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Slavery in, Yes, the North

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Slavery in, Yes, the North

This article by Phyllis Maguire was published

in U.S. 1 Newspaper on February 18, 1998. All rights reserved.

It is important, cautions Susan Klepp, to remember

that black history — being celebrated throughout the nation this

month — didn’t end in the 18th century. "In the face of all

this tragedy," says Klepp, a professor of American history and

women’s studies at Rider University, "African Americans managed

to preserve some of their culture and family ties. Many of them, in

the midst of serious deprivation, did succeed. Slavery has its

triumphal

and heroic aspects, as well as its horror." It is a perspective

she has tried to maintain through years of research. Her program,

"Slavery in the North: Family, Health, and Medicine," will

be presented at the William Trent House in Trenton on Sunday, February

22, at 2 p.m.

Klepp has always felt a fascination for the 18th century. There were

no eminent historians nor heirlooms in her family, and her keen

interest

in the American Revolution wasn’t fostered during her childhood in

Chicago, hundreds of miles from the nearest Revolutionary War site.

"Perhaps it was a trip to Williamsburg that jelled the interest

I always had," she says.

A professor at Rider for over 20 years, Klepp graduated from Simpson

College in Iowa, earning a Ph.D. in American civilization from the

University of Pennsylvania in 1980. She is president of the

Pennsylvania

Historical Association and sits on the executive board of the

Philadelphia

Center for Early American Studies at University of Pennsylvania.

Published

extensively in books and journals, Klepp is the author of the

forthcoming,

"The Diary and Artistry of Hannah Callendar Sansom" with Karin

Wulf, and of "The Infortunate: The Voyage and Adventures of

William

Moraley, An Indentured Servant" with Billy G. Smith. She lives

in Philadelphia where her husband, Phillip Rush, is an attorney; her

son is a junior at Kenyon College and her daughter a sophomore at

Abington Friends.

"I’ve spent my academic life looking at people who aren’t in

history

books, using quantitative methods like censuses and hospital records.

I first wanted to get an understanding of women’s lives, which led

me to different groups of poor people, artisans, and African

Americans.

I look at many facets of 18th-century America, and slavery is one

of them." Klepp is one of a growing number of historians who have

begun to re-write one of America’s darkest chapters.

"Around the turn of the century, there was a flurry of interest

in slavery among historians," she says. "Much of that had

to do with the aftermath of the Civil War. Books published then

treated

the South as pure evil and the North as benevolent, citing how

wonderfully

Northerners treated their slaves and how righteous we were to set

them all free. Now people view the issue with very different eyes

and see that slavery was just as harsh an institution here."

The civil rights movement, says Klepp, was crucial in revitalizing

— and revamping — an interest in black history. "Black

historians did a fine job pointing out to their white colleagues that

the prejudice in general society had seeped into the historical

professions,

shaping and misshaping what we thought we knew about the past."

Another component was the rise of women’s studies and "living

history" programs, ongoing attempts to fathom the lives of people

who left no written records.

One aspect of "living history" that has had

a public impact is research into the homes of historical figures —

like Thomas Jefferson and Monticello — and their families.

"Pennsbury

Manor has researched the slaves and servants living there," Klepp

says. "I recently took part in an Historic Hudson Valley

conference

that looked at the enslaved and artisanal populations, people who

worked at the great houses and had to survive." One of those

historic

homes, now Trenton’s oldest building, belonged to William Trent. What

will be the site of Klepp’s talk on Sunday was home to 11 slaves —

six men, one woman, three boys, and a girl named Nanny — listed

by their first names and market values in a 1726 estate inventory

made after the death of William Trent.

Born in Scotland, Trent was a prominent Philadelphia merchant who

trafficked in tobacco, flour, furs, rum, and slaves. In 1714, he

purchased

1,600 acres at the Falls of the Delaware River, purportedly

commissioning

Scottish architect James Portues to design the Georgian brick building

that has since been restored to much of its original plan. In what

was predominantly wilderness, Trent laid out a settlement he called

"Trent’s Town," replacing the wooden mill established by

Quaker

slaveholder Mahlon Stacy over the Assunpink with a stone one and

building

two more.

Though the estate was intended to be their summer residence, Trent

and his family permanently relocated in 1721; it is rumored he owed

considerable sums in Philadelphia, and since there was no extradition

between colonies, a move across the Delaware would erase his debt.

He served two years as Chief Justice of New Jersey and died of

apparent

apoplexy on Christmas Day, 1724. Thirteen years later, two Africans

were arrested for attempting to convince other slaves to poison their

masters. They allegedly cited as proof of the efficacy of their

proffered

poison — a combination of arsenic and "an unknown root"

— the deaths of William Trent and, later, of two of his sons.

If Trent and his sons were poisoned by slaves, they were only a few

of what Klepp calls, "a whole body of poisoning cases, in New

Jersey in particular." Slaves made up five to nine percent of

New Jersey’s population in the early 18th century; that figure hovered

near 16 percent in Burlington County, which included Trenton,

according

to a 1745 census. But "northern New Jersey in particular and parts

of southern New Jersey invested heavily in slavery," Klepp says.

"There were counties in New Jersey where enslaved populations

were as dense as any Southern colony." Even in areas with fewer

slaves, Klepp found no indication the institution was benign. Her

research on slavery in the North leads her to much grimmer

conclusions.

"Even though fewer Northerners owned slaves than Southerners,

it was harder here on enslaved people. In the South, where there might

be several hundred slaves on one plantation, they could form a

community

with fairly stable families. In the North, where it was very unusual

for slave owners to own more than a couple of slaves, slaves were

much more isolated. It was harder for husbands and wives to live

together,

and for parents to keep children within a family group. Slavery in

the North stripped slaves of that basic human contact and, in that

sense, it was harsher."

Another cherished myth concerns the benevolence of masters who, the

theory goes, treated slaves decently to protect their investment.

Not so, says Klepp, who thinks slaveholders needed to preserve class

distinctions more than protect property. "People lived in very

small houses where there wasn’t much room, nor was there the kind

of material wealth available today," she says. "Whites had

to enforce power relationships within very small groups. They did

so by dressing slaves in rags, housing them in outbuildings or attics

or cellars, deliberately feeding them bad or spoiled food. All of

these factors helped produce the very poor health we see in Northern

slave populations."

A meager and starchy diet led to what Klepp calls, "high rates

of illnesses, particularly of diseases like tuberculosis. Research

also shows very high levels of vitamin D deficiencies among Northern

African Americans." Poor health was accompanied by much less,

not more, medical attention. Studying several decades’ worth of

records

from Pennsylvania Hospital in the mid-1700s, Klepp found much higher

death rates for African Americans than for whites. "It appears

masters waited until their slaves were on death’s door before they

took them to the hospital, delaying treatment until it was too

late."

This disparity in medical treatment between blacks and whites

apparently

persists today; last month, the Federal Centers for Disease Control

and Prevention reported a widening gap in the incidence and treatment

of diabetes, asthma, infectious diseases, and several forms of cancer.

Death records for the city of Philadelphia, another of Klepp’s primary

sources, bear out that fatal distinction. "Death statistics don’t

give individual voices or personal reactions, but they do describe

material circumstances. And death rates for blacks in Philadelphia

during the 18th century were 50 percent higher than for whites. The

work I’ve done with health records has been largely confirmed by

archaeologists

at the African Burial Ground in Manhattan, one of whom said they’ve

discovered very old skeletons — but no old people. The remains

indicate very aged people, with arthritis and many injuries, yet they

are the skeletons of people who died in their 20s and 30s."

Klepp has also scrutinized medical journals and individual doctor’s

records — and travelers’ accounts, "which tend to be a very

rich source. People passing through a region notice daily life in

a way the people living there don’t. But when you find black voices

in the 18th century, they have often been taken down by whites,

filtered

through the prejudice or ignorance of the person recording the

information.

It is not until the 19th century that we really get writings from

actual slaves, and those are very valuable."

Assailed by devastating conditions and denied medical treatment,

African

Americans tended to one another and made significant contributions

to American medicine. "We have records of slaves teaching whites

about smallpox inoculations and feeding lime juice to smallpox

victims.

We now know that lime juice has vitamin C, which is necessary for

the body’s recovery. That was an African practice that was brought

here."

Snakeroot — the plant used in poisonings — was significant

pharmacologically. Klepp thinks Africans found related plants here

with similar properties to roots used in Africa, or that snakeroot

was brought to America by sailors. "Ship crews at that time would

frequently be of mixed race," she says. "It would have been

very common for sailors to have a medicine chest with native

medicines."

While snakeroot could be given in lethal doses, "it was an

expectorant

that proved to be very valuable against tuberculosis, and it was used

into this century." Six different plants entered American

pharmacology

based on African practices. "The contribution of African medicine

is a subject that remains largely unexplored, but it was considerable

indeed."

The number of Northern slaves decreased in the 18th century as white

indentured servants became the cheap labor of choice; since they

weren’t

purchased outright, they proved to be more economical. And ideological

opposition to slavery intensified during the Revolutionary War.

"That

was when many Americans put two and two together and realized the

virtuous new country they were fighting for was an illusion if slavery

survived," Klepp says. "But there still was considerable

economic

investment. Where that investment was high, attachment to the

institution

remained strong." After the Revolution, different Northern states

enacted laws that mandated not emancipation, but slavery’s gradual

abolition. Such a provision was passed in New Jersey during the first

decade of the 19th century. It was the last of the Northern states

to do so.

"Gradual abolition freed no slaves who were alive when the act

passed. Slaves born after passage would be freed after working

a number of years. How many depended on the state; in some states,

differences were assessed between men and women. But generally they

were expected to work for their masters between 18 and 28 years."

Klepp points out that, with a life expectancy of about 40 years, many

African Americans born after the passage of gradual abolition spent

their lives as slaves. "Many masters did free slaves more quickly

than the law provided, so slavery was pretty much gone by 1800 in

the North," she says. "Yet many African Americans then became

indentured. They got technical freedom but they were still bound

laborers,

sometimes to their former masters. You could go to a brokerage and

they still could be bought and sold."

Indentureship for blacks and whites continued to destroy families.

"In the 19th century, there was a large job market for black women

in cities as domestics and laundresses — but there weren’t any

jobs for men. Black men moved to the country as agricultural laborers,

leaving a preponderance of black women in urban areas. You see the

same inability to maintain families as during slavery because of

restricted

occupational opportunities. Even in freedom, African Americans in

the North faced substantial disabilities."

And where were those last pockets of slavery in New Jersey? Says

Klepp:

"A few years ago, I gave a course at Rider on the history of

Lawrenceville

where the university is located. Students looking through the town’s

manuscript census found two slaves living in Lawrenceville — in

1860. Evil survived in the North that long."

— Phyllis B. Maguire

Susan Klepp, William Trent House, 15 Market Street,

Trenton, 609-989-3027. "Slavery in the North: Family, Health,

and Medicine." Free with reservation. Sunday, February 22,

2 p.m.


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This page is published by PrincetonInfo.com

— the web site for U.S. 1 Newspaper in Princeton, New Jersey.

Septime Webre’s Wild Things

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Septime Webre’s Wild Things

This article by Nicole Plett was published

in U.S. 1 Newspaper on February 18, 1998. All rights reserved.

The night Max put on his wolf suit — and

collaborators

Maurice Sendak and Septime Webre brought his voyage to "Where

the Wild Things Are" to the ballet stage — was a night of

uncommon theatrical magic. American Repertory Ballet’s production

that combined the efforts of renowned author, illustrator, librettist,

and designer Sendak with the choreography of Webre, recreated the

modern children’s classic with extravagant beauty and impeccable

stagecraft.

Now this "Where the Wild Things Are" makes a second debut

at the State Theater with a brand-new score by New York composer Randy

Woolf. Performances are at the State Theater, Saturday, February 21,

at 8 p.m., and Sunday, February 22, at 2 p.m. Sharing the concert

program is the world premiere of an as-yet-untitled ballet by

Alexandre

Proia, visiting ballet master to ARB and former New York City Ballet

soloist, and "Sleep Study," a comic pajama ballet by David

Parsons. The performances herald the ascendant company’s 11-city

spring

tour of "Where the Wild Things Are."

Since the prize-winning debut of Sendak’s storybook in 1963,

"Where

the Wild Things Are" has become one of the top 10 children’s

best-sellers

of all time. The ballet was the brainchild of Penny Wiggins of Ballet

South in Savannah who helped the avuncular Sendak and the

TV-generation

choreographer Webre find each other.

Webre explains how the libretto that he and Sendak developed for the

ballet was expanded from the original story. "The story’s text

is very sparse and poetic and simple," he says. "I felt very

strongly that the choreography had not only to tell the story, but,

more importantly, it had to abstract the energy inherent in Maurice’s

drawings."

The spectacle opens on a 20-foot-high stage curtain featuring the

massive visage of a single Wild Thing. In a magical mastery of scale,

the boy Max, danced by the 5-foot 10-inch Stephen Shropshire, emerges

in his wolf suit from a homemade tent and everything else expands

accordingly. In one of the many acts of verisimilitude that makes

this work a success, the production exactly mimics the storybook’s

scale. From the elegant forest that rises up out of Max’s bedroom,

to his lonely voyage "through night and day and in and out of

weeks and almost over a year," to the marvelous sight of the

massive

Wild Things, this a rare experience for bedtime readers of all ages.

The movements Webre creates for the little-big hero Max mirror the

awkward vernacular of any six-year-old: he raises his arms and

brandishes

imaginary claws like a threatening animal, or tucks them impatiently

into his armpits. And his recurrent, accelerating sequences of five

pirouettes nicely conjures a small boy’s targeted fury.

Among the ballet’s extra scenes are Max’s fat aunts,

uncles, and cousins who sweep into Max’s play space, smothering and

all but devouring him. Max’s mother appears twice, first in a comic

Martha Graham, modern dance parody, performed in travesty (with vacuum

cleaner) by one of the company’s men. A more tame, but uncannily

similar,

Mama, danced by a woman, appears as part of Max’s reverie at his

campaign

tent. There is also a dance interlude for the two sinuous sea

creatures

encountered by Max each time he sails his little boat from his bedroom

to where the Wild Things are.

Demanding pride of place in this story, of course, are the five

fantastical

Wild Things, transmogrified from their storybook pages into

three-dimensions,

to "gnash their terrible teeth and roll their terrible eyes and

show their terrible claws." These 10-foot monsters are a joy to

behold, although, in the debut production, their very virtue of scale

seemed to limit movement. Rather than the complicated antics

choreographed

in Sendak’s evocative illustrations, Webre had to settle for a parade

effect of striding steps and hops in place.

For the new production, however, Webre announces that the original

giant Wild Things puppet forms have been replaced with

state-of-the-art

models designed and constructed by Andrew Beneppe Studios in Brooklyn,

the house that built many of the major characters for Disney’s

"Lion

King" on Broadway.

"Our original puppets were spectacular, but because of the sheer

bulk of the machines, they had only lugubrious movement

possibilities,"

he explains. The old puppets weighed 50 pounds, with limbs operated

by adapted bicycle gears that sometimes malfunctioned. The new puppets

weigh only 10 pounds, and have an arm’s reach of up to 12 feet, all

powered by up-to-the-minute technology.

Max’s new loathsome relations have been added to the story to show

how the young Max might have fallen into such a bad temper.

"When Maurice was working on the book in the early 1960s, he took

memories of his recent immigrant Eastern European aunts and uncles

as his inspiration," says Webre. "They only spoke Yiddish

and he found them very big and loud and grotesque. So these relatives

make an entrance in this ballet. And their entrance is what really

stirs Max up. His frustration with them taunting and almost devouring

him is what initiates the ballet’s action."

For the 1996 debut production, Sendak and Webre re-used for their

ballet a modern opera score, based on the book, by British composer

Oliver Knussen. Webre says that although he became fond of the music,

in the weeks leading up to premiere he and Sendak "both felt that

while the score worked as a musical piece, it was not particularly

suitable for dancing. "We agreed that the complex rhythms of the

Knussen score made it not very danceable. It seemed to created an

atmosphere of austerity, rather than the excited buoyancy that I had

tried to create in the dancing," says Webre. The duo began looking

for a new composer. "Maurice and I had gone through a year-long

process of adapting the book to a new ballet libretto, so the

structure

and the dramatic intent of the scenes have remained intact. But I

wanted it to become a bit more dance-oriented."

Woolf, who was recommended by one of his teachers,

composer

David Del Tredici, works in an eclectic blend of the serious and the

pop. "He’s a serious classicist, but throughout his college years

he composed for rock bands," says Webre. Woolf’s recent

commissions

include works for the Seattle Symphony, the Kronos Quartet, and the

Dogs of Desire Orchestra. A new score also meant a new round of

collaborative

effort.

"For Maurice there were many musical criteria, but another

important

criteria was that Maurice like him — and that there be some

creative

energy between the three of us," says Webre. Creating the score

was a new venture, "a bit like the one that drove Tchaikovsky

mad," says Webre, referring to the way the 19th-century Russian

choreographer Marius Petipa kept ordering up four more measures of

this or that mood music for his now-mythic ballet

"Nutcracker."

"Essentially it’s very eclectic, a serious pop score," says

Webre. A variation on a Bach cello invention section has, at Webre’s

request, become the work’s leitmotif. There is also a klezmer-inspired

section for Max’s stifling relatives, and a blues section for a new

dance for Max’s bedraggled toys. The ballet score includes a few

vocals

at crucial moments in the story. Because the score includes a lot

of produced elements, it has been created as a performance tape that

the company will also use on tour.

Webre says that Sendak, at age 70, is "very lively and boisterous,

and generous, too. And we’re not just collaborators, we’re good

friends

now. He’s a self-admitted workaholic, still working actively, and

involved in theater and opera." Sendak’s focus on the performing

arts has included designs for the operas "The Magic Flute"

and "Idomeneo," and ballets "The Nutcracker" and

"Hansel

and Gretel." He is artistic director of his own theater company,

the Night Kitchen.

Webre, who grew up with "Where the Wild Things Are," would

like to see this collaborative effort become a classic in another

genre. "I see Max and the story as a strong metaphor for something

that we all experience. That is that Max — and any of us —

are sometimes faced with frustration and anger, our own personal

demons.

And, like Max, we need to look to ourselves and confront them."

— Nicole Plett

Where the Wild Things Are, American Repertory

Ballet ,

State Theater, New Brunswick, 732-246-7469. $14-$28. Saturday,

February 21, 8 p.m., and Sunday February 22, 2 p.m.

The Wild Rumpus Ball, American Repertory Ballet,

The Forrestal at Princeton, 609-921-7758. The benefit for ARB and

Princeton Ballet takes the ballet as its theme. $125-$250.

Saturday,

March 7, 7:30 p.m.


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This page is published by PrincetonInfo.com

— the web site for U.S. 1 Newspaper in Princeton, New Jersey.

Art by Adkins: Re-Creations

Art in Town

Art On Campus

Other Galleries

Other Museums

Art In Trenton

Art by the River

Art in the Workplace

To the North

OUT BELOW!!!

Corrections or additions?

Art by Adkins: Re-Creations

This article by Pat Summers was published

in U.S. 1 Newspaper on February 18, 1998. All rights reserved.

If I were a third grader who didn’t know how to look

at art, I’d want to be in Terry Adkins’ tour group. If I were an adult

who felt uncomfortable talking about art, I’d join the same group.

In fact, that’s exactly what I did.

On Sunday, February 8, Adkins led an ever-growing group of children

and adults through "Distant Mirrors," his new exhibition of

30 sculptures at the New Jersey State Museum. Like the Pied Piper,

he attracted more people as he went along: laughing, inviting

opinions,

encouraging visitors to touch the works, and generally appearing as

arresting as his work. For more than an hour, some 30 people got up

close and personal with the art he describes as, "found materials

and objects with an African-American presence."

"I take the things that society considers useless and throws away,

and give them a new life by re-creating and re-combining them into

works of art," Adkins tells his group. "So as we walk through

you’ll see things you might see on streets in your cities that would

normally make it to a junkyard or a landfill. I consider what I do

to be rescuing these things, keeping the world a lot less junked-up

so that you won’t inherit this stuff as junk, but in a more

spiritually

nourishing way as works of art."

The look of the Adkins’ exhibition is starkly spare, in keeping with

the "minimalist" descriptor sometimes applied to his work.

Sculptures, most quite large and many with metallic elements, are

spread out on floor and walls — a dramatic look that also

facilitates

viewing without crowding. Two pieces that are already part of the

museum’s permanent collection, "Southern Railroad" and

"Rattler,"

are on view nearby.

Tall, dark, and incontestably cool — starting with a signature

black beret and wire rimmed glasses, and including an unstructured

olive-brown jacket over a turtleneck, black leather vest and wide

wale cords — Adkins made his work accessible, in a comfortable,

non-pedantic way.

Take, for instance, a late-add to the exhibition: "Furn,"

with components listed as "steel, enamel, owl." Intriguing

as its ingredients may sound, they don’t begin to suggest the impact

of this 20-foot long, nearly 8-foot high horizontal piece, which in

its earlier incarnation was a vertical store sign for "Joe’s

Furniture,"

at Broad and Perry streets in Trenton.

Adkins spotted it six months ago and intended it to be part of his

state capital show, but it was not until a few days before his gallery

tour that he was able to arrange for its safe removal and

installation.

Though it represents a local business where a lot of Trenton’s

African-American

residents bought their furniture, or, as Adkins views it, "a place

of dispersal," the erstwhile sign now suggested a long black train

and a steam roller to those in his group.

"All these images are equally valid. I welcome any associations

that anyone might have," says the artist. So from the start of

the walk Adkins first seeks, and then accepts, the impressions of

kids and grown-ups in the group. The white owl, he explains, is

regarded

in some cultures as housing the spirit of a dead person — in this

case, that of his family member, Leonard Williams Esq., a native of

Trenton and one of those to whom he has dedicated "Furn."

The group visit to "Furn" typifies the tour: Adkins swings

out ahead, commenting on the piece and asking what it reminds people

of. All the while, he gestures animatedly and laughs easily and

heartily.

Best of all, he seems wholly unthreatened and un-didactic. He says

he tries to build "many layers of meaning" into each piece.

That way, "there’s an entry door for everyone."

Many of Adkins’ sculptures deal with time and space, as well as light,

sounds in general, and music and musicians in particular. In the

course

of the walk, he alludes to a diversity of topics — Cain and Abel,

the Underground Railroad, the cotton industry in America, jazz

musician

Thelonious Monk, Persian words for water lilies, be-bop, spirituality,

work songs, the Brotherhood of Pullman Porters. Of his piece

"Vows"

(the title) and "vowels" (the letter "E" which is

part of the same work), he says, "Some words sound the same but

mean different things. I’m a musician too; I play the saxophone, so

I’m very sensitive to the way things sound, particularly the titles

of my works."

Our tour group arrives at "Play Heavy:" "An

octopus — right. Tires — right! Car wash — right. shower

head — right. Keep it comin’," says Adkins. "Spider,

braids,

jellyfish — right! right! I’m happy you have so many associations

for this. That’s the first way that you can enter into something —

construct meaning out of it for yourself. There is no wrong

answer."

Discussing the value of his art to urban kids, Adkins says, "I

hope it helps them look at their surroundings differently and see

(besides consumerism and decay) the beauty in ordinary things. It’s

a very direct, tactile experience, even though it’s cerebral too.

And who knows, it may prompt a couple of them to pursue art as a

career."

Often, the artist talks about how he arrived at a finished piece.

"That’s what I was thinking of when I made it, but everything

you said is OK too. Whatever you see in it is just as right as

whatever

I see in it," he repeatedly says, and seems to mean it. This a

far cry from classroom analysis of literature — not to mention

much writing about art. Those in his entourage feel more and more

comfortable, free to look at the works freshly and respond honestly:

"Now doesn’t this look like a heavy [punching] bag that boxers

train with?" asks Adkins. "Noooope!" says a little girl

who’s been gaining confidence. (The work is "Baritone

Champion,"

and it’s dedicated to Jack Johnson, who early in this century became

the first black heavyweight champion.)

What turns found metal, wood, glass, and other materials into

artworks?

How did "Nun," for instance, emerge from what may originally

have been a ship’s smokestack? Adkins cites two requirements for

anything

he picks up: it must be something he can carry, and it must be able

to be transformed into something else. "I always try to keep some

part of a thing’s original function to keep it alive and speaking

about part of its history."

Describing his studio as "a big think tank," he says it’s

full of found objects waiting to be made into works of art. More

precisely,

about a third of its space is taken up with "found

objects-with-potential."

Another third is his work space, and the last part houses finished

pieces.

And no, all space considerations to the contrary, Adkins says he

"hardly

ever" recycles finished pieces into new sculptures. "Once

they get a title, they’re like members of my family. To make them

into something else would violate them." So, although it’s no

dainty little thing, "Furn" will go back to his studio and

probably be stored in the hall, where Adkins just hopes "no

jitterbugs

with spray cans get to it."

Adkins’ first teachers were nuns who still wore traditional habits.

He remembers, not-too-regretfully, that he "was always giving

them trouble." He says his first sight of the arched black

smokestack

reminded him of a nun’s headgear, and then, in turn, he recalled the

stiff bib that was also part of traditional dress.

North Carolina and New York State have been the chief sources of

Adkins’

sculpture materials, with many pieces in this show originally coming

from New York’s Forst meat-packing plant. Glass paperweights that

once promoted "Forst Foremost Smoked Turkey" figure

prominently

in "Hosts." "Forst Mosaic" is comprised wholly of

Forst labels, thickly bunched in a big circle and looking from a

distance

just like the shag carpet one child suggested during the tour. Most

macabre is "Fall Mute," a giant steel rack with rows of iron

meat hooks, each one spearing an apple. "I wanted to suggest

alternatives

to slaughtering animals," Adkins told the group. Then he adds,

"Some of these apples are ready to be replaced," and he turns

one fruit to hide its soft spot.

The "wedding of piano insides and organ insides

in a vertical format," is the way Adkins describes one

indigo-painted

sculpture. Named (and colored) for "Crepuscle," or twilight,

the piece is dedicated to jazz composer Thelonious Monk, who has used

that word in one of his own titles. "Perpetual Choir," a round

wooden piece riddled with holes and mounted perpendicular to the wall,

is a dodecagon, or polygon with 12 equal sides. You could make your

own dodecagon by connecting the 12 numbers on a clock face, he tells

his companions. This work has to do with water, music, and time.

Born in Washington, D.C., 45 years ago, Adkins says he knew he showed

artistic talent when on gift occasions, "I got `Da Vinci’s Last

Supper’ to paint by number and they [his four siblings] got

trucks."

He earned degrees at Fisk University (BS), Illinois University (MS),

and University of Kentucky (MFA). Though he began as a printmaker,

he has largely moved away from that field and has exhibited his

sculptures

since 1980. With his wife, Merele, and three-year-old son, Titus,

he lives and works in Brooklyn, and teaches undergraduate and graduate

sculpture studio courses at SUNY/New Paltz.

Adkins credits Karen Cummins, curator of education at the State

Museum,

for these weekend gigs: three consecutive Sundays of walks and talks

and workshops for kids (or in the case of the walking tour, "young

people" of all ages). The idea is exemplary and to all

appearances,

its execution is a success. (Next, please, how about a free handout

— even a leaflet with a couple of pictures and some text —

that young visitors can take away as a memento of the museum show.)

At his final session, Sunday, February 22, Adkins will teach children

to make a "bull roarer," a musical instrument with visual

appeal that is indigenous to Africa, Australia, and South America.

"Thanks for coming! Come back next week," Adkins calls

enthusiastically

to his departing audience.

— Pat Summers

Terry Adkins: Distant Mirrors, New Jersey State

Museum ,

205 West State Street, Trenton, 609-292-6464. Exhibition continues

to March 22. Museum hours are Tuesday to Saturday, 9 a.m. to 4:45

p.m.; Sunday, noon to 5 p.m. Free.

Terry Adkins Workshop, New Jersey State Museum,

205 West State Street, Trenton, 609-292-6464. The artist and jazz

musician helps kids make a Bull Roarer. Preregister. Free. Sunday,

February 22, 1 to 3 p.m.

Top Of Page
Art in Town

Arts Council of Princeton, 102 Witherspoon Street,

609-924-8777.

Wood-fired figurative ceramic sculpture by Jim Jansma. To February

27.

DeLann Gallery, Princeton Meadows Shopping Center,

Plainsboro,

609-799-6706. "Where Have All the Flowers Gone?" a group show

featuring paintings by David E. Gordon, Ed Hicks, Sydney Neuwirth,

and Virginia Wise, with sculpture by Doug McIlvaine. To March 18.

Gallery hours are Tuesdays to Saturdays, 11 a.m. to 6 p.m.

Gratella Gallery at the Forrestal, 100 College Road East,

609-452-7800. "Purely Abstract," an exhibition of abstract

watercolors, by Pat San Soucie. To March 14. Gallery hours are 10

a.m. to 10 p.m. daily.

The Jewish Center of Princeton, 435 Nassau Street,

609-921-0100.

"Scenes from Israel" by photographers Gilda Aronovic, Robert

Garber, Jerry Kurshan, Maia Reim, Aviva Reim, and Robin Wallach. To

March 14.

Marsha Child Contemporary, 20 Nassau Street, Suite 210,

609-497-7330. "The Enchanted Forest," paintings and drawings

by Polish-born Elzbieta Sikorska. Her lush compositions portray an

exotic, dreamlike world of stately trees and quiet streams in an

environment

filled with the sense of a life force that is both ancient and

universal.

To March 1. Gallery hours are Friday and Saturday, 11 a.m. to 6 p.m.;

Sunday, noon to 5 p.m.; and by appointment.

Medical Center at Princeton, Witherspoon Street,

609-497-4192.

Beth Parsell and Carlene Kuhn. To March 19. Show is open daily, 8

a.m. to 7 p.m.

Stuart Country Day School, Norbert Considine Gallery,

609-921-2330. "Outputting," an exhibition of student art made

on computers, with video and movie clips made with Hyper Studio.

"Art

is not about itself, it’s about other things," says gallery

director

Madelaine Shelleby, "it’s about bringing things together, making

connections." To March 1. Gallery hours are Monday to Friday,

8 a.m. to 6 p.m.

Triumph Brewing Company, 138 Nassau Street, 609-924-7855.

Abstract works in acrylic on wood by Kate Hammett. To March 30.

Top Of Page
Art On Campus

Art Museum, Princeton University, 609-258-3788. "Emmet

Gowin: Aerial Photographs," 30 images of the American West. Also

"Photographs by Robert Adams" and "Photographs by Thomas

Joshua Cooper." All three shows by masters of the contemporary

landscape continue to March 22. Free.

The permanent collection features a strong representation of Western

European paintings, old master prints, and original photographs.

Collections

of Chinese, Pre-Columbian Mayan, and African art are considered among

the museum’s most impressive. Open Tuesday through Saturday from 10

a.m. to 5 p.m.; Sunday from 1 to 5 p.m. Free tours are given every

Saturday at 2 p.m. Free.

Not housed in the museum but part of the collection is the John B.

Putnam Jr. Memorial Collection of 20th-century sculpture, with works

by such modern masters as Henry Moore, Alexander Calder, Pablo Picasso

and George Segal located throughout the campus.

Bernstein Gallery, Woodrow Wilson School, Princeton

University,

609-258-4790. Bill Gregory, an exhibition of 40 photographs including

portraiture and works made during travels in this country and abroad.

To February 28.

Firestone Library, Princeton University, 609-258-3184.

"The Search for Latin America: Sources at Princeton," an

innovative

exhibition of 200 items ranging from original manuscripts, rare books,

maps, photographs, correspondence, coins, and artifacts traces a

thematic

history of the region from Pre-Columbian times to the 20th century.

To April 13. Gallery hours are weekdays, 9 a.m. to 5 p.m.; weekends

noon to 5 p.m.

Among the treasures of the library’s special collections is a Mayan

conch shell with inscribed hieroglyphic text that constitutes its

earliest dated American manuscript. Also in the show, the first Latin

edition of Columbus’s letter announcing his discover, dated 1493,

as well as the only copy in America of Vespucci’s letter to the King

of Spain. One case of items come from Indian sources, and another

deals with contemporary Latin American organizations and the struggle

for human rights.

School of Architecture, Princeton University,

609-258-3741.

An exhibit on the career of Aris Konstantinidis (1913-1993), one of

the most significant figures in postwar Greek architecture. To March

6.

Gallery at Mercer County College, Communications Center,

Second Floor, West Windsor, 609-586-4800, extension 3588. "James

J. Colavita Retrospective," one of five area shows celebrating

the late sculptor’s work. To February 26. Gallery hours are Monday

through Thursday, 11 a.m. to 3 p.m.; and Wednesday and Thursday

evenings

from

Rider University Art Gallery, Lawrenceville, 609-896-5168.

"James J. Colavita Retrospective," celebrating the life and

work of the late sculptor, a Lawrenceville native and professor of

sculpture and ceramics. Each of the shows highlights a different facet

of the artist’s career. To March 8. Gallery hours are Monday to

Friday,

2 to 8 p.m.; Saturday and Sunday, 2 to 5 p.m.

Top Of Page
Other Galleries

The Artful Deposit, 201 Farnsworth Avenue, Bordentown,

609-298-6970. Showing works by Boris Vujovich, Kathy Shumway-Tunney,

Eric Sparre, and Dan Finaldi through February. Gallery hours are

Thursday,

Friday, Saturday, noon to 9 p.m.

The Eurogallery, 37 West Broad Street, Hopewell,

609-466-6885.

Bronze sculptures, paintings, and porcelain by Hungary’s Laszlo

Ispanky,

whose works can be found in the Vatican, the Smithsonian, and the

White House. Also bronzes by Charles McCollough, and paintings by

Malcolm Kornegay. Hours are Tuesday to Saturday, 10 a.m. to 7:30 p.m,

Sundays 11 a.m. to 3 p.m.

Mariboe Gallery, Peddie School, Hightstown, 609-490-7550.

Krista Van Ness, mixed-media assemblages by the Pennington artist.

Van Ness explores the possibilities of illusion by placing common

objects in exaggerated and provocative situations. Her glass,

"stage

set" environments show scenes of insects and small animals

participating

in fantastical rituals. To February 27.

Montgomery Cultural Center, 1860 House, 124 Montgomery

Road, 609-921-3272. A a group show by 13 artists of the Watchung Arts

Center who call themselves the New Art Group. Their name is taken

from the turn-of-the-century Viennese group that included Egon

Schiele.

Their works range from photography to surrealistic tableaux. In the

Upstairs Gallery, a multimedia group show by the 1860 House

Professional

Artists Group. Both shows to February 28. Gallery hours are Tuesday

through Friday, 9:30 a.m. to 3:30 p.m., and Saturday, 10 a.m. to 2

p.m.

Plainsboro Public Library, Municipal Complex, 641

Plainsboro

Road, 609-275-2897. Seow-Chu See, an exhibit of calligraphy,

watercolor,

and Chinese brush painting. To February 26.

A woman of many interests — biology, physics, mathematics, and

Buddhism to name a few — See works for Merrill Lynch in Plainsboro

and lives in West Windsor. A graduate of London’s Imperial College

of Science and Technology, she has been winning prizes in Chinese

arts since childhood. She learned the Lin-Nan style of painting from

Madam Chiang Chao-Mei and contemporary Chinese painting from Wu Yi

of China.

Printmaking Council of New Jersey, 440 River Road,

Somerville,

908-725-2110. Birds of a Feather, a collaborative book project by

39 artist members of the printmaking council featuring wood block

prints, etchings, photographs, serigraphs, and computer-generated

images. To March 14. Gallery hours are Wednesday to Friday, 11 a.m.

to 4 p.m.; and Saturday, 1 to 4 p.m.

Stony Brook Gallery, Stony Brook-Millstone Watershed

Association,

Pennington, 609-737-7592. "A Celebration of Open Space," a

juried group theme show. To March 21. Located in the Watershed’s

Buttinger

Nature Center, gallery hours are Wednesday to Friday, 10 a.m. to 5

p.m.; Saturday, 10 a.m. to 4 p.m.

Top Of Page
Other Museums

James A. Michener Art Museum, 138 South Pine Street,

Doylestown,

215-340-9800. "Masterpieces of Photography from the Merrill Lynch

Collection," an exhibition of 50 photographs from masters of the

late 19th and 20th centuries including Ansel Adams, Margaret

Bourke-White,

Imogen Cunningham, Edward Weston, Alfred Stieglitz, and Paul Strand.

To March 8. Also featured, "Creative Bucks County: A Celebration

of Art and Artists," an interactive exhibit honoring 12 maverick

Bucks County figures that include Oscar Hammerstein, Pearl Buck, and

Dorothy Parker. Hours are Tuesday to Friday, 10 a.m. to 4:30 p.m.,

Saturday and Sunday, 10 a.m. to 5 p.m. Closed Mondays. Adults $5;

students $1.50; children free.

Top Of Page
Art In Trenton

Artworks, 19 Everett Alley, Trenton, 609-394-9436.

"James

J. Colavita Retrospective," one of five area exhibitions

celebrating

the life and work of the late sculptor, a Lawrenceville native and

MCCC professor of sculpture and ceramics. To February 28.

Capital Health System at Mercer (formerly Mercer Medical

Center) , 446 Bellevue Avenue, Trenton, 609-394-4095. "Ten From

Bordentown," featuring Al Barker, Michael Bergman, Michael Budden,

Juanita Crosby, Eva Palfalvi, Louis Panagini, Don Poinsett, Jack

Prynoski,

Kathy Shumway-Tunney, and Claudia Teal. Watercolor, pastel, oil,

acrylic,

and photography. To February 27.

Ellarslie, Trenton City Museum, 319 East State Street,

Cadwalader Park, Trenton, 609-989-3632. "James J. Colavita

Retrospective."

Housed in the former "Monkey House," this show highlights

the artist’s animal sculpture. To March 1. Hours are Tuesday to

Saturday,

11 a.m. to 3 p.m.; Sunday, 2 to 4 p.m.

Extension Gallery, 60 Ward Avenue, Mercerville,

609-890-7777.

"Consumed," recent works by Matthew C. Reiley. Opening

reception

is February 14 for the show that runs to March 5.

Grounds for Sculpture, 18 Fairgrounds Road, Hamilton,

609-586-0616. Fall/Winter Exhibition on view in the museum and newly

renovated Domestic Arts buildings: "Stone: a Group

Exhibition,"

featuring works by Paul Bloch, Michael Braden, Susan Crowder, Horace

Farlowe, Yongjin Han, and Jill Sablosky. To February 28. Gallery and

outdoor hours are Friday through Sunday, 10 a.m. to 4 p.m.

New Jersey State Museum, 205 West State Street, Trenton,

609-292-6464. "Terry Adkins: Distant Mirrors," a sculpture

show by the artist and jazz musician who uses found materials and

objects to create installations with an African-American presence.

To March 22. "James J. Colavita Retrospective," March 15.

"Nikon Small World," winners of the 1997 international Small

World competition of photographs taken through light microscopes.

To February 22.

Also, "The Glitter and the Gold: Fashioning America’s

Jewelry,"

the story of Newark’s jewelry industry resplendent with more than

300 pieces of jewelry. To April 5. From collar buttons to lorgnettes,

from lace pins to gold brooches, jewelry made in Newark between 1850

and 1950 was sold in virtually every jewelry store in America. By

1890, nearly 100 jewelry manufacturers were operating there, employing

3,000 workers, with $8 million in annual revenues.

Newark’s specialty was "fine jewelry" in 14-carat gold, set

with seed pearls, diamonds, and colored gemstones. Such items

transformed

jewelry-wearing in America from a privilege of the elite to a

necessary

flourish to the appearance of the growing middle class. Organized

by the Newark Museum, items have been drawn from museum and private

collections, arranged thematically to trace the stylistic changes

over the course of a century. Museum hours are Tuesday to Saturday,

9 a.m. to 4:45 p.m.; Sunday, noon to 5 p.m. Free.

St. Francis Medical Center, 601 Hamilton Avenue, Trenton,

609-599-5659. "Western Scenics" by Evan G. Lindner, black

and white photographs of the American West. To April 10.

Top Of Page
Art by the River

Bell’s Union Street Restaurant, 183 North Union,

Lambertville,

609-397-2226. Wildlife paintings in watercolor and gouache by Beatrice

Bork. Her work is featured in the recent book, "The Best of

Wildlife

Art." To March 14.

Coryell Gallery, 8 Coryell Street, Lambertville,

609-397-0804.

The 18th Annual Juried Exhibition of the Lambertville Historical

Society.

Artists awarded cash and purchase prizes include J. Ken Spencer,

Helena

Van Emmerik-Finn, Joahn Sacalis, Josef Barrett, Helen Gallagher, Ron

Lent, Robert Sakson, and Vincent Caglia. To March 15.

Top Of Page
Art in the Workplace

The Gallery at Bristol-Myers Squibb, Route 206 and

Province

Line Road, 609-252-6275. "Off to the Cinema," a show of 45

original poster paintings created by Batiste Madalena, from 1924 to

1928, for George Eastman’s Rochester movie palace. The one-of-a-kind

gouaches feature such silent movie greats as "The Road to

Mandalay,"

"Ben Hur," and "The Ten Commandments." To February

22.

Stark & Stark, 993 Lenox Drive, Building 2, Lawrenceville,

609-895-7307. "Flowers: Views from the Garden," a group show

featuring paintings by Mark Davis, Thomas George, Lucy McVicker, Paul

Resika, Ralph Rosenborg, and others. To April 10. Gallery hours are

Monday to Friday, 9 a.m. to 5 p.m.

Top Of Page
To the North

Jane Voorhees Zimmerli Art Museum, George and Hamilton

streets, New Brunswick, 908-932-7237. "The Great American Pop

Art Store: Multiples of the ’60s," to February 22. "Word and

Image: Contemporary Prints, Portfolios, and Artists’ Books," to

March 1. "Riding the Wave: The Japanese Influence on the Depiction

of the Sea and Water in Western Art," to July 5. "Drawn from

Memory: Kisses from Rosa by Petra Mathers," to March 1.

"Russia

as Seen by Foreign Travelers" to July 31, 1998.

Museum hours are Tuesday to Friday, 10 a.m. to 4:30 p.m.; Saturday

and Sunday, Noon to 5 p.m. Closed Mondays and major holidays.

Admission

$3 adults; free for members, children under 18, and Rutgers students,

faculty, and staff. Free on the first Sunday of each month.

Top Of Page
OUT BELOW!!!

Hopewell Museum, 28 East Broad Street, Hopewell,

609-466-0103.

On exhibit through January, toys from the collection of Tom and Marion

McCandless, including seven toys made in Hopewell by the short-lived

Hoproco Toy Company, located on Burton Avenue from 1925 to ’27. Also

on exhibit, a dozen miniatures including doll houses, churches, and

barns. Free. Museum hours are Mondays, Wednesdays, and Saturdays from

2 to 5 p.m.


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<%-5>The Literal Long-Haired Musician<%0>

Corrections or additions?

This article by Elaine Strauss was published

in U.S. 1 Newspaper on February 18, 1998. All rights reserved.

The Literal Long-Haired Musician

Consider these credentials: A son of two university

professors studies piano, violin, and conducting. He is the first

student in the history of Baltimore’s Peabody Conservatory to receive

diplomas in all three areas of concentration. He wins the Naumburg

International Piano Competition, and tops that honor by being awarded

an Avery Fisher Career Grant. A pianist who looks for repertoire

chiefly

among Bach, Beethoven, and Brahms, he hasn’t gotten around to

20th-century

music yet, and he has no interest at all in popular music. This is

clearly a long-haired musician. But this man’s long hair is in the

form of dreadlocks.

The unconventional artist is pianist Awagadin Pratt, who gives a

recital

at McCarter Theater Monday, February 23, at 8 p.m. He’ll play his

own version of a Bach Passacaglia and Fugue, Brahms’ "Variations

on a Theme by Handel," and Mussorgsky’s "Pictures at an

Exhibition."

This is a monumental program for any artist.

Pratt’s concert appearance is unusual in every way. Besides sporting

dreadlocks, he eschews the traditional tuxedo. A tall man, he sits,

spider-like, on a stool 14 inches high that brings his knees close

to his chin and his nose in close proximity to the keyboard. If you’re

not comfortable with unconventional sights, one listener has

suggested,

"it’s better not to look."

When Pratt won the Naumburg Prize in 1992, he was the first

African-American

to do so. When he signed an exclusive recording contract with

Angel/EMI

a year later, he was one of the first black instrumentalists since

Andre Watts to capture a major label recording contract. Pratt says

he doesn’t think about his achievements in terms of his being black.

"But," he adds, "I’m not ignorant of the

implications."

The cover art for Pratt’s second recording for EMI, four Beethoven

sonatas, shows him in what looks like African tribal dress, with a

grand piano, lid up, in the midst of a savanna. The selections consist

of two early Beethoven sonatas, and two of Beethoven’s formidable

final three sonatas. The choice of pieces is bold and imaginative,

demonstrating both the genesis and the culmination of Beethoven’s

unprecedented writing for the piano.

Pratt’s sound on the CD recording has a unique spectrum. Its clarity,

in places, suggests Canadian Glenn Gould as a model. Besides a pearly,

Gould-like touch, Pratt has a gift for telling pauses and delicate

shadings. His playing can be meltingly tender and sensitive. What’s

missing is a cushioned sound and a sense of spaciousness.

I attribute Pratt’s lack of roundness to his sitting so low that his

fingers have to do the bulk of the work. Ordinary mechanical

principles

necessarily apply to playing the piano. For a large and luscious sound

the weight of the player’s arm must join in. Without arm weight, the

piano produces only the pings and tinklings that make detractors

consider

the piano a percussion instrument. The arm can be used to nuance the

system of levers that make a piano function. The approach works.

It would be nice if Pratt would add a large and gentle sound to his

battery of tricks. In any event, it will still be worth heading to

McCarter to hear this very gifted musician play the instrument his

way.

— Elaine Strauss

Awadagin Pratt, McCarter Theater, 91 University

Place, 609-683-8000. $22 & $25. Monday, February 23, 8 p.m.


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— the web site for U.S. 1 Newspaper in Princeton, New Jersey.

For Weddings, or Elopements

Corrections or additions?

For Weddings, or Elopements

This article by Nicole Plett was published

in U.S. 1 Newspaper on February 18, 1998. All rights reserved.

The title of the book is "The Portable Wedding

Consultant," but its author, Leah Ingram, came to know her subject

through the back door. While in the throes of planning her own Long

Island wedding, set for June, 1993, the process became so miserable

that Ingram and now-husband William Behry eloped in November, 1992,

to get married at the Queens County Courthouse.

"Bill and I were planning a `normal’ wedding," explains the

author from her home office in Ewing. "We booked a chapel on Long

Island and we booked a yacht club for an outdoor brunch. But we both

have divorced parents and things started getting out of control. We

were arguing about everything — four separate sets of mouths

telling

us what they wanted, how they wanted things, who they wanted to

invite.

The straw that broke the camel’s back was the day I found we were

all arguing about the color of the tablecloths — I mean who cares!

"So we called all the families together, either in person or on

the phone and said, `What are you doing next Monday? We’re getting

married. We want you to be there, and we want you to be your best

behavior.’ And they all came."

Ingram’s "Portable Wedding Consultant," published by

Contemporary

Books, includes advice from more than 100 experts with chapters

devoted

to such contemporary conundrums as divorced parents, vendors’ scams,

and how to get married in a tropical locale. (An excerpt of Ingram’s

chapter on wedding websites was published in U.S. 1 last week,

February

11.) Ingram will answer questions and sign books at the cafe at Barnes

& Noble on Tuesday, February 24, from 8 to 10 p.m.

Ingram’s first book, "The Bridal Registry Book," was published

by Contemporary Books in 1995. She is the author of a 40-page weddings

section published this month in New York Magazine (February 9), and

has written a section on getting married in the tropics for Islands

Magazine.

Ingram began working in publishing right after

graduation

from New York University in 1987 with a job as an editorial assistant

at U.S. Air’s in-flight magazine. Then, "through a series of bad

luck," she says she found herself temping.

"I was temping at American Express Publishing (Travel and Leisure,

Food and Wine, are two of their best known magazines), and I finagled

a full-time job as an assistant there, and then got myself promoted

as a copy writer. My job was to put into writing and bring to life

anything that an ad salesperson needed to bring with him or her when

calling on a client."

At her home-based office in Ewing, Ingram still does freelance writing

and has also moved into marketing. She recently led a seminar for

public relations professionals on working with writers and editors.

She also does her own publicity for her books, including the placement

of "The Portable Wedding Consultant" on page three of the

New York Times New Jersey section the Sunday before Valentine’s Day.

Growing up on Long Island, Ingram’s father worked as a Broadway actor,

her mother as a physical education teacher in the public schools.

Divorced, her father now lives in Manhattan with his second wife and

two young children. Her mother just retired to Maine.

Ingram and her husband knew each other from childhood, having grown

up together in Smithtown. Their marriage was the result of a

serendipitous

meeting, after college, as commuters on the Long Island Rail Road.

"It’s a classic love story," says Ingram, with a writer’s

relish. "I didn’t recognize him, but he had a dog with him, and

I just went over to pet the dog."

Although some of the couple’s original wedding planning efforts —

and expense — were abandoned as a result of the family fights,

there was still some June merriment for the newlyweds.

"I loved my caterer, and we wanted to have some kind of

celebration,"

says Ingram, "so we kept the original wedding date in June and

had a reception in my grandfather’s back yard in Long Island. We

needed

everything there from tables to forks to Porta-potties — and the

caterer did all that for me." After their wedding reception party,

the couple spent their honeymoon in St. Croix.

Immediately following, in 1993, the couple moved to Ann Arbor where

her husband entered the Ph.D. program at the University of Michigan.

It was at this point that Ingram launched her freelance career. Four

years and two children later, in 1997, the family moved to Ewing.

As assistant professor of special education at the College of New

Jersey, Behry teaches undergraduates how to teach kids with special

needs.

Parents of Jane, age 2, and Anne, 7 months, Ingram’s home-based

business

is made possible by a live-in nanny, Jane’s former day-care teacher,

who accompanied them from Ann Arbor. With weddings as her established

speciality, Ingram added — no surpise here — parenting to

her areas of expertise. She writes on parenting issues, health and

fitness for children, and family travel for a number of national

magazines.

How could Ingram have guessed that big, lavish weddings would come

back into style? "It seems that they’re more in the media

now,"

she says. "Maybe the conspicuous consumption of the ’80s has moved

into the extravagant weddings of the ’90s."

Ingram warns that although a wedding doesn’t have to

cost as much as a house, it can, and it’s important that couples know

this ahead of time. "You almost have to become a `portable wedding

consultant’ yourself to put on a wedding," she says. "Unless

you’re a professional party planner who does this for a living, you’ve

never done this before. So you need to get yourself up to speed on

what is fair, what is time efficient. I’ve tried to anticipate every

road block, every problem, and every question that a bride and groom

will face."

"A lot of brides are older now — in their late 20s or early

30s — – they’re accomplished professional women who want to plan

their own event. But they may not be paying for the event. So I

include

a section on how to talk to parents."

Are brides-to-be carrying most of the burden of planning the big day?

"I talked to a lot of real-life brides, and the general consensus

was, `I worked my (expletive deleted) off and all my husband did was

show up,’" says Ingram.

"I think it goes back to the fact that we women think about our

weddings for so much longer than a man. The women I talked to

attempted

to get their husbands involved, and they supported them in spirit

— they probably went along to meet the caterer. But when it came

down to it, most of the decisions are the bride’s. I simply think

it’s more important to her."

— Nicole Plett

Leah Ingram, Barnes & Noble, MarketFair,

609-897-9250.

A Cafe Book Chat with the author of "The Portable Wedding

Consultant."

Free. Tuesday, February 24, 8 p.m.


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This page is published by PrincetonInfo.com

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Jimmie Dale Gilmore: Folksy Buddhist

Corrections or additions?

Jimmie Dale Gilmore: Folksy Buddhist

This article by Richard J. Skelly was published in U.S. 1

Newspaper on February 18. All rights reserved.

There is a word from the radio world that best

describes

Jimmie Dale Gilmore’s recordings and live shows. It’s called

Americana.

Typically, Americana-format radio stations play a healthy mix of

country,

rockabilly, contemporary folk, and a smattering of acoustic blues.

In concert, or on "Braver New World" and "Spinning Around

the Sun," his two most recent releases for Elektra Records, you’ll

get just that from Gilmore: "Black Snake Moan," a blues from

Blind Lemon Jefferson; "I’m So Lonesome I Could Cry," the

country staple from Hank Williams; and the traditional, "Mobile

Line (France Blues)." But you’ll also get original songs, which,

although sung with his twangy West Texas accent, he calls folk songs.

Growing up in Lubbock, Texas, Gilmore says his earliest awareness

of blues, rock ‘n’ roll, folk, and country music came by way of the

radio.

"But also, my dad played, so there was a lot of music going on

in the living room. I remember going out to nightclubs and VFW Halls

when I was very young," says Gilmore in a phone conversation from

his home in the hills of West Austin.

"The radio was my main source up until the time I started playing

and seeking out records. When we got a little bit older, my dad took

my sister and me to a lot of shows: I got to see Elvis Presley open

a show for Johnny Cash — if you can imagine that! One of the best

shows I ever saw, too."

Gilmore’s dad played guitar professionally, "though he never did

it exclusively," he adds, and his dad began attending college

when Gilmore was in first grade. His dad, a one-time dairy farmer,

later became a bacteriologist, while his mom worked as a doctor’s

assistant.

"Lubbock was just a real middle-class kind of town, with a lot

of Texas in it, though," he recalls. Lubbock was home to Buddy

Holly, as well as his boyhood pals Joe Ely and Butch Hancock, with

whom he formed one of his first music groups, the Flatlanders.

Growing up in Lubbock with radio played a critical role

in shaping Gilmore’s eclectic tastes in music, which he carries with

him to this day. He recalls with one group of friends, he’d listen

to country music stations on the car radio. But with a different group

of pals, he’d tune the car radio to a rock ‘n’ roll station.

Gilmore and his friends didn’t just listen to the radio, they also

all read a lot. "I read Jack Kerouac’s `On The Road’ when I was

in junior high school. I don’t remember exactly how I got turned on

to it, I can’t remember if I was the first one in our little group

of friends who read it. But we all read a lot and we were

sweet-natured,

but still kind of rebellious against school and everything."

Gilmore also read William Burroughs and Allen Ginsberg in high school.

By the time he graduated in 1963, "I was pretty drenched in Beat

literature," he recalls.

Gilmore attended Texas Tech, in Lubbock, but never graduated. "I

studied with a man at Texas Tech who had studied with Bertrand Russell

in Chicago in the ’30s, and his name was Dr. Waters. He made a

lifelong

impression on me," he says. "Mainly I studied symbolic logic

and linguistic analysis with Dr. Waters. I had straight As in

everything

in the honors classes in the philosophy department, and then I would

flunk out of everything else, ’cause I had no interest."

Like Janis Joplin and Johnny Winter who came from Beaumont, Texas,

and many other musicians from all over the state, Gilmore moved to

Austin in the mid-1960s. Its reputation as a music town has grown

steadily ever since.

"The first time I played music in Austin was in 1965 at

Threadgill’s,

and Mr. Threadgill himself was still hosting the little shows

there,"

Gilmore recalls. Austin in the 1960s was an exciting place to be.

Joplin, the 13th Floor Elevators, Mother Earth, Boz Scaggs, Steve

Miller, and among the musicians who hung out there then, and who moved

on to San Francisco in the late 1960s. Gilmore has a theory about

this.

"Like many others, I did the sort of normal Western U.S. hippie

thing," he says, recalling the days when he lived a nomadic

existence

moving between Austin, Lubbock, and Berkeley, California.

"The word `hippie’ was an artificial concept invented by the media

— just like `beatniks,’" he says. "We were just people

who were very individualistic. The media created a style out of it

so it wasn’t individualistic at all, so it described a group of us.

The individualistic people weren’t really hippies as Time magazine

would use the word.

"A lot of people who come to Austin now say there’s this strange

kind of 1960s vibe to it," says Gilmore. "My contention is

that Austin already had a certain kind of flavor to it and that it

was exported to the rest of the world through Austin people. Janis

Joplin, the Kitchen Sink Press, these were all Texas people who had

been in Austin. So I say to people who say that being in Austin is

like being in the ’60s is that it’s really just Austin being itself.

I don’t think it’s too grandiose to say that Austin has an

individualistic,

progressive and artistic character to it.

"And it’s right in the middle of one of the most conservative

places in the world — an area settled by a bunch of Germans!"

For most of the 1970s, while his music career went nowhere in Austin

in the early ’70s, Gilmore lived with a group of people who followed

a meditation teacher in Denver. Asked if this was some kind of cult

he got sucked into in a vulnerable, low period in his life, Gilmore

says that wasn’t the case at all. He says that then, as now, in his

life and in his songwriting, he was on a spiritual quest.

"I had read enough oriental philosophy that I became curious

enough

about meditation to search for a real teacher. I found one in Colorado

and lived within a community of people that were involved in the

organization

around him," he says. "Then, when I moved back to Austin in

1980, as I slowly moved back into the music business, I also went

back into the night life. I became a big drinker."

Fortunately, his old pal Joe Ely had made it possible

for him to continue as a musician, after Ely recorded several Gilmore

songs for his albums on MCA Records. "He really established my

reputation as a songwriter," Gilmore says of his career in Austin

in the early 1980s. Fortunately, he caught himself before he was too

far gone down "the blind alley of pot and alcohol." In 1982,

Gilmore reached a nadir, then quit drinking and went back to daily

meditation sessions.

"As far as I’m concerned that was the beginning of my career,"

he says. "I was 37."

In 1985, he got signed to Hightone Records, a hip San Francisco label

that gave bluesman Robert Cray his start. After recording two

critically

acclaimed but little known albums for Hightone, his friend Natalie

Merchant, of the group 10,000 Maniacs, herself a big fan of blues,

rockabilly, and early country music, began lobbying for him at Elektra

Records.

"She and David Byther kind of went to work creating a place for

me at Elektra Records," he says.

"When I actually was signed to Elektra I was in my late 40s. It’s

a pretty silly and unheard of thing," he says, laughing.

At his show in Hightstown on Saturday night, Gilmore will be

accompanied

by guitarist, Gabe Rhodes, the son of west Texas vocalist Kimmie

Rhodes.

Gilmore will play acoustic guitar and harmonica.

"When I play without the band I kind of feel obligated to put

something extra into it," he says, with typical modesty.

Since he parted company with Elektra Records last year, Gilmore says

he’s been very prolific, writing a lot of new songs and working on

two projects: an album of old songs and an album of his original

material.

Four record companies are currently interested in signing him, and

Gilmore says he’s made up his mind about one, so doesn’t want to

comment

further.

"I may do an entire album of old songs, and call it `Contemporary

Folk,’" he says, laughing, noting his Austin friend Eddie Wilson,

the owner of Threadgill’s, says the expression "contemporary

folk"

is an oxymoron.

Gilmore has also been recording with his old friends Hancock and Ely

from the Flatlanders, his early 1970s group. "There may an album

as a result of that," he says.

Apparently, all his time spent meditating, studying

philosophy, and even his six years in the meditation group in Denver

has done Gilmore some lasting good. He still meditates daily, and

credits his friends Philip Glass and the late poet Allen Ginsberg

with urging him to learn more about Tibetan Buddhism, which involves

daily meditation sessions.

Many audience members will agree that frankly, there is something

spiritual that happens when Gilmore sings. Like Willie Nelson, there’s

a timeless quality to his voice that appeals to a lot of people who

don’t particularly like country music. And there’s an electricity

between audience and performer that’s palpable. They feel good. He

feels good in return. He begins to smile and open up to his audience,

telling funny stories in between tunes.

With a healthy appreciation of blues, country, traditional folk,

rockabilly,

and other early rock ‘n’ roll, it’s no wonder Gilmore has found so

much success on Americana and Triple A radio stations, like

Philadelphia’s

WXPN-FM.

For folk music fans not sure what to expect of him in concert, he

offers this: "I play a mix of songs, quite a bit of my own

material,

and I also do a lot of old country and old blues songs. I just kind

of indulge my own tastes and trust that the kind of people who like

my style will also like a lot of the old songs that I do."

— Richard J. Skelly

Jimmie Dale Gilmore, Outta Sights & Sounds, Grace

Norton Rogers School Theater, Hightstown, 609-259-5764. Bob Martin

opens. $18. Saturday, February 21, 8 p.m.


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— the web site for U.S. 1 Newspaper in Princeton, New Jersey.

State as a Business: Your Dollars at Work

Training Characters

Review: `Home Office Tips’

Devaluing Information<%0>"><%-3>Devaluing Information<%0>

">Job Hunting Support

Rainbow Chamber

Highway Planning

Corporate Angels

Corrections or additions?

State as a Business: Your Dollars at Work

These articles by Peter J. Mladineo and Barbara Fox were published

in U.S. 1 Newspaper on February 18, 1998. All rights reserved.

Top Of Page
Training Characters

From Smith Barney to Bill Clinton, the issue of

character in the workplace seems to be hanging on the tip of the

tongue

of the national consciousness. Can character in the workplace be

taught?

Steven Menzel thinks so, and he is trying to make a sideline

business out of applying a little integrity to the daily grind. "I

think there are tremendous answers to many problems in the business

community right here," he says.

Menzel, a 36-year-old former drill sergeant and father of three, is

the proprietor of Clean Right, a successful Ewing-based janitorial

firm. His recent start-up, Master Qualities, specializes in teaching

managers and employees the virtues of character (609-538-0556). The

basis of his program, called Character First, is the idea that "as

you emphasize character, skills and achievement will improve,"

he says.

This idea of training for character is derived from his experience

schooling his children at home. "My philosophy for schooling our

children is that if they have above-board character qualities and

are able to read and write well and do math they will be able to take

on any kind of job that can come their way."

The Character First concept is the brainchild of the Character

Training

Institute in Oklahoma City (200 miles west of Little Rock, Arkansas).

This training promises to deliver "morale, productivity,

profitability,

trust, cooperation, and improvement of the communication

standard."

At each session, one of 49 different "character qualities"

are stressed. They include truthfulness, humility, punctuality,

discretion,

gratefulness, tolerance, thriftiness, loyalty, and cautiousness. Less

obvious qualities such as meekness, deference, obedience, and love

also get emphasized.

Although he says that this program is non-religious, Menzel exhibits

the fervor and urgency of a missionary. "Truthfulness begins by

being honest with ourselves," he says. "It’s an innate part

of our nature to desire a good reputation. It’s one of the reasons

we’re able to look people in the eye."

What do other trainers think of his program? "I would add one

word to his list: `manipulation,’" says a corporate trainer who

wished to remain anonymous. "I personally know that if people

tried to step in and start teaching me what my values should be I

would be offended. Most people would be resentful. I have tremendous

character and you know what? Nobody taught it to me."

It’s fine to character-train children, but trying to teach adults

good character is akin to teaching old dogs new tricks, suggests

Dennis

Hawver, president of the Hawver Group, the organizational

psychology

firm based at 2 Research Way. "Training adults on character I

would think would be tough," says Hawver. "But what you can

do is get them to realize the limitations and some of the behaviors

associated with negative characters. Most of the evidence suggests

that character is developed well before the adult years. It can be

sensitized and it can be refined, but I don’t know if you can

significantly

change those things we call `character.’ They’re pretty deeply

embedded."

Hawver quotes Woodrow Wilson: "If you will think about what you

ought to do for other people your character will take care of itself.

Character is a by-product, and any man who devotes himself to its

cultivation in his own case will become a selfish prig."

But for Menzel, training for character is rooted in original sin —

proof that it should be "taught rather than caught," he

maintains.

"I know that every heart is deceitfully wicked," he adds.

"When you have a child, you will find out that they are born

liars.

They don’t need to be taught to lie."

But he isn’t spiteful towards his detractors. In fact, he welcomes

them. "All good things meet great opposition," he says. "I

am thrilled that this is meeting great opposition — now I know

I’m on the right path."

Menzel emphatically asserts that character does not have to be

instilled

by parents. "That is part of my faith, as a Christian," he

says. "Really the lessons I’m learning in the training of my

children.

As I train my children I see the deficiencies in my own character

that causes me to step back. I have to be sensitive."

And despite all of the questions about its viability, Menzel’s side

project is off to a promising start. He recently got a commitment

from Atlantic Business Products, at 572 Whitehead Road, to start a

character training program there. "I clean their building,"

he says. "Now they’re going to have the man who cleans their

building

come in and teach them character." Maybe Menzel should consider

bringing his mops to Washington.

— Peter J. Mladineo

Top Of Page
Review: `Home Office Tips’

<B>Meredith Gould has written a book that is

theoretically

about running an office in the home but is really about running your

life. She draws on all her own life experiences (copy editor, yoga

teacher, editor, and ad agency maven) and all her past-life contacts

for a nifty 156-page paperback "Tips for Your Home Office,"

(Storey Publishing, 1998, $14.95). Gould signs her book Sunday,

February

22, from 2 to 4 p.m. at Bookmarks in Montgomery Center, Route

206 (609-497-1655).

An alumna of Queens College with a Ph.D. in sociology from New York

University, she taught at Rutgers for 10 years, was manager of the

business humanities project at the state department of higher

education,

was vice president of account services at a Princeton-based public

relations firm, and taught yoga. In 1989 she opened her own office

in the home for market communications, freelance writing, and

editing.

She is married to Richard S. Ruch, former dean of Rider School of

Business Administration, now dean of academic affairs at DeVry

Institute

in North Brunswick.

U.S. 1 readers who remember Gould’s acerbic treatise on vegetarian

dining alternatives will recognize the breezy style that brightens

an otherwise boring list of nuts-and-bolts tips: "Remember to

get a phone with a mute button so you can tell your dog to shut up

without clients hearing you go ballistic."

Gould also shares self-help wisdom that is useful to anyone in any

size office: "Beware of taking on someone else’s definition of

a time waster. It may be precisely the activity that keeps you

balanced

and sane." Her caustic descriptions of P.I.T.A. (pain in the ass)

clients will resonate with anyone who has ever had a client in a

business

large or small.

Figure out how you learn, she suggests, in order to organize your

work flow.

If you’re primarily kinesthetic: "Budget daily time

to write out a "To Do" list, using writing instruments and

materials

that have tactile appeal. Desktop files or shallow desk trays will

probably work well for you. Print out e-mail and file the hard copy."

If you’re primarily kinesthetic, but also visual:

"Consider

writing out a weekly master list of everything you need to do. Include

a special section in which you list your top three goals. At the end

of each week, highlight what still needs to be done, or simply copy

it onto the next week’s master list. Keeping desktop files or desk

trays within sight will be important for you."

If you’re primarily visual: "Post sticky notes with

information, instructions, or tasks in your sight line and flight

path. Use colors and stickers to code what needs to be done and when.

Month-at-a-glance calendars will work well for you, as will electronic

systems with lots of icons. Electronic filing systems for documents

and correspondence should help."

If you’re primarily visual, but also auditory: "Use

an electronic system that allows you to add sound effects to whatever

is on the screen."

If you’re primarily auditory: "Talk to yourself out

loud and immediately start cultivating visual and kinesthetic

sensitivities!"

Ruch has thought of nearly everything: what questions to ask

yourself before you see the copy machine salesman, whether to buy

an answering machine or use monthly voice mail, and why narrow tower

bookcases work better than regular kind.

Of billable time, she writes: "It’s perfectly okay to charge

clients

for the proportion of administrative time that you spend on their

account. The rest of the time you spend futzing around with your

business

you’ll have to eat. Still, you can account for it when pricing your

professional services."

Remember to include in your rates, says Gould, percentage increases

for rush jobs, client changes (after a certain point), running hither

and thither (especially if thither is far away), and late payments.

"Tailor the style of your price quote to the work culture of your

customer. Corporations won’t wince at per diem rates and may, in fact,

dismiss you as bush league if you trot out an hourly rate. Small

businesses,

however, generally plotz when they hear the words `per diem,’

preferring

to pay by the hour even if the hours total up to — you guessed

it — your day rate."

All the tips are nicely indexed, and the book has line drawings and

boxes (quotes from other home office users and under-the-breath

comments

from Gould) on nearly every page.

Gaps are few, but I found no major lecture of the importance of

offsite

and onsite computer back-ups. I will bet Meredith Gould has never

lost her hard drive.

— Barbara Fox

Top Of Page
Devaluing Information

In an Information Age, what is the value of information?

Michael Lesk isn’t sure. "Part of the trouble is there is

now so much information that much of it goes ignored by default,"

he says.

Another part of the trouble, warns Lesk, is that very few purveyors

of information have found a way to do it profitably online. And, the

few cyberprofits that do exist are not anywhere near the size of those

achieved in other business arenas. "The Wall Street Journal

Interactive

Edition claims to be most successful website selling subscriptions

for information," says Lesk. "They claim to have 150,000

subscribers.

That is obviously very small compared with the print run" more

than 2 million.

Lesk, who recently left Bellcore to be director for information and

intelligent systems at the National Science Foundation in Arlington,

Virginia, gives a keynote address at Rutgers University’s forum on

research in information science on Thursday, February 20, at 1 p.m.

at the SCILS building, 4 Huntington Street in New Brunswick. Call

732-932-7914.

Lesk started working with computers immediately upon getting a Ph.D

in chemistry and physics from Harvard University in 1969. "The

first computer I worked on was bigger than the office I am now

in,"

he says. "It cost $3 million. I was paid $1.25 an hour."

From 1969 until 1983, Lesk worked at Bell Labs in Murray Hill as a

computer science researcher, and joined Bellcore in Morristown when

it was formed in 1984. Just last month he went on leave from Bellcore,

where he is manager of the computer science research group, to join

the NSF. "This is a very important opportunity to organize what

should be the funding of research in the U.S.," he says. "How

do you try to emphasize to the country the value of all the research

that’s being done?"

Lesk now concerns himself with the challenges of finding the right

economic models for information sources. "We’re all looking for

what is the model for a successful publisher on the Web," he says.

"Two years ago everybody said advertising, but advertising doesn’t

seem to be it right now. There is no economic model. What are we

supposed

to do, give away services on the Web?"

But Web publishers’ problems aren’t anywhere near in scope to those

of a library, he reports. The usefulness of libraries is quickly being

eclipsed by the ‘Net because college students are coming to rely on

the Web almost exclusively as an information dispenser. "There

is this an attitude now, `I don’t do libraries, give me a URL,’ says

Lesk. "This is surprisingly common among undergraduates."

College students may be adept at finding online information in bulk,

but, Lesk laments, they are also wont to accept inferior information

sources for the respective cost savings. "A lot of undergraduates

out there using the Web would rather have junky information free than

good information for money," he says. "What happens is

universities

will have to teach students how to evaluate things they see on the

Web. Libraries don’t take every book published. You’ve got to look

at what it is. You’ve got to make a judgment. That’s a skill."

The jury is still out on whether the information dispensed on the

Web is actually worth money, and if so, how much. "Most of the

information that was traditionally sold for money is not what’s found

on the Web," says Lesk. "The problem we have is we don’t have

a useful pricing measure. But some studies indicate there is really

value out there."

The dilemma facing libraries and other potential information vendors

at the moment is finding justification for charging for services that

most people assume should be free. "I don’t know the answer but

every library says we see the demand for online catalogs and CD-ROMs.

We need some economic system of charging some people something that

would balance the accounts. So I would really like the Wall Street

Journal to strike it rich on the Web. However I haven’t yet seen

that."

— Peter J. Mladineo

Top Of Page
Job Hunting Support

For Techies

Open any Help Wanteds section and you’ll see anywhere

from one to two gazillion job openings for information technology

professionals screaming for your attention. Hundreds of ads tell about

astonishingly well-paid jobs for geeks the world over — from

programming

geeks to database geeks to networking geeks.

The problem is those slots aren’t being filled. "There are not

a lot of people who are technical who know how to sell themselves

properly," says Mike Andrus, president of Andrus Associates,

a Langhorne-based IT human resources firm. "Everybody is looking

for high tech staffing specialists."

Andrus gives a presentation on selling yourself to the IT world on

Wednesday, February 25, at Borders Books in Langhorne. Call

215-943-6600.

"Techies" in Andrus’ parlance usually don’t have an inkling

how to sell themselves. "The techies couldn’t get the jobs at

one time because they hibernated and they were working on their

technical

and not their people skills," he says. "The top people in

the field have a different skill set which differentiates themselves,

which is they’re salable. I don’t think the technical professional

can rely on someone else these days. They have to change the way they

market themselves, which is professionally, like a doctor or a lawyer

would."

Andrus Associates, started in 1994, trains, certifies, and counsels

IT professionals about their careers. It has recently moved to 6,000

square feet at Oxford Plaza in Langhorne, and has a staff of 70.

Two of the things "techies" have had trouble with in the past,

are communication and appearance, Andrus reports. "You should

appear professional," he says. For him, "professional"

doesn’t have too complex a connotation: he defines it as "looking

the part."

The best way to improve your communication with potential employers

is to make your resume stand out. To do this, Andrus recommends

including

a summary. Use lots of adjectives about your vision of your career,

list your work ethics, and your career goals there. "They are

differentiators," he says. "When I see a beautiful resume

with a lot of differentiators, I say, `Get this guy in here.’"

Also important to geek job seekers is knowing the hot skills du

jour. Currently, Microsoft NT has pretty much replaced Novell as

the operating system of choice, says Andrus. "And Oracle is real

big. Certifications are where it’s at now."

Top Of Page
Rainbow Chamber

Recently subsumed by the Mercer County Chamber, the

Metropolitan Trenton African American Chamber will be honoring black

executives of corporate America on Thursday, February 19, 5 to 8 p.m.

at Maxine’s at 120 South Warren Street. Call 609-393-5933. This list

of honorees includes Larry Daniels of the Hyatt Regency, Ed

Hill of Janssen Pharmaceutica, Dorinda Jenkins-Glover of

Summit Bank, Preston Pinkette III, of PNC Bank, Shirley M.

Ward of PSE&G, and Steve Young of Merrill Lynch.

Seizing on a desire to bring all of the county’s chambers under one

roof, the Mercer Chamber has made the MTAAC one of its divisions.

Other divisions include the Lawrence, Hamilton, West Windsor, Ewing,

and Trenton chambers. County officials are also trying to snatch up

the Korean American Business Association, the Latino Chamber, and

Mercer County Business Association (formerly the Mercer County Black

Business Association).

Top Of Page
Highway Planning

The League of Women Voters of the Princeton Area will

hold a road issues forum on Thursday, February 26, at 7:30 p.m. in

the Woodrow Wilson School on the university campus. Jack

Claffey,

associate executive director of the Delaware Valley Regional Planning

Commission, will discuss "Best Kept Secrets of Regional

Transportation

Planning."

"It seems that not a week goes by in this area without a

transportation

issue in the news," says Peggy Kilmer, the league’s

transportation

director. "The Millstone Bypass, truck traffic, and S92 are the

major topics, but the league wants the public to learn who the key

players are and how to navigate through the transportation maze."

Established in 1965, the Delaware Valley Regional Planning Commission

(DVRPC) provides comprehensive, coordinated planning for the orderly

growth and development of the New Jersey-Pennsylvania bi-state region.

As an interstate, intercounty, and intercity agency, DVRPC advises

on regional policy and capital funding issues concerning

transportation,

economic development, environmental concerns, and land use. DVRPC

aims to foster cooperation among member governments and agencies,

private sector organizations, and the public. It works closely with

state departments of transportation, community affairs, and

environmental

protection; the federal government; and regional transportation

providers.

The League of Women Voters is a nonpartisan, multi-issue, political

organization. Membership is open to all citizens of voting age, male

and female. The Princeton Area League has members from Princeton,

Montgomery, West Windsor, Plainsboro, and South Brunswick. For

information

call 609-252-1864 or 609-683-8075.

Top Of Page
Corporate Angels

<B>Summit Bank staffers are volunteer tutors and

mentors for 20 sixth graders from Trenton’s Hedgepeth Williams Middle

School as part of a Kids Intervention with Kids in Schools program

run by the Children’s Home Society. The bank buses the children to

the Carnegie Center for weekly Monday tutoring sessions, and bank

staffers have raised funds for special trips to the Liberty Science

Center and other field trips.

Tutors working on homework assignments and academic areas and discuss

vocations in banking and finance. "Students are helped to plan

for their future and to develop sophisticated skills to prepare for

high-tech, high-skill employment," says Steve Matthews of

Summit Bank. For information on how to establish a tutoring program

at your work site call Mike Whartenby at 609-987-3558.

In 1992 when William Holman, a regular user of the

business

department of the Trenton Public Library, died, he left $36,000

to the library. "He amassed a sizeable fortune," says

Robert

E. Coumbe , library director, "and we think it may have been

through his judicious use of the library’s business information. The

older members of the staff remember him as a quite frequent browser

through investment information." Others who have profited from

use of a public library, Coumbe suggests, would do well to share their

wealth in a similar fashion. "Any kind of wealth shared with a

public library shares with all citizens."


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Capital Conference: Franzini

Creative Cash

Regulatory Training

Corrections or additions?

Capital Conference: Franzini

These articles by Barbara Fox were published

in U.S. 1 Newspaper on February 18, 1998. All rights reserved.

Government can work in amazing ways. It can take money

raised by bonds or taxes and let venture capitalists multiply those

funds. And it can take tax dollars it did not collect and let a young

company sell those tax credits to a larger firm.

One of the panels at the New Jersey Capital Conference this Thursday,

February 19, will explain these puzzling opportunities. Jim Millar

of Early Stage Enterprises has organized an 8:30 a.m. panel that

features Caren Franzini of the New Jersey Economic Development

Authority (NJEDA), Jay Brandinger of the New Jersey Commission

on Science and Technology (NJCST), and Don Christianson of the

Small Business Administration.

For registration information for the conference, which runs through

lunch and costs $150 at the door, call the New Jersey Technology

Council

at 609-452-1010.

The NJEDA — which funds itself through bonds and its own

investments

— made the first donation to a venture capitalist when it gave

$2.5 million to the Edison Venture Fund. Last year the NJCST gave

$4 million of its appropriation from the state commerce department

to Early Stage Enterprises for a similar purpose, to make equity

investments

in early stage companies in this region. The results make any taxpayer

breathe more easily.

"We saw there was a need for more venture capital for New Jersey’s

business, and we did not feel we knew best how to make

investments,"

says Franzini. The Edison Venture fund responded to a request for

proposals, and the EDA board approved a $2.5 million investment in

that fund. "We feel it has been a great success," says

Franzini.

"Edison has invested $15 million in seven New Jersey companies,

and our money was leveraged six times."

Millar says that the Edison investment was "a pioneering

effort"

for the EDA, which raises its funds through bond issues. "Some

states shy away from public private partnerships, but we will invest

multitudes more than the $4 million the commission has invested in

us. They get their money back at the same time as the other investors

in our fund get it back." The $4 million has burgeoned into $40

million of capital for investment, says Millar, "because we have

raised additional private capital and are now a licensed SBIC (Small

Business Investment Corporation)."

Early Stage Enterprises has four current investments and two more

on the way, with the typical gestation period (until the IPO) expected

to be five years. Only one of the four ESE companies so far is in

Princeton: NetTech Systems, the Research Park-based firm with wireless

communications software. The others are in New Brunswick, Radnor

Pennsylvania,

and Richmond, Virginia.

Franzini, an urban studies major at the University of Pennsylvania,

Class of 1980 with a Wharton MBA, is expected to announce at the

conference

that EDA may soon act as its own venture capitalist organization (see

story on Franzini on page 46). "We are getting what we feel is

a good return on our investment, so hopefully we can make another

investment, either in a venture capital fund or by establishing our

own investment vehicles for financing high tech companies," says

Franzini. "We have been on the learning curve to understand the

needs of the industry and feel it would be beneficial to finance these

businesses ourselves."

She’s looking at similar programs in Pennsylvania and Utah. Why not

just keep funneling funds to those in the business making venture

capital available? "Because the venture capital community is

servicing

needs of $500,000 and above, and we are sometimes talking about below

that range," says Franzini. "We’d rather partner with existing

organizations, but if there is a gap in the marketplace we want to

fill that gap."

Another way that EDA can fill gaps is by guaranteeing loans. If a

bank does not have enough "comfort level" with a loan, the

EDA can stand behind it, just like the SBA might. But the state EDA

can be more flexible than the federal agency.

"One of our star examples is Sensar," says Franzini, referring

to the Sarnoff spinoff that is now based in Moorestown. "The bank

was willing to provide financing but they felt uncomfortable with

the startup nature of the company, and we provided a guarantee. We

are always trying to get the private sector involved, and we provide

the comfort level."

About those tax credits that can be bought and sold: It’s hard to

explain, but here goes. It’s as if a minimum wage earner who pays

no income tax could sell her deductions to someone in a high tax

bracket.

By state law, technology companies can take research and development

tax credits. But young companies are so poor they aren’t paying the

nine percent corporate tax, so these credits aren’t helpful.

Under a law passed last month (Senate Bill 446), the young and poor

firm can sell the tax credit to the more profitable firm. The bigger

company pays at least 75 percent of the value of the credit. The small

company can use the proceeds mostly for fixed assets but also for

salaries and working capital.

In a similar way, the deductions for a net operating loss can go

unused,

be carried over, and sold. It’s called the Corporation Business Tax

Benefit Certificate Transfer Program (Senate Bill 447). "With

this legislation, New Jersey is demonstrating its desire to be the

home of the exploding hi-tech industry," said State Senator Robert

Singer, the bill’s sponsor (732-901-0702).

Just who will broker these tax credits and how much those credits

will be worth is yet to be determined. For a detailed guide to EDA

programs, "The Power to Help New Jersey Business Grow," call

609-292-1800 or write to NJEDA, Box 990, Trenton 08625, or go to

http://www.njeda.com.

The site has a clickable map locating EDA projects by county and a

questionnaire that helps companies figure out what programs might

work in their business.

Top Of Page
Creative Cash

Your firm can’t afford to hire expert advice but you

desperately need cash? You may need the services of a "financial

intermediary" such as Dan Conley of Funds for Business +

Leasing. Conley can work on a flat fee or a retainer but he can also

help you raise money on a percentage basis.

He will discuss alternative financing and debt capital instruments,

particularly loans for credit, working capital loans, term loans,

and other project financing at the New Jersey Capital Conference on

Thursday, February 19, at 9:30 a.m. at the Marriott. For registration

information ($150 at the door) call the New Jersey Technology Council

at 609-452-1010.

Your company must smell of success before Conley will take you as

a client. Companies that succeed are likely, he says, to have gone

through the usual channels: going to the Small Business Development

Center counseling, settling into incubator space, attending venture

capital association luncheons, exhibiting at the venture fair (itself

a Good Housekeeping Seal), and winning an award at the venture fair,

an honor that comes to less than 10 percent of the prospects.

Even then, the odds against attracting venture capital are high.

"Venture

capitalists look at 1,000 business plans a year but invest in three

to five," says Conley. "Many thousands more could have

qualified.

How do we help those companies? Maybe we have to revisit the business

plan, get private investment, restructure so banks and the SBA can

invest in them."

Financing technology companies takes imagination, and the debt capital

buffet has many dishes, says Conley. To choose the right one you need

expert help. "For 12 years I have been providing capital for

business

owners," says Conley. "I can broker loans and help facilitate

project financing and help a business owner get credit. If a firm

has weak credit I can find a source of funds at a price and structure

that meets their business needs."

He operates, in essence, as an on-call chief financial officer (or

as an assistant to the CFO) in raising capital. "Business owners

don’t want to go into the bank alone; they need an expert fiduciary

to help navigate those rough waters," he says. "I get my money

from dozens of different sources. I represent them in the debt capital

marketplace and find the structure and the cost that fits their needs

and their philosophy."

Sometimes his task is project oriented, to finance $2 million worth

of machinery or smaller ticket items such as a computer system for

$40,000 in hardware and $100,000 in software and training services.

In former times, banks would never fork over a loan for software,

but that is changing. "The banking industry," says Conley,

"has finally got its head out of the sand in recognizing that

software can be used as a tangible asset and be looked at as

collateral."

A company starts out bootstrapping — borrowing money from family

and friends who expect to get paid back in either cash or equity.

The next stage, says Conley, is when there is a proven prototype or

market margin. At this point the company may qualify for Small

Business

Administration loans or loans from local banks or the Economic

Development

Authority.

When the business is "up and running" then Conley can help

with some creative alternatives. "I cannot compete with the

bank,"

he says, "but I am there for an additional line of credit or an

additional line of capital."

By this time the money is being loaned "for all the right

reasons"

and the company has something which will enable them to pay their

debts. The bank might lend money at prime plus one (prime rate of

interest plus one percent), but the bank also probably charges

additional

fees. Conley says his sources can finance projects at a rate of

anywhere

from below prime to twice prime, but without any extra fees.

If, for example, a company has $3.5 million and is going hunting for

$10 million of venture capital — but also needs a bridge loan

of $2 million until the $10 million comes through — that’s where

Conley can help.

Or if a company has a willing customer who is a late payer, Conley

can draw up a trade acceptance draft that involves approving the

customers’

credit. If the customer is buying $20,000 worth of merchandise but

can pay only after six months, the customer issues some post-dated

checks and Conley’s source fronts the money to the company.

Sometimes he charges a flat fee or a retainer but his percentage fee,

based on the Lehman formula, is roughly five percent of the first

million, four percent of the second, down to one percent of the fifth

million raised, and then 1/2 percent for each additional million.

Sometimes he also charges for the "due diligence" process,

"to find out about the skeletons in their closet before the banker

finds out."

As a funding intermediary Conley’s work depends totally on reputation.

"People can be tossed out on their ear if they are doing the wrong

thing. We have to watch out for charlatans," says Conley, "and

you’ve got to be in it for a very long time. It’s a very patient

process.

He began doing this 12 years ago. He grew up in Belmont,

Massachusetts,

near Boston, where his father was a technical sales engineer. He would

have been in the Class of 1980 at the University of Massachusetts,

except that he joined the Marine Corps and spent 10 years getting

his degree. Meanwhile he worked at Wang and Apollo as a security

guard.

"I saw how they were doing all this really neat stuff with

computers

and understood that companies were growing by using high technology

equipment."

Conley started out in the leasing business and was recruited by G.E.

Credit to help build a $100 million portfolio. Then he joined a Boston

firm (his new wife was at MIT) to package syndicated transaction.

He hung out his shingle as a solo practitioner in 1991.

So where is all this non-bank money coming from? Private placements

or angels. "Angel investing is a huge arena, and it is not

organized,"

says Conley. "People that have this kind of disposable money don’t

want to have to jump through hoops. Some are philanthropists and they

get psychic income, besides financial income, backing neat stuff that

is good for humanity. Others are trying to secure their own future

through another pension investment vehicle."

Conley insists that not everyone who offers cash will be allowed to

invest in a particular project. "If there is high return, it means

there will be a high risk, and this is only available to accredited

investors." The firm needs to be sure your investment is

financially

comfortable so it doesn’t get into legal trouble if it goes public.

An "accredited investor" should have a net worth of at least

$1 million and usually annual compensation of more than $250,000.

Conley has his own stable of angels. Actually he calls it a garden

— the Silicon Garden Angels Investors Network. "It’s a quiet

group, off the radar, and they only want to be talking to highly

qualified

entrepreneurs with `skin in the game’ so they can’t walk away

comfortably."

It’s a virtual group, and he convenes it when he invites an

entrepreneurial

company to present its business plan. Don’t everyone knock, because

the gate is high. "My job is to carefully to screen in the

qualified

companies and screen in the qualified investors. There is a certain

amount of due diligence, and each side needs to feel there is a

`win/win,’

and feel there is a long term trust," says Conley. "It’s all

going to be in writing with clear expectations."

At the New Jersey Capital Conference, John Martinson of Edison

Venture Fund gives the welcome and keynote address followed by

side-by-side

workshops. At 8:30 a.m.: "Private Equity Sources for Intermediate

Stage Companies," with Jim Gunton of Edison Venture Fund,

Dick Robbins of Arthur Andersen, Gerard DiFiore of Reed

Smith Shaw McClay, and Geoffrey Stengel of BT Alex Brown. Also

at that time, "State and Federal Backed Financing," with

Caren

Franzini of New Jersey Economic Development Authority, Jay

Brandinger

of the New Jersey Commission on Science & Technology, Jim Millar

of Early Stage Enterprises, and Don Christianson of the Small

Business Administration.

"Growing Your Company through Mergers, Acquisitions, and

Recapitalizations"

at 9:30 a.m. features Tim Scott of Price Waterhouse and James

Roberts of PNC Bank. "Debt Capital Sources & Solutions,"

also at 9:30, has Nat Prentice of BT/Alex Brown, Dan

Conley

of Funds for Business + Leasing, Arthur Birenbaum of Jefferson

Bank, and June C. George of BT Alex Brown.

At 10:45 a.m.: "How to Finance Roll-Ups," Brian Hughes

of Arthur Andersen and Jim Hunter of Janney Montgomery Scott,

or "Joint Ventures/Strategic Partnering" with Bill Thomas

of Buchanan Ingersoll and Steve Socolof of Lucent

Technologies.

David Sorin of Buchanan Ingersoll and David Proctor of

Janney Montgomery Scott present the outlook for IPOs at 11:45 a.m.,

followed by lunch with Nelson as the featured speaker. At 2 p.m. CFOs

and financial executives will have their own roundtable on the IPO

experience.

High tech can’t get too much attention for Conley, who coined the

state nickname Silicon Garden (a deliberate reference to the Valley,

the Forest (Seattle), the Highway (around Boston), the Alley (southern

Manhattan), the Island (Long Island) and the Gulch (Texas).

"Everyone

is trying to get the moniker going," says Conley. He holds the

copyright on this one.

Top Of Page
Regulatory Training

That all important issue — training — will be

the discussion subject at the American Society for Quality on

Thursday,

February 19, at 5:30 p.m. at the Marriott. For $20 reservations call

Kathleen Mayer at 609-716-3139. The topic, "The Truth about

Training: An FDA/Industry Dialogue," concerns manufacturing

regulatory

compliance

The speakers are Laura Pence, a director of good management

practice training at Warner-Lambert Company in Morris Plains; and

Karyn M. Campbell, compliance officer with the Philadelphia

District of the U.S. Food and Drug Administration.


Previous Story


Corrections or additions?


This page is published by PrincetonInfo.com

— the web site for U.S. 1 Newspaper in Princeton, New Jersey.

A Sensuous, Voluptuous Valentine’s Feast

">A Bed, A Buffet,

Theater Choices

Lingonberry Butter

Love Stories

Corrections or additions?

A Sensuous, Voluptuous Valentine’s Feast

This article by Phyllis Maguire was published

in U.S. 1 Newspaper on February 11, 1998. All rights reserved.

Ah, love! Romance and mid-February go way back, to

lovebirds who start mating right about now and the ancient Roman

festival

of Lupercalia, fertility rites held to honor the gods Juno and Pan.

There were apparently two Christian martyrs known as Saint Valentine,

at least one of whom was executed by the Romans in the third century

after sending, so legend goes, a fond farewell to the blind daughter

of his jailer signed "From Your Valentine." Fertility, it

seems, has had more staying power than martyrdom, and while we’ve

forgotten the saints who were stoned, we continue to celebrate Cupid’s

arrows.

The fact that Valentine’s Day falls on a Saturday this year makes

any brief exchange of bouquets or greeting cards seem a bit meager.

With Valentine’s Day now Valentine’s Weekend, the calendar is crammed

with a voluptuous assortment of events that indulge even the most

ardent among the smitten.

Top Of Page
A Bed, A Buffet,

and Thou . . .

If your tastes run to king-sized beds, mirrored

ceilings,

and video cameras, you’ll have to head for the Poconos. And if

colonial

coziness is more your cup of sensual tea — one of the nine rooms,

say, at New Hope’s Centre Bridge Inn (215-862-9139) with a canopy

bed and a river view, or a sleepover among antiques at the Stockton

Inn (609-397-1250) — then call to make reservations for NEXT year,

because area bed and breakfasts this weekend are booked. But Princeton

still offers some close-by getaways for those blessed with

babysitters.

The Forrestal at 100 College Road East (609-452-7800) is offering

three different couples’ packages that range from $125 per night

without

dinner, to $225 per night that includes the seafood buffet at the

Homestate Cafe.

The Hyatt Regency Princeton’s Sweetheart Package runs $136 per couple

per night with champagne and chocolates, while Laughter & Romance

includes an overnight with admission for two to Catch A Rising Star,

lending a little levity to the mood. If, like the First Husband, you

have some hefty amends to make this weekend, you might consider the

Hyatt’s two-tiered suite, with fireplace, grand piano, and private

whirlpool and sauna, priced at $575 per evening and named,

appropriately,

the Presidential Suite.

Top Of Page
Theater Choices

When you do come up for air, consider these: of the many area

theatrical

offerings, a few will set love’s romps squarely on stage. "The

Country Wife" at the Studio Theater of the College of New Jersey

(609-882-5979) is William Wycherly’s 17th century comedy about

infidelity

and scandal — set not in Washington, but in London. The Bucks

County Dinner Theater (215-949-8844) features "I Do! I Do!"

with a dinner buffet. "The Rivals," presented by the Rutgers

Theater Company at the New Theater (732-932-7511) in New Brunswick,

is Richard Sheridan’s hilarious farce of love, seduction, and money.

"It’s like an 18th-century Seinfeld episode," says Antonio

Ortiz of Rutgers’ Mason Gross School of the Arts. "Extensive

program

notes explain the environment, so the fact that the play’s 250 years

old shouldn’t be intimidating."

Or music might provide more of love’s communion. The

New Brunswick Chamber Orchestra (732-249-6999) is holding an afternoon

Winter Romance concert, showcasing Schubert’s "Trout Quintet"

and presenting Schubert’s "Fantasy," a four hand piece

performed

by two pianists. "Four-hand pieces were the singles’ scene of

the 1800s," says John Semmlow, president of the Chamber Orchestra

board. "It was marvelously titillating for couples to share a

piano bench and cross hands while they played."

"Love Songs and Duets" will be the Concert By Candlelight

series presentation at Princeton’s Trinity Church (609-924-2277)

Saturday

evening, featuring (of course) a soprano and tenor supplied by Susanne

Fruehaber and Mark Bleeke. "Amor de la Danza" at the Unitarian

Church of Princeton (609-924-1604) will present a solo concert by

pianist Anita Cervantes, playing selections from Bach and William

Byrd, among others, chosen to highlight how musical compositions

inspired

by dance movements can express romantic love.

And the Friends of the Boheme Opera (609-581-9551) presents its annual

fundraiser on Sunday, February 15, at 4 p.m. at the Hyatt Regency

Princeton. With a "Love Songs from Broadway" theme, soprano

Kristen Plumley and tenor Eric Van Hoven will sing a selection of

Broadway tunes. A silent auction will include a fur coat, fine wine,

and Lenox china, among many other items, and a live auction after

dinner will feature community personalities selling romantic Valentine

serenades to the highest bidders.

For smokier tastes, the New Orleans group The Dirty Dozen is serving

up some musical gumbo at Raritan Valley College (908-725-3420) —

see story, page 44. And the long-hitched among you might rekindle

that "Love Will Keep Us Together" flame at the Captain and

Tennille concert at the State Theater (732-246-7469) in New Brunswick.

Also making sweet music together — and inviting you to join in

— is the group "Two of a Kind," the husband-wife duo of

David and Jenny Heitler-Klevans whose "Share Your Love

Sing-Along"

will be held at Borders Books (609-514-0040) in Nassau Park at 2 p.m.

for families and lovestruck singers of all ages.

Top Of Page
Lingonberry Butter

If music be the food of love, play on," wrote

Shakespeare.

But if food is your idea of amore, Valentine’s Day is

no time to skimp. Centre Fruit Gourmet (609-620-0800) in Lawrenceville

offers a movable feast, to be ordered in advance. For $26.95 to $31.95

per person, you can choose from lobster with gingered shitake

salpicon,

seared filet mignon with caramelized shallots and chive butter, salmon

en croute with lump crabmeat and julienned vegetables, and oriental

duck with peach chutney. All dinners come with bread with lingonberry

butter, mixed greens, a glorious assortment of appetizers and side

dishes — and chocolate-covered strawberries.

Or perhaps you’d rather dispense with the croute and proceed straight

to the chocolate. The Chocolate Fest at the Triumph Brewing Company

(609-924-7855) on Nassau Street presents a hedonistically heady fare

of three different Lindt truffles, three premium beers, and a

chocolate

souffle served with champagne. Think the beer and chocolate combo

is just a compromise between ladies who crave sweets and their beaux

who love brews? Not so, says Triumph’s co-founder Erica Disch, who

claims the pairing of beer with chocolate "is a natural and

exquisite

association." The three beers served will be sweet, including

a barley wine, an Imperial Stout, and a brewer’s choice to be

determined.

Another excellent Valentine’s combination is dinner and dancing. At

Trenton’s KatManDu (609-393-7300), swing hits and big band favorites

from a live orchestra will add even more spice to a waterfront menu

that ranges from lobster to jambalaya. And this year’s Evening In

Red benefit for the YWCA Princeton (609 497-2100) will be held

Saturday

evening at the Hyatt Regency. Black tie is admired though not required

— but everyone must wear something red, even if it’s just

eyeglasses

or nail polish. Over 100 items — including vacations and custom

jewelry — will be part of the silent auction to benefit YWCA

programs.

Save some money for another good cause: the Mercer County Antiques

Show, held in Lawrenceville on Saturday and Sunday to benefit

Womanspace (609-394-0136), a non-profit organization serving women

and children throughout Mercer County. Dealers from six states will

feature American and European period and country furniture, folk art,

porcelains, fine art, and jewelry — any one of which, as a fine

gift, would say you care.

And then there is the concoction of love with a frisson of fear. For

John Platt of the Garden State Horror Writers, "the connection

of Valentine’s Day and horror goes all the way back to first dates

when you take a girl to a scary movie and she grabs your hand. It’s

an icebreaker that brings people close really quickly." If fright

is the fastest way to your lover’s heart, the Garden State Horror

Writers (908-754-9454) present novelist Jack Ketchum, best known for

"The Girl Next Door," as guest speaker at the Manalapan

Library

on Saturday morning — when it’s still daylight.

Top Of Page
Love Stories

"A tale without love is like beef without mustard: an

insipid dish."

Scheherazade is just one of the more famous tale-tellers

who found a deft story the key to affection. Storytelling is the

centerpiece

of the singles event being held Valentine’s Eve by the Marriage

Connection

(908-232-8827) at the Parkside Restaurant in Morristown.

"Valentine’s

Day is a difficult holiday for singles, particularly since it lands

on a Saturday," says Marriage Connection founder Terry DiMatteo.

"Single people often wonder what’s wrong with them, when the

problem

is the culture in which traditional ways of meeting people through

community have broken down." At the event, storyteller Fred Quinn

will present a program of "Lovestruck Memories," tender

stories

in an atmosphere of candlelight and fresh flowers that, DiMatteo says,

will definitely "be conducive to starting something."

And if you’ve found your mate, and your fertility rites have been

a success, your Valentine’s Day weekend will probably include

the kids. The Arts Council of Princeton (609-924-8777) presents two

programs by storyteller Mary Rachel Platt, one for preschoolers at

10 a.m. and one at 11 a.m. for ages 6 and over. "For the older

children, at least one or two of the stories will have the theme of

love," says Platt. "Not romantic love but compassion, and

tales about the love of parents for children and the love between

siblings."

The Talks for Children series at the Art Museum, Princeton University

(609-258-3788), will present Virginia Reynolds discussing the "Art

of Valentine’s Day" for grade-school children, turning attention

to the Cupids in the museum collection, including the awesome

"Cupid

Supplicating Jupiter" by Peter Paul Rubens.

And making your own Valentines — the genesis of the greeting card

industry — will be available for all ages at the Jane Voorhees

Zimmerli Art Museum (732-932-7237) in New Brunswick. Exhibiting many

objects with references to hearts and love, the Zimmerli is setting

up a "Valentine’s Factory" complete with paper doilies,

construction

paper, ribbons, and other art supplies for a hand-made Valentine

extravaganza

between 1 and 4 p.m. At 3 p.m., the museum is hosting "The Rules

of Love: An Historical Look," a lecture given by Rutgers’

professors

Rudolph Bell and Donald Roden on books throughout history that have

set down the dos and don’ts of amorous encounters.

One such book, "The Art of Courtly Love," is

a medieval treatise that offers 31 rules to govern love affairs. The

first is the thought-provoking, "Marriage is no real excuse for

not loving," while one further down the list gives this timely

advice: "Good character alone makes any man worthy of love."

See story, page 34.

Then there are events tailor-made for your specific paramour. Perhaps

your favorite science buff — or couch potato — might enjoy

the Science on Saturday (609-243-2121) program this week at Sarnoff

Corporation of "TV Systems Old and New: Introducing Digital,

High-density

Television." The ornithologist in your life — remember those

mating lovebirds? — might enjoy the opening reception in

Somerville

of "Birds of a Feather," a collaborative book project of bird

images by artist members of the Printmaking Council of New Jersey

(908-725-2110). The physically fit might train for the evening’s

calisthenics

with an hour’s off-road run with the Rumson Hash House Harriers

(732-906-2180)

in Edison, a non-competitive way to enjoy the woods and fields. And

for those loved ones who like a dash of blood sport with their affairs

of the heart, Princeton hockey is facing Brown at Baker Rink, while

the Princeton basketball team will challenge Yale at Jadwin Gym in

what is turning out to be Princeton’s best season since ex-senator

Bill Bradley (Class of ’65) was hitting the hoops.

If any of these sumptuous events stimulate him — or her —

to pop the question, keep in mind "The Portable Wedding

Consultant"

by Ewing author Leah Ingram. A book-signing and chat will be held

at Barnes and Noble in Princeton MarketFair on Tuesday, February 24,

from 8 to 10 p.m. (see story, page 37). And if you’re having trouble

choosing among so many delights, buy a pound or two of chocolates

— homemade ones are available from Carl Fischer (609-882-5566)

for $11.50 a pound, $21.95 a pound for Belgian chocolates, and $16.50

a pound for truffles — call a friend, and stage your own

Valentine’s

Day event.

n

Rules of Love — Medieval Style

Although the current art exhibition at the Zimmerli

Museum, "The Great American Pop Art Store: Multiples of the

’60s,"

spotlights 20th-century love motifs, two Rutgers professors

specializing

in medieval history offer a Valentine’s Day talk on affairs of the

heart, historically — and in two cultures.

"The Rules of Love: An Historical Look," by Rutgers professors

Rudolph Bell and Donald Roden, looks at some influential books in

history that propose rules for amorous encounters. The idea for the

lecture came from a course they jointly teach each year to

undergraduates

on the comparative cultures of love in Japan and Europe.

Roden, the Europeanist, says that translations of the Roman poet Ovid,

whose work dates from around the birth of Christ, were among Europe’s

most popular printed books of the 16th century, soon after Gutenberg

devised his printing press technology. Literate Europeans were

passionate

about Ovid’s amorous advice translated from the original Latin into

English, French, and Italian. Roden reports that Ovid’s accounts

hinged

mainly on how married women could have lovers without notifying or

offending their husbands. Discretion, he notes, was the name of that

game. "Ovid was often held up as an example of why women in Europe

should not to be taught to read — lest they stumble upon such

a text," he says.

Another treatise, "The Art of Courtly Love," dates from

medieval

times and offers 31 succinct rules to govern love affairs. Roden

describes

the document as a slightly suspect, perhaps "a misogynist tract

for monks to circulate among themselves and enjoy."

Yet there are rules here that provide food for thought even at the

dawn of the third millennium. Such as Rule No. I: "Marriage is

no real excuse for not loving." Rule No. XI suggests "It is

not proper to love any woman whom one should be ashamed to seek to

marry." And lest any of us imagine that the middle ages were

stuffy,

there’s Rule Number XXXI: "Nothing forbids one woman being loved

by two men or one man by two women." Roden notes that all these

rules were for courtly types only. The peasants, the tract points

out elsewhere, could just be taken by force.

From Japan of the 11th century comes another comparative

best-seller, "Tale of Genji," by Lady Murasaki, a collection

of stories circulated in the high court and known today as the first

novel in any language.

In 76 gripping chapters, the book recounts the amorous adventures

of Prince Genji, a man with lots of lovers, who seduced the old,

seduced

the young, married a 12-year-old, and more. The series of tales was

hand-written and released episodically, perhaps by popular demand.

Each successive group of stories was copied by scribes for circulation

in the court.

"One can see it as a great improvement over current daytime soap

opera fanaticisms," Roden notes. One of the classics of Japanese

literature, written for an elite literate audience, it reflects that

culture’s greater acceptance of extra-marital affairs, and the

propriety

for women to initiate such affairs. Still enough to raise Western

eyebrows.

Current American confusion notwithstanding, Roden says that

16th-century

European society’s moral compass was fixed on its axis on all matters

of carnal love. "This was terribly important, but the issue was

property, not propriety," says Roden, noting that the

relationships

that were forbidden were only those that would confuse who was a man’s

legitimate heir. "The historic texts are clear on this. Anything

that makes it uncertain that your wife’s child is yours is adultery

— and anything that doesn’t compromise that is not."

— Nicole Plett

The Rules of Love: An Historical Look, Jane Voorhees

Zimmerli Art Museum , George and Hamilton streets, New Brunswick,

732-932-7237. $3 museum admission adults; children free. Saturday,

February 14, 3 p.m.

Also The Valentine Factory, a hands-on family workshop

that recreates the spirit of Andy Warhol’s Factory. Saturday,

February

14, 1 to 4 p.m.


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— the web site for U.S. 1 Newspaper in Princeton, New Jersey.

Between the Lines

To the Editor

Corrections or additions?

Between the Lines

Valentine’s Day falls on a Saturday this year, so in

this issue (beginning on page 33) we offer romantic and

not-so-romantic

ways to celebrate the occasion.

Valentine’s Day is also the most popular day to pop the big question,

and therefore, claims author Leah Ingram, it is the unofficial start

of the wedding planning season. Ingram, a Ewing resident who is a

nationally published freelance journalist (Redbook, Cosmopolitan,

Glamour, and Allure, among others), will chat and sign books at

MarketFair’s

Barnes & Noble on Tuesday, February 24, from 8 to 10 p.m. She will

be promoting her newest book, "The Portable Wedding

Consultant,"

published by Contemporary Books. It has advice from more than 100

experts and comes complete with a chapter on using the Internet to

plan your wedding — see page 36 of this issue for an excerpt.

Intrigued, we browsed through the suggested websites and found —

just what the best man needs — the Automatic Wedding Speechwriter

(http//speeches.com/auto.html). Fill in the blanks

("I’ve known this idiot for X years") and most embarrassing

moments ("The bride’s family may not know about the time . . .

") and, presto, your toast is written.

All this makes us think: Maybe we could develop a little software

routine for our Between the Lines column. This column is stimulated

by the adrenaline rush of press time — it is always the last thing

written before the paper goes out the door. Sometimes we have been

thinking about the subject for several days. Other times we come in

on a Tuesday and hope inspiration will strike. An interactive software

program could be just the ticket.

The idea blossoms: We could create a company to market this

application.

One of our reporters notes the story of Princeton Softech’s sale to

Computer Horizons — and all the staff ended up with a trip to

the Bahamas (page 54). Yes, great idea, the Bahamas. We will start

right away, right after we take this paper to the printer.

Top Of Page
To the Editor

THANK YOU for your wonderful article about Olsten Financial Staffing

(January 28). The response has been overwhelming. We received several

calls resulting in seven new candidates, six new clients, and a lot

of positive feedback from our current clients. Everyone seemed to

really enjoy the personal approach of the article, a U.S. 1 trademark!

Julie S. Giordano

Olsten Financial Staffing

We were delighted to see the article on our new Web site,

www.creativeseasoning.com.

We felt that it captured the essence of what we are working toward.

I am almost reluctant to point out that the article did not accurately

state the name of the business, "Creative Seasoning Network."

This name was deliberately selected over "Creative Seasonings"

which is used by a host of small businesses all over the nation,

including

one in Massachusetts that does sell seasoning mixes.

Recent estimates of our Web site traffic are encouraging. With about

2,600 hits and 500 page downloads per week, we are estimating about

125 serious visitors per week.

Ann McCormick

Fiona Hinton

Creative Seasoning Network


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