Santa Rosa Geysers

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Tractor Troops

By Paula Harris

A DISTANT ROAR rapidly becomes louder as a convoy of 15 tractors, complete with police escort and driven by smiling jean-clad farmers, rumbles into downtown Santa Rosa on an overcast Tuesday afternoon, all to the cheers of curious onlookers.

The vehicles are decorated with various signs: “You Can’t Make Milk from Steam,” “Water: Don’t Dump It Down a Hole,” and “Drought Happens.” The tractor troops line up in precise formation in the Santa Rosa City Hall parking lot. Their mission: to persuade councilmembers to hold off on a plan to pipe up to 2 billion of gallons of treated Santa Rosa wastewater each year across their land through a 34-mile pipeline to a geologically active geyser near Alexander Valley.

Instead, the farmers want the water recycled to irrigate crops.

“We wanted to make a presence, make a statement, but the right statement,” says Mill Creek Winery owner and tractor rally organizer Bill Kreck. “I’m really pleased with the turnout.”

Adds Rue French, a longtime advocate of using treated wastewater for irrigation: “This brought tears to my eyes. This is a countywide representation.”

On the day the City Council was set to make a final decision on a controversial issue that has consumed 13 years and $20 million in studies, angry local farmers rode into town. Councilwoman Pat Wiggins, an advocate for ag reuse, says she was surprised to see the farmers’ last-minute rally. “It would have been helpful for advocates of agricultural reuse if the outpouring had happened during the process,” she says.

“But it’s not rocket science to know agriculture is our biggest industry and can use that water.”

Still, the show of agricultural force wasn’t enough to sway the council, which–after a five-hour, standing-room-only meeting attended by some 200 people–voted 5-2 to approve a plan recommended by the Board of Public Utilities to inject half of the city’s wastewater into The Geysers for the next 30 years. A consortium of geothermal companies will contribute $50 million toward the cost of the $132 million alternative-energy project. The cost to city ratepayers for financing the city’s share of the project is expected be $6 a month. The plan was one of six options considered by the board, including increased dumping of wastewater into the Russian River.

Outraged farmers and conservation groups promise to sue to stop the geyser project.

Some farmers claim that they had a solution for an all-agricultural, open-space, and urban reuse program all along, but that the BPU didn’t listen. And, according to a report issued by the Sonoma County Farmlands Group, the city could reap profits from the ag-reuse plan, whereas the geyser project would generate rewards only for the energy consortium. Kreck says the report is based on research conducted by city and county officials and reviewed by the Sonoma County budget analyst. It found that the ag-reuse plan would result in a net gain of $20.9 million over 30 years, whereas the geyser plan would end up costing the city $23 million over the life of the program.

“The out-of-pocket cost of $70 million is about the same to ratepayers, whether the option is The Geysers or ag reuse, but over a 20-year life [the ag-reuse option] would only cost $3 million in maintenance to the pipeline because there’s no rise in elevation,” says Kreck. “Plus, studies show that water increases productivity, which leads to more crops, [more revenue for farmers], and more sales tax to local government. The city and county would get $16 million to $20 million in taxes if the water was left in the ag community rather than going down a hole.”

Several other local farmers agree. “We’re here and we think we can provide a project that makes sense, and we want them to give us a chance to do that,” says Ed Grossi, a Penngrove farmer who grows organic vegetables and fruit. He has supported water reclamation for 10 years. “There would be a diverse use of water–for grapes, orchards, dairies, not just one commodity. It’s beneficial to the county to have a diverse [economic] base.”

UNDER THE AG-REUSE PLAN, farmers would donate the land and the city would pipe water to small ponds. Farmers then would build a distribution network to create access to water at a series of regional sites.

“I think [the city] should keep agriculture as an option,” adds Grossi. “They need a backup. The Geysers will take a minimum of four years to put in place. Let’s keep ag as a backup and have a fallback position if the geyser plan fails.”

The geyser alternative, which had so far had little opposition, may now be jeopardized by looming long and contentious litigation. “If you adopt the plan currently designed, we have no alternative but to oppose it,” William Payne, who represents the Madrone chapter of the national Audubon Society, told the council. The proposed pipeline route cuts through the 1,400-acre Macaymas Mountain Sanctuary at the north of Alexander Valley.

“They plan to put two big and noisy pumping stations at the Forever Wildlife Preserve there. This is headed for the Supreme Court–and how long is that going to take?” asks Kreck. “If the BPU thought they had a quick fix [with the geyser option], they’re wrong because they’re going to deal with the mother of all lawsuits.”

In addition, representatives from the Alexander Valley Association and the Alexander Valley School District say they have 18 concerns, specifically about noise and visual impacts of the proposed pumping stations and two-story towers, but have received no significant response from the BPU.

“You fail to address the issues concerning residents,” Les Perry, an attorney representing the Alexander Valley Association, told the council on Tuesday. “You’re proposing an industrial project in their rural environment.” The association also vows to sue the city, unless changes are made to the plan.

Field Stone Winery owner John Staten, representing eight wineries on Highway 128, says the wineries would lose $160,000 a month during the construction project .”We’d be moving to a confrontational situation,” he warns.

Some critics have also expressed seismological concerns because of the “unproven technology of injecting water into dried-up steam fields.” The pipeline would cross at least two active earthquake faults “Even with check valves, if there’s a major break, there will be a lot of water,” admits Santa Rosa Assistant City Manager Ed Brauner.

OTHER OBJECTIONS to the geyser plan include cost overruns, since the steel pipes would need to run along high elevations and undulating roads, and deterioration of the infrastructure of The Geysers.

Meanwhile, farmers are disappointed with the outcome. “It’s really unfortunate–ag may have lost a golden opportunity,” says west county dairy farmer Art Lafranchi. “Litigation is a virtual certainty. Ag reuse appeared to be the only solution that generally had acceptance. Now the city is putting all its eggs in one basket. I think ag could be a permanent solution.”

Councilwoman Noreen Evans says farmers are frustrated because many have been trying to work with city hall for years and feel rebuffed. “The economic impact of what they are proposing is so much greater than The Geysers; it will be several years before the geyser plan is operational. Something should be done in the meantime with the water. Plus, The Geysers is only a 20-year project–we’ve already spent almost 20 years looking at this, and agriculture will still be here in 20 years.”

The BPU next week will begin considering how to limit the noise and visual impacts of the disposal project and will seek ways to ensure that at least some of the wastewater is set aside for irrigation. Opponents say that, if there are no written guarantees addressing their concerns, they will start legal proceedings against the city in 30 days.

From the January 29-February 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Media Excesses

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Wag the Media

By Don Hazen

Remember back 20 years or so when we saw films like All the President’s Men and Under Fire ? Then, journalists were heroes, and the media–especially the Washington Post –were bulwarks against the excesses of power. Not any more. The mirror that is Hollywood, reflecting back the image of our culture, has a new vision of the media and it isn’t a pretty.

No place is the transformation of media to monster so complete as in Tomorrow Never Dies, the current James Bond flick. Here the arch villain, Elliot Carver, kills his wife and plots a war between China and Britain, just so his media empire can flaunt the scoop of the century, and give him paramount access to every television screen on Earth. Bond is, of course, among the most infamous Brits around, so think Rupert Murdoch and Robert Maxwell at the next level. Who ever thought of James Bond as a highly trained media watchdog?

“It’s my theory that they wanted an adversary for Bond that the public would really hate,” says humorist Art Buchwald. “Today’s movie goers are no longer intimidated by South American dictators or Russian generals. Recent surveys reveal that the public is scared silly by the media. So the producer decided to model the arch villain after a media mogul because he knew that the audience would really root for Bond to destroy him.”

While there’s a long history of the media as protagonist in films, Citizen Kane is perhaps the most memorable. But over the last two decades, journalists and television itself has increasingly taken its lumps. Most recently, Danny DiVito plays a corrupt editor of a sleazy Hollywood celeb rag in LA Confidential, and Dustin Hoffman a self-promoting newscaster in Mad City. Lest we forget Absence of Malice (1981), Broadcast News (1987) and The Paper (1994), which all show journalism in a less than favorable light. As critic Dana Bisbee writes, “Journalists are the new villains of pop culture.”

Hollywood is simply keeping pace with the public’s growing suspicion of the press.

But there is much more to the public’s feelings about the media than mere suspicion of the press. The public simply doesn’t trust or believe what it sees, hears and reads, and the media and Hollywood are actors in this drama. Perhaps Sidney Lumet’s great movie Network with its increasingly crazed visionary character screaming, “I’m not going to take it any more” foreshadowed the larger forces at work. But Network was in it’s own way hopeful thinking that by using the tube it would help people get in touch with their inner anger at the inanity of the tube by revolting. Nice try. An irony not apparent in the most recent entry in the media paranoia sweepstakes: Wag the Dog.

Now we have the new nihilism, best represented by the Barry Levinson-directed film. Robert DiNiro stars as Connie Brean, the powerful, undercover, presidential media-fixer with a lethal touch, and Dustin Hoffman, who plays the prototype, self centered, oily Robert Evans-type producer (Stanley Motss, the “t” is silent), who nevertheless has drive, eternal optimism and panache to get any production made.

Together these two guys create a fake war between the U.S. and Albania, with media mirrors and major manipulation assistance from virtual reality computer wizardry designed for TV news. “Why Albania? What did they ever do to us? What did they ever do for us?” asks Brean in the film. The goal of the war diversion? To save the unseen president’s election skin after he allegedly cops a feel of a Firefly (read: Girl Scout) visiting the White House.

Depending on your vantage point, Wag the Dog is either a funny satire, or enervating cynicism that contributes to the very problem it is skewering. But no matter what your take, Wag the Dog represents a new level of understanding of our mediated world–the interconnected web of politics, Hollywood and the media. Since today’s giant global media conglomerates shape virtually every aspect of media reality through the seamless dynamics of synergy–owning the programming and the capacity to deliver it–in news, music, radio, television, movies, Web sites and various other sources of entertainment, virtually any reality is possible.

Wag the Dog represents a long tradition of using Hollywood and creating images on behalf of making and breaking war, dating back to the Spanish American War. Brean provides some examples of the powerful images: naked Vietnamese girl covered in napalm burns; five U.S. Marines raising the flag at Iwo Jima; British Prime Minister Winston Churchill’s V for victory. “You’ll remember the picture 50 years from now, they’ll have forgotten the war. Gulf War? Smart bomb falling down a chimney, 2500 missions a day, 100 days, one video of one bomb. And the American people bought that war.

“War is show business.”

The film’s behind-the-scenes media manipulations render the practicing news media and the president mere props in a larger game. Bizarrely, the only input the president has in the fake war scheme is to decide he wants a calico cat used in the fake Anne Frank-like scene in “Albania” on the movie set. Throughout Wag the Dog, we see technology, music, slogans and images–the best of Hollywood–all at the service of creating a virtual reality of no truth.

It’s no wonder that close to 90 percent of the public think media owners exercise too much control over the press. Nor should anyone be surprised when large numbers of Americans report that they feel powerless in a system they perceive is locked up by a hegemonic troika of corporate moguls, corrupt politicians and wealthy media celebs formally known as journalists.

Initially I was torn by Wag the Dog. I was taken aback by how subversive the film appeared to be. These days we don’t get much political satire out of Hollywood. Some movies stick with you and you replay them with delight; others start to turn on second and third thinking … which is what happened with Wag the Dog.

The film has some big holes. Washington Post writer Stephen Hunter takes the film to task for it’s naivete. A defender of the 4th Estate, Hunter writes: “It’s really unsophisticated about press culture and gullibility … Any moderately experienced reporter would prick this balloon with a half an hour’s worth of phone calls and begin to organize his Pulitzer acceptance speech … his book contract.”

New York Magazine ‘s David Denby explains: “Now satire doesn’t have to be responsible, but it does have to be internally coherent, and this idea, however funny, is so extremely opportunistic … that it falls into a variety of contradictions of it’s own making.”

The message of Wag the Dog is that our news media, the watchdogs of democracy, is so stupid or corrupt or both, and is so easily manipulated that it will cooperate in any lame-brain scheme. The great acting and especially the film’s fast moving, wisecracking, disturbingly likable political manipulator Brean is very seductive, drawing us in to a sweet, funny, nefarious world where it all seems just honkey-dory. I know this is satire, but why aren’t I happy? Unfortunately this is not the satire of Stanley Kubrick’s Cold War farce Dr. Strangelove or Tim Robbins’ ultra rightwing folksinger/senatorial candidate in Bob Roberts –it’s satire with no way out.

Wag the Dog is so dark that it provides no environment for encouraging questions. It has no moral force, no redeeming character, no center of conscience. The Anne Heche character, DiNiro’s sidekick, a youngish presidential aide, is chillingly played as an ambitious yuppie who never says no.

On the question of cynicism, director Levinson says, “Yes, the movie is cynical. That’s the point. But it makes the audience ask questions.”

Presidential aide Heche disagrees, but describes to the Boston Globe how it provokes questions: “I don’t think it’s cynical; I think it is truthful … we are not being told all of the truth about what goes on in this world. And the reason we’re not being told is that we don’t ask to be told. The point of a film like this is to get people to question just how much of the truth they are being told.”

There is a sleight of hand here. We’re being told that this kind of movie makes for a better democracy, but that is far from clear. Exactly what questions for the citizenry are provoked by Wag the Dog ? Do we really know so very little about what’s going on? Is there anything we could do about it if we wanted to? And most likely the inevitable: Am I paranoid?

How did Levinson get to making this movie, written by the famed wordsmith David Mamet? Apparently Levinson didn’t like the first script written by Hillary Henkin, nor did he like the book on which the film is supposed to be based, American Hero by Larry Beinhart. American Hero, a terrifically funny book about how a real war–Desert Storm–could have been created for television.

Levinson, however, was struck by one thing: “The only thing I responded to is the idea of faking, not a whole war, which is what the book gets into, but the idea that you could float out some visuals as a diversion.” Enter Mamet, who claims that he didn’t even read American Hero, which is too bad.

Politics may still be different than show business, but if Wag the Dog accomplishes one thing, it clearly shows how close these two worlds have become. Today we have a media system where major arms and nuclear manufacturers General Electric and Westinghouse own NBC and CBS; ABC is owned by Disney, America’s largest entertainment operation. And, historically, war is entertainment.

Time Warner owns CNN, who’s reputation was established and highest popularity achieved during the Gulf war. And now that MSNBC and Murdoch’s Fox have entered the 24 hour news/talk show format, all aching for that mesmerizing moment when all America is again glued to the tubes, do we doubt that there will be more war in our future?

Politicians, always looking to boost their popularity, will be no doubt ready to provide the synergy. Remember, two days after 241 Marines were killed in a terrorist truck bombing in Beirut, Ronald Reagan invaded Granada, a country with fewer than 100,000 people. Former presidential adviser Dick Morris was particularly revealing when he recently wrote: “In the aftermath of the Olympic Bombing and the assault on the American base in Saudi Arabia, many of us at the White House longed for a clear adversary against whom to demonstrate the President’s strength and decisiveness. We didn’t in fact fabricate one as DiNiro and Hoffman do in the film, but that wasn’t because we didn’t want to. Unfortunately, neither the FBI or the CIA could pin the blame on a bombable enemy.

“So our dreams of a macho response went unfulfilled.”

It looks like James Bond had the right idea. But in the future he may have to tackle both the media moguls and the political leaders if he is going to stop the next war.

Web extra the January 29-February 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Wild Greens

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Something Wild


Michael Amsler

Weed Like to Know More: Wild greens gourmet Doug Gosling eats his words.

Are they weeds–or dinner?

By Marina Wolf

T HE STRETCH OF TRACKS between Railroad Square and College Avenue in Santa Rosa is a short, bleak walk–10 minutes if you stay on the packed gravel and move at a brisk clip. But on a recent Sunday stroll there, I found enough berries, cooking greens, and salad fixings to even get the five sullen men sharing a bottle against the brick backside of a railroad warehouse dressing up for dinner.

Welcome to nature’s supermarket, open 24 hours, self-service only.

Few of us haven’t lingered a little in a dusty blackberry patch or dismembered a head of clover for the bits of nectar within. Such furtive encounters tap into our collective heritage from the earliest days of humanity, when foraging was the way we survived. Now we pay top dollar for gourmet greens while wielding a wrathful hoe at the bounty that pops up in our front yard. Oblivious to the irony, we may even plant domesticated produce in the exact same location where we uprooted its wild cousin.

But there are still a few people who maintain the original connection, in one way or another. The Occidental Arts and Ecology Center, for example, grounds its “weed policies” in very practical principles. “Weeds are good for the garden,” states head gardener Doug Gosling, who oversees the two acres of bio-intensive beds at the center. Thriving “volunteers” (“I have a hard time with the definition of ‘weed,'” he chuckles) keep the center’s seed bank diverse, and they also make an excellent living mulch, which holds down the soil and retains nutrients. And, of course, they’re good, dependable eating as far as the menu-makers at the OAEC are concerned. “I’d say that well over 50 percent of the salads we eat, all year round, are made of so-called weeds,” says Gosling.

And why shouldn’t the weeds take center stage? These brazen green marauders are more intensely flavored and, frequently, more nutritious than any froufrou cultivated green stuff. Early-spring favorites–dandelion, lamb’s-quarters, curled dock–have exceptionally high levels of vitamins A and C, which would explain why people of yore placed a great deal of faith in these greens as “spring tonics” after a long winter of poor provisions.

Even into the first part of this century, New York City opened Central Park each spring to the rummagings of Italian immigrants, who loved the tender young leaves of the radichielle (dandelion).

Nowadays you don’t want to do that: a clean civic lawn bespeaks a liberal hand with the herbicides. Fortunately, the urban landscape still abounds with foraging opportunities for those who are willing to stray from the beaten path. This has less to do with iconoclasm than with self-preservation: the beaten path has more cars and fewer buffers against them. A road might be lined with wild food to feed an army, but without a curb, surface pollutants wash off that road right into the soil. “There is no formula of feet away from the road to substitute for common sense,” says John Kallas, a wild-foods consultant who has been leading expeditions in Portland, Ore., since 1978.

Like Gosling, Kallas expresses a certain indifference to the term “weed.” “I get a much higher response when I call them ‘wild gourmet garden vegetables,'” he laughs. At any rate, most of his classes and field trips extend beyond weeds into the underexplored realm of eating the neighbor’s landscaping. “A lot of people plant things as ornamentals,” says Kallas, “and they either don’t know or don’t want to bother with the edible aspects.”

Asking permission is an essential part of foraging in a neighborhood; not only is it courteous, but it gives you a chance to inquire–nonjudgmentally, of course–about past and present gardening practices. You won’t always be able to find out, as in the case of abandoned sites and for-sale lots. But, as both experts say, unless you’ve been gardening your own land for years, there is never any way to know for sure what’s in the soil.

So with all these concerns about safety, why bother to eat wild foods at all? Wouldn’t it be safer and more convenient to go to the store?

MAYBE. Or maybe not. It’s true that, as a forager, you end up biting into a lot of bitter leaves and getting prickly things in your socks. You also have to be more aware of pollution than the average rose-smelling pedestrian does. But even an earnest grower of organic vegetables can legally be next to a major thoroughfare. And foraging connects you to your own food supply in a way that’s truly miraculous: finding wild food in the concrete jungle sometimes feels like tripping over a chunk of manna in the desert.

However, Kallas gives one pause when he talks about foragers’ motivations. “I think there’s an underlying insecurity about having to depend on the industrial food complex.” Hmm. How strangely millennial. And I must admit to an occasional apocalyptic fantasy of the Big One hitting and my being able to hole up in a hedge for weeks, emerging in far better shape than those who had to turn to looting the 7-Elevens.

But mostly I just like to play with my food, and foraging is an immediately gratifying way to explore and get messy. My fingers were purple for weeks when I picked olives from the trees around my apartment complex. I chewed happily on muddy wild radish leaves on the OAEC hillside. And when I bit into that inexplicable December berry near the railroad tracks, I hopped a happy little dance over the glittering fields of broken glass.

The Occidental Arts and Ecology Center hosts volunteer garden days every Wednesday, with a vegetarian potluck lunch (874-1557). For a more focused look at foraging, John Kallas offers his quarterly newsletter, The Wild Food Adventurer, for $12 a year. See his website for more details.

From the January 29-February 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spins

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Outta the Crypt


Tupac Shakur: Gang-bangin’ on Heaven’s door.

Tupac Shakur’s posthumous release

2Pac
R U Still Down? (Remember Me)
(Amaru/Jive)

DJ Shadow
Preemptive Strike
(Mo Wax/A&M)

ONE GLANCE at the Billboard best-seller charts will tell you that hip-hop music is as strong as ever; repeat listening verifies the genre’s depth and worth. Almost 20 years old, hip-hop is now understood not simply as rap, but as a whole funky umbrella of R&B, techno, global-fusion, indie-dance, and soul. Sonically, it’s always been about MCs and DJs, about singular voices shining in a form based on do-it-yourself assemblage.

Two recent from-the-vaults releases illustrate the growing fork in the road between hip-hop’s rapper-based old school and its dawning electro-auteur avant-garde. Tupac Shakur’s posthumous double R U Still Down? (Remember Me)–the rapper was gunned down in September of 1996 in Las Vegas–is a topnotch set from the compelling late-rap titan. Meanwhile, DJ Shadow’s Preemptive Strike compiles import tracks by this Davis-based producer into a set of sampled tracks with a human face.

Shakur’s release–seemingly, the first of a family-controlled, Hendrix-like flow of recordings–focuses on a vision beyond the numerous producers and party-time grooves; the key is Shakur as a vocalist and lyricist whose gift must be seen not merely as jaded truth-telling, but as a keen sensitivity for the hearts and minds behind his double-edged “Thug Life.”

Similarly, DJ Shadow knows that there’s more; his interludes and breaks are designed to speak to you. Tracks set up and unfold as if to transcend their own ambient groove, as if DJ Shadow is aiming more for your thinking cap than your dancing shoes. His samples are as obscure–his grooves as odd–as is Shakur’s ride on the time-honored P-Funk/Blue Note bedrock. Taken together, it’s like hearing hip-hop translate itself from an exciting past into a mysterious future.
KARL BYRN

Lecture on Nothing
Lecture on Nothing
(Pop Mafia)

WONDERFULLY ZANY, this studio project consists of scraps of words and sounds encompassing everything from gospel-hour organ and somber Alan Watts-like snippets to left-field funk overlaid with sexy female blandishments. “Strap It On” best illustrates this massive unruly experiment. Commencing with what sounds like the opening guitar figure from “Spanish Harlem,” the “tune” flaunts a crazy collage of voices: a Frank Sinatra sound-alike sunnily enjoining us to “wake up to reality,” futuristic vocoded interjections, and, lurking in the distance, the subterranean menace of a two-note synth. The implacable pulse of “The Art of Love'” is a funky Frankenstein fashioned out of a Stanley Clarke bass line, the Artist’s brazen black rock, and a mock Gurdjieff (by way of Robert Fripp’s cut-up recordings) babbling on about heavy petting. Interspersed is an ongoing, if incoherent, dialogue about the Heimlich maneuver. Of course.
NICKY BAXTER

Various Artists
Ay Califas! Raza Rock of the ’70s
(Rhino)

THE YEAR: 1974. The place: Sunnyvale. Electronics industry fat cats living the good life, though they haven’t yet gotten totally rich off the sweat of local Hispanics and hippy shop workers. I’m running a ripsaw at a lumberyard that builds specialty shipping cases for main-frame computer companies and defense-industry firms, staying alive on a steady diet of huevos and chorizo, Michoacan gold, and Latin rock. Late afternoon. Break time. Cold soda and a hot doobie behind the lumber stacks. Shorty and Pud crooning for rail-thin chicks over at the Atari plant. Radio blasting: Carlos Santana’s “Oye Como Va”; Tower of Power’s “You’re Still a Young Man,” a hefty helping of East Bay grease; and War–the ubiquitous “Low Rider” et al. The list goes on. The Latin beat goes on. Malo. El Chicano. Azteca. Sapo. Suevecito, baby!
SAL HEPATICA

From the January 29-February 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Taylor Maid Teas

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Garden Variety


Michael Amsler

His Cup of Tea: Mark Presley of Taylor Maid farms enjoys an herbal brew.

Taylor Maid’s organic teas perk up the cup with wild flowers, leaves, and savory herbs

By Paula Harris

T HIS COULD USE more lavender,” remarks one woman as, like a professional “nose” creating the latest designer perfume, she deeply inhales a fragrant liquid and swirls the concoction around in a pure white bowl.

“I can taste the licorice notes, but the finish is a little astringent,” adds a man, reverently sipping the heady fluid and rolling it around his palette before deftly spitting it out like an expert winemaker.

It’s late afternoon and the pale winter sun hangs low as three men and three women stand around a wooden table under the shade of an old oak tree at the edge of a huge Occidental garden leading into a deep forest.

The group is wearing gardening attire and heavy boots, and everyone is grubby and tired after a day of working on the land. They could use a break, but their attention is now focused on the white bowls as they swish the liquid around and watch the steam rise into the chilly afternoon air.

But it’s not perfumes or pinots inspiring this particular group of connoisseurs–they’re blending organic loose-leaf tea.

“We analyze the qualities, the different notations, whether the finish is bitter, sweet, or spicy,” explains Michael Presley, a tall, lanky, athletic man, who is the chief cultivator for Taylor Maid Farms, which currently produces 15 blends of tea. “We’re looking for a real harmony–it’s very sensual.”

Taylor Maid, which also roasts organic coffees, opted to begin farming ingredients for teas five years ago, deeming that the necessary crops (many of them native to the area) would be a good environmental fit with west Sonoma County. “We felt that growing wine grapes would be bad for the land and that herbs were the way to go,” says Taylor Maid co-owner Mark Inman. “This is the easiest method to work with to keep the farm in sustainable fashion.”

Now some 50 acres overlooking the coast on the hilly west side of Occidental are devoted to tea farming. The picturesque scene includes flower fields, bicycle paths, and frog ponds, where the amphibians are used to naturally control pests.

Taylor Maid cultivates traditional culinary and medicinal herbs and flowers, including peppermint, lemongrass, sage, hops, nettles, ginger root, rose hips, hibiscus, sunflowers, and English, French, and Spanish lavenders to blend with imported organic green and black teas.

Presley says eventually the company would like to grow its own tea plantation under the extensive canopy of the conifers and redwood trees shading the property. “We live in the Banana Belt here and it’s favorable to all kinds of horticulture,” he explains. “But growing tea is a future plan for down the road.”

The company’s final product is caffeine-free, 100 percent organic, and void of the man-made chemicals frequently used in tea production. The blends contain only leaves, flowers, seeds, roots, essential oils, and fruits.

The specialty teas are available at many local stores and at the Santa Rosa Farmers Market. Bestsellers include Herbal Gardens, Black Lavender, and Vital Green (a tasty blend of nettles, lemon balm, and green tea).

“People really like these teas because what they taste is the real herb; there’s nothing boosting the herb and no artificial flavors sprayed into it,” says Inman. “The natural flavors are subtle but deeper–it makes tea-drinking a more poignant experience.”

While some of the blends border on being medicinal, the company makes no specific health claims. However, Inman is quick to point out that nettle is a reputed blood tonic with antiviral properties; spearmint, raspberry leaf, and chamomile have proven calming effects; and lemon balm and rosehips are said to fight colds.

“Our whole thing with tea is that it’s a natural food with healing properties–not just a beverage,” says Inman. “Remember, the natural healing properties in herbs have been used in tea form for centuries.”

Presley agrees, claiming that our “oldest interaction with plants” has been to brew up a batch of hot, soothing tea. “It’s our common heritage, all of humanity shares it: Europeans, Asians, Native Americans,” he explains. “Now we’re realizing that it’s a global art.”

“Art” is an apt description. From the planting to the harvesting, drying, milling, and blending, a common thread of creativeness runs through the operations at Taylor Maid, elevating the beverage way beyond the common cuppa.

Indeed, when you pry open a vacuum-sealed tin of, say, the company’s Flower Power blend (an intoxicating mix of hibiscus, rose hips, orange peel, cinnamon, calendula petals, cornflower petals, lavender, rose geranium flowers, and essential orange and cinnamon oils) the sensation is almost overwhelming. The dried blend is alive with color, like a burgundy and orange-hued potpourri–and it smells like Christmas cookies. Tempting enough to bury one’s face in the reusable container.

“It’s almost like aromatherapy,” says Ananda Johnson, part of the Tea Tasting Team, assistants to blending expert Julie Morbitz. “When we stand there and taste–sometimes from silver goblets, sometimes from white china bowls so that we can see the color–Julie tries to pull responses from each of us about what we see, smell, taste, what it makes us think of, and how it makes us feel,” Johnson says. ” We’re really committed to this. It takes a lot of work and study. I guess you could say that tea is our destiny.”

From the January 29-February 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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The Writer Guest


Michael Amsler

Mother Love: Emma Thompson plays opposite her mum in ‘The Winter Guest.’

Novelist and poet David Malouf welcomes ‘The Winter Guest’

By David Templeton

David Templeton, in his ongoing quest for the ultimate post-film conversation, here takes noted Australian author David Malouf to see the lyrical drama The Winter Guest.

W EARY AND AT THE END of a multicity publicity tour to promote his latest book, writer David Malouf, who lives part of the year in Sydney and part in rural Tuscany, has taken the afternoon off to go to the movies in San Francisco. The film is The Winter Guest, directed by Alan Rickman and starring Emma Thompson and her mother, Phyllida Law; it’s a marvelously subtle, lyrically emotional story in which almost nothing happens.

In a seaside village in Scotland, the water along the coast has frozen solid, and four pairs of characters–each in their own stage of either iciness or thaw–spend the day wandering about, talking, arguing, and complaining: two boys have skipped school to play near the ice; a pair of elderly women ride the bus to a funeral; two teenagers awkwardly play at sex; and a just-widowed photographer (Thompson) is unexpectedly visited by her outrageously independent mother (Law).

“I quite liked the film,” Malouf states enthusiastically, between bites of a fruit salad at an outdoor cafe. “It surprised me! You could not have guessed from the almost plodding realism of the early part of the film that you would get to something so mysteriously symbolic as that last scene, with the two boys venturing out onto the ocean’s ice to see where it ends. This film is very much about the crossing of boundaries, isn’t it?” he asks rhetorically. “That’s a theme I’m rather fond of.”

In fact, it’s a theme that Malouf has spent his career exploring.

In several volumes of meaty poetry and a series of acclaimed novels–including the bestsellers The Great World (Pantheon, 1990) and Remembering Babylon (Pantheon, 1994)–humanity’s numerous cultural and psychological boundaries are examined and often pushed aside. In his startling, powerfully written new book, The Conversations at Curlew Creek (Vintage, $12), a pair of displaced Irishmen–one a condemned criminal, the other a ranger sent to oversee his hanging–talk through the night, comparing lives and ideologies until their own deepest boundaries begin to blur and dissolve.

“A lot of that conversation there is interior,” Malouf says of the book. “What the narrative is creating is the inner voice of their feelings and interactions, but it’s not all something that they are actually able to say to one another.

“That’s what the film is also doing,” he points out. “It’s allowing these people to express things in words that they never would really express. They speak aloud their deepest apprehensions. Quite articulately.

“In reality, not everybody is articulate. Which doesn’t mean they’re not having feelings and apprehensions that are complex, but only that they don’t have the words to put those apprehensions into language. Therefore they remain unexpressed.”

“It’s often said,” I throw out, “that cloistered nuns and monks, those who’ve taken vows of silence, have amazing inner lives full of deep, calm thoughts that are never expressed.”

“And I’m not sure that’s true,” Malouf replies. “I would think that when you take speech away, the interior dialogue becomes quite frenetic. Just go away by yourself for 48 hours and speak to nobody, then see what’s happening in your head. It won’t be calm and quiet. I think there end up to be more and more voices in there, all shouting to be heard over one another.

“When I first took my house in Italy,” he illustrates, “I went there to write. It’s in a little village, where I knew nobody. I lived there for 10 months out of the year. I spent very, very long periods, numbers of days at a time, without talking to anyone. That kind of isolation was very good for my writing, but it’s quite painful.

“I did it for three or four years,” he laughs, “and I would not like to ever do that again.

“Something else about the movie: I liked the absolute dourness of it. That very, very dour Scot’s world–it’s everywhere in this film–in people’s fear of the body, in their denial of touch, and that very, very bleak landscape.” He pushes aside his plate. “Think about it: There was not a green leaf in the film. There’s almost the feeling that there could never be a green leaf again. Then when Emma says she’ll paint her house, ‘In the spring,’ you’re almost shocked to hear that this place has a spring.

“There’s a strong sense in the film–I’m sure a strong sense in that culture –that what it’s all for in the end … is death. That one old woman, when she slips and falls, says, ‘The earth is waiting.’ That’s what this was all about.

“Some other cultures are at least determined to have a good time along the way,” he goes on. “The Italian world, for example, is very much a world in which the body is to be pleased, whether it’s by clothes, or sex, or food, or whatever. Life is mostly for pleasure. Death may cut life off, but don’t be living all the time just waiting for the last clod to fall on the coffin.”

“Otherwise … what?” I wonder, “You’ll end up frozen solid?”

“Yeah,” he smiles. “Something like that.”

From the January 29-February 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Ani DiFranco

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Righteous Bore


Cult of Ani: To know her is just about the only way to love her.

Michael Amsler



Ani DiFranco’s new album a yawn

By Gina Arnold

BECAUSE SHE DOES NOT FIT the standard mold for a female singer, Ani DiFranco has often been called “angry” by certain misguided members of the media when they really mean “strong.” After all, what’s DiFranco got to be angry about?

In the last eight years, she has become a major player without benefit of a major label, putting out albums on her own Righteous Babe imprint, touring steadily, and nailing down the cover of Spin –not to mention that of Ms. This year, DiFranco was even nominated for a Grammy–and all practically without benefit of lipstick.

That’s a pretty impressive achievement for a 26-year-old, and one that no fan of Fugazi could find fault with. But although DiFranco’s liberal ideology and indie economic policies are admirable, her artistry is suspect: her success is based entirely on the force of her personality. DiFranco’s persona is so integral to her music that it would be hard to make sense of much of it without having taken a crash course in “Ani” first.

DiFranco actually won her initial following with the lesbian crowd (although she no longer claims the title, having recently fallen in love with a man). With her bright-green buzzcut and combat boots, she has also managed to position herself as an alternative artist, but the truth is that, musically anyway, she’s only a short step to the left of more conservative lesbian folksingers who play to the converted on labels like Olivia and Redwood.

Indeed, despite a slightly more modern hip-hop aspect to the rhythms she uses behind her songs, DiFranco is folky and sentimental. She relies on many standard folksinger tricks, including a fake country accent (she’s really from Buffalo, N.Y.) and heavily strummed guitar.

As is true of most folk artists, DiFranco’s focus is on lyrics. She also prefers a kind of spoken-word delivery (patterned after black poets like bell hooks) that is reminiscent of children’s storytellers who put so much expression into their readings that you can’t even listen to them: “And then the evil wiiiiitch put a glass sliver into the princess’ heart.” DiFranco is not an insignificant singer or songwriter, but those qualities tend to get lost on her records, beaten into oblivion by her overpowering delivery.

She earned her large audiences with diligent touring and a live show that incorporates humor, sensitivity, and charisma. Although she’s often compared to Bruce Springsteen, her voice, like Björk’s, is very much an acquired taste, and if you don’t acquire it, it’s going to annoy the hell out of you.

Little Plastic Castle, scheduled for mid-February release, is DiFranco’s 11th album, though only the last two (Dilate and Not a Pretty Girl ) are well known. The last two years have seen her go from cult star to cover girl, but, alas, the area in which she shows the most growth is in pretentiousness. While her turn of phrase can be impressive, full of lilting and unusual images such as “I promise I won’t squander your gaze” and “The stupid circumstances we slalom through,” she undermines her songs with an almost obsessive self-referentiality.

On the title cut, for example, DiFranco makes an analogy between her own life and that of goldfish in a bowl, then (having courted the attention) complains bitterly about being looked at. “People talk about my image as if I come in two dimensions/ like lipstick is a sign of a declining mind/ like what I happen to be wearing the day that someone takes a picture/ is a statement for all of women kind.” On “Pixies,” she criticizes critics who describe her as “a pixie, a paper doll, a cartoon” and begs them to “be nice.”

For someone who doesn’t want to be judged by others (“Before you throw those stones at me, tell me what is your house is made of”), however, DiFranco is surprisingly critical. “All the privileged white kids on TV,” she sings, “brandishing their cold cuts with their ghostly makeup and their heroin breath.” Elsewhere she complains, “Now everything is cross-marketing/ it’s about sunglasses or shoes or guns and drugs.”

Unfortunately, DiFranco’s words only make you ask yourself, ‘Is this really the kind of subject matter that makes an interesting song?’ And the answer is no. But like many musicians who put out their own records–and many a motormouth–DiFranco is wildly impressed with her own talents, and she doesn’t seem to have any critics or collaborators to guide her around these pitfalls.

This flaw is most obvious in her more bombastic lyrics. “They were diggin’ a new foundation in Manhattan and they found a slave cemetery there!” she exclaims on “Fuel,” adding, “May their souls rest easier, now that lynching is frowned upon and we’ve moved on to the electric chair!”

Could she be any less subtle? There and elsewhere, DiFranco seems to be overcome by her own facility with language, and the problem with that kind of overemotional writing is that the analogies often aren’t even true. After all, comparing the lynching of innocent black people to the lawful killing of criminals who’ve been convicted by trial is both specious and disrespectful, whether you’re pro-capital punishment or against it.

But time and again, DiFranco beats her subjects over the head like that, and the tactic isn’t doing anybody–the subject, the listener, or DiFranco herself–any favors. DiFranco is obviously smart, articulate, and well-meaning, but her album is all too aptly named. She does seem to live in a little plastic castle, and until she stops throwing stones from the roof of it, she’s going to remain a royal bore.

From the January 29-February 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Washington Watch

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Save PBS?

By Doug Ireland

I DON’T THINK there’s any reason for public television to exist anymore,” thunders Garrison Keillor in an interview in the Jan. 5 issue of The Nation, going on to declare that PBS is far from being “an important force” in broadcasting, and its accomplishments are far in the past. “There isn’t anything that they do that can’t be done and done better by any one of a dozen cable channels. They’ve been completely rendered obsolete by cable television.”

If this judgment from the Sage of Lake Wobegon seems harsh to you, then you should snap up a copy of , the splendid critical history by Village Voice media critic James Ledbetter. This eminently readable and copiously documented book lays out how and why public television has become (to borrow Alexander Woollcott’s famous phrase) the bland leading the bland.

Shaped from its inception by White House politics–two of its most important architects were McGeorge Bundy and Eugene Rostow, who helped design and manage Lyndon Johnson’s war on Vietnam–public TV has never been able to insulate itself from political pressure. Indeed the Corporation for Public Broadcasting, from which PBS gets its congressionally appropriated federal subsidy, has been “used over the years as a dumping ground for the worst sort of political hacks,” Ledbetter writes.

And the tradition continues: Bill Clinton’s first appointment to the CPB board was Diane Blair, an Arkansas crony whose husband, Jim, is counsel to Tyson Foods.

Ledbetter traces PBS’ malaise to Richard Nixon’s attempt to destroy public TV, which resulted in “slashing the amount of airtime devoted to critical assessment of sitting presidents and Congresses.” In the ensuing years, “habits of self-censorship have become so ingrained that naked censorship is rarely necessary.” Those habits have only been intensified by what Ledbetter calls “the malling of public television”–its increasing dependence on corporate underwriters (read: sponsors) and the marketing of programming-tied products (like the department store variety of objects licensed by Sesame Street ).

Take the oil companies, pre-eminent funders of national public television and thus, in Ledbetter’s words, “the most obvious purchasers of the medium’s silence.” Case in point: Shell Oil, whose role in destroying the environment in Nigeria, supporting that country’s military dictatorship, and tacit involvement in the assassination of novelist Ken Saro-Wiwa sparked a major international controversy. On public television, Ledbetter charges, “it is nearly impossible to state any connection between Shell and Nigeria at all; the few times that Saro-Wiwa’s execution was mentioned on the PBS ‘Newshour,’ there was no reference to Shell, and Shell’s actions in Nigeria have never been explored on the ‘Newshour,’ ‘Nightly Business Report’ … or any nationally available PBS public-affairs program.” No wonder some wags have tagged PBS the Petroleum Broadcasting System.

Dissecting PBS programming, Ledbetter traces the death of the public-TV documentary and the abandonment of the system’s early educational function in favor of an endless diet of Britcoms, English whodunits, Lawrence Welk reruns, and John Tesh concerts. In doing so, he shows why assaults on the medium by the Gingrich Right are misplaced: “Public television doesn’t scare its viewers because [it] avoids just about anything that might offend anyone. It cares far less about programming of ‘high value’ than it does about programming that cannot be assailed.” The U.S. government spends only $1.09 per citizen on public TV, infinitely less than other industrialized countries like Japan ($31.05) and Great Britain ($38.99).

But full public funding to allow the termination of corporate sponsorship is only part of the answer. Until public TV rethinks its mission in a cabled and digitized new world communication order, and is isolated from political interference by special interests, an increase in its appropriation would only be throwing good money after bad. Made Possible By … illustrates Garrison Keillor’s contention that PBS has become a “complete dinosaur.”

It should be required reading for anyone contemplating a pledge-week donation to keep it alive.

From the January 29-February 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spam

0

Mystery Meat


Michael Amsler

Can Do: Like a terrible, horrible Manifest Destiny–Spam is as American as mom, apple pie, and baseball.

For Hormel’s notorious luncheon meat, it’s still a Spam, Spam, Spam, Spam world!

By David Templeton

IN EARLY JANUARY, the tiny U.S. territory of Guam, in the western Pacific Ocean, was all but devastated when powerful Typhoon Omar raged across the 209-square-mile island, almost literally threatening to blow the place–with its 150,000 residents–right off the map. The populace has been left without electricity, and with only limited supplies of food and water. There is, however, some good news.

The Spam just arrived.

According to Mary Harris, spokesperson for Hormel Foods in Austin, Minn., the historic company–long aware that Spam is something of a dietary staple on Guam–has generously donated 40,000 cases of the belly-filling foodstuff to the Salvation Army’s disaster relief effort on the island.

Forty-thousand cases. That works out to around six and a half cans of Spam per islander. Or 5,760,000 Spamburgers by the time the last can is scraped clean. Any way you slice it, that’s a lot of Spam. The good news doesn’t end there, either.

As a kind of bonus, the grateful Guamanians are among the first humans on the planet to gaze upon the brand-new, updated, and redesigned Spam can, featuring the first change in cover art since the canned meat’s initial unveiling in the not-yet-refrigerated spring of 1937 (yup, the product just celebrated its 60th anniversary as a sort of American food icon). The original cannister–oddly rectangular, with that nifty little key you’d have to twist around the top of the can to remove the lid–was proudly emblazoned with a full-color photo of a gleaming slab of Spam, whimsically studded with cloves to resemble a fine holiday ham. On the new cans, they’ve lost the loaf, and now display such appetizing entrées as Spamburgers and Spam salads, Spam casseroles, and something that looks like Spam-and-broccoli rigatoni.

The can’s trademark bright-blue color remains intact, as do the bold, yellow all-capital letters spelling out the name SPAM (the key was replaced with a pop-top years ago), so the islanders are unlikely to confuse their Spam with any other product. Still, the change is a significant one.

Spam remains one of the most successful food products ever created–Hormel representatives have deduced that in the United States alone, 3.8 cans of Spam are consumed every second, much of it by college students who use it as a dormitory staple. But the image of Spam has taken a number of hits in recent years: witness Monty Python’s famous Spam comedy sketch–“I’ll have the Spam, Spam, eggs and Spam; that hasn’t got much Spam in it”; and the new techno-term “spamming,” which refers to the distribution of unsolicited, unwanted junk mail over the Internet.

These days, hundreds of private websites now exist primarily, it seems, to speculate on what exactly is in Spam. Furthermore, in spite of the numbers proving that Spam is still widely consumed, you’ll be hard-pressed to find many folks who will publicly admit to liking the stuff. Hormel, unwilling to let its prized product be further transformed into a cultural joke, has begun taking steps to ensure Spam’s future.

“It’s a generational thing, you see,” explains Spam spokesperson Harris. “Young people view Spam differently than their parents did. They don’t necessarily want it to be the same Spam that mom and dad had. We also felt the label should reflect the desires of the more diverse and calorie-conscious tastes of today.”

As to the rumors about what Spam is made of, Harris rankles at the outrageous claims made by certain spurious websites, listing such odds and ends as hooves, ears, brains, and even whole baby pigs as among its routine ingredients.

“Spam,” she patiently repeats for the umpteenth time of her career, “is pork shoulder, ham, salt, water, sugar, and sodium nitrate. Period. I’m afraid the government simply wouldn’t allow us to do the things that have been said of us. Nor,” Harris–who claims to love the stuff–adds, “would I eat it if we did.”

F OR 61 YEARS, Spam has withstood such taunting and teasing, and it endures nevertheless. Along the way, a bevy of apocryphal stories and shoddy historical “facts” have been attached to the mythic meat, all of which–false or not–only shore up the assertion that Spam has become as intrinsic a part of American popular culture as baseball, happy meals, and presidential peccadilloes.

The name itself has, from time to time, served as something of a national guessing game. It is an acronym, many people believe, which stands for any number of things: Specially Processed Army Meat and Salted Pork And More are two of the more plausible guesses. But why stop there? Certain whimsical people have suggested that Spam might even stand for Super Pink Artificial Meat; Squirrel, Possum, And Mouse; or Some People Are Missing.

The truth, according to Hormel historians, is that Spam is not an acronym at all. When the product was first put on the market, it was with the name Hormel Spiced Ham, and it soon had numerous competitors with similarly uncatchy names. On New Year’s Eve 1937, a Hormel executive threw a party at which he offered a prize of $100 to the guest who could come up with the best name to set the luncheon meat apart from the others. It was the executive’s brother, Phillip Daigneau, who came up with the most striking name simply by combining the words “spiced” and “ham.” Daigneau won the prize, and in doing so secured Spam’s place in culinary history.

A forthcoming book by Linda Eggers relates this charming creation story and more besides. The Spam Cookbook: Menus from Main Street (Longstreet Press; $5.95)–served up in the shape and look of an actual Spam can (the new one)–will feature numerous informational tidbits, along with such recipes as “New England Spam Chowder” and “Chicago Deep-Dish Spam Pizza,” even a Spam and goat cheese appetizer.

“For a lot of people, Spam has always been that extra-special little secret ingredient,” laughs Eggers’ publicist Brian Peterson. “The largest group of folks with a common food affinity are the eaters of Spam. It’s almost a secret society. But it’s a very big secret society.”

IT’S A SOCIETY that’s not always that secret. Just ask any resident of Hawaii. Or Alaska. Per capita, the 49th and 50th states are the largest and second-largest consumers of Spam, respectively, in America. Hawaii’s excuse is a lack of reliable refrigeration. Alaska’s high Spam consumption rate, according to one Mr. Whitekeys, the proprietor of the Fly-By-Night Club in Anchorage, can be summed up in three words: “Spam don’t freeze.” The Fly-By-Night, predictably, serves a number of Spam dishes, including a Spam and champagne dinner. “That one’s for the lovers,” Whitekeys says.

Spam’s temperature resistance has, in fact, made it a must-carry item for soldiers, who have affectionately called it the prime rib of the U.S. military. Even Russia’s former premier Nikita Khrushchev made no secret of his love of Spam. In a letter to Hormel following World War II, Khrushchev wrote, “Without Spam, we wouldn’t have been able to feed our army.”

The universality of the Spam influence can be further proven by the success of Hormel’s latest ancillary industry: Spam Merchandise. The Spam Catalog–supported by an ever-evolving website (www.spam.com) and a 24-hour phone-line (800/LUV-SPAM)–is a certifiable global phenomenon, raking in millions worldwide for such novelties as Spam T-shirts, baseball caps, boxer shorts, beach towels, wall clocks, mouse pads, coffee mugs, umbrellas, even Spam earrings, Spam snowglobes (turn one upside down and snow falls on a tiny can of Spam), and a stainless-steel Spam golf club.

So will Hormel be releasing a 1998 commemorative Guam Disaster bomber jacket? How about a little globular bauble featuring a can of Spam sitting monumentlike on the island; turn it over and a typhoon swirls madly, eternally unable to unseat Spam from its place of honor.

“You can knock it all you want,” replies Hormel’s Harris, ever-so-patiently. “But Spam,” she laughs, “is Spam. And that’s all there is to it.”

From the January 29-February 4, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

0

Troubles Aplenty


In this Corner: Daniel Day-Lewis plays a failing Irish pugilist in ‘The Boxer.’



Theologian Jim Conlon is knocked out by the ethical hits of ‘The Boxer’

By David Templeton

In his ongoing quest for the ultimate post-film conversation, David Templeton cold-calls Irish-born author/theologian Jim Conlon and winds up in a surprising discussion stemming from the troubling IRA drama The Boxer.

S URE, WE COULD DO THAT,” offers theologian Jim Conlon, somewhat tentatively, after listening to my phoned-in pitch to take him to the movies. I’ve explained that a whole spate of spiritually themed films are currently out in the theaters, including Kundun–about the early life of the Dalai Lama, Tibet’s exiled spiritual leader–and Fallen, the tale of demented angels wreaking havoc on Earth.

“I should tell you, though,” Conlon says, “the movie I’ve been thinking about is The Boxer, with Daniel Day-Lewis. I saw it two nights ago, and it brought up a lot of feelings. I don’t suppose we could get together and talk about that one?”

The Boxer. Uh . . . sure,” I reply, my words forming a kind of verbal shrug. The Boxer, already nominated for numerous film awards, is a small and powerful work of art about a troubled Catholic featherweight pugilist released after 15 years in prison for participating in an IRA bombing. Set in war-torn Dublin, it’s a stark, poetic work of art, that–on the surface–has little to do with God, religion, or spirituality.

But what the hell: If Conlon’s inner motor is revved up about this movie, who am I to argue? A former Catholic priest in Toronto and a renowned author of numerous books, including Geo-Justice: A Preferential Treatment of the Earth (Woodlake Books; 1992), Conlon is executive director of the Sophia Center, a forward-thinking theological school in the Oakland hills that emphasizes mysticism, feminism, and earth-based spirituality. He is also, it turns out, part Irish.

“Fifty percent Irish, to be exact,” he tells me the next day, waving me into a seat near the window in Sophia Center’s art-filled faculty lounge. “I guess I have a genetic connection to the film. I think it would have moved me anyway.”

A sprinkle of rain splatters softly against the window. Conlon glances out briefly, then turns to face his guest.

“I was struck by many things in the film,” he begins. “The oppressive feeling of being in Dublin, the guard towers in almost every scene, looming there over everyone. It reminded me of being in the little village of Monthill, South Arman, in 1992. They have what they call ‘Cemetery Sunday’ in Ireland–it’s a mass, a Eucharistic celebration, held in the cemetery, a very Irish thing to do. The Irish love cemeteries.

“I remember standing in that graveyard, looking up, and seeing these large turrets, several of them in all directions, with British soldiers looking down on us all. Their guns seemed to be aimed at us all the time.” He shakes his head.

“The other thing that struck me–there’s the whole Protestant vs. Catholic struggle, right?–was how religion can be such an energizer for destruction, even death,” he continues. “When I was living and working in Toronto, York University did a research project on racism. I consider the Irish question to be a matter of racism: North, South, Protestant, Catholic–it’s an issue of racism. What the research project uncovered was that the people who are the most racist are the people who are the most religious.”

Noting my unsurprised reaction, he grins, adding, “What that revealed to me was that religion can energize any perspective.

“One of the things we talk about here at Sophia,” he continues, “is the idea that everything that is created is different. There is no duplication in the universe. Thomas Aquinas said that God cannot replicate herself or himself in any one expression, because if that were true it would be God becoming God. So everything that is created is some unique expression of divinity.

“And yet humanity, as a species, has the most trouble of any species I know in accepting differences. At the root of us is this deep-seated resistance to embracing difference.”

“I’ve often wondered,” I reply, “how two people could sit in the same church, listen to the same lessons, sing the same hymns, and yet one might be inspired to an act of forgiveness while his neighbor might go out and commit some act of judgment or revenge.”

Conlon nods, stopping to consider this. “When I was in Canada,” he finally says, “there was a little town called Lucan, the home of a family called the Black Donnelleys. They would go to communion every Sunday, and they would literally hit each other on their way to church. If you go out to the cemetery there, which of course I’ve done, and you look at the graves of the family members of the Black Donnelleys, there are bullet holes in all the headstones.

“You know why?” he asks rhetorically. “They shoot at each other’s graves! Here they are, taking Holy Communion, and with the same breath they are hating one another with all their hearts.” He laughs softly. “So,” he sighs, still smiling, “I don’t know the answer to your question.”

The drizzle outside, after a brief cease fire, has resumed its attack on the window. “There’s something almost bipolar about the Irish psyche, isn’t there?” Conlon muses. “My father was a classic Irishman, in that he was that very Irish mixture of both pathos and passion. One minute, he’d be very harsh and angry, and then he’d sit and watch some sentimental movie on TV and suddenly the tears would just stream down his face.

“It’s that marriage of fierceness and pathos,” he concludes, “and it’s everywhere in Ireland. It’s imbedded in the culture, and in their lives, couched in harsh rigidity.”

From the January 22-28, 1998 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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Ani DiFranco

Righteous Bore Cult of Ani: To know her is just about the only way to love her. Michael Amsler Ani DiFranco's new album a yawn By Gina Arnold BECAUSE SHE DOES NOT FIT the standard mold for a female singer, Ani DiFranco has often been called "angry" by certain misguided members of...

Washington Watch

Save PBS?By Doug IrelandI DON'T THINK there's any reason for public television to exist anymore," thunders Garrison Keillor in an interview in the Jan. 5 issue of The Nation, going on to declare that PBS is far from being "an important force" in broadcasting, and its accomplishments are far in the past. "There isn't anything that they do that...

Spam

Mystery MeatMichael AmslerCan Do: Like a terrible, horrible Manifest Destiny--Spam is as American as mom, apple pie, and baseball.For Hormel's notorious luncheon meat, it's still a Spam, Spam, Spam, Spam world!By David TempletonIN EARLY JANUARY, the tiny U.S. territory of Guam, in the western Pacific Ocean, was all but devastated when powerful Typhoon Omar raged across the 209-square-mile island,...

Talking Pictures

Troubles AplentyIn this Corner: Daniel Day-Lewis plays a failing Irish pugilist in 'The Boxer.'Theologian Jim Conlon is knocked out by the ethical hits of 'The Boxer'By David TempletonIn his ongoing quest for the ultimate post-film conversation, David Templeton cold-calls Irish-born author/theologian Jim Conlon and winds up in a surprising discussion stemming from the troubling IRA drama The Boxer. S...
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