Showing posts with label neighborhoods. Show all posts
Showing posts with label neighborhoods. Show all posts

Let's Travel Awhile

About a year ago, National Geographic Traveler published a profile of our city under the clever (by which I mean, "vapid") title, “Portland Reigns”.

The article was one of many paeans to Portland peppering the national press lately. The breathless pace and gushy tone spurred me to write a parody of bad travel writing. I tried to follow a few simple rules:

• If one adjective helps, two or three are even better.
• Stereotypes and generalizations are always a good choice.
• When in doubt, grasp onto a cliché as if your life depends on it.
• Keep your thesaurus handy...ermm…accessibly situated.

My parody kept getting longer and longer, until it was so ridiculously long (for a blog post) that I lost track of where I was going or how to bring it to a merciful end. I toyed with cutting or serializing it. Then I decided to just publish it. Now it’s in your hands. Savor.

East Chesterburg:
An Old-World City Perched on Tomorrow’s Rim

This resplendent metropolis gets just about everything right: From the friendly natives to the homebrewed deliciousness that embraces every visitor.

Here in the self-proclaimed “City that Can,” restaurants pride themselves in serving locally-prepared meals, and every barkeep is quick with a jovial anecdote that will, one day, become a part of your own tribal lore. Local crafts and an innovative commitment to “green” living are worn like a comfortable flannel suit in autumn, and are as reassuring as a bowl of warm applesauce. What’s more, this is a city that does not hesitate to flaunt its funky charms, just as its residents feel no qualms in sporting billed caps, no matter the weather. Add a flair for the ubiquitous and verdant, and you’ve got a vacation-in-the-making for all but the most hard-hearted of hard-core adventurers.

East Chesterburg isn’t the first place you’ll compare to Paris, but it’s not likely to be the last either--and that says a lot. It’s among a handful of American towns that has managed to pair civic engagement with a soupcon of down-home bonhomie that will have you saying both “oui!” and “whee!” From its trendy downtown nightlife scene to the downscale bohemian haunts that typify the North Gulch Arts District, this is a town that welcomes everyone with the warmth of a Golden Retriever’s tongue.

Starting on the Right Foot

We launch our East Chesterburg adventure with a hearty breakfast at Tiny Harpo’s—a charming diner occupying a prime spot in the heart of the town’s bustling business arrondissement. Before entering this petite boîte, be sure to pause for a moment to listen to the autoharp player on the corner. Sing along if you must. You’ll be delighted to leave a small tip in his open case.


As we wipe the steam from our glasses, we’re greeted by a proprietor who can only be described as brobdingnagian. Nobody personifies the character of an East Chesterburgian restaurateur better than the bistro’s namesake. With his trademark, “Halloo!,” and belying his 400-pound girth, he sweeps us dexterously to a cozy booth by the window, then deals a handful of menus with the speed of a Las Vegas blackjack dealer jacked up on diet pills. In short order, our winsome server fills our water glasses and makes sure we all have napkins. Keeping her promise to return with hot coffee, she takes our orders with a vivacious professionalism that feels as comfortable as a pair of broken-in huaraches.

I choose the “Tiny’s Special” – an adventuresome mélange of scrambled eggs and la saucisse de Francfort topped with a tangy hollandaise sauce. You will be well served by selecting the same, or perhaps you’ll opt for a simpler fare from a bygone era. On any given morning, many of Tiny’s patrons can be witnessed enjoying a light repast of toasted bread squares while perched on angular chairs, perfectly resplendent in parti-colored smocks, knit leggings and the customary cap tilted rakishly.

With a satisfied belch and a neighborly handshake, we emerge from Tiny’s into the rays of a sun that radiates its beams on East Chesterburg many days of the year. When you visit, you’ll want to chat with Tiffany and Amber, animated purveyors of Girl Scout Cookies outside of the Thrift & Save just around the corner. I choose a box of Thin Mints, but you would not be wrong to pick otherwise. Don’t forget to pet the puppies for sale in the box over by the shopping carts.

A Place of the Present with a Forward-Thinking History

East Chesterburg is all about sustainable, low-impact living. As a matter of both public policy and personal ethos, visitors and residents adopt organic, people-powered modes of transportation, including walking and bicycling. People here stride with a confident bounce as if effervescently buoyed, stepping with the crisp snap of a sugar pea from one of the farmer’s markets that thrive, year-round, on every vacant lot. They ride their handcrafted two-wheelers attuned to a personal soundtrack best described as a gumbo of free jazz and proto-bluegrass. Don’t be surprised to see pedallers cruising the neighborhood lanes three abreast, each snapping thumb and finger in a syncopated rhythm that brings to mind a fringed surrey frozen in time by the flash of a daguerreotype camera wielded by Matthew Brady himself.

My first post-repast stop of the day is the East Chesterburg Municipal Museum, housed in a former civic building marked with a postmodern slash of architectural frippery. Entering the museum is like stepping back in time while looking into the future through a kaleidoscope of wonder. Time your visit just right and you’ll miss the rainstorm that will pass through town just a few hours before the city rolls up its sleeves for lunch.

Lovingly curated, this museum is chockablock with refreshing artifacts that reveal more about each visitor’s character than that of those who crafted them. You’ll want to linger at each exhibit to revel in the intrinsic knowledge and inspiring message it imparts. The old-world docent dozing in the corner is Mort, and he’s been manning his station for longer than anyone cares to remember. If Mort tells you to not touch something, it’s a memory you’ll cherish for the rest of your visit. A stop at the gift shop will leave your pockets full of postcards and informative brochures. Edna, the gift shop clerk, will give you $1.55 in change and a whimsical smile that says more than you think.

Stridently Moving Forward

East Chesterburg is so thoroughly trendy these days that at times it seems past retro and outside of outré. An uncounted number of people here live in town or in the suburbs, often in houses or apartments, many with driveways and garages. No taller than most people, East Chesterburgians are not often described as diminutive, though they might be if viewed from the proper distance. A formation of Canada Geese migrating overhead might be fooled into believing that the town itself is smaller than many cities, yet it is larger than others—something not every city can claim. One could live here for a hundred years and not meet every resident at least once, though you will feel as if you have, and you will.

Already hungry for lunch, I follow the recommendation of long-time resident, Herb Vouchsafe, and borrow a red bicycle which I ride to the outskirts of town to visit a rural eatery universally beloved by local omnivores. My handlebars glint in the sunshine, eliciting appreciative waves from townsfolk picking fretless banjos and crocheting socks on rickety front stoops. A quick tinkle of the bell engenders peals of laughter from the youngsters jumping rope in each schoolyard I pass.

As often happens in this city, I find the place to which I was headed exactly where it should be. Mo’s Pig House is redolent of grease and the briny elixir of a seaside fishing shack, reminding me of the winter I hitchhiked from Amsterdam to Antwerp on a foggy morning, laden with a sodden backpack, a perplexing itch and a head full of Baudelaire. You will feel exactly the same as you peruse the written synopsis of food items and pricing that serves as a menu at Mo’s. I choose a beer-battered cheeseburger with a side of crispy sweet potato fries and tart kimchee, but you may want to try the “Pig House Sampler” – a veritable pupu platter of pork pies. The water at Mo’s is free, but a word of warning: You’ll have to remember to ask.

The rain is just returning as I finish my dainty banquet and settle the bill. Swaddled in a bee-yellow poncho, I mount my two-wheeled steed and steer northeasterly to East Chesterburg’s charmingly-named “Labor Town” – a gentrified neighborhood once home to the city’s blue collar community, now a burgeoning village where artists, musicians and writers bump elbows and trade coffee-roasting tips with retired pipefitters.

Before arriving in the district, I veer to the right for a quick visit to a local used bookstore, The Wormy Book, to meet up with the city’s leading naysayer-cum-raconteur. “I realized East Chesterburg was going to be my home within 20 minutes of first arriving at the bus depot.” says Bud Skullnick, the bookstore’s Sales Team Guide. (“We don’t use hierarchical titles here,” he explains). “It had something going on that is indescribable. I guess I couldn’t imagine myself going anywhere else,” he explains while scratching the long white beard of his personal attendant, an elderly man of Asian descent. “Moreover,” he continues, fiddling a straw boater that I soon learn is his signature look, “I decided that if I was going to live here until I die, I was determined to spend every single day agitating for something to happen.” After only one day in town, I understand the sentiment, though I would be hard-pressed to explain it.

I'm introduced to another form of East Chesterburg’s agitation when I visit Stuff Mart, a cavernous repository of purposeful materials of every imaginable description. The exterior of this emporium will delight you with its medley of whimsical objects crafted from other objects, but inside it's a $5-million-a-year business overseen by a wizened man who can only be described as avuncular. Put this shop on your bucket list because it’s a sight no visitor should miss, both for its astounding variety and because it embodies the “East Chesterburg Way.”

"We move eight tons of product a day,” reports owner, William Sherwin, burning with conviction in a vintage Motorhead T-shirt and paint-splattered carpenter pants with worn knees. "The idea is to take what some people don’t want and turn it around to sell to people who want it. If we do it right, everybody’s happy. It’s the East Chesterburg Way.”

His goal, he says, "is to create a business model that can be given away to other places." One outcome is that Stuff Mart has become a popular stopover and photo opportunity for visiting dignitaries who hope to emulate East Chesterburg’s economic success, the 16% unemployment rate and junk bond rating notwithstanding. Some weeks, Mayor Sam “Slappy” Simperson is here so often you may find him catching a little shut-eye between official visits by curling up in a quiet vestibule on the premises. When you visit, he’s sure to tell you, “People all over the world want to see this. We let them watch and learn.” He will then tweet a message to his 1,480 followers: “Just told a visitor the East Chesterburg story. Awesome!”

On the Fringe

Local business boosters have been doing their best to promote East Chesterburg with a campaign that defines the town as “The New Edgy.” Gurf Franklin, creative director of a internationally renowned ad agency, Spank Spank (formerly InterModalMedia LLC), gives me a synopsis of the multimedia presentation that sold the city leaders on the campaign. “My partner, Jambo Fripp, came up with the concept of edge-seeking,” explained Franklin as a raincloud scuttered past the multi-paned windows of the former rope factory that is the firm’s creative cauldron, known affectionately by locals as “The Old Rope Factory”. Over the course of the next two-and-a-half hours, he hammers home the concept that “humankind instinctively and continuously seeks the edge … the boundary…the outer limits… the border… the outside of the envelope… terra incognito … did I mention the border?” He grasps a saltine and snaps it in half to illustrate a point that leaves me, oddly, more curious than indifferent.

The hallmark of this boosterism is the annual East Chesterburg Alternative Fringe Festival for Transgressive and Movement/Audio-Based Arts (popularly dubbed “the Alt-Trans-Fest”), which hosts 4,287 events over 13 days, ranging from macramé workshops to community pig roasts and pet swaps. Contemporary dance companies compete with dressage enthusiasts for top honors in the “So You Think You Can Prance” extravaganza at the Veterans Exposition Hall and Natatorium, while close to 2,000 local indie bands plug in at virtually every bar, diner, bowling alley, rooftop, subterranean grotto, Masonic Lodge and tented parking lot within a fourteen mile radius of downtown East Chesterburg. You’ll be hard pressed to find a single local under the age of 40 who doesn’t clamber for the coveted all-access wristband for the Alt-Trans-Fest. These “young moderns”--a common reference to members of East Chesterburg’s flamboyant youth culture--enjoy nothing more than loud music, alternative transportation, social media, distilled or fermented beverages, and tam o’shanters. When they’re not blogging and tweeting about their experiences, they open themselves to experiential learning like breaded abalone simmering in a sizzling fry pan of garlic butter.

Red-bearded, energetic, and wearing shoes that squeak when he walks, the director of an emerging social media aggregator, Parlay Jones, likes to call young East Chesterburgians “the next generation of generational change agents.” Himself an owner of 14 recumbent bicycles (one of which is a functional whiskey still), Jones loves nothing more than donning a distinctive hat and joining his youthful compatriots at any one of the hundreds of ubiquitous rolling food carts that crop up at every intersection in East Chesterburg, waiting to serve dripping slabs of deep-fried cuisine to a hungry workforce of cultural creatives.

"The food carts are all about choice,” Jones likes to say. “Every single generation but my own had no choice over what they ate—or even when they ate. Now we like to mix things up and live in the freedom of the moment, eating on the sidewalk because we can, even in the rain. It’s what puts us on the cutting edge of the food empowerment movement. Honestly, it’s what makes us better than every other city in the world. That, and our tam o-shanters.” Sitting on the curb eating fried potatoes topped with chorizo-hummus and siracha sauce is a rite of passage for every young person in town, and you’ll not want to not be one of them.

Adventures in Wayfinding

To navigate East Chesterburg, whether by bike or otherwise, you’ll have to master some basic geography. First, imagine the Toohoioliatte River (pronounce it “TOO-late” unless you want to be laughed at) smartly cleaving the city, east to west, with the north sector (home of the city's downtown) on one side, and the south (home of the city’s tree-lined neighborhoods) on the other. In the northwest quadrant, you’ll find the upscale Upland Heights and the trendy and fashionable Nebbish Hill neighborhoods. The southeast is divided by Clifford’s Gulch into the gritty Lower Southeast and plucky Upper Southeast boroughs. The northeast itself is divided by Sully Swale, which cuts diagonally from southeast to northwest, and is further divided by Little Creek running northeast to southwest, and Littler Creek meandering in such as way to strategically disrupt the entire street grid throughout what locals call “The Lost District.” Curiously, while Little Creek is descriptively named, Littler Creek is named after an early settler, Jacob Littler, and is, in fact, quite wide.

The north-west dividing line, which extends to both sides of the river, is the verdant Boulevard Park, a 700-acre urban retreat that stretches for 15 miles and widens to no more than 25 feet. Paralleled by Park Boulevard, Boulevard Park is a narrow expanse of East Chesterburg’s wildest, most deeply green aspects. Built single-handedly in 1895 by Charles Percy McFitts, an amateur landscape designer with spare time and a 25-foot-wide horse-drawn scraper, Boulevard Park originally served as le grande allée leading to an outer greenbelt that straddles one of the region’s many bifurcated divisions. Nearly doomed to death by bulldozer to accommodate what city planners hailed as “The Freeway to the Future,” Boulevard Park has been placed on the local registry as a “Regional Place of Significance and Meaning.”

Thanks to former mayor Burt Patsy’s acclaimed anti-encroachment campaign, East Chesterburg is now widely recognized as a breeding ground for innovative creativity in the green sector. It was Mayor Patsy who challenged all citizens of East Chesterburg to limit their propensity to expand, saying opaquely, “You have to crawl before you sprawl,” often adding his signature salute as he peddled away on a customized unicycle.

Nowadays, in new East Chesterburg developments, shops are built at street level to provide ease of pedestrian access, while charming lofts harken back to an era falling squarely between the industrial revolution and post-modern Scandinavia. Simply put, East Chesterburg’s social fabric is woven integrally with the warp and woof of a modern Valhalla perched on the precipice of a new tomorrow. There is simply no other way to describe it.

Of all the city's uber-green spaces, your favorite will be the East Chesterburg Sunken Gardens, found on the edge of the Northeast Outskirts district. The Sunken Garden provides a transformative descent into the intricacies of the spiritual landscape. "What makes a good sunken garden is the sense of sinkage it provides,” says Roxy Delacorte, the garden's Curator of Culture, Art and User Interfaces.

Delacorte and I walk, step-by-step, from the Squat Garden—one of five blending seamlessly, this one populated by colorful koi finning under the Moon Bridge—to the Splay Garden, a wondrously realistic simulacrum mimicking a representation of the hanging gardens of Pompeii as envisioned by an untrained and marginally sane artist. The gardens are known to engender quiet contemplation and repose in everyone who pauses to look. Quite literally, you will want to lie down on one of the graveled paths and take a short nap. The East Chesterburg Sunken Garden manages to accommodate hundreds of thousands of visitors a year without losing its air of solitude amidst the jostling of elbows and vigorous snapping from the Snapping Turtle Eco-Pond.

A World of Art and Culture

Becoming tiresome, I trade the tranquil Garden for the bustling streets of "The Gulch," epicenter of East Chesterburg’s thriving arts scene. This former mill district is now peppered with outlets of urban gastronomy and cultural brio, brimming with fine restaurants, jazz joints, cafés, and upscale handcraft knit boutiques. East Chesterburg’s legendary jelly and jam purveyor, Progesteron, occupies an entire city block at the vortex of the district—so large that a local ordinance mandates that each customer be issued a portable rescue beacon to be activated if lost. (You’ll want to devote an entire weekend to the world-famous Marmalade Room, but don’t miss the easily-overlooked Jellied-Seafood Annex).

On the second Wednesday of alternating months, a crush of art lovers moves at a measured pace from gallery to gallery, stopping only to pause at each waystation to absorb the ambiance and eat unpasteurized cheese. Wear black, or risk standing out as a tourist. Cross Street is noted for its edgy, post-modern electronica such as the interactive art exhibited at NERVE: A GALLERY! Press the blue button on artist Lurv Speckle’s anthropomorphic sculpture, "Deity", and prepare to be surprised to hear a loud “squonk” while being squirted in the eye with what you will hope is lemon juice. The local arts college attracts the most creative of creatives, and the streets and alleyways are rife with crafts of all sorts, from cast bronze gamelan gongs to spatulas made from repurposed motorcycle fenders. Don’t miss the display of papier mache sculptures filled with sugar-laden sweets that art-lovers attempt to burst open with decorated batons while giggling like schoolchildren at a Mexican hat dance.

My local tour guide, Webb Masterson, informs me that “the creative arts in the region explicate and inform people about specific landscapes and their transformation onto a higher plane of communal consideration." He goes on to say, “When East Chesterburg’s bootstrap industry collapsed, the community had a hard time picking itself up. In the end, it was the arts that did the picking up. It was the arts that made all the difference, not the tax on cigarettes, beer and paper napkins, though some disagree.” You’ll want to disagree, but remember: You’re just passing through.

Many of the gawkers on the Second Wednesday Art Promenade live in expensive lofts overlooking Corner Square, a comely plaza featuring a wading pool that ebbs in tidal reflux, but others come from highly individualistic neighborhoods in other sectors of the city connected to the center by a web of transportation options. Streamlined Bauhaus-inspired trolleys trundle over parallel steel rails in a mode of travel harkening to Jules Verne’s steam-age, while bus service delivers throngs of fun-seekers both willy and nilly. After your visit, you will remember being part of this “scene” for the rest of your life, and will look forward to the day when you can tell your great-grandchildren about it.

A Burgeoning Cultural Ecosystem at Work

Later that evening, I arrive at the northern edge of an unnamed neighborhood to take an upholstered seat in East Chesterburg’s newly renovated Barnhouse Theatre for a smidgeon of entertainment and culture. While named for local philanthropist, Philo T. Barnhouse, I am surprised to learn that the venue is, in fact, a former goat barn. You’ll be surprised to learn that too, after picking up a brochure that was handcrafted from a mid-century mimeograph press.

As the house lights dims, we hear a sharp intake of breath from the audience, signaling the start of a rousing rendition of the company’s long-running, runaway hit, “Hungry, Hungry, Housewives” –an unbridled musical homage to an era of laissez-faire sexual mores. When we stumble out, eyes a-glaze, we are drenched with sweat and chocolate sauce, satiated by the show’s innovative amalgam of ribald shtick and aerial ballet, accompanied by an 18-member cello orchestra and a lone flugelhorn, artfully blown. The audience at every show is fashionably eclectic—spiffy grunge to quasi-professorial—but mostly warmly predisposed to intimidation. At intermission, the crowd makes a beeline for the state-of-the-art soda dispenser for a frothy serving of a cucumber-raspberry infused vodka and cane-sugar daquirito. Like me, you’ll be glad you asked for artisan-harvested sea salt on the rim of your glass.

While enjoying the respite of intermission, we are captivated by a series of interactive monitors telling the history of East Chesterburg’s cultural renaissance. Jim Beevey, the theater's Manager of Community Engulfment notes, “We’re the only venue in town with a fully-functional wifi uplink to a cutting edge server that integrates each audience member’s feed to their personally-tailored, multi-layered choice of social media mode. It’s what the next generation of audience members crave, driven as they are to co-curate a communal cultural experience.” Beevey, a multitalented chap with a striped t-shirt peeking out from his unbuttoned charcoal jumpsuit, also produces the popular “East Chesterburg Happy Hour and Gallery Guide,” and plays jazz glockenspiel with a combo of like-minded devotees. Be sure to accept his invitation to an early morning of skeet shooting.

After the play, we retreat to a beguiling bistro in a narrow zone straddling two of East Chesterburg’s more piquant neighborhoods, Greek Town and Turk City. The Thanatos Café is famed for it’s aioli-smothered soutzoukakia, crisp flash-fried hakanakaloxia, fire-roasted phipholococcyxolitis, and blackened-xxyzysosakakia in red sauce. (The latter surprised me with its subtle blush of disomos, reminding me of the keftedes found on the island of Skiathos). After serving our food with a flamboyant flourish, our waiter leaps onto the table wielding an earthen, Mycaean stirrup jar from which issues a stream of ouzo to be caught directly in our open mouths. We laugh with abandon, then smash our soiled plates while shouting “Opa!” The savvy traveler will note that Dmitros does not work on Tuesdays.

An Animated Night of Repose

After a day bursting with urban-exploration and personal discovery, I am grateful to stumble to my lodging at the trendy DeLouche Hotel and Swim Club. The desk clerk stops the dance music long enough to offer me a complimentary nightcap of codeine-infused, boutique-distilled gin. I’m also given a choice of either a cruller filled with foamed bacon-grease (topped with shaved-beeswax curls), or a dollop of aerated whiskey-whip cream squirted from a vintage seltzer bottle onto a pewter teething spoon. I opt for the latter, but you may choose differently. The party in the lobby this evening is a gathering of East Chesterburg’s boho-riche supraclass, and won’t end until the bruise of dawn stretches across the surrounding plains like milk spilled on a granite countertop. Like me, you’ll be too tempted to join in the festivities, but you’ll resist.

Finally ensconced in my cozy room, I curl up under a yak skin throw rug emblazoned with custom-beaded Walt Whitman quotes, choose a magazine from a stack of vintage erotica stocked in each room, and watch the Sonny Liston/Cassius Clay fight playing in a continuous loop on a mid-century black-and-white television with no off button. I sleep like a baby, reminded only periodically that the DeLouche is built above the central distribution hub of East Chesterburg’s main post office, right next door to the All-Night Metalsmithing Collective and the Acme Bakery Supply Company. An old-school vending machine in the lobby offers noise-cancelling headphones for rent.

Sad Farewells and Fond Memories

Next day, I arise early and soon have my hands wrapped around a steaming mug of craft-roasted, artisan-brewed coffee at Caffe Assange, the dawn watering hole for East Chesterburg’s burgeoning community of life-style oriented creatives. We’re seated at a communal table sharing a bowl of deep-fried challah balls dusted with confectioner's sugar and porchetta crumbles (the café’s signature petite appétit dejeuner du jour), engaged in a lively debate about vegan cheeses, when founder and gastro-preneur Garth Feybart, announces that the café will be closing at noon—not just for the day, but forever. We gnash our teeth and trade email addresses with our fellow diners, vowing to meet again in other cities. When you visit East Chesterburg, you will be disappointed to find that Caffe Assange has already been replaced with something not quite as cool.

Too soon it is time for my visit to everybody’s new favorite city to come to a close. My cabbie, Herb “Toots” Thimpkin, bleets his horn to signal that I must take my bow. While all the world may be a stage, it is time for the curtain to fall on this play, and it does so with little drama. I’m not ashamed to report that I feel a tug of emotion as I say goodbye to the City that Rarely Dozes. As he drops me at the train station, Toots sums up my experience in a quietly reflective manner: "East Chesterburg revolves around things in ways we don’t understand. We throw our doors open and hope for the best. At heart, we’re just local people trying to be responsible and caring. You might want to bend at the knees when you lift that bag.”

NEXT STOP: West Chesterburg

Editor's Notes:

1) East Chesterburg is not a real town, nor is it meant to stand in for Portland, Oregon.

2) Astute readers and transcontinental pilots will note that the photograph at the top of this post is actually Lincoln, Nebraska.

3) The line about "colorful koi finning under the Moon Bridge," is directly plagiarized from the National Geographic article, where it was used in a description of Portland's Lan Su Garden. We apologize.

4) Some Portland natives do carry umbrellas. Travel writers who say otherwise are perpetuating a canard.

5) A canard is also a duck.



Welcome to Jumptown!

On the other side of the tracks, in a neighborhood we call "Blogtown," Sarah Mirk of the Portland Mirkury recently posted two stories about the Blazers' vision for the Rose Quarter. The first describes (and provides links to) a proposed Memorandum of Understanding defining how the City Council, the Portland Development Commission and Portland Arena Management (a.k.a. Paul Allen) will work together to redevelop the district.

The second provides an excerpt of the Blazers's vision to transform the Rose Quarter into “Jumptown” -- a sports and entertainment district:
Jumptown: Portland's Rec Room will be a world-class mixed-use sports and entertainment district in one of Portland's most vibrant neighborhoods. We envision a community gathering place at the intersection of sports, music and entertainment, one that pays homage to the rich musical heritage of Portland's eastside... It will embody the best of Portland's cultural past, present and future through live music events, a variety of residential, hotel and office space, diverse retail and restaurant amenities and a one-of-a-kind Nike interactive experience.”

We’ll get to a serious discussion of what all this means in future posts. While you're holding your breath for that, here are my "top of the head" reactions:

(1) Excuse me, but I don't see anything about "sustainability" in that statement. And this is supposed to reflect Portland values?

(2) As I've been writing this post, I keep typing "Jumpstreet" instead of "Jumptown." What's that about?

(3) I swear to God that I just realized that "Jumptown" rhymes with "Stumptown."

(4) And now I’ve discovered that “Jumptown” was the nickname for a neighborhood in N.E. Portland that was bulldozed as part of urban revitalization efforts such as building the Memorial Coliseum.

In his book “Jumptown: The Golden Years of Portland Jazz 1942-1957,” Robert Dietsche writes about “The Dude Ranch” – a club located in what is now called the Leftbank Building. While “Dude Ranch” may sound totally gay today, Dietsch describes it as one of the hottest jazz clubs in Portland, and one of many such clubs in the Williams Avenue District, the center of African-American business in Portland. He writes that the neighborhood was a place one could find jazz twenty-four hours a day. One could look up Williams Avenue "past the chili parlors, past the barbecue joints, the beauty salons, all the way to Broadway, and see hundreds of people dressed up as if they were going to a fashion show. It could be four in the morning. It didn’t matter; this was one of those streets that never slept.”

So that's pretty interesting, though I don't believe that one could hear jazz being played (or "blown" at the cats would say) twenty-four hours a day. People always say that kind of thing, but it's rarely true. Imagine a rainy Tuesday morning in the winter of 1953 between 7:30 a.m. and, let's say 10:00 a.m.. You think anyone was blowing a sax then? If so, I'll bet someone else was walking out of a chili parlor shouting, "Give it a rest Jazzbo! Some of us have day jobs!" I'm just saying that historical accuracy is important.

Sometime in the near future, Culture Shock will analyze the political and business implications of this issue. We'll thoroughly examine the history of the neighborhood. After that, we'll dissect the urban design implications. Until then, let's poke fun at the Blazers' vision statement by reimagining it as a press conference:

Q: Can you describe what class of place Jumptown will be?

A: It will be world-class, of course.

Q: World-class like Amsterdam? Or more like Pyong Yang?

A: We're thinking more like Amsterdam, Paris or Barcelona.

Q: Maybe a little bit of St. Louis?

A: Maybe.

Q: What kind of use will Jumptown get?

A: If we’re successful, it will be multi-use.

Q: Can you tell us more about the neighborhood?

A: As it is, or as it will be?

Q: As it will be.

A: It will be vibrant.

Q: By "vibrant," do you mean "dangerous?"

A: Not at all.

Q: Where will Jumptown be located?

A: At the intersection of sports, music and entertainment.

Q: What about arts? Do the arts intersect at Jumptown?

A: I don't know what you're talking about.

Q: What will happen at that intersection?

A: It will be a gathering place.

Q: Can you clarify?

A: It will be a community gathering place.

Q: You mentioned an homage?

A: Yes, we’ll be paying homage to Portland’s musical heritage.

Q: Can you tell us more about that heritage?

A: It’s a rich heritage.

Q: How will you pay homage to that rich heritage?

A: By embodying the best of Portland’s culture.

Q: Like Portland’s culture today?

A: Yes, but also Portland’s cultural past.

Q: Future too?

A: Yes, Jumptown will also embody Portland’s cultural future.

Q: Once you embody the cultural future, doesn’t that make it the cultural present?

A: I hadn't thought about it that way.

Q: I just blew your mind didn't I?

A: Not really.

Q: You sure?

A: Okay. Maybe a little. Can we move on?

Q: Am I asking the questions, or are you?

A: I'm sorry. Go ahead.

Q: Apology accepted. So what kind of music will Jumptown have?

A: Jumptown will have live music.

Q: Will it have live music as well as live music events?

A: I imagine you’ll see both.

Q: Is there a difference? Or is a "music event" like a "weather event?"

A: You should refer to the press release.

Q: How would you describe the other spaces in Jumptown?

A: What do you mean?

Q: Like residential, hotels and offices.

A: Oh. There will be a variety of them.

Q: Would you call them diverse?

A: Well, the restaurant and retail amenities will be diverse.

Q: Is a "retail amenity" similar to a store?

A: Yes, it’s the same thing.

Q: Can you tell us how Nike might be involved in Jumptown?

A: We hope that Jumptown will offer a Nike experience.

Q: Will that involve jumping?

A: You'll have to ask Mr. Knight about that, but I imagine jumping will be part of the experience.

Q: Can you tell us if the Nike experience will be interactive?

A: Yes.

Q: One-of-a-kind?

A: I suppose.

Q: You suppose?

A: What do you want me to say?

Q: Once again, who's asking the questions here?

A: I'm sorry. Can we wrap this up?

Q: Again with the questions?

Memorial Coliseum is about more than Architectural Preservation

I understand if you're fatigued by the Memorial Coliseum story. Perhaps you're one of the many who think it's an ugly, obsolete behemoth that threatens to stifle progress and waste taxpayer dollars. In the end, this post isn't about that story, though it was triggered by it. It's really about who's running the show in this goddamned town, and who's reporting the story.

The front page of Monday’s Oregonian was splashed with two beautiful photographs of Memorial Coliseum (exterior and interior), accompanying a hatchet job of a story about the building’s financial viability. A smidgeon of snideness crept into a headline that read, “Save Portland’s Memorial Coliseum, but for what?”

The O’s editorial position has been staunchly anti-Coliseum from the get-go, parroting the talking points of the proponents of its demolition, and implying that the only folks who want to preserve the building are a few elitist architects with their heads up their asses. On Monday morning, that editorial posture crept onto the front page--or was journalistic laziness to blame?

Asking questions about how Memorial Coliseum will be managed and to what purpose is a legitimate exercise. That’s a task Portland’s mainstream newspaper ought to take seriously. Instead, the paper ran a half-baked recap of talking points with faulty and incomplete analysis. Is editorial bias intruding on journalistic independence, or is this what happens when a newspaper’s resources are stripped bare, leaving no capacity for real investigative reporting?

In her front page article, Helen Jung writes, “The Save Memorial Coliseum campaign, spearheaded by a few architects passionate about the arena, worked.” (Note the emphasis on a "few architects").

Let me turn that statement on its head: “The Raze Memorial Coliseum campaign, spearheaded by a few private sector developers and rich sports team owners passionate about making money, worked.” Is that what you would rather be reading? Because it came close to that and still might.

Jung takes as an article of faith the argument that nobody knows how to manage the Coliseum successfully: “Architects who love Memorial Coliseum would show you the massive glass walls that allow natural light to stream into the seating bowl. They would show you the clever engineering of the roof -- the size of four city blocks -- resting on just four concrete pillars. But it's a little bit harder for them to show the outlines of a good business when looking at the 49-year-old coliseum's financial bones.”

The article states that Memorial Coliseum “has struggled for more than a decade to just break even.” The print version includes a bar chart to support that argument. Unfortunately, it appears to do just the opposite: Over the six year period reported, the chart shows that the City of Portland received close to $2.8 million in revenue from parking and user fees while spending just under $2.4 million running the garage and making some capital improvements. That’s a net gain of $400k (14%) over that period. (Under the management deal for the venue, the Blazers collect all other revenue, such as rentals and concessions, pay the Coliseum’s operating costs, and then split any remaining profit with the city).

Sure, the chart shows that the city has “lost” money over the most recent three years; but that is because it spent money on capital improvements in those years. If there were surpluses from previous years, doesn’t it make business sense to reinvest them in improvements and deferred maintenance? What happened to those surpluses anyway? The article doesn’t explore that question, nor does it report on what the Blazers earned or lost by operating the facility. (A year or two ago, a brief report said that the Blazers broke even operating the venue after years of losing money).

The article correctly notes that “the coliseum needs millions of dollars in fixes, from overhauling its half-century-old electrical system to replacing the roof. Its egalitarian seating arrangement, with no luxury boxes or club seats, makes the coliseum feel more like a high school gym than a venue out to make a profit.”

Why doesn't the article mention that the Blazers recently invested $13 million to upgrade the Rose Garden Arena after less than a decade of use? What makes that a legitimate investment, while maintaining Memorial Coliseum is portrayed as pouring money down a rat hole? By the way, $13 million is exactly what a 2002 study said would need to be invested in upgrades to the Coliseum.

The article briefly describes the management deal struck between the City of Portland and the Blazers. It mentions the “Portland Arena Management” as the Blazers's sister company responsible for managing the venues. It does not mention that Portland Arena Management signed a five year deal with AEG Facilities a few years ago to run the Rose Quarter. It doesn’t mention that Los Angeles-based AEG Facilities is a huge entertainment and venue management conglomerate with a world wide base of operations. (You might call AEG the Halliburton of sports and entertainment management). When the Blazers signed the deal in 2007, its chief operating officer at the time, Mike Golub, described AEG as “the fastest-growing facility management group and one of the most dynamic sports and entertainment companies in the world." Oh boy!

Reports in the Oregonian and other media outlets at the time read like they were transcribed from the Blazers/AEG press release. “The AEG team wants to attract a Rose Garden naming rights partner, coax more development of the Rose Quarter campus, add new events and generate more revenue for Vulcan Ventures, which owns the arena for Blazers owner Paul Allen.” AEG is a wholly owned subsidiary of the Anschutz Company, a sports entertainment outfit that operates the Staples Center in Los Angeles and many other venues and sports teams around the world. Part of its reputation is its ability to sell naming rights for venues, and its development of entertainment centers such as “L.A. Live” – a $2.5 billion district of residences, offices, hotel rooms and event venues which Blazers execs reportedly cite as a model for developing the Rose Quarter.

According to reports, AEG ranks as the nation's second-largest concert promoter behind Live Nation. That's what business folks call "integrated" but you may know it better as a "monopoly." They control the product, the content and the delivery systems. I thought it was interesting that my search of Oregon Live and the Oregonian's archives (thank you Multnomah County Libraries) turned up no further mention of AEG since the 2007 article about the Blazers handing over venue management.

The Blazers are now talking with another mega-developer, the Cordish Co., about creating the entertainment district, so it's not clear what AEG's role is in all this. What seems beyond dispute is that the Blazers and Paul Allen's Vulcan Ventures have been hankering for better profits and that Memorial Coliseum is sitting there as a huge obstacle. The connections between AEG, Cordish and Vulcan certainly make discussions about the proposed “entertainment district” more interesting. I won't be surprised if I learn that the Convention Center hotel project, for which Mayor Sam Adams has a powerful itch, gets integrated into this whole development deal. And here's another interesting connection: Mike Golub either quit or was fired by Vulcan recently, and reports are that Merritt Paulson wants to hire him as general manager for that new Major League Soccer team Portland is getting. It is a Small World after all!

As long as we're constructing a house of cards, when AEG took over management of the Rose Quarter, it was reported to have a “strong interest in developing and managing a 2,500-seat arena" on the site. At that seating capacity, such a venue would compete directly with the Schnitzer Auditorium (2,800 seats) and Keller Auditorium (3,000 seats) for commercial concerts, sucking away some of the revenue potential for those venues and destabilizing their financial underpinnings. Guess who gets hurt if that happens? The nonprofit performing companies that use those city-owned facilities at reduced rates thanks to commercial rentals that offset operating costs, that's who. Top on that list are the Oregon Symphony, the Oregon Ballet and the Portland Opera, all of which are struggling under current economic conditions. Oy!
So here's what has me riled up: This is all starting to feel Bush league. By that, I mean it's looking like the kind of private sector deal-making that we saw flourishing over the past eight years.

It's Enron and Halliburton rolled together into one flaming clusterf**k.

It's a strategy of belittling and marginalizing opponents, treating them as if they're idiots for not understanding the complexities of the deal.

It's the media rolling over and reporting from press releases and talking points rather than doing its investigative job.

It's spreadsheets with variables jiggered so that the future looks rosy and risk free until it all turns to shit and then what's the next brilliant plan?

It's rich fat cats sucking at the public teat while pocketing all the upside of the deal and walking away from the risks.

It's elected officials wanting to appear decisive and action-oriented, hellbent on creating a legacy greater than scandal.

It's about whatever happened to Portland being a town that knows how to plan?

Okay, I’m not a reporter and I have other work to do and many miles to go before I sleep. All of my investigation of this post was done on a laptop while watching the season finale of "House." If I got facts wrong, tell me and I'll fix them. I'll try to add links and give proper citations later. I didn't even take the time to add a photo to brighten things up.

Go read Bob Hick’s excellent analysis of this story at Art Scatter, which he's titled,"Memorial Coliseum: The Empire Strikes Back." It's brilliant and passionate, and Bob is more articulate about it. I particularly like the questions he raises about the place of profit in managing public facilities that were built for the public good.

Art to Come


Figure 1: Let's look into our crystal ball, shall we?


Figure 2: The Crystal Ballroom, site of the Portland Jazz Orchestra's upcoming “Intricate Rhythms," one of 102 projects receiving funding for 2009.

While our friends at Art Scatter were shaking the money tree last Wednesday, the RACC Board was quietly approving record sums of grant funding for artistic projects in 2009. Now that artists and organizations have had time to receive their award letters (and rejections), I'm giddy to help announce the winners.

Actually, let me just link you to the full description of all projects that have received awards for the year ahead. This is one story that actually gets a fair amount of attention each year, as the media and bloggers have fun picking out the projects they are most excited to see. What's your favorite?

Two themes are especially noteworthy here, in my opinion. First, how many of these project grants would you guess are going to the "same old" groups vs. first-time winners? Would you believe 50-50? It's true.

Secondly, this is the most money ever awarded by RACC for project grants, and while the recipient artists and organizations have plenty to cheer about, I suspect it will trigger a few critical remarks from folks who think this a frivolous investment amidst serious economic woes. You'll notice that the press release was written to counter any such sentiment, but we as an arts community must be sure to respond swiftly and intelligently to any Letter to the Editor or other public document that ridicules these investments or calls for arts funding cuts. It's time to gear up for the spring budget cycle, and we have much work to do to maintain arts funding locally as well as renewing statewide arts funding, including the Oregon Cultural Trust, for the next biennium as well.

To arms!

Prescott Project

This is purely selfish on my part, but I want to share with you, our readers, the plans that are being drawn up for the intersection of North Skidmore and Interstate. Anyone who has come to my house this fall has... well, first of all they have been disappointed to notice that the liquor store is now closed, so their plans to bring me a bottle of Kettle One have been foiled. But secondly, they have noticed that the houses on this same block have been boarded up and surrounded with a construction fence, as if a bulldozer was about to come along any day and tear it all down. For what?!, we wondered. What will go here in this prime piece of real estate with a MAX station adjacent? And what will replace the homes where all the crack whores used to live? (Can I say that on a cultural blog?)

Blogtown PDX revealed some of the drawings today -- as well as some of the neighborhood opposition that reliably ensued.




Now me, I have mixed thoughts about the design, but I'm also so eager to replace the eyesore that's there now, heck, I'd greenlight a K-Mart. OK not really. I do, however, find it a generally pleasant design that also yields legitimate concerns about whether it all could look dated in a few years. Looking at some of the other developments going up on Interstate and Mississippi, much of it will depend on the quality of materials being used -- are those painted stucco stripes on the overhands, or richly stained timbers, or some really cool rusted copper trims?

I am further fascinated with several larger (but related) conversations about transit corridor development; affordable housing; and the gentrification of North/NE Portland. None of which I have time to go into right now, naturally.