Spins

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Bluegrass Breakdown

By Greg Cahill

Various Artists Bluegrass Mandolin Extravaganza Acoustic Disc

BLUEGRASS mandolinist Ronnie McCoury–son of the legendary guitarist and bandleader Del McCoury, whose latest recording has teamed him with Nashville renegade Steve Earl–dreamed up this project while thinking about all the great country mandolinists he’s played with through the years. It’s no wonder that thought led him to mondo mando man David Grisman, a Mill Valley resident and label chief, who helped make McCoury’s dream a reeling, rollicking reality. McCoury and Grisman form the basis for this two-CD set that features the cream of the bluegrass crop, including Ricky Skaggs, Sam Bush, Frank Wakefield, Jesse McReynolds, Bobby Osbourne, and Buck White. Del McCoury–who brings his red-hot band to the Luther Burbank Center on June 15, when he opens for Skaggs–sits in on a few of the songs as well. And the spirit of bluegrass pioneer Bill Monroe pervades these sessions, which include nine tracks covered by Monroe and a couple of others dedicated to him. Fingerpickin’ good.

Tara Nevins Mule to Ride Sugar Hill

IN A PERFECT WORLD, country superstar Shania Twain–cute as she is–would still be playing Canadian lounges and Tara Nevins would be hosting those network TV showcases and trading quips with the Back Street Boys. Over the past decade, bluegrass fiddler and vocalist Nevins has whiled away her time as part of the all-female Heartbeats–which exploits modern backbeats–and the genre-busting Donna the Buffalo. But this time out, Nevins has hitched her star to a different mule, traditional bluegrass, a country original, and plenty of old-timey standards (though “Sweet Sensations” by the reggae greats the Melodians also gets a new country flavor here, as does Bob Marley’s “Talkin’ Blues”). The results are spectacular. Nevins is a gracious bandleader, stepping back to hand over the spotlight to an all-star lineup of guests that includes bluegrass legend Ralph Stanley, Mike Seeger, Christine Balfa, Don Rigsby of the Lonesome River Band, and Clinch Mountain Boy James Shelton. Twenty songs, 20 artists, scads of fine fiddlin’. At a time when the genre is hitting a creative peak, this is one of the year’s best bluegrass CDs.

Folk notes: Fine pickin’ will be on display this week when the three-day 12th annual Sonoma County Folk Festival gets under way with concerts, dances, jams, crafts, workshops, and children’s events. The annual confab kicks off with a contra dance featuring Bruce Molsky & Big Hoedown on Friday, May 7, at 7:30 p.m. at the Vintage House, 264 First St. E., Sonoma. At the same time, the Savoy Swingers (now there’s a liberal definition of folk music) hold court at the Sebastopol Community Center, 390 Morris St. On Saturday, May 8, Robin and Linda Williams–the singer/songwriter duo whose tunes have been covered by Tom T. Hall, Emmylou Harris, and Mary Chapin Carpenter–headline an all-day show (from 11 a.m. to 11 p.m.) at the Sebastopol Community Center. Also performing are Bryan Bowers, Bruce Molsky & Big Hoedown, Conjunto Jardin, Nobody You Know, Caliban, Anzanga, and Hoof Hearted. On Sunday, May 9, there will be an afternoon concert at the community center (from 11 a.m. to 6 p.m.) featuring the trio of Robin Flower, Libby McLaren, and Nancy Vogel, plus Love Choir, Yona Fleming, and Rick Shubb and Bob Wilson. For ticket and schedule info, call 838-4857.

From the May 6-12, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Talking Pictures

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Know Go

A philosopher goes to the movies–and gets real excited

By David Templeton

Writer David Templeton takes interesting people to interesting movies in his ongoing quest for the ultimate post-film conversation. This column is not a review but a freewheeling, tangential discussion of life, alternative ideas, and popular culture.

Professor Larry Fike is a little wound up. He gets this way. I’ve seen it before. Mention anything related to philosophy, theology, psychology–virtually any subject in which the nature of thought or the workings of the mind play a starring role–and you will witness a marked increase in Fike’s already considerable intensity, wit, and enthusiasm. Ask him to contrast the theories of Descartes, Spinoza, and Sartre, or to explain the socio-political significance of performance art (maybe even pursuade him to recite a poetic riff from his current one-man-show “In This Space: 45 Minutes in Dream Time”) and Fike is likely to become, well, kind of jacked.

Like right now.

The charismatic philosopher, poet, and educator–he’s the author of On Obstinate Air: Poems on Beating the Wind (Plowman Press, 1996) and Unheard Tick of Time: Poems in the Healing Mode (Zabigabee, 1999), and teaches philosophy at Long Beach City College and Cypress College, in Southern California–has called up this afternoon to swap opinions on the science-fiction mind-bender The Matrix, in which Keannu Reeves discovers that “reality” is a sham, a fantasy created by computers to keep our brains amused while our bodies float in icky slime pits providing battery-like energy to all the machines.

Though Fike enjoyed the “is-this-real-or-isn’t-it?” mindgames of The Matrix, he’s mainly interested in comparing it to David Cronenberg’s harder-to-find futuristic creepshow eXistenZ. This one, now in limited release, is about a brilliant game designer, played by Jennifer Jason Leigh, targeted for death by radical “Realists” in a world where “the real thing” has taken a backseat to fantasy games that plug into “bio-ports” intalled in most folks’ spinal column. By the end of the movie, the lines that separate reality and fantasy have become disturbingly murky–much to Fike’s obvious delight.

“I see it all the time in my students,” he eagerly admits. “That first big blurring of lines, that weird space where you find yourself wondering about what you really know to be true–it gives you a kind of queasy rush, doesn’t it?”

Queasy is right, though it may have as much to do with the blood-and-gutsy slime factor in both films, especially eXistenZ, in which the presence of guts–as in entrails, organs, innards and gristle, most of it spilling from the dissected remains of mutant amphibians–is so pronounced you wonder why “Guts” isn’t listed among the cast members. This may spring from Jean Paul Sartre’s “On Being and Nothingness,” in which the renowned existentialist devoted numerous pages to the subject of Slime.

“Sartre believed that things like slime and orifices were important,” Fike summarizes, “because what we are always doing, as humans, is permeating and ingesting, permeating and ingesting–filling up voids, imprinting ourself on the world, leaving traces.

“Now, in contrasting The Matrix with eXistenZ,” he happilly suggests, “if we are mainly interested in special effects, then The Matrix wins. it’s no contest. But I think eXistenZ wins, and wins big, when it comes to philosophical significance. Here’s why.”

He’s warming up now.

“At the end of Cronenberg’s movie,” Fike expounds, “we, the audience, have become acutely aware of the central problem, which is, ‘What do we know? And what do we just think we know?’ That’s a huge philosophical problem. In The Matrix you’ve merely got these chosen few people who know and all the other people who don’t know. But that’s not a very interesting philosophical point. The deeper philosophical point is made by eXistenZ, where it’s clear that you will never know what’s real and unreal.”

Fike makes a list of movies that, in the last year or two, have arisen to grapple with similar issues. “The Truman Show, Pleasantville, EdTV; they all deal in some way with the this thing of perspecitivism.” To that shortlist list we could add The Game, in which Michael Douglas loses his perspective and everything else–and the ultra-independent films Pi and The Cube.

“I just went through all this with my students,” Fike remarks. “We’ve been studying René Descartes, who looked at this problem and attempted to solve it by offering his proofs of the existence of God. It’s an old problem. It’s quite obvious that all of these movies are drawing on the philosophical problem that we’ve inherited from the early 17th century.

“Fundamentally, it’s a problem of us questioning our cognitive capacities. That’s what these films are about–the limits of creativity, the limits of what it is we can use our mind to understand. They’re not really about ‘What exists and what doesn’t’. I don’t think people walk out of The Matrix or eXistenZ and think, ‘Woah. This is really all a dream!’

“Though maybe I’m wrong,” he laughs.

“I do think these films reflect something happening in our culture,” Fike goes on, “but I definitely don’t think it reflects something bleak. In many quarters, especially among the, shall we say, ‘technologically literate’ segment of our culture, there’s an extraordinary amount of fascination over the uses, the limitations, and certainly the lack of limitations that exist around the technologies we’re developing. Especially communicative technologies; virtual reality, computer generated images, all that.

“I think we’re really fascinated by all of this, and so now we’re exploring the deeper meanings of it all. I think it’s very positive.”

“The truth,” he concludes (if one can know the truth), “is that I’m loving these movies. Philosphically, they’re a blast.”

Web extra to the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Co-op Cooking

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Cookin’ Co-op

Michael Amsler



Feeding family and community one meal at a time

By Marina Wolf

INSIDE BOB and Ella Rozettes’ Occidental home the lights burn brightly, and someone moves briskly around in the kitchen. My repeated knocks go unanswered over Dire Straits booming on the stereo, so finally I push open the door and call out a timid hello.

In response a short-haired dog ambles up and nuzzles my hands, and Bob pokes his bearded face around the kitchen door. Ella offers me a drink, but Bob has to keep cooking. It’s 5:45 on co-op night, and he’s cooking for 12 instead of two.

Every Monday and Wednesday night for the past year and a half, one of the seven adults in the co-op takes his or her turn cooking a full meal for everybody else. The evening meals are packed and picked up between 6 and 7 o’clock, and Bob is getting ready for the rush. While Bob caramelizes onions in a skillet the size of a hubcap, Ella talks about their cooperative. In addition to the twice-weekly food pick-ups, the four households (two couples with kids, one childless couple, and a single adult) have monthly community potlucks. The adults take vacations together once or twice a year, went on a couples’ retreat last summer, and still meet three or four times a year for follow-up in the Rozettes’ yurt.

Such neighborly closeness may seem strange to many Americans, who have managed to make the act of eating as streamlined and people-free as possible, but who still claim to want more connection in their families and neighborhoods. Cooking co-ops are one way to bridge that gap. With roots in intentional communities and the good old-fashioned potluck, cooking co-ops aren’t a movement, exactly. There are no national spokespeople or organizations, no lobbies or PR events. But word of mouth is quietly spreading about the transformative power in collectively preparing and sharing food.

Of course, meal sharing is common among people who are already dedicated to community living for other reasons. But the new breed of cooking co-ops is remarkable for bringing together people from separate households, with often disparate interests, outside of wanting to be well fed. These people are looking for connection, yes. But they’re also very busy people.

DEE BOWERS of Boise, Idaho, might be considered a typical cooking co-op member. Five years ago, the anchorwoman and mother of two joined with neighbor Mary Wells and two other families in their neighborhood. Now they get good homecooked meals brought over three times a week, which saves them time and money. Bowers and Wells are so passionate about the joys of co-op cooking that they have even published a book, Homemade to Go (Purrfect Publishers, $14.95), that is designed to give busy people a running start on forming their own cooking co-op.

Bowers’ co-op actually eats together maybe twice a year, which isn’t what people might think when they hear the word co-op. “Most people think that you’re sort of weird,” she says confidingly. “That you’re a little, too, you know …”

“Communal?” I suggest.

“Exactly,” she agrees. “That’s great, but in our case we’re all just so busy. I’d hate to think that every time someone delivered dinner you’re going to have to stand there and talk to them for an hour.”

Even the seemingly laid-back Occidental community contends with time constraints, in its own, er, laid-back sort of way. While Bob stirs the polenta that will form the base for tonight’s dinner, Ella, a dedicated meditator, gets ready to eat and run. “The Tibetan Buddhist teachers with whom I studied always stressed that the most important thing you could do with your life is to meditate. So part of why I don’t cook much normally is because I’ve got more important things to do,” she says. “Cooking for each other is a way to save time, so you have more time to do what’s more important.”

Suddenly, the dog stands up and starts whining. The first crew has arrived, David Vogt and his daughters, Dayna, 7, and Jordan, 5. Bob ladles out the parsley-speckled polenta and tops it with the onions and a heap of prawns, while David chats with Ella and the kids peer over the edge of the pan. The low-ceilinged kitchen is noisy and crowded for five or 10 minutes, then the Vogts are gone. Seconds after the door closes, Bob dashes back into the kitchen. “I forgot the cilantro!” he exclaims, and gets to work amending the tomato-feta salad for the second group, while Ella hurriedly spoons up her dinner.

Other co-ops have dinners that can last for hours, such as the one Julie Bennett of Santa Rosa helped form almost a year ago. Her co-op includes two households for a total of nine adults, one of whom prepares Monday night dinner for the others every week. These dinners have become festive occasions, providing a much-needed Monday evening boost, says Bennett.

“This is a chance for me to try something new, something special that I wouldn’t usually try,” she explains.

“We’re all trying to live in a community-minded way.”

That search for community is a large part of why Rabbi Gary Schoenberg of Portland, Ore., has been in some form of cooking co-op for the last nine and a half years. “As soon as you’re providing food for people, all of the sudden you’re in a space where, when they’re sick, you know it,” says Schoenberg. “And sending a meal their way when they’re stressed to the gills is a natural outcome. When we have high holidays, our cooking co-op provides us with meals. When a family member is ill, it’s easy for me to get the cooking co-op to bombard them with meals. It’s that support that makes community real.

“I’m surprised that people aren’t tripping over themselves to form cooking co-ops, but they somehow have found ways to live without them,” he says with sincere bemusement.

“I’m not sure that they live so well.”

STARTING UP that relationship, though, may feel difficult in a society where we may not even know our neighbors’ names, let alone what they like to eat. But Dee Bowers, who has talked with members of cooking co-ops from all over the country, says existing groups seem to be equally divided between those communities that already existed and those that were formed for that purpose. And they all work.

“The key is starting up,” says Bowers. “If you’re honest and open and communicate up-front and get all your stuff out on the table, then it doesn’t seem to matter if you do or don’t know each other well.”

At the Occidental co-op, I ask whether community or co-op comes first. Neighbor Tom Strand-Brown pauses over a freshly opened brewsky to think about it. “It goes both ways,” he concludes. “Our intention came first, but this helps feed it. It’s one thing to be neighbors and friends, but if you see each other only every four months it won’t work. … There’s a centripetal force, so that we want to do stuff together.”

Not tonight, though. Tom and his wife, Tara, holding their 22-month-old son, Tevin, stand and chat for a bit, but then they head right out the door, with their bulging canvas bag. Bob and I stand there for a few seconds in the sudden quiet. Then Bob turns and asks a very natural question: “You want something to eat?”

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Charlie Musselwhite

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Blue Notes

Pablo Serrano



Charlie Musselwhite: An eclectic brew

By Greg Cahill

YOU JUST CONNECT with the spirit of the music,” bluesman Charlie Musselwhite told Blues Revue recently,” and you’re able to express it, or you want to be able to. And what you’re expressing is humanness, the compassion for life and of people for one another. And you want to be as truthful as possible, trying to touch each other with the emotion that you’re expressing through the music–how we’re all together in this situation called life and all its ups and downs.”

Musselwhite has known his share of highs and lows. Suffice to say, Musselwhite–arguably the genre’s premier harmonica player–is still riding the crest of a wave that saw his career surge in the mid-’80s. He’s never looked back. Born in Mississippi, raised in Memphis, and transplanted a few years back to Healdsburg, Musselwhite is doing just fine, thank you. His new CD, Continental Drifter (Virgin/Pointblank), is turning heads with its eclectic mix of blues, jazz-tinged melodies, and Cuban music that features the red-hot band Cuarteto Patria. He recently teamed up with Grateful Dead guitarist and vocalist Bob Weir for a spirited rendition of the soul chestnut “Take Me to the River,” featured on the Fish Trees Water Blues (Bullseye Blues & Jazz) benefit CD compilation. And he can be heard getting down and dirty on “Hear My Train a Comin’,” arguably the standout track from a star-studded lineup on Searching for Jimi Hendrix (The Right Stuff/EMI), the new soundtrack to filmmaker D. A. Pennebaker’s latest documentary.

If that’s not enough action, you can catch Musselwhite on tour this summer. No local dates are planned (Musselwhite did make an in-store appearance last week at the Music Coop in Petaluma before participating April 22 at an Earthjustice League fundraiser at the Fillmore Audit-orium), but the ubiquitous harpist performs June 25 at the Great American Music Hall in San Francisco and the following day at the annual Monterey Blues Festival.

Somehow in the midst of all his activity, Musselwhite has managed to play for packed houses–and captive audiences, so to speak–at Leavenworth Federal Prison, Lompoc State Penitentiary, a women’s correctional facility in Chowchilla, and the Spring Creek Correctional Facility in Alaska. “I like to play for prisoners whenever I can,” says Musselwhite. “It’s nice to give them something. I believe in rehabilitation. I’ve been through some tough times myself, and I think anyone can change. It’s especially great playing at maximum-security prisons like Spring Creek, since that is where the guys stay who are never getting out.

“One time a guy jumped on stage and said, “Thanks, man, you just did one hour of every man’s time.'”

Local boy makes good: Most of the world knows him as a Texas blues-guitar phenom, but Doyle Bramhall II still calls Sonoma County home, since his dad and many friends live here. (Well, at least we like to claim him as our own.) This week, Bramhall–who has played with Stevie Ray Vaughan (Bramhall was one of the few musicians invited onstage to play with the late guitar god), the Fabulous Thunderbirds, and the Arc Angels–got the call from ex-Pink Floyd heavyweight Roger Waters. After spending the past seven years working on an opera sung in English and French, Waters will be embarking on a series of West Coast dates next spring as part of his “In the Flesh” tour.

And, yes, he’ll be performing Pink Floyd classics.

Hip-shakin’ daddy: Hot on the heels of his new powerhouse fusion CD, Wiggle outta This (Shanachie), virtuoso harp player Curtis Salgado blows into town. Salgado isn’t exactly a household name, to be sure, but he is known in blues circles for stints with the Robert Cray Band, Roomful of Blues, and Santana.

Indeed, Salgado’s influence has reached the mainstream in a most roundabout manner. Salgado is credited with introducing comedian and actor John Belushi to the blues, providing the blueprint for his Blues Brothers character Jake, including the trademark Ray Ban wayfarer sunglasses and soul patch. And then there is Salgado’s patented blend of blues, R&B, soul, and funk. “I like a full plate,” explains Salgado when asked about his eclectic material. “You like a good steak, but you can’t just eat that for a solid year. I’d get tired of that. You need mashed potatoes and carrots, and other stuff, too. … I’m not trying to be everything to everybody, because you can’t do that. I’m just trying to express music the way I hear it–music that hits my auditory nerve just right, and comes straight from the heart, too.”

Curtis Salgado opens for Texas blues queen Marcia Ball on Thursday, May 20, at 8:30 p.m. at the Mystic Theater, 21 Petaluma Blvd. N., Petaluma. Tickets are $15. 765-2121.

Afterthoughts: Chicago blues guitarist Buddy Guy, a major influence on Jimi Hendrix, headlines at the Phoenix Theatre in Petaluma on June 9. Angela Strehli opens. Tickets are $20 and go on sale May 9. For info, call 415/974-0634. … Seventeen-year-old Santa Cruz guitar wiz Corby Yates headlines the Full Moon Blues concert Friday, April 30, at 8:30 p.m. at the Powerhouse Brewing Co. in Sebastopol … . Roy Rogers & the Delta Rhythm Kings slide into the Powerhouse on Saturday, May 8. … And Little Charlie & the Nightcats bring their West Coast jump blues to the Mystic Theater on May 15.

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Howard Zinn

Making History

Leftist historian Howard Zinn plays it cool to get the populist word out on the airwaves

By Patrick Sullivan

WE HATE HISTORY. Not, of course, in the same bloody way they do in Yugoslavia or Ireland. No, for Americans, the word just conjures up images of stifling classrooms filled with dusty books and yawning students. Turn to page 347, memorize this arbitrary list of names and dates, and pay attention, if you can. Perhaps we’ve always despised the past, but maybe we hate it more than ever in our future-is-now world of MTV-style everything, where television is king and amnesia seems widely welcomed.

In any case, you might imagine that this brave new world leaves Howard Zinn fumbling in the dark. After all, the 76-year-old leftist historian, best known for A People’s History of the United States, his searing yet scholarly antidote to establishment history, is unfashionably retro in many ways. An unabashed socialist and activist, Zinn might seem an anachronism is a world where left-wing ideology is widely supposed to have joined history down the memory hole.

Think again. Far from seeking refuge in the ivory towers of Boston University, where he is emeritus professor, Zinn is as active as he’s ever been, fighting poverty and racism and war, getting his populist message out in every medium possible, including a recent dialogue with grunge musician Eddie Vedder in the ultra-hip Interview magazine and a controversial new move onto network television. But is anybody listening? Do people still care about the story of the underdog? Zinn himself doesn’t doubt it for a moment.

“I do a lot of traveling around the country to speak here and there, and I’m always impressed that wherever I go there are groups of people conscientiously working to change things,” Zinn says in his quiet voice, speaking by phone from his home in Boston. “People working for sexual equality, people working against racism … There are thousands of people all over the country working for good things, and that to me is a hopeful sign.”

A People’s History is certainly not going out of style any time soon. Zinn–who will speak May 6 at Sonoma State University–has crafted an accessible historical narrative that reverses the view we’ve traditionally been offered of our country. Rather than focus on generals and presidents, he tells stories of the people at the sharp end of history: Native Americans, rebellious slaves, union activists, and countless others whose resistance to brutal oppression did so much to shape our nation. It’s not exactly happy stuff, but it apparently strikes a chord with many readers. The book has sold more than 600,000 copies since it was first published in 1980–not bad for an imposing historical tome. Moreover, last year it sold more briskly than ever.

The book may be so compelling in part because its contents reflect Zinn’s own tumultuous life. As he recounts in his autobiography, You Can’t Stay Neutral on a Moving Train, Zinn grew up in a working-class family and absorbed socialist philosophy on the streets of New York City. As a young man, he jumped headlong into the war against fascism, only to be disillusioned by the horror and pointless bloodshed. Upon his return, he studied history on the GI Bill, received his doctorate, and ended up teaching at Spellman College, a small black school in Atlanta where his students included the future novelist Alice Walker. It was a short move to participation in the civil rights and anti-Vietnam War movements.

THE STEADY POPULARITY of A People’s History has not gone unnoticed. Network executives have apparently smelled profit, and Zinn is now in negotiations with Fox Television to bring the book to the small screen as a six-part miniseries that could air as early as spring of next year. Fair enough, except that there are some who wonder what the heck Zinn is doing shacking up with Fox owner Rupert Murdoch, the notorious Australian media baron whose archconservative politics put him one goose-step to the left of Adolf Hitler. For his part, Zinn seems amused by the controversy.

“I think it’s strange, too,” Zinn says. “Maybe Murdoch thinks it’s strange. But there are things on Fox that don’t exactly fit his political philosophy. The Simpsons, for instance. I think he’s mostly concerned about airing programs that have a lot of viewers so he can make money. Maybe profitability is more important than his beliefs.

“After all, he needs the money, right?” Zinn adds with a laugh.

It also doesn’t hurt that Zinn has some important fans in Hollywood who have championed the project. Actors Ben Affleck and Matt Damon are friends with the historian, and the two are helping negotiate the Fox deal and acting as co-producers on the show. Other high-profile celebrities, including Winona Ryder and Danny Glover, are reportedly eager to act in the project.

Of course, the big question for many is whether the series will do justice to the book’s leftist politics and sophisticated treatment of American history. For Zinn, that’s an important issue.

“All of us are determined that the television series be faithful to the vision of the book,” he says firmly. “We wouldn’t do it otherwise. It won’t be Hollywoodized.”

This TV experiment is far from the only iron Zinn has in the fire. He is also coming out with Marx in Soho (South End Press; $12), the published version of a one-man play featuring the founding father of scientific socialism in the starring role. Heaven, it seems, has allowed Marx to return to Earth to clear his name and comment on recent world developments. The play highlights the fact that Zinn is not afraid to identify with the controversial German theorist, though he won’t call himself a Marxist.

“Marx didn’t even refer to himself that way,” Zinn explains. “One time he said, ‘I am not a Marxist,’ and that’s because the word, for him, became something that encapsulated him too rigidly into an ideology. I feel the same way. A lot of people have called themselves Marxists, and a lot of them I would not want to be associated with. But I think Marx had a lot of insights into the nature of our society that are still valid and should be listened to.”

Zinn’s biggest current project, however, may be his determined opposition to the NATO bombing of Yugoslavia. That stance sets him apart even in the U.S. left, which has been divided by the horrors of ethnic cleansing in the Balkans. Zinn says he understands and shares that revulsion. But he is deeply suspicious of U.S. militarism, and he believes even our smartest bombs can’t solve this problem.

“Milosevic is obviously a tyrant, a terrible person,” Zinn says. “But we have to be careful not to make the situation worse. I believe that the bombing policy is terrible, that it has made things worse than before.”

As evidence of that, Zinn points to the incredible flow of refugees and the growing number of innocent victims of NATO bombs. None of those developments come as a surprise to Zinn. The World War II veteran says he learned long ago that there are no good wars.

“When governments don’t know exactly what to do next, they go to war,” Zinn says. “Violence is not their last resort. It’s the first.”

Howard Zinn speaks Thursday, May 6, at 8 p.m. at Warren Auditorium, SSU, 1801 E. Cotati Ave., Rohnert Park. Tickets are $10 at Copperfield’s Books. For details, call 664-2382.

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Scoop

Insanity Rules



So just what can we do to stop the high school shootings?

By Bob Harris

THE MOST popular movie in America this week is The Matrix. Act 1: Keanu Reeves portrays a friendless young man trapped in a world populated mostly by mindless peers who cannot share his angst and by inhuman authorities deserving only contempt. He spends most of his time surfing the Internet and cultivating a feeling of detachment from reality.

Act 2: Larry Fishburne, who is even more detached and therefore cooler, informs Keanu that his perceptions are fully justified: In fact, he is the One who will eventually destroy the existing order. Keanu, gradually gaining power as he becomes ever more alienated, joins Larry in leading a gang of black-clad rebels in confrontations with and escapes from the bad guys. Betrayals and chases and plot twists ensue.

Act 3: Fulfilling his destiny, Keanu and an accomplice enter the bad guys’ building strapped to the nads with automatic weapons hidden under long black trench coats. Showing little emotion and no mercy, they blithely kill everyone in their path. Lots of people get shot in innovative ways, much of it in slow motion. Keanu, utterly empowered, eventually literally flies to the heavens. Roll credits.

Audiences across the country think this is all really, really cool. The film has been No. 1 in gross receipts for three of the four weeks since its release. Americans have spent almost $120 million to see this movie in a single month. Experts estimate we’ll spend at least $40 million more. Sequels already are planned.

Easily the most memorable line of dialogue in the ads that sold this movie: “We need guns. Lots of guns.”

So now let’s all act so terribly shocked about the kids in Colorado. Let’s all point fingers at each other and wonder how anyone could think of doing such a thing.

Liberals don’t normally like to admit that media images influence human behavior, partly because too often people use that excuse to try to censor stuff they personally dislike, which usually includes anything to the left of Debbie Boone eating American cheese and Spam on Wonder Bread.

But of course media images influence human behavior. If not, the entire concept of commercial media would be completely inoperative. The whole purpose of advertising is to influence your behavior through powerful images. And it works, obviously, or else the entire TV, movie, radio, newspaper, and magazine industries would cease to exist.

So what now? Contrary to standard conservative advice, prohibition of ideas or images simply isn’t an option. It doesn’t work any better than the prohibition of alcohol or drugs has ever worked, and there’s this pesky First Amendment thingy in the way.

Which means, ultimately, either the broadcasters and producers have to stop selling violent images voluntarily–a prospect about as likely as Dennis Rodman becoming a Franciscan monk–or you and I and the rest of us simply have to stop giving people who produce hyperviolent entertainment hundreds of millions of dollars.

WE ALL NEED to teach ourselves again that gratuitous images of human slaughter are the worst form of pornography. Only then can we begin an intelligent dialogue about healing the psychological wounds we’ve already inflicted on ourselves and our children.

Conservatives don’t normally like to admit that the availability of a wide variety of guns leads directly to a wide variety of gun-related deaths. Lots of people sincerely believe that the Second Amendment specifically guarantees an absolute right to bear arms. Many also believe that the problem is with the shooters, and not with the weapons themselves.

But of course gun ownership can be and is widely regulated, with the Supreme Court’s full consent. Saturday night specials are against the law in many communities, as are sawed-off shotguns, fully automatic weapons, and lots of other stuff. If the NRA’s version of the Second Amendment was accurate, these laws wouldn’t have a chance of staying on the books. And as to the shooters, they wouldn’t have done nearly so much damage armed with slingshots and bowie knives.

S o what now? Contrary to standard liberal advice, more laws, by themselves, are not the answer. Many of the weapons in Littleton, Colo., were already illegal. It simply didn’t matter. Enforcement of existing laws, as NRA bigshot Wayne LaPierre has correctly pointed out, would be a start. And so for once the NRA should throw its full weight into lobbying for increased law enforcement resources in this regard.

We all need to work toward gun laws that actually matter, enforced by people we respect. Only then can we begin an intelligent dialogue about outlawing any more weapons in the future. We sure as hell aren’t having an intelligent dialogue now.

Here’s Barbara Wheeler, former president of the National School Boards Association: “That’s one of the great mysteries: How do you identify a student who is going to act out?”

Other than dressing in black, forming a gang, prearranging fights with other students, speaking in German, giving Nazi salutes, and filming a fantasy video in which they kill their fellow students, she means.

Here’s Chicago Sun-Times editor Nigel Wade on why the Columbine story appeared on page 2 instead of the front page: “We’re putting the story where adults will find it … giving parents a chance to decide whether their children will see it. … [The story] could harm or frighten vulnerable children.”

As opposed to a page 1 story they did run, in which Serbian troops machine-gunned a column of Albanian refugees. Much healthier for the kids.

Here’s NRA president Charlton Heston, claiming that the solution is more guns, not fewer: “If there had been even one armed guard in the school, he could have saved a lot of lives and perhaps ended the whole thing instantly.”

Never mind that there was an armed sheriff’s deputy present who got off a handful of useless shots from his sidearm before being forced to flee for his life.

Here’s Colorado governor Bill Owens, blaming the parents merely because some weaponry flotsam was found in plain view in a gunman’s bedroom in the aftermath of the attack: “I think that perhaps charges will be filed and certainly should be filed. … [Police] found in one of the gunman’s homes clear evidence out, sitting in the room, of what was about to happen.”

Let’s get this straight: One of the gunmen fails to clean his bedroom before leaving for school on the day he’s planning to die, so the parents must have had advance knowledge.

And finally, here’s Bill Clinton on the Columbine school shootings: “We must do more to reach out to our children and teach them to resolve conflicts with words, not weapons. … Violence is wrong.”

And then he went back to bombing Yugoslavia.

The insanity in this country goes a lot further than two kids with too many guns.

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Opinion

Rights and Wrongs

By David Morris

ONE OF THE White House’s priorities is to enact a Patients Bill of Rights that, among other elements, requires health maintenance organizations to develop grievance and appeals procedures. Meanwhile, Sens. Ron Wyden, D-Ore., and John McCain, R-Ariz., have introduced an Air Travelers Bill of Rights that requires airline companies to provide truthful information about flight delays, cancellations, and overbooked flights.

How sad. Both political parties got us into this mess by opening the doors to health care and airline monopolies. Now, instead of confessing their sins and tackling the problem of concentrated power head-on, they’re trying to make nice-nice with the voters by demanding that the new lords of the manor treat their serfs a little more decently.

Health-care conglomerates now dominate medicine. There has been a massive conversion of non-profit hospitals to profit-making entities. The Plutocratic oath has replaced the Hippocratic oath. Stock analysts on Wall Street now refer to patients as “revenue bodies.” Company-owned health insurance subsidiaries are known as “patient feeder systems.”

The federal government let it happen. An analysis of 397 pre-merger notifications involving acute-care hospitals from l99l to 1993 by the General Accounting Office found that only 15 had been challenged by the Department of Justice or the Federal Trade Commission. Neither the DOJ nor the FTC have challenged mergers or acquisitions between managed-care insurers.

THE U.S. Department of Transportation had a “perfect record” of approving every airline merger that came before it in the 1980s. Today, the architect of the federal government’s airlines deregulation strategy, former Civil Aeronautics Board chief Alfred E. Kahn, finds a “disturbing decline” in the average number of carriers per route. He is shocked that “more and more airports are complaining they are at the mercy of a single airline.”

A recent study by Salmon Smith Barney found that 33 of our 50 largest airports have excessive concentrations of airlines; the remaining 17 have moderate levels of concentration.

Concentrated power is the problem, yet neither party is willing to tackle that issue. So we are left with a series of bills of rights.

Not that there aren’t some good in these bills. The White House wants patients to have the right to sue HMOs for malpractice. Astonishingly, 125 million Americans covered under an employer HMO cannot sue their provider for anything more than the costs of care their HMO refused to reimburse, no matter how egregious the malpractice.

Insurers argue that allowing patients to sue would cause medical rates to skyrocket. Hogwash. According to the Congressional Budget Office, costs would rise by 1.2 percent, about $7 per covered employee per year. In 1997 Texas passed legislation allowing its residents to sue HMOs has not seen a flood of lawsuits. Only one malpractice suit has so far been filed. But the threat of a lawsuit has made HMOs in that state more responsive. Notes Time magazine, “Doctors in the state say HMOs seem to have become more inclined to accept suggested treatments and speed the paperwork.”

The passengers bill of rights also contains some interesting components. Wyden and McCain would allow the federal government to fine airlines that cancel flights simply because too few passengers buy tickets. Rep. Bud Schuster, R-Penn., would require an airline holding passengers in an airplane on the runway for two hours or more to repay those passengers twice the value of their tickets, with higher multiples for each additional hour trapped in the plane.

These bills of rights are modest. Yet that doesn’t mean passage is assured. More than 25 states have debated bills that would allow their residents to sue HMOs for malpractice. Only in Texas has such a bill become law. Last year Congress refused to make HMOs liable, and the Republican majority has vowed to fight that provision again this year.

For free-market diehards, concentrated economic power is not a problem. The Investors Business Daily views a passengers bill of rights as downright socialist. “Washington is the only place where people believe courtesy can be legislated,” it thunders. “No one is forced to fly. … If the flying experience were so bad, travelers would choose trains and buses, leaving the airlines with empty seats.”

Oh my.

David Morris is co-founder and vice president of the Institute for Local Self Reliance in Minneapolis.

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

The Film Cafe

0

Short Cuts

The Film Cafe returns for another quirky summer of quick flicks

By David Templeton

THE EXPECTANT babble of excited art lovers mingles with the clink of forks on plates, while the sky over Santa Rosa slowly darkens. Fresh patrons continue to trickle into the sculpture-dotted outside courtyard at the Sonoma Museum of Visual Art. The newcomers jockey for position at the tables laden with delectables and desserts.

But food is hardly the main course tonight, and as the dusk deepens into darkness, all the patrons hit their chairs for a good view of the conspicuous silver movie screen. The lights need not go down, since Mother Nature has already arranged that. With the stars now beginning to twinkle in the heavens, a projector leaps into action. The screen shimmers, glistens, and bursts into life as everyone leans forward to absorb the sudden image of … dancing eggs?

Sure, that and a whole cinematic array of offbeat visions, animated and otherwise, many lasting less than 30 minutes and most less than five. Welcome to the Film Cafe, a quirky event that premiered last year–for three astonishing Friday nights–only to see attendance more than double, from 75 souls to over 150 between the first and the third unique presentation.

“Apparently there is a pretty big audience in this area for alternative films,” affirms Gay Shelton, director of SMOVA (formerly the California Museum of Art). “There are evidently lots of people eager to see strange, non-narrative, non-commercial … cinema. These films are humorous, they’re fun, they’re irreverent–some of them are pretty weird. People need a little weirdness now and then.”

To feed that need, SMOVA will be expanding the series this summer. Beginning May 7, the Film Cafe will be held on five Friday evenings, once a month through Sept. 3. Many of the filmmakers will be present throughout the series to introduce their work, though not necessarily to explain it.

“There is no way to explain some of these films,” Shelton says. “And most of the filmmakers prefer to have them stand on their own anyway. It’s more interesting this way.”

The cafe setting itself, Shelton says, only adds to the fun.

“We wanted to create an event that existed somewhere between being a cocktail party and a kind of wacky film festival,” she explains. “You can eat cake and have a movie too.”

As for holding the event outside, under the stars, Shelton says she insisted on that: “It’s summer in Sonoma County, dammit,” she says, laughing. “I want to be outside at night.”

The short films, a mix of amateur efforts and professional fare, are mostly the work of California filmmakers, the unique products of a special community of visionary artists whose efforts are often seen only by other experimental filmmakers.

“There’s not a burgeoning market for short films,” Shelton notes, pointing out that she specifically chose not to show feature-length movies at the Film Cafe.

“We’re all used to having a certain kind of experience at the movie,” she says. “You go to the theater, you buy your popcorn, you sit in your seat–and you psychologically live this one drama for 90 minutes or a couple of hours. What we offer at the Film Cafe is more like going to a poetry reading than like going to the movies. There are several films made by several different filmmakers–so you are exposed to many different voices.”

The opening event this year will be “different” indeed. In addition to the premiere of Stupor Mundi by Monte Rio artist Rock Ross, an assortment of animated shorts will be shown, with live musical accompaniment provided by San Francisco’s Sprocket Ensemble, a high-energy team of concert musicians who specialize in live performance to short films. On June 11, Liz Keim, film director for the renowned Exploratorium in San Francisco, will present a selection of visual treasures from the science museum’s archives.

SONOMA COUNTY filmmakers will take over on July 9, as Healdsburg’s Toney W. Merritt plays host. Among the offerings that evening will be the very funny two-minute romp Lonesome Cowboy, and a special screening of J. Rosenblatt’s Human Remains, a disturbing 30-minute work that explores the banality of evil by employing “outtake” footage from the everyday lives of five infamous historical figures, including Hitler and Stalin.

Aug. 6 will feature San Francisco father-and-son filmmakers Michael and Eli Rudnick. The elder Rudnick will show a number of offbeat shorts by Bay Area experimenters–including several of his own, stunningly poetic pieces. Eli (age 10, and, according to Shelton, “already an ingenious, accomplished filmmaker”) will show his own work. After the intermission, the audience will be treated to a selection of audacious–and “rather adult”–animated shorts by Baltimore filmmaker Martha Colburn, whose work includes such titles as There’s a Pervert in My Pool. (Colburn is a self-taught filmmaker, but her work is accomplished enough to have been featured at such venues as the Museum of Modern Art.)

The season wraps up on Sept. 3 with an evening of hyper-surreal, elaborately costumed fantasies by one-of-a-kind director Relah Eckstein (creator of last year’s Film Cafe hits Eggy Time and Oatmeal), who will screen her new work, Lucy’s Dream, along with a hand-picked bouquet of shorts from prominent Los Angeles artists.

Asked to choose one adjective to describe the films patrons will see this season, Shelton insists on two. “They’re wacky films,” she chuckles, “but they’re quite sublime. And isn’t that a wonderful combination? At the Film Cafe, we offer a peek into a world that most people never get to see. You get to come and view amazing art being done by artists purely for the sake of making art.

“It is,” she concludes, “a very cool thing to do on a warm summer night.”

The first Film Cafe opens at 8 p.m. May 7; films begin screening at dusk. Order tickets in advance by calling the museum office at 527-0297. Ticket prices vary: single-night tickets are $12 for museum members, $15 for non-members, and season tickets (for all five nights) are $50 for members, $60 for non-members. Tickets will also be available at the door.

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Medical Decisions

Risky Business

Forget the supermarket health-care delivery system. What your doctor doesn’t know could kill you

By Michael L. Millenson

IN EDGAR ALLAN POE’S “The Purloined Letter,” the protagonists overlook the crucial clue that is sitting right in plain sight: a letter left casually on a desk. Today, a similar near-willful blindness prevails among those who present the managed-care industry as the leading threat to the quality of American medicine. Implicitly, this view defines high-quality care as consisting of immediate access to treatment. While that is obviously important, the critics ignore a separate issue whose equal significance should be glaringly obvious:

What happens to the patient once he or she actually reaches the doctor or hospital?

It would be nice if good medical care simply consisted of preferring the physician’s judgment over that of “insurance company accountants,” as President Clinton put it in his 1998 State of the Union address. Indeed, the argument that the public is faced with a choice between medical decisions made by “good” doctors or “bad” bureaucrats (albeit private-sector bureaucrats) has been sounded by everyone from anti-managed-care politicians to (surprise) indignant representatives of various physician organizations. Preserving physician freedom is presented as the way to “preserve” high-quality care; any other path leads inexorably to ruin.

Unfortunately for the health of patients, this story line is a gross oversimplification. There’s no question that the business ethic of some health plans can dangerously distort medical decision-making and has sometimes done so. Yet the larger truth about our health-care system is at once more complicated and much more unsettling.

From ulcers to urinary tract infections, tonsils to organ transplants, back pain to breast cancer, asthma to arteriosclerosis, scores of thousands of patients are dying or being injured every year because the best scientific information on how to care for them is not being put into practice by physicians. If one counts the lives lost to preventable medical mistakes, the toll jumps even higher.

In the scientific literature, the struggle to put medical theory into practice goes by the genteel term “evidence-based medicine.” Kenneth I. Shine, president of the Institute of Medicine, phrases the problem this way: “If we asked the question of whether physicians have based their practice on scientific principles,” he says, “it is clear that the profession has been sorely lacking.” Put in Clintonian campaign terms, however, the problem is easy for a layperson to understand: “It’s the doctors’ decisions, stupid.”

What Doctors Don’t Do

Most patients would be surprised to know what their doctors don’t know–or don’t put into practice. Even the best-trained doctors go about their work with an astonishingly shallow base of knowledge concerning the link between what they do and how it affects a patient’s health.

For instance, more than half of all medical treatments, and perhaps as many as 85 percent, have never been validated by clinical trials. But even when there is scientific evidence about what works best, large numbers of doctors don’t apply those findings to actual patient care.

A prime example of the latter problem is the treatment of ulcers, a common and painful condition that will afflict an estimated 25 million Americans at some point in their life. Back in 1988, the prestigious British journal The Lancet published the results of a clinical trial that showed that most ulcers were actually caused by a bacteria called H. pylori. Patients didn’t have to spend their lives taking anti-ulcer medications to control acidic secretions; the bacteria could be eradicated and the ulcer cured.

A study replicating this research appeared in a major American journal in 1991. A consensus panel from the National Institutes of Health endorsed the anti-bacteria ulcer treatment in 1994. Yet today, half of all U.S. doctors still aren’t testing their ulcer patients for H. pylori and prescribing the right therapy, according to the federal Centers for Disease Control and Prevention. Managed-care financial incentives have nothing to do with this problem. Indeed, if anything they should work in the opposite direction–it’s cheaper to cure a patient than to keep paying for maintenance drugs.

But to truly understand the consequences of failing to apply evidence to practice, one need only look at treatment of heart disease, the No. 1 killer of both men and women in the United States. Heart disease is common, and it is expensive (total health care costs for cardiovascular disease are more than $150 billion annually). To listen to the managed-care debate, one might think the most pressing problem in cardiac care is getting people directly to the hospital emergency room without waiting for pre-approval from their health plan. (And forget for a moment that only one of every nine visits to the emergency room for chest pain results in a confirmed heart attack.) The medical literature, however, paints a very different story than the one heard on the nightly news. It’s a tale of wasted money and of unnecessary patient deaths and complications that has nothing to do with health plans. To give just a few examples:

Inappropriate invasive procedures are distressingly prevalent. Harvard University researchers found that one quarter of the heart bypasses, angioplasties, and catheterizations (measuring blood flow and blood pressure in the heart) performed on elderly heart-attack victims have no effect on patient survival. In other words, thousands of these expensive treatments–which pose a significant risk of complications or death–could probably be eliminated.

Proven drug therapies, meanwhile, go unused. A New Jersey study found that just one fifth of eligible heart-attack victims received beta blocker therapy that could have increased their chances of survival by as much as 43 percent. Other studies have found much the same problem. By one estimate, 18,000 people die each year from heart attacks because they did not receive effective interventions. Meanwhile, one third of heart attack survivors in one study left the hospital without their doctor telling them to take an aspirin a day to help prevent another attack.

Some hospitals are performing heart surgery even when their doctors haven’t performed the operation often enough to keep their skills up. There is a long and well-documented connection between a hospital’s performing a high volume of bypass surgeries and increased patient survival. Yet nearly one third of the 1,023 U.S. hospitals performing open-heart surgery in 1994-95 performed fewer than the 200 cases per year that groups such as the American Heart Association recommend as a minimum, according to Medicare data. In California, 56 percent of the hospitals were below the 200-case minimum, a recent study found. It makes a difference. In New York State in 1995, one hospital that performed only about half the recommended number of bypasses had a morbidity rate over twice the state average. Traditionally, bypass surgery has traditionally been a prestigious and highly profitable service. That may or may not explain why the profession has not enforced its own standards.

Reports like these led the prestigious National Academy of Sciences’ Institute of Medicine to make a damning indictment of the quality of care. The IOM report, in the Sept. 16 issue of the Journal of the American Medical Association, cited some of the above examples and concluded that “serious and widespread quality problems exist throughout American medicine. Very large numbers of Americans are harmed as a direct result.” The IOM consensus report added pointedly, “Quality of care is the problem, not managed care.”

The Making of a Non-Scandal

One would think that the glaring disconnection between research-based medicine and everyday practice would be a national scandal. The evidence, after all, is in plain sight. Moreover, some big names in the policy world are even starting to talk about the problem.

Earlier this year, the presidential Advisory Commission on Consumer Protection and Quality issued an extraordinary indictment. The commission wrote: “Exhaustive research documents the fact that today, in America, there is no guarantee that any individual will receive high-quality care for any particular health problem.” American medicine, it added, was plagued by “overuse, underuse and misuse.” In other words, the heart disease examples cited earlier are the rule, not the exception.

The press, however, glued to the politically hot “patient bill of rights,” has virtually ignored other causes for the wildly varying quality of patient care. The reaction to reports on deaths due to preventable medical mistakes has been ho-hum. Earlier this year, when the Centers for Disease Control and Prevention released a report stating that 50,000 people die each year from infections caused by their hospitalization, the New York Times put the story on page A12. A close reading of the story revealed that the last time the CDC looked closely at infections in hospitals was nearly 25 years ago! What went unstated in the report is that no governmental or private agency requires hospitals either to have a standardized definition of an infection or to report on its infection rate to anyone.

So where is the outrage? In large part, the absence of scandal may be owing to the equal absence of identifiable victims. The classic medical exposé is about “bad” doctors. A man who has had the wrong foot amputated by a surgeon or a woman who has been sexually molested by her internist knows something went wrong. And, indeed, incompetent or impaired doctors remain a problem. The Public Citizen Health Research Group estimates that 1 percent of doctors nationwide “deserve” some disciplinary action each year, yet Federation of State Medical Boards data show an average of just 3.84 actions per 1,000 physicians in 1997. Moreover, patients in a state like Florida may wait as long as two years for their complaint even to be heard.

Similarly, health-plan members with access problems often know when they’ve been mistreated, as was the case with the Washington representative of a health-care organization who was told that being taken unconscious to the ER was no excuse for not getting pre-authorization approval.

By contrast, the heart-attack patient who doesn’t receive beta blocker therapy or isn’t told to take an aspirin on discharge most likely won’t have a clue that his life was put at risk. That’s particularly true if some sort of therapy is prescribed and the doctors and nurses appear to be working hard and doing their best. (Of course, a few patients don’t take any chances. An older physician I know who lives in a rural area carries beta blockers and aspirin in his wallet, along with instructions to the hospital on their use, just in case.) Similarly, the patient who receives an unnecessary angioplasty has no way of knowing that it was unneeded–except, perhaps, when some health-plan reviewer objects, and the patient becomes outraged that the HMO is rationing care. And in the case of hospitals doing a low volume of bypass surgery, it’s hard to prove that any individual patient was harmed.

Perhaps the best example of a quality lapse where the victim is unlikely to complain involves autopsies. A recent JAMA study of autopsy results found that doctors failed to diagnose cancer properly in a shocking 44 percent of cases. Yet the frequency of autopsies is at a record low, in part because an unperformed autopsy is likely to generate a grateful family, not a dissatisfied one ready to complain to its local TV news team.

But it’s not only the lack of easily identifiable victims that’s kept evidence-based medicine off the public radar screen. There are also political and economic reasons. Take the American Medical Association, which for a time actively sought out HMO horror stories for the media and Congress. While the AMA’s scientific arm is a leader in the fight for evidence-based medicine, its political arm is devoted to protecting doctors’ autonomy. Sometimes that’s pro-patient, as when the AMA battles unreasonable managed-care rules. Other times it’s pro-pocketbook of doctors, as when the AMA defines quality of care as forcing plans to contract with “any willing provider.”

That kind of arrangement takes away a plan’s ability to compete on quality, because it’s no longer free to decide which doctors will be part of the plan.

Public discussion of evidence-based medicine might lead some to wonder whether unchecked physician autonomy is really such a good thing. Those whose memories stretch back more than two news cycles might even remember that the Health Maintenance Organization Act of 1973 emerged out of widespread public disgust with a fee-for-service system then run by doctors.

Indeed, in 1976, a time when less than 10 percent of the population belonged to an HMO, the New York Times ran a five-part, page-one series about medical errors, overprescribed drugs, and other failings of American medicine. The date of those articles should be noted by the nostalgia-mongers who loudly contrast today’s system with the days of “Marcus Welby-style medicine,” for 1976 was the year that Marcus Welby, M.D. finally left the prime-time TV airwaves. Even at that time, Marcus Welby-style medicine was not a reality for patients; it was just a TV show.

While the physician groups have an economic agenda that can cause them to slight evidence-based medicine, some consumer groups have a political one. Liberal organizations like Public Citizen seem to want to discredit managed care in order to pave the way for Canadian-style national health insurance. While that’s a worthy goal, it’s unlikely to succeed in the current climate. More to the point, addressing the legitimate problem of access to care by the millions of Americans without health insurance says nothing about the quality of care received once access is assured.

Conservative groups such as the National Center for Policy Analysis are as obsessed as the liberals with access and financing issues. But unlike the liberals, they want to replace managed care with a national system of medical savings accounts, another policy fantasy.

Given these ideological and economic interests, today’s medical scandals follow a predictable script. For example, the refusal of some health plans to allow some breast-cancer patients to stay in the hospital overnight after a mastectomy created a national uproar. Yet there is persuasive medical evidence that suggests a one-night stay can be perfectly safe–if health plans and hospitals choose the patients carefully and put the proper support services in place. More to the point, if breast-cancer victims are the real concern, then we should consider the lack of attention given a study appearing about the same time as the “drive-through mastectomy” debate erupted.

This study, by Dartmouth Medical School researchers, found that “geography is destiny” when it comes to care for breast cancer (as well as a number of other conditions). For example, fewer than three out of every 200 breast-cancer patients in Rapid City, S.D., received breast-conserving surgery vs. a mastectomy, while in Elyria, Ohio, 96 out of 200 did. The two procedures have roughly equal therapeutic efficacy.

Which is worse: being given a too-short hospital stay after a mastectomy or unnecessarily losing a breast to surgery in the first place? To even pose that question exposes the shallowness of viewing high-quality care as synonymous with deference to individual physician judgment.

Since women’s health issues are so politically attractive, here’s another example of practice variation every woman will understand. When family practitioners in Washington State were asked about treating a simple urinary tract infection, one of the most common of female complaints, 82 physicians came up with an extraordinary 137 different strategies! It defies common sense to believe that every patient of each of those doctors is receiving equally high-quality care.

(Speaking of non-scandals: Why is hospital “dumping” of poor patients without insurance–which once made front-page news–now relegated to the trade publications? Are the only certifiable “victims” the victims of health plans?)

The good news is that there are, in fact, some successes by health plans, hospitals, and doctor groups in implementing science-based medical practice. The efforts of United HealthCare, a national for-profit plan, were even profiled recently in the Wall Street Journal. There are others. In Boston, for instance, Harvard Pilgrim Health Care has pioneered a program to involve asthmatic children, their parents, and the plan’s doctors in applying “best care.”

The program cut inpatient admissions and emergency room visits by kids by more than three quarters. Not only that, the children reported a significant increase in their ability to function at school or home.

Yet many organizations hesitate to share their successes at making use of medical procedures that are already on the books. A moment’s thought makes it obvious why: A hospital or doctor who excels at using scientific advances that have already been in the medical literature risks being greeted by the question, What were you doing before this? The questioner might even be a lawyer.

Despite these barriers, I’ve seen a number of hospitals that are dedicated to operationalizing better care. In Pittsburgh, for instance, Forbes Regional Hospital used evidence-based clinical guidelines to improve the recovery time of seriously ill pneumonia patients and dramatically cut the death rate of those who were less ill. In South Carolina, changes in heart-attack care at the Anderson Area Medical Center saved the lives of an estimated two patients a month who previously would have died. In Los Angeles, Cedars-Sinai Medical Center’s systematic review of the medical literature on a heart condition in infants called tetralogy of Fallot found that one treatment meant to prevent respiratory infections in these newborns actually increased the infection rate!

The common thread in all these improvement stories is this: There are no “bad guys.” The doctors involved were neither evil nor incompetent. They are your doctor and mine –which may be the most powerful explanation of all for why the problem of evidence-based medicine has attracted so little attention. Whatever the failings of doctors in general, “to distrust one’s [own] doctor is to be vulnerable in the most fundamental and undesirable of ways,” as one medical sociologist wrote. “The image of the doctor in America continues in large part to be an idealization that reflects people’s hopes rather than their actual experiences.”

Yet “good” doctors don’t follow best practice for a variety of reasons. There is a failure to keep up with an overwhelming flood of medical literature, a reluctance to get caught up in new therapies that may be fads, and uncertainty over which patients are best suited for which therapy. Certainly, financial incentives can play a part in overuse, underuse, and misuse. But ideologues who believe there is a perfect payment system that guarantees high-quality care will be disappointed.

The problem of medical mistakes and a failure to practice evidence-based medicine is international. And, of course, there remains the problem of treatments where the evidence is ambiguous or simply unavailable.

A Better Way

When it comes to protecting patients, the same kind of pressures being brought on health plans should also be applied to the actual providers of care. While President Clinton has declared that passing a patient bill of rights will be a top 1999 priority, legislation that focuses only on speedy access to care will ultimately fail to truly protect patients. Providing every patient with the most appropriate and effective care–“doing the right thing and doing the right thing right”–must be just as much a priority as guaranteeing access to that care.

Those physicians who are working hard to bring change to our present system need financial and political encouragement, just as those who are reluctant to change need a mixture of financial and political incentives to rethink their position. Take, for instance, the connection between low volumes of surgery and higher mortality rates. If the patient bill of rights guarantees the right to go to the emergency room without delay, then how about the right to know, before the anesthesia takes effect, how many times the hospital or an individual surgeon has performed heart surgery?

Medicare rule-making could go a long way to encourage this type of disclosure.

Similarly, what about a system of disclosing hospital infection rates that parallels the ratings used by health departments for restaurants? Right now, hospital lobbies across America display a certificate of accreditation from the Joint Commission on Accreditation of Healthcare Organizations, a group whose workings few patients understand.

On the other hand, the difference between an “A” and a “C” grade on a certificate rating infection control would be an instant conversation-starter for patients and their doctors.

At the same time, legislators must be careful not to undermine internal hospital-improvement efforts. Organizing information in a more systematic way, particularly through the use of computers, will both give doctors useful data at their fingertips and allow outside overseers to control better. Software now available can provide doctors with treatment protocols based on the latest science or a database of drug interactions designed to protect patients against possibly deadly adverse reactions. Other software, involved in electronic medical records, can help doctors and hospitals track the outcome of care in different groups of patients and continuously improve it. Unfortunately, the news stories highlighting legitimate worries about privacy of electronic medical records have not given equal play to the improvements in patient care that electronic medical records can bring.

Meanwhile, those researching how to apply evidence more effectively to practice could use far more funding than their present few crumbs. While Congress and the president heap billions more onto NIH’s plate, the little-known Agency for Health Care Policy and Research makes do with a budget in the $100 million range. Funding applications work in medicine is like buying bullets and boots for the military; it’s not glamorous, but it can mean the difference between success and failure.

Evidence-based medicine may be moving toward a higher profile. The Washington-based National Coalition on Health Care and the Boston-based Institute for Healthcare Improvement has just launched a quality initiative called Accelerating Change Today (ACT) for American Health. The explicit aim is to put best practices into common practice. Similarly, several corporate coalitions, including some of the most prominent names in American business, have quietly been holding talks about coordinating their efforts in a national effort to upgrade standards of care.

As the cost of medical care starts to accelerate again, it is becoming more urgent than ever to provide only that care which is the most appropriate and most effective. The alternative is grim: buying whatever care is cheapest. It’s about time we started measuring the performance of health professionals and of health plans alike–and insisting that both groups be held accountable for results.

This article originally appeared in the Washington Monthly.

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

Spins

0

Legends & Such



Neil Young tribute: a downbeat homage

By Greg Cahill

Various Artists
This Note’s for You, Too!
Innerstate)

NEIL YOUNG is a slippery character. Or at least his songs have proved slippery in the past for those attempting to put their own stamp on them (Joni Mitchell and Roxy Music being the notable exceptions.). After all, for 30 years the idiosyncratic singer/songwriter has straddled the fence between acoustic warrior and grunge god, ranging lyrically from lonely country boy to angst-ridden avenger and delivering high, frail vocals that defy imitation (though they have proved ripe for parody). He’s an original, no doubt about it. He’s also a huge influence on a horde of alternative rock and country acts.

This two-CD anthology isn’t the first time the music world has paid tribute to this visionary. And the results this time around are uneven at best, often downbeat, with few of these artists managing to reinvent Young’s compositions in the same way that Young himself is able to from time to time. Still, This Note’s for You, Too! can kick some serious butt, thanks to a plethora of great guitar work by the likes of former Television axeslinger Richard Lloyd, ex-Dream Syndicate and Gutterball honcho Steve Wynn, Chris Cacavas of Green on Red, and Eric Ambel of the Del Lords.

The discs are organized chronologically and run from the Treble Spankers twangy cover of 1969’s instrumental “Aurora” to Slobber-bone’s faithful rendition of 1994’s anti-commercial anthem “Piece of Crap.” Former Occidental neo-folkie Sonya Hunter dishes a rich, dirgelike “Expected to Fly.” Among the many other contributors are Lee Renaldo of Sonic Youth; Matt Piucci of Rain Parade teaming with Crazy Horse’s Billy Talbot; sometime REM collaborator Peter Holsapple and Vickie Peterson of the Bangles; and Russ Tolman and Richard McGrath of True West.

Unfortunately, most of the 37 tracks here lean on Young’s heavier material, overemphasizing the longing that colors much of the songwriter’s work while masking his sometimes playful side. In the end, all this concentrated sadness, angst, and irony leaves you craving the country charm of “Till the Morning Comes” or the naiveté of “I am a Child.”

Hearing a collection of covers based mostly on Young’s exhilarating rockers and dark-side dispatches makes you appreciate just how much depth and breadth Young shows in his own work–and that may be the best tribute of all.

Milt Jackson
Explosive! Milt Jackson Meets the Clayton-Hamilton Jazz Orchestra
Qwest

WHAT A BLAST! At the tender age of 76, vibist Milt Jackson–a veteran soloist and pivotal member of the Modern Jazz Quartet–has delivered one of the finest recordings of his illustrious career. From the familiar melody of the opening track, his signature song “Bag’s Groove,” to the whimsical closer “Recovery,” Jackson performs a dazzling balancing act, finessing his way between soulful swing arrangements and lush ballads. Not since MJQ’s 1988 Grammy-winning Ellington tribute has Jackson displayed so much sensitivity and unbridled romance in his playing. A lot of the credit for this dynamic CD goes to bandleaders and arrangers John Clayton Jr. (bass), brother Jeff Clayton (lead alto sax, flute, and clarinet), and drummer Jeff Hamilton. John Clayton and Hamilton have collaborated with Jackson since the ’70s, and they have a real affinity for the elder jazzman’s revolutionary approach to his instrument. You could say this project was 25 years in the making. Payday seldom sounded so sweet.

Big Bill Morganfield
Rising Son
Blind Pig

THEY SAY imitation is the sincerest form of flattery, but no one can fault Big Bill Morganfield for sounding like the legendary Muddy Waters, a man Big Bill just called dad. This recording debut drips with gritty South Side Chicago blues energy, thanks to a backup band that includes former Muddy Waters Band members Pinetop Perkins, Willie “Big Eyes” Smith, Bob Margolin (who doubles as producer), and Paul Oscher. Five strong originals in the Chicago blues style and a respectable flair for bottleneck slide affirm that Big Bill’s living up to his genes, even if he can’t growl like his dad.

Doc and Richard Watson
Third Generation Blues
Sugar Hill)

POWERHOUSE folk-guitar flatpicker Doc Watson runs through a comfortable front-porch session of classics with grandson Richard filling for the first time the role of second guitarist. Richard’s father, Merle–a brilliant guitarist and five-string banjo player–died in a 1985 tractor accident. Richard doesn’t display his dad’s brilliance, but holds his own with one of the world’s greatest guitarists. Overall, the session is informal, and Merle’s spirit looms large as this trio (rounded out by bassist T. Michael Coleman) rework material that Doc and Merle visited on many a day.

From the April 29-May 5, 1999 issue of the Sonoma County Independent.

© Metro Publishing Inc.

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