Just Write Something To Grease the Wheels

Practicing writing for the book and history displays about the Market. Obviously this would need a huge edit for a display, and maybe even more detail for a book, once I work out the structure it would take. I have a good idea for the book, something Erci Witchey told me about this other book I was writing. I plan to use it for both projects, eventually, at least in some form. It's called mirroring. I would take something from one part and compare it to another part, and make my points inside that structure. We started by framing our first history poster as Then and Now. It was mostly about our sites and an overview, and you will be able to see it this Saturday right next to my booth! Come by and tell me some stories.

I also think it would be an awesome way to feature some of our artisans. Do a profile of Gil Harrison another of our early potters, next to a profile of one of our potters today. Do the same with a jeweler, a printmaker, and so on, and in the process show how techniques, styles, technologies, and crafts have evolved through the work of the hands of these members. I love the concept but I would need to develop some interviewing skills, which I don't currently have. And it would be tough to write about people who have died...there just would probably not be enough information available to write a good profile. However, that particular book coule be kind of simple perhaps, featuring one signature piece and just enough of the artist's statements to tell the mirrored story. Anyway, it's one of my ideas.

I wrote this piece after I had just finished reading all of the newsletters and minutes from our first decade, everything I had at the time. I have since found more sources, about six more boxes of old things, and JoAnn told me she had saved every newsletter! So now I need to go back, figure out what I am missing in the newsletters, and see if she will let me borrow hers to make copies. I may develop more insights through additional materials. I'm thinking that each decade probably had a theme of sorts. Considering all that was going on in our world in the 70s, experimenting seems right. Perhaps at some point I will write more about the politics and the alternative community and how Market fit into all that. Now you can see why Suzi's book about the Fair is two volumes and she still didn't tell every story. These are big stories.

Saturday Market in the Seventies

Though based on an ancient tradition of artisans bringing goods to the commons for a market day, a weekly craft market was a novel concept in 1969 when Lotte Streisinger and her group of craftspeople and artists decided to create one. They had successfully mounted craft sales events for a decade and were part of a renaissance of handcrafting. The 1960’s cultural shift toward more authentic and natural lifestyles contrasted with what was seen to be the bland disconnecting lives of the 1950’s Americans, and Eugene became a center for seekers of healthier choices.

The founding values of having crafters sell their own goods directly to the public, on public space, outdoors and in as simple a fashion as possible proved to be popular and accessible. Though the first rainy market was small, the new gathering grew to uncomfortable size in the City-supported Downtown Mall, and some rent-paying merchants resented the group. After Christmas, the founders looked to find Lane County land, which seemed more abundant, and faced a different set of conditions.

The County Commissioners required incorporation and liability insurance as conditions for even preliminary discussion of siting. Though the group had only been charging $1 per space, they now needed to spend $500 to incorporate and $800 for insurance. They formed a Board of Directors and had the goal of being a 501(c)3 nonprofit, though subsequently finding that they could only qualify as a Mutual Benefit Corporation, which is not federally tax-exempt. They decided to structure themselves as closely to a nonprofit as possible, and set up not only the decision-making Board of five, but a Market Committee, composed of everyone who attended any particular meeting. This level of democratic management fit the community of artisans well and often Committee meetings included well over one hundred participants. When a space lottery was included, three hundred members would show up. Policy discussions were thorough and impassioned, and policies were hammered into shape, by a consensus process learned by many community groups of the era.

The County Commissioners were reluctant to support the Market but did allow them to stumble toward stability which finally came on the “Butterfly” parking lot across from the Lane County Courthouse. The first full season of May-Christmas happened there in 1972. The gathering had been embraced almost instantly in its first season by the public, and although it took a little longer for the downtown merchants to embrace the benefits of increased Saturday traffic to their businesses, several community leaders helped support the fledgling organization while it worked through its internal challenges.

Those were many. Volunteers governed and managed at first, and though the County required a hired manager, which soon grew to a team, salaries were very low and benefits were subjective. Winter layoffs when the Market was dormant guaranteed new managers nearly every season. Volunteers were still needed for many functions and the idealism brought passionate energy to every decision. Often the Committee would reverse Board decisions or the Board would have to survey, assess, and make decisions for the group for the common good. Every area of operations and philosophy had to be debated, and the first decade was highly experimental.

Should the Market open in April or May? Could the overflow of interested crafters be handled best with a Sunday event, a lottery system, or something new? Could food be sold, and how? Would it be a good idea to incorporate nonprofit groups for free, as a community service, or should the event try to be nonpolitical and sales-based? Decisions had to be made about fees to accommodate both the higher earners and the beginners or artists who failed to sell well regardless of their dedication to craft.

The fee structure changed often as expenses increased, as staff retention became a goal and the number of selling opportunities blossomed with the popularity of crafting. The Saturday Market intentionally mentored other markets as a way to keep the event small enough to fit in the 250 spaces

of the lot, and markets were started in Portland (1974) as well as many smaller towns. In 1975 a popular manager, Lou Elliot, used his on-the-ground training to move to manage an indoor venue that became the Fifth Street Public Market. Originally pitched as the next evolution for every crafter, that development encouraged some 85 artisans to move indoors, where the everyday gathering space also appealed to the community. The nature of the Saturday gathering changed with the need for it, and some wet weather years helped shrink the event and eliminate the viability of the Sunday markets, which ended in 1976.

Conventional advertising was discouraged but promotional events began early, such as Easter parades and Egg hunts, Tricycle and Wagon parades, and a pet parade before it became apparent that pets would be a continuing problem as the temporary restaurants increased. It became accepted by the public to bring kittens and puppies to give away on the surrounding sidewalks, and despite discouragement of the practice, it continued for the first decade until finally being controlled in the next. As a lively and unusual event, the Market attracted many types of individuals who had their own goals, whether that was to show off a costume, a performance, or a baby cougar or chimpanzee. Both animals were seen briefly in 1975 before being asked to leave, and the continual appearance of parrots, ferrets, and even a truckload of rabbits, meant to be meat, challenged the managers. A gallon of worms was permitted in the produce booth. The “No Dogs” policy had been set at the very first market in 1970, as essential as “Rain or Shine.”

At first busking was seen as panhandling, which was illegal at the time. Free entertainment was a welcome addition, however, so the musicians and mimes were asked not to appear to be begging, but to step up their professionalism. Paid entertainment developed gradually as the budget grew healthier, but soon the newsletters listed individuals and groups who are now legendary (and some still appear!)

Christmas markets were difficult in the weather and privately owned indoor markets developed, though the Saturday Market continued to be held each week. Many years there were several indoor Christmas markets to choose from, with predictable effects on the volume of crafters on the Butterfly. Still, sales potential for the season was attractive enough for the crafters to develop ways to stay warm and dry. Booth models and tarp arrangements evolved as the craft professional remained determined to adapt.

A Food Committee formed as it became apparent that regulations would bring conditions that required careful management of the risks of selling in hot weather, by inexperienced operators, and in outdoor conditions. The County Sanitation Department worked along to educate, inspect (every Market day) and secure compliance with licensing, and the Market tried covering licensing costs until the operators were doing well enough to manage their own costs.

Produce and other farm products were always considered essential to the event but farmers struggled to participate, preferring to sell from trucks. Early years included consignment produce booths managed by Market staff, and a farm or two tried having a booth. By 1978 The County had done a feasibility study for a separate Farmers’ Market and on June 23, 1979, the first Lane County Farmer’s Market was held at the Fairgrounds, attracting twelve trucks. It grew to as many as twenty-one, but the season and decade ended with a better solution still up in the air. Saturday Market continued to pay for the Farmers’ Market manager, permits, and costs, often at a loss for the budget.

Newsletters were created back in the day of the mimeograph with its purple ink. Usually 81/2” by 14”, they were given to all vendors and contained not only instructions for parking and registering properly, but minutes of meetings of both the Board and Committee, and creative stories and drawings of members and staff. Various logos and lettering styles appeared, graphically representing the evolution of the Market image, and in 1977 the basket of flowers replace a pushcart drawing. “The Basket” persisted as the iconic logo to the present day, although it was redrawn for special occasions to include holly or hearts, and for the 50^th season in 2019 it appeared as a more realistic, antiqued treatment of flowers, signaling a shift that will likely continue into the future as the Saturday Market reinvents itself each season.