Yakima’s new interim city manager has been at the city’s helm for about a week now and said he’s settling in.
Alex Meyerhoff has 30 years of experience in city government and was selected for the position last month by the Yakima City Council. The job opened after former city manager Cliff Moore decided to take a job as the Washington State University Extension director in Jefferson County in August. Senior City Attorney Cynthia Martinez served in the interim.
Meyerhoff’s first day on the job was Nov. 8.
Meyerhoff took some time last week to answer questions about how he plans to approach the position for the next six months and introduce himself to the Yakima community.
What are you looking forward to about working in Yakima as the interim city manager?
It is an honor to be selected by the mayor and City Council to serve the interim city manager for the city of Yakima. It is a privilege to serve the community. I am looking forward to meeting and working with the community, the residents, businesses and city staff.
Have you found a place to live here yet? How was the search? What are your impressions of Yakima or what would you like our readers to know about your service here?
Great question! I am working to find housing as we speak.
Upon arrival, I was immediately impressed by the range, diversity and excellence of city staff, services and facilities. As the largest city in the county, Yakima is a full service city. Yakima is an All-America City. Yakima is a Tree City, USA. Yakima is a first-class city!
I am very impressed with the city of Yakima, its local economy and the quality of city facilities and other public institutions. Last weekend, I spent some time visiting local restaurants, walking the downtown, familiarizing myself with the city geography and various neighborhoods. I walked portions of the William O. Douglas Trail and the Greenway trail. To join the community in honoring our veterans, I attended the Veterans Day parade, where I found the residents to be warm and engaging. On the whole I have found Yakima to be clean, safe and friendly. I really enjoy the scale and walkability of downtown. Businesses and merchants go out of their way to be helpful and provide excellent service.
I was also very impressed that the city of Yakima is actively engaged in workforce development through the training and development of its own employees through the City of Yakima University. I have been impressed by the City and County Development Association’s attention to economic development in farming, housing, recreation, tourism and convention services. I am interested in learning more about the farming as well as the beer and wine industries.
What’s your plan to approach this interim role? What will be your focus for your time here?
My role in Yakima will be to direct the administration of city government in accordance with the city charter and policies determined by the City Council. I am presently working with the mayor and City Council to define and clarify their expectations. As an interim city manager, I see the position as one where I will lead city administration in the implementation of City Council policy. I provide daily management and budget oversight to city staff. I am a firm believer that fiscal responsibility is the responsibility of every city employee.
What’s required to be a successful interim city manager, or what is your goal for the time you’ll spend here?
My goal is to manage the city efficiently and effectively, provide the greatest value for residents, businesses, visitors and other taxpayers, while addressing the key challenges faced by the city.
WASHINGTON — The White House is ramping up its push to get a bill through Congress that curbs prescription drug costs, feeling a new urgency as the impeachment investigation advances amid the 2020 election campaign.
The effort has progressed beyond anything seen in years, says President Donald Trump’s top domestic policy adviser. “This is a once-in-a-generation opportunity to confront these issues in a nonideological fashion,” adviser Joe Grogan said in a recent session with reporters.
“Unfortunately,” Grogan explained, “there are some current complications.”
After months of dialogue, the White House and House Speaker Nancy Pelosi have parted ways on Medicare price negotiations that Pelosi advocates and Trump — unlike most Republicans — once supported in principle.
Instead Trump is backing a compromise bipartisan bill in the Senate, which does not give Medicare bargaining authority, but forces drugmakers to pay rebates if they raise prices too high.
Grogan said the administration is working to line up Republican support for the Senate bill while trying to sweeten its impact by plowing more of the government’s savings from reduced drug prices into benefits for seniors.
“We’re really at a stage on a bipartisan basis of dialing in on the final specifics,” he said at a recent event sponsored by the Alliance for Health Policy.
The pressure is on Trump.
A Gallup-West Health poll finds that 66 percent of adults don’t believe the Trump administration has made any progress, or very much progress, in limiting the rising cost of prescription drugs.
“If I were the president of the United States, facing a very difficult reelection campaign, I would want to have something to show people in this area,” said political scientist Bill Galston of the Brookings Institution.
Democrats “will be very reluctant to give the administration a win,” he added. “If they are going to do that, they are going to need something pretty solid and substantive to show their troops.”
People in the policy debate say a deal must be sealed this year or by early next at the very latest, before election season goes into overdrive.
Medicare enrollees would be the biggest winners under either bill.
The bipartisan Senate legislation would cap what Medicare beneficiaries pay out of pocket for medicines and require drugmakers to pay rebates to Medicare if they hike prices above the inflation rate. Its lead authors are Sens. Chuck Grassley, R-Iowa, and Ron Wyden, D-Ore.
But Majority Leader Mitch McConnell, R-Ky., has made no public commitment to bring it to the floor.
The more ambitious House Democratic bill would build on the Senate’s foundation but also authorize Medicare to negotiate prices for the costliest drugs. That would limit high launch prices for new drugs, not just price increases. Medicare’s discounts would be provided to privately insured people as well.
Pelosi is driving toward a floor vote, but right now neither bill has a clear path to Trump’s desk.
Some Democrats contend they’d be better off taking Pelosi’s bill into the election campaign rather than giving Trump a bipartisan bill he’d claim credit for.
But Colorado Sen. Michael Bennet, a 2020 Democratic presidential candidate, says his party should think carefully before going to the voters empty-handed.
“I think it’s critically important for the country for us to get a bill done — a drug-pricing bill is long overdue,” said Bennet.
“It’s always better to get a result,” he added. “And if we don’t get a result, we need to draw the lines very clearly, so people can see it’s the administration that prevented us from getting a result.”
Bennet is backing the Senate compromise and also pursuing his own legislation allowing Medicare to negotiate drug prices.
Most pro-business Republicans see government-negotiated drug prices as unacceptable interference in the private market. But not Trump.
In 2016, he campaigned on giving Medicare the power to negotiate. Pelosi’s bill is a not-so-gentle reminder to Trump the 2020 candidate of his politically popular 2016 promise.
“House Democrats are taking the bold action to negotiate lower drug prices that President Trump always claimed was necessary and working people won’t like it if he sells them out on one of the most important kitchen table issues in America right now,” said Pelosi spokesman Henry Connelly.
With weeks until the end of the year, impeachment is draining the political energy in Washington. If nothing happens, the clearest winner will be the drug industry lobby, which has poured millions of dollars into a fight seen as an existential threat to its political influence.
“We think it’s going to be very hard,” said Frederic Isasi, executive director of Families USA, a liberal advocacy group calling for action this year. “It would be completely short-sighted for people not to deliver what can be done now for American families.”
ELLENSBURG — Among artwork on display at Central Washington University is a small photo of a 5-year-old girl. She wears a plaid shirt and a gray sweater. Her russet hair is neatly parted down the middle. She is smiling, slightly.
The girl is Jane Orleman, a 78-year-old artist known to and beloved by many. Almost everywhere she goes, people wave, say hello, smile when they see her. The home she made with her late husband, Dick Elliott, set in a dense garden of colorful original creations and delightful found objects, is pure visual joy. It’s known as Dick and Jane’s Spot.
Orleman’s childhood photo accompanies a painting in her latest solo exhibit, “Telling Secrets: An Artist’s Personal Journey Through Family Trauma,” in the Museum of Culture and Environment in Dean Hall.
“This is the first time I’ve included that photograph in my exhibit. ... That’s when I would have been testifying” in court, she said.
When she was 4, her mother left Orleman with the husband of her best friend so he could babysit her and his two daughters while the women picked blueberries. During nap time, he molested her.
“As Momma and I walked home later, she knelt down on the sidewalk and asked me if he had touched me,” notes text accompanying the artwork and the photo. Orleman told her mother what happened. The man was convicted and served five years in prison.
Her mother knew the man had molested other children, yet left her daughter with him. Text accompanying “Painful Parting,” which Orleman painted in 1996, describes its scene: “This image refers to that time and all of the subsequent times she left me in danger.”
In 1990, after struggling with the overwhelming legacy of the physical, mental and sexual abuse she suffered, Orleman followed the guidance of her therapist. She began unearthing memories of molestation, beatings, attempted suicides and near murders, rapes and teen alcoholism, and she started putting them on canvas.
Over the next decade, Orleman created a series of 350 paintings. Her fear and rage and shame are almost palpable in the 44 chosen for display in the museum’s main gallery. Almost all are in her usual bright colors, but some are dark. Remembering the time she tried to drown herself, Orleman surrounded her own pale image with slashes of blue and black.
This is her 27th solo exhibit centered on her story of domestic violence. It’s always relevant, but with others emboldened to speak out in this era of #MeToo, it’s especially important. Orleman wants others to learn, to acknowledge and to heal however they can.
“I think it’s the best,” she said. “I’ve had time to reflect.”
When the exhibit opened in October, a few visitors entered and left quickly. Some of the paintings contain nudity and injury. Curators moved a warning banner to the center of the museum entrance, and it hasn’t happened since.
Even with the warning, it’s hard to resist the urge to flee. But those who stay will finish with hope. As in her first exhibit of these paintings in 1992, Orleman has felt much love and support from the community she has called home for half a century.
A room in the exhibit, which continues through Dec. 14, allows visitors to share anonymous messages and reflect on what they have seen. “Learn To Fly” is among Orleman’s favorites.
“Stories like ours deserve to be told,” another says. “Thank you.”
A leaflet promoting the exhibit features Orleman’s 1993 painting “Confrontation in the Kitchen.” A slight woman, her hair flying, aims a knife at the man in front of her. Another woman is intervening. The figures seem to vibrate against a smudged background.
“The butcher knife had spun through the air and hit me right between the eyes — handle first,” accompanying text says. “This painting is the next moment in time. Something snapped in me. I was intent on killing him.”
Orleman was a first-quarter college student then, and the man she wanted to stab was her oldest brother. The woman stopping her was their mother.
Her father was a violent alcoholic who made their lives a misery. He beat his oldest son until he fell down, then would kick him, she said. The oldest brother turned the abuse on Orleman. As a teen she told her parents of her oldest brother’s assaults and their parents made him join the military, she said.
While home on leave he blamed Orleman for his situation, prompting the argument involving a knife. Several of Orleman’s paintings feature knives, and she has used a butcher knife as a tool to paint.
The kitchen confrontation, after which she suffered a nervous breakdown and dropped out of college, was just one in an almost unimaginably chaotic childhood defined by abuse.
Her earliest memories are of being molested, Orleman said in her 1998 book, “Telling Secrets: An Artist’s Journey Through Childhood Trauma.” It features dozens of paintings, with explanations and related dreams.
“Between the ages of 3 and 8, it happened often,” she recalled in the introduction. “Between the ages of 9 and 13, I was subject to almost daily emotional, physical or sexual assault. Rarely did a day go by without violence.”
Her mother worked different hours, leaving Orleman and her two older brothers at their father’s mercy. She also has a much younger brother who wasn’t really part of this, she said.
“’You aren’t worth the powder to blow you up with’ was one of my dad’s choice remarks to us kids,” she remembered in her book.
After the kitchen confrontation, Orleman moved out and for several years kept moving, covering several states and drifting in and out of college until she found Ellensburg. She was 3,000 miles from her family back East. She enrolled in Central as a senior and changed her geography major to art.
Orleman met Elliott, also an artist who would become known for his exuberant reflector murals, and they married in 1971. Her brother John, who was 11∕2 years older, later joined them in Ellensburg. They had been close growing up. “John and I understood each other,” she said of her brother, who died a few years ago.
Their parents also moved to Ellensburg and lived there for five years. “They were literally driving me nuts,” said Orleman, who began counseling.
Elliott saw the strain on his wife. While she was out one day, he went over to his in-laws’ house and confronted her father outside. “Oh, Janie’ll get over it,” her father responded.
The usually mild-mannered Elliott kicked out both taillights, prompting her father to put their house up for sale. “My hero,” Orleman said.
She had used drugs, alcohol, distance and smoking to cope. In trying to quit smoking, Orleman met a clinical psychologist in Yakima whom she refers to as “Dr. W.” A breathing exercise brought back the memory of being raped by five older boys when she was 11. Orleman began writing down her memories. He encouraged her to paint them.
“This time I don’t want to just put a lid on it and survive,” Orleman said. “This trunk full of horrible memories, I took them all out, shook them all out.”
For this exhibit, Orleman chose 44 paintings with assistance from Lynn Bethke; museum collections manager; J. Hope Amason, museum director; and Yakima artist Andy Granitto. He helped Orleman pull out some of the bigger pieces from storage bins in her art warehouse.
“Telling Secrets” also includes another piece — a stout wooden paddle the children called the war club. It’s suspended in a case near a large painting, “Daddy Enraged,” that shows him holding it over her, and a smaller piece where he is using it on her.
After their parents died, Orleman and her siblings found the club. Her brothers wanted to burn it. “I always kept that piece as a witness to things that happened,” she said. “I did paint with it. ... I just kind of smashed the canvas a little.”
Work on the exhibit began in August, when the museum was closed. After the initial choices, Orleman changed it “right up until the day it opened,” she said.
A story in The Seattle Times about child pornography prompted her to include “A Shadow of a Memory,” which she painted in 1993.
“My memory is of white sheets with dark shadows cast by the bright lights,” accompanying text says. “It is about the experience of being photographed nude when I was 10 years old.”
Along with her paintings depicting the abuse she suffered, Orleman has spoken to sex offenders. In one gathering in Walla Walla, the 15 participants sat in a close circle. It was the most intimate of her presentations, and daunting.
“It was really emotionally intense, but I was glad Dick was sitting beside me,” she said. “He was always there.”
Her process of bringing back and working through those memories has been, and continues to be, one of learning. Orleman talks occasionally to her oldest brother, still back East. His memories were different. Every witness brings a different perspective to events, but many are warped by the trauma. Details are forgotten, or remembered in another way, because the horror is still too painful.
She has also learned that her family legacy of sexual abuse and alcoholism extends back generations. Orleman understands better, now, where her parents came from. It does not exonerate them, and neither ever apologized for the abuse. They rarely acknowledged it, she said.
Some have asked Orleman if she is experiencing her childhood trauma again in this exhibit. She is not. She is confident in what she is doing.
“I wanted to share the work because so many women are facing these things,” Orleman said. “Before, I was opening a door to this problem in our world. Now it’s just affirming what’s open now and encouraging the continuance of movement. You’re facing this now but we’ve been facing this for centuries.”
Upon completing the exhibit, visitors may take pamphlets from several mental health organizations. “We’ve had a lot of support from the counseling community,” Bethke said. “We want people to have the resources they need.”
The exhibit is beautiful, Orleman said.
“I’m just very proud of this exhibit and how it looks in this space,” she said. “It’s really good for me to bring it out again.”