Middlesex – Jeffrey Eugenides

Middlesex
Jeffrey Eugenides

Wow! What a book! Jeffrey Eugenides, in telling the story of Calliope/Cal Stephanides, has written a Greek epic, much on the order of Homer’s The Iliad. Calliope in Greek Mythology was the muse of epic poetry. Webster defines an “epic” as a long narrative poem in elevated style recounting the deeds of a legendary or historical hero. Only with the help of the muse could the author pull off this manipulation of point of view from first person, with Calliope, the heroine, and later, Cal, the hero, as narrator, to third person omniscient: “I was born twice: first, as a baby girl, on a remarkably smogless Detroit day in January of 1960; and then as a teenage boy, in an emergency room near Petoskey, Michigan, in August of 1974.” And it is “at the age of forty-one,” Cal says, “I feel another birth coming on” (3):

“Sing now, O Muse, of the recessive mutation on my fifth chromosome! Sing how it bloomed two and a half centuries ago on the slopes of Mount Olympus, while the goats bleated and the olives dropped. Sing how Providence, in the guise of a massacre, sent the gene flying again; how it blew like a seed across the sea to America, where it drifted through our industrial rains until it fell to earth in the fertile soil of my mother’s own Midwestern womb” (3-4).

In Greek mythology, it was believed that it was the muse Calliope, who, as one of the nine beautiful daughters of Zeus and Mnemosyne (memory), enables the epic poet to relate things legendary or historical that only the muse could know. And it is for this reason, Calliope/Cal is able to reach all the way back to her/his immigrant grandparents as possibly the origin of, or rather an explanation for, their “hermaphroditism.” (Today, the politically correct term is “intersex.”) … thus, Calliope’s/Cal’s knowledge of her/his Greek immigrant grandparents. And it was the muse, also, who enabled her/him to narrate as a fetus and before that, as an egg lying in wait to be fertilized.

If credence is to be given to superstition, her/his condition as a hermaphrodite begins with her/his grandparents Desdemona and Eleutherios (“Lefty”) Stephanides. In the war with the Turks in the early Twentieth Century, their homeland is destroyed, and their parents are killed. Desdemona and Eleutherios (“Lefty”) migrate to America and settle in Detroit. But … on the voyage over, they, brother and sister, unnaturally in love with each other, marry; and for quite some time, keep their secret. Years later, their son marries his cousin…. Their first child, a son, is born. Then, Calliope, their second child is born, and it is not until years later that an aberration in her anatomy is detected. It is at this time that surgery is recommended to remove the male parts of her anatomy, but she refuses. Thus, she begins a journey of self discovery in which she ends up as Cal.

Hermaphroditism—the correct term is intersex— is a subject until recently, almost never talked about; and until Jeffrey Eugenides’ novel was chosen by Oprah as her book club selection this summer, very few knew anything about this subject. And true to its epic genre, Calliope and Cal are true heroes in their acceptance of their differences and their triumphs over the obstacles they face in their unique situation. Until “Oprah,” I had never accorded any truth to the myth: Hermaphroditus: in Greek Mythology, the son of Hermes and Aphrodite, who became united in body with the nymph Salmacis. So not only was it an eye opener to learn there are intersex people living quite normal, happy lives, but it was also an enjoyable, suspenseful read. I will admit to some difficulty at the beginning in accepting the omniscient first person narrator, but when I realized Eugenides was writing in the Homeric epic style, using the ubiquitous, omniscient muse, my problem was solved.

Reviewed by Lee L. Peoples

ISBN-13:978-0-312-42773-3
ISBN-10:0-312-42773-5

Reviewed by Lee L. Peoples

Ash Gupta – Internationally Known Photographer and Founder of the Progressive Studio 838

Ash Gupta – Photographer and Founder of the Progressive Studio 838
Indian-born photographer Ash Gupta is a celebrated, internationally known photographer who has made his home in Los Angeles, but is very much in demand around the globe. He has photographed top models, celebrities, including Elizabeth Shue, Sharon Lee, Dominique Swain, and Davis Guggenheim, just to name a few. Ash came from a small town in India, and emerged from a very traditional orthodox business class family. He was very young, just 15 years old, when he got involved in commercial theater and met a group of friends who happened to paint. He tried painting, too, but realized that the soul was missing. And through this quest he found his way to photography.

“Actually my father did have an inclination toward photography and used to own some old Rolleiflex [cameras]. When my parents were vacationing, I tried to put my hands on the cameras and open them up. All the springs popped out and I was grounded. But that was my first introduction to photography. And since then, I do not think a camera has ever left my sight.”

Ash is the founder of Studio 838, a platform for talented young photographers. He realized that many photographers went through vigorous college training but were lacking certain critical elements. Many of these graduates were not prepared to handle real world experiences. The photographers were hand-picked, and would soon become a part of animportant discussion group, a group that would dissect and embrace the art form. Its main focus? Commercial photography. These photographers became part of a family, Studio 838.

“When I started shooting commercially, first assisting and interning, I met photographers who were very well trained, having the proper discipline, as well as being graduates from special schools. I realized that they had problems coping with real life. They knew how to shoot, but didn’t know what to shoot—the college didn’t teach that. We started grouping very talented photographers and concentrated on commercial fashion. This was the start of Studio 838.”

—Ash Gupta, Photographer—

How long ago did you start the network? Is that what you call it, a network?

I call it a platform because I have my connections in photography and commercial media all the way to Southeast Asia. Since I moved to Los Angeles [15 years ago], I started meeting photographers. I assisted some very powerful names in the industry. But the real execution of the studio and the first group of photographers that I trained happened in 2003. I later realized that these photographers would eventually assist me. They’d move on because total emphasis was fashion [photography] as a fine art. I had already trained two groups of photographers, and just when the third group was about to enter the premises, I realized that the studio needed to concentrate on commercial ventures. So the photographers I was training could actually stay here and make a living. And now we are all working towards the same goal—to take over the commercial market in Los Angeles.

Have there been any challenges while trying to put together this group of photographers you’re working with now?

The biggest challenge was to put a group of artists together. Egos are the biggest thing—they’re very fragile. [For the most part], artists are not very vocal people, and to teach them how to express themselves in a group can be very difficult, especially when you deal with our directors, management companies, publicists, designers, and the people involved with the fashion industry in general. Because everybody has massive egos, blending themtogether is very difficult. But once we achieved that successfully, they needed to learn how to react to the outside world. And because it is not an MBA course, it’s something that has to be dealt with on a regular basis.

How many photographers do you have in your group right now?

We like to have two or three photographers and two interns at a given time. It is a platform for photographers who have a professional place to launch their careers.

It’s almost like an apprenticeship.

It’s more like a house for photographers whose sources are enviable.

What don’t you accept in a potential applicant? What is the one thing that would make you go, “This person can not qualify for this program“?

Somebody who is not a really good team player.

How could you find that out?

A person who is a team player makes sure that the job has been divided. Suppose someone has to produce a shoot. Those interpersonal skills with other people should be very enterprising, not be scared of challenges. “No” is definitely not an answer. Once you’re a team player, you start trusting your teammates, and that trust is embedded in you.

Did you have a high turnover when you first started this platform?

Actually, not really. I really like people. That’s the reason I work with people—it’s chosen by the people for the people.

So you have a “Photography Democracy.” So where do you see this platform in five years?

I see it as a very strong commercial venue. At the same time, I see it as a very strong platform for launching the upcoming young talents. We want to have our own branding, and wherever the 838 name is put, it should be all about quality.

That was very enterprising of you to start this, and obviously there is a passion in you. Is it because of what you went through personally as a photographer that made you feel that this platform was necessary for other photographers coming up?

There are some professions that you can do by yourself, and there some professions where you need a group. Motion film is not a one person’s job. Good or bad depends on the team you put together—casting matters a lot.

How did you get started?

I started at a young age and from a very strange scenario. I came from a family that had nothing to do with fashion, but I was always interested in anything my background did not have to offer me.

Had you shot anything of note before you moved to L.A.? What did you shoot?

I was shooting a lot of everything, but I realized that I was more interested in people because a lot of families wanted me to shoot their portraits. While in India, I had a friend whose dad used to be senior executive for a fashion company. One day, their main photographer was unavailable. They asked me if I had a camera and could I take pictures for them. So I took some pictures, and three weeks later, I got a pretty fat check in the mail. And for the first time I realized, “Wow, you can do it this way, too!” You could make a very lucrative living because that money was too much for that particular time, and suddenly my avenues changed. I got to know more local agencies. I started making friends with the art directors and the commercial clients. Slowly, it converted into a business.

Back in the 80s, there was a lot of peer pressure to get an education. Get a master’s degree. Become a doctor or lawyer or engineer. Fashion Photography was not a classified designation to do what you do as a fashion photographer. Not in India in the 1980s.

Maybe you paved the way a little bit?

We were definitely the first ones who started an era of fashion.

So you are a pioneer. You are a maverick. Do you think that because you come from a family that is very orthodox, business related, this is what spurred you on, and maybe why you are so enterprising in creating your own platform for photographers? Because that is a business.

Yes, but whatever is inside of me is no different from what you’re thinking. If I needed to stay in business, I would have stayed with my dad. I have this feeling that people should not suffer the way I suffered. We had no mentor. We had no direction. We didn’t know how to rest. The new generation should not be lacking anything. They don’t have anybody; they should have role models; they should be more vocal; and they should be accessible.

What made you decide to come to America?

To be honest, my telephone bill to America [It was costing more than an airline ticket]. My girlfriend was here for almost a year, and we used to talk a lot on the phone. Someone suggested I should fly instead of hiking up my bills. So I did come to New York.

So how long did you stay in New York?

I actually stayed for two and a half years because three months of my visit, we decided to get married. So I got married in a small town. She was studying at Cornell; and that was a totally new and different life after that.

So you did a lot of Fashion Photography in New York, which is high fashion central?

I connected myself to Cornell Design League, which is an in-house advertising fashion agency of Cornell. And they have a fashion school there. I was involved with them, but then we [my wife and I] had two choices, move to New York City or to Los Angeles; and I don’t know … it was 16 or 17 years back … what tempted me to come to Los Angeles—perhaps the weather, because it was closer to my home country, India. And we moved to Los Angeles instead of going to New York, a decision I do not know whether I regret or I am happy about. But Los Angeles feels like home now, and I’ve been living here for the last 16 years.

How is the fashion in America different from that in India?

Actually, it is not. Only commercialization and branding of fashion is different, but fashion is fashion, and its purest form is going to be fashion. In Africa it’s going be fashion. In Eastern Europe it’s going to be fashion. In Milan, Paris, etc… And it is always going to be in India. But the branding and the corporate ladders … things are different. Their campaigns are on a bigger level, and there is bigger business in America.

Lowest Low

My lowest low was moving to Los Angeles from a small town in New York, thinking that I am good enough. When I moved here, my wife was an exchange professor. And as her spouse, the visa requirement required me to accept any position of employment—I could work for free. I thought wow, I’ll find a photographer and I’ll assist him, and only photographers in Los Angeles were allowed. I sent at least 250 resumes within a week, and I couldn’t meet a single photographer. They were so busy, and I was very frustrated because I was not asking for any money. That I think was the lowest low of my life, but it didn’t last more than a week. A man has to do what a man has to do. So I made friends, and I got to know some photographers that way; and I broke in.

Highest High?

My first photo shoot where I wasn‘t assisting. It was my first celebrity, Bruce Lee‘s daughter, Sharon Lee. I knew Bruce Lee very well, because my younger brother is a big fan of his, as well as being a martial artist himself. I grew up with Bruce Lee’s books and Bruce Lee’s posters in my house in India. When I was supposed to shoot her, I was very nervous. It was a very amazing feeling. I remember I couldn’t sleep, and I was so tired in the morning, but I was very happy and I was just flying.

What advice would you give to an aspiring photographer as a mentor that you are?

Do more homework before you jump into it. Are they photographing a model or are they photographing the ensemble on the model? They have to love the people in every shape and form, especially if they want to work with people. You can not be a people hater and work with people. Fashion photography is a very people-oriented career. There is a lot of ego pampering involved. Fashion and people are the only genres of photography where your personality counts for 50 percent of the work which you produce. They need to work on their interpersonal skills and make the other person very comfortable.

Can you tell me in one sentence what is particularly unique about your technique as a photographer?

My subject is more important than my technique, and I am working on some very interesting subject matters.

So you are more interested in bringing up the quality of the subject as opposed to infusing your technique into the actual picture?

If you’re emphasizing on technique, I have always felt this quest and to shoot people through a medium where photography can be treated like a fine art.

As Agenda Magazine‘s guest photographer, Ash Gupta will be contributing fashion editorials and cover shots in our upcoming issues. To learn more about Ash Gupta and Studio 838, visitwww.studio838.com.

Interviewed by Kaylene Peoples

YogaFit’s Founder Beth Shaw – Making a Difference in the Fitness Industry

YogaFit’s Founder Beth Shaw – Making a Difference in the Yoga Industry

From high intensity classes like Tae-Bo and Spinning to lower impact, stress-reducing activities such as Pilates and Tai-chi, fitness has evolved from an exercise to a lifestyle. But no other form of exercise has changed the fitness world more than the practice of yoga. Beth Shaw is recognized throughout the United States, and internationally, as one of the leading experts in the fitness industry. She graduated with a B.S. in Marketing from Long Island University, then made her home on the West Coast.

Shaw is certified in White Lotus Hatha Yoga and Integrative Yoga. As she began teaching yoga and quickly discovered that traditional methods didn’t meet the needs of the fitness club clientele, YogaFit was born. Her unique blend of yoga, strength training, and stretching took the fitness industry by storm; and in 1997, just three years after its inception, YogaFit began training instructors nationwide. Today, there are more than 50,000 YogaFit instructors in the United States and thousands more in Europe, Turkey, Australia, China, and South America.

I visited Beth Shaw’s recently and listened while she shared some of her health tips as well as her business successes.

What made you decide to get into Yoga and create a school?

I have been working out since I was fifteen, and I’ve always loved the health club environment; so when I decided to get trained in Yoga and went through a couple of traditional trainings, I found that they really didn’t meet the needs of the health clubparticipant. So I created YogaFit, which is a user-friendly fitness-oriented user style of Yoga. And the company has grown really fast and very internationally.

What is User-Friendly?

It means that we modify and we make yoga accessible to every different body style and body type to any level of fitness or injury level.

I used to go the gym, and now I have equipment at home. I went to a yoga class maybe twice. Do you think this is becoming a more popular way of exercising now?

It’s definitely becoming more popular. A lot of people are tired of beating up their bodies, and they are looking for something that is going to give them the current body type that is in vogue, which is a longer, leaner look, instead of more muscular.

How did you get started?

I started out of my living room in the early 90s. I was teaching YogaFit-style classes at the major health clubs in Los Angeles. One of my students invested working capital into the business, and I was selling my t-shirts and yoga mats out of the back of my car. I did a cable TV show called “Yoga Fit” that was running some mail order clothing ads. Just doing a bunch of different things, and planted some seeds. Some sprouted and others didn’t.

Tell me about your line then.

We’ve got a full line of yoga clothing. We’ve got a new line of organic clothing, too, that’s sustainable. The fabrics are made from bamboo.

What do your clothes retail for?

They retail anywhere from $59 – $90.

Your actual process of teaching yoga, you said you cater to the individual, is there anything you’d like to share when you’re working with that person?

Well, we really focus on the essence of the practice, not just the physical form, but what they should be feeling in their bodies. And we also emphasize that people should feel, they should breathe, they should let go of judgment, expectation and competition and really listen to their bodies and celebrate the bodies that they’re in. You know their yoga
Practice, or any kind of movement, should first and foremost be safe, but it should also be a celebration of music and breath and movement and sweat.

What age ranges are actually doing yoga today?

Anywhere from 6 to 96.

You also have schools all over the country?

We do. We have partner schools all over the country and we do a lot of our training in health and fitness clubs around the country.

What were some of the highs in creating this empire?

For me, the high is going out on the road, meeting the client, going to one of our mind/ body fitness conferences, getting to lead a class, going on to a health club, teaching master class, getting publicity, and getting the brand out there.

Have you had any pitfalls in trying to create this?

I think the trick in creating a business is to make more good choices than bad, but I’ve definitely made some mistakes and had some heartache along the way. I guess any good business owner would say the same thing.

None you’d like to share?

I made some hiring mistakes. I have made some personal mistakes along the way. You learn from your mistakes. Hopefully, they’re not so bad that you can’t rebound from them and you kind of learn as you go. That becomes the exciting part, it becomes almost a spiritual practice for me. To learn life lessons and keep moving forward.

I guess that’s part of the yoga experience.

And the business of yoga adds a whole new dimension to that.

Explain to the lay person that doesn’t know what yoga really is, and has shied away from it because it’s more the metaphysical/spiritual side of things as opposed to the weight lifting side of things. To someone who is completely unfamiliar with this process and what this is, how would you explain this?

It’s a series of movements: Yoga postures combined with breathing in a flowing, heat-building way that works your body, helps relax your mind. So it’s like your body gets a workout, and your mind gets a mini vacation.

Do you do chants as well?

In our advanced level trainings, yes, we do. But in a normal yogaFit class, you will not find Sanskrit, and you will not find chanting.

Yoga goes as far back as the centuries, right?

A 6,000-year secret to health to health and vitality.

For someone who is out of shape, or who wants to get in vogue with their body this season, or just whatever’s in, how long does something like that take? For instance, somebody who’s 30 or 40 pounds overweight? How long does it take before they start to see results?

They’ll start to see positive results within a week to two weeks. They’ll feel better. They’ll notice that their eating habits change dramatically because they’re getting in touch with their bodies. They’ll notice their back feels better. They’ll have more core center strength. Perhaps they’ll see a bicep or two. And they’ll just feel better from the breath and the focus, and giving themselves time for their body. That’s something in our society today—people do not give their bodies the time that they need. And also, not just going to the gym and lifting weights and running around, but bringing your mind into your body and then giving yourself that time. It really adds a whole new dimension to what fitness truly is.

It probably makes people want to go. For me, I stopped going to the gym. I just work out at home now. Going to the gym for me is not very fulfilling.

And that’s where the yoga becomes much more fulfilling than traditional fitness.

How much does it cost to join your program?

Well, we have advanced level trainings and basic trainings. And a weekend training would be about $300. And they’ll learn the basics of yoga, how to improve their own practice. How to create a practice that is tailored for their body. And also how to be safe and have fun along the way.

What advice would you give someone who’s trying to get their body into shape?

First, I would say just move your body for an hour a day. Go out and do three 20-minute walks, do some yoga, do any kind of movement. People need to get in the habit of moving. Our bodies were made to move. Our minds forget that. I would also say start making portion control a priority. When you get a meal, cut it in half right away. Put half aside for lunch the next day. And start to get your stomach accustomed to just eating less. And make better food choices.

You were even saying that after someone has been in the program for a couple of weeks, they have changes to their eating habits on their own.

That’s the nice thing about yoga. Getting in touch with your body, you don’t have to force yourself to make changes. They happen naturally.

Is there anything you’d like to add?

Yes. Remember any movement is good movement as long as it’s safe movement.

Shaw has been published in numerous fitness, business and consumer publications including SELFFITYoga JournalClub Business International and LA Parent. Her book, Beth Shaw’s YogaFit, is a best seller among Human Kinetics titles. Shaw has been featured on ABC News, the Style Network, CNN, Showtime, Canada AM, and the KCBS talk show Woman to Woman.

For more information about YogaFit and Beth Shaw, visit her website at www.yogafit.com.

Interviewed by Kaylene Peoples

Eileen Galindo, Actress and Voice-Over Artist – Taking Part in Webisodes, the New Wave of the Future.

Eileen Galindo, Actress and Voice-Over Artist – Taking Part in Webisodes, the New Wave of the Future.

Eileen Galindo is an actress who has appeared in several TV shows and films, including The Super, “NYPD Blue,” “Strong Medicine,” “ER,” “Girlfriends,” “Third Watch,” “Law & Order,” etc. She is also a successful voice-over artist and has performed in “Dora the Explorer,” “In Justice,” and “Phineas and Ferb.” Her theater work is extensive, as she has appeared in the following plays: “Romeo and Juliet,” “Real Women Have Curves,” etc.

I visited Eileen at her home in Los Angeles and she spoke of her experiences as a voice-over artist, an actress, and the business in general.

You’re on an Internet show?

I’m doing a show called “In the Motherhood.” It airs on inthemotherhood.com. It stars Leah Remedy, Chelsea Handler, and me; and Lanie Kazane plays the mom. Webisodes are growing in our market. They are finding a way to tie in content with products. For example, my character, Maria, is talking about the trouble she’s having with her life and is talking on her Sprint cell phone.

What is a webisode?

It is written just like a regular sitcom about five minutes in length, and they cut to consumer-generated products.

You’re also a voice-over actress?

I do a lot of cartoons. I play the mom on “Dora the Explorer” on Nickelodeon CBS, “Phineas and Ferb” from the directors of “Sponge Bob Square Pants” and “Hey Arnold“. This one‘s about two little boys and their little adventures. I play a nosy next-door neighbor. It’s a lot of fun. You get to use your imagination. Your voices are matched to a cartoon character, and you get to hide behind the animation.

How did you get into that?

I’ve always done voices since I was a little kid. My parents gave me a tape recorder. I would do radio dramas. (Eileen knocks on something and shouts, “Who’s there?“) I would do the shoes climbing up the stairs. I would do the whole thing. Pretty much I lived in my mind. A lot of voice-over artists live in their heads. You can do a whole cartoon yourself.

So in order to be a voice over artist, you have to be borderline schizophrenic?

It helps, and to be un-medicated. I also do commercials. I have accounts for Suburu, Burger King, etc. Every job seems to top itself. I learn something from everything I do. My philosophy towards acting and being in this business is that I enjoy the work when it’s there.And when it’s not there, I’m always looking for the next job. I pretty much don’t focus on the down time. I’ve got real estate investments, voice-over work … there is always something I have to do.

What advice would you give to somebody trying to make it in this industry?

I fall into a category I think the most important thing is to work on your craft and to be cordial and friendly with everyone you work with. Because the same people you see on the way up are the same people you’ll see on the way down. Just try to be as professional as possible. And try not to take it too personal. When you don’t get chosen for a project, it’s not anything personal. I look at it this way. It’s apples and oranges. I try to be the best orange I can be. If they’re picking an apple, I’m not going to be picked, but if they’re picking an orange that day, I try to be the best orange available that they are going to pick me out of the lot. Or give them something that they weren’t looking for so they can change their minds.

As an actress/voice-over artist, in order for you to get work, do you need an agent or is it something you do on your own?

Yes. A lot of people think I have only one agent. I actually have fifteen agents. When you add up all the agencies. I work with three different agencies, one on the West Coast and one on the East Coast. When you count all of the agents, agents alone are fifteen, not including assistants. Each agent has an assistant. I deal with about thirty people a week, depending on what the project is. That’s how you keep working. Get with agencies that are a fair size. It doesn’t have to be with ICM to get full coverage or representation. I have one agency that just represents me for voice-overs, another one that represents me for commercials, and another one that represents me for television, film, and theater.

I’d like to demystify this business for people. I think people think it’s really hard to be an actor, and it’s not. You get to do what you love to do. I really love what I do, whether I’m getting paid for it, or I’m taking a class. For me, I get to live my dream every day!

Tell me about your philanthropic efforts.

I have a philosophy about giving. When you get, you have to give to keep the energy going. When Hurricane Katrina hit, a lot of people were donating to the Red Cross or Salvation Army. I have difficulties with a lot of traditional charitable organizations. They have such a high overhead, only 20% of your dollar actually goes to help whoever is in need. The rest goes to administrative costs. The Red Cross, who do a lot of great work, take in your money, and they decide where your money goes. And then they bank the rest of the money for future catastrophies. That may be a great way to look at things for some people, but when you give your hard earned money, you want to know that it’s going to the cause for which you are donating. So when Katrina happened, I had six empty apartments. I could afford to put up one family. I got an immediate response from one couple and people donated towels, bed linens, bed, furniture. One of my friends put me on to the “List,” a closed email network for well-to-do celebrities. Suddenly there were Jaguars and Rolls Royces donating designer clothes and gift certificates for stores in town. They were happy to see where their money was going.

You are also involved with SAG?

I was on the board for Screen Actors Guild for three years. I worked a lot with Actors’ Equity Association, which is the stage union, the primary thrust when I first turned professional in this business. I got politically active right away. At that time, there were very few people of color in any stage shows on Broadway. If you were a black performer, you got to do a show if there was a black show on Broadway. If there was tap dancing required, then you had a job. And if they were doing a revival of West Side Story, then all the Latinos could work. If they were doing Pacific Overtures, all the Asians could work. But other than that, they basically kept you out. We started a movement, a nontraditional casting project, and the Actors’ Equity Association and the Equal Opportunity’s community there, the EEOC … we started to picket, to institute meetings with producers from the Producers’ League to let them see our side of it. And it did work. By the end of the first three years, Broadway started becoming more integrated. Will Rogers Follies, which was a Broadway show that had predominantly Anglo dances…they said at that period of time in history, there wouldn’t be any African-Americans in the show. We proved them wrong. Stephanie Pope, Broadway singer and dancer, starred in the show and took a part that would have originally been played by a Caucasian. That was huge! We were relegated to chorus, and chorus that was ethnic specific. So things started to change. It wore on me. It was very taxing, but I am really happy that I was involved in that.

In the MotherhoodLastly, where do you see webisodes going in the future?

Web content is going to be huge. This is going to be the wave of the future. Our show can be downloaded to your cell phone. Everything is changing.

Visit www.inthemotherhood.com

Interviewed by Kaylene Peoples

Sergey Gorobchenko – Moscow’s Leading Man Aspires to Come to a Theater Near You, Right Here in America!

Sergey Gorobchenko – Moscow’s Leading Man Aspires to Come to a Theater Near You, Right Here in America!

Some people are just bi-coastal, but Sergey Gorobchenko lives on two continents. Originally from Moscow, Sergey has created a name for himself and has become a talented leading man. He has starred in several films in Moscow, including the remake of Dr. ZhivagoBoomerThe ShoemakerLift, and Moscow Heat. Sergey’s range as an actor is impressive. But he is not content to just entertain in Russia. His ambition is more far-reaching than that. He recently arrived in America, studied English at a college in New York, and decided to engage in film here in the United States. He met with filmmakers here who shared his vision to create films that would be about Moscow and Russian culture and the connection with Americans and American culture.

Sergey admitted that even as a child up through secondary school, he could sing and play the piano, and he involved himself in musicals. At the time, Russia was going through a rough period, and just like for several other people, it was an extremely difficult time for him during that transition. But through it all, Sergey always felt comfortable being on stage.

Is it difficult to become an actor in Moscow?

No, not really. If this is something that’s in your heart, don’t think about how many people are involved in this industry and how many actors are around you. Just be yourself.

Here in America, when someone is pursuing an acting career, they hear comments like, “You should just get a regular job. It’s going to be so hard.” Do you hear those types of comments in Russia?

Many people ask me how can I work twelve hours a day. But of course if you don’t like the job, it is hard. Many of my friends wanted to come watch a taping once, just out of curiosity. They watch the final product on TV. They think it is glamorous. But when they watched me on stage, they couldn’t stay for very long. It was nothing they expected.

Tell me about your education and training.

I studied in the Theater Academy of Theater and Arts in St. Petersburg. I grew up during Communism in USSR.

So you saw the actual shift in USSR?

I know the difference. I was fifteen when everything changed.

Has it changed for the better?

Yes, it’s much better. There is freedom and fresh air of something new. Moscow has become very rich and opportunity-filled in a very short time. There are many theaters and production companies in Russia. This was one of the main problems before with Communism.

What happened when you finished your education?

When I finished my education, I worked in theaters in St. Petersburg. After I appeared in several theater productions, I was asked to be involved in movies, and my movie career started. It’s a very respectful thing for me because people love movies today. And it’s getting more and more popular in Russia. In 2003 I went to New York and studied English in Manhattan College for seven months. Since I am an actor, why can’t I also play in some American movies? But I understand sometimes you have to put your desires on hold. Well, it happened. Director Jeff Celentano (Moscow Heat) came to Russia. He invited me to play opposite Michael York. I was happy because I had just finished my education in New York, and some movies had just come out in Russia and become famous.

Did you encounter any obstacles in your efforts to come out here?

I have some experience of life. I did go through some difficult things, but I managed it. I have to take everything into account; each minute and every day counts. Tomorrow doesn’t exist.

What kind of roles do you prefer to play?

All projects I have played seemed to come right on time. [I like the roles I play when I am playing them.]

Do you prefer more drama, or do you like comedies?

I have played comedies, dramas, family-oriented, tough gang movies, I pull from a lot of my own life experiences. I like them all.

Do you have a place here in America as well as in Moscow?

Yes, I have a place in America. I was out here six times this year. I mostly work in Moscow, but I can come out here if there is work for me here.

Do you have an L.A. agent?

I am very lucky. I have a good agent. Her name is Natalie Chase. She’s great.

Where do you see Sergey in five years?

I don’t really know, but sometimes I feel that dreams about the future can direct us. We have to dream. We have to work hard. If we are correct, things will happen the right way.

You mentioned there are people who are doing a Russian project here in America. What is the status of that project?

We are writing the script. I am helping with a lot of the ideas.

Are you like a producer?

Yes, I have the connection with Russia, because Russia is still closed. People in Russia can trust me.

So you can bridge the gap between Russia and America.

This is my bridge. I am not bridging between countries. I am not a president….

(Interrupts) But cinema reaches millions.

I think movies rule all over the world. Yes, it’s very important.

What are the politics involved in creating a film in Russia as opposed to creating one here in America? Have you experienced both?

America is more developed; it’s more advanced. Russia today…trying to be independent and free…it’s very new. It’s not easy to change things overnight, but Russian people are very strong.

There are so many independent filmmakers, guerrilla-style, shooting movies. Some are actually getting Oscars. And they don’t have to be tied to a really big studio. OThey can shoot wherever they want. They can shoot in Canada, Mexico, New York, L.A. In Moscow, are the rules very rigid when shooting a film? Can anyone just shoot a movie?

You can if you understand the rules. Russian people are very strong, and they want to be independent. And Russia is a very big territory. These are my roots. I cannot change them. I just want to be international. I’d like to be in connection with any country, but I have to know cultural differences and learn the languages.

Any last words?

Don’t worry about nationality because we are all the same. Sometimes we have to forget the bad and just turn the page.

To find out more about Sergey Gorobchenko’s latest movies, visithttp://www.imdb.com/name/nm1330495/.

Interviewed by Kaylene Peoples

Joseph Domingo – San Francisco-based Fashion Designer and Atelier

Joseph Domingo – San Francisco-based Fashion Designer and Atelier

San Francisco-based fashion designer, Joseph Domingo, considers himself an atelier, specializing in custom-made clothing for both men and women. Domingo’s designs include sportswear, contemporary clothing, evening wear, and wedding gowns. Joseph has been featured on CNN, DNR, Women’s Wear Daily, California Apparel News, and he has been a huge hit at the last few Fashion Weeks. Last season’s runway show created quite a buzz, and they are still talking about it today. I recently visited his modest shop in San Francisco and saw the real scope of his designs. Originally from the Philippines, Joseph hid his desire for fashion design until he was an adult.

“There are nine siblings and I’m the youngest of nine kids, and there are seven testosterones. You can just imagine, I could not be as expressive as I wanted to be. As a child, I had to hide my paper dolls … I had to make my own paper dolls. I had to be underneath the dining table and play on my own–pretty much hide.”
–Joseph S. Domingo–

How long have you been designing?

I’ve been designing for the past fifteen years, but I’ve had my own Atelier for the past seven years.

That’s a very interesting word, “atelier.” I know what it means, but a lot of people don’t, and it’s a very distinguishing facet of fashion design. Could you explain?

Atelier is like you having your own showroom and people come to you and have something specifically made for a certain occasion.

How did you decide to get involved in fashion design?

Well, it’s a long road for me because growing up, I watched a lot of beauty pageants. I liked women dressing up, and from there on I liked to sketch. I went to architecture school of design and rerouted to interior design and thereafter I ended up being a fashion designer.

So you really knew what you wanted to do.

I really wanted to do this at a young age. [But didn’t have the freedom to express myself]. So I had to kind of reroute. But it was a good experience going into architecture first, then interior design, and then finally being where I really wanted to be.

Where are you from originally?

I’m originally from the Philippines. I moved here when I was a teenager. That’s why I enrolled myself into a fashion school.

What school did you go to?

I went to West Valley college, which is just a regular community college. But they have a great program, and I’m really proud of my accomplishments and what they did for me.

Now, I’ve basically seen your collections since you started showing at Fashion Week. Beautiful stuff. Stunning and basically shocking for a first-time showing at that. I notice it’s more like luxury wear.

I wouldn’t call it couture wear. It’s more like luxury if you may call it that, based upon their price points.

Could you give me an idea of what the average item you make would cost?

Cocktail dresses start from $800 and up, depending on the intricacy of the design. I do a lot of custom clothing. Wedding dresses start from $3000 and up. It depends on the budget of each individual.

Now, you obviously have your boutique here and in San Francisco. Do you have boutiques anywhere else?

Actually not at this moment. I sell on occasions, season to season. That’s why I want to be rerouted to ready to wear sometime in the future. But most of the time people come to me on a recommendation basis, or people hear about me and say they want me to design something for them for a specific occasion.

Have the Fashion Weeks helped with that?

Absolutely! Fashion Week has been great for me, having to show three times. It’s just progressing. I have a couple of [PR Firms] now helping me out to get exposure. I’m getting quite the unimaginable article here and there, and people are talking about me and hearing about me, especially the last season when I [showed at LA Fashion Week].

The last season was big.

It was. It was great. It’s a good thing I took the risk I took.

What was that?

What we did for the models. It was a collaboration of my sponsor (the one responsible for the hair and makeup) to specifically focus on the clothing. We wanted to have a walking mannequin. And in order to do that, we had faceless models. He developed a kind of eye patch that blended into the skin tone, but they had the lips and the facial structure with coiffed hair.The idea being that people would initially focus on the face, wonder what’s going on, and then they would get more relaxed and focus on the clothes. And I get so much buzz about it on the different blogs and Google. It’s all over the place. It was very edgy. Some people even quoted that they had never even seen it from places like Paris, Milan, or New York, and then all of a sudden, it’s in LA. It just separates us from the norm.

I like it because it was a juxtaposition between the faceless mannequin and you have this classy clothing.

Yeah it’s like a balance of things that people would think that if it’s edgy and faceless, it would be this rocker urban kind of thing. My lines are simple, having this architecture background. It goes with the flow and the consistency with gelling the whole collection together.

Highest High

My highest moment is being patted on the back or being appreciated with either the accomplishments of an individual client or a student that would just say, “You inspire me, and I would like to intern. I would like to learn more about what you do, and I heard so much about you.” That pretty much for me is a validation. Another high is reading articles here and there, especially with the industry and the professionals that said either I arrived or I’m doing a good job, or for some reason, some people even giving hints about a bad critique. I don’t even care for bad critique because I think critics are critics, good or bad. It’s better for them to talk about it. If they don’t talk about you, you don’t exist.

Lowest Low

The low point of being in this industry is having a lot of financial hardship. People think that once you’re a fashion designer…once you’re in Fashion Week…you’ve got an amount of money backing you up, but no. I’m more like self-financed, looking for investors here and there, not like I don’t have offers here and there, but I have to be really careful about it. So my low moment would be having to juggle things.

How do you get inspired for a collection?

For the past three seasons, just going everywhere. The first collection was The Safari Rose, and I was trying to get into the fall. I wanted to create something that is kind of safari-ish, but I want to incorporate the femininity of it so there are roses, cabbage roses in every evening gown I made that season. And then the following collection was the Raindrops in a Bamboo Forest, which consisted of polka dots and bamboo prints. This last collection was Red and Black Equals Chocolate. I love chocolate a lot, so one time I was scribbling with a red pen and then a black pen and it become chocolate and that was my inspiration. The next season I saw this one pink magnolia in a tree, and I said, “That’s beautiful. Maybe I’ll incorporate that into the design.” So you don’t know what’s going to come out of it. It’s nature, magazines, people. All kinds of things inspire me a lot. So I encourage everybody to just keep their eyes open. You never know.

Do you have a designer that inspires you?

The three Italians, I love them so dearly. I met a couple of them…Giorgio Armani, whom I haven’t met…GianFranco Ferre, and Valentino. Those are the three great designers that I aspire to be like. Jon Franco Feri has an architectural background. Armani—the name itself describes it—and Valentino for his femininity, luxury, and ladylike designs.

I like Valentino a lot. That’s probably why I like your clothes. Last season, you did polka dots, and it was breathtaking. It reminded me of Audrey Hepburn. What was your biggest defining moment as a designer?

The defining moment is seeing your clothing being worn by a friend, or somebody famous, or hanging on a rack in a store.

I like how you managed to sneak in a little bit of culture in your designs. How do you do that so successfully?

I love traveling a lot and keep my eyes on every culture. I always think on a global level while keeping the integrity of my background and history.

Where do you see yourself in five years?

I would like to have my own store and all kinds of different collections like footwear, sunglasses, watches, etc.

You make it look very easy.

I try, but sometimes I cannot breathe. I am so busy. But this is my passion, and I just have to explore it and keep it alive.

What advice would you give an aspiring designer?

Just go for it. There is always room for everybody. Don’t surround yourself with negativity because I have been there. A lot of people can be so discouraging in this industry…either they’re colleagues of yours questioning [your decisions]…. Keep the good and throw out the negative. Surround yourself with people who support you. It’s better to be nice to people than giving them attitude, because a door won’t open otherwise. It’s a small industry, and people will talk. If you’re branded as a so-called diva, it will be hard to get in. You just have to stay grounded. Ego won’t take you anywhere.

Visit Joseph Domingo’s website at www.josephdomingo.com. He is also available by appointment at his showroom at 808 Post Street, San Francisco, 94109 / 415-563-2007.

Interviewed by Kaylene Peoples

Sarena Traver – Racecar Driver and Fine Jewelry Designer

Sarena Traver – Racecar Driver and Fine Jewelry Designer

Moms, don’t worry if your daughters want to be racecar drivers.  JeTalia’s head designer, Sarena Traver, makes racing cars and creating fine jewelry look risk-free.  This mother of two incorporates the fluid motion of racing in her couture line by creating jewelry that moves!  JeTalia is stunning and unique.  Sarena believes that jewelry is a statement of a woman’s personality, evoking strength, beauty, and individuality.  Her four collections, Cage, Synchro, Apex, and T2, are versatile and timeless.  Shareeka Epps, named one of the Top five Most Talented Newcomers in Film 2006 (“2007 Spirit Awards”), wore JeTalia; and Rebecca Gayheart is also a fan of the chic line.

It is no surprise that Sarena would follow in her father’s footsteps.  Her father owned a gem business, and she was his apprentice at just seven years old.  That, combined with innate creativity, led to JeTalia.  Sarena graduated from Gemological Institute of America.  She draws her inspiration from surfing, racecar driving, and traveling; and the freedom and movement in her own life is revealed in her designs.

I try to incorporate movement in some way, whether it’s sliding pearls or sliding cage that holds a pearl inside, which is free to move and roll around.  So because I likeracing and the movement involved with that, that’s what I try to do with my designs.

— Fine Jewelry Designer Sarena Traver of JeTalia

JeTalia is a very unique name.  How did you come up with that name?

JeTalia came from both of my children’s names.  My son’s name is Jet, and my daughter’s name is Talia.

Did it take you a while to come up with that, or did you try other names first?

I considered other names like last names, my last name, but ultimately it came to using the kids’ names.  It was more personal.

Well, how did you get involved with designing jewelry?

Growing up as a child, I would sit down with my father—he was a gem dealer—and color sort his stones and help him weigh them.  I have always been involved with gems from the age of seven.  As a result, I just kind of rolled into this progression of jewelry design and started another career within marketing.  After I had my kids, I decided I wanted a change; so I went to school for jewelry design at GIA, and here I am.

Tell me about your jewelry.

It’s fine jewelry.  I mostly work with 18-carat yellow gold, platinum, white gold, diamonds, and pearls.

If someone were to ask you to describe your jewelry in two or three sentences, how would you do that?

I would describe the majority of the pieces as whimsical, more feminine, free flowing, and a lot of movement.  Movement is really key for me, and just something to make you feel beautiful.

Who is your demographic?

My demographic for JeTalia Jewlery would be 35- to 55- year old business-minded women, very successful, love to be feminine, and sexy.  That’s pretty much it.

Where could someone buy your jewelry?

Well, right now just online.   www.Jetalia.com.   But in the future, higher end department stores, beauty salons, and boutiques.

What are some of your price points?

JeTalia’s price points range from $1,000 all the way up $18,000.

When did you get involved with racing cars?

I got really involved with racing cars the last few years and my husband does it.  We have a great time together going out to the track and sharing that.  It’s a lot of fun.

How long have you been doing that?

I’ve been racing cars for about three seasons now.

Is a season like a few months out of the year?

A season is approximately six to seven months out of the year.  So there is some down time, and you can choose to do other races in between; but if you’re with a series, it’s pretty much six to seven months.

Well, that is pretty dare-devilish, wouldn’t you say?

Yeah, especially when you’re a mom and you’re doing other things, too—I try to fit it all in.  But when you love it, you just make it happen.

What’s it like being a racecar driver?

It’s fun!  It’s an adrenaline rush.  It’s a good time.

Tell me about the rush.

When you’re going at high speeds and you have something go wrong with your car, and you crash, there’s no other feeling like it, when you’re heading for a cement wall at 80 miles an hour.  And it hurts, but you get back in the car and do it again.  You know you have a whole separate family at home on the tracks, and then you come home and you have your own family.  It’s probably just the competitiveness that I like as well.

Are there different kinds of races?

There are different series that you could get involved with.  There’s open wheel, which is what I do, Formula Mazda cars. I just did the Koni Challenge, which is a whole other series.  There are lots of levels, depending on your budget, what you enjoy, and how fast you want to go.  There are different types of tracks, too.  So there’s really a little bit of everything for everyone.

Are there really a lot of women racing?

Unfortunately, there are very few women who race.

You’re definitely in the minority.  Do you find that you may be considered somewhat of a role model to young girls because there are so few women racecar drivers?

Yes, it’s fun.  When I take my kids to school, all the parents and teachers are really supportive of what I do.  They love that I race cars.  They had a career day [last Spring], and they asked me to come in and talk to all the kids—and they absolutely ate it up!  They had so much fun with it.  It was really interesting to go there and see all the little girls wanting to try on my helmet, wanting to hold my trophies.  They really loved it, and I think reaching out to them and telling them that they can do any sport that they want.  It doesn’t have to be racecar driving.  It could be anything, and I think it really inspired them.  It really touched a chord and, hopefully, HOPEFULLY, I turn a little girl into a little racecar driver one day.

What kind of car do you race?

I race Formula Mazda cars, which is an open wheel car.  And [just recently], I had a race [where I drove] a Chevy Cobalt, which is a sedan.

Do these companies sponsor you for your races?

JeTalia is my sponsor.

How does JeTalia fit into racecar driving?

I try to incorporate movement in some way, whether it’s sliding pearls or a sliding cage that holds a pearl inside, which is free to move and roll around.  And because I like racing and the movement involved with that, that’s what I try to do with my designs—right now with the [current] collections—the next phase of collections might be something totally different.

As the designer of JeTalia, what has been your highest high?

Seeing the pieces completed.  It’s such a process from start to finish, with getting your education within that field, and taking and applying your knowledge, doing your designs and working with people on those designs. And just creating the piece, and seeing the end product—that’s a pretty good high I’d have to say.

What was your lowest low?

The lowest low was probably designing my website. That was quite the process, going through multiple web designers, and just the stress involved.  It’s a whole other process—very time-consuming and very frustrating at the same time.  So you just hang in there and you get through it, and eventually it will happen … and it did—that was another high moment.  When it was completed and we were live on the Internet, it was a great moment, but there were definitely some highs and lows.

How many years have you been doing JeTalia?

Probably close to two years.

So you’re new, you’re basically almost an upstart, really. As an upstart, do you really feel that it has been a great amount of success up to this point?

Oh, definitely!  You know the whole point is that you have to take baby steps, and be ready for a great opportunity for any moment. It’s been good moving forward in a slow manner, and finally being ready for that opportunity.

What advice would you give to someone that might aspire to do what you’re doing as a fine jewelry designer?  Is there anything special that you could offer to help him or her?

Just do your research—lots of research in every field, and every aspect.  It will pay off in the end.  And be patient because it can’t happen overnight.   Just stick with it.

What was your greatest moment as a racecar driver?

It would have to be getting a podium, getting a trophy out of the race, and having that great feeling that you just kicked a lot of butt from the racetrack, and had a really good time doing it, and you worked really hard at it, and it’s a good moment when you can do that.

What’s involved in training for a race?

There are different areas.  There’s the physical, where you could train and diet—all of that to prepare.  But I would say the most important thing is the mental [preparation]—really focusing on what you want and visually preparing for that.  Seat time in the car is very important too—getting out there and actually putting laps together, working on that and having it just be perfect, every time.

Since you’re a minority in this sport, I guess you’re mostly racing against men. Is there ever more than one female in a race?

Sometimes, but it’s rare.  I really haven’t had too many opportunities where there’s another woman.  My last race, I brought by my co-driver, and she’s great to race with.  She’s been around for a very long time.  She’s 63 years old and she’s been racing for 30 years.  She’s definitely a wonderful mentor to me in the racing field, and she is really supportive.  I have a blast racing with her.  But other than that, I don’t really come in contact with too many other women on the track.

Do you race only locally, or do you travel to other states?

I travel.  But there is another series that I do, and then there’s the western series that travels just this region primarily.

What’s your lowest low when racing?

It would have to be when you crash a car—when you hit a cement wall, or tire wall, and you can’t continue in the race—or you total your car.  Now that’s a pretty bad low.

And that has happened to you? Were you hurt?

Yeah.  It’s not fun.  You get hurt, but you recover, and you get back in the car because you love it.  It’s absolutely addicting!

To learn more about Sarena Traver and JeTalia, visit her website at   www.jetalia.com.

Interviewed by Kaylene Peoples

Interviewed by Kaylene Peoples
Transcribed by Tamara Baskin

Gunner Johnson – Sculptor with a Rare Vision

Gunner Johnson – Sculptor with a Rare Vision

Gunner Johnson’s exceptional art and sculpted pieces have shown in galleries and have appeared in the movie Batman Forever.  His newest jewelry line lends practicality to an already exquisite collection.  His art pieces and his jewelry are quickly becoming a favorite among celebrities.

Having started this career in 1990, Gunner is one of the few sculptors who sculpt in steel.  He also sculpts in wax to create jewelry.  How he got started is a very unique, and interesting, story.  He was living with his girlfriend and was avoiding going to bed with her.  He started drawing to pass the time.  He discovered he was very good.  He sold a few drawings, and from there, a whole new creative world opened up.

When I would draw, the time would just disappear.  The next thing I knew it would be 4 or 5 in the morning and I was still up drawing.

—Gunner Johnson—

What were some of your first drawings?

The first drawing was like a starship portal, as if you were inside a flying saucer and you were looking out and you were seeing the other starships that were part of your group.  We were hovering over a planet and the planet had died.  It really set this whole imaginative thing off for me.  The second drawing, I was a Sioux Indian warrior, and that was charcoal and white oil pastel.  So it was all just experimental at the time.  I was just fooling around with it.

People don’t just pick up a pencil and draw these elaborate themes.  Surely there must have been some indication that you wanted to do this at some point in your life.

When I was a kid, I was really into drawing, and my dad said, “Son, you can’t be an artist.”  I remember wanting to be an artist at 9 and 10 years old.  He said, “No.  You should be a doctor or a lawyer.  People don’t become artists.  That’s not what they do for a living.”  So then for the next 20 years I didn’t do anything.  I mean I was doing other things, but I did nothing with art.  I just stopped.

As I look around your apartment, I am overwhelmed by your depth of style as well as by your precision.  These pieces should be in one of the top galleries.  What is it that inspires you?

I just start feeling something and I just run with it.  I get a feeling to do a piece and I have no idea how I’m structuring it.  And depending on that piece, I have no idea where I’m going with it.  Basically, I start with a feeling and fighting that whole idea that I can’t do it in my mind saying, “No, you can’t do this.  You don’t even know how to do this.”  And just spending the time just working on it and working on it until an idea comes up.  And the more I do it, the more I become trained in allowing myself to just go with the flow of creating.

This whole time when your dad told you that you couldn’t do your art, what did you do?

Stole cars, climbed people’s balconies into their houses.  I did a lot of crazy things.  I was building sets.  Basically, my dad told me to do what I was doing and work as hard as I could to make a living at whatever I do.  And then I got into acting.  I was doing some nonunion stuff.  I did a film with David Carridine.  I did some showcases and some plays.  I studied really hard.  I was really into it.

So this amazing chair that you are seated in, did you create that?   And if so, how?

A friend and I went up to Topanga Canyon.  We were actually going to Temescal Canyon, but this time, they wouldn’t let us up into the mountains with our dogs.  We ended up at this place where I had gone to many times to meditate and hike with my dog, Topanga canyon.  This was after the fire of Topanga and Malibu.  Everything was burned except for this wood that you see on this floor (pointing to the legs of the chair on which he is sitting).  I had this flash of this weird throne with wings of this wood and I had never seen wood this large before.  Later I picked up a couple of books called Way of the Peaceful Warrior and Sacred Dream of the Peaceful Warrior.  And I was really excited because I really liked these books.  I came home and the next morning I was in a huge earthquake.  One of my neighbors, Cindy, had been screaming upstairs and I thought she was trapped.  So I jumped up out of my bed.  I wasn’t thinking clearly, and I started running towards the door, and an antique just fell.  I ran into the glass and ended up cutting a tendon in my right foot. So here I was injured in the earthquake and I had three weeks to read.  People started bringing books over, and I was reading like crazy and I was getting really aligned with things.  I got in this state of mind that I’m going to build this thronethis vision I had.

FEMA had paid me $1200 to fix the broken antique, and three weeks later I got my walking cast.  I took the money and I bought welding gearI never welded beforeand I taped a piece of rubber on the bottom of my cast and hiked for three more weeks to look for more of this wood.  I retrieved over a hundred pieces.  I brought it back and proceeded to build this throne.  With this piece, I basically cut the bottom of the leg and set the leg into a formation, and then I started visualizing how I was going to build the rest of the chair, one step at a time.  That’s how this unfolded.  It just took me two and a half months to build.  My first piece out of steel was a candleholder that I practiced on and then I started working on this.

That’s amazing.  It seems so daunting.

Everybody has an ability to open up, create stuff, and to come into alignment with what it is they’re really supposed to do.  I just happened to find it.  I put a show together and I got this piece done.  I’d begun to gather a huge show.  And it was from that show that I sent the pictures for Batman Forever.  They were doing this movie and I had no idea about the characters.  I sent the picture and the next day Warner Brothers was at the show.  They came to the gallery and they wanted this chair in the show.

What’s next for you?

I’m not looking for a show at the moment.  I’m looking for a very large space because I want to start teaching in this space and I want to incorporate people’s ideas and what they feel and what their idea is in learning and to actually formulate ideas within the class at the same time to build more pieces.  I’ve actually completed a jewelry line.  I’m working on another one, a leather one.Gunner's Leather Studio

How do you price your pieces?

It’s very hard for me to figure out pricing.  That at times has been my downfall.  Up to this point I get so passionate I can’t sleep.  I’m waking up all night, which is actually something I do while I’m building pieces.  Because I get to the point where I’m excited and I’m actually seeing the piece materialize.  I’ll wake up, and in my mind, I’ll just be solving problems, problems I couldn’t figure out when I was working on a piece.  I’ll wake up sometimes from a dream as I’m solving that particular problem of the piece.  Once I wake up, the idea just comes.

Do you sketch your pieces before you create them?

I only sketch for clients that require a sketch.  I might do a quick sketch, but to build something, it needs to unfold [naturally].

How can people buy your pieces?

Word of mouth, my website, or at my shows.  I got so tired of trying to sell the work, but yet I couldn’t get them to see it.  A lot of the galleries I visited wouldn’t take me because I didn’t have this long resume.  I got so tired of trying to sell.  This is where I backed out.  I know that I have made something people aren’t seeing out there.  You don’t see this in a gallery.leather bag/case You don’t see an alien woman (“Spitfire”) created with 80 feet of tubing and steel rods in her body.  People don’t do this.  I’m still trying to get to the stores to buy it.  People are afraid to get out of the mainstream.  They want to do everything that everybody else is doing—they won’t take a chance.

Now I’ve gotten into a different state of mind.  I watched the movieThe Secret—I watched it 13 times now.  And this movie is so precise on how easy it is to get what it is you want that things are beginning to fall into my lap again.  You want to hear something funny?  That’s how I built these pieces in the first place.  I just believed that I could do it.  Now I can actually bring my jewelry line and my artwork together. jewelry by Gunner Johnson

Gunner’s jewelry has become a favorite of actress Rachel Melvin from NBC’s Days of Our Lives.  She wears it on the show almost daily.  Currently, Gunner’s jewelry can be found in the following stores:

Traffic
8500 Beverly Hills #654
Los Angeles, CA 90048

Black Blue
82711 Main Street
Santa Monica, CA 90405

Rock Star
3835 Cross Creek Road Suite 3A
Malibu, CA. 90265 (310) 456-7374

Kitson Men
146 North Robertson Blvd.
Los Angeles, CA. 90048 (310) 358-9550

For more information, visit www.gunnerjohnson.com

Interviewed by Kaylene Peoples
Transcribed by Lisa Trimarchi

Adrian Bellani – An Actor with a Passion for Giving Back

Adrian Bellani – An Actor with a Passion for Giving Back

Having moved here from El Salvador just two short years ago, Adrian Bellani has accomplished more than some who’ve lived here their entire lives. He has a successful acting career as the character Miguel Lopez-Fitzgerald on the soap opera Passions, and he gives back to the Hispanic community as an ambassador of PADRES Contra El Cáncer (Parents against Cancer)a charity that aids lower income children and their families whosuffer from cancer.  Adrian just recently spearheaded a fundraiser in May, which raised quite a bit of money for the charity.  Eva Longoria (the national spokesperson for PADRES), ambassadors Adrian Bellani, Matt Cedeno, Cristian de la Fuente, and Angelica Castro, along with comedian Carlos Mencia, Actor Amaury Nolasco, and many other celebrities played to raise money and awareness for PADRES Contra El Cáncer at the May 20th “Spike for HOPE” Celebrity Beach Volleyball Match in Hermosa Beach.

I’m very passionate about what I do, very spiritual, and I’m very positive.  I have a very positive outlook on life.

Adrian Bellani

How long have you been acting?

Paid acting, I guess since I started Passions, which was only a year and a half ago, which is not long at all.  Time has flown.  I’ve only been out in California for two years.  I have never taken acting class. I have no experience whatsoever before this.

How did you get the role as Miguel Lopez-Fitzerald?

I was very blessed and I was very lucky.  My agents called me up and told me there was this audition they wanted to send me out on, and they really thought that the breakdown was similar to me as far as the description of the character.  I went in and totally nailed it and … I’m here today.

Wow! Congratulations.  So, let’s talk about some of the other interesting things that happen in your life.  Tell me about PADRES.

I’m very much involved with PADRES Contra El Cáncer.  It’s an organization which helps improve the quality of life for Latino children and their families.  I say Latino because themajority of the kids we take care of are Latinos, although we are an organization that takes care of any child, from the ages of zero to twenty-one, and no family is turned away. Doesn’t matter what race, what ethnicity, what origin … doesn’t matter.

We take in a family and provide an individual plan for [them], catering to the child and his or her family’s educational, economical, and emotional needs.  Over 70% of the families that come in, their annual income is under $20,000, which isn’t a lot of money to have a child go through cancer treatment.  An organization like this really provides these kids and their families what they need to survive, whether it’s grocery or transportation vouchers, just classes, or daycare.  PADRES is a family organization.  It doesn’t only help the child, we really cater to the family.  This is important because when you have a child or when you have any family member going through something so serious like cancer treatments, you know we’re all in the same boat together, and we all have to survive it together.  They all have to be there for one another, and this organization does some amazing things.

Is this pretty much nationwide?

Right now we have our offices here in Los Angeles, pretty much work in the Los Angeles county area, but I think the long-term goal is to go nationwide one day.

How long has the organization been around?

PADRES Contra El Cáncer has been around since 1985.

What was it that made you really immerse yourself into this?

About a year ago, I met the CEO of ALMA through another ambassador of PADRES, and he really [spoke] passionately about his job and the organization.  I was just drawn to it, and cancer has been in my family for years.  My grandmother had breast cancer.  My aunt had breast cancer, and my little cousin when he was ten, was diagnosed with cancer of the esophagus.  I felt like it was something that I needed to doyou know, really try to help out these kids.

What does the money that goes towards these children do specifically?

Every so often, families with diagnosed children come in and they are provided classes so that they will understand what their child is going through, know what type of treatment they’re getting, and know how to take care of their kids throughout those treatments.  It’s amazing.  It’s beautiful.  And the people, the staff, and the hospital, it’s just out of this world.  I’m very close to everybody.

I commend you.   That’s a big thing to take on. I understand that you tried to donate some shoes for hurricane Katrina victims.   Can you tell me a little bit about that experience?

It just makes me irritated just to think of it again.  Well, when Katrina hit and devastated the entire city of New Orleans, I saw all this stuff on television, and it was sad to see people weren’t really helping out at the time.  I would like to mention that I was not onPassions at the time.  I was pretty much a struggling actor and working at J. Crew, folding clothes until two or three o’clock in the morning.  But I really wanted to help these people out somehow.  It was just so sad to see that nobody was really doing anythingand I have access to this shoe company in El Salvador and they were willing to donate $500,000 worth of shoes that would be provided to the Katrina victims.  These people had obviously lost not only their homes, but all of their possessions, too.  $500,000 worth of shoes is a lot of shoes, and whether or not you could provide shoes for every victim or not, you could possibly provide shoes to every child and every female.   I did everything I could to get in touch with the people I could talk to to actually tell them this is what I have and this is what I want to donate.  How can we do this?  Nobody, and I mean NOBODY cared. Absolutely nobody.  I called so many people that I felt I could reach out to and say this is what I have, and this is what I want to do, and this is what I want to offer, and nobody even cared.  El Salvador has the second largest U.S. embassy in the world, and we even called the U.S. embassy.  They told usand this was word for word:  “At the moment we are only accepting money.  We do not accept anything else.”  So you couldn’t give them clothes.  You couldn’t give them towels.  You couldn’t give them anything.  All they wanted was money.  At least that is what they told me.

How long after Katrina hit was this?  Was it a week?  Was it a month?

This was within the first month.  It was really unbelievable.  I don’t know, I guess I have to be Angelina Jolie or something to actually get some attention.  It’s sad.  You know peoplejust the normal citizen and the normal person at the timewanted to help out, and nobody gave a crap about it.  I’m sorry for the victims.

I’m sorry that happened, or should I say didn’t happen because it kind of makes a person jaded.

I was really upset for a while.  And it was just unfortunate that the U.S. government would actually say something like that, too:  “We’re not accepting any type of donations unless it’s monetary.”

I think every actor should be able to give back and do something.  We’re so much in the public eye and we make so much money, you know it’s sad to see the people who are very well off and do nothing to give back.

If you had been on Passions back then, having some celebrity status, do you think it would have made a difference?

I honestly don’t know.  I’m on a soap opera.  It’s a great job and it’s a great career to have.  But then again it is not a career like a Sean Penn or Angelina Jolie or somebody like that.  I would never have the connections like somebody like they would have, having a company that actually wanted to donate half a million dollars in shoes.  That’s pretty good right there.

What’s next for you?

As an actor I think there’s a bright future ahead of me.  I think there are a lot of things coming my way.  Hopefully, I will be able to keep working and giving back to my community and to PADRES Contra El Cáncer.

One day I want to start a foundation in El Salvador, and from that money, provide scholarships to certain kids.  I want to take them out of public schools and put them into private schools and give them education throughout their life.  I think something like that would be very important, especially in a country like mine where it’s a poor country.

Education is probably the most important thing for a countryfor a nation in general.  You pretty much have to educate one generation.  And it’s done after that.  With education, I think a country does betteran economy does betterfamilies do betterkids do better.

To find out more about PADRES Contra El Cáncer, visit their website at www.iamhope.org.  Also visit Adrian’s website atwww.adrianbellini.net and www.officialadrianbellani.com.

Check out the video.

Interviewed by Kaylene Peoples

Transcribed by Tamara Baskin and Lisa Trimarchi

Raun Kaufman – Proof There Is Life After Autism Spectrum Disorder

I was very moved when I heard about Raun Kaufman, who as a child was diagnosed with severe Autism Spectrum Disorder, and against all odds, his parents invented a radical form of treatment, which caused him not only to stop certain behaviors associated with autism, but to recover completely from the disorder.  Over 30 years ago, the best-selling book Son-Rise was written about Raun, and an NBC television movie based on his recovery followed. In honor of Autism Awareness month in April, and the shocking rising number of children diagnosed with Autism Spectrum Disorder, Agenda Magazine has interviewed the man who fully recovered from that disorder and now heads the Autism Treatment Center of America, Raun Kaufman.

So you’re the person the book Son-Rise was written about.

It’s really an amazing position to be in because growing up I was the son.   Now, as the CEO of the Autism Treatment Center of America, I get to guide the organization and help families, parents, and children in really the same way my parents helped me.

What would you call autism?

It is often called a disorder.  You may have heard Autism Spectrum Disorder.  And that’s because there are really a whole spectrum of different children and adults who have what you might call different levels of autism.   Some children have no language at all and spend their entire day doing certain repetitive activities like lining up toy cars, whereas other children or adults might be much more verbal but nevertheless still have a lot of difficulty in communicating socially, making friends and making connections, as well as telling people how they feel about things.  So there’s a whole huge, broad spectrum, and we work with a whole range of different children.

In your experience, which have you seen the most of, extreme cases or sort of the middle of the road cases like those children who are somewhat functioning in society?

We see a pretty even distribution in a lot of cases of children.  We might work with a three-year-old who is totally nonverbal, or we might work with a 12-year-old who is also nonverbal.  We might work with a 10-year-old who is speaking full sentences but really needs a lot of help with social communication.  There is an increase in autism, which is now 1 in 150, and we definitely more recently have seen an increase of younger kids with their families come across our path who have gotten a diagnosis.  A lot of them have lower levels of verbal communication and interaction—at least when parents first come to us.  Obviously one of the things we’re most trying to help them with is to help their children to communicate more, connect with other people, form relationships with other people, by choice and by inspiration, versus doing that because they’re being trained with rewards like M&Ms and food, the more typical way to try to help autistic children to behave like more “neuro” typical children.

Tell me about when you had Autism Spectrum Disorder?

As a little baby I was faced with all these different ear infections and some of them quite life threatening.  And then there was a whole period where it was sort of touch and go for awhile, and then finally it looked like I was doing better, and then all of a sudden they noticed I wasn’t speaking or communicating.  I didn’t look at them, nor did I even allow them to touch me, and if they did, I was non-reactive.  I didn’t respond to sound.   People thought I might have been deaf.  I spent all day doing repetitive activities like spinning plates over and over again and rocking back and forth and flapping my hands in front of my face.  My parents knew this was not typical behavior, so they took me to specialists in an attempt to [ascertain] what was wrong with me.  They were told what so many parents that we work with are told:  “You’re an over-reactive, overprotective parent.  Albert Einstein didn’t talk till he was four.”  That’s the kind of message so many parents get.  Eventually, as my disorder got more severe, and they saw more specialists, they told them that I was severely autistic, that I would never learn to talk or interact with them, that I would spin plates and rock back and forth 10-20 years.

So it’s really amazing what they did in the face of all of that.  They really wanted to help me and reach out for me.  And what they were offered, to try and get help for me, was very invasive kinds of treatments based on behavior modification techniques to stamp out my autistic behaviors, and then through repetitive action, I would be trained to have more “normal” behaviors.  And they really felt like this just was not the way to go for me.   A lot of these children were really being pushed and pulled, and it seemed to them that they didn’t yet understand all the dynamics of autism, but it seemed pretty clear to them that I wasn’t going to be brought into their world by force.  And that, yes, they could probably get me to eat with silverware or dress myself, but that wasn’t what they were looking for.   They were looking for a real connection, as well as helping me to want to  make this real connection.  So they began to create and pioneer this new program that is in the book—the Son-Rise program.  They worked with me for actually a little over three years, and they started by doing something that was hugely controversial—it’s still one of the more controversial aspects of the program.  Instead of forcing me to conform to this world, which I didn’t understand yet, they started by joining me in my world.   So if I was spinning plates, instead of taking the plate away, which everyone told them to do, they actually got a plate, sat down next to me and spun those plates with me.  And you could imagine people walking in seeing this and saying to them, “This is the worst possible thing you can do.  You’re just going to reinforce the behaviors that you’re trying to change.”  And they luckily—and I thank God for this—didn’t listen to that at the time.  [My parents] really saw that first they wanted to let me show them the way in, so that they could show me the way out.  They joined me in these behaviors as a starting point, and that was actually the first time that I started looking at them, including them in my play, acknowledging them, and connecting with them.  It opened the doorway so that they could teach me how to communicate and talk and connect with people.  And we’ve been doing this since the mid-’70s, when I was a kid, and this Autism Treatment Center, which started in 1983—we’ve worked now with thousands of parents from all different countries.  When you join these children in their world, it doesn’t reinforce the behavior but actually helps create a connection with these children so that they don’t need to do the behaviors so much.  They become more interested in the people that love them, like their parents.

Exactly how old were you when they started this radical idea?

I was 18 months.  I really got into full swing by the time I was two, and then they worked with me.  By the time I was five, I was pretty much a typical child.  I went to regular schools, and no one knew about my past unless I told them or unless they read the book or saw the movie.  I think it was very smart that they got on top of it as soon as possible.  Early intervention is helpful, but I often hear people say, “Well, they started really early.  If you don’t get a start that early for a child, there certainly isn’t much hope for them.”  But we work with children who are 18 months, or 2-1/2 years old, children who are 10 or 12 or 15.  We worked with this boy, for instance, who was 16 years old.  He was completely mute and had no language.  And his mother was told that there was a chance for him to learn language, but he was16 years old, so if he hadn’t learned it by now, he would never be able to learn it—his brain already formed.  Six months into her Son-Rise program, her son after six months was speaking to her in full sentences.   Now, he didn’t go on to fully recover in the way that I did, but he was able to communicate in full sentences and really tell his mother what he wanted, and have a connection with her and with other people—and that didn’t even start until he was 16.  So we get children and adults who are capable of so much change because the brain is so plastic and so capable of growth and change, you know, in the same way that a 70-year-old stroke victim can relearn to talk and learn to use parts of his body.

So there is hope for a ten-year-old.   My housekeeper has a ten-year-old grandson who is completely nonfunctional.

What does he do with himself during the day?

He rocks, he jumps, he’s super hyperactive.  He’s constantly jerking up and down.  He likes to be naked a lot.  He won’t wear his clothes. He only knows one or two words.  He seems to kind of understand when they tell him no.  He’ll stop, but he has absolutely no speech of any kind.  They were told it was because of his vaccinations, but do they even know what causes this?

Gosh, that is such a source of controversy in the media and in other areas, that they don’t ultimately know with any degree of certainty what causes autism.  There’s a lot of speculation and a lot of theories.  And fortunately there are a lot of studies to try and figure this out, but there’s no definitive explanation.  There seems to be some evidence that points to a possible interaction between maybe genetic susceptibility combined with environmental triggers very early in life, the first two years of life.  But even that doesn’t seem to be the exact cause for every single child.  Some children appear to be born different.  Some children have what’s called late onset autism, where they appear to be developing at or ahead of the average, and then age 1-1/2, age 2, age 2-1/2, 3 sometimes, they will appear to lose all their language and all their communication skills and become autistic.  There are even different children that start at different points in their lives.  And so there isn’t a totally clear understanding of what actually does cause it.  And the problem is that it’s becoming so political and politicized about what does cause it, it’s hard to get a real sense of an objective look at what is causing it.  But I will say this.  Here at this organization, the Autism Treatment Center of America, we’re working with so many different families.  We don’t really need to know what causes autism in order to be able to help these children now.  I think it gets lost on the debate, for instance, on genetics and trying to find a series of genes that causes autism.  But when we start to focus exclusively on that, you don’t help the children that have autism right now here today.  Your housekeeper’s grandson… he’s ten years old, right?

He’s ten, yes.

Well, something that you did say about him that also could shed a little light on autism is it’s often treated as this behavioral issue.  Where these children just behave differently and they need to be trained to behave the proper way.  We see autism as something very different.  First of all as a social communication disorder, but also – and this is why I wanted to highlight what you said about your housekeeper’s grandson—you said he likes to be naked a lot.  Now, actually this is not uncommon at all in different children of various different ages.  People say, “Well, why doesn’t he understand it’s important for him to be dressed, and it’s inappropriate when we have to teach him to keep his clothes on?”  And yes, it absolutely is important to help children learn to keep their clothes on, of course, but there’s a reason why children like this little boy keep taking their clothes off.  In many cases these clothes feel incredibly uncomfortable for them.  They feel scratchy, itchy, they are overpowering in terms of what it feels like on their body.  That might sound funny because it doesn’t feel like that to us, but a lot of these children have what is called a sensory integration disorder, which basically means what they’re seeing—what they’re hearing—what they’re feeling is entirely different than what we’re seeing, hearing, and feeling.  For most of these children, just being in the living room is like being in the center of an airport for most of us.  If you’ve ever spent three or four hours in the airport, you zone out after a while.  You can’t really have a conversation.  You just want to relax.  That’s what these children’s day-to-day existence is like.  And so a lot of what these children are doing might look unusual, but it is actually their attempt to have an environment that is not totally overpowering and totally over-stimulating.  And actually that’s why one of the key principles of the Son-Rise program is to create this home base and sometimes school base specialized work/play environment.   Where these children are in a very simple playroom with one other facilitator, and this playroom will probably be boring by the standards of a typical child. But for children with autism, they’re absolutely essential.  These playrooms have zero distraction with very few pictures on the wall, no music playing, and toys, but no electronic toys in the room.  It’s a room where these children can finally get a chance to breathe.  Where they can start to build a connection with another person.  And it’s also a room where we can call it a “yes” room because they’re never told no.  They’re never told you can’t play with that, you can’t touch that, or you can’t do that.  And that’s not an attempt to spoil a child.  Instead, we’re trying to get in a situation where first we can build up trust and security and build up a child’s sense of feeling safe and loved so that they can then start to step outside their envelope and connect with other people.  In order to do that, you need a very non-distracting simple environment where these children are first allowed to have control and a grasp of their own environment.  And then we can start to help them communicate.

Do you have much memory of your experience?

I can remember things looking really different—distorted faces.  It would look like I was looking at it through the wrong end of a pair of binoculars, or people looking very small and far away, like at the end of a tunnel.  Or sometimes I would look at a wall and it would look like it was bending inward.  And again this is consistent with a lot of the integration and the sensory processing issues that a lot of other children have.  This is the way that I saw it and that’s mostly what I remember of the early days.  I do have a little bit more memory in the very late part of my Son-Rise program when I was more verbal.  I can remember my mom playing with me and laughing—I do remember that really fondly.  And it didn’t feel to me like I was in a special program and something was wrong with me.  It just felt like my mom was playing with me, and loved me, and we were enjoying ourselves.  That’s what we really focus on, making it feel like that for all of the children.  For them it feels like someone is loving them…and enjoying them, and they have the opportunity to play with things that are most exciting and motivating for them.  And we turn that into a way of building more communication interaction.

Is your program very expensive?

If a parent really wants help for their child, they will want to also have the tools to be able to build the program to connect with their child.  So they might come to what we call the Son-Rise Startup Program—the first program that a parent or a professional might take.  And that’s a week-long course where a parent will come to our 100-acre campus in Sheffield, Massachusetts, for an all-inclusive week.  They would have all their meals and free room and board and classes all day.  They would be learning all the key elements of the program.  The parents are the absolute keys to this program, the best resource for the child because no one has the kind of lifelong dedication and love that a parent has.  They would pay roughly $2,200 for that program.  Then there are other, more advanced programs.   They could get phone consultations.  They can have someone come out to their house.  The cost structure really varies for them.  We’re a nonprofit organization, so we have people who donate money every year just to help these parents.  So what happens is you have some parents who are paying $2,200 to come for the week, and you have other parents who are paying a whole lot less because they’re getting financial aid and scholarships that we’re giving them because we’re able to have that with people donating to us to help these parents.  At the end of the day, the parents are able to come regardless of their financial situation.  They can apply for as much aid as they need.

What is the parent’s responsibility in all this?

The parent is going to make the biggest difference in a child’s life.  When and where a parent actually changes the way they are with their child…that tends to have the biggest effect on how the child responds.  One of the areas which I think is the most overlooked in autism treatment (we spend 50% of our time on this in the startup program with the parents) is their own attitudes and comfort levels with their child and their child’s condition. When you first hear it, it’s like a soft skill.  Does that really make an actual difference in how a child is able to communicate and build skills?  Teaching them the specific techniques of the Son-Rise program, like how to join with the child, how to use motivation to teach socialization, how to set up the special play room, all of that is absolutely critical and essential, of course.   But teaching a parent what to do without really teaching them how to do it makes what they’re doing not that effective.  And what we see is what is the biggest and affecting thing is how comfortable the parents are and what their attitudes are, and what their beliefs are about what their child is capable of.  I hear this from parents that at the end of a startup program—(and this is before their child has improved at all—they haven’t even gone home yet to implement it) is that they feel like they see their child totally differently.  What we see, when someone is working with a child with autism who is for any reason uncomfortable, stressed out, or a little frustrated, the child can pick up on a lot of these signals.  The child doesn’t understand that the person has good reason for feeling this way.  All that child knows is this is an increase of stress, and they want to move away from that.  They might do that by “tantruming” more or retreating deeper into their world.  At the same time, when a person is really comfortable, excited, or is feeling really at peace when they’re working with the child, that child becomes more interactive and more interested in that person, which helps with the learning process.

What do you think of these other forms of treatment compared to yours?   Do they work?

One-half is the educational-based treatments, where someone is working with the child, trying to help them learn skills, communicate, do something.   The other kinds of treatments are biological treatments:  medical, dietary intervention, supplementation, etc.  A lot of these more biological treatments work really well in tandem with the Son-Rise program, and I am completely supportive of quite a lot of them.  One of the first things we advocate to the parents who are doing the Son-Rise program is start looking at dietary intervention.  One of the areas is to remove gluten (found in complex proteins, wheat and some other grains), and Casein (found in complex proteins in dairy).  It is widely known that removing these foods will stop some of those biological habits going on in the children’s body, and allow them to connect and adapt more.  Unfortunately, there are still parents who are told by their physicians what their child eats is not going to affect their neurological disorder.  But physicians who are involved with autism really see the research through clinical practices that diet absolutely has a huge effect on how drastic these children are.  Many of these children have immunological, gastrointestinal issues, and deficits going on.  Those treatments can actually accelerate what a child is doing in the Son-Rise treatment program.

The other kinds of programs that are more educational-based, those are really different.  The most popular way of treating autism educationally is through a program called ABA.  Applied Behavior Analysis has been around for quite a while, and is touted as the only program with research backhand. The research was not only done in 1987—and those who tried to replicate it in the ’90s were unable to replicate those results—but also it was done with a very small number, 16 or 17 selected children who had this research done on them.  There is no program out there right now, that with total honesty and truth, can say, “Our program is 100% proven by research on large groups of children.”

What programs are the schools implementing?

I mean absolutely no disrespect by saying this, but if you talk to most school officials and teachers—and you really have them on an off the record—in honest conversation, they will in most cases tell you they have no idea what to do with these children.  Not because they don’t want to help, just because they have no idea how to handle them, and how to help them.

How many Rain Man cases do you get?

We have worked with children and adults who are like Rain Man, but it is incredibly rare.  The term for those people is Autistic Savant.  We more often get children with varying levels of abilities.  When Rain Man came out, there weren’t as many cases of autism as there are today.

Do you have any idea why it is rapidly growing? It’s like an epidemic.

There has been an explosion.  When I was little, it was 1 in 10,000, and now it’s 1 in 150.  There is an increase in diagnosis because there is a little bit of awareness, but that doesn’t count for getting us to 1 in 150.  California has been using the same diagnostic criteria since 1990, and they’ve seen a many-fold increase of autism just in that state.  What’s causing it?  There is a lot of uncertainty and controversy.  The only thing that I would put into that debate is if it’s entirely genetic—you can’t have a genetic epidemic.   The rates should be roughly the same as they were 20-30 years ago.  It could go up by 1 or 2 percent, but nothing like it is now.  My belief then is in order for it to go up at that kind of rate you have to have a contributing environmental trigger.  There could be a host of different ones that affect different children.   Even if it is genetic, you’d have to have interaction with that genetic predisposition with something in the environment.  Otherwise, how do you get an increase of that magnitude?

So often I see in the media messages being given to parents and by professionals, doom and gloom about their children.  I think hope leads to action, and that’s how these children are helped.  Parents have been able to do amazing things with their children if they’re just given a chance.   Unfortunately, there has just been this continual stream of “Your child is going to have this miserable life.”  In the ’90s when autism was on the rise, we were starting to work with more people.  I thought once more if the [success stories] got out, and once people saw what’s possible for these children, this [negative thinking] would change.  And yet I literally keep seeing everyday that nothing’s changed.  I struggle with the fact that in spite of what all of these parents are doing and have done with or for their children, it makes them out to be pathetic creatures who can’t help their children, when it’s the exact opposite of that.  Even when I hear people say things like “You must have been misdiagnosed because you recovered,” or other kids like Kyle, one who was recently in the news, people said the same thing about him.  Everybody doesn’t have to do the Son-Rise program, but let’s not discount what these parents are doing.  Can we at least give those parents some respect and credit for what they did?   And give Kyle some respect and credit for the strides that he’s made without having to keep them down in order to make a point.

Is there only one autism treatment center for your program?

There is only one Autism Treatment Center of America.  However, there are parents running these small-scale programs all over the US and in other countries.  We do a program two times a year, one in England, where we fly our team of teachers out to the UK to run exactly the same program that we run here. I also do lecture tours in the UK and in the US, whenever we can get the funding for it.  Those are usually free lecture tours.  We’re trying not to charge the parents.  In America we actually had a wealthy Son-Rise set of parents who were excited about their own child’s progress.   They funded 100 low-income families to come for free to a startup program that we ran in New York City.  So we got off of our campus to reach out to other parents and other families, but in most cases, parents and families are coming here and then they’re getting ongoing help from a distance that they continue to run their programs.

To learn more about the Autism Treatment Center of America, visit their website: www.autismtreatmentcenter.org.  They also offer a free 30-minute consultation call to ask questions about how to apply the principles to your child.  Don’t believe everything you hear in the news.  Children are recovering from Autism Spectrum Disorder.

Transcribed by Lisa A. Trimarchi