MR Original – The Arizmendi Co-ops: Democracy in Action

MEDIA ROOTS- As the current US labor system trembles with insecurity, leaking the salaries, benefits and rights of workers across the country, people are increasingly wondering what alternatives there are.

In the Bay Area, one doesn’t have to venture far before coming across a local favorite, the Arizmendi Bakeries. Backed by a development and support cooperative, the Arizmendi Association has 6 cooperative bakeries that specialize in morning pastries, artisan breads and gourmet pizza. Together, these bakeries comprise one of the most successful worker owned associations in the region.

Although cooperatives can take many different shapes, they share a fundamental characteristic: the workers are the ultimate decision-making body. Each worker is a shareholder in the business with one vote in every decision that guides the organization. At Arizmendi, every employee is part owner in the bakery with an equal share in the company.

Tiffany Martinez was a labor rights activist and union organizer before becoming a worker owner of the Emeryville Bakery four years ago.  Despite her years of involvement fighting for worker empowerment, Tiffany was never taught about cooperatives.

“I felt cheated, in the same way that I wished my high school counselors told me about trade school… I didn’t even know about unions until I got to college, which I think is this huge failure in our education system. Young people don’t have exposure to all the different options after high school.”

A co-worker at the union Tiffany worked for told her about Arizmendi. Feeling over worked and underpaid, Tiffany decided to pursue a job opening at the bakery. Following the interview process at Arizmendi – a sit down with the cooperative’s hiring committee and then a tryout in the bakery– she was hired.

“Having dedicated so much of my time as an adult to workers rights I felt really conflicted about having to do anything else or something that contradicted what I had been working for. But the cooperative is about worker’s rights too, so I threw myself into it.”

Arizmendi grew out of a study group in 1995. The group was studying thriving cooperatives in Spain, the Basque region and Italy, to find out why they were not similarly flourishing in the United States.

The study found that cooperatives in other parts of the world used their success to build new cooperatives, while co-ops in the United States were more scattered, without any kind of network to connect them.

“Learning to cooperate among cooperatives has been one of the keys to our success,” explains Tim Huet, a participant in the ’95 study group and member of the Arizmendi Development and Support Cooperative. It is this branch of the Arizmendi Association that coordinates the development of new cooperatives while providing ongoing support to the existing bakeries.

The successful Cheeseboard Collective, which became a cooperative in 1971, presented an excellent, local model from which to build future cooperatives. When approached by the study group, the Cheeseboard Collective agreed to lend its name, recipes and facilities to train people in starting a network of new local bakeries. In this way, Arizmendi was born in 1997, opening its first bakery named after Father Jose María Arizmendiarrieta, the founder of the Mondragón cooperative movement in Basque Country.

The Development and Support Cooperative of the Arizmendi Association is the closest thing in the organization to a manager insofar as it creates the business plan for the cooperatives, finds the funding to start them, recruits and trains the new worker-owners and provides ongoing education and legal support to the bakeries.

Everyone hired at the cooperative goes through an extensive business education program before becoming a worker owner. Tim is a part of this training process.

“We teach them how to read financial sheets and make decisions from that. We teach them conflict resolution because in our co-ops, there are no bosses. There are no managers. There is no one to solve your conflicts so we teach people how to work things out directly.”

The worker-owners are also taught the legal responsibilities of being an owner and director of a cooperative corporation, alongside the history and principles of cooperatives. Learning how to facilitate decision-making rooted in consensus among owners is another important element of running the business.

No one co-op is the same – individual worker-owners decide the shape their cooperative will take, and the differences between the bakeries tend to exist in how much the co-ops delegate decisions and tasks.

“Some cooperatives tend toward making all of their decisions together in one room. Other cooperatives tend to have more work groups that have authority in certain areas as long as they don’t contradict the overall mission,” explains Tim.

The beauty of cooperatives like Arizmendi is the flexibility granted to their workers. As the business changes over time and in size, so can the structures by which the worker owners decide to operate.

However, one consistency across all of the bakeries is the central tenet that every worker has one vote for every decision made. Thumbs up are a go, thumbs to the side are a stand aside vote, and thumbs down are a block. To maintain accountability and clarity in the decision-making process, stand aside and block votes have to explain their positions.

Arizmendi Emeryville delegates decisions among different committees to keep the many tasks at hand from becoming too many or too tedious, and every worker-owner is expected to be involved. Some committee positions are elected like the Policy Council, the Hiring Committee and the Collective Evaluation Committee. Examples of the volunteer committees include those that deal with finance and marketing, the details of production, and the maintenance and repairs of the bakery property.

Currently, one of the most challenging decisions facing the Emeryville cooperative is how to increase their prices in a global climate of rising food costs.  It is a delicate and difficult line to navigate between sustaining the bakery and worker-owners while still keeping the food accessible to the community.

Over the years, Arizmendi has met great success with its business model. In 2010, a year in which jobs loss was high and few new businesses were created, Arizmendi opened two more bakeries employing 30 plus people. Furthermore, Arizmendi has sparked inspiration in other parts of the world and for those who are moved to create cooperatives of their own, Arizmendi has the policy of spending at least an hour with whoever contacts them seeking support and advice.

For both Tim and Tiffany however, the greatest successes of the Arizmendi Cooperative Association are interpersonal.

“A lot of times when we hire people they’ve never been asked how they want their work place to run, they’ve never been asked to make decisions about their pay. So it’s a profoundly altering experience in that case,” explains Tim. “A lot of time people gain skills about conflict resolution with each other and how to run meetings and how to run a business, that then spill over into other aspects of their lives – their family lives, their community lives.”

On a personal level, Tiffany says that the amount of time, energy and personal investment that she has put in the bakery is something she was never compelled to do when she was working for someone else or as a union organizer.

“I’ve never felt taken advantage of or pushed to do something that I couldn’t do – that I didn’t have the training or support to do.”

Tiffany described a lesson she received in humility after years of working the same shift. “I thought I knew everything and there wasn’t anything I could be told that I didn’t know. But that was so arrogant. I realized I have to learn how to listen to people when they have feedback about my stuff. I started practicing taking feedback again and not taking it personally- it’s not about me, it’s about the food that we are putting out together.

We fight like brothers and sisters sometimes. There are a lot of family dynamics there. You know, sometimes we bring our A-game and sometimes we don’t. What I’ve experienced in the last couple years is that we call each other out when we are not doing what we are supposed to be doing and that is really hard because how do you give someone feedback in a way that is going to help them out and not shut them down? That is something that we have all been learning about.”

If she were to leave the bakery, Tiffany said she would go to another worker-owned cooperative because she could no longer imagine working for a boss or a system in which she has no say.

“Look at what is happening in Wisconsin right now. We have to have more structures where people are going to be respected and have a say over what is happening in their workplace. It just seems so logical. Why would you go into a work structure that at its core isn’t committed to making your life better? So that you can have sick time off, so you can be with your kids and have healthcare. So that there aren’t unilateral changes to your shift that affect you and your family.”

The stability of her job at Arizmendi and having coworkers that care enough to shift schedules and work to accommodate the changes in their colleagues lives is simply something Tiffany had never experienced elsewhere. “I may not always agree with my coworkers but I love them and I can’t say that about my previous work experiences.”

The central aim of the Arizmendi Cooperative Association is to create a truly democratic economy – one in which everyone has a say in the decisions that affect them on a day-to-day basis. The biggest challenges to achieving this goal, explains Tim, are raising money (they do not take government or foundation grant money) and more importantly, living in a society that actually teaches people to be powerless.

“I think our political institutions, and most institutions in our society, train us to be undemocratic and they actually want us to accept a role that is not democratic. They have no interest in incorporating new or democratic skills in folks. The idea is that you will follow orders and so they have no interest in having work places where people learn democracy. They actually train people in this kind of deal where you are going to be an employee and take orders and the benefit of that is you don’t have any responsibility. You can complain all you want about the politicians, you get to complain about your bosses all the time and because you have no power, you have no responsibility.

We often encounter people who have been through enculturation into that and part of our job is to teach them that you can’t just be complaining anymore – you are the ones in power, you have to take responsibility to change things.”

Some worker-owners of Arizmendi have not previously had much input in their lives but now have a voice in arguably the most consuming aspect of life – how they earn a living. They come from a diversity of backgrounds, entering into a collective partnership as owners of their own business, feeding the community, and providing inspiration to others.

Arizmendi believes that the solution to the present broken system is to create an every day democracy.

“If people are working in authoritarian work environments, are going to authoritarian schools then they are not going to have the democratic skills they need to run a democratic society on a city, state or national level,” Tim explained. “So, I really think we need to give people that experience in the day to day – how you come together with your coworkers about how you run your business – and that will lead to reform on a national or regional level.”

Written by Alicia Roldan

Photos by Abby Martin

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MR Exclusive – Mickey Huff, Director of Project Censored

MEDIA ROOTS– Mickey Huff, Director of Project Censored, speaks at Moe’s Books in Berkeley, CA on May 19, 2011. He discusses different concepts of censorship and how the top down corporate media censors and manages news in the US. Mickey also speaks about the evolution and organizational mission of Project Censored and goes over some of the top stories from their 2011 book.


During the Q & A session Mickey comments on how 9/11 and election fraud are two subjects that are heavily censored among alternative and progressive media outlets.

http://www.ProjectCensored.org

Filmed and edited by Abby Martin

MR Original – Some Better This World Through Film

MEDIA ROOTS – The ability to combine audio and visuals to tell a compelling narrative makes documentary films a powerful means of storytelling. They are education through entertainment and, at their best, a persuasive and motivating push to action. It is no surprise that the Bay Area, teeming with political and artistic thought, is a documentary film capitol of the world. As an aspiring documentarian, encouraged by the learning potential from this rich network, I began seeking out insight from local filmmakers.

Following a tip from a friend, I came across Better This World – a film in post-production about two young men from Midland, Texas who are facing multiple domestic terrorism charges after manufacturing and bringing Molotov cocktails, or petrol bombs, to the 2008 Republican National Convention. What drew me into the story, and the filmmakers themselves, was the government’s star witness in the case – a controversial and unsuspected FBI informant.

Many of the stories behind the ‘foiled’ terrorist plots of the past few years share in common the trend of an undercover paid FBI informant that often times held a facilitating role in the group– a detail that frequently goes missing from mainstream media reports. (You can find more information on a few of these cases here, here and here.) Knowing this, I became eager to speak with the filmmakers who are taking on such an important and overlooked story.

Loteria Films, the local non-profit production company behind the film, is run by two women, Kelly Duane de la Vega and Katie Galloway. Kelly’s background in still photography and photojournalism, and Katie’s, in radio and print journalism, drew both women to film for what it could accomplish by blending these mediums.

When we met, Kelly recounted the restriction she felt in conveying people’s amazing personal stories as a photographer. “I think there are photographers whose photographs blow my mind, even more than a story. But I wasn’t feeling that about mine. I became so hungry for people to know the story. I knew there was another step.“

For Katie, filmmaking was a natural progression out of her love for working with audio and the depth and intimacy it brought to storytelling. While apprenticing at Frontline under documentarian, Ofra Bickle, criminal justice became her passion.
It was a blurb that Katie found in the Federal Court section of the New York Times that set the two women in pursuit of their first film together. Katie believed the story of two young men facing terrorism charges against the word of an FBI informant was a “really sexy, boiled down way into a story that is my life work so far – examining the criminal justice system and the problems with it.”

The trial was starting a week later, leaving not a moment for second-guessing.

“You say ‘I’m never going to do this on my credit card again. I’m never going to just start spending my own money again.’ But no one is going to give you money in a week’s turn around,” Katie explained with a smile reflecting love for the thrill and risk of chasing a good story. “It’s a gamble, its like going to Vegas.”

Better This World presents tough questions about the balance between liberty and safety in the face of post 9/11 domestic security. “The common thread in many of these [foiled terrorism] cases is some sort of political aspiration and an informant or a government agent who they hook up with and spend a lot of time with, and then at other end, the terrorism case. The question is what happened? Was it entrapment?”

Somewhat tongue-in-cheek Katie went on to ask, “What happens when you have so many resources going into the domestic security apparatus and not necessarily enough terrorists to go around?”

“In the FBI they call it ‘aspirational and not necessarily operational’,” she added.

In a recent interview by Reuters, filmmaker and award winning journalist, John Pilger described a mindset of reporters that says, “only authority can really determine the ‘truth on the news’,” and which leads to a dangerous form of embedding in government and official versions of events.  “Authority has its place, but the skepticism about authority must be ingrained in people,” he said.

And so it seems to be among documentarians.

It is the often skeptical and critical voice of documentary film that has shaped its long and growing legacy of critiquing the status quo while motivating people to educate themselves and take action.

Filmmakers do not face the same time constraints that can lead print and broadcast journalists to regurgitate the press releases handed to them by government, military and business leaders. Instead, they use a richly layered medium to tell the deeper story that hasn’t been told before, or to tell it differently. “Otherwise, what’s the point?” asked Katie.

Kelly pointed to the lack of a concrete power structure, or system, for documentaries to pander to.  “There isn’t a central authority figure in documentary filmmaking. There isn’t a central voice. There isn’t an outlet that is determining what we get to see and don’t get to see – except for PBS and HBO and A&E, but there are ways to get your film out if you are not in those venues.

In some ways it is a much more democratic universe than mainstream journalism. We’re already so far out of the system in some ways.”

One consequence of being outside of the ‘system’ is the struggle of fundraising. As an educational nonprofit, Loteria Films can apply for grants. It has been fortunate for the support it has received so far – the Independent Television Service, the biggest grant maker nationally for documentary films, is funding Loteria’s current project but only funds 1-2% of projects that come in its door.

“When you look at all the labor and heart and soul and money that goes into independent projects and the struggle…” Katie reflected.

“We went a year and a half with very little funding. You know, begging, borrowing and stealing. That’s really the life of an independent unless you’ve made it and have money coming in regularly for projects. We’re not there yet. We’ve been really lucky raising money through grants and so forth.”

But, funding is only part of the equation. Kelly attributes the success of the partnership to their base of trust and respect, calling it the “bedrock” of their collaboration.

“When the other person is talking you know that you respect the way they think as a creative person and as a story teller. So, if they are challenging your idea it is something you have to listen to because it very well might be right. When you and your partner are both able to do that for one another it deepens your respect and base trust.”

Comparing the partnership positively to a marriage Kelly added, “It’s a long intimate journey. Its pretty damn intense – you are really committing so much to each other.”

When I asked what advice the activist filmmakers had for aspiring documentarians, Kelly’s words resonated with my pull to the medium.

“I feel like there are certain people who don’t have a choice in life, who just are going to do something creative whether it makes good sense or not…I think you have to have something inside of you that is somewhat predetermining your fate, that is driving you, that is making you choose something that is difficult. You can’t be materialistic. You have to be the kind of person that gets pride from the good their work does, or the quality and pleasure of their work.”

Just as Katie had, Kelly was sure not to gloss over the financial struggles that, more often than not, accompany the production of an independent film, while highlighting that flexibility is key in overcoming those challenges.

“Sometimes you might have to take a commercial job and that sucks because it might not be at the core of where your values are. But unless you are from a financial situation where you aren’t forced to have that choice I think you have to be okay with that – moving in and out of those worlds to tell a bigger, larger more important story. You have to figure out how to keep yourself viable so you can raise the seed money to do the thing that matters.

You just have to go for it and at the end of the journey you know whether you can do it again. Whether it was great or if it was too hard.”


Better This World
will be premiering at SXSW in March. Stay tuned to Loteria Films for an upcoming trailer of the film.

 

Article by alicia roldán, editor for Media Roots

Image © Copyright of Loteria Films

Bay Area News: Biking to the City

photo by KWDesigns/flickrEAST BAY EXPRESS– Fantasies of bicycling and walking between San Francisco and Oakland along the Bay Bridge are slowly inching their way toward reality. The Bay Bridge Bikeway Project, a joint venture between the Metropolitan Transportation Commission and Caltrans, hopes to allow bicyclists and pedestrians to travel between the two cities along the full span of the bridge. If approved, MTC officials said it would be the largest engineering feat of its kind in history.

The forthcoming completion of the eastern span already includes a fifteen-and-a-half-foot-wide elevated pathway on the south side to allow bicyclists and pedestrians to ride and walk to Yerba Buena Island. The pathway won’t extend to the western span, which would allow folks to make it to San Francisco. But that may change, as the MTC is currently working on a project study report for release early next year that officials hope will jump-start planning for a western pathway and put the project on the radar for funding.

The MTC study revisits and builds upon data gathered for a 2001 Caltrans study, which examined the feasibility of adding cantilevers on both sides of the western span’s upper deck to accommodate bike and pedestrian traffic. However, a decade’s worth of development changes on the San Francisco touchdown side of the bridge’s potential bikeway have caused the MTC to rethink the designs for the approach into the city as well as the cantilevers themselves, according to MTC Project Manager Peter Lee, who’s in charge of the study.

According to Lee, the 2001 study had the bikeway’s San Francisco touchdown in the Rincon Hill area, but the area has changed so dramatically over the last decade that the designers and engineers are now looking into a single pathway along one side of the bridge’s upper deck instead of the proposed two — an alternative that may prove to be cheaper as well. Lee says the initial feasibility study also didn’t include enough analytical work on the approaches and touchdowns, which prompted the current project study report.

The western suspension bridge is lifted 220 feet above the water, which makes the touchdowns even more challenging in San Francisco, said East Bay Bicycle Coalition Project Manager Dave Campbell. “How do you get people down from that height and get them down safely?” he asked.

The biggest structural challenge of the $1.2 million MTC study, Lee said, is figuring out how to add a structure alongside the bridge between San Francisco and Yerba Buena Island. He pondered how to manage staging equipment for the construction as well as how to handle traffic delays. “No one’s ever done this before,” he said. “Typically, people just build a new bridge.”

However, Lee said, building an unattached bikeway alongside the existing 2,310-foot western span is not an option, mostly because it would distort the bridge’s image. In 2001, preliminary funding priced the bikeway project on the western span at between $160 and $390 million for two alternatives that varied only slightly in design. The cheaper of the two involved adding two pathways on both sides of the span while using suspender cables to lift them. The more expensive alternative suggested adding two pathways but replacing the lower concrete deck with lightweight steel to minimize refraction. Today, Lee estimates that the project will cost half a billion to a billion dollars. “Half a billion dollars — that’s a whole bridge somewhere else,” Lee said.

But funding is truly the biggest obstacle. While there is currently no source of funding for the western bike pathway, the MTC and Caltrans are eyeing increased bridge toll revenue as one way to help fund the project, says MTC spokesman John Goodwin. “There’s no cheap way in finding funding to shoehorn something into a 75-year-old structure,” he said, adding that it’s very rare to receive one pot of funding for a project of this caliber.

Continue reading about Biking to the City.

Article by Nick Sucharski for the East Bay Express

Photograph by KWDesigns

© COPYRIGHT EAST BAY EXPRESS, 2010

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Longshoremen Will Shut Down Bay Area Ports for Oscar Grant Justice

COUNTERPUNCH– Emotions ran high when longshoremen at their July membership meeting were addressed by Cephus Johnson, the uncle of Oscar Grant, the young black man who was killed by a cop at the Fruitvale BART station in Oakland on New Year’s Day 2009.

Recounting the sidewalk mural in the front of the hiring hall near Fisherman’s Wharf that depicts two strikers lying face down with the inscription: “Two ILA (longshoremen) Shot in the Back, Police Murder”, he appealed to the union to support justice for his slain nephew. He said, “That mural shook me because that’s exactly what happened to Oscar”.

It got even hotter in the union hall when Jack Bryson took the mike. He is the father of two of Oscar Grant’s friends terrorized by police at the train station as they sat handcuffed and helpless watching their friend die and hearing him moan.

Bryson reported that police were calling for a rally the following Monday in the lily-white suburb of Walnut Creek to demanding that Johannes Mehserle the convicted killer cop go free. He asked the union members to join Oscar Grant supporters to protest the cop rally and they did. Outnumbering the 100 or so pro-Mehserle demonstrators by 3 to 1.

Continue reading about Longshoremen Will Shut Down Bay Area Ports for Oscar Grant Justice.

© Counterpunch, 2010