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October 7, 2008 01:27 PM

Looks like high price executives are putting the trillion dollar taxpayer bailout of Wall Street to good use. The New York Times reported today:

"A week after the insurance giant, the American International Group, received an $85 billion federal bailout, executives at its life insurance subsidiary, AIG General, held a weeklong retreat at the exclusive St. Regis Resort in Monarch Beach, Calif. Expenses for the week, lawmakers were told, totaled $442,000, including $200,000 for hotel rooms, $150,000 for food and $23,000 in spa charges.

In addition, the former A.I.G. executive who led the London-based
division whose implosion is largely blamed for the insurance giant’s
downfall, Joseph J. Cassano, continues to receive $1 million a month
from the company, on top of the $280 million he received in the last
eight years."

Taxpayers are outraged. Some Congressmen appear outraged. But after hearings showed evidence of similar abuse by Enron, nothing changed.

October 2, 2008 02:56 PM


When Jon Ruiz was hired away from an assistant city manager job in Fresno to serve as Eugene's new city manager this year, he defended Fresno's reputation for urban sprawl.

The San Francisco Chronicle profiled the sprawling, "corrupt," "depressing" city at the millennium as "a cautionary tale of planning gone wrong and development gone wild."

But Ruiz said the sprawl reputation had changed. "I think that's been reversed in the last couple years." He said Fresno is now focusing on denser development and alternative transportation to fight bad air pollution. He said he doesn't think developers still run the town.

Not so reported a Fresno Bee investigation this week:

"A 2002 master development plan for Fresno has failed to make good on promises to curb urban sprawl, public records and interviews show."

Here's some more snippets from the Bee:

"'They're turning agricultural districts into low-density housing, which by most people's definition is sprawl,' said Rob Wassmer, a public-policy professor at California State University, Sacramento. Wassmer has written extensively about sprawl in the West, including a report that found Fresno was one of nine California metro areas with the biggest increases in sprawl in the 1990s.

His assessment of Fresno's record in the last six years: "It doesn't look like there's been a concentrated effort to stop sprawl."

"Despite the promises of 2002, 'It looks like business as usual,' said Hal Tokmakian, a former Fresno County planning director and professor emeritus of planning at California State University, Fresno."

"Others contend that sprawl is a sign that Fresno's traditionally cozy relationship with developers has not changed."

"Fresno completed the development plan the same year federal authorities were wrapping up cases from Operation Rezone, which ensnared former City Council members for accepting bribes for land-use decisions. Since then, critics contend, legal money from developers -- service fees and campaign contributions -- has continued to tilt the system in their favor."

"The area covers 50 square miles, potentially expanding the city by 45% to accommodate an anticipated 60% increase in population by 2025,Yovino said.

"By contrast, Sacramento expects to vote on a development plan this year that would keep all but 1% of future growth in its existing city, said Jim McDonald, a senior planner in Sacramento. As part of a nationally recognized effort to curb sprawl, cities in the Sacramento region have agreed to limit suburban growth."

In the coming year, the city of Eugene plans to take up developers' calls to expand the local urban growth boundary to more sprawl

October 2, 2008 05:06 PM

In the pivotal, tight race in Oregon for U.S. Senate, Democrat Jeff Merkley has gone after Republican Gordon Smith for voting for George Bush's Wall Street bailout.

Here's a new Merkeley ad:

October 2, 2008 03:36 PM

Vermont progressive Senator Bernie Sanders echoed local Congressman Peter Defazio's opposition to the Wall Street bailout.

Here's his video:

October 1, 2008 11:23 AM

The U.S. Senate is considering passage today of a Wall Street bailout modified to include tax breaks for the wealthy.

The measure includes a provision to reduce the "alternative minimum tax," a tax originally designed to make sure millionaires couldn't deduct away all their taxes.

Citizens for Tax Justice, a leading non-partisan fair taxation think tank, analyzed the impact of a similar AMT elimination proposal in 2006. Here's what they found:

"The 62 percent of all taxpayers earning less than $50,000 would get virtually
nothing—an average tax reduction of $3.

The best off one percent of taxpayers, those making more than $400,000,
would get almost a quarter of the tax reductions—an average of $8,385 each.

The 1/10th of one percent of taxpayers making more than $2 million would get
tax cuts averaging $22,862 each.

The total tax reduction for the 127,000 taxpayers making in excess of $2 million
would be 13 times as large as the total tax reduction for the 85 million
taxpayers earning $50,000 or less."

Oregon's Democratic Senator Ron Wyden was listed as a supporter of the AMT tax cut for the wealthy in 2005.

According to an analysis of a similar AMT proposal by CTJ, 90 percent of the tax cut will go to the wealthiest 20 percent of Americans.

The AMT cut could appeal to conservative Republicans, but it could also increase bailout opposition among Democrats.

“With all the financial problems facing our nation, it’s bizarre that some Senators think our most pressing need is to pass still more tax cuts for the wealthy,” said Robert S.
McIntyre, director of CTJ in 2005.

September 30, 2008 05:39 PM

Local Congressman Peter DeFazio is a national leader of the progressive revolt on Capitol Hill against the $700 billion Wall Street bailout.

He explained why on the House floor:

September 25, 2008 11:24 AM

As promised, here's Jason Blair's Q&A with Tift Merritt.

A lot has been written about your voice. When were you first aware of your own voice?
The first time I remember being aware of my own voice was when I had my first apartment. I would sing all the time and play music in the middle of the night and my neighbors would bang on the wall, telling me to be quiet. And I thought, I didn’t realize I was singing that loud…

I tend to think of myself as an okay musician and a pretty good singer, but mostly it’s about [writing] the song. There’s a good discipline that comes with that: I don’t feel like I’m any sort of virtuoso. I don’t like to do acrobatics or anything fancy. I like it keep it pure and plain to serve the song. I like the kind of training and attention that makes me pay to my voice, rather than trying to get away with all sorts of fancy stuff that I probably couldn’t do anyway.

Read the rest of the interview here.

When we last saw you (during the 2005 Tambourine tour), you seemed happy, even asking the crowd to recommend a yoga center.
I did hot yoga! It kicked my ass. It was awesome.

Soon after that, you felt the need to make a break. You moved to Paris. What prompted that?
What happened was really an accident. I’ve always been a Francophile, and I love the French language. It’s so musical. I’d studied French and been to Paris, briefly, a long time ago. I’d finished my touring of Tambourine in Europe and I thought, “How indicative is it of my life that I would come to Europe and not see anything? This record is done. I don’t have to be anywhere. I’m a grown woman. I’m going to take myself to France.”

At that time I was living on the coast of North Carolina. My best friend lived next door, and I had this piano there. I kind of wanted to go home to see my piano, because when you’re on tour you don’t always have a piano close at hand. At least, the kind of touring I do. I thought if I could find an apartment with a piano in it, then I wouldn’t be lacking for anything. I Googled “Paris apartment piano.” I was drinking some wine at the time. I was laughing, but sure enough I found a whole bunch of apartments. So I rented one.

I open the door and there’s this lovely journalist who says, “I’m going to be back next week. Let’s go have beers!” I guess it was just a handful of days into the trip that I knew I wasn’t going to leave on the plane I had booked. I called home and I said, “This is where I’m supposed to be right now.” It was one of the best things I’ve ever done.

The essay you’ve written for Another Country is disarmingly personal. It hints at – but doesn’t really reveal – what might have made moving to Paris so important. Do you talk much about that period?
I would say the major symptom was fatigue from touring, the impact that touring had on my life. It wasn’t just that my laundry was dirty. It was that I was always…I had never quite toured that way. As well as Tambourine did, it wasn’t a commercial success. I hadn’t seen my friends. I didn’t really know what home was anymore. A lot of subtle things were out of focus. It added up to a really big loneliness.

Tambourine felt like a move away from alt-country towards an edgier sound, one blending rock and blues and soul. Then Tambourine won a Grammy for Country Album of the Year, and the country community reeled you in. Is Another Country a response to that?
I’m sure it was. There’s no way that it wasn’t. But it’s such a personal record that would never belittle it by saying it’s about the music industry. It’s about the feelings that I went through in that period of time where you realize that this is your life, and what you thought it would be like and the realities of it — whether you’re the postman or you live in an Econoline van — you have to reconcile those things.

Lyrically, Another Country is deeply personal. It’s also arguably your best writing to date. Were you consciously trying to write with feeling and intimacy?
It was a really unselfconscious record. I didn’t really understand what I was doing. I was really just writing for myself, so it’s so nice that it did take this step forward. I wasn’t doing anything but writing for myself. There was no audience involved. I was going through something, and trying to figure it out for myself.

I was just in France and having this really creative time. I wasn’t like, “Oh, it’s time to write a record.” It was absolutely guile-less. I wasn’t sure what came next. I tried to make room for not knowing what came next.

Do you feel like you’ve evolved as a writer?
I’m always so scared to say things like that because you can take a step backward as much as you can take a step forward. I think what I would say is that I had this amazing experience as a writer, and having that experience changed my point of view in terms of how I think I should be looking at things.

You host a monthly radio program called "The Spark," so I’m very aware I’m interviewing an interviewer.
Oh no! I’m not a journalist! (Lauging.) My brother was a journalist, and he and I had some pretty strict conversations about how I’m not a journalist. I’m not pretending to be a journalist. I’m just a student of students.

On "The Spark" you interview novelists and poets and photographers. What inspired you to do that?
It’s funny because it started in Paris. I was crossing paths very quickly with a lot of interesting people, but there wasn’t much time to get to know them, and I certainly wasn’t going to be so presumptuous as to corner them with questions about their life. I was in a museum and I turned a corner and I found myself in front of this painting that just pummeled me. It was a Cy Twombly painting called Achilles Mourns the Death of Patrolcus. It’s this very essential, primitive abstract. It’s the essence of emotion. You would never know it was a Trojan War scene at all.

Cy Twombly lives in Italy. He’s obsessed with Greek and Roman history but his work is very abstract and minimalist. I don’t why, but this painting killed me. And I was like, “That’s what I’m trying to do.” I became kind of obsessed with this guy [Twombly], and I kept trying to find things out about him, but I couldn’t find very much. I couldn’t find what his favorite food was. I couldn’t find out how his wife got the paint out of his shirt, or what time of day he liked to work. I wanted some kind of human connection.
I thought, This is so weird. This man is not just genius sprung forth from the earth. He’s a human being and he’s had ups and downs in his life. A young painter needs to be able to find something human about this man. And I thought, “I want to ask him to coffee.” And somebody said to me, “Well Tift, why don’t you do it?” Then I realized I didn’t just want to ask him to coffee; I wanted to ask him to coffee, record the conversation, ask him all the hard questions about how he lived his life, and refer back to the answers later.

And thus "The Spark" was born. (Laughing.) I’m fascinated by the process of being an artist throughout a lifetime. It’s not about a record cycle. It’s not about one movie, and one movie being successful. It’s something a lot deeper and farther away from the spotlight. I don’t know that there are enough people, for me, talking about that. So I want to go and learn for myself. Maybe I can help some other young artist along the way.

You have a college degree from a highly regarded school (UNC – Chapel Hill). What were you like in college?
I actually have Biology with lab to complete before that degree! In college, I was myself but more extreme. I lived all by myself on a farm with my dog and a piano. I met Zeke (drummer) when I was in college. We started our band and started sending out our 7-inch to anybody who would book us a gig. “Artist or die.” That was that first moment when every single band in America had a CD, and we were like, “Yeah, we’re going to make a 7-inch.” We’re going to be the only band in America that doesn’t have a CD.

Where did the name Tift come from?
It’s a family name. You know, in the South we name each other after each other for centuries. Actually, all the other Tifts are men. It’s my middle name. It’s everyone’s middle name.

Could you tell us an influence, musically or otherwise, that we might be surprised to know about?
Eudora Welty is a huge influence. Her sentences are so amazing. Writing is so much of an influence on me. I think about writing a song with economy of words — rhythm and melody are no small things — but that’s how I think about it.

And Robert Frank’s photograps, those photographs that tell a story in one punch. It’s endless but it’s so simple. I love to look at photography when I’m writing.

On "The Spark," you spoke with Nick Hornby about the “mental energy” it takes to read even positive reviews. Do you read your own reviews?
(Mock frustration.) I’m so bored by myself! I don’t want to know anything else about myself. I think it’s so horrible to see your life story in three to four sentences when you’re 33 years old. You shouldn’t do it. I’m still creating myself. There’s no bio summary to be read. You need more freedom than that.

I don’t like that boxed in feeling, so I guess my current policy is to be an okay businesswoman — don’t be an ostrich with your head in the sand — but [with] a healthy ignorance to your own biography.

What’s your favorite cocktail?
I do like a mojito. If a have two martinis, I pass out. I get really fun, then I’m angry, then I fall asleep!

You’re from North Carolina by way of Texas, but you recently moved to New York (Fall 2007). What are your impressions of New York?
I love New York City. I love that it’s where all the artists are. I don’t feel weird there. It’s such a relief.

What are you listening to right now?
I love the Fleet Foxes. I just think they’re brilliant. I saw them live and they were mind-blowingly good. They’re so fun and composed at the same time. It’s pastoral and modern at the same time. It’s just neat that it isn’t about the front man. I love that there’s a thing going on right now where you get a lot of people together and it’s not about the front man. There’s hope for us yet.

Did I see you on David Letterman recently, backing up Emmylou Harris?
You did! I love her so much. Not only is she an amazing musician, she’s the nicest person you can find. She was really sweet. At Letterman, she told everybody including David Letterman, “This is Tift and she’s going to be here next week and you better be nice to her.” It was just so sweet. I never would have imagined that.

September 17, 2008 04:56 PM

... if I could figure out how to type out the melody of "The Final Countdown," I would. But I can't, so I'll spare you. ANYWAY, you have approximately seven hours left in which to vote for the Best of Eugene. And we want your ballots. Yes, yours — and yours, and yours, and that guy over there's.

Remember, kids, if you don't vote, you don't get to complain about the direction our country's heading. Er, I mean, the businesses which take home the magical sparkly winners' certificates.

(Also remember that if you vote 18,746 times in a row, I will very possibly think unfriendly thoughts at you forever, or at least until next year.)

Your Resident Bitchy Ballot Mistress

September 17, 2008 12:34 PM

John McCain said the mistake in Vietnam was that the U.S. didn't go all out, invading and bombing north Vietnam. Historians say that could have lead to massive casualties and war with China's huge army.

A fellow Vietnam POW said McCain's an unstable hot head:

McCain has also said (joked?) he wants to bomb bomb bomb, bomb bomb Iran:

McCain's VP choice Sarah Palin, an old heartbeat from the Presidency, implied the U.S. should go to war with Russia over tiny South Ossetia:

All of this has lead many to fear a McCain/Palin armageddon. But so far Obama has shied away from calls for tough ads on the issue. Here's the famous one that worked for Lyndon Johnson during the Vietnam War:

September 12, 2008 11:41 PM

Photo by Todd Cooper

Whoever booked 31Knots to play the EC, I owe you a beer. Seriously. I'll pay up and everything. Because that was awesome. Tons of songs from Talk Like Blood, the singer layering a different outfit over the one he was initially wearing to play the last three songs, their total indifference to the spotty crowd (which grew as the show went on), the way that for once the parts being played electronically didn't seem like a cop-out (maybe because everyone in the band was so good on their own) ... yeah. I've been waiting for three or four years to see them, and it all lived up to my internal hype. And was fantastically entertaining, too.

If you weren't there, you missed out. Even though yes, as some folks were yelling, they did need to turn up the bass. And that's not a complaint I make often.

September 11, 2008 04:42 PM

I think I have a crush on Craig Ferguson now.

(For what he says, folks. Though that accent sure doesn't hurt...)

September 9, 2008 01:54 PM

Goodness. First it's the Oregon Book Awards, then it's the Booker Prize. Shortlists for both arrived today; in the words of Bookslut, "Tonight, fans of world literature symbolically lock Salman Rushdie back in a closet and inwardly dread the prospect of working through 5,000 pages of something called 'The Northern Clemency'."

Booker Shortlist
Aravind Adiga, The White Tiger
Sebastian Barry, The Secret Scripture
Amitav Ghosh, Sea of Poppies
Linda Grant, The Clothes on Their Backs
Philip Hensher, The Northern Clemency
Steve Toltz, A Fraction of the Whole

Oregon Book Awards Finalists make for a long list; see the whole thing here. But special congrats to the locals: Ehud Havazelet (Corvallis), a fiction finalist for Bearing the Body; Lauren Kessler, a creative nonfiction finalist for Dancing with Rose: Finding Life in the Land of Alzheimer's; and Cynthia Rylant, a double finalist in children's literature for Alligator Boy and Puppies and Piggies.

September 8, 2008 09:03 PM

Blogging as it goes. I'll try to turn this into something a bit more coherent in the morning!

Last season, I loved this show. This season, 24 minutes into the premiere, I'm not impressed. It's trying too hard to be exciting; it's gone the predicable place already; it's become less plausible than ever before. Two humans aren't going to escape a Terminator. Not without help. I'm already frustrated. And trying to write without spoilers, since I can't remember how to do a jump at the moment.

Also, it's remarkably unclear as to whether or not Shirley Manson's character is meant to have her Scottish accent or not. One second she does, the next it's gone, and regardless, she's a bit stiff. I hope she warms up to it. A nice appearance by Max Perlich — toward whom Buffy fans feel a bit of fondness for his role as Whistler on Angel — seems surprisingly brief, but maybe he'll be back.

Oh, political commercials: "And that's wrong." Speaking of Buffy, all I can think of is Faith in the mirror in "Who Are You?", saying, "Because it's wrong."

And I just keep telling the TV how stupid it is. The kid can't get a chip out of a Terminator's head when it's life or death, but he can hotwire a car in even less time? And yet then he dawdles when faced with the most predicable tactic?

I fail to understand these Levi's ads about unbuttoned jeans. I think it's a scam, a weird experiment on the susceptibilities of the youth of America. There's no other explanation for it. Or for Body of Lies, for that matter. How very tedious it looks.

... and just like that, the show redeems itself. Thank you, Brian Austin Green! (Words I never thought I would say.) However, the kid's total freakout - not that we know exactly what it's over - is a bit much; if they made him a bit more of a believable teenager last season, I'd buy both of his decisions in the second act a bit more thoroughly. They're piling on the push-pull between Sarah and Cameron, and the unlikely affinity John has for machines - but at the same time they're forgetting to give us enough Sarah in the show named for her. Being saved again by her ex-fiancé? The dynamic between her and the other Reese? Setting things up as they are is giving too much weight to the sulky teen, frankly.

... or not. Moments like the scene between Cameron and Sarah in the chapel are what powers the show, what gives it its exceptional heart; moments like the (not surprising, but still enjoyable) appearance of Manson in the bathroom are when it plays for the action fan's heart. The balance is totally vital, obviously.

I'd give this a B-, overall. The first half was tedious, standard action that never truly put any of the principals in danger; the second the character-driven interactions that raise the show above average. And did I mention the tiny, fraught encounter between Ellison and Cromartie? Beautiful. More of that, please. More that looks as good as the preview.

September 8, 2008 05:40 PM

And now it's Monday. Isn't it? I feel a little discombobulated. I'm pretty sure it's Monday, and I'm tired, and I keep babbling incoherently to anyone who'll listen about how much fun MFNW was. Seriously. Babble, babble, ramble, meander.

And the best part of MFNW? Les Savy Fav. Saturday night begins like the other two nights: At the Wonder Ballroom, where there is a giant freaking line that reaches all the way down Russell. I cross my fingers that the magic bulldozer passes will work as I walk up to a friendly-faced fellow who asks, "Did you have a question?" "No," I say, "I have this." I hold up the pass and he waves us in. Awesome. Even the bar line isn't as long as it has been. Not that I'm going to sit in the bar for LSF, but I've got to get through Ratatat first. Ratatat has one song I like; all their other songs sound like variations on it to me. Naturally, they play this one song last, after battering the Wonder with truly epic amounts of bass. My cell screen vibrates. The window behind me knocks in its frame. We bitch about the bass for most of the set.

And then I bid adieu for the moment to my starving boyfriend and begin swimming upstream against the tide of sweaty, exhausted-looking Ratatat fans. It's delightfully easy to get right up front, which is where you must be for Les Savy Fav. It is the vantage point from which to properly appreciate the mad genius of singer Tim Harrington, who comes out with tissue paper wrapped around one arm and a towel around his neck. He's got a weird little hat on and is explaining that he got in a car wreck. They don't have their flutist or bongos. He says. It's all very funny. And then the music starts, and Harrington is flailing and leaping into the crowd and spitting water into fans' mouths (ew!) and generally being the most entertaining performer you could hope to see. At some point, a ladder appears, and he hands it to the crowd, gesturing for them to put it on the floor. But they don't. They don't want to. And so he crowd-ladder-surfs to the lighting rig a few feet back, where he grabs a light and twists it to point downwards. Back onstage, he says, "That light was really bugging me."

That light now creates a little spotlight into which he wanders, later. They play all the right songs, except "Wake Up" and "Dishonest Don Pt. II," and I pogo and dance as best I can while pushing moshers out of my way. Dudes, c'mon now. You DANCE to this music. Seriously. Really. I've seen entire floors dancing. It's rock you dance to. It's not an oxymoron. But this weekend, Portland has two modes: standing stock still and flipping the fuck out in a dude-heavy frenzy. Two kids, one with braces, decide this is the time to take up crowd-surfing. I am not amused, but I just get out of their way.

Sweaty, sweaty, sweaty. Someone gives Harrington a fork and he combs all available hair (on his own body) with it. At one point, he yelps, "What's the difference between me and a pit bull?" The crowd responds, "Lipstick!" Harrington says, "I have human intelligence!" and tears into the next song to a weaker barrage of cheers than I expect.

For the encore, he comes out in orange thigh-high tube socks, red underwear and a hoodie, which he quickly removes as sexily as possible. The crowd is more frenzied than ever. By the time the set is done — the almost perfect set, all that booty-shaking total guitar-rock beautiful contradiction stuff tied for the best thing I've heard in ages — we're all damp and breathing like we ran here from the Crystal Ballroom. I stumble out the door and down the block and pull myself onto a stool at the BBQ pit where my boyfriend has ridden this one out, and proclaim it the best show ever, and by the way I could really use some water. The bartender overhears, obliges, and we chat for two seconds about the Les Savy Fav show being the show he most wanted to see during the festival. "I'm sorry," I say. He shrugs. "I'll get over it."

I dunno, man. That was pretty unmissable. Next time!

We opt for a quieter stop next: Horse Feathers at Holocene. I love Horse Feathers, I love Holocene, I love my delicious cocktail; I'm clearly having a Musicfest Moment. Horse Feathers are delicate and beautiful and heartbreaking and sometimes, in the instrumental-only moments, put me in mind of music that'd be used on Deadwood. I dream idly of being able to play the violin. The girl in Horse Feathers has the prettiest voice and is wearing huaraches. The singer is in the Sam Beam vein - not just that he sings gorgeous acoustic songs, but that he's a blond, bearded fellow. This is about the extent of my capability for thought at this point. This, and that I need to get my hands on the newer Horse Feathers record.

I want to see Panther, and the Shaky Hands, but I've spent a lot of time at Holocene already. We drive back to the west side, translate weird visitor parking signs so we can figure out where it's safe to leave the car overnight, and proclaim ourselves foot-bound for the rest of the night. On a whim, we trek down to Fez for Blind Pilot and have to pull magic-pass rank to get in, which is good for the band — the existence of the line of fans, I mean — and makes me feel like a dick yet again. But there's no beer on tap, the room is weird and the band is still soundchecking long after they should have gone on (this is extra weird, as everything else has, delightfully, been incredibly well-timed). We stay long enough to hear "Two Towns From Me," which is so catchy (and fantastically embellished by the handful of extra musicians onstage tonight) it spends the next 36 hours running around my head, alternating with Oxford Collapse's unexpectedly beautiful, oddly sad "A Wedding." It's a slightly unnerving pair of songs to have stuck in one's head that long.

From Fez, we head up Burnside to the Towne Lounge for Eskimo and Sons, having heard enough good things over the last few days about this about-to-go-on-hiatus band that we can't miss out. And it's fantastic. It's sing-along central with the Old Believers; it's packed; I can't even see who's doing what and I don't care. We perch on the back of a banquette and I love everything about the show, including the clubby feel. I don't know the songs, and for once it doesn't matter. They all sound familiar; they all sound perfect.

And that's it. We walk out of the Towne Lounge and down 23rd to the New Old Lompoc, where we discover too late that late-night snacks translate to a $4 Reser burrito (or fair approximation) served on a lettuce leaf. Thankfully, it comes with a side of salsa for drowning the thing in. We never leave beers unfinished, but tonight, we make an exception. Oh, the tiredness. But it's all worth it. Musicfest NW has proved to be fantastic - though I do have to wonder if it's as much fun for the non-press-pass holding folks. We would have spent a lot more time in lines were it not for that (so thanks, MFNW Powers That Be!). On the other hand, there was almost always another show I would have been happy to be seeing; the list of shows I wish I'd squeezed in includes Hot Water Music, Centro-Matic (my most sadly missed band!), Nada Surf, Menomena and Helio Sequence (though I can see both of those bands this weekend at the Eugene Celebration, so all's well there), Chris Robley and the Fear of Heights, Norfolk and Western and more I've blocked out so I won't regret not having seen them. It's a lot of a good thing, MFNW. It's so much of a good thing that I have, for the first time in months, this giddy-happy feeling about new music and seeing bands and all that good stuff it's sometimes easy to get jaded about. So thanks, you guys. I'm already excited about next year. Especially if The Thermals play. I'm just sayin'.