The New World Coffee House, a Eugene, Oregon establishment that opened in 1964, was a gathering place reminiscent of the bohemian cafés of San Francisco and Berkeley. It attracted the university’s political crowd, hosted live music and art shows, and served as a hub for tarot readings, quiet contemplation, and grassroots organizing. It was the kind of place where people met to plan protests, form committees, and discuss current affairs.

Its owner, Vic Sabin, remodeled the interior of the building at 1249 Alder Street using salvaged fixtures, doors, and stained glass windows from torn-down houses, giving the space a distinctive bohemian aesthetic. The café featured round tables made from wooden spools alongside square café tables, while a long communal table in the back encouraged socializing. A funky old piano stood in one corner, which Jerry Rust, founder of the Hoedads, remembers his friend Scott Bartlett using to deliver laid-back sounds that enhanced the atmosphere. A large wood stove provided warmth during chilly Eugene days, with customers often rising from their seats to throw another log in when the café felt cold. A small courtyard behind the coffee house, adorned with tables and plants, provided an inviting outdoor retreat.

Most significantly, New World was the first café in Eugene to serve espresso. At a time when most coffee in town came in the form of percolated diner brews or drip coffee, New World introduced locals to freshly pulled espresso shots. The café also served coffee made in beautiful handblown Chemex carafes kept warm in water baths, using overroasted beans from Capricorn in San Francisco. The café set a new standard, paving the way for the city’s evolving coffee culture and inspiring future coffeehouses to follow suit.

Beyond its pioneering role in Eugene’s espresso culture, New World was also the first café in town to use Torani syrups to flavor specialty espresso drinks. It introduced Amalfi sodas, its own version of the Italian soda that had been popular in San Francisco’s North Beach neighborhood for decades. The syrups were supplied by Ira Frankel, a local food distributor who sourced them from San Francisco. New World also created a signature drink called a Cappuccino Borgia, made with espresso, chocolate powder, and orange peel, topped with whipped cream. This unique creation lived on long after the café closed—The Coffee Corner kept the drink in circulation in Eugene as a Café Borgia, and Jim and Patty Roberts took the Borgia north in 1976, where it’s still being made at their coffeehouse, Jim & Patty’s Coffee in Portland.

In its early years, New World sold pastries and cakes baked by Stephanie Pearl, who would later open the Excelsior Café. The menu expanded over time to include Hilda’s delicious soups, sandwiches, omelets, bagels, quiche, and more. Rumor has it the San Marino Chocolate Cake was to die for.

In 1968, the same year the Odyssey Coffee House and Theater opened in Eugene, Vic Sabin sold New World to a group of university professors, who attempted to run it as an employee cooperative. However, financial struggles plagued New World under its new management over the next few years.

Economic difficulties, inefficiencies, a huge staff, and a lack of clear leadership hindered its operation. The cooperative model, while idealistic, suffered from communication breakdowns and operational chaos. Maintaining seventeen employees also proved unsustainable.

By 1971, New World shut down, putting up a sign in the window that read: “Closed Forever.” But its story didn’t end there. Under new management, the café reopened a few months later with a leaner staff of just seven employees, all close friends of the new manager, Peter Winograd. This streamlined operation gave New World a second life, but only for a few more years before it finally faded from Eugene’s coffee culture in August of 1974.

———

A note on the Oregon Daily Emerald image:

Brandy Feldman, the girl who doesn’t dig Mike and Carl’s music, made the local news the following year when she participated with other college students and SDS members in an unsanctioned afternoon of making street art.

What happened was, on April 12, 1967, a group of so-called beatniks and hippies, armed with colored chalk, wrote slogans and drew flowers and other symbols of peace and love on the sidewalk in front of the student union. The backlash from the football-fraternity mentality for this “chalk-in” was swift, as members of the Alpha Tau Omega fraternity (already notorious on campus for hippie baiting) responded first with threats of violence against the group, and then with spitting, shoving, kicking, and pulling hair.

By the end of the fracas, the ATO frat-bros dumped buckets of water on the sidewalk to erase the hippie graffiti that had so offended them.

Gandalf’s Den in the Atrium Building hosted an autograph party for Harlan Ellison today, ahead of his Thursday evening speaking engagement at the EMU Ballroom, an event sponsored by the Eugene chapter of the campaign to elect John Anderson for President. I joined the campaign as a volunteer because I’m a sixteen year old sci-fi freak and I wanted to meet the dark prince of American letters. I was surprised to see that Ellison was several inches shorter than me and my hope to befriend him died the minute I realized he’d probabaly dismiss me as just a kid teenager with a pedestrian taste in literature.

Ellison had a carry-on luggage bag on rollers filled with numbered editions of his new book, “Shatterday,” which was a collection of sixteen short stories due to be published at the end of the month. The book features his Hugo and Nebula award-winning story, “Jeffty Is Five,” which I’d read in The Magazine of Fantasy & Science Fiction. Mike Stamm, who worked at Gandalf’s Den, was tasked with the job of interviewing Ellison for the Oregon Daily Emerald, but the curmudgeon who said that Star Wars was a halfwit Wild West adventure in outer space couldn’t be corralled long enough for a one-on-one sit-down, so Mike had to cobble together an article from Ellison’s bookstore appearance.

I wish I could say that I was enamored by Ellison’s brilliance and wit, but to me he came off as a conceited jerk and a grumpy nitpicker, dumping on science fiction readers for using the term “sci-fi” and saying the genre was mostly junk. The more he spoke, the more I was left with the same feeling I had when I met R. Crumb and he criticized me for reading Spider-Man comics. Suddenly, a group of women marched into the shop like an angry mob of Transylvanian villagers chanting, “Fee Fi Fo Fum, we want the blood of an Ellison!” It was the Radar Angels.

~ Eugene, Oregon – October 17, 1980

My best guess is this photo was snapped in 1966, the year the Beach Boys played at McArthur Court. Most likely in front of the New World Coffee House near the university campus.

Brandy Feldman, the girl who doesn’t dig Mike and Carl’s music, made the local news the following year when she participated with other college students in an unsanctioned afternoon of making street art.

What happened was a group of so-called beatniks and hippies, armed with colored chalk, wrote slogans and drew flowers and other symbols of peace and love on the sidewalk in front of the student union. The backlash from the football-fraternity mentality for this “chalk-in” was swift, as members of the Alpha Tau Omega fraternity (already notorious on campus for their sport of hippie baiting) responded first with threats of violence against the group, and then with spitting, shoving, kicking, and pulling hair.

By the end of the fracas, the ATO frat-bros dumped buckets of water on the sidewalk to erase the hippie graffiti that had so offended them.

The New World Coffee House opened in 1964 at 1249 Alder St.

The chalk-in kerfuffle at the EMU was on April 12, 1967.

I met Stupid in the spring of 1977 while he was selling socialist newspapers at the Eugene Saturday Market and I was working as a sandwich board man to advertise for the venue.

One of my earliest gigs at the market was working as a human billboard, or a “sandwich board boy,” in my case, which earned me a dollar an hour plus a food voucher for a meal from any food vendor. It was quick cash for a twelve-year-old on a Saturday morning. All I had to do was wear a canvas sandwich board, like a 19th-century ad man from London or New York, and leisurely stroll around downtown Eugene for a few hours, luring other pedestrians to visit the top of the butterfly parking lot where the market was located.

So, naturally, my labor drew the attention of a man named Stupid, who was an old Wobbly. The Wobblies, a nickname for members of the Industrial Workers of the World, were a labor union founded in 1905. Their aim was to unite all workers into one big union to advocate for better working conditions and workers’ rights through militant tactics and a commitment to social and economic justice. I soon learned that Stupid was also something of a local celebrity who peddled handwritten photocopied pamphlets brimming with verse and meandering musings on street corners near the University of Oregon.

Stupid was a confirmed leftist and fervent advocate for societal change with a larger-than-life backstory. He was born in a Michigan logging camp in 1899 as Russell Dell, an heir to the Dell Publishing Company—an accident of birth that might have given him a life of wealth and privilege had he not been the black sheep of the family. He claimed to have worked as a logger, sailor, machinist, writer, and printer, among other professions, and he had old-duffer bushy eyebrows. Sometime before he moved to Eugene in 1973, he legally changed his name to Stupid to amaze his friends and confuse his enemies.

On a cold winter day in Eugene, Oregon, Uncle Ray was found by a woman searching for her missing cat. His body was wrapped in a tattered carpet that lay rolled up in a garage at the corner of Lawrence and Broadway. Officer Slim Carter was called to the scene and it seemed to him that Ray had probably been dead for a few days. Slim was a local cop that had a history of run-ins with Ray, sometimes arresting him for disorderly conduct. I was shocked by Ray’s death, even though he seemed to live purely on alcohol, coffee, and cigarettes. For a dozen years I thought he was an ancient and possibly immortal hobo.

I first laid eyes on Uncle Ray at the end of the summer of ‘76, when I was a boy of twelve and just arrived in Eugene to stay. He struck me as a grizzled old drunk from a television western that stumbled out of the tube and staggered into the real world. The sort of vagrant one might find in the margins of a Bukowski novel. He was sitting at a curb on Alder Street in front of the Homefried Truckstop on campus, next to a shopping cart stuffed with clothing and other items of unspeakable origin. If you’d asked me to guess Ray’s age I’d say he was born sometime between the Taft presidency and the year they started putting prizes in Cracker Jack boxes. I figured he was just north of sixty, with an extra decade of hard living in his back pocket. Truth is, Ray was only fifty-six years old that day. Maybe he was aging in dog years.

Raymond Greig was born on July 18, 1920 in Bottineau, North Dakota. The first year of the Prohibition Era. He was raised, by all accounts, as a typical Dakota farm boy. When he grew up, he married a girl named Meryl. They had a kid. When America entered the war in 1942, Ray enlisted in the Army and served in the South Pacific. Those are the facts, but beneath the layers of truth lay a tapestry of tall tales and half-truths, woven by Ray’s tobacco-stained fingers. One such tale is the claim he served under the command of Eleanor Roosevelt, who apparently led the charge at Okinawa and drove the men into battle, crying out, “Follow me to victory!”

At some point during his service, Ray received a Dear John letter from his wife. When he was discharged in ‘46 he returned to the states a lonely and bitter man.

After his stint in the army, Ray stashed away the medals that Eleanor Roosevelt had pinned to his chest and drifted through post-war America, riding the rails and living the life of an itinerant worker. The iron tracks eventually led him to the rugged terrain of Oregon, where he found himself settling in Vanport, a city of transient laborers north of Portland that was built to house workers at the Kaiser Shipyards during wartime.

It was in Vanport that Ray witnessed a merciless force of nature that swept through the city like a vengeful god, leaving destruction and despair in its wake. It was a flood that swept through the city on the afternoon of May 30, 1948. In its wake, fifteen people were lost to the unforgiving waters, and by nightfall, the city lay submerged, its streets silent and its buildings swallowed by the murky depths, casting 17,500 souls adrift in a sea of despair, leaving them destitute and homeless.

In the aftermath of this tragedy, Ray found himself grappling with the harsh reality of a world that could change in the blink of an eye, a world where even the strongest foundations could be washed away in an instant. I imagine Ray wandering the streets of Portland like a ghostly vagabond, haunted by his own past. He was only twenty-eight years old, his face aged beyond his years, and marked by war and a life filled with loss and tragedy that shattered his world and washed away his hopes.

Uncle Ray had two guardian angels in Eugene—Hershel Bloom and Poppi Cottam. Hershel, a hippie street poet who worked at White Bird Clinic during the day and cooked omelettes at Lenny’s Nosh Bar at night, was the angel Clarence to Ray’s down-and-out George Bailey. He made sure Ray was always squared away, escorting him to the clinic for medical care when he was sick. Hershel also made sure Ray got paid, by helping him sort out his social security and veteran benefits.

Poppi, the proprietor of the Greek Taverna next to Lenny’s, was Ray’s other guardian. She made sure he never went hungry, serving him chicken and hot chocolate from the back door of her restaurant. Most of the time. When Ray showed up drunk, Poppi gave him a cup of black coffee and sent him away, with orders to come back when he was sober. He’d often tidy up the courtyard as a quid pro quo gesture and Poppi invited him to her house one year for Thanksgiving dinner. She said he was a perfect gentleman, dressed in his Sunday best, and he played chess and discussed politics with her husband.

Depending on who you asked, Uncle Ray was a sage, a mad saint, and a royal pain-in-the-ass. He was a divisive figure in town, frequently getting kicked out of places for bad behavior. Some people called the cops on him when he rummaged through their garbage cans looking for bottles while others showed him kindness by buying him beers or meals or sitting with him at the curb to soak up his stories. He had a gravelly voice, a mischievous grin, and tittered like an old coot. A couple of decades of college kids living on campus would give him their empty beer bottles, and sometimes let him to sleep in their frat houses after he snuck in to get out of the rain.

When he drank socially, Ray often told rambling but coherent autobiographical stories that gradually morphed into incoherent bearded gibberish. Other times, he’d make dad jokes—like the one he said one day while standing across the street from Max’s Tavern. “I’d like to get up on that roof so I could have a drink on the house, hee hee hee!” He certainly couldn’t have a drink inside, because he was on the permanent ban list. Ray was also notoriously misogynistic. My friend Anne tells me she realized he was a woman-hater when she heard him say, “behind every man on the street is a woman who pushed him there.”

And yet, my friend Debbie loved him. She’d bum smokes off Ray and sit with him at the curb and they would drink together and get wasted while he took her on what she describes as “an odyssey of rancor, philosophy, and nonsense.” He reminded Debbie of her father, a tragic alcoholic who was a smart man that could be “as charming and glamourous as Dean Martin” one moment and “as mean and frightening as Buffalo Bill” the next. Debbie felt honored that Uncle Ray shared his curb with her.

Ray died wearing two pair of pants, two shirts, a sweater, and a jacket. In his pockets were two wallets, three pens, a corn cob pipe, a tire gauge, and a hole punch—talismans of a personal mythology known only to Ray himself. On the middle finger of his left hand was the silver ring he always wore and a harmonica was clutched in his right fist. Possibly the same harmonica he was playing at the Truckstop when I first saw him almost twelve years before he died.

The most likely explanation for the cause of Uncle Ray’s death was exposure. There was no evidence of foul play. February of 1988 began with a cold snap, with four days of weather that dropped to the low to mid-twenties. By the fifth and sixth days the temperature had risen five degrees, gradually increasing to the low to mid-thirties. By the 10th, that garage may have well been a walk-in freezer. Uncle Ray likely wrapped himself in the carpet to get warmer.

Five days later, some three dozen people gathered on the steps of Poppi’s Greek Taverna (shuttered since December) to raise a glass to Uncle Ray and share stories. I arrived with a bouquet of wilted flowers I fished out of the dumpster behind the floral shop across the street. Just like Ray used to do on the regular. I spoke about the time I was a kid and competed with him for refundable empty bottles, which I cashed in for comic books and movies instead of booze, and imagined his crusty old spirit cussing me out one last time before he faded away . . . a faint echo of music coming from his transistor radio.

He was born Michael Mielnik but in the early 1970s most people that lived in Eugene, Oregon knew him as a fire eating, joke cracking, vaudeville performer who called himself the Flaming Zucchini. It was a character he would reprise over the years, even after he rebranded himself at the Oregon Country Faire as the tightrope walking comedic cult leader of the Church of the Incandescent Resurrection.

Ladles and gentimen, I present to you . . . Reverend Chumleigh!

Reverend Chumleigh (actually a trio of madcap-characters-in-one that included Michael and the Flaming Zucchini) was a counterculture vaudevillian that excelled in captivating audiences with his snappy patter, playfully plucked from the Groucho Marx playbook, while engaged in daring acts of derring-do—such as walking barefoot on the business edges of machetes, laying on his back on a bed of nails, and balancing between two chairs while an audience member used a sledgehammer to smash a cinder block on his stomach.

His signature stunt as the Flaming Zucchini was fire-eating, until one fateful summer in 1976, while performing his act in front of a crowd of a thousand peyote-stoned hippies during the midnight show at the Oregon Country Faire, his liver organized a protest march decrying the dangers of hydrocarbons in his body, and he vanished in a huge ball of flame before the amazed fairgoers.

This is Yeoman Janice Rand (aka Grace Lee Whitney), a character that appeared on the starship Enterprise, circa 1966.

She was sort of a glorified space secretary, assigned to Captain Kirk, that served on the bridge of the USS Enterprise. Not exactly a feminist icon but nerd boys like me thought she was the tribble’s pajamas. Alas, her tenure lasted only a year before she was replaced by Ensign Chekov in season two of the original series.

I met Ms Whitney in 1977, in Eugene, Oregon, when she was one of the guests of honor at Space Con Five, which was also billed as a Star Trek Festival. I also met George Takei, her co-guest-of-honor and Bob Wilkins (the creator and host of Creature Features), who was the master of ceremony.

But, the biggest thrill for thirteen-year-old me was being Ms Whitney’s assistant when she was signing posters for fans at Gandalf’s Den, a bookstore and role playing game shop in The Atrium, a building on 10th Avenue in downtown Eugene. My job was to roll and rubber band posters after she signed them and hand them off to the fans.

Afterward, she treated me to an ice cream at Prince Pückler’s, on the ground floor of The Atrium, and then kissed me chastely on the cheek before saying goodbye.