Sunday, September 20, 2015

We Are Market Basket

_We Are Market Basket:  The Story of the Unlikely Grassroots Movement That Saved a Beloved Business_ by Daniel Korschun and Grant Welker
NY:  AMACOM, 2015
ISBN 978-0-8144-3665-3

(xiii)  On the other side of this conflict - Arthur T.'s side - were employees (all nonunion workers who call themselves associates), customers, suppliers, and a growing contingent of lawmakers.  They were fighting for the man who they believed had always fought for them and whose management style had fostered a unique company culture:  He championed profit sharing;  bonus checks that often paid four figures or more each year;  paid days off if a worker needed to tend to a sick loved one;  scholarships to help pay for employees to attend college;  low prices, high quality, and exceptional service for customers;  and flexibility and reliability to suppliers.  His supporters wanted more than to save this man's job however.  They saw this as a struggle to save a culture and business model that was important for New England.  Market Basket was more than a grocery store for these people.  It represented an ideal.  A "way of life" that should not - and could not - be tampered with.

(xvi)  Unpredecented. That is the word so often used to describe the Market Basket protests.  Never before had nonunion employees banded together to reinstate a fired CEO.  Never before had a protest involved such a broad coalition of employees:  from cashiers to store directors to truck drivers to office workers, and all levels of management.  Never before had a worker protest spilled over, involving both customers and suppliers, all working in unison to shut down a company this large for this long.

(2)  As Chief Executive Officer Arthur T. Demoulas likes to say, it's simply "a person serving another person."

This is Market Basket.

At the time of writing, the chain has seventy-five stores in three states:  Massachusetts, New Hampshire, and Maine.  More than two million New Englanders shop there each week.  It's a $4.5 billion supermarket chain that retains its mom-and-pop feel.  Market Basket is a family-owned busniess, and it has been since its inception almost one hundred years ago.

(16)  NB:  Titus Plomaritis - star running back of the legendary late 1940s Lowell High School football team wrote an autobiography published in 2012:  Kerouac connection?

(24)  Burt Flickinger, Strategic Resource Group:  "Market Basket looks at store staffing and service as an investment, where all their competitors look at store labor as being an expense."

(31)  Arthur T. puts service to customers, employees, and suppliers first.  He believes that a manager's role is to nurture a culture and design a set of practices that benefits them;  if this is done successfully, shareholders will benefit as a consequence.  Arthur S., in contrast, takes the view that shareholders should come first;  a manager's primary responsibility is to maximize profits for shareholders, which in theory is aligned with the goals of customers, employees, and others.  These are fundamentally different ways of thinking that do not coexist well.

(33)  Even after joining the board of directors just a year out of high school in 1974, he kept an even keel.  Arthur T. was steadied by a true love for the grocery business.

It is unusual for the son of a CEO to work so many nonmanagement jobs.  It is even more unusual for a member of the board of directors to do so.  This gave Arthur T. an uncommon perspective.

(36)  Associates recall leaving his [Telemachus Demoulas'] office trembling after Telemachus chastised them for not thinking through something carefully enough.  It was the style of a boss of his generation.  Arthur T., on the other hand, is perhaps better suited to today's workplace.  He is equally demanding but is also more of a listener.  Associates _seek_ his opinion.  "He is a magnet," [William] Marsden says....

He once told Marsden, "[Money is] not what drives me.  I want to be a good merchant.  That's all I want."

(37)  At one meeting in 2010, he [Arthur T.] introduced himself to Nabil El-Hage, a new director at the time, by stating his priorities as an executive.  Arthur T.'s central contention was that serving customers well would always result in rewards for shareholders but that rewarding shareholders first can sometimes make it difficult to serve customers well.  "I want you to know how I think," he said.  "The customers come first.  The associates of the company come [next].  The communities are now our social responsibility, and then come the shareholders."

(42)  It does appear that some company cultures are more effective at driving performance than others.  Business scolars find that the cultures that contribute most to performance share three characterisitcs:  members agree on objectives, the culture is distinctive compared with those of other organizations, and the culture encourages adaptability in the face of challenges.  In other words, the best cultures are clear, unique, and adaptable....

The result is a company culture with four fundamental pillars:  service to the community, a feeling of family, empowerment, and originality - that is valuing innovation over imitation.

What makes Market Basket's culture powerful is not only that the pillars are clear, unique, and adaptable but that the pillars work together.  The sense of community purpose motivates people to commit to the family, and the culture of empowerment encourages people to be resourceful in helping the Market Basket family.  The pillars of the Market Basket culture are at the heart of why the 2014 protest took flight and how it beame successful.

(44)  In the early days, corporations had very clear purpose.  Their "characters" were generally short-term and focused on a tangible goal or even a single voyage.  But gradually, corporations survived beyond single voyages.  As time wore on, the purpose became more and more ambiguous, sometimes sidestepping any purpose entirely.

Embedded in the Market Basket culture is the notion that the company exists in order to serve the community....

Arthur T. says that "Market Basket has a moral obligation to the communities we serve."

(51)  Bonano [farmer and MA Farm Bureau] explained to Peterson, "We only produce 15 percent of the food in Massachusetts."  He told him, "All of us collectively cannot supply enough food for Mass[achusetts], so I don't ever feel like I'm competing with my neighbor."  He saw other growers as his allies who had a common objective of supporting local agriculture and building a strong infrastructure.  "We don't wnat to lose the truck drivers, the pesticide people.  We gotta maintain that infrastructure in Massachusetts," he said.

When Boanano thinks about Market Basket, he doesn't just see a high-volume buyer;  he sees a key player in that infrastructure.  It has become a sort of aggregator of vendors.  "I know everybody that grows mums for Market Basket.  I see them at the Christmas parties.  Three or four are in my town.  You're part of team."  He says that team is motivated because they know they are contributing to the welfare of the state.  Every zucchini and every mum they sell has meaning.  It demonstrates that they are having a tangible impact on the region's economy.

(53 - 54)  [Adam Grant's Wharton School university alumni fundraising call center experiment - &]  Those who had received the self-interested stories raised less money after the intervention than they had the week before.  Meanwhile, those who had read the stories that explained the larger significance of their work almost tripled the funds they raised.  The control group remained unchanged, as one would expect.  The lesson is clear:  reminding people that their work can improve other people's lives can work better than asking employees what's in it for them.

(56)  After learning how serious the injury was, Demoulas probed further:  "Terry, is that hospital able to handle her injury?"  McCarthy thought so, but he was still unsure if she would make it.

Then Demoulas asked a question that forever changed the relationship McCarthy has with the company.  He asked, "Do _we_ need to move her?"

McCarthy says of that moment, "I'll take it to my grave."  He had always felt part of the Market Basket family, but this made an indelible mark on him.  He saw a level of commitment from Arthur T. and his team to his family that he hadn't been aware of before.  He felt that he was part of Market Basket's extended family.

McCarthy's story has a happy ending.  The hospital was able to handle the injury.  His daughter fully recovered.  He told the story at a couple of the rallies in the summer of 2014, with his daughter - in tears - by his side.  As he finished his story, McCarthy asked the crowd, "[Arther T.] asked me 'Do _we_ need to move her?'  I ask you, who's _we_?"

There was a saying on many signs at the rallies and on the picket lines:  "Blood makes you related, but loyalty makes you family."

...His sense of loyalty is reciprocal.  He requires himself to be as loyal to others as they are to him.

(59-60)  Those who know him best say that Arthur T. often speaks in inclusive terms of "we" rather than "I."  It is another way that he demonstrates that associates are in it together.  Psychologists have a term for this shift from "I" to "we."  It's called "social identification," in which a person feels a strong belonging to a group and begins to see others through that lens.

(60)  Psychologists realized that the more a person defines himself or herself as belonging to a particular race, the more likely they would be to help others who were deemed to be of the same race while simultaneously discriminating against those who were considered of a different race.

This effect is not limited to race at all.  And it is powerful enough to be recreated in an exercise lasting only a couple of minutes.
[Labeling people as over-estimators and under-estimators]

(60-61)  The researcher has now succeeded in creating two groups based on something completely trivial.  The surprising result is that when research participants are then asked to share money or points with others, "overestimators" almost always give more to fellow overestimators and take from those who they think are underestimators.  Underestimators favor fellow underestimators in the same way.  If this effect can be detected in the lab in a matter of minutes, imagine how powerful a force identity can be if it is reinforced day after day as it was in many communities that resisted the Brown v. Board of Education ruling.

(62)  Consider the words of Arthur DiGeronimo, who was once the CEO of Victory Supermarket.  "We were always able to attract good help from other companies," DiGeronimo said.  "Name a company and we could get them.  Except one.  We were never able to get a Market Basket employee to jump ship."

December bonuses based on company performance totaled $44 million in 2013 and then $49 million in 2014.  That is more than $1.6 thousand per associate on average.

(65)  In the 1980s, Fantini Bakery made some missteps that sent it into bankruptcy for a time.  Fantini says that many other chains would have kicked a weak supplier to the curb.  Instead, Market Basket worked with Fantini's father, which enabled him to get back on track and grow into the sizable regional player the bakery is today.  The support he received from Telemachus, Arthur T., and other managers like Miamis and Lacourse not only saved the business but in Fantini's estimation "save [his] dad's life."  These were gestures that Fantini and his father never forgot.

(66)  He [Fantini] says Market Basket executives treated him well from the start but that he had to work to gain their trust.  To do that, "you have to make sure that you are always putting Market Basket customers' needs first and foremost."

(71)  Associates believe that their job is important and that they as individuals have roles in the success of the company.  

When academics talk about empowerment, they describe it as "intrinsic task motivation."  It is how much a person feels that their individual role fits in with the environment at the company.  Empowerment is not so much a personality trait as it is something that resides within the culture of a company.  One cannot empower oneself;  rather, one can feel empowered because of one's relationship with supervisors.  Supervisors have to be willing to give decision-making authority to their subordinates.  In essence, empowerment means handing over the reins to employees so that the person closest to the situation, the one who is presumably best informed, makes the decision.

Companies can create an empowered workforce by first hiring people who have the self-esteem to make decisions on their own.  But more important, they need to convince these employees that what they do has a real impact on the organization at large and that taking the initiative will be rewarded.  

How does a company convince employees of this?  Market Basket empowers associates primarily in two ways.  First, the company distributes leadership across the company.  And second, the company provides constant tutelage.

(72)  Academics call what Arthur T. and his management team do "distributed leadership."  Distributed leadership challenges the view that needs to be one leader around whom followers revolve.  It's been called a "decidedly _un_heroic" form of management.  Instead of concentrating decision making around a single person, it is dispersed and shared.  In distributed leadership, everyone in the company has a role to play, and everyone can have an impact.

(73)  The researchers [from SMU, U of MD, and Seattle U] noticed that the groups with the highest scores on distributed leadership were those in which members felt the greatest sense of purpose, had the most social support (feeling of family) from colleagues, and felt most comfortable making their voice heard.  This was all highly consistent with factors that the research team predicted would be related to distributed leadership.

The big surprise came when they looked at the effects of distributed leadership.  They asked clients to rate each team according to performance in serving the client.  The researchers found a significant correlation between the distributed leadership of teams and a team's ability to serve clients well.

(74)  She [Susan Beek] recognizes the chain of command at Market Basket.  In fact, Beek is quick to describe her role in self-deprecating terms:  "I'm just a worker."  Yet she articulates the management culture at Market Basket perfectly:  "you know the pecking order.  We have that.  But instead of bad stuff falling downhill [like at other companies], for us it's good stuff.  So it all falls down to us, and in the end our customers receive it.  We are expected to work hard, but we do receive benefits for that hard work."

(75)  She says "if you ask anything of him [Joe Rockwell, VP of grocery sales and marketing], he always gets back to you with an answer - maybe not the one you wanted but always an answer  and a reason for such answer."  He and other executives encourage open discussion about ways to improve the store.  They are willing to entertain just about anything as long as it is motivated by improving how the company serves customers.

(78)  Managers need to explain how correcting the mistake will benefit the customer and the company.  When this is done well, correcting a mistake once has a more lasting effect because the associate is now aware of why what they did was ineffective and what a better way looks like.
NB:  customer focused purpose drives down into the details

(80)  Market Basket's management has no use for people who make decisions based on what works for others. 

(82)  Moreover, promotions at Market Basket are not based on seniority.  Senior managers say they give promotions strictly on merit.  While the years an associate has served the company is valued, it is rarely the basis for advancement.  The system is a bit like how one advances in some of the martial arts;  one gets promoted to the next color belt after demonstrating mastery of the techniques at the current level.

By promoting only from within and strictly based on merit, associates know that the only way to get ahead is to demonstrate their ability to solve problems and seize opportunities.

(94)  In contract, Arthur T. saw bonuses and profit sharing as an investment, not an expense.  "If that's reckless spending," he said, "I'm guilty."

(114)  They [an informal group of eight senior managers] called a meeting at headquarters.  They assembled the full corporate office staff in the lunchroom and laid out their plan.  If the CEOs fired one manager, everyone would walk.  They asked for support and offered anyone who was not in agreement the chance to leave.

Then with everyone still assembled in the lunchroom, they brought down Thornton and Gooch.  They gave the CEOs their demands.  Thornton and Gooch were to go to the board and request that Arthur T. be returned with full authority.  They wouldn't work for anyone else.  There was to be no discussion.  The group had agreed beforehand on a code word to end the meeting;  when the group had finished laying out their demands, Tom Trainor said the code word.  Everyone stood up in unison and began to file past a stunned Thornton and Gooch.  "They were just standing there with their mouths open," recalls Trainor.

(116)  "This isn't work for all of us;  this is a family," Tom Gordon said.  It was a group that was clearly unnerved and anxious but also determined.  "You take down one, you get the twenty-five thousand behind us," Gordon said.

Steve Paulenka added, "We're  crazy bunch.  if this was a poker game, we just went _all in_."

(123)  At Market Basket, [David] Courteau says that everyone is treated equally.  It is a climate, he says, that "starts with Arthur T." and the kind of environment where if "you work hard, they notice it."

(132)  Some people questioned whether a nonunion workforce could sustain a protest over weeks.  But their sense of unity, based on their affiliation with the company, was as powerful as any union membership.  "This company never needed, or ever will need, a union," Operations Supervisor Joe Schmidt told public radio station, WBUR.  "We're far stronger than that."

(137)  What they had not counted on was the loyalty of Market Basket customers.  "As soon as we asked people to stop coming in, it pretty much stopped," [Karla] Foster said.

(138)  He [James Post] says a lot of people interviewed on the picket line said things like, "you know, I haven't been a big Market Basket customer, but I really love what they are doing, and I want to be a part of that."

(140)  Customers pressured other customers to boycott even more than associates did.  Associates would encourage people to boycott, but never was there a report of heckling a customer who entered a store.  Associates assumed that shoppers had no alternative.  "It was a positive protest," she says.

(147)  As Steve Paulenka said at one point during the protest, "The customers are the locomotive pulling this whole thing right now.  They have shut this company down and they are not coming back until we come back and we are not coming back until our boss comes back."

(150)  "One of the things they did well was they made an effort to buy as much locally grown as they could," he [Rich Bonanno, president of the MA Farm Bureau and farmer] said.  "So when this happened, it wasn't hurting a California grower who amybe sold to twenty grocers.  You're talking about businesses around here, and Market Basket is a big enough player that they're really hurt."

(160)  He [State Senator Barry Finegold] says, "It was one fo the most bipartisan issues that I ever got involved with."

(166)  This [disgruntled employees, boycotting customers, and disappearing vendors] appears to have left Arthur T.'s offer as the only viable bid left standing.  Moreover, it was at preprotest value and for the full 50.5 percent owned by George's heirs (Arthur S.'s side).  Estimates placed the bid around $1.5 billion.

(174)  There was literally dancing in the aisles at one store.  A couple hundred shoppers organized - with the help of the store director in Londonberry, New Hampshire - what one might describe as part flash mob, part conga line.  Customers cheered and danced triumphantly while the Pharrell Williams song "Happy" blared from the public address system.

(175)  In the autumn following the sale agreement, at least two documentaries were in the works (Market Basket Saga and Food Fight).

(176)  "As I stand before you, I am in awe of what you have all accomplished," he [Arthur T.] began, "and the sterling example you have all set for so many people across the region and across the country."  The big stuffed giraffe was right at his side.  Some managers were back in suits and ties, whereas others still had their t-shirts with slogans like "Market Basket strong."

"The public watched in awe and admiration because you empowered others to seek change," he said.  Seeing everyone again, he said, was like "a little piece of heaven on earth."  Some associates interrupted with shouts of "We love you."

"I love you too."

He continued, "May we always remember this past summer first as a time where our collective values of loyalty, courage and kindness toward one another really prevailed, and in that process we just happened to save our company....  You have demonstrated to the world that it is a person's moral obligation and social responsibility to protect a culture that provides an honorable and a dignified place in which to work."

(179)  Speaking at an event a month after the protest ended, Arthur T. renewed his commitment to the Market Basket business model:  "We go forward with a commitment to go forward and grow a socially responsible company that, at all times, is focused on teh well-being and best interests of the associates, the customers, the vendors, and the communities that we serve."

What he describes is not so much a destination but a continual effort to maintain a business that improves lives.

(182)  Many of those associates went to bat for Arthur T. and his management philosophy.  They fought for the combination of respect in the workplace and wealth sharing.

(190)  The idea that companies need to serve a range of people has even won over some who were once proponents of the shareholder idea.  Jack Welch is one of these.  He was one of the most successful CEOs of General Electric in the 1980s and 1990s.  He was once held up as a hero who was willing to do whatever it took to generate value for shareholders.  But now he says, "On the face of it, shareholder value is the dumbest idea in the world.  Shareholder value is a result, not a strategy...  Your main constituencies are your employees, your customers and your products."

(191)  Cornell Law School Professor Lynn Stout is a leading scholar who is questioning the very idea that shareholders own the company.  She explains that the US Supreme Court has recently ruled that a corporation is an entity unto itself, similar to a person.  This gives corporations a certain independence and the same free speech that a person enjoys.  She says that caes like Citizens Unites v FEC and Burwell V Hobby Lobby hold up this idea.  In the Citizens United case, the court ruled that corporations are covered by the First Amendment and can express political views.  In the Burwell case, the court extended freedom of religion rights to a closely held arts and crafts company on the grounds that it is its own entity.  Stout explains that a person cannot own a company any more than a person can own another person.  "Because of the legal 'personhood' of corporations," she says, "buying a share in a corporation is like making a contract with the legal 'person' that is the company, which is different from buying the company."

(193)  As almost all corporations - Market Basket included - board members have a fiduciary responsibility to serve the _corporation_.  Make no mistake:  shareholders are part of the extended enterprise and, in fact, have a special place and importance in a corporation.  However, shareholders are one of many stakeholders a board needs to consider in its decisions.  This responsibility is stated clearly in the Massachusetts Corporate Code, which sets guidelines for companies that are incorporated it the state (as is Market Basket).  The code states that each director is expected to serve in good faith, use appropriate and reasonable judgment, and act "in a manner the director reasonably believes to be _in the best interests of the corporation_" (emphasis added).  In determining what is in the best interest of the corporation, "A director may consider the interests of the corporation's employees, suppliers, creditors and customers, the economy of the state, the region and the nation, community and societal considerations, and the long-term and short-term interests of the corporation and its shareholders, including the possibility that these interests may be best served by the continued independence of the corporation."

(194)  ... Massachusetts, a state that has, according to one study, one of the top ten hgihest income disparities in the country.  (New Hampshire ranked twenty-eighth on the list.)   

(198)  Rather than trying to become more like Market Basket or some other prototype, companies need to become better at being themselves.  What companies need to do is dig deeper into who they are and how they can serve others better.  It is what some are calling "corporate purpose."  That purpose is a company's reason for being....

Many companies are successful in terms of financial performance.  Much fewer are successful in making a difference in people's lives that others cannot imitate.

(203)  Bill Marsden, the senior executive who was fired along with Arthur T. and has now returned as key advisor, sums it up this way:  "We're a rich company, but it's not because of the money;  it's because of the people."

Monday, September 14, 2015

Joan Didion's Miami and Today's Republican Party

Another found book finally read.  (Ah Cambridge, where the streets are paved with books.)  Going through it, I found that her description of the Miami Cuban exile community during the Reagan years was a precursor of the advanced polarization we find in USA politics today and another vector for the prion disease that, as Charles Pierce writes, ate the brains of the Republican party.

_Miami_ by Joan Didion
NY:  Pocket Books, 1987
ISBN 0-671-66820-X

(17)  Some were American citizens and some never would be, but they were all Cuban first, and they proceeded equally from a kind of collective spell, an occult enchantment, from that febrile complex of resentments and revenges and idealizations and taboos which renders exile so potent an organizing principle.  They shared not just Cuba as a birthplace but Cuba as a construct, the idea of birthright lost.

(93)  It was a year [1963] described by Arthur M Schlesinger, Jr, as one in which "the notion of invading Cuba had been dead for years" (since the notion of invading Cuba had demonstrably not been dead as recently as April of 1961, the "for years" is interesting on its face, and suggestive of the way in which Washington's perception of time expands and contracts with its agenda)...

(113)  "This is Miami," Bernardo Benes said about the radio attacks.  "Pure Miami.  A million Cubans are blackmailed, totally controlled, by three radio stations.  I feel sorry for the Cuban community in Miami.  Because they have imposed on themselves, by way of the Right, the same condition that Castro has imposed on Cuba.  Total intolerance.  And ours is worse.  Because it is entirely voluntary."
NB:  the model for the right wing radio game

(129)  Still, "right-wing," on the American spectrum, where political positions were understood as marginally different approaches to what was seen as a shared goal, seemed not to apply.
NB:  changed since 1987.  There is little or nothing left of a "shared goal" now in our politics.

(178-179)  David Gergen had worked in the White House during three administrations, and acquired during the course of them an entire vocabulary of unattributable nods and acquiescent silences, a diction that tended to evaporate like smoke, but the subtext of what he was saying on this spring afternoon in 1984 seemed clear, and to suggest a view of the government of the United States, from someone who had labored at its exact heart for nine of the preceding thirteen years, not substantively different from the view of the government of the United States held by those Cubans to whom I later talked in Miami:  the government of the United States was in this view one for which other parts of the world, in this instance Central America, existed only as "issues."

(190)  As it happened I had heard Jack Wheeler before, at a Conservative Political Action Conference session on "Rolling Back the Soviet Empire," where he had received a standing ovation after suggesting that copies of the Koran be smuggled into the Soviet Union to "stimulate an Islamic revival" and the subsequent "death of a thousand cuts," and I was already familiar not only with many of his exploits but with his weird and rather punitive enthusiasm.

Monday, August 31, 2015

This Is Your Brain on Music: The Science of a Human Obsession

_This Is Your Brain on Music:  The Science of a Human Obsession_ by Daniel J. Levitin
NY:  Dutton Books, 2006
ISBN 0-525-949969-0

(9)  Music listening, performance, and composition engage nearly every area of the brain that we have so far identified, and involved nearly every neural subsystem.

(14)  The basic elements of any sound are loudness, pitch, contour, duration (or rhythm), tempo, timbre, spatial location, and reverberation.

(24)  The lowest note on a standard piano vibrates with a frequency of 27.5 Hz.  Interestingly, this is about the same rate of motion that constitutes an important threshold in visual perception.  A sequence of still photographs - slides - displayed at or about this rate of presentation will give the illusion of motion.
NB:  24 frames per second

(29) ...every culture we know of has the octave as the basis for its music, even if it has little else in common with other musical traditions.  This phenomenon leads to the notion of circularity in pitch perception, and is similar to circularity in colors...

When men and women speak in unison, their voices are normally an octave apart, even if they try to speak the exact same pitches.  Children generally speak an octave or two higher than adults...

The octave is so basic that even some animal species  - monkeys and cats, for example - show octave equivalence, the ability to treat as similar, the way that humans do, tones separated by this amount.

(30)  Intervals are the basis of melody, much more so than the actual pitches of notes;  melody processing is relational, not absolute, meaning that we define a melody by its intervals, not the actual notes used to create them.

(34)  Every tone is 6 percent higher than the previous one, and when we increase each step by 6 percent twelve times, we end up having doubled our original frequency (the actual proportion is the twelfth root of two=1.059463...)

The particular placement of the two half steps in the sequence of the major is crucial;  it is not only what defines the major scale and distinguishes it from other scales, but it is an important ingredient in musical expectations.  Experiments have shown that young children, as well as adults, are better able to learn and memorize melodies that are drawn from scales that contain unequal distances such as this.  The presence of the two half steps, and their particular positions, orient the experienced acculturated listener to where we are in the scale.

(36)  what psychologists call declarative knowledge - the ability to talk about it [recognizing different keys]

(37)  Although it has been claimed that Indian and Arab-Persian music use "microtuning" - scales with intervals much smaller than a semitone - close analysis reveals that their scales also rely on twelve or fewer tones and the others are simply expressive variations, glissandos (continuous glides from one tone to another, and momentary passing tones, similar to  the American blues tradition of sliding into a note for emotional purposes.

(40)  So if you pluck a string and its slowest vibration frequency is one hundred times per second, the other vibration frequencies will be 2 x 100 (200 Hz), 3 x 100 (300 Hz), etc.  If you blow into a flute or recorder and cause vibrations at 310 Hz, additional vibrations will be occurring at twice, three times, four times, etc, this rate:  620 Hz, 930 Hz, 1240 Hz, etc.  When an instrument creates energy at frequencies that are integer multiples such as this, we say that the sound is harmonic, and we refer to the pattern of energy at different frequencies as the overtone series.  There is evidence that the brain responds to such harmonic sounds with synchronous neural firings - the neurons in the  auditory cortex responding to each of the components of the sound synchronize their firing rates with one another, creating a neural basis for the coherence of these sounds.

The brain is so attuned to the overtone series that if we encounter a sound that has all of the components except the fundamental, the brain fills it in for us in a phenomenon called _restoration of the missing fundamental_.

(41)  And because the electrodes put out a small electrical signal with each firing - and because the firing _rate_ is the same as a _frequency_ of firing - Petr sent the output of these electrodes to a small amplifier, and played back the sound of the owl's neurons through a loudspeaker.  What he heard was astonishing;  the melody of "The Blue Danube Waltz" sang clearly from the loudspeakers:  ba da da da da, deet deet, deet deet.  We were _hearing_ the firing rates of the neurons and they were identical to the frequency of the missing fundamental.  The overtone series had a instantiation not just in the early levels of auditory processing, but in a completely different species.

(43)  Timbre is a consequence of the overtones.  Different materials have different densities.

(50)  Timbre was what defined rock for [John R] Pierce [whom Levitin introduced to rock n roll]

(51)  The introduction of energy to an instrument - the attack phase - usually creates energy at many different frequencies that are not related to one another by simple integer multiples.  In other words, for the brief period after we strike, blow into, pluck, or otherwise cause an instrument to start making sound, the impact itself has a rather noisy quality that is not especially musical - more like the sound of a hammer hitting a piece of wood, say, than like a hammer hitting a bell or a piano string, or like the sound of wind rushing through a tube.

(52)  The third dimension of timbre - flux - refers to how the sound changes after it has started playing.  A cymbal or gong has a lot of flux - its sound changes dramatically over the time course of its sound - while a trumpet has less flux - its tone is more stable as it evolves.

(55)  At a neural level, playing an instrument requires the orchestration of regions in our primitive, reptilian brain - the cerebellum and the brain stem - as well as higher cognitive systems such as the motor cortex (in the parietal lobe) and the planning regions of our frontal lobes, the most advanced region of the brain.

Rhythm, meter, and tempo are related concepts that are often confused with one another.  Briefly, _rhythm_ refers to the lengths of notes, _tempo_ refers to the pace of a piece of music (the rate at which you would tap your foot to it), and _meter_ refers to when you tap your foot hard versus light, and how these hard and light tapes group together to form larger units.

(56)  The rhythmic ratio of 2:1, like the octave in pitch ratios, appears to be a musical universal.

(57)  The word _beat_ indicates the basic unit of measurement in a musical piece;  this is also called the _tactus_.  Most often, this is the natural point at which you would tap your foot or clap your hands or snap your fingers.

(59)  As a baseline, we considered how much variation in tempo the average person can detect;  that turns out to be 4 percent.  In other words, for a song with a tempo of 100 bpm, if the tempo varies between 96-100, most people, even professional musicians, won't detect that small change...

(63)  Whenever a note anticipates a beat - that is, when a musician plays a note a bit earlier than the strict beat would call for - this is called syncopation.  This is a very important concept that relates to expectation, and ultimately tot he emotional impact of a song.  The syncopation catches us by surprise, and adds excitement.

(65)  When people clap their hands or snap their fingers with music, they sometimes quite naturally, and without training, keep time differently than they would do with their feet:  They clap or snap not on the downbeat, but on the second beat and the fourth beat.  This is the so-called backbeat that Chuck Berry sings about in his song "Rock and Roll Music."

(66)  A fundamental principle of cognitive neuroscience is that the brain provides the biological basis for any behaviors or thoughts that we experience, and so at some level there must be neural differentiation wherever there is behavioral differentiation.

(69)  A lot of people like really loud music.  Concertgoers talk about a special state of consciousness, a sense of thrills and excitement, when the music is really loud - over 115 dB.  We don't know yet why this is so.  Part of the reason may be related tot he fact that loud music saturates the auditory system, causing neorons to fire at their maximum rate.  When many, many neurons are maximally firing, this could cause an emergent property, a brain state qualitatively different form when they are firing at normal rates.  Still, some people like loud music, and some people don't.

(112)  We have to reject the intuitively appealing idea that the brain is storing an accurate and strictly isomorphic representation of the world. To some degree, it is storing perceptual distortions, illusions, and extracting relationships among elements.  It is computing a reality for us, one that is rich in complexity and beauty.

(113)  An important way that our brain deals with standard situations is that it extracts those elements that are common to multiple situations and creates a framework within which to place them;  this framework is called a schema.  The schema for the letter _a_ would be a description of its shape, and perhaps a set of memory traces that includes all the _a_'s we've ever seen, showing the variability that accompanies the schema.

(141)  This led Rosch to conclude that (a) categories are formed around prototypes;  (b) these prototypes can have a biological or physiological foundation;  (c) category membership can be thought of as a question of degree, with some tokens being "better" exemplars than others;  (d) new items are judged in relation to the prototypes, forming gradients of category membership:  and the final blow for Aristotelian theory, (e) there don't need to be any attributes which all category members have in common, and boundaries don't have to be definite.

(184)  Part of the "astonishing hypothesis" of [Francis] Crick's book was that consciousness emerges from the synchronous firing, at 40 Hz, of neurons in the brain.

(193)  Memory strength is also a function of how much we care about the experience.  Neurochemical tags associated with memories mark them for importance, and we tend to code as important things that carry with them a lot of emotion, either positive or negative.  I tell my students if they want to do well on a test, they have to really care about the material as they study it.  Caring may, in part, account for some of the early differences we see in how quickly people acquire new skills.

(202)  We also know that, on average, successful people had many more failures than unsuccessful people.  This seems counterintuitive.  How could successful people have failed more often than everyone else?  Failure is unavoidable and sometimes happens randomly.  It's what you do after the failure that is important.  Successful people have a stick-to-it-iveness.  They don't quit.

(221)  ...gray matter is that part of the brain that contains the cell bodies, axons, and dendrites, and is understood to be responsible for information processing, as opposed to white matter, which is responsible for information transmission.

(222)  Mothers (and to a lesser extent, fathers) do this quite naturally without any explicit instruction to do so, using an exaggerated intonation that the researchers call infant-directed speech or motherese.
NB:  Cross-cultural?

(239)  As Internet radio and personal music players are becoming more popular, I think that we will be seeing personalized music stations in the next few years, in which everyone can have his or her own personal radio station, controlled by computer algorithms that play us a mixture of music we already know and like and a mixture of music we don't know but we are likely to enjoy.  I think it will be important that whatever form this technology takes, listeners should have an "adventuresomeness" knob they can turn that will control the mix of old and new, or the mix of how far out the new music is from what they usually listen to.  This is something that is highly variable from person to person, and even, within one person, from one time of day to the next.

(242)  In architecture, a designer might plan for a dome to be held up by four arches.  There will necessarily be a space between the arches, not because it was planned for, but because it is a by-product of the design.  Birds evolved feathers to keep warm, but they coopted the feathers for another purpose - flying.  This is a spandrel.
NB:  Is language the spandrel of music?

(250)  Music predates agriculture in the history of our species.  We can say, conservatively, that there is no tangible evidence that language preceded music....

The best estimates are that it takes a minimum of fifty thousand years for an adaptation to show up in the human genome.  This is called evolutionary lag - the time lag between when an adaptation first appears in a small proportion of individuals and when it becomes widely distributed in the population.

(251)  One striking find is that in every society of which we're aware, music and dance are inseparable.

Wednesday, August 26, 2015

The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places

_The Great Animal Orchestra:  Finding the Origins of Music in the World's Wild Places_ by Bernie Krause
NY:  Little, Brown and Co, 2012

(18)  We're so sight-oriented that most of us who have reasonable vision tend to hear what we are looking at.

(22)  …and we know that the attributes of many sounds include frequency (sometimes referred to as _pitch_, but that tends to be a more relative term), timbre, amplitude, and envelope….

Pitch is closely related to frequency, but the two are not the same thing.  _Pitch_ is mostly used in the comparative framework of sounds or tones that make up a musical scale.  So while frequency is a physical property of sound - it's a measurement of the number of cycles per second of a sound wave - pitch refers to what we hear.

(23)  Timbre is the emblematic tone, or voice, generated by each type of instrument or biological sound source.

(24)  Loudness, or amplitude, is measured in decibels.  One decibel, or dB, is the smallest discernible unit by which humans can detect a change.

(25)  The fourth major sound property, acoustic envelope, determines the shape and texture of a sound through time, from the moment it is first heard to the time it fades out.

(44)  A friend and fellow recordist Martyn Stewart, who had gone to the Louisiana shore along the Gulf of Mexico after the 2010 BP oil disaster, remarked on the surf's odd sound at the beaches affected by oil.  He described it as having a slurpy, muddy, sluggish signature, almost as if the water were choking on itself or gasping for air.  Aside from the initial absence of wildlife sounds, the muted slosh of the water-oil mixture at the beach was the most devastating impression he came away with - what he heard was far more powerful than what he saw.  I had a similar chilling acoustic experience in Prince William Sound in the late spring and summer immediately following the 1989 Exxon Valdez oil spill.  I had never before heard any part of Alaska so eerily quiet.

(61)  Complex listening is one of the few operations that advanced life forms can do simultaneously with other functions - the organisms interpret information that conveys complex data, can change the coding of the signal instantaneously, and perform other tasks such as determing the usefulness of the received information relative to aspects of their survival.

(66)  With the snowy tree cricket, for example, you can count the number of chirps that occur in fifteen seconds, add forty to the number, and arrive at the temperature in degrees Fahrenheit.

(70)  A year later, after the logging operation was complete, I returned to Lincoln Meadow on the same date, at the same time, and under the same weather conditions to record again….  When I arrived I was delighted to see that little seemed to have changed.  However, from the moment I pushed the "record" button it was obvious that the once-sonorous voice of the meadow had vanished.  Gone was the thriving density and diversity of birds.  Gone, too, was the overall richness that had been present the year before.  The only prominent sounds were the stream and the hammering of a Williamson's sapsucker.  I walked a few hundred feet back into the forest from the meadow's edge, and it became quite apparent that the lumber company had wrought incredible devastation just beyond the meadow's sight line, where extensive patches of ground had been left exposed.  While not exactly a clear-cut, many more tree were taken than had been promised…  Over the past two decades, I have returned more than a dozen times to the same spot at the same time of year, but the bioacoustic vitality I captured before logging has not yet returned.

(71-72)  Photos represent two-dimensional fractions of time - events limited to available light, shadow, and range of the lens.  Soundscape recordings, if done right, are three-dimensional with an impression of space and depth, and over time can reveal the smallest feature along with multilayered ongoing stories that visual media alone can never hope to capture.  A well-tuned ear and attention to minutiae within the larger picture will always uncover any deception.

(78)  Currently, at the time of this writing, the poles are reported to be moving at a rate of almost eight-tenths of a mile a week.  The consequences are not immediately clear, although if true this type of phenomenon alone may already be affecting some migration patterns.

(88)  Gradually the growing body of my work validated the idea that creatures vocalize in distinctive kinship to one another, particularly in older, more stable habitats.

(92)  The gibbons of Indonesia are sunrise singers.  Their songs are so beautiful that ancient Dayak myths speak of the sun rising in reply.  In the remaining viable rain-forest habitats of Borneo and Sumatra, every dawn chorus is filled with the near-field and distant strains of long descending and ascending vocal lines as bonded gibbon pairs connect through elaborately developed vocal exchanges unique to each couple - alluring duets of affectionate concord.

(94)  In older, healthy habitats, where the biophonic bandwidth is well established and all the animals are more likely to vocalize together, each call is heard distinctly and each creature thrives as much through its voice as through any other aspect of its behavior.  The connections of a particular species' vocalization to survival and reproduction only become clear when we understand the function of an animal's voice and its relationship to all others in its natural habitat.  If an organism needs to be heard to successfully defend its territory or to communicate its viability to potential mates, then it requires clear acoustic bandwidth or noise-free time to do so.  The same kinds of relationship occur in marine environments, such as flourishing coral reefs, where multiple species of fish and crustaceans thrive and generate acoustic signals.
NB:  a bloat of hippos

(99)  It turned out that nearly every tropical and subtropical habitat I had captured on tape was made up of a variety of partitioned voices that formed collective sound signatures, each of which uniquely defined a place and time and served as a unique voice print - a territorial sound-mark.  I had made thousands of recordings before my Kenya trip, and subsequent travel to many wild sites over time added weight to my thesis, which, by the late 1980s, I had renamed the _niche hypothesis_ - thanks in large part to the inspiration of Ruth Happel. who was still a graduate student at Harvard studying primatology during our trip to Borneo.

(101)  On listening to playback, analyzing the notes from on-site observations, and comparing spectrograms, we found that the combined creature voices defined territorial boundaries quite differently than the geographically detailed maps we held in our hand.  For one thing, it was clear that the margins characterized by the soundscapes didn't align with the human grid lines of other rational borders we might create.

(103)  While mapping, we noticed again that insects tended to create niches that remained constant in each biome for long periods during each day and night.  Also, when one sound source dropped out at the end of its cyclical performance, another usually began to vocalize, typically within seconds, leaving the impression that replacement was necessary to keep some underlying acoustic-bandwidth structure intact.  Over these "group" performances we could hear animal "soloists" who appeared for brief periods - often transient birds, mobile amphibians and mammals, and other organisms that would move in and out of the primary acoustic field. Like an eight-bar blues solo on guitar, their voices, too, seemed to fit into acoustic channels or temporal niches where little or no conflicting aural energy was present…..

Sometimes all that insect and amphibian racket creates _intermodulation_, where two or more signals are so close in pitch that they occasionally beat against each other, momentarily canceling each other's signal - a totally different acoustic effect than any of the original sources sounding individually.

(110)  …music, in the human realm, is simply nonlinguistic and conscious _control of sound_….

In the end, it turned out that our definition was missing at least two other important factors:  structure and intent.

(119)  But in the 2006 book _The Singing Neanderthals:  The Origins of Music, Language, Mind, and Body, the archaeologist Steven Mithen elaborates on the possible evolutionary origins of music by suggesting that language was preceded by something neither specifically linguistic nor musical but an amalgam he termed "Hmmmm":  Holistic, multimodal, manipulative, musical and mimetic.  Another researcher, Christopher Small, devised an even better term, _musicking_, by which he meant "to music."  He asserts that singing, humming a tune, tapping one's feet to a rhythm, playing an instrument, performing in an orchestra, and composing music all reflect a single activity that can be captured with the verb _to music_.

In a review of Mithen's book, William Benzon, a cognitive scientist and musician, walks us through his own discoveries and hypotheses on the origins of music.  His explanation begins with rhythm, specifically that of walking, where the coordination of biped muscles is central to balance and pacing.  Drawing from rhythm, members of modern human groups would synchronize their pacing, clapping, shuffling, walking, or leaping in coordination with one another, a kind of musicking that resulted in the united of individual personalities and in their merging harmoniously with the group - a cooperation with reciprocal benefits.

(128)  A bone flute found in a cave in Germany and fabricated from the wing bone of a vulture dates back nearly forty thousand years.  Yet the five holes carved in the length of the tube generate a crude pentatonic sequence of notes, and the V-shaped notch at one end presumably allowed the musician to create various tones and textures.

The pentatonic scale itself comes directly from the wild, reflecting not only the rich biophonies of the forest but also certain animal soloists such as the common potto and the musician wren….

(146)  Luc Ferry, the French ecophilosopher, put it more succinctly when he observed in _The New Ecological Order_:  "Nature is beautiful when it imitates art."
NB:  Probably the other way around.

(148)  The third movement of Ives's Fourth Symphony is one of my all-time favorite pieces of twentieth-century music.

(149)  Unexpectedly, the best performance [of Ives' Fourth] of all was the Oakland Symphony Orchestra's 1967 version conducted by the late Gerhard Samuel… [unavailable]

(161)  Our auditory processing system is conditioned over time to know which signals are meaningful and which are not.  Yet even as our attention is focused on what we see, our brains are working overtime to retrieve and process desired information, eventually causing a consequential effect such as the onset of weariness.  In a 1998 Swedish noise study of fifty thousand state employees, twenty thousand of the respondents working in environments where the random background noise level was measured between 60 and 80 dBA - considered moderate (like an average residential city street) in the United States - commonly complained of fatigue and headaches, even after just a couple of hours of exposure.

(164)  The report [WHO report of March 2011 "Burden of Disease from Environmental Noise"] went further, concluding that exposure to excessive noise not only impairs learning in young humans but can also - due to epidemiological level increases in blood pressure and release of stress hormones - lead to heart attacks, a negative environmental condition rated second only to air pollution.
NB:  A beneficial side effect of zero net energy buildings is sound insulation

(186)  The impact of noise on my work has increased exponentially:  taking into account the effect of habitat loss due to land development or resource extraction, I'm sorry to say that to record one noise-free hour of material now takes more than two hundred times as long as it did when I first began more than four decades ago.

(209)  Later, in another recording, Elizabeth [Wilson from the Nez Percé] also made a remarkable comment about a melody revealed in the misty breath of a buffalo in winter-morning sunlight.  "A kind of whistle and sigh," she said, her eyes looking off into the distance.  "A whole song in a whistle and a sigh."  She didn't elaborate.  Yet these types of meaningful aphorisms were innate parts of every story she told…

Angus and Elizabeth mused how the wind taught the water to sing sad songs, an emotion expressed often.  Then the water, lonely because it wanted to sing with spirits other than the wind, taught the insects, who in turn taught the frogs, who taught the birds and the bears and the squirrels.  The Nez Percé learned their music and dances from the geophony and their animal guides - the sounds of the natural world always driving forces in their lives, until contact with "modern" humans altered the soundscape.

(210)  When I began recording in 1968, fully 45 percent of our old-growth forests in the Lower 48 were still standing.  By 2011 there were less than 2 percent of those forests remaining.

(216)  [Chris] Watson's further investigations, involving medical practitioners and psychologists, confirmed that there were certain sounds - such as breathing, footsteps, a heartbeat, birdsong, crickets, lapping waves, and flowing streams - that people described as tranquil.  Researchers demonstrated that such sounds stimulate the limbic system in the brain, resulting in the release of endorphins and a feeling of serenity.  Watson eventually concluded that tranquillity refers to a basic layer of sound - an elemental acoustic foundation - upon which we can rest our mental processes.  The content of that base sound is akin to the impression of hearing the rhythmic patterns of rain on a roof.  It's nearly always a muted but harmonically rich low level of ambience.

(217)  In fact, the Council for the Protection of Rural England (CPRE), founded in 1926, devoted itself to those places [of tranquillity], promoting a "sustainable future" for the English countryside.

(225), the Nature Sound Society (, and the World Listening Project (world

(233)  Frank Keim:  In the spring, whenever sunlight warms the ice, it travels through the surface, first warming up motes of surface dust that absorb heat more quickly.  Bits of dirt or dust penetrate the ice vertically, causing the ice to melt in pencil-thin shapes.  At the base of the ice, there's an awful lot of algae, and the algae begin to bloom.  With the blooming of the algae, the crustaceans - like copepods - eat the algae.  The fish eat the crustaceans.  The seals eat the fish.   And then, of course, the polar bear and humans eat the seals.  If this ice doesn't exist - and it's quickly disappearing because of global warming - if you don't have the ice, you don't have any of that.

(251)  Chuma McIntyre's Drums Across the Tundra

(255)  Arctic National Wildlife Refuge soundscapes

(264)  Bernie Krause world soundscape collection
Louis Sarno _Bayaka:  The Extraordinary Music of the Babenzélé Pygmies_, Ellipsis Arts, 1996
Elizabeth Wilson _Nez Percé Stories_ Wild Sanctuary, 1991,
British Library of Wildlife Sounds:

(265)  Macaulay Library (Cornell University):
Michigan State University Envirosonics program:
Purdue University Department of Forestry and Natural Resources:
Wild Sanctuary:
World Forum for Acoustic Ecology:
World Listening Project:  world listening@yahoogroups

Saturday, August 22, 2015

The Voice of Memory: Primo Levi Interviews 1961-1987

 The Voice of Memory: Primo Levi Interviews 1961-1987
Edited by Marco Belpoliti and Robert Gordon
NY: The New Press, 2001

(204-205) We must remember that these faithful followers, among them the diligent executors of inhuman orders, were not born torturers, were not (with a few exceptions) monsters: they were ordinary men. Monsters exist, but they are too few in number to be truly dangerous. More dangerous are the common men, the functionaries ready to believe and to act without asking questions, like Eichmann; like Hoss, the commandant of Auschwitz; like Stangl, commandant of Treblinka; like the French military twenty years later, slaughterers of Algeria; like the Khmer Rouge of the late seventies, slaughterers of Cambodia.

(232) So now I'd like to ask you some questions: can you tell me why, why we go to war, why (because this is war too) we crucify our enemies, as the Romans did and the Nazis after them, why, although we've had a brief half-century of sanity, of respect for prisoners of war, it lasted so briefly and now we've returned to the cruelties of before?

(244) I understood that it was foolish to talk of evil Germans: the system was demonic, the Nazi system was capable of dragging everyone down the road of cruelty and injustice. The good and the not so good. It was extremely hard to break out of, you had to have heroic strength. What I don't understand is why the same things did not happen in Italy: in short, is there such a thing as a home-grown demon, intrinsic to Germany, which makes the demonic at home in Germany? Recently I was interviewed by Ferdinando Camon on this subject, in a written interview, and he bought up the question of the demonic side that is intrinsic to Lutheranism. I don't know about such things, it's something I don't understand.

It's the herd instinct that is frightening.

The herd instinct, yes. The consent, the always saying yes.

Wednesday, August 19, 2015

I, Candidate for Governor: And How I Got Licked by Upton Sinclair

_I, Candidate for Governor:  And How I Got Licked_ by Upton Sinclair
Berkeley, CA:  University of CA Press, 1934, 1935
ISBN 0-520-08198-6

(vi)  "I say positively and without qualification, we can end poverty in California...  I know exactly how to do it, and if you elect me Governor, with a Legislature to support me, I will put the job through - and I won't take more than one or two of my four years."

The new government would establish a network of cooperative colonies for the state's 700,000 unemployed, basing them in idle factories and vacant farmland, which the state would seize under its powers of eminent domain or through confiscatory taxes.  The state would capitalize and manage these cooperative, which would exchange their products within a giant, cash-free network.  Modeled, although Sinclair did not say so, on Soviet collective farms, the EPIC colonies were not envisioned as temporary projects.  They were to be the seedbeds of a new cooperative economy, an economy of "production for use" that would ultimately supplant the old economy of "production for profits" as workers, farmers, and even businessmen realized the efficiency and numerous personal and social advantages of cooperation.

(xiv)  The barter clubs that had sprung up by the score in Southern California in the early Depression were a still more important source of ideas, for it was there that Sinclair saw the basic model for the cooperative network that would be EPIC's answer to unemployment and California's gateway to socialism.

(xv)  Master of the clever phrase and powerful slogan, Sinclair was unmatched in his ability to bring ideas down to the level of common sense, while persuading his audience that no other level was valid.  The intellectuals of his day found his style annoyingly egocentric, but for hundreds of of thousands of modestly educated Californians, his self-presentation as a teacher-with-all-the-answers was powerful and self-affirming.  He was the teacher, but taught that they were the experts, insisting that the so-called economists were fools, and that the only kind of economics that made sense had to be based on common sense.  Thus he set up his appealing equations:  that cooperation was more efficient than competition; that capitalism begot overproduction, which in turn begot unemployment;  that putting people to work made more sense than giving them handouts;  that state management and planning would balance production and consumption;  that "production for use" would end the Depression.  It was all so straightforward.  "I have spent my whole life studying the idea of production for use,"  he assured his audiences.  "It is to me as obvious as arithmetic, as certain as sunrise.  If you give hungry men tools and access to land, they will grow food;  if you give them access to factories, they will turn out goods.  Who but a lunatic - or a hireling - would question it?"

(12-13)  It is easy to imagine the unemployed of California in a system of production for use because of the efforts which they have made to establish such a system for themselves.  All over the State self-help and barter groups have sprung up.  There have been literally hundreds of them, and for a year or two I had been hearing stories of their achievements.  In Compton, an industrial town south of Los Angeles, they served 19,745 meals at a total money cost of less than one-half cent a meal.  My friend, Hjalmar Rutzebeck, author of "Alaska Man's Luck," was active in the UXAA (Unemployed Exchange Association) of Oakland, and told me marvelous tales about the complicated procedure whereby a group of several thousand hungry men would manage to make something out of nothing.  They would find a farmer with a crop of peaches rotting on the trees, and who needed to have his barn painted.  They would find a paint merchant who would accept some canned peaches in return for paint.  Some of these operations were extremely complicated, involving an elaborate circle of activities with a dozen different participants.

One would have expected such efforts at self-support to be welcomed by the entire community.  The cooperatives of Los Angeles county maintained 150,000 members for five months on a cash expenditure by the Government of only seventeen cents per family per month.  Since a family is found to average 3.6 persons, this was less than one-sixth of a cent per person per day.  Here was Los Angeles county drifting into bankruptcy;  here was the board of supervisors being besieged one day by hungry men demanding doles, and the next day by taxpayers clamoring against further taxes.  For persons on the dole who did not belong to cooperatives the State of California was paying out in one way and another forty-five cents per person per day, or 270 times  as much as the cooperatives were costing.  One would have expected that everybody in the county would hail the cooperatives as the most progressive, the most American, the most helpful of all the developments of these depression years.

But it was not so.  The cooperatives were handicapped and hamstrung in a hundred different ways.  Their funds were cut off, their leaders were bribed, they were broken by dissentions deliberately fostered.

A story was told to me by one of the leading society ladies of Los Angeles.  a self-help group had got hold of some old baking machinery and got it to working and were turning out several thousand loaves of bread per day.  Another group had got some land and grown some vegetables.  They had an old truck and were exchanging bread for vegetables;  but the bakery concerns objected to the bartering of bread, and the produce concerns objected to the bartering of vegetables, and the politicians forced the relief workers to cut off the gasoline supply of the truck, and so the operation was brought to an end.

This is how it is in our blind, anarchic society.  When the State gives money to the unemployed and they spend it for bread in a store, that amounts to a subsidy for the stores;  and in their greed for that subsidy the store-owners are willing to see the taxpayers driven out of their homes and the State driven into bankruptcy.

Even relief itself has become a racket.  As I write, Senator Borah tells the American people that of the money which the Government gives for relief of the unemployed not more than one-half actually reaches the unemployed.  The rest goes to the politicians along the line.  In Democratic States it goes to build up a Democratic machine and in Republican States it goes to build up a Republican machine.  California has been a Republican State for forty years and remains so, and the relief money serves to build up a machine of President Roosevelt's enemies and to bring the New Deal to futility.

(38-40)  I must not forget "Depression Island."  In my book, "The Way Out," written before the EPIC movement started, I had used the illustration of three men cast ashore upon a tropical island;  I imagined what would happen to them while they were free, and then the situation if one of them came to own the island.  I made a story out of it - three or four pages - and when the EPIC movement got going people began begging me to take up this idea and make it into a play or motion picture.  I wrote it as a scenario for a picture, a two-reel comedy.

Since the picture producers refuse any story which suggest any thing wrong with the profit system, we decided to raise the money and make "Depression Island" for ourselves.  I spent five days visiting in the palaces of the rich, begging for a loan of thirty-five hundred dollars.  I was able to get pledges amounting to seventeen hundred - of which five hundred was withdrawn two or three days after it was pledged!  So the motion picture version of "Depression Island" still waits.

Some of our people demanded it as a stage show, which could be made to pay for itself.  So in due course the Shrine auditorium was rented and our clubs were put at work selling tickets.  We borrowed the "set" of a tropical island from a motion picture concern, and one evening an audience of three or four thousand assembled.

The curtain went up on three castaways searching for water and something to eat.  There was an entirely practical cocoanut tree and highly realistic fish, both fresh and dried.  There magically arose a hut.  The three men were happy, because if Abie charged too many cocoanuts for a fish, Bing and Crunk could go out and get their own fish;  and the same with cocoanuts and huts.

The only trouble was they became bored and took to gambling, and Crunk, a realtor from Los Angeles, won the ownership of the island and also the fishing rights.  At once everything was changed, for Crunk put Abie and Bing to work for him, and paid them only one cocanut and one dried fish per day for their labors.  He made them pile up dried fish and cocoanuts for him, and when they had piled up more than he could use, he told them he was very sorry but there was no more work for them.  When they asked the reason, he said there was a depression on the island, and when they wanted to know what they should do about it, he told them that was their problem, not his.  Crunk was a believer in "rugged individualism."

So of course there arose the problem of social unrest.  Abie, a little Jewish song writer from New York, insisted upon helping himself to cocoanuts, whereupon Crunk, owner of the island, hired Bing as policeman and ordered him to put Abie into jail.  When Abie tried to persuade Bing that this was all nonsense, and that he and Bing should take the island away from Crunk, the latter called that criminal syndicalism, and urged Bing not to listen to any of that red talk.  Bing was a taxicab driver from Chicago, and told Abie that he was a Democrat and a patriot, and believed in law and order;  he obeyed the owner of the island, and Abie had to surrender, and be put on a dole of half a dried fish and half a cocoanut a day.

You can imagine how an audience of EPIC enthusiasts roared over these sallies.  The story went on to satirize all the developments of the depression.  When Crunk started to publish a newspaper and hired Abie to write editorials to tell Bing that the social system was ordained by God, the actors had to stop and wait for the audience to get over laughing.

Finally Abie hit upon the idea of persuading Bing to political action.  Bing, a loyal one hundred per cent American, would not listen to red talk, but he was quite ready to hear that they needed an election on that island.  So they founded the Democratic party, and Abie wrote a platform, and elected himself Governor and Bing Lieutenant-Governor, and proceeded to impose an income tax on the rich, to cover the deficit and pay salaries of the public officials.

The master of ceremonies at this show was my friend, Lewis Brown, and he helped in the ending of the play.  I had really been too busy to think up an ending, and had quit at the point where Crunk refused to recognize the government, and he and Bing got into a civil war.  At that point the master of ceremonies came running onto the scene protesting that brawling would not solve the social problem,  The actors said that that was as far as the script went, and it was up to the author to tell them what to do next.  So then there was  a shout, "Author! Author!" and the author of "Depression Island' was dragged onto the stage, and persuaded to tell the audience how this problem of want in the midst of plenty could be solved by majority consent.

(203)  "The future, if it remembers me at all, may forgive blunders caused by a too impetuous desire to stop the starving of men and women, and especially of little children, in a world which has learned to produce more than it can consume."

Final Statement of EPIC Plan: