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October 26, 2016 10:51 AM

“Don’t play stupid / don’t play dumb / vagina’s where you’re really from!"

Pussy Riot's catchy new peaen to the pussy, "Straight Outta Vagina," takes on Donald Trump and his statement that when he sees beautiful women he "Grabs them by the pussy."

The Russian punk band writes on its YouTube video launch that:

Female power and female sexuality are yet need to be discovered. Discussed. Performed. Lived up.

Women were slaves of the world for centuries. Women’s got their right to vote less than 100 years ago. Russia (1917), US (1919), Switzerland (1971). We’re still just about to build another roles, norms, ethics for vaginas owners.

And the owner of vaginas is not some narcissistic stupid orange ape who’d claim that he could easily grab women by their pussies. The owner of vagina is a woman. Who wears her vag as a badge of honour.

Pussy is the new dick, ladies. Oh bondage, up yours

October 25, 2016 04:03 PM

In the wake of the recent incident in the Park Blocks involving the Eugene police and people who frequent the area, City Manager Job Ruiz's comment at meeting of downtown stakeholder's comparing the summer's to the Iraqi surge has drawn fire.

The R-G reports:

City Manager Jon Ruiz drew criticism during Monday night’s council meeting for comparing last summer’s increased police presence downtown to the “surge” of U.S. military forces in Iraq nearly a decade ago.

Ruiz made the remark at a recent meeting of a group working to improve downtown, and he offered the context of his use of the analogy to city councilors after two speakers condemned the remark during the meeting’s public comment period.

“In essence, it seems that Mr. Ruiz has declared war on some of the most vulnerable people in the community, those without money or shelter,” Eugene resident Lee DeVeau said.

Ruiz made his remarks at meeting of the Downtown Stakeholders Group, which is tied to the Eugene Chamber of Commerce.

See the full story here. 

October 23, 2016 04:06 PM

White Bird Dance presented Inbal Pinto & Avshalom Pollak Dance Company’s Wallflower, Oct 22, at Lincon Hall on the Portland State University campus.

            A richly luxuriant piece, Wallflower investigates relational connections in and around a contrived space, a two-sided wall, hard-sided and sturdy, that dancers can slide up and across.

            The performers are uniformly strong and committed, wearing brightly colored knit bodysuits, they move with a collective pulse and rhythm through ambient music by Unitaro Abe, Mayu Gonto and Hirofumi Nakamura.

            The piece has a methodical, somber quality, with mysteries and inventions providing some accent from the staid work. At times, the structures of the dance veer into the predictable, as canons and crossings give way not to variation, but simply repetition.

            Would the piece be as effective without these darn cool unitards? It’s hard to say. There is something overly wrought in the characters presented. Zvi Fishvon wears an enormous knitted costume, and seems to swallow other dancers whole, transforming into a monstrous, grub-like visage.

            Other moments, too, churn and crackle like verdant insects munching, and have a quality of unrest, of dis-ease.

            Jeremy Alberge is compelling, crisp and clean, his technique and expression in perfect harmony. Oz Mulay, too, has an intriguing presence, heartfelt, open. Cordelia Lange is also compelling, somehow raw yet elegant, a mover with broad and encompass capacity to communicate. All the dancers have an ethereal, yet earthy quality, stripped bare when the knitwear comes off, to reveal a universal: tank tops and men’s underwear for all.

            Clocking in at one hour, the piece generates more heat in its last ten minutes than  in the first fifty. It finds its legs and creates dynamic, gorgeous pathways and level changes, careening through space with a celestial cadence.  A fascinating meditation.

            This company is one to watch. 

October 19, 2016 01:24 PM

Vermont senator and former presidential candidate Bernie Sanders just jumped into the Oregon political arena by endorsing Measure 97, a proposed tax on corporations with $25 million or more in annual Oregon sales. The measure will raise about $3 billion a year, and it directs the funds to go toward public education, health care and senior services. Measure 97 falls in line with Bernie's campaign mantras calling out the 1 percent and condemning the actions of big corporations.

From his statement published today:

At a time of massive income and wealth inequality, it is time for large profitable corporations to start paying their fair share of taxes. That is why I am supporting Oregon 97. Large corporations must help the people of Oregon provide high quality public education, health care and services for seniors. Passing Measure 97 would allow Oregon to fund 7,500 new teachers, provide 16,000 seniors with quality in-home care — without raising taxes on small businesses.

If you believe huge corporations shouldn't be able to use loopholes to avoid paying taxes, vote for Measure 97. If you believe in moving closer to a nation in which health care is a right not a privilege, vote for Measure 97. If you believe that all people wanting to pursue higher education should be able to do so regardless of their income, vote for Measure 97.

I think quality education, improved health care and the ability to retire in dignity are worth asking the biggest corporations and Wall Street to pay a little more. Please vote yes on Measure 97.

The most recent poll on Measure 97 shows "yes" voters and "no" voters neck and neck, with 47 percent of voters against and 46 in support, despite the millions of dollars spent by the "no" campaign to convince voters otherwise.

October 18, 2016 03:50 PM

In this week's Slant we discuss EW columnist and Native American activist Kayla Godowa Tufti who was restrained by a plainclothes officer at a public meeting while giving testimony on behalf of her one-year-old daughter.

The video can also be seen on the County Commission website here. 

She Who Watches: Defeating Old Hazeldell, 

By Kayla Godowa Tufti

Oct. 12 was the public hearing before the Lane County Board of Commissioners at Oakridge High School. Ed King (King Estate Winery) has applied to Lane County to rezone 46 acres in Oakridge from forestland to quarry. 

Seventeen million tons of andesite rock will be extracted from TV Butte for 50 years. The land proposed for rezoning is known as TV Butte on Dunning Road. King’s company is called the Old Hazeldell Quarry project. 

Dunning Road is an ancient Molalla tribal village site according to Lawrence Hills, mayor of Oakridge in 1958 and ’63. The Chakgeenkni-Tufti band of Molalla Indians, whose descendants are enrolled members of the Confederated Tribes of Warm Springs of Oregon, have lived at TV Butte for thousands of years. 

Other local tribes camped at this location to gather foods such as camas, elk and huckleberries. TV Butte was also a central location to camp for tribes traveling to the valley during hop season. 

Historical, cultural, natural resources, open spaces, trails and aggregate rock are several Doal 5 resources under Oregon law.


To protect natural resources and conserve scenic and historic areas and open spaces. 
Local governments shall adopt programs that will protect natural resources and conserve scenic, historic, and open space resources for present and future generations. 
These resources promote a healthy environment and natural landscape that contributes to Oregon’s livability.

The Old Hazeldell Quarry project violates approval criteria based on the fact several impacts regarding historic, cultural, natural resources, trails and open spaces under Oregon’s Goal 5 law have not been mitigated. 

Lane County has been deplorable at inventorying significant Goal 5 resources, particularly in the Upper Willamette Valley region. 

The meeting in Oakridge with the Lane County Commissioners was a sadistic, grotesque display of an abuse of power. 

Before entering the building there were 2 officers from the Oakridge police department, one undercover officer and one officer in an unmarked SUV from the Lane County Sheriff. 

A brute force of intimidation filled the air. Oakridge officer S. Davidson proudly carried a large wooden baton on his hip proclaiming it was part of his uniform.

Each member of the public was allotted approximately 3 minutes to testify at the hearing. Staff of the Old Hazeldell Quarry project were allotted 45 minutes. They took 2 hours. 

Residents and tribal members finally took the podium. I sat in the front row with my tribal representative. Every testimony opposing the quarry was valid and moving. 

My name was called, I approached the podium in my wing dress and two signs that read “gravel does not justify rezoning”and “don’t mine our village site.”

I took three minutes. Next on the list was my one-year-old daughter. I planned to hold her and read a letter to the commission explaining how important TV Butte is to her future cultural history and identity. Faye Stewart scoffed and retorted “a one-year-old give testimony?”

She was asleep, so I read it on her behalf. She is the great-great-great granddaughter of Charlie Tufti, a well-known tribal personality from the TV Butte area.

Stewart tried to restrict me from saying anything on behalf of my daughter, who will be 50 years old when the quarry is finished. As I calmly continued to read, the undercover officer approached the podium and tried removing my daughter’s letter. I calmly told him to leave my belongings alone. 

He grabbed my wrists and held them behind my back as if he were going to cuff me. I continued to calmly read my daughter’s letter. 

The officer was then asked to let me go. He released me. The room sat silently in a tense shock. Everything was filmed for the webcast on the Lane County Commissioner website. 

A representative from my tribe testified to the Commission explaining how insulting, dehumanizing and degrading this entire process is. 

From having white archaeologists attempting to debunk our tribal history at TV Butte, to having an undercover officer restrain a tribal member calmly giving public testimony on behalf of our future generations, an important tradition in our tribal religion. 

Many people spoke outside the allotted time, including the applicant, and no one batted an eye. As soon as I went over by a minute, Stewart saw this as grounds for me to be forcibly accosted. 

This was one of the clearest displays of institutional racism and suppression of rights of a person of color by law enforcement and local government that I have ever experienced. Two days after Eugene’s first Indigenous Peoples Day.

I anticipate the County Commission will approve the quarry project. Written comment will be accepted until Oct. 31. The email for Lane County Board of Commissioners is lcbcccom@co.lane.or.us

Kevin Matthews give testimony and references the incident with Kayla Godowa Tufti

October 17, 2016 06:24 AM

Ballet Fantastique delivered a warm and lovely confection in Jane Austen’s Pride and Prejudice, a Parisian Jazz Ballet.

            Set in jazzy 1920’s Paris, the performance swept through Austen’s enduring story with a breezy, yet thoughtful, pace. The Regency Era is a tough time to be single, and as the five “Bennette” sisters express varying degrees of ardor and rancor, at their potential suitors, BFan really comes alive.

            Hats off to the Gerry Rempel Jazz Syndicate, whose live music was an integral part of the production. Vocalists Amy LeSage and Susanna Meyer were especially transporting, evoking the unmistakable ennui, affection and joy that decades of Jazz produced. Their voices were like a time machine. Just delightful.

            BFan’s choreography is first-rate throughout, enjoyable, moody, lively and fun. Their work is accessible and approachable, and they utilize what they have to great effect. Ashley Bontrager as Lizzy sails, but all the sisters bring impish, devoted energy to their work.

            Natanael Leal is stunning as outsider George Wickham. Gustavo Ramirez retains a suitably haughty air as Darcy, and Justin Feimster has fun as Bingley.

            As character tropes, the five sisters and their paramours are progenitors of so many works that followed them, and they’re each quite distinct, in the way Austen writes them. To the degree that they can within the confines of ballet, BFan explores the subtleties between and among their stylistic approaches, though group numbers rely on unison.

            The dance looks polished and complete, and dances are uniformly confident and danced with great enthusiasm and rich, decorative detailing in the arms and footwork. BFan’s aesthetic doesn’t push across the space aggressively, it doesn’t shout or shock, but relies on consistently interesting relational connections, intricate pathways and nuanced characterization.

            Adam Goldthwaite narrates as Vicar Collins, and even gets into the action. Goldthwaite is clearly having a ball in his role, and carries the narrative forward for those who are unfamiliar. Still, there is room in Goldthwaite’s delivery for more modulation, a softening, especially when he’s speaking not his own character’s lines, but Austen’s precious narrative prose. This Austen-ite (named my firstborn daughter Jane!) could have used a tad more sincerity from Goldthwaite as the piece drew to a close.

            Costumes designed by Donna Marisa Bontrager and constructed by Allison Ditson fit the bill, as bright and full of hope as a box of macarons from the finest Parisian pastry shop.

            Genevieve Speer and Deborah Speer have helped to shape the libretto, no small task, surely.

            The set and backdrop were a darling diversion from the bleak rain outside, a ribald expression of dopey, adoring love. And why not?

            BFan has a good thing going. They received a standing ovation, richly deserved. They’re making an austere art form accessible to new audiences. I saw people of all ages in the audience, having a great time with movement and theater that they could relate to.

            A BFan supporter spoke before the show about their work to bring children from the Jasper Mountain treatment center to see BFan productions. Hats off to these types of efforts. We should all find ways to make dance a part of everyone’s lives.  

October 17, 2016 04:19 PM

Pollution and Ping Pong: A China Town Hall

By Kristen McDonald

For ten years, the National Committee on U.S.-China Relations has hosted an annual China Town Hall, where communities across the US get together to discuss pressing issues in our country’s relationship with China. Tomorrow, Tuesday Oct. 18tChina Town Hall: Local Connections, National Reflections” takes place at some 80 venues across the U.S.

This year’s featured simulcast speaker is Dr. Henry Kissinger, who is credited for having helped reestablish ties with China during the Nixon “ping pong diplomacy” era. More recently, in a 2012 piece in Foreign Affairs, Kissinger advocates against aggression towards China, a position that I tend to take as a given. But that may be about all I agree with Kissinger on, given Kissinger’s other acts in Asia when he first had contact with China, including sabotaging peace efforts during the Vietnam war and carpet bombing of Cambodia.

I will also be featured as a live speaker at the event. While far less famous (or infamous) than Kissinger, I have been working on environmental issues for over ten years, and I tend to view U.S.-China relations more from a more (and sometimes literally) grassroots perspective. I help local environmental groups in China protect their communities from industrial pollution. At a time when environmental cooperation is touted as a bright spot in US China relations, I will argue that there’s a lot more that needs to be done, and that can be done, including shining a light on our own complicity in China’s environmental problems. Plus I’ll share some success stories of what communities in China are doing locally.

This “Town Hall” style event is interactive, free, and open to the public. What issues concern you most about China? What do you remember about ping pong diplomacy, and Kissinger’s role in Asia? What information or resources do you have to share about China?

Please join us at a China Town Hall, 4 pm Tuesday, Oct. 18, at 110 Knight Law Center at the University of Oregon in Eugene.

Kristen McDonald is the China Program Director at Pacific Environment and a Eugene native.

October 15, 2016 11:00 AM

The Northwest Screendance Exposition’s second annual presentation drew a variety of engaging short films, both elaborately creative endeavors and interesting documentaries, from around the world.

            What a rich endeavor! We’re fortunate for the Northwest Screendance’s effort to bring new, thought-provoking, international art right to our doorstep.

            In the documentary category, contributions train a light on the art of Screendance itself, with a fascinating look behind the scenes on how dance and film conjoin to create new vistas. Artists explore boundaries of shape and form, relational dimensions between and among dancers, as they connect with spaces, props, and places. These efforts push into new exciting territory, engaging whole cities and cultures with contemporary art.

            The Screendance short film category is equally compelling.

            Damien Smith’s Arrellah provides arresting imagery, both textural and strong. Wake by Holly Wilder and Duncan Wilder explores auditory impulses, and a deep inquiry into gesture.

            In Between, by Blake Horn and Liilian Stamey, is set in a beautiful natural setting, but the jerky filmic technique and repetitive movement led one to wonder: Would the dance be interesting if you saw it on a bare stage?

            That’s an overall question about this art form that walks a tense line between film and dance.

            In some instances, the medium enhances the human expression, brightening the filter, narrowing the focus.

            Such is the case with 1180+More, by Riccardo de Simone. This playful musing on line drawings that morph and transform in keen animation brings out new ideas, without taking itself too seriously.

            Another highlight is My “Best” Friend, According to Him, by Josh Anderson and Logan Hall. The piece thrusts movers into everyday situations, with physical comedy and full-contact gaffs, at the office, the gym, the grocery store. Is it more shtick than dance? Maybe, but it’s not trying to be more than what it presents.

            Another piece that balances dance effort with what film can do is Dance of the Neurons by Jody Oberfelder and Eric Siegel. The piece explores shape and form in whimsical ways, but loses itself at times in editing gimmicks.

            Some pieces seem like cool sketches that could evolve into completed works. Many feature nature, or decrepit buildings, as their settings.

            Mitchell Rose and Bebe Miller have collaborated on an ambitious international piece, Globe Trot that carries simple movement from one person to another, all around the world. Though ambitious, and artfully put together, there’s not much that’s new about this idea, as versions in music and dance have bubbled up and gone viral for the last decade or so. 

            Promenade by Cirila Luz Ferron, Florencia Olivieri and Manislla Pons plays with effects, close-ups, focus, filters, with a disembodied, dramatic edge.

            Eclipse, by Linda Arkelian and David Cooper, offers a meditation on the male dancer, in a well lit, slow motion exploration.

            As a viewer, a question arises throughout the program: Would I want to watch this, if it were just a dance? Is the movement itself interesting, or does the production rely on editing, camera angles, or setting, to create and suspend the effort? What do I get from the movement alone?

            One example is Without Boundaries, by Cara Hagan and Robert Gelber. Great location, fun movers – I just wanted to see dance that was more compelling in its own right, without the trappings of the film.

            It is a treat to see effort from all around the world, right in Eugene. Kudos to the Northwest Screendance producers for their vision and fortitude. We’re fortunate that they see the value of bringing something new to our shores.

            As a student of dance history, I’m fascinated by this new space that dance and multimedia artists are collaborating within. It taps into a current that reminds me of the modernists and post-modernists, and I’m enjoying seeing the further blurring between once-distinct art forms.

            Thank you to the Northwest Screendance folks: Parched for new work, this expo was a tall drink of water. 

October 13, 2016 04:43 PM

Daniel James MacKay has been arrested on several charges related to paying for sex with a minor, a Eugene Police Department press release states. MacKay is Father Daniel MacKay of the St. John the Wonderworker, an orthodox Christian church in the Whiteaker neighborhood (it's the building with the blue domes).

See press release below:

EW spoke to MacKay in 2015 about the iconography he comissioned from artist Daniel Balter for the church. During the 2016 Whiteaker Block Party, Fr. MacKay gave several tours of the church to block party attendees of all ages. According to his bio on the church's website, Fr. MacKay is also currently: "an adjunct instructor of English literature and composition at Northwest Christian University and Lane Community College in Eugene."

Below is the mug shot provided by the EPD.


October 11, 2016 05:44 PM

Leonard Higgins, cofounder of climate group Corvallis 350.org was "one of five activists who halted tar sands oil flowing across the Canada-U.S .border by manually turning off pipelines in Washington, Montana, North Dakota and Minnesota" according to a Facebook post on his page.

Higgins and the other activists were arrested and the action was in solidarity with the Standing Rock protesters and #NoDAPL (No Dakota Access Pipeline), the climate direct action ShutItDown.Today website says. 

A statement on the website says:

We engage in this action in solidarity with the people of Standing Rock, responding to the call for International Days of Prayer and Action. We owe them a debt for their steadfast protection of land and water; the future of life depends on exactly such resolve and courage.

We are in the greatest emergency humanity has ever faced, and no one in power is treating it as such. We must stand up, and campaigns of nonviolent resistance—like what’s happening in Standing Rock, and like what we do today—may be the most powerful force on the planet.

In North Dakota, hundreds of tribal nations have come together to support the Standing Rock Sioux. In Canada, more than 50 tribal nations signed the cross-continental Treaty Alliance against Tar Sands Expansion on September 22. We are deeply inspired by this leadership, and join in solidarity with earth protectors everywhere. 


October 11, 2016 02:26 PM

Local designer Vanessa Froehling competed Oct. 5 in the Up/NXT runway showing for emerging designers in Oregon's most esteemed Fashion Week, FashionNXT. While she didn't win, Froehling walked away with positive vibes:

"FashioNXT was an amazing experience! What an honor it was to be selected to participate in such a prestigious production!" Froehling tells EW. "Everyone behind the scenes that make this event happen do so seamlessly and smoothly! The industry connections and boutique representation offers, are invaluable, and I look forward to next year!"

All the designs seen below are available online at FrauleinCouture.com, and some of the pieces will be available in Portland boutiques.

To read more about the evolution of Froehling's line, Carpe Denim, read EW's Sept. 29 story here.

All photos by Jeff Wong.

October 10, 2016 11:53 AM

One of the handful of times that I’ve seen Danny Brown was when he opened for Childish Gambino at the Cuthbert Amphitheater in 2014. That show became the epitome of most every rap show I’ve seen in Eugene. After finishing up a song, that contained the n-word multiple times, Childish Gambino looked out at the crowd — who had been singing along loudly the whole time — and said something along the lines of:

“You guys are like, all white and are saying the n-word? Eugene, y’all are hella racist.” The crowd responded in laughter. 

Although no one got called out at Danny Brown’s most recent show at WOW Hall on Oct. 8, there sure were a whole lot of white people saying the n-word en masse. Whether it’s the comfort of being around a like-minded crowd or the excitement, the pure hype shows like these bring, the way Eugene’s white community interacts with rap music is pretty solidified and here to stay.

Danny Brown shows at least make it a little easier to overlook these things. Besides just being an entertaining performer with extremely catchy songs, Brown tends to draw a pretty stylistically diverse crowd. Along with the expected audience members, UO students decked out in various sports jerseys and area high schoolers grinding against their significant others, there were also a good amount of people who looked like they were transported straight from a hardcore or post-punk show. 

There were women with dyed hair and men dressed in all black and skinny jeans. They weren't there ironically though, as most everyone in the packed hall was singing and rapping along. Brown himself is clearly a bit of an outcast. His newest album is called Atrocity Exhibition, named after the Joy Division song, and he's always been known for not really fitting into the hip-hop norm. (Brown actually entered the stage to the Joy Division song, blasting over a frantic light show.)

Stylistically, Atrocity Exhibition is a little outside of Brown’s usual material. It's definitely more intense, more alternative and, undeniably, more him. But WOW Hall’s crowd ate it up regardless.

Before flying into new material near the latter half of the night, Brown started his set out with a slew of his biggest bangers: “Die Like A Rockstar,” “Lie4,” “I Will” and a handful of others, which got me, and a few other people I was talking to at the show, thinking: Danny Brown sure has a lot of hits. The couple songs I thought I knew relatively well by him actually turned out to be about ten songs that I knew every word to, which he performed throughout the night.

Song after song, the crowd stuck with Brown, showing the performer that they were very, very into his set. Near the end of the show there were even a couple crowd surfers and a good-sized mosh pit — definitely not something you see at every rap concert. 

Brown didn’t play an encore, which normally, I think, would’ve surprised most concert-goers, but at this show, everyone left sweaty and smiling — from those wearing Unknown Pleasures t-shirts to those wearing basketball shorts.

October 8, 2016 07:59 AM

Xcape Dance Company presented X last night, at the Hult Center’s Soreng Theatre. Artistic director and choreographer Vanessa Fuller offered a high-energy evening, with her own company, and visiting guests.

            The first half of the program’s highlights included a salsa number, well-executed by Jenna Trotter and her partner. Nathan Boozer’s Work Dance Company made a splash with Pitbull, featuring Boozer himself on a leash. Ari Zreliak-Hoban and Cindy Zreliak’s ZAPP offered a cheeky entrée to HipHop. And the Dance Factory had fun with their tribute to Michael Jackson, with choreography by Roshny Bhakta.

            Fuller’s work is confident and stylish, as evidenced in Candy, and All About Dat Booty. Her dancers, of varying ability and technique, all work hard for her, expressing exuberance and joy of movement.

            Pieces, a group number featuring singer Isaac Turner and a projected film, suffered a bit from staging issues, as the various components fought for primacy.

            Singer Shelby Trotter brought the exciting element of live music to the stage for Latch,and while her performance took a few pitches, it was earnest and complimentary to the dancer’s freestyle explorations.

            Mason King’s solo was the standout in the first half. Thoughtful, compelling, and with an inherent structure.

            After intermission, Fuller offered her version of Cell block Tango, from the 1975 musical Chicago. Bob Fosse left some pretty big shoes to fill, and the question is: Do we imitate his unmistakable style, or do our own thing? Well-danced, this piece somehow felt disjointed, like a combination of sexy pedestrian movement, and dance tricks.  

            Drops of Jupiter, along with Say Something in the first half, expressed a more lyrical side for Fuller, with younger dancers gamely delving into the balance, extension and form required.

            Flex offered Urchin by Angela Dunham, a meditation on shape and relationships.

             And throughout the second act, Fuller’s work expressed a variety of moods.  Her solo for a young dancer in Hot Note was lively and appropriate, for the dancer’s age, and abilities.

            (Note: Individual dancers have not been credited in the program, except where they were also choreographers.)

            Aesthetically, Fuller’s work is vibrant and fun, but throughout a whole evening, one sees the same recurring lexicon of moves that she relies on.

            And the overall effort seems to focus on creating a multitude of shorter pieces, rather than on developing any one piece beyond the length of a piece of popular music. Throughout, dancers mouth the lyrics to songs.

            Most pieces are in unison, which is difficult to pull off with a variety of technical levels, and front facing.

            Izikuala Huntley presented a solo last night that underscores his technical artistry, and strong musicality. It would be interesting to see what he would do with a group work. 

September 30, 2016 11:26 AM

Many of those participating in a Stop Hate! rally in Springfield Sept. 29 were greeted by a loudspeaker, on the roof of the home of well known racist and anti-Semite Jimmy Marr, blasting offensive speech. Marr was arrested for disorderly conduct in the second degree, according to his booking at the Springfield Municipal Jail.

The permited, lawfull rally, put on by the Community Alliance of Lane County, Standing Up for Racial Justice and the NAACP as well as the Springfield Alliance for Equality and Respect outside Willamalane Center, was  "in reaction to increasing levels of racist, xenophobic, homophobic, Islamophobic, anti-Semitic and classist activity happening in Lane County,” the Community Alliance of Lane County said. “There have been more Confederate flags seen in the area, vandalism targeting Asian owned businesses, a truck driving around with neo-Nazi and white supremacist messages on it and more.”

Marr is the owner and driver of the neo-Nazi message emblazoned Toyota Tacoma. He has made himself notorious over the years, appearing to seek headlines and attention, with messages such as "Diversity is white genocide," Trump: Do the white thing," "Jew lies matter" and more. His Twitter handle is @genocideJimmy. 

EW correspondent Jennefer Harper, a CodePink activist, took photos of the arrest and said police searched Marr's home. Harper said she was walking to the rally when she encountered Marr's house where he was blasting offensive speech such as "hate is good" from a loudspeaker on his roof. Harper has identified the speech as the words of white nationalist Kai Murros, "On Hate."

Marr responded to  EW's blog at 3 am, presumably after his release, writing:

White lie from Code Pink: "... says police are now searching Marr's home."

Police were not "searching" my house. They were, at my request, securing it in my absence from the clear and present danger posed by the mob of miscreants gathered around it.

Run along now and see if you can get Miss Kitty to shake down the SPD like she did the EPD.

EW has asked Springfield what the police were doing at Marr's home — searching or "securing" it.

According to a media release from the Springfield Police Department, "members of the Springfield Police Department were dispatched to a noise disturbance in the 1300 block of G Street."  SPD said that "numerous citizens reported an amplified recording coming from a residence promoting 'hatred.'"

Springfield police said that "In retaliation to the gathering, Marr installed a very large amplified speaker on the rooftop of his area home. Marr then played a pro-hatred message on a loop which repeated itself upon conclusion. The amplified message of hate could be heard for several blocks, attracting approx. 30 people who were upset by the volume of the recording, including many of Marr’s neighbors and members of the assembly."

After "repeated attempts to contact Marr at his residence" without success, the Springfield Fire Department assisted officers with the removal of the speaker from Marr’s roof, SPD said. Marr then left his house and told police  that he was “trying to get his message out to people.” He was subsequently arrested.

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Marr being arrested at his Springfield home. Photos by Jennefer Harper

Marr and other "white genocide" believers have been bragging about his arrest on hate sites.