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March 6, 2017 03:49 PM

The newly formed group: Intersectional People’s Network of Eugene/Springfield, Disrupt! Eugene and So Just Collective present "A Rally for International Women and Women Aligned Day" 6 pm, Wednesday, March 8, at the Wayne Morse Free Speech Plaza to celebrate “International Women’s Day."

Full press release is below. More info at http://disrupteugene.com/

 

 

Eugene, Ore., March 4, 2017 - Intersectional People’s Network of Eugene/Springfield (a newly forming community organizing group), Disrupt! Eugene, and So Just Collective present A Rally for International Women and Women Aligned Day at the Wayne Morse Free Speech Plaza this coming Wednesday, March 8th at 6:00 p.m., to celebrate “International Women’s Day,” as the groups take time to honor women and transfeminine people across all intersectionalities, as a community.

They will gather to celebrate and center the lives and experiences of women of color, transgender, queer, disabled, indigenous, and immigrant women, and nonbinary people who are woman aligned. The three groups support and recognize the intersectionality of "womanhood" and that many identify more with an adjective that precedes the word “woman.” This event will have an anti-racist framework to give voice to those who have been underrepresented or misrepresented.

Ashanti Gilbert, one of the event’s organizers, says, “As an African American woman living in Eugene, I felt there was a need for marginalized groups of women’s voices to be heard and celebrated from our own perspectives, whether immigrant, women of color, Muslim, disabled, or woman-aligned. Much of the organizing that happens here in Eugene usually is centered on the voices of white women. While I appreciate their efforts, many of us are not afforded the freedom to identify as just ‘woman.’ We are mostly identified by the adjective before woman, that is, Black woman, Muslim woman, disabled woman, et cetera. In conjunction with International Women's Day, we celebrate those intersections."

March 3, 2017 11:28 AM

On Feb. 22, White Bird Dance, the Northwest’s stellar presenter of contemporary dance, offered the West Coast premier of France’s Centre Choréographique National — Ballet de Lorraine, one of Europe’s most acclaimed companies.

CCN’s 26 dancers (um, that’s a ton of dancers, state-supported arts funding is neat), under Artistic Director Petter Jacobsson, offered a wide-ranging program, including two recent pieces and an American masterwork.

A bit of background: As a company, Ballet de Lorraine explores new work while keeping treasures by modern dance heroes alive, with work by Merce Cunningham, Twyla Tharp, Trisha Brown, William Forsythe and more in their repertoire. (What does that mean? It means that at any given time, the company knows and can perform an astounding range of dances. Keeping dance in repertory is expensive and logistically challenging, but without these efforts, pieces are lost to the sands of time, like a painting on the wall of a museum slowly vaporizing over decades, until perhaps only copies of it — incomplete video or photos — remain.) 

The Portland performance opened with 2015’s Devoted, by Cecelia Bengolea and François Chaignaud.

Ducking in and out of cold, gray light, dancers cut and push through space, with angular turns, slicing leaps and gyroscoping patterns and repetitions. A hyperkinetic meditation, the effect is like watching the cellular process of photosynthesis, at once alive, yet autonomic.

Dancers course through space, whirring like spores released from a fern frond, like the piecing, dissecting fractal of a leaf, or the unfurling branches of a tree, opening and accenting patterns with a kind of stilted urgency.

The driving Phillip Glass score enlivens, and at times, overly ensconces the piece. (One wonders what the same dance would look like in partial silence.)

Some of the strongest moments find near stillness. In one, a trio of women stand en pointe for a torturous time, nearly motionless, their arms rapt to the ceiling, another dancer circling around them menacingly. It’s in this dynamic that emotions heighten, that the machinations and order seem to breakdown, revealing an animus, a stark revelation of lurid sexuality — waggling bottoms, pelvic thrusts — amidst the spectacle and distant beauty.

After the first intermission, Alban Richard’s 2015 Hok Solo Pour Ensemble made exquisite design of the space.

Set to music by Louis Andriessen, the work explores pattern and rhythm, progressing fluidly from the simple to the complex. From the individual pieces of the dance to the circular permutations that develop, the effort takes on a cumulative vision, machine-like, but human, with everyday gestures that are refreshingly pedestrian, doable. As the intricate work evolves, the movement vocabulary becomes more dancerly, relaxed and fluid, while maintaining razor-sharp patterning and relational groupings. The resultant dynamic takes on an orbital force, like witnessing heavenly bodies — Terpsichore in sneakers? — careening through a distant galaxy.

Finally, after intermission two, the evening culminated with Merce Cunningham’s 1975 masterwork Sounddance for 10 dancers.

Cunningham’s beloved Sounddance opposes the uniformity and unison that is often found in ballet and has been described as “organized chaos,” taking the form of fast paced, vigorous choreography. The stunning set design consists of a gracefully draped plush gold curtain, with the dancers entering and exiting as though thrust into the space from the curtain itself.

With Cunnigham’s signature movement motifs — the sprung jackknifed leap, the soft connection of a hand, between and among dancers, the sporadic, seemingly random dispersal of movement across the stage — as well as his undeniably sharp, clear intention, his directional genius and relational capacity, the work is nothing less than nature itself.

Having only ever seen terrible, grainy and incomplete videos of Sounddance, the chance to see it live was unforgettable, like a reset for the heart and soul.

One by one, the dancers exit, swallowed by that giant gold curtain.

Is it death? Life? Are they spirits, now heading to the next space? Does it matter?  

David Tudor’s trance-like score provides the perfect energetic accompaniment to Cunningham’s astoundingly fast-paced, yet richly rewarding, choreography.

March 2, 2017 04:57 PM

The Southern Poverty Law Center tracks hate crimes nationally. Every year, the nonprofit publishes its Hate Map, a map of the United States that counts the number of active hate groups. The online map key alphabetizes hate groups, and each group is represented by a minuscule circle with a symbol and color. 

The circle concentrations vary by region. For example, the Ku Klux Klan circle is grey with a triangular white hood in the center, and the symbol overlaps itself in parts of Tennessee, Texas, Mississippi and North Carolina. The online map features a drop down menu that can be used to breakdown and separate the types of groups and number of groups by state. 

A total of 11 groups are listed in Oregon, which includes statewide chapters of the Black Separatists, Neo-Nazi, Racist Skinhead and White Nationalist.

Anti-LGBT, Anti-Immigrant, Anti-Muslim, Christian Identity, General Hate, Holocaust Denial, Neo-Confederate, Racist Music and Radical Traditional Catholicism construct the remainder of the symbols on the map key. Overall, the SPLC documented 917 hate groups in U.S. in 2016.

Last year, there was a notable rise in anti-Islamic groups, which surged from 34 in 2015 to 151 — a 197 percent increase.

Ryan Lenz, a senior writer for the SPLC’s Intelligence Project and editor of its Hatewatch blog tells EW, “Since 9/11, the sentiment of targeting Muslims has been ever-present in the United States to varying levels of intensity.”

“In the last two years or so, as the national political discussion surrounding the presidential campaign turned heavily on various conservatives who were attacking Muslims as being secret agents, or trying to undermine the constitution or trying to infiltrate the federal government—there’s a number of complaints and conspiracy theories they have,” Lenz says.

Since 1999, hate group numbers have dipped and increased ranging from 497 in 1999 to 1,018 in 2011, according to SPLC data.

Lenz says, “We’ve seen over a thousand incidents of hateful harassment and intimidation reported to us and other news media outlets in the aftermath of the election.”

SPLC has reached out to President Trump asking him to “distance himself from this movement repeatedly, and he’s sort of waffled on that.”

Lenz says it’s hard to say what is going to happen over the next four years.

“This is a movement that has at its core rhetoric that leads to or inspires violence. We know that we’ve documented that repeatedly,” he says.

“Previous periods of time that have seen [a] similar rise in rhetoric and similar increases in energy across the radical right — periods that have ended or culminated in historic acts of violence like Oklahoma City have resulted in federal crackdowns on these ideologies that lead to violence.”

Eugene Weeklyasked Lenz what he thinks people can people can do to push back against the up rise in hate incidents. “Every journalist I talk to asks that question,” he says. Lenz often receives text messages from friends asking the same question.

“That’s a hard question to answer because at its fundamental core you’re asking how can we stop racism?” he says.

“I think it is important for those who believe in humanity, for those who believe in harmony of human kind, to speak out and make their minds clear because the political direction of this country right now is not in line with that, and it’s important to make sure that your voice does not get drown out by what is a global way of a populist nationalism.”

February 23, 2017 12:54 PM

The University of Oregon Department of Dance presented its 48th annual Faculty Concert Feb. 16-18, to an enthusiastic audience.

Representing collaborations among UO dance and theatre faculty members and their students — in dance, lighting and costume design — the effort was a richly realized event, featuring only premieres, three with original scores.

The evening opened with Hannah Anderson’s Ecliptic.

Beginning in a tense unison, Anderson’s dancers unfurl, peeling from the center through sideways leaps, axial turns and earthy slides. They continually discover balance, only to lose grip of it again, creating a dialectical whorl of intention. One particularly strong moment — organic crosses from stage left to right and back again, set against Markus Johnson’s evocative music — show off Anderson’s knack for accented rhythm, dynamic relationships and explosive shape.

Brad Garner’s genesis, set to music by Caleb Burhans, walks a tightrope between free and bound flow. Garner explores a thematic motif throughout — digging one’s heel sharply while flexing arms backwards in a tight curve — as contrasted to the subtle, sinewy dappling of shared self-space. Through shifts in focus, Garner expertly divines changes in mood as he and dancer Shannon Mockli rise and fall and rise again.

Rosetta, by Darian Smith, has an alien look and feel to it — white unitards emblazoned with bold alphabet letters, the dancers wearing white grease paint — but underneath the façade there’s something tellingly human, almost fragile, at play. A moment pops out: One dancer, downstage, runs to the other side of the proscenium as dancers upstage do the opposite. It’s a simple idea, a counterbalance, but the effect is satisfyingly dizzying, like watching a pendular carnival ride.

Garner’s Admitting Light, about the work of physicist Nikola Tesla, ambitiously weaves together detailed, introspective dance, with animated projections by John Park and an original score by Jon Bellano and Jeremy Schropp. Lighting design by UO faculty member Janet Rose creates unity, as if we’re peering through a mechanical aperture into the mind of Tesla himself. At times joyful, other times deeply pensive, Garner’s work takes its breath through curving, taut shape. A powerful moment comes towards the end, as Garner braids together groups of dancers (and he has a big crew of them) through loose pathways from upstage to down. (Inspired by Tesla’s famous pigeons perhaps?) These dancers take flight.

Become, by Rita Honka, toys with angularity and changes in energy, from smooth and swingy to sharp, almost nervous. What begins as a solo morphs into a duet, and here Jessica Taylor glows. Though the UO dancers, as a whole, are strong and capable, Taylor’s technique, her expression, her powerfully integrated performance — is something to behold.

And Mockli’s Unearthed, set to an original score by Christian Cherry, cuts through levels as it heaves from a molten place. With blasts of intensity, Mockli’s work here is at once sad and playful, like a familiar nursery rhyme whispered in the shadows.

February 23, 2017 05:06 PM

Actual press release from the Oregon Dairy Farmers Association posted without comment.

OREGON DAIRY FARMERS CONVENTION FOCUSES ON THE CONTRIBUTION OF DAIRY WIVES

Oregon Dairy Farmers Association Convention Focus on Issues Including Dairy Wives who bring so much to their Dairy Farm Operations 

The Oregon Dairy Farmers Association hosted a two day convention at the Salem Convention Center on February 20-21

A panel of well-informed women spoke candidly about the joys and struggles of dairy farming during a convention workshop Monday afternoon.

Attendees heard four farm wives share their experiences of working in the dairy industry. It can be trying when frictions in the barns hit home, they said.

"It's super hard to see my son get yelled at by his dad," said Susan Pierson, a fourth-generation farmer. As both mother and wife, she is often a sounding board when things get overheated. "I have to do a lot of listening and not a lot of talking. But later I might say something to my husband like, 'You know, you were a little hard on him..."

"I feel like I'm in the middle a lot," said Julie Lourenzo, who shares the workload with her husband and other family members. When conflict arises, "I talk to both sides and try to work it out."

"I brought a husband into the job," said panel moderator Bobbi Frost, who is familiar with that uncomfortable space between the spouse you love and the parents who raised you. The audience responded to a frank discussion about whether the panelists encouraged their children to pursue farming.

Sarah Rocha, mother of four boys, said she chose to allow her children to find their path. "The more you push, the more they push back," she said.

Rocha runs the calf operation on a farm with 600-650 cows and 150 goats.

"I pushed my sons away from the dairy," said Pierson, an organic farmer for 12 years. But as it was with other panelists, some children decide to join the family business after a time. Of one son she said, "All of a sudden he came to us and said he wanted to come back."

In response to a question about when how to draw the line between work and family time, Lourenzo said she knows she has reached her limit when she begins to voice complaints. "If you are going to complain, it's a sign you are doing too much," she said.

A highlight of the breakout session was when moderator Frost, who brought along her 11-month-old daughter, Max, to the convention, said she "felt like Superman" on a day when she completed her work while toting an infant around the farm.

Then she provided the quote of the afternoon with an observation about childbirth.

"One day my husband said to me that getting hit in the nuts is worse than having a baby. " How so, she wondered?

"You want another baby, right?" he said. "But you don't hear me saying I want someone to hit me in the nuts again."

The Oregon Dairy Farmers Association is located in Salem. The Association has been proudly serving Oregon's Dairy farmers since 1892.

 

February 22, 2017 03:41 PM

At this extraordinary juncture in U.S.. history, I’m finding it hard to write about gardening. Gardening itself, however, is still seductive — a rare escape from anguish mixed with sheer terror. When I am gardening, gardening is pretty much all I think about. So any chance I get, as long as the temperature hits 45 or better, I have been outside sprucing up my winter garden, clearing the decks for emerging signs of spring.

My first priority is removing an excess of wet, fallen leaves where primroses and small early bulbs are emerging. Then I cut last year’s leaves off the hellebores. It deters blackspot disease and shows off the flowers, some of which are already opening. And it is easier to do now than after new leaves appear, especially if the clumps are large. I’ve also started clearing and weeding some places where the foliage of daffodils and tulips are poking out of the ground.

Most yards look pretty drab at this time of year. They don’t have to. Winter flowers may be smaller and less showy than the glorious blooms of late spring and summer, but they can still make a difference. They also provide food for honey bees, which can emerge on any sunny winter afternoon. One witch hazel, a couple of Lenten roses and a clump of snowdrops in a spot you pass by every day or see from a window can really lift your mood.

Lenten rose

Lenten rose

SOME OUTSTANDING WINTER ORNAMENTALS

Lenten rose (Helleborus x hybridus)
Snowdrop, early crocus, winter aconite
Witch hazel
Cornus alba ‘Elegantissima’, Cornus ‘Midwinter Fire’(for colorful twigs)
Pieris variegata - compact growth and pretty leaves-a great container plant
Iris fetidissima ‘Variegata’(for beautiful variegated leaves)
Mahonia species, native or not, are great for the bees

Witch hazel

February 22, 2017 03:29 PM

In an update sent to Lane Community College faculty and staff today, LCC president Mary Spilde reminds that that a sanctuary policy was passed by the LCC board in February and says, "In the unlikely event that anyone from any federal agency shows up in a classroom or office they should be directed to the President's Office."

The portions of the president's message that relate to immigration are below.

Resolution on the Protection, Safety and Sanctuary of All Students

You may be aware that the board of education passed a resolution on the Protection, Safety and Sanctuary of All Students at the February meeting. The resolution is attached. We are now working on developing board policy that embeds some of the elements of the resolution. We plan to have first readings in March.

In the meantime, I'd like to provide some guidance. In the unlikely event that anyone from any federal agency shows up in a classroom or office they should be directed to the President's Office. Our staff is developing a protocol to review credentials and warrants or subpoenas.

The Department of Homeland Security (DHS) has recently updated its FAQs on the "Sensitive Locations Policy." In the past colleges and universities were listed as places to avoid for enforcement activities. The update does not appear to change this practice. Please remember also that FERPA protects student information and representatives of the college are not to provide any information about our students’ schedules, attendance, grades, etc. to anyone not authorized to receive it. If something happens after hours, please send the individual(s) to Public Safety.

At this time this scenario is highly unlikely. DHS guidance released on Tuesday does not appear to target “Dreamers” or DACA students but, of course, their families will likely be impacted as these enforcement actions ramp up. In addition, we expect a new Executive Order regarding banning individuals from certain countries. As the situation evolves we will be monitoring things and re-grouping as events change.

February 22, 2017 02:39 PM

This Facebook Live video was posted by Angie Spencer from the Standing Rock protest against the Dakota Access Pipeline. State officials ordered the protest camps to be cleared out today, Feb. 22, by 2 pm.

Spencer lists herself as a "PTSD Specialist. PhD Candidate. Human & Civil Rights Advocate. Oceti Oyate, All Nations."

News site Buzzfeed has been there covering the removal, as has The Atlantic.

Local DAPL water protector Janie Coverdell is still at Standing Rock. She posted to her Facebook page this morning that she was on her way back  to the Sacred Stone Camp,  and "There will be a blockade of sorts. Armed forces will not be allowing entry in a few days or so..not even food/firewood."

Coverdell is fundraising to cover the cost of her trip to Standing Rock. She gave up her job to join the protest, she writes on her GoFundMe page. To donate, go here

February 17, 2017 01:54 PM

On Wednesday, Feb. 15, Oregon senators Ron Wyden and Jeff Merkley, along with Al Franken and six other U.S. senators, sent Secretary of Defense James Mattis a letter requesting information about Steve Bannon’s position within the newly reorganized National Security Council.

The letter also requests more information about the reorganization and asks Mattis if the DOD “was consulted prior to” the changes.

Bannon is one of the founders of Breitbart news, which has promoted racist, anti-Semitic and anti-Islamic propaganda — but he has denied being a white nationalist saying "I'm an economic nationalist. I am an America first guy," according to a Wall Street Journal interview.

President Trump called for the reorganization of the Homeland Security Council and the National Security Council in a presidential memorandum that, in the words of the senators' letter, “downgraded the roll of the Chairman of the Join Chiefs of Staff and Director of National Intelligence (DNI) on the NSC Principals Committee while placing Mr. Bannon as a regular attendee of these meetings.”

The senators write: “We are concerned that the unprecedented elevation of a political operative to the senior leadership of the NSC may compromise the national security decision making process and put American lives at risk.”

The letter also states Bannon claims to be a “‘Leninist’ who wants to ‘destroy the state’ and ‘bring everything crashing down.’”

The senators are requesting a response from Secretary Mattis by March 1. The full letter is below.

February 16, 2017 12:00 AM

Staged lab photo courtesy of OSP

Melissa’s Law was enacted in Oregon to ensure the transparency of tracking and testing rape kits. But when Eugene Weekly requested the mandated reporting numbers under the new law it was hard to get answers. 

EW was also unable to tour a lab and see how rape kits are dealt with. In lieu of a tour, EW was sent staged photos.

The two-page summary EW received detailed the following numbers of SAFE kits obtained by Oregon State Police in 2016: total number of SAFE Kits received 1,281; total SAFE Kits completed 757; total number of pending SAFE requests 742. 

The report was emailed to Eugene Weekly by OSP Forensic Director Capt. Alex Gardner, the former Lane County District Attorney. Gardner, who declined to be interviewed by phone or in person, would only communicate via email. He then stopped responding to emails before clarifying the breakdown of the numbers in the two-page report. The number of kits received, processed and pending didn’t add up, and it would take several weeks for officer Bill Fugate to provide an explanation.

“I’m not a mathematician, but those don’t seem to add up,” says OSP Public Information Officer Bill Fugate. He says the state crime lab’s capacity is what it was able to process — 757 kits. 

However 757 completed kits, plus 742 request, equals 1,499 kits, not 1,281.

Under Melissa’s Law, SAFE kit numbers are required to be reported to the Oregon Legislature by Jan. 15. After requesting the totals reported to the Legislature and repeatedly asking how the numbers were calculated, this reporter sent several dozen emails, made two calls to Gardner, a dozen calls to Fugate and an exchange of text messages to Fugate seeking an explanation for the numbers.

On Feb. 10 via text, Fugate “confirmed that these numbers are correct.” 

He includes a screen shot with the original numbers. 

 He wrote that the way he reads it was in 2016 OPS received 1,281 kits and completed 757, but he says some of those could have been received before 2016, and the same with the pending kits.

EW asked, “How far does that number date back?” 

“I’ll check when I have time,” Fugate replied. 

On Feb. 6, the number of SAFE kits processed was changed to 1,236. An email from Fugate read: “When we ran the initial computer reports SAFE kit requests were showing “completed” after our biologists checked “complete” on their portion of the process, but before the requests were finished with DNA processing. That error was caught and corrected before the final legislative report went out.” 

But Feb. 10, EW received a voicemail saying the initial report was correct and reported to the Legislature. Fugate says the numbers didn’t add up because “there are some anomalies that occurred.”

EW initially requested a tour of an OSP forensic lab on Dec. 29, 2016. After sending multiple requests and reminders, on Feb. 3, EW received an email about a tour that read, “whenever we do these evidence needs to be removed from the work areas and other sensitive information to ensure evidence integrity … so tours are disruptive. Adds to backlog.” — Corinne Boyer

February 16, 2017 12:17 PM

"PyschoSuperMom" Lauren Mayer writes and performs an anti-Trump folk song — the Ballad of Donald vs. Nordstrom takes on the Donald's battle with department store Nordstrom over dropping his daughter Ivanka's line of clothing.

So heed the tale I'm telling while these chords strum

About when Donald Picked A Fight With Nordstrom

His insults and his lies just made their stock price rise

It's the ballad of Donald vs. Nordstrom.



 

 

February 16, 2017 12:25 PM

Eugene musician Mike Scheidt is best known as mastermind behind Eugene-based, internationally acclaimed "doom metal" band Yob.

Scheidt recently underwent a dramatic health scare, and he needs some support to cover medical costs. His story even made it to the national music press. Vice's Noisey picked up Scheidt's story as an op ed.  

You can donate to Scheidt's medical costs at his GoFundMe page here.

February 10, 2017 06:29 PM

Environmental groups that have long fought to preserver the coastal old growth of the Elliott State Forest are celebrating today.

The public forest was recently threatened with privatization, but today Gov. Kate Brown released a plan to keep the forest public and in her statement addresses its value as habitat and as a carbon sink. 

Cascadia Wildlands, one of the earliest conservation groups to agitate to save the Elliott, released a statement in response, saying the group is:

… encouraged by the governor's leadership toward finding a lasting solution for the Elliott State Forest that maintains the forest in public ownership. There are still a number of details that need to be worked out and elaborated on, and we look forward to continuing to working toward a solution that safeguards all the public values of the forest, including protecting old growth and mature stands, wildlife habitat, clean air and water and recreation.

The Oregon League of Conservation Voters celebrated as well, sending out an email blast that says, "With almost nothing but bad news on the environment coming from Washington D.C., it’s phenomenal to see real leadership here in Oregon."

Brown's statement in full is below.

The Elliott State Forest was created in 1930, through consolidating tracts of Common School Fund forest land scattered across Oregon. Since the mid-1950s the Elliott has produced in excess of $400 million for Oregon schools. About 90 percent (82,500 acres) of the Elliott State Forest is owned by Oregon's Common School Fund – a trust fund for K-12 public education that is overseen by the State Land Board as trustees.

Since 2013, because of harvest limitations prompted by a lawsuit over federally protected species, owning the Elliott has cost the Common School Fund more than $4 million. We must change the way we own and manage the forest, ways that benefit Oregon's schools and children for the long term.

Oregon's public lands — our forests, parks, and beaches — are irreplaceable assets. Even in the face of complicated challenges, we must strive to protect the values Oregonians hold dear.

Today I propose my way forward for the Elliott, a plan I believe is in the best interest of future generations of Oregonians.

• The Elliott is Oregon's first State Forest, and has been a State Forest since 1930. Under my plan, the Elliott State Forest would remain in public ownership, with either the state or tribes owning the land.

• A bond proposal would be developed to include up to $100 million in state bonding capacity to protect high value habitat, including riparian areas, steep slopes, and old growth stands. The investment will go into the Common School Fund and decouple a portion of the forest from the Common School Fund trust lands.

• On the remainder of the forest, we will re-enter into negotiations with the Federal Services for a Habitat Conservation Plan (HCP) that will allow for sustainable timber harvest while protecting endangered and threatened species. We expect that harvest to average about 20 million board feet per year over the long term – the next 100 years of this state forest's history.

• We hope to work with the tribes to regain ownership of their ancestral lands while protecting the Common School Fund.

When the state adopted the protocol to sell the Elliott, there was no established value for the forest. Because we followed the protocol, we have an appraised value of $221 million.

We know the Elliott is worth far more to Oregon's children than $221 million. By investing in and protecting the highest quality habitat, areas where forest management is the most vulnerable to expensive and lengthy lawsuits, we are protecting marbled murrelets, owls, and coho salmon. At the same time, sustainable forestry management on the remainder of the land can generate continued financial returns for Oregon schools.

We also know Oregon forests are a carbon sink, holding an estimated 3 billion tons of carbon. Growing trees is something the Elliott does well, and in public ownership the forest will help the state meet our climate goals. That, too, benefits Oregon's school children, and all Oregonians for generations to come.

 

February 8, 2017 04:06 PM

Tsunami Books has been an institution in the South Eugene neighborhood for over 20 years, but the beloved book shop is facing serious problems that may shut it down this summer without community support. Read the press release below.

 Public Show of Support regarding The Future of Tsunami Books.

The Lease for Tsunami Books is up June 30, 2017.  There are other major business concerns that want to take over the lease for this property beginning July 1, 2017.  We do not want to leave, but do not yet have the financial resources to stay. We have asked for, and kindly received the opportunity to deliver a proposal for a minimum five-year lease to the building owners no later than March 31.  At the very least, the rent will double.

 On December 28, 2016, a Public Meeting was held.  Thirty-nine people participated.  Since then a growing number of motivated members of the community have stepped up to help, and after five meetings a highly creative plan is being formulated.  The key question is: is there truly enough support from the Community that is Tsunami Books to energize this movement to do what we can to secure a new lease?  Please drop by the Bookstore, even for a moment, on Wednesday, February 8, from 10 am-9 am.  That’s the day we’ve picked as Show-of-Support for Tsunami Day.  We’ll be taking a head count, we’ve got a very simple 5-question form we’d like you to fill out, with copies to share with your friends. Volunteers from the ad-hoc committee and Scott (prez and gm) will be here all day to answer your questions. The newspapers, tv, and radio are all being notified.  Let’s share a laugh and a tear of joy, and get on with the effort to make our own good way in this crazy new world.

Thank you.