First, you can go to New Orleans right now and have a good time, at least in the popular tourist areas, which look like nothing ever happened. But if you drive a little way from those restored areas, it's a different story. There are blocks and blocks of abandoned single-story houses and there are shopping areas that look fine, except a lot are not open. These buildings are in the areas that were flooded and stayed submerged.

If you spend any time working with specifiers, end-users, designers and contractors who are involved with EIFS, you’ll find out right away that the environmental friendliness (“eco-friendliness”) of EIFS is a hot topic.

EIFS is like any other building material in the sense that it is well-suited for some uses and not for others. This column is a compilation of my thoughts about where EIFS works well and where it does not, including some unusual specialty uses.

The variable refrigerant flow is starting to gain popularity in the U.S.

Do embodied energies deserve greater attention now that buildings are becoming “greener”?

MarinoWARE has released its new website. The new website includes updated design and content, enhanced tools, an organized resource library and new industry pro pages.

On Oct. 17, American Industrial Partners announced its definitive agreement to acquire PPG’s U.S. and Canadian architectural coatings business, which generated $2 billion in 2023 revenue.

The two organisations employ a total of more than 450 people

The funds will go to support the organisations’ work in tackling food poverty

The findings come from Third Sector’s inaugural Charity Employer Index

Resolution Engineering Inc., Hudson, Wis.,is a provider of RF/wireless and embedded systems design services, while sister company Resolution Products produces a wide range of common use and wireless security devices. Until recently, “green” qualities weren’t on the radar for these types of products, so today, Resolution Engineering is thrilled to see increased attention focused on sustainability. The company’s products, services and operations have incorporated sustainable attributes for years. John Bergman, one of the founders of the company, is the driving force behind the company’s sustainable practices. 

World Wide Security, Garden City, N.Y., launched its “Go Green!” program promoting energy conservation to its customers. As energy prices rise throughout the United States, the Long Island region is often impacted more dramatically because it is an island with logistics and energy challenges.

Sensitive to environmental considerations in the security and video surveillance industry, Panasonic System Networks Company of America, Secaucus, N.J., is taking leadership by offering products manufactured in energy-efficient facilities, using fewer hazardous materials and emitting less CO2, and which also consume less power than previous Panasonic comparable models.

For Metis Secure Solutions, Oakmont, Pa., and many other security-related companies, green trends provide opportunity.

K9s United is a dedicated non-profit organization that focuses on providing essential training, equipment and resources to support law enforcement canines.

Washington — A Federal Highway Administration final rule includes updates intended to improve safety and mobility for workers and drivers in roadway work zones.

CBC Flooring’s Indelval Rubber Flooring is recognized globally for its exceptional quality and environmental benefits, due to its high natural rubber content and proprietary high pressure vulcanization process.

The Designer Series from Royal Sealers is the industry's first sealer with Micro Crystals. This premium impregnating sealer is embedded with eye-catching, multi-faceted light reflecting Micro Crystals that enhance the appearance of any surface, adding dimension and character.

A non-sag polymer fortified adhesive mortar that mixes with just water and provides an ultra white color that is ideal for installations of translucent tile and stone.

Strategis has outdone itself again with their all new PICASSO Artwood program, a product unlike any other hardwood you have ever seen.

Painstakingly designed to emulate the weathered hardwood planks found in some of America’s most unique architectural destinations, Boardwalk features fully rectified tiles in a full 48” length.

Cooperativa Ceramica d’Imola, North America introduces five new programs under the Imola Ceramica brand known for Italian design and artistry, and spanning multiple segments and formats.

Rock, a colorful new quartzite recreation in glazed porcelain, uses HD Technology for a natural effect.

FreeAxez is an all-steel, quick-connect, low-profile access floor that provides unparalleled capacity and flexibility for the modern office and high technology environment, saving life cycle costs and improving workplace efficiency.

From ancient royalty to modern fashion, pearls have held sway as the most desired and elegant adornment. Their classic beauty was the primary influence of the String of Pearls Collection. 

Viridian Reclaimed Wood introduces a new line of engineered reclaimed hardwood flooring in four different species, according to Viridian co-owner Joe Mitchoff.

Needle Tech, a four-pattern collection from Tandus Flooring, has won the Best of Year Award for Broadloom Carpet in Interior Design’s 2012 Product Competition.

Kindly post currently available links here!

For the first time, CRI awarded the Joseph J.Smrekar Memorial Award to three recipients: John Bradshaw of Shaw Industries Group, Inc., Ashley Young of Mohawk Industries, Inc., and Shawn McGill of Engineered Floors.

For the first time, manufacturers submitting their latest innovations for the must-see product showcase will simultaneously be considered for the Best of Awards, effectively doubling their products' exposure opportunities.

The Carpet and Rug Institute's (CRI) annual meeting in Dalton, Georgia, highlighted an industry balancing success with new challenges, from global growth to mounting regulations.

Electrolit's planned 600,000-sq.-ft. greenfield project is slated to open in early 2026.

From their founding, Historically Black Colleges and Universities (HBCUs) educated as many as 90 percent of Black college students in the United States. Although many are aware of the significance of HBCUs for expanding Black Americans’ educational opportunities, much less attention has been paid to the vital role that they have played in enhancing American democracy. Drawing on six years of mixed-method research that informs The Power of Black Excellence: HBCUs and the Fight for American Democracy, this book talk considers the history of HBCUs and the unique role they have played in shaping American political development since 1837. Moreover, it considers the lessons that HBCUs offer the broader higher educational landscape as we consider the essential role that colleges and universities can play in helping to promote democracy.Deondra Rose is the Kevin D. Gorter Associate Professor at the Sanford School of Public Policy at Duke University, with secondary appointments in the Department of Political Science and the Department of History. Her research focuses on U.S. higher education policy, political behavior, American political development, and the politics of inequality, particularly in relation to gender, race, and socioeconomic status. In addition to her newest book, The Power of Black Excellence: HBCUs and the Fight for American Democracy, Rose is also the author of Citizens by Degree: Higher Education Policy and the Changing Gender Dynamics of American Citizenship, which examines the development of landmark U.S. higher education policies and their impact on the progress that women have made since the mid-twentieth century. A summa cum laude, Phi Beta Kappa graduate of the University of Georgia, Rose received her M.A. and Ph.D. in Government from Cornell University, with a specialization in American politics and public policy.

PBOT leaders say they’ve already addressed many of the auditor’s recommendations. They also say the scale of Portland’s traffic violence crisis is too big for just one bureau to address. by Taylor Griggs

The Portland Bureau of Transportation (PBOT) adopted its Vision Zero Action Plan in December 2016, with the goal of eliminating traffic crash deaths and injuries in the city. But in recent years, Portland has seen its highest numbers of traffic injuries and fatalities in decades. Pedestrians have faced a heightened risk of traffic violence in recent years, and parts of Portland with higher low-income populations and communities of color are also disproportionately impacted. 

The daylight between PBOT’s stated Vision Zero goals and the increase in recent traffic crash deaths prompted scrutiny from the Portland Auditor’s Office. A new report from the Auditor’s Office, released Wednesday, says PBOT “partially completed” safety projects identified in its Vision Zero plan, but notes the bureau doesn’t adequately evaluate the outcomes of the safety projects it completes. 

The Auditor’s Office recommends PBOT create a plan to evaluate its projects “to determine which get the desired outcomes and where Vision Zero efforts are most needed.” The office also asks the bureau to install promised speed cameras to help with traffic safety enforcement and recommends PBOT “revisit its equity methodology to ensure it accounts for smaller scale improvements that could have positive equity impacts.” 

“These efforts to collect data, analyze, evaluate, and carefully track which safety projects have the most desired outcomes could help move toward Vision Zero’s goal of zero fatal and serious injury traffic crashes,” the audit report states. 

The audit report highlights concerns about the Vision Zero program that many transportation and safe streets activists have raised for years—though the Auditor’s Office didn’t issue as harsh an indictment of PBOT as some critics may want. Earlier this year, when PBOT leaders presented their 2023 Vision Zero report to City Council, some Portland advocates didn’t mince words about their thoughts on the city’s implementation of the program. 

“There is no question that Portland's Vision Zero Program has been an abject failure,” Sarah Risser, a local transportation safety activist, wrote in public testimony to City Council in April. “Given its abysmal track record, it is reasonable to conclude that it will continue to be a failure.”

The Portland Auditor’s Office didn’t mark PBOT’s Vision Zero plan as a failure in its report, and PBOT leaders ultimately agreed with its recommendations, some of which the bureau says it has already implemented on its own. 

PBOT, too, acknowledges that larger structural changes are needed to save lives on the streets. Bureau leaders say they will continue working on their Vision Zero plans, but they hope the city government transition will break down silos and encourage more involvement in solving the problem of traffic violence on Portland’s streets. 

Auditor’s Office Suggests More Evaluation, Qualitative Data Collection Methods 

The year PBOT adopted the Vision Zero plan, 42 people died in traffic crashes on Portland’s streets. In 2019, when the bureau updated the plan to emphasize transportation system safety and focus more on actions within PBOT’s control, 48 people were the victims of traffic violence. In the last three years, more than 60 people have died in traffic crashes in Portland each year, with 69 fatalities in 2023. 

When PBOT leaders presented the 2023 Vision Zero report to City Council earlier this year, they acknowledged the rise in traffic fatalities since the program was adopted. But they said the program is successful in areas PBOT has been able to invest in, and said the bureau’s budget woes have curtailed its progress. The audit report suggests PBOT could get more out of the projects it does complete by improving its evaluation processes, which have historically been lacking. 

“Without systemic evaluation of safety outcomes, the Bureau is missing the opportunity to create more alignment between the work they do on safety projects and the overall goal of Vision Zero,” the report states. “A more systematic approach would allow trends to be identified and analyzed to better understand the outcomes of completed projects, and which may need to be altered or dropped. As traffic deaths continue to increase it is vital that the Bureau consistently evaluate completed safety projects so they can see which are working best at shifting the trend towards the intended goal of zero traffic deaths and serious injuries.” 

The second major recommendation the audit report suggests is that PBOT “do more to enforce speed limits” by following through on its promise to install more speed cameras throughout the city. Despite research showing the effectiveness of enforcement cameras as a way to reduce speeds and increase traffic safety—without involving the police—PBOT has been slow to install them. The bureau has blamed its camera vendor for the lag in speed camera implementation, but says it now has 37 cameras in operation or construction, and current contracted cameras will be online early next year. (By March 2023, PBOT had only installed nine cameras in the prior eight years.) 

The report also states despite PBOT’s attempt to prioritize and fund safety projects equitably—based on both crash data and neighborhood demographics—it may be missing “smaller safety projects with possible equitable outcomes” if they aren’t located on high-crash corridors. The Auditor’s Office recommends PBOT use more qualitative data to determine the projects it carries out. 

In response to the auditor’s recommendations, Public Works Service Area Deputy City Administrator Priya Dhanapal and PBOT Director Millicent Williams said while they “largely agree with the recommendations in the audit,” it’s a bit outdated. Last year, PBOT issued a Vision Zero Action Plan update for 2024 and 2025, which addresses many of the issues outlined in the audit report. 

“Our current Vision Zero Action Plan includes priorities directly tied to evaluation, delivery of the camera program and speed management as well as equity objectives,” Dhanapal and Williams wrote. “The audit was conducted on work and commitments outlined 3-5 years ago and work that took place during the peak of the COVID-19 pandemic.” 

Dhanapal and Williams also said PBOT needs help from other city bureaus to solve the crisis of traffic violence. 

“Eliminating traffic deaths and serious injuries in Portland is possible [and] PBOT can lead the way,” Dhanapal and Williams wrote in a letter responding to the auditor’s report. “However, Portland will not reach Vision Zero with street design alone…. A societal commitment to meet basic human needs and implement strategies to change current conditions are necessary to reach many of our shared goals, including Vision Zero. These changes require leadership, investment, and commitment from partners beyond PBOT.”

PBOT leaders say they hope that collaboration and commitment will be easier due to the upcoming changes in Portland’s government. 

“Eliminating traffic deaths and serious injuries is a City commitment and goal, but as a City we have focused the discussion on what PBOT does to change streets,” Dhanapal and Williams wrote. “We believe the City transition provides an opportunity to reengage City bureaus in Portland’s Vision Zero commitment and integrate the Safe System approach to traffic safety as a comprehensive prevention strategy to save lives.” 

After 20 years, Oregon's largest anime convention is still volunteer-led and bursting with enthusiastic energy. by Corbin Smith

More than twelve thousand fans descended on Portland last weekend to celebrate 20 years of Kumoricon, Oregon’s largest convention for appreciators of anime and the content world that surrounds it.

From Friday through Sunday attendees competed in video game tournaments, stood in as chess pieces in human-sized games, browsed the works of hundreds of artists and vendors in a massive market, and even waited in line to meet the person who voiced Shamir in Fire Emblem: Three Houses. But primarily, they wore cosplay, looked at cosplay, repaired cosplay, and plotted future cosplays. 

Compared to other conventions, like a big sports trading card convention I attended earlier this year, Kumoricon carries a softer, cheerier vibe. The fest is still proudly volunteer-run, despite its longevity and steady growth. While that trading card event was driven by the thrill of the exchange—the dream of something exploding in value—Kumoricon seems driven by the thrill of giving and receiving cosplay costume compliments.

You see the exchange often: cosplayers stopping others to say, “I love that, amazing job.” The complimented might mention something about the character or the other person's costume. It’s quick; everyone keeps walking on, but with a new little miniature bond sitting in their back pocket—forged from a pop culture connection and some light kindness. It’s all very earnest, and enthusiastic; a gentler world for gentler people. 

We photographed some cosplayers in attendance, and they told us why they attend conventions and a little about what goes into their costuming.

Jay is dressed as an original character, a Chinese moon moth named Uei. photo corbin smith

Jay showed off a cosplay of an original character—a Chinese moon moth named Uei—saying, "moon moths are from Asia and southwest China, so I tried to base her on an ancient Hanfu style. I bought a traditional Hanfu skirt from a reputable source called NewMoonDance. I’ve been cosplaying for fifteen years, and I’ve never been able to make anything that is my own. I made the top, handmade the wings, and painted them myself."

“Being in a con space when I was 13 was very supportive," Jay continued. "Everybody was always hyping each other up; there were silly little dances everywhere. It’s where I met my current fiancee, and all of my long standing friends. Cons were where you found your people."

Wesley as Lelouch from Code Geass. photo by corbin smith

Dressed as Lelouch Lamperouge from anime show Code Geass, Wesley expressed a love for Lamperouge's character arc—"going from a morally gray character, to pure evil, but for the good of good things. He’s just interesting. And also, I love big cape." Asked about the cape, Wesley clarified, "I love how it gets caught on things."

Hannah as Theodore from the rodent-led pop band 'Alvin and the Chipmunks.' Photo by corbin smith

Hannah's choice to dress as Theodore—of the virtual band Alvin and the Chipmunks—was based on the character being "fun and silly… we just munk around.” The costume's large black contacts are from Uniqso. "These are actually the mini-sclera, I’m afraid of the big normal sclera that covers your entire eye... I’ve seen them get stuck, so you can’t get your nail under there to pull them out."

Bonnie dressed as Anya from the indie horror game ‘Mouthwashing.’ photo by corbin smith Niko Suits dressed as Xie lian from 'Heaven’s Official Blessing.' photo by corbin smith

Niko Suits competes at the Master level of cosplay competition because they are actually a professional costumer, working in theater. "Pretty much anything—opera, ballet,” they explained. "If you’ve been [to a local show] in the last three years,  I’ve probably worked on it.”

Suits' mother encouraged them to take up sewing when they were young. “I have ADHD, so my mom was like, 'You need to have a hobby that is cheap and can keep you kind of quiet and sat for a bit," they recalled. "When I was 10, I was looking up Fullmetal Alchemist, and I found the cosplayer Reika—she’s kind of The Cosplayer. I found her, and I was like ‘YOU CAN DRESS UP LIKE THEM?' and it went from there.”

Tyler as Wirt from 'Over the Garden Wall.' photo by corbin smith

Tyler busked, tooting out videos game melodies and other popular tunes on a wireless electronic wind instrument, for all three days of the con. The activity worked well with cosplaying Wirt from Cartoon Network's Over the Garden Wall, who plays clarinet on the show. "I’m pleasantly surprised by how kind people have been," Tyler said. "I’ve been to Kumoricon the last five years, and I always see musicians out here play. So I finally decided to do it, and I’m glad I did. I’ve made over two hundred dollars so far."

April as Pumpkin Gal from 'Over the Garden Wall.' Photo by corbin Smith

The pumpkin head on April's costume—Pumpkin Gal from Over the Garden Wall—was much lighter than it looked, as it was crafted with an expanding foam, instead of papier-mché. April explained: “It's got a hard hat to hold it all together, cardboard on the inside to make the frame, and you just cover all the holes, spray it on, shave it, and boom."

Elee as Gyokuyō from 'The Apothecary Diaries.' Photo by Corbin Smith

“I actually learned to sew before I got into cosplay," Elee recalled. "My friends were like: Hey, you wanna come to this con, you wanna dress like silly little guys? And I was like, heck yes! It’s so fun to plan your outfits, spend all this time making your cosplay, and making everything for your outfit. Everyone is very excited to see what character you chose, and you have a fun time seeing what everyone else dressed up as—it’s just a very fun and positive experience."

Adrian as Isabelle from 'Animal Crossing.' Photo by corbin smith

Goblin as Maomao, also from 'The Apothecary Diaries.' Photo by Corbin Smith

Goblin is part of a cosplay collective called Too Broke for Cosplay, with fellow crafters Elee and Adrian, and credits Elee with teaching them to sew. At first, Goblin just did "tasks [Elee] didn’t like, like seam-ripping." Now they're working with furniture or upholstery fabrics on a heavy-duty Singer sewing machine. "When I hand make stuff, it lasts WAY longer than stuff I would buy online," they said. "There’s stuff I bought online that dies within one use and it cost $50-$70 dollars. This is my fourth time wearing this costume; I’ve only added to it, and it’s stayed as good."

You know the tune... sing along! by Ricky Pee Pee Ricky Pee Pee (@rickypeepee_official)

 

Four examples of music that take a decidedly
different spin on the holidays. by Corbin Smith

Over the years, the recording industry has managed to create Christmas music for every mood. Thousands of sad piano takes on "The Christmas Song" (Chestnuts Roasting Over an Open Fire), the pure pop joy of Mariah Carey belting out “All I want for Christmas is you,” the simple, light brain damage you get from a loud, irritating version of “Sleigh Ride.” But what about when you are in a VERY particular mood? When the season has transported you into one of life’s bizarre gutters, left you in such a particular place where you need a very particular sort of Christmas music to haul you out of it? For you, for this, I offer this guide to Christmas music for truly any mood. 

••••

For when you and your fellow teenage orphans—residents of a foster home owned by kindly old women in deep with the bank— just pulled off the Christmas Eve heist of the century to pay her mortgage and are tipping back a big ol’ glass of hot cider while looking over Portland: Bob Dylan, Christmas in the Heart

A few years back, Bob Dylan, our truest and most loving uncle, made a Christmas album. Surface analysis: it’s weird he did that. Deeper analysis: it’s not actually weird, because Bob admires folk music and the Great American Songbook, and Christmas music is a canon built from both. Even deeper analysis: it’s still pretty weird, because it’s weird to listen to Bob Dylan unleashing his signature late career Warm Croak on Christmas songs you’ve been inundated with your entire life.

But when you get past the sheer novelty of King Gravel intoning “Have Yourself a Merry Little Christmas,” a song made famous by Judy Garland, you remember that, oh yeah, Bob Dylan is one of history’s greatest musicians, and offers a wealth of feeling, warmth and energy—even (especially) when he’s pursuing a strange muse. His “Must Be Santa,” anchored by a loud accordion and augmented by a rechristening of the reindeer as post-war presidents, is pure jalopy shit—a sound of the Christmas gathering flying apart at the seams as candy-ridden children roam through the hallway and shove each other into toilets. “I’ll Be Home for Christmas,” is a standard ‘50s pop music take, lifted into something transcendent by Bob’s presence behind the microphone. “Winter Wonderland” and “Christmas Island” presents an alternate world Dylan, one more into vibing and tipping back, as opposed to an artist with an endless appetite for work and startling discipline.

The best song on here is Bob’s version of “Do You Hear What I Hear.” He is, after all, an old wise man now, wandering through deserts, handing out gifts. His intonation on “A child, a child/Sleeping in the night/He will bring us goodness and light,” is struck through with a warmth and sincerity that you don’t associate with Trickster Bob. Is it a performance of awe, trying to capture a world that still had some sense of the divine? Is it a true wonder in the potential of the child, a hope for the future? Is it just a straightforward exaltation of Christ himself? You can never really know with Bob, of course, but it stirs.

••••

Courtesy Hallmark

For when your company—an international logistics concern—sent you on a last minute overseas business trip over Christmas, and you stroll the streets alone and alienated on Christmas Eve, until you walk into a fancy cocktail bar and lock eyes with another disaffected expat at the bar: Duke Ellington, The Nutcracker Suite

Did you know that Duke isn’t his real name? You see, when Duke Ellington was a child, everyone who lived in his neighborhood thought he seemed like minor royalty, and just started calling him Duke as a result. That was how smooth this man was, folks. But it would not have meant much if the Duke was not also a world historic musical genius. A bandleader, composer, a thinker, whose work brought a formal precision and imagination to jazz that changed the enterprise forever, transmuting it from an outgrowth of blues into the great American musical form.

One of the ways that Duke built this new form was taking forays into classical music, breaking apart or injecting the classical canon with improvisation and swing time, or likewise, taking the forms of classical music and overlaying them with original compositions informed by his lifetime as an orchestra leader working in a jazz idiom. In Duke’s hands, genre distinctions, of dance music or concert music, become wobbly, fall off the boat, drown in the ocean of his genius, and are reborn into an object of pure American greatness. 

In 1960, Duke, riding a popular revival as newfangled bebop artists codified his importance in their own development, worked with Billy Strayhorn—his longtime arranging partner—to break apart Tchaikovsky’s Nutcracker suite, perhaps the most famous piece of dance music ever composed, and reforge it into this album, which takes Pytor’s famous melodies and remakes them into nine swing numbers. 

“The Dance of The Sugar Plum Fairy,” all ethereal glockenspiels in the ballet, becomes “Sugar Rum Cherry,” a terribly horny reforging that asks a question that would not occur to you otherwise: What if I kind of want to fuck the Sugar Plum Fairy? “The Nutcracker March” is now “Peanut Brittle Brigade,” a New Orleans parade of nutcracker men. “Chinoiserie,” the Duke’s version of “The Chinese Dance,” loosens up the source material to the point where it sounds like something someone might actually dance to as opposed to the Tchaikovsky original, bloodless to the point of making its subject seem alien.

••••

Courtesy Sony Legacy

For when you’re driving home from your family’s yearly Christmas gathering—which was good, for the most part, but your Aunt Shelly got WAY too blitzed on eggnog and hot toddies and vomm’d in the backyard: Wynton Marsalis, Crescent City Christmas Card

There’s a lot to know about Wynton Marsalis, the trumpeter, band leader, and academic, who has long represented a kind of traditionalist approach to jazz performance and composition that can maybe seem a little square. And while I personally don’t know a lot about Marsalis, I do know about this album, a suite of Christmas standards he released in 1989. A lot of it is fairly standard jazz takes on Christmas classics: a trumpet playing a slightly off-kilter rendition of “Winter Wonderland,” a brassy vocal take on “Sleigh Ride,” “Carol of the Bells” with the forward momentum of the death chant replaced by laconic swing music jamming, and “Jingle Bells,” with a li’l woodblock that brings horse evocations to the party. 

But some of it is insane—insane in a way that makes you wonder what Wynton is trying to get out. Take this album’s version of “Silent Night”: a standard female vocal, trilling and ethereal, but set to a backdrop of woozy, uncertain horns, that give the thing a vaguely creepy vibe. What does it mean to set a hymn of the infant Christ in front of trumpets that suggest a danger lurking on the horizon? Is it an evocation of Herod’s men in the field, looking for the child so he may butcher any competition for his spot at the top of Israel’s local government? Is it broadcasting uncertainty about the future of this child’s life, over the fanaticism he would come to embrace, the horror of his violent death? Is it a way of juxtaposing the sentimental story of Jesus’ birth with the world of unease and terror that would form in his wake? 

Why would someone make a version of “Little Drummer Boy” that seems to intentionally bury the drums in the mix? Trumpeter’s jealousy? What does a laid back swing version of “We Three Kings” mean? That the kings were cool? Were they cool? I have never thought about it, really. By insisting that he press as much jazz shit as possible into these standards, Wynton runs up against the idea of these things as content about Christmas and into the idea of them as forms.

••••

Courtesy CD Baby

For when she took the kids home after their mandatory Christmas Eve visit and you have wandered out into the cold night, purchased a six pack of Rolling Rock and a bottle of Mad Dog, and—two brewskies and five sips of fortified in—you plop down in the arched, gothic-style doorway of a neighborhood church, and just sit there, sipping and watching the rain come in, wondering when and how it all went so wrong: Benjamin Britten, Ceremony of Carols

20th Century British Composer Benjamin Britten was a sad man who made beautiful music. Ceremony of Carols is a song cycle for boys choir and solo harp, written on a boat coming back to England during the middle of World War II, when U-Boats were scouring the ocean, looking to send boats full of British guys plunging into the icy ocean. It takes a bunch of old Christmas and Baby Jesus related poems in various languages, sets them to music, and goes at it hard as hell. It’s beautiful, it’s faintly sad, it’s everything you need for a Christmas where the disappointments of the year fight against the idea of a wee babe, born in a barn, bringing hope into the world. NOT FOR LIGHT LISTENING, but essential for any soul slipping into darkness. 

The best traditional events—and how they can be improved.
You’re welcome. by Wm. Steven Humphrey

When it comes to holiday traditions, Portland is horny as all get-out.

We love cramming as much festivity into our festivities as possible—regardless of how tiresome or long-in-the-tooth those annual events have become. What follows is a critical examination of Portland’s most time-honored holiday events, and my recommendations on how they can be improved. (Don’t remember asking me for my opinion? Trust me, it’s never necessary… I have so many! In fact, when it comes to opinions, many people think I’m “full of it.” And there’s a lot more where those came from, so let’s read some now!)

PEACOCK LANE eliza sohn

Description: Peacock Lane is a four-block stretch in Southeast Portland between Stark and Belmont, where many of the home owners go to great lengths to cram every inch of their property with lights and other Jesus and Santa-themed ephemera. During the holiday season the street is jam-packed with thousands of looky-loos on foot and in cars.

The problem: I don’t get it. I mean, I get why the residents do it… you can tell they’ve worked their collective asses off constructing these front lawn art installations, and some (for example, the Grinch house) are goddamn masterpieces. But it’s like if the Portland Art Museum was suddenly filled with thousands of people—including their dogs, snot-nosed kids, and wildly inappropriate double strollers—half of whom are either stoned out of their gourds or 10 seconds away from a rage-fueled meltdown. In short, there are… Too. Many. People!

The solution: A zip line. It’s a well accepted fact that zip lines improve most situations. Sure, they’re useful for getting from one side of a canyon to another, or traversing a tree canopy in Guatemala, but they can be just as useful in an urban environment! Las Vegas is famous for having a zip line that goes from one end of the historic Fremont Street to the other, and it’s a FANTASTIC way to see the sights quickly, efficiently, and to let your vomit rain down upon spandex-wearing moms who did not get the memo that it’s FUCKING RUDE to bring their double strollers to a place where thousands of people are trying to walk. Also if you happen to be high—and SO MANY OF YOU ARE—riding a zip line is AH-MAY-ZING, and will stop you from blocking the sidewalk whenever you slip into an extended Christmas light-induced trance. Trust me, install a zip line over Peacock Lane, charge $15 a ride, and the city’s budget will be funded for lifetimes.

Peacock Lane, between SE Stark & Belmont, Dec 15-31, car-free nights Dec 15 & 16, 6 pm-11 pm, free, keep your fucking double strollers at home

WINTER WONDERLAND:
HOLIDAY LIGHTS AT PORTLAND INTERNATIONAL RACEWAY Sunshine division

Description: Roughly two miles of racetrack decorated with various illuminated and animated holiday figures, including reindeer, snowboarding Santas, dinosaurs, all 12 days of Christmas, a lone menorah, and much more.

The problem: Well, the most obvious problem is that you can’t race. You creep around the track behind a long line of vehicles at around 10 mph—but actually that’s kind of nice, because you seriously do not want to miss the animated dinosaurs. All in all, it’s great… it just needs a couple more levels of excitement, which leads me to….

The solution: First, you could pay teenagers to dress up like the Terminator, wrap them in holiday lights, and have them chase the cars on foot. (I doubt you’d even have to pay them.) OR you could do what I’ve done every season for the past 10 years, which is LET YOUR CHILDREN DRIVE THE CAR! The moment I pay admission and enter the track, I say, “Okay… who’s driving?” The first five minutes are taken up by backseat fistfights to see who gets to drive first. Once that’s decided, they hop behind the steering wheel. Obviously if their feet can’t reach the pedals, you should let them sit in your lap—but under NO CIRCUMSTANCES do you EVER touch the steering wheel… because where’s the fun in that? They have to learn to drive somehow, and if that means occasionally careening off the track and into one of the 10 lords a’leaping (for his life), then so be it. The best part? There’s not a cop in sight. That’s a true “winter wonderland!”

Portland International Raceway, 1940 N Victory Blvd, Nov 29-Dec 31, Mon-Thurs 5 pm-10 pm, Fri-Sun 4:30 pm-11 pm, $49 per carload

THE 33rd ANNUAL TUBA
CHRISTMAS CONCERT K. Marie

Description: More than 200 tubas take to Pioneer Square to play an array of oompah-rific Christmas songs.

The problem: There is not a single problem with this.

The solution: Look, hearing 200 tubas blaring “Sleigh Ride” across the city is hard to beat. But anything can be improved, right? For example, what if all these tubas were playing “Holly Jolly Christmas,” when suddenly, marching up Sixth Avenue were 200 people playing Christmas songs on what’s known as the tuba’s natural enemy… the saxophone? Ooooooh, tuba players HATE saxophonists, and for good reason. They tend to be morally repugnant individuals who throw their dog’s poop bags into your recycling bin, and regularly destroy any decent song with their ceaseless and unasked-for squawking (take David Bowie’s “Young Americans” for example). Anyway, the 200 saxophonists would call the 200 tubaists into the street for a “Christmas song smack-down” to settle once and for all which is the superior instrument. (We all know it’s the tuba, but there’s no convincing these detestable saxophoneys.) The winners would continue the Pioneer Square concert, as the losers marched to the Morrison Bridge to throw their instruments into the murky depths of the Willamette—never to play again! It’s called “raising the stakes”—and there’s simply not enough of that at Christmas time.

Tuba Christmas Concert, Pioneer Courthouse Square, Sat Dec 21, 1:30 pm, free

THE HOLIDAY EXPRESS Anthony keo / oregon rail heritage center

Description: The Holiday Express is a vintage (TOOT! TOOOOOOT!) 1912 Polson #2 steam locomotive that transports kids and families from the Oregon Rail Heritage Center—porn for train nerds—and along the Willamette River for roughly a couple miles until returning to its starting point. Each train car is heated and decorated in lights and holiday finery, and… at some point… Santa shows up!

The problem: Mmmmm… other than Santa showing up, it’s kinda boring? (Unless you’re a train nerd, but you’re going to be too busy asking endless, arcane locomotive questions to the conductor—whose soul will leave their body—to be concerned about Santa.)

The solution: Can we PLEASE get a gang of cowboys on horses to rob this muthafukkin’ TRAIN?? Bear with me, and picture it: The holiday train is chugga-chugga-choo-chooin’ and toot-toot-tootin’ down the track without a care in the world… UNTIL. 

Out of the Oaks Bottom wetlands come a gang of ruthless, horse-riding villains who gallop down the bike path before hopping on the train, kicking the door open, and barking, “Git yer hands up, varmints!” Screams ring out from the train car as some passengers faint, and a couple of foolhardy “heroes” get a pistol butt to the noggin for their trouble. The bandits steal wallets, watches, necklaces, and other precious family heirlooms, cackling maniacally… UNTIL. 

A loud bump is heard on the roof, and seconds later, a window smashes as SANTA CLAUS comes bursting into the car! Slowly rising to his feet, Santa strikes a pose and says, “Looks like somebody’s getting added to the naughty list!” And with a mighty swing of his red bag, Santa bowls over three of the villains, delivers a sharp uppercut to another, and sends a fifth tumbling off the train with a vicious kick to the scrabble bag… UNTIL.

The ringleader grabs a crying child, puts a six-shooter to its little head, and growls, “One more step, Santy Claus, and I’ll send this li’l pecker-wood to the pearly gates!” A pause, as everyone in the train car holds their breath, tears streaming down the child’s face, and where the only sound is the repetitive clack-clack-clack of the train’s wheels. 

Slowly, Santa drops his bag, and says, “Well, Desperado Dan”—a stupid name for a stupid criminal—”I guess this is my last… STOP!” Santa yanks the “stop requested” cord hanging from the window, sending the train screeching to an ear-piercing halt, as Desperado Dan stumbles and falls, dropping both child and pistol. Santa quickly pulls the kid to safety, and with a devastating right hook, sends the villain into a coma, from which he will never awaken. The children and adults cheer as Santa throws the unconscious body from the train before turning to ask, “Now who here has a hankerin’ for a candy cane?” The train’s occupants rejoice, and for the first time since the debut of the Holiday Express, it was a train ride—and a Christmas—to remember.

Holiday Express, Oregon Rail Heritage Center, 2250 SE Water, Nov 29-January 4, various times, $25-$105, tickets and info 

With new digs and funding, a local nonprofit is helping queer and trans residents find safety, and a path off the streets. by Anna Del Savio

In October, Portland’s first day center for unhoused queer and trans people opened in Southeast.

The Marie Equi Center’s new Brooklyn neighborhood day shelter is intended to welcome visitors “just coming in to regulate their nervous systems in the space and hang out, or to get connected to our peer services,” center director Katie Cox said.

“We say that we’re a really LGBTQ-affirming city and space, but the services and the infrastructure have needed more support,” Cox said. The new funding, which comes from Metro’s Supportive Housing Services tax revenue via Multnomah County, “feels like folks putting their money where their mouth is,” Cox added.

Peer support and community health workers are on-site to offer basic wound care, emotional support, recovery mentoring, health education, referrals, and assistance navigating social service systems. But the 13,000-square-foot Trans & Queer Service Center also has space for visitors to come in off the street to simply sit and decompress. 

For many unhoused people, “you don’t have a safe place to be during the day where you actually feel welcome and your whole nervous system has a chance to relax and just be,” Equi program director Madeline Adams said. “So much of what we do as humans to heal or to overcome what we’ve been through requires, as a baseline, an environment… where we can come back to a semblance of having all of our faculties.”

A large room at the front of the building hosts community events that run the gamut from karaoke nights to crash courses on budgeting and cleaning for newly housed folks. 

Smaller rooms are used for one-on-one meetings with community health workers who provide emotional assistance, harm reduction, basic first aid, recovery support, health education, help navigating over services and systems, and gender-affirming referrals. 

“That can look a lot of different ways, but the goal of it is to walk alongside folks, to help them address barriers as they come up and access the resources and supports that they need,” Cox said.

Before the move—which also came with a name change from Institute to Center—the Marie Equi Institute primarily offered services out of an office in the Q Center on North Mississippi Avenue.

Scarlet Meadows first came to the Q Center two years ago for the free food pantry, but found her way into the Equi Institute’s office.

The institute’s peer support workers “helped me out a lot emotionally with the stress of being a new mom as well as being part of the queer community,” Meadows said. “There were days where I went there just to be, because it was a safe space.” Meadows ended up in Portland when their housing plans fell apart en route from Kentucky. From the Equi Center mentors, Meadows found spiritual and emotional support, and help navigating bureaucracy like Medicaid enrollment. 

“Sometimes I would go there specifically to make a phone call, just to have that support and someone who knows what questions to ask,” Meadows said.

Meadows hadn’t sought out peer services before coming to the Equi Center.

“I was still dealing with a lot of trauma and kind of stuck in my own head about certain things,” Meadows said. 

Peer health workers at Equi “move at the speed of trust,” Adams said. Rather than jumping right into tasks, workers have to build relationships with their houseless clients before those clients will open up about their needs. The bigger space allows staff to connect with visitors who need more time before opening up to a peer worker. 

When Adams was houseless, one of the hardest parts was that “people just couldn’t comprehend what I was dealing with or why I wasn’t housed,” she said. “It was always just so awkward and you could tell that people didn’t want to hear. The last thing you want to do in that situation is to ask for what you need, because by the time you reach someone that’s going to say yes, you’ve already learned that it’s not really safe to be asking.”

A decade of Marie Equi

The Marie Equi Institute was founded a decade ago, named for “Doc” Marie Equi, a lesbian doctor and activist working in Oregon in the early 1900s (and the namesake of the local lesbian bar Doc Marie’s). The institute was created to provide queer and trans-specific primary care, right after Oregon Medicaid started covering gender-affirming care. Many of the Equi Institute’s clients came to the organization after fleeing other areas of the country where there wasn’t access to gender-affirming care, Cox said.

Center director Katie Cox Anna Del Savio

The center has seen a growing number of visitors who came to Portland to escape anti-LGBTQ legislation and violence in other states.

When the pandemic hit, the institute had just hit pause and started to reassess operations after their clinical director took medical leave.

The institute joined the C(3)PO coalition, which created three outdoor tent camps for homeless Portlanders early in the pandemic. Starting in sheds in the C(3)PO villages, the Equi Institute built up a community health program working “at the intersection of homelessness and public health,” Cox said. 

Last fall, the Multnomah County Board of Commissioners approved $3 million in funding for day shelters, including $830,000 to the Equi Institute, in preparation for Portland’s public camping ordinance taking effect. But the institute didn’t get the contract from the Joint Office of Homeless Services until March. The funds had to be spent by the end of June, leaving just a few months for the center to find a new location and use up the money. 

The institute signed a lease in June and got to work on renovations with Gensler, an architecture firm that also led the renovation of the Rose Haven day center. 

The building has showers, laundry services, a gymnasium, food pantry, kitchenette, computer lab, reading nook, and art space. 

Cox said staff are working on plans to use the gym as an overnight shelter during severe weather.

“We know this is going to be a big learning curve for us, having our own building,” Cox said.

Thanks in-part to the SHS funding, the Marie Equi Center has doubled in size to 15 staff, including a new peer services coordinator and a center operations coordinator. The center ended up spending $752,000 from JOHS last fiscal year and was awarded $857,000 for the current fiscal year.

A Homelessness Response Action Plan finalized by the city and county earlier this year specifically calls for more culturally-specific services, including the creation of a shelter for LGBTQIA2S+ adults.

Existing culturally-specific providers like the Marie Equi Center “know what their communities need, are doing what their communities need, and just need that funding piece and support from their partners in government to be able to make that happen or do more of it,” JOHS equity manager Emily Nelson said.

Part of a continuum

Cox wanted to add a housing navigator to the center’s expanded team, but the Joint Office didn’t award enough funding to cover that position in the current fiscal year. 

“As we expand day services and expand shelter, we have to make sure that we have ways to connect folks to permanent housing through day services and shelter,” Nelson said.

Cox said the center’s peer workers struggle to connect clients with housing services that are safe and affirming for queer and trans people. 

One of the hardest parts of the work “is the heartbreak of knowing exactly what people need and deserve and not being able to get that to those people in a real way,” Adams said.

Transgender houseless people are less likely to find shelter. Nearly 54 percent of transgender houseless people are unsheltered, compared to 39 percent of cisgender houseless people, according to the National Alliance to End Homelessness. 

The new day center won’t only serve people while they’re living on the streets or in a shelter. Trans and queer people face disproportionate discrimination in housing, both in affordable housing and market-rate rentals, so support is needed for newly housed people.

“If it’s not the rental company discriminating against you, it could be other people in the building, and then your new home is starting to feel very unsafe,” Cox said. Having a queer or trans peer who can offer support in navigating those challenges “increases the likelihood that folks are going to be able to stay housed,” they said.

“As people navigate the transition from being unhoused to being housed, they often feel like they lose their community of folks that they were living with unsheltered,” Cox said. “The more we can start to bridge those gaps early on and create that community building, the more successful we’ll be at keeping people housed.”

For more information, visit www.marieequi.center. 

Christmas came early for these city bureaus and agencies. Let’s see what ‘Taxpayer Santa’ brought them! by Courtney Vaughn

What you do with your money is nobody’s business, but what the government does with your money is everyone’s business. 

At a time of year when parents across the nation get suckered into splurging on pricey, short-lived toys (sorry, but your kid is never gonna learn to play that keyboard and there’s a good chance that Easy-Bake Oven will burn your house down), we set out to see which public agencies and city bureaus received the biggest, coolest, and most expensive toys—thanks to you and your tax dollars. 

While these agencies may have been blessed with many of the toys on their wish lists, we know austerity measures are coming. The Portland mayor’s office recently offered a budget preview that reveals city bureaus will likely need to cut another 5 percent from their budgets in the upcoming fiscal year. If that sounds like a bone dry way of explaining the city’s money sitch, imagine if you already had to cancel all your streaming services and lower your grocery bill last year, and now you have to cut even more expenses, to the point where you’re considering canceling your internet service and just stealing the shoddy WiFi signal from that coffee shop down the street.

And though the government shopping sprees may be coming to an end for now, let’s take stock of some big-ticket toys, tools, and trucks that taxpayers recently bought for our public agencies. Show this to your kids to explain why “Santa” had to scale back this year.

Courtesy PPB Portland Police Bureau

Body cameras

What they are: small video cameras roughly the size of a credit card that clip onto officers’ uniforms. In December 2023, Portland City Council authorized police to spend up to $10 million on body-worn cameras over the next five years. The end-of-year purchase was a bit of an impulse buy. The council approved the expense in an effort to save the bureau $1.5 million by approving a contract with camera manufacturer Axon before the new year. This feels like the equivalent of springing for a new washer and dryer during a Presidents Day sale because the deal is too good to pass up. 

Estimated cost: $10 million

Courtesy PPB Portland Police Bureau

Drones

What they are: small, aerial cameras also known as unmanned aircraft systems, which record video and images from the vantage point of a bird or an insect buzzing above your head. PPB started using drones in 2023 as part of a pilot program. This year, the City Council coughed up nearly $100,000 for the bureau to buy more devices. Police mainly use them to help get images at major crime and crash scenes. 

The bureau says the high-flying cameras allow officers to “monitor critical incidents from a distance, assist with search and rescue, and provide evidence of crimes.” Recently, PPB has deployed drones at crisis scenes involving uncooperative, potentially dangerous subjects, to try to peer into windows or gain a view of other hard-to-reach spaces. Police swear they’re not using drones for any type of facial recognition efforts. 

Estimated cost: $166,000

Portland Police Bureau

Crowd control weapons; armor

What it is: tear gas, riot shields, and impact munitions. Earlier this year, the Portland Police Bureau revived its crowd control specialists, formerly called the Rapid Response Team. Crowd control officers responded to large-scale protests over the spring at Portland State University and now, the bureau is preparing for demonstrations and potentially violent protests following the November election. The city didn’t skimp on PPB’s shopping budget, authorizing $1.1 million for the purchase of 100 shields; 350 tear gas canisters; 350 kinetic impact projectiles; 300 impact munitions with chemical irritants; 100 flash-bang incendiary devices, and munitions training. 

Note: Since they’re spending your tax money, all of these weapons will be used on you, dear readers… which gives new meaning to the phrase, “You get what you ask for.”

Estimated cost: $1.1 million

TriMet

Articulated transit bus,
AKA “bendy bus”

What it is: a long, 60-person public transit bus with an accordion-like middle section, allowing the long bus to maneuver around tight roads while carrying more passengers. The buses are diesel-powered and allow TriMet to expand capacity on select, highly-used routes. Frequent service and more seats = more fentanyl traces, baby!

Estimated cost: $935,000

Courtesy Portland Fire & Rescue Portland Fire & Rescue

Tractor-drawn aerial truck

What it is: a big-ass fire engine with superpowers. Tractor-drawn aerial trucks give firefighters extra maneuverability and include an aerial ladder for reaching tall and tight spaces. They also have independent rear steering, so the trailer attached to the truck can be angled even when the cab isn’t. These behemoths typically range in length from 55 to 65 feet. 

Estimated cost: $1.7 million

Portland Bureau of Transportation

Street sweeper

What it is: A heavy-duty truck that sweeps and vacuums. The latest street sweeper purchase by PBOT was a 2023 Elgin Eagle. The model boasts a conveyor that won’t jam, a variable height lift system and a high-capacity dump feature (paging Sir Mix-a-Lot!) As the manufacturer notes, the Eagle sweeper can maintain highway speeds and ensures “dumping is a breeze.”

Estimated cost: $424,500 

Courtesy PBOT Portland Water Bureau

Snow plow 

What it is: A SnowDogg plow attachment for heavy-duty trucks that can scoop snow and debris off roads. You probably thought PBOT was the only bureau to come to our rescue during a snowstorm. Not so! The Water Bureau is also responsible for keeping roads clear during crummy weather, while responding to water main breaks and other crises. The Water Bureau recently bought two plow attachments and even opted for discontinued 2019 models to save some dough. The latest purchases weren’t meant for general use around the city. Instead they’re mostly meant to secure watersheds, clear access paths to the Water Bureau’s own facilities, and other bureau-specific responses—but still, it never hurts to have more of these puppies available during the next snowpocalypse.

Estimated cost: $5,600

Nuclear energy hasn't been a growing industry in decades. But now, it seems to be making a comeback. This week, the Biden administration announced a goal to triple nuclear energy capacity in the US by 2050. And over the past few months, Amazon, Microsoft, and Google have all made deals to use nuclear energy to power their artificial intelligence appetites. Today on the show, could nuclear energy work differently this time?

Related episodes:
The debate at the heart of new electricity transmission (Apple / Spotify)
Wind boom, wind bust (Two windicators) (Apple / Spotify)
How China became solar royalty (Apple / Spotify)

For sponsor-free episodes of The Indicator from Planet Money, subscribe to Planet Money+ via Apple Podcasts or at plus.npr.org.

Music by Drop Electric. Find us: TikTok, Instagram, Facebook, Newsletter.

Ford is idling production of its F-150 Lightning, the latest in a series of announcements signaling a slower-than-expected transition to electric vehicles. What are other automakers planning?

President-elect Trump announced he intends to nominate Florida Rep. Matt Gaetz as attorney general, putting a fierce critic of federal law enforcement in charge of the Justice Department.

House Minority Leader Hakeem Jeffries speaks with NPR's Michel Martin about his new book "The ABCs of Democracy," and Democrats' outlook following the 2024 election.

Aldis Hodge stars as the latest on-screen version of James Patterson's sharp police detective.

October 31, 2014
In remembering the legacy of former Mayor Thomas Menino, State Senator Linda Dorcena Forry remarked, "He didn't just focus on downtown, it was also our neighborhoods." This week on Basic Black, we look back at the city's longest serving Mayor and the huge imprint he left on Boston's neighborhoods and communities of color. Panelists: - Latoyia Edwards, Anchor, NECN - Charles Yancey, Boston City Council, District 4 - Yawu Miller, Senior Editor, Bay State Banner - Phillip Martin, Senior Reporter, WGBH News

February 20, 2015 The African American experience is taught in many forms from songs to films to performance, but one of the latest forms to grow in popularity is the graphic novel. We’ll talk with author Joel Christian Gill about his newest work, Strange Fruit: Uncelebrated Narratives From Black History.

Later in the show, on the eve of the 50th anniversary of the death of Malcolm X, we look at the last years of his life and the meaning of his movement for contemporary times. Panelists:
- Latoyia Edwards, Anchor, NECN
- Phillip Martin, Senior Reporter, WGBH News
- Kim McLarin, Assistant Professor of Writing, Literature, and Publishing, Emerson College
- Joel Christian Gill, author, Strange Fruit: Uncelebrated Narratives From Black History
- Laura Jimenez, Lecturer, School Of Education, Boston University
- Emmett Price, III, Associate Professor of Music, Northeastern University Image: From Bass Reeves, Tales Of The Talented Tenth, Vol 1., by Joel Christian Gill, 2014.

April 24, 2015

Photo: Henry Louis Gates Jr., executive producer of "The African Americans: Many Rivers to Cross with Henry Louis Gates Jr.," addresses reporters during the PBS Summer 2013 TCA press tour at the Beverly Hilton Hotel on Wednesday, Aug. 7, 2013 in Beverly Hills, Calif. (Photo by Chris Pizzello/Invision/AP

Selection for bigger tomatoes has made the fruits less sweet, but now it has been shown that gene editing can make them sweeter without decreasing yields

Food production is responsible for more than a third of greenhouse gas emissions. To get everyone the food they need in a warming world, governments worldwide must invest in securing our food systems