to be excreted more rapidly, Adamson grudgingly agrees.

DESPITE soothing words from the industry, a few outfits are taking a stand against the rising use of caffeine by children. Last summer, when the Center for Science in the Public Interest petitioned the Food and Drug Administration to require the posting of caffeine amounts on labels, it cited several caffeine-related risks: miscarriage, osteoporosis, insomnia, anxiety, addiction.

Children, the group noted, can suffer some of these adverse effects, and they face additional risks: Caffeine may threaten their developing bone mass and, when sodas are substituted for more nutritional food, impede their overall nutrition. (The FDA was scheduled to respond by February but informed the CSPI it needed more time to investigate concerns and studies cited in the petition.) Last year the American Medical Association also registered concerns about the new high-caffeine drinks that are “being aggressively advertised” to a youth audience and passed a resolution calling for caffeine labeling.

In perhaps the only public expression of concern from the industry, Havis Dawson, editor of the trade magazine Beverage World, called on the industry a year ago to “pronounce clear guidelines for how much caffeine our children should drink.”

Since then, he’s received no response. “If the industry doesn’t come up with guidelines,” he says, “someone else who’s more scared of caffeine could do it, and they might not be ones the industry likes.”

Guidelines may indeed be necessary. For years, independent scientific researchers have been urging caution. Their concerns fall into two categories: how children react behaviorally to the addictive and stimulant qualities of caffeine, and how caffeine affects children’s bodies. Children respond to caffeine as do adults, according to a number of studies. A low dose may aid concentration and task completion, but higher doses typically make children nervous, anxious, fidgety, frustrated, and quicker to anger. National Institute of Mental Health child psychiatry researcher Judith Rapoport found that the 8- to 13-year-olds who regularly consumed high doses were judged more restless by teachers–in fact, one third were hyperactive enough to meet the criteria for attention deficit disorder with hyperactivity, or ADHD. When low-caffeine-consuming children were given a daily dose equivalent to that of their higher-consuming peers, parents reported that they became more emotional, inattentive, and restless.

“Children for whom there is a concern about anxiety should not have caffeine,” Rapoport says.

Hofstra University psychology associate professor Mitchell Schare studied almost 400 preschoolers from upper-income New York City suburbs in 1994 and 1995. The heavier-caffeine consumers among the children, who had the equivalent of three to four cups of coffee daily, had more “uncontrollable energy,” Schare notes. He concludes, “I believe the effects of caffeine can potentially mimic ADHD and be misdiagnosed as ADHD.”

These kids’ chief caffeine source was, surprisingly, iced tea, which many parents may not realize contains caffeine.

Like adults, kids who are regular caffeine drinkers suffer ill effects when they don’t get a regular shot. In a recent study by Stanford neurobiologist Avram Goldstein, fifth and sixth graders at a suburban Denver school who were deprived of daily caffeine reported having symptoms such as trouble thinking clearly, not feeling energetic, and getting angry easily.

Even children who typically consume 28 milligrams a day (less than an average soda) felt symptoms.

“Children can in fact become dependent on caffeine,” notes Goldstein, who did pioneer research on caffeine and adults in the ’60s. And caffeine-dependent children usually have a handicap adults don’t: They can’t guarantee a daily fix the way adults can, because they don’t typically have the money and mobility to get caffeine
at will.

Johns Hopkins psychiatry professor and caffeine expert Roland Griffiths worries about this on-again, off-again situation. “A lot of kids already have chaotic lives. Do children need a pharmacological destabilizer on top of that?” he asks.

Caffeine can also be harmful to children’s growing bodies, since it can cause excess excretion of calcium and magnesium, says Gail Frank, nutrition professor at California State University, Long Beach, and spokeswoman for the American Dietetic Association. She says, “There’s a danger that children won’t reach sufficient bone mass.” Children are less likely now to replace calcium by drinking milk–consumption has plummeted in recent years, largely because kids are downing soft drinks instead.

The phosphoric acid in cola beverages may be particularly detrimental to children’s health; there is evidence that it can cause bone fractures, notes Cornell University Medical College registered dietitian Barbara Levine. Phosphoric acid can also break down tooth enamel. And common children’s ailments like ear infections and respiratory irritations that produce colds, bronchitis, and asthma may be exacerbated by caffeinated, carbonated drinks, according to Dr. William Cochran, pediatric gastroenterologist at Penn State’s Geisinger Clinic and a member of the American Academy of Pediatrics nutrition committee. Caffeine and carbonated bubbles can trigger “refluxing,” in which a sphincter muscle allows the acidy contents of the upper stomach to back up and irritate portions of the respiratory tract. In both his research and his pediatric practice, Cochran has found that most children with chronic ear infections and respiratory illnesses have refluxing problems.

AS KIDS GUZZLE caffeinated and other sodas at increasing rates, researchers like Frank worry about potential problems that won’t be seen until kids mature. “What will happen when millions of children with much higher rates of caffeine consumption grow up?” Frank asks. “We may see increasing rates of osteoporosis.”

She also points to caffeine’s ability to raise blood pressure: “We just don’t know the long-term effects, and we need to find out.”

Meanwhile, Frank recommends that children and teens stay well under 100 milligrams of caffeine a day, which amounts to one or two cans of soda, depending on the caffeine content.

Many who’d like to see a decline in children’s caffeine consumption know the task is not easy. “I think most parents simply don’t realize how much caffeine kids get,” says CSPI executive director Michael Jacobson. “Labeling products would at least give them some way to get the information and make some judgments.” (For more information on the center’s petition to the FDA, see CSPI’s website, www.cspinet.org.)

The presence of sodas and their marketing in schools is an obvious target. “Schools are selling off students to soda,” charges Marianne Manilov of the Center for Commercial-Free Public Education in Oakland. “Is this really what we want in public schools?” But efforts to restrict soda sales in school face much opposition from soda conglomerates’ lobbying guns as well as from some school officials who like receiving a cut of vending-machine revenues.

Last year a West Virginia law prohibiting the sale of sodas in schools during the school day was overturned after “a great deal of effort from the soft-drink lobby,” reports an angry Martha Hill, who heads a county school-lunch program and is president-elect of the American School Food Service Association.

For concerned parents, home education–teaching children that caffeine is a drug and should be seen as such–is probably the best option. That’s not what the executives at Coke and Pepsi want. But they are pushing a drug on pre-adults, one that may have serious health consequences for a whole generation. And that view–not the glitzy marketing and snazzy ads–is the real thing.

This article, here in abridged and slightly amended form, originally appeared in The Nation.

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

© Metro Publishing Inc.

Net Broadcasting

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Net Cast




Questioning technology: Information without limits

By Frank Beacham

TIRED OF THE SAME OLD, same old on TV and radio? Think maybe you can do better yourself? On the Internet, anyone can be a broadcaster. Over 400 TV stations, nearly 1,000 radio stations, and more than 1,600 newspapers are already operating websites. Thousands more organizations and individuals are now broadcasting audio and video content over the Net.

The attraction of webcasting is compelling. This hybrid of print, images, and audio is the cheapest, most powerful medium ever available to those who want to get their ideas to a large audience without having to deal with the powers that be.

With Net broadcasting, there’s no FCC, no censorship (yet), and no corporate gatekeepers creating boundaries around programming. For now, it’s truly a broadcasting medium without limits. Therein lies the problem.

As any successful creative person can tell you, good communications craft requires self-discipline. The fact that the distribution medium has no limits does not mean that all the time-proven rules of effective storytelling can be arbitrarily tossed aside. Doing so usually results in sloppy, poorly executed work that leaves outsiders scratching their heads in confusion over the meaning of the message.

This is one of the reasons writers–even the best ones–appreciate good editors. (Bad editors, of course, are a different story.) A good editor challenges the writer to bring clarity to the text. If the subject is news or information, the editor forces the writer to offer documentation and a solid foundation for the story being told. The best writer-editor relationships result in a continuing back-and-forth exchange that eventually hones the work into a clear, concise presentation of the story.

Three veteran “old media” newsmen think one of the big problems with information delivery over the Internet is a lack of good editing. Many Internet journalists and webcasters, they say, ramble on endlessly with drivel and rumors that they have made no effort to verify. Because of this increasing dissemination of bad information, a broad brush of distrust, they say, is tainting the credibility of the entire Internet.

“News is a craft,” says Reuven Frank, former president of NBC News. “Somebody has to go get it. If you’re lucky, it’s somebody who knows what they are doing.”

So much of what passes for news today, whether on TV, cable, or the Internet, is a group of commentators “sitting around and repeating what they read in this morning’s New York Times,” says Frank. “That doesn’t amount to very much.”

The fact that the Internet has no gatekeeper does not mean content producers should eliminate the function of the editor, says Sander Vanocur, a veteran print and broadcast correspondent who is now an anchor on the History Channel.

“There’s too much information and too little judgment,” says Vanocur of today’s freewheeling information media on both television and the Internet. He cites the excellent training he got in the early days of his journalistic career as a hard-pressed wire-service reporter.

“We were edited very strictly,” he recalls. “It was a cruel and hard apprenticeship. Mostly done by older men … a few of them drunks, disappointed in life and in love. But this apprenticeship instilled in us a sense of what you could put in and what you should leave out, what was right and what was wrong. Once you had it, it was like learning Latin as a child–you rarely made mistakes thereafter.

“You knew it instinctively.”

Former NBC correspondent Edwin Newman, a connoisseur of the written word, sees the media explosion of recent years as a phenomenon of “too much information, misinformation, and ready opinion.” Webcasting, he feels, is simply an extension of a society that already lives amid too much noise. “There’s a virtual disappearance of quiet,” says Newman. “It’s disturbing that so many people these days, especially young people, never want it. They seem to think they are being cheated if quiet exists. There’s a constant need for banging music or to have someone blabbering away at them. I see the Internet as an aspect of this. I’m a great believer in reading,” he continues.

“Not because I’ve written some books, but because I think being able to sit down and read and think is desirable. What we are seeing now tends to lessen the time given to thought … the time given to solitude.”

Many advocates of webcasting celebrate the end of the time restraints that have long restricted the length of news stories on television. That, says Reuven Frank, is a myth: “News comes in finite packages, not just a [continuous] stream.

“You are still constrained by time on the Internet,” says Frank. “The time you are constrained by is the attention span at the receiving end. When people get too much information, they just turn off. I think they are already doing it, even without the Internet.” Information overload, he said, accounts for the steadily declining audience for newspapers, radio, and television. “With the Internet, I think it will become more extreme.”

Will the Internet eventually live up to its potential as a new mass medium that successfully merges the printed word with sound and images?

“I don’t know; that’s such a guess,” says Frank. “I think that each substantial change like this takes a generation to accomplish. You have people growing up with it, not people harkening back to the way things used to be. You can’t really get a new form [of media] until you get a new generation.”

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

© Metro Publishing Inc.

David Prothero

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Dream Designer

Michael Amsler


David Prothero makes fantasy happen

By David Templeton

WARNING!” cautions David Prothero, as a guest steps unaware into his living room. “Warning! Here there be dragons.” Prothero is not being merely whimsical–though one could hardly look around the room and not be struck by the prevailing whimsy of the neo-gothic, gargoyles-and-ravens design scheme of the place. The dragons he warns of are real.

“Water dragons,” he explains, leaning over to scoop one of them up from its hiding place. Cradling the 2-foot-long, flushed-red reptile gently, he turns it about to gaze into its scaly face. “There’s another one around somewhere,” he says. “They’re pleasant little fellows. They eat baby mice.”

The gleefully macabre interior of Prothero’s Petaluma home is tempered by less off-beat–but equally playful–decorations: Numerous dwarves (the Disney kind) exist in various collectible forms, and sketches of Wizard of Oz landscapes hang on the walls. Prothero lives and works here, sharing the place with his two sons.

“This is fairly conservative for me,” he laughs. “I’m only renting. If I owned my own place I’d go a lot farther.

“I have a strong desire for a certain level of fantasy in my immediate surroundings,” Prothero adds. “It’s a natural environment in which to let ideas flow.”

It is ideas, after all, that are Prothero’s stock in trade. He is paid to have them, develop them, and put them down on paper. Occasionally some of these ideas are actually used, brought to life as underwater stage sets, whirling and rotating parade floats, labyrinthine theme-park rides, undulating chandeliers manipulated in time to soaring music, and gaseous clouds that form and re-form within the enormous lobby of a multimillion-dollar casino. All these miracles were made possible by ideas hatched right here in Mr. Prothero’s fun house.

Though others may have had the initial notion–be it a stage show, a traveling exhibit, or an amusement-park ride–it is to Prothero that those people come when they wish to make it happen. As the owner of Dwarf Productions–“A compact, efficient little company with big ideas” reads Dwarf’s letterhead–Prothero draws on his early schooling in theatrical arts and advanced physics to develop what he calls “interactive entertainment environments.” Part designer, part technician, he determines how each creative vision is going to be executed, employing a broad knowledge of available technologies and scientific possibility. Often, the end result is something that has never been accomplished or even attempted before.

“At the beginning of every project,” he says, flipping the pages of his mind-boggling portfolio, “you’ve got the high concept–that’s the initial idea, the creative element–on one side, and then on the other side you’ve got the reality: a client with a budget. I’m the guy who stitches the two together.”

Put another way, “I make other people’s stuff work.” He explains all this shyly, even humbly, pointing out that he started his career working backstage at the theater in his home town of Hibbing, Minn.

“Theater, particularly the backstage environment of theater, tends to attract all the square pegs that don’t fit in anywhere else. The anonymity of my work pretty much suits me,” he admits.

Among his many anonymous achievements–not counting numerous sets and special effects designed for his son’s elementary school plays and haunted houses–Prothero designed the stage and sets for “Splash,” the legendary Reno Hilton show that featured mermaids and mermen performing in pools and waterfalls among ever-shifting backgrounds. When the San Francisco 49ers won the 1984 Super Bowl, they celebrated their victory with a drive through the streets of San Francisco, seated comfortably on bleachers carried by a massive float of Prothero’s design, big enough to hold all the members of the team, along with their families.

Prothero developed the initial concepts of Walt Disney World’s innovative Disney Institute, designed major elements of Universal Studio’s popular Star Trek Adventure ride, and converted Vancouver’s PNE Coliseum hockey arena, with seating for 6,500 people, into a stunning Italian opera house for Teatro alla Scala of Milan’s production of Verdi’s I Lombardi during Expo ’86.

Most dazzling of all–literally–is one of Prothero’s most recent projects.

Called the Atrium Show, it’s “an architectural enhancement” of the walk through the atrium inside the Crown Casino Hotel in Melbourne, Australia. With fountains, lasers, lights, photographic projections, and audio effects, enhanced by mysterious liquid nitrogen fog and amazing floating cloud formations, the atrium–designed by an international team of artists and technicians, in which Prothero was a key player–has been transformed into a representation of the four seasons of the state of Victoria, animated and choreographed to a soaring orchestral score. Enormous chandeliers undulate overhead, change shape and color, and can be programmed to form patterns or star-fields in the artificial sky. The building itself, which cost a reported $2.5 billion, is the biggest casino in the world, and the largest building in the Southern Hemisphere.

“The Atrium Show was designed for people to walk through,” Prothero says proudly. “But they’re ending up with hundreds of people standing in one place as it unfolds in sequence around them.”

Still, for every Prothero project that has been realized, there are numerous others that never moved beyond the conceptual stage. This, he points out, is the way the business works.

“I get paid for the ideas, whether they are developed or not,” he shrugs. “What usually happens is that the client finally understands what he or she is getting into, how much money it will cost, and how much of their lives they’ll have to give up.

“Frankly,” he smiles, “it’s a lot easier if a idea never does get built. Because then we can avoid all the physical headaches. And in truth, most ideas end up becoming compromised in scope during that process. If it’s never built, it remains a pure idea.”

On the other hand, visiting Australia to oversee implementation of a billion-dollar wonderland is nothing to knock.

“That,” he admits, “was a fun little project.”

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

© Metro Publishing Inc.

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

0

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.

0

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

0

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!

0

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.

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