The Writing on the Wall

My phones were ringing off the hook this morning with a major art incident going down at the corner of NE Broadway and MLK. My first art emergency! Even the mayor was called in to survey the scene: apparently the mural at the former site of Rhythm Traders was about to be painted over by the building's new tenant, and several artists came to protest.



The whitewashing isn't as imminent as some had feared, and the new occupant isn't even finalized yet, but it's entirely possible that the mural's days are numbered for economic reasons described by Willamette Week about an hour ago. When that new tenant does sign their rental contract, you can bet that lots of folks will be lobbying them to leave the mural -- a tribute to our sister City of Mutare -- where it is. But a giant cell phone company isn't likely going to keep an artwork like this on their corporate facade, so RACC is also looking at the possibility of simply covering up the mural with plywood, to be painted over temporarily and hopefully uncovered again years from now when a more funky tenant occupies the space once again.

Update 7/26: Jennifer Yocom, the Mayor's Arts and Culture Director, reported on KGW last night that the new tenant, T Mobile, has enthusiastically agreed to leave the mural intact and on display. Congratulations to all who intervened as advocates for this beloved community mural.

Chester Faces the Death Panel

Former Governor of Alaska, Sarah "The Mighty Quitter" Palin posted the following remarkable statement on her Facebook page the other day:

"The America I know and love is not one in which my parents or my baby with Down Syndrome will have to stand in front of Obama's 'death panel' so his bureaucrats can decide, based on a subjective judgment of their 'level of productivity in society,' whether they are worthy of health care. Such a system is downright evil."

And now, Mighty Toy Cannon Productions presents:

THE LIFE OF CHESTER

Chapter 47: In which our hero faces the Death Panel and emerges both unscarred and more deeply appreciative of the delicate balance of life (as well as hankering for strong drink).

Chester sat in the waiting room flipping through a dog-eared copy of Golf Digest. An old woman parked her Rascal scooter next to him and quickly fell asleep, her knobbly chin resting on her chest. She smelled of lilacs, baby powder and wet diaper. Chester could not tell if she was breathing. He was afraid to check. He was afraid that touching her papery skin, even gently, would leave a bruise.

Across the room sat a young woman wearing sweatpants and a purple t-shirt that read “Juicy Juice.” On her knee she bounced a fat baby, making its over-sized head flop like a rag doll’s. Chester wondered if they still made Cabbage Patch Dolls, and whether the woman was holding a real baby or if she was one of those crazy people with wild eyes you see on the bus. Chester decided she was just sad and tired.

A teenage girl walked down the hall toward the waiting room with a smile that didn’t match the tear tracks on her cheeks. As she entered the room, an older man—Chester guessed it was her father—rose and gave her a hug. She whispered to him and he hugged her again. The receptionist handed her a file and wished them luck as they left.

A few minutes passed before a light above the reception desk lit up and Chester heard a soft chime. The receptionist called his name. As he approached the desk, she pointed down the hall without looking up from her computer screen. “They’re ready for you. Third door on the left. It shouldn’t take long.”

Chester walked down the hall and knocked softly on a door marked "Panel Room: Quiet Please." Hearing no response, he opened the door slightly and stuck his head through the opening before finally stepping inside. The chamber was an institutional beige and brightly lit with fluorescent ceiling panels. Its only decorative touches were a framed photo of the President, a flag, and a poster depicting a kitten riding on the back of a basset hound, the latter emblazoned with the Ministry’s motto in bold print: “It’s Good to Share the Load.”

Two men and a woman sat at a long metal table shuffling through stacks of files. They looked bored. The older of the men looked up as Chester entered. The thin layer of greasy white hair combed across the top of his head did not hide his bald spot. His tie was loosened and his short-sleeved blue shirt showed sweat stains around the pits. In front of him were a stack of manila files, a gavel and a nameplate that read, “Commissioner Black.” Chester decided he was the person in charge and gave him a friendly nod.

Mr. Black pointed to the single chair facing the table, returned Chester's nod with a weak smile and said, “Have a seat, Chester. We have just a few questions. Don't worry, they're not the 'riddle-me-this' kind from the fairy tales. We're not ogres.”

Chester glanced around the room and wiped the sweat from his upper lip as he sat. He tried drying his damp hands on his green coveralls. The air in the room was close and warm. Chester decided he deserved a drink when this was over. No matter how things turned out. It was the kind of decision Chester was used to making.

“Chester, do you know why we’ve summoned you here this afternoon?” Mr. Black asked. The others did not look up from their papers. “We need to know that you understand why you’ve been called here today.”

Chester had expected a more solemn setting. Oak paneling perhaps. Black robes would have been appropriate. These three looked like DMV employees on casual Friday. He expected a judge who sounded more sonorous and weighty--a James Earl Jones with bronchitis. Mr. Black’s voice was pitched to a higher register and he looked like the Vice Principal of a failing public high school.

The younger man, whose nameplate read “Commissioner Grey,” wore khaki golf pants and a red polo shirt. His hair was neatly trimmed and his orange tan was freshly applied. Chester wondered whether the Rolex was real. He guessed that Mr. Grey had been an investment banker, but was now serving penance in public service. He wondered how much the government paid its commissioners.

The third panelist--“Commissioner Green” by her name plate--wore a teal pantsuit. A yellow pencil held her dark hair in a bun, and a pair of sequined reading glasses were perched on the top of her head. She looked like someone who was not in the habit of showing approval. Chester could tell she was a community organizer of the most dedicated and passionate type. Give her a clipboard and she would march door-to-door and return at the end of the day with a petition full of signatures, even if she had to make half of them up herself.

Chester was thinking that hoods and solemn organ music would have been nice touches when he heard Mr. Black say, in a more insistent voice, “Chester. You need to pay attention to what we’re asking.”

“I’m sorry," Chester responded, a little startled. "I’m just a bit nervous. I honestly don’t know why I was called. It’s not as if I’m asking for special treatment. I’m sure it’s just a sprain.”

Chester rose and hobbled around the room. “Look. I’m getting around just fine. I was thinking an X-ray might be a good idea though. Make sure there’s no fracture. If that’s too much, I’ll just put some ice on it and rest up.”

The younger man looked up impatiently. “Can we just move this along? We have a long roster to get through and I have tickets for tonight.” Mrs. Green rolled her eyes and pursed her lips.

“Chester, there are other reports that are concerning to us,” said Mr. Black. Chester winced involuntarily at the use of "concerning" as an adjective. The other panelists just nodded and continued flipping through their files.

“It’s always hard to have to say this. We don’t want you to think this is easy for us. That would be a misperception ...a misapprehension. That would be looking at this all wrong. I assure you that the Ministry understands and regrets how this may seem to people. Unpleasant, regrettable even. But we have to look at everything.”

“We have to look at factors,” said Mr. Grey, as if that would clarify matters.

“It’s a balancing act,” added Mrs. Green. “It gets tricky, and is not something we enjoy doing. Think of us as umpires who are charged with interpreting the rules. We don’t make the law. Plus we like both teams … all the teams. We think all the teams are good and deserve to win. But that can’t happen, can it? Every team can’t win. You understand that, right?”

Chester slumped in his chair feeling lightheaded. He didn’t like the direction this was going. He wanted to stretch out on the linoleum floor until his head cleared, but he knew that wouldn’t help his case. He took a deep breath and finally stammered, “Have you already decided? What are you getting at?”

Mr. Black straightened his stack of papers and said, “Chester. In our considered judgment, we believe, to the best of our knowledge and with all due consideration of circumstances …”

“And factors,” added Mr. Grey.

Chester’s peripheral vision began to narrow and the room dimmed. He decided to go ahead and lie down. The floor was cool and the fog in his head began to clear almost immediately--just in time to hear Mr. Black conclude, “It’s just that we think you’re no longer … sustainable.”

Chester remained on the floor, but sat up and faced the panel. “Sustainable? What does that even mean? I’m in my fifties, for God’s sake--and the lower end of the decade at that. I feel fine. I’m still productive. All my pre-existing conditions have cleared up. I have certificates to prove it. How can you say I’m not sustainable?”

“All we mean,” explained Mrs. Green, “is that the resource inputs you require are greater than the societal value you produce in return. It’s simple mathematics, really. We consider all the factors.”

Chester yelled back, “But did you consider the multiplier? What multiplier did you use in your calculations? Did you account for the fact that I’m a Creative? My Creative License is good for another five years at least. I have the Bureau stamp to prove it.”

Mr. Black responded, “Chester, I assure you that our math is right. We included your multiplier in our calculations. Normally a Creative would score extra points. Unfortunately, you’re a poet. That's a Class C Creative at best. Your multiplier just isn’t as high as, say … an architect, or even a font designer. The multiplier for poets is nearly as low as that of a journalist.”

“Or a playwright’s,” added Mrs. Green, looking pleased.

Mr. Grey banged his fist on the table and shouted at Chester, “Enough arguing! This isn’t getting us anywhere. What do you expect us to do, buddy? You think we can afford to give you every little test or medical treatment you think you deserve?”

Chester shook his head and whimpered, “I’m not asking anything difficult. It’s just a sprained ankle. Maybe we could ask a doctor?”

Mr. Black chuckled at that. “Good God! Listen to Florence Nightingale here. Do you seriously think a doctor could add anything to this discussion? What century do you think this is, man?”

Mr. Grey went on, “Okay, Mister Poet Man. Suppose you tell us who should be denied medical attention just because your friggin’ x-ray is so damned important.”

He threw a file folder full of papers across the room, pulled a handgun out of his briefcase and pointed it at Chester. “Let’s you and me go out to the waiting room and you can tell me who is less deserving of care. Then you can just go home and pretend this never happened.”

Chester sat motionless, his eyes following the gun as Mr. Grey paced around the room waving it in the air. He looked at Mr. Black, hoping he would interject, but the older man was jotting notes and riffling through his papers. Mrs. Green appeared to be sending a text message.

“If you think this is so easy, maybe the Minister of Human Sustainability should have appointed you to this panel instead of me,” Mr. Grey shouted. He opened the door and pointed to the lobby. “Who? Which one would you choose? The old lady with the bad kidney? The retard?”

Mrs. Green looked up and clucked, “We don’t use that word anymore, Dwayne. That little boy is a child of God like the rest of us.” But Mr. Grey had already left the room, the door slamming behind him. Chester looked at Mr. Black, who only shrugged and turned back to his notepad and said, "I hate this part."

Chester jumped at the sound of a gun firing. Mrs. Green sighed and shook her head, but kept on texting. Chester stood and began to pace, sweat pouring down his face.

Mr. Grey entered the room accompanied by the smell of sulfur. Calmly, he asked, “Okay, now where were we? Oh yes, we were discussing medical ethics weren’t we? We were dialoguing about prioritization of care allocations.”

Chester, nearly vomiting, sat back in the chair and put his head between his legs. “How could … how could you…”

The three panelists burst into laughter. Mr. Black pounded Mr. Grey on the back and said, “We really got this one going didn’t we?”

“Look Chester,” he continued, “don’t go freaking out on us. It’s just a broken ankle like you said. No biggie. Go home, give it a rest.”

“Besides,” added Mrs. Green, “we looked at your credit reports. That’s one of those factors we consider. Quite an important factor, frankly. With the size of your credit card balances, do you seriously think the banks are going to let you off easy?"

"That's right," said Mr. Black. "The bank has pre-approved your continuance, but only on condition that you keep making the minimum payments each month. You might try cutting back on the drinking a bit too.”

He added with a chuckle, “You understand that you won’t be getting the $4,500 Cash for Clunkers credit, don’t you? After all, you’re still here and that credit only goes to the estate of the discontinued.”

Chester turned to Mr. Grey. “You didn’t really shoot anyone in the waiting room did you?”

Mr. Grey grinned and shrugged his shoulders, “No, I didn't have to this time. The old lady croaked while waiting her turn, so we met our quota for the day without bloodshed. Say, she's not like your mother or anything is she?”

Mr. Black stood up and gathered his papers. “I think our work is done for the day, Comrades. Good luck, Chester. Can you do the Administration a big favor pal?"

"What's that?" Chester asked.

"If you really support the troops, you won’t mention any of this to the media, will you?”

"No, I guess I won't." Chester said as he walked out the door. He stopped at the reception desk and paid the mandatory Death Panel Tax, surprised to learn that it had just gone up another 20%. He hoped he had enough credits left for a drink or two at the Coff-em-Up Club on his way home. He needed that drink.

Beer Bust

Amidst all of the anticipation and controversy surrounding which beer President Obama plans to serve at his private little man-gathering today, it doesn't appear that much consideration is being given to any of Portland's 30-some microbreweries, or the excellent craft beers from other parts of the state.

Simultaneously, I've developed a thirst for a nice refreshment during this hot weather, and even though my preferred happy hour cocktail would usually be a gin and tonic or a glass of pinot grigio, I find myself wondering what would be the most delicious beer option this evening. And with that, I'm launching Culture Shock's first reader poll. Weigh in, won't you? Seriously. I'm thirsty.

Quizzes by Quibblo.com

Nixon: Uncomfortable in his own Skin

Last Friday, upon returning home from a satisfying opening night performance of "Frost/Nixon" at Portland Center Stage, we snuggled up on the sofa with a nightcap and a bowl of popcorn and proceeded to surf the net on our respective laptops, engaging in a little post-theater research and memory freshening. There's nothing quite like historical research to top off a night of theater.

Since then, I’ve been trying to write a review, hoping to deliver a post that provides the reader with my uncanny analysis and musings on media, political corruption and human nature. I wanted to draw parallels between Nixon’s corruption and other political travesties, national and local. I wanted to reflect on the role of media in politics and how it has changed over the past 35 years. (Note: MY GOD! Has it been that long?).

Unfortunately, after six days of noodling, all I've come up with are dribs and drabs of incomplete thoughts. I keep getting distracted watching YouTube clips of the original Frost/Nixon interviews and listening to snippets of secret White House recordings. I'd like to be able to use the following Nixon blooper clip as a springboard for profound commentary on media and image-shaping, but mostly I just thought it was funny ... in a sad kind of way:



Over at Art Scatter, Bob Hicks writes more eloquently about Nixon as a tragic figure, so read his post (including the comments) and then pretend that you heard it from me. I'm done trying to weave the following random notes into a coherent essay. Best that you just go see the show, which runs through May 10th at the Gerding Theater ("The Bob"). It's good.

Full disclosure: I’m a neighbor and former colleague of director Rose Riordan and we frequently bump into each and talk about the business and art of theater while walking our dogs late at night. Our dogs are friends too.

1) "Frost/Nixon" is a complex technical achievement, with panels and set pieces that slide smoothly in and out, and lots of projected video (recorded and live). While tricky, all of these elements work together without being obtrusive or flashy – the whizbangery did not distract me from the story. The extensive use of video projection is an essential part of the storytelling and is not a gimmick. (Note: The actors aren’t lip-syncing to prerecorded video as one patron reportedly complained). The proscenium itself is encircled in a bezel that says, "I'm a giant TV set."

2) Technical bravado aside, the true key to the production’s success is that Riordan found just the right Nixon in Bill Christ. For any production of "Frost/Nixon," the big challenge is to transcend the three basic Nixons implanted in our brains: (1) The original Tricky Dick we watched on television from the Checker’s speech to his resignation; (2) the cartoon Nixon with floppy jowls and outstretched arms flashing the victory sign; and (3) Frank Langella.

Bill Christ conveys key Nixonian mannerisms and vocal inflections without sounding like a hack impressionist. He portrays Nixon’s complexities and vulnerabilities, and even manages to elicit a smidgeon of empathy. His nuanced acting holds up even when his gigantic mug is supersized on the video projection that dominates the set.

3) If there are weaknesses in "Frost/Nixon," they are in Peter Morgan's script. I think the play leans too heavily on expository speeches by two of the side characters: Jack Brennan (Scott Coopwood) on the Nixon team and Jim Reston (Adam Ludwig) as one of Frost's researchers. I’m not sure how else the necessary exposition might have been accomplished, but it struck me as a clumsy mechanism to bring the audience up to speed and move the story along. (Note: "Clumsy" may be too strong in this case ... make it "inelegant").

4) Other than Frost and Nixon, I thought the other characters were weakly developed (though well played and directed). Of course, the play's focus should be on the match between the title characters. Still, I would have liked to have known more about the other characters and their motivations, beyond what the script provides. For example, the character of Caroline Cushing (Allison Tigard) is introduced as a woman Frost meets on a flight while on his way to meet Nixon in advance of the interviews. She's invited to accompany him and they become an "item." In real life, Cushing was a journalist who had already been in a relationship with Frost for five years before the Nixon project. Tigard's portrayal gives the role enough weightiness to avoid coming across as Frost's arm candy, but the picture still seems incomplete.

5) The script makes David Frost out to be a journalistic lightweight and party boy. Perhaps that’s an accurate depiction, but it makes him less plausible as a “worthy opponent” (as Nixon ultimately declares). The underdog overcoming odds and beating a tough opponent is a perfectly legitimate plot trajectory. In this case, Frost's transformation from hapless bimbo to master debater seems to happen too quickly, conveniently and without enough dramatic tension. (Note: I couldn’t resist writing “master debater,” but did edit out the reference to Frost as a “cunning linguist” because I have my standards).

6) One of the play’s pivotal scenes involves a drunken Nixon making a late night phone call to Frost in which he exposes all of his insecurities and grudges. (Note: I’m putting “Drunken Nixon” on my list of potential band names). It’s a powerful and effective scene, but one that is completely fictional. I'm not sure what to think of that. I know, I know, it's a play, not a documentary, but still. (Note: I really mean it when I say I don't know what to think about this ... but at least it made me think about the role of truth and imagination in creating theater based in historical fact ... ).

7) I would like to say that "Frost/Nixon" will win a Drammy for best set, except that I think that category might be won by either "The Receptionist" or "How to Disappear and Never be Found" -- also directed by Rose Riordan. Bill Christ should at least be nominated for Best Actor -- but if he wins, the monkey-fightin' Portland acting community will go batshit crazy because he's from out-of-town.

8) Really. Go see the show. Ignore my little penny ante quibbles. It's really well done and is a fascinating story with lots to think about afterwards, food for thought, blah blah.

Oh, one more thing: It's always good to be reminded of how power corrupts. Nixon thought he had the right answers and that his reelection would serve the nation best; hence, the ends justified the means -- lying, cheating and covering up were okay because he was the guy with the brilliant mind and great ideas who was going to save us from ourselves and the rest of the world. Isn't that always the slippery slope upon which politicians risk finding themselves?

Excuse me, but your brandscape is fragmented.

I just received a reminder of the Innotech conference (“The Business and Technology Innovation Conference and Expo”) at the Convention Center next week. This year’s keynote speaker will be Rahaf Harfoush, a new media strategist and member of Obama’s Social Media Team. She’ll be giving an insider perspective on the Obama campaign’s use of social media to win the election. While that may be fascinating and practical, I can’t imagine it being more exciting than this conference session:

Experience Strategies: Maximizing Customer Engagement in the Fragmented Brandscape

Oh my. That reminded me of a link Culture Shock contributor, cynseattle, found a few weeks ago. The Landcape Urbanism Bullshit Generator is a user friendly tool for anyone operating in the fieldscape of landscape urbanism. I used it to generate this erudite recommendation about the Rose Quarter. (By which I mean the Memorial Coliseum razing that Mayor Sam Adams is ramrodding, bulldozing, railroading and dragooning past any semblance of public process, thoughtful consideration or economic reality).*

To negotiate the urban experience, we must first bundle performative fields and extend self-organizing phase-states. Only by expediting robust synergies within an aggregated landscape grid will we effectively reclaim the hyperbolic dynamics and generate the customized networks needed to enable front-end armatures. Furthermore, as we mesh green contexts within post-urban clusters, we will begin to incentivize permeable partnerships as integrated bleeding-edge models of biodiversification.

Imagine the grant proposals that could be written with this simple tool!

* Please visit Tim DuRoche's post on this topic on his Burnside Blog.

24/7 Concert to Mark the War Approaches

A few weeks ago, I posted the press release from the organizers of a 24 hour concert to mark seven years of war. The “24/7 Concert” is fast approaching: The music will start in the Weiden + Kennedy building at 7:00 p.m. on Saturday, March 21, 2009 and continue until the same time on Sunday.

A few nights ago, I crept around the internet looking for information about the event and located an updated schedule on W+K Radio. But I got worried when I failed to find much more than that online. Indeed, my post on Culture Shock was eerily at the top of the search results – always a bad sign.

Yesterday, I called organizer Bill Crane for updates. In addition to being swamped by programming details and rehearsals (he’s not only producing the event, but will also be performing and conducting), Mr. Crane was ironing out niggling details such as liability insurance (which will be needed if a musician dozes off at 3:00 in the morning and causes a bassoon accident).

I applaud the vision and fortitude of Mr. Crane and his co-conspirator, Thomas Lauderdale. Imagine the logistics involved in putting together a program with over 250 artists performing over 24 hours. (Clarification: All 250 won't be performing for 24 hours). Just figuring out where to stack all the instrument cases must be a huge problem. Will a piano tuner be needed in the middle of the night for a quick adjustment?

Along with an updated performance schedule, Mr. Crane generously shared what he called his “stream of consciousness” ramblings about the scheduled acts, and his enthusiasm leaps delightfully from the page. Mr. Cranes concludes, "Does it matter? Will it do any good for a bunch of musicians to make a bunch of music as a comment about war? I don't know. Conversely, I know that remaining silent won't do any good ... If with all this great effort we wind up with at least one person who goes on and does what she must do, I'll be happy."

Mr. Crane's narrative was originally sent to David Stabler at the Oregonian, who is working on a story for Friday’s A&E. I don’t want to scoop that story by sharing further details. (Plus I’m lazy and not a journalist).

I will note that the schedule spans a range of musical genres from the opening with Copland's "Fanfare for the Common Man" (from a big brass band) and its conclusion, 24 hours later, with Beethoven's 9th (performed by an orchestra of 50 musicians and a chorus of 75). The event will include rousing percussion from Obo Addy to wake things up on Sunday morning, and more drums from Portland Taiko Sunday evening. The Oregon Symphony's concert master, Jun Iwasaki will show up at 5:00 in the morning to play with Thomas Lauderdale. Third Angle is appearing in the wee hours, along with plenty of solo piano, jazz bands, chanteuses, and piano prodigies throughout.

Donut makers, insomniacs and dairy farmers who are up at 4:00 a.m. on Sunday morning should drop in to hear the indescribable Sneakin' Out, featuring the crazy mandolin stylings of David Gerow, with the just-as-crazy rhythm section of Don Henson (percussion) and Mike "Cheddar" Schmitt (bass). Here's a video of the band playing a little classical music at the White Eagle.



I regret that Culture Shock doesn't have a cadre of interns to do our bidding. Had we such, I'd assign one to attend the entire event and live blog with posts at no less than 15 minute intervals. I'd do it myself, but I already know I wouldn't make it.

UPDATE: A poster for the event is now out (designed by Tony Frusciante), and is posted above.

UPDATE #2: Charles Noble, violist for the Oregon Symphony, has posted about a rehearsal for the final performance of the event on his blog "Daily Observations: Classical Music Insights."

UPDATE #3: David Stabler's piece on 24/7 is in today's A&E. In addition, on his OregonLive blog, Mr. Stabler has printed Bill Crane's entire "stream of consciousness" description the event.

Quick Arts Funding Report

I just got back to the office after sitting with a packed house of arts advocates who gathered at City Hall to listen to the Regional Arts and Culture Council present its "2008 State of the Arts" report to the mayor and three commissioners (Dan Saltzman was missing). I don't have the time or the notes to report in detail, other than one tidbit of interesting news:

At the end of the presentation and public testimony, Commissioner Nick Fish spoke eloquently in support of the arts. He went on to ask the audience to support the Oregon Cultural Trust by continuing to fight, rather than passively accepting the taking of $1.8 million in funds generated by the license plate surcharge. (Of course, Nick Fish is passionate about this issue because he's a member of the Cultural Trust board). He then told the crowd that he was considering resigning from the Cultural Trust board in protest against the Legislature's action, and hinted that other board members were considering doing the same. He pressed the audience to write to Governor Kulongoski to urge him to not sweep the $1.8 million into the general fund. I'm not sure what the mechanism for that would be. I don't think he can veto one portion of the bill, but maybe?

I'm sure there will be lots more on this topic here and elsewhere shortly.

p.s. The RACC folks and public testifiers all did a nice job.

The Cultural Trust Speaks

Here's the official word from the Cultural Advocacy Coalition, on behalf of the Oregon Cultural Trust:

Dear Cultural Partner:

Thirteen days ago you received an Action Alert from the Cultural Advocacy Coalition about the proposed $1.8 million dollar funds “sweep” from the permanent fund of the Oregon Cultural Trust. The action had just been proposed and had yet to be voted on. Since that time, the proposed funds sweeps were amended into SB 581 and the bill subsequently passed out of the Ways & Means Capitol Construction Subcommittee, out of the full Ways & Means Committee, off the floor of the Senate and out of the House of Representatives. SB 581 moved in tandem with SB 5552, which contained the agency budget cuts. Both bills will be signed by the Governor this week.

Also since that time, hundreds of you sent emails and wrote letters to your legislators protesting the sweep of Cultural Trust funds for general government purposes. In addition, many of you forwarded the Action Alert to other organizations and friends, wrote blogs, twittered, and posted comments on Facebook. In a word – wow. THANK YOU !

The legislature was moving at an unusually fast pace to address the looming budget cliff in the current budget cycle, ending June 30, 2009. The Trust funds sweep was $1.8 million of a total of almost $83 million in sweeps of other funds, in combination with $311 million in state agency budget cuts. These funds sweeps and budget cuts, added together with federal stimulus dollars, created a total rebalance package of $862.5 million. The situation facing Oregon’s legislative leadership was – and remains – very serious.

Thanks to your efforts, every legislator in the building is now aware of and sensitive to the Cultural Trust. Oregonians are clearly proud of its unique program specifically crafted to grow and stabilize funding for arts, heritage and humanities. Frankly, lots of people were surprised at the passion and outreach shown on this issue. This was obvious too, when more comments were made by legislators during floor debates about the Cultural Trust funds than on any other item – including a funds sweep of emergency-911 enhancement fees, food safety funds, and pesticide program license fees, to name a few! Your support was quite remarkable – and put the Trust front and center in this debate and for all future budget discussions this session.

Now is the time to change gears and recognize the difficult work of leadership. Legislators completed a brutal week where they voted on a package of bills that contained items they all personally disliked. They took votes that hurt and feel they did their best with few alternative options. They need some breathing room to get beyond the budget rebalance and focus on issues of the 2009 session.

Your outreach has positioned the Cultural Trust well for more action this session. First, while the budget rebalance has been completed, work to protect the Trust has not. Several options are on the table and the Cultural Advocacy Coalition will be asking for your help when a clear path emerges. Also, more work will come as the 2009-11 budgets are developed, including support for Governor Kulongoski’s proposed $5 million enhancement of funding for cultural resources.

Thank you again for your advocacy and fierce protection of Oregon’s cultural endowment.

This story was featured on KGW last night; OBT's Jon Ulsh and White Bird's Paul King spoke about how this will impact their organizations, and the bigger issue of building trust. In that story, it appeared that Senator Betsy Johnson is taking the lead on restructuring this into a loan, repayable to the trust, so I encourage folks to send letters of enthusiastic support and fond appreciation to her directly.

She can be reached at sen.betsyjohnson@state.or.us.



P.S. Have you ever met this woman? She really is amazing. Very accessible, and quite a firecracker! I had the pleasure of having lunch with her a few times, back in the early 2000s when I was developing fundingpool.com, an online philanthropy portal sponsored by eyescream interactive, which regrettably burst with the rest of the Internet bubble. Sen. Johnson has always been keenly interested in any effort to stimulate philanthropy in our community, and she was also the guest speaker at lat fall's NWBCA Breakfast of Arts Champions. I remember her warning us even then: It is going to be a fight this year. Get ready, and get organized.

24/7: 24 Concerts in One Day to Mark Seven Years of War

For a few moments, let's step away from the savaging of the Oregon Cultural Trust and the gloom of the coming budget battles. I just learned of an event which is as timely as it is important. The following is from the organizer's press release:

By mid-March, the United States will have been at war in Afghanistan and Iraq for seven years, yet one hardly hears that fact mentioned. To mark this important, if tragic, anniversary, over 150 of the Portland area's best classical musicians are uniting to make a giant musical gift to the city and region. Event curators Bill Crane and Thomas Lauderdale have recruited an amazing roster of performers. The public is invited.

Titled simply "24/7," it will be a series of 24 dramatic concerts, each starting upon the hour, from 7:00 p.m. Saturday, March 21, and continuing through to 7:00 p.m., Sunday, March 22.

All 24 concerts are free and will take place in the auditorium of the Wieden+Kennedy building, 224 Northwest 13th Avenue, between Davis and Everett Streets, in Portland's Pearl District. Wieden+Kennedy join the performing artists to invite sincerely all area residents of good will to these concerts. No tickets are required.

Neither a protest nor a memorial, "24/7" nonetheless is a profound calling by its performers to their fellow citizens to remember that we are a nation at war. The musicians creating 24/7 hope to move their neighbors by their music to "do what must be done" as our city, region, and nation face many challenges. This will be music of encouragement as well as entertainment.

To add to the conviviality of this big occasion, the popular and award-winning restaurant Bluehour, next door to the concert venue, will be open all night and the following day. Restaurateur Bruce Carey and chef de cuisine Kenny Giambalvo are planning a special bar menu just for 24/7 performers and audience members.

"It will be an honor to have these music lovers join us for refreshments before, after, or between the concerts. We are having so much fun planning a menu to go with that much music!," said says Bruce Carey as he considered what it will mean for his restaurant team.

And, what of the planned music itself? --

"I am heartened, thrilled, and humbled by the unparalleled enthusiasm of my musical colleagues to create this musical gift. What a 'Portland' thing to do! Everyone is working so hard and being so creative in their programming. Every program that our audience friends attends will be great" said Bill Crane as he headed off to yet another rehearsal.

Some of the 24/7 performances will be broadcast on Wieden+Kennedy’s new Global Internet radio station, WK Radio, at www.wk.com/radio. The radio station launched in January 2009 and exists to inspire provocative conversations, interviews, and artistic expressions relating to the arts, culture, music and media.

Final scheduling is still somewhat in the works and will be posted in www.wk.com/radio when confirmed, but here are highlights that have been nailed down:

Saturday, March 21

The first program (Sat., 3/21, 7:00 p.m. sharp) A huge ensemble of brass and percussion players opens with Aaron Copland's famous "Fanfare for the Common Man" and continues with music of Gabrieli, Richard Strauss, and others.

Second up (Sat., 3/21, 8:00 p.m.) is the astonishing 17-year year-old virtuoso pianist Rosa Li, most recently heard in Portland in Mendelssohn's First Concerto with the Portland Columbia Symphony Orchestra. Her solo program will include works of Ginastera, Prokofiev, and Chopin.

At 9:00 p.m., the Portland Gay Men's Chorus, Bob Mensel, music director, will take the stage to present the critically acclaimed extended work "BraveSouls and Dreamers" of composer Robert Seeley.

Other highlights include three hours of particularly adventuresome programming by area new-music ensembles playing in succession:

11:00 p.m., Fear No Music

12:00 midnight, Melegari Chamber Music Ensemble

1:00 a.m., Third Angle New Music Ensemble

Programs in the middle of the night will range from wild to mild:

3:00 a.m., . Thomas Lauderdale of "Pink Martini" in a special, extravagant program;

6:00 a.m., Pianist Ron Potts in an exceptional recital of Scarlatti, Schumann, Ravel, and Bartok.

7:00 a.m., Obo Addy, world beat drummer, in a solo frenzy and Gregory Dubay, cellist, and Bill Crane, pianist, in music of Brahms and Schubert.

And, as the day (Sunday) goes on:

8:00 a.m., Tamara Still, pianist, with Bach's "Goldberg Variations."

11:00 a.m., Pianist Jeffrey Payne of Fear No Music with ten movements from Olivier Messiaen's monumental "Vingt Regards sur l'Enfant Jésus."

12:00 noon, Vancouver tenor Les Green in a recital of French art song, including little- known works of Saint-Saëns and Fauré.

1:00 p.m., Soprano Lisa Mooyman and Mezzo-soprano Sherry Olson with Clarinetist David Hattner in a varied program, including the famous "Lakme" duet and Schubert's "Shepherd on the Rock."

4:00 p.m., Alto Angela Niederloh, pianist Janet Coleman, and violinist Julie Coleman in a wide-ranging program best described as "rip-roaring."

5:00 p.m., Violinist Carol Sindell and pianist Janet Guggenheim (two-thirds of The Florestan Trio) in a recital to include both the Franck and Debussy sonatas.

6:00 p.m. All 24/7 artists and other invited musicians will join in the final program to present the last movement of Beethoven's 9th Symphony, the "Ode to Joy." David Hattner, the new music director of the Portland Youth Philharmonic, will conduct the assembled forces, including many singers from the Portland Symphonic Choir and instrumentalists from the Oregon Symphony and other ensembles.

Still shaking out just "who will be when" are these splendid acts to be scheduled:

Portland Taiko, thunderous Japanese drumming;
Cellists Justin Kagan, Adriene Welch, Irving Levin, Gregory Dubay, and Lizzie Adelsheim
Flutist Abby Mages
Violinists Paloma Griffin, Sara Watts, Ron Blessinger, Greg Ewer, Julie Coleman, and Nick Crosa
Sopranos Ida Rae Cahana, Lisa Mooyman, Peggie Schwarz, and Marie Fiorillo
Trombonists John Walling and Robert Taylor
Pianists Carol Rich, Jon Stuber, Jeffrey Payne, Chad Heltzel, Susan Chan, Mike and Elizabeth Strickland, Janet Coleman, Jerry Deckelbaum, Win Hall, and Thomas Mark

I'll post schedule updates as the event approaches.

Yes We Can!

Not to dominate this blog with talk of the federal stimulus package, but many have asked whether the Coburn Amendment language made it into the final version of the bill, so I wanted to share with you this exciting news that allows us all to claim victory over evil. Here is a note that just came across the wires from our friends at Americans for the Arts.

Today, the U.S. House of Representatives approved their final version of the Economic Recovery bill by a vote of 246-183. We can now confirm that the package DOES include $50 million in direct support for arts jobs through National Endowment for the Arts grants. We are also happy to report that the exclusionary Coburn Amendment language banning certain arts groups from receiving any other economic recovery funds has also been successfully removed. Tonight the Senate is scheduled to have their final vote, and President Obama plans to sign the bill on Monday - President's Day.

A United Voice. This is an important victory for all of you as arts advocates. More than 85,000 letters were sent to Congress, thousands of calls were made, and hundreds of op-eds, letters to the editor, news stories, and blog entries were generated in print and online media about the role of the arts in the economy. Artists, business leaders, mayors, governors, and a full range of national, state, and local arts groups all united together on this advocacy issue. This outcome marks a stunning turnaround of events and exemplifies the power of grassroots arts advocacy.

We would like to also thank some key leaders on Capitol Hill who really carried our voices into the conference negotiation room and throughout the halls of Congress: Speaker of the House Nancy Pelosi (D-CA), House Appropriations Chairman Dave Obey (D-WI), House Interior Appropriations Subcommittee Chairman Norm Dicks (D-WA), and Congressional Arts Caucus Co-Chair Louise Slaughter (D-NY). We also want to publicly thank President Obama for taking the early lead in recognizing the role of the arts in economic development. These leaders were able to convincingly make the case that protecting jobs in the creative sector is integral to the U.S. economy.

What's Next. As we wrap up our work on the Economic Recovery legislation, we wanted to share with you other upcoming legislative action that we are tracking:

• Finalization by early March of the FY 2009 appropriations, which has been operating under a continuing resolution for the last five months.
  
  
• Release of President Obama's first federal budget for FY 2010 is expected in late March/early April.
  
  
• Hearings in the House Interior Appropriations Subcommittee on the FY 2010 budget.
  
  
• Hearings in the House Education & Labor Committee on arts in the workforce and arts education.

Seriously. Anyone who sent a letter to their Senator on this issue, or submitted a letter to the media, should feel a sense of accomplishment here.

Talkin' Philosophy and Ethics

I’m going to stick with my resolve to stay away from the fray about the Sam Adams Situation. Instead, I want to plug a couple of upcoming cultural events:

Next week, two live performances of the radio show Philosophy Talk will be presented as part of the Illahee Lecture series. Philosophy Talk is a chatty discussion of philosophical and ethical issues, featuring learned guests and intellectual (yet accessible) banter on meaty topics. The show, which plays on OPB on Thursdays at 8:00 p.m. touts itself as “the program that questions everything ...except your intelligence.”

On Friday, January 30, 2008, the hosts of Philosophy Talk will chat with William Irvine, author of On Desire: Why We Want What We Want.

The next evening, they will host an encore show with Michael Philips, author of The Undercover Philosopher: A Guide to Detecting Shams, Lies and Delusions.

Even though the selected topics have NO immediate relevance to current events in Portland, they should be stimulating (but not in a sexual way).

The lectures start at 7:30 p.m. (doors open at 6:30) will be held at the First Congregational Church, 1126 SW Park, Portland.

He Said / She Said

At last night's Creative Capacity gathering, a panel of local elected officials responded to arts recommendations from the audience. Suffice to say that a couple of them (OK, maybe just Chair Wheeler) said some controversial things, and several people attending last night remarked that a few of our elected officials still don't get it.

The trick, of course, is to elect people into office who do "get it." With that in mind, RACC has posted questionnaire responses from several candidates for local elected office, including the race that nobody seems to be paying much attention to: Amanda Fritz vs. Charles Lewis. I'd suggest taking a good look at how these people answer the funding question. Anyone who balks at the notion that government has an essential role to play in not just "supporting" but FUNDING our arts and culture activities -- I'd balk at giving them my vote.

http://www.racc.org/advocacy/_Nov08ElectionRunoffs.php

As mentioned on this blog a few days ago, a separate group, Oregon Art PAC, has endorsed Amanda Fritz for City Council and Mike Delman for the Multnomah County Board of Commissioners.

So who will you be voting for, and why?

Obama in the Window

My wife (I’ll call her “The Dog Walkerer”) makes daily rounds of many Portland neighborhoods in the course of her work. Lately, she has been noticing many homes sporting portraits of Barack Obama in the front window (or, in one case, the back window of a camper). Many, if not most, appear to be home-fashioned -- that is to say, not cranked out and distributed by campaign headquarters. Has anyone else noticed the same? When was the last time we had a politician that inspired people to do this? Have you spotted any homes with John McCain’s portrait in the window (let alone a lawn sign)? Has anyone else commented on this phenomenon?

To me, it conjures the image of a good Irish Catholic home proudly hanging parallel portraits of JFK and the Pope over the kitchen table. Sure, Republicans could easily denigrate this trend as just another example of mindless adoration of Obama, viewing him as a walk-on-water messiah. They might argue that it proves that his popularity is just another bout of celebrity worship. I think there’s a lot more to it.

Recent McCain commercials juxtapose Obama with Britney Spears and Paris Hilton, as if his supporters are enraptured only because he’s “so awesome.” The truth is that people obsess about Britney and Paris mostly because they’re walking, talking train wrecks who frequently forget to don undergarments. We fixate on some celebrities the same way we slow down when passing a bloody car crash. But some people become stars for better reasons: we admire their accomplishments; they inspire us; they give us hope …

McCain’s ads miss the distinction while also communicating a clear message to the millions of people who support Obama: "You’re stupid!" Maybe that’s a smart ploy in political marketing. I hope not.