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I moved to an apartment building at the edge of Portland to help refugees.

But they can’t afford to live here anymore.


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VOL 42/46 9.14.2016


Willamette Week SEPTEMBER 14, 2016





Portland prints long-obsolete street names on curbs to be cute and olde-timey. 4

Don’t try going to the new upscale swingers club in your Utilikilt, or you’ll be turned away. 20

The number of pedestrians killed by drivers has been relatively steady in recent years. 7

Clinton-era pro-futurism is not dead thanks to Garbage. 27

Gov. Kate Brown is not planning

The band formerly known as Rage Against the Machine is

to stop campaigning for the next three years. 11

shrewdly selling parody Trump hats. 33

The legendary Gorilla Monsoon died 17 years ago this very year. 19

One of the guys who made The Blair Witch Project lives here now. 41



Illustration by Tricia Hipps.

Portland Public Schools locked in students from Benson High while Lincoln students protested.

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Wow, I guess I should have known that judges The use of the word “woke” should not be taken are a bunch of 1 percenters who are so whiny and lightly, especially when used by non-people of entitled they can’t even share a restroom with color, because it means you are about the move- another judge. ment and understand it [Fall Arts Guide: “You Still, I’m impressed with their audacity to Can’t Be What You Can’t See,” WW, Sept. 7, 2016]. frame this as about them doing such “important work for the public.” It must be nice to There are definitely some great artists listed here who should be be able to demand whatever you want, all the time. supported. However, if the arts in —“exileandcunning” Portland were “woke,” then the statement “You can’t be what you can’t see” would be a nonissue. AIRBNB SCOFFLAWS IN If you want the arts to get PORTLAND “woke” in Portland, then find There are plenty of greedy landlords in You Can’t Be What You Portland who are taking advantage of the grants or other funding to sponCan't See lax enforcement of Airbnb rules [“Portsor arts education, internships land’s 5 Astonishing Airbnb Listings,” and scholarships. “There are —James Dixon WW, Sept. 7, 2016]. It is also true that not some great every home that falls outside Portland’s artists who Airbnb permitting requirements could I’m saying this as a black male should be who thinks the issues faced by be rented out as a long-term rental. There are a lot of Airbnb hosts who women and minorities are legitisupported.” mate: You will never get anywhere fall somewhere between “greedy by excluding white men on the premise there has landlord” and “perfect host,” and the permitting been a systemic bias that needs to be changed. process should take that into consideration. This is an absurd, backlash-generating knee- But because the city of Portland and Airbnb are jerk reaction, and it’s harmful to all of us. making money on all of them, permitted or not, —“alienproxy” there’s not a lot of incentive to do so. —Renée Alexander JUDGES NEED TOILETS, TOO.






VOL 42/45 9 . 7. 2 0 1 6



If this were about sharing restrooms with the public—including defendants, former defendants, witnesses and such—I would be with the judges, as a security issue [“Game of Thrones,” WW, Sept. 7]. But it isn’t that. These are restrooms in quarters, out of public reach, shared among themselves. I don’t see why they can’t do that. Just spin the little “Occupied” button as they go in. Or bring chamber pots to work. —“Soren456”

Many short-term Airbnb rentals operate responsibly. Others do not. And many guests have great experiences, without realizing that the experience for neighbors wasn’t so great. —“k15” LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Email:

I’ve noticed when new curbs get poured, sometimes the street name that gets stamped on the curb isn’t actually the name of that street. For example, at the corner of North Dekum Street and Fenwick Avenue, the concrete says “Harris St.” What gives? —Doug N. Before I answer this question, I have a bone to pick with the media establishment. You folks at home may not realize it, but softnews features like Dr. Know can be big business (just ask the guys who make Jumble®). Yet in seven years, I have not once been contacted—let alone picked up for syndication—by Parade magazine, AM Northwest, or even FOODday. I don’t get it. Dr. Know is light, inconsequential and contains no actual reporting—everything modern news outlets are looking for. It’s basically the print version of ratings juggernaut Live! With Regis and Kelly. (If, you know, Regis and Kelly were locked in a bloody bar fight over the last bag of heroin.) So, can any of you tell me what’s keeping me from going mainstream? Because I’m stumped. Is it recipes? Do I need more recipes? Sorry, Doug; the street names. You’ll be happy to learn it’s not a case of work crews being 4

Willamette Week SEPTEMBER 14, 2016

bizarrely passive-aggressive—those “wrong ” street names are an homage to history. We covered the “Great Renaming” in a previous Dr. Know column (“The Mystery of the Stained-Glass Numbers,”, Nov. 4, 2015). Basically, when Portland annexed the previously independent towns of East Portland and Albina, many street names had to be changed to avoid redundancies and other confusion, and new street signs were erected. Concrete curbs, however, continued to bear the old street names. These misnamed curbs became such a beloved conversation starter that the city decided to re-create the old names when new curbs replaced the old ones. With their nod to old-timey ways, the misnamed curbs are the handlebar mustache of civic gestures—what could be more Portland? Join us in 2017 for the next great retro craze: typhus! QUESTIONS? Send them to

Willamette Week SEPTEMBER 14, 2016



Rent-Control War Looms in State Capitol

Tenants and landlords are already gearing up for war in next year’s legislative session, when rent control and a ban on landlords evicting tenants without cause are expected to be on the agenda. In a fundraising letter, the newly renamed Equitable Housing PAC, which represents landlords, urged members to fight back against “radical tenant groups.” The August letter warns: “Absent sufficient landlord push-back, radical tenant groups seek to persuade our legislators to enact rapid-fire changes to our housing laws like rent control, prohibition of ‘no-cause’ rental terminations, and long rent-increase notice periods.” They have reason to sound the alarm. Oregon House Speaker Tina Kotek (D-Portland) this week announced her priorities for the legislative session, which include limits on rent hikes and no-cause evictions. Unions, including Service Employees International Union Locals 503 and 49, have lined up in favor of ending the state pre-emption on no-cause evictions in the next legislative session.

City Club Snubs City Council Race

Four years ago, when then-state Rep. Mary Nolan challenged Portland City Commissioner Amanda Fritz for a seat on the City Council, they squared off in a Friday Forum debate at City Club of Portland, an event widely covered by local media. Chloe Eudaly, who’s challenging City Commissioner Steve Novick in the November election, won’t get that same chance to boost her name recogni6

Willamette Week SEPTEMBER 14, 2016

tion. City Club, which airs debates on Oregon Public Broadcasting, won’t be hosting a Novick-Eudaly debate. “There was a feeling,” says Mike Marshall, the club’s executive director, “that a City Council race in Portland wouldn’t resonate with listeners statewide.” The club is, however, hosting a debate among the four candidates for two seats on the Multnomah County Commission. County issues have a regional impact, Marshall says. Eudaly says she’s disappointed. “It makes me feel that they don’t take this election seriously,” she says. ELI SCHUMONT



Benson Students Demand District Records on Lockout

Students at Benson and Lincoln high schools have developed a more-thanacademic curiosity about the public records Portland Public Schools keeps. On Sept. 11, student leaders asked the district to release all the records on why it blocked Benson students from leaving their school building for more than 30 minutes to join a Lincoln student protest that had gathered outside Sept. 7. The students’ cause was taken up by parents, including activist Kim Sordyl, who have submitted public records requests for any letters or emails about the Benson lockout exchanged between PPS, its security guards, and the Portland Police Bureau. “District officials who ordered and supported the lockout must be held accountable for this rash and unnecessary action,” student leaders at Benson and Lincoln said in a statement. “We believe PPS violated the civil liberties of Benson students.”



1,118,150,066 That’s how many cans and bottles Oregonians returned for refund last year: a big number, but the lowest percentage in four years. In the new job he accepted last week as chief stewardship officer for the Oregon Beverage Recycling

Cooperative, Multnomah County Commissioner Jules Bailey is taking on the challenge of reversing that decline. Figures show Oregonians bought more redeemable drink containers than ever last year—but


redeemed fewer than they did in 2012. The declining return rate is why the OLCC is doubling the deposit on containers to 10 cents starting next April—a windfall for can collectors and the beverage industry. NIGEL JAQUISS.


That’s the number of homeless people who died in Multnomah County in 2015. That’s the highest number of deaths since the county and Street Roots newspaper began annually compiling the data in 2011. It’s a sharp increase from last year’s death count of 56—and may be the first official indication that the number of homeless Portlanders has risen sharply since the last count in January 2015. RACHEL MONAHAN.


Life (and Death) on the Streets


Traffic Deaths


Flowers still line a stretch of Southeast Hawthorne Boulevard three weeks after a gold Lexus slammed into 15-yearold Fallon Smart, making her the eighth pedestrian to die in Portland traffic this year. Portland police have blamed a speeding motorist who swerved into a turn lane to go around a car that had stopped for Smart, who was crossing Hawthorne legally. After Smart’s death Aug. 19, friends and neighbors painted white stripes at the unmarked crosswalks where and near where a driver struck her. In the days that followed, Portland motorists would strike three more pedestrians, one fatally. Among the seriously injured was a Roosevelt High School freshman crossing North Columbia Boulevard on his way to his first day of school. Those deaths raise questions. Here are some answers.

How many pedestrians have died this year in Portland traffic?

As of Sept. 2, eight pedestrians and four bicyclists had died in collisions on Portland streets. A ninth pedestrian died Sept. 4 on Southeast Division Street.

Is that number going up?

Not really. In 2015, seven pedestrians and one bicyclist had died as of Sept. 2. The previous year, 10 pedestrians and one bicyclist died as of Sept. 2, 2014.

Total traffic fatalities statewide are up, but pedestrian fatalities are up and down. So far in Oregon, 330 people have died in traffic collisions, as of Sept. 5. About 12 percent have been pedestrians—38 people. Last year, as of Sept. 5, 285 people died on Oregon roads. About 18 percent were pedestrians, for a total of 51 people.

cials want to lower speed limits to make them safer, they need state permission. The process for doing this is slow and favors motorists. Portland would like to shorten the process and change the state’s rules to allow it to consider how bicyclists and pedestrians use the streets.

Isn’t Portland’s new gas tax supposed to be helping?

They want the city to wrest control of state highways like Southeast Powell and Southwest Barbur boulevards away from ODOT. The state’s transportation department has much more restrictive design standards favoring motor vehicles, says Rob Sadowsky, executive director of the Bicycle Transportation Alliance. In a nutshell, the state prioritizes infrastructure that eases traffic for motorists, not other users—and advocates believe the city can reverse that, with policies such as “road diets” to reduce traffic lanes.

The initiative Portland voters approved in May is supposed to fund safety improvements along notoriously dangerous roadways. The language of the initiative said that the Oregon Department of Transportation could begin to collect a 10-cents-per-gallon tax on Portland’s behalf as soon as this month. But computer complexities at ODOT are preventing it from collecting the money. That means motorists won’t start paying the tax—and Portland won’t have the money to spend—until January, state officials say.

What is the city doing to make streets safer?

Last month, the Portland Bureau of Transportation installed cameras to catch speeders 24/7 along Southwest Beaverton-Hillsdale Highway. Portland hopes to install more speed cameras on other roads that have a lot of crashes. The city also wants to lower speed limits on some streets. Even though the city is responsible for repairing most streets in the city, state officials at ODOT control speed limits on all city roads. That means when Portland offi-

What else do advocates say we should do to curb deaths?

Why can’t the city just paint more crosswalks at dangerous intersections?

It would take a lot of money to stripe all of the thousands of unmarked crosswalks in Portland. But there’s another reason: liability. While pedestrians have the right of way even in unmarked crosswalks, not all crosswalks are created equal. The city doesn’t want to suggest to pedestrians that a spot is safe by laying down white paint if it’s not a preferred crosswalk. “At some locations, a painted crosswalk alone actually makes the intersection more dangerous, by inspiring a false sense of security in pedestrians,” says City Commissioner Steve Novick. Willamette Week SEPTEMBER 14, 2016



Willamette Week SEPTEMBER 14, 2016

ly n n s c u r f I e l d




Last month, the Multnomah County District Attorney’s Office hired a new prosecutor with an unusual background: Cody Berne is a former Portland police officer who in 2010 fatally shot Keaton Otis, a mentally ill black man. Berne’s hiring has outraged protesters of police violence against African-Americans. Otis was the last black man to be killed by Portland police, who fired 32 bullets at him after he shot an officer in the legs. Berne fired 11 of those rounds. “It’s pretty troubling that he is now on the other side of the criminal justice system, determining who gets charged and how that person gets charged,” says Jo Ann Hardesty, a civil rights activist and one of the organizers of a monthly vigil for Otis. Berne and his new boss, Multnomah County DA Rod Underhill, say there’s absolutely nothing wrong with Berne’s hiring. “Cody Berne was recommended to me for hiring by this office following a screening process conducted by members of my management team,” Underhill said in a statement. “A review of Mr. Berne’s professional and educational background demonstrates that he is highly qualified to serve as a deputy district attorney for Multnomah County.” At a minimum, however, the newly minted prosecutor’s background highlights a chronic flashpoint for law enforcement in Portland and across the country: how officers, prosecutors and corrections officials interact with black males and the mentally ill. “People who are prosecutors are important representatives of the state and the county, and who they are makes a real difference,” says

Margie Paris, who teaches criminal law at the University of Oregon School of Law. “When you make a hiring decision of a public officer, you are holding that person to the public as an exemplary person that merits the public’s trust. The question the community is entitled to ask is if it was a good hiring decision.” On May 12, 2010, officers pulled Otis over near Lloyd Center after he allegedly failed to use his turn signal while crossing traffic. As an officer attempted to remove him from his car, according to a subsequent police report, an irrational Otis grabbed a gun from the glove compartment of his Toyota Corolla and shot the officer in the legs, twice. Fellow officers, including Berne, who is white, responded by firing 32 rounds at Otis, killing him. A Multnomah County grand jury found no criminal wrongdoing by the officers. The Police Review Board found the shooting was “within policy.” Berne left the force in 2011, for reasons he says were unrelated to the fatal shooting. He had unusual skills to fall back on. Before becoming a cop, he graduated from highly selective Pomona College. After leaving the Police Bureau, he enrolled at the University of California Davis School of Law, graduating in 2014. He then joined the Portland law firm Miller Nash, specializing in business litigation. But he decided to return to criminal justice— placing his actions as a police officer back in the spotlight. Assigned to the misdemeanor unit in the district attorney’s office, Berne, 33, started participating in jury trials after taking his position Aug. 22.

“If someone Is goIng to shoot at the polIce, what does the communIty expect the polIce to do?”

He says his experience as a police officer gives him a valuable background in how police approach problems and arrests and he doesn’t think his role in the Otis shooting will affect the way he thinks about cases brought to court. Others are not so sure. David Rogers, executive director of the American Civil Liberties Union of Oregon, called the hiring a “setback.” “There is an all-time low in the level of trust between law enforcement and communities of color,” Rogers says. “That lack of trust is further diminished when the district attorney’s office fails to prosecute police misconduct, and the county’s own research shows black people are treated more harshly by decisions within the DA’s office. Hiring a person who was involved in a highly public killing of a young black man— who was racially profiled and who was experiencing a mental health crisis—does not build any credibility.” Law professor Paris says she’s never heard of any other instances in which an ex-police officer involved in a fatal shooting has become a prosecutor. “The whole incident feeds into our awareness that young black men are overpoliced,” she says. “They are stopped more frequently, and those stops escalate more frequently.” She isn’t alone in raising such concerns. In 2012, the U.S. Department of Justice began an investigation into the Portland Police Bureau to examine whether police officers were using excessive force against people with mental illness. The investigation also looked into the bureau’s relationships with minorities. During the course of the investigation, the most prevalent concern the DOJ identified was “the often tense relationship between PPB and the African-American community.” Investigators found “a pattern and practice” of excessive force by officers of the bureau against persons with mental illness. The bureau is still making reforms under federal supervision. Hardesty says she doesn’t believe Berne has been held properly accountable for Otis’ death. “We hold a vigil every month because we don’t want the community to forget,” Hardesty says. Following her son’s death, Otis’ mother, Felesia Otis, talked about her son’s mental health problems—and told The Oregonian she didn’t hold police responsible for his death. WW couldn’t reach Felesia Otis for comment on this story. Laura Appleman, a law professor at Willamette University, says she doesn’t think there’s anything wrong with hiring Berne as a prosecutor. “A lot of police officers become prosecutors or defense attorneys,” she says. “Everything [Berne] did as a police officer helped shape his work as a prosecutor.” Berne calls his shooting of Otis “a tragedy.” He says it’s easy for people to criticize the methods used by the Portland Police Bureau, yet he doesn’t see them trying to solve the problem. “I was a police officer a long time, and I exposed myself to all kinds of physical risk,” he says. “No police officer wants to stop the car and end up getting in a shooting. If someone is going to shoot at the police, what does the community expect the police to do?”

Willamette Week SEPTEMBER 14, 2016


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That’s because Brown, who took office when Gov. John Kitzhaber resigned Feb. 18, 2015, September is typically when candidates begin is now running for the remaining two years ramping up for Election Day. It’s not when an of Kitzhaber’s term. If she beats Pierce this incumbent governor cruising toward victory is November, she’ll run again in 2018, when she supposed to fire her campaign manager. could face a primary challenge from a strong But after Gov. Kate Brown took center stage Democrat, such as House Speaker Tina Kotek, at the Sept. 5 Labor Day picnic, her campaign and a more formidable Republican, such as manager, Michael Kolenc, was summoned back state Rep. Knute Buehler (R-Bend). to campaign headquarters— Kolenc says after meeting where Brown’s top camwith Brown in February, he paign adviser, Kevin Looper, he gave up an excellent job fired him. in Chicago to help Brown “I was dumbfounded,” win a mandate in November Kolenc says. “To be fired that would lead to a strong nine weeks out from Eleclegislative showing in 2017 tion Day would suggest we and set the stage for 2018. were tanking in the polls He saw that as a mutual or I’d done something perthree-year commitment. sonally to embarrass the Looper disagrees. “There campaign—neither of which was never a contract,” Loopwas the case.” er says. “If he were good at Kolenc, 36, says the move the job, he’d still have it, and was particularly surprising he might have been able to because Brown had said keep it through 2018—but RE-RUNNER: Gov. Kate Brown nothing to him about his perthere were no guarantees.” must run for her position formance in the three previAs he tried to prepare twice in three years. ous days, when they’d spent for the November elecconsiderable time together. tion, Kolenc clashed with “I really wish the governor had told Brown’s chief of staff, Kristen Leonme there was a problem,” Kolenc says. ard. He says Brown’s reluctance to But Looper says Kolenc failed to “I REALLY take a position on Measure 97 was budget properly, misrepresented WISH THE also a big issue. Brown’s reason for skipping a July “Her not taking a stance through debate, and lost the trust of Brown GOVERNOR the summer made my conversations HAD TOLD and campaign staff. with the unions difficult,” Kolenc “The last thing you would want to says. “When we’d talk about contriME THERE do in the middle of an election is get butions or strategy or how we could WAS A rid of a key campaign staff member,” work together in the campaign, it PROBLEM.” Looper says, “but my job is to ensure made those conversations hard.” the campaign succeeds.” The measure, which would charge —Michael Kolenc Kolenc disagrees with Looper’s companies 2.5 percent of their Oregon assertions. sales over $25 million, is contentious, In Brown’s low-profile campaign, pitting the public employee unions, neither Kolenc’s May hiring nor his which are Brown’s traditional base of firing was ever publicly announced. support, against the business community. Kolenc’s dismissal raises questions about Brown initially said she wouldn’t take a posiBrown’s willingness to confront personnel conflicts tion until the measure qualified for the ballot. and divisive issues. Kolenc says he was fired after When it did qualify, on June 6, she remained clashing with Brown’s staff over his desire that the mum. Not until Aug. 4, nearly two months later, governor be more proactive on major issues facing did Brown announce she’d support it. the state—including the proposed $3 billion corpoBrown appears to have trouble telling people rate tax increase known as Measure 97. bad news. In addition to foot-dragging on MeaAnd while polls show Brown with a comfort- sure 97, she ordered staff to fire agency directors able lead over GOP challenger Dr. Bud Pierce, the at the Oregon Lottery and Employment departstaffing turmoil is significant because she’s already ments without having met them individually. preparing for more formidable challenges in 2018. Campaign spokesman Chris Pair rejects such Kolenc, a veteran of candidate races and criticism. “It was extremely important to Gov. ballot measure contests across the country, Brown that she do what’s best for Oregon, and says Brown recruited him from Chicago with make the right call, not the quickest,” Pair says of an $11,000-a-month salary and the opportuni- Measure 97. Nor does she shy away from tough ty to do something rare in the itinerant world personnel decisions, Pair adds: “[She] shows no of political consultants—run a campaign for qualms in holding leaders accountable.” three years. Willamette Week SEPTEMBER 14, 2016




A white supremacist killed a teenager with a car across the street from where I live. The 7-Eleven is busy at all hours, a steady stream of people. A month ago there was a fight in the 7-Eleven parking lot, and a man recently out of prison hopped in his car and used it to run over a black 19-year-old named Larnell Malik Bruce. A makeshift memorial went up. My 6-year-old daughter saw the messages as we walked past, and I had to explain to her what they meant. A young man was killed in anger, I said, and it’s OK to be sad. My children play in the courtyard of my apartment complex, a maze of beige, two-story buildings. Some nights, loud bangs puncture the quiet—you never know if you are hearing fireworks or gunshots. The MAX station a block away plays classical music after dark to lower the rate of loitering and assaults. I live in Rockwood, at Southeast 188th Avenue and East Burnside Street. And the rent is going up. This is one of the last affordable places left at the edge of Portland—and one of the first places where people arriving from war zones live when they come to America. One of my neighbors, Shafi, works at the 7-Eleven. He is a refugee from Afghanistan, and he has lived here for almost two years. He has already been robbed at gunpoint twice while working. Shafi was behind the counter when Bruce was run over by the car. Shafi’s wife is one of my good friends here. She always cooks food for me and invites me into their apartment. Their son, almost 2 and very energetic, loves to bang on my sliding glass door, often wearing a T-shirt with an American flag that reads “United States of Awesome.” I talked to Shafi a few days ago, and he told me his family will most likely be moving this month. Why? They have many reasons. His wife is allergic, both to the mold in their apartment and to the trees and pollen outside. They know people in Georgia, and the rent will be cheaper there. They “are out of options” in Portland. They can no longer afford to live at 188th and Burnside. Lots of people in Portland are feeling the squeeze of rising rent. If you are a barista or a bartender or an artist, you might be moving farther out to the edges of the city, in search of a way to make it livable. You might, soon enough, come and live in Rockwood. This is what developers and landlords are hoping. cont. on page 15 p h oto s by j o e r i e d l 12

Willamette Week SEPTEMBER 14, 2016

GOOD INTENTIONS: The story’s author, D.L. Mayfield, with her son, Ransom. She recently published her first book, Assimilate or Go Home: Notes From a Failed Missionary on Rediscovering Faith.


E Burnside St.


122nd Ave.

82nd Ave.

PRICED OUT: Sunil Gurung (far left) and Ashrani Limbu came to the Rockwood neighborhood from Nepal in 2014. They are moving out of the Barberry Village apartment complex with their 7-month-old twins (one of them, Arwina, is pictured here).

Willamette Week SEPTEMBER 14, 2016



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Willamette Week SEPTEMBER 14, 2016

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Set Adrift

UNCERTAIN FUTURE: Ana Luisa Díaz Villegos, 74, moved to the U.S. from Cuba last year. Her monthly rent is more than she receives from Social Security. “I don’t feel secure,” she says.

But it is also what will make it unaffordable for people with the lowest incomes. That includes refugees—my neighbors, who are trying to rebuild their lives in a new country. At night, I sit in the courtyard of my apartment building. I think about this neighborhood, and all the contradictions in it. I think about how much I adore the tacos and the views of Mount Hood and the once-cheap rent. But mostly these days, I can’t help but think about how I am a part of the problem. I moved to this place because I thought I could make a difference. For years, my husband and I have lived and worked within refugee communities, mostly in Portland. Born and raised an evangelical Christian, I went to Bible college to become a missionary and started volunteering with refugees, mostly from East Africa. Slowly I realized I didn’t want to convert anyone to Western evangelicalism. I still believe in Jesus, but my work shifted toward a new mission: helping our refugee friends and neighbors navigate the complexities of life in America. Eventually we joined a nonprofit that works in lowincome communities and moved to Minneapolis for three years of training and experience. When we moved back to Portland last July, our city seemed unrecognizable. Where we used to live—close to inner Southeast Division Street—was now block after block of boutiques and high-end apartments, fried chicken and biscuits and expensive boots, $4 coffee sipped by people who looked and acted and dressed all the same. Also, we couldn’t afford to live there anymore. Accustomed to diversity and broke after a crosscountry move, we applied to live at Barberry Village, just outside Portland city limits at the far western end of Gresham. We had heard the complex was home to many refugees. We wanted to live among people who were different from us, and help them adjust to life in a new country. Barberry was just what we had in mind. A few years ago, in 2010 and 2011, new managers came to Barberry Village and discovered an excellent strategy for finding consistent, responsible tenants for a histori-

cally troubled area: working with resettlement agencies to rent to recently arrived refugee families. The strategy worked. Barberry, which had been infamous to local police, saw a dramatic decrease in both police calls and vacancies. Police showed up at the building more than once a day, on average, in 2010; by last year, the number of calls had dropped by more than two-thirds, and Gresham police now say the building has the lowest number of calls of any apartment complex its size. By the time I got here in 2015, Barberry felt like a safe place to raise my own family.

dirt. I watched women feed their children small pieces of bread, and admired their beautiful outfits—dresses over billowy pants, floral and sheer headscarves on. They leaned on strollers as they talked in their own languages. These women all knew why they were here—they escaped their countries, and were working hard to make a life here. They were kind to me, cooking food for me, and laughing and joking. But they didn’t understand my American ways, how I closed the blinds in my house at night, the way I craved privacy after a long day of caregiving. And it hit me: I don’t belong here.

An older woman from Cuba talks to me in super-fast Spanish, sure that I can understand her. Our apartment has a sliding glass door that opens onto a small concrete porch and large dirt courtyard. Twentythree other apartments also back into this space. It reminds me of a courtyard in Italy, a town square, a piazza of haphazard grass and porches with clothes and rugs drying in the sun, people grilling all kinds of food. An older woman from Cuba talks to me in super-fast Spanish, sure that I can understand her. A Somali woman is lonely in her second-floor apartment, trapped inside by having three kids under age 4. But mostly there are women from Afghanistan milling around, hanging out of windows to call to me, pushing strollers full of squalling children back and forth through the courtyard to each other’s apartments. They stop in front of my little porch and scoop up my baby to kiss him. They chat with me, all of them with varying degrees of limited English. In the late afternoon this spring, I would sit in a blue plastic chair outside while my children played in the

We got a letter in the mail three months ago. It said that in 90 days, when our one-year lease was up, the rent for our two-bedroom apartment would be raised by $110— from $830 to $940 a month. On top of that, if we chose not to sign a new yearlong lease, we would be charged an extra $200 a month, effectively raising our current rent by more than 35 percent. I felt slightly sick. I knew gentrification was coming to Rockwood, I just didn’t expect it would happen this fast. Rents are going up at extreme rates. I’ve never lived like this, with this kind of instability before. Owners can charge more because the market supports it. The trickle-down effect is snowballing—those who displaced people in North Portland, downtown and inner Southeast got pushed out themselves, and they keep spreading outward. cont. on page 16 Willamette Week SEPTEMBER 14, 2016


many as five people living in the same space to cut down on expenses. All three are refugees from Iraq. When I ask about the rent increase, they all seem resigned. “It’s not a big deal,” Sarmad Al Gharrawi says. But he is looking for another place to live so his fiancee from North Carolina can join him, and he says it has not been easy to find anything affordable. Although they talk about the rent and are looking for another place “every day,” they say “this is the cheapest place.” Al Gharrawi and his roommates are like so many refugees who live here—arriving in Portland after a long and tangled trip, in his case through Syria, Jordan, Slovakia, Austria, Denmark and Sweden. The two-bedroom apartment he shares with his roommates was $750 a month when they started renting it two years ago. It will soon be $930, and they have to decide this month whether to sign another one-year lease. If they go month to month, looking for another place, the rent will jump to $1,130. Another family, refugees from Nepal, is facing a similar rent hike. In the two years they have lived here, the rent has gone up almost $200 a month. The family has seven members, including twin babies. “Every year it goes up,” says Sumil Gurung. “I’m planning to move to Columbus, Ohio.”

IT TAKES A VILLAGE: Since Barberry Village began renting to refugee families, crime at the apartment complex has plummeted.

The trouble with these rising costs, of course, is what will happen to those living on fixed incomes. People cannot keep up, including recently arrived refugee families. (Portland does not have a cap on raising rents—the city’s newest rules require 90 days’ notice for any increase more than 5 percent.) With the rent increases at Barberry Village, many recently arrived refugees no longer qualify to rent— because the lease requires tenants to earn two times the rent. Refugees are given eight months of financial assistance by the government to get on their feet, and they have not had their benefits raised at a rate that lets their income keep pace with the rent hikes. (The Barberry owner and building manager both declined to comment.) It has become official, written into the rental agreements of the complex that refugees inadvertently helped make more desirable—they don’t make enough money to live in Portland. More than 90 percent of refugees in Oregon get settled within the city of Portland because this is where they can access services. But within the past year, Catholic Charities of Oregon has begun placing people in Salem—70 so far—partly because of rising housing costs in Portland. “We are still continuing to settle people in Portland, but we are also settling people in the Salem area because of the cost of living and the rent hikes,” says James Howell, director of development for Catholic Charities of Oregon. “Portland is just proving to be more and more difficult.” After I got the rent-hike letter, a thought began bothering me. I had been pushing this thought aside for quite some time, but it came back. What am I doing living here? I thought I was helping. But instead it feels like I am just the first in a wave of changing the neighborhood. I had come here to purposefully live among refugees. But I wasn’t one of them. I was protected by my family ties, comfortable background, and economic class. This rent hike was unaffordable to many of my neighbors— and a mild inconvenience for me. That wasn’t an accident: I was exactly the kind of person that property owners wanted to use to replace refugee families, one apartment at a time. That change would happen with or without my taking up one unit in the building. But I hadn’t even thought about it. I was focused on myself and what I wanted—cheap rent, a diverse neighborhood, the sense that I was doing good—but I had no knowledge of the structures and the systems and the history that was at work, forcing my neighbors out. 16

Willamette Week SEPTEMBER 14, 2016

It was insistent, a worm eating through my heart: Good intentions aren’t enough. I was living out another page in the history of a state that has accepted outsiders reluctantly. So I started asking my neighbors about it. One of my neighbors, Anna Luisa Diaz Villegas, an older, energetic woman from Cuba, is on a fixed income. At age 74, she receives $733 a month in Social Security, but her rent is climbing to $1,060 this month. “I can’t pay more,” she says. So where will she come up with the money? We don’t answer the question, because neither of us know. Instead, she tells me again about the food bank at the middle school, and urges me to get free food for myself and to bring it to others. Instead of dwelling on her own problems, she tries to take care of me.

We got a letter in the mail three months ago. It said that in 90 days, when our one-year lease was up, the rent for our two-bedroom apartment would be raised by $110—from $830 to $940 a month. Another neighbor, Abdullah Ahmed, is from Iraq, and when I mention the rent increase, he grimaces and says, “Oh, yes—this is a big, big problem.” With his son helping to translate, he tells us how he has lived in this apartment complex for five years, and recently started trying to find another place to live. But the few places he looked at were all more expensive than Barberry Village. So he will stay, for now. To make up the extra money, besides working at a laundry service, he hopes to become a taxi driver. I knock on the door of three men who split the rent on a two-bedroom apartment; in the past, they have had as

My husband recently got a different job, a better one, and now he sits in an office in fancy clothes. The last paycheck he got made me finally relax. We are in the process of buying a house around the corner from our apartment complex. He and I remain different from our refugee neighbors for an obvious reason: We can afford the down payment on a house. And I feel conflicted about that. But buying a home is a more honest way of living here: It means a real financial stake for us. It means we aren’t going anywhere, that we are invested. My daughter attends first grade at the local school, one of the most diverse places I have ever been. I feel like my mission has changed: I want to convert Portlanders to care about what happens to people in Rockwood, before it’s too late. Because others are leaving, too. My neighbor Mehrafzun caught me as I was walking past her back door. Come in, come in, she motioned, and I noticed her place was bare and clean. Where are you going? To Tigard, she told me. Why? This apartment is no good, she said, there are mice everywhere, my children are sick, the manager does not do anything. She told me that for two months she walked the neighborhood, trying to find an affordable apartment. She wanted a three-bedroom for $1,200, and she could not find it. In Tigard, they found a two-bedroom for $1,100, on the second floor, and it is nice and clean, she tells me. I remember the first night I met her, her family freshly arrived from Afghanistan, her living room empty save for a couch and two lamps with the shades upside down. In her limited English, she was desperate to talk to me, to tell me their story: how she was married at age 15, the troubles her family experienced, the flight to Iran, and then to Turkey, the years of second-class citizenship, and the eventual landing in America. When I call her a few months later to tell her I am writing this story, she tells me she wants to stay in Oregon, because she likes it here. “Tigard is good,” she says. But her husband, Abdul, has to commute over three hours a day to get to his job at a food-processing plant. Their new apartment is far from services like the Immigrant and Refugee Community Organization. But in her trademark way, she does not complain. “I am happy you are sharing this story,” she says. “We want people to care.” That night, I kissed her cheek and said goodbye. And already, I knew: This is what I will be doing for the next few years of my life. I will say goodbye to the people who have traveled across the world to live here. And the rest of us are left with a question: Are we willing to live in a city that is unlivable for so many? WW staff writer Rachel Monahan contributed reporting to this story.


Set Adrift

MOVING DAY: D.L. Mayfield and her family are buying a house in Rockwood. “It means a real financial stake for us,” she writes.

STOPPING BY: Alaa Jasim, 35, in wheelchair, is a refugee from Iraq. On a recent afternoon, he was visiting Syrian refugees who live at Barberry Village.

RICH TAPESTRY: This woman, who asked not to be named, arrived in Portland from Myanmar. Willamette Week SEPTEMBER 14, 2016


Check out our new-look Culture section!

Where are you from? Portland Where do you live? Left: Laurelhurst. Right: Gresham.

Where are you from? Melbourne, Australia. “Just visiting.”

Where are you from? “Visiting from Minneapolis. I just came to hang out in Portland.”



Where are you from? Montana. Why did you move here? “I always wanted to move to Portland.”

Where are you from? Modesto, California. Why did you move here? “I moved here 12 years ago for the weather.”


www.wwe e e t

Where are you from? “I’m a New Yorker.” Why did you move here? “It’s always a man, isn’t it?”

Willamette Week SEPTEMBER 14, 2016

Where are you from? Left: “I moved from Chicago for the music scene.” Right: “I moved from Madison, Wisconsin, for school.”

Where are you from? “I grew up here.”

The Bump

The Blair Witch Project







The found-footage thing is new and weird enough that there’s some plausibility to it.

Young people have no idea what a Blair Witch is, but might like a “Flashlight Face” Snapchat filter.

See page 41.

This is a huge week for 1999 in Portland. Arguably it’s the biggest week for 1999 since Dec. 31, 1999! With a new Blair Witch Project movie and concerts by Blink-182 and Garbage, it’s time to put down the Pokémon and toss on your vintage Rasheed Wallace jersey and some Adidas snap-up pants for a night out. Yes, 2016 is the spiritual sequel to 1999, definitely canon and part of the 1999 universe. But as in any reboot, some details have changed from the original 1999.

Britney Spears


Britney bursts back onto the pop landscape. Everybody talks about her age.



Praying her man catches her listening as he whispers to another woman on the phone. Bey loves the wrong men.

Fight Club



CNN airs warnings that the Pokémon card game is “a fantasy world so compelling that children would quickly become obsessed.”

Harry Potter


Talking to her man on the phone, encouraging him to say her name so she knows he’s at home, by himself, and not at the crib with another lady.

CNN warns obsessed Pokémon Go players to stop using it while they’re driving, while in the cemetery next to grieving widows, and while trespassing on federal property.



Chuck Palahniuk’s Fight Club 2 fares well at comic stores, but struggles with critics.



Gorilla Monsoon

Gorilla Harambe

Outgoing president


Twenty-somethings line up at bookstores around the world at midnight to get the first copies of Harry Potter and the Cursed Child.


“Jar Jar is gonna die soon, right?”


“We finally get to see Jar Jar’s slow, painful, violent death, right?”

Specter of coming apocalypse

Bill Clinton



Children line up at bookstores around the world at midnight to get the first copies of Harry Potter and the Prisoner of Azkaban.

Pressing question about upcoming Star Wars movie

Chuck Palahniuk’s Fight Club fares well with critics, but struggles at the box office.



California hits No. 1 on the Billboard 200 and sold 236,000 copies.

See page 25.



Britney bursts onto the pop landscape. Everybody talks about her age.


Enema of the State hits No. 9 on the Billboard 200 and sold 15 million copies.


Incoming first gentleman




Donald Trump

Willamette Week SEPTEMBER 14, 2016




Satu Imp Auth and Live rday orte C e Mus 11a n Sun r d tic oa Poli m day ic Poli 12p – 10pm tian C sh B s m– u h isin eer Cuis 6pm e i


B I T E - S I Z E D P O RT L A N D C U LT U R E N E W S .

Polish Festival 3900 N Intertate Ave. Portland, Oregon ADMISSION FREE Questions: 503.281.7532

Saturday, Sept 17, 2016 11am - 10pm Sunday, Sept 18, 2016 noon - 6pm

"Not If You Were the Last Junkie on Earth"

WINE AND DANDIES: The Dandy Warhols will soon have their own wine bar, which will be called The Old Portland. The Portland-based American Brit-pop band’s frontman, Courtney Taylor-Taylor, filed for a liquor license at a location inside the Odditorium on Northwest 14th Avenue and Quimby Street—which currently serves as the band’s 10,000-squarefoot playground, recording studio and performance hall. The Dandies are long-standing and well-documented wine fans; as recently as 2013, Taylor-Taylor had his own small wine label called Chateau Taylor-Taylor. LACHAPELLE'S SHOW: In more Dandy Warhols-related bar news, Northeast Broadway will get a two-story, loosely nautical-themed karaoke bar called Capitol Bar—in a building owned by photographer and director David LaChapelle, who shot the Warhols’ “Not If You Were the Last Junkie on Earth” video. LaChapelle reportedly turned down offers from large corporations in favor of Capitol Bar, in part because he was a fan of the vegan options at other bars of co-owner John Janulis (Bye and Bye, Sweet Hereafter). Other partners include the people behind nearby Church and Ox. The upper floor will have karaoke made by sound engineer and composer Phillip Kraft—best known for his work on the tEEth collaborative dance project—while the first floor will just be a regular bar. It’s expected to open by the end of this year. SWING HIGH: An upscale swingers club will hold its opening this week in Portland. Club Privata will open officially on Saturday, Sept. 17, in the space formerly occupied by Ron Jeremy's sex club Club Sesso, which closed after an assistant fire marshal allegedly protected Sesso from code violations concerning club capacity. Privata already had a soft opening— but its official opening will be a masquerade-themed party with a performance by Emmy-nominated drag star Sasha Scarlett, an aerial display by A-WOL Dance Collective, an all-male dance review and door prizes. Membership ranges from $10 to $150. This includes buffet access and nonalcoholic drinks, but not the door fee, which ranges from $10 to $100 but is always lowest for single women. Club Privata will also hold weekly parties—like "Gang Bang Night," "Naughty School Girl Night" and "Bacon Night." Utilikilts are banned by rule. POST PARISH: Pearl District Cajun and oyster restaurant The Parish has closed—one of two Portland oyster bars to close last week, along with Trent Pierce’s B+T Oyster Bar, which shuttered Sept. 4. The Parish closed without warning, and by Sept. 9 the bar had been emptied. Owners Tobias Hogan and Ethan Powell released an announcement Sept. 11 saying they would refocus their efforts on their North Williams Avenue oyster hall, EaT: An Oyster Bar.


Willamette Week SEPTEMBER 14, 2016

W E D N E S DAY, S E PT. 1 4 [LIFE & DEATH] Morgan Thorson’ss contribution to PICA’s PICA’’s PICA ’s TBA Festival is Still Life,, an ensemble dance cycle at the Portland Art Museum that celebrates loss—physically and figuratively. The choreography of this dance troupe will symbolize death, and with each new cycle, an element of the last will disappear. Here, dance is a “living and dying thing,” and as part of the audience, you can also come and go. Portland Art Museum, 1219 SW Park Ave., 503-226-2811. Noon-5 pm. Included with museum admission.

[PUNK WITH SOUL] Nobody puts Xenia Rubinos (see page 31) in a corner. Using colorful splatters of soul, jazz, hip-hop and noise, the genredodging singer’s ’’s latest album, Black Terry Cat, is playful, political and poignant, often all at once. Holocene, 1001 SE Morrison St., 503-239-7639. 8:30 pm. $10 advance, $12 day of show. 21+.

T H U R S DAY, S E PT. 1 5

F R I DAY, S E PT. 1 6


[FAMOUS APE] In Trevor, a 200-pound chimp attempts to revive his showbiz career. We are assured this comedic play is not based on Dancing With the Stars. Artists Repertory Theatre, 1515 SW Morrison St., 503-241-1278. 7:30 pm WednesdaySaturday, 2 and 7:30 pm Sunday, through Oct. 9. $25-$50.

Get Busy

[FIESTA PATRIAS] El Grito is Mexico’s Independence Day. Celebrate at the Rose Quarter with Aztec dancing, mariachi, salsa, cumbia and sooo many tacos. Rose Quarter Commons, 1 N Center Court St., 11:30 am-10:30 pm. Free.

[GEEK SPEAK] Hear behindthe scenes tales about the Avengers, Spider-Man, and Daredevil from Adam Bray, author of Marvel: Absolutely Everything You Need To Know Know. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800878-7323. 7 pm. Free.

[BIERFEST] The first great Portland Oktoberfest of September, Stammtisch Stammtisch’s block party features three to four Munich Oktoberfest beers and a bunch of other non-Munich ones, hammerschlagen games and a German grill. Stammtisch, 401 NE 28th Ave., 503206-7983, 5-10 pm (continues through Sunday).


S AT U R DAY, S E PT. 1 7 [ATOMIC AGE, BOMB SHELTERS] Architect Robert Rummer is a local legend, having built hundreds of beautiful midcentury modern homes in the West Hills. Think a local Joseph Eichler, with a big cult following. Tour his work in the Oak Hills neighborhood. 10 am-4 pm. $25-$35. Tickets and info at

[DUCK THE HUSKS] The Oregon Ducks’ first real challenge of the season comes against the Nebraska Cornhuskers, best known locally for recruiting local phenom Ndamukong Suh. Here’s hoping the Ducks stomp on their heads. KATU Channel 2. 12:30 pm.

S U N DAY, S E PT. 1 8 [WORKING BLUE] Badass motherfucking linguist Benjamin K. Bergen, author of new book What the F F, will talk about why we say fuck, shit, piss and goddamn—why it's so fucking useful, and why it feels so fucking good. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

[TAKE BACK THE STREETS] Similar to the Naked Bike Ride, the annual SlutWalk is both a protest and affirmation—a statement against rape culture and a celebration of body autonomy. Southwest Park Blocks at Salmon Street. 2 pm.

M O N DAY, S E PT. 1 9 [PICK FLICK] The lasting lessons of Election: American society reviles ambitious women, don't diddle those who are forbidden, and mistreating custodial staffers will catch up to you. It’ss the movie America needs right now. Mission Theater, 1624 NW Glisan St., 503-223-4527. 5:30 and 7:45 pm. $4 adults, $3 kids.

[MERC-Y ME] The Mercury, a local weekly once known for its beloved “My, What a Busy Week” feature, presents its “I, Anonymous” troll column live, with judges. The Secret Society, 116 NE Russell St., 7:30 pm $10 advance, $15 at the door.

T U E S DAY, S E PT. 2 0 [TOM WHO?] Pop punk isn’t meant to last, but Blink-182 (see page 25) is an American institution. New album California is so good you’ll forget Tom DeLonge is out chasing UFOs. Sunlight Supply Amphitheater, 17200 NE Delfel Road, Ridgefield, Wash., 360-816-7000. 7 pm. $28-$595. All ages.

[FRESHIES] A pop-up fresh-hop beer fest will be held in the Burnside Brewing parking lot. It It’ll be tapping one-off beers from Seattle’s Fremont Brewing on Tuesday. Seattle Laurelwood, Breakside and Fort George will follow. Burnside Brewing, 701 E Burnside St., 503-946-8151. 11 am-8 pm Sept. 20-24.

Willamette Week SEPTEMBER 14, 2016



= WW Pick. Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: See page 3 for submission instructions.

WEDNESDAY, SEPT. 14 Aviary/Jasper Sisco Wine Pairing

Get a four-course, wine-paired meal at Aviary, our 2012 Restaurant of the Year—Portland’s Jasper Sisco wines will be pouring two rieslings, a pinot noir and a white. Chef Sarah Pliner will pair them with fine dishes like amaranth-crusted sweetbreads with summer squash and lychees, or slow-roasted goose with smoked maitakes, green papaya and pickled thai chili. To reserve, call the restaurant. Aviary, 1733 NE Alberta St., 503-287-2400. 6 pm. $45.


Feast is in town—the biggest, most luxuriant and sort of ridiculous and impressive and after-partied food event that Portland has on offer. And it is, like every year, very sold out. But we’ll put some pictures online for you. Info at Multiple locations. Through Sunday.




Stammtisch Oktoberfest

The first great Portland Oktoberfest of September, Stammtisch’s block party features three to four Munich Oktoberfest beers and a bunch of other non-Munich ones, Hammerschlagen games and a German grill. Stammtisch, 401 NE 28th Ave,, 503-206-7983. 5-10 pm. Through Sunday.


Shandong Fresh-Hop Pop-Up

A pop-up fresh-hop beer fest will be held in the Burnside Brewing parking lot through Saturday, Sept. 24. They’ll be tapping one-off beers from Seattle’s Fremont Brewing on Tuesday. Laurelwood, Breakside, Fort George and a mystery brewer will follow. Expect also schnitzel, kraut and other Oktoberfest things—but remember in your heart that fresh hops are an Oregon tradition. The parking lot closes at 8 pm nightly. Burnside Brewing, 701 E Burnside St., 503-946-8151. 11 am-8 pm.

1. Smallwares

4605 NE Fremont St, 971-229-0995, Last chance for the signature fried kale and transcendent mapo dofu. $$-$$$.

2. Revelry

210 SE Martin Luther King Jr. Blvd., 971-339-3693. Brilliant Korean rice cakes and fried chicken with peanut brittle. $$$.

3. Poke Mon

1485 SE Hawthorne Blvd., 503-894-9743. Sauced-up, sashimi-style fish and a side of sake or La Croix. $-$$.

4. Jacqueline

2039 SE Clinton St., 503-327-8637, Wild-mushroom small plates and fine cioppino thick with shells. $$$.

5. Botto Barbecue

2204 NW Roosevelt St., 503-354-7748, Texas-style brisket and ribs and kickass kolaches. $-$$.


Willamette Week SEPTEMBER 14, 2016

WHAT’S SHAKIN’, BAKER?: Owner Hiroyuki Horie at Oyatsupan Bakers.

Land of the Rising Bun Japan has a baking tradition that goes all the way back to the 16thcentury Portuguese. But the Portland area has never seen it until this year. Beaverton’s Oyatsupan Bakers, which opened in May, is devoted to “oyatsu pan” snack breads that might range from savory, curry-filled doughnut to matcha shortbread. Its owner and executive baker, Hiroyuki Horie, worked at Japanese bakery company Pasco Shikishima for 25 years before transferring to Portland and noticing he couldn’t get his home country’s bread here. Well, thank God that’s over. In Oyatsupan’s beautiful cream puffs, a light shell of brioche just barely contains a gushing abundance of airy cream in which you can see actual bits of vanilla bean. A pastry boat might put strawberries, chocolate shards and heavenly rich custard in the tub. A swirled, chocolate-filled cornet with cute chocolate eyes was described by a workmate as looking like a “turd monster,” but tasted like mousse on butter bread. The shortbreads were the only shortcoming; they were a little dry. The best treat, though, was the anpan—a red-bean sweet roll perfectly marrying savory and sweet, crisp and gooey. The sweets aren’t cheap, though. In the clean-lined shop filled with ingeniously designed grab-and-go pastry cases—the lid slides above the case so you don’t have to hold it open—the doughnuts and pastries cost Blue Star prices ($2.50-$3.50). But the flavors can make you wonder why Tokyo ever needed Blue Star doughnuts at all. Oyatsupan is even better for lunch. A pork tonkatsu sandwich ($6.80 with salad) comes as a British-style tea sandwich—crusts cut off and everything—except the bread is buttery pan bread, the chicken-fried pork within covered in sweet-savory katsu sauce. The curry soup ($3) plumbs cavernous depths of flavor, with beef in every bite—the chili of Japan for chilly autumn afternoons. You can also get the curry as a delicious filling in a lightly glazed pastry crisped up with a layer of panko. And then there’s the hot dog served not in bun but pastry, with stone-ground mustard baked on; the ham and cheese baked within the folds of a fluffy croissant; and the city’s finest take on the jalapeño popper, with a wealth of cream cheese, cheddar and swiss baked with peppers into a French-style batard. And the best thing? If you order fresh-made food, Oyatsupan will deliver it to the beer bar next door, so you can drink while you wait. Pure genius. MATTHEW KORFHAGE. Oyatsupan Bakers brings Japanese baking to the Portland area—finally.

EAT: Oyatsupan Bakers, 16025 SW Regatta Lane, Beaverton, 503-941-5251, 7 am-6 pm Monday-Tuesday and Thursday-Saturday, 9 am-3 pm Sunday.



FETA AND ZUKES: The zucchini plate at Rue.


To understand what’s going right at Rue, a minimalist French small-plates “neo-bistro” that quietly opened in one of those big, new buildings on East Burnside, look to the carrots and bananas. The miniature carrots ($11) are served like something out of celebrity chef Dan Barber’s Blue Hill farm—a produce-happy showcase of irregular roots with wild greens piled atop them, so flavorful you feel like you can almost see sugar crystals surfacing from within. Cooked in brown butter and covered in manchego cheese, the carrots were herbed up on two visits with lavender, a subtle but overpowering ingredient that can smack of soap. But only a few bites tripped over the line. The plate was a high-wire act marrying sweet and earthy vegetable to bitter field leaf, with those floral notes of lavender coming onto the palate like perfume to a cartoon Frenchman, buoying it into ecstasy. Similarly, the Sharknana cocktail ($11) uses banana to surprisingly subtle effect in a drink that contains no subtle ingredients. The fruit flavor comes through loud and clear, but rather than take over your mouth with cloying sweetness, it’s counterbalanced by nutty cognac and sweetly herbal Cocchi rosa aperitif, and cut with acidic lemon to form one of my favorite cocktails this year. Both the carrots and cocktail are unlikely but expertly balanced, cloaking risk with poise like a gymnast sticking a backflip on the beam. The cavernous 55-seat restaurant, opened by New York-trained chef-owner Jason Roberts, is decorated with a similar high-risk minimalism that plays off as tasteful—despite including multiple wall squares covered in quiltings of moss, a blowup photograph of turn-of-the-century France and an entire hallway devoted, perplexingly, to the first page of The Great Gatsby. It’s like a design-firm lobby or a cool-kid loft in SoHo, but somehow still pleasant—crisp but not chilly.

But subtlety can also be Rue’s biggest foil. Sure, in vegetable dishes like zucchini ribbons ($10) covered in a pistachio-and-feta crumble, or an elegant plate of heirloom beans ($9) sauced up with eggplant puree and lightly cooked to just the right side of tender, it’s easy to see Roberts’ organic-farm background. He buys ingredients from up to 10 farms each week, reshaping the menu to suit what’s freshest. That lavender dropped from the carrots the second it started to taste like Irish Spring. But those discreetly elegant veggie plates aren’t filling—and in the meat entrees, delicacy can be another word for a lack of salt. A rockfishand-chanterelle plate ($16) receded tepidly over thin potato and olive-oil puree; it’s now served with smoky freekeh wheat. A rare-cooked duck ($21)—now made with chicory, almond and prune—formed an ungainly foursome with charred eggplant, wilted kale and wedges of fresh peach, garnished by daubs of nectarine puree. It was less an exercise in balance than a dish at loose ends, with perfect bites difficult to construct. A more successful smoked-troutand-green-bean small plate ($12), on the other hand, was a fun play on holiday green-bean casserole, with a fennel crumble and Dijon-spiked, hard-boiled-egg vinaigrette taking the place of onions and cream of mushroom. As filler, you’re better off with the generous burrata ($12). The mound of soft cheese came once with wilted kale and anchovy, once with a cornucopia of fiorello peppers and peaches, but both times with a heaping bowl of bread. So much of Rue is commendable. Vegetables are rarely treated with such care, even at spots that don’t serve meat. But without a singular standout dish, the emphasis on the balanced and understated leaves the overall experience a bit diffuse. The cocktails, from a bitter-smoky, rye-fernet Flip Flops n Socks ($9) to an exuberant mezcal-amaropineapple take on the margarita ($12), can often seem more ambitious than the food. Rue performs amazingly well on the balance beam, but you sometimes wish you could also see it on the vault. EAT: Rue, 1005 SE Ankeny St., 503-231-3748, 5-11 pm Wednesday-Sunday.

Simple ApproAch

Bold FlAvor vegan Friendly

open 11-10


500 NW 21st Ave, (503) 208-2173


the premiere of a Ron Howard film

EIGHT DAYS A WEEK The Touring Years

Academy Award-winner Ron Howard’s highly anticipated documentary feature film tells the story of The Beatles’ phenomenal early career and the incredible, profound impact the band imparted upon the music industry and the world. The film explores how John Lennon, Paul McCartney, George Harrison and Ringo Starr came together to become this extraordinary phenomenon, The Beatles.

2 showings: 3:45p and 7pm Thursday, September 15th at Cinema 21 Willamette Week SEPTEMBER 14, 2016



Willamette Week SEPTEMBER 14, 2016




I’ve spent the past 20 years tolerating and sometimes enjoying Blink-182. The band has always been there, bugging and bewitching me in equal measure. It has hovered on the border of my beloved poppunk realm. It has claimed close friends. It has blessed morning commutes with songs I can’t help but sing along to. I never took Blink-182 seriously, because it seemed to beg its listeners to disregard seriousness at every turn. But with the recent release of the band’s seventh album, California, the critical conversation about Blink-182 has been nudged into the world of hushed tones. This is apparently a band with a history that must be reckoned with. Until now, I have never listened to a Blink-182 album. But I’m about to dive into all of them at once. Join me.

Cheshire Cat (1995)

Oh no. This album is great. Really great. I am upset. My skateboarding friends should have forced me to listen to this 20 years ago. I can’t believe I don’t have any beautifully stupid memories attached to “Carousel.” My whole life has been a lie. Blink-182’s debut album loses steam and gets too jokey in the home stretch, but for a good 30 minutes, Cheshire Cat goes toe-to-toe with Screeching Weasel’s best work. Mark Hoppus does a decent job here—“Cacophony” is a splendid skater-boy twist on Sunny Day Real Estate—but this is the Tom DeLonge show. “Carousel,” “Touchdown Boy” and “Peggy Sue” are perfect. Without DeLonge, these guys would be lost.

Dude Ranch (1997)

If the aging weirdos I polled can be trusted, Dude Ranch is the fan favorite. I can see why. Hoppus elevates his game here, DeLonge continues the campaign of endearing awkwardness that makes Cheshire Cat so special, and pop stardom hasn’t claimed either of them yet. I was already familiar with “Dammit” and “Josie,” and I figured Hoppus was the primary creative force behind Blink, but like Cheshire Cat, this album belongs to DeLonge. It’s that voice. DeLonge owns one of punk rock’s great vocal instruments, a cross between the aggrieved wail of the Descendents’ Milo Aukerman and the snotty bluster of Toys That Kill’s Todd Congelliere. Blink-182 is beyond lucky to have him.

Enema of the State (1999)

OK, here’s the Blink-182 I already sort of knew, and didn’t really like. According to “Dumpweed,” DeLonge needs a girl he can train. Gross. Who does this guy think he is? Rivers Cuomo? Until this point, the band fell back on the tired “I’m a dope and girls are just so confusing” shtick that propels too much pop music, but Blink-182 wasn’t this icky about projecting insecurities. It’s a real drag that Enema of the State begins on such a bum note, because the rest of the album is a showcase for Delonge’s songwriting brilliance. Which isn’t to say Hoppus is

BLINK AGAIN: (From left) Blink-182’s Matt Skiba, Mark Hoppus and Travis Barker.

phoning it in—“Going Away to College,” “What’s My Age Again?” and “Adam’s Song” are spectacular—but DeLonge’s “Aliens Exist” is a truly moving cry for help from the heart and soul of one of the best pop-punk bands of all time.

Take Off Your Pants and Jacket (2001)

I guess this is growing up. The masturbation joke in the album title tries to keep the spirit of numbskullery alive, but Hoppus, DeLonge and Travis Barker find themselves at a crossroads here, and they don’t know what the hell to do. The lyrics evince an increasingly weird fixation on adolescent experience, while the music strains for a grandiosity that Blink-182 simply isn’t capable of reaching yet. The band is clearly more besotted with emo’s nascent new wave than pop punk’s ’90s heyday, which is fine, but the new direction terminates at bland mediocrity. DeLonge’s “Give Me One Good Reason” is the highlight, and even though I don’t understand why he can’t let go of hurt high-school feelings, he tricks out the tired routine with a stuttery composition that hints at a brighter future. I just can’t tell if the future belongs to Blink-182 or Fall Out Boy. Regardless, I can’t even imagine what these guys would be without DeLonge.

Blink-182 (2003)

This is the Blink-182 album I want to grow old with. OK, I’m already pretty old. I’ll be 40 in a few years. What am I doing listening to Blink-182 albums? I don’t know. But it also seems like Blink-182 doesn’t know what it’s doing making Blink-182 albums. The uncertainty works here, though. This album is a fiery launch into unknown outer space, an insane escape from the sophomoric hijinks that defined them here on earth. The boys in Blink-182 are men now. I am also a man. Sort of. I’m a man who understands what the new fathers in Blink-182 are experiencing, circa 2003. They are scared. They are not what they once were. But they are exploring new ways of being. The songs on this self-titled masterpiece are dark and weird, and every one of them is beautiful. DeLonge’s whole life has been building up to “Asthenia,” and in a way mine has as well.

Neighborhoods (2011)

This is not a good album. In fact, it is a terrible album. The songs are undercooked yet overproduced. The result is like some horrible hybrid of soggy Coldplay and post-From Under the Cork Tree Fall Out Boy. But if you’ve been a fan of Blink-182 as long as I have (going on four whole hours now), it’s hard not to love a misstep this egregious. Dudes are trapped in a toxic relationship and can only make it work by rejecting every single thing that made them fall in love with each other in the first place. We have to love them, for they clearly are not prepared to love themselves. This is not the slow fade-out of late Green Day. This is complete collapse, and it is spectacular. As usual, DeLonge is responsible for the album’s brightest spots: “Ghost on the Dance Floor” and “Natives” are further proof that DeLonge is the hot core keeping this moribund band alive.

California (2016)

Wait. What? Hold on. Hold. The. Fuck. On. DeLonge is gone? Blink-182 without DeLonge is like my life without Blink-182—a husk of a thing that could use more goddamn Tom DeLonge. Blink-182 knows it, too. California, which finds Hoppus and Barker teaming with Alkaline Trio frontman Matt Skiba, is a wan wail for help from a band holding itself hostage. The album opens with songs called “Cynical” and “Bored to Death.” That about sums it up. I forgot what those songs sounded like as I was listening to them. There’s a 15-second song about a swimming pool. There’s a song called “Los Angeles.” This album does nothing more or less than remind you that Blink-182 exists, and that human beings are still capable of playing and recording drums and guitars. Ground control to Major Tom. Um, come back. SEE IT: Blink-182 plays Sunlight Supply Amphitheater, 17200 NE Delfel Road, Ridgefield, Wash., with A Day to Remember and All-American Rejects, on Tuesday, Sept. 20. 7 pm. $30-$90. All ages.

Willamette Week SEPTEMBER 14, 2016



Willamette Week SEPTEMBER 14, 2016

MUSIC = WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: Fax: 243-1115.

THURSDAY, SEPT. 15 Bloc Party, Corbu

[RENEWED KIDS ON THE BLOC] Bloc Party was a big deal when it debuted with 2005’s Silent Alarm, sporting an ’80s-influenced sound pitched somewhere between the staccato punk of Maximo Park and the earnest instrumentation of Interpol. It’s been an extended series of hiatuses and lineup changes since. Relaunching last year with Menomena bassist Justin Harris and drummer Louise Bartle forming the new rhythm section, fifth album Hymns shows a quieter and less rocking side of the band. Tracks like “Fortress” feature smooth, breathy singing from frontman Kele Okereke. He says the album is an attempt to explore his early exposure to religious music, and the tracklist—featuring titles such as “Only He Can Heal Me” and “Virtue”—certainly reads like an open-ended inquiry into its subject matter. MAYA MCOMIE. Roseland Theater, 8 NW 6th Ave. 8 pm. $25. All ages.

FRIDAY, SEPT. 16 Sara Watkins, Mikaela Davis

[SECOND FIDDLE NO MORE] Most musicians don’t pull a 180-degree turn nearly two decades into their career. Then again, few musicians start their professional career at age

15. Sara Watkins has been in the limelight since the late Nickel Creek first burst her onto the scene. In recent years, though, the well-regarded fiddle player has been quickly shedding her bluegrass roots in favor of a more contemporary sound. Her third solo venture, Young in All the Wrong Ways, finds the California native sharing bittersweet vulnerabilities over hard-edged guitars and drums, a far cry from where she began, if not terribly far from other country-pop artists of the moment. She does so with confidence, allowing her honky-tonk flirtations to sound nothing if not sincere. BRANDON WIDDER. Aladdin Theater, 3017 SE Milwaukie Ave. 8 pm. $20 advance, $23 day of show. Under 21 permitted with legal guardian.

Thrice, La Dispute, Nothing Nowhere

[POST-HARDCORE] Following in the footsteps of Black Flag and Bad Brains comes the new tea-drinking, Penguin Classics-reading iteration of hardcore punk. Thrice, made up of a group of old skate-park friends, added off-kilter time signatures to the familiar quick, distorted strumming, layering in philosophical assertions like the title of their latest LP, To Be Everywhere Is to Be Nowhere. Of equal influence in the genre’s evolution is La Dispute, whose screamwhine vocals come across more as an urgent kind of spoken-word poetry.

CONT. on page 28



Garbage, Cigarettes After Sex [COTTAGE INDUSTRIAL] In another few decades, when the next generation of shows like Vinyl and The Get Down try to dissect the record industry’s final flourish, what better focal point to encapsulate the varying strains of music drifting through the mid-’90s than Garbage? Well beyond the too-Dickensian monikers of saucy goth frontwoman Shirley Manson and Nevermind producer Butch Vig, the Garbage narrative screamed theatricality—that first meeting with Manson happened to occur on the afternoon of Kurt Cobain’s passing—but somehow skipped the wow finish. Given the boys’ endless, labor-intensive tinkering of each release, nobody seemed that surprised when the elongated hiatus between albums stretched into actual dissolution in 2005. Strange Little Birds, their sixth fulllength and second since regrouping, reveals a sound little changed since Garbage’s eponymous 1995 debut. The palette of bleeps and whirs has expanded, perhaps, and Manson’s vocals are a shade huskier. But even the darkest lyrical moments soar atop a malleable wall of heavily processed sound still flush with Clinton-era protofuturism. For all of Garbage’s imitators in the past two decades, no other act has quite mastered its platinum alchemy—one woman’s self-lacerating trashiness fused with a mad production trio’s painstakingly curated sonic treasures. JAY HORTON. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 7:30 pm Sunday, Sept. 18. Sold out. 21+. Willamette Week SEPTEMBER 14, 2016




DUB DUB: Lee “Scratch” Perry plays Revolution Hall on Sunday, Sept. 18. Do you mosh or do stand alone with your arms crossed, shedding the occasional tear? You decide. ISABEL ZACHARIAS. Crystal Ballroom, 1332 W Burnside St. 8 pm. $25 advance, $29 day of show. All ages.

Hannah Yeun, Cold Comfort, Silver Ships

[ECHOES FROM THE PAST] Portland singer, guitarist and cellist Hannah Yeun’s voice drifts hauntingly over the at times eerie, echoing backdrops of the tracks found on her recently released debut album, Heavenly Sister. “Holy Ghost” sounds as if recorded inside an old, dilapidated building, while “Do It Now” and “Find Me Hiding” edged toward pop, with slightly brighter melodies and more traditional structures. The songs are slow in tempo, but this only serves to build up the tense atmosphere. While Yeun’s songs are melancholy, you don’t get the sense that she is sad. Her self-described “somber witchy ’60s vibes” should be a good indication of what to expect. MAYA MCOMIE. Kelly’s Olympian, 426 SW Washington St. 9 pm. $6. 21+.

Máscaras, Lithics, Møtrik

[THUNDER OF THE GODS] Portland’s favorite local Aztecpsychedelic instrumentalists Máscaras are celebrating the release of their new single, “Habesha,” a song named after the lamentably defunct bar and venue that was located atop an Ethiopian restaurant on Northeast Broadway. The swirling rainbow of guitars, anchored by the sound of a modern-day John Bonham wielding Thor’s hammer, suggests the soundtrack to an adaptation of Cormac McCarthy’s Blood Meridian as directed by Alejandro Jodorowsky—or the nightmare sermons of a resurrected Mesoamerican warrior dictated via tablature. In short, these dudes are not to be flexed with. CRIS LANKENAU. Mississippi Studios, 3939 N Mississippi Ave. 9 pm. $5. 21+.

SATURDAY, SEPT. 17 Yael Naim, Sara Jackson-Holman

[WHIMSICAL POP] Like sonic bedfellow Feist, Yael Naim knows the power of the “Apple bump,” having seen the advertising campaign for the first MacBook quickly catapult one of her songs to the top of the charts. Unbeknownst to most, however, the Israeli-French songwriter has issued three albums in the decade since. There’s an understated elegance to her latest, Older, which is rooted in elements of jazz and traditional pop music from different eras and regions of the globe. Accordion and dulcet piano pitter-patter around her borderline-operatic musings on motherhood and the fragility of life sung in her native tongue, alongside others, and the music is just as captivating in French as it is in English. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St. 9 pm. $18 advance, $20 day of show. 21+.


Willamette Week SEPTEMBER 14, 2016

Bonnie Raitt

[BLUES COUNTRY] Millennials may recognize Bonnie Raitt from their family’s summer barbecue playlists, the time she talked shit about George W. Bush or endlessly covered singles like “I Can’t Make You Love Me” and “Something to Talk About.” Now the Rock and Roll Hall of Famer—and one of Rolling Stone’s 100 Greatest Guitarists of All Time—is on the road supporting her 17th studio album, Dig In Deep. The album’s name gives away both Raitt’s newfound focus on heavy groove and the charming corniness of her style. If you can snag extra tickets, take your parents to this one. ISABEL ZACHARIAS. Edgefield, 2126 SW Halsey St., Troutdale. 6:30 pm. Sold out. All ages.

SUNDAY, SEPT. 18 Lee “Scratch” Perry, Subatomic Sound System, Alter Echo & E3

[DUB LEGEND] Considered Jamaican music’s resident eccentric, only the volume of Lee “Scratch” Perry’s output compares to the number of stories floating around regarding his mental instability. A celebration of his watershed Super Ape album, the 1976 release commonly ranked as dub’s reigning template is drawing him through town. The dry rhythms, crisp horn lines and Perry’s vocal scatting factors into the studio majesty that’s influenced everyone from the Clash to a bevy of hip-hop producers. The album would be followed with Return of the Super Ape a few years later, an effort that doubles down on the inclusion of some mysterious howling. DAVE CANTOR. Revolution Hall, 1300 SE Stark St. 9 pm. $22 advance, $25 day of show. 21+.

MONDAY, SEPT. 19 Local Natives, Charlotte Day Wilson

[DÉJÀ VOODOO] When the swell of indie bands making dramatic and expansive records chock-full of echoladen songs about the end times first hit record-store shelves, Silver Lake’s Local Natives were at least from the geographical location that spawned the sonic reference points. It wasn’t hard to imagine leader Taylor Rice having his eureka moment while listening to a battered old CSNY LP and searching through his contacts for a baritone and tenor he could harmonize with. With their latest, Sunlit Youth, the Natives turn the tempo down and employ a more subdued, soulful approach, moving away from their “sunburned Fleet Foxes” image and toward something akin to Talking Heads covering Al Green. CRIS LANKENAU. Crystal Ballroom, 1332 W Burnside St. 8 pm. $28.50 advance, $31.50 day of show. All ages.

Band of Skulls, Mothers

[SCUZZ POP] Somewhere between the dimly lit downtempo cool of the Xx and the bi-continental shred of the Kills, Band of Skulls balance

dates here

The Temper Trap, Coast Modern

[AntHEMIc InDIE] Lately, it seems as though the boys of the temper trap are eager to get back to where they began. While the Aussies debuted with Conditions, an album of infectious, guitar-driven pop that soundtracked many an indie film in the late aughts, they swapped the power chords for a barrage of synths on their ill-received self-titled follow-up. this year’s Thick as Thieves is a stab at returning to their roots. It’s awash with bruising guitars, worldly percussion and choruses crafted to make full use of Dougy Mandagi’s gravity-defying falsetto. there’s no “Sweet Disposition” to be found, yet the album still teems with an arena’s worth of pep-squad positivity—touring with coldplay will do that to you. BRAnDon WIDDER. Roseland Theater, 8 NW 6th Ave. 8 pm. $25 advance, $30 day of show. All ages.

CLASSICAL, JAZZ & WORLD Two Yosemites Preview Recital

[EnVIRoPERA] In May 1903, a couple guys went on a hiking trip in the mountains, and changed America forever. one of them was John Muir, the naturalist who’d co-founded the Sierra club a decade earlier and became the country’s foremost advocate for environmental preservation. the other was President theodore Roosevelt, who Muir was trying to persuade to protect california’s Yosemite Valley and other wilderness areas from development. In this opera theater oregon preview recital and fundraiser, tenor Daniel Buchanan, pianist Kira Whiting and baritone nicholas Meyer— who’ll also sing Schubert art songs inspired by nature—perform some

of the music that composer Justin Ralls wrote for his upcoming Two Yosemites, an “environmental chamber opera” set during that crucial hike, which he hopes ultimately to stage at national parks next summer. BREtt cAMPBELL. The Old Church, 1422 SW 11th Ave. 7 pm Wednesday, Sept. 14. $15 advance, $20 day of show. All ages.

Patrick McCulley

[SAX to tHE MAX] When we hear saxophone, we mostly think jazz. But the instrument has a long and distinguished tradition in classical music that continues in the 21st century, and Portland has no finer interpreter of contemporary non-jazz saxophone music than the amazing Patrick

cont. on page 31


Black Sabbath riffage with hooky co-ed choruses, some of which you’re undoubtedly familiar with due to their prevalence in cable tV shows, video games and commercials. on latest effort By Default, the band calls upon Gil norton to employ his signature production made famous by his work with the Pixies. He polishes the gritty distortion that stateside heshers will no doubt continue to fetishize, but for anyone looking for metaphor or depth among the heroinchic devil horns might do well to tune out and succumb to the fuzz. cRIS LAnKEnAU. Revolution Hall, 1300 SE Stark St., No. 110. 8 pm. $20 advance, $22 day of show. All ages.

TUESDAY, SEPT. 20 Mary Chapin Carpenter, Rose Cousins

[GIRL-nEXt-DooR AMERIcAnA] Your local soft-rock station’s DJs have tried to convince you for years, but the “cutesy country-folk lady singer” trope is here to stay, and the reason is that some people make it sound pretty good. Mary chapin carpenter’s built her career on foot-stomping tunes that don’t take themselves too seriously— and though her latest, The Things That We Are Made Of, swings more toward overwrought balladry, this is still sure to be the type of show that’ll find you stomp-clapping and smiling in spite of yourself. ISABEL ZAcHARIAS. Revolution Hall, 1300 SE Stark St., No. 110. 8 pm. $39.50 advance, $42 day of show. All ages.

Porches, Japanese Breakfast, Rivergazer

[ELEctRo-PoP] For a while, Aaron Maine was best known as the boyfriend of Greta Kline, aka Frankie cosmos. But since the release of Pool earlier this year under his own moniker, Porches, the new York musician has gained substantially more recognition. the record is a skilled mix of electronica, R&B and synthy bedroom pop, with an underlying human aspect that keeps it from sounding too manufactured. Porches just released an EP featuring demos of many tracks on the record, revealing Maine’s crafty process and solidifying his songwriting ability in the process. MARK StocK. The Analog Cafe, 720 SE Hawthorne Blvd. 8 pm. $13. All ages.

Nothing but Thieves, Civil Twilight, the Wrecks

[MELoDIoUS RocK] English fivepiece nothing but thieves has been around since 2012, when singer conor Mason and guitarist Joe LangridgeBrown met in Essex, and wasted no time bursting into the alt-rock arena. After issuing a series of EPs, last year the band released its self-titled fulllength debut, which produced the roaring single “trip Switch,” which reached no. 1 on Billboard’s Alternative Rock chart in the U.S. the secret to the thieves’ swift success is Mason’s unique voice, which brings to mind George Ezra, both in terms of vocal tones and quick rise to fame, and songs like “Lover, Please Stay” that express the same sense of longing found in any Adele tune. MAYA McoMIE. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 8:30 pm. $18. All ages.

Lynnae Gryffin SOUNDS LIKE: The four-track basement tapes of an introverted valedictorian. FOR FANS OF: Regina Spektor, Judee Sill, Amber Coffman. If you stay as busy as Lynnae Gryffin, you’re probably going to have to compartmentalize a bit. Already the author of a solo album, with a résumé that includes a two-year tenure in local indie fuzz-poppers Summer Cannibals, Gryffin also works a full-time tech gig at Portland State University in an effort to fund her post-baccalaureate studies in mathematics. In 2011, she wrote and recorded Abigail—a dense, ambitious collection focusing on a character whose story is revealed impressionistically in movements that are more like chapters of a novel than songs—as a cathartic distraction from her nonmusical pursuits. “Maybe it’s OK to call it therapeutic,” she says. “I think it’s more just survival—in a less desperate sort of way.” For her forthcoming Information EP, though, Gryffin implemented a more casual, social environment among a lineup of musician friends whose studio savvy could facilitate the sounds she was hearing in her head. Adam Lee of Jackpot Studios was a crucial participant, who Gryffin now credits with certain sonic signatures that define the EP. “It was a very peer-based relationship,” she says. “His ears are all over this record.” On “Norah’s Song,” Gryffin employed poet and friend Norah Hoover to muse on a theme inspired by an Anne Sexton poem, producing several versions of the track before deciding on the ethereal, vocoder-heavy version that serves as the EP’s centerpiece. The bucolic atmosphere established by the swirling, breezy echoes create a gorgeous platform for Gryffin’s increasingly manipulated vocals, juxtaposing her sincere tone with cold, electronic distortion. It culminates in a lonely aesthetic that’s a distant cry from the slinky alt-rock numbers that open Information. It’s a daunting, impressive collection from someone so devoid of free time. “It’s nice to feel a little freedom,” Gryffin says. “I like to make this part of my life the fun part. I can’t have another job. I have too many jobs.” CRIS LANKENAU.


This isn’t just another newcomer on the scene, this is a ‘whiplash’ moment. If you haven’t heard of Nikki Hill yet, take note. Nikki’s unique voice—with raw rock and soul dynamics mixed with the strength, passion, and honesty of blues shouters of the past—steers the driving guitar and a tight rhythm section to create a breath of fresh air with their fast forward approach to American roots music. Once you’ve see her perform, you won’t forget her.


“This is a breakup album with myself...” says Sara Watkins of her third solo record, Young in All the Wrong Ways. Writing and recording these ten intensely soul-baring songs was a means for her to process and mark the last couple years, which have been transformative. “I looked around and realized that in many ways I wasn’t who or where I wanted to be.”


Portland, Oregon based Michelle DeCourcy and the Rocktarts are living proof that honesty, passion and ambition prevail in Rock & Roll. Formed in 2013 as an alternative-rock cover band, the members quickly decided that composing and playing original music was more their passion. Putting pen to paper and being seduced by a certain sound, Michelle DeCourcy and the Rocktarts aligned their unwavering dedication and talent to their newly formed band.

UNCLE ACID AND THE DEADBEATS Meeting fans and signing autographs, Friday September 23rd at 6pm

SEE IT: Lynnae Gryffin plays Mississippi Studios, 3939 n Mississippi Ave., with Sheers, on Monday, Sept. 19. 9 pm. Free. 21+. Willamette Week SEPTEMBER 14, 2016



Willamette Week SEPTEMBER 14, 2016


McCulley. His intricate and incendiary performances have blown away audiences at Cascadia Composers and Classical Revolution PDX shows for the past few years, and now he gets his own deserved showcase—accompanied by pianist Evan C. Paul on a couple of pieces—performing music by Portlanders Michael Johanson and Susan Alexjander, Debussy’s famous saxophone rhapsody, and works by Japanese composer Ryo Noda and Jay Schwartz. BRETT CAMPBELL. St. Paul Lutheran Church, 3880 SE Brooklyn St. 7:30 pm Thursday, Sept. 15. $5-$15 sliding scale donation. All ages.


Fêtes Galantes

[A HISTORY OF VIOL-ENCE] The viol or viola da gamba (looks a little like a cello) was the second-most popular instrument in Europe for parts of the 16th through 18th centuries, starring in much of the great Baroque repertoire. Then poof—by the time the classical era rolled around, it was pretty much démodé. The late 20th century’s early-music revival helped bring it back, and even modern composers (including Elvis Costello) have written for it. Portland is the newest beachhead in the viol’s comeback, with the recent birth of Cascadia Viols, which hosts the Fêtes Galantes trio of Tina Chancey, John Mark Rozendaal and Webb Wiggins. They’ll play 18th-century French and Italian chamber music by composers such as Couperin, Corelli, Marais and Corrette. BRETT CAMPBELL. First Christian Church, 1314 SW Park Ave. 8 pm Friday, Sept. 16. $20. All ages.

Glasys, Coco Columbia, Rare Diagram

[JAZZ FUTURE] The next wave of Portland jazz is best heard at venues outside of genre-dedicated clubs in Northwest, and it heavily features the piano work of Tel Aviv transplant Gil Assayas. A meticulous and immensely talented composer whose solo project Glasys releases its eponymous EP at this concert, Assayas performs lush electronic beat jazz of the highest order, a post-modern fusion in which Portland artists like collaborator Coco Columbia are continuously paving new sonic ground. In a largely solo set tonight, Assayas’ superpowers will be on full display as he juggles vocals, beats and numerous radical synth patches. PARKER HALL. Alberta Street Pub, 1036 NE Alberta St. 9 pm Saturday, Sept. 17. $7. 21+.

Polyrhythmics, Tezeta Band

[NORTHWEST AFROBEAT] Seattle’s Polyrhythmics join Portland’s Tezeta Band in a show of Northwest Afrobeat force that will have attendees dancing a borderline unhealthy amount in triplet-based time signatures. Tezeta may be the local opener, but with the seven-piece, Ethiopian-influenced outfit showcasing tunes from its recently released batch, The Origin of Nightlife, there’s really no telling who the heaviest-hitting large ensemble will prove to be. PARKER HALL. Mississippi Studios, 3939 N Mississippi Ave. 9 pm Sunday, Sept. 17. $15. 21+.

The Legend of Zelda: Symphony of the Goddesses

[FANTASY STARS] In 1986, young composer Koji Kondo followed the unprecedented success of his musical score for Super Mario Bros. by producing four of the main themes for the original Legend of Zelda game. Thirty years later, with Kondo’s blessing, tunes from the entire Zelda series have been woven into a proper symphony with four interludes and four movements between its “Overture” and “Finale.” Symphony of the Goddesses takes listeners on a journey to familiar vistas, from the “Creation of Hyrule” to the “Time of the Falling Rain.” It’s a musical link to the past, and a rejuvenating dip in the fairy fountain of high adventure. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway. 7:30 pm Saturday, Sept. 17. $105. All ages.

For more Music listings, visit

Xenia Rubinos

WEDNESDAY, SEPT. 14 Xenia Rubinos doesn’t seem like someone who would hold back much, at least when it comes to her music. The Brooklyn singer-songwriter moves between genres and screws around with structure with such abandon it’s hard to imagine she’d ever feel self-conscious about anything she puts on record. But Rubinos confesses that, while she composes with little regard for pop formality, she hasn’t always spoken with the same freedom lyrically. “I’ve been in a fight with words the last couple years,” she says. “I’ve not been too keen on telling stories in the literal sense, or speaking in the literal sense in my music, because I felt like I didn’t want to add to the noise of uninformed people talking about stuff they don’t have any place talking about. I feel like there’s a lot of that going on, and I didn’t want to be part of it.” On her first album, 2013’s Magic Trix, Rubinos treated lyrics as just another textural element—extra shading in her scrambled palette of R&B, jazz, hip-hop and rock. When she began work on the follow-up, she challenged herself to write more directly, to say what was on her mind and “not be afraid of being wrong.” Informed both by the death of her father and the Black Lives Matter movement, Black Terry Cat finds Rubinos exploring her Afro-Latina identity in ways both political and personal. Such selfexamination, she admits, was new to her. But given the state of the world, and of her own life, it was also unavoidable. “It was a natural progression of trying to figure things out for myself personally,” Rubinos says, “where I come from and what my cultural identity is, which is in flux the more I learn about things.” Musically, Black Terry Cat is as evasive as its predecessor, but given the themes of the album, the stylistic zigzags resonate less as playful quirks than as acts of defiance. The graceful “Lonely Lover” evokes Billie Holliday, while the twinkle-and-thump of “I Won’t Say” shows off Rubinos’ recently rekindled love of rap and Erykah Badu. So far, the song that’s attracted the most attention is “Mexican Chef,” a punky shout-out to the invisible workforce propping up American society. “Brown walks your baby/Brown walks your dog,” Rubinos half-raps over a funky fuzz-guitar hook. “Brown raised America in place of its mom.” It’s precisely the kind of social commentary she was once afraid to put out into the world. But don’t go using the p-word with her just yet. “I say one or two things on this record and everyone says I’m being political, but I think that’s just an easy thing to talk about,” Rubinos says. “I’m not involved in local politics. I’m not running for mayor or anything—though you never know.” MATTHEW SINGER. Xenia Rubinos had no trouble finding her voice. Now she’s found the words to go with it.

SEE IT: Xenia Rubinos plays Holocene, 1001 SE Morrison St., with Blossom and Tay Sean, on Wednesday, Sept. 14. 8:30 pm. $10 advance, $12 day of show. 21+. Willamette Week SEPTEMBER 14, 2016



Willamette Week SEPTEMBER 14, 2016

MUSIC CALENDAR WED. SEPT. 14 Ash Street Saloon

225 SW Ash St. Hellgoat, Vimur, Panzergod, Sarcalogos


350 West Burnside Madchild, Sleep (from Oldominion), Mic Crenshaw


2126 SW Halsey St. Troutdale Heather Maloney; Chris Bathgate

Hawthorne Theatre

LAST WEEK LIVE Mississippi Pizza

3552 N Mississippi Ave. Ladyband, Peter Rainbeau, LoveSongs

Mississippi Studios

3939 N Mississippi Ave. Sister Sparrow & the Dirty Birds

Portland Cider House


1001 SE Morrison St.. Xenia Rubinos

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Quartet; The Christopher Brown Quartet

LaurelThirst Public House

2845 SE Stark St. Shafty

The Liquor Store

3341 SE Belmont St. Kaz Mirblouk + deathlist + Get Real

The Old Church

1422 SW 11th Ave. David Rothman; Two Yosemites Preview Recital

The Secret Society 116 NE Russell St. Matt Flinner Trio and Tony Furtado

White Eagle Saloon 836 N Russell St. Max Gomez

THURS. SEPT. 15 Ash Street Saloon

225 SW Ash St. Unusual Subjects, Patrick Perkins


17200 NE Delfel Road, Ridgefield, WA Dierks Bentley, Cam, Tucker Beathard 720 SE Hawthorne Blvd. Eminence Ensemble, Lesser Bangs; King B 1937 SE 11th Ave. Privatized Air

The Goodfoot

2845 SE Stark St. Asher Fulero Band, Yak Attack

The Know

2026 NE Alberta St. CFM, Sleeping Beauties, Mope Grooves 3341 SE Belmont St. The Domestics + Old Age

FRI. SEPT. 16 Aladdin Theater

3017 SE Milwaukie Ave. Sara Watkins, Mikaela Davis

Alberta Rose

3000 NE Alberta St. Matt Brown, Caryn Jamieson

Ash Street Saloon

225 SW Ash St. Violetera, Myrrum, Bolts and Conversation; The Mighty Missoula, Myrrum, Violetera, Bolts and Conversation

Crystal Ballroom


Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

Kelly’s Olympian

426 SW Washington St. The Empty

LaurelThirst Public House

2958 NE Glisan St. Walter Salas-Humara (w/ the Left Coast Roasters), Mike Coykendall; Lewi Longmire & the Left Coast Roasters

Roseland Theater

8 NW 6th Ave. The Temper Trap, Coast Modern

RAGE AGAIN: At first glance, the Prophets of Rage show at Sunlight Supply Amphitheater on Sept. 11 looked weirdly like a Donald Trump rally, given the wide array of middle-aged dudes sporting red baseball caps reading, “Make America Rage Again.” But of course, given that the band is a glorified tribute act— featuring members of Rage Against the Machine, Public Enemy’s Chuck D, and B-Real from Cypress Hill essentially covering themselves—this was a concert recalling the past as much as it ironically referenced the present. Opening with a bold reworking of Public Enemy’s “Prophets of Rage,” the show took the audience back to the 1980s and ’90s and acted as a reminder of how little things have changed politically in America. While the set list was dominated by Rage Against the Machine material, Chuck D stole the show, taking the audience thoroughly into his hands on bombastic versions of “Shut ’Em Down” and “Miuzi Weighs a Ton.” His presence was so commanding, you hardly even missed Zack de la Rocha on the RATM songs. Between songs, guitarist Tom Morello advocated for social justice. It was a great place for being pissed off, feeling justified in your anger, and also getting tipsy with nostalgia. But ending with a dramatic rendition of “Killing in the Name,” the band reminded that history hasn’t repeated itself—it’s still ongoing. JACK RUSHALL.

The Liquor Store

Duff’s Garage

1001 SE Morrison St. LiquidLight (Tour Kickoff) with Outer Space Heaters & The Secret Ceremony

1300 SE Stark St. #110 Band of Skulls, Mothers

Sunlight Supply Amphitheater

350 West Burnside Nikki Hill


Revolution Hall

3880 SE Brooklyn St. Patrick McCulley

1332 W Burnside St. Thrice, La Dispute, Nothing Nowhere

2530 NE 82nd Ave. Meat Rack

8105 Se 7th Ave. Lloyd Jones

St. Paul Lutheran Church

The Firkin Tavern

The Goodfoot

Muddy Rudder Public House

3228 SW Sunset Blvd. Aaron Meyer, Concert Rock Violinist

Mississippi Pizza

720 SE Hawthorne Blvd. Laura and Greg

3939 N Mississippi Ave. Ear Candy with Lynnae Gryffin and Sheers

4830 NE 42nd Ave. The Pining Hearts

The Analog Cafe

The Analog Cafe

Mississippi Studios

8 NW 6th Ave. Bloc Party, Corbu

2958 NE Glisan St. Archangels Thunderbird, Kelly Blair Baumann; Love Gigantic 3552 N Mississippi Ave. Tallulah’s Daddy

3552 N Mississippi Ave. Mr. Ben

Roseland Theater

St. Andrew’s Presbyterian Church

8371 N Interstate Selector Dub Narcotic, Tender Forever, Hooded Hags

Duff’s Garage

2530 NE 82nd Ave. Will Johnson; Rockin’ Ricki; Zach Bryson


1800 E Burnside St. Lessons in Fresh ft ADDverse Effects & Rasheed Jamal w/ DJ QUAZ

First Christian Church 1314 SW Park Ave. Fêtes Galantes


1001 SE Morrison St. School of Rock Portland Presents: Psychomagic

221 NW 10th Ave. Dan Balmer Trio

Mississippi Pizza

3638 SE Hawthorne Blvd. Yonder Blue

High Water Mark Lounge

Jimmy Mak’s

2958 NE Glisan St. Kung Pao Chickens; Anita Margarita & the Rattlesnakes

8105 Se 7th Ave. Sleepy Eyed Johns

Spare Room

Crystal Ballroom

1332 W Burnside St. Local Natives, Charlotte Day Wilson

LaurelThirst Public House

Muddy Rudder Public House

1507 SE César E. Chávez Blvd. Dope

6800 NE MLK Blvd. The Exorcists, Rotties, The Variants, Garganzuay

[SEPT. 14-20]

For more listings, check out


= WW Pick. Highly recommended.

Editor: Matthew Singer. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at submitevents. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email:

Jimmy Mak’s

221 NW 10th Ave. Jarrod Lawson’s Birthday Bash

Kelly’s Olympian

426 SW Washington St. Hannah Yeun, Cold Comfort, Silver Ships

LaurelThirst Public House

2958 NE Glisan St. Kalida / Kelsey & the Right Thing / Clinton Herrick (Jackalope Saints); Michael Hurley & the Croakers

Mississippi Pizza

3552 N Mississippi Ave. LIttle Ditties

Mississippi Studios

3939 N Mississippi Ave. Máscaras, Lithics, Møtrik

Muddy Rudder Public House 8105 Se 7th Ave. Dan McCoy

Ponderosa Lounge

10350 N Vancouver Way, Jones & Fischer

Skyline Tavern

8031 NW Skyline Blvd The Mutineers

The Analog Cafe

720 SE Hawthorne Blvd. Sweet Bedlam; Demon In Me

The Firkin Tavern

1937 SE 11th Ave. Chris Newman Deluxe Combo, Wilkinson Blades

The Know

2026 NE Alberta St. Point Juncture WA, Hungry Ghost, Months

The Old Church

1422 SW 11th Ave.

Stanley Cowell Trio

The O’Neil Public House 6000 NE Glisan St. Counterfeit Cash

The Raven

3100 NE Sandy Blvd The Vibrators, Steel Chains, Patsy’s Rats, PDX Punk Rock Collective

The Secret Society

116 NE Russell St. Goldfoot (video viewing party!), Headwaves, The Get Ahead; The Sportin’ Lifers


232 SW Ankeny St. Quaz

SAT. SEPT. 17 Alberta Rose

3000 NE Alberta St. Joseph Arthur, Matt The Electrician, Reuben Hollebon

Alberta Street Pub

1036 NE Alberta St. Glasys, Coco Columbia, Rare Diagram

Arlene Schnitzer Concert Hall

1037 SW Broadway The Legend of Zelda: Symphony of the Goddesses

Ash Street Saloon

225 SW Ash St. The Dirty Lowdowns, The Thornes, WWIV, Bitch School

Bunk Bar

1028 SE Water Ave. The Conquerors, Reverberations, Virgil

Community Music Center

3350 SE Francis St. Tim Connell and Eric Skye Album Release


350 West Burnside Sharon Needles with A Live Band

Doug Fir Lounge

830 E Burnside St. Yael Naim, Sara JacksonHolman

Duff’s Garage

2530 NE 82nd Ave. Home Fries; Robbie Laws Band; Pin & Horn-its


2126 SW Halsey St. Troutdale OR Bonnie Raitt

Hawthorne Theatre

1507 SE César E. Chávez Blvd. The Spill Canvas

Jimmy Mak’s

221 NW 10th Ave. Soul Vaccination

Kelly’s Olympian

426 SW Washington St. Gold Casio

LaurelThirst Public House

2958 NE Glisan St. Ramblin’ Years;Redray Frazier;Jawbone Flats (all ages!)

Mississippi Pizza

3552 N Mississippi Ave. Micah & Me: for kids

Mississippi Studios

3939 N Mississippi Ave. Polyrhythmics, Tezeta Band

Muddy Rudder Public House

Dorian Michael

Ponderosa Lounge

10350 N Vancouver Way, Nash Brothers

Roseland Theater 8 NW 6th Ave. Atmosphere

The Analog Cafe

720 SE Hawthorne Blvd. Down North, Puff Puff Beer; Heavy Handed, Happy Dapples

The Firkin Tavern

1937 SE 11th Ave. Gin & Tillyanna, The Baron Ward, Plant Eater

The Goodfoot

2845 SE Stark St. Life During Wartime (Talking Heads Tribute)

The Know

2026 NE Alberta St. Lose Yr Mind Fest Benefit: Naomi Punk, Talkative, Ice Queens

The Lovecraft Bar

421 SE Grand Ave. Secret Light, Accolade

The O’Neil Public House

6000 NE Glisan St. Radio Giants; Elbow Room Band

The Secret Society 116 NE Russell St. Everything’s Jake

SUN. SEPT. 18 Ash Street Saloon 225 SW Ash St. Motorcoat

Bossanova Ballroom 722 E Burnside St.

Rotting Christ, Necronomicon, Carach Angren, Uada


1665 SE Bybee Blvd Jet Black Pearl Accordion Diva

The Goodfoot

2845 SE Stark St. Sonic Forum

The Liquor Store

3341 SE Belmont St. Anna Wise, Fritzwa

TUES. SEPT. 20 Alberta Rose

3000 NE Alberta St. Taylor John Williams • Caroline Glaser

Ash Street Saloon 225 SW Ash St. King Ghidora

Bunk Bar

1028 SE Water Ave. DoublePlusGood, Small Million

Duff’s Garage

2530 NE 82nd Ave. WoodLand West

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet

Kelly’s Olympian

LaurelThirst Public House

426 SW Washington St. Oblio

Mississippi Pizza

2958 NE Glisan St. JT & Rowdy Mountain; Jackstraw

2958 NE Glisan St. Freak Mountain Ramblers 3552 N Mississippi Ave. Underscore Orkestra, Three for Silver; Sellwood Jazz Ensemble

Revolution Hall

1300 SE Stark St. #110 Lee “Scratch” Perry, Subatomic Sound System, Alter Echo & E3

Roseland Theater

8 NW 6th Ave. Garbage, Cigarettes After Sex

The Liquor Store

3341 SE Belmont St. LUNCH, The Blood of Others, Missing Witness

The Old Church

1422 SW 11th Ave. The Ensemble of Oregon

The Secret Society

LaurelThirst Public House

Mississippi Studios

3939 N Mississippi Ave. Gringo Star, the Hugs, Golden Handcuffs

Revolution Hall

1300 SE Stark St. #110 Mary Chapin Carpenter, Rose Cousins

Star Theater

13 NW 6th Ave. Del the Funky Homosapien, Richie Cunning, Bad Habitat, DJ Wicked

Sunlight Supply Amphitheater

17200 NE Delfel Rd, Ridgefield, WA Blink 182

The Analog Cafe

116 NE Russell St. Those Willows Single Release, Tango Alpha Tango, Weezy Ford

720 SE Hawthorne Blvd. Porches, Japanese Breakfast, Rivergazer


8218 N. Lombard St. Hymn for Her and Larry Yes

Ash Street Saloon

225 SW Ash St. Dwight Church, Dwight Dickinson, Sparkle Carpet, Nebraska Boy Snatchers, Needle Spiders

The Fixin’ To

Wonder Ballroom

128 NE Russell St. Nothing But Thieves, Civil Twilight, the Wrecks

8105 Se 7th Ave.

Willamette Week SEPTEMBER 14, 2016




DJ Anjali & the Incredible Kid Years DJing: The Kid started at KWVA radio in Eugene in 1995. Anjali began DJing house parties around Portland in 2000. We made our club debut as a duo on New Year’s Eve 2000 and we never turned back. Genres: Bollywood, bhangra, urban desi, global bass, reggaeton, dembow, moombahton, Latin trap. Where you can catch me regularly: We’ve been throwing ANDAZ, our monthly bhangra and Bollywood party since 2002. It goes down every last Saturday of the month at the Analog theater. Craziest gig: We played all four nights at Sasquatch in 2011. Every set was crazy, but the first night we headlined the dance tent for almost four hours. Before our set, the tent filled up with thousands of people, and when the Kid went onstage to make sure our DJ setup was sorted, the crowd started screaming. We still run into kids who saw us that weekend. We heard from more than one person that if they were having a bad trip, they would seek out our sound to bring back the good vibes. My go-to records: Nucleya feat. Avneet Khurmi, “Laung Gawacha”; Tropkillaz, “Mahabbah”; Badshah & Aastha Gill, “Abhi Toh Party Shuru Hui Hai”; Alo Wala feat. Jahdan Blakkamoore, “Cityboy”; Soniye, “Chachacha.” Don’t ever ask me to play…: There are a lot of awful Bollywood hits we avoid playing, but one we both despise and have managed to never play is “Radha” from the Student of the Year soundtrack. NEXT GIG: DJ Anjali & the Incredible Kid spin at ANDAZ at the Analog Cafe & Theater, 720 SE Hawthorne Blvd., on Saturday, Sept. 24. 9 pm. $5 before 10 pm, $10 after. 21+. The Embers Avenue 100 NW Broadway Thursday Electronic

The Lovecraft Bar


Beech Street Parlor

Black Book

CC Slaughters

412 NE Beech Street DJ Avant to Party

20 NW 3rd Ave Flavors (hip-hop, r&b)

Dig A Pony

Sandy Hut

736 SE Grand Ave. Battles & Lamar (freestyle, electro, boogie)

Star Bar

2002 SE Division St. DJ Daddy Issues

The Embers Avenue

3267 SE Hawthorne Blvd. DJ Joey Prude

The Lovecraft Bar

832 N Killingsworth St Post Punk Discotheque

1430 NE Sandy Blvd. DJ Gregarious 639 SE Morrison St. DJ Malibu Sandy 100 NW Broadway Knochen Tanz

421 SE Grand Ave Event Horizon w/ DJ Straylight & friends (darkwave, industrial)

Willamette Week SEPTEMBER 14, 2016

412 NE Beech Street DJ Nate C. & DJ Primitiva 219 NW Davis St Glow Party + HYPE (hip hop)

736 SE Grand Ave. El Dorado (early rock n’ roll, r&b)



Beech Street Parlor

Dig A Pony

Double Barrel Tavern

Gold Dust Meridian

Killingsworth Dynasty


3967 N. Mississippi Ave. Nik Nice & Brother Charlie (brazilian)

421 SE Grand Ave Shadowplay w/ DJ Carrion & friends (goth, industrial)

The Raven

3100 NE Sandy Blvd Tetsuo

FRI. SEPT. 16 45 East

315 SE 3rd Ave Justin Martin, Sean Majors, Evan Alexander

Beech Street Parlor 412 NE Beech Street DJ Arcadia

Black Book

20 NW 3rd Ave The Cave (rap)

Crystal Ballroom

1332 W Burnside St 80s Video Dance Attack

Evergreen at Loyal Legion

618 SE Alder St. Chris Malinchak (house)

Where to drink this week. 1.

megan nanna



2930 NE Killingsworth St., The wine list at Dame— opening the same day our paper comes out— already makes it Portland’s most interesting wine destination, home to the finest natural wine list within 500 miles.


Mini Mini

638 E Burnside St., 503-236-6464. a mini-mart that also seems like a quotation of a mini-mart, mini mini offers kombucha, beer and wine in midcentury-branded crowlers destined for hearty parking-lot and sidewalk consumption.


Rum Club

720 SE Sandy Blvd., 503-265-8807, Dude. You know what’s back at Rum Club? Peach blendies. If you haven’t had them, you’re an objectively inferior person to everyone who has. and you’re definitely unhappier.


Occidental Wursthaus

6635 N Baltimore Ave., 503-719-7102. St. Johns is an old-school river district with few views of the river and bridge—except here, with a patio facing the St. Johns Bridge, and serving bratwurst and a decent dunkel.



930 SE Sandy Blvd., Century is the sports bar with the best hair in all of Portland, and also the best shirts and pants, the best roof, and the best late-hours nightclub.


1001 SE Morrison St. 50: A Possible History of Dance Music, 1960’s-Present

Killingsworth Dynasty 832 N Killingsworth St Strange Babes

Local Lounge

3536 NE M L King Blvd, Club Dionysus (electronica, retro-rewinds)

TRIPLE STACK: For 20 years, Bill had Cannon Beach on lockdown. Even as most of Oregon’s coastal towns grew increasingly beery, the scenic enclave was home to only Bill’s Tavern and Brewhouse, which won two medals at the 1999 Great American Beer Festival and has stuck with those recipes. Then, this summer, two new breweries posted tasteful wooden signs along Hemlock Street. The first is the third location of Pelican Brewing (1371 S Hemlock St., Cannon Beach, 503-908-3377), the English-focused brewery based in Pacific City. This Pelican offshoot makes its own beer inside a cavernous, blond-wood space that seats 160. It also does upscale seafood, like a $30 bowl of cioppino with Dungeness crab legs crawling right out of it, and a $16 sweet-potato-and-quinoa cake. After a full taster tray of beer and plenty of food, the best things we had were basic flatbreads and the Tsunami Stout. But on the northern edge of town, another newcomer was more impressive. Public Coast Brewing (264 E 3rd St., Cannon Beach, 503-436-0285, is the first brewpub I’ve ever seen that has counter service— you order your food and drinks, then take your buzzer to a table. The simple pub menu focuses on burgers (get the $14 Forager with sauteed mushrooms, onions and blue cheese), onion rings and desserts made with Tillamook ice cream. The beer exceeded expectations, especially the admirably balanced raspberry honey dunkel and a crisp Citra pale ale. If you’re headed out to watch the winter storms roll in over Haystack Rock, it’s a recommended stop. MARTIN CIZMAR. The Lovecraft Bar

421 SE Grand Ave Darkness Descends w/ DJ Maxamillion & friends (classic goth, alternative, electro)

SAT. SEPT. 17 45 East

315 SE 3rd Ave Mat Zo, Gabriel Driscoll, Ali Alavi


Bossanova Ballroom


Dig A Pony



3967 N. Mississippi Ave. DJ ATM 4811 SE Hawthorne Blvd DJ * (punk, hip hop, RnR) 214 N Broadway St Kendotronic (dance, wave, nu-disco)

722 E Burnside St. Blowpony (hard disco) 736 SE Grand Ave. Dirty Red (boogie & bangers) 1800 E Burnside St, Soulsa (salsa, merengue, reggaeton, cumbia)

The Embers Avenue

Gold Dust Meridian

The Goodfoot


100 NW Broadway Friday Night 80’s & Top 40 2845 SE Stark St Soul Stew (funk, soul, disco)

The Liquor Store

3341 SE Belmont St, Spend The Night & Sure Thing (techno, bass)

3267 SE Hawthorne Blvd. DJ Major Sean


4811 SE Hawthorne Blvd Night By Night (electropop, synthwave, nu disco)

Sandy Hut

1430 NE Sandy Blvd. DJ Dad Rock

The Liquor Store

3341 SE Belmont St, Booms & Claps: Aztek

The Lovecraft Bar

421 SE Grand Ave Sabbath w/ Miz Margo & friends (darkside of rock, electronic)


232 SW Ankeny St Signal 19 (dub, dancehall)

SUN. SEPT. 18 Dig A Pony

736 SE Grand Ave. Emerson (hip hop, r&b of the early aughts)

1001 SE Morrison St. Titty Pop! (hip hop, party jamz, reggae)

The Embers Avenue


The Lovecraft Bar

3967 N. Mississippi Ave. Montel Spinozza

100 NW Broadway Latino Night

421 SE Grand Ave Super Fun Happy Kawaii Party (Jpop, Kpop, cosplay)

MON. SEPT. 19 Ground Kontrol

511 NW Couch St. Reagan-o-mix (new wave, hip-hop, soundtrack)

Star Bar

639 SE Morrison St. Metal Monday

The Lovecraft Bar

421 SE Grand Ave Black Mass (goth, industrial, new wave)

TUES. SEPT. 20 Beech Street Parlor 412 NE Beech Street DJ Whippoorwill

Dig A Pony

736 SE Grand Ave. Atom 13 (kitchen sink o’ sonic excellence)

The Embers Avenue 100 NW Broadway Recycle (dark dance)

The Lovecraft Bar

421 SE Grand Ave Mood Ring (electronic, dance)



SATURDAY 9/17 BLOWPONY 21+ | 9PM | $7






SATURDAY 9/24 INFERNO 21+ | 7PM | $8






18 NW 3rd Ave. Tubesdays

Willamette Week SEPTEMBER 14, 2016



PERFORMANCE = WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: SHANNON GORMLEY. Theater: SHANNON GORMLEY ( Dance: SHANNON GORMLEY ( TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to:

TBA PICKS Ali Chahrour, Leila’s Death

In Lebanon, very few Shiite mourners remain to ceremonially lament the lost. After a year like 2016, take this rare opportunity to let a wise woman’s body carry and channel the sadness of grief through song, poetry and dance to soothe your soul. JESS DRAKE. Winningstad Theatre, 1111 SW Broadway, 6:30 pm Thursday-Friday, Sept. 15-16. $20 for members, $25 for nonmembers.

Allie Hankins, better to be alone than to wish you were Ripe fruit, cut flowers, big balloon farts and prototype fuck machines. Local dance vixen Allie Hankins and her ladypowered production team present this choreographed lecture about the futility of lust, but don’t resist this temptation. JESS DRAKE. BodyVox Dance Center, 1201 NW 17th Ave., 8:30 pm Thursday-Saturday, Sept. 15-17. $16 for members, $20 for nonmembers.

Sacha Yanow, Dad Band

Yanow stars, dressed as her own father, and lip-syncs some of his favorite songs. Daddy issues? Nah, patriarchy. JACK RUSHALL. Reed College Black Box Theatre, 3203 SE Woodstock Blvd., 7 pm Thursday Sept. 15. Free with reservation.


Full Gallop

Triangle Productions takes on the immense personality that was fashion tastemaker Diana Vreeland. But instead of focusing on her decade-spanning work at the likes of Harper’s Bazaar and Vogue, the play is a snapshot of Vreeland at a dinner party with friends after getting fired from Vogue and returning from a soul-searching trip to Europe. Full Gallop celebrates a powerful, charismatic woman who lived in a time when women were supposed to aspire to be June Cleaver. It’s also an optimistic show: the audience knows that its main character will emerge from her unemployment and uncertainty to do great things. The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 7:30 pm ThursdayFriday, Sept. 15-Oct. 8, 2 pm Sunday Sept. 25 and Oct. 2, no show Friday, Sept. 30. $15-$35.

ALSO PLAYING Boeing Boeing

North Portland’s community theater goes both retro and exotic with a farcical 1960s French play about a lothario with a things for airline stewardesses. Barnard is a self-made Parisian bachelor with three fiancees. One Italian, one German and one American—all stewardesses. When one fateful layover brings them together in his apartment, merde hits the fan. Twilight Theater Company, 7515 N Brandon Ave., 8479838. 8 pm Thursday-Saturday and 3 pm Sunday. Through Sept. 24. $15.

The Bomb-itty of Errors

Post5 Theatre’s hip-hop adaptation of Shakespeare has national clout. The script was nominated at the Outer Critics Circle Awards and won the Grand Jury Prize at HBO’s U.S. Comedy


Arts Festival. Turns out, theater people still like Shakespeare, even when the sonnets are rapped. Imagine The Comedy of Errors, where two sets of twins get delightfully twisted, but with Sellwood’s top actors channeling Yeezy. Post5 Theatre, 1666 SE Lambert St., 971-333-1758. 7:30 pm Friday-Saturday, Sept. 16-17. $20.

The Gun Show

These are only five gun stories out of all America’s gun stories, says local playwright EM Lewis. That’s been enough. Her Gun Show has toured cities notorious for armed violence— L.A., Chicago, New Jersey—since it’s 2014 debut. Here, in it’s Northwest premiere, Portland actor Vin Shambry (who was voted Portland’s Bes Actor in WW’s Best of Portland Reader’s Poll) presents Lewis’s five stories as a one-man show. Talk-backs after each performance give audiences a chance to share their own gun stories, and an accompanying art installation in the lobby means the performance is guaranteed to keep engaging you even after you leave your seat. CoHo Theater, 2257 NW Raleigh St. 7:30 pm ThursdaySaturday and 2 pm Sunday. Through Oct. 1. $28 general, $22.50 under 30 and over 65.


Eugene O’Neill’s taut, emotional portrait of two men who seem frozen in time in a divey NYC hotel at 3 am; it’s not the place you want to be. But with O’Neill’s talent for gut-punching dialogue and Portland actor Todd Van Voris playing the lead, you do want to be watching at Imago. In the play, Erie is a visionary dreamer staying at the hotel, accompanied only by Charlie, the dismal night clerk. Don’t expect highimpact action, but do expect to see an iconic play in the vein of Harold Pinter. Our hopes are high, though director Jerry Mouawad’s recent productions, like The Lady Aoi, left something wanting. Imago Theatre, 17 SE 8th Ave., 503-231-9581. 7:30 pm Friday-Saturday and 2 pm Sunday. Through Sept. 18. $15-$25.

Plan 10 From Outer Space

A sequel to Ed Wood’s film Plan 9 From Outer Space, the two-act play picks up the action nearly 60 years later with the return to earth of aliens following the failure of Plan 9 (raising undead armies to annihilate humankind), but now ready to implement Plan 10. Only a mysterious stranger and four or five mature high school students know the nefarious extra-terrestrials have arrived, and only a mysterious stranger and four or five mature high school students stand between our survival and total extinction. Funhouse Lounge, 2432 SE 11th Ave., 503-841-6734. 9:30 pm Wednesday-Saturday. Through Sept. 17. $15-$85. 21+.

Steel Magnolias

A Southern beauty salon filled with lightning-fast repartee and verbal jousting becomes a surrogate for the entire world in this classic by Robert Harling. We get hen fights, tragedy and moral uplift. That’s from the script. From Clackamas Rep, you can expect consistency and family-friendly entertainment. At this point in the summer, if you’re not up for existential crisis at Imago Theater, this might be your best bet on stage. Osterman Theatre, 9600 Molalla Ave., Oregon City. 7:30 pm Thursday-Saturday and 2:30 pm Sunday. Through Oct. 2. $30.

Willamette Week SEPTEMBER 14, 2016




After a long period of transience, this year’s Time-Based Art Festival is taking place at the Portland Institute for Contemporary Art’s new 20-year-lease headquarters on Northeast Hancock Street. But that doesn’t mean the scope of the festival is any less vast. Writers Jack Rushall and Jess Drake ventured into the whir of local, national and international contemporary artists to figure out what’s up.

and provocative political bent. I applaud every twat trick, but was disturbed and challenged by this masked woman, who also strips layers of colorful burqas down to an explosive suicide bomb. But in a panel the next day, the artist eloquently defended the race politics in her art, which are connected to her own identities and communities. JESS DRAKE.

Pepper Pepper, Critical Mascara: A Post-Realness Drag Extravaganza

THE SCENE: The PDX LGBTQ community is still mourning the loss of Gaycation at Holocene and the heyday of Blow Pony at its former venue Juliana Huxtable, TBA Opening Night in the Southeast industrial district, but Critical THE SCENE: In its best moments, opening night Mascara is the traveling, annual answer to our of the TBA festival at PICA at Hancock felt like prayers. Pepper Pepper was an endearing host, an illegal rave in a British factory. Other though the array of drag performers times, it felt like a nagging high-school preceding her may have stolen her dance. But imagine a high-school show (e.g. “The Hostess,” whodance where your teachers are ever that babe was). And in true performing, selling cocktails, Portland fashion, nobody was “IF THERE’S and also attempting to grind dancing, which is socially ONE THING behind you. Juliana Huxtable acceptable at a drag show headlined the event, offering PICA’S GOOD AT, where those with severe social some experimental beat-makanxiety can gape with ease. IT’S THROWING ing that was about as jarring THE TAKEAWAY: All in all, as the addition of the drummer attending Critical Mascara A PARTY.” who assisted her on stage. Howfeels like attending a New York fashion show. For those looking ever, Huxtable was as much an artist as she was a performer; her music for a post-realness ball, things still featured a fine sampling of diverse DJs felt pretty real. JACK RUSHALL. juxtaposed with her own unique material. THE TAKEAWAY: If there’s one thing PICA’s Christian Rizzo/ICI-CCN Montpellier, good at, it’s throwing a party. JACK RUSHALL. d’aprés une histoire vraie THE SCENE: Eight men approach the dance Narcissister, Narcissistic Advance floor. Their bodies begin softly undulating to the THE SCENE: In Narcissister’s first video per- steady drum beats. Making eyes, they pair off, formance, she fast-forwards from cradle to grave then separate, then join again in new pairs, sets with layered costume changes: baby-doll frock, and groups. Two full drum sets fill Lincoln Hall preteen with menstrual-stained dress, graduation with driving tempos—whispering cymbals, boomgown, wedding veil, pregnant in an apron, topless ing bass, psychedelic rock riffs and hypnotizing breastfeeding, modest middle age, and then she folkloric rhythms. pulls a wrinkled old-lady mask from her vagina THE TAKEAWAY: French choreographer and lays down dead in a casket. In the grand finale, Christian Rizzo’s company infuses composed a flaming firecracker shoots sparks from between contemporary dance with the infectious energy her legs, which manipulate two puppets on a of folkloric ritual, and explores masculine group movement in its many forms. JESS DRAKE. romantic, raunchy date. THE TAKEAWAY: The twisted sex appeal of clown burlesque and the flamboyant subversion SEE IT: TBA runs through Sunday, Sept. 18. For events and times, visit of drag, combined with an untamable freak factor

WEDNESDAY, SEPT. 14 Adam Ruins Everything



Just like on his truTV show, Adam Conover uses his standup to drop some disappointing facts. Conover explains how most things are pretty terrible, from weddings, to funerals, to orange juice and Mickey Mouse. And what better way to handle being told most of your world is a lie than to laugh about it in a room full of strangers? Alberta Rose Theatre, 3000 NE Alberta St., 8 pm. $32.50. Minors must be accompanied by an adult.


GLORY DAYS: Trevor the chimp (John San Nicolas, center) watches his failed TV show.




Jen Kirkman Podcast Taping

Jen Kirkman is a standup comedian and a New York Times bestselling author of I Can Barely Take Care of Myself (Tales of a Happy Life Without Kids) and I Know What I’m Doing & Other Lies I Tell Myself (Dispatches From a Life Under Construction). Her Netflix comedy special, I’m Gonna Die Alone (And I Feel Fine), is now streaming worldwide and was named one of the top 10 standup specials of 2015 by The Atlantic, New York Magazine and Time Out New York. Helium Comedy Club, 1510 SE 9th Ave. 8 pm. $15.

SATURDAY, SEPT. 17 Garbage People

Hear funny people confess terrible things. Featuring local funny people Bri Pruett, Mohanad Elshieky, Alana Eisner and Seattle’s Maia Doty, standup comedians will share their true stories about the worst things they’ve done, from drunken antics to belligerent mishaps of all kinds. The Waypost, 3120 N Williams Ave., 503-367-3182. 9 pm. $5. 21+.

Spilt Milk Comedy

A large part of being a parent seems to be finding out how to spend less time being a parent. For Joanie Quinn and Betsy Kauffman, the need to spend time away from their kids led to a prodigious monthly comedy showcase. The duo has been hosting local comedians for four years now, and take pride in keeping their comedy (relatively) clean. Still, please don’t bring your kids. The Secret Society, 116 NE Russell St.,

For more Performance listings, visit

Trevor asks a lot of its audience—namely, to believe that a human is a chimpanzee. John San Nicolas, in his role as the chimp in question, talks like a human, dresses like a human, and even existentially ponders his career like a human. The only simian thing about him is his walk, a bowlegged waddle with limp arms. Yet you almost immediately accept him as Trevor, the out-of-work showbiz chimp intent on reviving his career. Orange Is the New Black writer Nick Jones’ play (and Artists Repertory’s kickoff to its 35th season) toys with your perceptions. Sure, it’s surprisingly easy to accept San Nicolas as a chimpanzee, but the play’s surreal humor arises from seeing a full-grown man excitedly hobble around with a bucket of crayons, or perched on the arm of the couch to hug his adoptive human “mom” Sandra (played by Sarah Lucht). All the characters speak English, but the humans and Trevor can understand each other only through the few words Trevor has learned to recognize or communicate with sign language. The unavoidable miscommunication makes the characters sympathetic, but warns you very early on that Trevor’s situation is not sustainable. Plus, Trevor’s hallucinations of his fellow actor-chimp Oliver (Michael Mendelson) keep getting darker and stranger—and they start with Oliver talking about his human wife and their hybrid chimp-human children. The play wrings all it can out of the tragicomic tension. As Trevor falls to the ground after being shot with a tranquilizer, his hand covered in his own shit and babbling about a sealled conspiracy, it’s hard to tell if you should find it funny or upsetting, given that Sandra, held back by Jerry from Animal Control (Joseph Gibson), is frantically screaming Trevor’s name. Later, when Trevor violently rummages around the kitchen while holding the baby of neighbor Ashley (Vonessa Martin) as she and Sandra desperately plead for him to give the infant back, you’re really sure it’s not supposed to be funny. By the end of it all, it’s tempting to alleviate the disturbing feeling of the final few scenes by clinging to the play’s teasers of morality. But it feels more right to just accept the whole ordeal as a complicated mess involving well-meaning people— half-human, half-chimps and all. SHANNON GORMLEY.

Artists Rep’s season kicks off with a play as compassionate as it is unsettling.

SEE IT: Trevor plays at Artists Repertory Theatre, 1515 SW Morrison St., 7:30 pm Wednesday-Saturday and 2 and 7:30 pm Sunday, through Oct. 9. $50, under 25 $25. Willamette Week SEPTEMBER 14, 2016


= WW Pick. Highly recommended. By JENNIFER RABIN. TO BE CONSIDERED FOR LISTINGS, submit show information—including opening and closing dates, gallery address and phone number—at least two weeks in advance to: Visual Arts, WW, 2220 NW Quimby St., Portland, OR 97210. Email:

Morocco Photos 2015

There is a place in northern Morocco nicknamed “the blue city” because of the cobalt wash applied to the exteriors of homes. It is believed that the tradition began when the Jews immigrated there, applying the pigment as a way to mirror the heavens, reminding them to live a life of reverence. Portland-based photographer Stu Levy brings back from the blue city a series of photographs suffused with that impossibly rich color and with the history of place. Augen Gallery, 716 NW Davis St., 503-546-5056. Through Oct. 1.


We have all fantasized about running away, about leaving behind our troubles and shedding the conventions of society. Russian documentary photographer Danila Tkachenko’s tells the story of a group of men who have done just that, who have fled civilization for the wilderness of Eastern Europe to live in hermitic solitude. Tkachenko’s series of color portraits captures each individual in their surroundings, and gives the viewer a window into the ways that they live, apart from the rest of us. Blue Sky Gallery, 122 NW 8th Ave., 503-225-0210. Through Oct. 2.

See Me See You

Artist Samantha Wall, who was included in this year’s Contemporary Northwest Art Award exhibition at Portland Art Museum, continues her arresting large-scale work with a new series of portraits. The lifesized monochromatic drawings and prints seek to explore the discordant nature of being a woman of color, specifically the experience of being simultaneously invisible and hypervisible. Wall, who is of Korean descent, experiments with materials, making aqueous drawings into which black ink is introduced. The resulting lines and waves and eddies created when the pigment hits the water give the figures a texture not unlike the surface of the earth. Laura Russo Gallery, 805 NW 21st Ave., 503-226-2754. Through Oct. 1.

The Soul of Black Art: A Collector’s View

Upfor’s third anniversary exhibition is guest curated by collector John Goodwin, who presents to us a survey of the depictions of black culture over the past century. The pieces range from abstract expressionist collage to black-and-white photos and the artists stretch from Andy Warhol to Portland’s own Arvie Smith who currently has a solo exhibition at Portland Art Museum. Through the work of these artists,

who are separated by race, era and geography, we get a deeper understanding of how the passing of time changes our perceptions and our culture. Upfor Gallery, 929 NW Flanders St., 503-227-5111. Through Oct. 15.

Rhetorical Geometry

Geometry is defined as the investigation of “shape, size, relative position of figures, and the properties of space.” It is finite and quantifiable. Chicago-based artist Liz Mares is interested in all of the same questions, but her inquiry is abstract and intuitive. “Everything starts with a line as the base, then each placement after is a relationship to the first,” she says. “There is never a plan, rather a feeling of connection. How does each line, color and form speak to the other? The end result is either a harmony or a conflict.” Mares works with acrylic and ink in her small-scale 2-D pieces to explore ideas of relational balance and discord. Wolff Gallery, 618 NW Glisan St., Suite R1, 971-413-1340. Through Oct. 1.

Selected Works

If ever there was a love poem to the sea, it is José Diniz’s series of photographs, Selected Works. By making only black-and-white images of the ocean, Diniz eliminates the distraction of color, the turquoises and teals and aquas that draw our minds to memories of vacations or postcards or surf magazines. Instead, he gives us images of people and land through the eyes of the water, and images of water—broody, frothing, calm, rippled—through the eyes of people and the land. Blue Sky Gallery, 122 NW 8th Ave., 503-2250210. Through Oct. 2.

In the Eye of the Beholder

The sculpture facing the door in Tanya Batura’s exhibition looks like a classical bust shrouded in white fabric, tied at the neck with a bow, head tilted to one side. It offers no indication of the gorgeous monstrosities waiting beyond. Keep walking through the gallery and you will see heads that look like pathology textbooks come to life. Batura plays with form and deformity, managing to create graceful lines that are pleasing to the eye and will simultaneously cause you to recoil. Batura’s body of work calls aesthetics into question as you reconcile the beauty in the grotesque. Hap Gallery, 916 NW Flanders St., 503-444-7101. Through Oct 1.

For more Visual Arts listings, visit

E M I Ly W O B B

VISUAL ARTS gotten an ice-cream cone. I’m still carrying around a boulder. My way of dealing with it is to make a decision about what to do.” Colordgirl has been working with racist words and imagery for a long time, “Using the idea of something that is experienced as ugly and repugnant and awful,” she says, “and challenging myself to work past my conditioning to make something beautiful.” The N-Word Sessions: Subverting Banalities is Colordgirl’s first performance. A monitor at Bronco Gallery displays a slide show of her visual art, which visitors can view while waiting to sit down with her. In one series, Colordgirl digitally manipulates the image of a Jolly Nigger bank, a piece of racist ephemera from the late 19th century. She gilds its original black and red, cast-iron surface so the ubiquitous smiling “coon” caricature from that period takes on the quality of a SubvErSIvE acT: The artist (right) timeless religious icon. performing the N-Word Sessions. One black-and-white photograph captures a nondescript living room. In the REVIEW foreground, in sharp myopic focus, a darkskinned hand holds a Mammy figurine, in the process of either picking it up or setting it down, it is unclear. In the background, fuzzy and diffuse, a Buddha statue of the same size sits in peaceful meditation, a visual metaphor for what is waiting for us BY JEN N IFER R A B IN when we shift beyond the narrow ways we categorize each other. I’m thankful I didn’t know what I was getting into when Though Colordgirl has chosen to build a perforI agreed to participate in a one-on-one interactive per- mance around the narrowness of a single word, she is formance with artist Sharyll Burroughs, who goes by clear about its role. “We can use it as a tool instead of the moniker Colordgirl. Had I known, I don’t think I being used by it,” she says. “It’s not about the word. The would have mustered the courage. word is peripheral to people’s inability to stop drawing I sat down across from her, a chess clock between us lines. I’m doing my best to provide a conversation, and on the table. hopefully it will trickle out to lots of different places.” “We’re going to exchange a word for the next two She continues: “We all have the capacity for love and minutes,” she said. compassion and kindness and generosity. That doesn’t She handed me her phone so I could see the word on have anything to do with gender or race. I can use ‘nigthe screen: nigger. ger’ to remind people that this is a word that society is “Out loud?” I asked incredulously. using to keep us all out of our heads, out of our bodies, “Yes,” she replied, her face open and calm. and out of our hearts.” My hands started to shake. I felt sick. “If you need During the performance, as I sat with Burroughs, to,” she said, “you can opt out at any time.” She went mute and gripped with fear, not wanting to take my first, looking into my eyes. turn, she said, “See if you can allow yourself to be “Nigger.” uncomfortable, and do it anyway.” She hit the chess clock as soon as the word left her And as I sat down to write this review, afraid of tacklips. My eyes welled. I wanted to run. ling this weighted subject, of saying the wrong thing, I “If somebody calls me a nigger,” Burroughs tells me reminded myself of something else she said: “The fear later by phone, “they’re trying to tell me a story about who closes the door. Just keep the door open.” I am: someone who is less than human who should be shunned or ostracized. In my life experience, when some- SEE IT: The last performance of N-Word Sessions: Subverting Banalities is at the Bronco Gallery, 15 NE one called me that, there I am carrying this thing around, Hancock St.,, on Thursday, Sept. 15. and it hurts, and they’ve gone off with their family and 9-11 pm.

A Hard Talk


9/24 Master Lover Mindset workshop

For Men Who Desire to Be Better Lovers Early Bird Pricing • $100 off • Register by 9/17 38

Willamette Week SEPTEMBER 14, 2016

BOOKS = WW Pick. Highly recommended. BY ZACH MIDDLETON. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: Fax: 243-1115.


SUNDAY, SEPT. 18 What the F

Gayle Forman

Who doesn’t indulge the occasional escapist fantasy? Leave in the middle of the night, learn to surf in Cabo—you know the drill. Maribeth, a mom who works so hard that she has a heart attack, finds her recuperation is a burden to her family. So she leaves. Leave Me is the newest novel from If I Stay author Gayle Forman, who will be in conversation with writer Megan Labrise. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800878-7323. 7 pm. Free.

Some studies show that intelligent people swear more than average, and some foul-mouthed bores cite these studies as proof of their (selfassessed) high intelligence. These people should be avoided. Linguist Benjamin K. Bergen’s new book, What the F: What Swearing Reveals About Our Language, Our Brains and Ourselves, explores our fascination with and (justified, necessary) prohibition of swearing. Only ruffians and vagrants would ever say words like “crap” or “hell” or “rat-fucking ass bandit.” Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.



Comma: Henry Hughes, Scot Siegel

Amy Stewart

Two Oregon poets will read as part of the Comma reading series. Henry Hughes, a professor of literature at Western Oregon University, won the 2004 Oregon Book Award for his poetry collection Men Holding Eggs, was a finalist for the same award in 2011 for his book Moist Meridian, and has a new collection titled Bunch of Animals. Scot Siegel is the author of five collections of poetry, and some of his work is part of a permanent art installation along the Orange Line light rail. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Set in 1914—still six years before women could vote—the novel Girl Waits With Gun follows Constance Kopp, a female sheriff’s deputy who tracks down escaped convicts and breaks up criminal plots in New Jersey and New York. Amy Stewart’s sequel, Lady Cop Makes Trouble, is based on one of the country’s first female sheriff’s deputies. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

TUESDAY, SEPT. 20 Kate Carroll de Gutes

Peter Rock

FRIDAY, SEPT. 16 Peter Ho Davies

The Fortunes, the new novel by Guggenheim Fellow and former University of Oregon professor Peter Ho Davies, retells a section of American history from the perspective of influential Asian Americans present at flash points in the country’s history. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

SATURDAY, SEPT. 17 Queen of the Night: A Community Reading of Katherine Dunn

Portland lost one of its great literary voices with the May passing of Katherine Dunn, whose masterpiece novel, Geek Love, gained a devoted cult of followers. Now, several Portland writers will read their favorite passages from Geek Love as part of the ongoing Queen of the Night reading series, which celebrates the “underappreciated, marginalized and unconventional” writing of women who are no longer living. Authors set to read include A.M. O’Malley, Monica Drake, and our own Matthew Korfhage. Mother Foucault’s, 523 SE Morrison St., 503-236-2665. 7-9 pm. Free.

Kate Carroll de Gutes, winner of the 2016 Oregon Book Award for creative nonfiction for Objects in Mirror Are Closer Than They Appear, will read with two other authors published by Ovenbird Books: essayist Brenda Miller and Pushcart Prize nominee Tarn Wilson. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

W I L L A M E T T E W E E K & H O LO C E N E P R E S E N T


The novels and short stories of Portland author and Guggenheim Fellow Peter Rock betray his obsession with outsiders, drifters and the macabre. Perhaps the best example of this is his shortstory collection The Unsettling, which was originally released in 2006 and featured callbacks to the work of Edgar Allan Poe and Anton Chekhov. A decade later, The Unsettling is being re-released with an introduction by author Brian Evenson. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

Ann Patchett

Ann Patchett

When an unexpected affair causes the unraveling and recombination of two families, a famous novelist takes advantage of the situation for his newest story. As the fiction-withinthe-fiction begins to affect the characters’ lives, family members must confront their own troubled history in the newest novel from author Ann Patchett, Commonwealth. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323. 7 pm. Free.

Amor Towles

What could better speak to Portlanders stuck renting eightdeep in former asbestos factories than the story of an “unrepentant” Russian aristocrat under house arrest in a luxury hotel that overlooks the Kremlin? Amor Towles’ new book, A Gentleman in Moscow, highlights the “erudition and wit” of the upperupper crust. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

For more Books listings, visit








H O LO C E N E - 1 0 0 1 S E M O R R I S O N Willamette Week SEPTEMBER 14, 2016



All shows held at the Whitsell Auditorium 1219 SW Park Avenue unless otherwise noted.

Thursday, September 15

Sunday, September 18

Friday, September 16

4:30 pm Caesar Must Die

7 pm Women in Film Portland Member Screening Portland, 2016 - Celebration of PDX women filmmakers. 7 pm Born in Flames dir. Lizzie Borden, US, 1983 - Sci-fi feminist fable revolving around the topic of other possible worlds set in the not-so-distant future.

Saturday, September 17

4:00 pm Henry V dir. Laurence Olivier, UK, 1944 - A stirring war film commissioned as WW II propaganda by Winston Churchill. 7 pm Being There dir. Hal Ashby, US, 1979 - A hermetic housekeeper is thrust into the real world following his master’s death and quickly climbs the political ladder.

2 pm Eva Hesse dir. Marcie Beglieter, US/Germany, 2015 - Inspiring art and stories of one of the seminal post-minimalist artists of the 1960s. dir. Paolo Taviani, Vittorio Taviani, Italy, 2012 - Inmates in a Roman prison stage a production of Julius Caesar.

7 pm Forbidden Planet

dir. Fred M. Wilcox, US, 1956 - A space crew finds a scientist with a dark secret in this sci-fi classic based on The Tempest.

Monday, September 19 7 pm Citizen Ruth

dir. Alexander Payne, US, 1996 - ’90s slapstick focused on the abortion debate .

Tuesday, September 20 7 pm Eva Hesse

watch. learn. make.



B.A. VIDEO IS BACK WITH The Golden Age Of Porn

w w e e k .c o m

The Beatles: Eight Days a Week

A Until Sir Paul kicks the bucket

and “Carnival of Light” finally creeps out of the vault, there’s nothing new under the sun for Beatles fans. So the best reason to see Ron Howard’s new feature documentary on the Fab Four’s touring years is to witness the highest-quality versions of some exceptionally rare performances. Howard can’t help but overshoot the mark here, extending the story into a bit more of a biography than the subtitle calls for, but that’s also what makes this film a worthwhile gateway for the uninitiated. NR. NATHAN CARSON. Cinema 21.

C That the third installment of the

Kay Parker | Candy Samples Annette Haven | Christy Canyon Ginger Lynn | Vanessa Del Rio | AND MORE! 7964 SE Foster Rd M-F 11-7, Sat 11-5, Closed Sundays 503-477-5446 See the entire collection at

Bridget Jones franchise is wearily formulaic both in storyline and characterization is no surprise. After all, a film seemingly purpose-built for multiplex filler relies on predictability to secure its rank as a crowd pleaser. And that’s pretty much all Bridget Jones’s Baby is. Like the first film, Baby opens with a drunken and dejected Bridget, single once again, belting it out to the track “All by Myself.” While this scene was hard to watch even the first time around, it at least carried an element of depressing humor. The depressing humor is still there, only now, the joke’s on those who paid for tickets. R. MICHELLE DEVONA. Cedar Hills, Clackamas, Eastport, Living Room Theaters, Oak Grove, Vancouver.

The Hollars

C John Krasinski (The Office) directs


want to advertise? email for details. Willamette Week SEPTEMBER 14, 2016

= WW Pick. Highly recommended. Editor: WALKER MACMURDO. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: wmacmurdo@ Fax: 243-1115.

Bridget Jones’s Baby




and stars in this cutesy dramedy that misunderstands David O. Russell’s dysfunctional family movies as being only about their spirit. The Hollars has a winning cast on its side with Margo Martindale as the family’s ailing matriarch, Richard Jenkins as her hapless husband, and some broad comedy players like Charlie Day and Randall Park on board. But like the omnipresent folk pop of its soundtrack, it’s just doing a broad-strokes approximation of something more thoughtful, a Little Miss Sunshine without the character detail. The Hollars isn’t hard to watch, but it feels about as real as Jim Halpert (plus 20 pounds of muscle and a $200 haircut) depressively chain-smoking. PG-13. CHANCE SOLEM-PFEIFER. Hollywood.

OMSI Animation Film Festival

If there’s one day of OMSI’s Animation Film Festival you shouldn’t miss, it’s opening night, Sept. 15. Hot on the heels of Kubo and the Two Strings, staffers from Hillsboro’s Laika animation studio will screen several of their own animated shorts, with an 18-foot-tall robotic skeleton puppet for good measure. Tickets for the day sold so quickly you can only get in with a full festival pass, but that just gives you the opportunity to see the enigmatic The King and the Mockingbird (1980), a hand-drawn French film that spent over 30 years in development and only recently became available in the Englishspeaking world. ZACH MIDDLETON. Empirical Theater. Sept. 15-18.

directorial debut of Broad City writer Chris Kelly; Real Boy, a film about a transgender musician finding his voice, internally and via the microphone; and Political Animals, a documentary about four prominent female lawmakers who fought the good fight for nationwide marriage equality. The cherry on top: A lot of these screenings are free, while others are much cheaper than usual. What with Critical Mascara simultaneously riling up the PDX queer community, it looks like September might be the new June. JACK RUSHALL. Cinema 21, Sept. 16-22.

STILL SHOWING Absolutely Fabulous

C Unfortunately for fans of the old BBC series, Ab-Fab’s film reboot magnifies the inabilities of Britcom director Mandie Fletcher to stage set pieces and sketch queen Jennifer Saunders to craft a proper screenplay. PG-13. JAY HORTON. Academy.

Bad Moms

C Hangovers loom large in the films of Jon Lucas and Scott Moore (The Change-Up, The Hangover). Cue the inexplicably raucous party, supermarket-destruction and montage. R. JAY HORTON. Bridgeport, City Center, Clackamas, Division, Eastport, Fox Tower, Vancouver.

Captain Fantastic

Viggo Mortensen is mud-splattered, idealistic and good at killing things...again. But this time with six kids in tow. R. ENID SPITZ. Fox Tower.

Complete Unknown

B In a meditation on the power of never committing to one path, Alice (Rachel Weisz) is 20 minutes into being the most interesting guest at a dinner party, when Tom (Michael Shannon) walks in and recognizes her as Jenny, whom he hasn’t seen in 15 years. R. CHANCE SOLEM-PFEIFER. Living Room Theaters.

Don’t Breathe

B+ A trio of serial burglars gets trapped in an isolated Detroit home after their mark, a blind vet played with quiet menace by Stephen Lang, turns out to be a brutally efficient badass. R. AP KRYZA. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

Don’t Think Twice

Already called his Annie Hall, the newest feature from comedian Mike Birbiglia follows members of a comedy troupe yearning to get on Weekend Live, a thinly veiled SNL surrogate. R. ZACH MIDDLETON. Cinema 21.


B- Like all Roald Dahl books, it’s an ecstatic mix of the sentimental and cruel—the story of a young orphan named Sophie abducted by a lovable Big Friendly Giant who catches and releases dreams. PG. MATTHEW KORFHAGE. Academy, Avalon, Vancouver.

Finding Dory


B- Even if the third filmic spectacular adapted from the 19th-century bestseller Ben-Hur is unlikely to leave the same cultural sandal print, it’s surely the fastest and most furious. PG-13. JAY HORTON. City Center, Division.

Café Society

C- The annual Woody Allen production machine has assembled 90 very recognizable minutes here, with selfaware industry commentary, platitudes about New York and L.A., and a male ingénue looking for approval. R. CHANCE SOLEM-PFEIFER. Fox Tower.

B+ For 13 years, the entire world eagerly awaited the return of Ellen DeGeneres as the forgetful Dory. There’s tears to fill a tide pool, wit to keep adults amused, and laughs for any audience with a short attention span. PG. AMY WOLFE. Academy, Avalon, Beaverton Wunderland, Clackamas, Empirical, Tigard, Vancouver.

Florence Foster Jenkins

B Making fun of terrible singing is cheap and easy, but Florence Foster Jenkins avoids cheap shots. PG-13. JOHN LOCANTHI. Bridgeport, Cedar Hills, City Center, Clackamas, Eastport, Fox Tower, Moreland, Oak Grove.

For the Love of Spock

B Directed by his son, Adam, this feature-length doc provides an extensive look into Leonard Nimoy’s life, both on and off the Star Trek set. NR. CURTIS COOK. Clinton, Kiggins.



Ghostbusters is maximalist, it’s glorious, and if it ruins your childhood, sorry bro. PG-13. ZACH MIDDLETON. Division, Eastport, Jubitz, Tigard.

Hands of Stone

Usher and Edgar Ramirez star as boxing rivals, and Robert De Niro is a heroic, septuagenarian coach. Not screened for critics. R. Cedar Hills, Clackamas, Eastport, Vancouver.


Hell or High Water

Loved the gunfights and the misanthropic cowboy glamour of No Country for Old Men, but maybe Javier Bardem’s haircut made you uncomfortable? Try Jeff Bridges’ new Western. R. GRACE CULHANE. Bridgeport, Cedar Hills, Cinemagic, City Center, Clackamas, Fox Tower, Hollywood, Oak Grove, St. Johns 1 & 2, Vancouver.

Portland Queer Film Festival

Each year, the Portland Queer Film Festival kicks open new closet doors and supplies us with a fresh buffet of prominent queer voices from around the globe. Now in its 20th year, the PQFF features Other People, the






CONT. on page 42


THE WITCH IS BACK: Valorie Curry in Blair Witch.



was called on to executive produce the reboot of the Blair Witch franchise, directed by Adam Wingard and written by Simon Barrett, which comes out on Friday. I spoke to a bushy-bearded Hale about what it was like to have his indie film made on a shoestring budget become a genredefining megahit, why he gave up control of the franchise, and his life in Portland.

I love Michael Bay’s films as much the next guy. My summer filmgoing experiences were defined by explosions, jump-punches, dick jokes and Jeff Bridges’ racist dad jokes. Blockbusters, Seth Rogen and nine-figure budget blockbusters are excellent, and should be celebrated. WW: How did your role in executive But they’re already celebrated by producing Blair Witch differ from every other film critic in America. your role in producing The Blair Here at Willamette Week, we have the opportunity to cover Portland’s Witch Project? Gregg Hale: The first film was made unique film scene. This is a city rich by a grand total of maybe seven with repertory, small film festivals, people. My credit as a producer horror nerds and local filmmakers then covered a spectrum of stuff well working on minuscule budgets. And so beyond what any producer on a normal that’s what I’m going to do. film does, from creating the mythology, Welcome to Screener, our new-look film HALE to working on the website, to promoting the section. I’m Walker, your newly sworn President movie, to doing stuff with the film itself— it was Bill Pullman of this movie section. This week, I talked with Gregg Hale, who, along with pretty all encompassing. That’s what you have to do directors Eduardo Sanchez and Daniel Myrick, made a when you don’t have any money. The way I think of Blair Witch is like the way I movie as quintessentially late-’90s as nu metal and crop tops: The Blair Witch Project, which followed followed think about The Force Awakens. It wasn’t really a sequel, three film students into the woods of Burkittsville, Md., to it was a reboot of the Star Wars franchise. With Blair track down the mythical Blair Witch. The 1999 film popu- Witch, Adam and Simon did exactly what needed to be larized the now well-established found-footage subgenre done with that story from 1999 that makes that universe of horror and is one of the most successful indie films in relevant to an audience today. Simon is a really meticuhistory, grossing $250 million with a budget of $60,000. lous guy, and he immersed himself in our mythology to Hale relocated to Portland with his family in 2009. He make sure it fit with his screenplay.

One of the most interesting aspects of The Blair Witch Project’s legacy is that some people at the time of its release believed the film to be a real documentary. With Blair Witch, the world knows that it’s fiction. Do you think that will change the way people respond? I think the number of people who actually thought that the original was real was fairly small. The people who still enjoyed the film and the “Is it real?” aspect were mostly enjoying an expanded version of suspended disbelief. What we did with Blair Witch Project is create a universe that exists before and after the events of the film. This framed the movie and gave people something to latch onto. Blair still has a kind of continuing mythology that combines the fiction of the story and myths about the movie itself that blurs those lines. One of my favorite parts of that mythology was that after the film, [Blair Witch Project actor] Heather Donahue’s mom got real sympathy cards from people that truly thought that her daughter had died. You’ve mostly been producing festival-level horror films between 1999 and now. What was it like making films after The Blair Witch Project? Independent film has changed massively since we made Blair. We had a few years where there was a lot of capital available to independent filmmakers, but that isn’t really the case anymore. The payoff of Blair Witch Project is that I get to make movies, television shows or do things ancillary to that as my profession. Do I imagine things having gone differently postBlair, and having us maintaining some degree of success or exposure after it? Yes. Would that have been good? Maybe. But I’m also by and large very happy with the films we have made. For me personally, I fought most of my ego demons before Blair, which is probably why my life didn’t completely spiral out of control after it blew up. I had already accepted the fact that I wasn’t going to be Steven Spielberg or George Lucas. Is that who you wanted to be? When I was kid? Totally. Up until 1995, that’s who I thought I was going to be. When you don’t know shit, that’s what fuels you. My whole thing about being a Lucas or Spielberg lasted into my adulthood, for sure. Thank God I had already sorted through that for the most part by the time we made Blair. You grew up in the South and you moved to Portland in 2009. Why Portland? Pure lifestyle. We were in New York City—which I love—but two little kids in New York is about a 180-degree lifestyle from here. Portland is a much better fit for my wife and our kids. This is a good place to do your thing and have people be accepting and supportive of that. I’d love to shoot something here. I’ve tried a couple of times. I’ve even shot a Bigfoot movie [2014’s Exists]. Was that inspired in any way by Portland or the Pacific Northwest? I have been obsessed with Bigfoot since I watched The Legend of Boggy Creek [1972] when I was a kid. At some point we got the chance and we jumped. I tried to get it made in Oregon. Oregon has a good film incentive, but it’s a little underfunded. Between Grimm and Portlandia, they take most of the money— which is great, I totally get it. But when you’re making an indie film, and you can get no money here, and some money in East Texas, then that is where you go. Have either of your kids seen The Blair Witch Project? No, my daughter is 10 and my son is 7. If my daughter in a couple of years wants to watch it, she can watch it. My other movies get gorier and more fucked up, so it’ll be a while. SEE IT: Blair Witch is rated R. It opens Friday at Cedar Hills, Clackamas, Eastport, Oak Grove, Vancouver.


Henry V

Feeling emotionally exhausted by this particularly interminable election season? NW Film Center’s excellent Bending the Bard series continues with Laurence Olivier’s Shakespearean propaganda epic Henry V (1944), commissioned by the British government in the last years of World War II to warm the hearts of a beleaguered nation. NW Film Center’s Whitsell Auditorium. 4 pm Saturday, Sept 17.


Or, if you wish to wallow in bitter selfpity in the face of an indifferent political system that never truly changes, Reese Witherspoon’s Tracy Flick will surely remind you of Ted Cruz/Hillary Clinton/Donald Trump/hated politician du jour in Alexander Payne’s sardonic political comedy Election (1999). Mission Theater. Sept. 18-20.

Willamette Week SEPTEMBER 14, 2016

Heavy Metal

I’m not saying you should be a half pack of Marlboro Reds and at least six cans deep into your 30 rack of choice before watching Gerald Potterton’s hypersexualized, ultraviolent animated anthology Heavy Metal (1981). I’m not saying you shouldn’t. Mullets encouraged. Trigger warning: everything. Academy Theater. Sept. 16-22.

Night Games

The enigmatic Church of Film continues its Women Behind the Camera series with Mai Zetterling’s provocative Night Games (1966), a psychological thriller that Shirley Temple called “pornography for profit,” upsetting her so much it caused her resignation from the San Francisco International Film Festival. North Star Ballroom. 8 pm Wednesday, Sept. 14.

The Prowler, The Bitter Stems Finally, the Hollywood has a doozy of a doubleheader for Portland’s noir heads. Programmer Eddie Muller introduces restored 35 mm prints of Joseph Losey’s cop-stalks-housewife thriller The Prowler (1951) and Argentine director Fernando Ayala’s award-winning Los Tallos Amargos (The Bitter Stems) (1956). Hollywood Theatre. 7 pm Saturday, Sept. 17.

Willamette Week SEPTEMBER 14, 2016



Director Paul Greengrass and Matt Damon deliver on-brand thrills via hand-held footage of riots in Athens and many scenes in which assassins splash cold water on their faces and reflect in a mirror. PG-13. ENID SPITZ. Bridgeport, Cedar Hills, City Center, Clackamas, Fox Tower, Living Room Theaters, Lloyd, Tigard, Vancouver.

Kubo and the Two Strings


A Laika’s late-summer bid for animation domination is an original story that feels lived in, a kidfocused fable with real stakes, and a high-octane spectacle full of whiteknuckle action that’s matched every step of the way by heart. PG. AP KRYZA. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Hollywood, Lloyd, Oak Grove, Pioneer Place, St. Johns Pub and Theater, Tigard, Vancouver.

Suicide Squad

C- Suicide Squad rushes through

an incoherent two hours of superhero mayhem, pureeing everything into a slush of clichés. PG-13. MATTHEW SINGER. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Lloyd, Oak Grove, Tigard, Vancouver.

War Dogs

C+ Dull narration and racist stereotypes turn what could have been a humorous tale of Bush-era ineptitude into a haphazard rehashing that’s probably really funny if you’ve never smoked marijuana

before. R. CRYSTAL CONTRERAS. Bridgeport, City Center, Division, Living Room Theaters, Tigard, Vancouver.

When the Bough Breaks

A young couple who can’t conceive decide to hire a surrogate mother, who becomes dangerously obsessed with the husband in this psychological thriller, written by crime journalist Jack Olsen. PG-13. Bridgeport, Cedar Hills, Clackamas, Division, Eastport, Lloyd, Vancouver.

For more Movies listings, visit


Jason Bourne

The Light Between Oceans

B Derek Cianfrance adapts M.L. Stedman’s novel in which a couple (Michael Fassbender and Alicia Vikander) tending a remote lighthouse is embattled over returning a beached baby to her mother. PG-13. CHANCE SOLEM-PFEIFER. Bridgeport, Cedar Hills, City Center, Clackamas, Eastport, Living Room Theaters, Lloyd, Vancouver.

Lo and Behold

A Werner Herzog’s new movie about the internet is more interested in fringe stories than in developing a line of hard criticism. Herzog films aren’t about criticism. They are about Herzog’s sense of wonder. NR. ZACH MIDDLETON. Hollywood.

Miss Sharon Jones!

B This documentary follows the life of Grammy-nominated soul singer Sharon Jones after she was diagnosed with pancreatic cancer. NR. CURTIS COOK. Living Room Theaters.


C+ Morgan showcases an apathetic “corporate troubleshooter” who is sent to yea or nay the mass production of a synthetic human, a confined adolescent who dreams of visiting “the lake.” Good metaphor. R. JACK RUSHALL. Bridgeport, Cedar Hills, Clackamas, Division, Eastport, Lloyd, Pioneer Place, Tigard, Vancouver.


Pete’s Dragon

Pete’s Dragon deserves the hype. Effortlessly evoking the triumphant emotions of Disney’s best live-action outings, it also provides a somber examination of the death of innocence. PG. MIKE GALLUCCI. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Oak Grove, Tigard.


Sausage Party

Sometimes, a dick joke is just a dick joke. But sometimes a dick joke can be an existential meditation on atheism butting up against organized religion, false gods and politics. R. AP KRYZA. City Center, Clackamas, Division, Eastport, Lloyd, Pioneer Place, Tigard, Vancouver.

The Secret Life of Pets

Louis C.K. voices a pampered terrier who gets sucked from his NYC home into a tough gang of pets set on punishing the people who’ve wronged them. PG. Beaverton, Bridgeport, City Center, Clackamas, Eastport, Empirical, Tigard, Vancouver.

Southside With You

B+ In this story of the first couple’s first date, writer-director Richard Tanne focuses on showing who they are, not telling us through wordy dialogue. PG-13. LAUREN TERRY. Cinema 21, Clackamas.


Willamette Week SEPTEMBER 14, 2016

SNOWDEN: Joseph Gordon-Levitt.


Edward Snowden has a hell of a story. Boy grows up in a military family, works his way into the inner circle of the United States’ intelligence apparatus without a college degree, then catapults himself into international politics by releasing a torrent of classified information to WikiLeaks. Great fodder for a biopic, right? Unfortunately, Oliver Stone’s Snowden offers few insights. We are introduced to Snowden (Joseph Gordon-Levitt) after he has fled the U.S. and is on his way to meet documentary filmmaker Laura Poitras (Melissa Leo) to film the 2014 documentary Citizenfour, which Stone uses as the framework for Snowden’s story. We are then taken back to his early days training for the CIA, where we are introduced to his mentors Corbin O’Brian (Rhys Ifans) and Hank Forrester (Nicolas Cage). This is where the problems start. For a film that centers on Snowden’s questioning the very system he comes to realize he inadvertently helped create, Snowden gets boxed into its own system of Hollywood convention and flash. Stone paints Snowden as a wunderkind, whose seamless ascent to the top of his class relies on tired “genius” tropes (he aces his cyber exam in record time! He solves a Rubik’s Cube!) that whitewash his career with cheap thrills. Extensive time is devoted to a subplot revolving around Snowden’s relationship with girlfriend Lindsay Mills (Shailene Woodley), bogging down the film with an unnecessary layer of personal drama. This surface-level treatment of Snowden’s story is fine for those ill-informed about his exposure of the U.S. surveillance program. But beyond its means as a tool to entertain with big-name movie stars, Snowden offers little. And it’s a damn shame since, on paper, Snowden affords plenty of opportunity to get into the nooks and crannies of one of international politics’ most contentious figures, one that could’ve been approached on a deeply personal level since Stone consulted Snowden while filming. Stone ultimately doesn’t shed any light on Snowden’s story that you couldn’t get from a Wikipedia entry. Do yourself a favor and just watch Citizenfour instead. MICHELLE DEVONA.

Oliver Stone’s Snowden biopic tells us what we already know.

C- SEE IT: Snowden is rated R. It opens Friday at Cedar Hills, Clackamas, Oak Grove, Vancouver.



end roll




Just North of the Pearl District.




HOURS: 11-7, 7 days a week

Patty Collins at Pype’s Palace.

Old Heads


It’s hard to remember now, but back in 2014, the best place for anyone in Portland to pick up a good piece of smokable glass was the old neighborhood head shop. Not so long ago, the city was full of weed-centric stores that didn’t actually sell weed—instead content to be paraphernalia shops that doubled as community centers for the cannabis-inclined. In the wake of legalization, most dispensaries now carry a range of high-end glass. So, we wondered, how are Portland’s oldest head shops doing ? Are they struggling because of competition, or thriving with new customers? A little of both, it turns out. For North Lombard Street’s Pype’s Palace, which opened in 1976, legalization has been a boon, with ’70s-vintage stoners feeling liberated to return to cannabis. “It’s been like an old-school reunion,” says co-owner Patty Collins. “When it became legal, they came out of the woodwork. We’re fixing their old bongs they pulled out of the attic.” In the past year, Pype’s has filled its glass showcases with concentrate pens, more oil rigs and especially vapes. “That’s probably our hottest-selling new product,” Collins says. “Some of the old-timers can’t smoke like they used to, so they’re going for the dry vaporizers because it’s easier on the lungs.” Things have been different at Third Eye Shoppe on Southeast Hawthorne Boulevard. “We’re all competing with the internet and the convenience of pointing and clicking, and Chinese glass,” says owner Mark Herer, son of late cannabis legend Jack Herer, who co-founded

Third Eye in 1987. “People will come in the shop and ask, ‘Is that the best price you have to offer?’ They’re willing to squabble and haggle over pricing. Do you go into Fred Meyer and ask, ‘Is this the best price on bread or a gallon of milk?’” Third Eye, which sells all-local glass, feels it’s losing customers to dispensaries. “There are more dispensaries than liquor stores in the state of Oregon,” Herer says. “I mean, it’s a great day— my father would be proud. But at the same time, it’s killing the competition.” Herer says he might have to change some of his business practices, especially when it comes to employee benefits. “I’ve always paid their medical, dental and vision benefits; not a penny comes out of their pocket,” he says. “I’m at a point where I’m forced to decide whether to keep with that practice. It’s a very sad day in the universe for me.” At Silver Spoon Smoke Shop on Southwest Barbur Boulevard, the strategy for dealing with new competition in glass sales is diversification. This year, the family-run head shop installed a disc-golf display, clearing an entire section of the store to make room for a colorful arrangement of discs. “There was nowhere on this side of town with a big selection [of discs],” says owner Ben McEwan. “People were driving all the way downtown from this side of town. We liked it, so we put it in.” McEwan has seen a noticeable uptick in baby boomers coming through the store since weed became legal. “The older generation are the new customers,” he says. “I get a lot more older people buying their first bongs.” Willamette Week SEPTEMBER 14, 2016





Longtime Portlanders might recall Marvin Mafron, an inventor who for a number of years had a late-night infomercial in which he tried to peddle his sets of steak knives with detachable blades. To the audience beyond the camera, he would demonstrate with the press of a button just how easily the blades detached, though he never explained why this novel feature was an improvement over a conventional set of knives. My family lived next door to the Mafron family for several years when I was a child. They had a frail boy named Mickey who was my age. We got on tepidly, though due to proximity his unrequited friendship was thrust upon me. We did share an interest in professional sports, and sometimes Marvin would drive us to the sports-card shop in their wood-paneled, wood-burning Chrysler station wagon. That car, Marvin’s own invention, is the topic of this week’s column. Marvin envisioned a world free from the tyranny of petroleum, in which cars and airplanes and houses and factories were all powered by the Northwest’s most abundant and renewable resource: good old clean-burning timber. We were fresh out of the oil crises of the late-1970s, so research into alternative fuel sources was all the rage. Marvin reserved a table at the Alternative Energy Pavilion at the 1982 World’s Fair in Knoxville, Tenn., with money won during a wild, threeday no-whammies streak on Press Your Luck. At the World’s Fair, he met with a representative from the Blue Bird Corporation—manufacturer of school buses—who signed a contract to license Marvin’s high-efficiency, wood-burning engine technology for a test fleet of buses. The wood-burning buses were soon distributed to school districts throughout Oregon and Washington. One of the buses was assigned to service the school Mickey and I attended. I remember the momentous excitement of seeing the new yellow bus with its puffing brick chimney pulling up to the stop. Though the bus did not have the same giddy-up, the cabin was filled with the pleasant smell of wood smoke and, on cold, dreary mornings, the fiery furnace warmed us and brightened our spirits. The trial run seemed to be going successfully, and plans were made to manufacture more buses. There were some isolated incidents of pranksters opening the furnace grate while the bus was in motion and throwing things like notebooks or Styrofoam into the fire. However, this problem seemed easily solvable with locking furnace grates. The wood-burning bus project was shelved after a gruesome episode for which, I admit, I am partially to blame. One afternoon that annoying twerp Mickey sat down next to me on the bus, and I asked him to find another spot. When he did not, I unzipped his backpack and stole the first textbook I could find. I took it to the back of the bus, opened the grate and threw the book into the fire with the logs. Mickey fatefully reached into the flames. Underestimating the amount of heat generated within his father’s high-efficiency wood furnace, he burned his hand badly enough that it had to be amputated. It is unfortunate that I put his book in the furnace, but more unfortunate that he reached into the furnace, so I cannot take full responsibility for depriving the world of Marvin Mafron’s vision of a utopian, petroleum-free, wood-burning society. But it does pain me to imagine an unrealized Portland that could have become a great hub of innovation and manufacturing like Indianapolis, Detroit or Dearborn before it.

Cat and Girl 44


Willamette Week SEPTEMBER 14, 2016








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Week of September 15

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Buy More For Less 7am/2:30am Everyday ARIES (March 21-April 19) What should you do if your allies get bogged down by excess caution or lazy procrastination? Here’s what I advise: Don’t confront them or berate them. Instead, cheerfully do what must be done without their help. And what action should you take if mediocrity begins to creep into collaborative projects? Try this: Figure out how to restore excellence, and cheerfully make it happen. And how should you proceed if the world around you seems to have fallen prey to fear-induced apathy or courageshrinking numbness? My suggestion: Cheerfully kick the world’s butt -- with gentle but firm good humor. TAURUS (April 20-May 20) For the foreseeable future, your main duty is to be in love. Rowdily and innocently in love. Meticulously and shrewdly in love. In love with whom or what? Everyone and everything -- or at least with as much of everyone and everything as you can manage. I realize this is a breathtaking assignment that will require you to push beyond some of your limitations and conjure up almost superhuman levels of generosity. But that’s exactly what the cosmic omens suggest is necessary if you want to break through to the next major chapter of your life story. GEMINI (May 21-June 20) What do you hope to be when you are all grown up, Gemini? An irresistible charmer who is beloved by many and owned by none? A master multi-tasker who’s paid well for the art of never being bored? A versatile virtuoso who is skilled at brokering truces and making matches and tinkering with unique blends? The coming weeks will be a favorable time to entertain fantasies like these -- to dream about your future success and happiness. You are likely to generate good fortune for yourself as you brainstorm and play with the pleasurable possibilities. I invite you to be as creative as you dare. CANCER (June 21-July 22) “Dear Soul Doctor: I have been trying my best to bodysurf the flood of feelings that swept me away a few weeks ago. So far I haven’t drowned! That’s good news, right? But I don’t know how much longer I can stay afloat. It’s hard to maintain so much concentration. The power and volume of the surge doesn’t seem to be abating. Are there any signs that I won’t have to do this forever? Will I eventually reach dry land? - Careening Crab.” Dear Careening: Five or six more days, at the most: You won’t have to hold out longer than that. During this last stretch, see if you can enjoy the ride more. Re-imagine your journey as a rambunctious adventure rather than a harrowing ordeal. And remember to feel grateful: Not many people have your capacity to feel so deeply. LEO (July 23-Aug. 22) If there can be such a thing as a triumphant loss, you will achieve it sometime soon. If anyone can slink in through the back door but make it look like a grand entrance, it’s you. I am in awe of your potential to achieve auspicious reversals and medicinal redefinitions. Plain old simple justice may not be available, but I bet you’ll be able to conjure up some unruly justice that’s just as valuable. To assist you in your cagey maneuvers, I offer this advice: Don’t let your prowess make you overconfident, and always look for ways to use your so-called liabilities to your advantage. VIRGO (Aug. 23-Sept. 22) Caution: You may soon be exposed to outbreaks of peace, intelligence, and mutual admiration. Sweet satisfactions might erupt unexpectedly. Rousing connections could become almost routine, and useful revelations may proliferate. Are you prepared to fully accept this surge of grace? Or will you be suspicious of the chance to feel soulfully successful? I hope you can find a way to at least temporarily adopt an almost comically expansive optimism. That might be a good way to ensure you’re not blindsided by delight.

LIBRA (Sept. 23-Oct. 22) “Brainwashing” is a word with negative connotations. It refers to an intensive indoctrination that scours away a person’s convictions and replaces them with a new set of rigid beliefs. But I’d like to propose an alternative definition for your use in the coming days. According to my astrological analysis, you now have an extraordinary power to thoroughly wash your own brain -- thereby flushing away toxic thoughts and trashy attitudes that might have collected there. I invite you to have maximum fun as you make your inner landscape clean and sparkly.

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SCORPIO (Oct. 23-Nov. 21) My astrological divinations suggest that a lightning storm is headed your way, metaphorically speaking. But it shouldn’t inconvenience you much -- unless you do the equivalent of getting drunk, stumbling out into the wasteland, and screaming curses toward heaven. (I don’t recommend that.) For best results, consider this advice: Take shelter from the storm, preferably in your favorite sanctuary. Treat yourself to more silence and serenity than you usually do. Meditate with the relaxed ferocity of a Zen monk high on Sublime Emptiness. Got all that? Now here’s the best part: Compose a playfully edgy message to God, telling Her about all the situations you want Her to help you transform during the next 12 months. SAGITTARIUS (Nov. 22-Dec. 21) Novelist Tom Robbins said this about my work: “I’ve seen the future of American literature and its name is Rob Brezsny.” Oscar-winning actress Marisa Tomei testified, “Rob Brezsny gets my nomination for best prophet in a starring role. He’s a script doctor for the soul.” Grammy Award-winning singer-songwriter Jason Mraz declared, “Rob Brezsny writes everybody’s favorite astrology column. I dig him for his powerful yet playful insights, his poetry and his humor.” Are you fed up with my boasts yet, Sagittarius? I will spare you from further displays of egomania under one condition: You have to brag about yourself a lot in the coming days -- and not just with understated little chirps and peeps. Your expressions of self-appreciation must be lush, flamboyant, exultant, witty, and sincere. CAPRICORN (Dec. 22-Jan. 19) By normal standards, your progress should be vigorous in the coming weeks. You may score a new privilege, increase your influence, or forge a connection that boosts your ability to attract desirable resources. But accomplishments like those will be secondary to an even more crucial benchmark: Will you understand yourself better? Will you cultivate a more robust awareness of your strengths and weaknesses, your needs and your duties? Will you get clear about what you have to learn and what you have to jettison? AQUARIUS (Jan. 20-Feb. 18) I’m confident that you would never try to sneak through customs with cocaine-laced goat meat or a hundred live tarantulas or some equally prohibited contraband. Please use similar caution as you gear up for your rite of passage or metaphorical border crossing. Your intentions should be pure and your conscience clear. Any baggage you take with you should be free of nonsense and delusions. To ensure the best possible outcome, arm yourself with the highest version of brave love that you can imagine. PISCES (Feb. 19-March 20) Should you be worried if you have fantasies of seducing a deity, angel, or superhero? Will it be weird if some night soon you dream of an erotic rendezvous with a mermaid, satyr, or centaur? I say no. In fact, I’d regard events like these as healthy signs. They would suggest that you’re ready to tap into mythic and majestic yearnings that have been buried deep in your psyche. They might mean your imagination wants to steer you toward experiences that will energize the smart animal within you. And this would be in accordance with the most exalted cosmic tendencies. Try saying this affirmation: “I am brilliantly primal. I am wildly wise. I am divinely surprising.”

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Homework Read my response to the periodic Internet rumors that astrology is based on wrong assumptions, and that there’s a 13th sign:

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42 46 willamette week, september 14, 2016  
42 46 willamette week, september 14, 2016