Eric von Schmidt R.I.P.
From Westportnow.com
:
Saturday, February 03, 2007
Famed Artist and Musician Eric von Schmidt Dies at 75
Eric von Schmidt, a renowned Westport artist and pioneering figure in the folk music explosion of the late 1950s and early 1960s whose works touched the lives of generations of musicians, died Friday at a Fairfield convalescent home. He was 75.
His daughter Caitlin von Schmidt of Westport said her father had been in ill health since suffering a stroke in September. She said a memorial service will be announced later.
Eric von Schmidt, a Westport native and 1949 Staples High School graduate, was the son of the late illustrator Harold von Schmidt whose rustic portraits of the American West appeared on Saturday Evening Post covers and in other magazines.
He perhaps became best known as a folk and blues singer-songwriter of the folk/blues revival of the 1960s, a key part of the East Coast folk scene and crowd that included Bob Dylan and Joan Baez.
Dylan wrote liner notes for von Schmidt’s 1969 album “Who Knocked the Brains Out of the Sky.”
“He could sing the bird off the wire and the rubber off the tire,” Dylan wrote. “He can separate the men from the boys and the note from the noise. The bridle from the saddle and the cow from the cattle. He can play the tune of the moon. The why of the sky and the commotion of the ocean.”
In 2000, von Schmidt developed throat cancer and became unable to sing. A bout with Lyme disease made it difficult to play the guitar.
In recent years, he worked on a series of paintings called “Giants of the Blues.”
Two years ago, the Westport Historical Society held its “Giants of the Blues 1920-1950” exhibit featuring works by von Schmidt.
Last March, the Westport Schools Permanent Art Collection Committee installed several large-scale paintings from the series in the hallway outside the Staples High School auditorium.
In a fine arts coup for the town, the committee received seven of the paintings on “indefinite loan.”
An obituary in today’s New York Times described von Schmidt as “a frisky, bearded figure who combined a successful career as a painter of big pictures of historical subjects with an exuberant musical style he liked to apply to American folk classics.”
It said Ramblin’ Jack Elliott, the legendary cowboy singer, lauded his spirited approach to the songs of Leadbelly, the legendary blues artist, and the folk songs of Woody Guthrie.
“Eric’s got that wild spirit, and he doesn’t water the music down for polite society,” Elliott told The Boston Globe in 1996, the Times said.
As a small child, von Schmidt watched his father performing miracles week after week in his studio across the driveway from the family’s main house on Evergreen Avenue.
The young von Schmidt painted beside him, sketched with him and often posed for him.
Von Schmidt’s foundation in music came from his mother, Forest Gilmore.
He had bought his first guitar after hearing Leadbelly sing live on a New York radio station in 1948 when he was 17.
Von Schmidt once said of his first time hearing Leadbelly: “This incredible voice … was honey-smooth but had the bite of a buzz-saw cutting through a cement block. It was Leadbelly ’live’ and it changed my life.”
As a teenager, he was encouraged by his parents to visit the Library of Congress in Washington D.C., where he discovered a body of forgotten archival blues recordings. There his second career was born.
Von Schmidt graduated from Staples High School and went briefly to the Art Students League in New York City before being drafted during the Korean War.
After Korea, he received a Fulbright Scholarship to study painting in Italy in 1956-1957.
Upon his return, he moved to Cambridge, Mass., and became a folk and blues singer in the Cambridge coffee house scene and entered the Boston literary field.
His books, “Baby, Let Me Follow You Down,” co-authored with Jim Rooney, won the ASCAP Deems Taylor Award in 1979, and “Notes for American Folk Music” won a Grammy in 1998.
In 2000, he was honored with the ASCAP Foundation Lifetime Achievement Award.
In addition to Caitlin, von Schmidt, who was twice married and divorced, is survived by another daughter, Megan Richardson of Greenfield, Mass., and three grandsons.
“He’ll be missed by a lot of people, and he had a very full and vital life with no regrets,” Richardson told The Associated Press.
Caitlin von Schmidt added, “He did what a lot of people can’t do, which is pretty much live his life by his own rules. That made it hard on the people involved with him … but he was a very loving and generous man.”
ARTHUR EMAIL BULLETIN No. 0066
“COMMAND PERFORMANCE”
The Arthur Magazine Email Bulletin
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February 02, 02007
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Get up and get on out,
1. OPENING TOMORROW: ARTHUR PRESENTS “RADICAL LIVING PAPERS” IN NYC
“RADICAL LIVING PAPERS”
A history of the free, alternative, counter-culture and underground press, 1965-75
Gavin Brown’s enterprise at PASSERBY
436 W. 15th Street,
New York, NY 10011
February 2 – March 7, 2007
Opening reception: Friday, February 2, 2007, 6pm
“The Council for the Fortieth Anniversary of The Summer of Love with Gavin Brown’s enterprise opens and invites you to an exhibition of the world’s most radical living papers from a time when the press took risks and voiced opinions.
Celebrating the heyday of alternative magazine publishing in Europe and America, Gavin Brown’s enterprise at Passerby opens an exhibition of more than two hundred original copies, as well as reproductions of these seminal and obscure publications, whose influence reverberates through culture, politics, and society.
Covering politics, revolutions, evolutions of the planets, freak-outs, love-ins, support of green politics, gay liberation, power to the people, the peace parties, protests, the Panthers, peyote, LSD, pot, fiction, music, poetry, prose, prayers and more. Publications include: Actuel, Avatar, Berkeley Barb, Berkeley Tribe, Black Panther Papers, Digger Papers, Door, East Village Other [EVO], The Fifth Estate, Freep, Grabuge, Hobo-Québec, International Times [it], Los Angeles Free Press, The Oracle, The Organ, Other Scenes, OZ, Rat, The Realist, Re Nudo, Rolling Stone, The Seed, Ann Arbor Sun
.more.
Please note: A press conference to the unified, positive forces actively involved in the community will be held at 6pm on Friday, February 2, 2007, with active members of today’s free press.
Curated by Eva Prinz, Dan Donahue, and Thurston Moore”
More info:
http://www.gavinbrown.biz/passerby/passerby.html
Check out Arik Roper’s poster for the event at
http://www.arthurmag.com/magpie/?p=1646
2. THANKYOUFORLETTINUSBEOURSELVESEVERYWEEK.
Please join us for an evening of music, spirits and celebration
tonight tonight TONIGHT at
The Echo Park Social(ist) & Pleasure Club
Thursday, Feb 1
and every Thursday night
10pm-close
at
LITTLE JOY
1477 Sunset Blvd in Echo Park
FREE FREE FREE
21 & up
presented by ARTHUR Magazine, L.A. RECORD (RETURNING FEB. 15 TO FINISH THE JOB OF FIXING L.A.’S MUSIC SCENE!!!!!) and the good ol’ Journal for Aesthetics and Protest
Tonight’s deejays will be
10pm-1100pm: a special unnamed somebody spinning soul music (f/c Sly Stone remasters, etc)
1100pm-1230am: Arthur Art Directors Mark Frohman & Molly “The New Herbalist” Frances
1230am – close: Arthur contributor Peter Relic
Tonight’s bartender will be Arthur Magazine’s “Do the Math” pundit Dave Reeves.
If you were there last week, you heard deejay ZACH COWIE play records by
little feat
david blue
bobbie gentry
the beach boys
dino valente
led zeppelin
norman greenbaum
gandalf
ron cornelius
buckingham nicks
denny doherty (rip, our brother)
johnny darrell
steely dan
randy newman
tony joe white
nrbq
robert palmer
grateful dead
neil young
supa
fotheringay
carole king
wimple winch
and
thunderclap newman
(not necessarily in that order)
4. CAN YOU DEAL WITH THE ARTHURMAGPIE BLOG
http://www.arthurmag.com/magpie/
5. LAST WEEK’S BENEFIT FOR ALL-AGES L.A. HOTSPACE IL CORRAL….
…was a triumph raising over $1500 for a brand new club for this worthy venue! Congrats to everyone!
How did you get so damn beautiful,
Arthur’s Little Helpers
Atwater Village, California
ARTHUR presents…
(poster by Arik Roper)
RADICAL LIVING PAPERS
A history of the free, alternative, counter-culture and underground press, 1965-75
Gavin Brown’s enterprise at PASSERBY
436 W. 15th Street,
New York, NY 10011
February 2 – March 7, 2007
Opening reception: Friday, February 2, 2007, 6pm
The Council for the Fortieth Anniversary of The Summer of Love with Gavin Brown’s enterprise opens and invites you to an exhibition of the world’s most radical living papers from a time when the press took risks and voiced opinions.
Celebrating the heyday of alternative magazine publishing in Europe and America, Gavin Brown’s enterprise at Passerby opens an exhibition of more than two hundred original copies, as well as reproductions of these seminal and obscure publications, whose influence reverberates through culture, politics, and society.
Covering politics, revolutions, evolutions of the planets, freak-outs, love-ins, support of green politics, gay liberation, power to the people, the peace parties, protests, the Panthers, peyote, LSD, pot, fiction, music, poetry, prose, prayers and more. Publications include: Actuel, Avatar, Berkeley Barb, Berkeley Tribe, Black Panther Papers, Digger Papers, Door, East Village Other [EVO], The Fifth Estate, Freep, Grabuge, Hobo-Québec, International Times [it], Los Angeles Free Press, The Oracle, The Organ, Other Scenes, OZ, Rat, The Realist, Re Nudo, Rolling Stone, The Seed, Ann Arbor Sun….more.
Please note: A press conference to the unified, positive forces actively involved in the community will be held at 6pm on Friday, February 2, 2007, with active members of today’s free press.
Curated by Eva Prinz, Dan Donahue, and Thurston Moore
Where global climate change denier scientists come from.
Scientists offered cash to dispute climate study
Ian Sample, science correspondent
Friday February 2, 2007
The Guardian
Scientists and economists have been offered $10,000 each by a lobby group funded by one of the world’s largest oil companies to undermine a major climate change report due to be published today.
Letters sent by the American Enterprise Institute (AEI), an ExxonMobil-funded thinktank with close links to the Bush administration, offered the payments for articles that emphasise the shortcomings of a report from the UN’s Intergovernmental Panel on Climate Change (IPCC).
Travel expenses and additional payments were also offered.
The UN report was written by international experts and is widely regarded as the most comprehensive review yet of climate change science. It will underpin international negotiations on new emissions targets to succeed the Kyoto agreement, the first phase of which expires in 2012. World governments were given a draft last year and invited to comment.
The AEI has received more than $1.6m from ExxonMobil and more than 20 of its staff have worked as consultants to the Bush administration. Lee Raymond, a former head of ExxonMobil, is the vice-chairman of AEI’s board of trustees.
The letters, sent to scientists in Britain, the US and elsewhere, attack the UN’s panel as “resistant to reasonable criticism and dissent and prone to summary conclusions that are poorly supported by the analytical work” and ask for essays that “thoughtfully explore the limitations of climate model outputs”.
Climate scientists described the move yesterday as an attempt to cast doubt over the “overwhelming scientific evidence” on global warming. “It’s a desperate attempt by an organisation who wants to distort science for their own political aims,” said David Viner of the Climatic Research Unit at the University of East Anglia.
“The IPCC process is probably the most thorough and open review undertaken in any discipline. This undermines the confidence of the public in the scientific community and the ability of governments to take on sound scientific advice,” he said.
The letters were sent by Kenneth Green, a visiting scholar at AEI, who confirmed that the organisation had approached scientists, economists and policy analysts to write articles for an independent review that would highlight the strengths and weaknesses of the IPCC report.
“Right now, the whole debate is polarised,” he said. “One group says that anyone with any doubts whatsoever are deniers and the other group is saying that anyone who wants to take action is alarmist. We don’t think that approach has a lot of utility for intelligent policy.”
One American scientist turned down the offer, citing fears that the report could easily be misused for political gain. “You wouldn’t know if some of the other authors might say nothing’s going to happen, that we should ignore it, or that it’s not our fault,” said Steve Schroeder, a professor at Texas A&M university.
The contents of the IPCC report have been an open secret since the Bush administration posted its draft copy on the internet in April. It says there is a 90% chance that human activity is warming the planet, and that global average temperatures will rise by another 1.5 to 5.8C this century, depending on emissions.
Lord Rees of Ludlow, the president of the Royal Society, Britain’s most prestigious scientific institute, said: “The IPCC is the world’s leading authority on climate change and its latest report will provide a comprehensive picture of the latest scientific understanding on the issue. It is expected to stress, more convincingly than ever before, that our planet is already warming due to human actions, and that ‘business as usual’ would lead to unacceptable risks, underscoring the urgent need for concerted international action to reduce the worst impacts of climate change. However, yet again, there will be a vocal minority with their own agendas who will try to suggest otherwise.”
Ben Stewart of Greenpeace said: “The AEI is more than just a thinktank, it functions as the Bush administration’s intellectual Cosa Nostra. They are White House surrogates in the last throes of their campaign of climate change denial. They lost on the science; they lost on the moral case for action. All they’ve got left is a suitcase full of cash.”
On Monday, another Exxon-funded organisation based in Canada will launch a review in London which casts doubt on the IPCC report. Among its authors are Tad Murty, a former scientist who believes human activity makes no contribution to global warming. Confirmed VIPs attending include Nigel Lawson and David Bellamy, who believes there is no link between burning fossil fuels and global warming.
Arthur contributing artist ARIK ROPER blogs…
“One Nervous System’s Passage Through Time”: GRANT MORRISON interviewed by Jay Babcock (Arthur, 2004)
Originally published in Arthur Magazine No. 12/Sept. 2004
“One Nervous System’s Passage Through Time”: Magic works, says genius comic book scribe GRANT MORRISON, and he would know—he’s been exploring it for 25 years. He talks with Jay Babcock about what he’s experienced and What It (Maybe) All Means.
Cover illustration by Cameron Stewart.
Although he has claimed to be an heir to an immortal space dynasty who stays cheerful by imagining that aliens “will probably be turning up to rescue him any day now,” Grant Morrison was in fact born in 1960 to a pair of liberal activist Earthlings. Growing up in the slums of Glasgow, Scotland, where he was brought up by his mother while being “barely educated” in public schools, Morrison developed an early enthusiasm for all things pop and fantastic: rock n roll music, science fiction and fantasy literature, mythology and the occult, punks, mods, beatniks and, of course, foxes and cats.
But the early love that would bear the most fruit was for comic books, which he began writing and drawing as an adolescent. Foregoing higher education and living on his own in a Glasgow ghetto from age 19, Morrison gradually built a career as a comics writer of prodigious imagination, armed with a sense of humor: the title of his first published story was “Time Is a Four-Lettered Word.”
After years of toil writing in the British sci-fi comics world while making psychedelic mod-pop with his Glaswegian band The Makers, Morrison landed work at American publisher DC Comics, where his deeply unsettling Batman graphic novel Arkham Asylum, illustrated by Sandman cover artist Dave McKean, was published in 1989. It remains Morrison’s bestselling work but in the wake of his work since then—his two-year run on Animal Man, in which the lead character, refashioned as a superpowered animal-rights activist, gradually becomes aware that he is a character in a comic book; four years of Doom Patrol, a deeply Surrealist four-color romp starring a superhero team of mental patients; shorter works like the multi-meta-superhero comic Flex Mentallo and the controversial-for-obvious-reasons Kill Your Boyfriend; The Invisibles, an epic for would-be technoccult anarchists; and The Filth, a seriously dark and bizarre 13-issue series, discussed at length in this interview—it seems relatively minor.
“You don’t get much time on Earth to do stuff, so I like to keep busy,” Morrison told one interviewer last year, and so he has: in addition to the aforementioned work, Morrison recently completed a 40-issue run on New X-Men and Seaguy, a picaresque three-issue series drawn by this Arthur’s cover artist Cameron Stewart; an original screenplay for Dreamworks; and scripts for two more three-issue series debuting in the next few months, We3 and Vimanarama.
Recently returned from a wedding honeymoon that included a week’s stay in Dubai (where “they’re building the 21st century out of sand,” he says), Morrison spoke at length by phone from his Glasgow home about the whys and wherefores of his work, his life and the Present Situation in Our World.
Arthur: Did you see the news about the super-strong German toddler? I was reminded where you were saying your run on X-Men was a set of fables for the coming mutant, which you thought might already exist or be on their way.
Grant Morrison: I figured even within 50 years we’ll probably have quite a few superhumans on the planet. There’s something about the superman idea that’s pushing itself closer and closer to reality, to the real-life material workaday world that we can touch. The supercharacters began in the pulps and then worked their way through comics, and they keep moving to more and more extensive mass media. Now it’s everywhere, and it’s become the common currency of culture. I said, way back, almost joking, that I thought the super-people were really trying very hard to make their way off the skin of the second dimension to get in here. They want to be in here with us. They’re colonizing people’s minds, and they’re now colonizing movies, so the next stage is to clamber off the screen into the street. I think what you’re starting to see, with things like this weird kid, and also the experiments that are going on with animals, the cyborg experiments and genetic manipulation that is now possible, is that pretty soon there’s gonna be super-people. You’ll be able to select for superpeople: “I want my kid to have electric powers.” That kind of thing.
And when supermen do come along, what are they gonna want to find? A role model. Like everyone else on the planet. We all want to find people who’ve trod our path before, who can suggest some ways to help us feel significant. So the idea behind a lot of what I was doing in X-Men and really all of my comics is to give these future supermen a template, to say “Okay you’re a superhuman, and maybe it feels a little like this. I’ve tried really hard as one of the last of the human beings to think what it might be like in your world.” Rather than bring them to us, which is what a lot of superhero fiction in the past has tried to do, I’ve tried to go into their world and to understand what’s going on in the space of the comics, and to try and find a way to make that into a morality, almost, or a creed, or an aesthetic, that might make sense to someone who has yet to be born with powers beyond those of mortal man. I think we have to give them images of rescue and ambition and cosmic potency, rather than images of control and fascist perfection.
Arthur: Can a cartoon code of ethics really deal with real-world subtleties?
In a sense it is a cartoon code of ethics, but these will be cartoon people, having to live in a real world. And I think the cartoon code of ethics stands up as well as anything Jesus came up with. Don’t kill. Don’t let bullies have their way. Use your powers in the service of good. I think we should be focusing towards that, rather than providing images of destruction or of despair.
Purely on a conceptual level, the Justice League were created to solve every possible problem, right? [chuckles] That’s what they’re there for. They never fail. These are things that the human imagination has created and put on paper and they exist – they have a more than 40 years’ lifespan. Still existing, still clinging to life, these images. So I think if we’ve created something in our heads that’s so beautiful and so strong and so moral that it can solve all our problems with justice, intelligence and discrimination, then why don’t we use it? Tap into it a little more and understand what these images mean and what they can do for us beyond the obvious. Why was Superman created? That’s the really important thing. What kind of imaginative need was being served by that? And to access that again, to make it vital again, to empower the fiction again, I think, would help our culture deal with some of the implications of its own future.
We have to hang onto the immense power of that imaginative world. Every creed, every weapon, every invention or symphony began as an idea in someone’s head. We’re very good at making insubstantial ideas into physical artifacts or systems of conduct—which is magic, of course, humanity’s greatest skill.
Yeah, you can imagine that the first Aryan superman will probably crawl out of his test tube and want to subjugate us all with the hammers of his fists, but by using the power of imagination right now maybe we can provide his mighty brain with something better than conquest to think about.
Continue readingHEAVY RIFFING: An interview with WINO by Joshua Sindell (Arthur, 2004)
HEAVY RIFFING
Legendary doom metal/stoner rock lifer SCOTT “WINO” WEINRICH lays some typically heavy thoughts about politics, music, hallucinogens and life on Joshua Sindell.
Photo by Brian Liu
(originally published in Arthur No. 9, March 2004)
For a musician whose music has earned him such respect from his peers, the elusive, grim-faced figure known as Scott “Wino” Weinrich has always existed in a zone far apart from even the darkest cult spectrum of rock’s unsung heroes.
Wino grew up around the Washington D.C. area, and became well-known among the hardcore-punk-loving kids in the early ’80s as “that amazing guitarist” for Warhorse, a local metal band, later to be known as the Obsessed. Wino stood out in any crowd, not only from his formidable rep as a musician, but because he was an imposing, long-haired, denim ’n’ leather-wearing dude who, appearances aside, expressed solidarity with the burgeoning D.C. punk scene, led by such bands as Minor Threat and Bad Brains. In return, Obsessed shows were routinely filled with short-haired fans who wouldn’t have been caught dead at an Iron Maiden or Judas Priest concert. Black Flag’s Henry Rollins, Fugazi’s Ian MacKaye and Nirvana’s Dave Grohl were diehard Obsessed fans, reverently viewing Wino out of a sense of awe and fear in equal measures. “Wino plays guitar with that up-all-night-drinking-Clorox sound,” Rollins once said admiringly.
In 1985, Wino accepted an invitation to sing for Californian stoner-rock forefathers Saint Vitus. They were his sole focus of musical attention for the rest of the decade as the band released several albums and EPs on SST Records, home to so many of the ’80s’ best bands. Joe Carducci, author of Rock and the Pop Narcotic, and Vitus’s SST producer, explained the appeal thus: “What I hear in Wino is a natural who’s not like other musicians. He always has a trailing shimmer on all of his playing, and when he is just doing downstrokes to mark the rhythm, he’s shaping that as well—dragging the rhythm from the guitar.”
Continue readingYou're more easily screwed as the world goes more digital Part 45
Debit cards fuel overdraft outrages – The Red Tape Chronicles
from MSNBC.com
Posted: Tuesday, January 30 at 01:03 am CT by Bob Sullivan
Forty dollars for a Big Mac? That might sound over the top, but it barely tips the outrage meter when you compare it to the 20,000-percent-interest loanU.S. consumers regularly take out to pay for such $40 burgers. How could this be?
Well, bounced checks just aren’t what they used to be.
A new study says that most of the time consumers overdraw their accounts now, bounced checks aren’t the culprit. Instead, debit card purchases are chief cause of overdrafts.
Many people don’t realize that a carefree swipe of their debit card at a point-of-sale terminal to buy a Big Mac could result in “courtesy overdraft” fee of $30 or more. But such fees are becoming increasingly common. When faced with a transaction that would send a consumers’ account into negative territory, banks now regularly approve such transactions, cover the expense, and charge hefty fees.
Financial institutions collected some $10 billion in 2005 through what’s sometimes called automatic overdraft protection, according to the new study conducted by the Center for Responsible Lending. The agency reviewed full transaction histories for 5,000 typical American households to determine the cause of bounced check fees.
In its report, called “Debit Card Danger,” the Center for Responsible Lending said that 38 percent of overdrafts were caused by debit card, point-of-sale transactions, while paper checks triggered an overdraft only 27 percent of the time. Online bill payments accounted for another 27 percent of overdrafts.
Most consumers have no idea
The trend concerns Eric Halpern, who co-authored the report. He believes many consumers still have no idea how expensive that Big Mac can be.
“If you ask people on the street what would happen if they tried to make a debit card purchase and their account was empty, most people assume the bank would deny it,” he said.
Not any more. Beginning several years ago — no one really knows when — banks slowly got into the business of granting short-term, high interest loans to consumers when they attempt to overdraw their accounts. Account holders are automatically enrolled in the programs, which are now standard at nearly all banks.
Why are the programs, which many people have never heard of, so popular? Financial institutions that adopt them can expect a huge spike in overdraft revenue — a spike of 200 to 400 percent, according to the Center for Responsible Lending.
These mini-loans are incredibly expensive. Most debit purchases that force overdraft loans to kick in are for small purchases, the agency says. The median overdraft loan for a point-of-sale transaction is $14.75. The average fee is more than double that amount. And since most consumers pay these loans back within three to five days, the annual percentage rate on a courtesy overdraft loan can be as high as 20,000 percent.
It’s clear these loans confuse consumers. When asked, 61 percent said they wished the bank would simply reject the transaction.
Courtesy overdraft can save consumers money in the world of paper checks. The fee is the same as a standard insufficient funds fee, but consumers who would have bounced checks without it won’t face additional fees from merchants.
But the advantage ends in the electronic transaction world. Consumers who are unaware of courtesy overdraft do not know that the price of their Big Mac can jump from $1.99 to $42 in an instant.
It’s true, as bankers like to say, such fees are avoidable. Consumers can keep tabs on their balances, and as long as they do not live near the edge, dangling their balance near zero, they will never see this fee. And in fact, most consumers never pay overdraft fees. Every consumer who spends money they don’t have bears responsibility for that.
But banks shoulder the blame, too, for making it so easy to overdraw — and for muddying the line between “where the consumers’ balance ends and the overdraft protection begins,” said Greg McBride, a senior financial analyst at Bankrate.com.
Remember the surge of marketing that began a few years ago encouraging consumers to use debit cards instead of credit card for purchases? Debit cards were supposed to be the safer tool, the preferred tool for consumers trying to be responsible about their personal finances. Because debit-card buyers draw instantly from their own money in their checking accounts, they do not run up high-interest, revolving credit card debts. The implication, of course, was that debit cards would not allow you to spend what you don’t have.
Scratch that.
There are other factors that make it easier to fall prey to courtesy overdraft fees. Balancing a checkbook has become a much more complex affair. In an age of Internet banking and multiple automatic payments and deposits, it is easy to lose track of account balances day by day.
Lopsided changes
In addition, the advent of electronic check processing (called Check 21) has meant check deductions are drawn faster from consumers’ accounts — but deposits are still commonly held for three to five days. So consumers need a healthy cushion in their accounts to avoid the near occasion of overdraft sin, and not everyone has such a cushion.
“This hits families who are living paycheck to paycheck,” said Halpern. “It is likely at (any) point in time that the consumer does not know their exact balance. But the bank knows the exact balance.”
Banks could warn consumers that an overdraft is imminent, he said. But instead, they approve the transaction and collect the fee.
“This is a situation where the bank has much more information than the consumer,” he said.
Liz Pulliam-Weston, author of “Deal with Your Debt,” and MSN.com personal finance columnist, says that there are easy ways for consumers to protect themselves from overdraft fees. With a simple phone call or visit to a branch, consumers typically can link their checking accounts to their savings account or credit card. Then, if an overdraft occurs, the money to cover the purchase will be drawn from their other accounts. A small fee will apply, but it will generally be a tiny fraction of the potential courtesy overdraft charge. Consumers can also apply for a bank line of credit and link that to their checking account, Weston said.
Many consumers may be confused by the various names for overdraft protection – bounce protection is costly, courtesy overdraft is costly, traditional overdraft protection is not.
But Weston offers a simple rule of thumb. If you are using your own money to cover an overdraft, that’s inexpensive. “But, if you are borrowing the bank’s money, that’s expensive,” she said. “Everyone should have true overdraft protection.”
Online banking can help also, she said. While bank Web sites don’t always provide an exact,up-to-the-moment balance because transactions may not post immediately, the sites are useful for monitoring balances.
There’s one more warning consumers should have, Weston said. Not only can they unknowingly overdraw by making debit card purchases, but they can overdraw while getting cash from ATMs, too. That might not sound possible — after all, once upon a time, ATMs would simply deny withdrawals that exceed balances.
Scratch that, too.
Banks ignore customer data
Many banks now allow consumers to withdraw money from the kitty included in the automatic overdraft protection. Bank customers hate this idea – only 2 percent said they wanted banks to permit such withdrawals and tack on their overdraft fees. Most said they’d rather the withdrawal was rejected.
Instead, banks seem to be encouraging the use of these short-term loans to get cash, perhaps as a way of competing with the tide-you-over short-term loans offered by various paycheck advance loan retail stores. There are reports that banks even pad the “available balance” displayed on ATMs with amounts from the courtesy overdraft kitty. In other words, a consumer might only have $50 in their account, but an ATM might indicate a $250 “available balance.” Then a $100 withdrawal would incur that $39 overdraft fee.
It’s not clear how common the practice is — the matter is being examined now by a federal agency in a major overdraft fee study that’s due late this year. But McBride said it is indeed happening.
“It’s elusive to pinpoint how prevalent this is … but I know anecdotally that it’s happening,” he said.
The problem doesn’t appear to be extensive. In the Center for Responsible Lending study, only 2 percent said they’d been forced into overdraft protection by an ATM withdrawal.
Still, the only real defense against an ATM that might lie to you about your balance is to keep your own cushion in the account.
CHRIS GOSS in the kitchen (Arthur No. 17/July 2005)
From the “Come On In My Kitchen” column originally published in Arthur No. 17 (July 02005):
First, singer-guitarist-songwriter-producer-artist-pottery collector-Southern California desert denizen Chris Goss a true three-stripes vet of rock and part-time Master of Reality and Queen of the Stone Age, takes a weirder than usual deep-career turn with his involvement in the pan-prog Soft Machine-Hawkwind-and-Yes-burn-one trio with Hella drummer Zach Hill and ex-M. Manson bassist Twiggy Ramirez called Goon Moon, whose inexplicably wonderful debut EP release, “I Got a Brand New Egg Layin’ Machine,” has recently been released through the Suicide Squeeze label. Now, for this month’s “Come On in My Kitchen” column, Goss gives us a recipe for an Italian-American pasta sauce that has no garlic. It figures. Watch out for this guy on the freeway, he’ll signal a change to a lane you didn’t know existed…
IMMIGRANT’S SAUCE
by Chris Goss
1988: Newly arrived in Los Angeles, it becomes obvious within a few months: I am not going to find the style of Italian-American cooking that is so easy to find in my former stomping grounds of Upstate New York, or for that matter, all of the Italian American communities that stretch from the Jersey Shore to Chicago. With further investigation, I find this had been a favorite L.A.-gripe topic among displanted New Yorkers since the Rat Pack days. Every so often, a new tip: “There’s a place in Brentwood.” “There’s a place in Silver Lake.” Mythical stories of truckloads of New Jersey water brought in for bread and pizza dough. Lots of added-up little reasons and harebrained schemes…this is our world. But today, it’s the pork sauce. And the theory: It’s the economy, ‘Stupidon’! And the weather. And the soil.
1920: Shiploads of poor Southern Italian immigrants like Mr. and Mrs. Anthony and Rose Modafferi hit Ellis Island and spin off to any Northeastern industrial city that may have a brother, a cousin, or best yet, a cherished factory job waiting for them. In most cases, the poorer they are, the less West, or South they travel. To this day I wonder, “Jesus, Tony! Why did you stop at Syracuse?” It turns out, food aesthetic-wise, I’m really glad he did.
1950: Plain and simple. The men’s asses having been worked off holding down two shifts at the iron foundry or whatever factory, for the first time in their lives they can afford to buy meat. From the beloved family butcher to the dinner table in their own two-story duplex in the Italian part of town with a new flock of grandchildren and expanded family living upstairs. Oh yeah, and just enough room for a backyard garden with the Eastern clay soil and sticky, humid summers that tomatoes seem to love. (You can smell a sweet Jersey/NY/PA tomato in August from 20 feet away. Serious.) So the nonas have a ball with their expanded food budgets, gardens and neighborhood import delis. Don’t get me wrong. Remember, they had just survived TWO world wars, a depression, and a disease-ridden trip across the ocean with a few dollars on hand. Death and starvation spawn amazing cooks. Holds true for ALL of the world’s cultures. My nona and her friends were foragers in the summertime. Wild dandelions, rhubarb, onions from the empty lots down the street wrapped in their aprons. Trading homegrown tomatoes for backyard pears or handmade pasta. Always making do for a large family with very little and wasting nothing. The thought of their strength and perseverance still gives me hope for this world. “Get together, one more time” – Jim Morrison
1965: Everyday at 5p.m. in my newly built Upstate suburban neighborhood, the air smells like sausage and peppers frying. Tomato and basil simmering. Eggplant and zucchini baking. Every family’s sauce is slightly different from the next. The Modafferi meat sauce didn’t have garlic in it, so the myriad of possible side courses—meatballs, braciolla (stuffed steak rolls usually included on Sunday) and sauteed greens that had lots of garlic included really stood out against the sweet sauce. Store-bought, canned tomatoes are allowed, sometimes even admired, for their sweetness and convenience when the home canned tomatoes ran out in springtime. Every nona (now in their 70s) thinks she is the best cook around. And actually they ALL are the best cooks around. Unbelievably good food. Pass it on.
2005: Here is a simplified, reasonable facsimile of Rose’s rich, meat and fat laden sauce. Give yourself a full day’s time to do this properly. It needs constant tending. Your kitchen will most likely end up being a greasy, tomato splattered mess. If you live in Southern California like me, keep in mind the brutally cold East Coast winters can almost stretch to six months long, and it’s hard to eat like this as often in the consistently warm climate of the Southwest. The same holds true for the Northern European cuisine that my German dad cooked so well. But HA, that’s another page, in another issue, of this wonderful rag: Arthur.
You’ll only need:
1.5 pound of whatever pork meat is on sale this week. (cheap chops, ribs, neckbones. Or no bone necessary. Some fat with meat attached.)
1.5 pound Italian pork sausage (most store brands are acceptable. Look for clues; if you can see fennel seeds and red pepper flakes, that’s good)
2 chopped med. onions
1/4 cup olive oil
2- 28 oz. cans tomato puree (save the empty cans, I’ll explain)
2- 6 oz. cans tomato paste
20 oz. of water (2/3 full of the empty can that you will later use for skimmed fat. The other for your spoon rest.)
1/2 cup (7-8 leafs) fresh, torn basil (or, if you have to use dried,1 tbsp)
1 tsp salt
1/2 tsp black pepper
1/2 tsp red pepper flakes
1 tbs sugar (none admit it, but most nonas use it)
In a heavy, large saucepan that you know won’t burn easily,(at least 10 qt. to give you lots of room for stirring and meat) thoroughly brown the pork meat and sausage on medium heat. Remove the cooked meat and sausage. Set aside. Leave the fat and browned renderings on the bottom of the pot.
Add chopped onions and olive oil. This process will deglaze the bottom of the pot and turn the onions brown quickly. Saute’ until onions soften and go transparent.
Add tomato paste and a few tablespoons of water. This mixture of paste, onions, fat and renderings needs to be constantly stirred. It will spit and glop like lava. It’s alive. Don’t let it stick. In about 10 minutes the paste will seem to change from its original dark red color to a lighter orange. Apparently, this is a sign from St. Anthony (patron saint of big eaters) that the sugar and acidity levels in the tomato paste have reached their perfect balance. When Mario Batali mentioned the color change a few years ago on Molto Mario, that’s the moment I knew he was for real. This is secret knowledge of the Southern Italian Ragu Illuminati. (Now formerly secret knowledge.) This is food alchemy.
Now add the two large cans of tomato puree and 2/3 can of water. Stir in thoroughly. Lower heat to a very low simmer. Cover. Take a breath. The grease and paste splattering battle of the last hour has calmed. Clean up the stove and kitchen a few minutes. Keep an eye on the sauce. “Feel” the bottom with your spoon to always make sure no sticking is happening.
Add pork meat and sausage back to sauce.
Add basil, salt, peppers, sugar.
Play your fave CDs, put Leave it to Beaver on TVLand in the background. Gently stir and feel every 10 minutes and cook covered at a very low simmer boil for about five hours. During all of this period lots of the water will start to evaporate. Fat will rise to the top. The sauce will thicken.
Start to skim. We wanted all of the fat to start with, but now we don’t want it too greasy. The once-empty can will now be about a third full of skimmed fat.
By now, the pork meat and sausage will be almost tenderly falling apart and infiltrated with the sweet tomato sauce. Boil your pasta water.
Lordy. Cook your favorite pasta shape.
This was served on Thursday and Sunday at nona’s house. The men usually liked the heavier Rigatoni, Rotelle (‘springs’) and homemade Gnocchi shapes. And always a platter of spaghetti too. Always topped with grated Locatelli romano. (Available at the Monte Carlo/Pinnochio Italian Deli in Burbank on Magnolia. Go there.)
Eat. Have a heart attack. Enjoy.
Note: I had promised Jay Babcock a meatball recipe and the world’s best pineapple upside-down cake recipe. But alas, I’m going back to sleep now. Hope I’m invited back. Bye.


