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ABOUTFACE

Portland’s Interview Magazine Summer 2011

James Westby & Katie O’Grady Film

Media Insider

Ana Ammann Entrepreneur

Sheldon Harris Top Chef

Naomi Pomeroy Jazz Musician

Patrick Lamb Metal Artist

Jay Moody Fashion Designer

Modi Soondarotok Local Hero

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AB OU DE T PO ST RT IN LA p.6 ATIO ND 0 NS &

Harold “Bear” Cubbedge


photo by Tim Sugden

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Hair & makeup by Kirstie Wight, photo by Tim Sugden

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JUDITH ARNELL JEWELERS

Find Your Diamond in the Pearl. Located in the Pearl District: 320 NW 10th Avenue Between Everett and Flanders phone: 503.227.3437 www.JudithArnellJewelers.com

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ABOUT FACE

P o r t l a n d ’s I n t e r v i e w M a g a z i n e Publisher David Bentley Editor in Chief Michael Sant Managing Editor DC Rahe Copy Editor Jenn Dawson Graphic Design Michael Sant, Gary Menghini Staff Photographer Tim Sugden Contributing Photographers Kyle Collins, Carl Geers Feature Writers Chris Angelus, Jenn Dawson, Gary Mier, Jamie Mustard, Chris Young, Becki Singer, Mara Storm, Aaron Fitzgerald Account Executives Ann Lucia, Tim Sugden, Kyle Collins, Lawrence Martin Accounting Robin Farm Cover Image Shot by Lavenda Memory

Cli c k o n the se a ds to v i sit t h e ir we b s it e

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ABOUTFACE magazine and the entire contents of this magazine are copyright 2011 Bentley Patrick Inc., all rights reserved and may not be reproduced in any manner, in whole or part without written permission from Bentley Patrick, Inc.

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Published in Portland, Oregon by Bentley Patrick, Inc. 503.922.2731

PUBLISHER’S NOTE I will start off by saying thank you for all the e-mail and positive feedback on our premier issue of AboutFace magazine. Our team here really enjoys putting the spotlight on discovered and undiscovered talent in our city. We are fortunate to live in a city with such a deep pool of interesting people. With the start of summer, most of us can’t help but think and anticipate the warmth of the season as it approaches. With months of record rainfall behind us, we can all look forward to a green and warmer summer. So often, good weather enhances many of our neighborhood events or coastal getaways. So be sure to catch the “About Portland” and the “About Destinations” news bites.

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As I look at this issue’s editorial, I realize that these people are really making things happen. The local celebrities we profiled remind me of a combination of two thoughts – ‘No guarantees in life’ meets ‘Success is not by accident.’ They are truly inspiring, and driven people. I hope you enjoy reading this issue as much as we have enjoyed putting it together. Best regards, David Bentley Follow us at facebook.com/aboutfacemagazine


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CONTENTS ANA AMMANN

SHELDON HARRIS

NAOMI POMEROY

PATRICK LAMB

MODI SOONDAROTOK

12| 16| 22| 28| 34|

ABOUTMEDIA OregonMusicNews.com publisher Ammann discusses challenges facing women working in the music business.

ABOUTBUSINESS

Meet Sheldon Harris, serial entrepreneur, who has a passion for giving people hope to restore their financial outlook.

ABOUTCUISINE After appearing on TV’s Iron Chef and Top Chef Masters, Naomi Pomeroy of Beast shares her insights on being a nationally recognized celebrity chef.

ABOUTMUSIC

Listen to what Grammy-nominated, Muddy Award winning, world traveling, jazz saxophonist and vocalist Patrick Lamb has to say about his past, present, and future.

ABOUTFASHION

Discover the humble and talented fashion designer Modi Soondarotok, from London, Paris, New York, and even Bangkok and back.

JUNE 11–SEPTEMBER 11, 2011

1937 Hispano-Suiza H-6C “Xenia” Coupe, Lent by Merle and Peter Mullin and the Peter Mullin Automotive Museum Foundation, Beverly Hills, California, © Peter Harholdt.

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SUMMER 2011

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JAMES WESTBY KATIE O’GRADY

ABOUTFILM

James Westby and Katie O’Grady share their journeys in producing, directing, and acting in an independent feature film that premiered at the Tribeca Film Festival.

ABOUTART

JAY MOODY

48|

Hammers, grinders, and torches are the tools of trade for metal sculpture artist Jay Moody.

HAROLD CUBBEDGE

54|

Meet Harold “Bear” Cubbedge, a man on a mission to shed light on and help reform a broken system.

PORTLAND DISTRICTS

60| 74|

OREGON COAST

ABOUTHEROES

ABOUTPORTLAND

Most people agree that the heart and soul of Portland are the districts. Each district has its own distinct personality and scene. This issue covers twelve of Portland’s business districts.

ABOUTDESTINATIONS

Explore two great escapes on the Oregon coast, Cannon Beach and Astoria.

Summer Time and the

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LEED

P L AT I N U M

LEED Platinum Neighborhood


by Jenn Dawson

Ana Ammann is currently the publisher and a writer for Oregon Music News, hailed as “Oregon’s only all genre, online music magazine.” Although not a Portland native, she embodies some of the city’s greatest virtues as she shares and teaches the community building techniques that she daily engages in. Ana is a writer, business maverick, music specialist, entrepreneur, activist, mother, and patron of the arts. She regularly mentors young artists, instructing them how to earn a living through their art, and represent themselves accurately so that they will be seen, recognized, and their audiences will keep coming back.

Tell us about your progression from studying law at Berkeley to writing for and publishing an online music magazine in Portland. I think the story started when I was nine years old. I tell about it in a book called Knowing Pains. My first love was an electric guitar. It was a sparkly blue Fender Stratocaster that was sitting in the widow of a music store in the Bay Area that my family used to pass by on our Saturday night dinners. And so the music has always been something that has spoken to me. The things that I remember most about my childhood were writing and music. I wrote and I’d go in my room and just put the headphones on. I’d listen to Stevie Nicks, The Rolling Stones, Linda Ronstadt, you know, all those people that in the 70’s were big, and I just always wanted to be able to play. In my story, I also talk about how I took lessons on the acoustic guitar for a year. My Dad promised to buy me an electric if I finished a year. I never got the electric guitar. I thought I’d show him and say, I’m not gonna play anymore. So, I shelved music at the age of ten and followed a path that other people were expecting me to follow. In high school I got involved in competitive tennis and school government. From a very young age I wanted to get into politics and change the world. So, in college I studied law and ultimately went right into my career from school at UC Berkeley. It took a long long time for me to get back into music. It wasn’t until I moved here into Oregon. I moved here to have a family in 1997 and I was divorced by 1999. I had a two-year-old. I didn’t have a political career here. I had been very involved in local politics in the Bay Area. By the time I moved here, I had become a bit jaded with politics. I didn’t want to do that anymore. Then, I saw an ad for the very first Rock ‘n’ Roll Camp for Girls and they were looking for volunteers. And that really was the thing that got me back into music. That opened the door and thrust me into this world of music here in Portland. 12

ANA AMMANN

A WOMAN THAT ROCKS


photo by Carl Geers

ABOUT MEDIA

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You have long been a supporter and advocate for women in the arts. You have contributed to and/ or helped organize everything from Rock and Roll Camp for Girls, to Siren Nation Arts Festival, to Portland Women’s Film Festival to Support Women Artists Now Day (SWAN Day). Can you elaborate on this a bit? I love all of these organizations. I think they’re all very worthwhile. The only one that I’m not so actively involved in now is the Rock ‘n’ Roll Camp for Girls. Because of my legal background, business background and experience working with companies, I was able to help the founder of the Rock ‘n’ Roll Camp for Girls set up a formal business structure. It was at that very first camp that I met the publisher of ROCKRGRL magazine, Carla DeSantis. She really had a feminist mission about rock and roll: to make sure that women were respected as musicians, that they got paid for their work, and that they were acknowledged for their craft. And so, I think that a lot of that rubbed off on me. I think what I connected with was that idea that women weren’t really expected to be rockers. I remember being nine years old and loving, not the acoustic guitar, but the electric guitar. And not really, at a young age, seeing any girls rock out. It wasn’t until the Go-Go’s and Joan Jett, when I was in high school, that you really saw that. And even then, it wasn’t something girls typically pursued. So, it was the idea of creating an opportunity for women to have a forum to play and to be heard, and each one of those organizations contributes to that. None of those organizations were ones that I started except for SWAN Day. When Siren Nation was starting, I also had a networking group for women called PDX Creative Exchange—and we meet once a month, women in all creative fields, just to network and share ideas. Natalia Kay, the founder of Siren Nation, approached me and said: “We really need someone with a business background and a project management background that can help us figure out what we have to do next, what our priorities are.” That was right before the first festival. So, I’ve been involved for five years. I’m on the executive board of Siren Nation. I help review legal documents. I work on creating marketing materials—anything written, anything that requires planning. For Portland Oregon’s Women’s Film Festival, same thing. I do publicity for POW Fest, I’m on the advisory board, I help screen films. Last year, we had over 400 submissions from filmmakers around the world. I’ve been involved with them for about three years, and I see myself continuing to be. Since the launch of OregonMusicNews.com in 2009, its popularity has grown more than 300%. What exactly is OMN and what accounts for its rapid growth, do you think? Oregon Music News started in 2009, at a time when the economy was really taking a dive. A lot of local publications were having to limit the number of staff they had on hand covering the arts, and we happened to be emerging right at a time when many of those people were still interested in writing about music and about art. So number one, we had some incredibly talented writers that were available to start working for us, right away. 14

We had the credibility of Tom D’Antoni, who is one of the founders. He is known throughout Portland as an aficionado of Jazz and Blues. We also had the support of Terry Currier, owner of Music Millennium. One of the initial goals was to create a haven for music writers. In print you’re really limited by space. Online you’re not limited by that. We also wanted the online form to create additional visibility for Music Millennium, as well as other music retailers, to encourage people to be looking up music as they were reading about it. The people that came on board are known for their genres. Our classical editor, James Bash—classical actually has a huge following in this town. It’s our largest genre. And that’s because of his knowledge of classical and his dedication to that area. Second is jazz, because of Tom. We have ten genres, so no matter what you’re interested in, within a few limitations, you’re gonna find something happening in Portland or happening in the state of Oregon that you’re gonna wanna read about. We’re never gonna be that critical organization. We’re gonna find the reason to celebrate the person’s achievement in their art. Otherwise, we likely won’t write about it. We had over a hundred different contributors, writers, over a year’s period that wrote over 7,000 articles. 7,000

What do you think Portland’s future holds with regard to the realm of music? It used to be, you had to make a decision in your life if you wanted to be a musician. I’m gonna choose that career as a musician, or I’m gonna choose a career path that I know is gonna earn me some money. I think people are encouraged to express themselves artistically here. And, like I said before, I think the tools are more accessible to everybody, even if it’s just a hobby. People can be creating their own work, putting it out there, having it heard by people. I think that’s gonna continue to grow. Where artists here need some help is for those that want to make a living being a musician. A lot of times they don’t get the business knowledge, the business background they need. I know Terry has a particular mission with the Oregon Music Hall of Fame, as does Oregon Music News, that we want to create a forum for building that community so that people earn what they should be earning, people get out to see the music. I’d like to see the clubs be full, I’d love to see the artists getting paid what they deserve to perform in these venues. There’s a preconception that artists are poor and that musicians always struggle. I’d love to

“I think what has been created in Portland is this idea that it is a place for artists. Art is part of everything the city seems to do.” articles over a year’s period, that’s a lot of writing! There’s certain things we know we’ll cover, but we also leave it up to the writers. Each one of us has our own stuff we love. For me it’s 80’s alternative. Anytime anybody from the 80’s has come through that was an alternative British performer, I’m probably gonna be covering that show. The Portland music scene has changed a great deal in the last couple of decades. Describe how you see the current scene here. I think what has been created in Portland is this idea that it is a place for artists. Art is part of everything the city seems to do. Portlandia is a great example of that, right? At one time I think it was because of the beauty and inspiration people found here, and it was affordable, relatively affordable. Portland is this mecca of people who, once technology started taking over and you didn’t have to be signed by a major label to have your music heard— CD Baby was founded right here, creating an alternate way of distributing music without the need of a label—it created this whole other opportunity. You no longer had to have a studio. You could record on your Apple, you could distribute the music yourself, you could press your own cd’s locally. But I think it continues to draw creative people now. There’s this sense of community among our artists that I don’t think you have in some of the larger cities.

see that perspective go away. What’s hot in Portland music right now? I’ll tell you what’s hot right now are festivals. Portland puts on the Soul’d Out Music Festival—just an incredible soul festival. We have the Waterfront Blues Festival, there’s PDX Pop Now, Siren Nation, Musicfest Northwest... Each one of these festivals really has their own audience. I think it’s the idea that people love to celebrate music in this town, and they love an excuse to get lots of musicians together, spend a considerable amount of time—whether its over a week or over a weekend, whether it’s in one venue or all over town. Portland has its own festival culture. You know, you’ve got the bike festivals and the bridge festivals—almost all of them have a musical component to them. I heard you’re currently working on a book. Can you give us a synopsis? It’s been in the works for a while and it’s called Fifteen Minutes with You. My goal is to have fifteenminute conversations with people from England who were part of the post-punk movement. So this is bands like The Smiths, New Order, The Cure, the Pet Shop Boys. I think there was a migration of sound throughout England that took place when electronics came in that moved punk into this sort of mid-range alternative, and that’s what I’m writing about.


ABOUT MEDIA Characteristically, New York, LA, London—in other words, big metropolitan centers—were the places where young aspiring artists would go to “make it.” Do you see the beginnings of a paradigm shift today? Or where do you see Portland’s focus on local and sustainable culture industries fitting in to the larger global perspective? Nobody has to be in the same room anymore. It’s not about the access to those resources anymore because they’re all around. I think it’s where you feel most inspired, where you can have the best life, and Portland is so balanced. We’re one of the greatest cities in America. We’re concerned about our ecosystem. We have people in this community that care about one another and care about the artists. I think people are drawn to that. I’m sure other communities have it too. We just happen to have it in abundance.

photo by Carl Geers

A successful artist is someone who can support their lifestyle to which they want it. And it it’s millions, great. You might have to go to one of those cities. So I guess you have to define “making it.” What does it mean to “me” to be successful. And to me, “making it,” is someone who can do what they love and put it out there. People will come see them, people will buy it, people will pay the value of it, and they can earn enough money to live off of that. That’s my take on it.

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ABOUT BUSINESS

SHELDON HARRIS by Jamie Mustard

A

fter helping grow Cold Stone Creamery from an unknown company to over 1400 stores in 9 years, Sheldon Harris left his position as company President in 2006. A unique kind of entrepreneur, Sheldon has taken his “there can’t be too much of a good thing” world view and focused it on creating a new way of looking at personal credit and lending. By changing the way banks look at lending and risk, he has helped to create Trust Funding. Throwing traditional concepts like credit scores out the window and achieving a startlingly low default rate, Sheldon’s new business, Smartway Advisors, may not look like ice cream, but it sure tastes like it.

Okay Sheldon, so what is “Trust Funding?”

How did you come up with the idea?

We have all had those friends or family members who have gone through a rough patch in their life. It could be a divorce, a medical issue, or the illness of a child— something that’s happened that could happen to any of us. It wasn’t their fault, just part of life. Often, people’s financial foundation becomes shaken when they go through that, and so what happens is their credit score becomes damaged. What we have done is we’ve come up with a proprietary way to look at a person who is categorized as subprime and determine whether or not they will behave in a subprime manner when it comes to repaying their loan. After launching this business about three years ago here in Portland, the results have been absolutely phenomenal. So, if you’re not looking at their credit score, what are you looking at? Well, we certainly review their credit, but it’s about looking at their credit profile. What we are into is really old school lending. We are sitting down face to face, eye to eye, and saying, help me understand the story that your credit report tells me. Then we set that aside and say, now tell me the story behind the story.

Well, I’ve had a long time friend and partner, Kurt Klinkhammer. He is a very innovative thinker. He really had the genesis of the idea in his head and now it has become Trust Funding. When I first heard “Trust Funding,” I thought of either someone who comes from a lot of money, or a guy in a small town sitting down with his banker who knows him and everything about him. Did you think about it in terms of the meaning going both ways? Absolutely. I think a lot of times folks in our target demographic are not always treated with respect and dignity. I think there’s an allure towards the idea of having been trust funded. ‘I would be a credible person if only I had a trust fund.’ Also, trust funding is really bringing that same sense of dignity to you in your borrowing, and at the same time, it’s the idea that lending was originally based on—trust.

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Trust Funding reminds me of Muhammad Yunus, who won the Nobel Prize for his success with microlending in Bangladesh. With micro-lending, there is a criteria for lending people money without relying on the traditional means of paying it back. That’s right, and you know, I had a chance to participate in launching in a micro-lending program in Nicaragua, and it was amazing to me the similarities between what we do with the trust funding program and with microlending. You are empowering people with dignity and respect. A handout doesn’t do that. A handout diminishes a person’s sense of self worth, but a hand up increases their sense of self-reliance and self respect. Before all of this you were the President of Cold Stone Creamery? I was. And, you know, it’s funny. Back in those days people would say to me, “You’re in the ice cream business.” But I believe our success as a company was that we didn’t see it that way. Instead of being in the ice cream business serving people, we always made it clear that we were in the people business serving ice cream. How did you go from selling ice cream to helping people with bad credit? With really with this idea, the one thing that’s the same no matter your industry’s image—you’re in the people business. Prior to Cold Stone Creamery, I was with Costco for 13 years as a warehouse manager. So, very different—big box retail, then quick service franchise ice cream and now financial services. They are extremely different industries, but the commonality in all them is if you first look at your business goals and ask yourself, how do we serve people? How are we creating value for people? Once you have that part right, everything else cascades right out of that. Is that what drives you, servicing people? Yes. I have passion for helping people. But I also have a passion for helping people through business. Let me identify what I see the difference to be. I want to

help people in a sustainable and scalable way. In other words, I want to continue to enhance my ability to help more people. Volunteering is amazing and I’m a big fan of it, but volunteering is not one to one exchange. You provide help, but that’s really as far as it goes. But if you can create a business that is predicated on helping improve the lives of other people, to me that’s really where it’s at because that will expand your ability to reach out and help even more people. That’s exactly what we are doing with Smartway Advisors. Are there other programs like this around? There is not anybody that I’m aware of that’s doing anything like this. Part of the credit goes to to our partner in this business, Unitus Community Credit Union. They are based here in Portland and have been a highly regarded lender for over 70 years. Together, we’ve crafted this program over the last three and a half years of operating. It takes a while for a financial lending program to build and really prove the results to show that it works. At this point we have over 1,000 loans originated. That means we have helped 1,000 individual people in the community. And after all of that, only 26 loans have failed to pay, which in lending terms is unheard of. How did Unitus become involved? They have a very entrepreneurial executive team. Kurt and I shared our vision with them and they believed in it too. They are a forward-thinking institution.

that those loans were originated during the most difficult economic period that we have seen in our lifetime. How does that compare to the industry standard? We are actually outperforming tier one loans—people who have a 760 credit score and above. So, it’s amazing that we are taking this pool of people most would say are absolutely high risk and proving that they can make their payments. What are you trying to accomplish in the long term? Well, our objective is first and foremost to help people here in the Northwest. With the support of Unitus, we are now actively seeking other credit union partners that are interested in this model. Two weeks ago, we launched with a large lender in Olympia, Washington and they are off to a fantastic start originating loans with this same business model. We are going to look for other credit unions in Oregon and Washington that we want to grow with, but I believe there are people in every community that need this help. How does Smartway make money? We make money on the interest like other lenders, but because our losses are so low there is actually a fair amount of profit on the lower interest. The other way that we make money is through partnering with reputable local auto dealerships. I will have somebody come in for a vehicle purchase that they can’t get funded anywhere else because of their credit situation. If we end up funding them, we also collect the fee from that dealer.

You’re basically allowing people with bad credit to get credit at a time when a lot of people are having trouble getting any credit at all. How does that work? This demographic literally has had no choices over these last few years, and very few choices even in good times. That’s why it’s so incredible that we have only had 26 loan failures out of a 1000, considering

A handout diminishes a person’s sense of self worth, but a hand up increases their sense of selfreliance and self respect. 18


ABOUT BUSINESS Can you explain a little about the cars you feature on your website? We purchase those through dealer only auto auctions. We keep a representative sample of these cars in our display room so that we can show people in our face to face interview what types of makes and models of cars we will finance. There are many reasons for the success of our portfolio. One of these is we are very specific about what make and model and mileage of vehicle we will fund. We are not here to help get your dream car, but we are here to help you get a car that’s going to be reliable so that you are able to earn a living. In an ideal world you would have every dealer in Portland know about you and use you as a resource? Most of them do, and yes. But it’s really important that the dealerships that we choose to partner with are going to share our commitment to helping. Fortunately, there are a lot of good dealers out there that do that. Those that are focused less on the customer and more on ‘how do I make a sale right now’ are not a fit. We don’t really want to work with those dealers. We’ve got a group of about 25 dealers here in the Portland metro area that we partner with and work well with. When you started the business, how much of it was about making money and how much of it was about being altruistic? How do you balance the two? My passion in life outside of business is guest lecturing at colleges and universities for the graduating seniors with their business degrees. One of the things I’m very passionate about is to tell them first to choose a business for the purpose that it will help people and make the world better. Then use your creativity and figure out how to monetize it. It may sound silly but you actually end up making more money this way.

If your success continues to grow, other types of institutions will take notice. Perhaps other states and other countries as well. Do you think you could eventually have an impact on the way money is lent in the future?

are you nuts? To me it’s slowing down and saying, wait a minute, what we are actually doing is creating a whole new business by serving an under served, but very legitimate demographic.

That’s exactly what we envision. As I mentioned before, it’s a return to the way lending originally began—relationship lending. It’s face-to-face. We no longer have to rely as much on the historical third party reference, the credit report. We can say we know that this person is going to pay us back.

So you believe that people should be able to buy a house this way? People that wouldn’t ordinarily qualify for a home loan are going to be able to get a low interest home loan?

How do you feel about our current credit system? It exists the way it does for a reason. I can understand how we got here because what it does is it ensures that we are going to able to cover our losses when we lend to people. It looks at a profile of the person and says, people who have matched this profile before tend to perform like this. If you match that profile we have to assume you’re going to perform like this. It’s very linear and judgmental in the way that it makes these decisions. I’m not saying that it’s wrong. I’m saying that there is a better way. What I’m doing with my business model is seeking to understand you as a person and how you got into your situation. It’s fascinating to me that somebody didn’t figure this out 25 years ago. It just seems like we went on a run as a country where we got very corporate and rote in our thinking. Almost to the point where we are doing bad business because of it? Yes. And we are missing the opportunity to do good business, and to do good for people. I think a lot of times people look at our business model and they say well, how do you make money? I mean, you’re actually sitting down face to face and talking to all these people,

Yes, I believe that with this model we are proving this can work for wide scale application. What did you think when you were you were in the middle of all this, launching this new business, and then the credit crisis hit involving subprime mortgages that nearly destroyed the global economy? If anything it has made us much stronger. Now we can show a lot of performance data that was assembled during an awful time, and if our borrowers did that well during the tough times, imagine how effective it’s going to be during the better times. What is really striking is that institutions allowing people to borrow at rates they couldn’t pay back, based on subprime scores, created this crisis. It seems that if we were loaning to people with your type of system, then the subprime collapse might never have happened. I agree. Of course, we had no idea that it was on the horizon. Times were good then. You could still find folks that were falling through the cracks and needed help but now, sadly, there is hundreds of thousands of more people that need this kind of help. People who I say have bad credit for a good reason. We are really trying to set the individual person or family up for success. We are not going to put them into a loan they can’t afford. Part of what we do is sit down and actually build the household budget with them. We understand exactly where their money is going. We began a very educational process with these folks. It’s not just a transaction; it’s a relationship. Every 90 days after

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No not at all because it’s a very intimate setting. We begin just like any other bank except that we sit down and talk with them and establish a relationship of trust, instead of just having it happen online. When you started at Cold Stone Creamery there were something like 8 stores. When you left, there were over 1400 stores. Does it feel different building something like this compared to building something like that? Yes, but it’s still in the same vein of feeling like you’re helping improve the lives of other people. This is not just going in and launching a new business. This is helping somebody who has gone through a hardship. This is pulling somebody out of the quicksand, and there are not a lot of helping hands for these folks. There is something deeply powerful and rewarding about the help that we’re giving.

we have originated a loan, we are in touch with them. We talk to them about how they are doing and how they performing with their household finances. Our system is built on individual economic reality. Do you think shame and embarrassment might potentially keep people from taking advantage of the services you are offering?

Smartway Advisors Showroom

at Smartway Advisors. Where do you see yourself in the near future?

It must take a team of people to build a business like this.

I believe that we will be helping people in hundreds of cities across the country.

The person who lives here all year around and drives this business is Dave Daniels. We would not be where we are today as a company without Dave’s work. He exudes the epitome of what I call the ‘people business.’ When you meet him he just pours forth this care for you as a human being and as an individual. He was an executive with McDonalds earlier in his career, and then at Cold Stone Creamery, he was our Vice President of People.

If you were to offer advice to other entrepreneurs with a dream, what would that advice be?

What does a Vice President of People do? They oversee all of the things people do in relation to training and human resources. And you can see that “people magic” that he has applied in our business here

My advice would be, think about how you can help people first. Too often we are focused on what we will sell or what service we want to provide instead of on the person we are actually serving. If you will first ask yourself to understand the person you’re serving, it will lead you to everything you need to know as a business owner. It’s, how do you answer the question of what customers need. Because if you can tap in to that, not only will there be demand, but it will be sustainable demand. It is good business. www.smartwayadvisors.com

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ABOUT TOWN Stolen!

Moulé’s Fourth Anniversary Steals the Show Moulé’s in-store events always draw a stylish crowd. However, their latest celebration, Stolen! (April 14), took their stellar reputation to new heights. Guests ran the gamut from the hippest of hipsters to elegantly chic, but all were dressed to the nines for the fourth anniversary of one of Portland’s favorite fashion destinations. Devoted fans flocked to get a bird’s-eye view of the latest styles from designer Rachel Mara, and a sneak peek at all the lovely spring goods in store. The runway show was capped off with cocktails, nibbles, live tunes by White Hinterland and epic VIP gift bags. Moulé has truly earned it’s reputation for knowing how to party.

Lahaina Alcantara, Nick Cline, John Rowe, Jessie Weitzel

Katy Knowlton, Kara-Jean, Kayla Rekofke

-by Becki J. Singer

Casey Deinal of White Hinterland

Tanya Gideonse-Wright

Rachel Gorenstein & Jaime Jaynes

Aidan Koch, Kristin Postil, Lahaina Alcantara, Heidi Dethloff

Emily Johnson - Option Model & Media

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NAOMI POMEROY

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NAOMI TALKS ABOUT LIFE OUTSIDE OF BEAST by Chris Angelus The aroma hit me just on the other side of Yakuza Lounge as I walked up 30th just south of Killingsworth. The scene, when I entered Beast on a Saturday afternoon to meet with Naomi Pomeroy, was quite different from the one I experienced a month prior—when a dinner highlighted by more than just the incredibly tender duck breast, left an indelible and delicious mark on my food psyche. What I smelled outside—and now, even more so inside—was the lunch Naomi was preparing for her staff and her daughter as they prepped for that evening’s two seatings. “You want some lunch?” Naomi asked me, over the fairly loud thump of KanYe West’s Monster (credit goes out to my Shazam app for that). Having just come from the Farmers Market at PSU, I politely declined. (“You just turned down Naomi Pomeroy asking you if she could make you lunch with the greens you saw her buying this morning at the market!” I thought to myself.) “OK, it’s nothing major anyway,” as she proceeded to mix beautiful greens in a silver bowl, tossing some seasonings into the dressed mixture. Then she picked up a pan in which there appeared to be chicken, carefully placing pieces atop the five or six salads on her signature wood plating stage. At my home, that would be considered something quite special for lunch, no matter who made it. She handed her daughter a plate, left some for her staff, and brought her lunch over to me and excused herself for eating while we talked. My first-hand knowledge of Naomi was limited to two visits to Beast. At dinner, I was surprised Naomi didn’t interact with her 26 patrons, other than to perhaps say, “Thank you for coming.” My palate had been sated completely, but I felt compelled to make eye contact with Naomi, so I introduced myself afterward and offered praise. She was quite gracious, and

left me with a tiny dose of connection with the chef who had just presented one of the more interesting culinary experiences I’ve enjoyed in Portland—or anywhere. She is so focused that until she looks you in the eye, she might come off as a bit cold. But her smile and greenishblue eyes melt though that. I’d read about the former Naomi Hebberoy in food blogs and in the papers a few years back, not long after I had moved to Portland. Of course, there’s no dearth of information on Naomi now that her chef celebrity status has busted out beyond the confines of Portland and the Northwest. She’s appeared on both Iron Chef and Top Chef Masters in the past year. The most helpful and comprehensive background on Naomi’s career as a chef I could find came from Nancy Rommelmann’s engaging article, “Last Supper,” in Portland Monthly (2007). While you’re Googling Naomi Pomeroy, make sure to read that one. The first question I posed to Naomi was about her spare time. She drew a blank. As she munched the crisp greens, she called over her daughter and asked her what they do in their spare time. August is 10, with blonde hair and an innocent but aware smile. “Cuddle,” she said, as she looked at her Mom with wideopen eyes. Naomi seemed pleased with the help and the answer. When I asked whether she wanted August to go into the business, she again deferred. August answered that she likes the business but she knows when (not if) she has kids she’d like to have a job where she could spend more time with her family. Naomi smiled. I wanted to delve a little bit into her experiences during and since her Top Chef Masters appearance. She told me that she wasn’t legally at liberty to discuss anything but what had already been aired—which at the time of our interview, was the first two episodes.

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I’m from the east coast, and what strikes me about Portland is how passive most everyone is. So, given that, I found it very interesting that in the two episodes of Top Chef Masters thus far, you took charge. Portland took charge, and I thought, “That is just awesome.” So where did that come from? I’m not very Portland. Most people think I’m from New York. Anywhere I go, most everyone would never guess that I was born and raised in Oregon. I love Portland and Oregon so much. But since I was a small child I would think, “What is everybody doing, like, hanging out, drinking beer on their porch—I mean, what’s going on here and why?” It’s nice that there’s that vibe here too, because it creates this quality of life were people aren’t totally insane. But what’s nice about it also is that for people who DO want to do something, and be powerful and make a mark, it makes it easier. The environment isn’t just competitive here in that way. So, I think when you do really stretch yourself and push yourself, it’s easier to shine here than it would be in a bigger city. Were you driven as a kid? Always. I had projects going on all the time, like play cooking projects, and I liked to work. My mom would put me to work in the kitchen, and that’s probably how I ended up here. But, I enjoyed working, and I always felt like I was wasting time when I was hanging out.

Yeah. I was able to maintain that sense that I had my security blankets and dealt with things the way that I needed to deal with things. But even in it, I felt like this was going to be good. Even when I was sitting down at tables where I would be the only person under the age of 50, the only woman—you know, this is during the legal battle, where it would be like four attorneys and accountants. It was like going to school. And I realized quickly that even though it was really expensive and horrible and stressful, I also realized I was getting sort of a world-class education—really quickly. You know, school of hard knocks and whatnot. A lot of practical knowledge about money and investments, and you know, making a business work and all that stuff. So even in the middle of it, I was sort of like, wow this sucks, but it’s also really cool. So, while Beast has elements, this is all quite different from Ripe and your Family Suppers... Yeah, I deal with everything here. I do things really differently. I don’t have an investor, I’ve bought out my partner, and you know, there’s a small loan to pay back to one investor. Otherwise, I’m done with it. Eight employees. All right, so you realize things have changed, and you

had to make in 20 minutes. I would prefer to be critiqued nationally for food that I actually spent time making, you know? They’re saying, “Ooh, this soufflé tastes a little funny!” or whatever. I made it in 5 minutes! It’s hard, but it’s not hard because they’re not really talking about you. It’s a television show, so it’s not that difficult to see that. You’re there, next to 12 other people who also had to do their dish in 20 minutes. So, it’s not as big of a deal as you would think. Ruth Reichl [of the NY Times] has eaten here, and she enjoyed her meal. I care much more about that than I care about what she thought of my soufflé, or whatever. What are your favorite food cities? Portland. I’m biased. Better than France, better than... I don’t know. It’s just really good. I think there’s some interesting things going on in Los Angeles—I’ve got to go back there. Yeah, they’re having a cool, sort of, resurgence of actual food. Chicago—it’s got cool stuff happening. My complaint about New York—and I’m more than happy to come to blows with them over this—you can’t get the produce that you can get here. We have such immediate delivery of super-fresh produce that we’re able to eat a little bit cleaner in that west coast way.

So then that carried you through to the start of your business career? I started my first business when I was 22, just out of college. Started an underground catering company with my now ex-husband. I’ve noticed that even if I am not busy career-wise, I will pack my schedule full of different classes and outside things. I like to turn my own screws tight, it makes me do more. When I don’t have that, I feel like I’m not accomplishing enough. But then, having a child filled a lot of that... A lot of that got filled out with a child, for sure, for sure. But, to be honest, I happened to get the perfect child for me—in that she’s pretty independent and never really required too much watering, you know? She likes a lot of hugs, and I’m good for a lot of hugs. Other than that, she’s a really good kid, and we do our discipline quickly and efficiently. She’s not a teenager yet, but we’re doing well so far in terms of the balance of life. So, I don’t feel like I got as slowed down as a lot of people might having a kid. When she was six weeks old, I went back to work and did my first catering event without my husband, who was doing something else at the time. I strapped her into a little front pack, and catered an event for 30 people for a Jim Beam photo shoot that happened during the day at Dante’s! So, I don’t like to pause too often, although, a little bit is really good. Divorce is a little bit humbling. It changes your whole outlook forever. You have this successful restaurant now, but are you able to ever feel really comfortable with it because you know that things can change like that? Yeah, but I find my comfort knowing that everything always changes, and as soon as you realize that’s the case, you can become kind of Buddhist in your philosophy. You have to practice kind of a lot of non-attachment to things. And when you were in the middle of your divorce, did you feel that way?

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have a little bit of a Buddhist philosophy, but do you have your sights set on something in five years? No. I don’t do that. I don’t do that at all. It’s weird. I envy people who have goals and have this idea and this gestation period. And they figure out how to make it happen and then they do it. That’s not me. Somebody calls, and has something interesting, and then... I’m just kind of like a super-focused and hard-working wanderer. I’m doing Beast right now, super happy here, and I want this restaurant to be open in 20 years. Otherwise, new projects—I’m open. I don’t want to figure anything out because I don’t have the answers about what needs to happen next. I figure that what needs to happen next is probably going to come to me rather than I’m going to it. So you do really well here and you probably get mostly positive feedback. But then you go national, outside of your element. It’s not your kitchen. It’s not your menu [she fried night crawlers on TCM]. So in that context, to get criticism on national TV... how does that feel? Yeah... It’s really, really scary. I don’t necessarily feel like it’s the first time I’ve had criticism. I mean... if you’re suggesting that I don’t take the blogosphere seriously—I go through brief periods of time where I’ll read stuff, and then I pull back and I realize that it’s really toxic. National critique... it’s very scary to be judged on something that you

Your top five food experiences that you can recall in Portland? Let me start by saying... I’m sure I’ll leave some things out because I am literally—have probably one of the worst memories of anyone you’ve ever met. I guess, for me, eating out is an experience overall. It’s not just about the food. That’s a lot to do with it, but it’s environmental. And, it’s about company. It’s usually just singular things, like there was a cauliflower soup at Pigeon that we had three years ago for my birthday. It’s just simple stuff for me, you know? The first time I had the Nostrana radicchio salad, that was pretty awesome. There was a restaurant here a long time ago that is not here anymore, over by the MAC Club—that this guy named Tony had—and I forget the name of it. It was a little place, and he was French, and I had a really cool meal there. I was young. And it was the first time I’d ever had a fixed menu—a big, long meal. Early meals at Genoa too, a long time ago. It was kind of interesting to me that there were no choices. And yeah, I like experiential stuff, stylistic choices—like the way that Navarre works for ordering, or the simplicity of certain items at Biwa. Recently, I had a very nice meal at Aviary. I like that place a lot. Little Bird is nice. The pork chop is delicious.


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photo by Tim Sugden

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I like to turn my own screws tight, it makes me do more. So if you had friends coming to Portland, where would you tell them to go? LePigeon. First one, right off the top? Oh yeah. Always. I love it. Gabriel [Rucker] is an experience. Sitting at the counter. He’s just an interesting person and I think he’s very playful. So, I think it’s a nice sort of segue into Portland and eating. Not everybody is serious about everything, you know? I like how un-serious and playful he is. I really don’t go out that much, you know? I like Nostrana because I like Cathy [Whims]. That’s my thing. I like to send people to places where I like the owners and have special relationships. Well, this relates to some fame that you’ve realized. So last night, I did a search on Twitter: hashtag “Top Chef Masters.” The first thing that came up was someone suggesting a particular porn star that should play you in Top Chef Mistress. Would you be curious enough to go Google that and see what she looks like? (laughing) Oh yeah? Yeah, sure, why not? That’s hilarious. I mean, the whole thing with the fame game—I hate that part. But you know that that’s part of it, and you’re doing it... Yep. But I’m not doing it for that. Actually, that’s the part that makes me hesitate every time I get a call. You know? I’m into privacy. So what don’t you like about the fame? People that think they know you. It’s just hard to navigate things. For me, because I know

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who I am and I have a lot of pride about that, it’s just weird to feel in the public eye and have people come up to you. When kids do it, it’s really sweet. I was eating at Nostrana the other night, and a little boy came up. “Hey, my name is Evan. I’m just a huge fan.” That’s where it’s adorable, but when adults do it, it’s more difficult for me to deal with. It happens a lot now. It depends on the mood that you’re in, and you kind of have to always be in the mood to talk about it. I’m not going to ever be rude to somebody that says they’re excited to see me on TV. That’s very nice, but it makes privacy difficult. And so I end up wanting to choose restaurants that are, like, on 82nd to go eat so that I don’t have to talk to people all the time. I’m not that social. I’m just kind of into whatever I’m into and I have a small group of friends. So when someone comes up to me and says, “Well, I saw you in the Wall Street Journal,” there’s nothing wrong with that. But it’s just like, what do I say? “Cool! Yeah, glad you liked it!” And do you want to stop and have a conversation about it? No, never! Never do I want to have a conversation about anything! (laughing) It’s just that it’s hard to know what to say. Really, I like people. You know, I do. I think people are genuine here in Portland too. And people have been following my career, and they’re really supportive and it’s nice that they feel comfortable saying, “I had a meal at Beast,” or whatever. I’m always happy to hear that stuff. But sometimes, I do just want to eat my chicken wings, or whatever.


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DEFINING

PATRICK LAMB by Chris Young

Having never made “a great saxophone record,” It’s All Right Now is Maceo Parker meets The Crusaders meets Patrick Lamb. 28


ABOUT MUSIC

photo by Laura Domela

A

lthough the soulful jazz saxophonist and vocalist Patrick Lamb is a Grammy-nominated, Muddy Award winning, multifaceted force, he’s hardly got it all figured out. What he has learned after traveling the world sharing sold-out stages with multiple Grammy winner Diane Schuur, Bobby Caldwell, Gino Vannelli, and the Tower of Power Rhythm Section is that life is a journey and you can redefine yourself along the way as long as you stay true to yourself. As each year passes, Lamb is still trying to figure out what kind of artist he wants to be. One thing that has not changed is Lamb’s unwavering focus and dedication to his craft. As a band leader and multi-instrumentalist, playing an energetic mix of R&B, soul, blues, funk, and jazz, Lamb is ready to release his first “great saxophone record” titled It’s All Right Now. It was recorded outside of Portland and features celebrity players like Alex Al (Michael Jackson), Little John Roberts (Janet Jackson), Dave Weckl (Chick Corea, Robert Plant, Diana Ross), Paul Jackson Jr. (Tonight Show), Michael White (Steely Dan), Dwight Sills (Anita Baker, Babyface, Kirk Whalum). Lamb maintains that music does not define him. He’s been recognized for his community service and, as he states, being “healthy as I can,” staying active with soccer and running. He believes, “opportunity knocks softly,” and explains: “I try to remain open because life changes. Music defines me in a lot of ways but you never want to get comfortable. It’s dangerous to be defined by what you do.” Also an entrepreneur at heart, Lamb notably launched the multi-million dollar, Tickets Oregon, several years ago. Born to teachers in Mississippi, Patrick Lamb moved around every year until coming to Oregon in 1983. A Portland resident since, he first picked up the sax in middle school band class and has clung to it, because moving every year, he says “can be kind of lonely. As soon as I found music I just went there.”

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Who first introduced you to music? My dad took care of the family, basically playing piano and honky tonks and weddings and little private parties and outdoor concerts. I would travel around with him. We had a little green Datsun 220 and he had a Rhodes piano stuck in the back and there was just enough room for me to fit in the back and we would go out and play. He also had great records playing all the time—Ray Charles, Phoebe Snow, Coltrane, Charlie Parker, Joe Cocker, Frank Zappa— really a wide range of stuff. How did you become hooked on the sax? I just jumped into the saxophone and I went through all the beginning band books in the first few months. And then my dad thought I was getting kind of cocky, so one day he brought back this book called the Charlie Parker Omnibook and was like, “Okay, you think you’re pretty good? Well check this out. See if you can learn some of these solos.” I started learning some of those solos, and then after I learned three or four of those he took me out to the Jazz Quarry jam session (that’s where all kinds of people were coming through), and I sat in and that’s what really put a fire under me. I started playing—and when you’re playing around town, you either do or you don’t get a name for yourself. Somehow, I started getting gigs and then I started getting calls for touring with Diane Schuur. My first gig with her was at Schnitzer Hall after she had won a Grammy and it was sold out. After spending a career backing others as a sax-for-hire, how have you found your own sound and style on your most recent recordings? It’s definitely not some kind of concocted thing. It’s a journey like anything else. Every year is a little bit different. I’m sort of like a kid—I get bored with one thing. Don’t we all? I’ve been a mercenary of sorts for the last ten years or so, just touring with different people. I haven’t really had a record that was produced outside of Portland until now. I decided that I wanted to make that next step, that next jump to another level. And by everything I could decipher, I really had to start working with people outside of Portland. So that’s what I started doing. I haven’t really had a great saxophone record to date so this next record is more of a saxophone record. It has one song that I sing on, but the rest of it is kind of Maceo [Parker] meets The Crusaders meets some of my other influences. Your last record (2007’s Soul of a Free Man) was the first record that you ever sang on, but now you’ve taken a step away from the vocals to focus on the saxophone. 30

photo by Laura Domela

I spent about six months trying to figure out how to meld the two. It’s really difficult because I sing all the time at different concerts, and I obviously play saxophone. But I wanted to put out another record with me singing, and also writing songs. I eventually decided to do two separate records. This [It’s All Right Now] is one of a two part series. It’s setting a new precedent for me. From now on, I’m going to work with people in Los Angeles and New York and press forward with outside producers. When you go and work with someone who’s produced India Arie and worked with Michael Jackson, it’s different—inherently different. Does that have something to do with the fact that for as many studios and producers as Portland has, there aren’t many internationally renowned or celebrity producers in town? Where New York, LA and Nashville have long-standing reputations and there’s something that comes with that territory… Yes. I’m just oversimplifying of course, but all these studios have the same stuff in them. If you went to five studios here, and then you went to LA and looked at five studios there, they practically have all the same stuff. It’s not the gear, it’s the ear—the person running it, the producer. That’s what’s taken me a lot of time and, frankly, a lot of money to figure out. How much of this is meeting new people and moving outside of your normal group and comfort zone to see what these new collaborations can inspire? Absolutely. It’s always about moving outside of your circle. Because whenever you stay there—you get comfortable, you get bored, you get stagnant, you get placid. You just don’t really make great or interesting stuff. It really comes down to who’s on board not where you’re going. Because if you have the right crew on board, then you can take a tiny bit of opportunity and knock it out of the park. If you have the wrong crew on board, you can spend $100,000 and you’re gonna sink any major opportunity like the Titanic. Have you finally discovered what works for yourself? I’ve never had a giant record deal. I’ve never had some huge, super break that’s happened overnight and catapulted me like some artists have. My career thus far has really been incremental. But, it’s been slow and steady and I feel very happy now because we have a great fan base. Our fans our great, I’m debt free, I have a beautiful home, I tour the world with different people, and musically—the giant marketing machine, that used to wag the dog and make people famous whether they deserved it or not, doesn’t really work anymore. For better or for worse, the only thing you can depend on is yourself and your fans and connecting with them. For me it really works because anytime we play at Jimmy Mak’s we play a couple of shows—we sell them out and we make great money. Life is good, but I’d like to be able to expand where I travel with my own band, and I want to get out great new records so I can go travel internationally under my own name. Speaking of connecting with your fans and marketing yourself, tell me about how you’re funding some of the new album with Kickstarter. What I love about Kickstarter is that there’s an element about it that’s so inexplicable and unexpected. What I mean by that is, as an artist, you’re generally aware of who, where and what your fan base is if you want to survive. The thing that’s been fascinating about Kickstarter is that some of the fans that you think are going to be incredibly active and supportive and put a lot of money towards it, don’t. Then on the other side of things, people that you are just sort of subliminally aware of step up and put in a $1000. I woke up this morning and looked at Kickstarter and it was up $1500 since last night and one of the people I didn’t even know. And I’m still really, really curious. (laughs)


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photo by John Q. Porter

The thing about Kickstarter is putting yourself out there, and that’s really what people want. They want it to be personal; they [don’t want to be] subject to this kind of marketing machine anymore. They get it. If they hear some kind of crazy marketing sales pitch, they’re immediately turned off. You can really connect with people personally by filming a video that just shows who you are and appealing to people to help you with your project. The way we’re funding this project is in a hybrid way. The project’s really expensive, so it’s not like something I’m producing in the basement. The dollars that are needed are higher—the personnel dictate that. I have friends that have executive produced the basic recording of the tracking and then I’m using Kickstarter to finish up—mixing, mastering and some other things like graphics, duplication. You mentioned splitting this project into two parts: a sax record and a vocal one. Did you end up writing or recording any music that will end up on the vocal album? No. We went into this with a laser focus. We did it old school. I went down [to LA] in January and I spent the first week writing, and then the second week we recorded. The goal was to do a saxophone record and maybe one vocal track. That was really important going into this, to have focus. The difficulty for me over the last couple years has been trying to figure out what kind of artist I am going to be. I do a lot of different things. When I go out on the road with Bobby Caldwell, I play strings. I sing backgrounds with most of the artists I travel with. The reality is that a lot of people here, and fans, know me as a saxophonist. 32

And for people that I tour with, I think it’s important when I go in to different cities that I’m just playing as a saxophonist. It’s great for me to have a saxophone record for my saxophone fans. It just makes sense. That doesn’t mean I’m not committed to the vocal stuff, but I think I’m going to work with a different producer on the vocal record—someone who has a different angle so it’ll have a different sound. It sounds like you’re defining and refining who you are right now. You know, it’s a cliché, but clichés are cliché for a reason because there’s a lot of truth in them—Following your journey and wherever it takes you. It’s really important for me to have a saxophone record, even if just to give to people I’m touring with for other touring possibilities. And to be able to give them a record that I’m actually proud of is important. You need something that you’re proud of that you can give to people. It’s not just your art, it’s your resume… It’s your business card too. (laughs)

photo by Laura Domela

Give me a piece of advice for aspiring musicians. Being a musician is kind of like the Olympics. You have to be committed to do what it takes to be in the top two percentile or you’re not going to make it—not make a living. You have to have a laser focus and you have to be healthy. Surround yourself with people who are much smarter and have already had extreme success in the business.

Patrick Lamb celebrates the release of It’s All Right Now with two shows on June 18th at Jimmy Mak’s with special guest and producer Jeff Lorber.


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Modi Soondarotok Globetrotting: Thai Native Takes Portland Style to International Heights by Becki J. Singer

Born and raised in Bangkok, Thailand, she lived in London, Paris and New York before settling in Portland to launch IDOM, her namesake fashion label. Garnering fans from around the globe, IDOM has reached near cult status. Modi still travels to Thailand several times a year— all of her designs sewn by a carefully chosen group of Thai seamstresses—along with regular visits to Japan, China, and an upcoming trip to Indonesia for inspiration. Her designs are beautiful and utterly unique, with an aesthetic that can only be called globally inspired. Modi’s professional background is as impressive as her passport, particularly as Portland fashion goes. She studied fashion design at Parsons, and then designed for some of the biggest names in the industry including Donna Karan and Armani. In 2006, she left all that to move to Portland with her husband and launch IDOM (her name in reverse), a collection that seamlessly blends her technical skills, with draping and detail, with her love of globally-inspired textiles. Every style manages to strike the perfect balance between modern and vintage, ethnic and easy. If Modi’s designs feel a step or two outside your comfort zone, rest assured; it’s a step well worth taking. However, once you take the plunge, it’s almost impossible not to be smitten with the deceptively detailed, infinitely flattering styles Modi conjures up each season. Add to that a flawless, ever-changing collection of accessories. It’s not surprising to find out that inspiration for her style comes from legendary fashion eccentric Iris Apfel. Imagine your days traveling the planet, a suitcase filled with a stunning array of worldly designs.


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I love [traveling]. I think it allows you to be a kid again, because everything’s always new. New colors, sights, and smells— there’s nothing like it.

You’ve had the opportunity to live in and travel to some amazing places. I was born and raised in Bangkok, Thailand, and then found myself at the Royal College of Art in London, then Parsons School of Art and Design in Paris, and then I ended up in New York. I transferred there and graduated, earning my fashion degree from Parsons in New York. What brought on all this world travel? My parents have always been big travelers. They’re professors, so there was always a lot of teaching overseas and exchange programs. I think I started traveling when I was 4 or 5 months old. So it’s really in your blood. And you’re still a very serious traveler, right? I love it. I think it allows you to be a kid again, because everything’s always new. New colors, sights, and smells— there’s nothing like it. How do you think growing up in Thailand influenced your design aesthetic? Well, Thailand’s culture is really based on a lot of art and craft. Everyone makes something within their family. And they are so influenced by other countries—China, Japan, India, Australia and a lot of European countries, so it’s really a fusion of cultures. You see a lot of very interesting shapes, and the way we put pieces together is very experimental and modern, but mixed with our old traditional styles, you know, whether it’s a woven bracelet or a handmade necklace. It’s really fun to be there, and so inspiring.

id And going from Thailand to Paris, London and New York, with their more cosmopolitan styles must have impacted you as well. Absolutely. In London, people tend to pick a few pieces that they love, and kind of build their wardrobe and style from that. That seems true in Paris as well.

Yes, it’s definitely the same thing in Paris. I think I’ve picked up that sensibility, where I buy things I truly love and just build my styles around them. It’s kind of a mix and match.

Hair and makeup by Madeline Roosevelt & Crystal Shade

Tell me about your experience at Parsons. I think most of us are largely familiar with the school from Project Runway fame.

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It was very hard core, very competitive, and so much work. Your first year, you study a lot of painting and sculpture and architecture. It’s more like a foundation. So, it allows you to see many avenues, and then you choose the path you want to take. I chose fashion because I like the medium of fabric, but it’s intense. You’re constantly designing new pieces, being critiqued, and having to prove yourself over and over. You can’t just write a paper and get away with it. You have to show your work. It’s a great training ground, but it’s brutal. Did you go to Parson’s knowing you wanted to do fashion design?

When I started, I was actually interested in architecture. But then, fabric has always been my love. So I was torn in the beginning, but ended up going toward fashion. Are you happy you made that choice?

So happy. I really fell in love with draping—how threedimensional it is, and how much more hands-on you can be. You have much more of a say in what you’re doing than you would with architecture, which is such a differ-


ABOUT FASHION ent path. In architecture, you have to work underneath someone for so long before you have the chance to design your own buildings and then you’re still beholden to a client. With fashion, yes, you have to follow direction from the designer and merchandisers, but you have more flexibility. It’s also a smaller scale, which I like. It’s more intimate. Once you finished at Parsons, you went to work for some pretty amazing design houses. You worked for Armani, I know—who else? Donna Karan, and Peter Som. And then recently, I have done some work for Marc Jacobs. It’s like a secret mission. (laughs) Tell me a little about your experience in those big fashion houses. It must have been amazing. It was such a great learning experience. Donna Karan is an amazing draper. Her work is very fluid and modern and her technical skills are amazing. You know, you can be a good designer and sketch anything in the world, but if you can’t construct a piece…. It just proves that she’s a truly great designer, that she has the technical skills as

I did in the beginning. Collaborating with other designers and meeting other people, it really fuels your vocabulary of design. But now I have the freedom to do my own thing. I really love what I’m doing, but I still go back and do some freelance work, just to keep my foot in that door. Do you have any dreams of showing IDOM at Fashion Week? I would love to. I’d love to show in Europe, maybe Paris and Stockholm. What are some of your earliest memories of style or design? I was raised by my grandmother, and one of her neighbors in Thailand was a textile loomer and another was a tailor. My earliest memories are of drawing and sketching designs as a little girl, and then Granny would trade the vegetables that she grew for the fabric—whether it was cotton or silk—and then go next door to the tailor, hand him the fabric and the sketch, and ask him to make these ridiculous outfits I was designing. (laughs) I’m really lucky that I was so exposed to design at such an early age.

Tell me a little about the style aesthetic behind IDOM. Who are you typically designing for? IDOM is geared toward fashion for women in their late 20s all the way into their 70s. The style is very fluid, draped, and oversized. My goal has been to design modern, adventurous styles for someone who wants to have their own take on fashion. They allow you to be versatile, to kind of mix and match, and put your own stamp on the style. Are there any special style icons you have in mind as you’re creating your collections? My style icons are definitely my mother and grandmother. They are the most powerful forces in my life. They are so well dressed, and they know themselves so well internally. I really admire their self-confidence and willingness to always take risks. They’ve faced lots of struggles in their lives, but they take pride every morning in dressing themselves well and really honoring themselves. I also adore Iris Apfel. She’s so adventurous and welltraveled. I always have her in my head. What would she wear? How would she mix it in? She’s also a risk-taker and really loves life, and I admire that. Are there styles that you design and sell that you wouldn’t necessarily wear yourself? Or do you always want one of everything in your line? I always want one of everything! (laughs) It’s probably a good practice to not be so attached to it, but I do love all the pieces I design. When a customer comes and takes them home, it’s like they’re taking your babies and giving them a good home. It’s always really fun to see who takes which pieces home. Some customers will send me photos of themselves in my designs and it’s just a great ritual, you know, because you live your life in these clothes. It’s great to be a part of that.

dom Do you get to see people walking down the street in your designs sometimes? Do you ever stop people?

I do! I get so excited, and then they’re like, “Who is this crazy woman?”

idom on nw 23rd ave

well as the artistic skills.

So, your grandmother was a really strong force for you.

It’s interesting to hear you say that, because now that I know you worked for Donna Karan, I can see so much of her draping technique in your pieces.

Yes, absolutely. She was an amazing cook and a mathematician. She was a teacher as well. So I think I have to give her the credit for my pattern-making skills.

I learned so much from her. She was great, particularly when it came to what inspired her. She’d bring in African baskets and rocks and, you know, things that were influencing her at the time and it was almost like a classroom setting. We would come up with a concept and then collaborate to design the collection around it.

What ended up bringing you to Portland?

You must have some great stories from that part of your career.

It was always very fast paced, exciting, but really hard, hard work. During Fashion Week, you know, there’s always some sort of crisis going on behind the scenes in the tents. So there’s a lot of running to the garment district at the last minute for new buttons, sewing your life away. (laughs)

Do you miss that life, designing in Manhattan—the craziness, and all of the excitement surrounding times like Fashion Week?

My husband and I really wanted to change our lives so that we would have more freedom to do what we truly love. In New York it was very difficult, financially, to do that. My husband grew up in Oregon, so Portland felt like a good fit. And we love the fact that you don’t have to drive. You can bike, and there’s great public transportation. Also, we were really drawn to the fact that Portlanders are so conscious of sustainability—that was huge for both of us. Now that you’ve been here for a few years, do you think this was the right place to launch your label?

I think so. It’s been an on-and-off struggle, but really rewarding at the same time. I think the city and all this space allows me to think more clearly, and allows me to choose not to follow what everyone else is doing. Being here gives me space to really experiment with what I want to do, which I’m so grateful for.

One of the things that people are especially drawn to in your designs is that they’re built to flatter a broad range of figures. Can you talk a little bit about that?

Yeah, I think that comes from my love of architecture. I think certain abstract shapes and proportions really flatter women. I love draping a style so that a woman appears full of curves. I love that technical part of it, conjuring up a piece that you think will flatter so many shapes. It’s like designing a building that will house so many different individuals. Some people may also find your styles intimidating to wear.

With my pieces, you really do have to try them on. My clothes are definitely more abstract, but once you try them on, people are just shocked how flattering they really are. But you can also add definition and focus by using styling—a great belt, or maybe a blazer to add structure. You have to play around and be open to something different. That explains why you have all those gorgeous accessories in the store. I’m not sure if people know that you carry lines other than your own in the boutique, but you have some really special pieces. Has it been hard to find lines that really blend well with yours to fit the store?

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It’s been challenging, but I try to pick pieces that are very classic or more tailored to complement my own designs—that idea of opposites attracting. For example, I love that we carry Saint James from France because it’s so classic and you can really have it forever. I know that sourcing for IDOM is really important to you, both for fabrics and for construction. Can you talk a little bit about how you handle sourcing and construction for the line and what makes it unique? I really want the collections to be a part of my Thai background and I want to help preserve the art and the craft there. So I use a lot of hand-loomed cotton and silk that’s all naturally dyed. In fact, I’m still buying a lot of the fabric from my grandmother’s neighbors who I literally grew up next door to. So I have really a hands-on experience, and I want to support that industry. When I started the business, I really wanted to be socially responsible about how we produced all the pieces. So all the contractors, they used to work for big American factories, but now they have retired and want to do their own work. So I work with everyone from their homes in Thailand. There are so many men and women that are helping me to do the work, and literally, all the pieces support eight different families. There’s such a strong movement right now to source things locally, especially here in Portland. You’re taking a different spin on that angle by sourcing according to your roots, and you seem to take a lot of pride in that. In the beginning, I really tried to stay local, actually. It was my goal to produce here in Portland as well, and I tried so many different avenues. But I think the resources here are really limited. There just aren’t enough skilled contractors. But you know, there are alternative ways of reaching positive goals. My production choices support a global economy, which I totally believe in. You’ve recently started designing jewelry as well. What made you decide to branch out into that area? I’m really interested in working with different mediums, and I discovered working with brass, which is a really inexpensive way of experimenting. I get to play around with different shapes, and it’s such fun to work with different materials to construct a piece. It’s so different than fabric. What do you think is going to be next for IDOM? I’m trying to expand to more of an international market. I’m hoping I can do more trunk shows, perhaps in Europe, Japan and maybe in China. That feels like where my path is going to go right now. 38

Let’s talk a bit about your personal style. How would you describe it? Oh, I’m always changing, but I try to build a strong collection of basics and then mix in some modern avant-garde pieces. I love things with a global influence, especially a tribal influence. I’m very much into mixing and matching and experimenting with shapes and textures. I’ve heard you mention that you like to mix your grandmother’s vintage jewelry with more current, high-end pieces. Can you talk a little about that mix? You know, part of it is to who you are, but also, be willing to change and not be afraid to try new things. So, you might fall in love with a pair of Gap jeans and then a beautiful blouse in a boutique. You can pair those together and then throw in your grandmother’s hat or a vintage belt. Don’t be afraid—just play around in front of a mirror. It brings so much joy, and there’s no right or wrong. It’s a privilege to be able to take care of yourself in that way and to find out what you like, and what you love. At the end of the day, it’s who you are and what makes you happy that matters, and I think if you just keep experimenting, and buying things that you really love, they will always go together. What’s inspiring your current work? Right now I’m working on Fall/Winter 2011, and it’s all inspired by the Elizabethan era and the history of the English Renaissance. I found a lot of interesting paintings on my last trip to Thailand—the country has such a long history with Europe. I really enjoyed going to the museums and seeing the art, and the garments they were wearing, and how that influenced Thai culture and style. It’s such an interesting global exchange because the King sent so many of his children to England for education, and there were a lot of English expats living in Thailand as well. Like The King and I? Exactly! It’s really fun to explore that pocket of history in Asia. And Tokyo has a similar history—there was a lot of British influence after the Japanese became more westernized. There are a lot of great cultural crossovers between Asia and England. Once you have your inspiration, how does the design process begin for you? Usually it starts with a concept, and then I just dive in. I do tons of research and then that’s usually my jumping point. So with the collection I’m working on now, I spent a lot of time researching the way people were dressed and learned about the ways in which different colors meant different things and delineated a person’s social class. The way in which the fabric was dyed was based on what a person could afford. I tried to dig deeper into those class structures as well as the technical aspect of how things were made.


photo by Tim Sugden

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You seem like a more cerebral designer than some. How common it is to start with so much research, before even beginning to sketch? Oh, I love researching. I love learning about the human condition—what inspires us to dress a certain way, what influences us to live the way we live. Are there any pieces in the collection you’re already excited about? Oh yes! I really love that it’s more about tailoring this time around. The Elizabethan era has a lot of the corsets and more form-fitting styles. I’m trying to take that to another level with a modern update. What’s next on your travel agenda? I go back to Bangkok two or three times a year, and then I’m hoping to go to Bali. I’m really interested in the jewelry and the fabric, especially the Ikat fabrics—they are my love. Indonesia has amazing Ikats. With all of this traveling, do you still have any dream destinations? Oh, there are so many! I would love to visit South Africa and see the wild animals—the giraffes, the elephants in the wild… and I’ve heard so much about the sky. The light in the sky is just beautiful, there’s nothing like it. That’s my dream. Travel is really your primary inspiration when you’re designing. Absolutely. Traveling, seeing the art, buildings, sometimes even music. It can really be any little thing that becomes inspiring. So it’s completely off the topic, but before we finish, I have to ask about your cat. Her name is “Stares At Trees.” There has to be a story there. (laughs) She just really loves trees. As a kitten, all she did was sit next to the window and look at the trees all day long. We couldn’t come up with a name, and my husband abruptly said, “How about honoring Natives [Americans]? You know, since she loves the trees and you love nature, she can be Stares At Trees.” And I said, “Well, that’s perfect.” Do you use her full name when you’re talking to her? Only when she’s in trouble! In closing, can you think of a time or moment in your life that brought everything together for you? Elizabeth Russell-Baumgartner– photography www.elizabethrussellphotography.com Katie Barton– styling and set design Susan Bogdan– hair styling Stephanie Fajardo- makeup styling Iris Dyrhaug– model Ava Lichter- model Evangelina Owens- business partner, look book design layout M+E Designs Miles Johnson – graphic designer, M+E Designs Sarah Waselik- public relations Caitlin McCloskey – fashion design assistant Modi Soondarotok- designer, modi@idomdesigns.com

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I think it’s been a collective experience. Throughout the years, I’ve made decisions about where I want to be. I knew I wanted freedom to do what I love without being told how to design. When my grandmother passed—I was there while she was dying. It was really an eye-opening experience for me, that life is truly amazing and precious. So take that jump and go with it. Just take a risk and see where it takes you.


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producer

director

James Westby Katie O’Grady

by Aaron Fitzgerald

Portland filmmakers James Westby and Katie O’Grady have spent the last three years working on a film that has just landed them at the center of the Tribeca Film Festival. Filmmakers and critics alike agree that the dynamic duo have produced a progressive, retro and completely present nugget of cinematic wonder. I guess one could say that the world is finally getting Rid of Me. 42


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It can’t be about what someone else thinks. Who may or may not like it. That isn’t authentic. I think it’s first worth mentioning that not only are the two of you producing partners, you’re also romantic partners. Who wants to tell the story of how that came to be? KO: I first met James at a screening of his movie Film Geek. But we really didn’t get to know each other until I auditioned for, and was cast in The Auteur. We got to know one another better during the filming and really became good friends while we were traveling to promote the film at different festivals. Later I read Rid of Me and told James that I really wanted to play the role of Meris... JW: But I thought there was no way because she is way too pretty to play the role. Katie has the most beautiful face. But she actually dyed her hair brown and started walking around slouching and chewing nervously on her bottom lip and I saw it. She suddenly became ideal for the role. Katie is an amazing actor. KO: Aww, I’m blushing. Thank you. So, I not only got the role of Meris but I had decided that I also wanted to executive produce the film. I absolutely fell in love with the script and had to be a part of getting it made. It was during the process of making the movie that we fell in love. And, actually, we really took our time with our relationship. We truly began as best friends and love, respect and romance followed. Katie, when did you first know you wanted to be an actor? KO: When I was born and my parents gave me my name because it sounded like a good stage name. My dad always wanted to be an actor or in a band— something on stage. At first I was sure I was going to be a famous singer. I use to tell the kids that were mean to me on the playground that they’d be sorry one day when they saw me on TV accepting my Grammy! And my little fifth grade self really believed that I would do anything to get that Grammy. Then I started hanging out with people who could really sing and I thought, OK, let’s try acting. Did you start acting in college? KO: I actually went to college for broadcast communication. I didn’t go for acting. I didn’t study acting until much later. After college I got a job as an entertainment reporter, which was a blast. I worked for the local Fox affiliate here in Portland and would travel to LA once a month for junkets to interview celebrities such as John Travolta, Gwyneth Paltrow, The Cohen Brothers, Stephen Spielberg and Tom Cruise. When did you get your first real acting job? KO: The first job I ever auditioned for was a Paramount Picture feature film called The Hunted. The role called for nineteen days of shooting and working opposite Tommy Lee Jones and Benicio Del Toro. So I auditioned for the role, and of course I’m going up against all of the more established actresses in town. I just thought it would be really great to be in a movie and I was super excited. 44

So somehow I got the part, and then two weeks into shooting they cut the role. That was it. They just cut my whole character out. Why would they cut the role two weeks into shooting? KO: Well, I heard that Tommy Lee thought that the character was too soft for the story line. But the director William Friedkin was completely wonderful and generous and let me know that he was very impressed with my work. So I thought, wow, maybe I’ve got something here. That’s when I ran out and got into an acting class. James, when did you know for sure that you wanted to be a director? And which came first for you—writer, director or editor? JW: Actually it was all three—it was filmmaker. I was a serious film buff when I was in elementary school. When VHS tapes came out I would rent every horror film I could get my hands on. Watching the making of Michael Jackson’s Thriller was also really huge for me. I watched it over and over. Watching John Landis behind the scenes demystified the process for me when I was in sixth grade. Still, it was pretty much untouchable so I got into skate boarding and guitar playing. However, I continued to watch movies and obsess about Saturday Night Live and Kids In The Hall, especially around my junior and senior years in high school. And I think Kids In The Hall even more, because they were making little films. It seemed even more doable somehow, to just make people laugh, to do something funny and easy. So, I got a Super 8 camera and set about making little movies and teaching myself how to do it. Then came the process of applying, not getting in and reapplying to different film schools. During this process I realized that I could just do this on my own. Then, I spent the next twenty years completely struggling. I remember when I was about nineteen, the Cohen brothers were IT for me. They wrote, directed and edited their own films. They were making these technically perfect films and they did them on their own terms. It was brilliant and exactly what I wanted to at the time. Since then I’ve kind of shied away from their way of filmmaking and been more inspired by the French New Wave low budget and underground style of filmmaking. Obviously, since all of my films have been budgeted at under a million dollars. In your process, where do you think your voice is most prevalent—writing, directing or editing? JW: Sometimes I think my voice comes out in the films more as an editor than a


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director. Although, I like to mix the three together so that it all becomes one big process. By that I mean, when I’m writing, I’m thinking about the editing. When I’m editing, I’m rewriting the script. And when I’m directing, I’m thinking about editing and rewriting the script as well. It’s still all one for me—Filmmaker. Are you a film snob, in terms of film stock vs. video? JW: I was late coming to digital. I was a film snob until I edited a digital project for a friend of mine. I had been living in LA for about three years, just kind of spinning my wheels, when a friend asked me to edit his documentary. That’s the reason I moved back up here. That was 2002 and my first Final Cut Pro project. It was the first time I wasn’t editing on actual film, and that was a film school all in it’s own. That’s when I had to come to terms with not being a film snob. Digital changed everything. I literally made that movie Film Geek because I had a one-year-old daughter and a terrible job and I knew that I needed to do something. The Panasonic DVX 100 camera had come out and it looked like film. Suddenly, video didn’t look like a bad soap opera anymore. It’s that technology that has allowed me to make these three films in a row, now that the imagecapturing device (the camera) has become the cheapest part of a production. It used to be the most expensive. Rid of Me was not only one of four thousand films chosen to be showcased at The Tribeca Film Festival, it has also received glowing accolades from top industry publications (indieWIRE, Variety, Vanity Fair, the LA Times, etc.) and respected film makers alike. For all intents and purposes, one could say it’s truly a hit. Katie, this is your first time as an executive producer. What was your biggest surprise in all of this madness? KO: My biggest surprise has been that there is no secret to it.

to help with everything. I would be at a location on set before all of the actors got there and I’d be cleaning toilets and getting things ready for the shoot day, then mopping the floors at the end of the day. There was something really satisfying about it for me. Versus, say, showing up on set for a big budget production and going into your dressing room, then into hair and makeup before being whisked onto set to shoot. This was just more personal, more intimate, and I really enjoyed it—the idea of creating a space for our actors to come play. Though I also have to add that James did kind of trick me into this. I’m the one who wanted to produce and play the lead, but I remember asking him, “Are you sure I can executive produce?” and he said, “Oh sure, you can totally do this. Easy.” JW: And I was right. You did a brilliant job. KO: I have to say that James was also the best film school teacher I could have hoped for. He is truly brilliant at filmmaking, but he is also incredibly generous. JW: And back to what you were saying about the handshake. In filmmaking, it always feels like there’s something you need to know that someone else knows. I hear directors say that all the time. But the fact is that nobody knows. There are no answers. You just have to trust your gut. KO: Believe in it. It seems that it’s the ones asking the question that are the real deal vs. the ones who think they have all the answers. The good filmmakers ask the question ‘what don’t I know?’ JW: Absolutely.

No secret society in a secret room with a secret handshake?

KO: Several people said to me, ‘You’re so courageous. I could never do that.’ Well the truth is that I’m just like everyone else. I was scared to take this on, but I really believed in the project. So, I just took a deep breath and jumped in.

KO: No, it’s really straightforward. It is hard work, but if you love what you’re doing and believe in the project, it’s a ton of fun. I found that I really enjoyed some of the smaller bits of the job. We had a small crew so everyone pitched in

JW: And in lieu of a secret handshake, what I have is years of experience in knowing what I like and what I think is good. Ultimately, that is the predicator of how the film turns out—my personal taste or Katie’s personal taste. 45

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KO: It can’t be about what someone else thinks. Who may or may not like it. That isn’t authentic.

Film Fundraiser & Benefit A benefit was held on April 8th at the Mississippi Studios for the film “Rid of Me” and the Sexual Assault Resource Center (www.sarcoregon.org). It was a night of music, movies and comedy that included an oral and silent auction. Over one hundred supporters were entertained with music performances featuring Storm Large, Part Time Pony, Oracle, Ohioan, and Grand Archives, and comedy by Sweat. The event was hosted by Katie O’Grady and emceed by Aaron Fitzgerald.  Over $30,000 was raised, $3,000 for the Sexual Assault Resource Center while the remainder went to finish the movie and cover the costs of participating at the Tribeca Film Festival in New York City. 

Katie O’Grady

JW: And most often when you overthink a script, it becomes pretentious and might even be didactic when you’re watching on the screen. But with this movie it always felt real and honest to what it was. What were the biggest challenges in developing or shooting this film?

Betty Moyer

Julie ‘Vhay’ Spear

JW: One of the biggest challenges in making this film was committing to the idea that Rid of Me did not look or feel like a regular movie. A lot of care was taken with the way this film is shaped. In the first half, it is pretty formal and lockeddown as it deals with the horror that emanates from Meris not being able to become part of her husband’s group of old high school friends. The second half is much more playful, with music video elements, as Meris starts to find herself. I edited this movie for a year and a half. How long was the shoot and where did you shoot the film? JW: We shot the movie in 20 days, mostly in a neighborhood in Portland called Multnomah Village (where I used to live and where I wrote the script). Most of the locations in the film were written into the script. The neighborhood is very charming, and very preserved-in-the-1950s, and it stood in nicely for a small town.

Howard Hedinger & Aaron Fitgerald

Aaron Fitzgerald

Erin Ellis, executive director of S.A.R.C

Jacqueline Gault & Corey Gault

Ryan Crisman, Michael Herrman & friend

Jason Wells & Teresa Boyd Kristin Coleman & Candy Durano Thompson Michael Herrman & Orianna Herrman

Ben & Taffy of Part Time Pony

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Bethany Jacobs & Karen Rasor-Cohen

Storm Large & Tricia Leahy

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So after you wrote, shot and edited the film, the next step was submitting to festivals. Once you’ve got your submission in the mail what becomes your biggest fear?

KO: We also have a couple of other projects that we’re talking about right now that are very exciting and will probably be coming up soon. Can’t say much more than that right now but we’re both really excited for the future.

JW: Well, that fear is specific to this process, and it’s that nobody is going to see it. Just because I’ve been around for twenty years doing this, submitting films to festivals and trying to get an audience for them… Thousands of films are submitted for these festivals and interns get a major stack of them. I met the intern that viewed The Auteur at Tribeca in 2008. If that person had thrown it in the wrong pile it probably wouldn’t have gotten in.

Read Katie and James’ bios online at: ridofmemovie.com/the-filmmakers

KO: When we mailed it off I had some brilliant, blind naiveté working for me because I just thought, “Oh this movie is going to go all the way!” But then I didn’t know any better; therefore I had no fear.

“Bracingly original, alarming and droll, the righteously ribald Rid of Me should prove a breakthrough for helmer James Westby and his producer and leading lady, Katie O’Grady. Pic also offers further evidence of the remarkably innovative indie cinema being produced outside New York and Los Angeles—in this case, Portland, Ore., where the domestic meller and the horror movie have met, wed and proven fruitful. A devoted cult following seems more likely than Pacific Northwest rain, although a reasonable ad budget could mean bigger things.” –VARIETY

What’s next for the two of you? JW: The feature we are shooting next (in five 20-minute takes) is called Hot in the Zipper. It is a screwball comedy, with the look of a Vincente Minnelli musical, following the (bi)sexual adventures of three women in 1947 Manhattan. “Hot in the Zipper” is hepcat slang for “really horny.” Katie O’Grady is the lead in this one, too, playing a bitchy cosmetics counter girl with ten boyfriends and a lesbian roommate. The twenty-minute takes are very complicated, and the sets are extravagant, but there will be no editing. Well, five cuts. After Rid of Me, I am so excited to make a film with only five edits in it. We also have a horror film called The Basement, set in 1978 Hollywood, about a very disturbed special effects man. KO: It’s super creepy!

WHAT THE CRITICS ARE SAYING

“A low-budget Mean Girls is how organizers promoted Rid of Me, James Westby’s Oregon-set black comedy that had its world premiere at the Tribeca Film Festival on Friday night. Although the movie is interested in social fault lines (among adults), particularly between havoc-wreaking outcasts and complacent yuppies, the more apt comparison might be to Miranda July’s Me and You and Everyone We Know, only darker and more goth. (ps. After Rid of Me premiered, a Tribeca programmer bounded on stage and proclaimed, “Now that’s American independent film.” –LA TIMES “Director James Westby is a talent on the march. Rid of Me is not only cheerfully obscene, hip, and wickedly funny—it scraps linear narrative in favor of flash forwards and backwards, deftly capturing emotional states through techniques peculiarly suited to cinema. Using super-saturated colors, outrageous up-your-nose close-ups, and tropes from horror movies Rid of Me is about the triumph of the nerds over the bland, intolerant majority.” –HUFFINGTON POST

And you’re producing all of these together? JW: Yes. We’re also working on The Menage, which is a script of mine that’s been in development for three years that I just got back. I’ve written back in all of the good stuff that I love that had been taken out. It’s a—well, I like to call it a comedic version of Eyes Wide Shut. It’s about a mild-mannered chiropractor who looses his shit after his sweet sweet wife engages in a three way. 47

ABOUTFACEMAG.COM


Jay Moody by Gary Mier

Jay Moody was given the keys to his dad’s metal shop when he was very young. Today, his keys open the enormous 12-foot tall doors to his own studio, where he creates the kind of steel sculpture that demands the attention of a public space. While this muscular artist is content to build pieces weighing hundreds of pounds, he’s just as content to build more personal items, like memorials for loved ones, or beds, or the occasional dungeon door. Jay gave me a tour of his studio, located in a still-gritty industrial section of Northwest Portland.

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photo by Tim Sugden

ABOUT ART

49


How about a tour of your workspace? This is my open studio. When the sun’s out I open these big doors. Working in the fresh sunshine motivates me. It’s been a long cold winter. It gets really cold in here in the winter. Tell me about this piece towering over my head. Once a year, Clackamas Community College issues a call to artists and they select 20-25 artists to each build a sculpture. We get free material, which is really nice. It’s a great time for local metal artists to get together, have lunch, talk about what we’re working on. We get three days to work with the students and they get to watch us build a sculpture.

es that wrap around two enormous columns for the Wynn Casino in Las Vegas. Installation was fun because I could actually see my work in its final location. Oftentimes, I never get to see the install.

his bed. So with his input, and my input, and Calvin Klein’s input, we came up with this really unique bed. I’m designing a custom rotating bed for another client right now.

It sounds like you’ve done a lot of work that includes glass.

Where did you get your start doing all of this?

One of my first jobs was for the glass company, Savoy Studios. It was for one of Emeril Lagasse’s restaurants in Las Vegas. I built the framework of the chandeliers

When I was growing up, my father was a hydraulic engineer and he had a machine shop right next to the house. He would travel a lot on business trips—three or four weeks at a time. Japan, Chile, Germany—he traveled the world for work. He taught me the basics, and before he left on business he’d leave me the keys to his shop. From that point on, I basically taught myself. And how old were you when he gave you the keys to his shop?

So they just give you a pile of metal and say, go to work?

Ten or eleven years old. There are family stories of me having to stand on top of wooden apple boxes to run the machines.

Yeah, they just let you build whatever you want. The unfinished sculpture you see here was three days work at the school.

I thought about what I was going to do the night before. I cracked a bottle of wine the night before and this is what I came up with. This particular piece has a little Lee Kelly in it, who is a famous local Portland artist. I also added my look with one of my trademarks, which are these three beams like what’s here.

It’s funny, this one time I wanted to surprise my dad when he was just getting into golfing. So he left on business, and when he got back I had made this golf cart for him to put his clubs in and push around the golf course. Problem was, by the time I was finished, his golf cart weighed 300 pounds! He laughed. I didn’t know what I was doing, but that golf cart was a sculpture in itself. From there, I went to my high school skill center where I focused on metal work, and I was good enough that the instructor asked if I would help teach the class.

The other piece next to it looks familiar.

So you were a high school student teaching the class!

It’s titled, “Yellow Sail,” and was placed in Lake Oswego for two years. They must have liked my work because they asked if I would place another sculpture the following year. That’s how the angel wings, “Seraphim,” came to be placed in downtown Lake Oswego across from the City building. And that led to a representative from the Maryhill Museum Sculpture Garden, Lee Musgrave, happening upon it and he told me that they would like to have one of my sculptures at Maryhill. Once you get seen, instead of hunting down clients, they come to you. I’ve never had to advertise. And my customers are very loyal.

Half of my high school was spent teaching the other students welding and fabrication. Three days after graduation I had a job waiting for me at Stanley Hydraulic. I worked for several years there building things like hydraulic cylinders, and I got bored with it. So I got more into metal art pieces that I would build at night. I didn’t yet have the art skills, but I had the talent. So I took some Polaroids of my work, headed to downtown Portland, and walked into a gallery and showed the owner my photos.

So, from concept to what I’m seeing now—three days?

“It’s a fine line to create a piece that is noticed and is impressive and still fits in with its environment.”

Your studio is amazingly clean. Yes, it’s easier to be organized than cluttered. In the long run it saves time. I keep my raw material out of my workspace and that saves me space and keeps it organized. Do you want to see the material area? Absolutely! I prefer working with recycled materials when I can. A lot of this steel I have salvaged from various projects and steel yards. This steel framework is a leftover from a contractor who did not use it at the St. Charles Cathedral project. Which St. Charles Cathedral? I’m not sure. Often I get drawings and specs without locations. This piece was drawn up as “St. Charles Cathedral.” I don’t necessarily know where it is located. So sometimes you’re doing work and you’re so busy you don’t know where it’s going? Exactly. Two months ago I fabricated a group of sconc50

that you see on his show. That side of the business is slowing down due to the economy, so I’m reinventing myself to go back to my roots—building what I call functional art. Like madeto-order beds, tables, mantels, clocks, and other various custom pieces. The last three years I got comfortable doing contract work for new construction, but now I’m back to doing what I like, which is functional art and public commissioned art pieces. So will every one of these beds be one-of-a-kind? Oh yeah. Every one is handmade. A lot of my clients will come by and watch me work on their piece. I give them that option. What’s the inspiration when you’re making a piece for a client? It can get personal. An executive from Nike brought me a picture of a Calvin Klein ad that had a bed in it, along with his own drawings. He said, “Let’s modify it to what I want.” He came by often and watched me build

How did that go?

Well, it was Palace Gallery downtown in The Pearl, and the gallery owner loved the pieces. And he said, “Jay, let’s bring them in. We’re going to do First Thursday.” I didn’t know how things worked. I didn’t know the arts scene. And, I didn’t even know what First Thursday meant! How was First Thursday? The manager of the famous 90’s band, Pearl Jam, came down from Seattle, loved one of my pedestals, purchased it, and we shipped it out. That was followed by the gentleman from Nike who asked me to build the bed. There were some young people at the show—and they had money—and they started ordering functional art like my lamps, coffee tables, and pedestals. That got me going pretty well. But it wasn’t yet a full-time job, was it? At that time, I was working at the paper mill in West Linn and I wanted to leave because I wanted to focus on the art. The job at the mill was very physical and my muscles started to bulk up. So I got curious about bodybuilding and started training under pro bodybuilder, Nikki Fuller.


ABOUT ART It sounds like a lot of strange components were coming together. I got another break was when I was biking around downtown and stumbled upon Waterstone Gallery. I strolled in and started to admire a beautiful wall sculpture. I was obviously mesmerized by the piece and a woman approached and asked me if I liked it. I said, “Very much so,” and I told her about my work. She happened to be the wife of the artist, Devin Laurence Field, and she gave me his card. I went to one of his shows and introduced myself. Where did that lead? To a great friendship. Before the conversation was done he was asking if I would like to help him on some of his projects. We worked together from about 2002 to present. We put up his sculptures all over the area—Eugene, Corvallis, Bend, Springfield. He’s been getting good exposure. He was commissioned for a sculpture at the Beijing Olympics. He’s the one who really taught me the skills of fabricating steel for the arts. Would you say that he’s one of your mentors? Yes. And Tom Hardy was his mentor. We all need to have someone we admire and look up to. It’s been very good to work with Devin. I’ve always been very lucky in life that I’ve found good people to work with. Nikki Fuller, who was a renowned pro bodybuilder in Portland, is another example. When I was getting into bodybuilding she took me under her wing and that led to my titles as Mr. Oregon Coast in ‘93 and ‘95 and Mr. Bend in ‘93. Wasn’t there a gig with the Oregon Ballet too? My daughter was training with the Oregon Ballet Theater and an instructor stopped me one day and said, “We need some Arabian guards, how about it?” I said, “I don’t do ballet.” In short, I ended up working with James Canfield for 5 or 6 years. James Canfield had quite a reputation for directing the Oregon Ballet. He’s a very nice gentleman. I was lucky to witness his talent firsthand, when I per-

formed as the Arabian Guard in the Nutcracker. I was not a dancer—I carried the princess with another Arabian Guard onto and off the stage. I had a great time doing it. What do people come away with when they see your work? I like my pieces to fit in without jumping out at you. It’s a fine line to create a piece that is noticed and is impressive and still fits in with its environment. I have a good reputation for this. It sounds like you’re not having a problem running out of inspiration. I’m never running out of my own ideas, and my customers aren’t either. I had a woman who wanted me to build a dungeon door for her office. As in the Medieval sense? Complete with Germanic script welded into it. She didn’t want any of her roommates going into her office when she wasn’t around. A dungeon door is hard for me to imagine when I think about one of my favorite sculptures that is currently on display—the “Seraphim” wings on A Street in Lake Oswego.

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I’m not surprised that it’s one of your favorites because it was a big hit with many. I started it at one of the threeday instructional builds at Clackamas Community College. That was a good project for the students to watch me build because it was so large. I had “Seraphim” welded, shaped, and standing up in 3 days. That was 3 days of a lot of welding and grinding. “Seraphim” was also on the beach at Cannon Beach for a memorial for a good friend of mine’s wife, who passed away from breast cancer. Where do you want to be ten years from now, Jay? Ten years—wow... How about five years from now?

From what I’ve seen, Jay, you already are bringing ideas to life. See more of Jay’s work online at: www. jaggededgepdx.com

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I want to participate more in public art projects. I’d like to be part of the public artwork that makes our city beautiful and unique. I want to make things that haven’t been made yet... build custom art for clients who want signature pieces—artwork that tells their story. I can create almost anything to convey someone’s sentiment. I want people to come to me with their ideas, and I will help them bring it to life. I am especially interested in working with builders and architects, in creating custom pieces that can be integrated into new construction.


C l i c k o n t h i s a d t o v i si t t h ei r web si t e


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n e t t o g r o F t o N e ABOUT HEROES

r ’ u Yo

BEAR Iron Tribe and the story of

IRON TRIBE

The Recovery Network

by Mara Storm

D

o we throw people away in our prisons? Do our prisons make it impossible for inmates to recover and reenter society? These questions bothered me after I saw a disturbing photo exhibit of inmates across our country at Pacific Northwest College of Art in the Pearl last fall. The eyes of those men and women haunted me, exuding defiance, tragedy, or perhaps a less-than-human soul. Harold Cubbedge, known as “Bear,” the Executive Director of Iron Tribe and an advocate of criminal reform. Under his guidance, the recovering human souls of Iron Tribe are living solutions and are creating a first-of-its-kind humanizing community that is giving back right here in our midst. 55

ABOUTFACEMAG.COM


I thought changing locations would change my life. The problem was, I showed up. To begin with, will you summarize some factors that led you toward a life of drugs and crime? Dad disappeared when I was six, after my parents divorced. I started using marijuana and stealing at age twelve, unable to deal with pain and anger. In high school, my best friend died in a car accident and I added alcohol to marijuana. Through high school I continued using and stealing, but was never caught.

Was there any help for you after your friend’s death? A Catholic priest, Father Grosso, influenced me to stop using for a while, to focus on my tennis and use it to get educated. I secured a scholarship at Lynchburg College in Virginia.

Tell me some more about your background. My family were educators, people of faith. I was a good student, great at tennis, and a leader among my peers all along, since junior high. In college I discovered compassion for kids with no dads, as a Big Brother to some Asian-American kids. Their mother made delicious egg rolls and my dorm room became an egg-roll factory! But the college shut my business down when girls living above me complained. The funds I earned went for alcohol and cocaine. I pretended cocaine was recreational, but it was addictive—and crime along with it.

Did you recognize your addiction? One day at college, I looked at myself in the rear view

The Iron Tribe Family 56

mirror and said, “Man, you are addicted!” I didn’t know I was also depressed. I just knew I couldn’t stop. After two years of college, I left to try the egg roll business in Florida. I thought changing locations would change my life. The problem was, I showed up. Two years of barely breaking even couldn’t compete with addiction, so my partner got the keys to the business. I went back to college at Florida State University.

How did you get there? I borrowed a racquet, entered a Walk-On Tennis Tournament competing for a full scholarship, and won! I started playing tennis and using crack. It took a strong hold on me. I fell back into crime.

So, returning to drugs and crime became a pattern quite early? Most ex-cons start addictive patterns early. Each story is unique, but using drugs usually leads to addictive behaviors and criminality.

Was there a significant event, an ‘about face’ opportunity for you? I got caught the first time when I was twenty-two. I tried to fight eight policemen and hurt two of them pretty badly. One bludgeoned the back of my head with a flashlight. I woke up in the hospital with eight charges against me. I was sent to Lake Butler Prison [North Florida Reception Center] in Florida, and got out in four and half years on good behavior.

What was Lake Butler Prison like? Brutal! Every sort of hardened criminal was there. They really scared me. I saw many people die. I made sure my mother and uncle visited regularly. If you had no visitors, it got around, and you were marked out to be killed. There were no rehabilitation programs. Everything was calculated to make us suffer. I was on the chain gang. Daily, we baked in our own sweat and were severely dehydrated. When we got our ten-minute water break, most men ran, gulped the water and vomited it up in seconds.

Did anything positive happen there? Chaplain Durant was a great counselor and treated me like a human being. I read the Bible in the chapel—my only respite, and the only air-conditioned place for inmates.

What happened when you got out? An opportunity to sell meat brought me to Portland in 1994. After a short taste of normality I was drawn back to drugs, to crystal meth, and was soon caught again. This time I was sentenced to almost eleven years for using and more serious crime and served in various prisons, including nine and a half years in Oregon State Penitentiary (OSP) in Salem.

Was OSP like your experience in Florida? No, because I found all these great rehabilitation programs.


ABOUT HEROES

Bear 57


I urge decision makers to give evidencebased rehabilitation a higher priority. I started changing thanks to the “Freedom Program” at Columbia River Correctional Institution (CRCI) that offered treatment for drug and alcohol addiction and for emotional/mental health—cognitive behavior therapy— through counseling and group discussions. These treatments really made the difference in our lives, but were cut in 2008. The program essential to your rehabilitation was cut? The Freedom Program has been gone since 2009. I am a critical lover of prisons! I advocated at the Ways and Means Committee at the state capital earlier this year to reinstate it and for there to be no more cuts in prison rehabilitation. Because of the Freedom Program, Oregon’s recidivism decreased to 22.8%—half the national rate of 44%—making ours the lowest recidivism in the country. Explain recidivism.

Ok, so tell us about this different path you ending up deciding to go down which led to the beginnings of Iron Tribe. At Coffee Creek prison [Wilsonville, Oregon], Shawn Bower and I were locked up for 22 hours a day. We shared our stories with each other. I shared that two years earlier I had said goodbye to my dying father on the phone from prison. We were both tired of tragedy and wanted something different for our lives. One day Shawn said, “Lets go to Dual Diagnosis Anonymous (DDA) and get out for an hour!” We met Corbett Monica, DDA Founder, and learned most prisoners have two or more diagnoses. I wondered about mine. I knew my addictions to drugs and alcohol, but it first hit me that crime supporting addiction is addictive.

Governor Kitzhaber is recommending to the Legislature severe cuts to Oregon’s health, education, and public safety services in the face of massive shortfalls. This could eliminate rehabilitation in our prisons by June 30th. Are you aware of the Pew Center’s Recidivism Report published in April?

Iron Tribe was organized and began growing in prison in 2008. Outside, we have been a community organization for 22 months in June. Several Tribal Members helped me and Shawn (whom I consider Co-Founder), including, Dave Bacon, John La France, Edwin Howard, and former member and Community Partner, Charlotte Delgado. The contributions she and these others made were invaluable. Tammy Olsen is another member I really appreciate. She’s down to earth, like a right hand, and does a great job supporting me and the sisters of Iron Tribe.

What is Iron Tribe’s mission?

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Chieftains Shawn Bower (left) and Harold Cubbedge, aka “Bear”

photo by Tim Sugden

In your work with Iron Tribe, are you addressing this?

Iron Tribe is a community organization of ex-cons in recovery. Our mission is to help ex-cons and others successfully recover and reenter society. We believe there is a bridge to healing—from isolation, addiction, emotional issues and criminality—through a recovery process that takes each member in the Iron Tribe community time to walk over. Our way over this bridge is to take the Red Road of recovery. These are the two premises for Iron Tribe: community and recovery.

Can you elaborate on the “Red Road?”

Looking back at your own recidivism, what comes to mind?

Oh yeah! So, I joined DDA and introduced myself then, and still do, as quadruple-diagnosed.

I really paid for all the crimes I did commit. I am ranked A1, mostly likely to return to crime, but I’m on a whole different path now. It’s only by Creator’s grace that I am doing what I am doing!

Quadruple-diagnosed?

I’m against privatization. What would be the impetus for doing anything that helps people recover and not return to prison if you make your money by keeping them inside? Privatization could only mean worse conditions than prisoners have now.

In OSP, Shawn and I agreed to stop our recidivism—the cycle of addictions, crime, tragedy and imprisonment. We looked at all the iron bars, and decided not to live behind them anymore. We wanted to associate outside with the same people we knew from inside the prisons’ drug and criminal worlds. It was important to do something new, but not just for ourselves. We wanted to help these, our people, our tribe. Iron means “from inside.” Tribe means “family.”

Who else helped start Iron Tribe?

Yes. It’s ironic that the report names Oregon as national recidivism leader, based on statistics from 2007, just when our legislators may cut the remaining programs that made it so! We still have a valuable industries program where inmates make a small wage and save earnings. I urge decision-makers to give evidence-based rehabilitation a higher priority. These were critical to real recovery. What Oregon once had—pastors, educators, doctors, and treatment—is what we need again in our prisons.

Before leaving political issues, what are your thoughts on privatization of prisons?

So, how did Iron Tribe get its name?

Another breakthrough in 2007—my doctor prescribed a new anti-depressant and in taking it only two days, a huge burden lifted off me. I had never—in all my life—felt so good! After this, it seemed Creator was lining everything up for me, including the Red Road that brought me back to Christianity and became the spiritual component of Iron Tribe.

So this was a real breakthrough for you.

Recidivism is an ex-con’s return to crime and prison. It’s measured within a three-year period after release. The national average is 44% after first incarceration, and 66% after a second.

Yes. Where state and national statistics count violations that return ex-cons to state penitentiaries, Iron Tribe counts any violation that returns ex-cons to any jail, even for a few days. We set a higher standard because recovery is our determined purpose. Iron Tribe’s recidivism rate was 12.5% in the first year of our program, and only 4% last year. So far, there are no second incarcerations for members of Iron Tribe.

own mind. I decided to turn those demands into “I wants,” so that when reality was not what I wanted I could become flexible and accepting. Learning to live with reality was the crux of the issue for me. Not accepting reality is the crux of getting stuck in addiction.

I learned along the way that I was chronically depressed. Today I go to DDA and CMA (Crystal Meth Anonymous). My four diagnoses are drug addiction, alcohol addiction, chronic depression, and criminal addiction.

Were there other breakthroughs that led you to start Iron Tribe? Rational Emotive Behavior Therapy! I discovered Albert Ellis’ book, The Guide to Rational Living. It urged unconditional acceptance of reality, and described demanding thinking as the “shoulds” that pervaded my

In 2008, Creator lined us up with native spirituality— which we call the Red Road—by introducing Shawn and me to John Lafrance. John is an Ojibwe from the Chippewa Tribe of Canada and was the native circle leader inside the Columbia River Correctional Institution (CRCI). We spent many days with native brothers and elders who shared their ceremonies with love and touched my heart with the Creator Spirit, leading me back to prayer. The Red Road is native spirituality that recognizes mystery, a Creator of everything, and is about recovering humanness. The Red Road frees people to accept their humanness as they move toward wholeness. This path helps us recover our sense of self, deal humanely with pain, and restores our dignity in freedom without prescribing any particular religious pathway.


At the Sweats, the singing opened me up in my first adult prayer to Creator—who was God and Christ to me—and all my Christianity came flooding back! We ask Creator to fill us up with compassion, mercy, and all that Christians call “spiritual gifts”—love, joy, peace, patience, goodness, kindness, faithfulness, gentleness, self-control. At Tribal ceremonies, people pray to the god of their faith background. I pray to Creator Spirit who gives us the power to change . What does the Sweat Ceremony entail? The Sweat Ceremony involves heated rocks on which water is poured. Those sitting in a circle around the rocks will sweat. Then we release the toxins—hurts, crimes, negative thoughts, tragedies—onto the burning rocks. Tree sap and sage are placed on the rocks and lift a healthy scent into the steam. As we breathe it in we sing, asking Creator to fill us with health, heart and clearness of mind.

What does it take to become a Tribal Member and how many do you have? If you are an ex-con or addict committed to recovery and reentry and you stop using drugs or alcohol and join one other recovery program, you may apply. Some make Iron Tribe their main recovery program because our support goes way beyond attending meetings. As I mentioned before, we create community. There are one hundred members, three of which are in prison. About a third of our members live in Iron Tribe houses. The others live with family, or in various housing programs. We have three membership opportunities. Tribal Mem-

bership is for ex-cons committed to recovery and reentry. Family Membership is for their families who support this process. Community Membership is for all sorts of Partners who support our mission.

How did the idea of Tribal houses come about? One night, walking the streets of Portland with a friend at 2:00 am, I got upset. There was no place to take him! The idea sprang up, “Get a house—a foreclosure! Turn a drug house around. Make a home for the Tribe.”

So, how many Iron Tribe houses are there and where are they?

CHIEFTAINS

Back row from left to right: Edwin Howard, J.J Loyer, Jason Head, Shawn Bower, Milo Pierce. Front row from left to right: Bear, Heidi Hill, Melissa Osoling, John LaFrance. Not pictured: Jonathon Bates, Kevin Dove, Brandie Petersen, Jennifer Siehl

We have five houses, three in Southeast, two in Portland, and three are starting up in Vancouver, North Portland and Clackamas County. We take foreclosed houses, former drug houses no one wants, find a buyer who will invest in our work, and turn them into homes which we live in and rent from the buyer.

Share some benefits of living in a Tribe house. House members thrive in an atmosphere of community accountability. We maintain a solid track record of recovery by completing reentry programs that include, establishing a positive circle of influence, developing a positive life aim, and engaging in recovery programs and community outreach.

We cultivate job opportunities, because a big stigma blocking reentry is—no one wants to hire an ex-con! This is where Community Partners come in. They believe in Iron Tribe’s commitment to recovery. We are in the process of setting up our first business, Iron Tribe Clean and Sober Security. We also promote Iron Tribe values such as, ex-cons who made bad mistakes must learn they themselves are not mistakes. We can mend and make “living amends.”

IRON TRIBE continued on p.77

The Recovery Network

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ABOUT PORTLAND ALBERTA STREET

NOB HILL

A trendy shopping district featuring national as well as local favorites on its tree lined streets. pgs. 72-73

An eclectic mix of art galleries, restaurants, and locally owned shops. Well known for its Last Thursday events which draw thousands. p.61

BEAUMONT VILLAGE

It is the heart of NE Fremont with its quaint little shops and fine dining restaurants. p.62

PORTLAND

N

PEARL DISTRICT

Conjoined to Downtown, the sidewalks are lined with chic shops and modern lofts. Catch a ride on the Portland Streetcar. pgs. 70-71

DOWNTOWN

One of the nation’s most walkable downtowns. Whether it’s up the hill to the museums or downhill to the river, there are many choices for eating and shopping. pgs. 68-69

NW SW

NE

EAST BURNSIDE

One of Portland’s destination neighborhoods, filled with diverse one-of-a-kind shops, eateries, and businesses. p.63

SE

HAWTHORNE & BELMONT

A prime example of Portland’s uniqueness with its soulful originality of local businesses and small stand-alone shops. A center for the alternative lifestyle. p.64

DISTRICTS MULTNOMAH VILLAGE & HILLSDALE

A little village with a slower pace, it truly has a small town feel. Hillsdale features mid-century architecture strip malls with convenient shops and eateries. pgs. 66-67

SELLWOOD & WESTMORELAND

A family-friendly neighborhood with a first run movie theatre, and without a doubt, the best spot in town to get your hands on that perfect antique. p.65

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ABOUT PORTLAND

ALBERTA ARTS DISTRICT N NW SW

NE SE

by Mahesh Raj Mohan

THE STREET FAIR RETURNS!

Clean Street Program. Local artist, Ivan McLean, uses old street signs as the raw material for the receptacles, which are designed to withstand the elements. Ms. Wittenberg’s goal is to have all the receptacles on the street in time for the Alberta Street Fair.

Alberta). The Maleks will make all the ice cream on-site.

VINTAGE SEASON

Funding for the project comes from the Alberta Main Street District Improvement Grant. However, funding for ongoing maintenance is the community’s responsibility. To learn more, contact: www.albertamainst.org

The Alberta Street Fair will once again enchant Portland on Saturday, August 13. Now in its fourteenth year, the Alberta Street Fair demonstrates the neighborhood’s vibrancy. The Fair is fun for all ages, featuring three stages filled with live entertainment and musicians, a beer garden stocked with local Portland brews, and a large area for the kids. Sara Wittenberg, Executive Director of community organization Alberta Main Street, expects about 20,000 visitors this year. She says vendor spaces are still available on a first-come/first-serve basis. Alberta Main Street also needs “day of” volunteers for the fair. For more information: www.albertamainst.org

BEAUTIFYING ALBERTA

There’s a nice ice cream shop in town! Salt & Straw, founded by Kimberly and Tyler Malek, creates handmade ice cream from local sources, including Lochmead Dairy in Eugene. Salt & Straw will feature unique flavors found nowhere else. Upcoming flavors include: Pear with Blue Cheese, Brown Ale with Bacon, and Triple Strawberry with Honey, Balsamic and Cracked Black Pepper.

BillyGoat Vintage (2407 NE Alberta), the brainchild of owner Deni Buss, emphasizes style. BillyGoat Vintage carries “new old stock,” or pieces that have never been sold before and often feature their original tags. Ms. Buss hand picks all the items, and she has a particular eye for pristine pieces. Every era is represented, from the 1920s to the 1990s, including a spectacular 1950s wedding dress with the veil. BillyGoat Vintage also features an extensive collection of men’s wear, including suits, hats, and ties. Summer plans include participation in each month’s Last Thursday.

AN EDUCATION IN SAKÉ

C lic k o n t h e s e a d s to vi sit thei r we bs i te

FROM FARM TO CONE

Salt & Straw currently has an ice cream cart at 17th and NE Alberta. In midAugust, the store will relocate in the former Acme Glass building (2035 NE

If you’re curious about saké, then check out Zilla Saké House (1806 NE Alberta), and marvel at its 80 choices. You can choose Daiginjo saké, Ginjo saké, Junmai saké, Nigori saké, Namasaké, Honjozo, and even saké local to Oregon. Zilla Saké House believes in “saké and sushi” symbiosis, so every piece of sushi is handmade to order using the finest ingredients and locally sourced fish. Zilla Saké House also specializes in artisan sake kuras (breweries) from Japan. Saké cocktails, beer, wine, and well drinks are also available. www.zillasakehouse.com The intrepid Alberta Main Street organization will install 20 recycling/ garbage cans this summer as part of its

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BEAUMONT VILLAGE N NW SW

NE SE

by Mahesh Raj Mohan

25 YEARS OF FREMONT FEST

sure to check out Amenity Shoes’ array of accessories and jewelry, too.

Cli c k o n the se a ds to v i sit t h e ir we b s it e

PORTLAND’S ROSE

The best time to enjoy Beaumont Village’s natural beauty is during the 25th Annual Fremont Fest, held on Saturday, August 6. Presented by the Beaumont Business Association, the beloved festival features activities for all ages, including a cake walk, homemade salsa challenge, and a cornucopia of local vendors. To help celebrate the festival’s twenty-fifth anniversary, a student from Grant High School will design the 2011 logo. Activities start at 9:45am with the popular pet costume contest, and the children’s parade begins at Beaumont Middle School at 10am

FREE MOVIES!

The Beaumont-Wilshire Neighborhood Association (BWNA) kicks off its annual “Movies in the Park” series on Sunday, July 10th in Wilshire Park (NE Skidmore St. between 33rd and 37th). Movies in the Park is part of Portland Parks & Recreation program for city neighborhoods. BWNA’s movie night commences at 6:30pm with live music from The River City Trio, followed by Shrek 4: Forever After at 9pm. Admission is free, and so is the popcorn.

NEIGHBORHOOD NIGHT OUT

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A National Night Out Potluck will be held on Tuesday, August 2nd in Wilshire Park. Beginning at 6:30pm, the BWNA will fire up the grill and serve free barbecued hot dogs and hamburgers, as well as other refreshments. Local restaurants will also bring picnic dishes, and residents

can do the same. Entertainment includes several live performances. At 8pm, a raffle will close out the potluck, with door prizes from local businesses going to lucky audience members.

POUR SOME SUGAR ON ME Sugar Me (1313 NE Fremont) is the only boutique in Portland to offer the unique “sugaring” hair removal process. Sugaring uses only sugar, water, and lemon—no toxins or resins. The mixture is heated to body temperature, so the process is gentle on sensitive skin. Owner Kate Sprouse says sugaring offers all the benefits of waxing and “none of the drawbacks.” Ms. Sprouse offers 15% off for first time sugaring customers. See monthly specials at: www.sugarmeportland.com

Rosabode (4225 NE Fremont), founded in 2008 by Rose Bonomo, features handmade clothing and accessories for the home, including popular throws, pillows, laptop slips, and baby blankets with a variety of “touch me” textures, such as silk, velvet, and faux fur. These items are available year-round. Clothing is a recent addition to the business, with tunics, dresses, and tanktops available during the warmer seasons. Come by and experience the stylish functionality of this one-of-a-kind store.

SUMMER FUN FOR KIDS

EXTRAVAGANT COMFORT

Amenity Shoes (3430 NE 41st Ave.) celebrates its sixth year selling comfortable and stylish shoes for women and men. Owners Liz Page Hafid and Zaki Hafid plan to commemorate the anniversary by incorporating an online store into their website (www. amenityshoes.com) in June. The owners also plan a spectacular tent sale for August’s Fremont Fest where shoes can be bought for a steal ($40 to $50). Be

The Beaumont SUN Community School (4043 NE Fremont) is offering a wide variety of Day Camps for ages 7 to 14: Junior Ventures, Writing, Acting, Cheerleading, Skateboarding, Rock Climbing, Dance Teams, Fencing, Music, and Sports. Scholarships are available. So come out and have fun at your neighborhood school. Sign up today 503-916-5615 www.portlandparks.org


ABOUT PORTLAND

EAST BURNSIDE N NW SW

NE SE

by Kyle Collins

SUMMER BEER FEST

NOT TO BE MISSED

CHANGES

the prescription for your chocolate addiction

Handcrafted Vegan Truffles

That’s the motto of the Guild Public House (Burnside Rocket Building: 1101 E Burnside). For this restaurant/bar, environmental and sustainable are always included in the menu. Owners, Jesse Cornett and Molly Aleshire, use local products whenever possible, including Oregon Microbrews and farmers market produce. Stop in and try the international menu of comfort foods, like a Cuban-style pulled pork sandwich. www.theguildpub.com

Long time Portland fashionista Alice Dobson has closed her retail location on Burnside, and is now solely supplying her works to retailers around the country. www.sofada.com Fremont St. local, Citrine, has adopted the location (2937 E Burnside) and is open and glad to be in the community. Citrine features women’s designs and jewelry. www.citrineportland.com

TOP 20 LOCAL ALBUMS BY MUSIC MILLENNIUM

ESCAPE IN THE CITY

The Orleans Building (729 E Burnside)— Hattie’s Vintage, Modo, Zeno Oddities, Grendel’s Coffee—is having a rare and wonderful sidewalk sale. Come on down! Saturday, June 11th and Sunday, June 12th.

KEEPIN’ IT LOCAL Take a night on the town, in town, at the Jupiter Hotel (800 East Burnside St.). Create your own custom package and select from a variety of services including a professional haircut, massage, concert tickets, distillery tours and more. These package deals are always available. www.jupiterhotel.com

Local Goods (2136 E Burnside) specializes in locally made products. They carry household cleaning products, toiletries, some food items, gifts and more. Local Goods tries to source products as close to Portland as possible. www.localgoodsllc.com

MISSIONARY

CHOCOLATES

RIDE A BIKE Universal Cycles (2202 E. Burnside) has outgrown their space in NW and has moved to E Burnside. Over 2,000 square feet and over 6,600 items in stock. www.universalcycles.com

1. Esperanza Spalding - “Chamber Music Society” 2. Decemberists - “King is Dead” 3. Decemberists - “Live at Bull Moose” 4. Esperanza Spalding - “Junjo” 5. Starfu*#r - “Reptilians” 6. Typhoon - “New Kind of House” 7. Builders and the Butchers “Dead Reckoning” 8. Red Fang - “Murder on the Mountains” 9. Delorean - “Unfazed” 10. AgesandAges - “Alright You Restless” 11. Alela Diane - “Alela Diane & Wild Divine” 12. Robert Wynia - “Iron By Water” 13. Esperanza Spalding - “Esperanza” 14. Y La Bamba - “Lupon” 15. Pink Martini - “Splendor in the Grass” 16. Holcombe Waller - “Into the Dark Unknown” 17. Red Fang - “Red Fang” 18. Portugal the Man - “Satanic Satanist” 19. Too Slim & The Taildraggers “Shiver” 20. Starfuc*#r - “Starfuc*#r”

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wholesale Retail Catering weddings

www.missionarychocolates.com 503-961-3262

C lic k o n t h e s e a d s to vi sit thei r we bs i te

Burnside Brewing (701 E Burnside St.) is hosting its First Annual Fruit Beer Festival, featuring over 15 local breweries: Ninkasi, Hub, Widmer, Alameda and more. The first annual Portland Fruit Beer Festival aims to open minds to the strange and exotic possibilities that fruit beers can offer. Free entry and all ages welcome. Saturday, June 11th (11-9pm) and Sunday, Jun 12th (11-6pm).

LITTLE KITCHEN, BIG FLAVOR

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HAWTHORNE & BELMONT N NW SW

NE SE

By Amber Nobe

Cli c k o n the se a ds to v i sit t h e ir we b s it e

NOT YOUR AVERAGE MUSIC HALL

You don’t have to be a vinyl junkie to dig Hall of Records (3342 SE Belmont St.). Though the music shop and bar opened several months ago, it recently embraced a defined role of evening/ night venue and waded into the world of cocktails. With vintage funk, soul and jazz blasting on the speakers, this cozy spot packs in a lot without overreaching. There’s a wall of albums straight from the golden age of records, listening stations, a DJ booth (you can spin your own collection on weekends), a caféstyle menu, beer, wine, and now, hard alcohol. See nightly specials and events at www.hallofrecordspdx.com.

lasting for hours. This spring, chefs David Anderson and Daniel Mondok experimented with a weeknight prix fixe menu—to rave reviews. It was so popular, the Tues/Weds/Thurs offering of three courses for $40 will stick around indefinitely. “It allows us to reach a larger audience without compromising the experience,” Anderson said. The regular menus are always available, but for those on a budget (money or time), the prix fixe option is faster and easier on the pocketbook but still very fine dining. Call 503-238-1464 for reservations.

Satisfy your craving for summer adventure with the PDX Adult Soapbox Derby, barreling down Mount Tabor on Saturday, Aug. 13. Beginning at 10am, 42 outrageously themed cars take to the tracks, and scores of spectators enjoy the thrills and spills while imbibing on wine and beer. It’s too late to sign up a car of your own, but you can volunteer or just enjoy the show. Stake your spot at the mountain park entrance at SE 60th and Salmon. As the organizers say, “Thank our beloved volcano for allowing us to tickle her spine.” Check www.soapboxracer.com for a race map. Portland’s hot food scene attracts national attention. It also attracted Francis and Kim Stanton, who recently snatched up the space formerly occupied by Fin and opened Otto Restaurant and Bar (1852 SE Hawthorne Blvd.) The couple moved from Michigan, where they operated three eateries, but now they focus on interesting local ingredients for entrees priced $20 and under. Francis describes Otto as casual with a modern neighborhood feel—and no pretense. “It’s comfortable and fresh,” he said. “Have a drink and relax.” Call 503-5177770 for details.

TAKE TO THE STREETS

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COMIN’ ROUND THE MOUNTAIN

DINING WITHOUT PRETENSE

PRIX FIXE: THAT’S AMORE!

Legendary Italian eatery Genoa (2832 SE Belmont St.) made its name with extravagant multi-course meals

and 47th. The fair coincides with the city’s Sunday Parkways event, which closes down vehicle traffic for bikers and walkers, who will cross Hawthorne at SE 32nd and at 45th. A special area for children’s activities is set aside near Kids at Heart on SE 35th St. For more details, visit www.thinkhawthorne.com.

The annual Hawthorne Street Fair is slated for Sunday, Aug. 28, from 10am to 5pm—a tradition in the district since 1982. The affair highlights all this hip neighborhood has to offer, with sidewalk sales, vendor booths, art, clothing and crafts, plus music at SE 34th, 41st

CHRISTMAS IN JULY During the month of July, many local merchants are participating in the Portland Metro Toy Drive fundraiser. Check out www.PortlandMetroToyDrive. com for a list of local businesses that are accepting donations. The toys are donated to needy local children and children’s charities who serve the underprivileged.

BELMONT AREA STREET FAIR On September 10th, the ‘downtown core’ of Belmont from SE 34th to 37th will be closed to vehicle traffic, but open to everything else: thousands of visitors, over 100 craft booths, 4 music performance areas, a food festival, children’s fun center and alternative transportation expo.


ABOUT PORTLAND

SELLWOOD & WESTMORELAND N NW SW

NE SE

by Amber Nobe

SELLWOOD STARS IN TV SHOW

ingredients whenever possible. She is best known for her mouth-watering baked goods and pastries. At the Lili Patisserie & Café (8337 SE 17th Ave.), choose your time carefully. Breakfast is Friday through Sunday, 8am3pm, lunches are Thursday through Sunday, 11am to 3pm, while Dinner is only served Fridays, from 5pm-9pm. www.lilipatisserie.com

TO MARKET, TO MARKET

WITH A CHERRY ON TOP

You can’t buy much with 50 cents these days—but on Sunday, Aug. 7, it will net you one ice cream sundae and an afternoon of family fun. Southeast Portland businesses and organizations gather from noon to 4pm in Upper Sellwood Park (SE Seventh and Miller) for the annual Sundae in the Park event. There will be activities for all ages, food vendors, music, information booths, and of course, that quintessential summer treat for just two quarters a pop. Stick around for more entertainment and a free screening of “Yogi Bear” as part of Portland Parks & Rec’s Movies in the Park series.

HANDMADE MEALS Li makes everything from scratch using the freshest local and organic

Branches “An Uncommon Card, Gift and Paper Store” (6656 SE Milwaukie Ave.), is a Moreland neighborhood staple celebrating 20 years in business this season. Owner Kayleen Langfeldt—a self-described old hippy—bought the store from her friend, Carole Grandy, nine years ago and continues to bring an eclectic, funky and fun selection of greeting cards to her customers. You’ll find spiritual, humorous and naughty cards, local artists’ work, fair trade goods, handmade papers, jewelry, incense, journals, photo albums and even resale clothing and kids’ items. Stop by 11am to 6pm (5pm on weekends) or call 503-235-7124 for information.

TAKE ONE DOWN, PASS IT AROUND The Moreland Farmers Market is going strong in its sixth year at SE Bybee Boulevard and 14th (with free parking across the street at 14th and Glenwood). Open 3:30-7:30 every Wednesday through October, it’s ideal for those strolling Antique Alley in the afternoon and those punching the clock at 5. Many of the market’s regular vendors of locally grown/prepared fresh produce, flowers, meat, cheese and baked goods return this year—plus, music, tastings and chef demonstrations. Find everything from herbs to wine to kombucha, and food carts serving on site. www.morelandfarmersmarket.org

C lic k o n t h e s e a d s to vi sit thei r we bs i te

TNT’s Robin Hood-esque drama, Leverage, is in its fourth season filming in Portland. The Rose City stands in as Boston on the show, but you can’t miss the Sellwood sights featured in this summer’s upcoming episodes. Two full episodes were shot in Oaks Park—one about a missing Van Gogh painting, another about a heist and abduction from a carnival. (Also look for the Sellwood Bridge in scenes from last season’s finale, including a dramatic jump off the bridge onto a train.) Catch season 4, premiering June 26—then head to the waterfront to pick out your favorite set locations.

AN UNCOMMON SUCCESS

COOL OFF

Dive into Portland’s oldest pool, the Sellwood Pool, in Sellwood Park on SE 7th. This outdoor, oval-shaped swimming pool is heated to 84 degrees, with a drop slide, kiddie slide, play structure, and spray features. Water depths range from zero-depth entry to 8 feet.

Sellwood recently lost a few wine bars, but never fear: The Portland Bottle Shop (7960 SE 13th Ave.) comes to the rescue early this summer. Owner Travis Motter brings his knowledge from years as a tasting room manager and sommelier to this wine and beer venue where you can try a taste or a glass, or take home a bottle or growler. Motter said he’ll feature local drinks but will also draw from the vast selection of international wines available. Hours are 11am to 7pm Tuesday through Sunday, with free tastings on Saturday afternoons. Visit www.pdxbottleshop.com for details.

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MULTNOMAH VILLAGE N NW SW

NE SE

by DC Rahe

MULTNOMAH DAYS AUGUST 20, 2011

CUT-A-THON

MIDDLE EASTERN DELIGHTS

the first taking place on the first Friday in June. Enjoy the outdoor sidewalk show while sipping champagne and noshing on summer snacks. The second show will be on the first Friday in August, debuting the fall collections.

INSIDE OR OUTSIDE DINING

With Multnomah Days drawing over 8,000 people to Multnomah Village for this fun and free event, there is something for everyone. Walk, bike or bus on over to Multnomah Village on August 20th to enjoy a full day of fun for the entire family. Organized by the Multnomah Village Business Association (MVBA) with the help of local sponsors, Multnomah Days kicks off at 10:00 am with the “Biggest Little” parade. Over 100 vendors will line the streets showcasing art, food, crafts and merchandise. Roving street performers and live music will keep the fun going till 5 pm. And this year, the Kid Zone (located at the Multnomah Art Center) will be the biggest in this event’s history. www.multnomahvillage.org

During Multnomah Days, Annastasia’s (7741 SW Capitol Hwy) Salon & Beauty Store will be hosting the third annual cut-a-thon. All eighteen of Annastasia’s stylists will be moving their stations outside the salon for people to receive an ‘Annastasia Haircut.’ Every dollar made that day will go to the local Neighborhood House Foundation. Since the event’s inception three years ago the salon has doubled the amount donated, and they hope that trend continues this year. Come down and support this worthy cause, and walk away lookin’ good too!

Not your ordinary boutique, Switch (7871 SW Capitol Hwy), definitely switches it up. The owner of Switch takes four trips a year to Israel to help design each piece featured in the store. Not only does Switch offer a unique selection of shoes, but also one-of-a-kind handbags and accessories. The newly expanded store now has a clothing section that offers the same handpicked quality as the rest of the boutique. Switch will be having two outdoor fashion events this summer with

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O’Connors, (7850 SW Capitol Hwy) where literally everyone knows each other’s names, oozes with neighborhood charm. A Portland mainstay since 1934, this once gentlemen only establishment has since made a home in Multnomah Village. This summer, O’Connors will be opening the doors to their newly renovated deck—available to reserve for parties with O’Connors handling the catering, or to simply enjoy one of their many Happy Hour specialties while basking in the summer sun. O’Connors features live music 4-5 nights a week all year long, and will move the party outside to host local blues and soul musicians on their beautiful deck. While you’re there don’t forget to try their famous hush puppies. Those alone will make you want to come back for more!


ABOUT PORTLAND

HILLSDALE

A WHOLE NEW OLD

the Mark Rieke School parking lot, behind the Hillsdale Shopping Center. hillsdalefarmersmarket.com

ART AND MONEY DO MIX

GET IN GEAR WITH SUMMER READING Luna Jaffe, CFP, believes in inspired and sustained investments for her clients. She is a financial advisor that specializes in financing planning for creative types and artists. Luna utilitizes the whole brain approach to building financial competence and personal wealth.

OUTDOOR WINE & MUSIC

HOTCAKES AND BOOKS A cool local wine bar located in the heart of Hillsdale—Korkage (6351 SW Capitol Hwy) offers a wide selection of the best wines the Northwest has to offer. This summer they will be opening a full kitchen as well as expanding on their outdoor back patio. Enjoy the warm summer nights sipping one of their select wines, while dining on their brand new full menu and listening to live music. The perfect place to relax and unwind!

C lic k o n t h e s e a d s to vi sit thei r we bs i te

The Geezer Gallery (7710 SW 31st Ave ) is showcasing master level local artists, 60 years and older, inside their beautiful gallery in the heart of Multnomah Village. The Geezer Gallery focuses on the creative spirit that continues to thrive throughout maturity. The Geezer Gallery is fighting ageism and is successfully changing the prevailing views about what it means to be old and what an older person can be.

Wilson Pool offers two outdoor pools: a 6-lane lap pool with diving board, and a family leisure pool with current channel, vortex, tot slide, water slide, and zero-depth water play structure. It opens June 20, closes September 11th. Offerings include: early morning adult lap swim, Junior Swim Instructor Program, swim lessons for all levels, and The River Challenge. Just for teenagers, there is an evening swim almost every night. The River Challenge is a fitness class that builds endurance while toning muscle and gaining strength. Bring an inner tube for Dive-In Movie night on August 27th, showing the animated feature film Gnomeo & Juliet.

The Hillsdale Library (1525 SW Sunset Blvd), once again through the Multnomah County Library system, is conducting their summer reading program for kids and teens. Adults can join in the fun with their own reading list.

GET TO KNOW LOCAL

SPLASH INTO SUMMER

While the Fred Meyer store is closed for remodeling, try Food Front (6344 SW Capitol Hwy) or the Farmers Market for your fresh groceries. The Hillsdale Farmers Market occurs every Sunday during the summer in

The annual Customer Appreciation Blueberry Pancake Breakfast will be on Sunday, July 31, 2011. This event, sponsored by the Hillsdale Business and Professional Association, starts at 8:30am and goes until noon in the Key Bank parking lot in Hillsdale. On the same date and location, the Hillsdale Benefit Book Sale begins at 10:00am, and lasts until 3:00pm. Proceeds benefit the Hillsdale Alliance member organizations, which include the Rieke, Gray and Wilson schools, as well as the Farmers Market, the Neighborhood Association, Neighborhood House, SW Trails, the library and other Hillsdale institutions.

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DOWNTOWN PORTLAND N NW SW

NE SE

by Merlin Varaday

GET YOUR MOTOR RUNNING

MUSIC ON MAIN STREET ROCKS!

Handmade crafts and children’s activities make this a great event for the whole family. Summer Arts on Main runs every Wednesday (June 29th-August 31st) from 10am-2pm. Performances will begin at 12pm, and are brought to you by the PCPA Noontime Showcase.

SIP SUDS AT THE OREGON BREWERS FESTIVAL

Lent by Miles Collier and the Collier Collection of Naples, FL

When the weather gets warm, the beauties come out! Every Saturday in the South Park Blocks there will be a classic car show. Beginning on June 18th: Chevrolets, June 25th: Italians, July 2nd: American Muscle, July 9th: Vintage, July 16th MHRC, July 23rd: Germans, July 30th: Fords, August 6th: Porsches, August 13th: English, August 20th: Rod & Custom, August 27th: Mopar, September 3rd: Two Seaters, and September 10th: Green cars. After seeing the cars on the street, go inside the Portland Art Museum for The Allure of the Automobile. This exhibit showcases 16 of the world’s most luxurious, rare and brilliantly conceived automobiles designed between 1930 and the mid-1960s. www.pam.org

A FREE family-friendly concert series will feature an eclectic collection of local musicians—from funk to rock, from swing to world music. Each Wednesday from 5-7pm, June 29th-August 31st, Portland Center for the Performing Arts (PCPA) will close Main Street at SW Broadway for an evening of live music. Don’t forget to take advantage of the ArtBar, serving gourmet treats and cocktails during the shows.

On a sun-soaked July afternoon, there’s no better place to sip suds than the 24th annual Oregon Brewers Festival,

SUMMER ARTS ON MAIN— VISUAL AND PERFORMING ARTS UNDER THE SUN Help give a warm welcome to summer by joining the Portland Center for the Performing Arts (PCPA) and Handmade NW for the 9th season of Summer Arts on Main! Every Wednesday, PCPA will host a combination of performances.

SIMPLY ELEGANT

DOWNTOWN PORTLAND

503.223.9510

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PORTLAND AIRPORT

503.284.9929

W W W. T H E R E A L M O T H E R G O O S E . C O M

C l i c k o n t h ese a d s t o v i si t t h ei r web si t e

July 2nd-31st at Tom McCall Waterfront Park. The Oregon Brewers Festival will offer more than 20 beer styles from 85 craft breweries. Live music, food booths, and craft vendors will also be part of the festivities. www.oregonbrewfest.com

BLOOM WITH FESTIVAL OF FLOWERS

Pioneer Courthouse Square will be radiant with blooms for Festival of Flowers June 3rd-17th. This year’s design, You Are Here created by local artist Bill Will, will encourage visitors to look beyond our geographic borders with a colossal map of the world using more than 20,000 colorful potted flowers. The two-week display at the Square will culminate with the annual flower sale kicking off June 15th. There will be a wide variety of plants available, including salvia, impatiens, lobelia, begonias, vegetables, herbs, grasses and more—starting at only 83 cents apiece! www.portlandmall.org


ABOUT PORTLAND

NOON TUNES TO LIVEN UP LUNCH

MAKE IT HAPPEN— PORTL AND PRIDE

DANCING IN THE STREETS

For the 21st year in a row Pioneer Courthouse Square will host the everpopular Noon Tunes Summer Concert Series, co-presented by Muve Music & KINK.fm. Happening July 5th-August 18th, Tuesdays & Thursdays from Noon1pm, the event will showcase the best in regional and local musical talent! Also this year at Noon Tunes, Portland Farmers Market will host A Taste of the Market from 11:00am to 2:00pm, which will offer high-quality lunch options while you enjoy some great tunes during the noon hour. www.pcspdx.org

FLICKS ON THE BRICKS

Scandals presents the 7th annual Pride on Stark Street. There will be live music featuring the Old Flames and Saturday Night Orphans, dancing, food and drinks all weekend long. Proceeds go to CAP to help keep HIV/AIDS testing free. The dates are June 17th, 18th and 19th on SW Stark Street, between 11th and 12th Ave. $5 cover Friday night. $10 cover all day Saturday. No cover Sunday. Sponsored by Absolut and Miller. www.scandalsPDX.com

BODYVOX AND CHAMBER MUSIC NORTHWEST PRESENT FREE CONCERT On Thursday, July 14th from 10:3011:30am, BodyVox and Chamber Music Northwest will present a family-friendly concert at Director Park downtown— Portland’s newest piazza! Expect a lively program with the Wanmu Percussion Trio and BodyVox dancers.

SUSHI ONLINE At www.mika.allsitebysite.com you can order sushi online prepared by Mika Sushi. They accept almost any size order (from one person to big parties), dine-in or takeout. It’s best to dine in at their restaurant in the KOIN Tower on SW Second Avenue.

DINNER AND A SHOW The subdued, monochromatic Yolo Lounge features tables for two and an atmosphere illuminated by simple accent lights and elegant chandeliers. Book your romantic evening in this classy venue, and sit back and enjoy the complimentary entertainment—art shows, fashion shows, live music, and much more! You’ll be impressed by their quality Asian-influenced cuisine and professional service. Be sure to try their full portions happy hour menu. www.yololounge.com

C lic k o n t h e s e a d s to vi sit thei r we bs i te

The theme of this year’s LGBTQ Pride Parade and Festival (June 17-19th) at the Tom McCall Waterfront Park is Make It Happen. “We honor the work of activists everywhere, from the young person taking that brave first step in coming out to those who exercise their right to peacefully resist injustice,” stated Pride Executive Board member Mark Santillo. The parade begins at West Burnside and NW 13th Ave at 11:30am. www.pridenw.com

TartBerry has an upbeat and friendly environment. Choose your favorite quote from the walls and tables! Make it your way and pay by the ounce. 15 ever-changing flavors of YoCream yogurts and sorbets plus over 100 deliciously unique toppings will keep you busy making new combinations. www.tartberryinc.com

ROSES GONE WILD! WALKING TOUR

SWEET DELIGHTS Once again the Square will be transformed into downtown’s largest outdoor movie theatre for Flicks on the Bricks! Presented by SmartPark and running July 22nd-August 19th, the showings will occur Fridays at dusk. Be sure to bring a low-back chair or blanket to truly make the Square your “living room.” Pre-movie entertainment, beginning at 7pm, will be provided by KINK.fm. To cast your vote for the movies being shown this summer visit www.pcspdx.org

The place where kindness and laughter translate in any language and smiles are the accepted “tips”—TartBerry! A treasure located near Director Park,

For a town known as the “City of Roses,” with a Rose Festival to boot, most residents and visitors know remarkably little about Portland’s International Rose Test Garden. The Portland Walking Tours “Roses Gone Wild” excursion exposes the secrets, fun facts, and behind-thescenes mysteries of Portland’s blushing beauties. The 45-minute tour is only 1/2 mile of walking, with no hills and limited stairs. www.portlandwalkingtours.com

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PEARL DISTRICT N NW SW

NE SE

by Merlin Varaday

KIDS DANCE CAMP

whitening, gentle, and massage. The Diamond is now available at Bling Dental. www.diamondtoothbrush.com

FROELICK GALLERY WILL SHOW “EQUINE” PAINTINGS This summer BodyVox will present two sessions of Kids Dance Camp (June 20th–24th and June 27th–July 1st) to provide fledgling dancers with an opportunity to learn the unique elements of being a BodyVox dancer: expression, innovation, theatricality and creativity. Classes and activities will be tailored to three age groups: Blue (3–5), Red (6–8) and Green (9–12). Fridays will feature an afternoon Student Showcase for friends and family. www.bodyvox.com

AMERICAN IDOL TO SMILE FOR BLING DENTAL This summer, Dr. Raymond of Bling Dental will be working with American Idol Kimberly Caldwell at the Annual Brat Pack Weekend, raising money for the Grammy Foundation to promote music programs in public schools. Kimberly is the new spokesperson for Diamond. It is a new brush that features 30,000 powerful strokes per minute and three modes:

This June, Froelick Gallery (714 NW Davis St.) will present a showing entitled “Equine.” Local artist and writer, Julianna Paradisi, will include her painting entitled “Twenty-One.” The painting “TwentyOne” is inspired by the prehistoric drawings found on the walls of the Chauvet-Pont-d’Arc Cave in France. www.froelickgallery.com

SUMMER CHALLENGE Get ready to sweat in June as barre3 (1000 NW Marshall St.) kicks off their 30 Day Summer Challenge! Participants will

lengthen, tone, and balance their way to a dancer’s physique with 20 barre3 classes taken throughout the month of June. Also, you won’t want to miss the barre3 Three Year Anniversary Party during First Thursday, August 4th, in the Pearl District. www.barre3.com

HOP ON THE PINK TROLLEY

SWIMSUIT SEASON

Every First Thursday, Popina Pearl hosts their monthly travel lecture by industry experts. Kona Brewing beer, wine and Vitamin Water is served. Those in attendance have a chance to win two Alaska Airlines First Class Upgrades, a $75 Alaska Airlines Travel Voucher or an Ellington Travel Bag! The Popina Pearl Boutique is the largest women’s swimwear store in the Northwest. It features 26 brands of ladies bathing suits, including the Popina Swimsuit line designed by owner Pamela Levenson and made in Oregon. www.popinaswimwear.com

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BIG Pink Sightseeing has a new way to tour Portland’s Westside; Pearl, Nob Hill, Downtown, and Washington Park. With a day pass you can easily hop on and hop off the trolley at twelve convenient stops. Buy your tickets at the Trolley ticket booth in Pioneer Square. One dollar of every ticket sold will be donated for breast cancer awareness and research. www.bigpinksightseeing.com


ABOUT PORTLAND

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AUTHOR LECTURE SERIES

COMMUNITY CENTER MOVES

students from around the world. Summer in the City offers variable credit courses and workshops in architecture, art, landscape architecture, product design, and interdisciplinary studies. www.pdx.uoregon.edu

SUMMER FESTIVITIES physicalelement.com 1124 nw lovejoy st 503 224 5425

ART IN THE PEARL Powell’s Books will continue the beloved tradition of author lectures this summer, including Laurell K. Hamilton, Seth Fletcher, Daniel Wilson, Oscar Hijuelos, Ann Patchett, neuroscientists David Eagleman and Tali Sharot, Robert Donnelly, Miranda Kennedy, Katherine Cole, Josh Ritter, Bill Plympton, Sapphire, Margo True, Donald Ray Pollock, and Amy Snyder. www.powells.com

KENO BROTHERS IN THE PEARL

Come celebrate Labor Day Weekend at the 15th annual Art in the Pearl Fine Arts & Crafts Festival! The festival will be held in the historic North Park Blocks (on NW 8th between W. Burnside and NW Glisan) Labor Day weekend– September 3rd, 4th and 5th. Hours are from 10am–6pm on Saturday and Sunday; 10am–5pm on Monday. Art in the Pearl has been ranked one of the top 20 festivals for the past eight years! The show will feature juried work from 130 artists from across the USA and Canada. With hands-on activities for all ages, as well as demonstrations by special guest artists, live music and delicious food vendors, the festival will inspire and delight. Admission is FREE! www.artinthepearl.com

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Lan Su Chinese Garden (239 NW Everett St.) will celebrate the warm days of summer with a multitude of events and activities. Every Sunday in June is the Dynasty of the Dragon, a dragon shadow puppet workshop. Learn how to make a dragon dance and listen to folk tales. July and August at Lan Su offer a chance to observe and play many traditional Chinese games, such as mahjong, chess, and wei chi, as well as more modern games like tangrams and Chinese checkers. Every Sunday is table tennis on the main terrace by Lake Zither. On Tuesdays from July 5th– August 2nd, Lan Su will come alive with Tuesdays by Twilight, our after-hours concert series, offering a selection of music for every taste and style.

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Zimmerman Community Center (ZCC) welcomes Portlanders to their new space at 1542 NW 14th Ave., in the ground floor of the Ramona Apartments at NW 14th and Quimby. ZCC is a community space for learning, gathering and recreation. Isobel’s Club House moved into the new space and launched programs for children on May 9th, including creative play, Spanish language, and creative learning. “We are thrilled with this opportunity, and the chance to generate programs for adults and older children,” says Kris Moore, Executive Director. www.zcommunitycenter.org

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U OF O PORTLAND SUMMER CLASSES The well-known twin brother appraisers of the PBS Antiques Road Show, will be at the Bella Casa, 5 pm, June 25th. They’re in Portland to launch their “Keno Bros” line of over 100 select pieces, taking the best of earlier periods and combining them in a perfect synthesis of traditional styling enhanced with fresh, modern appeal. www.bellacasa.net

The University of Oregon Portland School of Architecture and Allied Arts summer program is located at the White Stag Block (70 NW Couch St.) in historic Old Town. Summer in the City is an open enrollment summer session welcoming newly admitted and continuing UO students, as well as community members and professionals, UO alumni, and university

Lan Su will celebrate their 11th Anniversary with Mooncakes & Pomegranates on September 14th. Come enjoy amazing food by chefs from eighteen of Portland’s best restaurants, live music and the breathtaking backdrop of Lan Su Chinese Garden. www.lansugarden.org

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KEEPING PORTLAND WEIRD

Looking for out-of-the-ordinary fun? Stop by the newly opened Freakybuttrue Peculiarium (2234 NW Thurman St.) for a dose of strange art, unique exhibits and all kinds of odd treats and trinkets. This gift shop/museum/gallery/snack stop features everything from ice cream topped with edible bugs to alien-themed displays, and boasts Portland’s largest kaleidoscope. Proprietors Mike Wellins, Lisa Freeman and Eric Bute run the shop Thursday through Sunday. They have local artists lined up for monthly displays through the summer, plus bimonthly magic workshops from Reed McClintock, who also performs a free show every Friday night at 8pm. For details, visit www.peculiarium.com

IT KEEPS YOU RUNNING

First Thursday is known for gallery walking and bar hopping; now add to that list “adventure running.” The Urban Adventure Run event by Fit Right Northwest (2258 NW Raleigh St.) sends runners and walkers on a scavenger hunt all over Northwest Portland. Show up around 5pm to register (it’s free!), then study the two maps revealed at 5:30. You get one hour to hit as many checkpoints as you can, collect raffle tickets and return to Fit Right—where you’re rewarded with an after party of music, beer, info booths and the raffle drawing. Visit fit-right-nw.com for full details.

restaurants Besaw’s (2301 NW Savier St.) and Meriwether’s (2601 NW Vaughn St.) proudly offer greens cultivated in their own gardens. Besaw’s turned an abandoned space into an urban oasis, cultivating arugula and broccoli, among

others. “Who is not thrilled with seeing a vacant lot become the bedrock of something beautiful?” asks Besaw’s owner Cana Flug. Likewise, Meriwether’s takes full advantage of its 5-acre “plot” on Skyline Boulevard, serving up specialties like kale and cilantro.

“Trendy-Third” Avenue has long been the fashion center of Portland, and new clothier Reveille (728 NW 23rd Ave.) pulls from world fashion hubs New York and L.A. to boost the street’s high-end shopping slate. Specializing in small, exclusive brands, Reveille offers vintage and new men’s and women’s clothing, accessories and shoes. Owners Camille Pandian and Jess Carson are Oregon natives, but both spent time in the fashion/music/modeling scenes of L.A. and London before uniting for this venture. Check out brands like Mister Freedom and Samantha Pleet, which uses organic fabrics. A grand opening is set for mid-June; visit reveilleshop.com for details.

JUMP ON THE TIMBERS BANDWAGON

SOMETHING OLD, SOMETHING NEW

FROM BACKYARD TO BREAKFAST PLATE Summer marks the triumphant return of fresh, local produce to your plate, and your backyard vegetable patch isn’t the only one in the running. Nob Hill

www.blushbeautybar247.com

513 NW 23rd Ave/Glisan St

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Major League Soccer’s newest franchise plays at Jeld-Wen Field, where parking is messy. Three eateries on NW 23rd Avenue


ABOUT PORTLAND

invite you to park in the Nob Hill district, do some playing of your own before the match, then hop the free shuttle that will return to 23rd after the Timbers claim victory. On July 30, Aug. 3 and Aug. 24, visit Santa Fe Taqueria, Escape from New York Pizza or Nob Hill Bar and Grill—they’ll offer specials for those ridin’ the bus. The shuttle begins one hour before kick-off. Also participating are Galore Department Store and All for Paws dog shop.

hamburger with your healthy bottled juice or fresh steamed espresso, The Sultan Cafe is your neighborhood place for mediterranean cuisine. www.thesultancafe.com

SOAK UP THE SUN

For its second year on Nob Hill, the Northwest Portland Farmers Market will move from NW 23rd and Savier to NW 19th and Everett, in the parking lot of Trinity Episcopal Church. The popular destination for fresh produce, eggs, meet, dairy and wine returns with more than 30 vendors, including newcomers Crust and Common Pie Shop, Feastworks, KCK Farms, La Terra Vita and Pure Simple Nourishment. The market runs 3-7pm on Thursdays through September. On the last Thursday of the month, kids can participate in a special drop-in cooking class. For vendor details, check out www.portlandfarmersmarket.org

GYROS AND COCKTAILS

Portlanders know summer is short. Take full advantage of the sun, warmth and those long summer nights by visiting Nob Hill’s hottest patios. St. Honoré Boulangerie (2335 NW Thurman St.) is a prime spot for early morning sun with your coffee. It can be tricky to catch afternoon rays in the city, but McMenamin’s Tavern & Pool (1716 NW 23rd Ave.) and Tara Thai (1310 NW 23rd Ave.) are optimum for sunshine during happy hour. For late nights on some truly impressive patios, check out Cha Taqueria & Bar (305 NW 21st Ave.), 21st Avenue Bar & Grill (721 NW 21st Ave.), North 45 (517 NW 21st Ave.) and New Old Lompoc (1616 NW 23rd Ave.).

PORTLAND WHEN IT SIZZLES

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A FARMERS MARKET TRANSPLANT

New life has come to the long-vacant corner spot on NW 23rd Avenue and Johnson, formerly the home of Music Millennium. Neighborhood groups united to open a Friends of the Library pop-up shop, which will stay open at least through June. FOL is an area nonprofit dedicated to supporting the Multnomah County Library system, including the NW 23rd Avenue branch at Thurman. Staffed by volunteers and members, the temporary store offers FOL’s staple—a vast collection of used books at discount prices—plus work by local artists, gifts, cards, jewelry and more. Hours are 11am to 7pm every day.

A POP-UP BOOK SHOP Nob Hill businesses and restaurants band together for the Sizzling Summer Extravaganza July 8-10 on NW 21st and 23rd Avenues—the hot ticket in town for fashion and food. With boutique sidewalk sales, special shop hours and various street entertainment, the days will be ripe for bargain hunting and city strolling. On the evening of Saturday, July 9, select neighborhood restaurants will host a special “taste of” event, including a chance to meet and greet the chefs and owners of some of Portland’s most prized eateries. For full details closer to the event, visit www.nobhillbiz.com.

Enjoy the sidewalk cafe atmosphere while sipping your favorite mixed drink and eating a lamb gyro. The Sultan Cafe celebrating seven years on NW 18th at Quimby, now serves spirits, beer, and wine. For a Greek salad, or even a

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ABOUT DESTINATIONS ASTORIA

CANNON BEACH A picturesque resort town surrounded by the rugged natural beauty of forests, ocean beaches, and rivers. Its four mile long beach is ideal for long walks, kite flying, and sandcastle building. Also known as an artists’ community, it has many fine art galleries and quaint little shops to visit.

Come celebrate Astoria’s bicentennial celebration of America’s first permanent settlement west of the Rocky Mountains. Visit its many outstanding sites: the Astoria Column, the Maritime Museum, the Oregon Film Museum, and its downtown. When you stroll along its historical waterfront be sure to stop by the Maritime Memorial Park (under the bridge) to see the restored Shively Fountain.

Shively Fountain photo by Tim Sugden

Haystack Rock photo by George Vetter

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ABOUT DESTINATIONS

Cannon Beach, OR by LeeAnn Neal

TIME TO VISIT THE FARMERS MARKET

436-2623. Photo cutline and credit: The shoreline is covered with sandcastles each summer during Cannon Beach Sandcastle Day.

preserved or restored. Tickets cost $15 for Historical Society members and $20 for non-members. They can be ordered at www.cbhistory.org/tours-and-specialevents.php or by calling 503-436-9301.

CANNON BEACH TAKES ART OUTSIDE

Beginning June 14, the Cannon Beach Farmers Market will offer fresh, local produce and other items from 2 to 6pm, Tuesdays. Vendors sell cut flowers, pasture-raised meat, organic cheeses, wild-caught seafood, and handcrafted artisan food products. For those who can’t wait to take their purchases home and prepare a meal, a Restaurant of the Week will serve prepared food on the spot. The market, which runs through September, is located in the public parking lot in Midtown, next to City Hall. It is within walking distance of a number of galleries and restaurants as well as the beach. For more information, visit www.cannonbeachmarket.org

SANDCASTLE COMPETITION photo by Curt Smith

The shoreline is covered with sandcastles each summer during Cannon Beach Sandcastle Day.

Spectators flock to the shore each year to watch and sometimes participate in the Cannon Beach Sandcastle Day Competition. Those who participate in the event range from amateurs to master sandcastle builders who travel miles to compete. The 47th Annual Sandcastle Day is scheduled for June 18th on the beach. The event is free for spectators. Entry fees range from $5 to $25 with proceeds benefiting the Cannon Beach Chamber of Commerce. You can register to compete in the event at www.cannonbeach.org/chamber/events For more information, call Cannon Beach Chamber of Commerce at 503-

A watercolor painting by Jeffrey Hull, who—along with the Jeffrey Hull Gallery—will participate in this year’s Plein Air and More event.

Cannon Beach, with its miles of sandy shoreline, rocky cliffs and sloping sand dunes, is the perfect setting for artists to paint outdoors. Hence, the Cannon Beach Gallery Group’s annual Cannon Beach Plein Air and More event, scheduled for June 24 through June 26. (Derived from the French expression “en plein air,” which means “in the open air,” plein air refers to painting outside.) This year’s event will feature more than two dozen artists represented by local galleries creating works of art ranging from painting to photography on location throughout the city and on the beach. Individual galleries will display the finished works and host receptions for the artists. The public is free to sit and watch the process and ask questions. To learn more, visit www.cbgallerygroup.com

CANNON BEACH COTTAGE TOUR TO OFFER GLIMPSE INTO VINTAGE LIVING If you’ve ever passed by any of dozens of vintage beach cottages in Cannon Beach and wondered how it would feel to be on the inside looking out, you’ll get your chance on Sept. 10. That day, the Cannon Beach Historical Society will host its annual Cottage Tour, featuring about 10 cottages, luxury homes and lodging facilities. Many of the city’s cottages, which hearken back to the 1920s, 1930s and 1940s, have been

This watercolor painting by Sally Lackaff was used to illustrate promotional materials for the 2010 Cannon Beach Cottage Tour. Image courtesy of the Cannon Beach Historical Society.

PILLOW TALK

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Look for locally handcrafted items, such as this Ginger Tea Cake by Astoria’s Blue Scorcher bakery, at the Cannon Beach Farmers Market.

photo by George Vetter

Going to the Coast is more then a day trip, extend your trip for a weekend, or a whole week. Before leaving town you should reserve your place to stay. Cannon Beach has many outstanding accommodations from simple motel rooms, to ocean front resorts, to expansive executive homes. Call the friendly staff at the Chamber of Commerce 503-436-2623, who will guide you to the best place for you.

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photo by Tim Sugden

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CELEBRATE 200 YEARS OF ASTORIA

ASTORIA SUNDAY MARKET INTRODUCES SCAVENGER’S FEAST The oldest settlement west of the Rockies turned 200 years old this year. To celebrate their city’s bicentennial, the community will hold a series of events throughout the summer, including the annual Astoria Scandinavian Midsummer Festival (June 17-June 19), the Astoria Music Festival (June 17-June 26), First Annual Astoria Open Studio Tour (July 30-July 31), Astoria Regatta (Aug. 10-Aug. 14), Astoria Bicentennial Ball (Aug. 13) and a performance by country western legend, Reba McEntire, at Camp Rilea Armed Forces Training Facility. The festivities will culminate with a Super Homecoming, Sept. 14 through Sept. 18, featuring an Astoria Air Show, Fur Trade Encampment historic re-enactment, two performances by Judy Collins at the Liberty Theater and the last in the Adventures in History Lecture Series—a talk by author Jane Kirkpatrick.

For more information and the scheduled events, visit www.astoria200.org 76

FISHERMEN’S FESTIVAL Meet Captain Rick Quashnick and his wife Donna, who own the F/V Maverick, which appeared on Discovery Channel’s number one rated television series, Deadliest Catch. Watch demonstrations by the US Coast Guard, and professional fishermen. Learn how the American fisheries select, prepare and cook seafood. The Commercial Fishermen’s Festival occurs from September 17th to 18th at Tongue Point, east of Astoria.

The Astoria Sunday Market is celebrating its 10th anniversary with the introduction of the Scavenger’s Feast. Spearheaded by Chris Holen, head chef and owner of Astoria’s awardwinning Baked Alaska restaurant, the Scavenger’s Feast will send participants on a culinary quest through the market to retrieve ingredients for a meal to be prepared later under Holen’s guidance. The monthly Scavenger’s Feast will cost $45 per person with a portion of the proceeds benefiting the market. To make reservations for The Scavenger’s Feast, call 503-325-7414. The market’s 2011 season started on May 8 and will continue through Oct. 9. It is open 10am to 3pm Sundays on 12th Street. Visit www.astoriasundaymarket.com for more information.

OKTOBERFEST ON THE OREGON COAST

Astoria’s burgeoning beer culture will take center stage during the Pacific Northwest Brew Cup, scheduled for Sept. 23 through Sept. 25 this year. Founded in 2002, the Oktoberfeststyle, family-friendly festival offers kids activities, food, vendors, games, live music, and plenty of beer. In fact, this year more than 30 northwest beers will be on tap during the event, which is held in Astoria’s downtown plaza. Saturday night’s live music will feature the Portland based modern rock-and-roll band, Broken Soviet, performing their

own original songs such as: Underway, I Believe, Madison Square, and more. www.brokensoviet.com

WARM AND FRIENDLY

Fresh flowers are among the offerings at the decade-old Astoria Sunday Market. Photo by Dinah Urell

Stepping into Drina Daisy (915 Commercial St) is like stepping into your grandmothers kitchen—if your grandmother was Bosnian. Fordinka, the owner-chef greets you with a warm welcome as if you were a long lost family member. She proudly serves big portions of old-world comfort food based on a mix of Mediterranean and Eastern European cuisines. If you love coffee, you’ve got to try their Turkish coffee. When you leave Drina Daisy, you’ll leave with a warm feeling of being full and happy. www.drinadaisy.com


IRON TRIBE Iron Tribe story continued from p. 59

The Recovery Network

What do you mean by making “living amends?” Many ex-cons cannot go back to make amends to people we disappointed, hurt or robbed. Instead of going back, we give back by doing it differently with each new person and situation we meet. In Iron Tribe, to make living amends is to give back by moving forward. What is your stance on education? We advocate for higher education. The GED is not enough. Twenty-seven of our members are in college. Oregon prisons used to offer two years of college, until the Reagan era. Research shows a direct correlation of low recidivism rates for ex-cons with college education and high recidivism without it. To save taxpayer dollars, we must again give inmates higher education!

encourage cooperation and partnership between many good souls working to make Portland a safer, healthier and stronger community. It was a great day, and Commissioner Nick Fish and Senator Chip Shields came out to support.

What kind of response did you get? Over a thousand people came out and a couple radio stations covered it. We showed the city there is a new way of life possible for ex-cons in Portland. We pulled it off, broke even, and best of all, we pulled the first brick out of the wall of stigma against ex-cons. We are human beings making a positive difference.

What is the biggest obstacle to your mission?

No, but I’m training for the job I really want. A paralegal’s duty is critical to helping criminals understand their legal rights. My passion is recovery for more people, and fully establishing Iron Tribe is my priority. I am getting Iron Tribe ready to apply for non-profit status.

Funding. As Executive Director, I do the fund-raising, manage the finances of the Tribe houses, the partner networking, legal consultation, and share leading Tribe meetings with Shawn and others. I used to oversee the remodeling of the houses. Our only revenue stream is from Tribe houses. We pay our bills, but any extra funds go to making more rooms in new houses ready for members who need them.

What are you doing to de-stigmatize recovering excons at the societal level?

Is the fact that you are ex-cons a problem in finding support?

Last July, Iron Tribe gathered forty resource agencies in Pioneer Square that offer resources and services to support people in need. The whole Tribe hosted the first-of-its-kind City of Roses Resource Festival and celebrated our new place among these organizations, many of which did not know of each other and had not worked together. Our purpose was to help them become aware of and celebrate what one another does, and to

The stigma against ex-cons is one of our biggest challenges. It is one of the most isolating and fierce stigmas in society. Walls are up everywhere. Daily, we build trust that ex-cons in recovery are changing and giving back. But it takes time, experience and supportive Community Partners to meet this challenge. It’s a direct benefit to Portland that Iron Tribe’s 100 ex-con members are not doing crime. We aren’t hurt-

Did you ever finish college?

ing families or the community. We are clean and sober, going to school, getting jobs, paying taxes and giving back to the city.

Bear, you were a leader, good student, and great tennis player with some support along the way—help us understand—what drew you back to drugs and crime? There is an easy acceptance of people in the criminal and drug worlds. It’s even expected that to sustain your addiction you must do crime. This “circle of infirmity” around addiction and criminality does nothing positive for your sense of self.

What happened to your sense of self when drawn back in? Each time, I knew I was leaving my best self behind. I felt I didn’t deserve to do or be treated well. The circle of infirmity felt more accepting than the one where I must be my better self. It’s a twisted community that draws you away from others by having no expectations, no “good” to live to. Think about it, drugs, alcohol and crime are in all their lives. And they’re still acceptable!

Can you say more what that experience feels like? The depths of tragedy and empty caverns of loss accompanying addiction seek expansive escapism. The world of crime and addiction offers a tragic repose from reality. This circle of desperation, anger and numbness from emotional pain morphs into a prison all its own, and results in separation from your spiritual self. Allowing the ego to run rampant blinds many of my people. This happened to me. A calloused skin covers the spirit and spoils the fruit of our lives, which we were meant to share. Losing your self doesn’t happen overnight, it

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sets in over time. The conditioning of this process kept me stuck much of my life. Today, I am in the process of de-conditioning, which also doesn’t happen overnight.

Before we conclude, can we take a look at your claim that criminality is an addiction? Yes. I am doing research on this. Over my years in prison, I’ve gathered evidence by listening and talking with many people about crime. Even talking about it—with no drugs or alcohol involved—creates a physiological response. For me what would happen is my stomach would churn; I’d get hot sweats and feel very excited. Crime talk creates a need to talk about it more, plan it more, and anticipate doing crime again. The addictive high is experienced through countless conversations in prisons. Criminality often follows other addictions, but is worse because it is a “process addiction.”

Define “process addiction.” How is it different from other addictions?

Tell us a little more about your research. I put in two years of research since my release from OSP in 2008. I worked with a team of psychologists at Portland State and with AA and other recovery agencies’ materials and studied many addictions.

So, why is it important to define chronic criminality as a process addiction? Seeing criminality as addiction is helpful to ex-cons. A process addiction must be addressed separately for hope of recovery.

Finally, what are some short-term goals you have, for yourself and with Iron Tribe? I’d love to be a voice in the social arena to effect change—to be a voice for Iron Tribe, for prisoners and people that suffer, to give them hope. I want to bring awareness that ex-cons in recovery are human beings who are giving back. And I hope to have rolled out a new recovery program if Iron Tribe is an established non-profit by then.

What are some of your joys? My joy is seeing people recover. But all “little successes” are joys to celebrate. We advocate for recovering excons to get their kids back. It’s a great day when this happens. Any little success calls for celebration. We have lots of fun times—Easter egg hunts, barbecues, camping at Beverly Beach—times that build community. We call it “wide and deep” living to replace our “narrow and short” past lives. We invest in the joys of community, and laughter and fun play a big part in Iron Tribe.

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SPECIAL THANKS Harold “Bear” Cubbedge would like to offer additional recognition to the following: The Iron Tribe Council: JJ Loyer, Heidi Hill, Jason Head, John LaFrance, Kevin Dove, Sean Bauer; all of the Iron Tribe Managers: Brandi Peterson, Edwin Howard, John LaFrance, Melissa Osoling, Jonathan Beaudoin-Bates, Tammy Olsen (Assistant Manager, and my better half!); my Executive Assistant, Jonathan McKinney; all the Chieftains for all their work in organizing events; all of the Tribal members, family members, community members and supporters; Kevin R. Minkoss (Tribe accountant); Michael Fox who helped with employment for the Tribe in film and television; all those who have helped with real estate and property: the owners of the Iron Tribe houses Audrey Buckland and Gaylord Vermaas, Greg Lambert (who owns the Tribe house on 190th), Charlie Braymen (Tribe Realtor), Lisa Reed (of John L. Scott Realtors), April Stewart, Dinh Chung Le, Zach and Kim Kennebeck, everyone that helped with the remodeling of the Tribal houses; Dr Phil Shapiro, M.D. who teaches on The Healing Power and gives his time to run groups; Harry and Kate Olsen of Phoenix Rising Transitions for being there during the early stages of the Tribe; Dave Bacon, one of our first members. All of these have been most supportive and have had the courage, confidence and faith in our mission. I cannot thank them enough! They are helping us get our story out there.

For an extended version of the interview, go to: irontribenetwork.org Iron Tribe

PO Box 90384TRIBE IRON Portland, OR 97290

The Recovery Network info@irontribenetwork.org

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Three types of addictions exist: problem, compulsive, and process (or pathological). The problem addict’s behavior solves a problem. The compulsive addict has chronic need of the high in her success (as in shop-lifting). The process addict gets high during the whole process of anticipation, planning and execution of behavior (crime), whether or not it succeeds.

Criminality is not formally recognized as an addiction— yet. But I make a case that the experience of criminal process addiction is symptomatically similar to another process addiction. The psychologists all agreed with me that there is an addictive aspect to criminality in itself.


photo by Tim Sugden


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About Face Magazine - Issue 02