Joined by bassist Chris Brady and stalwart drummer Dave Triebwasser, Charlie was able to realize his aspirations with Pond, creating a band that had a great deal in common with the Wipers and Greg Sage. Campbell, who had first arrived on the scene in the late ‘80s with Mood Paint, was looking to expand the possibilities of the standard Rock format. Pond had developed a devoted following, primarily at Satyricon, throughout 1992 formulating a distinctive sound- centered upon the dense, droning guitar musings of Charlie Campbell. With a better knowledge of the musical terrain than most, Sub Pop made their first incursion into Portland territory by signing Pond to an album deal in 1992. Seattle’s Sub Pop label, which had served as a conduit to major labels for that city’s best Grunge bands, made a pre-emptive strike.

But, enterprising capitalists from the major and indie labels could not help but cast a wandering eye toward the untapped resources which lay to the south. National attention on the Northwest was primarily focused upon the Grunge movement in Seattle. However, unbeknownst to all, Larry would eventually return for an encore, summoned back for his involvement in what was ultimately to be uncovered as a cruelly sinister tragedy indeed.īy the mid-nineties, the Portland music industry was thriving. Though Larry Hurwitz, ever the innocent bystander swept up in a whirlwind of his own controversy, had managed to keep Starry Night propped up as a “major” venue Monqui’s reputation for being straight-shooters with sharp business savvy and good connections, lowered the final curtain on the Larry Hurwitz story in Portland, Oregon. The appearance of La Luna rang the death knell for Starry Night. It was on New Year’s Eve 1992 that Chris Monlux and Mike Quinn of Monqui Productions officially took over the management of Pine Street Theater from former owner Al Salazar (who sold the business to the owners of Seattle’s RKCNDY, who immediately put Monqui in charge of the building), remodeling the structure and renaming it La Luna.

Fiona continually lent the proceedings an uniquely discerning perspective. Her astute observations, keen insights and point-perfect diction were binding forces for the radio program, where cerebrality in the music they showcased was often a scarce substance to be found. Martin, a brilliant young woman, had been the manager of the Obituaries, as well as one of the best music journalists ever to maintain a by-line in the pages of Willamette Week. Kennedy had been on the local beat for sometime, both as a well-known singer and as an activist in many arenas.

In the early ‘90s, two enterprising women, Rhonda Kennedy and Fiona Martin established a weekly two-hour broadcast on KBOO-FM radio, dedicated solely to original music created in the Northwest: chiefly Alternative music.

Pete droge please the ghost