These might not be terms typically associated with the creation of fine art, but for Pacific Northwest-based artists Roxanne Turner and Marcy Baker, the world’s vast store of fragmented, forgotten and scattered objects is replete with creative possibility.
Both artists will exhibit the fruits of their artistic foraging at KALA this month in a show titled “In the Box.”
The show will feature almost 40 assemblages, each a multi-dimensional amalgamation of found objects and items from the natural world contained within its own repurposed box.
The seed for a two-woman show was planted when Turner and Baker began to take note of the common threads running through their work: botanical imagery and materials, refuse foraged from the modern world. And, of course, the format of the timeworn boxes themselves.
“It occurred to us that, while our assemblages – composed within the structure of reclaimed wooden boxes – share a similar aesthetic, they are developed in individual and complementary ways,” Baker said.
The Portland-based Baker began exploring the concept of art in a box when she found herself in possession of several old cigar boxes some years back. She quickly became intrigued with the artistic challenges and possibilities a box presented.
At the time, she was living in New Mexico and experimenting with ways to combine the rusty treasures she gathered on her long rambles through the high desert with wax rubbings, block prints, old letters and sheet music.
She began to create collages within the cigar boxes and fell in love with both the process and the larger concept it seemed to reference – finding beauty in the imperfect: a forgotten page of sheet music, an old ceramic insulator cap, and especially the rusted metal scraps lying forgotten in the sand.
“They’re beautiful little treasures,” she said. “I love how they can relate to something brightly colored, like a monotype, that pop of color and how that plays off the worn surface of the metal piece.”
The task of arranging the disparate objects into a coherent whole is by nature imprecise, and requires a bit of spontaneity.
She’ll sit down before an empty, hinged box and consider its shape, its edges, its sides, even its smell. Then, she’ll begin to arrange and rearrange, to bring in and take out pieces, to consider relationships.
“For me, it’s thinking about two sides and how they relate, what they’re saying,” she said. “They could be closed, they could be open, and you can see how they’re talking back and forth, the relationships between those two sides and almost the sense of a book being read, one side to the other and back again.”
The Astoria-based Turner began creating her own boxed art pieces in 2010. She’d spent 14 years focused on capturing tree and plant imagery in two-dimensional formats before she began to explore the box format.
Turner admits to being a “compulsive forager,” especially when it comes to plant materials, and her work incorporates seed pods, branches and blossoms brought home from locations both near and far-flung: Manzanita from California, seed pods from Australia and Japan.
Why the fascination with nature’s castoffs?
“It’s the forms,” Turner said. “They’re very sculptural, they’re as beautiful as animal bones; they’re simple and they’re just gorgeous forms. They’re sort of architectural and there’s so much variety.”
She also makes use of plenty of found and handmade materials: Japanese rice papers, collograph, textured monoprints, silkscreens.
Turner uses these objects in combination to riff on themes of life and its inevitable cycles: growth, ripening and eventual decay.
She also draws inspiration from the Japanese concept of “wabi sabi,” which holds up the imperfect and the impermanent as beautiful within their own right and worthy of admiration.
As it is with nature, these assemblages will no doubt fall prey to the ravages of time, moldering, crumbling, changing irretrievably, and Baker is just fine with that.
“These plant materials will be affected by light and heat and humidity, and so they’re impermanent,” Turner said. “They’re not going to last, they’re going to change gradually over time, they’re probably already changing. So what you see today, the colors may change in a year or two. It’s kind of like performance art.”
IN THE BOX Opens Saturday, June 9, 5-9pm, in conjunction with the Astoria 2nd Saturday Art Walk.
The exhibit runs through July 8. KALA is located at 1017 Marine Drive in Astoria. Summer Gallery viewing hours beginning June 10, Sat-Sun noon to 5pm, and by appt. 503.338.4878 or 503.440.3007.
My thirteen-year-old daughter and I like action movies. Lately we’ve been into superheroes — Captain America, Thor, the Hulk, Iron Man (1 and 2), and the Avengers.
Thanks to Marvel Entertainment for reinforcing a father-daughter bond. We’ve talked about which hero we like best, and second best. We’ve discussed how their back-stories are interwoven in the scripts so people who aren’t comic-book geeks can get a sense of each hero’s persona. Except for Thor, who claims to be a god, they are mortals who’ve enhanced their fighting skills with martial arts, bio-chemical agents, gamma-radiation, or futuristic hardware.
Hero stories have been around for ages, and I bet they do more than entertain us. They boost our morale and might help to dispel our fears. Maybe they raise our resolve to kick ass when some herculean hardship comes to town.
I’d like to see Marvel turn an average dad into a superhero. He could be watching a movie, say, and eats some supernatural popcorn grown by shamans. Suddenly, BAMM, he’s the embodiment of paternal power!
Just think what Iron Dad could do. He would know exactly what to say to kids in every situation, no matter how hard. Goofball snafus would be replaced with laser-beam humor. His storytelling would never cease to amaze. Young audiences would be cheered by the knowledge that his wisdom could banish any bogeyman.
Of course Iron Dad’s awesomeness would be anchored in the fact that he’s the world’s best listener. Rather than talk over kids, he would help them find their own words to make sense of whatever troubles come their way.
Sound like a blockbuster? Probably not. Needs more peril. The strength of every superhero is measured against the enormity of his adversary.
How about this: let’s say Iron Dad must face an unthinkable terror — one no Marvel hero has ever confronted.
He must deal with the suicide of a beloved teenage girl — a cherished comrade of his daughters and sole child of close friends.
If ever we needed a superhero, it would be then.
Lacking the real thing, we make do with what’s at hand. I’m grateful for movie stars in cool suits surrounded by special effects.
People respond differently to tragedy. Some talk, others are quiet. One thing we share, in the wake of suicide, is the need to connect in life-affirming ways. Sometimes all a dad can do is engage in seemingly mundane diversions. Pass the popcorn, play catch.
For several nights straight we watched superhero movies I rented from Nehalem Bay Video. It was good to exchange a few words with the owner, Larry Gresham, on my way home from work. Larry likes superheroes, especially Captain America, and always takes time to help me choose movies depending on which family members are watching.
The culmination of my Marvel experience was taking the whole household to see The Avengers in Portland. First time at a 3D theater. Overwhelming.
As it happened, this re-connected us with another dad in a family of close friends in California. J.R. Grubbs assisted in the making of many of those movies and was listed as the first sound editor for The Avengers. Seeing his name in the credits was a highlight of the experience (especially for Jennifer, who prefers romantic comedies).
Last time we were at his home J.R. took us into his little backyard studio hut and showed us clips he worked on from Iron Man 2. We saw a first scene, cut from the movie, where the hero and leading lady sport their chemistry before she kisses his helmet and he jumps off a plane to go wow a crowd of fans at a high-tech convention.
J.R. explained what he did to bring that crowd to life. It isn’t simply a matter of overlaying pre-recorded applause. To make the cheering feel real he timed the sounds of singular claps to coincide with the hand motions of individuals. The task looked as tediously daunting as any I’ve seen — reconstructing a whole acoustic world in minute detail to surround the dialogue (usually the only sound recorded when the scenes are filmed).
As I write these words I’m suddenly aware of the familiar ritual of my daughter making an omelet. I listen to her crack the eggs, scrape the pan, and clink utensils. She chews and swallows then realizes her dad has stopped clicking at the keyboard and is staring at her spellbound.
How do we move on when the most precious vibrations of sound and light are suddenly absent from our senses? What is the sound of no hand clapping? What did heroes look like before they were born?
Driving home from work I pull into the parking lot of Nehalem Bay Video. A man named Gordon Hempton is being interviewed on the radio. He is an “acoustic ecologist” who records the quietest places on earth. His life bears witness to natural soundscapes that haven’t been drowned out by man’s metal drone.
The interviewer paraphrases a profound finding he’s made that is summarized in a quote from his book.
“Silence is not the absence of something but the presence of everything.”
Over the radio Hempton shares a recording he made at one of the quietest spots in North America — the Hoh Rain Forest on the Olympic Peninsula. As I listen to that soft symphony in my car, sitting in the video store parking lot, I’m comforted beyond words.
We are all children in a society that often feels like its bound for self-annihilation. All I know to shift course is tune in more fully to family, community, and the creation that surrounds us. Cheer with a good crowd, yet remember everything contained in quietude. In this way I hope to help cultivate what a bereaved father-friend calls a “culture of kindness.”
Grief reminds us to nurture what’s beneath our hard exterior, the only thing that can absorb the silence.
The music made by Portland’s Miss Massive Snowflake – who will be gracing the Kala stage on Saturday, June 9 – is a lot like the name of the band itself: a juxtaposition of elements that, on close inspection, make little or no logical sense, but it hardly matters because it somehow sounds right. The songs on MMS’ latest album, Like a Book (available from their label’s website, www.northpolerecords.org), bear a passing resemblance to pop songs. Put it on as background music and it might seem unthreatening, even innocuous. You will tap your feet, nod your head, and expect it to leave nothing more behind than an errant swatch of melody or two lingering pleasantly in the memory. But pay close attention and your head may freeze in mid-bob. What kind of pop song ends with a declaration like “Takes a lot of talent/To talk a buncha shit/And not get in trouble for it”? And follow that up a couple minutes later with a reference to Al Pacino and Robert DeNiro having sex? As you struggle to get that image out of your head, you start picking up other aspects buried in the mix – odd time-signatures, abrupt shifts in tempo, a blast of dissonant brass worthy of Radiohead’s “The National Anthem” – which subtly disfigure the shiny, happy face pop music exists to put forward. At which point you realize that, underneath its passing complexion, this stuff is downright weird.
All of which suits the man behind the band to an eccentrically-crossed T. “I’ve always been kind of a clean-cut-looking person,” says Shane de Leon, the singer/songwriter/multi-instrumentalist who serves as Miss Massive Snowflake’s auteur. “I don’t have any tattoos; I’ve always kept my hair pretty short. But I do have some pretty weird ideas, and I like the idea of flying in under the radar, being a freak without feeling like I have to advertise it.” No surprise, then, that de Leon’s music contains trace elements of some of pop’s greatest eccentrics, from the Flaming Lips’ Wayne Coyne to The Artist Formerly Known As Something Other Than Prince. Like them, de Leon distinguishes himself by an inability to stand in one place long enough to be identified; just when you think you’ve figured him out, he’s already morphing into something different.
You can trace that elusiveness as far back as 1997, when de Leon followed some friends from his home state of Montana to Portland, where he joined their band Rollerball as trumpeter, clarinetist and sometime vocalist. Founded as a straightforward power pop band, they were already in the process of escaping their three-chords-and-a-straitjacket origins when he joined. Within a year, they had become something else entirely: a relentlessly experimental combo whose music pushed out in all directions at once while mysteriously remaining centered. Yet it says something about de Leon that he could be an important component of a band of infinite possibilities and still be unsatisfied. By 2004, “I was really getting into songwriting, but realized that it was hard to play trumpet and sing at the same time. I had never really played guitar, but decided to start because it seemed like a good way to accompany myself.” Thus, Miss Massive Snowflake. Conceived as “a calm, acoustic side project,” its first three releases were a series of CD-Rs with handcrafted sleeves designed by his daughter and contributions from other members of his family (including his mother on backing vocals). Far more song-oriented than Rollerball, MMS represented a step towards accessibility – “I’ve been challenging people with experimental music for over ten years now, and I’m ready not to have the audience look at me so quizzically all the time” – and a conduit for another side of his musical personality. “I’ve always liked pop music – Michael Jackson, Madonna, even Miley Cyrus. So I’m trying to make something that’s catchy, but we’ll never be too poppy, because I like to mess around with weird time signatures and strange chord changes.”
True to form, even the conventional is unconventional in his hands. Once a solo project with an ever-changing cast of supporting characters, it is now a bona-fide band: its lineup has solidified into a unit featuring bassist Jeanne Kennedy Crosby and drummer Andy Brown. “I’m trying to write more for the band now – more of a rock sound, with distortion pedals and barre chords. I’d never played feedback before! I’ve only started to use distortion and feedback the last couple of years, and I’m in my forties now – I’m starting out at a place where most people would be when they’re eleven years old! I’m way behind the curve.”
Not that Shane de Leon intends to stop moving, literally or figuratively. He continues to run his label, North Pole Records (one of whose bands, Dramady, will open for MMS on the 9th). As we spoke, he had just completed a 29-date tour of Europe (his fourth); plans are afoot to return there in the fall after playing dates throughout the US. And, of course, he intends to keep coming back to Astoria, as he has done twice a year since his Rollerball days. “I’m from a small town in Montana, and Astoria has that same kind of feeling. Especially the people. I think some of the weirdest people in the world, the people with the most creative thoughts, are in towns like this and not the big cities, and Astoria definitely has that. There’s just this great vibe here that I can’t quite define. It’s a pretty magical little city.”
Our local north coast booksellers are a little naïve; at least that’s what most of them told me when interviewing for this story. These bookstore owners all believe independent bookstores are a necessary aspect of any livable community. They believe inviting, local bookstores furnished with comfy chairs, a cat, and stacks of good books sustain a community. They have the notion if they host book events and author visits and customer conversations their store can both indicate and incite a community’s health and cohesion. They hope ereading devices, and big boxstores with their sterile book sections filled with the same twenty not-very-well-written books, and online booksellers won’t impact the book market too much. A little naïve indeed.
But, as the roots of the word mean “native” and its etymological origins link to words like nation, kind, and gentle, the fact that these bookstore owners are a little naïve may be their – and our coastal community’s – saving grace.
All our local booksellers also love books. And reading. And words. Karen Spicer, the beret-wearing, coffee-drinking owner of Rainy Day Books in Tillamook, sits in her comfy worn chair and sweeps her arm along the length of her main room where stacks of books rise inside shelves, on tables, and even in piles on the floor. “Think about it,” she says with a wistful voice, “Twenty-six letters in the English alphabet, and look what’s here. If you can read, you can access every thought ever thought.”
Franz Hasslacher, co-owner of Ekahni Books in Manzanita agrees. He and his wife, Sherry, bought the store in December of 2009 because they “believe in books and information,” particularly the kind of books not noted on the homogenized bestseller lists. However, the Hasslachers came into owning a bookstore right when the state of the publishing industry, with the advent of e-readers and tablets, registered its greatest shifts in how people get that information. In the second quarter of 2010, just after the launch of Apple’s first iPad, the online mogul Amazon.com hit the dubious milestone of selling more ebooks than print books. While Hasslacher acknowledges the advent of ereading devices has taken its toll, he still has hope. “Young people and old people come into the store and say they’ll never buy an ereader because they like the tactile feel of a book. Whether there’s enough of them, who knows?”
All our local independent booksellers have that question “who knows” hanging over their heads. They know the book world has changed. They know the economy has tanked. They know the future of the publishing and distribution industries is murky. Some of them, like Karen Emmerling of Beach Books in Seaside who recently implemented Google ebooks on her website and will be a first timer at the book expo in New York this year, are trying to keep up. Other sellers may give up, though not without a fight.
Spicer has been in the business for twenty-five and a half years. She knew what she wanted when she bought the bookstore and claims she “pretty much achieved that,” which was to make her livelihood by being a proprietor whose store has idyllic days where a dad is reading to his kid in the children’s room, and another person is reading on the couch, and a mom is nursing her baby in the comfy chair, and there’s cool music playing over the speakers. In other words, a place where community happens. But those kind of days at Rainy Day are getting fewer and farther between. “What I’m experiencing [now] is that books aren’t revered like they used to be,” Spicer says. “They’re a penny on Amazon, a dime a dozen. So if people can’t get them for cheap, they don’t want them.”
Jody Swanson of Cloud & Leaf Books in Manzanita can relate to Spicer’s experience. “Occasionally I have people come in here, take a picture with their phone of a book they want, and then go download it.” Swanson has been impacted by the changes in the economy and the book market, and she worries, too. But, she says she still sees a lot of people who have “awareness about supporting indie bookstores.” She also repeats a few times during our interview how thankful she feels to have a good location in Manzanita with a lot of foot and vacation home traffic where people arrive with leisure time to read.
All our local booksellers know the most important aspect of an independent bookstore is the human interaction and quality service they offer. It’s one asset all the technology or money in the world can’t beat or buy. These local sellers get to know their customers and help recommend books off the beaten path to satisfy their unique readers’ tastes. All of them will make special orders for their customers.
“More than ever, customer service is important,” says Emmerling. “Personal connection is what keeps people coming back.”
Patti Breidenbach, the new owner of Lucy’s Books in Astoria, argues customers “want that personal touch you just can’t get at the ‘A’ place, the online store that shall not be mentioned,”she says with a giggle. She also notes how someone once told her a bookstore in a town reflects the education of the people. “A town without a bookstore is a sad town,” she says.
If you’re reading this article and nodding your head in agreement, do more than peruse in the nice chairs these sellers have set out for you. Buy a book. Or two. Or tons. If you’re too financially strapped to buy a book, then ask if the seller might like a donation of your cool used books, so they could turn around and sell them, hopefully at a profit. One smart customer, when hearing how our local libraries are struggling to survive and fighting to pass levies to keep their doors open, walked into Rainy Day Books, bought a $500 gift certificate, and then gave it to the library to use for new purchases – that way, his purchase was doubly philanthropic.
On the side of their sales counter, Cloud & Leaf Book has a poster from IndieBound, a program launched in 2008 to help bring together independent businesses. The poster is the IndieBound Declaration, which reads in part: “When in the course of human events it becomes necessary for individuals to denounce the corporate bands which threaten to homogenize our cities and our souls, we must celebrate the powers that make us unique and declare the causes which compel us to remain independent. We hold these truths to be self-evident, that all stores are not created equal, that some are endowed by their owners, their staff, and their communities with certain incomparable heights, that among these are Personality, Purpose and Passion.” If you truly believe bookstores are a sign of a thriving community, resist the soul-sucking ease of online shopping or buying a book while you’re also buying groceries. Save your soul – and your community – by supporting your local independent bookstore.
In 2005, Karen Emmerling, a former advertising executive and t.v. manager, had been working with her husband in Gearhart when she “decided it was time to do something for me.” She took a trip to Wordstock, the bookseller and author extravaganza held every year at the convention center in Portland, and “knew I should have always been in the bookworld.” So, she Googled “how to open a bookstore,” and launched Beach Books in November of that year. Noting the risky move opening a new business in November on the Oregon coast, Emmerling laughs and says, “my timing has never been good.” Despite the riskiness of the endeavor, Emmerling has not only survived but thrived; last year was her best yet and this year is off to a good start.
Her vision for her store was a “warm, inviting place where people feel comfortable talking about books. I wanted to share my love of books.” Beach Books sells primarily new books, but has some used, and a lot of regional and local author books as well. Beyond the comfortable chairs and welcoming cat, named Oz, Emmerling is serious about the quality of her customer service. She and her staff of four, offer monthly author luncheons, have ties to Pacific University’s Seaside winter residency program, provide a detailed website, create recommendation cards, send out a monthly email newsletter, update their Facebook page, offer discounts to book groups, and even make deliveries to locals during the summer months. Beach Books is an organizer of the first annual Seaside author event, “Written in the Sand,” to be held on June 23rd when more than 20 authors will gather at Downing Park to sign copies and read from their books.
Eight years ago when Jody Swanson moved to Manzanita, she noticed there wasn’t a bookstore in town and she wanted to run a bookstore because she loves books. Her location and reputation as the local bookstore on Manzanita’s main Laneda Avenue has been a key component of her ability to expand her store after only two years and maintain one part-time and a few “on-call” employees. She specializes in new books, both fiction and non-fiction, and “more obscure things, whatever I find that I like,” she says. She’s also proud of her poetry selection. She’s an avid researcher, referencing several book guides before she orders, and she’s selective about what she chooses. Cloud & Leaf also sells cards, writing related gifts, small journals and magazines, and a few used books from Swanson’s own storage unit.
While Swanson acknowledges whatever she thinks is “good is subjective,” locals, tourists, and second home owners seem to trust her tastes and have come to rely on them. “I have a lot of people,” she says, “who are kind and complimentary about the store, and who appreciate our customer service, like the little recommended signs and reviews.”
Cloud & Leaf is a bookseller for the Manzanita Writers’ Series and offers periodic book events; she even once packed a rock band into her small store to help support a local writer.
Cannon Beach Book Company
Valerie Ryan, Owner 130 North Hemlock, Suite 2 Cannon Beach, Oregon 97110 503.436.1301 www.cannonbeachbooks.com
Cannon Beach Book Company owner, Valerie Ryan, bought the store in 1980 with a partner (John Buckley). They owned it together until late in 1983, when Ryan sold her half, and returned to Seattle. Twelve years later, she came back to the area, and bought the store, running it as the sole owner for the last 17 years. With the help of four employees year around and five in the summer, CBBC hosts frequent book signings,and co-sponsors off-site events with Cannon Beach Public Library, at Coaster Theatre, or “wherever we are asked to participate”. A recent event, “Get Lit at the Beach,” brought four bestselling authors to town for three days. This successful event will continue, to be held again on April 12, 13, and 14, 2013.
Valerie majored in English in college. “When it became apparent that I was going to have to earn a living I realized that I could do what I loved best: surround myself with books; read them; write about them; talk about them; sell them.” She finds owning a bookstore to be “interesting, challenging, and always fun, a pleasure every day. “ Her daily interaction with colleagues, readers, and boxes of new books makes it “Christmas all the time.” She enjoys reading advance copies of what is coming up, as well as, the camaraderie with other booksellers in the Northwest and throughout the country. “I have learned a great deal about how people’s tastes change and evolve , but one thing is constant: a well-written book is easy to talk about and hand-sell. “ Selling hard-bound books is the obvious “backbone of the business”, but the advent of e-book formats poses an enormous challenge to retail booksellers. Valerie reflects, “It remains to be seen how that will play out. People tell us all the time that they love the feel, and look of a real book, but sometimes have succumbed to the electronic alternative for travel.”
As a small independent bookstore, Cannon Beach Book Company offers new and repeat customers an eclectic inventory from its extensive collection of literary fiction, to its carefully curated collection of sidelines. Customers frequently comment that in the CBBC library of fiction, children’s books, mysteries, and top regional and non-fiction titles, they find things they have never see anywhere else. Valerie and her employees are happy to fill special orders quickly and ship them anywhere. The inventory has recently expanded to include art supplies, along with their unique cards, Bookseats, Tokoloshe candles, lighted readers, book lights, and even a bumper sticker that says “Reading is Sexy.” “It is small and very discreet. We sell a lot of them to grandmothers…,” Ryan jokes, who, as is apparent, thrives to share the joy of reading with all coastal visitors and residents, young and old. -Edited by Lynn Hadley
Charlie Holboke has been in the book business since 1978. He started with Turnaround Books in Seaside, which he ran from 1978-1999. Godfather’s Books in Astoria opened its doors in 1993, and is still serving customers from 9-8, Monday-Saturday (Most of the year), and on Sunday, 9-6.
Currently, with four part-time employees, including Michael McCusker, editor and publisher of the paper, Times Eagle, and host of KMUN’s “A Story Told”, Thursdays from 9:30-10:00am, this book store vibrates with life. Godfather’s Books offers up a great metaphysical book selection, incense, beverages, and a comfortable space for getting to know locals, as well as local and worldly books and art. Holboke is inspired by the love of books: the smell; the feel; the contents. “I love to have a book in my hands, and thought it would be a pretty good profession to put books into other people’s hands, and, so far, that has been a pretty good thing.” In the last ten years, internet sellers, e-reading formats, and bigbox discount stores have made it challenging for the small, independent bookseller to stay alive and well. Charlie has addressed this challenge with caffeine! He was the first purveyor of coffee and espresso in Seaside in 1986, and has clung to his mug ever since, serving up espresso and gourmet coffee beans.
Godfather’s Books is not just a bookstore with coffee, it is an Astoria Institution: a social hub; a place for one-of-a-kind gifts; an outstanding used book collection; a spot to listen to the employees play music; a special refuge sheltering real, hands-on books and magic, where Charlie is as excited about bringing his customers new and used books as he was initially in the late seventies. Godfather’s hosts book events. The most recent was with Ken Babbs (One of Ken Kesey’s “Merry Pranksters”), who wrote Who Shot the Water Buffalo. On the schedule for Sunday, June 24th at 2pm, is Kurt Nelson, who has recently published two Pacific Northwest historical books, Fighting for Paradise and Treaties and Treachery. – Lynn Hadley
Franz and Sherry purchased the store from the original owners in 2009 (the store was relocated from Wheeler to Manzanita only a few years prior), and run the store themselves. They bought a bookstore because they “believe in books and information and always wanted to live at the coast.” Franz says owning the store is “about supporting local authors and local businesses and keeping our money in our community, or at least in the state.” Coast Community Radio, KMUN, recently named Sherry Hasslacher their business member of the quarter.
Ekahni Books specializes in local authors and local history, including self-published and print on demand books, and they have a new expanded used-book section. Franz and Sherry particularly liked the used book idea, because “there are no batteries, no clogging up landfills.” Franz notes that personal service in a bookstore is what’s invaluable. “We can figure out what the customers’ reading appetites are and suggest books when they come into the store. They want to read something other than the twenty books on Amazon or what’s on Oprah or the New York Times bestseller lists. Our store is more about finding that hidden treasure.” Ekhani is in partnership with the Manzanita Writer’s Series and is a bookseller for their author events every other month. The Hasslachers bought the store with the belief they’d be able to support themselves, but Sherry has taken another job to aid their income and the store is currently for sale.
Twenty-four years ago, Mary Lou McAuley was living in Washington State when she received a “sudden tip from the cosmos” that she should move to Cannon Beach, and open a bookshop. Since then, Jupiter’s Books has showcased secondhand books and other wares in a recycled garage across from the park in downtown Cannon Beach.
The name “Jupiter’s Rare & Used Books” was adopted in 1990 by John Taylor, a local house painter, who suddenly knew, like a bolt from the blue, he was going to be the next owner. As a boy, John’s mom gave him the nickname “Jupiter” for some unknown reason. Taylor installed the wooden shelving that enables, current owner,Watt Childress, to fit some 15,000 titles in the space of about 500 square feet. While John was still the shop owner, he hired a washboard-playing hippie named Billy Hults. Hults had just moved to the coast from Portland, where he had been working at the Goose Hollow Inn to promote live music, and to help elect Goose Hollow’s owner, Bud Clark, as Portland’s mayor.
In 1992, Billy began publishing “The Upper Left Edge” while working at the book shop. “Our beloved Reverend Billy Lloyd Hults”, as he became known to his readers, enticed his bosom buddy and fellow writer, Michael Burgess, to join him at the coast. Burgess came to Cannon Beach, and served as anchor columnist for the publication. After work on most evenings, the duo would join other local literati at Bill’s Tavern for “vespers.”
In the late 90s, Billy sold “Jupiter’s” to two of his “vesper” brethren, Bob and Suzanne Ragsdale. This couple had made enough dough, after retiring from Microsoft, to keep Billy on to work in the shop, along with several other characters. Watt began visiting the shop circa 1989, and soon fell in love with a Clatsop County girl. He and Jennifer moved to the coast to live full-time in 2001. Childress started working at the bookshop, then, and would scout for additional inventory, on the side. Together, Watt and Jennifer purchased Jupiter’s Books in 2004; recently, reviving “The Upper Left Edge”, as an online journal. Musician, Wes Wahrmund works in the shop at least one day a week, and is known to bring his guitar to play, but you can always catch him Friday and Saturday nights at The Bistro in Cannon Beach.
“When I travel I see fewer shops like Jupiter’s, fewer places to peruse the shelves, and explore a selection of out-of-print stories and offbeat ideas,” Watt comments. “Many secondhand booksellers have shut their doors during the past decade — cutting brick-and-mortar costs, and shifting solely to online marketing. That’s too bad, because you can’t get the same experience at a website. Secondhand bookshops can be seedbeds for enlightenment, in my humble experience. Time and again, I’ve watched how seemingly random bits of information converge in ways we don’t expect. Suddenly, we’re holding a book we’ve never seen before, on a topic we hadn’t considered. Then real magic is unleashed, when some word opens up a conversation.” His aim is to provide the fertile ground for that process to continue. “People call it ‘browsing’, which makes it sound like a safe, sane dalliance, but on good days it feels more like getting struck by lightning.”
Childress finds, “The most challenging thing about owning a bookstore now is competing with large online marketers, and e-book promoters in a ravaged economy. Some folks will come here to browse, find something they like, then leave figuring they can get it cheaper, elsewhere. Often, they’re wrong. I confess that I get a little high when they come back, and I’ve already sold it to someone else.” What does the future hold for Jupiter’s Books/Jupiter’s Rare & Used Books? Mythic fiction has captured Childress’ attention, of late, who recommends “Someplace to be Flying” by Charles de Lint; look for a review online in “The Upper Left Edge”. Where there is mythic fiction, mythic non-fiction is soon to follow, along with more cosmic connections between customers and the interplanetary exploration launched at Jupiter’s Books in Cannon Beach. Edited by Lynn Hadley
Patti Breidenbach, a career high school art teacher in Idaho, had visited Astoria and Lucy’s Books several times on while on vacation over the years, and she’d always enjoyed the look and feel of the town and store. Last year, when her “age of retirement” coincided with longtime owner Laura Snyder’s decision to sell, Breidenbach made the leap into owning a bookstore, something “she thought she’d like to do.” Breidenbach and many locals already liked what Lucy’s Books had in stock – a quality collection of new and used fiction, non-fiction, and regional books, so she didn’t make many changes to the inventory because she wanted to treat the local customers right. She did add a few chairs upstairs to encourage more perusing, and is expanding the children’s book section.
Breidenbach is still organizing book events for Lucy’s Books at least every other month, if not every month once she really gets “into the swing of the dynamics of them.” Most of the book events are or NW and local authors. She runs the website and has one part-time employee.
Rainy Day Books
Karen Spicer, owner 2015 Second Street Tillamook, OR 97141 503.842.7766 firstname.lastname@example.org
As one of the oldest bookstores on the Oregon Coast, Rainy Day Books is a downtown Tillamook icon. In 1987, Karen Spicer starting working at the store as “a friend who followed a friend to help a friend,” when the original owner, the late local poet and social worker, Jean Wollenweber, decided to sell her store (originally named “Cat’s Paws”).
Spicer, who “loves books and reading,” bought her share of the store after a few years, and has been the sole proprietor ever since, employing only periodic part-time staff to help clean, organize, inventory, price, and move several rooms and stacks full of new and used books. Rainy Day specializes in rare editions, and whatever Spicer, a rigorous bargain hunter, “could find at garage sales.” Her store is one of the larger ones on the coast and is often the place where a reader can find a book hidden on her shelves he couldn’t find anywhere else. She also has a selection of greeting cards, often by local artists.
Spicer says her bookstore is a “transformative place” and that she found herself there. “Books get in your blood and you won’t love anything more,” she says. Her cat, Webster, is seventeen years old and gets depressed when there’s no customers in the store.
Overlooking the Ilwaco marina, Time Enough Books sits among the harbor shops offering up both new and used books. Of the many shops and restaurants along the harbor walk, Time Enough Books, which opened its doors in May 2000, has 80/20% new and used books, respectively, and, now, operates seven days a week, year-round. What started as the personal collection of Karla and Peter Nelson, Time Enough Books grew to become a comfortable little book shop with a strong maritime book selection, a regular book group meeting place, and the home of Harper Lee, a golden lab who greets all patrons at the store. With the Ilwaco Saturday market on-going from May through September, this shop is a fun destination spot for all literary shoppers.
Located in the old town part of the Long Beach community, Banana Books features used titles. Banana Books’ owner Ed Gray, along with his American Staffordshire, Sobe, serves up a diverse book selection, an espresso bar, and handmade jewelry, fashioned by his wife, Mary Johnson. For over 20 years, he worked as a book scout and wholesaler of rare books, opening the book shop nine years ago. The book store, which provides many an entertaining read to the May through September Long Beach visitors, operates year-round. Ed enjoys winter reading on the peninsula, and finds it very relaxing, though his book selling schedule makes it hard for him to find time to read. Open Friday and Monday 12pm-5pm, and Saturdays and Sundays 11am-6pm.
Catherine O’Toole Bookseller, located in an historic 1880s Ocean Park building that was the former Methodist Church and Moose Lodge, houses an extensive book collection. She specializes in antiquarian, rare, and out-of-print books of over 68,000 titles. New local history and guidebooks are also available at her shop. Originally from Ireland, she has lived in the United States for over forty-five years. Catherine keeps her local book business viable by selling and shipping her wares all over the world. “I can’t resist books,” she says. “It’s very gratifying to be able to say to a customer, ‘Oh yes, I’ve got that.’”
Cyndy Hayward opened Adelaide’s Books bookstore and coffeehouse in 2008. Cyndy, a Seattle attorney, moved to Oysterville, and bought the historic building across from Catherine O’Toole’s shop in Ocean Park. She named her shop after the former business owner and operator, Adelaide Taylor, who ran Taylor Hotel on this site from 1887 to the mid 1930s. She offers a variety of approximately 3,000 titles, ranging from children’s literature to poetry. Helping Hayward, her friendly, full-sized poodle, Miles, greets guests on game nights and for author’s reading events. Open Thursdays through Mondays, 8am-4pm.
When Coloratura Soprano Angela Meade stepped on the stage of the Liberty Theater at last year’s AMF concert-staged opera, all in attendance were waiting with bated breath to hear what this Centralia, Washington native had to deliver. While safe to say that most in the audience were not so completely familiar with her, the buzz was on due to the festival marketing publicity touting her rising success. But then after all, one might think, if she’s really that good, would she be here?
Before the first aria was completed it was breathtakingly apparent that the artist on stage was undeniably gifted. To hear Ms. Meade was utter joy. A supple voice, yet with incredible power, as if she were drawing up the sweet dark roots of the earth and expelling the energy in fountains of delicious bel canto vocalization curling through the architecture of the Liberty Theater. You could feel the collective gasps throughout the audience and you could feel her music, sensual and liquid.
Since that time, Meade has been very busy debuting prestigious festivals, world class opera houses, and a recent “stupendous debut at the Deutsche Oper Berlin” according to AMF Director Keith Clark.
This one of many similar opera critic comments; When the Metropolitan Opera’s 2012 Beverly Sills Artist Angela Meade starred in the company’s recent production of Ernani, she gave “a true star-making Met performance” (WQXR) that “showed what this uncommonly gifted rising artist is capable of” (Anthony Tommasini, New York Times).
Meade is also the winner of the 2011 Richard Tucker Award, as is her counterpart in the upcoming AMF production of Bellini’s Norma, Soprana Ruth Ann Swenson. Swenson won it in 1993. In a solo AMF concert last year Swenson too, gave audiences a taste of world class vocal divinity.
Less than four years after her professional debut in 2008, Meade has quickly become recognized as one of the outstanding vocalists of her generation. The New York Times said of Ms. Meade, “Norma counsels peace in “Casta Diva” (the opening aria in this Bellini opera said to be one that makes or breaks a star), and Ms. Meade sang it beautifully, filling the long-spun lines with rich, unforced sound, shaping the phrases with bittersweet poignancy, gracing the melody with tasteful embellishments and lifting her voice to majestic highs.” According to bio info, Angela Meade joined an elite group of history’s singers when she made her professional operatic debut on the stage of the Metropolitan Opera as Verdi’s Elvira in Ernani substituting for an ill colleague in March 2008.
In 2011 Keith Clark was the winner of the prestigious American Prize for Opera Conducting, for the Astoria Music Festival production of Alban Berg’s modern opera Wozzeck. Sometimes you have to blink, and say “Really, in Astoria?” Really.
Angela Meade, Ruth Ann Swenson, Met Baritone and beloved AMF returning artist Richard Zeller, and Cuban-born Met Opera Tenor Raul Melo making his AMF debut; four of America’s finest operatic soloists take the Liberty stage on June 16. An excellent opportunity to test the waters of this ever-live art form.
10th Annual Astoria Music Festival Highlights
AMF in its tenth year! Astoria may be on fire this June, yes very hot, music lovers. Newly elected Board of Directors President Diane Tiedeman states, “We are excited to present the biggest and most challenging festival in our short ten-year history. Our Artistic Director Keith Clark has assembled a remarkable roster of international artists and varied repertoire, and we invite music lovers to visit our historic town to experience our motto: Big City Music – Small Town Prices – Victorian Charm.”
This year the festival spans three weekends including mid-week performances; over ninety performers and students will gather in Astoria, Oregon for twenty-two performances of symphonic and chamber music, educational events, and two operas, June 15 – July 1. If you have not received a season brochure, pick one up at the AMF office on Commercial Street in Astoria.
Hold it your hands and visualize the joy of experiencing classical performance artistry and then get your tickets! While there have been some well-tempered price increases – the prices, repeat the motto, are small-town-prices.
AMF cornerstones return. The brilliant chamber pianist CARY LEWIS and Director of Chamber Music leads returning festival favorite, cellist SERGEY ANTONOV and debut AMF artist MARTIN CHALIFOUR, Concertmaster of the Los Angeles Philharmonic in an opening Saturday recital matinee, June 16, performing Czech composer, Smetana’s Trio in G minor. On Friday June 22, Lewis and Festival Chamber Players present a concert of Shubert, Poulenc and Mendelssohn. The following night Keith Clark conducts the AMF Orchestra in full Brahms.
The elegant, passionate American violinist ELIZABETH PITCAIRN in her fourth AMF appearance, performs Bernstein’s Candide Overture, Beethoven, and Lalo’s Spanish Symphony on Sunday 17. Her only performance.
Don’t miss another opportunity to hear RUTH ANN SWENSON, uber-glorious Met star, in a Sunday Viennese matinee on June 24. Pianist Alexandre Dossin plays Mozart, and the North Coast Chorale joins the Festival Orchestra in music from Die Fledermaus.
Very New: MONICA HUGGETT and the Portland Baroque Orchestra (PBO). Hugget is one of the most significant Baroque artists today, a life-long dedication to the proliferation of Baroque-era music. Hugget and PBO perform J. S. Bach’s Goldberg Variations. The Goldberg Variations, originally written for harpsichord, will be performed at 2pm, Saturday June 30 by Portland-born, International artist Andrew Brownell on piano. That evening, the same work, in an arrangement for strings by renowned contemporary conductor-arranger Dmitir Sitkovesky will then be performed for strings by PBO.
This year’s multi-media artist is J Walt. Walt is an Academy Award-winning video artist who creates real-time animated 3-D film to live music. The computer is his palette. J Walt and the Los Angeles Virtuosi perform: SPONTANEOUS FANTASIA. One would say “a very modern version of Disney.” Wednesday June 20 at the PAC.
More enhancing Baroque. Grace Episcopal Church, a beautiful 1886 sanctuary by Candlelight. Lute player Hideki Yamaya, The Astoria Festival Baroque Band and Voices perform 17th century Italian music in an intimate totally candle-lit evening. Tuesday, June 19.
And so much more . . .
SCHEDULE OF EVENTS
Venues Liberty Theater PAC: Clatsop Community College Performing Arts Center GEC: Grace Episcopal Church FPC: First Presbyterian Church FBC: First Baptist Church
FRIDAY JUNE 15 7:00 pm FESTIVAL PRELUDE: BELLINI, STRAIGHT UP – Private Home Music lovers will sip Bellinis, Italy’s favorite cocktail, as Portland Opera historian Robert Kingston discusses 19th Century Bel Canto style and its greatest masterpiece, Bellini’s Norma. Pianist Cary Lewis and Festival. Artists perform Bel Canto-influenced music of Chopin and Paganini.
SATURDAY JUNE 16 4:00 pm CELEBRITY MATINEE RECITAL – Liberty Theater Los Angeles Philharmonic Principal Concertmaster Martin Chalifour and cellist Sergey Antonov, both prizewinners in Moscow’s prestigious Tchaikovsky Competition, join pianist Cary Lewis for a very special opening matinee.
7:30 pm OPERA IN CONCERT BELLINI’S NORMA – Liberty Theater Angela Meade, Norma; Ruth Ann Swenson, Adalgisa; Raul Melo, Pollione; Richard Zeller, Oroveso; Festival Orchestra and Chorus, Keith Clark Conductor. Sung in Italian with English Super Text
SUNDAY, JUNE 17 Noon CANTATAS, COFFEE AND CROISSANTS #1 – FPC Young Artist Vocal and Instrumental Recital (Free Admission)
4:00 PM FESTIVAL ORCHESTRA with ELIZABETH PITCAIRN – Liberty Theater Elizabeth Pitcairn, Violin Keith Clark, Conductor
PROGRAM: Bernstein Candide Overture; Lalo Symphonie Espagnole, Op. 21; Beethoven Symphony No 5 in C minor, Op. 67
TUESDAY, JUNE 19 7:30 PM BAROQUE BONANZA by Candlelight GEC Seventeenth Century Italian music for voices and original; instruments in Astoria’s historic Grace Episcopal Church of 1886, featuring Portland’s Baroque lutenist Hideki Yamaya, San Francisco violinist Noah Strick and others.
WEDNESDAY, JUNE 20 7:30 pm J-WALT’S SPONTANEOUS FANTASIA PAC with THE LOS ANGELES VIRTUOSI – A Fantasia for our time: Live real-time 3-D video to chamber music by Saint-Saens and Satie, including The Four Seasons of Vivaldi and Piazzola. Perfect entertainment for all ages, especially grandparents who can still remember Pink Floyd laser light shows! THE LOS ANGELES VIRTUOSI: Olivia Tsui, Violin (Shanghai); Sebastian Toettcher, Cello (Berlin); Mark Robson, Piano (Los Angeles)
THURSDAY JUNE 21 7:30 pm MUSIC IN THE MAKING: RUTH ANN SWENSON MASTER CLASS PAC An inside look at the making of an opera singer. Soprano Ruth Ann Swenson and opera coach David Burnakus lead a rare public master class with outstanding young Vocal Apprentice Artists. Watch them put finishing touches on Mozart’s The Magic Flute and other operas. One of the world’s finest Mozart singers, Miss Swenson will impart a lifetime of insight to a new generation on the brink of professional careers.
FRIDAY, JUNE 22 7:30 pm ASTORIA MUSIC FESTIVAL ALL-STARS – Liberty Theater Festival Chamber Players, Cary Lewis, Piano and Director.
PROGRAM: Schubert Fantasy in F minor for Piano, Four Hands, D. 490; Poulenc Sextet for Winds and Piano; Mendelssohn Octet in E-flat Major for Strings, Op. 20
SATURDAY, JUNE 23 11:00 am CLASSICS 4 KIDS #1 PAC Concert for Families and Children (Free Admission)
4:00 pm SERGEY’S HAPPY HOUR MATINEE – Liberty Theater Chamber Music and Chat with cellist Sergey Antonov, San Francisco Ballet Orchestra Concertmaster Roy Malan and pianist Cary Lewis.
7:30 pm FESTIVAL ORCHESTRA plays ALL-BRAHMS – Liberty Theater Anthea Kreston, Violin; Jason Duckles, Cello; Keith Clark, Conductor
PROGRAM: Brahms Academic Festival Overture, Op. 80; Brahms Double Concerto for Violin and Cello, Op. 102; Brahms Symphony No. 2 in D Major, Op. 73
SUNDAY, JUNE 24 Noon CANTATAS, COFFEE AND CROISSANTS #2 FBC Young Artist Vocal and Instrumental Recital (Free Admission)
4:00 PM FESTIVAL ORCHESTRA in a VIENNESE MATINEE – Liberty Theater Ruth Ann Swenson, Soprano; Sergey Antonov, Cello; Alexandre Dossin, Piano; Astoria Music Festival Vocal Apprentice Artists; The North Coast Chorale, Denise Reed Hines, Director; Keith Clark, Conductor
PROGRAM: Strauss Jr. Die Fledermaus Overture; Haydn Cello Concerto No. 1 in C Major, Hob. VIIb; Mozart Piano Concerto No 21 in C Major, K. 468; Mozart Concert Aria with Piano Obbligato, “Ch’io mi scordi di te?”; Strauss Jr, Die Fledermaus: Act II Finale
TUESDAY, JUNE 26 – THURSDAY, JUNE 28 YOUNG ARTISTS WEEK: FREE CLASSICAL JAMS ALL AROUND TOWN! Venues Include Fort George Brewery, The Bistro, Clemente’s, and More
FRIDAY JUNE 29 7:30 pm VOCAL APPRENTICE OPERA: MOZART’S DIE ZAUBERFLiTE PAC Young artists from around the country in a fully staged production of W.A. Mozart’s final opera The Magic Flute.. Sung in German with English Dialogue and Super Titles. With The Festival Instrumental Apprentice Chamber Orchestra Maddox Dance Studio Little Ballet Theater
SATURDAY, JUNE 30 11:00 am CLASSICS 4 KIDS #2 PAC Concert for Families and Children (Free Admission) KMUN Troll Radio Review Presents Mozart’s Magic Flute for Children
TWO WAYS OF HEARING BACH 2:00 pm ANDREW BROWNWELL, PIANO – Liberty Theater TWO WAYS OF HEARING BACH’S GOLDBERG VARIATIONS Original Version for Keyboard
7:30 pm PORTLAND BAROQUE ORCHESTRA, MONICA HUGGETT, CONDUCTOR – Liberty Theater TWO WAYS OF HEARING BACH’S GOLDBERG VARIATIONS. Arranged for String Orchestra by Dmitry Sitkovetsky. Presented in cooperation with The Oregon Bach Festival
SUNDAY, JULY 1 4:00 pm VOCAL APPRENTICE OPERA: MOZART’S DIE ZAUBERFLiTE PAC See June 29 for Performance Details
A weekend to tune into a unique music passion
June 1 – 3
This Year’s Events
All events are open to the public and even if you don’t play a tenor guitar, or any instrument, you are encouraged to come and enjoy this unique, fun, quirky, informative musical experience. “An Evening of Tenor Guitars” is only $15 and the tenor guitar workshops, all four of them are only $60.
The four day tenor guitar weekend starts out THURSDAY, MAY 31 at 7pm at The Sand Trap in Gearhart where THE WANDERERS will perform from 7pm until 9m.
ON FRIDAY, JUNE 1, we will be meeting in front of the Bridgewater Bistro at 10:30 am to get on the 11am Trolley followed by a tenor guitar lunch buffet from 12:30 until 2:30. There is limited seating and a fixed menu so you need to make a reservation by calling 503-325-6777 or 877-357-6777. Not only will you get a great meal for only $20 (beverages not included) but you will hear Lowell “Banana” Levinger of The Youngbloods, play his five string tenor guitar and perform songs from his latest album, “Even Grandpas Get The Blues”.
Tune in to KMUN between 3 and 4, and listen to Carol Newman’s show “Arts Live and Local” to hear tenor guitarists talk about….tenor guitar.
That same day, Friday, there are two more events planned. Doors open at 6:30 pm at The Astor Street Opry Company Playhouse, who have been very gracious about providing their wonderful space for a sing a long – play a long fundraiser to support KMUN. A donation of $5 or more will get you in to play and sing all kinds of fun folk songs, or whatever songs we can figure to play. It’s going to be one big fun hootenanny. Bring your voices, instruments, and maybe some lyrics would help. The event ends at 9pm.
But Hazel’s Tavern has THE RENEGADE STRING BAND performing from 10pm until midnight with tenor guitar players sitting in. So we’re heading over there right after the sing and play along!
Saturday, June 2, at the Performing Art Center starting at 9am and ending at 4pm, will be four tenor guitar workshops for $60. That comes to only $10 an hour. The workshops are open to the public even if you don’t play an instrument, you will learn a lot, get to ask questions, and hear inside information from Lowell “Banana” Levinger, Spider Murphy and Mark Josephs.
The four day Tenor Guitar weekend culminates on Saturday evening with AN EVENING OF TENOR GUITARS featuring the greatest line up of tenor guitar players in the world. This is a once in a lifetime opportunity, for $15, to hear Josh Reynolds and friends, Spider Murphy, Lowell “Banana” Levinger, Myshkin, The Renegade String Band, The Wanderers, Mark Josephs, and special guests for a wonderful evening of tenor guitar music from 7pm until 9:45pm.
Then we are all going over to The Voodoo Room to hear Spider Murphy and his band play from 10pm until midnight!
On Sunday, June 3rd, the fourth and final day, we will meet at The Coffee Girl to jam from 9am until noon. Myshkin, as part of her tenor guitar world tour, will be performing at The Ft George on the last night from 8pm until 11pm.
If you would like to support the Annual Tenor Guitar Gatherings in Astoria, Oregon you can visit: http://www.tenorguitargathering.com/ and buy your tickets to AN EVENING OF TENOR GUITARS, TENOR GUITAR WORKSHOPS, and buy this years T-Shirt!!!
A Brief History of The Tenor Guitar
In the 1900’s the most popular stringed rhythm instrument was the four string tenor banjo, tuned like a cello, CGDA. The tenor banjo added a percussive rhythm sound to large orchestras. As the guitar gradually replaced the tenor banjo in popularity, a simple solution was to put a tenor banjo neck on a guitar body to produce a “guitar like” tone. Part tenor banjo, part guitar, this hybrid instrument, the “tenor guitar” was born out of necessity.
Because the tenor guitar had four strings, people would sometimes tune it like a baritone ukulele, or the top four strings of a guitar DGBE. Nick Reynolds, of The Kingston Trio, did this. Nick was the first inductee to the Tenor Guitar Hall of Fame in a ceremony held here in Astoria in 2011. He is the most well known tenor guitar player of all time.
Tiny Grimes, a jazz player, also tuned his tenor like the top four strings of a guitar. He had small hands and liked the feel of a smaller neck. Some people tune it GDAE, an octave below a mandolin. The shapes of the chords are the same, but their names change.
The Annual Tenor Guitar Gatherings
The Annual Tenor Guitar Gatherings started in 2011, has brought new focus to the instrument. There are many groups and individuals who use the tenor guitar to achieve their musical “voice”. I became aware of Robin Hunte, from Barbados, for example, who started a group in 1962 called The Merrymen. Robin drives the group with his four string tenor guitar. He recently acquired a new Blueridge tenor guitar, made by Saga instruments, one of a small handful of companies that offer new tenor guitars.
I can tell you that more and more people, once they hear and play and learn about a tenor guitar, fall in love with the small size of the instrument and the beautiful sound that comes from it. Accordions, Didgeridoos, Guitars, Harmonicas, Autoharps all have their own festivals. A “Tenor Guitar Gathering” had been long overdue. Astoria and tenor guitars have become a perfect fit.
Tenor Guitar Capital of The World
Astoria, Oregon has become the “unofficially recognized” tenor guitar capital of the world. This year will mark the 3rd Annual Tenor Guitar Gathering and will bring together more tenor guitar players, performers and workshops than ever before. There will be a tenor guitar lunch buffet at the Bridgewater Bistro, a sing a long fundraiser for KMUN at the Astor Street Opry Company Playhouse, workshops and An Evening of Tenor Guitars at The Performing Art Center, tenor guitar music at The Ft George, The Sand Trap, Hazel’s Tavern, The Coffee Girl and The Voodoo Room. We’ll be playing tenor guitars on The Trolley and may be jamming at Gordo’s Astoria Guitar Company.
What People Have To Say
“The 4-string tenor guitar has made a significant contribution to American music and culture. Historically, C. F. Martin & Co. is proud to have defined the tone of tenor guitars for the world and we are excited that there is a resurgence in popularity of these unique and fun instruments.”
Museum, Archives and Special Projects
C. F. Martin & Co., Nazareth, PA
“My Dad, Nick Reynolds, used to say, “It’s all about the music.” I am proud to help support the Annual Tenor Guitar Gatherings in Astoria. The music of The Kingston Trio continues to touch people all over the world. My Dad was a wonderful performer who gave his very best every time he played his tenor guitar and sang with the Trio. It’s comforting to know that he is recognized for his achievement, albeit inadvertently, for his playing of the relatively unknown four string tenor guitar.”
“When The Brothers Four started out at the University of Washington in Seattle we were totally “powered” by the Martin Tenor Guitar. It was the sound of our first 2 or 3 albums recorded for Columbia Records., including our first single release, “Greenfields”. As I think back on it now it seems likely that the trademark sort of open-stringed arpeggio introduction to that recording would have not been possible on anything else but those two Tenor Guitars. A lucky moment!”
The Brothers Four
“I’ve been playing a 1954 Martin Tenor Guitar since 2006. A bout with tendonitis in the left elbow caused me to quit playing the six string guitar for about a year. I bought 1954 Martin to see if the smaller instrument would help with the elbow. I always loved what Nick Reynolds played on his tenor guitar, so it was an easy decision for me to try one out. The elbow healed, the 1954 Martin is fine, and singing partner for the past 53 years, Bill Murlin and I have worked the Tenor into our Wanderers act full time. We look forward to bringing the Martin to Astoria in June!”
Carl Allen, The Wanderers
“I came to tenor guitar through mandolin, after playing guitar for 15 years I picked up a mando and started writing songs on it, then began to do solo shows again and wanted to play those songs, but not so tiny-sounding. My vintage Martin Tenor has a lovely deep tone for such a small instrument, and I swear it is haunted, in a good way, by whatever songs got played on it in it’s youth (the ‘30’s and ‘40’s.) I have written a few songs on it that feel like they were given to me by the instrument, most especially the song Ruby Warbler, that I named my band after. So glad to be coming back to the Gathering, a great chance to get together with other fans of this sweet instrument.”
“The more people are talking about tenors, the more people are playing them. I’m spreading the word everywhere I go. I’m at the Jazz Festival in New Orleans right now, and I can tell you that everyone here loves the tenor.”
“The two most common questions I’m asked about the tenor guitar are, “Why a tenor guitar?” and “What’s the difference between a tenor guitar and a 6 string?” The answer is an easy one. The tenor guitar has a clear, sweet voice of it’s own. It works beautifully as a rhythm instrument, as part of a section or as a stand along solo instrument. I play a Martin size 5 or half size tenor from 1929, a new Martin Custom tenor, a National Reso-phonics tenor with a steel body and an archtop electric tenor made by Paul Lestock of Arrow Guitars and Mandolins. Each guitar has it’s own personality and history.
I went to the Library of Congress and The Smithsonian to research tenor guitars and players when the tenor first grabbed my attention and heart. About 75% of the players I found were black musicians from the early black string bands from the 1920s through about 1935. They were centered in the Midwest around Chicago and St. Louis and also in Louisiana and Alabama.
I’m thankful for the players and builders who are breathing new life into the instrument today. The tenor guitar is a voice from our American past that reaches beautifully into the future. It’s a voice that could have been lost but thanks to the efforts of Mark Josephs, Paul Lestock, Josh Reynolds, Dick Boak and many others in the modern music community the tenor guitar will be with us for a long time to come.”
Marcy Marxer – Two Time Grammy Winner
Words from Mark Joseph Tenor Guitar Gathering Organizer
I GREW UP IN ATLANTIC CITY, New Jersey and started playing guitar in 1960 when I was ten years old. Playing chords came easy and I evolved into a sought after rhythm guitar player. I played rhythm guitar and sang in a four piece rock band called “the Super Jam Blues Band”, and later, “The Whazooz”. We played for High School dances and private “sweet sixteen” parties. When I graduated from High School I graduated to playing in bars. In 1974 I joined a swing trio and we were an opening act for Ry Cooder, Randy Newman, Horace Silver, Sonny Terry and Brownie McGee and numerous others. I met Johnny Shines, Professor Longhair, Walter “Shakey” Horton, Bucky Pizzarelli during that time and learned a little bit from observation. It was a magical time in my life, “pre straight job”, so to speak.
My Mom bought me a harmonica when I was 18. I learned what I know today from meeting harp players much better than I, who took the time to share invaluable techniques that you can hear in my recordings and live playing. When I was 40, I started playing the ukulele, similar to guitar but very different in the musical approach….and bought my first tenor guitar when I was 50 years old. I just finished an album that’s all about the tenor guitar. It’s called “TENOR ELEVEN”, fifteen songs played on tenor guitar with vocal and harmonica accompaniment.
I never saw myself as a promoter, and still don’t, but I do feel the desire to bring tenor guitar players together at one time and one place, and that place is Astoria. Music continues to be special to me. It has opened doors to new friendships and improves the quality of my life. I have worked in Los Angeles as a clerk at an Outpatient Cancer Center and will bring my uke in and play for patients. It makes them sing and smile and forget where they are for a moment. It is uplifting to them and to me as well.
I spoke to a stranger on the phone recently who’s coming to this year’s gathering. He told me he plays baritone ukulele and is thinking about playing the tenor guitar. When he searched the web for information he came across the gathering. He booked himself into the Hotel Elliot and is very excited about attending. That’s the kind of thing that makes me hustle to make these gatherings happen, and the fact that they’re a lot of fun for me and everyone who attends. I think that everyone in Astoria has worked together to make this quirky event come to life, it’s not unlike a band that rehearses for hours and then gets on stage and puts that wall of emotion out there as if it was all so easy.
A May Celebration and Much More than Melodrama at Astor Street Opry Company
Anyone familiar with the Astor Street Opry Company (ASOC) knows this hard-working theater group is responsible for bringing the community, and a great portion of those visiting the area, the fun melodrama, “Shanghaied in Astoria”. This humorous and historical musical provides audiences of all ages a great way to enjoy local theater, learn about the area, and have a great time hurling popcorn at the villains.
“IT’S THE HEART AND SOUL of the company and the community. We’ve become bigger than theater. It’s a tradition and an event that belongs to Astoria,” says ASOC’s Production Manager and Events Coordinator Judith Niland.
It is this “backbone” of the ASOC repertoire, running every summer for the last twenty-eight years, that allows ASOC to be a great deal more than just this one production. So, too, is Judith Niland. Her tremendous efforts as manager, publicist, grant writer, event coordinator, facilitator, and artist, make ASOC a far bigger thing than just a community theater. Current ASOC Executive Board President, Chuck Meyers, speaks of her, alone, as having been the ASOC for the last 25 years. She has devoted a large part of her life to keeping the theater arts alive, well, and housed in Astoria. Having lead the capital campaign to acquire the permanent home for ASOC, and having spent the last quarter century developing the management repertoire for the theater, she, now, wishes to teach, share, and pass on the duties and traditions of this outstanding community theater.
“ASOC’s been my life’s work, accidentally, and it was Del Corbett’s life work, too. He’s the one that taught me.”
Recently, after spending time away from the theater to recover from foot surgery, Judith realized she could no longer perform the myriad of tasks, and juggle all the balls required to make the variety of theater at ASOC happen, forever. This wake-up call drew her attention to the need to educate and share the finer points and details of what it takes to run this theater, as a volunteer, with the other ASOC Board and Committee members. She wants to offer the opportunity to other volunteers to become proficient in the many facets of ASOC operations, as well as, allow herself more time for her own artwork. As a trained children’s book and fairy tale illustrator with a college education in Book Arts, her first love is drawing. Arthritis has kept Judith from returning to the book press, but she remains very passionate about pursuing her metaphysical design style and symbolic art.
Her health, while keeping her from some art forms and reducing her relentless participation with ASOC, allowed her the time, while recuperating from surgery, to read more, and, specifically, lead her to more of Seaside playwright, Keyaho Rohlfs’ plays. This inspired the upcoming ASOC Fundraiser, “In New Light”, three one-act plays and one monolgue written by Rohlfs.
“It’s great to remind the community that ASOC has always done other kinds of theater. That’s why we existed, and people forget about that…’Shanghai’s’ always been the vehicle to get there, but never the end result. You have to give those growing beyond the melodrama something else to do. This is a chance to feed some of that. His (Keyaho’s) work comes from a place in his heart and really touches people,” commented Niland of her interest in working with Rohlfs.
“Everyone loves working with him. He’s very centered, intelligent, and strongly spiritual. His stuff works on multiple levels. He doesn’t care if people get it, or not, as long as they walk away thinking.” She continues, “I found his plays to be trips into a real, yet, imaginary world full of odd heartfelt characters, connections, and synchronicities that are similar to how I shape my world. I have studied the metaphysical world ever since I was a teen, and it is something that brings me peace and balance. Life is all about how you feel, and his work helps me remember that, and that is what is real.”
Director of Rohlfs’ one-act play “Centerpiece,” Anne MacGregor, agrees that his work is like poetry that goes in and out of time and emotions, and leaves audience members to ask “What was that?”, “How’d we get there?”, and “That was really interesting, what was it?” She added, “His writing is so superior, he is a channel. Everyone picks up their own thing-it’s amazing. I don’t know what he’s going to do with his work, but I would go on doing it forever. It’s a dream come true for any good director.”
To say that Playwright Keyaho Rohlfs speaks freely about his work and writing process is akin to saying, writing plays is a cakewalk. He draws the comparison of his play writing to pulling stories from an orphanage of abandoned imaginary friends.
“When kids get a certain age they’re told no more imaginary friends. I always wondered what happened to all the imaginary friends- where did they go?”
So, he offers them a place to reside, in exchange for their stories, which he diligently puts to paper in the form of stage productions-one act plays, monologues, and full-length plays.
“The really cool thing about theater is how you can manifest all these imaginary friends, and make it real,” says Rohlf, and explains that he explores the barriers between real and imaginary, looks inside and outside the self to channel the voices he believes are out there, and, if listening closely, can be heard. When asked about the layered, spectral quality of his work, Rohlfs replied, “I think that when we can see the invisible realm, then, we have something to talk about, and when we feel the full force of nature, then we have something to share.”
In his work with Astor Street Opry Company, Rohlfs believes it to be much more than a community theater. “This playhouse is really special; it’s the most community-minded, community theater around. There’s activity here year ‘round, day in and day out for all ages. It has a really big heart.”
And no stranger to the Astor Street Opry Company he is. In the three years of ASOC’s New Works Festival, an original script writing contest that solicits, celebrates, and produces selected one-acts plays and monologues submitted from all over the country, Rohlfs submissions have been selected and performed every year. This festival was initiated in 2010, for which his monologue, “Tallulah” was accepted and produced. The festival performance was directed by ASOC Production Committee Chair, Anne MacGregor, who performs the role in the reprisal of “Tallulah” for the May Celebration fundraiser.
In 2011, his one-act play, “Centerpiece” was a final selection, performed by Patricia Shannon, Bill Dodge, and Ann Bronson. In this year’s festival, his comedic monologue submission, “Captive”, was produced. Performed by Aly Hansen and Kirk House with direction by Del Corbett, this funny, sweet and talent-filled piece is about a teenage girl who appears center stage, singing, dancing, juggling and believing she is being held captive by a crazy bunch of community theater people. Rohlfs participation in the ASOC New Works Festival for the past three years has brought critical acclaim to the ASOC. In the name of creating a new slot for original stage productions, ASOC has chosen Keyaho’s two previously performed stage pieces, along with two new one-act plays to perform in a showcase of his work. His beautiful use of language offers an astonishing depth of emotions, as well as an alluring sense of human nature. This May Celebration of “In New Light” offers a unique opportunity to enjoy poetic and eloquently written theater concerning relevant issues of our time. This is a fundraiser to kick-off the phase three of ASOC’s capital campaign to build indoor restroom facilities and an office.
In New Light: 4 One Acts in a Night
The four performances of “In New Light: An Evening of Original Artwork from Playwright Keyaho Rohlfs” will reprise two pieces previously produced for ASOC’s New Works Festival (Centerpiece and Tallulah) and include two new one-act pieces. Included in the showcase is “Centerpiece” with Tom Brownson performing the lead role, originally performed by Bill Dodge in the 2011 production. This one-act play finds an elderly, homeless couple who have fallen on hard times, brought about by the current economic meltdown. They seek shelter and comfort in the warmth of stage lights, reflecting, reminiscing, and celebrating their lives together. Anne MacGregor directs this repeat performance, again. She also performs the monologue, “Tallulah”, an elderly woman’s poetic monologue about an adventuresome life, well-lived, joined by the playwright’s very own jazz saxophone accompaniment.
Premiering in this showcase production are two new one-act plays, “Signing Out” and “Mahpiya”. “Signing Out” portrays a road weary musician returning to his hometown to visit his father in a nursing home. Here, he gets help from a plucky nurse, and makes some unexpected choices. In “Mahpiya”(A Native American word meaning “Sky”) several stories combine, as a girl surrounded by devastation, manifests her identity in a spiritual journey, spanning generations; this tale includes an interesting amphibian.
Directed by Keyaho Rohlfs and Anne MacGregor, the cast includes: Anne MacGregor, Patricia Shannon, Tom Brownson, Ann Bronson, Markus Brown, Barry Sears, Mark Erickson, Elias Enyart, Avery Hartzel, Tiffany Simmons, Brian Allen, Jane Hill, Julie House, Anabel Knight and William Grammer.
In November 2007, Astor Street Opry Company acquired a permanent home in Astoria. By July 2008, the first production on the new stage of “Shanghaied in Astoria” was up and running. Where the cost to purchase a theater space was covered through a designated capital grant and donated funds, the additional $125,000 needed to make the building a safe and a comfortable public space was not. In Fall 2010, the ASOC Board secured a mortgage with Clatsop Community Bank to help where grant monies were being discontinued due to economic cutbacks. After years as a vagabond theater troupe, being set back with every move, ASOC was finally housed in its own stable and improved theater building. Now able to settle and to grow, the theater added more family programming and an original script writing contest.
“We’re still getting used to using the building-during the daytime, at night, rehearsing at dark. That’s what we (ASOC) have to do now to maintain a theater, and keep it going financially. We have to have something playing all the time, said Niland. Niland, whose efforts and countless hours made the theater purchase a reality, is now squeezing in a new fundraiser into the very full ASOC theatrical calendar. Two weekends in May between “The Real Lewis and Clark Story: or How the Finns Discovered Astoria” and the start of “Junior Shanghaied” offers a time slot for some alternative theater options to raise funds for the third phase of the ASOC Capital Campaign which will make possible the construction of public restrooms and an office.
The Astor Street Opry Company (ASOC) presents a special performance fundraiser, “In New Light”, featuring four original pieces by Seaside playwright Keyaho Rohlfs. Three one act plays and a monologue will be presented on May 18th, 19th, 25th and 26th at 7:30 pm at the ASOC Playhouse located on 129 West Bond Street in Astoria, Oregon; doors open at 7:00 pm. This is a kick-off for ASOC Capital Campaign Phase Three “Pennies for Potties (or Big Buck for Bathrooms) Drive”. This evenings is a celebration of live and local entertainment with a special silent auction of original art and the unveiling of the“Yakko~Eino” Fundraiser Thermometer and the “Toilet Seat Pennies Toss” collection jar. Tickets for this fundraiser are only $8 for singles and $12 per couple and can be purchased by calling 503-325-6104 or online at www.astorstreetoprycompany.com.
Eva Kirk, Natalie Orr, Lulu Quinn Roger Hayes Writes/Curates
Opening at KALA April 14 – May 1
ARTISTS TEND to create micro-environments. Generally this is informed by their milieu, which creates the defining aesthetic tenets. Here in Astoria we start out with a setting that is highly conducive to the creative process, but understanding its’ characteristics is what sets it apart. The milieu is rife with art, and there is a healthy amount of cross fertilization from artists who’ve arrived here with a vision. I like to think that we are living at a particularly fecund moment, when some defining characteristics of ego are laid by the wayside, and group reflection is encouraged.
In starting this show we played with the idea of the eternal return, the attraction of our small metropolis, what brings folks back here, and what generates the first appeal that captures new comers fancy, and the rebirth of a city, which is perhaps always latent. Longing for place is a key part of the defining search of nascent growth.
Within the Romantic cannon, the eternal return could be called a longing for place. Early Twentieth-Century Expressionists, Die Brucke, and Der Blaue Reiter conveyed this effectively. This was the first kernel concept for this show, beginning with the Expressionist/ Romantic leanings of Natalie Orr’s art, as it displays an affinity for Chromatic Futurism, and a bucolic sense of the inherent power of nature.
What becomes revealed in Natalie’s art is a dialectic of external, internal, objective, and subjective, that is like a protective armor, that contains a consuming flame; again a Nietzschean reference to the poles of creation and destruction.
NATALIE: “The viewer is engulfed in flames. The culture ingrained in me is intrinsic. There is a hierarchical difference where sameness and difference are not as accurate. The two become balance. The artist accesses the observer of “myself”, as a type of ego solidification…an embrace of the observer…this is not ego currency. The ego receives and expels for free, a selective experience. Sameness in the flames, hiding in the flames, the same perceptual mode that can’t be measured”.
Natalie refers to both the work, and its process, as “the spark of creativity within (which) ignites, producing energy. You hide yourself in the flames, and build a bed of clues… (you) fall into the flames, recognizing (the) validity of the observant perspective. Deus ex machina”. The viewer becomes inextricably involved in the works’ existence.
And also as a testimony to the worth of the work, “art is a problem solved spiritually. A journey that goes nowhere, but feels as its primary accomplishment”. We can look at “will to power”, but there seems to be a larger fabric from which the players are sewn, especially as Natalie cites “the Heraclitan cosmic child, who plays on without preference to outcomes”.
The inverse of this spectrum shows a charged cityscape, which was also a primary source of interest with Neue Berliners such as Otto Dix, Max Beckman, G. W. Pabst, et al. Lulu Quinn shows a strong affinity for this recurrent theme of urban decay, or deconstruction, through her use of nouvelle funk, similar to Phillip Guston, Kaz, Ralph Bakshi, or any graffiti artists.
Recently Lulu has stated that Astoria is the reference point, a place from which instructive and inspirational cues are taken, the over-riding goal is beauty, but as we know this is continually redefined; the eternal return of creating vision.
There is a consistent sense of the urban as fun, in Lulu’s paintings, in a highly individual and inspiring manner, again, with playfulness. This reminds me of Red Grooms. Perhaps it is the novel willfulness that makes it attractive, or maybe it is Lulu’s particular vantage point, of a Utopian interior view of what the rest of us see as grimy and hum-drum. Echoes of the cityscape reveal the artists’ personality.
Lulu describes Astoria as a catalyst from memory, a place that lacks veneer, and allows a natural and unmodified response, and a truer sense of feeling. The synchronous feeling here comes from “being yourself”, which in a media saturated culture seems a significant goal. Is this the lack of stimuli perhaps, or a true vacuum in which the artistic impulse is free to muse? Along with this comes a general underlying sense that art exists for no real purpose, at least in the sense of a commodity.
Recently Eva Kirk has presented a restless wanderlust and searching which is typical of this process that we are identifying in this show. Her search has been far reaching, and has been preceded by intensive aesthetic explorations which are experimental in nature.
Exploration by travel, gives way to exploration in art.
EVA: “it’s hard for me to say what they (the paintings) will lean towards until I start, because it always changes, (I’m) definitely picking up inspiration from my travels.“ Eva cites “the interconnections of mundane moments, finding your Heart amidst modern day confusion and meaninglessness, wisdom of the ocean, (and) goofiness”, which can’t be under estimated, because in the play of spirit one experiences loss of self, and merges with the greater zeitgeist. Again, agents of change, such as travel, maximize this effect, and help to depersonalize the search, making it more “cosmic” in scheme.
“I use a lot of different mediums but mostly collage and found things and I don’t really know why, I just see something and it either calls me to use it or it doesn’t. Sometimes I will make a piece of art, but then end up taking it apart and using pieces of it to create something else. I feel like that could somehow fit into the idea of eternal return”.
Goofing on your environment can be a healthy way to get a collective reality check. I see these artists as healthily engaged and caring, on the path to the next conversation. Certainly we are standing amidst a tradition here in Astoria. That’s defined every day you get up, and gauge the surroundings. The “return”, in so far as it works, can be seen as the nascent “seeds” that these artists bring back with them after their travels, or perambulations around the village. Getting away is searching, and inevitably it draws you back to confirm the pieces that started the search.
At the moment there seems to be a return to traditional representation, in the format of painting. Even so, it is couched in an atmosphere of experiment(s). Discord and chaos are necessary, and if you can learn to sustain dissonance, your view expands, and the search is for possibilities.
To quote Natalie, “The process involves relinquishing rightness”. That might be the entire concept currently under consideration. What I would add here is that the restless spirit of change has a healthy presence. I liken this Dionysian approach to the earliest forays of automatism of the Surrealists Robert Desnos, and Andre Masson. The edifice of empiricism may be a bed stone, but it is not the grounding wire that channels our creative energy.
Shane and Amy Bugbee’s Deep Art Blast. Celebrating creative revolution from past and present eras.
So you’ve seen the artfully-rendered flyers, the cryptic YouTube videos, the postings on Facebook, and the copies of the free Extreme Times broadsheet that have been floating all over town these past few weeks. You’ve heard whispers, rumors, conjecture. You may even have picked up some funny rumbles on your internal seismograph. All of which leads you to one simple, pertinent question…
WTF is the WTF Fest?
WTF FEST • FRIDAY APRIL 27 6-9pm Astoria PAC 16th & Franklin 9pm to Midnight (18 and Over please) @KALA • 1017 Marine Drive $10 (sliding scale) admission at both events.
Pose that question to event organizers Shane and Amy Bugbee, who are bringing this self-described “chaotic, artistic, multi-media, multi-generational, multi-musical-genre event” to four Northwest cities, including their adopted hometown of Astoria, and even they have a hard time defining it. “It seems like it was all planned, and actually it wasn’t,” Shane says. “Me and Amy act out in these weird ways; we don’t even realize we’re acting out sometimes, but we do and things like this start falling into place. Must be because it’s an election year.”
As it happens, WTF Fest grew out of a project in the works since our last election year. In 2008, Shane and Amy threw their dog and turtle in the back seat of their Chevy Blazer and embarked on a year-long road trip across the United States, armed with only $180 in their pockets. Oh, and a laptop, a video camera and a digital recorder. The laptop to test how far they could go with social media and their own resourcefulness as their major means of support; the camera and recorder to document it all – the travels themselves and the encounters they had along the way. The result: a forthcoming book and a full-length documentary, both entitled A Year at the Wheel, excerpts of which will be screened at WTF Fest.
It was at a panel to discuss the Wheel project at the 2010 South by Southwest festival in Austin, Texas that WTF began to take shape. The Bugbees had already gotten a taste of the “anti-SXSW” shows and events designed to counter the “corporate” nature of the official event two years before; now, sitting in the thick of it, they conceived some SXSW counterprogramming of their own. An event that, like many others, combined art, music, poetry and performance, but with a uniquely radical feel. And I do mean “radical,” as WTF’s core performer came straight from the source: one of the many people they befriended on their cross-country jaunt just happened to be one of the few bright lights of the sixties counterculture whose filament hadn’t dimmed or burned out entirely. “John Sinclair was in our movie,” Shane says. “He was right there in New Orleans and I knew he’d work with us. So I came up with this great idea for something that’d be real easy and real cheap, which, of course, turned out not to be so cheap or so easy. So we realized the only way this was going to make any money would be to do it in the Pacific Northwest, closer to home, so we added five extra dates” – shows in Eugene (4/22), Portland (4/23), and Seattle (4/28 & 29) in addition to the two here in Astoria – “on top of that.” Plans for the Austin event eventually fell through, but thanks to Shane & Amy’s talent for artist management and promotion, not to mention a social networking structure even more supportive of ambitious grassroots projects than it was four years ago (a good chunk of the funding has come via Kickstarter), it keeps morphing and growing. No two events will be the same; the core group of artists and performers will be augmented in each town by everything from skate-punk bands and “circus revolutionaries” (really) to comedians and people who only think they’re comedians (full disclosure – that last category consists solely of the author of this piece).
Sinclair is not only WTF Fest’s biggest “name,” but also the skeleton key to its philosophy – he may be forever associated with radial causes and political insurgency, but it’s his artistic affiliations that will ensure his legacy. (Read a White Panther Party manifesto, then crank up the MC5’s Kick Out the Jams, and tell me which one retains its power and immediacy four decades on.) The younger artists drawn into WTF Fest’s orbit – the likes of Ugly Shyla (creator of dark, creepy dolls and “shock performance” artist), Ruby LaRocca (horror/erotica actress-turned-auteur), and Rick Shapiro (raw, caustic stand-up who, unfortunately, will only appear at the Portland and Eugene events) – channel the temper of the times into their art in much the same way, albeit in a more intense, amped-up manner appropriate to these days of rampant rage. “I saw it when we were going across the country,” Amy says. “People realizing that maybe America’s not such a welcoming place for certain of us – they’re angry, but they’re active, they’re looking for a way to use that anger. Some people take that and join a mass movement, like Occupy or the Tea Party, and some prefer to express it in more personal, individual ways. And things get so polarizing and ridiculous, especially in an election year, that the only people I want to pay attention to are the artists.”
“This is how we as creatives campaign, in a way – around what, I don’t know,” adds Shane. “But WTF Fest and things like that are how we deal with these times. It’s our way of being active and political without being ‘politically active.’”
APPEARING AT THE ASTORIA WTF FEST:
Founder of the White Panthers, manager of proto-punk monsters the MC5, psychedelic cause célèbre, blues/jazz scholar, poet, author, broadcaster, activist, and perhaps the only person to have a John Lennon song named after them without having to marry him first – John Sinclair was and remains one of the pillars of the American counterculture. His 1969 arrest and conviction for passing two joints to an undercover police officer turned him into the hippie movement’s Number One Martyr, culminating in the 1971 “Rally for John Sinclair,” a truly impressive gathering of performers (including Allen Ginsberg, Stevie Wonder, Archie Shepp, Bob Seger and, oh yeah, John & Yoko) that helped result in the Supreme Court’s overturning his conviction and the rewriting of Michigan’s marijuana laws – a shining example of the power of art to effect social change that lives on in events like the WTF Fest. Unlike some of his peers, too many of whom softened up, sold out, burned out or faded away, Sinclair continues to keep the faith. His radio show can be heard at www.radiofreeamsterdam.com, he had a regular column for High Times magazine, and he sells John Sinclair Seeds through his website. You figure out what grows from them. (www.johnsinclair.us)
Dave Archer’s outer space paintings have adorned the sets of Star Trek – The Next Generation as well as several of the Star Trek films; graced the covers of books by SF legends Isaac Asimov, Larry Niven, and Jack Vance, among others; and been shown at the Hayden Planetarium in New York as well as the world headquarters of AT&T. But that’s not the impressive part. The impressive part is that his paintings are rendered on glass using a million-volt Tesla coil as his brush! Another fellow traveler on the underground railroad of the counterculture, his roots extend all the way back to the San Francisco Beat scene of the early 60s, and his appearance at WTF Fest is sure to be – you will excuse the term – electric. (www.davearcher.com)
Densmore probably needs no introduction to most Astorians, as his appearances as part of the annual Fisher Poets Gathering here in town are already legendary. Described by WTF Fest organizers as “an authentic Alaskan tough guy,” Densmore has literally made the harrowing and dangerous world of the ocean his life – he was even the skipper of a commercial fishing boat at the age of thirteen! His words, presence and presentation are, like his livelihood, tough, harrowing, and beautifully real, and sure to inspire anyone who experiences it. (www.davedensmorefishermanpoet.com)
“Fear, Loathing, Lipstick and Art” goes the credo of this Cajun dollmaker, performance artist, alternative model and bona fide Voodoo priestess. You can call her work dark, disturbing and in-your-face, but don’t look for an agenda underneath it all. “Unlike some artists, I really have no clue why I do what I do or what it’s even about in a way,” she says. “I’m on the journey just like the people that see my stuff are. I’m like a medium or channeler, I’m just the vehicle. Sometimes I feel the need to make things addressing certain subjects – it’s like what Southern Baptists refer to as a ‘burden’.” I won’t give away what she has planned for WTF Fest (mostly because it’ll be different every time), but suffice to say it will make an impression. As the carnies used to say, “a minute to see, a lifetime to forget.” (www.uglyart.net)
RUBY LAROCCA & MONICA PULLER
LaRocca and Puller’s recently-formed production company is known as Snatch Devil Devil Snatch, which may give you some indication of where their interests lie. As might the titles of some of the 60+ films on LaRocca’s ever-expanding resume, including The Devil’s Bloody Playthings, Orgasm Torture in Satan’s Rape Clinic, and Night of the Groping Dead. And if that doesn’t get the point across, note that LaRocca is also a contributor to the newly-published Have a Heart for Horror Cookbook. Devoted to exploring the dark, fertile ground where horror, eroticism and femininity meet, LaRocca and Puller will be at all WTF Fest performances, filming, performing, and who knows what else. (www.rubylarocca.com)
San Francisco-based singer/songwriter/multi-instrumentalist Strange draws from the vaudevillian tradition of the one-man band – she plays accordion, drums and sings all at the same time – but it would be kind of a stretch to call what she does “traditional.” Her music has been described as “acoustic electro-clash goes to the punk rock circus in Mexico,” and her lyrics, sung in both English and Spanish, are as salty, saucy and brassy as the artist herself. She has toured with Cyclecide, the world’s only punk rock bicycle carnival with pedal-powered midway rides and wrote and performed the music for the Lifesize Mousetrap, a 25-ton Rube Goldberg-esque assemblage of kinetic sculptures handcrafted to resemble a very large version of the classic children’s game, both of which seem manifestly appropriate and very WTF. (www.esmereldastrange.com)
LONNIE D. WAGES
Another hard-bitten survivor-made-good, Wages has seen the world, done time, beat cancer, and even did a stint as roadie for Willie Nelson. A devoted advocate of marijuana legalization as well as a skilled singer/songwriter, Lonnie comes to WTF Fest to perform several of his original compositions, some of which have been recorded by a number of country legends.
Approval of six proposed coal export terminals will face national, regional and local opposition. Learn more on both camps.
Following in the footsteps of Lewis & Clark, trains loaded with coal from mines in the Powder River Basin of Montana and Wyoming could be converging on the Lower Columbia and other port towns along the Pacific Northwest coast in the next few years, if several proposals for new export terminals are approved.
In what seems like a replay of the LNG saga here, companies are lining up, plucking down hundreds of thousands of dollars to pay for the permitting process, and carefully picking the ports and counties in which to pitch their proposals. In some cases, coal export terminal proposals are popping up in the same places as LNG terminals that are still pending, or were long ago shelved.
Weary from the LNG fight – which is still going on as the terminal and pipeline proposals switch from import to export – citizen groups, environmental organizations and even some business groups are already gearing up for a series of long battles combating the new proposals for coal export.
Coming on the heels of the largest recession since the 1930s, there are many in the region that argue that coal exports will be a boon to the local economy, and welcome the new proposals. Before one lump of coal has been loaded onto a ship headed to China, the two sides are already flinging numbers and accusations at each other. And the stakes are high, because we’re talking really big numbers here, like up to 100 million short tons of coal a year, or 10% of the current usage of coal in the U.S.
It’s All About Supply and Demand
The fossil fuel industry – including natural gas, oil and coal – is experiencing a boom in the U.S. Prices are rising, mostly due to increased demand from booming Asian economies. Improved technologies have allowed heretofore unattainable reserves to be recovered. Hydraulic fracturing, or “fracking”, which uses water and chemicals to force gas and oil out of deep shale formations, has brought prosperity to many towns across the country unseen since the 1970s or even earlier. Tar sands oil from Canada has started to flow to and through the U.S. And new mining techniques are allowing more coal to be recovered from existing and new mine sites. Regulations have been eased to spur the production of more domestic energy.
Due to the recession, rising gasoline prices, better vehicle technology and efficiency, the threat of climate change and associated regulatory changes, demand for fossil fuels has decreased in the U.S. in the last few years. When you take increased supply and add it to decreased domestic demand in a global market where demand is increasing rapidly, you get more pressure to export. LNG import terminals have become export terminals, there’s a net export of finished petroleum products for the first time since the 1950s, and coal exports have almost doubled in the past few years (though still below historic highs in the 1980s and 90s).
And you ain’t seen nothin’ yet.
It turns out that the shortest (and cheapest) route between the Powder River Basin coal mines and China is through Oregon and Washington ports. Therefore, as the map (from an opposition group called Coal Free Northwest) shows, the proposals for terminals and associated rail lines to export Powder River coal are all on the Columbia River or Pacific Ocean (or associated bays) deepwater ports.
Applications for permits and agreements to investigate the potential for coal export at these ports started coming in about a year ago. Let’s travel by train, barge and ship, and follow the black gold to its potential loading and unloading sites in Oregon and Washington. We’ll take several routes from Spokane west, starting with the northern spur to Cherry Point, near the border with Canada and close to North America’s largest existing coal export terminal (operated by Westshore Terminals, shipping over 29 million tons a year in over 200 ships) just north of the Tsawassen ferry terminal in Delta, B.C.
Gateway Pacific Terminal
In March of 2011, Pacific International Terminals, a subsidiary of SSA Marine, “one of the largest shipping terminal operators and stevedores in the world” (from the terminal website at http://gatewaypacificterminal.com/), submitted preliminary documents to Whatcom County, the US Army Corps of Engineers, and state agencies to kick off the environmental review process for a proposed deep-water marine terminal at Cherry Point in Whatcom County, between Ferndale and Blaine. The terminal would provide storage and handling of up to 54 million metric tons of exported and imported dry bulk commodities, including coal, grain, iron ore, salts and alumina, but mostly export coal. In a related project, BNSF Railway Inc. has proposed adding rail facilities adjacent to the terminal site and installing a second track along the six-mile Custer Spur.
A permit was issued for a terminal at this site in 1997, but the new proposal has been determined to need a full environmental review, including an Environmental Impact Statement (EIS). The review will be carried out jointly by the Washington State Department of Ecology (Ecology), the U.S. Army Corps of Engineers and Whatcom County. According to Ecology’s web page on the project (http://www.ecy.wa.gov/geographic/gatewaypacific/), the timeline puts completion of the EIS in 2014, with scoping starting in June of this year, and a draft EIS issued in late 2013. The lead agencies will ask other agencies, tribes and the public what they think should be analyzed in the EIS, including things like stormwater, wetlands, air emissions, noise, and traffic, as part of the scoping process.
For more information on the project review, contact Alice Kelly of Ecology’s Northwest Regional Office at email@example.com or (425) 649-7128, or if you would like to get on the Whatcom County e-mail subscriber list for the project, send your email address to firstname.lastname@example.org, and in the subject line type “GPT Subscriber List.”
Heading a little south, we travel along the Yakima/Tacoma branch of the Coal Export Railroad to the Port of Grays Harbor, founded in 1911. Once the leading port for timber export, Grays Harbor now leads the U.S. in exports of soybean meal and is the number one seafood landing point in Washington State. It has been diversifying its portfolio recently, with coal perhaps in the picture in the next few years.
In late 2010, RailAmerica officials approached the Port of Grays Harbor about building a coal export terminal at the port’s Marine Terminal 3 near the Hoquiam sewage lagoon. It was once a Rayonier-owned dock and log yard. Willis Enterprises now operates a wood chip facility there.
According to an article in The Daily World, Hoquiam’s daily newspaper, in July 2011, Gary Lewis, RailAmerica’s vice president of industrial development, is quoted as saying that the project will likely be delayed until at least 2013, in order to complete additional studies and planning. The proposed terminal could export up to 5.5 million tons of coal a year from that site, according to Lewis.
Gary Nelson, executive director of the Port of Grays Harbor, told me only that there is a proposal for developing a coal or grain terminal at Terminal 3, with an access agreement signed with the proposed terminal’s operator, which has been in effect for about a year, with “maybe another 90 days to go before considering an extension or further action.”
For more information on this proposal, contact the Port of Grays Harbor at (360) 533-9528, or try Puget Sound & Pacific Railroad at (360) 482-4994.
For our last stop in Washington, we’ll travel from Spokane towards and then along the Columbia River, on the Vancouver spur, to the industrial waterfront of the city of Longview.
Millenium Bulk Terminal
Millennium Bulk Terminals, a subsidiary of Ambre Energy, an Australian company, has proposed building a $600 million export terminal at the former Alcoa aluminum smelter site west of Longview. The company plans to export up to 44 million tons annually by 2018 or 2019, which would mean 16 trains would be traveling through Longview daily to the terminal. County planners have proposed a $200 million plan to upgrade the area’s rail system by 2016 or 2017.
In February, Millennium submitted applications for a Joint Aquatic Resources permit application to the Army Corps of Engineers, a 401 water quality certification to the Washington State Department of Ecology (Ecology), and a Shoreline Substantial Development Permit and a Shoreline Conditional Use Permit to Cowlitz County. These three agencies will conduct a coordinated environmental review of the proposed facility, similar to the procedures laid out above for the proposed Gateway Pacific Terminal in Cherry Point, Washington.
An application submitted last year for a much smaller operation was withdrawn after opponents uncovered internal company emails that spoke of hiding the larger numbers from the public.
According to Mike Wojtowicz, the Building & Planning Director for Cowlitz County, the proposed terminal in Longview is about 6-9 months behind the process just getting under way for Gateway Pacific.
The proposal, according to the Millenium website, is to build out the terminal in two phases. The first stage would include the construction of a new dock at the site, and raise the coal export capacity to 25 million metric tons. The second stage would upgrade the existing dock, currently used for import of alumina; and storage on site, currently used for coal for the adjacent Weyerhaeuser pulp and paper mill and other bulk materials, for additional import and export capability, especially for coal export.
And now we’ll continue our tour along the southern banks of the Columbia River, as our train pulls into the Boardman Industrial Park at the Port of Morrow, just east of the town of Boardman, Oregon. Ironically the current site of Oregon’s only coal-fired electricity plant, slated for phaseout by 2020, a different kind of terminal is proposed here, part of a scheme that includes facilities at Port Westward, near Clatskanie.
The Morrow Pacific Project
The Army Corps of Engineers has extended the public comment period to May 5 for the shoreline development permit application submitted by Coyote Island Terminals, LLC, an offshoot of Ambre Energy North America, itself a subsidiary of Ambre Energy in Australia, to develop a new transloading facility for bringing coal in by rail and transferring it to barges on the Columbia River at the Port of Morrow.
Comments should be sent to: Mr. Steve Gagnon, U.S. Army Corps of Engineers, PO Box 2946, Portland, OR 97208-2946, or e-mailed to email@example.com. Additional information may be obtained from Gagnon at (503) 808-4379 or at the e-mail address above. Reference project #NWP-2012-56.
The coal would be barged from Boardman down the Columbia to Port Westward and loaded onto ocean-going “Panamax” vessels to be shipped to Asia. Initially, approximately 3.85 million tons of coal would be shipped through the facility each year. At maximum capacity, the facility would be able to handle 8.8 million tons. That would translate to approximately 5 trains to Port of Morrow, 5.5 loaded barge tows from Port of Morrow to Port Westward, and 1 Panamax ship to Asia per week initially, increasing to 11 trains, 12 loaded barge tows, and 3 Panamax ships per week at full build out.
In January, Port of St. Helens commissioners unanimously approved a terminal services agreement with Ambre Energy that allows for an initial 5-year lease and options to extend it to 25 years. At this point, the company is doing feasibility studies at Port Westward under the one-year contract, which can be extended another year, and then month-to-month, according to Pat Trapp, the executive director of the port.
Continuing along the rail line that runs along the southern banks of the Columbia, we get a great view of the Columbia Gorge and the Portland Metro area before coming to our next stop at Port Westward in Clatskanie. Right near the site of a proposed LNG import terminal that never materialized, another proposal for moving our black gold out via the Columbia River has emerged.
Kinder Morgan Port Westward Project
Kinder Morgan Terminals, “the largest independent terminal operator in North America, with more than 180 terminals that store petroleum products and chemicals, and handle bulk materials like coal, petroleum coke and steel products” (from their website), has proposed to build a $150-200 million coal export terminal at Port Westward, with the potential to move up to 30 million tons of coal obtained by rail from the Powder River Basin.
Port of St. Helens commissioners approved a lease option agreement in January that extends 18 months, with the ability to add another 12 months to that, according to Pat Trapp, the port’s executive director. The port will hold the land for that time, and if both parties agree that the project could go forward, another vote will be taken by the port commissioners on a full-time lease, Trapp told me. The port’s role is to “facilitate collaboration between the project and the community.” All necessary permits would be obtained from the proper agencies once the proposal was given the go-ahead by Kinder Morgan and the port, according to Trapp.
One last port of call for the Coal Export train, and that is the Port of Coos Bay, down on the southern Oregon coast. Heading south down the I-5 corridor from Portland, we pass Salem and Eugene, before heading southwest along the recently renovated and reopened Coos Bay Rail Link. Right near the site of the proposed Jordan Cove LNG export terminal, our journey finally ends.
Several companies recently approached the Port of Coos Bay with requests for possible development of a bulk facility within the Port’s jurisdiction. The Port asked the various parties to express their plans in an “Expression of Interest”, and these were evaluated using criteria such as experience, environmental record, financial strength, port involvement and project timeline. The winning proposal came from an overseas company, according to Elise Hamner, Communications and Community Affairs Manager at the port. Out of four proposals, three for coal export, Project Mainstay, which would be located on the North Spit (upper middle of the photo) on 80 acres and have a capacity of 6-10 million tons of coal (the smallest of the four proposals evaluated), won in every category of the evaluation. Project Glory proposed a 26 million ton throughput, but came in dead last.
An “exclusive negotiating agreement” was entered into between the port and Project Mainstay, which expires on April 15. According to Hamner, it will likely be extended. The goals of the agreement are to come to financial terms on the sale or lease of port property, establish a timeframe for development and permitting, agree on design, set a target date for start of operations, and get reasonable financial and volume guarantees from the operator. The identity of the potential operator of the coal export terminal is being withheld due to a confidentiality agreement.
Back in 2004 when proposals for LNG terminals started coming in, the opposition was mostly composed of small, local groups near the proposed sites. It wasn’t until the routes for the pipelines associated with these terminals became known that bigger groups, such as Columbia Riverkeeper, became involved
Not so for coal export. The opposition has been organized and broad-based from the start.
Beyond Coal Campaign
On the national level, there is the Sierra Club’s Beyond Coal Campaign (www.beyondcoal.org). From humble beginnings in 2002, the campaign has grown into “a force to be reckoned with,” says its leader, Mary Ann Witt. According to Witt, over 150 proposed coal-fired power plants have been stopped. No new proposals have been submitted in the past few years.
In addition to stopping new plants, Beyond Coal has a goal of retiring one-third of the existing coal-fired energy plants and replacing them with clean energy. They’re about a fourth of the way there.
The campaign’s Coal Exports leader is Cesia Kearns, who works out of the Portland Sierra Club office. A veteran of these types of campaigns, Kearns told me, “the coal companies will have a fight if they pursue these coal export terminals.” The campaign has already filed a lawsuit against the Port of Coos Bay for charging them to view documents related to the Project Mainstay proposed export terminal there, and the local district attorney has ruled in the campaign’s favor. And they sponsored a rally in Salem on April 9, where they attended the State Land Board meeting and presented petitions to stop the Oregon-based terminals.
Power Past Coal
“A growing coalition of organizations sharing a common interest to prevent the West Coast from becoming a high volume coal corridor,” Power Past Coal (www.powerpastcoal.org) is an opposition coalition of groups including Climate Solutions, Columbia Riverkeeper, Earthjustice, RE Sources for Sustainable Communities, Sierra Club, Washington Environmental Council and the Western Organization of Resource Councils.
One of the Power Past Coal coalition partners, Columbia Riverkeeper (www.columbiariverkeeper.org), is no stranger to fossil fuel export schemes. They are currently the lead organization in the fight to stop the LNG terminal proposed for the Skipanon Peninsula in Warrenton, and have ties to groups fighting the pipeline associated with this project. Originally proposed as import terminals, the two remaining west coast proposals, Oregon LNG in Warrenton and Jordan Cove LNG in Coos Bay, are looking into applying to export LNG to Asia.
Brett VandenHeuvel, executive director of Columbia Riverkeeper, summed up the group’s objections to coal export along the Columbia River to me in a conversation we had a couple of weeks ago.
“Do we protect our quality of life in a vibrant estuary and coast or do we sacrifice it for dirty coal and LNG? The residents view the lower Columbia as a healthy place to work and raise a family. The gas and coal giants see a convenient location for massive industrialization. These are not compatible views. We can’t have both. Coal giants are seeking approval to make the lower Columbia the world’s largest exporter of dirty coal. This would dramatically change the face of our communities and our river.
“Coal is dirty. It contains toxic pollution like mercury and lead. Hundreds of doctors have taken a stand against bringing coal to our towns because coal is linked to increased cancer, lung disease, and asthma. The costs are too great.
“Our communities would bear the brunt of shipping coal to China. Dirty coal trains and terminals would foul our water and air.
“Building the world’s largest coal export terminals is not compatible with protecting salmon. Salmon need clean water and healthy habitat, not dirty coal. Studies have shown that coal terminals are a source of toxic pollution and that the coal dust harms salmon. We don’t need any more slaps to our fishing industry.
Landowners and Citizens for a Safe Community (lsco.org), originally organized against LNG pipelines in the Longview area, has now shifted focus, and is fighting the Millenium Bulk Terminals proposed coal export terminal in Longview.
Citizens for a Clean Harbor (cleanharbor.org) has formed to fight the proposed RailAmerica terminal at the Port of Grays Harbor in Hoquiam.
Communities for a Coal-Free Gorge (coalfreegorge.wordpress.com) “envisions a Columbia River Gorge where the people can determine what materials are allowable for transport through their communities and watersheds.”
Coal Train Facts (coaltrainfacts.org) has organized to fight the proposed Gateway Pacific Terminal in Cherry Point, Washington.
Though many of the effects of coal export will be felt by those of us who happen to live in the Columbia Pacific region, the larger implications of the export of Powder River Basin coal to Asia will be felt around the globe. While global energy companies and their associates will continue to reap large profits from their investments, in what can only be called “the tragedy of the market”, the continued use of coal to fuel the growing economies of Asia and elsewhere could inevitably destroy the planet through climate change and the runaway greenhouse effect.
Mike Wojtowicz, the Planning & Building Director for Cowlitz County, told me he was frustrated with the lack of a clear national energy policy, which resulted in Cowlitz County fighting the state Department of Ecology and other agencies over the rules regarding siting of coal export terminals. Pat Trapp, the executive director of the Port of St. Helens, countered that the coal being exported to Asia is private property, and restricting the flow of goods between private parties is not something the government should do.
But one has to wonder, if there’s a reasonable chance that coal export from the Pacific Northwest could contribute to accelerated climate change and global havoc, should we not pause and think through the consequences of this job-creating, economy-stimulating endeavor?
1. What state in the U.S. has the largest coal reserves?2. What is coking coal used for? Steam coal? How is coal made?
3. Which country has an advanced coal liquefaction industry and what country developed the technology for this process during what event?
4. Which country has the world’s highest reserves of coal?
5. Which country uses the most coal?
6. When will peak coal arrive?
2. Coking coal – steel; steam coal – electricity; coal is made from living matter, pressure, heat and time
3. South Africa; Germany; WWII
6. 2030-2100 depending on economic growth
There was a time when we knew everyone in our neighborhoods, and may have even been related to many of them, a happy tribal existence, of sorts. All pitching in when one needed help, and every member filling a need, but in the fast-paced world of today, we barely know our neighbors much less what their needs or skills might be. Often friends, neighbors, and family members can be there to help out, but there are times when no one is available. Any part of our community, separated from family and friends, such as elderly or minority groups, may not have access to the help they need without paying for a service.
Hour-for-hour, you can invest your time in a new community economy
What if there was a way to rebuild a social network that helped people and their communities become more self-sufficient, and placed value and caring on everyday people needs. Voila! People are doing it, and the new system of time banking is working.
A time banking community offers voluntary help and services ranging from babysitting and dog walking to car repair and technical support from the people in your community. Time banking is like having an extended family to help out with rides to the to the doctor or the grocery store, help with chores around the house, or childcare. Time banking is a community “data-ing” service; a database of willing community members who care to offer their special or simple talents for the opportunity to bank “work hours” for use when they may need a lawn mowed, or help moving a piano.
The concept of time banking originated with founder Edgar Cahn in the 1980s. Time banking is meant to honor the unique talents and skills that all community members have to share, regardless of age, employment, or ethnic background, like teaching language, art, or music, helping with yard work or minor repairs, or simply running errands. By valuing the community as a resource for all its members as human beings with something to contribute, the time bank builds a rich infrastructure in the form of a community skills and services directory to promote exchanges that work beyond a price. Work value is redefined from what comes in a paycheck to what it takes to raise healthy children, build strong communities, revitalize neighborhoods, and make the planet a more caring and sustainable place.
Time banking brings people together, and turns strangers into friends. Have you ever wished you had someone around to give you a ride somewhere, help you run some errands, pick you up after you drop your car off for repairs, or just give you a hand when you need it? Who has never been stuck needing to move without sufficient strong bodies or, worse, yet, no truck!? Everyone has seen the bumper sticker proclaiming, “Yes, it’s my truck, and, no, I won’t help you move!” Luckily for the Lower Columbia region, a very different philosophy has been appropriated by an eight person steering committee, who have been working diligently to research and to bring the Lower Columbia Time Bank (LCTB) to the Northwestern Oregon and Southwestern Washington Coasts.
The LCTB steering committee is: Teresa Barnes, LCTB Financial Officer; Jennifer Rasmussen, LCTB Secretary; Pearl Rasmussen, LCTB Membership Coordinator; Tallie Spiller, LCTB Outreach Director; Caren Black, LCTB Adviser (Titanic Lifeboat Academy); Christopher Paddon, LCTB Supporter (Titanic Lifeboat Academy Board Member); Nancy Spaan, LCTB Supporter (Titanic Lifeboat Academy); Joseph Stevenson, LCTB Supporter, came together initially to find a Time Bank program that existed and could be employed as a template or mentor program. Having difficulty in locating a specific person to help with the set-up, they just dove into it, and, eventually, committee members discovered the Southern Oregon Time Bank (www.sotb.org) from Ashland, which provided a model they were interested in, and offered affordable software to establish the time banking on-line database for postings needs and skills to be exchanged.
For many of the committee members, the prospect of a better world through greater community connections factors prominently into the interest in creating a time bank. LCTB Founding member, Teresa Barnes, not only sees the time bank as the potential to develop a community give-and-take, sharing-based opportunity that functions outside of a strictly monetary system, but as an idea that fits perfectly into Astoria and the outer-lying communities.
“I never witnessed community-in-action until I moved to Astoria. There is already a strong tradition (of helping), here…(The time bank) arises out of a direct need from the community and sells itself.” Theresa is excited to share her skills, as well as her friends’ talents with the community. “Knowing that you can help each other out empowers a neighborhood”. She has already been approached by neighbors expressing their interest in the whole time bank idea. Teresa has been a resident of Astoria for the last ten years.
What is time banking?
Time banking is a tool by which a group of people can create an alternative model where they exchange their time and skills, rather than acquire goods and services through the use of money or any other state-backed value.
The hours earned or exchanged in a time bank are all of equal value, respecting each participant as an asset with something to offer the community, and accepting the fact that we need each other to build stronger communities. The current state of the economy makes this an opportune time to engage this “missing piece” to help with the political and economic future of the Pacific Northwest, commented LCTB supporter, Nancy Spaan. As the current economic system does not seem to benefit the general population, according to LCTB Adviser, Christopher Paddon, time banks offer people their own economy by enabling communities to be more neighborly and to put into action, the concept of reclaiming community economics. Time banks serve as a tool for creating the community that works for you, transforming communities into neighborhoods we want to live in versus communities we feel stuck in.
Caren Black of the Titanic Lifeboat Academy serves a very important role as adviser and mentor to the youthful and energetic LCTB volunteer staff. The academy provided the 501c3 wing to the Lower Columbia Time Bank, under which it has been allowed to fly. Raised in the midwest, Caren embraces the childhood memory of an era when neighbors helped one another in times of need. She recalls how communities valued and respected their citizens, based on what they would contribute to one another and the community, and not on their professional training, number of degrees, or salary.
“Health organizations believe time banks make people feel better, and cut the cost of health care . . . while some forms of barter are taxable, the I.R.S. has ruled that time dollars are not — because they value all work equally, work is done for a charitable purpose, and the exchange is informal and non-contractual.” – New York Times (September 20, 2011)
Having grown up in and returning to Astoria after college, LCTB founding member, Pearl Rasmussen, felt a tremendous sense of community in Astoria after big storms hit the region. “Sometimes it takes a disaster for people to see what they’re capable of.” In the face of economic disaster, the time bank offers an appropriate response to helping each other. Pearl’s vision of the time bank operations builds bridges, and opens conversations between different parts of the community. In speaking with various community groups and encouraging participation, she has been able to make people aware of the skills they have to offer in a time bank exchange: reading a book to someone; speaking English with non-native speakers; helping with basic chores or repairs. The time bank serves as a “powerful tool for many community members to build self-esteem. It’s nice to have a conversation with people and see them sit-up a little straighter when they realize they all have skills to share.” Fellow LCTB founding member, Jennifer Rasmussen (no relation to Pearl) wants to support “cool things (happening) in my neighborhood, exchanging help, instead of money makes you a better neighbor.”
LTCB Outreach Director, Tallie Spiller appreciates a key tenet of time banking in the equal value placed in all work hours; everyone’s hour is equal to everyone else’s hour. “To give something that you want to give and then to be able to receive what you need is a really exciting idea.” Talking with different parts of the community, Tallie shares the concept and practice of time banking, “everyone sees how they can fit themselves into it.” The time bank benefits come from getting to know and to share with new people, and to become a bigger part of the community as a resource.
The LCTB staff is eager to initiate and to maintain the formation of LCTB; they stress the importance of flexibility in the growth and future of LCTB and its possible off-shoot time banks. LCTB, in its current form, desires to reach the communities all up and down the river, serving Southwestern Washington (Pacific and Wahkiakum Counties ), and Northwestern Oregon(Clatsop, Columbia, and Tillamook Counties).
How it’s going to work.
The launch date for the Lower Columbia Time Bank community tool is March 20, 2012. At which time the LCTB website, www.locotimebank.org, should be accessible for applications for membership, more information, and an orientation schedule. LCTB plans to make applications and membership available to those who are not on-line via telephone and postal mail. Applications are to be reviewed by the LCTB staff, and prior to participation, a quick and easy orientation is required to facilitate the use of the program. Completion of the orientation gains new members three time bank hours to start the exchange process. The time bank database allows participants to locate other time bank members’ “offers” and “requests” in their area to facilitate an exchange. Members make their own exchanges and report their own hours. Hours can not be swapped, sold, assigned a value, or given away. There are no membership fees and all exchanges are informal and voluntary. The all-volunteer LCTB staff is seeking technical assistance with the on-line software (Joomla!) and website.
For more specifics on time banking, prior to the launch date contact LCTB at firstname.lastname@example.org, or call (503)298-6709.
Time Bank going back in time
Time banking is not barter. Barter economies have been in practice throughout history, but the idea of using time as a unit of exchange only appeared shortly after the Industrial Revolution. The origins of time-based currency can be traced both to the American anarchist Josiah Warren, who ran the Cincinnati Time Store from 1827 until 1830, and to the British industrialist and philanthropist Robert Owen, who founded the utopian “New Harmony” community. While both systems are based on the principles of mutualism and the labor theory of value, Josiah Warren’s currency was explicitly pegged to time as a measure of specific goods or labor. For example, 3 hours of carpenter’s work would be considered equivalent to 3-12 pounds of corn. Meanwhile, Robert Owen’s currency simply bore an inscription referring to a number of hours, which presumably could be exchanged for however many pounds of corn a farmer would deem adequate or labor of any kind.
The first successful contemporary time bank was started in 1991 by Paul Glover in Ithaca, New York. Following his idea, people began to exchange time, which led to the creation of a time-based currency—the “Ithaca Hours,” which even local businesses began to accept, and which still flourishes. Time banking and service exchange have since developed into a full-fledged movement, usually centered around local communities.
THIS PAST September, a story ran in the local paper about the descendants of the Clark family returning a canoe stolen from the Chinook tribe by the Lewis and Clark expedition in 1806. That story was picked up by the wire services and ran in many papers across the country and around the world. The Clark descendants named in the story were 7th generation descendants of Captain William Clark. I am a 7th generation descendant of Chief Coboway, the Clatsop chief they stole the canoe from, and on behalf of all the Clatsops, I would like to set the record straight.
I and the other descendants of Chief Coboway I have spoken with all applaud the Clark family for making the effort to right a wrong done long ago, but it would have been nice if they had done it in a truly just and correct way by returning the canoe to the tribe it was actually stolen from. As stated in the article, they gave the canoe to the descendants of “Chinook” Chief Coboway – who never existed. Coboway was a Clatsop. We were and are a distinct tribe from the Chinook with our own traditions, language, and history. It is very hard for me and the rest of the tribe to understand how this whole story could unfold without any consultation from the Clatsop tribe.
Descendants of Coboway, as well as most Clatsop, Nehalem and Chinook were forced out of our homelands and ended up being welcomed in several neighboring tribal communities. In Washington these included Bay Center, Shoalwater Bay, Chehalis, Quinault, Skokomish and Quilleute. The Oregon communities included Siletz, Grande Rond and Hobsonville. However, some of us were able to hang on and stayed in our homelands. Some Clatsop and Nehalem chose to become members of those tribes; others chose to remain Clatsop or Nehalem. There’s no confusion that some Clatsop and Nehalem are represented by other tribal groups, however, as a tribe, we are represented by the Clatsop-Nehalem Confederated Tribes.
My ancestor Chief Coboway was one of many that hosted the Lewis and Clark Expedition in our homelands. He was frequently mentioned in the Journals as being an honest and generous man, traits we value greatly to this day. It is my responsibility and privilege to carry on his legacy by supporting all people in our most traditional and sacred ways. We as individual Indian Nations have similar struggles, but in today’s world, now more important than any other time, in order to save our culture, our heritage, and our inherit rights, we must learn when to leave the pettiness at home and to stand united and help each other. It is important that we see beyond the difficulties that are thrown in front of us to divide and conquer. It is my fondest hope that we muster up support for our individual nations for each one of our tribes, and ignore the words, actions, or non-action, that are meant to harm or destroy. It is the duty of ALL of us to support the truths of our histories.
– Richard Basch, Vice-Chairman of Clatsop-Nehalem Confederated Tribes
There isn’t any dispute that Lewis and Clark stole a Clatsop canoe, and Chief Coboway went to fort Clatsop to get it back. The journals of the Corps of discovery make that all very clear. They named their winter encampment Ft. Clatsop for a reason. It has been a common misconception that the Clatsop were some part of a larger “Chinook Nation” or tribe due to the similarities of our languages. In truth, the Clatsop had been deeply intertwined with the Nehalem and other Tillamook long before the Corp of Discovery came to Oregon. Lewis and Clark commented on this as did Franz Boas and others studying Indian cultures in later years. There is a great summary of our history on our website here: http://www.clatsop-nehalem.com/history.html.
We in fact signed a treaty, with the US government in 1851 (not ratified for economic reasons.) There were also individual treaties for the Lower Band of Chinooks, Cathlamet Band of Chinooks, etc. and Nehalem, Tillamook and several other bands or tribes.
Assuming tribal affiliations based on language is a gross oversimplification of native relationships that Europeans have tried to inflict on us for hundreds of years. It is more convenient to lump tribes into groups, but it probably does not in fact represent anything Native Americans recognize themselves. For example, the Apache and Navaho languages are both Athabascan, but no one would suggest that they are the same tribe. In fact, there were many individual Apache tribes that did not associate themselves with the Apache nation. Likewise, the Shoshone, Piute, Ute, Comanche, Diegueno, and many other tribes speak Uto-Aztecan languages, but bear little resemblance to one another culturally.
I have been told that the truth about the relationship of the Clatsop and Chinook tribes is “murky” and can’t be sorted out with any certainty. It is not murky to us; it is clear in our oral traditions and is supported by all available evidence. I have also heard this situation being dismissed as some “squabble” between the two groups, and that we would have a better chance at federal recognition if we did it as one “Chinook” tribe. There is no squabble, and it is condescending to ask us to relinquish our identity and history for a convenient “feel good” story.
The story of the Clatsop and other Western Oregon tribes has been a long tale of loss and death since contact with Europeans began in earnest in the late 1700s’. Death mostly from disease, and loss of our homelands from the American Government not honoring the treaties they signed with us. In the case of the Clatsop, the government thought we would just die off before they had to deal with us. They succeeded in getting our land, but we didn’t all die. We are still here, and intend to stay. This story about the Clark family returning the canoe to the Chinook tribe, and calling MY Great Great Grandfather a Chinook chief is yet another case of others trying to ignore our existence, oral and written histories. It does not sit well with me or the other members of my tribe.
One other point regarding the canoe; the Clatsop-Nehalem tribe was awarded a grant from the national park service to build a canoe for the bicentennial comemoration of the journey of the corps of discovery, and as reparation for the canoe stolen 200 years before. You will find pictures and information on our canoe, “Dragonfly” on our website: http://www.clatsop-nehalem.com. Dragonfly was the first canoe built on the Oregon coast using traditional methods since the 19th century. We took part in those commemorations as the Clatsop-Nehalem Confederated Tribes.
At the end of the day, we would like people to understand the true story. We wish the best for our cousins across the big river. We are all people of the river, but we have our own identity.
As a freelance columnist I weigh in on many issues that are covered by the press. Sometimes the coverage itself merits comment, as evidenced by a local Indian story.
For me this story began six years ago when I was asked to participate in a potlatch – the traditional gifting celebration that anchors the indigenous culture of our region. This particular potlatch coincided with the Lewis & Clark bicentennial, and was hosted by descendents of the people who greeted the explorers here at the Pacific.
Why was a pale-skinned pup asked to stand beside Northwest Indian elders, overwhelmed with humility in front of 250 people? Because the Clatsop-Nehalem Confederated Tribes wanted a member of the local press to serve in the formal role of witness.
The historical context of that role humbles me. Conquest of this continent was often scouted by my kind — scribes who tell stories on paper. It can be argued that Lewis and Clark were journalists, dispatched to gather written intelligence for empire builders.
By contrast, indigenous people of the Northwest cleave to oral traditions. Though it surprised me at the time, I now understand why ten minutes into the potlatch I was asked to put away my pad and pen. My challenge was to watch and listen, with pure attention, then give an honest account from memory.
Since then I’ve written a number of columns in local newspapers about what I witnessed at that event. I’ve described how gifts were given in a ritual way, to join together people and tribes in a web of generosity.
At the center of those gifts was an old-growth cedar, gifted by the Quinault Indian Nation. Many Clatsop-Nehalem people who were displaced from their homeland went to live with the Quinault, who welcomed them. The gift tree was carved into a 32-foot seaworthy canoe, with guidance from a master carver trained in traditional native canoe making. This was made possible in part through federal grant funding.
The ceremonial presentation of that tribal canoe was a centerpiece of the potlatch. Everything about it was carefully thought out, including the timing to coincide with the bicentennial. For the Clatsop-Nehalem, their new canoe was reparation for one that was stolen from them by the Lewis and Clark expedition.
The vessel’s significance to the recovery of Indian heritage was newsworthy, especially in light of the timing. Yet despite sweeping press coverage of the bicentennial, the canoe was barely mentioned beyond my local columns. As often happens, truth was buried beneath a mainstream narrative. The cross-country adventures of famed white explorers, re-enacted by men in costume, brushed over the fact that those celebrities were also thieves.
So it goes, as it has for hundreds of years. The people who have lived here for millennia continue their work of cultural reclamation, undaunted by the gap between what’s written and what’s done. Like returning salmon, the Clatsop-Nehalem are determined to regenerate their relationship with their homeland.
This was clear during the past year. The tribes published a beautiful and informative book titled “The Journey of the Clatsop-Nehalem Canoe,” written by local artist Roberta Basch. Last July, Clatsop-Nehalem and Warm Springs families joined together to participate in a canoe gathering located in Swinomish, Washington. They paddled 407 miles and camped 22 nights in order to celebrate their culture with other native people.
Not long after that journey, the canoe story took a very strange turn. Members of the Clatsop-Nehalem Confederated Tribes were surprised by an article in the Daily Astorian (September 21, 2011). The press announced that the family of explorer William Clark was making a public gift of a new canoe to replace the one that was stolen by their ancestor’s expedition. Five days later a second article reported on this gifting.
Here’s the stunner: the Clark family gave it to the Chinook, a neighboring people who did not own the original canoe that was stolen. Moreover, news coverage advanced the claim that both the canoe and the story of its theft belonged to the Chinook. The press even referred to the Clatsop chief who suffered the theft as “Chinook” Chief Coboway.
Stories are a core part of human identity, as integral to the people of the Pacific Northwest as potlatches, cedar, salmon, and seagoing canoes. Understandably, a strong corrective action was requested by the Clatsop-Nehalem.
To date, that appeal has gone unanswered. Instead, the Associated Press spread the fallacious story to news outlets around the country. The impact of this coverage has been conveyed to me in writing by tribal member David Stowe, a 7th generation descendent of Clatsop Chief Coboway.
“It was shocking, surreal, and disturbing to me personally to see a member of my family, Chief Coboway, being referred to as a member of another tribe with no mention of the Clatsop tribe he belonged to,” writes Stowe. “The entire tribe is very unhappy with this effort to erase our tribal heritage, and is determined to put an end to this misinformation and get the true story published.”
Who among us would not be equally offended if our cultural heritage were displaced in this manner?
The situation grieves me, but not because I feel sorry for anybody. The more I learn about the Clatsop-Nehalem, the more assured I am of their resilience. The expropriated story of a stolen tribal canoe will not weaken their cultural revival.
What’s less certain is the future of a tribe we call the American press. Our integrity as witnesses is in need of repair, as evidenced by this and other stories. Can we reclaim our role as truth-tellers?
If so, part of our upstream journey involves a special canoe, gifted in a traditional way at a Clatsop-Nehalem potlatch.
So, two things got me thinking again. I finished reading The Help, by Kathryn Stockett, and I received the December edition of Victoria’s Secret catalogue in the mail (I am apparently residually on their mailing list after buying underwear there a few times).
I have refrained from mentally engaging the complexities of gender related issues since I graduated from college. I had a feminist professor who had a knack for getting me all riled up. She was a beautiful combination of high heels and tri-athlete, challenging every societal norm that slightly marginalized women. I couldn’t even sit through dinner with friends without finding myself hot and agitated, having been referred to, throughout the night, as a “chick,” a “hey man,” and a “you guys.” They say “ignorance is bliss,” and I agree, because enlightenment sure is exhausting.
Tired of always being mad at my male friends, father, brother and anyone who accidentally called me a “girl” instead of a woman, or referred to God as a man, I decided to give up the feminist act and just live my life. I have since shied away from gender discussions and turned my critical attitude inward. Trying to make societal changes through argument and accusations only leads to frustration, which only leads to bitterness; this just keeps a person down. Since college, in lieu of stirring up gender related conflict, I have instead gotten married, traveled, bought a house with my husband, worked a variety of jobs and given birth to two beautiful boys.
When that Victoria’s Secret magazine landed on my front step, I opened it up, furrowed my brow and flipped through the pages mindlessly. “Cute underwear,” I thought. “That would be a great nursing shirt,” I found myself saying out loud. My husband and my two-year old came beside me to peer over my shoulder and check out the goods. Asher, in all of his beautiful two year old innocence, said, “Mommy?” pointing at one of the Barbie Doll models with breasts three sizes larger than mine and much “less nursed” looking. Breasts, to him, still solely signify nourishment, and any woman with breasts, is without a doubt a “mommy.”
“Look at these models!” I said to my husband, “they are tiny!” I have said this before many, many times. This used to be one of my favorite hot topics, ranting about how ridiculously unrealistic underwear model’s bodies are, but in this particular moment, with my two year old staring down at the page and my husband smirking over my shoulder, I felt that familiar agitated burning feeling sneaking up on me. Some of the women were literally made to look plastic; their skin iridescent and shiny, slightly bronzed and glimmered. Others were so disproportionately small in the hips in relation to their breasts that I felt actual pain in my lower body just thinking about the simple mechanics of walking up a stair case with these measurements.
“No baby, that’s not Mommy, Mommy is real.”
The Help got me thinking in a whole different direction. Since finishing the book, I had spent hours sitting, watching my babies, thinking of how my life has changed since becoming a mother; thinking about what it means to be a woman and a mother right now, at this time, in this country. In what ways are we similar to the characters in this widely read novel set in 1960’s Mississippi that grapples with issues of racism, sexism and human cruelty? In what ways do we bring our fellow females down in our actions, speech or judgments? How are we making conscious efforts to lift each other up? During an era when half naked Victoria’s Secret models seductively stare my two year old in the face and pop culture continues to promote derogatory, over sexualized messages about the female body, what are we doing to support and encourage one another?
I realize now that angrily picking apart the overuse of generic masculine pronouns in our language gets me nowhere on my quest towards encouraging other females to embrace who they are. In fact, it demonstrates nothing supportive in my cause. Instead of portraying myself as a victim-like, uptight female, I would rather be perceived as a woman who is comfortable in my own skin. Now a mother of two boys, I find that I am faced with a huge responsibility. I want my boys to be vessels of change in this world and I believe that it starts with teaching them how to love and trust themselves so that they may have the capacity to love and accept others. I believe that teaching through demonstration is the most effective way to pass on knowledge. My first goal is to be overtly respectful and loving towards my own body. One way I have chosen to do this, is to openly breastfeed my babies. I do this because it is a way that I can publicly embrace my valuable role as a mother and a female. The more women who are made to feel comfortable doing this, the more mainstream this significant act will become. Wouldn’t it be wonderful if the next generation of little boys could grow up appreciating breasts as something more than sexual objects?
I am also on a quest to be purposeful with my language. The subtleties of language can have a dramatic impact on children as they learn about the world around them. It means speaking in uplifting ways about both males and females, and in ways that don’t blindly categorize. I always appreciated my Grandfather, who without a doubt, assumed that I would be running the motor and pulling shrimp pots every time we went out on his boat. The confidence in his voice when he said, “Alright Erin, you’re up,” said, you are just as capable as the boys. When he stood in the kitchen with an apron on and helped my grandmother make raspberry jam, he was demonstrating to me, at an impressionable age, that kitchen jobs were not gender specific, but dependent on an individual’s interests and hobbies.
Men like my Grandfather are the reason that I have decided not to be an angry feminist. I don’t need to prove anything to anyone, or force people to change their ways. I just need to be happy being me; pursuing my life without self inflicted limits and preconceived notions, embracing my individual female identity, and encouraging the women and mothers that surround me to do the same. After all, being a contented feminist is much less tiring than being an angry feminist, and it may be more influential as well.
Freedom. It’s a word you’ll hear a lot of this year, bandied about so often it’ll be surprising if no political entrepreneur goes out and gets it trademarked before the election cycle ends. To many of us, freedom is a given, a fact of life, even a slogan. But to Eva Vecsernyes – native of Hungary, single mother of two, eleven-year resident of Astoria, and, as of last month, fully-naturalized citizen – freedom is the operating principle of her life, the thing that informs everything she does.
“I am a very bullheaded person!” Eva smilingly exclaims. “I don’t like being told what to do too much!” Which is not, as you might imagine, the most comfortable attitude for a child growing up in Communist Hungary. “There, I was told how to live my life. I like to live my life on my own terms – I understand there are rules to be followed but this is my life, I only have one. I don’t need my government telling me how I should live, where I should work, what I should read, what I should watch on television. I am entitled to choose my own life, as a human being.”
And choose she did. Just after eighth-grade graduation, fourteen-year-old Eva hopped a plane to Alaska and immediately found emancipation – not to mention extreme culture shock. “Culture shock? You’d better believe it! I come from a country that was technologically – not necessarily behind but kept back. I mean, they’re just finally getting color television! Come on! So you come from that to a place that has washers and dryers … you’re going, ‘what’s a dryer? What’s a microwave? What’s an automatic door?’ I didn’t know what to make of it all!”
If major appliances take some getting used to, imagine being confronted with a whole world of cultural referents undreamt of in a Hungarian teen’s philosophy. “The movie Alien was not allowed in Hungary, for example – the government considered it ‘too violent’ so it was banned. I remember my aunt protesting to have it shown and getting into a lot of trouble for it. Certain movies were kept out of the country, there were certain books you could not read, and all pornography was completely illegal… so when I came here and saw how freely available it was, I was in complete shock! To suddenly have all that in my face as a fourteen-year-old girl – to go from it being illegal to being everywhere…”
Cultural liberties are one thing, but Eva soon discovered that oppression is not just a product forged behind the Iron Curtain. “My ex-husband is a native Alaskan. I remember going to a potluck in his village, and the first thing they said when we got there is ‘no white women allowed’ and I had to leave. Have I come across people who tell me ‘go back to your own country?’ Sure, but that’s just the bigots. Who cares? But to come across such a united front like that – that was very shocking. It’s such a drastic life in Alaska in many ways.” Freedom called again; she divorced and, with children Victoria (now nineteen) and Jonathan (seventeen) in tow, “bummed around” the lower 48 for a while. “I was in Arizona for a little bit, then Texas, and eleven years ago, I came here for two days and haven’t left yet!
“Astoria got to me,” she says. “There’s a lot of neo-classical architecture here, everything’s a little bit older, and there’s a real sense of history, which is one of the things I miss about Hungary. And the weather is almost the same! People are very open-minded around here; I’ve been made to feel very welcome, the local families treat my children like one of their own. We were assimilated into the community very quickly. I do get some people telling me ‘learn to speak English,’ because my accent gets heavy when I get a little upset… well, live with it! It’s beautiful here – I really don’t want to leave!”
And now, she’ll never have to – just three weeks before we spoke, Eva made it official: she is now a full-blown citizen of the USA. “Anybody who’s afraid of it, don’t be! It’s the easiest test I ever took! They give you a study guide for a hundred questions, and they say they’ll ask you up to ten. I got asked four – who is the President, who is the Speaker of the House, if I’m willing to bear arms for the United States, and… there was one more question that honestly I’ve already forgotten! Then they asked me to read one sentence, write one sentence and that was it. It was really simple – I went into study mode like a crazy woman for two months for nothing!” And what’s different now that she’s officially American? “I can bitch in public now!”
But if you think that means she’s settled, think again. “My son’s going off to college in the fall so after that, I’m a free bird! I would like to go back to school and get my Master’s in literature, but at the same time I just want to pack up and go somewhere – I’ve never seen Africa, never seen Asia. Nothing’s really holding me back, so why not? I’ve been a daughter, I’ve been a wife, I’ve been a mother, it’s time to be me. But Astoria feels like home, it does. I can’t say I won’t flutter, but I’ll always fly back.”
Our lives are stories.
Research into human happiness has found that long term happiness is all about the stories we tell ourselves about the events of our lives. It turns out that these stories are in fact more important than the actual events. Collectively we have many stories in common. When we adopt a particular shared version we become advocates for the definitions congruent with that storyline. How we define terms like Democracy, Liberty, Freedom and Happiness are largely reliant on which cultural story we believe to be true. In turn the definitions we adopt profoundly effect our actions, which become the basis for the personal stories through which we view our lives.
Here begins a creation story.
Once upon a time in 1776 there was birthed a new nation. The founding fathers declared, “We hold these truths to be self evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are Life, Liberty, and the pursuit of Happiness.”
They set out law, stating “We the People, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defense, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution…”
Not long after, perhaps four generations, during a difficult time for the nation, a war erupted. Speaking to thousands, over the bodies of the fallen soldiers of that civil war, the Leader proclaimed these words of hope: “That this nation, under God, shall have a new birth of freedom —and that government of the people, by the people, for the people, shall not perish from the earth.”
About a generation after the war of division was quieted, children were first tasked with the job of a daily pledge for the continuance of their government, “One nation indivisible, with liberty and justice for all.”
This is a powerful creation story we have. Most of us have repeated the pledge of allegiance thousands of times. Many of us cannot help but believe that as Americans we are part of a story both larger and more glorious than ourselves.
Enter the Robber Baron Story.
And then we go to work, and find that actually, we live in a feudal state. In this story we either believe that we are powerless minions, simply cogs in the machine, or if we are lucky, and better than others, we reside on top. Liberty is the reward for those having both God’s favor and the backbone to reach out and take what they want. “Get while the Getting is Good” is the moral of this story, and it has played a part in the darkest chapters of our nation. In this story our lives have meaning only to the extent to which we can get for ourselves, and unfortunately we can only get at the expense of others.
At several points in our history we have seen what happens when those who are writing our common story, our laws, are working not for our life, liberty, and happiness, but rather to keep the populace appeased while pleasing the powerful. The Robber Baron storyline brings us governance motivated not by the desire for a more perfect union, but by the opportunity to “make a killing.”
Then there is the Cooperation Story.
The Cooperation story believes that “Together We are Stronger.” It is as commonplace as credit unions, granges, food coops and fishermen mutual aid associations. Since the very beginnings of our nation, people have sought to be stronger by their solidarity with each other. The cooperation story is based on reciprocity, and the healthiest versions include ideals for voluntary and open membership, transparent democratic process for decisions, autonomy, and community concern. It is less a story of dominance and coercion, and more the story of seeking consensus. In the Cooperation Story, if we hope to have a government of, for, and by the people, we must step up into the responsible stewardship of our nation to make it so.
When stories collide.
In January 1912, 100 years ago this week, 20,000 mill workers in Lawrence, Massachusetts went on strike, after mill owners declared new cuts to their starvation wages. Their rallying cry was “Bread and Roses,” requesting not only fair wages, but dignified conditions as well.
The women, men and children of the strike spoke several languages, but were united by their common aim, to engage in Life, Liberty and the Pursuit of Happiness, ideals many had crossed an ocean to attain.
During the 1912 strike, a mill worker, Anna LoPizzo, was shot by police while participating in a peaceful protest. Mill owners influenced the authorities to arrest three union leaders for LoPizzo’s murder. Living the Robber Baron Story of strict hierarchy, they hoped to cripple the strike by jailing its organizers. However, because it was a collectivist movement, the strikers were working for their common liberty rather than individual freedom. Functioning with a broad definition of leadership, the strike continued despite the jailing of its primary organizers. The workers were living the cooperation story, working for something larger and more glorious than themselves.
A story for the future of our nation.
I hold these truths to be self evident: that all beings have inherent worth, that we are part of a whole that is much larger and more complex than we can ever hope to comprehend. That our words and actions have power, particularly when we work in small groups and at the local level. The biggest hurdle to democracy perhaps is the complacency of those who live within feudalism, and believe it to be liberty. These millions do not believe in their own power and so opt out of even the bare minimum of civic responsibilities. We must believe that our actions have weight, to participate within a democracy.
I believe that we participate most fully when we collaborate to govern ourselves, by actively making decisions. Deep democracy is transparent, dynamic, changing and diverse, and it requires embracing dissent. It happens when people meet and discuss their lives with the intent to find solutions not just for the most vocal, but for all.
Asking ourselves what we hold to be “self evident” is one way to understand where our biases may be and to reclaim the authorship of our story, which may in the end lead us to greater happiness. Perhaps my children will see and experience large scale democracy. Meanwhile, I just keep working on my piece, slowly practicing the skills I need to do the work, and trying to remember to keep sharing bread and smelling the flowers.
ACCORDING TO A STATEWIDE SURVEY carried out by the Oregon Health Authority, an estimated 560,000 Oregonians, or approximately 14.6% of the state’s population, went without health insurance in 2011. Of that number, approximately 52,000 are under the age of 19. Sobering figures, and yet there’s a bright side: that is down by half from only two years ago. For that, we can thank the efforts of Healthy Kids, an initiative launched by the OHA in 2009 with the goal of providing affordable, quality health insurance to all Oregon children. Since its conception, more than 90,000 young Oregonians now have access to comprehensive no-cost and low-cost health coverage and the peace of mind that goes with it, thanks in no small part to the tireless efforts of outreach and enrollment workers throughout the state.
In Clatsop County, that would be Judi Mahoney, a former Portland schoolteacher and longtime advocate for both children’s welfare and the improvement of Oregon’s healthcare system, who has served as an independent contractor for the Healthy Kids program since August, 2011.
“My husband works for the (Clatsop County Public) Health Department, and the Director, Margo Lalich, was looking for someone to fill this position. We had just moved here last year so I was looking for employment, and she knew that I spoke Spanish – I’m a former Spanish teacher – and she thought it’d be a good fit, since a good deal of the folks we work with are through the schools. Sometimes when you’re getting into the schools and trying to figure out how to promote something, it’s good to know the culture and the climate.”
Mahoney’s goal is to garner 120 new enrollments throughout the county by the end of her first year, a “quest” she takes seriously; while she works out of the Health and Human Services offices here in Astoria, she has no office of her own, which enables her to take Healthy Kids to the families who could use it rather than wait for them to come to it.
“I do house calls,” she says. “Folks call me up, I get a lot of referrals from schools as well, and typically I go to their homes, since that’s where people keep their pay stubs and other information I might need, and help sign them up. I also work a lot with Spanish-speaking families; all the handouts and brochures I have are available in Spanish, which is helpful.”
When she’s not helping families through the application process, she’s out drumming up awareness of the program; despite the enormous strides Healthy Kids has made in two short years, a lot of Oregonians don’t understand what it is, or worse, even know it exists.
“There’s been a little bit of marketing confusion. A lot of people have heard of the Oregon Health Plan, but when they hear about Healthy Kids, they may not be aware that it’s health insurance or even know what it’s about. So we’re working to get the word out.”
Allow me to do my part, then: Every Oregon child without health coverage is eligible for Healthy Kids, provided he or she is 18 years old or younger, live in Oregon and a legal U.S. resident. All eligible children must be uninsured for two months to qualify, though exceptions can be made under certain circumstances. There are no waiting lists and no child will be turned away because of pre-existing conditions. Children are covered for one full year after enrollment and coverage can be extended for as long as they are eligible. Depending on income, families will be eligible for No-Cost, Low-Cost, or Full-Cost payment options. (For more detailed guidelines, see contact information below.)
By any measure, Healthy Kids has been a rousing success so far. More Oregonian children have access to affordable medical care than ever before, and the program has helped the state win a $22.5 million performance bonus for surpassing its enrollment targets and adopting streamlined and improved application procedures. But, as long as there remains one child without health insurance, the work continues and challenges loom.
“I’m really the only one who’s officially working on this in the county,” Mahoney says, though several businesses in the community, including Darlene Warren Insurance in Warrenton and Knutsen Financial Services in Astoria, have offered up their services as “assister locations” to help families through the application process. In addition, members of various county agencies, advocacy organizations and business groups have joined to form the Clatsop County Healthy Kids Coalition, who will meet every six to eight weeks to discuss and devise new outreach opportunities. “I’d really like to see more people promoting this from all walks of life within the county. For example, members of the faith-based community could spread the word through sermons and newsletters; someone can sponsor a Healthy Kids soccer tournament; or even just simple word-of-mouth. Even if you have nothing to do with children, we’re a very well-connected community. Everybody knows people. And the more people we have to help promote what we’re doing, the more we can make some amazing things happen. I’m very optimistic.”
As the United Nations declares 2012 the International Year of the Coop, the Blue Scorcher Bakery and Café in Astoria is embarking on its path to becoming a worker-owned cooperative. The UN resolution entitled ‘Co-operatives in Social Development’ recognises the diversity of the co-operative movement around the world and urges governments to take measures aimed at creating a supportive environment for the development of co-operatives. So to, Blue Scorcher Bakery is joining the ranks of successful, diverse cooperatives in this region; The Astoria Cooperative Food Store, a consumer coop, The Tillamook Dairy, a producer coop, and Wauna Federal Credit Union and TLC Federal Credit Union, financial co-ops.
While consumer co-ops are owned by their customers, worker co-ops are owned by their employees. A worker co-op is a form of co-op established by workers to provide themselves with employment and full control of their work environment. Members are both the workers and owners, a simple enough definition given by the Northwest Cooperative Development Center (NCDC), that has helped dozens of co-ops throughout Washington, Oregon, Idaho, Hawaii, and Alaska to organize or strengthen their operations. Executive Director of NCDC Diane Gasaway, who has been assisting the Blue Scorcher remarks, “Co-ops are not easy, they take time, research, education, training and a number of other resources to develop.”
All cooperatives follow the seven principles; Voluntary and open membership, Democratic member control, Member economic participation, Autonomy and independence, Education, training and information, Cooperation among cooperatives, Concern for community.
At a retreat this past October by Blue Scorcher employees, six gathered to formulate the plans and make the commitment to become member-owners, getting closer to the end of what co-founder Iris Sullivan Daire calls “a seven year journey toward a more formal, broad ownership.”
In 2009 co-founders Joe Garrison and Iris Sullivan Daire (married partners) began meeting more formally with a group of the workers who were interested in developing the business as a co-op. While Joe and Iris have officially been the owners in a DBA structure, “From the beginning it was a very participatory, collective business,” says Iris.
Flashback 2004, many customers to Blue Scorcher will remember The Bread Collective, the more humble beginnings of the busy bakery/café — about 5 folks gathered together in the back of a former restaurant, to bake good organic bread together and tasty cookies, and make it available to desiring consumers. What seemed rather experimental at the time has since evolved into one of Astoria’s most popular community gathering places. On a recent stormy weekday afternoon, there was a substantial crowd both at the bakery takeout counter and at the restaurant tables, where patrons enjoyed a daily special of fragrant garbanzo tangine soup served of course, with a gargantuan chunk of bread hand made in the bread oven a few feet away. Unlike most restaurants, here one of numerous chef/cooks delivers your meal to you, a touch that seems especially homey. The Blue Scorcher has also long been a large part of both the social and philanthropic scene in Astoria, hosting the late summer Lughnasa Fest, celebrating local growers and sustainability practices, Full Moon monthly dinner gatherings, making the dining area available to numerous types of events and bread donations to community organizations.
As the Blue Scorcher has curbed some if its own community productions, the focus now has turned to the work of creating cooperative bylaws, and membership agreements as six worker members step up to the cooperative plate with earnest monies. And while a worker-cooperative model serves a practical economic approach, Iris Sullivan Daire speaks passionately to the humanistic qualities that the coop structure allows, “When you have a voice, you are more fully human. When you are separate from what you do [in your place of employment] it becomes enslavement.” The cooperative environment, as the Blue Scorcher proves too, is creating space for people to transition in life and in their relationship to work.
New owner – worker Peggy Bondurant, a retired teacher, began volunteering and helping with some of the special events, “I loved the atmosphere and knew I was retiring soon and I thought this would be a great place to work part time.” After starting out as a barista, Peggy took a pastry making class in Portland and discovered “that I must have been a baker in a former life” and then I began baking pastries. Eventually her passion turned to chocolate, and after a trip to Ecuador to visit chocolate growers Peggy returned to the bakery and is now going wild as the Scorcher chocolate maker, her creations of dark Equadorian chocolate bars in the front case.
“I’m on the committee that’s writing the by-laws. I’m seeing other employees getting very interested and putting up earnest money. ‘I’m a lot more hopeful now that this will work.” While Peggy was excited about the prospect of becoming an owner, initially she had some concerns and questions. She credits Diane Gasaway of the Northwest Cooperative Center, who is guiding the Blue Scorcher employee owner process with helping her understand that process much better.
“Blue Scorcher contacted NWCDC for help in moving employees who had expressed interest in becoming worker-owners to make the commitment,” says Diane Gasaway, “It was evident to me that Joe and Iris were creating opportunity for the employees and they had educated them on the cooperative values of self-help, democracy, equity and solidarity. Therefore, I offered to help them look at and illustrate the potential earnings/or not employees might realize as being worker-owners. This fall some of the employees made a commitment to transition to worker-owners and we are now working through the revision of their organizational documents, including bylaws, which incorporate the Sociocratic governance principles.”
Enter Sociocracy. In addition to crafting cooperative bylaws, the Blue Scorcher, according to Sullivan Daire, will incorporate the sociocratic form of governance, and may be the first coop in North America to do so. Developed in Holland, the model also known as dynamic governance, is used by many successful businesses there. It presumes equality of individuals and is based on consent. This equality is not expressed with the ‘one man, one vote’ law of democracy but rather by a group of individuals reasoning together until a decision is reached that is satisfactory to each one of them.
Thumbnail sketch: it uses a system of circles to organize decision-making. Members of each circle are responsible for decisions within their domain. Rather than using ever larger circles to make decisions affecting more than one domain, each circle elected representatives to a “higher” circle.
“Consent is different than consensus,” explains Sullivan Daire, “ Consensus asks the question ‘does everybody agree’ and having a paramount objection is different than agreeing because you can support a proposal even if you don’t love it. When you ask for agreement it creates a sort of tyranny and people are not willing to be upfront with how they feel because they don’t want to be a jerk. But when you’re seeking consent you’re seeking concerns and disagreements. You want to expose that to see if there’s anything you’re missing and if the proposal has a big blind spot. Bringing out concerns creates a better proposal, and a humanly way to disagree, she adds.
Joe Garrison offers an example.” If you’re trying to do it democratically what it comes down to is a vote count. Let’s say you have 51 in favor of being open late and 49 against it, well you’ve got half the room being pissed about it and not cooperating. What this new model is trying to do is prevent people from separating. You’re all at the same table, all members of equal standing and when you have members opposed you get to say, wow, thanks for letting us know. What is it that you’re opposed to? That’s the gift that’s being brought to the table. A bunch of cheerleaders saying “yeah, we’re open late!, well there’s very little of depth and value there. The depth and value lies in the person saying “wait a minute, I see some problems there. So instead of separating camps and dividing you seek consent to being open late and moving ahead and using those concerns as the measurement criteria to determine if being open late succeeds or doesn’t. Joe also adds that a major criterion for decisions often lies simply in how the Blue Scorcher mission statement of “joyful work, delicious food and strong community” would be affected.
That mission statement attracts many long time customers who wind up becoming employees. “When I first walked into the bakery I was a customer and I picked up on the spirit. It looked like the philosophy of ‘joyful work” was true,” recalls Peggy Bondurant.
Another long time patron who came to work at The Blue Scorcher is Karmen Hughes, a owner-to- be, and 3rd year employee. With a background in the arts and no culinary training other than “being a mom,” Karmen, who is a vegetarian says, “It really was one of my only dining options. I knew Iris and they needed some help with prep so I began part time for about six months. Karmen proved herself and went on to become a full time chef, organizing the menus and the daily specials. Her own personal commitment of cooking with good healthy organic and seasonal ingredients made the job easier.
“Aside from the daily specials, which are inspired by what’s available that day the regular menu is consistent. People want to know that they come in and get a certain item. People love that. We have a loyal following, locally and beyond. People come from Portland very often. I think what we’re doing is very unique. Many people appreciate that the money stays in the community rather than going to an out of state corporate headquarters. I appreciate being part of that says Hughes.
Blue Scorcher’s roots can be traced back to 1995, when Joe, bike mechanic, met Iris, artist, his “bonnie bride to be” in Eugene. A year later Iris was offered a position at Clatsop Community College as a weaving instructor and the couple relocated to Astoria. Iris had been baking bread part time during her own college years. “We became friendly with Michael Henderson, a weaver who also baked bread and owned a bakery/café called Home Spirit Bakery. Michael kept telling Joe to give up that bike mechanic stuff and come bake bread with me,” recalls iris.
Eventually The Home Spirit Bakery closed (not to forget the wonderful breads of Rosemary Baking that also closed eventually). Enter The Bread Collective. Sullivan Daire was the only one with a baking background. “We operated for a long time with no name at all,” recalls Joe. “We just started making bread. We delivered to the Astoria Coop by bicycle.”
Bakers on a mission, they were approached by then-owner of the behemoth auto mechanic building, Robert Strickland. The building at the time was condemned. The city wanted all the broken windows fixed or they wanted the building torn down. “We actually had to crawl under the Do Not Enter tape to check out the space,”says GArrison, “We wound up signing a lease and Robert used the lease to leverage a loan to do repairs on the building.”
Of the former body shop says Sullivan, “So you’d go in and see heaps of bald tires and greasy chaos on the floor. The front door of the Scorcher is where the cars drove in. We signed the lease in fall 2005 and turned the electricity on May 2006. We had an untried oven and no explosion so we baked for Mothers day. We had a mixer that we got from a used car lot in Longview that somebody had seen in The Nickel Ads. It was crazy. That first summer we were just doing the Farmers Market and a few wholesale accounts. In September 2006 we were finally ready to open [as a public space].
A scorcher was the slang-term from the Victorian era for the bicycle, also those who rode them, as in those days, the bicycle was very revolutionary. Thus the new bakery, rather than “Green Scorcher,” laughs Sullivan Daire, “that sounded too much like an eco-terroist,” The Blue Scorcher was born.
Early on, it was difficult to attract employees to sign ownership agreements since the business needed to prove that it could survive the first few years successfully. “Something like 60 percent of new restaurants fail in the first three years, says Sullivan Daire, “We needed to get in the black.”
“And a big piece of it is that we have a bad business plan,” jokes Garrison. If by business you mean something that generates money at the end of the day… say you want to use more expensive ingredients, high quality organic ones. And you want to get them all locally. And you want to hand produce everything. And we’re going to do it with blue collar traffic so there’s a glass ceiling on how much you can charge. And we’re doing it in a rural area with a limited clientele base. At the time it really seemed like an experimental project.”
Rachel Douglas, another owner-worker bee, who helps keep the books at The Blue Scorcher, has shifted her own financial priorities since joining the staff.
“While there were a few other jobs out there where I may have made better money I felt that I had such a good opportunity to learn and build a resume. I felt like I was getting paid to learn. When I’m able to learn something new about the business it makes me want to stay, otherwise I’m likely to look for another job. “ Rachel, who’s described by her colleague Peggy as a “Jill of all trades” had worked as a barista at a non-cooperative coffee shop in Corvallis where she studied art history. “While my boss there was a great guy, there was nowhere to go other than being a barista. After a few years of working there I expressed interest in helping with management, and he wasn’t responsive to that.” Since coming to the Blue Scorcher, Rachel has worked as a barista, a pastry maker, a cook and a bookkeeper.
“At the bakery it seems like there’s no ceiling. I wanted to learn the books. I was encouraged and now I am doing the books there. “
Rachel feels that the spirit of a cooperative business fosters not only loyalty among the workers but among the customers as well. “Many people will not only buy the product itself but also what it stands for. I know personally that I tend to shop at cooperatives because I believe in what they’re doing and I want to support that. On the owner track and helping to write the by-laws she says, “I’m looking forward to this. Why not invest in your work? I feel as if I work like I own it anyway.”
Another member-owner to be, Tom Kulesa, is looking forward to more employees becoming owners as well.” Tom retired in 2005 from the Phoenix, AZ police department as a homicide detective. “In 2005 my wife and I took a trip to Astoria. We’d never been here before. The second day here we bought a house.”
“I had never worked at a restaurant before so I volunteered there for three days baking bread, to see if I liked it and they liked me. After the third day Joe offered me a job. I’ve been there a year and a half now. About a year ago I began talking with Joe and Iris about becoming a part owner in the collective. It sounded extremely interesting because it’s such a great atmosphere with such great people, especially after working for so many years where there’s so much negativity . . . You can become so cold dealing with that. Coming to work at the Blue Scorcher is the total opposite. I’m warming up,” laughs Tom. “My family says that I’ve mellowed quite a bit”. Tom sees himself working at the bakery for a long time and foresees the eventual expansions space-wise for more bakery room.
”Working with Blue Scorcher has been a very rewarding experience, says Diane. “They are committed, innovative, and willing to do the work. NWCDC provides general cooperative business development assistance, it’s up to those who will be members, who know their markets and industry, to make the commitment to understand and grow their business structure, policies, and operations.”
“I think because we’re not all about the bottom line profit and we’ve created more of a community space we have a very loyal local clientele. Bakeries are about comfort. Especially in these uncertain times people are attracted to that warm fuzzy nurturing quality that baked goods have,” says Sullivan Daire. After a seven year journey from humble local beginnings to a thriving operation with 30 employees and national web reviews, the “experiment” appears to have worked. “It’s winter in Astoria and we’re very busy,” notes Tom Kulesa.
As we all know here, that’s one major barometer of success.
The UN International Year of the Coop
The United Nations General Assembly passed a resolution declaring 2012 the UN International Year of Co-operatives on December 18, 2009.
The UN resolution entitled ‘Co-operatives in Social Development’ recognises the diversity of the co-operative movement around the world and urges governments to take measures aimed at creating a supportive environment for the development of co-operatives.
The International Year of Co-operatives, or IYC, celebrates a different way of doing business, one focused on human need not human greed, where the members, who own and govern the business, collectively enjoy the benefits instead of all profits going just to shareholders.
Having an International Year of Co-operatives provides an opportunity to captivate the attention of national governments, the business community and, most importantly, the general public on the advantages provided by the co-operative model.
As the global voice of co-operatives, the International Co-operative Alliance is seeking to leverage the International Year to raise the public awareness of co-operatives worldwide.
One of the key aims of the International Year is to raise public awareness of the co-operative business model. Throughout the year the ICA and other co-operative organisations around the world will be using a whole range of resources to achieve this aim.
For more information on the UN International Year of the Coop go to: www.2012.coop.
Circles of Sociocracy
This diagram is hot off the Blue Scorcher sociocratic planning table.
Sociocracy is defined as “rule by the socios”, people who have a social relationship with each other. Dynamic governance is achieved through the foundational sociocratic principles of “creative self organization” and consent based decision making. as opposed to democracy: rule by the “demos,” the general mass of people.
Sociocratic Circular Organizing Method
Circle Structure: The primary organizational principle of sociocracy is a series of linked circles. Circle meetings are facilitated with a combination of open discussion and rounds to include everyone’s voice.
Leadership: Leadership is the responsibility of everyone. Generally there are roles that include a facilitator, a secretary, and representatives for communication between circles. Nominations and elections are open, participatory, and consent based (see decision process).
Aims: Each circle is organized around a practical and measurable aim (similar to a goal). Aim is objective and can be clearly communicated. It is in the context of vision and mission which are more subjective and motivational.
Decisions: Decisions are made by consent. Reasoned objections are sought to provide solutions related to achieving the common “aim”. Consent is defined by the parameters of what each person can live with in pursuit of the aim.
We the People
By John Buck and Sharon Villines is the first comprehensive presentation of the history and theoretical foundations of sociocracy in English-speaking authors. This is the go to “how to” sociocratic governance manual assisting the Scorcher “circle.” It includes personal narratives by the authors of their discovery of sociocracy, a history of its innovative development as a practical application by innovator Gerard Endenburg, extensive discussion of how the principles and methods are applied in organizations, and “how to” chapters.
“Be kind to strangers, lest they’re angels in disguise.”
– verse from Shakespeare and Company song
Offbeat questions arise while minding my bookshop in winter on the Oregon coast. Like — why does our calendar year begin with a month named after a double-headed deity who looks backward and forward at the same time?
I met Janus online, at Wikipedia. Few folks worship him, yet each year we summon his likeness to re-assess events and assure ourselves that man’s toehold on the future is sound. We do this in part by affirming the legacies of climbers who’ve died.
Steve Jobs, for example. Count me among the toastmasters of Janus who salute the late silicon-slinger who built Model Ts for the information highway. What do his contributions tell us about ours?
I first heard of Jobs in the 1980s, while waiting in line to use the computer lab at college. There, massive machines munched on data I’d gathered and spit back graphs correlating declines in species of winged creatures with human crowding.
It felt quantitatively cool, just saying the word “data” around the biology department. Paired with objectivist text those computer-generated graphs made my papers look as credible as George Will’s baseball columns.
Jobs replaced those IBM-sized beasts with portable critters that help us correlate data while sitting at home. I’ve spent much of my life communing with those critters, sharing bites of knowledge in leisure environments.
What does Jobs’ death at age 56 tell us about our tour of creation? The question inspires me to compute in a different light.
Consider the following data. The morning I learned of Jobs’ death I was traveling in Le Luberon massif, a small mountainous area in southern France. My family and I had awoken to an agrarian view from the window of a bed-and-breakfast in a 1,000-year-old abbey.
Our host Christophe shared the news of Jobs’ death by way of a little white cross he cut out and taped to one of the delicious apples he offered us for breakfast.
“Were you a fan?” I asked.
“Not really,” he replied with soft-spoken frankness. “To me he was just another big capitalist. But his death is all they are talking about on the radio this morning.”
“Here are some of my favorite American authors,” he said, handing me a cup of coffee. On a nearby counter he had erected a pyramid of books by Kurt Vonnegut, Philip K. Dick, and John Kennedy Toole, all in French translation. The sight of Toole’s “A Confederacy of Dunces” quickly prompted a soul handshake.
Over two days we discussed a myriad of topics — from archeological finds in the nearby fields to dry stone masonry, the Arab Spring, homeless kittens, and visual art we coaxed Christophe to bring out despite his claim that he’s no longer an artist. I was captivated by the web of code woven into his work titled “Saint George and the Dragon.”
“I am the dragon,” he confessed in a humble learned tone, like something a janitor might mutter to himself while fixing the hinges on the door to the school library.
Our exchange of information in Christophe’s kitchen will be treasured for the rest of my life. And it happened, in part, because we learned about his lodgings on our little computer.
So here’s to Steve Jobs, who dove into capitalism’s belly and personalized the big blue beast.
Wait, there’s more. I’m compelled by love of beauty and truth to toast a lesser-known legend who lived Apple’s “think different” slogan long before its founders were born.
I raise my glass to George Whitman, the late proprietor of a bookshop in Paris named Shakespeare and Company. My family would not have even heard of Le Luberon had it not been for an exchange with new friends at Whitman’s labyrinthine store of knowledge.
The files were downloaded at a gently mad tea party that started in his apartment above the shop. Whitman didn’t feel up to an appearance that day, yet he set the stage for a spirited salon of language arts aficionados. I sat beside a toppling stack of tomes crowned with an early edition of “A Moveable Feast.” On the other side perched John Kirby Abraham, an English expatriate who knew Josephine Baker and wrote a biography of the cultural icon.
That social flurry at Shakespeare and Company is now lodged in my mind, along with the exchange in Christophe’s kitchen. My synapses are upgraded by the interactions.
Not long after our visit, Whitman celebrated his 98th birthday and then died in that same apartment. In his wake he leaves six decades of info-connoisseurism and an un-graphable influence on visitors, many of them free-radical scribes. By Whitman’s own estimate, he provided transient lodging to 40,000 writers who slept among his shelves in exchange for work and tolerating his notoriously bad pancakes.
In an organic light, Whitman’s shop stands as an exquisite living computer rivaling anything made in Silicon Valley.
Still recreating in France, Janus assures me this mainframe view of life offers future apps for all travel destinations.
He predicts 2012 won’t bring a Mayan cataclysm here to the north coast of Oregon. It will, however, mark the end of public trust in top-down methods of data processing. As the wealth chasm widens people will realize the numbers we’ve used to quantify growth aren’t as cool as we figured — meaning they don’t correlate with median incomes.
Mass faith in the syndicated press will falter. More people will explore alternative means of processing news and opinion. The art of conversation will be revived and integrated into online social networks. A renaissance of readers will unfold as folks realize that writing is as fun as texting on those glowing screen-toys.
There may be blood. Some oil tankers of intel won’t navigate as swiftly amid the flood of freelance communication. In some quarters the deluge of democratized data may look like the end of the world. Let’s hope George Will maintains his composure by thinking about baseball.
For my part I’ll surf the flow of shared ideas here in my bookshop on the Oregon coast. I’ll correspond with bohemian friends and encourage them to visit Le Clatsop-Nehalem massif. We need to make sure tourism in our part of paradise is as compelling as it is in Le Luberon.
Humans are adept at language innovation when faced with dead-end programming. Put our heads together we might meet anonymous angels, keepers of Eden who suddenly know it’s time to open the door.
Energy – where it comes from, how we use it, how much we pay for it, and how we make the transition to an independent renewable energy future – will define us as Oregonians for generations to come. In 2007, we passed energy legislation – including renewable electricity and renewable fuels standards – that will keep Oregon in the forefront of the fight against climate change, and move us toward a clean energy future. Under these standards, 25% of Oregon’s electricity will come from renewable sources by 2025.
– former governor Ted Kulongoski
The Oregon coastline is among the few places in the world that possess the four key elements necessary to tap into wave energy today: an abundance of energy generated by ocean waves border to border, internationally recognized experts leading the effort to develop the technologies to capture and convert wave power, the ability to supply that power to the grid, and sea ports ready to build, maintain and deploy wave energy conversion devices.
– Oregon Wave Energy Trust
GET READY for the next wave of energy projects in Oregon – offshore wind and wave energy, tidal energy from coastal rivers, energy from the California Current (which runs up the coast), and maybe even ocean thermal energy (OTEC) – ocean renewable energy.
According to a 2011 status report on renewable energy from the Renewable Energy Policy Network for the 21st Century (REN21), 2010 saw more than 100 ocean energy projects around the world reach various stages of development. By early 2011, offshore testing facilities were deployed in the United Kingdom, Denmark, Sweden, Canada, Portugal, Spain, Norway, Ireland and the U.S.
The La Rance tidal barrage (see photo above) began generating power off the French coast in 1966 and continues to today. Additional tidal projects have come on line, especially in Russia and China. Research into OTEC (which takes advantage of the temperature difference between surface and deep water) began at the Natural Energy Laboratory of Hawaii Authority in 1974, and continues today at the Hawaii National Marine Renewable Energy Center at the University of Hawaii. Energy from ocean currents is studied at the new Southeast National Marine Renewable Energy Center at Florida Atlantic University in Dania Beach. And a new device called VIVACE (see photo at right), developed at the University of Michigan and being commercialized by Vortex Hydro Energy, can eke out power from currents of less than 3 knots, available in ocean, river and tidal currents around the world.
Ocean energy companies started showing intense interest in obtaining permits here for their devices after an Electric Power Research Institute (EPRI) report in 2004 showed Oregon had a huge potential for energy in its coastal waters. To date, one site off of Reedsport has been permitted for testing an Ocean Power Technologies PowerBuoy system (see photo) in conjunction with the Northwest National Marine Renewable Energy Center at Oregon State University in Corvallis. Construction of the test device has begun, and it is expected to be in the water later this year. If tests are successful, a wave energy “park” could be developed in the area.
Here in Clatsop County, there are two potential wave energy projects that are beginning to gather some steam.
Feasibility studies are now underway for development of a series of wave energy devices that would double as marine firing range boundary demarcation and warning devices at the Camp Rilea Armed Forces Training Center in Warrenton. Stan Hutchison, of the Oregon Military Department, told me that the various National Guard stations around the state have a net-zero energy goal for 2020 (meaning that the bases must generate as much energy on site as they use) that will require each base to look at using various renewable energy technologies. Whereas solar is being used in Ontario and Christmas Valley, and solar, wind and geothermal in southern Oregon, at Camp Rilea, wind and wave energy will be the main contributors towards the net-zero energy goal. As Camp Rilea is also the new headquarters for emergency management in Clatsop County, Hutchison explained that renewable energy will be even more important, in case a repeat of the kind of disaster that struck the North Coast here in 2007 (The Great Gale) occurs, and we are cut off from supplies of fuel, as happened then. “We used vehicle fuel for the generators in 2007, and that left nothing for emergency vehicles. We don’t want to be in that situation again,” said Hutchison. Feasibility study results will be available by the summer. Hutchison said that the results would be shared with the community, and the whole process will be transparent.
Clatsop County is considering another very interesting wave energy project. The South Jetty that juts into the Columbia River Bar is due to be rebuilt by the Army Corps of Engineers in the near future. The county is investigating having a series of oscillating water column (OWC) wave energy devices (see photo) built right into the jetty rock structure, and collecting and using the generated power locally. Douglas County is investigating this same technology, and has received a preliminary permit to test the system.
After the initial flurry of activity on the Oregon coast, the ocean renewable energy industry has sorted itself out, and the state and other stakeholders have set about planning for an orderly ascendance of this newest of uses of the territorial sea (up to 3 miles out). While the 500 MW of energy available in the waves off the coast is tempting, there is a long way to go to realizing even a fraction of that potential. Christopher Paddon, sustainable energy technician program administrator at Clatsop Community College, told me that “the wave energy industry is where the wind energy industry was in the 70s.” He’s not optimistic that the industry will take hold in a big way in Oregon. But the state, coastal counties, and the industry are hoping that wave energy, along with the other ocean renewable energy technologies, will supply not only energy, but jobs and hope for a better future for our state. The ride could be bumpy, but will definitely be interesting. Stay tuned.
The Territorial Sea Plan Working Group, which met in Astoria in December, will be seeking public comment on the state’s new territorial sea plan, with inclusion of ocean energy, at two meetings in Clatsop County on February 17:
Ocean Renewable Energy Group (OREG) – The Ocean Renewable Energy Group (OREG) aligns industry, academia and government to ensure that Canada is a leader in providing ocean energy solutions to a world market. OREG works to advance the wave energy, tidal energy, and in-stream (hydrokinetic) energy industries in Canada and internationally.
Oregon Wave Energy Trust (OWET) – OWET is a nonprofit public-private partnership funded by the Oregon Innovation Council. Its mission is to support the responsible development of wave energy in Oregon. OWET’s goal is to power two Oregon communities with ocean energy by 2025.
Mapping and Assessment of the United States Ocean Wave Energy Resource – This project estimates the naturally available and technically recoverable U.S. wave energy resources, using a 51-month Wavewatch III hindcast database developed especially for this study by National Oceanographic and Atmospheric Administration’s (NOAA’s) National Centers for Environmental Prediction.
EPRI Ocean Energy Web Page – “Ocean energy” is a term used to describe all forms of renewable energy derived from the sea including wave energy, tidal energy, river current, ocean current energy, offshore wind, salinity gradient energy and ocean thermal gradient energy.
Supporting the Oregon Territorial Sea Plan Revision: Oregon Fishing Community Mapping Project – The state of Oregon is developing a comprehensive plan to guide the potential siting of renewable ocean energy projects in Oregon’s Territorial Sea. To this end, the state is revising its Territorial Sea Plan (TSP), and has begun collecting information on the spatial extent of human uses that provide economic and socio-cultural benefits. One data gap identified was the distribution and spatial extent of commercial, charter, and recreational fisheries. Ecotrust and others engaged in collecting relevant information on these use activities. Our research team developed and deployed an interactive, custom computer interview instrument, Open OceanMap, to collect geo-referenced information from commercial, charter, and recreational fishermen about the extent and relative importance of Oregon marine waters.
Goal 19 – Ocean Planning, General Information for Clatsop County– The county’s Comprehensive Plan does not include a Goal 19 element. In response to interest in ocean renewable energy (wind and wave) development along the Oregon coast, Clatsop County is considering comprehensive plan, plan/zone map, and zoning ordinance amendments that will address permanent structures in the territorial sea. These include wave and wind energy devices, cables and pipelines, buoys, and other fixed structures in the territorial sea.
Ocean Energy Systems(OES) – As the authoritative international voice on ocean energy we collaborate internationally to accelerate the viability, uptake and acceptance of ocean energy systems in an environmentally acceptable manner.
OCS Alternative Energy and Alternate Use Guide for Wave Energy– The United States Department of the Interior, Minerals Management Service (MMS), has prepared a final programmatic EIS in support of the establishment of a program for authorizing alternative energy and alternate use (AEAU) activities on the Outer Continental Shelf (OCS), as authorized by Section 388 of the Energy Policy Act of 2005 (EPAct), and codified in subsection 8(p) of the Outer Continental Shelf Lands Act (OCSLA).
WETGEN (Wave Energy Turbine Generator) – The home for the HANNA Wave Energy Turbine. The device harvests energy from ocean waves by means of the OWC (Oscillating Water Column) principle.
Oregon Coastal Zone Management Association (OCZMA) Ocean Policy/Marine Reserves/Wave Energy – A growing number of people, organizations, and foundations take a strong interest in state and federal ocean policy. And, because technology is evolving so rapidly, today, many new uses of the Pacific Ocean are being proposed. This represents big challenges and opportunities. And, it guarantees debates about ocean policy will become increasingly politicized and polarized over the next few years. Oregon Coast residents who care deeply about the marine environment, and, who seek to maintain access to recreational and commercial fisheries, should follow these ocean policy developments.
Our Ocean – A coalition of conservationists, scientists, ocean users, local leaders and business people from around the state working to preserve Oregon’s coastal legacy. Coalition members include: Audubon Society of Portland, Coast Range Association, Environment Oregon, Natural Resources Defense Council, Oceana, Oregon Shores Conservation Coalition, Pew Environment Group, Surfrider Foundation.
Pelamis Wave Power – The Pelamis absorbs the energy of ocean waves and converts it into electricity. The machine floats semi-submerged on the surface of the water and is made up of a number of cylindrical sections joined together by hinged joints. As waves pass down the length of the machine these sections flex relative to one another. The motion at each hinged joint is resisted by hydraulic cylinders which pump fluid into high pressure accumulators allowing electrical generation to be smooth and continuous.
Grays Harbor Ocean Energy Company – The Grays Harbor Ocean Energy Company was founded in 2007 in Seattle, Washington to develop large offshore renewable energy projects with focus on the USA.
Northwest National Marine Renewable Energy Center (NNMREC) – NNMREC is a partnership between Oregon State University (OSU) and the University of Washington (UW). OSU focuses on wave energy. UW focuses on tidal energy. Both universities collaborate with each other and the National Renewable Energy Laboratory (NREL) on research, education, outreach, and engagement.