Garbage Burger

The countdown to Anna B.’s birthday has begun. She’s turning 12 on Tuesday. Per the tradition in our house, she’ll chose the dinner. There are usually her two regulars –Lydia’s chocolate cake and raspberries with powdered sugar–but the rest of the menu varies from year to year. This year’s new entry is a Garbage Burger.

Now for a little history. Last spring, Tim grilled some flank steak. The leftover was stored in a sealed plastic bag in the refrigerator. After sitting there uneaten for maybe five days, I decided it was time to throw it out. Into the garbage it went. The flank steak sat in its plastic bag in the garbage for about 10 to 20 minutes.

Dinner time arrived. Our refrigerator and cupboards were pretty bare–bad timing for a cleaning spree. We scrounged around. Then Tim, the master of the BOBS (Best of a Bad Situation) meal said, “I’ll make burgers,” and fished the flank steak out of the garbage, ground it up, and fried it in a pan. Anna B., unaware of its provenance, proclaimed it the best burger ever. I wouldn’t touch it.

We finally did confess to our mini version of a dumpster dive. Clearly, it didn’t dissuade her. She wants it for her birthday.

Here’s the recipe: Marinate the flank steak in soy sauce, red wine, salt, pepper, garlic, with a dash of Aleppo Pepper for a kick. Grill it to medium rare. Serve it for dinner leaving some for leftovers. Put leftovers in Ziploc baggie and store in refrigerator. Remove three to five days later and toss in the garbage. There’s some debate in our family about length of time for this step. Anna B. suggested 24 hours. I think 30 seconds to one minute is plenty.  Grind up meat with a little mayonnaise for moisture and fry it up in a pan.

Enjoy!

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Santa JG

Jonathan Meath has an uncanny resemblance to Santa Claus. He’s just the right height—not too tall, nor too short. His body type is perfect—no pillows needed. And his real beard and dyed eyebrows are the color of freshly fallen snow.  Even when he’s not in his so-called “business suit” kids wave, “Hi Santa!” Off-season, adults have looked him in the eye and said, “Too early.” Or please, it’s not the Christmas season.

“If I was 12, I would probably be embracing Harry Potter. But, I have a long white beard and I like to sing and Santa likes to sing,” said Meath, 56, a longtime children’s television producer and now Santa Claus for hire.

Meath’s job path veered in this new direction five years ago.  One summer morning in 2006, he soaked in his claw-footed bathtub beneath a window in his duplex in Cambridge, Massachusetts. He pondered the Go For It speech he was about to deliver a friend who was contemplating moving to Los Angeles to become a musician.

“The light dawned on my marble head; I should be doing what I was preaching,” Meath said on a stroll around his neighborhood on a crisp November day, “Santa was presenting himself to me but I hadn’t been listening.”

Meath realized Santa was a way he could perform and sing—two things he loves. So before leaving the tub, he came up with a to-do list and checked it twice. He then went downstairs to tell his now ex-wife of his plans.

She wasn’t surprised. A year before, she had bought him his Santa “business suit” on eBay thinking he would make a good Santa. But, he’d been resistant to the idea, “It didn’t seem viable as a job path,” he said.

Meath decided if he was going to Go For It, he wanted to be one of the best, most authentic Santas–or Premiers as it’s said in the business. To achieve this, his personal to-do list included: 1. Be on the cover of the Lands End catalogue. He’s done that. 2. Sing with the Boston Pops. Check. 3. Make the cover of Boston Magazine. Nailed that first Christmas season.

Being a Premier Santa means the phone never stops ringing. It means working for a fancy brand like Neiman Marcus and performing at the White House or in the movies. It can also mean $40-50,000 a year.

But, there’s competition. To achieve this, Meath is building his brand. He wanted his Santa googlable, so he added a moniker, JG. (Jonathan Greenwood–his first and middle name. Or maybe, as he suggested, Junior Grade to distinguish him from other Santa’s helpers.)

Santa JG tweets. He blogs. His photo can be found on the Wikipedia page for Santa Claus.  He’s been on NPR. He’s produced an album, Santa JG Swings!, and has a second on the way. He even has three booking agents—Los Angeles, New York City, and Boston.

At $200 per hour, he’s performed in malls, hospitals, and even a Red Sox commercial. He traveled to Japan for a multi-week gig last year. Next on the horizon? China. “Like the Polar Express, there are new ways of spinning the Santa tale. There is a ready-made platform for launching Santa in China,” he said.

All of this success is understandable. Santa JG is committed. “It’s taken me five years to grow my hair to where I like it where I think it looks like my version of the old elf. I would like it to be about 2 inches longer because when it curls I want it to fall on my shoulders rather then touch my shoulder,” he said. He’s a board member of the 750-member Fraternal Order of Real Bearded Santas and attends Santa conventions around the country.

Although being Santa is a modeling job first and foremost, Santa JG’s portrayal is not just skin deep. “He takes on the persona of Santa. His spirit is so genuine,” said Amy Haelson, the executive director of Dedham Square Circle who has hired him for their holiday stroll three years in a row.

“My Santa is an Old World Santa. He reminds us that life is not dark and is full of celebration and joy,” Meath said. He believes we need mythical characters in our culture–characters that are all good. He quotes Joseph Campbell and Carl Jung in defending this belief. “Santa is about joy and light and giving and love and caring. He doesn’t carry a gun; he’s not about aggressiveness. And even though he has a material side to him he is not about possessiveness. He’s about gifting,” he said.

But being an authentic Santa isn’t all jolly.  Last Sunday, on the way home from a gig, he realized on Route 128 he had left his so-called Man Bag (Santa JG’s business suit doesn’t have pockets and he needs to keep his keys and credit cards somewhere) on the roof of his red Prius with OldElf on the license plate. He pulled over to pick everything up. His cards were found but his Prius’ Smart Key was run over. He had to be towed.

“I was distracted by romance,” he said about leaving his bag on the roof. He and his microbiologist girlfriend had squabbled. “She says I’m great; she likes everything about me. Except, she told me, I’m not sure I can hang out with a fat man,” he said.

At a tree lighting in Dedham on a recent Friday night, children packed the square and the sing-a-long in a synagogue a few blocks away. Dressed in his Savile Row-quality, plush, velvet suit, including a leather belt stitched with Christmas trees and leaping reindeer, Santa JG rocked out to Jingle Bell Rock and sashayed his hips like a Spanish dancer to Feliz Navidad.

“I’m a high-fiving, fist-pumping, jiving Santa. And unlike other media jobs, being Santa is one you can’t age out of,” Meath said.

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Pipilotti Rist

I was concerned about the sheep’s breath. He had his face so close to mine that I was worried that he might kiss me. He hoofed it right up close and his furry snout was millimeters from my lips.

No, I wasn’t in the Berkshires. This ovine was at the Luhring Augustine Gallery on W. 24th Street in New York City. He and his wooly friends were starring in “Heroes of Birth” a smile-inducing exhibition by Swiss artist Pipilotti Rist. “Layers Mama Layers”–an installation of scenes of sheep in a verdant and lush meadow projected on cascading diaphanous fabrics hanging from the ceiling—greeted me as I walked in. Peter Schjeldahl in The New Yorker said, “[Rist] is an evangelist for happiness like no other first-rate artist that I can think of…” He’s right. This exhibit was an antidote to the sharp elbows and adrenaline I had just experienced at the Matisse show at MOMA.

Pipilotti is a childhood nickname that emerged from “Pippi Longstocking”– her given name is Elisabeth Charlotte. Although Rist doesn’t have horizontal braids like her namesake, the whimsy and sunniness of her art makes me think she channeled something more than just a nickname. But don’t let the optimism of her name be confused with sentimentalism.

Once I left the pasture I moved into the boudoir. Rist’s other installation, “Massachusetts Chandelier”, is a tiered collection of warmly illuminated, decorous, and colorful underpants also suspended from the ceiling. It reminded me of a genial gathering of old friends and relatives.

It was refreshing to see unangstful art like this. I can’t wait to see what Pipilotti Rist is up to next.



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The Power of the Stage

The Laramie Project by Moises Kaufman and members of the Tectonic Theater Project is narrative journalism at its best. And the production performed at the Cutler Majestic Theater in Boston, a part of ArtsEmerson’s inaugural program, is a riveting and emotional performance.

The story is this…Five weeks after gay student Matthew Shepard was left to die tied to a fence in Laramie, Wyoming members of the Tectonic Theater Project traveled there from New York City, their home-base. They conducted 200 interviews over the following year with people in Laramie from Reggie Fluty, the policewoman who arrived first at the crime scene; to Catherine Connolly, an openly gay professor at the University of Wyoming; to Matt Mickelson, the owner of the Fireside bar where Shepard was last seen that fateful night in October 1998.

Eight cast members, with the simple donning of a hat or the removal of a jacket to signify a transformation, portray more than sixty characters. The play flows from one monologue to the next creating a deep and textured account of the murder that brought national and international attention to the issue of homosexual hate crime.

The Tectonic Theater Project, with unfussy staging and virtually seamless metamorphosis by the actors, strips away all that might distract the audience from the power of the words. It holds the audience in silence despite the length of the play (two hours and forty-five minutes) and the teeth-chattering temperatures in the theater.

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Kay Rosen’s Words

Scrabble anyone? Try this one…PNUUMLDE.  Hmm. I stared at those alternating charcoal and slate gray letters on the wall of the Kay Rosen exhibit at the Barbara Krakow gallery in Boston on Friday for a long time. I sounded out the letters. P n u u m b l d e. Pnuumlde. Nothing came to me. What’s a Pnuumlde? Sounds like something from Dr. Seuss. But as I continued to look at it I found my eyes swinging back and forth from the tallest “P” to the tallest “E.” Aha. Pendulum.

Like Andy Warhol with his Campbell soup cans, Kay Rosen takes everyday words, pulls them out of context, and morphs them into something that is both playful and provocative.

Try this one…

T

N              E

In Tea? Entity? In Tent E? Why the triangular shape with a “T” at the peak? I couldn’t figure this one out. I cheated and looked at the title. (The answer: “Tent.”)

According to ARTFORUM magazine, Rosen was trained as a linguist. She started “manipulating words —via juxtaposition, scale, and color—in order to highlight their inherent fluidity and its complex implications.”

Last one…

LI  E

LI  E

Two LIEs? What’s missing? Why the blank spaces? Why one stacked on the other? Again, I am stumped. But when I glance at the title…“Slice of Life”…I feel a chill pass through me.

If art’s job is to make you look at the world differently then Kay Rosen, in this tiny exhibit, has done her job.

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A beech tree’s last stand


A beech tree’s last stand

A towering old beech tree binds a community as its majestic limbs begin to falter.



By Sarah Baker / May 7, 2010

The first time I saw the tree was when my husband, Tim, dragged me to look at a run-down house he saw listed on a real estate agent’s website. As this was one of his hobbies, I was used to it. It was an icy night and he had to cajole me out of the car. The tree stood off to the side, but I was so distracted by the decrepit nature of the house and Tim’s can-do smile that I only glanced at the looming presence, registering Big Tree Off to Left.


Tim’s can-do smile turned into a purchase and a 13-month renovation. Well, an overhaul. Most of those 13 months we spent inside tackling tedious decisions like what shade of white we should paint the walls. Neighbors strolled by to check our progress but seemed less interested in the house and more in the fate of the tree. “What’s happening with the tree?” asked one. And another, “My kids grew up playing on that tree. I hope you’re going to keep it.” I sensed a slight nervousness, even hostility, in their questions. Did they think we might cut it down for a driveway, or maybe even a three-car garage?

I added these perceived reproaches to the many reasons why I thought we had made a mistake buying this house. Stuffy town, nosy neighbors. I hoped that if I accumulated enough complaints we might finally pack up and leave Massachusetts, returning to New York City. I had been perfectly content in our Upper West Side building with 49 apartments and neighbors to chat with in the elevator. OK, not the crazy lady with all of the cats. But, with more than 10 children our children’s ages, we never wanted for play-dates or community. And trick-or-treating was so efficient.

After a few visits from our Cambridge neighbors, I decided to look closer at this tree. It was a beech, taller than our three-story house, and its canopy shaded the whole south side of our yard. Limbs grazed one neighbor’s roof and aimed for another across the street. One branch dipped to the ground and curved back up, forming an elongated U. The trunk measured more than four feet in diameter and the root crown reminded me of elephant toes. The silvery blue-gray bark resembled cracked leather. The leaves were light and feathery, like ferns.

I stood next to the trunk and looked up. Aside from my visit to see California redwoods in Muir Woods, I had never seen such majesty. This was one serious tree, or as someone later commented, “one, big, beautiful plant.” And – gulp – it was on our property. Big responsibility.

Shortly thereafter, we moved in. The tree became our mecca. My kids were glued to the swings that we hung from its branches. Neighborhood kids clambered over it. Everyone in our small community had a story about it – losing a ball in the fallen leaves, carving initials into the trunk. Or they had a nickname for it – the dragon tree, the elephant tree.

One afternoon, two years later, I found a piece of bark lying on the ground near the trunk. Over the next couple of months, a few more pieces fell. I called an arborist to take a look. His diagnosis was cautionary. The tree was stressed and needed deep watering and fertilizing.

We did everything he suggested, but bark continued to shed. For the next two years, we nursed the tree while other arborists paraded through and prescribed additional treatments.

Over time, whole sheets of bark began falling. And then, entire branches withered. Eventually, half of the tree was dead. The other half, facing our house, was struggling in a last, desperate gasp. Every square inch was teeming with tuftlike greenery, like a rain forest.

An arborist delivered the dreaded news. He told us the tree wasn’t safe; we needed to cut it down. That night, unable to sleep, I wandered into the hallway and found my daughter awake. We tiptoed to the window to look at our beloved beech.

For the next couple of weeks, my family couldn’t shake its grief. Life without the beech seemed unimaginable. How could it have died on our watch? Had we loved it too much? Done something wrong?

A week before the fated Tuesday, Bill from next door interviewed me about the tree’s decline. He videoed the wormholes, beetle infestation, and rot and e-mailed it to our neighborhood listserv. On Sunday, we hosted a goodbye party. Thirty neighbors gathered around the beech for the last time. There were people I had never met or even seen before. Our reclusive neighbor across the street showed up. A family with a days’ old baby took its first outing. Bill shot another video for those who couldn’t come.

Tuesday morning arrived with a crane and a lot of saws. A group of us stood vigil as the lumberjack felled the tree limb by limb. At the end of the day, all that remained was its massive stump, stacks of firewood, and piles of sawdust. That evening we sat on Bill’s porch facing where the beech used to be. We stayed until it was dark.

Somehow through the dying of our tree, I began to let go of New York. I got to know my neighbors. There was a huge hole where the tree had been, but I didn’t want to live anywhere else anymore. Bill made one final video, of the tree coming down. It ended with a postscript, “Before the tree came down, we felt the loss. Now we’re surprised by how much we feel the light.”

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When is theater too shocking?

Last Spring, I spent a week following a burlesque dancer. I’m not trying to be racy; it was for a profile I was writing. I first met Miss Mina at Café Crema in Harvard Square and then I watched her in rehearsals and finally, because I had a deadline, I needed to see her on stage. Her only show that fit my schedule, “Naked Ladies Reading,” was something that originated in Chicago and Mina’s troupe, Boston Babydolls, was debuting it at the Oberon. In our first interview, Miss Mina had said, “BostonBabydolls don’t usually get naked. That would make them strippers. BostonBabydolls are burlesque dancers and they practice the art of the strip-tease.” Semantics. Clearly, she was making an exception this time.

So, I lined up at 10 p.m., outside the Oberon, feeling a tad uneasy. It was a bunch of middle-aged flashers in their overcoats and me. (Or at least my anxious mind perceived them as such.) I disappeared into the back of the room trying to be as invisible as possible and pulled out my notebook. The lights dimmed and the spotlights went on six women dressed in various interpretations of nightwear–silk robes and kimonos dominated—but most also wore jewel-encrusted stilettos and chandelier earrings. They were reclining on red velvet coaches in their bordello. One by one they each glided, strolled, or even plodded up to the microphone, dropped their robes, and started reading. First, I didn’t hear a thing because I was so distracted by body shapes, piercing locales, and degrees of wax jobs.  After I caught my breath again, I settled in to be entertained. What I quickly realized was that the nakedness was irrelevant. It was just “Holy Sh*t theater.” What mattered was if the woman was an engaging reader. And most of them weren’t. After about 20 minutes I realized this “Holy Sh*t theater” had lapsed into “What the F*&#? theater.” I walked out.

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Dreaming of Storm King

The front page of The New York Times art section this morning has a large photo of Maya Lin’s outdoor installation, “Storm King Wavefield” at Storm King Arts Center in Mountainville, New York (one hour north of Manhattan). “The work, which had its debut in May 2009, is made up of seven parallel rows of long, undulating, grass-covered earthen mounds” according to the article. The photograph makes it look like a verdant ocean of gently rolling swells. It’s beautiful in its simplicity.

I’m struck by the timing of this article. For me, September represents transition and change–the end of carefree and the return to structure. Storm King embodies these themes. Its monumental sculptures are set on 500 acres surrounded by the tumbling hills of the Hudson Highlands.  The sculptures I always return to: Mark di Suvero’s Pyramidian, made of massive steel I-beams; Isamu Noguchi’s Momo Taro, a nine-piece, 40-ton stone grouping; and David Smith’s steel and bronze works represent immutability against their always-mutable backdrop—the sky, the light, the wind, and the landscape. In times of transition (and my favorite time to visit Storm King is September) these sculptures have symbolized solidity. They have provided me with solace.

But “Storm King Wavefield” seems to send a different message. It’s both steadfast and morphing. Its underlying form is permanent, but its outer layer, grass, is not–it grows, it yellows, and it moves. Maybe this newest sculpture, one of the few made by a woman at Storm King, is offering me something new this September.

(What? I’m not sure. When I see it in person, I’ll get back to you.)

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LeDray at the ICA

The title of Charles LeDray’s show at the ICA in Boston is “workworkworkworkwork”. And let me tell you, that is what he did. This New York-based artist spent over twenty years gathering, cutting, stitching, fashioning, building, and sculpting a miniature world out of fabric, carved bone, and clay. One installation contains three small-scale replicas of second-hand clothing shops packed with suits, hats, and overcoats, even briefs for the Lilliputian-set. Another room contains cases of tiny ceramic vessels, each unique, and each less than two inches tall.

But this is not Bonpoint for your baby dolls. The clay pieces are pristine but the clothes are tattered and yellowed as if the wearer was in Fagin’s clan of pickpocketers. There is a sadness that hangs over this show as if each article represents a lost dream.

I wonder how LeDray views the world after hours spent in his studio creating his thimble-sized world? Maybe, it’s like leaving a fun house with distorting mirrors, or Alice emerging from the rabbit hole. If anyone questions the tedium of making art, and thinks it’s all gallery openings and glam, they need look no further. Like the ICA’s earlier show of Tara Donovan’s work, the Charles LeDray proves that great art takes time, patience, commitment, and maybe a little OCD.

Side note: I took my children, ages 7 and 10, and for them the show could have been titled “playplayplayplayplay”. They didn’t feel the mournfulness that I did; they were in awe of LeDray’s imagination, detail, and skill.

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