The Scoop

In the Know

By Bob Harris

GIVEN THE FREQUENCY with which America’s news organizations have recently abandoned the traditional standards of responsible reporting, there’s no reason left to limit these commentaries to things that have actually happened. Hey, as long as we’re just repeating anonymous allegations leaked for political gain, why not just eliminate the middleman and write whatever amuses us?

In that spirit, The Scoop proudly presents the first in an occasional series of Tomorrow’s Headlines Today!

Washington: The Olympic champion U.S. women’s hockey team is invited to the White House to pose for photographs with President Bill Clinton. On their way out, all 25 players and coaches are issued subpoenas from special prosecutor Kenneth Starr.

Capitol Hill: Software magnate Bill Gates tells Congress that Microsoft does not have a monopoly. Gates also warns legislators that if they continue to bother his friends and call him names, he’ll just pick up his Internet and go home.

Also on Capitol Hill: The Congressional Budget Office predicts that the federal government will finish this year with a surprising $8 billion budget surplus. The extra money is the direct result of lower interest rates, an increase in tax revenues, and a sudden drop in gifts to White House interns.

The United Nations: Clinton again talks tough with Iraq, threatening Saddam Hussein with “extra-heavy-duty severest double-dare consequences, with home base called and no givebacks.” Republicans deride this language as lacking any deterrent threat of credible noogies.

New York: AOL gossip columnist and online reporter Matt Drudge accepts a job with a major TV network, stating he was “seeking a position consistent with the Drudge Report‘s high standards of objectivity.” Reportedly, his other job offer was work as an Olympic ice-dancing judge.

Also in New York: At a gala to honor Time magazine’s 75th anniversary, Clinton invokes the legacy of Franklin Delano Roosevelt, who is immediately subpoenaed by Kenneth Starr. In other toasts to important leaders from earlier parts of the century, Bill Gates salutes the Wright Brothers, Toni Morrison hails Dr. Martin Luther King, and Sen. Strom Thurmond pays tribute to himself.

Alexandria, Va.: In the wake of disclosures that the billion-dollar stealth bomber can be disabled by flying through a light rain, a new Government Accounting Office report states that the only thing in the entire Pentagon absolutely certain to survive a nuclear war is the paperwork.

Moscow: More troubles for the Mir spacecraft, after cosmonauts discover their emergency escape capsule is a 1974 AMC Gremlin and prone to flaming rear-end collisions.

Houston: The NASA Galileo space probe has discovered the presence of water on Europa, one of Jupiter’s largest moons; scientists speculate that simple life forms may exist several hundred feet beneath Europa’s surface. Those life forms will now receive subpoenas from the office of Kenneth Starr.

Atlanta: Human rights agencies report a 20 percent increase in militia activity nationwide. The rise is attributed to millennial paranoia, the circulation of false information over the Internet, and society’s continued inability to stop performances by New Age music phenom Yanni.

Hollywood: Two New Zealand playwrights have filed a lawsuit claiming that the movie The Full Monty was plagiarized from their ideas. As the plaintiffs begin presenting their evidence, the judge tells them just to put on their clothes and go home.

Also in Hollywood: Titanic has now become the first film to gross over a billion dollars worldwide. In a related story, Paramount green-lights Speed 3, in which Sandra Bullock is forced to race the Edmund Fitzgerald through a snowstorm on Lake Erie. Joe Eszterhas (Burn Hollywood Burn) will write and direct, and plans are already under way to burn the negative and assign blame.

And finally, in Boston: Scientists have isolated the specific brain-wave patterns characteristic of dyslexia. Details of the study can be found in the latest issue of the prestigious journal New Jingled Dirndl of Cinnamon.

From the March 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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Flow Master

Dark City.‘ “I use water in cities as a living force, on some level like plants. It moves, it sparkles, it sounds good, you can touch it, you can play in it.”

Michael Amsler


Architect Lawrence Halprin looks darkly at new sci-fi film

By David Templeton

In his ongoing quest for the ultimate post-film conversation, David Templeton invites renowned architect Lawrence Halprin, designer of the Franklin Delano Roosevelt Memorial in Washington, D.C., to discuss the nightmarish thriller Dark City.

LATE LAST NIGHT, exactly halfway through the film Dark City, world-famous architect and visionary Lawrence Halprin got up and walked out.

Many filmgoers and critics have found this odd science-fiction thriller –about a race of murderous, shape-shifting aliens who study human behavior within a vast, sunless city in which people’s memories are all artificial and where every street and building is magically, disconcertingly rearranged each night as the citizens sleep–to be a visually and mentally challenging experience. The whole thing left Halprin feeling impatient, irritated, and bored.

“To be perfectly honest with you,” he says strongly the next afternoon, “I thought it was a bunch of bullshit. I found it assaulting, and I didn’t know why I was being assaulted. I didn’t do anything wrong,” he adds with a laugh. “All I did was go to a movie!”

Perhaps it is not so surprising that Halprin would view such a vision of the future with displeasure; the alien city’s bleak, unyielding collisions of architecture and its oppressive, entirely natureless urban sprawl are the mirror opposite of the spacious, psychologically liberating environments that Halprin, who lives in Kentfield, has spent his professional life imagining, designing, and bringing into being.

Among his better-known accomplishments are the neighborhood-spanning Freeway Park in Seattle, the breathtaking Sea Ranch community in northern Sonoma County, and the one-and-a-half mile Israeli stretch of the Walter and Elise Haas Promenade in Jerusalem’s Old City. Most recently, Halprin saw 20 years of his work culminate in the opening of the Franklin Delano Roosevelt Memorial in Washington, D.C. A deliberately meandering, emotionally charged blending of granite walls, waterfalls, sculpture, and engraved quotations of FDR’s most thought-provoking ideas, the memorial alternates vast views of D.C.’s dense urban landscape with smaller, more intimate spaces that encourage meditative thought and heighten each visitor’s uniquely personal experience of the space.

Certainly, therefore, Halprin is no stranger to Dark City‘s notion that any environment can deeply affect and transform those who dwell in it; that human nature can be revealed by observing how people respond to their surroundings. In the warm, softly lit meeting room at his semi-bustling offices in San Francisco, Halprin takes a seat and considers this assertion.

“I wouldn’t be in this work if I didn’t think it would–well, I don’t know how much it transforms people–but it can go a long way toward making their lives more meaningful and enhancing their lives,” he remarks. “And if it’s done right, [architecture] can promote healing. A lot of healing can be done in a wonderful environment.”

“So if some outside entity or alien were observing people walking through the FDR Memorial,” I hypothetically suggest, “would they learn something vital about human behavior?”

“Of course,” he replies gently. “Otherwise there wouldn’t be anything wonderful about it. But I don’t know that standing aside would gain them anything. They’d have to walk through it alongside the people they’re observing. Then they’d learn a lot.

“Many people write to me about how it has brought back important memories about that period of time,” Halprin says. “People cry about their lost ones, they’re very emotive about how they feel, and about the lessons that Mr. Roosevelt’s era produced in them; how important it is for them to be able to interact with the sculptures, to touch them, to feel them, walk among them, stand by them; how important it was for them to hear their children read aloud the quotations carved into the walls.”

I ASSUME,” I SAY, “that one can predict how people will respond as a group to any given environment. Yet for every 100 people who walk through a place, aren’t there also 100 unique reactions to it?”

“Certainly, and that’s nothing but good,” Halprin replies. “I think that, on the whole, if you look at basic human values of people–love, affection, family, our reactions to nature, and so forth–you can assume that a lot of the responses are going to be almost biological. Emotional, certainly, but biological as well.

“Just as you can assume that birds are going to fly in a particular way, or that butterflies are going to flutter around and live for just two weeks, we have our own internal mechanisms that are predictable in a biological sense–the running of animals and the running of human beings, and our interest in the visual characteristics of what we like or don’t like about touching things. To some extent all of those things are predictable.”

“And what is more telling about us as humans,” I wonder, “those predictable ways we behave as a species, or the individual behaviors that are unique to each person?”

“I don’t differentiate,” he says. “They’re both equally important. Every shared reaction is also changed somewhat by each individual’s reaction. So I don’t force people to do any one thing in the environments I design. I let people flow and meander. I give them choices.

“I couldn’t possibly design anything that would make everybody equal,” he says. “Because people’s reactions are not equal. The way they react to things is different. And the way they exercise their potential seems to be different.

“And that’s actually quite a wonderful thing,” Halprin points out. “That’s one of the things that differentiates humans and animals, after all. Animals can’t go beyond their potential,” observes this architect of many marvels. “But we can.”

From the March 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Fiddler on the Roof

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Roof Raiser

Fiddler on the Roof.



SR Players’ ‘Fiddler’ is community theater at its best

By Daedalus Howell

OPTIMALLY, COMMUNITY theater should be like little-league baseball–everybody gets a chance at bat. In such companies, many actors, particularly young ones, are given their first glimpses of the bright side of the footlights, mentored by veterans and dilettantes alike. In keeping with this dictum, the Santa Rosa Players have crammed every willing actor (35 of them or so) into director Bob Rom’s ebullient production of Fiddler on the Roof, and in so doing are a model community theater.

Going on 40, Fiddler on the Roof (book by Joseph Stein, music by Jerry Bock, and lyrics by Sheldon Harnick) is one from a stable of diligent workhorses plodding the American musical theater landscape. Gleaned from the stories penned by a pseudonymous Yiddish writer during the first years of this century, Stein’s musical is the seriocomic tale of Tevye, a milkman, father of five–and, significantly, a Jew living in a pre-revolutionary Russia rife with anti-Semitism. Tevye and the members of his small village endure the ever-present threat of pogroms at the hands of czar-appointed local law enforcement, as well as the systematic decay of their traditions with the sequential marriages of Tevye’s three socially progressive and eldest daughters. Despite all this, Fiddler is a comedy, and director Rom draws many fine and diverting performances from his cast.

The spry Sonoma-based actor Eliot Fintushel is absorbing as the jocose and classic Tevye, his performance prudently nuanced with the crinkly-eyed whimsicality and wise-in-disguise schlemielness such characters often feature (stock personalities, as in Italian commedia dell’arte, also populate the shtetl). Indeed, Tevye is the ideal of a sitcom dad–he is stern but melts when his children kindle his paternal concern; think Father Knows Best for the turn-of-the-century Borscht Belt. Fintushel, however, supersedes Tevye’s known qualities and burnishes his interpretation with an intriguing vigor–his Tevye is a self-conscious entity, not a haughty cartoon. Indeed, Fintushel’s gestures approach puppetry (watch his hands during the musical’s ode to avarice, “If I Were a Rich Man”–it is as though they individually received skilled choreographer Nina Raggio’s attention). Fintushel also plays Tevye’s asides to God with a fervor that is at once humorous and stirring as he bemoans the collapse of his traditions.

Mika Gustafson, Denise Lane, and Alyssa Zainer (playing Tzeitel, Chava, and Hodel, respectively) each offer a confidently hewn performance as Tevye’s triad of marriage-minded daughters. Gustafson’s Tzeital is particularly convincing as she rallies against an arranged marriage so that she may wed her true love, Motel, played by a slightly green Jake Waldinger.

Local color is a commodity in excess at Tevye’s quaint village, including Evelyn McFadden’s hilariously well-meaning but meddling Yenta the Matchmaker and Katy Willens’ ghostly Grandma Tzeitel, a spirit who forewarns the perils of her namesake’s arranged marriage in a rousing dream sequence. Jeff Zainer is the title character, a fiddler that director Rom uses as a sort of mute–though musical–chorus. (Zainer synchronizes his violin pantomime to real violinist Siena S’Zell’s gifted playing–raising the question: Why not put S’Zell onstage as the fiddler?)

Musical director and pianist Jenny Jones leads a proficient orchestra of six–cordoned behind a rustic stick fence flanking scenic designer Sean Lux’s cleverly devised Russian village made of actual weathered and mossy boards–a setting that deftly meets the challenges of Jerry Bock’s score.

The Players’ Fiddler on the Roof is an economy-sized entertainment for the whole family. Although it’s not Broadway, it is Davis Street, and that’s certainly enough.

Fiddler on the Roof plays Friday-Sunday, March 13-22. Santa Rosa Players, 709 Davis St., Santa Rosa. Friday-Saturday at 8 p.m.; Sunday at 2 p.m. Tickets are $10-$12. 544-7827.

From the March 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Kids on Ritalin

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A Quick Fix


Lee Ballard

The United States leads the world in Ritalin consumption. Is the potent drug just an easy way out for adults who can’t cope with boys behaving badly?

By John Gaver

JULIA GREEN ELEMENTARY SCHOOL is one of Nashville’s most respected public schools. Test results consistently indicate that students there receive a superior education. What’s more, Julia Green has a reputation as a school that takes a particular interest in the individual needs of its students. From time to time, for example, a student may have difficulty focusing on his schoolwork or concentrating on tasks assigned to him. When a child demonstrates such “off-task” behavior, the principal, Imogene Brown, usually arranges a conference with the child’s parents. “We sometimes suggest to the parents that they talk to their pediatrician about their child’s condition,” Brown says.

But sometimes, she says, the child comes back with a prescription for methylphenidate, the drug popularly known as Ritalin, in hopes that his ability to concentrate on his schoolwork will improve.

He will not be alone. Every day after lunchtime at Julia Green, 12 of the school’s 507 students walk to the principal’s office. There, the school secretary gives each student his midday dose of Ritalin. Usually, it will be his second dosage of the day, the first having been administered at home earlier in the morning. As is the case at all other schools in the area, each child’s Ritalin is kept in an envelope with his name on it, and school officials stress that distribution of the drug is carefully monitored. Parents must sign release forms before their children can take the drug at school.

School officials do not relish the idea of school secretaries administering Ritalin. A decade ago, school nurses were available to perform such tasks. But, ever since the school system suffered severe financial cutbacks, school nurses have virtually disappeared. “We would feel more comfortable if school nurses were distributing” the Ritalin, says Craig Owensby, spokesperson for Metro schools. “We would like to relieve teachers and secretaries of that responsibility, but without school nurses, how are you going to do it?”

To make the best of a difficult situation, Owensby says, the secretaries are “very careful to make sure the medicine gets matched up with the child.”

Julia Green’s Imogene Brown says she is “not one for medication,” but she admits that she has seen “wonderful changes among children who are now on Ritalin. It does help them focus and be a regular part of the classroom. There have been some dramatic improvements among children, and I think it helps a lot of kids.”

This year, Brown says, the number of Julia Green students taking Ritalin has dropped slightly from last year, but only because a number of the children taking the medication have moved on to other schools. In local schools overall, as in the rest of the nation, however, the use of Ritalin has risen astonishingly in the 1990s, educators say.

“I have observed a marked increase in the use of Ritalin that schools are asked to dispense,” says Barbara Gay, a social worker.

Ritalin is most commonly used to treat conditions such as attention deficit disorder (ADD) and atten-tion deficit/hyperactive disorder (ADHD). According to Children and Adults with Attention Deficit Disorder, or CHADD, a Florida-based not-for-profit organization, some 3 to 5 percent of all American children–or up to 3.5 million children–suffer from ADD. Ninety percent of those diagnosed with the condition are white boys.

As a nation, the United States leads the world in prescribing Ritalin to treat various behavioral problems. According to a March 1996 story on Ritalin in Newsweek, the drug is consumed in the United States at a rate at least five times higher than in the rest of the world. The use of Ritalin to curb behavioral problems among children is controversial. Many professionals believe that the drug helps children with ADD or ADHD to become more focused and to pay better attention in class. In a number of cases, medical doctors, psychiatrists, and counselors have seen dramatic improvements, especially among children with serious behavioral problems.

Others, however, believe that ADD is an overdiagnosed condition. Ritalin’s critics contend that parents and doctors often opt to prescribe the drug when the problem may simply be one of bad conduct. Rather than taking tough measures to discipline a child, critics say, parents often just take the easy way out. Critics also point out that the drug is so often prescribed for boys, who are more prone to demonstrate bad conduct than girls. That fact, the critics say, indicates that society prefers to dope up its children rather than set tough limits for them.

“I think this is about drugs instead of parenting,” says Julia Landstreet, a mother and former PTA president who has been active in education issues. “I absolutely believe some kids need [Ritalin]. But the nature of our culture is to take a pill to fix things. This seems in keeping with everything else that is going on.”

Enormous advances have taken place in the medical community over the last decade with the introduction of “mood-settling” drugs. Millions of Americans take a variety of medications to combat depression, anxiety, fatigue, and other psychologically related illnesses. But because Ritalin is administered to children, and because schools are often ill-equipped to handle the rise in its usage, the debate over Ritalin has taken center stage. Is Ritalin simply a drug that medicates problems rather than solves them? Or is it a valuable tool that helps children behave better and learn more in the classroom? The answer is not a simple one.

RITALIN IS ONLY one of a number of drugs prescribed to treat ADD and ADHD. The stimulants Adderall and Dexedrine, as well as antidepressants such as Norpramin, Prozac, and Ludiomil, are also administered to treat the conditions. But Ritalin appears to be the drug of choice. According to one report, Ritalin accounts for approximately 60 percent of all prescriptions in the country written by doctors for individuals suffering from ADD/ADHD.

Ritalin can be prescribed only by a doctor. It is not addictive for children, but Dr. Mark Wolraich, a professor of pediatrics and director of the Child Development Center at Vanderbilt University Medical Center, notes that it is addictive for adults. He also cautions that “its prescriptive use needs to be closely regulated.” Wolraich points to a recent study conducted between normal 14-year-old boys with hyperactivity and 21-year-old hyperactive males. In that study, he says, “None of the group of 14-year-olds reported feeling they wanted to take the medication, while some of the 21-year-olds did.” Wolraich says children do not report “pleasurable” feelings from the drug. Thus, the risk of children abusing the drug is minimal.

Ritalin’s effect seems paradoxical: It is a stimulant, and yet it helps hyperactive kids settle down. Because it stimulates the central nervous system, however, it creates a calming, mood-leveling effect. So the person taking Ritalin is less easily distracted from a particular activity. That benefit “has been documented in hundreds of studies with control,” Wolraich says.

There are side effects, however. The most common, which can be controlled by adjusting the dosage, are suppressed appetite and sleep loss. Other side effects can include nausea, headaches at the outset of therapy, and a letdown, or mood change, when the medication wears off. Ritalin may also cause users to be jittery or nervous, but these effects can be minimized by an additional medication, such as a beta-blocker that takes the edge off of the Ritalin. Because the typical dose of Ritalin lasts for about four hours, it is usually administered several times a day.

It is common for children to take “drug holidays” from their Ritalin on weekends or in the summertime, when they do not have to be as focused. “You use it in the situations where children need it,” Wolraich says. “For some of the children with ADHD, their problems are primarily in the school setting and not at home. In that case, they don’t necessarily need Ritalin on the weekends and in the summertime.”

Ritalin’s public image has been far from favorable. Because it is associated, in some people’s minds, with Dexedrine, also a stimulant, and an “upper,” or cocaine, Ritalin is sometimes described as “kiddie speed,” or “crack for children.” There have been reports of parents abusing their children’s Ritalin, as well as instances of children selling their pills to friends who don’t have prescriptions.

THE MEDIA HAVE contributed their share of erroneous reports about the drug, embellishing its side effects and risks. “I think Ritalin has an image problem,” Wolraich says matter-of-factly. “Particularly, there was a large media campaign by Scientologists to try to discredit the use of Ritalin in the late ’80s. The campaign exaggerated the side effects and potential risks,” he says, adding that its potential side effects are less severe than those of aspirin.

What is important to understand about Ritalin is that it does not cure a child’s hyperactivity or distractibility. Rather, it treats only the symptoms of the disorder. And that disorder may be hard to define. Some refer to it simply as ADD, while others prefer to throw hyperactivity into the mix, calling it ADHD.

Doctors say ADD and ADHD are neurological syndromes with symptoms that can include impulsiveness, distractibility, hyperactivity, and excess energy. No scientific evidence exists to show that ADD is a disease. Rather, it is an incurable, complex disorder. “Unfortu-nately, we can’t draw blood or look at an X-ray and say, ‘Yeah, they have ADD,'” says Dr. Cynthia Briggs, a child psychiatrist at Vanderbilt. “Kids have symptoms to an extreme, more on the exaggerated end.”

Briggs, whose own daughter has been diagnosed with ADD, points out that other conditions may actually be at the root of the problem. “I think it’s easy to miss other things,” says Briggs. “There are other reasons that kids are restless. It’s tough to attribute it all to ADHD. I have had kids come in and say they have been diagnosed with ADHD; then I do a little digging to see if something else may be going on. Depression in kids and post-traumatic stress disorder can sometimes get misdiagnosed as ADHD.”

Barbara Gay, a social worker, agrees that diagnosing the condition is not easy. “It’s a very complex disorder,” she says. “There may be so many other factors involved, like neglect, abuse, and broken families, that can cause the same symptoms.” But Gay says that, for 3 to 5 percent of the school-age population, “there’s a biochemical imbalance that means that they can’t sit still in school.”

For those children, she says, Ritalin may be an appropriate drug. But Gay maintains that parents must be involved in the decision-making process when it comes to deciding whether their child should be taking the drug. “Some parents are willing to let their kids take drugs at the drop of a hat,” she notes. “Others say, ‘No way.'”

One school of thought holds that ADD/ADHD is actually a smoke screen, dreamed up to explain unacceptable personality traits. According to this line of thinking, ADD/ADHD is simply a cop-out, a way of telling people that their behavior is not their fault. When people have a “disorder,” after all, they are not responsible for their actions.

One child neurologist, Fred A. Baughman Jr., recently posted on the Internet an article entitled “What Every Parent Needs to Know About ADD,” in which he raised questions about the disorder. Baughman charges that it may be diagnosed simply by a “teacher checking any eight of 14 behaviors on a pencil-and-paper checklist,” that it needs “no physician, laboratory, X-ray, or brain-scan confirmation,” and that the root problem with the diagnosis is that “there is no confirmation.”

He mocks the tendency of medical professionals to refer to ADD/ADHD as “a brain disease” owing to a “chemical imbalance of the brain,” when science does not support those statements. He advises that everyone approach the subject of ADD/ADHD with “skepticism.”

To diagnose the disorder, doctors and counselors do administer a variety of tests to children. One is the Achenbach Childhood Behavior Checklist, which asks parents to rate, in terms of severity, whether the child bites his fingernails, is secretive, sleeps more or less than others, threatens people, sucks his thumb, wishes to be the opposite sex, or worries excessively. Vanderbilt’s Wolraich says the diagnosis of the disease is usually based on reports from parents and teachers, not from a doctor’s firsthand observation of the child. He says that observing only small samples of the child’s behavior in an office setting does not provide “good enough examples to go on in terms of their behavior.”

THE KEY QUESTION, of course, is whether ADD/ADHD is simply overdiagnosed, leading Ritalin to be overprescribed. Experts differ on that question. “The core issue with ADD is that it is far too easily and quickly diagnosed,” says Howard Morris, president of the National Attention Deficit Disorder Association in Mentor, Ohio. “Lay materials, support groups, articles in the press, and all manner of other media attention have created an environment where parents are on high alert with respect to ADD. And ignorance and insurance issues have created a situation where professionals diagnose far too easily and where medication is too often used as the total solution.”

Wolraich, however, has a different opinion. “I don’t think, in most cases, too many children are being treated with Ritalin,” he says. “I think some children are being treated inappropriately–in both directions. Some children who might well benefit from Ritalin are not receiving medication. But there are also children who don’t have the diagnosis who are put on medication.”

The key issue, Wolraich says, is that ADD/ADHD is a legitimate condition that may require medication. “It has the same criteria and is as well established as any other psychiatric diagnosis, like depression or conduct disorder,” he insists.

Jessica Golden, a second-year law student, speaks frankly, and rapidly, when she talks on the telephone. When she was a fourth-grader, Golden demonstrated symptoms of behavioral problems and was subsequently tested and diagnosed with ADD. She recalls being hyperactive and unable to concentrate or focus her attention on a specific task. She was prescribed Ritalin to control her inattention and restlessness.

She recalls, however, that contrary to the success stories often noted by psychiatrists and pediatricians, she did not like the drug. “I took myself off Ritalin in the sixth grade,” Golden says. “I didn’t think it helped me. In fact, it gave me really bad headaches and made me very nauseous. When I took it, it made me focus too much; I could only concentrate on one thing at a time. There were things happening around me that I wasn’t aware of.”

Golden has not taken Ritalin since the sixth grade, and she still has ADD. “I taught myself to get through the day,” she says. “I may not be doing as well as I could be, but I think I’m doing just fine.”

Golden, whose brother has also been diagnosed as having ADD, faults her therapist for not supporting her when she balked at taking the medication. “He thought it was a very bad idea,” she says. “When I did get off Ritalin, that was it–he didn’t try to help me get through it without drugs. It was pointless; he couldn’t do anything for me.”

Now Golden argues that doctors “need to teach coping skills rather than prescribe the drug.”

Most medical professionals would agree that medication shouldn’t be the sole treatment for ADD/ADHD. Medication lays the foundation for change but does not, by itself, eradicate the symptoms of the disorder. If positive change is to occur, the medication must be accompanied by exercises that improve self-esteem and reinforce good behavior.

As the Ritalin issue moves to the forefront of the public consciousness, the conflict between the drug’s critics and its advocates seems only to be growing louder. Those who discredit the drug highlight its potentially dangerous side effects but sometimes ignore the fact that it does have potential. Meanwhile, professionals in the medical field also say that use of the drug alone won’t cure ADD/ADHD, and that it needs to be used in conjunction with other therapies.

The Regional Intervention Program provides training and support for parents who want to learn positive behavioral management skills. Families are referred to the center by pediatricians, day-care providers, and preschool teachers, among others. “It’s really a situation where the parents are needing some training and support in interacting with their child’s behaviors,” says RIP’s national coordinator Danny Wheeler.

RIP began in 1969 as a model and demonstration project at the John F. Kennedy Center at George Peabody College for Teachers. Eleven RIP programs now exist in Tennessee, and it has expanded to Connecticut, Washington, Ohio, and Brazil.

Wheeler’s program has observed a number of children who have been diagnosed with ADD, and he is concerned that he is seeing more. “It’s kind of scary, to me, for the diagnosing of children to be going lower and lower, as far as age is concerned, and it’s kind of difficult to understand. This is a difficult diagnosis to make; it’s pretty wide open.”

Wheeler believes that many parents are inclined to go for the quick fix, whether it is “Ritalin or any other kind of medication.” But he adds that Ritalin alone “is not going to do what needs to be done. The parent, the teacher, the providers, anyone who is in daily contact with the child needs to become more consistent in knowing and understanding what needs to be done and doing those things so that the child can succeed.”

Bruce Dobie contributed to this article.

This is the last of a two-part series on the growing use of mind-control drugs on children.

From the March 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Mother Hips

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Hip Shakin’

American Recordings


Mother Hips move on and up

By Doug Miller

FOR THE FIRST TIME in weeks, the Mother Hips have the night off. Tim Bluhm and Greg Loiacono– guitarists/vocalists/songwriters–kick it on a couch at Loiacono’s home in Marin County, plucking twangs on Epiphone acoustics and crooning hillbilly harmonies. Bassist Issac Parsons performs family-man duties in Sacramento with his wife and infant son. Drummer John Hofer, whom bandmates call “the disasta’ from Nebraska,” is with his wife in Oregon, probably watching videotapes of his beloved Cornhuskers football team.

Ah, the joys of relaxation.

Sandwiched between live performances up and down the coast, studio sessions in Los Angeles, countless episodes of pissing in bottles in the tour van, and painstaking rehearsals, there seems to be little time to rest in Hipsville. And, alas, time is running out. There’s a show next week that brings the popular band to the Phoenix Theatre in Petaluma.

Northern California’s hardest-working country-rock outlaws have seen their band weather plenty of changes in the last year, but members are happy to report they’re still pretty good at picking up the changes.

“We’re still kicking,” says Loiacono, “although we’ve taken our share of hits from the industry. It’s a good thing we get along so well.” The band’s three-record deal with American Recordings, struck in 1994 with label chief Rick Rubin, is now long gone, and, as a result, so is access to the major-league dollars that came with it. In January 1997, three months after the Hips released their third American CD, the critically acclaimed Shootout, the label dropped the band from its roster. Now all three CDs are out of print and the label is legal limbo.

The Mother Hips are rock ‘n’ roll free agents, looking for the security a major-label contract could provide while they’re no longer willing to sit around and wait for the big break. And proud of it. Sort of.

“Sure, we’d like to sell a million records,” says Loiacono, “but more important, right now, we’d like to give our fans new material to listen to,” he says, adding that “the only problem now is lack of tour support, but we’re doing it ourselves, which is the righteous way, I suppose.”

THE HIPS HAVE just completed recording an independent album, tentatively titled Later Days, and a new official website (www.motherhips.com) is under construction. As always, they are touring, bringing their unique blend of country-fried psychedelia, honky-tonk blues, urban stomp, grunge funk, and surfer pop to a rabid group of West Coast hipsters.

Musically, the band has changed quite a bit from their Cal State Chico dorm room origin in 1990. While their first two American-label efforts, Back to the Grotto (independently released in 1992, reissued by American in 1994) and 1995’s Part-Timer Goes Full aptly highlighted the chaotic, tempo change-laden Hips sound, they weren’t true albums, according to Bluhm.

“Those records were made without a big picture in mind,” he says. “We just figured we had all these songs and we might as well just put ’em on records.”

With 1996’s Shootout, however, the band thought “album” from the beginning. The result is an airtight, plaintive, carefully knitted quilt of Americana, perhaps one of the decade’s great unknown rock LPs.

“I don’t think too many people heard it, and it’s a shame, but we can’t worry about that anymore,” says Bluhm, adding that “the new record’s our best work to date. We’ve turned over soil and exposed fresh skin.”

According to Loiacono, whereas the older albums jumped from mood to mood, Later Days maintains variety while mining the same neo-country vein. “The songs are definitely becoming more alike,” he says, “but there’s variety, too. There are some upbeat jumpers on this one, and there’s also what could be described as stoner music.”

Hofer’s musical intuition, says Loiacono, was a key to the Hips’ latest studio conquest. “John started laying down drum tracks that seemed a lot faster in tempo than we’d previously tried,” he says. “We all found ourselves playing much faster than we were used to and it panicked us a bit. But then, when all of the music was laid down on top of the drums, it sounded much more alive and real. John’s the ‘magic boy.'”

Lyrically, the magic is still there, too.

Bluhm, who has said he used a connect-the-dot approach to songwriting, weaving non-sequitur, casual conversation, and color landscape observation into sometimes extended verse, flexes his writing muscle on the new album and stretches Later Days into new, more personal territory. The band-penned “You Can’t Win” says it all: You can’t win, but you can feel good trying’.

The Mother Hips are still feeling good trying.

And, for them, that’s winning.

The Mother Hips perform on Saturday, March 14, at the Phoenix Theatre, 201 Washington St., Petaluma. Amoonra open. 9 p.m. Admission is $10-$12.762-3566 or 762-3565.

From the March 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Moira Johnston

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Mind Matters

Michael Amsler


Journalist Moira Johnston turns activist while covering Napa’s memory trials

By David Templeton

FOLLOWING those first eight weeks sitting in a courtroom in downtown Napa, writer Moira Johnston thought that her newest book was finally finished. She’d spent years on it already–months of meticulous research, soaking up every detail as Napa wine seller Gary Ramona sued his daughter Holly’s therapists for malpractice, and Holly staunchly defended the horrifying accusations that started it all. While undergoing therapy for serious eating disorders, Holly had come to believe that her therapists had uncovered traumatic “repressed memories” of being raped by her father from the time she was 5. Ramona, insisting he was innocent, had accused the therapists of implanting those memories in his daughter’s fragile mind.

It was a hell of a story, but the “memory trial,” as it came to be known nationwide, was only the beginning of an even bigger story–covering everything from eating disorders in America to the nature of truth itself–and Johnston had become determined to tell it well.

A meticulous and accomplished journalist with several books to her credit, Johnston managed to maintain a professional objectivity right up to the moment that the jury delivered its guilty verdict, slapping the therapists with a $500,000 judgment. By that point, supported by hours of research into the science of memory, Johnston had herself arrived at the same conclusion as the jury: that recovered memories of abuse are so unreliable and easily contaminated as to make them all but useless, either as a therapeutic tool or as evidence during litigation. As the legal and therapeutic professions reeled from the verdict, Johnston began to write.

“Then, thinking I was done, I went on a trip to Massachusetts,” she recalls, “and ended up making a pilgrimage to Salem. I found the memorial park there, honoring the innocent people who’d been killed during the witch trials of 1692. It’s a bleak place, walled in granite. The victim’s last words are carved onto stones under your feet, words like ‘God knows I am innocent!’ Until the courts put a stop to it, all the victims were convicted, on the basis of what was called ‘spectral evidence,’ visions of the devil or of evil spirits that were claimed to have been sensed by hysterical young women.

“I knew, standing there, that I would have to go back and rewrite the beginning of my book,” she continues. “I knew that the story of Gary and Holly Ramona had to begin in Salem, Massachusetts.”

Johnston’s rewrite became Spectral Evidence: The Ramona Case–Incest, Memory and Truth on Trial in Napa Valley (Houghton Mifflin; $25), released last November to a noisy round of debate. Immediately hailed as “the most powerful and influential book of the ‘recovered memory wars,'” by author Frederick Crews–who himself co-authored the earlier book The Memory Wars–and by members of the growing False Memory Syndrome Foundation, Johnston’s work was likewise criticized by proponents of the recovered-memory movement for not coming down, in the end, on the side of the repressed memory.

Even so, Johnston takes great pains in the book to avoid painting Gary Ramona as a martyr; his own culpability is demonstrated by his virtual absence as a father and by his failure to recognize and seek help for his obviously troubled daughter.

JOHNSTON, a Canadian native and longtime Napa resident, admits that she is warming to her position at the center of so vital a controversy. As such, she will be delivering a talk this week, titled “Memory & Creativity: A Writer’s Search for the ‘True’ Story,” as part of the arts and culture lecture series sponsored by the Arts Council of Napa.

“Here was the biggest mental-health controversy of the century,” she says enthusiastically, sipping a cup of coffee in the Independent’s lunchroom, “a controversy that was tearing psychology apart, tearing families apart, tearing the legal system apart, and yet here it was focused on a 100-year-old courthouse in downtown Napa, five minutes from my house.”

A POLISHED, articulate conversationalist with a warm smile, Johnston insists that her conclusions were not reached hastily, and, contrary to those who say her book is unsympathetic to the cause of abused women, were informed as much by her compassion for the abused as for those falsely accused.

“All of us are more than willing to embrace the concept of forgetting and remembering,” she says. “We want to put all of our resources into identifying the genuinely abused, so that they can be cared for. But for the Holly Ramonas of the world, who have no proof, who are discredited in court again and again and again, to become the fallen poster children for this hysteria has done such damage to the integrity of those who are victims of child abuse.

“I’ve never had, I guess you could call it a cause, that I’ve cared about so deeply,” she adds. “Because family matters to me more than anything in the world, and we can no longer afford a loss of families in this nation of already shattered families.”

The answer to the Ramonas’ dilemma, Johnston says, is contained within the metaphor of an empty dinner table. “What it finally came down to–and what the jury attributed a portion of the blame to Gary for–was that this family never ate dinner together,” she explains. “Gary Ramona’s job was to take the Mondavi Winery and to sell the idea that there was no better or more civilized thing in the world than food and wine and people gathered together at the table.

“But Gary was a busy man,” she continues, “a successful executive in a culture where good daddies are busy daddies, off earning money for their families. The failure of this family was their failure to know that their child was troubled in time to stop it before it became clinical depression, bulimia, and ultimately recovered memories.

“That’s the most easily applied message to come out of the book,” Johnston adds. “One friend came up to me and said, ‘Moira, I get it now. I don’t care how busy I am, from now on Wednesday is family night; we’re cooking, we’re eating, and all of the children will be there.’

“The best line in the book, I think, is a quote from one psychologist in Napa,” she softly concludes. “‘We have deified our chefs,’ he said, ‘and starved our children of nurture.’ In that, if nothing else, the Ramonas’ story hits us all where we live.”

Moira Johnston appears Saturday, March 14, at 7 p.m. at Joseph Phelps Vineyards, 200 Taplin Road, St. Helena. Tickets are $18-$20. 257-2117.

From the March 12-18, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Pentagon Hacker

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Pentagon Hackers Speak Online

Paula Harris

AN ENIGMATIC FIGURE who claims to have mentored a Cloverdale teen hacker accused by the FBI of breaking into several Department of Defense computer systems has taken credit for the crime.

In an exclusive Internet interview posted Wednesday on the Pittsburgh, Pa.-based AntiOnline website, a man identified only as Analyzer said he wants authorities “to release Makaveli”–the nickname for one of two local youths questioned by federal law enforcement officials but not charged with the computer crimes. Analyzer claims that he can prove that he entered the unclassified military and government computer sites in a massive cyberattack.

“He really didn’t [do that],” Analyzer told AntiOnline founder John Vranesevich. “I can prove [it] myself by giving the [passwords to the] servers [that were broken into].”

On Tuesday, Analyzer–regarded as one of the best in the hacker community–struck again when he broke into the server at NetDex Inc., a local Internet provider that was used surreptitiously by hackers to access the Pentagon and other sites. During the most recent break-in, he changed the name of the business’ website homepage to “The Hacked NetDex. Inc.” and declared that he had cracked the site “in order to make things right.” Then, Analyzer issued a brazen challenge to the FBI, which has been investigating the case for several months: “Makaveli did not hack any of those [Department of Defense] systems,” he wrote on the NetDex page. “[H]e don’t even know how to trojan a system. [I]f [you are] searching [for] anyone, [you] should search for me.”

FBI spokesperson Patti Hansen had no comment Wednesday on the latest invasion of NetDex, which had just issued a statement to subscribers assuring them that confidential files and credit card numbers were safe.

However, the FBI was unaware of the interview with Analyzer posted just five hours after he hacked into
the NetDex system right under the watchful gaze of the FBI.

“It’s a dubious honor to have been chosen as a way station [for hackers],” said NetDex owner Bill Zane. “I would prefer not to have been the one.

“This should be a wake-up call for schools, parents, and systems administrators.”

ANALYZER is believed to be an 18-year-old Israeli who has operated out of his homeland. “We’ve known him for a while as the ‘unknown hacker’ and the mentor to several predominant hackers in the country,” said Vranesevich, who started the AntiOnline site four years ago, “but this is the first time we’ve found out his nickname.”

According to sources, Analyzer is part of an Israeli hacking group knaown as Enforcers. Analyzer plans to distribute passwords to 400 confidential U.S. government computer systems, including sensitive sites at NASA, the Navy Department, and other key defense agencies.

“[Analyzer] seems very boastful, very confident that nobody is going to find out who he is,” said Vranesevich, whose website is getting “hundreds of hits every hour” from government and military agencies. “He believes that he’s hidden himself well enough so that nobody will discover his identity.”

The breach of computer security systems at U.S government and military offices and at universities is the largest case of computer break-ins.

In the AntiOnline interview this week, Analyzer described himself as an idealistic anarchist who loves “chaos” and “hates” big governmental organizations. He claims to have started hacking two years ago “as a challenge.” Some of the systems he has cracked have contained classified information, he noted, adding that he has “rarely” looked at the documents and has never taken money in exchange for his work.

“I told you, I hack everything,” he said. “If it’s a big server or gov[ernment system], I will hack it.”

He plans to retire “in the near future,” he said, and acknowledged mentoring Makaveli. “Since I was going to retire, I was going to teach someone some of my knowledge and guide him,” he claimed. “Also he was hard as hell to get rid of.”

Zane–noting a rash of Microsoft Windows NT crashes this week at universities and government agencies coast-to-coast–likens computer hackers to terrorists. “It looks like cyber war,” he said, noting Analyzer sees himself as “an evil genius.”

In his March 2 interview with Vranesevich, Makaveli denied that he was in the midst of breaking into a government site when FBI agents stormed into his home. “That’s bull,” he said, “I was on [Internet relay chat] talking to some of my friends.”

He admitted to having had the access codes to computers at Lawrence Livermore National Laboratories, which conducts research into nuclear weapons, and said he “may have given” those codes to some friends.

Throughout the interview, Vranesevich said, Makaveli made reference to Analyzer as the hacker the agency is really after.

If I was ever asked who is the best hacker that ever was, it would be him without a doubt,” Makaveli marveled. “There are still 100 U.S. servers hacked that the FBI doesn’t even know about.”

And he explained the motivation that many hackers have expressed: “It’s power, dude–you know, power.”

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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Bedside Manner


Yariv Milchan

The kiss: Catherine McCormack and Rufus Sewell embrace in Dangerous Beauty.

Margo St. James on the power of sex and Dangerous Beauty

By David Templeton

In his ongoing quest for the ultimate post-film conversation, David Templeton escorts renowned social reformer and notorious ex-prostitute Margo St. James to see the new film Dangerous Beauty, the true story of a courageous and influential courtesan in 16th-century Venice.

MARGO ST. JAMES can’t stop crying. What started as a soft, silent trickle of tears about halfway through the film Dangerous Beauty has gradually intensified into the unstoppable downpour of empathy and emotion that St. James is now bravely attempting to quell. On screen, black-robed priests of the Spanish Inquisition have forced the heroine–Venice’s influential 16th-century poet and prostitute, Veronica Franco (Catherine McCormack)–to stand trial and account for the “bewitching power” that the wealthy wives of Venice have accused her of wielding over their smitten husbands. When Franco calmly confesses–not to witchcraft, but simply to having been born a woman of little wealth, with few choices open to her beyond that of the relatively privileged life of a courtesan–St. James, once a prostitute herself, and equally influential in her own city of San Francisco, is just about undone.

“Jesus!” she exclaims, wiping at her damp cheeks as the lights come up. “You didn’t tell me this would be such a tearjerker. But being that this is the first film I’ve seen in eight or nine years,” she laughs, “I’d say you picked a good one for me to go out on.”

For some of us, a decade in between movies might seem a long time, but Margo St. James is hardly the average person. She’s busier than most.

When not producing and starring in her award-winning weekly cable show, Streetwise (Tuesday nights on San Francisco’s Channel 53), or traversing the country to lobby for the decriminalization of prostitution, this bona fide cultural icon and author helps pay her bills as a waitress at a local restaurant, while tirelessly working in her spare time on behalf of the National Task Force on Prostitution and COYOTE (Cast off Your Old Tired Ethics), the prostitutes’ rights group she founded in 1973. She is the co-author, with Gail McPheterson, of A Vindication of the Rights of Whores (Seal Press, 1989) and continues to write on the status of sex workers around the world. As if that weren’t enough, St. James also occasionally runs for public office. She narrowly missed winning a seat on the city’s Board of Supervisors in the last election, and is gearing up for a probable victory this November.

This afternoon, though, she’s taking a bit of time for herself.

“One thing I’ll say about that film,” she proclaims a few minutes later, stirring a double decaf cappuccino at a nearby coffeehouse, “the men were all hunks! Of all the guys she was sleeping with, there was only one old one. I remember those days. I used to pick out the good ones, too, you bet.”

When St. James laughs, her voice deep and flirtatiously husky, several heads turn to locate the source of the sound. As skilled as she is at commanding the attention of a room, it’s clear she’ll make a fascinating politician.

“There were some basic truths in the film that can’t be denied,” she continues. “For instance, the wives, the ‘good women,’ who all joined up with the right wing to attack their own kind–that’s been happening in this country for the last two decades, with hard-core feminists like Andrea Dworkin joining the fundamentalists in coming out against prostitution.

“There’s such a stigma about the money! What did that one guy say to Veronica in the film? That the courtesans were ‘trading love for greed’? Well, that’s the big taboo: sleeping with men for money. It’s perfectly legal–in this state anyway–for a woman to have sex with anyone she chooses, at any time. But the minute five cents changes hands–then boom! She’s a whore, and she goes to jail. It’s ludicrous.”

I mention a criticism some have made of Dangerous Beauty: that its presentation of a prostitute who enjoys having sex is nothing but a male fantasy.

“Let me tell you something,” St. James says, leaning forward. “It’s not necessarily a fantasy. Even back in the ’70s, some probation department guys made a study in Pittsburgh, and they found that the most downtrodden women on the street, whores who were being recycled through the jail every week, told them that they got some gratification from hooking. Not necessarily that they had orgasms–though I was one of the first to admit to having orgasms with customers–but that they felt honestly gratified afterwards.

“And yeah,” she chuckles, “it was probably just the money, but you know, I found, personally, that if I was seeing three or four customers a day …” She pauses a moment, considering the matter seriously. “Let me put it this way,” she finally says. “It’s really true about sex. The more you get, the more you want. And some days, it was pretty damn enjoyable.”

The real Veronica Franco, as in the movie, was held up as a reason for the plague that was sweeping though Venice and across Europe: the deaths as God’s punishment for the wanton ways of the courtesans and their clients.

“Religion loves epidemics,” St. James remarks. “And God is always punishing the whores. It’s all superstition, of course. I’m an atheist.

“Being 60 years old, I’ve seen a lot, and lived through a lot of positive changes, and they’re all wonderful,” she continues. “But I’ve also seen the rise of fundamentalism and the AIDS pandemic that came along and almost shut down everything, including the women’s movement. Whores are still one of the first groups to get blamed for everything, from AIDS to the depreciation of property.

“What this country needs is a woman in the White House,” she insists, “and preferably a whore. Someone has to stand up and take away the moralists’ red herrings, and I think it’s up to the women to do that,” she laughs her no-nonsense laughs, adding, “be they whores or otherwise.”

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spins

0

Le Jazz Hot


All that jazz: Jason Robinson

A quartet of noteworthy new jazz CDs

Jason Robinson
From the Sun
(Circumvention Music)

AS THE JAZZ WORLD focuses on a younger generation, the Bay Area is naturally finding time in the spotlight. The success of avant-funky guitarist Charlie Hunter portends a crop of talent versed in rock and soul, yet a traditionalist strain remains strong among new acts. On his new disc From the Sun, Sonoma County’s Jason Robinson sounds as if he could be recording in the ’60s for respected jazz labels like Prestige, Fantasy, or Blue Note. This is a precise, punctuated ensemble playing in a classic bebop mode, as the former sax-playing sideman steps out as composer, arranger, bandleader, and producer. Robinson emphasizes solos with piano and guitar comping. He’s confident enough to let the other members of his septet solo before him, choosing instead to let the songs speak through structure and accent. The Latin-flavored breaks on “Flight from the Sun” and “Perception” contrast nicely with the subtle late-night melancholy of “Love,” while “Spirit of a Trane” struts a snappy blues-based edge. From the Sun is swinging and clear, tasteful with a modern edge, and should serve notice that Robinson has arrived.
Karl Byrn

Charlie Haden
The Montreal Tapes with Geri Allen and Paul Motian
(Verve)

The Montreal Tapes with Gonzalo Rubalcaba and Paul Motian
(Verve)

ON A HOT SUMMER night in 1989, jazz bass wiz Charlie Haden–arguably the most tasteful bass player in modern jazz (with apologies to Ray Brown)–hosted a series of concerts at the Montreal Jazz Festival, featuring such luminaries as guitarist Pat Metheny, tenor sax man Joe Henderson, and avant-gardist Paul Bley. To date, two of those eight celebrated Haden sessions–one featuring the late trumpet great Don Cherry, the other with Haden’s own Liberation Music Orchestra–have seen the light of day. Now another pair of trio sessions are available–Verve promises more to come–and they are well worth the wait. Pianist Geri Allen, a veteran of the Ornette Coleman acoustic quartet, displays a bluesy, angular Monk-like edge tempered by an African flair. Her sense of style and sensitivity to ballads steps to the fore in “First Song,” the Haden original covered on the recent Grammy-winning Haden/Metheny collaboration Beyond a Missouri Sky. Cuban-born pianist Rubalcaba steals the show, however, on a set of complex, stunningly beautiful solos. The opening track, Gary Peacock’s evocative “Vignette,” set the tone for the evening with its “polyspeed” bursts of impressionistic waves and romantic outpourings. And, of course, Haden is tasteful as always. Highly recommended.
Greg Cahill

Oscar Aleman
Swing Guitar Masterpieces, 1938-1957
(Acoustic Disc)

HE IS HAILED as the Argentine Django Rheinhart. But some jazz aficionados feel that guitarist Oscar Aleman actually had better chops than his more famous gypsy-jazz counterpart (jazz critic Leonard Feather once proclaimed that Aleman could “outswing” Django). Unfortunately, Aleman has languished in relative obscurity for six decades. Fortunately, this infectious two-CD set places him center stage. And, yes, there’s a story behind this engaging release. In 1973, Grateful Dead guitarist Jerry Garcia snagged a bootlegged tape of Aleman tracks. He turned mandolinist David Grisman on to his find. The following year the duo recorded an Aleman-inspired version of Irving Berlin’s “Russian Lullabye” on Garcia’s debut solo LP. For those new to Aleman, this 52-track set–released on Grisman’s San Rafael­based label–is a real find, a treasure trove of improvised boogie woogie, Latin-flavored Broadway standards, and simmering swing hits (sung in English and Spanish). Essential stuff for any music lover, and especially fledgling swing fans searching for the next big thing. Go back to the future to capture the swingin’ sounds of a Buenos Aires bistro brimming with the coolest of prewar jazz.
Greg Cahill

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Run-D.M.C.

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Hell Raisers


Michael Amsler

Still runnin’: Run-D.M.C. members Darryl McDaniels, Jay Mizell, and Joey Simmons have risen above seemingly insurmountable odds to become the elder statesmen of hip-hop.

After scaling personal and professional tribulations, Run-D.M.C are back in black

By Sal Hepatica

HELLO, PORKPIE HATS. Five years after their last album, the Christian-inspired Down with the King, rap legends Run-D.M.C. are, as Lifestyle of the Rich and Famous host Robin Leach might intone (loudly), on an upward swing! They’re on tour. They’re the recipients of a recent MTV lifetime-achievement award and the subject of an appreciative rockumentary (or is that rapumentary?). New-school hip-hoppers are rushing to pay tribute to the Kings of Rock–last year, the Wu-Tang Clan covered the Run-D.M.C. classic “Sucker MCs.” And a new album is in the works.

Whaddup, homey?

“It’s like town to town, spot to spot, a hop, a skip, and a jump one night in each town and then we’re back on the road,” observes group member Darryl McDaniels, 33, during a phone call from a Brooklyn hotel room. “It’s a really busy time for us. We were just buggin’ out the other day, saying we can’t believe how many shows we’ve got booked.

“This is the busiest we’ve been since the Raisin’ Hell tour.”

For those who think the history of hip-hop began with the ubiquitous–and unabashedly commercial–Puff Daddy, that re-emergence is significant. After all, Run-D.M.C.–McDaniels, boyhood chum Joey Simmons, and basketball buddy Jay Mizell (aka Jam Master Jay)–helped change the course of popular music, introducing porkpie hats, gold chains, and untied sneakers, as Rolling Stone once noted, to youth culture’s most stubborn demographic group: white, male, suburban rock fans.

“Our basic goal is being 65 years old and being able to come out and do a tour–sort of like the Rolling Stones,” McDaniels quips. “We want people to laugh and joke about us like they laugh and joke about Mick Jagger. You know, 50 years old and still out there touring.

“We want hip-hop to be an everlasting, eternal music–it’s not going to be a ‘remember when?’ kind of thing.”

Fame found Run-D.M.C. in 1986 with the release of Raising Hell, the third LP from this Queens, New York­based rap trio. In a brainstorm by record producer Rick Rubin, the group recorded a mind-bending rock ‘n’ rap cover of Aerosmith’s ’70s-rock hit “Walk This Way.”

The track–hailed by the music press as one of the cleverest marketing schemes ever–confirmed the group’s self-professed King of Rock status, sent suburban metalheads jumping for their air guitars, and revitalized the flaccid career of Aerosmith, then a washed-up Rolling Stones clone.

The album sold 5 million copies, became the first rap album to hit the Billboard Top 10 album chart (it peaked at No. 8) and earn multiple platinum status, earned corporate sponsorships from Adidas, and paved the way for a whole generation of new-school rappers.

THESE DAYS, in a genre known for its youth orientation and experimentation with state-of-the-art technology, Run-D.M.C are the elder statesmen of hip-hop. “Since the death of the so-called gangsta rap and the materialism of Puff Daddy, people are looking back to the old way of deejaying, rhyming, and having a good time,” says McDaniels.

“Ya know what I’m sayin’? People are getting back to the foundation of hip-hop.

“Meanwhile, we’ve seen groups come and we’ve seen fads go, but we’re still here.”

That’s a story in itself. After all, Run-D.M.C. may have taken hardcore hip-hop from an underground street sensation to a pop-culture phenomenon, but it was a bumpy ride. Raised in the middle-class neighborhood of Hollis, Queens, by the time Joey Simmons had reached his teens, older brother Russell already had achieved success on the local rap scene. One year out of high school, the younger Simmons and his pals recorded a groundbreaking single, “It’s Like That,” backed with “Suckers MCs.”

The platter spotlighted the group’s unconventional singing style in which, rather than trade off verses, Simmons and McDaniels finish each other’s lines. The single hit No. 15 on the R&B charts.

Their eponymous 1984 debut album established their trademark rock influences, virtually unheard of in the jazz- and R&B-influenced world of rap. By the time Raising Hell cracked the Top 10, Run-D.M.C. had starred in the movie Krush Groove–alongside Kurtis Blow, the Fat Boys, and the Beastie Boys–and opened the commercial floodgate to rap.

But success took its toll. Both Simmons and McDaniels battled drug abuse and alcohol problems, and a rape charge (later dropped) dogged Simmons. Tougher than Leather, the much-anticipated 1988 follow-up to Raising Hell, reached No. 9 on the pop charts, but proved a critical failure. Back from Hell, released in 1990, was their first album not to go gold.

“It was unavoidable that we go through the basic sex, drugs, and rock ‘n’ roll thing,” McDaniels says. “That’s out here in this career. Some don’t survive it, some do. Those that do survive can be an example for those that follow.

“We don’t want to preach, but we do want to set an example.”

Certainly, the list of rappers who have fallen by the wayside–sometimes in a hail of bullets–is legion: NWA, M.C. Hammer, Vanilla Ice, the Notorious BIG, 2Pac. “We’re still here because we hold the essence of what the real hip-hop is: fun, a positive message, a good time, rock the crowd, rap, break dance, spin on your head, jump into the audience,” McDaniels adds.

“All that stuff is all good.

“We could have compromised our sound and said, ‘Oh, maybe we should do what Puffy do, or maybe we should do what 2Pac’s doin’.’ But then we wouldn’t be keeping it real,” he concludes. “The only reason we’re still here today is that we’re keepin’ our black hats on and we doin’ what we always do that makes us, us.”

Run-D.M.C. perform Friday, March 13, at 9 p.m. at the Phoenix Theatre, 201 Washington St., Petaluma. Tickets are $15 advance (SSU students); $17 advance (general); and $20 at the door. For details, call 664-2382.

From the March 5-11, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Scoop

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A Quick FixLee BallardThe United States leads the world in Ritalin consumption. Is the potent drug just an easy way out for adults who can't cope with boys behaving badly?By John GaverJULIA GREEN ELEMENTARY SCHOOL is one of Nashville's most respected public schools. Test results consistently indicate that students there receive a superior education. What's more, Julia Green has...

The Mother Hips

Hip Shakin'American RecordingsMother Hips move on and upBy Doug MillerFOR THE FIRST TIME in weeks, the Mother Hips have the night off. Tim Bluhm and Greg Loiacono-- guitarists/vocalists/songwriters--kick it on a couch at Loiacono's home in Marin County, plucking twangs on Epiphone acoustics and crooning hillbilly harmonies. Bassist Issac Parsons performs family-man duties in Sacramento with his wife and...

Moira Johnston

Mind MattersMichael AmslerJournalist Moira Johnston turns activist while covering Napa's memory trials By David TempletonFOLLOWING those first eight weeks sitting in a courtroom in downtown Napa, writer Moira Johnston thought that her newest book was finally finished. She'd spent years on it already--months of meticulous research, soaking up every detail as Napa wine seller Gary Ramona sued his daughter...

Pentagon Hacker

Pentagon Hackers Speak OnlinePaula HarrisAN ENIGMATIC FIGURE who claims to have mentored a Cloverdale teen hacker accused by the FBI of breaking into several Department of Defense computer systems has taken credit for the crime.In an exclusive Internet interview posted Wednesday on the Pittsburgh, Pa.-based AntiOnline website, a man identified only as Analyzer said he wants authorities "to release...

Talking Pictures

Bedside MannerYariv MilchanThe kiss: Catherine McCormack and Rufus Sewell embrace in Dangerous Beauty.Margo St. James on the power of sex and Dangerous BeautyBy David TempletonIn his ongoing quest for the ultimate post-film conversation, David Templeton escorts renowned social reformer and notorious ex-prostitute Margo St. James to see the new film Dangerous Beauty, the true story of a courageous...

Spins

Le Jazz HotAll that jazz: Jason Robinson A quartet of noteworthy new jazz CDsJason RobinsonFrom the Sun (Circumvention Music)AS THE JAZZ WORLD focuses on a younger generation, the Bay Area is naturally finding time in the spotlight. The success of avant-funky guitarist Charlie Hunter portends a crop of talent versed in rock and soul, yet a traditionalist strain remains...

Run-D.M.C.

Hell RaisersMichael AmslerStill runnin': Run-D.M.C. members Darryl McDaniels, Jay Mizell, and Joey Simmons have risen above seemingly insurmountable odds to become the elder statesmen of hip-hop. After scaling personal and professional tribulations, Run-D.M.C are back in blackBy Sal HepaticaHELLO, PORKPIE HATS. Five years after their last album, the Christian-inspired Down with the King, rap legends Run-D.M.C. are, as Lifestyle...
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