Category Archives: Bob Hicks

Portland arts for Japan: $267,000 plus!

By Bob Hicks

The Oregonian’s Kelly House reports on Oregon Live that Sunday’s two-show Japanese disaster benefit at the Aladdin Theatre has raised about $250,000 for Mercy Corps‘ relief efforts. Congratulations to organizer Stephen Marc Beaudoin, Aladdin general manager Tom Sessa, all of the performers, and the 1,300 people who bought tickets for the sold-out shows. Added to almost $17,000 raised in an earlier event sponsored by Portland Taiko and Portland State University’s Department of Music, that’s $267,000. And there’s been more from other corners. Plus, you can still contribute directly to Mercy Corps. Congratulations, Portland. Let’s keep it going.

‘Good Citizen’: when it did happen here

A Japanese American unfurled this banner the day after the Pearl Harbor attack. Dorothea Lange photographed it in March 1942, just prior to the man's internment. Wikimedia Commons.Japanese American storefront, 1942. Dorothea Lange

By Bob Hicks

In 1935 Sinclair Lewis published his novel It Can’t Happen Here, about the Hitler-style takeover of the United States by a power-grabbing populist president. The book’s title was satiric. Lewis meant that it very much could happen here, and if we didn’t pay attention, it just might.

On February 19, 1942, scant weeks after the Japanese aerial attack on Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066, authorizing the rounding-up and “relocation” of Japanese American citizens, mostly from the Western states, into internment camps for the duration of World War II. More than 140,000 people, all of them uprooted from their ordinary lives, ended up in the camps.

Minoru Yasui, the real-life hero of "Good Citizen."On March 28, 1942, little more than a month after the roundup had been set into motion, a young Japanese American man named Minoru Yasui — he’d been born on October 19, 1916, in Hood River, and earned his law degree from the University of Oregon in 1939 — walked into a police station in Portland and dared the officers to arrest him for breaking curfew. They obliged. Yasui landed in jail and eventually in a relocation camp. Yasui wanted to test the constitutionality of the internment law, and his case finally went to the United States Supreme Court, which ruled that his arrest and incarceration were legal. Yet he kept fighting, during and after the war. He was a Good Citizen.

On Monday, March 28 — 69 years to the day after Yasui’s arrest — Artists Repertory Theatre will present a staged reading of Good Citizen, Portland writer George Taylor‘s play about Yasui’s good fight. The play, which is still getting a few revisions, is a finalist for the 2011 Oregon Book Awards. It’ll be performed at 7:30 p.m. on the theater’s Morrison Stage; tickets at the door only, suggested donation $8.

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Links: weaving, ‘BoomCrackleFly,’ more

By Bob Hicks

A few Friday hot links to go with your early-weekend bagel and eggs:

Laurie Herrick, "Three Giraffes," 1970. Linen, cotton and wool, 72 x 32 inches. Collection of Museum of Contemporary Craft in partnership with Pacific Northwest College of Art, gift of Ken Shores; 2006.05.01. Photo: Dan Kvitka.

Leave ’em hanging: In this morning’s A&E section of The Oregonian I reviewed Laurie Herrick: Weaving Yesterday, Today and Tomorrow, the new show at the Museum of Contemporary Craft. Herrick was a prominent loom weaver in Portland beginning in the late 1950s; she died in 1995. And she was well aware of art trends, as her ca. 1970 Op Art wall hanging Three Giraffes, shown here, attests. Teaser: “If Jackson Pollock created action painting, this is action weaving.” Read the review here.

Coolest-sounding show in town: Speaking trippingly on the tongue, that would be BoomCrackleFly, the brashly smooshed-together title of Charise Castro Smith‘s new play, which opens tonight at Miracle Theatre.

On Blogorrhea, Mr. Mead Hunter has a crackling-good interview of his own with Smith, in which he questions her, among other things, about how the theater is going to pull off the vision of “people bobbing in a world covered in water.” To which, in part, she replies: “I think one of the great things about theater is the fact that if an actor stands on stage and says something is true, then at that moment it’s true. It’s the huge imaginative possibility of theater to call all sorts of things into being with language.” Read the interview here.

Paper dance: What’s old is new. What’s outre is cool. We’re talking newspapers. The printed page. Good old-fashioned hold-it-in-your-hands-and-flip-the-page minimalism. Who’s reviving this retro craft? Why, Portland’s contemporary dance scene, that’s who (or what). We’ve been hearing rumors of the impending birth of a local dance newspaper, and now Marty Hughley has the inside scoop on Oregon Live (which is the not-printed version of the printed Oregonian). It’ll be called Front. Read the story here. And read Alison Hallett’s take on The Mercury’s Blogtown here.

Lanford Wilson, R.I.P.: The noted American playwright, whose many works were frequently staged in Portland, died on Thursday at age 73. Wilson‘s career spanned Off-Off, Off, and Broadway in addition to lots and lots of regional productions, and ranged from early hits such as The Hot l Baltimore to his Talley Trilogy (Talley & Son, Talley’s Folly, Fifth of July) and the high-octane Burn This. Several seasons ago he was the featured artist for Profile Theatre, the Portland company that spends each of its seasons exploring the works of a single playwright. At a time when household-name playwrights are pretty much a thing of the past (is Edward Albee the last of that breed?) Wilson was one of the noble practitioners who have kept the fabulous invalid alive and vigorously kicking. Read Margalit Fox’s obituary for the New York Times here.

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Laurie Herrick, “Three Giraffes,” 1970. Linen, cotton and wool, 72 x 32 inches. Collection of Museum of Contemporary Craft in partnership with Pacific Northwest College of Art, gift of Ken Shores; 2006.05.01. Photo: Dan Kvitka.

Trikes, gnomes, and boating for love

By Bob Hicks

While Mrs. Scatter is off in the creeping undergrowth of the northern rainforest hunting gnomes, Mr. Scatter is sitting at home pondering the plausibility of the electric bicycle.

Could this be the Mr. Scattermobile of the future?Nay, nay, not just a bicycle. An electric three-wheeler, with neat little wire basket in the rear, a vehicle fit for the odd grocery trek and the regular coffee-shop run. Could it be? Might Mr. Scatter don a plaid neck scarf and houndstooth riding cap and sport about town at a dashing 17 mph, shouting wild-eyed imprecations at crows and chihuahuas to clear out of his path if they value wing and limb? Might this be fitting familial payback for a garden suddenly lurking with warty-nosed painted gnomes?

... and could this become Chez Scatter's new Large Smelly Gnome? Photo: Ioannes.baptista, Wikimedia Commons.Ah, one can dream, as Jack does in the play Jack Goes Boating, just opened at Artists Repertory Theatre. And sometimes, if a person dreams a dream that is simultaneously quite large and very small, that dream might come true.

Mr. Scatter is not speaking of Mrs. Scatter’s dream of being featured in an eight-page pictorial splash in Better Gnomes and Gardens. He is speaking of Jack’s simple yearning for his one true love, which, after all, is a common enough dream, if not one all that commonly fulfilled. And that Jack must endure unlikely trips to the hospital, a marital catfight by his two best friends and some excruciating swimming lessons with little relief other than a sturdy patience and the occasional hit off a mighty bong only goes to show that when grace arrives, it’s a good idea to be ready and willing to receive it.

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A Japan benefit; theater & dance tips

UPDATE: On OregonLive, Ryan White has just posted this announcement of a big-name benefit for Japanese disaster relief at the Aladdin Theatre on March 27. So far, the list of performers includes pianist/bandleader Thomas Lauderdale of Pink Martini, singers Holcombe Waller and Storm Large, dancers from Oregon Ballet Theatre, new-music adventurers fEARnoMUSIC, the Pacific Youth Choir, PHAME Academy, the Shanghai Woolies, and singers Ida Rae Cahana and Carl Halvorson. Check Ryan’s post for details.

© Rich Iwasaki 2008© Rich Iwasaki 2008

By Bob Hicks

You’ll be hearing about a lot of benefit performances and emergency fund-raising drives to help the victims of Japan’s triple whammy of earthquake, tsunami and nuclear crisis. Perhaps you’ve already dug deep.

picture-1One performance coming up is particularly close to me, because I serve on the board of Portland Taiko, the outstanding Asian drumming and movement ensemble. At 7 p.m. Tuesday, March 22, PT and the Portland State University Department of Music will host a performance at PSU’s Lincoln Hall Room 175. A lot of people in Portland Taiko have family in Japan. As artistic director Michelle Fujii puts it, “Seeing the tragedy in Japan unfold was difficult for many of us in Portland Taiko on a personal and visceral level.”

Among others, the performance will include Portland Taiko, Takohachi (Japanese taiko and dance), Mexica Tiahui (Aztec drum and dance), Mike Barber (Ten Tiny Dances), Natya Leela Academy (traditional South Indian classical dance), Carla Mann and Jim McGinn (leading Portland contemporary dancers), and Hanzaburo Araki (shakuhachi, the traditional Japanese end-blown flute).

The performance is free, but volunteers from Mercy Corps and other organizations will be on hand to take donations. Hope to see you there.

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Mishmash: a knee fit for an Irish jig event

By Bob Hicks

Must everything we see and do be an “event”?

Irish horndancing and jig shoes. Photo: Skubik at en.wikipediaMr. Scatter noticed this pernicious form of marketing and advertising breathlessness beginning as a trickle a couple of years ago, and it’s become an all-taps-open flood. The most ubiquitous torrent is the “major motion picture event” — which means “movie that cost a lot to make and needs to make a whole lot more to recoup its costs,” or just plain “new movie” — but it’s spread to many other areas as well. A rainstorm is a “weather event.” A sale on socks at the mall is a “merchandising event.” A rational political speech is an “imaginary event.” Just kidding on that last one.

The subject rose yet again this morning when Mr. Scatter spotted an ad in the New York Times for Michael Flatley’s new movie Lord of the Dance 3D and promptly erupted into a minor hissy fit event. Now, Mr. S can take Michael Flatley or leave him, though he’d rather do the latter. (All these lords a-leaping remind him of a good friend’s dismissal of the background characters in operas and story ballets as “happy peasants.”) And Mr. S hasn’t jumped on the 3D wagon: he can’t figure out how to get those glasses over his regular glasses and still see what’s going on on the screen. No, the problem was the line right below the movie’s title in the ad: “THE MAJOR MOTION PICTURE EVENT.”

Why? Mr. Scatter asked himself in an exasperation event. Why not just “THE NEW MOVIE”? Or — gasp — nothing at all? Mr. Scatter dreams of a day when this hyperventilating linguistic gaseousness will simply implode and disappear.

It could. As the Michael Flatley homepage so eloquently proclaims: “Nothing is impossible … follow your dreams.”

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Bend it like Beckham. Gray's Anatony.On the other hand, the Lord of the Dance 3D ad reminded Mr. Scatter that today is St. Patrick’s Day, and then he recalled where he was and what he was doing exactly three years ago: lying on a hospital operating table, his left leg splayed open like a flounder getting filleted, while a highly gifted surgeon inserted what is essentially an entirely new and artificial knee. Loyal readers might recall this post from March 17, 2009, Celebrating a year of the Artificial Me, which recounted the trials and eventual joys of surgery and recovery. Mr. Scatter still can’t dance a decent jig, and he still can’t play the piano. But then, he couldn’t before the surgery, either. And these days, unless an anniversary rolls around, he rarely gives his pain-free knee a second thought.

Saints be praised.

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ILLUSTRATIONS:

  • Irish horndancing and jig shoes. Photo: Skubik at en.wikipedia
  • Bend it like Beckham. Gray’s Anatony.

Circle of fire: tending the anagama kiln

Inside the belly of the beast: 2,400 degrees of transformative heat in the East Creek Anagama Kiln. Photo: RICHARD YATESPhotos: Richard Yates

By Bob Hicks

ABOVE EAST CREEK, OREGON —
The East Creek Anagama Kiln sits amid a forest tangle in the foothills of the Oregon Coast Range, above East Creek, which feeds into Willamina Creek, which feeds into the Yamhill River, which feeds into the Willamette River, which feeds into the Columbia River, which empties into the Pacific Ocean, which crosses to Japan and Korea and China, where the anagama style of wood-fired kiln was born roughly two thousand years ago. “Theoretically,” says Nils Lou, pointing down to the rapid chuff of the creek below, “you could put a canoe in the water right there and go anywhere in the world.”

Through the front burner door, roughly 500 clay pieces are being transformed by the anagama's heat. Photo: RICHARD YATESTheoretically. Your canoe might get swamped, but the possibility of such a daring jaunt brings home the essential circularity of living with an anagama. (In Japanese, the word means simply “cave kiln,” so called because of its design that exploits the gravitational and structural advantages of burrowing into the side of a hill.)

Here we are, a decade into the 21st century, celebrating the contemporary possibilities of a troglodytic technology from the time of the first Roman emperor. And when I say contemporary, I mean it. The beauty of the anagama is that, no matter how rigorously you prepare the clay pieces being fired, what comes out of the crucible is largely a result of chance.

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Oregon history: just a thing of the past?

By Bob Hicks

You can order popular images online at the OHS web site.It’s not often we call attention to a front-page newspaper story — after all, it’s right there on the front page; how could you miss it? — but today we’re doing just that. If you haven’t looked at it yet, please read Still Stuck in the Past, D.K. Row’s front-page story in today’s Oregonian about the continuing woes at the Oregon Historical Society in spite of the five-year levy that Multnomah County voters recently passed to help bail the place out.

This is no hatchet job. D.K.’s story is well-balanced and gives a good insight into the complex issues that have been hurting the society and its museum for years. In a way, OHS offers a disconcerting peek into the future of all sorts of public institutions, from schools to police and street departments, if the tax-revolt and “privatization” bandwagons continue unchecked. If you starve an institution long enough, it starts to make blunders and lose track of what it is and what it’s supposed to be doing.

Certainly the state’s now-you-see-it-but-mostly-you-don’t approach to funding has been a huge contributor to the historical society’s troubles. But the place has also had structural, managerial problems for years, to a certain extent since its glory days under its legendary leader Tom Vaughan.

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It’s Fat Tuesday: join the parade

In Binche, Belgium, Les Gilles, an all-male group of about 1,000 Mardi Gras revelers, wearing their masks; 1982. Photo: Marie-Claire/Wikimedia Commons.

Shrove Tuesday, Fat Tuesday, Carnival, Mardis Gras: Whatever you call it, today’s the day. Mr. and Mrs. Scatter tend not to do the dress-up thing — some days they never get out of their pajamas — but they appreciate a good display by other people. Far be it from them to rain on anyone else’s parade. Mardi Gras happens the world over — the photo above is from Binche, Belgium — but in the United States, today is the day that hordes of people fervently wish they were in New Orleans. Apparently, absinthe makes the heart grow fonder. Eat, drink and be merry, for tomorrow, Lent begins.

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In Binche, Belgium, Les Gilles, an all-male group of about 1,000 Mardi Gras revelers, wearing their masks; 1982. Photo: Marie-Claire/Wikimedia Commons.

Egypt, antiquities, and the fall of Hawass

By Bob Hicks

It appears that Zahi Hawass, Egypt’s legendary minister of antiquities, has become a part of the history he has spent a lifetime trying fiercely, and often controversially, to protect. Judith H. Dobrzyinski, on her blog Real Clear Arts, reports that Hawass has resigned under pressure amid rumors of looting and charges that he himself had been stealing from the Egyptian Museum in Cairo.

Happier times: Zahi Hawass displays a Ptolemaic statue discovered at Taposiris Magna, in northern Egypt, on May 8, 2010. Voice of America/Wikimedia Commons.Read Dobrzynski’s several posts from March 3 and her followup from March 4: It’s a messy situation. And it helps answer a question we raised almost a month ago, in this post from Feb. 8: “What will (Hawass’s) role in any new government be? Can he protect the past and be part of the future, too?”

Art Scatter hasn’t had a lot to say about the revolutions sweeping northern Africa because, frankly, other people know a lot more about the situation than we do. Is this Ten Days that Shook the World, to be followed by Stalin? Is it the Velvet Revolution in Czechoslovakia, which led to an internal divorce but also to lasting openness and freedom? Is it something very much its own, and will it play out differently in Egypt, say, than Libya? Revolutions have both intended and unintended consequences. They can be instruments of revenge — a person who invites grudges can easily become a target, whether it’s justified or not — and they are invitations to mischief. In a vacuum, or a chaotic shifting of power, corruption can be epidemic.

We simply don’t know what’s going to happen. We hope fervently that this will mark a new openness, fresh opportunities, more individual rights, especially for women in the region. We’re aware that it could lead instead to more extreme religious zealotry and a further clamping down on what we in the West think of as basic individual rights. We suspect that no matter what happens, dealing with the fallout is going to be bumpy for the West, which will want to influence events but will have to do so delicately, recognizing that it’s the African peoples’ land and the African peoples’ cultures, not ours.

For the broad worlds of history and culture, a vital issue remains as we framed it here a month ago: “Hawass suddenly has a massive task on his hands: how to protect and preserve his nation’s priceless cultural heritage in the face of a possible revolution.” That hasn’t changed, except the revolution is real and Hawass, barring yet another turnabout, won’t be making any of its crucial decisions. Still, this is everyone’s history. Whatever emerges, culturally as well as politically, the whole world has a stake in it. And most of us in most of the world can only watch and hope.

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Photo: Happier times for Zahi Hawass, displaying a Ptolemaic statue discovered at Taposiris Magna, in northern Egypt, on May 8, 2010. Voice of America/Wikimedia Commons.