PBS commercialism

Viewers Just Like You?

Surprise, surprise, PBS commercialism trumps public interest

By Tate Hausman

IF YOU’VE BEEN watching your local PBS station over the last five years, you’ve probably noticed the change. You’ve wondered about the increasing frequency of corporate logos flashing across your screen. You’ve noticed more voice-overs extolling the virtues of McDonald’s, IBM, or General Motors. And doesn’t there seem to be less international news, less diversity of perspectives, less investigative journalism?

To no one’s great surprise, a new study has emerged to prove what you already suspected: PBS has become more corporate and less public than ever before.

“The Cost of Survival: Political Discourse and the ‘New PBS,’ conducted by Professor William Hoynes of Vassar College, analyzed 75 public affairs programs over a two-week period in late 1998. The study found that business elites have a much louder voice on PBS than all others, and that the presence of groups such as labor, women, and activists is steadily decreasing. The report’s findings should be troubling for the broadcast service established to “provide a voice for groups that may otherwise be unheard.”

Among the study’s notable nuggets, Hoynes reveals that more than one third of all on-camera sources (36.3 percent) were representatives of corporate America or Wall Street. That’s nearly six times the number of representatives from the general public (5.7 percent) or from citizen activism group (4.5 percent.) In certain topic areas, such as economics, fully 75 percent of the talking heads belonged to the “business elite”– conservative bankers, brokers, and corporate reps.

“Economic coverage,” says the study, “is so narrow that the views and activities of most citizens become irrelevant.”

Other key findings include:

The biggest story of the two-week period (the presidential impeachment hearings), drew 70 percent of its sources from government officials and 21 percent from mainstream journalists. Voices of public activists were entirely neglected, so that public television’s coverage of the impeachment was filtered through the same politically elite lens as commercial coverage.

Women made up only 21.5 percent of news sources. When they did appear, they tended to speak about subjects such as health, sexuality, family, and religion, rather than political or economic news.

International news coverage made up only 5.4 percent of news programming, down from 11.7 percent in a similar study done in 1992. The Middle East was the only international topic that was the subject of more than two stories in the sampled time period.

Like any controversial study, “The Cost of Survival” is not without its critics. Stu Kantor, director of Corporate Communications for PBS, defended PBS with a predictable critique: the study’s methodology was significantly flawed. “The two-week period in question,” says Kantor, “was an unrepresentative time to study. Most PBS stations were involved in fund drives, and that skewed their coverage.” Furthermore, Kantor objects to Hoynes’ exclusion of documentaries from the study, especially since Hoynes himself admits in the study that documentaries are one of PBS’s main strengths.

“I think Professor Hoynes shares PBS’s goal of creating quality shows that treat viewers like citizens in a democracy, rather than consumers,” says Kantor. “We do that by letting well-informed experts have in-depth discussions about issues and letting viewers form their own opinions.”

Sounds reasonable. But from Hoynes’ perspective, the choice of those “well-informed experts” is the crux of the issue. “Journalists are trained to exclude their own opinions from a story, to let the facts and sources speak for themselves,” says Hoynes. “So when PBS relies on a very narrow list of sources–in this case, the corporate elite who completely dominate PBS’s public affairs programming–they show their true bias.”

Hoynes’ study explains why PBS has become increasingly corporate with a simple truism: Follow the money trail. When Congress threatened in the early ’90s to revoke funding for public television, PBS turned toward big business for support. What evolved was the ‘New PBS’–a more marketing-savvy, more corporate-friendly, more commercial version of the old system. Today, approximately 42 percent of PBS’s cash comes from corporations, private foundations, or endowment agencies.

The difference is palpable. For an example, visit www.pbs.org and click into the “Role of Corporate Sponsorship” page. The text makes it abundantly clear that PBS sponsorship is an effective form of advertising: “PBS program sponsorship is recognized by corporate leaders as an effective communications tool … In fact, a 1998 PBS Image Study revealed that a strong majority of PBS viewers feel that companies that fund PBS have a commitment to quality and excellence; believe underwriters are usually industry leaders; would choose to buy a product from a company that supports PBS, all other things being equal.”

This artless appeal to corporations for advertising revenue corroborates what Hoynes’ statistics imply: The “New PBS,” especially its public affairs programming, may not be much different from the commercial networks. What, if anything, still makes PBS a valuable alternative to mainstream TV?

According to Stu Kantor, it’s the depth. “PBS provides an alternative to ‘sound-byte journalism’–journalism that is meant to boost ratings, not to inform the public,” he says. “PBS isn’t restricted by those forces, so our programming is much, much deeper.”

For Professor Hoynes, that’s not good enough. “Public television must engage citizens … by broadening discourse beyond traditional elite voices,” he writes in his study’s final paragraph.

“Public television can be a valuable democratic resource if its leadership takes seriously its founding mission to include fresh perspectives, expand dialogue, welcome controversy and serve all segments of the population.”

From the July 8-14, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Kalyanji and Anandji Shah

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Hip-Hop East

By Adam Heimlich

BROTHERS Kalyanji and Anandji Shah were but cogs in the staggeringly productive machinery of the Indian film industry in the ’70s, when “Bollywood,” as the Bombay film center is called, was making a transition from Busby Berkeley-style musical super-extravaganzas to low-budget James Bond-inspired thrillers. Their job was to extrapolate a culture-specific version of the new genre’s music from the Western original.

Apparently, Kalyanji and Anandji spent a lot of time locked in a room with nothing but the scores from Dr. No, Shaft, and S.W.A.T., a Casio keyboard, and a sitar. What they produced, with the help of an orchestra of Bollywood session players, outstrips mere imitation. Like the best Bollywood films, it presents a reinterpretation that is at once shamefully derivative and proudly original.

Folks with a less critical ear might simply call it “bizarre,” and they wouldn’t be wrong.

While Kalyanji and Anandji’s suspended animation of opposing musical values is part of the East’s version of the birth of hip-hop, the tricky part comes in reinterpreting their reinterpretation for young Westerners. Bombay the Hard Way (Motel Records), a selection of Bollywood soundtrack music, set to hip-hop beats and composed by Kalyanji and Anandji, arrives at the very moment when cultural difference itself is becoming a selling point, no reconfiguration required.

New Agers buying Tibetan chant CDs and college kids getting off on Japanese Muzak are, as we speak, replacing the old problem of fashion-focused aesthetics with culture-focused fashion. This doubles the challenge faced by a label trying to put interesting foreign music in discerning domestic hands.

The album is like a needle in a field of exotic haystacks–and the people who like needles have stopped looking.

Bombay the Hard Way has intentionally degraded its exotica pedigree by hiring Dan the Automator–producer of Dr. Octagon and a few tracks on the last Cornershop and Jon Spencer Blues Explosion albums–to re-engineer Kalyanji and Anandji’s tracks. His trademark is a hermetically sealed quality that envelops the music’s many out-of-context samples. The result is closer to that of the neo-lounge projects. The CD doesn’t deserve to be lumped in with the Indian originals, but that’s for the best. Bombay the Hard Way would be no more a purely Indian artifact if left in its ’70s form. It makes more sense to build on the composers’ original project and tweak it, again, to fit another world.

In this spirit, the album tags its “new” Kalyanji and Anandji tracks with names like “Fists of Curry” and “The Good, the Bad and the Chutney.”

To the Automator (aka Dan Nakamura, a Japanese-American from the Bay Area), this process of snowballing recontextualization must be the essence of beat science– he’s pictured in the Bombay the Hard Way booklet wearing a lab coat and safety goggles.

The Automator’s slick seguing makes for the first reasoned, Western response to the jarring anti-narratives of Hindi pop. The Mission Impossible theme collapses into a snippet of raga performed by a staid string quartet on “Fear of a Brown Planet”; a bit of dialogue from a Bollywood movie (“Now let’s walk English style!”) introduces “Satchidananda,” driven by an electric bass mimicking the sound of a finger skipped across the head of a tabla drum. “Ganges a Go-Go” sounds startlingly like something off Nuggets (with English lyrics “I’ve got no time to think/ ‘Cause I need somebody to love,” it could be an outtake from the Wild in the Streets soundtrack), but with a bit of badly dubbed film dialogue, the whole bit comes off no stranger than your everyday Wu-Tang kung-fu/rap juxtaposition. “Theme from Don” introduces a blaxploitation funk theme, then (without warning) a classical Hindu theme, and then bravely merges them, all over a steady beat.

THERE’S SOMEONE ELSE who speaks Kalyanji and Anandji’s language of odd rests and alarming changes. When Bombay the Hard Way‘s dozens of Bombay surf-rock and Parliament-by-way-of-Loony Toons interludes give way to longer, more grandiose cinematic material, they come off a lot like the restless soundscapes of DJ Shadow. The restrained precision of the beats from “Fists of Curry” and “Satchin-dananda,” for instance, boast a vision every bit as three-dimensional and peacefully progressive as Shadow’s “Midnight in a Perfect World.” Those beats make the best argument for the notion that DJ culture can make sense out of the gaps in music history.

This article originally appeared in Salon.

From the July 8-14, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Christian Punk

For Christ’s Sake

CHRISTIAN PUNK hasn’t exactly caught fire with Sonoma County hardcore fans, but there is a handful of local bands aiming a musical message of redemption at the crowds in the mosh pit. Among them is the Santa Rosa punk band Covenant, headed up by 15-year-old bass-player and singer Mike Weatherly.

“We just want to play our music for the Lord,” Weatherly says. “That’s the whole idea, to just play for God. Most of our songs are just about Jesus and how He can be in your personal life.”

The four-member band has been around for about two years now, playing for small crowds at local churches and at Montgomery High School. Their inspirations include Dogwood, a Christian punk band from San Diego. But at the mention of MxPx, the Seattle-area Christian punkers who recently signed on with A&M Records (just before the company merged with Geffen), Weatherly’s tone gets a bit chilly.

“Yeah, I liked them when back when their music was Christian,” he says disdainfully.

As for such non-religious bands as Rancid and NoFx, Weatherly says he and his friends used to listen to them, but not anymore: “We kind of gave up on that stuff because it wasn’t Christian,” he says.

Some might argue that there’s a blatant contradiction between Christian teachings and punk rock’s anarchistic spirit, but Weatherly doesn’t see it that way. After all, he says, punk rock is about being different, and Christian punks are interested in setting themselves apart from the mainstream secular world. He’s also not afraid of being made fun of by punkers contemptuous of religious music.

“It’s never happened to me, but if it did, I’d just tell them ‘Blessed are the persecuted.'” says Weatherly. “I’d kind of like it.”

According to Glenn Rubenstein of the Petaluma band Headboard (which is not a Christian band), Christian music of any kind has yet to make much of an impact in the North Bay.

“But when we go to other areas, like Sacramento and San Jose, it’s huge,” Rubenstein says. “We sometimes end up playing with a lot of Christian rap and hardcore bands. From a band’s perspective, it’s nice. You don’t have to worry about getting hit with a bottle or anything. The scene is really nice . . . Of course, some people in rock and roll would argue that if you’re not pissing someone off, you’re doing something wrong.”

From the July 8-14, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Chenin Blanc

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Old Gold

Michael Amsler



White wine worthy of respect

By Bob Johnson

IF THE CHENIN BLANC grape were a department store, it would be Kmart. If it were a sport, it would be bowling. If it were a comedian, it would be Rodney Dangerfield, or at least the persona Rodney portrays. When it comes to respect in the modern wine world, dozens of grape varieties garner greater degrees than chenin blanc.

Until chardonnay exploded in popularity during the 1980s, there was more chenin blanc planted in California than any other white wine grape. It remains ubiquitous today, but only a small percentage finds its way into varietal bottlings; most is blended away, often used to “stretch” more expensive white wines, including chardonnay.

Sometimes the most dependable, hardest-working laborers are overlooked by their supervisors, who bestow promotions upon more gregarious, if less productive, workers. And so it is with chenin blanc, which one winemaker has described as having “the personality of a well-behaved child.”

The grape is cooperative in a number of ways. It tends to ripen smack in the middle of harvest season, necessitating neither early call-ups of the troops nor brow-furrowing over sufficient ripening. It is easy to pick, growing in compact clusters. And its tough skin allows it to make the trip from the vineyard to the crusher with minimal damage. It’s a grape that does not require a great deal of thinking on the part of winemakers, so most vintners simply turn the grapes into wine and save their brain cells for the more cerebral pursuits of crafting world-class cabernet sauvignon and similarly flashy varietals.

Those who know of the grape’s heritage are more likely to appreciate its distinct and delicate nuances. In the Loire Valley of France, chenin blanc is the exclusive ingredient of wines labeled Vouvray, Savennieres, and Coteaux du Layon, all highly acclaimed and much sought after.

In California, a handful of knowing vintners have embraced chenin blanc as both a wine of distinction and a viable commercial product. And at least a couple of them practice their craft here in Sonoma County.

Perhaps the most consistent local purveyor of quality chenin blanc is Dry Creek Vineyard, which has been sourcing grapes from the Clarksburg appellation of the Sacramento Delta region for years. The winery’s chenin blanc from the 1981 vintage included Clarksburg grapes, and the recently released 1998 vintage is 100 percent Clarksburg.

Winemaker David Stare–whose vintages of chenin blanc have garnered more than 30 gold medals from esteemed wine competitions–says the reason his bottlings stand out is that he takes them seriously. He handles them with the same attention to detail accorded other wines that command prices three or four times higher.

INDEED, for the consumer, another lure of quality chenin blanc is its price. Dry Creek’s 1998 vintage carries an SRP of $8.75. Another outstanding maker, Alexander Valley Vineyards, asks just two bits more for its 1997 rendition. Purchase by the case, and the customary 15 percent discount offered at the wineries makes either wine a strong candidate for one’s “house white.”

When it comes to California chenin blanc, the names that tend to get the most press are Chappellet, Chalone, and Ventana. Dry Creek unquestionably deserves to be in the same strata, with Alexander Valley perhaps one notch below. Other California wineries that take chenin blanc seriously include Durney, Husch, Pine Ridge, and Mirassou.

While chenin blanc can be made dry, off-dry. or sweet, the most memorable versions are dry, floral, and fruity. They’re also versatile, making palate-pleasing companions to fish and chicken dishes, as well as refreshing aperitifs.

In the early ’70s, David Stare raised the eyebrows but ultimately garnered the respect of old-time county farmers when he decided to buck the trends of the day, uproot a productive and profitable prune orchard, and plant grapevines. Similarly, Alexander Valley Vineyards’ Hank Wetzel has gained a reputation for making wines true to their varietal and geographic character.

Respect can’t be bought; it must be earned. Any Davis or Fresno grad can forge a reputation with the right cabernet grapes, but it takes a true pro, a consummate vintner, to gain acclaim via chenin blanc.

This reality may not be fair, but as Walter Cronkite–a journalist who knows a thing or two about respect–would say, that’s the way it is.

From the July 1-7, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Living-Wage Movement

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The Buck Starts Here

By Janet Wells

WHEN AUTHOR and essayist Barbara Ehrenreich left her comfortable Florida home, her career, and her credit cards to become a Key West waitress making $2.13 an hour, plus measly tips, she set out to discover if it really is possible to make a living on the meager jobs available to much of the nation’s unskilled workforce.

One month of low-wage drudgery later, Ehrenreich had her answer: An emphatic no.

“There are no secret economies that nourish the poor,” she writes in the January issue of Harper’s magazine. “This job shows no sign of being financially viable. You might imagine, from a comfortable distance, that people who live, year in and year out, on $6 to $10 an hour have discovered some survival stratagems unknown to the middle class. But no.”

Ehrenreich is the keynote speaker at the second annual Labor and Social Action Summer School at Sonoma State University, from July 9 to 11, a weekend of workshops for youth, labor, and community activists, presented in conjunction with Santa Rosa Junior College.

Sessions on such topics as the living wage, movement, affordable housing, women and the labor movement, and organizing strategies focus on the social needs of Sonoma County, where the working poor face an increasing struggle even in the midst of a booming economy. While the county’s $14 billion economy continues to grow, and unemployment is at an all-time low of 3.1 percent, 20 percent of the county’s working adults cannot support themselves and their families, according to federal census statistics.

In addition to requiring that city or county employees are paid wages that allow them economic self-sufficiency, living-wage legislation–adopted in such communities as Boston and Los Angeles–usually stipulates that businesses contracting with the city or county pay their employees at the same living-wage level.

“We have the working poor, particularly part-time classified jobs like janitors and librarians, and part-time certificated faculty, who are not economically self-sufficient,” says Santa Rosa Junior College history professor Marty Bennett. “I think it’s a human rights issue, just like we have voting rights and rights to privacy.

“There’s a very rich language and precedence for this in American history if you look in the 1930s or in Franklin Delano Roosevelt’s economic bill of rights about the right to a living wage and the right to a job,” adds Bennett, who also is president of the California Federation of Teachers, Local 1946, and a member of the North Bay Central Labor Council.

While the rich are getting richer, Bennett says, the poor are going down even faster. According to a report on the quality of life in Sonoma County released last week by United Way and the Sonoma County Community Foundation, the gap between the rich and the poor is widening, with food stamp use in the county 28 percent higher than before the 1980s recession.

In 1980, Bennett points out, the CEO of a major corporation made 42 times the wage of a factory worker. By 1990, that ratio had almost doubled to 85, and by 1998, the average CEO was making 419 times more than the grunt on the assembly line.

“Why don’t we have a maximum wage?” Bennett wonders. “This is the whole story of what’s called California’s hollow recovery. For the upper 20 percent, they have done extraordinarily well. But when you look at the bottom 80 percent, you see growing income inequality.”

That disparity spells trouble, says Ehrenreich.

“Greed undermines society when you have huge inequality,” she says in a phone interview from her Florida home. “When you have very wealthy people who don’t take much interest in the public sector because they can do everything themselves, fly to their multi-acre ranch in Montana in their own plane, private schools. They withdraw into their own world. The public sector then tends to deteriorate as the upper class withdraws.

“We have a culture that says work hard and you’ll get ahead,” she adds. “When people find out that they can work as hard as they can and still not live indoors, that undermines the entire social contract. It says to those people, ‘You’re not worth anything.'”

And when people feel as if they are going nowhere, the results are “pathological,” Ehrenreich says. “There usually is some kind of social upheaval, revolution, virulent scapegoating of ethnic groups.”

THE SOLUTION? In part, simply pay people enough to live on, say living-wage advocates. Bennett is one of a group of people from academia, labor unions, business, and social groups that has formed a committee to study the idea of introducing living-wage legislation in Sonoma County.

More than 20 communities nationwide have enacted such measures, which have the common goal of ensuring that full-time workers can support themselves. For a typical Sonoma County family, that means making enough money to rent a two-bedroom apartment, own a 6-year-old car, have full-time day care for the kids, and health insurance covered through an employer.

That quality of life requires a family income of $11 to $18 an hour. Yet, about 10 percent of California’s workers earn the minimum wage of $5.75 an hour, and the average hourly wage for 20 percent of Sonoma County’s work force is just $8.09 an hour.

“I think the living-wage approach is very good,” Ehrenreich says. “It uses the leverage people have in the public sector. We can say to our municipality that we don’t like the fact you are contracting with companies that don’t pay people so they can live at any kind of decent level.”

Barbara Ehrenreich will speak Friday, July 9, at 7:30 p.m. at the Warren Auditorium at Sonoma State University. Admission is on a sliding scale of $5 to $8. For more information on Ehrenreich’s lecture or the Labor and Social Action Summer School, call 545-7349, ext. 1.

From the July 1-7, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Selling on eBay

Get Rich Quick!

By Mariane Matera

MY INTERNET FORTUNE is slowly approaching about $50 right now. I am puzzled by this low sum because I keep reading about people making money on the Internet, specifically at auctions. In the last week, I’ve seen two news segments on people who quit their day jobs and now support themselves from home, selling stuff on the Internet.

One woman was on welfare and about to be kicked off. In desperation, she bought a bunch of little sewing kits, sold them all on eBay, and turned a profit. So she bought some more. Now that’s her job. She stays home all day and sells stuff on eBay.

Another couple closed their art store and now sell their framed paintings, the kind of stuff you see in motel rooms, on eBay from home and do even better. Instead of just being limited to people walking by their store for a customer base, they have the entire world.

I started thinking about what I could sell on eBay to make my fortune. I went scrolling through the sales to see what was hot.

There are many people selling, many of them dealers unloading mass quantities. There are more people selling than bidding, because much of the flotsam and jetsam pumping through eBay goes into the final hours of bidding without an offer. And you still owe eBay a posting fee even if your item doesn’t sell.

I started small on a smaller auction site, AuctionMac, just for MacIntosh people, whom I consider a superior genetic breed compared to the Microsucks and less likely to cheat you. I unloaded a half dozen games and programs I no longer used, but for a pittance. Mac people, as I could have guessed, are too smart to pay more than a thing is worth, and there’s no point buying used unless you’re getting a bargain. I did decline to mail a Maniac Mansion game to a guy in Greece who bid a quarter for it. I asked him if he really wanted to pony up the postage for a quarter game and didn’t hear from him again.

I also get heartwarming e-mails from a woman in Oregon who bought my Sam and Max Hit the Road game for her two little boys. I could never get Sam and Max out of their living room and I have a college degree. Her toddlers, she tells me, not only got them out, they’ve driven all around the United States with Sam and Max at the wheel. Babies are smart.

My first Internet fortune made, I blew it all on a Microsoft FrontPage program that was being advertised “new in the box.” I paid $50 for it. It sells on the shelf for $139. If it actually comes, that’ll be a deal. I didn’t need it or particularly want it, but the price was irresistible, especially when I realized the other person bidding on it was going to get it for even less.

Now that I knew the ropes, it was time for the big time. I registered at eBay, photographed and loaded up my prized possession: a Mark Eden Bust Developer from 1967, that little pink clamshell pushing contraption they used to sell in the backs of magazines. Somehow, although I’ve lost nearly everything I’ve ever owned in the course of my life, this thing stuck with me.

No one else on eBay was selling one, and there was no category it fit. I tried several, from Weird to General: Vanity, without a single bid. My second Internet fortune was already in the minus dollars through reposting the item. Finally, when it closed again without a sale, I got an e-mail from someone in Colorado who wanted to know if I had the manual for it. I wish I did. I recall the manual featured many photos of a very lovely, busty blonde in a bikini, pushing away at this clamshell device. We made a deal anyway, and the bust developer, after 32 years of being ignored by me, was off to a new life in Boulder.

If I see it on eBay going for a fortune in the right category, which I realized too late was probably Vintage Exercise Equipment, I am going to weep.

EVEN MY LIMITED knowledge of economics tells me if I buy something for $19.95 in 1967 dollars and sell it for $15 in 1999 dollars, my fortune is going to be a long time in the making. This is the story of my life. When I have money, I buy retail, and when I’m broke, I sell flea market.

Then I read an article about a woman buying used clothes from eBay. I had no single item of value, but I decided to try another plan. I would put all my clothes in one big box and sell the entire lot as a Box o’ Clothes. I pulled seven dresses out of my closet that no longer fit, wrote out a description, and loaded it up. Within days, the bidding was up to $16.50. I ran to my closet and made up more boxes. My Wonderbra, which I never wore because it felt like a bulletproof vest, is currently going for $16.50. They sell for $24 new.

People from all over the United States write me about my clothes now. They give me categories to choose: Used, Slightly Used, Slightly Worn, Very Worn? They want me to measure waistbands and count pleats. It is all quite bizarre. Unfortunately, I’ve already spent this second Internet fortune on a Bruce Springsteen album that was recorded in 1971 in the Virginia Commonwealth University gym in Richmond, Va., assuming it actually exists and it comes.

Hunting for more things to sell, I found a matchbox with the wedding photograph of the Duke and Duchess of Windsor on it. It was from a restaurant in D.C. called Mrs. Simpson’s. What the heck. People who collect royalty junk might actually bid on it.

They do. It’s up to $3.50, with two days to go. Knowing the right category seems to be key. I sold a photo of Elton John for $6 and a Paul McCartney video for $40. People are bidding on a snake-sucking photo of Marilyn Manson, and I have that same photo! I could get in on some of that snake-sucking rock-and-roll money!

And, hey, I’ve got an impacted wisdom tooth that was pulled out of my head in 1975 and three of my son’s baby teeth in my jewelry box.

Do you think?

From the July 1-7, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

SWAT

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SWAT Nation

By Christian Parenti

FOR A SNEAK PREVIEW of a future American police state, travel south from the comfortable illusions of the San Francisco Bay Area into the dirty air of California’s Central Valley on Interstate 99 to Fresno, a sprawling, poorly planned city of 350,000. Pass the forest of pole-perched McDonald’s, Best Western, and Motel 6 signs and turn off on one of the city’s southern exits into the ghetto of the southwest side. There, on the dim side streets, among the little bungalows and dying rail yards, massive paramilitary police operations are under way on almost any night.

On one such evening, three squads of 10 police officers in combat boots, black jumpsuits, military helmets, and bulletproof vests lock and load their Heckler & Koch MP-54 submachine guns (the same weapons used by the elite Navy SEALs) and fan out through the neighborhood. Meet Fresno’s Violent Crime Suppression Unit, local law enforcement’s “special forces” and America’s most aggressive SWAT team. Since 1994 the VCSU has patrolled this city’s have-not suburbs in full military gear, with automatic assault rifles at the ready. Backed by two helicopters with infrared scopes and an Army-surplus armored personnel carrier, the unit is also equipped with attack dogs, smoke bombs, tear gas, pepper spray, metal clubs, and less-than-lethal “blunt trauma” projectiles.

“It’s a war,” explains a law enforcement spokeswoman.

In the name of crisis management, the VCSU is free to utilize aggressive and unorthodox tactics. At times the unit deploys troops on foot to surround “hot spot” corners or sweep through neighborhoods. At other times, it rolls in a fleet of new Crown Victorias “like a wolf pack” looking for “contact” (as a VCSU officer put it). Tonight the area of operation is a desolate African-American neighborhood known on the street as the Dog Pound. Most “contacts” involve swooping down on corners and forcing pedestrians to the ground, searching them, running warrant checks, taking photos, and entering all the new “intelligence” into a state database from the high-tech “mobile computer terminals” in each patrol car. All the suspects are black, all the cops are white, and every encounter is scored to the furious growling and barking of the VCSU’s tightly leashed Alsatians.

“If you’re 21, male, living in one of these neighborhoods and you’re not in our computer, then there’s definitely something wrong,” says VCSU officer Paul Boyer as he enters information into his onboard laptop.

This little piece of apartheid-era Soweto stranded in California isn’t as unusual as one might think. Throughout the nation, paramilitary, SWAT, or tactical policing–that is, law enforcement that uses the equipment, training, rhetoric, and group tactics of war–are on the rise. According to a study by sociologist Peter Kraska, the nation now has more than 30,000 such heavily armed, militarily trained police units.

First developed in 1966 by a young LAPD commander named Daryl Gates, SWAT teams were conceived of as an urban counterinsurgency bulwark. One early SWAT officer explained, “Those people out there–the radicals, the revolutionaries, and the cop haters–are damned good at using shotguns [and] bombs or setting ambushes, so we’ve got to be better at what we do.”

Even the etymology of L.A.’s initial paramilitary unit reveals a political subtext: Gates started with the acronym SWAT and then filled it in with the name Special Weapons Attack Team. His superiors liked the acronym but found the name a bit too provocative, so it was toned down to the more technical sounding Special Weapons and Tactics.

As the ’60s and early ’70s rolled on, most large metropolitan police departments set up tactical units of their own. Since the mid-’80s, there has been a second wave of SWAT growth. Fueled by state and federal drug-war pork, tactical units have now metastasized from big-city emergency response specialists into standard parts of everyday policing. Even medium-sized towns now have SWAT teams. And instead of only handling emergencies like the occasional barricaded suspect, SWAT teams now conduct routine drug raids and sometimes even patrol high-crime areas in place of regular beat cops.

Nationally, activity by paramilitary police units–as measured by the total number of “callouts,” or SWAT team mobilizations–quadrupled between 1980 and 1995, according to Kraska’s study. And a CBS News survey of SWAT encounters showed a 34 percent rise in police use of deadly force between 1995 and 1998. Increasingly, the Defense Department is supplying the gear for this SWAT buildup. Between 1995 and 1997, the Department of Defense gave local police departments more than 3,800 M-16 automatic assault rifles, 2,185 M-14 semiautomatic rifles, 73 M-79 grenade launchers, and 112 armored personnel carriers–1.2 million pieces of military hardware in 1997 alone.

One tactical outfit calls its APC “Mother,” while another in east Texas has named its APCs “Bubba One” and “Bubba Two.”

CRITICS OF SWAT say that this militarized training, weaponry, and organization is leading to an ever more bellicose police culture. “The fundamental problem with the SWAT model is that if police become soldiers, the community becomes the enemy,” says criminologist Tony Platt, one of the first scholars to study SWAT. Also, the more paramilitary police units there are, the more policing in general is militarized. For instance, Portland, Ore., has already given some of its regular cops AR-15s (a version of the M-16), as has Orlando, Fla. Numerous smaller towns, such as Pinole, are even replacing standard police shotguns with H&K MP-54s.

The SWAT culture of militarism is also promulgated by the weapons industry, professional associations, and a slew of magazines, books, and videos. Foremost among these is the National Tactical Officers Association and its publication Tactical Edge, which is marketed exclusively to police officers. (Civilians are prohibited from subscribing or even logging on to the NTOA website.) Less secretive and very widely read is SWAT, the subtitle of which reads, “Special Weapons and Tactics for the Prepared American.” Published by Larry Flynt of Hustler fame, SWAT reads like pornography for gun nuts: “During penetration, the prestressed Quik-Shok projectile expands rapidly and then splits into three even sections. These segments or fragments penetrate in separate directions in an ever-widening pattern inside a soft target. Fragmentation is the main cause of tissue disruption.”

There are literally dozens of similar publications, all of which push products and a scary worldview. Articles in Tactical Edge and SWAT routinely invoke the specter of “better-armed criminals–bigger and more violent street gangs–increased numbers of extremists [and] increased violent crime.”

BACK in the Dog Pound, the VCSU is trawling for “bad guys.” The night’s first bit of excitement starts at a routine traffic stop when a person flees on foot into a nearby house. The VCSU surrounds the area; officers with AR-15s and H&K MP-54s “hold the perimeter,” as a line of five cops rushes the door.

Technically, the police are not in “hot pursuit” and have no right to storm the house, but the VCSU looks mad and their guns make it seem serious, so the elderly woman behind the black metal gate quickly consents to a search. Five big, white cops move into the blue cathode-ray-lit room and grab a young African-American man named David.

“Come on. What? Man, I didn’t do anything!” protests the suspect, his voice momentarily breaking. As David is cuffed, the cops begin opening drawers and lifting cushions in search of drugs. For all the sci-fi gear and military jargon, the VCSU robocops call up an awful piece of the past: More than anything else, they resemble the “patrollers” of the old South, the white slave-catcher militias that spent their nights rousting people living in plantation shacks in search of contraband, weapons, and signs of escape.

“Are you on parole? Probation? Huh?” demands a VCSU officer. “Let’s go outside, David.”

The captive is searched, interrogated, and forced to the ground, while flashlights are continually shined in his face. No drugs are found. But David has lied in saying he isn’t on parole–he is. “That’s a violation of parole, David,” an officer says.

Another black man packed off to jail.

The next two hours are consumed by a standoff involving 30 cops from three different agencies, two helicopters, and, on the other side, one teenager who is merely wanted for questioning about brandishing a gun. Then it’s back to storming the “hot spot” corners, forcing “bad guys” to the ground, doing “field interviews,” and booking the occasional parole violator or petty drug dealer.

Windsor brings in the heavy artillery.

FROM ALBUQUERQUE to Miami, tactical units not only have harassed innocent people but time and again have shot and killed unarmed civilians. In a recent case in Bethlehem, Penn., a man was killed when a SWAT team shot him and then burned his house down. And increasingly, tactical officers are shooting each other because of confusion and overzealousness, as was recently the case in Oxnard, where Sgt. Daniel Christian dispatched his comrade Officer James Jensen with three shotgun blasts.

Perhaps the most infamous of the big tactical operations was Operation Ready-Rock, launched several years ago in Chapel Hill, N.C., in which police received a “blanket” warrant allowing them to search every person and vehicle on the 100 block of North Graham Street. The police department’s warrant request explained, “We believe that there are no ‘innocent’ people at this place. Only drug sellers and drug buyers are on the described premises.”

The 45 heavily armed raiders sealed off the street and made a “dynamic entrance” into a pool hall by smashing in the front door. Holding the occupants at gunpoint, they ransacked the bar for contraband while one terrified patron urinated in his pants.

But even amid this paramilitary overkill, Southern courtesy prevailed: Whites were allowed to leave the area, while more than 100 African-Americans were searched. Only minor quantities of drugs were found.

A more recent example of an overly aggressive SWAT raid occurred late last year in San Francisco. On Oct. 30, a masked tactical police force of 90 officers, armed with assault rifles and dressed in black fatigues, launched a predawn raid on 13 apartments in the resident-owned Martin Luther King and Marcus Garvey housing cooperatives. The police commandos blew doors off their hinges and cleared rooms in which children were sleeping by tossing in non-lethal “flash-bang grenades,” designed to terrify and disorient suspects. Police said the operation–intended to “put fear in the hearts” of a gang called the Knock Out Posse–went off, more or less, without a hitch.

Residents of the complex disagree.

At a police commission meeting after the raid, furious and sobbing African-American victims recounted in scabrous detail how police officers slapped them, stepped on their necks, and pressed pistol and machine-gun muzzles to their heads as other officers ransacked their homes, upturned beds, and ripped open closets. For dramatic effect, a pit bull named Bosco–which many residents described as well liked and friendly–was shot inside an apartment, dragged bleeding outside, and shot again. A straight-faced Deputy Chief Richard Holder told police commissioners that, according to police “intelligence” gathered during “covert operations,” the dog was “known for its jumping ability and was shot in midair.”

Among those held at gunpoint were city employees and grandmothers. Scores of people with no charges against them and clear records, including weeping and terrified children as young as 6, were cuffed and forced to sit half-dressed in the cold dawn. According to Police Chief Fred Lau, this last touch–cuffing the kids–was to keep the youngsters from “running around.” One raid victim was hospitalized after a series of seizures, while others were so distraught they couldn’t return to work for days.

All in all, the raid netted a pound of what narcotics Lieut. Kitt Crenshaw described as “high-grade” marijuana, almost four ounces of crack cocaine, seven pistols, and $4,000 in cash (80 percent of which the SFPD may get to keep and spend thanks to state and federal asset-forfeiture laws). Residents say the money wasn’t drug lucre; rather, it had been collected from a circle of friends to help pay for the funeral of a recently deceased resident, Germain Brown.

A few cities with robust police accountability movements or progressive leadership have kept their local tactical units in check. One such department is that of New Haven, Conn. In 1990 the city elected its first African-American mayor, John Daniels, who appointed maverick reformer Nicholas Pastore as his police chief. “At that point, SWAT was going out several times a week. We were in a full military mode–worst type of policing in the world,” recalls Pastore. “The whole city was suffering trauma. We had politicians saying, ‘the streets are a war zone, the police have taken over,’ and the police were driven by fear and adventure. SWAT was a big part of that.”

Pastore began a radical restructuring of the police department, dividing the city into 10 small police districts, forcing officers to walk beats, and creating community management teams that work with police, social services, and other parts of government to address the root causes of violence. “The community policing broke down the anonymity between the people and the police. That creates accountability and cuts down on brutality. Brutality thrives on anonymity,” says Pastore. “Why do you think SWAT teams wear these ninja suits, cover their badges, and wear executioner masks?”

Pastore has since moved on–he is now a research fellow at the Criminal Justice Policy Foundation in New Haven–but his reforms remain. “We only had four tactical callouts all of last year,” says Lt. Gerald Atunes, who heads New Haven’s Emergency Response Team.

IN BERKELEY, a similar ethos of restraint is reflected even in its SWAT team’s name: the Barricaded Suspect, Hostage, and Negotiation Team (or HNT for short). Although the HNT trains once a month, the unit is not deployed as a group. Instead, officers convene only for emergencies such as big shootouts, hostage takings, and riots, or when high-profile visiting politicians require added protection.

Since the HNT was founded in 1976, it has only assembled 79 times. Berkeley’s approach to SWAT is not simply the result of enlightened leadership. Since the late ’60s, when the Black Panthers conducted counterpolice patrols, Berkeley has seen a series of vigorous grassroots police-accountability movements.

The latest is CopWatch, which runs an office, trains citizens in filing complaints and lawsuits, publishes a quarterly report, and agitates before the City Council and Police Review Commission. One of the outfit’s tactics is “cop watching.” During these routine patrols, activists armed with camcorders and a basic knowledge of the law observe and videotape the police as the latter conduct stops, searches, and arrests. “We are always very respectful and stay within the law. But we let the cops know that we won’t be intimidated and that we will exercise our right to observe,” explains Danielle Storer, who helped found the group in 1990.

However, Berkeley and New Haven are rare exceptions. More typical is the situation in Greensboro, N.C., where eight years ago the public library’s bus-sized “bookmobile”–2,000 titles and two librarians–was retired for lack of funds. Shortly thereafter, the bookmobile was bought by the police department and converted into a mobile command-and-control center for its tactical Special Response Team.

“It’s a great piece of equipment,” says police spokesman M. C. Bitner. “It’s really so much better than what we had.”

In the previous van, one 6-foot-5-inch SRT officer had trouble standing up.

This article is part of an ongoing series on the impact of guns in our communities. It originally appeared in The Nation.

From the July 1-7, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Flatbreads

0

On the Level

Making chapatis: These soft-skillet breads are popular in India and Nepal.

In praise of flatbreads

By Marina Wolf

WOULD YOU LIKE to make bread, but fear the consequences? Do even bread machines make you twitch? If so, you might consider starting out with something quicker, easier to shape, and less prone to the vagaries of gravity: flatbread.

The term flatbread generally applies to a bread made from a soft dough and patted or rolled into shape, but even in this, the genre of flatbreads is much like a typical flatbread itself: anything but uniform. Many bakers include in the definition of flatbreads thin-battered fried breads that are entirely indistinguishable from what others would call pancakes; crackers, too, such as matzoh or saltines make it into this category.

Cultures all over the world have their own versions of flatbread, using any grain, legume, or starch that was locally abundant, and cooking the resulting dough on anything from a greased griddle to the 800-degree heated clay walls of a tandoori oven.

In the introduction to their thorough compendium Flatbreads and Flavors (Morrow, 1995), Jeffrey Alford and Naomi Duguid suggest that many of the world’s flatbreads originated in regions where fuel was scarce. A fast method was needed for turning inedible raw ingredients into food, and flatbreads, which cook quickly, turned out to be an ideal bread product for the climate and needs of the population.

Millennia later, the very things that brought these breads into their home cultures–ease and rapidity of preparation–are bringing them back to American awareness, or introducing them for the first time. Restaurants have found flatbreads an excellent addition to the breadbasket, breaking up the monopoly of French bread with poppadum-like lentil crackers, tender pockets of pita, thick slabs of focaccia.

Kurtis Baguley, a San Francisco-based pastry chef and instructor, says that most restaurant kitchens that bake their own bread make at least some flatbread. “You can whip it up, let it rise once, press it into a pan, and just stick it into the convection oven, which every restaurant has.”

Busy home cooks also appreciate the easy rhythm that most flatbreads–even the leavened kind–offer. The yeasted dough usually rises only once, if at all, and sits for a few minutes, then gets stuffed into the oven or slipped onto a hot griddle.

And if you’re determined to experience one of the many ethnic cuisines that go into America’s melting pot, a piece of authentic flatbread is the best way to soak it up.

For example, flatbreads are an important part of Eastern Indian cooking. With scores of distinct regions and cuisines come piles of different breads–flaky whole-wheat parathas, puffy buttered naan, supple chapati.

The breads are the perfect utensil for chasing down and scooping up the runny curries and stews of India, and help diffuse the heat of the other food.

Strangely, the flatbreads best known in the United States, pizza and tortillas, are also the ones least approachable. Thanks to the image of the trained tortillera, or tortilla maker, slapping out the dough in her hut, most folks wouldn’t even think of trying to make their own, and opt instead for the easy prepackaged version. This is fine if you’re just looking for instant transportation for a can of refried beans, but most bakers would agree that a good home-cooked tortilla, like other breads, is worth the 45 minutes or so it takes to mix up some flour and water and roll it out.

As much an archetype as the tortillera is the enigmatic pizza twirler. But even pizzas can be handled by the uninitiated, as Baguley’s class will show. A few hours inside learning the basics give the students a good grasp on the subject, and then they head outside for a pizza barbecue. Sounds a little strange, but Baguley insists it’s one of the best outdoor party ideas around.

“Everyone brings a topping and you just supply the dough,” says Baguley. “You just have to make a few pizzas, and after that everybody gets turned on to it.”

Kurtis Baguley is teaching “The World of Flatbreads” at Ramekins Sonoma Valley Culinary School on Saturday, July 17, from 10 a.m. to 3 p.m. Course fee is $65; preregistration is required. For details, call 933-0450.

From the July 1-7, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Summer of Sam

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Rotten Apple

Summer of Sam.

David Lee



‘Summer of Sam’ plunges into the dark underbelly of ’70s New York City

By Nicole McEwan

IT WAS THE BEST of times; it was the worst of times. New York City, 1977. Inflation was at an all-time high while the disco craze held the nearly bankrupt city in thrall. People danced in the streets even as crime skyrocketed. The sexual revolution was in full swing, AIDS was just a rumor, and cocaine was not known to be addictive. Downtown, punk rock was exploding at CBGB’s. Uptown, Studio 54 was becoming an enduring symbol for the decadence of the era. At Yankee Stadium, Reggie Jackson led the home team to a dramatic World Series victory.

Then temperatures hit the triple digits, causing blackouts and mass looting. It was Christmas in July, but New York was in mourning. A killer was on the loose. His name: “Son of Sam.” He operated without motive or meaning. His taste ran to young brunettes; his weapon of choice: a .44. By the time of his capture, six young people were dead and seven more injured.

It was an age of hysteria and scapegoating–and the paranoia that gripped the Big Apple was telecast across America, exposing the metropolis’ rotten core. In 1977, only one man “loved” New York. His name was David Berkowitz, and he was a madman.

Summer of Sam, starring Mira Sorvino, John Leguizamo, and Adrian Brody, is director Spike Lee’s wildly ambitious, boldly provocative attempt to capture that collective insanity on film. In a film that is part Scorsese homage, part cinematic jazz, Lee has fashioned an intriguingly experimental epic as disjointed as its title character’s thought processes.

Using a canvas as broad as the boroughs themselves, Lee focuses not on the hunter, but on the prey. In the process the director, one of America’s few genuine auteurs, finds the extraordinary in the ordinary, asking not the easy questions, but the ones with no concrete answers. Paranoid schizophrenia made Berkowitz kill–but what festering social ills turned hundreds of New Yorkers into rabid vigilantes?

Summer‘s script, written by actors Michael Imperioli and Victor Colicchio (and adapted by Lee), is based on their memories of that infamous period–a time in which no one, not even the parish priest, was absolved from suspicion.

Using distorted camera lenses, skewed angles, and lurid red filters, Lee introduces Berkowitz obliquely, using the killer’s filthy trash-strewn apartment as a metaphor for the lunatic’s cluttered mind. Berkowitz’s physical appearances are brief, even in the murder scenes–which are brutal, but realistically matter-of-fact. His presence is constant, however. Excerpts from his deranged letters are read throughout the film, and his activities are tracked and updated through blaring headlines, cops’ conversations, and a TV reporter (Lee in a comic cameo).

To his credit, Lee doesn’t profess to understand the murderer. This detached storytelling style simply identifies Berkowitz as a catalyst. Fittingly, his shadow looms large over the other characters, for they are the true subjects of Lee’s blisteringly honest character study. They include Vinny (Leguizamo), an oversexed hairdresser juggling a marriage, several mistresses, a nasty coke habit, a classic Madonna/whore complex, and Dionna (Sorvino), the faithful wife stranded on a massive pedestal carved from Vinny’s Catholic guilt. Though they clearly love each other, the only place the couple really connects is on the dance floor. When discos begin closing early because of the murders, their problems escalate.

VINNY’S BEST FRIEND Richie (Brody) is back in Queens after living in Manhattan. The punk singer’s combat boots and stiff and spiky hairdo enrage his old gang, who immediately label him a freak. Only Vinnie and Ruby (Jennifer Exposito), the neighborhood tramp embrace his new persona, though they know nothing of his secret life as a bisexual hustler.

Meanwhile, New York’s finest are so desperate for a break in the case that they approach a group of wise guys led by Luigi (Ben Gazzara) for help. As terror grows with each shooting, Luigi organizes the local toughs, whose ham-handed attempts to solve the crime result in mindless brutality.

Then the lights go out, followed by the blind and rampant thievery that left flourishing neighborhoods decimated for years to come. Soon thereafter, Lee’s apocalyptic soap opera implodes. The result is a breathtaking climax whose montage of dazzling images, married with the driving, insistent chords of the Who’s “Don’t Get Fooled Again,” should leave an audience in a state of emotional enervation.

Lee, who’s known for his meticulous casting, hits the jackpot here. He will likely be credited for “discovering” Adrian Brody, though the actor has been on the fringes of stardom for years. Brody’s sinuous frame, his hound-dog countenance, and sheer natural ability shine.

Leguizamo is easily his match, essaying the perfect pitch of pathetic sleaziness. Dionna is the role that should earn Sorvino another Oscar. But the film’s big discovery is Esposito, who gives Ruby (a girl whose sexuality is a weapon that’s been used against her) a quiet desperation.

Summer of Sam, like most of Lee’s work, has been the subject of media scrutiny. This time, the “controversial” director is being accused of making money off Berkowitz’ victims. It’s typical that the pundits are missing the point. This film is less about “The Son of Sam” and more about the masks that people wear and the darkness that lies just beneath the surface–a universal topic well worth exploring.

Entertainment reporters might better serve the arts if they asked the question that nags me every time I see a Spike Lee film: How can an artist whose work is so consistently challenging gain so little support or acknowledgment?

From the July 1-7, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Artistry in Wood

0

Log On

Michael Amsler



Exhibition shows off Sonoma County’s woodworking skill

By Patrick Sullivan

IT’S BEEN MORE than 12 years, but Jose Caubet still has a vivid memory of the key event that propelled him into the ranks of Sonoma County’s professional woodworkers. Ask the Santa Rosa resident why he retired from his job as a mechanical engineer with Bechtel Corp. to take up the task of transforming wood into furniture and pieces of art, and he sighs deeply and laughs a bit ruefully.

“I needed to replace the doors in my kitchen, and the estimate the guy gave me was way too high,” he recalls, still sounding a bit peeved. “I thought, ‘I have a college degree. I can do this.’ So I bought a cheap table saw and a few hand tools and a bunch of oak, and after an awful lot of effort, I got the kitchen done.”

Since then, Caubet, now 58, has undergone extensive training in the craft, including a rigorous program of instruction under one of the most respected woodworkers in the country, James Krenov of the College of the Redwoods in Mendocino. And despite the sometimes daunting challenges posed by the craft, he clearly doesn’t regret his decision.

“I like to work with my hands,” says the Spanish-born Caubet. “There’s a powerful attraction to being able to take a bunch of boards, put a lot of skill and effort into them, and turn them into a piece of furniture that people admire and that will last, that will be around for years and years.”

In that passion he is not alone. Over the past couple of decades, Sonoma and Mendocino counties have developed a reputation for their thriving population of woodworkers, who are widely recognized for their skilled craftsmanship and unique visions. Inspired by the presence of the legendary Krenov, nurtured by the low-key, artistic atmosphere of the redwood region, these solitary artists work their transformative magic in studios, garages, and converted chicken coops all along the coast.

An eclectic sampling of that talent goes on display at the Sonoma County Museum starting July 2: “Artistry in Wood,” an annual juried exhibit organized for the second year in a row by Caubet as part of his involvement with the Sonoma County Woodworkers Association.

The association, which has about 100 amateur and professional members, has collaborated with the museum on the exhibit for 11 years now. But this year, Caubet says, there are a few changes.

A casual observer walking into the gallery might be most impressed by the sheer variety on display there. The 60 pieces range from the artfully functional to the whimsically abstract. There are pieces of furniture–tables, mirrors, chairs–that have a character and elegance you won’t find in anything fresh off the assembly line. Among many smaller pieces, what woodworkers call “turnings,” are Navajo bowels, vases, and other, artfully unidentifiable objects.

But to the trained woodworker, one of the outstanding features of this show is that there is not a single reproduction of a classic design. Unlike last year, this time every piece is an original. Caubet doesn’t have anything against a well-crafted reproduction, but he seems pleased that this year’s exhibit is all new.

“There is a lot of artistry involved,” he says. “It’s a lot easier to copy something than it is to sit down at a piece of paper and say, ‘What am I going to make?'”

Three of Caubet’s own pieces are on display, including an elegantly crafted table with a beautiful finish. He always keeps some of his work in reserve, hedging against the tendency of his fellow woodworkers to be, well, spontaneous.

“We have no idea what we’re going to get until the pieces actually arrive at the museum,” Caubet says with a chuckle. “There is no way to get these guys–some of them are real prima donnas–to commit in January or February to doing a piece.”

Indeed, professional woodworkers tend to be an eccentric lot, according to Caubet. Many of them lead low-key lifestyles that allow them to concentrate on their art.

“Their interest is not necessarily in making a lot of money, but in living the kind of life they want to live, which is very laid-back without a lot of interference from the world,” Caubet says.

MAYBE it’s a good thing that financial rewards aren’t terribly important to these folks, because the big bucks don’t often come their way.

“Making furniture is not a moneymaking career,” Caubet says. “The majority of the woodworkers that I associate with, the people who are professionals doing it full-time, their wives are the main wage earners. A lot of them don’t make a lot of money. It’s very difficult to sell a dining room table for $15,000.”

But that doesn’t stop people from entering the field. And many of the most talented and enthusiastic beginners come here to the North Coast to start their career in the intensive program at the College of the Redwoods. The main attraction is the world-famous Krenov.

“He has influenced a generation of woodworkers here on the coast,” Caubet says. “They come from all over the world, from Japan, Europe, New York, and they plunge into this artsy-craftsy, hippie-type atmosphere of Mendocino. They feel comfortable there, and many of them end up staying and trying to make a living.”

Caubet himself piled into his pickup truck every week, commuting from his Santa Rosa home to the school in Fort Bragg to attend the nine-month program, which is a six-day-a-week, 12-hour-a-day affair. Only 22 students are accepted every year, and of those, only a few are selected to come back for another year.

“I wasn’t one of those [continuing] students, and it’s probably a good thing, because my wife would have divorced me,” he says with a laugh.

But still, the effort paid off, and Caubet has become a respected member of the woodworking community, developing a successful business and serving several times as president of the woodworkers’ association.

Over the years that he has been involved, he’s seen many changes in the field–the skyrocketing cost of wood being perhaps the most challenging. But he says the basic appeal of the craft remains the same.

“I think it’s just the satisfaction of producing something that we think is beautiful,” Caubet says, “and the added pleasure of discovering that other people think it’s beautiful too.”

“Artistry in Wood” opens July 2 with a public reception from 6 to 8 p.m. Regular exhibit hours are Wednesdays through Sundays, 11 a.m. to 4 p.m. Several workshops are offered: on July 10, “Hand-Tool Use”; on July 24, “Woodworking for Children”; and on Aug. 7, “Woodturning Small Vessels.” The exhibit continues through Aug. 15 at the Sonoma County Museum, 425 Seventh St., Santa Rosa. Admission is $2 for adults, $1 for seniors, and free to museum members and children under 12. For details, call 579-1500.

From the July 1-7, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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