Interview: Juan Rangel

I saw Juan Rangel at the League of Women Voters' Forum in October and was very impressed with him. I found him knowledgeable and passionate. After that event, I must say that I was disappointed that his campaign decided to use the Trinity Trees mailing list for election purposes. I was also disappointed when he compared a fellow Democrat to Karl Rove in another campaign mailer.

However, I believe that this is an important election and I am approaching Tuesday's vote with an open mind. I am interested to hear what Juan has to say. Juan was gracious enough to respond to an e-mail interview dealing with this campaign's most important issues. I hope you will take a few minutes to read Juan's responses before going out to vote on Tuesday.

The Caravan of Dreams: The District 9 campaign has been as bitterly contested a race as Fort Worth has seen in a while. Are there any aspects of the race that you would have done differently if you had to do it again? Also, if you win, how do you propose moving forward and mending fences with any wounded parties?

Juan Rangel: I have tried to run a positive campaign that focuses on my experience and positions on the issues, especially gangs, gas drilling, Medstar and neighborhoods. I hope future campaigns in Fort Worth learn the lessons of this campaign and focus on issues important to Fort Worth families rather than people's sexual orientation, ethnicity, or by following someone around with a video camera.

I hope to mend fences by offering to sit down with Joel after the election and talk things out over a cup of coffee. I will listen to his perspective on the campaign and I hope he will listen to mine. In my experience, people get worked up in the heat of a campaign because these issues are very important to people, and sometimes both sides just need to count to ten and then talk to and listen to one another. I would also reach out to his supporters and ask them to help the City by serving on the many Boards and Commissions that Council members have to nominate individuals to serve. For instance, while the Tarrant Stonewall Democrats have been strong supporters of Joel, I agree with their goal of equality and I am impressed with several of their members, and hope that they would serve the City on Boards and Commissions. We need everyone to work together to meet the challenges facing Fort Worth.

TCoD: If you win the District 9 seat, one of the first issues you will face is urban gas drilling as the city reconstitutes the gas ordinance task force. How do you hope to approach this issue and what to you think you can accomplish for the voters in District 9?

JR: The Fort Worth Gas Drilling Task Force should be reconstituted to include new and fresh perspectives. In September, I called for the Gas Drilling Task Force to be reconstituted to address neighborhood and environmental concerns raised in recent months. I proposed that in addition to the representatives appointed by each council member, the Task Force should be expanded to include two at large members, one to represent neighborhoods and another charged with protecting Fort Worth’s environment. Shortly after I called for reconstituting the Gas Drilling Task Force, I was grateful that the City Council indicated that the Task Force would be reconstituted. I believe no issue should be off the table for the Gas Drilling Task Force. I believe that the Gas Drilling Task Force should focus on increasing protections for neighborhoods and our environment, with far more emphasis on traffic congestion from drilling and fracing operations, quick responses to hazardous conditions and dangers, water and air pollution, and broader safety zones around homes, schools, hospitals and churches.

At the same time we reconstitute the Gas Drilling Task Force, the City of Fort Worth should conduct a comprehensive Environmental Impact Assessment of the effects of urban natural gas drilling. Fort Worth’s Gas Well Ordinance was drafted without any assessment of the effects of gas well drilling on our urban environment. To safely and effectively conduct urban drilling, Fort Worth must perform a thorough assessment of the effects of drilling on our air, water, streets, homes, schools and economic engines. I believe that once we identify the risks and benefits created by urban drilling, Fort Worth will be better able to take appropriate action.

TCoD: Gas transmission pipelines are becoming a larger issue in the city because they run through some city parks, and gas companies have begun applying for permission to build pipelines close to neighborhoods. Because state and federal laws make it difficult for cities to regulate pipelines, how do you propose the city approach this issue?

JR: We need a comprehensive system for mapping and overseeing the placement of natural gas pipelines. I want the City to work with all gas companies and drillers, and provide incentives so that companies would share pipelines, much as power lines are shared, to minimize impacts related to the proliferation of pipelines. Buried piping should also be identified with signs at the surface, to prevent damage by unrelated construction activities. These measures can limit the risk of the release of pressurized natural gas, explosions and fires caused by construction activity near unidentified pipelines. I believe the City should coordinate with gas companies to coordinate the placement of gas wells to limit as much as possible the duplication of gas drilling activities.

Trinity Park, Tandy Hills Park, the park space at the Zoo, the many City softball and soccer fields, Fort Woof Dog Park - our parks are great public spaces for our families to enjoy their free time. While some state and federal laws make it difficult to regulate pipelines, other laws make it difficult to convert public parkland to private use. We need to keep pipelines from compromising our City parks by enforcing these park laws and working to find alternative places for gas lines to be placed.

TCoD: As gas drilling moves into the neighborhoods, the issue is becoming more contentious. Do you believe that 600 feet is an adequate setback requirement? Do you believe in high-impact variances to allow drilling operations within that 600 foot limit? Are there other things the city should do to protect the safety of its residents and the environment?

JR: We need a wider safety zone between gas wells and homes, schools, hospitals, churches, and the Trinity River, of a distance recommended by a Comprehensive Environmental Impact Assessment. The safety zone should also be enforced near water sources and economic engines like the Trinity River Vision, Sundance Square, the Hospital District, the Museum District, and major traffic arteries. As a Fort Worth ISD Trustee, I have already advocated for a minimum of 1,000 feet between wells and schools (instead of the 600' zone currently in effect). While there may be rare situations where such limits are not necessary, there are others that require an even larger zone of protection. We need to find a protective zone that puts our safety first.

I can't think of any situation in which a high impact variance should be allowed.

I support a ban on injection wells for disposal of frack water from the drilling process within Fort Worth city limits. This would protect Fort Worth's water supply. The City’s Environmental Director has stated that injection wells pose serious risks to our water supply. About 4.5 million gallons of water is used in the drilling and fracking processes, and at least 26 chemicals, including carcinogens, are used. If handled improperly, this highly polluted water will leak into our water supply. I believe that drillers should be encouraged to dispose of polluted wastewater through methods other than injection wells, such as recycling and off-site disposal of non-recyclable waste byproducts.

I was the first candidate to call for a 1,000-foot moratorium on drilling within 1,000 feet of the Trinity River and other water sources. I initially made this proposal as a partial response to the concern over the proposed destruction of the Trinity Trees, although my primary reason for the proposal was to make sure our water sources were protected. Shortly after making the proposal, the City’s Development Director also proposed that drilling should not be allowed near the Trinity River.

The City needs limits on the hours and days when drillers can drill and frac, to minimize the noise, light, air and traffic pollution from these activities. Also, drillers should pay for and conduct prompt road repairs for road damage caused by their trucks and equipment.

TCoD: One gas drilling issue that I am concerned about is the fact that the TCU gas drilling well will be going in 1,000 to 1,200 feet from my daughter's elementary school -- Alice Carlson. I don't like something that dangerous going in so close to a place where my daughter spends a third of her day, but it appears that the parents at the school will have no say. If you were the City Council representative for District 9, how would you handle this?

JR: I share your concern for Alice Carlson and other schools near proposed wells and pipelines, such as Daggett Montessori and Lily B. Clayton. Since I was first elected to the FWISD Board of Trustees in 2000, I have been charged by parents and all voters to protect our children and provide them the best education possible. As a FWISD Trustee, I have proposed expanding the zone of safety for our schools to 1,000 feet. If the Comprehensive Environmental Impact Assessment recommends that a drilling near schools be from a distance greater than 1,000 feet, than I will fight to impose the broadest safety zone needed to protect our schools and children.

In the interim, all FWISD schools should immediately develop evacuation routes, plans and protocols to protect our children in case of accidents at well sites or pipelines.

TCoD: What is your position on the Trinity River Vision project? Do you believe that the cost of the project is getting out of hand? Do you favor any spending caps?

JR: I support the Trinity River Vision project because it has real potential to provide economic growth and other benefits to Fort Worth families. But we need to make sure that the Trinity River Vision project provides benefits to the public at large and not just a select few. We need to be more frugal with public funds spent on the project. While I do not favor a cap at this time, we need to be up front about the price tag so the citizens may make an informed decision about whether to spend more money on the project.

TCoD: Regarding crime and fighting gang violence, is the situation in Fort Worth really that dire? This hasn't been an issue that has been in my consciousness. What am I not seeing?

JR: Talk to our police officers and they will tell you that gang crime is increasing every day. Talk to our teachers at Daggett Middle School, Paschal High School and the many other schools in our district south of Berry Street, who see kids drop out because of gang activities. Gang activity causes an increase in school drop out rates, and results in crimes including assault, burglary, vandalism, graffiti and auto theft. During this campaign, a teenager was shot and killed by suspected gang members, and another child was shot and injured by a suspected drive by shooting. Gang activity is an increasing problem that will become an epidemic that will spread to more and more neighborhoods and schools. We must nip it in the bud right now for the sake of children like yours.

I am proud that the Fort Worth Police Officers Association has endorsed me, in part, because I have the experience and a plan to deal with the emerging gang problem.

TCoD: Right now a moratorium exists on new injection wells in this city of Fort Worth. Do you believe that injection wells can be safely operated in the city? If not, do you have a position on disposal of wastewater from the fracking process?

JR: As I discussed earlier, I do not think injection wells can be operated safely in the City. And I think injections wells should be banned within the city. Instead of burying drilling waste, we need to recycle as much of this water as possible, and dispose of the non-recyclable material in off-site waste management facilities.

TCoD: Recently, Chesapeake Energy purchased 26.74 acres in various parcels between Montgomery Plaza and the Trinity River in Fort Worth. Because this land is so close to downtown, the river and the 7th Street corridor, are you concerned that this could disrupt the development going on in this area?

JR: Absolutely. The development along 7th Street and downtown will be a big boost for our economy. We need a balanced approach to gas well drilling that allows our City to reap the benefits in a way that minimally impacts on the things that make Fort Worth a special place to live and work.

TCoD: What is your position on tax incentives and special tax districts being used to entice businesses to relocate and/or expand in Fort Worth? In a few cases, these incentives have gone to businesses (Cabela's for example) which can more than afford to operate without them, thus costing the City much needed tax revenue. Will you continue this practice?

JR: I do not favor or oppose every tax abatement. I would consider tax abatements on a case-by-case basis. My number one criteria would be does the abatement provide a serious benefit to Fort Worth, such as creating good jobs for Fort Worth families. For example, there are over 65,000 jobs in the medical district (which is located in District 9) providing life saving care for our families. Tax abatements in the medical district to spur medical research or innovative medical care might be a good thing that will bring good jobs. Tax abatements to restore downtrodden neighborhoods and return vital services to them (like grocery stores and bans) can also be appropriate. All too often, tax abatements have been perceived as taking care of those who don't need taking care of. We need to avoid those types of abatements.

TCoD: What is your position on the development of commuter and light rail in Fort Worth? If you support this, what are some things that you believe that you can do to facilitate that development?

JR: I believe we need to encourage the development of commuter light rail in Fort Worth. While urban gas drilling along Eighth Avenue is not wise or responsible, I think Eighth Avenue might be a good location for light rail stations, connecting our district to Downtown and other job hubs. We need the State to take leadership for the traffic and environmental problems of the North Texas Region and coordinate the solution. We should work with other North Texas Cities to get the State to implement a comprehensive traffic plan that includes light rail that addresses traffic that cause long commutes and threats to our environment.

Interview: Joel Burns

Back on Election Day in November, I ran into Joel Burns outside the polling place at Lily B. Clayton Elementary. Although I have had issues with the tone of his campaign, he said that it was really a misunderstanding -- he's really not a bad guy. After listening to his explanation of the URL issue and checking out his side of the story, I came to believe that I had been unfair to Joel on this issue. Joel asked for a second chance and I believe he deserved one.

And I have been pleased with the way he has run his campaign in the runoff. I believe he has tried to run on the issues and I applaud him for that. Joel was gracious enough to respond to an e-mail interview of this campaign's important issues. So take a few minutes to read Joel's responses before going out to vote on Tuesday.

The Caravan of Dreams: The District 9 campaign has been as bitterly contested a race as Fort Worth has seen in a while. Are there any aspects of the race that you would have done differently if you had to do it again? Also, if you win, how do you propose moving forward and mending fences with any wounded parties?

Joel Burns: All and all I am very happy with the campaign. I’ve tried to keep my campaign focused on the issues on which I think the voters are most focused – safe neighborhoods, quality economic development, and improved transportation. Obviously I regret anything that has taken the focus off of those issues and the early distraction surrounding the berniescheffler.com domain name is one I regret.

Though I moved on it immediately when I found out, I regret not being more aggressive about being in communication with Bernie to make sure he knew it was a regrettable mistake and not out of any malice, intentional, etc. When taken to task by the blogger community, sometimes inaccurately, I regret that in an effort to not appear the whiner, I let those inaccuracies go unanswered. I think I’ve mended fences with Bernie and am very proud of and honored by his endorsement. It’s my hope that by being forthright in this interview and other conversations with Steve and others that I send a message to the blogger community that I’m the pro-new urbanism, pro-mass transit, pro-Fort Worth good guy that they can like and support.

As for others in the race and their supporters, I’ve had numerous great conversations with Jim Beckman, and he and his wife Marlene, as with Bernie and Victoria, have truly become our friends in the last couple of months. I have reached out to Mr. [Chris] Turner and his supporters and will do the same with Mr. [Juan] Rangel and his supporters. My reputation while Chairman of the Landmarks Commission and on the Zoning Commission has been one of someone who will bring people of opposing viewpoints to the same table and work out solutions that benefit all.

That is the same kind of consensus-building that you will see from me after the election. From the very beginning of this race I have said again and again that I will represent all of this district – north, south, east and west – regardless of race, income … and even who they support in this election. I still feel that way and that sentiment will be observable in my actions as City Councilman.

TCoD: If you win the District 9 seat, one of the first issues you will face is urban gas drilling as the city reconstitutes the gas ordinance task force. How do you hope to approach this issue and what to you think you can accomplish for the voters in District 9?

JB: My concerns are about safety and increased public participation related to gas drilling operations. Until now, most urban gas operation activities have focused on leasing and mineral-holders’ desires to get royalties. Many District 9 neighborhoods are now as much as 80-85 percent leased and our focus as a city is shifting from the leasing phase of this boom to the infrastructure phase.

With that change, our focus should shift to a Planning and Land Use perspective. We have many large infrastructure changes ahead – wells, pipelines, waste water disposal, etc. And with those pending infrastructure changes, we have to ask ourselves how those changes interrelate to our Comprehensive Plan (in which the City invests a great deal of time and financial resources annually).

I would like to see increased public participation, better urban planning (land use planning) and better city planning (how the departments work together regarding gas operations). State law dictates much of where and how these infrastructure changes will happen, but the citizens and the City should be involved in guiding these decisions.

TCoD: Gas transmission pipelines are becoming a larger issue in the city because they run through some city parks, and gas companies have begun applying for permission to build pipelines close to neighborhoods. Because state and federal laws make it difficult for cities to regulate pipelines, how do you propose the city approach this issue?

JB: Gas operators can acquire pipeline right-of-way either through easements through public property or through condemnation of private land. Easements through public, city-owned property are actually the hook by which we can influence pipeline routing and other measures (including improved safety provisions).

The City of Flower Mound recently passed a new gas drilling ordinance. I understand that ordinance is in compliance with state law and allows Flower Mound to direct the routing of gas transmission pipelines, mandate the materials from which they are constructed, and gives the City the right to inspect those pipelines. I would like Fort Worth to explore Flower Mound’s example.

TCoD: As gas drilling moves into the neighborhoods, the issue is becoming more contentious. Do you believe that 600 feet is an adequate setback requirement? Do you believe in high-impact variances to allow drilling operations within that 600 foot limit? Are there other things the city should do to protect the safety of its residents and the environment?

JB: Again, safety and increased public participation are two of my main concerns. I have said during this campaign that I do not support variances to the 600 foot set-back requirements. When the current ordinance was written, most gas drilling operations were in the outlying periphery of the city. Now that operations have moved into the urban core, it is time to (in addition to the provisions outlined in the previous question) look at other provisions of the permitting process. I would like to explore special hearings – not unlike the public hearings we now have for Zoning cases – to be held in determining the appropriate locations for well sites.

TCoD: One gas drilling issue that I am concerned about is the fact that the TCU gas drilling well will be going in 1,000 to 1,200 feet from my daughter's elementary school -- Alice Carlson. I don't like something that dangerous going in so close to a place where my daughter spends a third of her day, but it appears that the parents at the school will have no say. If you were the City Council representative for District 9, how would you handle this?

JB: Again, I would like to see full and vigorous public participation and for the voices of the District's citizens to be heard in a public process that creates transparency and better results.

Until we re-work the current ordinance, situations like the one you describe above will arise. I believe that the most direct approach would be to facilitate a public and open forum for concerned parents like you to meet with the drilling company before operations begin. As we saw in the Trinity Trees effort this year, sustained citizen involvement combined with ongoing dialogue can drive protections and changes.

Drilling is going to present new challenges to all neighborhoods. Dealing with these challenges is going to require people to become aware early on and work with their neighbors to provide a sustained citizen voice to the issues.

TCoD: What is your position on the Trinity River Vision project? Do you believe that the cost of the project is getting out of hand? Do you favor any spending caps?

JB: While I have concerns about TRV costs, I want the city and other jurisdictions to not be hamstrung in their future decisions about this important, visionary effort that will forever change Fort Worth … literally and physically. I support the project and do not support spending caps.

TCoD: Regarding crime and fighting gang violence, is the situation in Fort Worth really that dire? This hasn't been an issue that has been in my consciousness. What am I not seeing?

JB:Not all criminal activities impact all neighborhoods the same way. For example, abatement of “nuisance properties” isn’t the issue in Berkeley that it is in Fairmount or South Hemphill Heights.

Gang activity is up, as is “tagging” in neighborhoods throughout the District. I support anti-gang education efforts like the “Comin’ Up” program in many City community centers and Boys and Girls Clubs. I also support increased resources for anti-gang efforts like the Police Gang Unit.

TCoD: Right now a moratorium exists on new injection wells in this city of Fort Worth. Do you believe that injection wells can be safely operated in the city? If not, do you have a position on disposal of wastewater from the fracking process?

JB: I am not convinced that waste water injection wells are failsafe in not contaminating our limited ground water supplies and for that reason I support the continuation of the existing injection well moratorium for now. I also have concerns, though, about the environmental and economic impact of continual 18-wheeler traffic on our existing roadway infrastructure.

I would like the input of independent, outside expertise on the safety and efficacy of potential waste water pipelines as well as to advise the City on the use of recycled frack water for refracking as technology improves.

TCoD: Recently, Chesapeake Energy purchased 26.74 acres in various parcels between Montgomery Plaza and the Trinity River in Fort Worth. Because this land is so close to downtown, the river and the 7th Street corridor, are you concerned that this could disrupt the development going on in this area?

JB: I am very concerned because this parcel is in an area where a great deal of private investment – as well as City investment – has occurred. And I want to see the success of that investment.

I would immediately meet with Chesapeake to work out uses that are compatible with surrounding development.

TCoD: What is your position on tax incentives and special tax districts being used to entice businesses to relocate and/or expand in Fort Worth? In a few cases, these incentives have gone to businesses (Cabela's for example) which can more than afford to operate without them, thus costing the City much needed tax revenue. Will you continue this practice?

JB: I have consistently supported public-private partnerships to bring new economic development activities that help fund future city services and lift the tax burden from existing tax-payers. From the Downtown and Near Southside Tax Increment Finance Districts to the “380 Agreements” that have allowed for sweeping renewal along the now-bustling West 7th corridor to Neighborhood Empowerment Zones like those along Magnolia, Hemphill, Berry and others, you can see the positive impact these economic development tools have on this District.

I’m not sure if I would have supported the Cabela’s deal. A better example of the kind of public-private partnerships that I would support is the La Gran Plaza redevelopment. The City of Fort Worth negotiated a deal where for every $12 invested by the developer, the City contributes back to La Gran Plaza $1 in new sales and property tax revenue. That’s a great ratio. The city required investments in excess of $70 million (I think that is the correct number – I need to verify that) from the developer. The City partnered with the developer to use increases in property and sales taxes coming from that property to help supplement of the cost of the redevelopment efforts.

The offshoot of that isn’t just that the former Seminary South/Fort Worth Town Center is now generating significant tax revenues for the City, where before it was not. It also has spurred the incubation of more than 100 locally-owned small businesses in the Mercado (in the former Dillard’s space). That is an amazing economic benefit that can help make or break the economy of the surrounding community. If you haven’t been in La Gran Plaza on a Sunday afternoon, I encourage you to go check it out – you’ll be amazed by activity.

This is the kind of successful public-private partnerships I would love to see throughout the District. It’s a “no-brainer” to support these kinds of economic development efforts.

TCoD: What is your position on the development of commuter and light rail in Fort Worth? If you support this, what are some things that you believe that you can do to facilitate that development?

JB: I whole-heartedly support improved mobility through expanded commuter rail and new light rail in Fort Worth – it has been a keystone issue throughout my campaign (see my most recent mail piece attached). For issues of reduced traffic congestion, improved mobility, improved air quality, sustainable development and quality of life, we have no choice but to aggressively pursue every funding option to create a forward-thinking plan for light rail. Efforts are already under way by private citizens to identify starter line. The City should pick up from its citizens’ lead. And we have decades of planning and funding resources to draw from.

Interview: Jim Marshall and Rick Collins

I know I've been sounding like a broken record lately, but today's topic is -- once again -- the Trinity Trees. Two men who are part of the driving force behind Save The Trinity Trees, Jim Marshall and Rick Collins, granted me an interview about their efforts to save the grove that is home to some of the biggest and oldest trees in Fort Worth.

Jim and Rick are long-time Fort Worth residents and literally lifelong friends. We grew up together in the Meadowbrook Drive area of Fort Worth’s historic East Side. You might know Jim better as the former owner of Marshall Grain Company. Jim has actively been involved in trying to save the Trinity Trees since the day he first learned of Chesapeake Energy’s plans to bulldoze the 2.5 acre grove. His army of one gradually gained some supporters, one of whom was his childhood buddy, Rickey. They are both in this to win one for the environment, as well as for the thousands of Fort Worth residents who have literally grown up walking through this magnificent tree grove.

Many other volunteers have joined along the way. Among the most devoted are Jenny Conn, Don Young and Melissa Kohout. A list of numerous other volunteers and supporters can be found at www.trinitytrees.org.

Take a couple of moments to look at their comments. But most importantly, go to the city-sponsored Public Forum tonight from 6-8 p.m. at the Capstone Church on 1700 Rogers Road (see the map above). What is needed now is turnout -- bring your families and friends and show Chesapeake and the City of Fort Worth that a large number of people feel strongly that steps must be taken to save the Trinity Trees.

The Caravan of Dreams: Thanks for your time, guys. Could you briefly explain why you are doing this?
Save Trinity Trees: Trinity Trees is a coalition united around one common goal: Saving some of Fort Worth’s most beautiful, historic trees and green spaces from being destroyed and preserving these areas as critical environmental assets. This is about preserving a reasonable balance between economic and sociological issues. Most of all, this is about fostering a spirit of open dialogue and civic responsibility.

TCoD: I ride my bike through this area almost every day. I always thought it was city park land. If this is private property, why does the Trinity Trail go through there? Does the city pay for its upkeep?
STT: You, I and every trail user I have spoken to thought this area was a park. Here’s why we thought it was a park:

It looked like a park with park benches, two picnic tables and the Trinity Trail winding through it.

It was mowed and maintained by the Tarrant Regional Water District to a park-like appearance.

Up until July 22, 2007, there were three signs that said “PARK is closed from 11:30 P.M. to 7:30 A.M.

Our understanding is that the trail system uses an easement that goes along the river. I’m told that the easement starts at the top of the river bank and goes 100 feet inland. The easement will remain even if Chesapeake clear-cuts the 2.5 acres for the gas well pad site. The southern border of the proposed pad site appears to follow the 100 feet easement line.

TCoD: Some people would say, "So what. It's a few trees." How would you respond to that?
STT: Thousands of citizens who’ve enjoyed the Hike and Bike Trail over the years cherish this tranquil grove of old-growth trees. For many, this is the most beautiful stand of trees along the entire trail system. The “So what…it’s (just) a few trees” attitude is frequently expressed by the same types of people who said Katrina was just a hurricane or Global Warming is a left-wing conspiracy. The truth is indeed frequently an "inconvenient” one.

Furthermore, trees do a lot more for our health than just provide shade. Trees are an important part of what makes an urban environment livable. When we say that, we most often immediately think that they’re simply nice to look at, but the reality is that trees keep our community healthy. A major capital asset in a city, a grove of trees — in our case a mini-urban forest — can offset the effects of pollution by sequestering carbon and other heat-trapping gasses.

A single mature tree can absorb carbon dioxide at a rate of 48 pounds per year and release enough oxygen back into the atmosphere to support two human beings.

TCoD: Could Chesapeake just replace or move the trees?
STT: The problem is not only the loss of the trees. It is the impact on the entire eight-acre site as a whole. There are very few areas left in Fort Worth like this. As Councilwoman Wendy Davis said at the picnic, for Fort Worth, this is an irreplaceable treasure.

If Chesapeake puts in their gas well pad site, the 2.5-acre core or heart of this treasure will be converted to a barren, vegetation-free industrial pad. And despite Chesapeake’s promise that after drilling the area will be landscaped to blend in with its urban environment, the 2.5 acre pad site will remain a gravel maintenance yard for the life of the wells — up to 50 years.

So even if Chesapeake moved or replaced the 142 old-growth trees it plans on destroying, irreparable damage will be done to the eight acres, to the environment and to the community.

TCoD: Isn't it wrong to paint Chesapeake as the bad guy? I mean, the previous owner wanted to put up office buildings and apartments on this site?
STT: That, too, would have resulted in a tragic loss of this special green space. Often the argument is made that the destruction that Chesapeake is planning is not as bad as what the developer was planning. However, it doesn’t have to be an either/or decision. There exists a third alternative. If you check our Web site you’ll see we have sent a letter to the Mayor and City Council proposing said alternative: Chesapeake decides to move its pad site to the already industrial area a few hundred feet to the north; the developer agrees that putting in its buildings is not the best use of the grove of trees; steps are taken to convert the eight acres to a public park. To make this happen, we need three things from all vested parties (including our city leaders): consent, cooperation and compromise.

We shall continue to request that none of those three things be unreasonably withheld.

TCoD: Is this an all-or-nothing deal? Is the only solution for the Chesapeake Energy NOT to drill on this site? Or could Chesapeake drill on the site and still maintain most of the existing trees?
STT: According to the Star-Telegram, (“Hundreds rally against planned well site,” September 4, 2007) Chesapeake’s plans for clear-cutting 2.5 acres will result in removing 142 of the 412 trees in the grove. This appears to be Chesapeake’s idea of maintaining “most of the existing trees.” Again, an alternative exists where all of the trees can remain, Chesapeake can still achieve its drilling goals for this area, and the leaseholders can still receive their financial benefits.

TCoD: Why not just drill on Colonial or Union Pacific land? I mean, they are the ones who stand to make alot of the money off this thing.
STT: Drilling on the Colonial maintenance area located to the west of the golf course has been suggested to Chesapeake. This may be an alternative, but the more logical choice appears to be Union Pacific land.

There are two or more areas on the Union Pacific property that seem like they would work just fine. These areas are already industrialized with no vegetation; are only a few hundred feet from the eight-acre site, are not currently intensely used and have a service road in place. It seems like one of these would make a very good alternative site.

TCoD: Ultimately, is this all kind of a moot point. It's private property and if the owner wants drilling, aren't they just going to go ahead and do it?
STT: The eight-acre parcel of land is private property owned by Chesapeake. As such, they have the right to do whatever they want to with the land and the trees within the limits of legal obligations. However, there should also be obligations to the environment, the community and the common good.

While recognizing and fully respecting the private property rights of Chesapeake, we also recognize that the community has the right to express its concerns and suggest viable alternatives that allow Chesapeake to conduct its operations and, at the same time, preserve valuable, limited green space.

Chesapeake may decide to go ahead with their plans. However, if the public outcry becomes so massive and they see that the potential negative publicity could outweigh the inconvenience of moving the planned site, a change could occur.

TCoD: Say somebody called you a treehugger? Is that an accurate assessment? Have you ever hugged a tree?
STT: We would not be ashamed to be called treehuggers, but we probably don’t fully qualify. Rick says we don’t hug trees so much as embrace the issues this particular dispute represents. We believe our positions and suggestions are more along the lines of looking for balanced solutions that can protect much needed urban green space while still allowing for businesses to achieve their goals. We would assume that pure tree huggers would take more of an extreme position to save trees at all costs.

Jim has hugged trees but not in an affectionate way. The hugging has occurred while trying to gauge the size of trees and to comprehend the enormity of these majestic giants.

TCoD: If someone wants to help out, what do you need most?
STT: What is needed right now is for people to come to the City-sponsored Public Forum. People should voice their opinions in other ways by contacting the City, Chesapeake, Union Pacific and the media.

TCoD: When will something be decided on this? What is D-Day for these trees?
STT: That’s an excellent question that we don’t have the answer to. Chesapeake has applied for an urban gas drilling permit. There is a public information meeting regarding the permit on September 27, at 6:30 p.m. at the Southwest Community Center, 6300 Welch Avenue.

We assume the trees will not be cut before the information meeting, but we don’t know that for sure. The hearing will be another opportunity for concerned citizens to show up in large numbers.

TCoD: Thanks, Jim and Rick. Thanks for your time and thanks for what you are doing to try and save an important part of Fort Worth. Keep up the fight!

Interview with Harry Parker

Was I happy to find this: an interview on Pegasus News about Fort Worth theater poobah Harry Parker. Harry has been an integral name to the Fort Worth theater scene for a few years now. Not only is he directing The Last Mass at St. Casimir's: Over the Tavern III for Circle Theatre, he's also the Department Chair and Professor for TCU's Department of Theater. Harry's a friend and I saw fortunate enough to catch the previous installment of this trilogy, and Harry does a great job. If you are in the mood for some theater, do yourself a favor and check it out. If nothing else, take a few minutes to listen to this interview.

Interview: Randy Bacon

Randy Bacon's art doesn't lend itself to appropriate viewing on this Web site. It has nothing to do with the content -- his West Texas landscapes capture character of the place and the quality of the light with stunning nuance. No, the work doesn't lend itself to this Web site because of the format -- his canvases are very horizontal. And I mean very horizontal.

Fortunately, Randy's a creative problem solver. Check out his Web site -- it's one of my favorites.

Randy's a Fort Worth artist, but a lot of his work highlights parts west: Marfa, Anson, Albany, Blanco. I love Randy's art, and he was gracious enough to answer a few questions about his work.

The Caravan of Dreams: You recently completed your MFA at TCU. Were you painting before? Why did you decide that the MFA process was a journey you needed to make?
Randy Bacon: I was a decent painter through college and the first five years after undergraduate degree, but when I moved to Fort Worth in 1985 and became partner in an ad agency I co-founded with Jim Stuart, there weren't enough hours in the day to paint any more. So I didn't paint for 20 years, the business was so demanding. I always meant to get back to painting, but didn't think it would take so long. When we closed the agency five years ago, the first thing I did was start painting again...I accepted the TCU scholarship two years ago because I wanted to get better, but mostly because I wanted to study with Jim Woodson, a great painter who's work I've always admired. It was a great experience in every way.

TCoD: How did your thesis exhibit go?
RB: Great. Humbling. Lots of people came. I was happy with how the paintings looked in the gallery, the installation and lighting were good. And then when the show moved to Grace Museum in Abilene, I was happy with how the show looked there too -- different atmosphere, lighting and feel, but equally good. (See Randy's painting, Patricia, below. It's on display at the Grace.)


TCoD: You may be just out of school, but unlike so new grads, you have already had an entire career in advertising. How did you decide to leave your old career behind and were you able to apply any of the lessons you learned through advertising in your art?
RB: That was a giant leap of faith I've never regretted. And after running an ad agency all those years, I wasn't afraid of hard work -- plus I'd learned how to 'trust my gut.'

TCoD: Many of your paintings are very, very horizontal. How did you arrive at the conclusion that a long, horizontal canvas was the best format for your work?
RB: Movies. I look at things like a letterbox movie screen. The windshield makes a great editing tool. And West Texas is so well-suited for panoramas, especially when your eyes become like a movie camera making a left-to-right pan to take in the vastness. (Randy's painting, Ballinger, is below.)


TCoD: How do you choose the places you paint? Are these real places, places from your memory or both?
RB: These are all real places, but places I know very well, so the paintings often are a hybrid of reality filtered through memory. I like to choose situations that make me curious, like what just happened here or is about to happen? -- especially when there is some subtly, mysterious narrative element.

TCoD: Explain your process of putting together a painting? How long does the process take and how much revision is involved?
RB: I wish I could explain that, but I can't. Some paintings happen effortlessly, quickly, and others are a lengthy struggle -- and I'm often surprised at which are which. It's unpredictable. In order to really paint all day long, I usually have four or five paintings going at one time so when I get stumped or a surface is too wet ... I can switch to another painting in order to keep working.

TCoD: Quality of light is a big part of your painting. What aspect of the light in West Texas interests you most? What is the hardest part to capture?
RB:The colors of earth and sky in West Texas can be dramatic, especially early in the morning or late in the day. Hardest part to capture? I suppose to communicate a sense of movement in a still format.

TCoD: Who are the artists who influence you most and why?
RB: So many. I couldn't have had a better teacher than Jim Woodson, in addition to being incredibly talented, he's one of the finest people I've ever known. Other artists; I love Hopper, Inness, Wayne Thiebaud, Rackstraw Downes... because of the great ways they solved the same kinds of painting issues I deal with. But I love all kinds of stuff and admire many artists, whether they are applicable to me or not. Anslem Kiefer, Matisse...I'm all over the place on what I like to look at. And I love some of the Texas regionalists like Alexander Hogue, Jerry Bywaters, Otis Dozier, William Lester and Everett Spruce.

TCoD: You are an artist from Fort Worth, but I haven't seen any examples of Fort Worth reflected in your art. Am I not looking in the right place? Are there any local places you'd like to paint?
RB: Oh, I've done many Fort Worth paintings, but not in the last couple of years, so you haven't seen any on the web site or in the museum shows.

TCoD: So what does it mean to be one of the "Texas Five" at David Dike Fine Art? David Dike handles works from a lot of great Texas regionalists from the past, so how does it feel to have your art hanging in a gallery that includes great Texas artists such as Jerry Bywaters and Tom Lea?
RB: It feels good of course! The five are the only living artists David represents.

TCoD: Good point. Describe your process of putting together a painting. How long does a typical painting take? How much revision is involved and how do you know when it's done?
RB: I love to work on site, but rarely can because of the time involved. It might take a month to finish a painting and since most of my sites are out of town, I usually take reference photos to refer to and do some site sketching for composition. Sometimes I can start a painting on site and then finish in the studio, working from the references. (See Texas Theater Marfa above)

TCoD: Thanks for your time, Randy. Good luck!

Interview: Rick Poss -- Out of the Shadows

Rick Poss possesses a natural sort of cool that many people try to cultivate but few achieve. In Austin music circles, he's known for his incredible guitar prowess that he has displayed with the likes of Alejandro Escovedo, Jimmy LaFave, Jack Saunders, Jim Lauderdale, Greg Trooper, and Bruce Robison, among others.

But what I've always thought made Rick a cool cat was not his unbelievable guitar playing ability, but rather his graciousness, his wit, his easy manner and his knowledge of all things pop cultural. The man is truly charming in a way that few possess. I've been fortunate enough to call Rick a friend for many years. He was my boss back in my Sound Warehouse days in Austin and I still remember him ribbing me when I bought a stack of Miles Davis and Thelonious Monk CDs in an effort to further my jazz education. "Oh," he said with that wicked Rick grin, "You think you like jazz!"

Rick, of course, knows jazz. And blues. And rock. And film noir. And baseball. I could go on, but let me just say that I always found Rick to be conversant on just about any subject -- and not in a show-off, look-at-me kind of way. Whenever I talk to Rick, I always leave thinking the same thing -- what a great conversation. And what a great guy.

So in case you haven't guessed, I think Rick kicks ass. That's why I am excited about his first-ever solo CD, The Dying Man, which you can buy from Waterloo Records in Austin, starting July 17. So now that Rick is stepping out of the shadows and into the spotlight, I thought maybe we needed to talk a little and share our conversation.

The Caravan of Dreams: Why did you decide now was the time for the solo CD?
Rick Poss: I had some time between projects and had been writing a lot of material that I couldn't use as a side man. After the death of my father in 2001 I had a nagging thought that I needed to leave something of my own behind. I guess it was just the combination of things, the time, the songs, the feeling.

TCoD: Where did the title come from?
RP: The Dying Man is a tribute both to the late John Fahey and my father. Fahey passed away while I was recording the record. He had done loads of work about death and dying, the blues and spiritual issues and since my father was a preacher there was a vague connection to me, a sort of tie in between the two passings. I also feel that songs are often about relationships and with the passing of a relationship can come the feeling of death or ultimate loss.

TCoD: I know your love of noir fiction and film noir was a huge influence on the CD. How did you incorporate that into the lyrics and sound of the record?
RP: I think that blues and detective stories have the man against the world in common. A man in search of truth or in search of honor is a common theme in both. The cover art as well has to do with a sort of noir quality. I often write songs from the title first. Titles like "No Answer," "Double Cross," "Lucky 7" are all movie titles. The sound I was going for in "Double Cross" particularly was like a jazz singer, maybe Chet Baker, that could be easily found in a noir sound track.

TCoD: What kind of a reaction are you getting from people who have only known you as the guy who plays guitar? People actually get to hear you sing!
RP: Many people have heard me sing in other bands, bits and pieces along the way. I have fronted bands since I started playing. Strangely, there are those who remember me more that way. I guess a few folks, when they heard I was making a CD, asked if it was all instrumental... I got a kick out of that!

TCoD: My favorite song on the album is "Apologies Don't Come Easy." It's just kind of a straight-ahead rocker. Can you talk a little about how that song came together?
RP: The sound of the song, the delivery, is somewhat like my music in the 80's. The subject or the character in the song needed to be a guy with an attitude. I've known plenty of people like that, as we all have. I think it's hard for most of us to apologize, even if we need to.

TCoD: I've always thought of Jimmy LaFave's Buffalo Return to the Plains as kind of minor Texas classic. What are your memories of that recording session?
RP: Minor? Really, I have Jimmy to thank for giving me so much space on the record. I'm all over it. He was very generous. The basics were a struggle. The drummer was new, the keyboard was new, and so was I, so it took us a while to gel. After a couple of days in the studio, I think we really came together and began to work as a unit. That's really magic when that happens. I agree that it's a great record and probably at the time the best work I had ever done.

TCoD: You also played on Alejandro Escovedo's Gravity. A lot of famous names on that one: Turner Stephen Bruton, Lou Ann Barton, Bruce and Charlie Robison. What are your memories of recording that album?
RP: Alejandro is such a great storyteller. It was easy! The ablum was quite different from our live performances from the period so then it took a while to come together. Oddly, most of the people you mentioned were not in the studio at the same time. Years later when I played with Bruce, I joked that we were on the same record and he didn't realize what I meant.

TCoD: You studied guitar with Paul Buskirk and Chris Florey (Benny Goodman)? What are the lessons that lasted from your time studying with them?
RP: Paul was a genius, who could play anything. He co-wrote "Night Life" with Willie Nelson and played anything with strings on it! Chris was a great sing player who showed me lots of chords and how to use them in a very different way than I had ever thought possible. The chords in "Double Cross" would not have happened without Chris showing me jazz inversions. I was lucky to run into them both when I did. The right instruction at the right time can make all the difference.

TCoD: I know that you are quite a record collector? What are a couple of records that have most influenced your development as a guitarist?
RP: The Blues Breakers record with Eric Clapton, Texas Blues by Lightin' Hopkins, all the Robert Johnson stuff, and A Man and His Blues by Buddy Guy ... Really there is so much it's hard to choose!

TCoD: Tell me again, WHY are you a New York Yankees fan?!
RP: Two words: Roger Maris.

TCoD: One of things I remember about you is you are quite a student of the JFK Assassination? Are you a conspiracy guy or a Lee Harvey Oswald guy?
RP: You know the answer to that! Seriously, I've always felt Jack Ruby should be considered the central character of that drama. When you think of it that way, it changes everything.

Thanks, Rick! Hope to see you in Cowtown soon.

Interview with Kenney Mencher

I’ve been a fan of Kenney Mencher since I first saw his work on the Hang Art Gallery Web site. While some of the work at Hang is the type you would expect to see at a gallery catering to the San Francisco loft-dweller demographic – placid landscapes and color fields – Kenney’s work was different. A sexy-looking gal cavorting in the bedroom with Scooby Doo, scenes from hard-boiled detective stories and lots of small moments and stolen glances. He’s a storyteller with a strain of darkness and a wicked sense of humor. What’s not to love?

If you drop in at his Web site every few weeks as I have over the past few years, you'll see the work of an artist who is contemporary and classical at the same time. His work is very much of the 21st Century but his themes and technique are timeless.

If you live in the Dallas / Fort Worth area or can get here between June 7 and July 1, Kenney’s work will be showing at the Dahlia Woods Fine Arts at 600 Cantegral Street in Dallas. He also has a solo show scheduled at the gallery for September. Kenney was kind enough to swap e-mails with me ahead of his Dallas shows. Please take a few minutes to learn more about him. I think you’ll be glad you did.

The Caravan of Dreams: Some your work involves nudity and sexual themes such as voyeurism and power. I suppose it shouldn't surprise that your work has been controversial. However, I live in Texas so I sort of expect that thing. How does your work get called too "wry and perverted" in San Francisco?

Kenney Mencher: One reason might be political. Some other artists who started showing at Hang showed some work that was similar to mine. These artists dealt with difficult themes, especially dealing with female and male sexual dynamics, however, since these artists were female painters I think the staff at Hang felt that these female’s artists’ work were feminist statements. I’m a man so I think that there was the perception that my work, even though it called attention to negative stereotypes, still was not really “feminist” in content. (Ed note: Click to see a larger version of "Apocrypha" from above. For other Not Safe For Work Images, click here, here and here.

Other reasons may be that I pushed the themes a bit too far and was too edgy for Hang as a venue. Hang was interested in representing emerging artists they were not a “cutting edge” gallery. Hang was not really interested in cultivating the counter culture or avante garde art scene or its collectors. Hang’s business model was to cater to educated upscale thirty something professionals who were interested in decorating an apartment. Decorative artwork sells much better than artwork that is designed to provoke thought or challenge the viewer. You would be amazed at how conservative this segment of the population in California and San Francisco is in general.

At the other end of the raunchy spectrum, there are some edgier galleries [ed warning: the links are NSFW] (The Shooting Gallery, Varnish, and 111 Minna to mention a few) who do show edgy provocative “outsider” and “visionary” work that is purposefully meant to provoke and titillate. My work is not considered edgy, cool, or really dirty enough in content to get me into one of those galleries. I also think that my style of rendering is too conservative for these venues. I’m a little stuck between two worlds.

TCoD: Do you intend your work to be provocative?
KM: Yes. I want it to be thought provoking but not necessarily titillating in an overtly erotic way.

TCoD: Do you ever get tired of answering questions about the Scooby Doo painting?
KM: I never actually answer those questions directly. I’m more interested in finding out what people think is going on in that painting. What do you think is going on in that painting?

TCoD: Another word I see in a lot of your reviews is ambiguous? Do you intend your themes to be ambiguous? Or do you have a theme or message you want to convey?
KM: The only thing I’m clearly trying to get my audience to do is laugh or be amused. Second on my agenda is to be deliberately ambiguous in that I don’t have a definite or clear story as to who the characters are or what they are doing in the painting.

TCoD: What are the themes that interest you as an artist?
KM: If I was to give myself a shopping list of themes or motifs each painting should address they are: interpersonal communication, sexual dynamics and roles, and story telling.

TCoD: Does your work get compared to John Currin?
KM: My friends do but the people who have reviewed my work in the newspapers don’t even seem to know who he is. I think he’s good but very different from me. He doesn’t seem to tell as much of a story as I do. He is doing some similar things in terms of the themes and motifs that I discussed before but he also varies a lot more in terms of formal things in his paintings. He purposefully awkwardly drafts the human figure. He also changes the way he applies paint from show to show. I actually think I have more in common with Eric Fischl.

TCoD: In your earlier work, your brushwork was much more impressionistic, but now it is much cleaner, smoother and more refined? Was this just part of your evolution as a painter? Or was this more of a deliberate shift on your part?
KM: I’ve actually refined my style quite a lot especially in the larger more ambitious paintings in which the narrative is more specific. I still do some smaller paintings in that quick oil sketch or 1940’s pulp illustration style.

TCoD: Much of your earlier work drew heavily on film noir themes for characters and composition. Your current series of Sequential Narratives (such as "Little Did He Know" at the right) seems to draw on more contemporary film and TV shows. How do you believe film and TV has influenced you as a painter? Does David Lynch fit in there anywhere? Is your film noir period over?
KM: I think that film and TV are my primary influences. Even more than traditional art historical sources. The way television and film tell the story, how they frame the images and compositions, and even the lighting are really important to me and I think about them all the time.

David Lynch. Hmmm. . . I’ve seen all of Lynch’s films and I like David Lynch in theory, but, he tries way too hard to be weird. I think he tries to shock whereas I actually like to be more predictable in my scenarios. I think I would still be making the paintings I do even had I not ever seen one of Lynch’s films.

TCoD: What's with the waterglass paintings? (See "Pollyana" at left)
KM: There’s a feature about that particular series in “The Artist” magazine this month. You can tell a lot about a person just by asking them, “Is the glass is half empty or is it half full?” I like painting portraits and still life and this was a perfect excuse do just that but with a thesis or theme in which to explore. I guess they are the visual equivalent to a haiku. They are limited in form but within the formula, a half glass of water and a character, you can say and explore a lot of ideas.

TCoD: To me, one of your most interesting paintings is Los Angeles. It reminds me very much of the painting "Second Story Sunlight" by Edward Hopper. But the figures also have this Thomas Hart Benton feel to them. Is this a meditation on aging and fleeting youth? Is this a metaphor about Los Angeles? Is there a homoerotic subtext? What's going on here?
KM: Yes, you are completely correct! (That’s what I say to anyone who interprets one of my paintings.)

TCoD: Your more recent paintings seem to involve quality of light more and more. Your earlier work seemed to deal more with cinematic lighting, but now you seem to be dealing more with natural light (such as "In Martini Veritas" at right). Am I just making this up or is there something to it?
KM: Yes, it has to do more with my abilities as a photographer and a painter. I’m getting better reference material. I’ve also learned a lot more about observing and painting light and color in the last year.

TCoD: Your wife, friends and students dress up and play characters in your paintings. Do people volunteer for this or do you choose your subjects?
KM: It’s a combination or a negotiation. I do keep a sketchbook of written out scenarios. I go to thrift stores and get the clothing I need and then I throw a party or visit a party at a sympathetic friend's house. It helps if everyone is drunk. I also ask my students to pose sometimes. You would be surprised how many people are hams.

TCoD: How long does a typical painting take? How much revision is involved and is that a process you enjoy?
KM: Size counts but let’s say one of the glass of water paintings as a midsize one 36”x48” would take about 40 to 60 actual hours to make. This is spread out over several weeks and I usually have two to three paintings going on at the same time.

It starts with writing out the scenario. The photo shoot is usually around two hours (setting up props lights and actually shooting.)

Next is three to five hours of Photoshop on the computer composing, moving things, analyzing light and color and modifying different versions of the batch of reference photos.

Laying out the drawing takes around two to three hours.

The acrylic underpainting takes about eight hours. Often I redraw and reblock in areas of the painting while in this phase. My wife actually tells me when things are off or look bad.

The last layer of oil paint usually takes two to three eight-hour days. This phase runs about twenty-four hours. During this phase I go back the next day and fix the problems that I had not noticed the day before.

TCoD: You explain on your Web site how you use photography to assist you with your composition. Because you make such extensive use of photography, is it a challenge to keep your work painterly and not photorealistic?
KM: It’s not a challenge at all for me. I paint as if I was painting from life and the forms are not abstract for me. When I paint a hand I think of the muscles and skeleton under it so I still lay the forms down by blocking them in a wet into wet 19th century style. I actually think I have more in common with Sargent, N.C. Wyeth and pulp illustrators than I do with photorealists like Bechtle or Estes.

TCoD: Now that you mention it, I can definitely see the influences of Sargent, N.C. Wyeth and pulp illustrators. But I also can see classical influences (see "The Calling of Marc" at right) in some of your work that I just can't place. Can you help a brother out here?
KM: Oh yeah. . . Don’t get me started. I think that one of the greatest painters that ever lived was Velasquez and tracing back from there Caravaggio. I sometimes flatter myself into thinking that I’m a modern caravaggisti (Italian for follower of Caravaggio). I love both those artists for their use of everyday items and things and for their very theatrical shifts of light and shadow. I’m an art historian so I look at old masters’ works all the time. I’m constantly stealing from art historical sources such as Artemisia Gentileschi, Michael Sweerts, Vermeer, and Rembrandt.

Still, in the words of Chauncey Gardner, “I like to watch.” Even more to the point I love to look at all art. One of my all time favorite artists is David Tomb. Recently artists like Lucien Freud (NSFW), Bo Bartlett, and Odd Nerdrum are some of my favorite views but I also love graphic novelists and artists like Frank Miller and Alex Ross. I also really dig some vernacular photo web sites such as http://www.bighappyfunhouse.com.

TCoD: I saw you used to teach at Texas A&M in Laredo? That seems like, um, an odd fit. How did that go?
KM: Not so well. They liked me because I was a far out import. The political, economic, and moral climate of Laredo seemed toxic. I found the town and the people of Laredo to be very much in line with the film “A Touch of Evil.” I actually took a $10,000 pay cut to move back to the San Francisco area. I would have stayed if my job were in any other Texas city. I really like Dallas, Austin, and San Antonio. My wife and I would flee Laredo once or twice a month and spend weekends and holidays in these cities.

TCoD: I see your going to be showing in Dallas again at the Dahlia Woods Gallery. You've shown in the past at Craighead Green. How did it go the first time and why are you coming back?
KM: Ineffable stuff happens sometimes and you just lose a gallery for random reasons. Craighead Green broke up with me I think because they just stopped selling my work. I’m not sure how or why I had a great run of sales with them initially but then they stopped being able to sell the work after the first two years. Dahlia actually bought some of my work while on a trip to San Francisco. A year or so after Craighead Green stopped returning my calls Dahlia opened a gallery. I contacted her and now we are working together. It’s funny, she and I went to the High School of Art and Design in New York although at different times. At least she likes my work enough to literally put her money where her mouth is. Go figure!

TCoD: I love your Web site, and one of the most interesting things about it is the blog where you show step-by-step the process of creating a painting. I know that lots of bands and musicians are using the Web and blogs to break down the walls between them and their audiences, but I haven't seen as much of that between an artist and his audience. Does your Web presence help you communicate with your audience/customers or is it something more for the benefit of your students or is it a little of both? I'm wondering why I don't see more artists doing this kind of thing. Is it I just don't get out much?
KM: My Web site is one of the best outreach tools I have. I love to correspond with people about art and yes, the website does tend to break down barriers and add to communication.

I primarily began it as a tool for my students to use and have access to all of the lessons and images that I use in both my art history and studio courses. It has developed organically as a public relations tool, mainly because I wanted to share what I know about painting.

I’m also interested in what my audience has to say about the work. The blog takes an enormous amount of work and I am actually backlogged on it right now. I have a ton of digital images that I haven’t edited or posted yet as step by step examples of how I work.

TCoD: Thanks, Kenney! Drop us a line when you're in town.

Interview: Malcolm Mayhew

Malcolm Mayhew is better known to many as the guy who wrote about Fort Worth music for the Startlegram. Although he's probably more comfortable with being the name in the byline, he graciously agreed to submit to e-mail interview torture for our benefit.

Although he's spent over a decade as the local music scene's storyteller and advocate, his days as a full-time writer for the Star-Telegram came to an end last year when he decided to devote more time to his passion -- antiques. Although you'll still see a byline from him every now and then, the best place to catch him as at a local antique auction, in one of this antique booths or online at his virtual antique store. Here's what Malcolm had to say:

The Caravan of Dreams: What are you doing since you left the S-T? Are you writing about music at all?
Malcolm Mayhew: I still write for Texas Music magazine and I still contribute sporadically to the Star-Telegram's music coverage. I also still write an antique column for the paper. But mainly, I'm trying to make a living buying and selling antiques. "Trying" is the key word; it's not easy at all.

TCoD: Why did you bail out of the newspaper business?
MM: I just felt like it was time for me to go, that if I was going to do something else, I'd better to do it now before I got even more comfortable than I already was.

TCoD: Do you still follow the local music scene? If not, why not? If so, what do think of the state of transition that the music scene is going through right now with the Black Dog gone and the Wreck Room going?
MM: The Fort Worth music scene is just like any other music scene, I suppose. There will always be changes - clubs will always open and close, bands will always come and go, Denton will always be called the "next Seattle," even though that never happens. I do honestly think that Fort Worth had its time in the early '90s, when Mad Hatters and the Toadies were around, and even a few years before then, like when Nirvana and the Goo Goo Dolls and Fugazi played here; stuff like that just isn't happening around here anymore. I'm not sure if it's happening anywhere anymore. The last big "scene" happened in Omaha, and that was years ago. "Scenes" may be done; people are getting their music off the Internet now, not from the club down the street. Locally, I think you'll always find interesting music in Denton, since it's a real college town. As for Fort Worth, it'll keep chugging along. Even if the Black Dog and the Wreck disappear forever, someone will come along and pick up that left-of-center slack. They always do.

TCoD: What local act do you like best right now?
MM: I like this band called Sky Eats Airplane. They're a metal band with a heavy electronica influence. Pretty tough listen, but they're very dynamic and smart.

TCoD: What do you like best about dealing antiques?
MM: The money can be very good. You can buy something for $100 and sell it for $1,500. It's also something that, for people who do it for a living, keeps you busy constantly: If you're not at an auction, garage sale, flea market, or estate sale looking for stuff to buy, you're taking a piece somewhere to be repaired, or you're repairing it yourself, or you're bidding on something on ebay, or you're moving stuff around at your mall or shop, or you're dickering with someone on a price, or you're trying to find some goofy piece of Jadite for a customer or client. There's a sense of excitement and anxiety in living your life like that. It's a lot like the newspaper industry: Every day is completely different. For whatever reason, I'm drawn to that.

TCoD: What type of antiques do you specialize in and how did you become interested in that niche?
MM: It all comes from my family. Among other things, my parents were furniture and antique dealers. My mom ran an antique shop on Hemphill on the south side of Fort Worth in the late '70s/early '80s. She got out of it because her place kept getting busted into and the guy who ran the grocery store next door got beat up and robbed. She kept selling stuff out of the house - going to garage sales and putting ads in the paper for stuff she bought at them, etc. Then she and I went into the Burleson Antique Mall, where we had about a half-dozen booths. My father died and she cut back on the space. Then she died and I just took over the business, doing it on weekends until about three years ago, when I started pursuing it more aggressively. I have spaces at the Benbrook Antique Mall, the Historic Camp Bowie Mercantile and I'm about to get a space at Cityview in Dallas.

If I specialize in anything, it's probably religious items - old Bibles, crucifixes, prayer benches, anything religion-related that's odd or unusual. I also sell a lot of furniture - American, English, Oriental, etc. I also like military stuff and Masonic memorabilia, although they're slow-sellers.

TCoD: What is the coolest thing you've purchased recently?
MM: Coupla yardlong military photos of Camp Bowie taken during World War I. One is of the original infantry taken at the camp, I believe in 1918; another one is of the same infantry taken in France a few months later. To Fort Worth military collectors and local history buffs, they're worth thousands - they're originals, in their original frames. They came from someone who had a family member stationed at Camp Bowie. They're for sale over at the Mercantile.

TCoD: You've told us about the FW music scene. What about the FW antique scene?
MM: Fort Worth is very lucky in that it has several major antique malls, dozens of speciality and high-end antique shops and plenty of auction houses. Whatever it is you want, someone around here can probably get it for you.

TCoD: Please answer the standard "What's next for Malcolm" question:
MM: Guess I'll get up tomorrow and pray I sell something.