Letter: Governor must reject Kalama plant
All along the Columbia River, communities have rejected proposed industries that add greenhouse gas to the atmosphere in place of non-polluting industries and businesses. With the increased tourist attractions on the waterfront in Kalama, more tourist dollars help support the community. So why should Gov. Jay Inslee support Northwest Innovations Works, whose methanol refinery will be the largest polluter the state?
This company falsely claims the methanol plant will help reduce climate change, while downplaying the environmental impacts that threaten the current citizens and future generations. Gov. Inslee has claimed to be an environmental governor and has claimed to be neutral about the proposed plant; an environmental leader should never be neutral, but should lead to stop climate change.
Letter: America falls behind on climate
In response to “Make Others Cut Emissions” (“Our Readers Views, Dec. 10), the author seems painfully unaware of China’s commitment to fighting climate change.
To paraphrase a National Geographic report: China is ramping up its efforts on renewable energy and to curb its use of coal. They already possess the world’s largest solar farm, producing over 200 megawatt hours of power daily. They have halted construction of over 100 coal-fired power plants, and have committed to spend $360 billion by the end of the decade. As a signer of the Paris agreement, China aims to get one-fifth of its energy from nonfossil sources by 2030.
Meanwhile, the U.S. commits to abandoning the Paris agreement, increasing use of coal, renewing coal jobs, opening up more lands to oil exploration, and generally ignoring reality. The leader of the nation says he doesn’t believe the latest report — co-produced by 13 government agencies and over 1,000 scientists, peer reviewed, and published just after Thanksgiving. It seems for every projected climate blight our leadership buries its head even deeper into the sand. Fortunately, states are trying to take up the federal slack.
Actress Sondra Locke dies at age 74
LOS ANGELES — Actress and director Sondra Locke, who was nominated for an Academy Award for her first film role in 1968’s “The Heart is a Lonely Hunter” and went on to co-star in six films with Clint Eastwood, has died.
Locked died Nov. 3 at her Los Angeles home of cardiac arrest stemming from breast and bone cancer, according to a death certificate obtained by The Associated Press. She was 74. Authorities were promptly notified at the time, but her death was not publicized until RadarOnline first reported it Thursday. It is not clear why it took nearly six weeks to come to light.
Locke was best known for the six films she made with Eastwood — whom she dated for 13 years — starting with the Western “The Outlaw Josey Wales” in 1976 and ending with the Dirty Harry movie “Sudden Impact” in 1983.
Born Sandra Louise Smith — she would later take on a stepfather’s last name and take on the stage name Sondra — Locke grew up in Tennessee, where she worked at a radio station and appeared in a handful of plays before winning a nationwide talent search in 1967 to be cast opposite leading man Alan Arkin in the movie adaptation of Carson McCullers’ 1940 novel “The Heart is a Lonely Hunter.”
She would win raves for the role along with nominations for a Golden Globe and an Oscar. Both awards went to Ruth Gordon for “Rosemary’s Baby.”
She had a run of unmemorable film and TV roles until meeting Eastwood on the set of “Josey Wales,” which he both directed and starred in.
Her career would mirror his for the next several years. The pair’s hit films also included the 1978 street-fighting and orangutan comedy “Every Which Way But Loose” and its 1980 sequel “Any Which Way You Can.”
Locke also played singer Rosemary Clooney in a 1982 TV biopic, and directed the 1986 film “Ratboy,” which flopped in the U.S. but was popular with critics in Europe.
In 1989, Locke’s charmed life came to an end as Eastwood broke up with her, she later wrote. The locks were changed and her things were placed outside a home she thought had been a gift from Eastwood.
She sued Eastwood for palimony then later sued him for fraud saying a movie development deal he arranged for her was a sham to get her to drop the palimony suit. They settled the highly publicized lawsuit for an undisclosed amount during jury deliberations in 1996.
The following year she released her memoir, titled “The Good, the Bad and the Very Ugly: A Hollywood Journey,” which also detailed the double mastectomy and chemotherapy that came with her first bout with breast cancer.
She told the AP at the time that the title, a play on one of Eastwood’s films, was “applicable to the story.”
“I try to cover the good years as well as the bad and the ugly,” Locke said. “Also, that in even the worst ugly things there can sometimes be a lot that will make you a better person.”
Locke had married actor Gordon Anderson in 1967. According to her death certificate, the two were still legally married when she died, and he was the person who reported her death.
Nation’s first black priest on road to sainthood
The story of America’s first black priest begins with a miraculous escape from slavery in 1862.
Augustus Tolton, who is being considered for sainthood by the Catholic Church, was born enslaved in Missouri in April 1854. His parents, Peter and Martha Tolton, had him baptized Catholic, the faith of the family that owned them.
When the Civil War broke out in 1861, Peter Tolton ran away to join the Union Army. Months later, Martha Tolton also fled with her three children, Augustus, Charles and Anne — a bid for freedom that nearly ended in capture.
The Toltons were chased through the woods by Confederate slave catchers.
“We stayed hidden in the bushes, afraid to breathe,” recounted actor Jim Coleman, who is starring as Augustus Tolton in the one-man play “Tolton: From Slave to Priest,” which is being performed at Bishop Ireton High School in Alexandria during a national tour. “They dragged us out. But like angels coming down from heaven, we saw Union soldiers. They smuggled us into a dilapidated row boat and pushed out into the mighty Mississippi River.”
The Confederate soldiers continued to shoot at the boat, as Augustus’ mother rowed across the muddy Mississippi River.
“Bullets whizzed by our heads. We crouched down in bottom of boat,” the actor playing Augustus says. “That is when our Mama showed us what she was made of. Mother courageously rowed that boat. With each stroke, she prayed, ‘Hail Mary, full of grace. The Lord is with thee.'”
When they made it safely across the river to freedom in Illinois, Martha Tolton broke down and cried. In Illinois, they got directions to the small settlement of Quincy, where they joined a Catholic church. Tolton’s mother took him to a local Catholic school and asked the priest to allow Augustus to study there.
“He was initially welcomed into one of the Catholic schools,” Coleman said in an interview, “but he was kicked out because parishioners didn’t want a Negro child in the school.”Religious education
Peter McGirr, a priest, was impressed by Tolton’s intelligence and groomed him, teaching him Latin and Greek. He encouraged Tolton to enter the priesthood.
“McGirr promised Augustus he would be educated,” Coleman said. “He wrote letters in the U.S. to get Augustus into a seminary. None accepted him because of his race. Then Father McGirr wrote letters to Rome, saying this individual was brilliant.”
In 1880, Tolton was sent to Rome, where he entered the seminary at Collegium Urbanum de Propaganda Fide. Six years later, on April 24, 1886, at the Basilica of Saint John Lateran in Rome, Augustus Tolton was ordained a priest.
“Pope Leo XIII delegated Cardinal Giovanni Parocchi to officiate at the ceremony,” according to a biography by the organization seeking sainthood for Tolton.
Tolton celebrated his first Mass in St. Peter’s Basilica in Rome. “It was April 25, 1886, Easter Sunday,” according to the Tolton canonization biography. “Pilgrims and tourists must have wondered when they saw a red-robed cardinal taking his place beside a black priest.”
Tolton thought he would be sent as a missionary to Africa, but the Vatican ordered him to return to the United States. “It was said that I would be the only priest of my race in America and would not likely succeed,” Tolton wrote, according to the Catholic News Herald.
But he did, becoming a popular pastor of St. Joseph Church in Quincy.
“He was loved,” said Coleman, the actor who is portraying him. “But the problem was he was taking parishioners from white churches, even protestant churches. Everybody wanted to see this priest who studied in Rome. They ran him out of Quincy.”Chicago church
In 1891, he was sent to Chicago, where he opened St. Monica’s Church, built with donations from philanthropists Anne O’Neill and Katharine Drexel. (Drexel became a saint in 2000.)
“It is the first Catholic church in the city to be built by colored people,” a Jan. 15, 1894, article in the Chicago Tribune reported. “More than this, it is the first church of the kind constructed in this State and probably the only Catholic church in the West that has been built by colored members of that faith for their own use.”
“Father Tolton’s success at ministering to black Catholics quickly earned him national attention within the Church,” according to the Catholic News Herald. Augustus Tolton was known for “eloquent sermons, his beautiful singing voice, and his talent for playing the accordion.”
He was described in one newspaper article as “a fluent and graceful talker and has a singing voice of exceptional sweetness, which shows to good advantage in the chants of the high Mass. It is no unusual thing for many white people to be seen among his congregation.”
Just three years after St. Monica’s dedication, Tolton was on his way to the church on a hot July day in 1897 when he fell to the sidewalk, apparently suffering from heatstroke. He died at Mercy Hospital in Chicago at the age of 43.
More than 113 years after his death, Cardinal Francis George, who was the archbishop of Chicago, announced the push to make Tolton a saint.
In 2012, Tolton was granted the title “servant of God” by the Vatican’s Congregation for the Causes of Saints, allowing the Archdiocese of Chicago to proceed with an inquiry into his life and virtues.
Tolton is one of six African-Americans and three former slaves being considered for sainthood — a process that can take decades.
Soundtracks may steal show at Grammys
In terms of sheer breadth and impact, there’s likely never been a better year for movie music at the Grammys than the upcoming 2019 awards.
Two films, “A Star Is Born” and “Black Panther,” have soundtracks or singles contending in several top categories. A third, “The Greatest Showman,” got a pair of nods (it was the first million-selling album in the U.S. in 2018, and currently clocks 51 weeks on the Billboard album charts).
The three are very different films — a big-tent, big-message Marvel franchise movie with a Kendrick Lamar-driven soundtrack, a classic Hollywood tale updated for contemporary crowds that revitalized Lady Gaga’s pop career and gave Bradley Cooper one of his own, and a traditional musical-spectacle from a nimble movie star and a lauded songwriting team.
In the case of “A Star Is Born,” the full soundtrack isn’t even in contention until next year as it was released days after the Sept. 30 cut-off for February’s gala. And with some music-heavy films released late this year, including “Vox Lux” and “Mary Poppins Returns,” we’ll be feeling the impact of this year’s movie-music bounty for some time yet.
Film soundtracks have certainly had their Grammy-dominating years — a relationship that extends to practically the inception of the Grammys.
The first album of the year, was, in fact, Henry Mancini’s soundtrack for the “Peter Gunn” TV series. The most recent ceremony dominated by a film soundtrack was 2002, when the Coen brothers’ hit “O Brother, Where Art Thou?” took the top prize.
That was a compilation album though, and the other film-soundtrack album of the year winners have generally come from a single artist: See 1994’s “The Bodyguard” soundtrack (with its chart-smashing work from Whitney Houston) and the Bee Gees’ era-defining disco cuts from the 1977 film “Saturday Night Fever.”Lamar leads the way
“Black Panther,” easily one of the year’s most profitable and culturally significant films, has a wide range of soundtrack contributors. But there is one artist connecting all of them.
Lamar, the unrivaled king of L.A. hip-hop for a generation and counting, performed, produced and curated the soundtrack, which pops up in album, record and song of the year (for his SZA collaboration “All the Stars”), along with rap song (for “King’s Dead,” with Jay Rock, Future and James Blake) and song written for visual media.
The soundtrack is a coronation for Lamar and Top Dawg Entertainment as not just a dominant force in hip-hop, but as a cultural institution capable of driving the biggest-ticket events in entertainment.
“A Star Is Born,” meanwhile, is coming into the 2019 Grammys with almost all of its tear-jerker soundtrack out of contention. But that didn’t slow its Grammy reach, with the lead song “Shallow” up for record and song of the year, pop duo/group performance and song written for visual media.
The tune (written by Anthony Rossomando of Dirty Pretty Things and Andrew Wyatt of Miike Snow) is one of the film’s showstoppers. Being up against “All the Stars” may dilute its chances this year, but even though it barely snuck into Grammy eligibility, it will likely be far from the last we hear of it, what with it also nominated for a Golden Globe, Oscar nods still to come and the album getting recognition at the 2020 Grammys.
“The Greatest Showman” didn’t get the same critical accolades as either of those films, but the starring turn from the eternally likable Hugh Jackman proved ultra-resilient on the charts.
The songs came from one of Hollywood’s favorite writing teams, Benj Pasek and Justin Paul (they wrote the Oscar-winning “City of Stars” from “La La Land,” along with a deep haul of award-winning musical theater productions).
Letter: Country headed toward dead end
The meaning of the action word “creating” is understood by most people. There is, of course, positive creations and negative creations. A lot of people are sometimes confused and are not sure when a creation is positive or negative. Others of good intentions may know the difference, but mistakenly create statements that turn out to be negative.
If it has not been noticed, our country has problems and unfortunately many decisions turn out to be negative. It appears that we have forces that create negative statements on purpose. Going down negative paths lead to a dead end. It appears it is time something be done to correct the situation or the country may end up at that dead end.
AP’s top albums for 2018
NEW YORK — The top 10 albums of the year by Associated Press Music Editor Mesfin Fekadu.
1. Janelle Monae, “Dirty Computer”: When Janelle Monae released the masterfully brilliant “The ArchAndroid” in 2010, it was hard to imagine how this futuristic, already-seasoned artist could grow, and where that growth would take her. Enter “Dirty Computer,” her third full-length album and another work of genius from one of contemporary music’s best entertainers. There are so many ways to describe this stunning album: Honest. Fun. Sexual. Political. Thought-provoking. Empowering. Liberating. And simply put — it’s just damn good.
2. Kacey Musgraves, “Golden Hour”: At its base, Kacey Musgraves’ fourth album is a country record. And woven into it are sounds like dance, pop, R&B and other genres. The result is a piercing, soulful album where Musgraves’ gliding vocals treat each song like a mini masterpiece. The lyrics are strong and sharp throughout the 13-track album, and each song is touching and beautiful.
3. J. Cole, “KOD”: At a time when the entertainment world is questioning the relevance of the Grammys, it’s hard to take the organization seriously when J. Cole’s “KOD” didn’t garner a nomination for best rap album. His fifth release, which he mainly produced on his own, is powerful, striking and remarkable, and easily the year’s best hip-hop album, and we don’t need a Grammy co-sign to confirm that.
4. Various artists, “Insecure: Music from the HBO Original Series, Season 3”: There’s not much that can hold you over during the months and months of waiting in between seasons of “Insecure,” except for the TV show’s epic soundtrack. Every song is outstanding and the track list will give you a chance to discover some artists you may have never heard before.
5. Chloe x Halle, “The Kids Are Alright”: The sister duo Chloe x Halle have beautifully mastered harmonization, and they sound like angels throughout “The Kids Are Alright.” The next-level songs prove there’s more to come from the talented Beyonce mentees.
6. The Carters, “Everything Is Love”: Beyonce’s debut rap album was an adventure and further shows that there is probably little she can’t do. She shines, alongside Jay-Z, on their first collaborative album that is a mix of Soundcloud rap, alternative R&B and overall amazingness.
7. Robyn, “Honey”: Robyn’s album is like a tasty dessert, with just the right amount of sweetness.
8. Ariana Grande, “Sweetener”: With all her successful singles, Ariana Grande may not come across as an album artist, but that’s not accurate. “Sweetener” is her fourth album and her fourth laudable effort, which is a great blend of upbeat jams and pop-R&B ballads.
9. Christine and the Queens, “Chris”: French singer Christine and the Queens’ sophomore album is a pop escapade, with addictive songs like “Comme si,” “Girlfriend,” “Goya Soda” and “Feels so good” worth listening again, again and again.
10. Madisen Ward & the Mama Bear, “The Radio Winners”: Harmonizing with family members — done correctly — can feel like an out-of-body experience. The mother-and-son duo Madisen Ward & the Mama Bear know how to do just that, and their latest EP, “The Radio Winners,” proves it.
Clark County Business Briefing
People in Business
Two Clark County organizations received Workforce Southwest Washington’s Excellence in Workforce Development Awards, which were presented at its Dec. 12 board meeting. The Greater Vancouver Chamber of Commerce received the Innovation Workforce Development Award for its program called stemCONNECT, which aims to help high school students find high-demand careers in Clark County. Students who participate make on-site visits to local businesses. Teachers reported that 22 of the 34 students who took part in the first visit to local business Webfor enrolled in Fort Vancouver High School’s CTE web design course this past fall. Interject Data Systems received the Excellence in Building Workforce Partnerships Award for its work with various Clark County organizations. Working closely with Washington State University Vancouver, CEO Jeff Honsowetz and his team mentor and apprentice college students to help them develop professional experience while they complete their last two years of school. There are six students in the program. Honsowetz also started a free coding club for children to help them gain confidence to create technology, and this summer, WorkSource hosted an eight-week session of the club. Additionally, Interject Data Engineer Chris Hight started a nonprofit organization called Future of Code, which holds classes and clubs for students 6 to 18 years old at multiple locations in Vancouver. Special Power of Partnership Awards were presented to Clackamas Workforce Partnership and Worksystems. Learn more at www.workforcesw.org.
Three Vancouver businesses were named the Holiday Storefront Window Contest winners by Vancouver’s Downtown Association. Twenty businesses participated in the contest. Winners include:
• Most Original Window: Sincerely the Bride, 111 W. Seventh St.
• Best Lights: Leupke Flowers and Finds, 1300 Washington St.
• Most Traditional: Divine Consign, 904 Main St.
The Columbian welcomes submissions about Clark County residents or businesses, as well as regional business events. Information must be received by noon of the Tuesday preceding the intended Sunday publication date. Send to firstname.lastname@example.org or fax 360-735-4540. Sales awards are not published.
Carroll, Sharon Lavonne, 83, Camas, died Dec. 9, 2018. Evergreen Staples Funeral Home, 360-693-3649.
Kim, Jung H., 86, Vancouver, died Dec. 12, 2018. Cascadia Cremation & Burial Services, 360-213-2060.
Montgomery, Richard F., 65, Vancouver, died Dec. 8, 2018. Evergreen Memorial Gardens Cemetery, Funeral Chapel and Crematory, 360-892-6060.
Spence, Sandra Ann, 76, Vancouver, died Dec. 11, 2018. Davies Cremation & Burial Services, 360-693-1036.
Townsend, Michael Allen, 60, Vancouver, died Dec. 12, 2018. Brown’s Funeral Home & Cremation Services, 360-834-3692.
Gloudeman, Amanda Jo, 34, Vancouver, and Blakney, John Phillip, 34, Vancouver.
Stockton, Daniel Robert, 35, Vancouver, and Wignes, Francesca Lisa, 32, Vancouver.
Davidson, Anne Marie, 35, Vancouver, and Charitable, Mackenly, 28, Vancouver.
Waites-Morales, Ariel Michelle, 24, Vancouver, and Trznadel, Jeremy Andrew, 24, Vancouver.
Tran, Phuong Thi, 24, Vancouver, and Tran, Danny Thanh, 26, Vancouver.Marriage dissolutions
PETITION FOR LEGAL SEPARATION
Cady, Julie Susanne and David Joseph.Court sentencings
The Columbian’s policy is to publish all Clark County Superior Court felony sentencings, as provided by the Clark County Clerk’s Office. DC signifies that the defendant has entered drug court. Addresses are provided by the courts and may have changed by the time of sentencing.
Bude, Aaron Philip, 35, 4406 N.E. 48th St., 14 months, indecent exposure (second offense).
Kingston, David Martin, 41, 7301 N.E. 159th St., 20 months, second-degree child molestation.
Rhodes, Joseph Wayne, 55, 1712 E. Fork Lane, 15 months, felony domestic violence court order violation (at least two previous convictions).
Mendoza, Eron M., 28, Gates, Ore., 104 months, first-degree attempted assault.