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August 23, 2012 04:40 PM

August 23, 2012 03:10 PM

Today we were excited to hear that 2011 Next Big Thing Co-Champions (Co-Things?) Betty and the Boy won the Northwest String Summit Band Competition on Aug. 10.

Betty and the Boy

Want to catch this year's winner? Paul Quillen and Volifonix face off at 1 pm Saturday at the Eugene Weekly/KRVM stage at the Eugene Celebration.

August 22, 2012 12:52 PM

I love this. These three need to review EVERYTHING.

Here Kitty Kitty Kitty!


August 22, 2012 01:39 PM

Sometimes around the EW office we like to play "predict tomorrow's R-G front page," and sports news is often a sure bet. The not-so- Daily Emerald (online all the time, print, not so much) is already tweeting and posting that Ducks Football has NEW UNIFORMS (or basically an update of the Rosebowl outfits according to Nikeinc.com) and we figure the R-G will be close behind with full frontal Duck coverage.

GoDucks.com indicates the uniforms will of course make Duck football players into knights in shining armor with "Chain Maille Mesh" and even better, there will be "strategically placed seams, pads and cooling zones that help minimize distraction and optimize protective coverage."

So what exactly are the seams distracting us from? And exactly how will the uniforms "redefine reality"?

Photo from www.nikeinc.com

The Daily Emerald is pretty excited about football, it looks like every other post on the site is ball related. 

Hey if football is what it takes to get people to read the news, we're all for saving print media and the Emerald has unleashed some good journalists out into the world. Someone's gotta cover the green issues in this town though (and print Dan Savage), and that's EW. Speaking of green, call us hippies (and we know you do) but we were kind of sad the UO wasn't on the Sierra Club's top 10 green schools list, but hey lucky number 13 is not bad. 

As long as we're on Ducks and the Emerald, it looks like the new Emerald logo is not up on the website yet. We're seeing it around town on new black boxes sitting next to our red boxes.

Is it us, or does it remind you of Atari?

Crossed with the Willamette Week logo …

August 22, 2012 01:20 PM

A commentary by Edward Hershey in the Blue Oregon blog this week notes that The Oregonian will not be endorsing a presidential candidate this election for the first time, maybe ever. Why?


Hershey writes: “This is about pragmatism, not philosophy. What is most likely at play here is that the two men now driving editorial policy at the O — publisher Chris Anderson and editorial page editor Erik Lukens — understand it would be bad business to endorse Romney. But both would just about die rather die than endorse Obama.”


See http://wkly.ws/1ci for the full commentary, and to get on the Blue Oregon mailing list, email jenny.smith@ouroregon.org

August 22, 2012 10:53 AM

Some says print news is dead, but when it comes to industry business and gossip it's only getting hotter: Is the Oregonian going to go to mostly online and publishing only three days a week as Willamette Week speculated recently? Is the Register-Guard going to replace any of the reporters that have left for other jobs? (No positions are currently listed on the website). Is Willamette Week starting a chain? 

The Association of Alternative Newsmedia is reporting that in addition to owning Portland's Willamette Week and the Sante Fe Reporter of New Mexico, The City of Roses Newspaper Company is buying North Carolina's Independent Weekly. City of Roses Newspaper Company is owned by Richard Meeker and Mark Zusman of Portland. 

Willamette Week hasn't made any recent offers on Eugene Weekly.

August 21, 2012 05:08 PM

August 20, 2012 02:06 PM

August 19, 2012 09:49 AM

Click any image to view the complete gallery

August 17, 2012 04:16 PM

"Don't Roof Rack Me, Bro" (Seamus Unleashed) takes the whole Mitt Romney strapping his dog to the roof of his car to a whole new 80s pop cultural level of awesome. 

According to Rolling Stone

Devo's Jerry Casale wants it to be known that their newest song, "Don't Roof Rack Me, Bro," isn't meant as a partisan statement – even though it viciously mocks Mitt Romney for strapping his Irish Setter, Seamus, to the roof of his car for a 1983 family vacation.

"This isn't a red-state thing or Devo stumping for Obama," he says. "But I think any animal lover that hears the story will learn so much about the character flaw of Romney. It's just a deal-breaker about the man. My God, the world is a scary place with seven billion people. What you want in a leader is a guy with some humanity at his core. I just don't feel that Mitt does."


August 17, 2012 03:41 PM

A new release from local hip-hop merrymaker Marv Ellis has been in the works for the better part of two years, and it’s finally made a splashy drop onto the scene. Oh yeah, it’s also fuckin’ dope. Let’s just note, right quick, that the native Ellis is already well known for his lyricism — be it socially conscious, comical or literary — but his new LP, Shadows Mean Light, makes it abundantly clear that he’s decided to definitively flex those versatile, multi-syllabic, lyrical muscles. Admirable, too, is Ellis’ blatant sense of community — a phenomenon that, in my opinion, is occasionally taken for granted in Eugene. The album is littered with samples and locally-based collaborations, among them Portland-based Shook Twins, appearances by Metric and Aniana Hough (of Philly Phunkestra), and the track “Love is Medicine” contains a rather comically placed Eagle Park Slim shout out designed to make any Eugenean smile.

Shadows Mean Light picks deeper than the scab of hype and shit-talk; many of the tracks take on a pensive, lugubrious tone akin to St. Paul Slim, Murs or Atmosphere, and these songs attempt to goad listeners away from hate toward a higher understanding of peace. As generic as that sounds, Ellis has made the anti-hate concept into an idiosyncratic dispatch that would be utterly confusing to duplicate. Interior monologues of self-denial, admittance of chameleonic evolution and the like are found hidden within a bounty of organic verses. The title track’s message is enigmatic at first, before becoming quickly recognizable as a reverie of hope. After all: even the darkest shadows find their genesis in bright light, and this is a fact often forgotten in the gray of the Northwest. It’s the rain and the clouds and the evergreens that Marv Ellis relates to, and Shadows Mean Light is inherently Northwestern by way of this fact.

The album’s production has an air of dissonance and grime that manages only to teeter at the surface, above the otherwise crisp, clean selection of beats, drops and refrains. This furthers the Northwestern feel, reminiscent of our schizophrenic climate. Dark and dirty in the winter, light and clean in the summer.

Marv Ellis has dropped what is perhaps his best collection of tracks yet; it's got the soul, the solemnity, the sensitivity and, through it all, the swag that we've all grown to expect. Shadows Mean Light forces the listener to stop expecting and start respecting, and that's all there is to it.

August 16, 2012 03:57 PM

Friends of Family Farmers is reporting that the Oregon Court of Appeals has issued a temporary stay on the temporary rule that was to allow canola to be planted in an expanded area in the Willamette Valley. The Oregon Department of Agriculture's plan to reduce the restricted zone in which canola could be planted was met with opposition from specialty seed and vegetable farmers who fear genetic contamination with their crops. Leah Rodgers, field director of FFF says "We have confirmed with the Court of Appeals that the stay is to remain in effect until the court hears further legal arguments and issues a final decision on the motion for a stay."

For more on canola, see our last two stories "Growing Canola Controversy," "Is No Canola Good Canola" and also read Frank Morton of Wild Garden Seed's "Canola Nightmare" Viewpoint this week. Morton is a party in the case.


August 16, 2012 11:25 PM

A week before The Avett Brothers set out on a run of dates up the West Coast (which include three nights in Oregon), Scott Avett took the time to chat with EW about their upcoming album The Carpenter, art and fatherhood. 

First, I’d like to say congrats on The Carpenter. Loving the album.

Thank you, man. I appreciate that.

Are you guys working in a lot of the new songs live?

Yeah, we are. We’re actually in the process now of practicing them daily for working them in. I don’t know how many of them we’ll be playing at Edgefield. There’ll probably be a couple that will be held off until the actual release of the album but there’s certainly going to be a couple added since we last played a couple weeks ago. We’re working on getting more in.

A Father’s First Spring” is a really beautiful song. As a dad, that song really got to me.

Me too. [Laughs]

I bet! Do you ever get choked up playing songs like that? I understand why you’ve held off on putting songs like that out there. Definitely feels private.

Sure. I do, man. As a father, anybody that ... Well, I guess I can just speak for myself on that. I just know that I was affected by it. You know, everybody’s telling you how you are gonna be affected by it but you don’t really buy into until it happens and then you’re kinda in this new club of people that understand the weight of that. And that song’s obviously just a product of that. 

There’s a couple of songs that were in the other group of recorded songs from this album’s sessions that really get me choked up because of our bass player, Bob, and his scenario with his daughter. There were some lyrics that were written that pertain to her and her life — not as direct as “A Father’s First Spring” but more encoded. They were very hard to listen to ... but in a very hopeful way, in a good way. I certainly get a little choked up listening to them, which is odd to get choked up listening to something that you had a part in making, but I also think that it’s a testament for the validity and the need to be released. You know, I’m not special, nor my brother, nor you from anybody else. So when you get affected by something you know that it’s probably going to affect someone else too. You know what I mean? It’s not like I’m a special case. So, yeah, it’s a good sign even though it does choke you up a bit.

Does your daughter have a favorite Avetts song?

Right now, she likes “Live and Die.” She calls it “Sing Like A Sparrow.” And I have to listened to it more than I ever dreamed I would have to listen to a song that I will probably play more times than I ever dreamed of. [Laughs.] So yeah, man. That’s a crazy dynamic. She’s almost four. She asks if she can get up on stage and stand with me and help sing “Like A Sparrow” or “Slight Figure of Speech.” Those are the two she’ll sing.

That’s awesome man.

Yeah, a blessing and a curse. [Laughs.]

Lyrically speaking, I noticed that on The Carpenter, there seems to be a vibe or theme of comfort with the temporary nature of life, the idea of change and embracing the now. This could be the most spiritual Avetts album to date. Does that seem fair to say?

I think it seems fair to say. And I think for me, I’m kind of learning that in speaking to people that have heard the record from a different point of view than mine. I think you are kind of saying what others have tried to say. I think that it might be. I just didn’t realize that while we were making it.

Some of the lyrics, to me, sort of came off as little proverbs in a way ... or just good advice on life, you know?

Yeah, I agree. I feel very lucky to have been a part in putting it together. Absolutely, man. And I’m glad that it comes off to you that way. 

Primarily, I’m a graphic designer and photographer. I know that you designed all the previous album art. Did you do this one as well?

I chose to collaborate with an artist that I have admired for some time. Seth and I are huge fans of Martin Kvamme from Oslo, who I understand has done most all of Mike Patton’s recordings with Ipecac. I’ve been in amazement and just admired all his visuals for that company and for Mike Patton’s projects as well as other projects that Martin has done. And so, in thinking about this project and thinking in terms of producers and the work being the focus and not necessarily our practice but making sure that it’s as good as it can be, I decided to start an initial vision and pass it to Martin if he was ok with that. He was 100% good with that. So I passed an image to him and said this is what I’m thinking. This was before he had full reins of the direction. And that was it. We didn’t need to guide any more. He’s got a great instinct. His intuition, visually, is amazing. So we shared, we collaborated on this one because we felt like it was time. We felt like the work would benefit from it. I didn’t not want to do it on my own out of principle. At first I was like “I’ve done all of them. How can I not do this one?” And then, I was like “That’s ridiculous!” That’s a ridiculous concept. That’s where tradition can be dangerous to the work. I’ve worked to let go of that and it’s felt good so far.

The art has always been an integral part for me. Seems to go hand in hand with the music. 

It is. And we maintained that with this. I do believe that. 

That’s actually what first drew me to you guys before I ever heard your music. You were coming through Oregon and I was creating an ad for our paper for the show. The promo for the show, the elements that they gave us was one of your artworks. It was one of your really vertical, art nouveau-influenced drawings. And that got my attention. That in itself made me to go out and buy an album.

Nice, man. Yeah, I’m the same way. I think the visuals go hand in hand. I think that when they’re not, when they’re done in a lazy way, it’s really kind of a bummer. I’m drawing as we’re speaking right now. Actually tracing but ...

I was actually going to ask if you get a lot of work done on the road?

I do. What I try to do while I’m home is cut and prepare the linoleum blocks to make it so that the work that I do on the road is a little more mindless. Right now, I can’t engage with myself and draw a form but I can trace and transfer drawings to blocks in a way that I work. So right now, I’m working on one that will possibly be an Avett Brothers linoleum cut. You know, it’s a matter of using the time as best I can. 

Who are some of your other influences as a visual artist?

I’ve been hung up in painting by Caravaggio’s chiaroscuro lighting for years. Odd Nerdrum, from Norway, even though he doesn’t really call himself an artist, he calls himself a storyteller and a revealer of self. That’s just a couple to mention, not even really scratching the surface. There’s an artist that was a professor of mine, Michael Ehlbeck, who is a printmaker. I’ve printed with him for years. He’s worked on many of the Avett Brothers prints with me. He’s kind of the Rick Rubin to my visuals. He as well as a painting professor named Leland Wallin. They’ve both helped me slow down. I watched the way that they work and they both sit down and enjoy the drawing process. They don’t put unrealistic deadlines on their work. Their work is ongoing until it’s finished. The painting professor that I had, Leland, he actually told me that he’s spent 10 or 11 years on paintings or drawings sometimes. And from a young artist point of view, hearing an older artist say that is good advice and good direction.

Anything else that you want to mention about The Carpenter? Or any certain songs that stand out to you?

Well, I’m practicing the songs now and still learning about them. I’ll take this angle with that question. Live, a song that’s been very, very interesting to play and we’ve played it a lot is “Down With The Shine.” I bring that up because we’ve watched that song turn from what it was originally to something else live, to something different when we recorded it, and then on to something else live and it was different than it was before. We’ve been steadily watching this song mutate. It’s super sensitive to different crowds and moods we’re in. I really enjoy discovering what sort of tempo we’re in with that song each night. And I believe in the theme of the song enough that I enjoy playing it all the time. The theme being, mainly, caution of material wants, the need to keep youth and the need to hold on to this physical state. It’s a pretty silly attempt to talk about it because it’s such a big concept. We think about those things a lot. They’re just attempts to explain to people that we’re trying to figure these things out. Most of the songs on the album that are in that realm, conceptually and lyrically, are really just revealing weaknesses about ourselves. I think sometimes people may misread that but that’s really what it is — just revealing things that we struggle with.

The Avett Brothers play the Britt Festival (Jacksonville, OR) Friday, August 24 and Edgefield (Troutdale, OR) Saturday, August 25 and Sunday, August 26.

The Carpenter is out September 11th on American Recordings/Universal Republic.



August 15, 2012 11:46 AM

Presidential candidate Mitt Romney made an  slip of the tongue when he mispronounced Sikh as sheik when commenting on last week's tragic shooting at a Sikh temple in Wisconsin. His faux pas points to just how little most folks know about the Sikh community, even in Eugene where we have a vibrant population right here in our midst.

Folkstreams has been running a 1992 documentary about the dances and songs of Sikh women in Sacramento that's worth checking out. The trailer is below and the full 26 minute film is at: http://www.folkstreams.net/film,108