I was so excited to get tickets to the men's basketball game vs. UCLA last night. So very, very excited. There's something funny â€” in a good way â€” about the Pit, about the way that tickets sometimes seem to materialize. Everyone knows someone who seems to have some kind of connection, and sometimes you luck out.
Last night was one of those nights. Sure, the Ducks lost, and disappointingly, too. Sure, I think the game might have gone differently had Malik Hairston not been out with cramping (c'mon, boy! Drink the Gatorade!) for seven-plus minutes in the second half. And sure, it drove me bugfuck crazy that Kevin Love can't get called for a foul.
But nothing drove me as crazy as the fans.
I get that people are disappointed. They think that since Love is an Oregonian, since his dad (who was in attendance last night) was a Duck, the UO has some kind of right to him. I don't agree, really, and I understand why someone would pick UCLA over Oregon at this point. But this is why I'm a huge basketball fan, but not a rabid fan, I guess. I booed Love once or twice, when I got frustrated with the calls, and I sort of chuckled at the dramatic turning of the fans' backs. That stuff is a little mean, but mostly low-key, mostly funny.
Then there's the stuff that isn't. The bullshit playground antics from second grade. I love the volume of the Pit Crew; I love the chanting for Aaron Brooks and Dennis Dixon and even Adrian Stelly. It warmed my little heart, and I hoped for two seconds that Brooks would be a magical charm against the Bruins. But I was horrified and embarrassed to be a Duck fan when I suddenly realized that the student section was chanting "Love's a faggot."
Words fail me. It wasn't much of an improvement when the chant changed to "Love's a pussy." (I can laugh at "Love's a bitch," though. The purposeful misuse of established phrases is kind of funny. And every so often it was impossible to tell whether the chant was "Go Ducks" or "Love sucks.") Eventually, the band started to play, and I hope it was on purpose, to drown the chanting out.
I wish there was some action available to the officials in that situation. I wish Kent would take the matter in hand somehow. (Not that the lost-so-much-respect-for-Kent fans would care much.) I wish someone in a position of power would or could do something to stop that nonsense, to stop the fans from posting Love's cell number online, to stop people from screaming in Stan Love's face. Carry signs, boo the players, whatever, but just retain a tiny, tiny bit of class and humanity.
I love basketball, but I abhor the aggressive, offensive attitude that comes along with certain parts of sports fandom.
And frankly? After last night I have even more respect for Oregon's players, who didn't seem to acknowledge any of the yelling, and, honestly, for Kevin Love, who was as calm with reporters after the game as he was on the court. I don't care for the Bruins in the least, and I really didn't care for some of the calls last night, but that was a lot for one kid to take.
(On a random and smaller note, I'd like to suggest that someone tell the Mac Court staff that the way to get the crowd to stop sitting on the back of the last row of seats â€” which, yes, is where my cruddy camphone pic was taken â€” is NOT by tapping people on the ass.)
(On a really random note, can anyone explain the Duck mascot's little routine with the wading pool and the scrub brush?)
My fellow movie critic Jason Blair, who doesn't have a blog of his own yet, sent this over this morning and it just cried out, "Blog fodder! I am blog fodder!" So here you go:
I was looking up Terry Gilliam recently, who used to be one of my favorite directors, before his bad lack turned truly awful. The Man Who Killed Don Quixote, which starred (momentarily) Johnny Depp, was never released for a myriad of reasons, although Lost in La Mancha, a fine documentary, did result. Then, still not recovered from Quixote, Gilliam tried to make the dark fantasy The Brothers Grimm, which was plenty dark but far from fantastic. He somehow convinced Jeff Bridges to star in Tideland in 2005, which made so little money domestically ($66,000) that Rotten Tomatoes lists its total box office as $0.
His latest picture, meant to be a return to form, is/was called The Imaginarium of Dr Parnassus. Early word said it was a return to the wildly anarchic form of his earlier works. Heath Ledger was part of the reason for hope. But although Ledger wasn't playing a primary, role, his passing leaves Gilliam in place with which he's familiar: a promising but half-finished project which, if it sees the light of day, will be vastly different than what he intended. "Gilliam's luck" should be an idiom at this point. The Seattle Post-Intelligencer's blog offers a short chronology.
Will the deepening nationwide credit crisis torpedo the UO basketball arena?
The UO has proposed borrowing $200 million for the new arena through the bond market. But the New York Times reported today that the weakened condition of two large bond insurers has become a "potential time bomb" for such borrowing.
The bond insurers have reportedly lost billions by mixing themselves up in backing risky subprime mortgages. Without sound insurers for bond issues like the UO's $200 million, investors may not be willing to buy the UO's debt at affordable rates.
The Times reports: "The insurersâ€™ problems are also spilling over into the municipal bond market, making it harder for cities, counties and states to raise money for projects."
I always mange to forget it's Oscar nominations day until I see one of my usual morning reads (i.e. blogs) mention something about it, then bolt immediately to the Oscars site to see what the hell is going on. This year, well, frankly I just need to see a lot of movies. But naturally I have opinions even about the things I haven't seen. So here are my thoughts at present. A bit off the top of my head, sure, but we'll come back to this. Probably. (Confession: I took the short film nominations out of this list, at least for the time being.)
For those keeping track, the bleak male-driven films got eight nominations apiece; the less bleak Atonement and Juno seven.
Performance by an actor in a leading role
George Clooney in Michael Clayton
Daniel Day-Lewis in There Will Be Blood
Johnny Depp in Sweeney Todd The Demon Barber of Fleet Street
Tommy Lee Jones in In the Valley of Elah
Viggo Mortensen in Eastern Promises
â€¢ I've only seen two of these, but given a choice between Depp and Viggo, well, honestly I'm not so sure Depp should be in this lineup. I'd like to replace him with James McAvoy's understated, affecting turn in Atonement, really.
Performance by an actor in a supporting role
Casey Affleck in The Assassination of Jesse James by the Coward Robert Ford
Javier Bardem in No Country for Old Men
Philip Seymour Hoffman in Charlie Wilson's War
Hal Holbrook in Into the Wild
Tom Wilkinson in Michael Clayton
â€¢ I'm just not on the Hal Holbrook bandwagon. He was good, and effective, and one of the best things about that film, but ... I still don't think this is his award. But I've not yet seen enough of the nominees to have an opinion on it otherwise.
Performance by an actress in a leading role
Cate Blanchett in Elizabeth: The Golden Age
Julie Christie in Away from Her
Marion Cotillard in La Vie en Rose
Laura Linney in The Savages
Ellen Page in Juno
â€¢ What I find interesting and, honestly, rather depressing about this list is that while some of the roles are good, few of the movies are otherwise recognized. I'm not sure what that means, but it seems in keeping with this year's trends; the "big" movies are extremely male-driven and the non-girlfriend parts for women are ... in films that are perceived to be smaller and often less attention-worthy. (More on this is percolating in my head.) I adore Laura Linney, but her role in The Savages, though she's quite good, isn't anything new for her; it's a lovely performance, but there ought to be something braver in this category (not on Linney's part, but on the Academy's). What there really ought to be here is a nomination for Keri Russell for Waitress. No, I'm absolutely not kidding.
Performance by an actress in a supporting role
Cate Blanchett in I'm Not There
Ruby Dee in American Gangster
Saoirse Ronan in Atonement
Amy Ryan in Gone Baby Gone
Tilda Swinton in Michael Clayton
â€¢ Just give this one to Cate Blanchett already. I'm sure the other actresses are fantastic â€” and I know Saoirse Ronan ought to be cast in, well, everything in the future â€” but Blanchett absolutely electrified I'm Not There (and yes, there's sort of a play on words in that sentence somewhere).
Best animated feature film of the year
Persepolis: Marjane Satrapi and Vincent Paronnaud
Ratatouille: Brad Bird
Surf's Up: Ash Brannon and Chris Buck
â€¢ Dear Academy: You will not be forgiven for nominating Surf's Up and not Paprika. Do you hear me? (That said, I'm excited to see Persepolis, but can it stand against the popularity of Ratatouille? I think the rat movie is so good it might have deserved a Best Picture nomination.)
Achievement in art direction
American Gangster: Art Direction: Arthur Max; Set Decoration: Beth A. Rubino
Atonement: Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
The Golden Compass: Art Direction: Dennis Gassner; Set Decoration: Anna Pinnock
Sweeney Todd The Demon Barber of Fleet Street: Art Direction: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
There Will Be Blood: Art Direction: Jack Fisk; Set Decoration: Jim Erickson
â€¢ Buncha gorgeous movies, here. I think this will go how the bigger awards go, meaning it'll be Atonement or There Will Be Blood, but the opposite could be true. And regardless of its many other flaws, The Golden Compass did have some truly beautiful stuff going on.
Achievement in cinematography
The Assassination of Jesse James by the Coward Robert Ford: Roger Deakins
Atonement: Seamus McGarvey
The Diving Bell and the Butterfly: Janusz Kaminski
No Country for Old Men: Roger Deakins
There Will Be Blood: Robert Elswit
â€¢ It'd be interesting to look up how often one cinematographer gets nominated for two films in the same year, as the talented Roger Deakins is here. Kaminski might take this one, though, for the striking effectiveness of The Diving Bell and the Butterfly.
Achievement in costume design
Across the Universe: Albert Wolsky
Atonement: Jacqueline Durran
Elizabeth: The Golden Age: Alexandra Byrne
La Vie en Rose: Marit Allen
Sweeney Todd The Demon Barber of Fleet Street, Colleen Atwood
â€¢ Without even having seen it, I'm certain there are some stellar costumes in Elizabeth. But oh, the dresses and gowns of Atonement! It would be interesting to see the award go to something more subtle and less ... costumey that it often does. But the bleak, tattered garb of Sweeney and Mrs. Lovett and the uptight clothing of Judge Turpin is also pretty grand in Sweeney Todd. Tough call.
Achievement in directing
The Diving Bell and the Butterfly, Julian Schnabel
Juno, Jason Reitman
Michael Clayton, Tony Gilroy
No Country for Old Men, Joel Coen and Ethan Coen
There Will Be Blood, Paul Thomas Anderson
â€¢ Ouch. Totally unpickable. Notable, though, that there's no nomination for Atonement's Joe Wright, and I wonder if that bodes poorly for his film. I'd love Best Picture and Best Director to go in different directions, though, for fun. Jason Reitman and Tony Gilroy probably don't need to write speech notes, but the rest of these guys (and of course they're guys) might want to be prepared.
Best documentary feature
No End in Sight: A Representational Pictures Production: Charles Ferguson and Audrey Marrs
Operation Homecoming: Writing the Wartime Experience: A Documentary Group Production: Richard E. Robbins
Sicko: A Dog Eat Dog Films Production: Michael Moore and Meghan O'Hara
Taxi to the Dark Side: An X-Ray Production: Alex Gibney and Eva Orner
War/Dance: A Shine Global and Fine Films Production: Andrea Nix Fine and Sean Fine
â€¢ I've only seen one of these, and I really want it to win: No End in Sight! No End in Sight! Of course, I also want to see the rest of 'em.
Achievement in film editing
The Bourne Ultimatum: Christopher Rouse
The Diving Bell and the Butterfly: Juliette Welfling
Into the Wild: Jay Cassidy
No Country for Old Men: Roderick Jaynes
There Will Be Blood: Dylan Tichenor
â€¢ Based on what I've seen, I'd guess Diving Bell, for the tiny hitches and jumps that are so effective in putting the viewer into the perspective of its subject.
Best foreign language film of the year
The Counterfeiters, Austria
â€¢ Well, this is interesting. I haven't seen â€” or even really heard of â€” any of 'em. The Academy has some weird rules about what's eligible for this category, which is, I'd guess, why Persepolis and Diving Bell (and Lust, Caution) aren't included.
Achievement in makeup
La Vie en Rose, Didier Lavergne and Jan Archibald
Norbit, Rick Baker and Kazuhiro Tsuji
Pirates of the Caribbean: At World's End, Ve Neill and Martin Samuel
â€¢ Rick Baker wins a lot of awards, but I really hope I never have to hear the phrase, "the Oscar-winning Norbit."
Achievement in music written for motion pictures (Original score)
Atonement, Dario Marianelli
The Kite Runner, Alberto Iglesias
Michael Clayton, James Newton Howard
Ratatouille, Michael Giacchino
3:10 to Yuma, Marco Beltrami
â€¢ It's too bad Johnny Greenwood's There Will Be Blood score was deemed ineligible, simply because I like it when pop music and the Oscars meet. But though it wasn't to my taste, I think Atonement might take this one. Be interesting, though, for an animated film to win a score rather than song award.
Achievement in music written for motion pictures (Original song)
"Falling Slowly" from Once, Music and Lyric by Glen Hansard and Marketa Irglova
"Happy Working Song" from Enchanted, Music by Alan Menken; Lyric by Stephen Schwartz
"Raise It Up" from August Rush, Nominees to be determined
"So Close" from Enchanted, Music by Alan Menken; Lyric by Stephen Schwartz
"That's How You Know" from Enchanted, Music by Alan Menken; Lyric by Stephen Schwartz
â€¢ More than anything, I want "Falling Slowly" to win. But it's up against the Menken/Schwartz juggernaut, which bodes poorly. Still, a girl can dream that the Enchanted votes will cancel each other out and the beautiful song from Once will win that indescribably deserving film its lone Oscar.
Best motion picture of the year
No Country for Old Men
There Will Be Blood
â€¢ I'm just going to throw out there that I don't think Juno has the proverbial snowball's chance of hell here. But beyond that ... well, until I see the rest of 'em, I'll be in my corner rooting for Atonement.
Achievement in sound editing
The Bourne Ultimatum: Karen Baker Landers and Per Hallberg
No Country for Old Men: Skip Lievsay
Ratatouille: Randy Thom and Michael Silvers
There Will Be Blood: Matthew Wood
Transformers: Ethan Van der Ryn and Mike Hopkins Achievement in sound mixing
The Bourne Ultimatum: Scott Millan, David Parker and Kirk Francis
No Country for Old Men): Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland
Ratatouille: Randy Thom, Michael Semanick and Doc Kane
3:10 to Yuma: Paul Massey, David Giammarco and Jim Stuebe
Transformers: Kevin O'Connell, Greg P. Russell and Peter J. Devlin
â€¢ Sound categories: often hard to get as excited about as some of the others. Given what I've heard about There Will Be Blood, I wouldn't be surprised to see it take the first of these two.
Achievement in visual effects
The Golden Compass: Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood
Pirates of the Caribbean: At World's End: John Knoll, Hal Hickel, Charles Gibson and John Frazier
Transformers: Scott Farrar, Scott Benza, Russell Earl and John Frazier
â€¢ Tough call between the latter two. While some of the effects were stunning, I just don't think Compass' sometimes-fake-looking daemons are going to win the day here.
Atonement, Screenplay by Christopher Hampton
Away from Her, Written by Sarah Polley
The Diving Bell and the Butterfly, Screenplay by Ronald Harwood
No Country for Old Men, Written for the screen by Joel Coen & Ethan Coen
There Will Be Blood, written for the screen by Paul Thomas Anderson
Juno, Written by Diablo Cody
Lars and the Real Girl, Written by Nancy Oliver
Michael Clayton, Written by Tony Gilroy
Ratatouille, Screenplay by Brad Bird; Story by Jan Pinkava, Jim Capobianco, Brad Bird
The Savages, Written by Tamara Jenkins
â€¢ Confession: I want Juno to win because Diablo Cody is kind of awesome. Barring that, Ratatouille, because it deserves lots and lots and lots of awards despite falling into a few typical Disney traps.
Did I mention I've got a lot of moviewatching to do?
I love Augurie. But very shortly, that sentence will become past tense: after less than a year in business, owner Dagua Webb Nelson is closing up shop â€” and soon. The space will be taken over by neighboring salon Rapunzel, which is cool enough, but it's not a store full of cute cards and dresses I dream of being able to wear. Still, I understand. We stopped in on the way back from a coffee run today 'cause there were sale signs all over the place and wound up getting the news of the impending close along with Sugar Lips goodies and beautiful letterpress cards at half-price. One less awesome store for Eugene, sure, but Webb Nelson seems relaxed and happy about her decision. Even if it takes her and her lovely aesthetic out of town, that's something to be happy about.
(I'm at work on a holiday and looking for the positives, OK?)
Warning: This page is only interesting to those who are interested in the peculiarities of the internet age.
I'm not ashamed to admit that I Google myself. Mostly, it's just to see if anyone has linked to or otherwise noticed anything I've written in the paper; I'm a nosy girl and I'm always looking for feedback. I also have a relatively unusual name.
Or at least I did have a relatively unusual name.
Until recently, most of the results were me, me in a prior incarnation (i.e. unrelated to work here), a few totally random things and a few genealogy sites. But recently, the number of hits shot up, and I started to notice a common username among them: mememolly.
Like I said, I'm a nosy girl. So I went poking around. One of my favorites was a Google result that led to a YouTube page in Chinese that wasn't what the link suggested it pointed at; the link said, "hey guys i have found a certain "molly templeton " who gets paid for doing book reviews now i dont know if its her but just put molly templeton into google ..."
Safe to say that whichever Molly Templeton they were looking for, it wasn't me. It was, I think, this girl. Who also has a resistance directed toward her. Interestingly, there are five Molly Templetons on MySpace who are not me, and it looks rather like all of them are the other one, though the ages vary from 14 to 29.
So let this simply stand as the differentiation page. I am not that Molly. I am my own Molly. But I bet the other one's cool, too.
So I've come to the conclusion that this year (and I bet I said this to myself last time, too), I will listen to what the presidential candidates say, I will listen to what (non-insane) commentators say about them, but I will not, under any circumstances, listen to what they say about each other. I'm just not interested in that aspect. And I don't care who's the prettiest or the emo-est or the toughest or the sensitivest or the ... OK, stopping now, because it's irrelevant to this post and I can't hang my entire unfair distrust of one particular candidate on one very Bushlike quote.
ANYWAY, see, to my very Democrat mind, none of this idealistic claptrap (hey, I'm only insulting myself) applies to the Republicans. I will watch them tear each other apart. Particularly if they're tearing into Giuliani, with whom this once-and-future New Yorker (you can take the girl out of the city, but ... ) has several issues. And thus, I get a lot of giggles out of this: The GOP Primary Field in Buffy Villains.
Mitt Romney is SO the Mayor it's ... really quite funny.
For more pop culture references â€” though this one's a bit less on purpose â€” to current politicians, please see Warren Ellis' Transmetropolitan, the comic that made me fall in love with comics, and its creepy, grinning nasty bastard The Smiler. And you tell me who YOU think he looks like. Also, just read the books. Frankly, I think I'm due for a total read-through.
(In all fairness, it was Ellis himself who pointed out the resemblance. What? Don't you follow the many online existences of your favorite comic book heroes?)
"For two days the evil host, under the brutal licorice fist of the Witch King of Angmar has bombarded the ancient city with stone and fire."
"This is the Tower of Ecthelion. If a candy tower could be measured in units of pimpness, this candy tower would be off the fucking charts. And if that wasnâ€™t pimp enough, in front you can clearly see the White Tree of Gondor, which I made out of white chocolate pretzels. Give me my Nobel Prize now, thankyouverymuch."
I'm not linking a pic here because it would be totes uncool of me to hotlink this artiste's work and steal his bandwidth, but this is really something you ought to see for yourself. Licorice battering rams! Gummy bears! Circus peanuts for elephants! Awesome.
Eugene Mayor Kitty Piercy delivered her 2008 State of the City address in the Hult Center lobby on Monday night, January 7 to a large crowd.
Here's the last part of Mayor Piercy's speech summarizing her goals for the year as a slide show with audio:
Here's the text of the full speech:
Good evening everyone and thank you for joining us here in our beautiful Hult Center for the Performing Arts. Let me take this opportunity to thank our citizens, our council and our staff for all their efforts in 2007 to keep Eugene such a great place to call home.
Like many of you, I start off most days by listening to the radio, reading the newspaper and checking the web.
Like you, I am acutely aware of the ever-rising death toll in Iraq, the ever-rising temperature of the earth, the fretful American economy and the resulting financial challenges we face at home.
And, I am more committed than ever to doing everything we can to work for peace and justice, to reduce our impact on global warming, to keep our economy strong, and to provide the services our community expects. I believe absolutely in the power we have individually and collectively to make change, influence policy and set the direction for the future. Cities are where it all happens; where people live, work, raise families, and establish roots. Eugene is our city and our home. It is a reflection of our values and how we want this world to be.
A lot of our work occurs at the City Council table, through advocacy groups, on committees and commissions, and in our neighborhoods. Our energy and passion for civic engagement is a tremendous community asset, allowing us to address more issues in greater depth.
Essential to our civic engagement are our neighborhood associations. I am impressed with the ever more active and successful role they are taking to bring forward community perspectives and expertise, whether it's on mixed-use development, infill and neighborhood livability, safer parks, railroad pollution, response to traffic fatalities, or protecting headwaters.
Civic engagement almost always comes with differences of opinion and the issues we face are often thorny. To me, the important thing is to work together - to find points of common agreement so that we can move forward as a community. Some recent examples of successful community cooperation are the Mayor's Sustainable Business Initiative and the West Eugene Collaborative.
The Sustainable Business Initiative brought together a very broad-based group of people with economic, social and environmental expertise, to make recommendations on how the City of Eugene could support and encourage the growth of businesses that produce sustainable products such as alternative energy, alternative fuel, green building, recycling, alternative transportation and health care, natural foods and products. The task force was also charged with making recommendations that would support and encourage all businesses to use sustainable practices that reflect the triple bottom line of protecting our natural resources, building social equity and ensuring economic well-being. Their 22 recommendations, supported by the entire task force and adopted by our City Council, included establishing an Office of Sustainability and a Sustainability Commission. Both the office and commission are now firmly in place.
Then, there was the decades-long, acrimonious debate over the West Eugene Parkway. It was clear that the funding for this project was simply not there and that federal approval was likely never to occur. I asked business owners, environmentalists, neighbors, agencies, and elected officials to join together to start afresh and come up with do-able solutions for the vexing West Eugene traffic and transportation problems. They responded by forming the West Eugene Collaborative. We are working together to make recommendations on how local governing bodies can solve the longstanding traffic and transportation challenges in West Eugene while protecting our biologically rich wetlands.
Another one of our city's current issues is the reinvigoration of downtown. We've had differences of opinion on how best to accomplish this and an election on one proposed course of action is now behind us. It is time to bridge our differences and form a plan that the whole community will support. I urge all those involved and interested in the future of our downtown to work for common ground. We can take the energy and continued commitment of the Citizens for Public Accountability, Chamber of Commerce, and hundreds of other community members and, together, bring life to our downtown, the heart of our city. The valuable work of West Broadway Advisory Committee can help inform the discussion. It is within our reach.
One of the reasons I am so optimistic about our downtown is that much of it is already doing well. Fifth Street, East Broadway and most of Oak, Charnelton, Pearl, Willamette and Olive are busy and full. The Beam redevelopment of Center Court and the Washburn Building is on the table. We have new businesses on Broadway and Enterprise is moving into the refurbished "Bon Marche" building. KLCC is moving in just a block away on 8th Avenue and Oregon Research Institute has a renewed interest in establishing a presence in downtown.
Yes, we do have those two pits and empty storefronts - and lots of visitors coming to town. In the short run, we can focus public safety efforts on our problem blocks, address rundown storefronts, tweak codes, increase cultural and recreational activities in the area, and look at parking restrictions. I intend to walk into each business in that two-block area to either thank them for looking good or to see how improvements can be made. This is something we must take on together.
Those short-term fixes will help keep the momentum going and build a base for a wide-range of exciting possibilities. We need to put the two problem blocks in the context of our entire downtown: opportunities for a new city hall, expansion of The Shedd, the development of a new Courthouse area, Franklin Boulevard improvements and, with EWEB's anticipated move, new connections to the river. Let's roll up our sleeves and keep going.
I am proud of the many services and amenities the City provides: our parks, open spaces and bike paths in every part of the community, and our stewardship of valuable natural resources. Most recently, we were the first city in Oregon to receive Forest Legacy funding in order to preserve 25 acres of Oak habitat at Wild Iris Ridge. That's a great accomplishment!
It is our wealth of arts and outdoors assets that makes this community so special and this year offers an exceptional opportunity to highlight both.
In September, we celebrated the 25th Anniversary of this beautiful facility and offered 5,443 free admissions to a variety of events. Our beloved library, which has quickly become a cornerstone of our downtown, just celebrated its 5th birthday. Over 3,000 people participated in a Cultural Policy Review and the council has adopted strategies that will strengthen both our city's and community's cultural offerings and our commitment to the arts. Galleries are thriving - and not just on First Fridays - and local musicians and performers provide a diverse range of entertainment in unique local venues.
We took pride in the achievements of the University of Oregon and the Ducks as they gained national attention and acclaim for Eugene (even that pugnacious mascot). The University logged permits for more than $43 million in building projects in Eugene this year. And a hard working coalition not only brought the 2008 Olympic Track & Field Trials back to Hayward Field, re-establishing our reputation as Track Town USA, but Eugene has also been chosen to host the US national track championships in 2009 and 2011 and the 2012 Olympic Track & Field Trials. The huge community engagement efforts in planning for the Olympic Trials, the events leading up to them and the strategies to engage our young people were instrumental to ensuring that Eugene is Track Town USA - Forever.
I want to give special thanks to our interim city manager Angel Jones for her key role in this success. I also want to thank all our partners in the coalition that is doing a wonderful job of working together to maximize this opportunity for our community - the University of Oregon, the City of Springfield, the Convention and Visitors Association, Lane County, the State of Oregon, the Oregon Track Club along with Lane Transit District, the Chambers of Commerce and numerous businesses and hundreds of volunteers. With all the visitors and exposure, and the Eugene 08 Festival that is free and open to everyone, this will be the most exciting, fun event ever in Eugene and I encourage you all to get involved, support it and enjoy it. Go to Eugene08.com to learn how.
On another front, Eugene continues to address the critical need for affordable and low-income housing. The most recent project is nearing completion in our downtown: WestTown on 8th, with its new innovative work/live units. Eugene adopted a stronger manufactured home ordinance to protect owners of this important affordable housing stock. We provided funds for shelter and transportation for the homeless and the Mayor's Blue Ribbon Committee on Homelessness has been working hard on how we can provide services and reduce the numbers of those who are homeless or face the threat of homelessness. A one-day Project Homeless Connect event in February provided services and connections for over a thousand of the area's homeless and a second one is scheduled for next month. Staff, social services, governing bodies, and hundreds of volunteers and donations make this event meaningful on every level.
In July, our independent police auditor, Cris Beamud, officially opened her doors downtown and the Civilian Review Board is in place, working on complaints. Both have become an important part of ensuring justice in our community.
Police staffing needs remain an issue before us and that problem is compounded by the inadequate funding of Lane County's prevention, intervention and treatment services, jail beds, legal, and judicial processes. While Eugeneans are committed to community policing, the county public safety system itself is broken. We will have to be very strategic in our prioritizations in order to effectively address this critical issue.
Loss of federal, state and county road repair dollars also continues to plague us and our pothole backlog grows. At my request, the council worked together to bring very diverse perspectives to the table and develop a funding package that included a gas tax increase. Although the tax increase did not survive the last election, we understand the growing need and will keep working on finding solutions that the community will support.
No look at local issues is complete without some mention of the hospital saga. While neither the council nor I can legally comment on the location proposed by McKenzie-Willamette in north Eugene, I can reiterate my strong support for the presence of two full-service hospitals in our metropolitan area, which will ensure healthy competition and breadth of services. McKenzie-Willamette should be in Eugene where it can effectively provide health care for our community, support our tax base and where, if needed, we can have some influence on significant health care policies.
I am proud of our continued efforts to guarantee the right and access to services for all our community members, regardless of race, age, gender, sexual orientation, abilities, beliefs, or income. We want this community to be a comfortable place for everyone to live, work and raise their families, where differences are respected and thought of as a valued part of the fabric of a strong community. It hurt last year when our city experienced repeated incidents of hate speech and the defacing of important religious objects. Our community will stand united against such behavior, and defend the rights of all its members.
Same sex couples still pursue the same legal rights as married couples; clearly the day has come to end all forms of discrimination based on sexual orientation. As you are probably aware, an opportunity to take one more step in achieving this goal of equality was recently frustrated when a new domestic partnership law was postponed by the courts. Despite these setbacks, however, we must continue to be vigilant in pursuing equal rights for all.
Differences of opinion about immigration issues can fuel bigotry and hatred; we need to remind ourselves that our community and our nation were built by indigenous peoples and immigrants, and that all human beings deserve respect.
The social justice triumphs and defeats of this last year have increased my resolve to continue working on becoming an official Human Rights City, one that embraces human rights in every decision we make. If there's any place in America that can do this, it is certainly here.
Eugene has a commitment to being the most sustainable community possible. We know that with finite resources and growing climate change challenges, we must scale up this commitment as a matter of both City policy and in the consciousness and actions of the larger community.
This past year, we hired the City's first sustainability manager and the members of the new Sustainability Commission have now been appointed. We will update our community greenhouse gas inventory in April. We know that over the last eight years, through the purchase of hybrids and biodiesel, City government has decreased its CO2 emissions by 10%. The methane we capture at our wastewater plant provides half the power it needs. Through LED lighting, recycling, wind power purchase, bus passes, bike programs, e-communications, and a whole range of other strategies,
Eugene has taken strides toward carbon neutrality and zero waste. We still have a long way to go. Large reductions in building and transportation emissions are the only way we can seriously impact climate change.
I have enjoyed working hand in hand with mayors across this country (now over 800) in support of the U.S. Mayor's Climate Protection Agreement, using our mutual power to push for changes at the Congressional level. While the situation we face as a planet is serious, I see major cities such as New York, Los Angeles and Chicago combining their purchasing powers for green solutions and to create green jobs at home - jobs that help put sustainable practices in place, are built on social equity, and pay well.
In Oregon, Governor Kulongoski has embraced sustainable jobs and practices as the basis for Oregon's economy, much as we have been doing here. He hopes that Oregon can offer leadership on a number of fronts and I want Eugene to be a significant part of this work. It is no coincidence that Sequential BioFuels is located here, and that the largest solar panel display in the state is on one of our industrial roofs.
The governor has also required every state department including ODOT to do their part to reduce carbon emissions. As we approach all new regional planning efforts in transportation and land use, the state requirements give me hope. Necessity is the mother of invention and may help ODOT respond to climate change and finite resources, allowing it to be more creative and energy-conscious, rather than simply laying more roads.
The challenges are great and so are the possibilities.
I know 2008 will be a very challenging year at every level. We must continue to build on the momentum we have to address the major issues nationally and locally. We have the talent, the heart and the chutzpah. We are, after all, Eugene.
Thus, my to-do list for 2008 includes the following goals:
-- Eugene leads in sustainable practices and supports the growth of sustainable businesses as a key to strengthening our economy;
-- Eugene continues to implement the Sustainable Business Initiative recommendations, moving toward carbon neutrality and zero waste;
-- Eugene develops a climate protection strategic plan;
-- The West Eugene Collaborative (WEC) completes its recommendations for addressing traffic and transportation issues in west Eugene;
-- Eugene reviews the recommendations of the Blue Ribbon Committee on Homelessness and effective goals and strategies are adopted;
--We collaborate and successfully plan for downtown, increasing the pace of reinvigoration of West Broadway;
-- Eugene addresses its neighborhood pothole backlog;
-- Eugene advances the Cultural Policy Review's strategies to increase support for arts and culture;
-- Eugene and our partners host a hugely successful and green Olympic Track & Field Trials;
-- Eugene considers an independent auditor for the City of Eugene;
-- McKenzie-Willamette Hospital locates in Eugene;
-- Our new city manager is on the job and is exceptional;
-- Eugene adopts a youth advisory board respecting the voices, talents and needs of our young people;
-- Eugene and its partners collaborate on the protection and restoration of the Amazon Creek basin and headwaters and build upon the success of the wetlands with the creation of the Environmental Education Center; and
-- Eugene moves toward becoming an official Human Rights City.
My comments tonight and the goals I outlined have focused on the main issues of the day and on who we are as a community. I could go on for hours!
I know we can successfully bring people together to work on our most difficult and challenging issues. We must keep the proverbial "pedal to the metal" so we can hold on to what is wonderful about this place we call home. Our future depends on it.
The world is flat, right, we all know that. The world is also very small. The latest example of that is this: I have a good friend in Brooklyn who has a pretty expert grasp on my taste in, well, most things, or at the very least books, movies and music. We don't always agree (that would get boring!) but when we disagree, it's usually for a reason that's worth discussing (with the exceptions of those times when Toby just kind of nods, folds his arms in a friendly way and says, "Hrm" in a tone that simultaneously expresses bafflement and shows it's non-judgemental bafflement).
The thing about having a friend with a really good grasp on your taste is that, should that friend be inclined to gift-giving, they give you really good gifts. My birthday/Giftmas package this year included a book that'd been recently written up in the Portland Mercury and thus caught my attention, and a CD by a band I'd never heard of before: The Narrator. "Hrm," I thought. "It's on Flameshovel, and so was that Bound Stems album I effing loved last year. Toby must be on to something."
At first, I was a little skeptical. Angular boy rock, woohoo! (This is said with both love and a tiny bit of wink-nudge derision.) But then I got to the track that only has two lines, which I heard as, "All the tired horses in the sun / How'm I s'posed to get any writing done?"
You smartypants readers already know this is a Bob Dylan cover, and that it actually says "ridin'," not "writing." But I didn't know that (until just now, actually). I heard "writing." Awesome. Sold. You win, The Narrator! You win with a cover I didn't even know was a cover, because of the approximately 7,392 Bob Dylan albums on our CD wall, I've never pulled down Self-Portrait.
It wasn't just this that made me finally fall for the album; it was the half-finished sound of the vocals, which fall somewhere between melodic talking, the occasional singalong and a few grumpy shouts; it was the way the record sounds like a Chicago band record (even though the Flameshovel website is quick to point out that none of the band members are actually from Chicago); it was the way the melodies wove and tumbled. It was a lot of those things that are hard to put into words, especially when you're at a desk and the damn CD is in the car.
So what does this have to do with it being a small world? Simple: the first thing I did, when I got this CD, was look at the band members' names. Why? I dunno. It sounded like a band an ex-roommate of Toby's would be in, even though said ex-roommate is in a totally different band. For whatever reason, I looked. And who should turn up in the liner notes but EW's newest music freelancer, Jeremy Ohmes, who plays keyboards on a few songs.
â€¢ The Absolutely True Diary of a Part-Time Indian
by Sherman Alexie of Seattle, WA (Little, Brown Books for Young Readers)
Alexie's book has already won the National Book Award for Young People's Literature and looks like at least an honor book, if not the winner, for the American Library Association's Printz Award. Suzi Steffen reviewed Alexie's novel in our Winter Reading issue.
â€¢ Returning To Earth
by Jim Harrison, who spends part of his year in Paradise Valley, Montana (Grove Press)
â€¢ Tree of Smoke
by Denis Johnson of Northern Idaho (Farrar, Straus and Giroux)
Hey, I didn't know Denis Johnson was a Northwest writer! That's pretty cool. For Chuck Adams' take on Johnson's National Book Award-winning novel, see our Winter Reading issue.
We interrupt Suzi's politi-blogging with this totally needless whining: Oh, Ducks. Oh, Ducks, Ducks, Ducks. Way to throw the game away. All those turnovers! Not drawing the fouls! What the hell is going on with Tajuan Porter? Why can't they shoot threes OR make free throws? What happened to Kamyron Brown that he couldn't hold on to the ball? Totally unnecessary last-few-minutes commentary after this here jump.
The game's not even over yet and I am moderately despondent. I mean, there's less than a minute left. I'm not holding my breath.
On the other hand, MAAAAAAAAARTY. 58-53 with 39 seconds and the boy makes a layup and draws the foul. We started this game with the Leunen show and oh, if I cross my fingers hard enough we might end it with a wining Leunen show ... right?
I'll just keep typing until it's over. Jeff Pendergraph fouled out. That's nice. Good for him.
AND HE MAKES THE FREE THROW.
"It's gonna be a parade of free throws coming up," sez the announcer. ASU: MISS! MISS! MISS!
(I really don't like that this game isn't on TV. It was on ESPN Full Court Blah Blah Pay-Per-View. Couldn't the bars who have DirecTV or Dish just order it? Wouldn't they make a bajillion dollars on the two hours?)
Stinkin' Glasser made both his free throws. This isn't good. Six point deficit and no bonus. I give. I fold. I concede this game to the goddamn Sun Devils. Fie.
One of the radio announcers started to joke about Aaron Brooks behind He Who We Can't Name and then named him. Dudes, don't put a Voldemort-esque curse on the boy and then start talking about him. This is sports - the real of mad superstition and crazy math. C'mon, now.
I'm sorry. I just had to create sympathizers. See, I watched this video the other week, and it got stuck in my head. Really stuck. Then I went to see Enchanted on New Year's Eve, and the song got really, REALLY stuck in my head. I just finished my review of the film (it's charming and sweet but still suffers from some Disneyesque flaws), and I wasn't kidding when I wrote that I go to bed with the damn song in my head and I wake up with it still there. I can't. Get it. Out.
I also can't get the movie out of my head, in part because while I did just finish my review, I'm not done mulling over what it does sweetly and smartly, and where it falls back into the Disney party line of happy endings and traditional relationships ... and then on yet another hand, where it makes some uncomfortable missteps regarding stereotypes and villains and secondary casting. When it's smart, it's very smart; I love that our heroine, Giselle (a spectacular Amy Adams) gets to use her skills, fairy-tale based and all, to guide at least part of her own future. But I don't love that the movie sets up a false rival for her in Nancy, the girlfriend (played by the original Elphaba in Wicked, Idina Menzel) of the man she meets in New York, nor that really both of her enemies (though Nancy isn't really her enemy so much as an awkward obstacle to Twoo Wuv) are other women. Perhaps there's something deeper there about Giselle overcoming other parts of her female self to grow up, but it feels more like the pretty princess type defeating the older, single woman (Nancy gets her own happy ending, but I'm unsure how I feel about that one as well). Yes, that's somewhat classic, but does it have a place in a film that puports to turn the classics a little bit on their head?
(I feel that when I say "Disney movies" I should have specified; maybe something like "Disney movies in which a substantial part of the plot is Getting the Guy." There are exceptions; I have an un-guilty love for Lilo and Stitch for example. But Disney is an easy touchstone for a lot of storytelling and example-setting issues with regard to kids, especially young girls, who are shown again and again that they're the ones who need rescuing and romancing, always by a white guy with a big chin, preferably on horseback. Sigh. Of course, there's also the argument that this is a kneejerk reaction to stories that are just sweet and happy and easily digestible. I don't think either of these things goes deep enough, but I've only had one cup of coffee and it's the first workday of the new year. Go easy on me. Please?)
This is totally awesome. Totally wicked awesome, even. It's a massive spreadsheet of critics' top picks for movies this year. I don't yet understand why some names are in purple and some in blue, but I don't really care. It's still fascinating. Out here in the relative boonies, of course, half these movies have yet to arrive, even ones that have already opened elsewhere â€” and in regular ol' chain theaters, no less! Atonement, wherefore art the skinny shoulders of Keira Knightley and the beautiful eyes of James McAvoy? Juno, whither she-looks-like-a-rollergirl Diablo Cody's sassy screenplay and the debates about whether the film's actually smart and sweet or a certain kind of male fantasy? (Yes, I read that somewhere. No, I can't remember where.) These aren't movies we should be waiting on, like the ones with limited release that take their time, dawdling on their way up or down I-5. These should be here by now, and I shouldn't be facing a weekend of Alvin and the Chipmunks or AVP:R.
Bitch, moan, whine, complain. This is probably the time to take a few steps back and see the things I've not yet seen. I totally want to see Enchanted, and I'm not ashamed to say so. (You watch the "That's How You Know" clip and see if you can get the damn song out of your head.) I'll probably pass on August Rush despite its pretty leads. But I need to get my hands on Elizabeth: The Golden Age and the apparently flawed and never opened here Sunshine; I need to see some of the things Jason Blair reviewed, especially No Country for Old Men and La Vie En Rose. Time to bump up the number of films I get per month from Netflix, I think. It's less than two months â€™til we have to create our own top tens.
And back to those for a minute. Of the films on the compiled top ten, I've seen three, and of those three, two will be nowhere near my top ten: Sweeney Todd, a mediocre muddle of darkness and absurdity that was surprisingly dull for a film with so much spurting blood, and Into the Wild, which felt as if it were trying to present its subject relatively objectively yet failing at nearly every turn. I'm also not sure I fell for Emile Hirsch's portrayal of Christopher McCandless, though I've not been able to pin down quite why.
The third film from that top ten that I've seen, though, will doubtless appear in my own: Once. And I'll keep stewing on my thoughts until the time comes to write about the film again, but in short: You need to see this sweet, plaintive, authentic character/mood/musical piece. It's like nothing else that came out this year, and it shapes the relationship between film, story and music in a way that I can't help but utterly love.
The second ten on this list has a lot more films I can get behind: Eastern Promises, yes, absolutely; I will never understand why the (relatively) simplistic, disappointing A History of Violence was better received than this film. I'm Not There. Ratatouille. And The Lives of Others which technically, to my delight, IS a 2007 film, and which should win a handful of other Oscars to go with that Best Foreign Language film win from this year. I'm not kidding.
I'm looking forward to seeing how many of the rest of these I can squeeze in, consider or reconsider before the middle of February. Good times, good times.