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342-3358
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The Billy Tipton Memorial
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HOOpm $5
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II 00 p m $3
Sunday apmu $3
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9 011 p m
Music Starts at 10pm
Mon-Sat
Music starts at 8pm Sundays
/—poppi V—
_y4narl-olia.
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•Th« land East*
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p *' Grttk b kndtin food
Winter Hours
Mon-Thur* 1130-9-30
Frl & Sat 1130-1000
Sua 500-4000
992 Willamette
Eugene. Or 97401
343-9661
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906 W. 7th • 344-9523 • Closed Monday
The Vet’s Club
has ambiance
with lots of
historic character
and is
The Vet's Club Lounge, located at
Photo tty Anthony Fom#>
1626 Willamette St., otters a mixed crowd and relaxed atmosphere.
Home
for all
Kinds
By D. Lee Williams
For ttv Oregon O&ty f meraid
It'S ten-something Saturday night and
my friend's just jammed from our table
at The Vet's Club to the bar for 7&7's. In
a nearby corner stands a fairly hot hip
pie-chick with long curly hair and a
glass full of orange juice and probably
vodka.
She's debating with a hippie girlfriend
if she should bike to her ex-boyfriend's,
hike home and crash or saunter over and
snuff out the frattv guy in khaki shorts
— who's been staring her down for quite
a while — by pointing to his crotch and
saying. "Excuse me — are those Bugle
Boy pee spots you're wearing?”
She opts for the snuff, but the band
breaks into something rowdy, corner
couples crowd the dance floor and my
view of the hippie-chick’s dude-snuff is
bloc ked My friend mazes back from the
bar, sticks me my drink, catches the
remaining hippie-chick in our corner,
tells me he's going to ask her to dance,
and I say, "Wrong." He asks. "Why
wrong?" and 1 say, "You don’t want to."
I suck rny 7 and add, "Just trust me."
This is a rocky exception at The Vet's
Club, not the rule. Just a minor conflict,
it is the only chaos in an otherwise calm
mix of cliques at the lounge, located in
The Veteran's Memorial Building at
1626 Willamette St. The building itself
is split into a restaurant and a lounge.
The lounge — open from 11 a m. to 2
a.m. — holds the music, booze and
action.
And the action is unpretentious, non
segregationist drinking. Tfu Vat's is a
democratic mix of all twenty-something
demographics, with certain, loyal
cliques of interest. Here, hippie is cool,
gay is OK. grunge filters in and fiat is
The Vet’s Club Is a democratic mix of all
twenty-something demographics, with certain,
loyal cliques of interest. Here, hippie is cool,
gay is OK, grunge filters in and frat is
tolerated. You see the macho and the meek,
the pretty and the plain, smell Polo and
patchouli, feel revulsion and lust.
tolerated. You see the mm ho and the
meek, the pretty and the plain, smell
Polo and patc houli, fee! revulsion and
lust.
There are a few scattered elderlies,
probably regulars, probably vets On this
night, a gray guy in bifoc als and a Gulf
War cap was indic ative of the lounge as
a lush-melting pot; not only was he
capped in a patriotic fiat but. oddly
enough, shoed in a c ounter-c ulture pair
of Blrkenstocks as well (Authentic ones,
too — 1 followed him to the restroom
and verified the trademark under the
stall.)
The club's best feature is its design,
particularly a wall separating the lounge
proper from the dunnnfloor/stoge area
This addition sets The Vet's apart from
other live-bond bars — Taylor s and
Good Times — where you're forced to
face the music: even if you just want to
sit. tune-out. talk with friends and get
loaded.
The interior design is unforced
ambianc e and total comfort. Colors are
basic: block and blurry-eyed, bloodshot
red. Smoky-red leather pads the long bar
on one side and plumps big booths all
around. Blac k veins poke out from the
dark-as-dirt wood walls (hal ve soaked
up a half-century of war stories and a
million bar tales.
The entranc e hull holds a plaque hon
oring Lane County's female veterans,
while badges and medals deck the
lounge's main wall as proof of the prin
uiplos for which our fathers fought
There's a barelv-alive jukebox in a
dead fireplai e next to a makeshift stage
It may look cheap 'n* cheesy. but b\ no
means is The Vet s a dive It s your
grandfather's basement.
The wait staff is as fast, accurate and
attentive as the wait people at Sixth
Street Grill (the best in town, despite
their snobbery), but could benefit from
better hygiene.
Bathrooms are handit apped-ai c essi
bln and huge. Big enough for one to feel
comfortable retching in without disturb
ing the stall next door.
The Vet's Club Lounge is for honest
drinkers, and the booze is moderately
priced The establishment is not a jnem
her of the poser's club union, headed
locally by the Cuidu s Scandnl's-At The
Kow l oon and Coconut-|oe's triumvi
rate
There's only a thin stretch of mirror
above the bar area, too Mostly out of
sight, this almost fulfills my law that
says no drinking establishment should
ever have a mirror in plain sight
In the lexicon of drink similes
where The Oregon Klectrii Station is
like the classic martini; Ihgh Street (Utfe
the simple bottle of Bud. and Club
Arena at Perry's a Sc reaming Orgasm
The Vets Club is a Long Island Ic ed-Tea
a rowdy mix of a lot of different ingredi
ents that, somehow, goes down pretty
smooth and sits pretty well
EXHIBIT
Continued (rom Page 5
awareness of the prevalent^' of sexual abuse
by bringing the issue out into the open
Ixeumse "so many people want to close their
eyes and deny that it's happening," said
Nancy Frvv, artistic director at Maurle
Kerns.
A<i urdmg to i urrent statistics, sexual
abuse is indeed a common occurrence
Nationally, one out of four women and one
out of five men are sexually abused before
the age of IH. This translates into approxi
mutely :tr),(iO() victim* in Eugene-Spring
field.
Another purpose of the exhibit is to illus
trate the therapeutic effects of creative
expression Even when the more traditional
verbal therapy falters, art can help inner
feelings of anger, frustration and c onfusion
to surface, local therapists said
lafigh Files, a registered art therapist and
psychodramatist whose artwork is in the
show, said art therapy can be particularly
effective in sexual abuse cases for several
reasons.
For one. she said, it can help get out infor
mation that cannot he expressed through
words, perhaps because the victim is in the
initial, more timid stages of disclosure or
because the abuse occurred in the pre-verbal
stage of the person's development.
Another reason is that many victims
repress their memory of the abuse but then
experience nightmares or flashbacks. Due to
the visual nature of these nhenomena. art
therapy is "a good match," Files said,
because it can tap into the subconscious.
People retain imagery of abuse and other
events subconsciously while their con
scious minds may not specifically remem
ber, registered art therapist Judy Franzen
said during the March 14 "Critical Mass
KLCC. radio talk show.
The use of art as therapy implies the cre
ative process can be used to reconcile emo
tional conflicts associated with sexual abuse
and other traumas, according to The North
west Institute for the Creative Art Therapies
Inc., for which Files is executive director.
Furthermore, art therapy can feel more
safe for survivors. Files said. For example, a
Photo O*
Laurie Patrick (left). Emma Daugherty and Greg Sothraa at the Maude Kerns art exhibit.
child can draw a big monster hurting a
defenseless rabbit to symbolize the real-life
abuse in his or her home.
Yet a third purpose of the show is to male
available information on local counseling
resources and family support services
Also, local agencies such as WomenSpace
and the fasper Mountain Center created a
adjoining exhibit by contributing artwork by
children who are in treatment at those agen
cies. Having lived in abusive situations,
thuse children reveal much with their fre
quent use of black and red — often the col
ors of choice for survivors in art therapy —
and symbolic or sometimes straightforward
representations of the abuse they suffered
Because of the explicit content of the
show, Maude Kerns has staffed the gallery
with a “safe person" to provide viewers
with emotional support if they need it Also,
the art center staff suggests that visitors
bring a friend and view the show a little at
a time.
Planning for “The Silent Child" began a
couple of years ago when Maude Kerns
member Phyllis Holland was in New York
City, where she saw Ariel Orr Jordan's art
work and invited him to do a show in
Eugene. “The Silent Child" features Jordan's
photographic installations along witn me
work of 1H Oregon artists
For many of thus* artists, using thoir ere
ativity in the process of recovery was not
necessarily a conscious choice.
As Jordan wrote. "1 never planned to do
work about trauma If it were up to me, I
would deal with highly conceptual and
non persona l artwork
~1 was surprised with the suppressed,
horrifying images and their extreme emo
tions that in spite of myself desperately
tried to surface and be seen and heard."
Various workshops and panel discussions
are also presented at the art center to com
plement the exhibit and further involve the
community. So far the exhibit has garnered
widespread community involvement, such
as an opening reception attendant* of about
150 people. Frey said.
Remaining workshops include "Art Ther
apy for Adult Survivors." a panel discussion
with Leigh Files, Steffi Neyhart and Lucy
Kingsley from 7 to 9 p.m. April 15 and an
"Inner Child Healing Meditation" with Lori
lynn imbler at 7 p.m April 22. For more
information, call the Maude Kerns Art Cen
ter — located at 1910 E. 15th Ave. — at 345
1571.
LIEUTENANT
Continued from Page 5
moral level beneath this man. It’s
not so much the acts, but the fact
that they are committed so easily.
If you think that showing such
behavior endorses or condones it.
then there is no possibility that you
will find a redeeming value in this
film.
But that is a big pari of what For
rera is trying to achieve. If by the
end of this film the audience is
desensitized to what they have just
seen, then we are proven to not be
on the high moral ground we migh'
assume we are on. There’s an impli
cation in this film that none of us are
as far from becoming’ this character
ns we may hope.
It's also an indictment of the
Catholic Church and any religion
where salvation for a life of sin can
tie gained by a statement of belief.
But redemption and salvation are
not that easy. Ferrara seems to be
saying.
It has been said that there are no
atheists in foxholes. The point of
course is that when people are close
to death, they search for something
that may or may not exist to grant
clemency and forgiveness for sin
This is what Keitel's character (he’s
never mentioned by name) tries to
do near the end of the movie.
But up until the last 20 minutes of
the film, there is no conscience to
anything he does and no desire to
redeem himself. It's only after he
looks into the abyss and sees certain
doom, that he finds Jesus as a conve
nient solution to bis life of depravi
ty
Bad Lieutenant is a greater film
the more one thinks about it It
makes important points and is
Courtofty Phoo
Harvey Keitel stars In Bad Llautanant
as a man apparently lacking a con
aclanca.
filmed in such a realistic manner
that there are few moments that it
even feels like a film. It's more like
following a man who we hope will
disappear to put him and us out of
our misery
Ferrara is a rare director who
knows how to use silence to make a
point. He can hold a certain shot
and have no one make a sound and
make it one of the more poignant
moments in the film. He does this
several times.
At times. Bad Lieutenant even
works as a black comedy. Don’t he
surprised if you find yourself laugh
ing at times, though you may feel
guilty about it. This is a film filled
with moments that evoke strong
emotions, often surprising ones.
And because that seems to be the
point of this movie, it works com
pletely.
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