The Eugene City Council voted unanimously tonight to approve a grant application for a world-class skateboard park under the Washington-Jefferson viaduct.
The Eugene City Council voted unanimously tonight to approve a grant application for a world-class skateboard park under the Washington-Jefferson viaduct.
The Eugene City Council voted 7-1 to move forward with street assessments for Maple and Elmira streets.
The council left open the possibility of later voting to decrease the average $10,000 charge per home along the street by increasing the amount the city will pay for the street improvement project.
The Eugene City Council voted to reinstate the independent police auditor but censure her for â€œpoor judgmentâ€ in showing a private attorney for an alleged victim of police abuse a photograph from the police.
The photograph was of the citizen who filed the complaint against the police and then hired the attorney.
With all due respect to our state capital, it's just not all that often that I find myself feeling hugely envious of an event they've got that we don't*. It happens, for sure: The Armory gets shows that skip right over us. Truly fascinating performers get booked for the state fair. Nifty things I notice when I'm working on the Summer Guide calendar pass me by when they finally come around, and I curse myself (mildly). And sometimes, something truly unexpected catches my eye.
This weekend is one of those times. As a press release rather colorfully puts it, downtown Salem is about to "transform into a bubbling cauldron of bleeding edge independent music" as the Cherry City Music Fest takes over.
No joke. A whopping 140 bands â€” Americana, blues, classical, country, electronica, folk, hip hop, jazz, Latin, metal, pop, psychedelic, punk, reggae and rock bands â€”Â are converging on 15 venues over three days. Among the lineup you'll find new bands from former Sassiest Boy in America (no, I'm never going to stop thinking that's funny) Ian Svenonius (Chain and the Gang) and Calvin Johnson (The Hive Dwellers); Eugene locals including Eleven Eyes, Disco Organica and Halie Loren; Portland indie standouts from The Thermals ** to Horse Feathers (sharing a Friday night bill, no less) to Talkdemonic to Super XX Man; and more bands you've never heard of than you can shake a stick at.
Some bands are doing double duty on Saturday, playing the festival and then booking down to Eugene for night shows: San Francisco's Maus Haus plays at 6 pm in Salem, then at the WOW Hall later that night, while Eugene's Ingredients will hurry from a 4 pm Cherry City show to a show with the Dead Americans at Luckey's.
The festival's Web site says it has a three-part mission: to provide an opportunity for musicians, support local businesses and give proceeds to nonprofits the Mid-Valley Video Festival and Isaac's Room. I'd bet, though, that there's a fourth part that goes unlisted: to do something really, really cool that involves a shit-ton of musicians and plays mix and match with venues and styles.
Now who wants to pick this ball up and throw a similar festival in Eugene?
* Sensitive Salemites, please note: I promise you I am not dissing Salem unilaterally. I am referring solely to the specific sort of events that convince me, myself and I to get on the ol' I-5 for the bazillionth time. I've spent a lot of time on I-5. Sometimes I think I have the scenery memorized. Sometimes I really want a teleporter. Actually, very often I really want a teleporter.
** The new Thermals album, Now We Can See, just came out last Tuesday. In fact, they're playing tonight in Portland. I would like to be there. Barring that, I would like to be in Salem tomorrow night. Neither of these things is going to happen, so I'll be listening to the record on repeat until at least next Tuesday. If you like the Thermals, you'll like the record: They're not exactly reinventing the wheel, but that's why I like 'em so much. They write Thermals songs: Hutch Harris yelps conversationally, the songs bounce along smartly, the lyrics are a touch cynical and a touch hopeful and a touch political; it all adds up to something that had a very small WOW Hall audience dancing as cheerfully and enthusiastically as possible last time the band played here. How I wish they would come back. (I intend to write an actual review of this album once I've had more than, y'know, a day with it. For right now, it's just crush at first listen. It happens.)
In 2006, a little movie called Brick surprised the hell out of me. A high school noir, thick with complicated, stylized detective language, mysterious figures and femme fatales? Skepticism levels were high â€”Â and for some people, the conceit didn't work.
It was my third-favorite movie of the year â€” though to be more honest, it was one of my three or four favorite movies of the year in the sort of multiple-way tie that lists don't generally allow for. I've been waiting since then â€” or at least it feels like it's been that long â€”Â for director Rian Johnson's follow-up film, The Brothers Bloom. When first I heard of it, it was supposed to open last fall. There was a preview in the mainstream theaters and everything.
Then the release date was December. Then it was January.
Then it sort of disappeared off my radar.
Now it's set for May 29. All that date switching could be a bad thing, but I prefer to think it's just a sign that the world doesn't quite know what to do with Johnson's peculiar and charming sort of heightened-reality storytelling. This time through, he's made a film that appears to be about two brothers trying to pull that one last con on a slightly odd woman who's spent her life collecting hobbies. Mark Ruffalo and Adrien Brody are the brothers; Rachel Weisz is the mark; Rinko Kikuchi, from Babel, is the muscle.
It's a recipe I have a lot of hope for. Today, the movie's Twitter account turned up a new trailer, which, in the words of the post, is slightly similar to the old trailer. There may be some sarcasm here; it actually looks very, very similar to the old trailer, with a few new glowing quotes wedged in. It's still enough to make me cross my fingers that this time, the damn movie will actually come out. I hope.
(Want more? Here's an interview with Johnson at Film.com.)
Immediate thought upon leaving the theater after Adventureland: I want to hug that movie and everyone involved with it. I'd also like to buy them all a beer. Though that would probably be a lot of beer.
But truth is, when the movie started with The Replacements' "Bastards of Young," I was pretty sure it was getting off on the right foot. You can find the entire list of songs from the film here, though as this blogger points out, there are 41 tunes in the movie and 14 on the soundtrack, which is quite the bummer. You've got your Falco, your Poison, your Lou Reed, your Animotion, your Priest â€” and a score by Yo La Tengo. Even if the movie wasn't worth it (though it is; more on that in Thursday's paper), you could just listen to the damn thing and be happy.
Photo by Sarah Cass
Is it ballsy or lazy to list your influences as "Life & Death" on MySpace? In the case of Gliss, a band I've somehow never heard of before, I'd guess it's a little of both â€” though I don't mean laziness in a bad way, necessarily. The trio have a sound that meanders between fuzzy, shoegazer-esque Britpop and something that sounds a little like, well, the Strokes on downers, too tired, too worn out from an all-nighter to pick up the tempo.
Pitchfork says Gliss' second album, Devotion Implosion (which comes out on Tuesday), "is firmly rooted in the Siamese Dream era, when Corgan's band struck a fine balance between shoegazer insularity and American arena rock bombast," but what I've heard on MySpace seems ... actually, now that I'm thinking about it, I totally get that. "Sleep" sounds like the Beatles crossbred with Gliss' sometime tourmates Black Rebel Motorcycle Club; "29 Acts of Love" suddenly gets almost chipper, though singer Martin Klingman manages to sound enjoyably listness and half-drunk even while wrapped in poppier tones and a restless bassline. I can't decide which song makes me think most of My Bloody Valentine, but the more I listen to this band, the more I like them. There's something dreamy and surly, enticing and familiar, languid and alluring about their hazy, swirling retro-pop.
".....when GLISS play live, they all play each otherâ€™s instruments....GLISS will turn you on with their fuzzed-out guitars and krautrock rhythms......GLISS will love you back..." â€” or at least that's what they say. Gliss plays with Takeover U.K. and The Dimes at 9:30 pm Saturday, April 4, at Sam Bond's Garage. 21+ short. $5.
* "First Impressions" is my just-chosen cutesy blog name for when I want to blog about a band the first time I listen to them â€” which is to say, it's exactly what it sounds like.
Last month, I went to Portland to see And You Will Know Us By the Trail of Dead, a band I love so much that their shows start to blur together in my memory (no, I'm not exactly sure how that works, either). The ones that best stand out tend to be the ones with the most destruction (New York, early 2000s, band members taunting audience members, beer cups flying); most contact with band members (Dante's, a few years back, trying to keep singer/guitarist Conrad Keely from inadvertently falling on me); or the greatest degree of deafness afterwards (Melbourne, 2002). This particular show was definitely good, but not memorable in any of these categories. It left me wanting to see them again the next night â€” not least because of the second opening band, Funeral Party. We only caught a few FP songs; we wanted more. I ventured into the depths of the iTunes store today to snag their three-song EP, and I still want more.
The members of Funeral Party appear to be very young and possibly more energetic than any humans have any right to be. According to their bio, they "formed late one night in a park." If you listen to "Carwars," above, you may find yourself reminded somewhat of the Rapture, though with more cowbell. Live, I kept thinking of At the Drive-In with a serious love for the indie rock disco beat. I'm also reminded of a summer spent obsessed with Q + Not U, and just the tiniest bit of a really aggro Franz Ferdinand. Or a punkier Hot Hot Heat, back in the Make Up the Breakdown era. "Where Did It Go Wrong" on the other hand, begins with singer Chad Elliot drawing out his words Interpolishly.
Of course, the band's listed influences all pre-date every point of reference I've mentioned here, but that's OK; I'm thinking of all these relatively current bands because for me, Funeral Party pushes all the same buttons these bands do. (And frankly, I don't spend a ton of time listening to Brian Eno. Sorry.) The band's bio cites a "post-punk dance-craze revival" in the East L.A. neighborhoods the band hails from, and I must agree: post-punk guitars, yelping vocals and a relentless rhythmic sense that makes me want to dance. In my desk chair, even.
It's time to make this band the next big thing, folks. Get to it. And don't forget to listen to the frenzied cheer of "NYC Moves to the Sound of LA" too. That'll put a smile on your face. There are handclaps and a singalong, for chrissakes. I just wish I was listening to it live, instead of in a small room with an even smaller window. Drat.
Apparently, the easiest way to guarantee you can't think of a damn thing to blog about is to tell yourself you're going to participate in Blog Every Day April, which is exactly what it sounds like. It's Wednesday, see, which means this week's paper is done, which means my brain is fried. So it must be time for that old favorite, Internet Miscellany! Get your clickin' fingers ready!
â€¢ Apparently, the thing to joke about for this April Fool's Day (Fools' Day? Are we all fools together, or singularly?) is Twitter. At least two papers pretended they were going to Twitter-only. LiveJournal pretended it would automatically cut off each post at 140 characters. The jokes aren't the most original, but put together, they make for an interesting illustration of Twitter's current place in the cultural hivemind. (On a different topic, NPR's amused report about The Economist opening Econoland made me laugh, but I hadn't had coffee yet, so everything was funny.)
My personal favorite annual April Fool's event is the addition of something goofy to the Black Phoenix Alchemy Lab lineup. Black Phoenix, for the uninitiated, is the creator of many, many, many addictive scents (I refuse to call them perfumes, for they do not contain the ingredients that make me cough and wrinkle my nose, like most commercial perfumes do). (Also, stop me if I've told you this before.) BPAL scents are particularly intriguing to me because many of them are based on stories, on Shakespeare or myths or legends â€”Â or on books by Neil Gaiman (the Gaiman scents are extra super awesome because they benefit the Comic Book Legal Defense Fund). Or they're based on places, both real and imagined. Or paintings. Or, in the case of today's humorous holiday, velvet paintings. Last year's April Fool's scents were tiki-themed; the year before, they were based on various dogs playing poker paintings. Don't you want to smell like a Velvet Cthulu? Or a Velvet Unicorn? And if not, why not?
â€¢ This guy built Minas Tirith out of matchsticks. I can't even focus on a single game of Scrabble, some days. His attention span is clearly worthy of study.
â€¢ Writing about Monsters vs. Aliens this week reminded me of this smart blog post about Pixar's gender problem. The post is from last June, when WALL-E was released, but it's still getting new comments. Like the post's author, I love a good Pixar flick, but sometimes their gender weirdness is truly strange. I will never understand, for example, why every rat in Ratatouille was male. Yes, I'm complaining about the absence of female rats. It's a wacky world we live in.
â€¢ "Obama Depressed, Distant Since 'Battlestar Galactica' Series Finale." In classic Onion fashion, this piece manages to be a pretty sharp critique of said finale while also being worthy of a hearty LOL. Honest to the gods of Kobol, I'm still stewing over the finale â€” and amassing a hearty pile of links I want to talk about when I finally post about it. Just one more viewing of "Daybreak, Part 1" and I'll probably be able to form a post more eloquent than, "OK, so I cried. But I also ranted."
â€¢ Over at Pitchfork, the unstoppable, exceptional Amanda Fucking Palmer talks about why she wants her record label to drop her. It's a fascinating and specific look at an industry in at least at much turmoil as, oh, say, the newspaper industry? I think I've heard something about that...
Though his MySpace page lists his home as "nowhere," when last we wrote about Richard Swift he was, as writer Jeremy Ohmes put it, a mustachioed Cottage Grover. Now, he's the latest artist to premiere his new album on MySpace â€” The Atlantic Ocean (which guest-stars the likes of Ryan Adams) is streaming on his page a week ahead of its April 7 release. (You can also download "Lady Luck" at his record label's site.)
Swift's tour dates currently only have him stopping in Portland, but perhaps he'll drop in at the ol' Axe & Fiddle before long.
Update, August 2009: Sadly, Bar 201 is now for sale.
The corner of Charnelton and West Broadway just got an upgrade. Bar 201, which fills the space most recently left empty by the closing of the Moxie, is quite a charmer: a clean, urban space with quirky touches like feathery lamps and a wall tiled with green and gray squares that look, somewhat playfully, like they belong on a climbing wall. As bar manager Richard Geil said, it's reminiscent of a Pearl District spot.
We arrived early, while it was still light out, but this is a space that really comes together once it gets dark. Small hanging lamps spotlight the bar, and the feathery light fixtures that hang throughout (with one angular oddball in a corner) soften the feel of the dark, simple flooring and furniture. Behind the bar, glass shelves hold the liquor; the ubiquitous mirrors behind the bottles make the room a little bigger, though itâ€™s plenty comfortable to begin with â€” especially once you wander into the east side of the bar, where a low countertop against the wall of windows offers peoplewatching on Charnelton Street.
Two glass tubs sit midway through the liquor lineup: one holds the pineapple-habanero infusion that was popular at Bel Ami â€” where Geil and bartender Aidan Keuter previously worked â€” the other a strawberry infusion that Geil says they havenâ€™t decided what to do yet. Geilâ€™s also got a bottle of grapefruit bitters brewing, and the dark and stormy is made with house-made ginger beer. More house-made ingredients slip into other drinks, including the cranberry gastrique in the flor de baya.
My companion chose the #201, made with gin, Clear Creek pear brandy and lime, while I went for the jade gimlet, with vanilla, vodka and lemon (or was it lime?). We tried the house-made tonic (in the glass above), which currently has a fruity kick thanks to the addition of kumquats, and eventually opted for a small array of favorite cocktails, including a lovely French 75, a gorgeous Manhattan and a bright negroni. We didnâ€™t get food, but my nose twitched when the table next to us ordered from the small menu of burgers, sandwiches and salads â€” it smelled delicious. The barâ€™s happy hour, which is more of a happy evening, is worth noting; it runs from 4 pm to 7 pm daily.
Our evening started fairly quietly â€” and nicely so, with one bartenderâ€™s iPod playing Yo La Tengo in the background â€” but picked up as it grew dark out. A few other Eugene bartenders came through, along with Oakshire's Jeff Althouse and BoozeWeek's Elliot Martinez, notepad in hand. Two tables, the bartenders noted, were filled with people whoâ€™d just passed by and opted to come in. And with good reason: Bar 201 is doing pretty much everything right (though a few more bottled beer options wouldn't hurt). It's a superbly put together, appealing space; the drinks taste great; the bartenders are friendly, talented and excited about what theyâ€™re doing; and the bar's character is something a little different for Eugene. The emphasis is on cocktails, but itâ€™s not a restaurant bar; itâ€™s located downtown, at the edge of the Barmuda Triangle, but itâ€™s mellow and intimate and a little bit spare (the closest comparions that come to mind in terms of the space are Uva Wine Bar, with its slightly cozy-industrial feel, and tiny but superb bar at MarchÃ©). Bar 201 doesnâ€™t so much replace another stop in your libation rotation as give you a welcome new option â€”Â one I think I'll be taking fairly regularly.
... and while I'm speaking of new options, Albeeâ€™s N.Y. Gyros, on 11th between Lincoln and Lawrence, is a welcome addition to the list of near-to-downtown lunch options. I could do without the non-recyclable styrofoam take-out containers, but these suckers are so big they donâ€™t fit tidily into a piece of foil. Five-dollar gyros in no time at all? Yes, please. (Dear vegetarians: falafel and spanakopita are also on the menu. I plan to try them all, and soon.)
The Indigo District is (almost) dead; long live the District!
After one last dance party on April 11 (10:30 pm; black clothing preferred), the Indigo as we know it will close its doors for good â€” for a few weeks. On April 24, the remodeled District will arrive, in all its daytime-coffeeshop-having, weekend-dance-club-retaining glory. As the press release explains,
The District will cater to college students, locals enjoying Downtown Eugene and the office crowd. It will be a place to study or work, grab a cup of coffee, enjoy a meal, see a great live show, or have a few drinks. Customers will also be able to enjoy The Districtâ€™s free WiFi along with the relaxed atmosphere.
The District's coffeehouse side will be a nonprofit, with proceeds from coffee sales going to help dog owners pay for lifesaving surgery for their pups. And hey, they'll have both vegan and traditional Philly cheesesteaks. I think I see a lunch date in my future.
Interim Police Auditor Dawn Reynoldsâ€™ attorney issued a statement denying an allegation that Reynolds improperly disclosed confidential information.
Reynoldsâ€™ attorney Margaret Wilson said the interim auditorâ€™s â€œconduct was professional and entirely consistent with her public duties.â€
Wilson compared the complaint to a previous unfounded complaint against Beamud. â€œThese controversies are spawned by those opposed to civilian oversight and those who do not understand that transparency cannot be achieved if absolute and unreasoned secrecy is required.â€
â€œThe essence of this complaint goes to the heart of the public policy behind transparency and government,â€ Wilson wrote. â€œNow the community must ask itself, does the oversight system represent and serve the entire community or is it a branch of the Eugene Police Department?â€
Munir Katul, a physician who resigned three months ago after serving on the Civilian Review Board with Reynolds, also defended the interim police auditor. Katul said in an interview that the council should not have put the auditor on administrative leave before hearing from Reynolds, who is recovering this week from eye surgery. â€œItâ€™s not like a cop shooting and killing somebody,â€ Katul said of the council action. â€œI think this is ridiculous. This is implying far greater guilt for the auditor.â€
Hereâ€™s the full statement from interim Police Auditor Dawn Reynoldsâ€™ attorney:
After decades of complaints about spiraling legal costs and potential conflicts of interest, Eugene City Manager Jon Ruiz has decided to hire an in-house attorney rather than having all the cityâ€™s legal work done by a private law firm.
Ruiz announced in a press release today that Eugene will have at least one in house lawyer starting July 1 and could expand to three attorneys working as city employees. City managers have given the private law firm of Harrang Long Gary Rudnick, P.C. exclusive contracts for almost all the cityâ€™s legal work for the past three decades.
â€œRuiz made the determination that having in-house legal staff would be beneficial to the City primarily for operational reasons,â€ the press release states without explanation. â€œThe change is also expected to help accomplish budget efficiencies,â€ says the press release, which does not mention conflicts of interest.
The city spends more than $3 million a year on legal bills, according to its budget document. Harrang Long has worked for the city while also working for tobacco companies and local big businesses. City Councilors have expressed concerns that the city attorney serves the unelected city managerâ€™s interests rather than the elected city council or city as a whole.
Ruiz announced that he has selected Glenn Klein, who currently does the same job for Harrang Long, as the new city employee city attorney for his â€œessential institutional knowledge.â€
At the same time, Ruiz announced that he had extended Harrang Longâ€™s exclusive contract for all the city legal work not done in house for up to four more years.
Let's take a look at the image above, shall we?
What you see there is one burned CD, a single word written on it in fine-point Sharpie.
This is what came in a plain brown envelope earlier this week.
No bio. No track list. Not even a flimsy little slip of a cover for the poor naked CD.
Here's the thing: We get a lot of mail. While it'd be nice to be able to thoroughly research every piece of mail that arrives, there is this thing called time â€” limited amounts of it. Things that take extra time are the first things to get shoved aside until a later that often takes its own sweet time getting here.
I'm not saying you need to do a lot of work to get our attention, mind you. I'm saying that a tiny bit of information goes a long way. For example, had this plain silver CD come in a paper sleeve with a sticker with the name of the band and the album, the band's website and any relevant tour dates, it would have been a whole different item. Not an example of what not to do.
While I'm talking about the difference between useful and frustrating items, let me offer up a quick reminder about calendar and music deadlines:
Calendar submissions are due by noon on the Thursday prior to the issue in which your listing should appear. Calendar submissions should be emailed to cal at eugeneweekly dot com; the receipt of these messages cannot be confirmed due to the sheer volume of email in the calendar editor's box. If you send interesting, high-resolution photos along with your listings, they are more likely to get in the paper. Tiny, poorly Photoshopped images of you on a mountain or four dudes leaning against a wall are regarded with heavy sighs, and your SonicBids link isn't helpful if the photos there are the size of postage stamps.
The deadline for consideration for a music story is the Thursday two weeks prior to the issue in which a story would appear. This does not mean two weeks before the show, but two weeks before the relevant issue. Please be sure to include (in your email to music at eugeneweekly dot com) all the pertinent information about your show: who, where, when, price, etc. Local CD releases are a priority, but nothing is guaranteed; the space we have available for music previews is limited, unfortunately. I wish it were otherwise. (Another aspect of the limited space is that we don't run CD reviews that are not associated with an upcoming show.)
When you're sending stuff to the calendar or music editor â€” or anyone at EW, really â€” please be sure to include the basic information in the body of the email; a too-brief message with an attachment is often greeted with mild expletives.
Any questions? I would very much like to answer them.
(The amusing postscript to this story is that, against my better judgement â€” who's to say it wasn't going to contain some weird virus that, oh, eats all my email? â€” I popped the mysterious Europeans CD into the computer. It wasn't too bad.)