Sean Ongley

Archives: Projects

  • Held Gear

    Held Gear

    Held Gear is a fashion accessories brand that I absorbed in the spring of 2022. It was formed in 2008 and has a loyal customer base.

    Since taking it on, I created a dot com page including a full marketplace accepting Bitcoin and cryptocurrencies; expanded its social media presence, opened eBay and DePop stores, maintained the 5-star Etsy shop, and fulfilled custom orders to locals.

    I landed Held into a fashion show, added many high quality modeled photos, replaced outdated product images, and produced a four-part video series for the benefit of customers.

    I have revised old designs and added new products, stepping into apparel with a round of branded art print sweaters and tees, featuring an original commissioned design.

    I moved product and spread the name of the brand at marketplaces, and have processed a few thousand in sales up to now.

    As busy as all that has kept me, progress is not moving as quickly as I would like. My job first was to resuscitate the brand. Second is to redevelop it. Although Held is established, in the scope of development it is still infancy.

    Right now, I’m devoting what time I have to improving the presentation, especially the website, my table and tent display for local markets, brochures and materials for soliciting stores to carry the brand, which also means improving the tagging on each unit.

    I had my long time collaborator Ingrid Horton freshen up the original logo. I have begun to emphasize the H across social media. I believe this letter contains all the power in the logo. Although I’m open to rebranding, I am giving this design a shot.

    Ingrid Horton revised logo
    It’s like a bat signal.

    I inherited about 40 various belts ready to sell, a box of materials and one template design to continue producing. I have sold most of those original units and several dozen of my own builds. With no substantial marketing efforts, I continue to see online sales around the country.

    The ethics and cultural foundation of the brand is my guiding force. Held comes out of the 2000’s punk scene of Portland, Oregon, focusing on sustainability over profit: Affordable, durable, American-sourced, handmade vegan products.

    My goal for Held Gear is to be a complete apparel line, and more. I will partner with fashion designers to develop new product lines, and it will do the opposite of what fast fashion companies are doing now. Held will produce durable styles that never go out of fashion.

    I have already begun introducing utility and pet products with the materials and technology I have on hand. For example, I partnered with ArtesinA, a new artistic pet-focused product brand, to produce pet collars. They wholesale from me with a specific customization for their own adornments.

    Product images for Artesina from Monday July 31, 2023, taken by Myself.

    Considering Held has been in existence since 2008 and I’m starting almost from scratch, it’s fair to ask why I would bother, because it clearly hasn’t blown up yet.

    I believe that the brand hasn’t had a fair trial, as it lost momentum early on for reasons outside of the founder’s control. And the fact is that many older customers have come back for replacements, after ten plus years. They remember the brand and they seek it out. Plus, young customers have discovered the brand and respond positively.

    History

    Held Gear was created in 2007 and formally established in 2008, founded by Micah Perry as Held Vegan Belts with the primary product being a straightforward, super durable belt made from the ends of conveyor belting rolls discarded by a Portland, Oregon factory, where he was an employee.

    Micah launched a store in 2008 on Alberta Street in Portland, and on Etsy, after developing his products by selling prototypes at local markets and to his friends. That same year, he was diagnosed with cancer, and for the next decade struggled to keep up with his business as the disease overtook his body.

    First, the store had to move to a more affordable location, closer to home. By 2012, that shop had to close. Inventory on hand would suffice for years, but no production and thus no new designs were introduced until 2015. Shortly thereafter, Micah and spouse Melissa started a journey by van across the country, seeking shops and markets to sell Held products out of.

    They succeeded in landing a few small stores and briefly resided in Michigan, close to a supplier of materials based in Grand Rapids.

    Micah’s family in Ajo, Arizona, became their next stop, and they permanently relocated as Micah took ownership of a family lot, just east of Ajo, in a gas station town called Why.

    Now, I first received my Held belt, which I wore from 2009 to 2018, as a raffle item for No.Fest. I was introduced to him at his shop on Alberta, and I helped him move out in 2012. We never were close, I just happened to be friends of his friends.

    Finally, in 2018, I began to visit Micah in Arizona, because it was a lovely 2-hour drive from my parents house in Tucson. He has sculpted a unique environment from his property and it’s a nice stop before Mexico as well.

    Over this time, he lost focus on the brand, opening a thrift shop in Ajo, while enjoying a kind of retirement lifestyle. He lost focus of the brand and ran out of steam altogether.

    The brand had become associated with so much pain and commotion in his life, and it was stuck in this tiny town in the middle of Arizona, he realized the brand deserved better and he couldn’t give it what it needed.

    As his relationships from Portland faded, I was one of his few visitors, and our friendship began to form. So in 2022, he considered me a good candidate to take over the brand. I had wanted to help with it for many years, so I knew I had to do it.

    Moving it to Philadelphia might be the best thing to happen for the brand since opening a shop on Alberta. The funny thing is, the second retail location — the one I helped him move from — was on Philadelphia Avenue. It’s like there is a divine code to things.

    The Belt and More

    The American-made material is industrial, vegan, and more durable than top grain leather. The materials themselves are nothing out of the ordinary for fashion. The carcass of a conveyor belt is usually polyester-cotton, rubberized with nitriles, a rubber that is created from natural sources, including trees, and is used for things like medical gloves.

    Nobody else uses this material. This is what makes the Held belt different. Held belts are usually food grade, water and oil resistant, making them the ideal belt for workers.

    The whole brand doesn’t have to center around this material, but I would like to continue this tradition of repurposed industrial materials while expanding into traditional textiles.

    Introducing the art print line, I sourced American textile manufacturers for my blanks: Los Angeles Apparel, U.S. Blanks, and Bella+Canvas. In this way, I can take steps into apparel without giving up the integrity of the brand.

    My vision for future products you might say is proprietary knowledge. One step at a time. I haven’t accepted any venture capital and have financed everything myself.

    My next steps involve wrapping up my website development and other presentation stuff, like brochures, to get belts in a few stores in Philadelphia, for starters. I know how many units I need to sell each month to feel I can move on from there to apparel.

    Partnering with fashion designers is how I envision doing that. I can design belts, and other strap-based accessories, it’s something I understand, but I cannot get into clothing. That’s a science.

  • Death Worth Living

    Death Worth Living

    Death Worth Living is a music and arts collective based in Portland, Oregon, active between 2006 and 2011. The project was led by myself and featured several consistent players including Steven Shane Schneider, Jean-Paul Jenkins, Peter Bryant, Anthony T. Schatz, and Joseph Bengry. Beyond this core, dozens more joined the group for at least one event.

    The conceptual basis of the group was to never repeat a set. From that point, any attempt to build repeatable material would fail. Only with pure improvisation did this band find stability. If a band name sets the intention, death worth living expresses how we treated the music.

    Musical performers who appeared one or more times on stage with DWL include the following: Boyd Anderson, Russel Archer, Mitchell Brown, Matt Cunitz, Melissa Hawley, Joey Hyland, Chenelle Gris, Ali Ippolito, Jason Morales, Zac Nelson, Ezra Reece, Alyssa Reed, Megan Remy, Jason Schmidt, Kelly Slusher, Michael Saalman, Ryan Steuwe, Jerry Soga, Daniel Trudeau, Dana Valatka, and Evelyn Weston.

    As for non-musical work, Gary Menghini contributed to CD covers and poster art, David Bryant provided video for our 2010 MMMicrofest show, Jennifer Knipling choreographed with Alyssa for the same show, Shane produced art and used spoken word. I did a little of everything.

    As a product of our work, we self-published various limited edition CD-R packages and sold them at shows. Ultimately, I compiled the pieces into a trilogy of Bandcamp releases in 2011.

    The project never officially ended, but the core players moved out of state, lost the ability to play, or had other life altering events, and the project naturally reached death after five years. 

    DWL performed across the West coast alongside established players in the scene, at serious venues and party houses alike, for audiences anywhere between one and one hundred people. 

    In Portland, we performed at Holocene, Rotture, Valentines, KPSU and KBOO, to name a few venues. Along the West coast, we performed at 21 Grand in Oakland, the Olympia Experimental Music Festival in Washington, in Davis as part of the KDVS Feats of Strength showcase, and collaborated with Los Angeles Free Music Society players.

    For a deeper dive into the story of that band, intertwining into the entirety of my life in Portland, as a broadcaster, producer, and journalist, please read the memoire.

    First DWL Recording called “Voices of the Wilderness”
    “Nestling Home” from Popped
    CD-R Packaging for Frantic Walls album
    Band Photo November 2008 featuring Mitchell Brown
    Event Poster for January 25 2007 at Rotture
    Event Poster for February 16 2008 at Rererato
    Poster for August 10, 2007 at Luna Cafe
    The Core Trio of DWL at Argus Lounge, San Francisco 2008
    Some newspaper clippings and ads involving DWL shows 2007-2010
    Feats of Strength Event Presented by KDVS November 20, 2008
    Feature in UC Davis campus newspaper quoting myself about DWL
  • Cathedral Park Jazz Festival

    Cathedral Park Jazz Festival

    Cathedral Park Jazz Festival is not my creation. In fact, it is older than myself, and it was faithfully staged year after year since 1980. It is a three-day single-stage, family friendly jazz concert inside the amphitheater of Cathedral Park in Portland, Oregon.

    Our tagline boasted, “The longest running free jazz festival west of the Mississippi.” It wasn’t “free jazz” in the styling, it meant no cost. The interesting thing is that I was a “free jazz” musician, and I had the opportunity to curate a large west coast festival. Very cool opportunity.

    I was asked to take it over in 2012. The reason seems like equal parts happenstance and divine intervention. In the previous four years, I had been running the annual multi-stage event called No.Fest, and I had incorporated as a 501c(3) called InterArts. I was President of the only non-profit within this North Portland community that was positioned to absorb the festival. And I was the only character in town willing to stage the whole thing on short notice.

    Short notice was my training, however, because I managed to round up a four-stage 21-act festival while in college full-time, between April and June of 2008. That event became No.Fest. We had no money, no sponsors, no organization, it was a pure anarchistic cooperative event.

    Article pictured from The Oregonian June 2012.

    Cathedral Park Jazz felt like the same challenge all over again. There was no money, only a storage locker full of archives. As I split from No.Fest and my former partner took it back to its anarchistic roots, I sought out almost a totally new team. I found musicians Paul Evans and Mary-Sue Tobin, and they brought their own connections to the table, building a powerful committee just crazy enough to rock this thing.

    For 2012, there was only one goal: To keep it alive. I examined the balance sheets over the years. At its peak, the festival brought in $25,000 total. When all was said and done in 2012, we brought in $23,000, with no grants and just three months until show time.

    Myself with staff on the last day of CPJazz 2013.

    For 2013, I wanted to raise more money and bring this festival from the park onto main street, this was something that the community sorely wanted. Because No.Fest was such a solid main street event, the community expected me to deliver for them. 

    We won two substantial grants in 2013, from Regional Arts and Culture Council and Multnomah County Cultural Coalition. This funding secured all the artist fees. They enabled an extension of the festival from sunset to midnight by utilizing the St. Johns night clubs that were previously ignored when the five hundred or so daily audience members fled the neighborhood.

    I went so far as to book a venue called The Colony, whose brand new event space enabled daily musical workshops, a movie screening series, and one finale concert. The main stage reached beyond Portland’s jazz scene, flying Eri Yamamoto from New York City. We had regional headliners and national touring acts routing through.

    Given the ambitious scope that I had for it, while at the same time building out The Point (the office and event space in the neighborhood) it was on the whole a successful year. All of the events were carried out to a reasonable standard. At the end of 2013, we had raised and spent over $32,000.

    This was easily the most professional, advanced position I had ever found myself. And yet I was tired. I was done. The whole story is full of drama and stress. At the end of the year, I transferred all festival assets over to Jazz Society of Oregon, dissolving InterArts.

    There will be a memoire post dealing with my festival years. As a portfolio piece, I focus on the content, the end result. Please enjoy some of these highlights from my personal archive.

    Download the complete program guide for 2013.

    Download the complete program guide for 2012.

    Art by Ruby Kapka, 2013 Official Poster
    Art by Mel Rau, Official 2012 Poster
    Listen to Go By Train perform Radiohead’s “High and Dry.” Recorded in 2012.
    Photo by Scott Mayoral (2012)
    Backstage Passes from both years that I was involved.
    Norman Sylvester headlining blues night in 2013.

  • No.Fest

    No.Fest

    Acclaimed Free Music and Arts Festival in St. Johns, Portland

    No.Fest is an event that I co-created in 2008 to promote experimental music and arts in my community. Through 2011, I worked as the project manager and executive director.

    This project led to the creation of InterArts, a 501(c)(3) tax-exempt corporation. Under this umbrella, I would go on to manage the Cathedral Park Jazz Festival through 2013.

    The No.Fest event was a clever, low-cost concept designed to boost main street economies, participation in the arts, and encourage cultural exchange. My co-founders were Chadwick Ferguson and Jeffrey Helwig.

    Throughout the four iterations that I led this project, we expanded and diversified programming while achieving substantial gains in terms of fundraising and community participation.

    The event was broadcast live on KBOO Community Radio every year. We published a music CD compilation in 2010 from live recordings.

    Official Archived Content

    As I sort out the entirety of my digital archive, I will include add content below. Here is a good start.

    2008 Official KBOO Promo
    2009 Official KBOO Promo
    2010 Official KBOO Promo
    2011 Official KBOO Promo
    2010 and 2009 Official Program Covers
    Venue Map inside 2009 Program Guide Booklet
    CD Compilation Packaging, Both Sides

    Unofficial Content

  • THRU Media

    THRU Media

    I am reviving the THRU Media brand. It was a magazine startup, and that is what this page is purposed for, to show the magazine.

    I need it today simply as a production label. There is zero reason not to use it. It takes vastly too much time to generate a new brand, new following, social media pages, when I have hundreds of subscribers on YouTube for THRU. Now I can just call the magazine a thing of the past and possibility for the future.

    Held Gear is the impetus pushing this decision over the edge. Fashion is media and entertainment tied to an industrial product. I am already a media producer and entertainer. Now I need to apply that to the promotion of my fashion brand.

    There is no hurry to launch THRU. I am thinking by the fall, you will begin to see some rad new content. Right now, the brand is just waking up from a coma. Keep up at thru.media.

    Magazine Startup

    Thru Magazine is a defunct Portland, Oregon based company founded by Sean Ongley and Kathleen Dolan, in July of 2015. It was a company set up to launch a new magazine called THRU, and a production company doing business as the same name: Thru Media. The company was administratively dissolved in 2018.

    The first idea for the magazine was developed over several years of blogging, and podcasting, on my self-hosted sites. It seemed to me that evolving my websites could give me a unified path for all of my interests: writing, audio and video, web technology, comedy, music, and arts journalism.

    I had already posted about 100 pieces on my blogs, called Horizon at End Times, adjoined by an audio podcast of the same title, and from a separate blog called Arts Happening. The latter was a feature of my non-profit corporations’ website.

    THRU published more than 300 posts from 29 contributors, ranging from short form music reviews to television-length video documentary.

    As I had laid the path and owned the web properties, I acted in the role of Publisher. Kate came up with the title for the magazine and acted as Chief Editor. Ingrid Horton provided aesthetic guidance and professional design services, although she was not an official partner in the company, she developed our branding as a mutual investment in our future.

    Logo and Overlay by Ingrid Horton

    The content was arts-centric and socially conscious. The editorial directive was to avoid formulaic clickbait headline journalism, to purposefully allow for subjective, long-form writing.

    The slogan was, “Every story contains the world.” It is a turn of phrase based on the holographic theory of the universe, “Every part contains the whole.” Not to be viewed as a lofty guarantee, it is an aspirational slogan, a philosophy to work by.

    Arts Happening was resurrected in name as an arts events calendar. The idea here was to tie the arts reviews to a separate calendar site, creating a content loop, where we curate a selection of our favorite forthcoming events, then repost THRU reviews on select calendar entries.

    In addition to virtual space, the company also built out a multimedia studio in our NW Portland headquarters, and held five art exhibits in the same location.

    Efforts to monetize the magazine were inconsistent. Being a creative pursuit in itself, we were satisfied in the way that artists are with process, and money always seemed a distant prospect. The company earned just a few thousand dollars, over the course of three years. Revenue included an Indiegogo campaign, professional services, and online sales.

    Web traffic was difficult to maintain. Failure to keep a routine publication schedule could be the primary reason for the gradual reduction in traffic. Still, some articles were widely viewed and altogether we had tens of thousands of unique visitors, largely from North America and Europe.

    Originally published at the defunct thru.media, the complete archive is available now as an archive. I periodically repost old content on this site’s blog.

    My personal memoire about this project can be read in a series of blog posts here, entitled, Through Media to the Self.

    Five Selections

    “In a Nutshell: 16 Fertile Ground Festival Acts in Audio

    The piece above is representative to me of the creative multimedia approach that we tried to take for the magazine. Here, we interview 16 different people regarding different performances taking place as part of the Fertile Ground Festival of new local theatre and music. As they lined up, I took a portrait before their turn. Then Kate let them give their pitch first on the microphone. Guided by her own curiosity, off-microphone she asked simple questions. I edited her portions out, and that became the audio for each artist. And we made our content free for them to repost. These press nights for Fertile Ground were famously hectic, as publications large and small were brought under the roof of Artists Repertory Theatre for a mass meet and greet. Kate sat with the artists while I operated the recording equipment and took everyone’s picture.

    American Comedy Finds Itself at Holocene
    The Stand Up Comedy of Tim Ledwith

    Okay, these are two different pieces, but I’m uniting them. The first is a photo spread and written review of the show. The second is a live recording. The execution of these is what I am highlighting. Both accomplish the intent of the media in what I consider to be a professional product on par with accomplished publications. Comedy was fairly well represented. You can also see archives of my Bridgetown Comedy Festival coverage, including an interview with Jonathan Katz.

    Does Silicone Pave Over Gold?

    Kate and I wanted to demonstrate a subjective brand of travel journalism, and we did this by traveling somewhere close by: San Francisco. The place offers a great deal of history and controversy, so it was easy to write many thousands of words on the subject, and capture some compelling photos, audio and video. This is a three-part series and includes all of the multimedia. Additionally, Kate wrote her article about the trip and I know it’s one of her favorites.

    Meet The Moken

    It is very difficult to decide what my favorite work from Kate is, but I selected this film review because she gave a beautiful account of it. Maybe I really enjoyed the film, too. We attended the premiere of Olivia Wyatt’s feature documentary entitled Sailing the Sinking Sea, and this is a review of the event. Also, if you just dive into Kate’s work, I think you’ll find a lot of heartfelt stuff. She is working today professionally, as a writer, and I know THRU gave her some of the chops to achieve this lifelong dream of hers.

    We’ve Been Trumped

    This is probably one of my best arts reviews of all time. Firstly, it is about Mike Daisey. He was at one time my favorite living performer, at least in terms of monologue (including stand-up comedy). I looked up to him greatly, as he was dangerous, his work challenged the status quo and looked deep into the hearts of megalomaniacal men. His 2016 campaign era monologue The Trump Card was an excellent show. Most importantly, this article shows why and how Trump was about to win. People were mad at me every time I predicted it, but I agreed with Daisey in this piece. Since his dramatic rise and fall surrounding the masterpiece The Agony and Ecstasy of Steve Jobs, I feel that he has fallen into a safe mainstream left status quo, which isn’t interesting. I sided with him when many did not, moreover, he is one of the broader inspirations behind THRU. His capacity to research and directly experience his subject matter was extraordinary and I felt journalism needed a voice like that.

    Animation by Andrew Killough

    Kate Dolan, Estevan Munoz, Jen Scholten (left to right) are riding the Max train to cover the Bernie Sanders rally, July 2015.
    Design by Jen Scholten for use in an Indiegogo campaign
    Background and Header Filler by Ingrid Horton
  • 1977 Volkswagen Dasher Fastback

    1977 Volkswagen Dasher Fastback

    Historic, Rare, and Unwanted

    For almost three years, up to the summer of 2017, I owned and maintained one of the most obscure models of the Volkswagen lineage. As the headline suggests, it was the Dasher. Although it is a very special car to myself, and to history, it hasn’t built a long-standing position with auto collectors.

    Well into the age of modern cars, VW and Porsche famously built air-cooled engines mounted in the rear of the vehicle. In 1974, facing new air pollution and fuel economy standards, they finally entered the modern age. They attempted to make a splash with a new fleet of front mounted water-cooled engines, and a fresh look.

    Industrial designer Giorgetto Giugiaro was commissioned for the modern VW fleet. He had established himself for decades with designs for Ferrari, Maserati, Alfa Romeo, BMW, and more, and was named in 1999 as “Car Designer of the Century” by the Global Automotive Elections Foundation. The Dasher may be counted among his less celebrated work, along with the Delorean, aka the time machine from Back to the Future

    Engineering crucially came from the original Audi team, sharing systems with the Audi 80. This is where it gets interesting. The first Audi 80 was given a facelift by Giugiaro then rebranded for American markets as the Fox. Similarly, the VW Dasher was actually the Passat, in Europe. And finally, they all shared high-performance components with Porsche.

    I didn’t know until I became a VW owner that Audi, Porsche, and VW were one massive automaker. This American branded Dasher was supposed to be the family’s perfect car, combining the luxury of the Audi with the sportiness of the Porsche with the economy of the Volkswagen.

    The 1977 Dasher coupe and the Porsche 924 were essentially the same car: Both had in-line 4-cylinder motors mounted at 45-degrees with Bosch mechanical fuel injection, fastback design with adequate interiors to fit five passengers. Naturally, the Porsche had a stronger motor (2.0L versus 1.6L) while sharing the same four speed manual transmission. My Dasher was a fake sports car. It sounded like one, it felt like one, but it was still a VW.

    Getting It Started

    A good friend, Tony, gave me the car because it wasn’t starting, and it had been breaking down all the time, and after years of inaction, the interiors were beginning to mold.

    When you have a car that isn’t starting, you have to investigate the problem from three pillars: Air, Spark, and Fuel. If it is cranking, as mine was, but not combusting, then it can be a lot of things. Air blockages can be visually inspected without the car running. I found an old and moldy air filter and a few weak connections in the vacuum lines. Handled those first.

    The battery needed to be charged and good enough to crank over the engine to deliver enough current to activate the spark plugs, to ignite fuel at the combustion chamber. You need solid main power and main ground connections. After charging up, cleaning connections, and installing new plugs and wires, no change. I was really taking shots in the dark. After all this I realized that the electric fuel pump wasn’t switching on.

    It turned out that Volkswagen had a recall on this model for its overheating fuel pump circuit. The circuit inside the fuse panel had gone resistive, meaning it would not pass current. I had to bypass it to get the fuel pump to operate without its relay system. Not ideal, but it repaired the problem, and by adding an in-line fuse, it was safe enough to operate. I also went to the junk yard and pulled fuel injection parts from a Porsche 924. And of course a new fuel filter.

    When I was sure that fuel was working itself through the system and air was sufficient, I thought it would start. But not yet. At least now I could focus on spark. Without it running, I was continuously charging the battery because cranking the engine draws tons of energy and I still hadn’t isolated the problem.

    I soon gave up and soft towed it down the street to a VW garage using my van. A fellow named Marcel got it running just like that, in the street, didn’t charge me. Turned out I didn’t know a thing about ignition points. I had dealt with distributors before, but points are old school timing mechanisms, and they need to be perfectly gapped to run the ignition system.

    The struggle wasn’t yet over. There were still plenty of issues to address, but I had it running.

    Read the personal memoire about this experience here.

    The Rebuild

    That is only the saga of getting it running. From then until summer 2017, before I sold it to another Dasher lover in Idaho, I was constantly catching up with maintenance, even whilst getting ahead of maintenance.

    I noticed it was losing performance after about a year, struggling up hills more than it used to, using more fuel. Then suddenly, one day I went to drive it and it would not start. It cranked and cranked. I ran a compression test and found its pressure levels were below specification. That means one thing: crap motor.

    Rebuilding the engine in my situation was not ideal. I pulled the motor at the barn in which I was living, using a “cherry picker” hoist. I picked up Doug in Tony’s truck, brought him to the barn, and after pulling it, loaded it into Tony’s truck, then delivered it to Doug’s warehouse.  I had to commute to Doug’s place and put in a few hours of work a day, ordering all the parts online. This extended the length of the whole project with every small hiccup.

    When Doug and I tore it down at his garage, we did not discover any damage that should have stopped it from running. Sure, you could spot a little wear, but all the rings, bearings, pistons, valves were intact, the crankshaft was not pitted, or camshaft, and we didn’t have to bore down the cylinders. Doug has rudimentary machining equipment for the minor issues. I got lucky.

    Before and after this, I was plagued with electrical issues, I was always ringing out towels to keep the interiors dry, I was constantly trying to get emissions right without losing performance (and there was no way it could pass Oregon regulations without being leaned to hell). I mean it was annoying, this car. For some reason, I loved it.

    I made it halfway to a complete restoration with this car, in the two and a half years I drove it. I rebuilt the motor, replaced almost all brake system components, alternator, starter, battery, steering, tie rods, ball joints, car stereo, throttle and clutch cables, belts, and more. I would have moved onto interiors, but I was constantly handling mechanical or electrical problems. It was just the most rational thing to sell it to a collector, take it out of daily driving.

    I’m glad I got back what I put into it, financially. I needed a car, it got me to my jobs, earning my living. Maintenance costs what it costs. It was always turning heads on the street. It was fun to drive, and I learned so much about auto-mechanical engineering that I can tackle a project like this again knowing what to expect.

  • The Point

    The Point

    The Point was a project, and a place, that entered development in October of 2012, unfortunately to be shuttered exactly one year later. It was a collaborative idea, one that completed successfully and served its purpose for the brief time that I did it.

    The project in short was the restoration of a 1920’s two bedroom house with mixed zoning for commercial and residential use. It was built with Oregon “cracker box” style, a foundation of wood posts on dirt forming a square. A major flood would ruin this place. The owner knows he’ll eventually raze the lot, so the scope was limited.

    It was purposed as the offices of InterArts, providing us with valuable event space including an art gallery, a shared office suite, multimedia presentation suite, a private office, and a residence for myself. It was a difficult decision to let it all go.

    Contractors filled in where I was neither confident in my skillset nor my volunteers. Together, we improved electrical systems, replaced flooring, repaired kitchen and bath facilities, revived landscaping, painted everything, and cleared a literal ton of garbage while recycling and repurposing everything else possible.

    I was familiar with the house, having partied there several times through its heyday as “The Yellow House” between roughly 2009 and 2012, but it was Anisha Scanlon that picked up the lead to get in the property, hoping it would be a good HQ for her non-profit in development, Portland Organic Productions. And the idea for The Point originated years before with David Bryant, as we had worked on a plan to open a studio and event space in the neighborhood.

    We had some important volunteers that I want to give credit to. Todd Guess directed the landscape design, teaching us about permaculture. He joined my Board of Directors later on as well. Richard Colvin gave high level administrative work improving our organization and financial planning. Joe Stone frequently schooled me with his construction skills. Robert Lewis got on a painting roll.

    I can take credit for project management, much of the design, and for executing many tasks. The project was completed within about four months, costing mere hundreds of dollars on my end and few thousands on the owner’s end.

    Considering the improvements we made, the property owner got an excellent deal, as we contracted within our network, he saved massive labor costs, and increased its rental value. Because we were repairing a commercial property rental, which is a normal business activity, we had access to our own in-kind donor network, providing hundreds of dollars in savings with donated materials. We painted the whole exterior of the house without spending a dollar.

    Today, I own a home and had I not gone through that, I believe I’d be in a poor position to restore this house all on my own. Nonetheless, I have to admit that it is a shame that I did not keep my non-profit and that project going, as it was rare opportunity.