Page 1

Harvest Issue Page 14

The Potlander presents



28.32% THC


30.84% THC


31.16% THC

VOL 42/49 10.5.2016



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Willamette Week OCTOBER 5, 2016





If your landlord rips the roof off your dwelling while you’re living inside, exposing you and your property to rain, he or she may face a $500 fine. Or no fine at all! 6 A member of the city commission that approved a zoning change to block affordable housing for low-income seniors suggests they “relax and chill a little.” 9 The dude who took over for “Baller Dan” Staton drives a Ford Escape while someone else rolls the Sheriff of Swag’s sick Charger. 13


Eastern Oregon is a lot like Pakistan. 20 If it were up to marijuana farmers, there wouldn’t be any more hemp farms. 25 Dennis Wilson may have witnessed a murder by Charles Manson and failed to report it. 43 One activist-artist has a new show featuring handmade “Camp Here Tonight” signs that you can use to invite homeless people into your yard. 64


Illustration by Lovatto.

A local bookstore no longer likes the television program Portlandia.

STAFF Editor & Publisher Mark Zusman EDITORIAL News Editor Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Rachel Monahan, Beth Slovic Copy Chief Rob Fernas Copy Editors Matt Buckingham, Maya McOmie Stage Editor Shannon Gormley Screen Editor Walker MacMurdo Projects Editor Matthew Korfhage Music Editor Matthew Singer Web Editor Sophia June

Calendar Editor Enid Spitz Books Zach Middleton Visual Arts Jennifer Rabin Editorial Interns Johanna Bernhard, Julia Comnes, Bennett Campbell Ferguson CONTRIBUTORS Dave Cantor, Nathan Carson, Peter D’Auria, Jay Horton, Jordan Michelman, Jack Rushall, Chris Stamm, Mark Stock PRODUCTION Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Alyssa Walker Graphic Designers Tricia Hipps, Rick Vodicka

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Willamette Week OCTOBER 5, 2016



investing in affordable housing. With our partners, we are working to bring The premise of “Roofless” [WW, Sept. 28, 2016] is hard to argue with: Portland is in the midst of more than 700 affordable units to East Multnoa housing crisis, it matters how the city spends mah County, where quality affordable housing is its limited dollars addressing the problem, and in short supply. Local government’s insistence on spending more money for fewer units the rules should be transparent and in Portland’s inner core comes at the fairly applied. However, we don’t agree with how expense of families and children. Quality affordable housing can the author attempts to make scapebe built affordably. We are eager to goats of nonprofit affordable-housing work with government to build muchorganizations that must compete for needed units, but happy to work withscarce dollars while navigating complex local, state and federal rules. These out them if expensive real estate, red roofless are mission-driven organizations tape, and so- called “values” are prioritized over the thousands of families working to provide safe and affordable in need of safe, affordable housing. housing for a growing number of fami“Quality —Rob Justus and Dave Carboneau, lies. Comparing the true cost of that work to back-of-the-napkin estimates affordable principals, Home First Development is hardly fair. housing can Among the nonprofits cited is USING JAIL AS SHELTER be built Portland’s largest culturally specific Wapato Jail is a solution that is provider of affordable-housing servic- affordably.” already built (for $58 million), has es—Hacienda Community Developbeen sitting vacant for more than ment Corporation. The WW sidebar “No Housing 10 years and is costing us hundreds of thousands in Hacienda” completely misses the mark. to sit empty [“Go Directly to Jail,” WW, Sept. 28, The loan that helped finance that project—a 2016]. We should have been using it years ago. loan that must be repaid in full with interest—pro- Eric Zimmerman is the first voice of reason. vided Hacienda with the opportunity to improve —“oregongrown” and increase affordable-housing services for thousands of Portland residents. Eric Zimmerman is pushing to force those campThanks to the free foreclosure counseling, ing outside into the now-empty Wapato Jail. It first-time homeownership classes, and resi- is morally unacceptable to force people who are dent services that Hacienda provides, families homeless into a jail. This is a sad example of a throughout our community have a safe, afford- political candidate playing politics with the lives of our most vulnerable citizens. able place to call home. —Rev. Chuck Currie —Angela Martin, board chair Hacienda Community Development Corporation fried chicken, seattle-style.

Box-office flops with free popcorn.

The man with a Wapato plan.



by nigel jaquiss


Vol 42/48 9.28.2016

We applaud Nigel Jaquiss and WW for bringing this issue to light. Your report raises important questions about how and where we should be

Portland City Hall is asking you for $258 million to build affordable Housing. Here’s wHat it did witH tHe last $735 million. Page 12

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:

Why is Washington always ahead of us on progressive measures? They legalized pot first, they beat us to gay marriage, and now they have a ballot measure for a carbon tax. How come they always beat us to the punch? —Meadow A. Honestly, both Oregon and Washington are fairly with it compared to the rest of the country, much of which is responding to the current election like a toddler locked in a car: You only need them to do one simple thing, but they just don’t get it. “See the little lever? Where Daddy’s pointing? Just take your hand and…yes, Daddy DID see the doggie. But Daddy just needs you to pull this lever, like this, see? Just…yes, I know butts smell funny, but would you please PAY ATTENTION. THIS IS LITERALLY SO YOU DON’T DIE.” I feel your pain, Meadow. Here in Portland, we’ve become accustomed to thinking of ourselves as the stoned gay hippie capital of the world, so it’s galling to think that Washington— home of Vancouver, the raised Ford pickup of cities—is actually closer to the socialist free-love utopia of Paul Ryan’s nightmares than we are. Oregon and Washington are actually quite similar: Both are mostly wide-open spaces sparsely populated with decent, God-fearing 4

Willamette Week OCTOBER 5, 2016

folk, with one very dense agglomeration of bongo-playing lesbians in the upper left-hand corners. In Oregon, that pocket of flag-burning nonconformity is, of course, Portland; in Washington, it’s Seattle. Both have populations big enough to drive a big portion of state politics, to the unending chagrin of Coors Light enthusiasts in the rest of each state. But Seattle can drive them a little harder. The Portland metro area has a population of 1.79 million, about 47 percent of our state’s total. Seattle metro weighs in with 4.2 million, or 62 percent of Washington’s population. Much ink has been spilled discussing why city dwellers are more liberal than their flats-dwelling counterparts, with no consensus. Still, it’s pretty clear that without Portland and Seattle, everything around here would be Idaho. QUESTIONS? Send them to


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Willamette Week OCTOBER 5,2016




SOAKED: Tenant Blanca Castilla catches rain.

Apartment Owners Remove Roofs While Tenants Still Inside

Residents of an 18-unit St. Johns apartment complex received notices of a “no cause” eviction in early June after the building’s new owners decided they wanted to renovate the property. Renters were given 90 days to leave. But owners Janos and Sara Bodnar didn’t wait that long to start the work on the two-story building. Contractors ripped off the roofs, leaving tenants exposed to the rain. At least half a dozen tenants had to contend with water damage, including light fixtures that filled with rain. The upstairs had “2 feet of water,” says Corey Smith, 44, who lives on the first floor, recalling the first time it rained with the roof off. “I was laying in bed. It was like I started getting peed on.” Janos Bodnar declined to comment, directing WW to Capital Property Management Services, which manages the apartment and defended the owners’ decisions. “The long-term goal in purchasing and renovating this apartment building is to elevate the quality of housing being offered,” says Joe St. Onge, CPMS vice president. Two of the three buildings are still using tarps for roofs after the city issued a stop-work order in early September. The city’s Bureau of Development Services threatened the owners with a $500 fine, according to the stop-work order posted at the building.


Willamette Week OCTOBER 5, 2016

In January, WW reported that former Urban Airship CEO Scott Kveton had filed an Oregon State Bar complaint against the lawyer who pursued rape and sexual assault allegations against him by a former girlfriend. (Kveton never faced criminal charges; civil suits were resolved out of court.) Now that lawyer, Scott Upham, has filed a defamation lawsuit against Kveton. The Sept. 2 suit stems from the pending bar complaint, which asserts that Upham attempted to extort Kveton, and from a comment Kveton posted on a subsequent story on about the complaint. That comment has since been deleted. Upham seeks $10,000. “He continues to wreak havoc,” Kveton says. “It’s been very trying, but ultimately I’m looking forward to him paying all the attorney fees for this frivolous lawsuit.” Upham did not respond to a request for comment.




Scott Kveton’s Legal Battle Takes Another Turn

Candidates Go Wild This Week

Couldn’t score a $2,700 ticket to James Taylor’s campaign concert for Hillary Clinton, held Oct. 3 at Portland tycoon Jordan Schnitzer’s house? Here’s another election-season entertainment option: Candidates Gone Wild, the WW-sponsored politics party and talent show featuring City Council candidates Steve Novick and Chloe Eudaly. The event is 7 pm Monday, Oct. 10, at Revolution Hall (1300 SE Stark St.). Tickets are $5 in advance, $10 at the door.






Percentage of Measure 97 taxes that would be paid by the 50 largest payers.

Jessica Vega Pederson

1. She was the first Latina elected to the Oregon House. Vega Pederson, 41, earned that distinction when she won the East Portland seat formerly occupied by Jefferson Smith. “It was such an honor,” Vega Pederson says of her breakthrough. “It was also a shame that it took until 2012.” 2. She will be only the fifth person of color to be elected to the Multnomah County Commission. The first was Gladys McCoy, who won office in 1978. 3. Her first job in Oregon was in the deli at the Safeway near the Portland Art Museum. After moving to Portland from Indiana in 1996, she held the job for just six days before moving to a new one at a computer lab at Portland State University. That job launched her on a career in computer technology, including a stint at Microsoft. 4. She got her political start in 2004 with the local chapter of the Sierra Club. As chairwoman of the political committee that endorsed candidates for elected office, Vega Pederson in 2004 interviewed newbie candidates like Sam Adams and Tina Kotek. “It was such a good experience,” she says now. “It humanized the entire world of politics.” 5. She’s a self-declared sci-fi geek. She’s watched the Joss Whedon TV series Firefly three times.


Percentage of companies that would pay the tax that are based outside Oregon.


Oregon’s current national rank in taxes as a percentage of total income.



The presidential race excepted, there’s no bigger or more contentious issue on this November’s ballot than Measure 97. The proposal would tax certain corporations 2.5 percent of their Oregon sales over $25 million, raising $3 billion a year in new revenue. If the past two decades of Oregon politics have been a cold war between unions and business, this ballot measure is labor pressing the nuclear launch button.

Our Oregon, a public employee union-backed group, wrote Measure 97. Business groups and the large corporations who would pay the tax hate it with a passion—and a pocketbook—rarely seen in Oregon politics. They’ve already raised more than $16 million and may double that figure before Nov. 8. That money is funding advertising blocks squeezed between evening news broadcasts and Ducks losses. Both campaigns are blasting talking points. Here are three myths worth debunking: General fund budget


25 Two ballot measures, same impact

Businesses operating in Oregon



Measure 5 1990

Measure 97 2016

961 Businesses who would pay tax



MYTH 1: We’ve never seen a change in taxes of this magnitude.

MYTH 2: Corporations would finally pay their fair share.

The financial impact of Measure 97 would be huge—$3 billion a year—but the Legislative Revenue Office says it will have the same relative impact as 1990’s Measure 5 in terms of the percentage of taxpayer income that goes into government coffers. The difference: Measure 5 reduced taxes, Measure 97 raises them.

In fact, very few companies would pay the tax, which applies to sales, not profits. Oregon partnerships and pass-through companies would be exempt. But the companies that would pay are widely unpopular—a fact Our Oregon admits factored into how the measure was written.





2017-19 Projected

MYTH 3: We really need this money, and we know where it’s going. Figures show that money has poured into the state’s general fund—it’s up 52 percent in the past decade. How lawmakers would spend the $3 billion annual windfall provided by Measure 97 is completely up to them because there are no restrictions. The general fund goes to education, health care, social services and public safety, but lawmakers have enormous leeway— and a giant pension deficit to address.

S O U R C E : L E G I S L AT I V E R E V E N U E A N D F I S C A L O F F I C E S .


Current percentage point difference between Washington (58 percent) and Oregon (38 percent) in business taxes as a percentage of taxes collected.


Number of states with gross receipts taxes like Measure 97.


Number of contributions of $50,000 or more received by the “no” campaign.






Oregon’s rank if Measure 97 passes

Number of contributions of $50,000 or more received by the “yes” campaign.





Two Multnomah County Commission contests appear on the November ballot. But the third new member of the county board is already set: State Rep. Jessica Vega Pederson (D-Portland) ran unopposed in May to fill the seat of Multnomah County Commissioner Judy Shiprack, who’s been term-limited out. Here are five things to know about Vega Pederson. BETH SLOVIC.

Number of contributions of $750,000 received by the “yes” campaign (from the Oregon Education Association and Service Employees International Union).


Projected budget deficit in billions of dollars for the next two years if Measure 97 does not pass.


Value in millions of dollars of Oregon Legislature-approved corporate tax breaks currently on the books. —Nigel Jaquiss

Willamette Week OCTOBER 5, 2016



Willamette Week OCTOBER 5, 2016

photo credit


PHOTO: Caption tktktk


For the past year, Portland City Hall has repeatedly said it has no higher priority than addressing the city’s housing crunch. It’s why Mayor Charlie Hales declared a housing emergency a year ago, and why the city is asking voters to approve a $258 million bond issue in November. Yet city officials are also preparing this week to hear recommendations from city planners to place new restrictions on the height and density of new apartment buildings in an affluent westside neighborhood. The zoning changes would block the development of 160 apartments for low-income senior citizens along Northwest 18th Avenue in the Alphabet District. More importantly, the recommendations could limit future development along a street slated to receive a new bus line—the kind of corridor where Portland has pledged to welcome new development. Northwest Housing Alternatives, one of the state’s leading affordable-housing developers, has been working on plans for the 160-unit building for more than seven months. Its director says she’s baffled why city leaders would consider blocking the kind of low-income housing they’re asking voters to bankroll. “We’re concerned for the project,” says Martha McLennan, executive director of Northwest Housing Alternatives. “We’re also concerned at a more philosophical level that the city is reducing the apartments that can be built in a neighborhood that’s walkable and has good access to transit and services.” (The dispute was first reported Oct. 4 by the Portland Tribune.) The City Council will begin Oct. 6 to consider a zoning change recommended by the Planning and Sustainability Commission. If passed, it would mean developers could build half as densely in a roughly 20-square-block area of the Alphabet District as well as in a few blocks of Northeast’s Irvington neighborhood. The changes would also lower maximum building height by at least 10 feet, as part

of an effort to preserve the historic character of two of Portland’s wealthiest neighborhoods. That would make projects like Northwest Housing Alternatives’ building impossible to finance, the owner and the developer say. It also appears to protect the property values of handsome Victorian homes at the expense of senior citizens making less than $15,000 a year. “If you say we have an affordability housing problem,” says economist Joe Cortright, “and then you restrict the ability to build more housing in the places where people want to live, then you’re not dealing with housing affordability.” A year ago Friday, City Hall officially declared a housing emergency, as upward of 1,800 people camped on city streets. The council passed new ordinances to protect renters and referred a housing bond to voters for the first time to build or restore 1,300 affordable apartments. But the zoning proposal is a new test of the city’s commitment, given that it runs up against the opposition of neighborhood groups. Officials with regional planning agency Metro publicly objected to the Alphabet District’s downzoning in August. “The affordable-housing crisis we currently face requires that an increasing supply of housing be developed in order to keep pace with demand,” wrote Metro’s chief operating officer, Martha Bennett. “Our region is depending on the city of Portland to accommodate a significant proportion of the region’s growth in population and employment.” The neighborhood is also slated for a new bus line that would provide direct service from the central city to North Portland, traveling up Northwest 18th Avenue and over the Fremont Bridge when funding becomes available, according to TriMet. But city planners who approved the downzoning recommendation last month say historic preservation trumps new buildings—especially in historic neighborhoods surrounded by construction cranes.

“I get the big picture: They want to have all the room they can have for more people,” says Chris Smith, vice chairman of the planning commission, which officially approved the downzoning recommendations last month. “We’ve been fairly selective. They can relax and chill a little.” Historic preservationists say neighborhoods need more protections against developers as the city grows. Neighborhood advocates argue the new zoning will make the city’s historic requirements clearer, and avoid creating a perverse incentive to demolish existing apartment buildings with low rents. “I don’t think [affordable housing] trumps everything else,” says Karen Karlsson, president of the Northwest District Association. “I think it should be compatible with everything else.” But McLennan notes the property owner had tried— and failed—to win approval to demolish a three-story 1919 building on the property two years ago, and instead adjusted plans to incorporate it into the new apartment project. She says that shows the current historic protections are working without new regulations. “This is just a blanket prohibition,” says McLennan. The property owner, Mark O’Donnell, is furious. “We are at a loss to understand,” he says, “why the City Council would ask Portland voters to approve $258.4 million of general obligation bonds to provide approximately 1,300 affordable apartments and, at the same time, approve [a policy] that eliminates 160 units of affordable housing at no cost to the city of Portland.” Yet Hales and all four of his colleagues on the City Council say they haven’t made up their minds. Hales is “a little bit skeptical” of the new rules, says his policy adviser, Camille Trummer. “We’re in a housing crisis,” she tells WW. “While each neighborhood did propose these changes, he’s not sure if it’s going to satisfy the needs of the housing supply in terms of long-term planning.” City Commissioner Dan Saltzman, who oversees the Housing Bureau, is also waiting to make a final decision, says his chief of staff, Brendan Finn. “With demand outpacing supply and production, Commissioner Saltzman is seeking opportunities in the comprehensive plan to increase the production of affordable and market-rate housing,” says Finn. “This proposal appears to run counter to that goal.” Willamette Week OCTOBER 5, 2016



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Willamette Week OCTOBER 5, 2016




The handling of a key contract by Gov. Kate Brown’s campaign team raises questions about whether that contract benefits the governor’s chief of staff. In January, Brown’s campaign staff decided to fire C&E Systems, the contractor that handled the reporting of donations and expenditures to the state Elections Division. Brown’s finance director, Tiernan Donahue, inked a deal with a new financial-reporting contractor in January, according to documents WW has reviewed. But firing C&E Systems was a politically fraught move within Brown’s inner circle. The company the campaign was poised to jettison has close financial ties to Brown’s chief of staff, Kristen Leonard. Leonard and her husband, Kevin Neely, owned C&E Systems until September 2014, when they sold the company to a political consultant named Jef Green. In November 2015, Leonard became Brown’s chief of staff—but Green hadn’t finished paying her and Neely for C&E. He still owed them $35,000, according to Neely, and was due to make that payment by March 31, 2016. C&E Systems also rents space in a Southeast Portland building owned by Leonard and Neely, and retained their employees. Brown’s campaign never followed through with its plans to fire C&E. It’s not clear why the campaign backed off. A campaign spokesman declined to explain the decision. What is clear is that C&E still has the campaign’s business—and still owes Leonard and her husband money. (Green paid them $20,000 earlier this year but still owes $15,000.) Brown’s campaign has paid C&E $64,000 since Leonard joined the governor’s staff. Brown took office in February 2015 after her predecessor, Gov. John Kitzhaber, resigned in the midst of an influence-peddling scandal that involved first lady Cylvia Hayes’ consulting contracts. Kitzhaber also permitted a tangled relationship between his campaign and state policy regarding fallout from Cover Oregon, the failed health insurance exchange. Brown pledged to clean up Salem and restore transparency to state government. But the circumstances around the contract with C&E raise questions about how carefully she is policing her top staff and whether her administration is observing the separation between her campaign and state staffs that

HAPPY TRAILS: Gov. Kate Brown campaigns at the Pendleton Round-Up in September.

elections law requires. Todd Donovan, who teaches political science at Western Washington University, says there should be a clear separation between a governor’s staff and campaign decisions. “There’s a perception issue there,” Donovan says. “Aren’t there any other firms the campaign could have used?” Leonard says she knew the campaign was considering replacing C&E but says she wasn’t involved. “I told them, ‘Make sure and talk to the governor and that she’s OK with it,’” Leonard recalls. But a former staffer says five months later Brown was displeased with the contractor. Michael Kolenc, who was hired in May to manage Brown’s campaign, says Brown told him this summer she


thought C&E was charging too much in fees. “The governor was very unhappy with the amount of money we were paying C&E, and she authorized me to negotiate a lower payment or make a change,” Kolenc says. He says C&E did subsequently lower its charges. Campaign spokesman Chris Pair declined to answer questions about Brown’s involvement in the decision. “Gov. Brown does not directly weigh in on day-to-day campaign decisions regarding routine vendor contracts and services,” Pair said in a statement.

Kolenc was fired last month. Leonard says she was involved in that decision. “He lacked the experience we needed,” Leonard says. Even that level of involvement concerns observers. “It is problematic when you have a highly placed member of the governor’s staff—who’s involved in policy and whose salary is paid for by taxpayers’ money—involved in the governor’s political campaign,” says Hana Callaghan, director of government ethics at the Markkula Center at Santa Clara University. Leonard says she was only vaguely aware that Green owed her money and says she’s never talked to him about business since taking her current job. Records show, however, that Brown is C&E’s largest customer. (Brown’s relationship with Leonard and C&E goes back years. When Brown’s 2008 campaign for secretary of state was low on cash, C&E loaned the campaign $10,000. The company never loaned money to any other candidate.) The possibility of losing Brown’s business came at a difficult time. The company makes its money by doing bookkeeping for candidates and ballot measure campaigns, but is facing increased competition. In the 2016 cycle, for instance, the campaign for ballot Measure 97—the $3 billion corporate tax increase that is expected to be the most expensive campaign in state history—hired a company called Bean Counter Services. In the past, C&E always handled Democratic ballot measures. Several legislative candidates have also moved their business to Bean Counter. It remains unclear why Brown’s campaign agreed to terms with a new company, then failed to follow through. The owner of that company, Greene Compliance LLC, did not return calls seeking comment. Pair, Brown’s campaign spokesman, offered only a statement praising C&E’s “well-known institutional knowledge and robust infrastructure.” Donovan says the whole situation should have been avoided. “After what happened with the previous administration,” Donovan says, “it’s completely tone-deaf.” Willamette Week OCTOBER 5, 2016



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GREEN DAY: Multnomah County Sheriff Mike Reese says voters deserve “more robust dialogue and debate” in sheriff elections.


Mike Reese knows what happens to cops who hold his new job. In the past decade, the careers of Multnomah County sheriffs have ended badly. Two-term Sheriff Dan Staton resigned under pressure Aug. 16, after questions arose about use of force in the county’s jails and his own spending of public dollars on a souped-up car. Staton got his job when Sheriff Bob Skipper resigned. Skipper replaced Bernie Giusto, who also resigned. That streak of disaster led a county charter review commission to put a question on the November ballot: Should the sheriff, who overseas 1,310 jail beds, 800 employees and an annual budget of $137 million, continue to be elected by voters, or appointed by the county chair? The latest sheriff, Reese, 59, comes to the county after retiring in 2015 as Portland’s police chief (an appointed position). Reese stopped by WW’s offices to express his view that the sheriff’s job should be kept in the hands of voters. WW: Three elected sheriffs in a row in this county have resigned under pressure. What makes you think we are going to have the kind of robust competition for this job that will guarantee us better candidates? Mike Reese: If you look at the history of elections for about the last 20 years, you can see we’ve had contested sheriff’s races almost every single cycle. The only one we didn’t was in 2014, when Dan Staton was elected. I’m going to acknowledge we’ve had some issues with leadership in the sheriff’s office and we have to do better. But the way to do better in a democracy isn’t to abandon democracy. You’ve been on both sides, as sheriff and police chief. What can you do as an elected official that you couldn’t do as appointed official? As an appointed chief, you have an opportunity for one frank conversation with voters. You disagree with your boss, then you’re likely not to have that position anymore. Were you muzzled as Portland police chief ? I’m not going to be able to point to a difference of our divergence of opinion between myself and Mayor Hales on an issue. But I can see it coming up. I was one of the chiefs of police who felt strongly

about gun violence, and [spoke] to legislators about that. It’s a hot-button issue. It’s a topic that can create controversy and polarize people, and they may simply want you to stay out of that debate. Have you read the county report that shows disparate treatment of black inmates in the Multnomah County jails? I have. It raised some troubling questions. We need to dig deep into it and find out if our use-offorce policies are guiding our employees appropriately. Are they matching what we practice in the field? And are our systems of accountability where they should be? I think there are some gaps that will be identified, and we will move forward in repairing and fixing it. There is great friction between the black community and law enforcement. What can you do to solve that? If I could solve it, I would bottle it and sell it to every city and county across the United States. Acknowledging that there are problems within our criminal justice system, that’s an important first step. The criminal justice system comes at the end of a long list of societal failures, particularly around disparate treatment and race. We have to acknowledge, as leaders, we have implicit bias in our system. We have to do everything we can to find ways to treat everyone with dignity and respect and fairness. | 877.274.0410

What makes you say there is implicit bias in the system? Look at the numbers. We have the MacArthur [Foundation] report that came out that showed that nearly every step in the criminal justice system there’s overrepresentation [of black people] and it gets worse as you go through the system. I think it’s a 4-to-1 ratio of blacks being arrested over whites in Multnomah County, and then [during] prosecution it gets worse, and going through the court system it gets worse. You look over and over again at how we provide service to people, and we don’t always do our best work. What’s the first change we should expect to see in your office? I want our employees to treat members of the public like they’re members of their own family. We’re digging into use of force, the budget, and making sure that we are being good fiscal stewards. Do you know what happened to Sheriff Staton’s Dodge Charger? I believe it is now a detective’s car, but I don’t know for certain. What kind of car are you driving? I am driving a Ford Escape. It’s out front if you want to go and look. Willamette Week OCTOBER 5, 2016


Here Comes The Sun Our Harvest Issue is an Ode to Outdoor Cannabis. The future of Oregon cannabis is sunny—literally. Legalization means that this state’s cannabis industry has newfound freedom to grow cannabis naturally, with nothing but sky and sun above, as the God of Abraham intended. Sure, there are some drawbacks to sun-grown cannabis, especially in our northern climes. Outdoor cannabis isn’t lathered up with fluffy white trichomes and the delicate flowers you get from growing with lamps and fans. The flowers can rot overnight. But given the size of Oregon’s burgeoning cannabis industry, and the vast array of concentrates and edibles being made from flower, it makes sense that we see a push away from the resource-intensive indoor grows of the prohibition era. This special Harvest edition of the Potlander was created to celebrate this cleaner, greener future. Why isn’t your weed already sustainable, so you can smoke guilt-free? We asked some of the state’s most knowledgeable growers that question and learned a lot about the challenges of growing outdoors in Oregon (page 17). We learned even more about those challenges through our own experiment in growing cannabis on the roof of our office


Willamette Week OCTOBER 5, 2016

(page 23). We lost last year’s crop to bud rot but fared better this year—though we mostly learned that we’d rather just pay for top-shelf bud grown by experts. Despite the challenges of growing in Oregon, we have some fantastic farms. Some envision capitalizing on that in a mature Oregon cannabis industry that labels every pre-roll you buy with its origin. Our state’s cannabis could someday be shipped across the country, with our microclimates developing a following based on the characteristics of their terroir, like pinot grapes from Ribbon Ridge or Elkton (page 20). To fulfill that promise, outdoor marijuana farmers will have to strike compromises with hemp farmers (page 25). The people who grow the country cousin of the cannabis that gets you high were an ally of legalization but have since emerged as a major threat to outdoor growers who worry cross-pollination will dilute the psychoactive effects of their crop. And since we hope you’ll finish reading these stories with a new appreciation for cannabis and the industry behind it, we finish up with some of our favorite outdoor products (page 31) and our four favorite new pot shops where you can find them (page 28).

Willamette Week OCTOBER 5, 2016


P H O T O : J A K E S O U T H A R D ; I L L U S T R AT I O N : L O VAT T O


Willamette Week OCTOBER 5, 2016


the harvest issue


Greener Green


Marijuana is a needy plant. It craves lots of water, nutrients and especially sunlight. If it doesn’t get light naturally, it’s going to need a whole lot of electricity. In 2012, a study showed indoor marijuana grows accounted for 1 percent of America’s energy consumption— the equivalent of 3 million cars—and that was before full legalization in Washington and Oregon. Now that the bud-gates have opened, there are nearly 27,000 registered medical grow sites in Oregon. And as of mid-September, the Oregon Liquor Control Commision has received 839 applications for recreational grows. Lighting costs alone will drive some growers outdoors, but it’s hardly a black-and-white decision: The western parts of the state don’t have those dry, hot summers that bless the southern and eastern counties—and not every greenhouse is created equal. Granted, a lot of medical operations will bow out as recreational cannabis comes into the market—and we don’t know how big the market for weed can sustainably get. But even as they shed old stoner stereotypes, cannabis growers are already being labeled with a new stigma: resource hogs. In Oregon, where many consumers want everything to be sustainable, there’s a retail-side push for growers to use different methods. But varying climates throughout the states (see page 20), as well as an uncertain regulatory environment, can make things hard for growers who want to use more eco-friendly methods.



Outdoor grows are the most obvious way to reduce the carbon footprint. Although some outdoor cultivators do so because they can’t afford to do it any other way—lights are expensive—some farms have taken this route with Mother Nature in mind. “We shouldn’t be generating coal-fired power plants to grow pot in warehouses, when the sun has been around for millennia,” says Kevin Coffman, a grower at Rosebud Farms in Douglas County in Southern Oregon. Rosebud’s outdoor medical grow site employs solar panels to power the mechanics of the farm, and looks to take advantage of its breezy hilltop location with wind power. Coffman wants to build a truly zero-emission farm. “By growing cannabis in greenhouses, the electrical budget is drastically reduced,” he says. “With our crop sequestering more carbon than the operation emits, that brings us close to a net-negative carbon company.” Jeremy Plumb, the mad genius behind Newcleus Nurseries, Farma dispensary, and Cannatonic—one of the finest CBD strains, and winner in its category at the 2016 Cultivation Classic—recently announced the construction of a new facility that will use biological pest control, solar-cell technology, rainwater catchment, and geothermal loops to collect heat energy from the ground. “We aspire to model an evolution in ecological horticulture,” Plumb wrote. “These are not merely buzzwords to better market a product, but sincere convictions and a way of life.”


Not every grower has the money to do things the way they’d like—especially since layers of regulation can make it challenging to find affordable land to lease that passes muster under city, county and state laws. Only some of the available plots get enough sun. In some jurisdictions, outdoor growers can’t use supplemental lighting on a rainy day without a license to grow indoors. “What’s unfortunate is that bureaucracy stops us from being able to make sustainable moves,” says Erick Polk, a co-founders of Green Choice Farms, a Portland-area recreational outdoor operation. “We couldn’t get a temporary use permit from the local utility provider, so we had to be on generators for longer than we wanted. That’s dirty power. We are heading toward a passive hybrid greenhouse, its own microgrid. But those require money and cooperation from the city.” Polk has a master’s degree in renewable energy engineering, and focused his research on the balance between affordability and sustainability. But even with his expertise in the field, he says constantly evolving regulations make it expensive for farms to implement ecologically sound methods. The lead cultivator at Nelson & Company Organics, a longtime indoor producer in the Portland area, saw the same challenges. “We’re aiming toward a soil-recycling program, if we had the spare space,” he says. “But to make ourselves profitable, we have to use every square foot inside the warehouse for growing.” OLCC rules measure growers’ permitted quantities by canopy size, not plant counts, so there’s an incentive to make the most of the space. “The first level of being sustainable is about staying alive in the business,” says Nelson & Company’s grower. “Once you have that handled, you can work on making your farm more environmentally aware.”


Even if money and legislation weren’t issues, there are no simple solutions to responsible growing. “Sustainable agriculture is a rabbit hole,” Polk says. “How far do you want to go? Using predatory insects rather than pesticides? Are you going to recycle your water? Sustainability isn’t just about energy consumption.” He says the different benefits between indoor and outdoor cultivation get a little fuzzy after a certain point. “Producers in Southern Oregon have the advantage of a very desirable climate [of low humidity and a lot of sun],” Polk says. “However, outdoor producers around the Willamette Valley need more climate-control and insulation levels, so they turn to greenhouses.” The holy grail of naturally lighted greenhouses includes a well-timed light-deprivation system to further control the development of buds. But that setup requires greater temperature control from day to night and regulation of humidity levels. Insulation means indoor operations can more efficiently regulate temperature, and those systems can recycle water better than an outdoor crop. “It is a slippery slope for greenhouse growers if you plan to maintain environmental control levels rivaling indoor grows,” Polk says. “While your electrical consumption for lighting may be lower, your higher HVAC costs could potentially offset the lighting savings. Is that being more sustainable?” The numbers are a bit more complex than a single line on a PGE bill—and the cannabis industry has very little recorded data to work from when trying to assess sustainability. “I bet I use less electricity in 5,000 square feet of space than a manufacturer of any other product,” says the grower at Nelson & Company Organics. “In general, if you compare us to an agribusiness, yes, we use a lot of energy. But not compared to a manufacturer of a product.” In the end, Oregon cannabis growers are going to plant as much as they can. Out-of-state investors will make sure of that. But local regulators can do a lot to help the industry—not just for cannabis producers and consumers, but for environmentalists. Willamette Week OCTOBER 5, 2016



Willamette Week OCTOBER 5, 2016

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It’s been a bumper-crop year for Oregon cannabis entrepreneurs. Since recreational sales started last October, dispensary shelves have filled with well-marketed innovations—everything from vapes made for women to pre-rolls that can pass for cigarettes to CBD dog treats. Agriculture is the foundation of this new industry, but it hasn’t been highlighted in marketing, partly because many cannabis growers are still secretive about their operations. But there’s reason to suspect the next step for Oregon cannabis is to highlight the farms, as we’ve seen with cheese, wine, hops and berries. To do that, Oregon growers will have to start talking about terroir. Just like wine, outdoorgrowing areas for cannabis can be defined by geographic features like soil and weather during the growing season. Just as wine is classified into American Viticultural Areas, or AVAs, the future of cannabis might be ACAs: American Cannabis Areas. Imagine walking into a dispensary and seeing your Sour Diesel labeled “Applegate Valley” or “Yamhill-Carlton.” It might take a while to designate regions that small, but this is already something the Oregon Cannabis Business Council says it’s working on. “There would probably end up being at least a dozen, if not more, appellations in the state,” says

Donald Morse, director of the OCBC. “It could become our most valuable cash crop.” Right now, Oregon cannabis growers are generally split into three main regions: Willamette Valley, Eastern Oregon and Southern Oregon. Each region has a distinct climate, growing season and certain strains that flourish there, according to Norris Monson, an outdoor-grow expert and CEO of Rolling Joint Ventures, an Oregon consulting firm. “Cannabis has a natural range that’s similar to tomatoes,” Monson says. “It likes warm and dry. Psychoactive strains traditionally originate from either high mountainous regions like Afghanistan or Pakistan for indica, or from tropical equatorial regions like Jamaica or Vietnam for sativa.” Just as certain varieties of grapes are native to certain environments—think how pinot noir thrives in the cool, moist Willamette Valley—certain strains of cannabis do well in certain areas. Weather is a challenge for Oregon outdoor growers, especially in the northern part of the state. When it comes to matching strains to climate, Eastern Oregon is the most like Pakistan, where indica comes from. Once you get east of the Cascades, it’s drier, colder and there’s less “insect pressure,” as Monson puts it. Indicas thrive there because they are more resilient to low temperatures, and the first frost decides when growers harvest. In the Willamette Valley, early rains and heavy



night dews make the climate the closest this state gets to Jamaica—though it’s still pretty far from it. Sativas have the best chance there, so long as they mature early, before the rainy season starts. “Some growers in the valley use leaf blowers to dry dew from plants and to expedite drying,” Monson says. Southern Oregon is the best of both worlds for cannabis growers. It has the longest season because the rains come late, allowing plants to mature longer. “The region has the ability to grow the largest variety of strains in Oregon,” Monson says. Even in the relatively dry and sunny south, late-flowering sativas struggle to mature before the long, wet season sets in. But as with wine, the primary way to discover which strains grow best in a certain areas is to actually plant different strains— and then track the results. If some terroirs yield successful grows, cannabis planted there could become more valuable, especially if growers in a region are held to specific standards. As with wine, there might be tighter standards for calling yourself “Josephine County” cannabis than just being grown in Josephine County. This is one aspect where the state’s aggressive oversight of the cannabis industry might pay dividends. The state is implementing a seed-to-sale tracking system that will standardize information on the origins of any cannabis product, says Morse of the OCBC. “Through the tracking system, we would be able to keep people honest,” he says. “You wouldn’t be able to just slap an appellation on it. We know exactly what marijuana is coming out of McMinnville.” And, Morse adds, some folks in Salem see the value of that. “There are people in the statehouse,” he says, “who have a long-term vision where Oregon cannabis would be in demand throughout the country in legal markets, sought out by people from Florida, Texas, Massachusetts.” Willamette Week OCTOBER 5, 2016



Willamette Week OCTOBER 5, 2016

Hey Gurl


tHe Harvest issue

What we learned in our second year of growing weed in the office.


Anyone who thinks growing weed is cool has probably never grown weed.

Whenever I came home from work complaining about having to climb our office ladder to the roof, people would say they were “jealous” and that it was “so badass.” No. Growing weed isn’t cool. It’s a huge pain in the ass. Rewarding, yes. But a pain in the ass nonetheless. It takes perseverance, strategy and patience. I feel 30 percent more prepared for a baby after taking care of the WW office grow for the past three months. Also, I now understand why hip moms who live on Sauvie Island with their kids Pumpkin and Skye like to take so many photos of carrots. Anyway, this past week we harvested two full plants from the roof of WW world headquarters. This is an uncharacteristic success for us, given that last year’s grow ended up being mulched after coming down with a brutal case of bud rot. Here’s what we learned during four months of growing a Texada Timewarp plant from seeds smuggled across the Canadian border, plus clones of BC Pinewarp, the Purps and the Big that were generously gifted by our friends at Satchel dispensary on North Interstate Avenue (see page TK). If we can do it, you can too. Just be warned that it’s a hassle, and heed these modest bits of advice.


You can’t change the past. (Growing weed is full of so many life lessons.) You need to have clones in the ground on April 20, says WW’s weed expert, Chris. It may sound like we’ve misunderstood an old cliché, but it’s actually the best day to plant them, he says. We waited until late June to get our plants in the ground, and they ended up much smaller than they otherwise would. We won’t know what we’ve yielded for a few weeks, but our expert estimates the largest plants will be about 4 ounces.


I knew plants needed water, but not, like, that much water. We put our plants on the roof. When they were just baby clones under the care of our summer intern, we could carry a watering can up the ladder and get them wet enough. But they got bigger and needed more water. At one point, I was filling

up three 64-ounce growlers, putting them in a backpack and waddling up the ladder, only to get the plants merely damp in the hot August sun. We brought our weed expert up to the roof, and he said the plants were dying.


So we bought a hose and pulled it to the roof, got a 5-gallon bucket, and we started really watering the plants. If we hadn’t done so, they would have died. If your plants are in cloth pots, here’s how to tell if they need more water: Lifting cloth pots should be extremely difficult. The heavier they are, the more water they’re holding. Pretty basic stuff, but just giving ’em a lift every day is a better indicator than just feeling the soil. If you reach into the pot and feel the roots, they should have expanded to the edges of the pot, which means they’re growing strong. When you reached into our pots, all you could feel was dry dirt.

GREENIE: Our cool-ass plant chillaxes on the roof.


We decided to cut down part of one of our plants in early September. For the record—yes, we know this is early, but the threat of bud rot was rising and the rains were coming and we had the traumatic experience of not getting anything from the plants the previous year, so we clipped a few branches off knowing they could otherwise be destroyed by bud rot overnight. I had chickens when I was a kid—one night their coop caught on fire and all of my pets died. I think that’s what bud rot would feel like. We posted this on social media and were flooded with comments from know-it-alls. A user called “herbcircle” wrote, “2-3 weeks too early. There’s a reason they call it ‘croptober’ :).” James Wisniewski was less friendly: “Y’all don’t know shit. Is Cizmar growing your plants?!?!”


After taking a few samples and stripping them of their leaves, we left them in the basement to dry. While their scent has grown alluring, after two weeks they became a little too dry. On the upside, those samples were still deemed smokable by our expert.


Cannabis plants need sunlight. The sun doesn’t stay in one place. (Well, it does…but, you know.) Every morning, we tried to maximize sun exposure by pulling our plants into the light. Any stereotype of stoners being lazy totally shattered for me when I saw how much work it took to even keep five plants alive.


When we weren’t dousing the little dudes with 5-gallon

buckets of water, we were hoisting them into a small plant tent purchased from Walmart to protect them from overnight showers and morning dew. Even trimming is a push-pull of keeping plants wet and dry. You want to trim them enough to dry out, but you don’t want to leave them so they dry out too long. When curing, they actually get some of their moisture back. Never have I understood Katy Perry’s “Hot n Cold” on such a personal level.


One of our plants was stunted from the start. Ironically, it was a strain called the Big. Despite treating the plants exactly the same, the Big never grew taller than a foot, nor did it flower. I guess it’s probably the cannabis equivalent of a guy with a really big…truck.

Willamette Week OCTOBER 5, 2016


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Willamette Week OCTOBER 5, 2016





Way back in the non-heady days of 2014, when legal weed was still just a green light on the horizon, some in the crowd at Portland’s Hempstalk (see page 34) may have been a little surprised to see a labor union boss take the stage. Jeff Anderson wasn’t there because he cared much about smoking a joint. He was endorsing legal cannabis on behalf of United Food and Commercial Workers Local 555, the largest private workers’ union in Oregon. He wanted the jobs he thought would roll in with the fields of hemp—marijuana’s non-intoxicating country cousin with little or no THC content but plenty of industrial and medical potential. “Let’s quit using cereal stocks to make fuel when hemp is three times more productive!” Anderson said excitedly, to scattered and perhaps confused applause. UFCW 555 ended up kicking in over $75,000 to help pass Measure 91—one of many strange bedfellows that supported the measure because it would also legalize industrial hemp. Hemp and marijuana didn’t stay together for long. Two years later, you see a lot of dispensaries selling psychoactive cannabis products, but you don’t hear as much about hemp. Even before legalization, Oregon had plenty of marijuana farms serving the medical community. But before last year, nobody in Oregon was growing legal hemp. And if outdoor recreational marijuana growers had their way last year, nobody would be growing hemp now either. In 2015, the process for certifying hemp growers came in so late that a mere 11 farms were licensed by the Oregon Department of Agriculture in time for growing season. This amounted to only about 10 acres of crops. But even with those small numbers, many outdoor marijuana farmers were worried hemp pollen would drift downwind and contaminate the genes of their prized psychoactive stocks, lowering their THC content. This was a particular worry because according to the regulations at that time, all hemp had to be grown from seed rather than female hemp clones that wouldn’t pollinate. In Colorado, hemp farmers have even accused recreational farmers of setting fire to their crops. “People have gotten some threats,” says Cliff Thomason, an Oregon gubernatorial candidate who’s also one of the few hemp growers to get seed in the ground in 2015. He says hemp growers are often greeted with suspicion by outdoor weed farmers. “I invited the people from Sungrown to come on down and inspect my operation.” The Oregon Sungrown Growers’ Guild—the unified voice for the state’s outdoor weed growers—has been one of the state’s biggest advocates for regulating possible crosspollination by hemp crops. The guild lobbied hard for a 2015 bill that would have decertified all of Oregon’s hemp farms, placed a moratorium on hemp-growing, and, weirdly,

outlawed hemp farms within 1,000 feet of schools. (That’s a bit like banning quinoa near schools, but whatever.) “It created an ironic situation, because you had hemp growers and marijuana growers at odds with each other,” says Vince Sliwoski, a Portland lawyer who specializes in cannabis. “They’re both growing cannabis.” But in 2016, it would appear that hemp and weed farmers have reached at least an unstable compromise. While the hemp moratorium bill blazed through the Oregon House last fall and seemed destined for passage, the Oregon Senate surprised most onlookers by blocking the bill—with all Republicans voting, alongside five Democrats, to allow hemp farming to move forward. This year, the ODA has registered a bumper crop of 77 hemp farms for a possible total of 1,200 acres—although this does not necessarily mean that 1,200 acres have actually been planted. The hemp grown this year is mostly clones, says Thomason. Thanks to Oregon House Bill 4060, passed in April, hemp farmers are free to use clone plants just like the ones for THCbearing cannabis that many dispensaries sell to home growers. Unlike plants that grow from seed, cloned plants are all female and don’t spread pollen, eliminating the risk that hemp crops will dilute the stock of psychoactive crops. Thomason says his farm, located near the town of Murphy in Southern Oregon, does grow some plants for seed—but he uses a variety with a very short time to maturation so it flowers before his plants have a chance to affect other crops. The requirement that hemp farms be larger than 2.5 acres was also scrapped under the new House bill. And perhaps most importantly, the bill made a provision so that products made from Oregon-grown hemp—including CBD oils, salves and tinctures—could be screened by the Oregon Health Authority for human consumption. But while clone use is widespread, it’s not required. Hemp farmers could still grow flowering plants that crosspollinate, near weed farms that could be affected, a situation Thomason says he believes has already occurred. “[The ODA] rules are very underdeveloped, it’s brand new,” Sliwoski says. “They’re eager for hemp people to get licensed.” Lindsay Eng of the ODA says the agency does not currently regulate cross-pollination. “We regulate it as we would any other agricultural crop,” Eng says. “Instances of coexistence occur in every part of agriculture. We do talk to both sides. We have had some marijuana farmers call. We recommend they talk directly with their neighbors to solve potential problems.” According to Sliwoski, the situation hasn’t been tested in court, but it’s conceivable farmers could sue each other if they believe their crops were affected by neighbors’ pollen. “It’s a tort,” Sliwoski says. “You can have a trespass claim. It is technically a physical invasion. Unless the state itself— through an administrative rule—makes a rule that says a hemp crop cannot be located [near other farms], it’d be between private actors.” Thomason says he’s thinks rules prohibiting hemp crops from being located near other cannabis crops would be unworkable and worries that hemp could get pushed out of existence in Oregon. But he says he’d be open to a rule limiting the growing season for flowering outdoor hemp crops. At the moment, Sliwoski says, hemp farmers accused of letting their crops pollinate a nearby field would have a pretty solid defense against lawsuits: “You could say, ‘I wasn’t breaking any laws.’”

Willamette Week OCTOBER 5, 2016



Willamette Week OCTOBER 5, 2016

Willamette Week OCTOBER 5, 2016


the harvest issue

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Archive 10645 SE Henry St., 503-719-4229, 11 am-8 pm Wednesday-Sunday. Archive is for canna-sseurs. The shop billed itself when it opened in June as the city’s first fully vertically integrated dispensary—it does everything from seed to sale—but the people behind Archive have been growing for 35 years and opened Archive Seed Company in the early 2000s. You feel like you’re an insider when you’re here because of the casualness: industrial stone floors, prices scribbled on a white board, dudes in different marijuana leafemblemed gear walking in and out, and trays of 2-foot-high clones in the back room. And the products and prices feel insidery too: Rich Extracts rosin for $40, 1-gram pre-rolls for $7, and nearly 40 seed varieties. SOPHIA JUNE.


Willamette Week OCTOBER 5, 2016

New Amsterdam 2201 N Killingsworth St., 503-558-5678, 10 am-10 pm SundayThursday, 10 am-7 pm Friday, closed Saturday. Walking into New Amsterdam is like scrolling through the Instagram profile of an advertising major who calls himself a “creative.” Designed by Carlos Wigle—the New York creative director behind Jose Cuervo, Tropicana and Toms Shoes ads—the place carries a glow of hip minimalism, from the floor-to-ceiling black paint to the hand-stamped white paper shopping bags to the 24-karat gold rolling paper. It’s had time to achieve this aesthetic: New Amsterdam got its license two years ago, but after being delayed by building-code snafus in the former Beaterville Cafe spot, it finally opened in June. One gram of flower runs $12 to $15, while you can get a half-gram pre-roll for $3.75 and a gram for $7. The most fun buy, though, is the pre-roll flight, a fat container of 14 half-gram pre-rolls for $43. Pro tip: Follow New Amsterdam on Leafly, where it regularly posts one-off deals. On a random Tuesday evening, it was offering 30 percent off everything. Dope. SOPHIA JUNE.


Satchel 6900 N Interstate Ave., 503-206-4725,

10 am-10 pm daily. The lobby of Satchel, which opened in March, is like an art gallery, with huge glossy photos of close-up buds and concentrates in sleek white frames. When you enter the room, the art gets even cooler, with pop culture mosaics from local artist Dakota Anding. When you pair a pink and red mosaic portrait of David Bowie with a dozen brightly lit clones, the shop looks like the slickest stoner den of all time. And like your true stoner buds, the staff tries to keep it as cheap as possible for you. When you make your first purchase, you get a 1-gram pre-roll for just $1.25—the dispensary equivalent of your dealer smoking you out. But unlike your dealer, the people at Satchel want to teach you to fish: They have a large stock of seeds, starting at $40. SOPHIA JUNE.

Serra 2519 SE Belmont St., 971-544-7055; 220 SW 1st Ave.,

971-279-5613; 10 am-10 pm MondaySaturday, 11 am-7 pm Sunday. Serra is the pot-shop equivalent of Anthropologie. From the gold detail on the light fixtures to the origami-wrapped chopsticks for measuring buds, the chic setup uses every opportunity to incorporate minimalist sophistication. Across the room from the modest edible/concentrate selection from vendors like Luminous Botanicals and Wyld gummies sit impossibly trendy ombre pipes from Hacienda Ware and Summerland ceramic bongs. Rather than be limited by the illogical binary of indica and sativa, you can even pick from a combination of six “feelings” when selecting your strain from the array of indigostained ceramic dishes: relaxation, focus, creativity, happiness, pain relief and energy. LAUREN TERRY.



SATCHEL Willamette Week OCTOBER 5, 2016


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Willamette Week OCTOBER 5, 2016

K . C . S WA I N



Marley Natural Essential Oil Blend

$26 via Serra This roll-on topical is a functional alternative to getting high, but still has the invigorating and calming effects of cannabis. The senses will be activated to the full degree with one whiff. The potent blend of herbal ingredients includes bergamot, grape, geranium, sesame oil and sun-grown cannabis sativa oil from Applegate Valley Organics. Rub a little on the temples or back of the neck or between the wrists for a boost of energy and rebalancing of spirit.

Endless Organics RSO

$30 per gram via Home Grown Apothecary The taste of this resinous Rick Simpson oil settles on earthiness and strong coffee. A one-gram dripper contains 674 milligrams of THC and 2.6 milligrams of CBD and blends well with hot tea or coffee. A little goes a long way. Within an hour the strong euphoric and pain-relieving effects take hold. Breathe easy as your body unwinds and then some. Squeezing out the tiniest drop (the size of the tip of a ballpoint pen) onto a thumbnail is a sufficient starting dose of this powerful medicine. It’s made in-house with organic cannabis grown on the company’s farm near Mount Hood. Trust the medicine!

Oregrown Forum Cut Girl Scout Cookies BHO Shatter

$50 per gram via Bridge City Collective SE (where, full disclosure, I work) This dab stands alone. The concentrates coming from Bend’s Oregrown Industries are superior and making a racket across the state. This golden butane hash oil shatter glows on the parchment paper and stinks so good. Every dab (76.01 percent THC, 0.40 percent CBD) is clean and full of flavor and provides penetrating relaxation. Stress will be zapped from the back of your eyeballs, much like the feeling

when an ice cream headache goes away. This is the weight of the world slipping away.

Cannavore Tangerine Dream Fruit Gummy

$5 via Five Zero Trees There is zero cannabis taste here—I love the light and sweet flavor of the tangerine, which has the right amount of citrus twang. One could easily eat a handful before realizing they are infused with 13.9 mg of Durban Poison grown by TJ’s Organic Provisions out of Eugene. Use it for a mini pick-meup in the afternoon or for a little added pop to a workout. The experience is more stimulating than intoxicating.

Bandits Oil Manufacturing CO2 Cartridge

$25 per half gram via Mindrite This cartridge (63.25 percent THC, 4.17 percent CBN, 3.13 percent CBG and 3.26 percent CBC) puts flavor and effects first. The extraction process leaves more fats in the end product, which in turn produces higher percentages of cannabinoids and terpenes. This product is proof that the benefits of cannabis don’t rest solely on the properties of THC and CBD. One pull of the Grand Daddy Purple left my mouth watering and senses settling. It tasted like I had just smoked a fat nugget of GDP from a pipe. Plant material used in the extraction process is grown sustainably in the beautiful sun of Eastern Oregon.

Pachecos Mazzies

$30 via Serra Made with premium flower grown by Eco Firma Farms in West Linn, these hand-rolled, filtered joints are a few notches above the rest. That cigarette-style filter is the game changer as far as rollies go. The craftsmanship makes smoking joints more enjoyable. The fusion of Dutch Passion Blueberry produces a chill blend of herbal vapors. Puff in confidence knowing the flower used in these joints is rolled with clean green-certified greenery.

Leif Medicinals Mint Hibiscus Dark Chocolate Bar

$7.50 via Pure Green This is your new chill pill. It tastes as if a carton of chocolate mint ice cream got in a wrestling match with a hibiscus flower. Snack in confidence knowing the flower used to make the extract in the bar was grown in Portland, Oregon. The dark chocolate is made with full-extract cannabis oil, and the effects suggest as much. With 11.5 mg THC, 15.1 mg CBD and 0.8 mg CBC, this little square packs a relaxing punch. Get ready for serene mood vibrations.

Cannananda CO2 Cartridge, Island Sweet Skunk

$38 per gram via Uplift Botanicals Anchored by clean green-certified cannabis and a state-ofthe-art extraction process that leaves higher ratios of cannabinoids and terpenes, Cannananda in Portland is creating deeper, more meaningful experiences with cannabis. For a sativa, this Island Sweet Skunk had a whooping 8.52 percent CBD to go along with 1.02 percent CBC, 1.26 percent CBN and 0.99 percent CBG. Ultimately, it was a full-spectrum high with the head being elevated and tension escaping from the body. The experience produced a strong boost of calm energy and inspiration.

Siskiyou Sungrown RSO

$30 via Farma The meditational benefits of this tree sap-like substance extends far and wide. The sun-grown cannabis used in the RSO is grown in Williams, Ore., surrounded by the Siskiyou Mountains. Two of the best uses for it are pain management and to combat insomnia. Starting with a Bic pen tip-sized drop on the finger will get things started. A little goes a long, long way. The aftertaste will be spicy, sweet and earthy. Mixing it with a drink or food item only adds to the flavor spectrum. This RSO has a pronounced euphoric mental effect that fades into breaking up tension in the body and mind. Willamette Week OCTOBER 5, 2016


Fine Cannabis | Fine Adventures

20% Off Located in the vibrant heart of Portland’s Hollywood District, two blocks north of Sandy Blvd on 40th Avenue between Hancock and Tillamook, at 1926 NE 40th Avenue, Portland OR 97212. | 503-208-2074 | Hours: Mon–Thurs 10a-9p, Fri–Sat 10a-10p, Sunday 11a-9p Please use responsibly in compliance with all Oregon laws. Do not operate machinery or motor vehicle after use. Keep away from children and animals.


Willamette Week OCTOBER 5, 2016

Willamette Week OCTOBER 5, 2016


@ c a n n ac a n dyg l ass

the hArvest issue



503.676.3800 1800 Blankenship Rd., Suite 200, West Linn, OR 97068 34

Willamette Week OCTOBER 5, 2016

Since its inception in 2005, the Hempstalk Harvest Festival has served as a rallying point for Portland cannabis culture—a low-key affair offering stoners, activists and anyone else with a taste for the kush a chance to hang out by the Willamette and burn one down in the name of pallid solidarity. Considering the illegality of marijuana is the defining element of this and other hemp fests across the country, one can’t help but wonder what function Hempstalk has served since Measure 91 legalized recreational marijuana in 2014. On Sept. 25, I consumed some edibles and swung by the 12th annual installment of the event at Tom McCall Waterfront Park to assess the remains of a counterculture that doesn’t have much left to counter. It was…disheartening. Despite clear directives from organizers to refrain from publicly partaking, I recall Hempstalks as recent as 2014 to have been hazy affairs that put the 311 summer tour (which I’ve regrettably attended six times) to shame in terms of cloud density and the brazenness of its instigators. But legality has brought that to an end. Thanks to a mob of security guards in blue Crowd Management Services polos—the same bunch you’d find at metal shows to keep fistfighting and vaping to a minimum—the only smoke to be seen at the festival was from charred lamb wafting from one of the carnival-caliber food carts. With the exception of some overused porta potties under the Hawthorne Bridge, very few spots for clandestine consumption were to be found inside the fest’s footprint, which extended about 100 yards in either direction of the bridge.

The only official option for onsite consumption was a $35 pass that granted access to the Lyon Pride Music VIP Bus, a neon-green-andblack rolling party zone that looked a lot like what Kottonmouth Kings would submit in a “Design Your Own War Rig ” contest for the sequel to Mad Max: Fury Road. Security for the bus was lax—I never figured out who was responsible for checking badges on my way in, and everyone inside the bus was too busy attending to their own pipes and devices to assert any air of authority. Ironically, no effort was made to prevent illicit public consumption of cannabis outside the event’s perimeter. One could “leave” by walking 20 feet from the roving security guards in golf carts and light up with the encampment of loiterers on the grassy banks of the Willamette. I approached this rogues gallery of wooks and crustafarians gathered around a “NEED WEED” cardboard sign in hopes of obtaining a deeper insight into the public perception of the event. “There’s nothin’ goin’ on there besides dudes in Phish T-shirts looking at ponchos and listening to shitty music,” said Max, a 26-year-old who said he came up from Springfield for the weekend to visit friends. “I guarantee this shit right here [waves joint violently] will put any of those rich dudes from Tacoma or whatever on their ass.” While the proprietors of the VIP bus were indeed from Tacoma, the “rich dudes” and their out-of-state investors that compose New Canna were otherwise scarce. Besides Wikileaf—the “ of weed,” according to a rep—and a few dealers hawking seeds and grow lights, the majority of the stalls at Hempstalk were decidedly old school. Enough drug rugs and corduroy

@ c a n n ac a n dyg l ass

pants to clothe half of Boulder were available for purchase, while modern amenities like dab rigs and loose-leaf vape apparati were hard to find. If it weren’t for a handful of teenagers loping by on hoverboards, it would’ve been tough for an errant time traveler to determine if he’d been transported to 2006 or even 1996. There was an undercurrent of activism if you looked for it. The event was put on by the Hemp and Cannabis Foundation and the Campaign for the Restoration and Regulation of Hemp after all, and although legalization has sucked a great deal of wind from its sails, Hempstalk remains a logical place for offbeat ideals and liberal politics to take seed. One attendee hoping to plant a few was Cliff Thomason, a hemp farmer from Grants Pass. His visit to Hempstalk had two goals. First, he was promoting AntiDope, an as-yet-unreleased herbal serum that he claims will cure you of being “too high.” Second, he was engaged in a little electioneering for his gubernatorial campaign. As with many vendors and annual attendees I spoke with, Thomason was disappointed with this year’s turnout. “I go to a lot of these things,” Thomason said. “This year, it seems like interest is really waning. You don’t get the turnout you used to ever since Measure 91 passed. Most of these things were like a counter-protest to get the public involved in making the change, which [finally] occurred with Measure 91.” If one was to search Hempstalk for someone truly excited about something, perhaps the area surrounding the southernmost of the two stages was the best place. Music is a vital component of most countercultures, and a wide variety of it was free to enjoy throughout the weekend. As throwback rap trio Bad Habitat took the stage in matching “Top Grade Medical” T-shirts, I encountered a stylish young couple who appeared to be having much more fun than anyone else. “We did some edibles before we came in because we knew it’d be a police state,” said Tara, a 24-year-old from Tigard, as she tossed an orange disc at a lonely disc-golf receptacle about 50 yards south of the stage. She laughed as the disc caught a gust of wind and missed its mark by a wide margin. I asked her and her boyfriend, a 27-year-old from Forest Grove named Nate, if they thought legalization had put a damper on the day’s festivities. “Are you kidding?” Nate exclaimed. “This is great! Free music, sunshine, a tight setup for disc golf. This is the first time I’ve even heard of this event, and I’ll definitely be back next year. This band is dope!”

Willamette Week OCTOBER 5, 2016


! D R A C T S O P A T RY Tired of Shipping Weed?

 Step 1.

Mail Postcard

Step 2.

Step 3.

Postcard arrives to overjoyed recipient

Peel Sticker off Postcard & Apply

#HiFromOregon 36

Willamette Week OCTOBER 5, 2016


Stree t

Where are you from? “I’m from Portland. I’ve lived here all my life.” What’s your style? “Skater meets rock ’n’ roll!”

Where are you from? “I’m from Oklahoma.” Tell us about your style. “I guess my style is kind of hippie goth.”

Where are you from? “I’m from here.” Tell us about your style. “I don’t really have a style. I just get all my clothes from the bins”

ST. JOHNS Where are you from? “I’m from Phoenix. I’m moving to Seattle soon. I prefer to be behind the camera.” Do you want to see the photo? “It’s probably better if I don’t.”

Where are you from? “Chicago. I moved here for school four years ago.” Tell us about your style. “I have style?”


Where are you from? Monicia: “I’m originally from Mississippi.” Cobland: “I’m from the neighborhood.” Tell us about your style. Monicia: “Whatever’s clean.” Cobland: “Festive yuppie.”

Where are you from? “I moved here from Michigan two years ago for school.”

Where are you from? “We’re both from here.” Tell us about your style. “Everything we wear is natural and organic!”

Willamette Week OCTOBER 5, 2016


Advanced Extracts. Working with farms and dispensaries all throughout Oregon.


Willamette Week OCTOBER 5, 2016









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learning sessions vendor booths

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Willamette Week OCTOBER 5, 2016

WEDNESDAY, OCT. 5 DANNY BROWN The Motor City’s reigning madman might have borrowed the title of his new album, Atrocity Exhibition, from a Joy Division song, but he dives into some dark places even Ian Curtis would’ve needed a flashlight to navigate—all while wearing the same molly-whopped grin and rapping in the deranged-Pokémon flow that’s made him one of music’s most fascinating figures. It’s the bad-trip party record of the year. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8:30 pm. $28 general admission, $49 VIP early entry, $86.50 meet-and-greet. All ages.

ADAM GREEN’S ALADDIN Admittedly, a drug- and sex-addled retelling of Arabian Nights directed by and starring half of obnoxiously precious “anti-folk” duo Moldy Peaches sounds annoying AF on paper. But the trailer for the fi lm—featuring Macaulay Culkin and Alia Shawkat from Arrested Development, with set design resembling a psychedelic porn parody of Pee-wee’s Playhouse—makes it seem too wigged out to miss. Tonight, Adam Green screens the movie, then plays some songs. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 9 pm. $13 advance, $15 day of show. 21+.

THURSDAY, OCT. 6 BEARDLANDIA KICKOFF For four days, Portland will be full of big, beautiful, hairy manbears. Starting with the kickoff party tonight at the Eagle, Bearlandia will be a backto-back packed events schedule of brunch and beers and underwear parties full of bearded dudes, plus the dudes who really, really like them. Eagle Portland, 835 N Lombard St., 503-2839734. 8 pm-1 am. See for other events. Through Oct. 9.

FIRST THURSDAY Be a part of the densest concentration of the city’s artists and art lovers, who come together rain or shine in the Pearl and Old Town’s art gallery district the fi rst Thursday of each month. Plus, there’s usually free wine and crackers. Screenprint- and zine-loving Pony Club Gallery (625 NW Everett St.) usually doesn’t disappoint, nor does tiny gallery Right Side Art, which also has a famous cat who sleeps in the window. For our visual arts editor’s picks, see page 64. 6-9 pm. Free.

FRIDAY, OCT. 7 HANDMADE BIKE & BEER FEST Ever think to yourself: “Man, I’d love to see a whole bunch of hand-fabricated bikes and trick bikes and bike tricks. But when I get there, will there be beer?” Well, there will be beer. Congratulations. The North Warehouse, 723 N Tillamook St., 503-887-4884. 5-9 pm Friday, 10 am-8 pm Saturday. $10 for bike show, $20 for bike and beer show.


BRIAN WILSON PRESENTS PET SOUNDS Brian Wilson’s performances of late have ranged from transcendent to troublingly detached, but still—it’s one of pop’s greatest geniuses performing the most mythologized non-Beatles album ever, for what he’s saying is the fi nal time. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 8 pm. $49.50$94.50. All ages.

SATURDAY, OCT. 8 H.P LOVECRAFT FILM FEST & CTHULHUCON There are cult favorites, and then there is H.P. Lovecraft, the author whose fans celebrate his weird horror with a devotion intense enough to make this the 21st annual long weekend of short films, readings, live radio plays, panel discussions and parties. Director Stuart Gordon will be in attendance tonight for a 30th anniversary screening of From Beyond (1986), with a Q&A to follow. Hollywood Theatre, 4122 NE Sandy Blvd., 503-493-1128. 7 pm. $20-$65. See for full schedule. Oct. 7-9.


PECHE FEST Do you dare to drink a peach? Try 25 peach beers—from classics like the 2016 versions of Logsdon’s Peche ’n Brett to a new Imperial Stone Bu from de Garde and tart peach Berliner Weisse from Great Notion. Tickets at Saraveza, 1004 N Killingsworth St., 503-206-4252. 3-10 pm. $10 entry includes glass and two drink tickets. $2 for additional tickets. $25 for 1 pm VIP entry.

Get Busy

THE JULIE RUIN Kathleen Hanna can’t stop, won’t stop, even if her ongoing battle with Lyme disease occasionally slows her down. With the Julie Ruin, the poster grrrl of post-punk feminism is now fronting the third killer act of her career, one that splits the difference between Bikini Kill’s riotous antagonism and Le Tigre’s electroclash cheekiness. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 7:30 pm. $20. All ages.


BOOTY POPPIN’ TWERK CLASS Anyone can twerk—maybe! Learn all the ways to pop your booty, which apparently can be done standing and sitting on the floor. You’ll learn a sexy routine to keep those moves fresh. You may have the same concern as a Facebook user who recently posted on the event’s page: “I plan on attending but am new to twerking…is this the right class for me?” Answer: Yes! Vitalidad Movement Arts Center, 700 SE Hawthorne Blvd., 971-266-3935, 1 pm. $15.

THE BLACK PANTHERS Fifty years after the founding of the Black Panthers, people still have to stand in the streets to declare that black lives matter. Photojournalist Bryan Shih traveled the country to photograph and interview surviving members for the book The Black Panthers: Portraits From an Unfinished Revolution. Powell’s City of Books, 1005 W Burnside St., 7:30 pm. Free.

TUESDAY, OCT. 11 SHIN GODZILLA The gigantic radioactive lizard and its iconic roar are back in Tokyo and in the hands of Toho, the Japanese production company that brought you the original back in 1954. The 31st movie starring the King of Monsters, Shin Godzilla marks Toho’s third reboot of the franchise, which is the longest-running in fi lm history. See it fi rst tonight. Cedar Hills, Clackamas, Eastport, Fox Tower.


MONDAY, OCT. 10 CANDIDATES GONE WILD The presidential election this year is already a circus, but it’s not very fun. We’re doing what we can to change that, at least on the local level, with Candidates Gone Wild, 90 minutes of political mischief, carpool karaoke and improv skits starring candidates and sitting members of Congress and the City Council alike. Heckling is encouraged. Revolution Hall, 1300 SE Stark St., 7 pm. $5 advance tickets at, $10 at door. All ages.

NELL ZINK Nell Zink’s last novel, Mislaid, was a batshit and moving farce about a white woman passing as black to avoid her husband. Her new book, Nicotine,, includes a squatter’s house devoted to smokers’ rights, indigenous rights and feminism. In three years, you’ll be bragging you met her. (See review, page 65.) Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 7:30 pm. Free.

Willamette Week SEPTEMBER 14, 2016




THE RAKE’S PAWN: The Decemberists are releasing their own board game. Made in collaboration with local game designer Keith Baker, The Decemberists Present: Illimat is described by guitarist Chris Funk as a “neo-classic card game with a twist.” While the game is sadly not Decemberists-themed, the look was inspired by a prop used in photo shoots for the band’s 2009 album, The Hazards of Love, a kind of “oblique Ouija board” designed by Colin Meloy’s wife, artist Carson Ellis. “We wanted it to feel like a standalone game you’d find in your grandfather’s closet,” Funk says. A Kickstarter campaign launched Oct. 4, with hopes of getting the game in stores by next spring. On Oct. 5, Baker will lead a free tutorial at the Secret Society, with music provided by Decemberists accordion player Jenny Conlee.

The OHSU Foundation presents The 2016 Calvin and Mayho Tanabe Address

“Rewriting the Language of Life: Impacts and Challenges of DNA Editing” Presented by Jennifer Doudna, Ph.D. Co-inventor of CRISPR-Cas9

TUESDAY, OCTOBER 11 7 p.m. Winningstad Theatre 1111 SW Broadway Portland, Oregon

For tickets and more information visit:


Willamette Week OCTOBER 5, 2016

JOE’S BAR: As first reported by WW, former Detroit Lions quarterback and Oregon Ducks great Joey Harrington is going in on a tavern and restaurant in the former Parish space in the Pearl District on Northwest 11th Avenue. It’ll be called the Pearl Tavern. Other partners include the former Parish owners, bartender Ryan Magarian and restaurateur Kurt Huffman of ChefStable. In true New Portland tavern tradition, it’ll be more of a restaurant—with a long bar, five TVs tuned to sports, and a dining room in the back—with steak as the main event. “If we dream big, it’ll be like Mediterranean Exploration Company—the Americana version of that,” Huffman tells WW. “Or an informal RingSide in the Pearl.” The chef will be Roscoe Roberson, formerly of Ración and Coopers Hall. OP-AWWW: A week after the Rialto announced it would close this year, another Portland institution says it will shutter. After years of being offered for sale, Greek restaurant Alexis on West Burnside Street will close after almost four decades in business. “After 36 wonderful years of serving you, it is time for me to start the next chapter in my life,” wrote owner Gerry Tsirimiagos on Facebook, “spending more time with family and traveling.” The Alexis food distribution company will continue unaffected, but the last day for the restaurant will be Monday, Nov. 7. Expect the final week to be one heck of a party. NEW SPACE: Local musicians David Shur and Johnny Keener are planning to open a new inner-Northeast performance venue next month. The Fremont Theater will be located at 2393 NE Fremont St. and will primarily be a live music venue for dinner-seated, emcee-hosted shows, as well as midday kids’ music shows. It will also be the new home of Portland Story Theater. There will be a full bar and small menu. Both of the Fremont’s founders are active members of the Portland music scene: Among other projects, Shur is lead guitarist and vocalist for Future Historians, and Keener is frontman for Johnny Keener & the Bells.

jeff drew

The Bump


Mike Love isn’t the villain he’s made out to be.

Sure, he’s a little aggro. But Mike Love also provided lead vocals to most of the band’s best songs and wrote most of its non-gibberish lyrics. He wasn’t wrong about the absurdity of “Cabinessence” or about Brian Wilson going off the rails on Smile. Love’s uncle Murry Wilson fucked over everyone in the band by selling their publishing rights for pennies on the dollar—it wasn’t just Murry’s own kids who suffered. When Brian finally won $25 million in damages from the incident 30 years later, he refused to share it with Love, forcing Love to sue him and recover his own share. Given the way he’s been treated by the Wilsons, Love is probably not wrong to insist on holding tight control of the band’s name so he can make a living.

Smile and Smiley Smile are both garbage.

“Good Vibrations” is obviously great and “Heroes and Villains” is a very interesting piece of songwriting. But pretending the Smile project was good just because it was ambitious is, at best, disingenuous.

Beach Boys’ Party! is the second-best Beach Boys album after Pet Sounds.

Party is a faux live album performed acoustically by the Beach Boys at what sounds like an intimate house party. The band was at its peak, and the album was made to stave off Capitol Records while Brian Wilson was finishing up Pet Sounds. It’s one of the most unique records ever made and bursting with the band’s talent and catchy pop hooks.

Murry Wilson was at least as talented as Van Dyke Parks.

Listen to Papa Wilson’s 1967 solo record, The Many Moods of Murry Wilson, and Parks’ 1967 solo record, Song Cycle, and tell me you don’t believe Murry was a valuable and meaningful contributor to the Beach Boys’ sound. Sure, he was abusive to his sons and a terrible businessman, but he also helped make the band a success.

“Kokomo” is awesome.

The 1988 comeback single gets a bad rap because it was a Love-led project and because John Stamos is in the video playing bongos while Brian Wilson is absent. But it’s both a great song and worthy Caribbean coda to the band’s earlier Pacific-focused work.

Dennis Wilson should have taken responsibility for his association with Charles Manson.

Look, we all like Dennis, even if Pacific Ocean Blue is critically overrated. But Dennis also brought the Manson family into the Beach Boys’ fold despite seeing plenty of signs to suggest they were dangerous grifters. Dennis funded the Manson family, gave them a place to stay and introduced them to important people, including record producer Terry Melcher, who had lived in the house where actress Sharon Tate and four others were murdered by members of the Manson family. (Manson reportedly was looking for Melcher at the time.) According to Mike Love, Dennis witnessed Manson murder a black man and hide the body, but Dennis didn’t come forward. If Dennis had gone to police, the later murders could have been avoided. Instead, Dennis left control of his house to Manson. Not cool, Dennis.

SEE IT: Brian wilson presents Pet Sounds at Arlene Schnitzer Concert Hall, 1037 Sw Broadway, on friday, Oct. 7. 8 pm. $49.50-$94.50. All ages. Willamette Week OCTOBER 5, 2016


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

SATURDAY, OCT. 8 Peche Fest

Bold FlAvor vegan Friendly

open 11-10


Last week was Rosenstadt. The week before was Occidental. This week it’s Zoiglhaus (and Widmer in the square, if you’re into ’90s alt rock). Portland’s German breweries each get their own Oktoberfest. But this one should be damn good, especially as regards the beautiful hefeweizen and helles lager, even more so than the liter steins of fresh-hop Oktoberfest. Zoiglhaus Brewing Company, 5716 SE 92nd Ave., 971339-2374. 3 pm.

All-You-Can-Eat Oysters

Fillmore Trattoria

Italian Home Cooking Tuesday–Saturday 5:30PM–10PM closed Sunday & Monday

1937 NW 23RD Place Portland, OR 97210

(971) 386-5935

Kim Hamblin is the artist, Dan Rinke is the winemaker, and together they’re releasing some of the most interesting bottles in Oregon under the name Art + Science. Rinke makes cider and wine, while Hamblin fashions the evocative cut-paper art that adorns each bottle, all of it done at the Roshambo Art Farm—a rock quarry, music venue and working farm, with vineyards out in Willamina. Art + Science makes a syrah, a pinot noir, and now a bottle-fermented pinot noir pétillant-naturel—effervescent and delicious, yet earthy and funky. This take on pét-nat wine has layers of creamy strawberry rhubarb and pastry crust, cut through with pink-lemonade acidity and a Campari bitterness that seems to be the calling card of Oregon pinot pét-nat. It’s mildly effervescent, settling quickly into a mineral-driven wine that’s somewhere between still and sparkling. Drink it ice cold, in place of an amaro or aperitif, or pair it with summer salad greens. Recommended. JORDAN MICHELMAN.

Zoiglhaus Oktoberfest

SUNDAY, OCT. 9 500 NW 21st Ave, (503) 208-2173

2016 Pinot Noir Pétillant-Naturel (ART + SCIENCE)

Oysters: So good—but sooo small. Well, the World Famous Kenton Club has your back. The first 25 lucky people to slap down 20 clams on the bar will get access to all the roasted oysters they can humanly eat…at least until the bar runs out. Life is sometimes splend id . World Famous Kenton Club, 2025 N Kilpatrick St., 503-2853718. 5 pm. $20.

Norse Hall Viking Breakfast

When you are a Viking, pancakes are always all-you-can-eat. And you can eat a lot, because you’re a fucking Viking. There are sausages and eggs and fruit, yes, and bottomless coffee like at some all-night diner from the ’90s. But fuck it. You’re a goddamn Viking. So eat your goddamn pancakes. Norse Hall, 111 NE 11th Ave, , 503236-3401. 8:30 am-1 pm. Adults $7, kids $4.

1. Tienda de Leon

16223 NE Glisan St., 503-255-4356, It’s not as if you needed more reasons to drive out to the de Leon family’s East Portland wonderland of guisados and tortillas, but here’s one anyway: Their chile relleno burrito, served up in a housemade flour tortilla, is the best of its kind in all of Portland. But make sure to get the black beans if you’re vegetarian. $.


Simple ApproAch

Do you dare to drink a peach? Try 25 of them—from classics like the 2016 versions of Logsdon’s Peche ’n Brett and Upright’s Fantasia to the Imperial Stone Bu from de Garde, a tart peach Berliner Weisse from Great Notion, and entries from Almanac, Block 15, Pfriem and Cascade—whether wit, brett, barrel-aged, kettle-sour or cider. A $25 VIP session is from 1 to 3 pm, and then all hell breaks loose for a mere $10 admission. Saraveza, 1004 N Killingsworth St., 206-4252. 3-10 pm.


2016 Blanc de Noir (ST. REGINALD PARISH) Andrew Young is the New Orleans transplant behind St. Reginald Parish, a new label making focused, distinctive Oregon wines with a pleasing price point (typically around $20) and a pronounced lack of monkey business. His Beaujolais nouveau-style carbonic Oregon pinot noir was a revelation in the 2015 release—so light and quaffable—and I can’t wait for it to come back around in early winter. In the meantime, Young’s take on blanc de noir is my favorite of the 2016 summer offerings from St. Reginald. Blanc de noir is exactly that—“white from black,” a technique of making white wine made from red grapes. It’s a term that shows up most often in Champagne, where blanc de noir sparklers made from pinot noir are among the region’s most coveted bottlings. Oregon is one of the only other regions in the world where this is common. Young’s blanc de noir tastes like raisins, burnt caramel, puffed oats and cereal milk, with an ethereal lightness and balance. This is not dessert wine, but rather a wine that evokes many pleasant thoughts of dessert—with an unmistakable dungeonesque pinot funk in the nose, helping anchor the wine to the Pacific Northwest. Pair it with salty meats like they do in Alsace, or spice-rubbed barbecue halibut, like they do at my house. Recommended. JORDAN MICHELMAN.

even better, with a British-style pork tonkatsu tea sandwich ($6.80), and curry in lightly glazed pastry. $.

4. Poke Mon

1485 SE Hawthorne Blvd., 503-894-9743. Poke Mon is both peak Portland and peak poke, serving delicious, sauced-up, sashimi-style albacore or octopus at an affordable price, with a side of sake or La Croix. $$.

5. Jacqueline

2039 SE Clinton St., 503-327-8637, Chef Derek Hansen—who made Broder’s excellent dinner menu (RIP)—has moved to Clinton Street with beautiful wild mushroom small plates, cheap oysters and fine cioppino thick with shells. $$$.

210 SE Martin Luther King Jr. Blvd., 503-339-3693, relayrestaurantgroup. com/restaurants/revelry. Not everything’s perfect yet, but Rachel Yang’s new Korean fusion spot has a rice-cake dish and fried chicken that will make you die inside from the goodness, if the excellent cocktails don’t kill you first. $$-$$$.


2. Revelry

3. Oyatsupan Bakers

16025 SW Regatta Lane, Beaverton, 503-941-5251, Oyatsupan is Portland’s first introduction to the estimable Japanese baking tradition—but savory lunch dishes are


Willamette Week OCTOBER 5, 2016


Authentic regional Italian cuisine.



Dinner service nightly Lunch service Monday through Friday


We use organic, local and sustainable products as much as possible.


1601 SW Morrison St. • 503.688.5066 •

Pop Stars

YOUNGER AND LESS SALTY: Maya Lovelace making succotash at Mae.





Is the traditional restaurant dying in Portland? That sounds hyperbolic, but it’s remarkable this year how much of the energy in Portland’s food scene has flowed away from traditional, sit-down spots. Pop-ups are thriving, and so are pop-ins—our term for hip, ambitious counter-service spots like Poke Mon and Hat Yai. Two years ago, most Portland pop-ups offered precious, little meals with prices to match, often served in spaces better suited for boxes. A few of those pop-ups are still operating, but recently the scene has evolved to become far more accommodating. Many of the city’s best new pop-ups are using normal restaurant spaces during off-hours, occurring at least once a week and serving more-focused menus with lower prices. Here are a few of our new favorites.

Han Oak


511 NE 24th Ave. (behind the Ocean food court),

6 SE 28th Ave. (in the Langbaan space inside PaaDee),

Hours and prices: Dinner is 6 to 9 pm Friday and Saturday, with seatings every 30 minutes. Sunday brunch is 11 am to 2 pm, with seatings every 30 minutes. All meals are $35, but the dinner price does not include gratuity. Drinks and appetizers are separate. In Korea, it’s not uncommon for country homes to have walled gardens used as an extension of the living space—in other words, they look a lot like the space housing Han Oak. I only know this because of the couple sharing the long, blond-wood table at Peter Cho’s newish Han Oak, which sits behind a reddish-orange door leading to the bowels of the Ocean food court. Han Oak is an impeccably designed, modern-minimalist space—my wife started shopping for its lamps while we waited for our smoked short rib in ssamjang sauce. Han Oak is making most of the same dishes you’ll find at the better Beaverton Korean spots. Meat-wise, the experience is comparable. But by keeping a small, set menu, Han Oak is able to deliver exquisite versions of noodle dishes like handcut kalgooksu in rich chicken broth, dumplings stuffed with pork and bathed in black vinegar, along with rice cakes and bulgogi. I strongly prefer the dinner to brunch, and suggest budgeting for soju and Stiegls. MC.

Hours and prices: Dinner is 6 to 7:30 pm Monday. Tickets are $80 plus gratuity. Drinks are separate. Over 10 courses, chef Vince Nguyen, former sous chef at Portland’s Castagna and San Francisco’s two-Michelin-starred Coi, builds a harmonious meal that’s ambitious in flavor and preparation and beautifully restrained in composition. Nguyen pairs intense, unusual flavors—sour and bitter grated black lime, sour and salty pureed umeboshi, and vividly herbaceous oils of sorel, bay and juniper—with simple preparations. A highlight: a slice of sweet potato caramelized to rib-eye savoriness and pillow softness, served with a pear puree as abstractly peary as Clear Creek’s eau de vie. WM.

Mae 5027 NE 42nd Ave. (behind Old Salt Marketplace),

Hours and prices: Dinner is 6 and 8:30 pm Monday, and 7 pm Wednesday. Sunday brunch is 10 am and 12:30 pm. It’s BYOB, so bring a nice bottle of wine or, if you want, a 40-ouncer. Maya Lovelace had me at the iced tea. Her twice-weekly supper club in the back room of the Old Salt meat market serves up sassafras sweet tea, a flavor missing from the West Coast recipe box,

and it immediately transported me back to the hollers of ol’ Virginny. From there, it’s a parade of lardfried joy paired with Lovelace’s vivid storytelling—honey-sweet cornbread with a hint of crispiness on its shell, outrageously gooey mac ’n’ cheese, and a spicy-sweet succotash stuffed with market-fresh produce. MC.




HunnyMilk 40 NE 28th Ave. (in the La Buca space),

Hours and prices: Brunch is from 9 am to 2 pm Saturday and Sunday. It’s $20 for coffee, a savory dish and a sweet dish. Tip, appetizers and booze are separate. HunnyMilk just might be the best weekend brunch available in Portland right now. Having recently moved from the cramped Hogan’s Goat Pizza space to the much larger La Buca, chef Brandon Weeks has expanded his cooking crew and refined his menu. Available dishes change, but look for the barbecued pork rib served over grits and chimichurri, or the croissant doughnut sandwich. The biggest revelation on a recent visit was the obscenely rich Oreo waffle, served with white chocolate mousse, chocolate drizzle, whipped cream and a sliced and bruleed banana. MC.

voted Oregonian’s “Reader’s Choice” Listed as one of Willamette Week’s

Best Italian Restaurant 2016!

Best Happy Hours in Portland 2016!

Fusspot Chicken 337 NW Broadway (in the KitchenCru space),

Hours and prices: Dinner is from 5 to 7 pm every first Saturday of the month. It’s $12 per serving. Tip and beverages are separate. The crunch on Fusspot’s Koreanstyle fried chicken is so audible as to be startling, a Foley sound *CRUNNNNCHHHH* that you normally have to pay ad executives several thousand dollars to create in a studio. Among Portland’s popups, Fusspot is the cheapest ($12) and the most generous—four pieces of lightly battered and expertly brined fried chicken topped with a sweet gochujang sauce, served with sesame slaw and lightly dressed slices of cucumber. It will fill up most diners. WM.

439 SW 2ND AVE • 503.295.6464

Free happy hour Food item

With the purchase of an additional food item priced at equal or greater value. Offer good Monday–Friday. One offer per table. Not redeemable for cash. Expires 11/15/16. Willamette Week OCTOBER 5, 2016



Willamette Week OCTOBER 5, 2016


= WW Pick. Highly recommended.


Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled 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 submitevents 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.

WEDNESDAY, OCT. 5 Adam Green’s Aladdin, the Morals

[MUSIC AND A MOVIE] See Get Busy, pg. 41. Mississippi Studios, 3939 N Mississippi Ave. 9 pm. $13 advance, $15 day of show. 21+.

Frankie Cosmos, Iji

[TWEE POP] When British DIY guitar-pop bands cropped up in the ’80s, “twee” was an insult leveled at them by adherents to the disparate, sexier rock culture. But, of course, the airy simplicity of these middle-class whitekid bands soon became cool (see Belle and Sebastian). Fast forward to Frankie Cosmos frontwoman Greta Kline, whose home-recorded Bandcamp releases recently morphed into label-backed studio albums while retaining their offhand, just-messingaround innocence. Kline’s ephemeral track lengths, loose sense of rhythmic time and stream-of-consciousness lyrics lovably recall the sensibility of indie pop back when it was still really indie—that is to say, it’s honest, personal and uncomplicated. ISABEL ZACHARIAS. Bossanova Ballroom, 722 E Burnside St. 7 pm. $15. All ages.

Danny Brown, Maxo Cream, ZelooperZ

[ADDERALL-COMEDOWN RAP] See Get Busy, page 41. Roseland Theater, 8 NW 6th Ave. 8:30 pm. $28 general admission, $49 VIP early admission, $86.50 meet-and-greet. 21+.

Kula Shaker, Daydream Machine

[PAISLEY POP] Despite its swift rise amid the post-Oasis signing spree of the mid-’90s, London’s Kula Shaker is remembered as little more than a Britpop pastiche. It’s a shame, really, because its debut record, K, and all of its predictable eccentricities—lyrics to the lead single “Tattva” were written in Sanskrit—is all the more relevant now that groups like Temples and Tame Impala have dabbled within the era’s groovier indulgences to great levels of success. Supporting its latest album, dubbed simply K 2.0, expect Kula Shaker to remind anyone with a recollection of its early work that sitars have been poised for a comeback for the better part of two decades now. PETE COTTELL. Star Theater, 13 NW 6th Ave. 9 pm. $25. 21+.

Mandolin Orange, Leif Vollebekk

[FOLK] North Carolina folk duo Mandolin Orange turns out emotive and layered Americana without the aid of effects or a sprawling backing band. Andrew Marlin and Emily Frantz read each other like a band that’s been together for decades, criss-crossing elegantly through shared vocal harmonies and plenty of string-plucking. The act’s newest record, Blindfaller, is as rootsy as contemporary music gets, far from loud but ingrained in a rich American musical lineage. MARK STOCK. Wonder Ballroom, 128 NE Russell St. 7:30 pm. $15 advance, $18 day of show. 21+.

THURSDAY, OCT. 6 Marlon Williams & the Yarra Benders, Julia Jacklin

[ORBISON 2.0] At the beginning of 2016, a New Zealander named Marlon Williams quietly released one of the best records of the year. The young musician had been a star in Oceania for some time, but his haunting, Roy Orbison-esque sound had yet to land stateside. Tonight, he returns on the back of that triumphant record, which meanders confidently and poetically through folk, blues and country. Williams’ vocal prowess, dialed in

thanks to his parents and their rich Maori culture, is second to few, if any. MARK STOCK. Doug Fir Lounge, 830 E Burnside St. 9 pm. Free. 21+.

Mild High Club, Psychomagic, Reptaliens

[SUNSHINE PSYCH] L.A.’s race to create the chillest music known to mankind carries on. In first place, we have Alexander Brettin of Mild High Club, and he is jogging miles ahead of other laid-back contenders. The band’s sophomore LP, Skiptracing, feels like a dream starring T. Rex’s Marc Bolan in a Hawaiian shirt. Brettin’s monotone voice echoing in and out of his swirling compositions lends itself more to atmosphere than catchy songwriting. HENRY SMITH. Mississippi Studios, 3939 N Mississippi Ave. 9 pm. $12 advance, $14 day of show.

The Game, Bonaphied, Chez, Rob E

[WEST COASTIN’] At a time when artists are continually finding new ways to release, market and promote their music, veteran L.A. rapper the Game set himself apart by entering the fray in 3-D—literally. This summer, he collaborated with Atari to make a mobile game and app called Block Wars, releasing the soundtrack on iTunes and Spotify to tease yet another new album, the forthcoming 1992. The Game’s productivity highlights a busy year that’s seen him join the chorus of rappers protesting police violence and systemic racism, a topic he tackles surprisingly well on new single “Let Me Know.” “Where the justice system at when the cops go Rambo?” he raps. “Black lives matter when we talkin’ about Philando.” It’s a powerful song that proves you don’t always need cartoons or surprise releases to sell yourself when the music is relevant. MICHAEL MANNHEIMER. Roseland Theater, 8 NW 6th Ave Portland OR 97209. 8 pm. $35. All ages.

VHS, Azul Toga, Haste, Cool Scmool

[CYNICAL PUNK] VHS comes bearing bad news. On Gift of Life, the Seattle post-punkers create dystopian anthems for the cheerfully pessimistic. Their use of negative space lets you live with them on what feels like the forefront of the apocalypse— something they are rather accepting of. HENRY SMITH. The Know, 2026 NE Alberta St. 8 pm. Contact venue for ticket prices. 21+.

FRIDAY, OCT. 7 Brian Wilson presents Pet Sounds

[GOD-LEVEL POP] See the Bump, page 43, and Get Busy, page 41. Arlene Schnitzer Concert Hall, 1037 SW Broadway. 8 pm. $49.50-$94. All ages.

Lose Yr Mind Festival

[FESTIVAL OF LO-FI] The third annual installment of this humble two-day festival celebrating various persuasions of psych and garage rock is headlined and highlighted by Beach Fossils, who are sure to provide a complimentary shot of triumphant apathy with your purchase of well drink. It’s been three years since they dropped Clash of Truth, a marvelous collection of downcast indie-pop, and spinoff band DIIV’s 2016 release, Is the Is Are, has barely sufficed. So let’s hope they throw fans a bone with some meat by introducing some fresh wallowing. If not, you can depend on homegrown garage rockers the Shivas to temporarily distract fan chagrin with the anthem “You Make Me Wanna Die.” JACK RUSHALL. Audiocinema, 226 SE Madison St. 8 pm. $15-$20 sliding scale per night. 21+. Oct. 7-8. See for complete schedule.

CONT. on page 49


He has the ability to make those things appear.” Leaper knows his story isn’t all that rare. Pretty much every band, especially in the saturated scene of music-inhaling Portland, has a lot of hope and noteworthy friends but no money. “I BY DOM SIN ACOLA @SinacoLad don’t support myself with my music,” he admits, as if it were ridiculous to assume otherwise, “and Martyn Leaper is a cynic. No denying it—it’s in there’s only been one period in my life when I came close to that, a long time ago. I wouldn’t get his blood. “I’m originally from England, and we tend so wrapped up in that being the goal. The goal is to be a bunch of pessimists,” he says, his voice to make the best, most interesting music you can unchanged from the one heard on nearly two make, right?” For Leaper, that means a sincere, unadorned decades’ worth of records by his Portland band, the Minders. Leaper can’t be faulted for looking breed of songwriting (“I hate to talk about the on the dark side of life. Despite a pedigree palling nuts and bolts of songs because then it takes the around with the Elephant 6 collective—which magic out of it,” he says), shot through with a birthed such critical darlings as Apples in Stereo lifetime of looking back. “I think a lot of it has to and Neutral Milk Hotel, with whom the Minders do with homesickness,” he says. “I left my home toured last year—Leaper still takes pains to make years ago to come to this country, and I think a lot of my songs tend to sort of deal with that this thing work. “We’ve always been pretty homesickness.” obscure,” he says, comparing himself Music is the only way Leaper to the rest of his indie-pop ilk. “It knows to look ahead, mining was just a struggle to get anything nostalgia to uncover ways forreally concrete out there.” “THE GOAL IS TO ward. He remembers touring He’s mostly talking about with Neutral Milk Hotel, the band’s new record, Into MAKE THE BEST, the success of its latest tour the River, its fifth and first in MOST INTERESTING obviously fueled by the over10 years. More expansive, but MUSIC YOU CAN romanticized feelings of perhaps more traditional, its fans. Upon release of its than anything the group has MAKE, RIGHT?” first album in 1996, the band released before, Into the River —Martyn Leaper “definitely had this promise. eschews the Minders’ previousIt sort of made everything else, ly staunch allegiance to lo-fi for Elephant 6, that much more allursongs that, while still deeply rooted ing,” Leaper says. But they never really in a lineage of ’60s and ’70s Brit-based power pop—think the Kinks and the Zombies, got what they earned, never played the venues sometimes roughed up by a Springsteen-salient they deserved to, even though “the ’90s was penchant for escape—sound like Leaper trying to the era for independent music in a big way, and Neutral Milk Hotel had everything to do with find a new voice among all his influence. One assumes that would also explain his that. So coming back and playing to big audichoice of going into the studio with longtime ences, it was appropriate.” Which sounds optimistic, the idea that nosfriend Larry Crane after earning a reputation for intimate, DIY recording techniques. In that case, talgia no longer has to be about money, or about exploiting realities “that probably don’t even though, Leaper stresses the pragmatic. “Most of the stuff we do is home recording exist, or didn’t even exist in the first place.” As a self-proclaimed “cynical turd,” Leaper for that very reason—because we’re broke. But I wanted to do something that was on a bit of a relents. “I can’t be that cynical about music,” he grander scale,” Leaper says, adding that sessions says. “That’s where it stops, really. Music is one with Crane were spread over three years, whenever thing that’s off limits. You can’t be cynical about he could get funding together. It was all worth it: everything.” “You have an idea, [and] you can’t necessarily get that idea to come to fruition without a sort of SEE IT: The Minders play Secret Society, 116 NE Russell St., with the Minus 5, on Friday, Oct. 7. 9 technical structure in place. And he just has that. pm. $10 advance, $12 day of show. 21+. Willamette Week OCTOBER 5, 2016



Willamette Week OCTOBER 5, 2016

MUSIC Joyce Manor, the Hotelier, Crying

[EMOTIVE PUNK] On its breakthrough LP, Never Hungover Again, Joyce Manor combined the brevity of Tony Molina and the heart-on-sleeve ethos of early emo-punk pioneers like the Jazz June to create catchy, miniature narratives about youthful angst upbeat enough to pump your first to. For the forthcoming Cody, Joyce Manor enlisted Rob Schnapf as producer, and judging from the singles released so far the band has gotten even better at crafting shamelessly sincere, punky fuzz pop, while still keeping the songs near the two-minute mark most of the time. CRIS LANKENAU. Hawthorne Theatre, 1507 SE César E. Chávez Blvd. 8 pm. $16.50 advance, $20 day of show. 21+.

October 22 – 23

Oregon Convention Center 10am – 5pm


CONT. on page 51


WHO: Fritzwa Baffour. SOUNDS LIKE: Soulful, organic R&B that’s classic without being retrograde. FOR FANS OF: Lauryn Hill, Joni Mitchell, Raury, Solange. For a born-and-raised New Yorker like Fritzwa Baffour, living in Portland took some getting used to. “I’m not gonna lie, when I first moved here, I did not like it at all,” says the singer, songwriter and DJ. “It’s the case of East Coast versus West Coast. People from New York are not nice, but they’re friendly. And people from Portland are nice, but they’re not friendly.” Baffour came here to take a job in Nike’s marketing department, and if you had asked six months ago whether she thought of Portland as her long-term home, her response would’ve been “hell fucking no.” Happily, her stance has since softened. She’s made friends, put together a band and learned to appreciate (or at least tolerate) nature. But that doesn’t mean she’s over her homesickness. It was certainly on her mind as she worked on her new album. Named after the street on the Lower East Side where she grew up, Avenue A is a lovely R&B daydream gazing back at New York from the other side of the country. “It’s a very nostalgic record,” Baffour says. Steeped in her love of soul, hip-hop and the classic American songbook, the music’s touch is light but the grooves are deep. Opener “Sittin’ Pretty” rises like dawn over the Manhattan skyline, the early-morning strings and jazzy drums lifting Baffour’s understated voice and carrying it like an autumn leaf through Central Park. She sings of a Harlem love affair on the sultry “A-Train” and incorporates a recording of her favorite subway bucket drummer on the interlude “Missed the L.” But while the references are specific, the mood of wistful remembrance should resonate with anyone who’s left a part of themselves someplace miles away. “Trying to maintain relationships cross-country, missing home and missing your family—all that stuff is essentially what birthed this project,” Baffour says. Baffour is feeling more comfortable these days. A month ago, she quit her Nike gig and downsized her living situation to focus on music full time. She’s still not sure if she’s long for Portland, but it’s now more a question of ambition than her surroundings. “Right now, I’m happy. But I can’t say for certain that I’ll stay here,” she says. “The goal is to grow bigger than where you are. If all goes well, hopefully that’s what happens.” MATTHEW SINGER.



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[CLASSIC PUNK] Discharge’s 1982 album, Hear Nothing See Nothing Say Nothing, sent its spores into nearly every murky realm ruled by punk and metal. The British band’s crust, thrash and hardcore descendants have produced better and more intense records in the past 30-plus years—that’s just the way parenthood works—but few have matched the band’s skilled rendering of terminal despair. Although Hear Nothing summons a few dim glimmers of resistance, it is mostly a statement of defeat, with the band’s oft-imitated drumbeat mimicking the sound of a sick world spinning its wheels. So, um, here’s hoping they still play the hits? CHRIS STAMM. Dante’s, 350 W Burnside St. 9 pm. $23. 21+.

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SEE IT: Fritzwa plays Chapter Mag’s Creative Cultivation Dance Party at Holocene, 1001 SE Morrison St., with Tribe Mars, Quaz, Eric Fury and Virtuous Vice, on Wednesday, Oct. 5. 8 pm. $7 before 10 pm, $10 after. 21+. Willamette Week OCTOBER 5, 2016



Willamette Week OCTOBER 5, 2016

MUSIC [POST-EMO] It’s fair to say the days of listeners being drawn to Rocky Votolato via his cult-favorite punk band, Waxwing, are behind him. But the Seattle singer-songwriter still uses the hushed tones and plaintive brooding of his 2006 album, Makers, to appeal to a wide audience. Touring in support of the record’s 10th anniversary, Votolato brings a warm affectation and a wry approach to lyricism that’s sorely missed in the “lead singer of semi-popular emo band gone solo” genre. PETE COTTELL. Mississippi Studios, 3939 N Mississippi Ave., 503288-3895. 9 pm. 15 advance, $18 day of show. 21+.


Rocky Votolato, Chris Staples, Michael Dean Damron

Okkervil River, Landlady

[ORCHESTRAL FOLK] After reissuing 2005 masterpiece Black Sheep Boy last year, Okkervil River’s Will Sheff lost his grandfather, gave the band’s lineup a complete overhaul and started thinking about death. A lot. The first single from Okkervil’s new LP, Away, is called “Okkervil River RIP,” and the video depicts a funeral in upstate New York, with Sheff singing from a casket about all his long-dead idols. Fortunately, the music remains the pleasant symphonic folk rock that has sustained Sheff through several excellent albums. Transcendent melodies are smuggled in as mere overdubbed backing tracks meant to fortify the singer’s dry groan, and the morose subject matter ultimately gives way to redemption. CRIS LANKENAU. Wonder Ballroom, 128 NE Russell St. 8 pm. $20 advance, $22 day of show. 21+.

SATURDAY, OCT. 8 10th Annual Oregon Music Hall of Fame Induction

[DIG THEM IN] Whatever doubts we may generally hold about selfimposed arbiters of artistic recognition and, in particular, the Oregon Music Hall of Fame, it’s hard to fault the OMHOF selections. Alongside soundman Dave Cutter and lawyer Bart Day, 2016’s annual induction ceremony anoints steel guitar virtuoso Paul Brainard, blues chanteuse Duffy Bishop, roots troubadour Fernando Viciconte, the singersongwriter incarnation of Pete Krebs (already a member via Hazel’s 2013 entrance) and the recently reunited Sleater-Kinney. Moreover, the posthumous honors given Kung Fu Bakery studio founder Tim Ellis and visionary pop-rock craftsman Brian Berg, of 44 Long, affords welcome space and perspective from which to properly commemorate the achievements of beloved figures too soon forgotten. Bishop, Viciconte and Album of the Year nominee 3 Leg Torso perform at tonight’s induction ceremony. JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave. 7 pm. $25-$110. All ages.

Shonen Knife, LKN, the Suicide Notes

[GARAGE GRRRLS] One needn’t look much further than Shonen Knife for a shining example of American pop music’s global appeal. With one foot in SoCal and the other in Detroit, the

CONT. on page 53

10pm - close 7 days a week! And all day Sunday

6219 SE Foster Rd. • Portland, OR 503.384.2079 •

Jerry Douglas Band

[HENDRIX OF THE DOBRO] There are prolific instrumentalists, and then there’s Jerry Douglas. A 14-time Grammy winner and three-time CMA Musician of the Year, Douglas has appeared on more than 1,600 recordings during his four-decade career. Now 60, the unassuming resonator guitarist is perhaps at the height of his musical ability, a gentle soul whose virtuosity is reflected in the complexity of his bluegrass music but who never allows his chops to override the overall musicality. Quickwitted and quick-plucking, Douglas remains a working musician first, and he’s almost certainly got a few hundred records in those fingers yet. PARKER HALL. Revolution Hall, 1300 SE Stark St., No. 110. 8 pm. $35. 21+.


SURVIVE TUESDAY, OCT. 11 Adam Jones has not seen Stranger Things, which is indeed a little strange. For one thing, who the hell hasn’t seen it at this point? It was all anyone talked about this summer. And as Jones admits, the show’s supernatural themes and classic horror references are right in his wheelhouse, too. Plus, you figure he would’ve made time for it, considering his band, Survive, created its instantly iconic score. “It seems like something I’d be interested in,” Jones says with an audible shrug from his home in Austin, “but media like that is distracting for me.” To be fair, Jones wasn’t directly involved in the soundtrack, which was helmed by his bandmates, Kyle Dixon and Michael Stein. And hey, the guy’s been busy. He runs a label, Holodeck Records, specializing in the kind of creepy-crawly synth music he makes with his own projects. And he has a tour to prepare for. Ostensibly, it’s in support of Survive’s just-released second album, but its newly widened fan base is surely expecting Stranger Things: The Live Show, which means he’s got to learn songs he hadn’t even heard until rehearsals started. Ain’t a lot of time for binge-watching in that schedule. That’s left Jones in the odd position of riding the wave of a phenomenon he has yet to even engage with. But then, this whole thing is sort of weird for everyone. Survive formed in 2009, when Jones and longtime friends Dixon and Stein, along with college pal Mark Donica, had the idea to combine their teenage obsession with glitch gods Autechre, ’70s krautrock and the film scores of Tangerine Dream and John Carpenter in the form of an instrumental, four-man analog-synth band. While the group became torchbearers within their hometown’s small scene of electronic gearheads, their name hadn’t traveled far out of Austin. No one is exactly sure how Matt and Ross Duffer, the creators of Stranger Things, even found them. But when the show premiered on Netflix in July, Dixon and Stein’s eerie, pulsing theme song became as much a point of critical adoration as the series’ various nods to the Two Stev(ph)ens, Spielberg and King. “All of this attention is pretty new to us,” Jones says. “We’re still wrapping our heads around it—and trying to figure out how the hell we’re going to get our gear over to Europe.” Even without the show, the year was setting up to be a big one for Survive. New album RR7349 is its first for venerable metal label Relapse Records, and its machinist grooves, bump-in-thenight sound effects and ambient sense of dread probably would’ve expanded the band’s reach anyway. Of course, with the second season already being teased online, Survive is perhaps fated to always be known as “the Stranger Things guys.” But Jones doesn’t have to see the show to know that’s not such a bad thing. “Now that Stranger Things happened, people have a context in their mind for how they’re supposed to enjoy [the music],” he says. “Before, it may have seemed boring to people who otherwise listen to synth music that’s more poppy. Something clicks when you see it in a sci-fi horror soundtrack setting, where they say, ‘This is the correct context for me to enjoy something like this.’” MATTHEW SINGER. If you want to talk Stranger Things with the band that did the soundtrack, please, no spoilers!

SEE IT: Survive plays Holocene, 1001 SE Morrison St., with Majeure, on Tuesday, Oct. 11. 8:30 pm. Sold out. 21+. Willamette Week OCTOBER 5, 2016



Willamette Week OCTOBER 5, 2016



OSAKA RAMONES: Shonen Knife plays Dante’s on Saturday, Oct. 8. Osaka trio has managed to remain vital for more than three decades by throwing any sound it sees fit into its garage-rock soup. This year’s Adventure presents a strong case for the women’s relevance as they marry bubbly girl-group harmonies with scuzzy guitar riffs, to very exciting results. PETE COTTELL. Dante’s, 350 W Burnside St. 9 pm. $12. 21+.

White Fang, No Parents

[DRUNK ROCK] Portland-born, L.A.based stoner goofballs White Fang take the leisurely ethic of Andrew W.K. and the scruffy eternal shrug of the Grateful Dead and create scuzzy, half-serious Animal House anthems. L.A.’s No Parents share White Fang’s vibrant sense of humor, playing a thrashy, lo-fi take on the brand of punk that the Queers perfected, with songs like “I’m a Dildo,” “Dick City” and “Pizza” nodding toward Boogadaboogadaboogadaera Screeching Weasel. CRIS LANKENAU. Doug Fir Lounge, 830 E Burnside St. 8 pm. $10 advance, $12 day of show. 21+.

The Devil Makes Three, Lost Dog Street Band

[BEIGE BLUEGRASS] Here’s the thing: Making old-timey music for a mainstream audience will always sound fake. Case in point: The Devil Make Three’s most popular single, “Old Number Seven,” is a growly affair about dirt roads and Jack Daniels, but on the recorded version, Pete Bernhard’s vocals are actually shallow and drenched in reverb. In fact, the whole trio sounds much more at home on clap-happy, straight-up bluegrass tunes like “All Hail.” On the current Americana spectrum of the Gracefully Reverent to Totally Tacky, the Devil Makes Three is somewhere in the middle. But when it hits its sunny stride, you can’t help but dance. ISABEL ZACHARIAS. Roseland Theater, 8 NW 6th Ave. 9 pm. Through Sunday. $25. All ages.

Tobacco, High Tides, Odonis Odonis

[FREAKTRONIC] Tape machines and analog synths have served Thomas Fec well over the years as the weapons of choice in both his electro-psych outfit, Black Moth Super Rainbow, and his solo project, Tobacco. He’s no stranger to manifesting blusterous sounds, having released albums consistently every two years since his solo debut in 2008. His latest release, last month’s Sweatbox Dynasty, is filled with spurted representations of Tobacco’s mastered craft. He has a tendency to bog down the lyrical clarity in his songs with auditory weirdness, so it’s best to revel in the sometimes nightmarish visuals that usually accompany him. CERVANTE POPE. Wonder Ballroom, 128 NE Russell St. 9 pm. $15. 21+.

SUNDAY, OCT. 9 Ryley Walker, Circuit des Yeux

[CELESTIAL FOLK] Over the course of three albums, Chicago-bred Ryley Walker has proven that you need not reside in the United Kingdom to properly channel late-’60s British folk. At age 27, he’s already an accomplished guitarist, with a patchwork of meditative suites and taste for the kind of pastoral compositions that solidified Nick Drake as a finger-style savant years after his death. The sinewy guitar melodies and jazzy drums that accompany Walker’s latest LP, Golden Sings That Have Been Sung, further the point, as does the way his voice beautifully wilts as he stretches his songs past the six-minute mark and into more avant-garde territory. It doesn’t always work, but when it does, it’s spectacular. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave. 8 pm. $12 advance, $14 day of show. 21+.

The Julie Ruin, Mecca Normal, Allison Crutchfield and the Fizz

[LE TIGRE IN WINTER] See Get Busy, page 41. Wonder Ballroom, 128 NE Russell St. 8:30 pm. $20. All ages.

TUESDAY, OCT. 11 Clarke and the Himselfs and Friends, Shitty Weekend, Plastic Harmony Band

[ONE-MAN NOISE POP] Clarke Howell added the “and Friends” part to his band name only recently. On Bandcamp, the primary outlet for his firmly underground pop (besides thrifted and dubbed cassette tapes), he calls music a “spiritual experience that would not be possible without your friends.” Howell’s made it seem pretty possible, though. His setup—vocal mic, a couple amps, guitar and an incomplete drum kit, all played by him in real time, with no looping—has carried his distorted, catchy-confessional tunes all the way to a stint touring with Built to Spill. But with a real band backing him now, who knows what’ll happen? Maybe something spiritual. ISABEL ZACHARIAS. Bunk Bar, 1028 SE Water Ave. 9 pm. $8. 21+.

Xylouris White, Emmett Kelly

[CRETAN HOP] Take one part traditional Cretan lute music, add one part Aussie post-punk drum frenzy, and what do you get? Drunk on retsina and ouzo chased with Fosters, no doubt. But musically speaking, you get Xylouris White. George Xylouris emerged from Crete’s most famous musical family. His uncle, Nikos, is one of Greece’s most renowned musicians, while his singer and lyra master dad, Antonis, Dylan-ized Cretan folk music.

CONT. on page 55 Willamette Week OCTOBER 5, 2016




The Old Church Concert Hall Presents

Curtis Eller’s American Circus 10/7 • 8pm

Woody Guthrie NW Songs Tribute Show

10/22 • 2pm + 8pm featuring

Dan Bern

10/21 • 8pm

Ben Hunter & Joe Seamons Jon Neufeld Darrin Matthew Craig Timberbound Bill Murlin & Fine Company Caitlin Belem Romtvedt David Romtvedt George Rezendes


Willamette Week OCTOBER 5, 2016

MUSIC George played eight-string lute in his father’s band and on dozens of other albums. When he lived in Melbourne, his band opened for Australian postpunk trio Dirty Three, and he found common musical ground with its drummer, Jim White. Their own duo takes off from old Cretan dance rhythms into energetic, sometimes explosive improvs that transcend genre or national styles. The unlikely combo is winning attention from the likes of Bonnie “Prince” Billy, whom it’s opening for on tour, and Fugazi’s Guy Picciotto, who produced the duo’s new album, Goats. BRETT CAMPBELL. Mississippi Studios, 3939 N Mississippi Ave. 9 pm. $13 advance, $15 day of show. 21+.

CLASSICAL, JAZZ & WORLD Akropolis Reed Quintet

[REEDIES] There’s a good chance Akropolis is the best reed quintet you’ve ever heard. There’s also a good chance it’s the only reed quintet of oboe, clarinet, sax, bass clarinet and bassoon you’ve ever heard. Since forming at the University of Michigan in 2009 and becoming the first such ensemble to win the Fischoff Gold Medal—America’s most prestigious chamber music competition—Akropolis has pioneered the oddball combo. Along with tight, unbuttoned performances, it does lots of outreach programs at schools and community centers across the country, including at Portland’s Chamber Music Northwest. This showcase features ARQ’s arrangements of Gershwin’s An American in Paris, Baroque music and new works for the instrumental combination, which, in the quintet’s able hands, sounds far more natural than you’d think. BRETT CAMPBELL. Winningstad Theatre, 1111 SW Broadway, 503-228-9571. 7:30 pm Saturday, Oct. 8. $32.50. All ages.

Steve Lehman Trio

[ALTO ’TUDE] Watching Steve Lehman play the saxophone is like watching an expert boxer on a speed bag. Where mere mortals can attain just a few clean, crisp jabs per second, Lehman’s alto repeatedly lands countless melodic hits, blasting his musical target faster than most ears can follow. An acclaimed composer of angular 21st-century jazz works, Lehman leads the way for his bassand-drums trio with his blippy style and round tone. Tonight, the instrumentalist will showcase sounds from his recent African-influenced beatjazz album, Sélébéyone. PARKER HALL. The Old Church, 1422 SW 11th Ave. 7 pm Sunday, Oct. 9. $20-$30. All ages.

Catherine Russell

[AFRICAN-AMERICAN SONGBOOK] Of course Catherine Russell titled her new album Harlem on My Mind. The native New Yorker’s mother, singer-guitarist-bassist Carline Ray, was born and raised there. And her dad, composer Luis Russell, was Louis Armstrong’s musical director and often performed there. But Russell, a Grammy winner for her work on HBO’s Boardwalk Empire soundtrack, has earned a solid reputation among today’s jazz singers by virtue of her own talent. Amid stints with Steely Dan, David Bowie, Paul Simon, Wynton Marsalis’ Jazz at Lincoln Center Orchestra and others, she’s performed with her own band at many of the world’s top jazz clubs and festivals. Russell’s new album— her sixth—features her assertive, refreshingly unmannered takes on songs by Harlem Renaissance songwriters like Fats Waller and Andy Razaf and other classic blues and jazz made famous by Russell’s legendary predecessors like Ethel Waters, Dinah Washington and Billie Holiday. But Russell makes them her own. BRETT CAMPBELL. The Old Church, 1422 SW 11th Ave. 7:30 pm Tuesday, Oct. 11. $20-$30. All ages.

For more Music listings, visit


Nick Jaina


(Fluff & Gravy)

[EMPIRICAL FOLK POP] Nick Jaina has spent the past 15 years perfecting his particular brand of plain-spoken indie folk, and with his ninth album, the essential and well-worn Brutal Lives, he’s finally whittled his sound down to breath and bone. It’s also the b r o a d e st a l b u m h e ’s ever released, seemingly woven from the many sides of his songwriting persona. Between the hushed reverie of opener “Not a Machine,” beset by blips and found-sound detritus, and the lush, Peter Gabriel-ish plume of “I Have That Same Tattoo” is album centerpiece “Belle Isle,” itself split between aching acoustic creep and anarchic electric squall. The sound of fireworks arches over the whole song like some sort of sad celebration, singeing its disparate parts together. Belle Isle, an urban park in Detroit just across the river from Canada, was taken over by the state of Michigan a few years ago, and since then has seen a slight resurgence. It’s no surprise that Jaina gravitates to such a place—Brutal Lives is an album about resurrection, not only because it’s pieced together from years-old projects, but because all 14 of its songs feel like they’re breathing new life into a decade and a half worth of the singer’s songbook. DOM SINACOLA. SEE IT: Nick Jaina plays the Liquor Store, 3341 SE Belmont St., with Catherine Feeny and Chris Johnedis, on Thursday, Oct. 6. 9 pm. $TK. 21+.

Møtrik 33

(Jealous Butcher)

[KRAUTROCK NW ] Møtrik’s self-titled 2014 album was a bipolar a f f a i r. T h e Po r t l a n d quartet pitted its Northwest indie-rock s e n s i b i l i t i e s a g a i n st some reverent stabs at vintage krautrock with excellent, if disparate, results. Møtrik’s latest release, 33, is a far more cohesive record. Its variations on a theme bloom like morning dew on “Nehman 1,” a nearly 18-minute jam that wouldn’t be out of place on an early Ashra album. Dave Fulton layers analog synth beneath Cord Amato’s exploratory guitar melodies, while the rhythm section churns along like well-oiled ropes and pulleys. The song dips to near silence at times, building back into a glorious sunrise of melodic mellow-mood music. Side two’s “Nehman 2” is a propulsive samba that nods to Neu and teases toward Tortoise. If you’re doing it right, you’re peaking by the time this languid jam escalates into rainbow hues about 11 minutes in. Jealous Butcher Records is treating this release as something rare and special, releasing 33 in an incredibly limited vinyl edition of literally 33 records, each priced at— well you can guess. Yes, good job. It seems unlikely there will be any copies left after the Oct. 5 show, so all the more reason to visit the merch table. NATHAN CARSON. SEE IT: Møtrik plays the Know, 2026 NE Alberta St., with Panzer Beat and Leading Psychics, on Wednesday, Oct. 5. 8 pm. Call venue (503-473-8729) for ticket information. 21+.

ACOUSTIC GUITAR SUMMIT Mark Hanson, Terry Robb Doug Smith

FRIDAY, OCT 7 7:30 PM FINGERSTYLE GUITAR | $18/$22 “Amazing diversity and chops!” – THE OREGONIAN


FRIDAY, OCT 21 7:30 PM FOLK / SONGWRITER | $22/$26 “Carrie is the touchstone of authinticity… a beautiful singer & songwriter” -ROSEANNE CASH


FRIDAY, NOV 4 7:30 PM BLUEGRASS / FOLK VINTAGE COUNTRY | $18/$22 “Robbie Fulks is an alt-country genius” – TINA FEY

The Walters is only 2 blocks from the MAX Station! Call for tickets or visit

Walters Cultural Arts Center 527 E. Main Street—Hillsboro, OR Box Office: 503-615-3485

Willamette Week OCTOBER 5, 2016







y p p Ha Hour





proudly present


Kamasi Washington





Willamette Week OCTOBER 5, 2016


MUSIC CALENDAR WED. OCT. 5 Aladdin Theater

3017 SE Milwaukie Ave Mandolin Orange

Ash Street Saloon

225 SW Ash St Manual Sex Drive, The Nervous

Bossanova Ballroom 722 E Burnside St. Frankie Cosmos, Iji

Doug Fir Lounge 830 E Burnside St. Sticky Fingers


LAST WEEK LIVE LaurelThirst Public House

2958 NE Glisan St Pretty Gritty, Oh My Mys

LaurelThirst Public House

2958 NE Glisan St Lewi Longmire & the Left Coast Roasters

3939 N Mississippi Ave. Adam Green’s “Aladdin,” The Morals

Roseland Theater

8 NW 6th Ave Danny Brown, Maxo Cream, ZelooperZ

Star Theater

13 NW 6th Ave. Kula Shaker, Daydream Machine

The Analog Cafe

720 SE Hawthorne Blvd. Conjure One; Trap Door Social, Shannon Entropy, Stone Face Honey

The Goodfoot

2845 SE Stark St Parliament City

The Know

2026 NE Alberta St Panzer Beat, Leading Psychics, Motrik

The Liquor Store

3341 SE Belmont St, Killed By Health + Head Band + Dim Wit

Twilight Cafe and Bar 1420 SE Powell Lost In Society


232 SW Ankeny St Sound Judgment Festival

Wonder Ballroom

128 NE Russell St. Mandolin Orange, Leif Vollebekk

THURS. OCT. 6 Ash Street Saloon

225 SW Ash St Coast2Coast Live: Cool Nutz, DJ Fatboy

Crystal Ballroom

1332 W Burnside St Phantogram, the Range

Doug Fir Lounge

830 E Burnside St. Marlon Williams & The Yarra Benders, Julia Jacklin

Hawthorne Theatre

1507 SE Csar E. Chvez Blvd. CunninLynguists

Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

Kelly’s Olympian

426 SW Washington St. The Thesis

221 NW 10th Ave. Dan Balmer Trio; Peter Knudsen

Revolution Hall

Mississippi Studios

Roseland Theater

Roseland Theater

3939 N Mississippi Ave. Ex-Cult, Power, Public Eye

1300 SE Stark St #110 Eric Hutchinson

The Goodfoot

Mississippi Studios

Jimmy Mak’s

2958 NE Glisan St Portland Country Underground; Kung Pao Chickens

Jimmy Mak’s

2958 NE Glisan St Lucas Bespeil & the Dangerous Gentlemen, Drew Martin, Blake Austin; Kory Quinn & the Quinntessentials

830 E Burnside St. Brendan James

3939 N Mississippi Ave. Mild High Club, Psychomagic, Reptaliens

8 NW 6th Ave The Game, Bonaphied, Chez, Rob E

LaurelThirst Public House

Doug Fir Lounge

LaurelThirst Public House

Mississippi Studios

1001 SE Morrison St. Fritzwa 221 NW 10th Ave. The Christopher Brown Quartet; Mel Brown Quartet

[OCT. 5-11]

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:

8 NW 6th Ave Gojira, TesseracT

Star Theater

13 NW 6th Ave. Hocico, God Module, nolongerhuman, Particle Son

2845 SE Stark St Tommy Alexander, Sun Machine, Evan Lanam

The Analog Cafe

The Know

720 SE Hawthorne Blvd. Lonely Horse, Long Hallways

2026 NE Alberta St VHS, Azul Toga, Haste, Cool Scmool

The Know

The Liquor Store

2026 NE Alberta St Galaxy Research, Conditioner, Dr. Identity, 2 Crows

3341 SE Belmont St, Nick Jaina, Catherine Feeny

The Lovecraft Bar 421 SE Grand Ave GAR GAR

The Old Church

1422 SW 11th Ave Paula Santoro and Ian Faquini

The Secret Society

116 NE Russell St Thursday Swing featuring Baby & The Pearl Blowers, Everything’s Jake

Twilight Cafe and Bar 1420 SE Powell Ghost Pines, Young Elk, The Hague

White Eagle Saloon 836 N Russell St Parsonsfield


JURASSIC GRUNGE: It was easy, at first, to discount the Dinosaur Jr. reunion. Although in 2005 it was one of the first “hell freezes over”-type of reconciliations to make headlines, many acts have since followed with one-off gigs or tours or full-on career restarts. But what makes Dinosaur Jr. so special is that the band is still unbelievably adept at playing the scruffy, powerful music that initially made it great. When J Mascis emerged at the Crystal Ballroom on Sept. 29 and plugged into his wall of Marshall stacks—painted in the band’s signature purple and gold—the cacophonous wall of sound the guitarist released seemed to trigger an equally deafening mass of several hundred enthused shouts of adulation. Though Mascis mostly shredded in place, and didn’t say anything beyond a mumbled “How ya doin’?” all night, bassist Lou Barlow and drummer Murph were relentlessly blurs of motion. Powering through Green Mind’s “The Wagon” and, later, the Without a Sound single “Feel the Pain,” the two guys who didn’t even play on the recorded version of the latter song ran apeshit laps of craziness around the guy who did. When they finally left the stage for a few minutes, it was Barlow who returned first, giddily offering his microphone around the crowd up front and asking, “What should we play?” The first request was the band’s scorching cover of the Cure’s “Just Like Heaven,” which it laid into almost immediately, embodying the tender atmosphere of the whole evening. Upon exiting, I heard a buttoned-up, middle-aged man exclaim to a friend two things I’m sure no one ever said of the reunited Misfits or Guns N’ Roses: “I hope I have that energy at 50. They were unstoppable.” CRIS LANKENAU.

Aladdin Theater

3017 SE Milwaukie Ave Greg Brown

Arlene Schnitzer Concert Hall

1037 SW Broadway Brian Wilson presents Pet Sounds

Ash Street Saloon

225 SW Ash St This Patch of Sky, RANGES, Coastlands, Compass & Knife


226 SE Madison St. Lose Yr Mind Festival: The Shivas, Beach Fossils, Woolen Men, Candace

Bunk Bar

1028 SE Water Ave. Battlehooch

Clinton Street Theater

2522 SE Clinton St Lagoon Squad, Prison Dress, Hannah Yeun, Critt, The Borzoi


350 West Burnside Discharge, EyeHateGod

Doug Fir Lounge 830 E Burnside St. Highly Suspect

Hawthorne Theatre

1507 SE Csar E. Chvez Blvd. Joyce Manor, the Hotelier, Crying

Jimmy Mak’s

221 NW 10th Ave. Ants in the Kitchen

LaurelThirst Public House 2958 NE Glisan St

Deadstring Family Band; Baby Gramps

Chasms, Sean Pierce, Patricia Hall

Mission Theater

The Old Church

1624 NW Glisan St. Liz Vice

Mississippi Pizza

1422 SW 11th Ave Curtis Eller’s American Circus

Mississippi Studios

116 NE Russell St The Minus 5, The Minders

3552 N Mississippi Ave Neon Culpa 3939 N Mississippi Ave. Rocky Votolato, Chris Staples, Michael Dean Damron

Ponderosa Lounge

10350 N Vancouver Way, Jessie Leigh

Revolution Hall

1300 SE Stark St #110 Jerry Douglas Band

Roseland Theater 8 NW 6th Ave GRiZ

Skyline Tavern

8031 NW Skyline Blvd Bakersfield Rejects

Star Theater

13 NW 6th Ave. Mr. Gnome

The Analog Cafe

720 SE Hawthorne Blvd. Name, Wolf King, The Sweat Pants, Nuisance

The Firkin Tavern

1937 SE 11th Ave Rocket 3, Sorta Ultra

The Know

2026 NE Alberta St Nopes, Old City, Shitty Weekend

The Lovecraft Bar 421 SE Grand Ave

The Secret Society

White Eagle Saloon 836 N Russell St MOsley WOtta and Speaker MInds

Wonder Ballroom

128 NE Russell St. Okkervil River, Landlady

SAT. OCT. 8 Aladdin Theater

3017 SE Milwaukie Ave 10th Annual Oregon Music Hall of Fame

Alberta Street Pub 1036 NE Alberta St Grupo Masato

Arlene Schnitzer Concert Hall

1037 SW Broadway Rachmaninoffs Piano Concerto No. 3

Ash Street Saloon 225 SW Ash St Goblin Cock


350 West Burnside Shonen Knife, LKN, the Suicide Notes

Doug Fir Lounge

830 E Burnside St. White Fang, No Parents

Jimmy Mak’s

221 NW 10th Ave. Andy Stokes, Tribute to Teddy Pendergrass

LaurelThirst Public House

2958 NE Glisan St Billy Kennedy (all ages!); Kris Deelane & the Hurt; Mike Coykendall / Denim Wedding / Yacolt Burn

Roseland Theater

8 NW 6th Ave The Devil Makes Three, Lost Dog Street Band

The Analog Cafe

720 SE Hawthorne Blvd. Spiritual Rez w/ Steady Riot

The Firkin Tavern

1937 SE 11th Ave Shoring, The American West, Edward Mainwaring

The Secret Society

SUN. OCT. 9 Alberta Rose

3000 NE Alberta St An Evening with Ottmar Liebert & Luna Negra

Arlene Schnitzer Concert Hall

1037 SW Broadway Rachmaninoffs Piano Concerto No. 3

Ash Street Saloon

225 SW Ash St Amelia Circle, Audiovine, The Screaming Multitudes


226 SE Madison St. Lose Yr Mind Festival: Shannon and the Clams, Mommy Long Legs, Mascaras, Moon By You


350 West Burnside The Goddamn Gallows & Gallows Bound

116 NE Russell St Matthew Lindley, The Low Bones, Bad Assets; The Jenny Finn Orchestra

Hawthorne Theatre

White Eagle Saloon

426 SW Washington St. Keeper Keeper

836 N Russell St The Congress, The Lovely Lost

Winningstad Theatre

1111 SW Broadway Akropolis Reed Quintet

Wonder Ballroom

128 NE Russell St. Tobacco, High Tides, Odonis Odonis

1507 SE Csar E. Chvez Blvd. Beartooth

Kelly’s Olympian

LaurelThirst Public House

2958 NE Glisan St Freak Mountain Ramblers;The Hollerbodies (all ages)

Mississippi Pizza

3552 N Mississippi Ave Seth Martin

Mississippi Studios

3939 N Mississippi Ave.

Ryley Walker, Circuit des Yeux


600 E Burnside St Lose Yr Mind Wrap Party with Tangerine

Roseland Theater

8 NW 6th Ave The Devil Makes Three, Lost Dog Street Band

Twilight Cafe and Bar

1420 SE Powell Feral Friend, Shannon Entropy, Ruined It, Friendship Commanders, Worws

TUES. OCT. 11 Ash Street Saloon 225 SW Ash St The Alienated

Bunk Bar

1028 SE Water Ave. Clarke and the Himselfs and Friends, Shitty Weekend, Plastic Harmony Band


350 West Burnside DOA, The Anxieties, Don’t, BOMF!


1001 SE Morrison St. S U R V I V E, Majeure

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet

Kelly’s Olympian

426 SW Washington St. The Yacolt Burn, Glasys, General Mojos

LaurelThirst Public House

The Analog Cafe

2958 NE Glisan St Eric Kallio; Jackstraw

The Know

3939 N Mississippi Ave. Xylouris White, Emmett Kelly

720 SE Hawthorne Blvd. Richard Byford 2026 NE Alberta St Mute Swan, Internal State, Get Real

The Old Church

1422 SW 11th Ave Steve Lehman Trio

The Secret Society 116 NE Russell St Courtney Noe

Twilight Cafe and Bar

1420 SE Powell GAR GAR, The Synthicalists (Belgium), Zebra 2-3-74

Wonder Ballroom

128 NE Russell St. The Julie Ruin, Mecca Normal, Allison Crutchfield & the Fizz

MON. OCT. 10 Aladdin Theater

3017 SE Milwaukie Ave Tal Wilkenfeld

Ash Street Saloon

225 SW Ash St Dwight Church, Dwight Dickinson

Mississippi Studios

Roseland Theater

8 NW 6th Ave Hopsin, Joyner Lucas, Token

The Goodfoot

2845 SE Stark St Jimmy Russell’s Party City

The Know

2026 NE Alberta St Demon Familiar, LKN

The Old Church

1422 SW 11th Ave Catherine Russell

Twilight Cafe and Bar

1420 SE Powell His Name Shall Breath, Small Town Alien (AUS), Altador

White Eagle Saloon 836 N Russell St The Empty Pockets

Wonder Ballroom

128 NE Russell St. Cute Is What We Aim For

Willamette Week OCTOBER 5, 2016




A benefit concert for Boys and Girls Club


DDDJJJ666 Years DJing: Googleplex years. That’s how long ago the ’80s happened, right? Genre: Synthy synthness, punk, post-punk, pre-post-synthpunk, psych, weird, annoying, classical and anything Swiss, German and/or Austrian. Where you can catch me regularly: I share a residency at the Lovecraft with Magnolia Bouvier and [WW designer] DJ Acid Rick. And by residency, I mean that I am incredibly pretentious. I also have a show on called Hipsters Suck. It is usually themed. For example, I recently did a show featuring records that appear visually in the record-store scenes in Pretty in Pink. If they had used that music in the film, it would have been much closer to The Road. Craziest gig: I once provided music for an evening of piercing rituals at the old Eagle, when it was on Burnside (back when Portland was so weird that it was basically a giant piercing salon), playing Coil, Nurse With Wound and Psychic TV—all the piercing bands that have piercings. And it nearly derailed a couple Prince Alberts when I snuck in Judy Garland doing “Over the Rainbow.” Smart-assery is best employed carefully in the presence of blood and steel. I think I was only wearing underwear and garters at that gig. Like always. My go-to records: Mormon aerobics records, number poem records, hollerin’ competition records (they exist), and anything that makes at least one person laugh, before I masterfully mix it into something sad and pathetic. Oh, and everything by Severed Heads. Don’t ever ask me to play...: Korn. Because the soul just can’t digest it properly, and I was born without one. SEE IT: DDDJJJ666 spins at Musick for Mannequins at the Lovecraft, 421 SE Grand Ave., on Saturday, Oct. 8. 10 pm. 21+.

No Fun

1709 SE Hawthorne Blvd Questionable Decisions (disco, funk, soul)

The Embers Avenue


45 East


Dig A Pony

511 NW Couch St. TRONix 1001 SE Morrison St. Chapter Mag: Creative Cultivation Dance Party

736 SE Grand Ave. Strange Babes (post punk, soul)

Double Barrel Tavern

The Lovecraft Bar

Killingsworth Dynasty

421 SE Grand Ave Event Horizon (darkwave, industrial, synth)

Whiskey Bar

31 NW 1st Ave Starkey [all GRIME tour]

Willamette Week OCTOBER 5, 2016

315 SE 3rd Ave Benny Benassi

Sandy Hut

1430 NE Sandy Blvd. DJ Hot Lips



Ground Kontrol

2002 SE Division St. DJ Easy Fingers

832 N Killingsworth St Goth Night


3967 N. Mississippi Ave. Sappho (disco)

100 NW Broadway Thursday Electronic

The Lovecraft Bar

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

FRI. OCT. 7 45 East

315 SE 3rd Ave Valentino Khan, JSTJR

Black Book

20 NW 3rd Ave The Cave (rap)


1001 SE Morrison St. Gran Ritmos: El G / Turbo Sonidero / 2TABS

Where to drink this week.

christine dong




5716 SE 92nd Ave., 971-339-2374, Zoiglhaus has its in-house brewery in full effect these days—with a terrific Bavarian-style hefeweizen and the city’s best helles lager—and an oktoberfest event this saturday that will double as the new beer’s coming-out party.



2930 NE Killingsworth St., the wine list at dame, which opened recently, already makes it Portland’s most interesting wine destination, home to the finest natural-wine list within 500 miles.


Rae’s Lakeview Lounge

1900 NW 27th Ave., 503-719-6494. rae’s offers $1 mimosas saturday and sunday mornings, $1 rainiers after 9 pm weekdays and $1 high Life till 6 pm daily. if you can’t see the lake from the patio, just wait until the lake is in your mind.

609 SE Taylor St., 503-234-8991, it’s easy to forget about gil’s, the basement lounge hidden under an apartment building in a residential complex. But when you remember, you end up there on $1 sloppy joe night—which is an unturndownable dare if we ever heard one.

DJ TANNER: In August, Portland got a leather-daddy sex club behind a FoPo cafe. Now it has a Playboy bachelor pad in the back of a leather store. The Wayback (4719 N Albina Ave., 503-222-2774,—a fussily midcentury lounge tucked behind the new Albina Avenue flagship of Tanner Goods—feels a bit like drinking at Mrs. Robinson’s house while she’s away. The whole place looks less like a bar than a furniture store’s take on domesticity—with globe lamps and minimalist couches arranged with Danish austerity around a TV screen playing anti-conformist cartoons from the 1950s. Old design magazines lie scattered across coffee tables, while outside on the spacious patio a lonely DJ swaps records under an adjustable cabana umbrella. All that’s missing to make the place into a page of Dwell magazine is a lone middle-aged man in silhouette, contemplating the existential tragedy of having such fine taste. The bar’s drink menu is as minimalist as the decor: The rotating saison, cider, IPA and Pilsner ($5)—which arrive on lovely leather coasters—go unnamed on both menu and tap, so you have to ask their producers’ identities. The IPA turned out to be malty Uinta, while the saison was the Commons’ Farmhouse ale. The rotating cocktail, meanwhile, was a very sweet $8 Negroni. The Wayback looks like the kind of place where you might eat focaccia ($10), and it is. It also serves $4 cat dishes of spiced pumpkin seeds, and a nearby fridge is packed with “to-go bottles” of Yoo-hoo and Original New York Seltzer. Is the Yoo-hoo a joke? Sincere nostalgia? It’s hard to say. It’s hard to feel anything in here. Nearby, a four-top of young professionals in knitwear are coolly discussing their next real estate purchases. Almost precisely one month before the Wayback opened in North Portland, our new mayor-elect rode his bike down nearby Williams Avenue as part of a ride called “Gentrification Is Weird.” I didn’t really know what it meant until visiting this place. MATTHEW KORFHAGE.

Killingsworth Dynasty




2108 NW Glisan St., 503-224-7919, Bartini is basic in the best way—a place whose logo makes it looks like it houses Jazzercise, and where before 6:30 pm and after 10 pm a martini glass will come full of mintsprigged liquor for $4, and full of brie-topped mashed potatoes for a mere $3.


Gil’s Speakeasy Tavern

832 N Killingsworth St Lez Do It

232 SW Ankeny St DJ Rockit (hunk funk)


3967 N. Mississippi Ave. Frankeee B (scandinavian synthetic funk)

SAT. OCT. 8 45 East

Sandy Hut

315 SE 3rd Ave Bad Boy Bill & Richard Vission: Back To The Vinyl Tour

Star Bar

Bossanova Ballroom

The Goodfoot

Dig A Pony

1430 NE Sandy Blvd. DJ Joey Prude 639 SE Morrison St. Uncontrollable Urge 2845 SE Stark St First Friday Superjam (funk, soul, disco)

The Liquor Store

3341 SE Belmont St, Uplift: German Brigante & Manoj

The Lovecraft Bar

421 SE Grand Ave Darkness Descends (classic goth & dark alternative)

722 E Burnside St. Bearracuda

736 SE Grand Ave. Montel Spinozza


3967 N. Mississippi Ave. Klavical (modern soul, heavy breaks, hip-hop)

The Goodfoot

2845 SE Stark St Tropitaal: Desi Latino Soundclash w/ Bumbac Joe

The Liquor Store

3341 SE Belmont St, Saints of Bass (techno)

The Lovecraft Bar

421 SE Grand Ave Musick For Mannequins w/ DDDJJJ666, Magnolia Bouvier & DJ Acid Rick (fog dance!)

Gold Dust Meridian 3267 SE Hawthorne Blvd. DJ King Fader


1001 SE Morrison St. Verified

Mississippi Studios

3939 N Mississippi Ave. Jump Jack Sound Machine

SUN. OCT. 9 Gold Dust Meridian

3267 SE Hawthorne Blvd. DJ Mudslide McBride

The Embers Avenue 100 NW Broadway Latino Night

The Lovecraft Bar

421 SE Grand Ave Psychopomp (drone, ritual)

MON. OCT. 10 Club 21

2035 NE Glisan St. DJ Smooth Hopperator

Ground Kontrol

511 NW Couch St. Reagan-o-mix (80s)

The Lovecraft Bar

421 SE Grand Ave Black Mass (goth, industrial)

TUES. OCT. 11 The Embers Avenue 100 NW Broadway Recycle (dark dance)


18 NW 3rd Ave. Tubesdays

Willamette Week OCTOBER 5, 2016


Sarod Concert by

Pt. Partho Sarothy






with Pt. Abhinit Banerjee on Tabla and Shri Somnath Roy on Ghatam

A NEW ROCK FABLE Saturday, October 15, 2016 at 7:00 pm

First Congregational Church 1126 SW Park Avenue, Portland, 97205

Tickets at Adults: $25 ($30 at door) Children (3-12 yrs): $12.50 ($15 at door), Students (with ID): $15 Admission is FREE for 2015-16 Friends of Kalakendra | Phone: 503-308-1050


Willamette Week OCTOBER 5, 2016

Sometimes It Takes a Blackout To See the Light.

SEPTEMBER 22 - OCTOBER 23 sponsored by






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:


American Hero

Artists Rep wants you to look differently at the people who serve you sandwiches. Or at least that’s one of the hopeful takeaways from American Hero. The existential comedy sets its three main characters in a post-recession sandwich shop chain after the chain’s owner has mysteriously disappeared. The play sardonically pokes at the American Dream, while still taking a compassionate view of those chasing it. It’s directed by Shawn Lee, who’s new to Artists Rep but fresh off of CoHo’s compelling production of The Gun Show. Artists Repertory Theatre, 1515 SW Morrison St., 7:30 pm Thursday-Sunday, 2 pm Sunday, with additional shows noon Wednesday, Oct. 19, and 7:30 Tuesday, Oct. 25. Through Oct. 30. $25-$50.

Brown Paper Bag Series: Blue-Eyed Black Boy

Triangle Productions kicks off its series of early-20th-century antilynching plays. The one-act plays are mostly by black women, including the first play in the series, Blue-Eyed Black Boy by Georgia Douglas Johnson. Douglas Johnson is one of the earliest known black American women playwrights, and her work is associated with the Harlem Renaissance. In Blue-Eyed Black Boy, she writes about a woman whose son might be lynched for bumping into a white woman. The goal of the series is to explore how such terrible moments in America’s past have impacted its present, so an open discussion follows the performance. The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 7 pm Wednesday, Oct. 5. $5.

Head. Hands. Feet.

Portland may be host to plenty of creepy theater, but few directors are as unafraid to get downright unsettling as Samantha Van Der Merwe. Her latest effort for Shaking the Tree is Head. Hands. Feet., a show comprising two ensemble devised pieces based on myths and fairy tales about dismemberment. The first half draws on three grisly tales from Hans Christian Anderson, the Brothers Grimm, and Charles Perrault, while the second turns to Euripides’ tragic telling of the sacrifice of Iphigenia. But despite its preoccupation with bloodbaths, the play won’t be empty shock and awe: Van Der Merwe’s sense of the macabre is just as poetic is it is gross. Shaking the Tree Warehouse, 823 SE Grant St., 7:30 pm Thursday-Saturday, 5 pm Sunday, through Nov. 5. $5-$25.


Perhaps a dysfunctional family doesn’t initially seem like particularly fresh subject matter for a play. But Taylor Mac’s Hir takes the well-worn topic to a new level of absurdity. The play, which first premiered less than a year ago, centers on a family with a formerly abusive dad incapacitated by stroke, a mother who exploits her husband’s disability to take revenge in the form of constant humiliation, a son who’s just returned with a dishonorable discharge from the military, and a daughter in the process of becoming a man. It might not sound that funny,

but it is. Still, amid all the madcap, black humor, there’s also plenty of genuine compassion. Defunkt Theater, 4319 SE Hawthorne Blvd., 7:30 pm Thursday-Sunday, Oct. 7-Nov. 12; no show Sunday, Oct. 9. $10-$25.

Hold These Truths

As a Quaker pacifist and Japanese American during World War II, Gordon Hirabayashi had a lot of good reasons to question his patriotism. Instead, his belief in the Constitution inspired his civil disobedience against Japanese internment camps. Hold These Truths is based on the true story of Hirabayashi’s protests against a part of FDR’s legacy that most public school history classes would rather pretend didn’t happen. The one-man show requires the actor to play not only Hirabayashi, but also 30 or so other people who were a part of his story. Ryun Yu, who plays the part, knows how to rise to the challenge, though: He started playing the role last year at Seattle’s ACT. The Armory, 128 NW 11th Ave., 7:30 pm Tuesday-Sunday, noon Thursday, 2 pm Saturday-Sunday, through Nov. 13. $30-$55.


Triangle Productions takes on the immense personality that was fashion tastemaker Diana Vreeland. But instead of focusing on her decadespanning 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 soulsearching 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 Thursday-Friday, through Oct. 8. $15-$35.

How I Learned What I Learned

Out of all August Wilson’s plays, How I Learned What I Learned is Wilson at his most personal. The monologue recounts Wilson’s own life growing up in Pittsburgh, and shows through his personal experience not only the deeply rooted racial issue of our country, but also how it inspired him to create the body of work he is so esteemed for. The play is in good hands: Victor Mack, the sole actor in the play, has already acted in all but one of Wilson’s other plays. Director Kevin Jones (and founder of The August Wilson Red Door Project) has dealt with his fair share of Wilson’s works, too, and is one of the strongest artistic voices in the effort to make Portland’s theater scene more inclusive. Portland Playhouse, 602 NE Prescott St., 7:30 pm Wednesday-Sunday, 2 pm Sunday, through Oct. 23. $5-$34.


From Orange Is the New Black writer Nick Jones, this comi-drama centers around a 200-pound chimp. As the animal, who was once a famous performer, tries to communicate with the people around him, both he

CONT. on page 63

virtually real: agatha Olson and Joshua Weinstein in the Hideaway.



The scenes in the Hideaway depict the investigations of Woodnut (Joshua Weinstein), the undercover agent whose work is cited in Morris’ interrogation. When he logs into the Hideaway as It’s hard not to empathize with the pedophile in a client, he “visits” with Iris (Agatha Olson), one The Nether—at least a little bit. of the virtual children who works there. Morris’s As Third Rail’s production opens, the pedophile objections to the Hideaway seem based on its veriin question, Sims (Michael O’Connell), sits in a similitude, so seeing Olson (who is actually a young bleak interrogation room. girl) playing jacks with Woodnut or talking to Sims “I am sick and have always been sick and there about birthday parties—all the while knowing is no cure,” he pleads to Detective Morris (Chantal what goes on behind closed doors—definitely gets DeGroat). “I have taken responsibility for my ill- at the visceral creepiness of the whole situation. ness. The only way I can do this is because I’ve creBut The Nether isn’t a play that allows you to ated a place where I can be my fucking self.” arrive at easy answers. Sims argues that the HideAs he says this, the barely noticeable screen away keeps him from molesting non-virtual children; in front of the interrogation room fuzzes out like Morris argues that it “fosters a culture of legitimizaan old TV, and the blacked-out set stage right of tion.” This opens up an abyss of speculation about the interrogation room illuminates. The cold morality, identity, reality and whether or not futuristic interrogation room gives way to there can be a “life without consequence,” an ornate space with golden jacquard which is essentially the Hideaway’s wallpaper, a chandelier, a stainedmotto. What’s more, O’Connell as Sims “I AM SICK glass door, and thin, white trees. is charismatic and likable, Weinstein AND HAVE We’re now in the place where as Woodnut is wide-eyed and giddy, Sims can be himself: the Hideaway. ALWAYS BEEN and Lewis as Doyle is introspective The Hideaway is one virand pitiable. It’s hard not to believe tual reality world among many that SICK AND THERE them when they profess their good form “The Nether,” which is basiIS NO CuRE.” intentions, or to mark any of them off cally the VR version of the internet. as just some out-there creep. Even the Sims created and runs the Hideaway, a assumptions behind Morris’s seemingly lush, Victorian-era paradise that draws in steadfast beliefs quickly fall apart when she is guests for its Old World beauty that the vegetation- faced with the moral ambiguity of Sims and Doyle. scarce non-virtual world can no longer match. And The play only gets more complicated as it because it’s a place where they can molest and ax progresses, and the ending feels as if it has fewer murder children. answers than the beginning. Even though the seemThe play cuts back and forth between the Hide- ingly answerless moral experiment is part of what away and the interrogation room by way of the makes The Nether exciting, its implications don’t screen, which is either a thin veil over the inter- feel entirely abstract or even all that hypothetical: rogation room or has the Hideaway’s wallpaper something like The Nether, and the Hideaways projected over it—a seriously cool effect. Morris is that come with it, seems like a very possible future. trying to get the location of the Hideaway’s server SHANNON GORMLEY. in order to shut it down, which is why she’s interrogating Sims along with another man who has spent see it: The Nether plays at Imago Theatre, 17 SE 8th Ave, 7:30 pm Thursdaya lot of time in the Hideaway, a married science Saturday, and 2 pm Sunday, through Oct. 22. teacher in his 60s named Doyle (Del Lewis). $25-$42.50. Willamette Week OCTOBER 5, 2016






#wweek 62

Willamette Week OCTOBER 5, 2016


and the humans speak in broken English and gibberish to highlight the animal/human communication barrier. Trevor once starred beside Morgan Fairchild. He now has a human mom and family. It’s hilarious to watch...until it’s really, really not. With Trevor Jones takes aim at the lies we humans tell ourselves with the adamancy of Palahniuk circa Fight Club and the inventiveness of Enda Walsh. The theater already extended the show’s run once. We suggest buying your tickets in advance. Artists Repertory Theatre, 1515 SW Morrison St., 7:30 Wednesday-Saturday, 2 and 7:30 pm Sunday, through Oct. 9. $50, $25 under 25.

Portland’s sex-positive storytelling fest.

How I Learned to Hug

John Bennett has disarming laugh lines around his translucent blue eyes, scruff around his smile, perma-bedhead and an Australian accent. With all that plus eight solo shows, he travels the world charming audiences with self-deprecating stories. He’ll tug on your heart strings, then whip out a dick joke and probably ask for a hug after. JESSE DRAKE. The Headwaters, 55 NE Farragut St., 9 pm Thursday, Oct. 6, and Saturday, Oct. 8, 7 pm Friday, Oct. 7. $15.

DANCE Diavolo

Dr. Tallulah is a shamanic healer with a YouTube channel, a Zen Cosmetologist who gives therapeutic haircuts, a sexual activist who describes the consciousness of her cliterous with a wink. She’s a cross between your hippie aunt, Christopher Guest and Dr. Ruth. Lauded local clown and storyteller Kelly Nesbitt has developed this character at Space_Time_Space variety show and O’Brien’s Revelations festival, now premiering Cosmic Fucks. Say yes to this too-weird-to-gowrong vision quest. JESSE DRAKE. The Headwaters, 55 NE Farragut St., 7 pm Thursday, Oct. 6, 10:30 pm Friday, Oct. 7. 8 pm Saturday, Oct. 8. $15.

For more Performance listings, visit


White Bird brings in acrobatic dance company Diavolo for the premiere of Passengers. Never a company short on spectacle and difficult stages to dance on, Diavolo performs Passengers on a giant moving staircase. Leading up to the premiere, the Los Angeles company will also reprise L.O.S.T. and its 1984-inspired piece, Cubicle. Newmark Theatre, 1111 SW Broadway, 7:30 pm Thursday-Saturday, Oct. 6-8. $26$70

Cosmic Fucks

Giants Before Us

In his debut work as Oregon Ballet Theatre’s new resident choreographer, Nicolo Fonte will explore the company’s place among the giant legacies of the two contemporary ballets in the show’s program: Serenade and the company’s premiere of In the Middle, Somewhat Elevated. Fonte might be best known in Portland for his recent Never Stop Falling (in Love), whish was set to Pink Martini playing live onstage. Giants Before Us, however, is set to Franz Liszt. Keller Auditorium, 222 SW Clay St., 7:30 pm Saturday, Oct. 8, 2 pm Sunday, Oct. 9, and 7:30 pm Thursday-Saturday, Oct. 13-15. $29$146

COMEDY & VARIETY All Jane Comedy Festival

A swarm of female comedians are winning our hearts and funny bones. From Oct. 5 to 9, this woman-centric festival features contemporary comedians such as Maria Bamford, creator and star of Netflix’s hit Lady Dynamite. Here, women hog the mic, retaliating against another distressingly male-dominated industry. JACK RUSHALL. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 503-477-9477. 7:30 pm Wednesday, 7:30 and 9:30 pm Thursday-Saturday, 2 pm Sunday, through Oct. 9. $5-$15.

FRIDAY, OCT. 7 Stellar

Hey, transplant, you too can sound like a local. Relaying a few Bri Pruett wisecracks over your next round of overpriced cocktails is a satisfying footstep toward integration. Portland’s most commonly sighted comedian, Bri Pruett (think Pidgey)—who thankfully has yet to move to L.A. like the others—performs this solo show in which she offers her 2 cents on pressing issues like sex, astrology and body positivity. Pruett has been prepping for Stellar since February, giving her more than enough time to perfect the Sade playlist that will accompany this set of scratchy, online dating-inspired one-liners. JACK RUSHALL. CoHo Theater, 2257 NW Raleigh, 503-220-2646. 8 pm Thursday, 7:30 and 10 pm FridaySaturday, 2 pm Sunday, through Oct. 16. $20-$25. 21+.

POWER PLAY: Matt Smith plays the maniacal monarch.

Richard Dreams of Demons Post5 Theatre’s Richard III bursts with all the bloodlust and political gamesmanship you’d expect. Yet Post5 justifies reviving Shakespeare’s centuries-old text by making it feel as surreal and terrifying as a horror film. This rendition begins with Richard (Matt Smith) awakening from a fretful sleep. Smith proves to be an inspired casting choice. Quiet and short, he may look unimposing, but he moves so effortlessly across the stage that his hunched back makes him seem less a cripple than a contorted, speedy insect buzzing toward England’s throne. It’s a blast watching Richard hoodwink the sentimental fools standing between him and the crown, though the play never forgets that Richard is a monster (specifically, a child murderer). The play is filled with nightmarish visions, like when the stage floods with crimson light, creating the illusion that Richard has drenched the theater in blood. The added unsettling dream sequences are so effective that the omission of Richard’s nemesis Richmond is barely noticeable. Physical antagonists aren’t as interesting as Richard’s inner demons, which are symbolized by distorted voices echoing across the stage. With all the violence, it would have been a cinch to render the play a grim slog. Luckily, the cast dodges that trap by maximizing the story’s sly wit. Even when Richard torments Elizabeth (Elizabeth Parker) after slaughtering her two sons, Smith’s delivery is so casual that Richard’s obliviousness to Elizabeth’s anguish becomes both horrifying and hilariously absurd. There’s much to admire, from the ingenious set design (fittingly, the stage’s checkered floor looks like a chessboard) to the last scenes featuring Richard’s sister Clarence (Isabella Buckner, playing a character who’s usually male), which have been entertainingly reimagined to include a tearful monologue delivered to a barber. For Shakespeare diehards, Richard III may have become too familiar. Yet Post5’s take on Richard and his colorful circle of enemies is so inventive that even viewers who have heard Richard rage about “the spleen of fiery dragons” countless times may feel as if they’re being overpowered by the play for the first time. BENNETT CAMPBELL FERGUSON. The Bard’s classic gets a horror-movie update.

SEE IT: Richard III plays at Post5 Theatre, 1666 SE Lambert St., 7:30 pm Friday-Sunday, through Oct. 22. Additional show 7:30 pm Thursday, Oct. 20. $20 Friday-Saturday, pay what you will Thursday and Sunday.


Tony & Grammy Award Winner




800.273.1530 | Portland’5 Box Office | TicketsWest Outlets Willamette Week OCTOBER 5, 2016


VISUAL ARTS courtesy of jingzi zhao






Saturday, October 8th at 5pm StageWorks Ink Theatre presents a one weekend production of John Waters cult classic film, ‘Cry-Baby’! A Rockabilly Fairy-tale featuring a live band and an amazingly talented cast. Catch a special preview performance of select songs from the production at Music Millennium this weekend, and catch the full production at the Clinton Street Theater on the 14th-16th!


Sunday, October 9th at 5pm With the storytelling heart of a troubadour, the passion and soul of a prophet and the gritty twang of a sagebrush sinner Matthew Lindley loads the virtual jukebox with a smokey blend of Blues, Americana, Rockabilly, and Southern soul that has Nashville leanings but is firmly rooted in the PNW.

10 Limited Edition October Releases On Pink Vinyl To Benefit Gilda's Club NYC & Fight Breast Cancer


Willamette Week OCTOBER 5, 2016

Willamette Week publishes on Wednesdays. Portland’s art galleries open new shows on the first Thursday of the month. For a long time, that’s made it tough for us to cover new shows the way we’d like. In the year I’ve been the art critic here, I’ve written preview listings for shows I have not yet been able to see, cobbling together information from press releases sent by artists and galleries— which isn’t a great way to write about art. We’re trying something new this month. Instead of writing a page of listings for shows I haven’t been to yet, I’m offering up a handful of recommendations for shows that I’m most looking forward to seeing, in hopes you’ll look forward to seeing them too, and maybe we’ll bump into each other at the galleries.

Fuse-Portland Dance Portrait

see representations of the best and worst of this country’s political system at a time of profound upheaval. Newspace Center for Photography, 1632 SE 10th Ave., 503-963-1935. Through Oct. 29.

Night Lights

Every First Thursday, from now through April, different artists will project their digital work onto the side of the Regional Arts & Culture Council building as soon as the sun sets. This month, artist Renee Sills beams instructional dance videos into the night, so be prepared to knock elbows with strangers at a sidewalk street party. Regional Arts & Culture Council, 411 NW Park Ave., 503-823-5426. Oct. 6.

Camp Here Tonight

Conceptual artist Wynde Dyer takes on the role of activist with her installation of beautifully crafted tarp-quilt tents meant to raise awareness about Portland’s housing crisis. She wants us to think about solutions, like each of us putting one of her handmade Camp Here Tonight signs in our front yard, promoting a place where someone without a roof could sleep safely for the night. Fine art meets civil disobedience meets social justice. Littman Gallery at PSU Smith Student Union, 1825 SW Broadway, No. 250, 503-725–4452. Through Oct. 27.

Employing the talents of 45 dancers, photographer Jingzi Zhao creates portraits of our city through captured movement. Zhao places dancers in quintessentially Portland locations, photographing them mid-gesture in a way that evokes place more than just an image of place ever could. In the highly stylized compositions, dancers hang upside The End Is Near by Dan tague, down in a MAX car, contort part of On Democracy themselves on cafe tables with James Florschutz coffee cups balanced on their Open Studio heads, and hang in midair over the Willamette It’s an honor to be invited into an artist’s studio. Valley like birds riding a thermal. Multnomah Arts It is an act of vulnerability to allow another perCenter Gallery, 7688 SW Capitol Highway, 503- son to stand in someone’s creative space, to see 823-2787. Through Oct. 25. unfinished work. Often this honor is reserved for gallerists and curators, which is why I’m excited On Democracy that sculptor James Florschutz, who creates The gallery at Newspace Center for Photogra- incredibly intricate pieces from found materials, phy continues to show provocative work that is opening his studio to everyone on First Thursasks difficult environmental, sociopolitical and day. Shuffle through the sawdust on the floor, ask economic questions. This month, a group exhibi- how he suspended thousands of pencils for an tion of videos and photographs reflects back to upcoming commission, smell the work in progress. us the democratic ideals that we’re aiming for James Florschutz Studio, 618 NW Glisan St. and where we’re collectively failing. Expect to (enter through Wolff Gallery), 503-928-2411. Oct. 6. c o u r t e s y o f da n ta g u e

Stageworks Ink Theatre Presents

BOOKS 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.

WEDNESDAY, OCT. 5 The Timberline Review

For the newest issue of The Timberline Review, several local authors will read, including Andrea Hollander, David Melville, Mark Cunningham and Emily Ransdell. Annie Bloom’s Books, 7834 SW Capitol Highway, 503-246-0053. 7 pm. Free.

Kim Stafford

Kim Stafford is a writer no less devoted than was his father, William Stafford, Oregon’s most famous poet. His 1986 book of essays, Having Everything Right, weaves together the landscape, anthropological history, and folklore of the Pacific Northwest. It will be re-released this month. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

Kate Gray

Novelist and poet Kate Gray was a finalist for the 2007 Oregon Book Award for her collection of poems Another Sunset We Survive. Her forthcoming novel, Any More, Black Shoe, imagines the intersecting lives of two characters, one of whom is the poet Sylvia Plath. Less expectedly, the novel’s other main character is Maureen Buckley, the real-life sister of conservative demigod William F. Buckley Jr. University of Portland Bookstore, 5000 N Willamette Blvd., 503-943-7125. 7:30 pm. Free.

THURSDAY, OCT. 6 Unsportsmanlike Conduct: College Football and the Politics of Rape Author and journalist Jessica Luther comes from Texas football country, so you can imagine how popular she is after writing her new book, Unsportsmanlike Conduct: College Football and the Politics of Rape. Luther brings an unflinching gaze to a pernicious problem so many have tried to cover up. Annie Bloom’s Books, 7834 SW Capitol Highway, 503-246-0053. 7 pm. Free.

Steve Olson

The eruption of Mount St. Helens caused more than $1 billion in damage and killed 57 people. Combining stories of both survivors and those killed in the blast, and scientific exploration of what exactly occurred, Eruption: The Untold Story of Mount St. Helens, is the newest book by Steve Olson, a nationally acclaimed science writer. Broadway Books, 1714 NE Broadway, 503-2841726. 7 pm. Free.

Gary Younge

The tragedies keep adding up: Sandy Hook, Orlando, San Bernardino, Fort Hood and, closer to our home, Umpqua and Burlington. Another Day in the Death of America, by journalist Gary Younge, explores the human toll of our nation’s refusal to adopt guncontrol measures. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

MONDAY, OCT. 10 Bae Suah with Deborah Smith

In prose both lyrical and rhythmic, Korean writer Bae Suah’s novel A Greater Music recounts the story of two lovers during three years spent in Berlin. Bae will be joined by the translator of the book and Man Booker International Prize winner Deborah Smith. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-8787323. 7:30 pm. Free.

WILLAMETTE WEEK’S The Black Panthers

The Black Panther Party created some of the most iconic imagery of protest and political activism in the 20th century. Photojournalist Bryan Shih traveled the country to photograph and interview surviving members for his book The Black Panthers: Portraits From an Unfinished Revolution. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

TUESDAY, OCT. 11 Marilynne Eichinger

The best day of the school year is always the trip to OMSI. But science was not always taught as a handson, experience-oriented discipline. Lives of Museum Junkies, by former OMSI president Marilynne Eichinger,


tells the stories of museum directors who fought to change how science is taught. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Alton Brown

Glorious geek of gastronomy Alton Brown made a name for himself on classic cooking show Good Eats by using chalkboard drawings to explain mayonnaise, and Slinkys to show how gluten holds together bread dough. After weight loss, Brown reinvented himself for Iron Chef America. His new book, EveryDayCook, features 102 recipes he uses to stay in TV-host shape. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323. 7 pm. Free.

For more Books listings, visit


Nell Zink, NICOTINE More than any other living American novelist, Nell Zink is subject to strange mythologies. What’s stranger, they seem to all be true. She didn’t have a novel published until her late 40s, but then churned out three in as many years. She’s been living in Germany for some reason. She was discovered by Jonathan Franzen after she wrote him lots of emails. She wrote two of her novels in the span of about six weeks. Zink is also one of the most exciting people writing books right now, springing out of the firmament with a fully formed voice that feels at once controlled and completely batshit. Previous novels were about tourists who go rogue as eco-terrorists (The Wallcreeper), or a white woman who escapes her obsessive husband by passing as an albino black before raising her very blond child the same way (Mislaid). Her newest, Nicotine (Ecco, 304 pages, $26.99), likewise follows the sociopathic dream logic of early Gus Van Sant or ’70s French anarch Bertrand Blier. On its first page, a middle-aged American discovers a 13-year-old Colombian girl as she “stands in a landscape made almost entirely of garbage, screaming at a common domestic sow.” By page 5, she’s his wife and the mother of his daughter—but is nonetheless sleeping with his son, who is older than her. And by page 11, Amalia’s daughter, Penny, is watching her father die at a religious hospice run by nurses who refuse him painkillers, because the internet made them believe he is a drug-seeking Satanist. They are afraid of making mistakes, because the hospice is “run like one of those brothels that are nominally strip clubs. The license affords no protection to the dancers.” But amid plot that seems chaos, Zink’s voice throughout is gentle and restrained—a strong and sad chain of unlikely insight and sideways metaphor—and the world her book describes seems like ours. Actually, it seems a lot like Portland. After her father’s death, Penny goes back to the family home to discover it’s become a wellmaintained activist squat called Nicotine—ostracized from the other squats in their collective because everybody there smokes cigarettes. “They wouldn’t even let me smoke at a NORML smoke-in,” complains a girl named Sorry. “They said nicotine is a nerve poison, and they were drinking beer.” “It’s activism that’s poison,” says another. But, of course, rather than take charge of the home and evict them, Penny falls in love with a man there who claims to be asexual. We’re at, like, page 60 now. Like The Crying of Lot 49 by Thomas Pynchon, the book seems to change its subject almost every 30 pages in a way that alters almost everything before it. It is a series of catalyzing reactions that leaves the reader, finally, feeling like the one who’s changed. MATTHEW KORFHAGE. GO: Nell Zink reads at Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd.,, on Tuesday, Oct. 11. 7:30 pm. Free.


= WW Pick. Highly recommended.

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Willamette Week OCTOBER 5, 2016






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Willamette Week OCTOBER 5, 2016


courtesy of fox searchlight films

MOVIES get yo ur r e Ps iN

Andy Warhol: Part I


Part one of ric Burns’ epic, four-hour documentary about Pop artist andy Warhol covers his meteoric rise to international fame, while kicking off the Portland art museum’s new exhibit showcasing about 250 prints from the schnitzer family’s extensive collection of his work. NW Film Center’s Whitsell Auditorium. 2 pm Saturday and 4:30 pm Sunday, Oct. 8-9.

The Birth of a Nation (1915)

D.W. Griffith’s The Birth of a Nation is one of the greatest technical achievements in cinematic history. It’s also one of the most racist films ever made. It follows the story of a Northern family and a Southern family in the Reconstruction-era South that unite to drive black soldiers—cruelly portrayed as lascivious, violent and lazy by white actors in blackface—out of a South Carolina town with the help of the film’s gallant heroes, the Ku Klux Klan. Part of Parker’s goal with Nation was to reclaim the poisonous legacy of Griffith’s film. Those conspicuous Christian symbols in Nation are taken from Griffith’s use of Christianity to justify the KKK’s racial terrorism.

Brazil (1985)

terry gilliam’s goofy dystopian satire follows sam lowry (Jonathan Pryce), a daydreaming, low-level bureaucrat who gets caught up in a heroic plot against paperwork and a totalitarian government with a renegade air conditioner repairman (robert De Niro). NW Film Center’s Whitsell Auditorium. 7 pm Friday, Oct. 6.

Boyz n the Hood (1991)

FREEDOM!: Nate Parker.

Do the Right Thing (1989)

as sad as it is, radio raheem’s fate in spike lee’s magnum opus is as politically relevant today as it was almost 30 years ago. and don’t step on people’s new Jordans. Hollywood Theatre. 7:30 pm Wednesday, Oct. 5.

Return of the Living Dead (1985)

of all of the goofy-assed zombie flicks shambling around this halloween, very few secretly double as punkrock canon like Return does. Academy Theater. Oct. 7-13.

The Craft (1996) and Scream (1996) double feature

Wes craven’s post-ironic slasher flick Scream was both a send-up of and homage to horror, credited with bringing the genre out of the direct-tovideo doldrums. celebrate its 20th anniversary with catholic teen witch thriller The Craft. Mission Theater. 5:30 pm Monday, Oct. 10.

ALSO PLAYING: 5th Avenue Cinema: Trouble Every Day (2001) and Dracula: Pages From a Virgin’s Diary (2002), oct. 7-9. Academy Theater: The Thing (1982), oct. 5-6. Hollywood Theatre: Polyester (1981), 7:30 pm monday, oct. 10; Seven Brothers Meet Dracula (1974), 7:30 pm tuesday, oct. 11. Mission Theater: Mean Girls (2004), 6 and 8:15 pm Wednesday, oct. 5; The Craft (1996), 5:30 pm tuesday, oct. 11. NW Film Center’s Whitsell Auditorium: Histoires D’Amérique (Food, Family, and Philosophy) (1989), 7 pm friday, oct. 7; Makibefo (2001), 4:30 pm saturday, oct. 8; Romeo + Juliet (1996), 7 pm saturday, oct. 8; Kiss Me, Kate (1953), 7 pm sunday, oct. 9; News From Home (1973), 7 pm monday, oct. 10.


In an awful year, somehow a single movie has found itself in the middle of every horrible thing about America: racist violence, rape culture and whatever white Southerners are pissed off about. On the one hand, Nate Parker’s The Birth of a Nation is a perfectly competent prestige picture. It tells the painful story of Nat Turner, a literate, enslaved field hand and preacher who led an 1831 Virginia slave rebellion that inspired a massive, murderous reaction against free and enslaved black Americans throughout the South. The film’s incredible success at the Sundance Film Festival—Fox Searchlight purchased it for a festival-record $17.5 million—was bookended by grandiloquent statements about his film’s historical import, in a time when America is finally again coming to terms with the violence committed against black Americans by police. Parker told the Huffington Post, “I honestly think this is a film that could start a conversation that can promote healing and systemic change in our country.” Then the rape charges surfaced.

Parker and Nation co-writer Jean McGianni Celestin had faced sexual assault charges while students at Penn State in 1999, which bleakly culminated in the 2012 suicide of their accuser. The film itself began receiving mixed reviews, with Vinson Cunningham of The New Yorker recently writing that “it’s hard even to call it a successful attempt at propaganda.” In essence, The Birth of a Nation has been a total shitshow. The film is often aesthetically beautiful: Gorgeous, sweeping shots of the rural South underpin the day-to-day toil of farm work, and Turner’s brief dream sequences are haunting. Parker wields depictions of graphic violence sparsely, only using them when necessary to drive home the cruelty waiting around every corner. But Nation is heavy-handed, pounding in Christian symbolism to drive home Turner as a messiah figure. The first half of the film stumbles through syrupy portrayals of interpersonal relationships—one particular double take of Turner seeing his wife, Nancy (Aja Naomi King), at church will roll your eyes out of your skull. Nation is a big, difficult, still important mess, a Kobayashi Maru of American history. Here are three movies that shine a light on it.

One of Nation’s recurring themes is the everyday, dehumanizing terror that the institution of slavery was to its victims, no matter how “peaceful” it could seem in relative quiet. A marriage is violated when a drunken guest of Turner’s master, Sam Turner (Armie Hammer), wants to have sex with his slave Esther (Gabrielle Union). A minor act of goodwill suddenly turns into a violent humiliation. A force-feeding is one of the most grotesque scenes you will see on film. This puts Nation solidly in the tradition of movies like John Singleton’s Boyz n the Hood, which follows Tre Styles (Cuba Gooding Jr.) in the Crenshaw District in Los Angeles, chronicling life growing up in a neighborhood plagued by the constant threat of violence, where a talented young man who does everything right can still end up bloody in the street. Nation best succeeds as this kind of film, a reflection of the chaos and terror in which systemic racism keeps good people trapped.

Top Five (2014)

In Top Five, Chris Rock’s character Andre Allen is a comedian in existential crisis, trying to make his comeback after a disastrous foray into “serious” film when his movie Uprize, a story about Haitian revolutionary Dutty Boukman, is viciously panned. Nation’s worst moments reflect a director out of his element tackling a monumentally serious story. In the film’s corniest sequence, Turner and his rebels shout out, one by one, the chores they no longer have to do now that their former masters are dead. It is impossible not to mentally insert a phantom Chris Rock in period garb springing to the forefront. By the end of Nation, you’ll have a creeping suspicion this could be a take on Mel Gibson’s Braveheart (1995) set in the antebellum American South. And it is very hard to treat Braveheart as a film that revolutionized anything.

B SEE IT: The Birth of a Nation is rated r. it opens friday at Bridgeport, cedar hills, city center, clackamas, Division, eastport, fox tower, lloyd, tigard, Vancouver. Willamette Week OCTOBER 5, 2016


MOVIES = 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: Fax: 243-1115.


American Honey

We first glimpse Star (Sasha Lane), the charismatic protagonist of Andrea Arnold’s (Fish Tank) coming-of-age drama, knee-deep in a dumpster, salvaging a shrinkwrapped chicken in the Texas heat. We follow her to Kmart, where she runs into a gnarly group of teens goofing off to Rihanna’s “We Found Love.” The rest of the shoppers are annoyed, but Star is transfixed, mostly by Jake (Shia LeBeouf) shimmying atop a checkout counter. After a disturbing confrontation with her stepfather, Star takes Jake up on his “business opportunity,” joining the Mag Crew: a group of aimless, hardpartying youths who crisscross the Plains States selling magazine subscriptions. What follows is a nearly three-hour road epic, a tapestry of booze, cornfields and dysfunctional romance that depicts American young adulthood in 2016 with such perfect and uncanny verisimilitude it sometimes feels like a documentary. This may be due to Arnold’s habit of casting non-actors; she assembled her Mag Crew out of characters she met on the road, and they interact with a kind of easy chemistry that lends poignancy to the long stretches in the van, when Star and her friends are drinking, smoking and singing along to Rae Sremmurd and Lady Antebellum. What emerges is an empathetic, often harrowing depiction of life in the poorest crevices of the American heartland, a sometimes sweet, sometimes sickening exploration of places Hollywood usually reserves for mockery and derision. R. GRACE CULHANE. Fox Tower.

The Girl on the Train

Tate Taylor’s adaption of Paula Hawkins’ best-selling novel stars Emily Blunt as Rachel Watson, a divorced alcoholic who fantasizes about her neighbors’ relationship on her daily commute. Things take a turn for the thriller when Watson witnesses an incident in her neighbors’ house and the wife ends up missing. Not screened for critics. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Living Room Theaters, Lloyd, St. Johns Pub and Theater, Tigard, Vancouver.

H.P. Lovecraft Film Festival and Cthulucon

Landscape of Intimate Portraits: The Films of Eva Marie Rødbro

In her short film I Touched Her Legs (2010), Danish filmmaker and photographer Eva Marie Rødbro weaves together fleeting shots of children, teenagers and young adults in Brownwood, Texas, with shots of animals, insects and supermarket parking lots. Rødbro summons waves of nostalgia, capturing the tiny, forgotten moments that define youth—kids screwing around in a field, attempting backflips, driving around in trucks or just smoking cigarettes with friends. Rødbro will attend Cinema Project’s screening of a collection of her short films. NR. NXT Industries. 7:30 pm Wednesday, Oct. 5.

Mia Madre

B Acclaimed Italian director Margherita (Margherita Buy) is in the midst of shooting an uninspired film while struggling through a midlife crisis, the pains of which are amplified when her mother (Giulia Lazzarini) falls ill and needs to be hospitalized. Margherita slowly succumbs to the mounting pressures of being a loving wife, caring mother, supportive daughter to an ailing parent, and firm director to a needy crew. As her personal and professional lives bleed into each other, she begins to question herself as an artist while suffering from ghastly nightmares and visions of her mother’s death. John Turturro does his best to provide comic relief for the film through his portrayal of Barry Huggins, a bumbling ItalianAmerican character actor. Turturro is a welcome presence on screen, and his scenes play well as individual moments. But as part of the bigger picture, the humor often feels forced amid the overpowering dramatic themes, and it’s hard

Phantasm V: Ravager

C Will future generations of horror acolytes one day admire the flattened visuals and cut-rate CGI of our current crop of microbudgeted slash-’em-ups as somehow more authentic? Faithful fans (“phans”) of Phantasm insist the visible wires and rubber masks utilized by the damnably influential 1979 drive-in staple lend an air of verisimilitude to the original production’s macabre dream logic, but low-rent effects rendered digitally haven’t quite the same romanticized connotations. This fifth and purportedly final installment of the franchise began life as a series of disconnected webisodes before franchise creator Don Coscarelli, director of Bubba Ho-Tep and other cult classics, devised an effective (if not especially innovative) framework to incorporate the disparate footage. Following a typically blood-soaked adventure across desert wasteland, former ice-cream salesman Reggie (Reggie Bannister) awakens in a rest home where doctors and former comrade-in-arms Mike (A. Michael Baldwin) claim he’s been suffering from dementia, only imagining lost decades in battle against interdimensional undertaker the Tall Man (Angus Scrimm, who died shortly after filming) and his Sentinels— metallic spheres of whirling blades and cranial exsanguination. For all the OTT schlock spectacle and community-theater-quality performances, there’s a tangible bond between the characters that gathers emotive momentum toward a surprisingly touching coda. Though technically directed by TV animation vet David Hartman, producer and co-writer Coscarelli remains the guiding presence, and the central elements of his enduring vision predominate—faintly sinister wonderment, a blithe distaste for narrative coherency, and balls of goddamn steel. R. JAY HORTON. Hollywood.

Shin Godzilla (Godzilla Resurgence) The King of Monsters is back in the hands of Japan’s Toho Co. Ltd., the studio that first brought Godzilla to life more than 50 years ago. The 31st film starring everyone’s favorite kaiju reboots the series for the Pacific Rim generation. Not screened for critics. NR. Cedar Hills, Clackamas, Eastport, Fox Tower, Hollywood.

C O U R T E S Y O F M E T R O - G O L D W Y N - M AY E R S T U D I O S

There’s something about Howard Phillips Lovecraft’s hallucinatory concoction of science fiction,

fantasy and horror that has made him an enduring influence across the entire spectrum of nerd culture even as we approach the 100th anniversary of his death. This year, Portland’s annual celebration of his work turns 21, and the Hollywood Theatre is going to be jammed with more short films, readings, live radio plays, cosplay and other celebrations of the man’s work than you can shake a writhing mass of tentacles at. If you can only attend one day, choose Saturday for a 30th anniversary screening of Stuart Gordon’s weird cult horror film From Beyond (1986) for which Gordon will attend a Q&A. Hollywood Theatre. Oct. 7-9.

to find the strength to laugh at a character’s slapstick dance routine after watching Margherita emotionally decay in her mother’s hospital room. Writer-director Nanni Moretti packs as much humanity as he can into every scene, but at 108 minutes, piling so many crises into such a long and slow-paced film is a lot to ask of an audience. R. CURTIS COOK. Cinema 21.


Willamette Week OCTOBER 5, 2016

Finding Dory B+

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, Cinemagic, Clackamas.

The Beatles: Eight Days a Week

A 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. NR. Cinema 21, Hollywood.


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. Academy, Avalon, Vancouver.


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. Vancouver.

Blair Witch

James Donahue ventures to the woods of Burkittsville, Md., to track down his missing sister, Heather, after footage of her surfaces on the internet. Not screened for critics. R. Bridgeport, Bridgeport, Clackamas, Division, Eastport, Oak Grove, Vancouver.

Bridget Jones’s Baby

C The third installment of the Bridget Jones franchise is wearily formulaic both in storyline and characterization. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Living Room Theaters, Tigard, Vancouver.

Café Society

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. Academy, Empirical, Jubitz, Vancouver.

Florence Foster Jenkins

B Making fun of terrible singing is cheap and easy, but Florence Foster Jenkins avoids cheap shots. PG-13. Fox Tower.


Paul Fieg’s reboot is maximalist. It’s glorious, and if it ruined your childhood, sorry bro. PG-13. Academy, Avalon, Kennedy School, Laurelhurst.

Hell or High Water

B+ Was No Country for Old Men too smart and slow for you? Loved the gunfights and the misanthropic cowboy glamour, but maybe Javier Bardem’s haircut made you uncomfortable? Try Jeff Bridges’ new Western genre vehicle. R. Bridgeport, City Center, Clackamas, Fox Tower, Hollywood.

Jason Bourne

A- 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. Bridgeport, City Center, Clackamas.

Jheronimus Bosch: Touched by the Devil

2016 marks the 500th anniversary of Jheronimus Bosch’s death, and this art history doc follows a team of Bosch experts who traveled the world for four years to find every single hellish creature in Bosch’s deeply elaborate paintings, delving deep into the creative process that spawned a hundred bird demons. Not screened for critics. NR. Living Room Theaters.

C- The annual Woody Allen produc-

tion 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. Vancouver.

Captain Fantastic

A Viggo Mortensen is mud-splattered,

idealistic and good at killing things... again. But this time with six kids in tow. R. Fox Tower.

Deepwater Horizon

C+ How do you make a movie about

the worst oil disaster in U.S. history? If you’re director Peter Berg (Lone Survivor), you condense an environmentally devastating oil spill into an incoherent action blowout starring Mark Wahlberg as Mike Williams, a BP employee who escaped the Deepwater Horizon oil rig disaster that ultimately killed 11 people. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

Don’t Breathe

Don’t Think Twice

A- The newest feature

from comedian Mike Birbiglia has already been called Birbiglia’s Annie Hall, and with the help of KeeganMichael Key and Gillian Jacobs, this movie brings together a group of talent on the verge of superstardom. R. Cinema 21, Kiggins.

CO U R T E SY O F PA R A M O U N T P I C T U R E S / M E T R O - G O L D W Y N - M AY E R P I C T U R E S

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. City Center, Clackamas, Division, Eastport, Fox Tower, Tigard.



Kubo and the Two Strings

Laika’s late-summer bid for animation domination is an original story that feels lived in, a kid-focused fable with real stakes, and it’s a high-octane spectacle full of white-knuckle action and terrifying creatures that’s matched every step of the way by heart. PG. Cedar Hills, Cinemagic, Clackamas, Division, Eastport, Lloyd.

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. Clackamas, Living Room Theaters.

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. Laurelhurst.

The Magnificent Seven

When an evil industrialist seizes control of a Wild West town, its residents enlist the help of gunslinging mercenaries played by Denzel Washington, Chris Pratt and company to save the day. Not screened for critics. PG-13.


Bagdad, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Roseway, St. Johns 1 & 2, Tigard, Vancouver.


When a work crush ensorcells armored-truck driver David (Zach Galifianakis) into a committing a heist, he stumbles his way into stealing $17 million, is promptly betrayed, and must hide from the cops and a hit man while trying to set up the crooks who set him up. Not screened for critics. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Living Room Theaters, Lloyd, Oak Grove, Tigard, Vancouver.

Miss Peregrine’s Home for Peculiar Children

B- Tim Burton’s adaptation of Ransom Riggs’ young adult bestseller nearly ignores the dull business of storytelling altogether via expository plot dumps crumpled in between ever more fantastical evocations of ghoulish Victoriana. PG-13. Beaverton, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Moreland, Oak Grove, Pioneer Place, St. Johns 1 & 2, Tigard, Vancouver.

Junior (Andy Samberg) is tasked to deliver an unauthorized baby to a human family. PG. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, 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. Cedar Hills, Clackamas, Division, Eastport, Oak Grove, Vancouver.


C- Clint Eastwood’s worst movie since 2011’s J. Edgar, his tale of Chesley “Sully” Sullenberger’s 2009 emergency landing of a commercial jetliner in the Hudson River is weighed down by too many familiar actors and rote dialogue. PG-13. Bridgeport, Cedar

Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, 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. Living Room Theaters.

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. Division.

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Operation Avalanche

B- Neil Armstrong’s moon landing was faked in a scrappy CIA conspiracy, according to this gleefully silly mockumentary directed by Matt Johnson. As this con balloons into a fiasco, the film’s jittery cinematography grows irritating, but Johnson’s geeky performance is delightful, and the movie’s notion that two buffoons were behind history’s greatest space expedition is one of the year’s better gags. PG-13. Living Room Theaters.


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. Your kids will cry through the majority of the film, and you probably will too. PG. Oak Grove, Tigard.

Phantasm Remastered

Don Coscarelli’s gruesome buddy flick/ dreamlike horror classic set in the fictional town of Morningside, Ore., is remastered to digital 4K this year with help from J.J. Abrams (Star Wars: The Force Awakens). R. NATHAN CARSON. Hollywood Theatre. 7:30 pm Thursday, Oct. 6.

Queen of Katwe

B+ The irony of “based on a true story” preceding a live-action Disney film is that the movie to follow will probably feel like a fantasy. But Queen of Katwe’s finishing move is depicting Ugandan chess prodigy Phiona Mutesi’s rise to a world-class master with levity and without pandering. PG. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Lloyd, Vancouver.


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. Eastport, 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. Clackamas, Eastport, Empirical.


C- Oliver Stone’s biopic about Edward Snowden doesn’t offer any insights beyond what you can get from Wikipedia. Stick to 2014’s Citizenfour. R, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Lloyd, Oak Grove, Tigard, Vancouver.



Woman With a Movie Camera Kirsten Johnson’s cinematic memoir is both personal and expansive.

At the start of director Kirsten J o h n s o n ’s d o c u m e n t a r y Cameraperson, we’re shown a herd of goats ambling through a field in Bosnia. There’s no particular reason; reason isn’t the spur that drives Cameraperson forward. Culled from footage Johnson has shot for numerous documentaries, including Fahrenheit 9/11 (2004), Citizenfour (2014) and Trapped (2016), the film is driven not by a single thought but by many. In many ways, Cameraperson is a study of human-to-human viciousness—a movie about rape, ethnic cleansing and Guantanamo Bay. Yet it’s also about Alzheimer’s, wrestling and being a mother to twins. It is a reflection of everyone and everything Johnson has explored as a filmmaker. Johnson has been working as a cinematographer since the 1990s, and Cameraperson reflects the vastness of her body of work. By the end of the movie, she’s journeyed to Afghanistan, Brooklyn, Nigeria, and Darfur—and has used vignettes from those disparate worlds to meditate on various brands of worldly horror. There’s something dubious about a movie that tries to wow you with its virtuosity by wrapping 9/11, the Iraq war, and the murder of James Byrd Jr. (who was dragged to death behind a car) into a single narrative. By the time Johnson turns her camera toward the awful sight of a newborn baby who can barely breathe, you may wonder if the movie’s appetite for plunging into some of the worst moments in human history proceeds from a desire to manufacture superficial shocks. But Cameraperson still commands your attention, hooking you with loose, tender moments. Johnson’s kids grab at her camera’s lens cap. Her father picks up a dead bird and promises to bury it under a tree. There’s nothing extraordinary about these encounters, yet that’s exactly why they’re so entrancing. Johnson’s presence is undeniable throughout these scenes—often, we hear her talking behind the camera. It may be a movie, but it is also a memoir, a record of Johnson’s life as an artist, a mother and a daughter. When Johnson finally appears onscreen nears the film’s end, it doesn’t seem shocking. The beauty of Cameraperson is that she’s been there the whole time. BENNETT CAMPBELL FERGUSON. B+ SEE IT: Cameraperson is not rated. It opens Friday at Cinema 21.

Hilarity ensues when delivery stork

Willamette Week OCTOBER 5, 2016


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1979 NW VAUGHN ST. SUITE B PORTLAND, OR 97209 HOURS: 11-7, 7 days a week Just North of the Pearl District.






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WAKE N’ BAKE Winning by a landslide, 439 of you like to start your day with the classic Hippie Speedball (coffee and a joint). Go figure, Portland.

HIGH ADVENTURES After your toasted morning, 300 of you like to cruise Forest Park for potential new BFFs; friendship bracelets in hand.

MUNCHIES The tightest race of them all, 245 of you prefer the classic Munchies™. For a town filled with “foodies”, we’re shocked.

PARTY ON, WAYNE 392 of you claim to have partied in the 90s. We’re skeptical based off of the fact that the average age of y’all is 25-32 ...

ENTERING REM When Portland isn’t stuck in perma-overcast, 419 of you like to gaze at the night’s sky and get deep. Thank you Nectar PDX for providing the winners with gift packages and thanks to all the participants!

Full results at 70

Willamette Week OCTOBER 5, 2016


Cliff Thomason wants to “free the seed.” The Independent Party candidate for Oregon governor wants “to make Oregon great.” While that slogan sounds scarily familiar, and while Thomason has a background in real estate, he is no Donald Trump. Thomason also advocates sustainable jobs, increased funding for education and the continuation of Oregon’s medical marijuana program. That third objective is particularly important to Thomason, a well-known hemp farmer who says his 2015 crop has been used in cosmetics, herbal extracts and beer. In addition, he serves as president of the Oregon Hemp Company and says he will promote the cannabis industry if he’s elected governor in November. We spoke to Thomason about what inspired him to run for office, his planned cannabis policies and the hemp vodka he says the Oregon Liquor Control Commission won’t let him sell. WW: What are you willing to do for cannabis that no other candidate will do? Cliff Thomason: [Stop] the state’s systematically dismantling of the medical marijuana program. Literally thousands of patients are being affected by that. I think that after years of the medical marijuana program being legal and running fine, to go in there and put restrictions on it and add costs to it is just wrong. So I’m fighting for patients’ rights to make sure we don’t destroy the program simply because it doesn’t generate revenue for the state.

As governor, what specific steps would you take to protect medical marijuana? If you get your medical marijuana card in Oregon and you’re an Oregon Health Plan patient, that’s subsidized. Yet we’ve done nothing to give affordable access to these patients. So I see a perfect world where patients go to their doctors, get a prescription, go down to their dispensary, get that prescription filled, and the dispensary will be able to bill that to the Oregon Health Plan. Will you continue farming hemp if you’re elected governor? I’m going to free the seed…and really blow it up as an agricultural commodity. You get so much more fiber and pulp from an acre of hemp than you do from an acre of a forest. [With the Clean Fuels Program in 2015], I would have found a way working with the DEA to release hundreds of thousands of pounds of hemp seed into Oregon so people who grow seed crops could provide them to bio-blend processing stations. Your crops have been used in beer and herbal extracts? For our seed crop, the seed oil is used and we sell that to the cosmetic industry. The shell of the seed goes into a beer and also into a vodka. Except it’s funny—the OLCC will not allow the vodka to be sold in Oregon stores. That’s through Humboldt Distillery. It’s controversial, which is crazy. What you have to remember about cannabis is that it’s the only plant since the beginning of time that can clothe you, house you, feed you and heal you. If I was standing on a deserted island and I could only bring one thing with me, it would be a bag of hemp seed.


BY N a t e Wa g g o n e r


Cat and Girl



I snicker every time I see one of the Portland “The City That Works” vehicles whiz down my street. The slogan has aged terribly since it was conceived in the mid-1990s. Our city likes to pride itself on originality, yet this is a slogan that could belong to any American city. For years I have recommended that Portland remove the dated slogan from all city vehicles, and readopt the previous slogan, which was far more forward-thinking. We’ll discuss the previous slogan in a moment. First, some history about the need. Only real Portlanders will remember this, but the custom of painting a slogan on city cars dates only to 1982. The hope was that by marking the cars so people could tell the vehicles belonged to the city, Portland would save money on maintenance and repairs. You see, one of the favorite youthful pastimes during this era was to get in a sturdy, steel-framed Chevy Caprice and cruise the highway looking for other cars into which you could swerve and try to run aground into a guardrail, ditch or giant puddle. I’ll admit I participated in this chicanery, and that it in turn was perpetrated against me. The City Council hypothesized that by marking city vehicles more clearly, they would be less frequently targeted for bumps, taps and ramming. In practice, it would predictably have the opposite effect. Nevertheless, in January 1982 the city began considering potential slogans. Then-Mayor Frank Ivancie had very strong opinions on what sort of slogan should appear on the vehicles. He was a noted superfan of the rock group Bachman-Turner Overdrive. He occasionally left office for days to follow the group and believed the band’s sound was a perfect match for the city’s blue-collar aesthetic. To him, it wasn’t a question of whether a BTO song title should appear on city vehicles, but rather which title. Ivancie pushed for “Let It Ride.” His argument was that not only would people quickly begin to associate this classic groove with city vehicles, but the words “Let It Ride” would serve as a subtle directive not to ram the cars into guardrails. The City Council, however, vetoed the suggestion. “Let It Ride” was not a good slogan for a modern city because the words could be construed as anti-progressive. Ivancie’s next choice was “Roll On Down the Highway.” He considered it nearly as good a BTO song that conveyed a similar meaning, though with a more forward-thinking message. The City Council was not swayed. The logjam continued for several months, with the mayor and City Council unable to agree on an appropriate BTO title to serve as the city’s slogan. At one point, another city commissioner suggested the 1973 Wings’ hit “Live and Let Die.” Ivancie hated this idea so much that he had the commissioner brought up on corruption charges. Ivancie finally did what he had not wanted to do—he proposed BTO’s “Takin’ Care of Business.” He was not pleased to propose this slogan because although he knew he would meet minimal resistance, he felt defeated in selecting such a popular tune. Being such a huge BTO fan, it was disappointing to him that the slogan didn’t come from a deeper cut. The faces of the commissioners immediately lit up when Ivancie proposed it. You could tell they were recollecting the song’s terse few guitar chords followed by the Jerry Lee Lewis-style piano tinkle. The resolution was adopted, and “Takin’ Care of Business…and Working Overtime!” was added to city vehicles. It remained like this until Vera Katz, a vociferous and incorrigible BTO critic, came into office. Willamette Week OCTOBER 5, 2016



Willamette Week OCTOBER 5, 2016





OCTOBER 5, 2016

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by Matt Jones

“One 800”–freestylin’ for puzzle #800!

46 Support system? 47 51-Across player 48 Wide-bottomed glass 50 Island castle on Lake Geneva 51 Tidwell’s agent, in a 1996 film 52 “Purple drank” component 53 Science that may study migration 54 Like a blue jay

Strike a LiveMatch!

Across 1 Versifier, archaically 6 Pharisee whose meeting with Jesus inspired the phrase “born again” 15 Florida lizard 16 Still 17 Not going anywhere 18 Docked 19 Right a wrong 20 Comedian with an eponymous show on Adult

Swim 21 Trap bait 22 Busted 23 Show on Showtime, for instance 24 Officially approved, as a campus 26 Numerical IDs 27 Shape-saving inserts 28 Bond maker 29 Birth announcement abbr.

30 Roman numeral that almost spells a man’s name 31 Reed evoked in “Eats, Shoots & Leaves” 35 Bridges in Hollywood 37 Hebrew song whose title is a repeated name 38 Dove 42 “When ___ Lies” (R. Kelly single) 43 Corrupt person 45 Drab

Down 1 Some hotels 2 Company that burns down at the end of “Office Space” 3 Country on the Strait of Gibraltar 4 1968 hit for the Turtles 5 Photoshop feature that remedies some flash effects 6 Table linens 7 Go over 8 A few pointers to check during an exam? 9 Tripping 10 McDermott of “American Horror Story” 11 Oscar-winning role for Julia 12 CX-5 or CX-9, e.g. 13 IUD component 14 Some ceremonial dinners 25 Shipmate of

Hermes and Fry 26 Analog computers once used for trigonometry 28 Ester found in vegetable oils and animal fats 30 Strong position until 2014 31 “Hell if I know” 32 Fact-finder’s volume 33 Friend’s address in Acapulco? 34 Nestle Purina Petcare line 35 Org. that recognizes the Ricoh Women’s British Open 36 “If You’ll Let This Fool Back In” singer Greenwood 39 Perform perfectly 40 Part of a late-night noise complaint, maybe 41 Lamented loudly 44 Longtime NHL left wing Bob 49 Reunion de la familia attendee 50 300 last week’s answers

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503-445-2757 • ©2016 Rob Brezsny

Week of October 6


Lessons ARIES (March 21-April 19) At a recent party, a guy I hardly know questioned my authenticity. “You seem to have had an easy life,” he jabbed. “I bet you haven’t suffered enough to be a truly passionate person.” I didn’t choose to engage him, but mused to myself, “Not enough suffering? What about the time I got shot? My divorce? My five-year-long illness? The manager of my rock band getting killed in a helicopter crash?” But after that initial reaction, my thoughts turned to the adventures that have stoked my passion without causing pain, like the birth of my daughter, getting remarried to the woman I divorced, and performing my music for excited audiences. I bring this up, Aries, because I suspect that you, too, will soon have experiences that refine and deepen your passion through pleasure rather than hardship. TAURUS (April 20-May 20) It’s the Frank and Focused Feedback Phase, Taurus -prime time to solicit insight about how you’re doing. Here are four suggestions to get you started. 1. Ask a person who loves and respects you to speak the compassionate truth about what’s most important for you to learn. 2. Consult a trustworthy advisor who can help motivate you to do the crucial thing you’ve been postponing. 3. Have an imaginary conversation with the person you were a year ago. Encourage the Old You to be honest about how the New You could summon more excellence in pursuing your essential goals. 4. Say this prayer to your favorite tree or animal or meadow: “Show me what I need to do in order to feel more joy.” GEMINI (May 21-June 20) Many of my readers regard me as being exceptionally creative. Over the years, they have sent countless emails praising me for my original approach to problem-solving and art-making. But I suspect that I wasn’t born with a greater talent for creativity than anyone else. I’ve simply placed a high value on developing it, and have worked harder to access it than most people. With that in mind, I invite you to tap more deeply into your own mother lode of innovative, imaginative energy. The cosmic trends favor it. Your hormones are nudging you in that direction. What projects could use a jolt of primal brilliance? What areas of your life need a boost of ingenuity? CANCER (June 21-July 22) Love wants more of you. Love longs for you to give everything you have and receive everything you need. Love is conspiring to bring you beautiful truths and poignant teases, sweet dispensations and confounding mysteries, exacting blessings and riddles that will take your entire life to solve. But here are some crucial questions: Are you truly ready for such intense engagement? Are you willing to do what’s necessary to live at a higher and deeper level? Would you know how to work with such extravagant treasure and wild responsibility? The coming weeks will be prime time to explore the answers to these questions. I’m not sure what your answers will be. LEO (July 23-Aug. 22) Each of us contains a multiplicity of selves. You may often feel like there’s just one of you rumbling around inside your psyche, but it’s closer to the truth to say that you’re a community of various characters whose agendas sometimes overlap and sometimes conflict. For example, the needy part of you that craves love isn’t always on the same wavelength as the ambitious part of you that seeks power. That’s why it’s a good idea to periodically organize summit meetings where all of your selves can gather and negotiate. Now is one of those times: a favorable moment to foster harmony among your inner voices and to mobilize them to work together in service of common goals. VIRGO (Aug. 23-Sept. 22) Pike’s Peak is a 14,115-foot mountain in Colorado. It’s not a simple task to trek to the top. Unless you’re well-trained, you might experience altitude sickness. Wicked thunderstorms are a regular occurrence during the summer. Snow

falls year-round. But back in 1929, an adventurer named Bill Williams decided the task of hiking to the summit wasn’t tough enough. He sought a more demanding challenge. Wearing kneepads, he spent 21 days crawling along as he used his nose to push a peanut all the way up. I advise you to avoid making him your role model in the coming weeks, Virgo. Just climb the mountain. Don’t try to push a peanut up there with your nose, too. LIBRA (Sept. 23-Oct. 22) “It isn’t normal to know what we want,” said psychologist Abraham Maslow. “It is a rare and difficult psychological achievement.” He wasn’t referring to the question of what you want for dinner or the new shoes you plan to buy. He was talking about big, long-term yearnings: what you hope to be when you grow up, the qualities you look for in your best allies, the feelings you’d love to feel in abundance every day of your life. Now here’s the good news, Libra: The next ten months should bring you the best chance ever to figure out exactly what you want the most. And it all starts now.

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Miscellaneous BEWARE! For broad is the Way, and many there be traveling it, that leads to Destruction (Hell)! But, narrow is the Path, and few there be that find it, that leads to PEACE (Heaven)! (So, join US in prayer, that you will be one of the few that find God’s Path to PEACE.)

Education Slows interracial

SCORPIO (Oct. 23-Nov. 21) Practitioners of the Ayurvedic medical tradition tout the healing power of regular self-massage. Creativity expert Julia Cameron recommends that you periodically go out on dates with yourself. Taoist author Mantak Chia advises you to visualize sending smiles and good wishes to your kidneys, lungs, liver, heart, and other organs. He says that these acts of kindness bolster your vigor. The coming weeks will be an especially favorable time to attend to measures like these, Scorpio. I hope you will also be imaginative as you give yourself extra gifts and compliments and praise. SAGITTARIUS (Nov. 22-Dec. 21) The coming weeks will be one of the best times ever for wrestling with God or tussling with Fate or grappling with karma. Why do I say that? Because you’re likely to emerge triumphant! That’s right, you lucky, plucky contender. More than I’ve seen in a long time, you have the potential to draw on the crafty power and unruly wisdom and resilient compassion you would need to be an unambiguous winner. A winner of what? You tell me. What dilemma would you most like to resolve? What test would you most like to ace? At what game would you most like to be victorious? Now is the time. CAPRICORN (Dec. 22-Jan. 19) Are you grunting and sweating as you struggle to preserve and maintain the gains of the past? Or are you smooth and cagey as you maneuver your way towards the rewards of the future? I’m rooting for you to put the emphasis on the second option. Paradoxically, that will be the best way to accomplish the first option. It will also ensure that your motivations are primarily rooted in love and enthusiasm rather than worry and stress. And that will enable you to succeed at the second option. AQUARIUS (Jan. 20-Feb. 18) Do you believe that you are mostly just a product of social conditioning and your genetic make-up? Or are you willing to entertain a different hypothesis: that you are a primal force of nature on an unpredictable journey? That you are capable of rising above your apparent limitations and expressing aspects of yourself that might have been unimaginable when you were younger? I believe the coming weeks will be a favorable time to play around with this vision. Your knack for transcendence is peaking. So are your powers to escape the past and exceed limited expectations. PISCES (Feb. 19-March 20) In one of your nightly dreams, Robin Hood may team up with Peter Pan to steal unused treasure from a greedy monster -- and then turn the booty over to you. Or maybe you’ll meet a talking hedgehog and singing fox who will cast a spell to heal and revive one of your wounded fantasies. It’s also conceivable that you will recover a magic seed that had been lost or forgotten, and attract the help of a fairy godmother or godfather to help you ripen it.

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42 49 willamette week, october 5, 2016  
42 49 willamette week, october 5, 2016