All posts by Bob Hicks

I've been observing Portland and its culture since 1974, for most of that time as a writer and editor at The Oregonian and the Oregon Journal. I finally left The O in December 2007 so I could spend more time hanging around coffee shops and catching up on good books. My journalistic wanderings have led me into the worlds of theater, dance, music, the visual arts, literature and food. I'll continue writing about those and broader cultural subjects for Art Scatter. They're terrific windows onto the great mysteries of life, and thinking about them makes the mendacities of our wayward national political culture a little more bearable.
Bob Hicks, General, Theater

Cut to the quick: PCS axes Mead Hunter, four others

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Mead Hunter, portrait by Gwenn SeemelI come home from a few days in the rainylands to the north to discover that it’s been pouring in Portland — not just rain, but bad news.

Portland Center Stage, the city’s flagship theater company, has laid off five people, including literary manager Mead Hunter, one of the most popular and respected people in the city’s theater scene.

Mead’s assistant, Megan Ward, also got the pink slip, as did workers in the box office, information technology and facilities departments. At a company that has staked its identity largely on its commitment to developing new plays, Hunter and Ward were the entire literary department. It ain’t no more. I’m not sure this is what Samuel Beckett had in mind when he came up with Endgame, but the word does have its applications.

And the economic hurricane keeps howling on. On his Web site Blogorrhea, one of our favorites, Mead gave the reason for the layoffs as “disastrous budgeting miscalculations paired with the moribund global economy.” Trouble is, the moribund (a kind word, given the circumstances) global economy has rendered budgeting calculations disastrous all over the place. This story is being repeated over and over, with adjustments in the details. To all of those people who think the arts are expendable frills that can be cut without harming anyone: a laid-off teacher or automotive worker or line cook or newspaper editor or mill worker or theater employee are the same. Not a one of them has a job any more, and unless they had the luck to nab a tinted parachute of some sort, not a one has an income.

Mead Hunter’s name doesn’t mean much to the theatergoing public. He’s not an actor. He’s not a director. He doesn’t run the company or give curtain speeches. But every business has its insiders, the people who know how things work, who get things done, who put things together, who teach and support and reach out and sometimes keep things loose by cracking exactly the right joke at exactly the right time. In Portland theater, Hunter was that guy. People in the business know him, and respect him, and like him very much, and a lot of them have him to thank for nudges he’s given their careers, in subtle and sometimes prominent ways.

Hunter’s role has been far bigger than his title. Portland Center Stage is the elephant in the living room of Portland theater, the great big company that gets all the attention, and almost inevitably that has bred resentment among others on the scene. Mead may have been the company’s finest ambassador. He paid attention to the rest of the city’s theaters and theater people, took them seriously, lent his services, nurtured them when he could, always with gentlemanly courtesy and competence. You can’t buy public relations like that. Sometimes you can’t pay for it, either.

This is a tough day for Hunter, and his four laid-off co-workers, and Portland Center Stage, and the city’s theater scene in general. In one sense the layoffs are a modest cut, especially compared to the huge slashes that have rocked some other industries: Center Stage had 105 names on its staff roster before the cuts, which makes the reduction less than 5 percent. But in every organization, a few people represent the soul of the place, and when you lose them you lose something indefinable but vital. Read the comments on Hunter’s Web site — well over 40 the last time I looked — and you’ll get a sense of what I mean.

For other good perspectives, see this post on Culture Shock by CS regular Cynthia Fuhrman, Center Stage’s marketing and communications chief, and these comments by fellow Scatterer Barry Johnson on his Oregonian blog, Portland Arts Watch.

Bob Hicks, General, Visual Art

The craft of merging: Thoughts on a museum in flux

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Tip Toland at Bellevue Arts Museum

What is craft? What is art? What is folk art? Outsider art? Contemporary art?

Are the distinctions real? Do they matter, or are they intellectual games people play, rococo road blocks in the path of direct emotional response to aesthetic objects?

Oh — and what’s a museum supposed to be, anyway?

Dumb questions, maybe. Or, as I prefer to think, basic questions — and sometimes, when you’re staring a big change in the face, basic questions are very good things to ask.

Here’s another one: How many museums does a city need to have a healthy critical mass?

Like a lot of people, I’ve been pondering the impending takeover of Portland’s financially sinking Museum of Contemporary Craft by the expansion-minded Pacific Northwest College of Art, a merger that might become final next month. The question at this point is no longer, “Is this a good idea?”. Barring the sudden swooping down from the heavens of a previously unsuspected angel, some sort of merger seems necessary if the museum is to survive, and this is the one that’s been worked out. So the question now is, “How will this work to the best long-term advantage of both institutions?”

Continue reading The craft of merging: Thoughts on a museum in flux →

Bob Hicks, Cities, Environment, General

Hold it right there: looking for a little relief

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phlushblue“What do you think of semiotics?” an owlish interrogator asked me.

This was deep in the drifts of a previous century, shortly after I’d been named movie critic for a now-dead daily newspaper, and my questioner’s tone made it clear that he needed to know whether I was a serious fellow worth paying attention to or just another star-struck hack.

“Not much,” I replied, knowing I was consigning myself in one mind, at least, to eternal hackdom. “It’s an ugly-sounding word, don’t you think?”

And that was the end of that.

I still think semiotics is an ugly-sounding word, and if you bring it up in conversation I’m going to have a sudden desire to slip off discreetly to the no-host bar.

A good sign, on the other hand, can be a wondrous thing, and so I offer a heartfelt tip of the Art Scatter hat to the creators of the one above. There can be no mistaking the meaning of those crossed legs, in any language or any culture on any spot on the planet.

The sign just came my way from a Portland-based group called PHLUSH, or Public Hygiene Lets Us Stay Human, and although we can joke about it all day long (feel free to insert your own sophomoric wordplay here) it’s a serious issue, and I’m glad PHLUSH is around to tussle with it. Take a look at the group’s Web site here.

What is an occasional inconvenience for most of us can be a matter of both humiliation and extreme physical discomfort for others who lack ordinary middle-class comforts. And around the world, hygiene or the lack of it can literally be a matter of life or death. That’s no symbol: That’s reality.

In the meantime, PHLUSH is planning to hand out its Public Restroom Awards, to “honor those whose efforts have increased public restroom availability in Portland,” at 5:30 p.m. March 24 at Orchid Salon, 203 NW Second Ave. in Portland’s Old Town. The public’s invited to show up and take a seat.

The need to go when you’re on the go can lead to ridiculous situations. I’ve been known to dash into a coffee shop and order a shot of Joe just so I can use the bathroom, and think about the long-term futility of that.

And in case you’re wondering what all this has to do with art, which is what we here at Art Scatter are supposedly in business to talk about, check this.

So, good luck, PHLUSH. We’re in your corner.
It’s a sign of the times.

Bob Hicks, General

Celebrating a year of the Artificial Me

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Bend it like Beckham/Gray's Anatomy

Today is St. Patrick’s Day, that great American bacchanal on a boisterous Irish theme, and here at Art Scatter World Headquarters we trust our stockholders are out on the streets whooping and hollering and downing tankards of green beer and generally celebrating the corning of the beef. Or not.

My own plans are slightly different. I figure instead on relaxing in my lush private retreat overlooking the grand garden estate I purchased with a small slice of this year’s Art Scatter upper-management bonus distribution — how else could we attract the best and the brightest talent in these tough times? — slowly savoring a fine Irish whiskey served by one of my several personal assistants as I contemplate the successful completion of a full year of the Artificial Me.

The funny thing is, I don’t feel in the least artificial, and I’m wondering if that makes me and Bernie Madoff blood brothers.

Yet here I sit, and stand, and walk, and even bend, things that had gradually become so difficult that a year ago today I found myself lying in an operating room at Providence Portland Medical Center, where a team led by the blessedly skillful orthopedic surgeon Dr. Steven Hoff scraped and jabbed and sliced into my left leg, stretching tissue wide enough to insert something very like a hockey puck into the degenerated space between my femur and tibia that had become the laughably inadequate remnant of a once solidly workable knee. (Strictly speaking this isn’t quite true. I didn’t “find myself” lying in the operating room; I never saw the place. By that point, swaddled in the sweet bassinet of modern pharmacology, I was deep into lullaby land, and thank goodness for that: This was no Civil War surgery, with hack saw and clenched teeth and a bottle of booze to stanch the pain.)

Today, after a few months of rehab under the gentle yet firm prodding of Providence’s physical therapy squadron, I’m happy to report the bailout was a success. For some time I’ve been back to “normal” — that is, under ordinary circumstances I don’t think about my knee any more than an AIG executive thinks about ethical responsibility. Sure, there’s a little tightness of the skin around the scar tissue, but that’s just the new normal: Think of it as one of those niggling oversight requirements that might go away if you just ignore it. Before surgery, stairs and even slight inclines on sidewalks were obstacles. Before surgery, I hesitated between walking-sticks and walking-canes, uncertain of which was more stylish/less obtrusive (and foolishly self-conscious in a way I hadn’t felt for years) but always with one or the other at hand. Now, sticks are long forgotten and stairs are just life.

In other words, everything’s natural — except for that highly artificial, nonorganic, composite hockey puck that separates bone from bone; that blessed chunk of shock absorber that takes the stiffness out of my ambulatory stride. I am artificially normalized — engineered into effectiveness. And while the whole process has hardly been on the order of a heart transplant — I join millions and millions of other people who’ve had knee or hip replacements — I have dipped my toes into the brave new world of Robot Man. I am, just slightly, less a biological being than when I began. And I feel good about it. I feel stimulated.
Continue reading Celebrating a year of the Artificial Me →

Bob Hicks, General

The choir sings: Let’s kiss and make up

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The angelic choir/Gustave Dore for "The Divine Comedy"Here at Art Scatter we just love a heavenly chorus. Harmony’s our thing, and we’re fond of kittens, too.

So why do we find ourselves hesitating to lend our voice to the call for a new song of reconciliation with the Oregon Legislature over its co-option of $1.8 million from the Oregon Cultural Trust? Maybe we just don’t like the tune. And maybe we think it’s not all that great an idea for everyone to be singing the same song.

Our friends at Culture Shock are taking the lead at keeping the Trust issue out in the open. Their latest reports are here and here, and they’re well worth reading, including the comments. Among other things, Culture Shock passes along in full yesterday’s tactic-shifting statement from the Oregon Cultural Advocacy Coalition on behalf of the Trust, a statement that includes this key passage:

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.

In other words: The deal’s done, the point’s been made, and now the smart thing to do is back off, be team players, and work behind the scenes so we can get it back in the future and not lose even more. That’s the way politics works.

But that’s not the only way politics works. It also works by making noise. And if you’re lucky, the noisemakers and the peacemakers work in concert, each checking the other’s extremes and keeping them on course.

A little background, if you’re just checking in on this: The Oregon Legislature, in an attempt to fill an $855 million hole in the state’s current budget, made cuts across the board — including $1.8 million from the Oregon Cultural Trust, a state-administered fund that distributes grants to a variety of arts, cultural, historical, educational and tribal organizations in every Oregon county. Scroll down at Art Scatter and you’ll find several previous postings.

Unfortunately for the Legislature’s budget-balancers, the Trust’s money doesn’t come out of the state’s general fund: It’s donated by citizens directly and specifically for the Trust’s purpose. (In this case, the money came from sales of Oregon cultural license plates for people’s cars.) In normal circumstances — and certainly in private exchanges — money in a trust fund is inviolable: It can’t be grabbed for other purposes. To do so is, literally, a violation of trust, and that’s been the focus of this controversy.

So. Done deal or not — and I believe it is — the snatching of the Trust money has long-term implications, no matter how benevolent the Legislature’s short-term goals were. It’s still a violation of trust, its legality is still questionable, and it still raises the possibility that people will simply stop donating money to the trust because they have no assurance that their money will be used for the purposes they gave it. You can’t sweep that sort of stuff away. And you can’t sing it away.

You can work out compromises, using that old political one-two combo of kicking and kissing. Culture Shock’s Culture Jock passes along a KGW-TV news report that suggests Sen. Betsy Johnson, D-Scappoose, is leading an effort to translate the hijacking of the Trust money into a loan. That’s a promising development, and worth tracking.

Culture Shock’s Mighty Toy Cannon points out in a comment on one of his site’s recent posts that “the Legislature’s ‘brutal week’ [to quote the Cultural Advocacy Coalition’s Wednesday statement] began with a caucus at which party leadership banned negotiation on individual items on the sweep list.” That’s important to keep in mind. This was a lockstep vote by state Democrats, who agreed beforehand that the budget sweep was an all-or-nothing deal — and because they know how to count, they knew it would be “all.”

To certain key segments of the state’s cultural interests, political reality now says “It’s time to kiss and make up.” These are mostly the people, including those at the Trust, who have to play in the political arena all the time; people whose overall effectiveness relies on their ability to maintain good working relationships with the politicians whose votes ultimately decide these things. This is, indeed, the song they need to sing.

That doesn’t mean YOU need to kiss and make up, or that it’s a good idea for you to do so. In fact, it’s a very good idea for a whole lot of people to stay on the offensive on this issue. A cardinal rule of politics is, if you don’t make noise, you get forgotten. Stay quiet, and the raiding of the Trust will be both history and precedent. It’ll be easier next time. The Legislature needs to be consistently reminded that the public knows what it did was wrong, and that people will remember — and that votes are attached to those feelings.

So, choose for yourself where you line up now. If you think that tactically it’s time to play nice, by all means, do so. If you think it’s better strategy, and truer to your gut, to kick up a fuss, keep kicking.

The Legislature can act in lockstep if it wants to. That doesn’t mean the public — especially the public in a healthy representative democracy — has to do the same.

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Postscript: I appeared Tuesday morning on KOPB public radio’s Think Out Loud public-issues show to talk about the Trust issue. Paul King of White Bird Dance and I were studio guests. Rep. Mary Nolan, D-Portland and Oregon House majority leader, spoke at length via phone, explaining the Legislature’s point of view, and Christine D’Arcy, executive director of the Oregon Arts Commission and the Oregon Cultural Trust, also spoke via phone. Other phone-in guests included Steve Dennis, owner of Earthworks Gallery on the Oregon coast, and Greg Phillips, executive director of Portland Center Stage. The discussion was lively, and you can download the show from the Think Out Loud site.

Bob Hicks, Cities, Environment, General, Theater, Visual Art

Scatter links: Yes, we still cover actual art

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The Importance of Being Earnest/PCS/OWEN CAREY

I’ve been writing so much about art politics lately, some of you might have forgot that Art Scatter also writes about arts and culture. That’s our main goal, actually. It’s just that all this politics stuff keeps happening.

In fact, between bouts with the Oregon Legislature (which didn’t seem to notice I was in the ring) I’ve been writing a fair amount about exhibits and performances. But not here — mostly for The Oregonian. So in lieu of writing something fresh (I’m a little tired, and I have other assignments due) I’m going to link to some of those stories.

First, though, a tip of the Scatter hat to Owen Carey, one of the unsung heroes of Portland’s performance scene, whose photographs have been documenting the movable feast of the city’s theater scene for decades. It’s more than documentation, really: It’s collaboration, and a distinct artistic contribution on its own. Like a great dance photographer — Lois Greenfield, for instance — Owen has the gift of disappearing even as he captures the perfect moment of movement that defines the style and liveness of a show. The photo above, from Portland Center Stage‘s current production of The Importance of Being Earnest, is a brilliant case in point: the airiness, the bubbles, the froth of the tea as it flies from the mouth of Gwendolen (Kate MacCluggage) while Cecily (Nikki Coble) sips daintily away, perfectly encapsulates the mood of Oscar Wilde’s comedy. If only the production had done the same!

Now, on to those links:

What if they gave a Depression and there weren’t any artists to record it? From Monday’s Oregonian, this piece about a small exhibit at the Portland Art Museum of WPA and other national arts program works from the 1930s and early ’40s, along with some comparisons to the Madame de Pompadour special exhibition and a bit on some paintings in the museum’s permanent collection by some of the Pompadour artists. The online caption, by the way, is wrong: That’s not a Joseph Stella, it’s a Maude Kerns.

Hayley Barker at The Art GymNeil Simon, American comedian: Also from Monday’s Oregonian (the full review ran online; a shortened version ran in print) is this look at Profile Theatre‘s production of Simon’s 1992 play Jake’s Women, a morose comedy about a guy whose marriage is falling apart — but also a play with a fascinating, Pirandellian subtext about the nature of writing and observation. Simon argues, therefore he is.

In the deep dark wood something wild and woolly waits: From last Friday’s A&E section of The Oregonian, this review of a couple of linked exhibits at The Art Gym — Wolves and Urchins, with work by Wendy Given, Hayley Barker and Anne Mathern (that’s Barker’s elegantly hideous monster in the illustration to the side, and Mathern’s wide-eyed photograph at bottom); plus Warlord Sun King: The Genesis of Eco-Baroque, a collaboration by Marne Lucas and Bruce Conkle.

The world is flat, and other artistic fables: From last Monday’s Oregonian, this review of Mixografia, an expansive exhibit at the Portland Art Museum of prints from the Los Angeles press and graphic arts center that’s created a name for itself by coming up with a technique to create prints that have three dimensions — in other words, multiples with height and depth. Nice trick — and artists from Ed Ruscha to Helen Frankenthaler to Louise Bourgeois and even sculptor George Segal have taken advantage of it.

He’s a real nowhere man, living in a nowhere land: Isn’t he a bit like you and me? Finally, from the Feb. 13 A&E, this essay about the planning disasters of our urban edges, prompted by a viewing of the architectural constructs of artists Jesse Durost and John Sisley at Fourteen30 Contemporary gallery, along with a consideration of the imaginative work of architect Robert Harvey Oshatz through the prism of an exhibition at the AIA Gallery. A bit of a hybrid piece of writing; maybe even a leap too far. That’s Scattering, friends.

Anne Mathern at The Art Gym

Bob Hicks, General

Oregonian to Legislature: Hands off the Trust fund

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Enough is more than enough, The Oregonian’s editorial board declared this morning.
Licence to thrill
In an editorial headlined Hard times no license to rob the arts, it takes the Oregon Legislature to task for its hijacking of $1.8 million in donated money to the Oregon Cultural Trust, in addition to other failures to respond to the multiple crises facing the state’s cultural institutions.

Calling the heist of the Trust’s money a “snatch-and-grab,” the editorial board calls for the Legislature to restore the $1.8 million to the Trust. And it goes further: It criticizes the Obama administration for proposing stiff new restrictions on philanthropic gifts to nonprofit groups — new rules that would limit tax breaks to individuals but also potentially dry up funding to groups that desperately need it:

The Obama administration doesn’t get it, either. The administration has included in its tax plan a proposal to cap the tax credit for philanthropic gifts to nonprofits, including arts and culture institutions. Fine, raise income taxes on the wealthy, but why, just when things are getting awfully hard out there for nonprofits, reduce the incentive for people of means to help them survive?

This is good to see. Maybe we’ll get some traction on this thing yet.

Bob Hicks, General

Hey, Eugene: Thanks for standing up when it counts

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The State Legislature pulls a heist.

I’m tired of the Oregon Legislature-raiding-the-Oregon Cultural Trust story. You’re tired of it. We’re all tired of it.

Unfortunately, as the Legislature moves on from the distress of trying to plug an $855 million budget hole to the mind-boggling challenge of filling an estimated $3 billion shortage for the 2009-11 cycle, the pattern’s been set. The Legislature appears to have got away with its $1.8 million hijacking of Trust money — it’s not tax money — and is sure to notice there’s another $10 million or so sitting there just waiting to be grabbed. State Democrats (with friends like these, etc. etc.) have made it clear they’re using the bash-the-arts card to establish their credentials as tough guys on the budget, even though they must be aware that by confiscating money donated in trust they are violating every normal rule of fiscal stewardship and are very likely trashing the Trust for good. That’s as in, trashing a state program that until now had actually worked as it was intended.

So, keep on the alert. This game is far from over.

In the meantime, thank goodness for Eugene. Oregon’s Second City gets it. (I know Salem’s passed Eugene in population and is technically No. 2, but Salem is also the seat of state government, and I’m feeling a little peckish on that subject right now, so in terms of intellectual and ethical heft, Eugene gets the nod). While The Oregonian has largely ignored the Trust raid issue except for fellow Scatterer Barry Johnson’s tough questioning on his Portland Arts Watch blog, the Eugene Register-Guard has been reporting it hard and also editorializing. So I want to say, thanks, Eugene, for doing your job.

Here is the Register-Guard’s editorial on the subject, and here’s a news post from this morning from the Yamhill County News Register, not exactly a paper with overflowing resources but one that’s willing to cover the news. Both are worth perusing. Thanks, R-G and NR. Keep up the good work.

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Illustration: From Sketches of Japanese Manners and Customs, J.M. W. Silver. Litho, 1867. Project Gutenberg via Wikimedia Commons.

Dance, Film, General

The week that was in dance: fusion and confusion

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Trey McIntyre Dance/Chris Riesing

Friend of Art Scatter Martha Ullman West got back to Portland from a lengthy stretch in Kansas City, where she’s been researching a book on ballet legend Todd Bolender, just in time to take in one of the Rose City’s busiest dance weeks in quite a while. Here’s her report — and thanks, Martha, for Scattering!

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Portland Dance Journal, Saturday Feb. 21 through Friday Feb. 27, 2009

I didn’t realize it until I sat down to to write this Scatter post, but what we had in Portland last week was fusion, fusion, fusion, and some con-fusion. It was not a week for purists, that’s for sure — from Oregon Ballet Theatre to the Trey McIntyre Project to Tuesday and Wednesday night’s performances at Reed College by Pappa Tarahumara, a Japanese company that performed what it claimed was a version of Chekhov’s Three Sisters, this one set in rural Japan in the 1960s.

Moreover, critic and historian Marcia Siegel was in town to give two lectures to Portland State University’s dance history students on fusion in ballet, and also to teach composition students in the same place. In addition, she showed two extraordinary films, Carolyn Brown’s Dune Dance and Merce Cunningham’s Biped. She also led a session with Reed students on how to write about dancing, based on the Pappa Tarahumara performance. And if you haven’t read Howling Near Heaven, her recent book on Twyla Tharp and her work, or The Shapes of Change, a book published in 1979 that is an indispensable part of my library, go and do so immediately.

Herewith a log of sorts:

********************

Saturday, 8 p.m.: I go to opening night of Oregon Ballet Theatre and the premiere of Christopher Stowell’s Rite of Spring. The program opened with Peter Martins’ Ash, with Yuka Iino and Chauncey Parsons in the principal roles and doing a sparkling job of dancing them. Bang off, the company showed how well-schooled it has become under Stowell’s leadership, how fast and how accurate in its technique: In Ash the dancers contributed artistry to what is basically an aerobic workout danced to an unstructured score.

"Rite of Spring," Stowell/Stravinsly/OBT. Blaine Truitt CovertGod knows Stravinsky’s 1912 Sacre du Printemps, played brilliantly here in its two-piano version by Carol Rich and Susan DeWitt Smith, is structured. Its lyrical beginning builds to a pounding crescendo in music that is still startling for its highly stylized brutality.

Seeking to do something new with Vaslav Nijinsky‘s anti-classical ballet about a primitive Russian fertility rite that calls for the sacrifice of a Chosen One (female, it’s almost needless to say), Stowell, assisted by Anne Mueller, has come up with an episodic narrative that is more about 21st century Americans and our seemingly endless search for community and catharsis than anything else. Or is it an episodic narrative? It’s definitely episodic, but the narrative may be up for grabs.

Michael Mazzola‘s movable-set-piece walls contribute to this effect, as do his lights. But on opening night, while I was impressed with the dancing and the production values, I was also more than a little mystified by Stowell’s intentions, and glad to know I’d have a chance to see it again.

Continue reading The week that was in dance: fusion and confusion →

Bob Hicks, Cities, General

Legislature takes its ax, gives state culture 40 whacks

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It’s over. As Oregonian political writer Harry Esteve reports here on Oregon Live, the Oregon House has just passed its down-to-the-skeleton emergency budget by a vote 0f 37-22. The vastly pared budget, identical to the version passed Tuesday by the Senate, includes the expected raiding of $1.8 million in direct donation — not tax payments — to the Oregon Cultural Trust. Gov. Ted Kulongoski is expected to sign the new budget early next week.

So that’s that — for now. And if nothing else, it diverts some of the spotlight from State Senator Margaret Carter, who’s lucky that people in Oregon are mostly pretty polite, or her performance on Tuesday might have gone viral by now.

Cicero Denounces Catiline: Fresco by Cesare Maccari/Wikimedia CommonsLike her fellow Oregon state legislators, Carter — chief of the Senate’s budget committee — is stuck in a politicians’ nightmare. The economic catastrophe has forced her and her colleagues to make deep budgetary cuts guaranteed to prompt howls of anguish and cries for their heads. Nobody knows exactly where this thing’s going, but the best guess is that before cuts the state budget hole is $855 million right now and will be $3 billion for the 2009-11 cycle. That’s a lot of enchiladas. Legislators face the distressing challenge of dealing with a situation that has no good solutions: Whatever they do, on some level it’s going to be wrong.

So it’s no wonder they get testy. And in announcing the state Democrats’ lockstep approach to the new budget, Carter got testy, indeed, as reported by David Steves in the Eugene Register-Guard:

“There are those who are whining all over the place about ‘you cut this and you cut that,’ ” she said, wiping away mock tears during a speech on the Senate floor. “The fact is that we had to cut. That’s why I call this the shared cut and shared responsibility model.”

A few places picked up on the mockery right off the bat, including fellow Scatterer Barry Johnson on his alternate-universe blog, Portland Arts Watch.

When I reported here Tuesday on the Senate’s budget bill I skipped Carter’s little performance of pique because I wanted to concentrate on the issues. But the more I thought about it, the more I realized this IS one of the issues, and an important one.

Politics is a messy and often ugly process, but one good thing to remember is this: If you’re going to pick people’s pockets, at least apologize to them and treat them with a little respect. What you don’t give, you don’t get back.

Among the “whiners” for whom the senator shed mock tears: advocates for homeless people and schools; 911 emergency system workers; university officials. Greedy fat cats, all.

And, of course, artists and their supporters, who for some reason seem upset that the Senate grabbed $1.8 million they contributed voluntarily to the Oregon Cultural Trust on the state’s promise that the money would be used for cultural purposes only and would be strictly separated from the state general fund. We discussed the moral and legal implications here, although the legal ramifications are much murkier than they appear on the surface: As with George W. Bush, apparently, if the Oregon Legislature does it, it’s legal.

I don’t believe Margaret Carter is the callous person her comments on Tuesday made her appear. I do believe it’s easier to make tough decisions that have bad consequences if you can imply that the victims of your actions somehow deserve it. The whiners. The me-firsts. The selfish cultural types who think we owe them the world.

Continue reading Legislature takes its ax, gives state culture 40 whacks →