Poppycockery

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We just had to make it out to the Doug Fir for MONEY with local openers Hawks Do Not Share. One thing was that MONEY’s album, The Shadow of Heaven, is a melodious and patient entry. TSH is an ethereal, floating, entry filled out by churning music under the trance-inducing vocals of Jamie Lee. He commands your attention with a great vocal range, but it’s his emotional intensity where he seems to almost get a bit lost in the performance that grabs you.

Too often an album seems to be in a hurry to get to the end; end of verse, the song, the album. I recall a line from the movie Boiler Room. It went something like, “If you want to get off the phone so badly, then just hang up.” MONEY let’s the song linger, grow, almost organically. This music is something akin to a cross between Ben Folds Five and Coldplay with maybe some Shins or Snow Patrol tossed in for good measure.

As an aside: I’d like to make a point to call out the girl who was talking incessantly through the entire performance. While the room of a few dozen people paid the $12 to see the performers, she seems to have paid a fee to talk…and talk, and talk, and single-handedly ruin the entire show. So much so, that mid-song, she was called out by the band and crowd…only to continue talking right up until the last note. It was at this point that Jamie made a point to ball her out as the rest of the band stormed off stage without a word. Jamie did what we all had wished we’d done the moment she became unbearable, told her she was rude, should go outside to talk, and that if she isn’t listening, then get the fuck out.

Portland has a reputation as a great music town, for talent and for crowds. When you are at a show, you are as much an audience member as you are an ambassador for your city. When someone travels hundreds and even thousands of miles (flies into your country in many cases) you are now representing the crowds of the Doug Fir, Portland, the NW, and the US. Take your responsibility as an engaged, appreciative, and respectful audience member with a little bit of decorum. Shut the fuck up and listen. Don’t try to talk OVER music being performed. Especially in a small, quiet room of a few dozen listeners.

There are times that screaming, singing along, jumping around, chucking beer cans, moshing, are all appropriate. There are crowds so large that you can scream yourself horse and won’t interrupt or spoil the show. This and many small venues in Portland is not one of those places.

The show ended uncomfortably, that chewing out by Jamie was the last impression we had, and I left embarrassed for Portland in the eyes of an incredibly talented group from Manchester who I wouldn’t blame for never coming back to this city to play for us again.

Just shut up and listen, folks. If you paid money to get in, I am sure it will be worth the money. (Pun intended)

MONEY at the Doug Fir (with Hawks Do Not Share) We just had to make it out to the Doug Fir for MONEY with local openers Hawks Do Not Share.

Interview: Jeffrey Martin Talks Dogs in the Daylight

Jeffrey red BEA GELLER PHOTOGRAPHYWith his release of his first label-backed album in his discography, Dogs in the Daylight, hammer swinger Jeffrey Martin taps into a timeless and aching sound. It could easily have been recorded with a pop and a hiss in the one-take era of quintessential blues and songwriting with the likes of Son House and Mississippi Slim.

Though scattered with accompaniment from the likes of local fiddler Anna…

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P: You had mentioned that you got to where you are with assemblage photography after the OKC bombing, and had lost a love or desire for editorial photography. Can we talk a bit about that?

MC: I was an assistant picture editor, and I was looking at the wire pictures as they came across with all of that. It just devastated me. I was appalled at that and got fed up with journalism and humanity at the time, frankly. It made me not want to look at news pictures anymore.

P: How long had you been working in journalism up to that point?

MC: I started doing photojournalistic work in the army. I did a lot of work for public affairs offices. That would have been early 80’s, I guess. When I got out of the army I went to school and got my journalism degree; graduated in ‘88. Got my first gig in Maryland that same year. I was working as a newspaper photographer for six to seven years. Then I got a job at Army Times as a picture editor and had been doing that for a few years.

Ya know, I used to be a real news junkie. CNN was on all the time, read a few papers a day, but I just got overloaded with the Oklahoma bombing.

P: So, how did you stumble upon this type of assemblage art that you do now? Was this a past hobby, an interest, or something you just happened upon?

MC: While I was kind of getting away from the actual taking of pictures and the editing, I was also getting more involved with assemblage art from found materials. My dad had done that for years, he was a big fan of Cornell. I had been around it for many years, and I loved my dad’s work, but I always looked at it and thought about doing something different, ya know? “Hey, that’d be really cool if that had a lightbulb in it.”

I started doing the same kind of work with found materials, but more technological thing; circuit boards, hard drive platters, etc. I did that as a creative outlet for about ten years or so. I would find and collect these things that were intrinsically interesting to look at, but I never really figured out a way to put them into an assemblage piece at the time. Then the little people came along when I got my first model railroad people for some other thing I was constructing that I can’t think of now.

I pulled them out and put them on a circuit board and was like, “Wow, these fit perfectly. This is no longer a circuit board. It’s an industrial installation!” I started taking pictures of these little guys on the circuit boards because I loved what it did to the scale of everything.

See more of Mark’s work at markcrummett.net

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Get 50% off a 1-year digital subscription to Portland’s only ad-free bimonthly magazine when you enter coupon code NKTX62CT1OOL at checkout (just $1 an issue). Click here for a sneak peek at our current issue available in print later this month.

The Art of Mark Crummett: Assemblage Photographer #PDXPoppycock P: You had mentioned that you got to where you are with assemblage photography after the OKC bombing, and had lost a love or desire for editorial photography.

Infographic: Kidney Donation Shortfall

#Infographic: Kidney Donation Shortfall #PDXPoppycock

We ReallyNeedMoreKidneys

Imagine the pain of the excruciating wait. Deep down in places no one wants to talk about, there is a reality: Mothers, fathers, brothers, sisters, friends, pray for the right person to die the right way with the perfect organ match to save their loved one. Can you even imagine waiting maybe 10 years, watching your friend, your family member, move closer to a deadline that looms over them just…

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Jimmy Mak’s: It’s About The Music

I first came to Jimmy Mak’s expecting to see a declining interest from the crowd, perhaps people on cell phones or generally just more into their dates than their surroundings. Mel Brown started off by telling some stories about his touring days with The Temptations, then jumped into an hour and a half of top-notch music; the room was captivated. Next week would be his 70th birthday.

Half a…

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Poppycock Magazine Aug/Sept Issue is Here

In this ad-free issue, we take on the question of how to get more kidneys for the more than 100,000 people who are waiting for them. We speak with Jeffrey Martin about his new album, Dogs in the Daylight. We also speak with assemblage artist Mark Crummett and burgeoning rapper Young Hawkins. We also sent Kim into the depths of PDX dive bars and outline the plight of the jazz scene in Portland as…

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My Kids: A Special Contribution From Ashlee Yokom

My Kids: A Special Contribution From Ashlee Yokom #PDXPoppycock

Friday afternoon. I start my car, and an annoying disc jockey comes blaring on the radio. As quick as can be, my hand jumps to the dial to turn off the volume. Right now, all I want is to soak in the silence. Just for a moment drink in that sweet nothing. I commute about forty minutes to and from work each day, and in the afternoons, it usually takes about half the drive until I want to hear…

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Finding Micah Hearn

Finding Micah Hearn #PDXPoppycock

Loud, vibrant colors bounce off every painting that Micah Hearn puts a brush to. The canvas may be flat, but every layer and idea crawls up the walls and into the center of the room.

“What? That’s a piece of garbage. The painting is on the other side!” says Hearn as I gawk at one of his paintings. His Mississippi drawl comes through on canvas and in person.

What may seem like a warehouse with…

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Hillstomp

Hillstomp: The Story of The Noisiest Boys in Town #PDXPoppycock

John Johnson walks on stage with only his roll of duct tape. Then he continues to casually take his shoes and socks off and rolls his jeans up to his knees.

The older man anxiously hovering behind me asks, “Do you even know who these guys are?”

Henry Kammerer mysteriously struts on stage with his banjo, his hooded sweatshirt, and his shades. The lights dim and he takes his hoodie off. Out come…

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The Story of Nomad Piercing Studio

The Story of Nomad Piercing Studio #PDXPoppycock

If you aren’t looking for Nomad, you’ll miss it. It’s a nondescript storefront on SE Division. Blake’s been there since 2007, but Nomad began 21 years earlier, somewhere else, and as nomads are prone to do, has worked its way across the world to Portland.

Blake doesn’t stand out in a Portland crowd these days anymore than his shop does on Division. Stretched earlobes, cartilage piercings, labret,…

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