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PORTLAND’S FORGOTTEN FUNK P. 29 WWEEK.COM
VOL 44/11 01.10.2018
LIE O
BY
YOU CAN’T ESCAPE THE PAST. BUT YOU CAN GET IT ZAPPED AWAY AT A TATTOO-REMOVAL CLINIC.
A
“II DON’T EVEN ASK. I JUST KISS.” KISS.
bLASTING PaSt
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Willamette Week JANUARY 10, 2018 wweek.com
TRICIA HIPPS
FINDINGS
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WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 44, ISSUE 42.
Extremo the Clown painted the windows of Pets on Broadway. 4
A dude fired by Google for talking smack about ladies who code is coming to Portland State University. 6 Rep. Julie Parrish put her cellphone number in the Voters’ Pamphlet. 9 You may regret tattooing “Dawn” on your finger or “Mike” on your vulva. 15
Sir, this is a McDonald’s. 23 Portland’s best full English is two blocks from Big Pink. 27 A Portland band recorded a neverreleased disco anthem
celebrating the Blazers’ 1977 championship. 29 Cryptocurrency could keep pot farmers from being tortured by men dressed as Teenage Mutant Ninja Turtles. 43
OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:
ON THE COVER: Photo manipulation by Sam Gehrke.
Susan Kuhnhausen strangled a hit man hired by her husband.
STAFF Editor & Publisher Mark Zusman EDITORIAL News Editor Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Rachel Monahan, Katie Shepherd Copy Editors Matt Buckingham, Nicole Groessel, Bridget Roddy Stage & Screen Editor Shannon Gormley Projects Editor Matthew Korfhage
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DIALOGUE Last week, WW ran a story about Mayor Ted Wheeler’s plan to spend public housing dollars on an 11-story, all-wood-framed high-rise (“Wooden Nickels,” WW, Jan. 3, 2018). The building would be a boon for the state’s timber industry but would be significantly more expensive than a traditional structure. Here’s what readers had to say: PDXBill, via wweek.com: “$651 per square foot: You have to be kidding me and other taxpayers! You can buy a remodeled house with a view in the West Hills for that kind of money. Portland has to be smarter than this if we want to seriously reduce the number of homeless.” Joe Cooney, via Twitter: “It’s definitely a risk. Hopefully, [cross-laminated timber] becomes a viable alternative, especially for (a) jobs created and (b) avoiding the upcoming spike in concrete cost with sand scarcity.” Maddy, via wweek.com: “I’m not sure this building is the only alternative to under-constructed low-income housing. Wheeler needs to spend some time truly justifying this project. This doesn’t pass the smell test.” Todd Merkel, via Facebook: “I like the design, but the city should be building bare-bones, inexpensive housing units to get people out of the cold and into secure, low-cost permanent housing.” Jack Scofield, via Facebook: “It’s great vision and commendable but not appropriate for lowcost, affordable housing on the taxpayers’ dime.” Nathan Oleson, via Facebook: “$650 per square foot is beyond ridiculous. Just proves Wheeler is more interested in angling for higher office and using Portland tax dollars as a springboard to achieve it than actually solving the underlying problem.”
TIMBER AND CLIMATE CHANGE I’ve just finished reading your article about the CLT-constructed affordable housing building proposed for the Pearl. I’m a supporter of building affordable housing quickly, and I’m concerned by the high cost of this building. More than that, I’m bothered by the lack of acknowledgement that the timber industry has overtaken transportation as Oregon’s leading producer of greenhouse gas emissions. It may seem like a side issue, but given that we as individuals, Oregonians and Americans have chosen for decades not to take appropriate action to curb climate change, we now find ourselves at an important crossroads: acknowledge the climate impact of our daily lives and large projects such as the one mentioned above and act accordingly, or continue to trick ourselves into believing that switching from incandescent to LED bulbs is an adequate compromise. Because we, as individuals and as a country, didn’t take appropriate action in the preceding decades, we must now consider climate change with every major decision, as failing to do so is irresponsible and reckless. I am writing this letter to you, at WW, because I see it as our best shot in local written news to call on individuals to make the necessary and hard changes to our daily lives, and to hold our leaders accountable for making tough decisions that will benefit all of us in the long term. Ellen Finneran 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: mzusman@wweek.com
Dr. Know BY MART Y SMITH
I’ve noticed that shops around Portland that have window painting all have it done in the same style. Is there only one window painting company in town, or is there a “standard” style they must adhere to? —Alison A.
the Pet Issue For the first time in 10 years, Willamette Week is offering a Pet Issue! We’ll get up close and personal with our favorite pets. We’ll find out the best overnight and day care facilities, pet shops, events and more!
WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY
“IT’S A BAD TRIP WAITING TO HAPPEN, MAN.” P. 21
The The Pet Issue
Publishes: January 31, 2018
WWEEK.COM
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Willamette Week JANUARY 10, 2018 wweek.com
One of these days I’m going to sponsor a quiz, “Are you an O.G. Portlander?” in which all the questions are about stuff like Ramblin’ Rod and Blitz beer. High scores will be invited to the world’s most curmudgeonly wine-and-cheese reception. Not to bust your chops, Alison, by suggesting you wouldn’t be invited to my exclusive 70-andover debauch, but most longtime Portlanders are probably familiar with the work of Scot Campbell, also known for many years as Extremo the Clown. Campbell has been decorating Portland windows with various commercial appeals since 1986—if you’ve looked up from your phone at all in the past five years, you’ve seen one. (Current examples: Pets on Broadway and the Lippman Co.) He also drives what is probably Portland’s most elaborately decorated art car, a 1993 Chevy Astro covered with hundreds of bronze-colored figures in various attitudes of torment, like a version of Rodin’s Gates of Hell you can drive to the
bowling alley. Campbell says he’s now redesigning the van to include 1,000 skulls and “a waterfall of blood coming out of a large statue of the Vampire God.” You know, like ya do. As alter ego Extremo, Campbell ran for mayor in 2004 on a platform of more school arts funding and a year-round indoor theme park for Portland. (He didn’t win, but WW’gave him the nod for “Most Honest Campaign Slogan” that year: “With your help, we can make my dreams come true.”) Scot retired the character Extremo in 2014 to focus on his YouTube channel (youtube.com/ user/1extremo), an online course in window painting. Still, he remains a Portland institution, assuming that being well-known for saying or doing outlandish things without actually getting paid for it makes you an institution. For obvious reasons, I say yes. QUESTIONS? Send them to dr.know@wweek.com
Willamette Week is proud to present
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5
JOE RIEDL
Founder Resigns From Portland Tenants United
would violate an existing labor contract. Now the plan is to build the medical triage capacity within BOEC. “I would have preferred to have a private-sector contractor,” Mayor Ted Wheeler said in a statement.
Democratic Socialists Sponsor Portland Debates
Portland Tenants United founder Margot Black resigned her leadership post Jan. 9 after an activist accused the group of “white supremacy.” Cameron Whitten, a local social justice activist, last week accused Black of racist slights and insults. Black said she needed to step aside for the good of the group because the charges of racism had become a distraction. “I have always come to the work with positive intentions,” she said, “but in reality, the impacts of some of my actions have had very negative impacts on valued members of our community and created harm.” In two years, Black transformed the city’s renters’ rights movement into a powerful and polarizing force in city politics.
Unions Scuttle New 911 System
Multnomah County’s attempt to restructure its ambulance contract to improve service and reduce the number of first-responders dispatched to nonemergency calls fell victim to union objections last week. The county announced Jan. 4, as first reported by the Portland Tribune, that it was dropping the requirement that a private-sector contractor build a new 911 system to handle medical calls. The fire departments in Portland and Gresham had long protested the proposed change, but the deal-breaker was the objection of the American Federation of State, County and Municipal Employees, which represents Bureau of Emergency Communications workers. AFSCME raised concerns the new 911 center 6
Willamette Week JANUARY 10, 2018 wweek.com
Fired Google Employee Gets Portland Platform
A former Google employee fired for a 10-page antidiversity treatise that claimed women were poorly suited for jobs in technology and engineering will speak at Portland State University next month. James Damore will go back and forth with psychology professor Peter Boghossian on Feb. 17 in a “no-holds-barred conversation” at a campus event titled “We Need to Talk About Diversity.” Damore infamously blamed biological differences between men and women for the gender gap in the tech industry. He sued Google for discrimination Jan. 8. University spokesman Christopher Broderick said in a statement the event was organized by a student group, Freethinkers of PSU. The university does not endorse the views of speakers invited to campus, he added, though it encourages free speech. E M I LY J O A N G R E E N E
BLACK
Last November, the Portland chapter of the Democratic Socialists of America reported record membership: 600, up from 15 the year before. Now they’re getting a seat at the debate table. The DSA will join the Multnomah County Democrats, the Oregon Working Families Party, and the activist group Portland’s Resistance to co-sponsor weekly Tuesday candidate forums in February in key local races.
PSU
SAM GEHRKE
NEWS
WHAT YOU NEED TO KNOW THIS WEEK
Don’t Worry, Be Happy JEFF SESSIONS HINTS AT A WEED CRACKDOWN. CANNABIS BUSINESS OWNERS SHRUG. BY KAT I E SH E P H E R D
kshepherd@wweek.com
Oregon’s cannabis growers, distributors and users didn’t flinch last week when U.S. Attorney General Jeff Sessions rescinded the federal policy limiting the reach of federal prosecutors in states that have legalized recreational marijuana sales. “We don’t think it’s going to be that big of a deal,” says Myron Chadowitz, chief financial officer for Cannassentials, a farm in Eugene. “It might even be a good thing.” After Sessions yanked the federal policy known as the Cole Memo, WW talked to industry experts, growers, sellers and lawyers to understand the many reasons not to worry about Sessions and the U.S. Drug Enforcement Administration rolling into Oregon. Oregon’s top federal prosecutor says he’s only looking for crimes that are illegal under Oregon law. The statement issued by U.S. Attorney for Oregon Billy Williams indicates little appetite for prosecuting legal cannabis sellers or users. Instead, his vague statement said he hoped to continue to focus on prosecuting cases involving “overproduction,” criminal organizations, and pot shipped across state lines. “My hope is that he will continue to approach it strategically so that he does not incite President Trump to remove him and replace him with someone who is more anti-cannabis,” says Jesse Peters, CEO of Eco Firma Farms in Canby. “I think his
answer was very political, and I’m optimistic that that was a good thing.” Legal weed is wildly popular in Oregon. If Williams did decide to prosecute a legal business, he would be met with “massive and fierce political backlash,” says lawyer Bear Wilner-Nugent, who frequently represents clients in the cannabis industry. If Williams started prosecuting otherwise law-abiding Oregonians under federal rules, it’s hard to see how he would ever work in the state again. “It’s career suicide if he’s going to go after this,” says Perry Salzhauer, who works for Green Light Law Group. Oregon’s cannabis industry is wellestablished, so it’s less vulnerable than newer markets such as California’s. Sessions’ move may chill investment and banking services for cannabis entrepreneurs in California’s just-developing market. But more than 19,000 Oregonians already have jobs related to the legal cannabis industry in the state. Oregon made more than $60 million last year from taxes on marijuana sales. “Pulling the Cole Memo out from under this industry and thinking that will stop it is like shooting a BB gun at a freight train,” Peters says. There just aren’t enough federal resources for a systematic crackdown on marijuana.
Recreational pot is legal in eight states (including the full length of the West Coast) and Washington, D.C. “It’s hard to see the means to increase enforcement,” Wilner-Nugent says, “with a few dozen feds and a handful of prosecutors.” Chadowitz says the FBI and the DEA are simply outnumbered. “Oregon officials will stand by us 100 percent at every level,” he says. “Not only the governor, but senators and representatives in Congress, the [district attorneys], the police and the Oregon Liquor Control Commission.” Legalizing marijuana federally is gaining momentum. “Sessions is on his own here,” says Lee Henderson, co-founder of HiFi Farms outside of Portland. “There’s been a massive outcry from both Democrats and Republicans.” U.S. Sen. Ron Wyden (D-Ore.) has cosponsored a bill to federally deregulate cannabis. There’s never been so much support for this movement as now. More than 61 percent of Americans want the feds to allow recreational marijuana use. Peters thinks high-profile raids could backfire for Sessions and the Department of Justice. “When you start doing that, you start costing jobs, you start disrupting voters’ lives,” he says. “It puts more pressure on Congress to take care of their voters.”
HOLDING FIRE Oregonians can’t wait to read the latest gossip about President Donald Trump. Some will have to. The early release of Michael Wolff ’s White House tell-all book, Fire and Fury, on Jan. 5 set off a shopping spree at Powell’s Books, delayed orders at Amazon, and prompted long waiting lists at local libraries. Does the frenzy to read Fire and Fury correlate with disapproval of the president? Perhaps. Here’s the size of the waiting lists as of Jan. 8 at Oregon’s biggest library systems, and across the river in Vancouver, Wash. ELISE HERRON.
MULTNOMAH
LIBRARIES IN CLACK-
LANE (COUNTY)
COUNTY LIBRARY
AMAS COUNTY
LIBRARY LEAGUE
COPIES: 256
COPIES: 15
COPIES: 7
HOLDS: 1,124
HOLDS: 349
HOLDS: 169
FORT VANCOUVER
LIBRARIES IN MARION
REGIONAL LIBRARY DISTRICT
COPIES: 5
WASHINGTON COUNTY COOPERATIVE LIBRARY SERVICES COPIES: 56 HOLDS: 595
COPIES: 57 HOLDS: 156
COUNTY
CORRECTION On Dec. 6, 2017, WW and wweek.com published a story about Gordon Sondland under the headline “Records Show Portland Hotelier Gordon Sondland Stopped Paying His Contractor on the Fancy, Failed Restaurant Omerta,” which was located in the Dossier Hotel. This headline was inaccurate and misleading. Gordon Sondland did not “stop paying,” “refuse to pay,” “stiff,” or “short-pay” any contractors on the Dossier Hotel project. WW regrets the error. Additionally, the contractor at issue in the article, Slattery Inc., is a trade contractor who recorded a construction claim of lien on the Dossier Hotel (identified in the claim of lien as “Westin Hotel”) identifying James E. John Construction Co. Inc. as the lien debtor and Portland Hotel LLC as the owner of the property. Slattery Inc.’s claim of lien asserted a balance due of $75,880.60 relating to change orders. Portland Hotel LLC owns the Dossier Hotel. Gordon Sondland and several other investors have an ownership interest in Portland Hotel LLC. Gordon Sondland, individually, does not own the Dossier Hotel. The contractual relationship on which Slattery Inc.’s claim of lien is based is with James E. John Construction Co. Inc., the prime contractor with Portland Hotel LLC on the project at issue, not with Provenance Hotels or Gordon Sondland. Neither Provenance Hotels nor Gordon Sondland individually has a contractual relationship with James E. John Construction Co. Inc. or with subcontractors working on, or who have worked on, the Dossier Hotel project, including Slattery Inc. Neither Provenance Hotels nor Gordon Sondland individually has a payment obligation to those contractors or subcontractors. WW regrets the errors.
HOLDS: 22
Willamette Week JANUARY 10, 2018 wweek.com
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MUSIC MILLENNIUM
Welcomes
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LEONARD COHEN YOU WANT IT DARKER
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Reel Music Festival January 12th–30th
See nwfilm.org for a complete listing!
JOSH RITTER LIVE AT THE CRYSTAL BALLROOM JANUARY 24TH! NEW ALBUM GATHERING OUT NOW! $10.99 CD // $17.99 Vinyl $13.99 CD Deluxe Edition $20.99 Vinyl Deluxe Edition One of the most prolific songwriters of the last 20 years, Josh Ritter returns with his expertly crafted 9th studio album. Don’t miss the master storyteller live at the Crystal Ballroom January 24th!
DR. DEMENTO SPECIAL Q&A w/ THE LEGENDARY DR. DEMENTO & SPECIAL GUEST JOHN CAFIERO (OSAKA POPSTAR, PRODUCER)!
SATURDAY JANUARY 20TH AT 3PM
CURTIS SALGADO & ALAN HAGER SPECIAL RECORD RELEASE EVENT! IN-STORE PERFORMANCE MONDAY JANUARY 15TH AT 6PM New Album “Rough Cut” Award-winning soul, blues and R&B vocalist Curtis Salgado’s earth-shaking vocals and forceful harmonica playing have been devastating audiences around the world for over 30 years. Guitarist Alan Hager has been wowing fellow musicians from his hometown of Portland, Oregon and beyond for decades. Hager has been jamming with Salgado since 2003, and joined his band full-time in 2015. Together, the two blues fans and friends took time out of their busy touring schedule to record Rough Cut, a stripped-down album featuring a potent mix of newly written, timeless originals and carefully chosen blues covers. “We did it for the love of the music,” says Salgado. “This is where our hearts are. These are deep songs that we love to play.” That love comes through loud and clear on Rough Cut. Produced by Salgado and Hager, the 13 songs on the album (including six originals) range from plaintive to playful.
Dr. Demento is a world-renowned radio broadcaster, record collector and music historian, whose lifelong passion for music of all kinds is reflected in his weekly selection of "rare records and outrageous tapes" for the Dr. Demento Show. The Dr. Demento Show is Internet radio's two-hour weekly festival of "mad music and crazy comedy." The new release Dr. Demento Covered In Punk features over thirty different, never before released, all-new ‘punk’ cover versions of ‘mad music and crazy comedy’ songs famously heard on the airwaves of the legendary “Dr Demento Show”— intermixed with ‘wild card’ tracks showcasing some incredible, newly ‘demented’ versions of punk-rock classics! Joined by everyone from the Misfits, Joan Jett, Fred Schneider of the B52s, to “Weird Al” Yankovic, the late Adam “Batman” West (in one of his final performances), and Captain Kirk himself, William Shatner—(to name just a few). The Doctor is in…and he’s ‘Covered in Punk’!!
ALSO... FRIDAY JANUARY 26TH AT 6PM COME MEET & HAVE PIZZA WITH DEMUN JONES!
Expires 02-11-18 8
Willamette Week JANUARY 10, 2018 wweek.com
THOMAS TEAL
NEWS
The Deal-Breaker STATE REP. JULIE PARRISH IS OREGON’S MOST POTENT POPULIST. BUT MEASURE 101 THREATENS THE PEOPLE SHE CLAIMS TO REPRESENT.
BY NIGEL JAQUISS
njaquiss@wweek.com
This month, Oregonians will vote in the state’s first January election in eight years. They can thank state Rep. Julie Parrish (R-West Linn). Her obstinacy and energy are the forces driving Measure 101, the only item on the ballot. The measure, which seeks to undo a complicated Medicaid funding package state lawmakers cobbled together last spring, is in front of voters because of Parrish. When Parrish set out to raise 58,000 signatures last summer to put Measure 101 on the ballot, skeptics said she didn’t have the money or the know-how to get it done. She gathered nearly 90,000. “About 80 percent of those signatures were gathered by volunteers,” she says. “It was the most humbling, grassroots thing I’ve ever done.” “You do have to give her credit,” says Ben Unger, executive director of Our Oregon, the labor-backed advocacy group. “She worked hard to get it on the ballot and did it all herself.” Parrish claims she’s fighting for the little guy, who she says would pay a disproportionate share of the new Medicaid taxes. Measure 101 demonstrates how effective her outsider appeal can be. Yet observers are puzzled this is the fight Parrish chose. The issue is confusing and could backfire on her. A loss won’t burnish her brand. And if Parrish wins, she creates a budget crisis and deprives tens of thousands of the people she professes to cherish of their health insurance. “Either way,” says Kevin Mannix, the state’s longtime conservative ballot-measure king, “it’s a big risk.” Parrish, 43, regularly confounds people. The mother of three teenagers and the wife of a retired Army officer, she whirled into the Legislature seven years ago, wearing flip-flops. Her Twitter handle reflects the small business she ran—@ hotcouponmama.
She’s a Republican from a blue district: Democrats in House District 37 have a voter registration advantage of 7 percentage points. But she’s also a maverick who is often at war with her GOP colleagues and says she has attended only two of the House Republicans’ weekly caucus meetings since July 2015. She has a bill to solve every problem, and will happily extol the benefits of her ideas to anybody who’ll listen. “She’s an idea factory, but her ideas are not all good,” says state Rep. Barbara Smith Warner (D -Portland). “And she doesn’t listen to what anybody else says about them.” Her brand of in-your-face populism strikes a chord with many Oregonians. And it has made her arguably the most influential Republican in state politics. Mannix says Republicans could use Parrish more effectively to play good cop, bad cop with Democrats. “If Republicans looked carefully, they would recognize her as a real benefit to their cause,” Mannix says. “I don’t see them using her as leverage at all.” In addition to her work as a legislator, Parrish is also a political consultant. in 2016, she ran the long-shot election campaign of former state Rep. Dennis Richardson (R-Central Point) for secretary of state. Richardson, whose Mormon faith and ultraconservative social views made him a tough sell to blue-state voters, faced Oregon Labor Commissioner Brad Avakian, a Democrat. Democrats enjoyed a 10-point registration advantage statewide, and the presidential election promised a large turnout. Avakian, a union favorite, raised 50 percent more dollars than Richardson. Yet on Election Day, Richardson trounced Avakian by nearly 80,000 votes, becoming the first Oregon Republican in 14 years to win a statewide election. Unger and others credit Parrish for the vast improvement Richardson made over his 2014 loss to John Kitzhaber for
“THE THINGS I WANT TO FIX ARE RIGHT HERE IN MY BACKYARD.” —JULIE PARRISH governor. She sharpened his focus on making government work better as the state’s top elections official and auditor. Parrish has appealed to that same skepticism of government in building support for Measure 101. She says she gathered signatures to refer Measure 101 to the ballot because she distrusts the Oregon Health Authority, the scandal-plagued agency that administers Medicaid, and because the new taxes are not fair—big, self-insured employers such as Nike wouldn’t pay the new Medicaid taxes, while individual insurance policy holders and small employers would. Parrish rejects criticism that her measure could hurt low-income Oregonians. She says she and her allies have a better, fairer Medicaid funding plan that would plug the budget hole Measure 101’s failure would create—although that plan got no traction in the Legislature last year. Her opponents say she’s more interested in building her political consulting and signature-gathering business than in helping others. For the past two decades, Mannix, former lobbyist Mark Nelson and anti-union crusader Bill Sizemore specialized in
gathering signatures for conservative ballot measures. It was a big-money business that sometimes changed laws and always made Democrats play defense. Those three men have retired or reduced their activism, leaving the field wide open. “It’s clear to me that she’s going to take the mantle of conservative political consultants,” Unger says. “There’s a void there that she’s trying to fill.” Parrish rejects that assertion, too. She says she’s put hundreds of hours into the campaign for free, and notes that her colleague state Rep. Cedric Hayden (R-Roseburg), an oral surgeon, has spent $100,000 on Measure 101. “I’m $25,000 upside down on this thing,” she says. “My husband’s not real happy with me.” Instead, Parrish says she’s channeling the frustrations of Oregonians who feel left out of the crafting of state policy. She put her cellphone number in the Voters’ Pamphlet, and says Oregonians fed up with the status quo call her nonstop. Win or lose Jan. 23, Parrish says she won’t change her approach. “The things I want to fix,” she says, “are right here in my backyard.”
Willamette Week JANUARY 10, 2018 wweek.com
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COURTESY OF MEASURE 101
NEWS
2017-19 state budget. To plug the hole, the Legislature increased the tax on large hospitals from 5.3 to 6 percent, and began taxing rural hospitals, Medicaid providers and individual health insurance policies. It was a sausage-making exercise that thrilled nobody, but it won the three-fifths majority Oregon requires for tax increases. Four months later, opponents gathered enough signatures to place a measure on the ballot that—if it fails— would repeal parts of the bill. Who is behind the ballot measure? Three GOP lawmakers—Reps. Julie Parrish (R-West Linn), Cedric Hayden (R-Roseburg ) and Sal Esquivel (R-Medford)—couldn’t abide the funding package in House Bill 2391. ESQUIVEL
HAYDEN PARRISH
What does a “yes” vote mean? This is where your head may start spinning. Even though the tax bill’s opponents referred it to voters, voting “yes” will ratify the funding package the Legislature passed. Basically, it preserves the status quo. “We did something,” says state Rep. Mitch Greenlick (D-Portland). “There were some people who said it’s the wrong thing to do. We are going to ask the voters was it OK? If it was OK, vote ‘yes.’” If a majority of voters do that, everybody who’s on Medicaid today would stay on Medicaid. Lawmakers have two years to craft a larger, more durable funding mechanism for Medicaid, because the funding in the bill expires after that.
STREET FIGHT: Measure 101 supporters rallied in Eugene on Dec. 3.
A Puzzle on the Ballot WE ANSWER YOUR QUESTIONS ABOUT MEASURE 101— INCLUDING HOW YOU SHOULD VOTE. BY WW STA F F
503-243-2122
On Jan. 23, Oregonians will decide the outcome of a rare, single-issue ballot. Let’s walk through the key questions surrounding your vote. What is the issue at stake? In 2017, the Legislature cobbled together a funding package that preserves the Oregon Health Plan. That’s the Medicaid provider that uses state and federal dollars to pay for care for low-income Oregonians, covering more than 1 in 4 people in the state. Before President Obama signed the Affordable Care Act, 15 percent of Oregonians—about 600,000 people—had no health insurance. Today, because Oregon aggressively embraced the ACA’s expansion of Medicaid, that number
HOW IT WORKS The feds match state health care taxes with $3 for every dollar raised in Oregon. Here are the state’s numbers for the 2015-17 hospital match. 10
has dropped to 5 percent. That’s meant healthier Oregonians and healthier balance sheets for doctors and hospitals. Medicaid is enormously expensive: It cost $9.3 billion to cover Oregonians last year. That’s more than double what we spent a decade ago. The good news is, most of the money—more than 75 percent—comes from Washington, D.C., in federal matching funds. But the federal government’s generosity has limits. For the first five years the ACA was in effect, the feds covered 100 percent of the cost of new enrollees. But that number steps down to 95 percent this year and 90 percent in 2020. So as Medicaid rolls grow, Oregon’s responsibility for the tab will increase. The step-down in federal support created most of the $1.5 billion budget hole lawmakers initially faced in the
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5.5%
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What does a “no” vote mean? If the measure fails, the impact would be huge: a loss of $210 to $320 million to the state’s general fund and triple that amount in federal matching funds. Says the measure’s fiscal impact statement: “The total reduction to the 201719 state budget may be $840 million-$1.3 billion or more.” It also means that some Medicaid patients—probably tens of thousands and perhaps more—would lose coverage. That would impact their health and cost doctors and hospitals money. Who’s for it and why? The measure has enormous institutional support. These supporters include public employee unions, whose members have health care and social service jobs at stake and whose lower-paid members could lose coverage. And hospitals, even though they would pay a hefty tax increase. It’s also supported by health insurers, who would also pay more in taxes. Why would groups support a tax increase on themselves? First of all, they can pass the tax along to patients and insurance companies. Second, and more importantly, they benefit from the federal matching dollars.
$ 1.1 B I L LIO N STATE FUNDS
FED ERAL M ATCH
+
$ 3. 2 B ILLIO N
Under the tax package passed in 2017, Oregon would increase to 6 percent the tax on patient revenues from large hospitals like Legacy Emanuel and begin taxing rural hospital and Medicaid providers. The feds would then match the state taxes with three times that amount, and all that money would be used to help cover the cost of Medicaid (see chart below). All Democratic politicians in the state support the tax, as do some Republicans. Senate Minority Leader Jackie Winters (R-Salem) and Sen. Alan DeBoer (R-Ashland) both favor Measure 101. “We totally rely on federal money,” says DeBoer, one of Salem’s staunchest fiscal conservatives. “The federal money is what makes health care work here and in every state.” Who’s against it and why? Parrish, Hayden and Esquivel say they referred the measure because the tax package that lawmakers passed favors big, selfinsured companies and unions, which don’t pay the tax, over regular Oregonians. They argue it burdens individual payers, some students and rural hospitals. Their colleague, state Rep. Knute Buehler (R-Bend), who’s an orthopedic surgeon running for governor, also opposes the measure and the taxes it would impose, maintaining they are unfair and only temporary. “I am interested in finding real solutions to providing health care to vulnerable people in Oregon, not shortterm, Band-Aid solutions,” Buehler said in a statement. Critics also don’t like the idea that the measure would give more money and power to a state agency, the Oregon Health Authority, that has a bad reputation. Indeed, the OHA has earned its bad press. Last fall, the agency admitted it had paid for services for some patients who were ineligible and failed to establish the eligibility of others in a timely fashion. The mistakes may have resulted in more than $150 million in duplicate or improper payments over the past three years. There’s no question that $150 million is real money. But let’s put it in context: It was less than 1 percent of the agency’s expenditures for that three-year period. And a state audit in November found that Oregon’s rate of payment errors was in line with that of other states. Yes, the Oregon Health Authority could do better—and now that Gov. Kate Brown has replaced top management at the agency, it should. How should I vote? WW urges a “yes” vote. Blowing up the deal struck in the past legislative session would create an immediate budget hole of about $300 million and deprive Oregonians of almost a billion dollars in federal matching funds. From a more human perspective, it would leave some of the poorest Oregonians without primary care physicians and preventive care. That budget hole would have to be filled somehow. The failure of Measure 101 would require cuts in the state’s general fund, the largest portion of which goes to K-12 education. So voting “no” on Measure 101 could decrease school funding. In their desire to punish the Oregon Health Authority, an agency that’s already seen its top management fired, Parrish and her allies would deprive thousands of Oregonians of health insurance, sending them back to emergency rooms or the power of prayer. They’d create an artificial crisis by butchering a law that sunsets in two years anyway. And they’d do so in defiance of a basic fact: Everybody needs health care. Better to pay for it up front, no matter how awkwardly, than return to a system in which the uninsured neglect themselves and pass along VOTE higher costs to the rest of us.
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Not Fake News A LONG-DELAYED STATE ETHICS INVESTIGATION FINDS CYLVIA HAYES AND JOHN KITZHABER IMPROPERLY BENEFITTED FROM INFLUENCE PEDDLING. BY N IGEL JAQU ISS
starts Friday! at Cinema 21 shoWtimes
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THOMAS TEAL
Willamette Week is proud to present
NEWS
njaquiss@wweek.com
It will be three years next month since former Gov. John Kitzhaber resigned. Last week, a report from the Oregon Government Ethics Commission finally provided an official explanation of what went awry in Kitzhaber’s third term and scuttled his fourth. In a 154-page report, a commission investigator concluded that a “preponderance of evidence” indicated Kitzhaber’s fiancee and policy adviser, then-first lady Cylvia Hayes, had committed 23 violations of state ethics laws. “Ms. Hayes used her official position as first lady and policy adviser to the governor to obtain financial gain,” wrote investigator Marie Scheffers in her report. Scheffers found that Hayes “used and knowingly allowed others to use her position as first lady and policy adviser to the governor’s office and the access and influence she had in those positions to solicit and obtain funding.” The findings validate months of reporting by WW and other publications starting in 2014. And they undercut claims by Kitzhaber and Hayes that they were drummed out of public life by frenzied and sexist press coverage. They also trace a tragic arc for the longestserving governor in Oregon history. Kitzhaber, 70, a Democrat, is one of the nation’s leading thinkers on health care policy. In recent months, he’s been easing back into public life, sharing his perspectives in speeches and writing on the challenges the Republicans’ attack on the Affordable Care Act presents. On that topic and others, his decades of public policy expertise could be enormously valuable to Oregonians. But as one ethics commissioner said last week, by his allowing Hayes, 50, to sell access to his office, Kitzhaber surrendered the moral high ground. “It’s a very clear case,” said Commission Chairwoman Alison Kean, a Portland lawyer. “I think it’s also a very clear case about the member of her household who also benefitted from her contracts—and that’s the governor.” Attorneys for Hayes and Kitzhaber did not respond to requests for comment. The ethics commission began its investigation in 2014, following a complaint from thenstate Rep. Vicki Berger (R-Salem) based on a WW cover story (“First Lady Inc.,” WW, Oct. 8, 2014). But the ethics commission paused its investigation when the U.S. Department of Justice opened a criminal investigation in early 2015. The feds examined whether Hayes and Kitzhab-
er had sold access to his office though a lucrative fellowship and at least three private consulting contracts Hayes garnered while also serving as a policy adviser to the governor. Last summer, U.S. Attorney for Oregon Billy Williams announced the federal investigation was over, and he wouldn’t bring charges. He offered no explanation of what investigators found in the more than two years since they blanketed Salem with subpoenas. Federal officials have also not responded to Freedom of Information Act requests for documents gathered in the investigation. Kitzhaber and Hayes treated Williams’ announcement as vindication. “As I have said from the beginning,” Kitzhaber said in a June statement, “I did not resign because I was guilty of any wrongdoing, but rather because the media frenzy around these questions kept me from being the effective leader I wanted and needed to be.” “I’m back,” he added. Hayes also blamed “unethical media bad actors,” on Facebook. She amplified her remarks in a television interview with KATU in July 2017. “I had so much rage and so much hatred toward the handful of media who were so dishonest,” she said. That’s not what the ethics commission concluded. In a commission meeting last Friday in Salem, Scheffers noted that Kitzhaber told Hayes in an early 2011 email that he recognized her work could present conflicts of interest. But Kitzhaber never sought guidance from ethics officials. “This was a purposeful refusal to engage with the ethics commission, probably because they didn’t want to know what the answer would be,” said Ethics Commissioner Nathan Sosa, a Hillsboro lawyer. “I think this is a case study in what you are not supposed to do in public office.” Commissioners voted to move forward with fining Hayes for 22 of the 23 violations Scheffers cited in her report. (They decided an allegation that she’d misused the Oregon State Police security detail fell into a gray area.) It remains to be seen whether Hayes will contest the proposed fines of up to $110,000 and the possible forfeiture of her contract earnings, and how a pending ethics commission complaint against Kitzhaber will be resolved in February. Kean asked commission staff to keep Kitzhaber’s high position in mind when proposing how to dispose of his case. “She wasn’t elected. He was,” Kean said. “My recommendation is that the governor be treated with a much higher standard.”
NEWS
FREE WILLAMETTE WEEK'S 2017
To our readers:
Nearly $25 Million! That’s how much you, Portland’s generous donors, have contributed to Willamette Week’s Give!Guide since its inception in 2004. From $25,253 that first year, your generosity has increased to nearly $4.25 million in each of the past two years. You broke the $1 million mark in 2010, $2 million in 2013, $3 million in 2014, and $4 million in 2016. This year, you donated $4,209,824. Your generosity is simply overwhelming. Most remarkable: During Give!Guide’s 14-year existence, tens of thousands of you have participated in this effort.
2017 GIVE!GUIDE FINAL REPORT
SAM GEHERKE
You can find out what each nonprofit raised, who our business partners and sponsors are, and who won 2017 Skidmore Prizes at giveguide.org. You can’t actually give again until next November, when we plan to run this celebration of Portland’s nonprofit community for a 15th year. But you and family members can create a donor piggy bank and start saving to be ready. We owe a bazillion thanks. First, of course, to you, Give!Guide’s treasured supporters, but also to our business partners and sponsors who make valuable contributions to this effort, and to the participating nonprofits themselves. Without them, Portland couldn’t be the place we all know and love. A few concluding notes: We have begun making deliveries of incentives packages. It’s a great way to reconnect with all corners of the city. It’s also a joyous experience, as the folks we meet this way are eager to share the other ways they give of themselves and their time to support important communities here. It’s just one more reminder of how fortunate we all are to live here. Three cheers for Mahala Ray! Things went so smoothly it was hard to believe this was Mahala’s first year as Give!Guide executive director. Most signifi-
Give!Guide executive director
GIVE!GUIDE 2017 STATS TOTAL DONATED
$4,209,824 $4,209,824 TOTAL DONORS:
9,649
DONORS UNDER 36
2,546
TOTAL DONATIONS
34,901
AVERAGE DONATION cantly, she expanded our outreach to younger donors. (Special thanks if you are among them, as Give!Guide’s No. 1 goal is to help build an annual giving habit in Portlanders under the age of 36.) We are delighted she will continue to head this effort and is eager to put what she’s learned to work in the year ahead. We are always looking for ways to improve the Give!Guide experience. As we do each year, we’ll be convening a recap with participating nonprofits early next month. These meetings (and the surveys that precede them) always produce helpful suggestions. If you can think of anything we can do that would improve your experience, please let me (rmeeker@wweek.com) and/or Mahala (mray@ wweek.com) know. To sum up: Give!Guide is a true celebration of Portland’s amazing nonprofit community. This year you’ve shown your appreciation for its great work nearly 35,000 times over. (Yes, that’s how many individual donations you made.) We can’t thank you enough. So pat yourselves on the back. We hope to see you at giveguide.org again next year.
$121
Nonprofit with most donors under 36
Planned Parenthood Quadrant of Portland giving the most
Southeast 2017’s Big Give! Days raised
$1,149,357
Largest single donation
$15,000 Nonprofit raising the most
Oregon Cultural Trust ($406,827)
TOP WINNERS of the Schlesinger Family 35 and Under Challenge
DONORS ANIMALS
Pongo Fund
CIVIL & HUMAN RIGHTS ACLU Oregon
113 98
RICHARD H. MEEKER, Founder
COMMUNITY
PS: In two weeks, WW will publish our annual Volunteer Guide. This is your chance to donate some sweat equity—every bit as valuable as cash—to dozens of great local nonprofits. For more information, contact Matt Plambeck at mplambeck@wweek.com or 503-243-2122.
EDUCATION
College Possible
78
ENVIRONMENT
Friends of the Gorge
99
HEALTH
Planned Parenthood
148
HUMAN SERVICES
Immigrant & Refugee
110
MAHALA’S HIGHLIGHTS More than 600 young people attended the Give!Guide Happy Hours at White Owl Social Club, which were graced with a surprise appearance from the Last Artful, Dodgr at the Reva DeVito show. Our biggest single day in Give!Guide history was the Oregon Cultural Trust Big Give day in December, totaling $428,956. We garnered support from more than 250 local artists and businesses, and had a median donation of $50. I am constantly humbled by the altruism of our amazing city.
The Street Trust
96
CREATIVE EXPRESSION Friends of Noise
89
Community Org.
TOP 10 Donation Recipients, After the Oregon Cultural Trust
1. The Pongo Fund: $189,762 2. Planned Parenthood Columbia Willamette: $155,793 3. Oregon Food Bank: $148,741 4. Habitat for Humanity Portland/Metro East: $97,270 5. Friends of the Columbia Gorge: $89,546 6. Central City Concern: $86,926 7. ACLU Foundation of Oregon: $73,764 8. The Library Foundation: $64,146 9. Sisters of the Road: $63,938 10. Immigrant & Refugee Community Organization: $62,825 Willamette Week JANUARY 10, 2018 wweek.com
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LETTERING: LEAH MALDONADO
THE
PAST YOU CAN’T ESCAPE THE PAST. BUT YOU CAN GET IT ZAPPED AWAY AT A TATTOO-REMOVAL CLINIC. B Y N ATA L I E O ’ N E I L L @ i nko nt he p a d One week into the new year, Kortnie Bodkin was hard at work with a laser, erasing the past. Bodkin is a licensed skin and laser specialist at Cascade Medical Spa & Tattoo Removal Center in the Brooklyn neighborhood of Southeast Portland. As she zapped off unwanted ink in the strip mall-style building two blocks from the Willamette River, clients unloaded the tales behind their unwanted ink. “People tell me stories about breakups, jail, things they did while drinking,” she says. “I don’t ask—but they tell me everything.” This is tattoo-removal season. January is tied for the busiest month at the clinic, says Cascade’s owner, Forrest Smith. (The other is May.) “We’ve received a lot of phone calls in the past two weeks from people saying, ‘It’s the new year, and I want to move on from this or that.’” In part, that’s because Smith and Bodkin are in the business of regret—and freeing people of their symbolic baggage. “I’ve had customers in tears telling me about how I’m changing their lives,” Smith says. Tattoo removal might seem like a counterintuitive line of work in Portland, a city whose close relationship with body art can be spotted everywhere from Blazers games to yoga classes. But in fact, getting rid of ink is a lucrative business. In the past three years, six tattoo-removal clinics have opened in Portland—more than tripling the number in the city. Smith has seen steady business since he opened two years ago. He treats an average of 600 clients annually, he says. The treatment generally takes three to seven sessions—10 to 30 seconds each time under the laser—which clients describe as more painful than getting the tattoo. They say it feels like being snapped repeatedly by a rubber band, and heals much like an oven burn. For that privilege, Cascade charges $225 to $700, depending on the shade of ink, body placement and skin tone.
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PHOTOGRAPHS BY THOMAS TEAL I L L U S T R AT I O N S B Y T R I C I A H I P P S
Last weekend, WW spent a day inside the Cascade center. We found that a tattoo-removal clinic is a cross between a hospital, a beauty parlor and a church confessional. Bodkin, a bubbly brunette, has performed roughly 2,500 of the treatments over two years. The tattoos Bodkin has removed range from romantic gestures gone wrong to gang signs and goofy misspellings. She sees the humor in her work. “One guy had a tattoo on his chest that said, ‘Everyone Is a Genius,’ but ‘Genius’ was spelled wrong,” she says. It was not meant as a joke. No matter: “It was super-funny.” Cascade has helped a woman remove the name “MIKE,” her exboyfriend, from her vulva. Another client scrubbed “Bite Me” from a hipbone. And one man erased his ex-wife’s name, with a line through it, over his heart, she says. Other clients have told darker tales, including men with swastikas and gang signs, along with a woman who was “marked” by an abusive boyfriend. Portlanders have plenty of serious reasons to start fresh. They range from “cleaning up” to score a desk job to leaving prison or gang culture. Others want to join the military or escape cycles of abuse. The most common reason for an unwanted tattoo? No surprise: It’s booze. At least half of clients simply made bad decisions while drinking, Bodkin says. “You see a lot of dolphins on ankles and tramp stamps from 15 years ago,” she says. “There are a lot of tribal tattoos. And so much barbed wire!” Before he opened the business, Smith, a 42-year-old Army vet, had a clichéd tattoo himself. He got into the business after removing a skull from his one of his biceps, which he called a “dumb decision” to impress an older friend as a teenager. Smith says he tapped into the right market at the right time. “I made it affordable to the average person,” he says. “In the past, a lot of businesses have charged too much for subpar laser machines, and done more damage than good.” On the first Saturday of 2018, Smith, who has the build of a linebacker and a playful sense of humor, welcomed a steady stream of clients into a waiting room enlivened by candy dishes and Michael Jackson music videos playing on a flat-screen TV. “Hello! Can I get you some water? Coffee?” he asked customers with a grin. Inside the treatment room, Bodkin instructed patients to wear special blue-lensed glasses to avoid eye damage. She gave nervous clients a warning before administering a zap of the violet laser, then unleashed a blast of soothing cool air. Before they left, she instructed each of them to keep the blistering wound clean and dry. An onsite skin doctor oversaw the whole thing. Over the course of a day, WW spoke to more than a dozen customers getting tattoos removed. Some wanted to forget past lovers. Others were embarrassed by tacky teenage mistakes. But all agreed there’s real power in wiping the emotional and physical slate clean. We changed a few names (marked with an asterisk), but the stories are real. So was the ink. Until it was blasted away. UNDER MY SKIN: Cascade Tattoo Removal Center is located on Southeast Holgate Boulevard. CONT. on page 16
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T H E ROM A N T IC N A M E | Jon* A G E | 26 TAT T O O | The name “Dawn,” left ring finger Jon was 18 years old and cruising around downtown Portland with his then-girlfriend, Dawn, when she suggested they tattoo each others’ names on their weddingring fingers. “She acted like it was spontaneous—but she already had it set up and scheduled,” says Jon, a construction worker from Oregon City. “She was a manipulative person and she blindsided me.” He agreed to the tattoo simply to avoid a fight. “It was a bad relationship,” he adds. “I regretted it before I even did it. My finger says ‘Dawn’ but it should say ‘Dumb’!” Flash forward eight years, and Jon is engaged to another woman, who is not thrilled about his ex-girlfriend’s name hogging his most romantic digit. “It has caused problems with my fiancee,” he says. “It drives her crazy that I have the name of another woman on my body.” Jon recently had the name “Brittney,” his wife-to-be, tattooed more than 20 times larger on the inside of his forearm. “I actually like seeing this one,” he says, gesturing at the bold black ink. “I’ve learned not to go against my better judgment.” 16
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THE SISTER
“I REALIZED N A M E | Samantha Maulin YOU CAN BE A G E | 31 TAT T O O | Swallow, half-sleeve arm EXACTLY Six years ago, Maulin was going through a nasty breakWHO YOU WANT up and hankering for a change. Her sister, who had a tattoo of a swallow marked with Maulin’s birthday, had TO BE.”I AM asked her to get one, too. A tattoo artist friend near her then-home in New TURNING OVER Mexico invited her to his pad and offered her a good deal. “The swallow represents loyalty because they mate for life,” says Maulin, a phlebotomist (a techniA NEW LEAF.” cian who draws blood) living in Sandy, Ore. It was an intimate filial gesture. One problem: The bird was hideous. “It turned out looking more like a twisted parakeet,” she says. “It was bad.” To make matters worse, Maulin has since had a falling out with her sister. “We are estranged,” she says, “so this tattoo is like a bad part of my past, stapled to my body.”
Last year, she fled “small-minded” Farmington, N.M., moved to Sandy and had an epiphany. “I realized you can be exactly who you want to be,” she says. “I am turning over a new leaf.”
New Year Health and Wellness Goals?
T H E DI Y A RT I S T N A M E | Jennifer Gray A G E | 26 TAT T O O | Henna-style design, scalp Gray isn’t scared of pain. So when she saw several “gorgeous women” rocking Mohawks and scalp tattoos online, she decided to give herself one. She ordered the ink, watched a “how-to” tutorial on YouTube and went for it. “I spent 15 minutes doing it and was like, wow, that was dumb,” says Gray, who works as a waitress. “I was trying to hurry up and finish it because I was in so much pain.” It didn’t turn out as sexy as she’d hoped. “It looks like I have a skin disease—with dark spots on my scalp,” she says. “Next time, if I want to do something myself, I’ll take a class.”
We will inspire and support you. NEW YEAR'S SPECIAL : One month of unlimited yoga for $79 offer ends 1/31/18
2305 SE 50th Ave., Portland • info@yogaunioncwc.com • 503-235-YOGA (9642)
T H E S OU L S E A R C H E R N A M E | Chelsea Benjamin A G E | 25 TAT T O O | A bird atop the word “Serenity,” wrist Benjamin was feeling grateful. At age 19, she had tried for months to shake off a crippling depression. When she managed to get it under control, she celebrated by getting a tattoo. “I was searching for inner peace, so I got the word ‘Serenity,’ on my wrist,’” she says. “It was to mark a mental health milestone.” But six years later, she says, the bird looks awkward landing on the tip of the letter Y. “Now I make fun of myself. Have you seen Portlandia? It’s like, put a bird on it!” She says the new year inspired her to remove the lopsided creature. “I want to let go of bad things I’ve been holding onto,” says Benjamin, who is now a recovery coach for teens with eating disorders, living in the Woodstock neighborhood. When it comes to big life decisions, like tattoos, Benjamin advises not to base long-term changes on fleeting moods. “You should be in a good mental state before you make the choice,” she says.
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ERASURE: Cascade uses the laser on this device to break up ink particles under the skin.
T H E B R I DE N A M E | Laura A G E | 29 TAT T O O | Snake, half-sleeve arm Not long before her wedding two years ago, Laura was struck by an idea for her next tattoo. It was a desert scene and a nod to her roots as a kid growing up in the Mojave Desert. It featured a snake slithering through the sand with a sunset in the background. A Portland tattoo artist drew up a sketch, and she loved it. But once on her body, it looked completely different. “A 9-year-old could have done it!” says Laura, who now lives in Camas, Wash. “I felt so insecure about it.” On top of that, she was pregnant and didn’t know it, which caused her body to reject the ink, giving the design a blurry look as it healed. At her wedding, months later, she wore a sleeveless gown. “People came up to me after the ceremony, pointed to it and said, ‘Really?’—which made me feel like S-H-I-T,” the stay-at-home-mom says, spelling out the expletive. Now on the brink of 30, she wants a fresh start. “I want to feel comfortable in my own skin—literally,” she says. “Most things in life, you can’t fix. So, if you can, you should.”
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Willamette Week JANUARY 10, 2018 wweek.com
“PEOPLE POINTED TO IT AND SAID, ‘REALLY?’— WHICH MADE ME FEEL LIKE S-H-I-T.”
T H E
C U LT U R A L
A P P R O P R I AT O R N A M E | Toni LaRiccia A G E | 36 TAT T O O | Tribal sign, back of neck At age 18, LaRiccia was hanging out with an older crowd. A tattoo, she thought, would make her seem cooler: more mature and more punk-rock. She impulsively picked a sun-shaped piece of tribal-style flash art on the wall of a Portland tattoo parlor and plunked down $80. “It’s just a really bad ’90s tattoo: a horrible tribal sign,” says LaRiccia, a legal receptionist who lives in the Brooklyn neighborhood. “I was fresh out of high school. I didn’t know what the hell I was doing.” She got the sun art inked on the back of her neck. For years she avoided wearing her hair up, which exposed the embarrassing stamp. But a few months ago, she says, “I came to the revelation I now have the resources to get rid of it.” She wishes she could give her younger self a lecture about borrowing the symbols of other cultures. She now considers the act tacky at best. “I’d tell my 18-year-old self to spend a day thinking about what [tattoo] to get,” she says, “and I’d say, these days, tribal tattoos are considered culturally appropriated.”
T H E N O S TA L G I C N A M E | Molly* A G E | 32 TAT T O O | Anchor, wrist There’s a story Molly loves about her grandparents. When the Midwestern couple got divorced, Grandpa Russell chased Grandma Betty across the country to California. Against all odds, they fell back in love and remarried. As a symbol of love, he got an anchor tattoo with her name on his arm. Years later, while he battled Alzheimer’s disease, he miraculously seemed to remember her and nobody else. “He had no fucking idea what was going on,” says Molly, a cancer researcher from the Irvington neighborhood, “but he knew who she was because her name was right there on his arm.” She wanted to repeat that gesture of memory and loyalty with her husband. “It’s such a cute story that my husband and I both ended up getting one,” she says, “but then he left me for his 26-year-old assistant. He turned out to be a dirtbag.” Now she can’t bear to look at the anchor. “At first, I held out hope that we might be like [my grandparents] and get back together,” she says, “but at some point, you have to let go.”
As she left the center, Laura pulled a gray sweatshirt over her partly erased snake tattoo and smiled. The ink wouldn’t be gone for several more sessions, but she felt better. “I’m starting to feel more confident,” she says. “I have regrets, but I’m starting to figure myself out.” Around 7 pm, Cascade owner Forrest Smith peeled a telephone headset from his ear, shut down his computer and tidied up a desk dotted with neon orange Post-it notes. Smith likes fresh starts. They’re what he’s selling. “We are all trying to erase the past for a brighter future,” he said. “There’s nothing wrong with that.”
"I'M STARTING TO FEEL MORE CONFIDENT. I HAVE REGRETS, BUT I'M STARTING TO FIGURE MYSELF OUT."
Willamette Week JANUARY 10, 2018 wweek.com
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STREET PRESENTED BY
“Oh damn... Taylor Swift.” “Hmmmm. I’d say Honne.”
PHOTOS BY SAM GEHRKE @samgehrkephotography
WHAT IS YOUR MUSICAL GUILTY PLEASURE? “I’d say Sade. She’s more accepted now than back when she was making music, but I still think it’s odd I listen to her.”
OUR FAVORITE LOOKS THIS WEEK.
“I don’t really have a guilty pleasure when it comes to music. I like all of my stuff and play it really loud wherever I am.”
“Right now it’s Scandinavian Pop/House/Rap.”
“Doomtree! Gotta rep the Midwest!” 20
Willamette Week JANUARY 10, 2018 wweek.com
“Oh, Mike Jones, for sure.”
SATURDAY MARKET’S 45TH SEASON OPENS MARCH 3, 2018
STYLE
THE DUMB ’90s
R O S IE S T R U V E
WE PREDICT THE FASHION TRENDS FOR 2018, AND WE’RE BETTING ON THE YEARS OF THE SPICE GIRLS AND NU METAL. BY WA L K E R M AC M UR D O
wmacmurdo@wweek.com
Predicting fashion trends is more art than science. A look worn by a #influencer will presage mainstream trends six months out. A controversial outfit from a rapper in 2017 will be a normal sight in the suburbs a year later. An outfit that would’ve been novel a year ago is now passe. But if you pay attention to the past and have an acute eye for detail, you can see where things are heading. And we’re heading to 1998. I think that the culture as a whole is headed toward an embrace of the “Just Don’t Give a F***” ethos of the late ’90s. This will manifest itself in a handful of intersecting aesthetics. Keep an eye out for these looks in the coming months, and invest in your Tripp pants now! THE NEW NU The Soundcloud rap movement of 2017 heralded a new wave of primal aggression in pop music that we haven’t seen since the glory days of Korn and Slipknot. This is the year that multicolored dreadlocks and everything Gucci (well, that was last year, but it isn’t slowing down yet) will explode into the mainstream with a slurred cry of “Let’s get it!” Expect the late emo rapper Lil Peep’s aesthetic of black streetwear offset with brightly colored accents (pink is going to be big) to be a driving force of this look, with more advanced practitioners sporting facial piercings and tattoos, outlandish hair, really big pants and as much designer clothing as their credit allows. HIKE GOTH Though it blew up onto the scene in 2014 with profiles from The Fader and the New York Times, the health goth movement was superseded by a more general aesthetic. But I think the look will be back this year in a new form that embraces outdoor wear, hiking boots and tactical garments in a manner that’s both more explicitly functional and, in these uncertain times, somewhat militaristic.
The North Face and Columbia—by way of the Portland brand’s collaboration with influential NYC boutique Opening Ceremony—have already had an enormous fall and winter season, and I expect both brands to continue to thrive through the year. Expect the excellent new collection from Adidas’ Y-3 collaboration with Japanese designer Yohji Yamamoto to be popular in spring and summer. Nylon, synthetic fabrics, big accessories and edgy silhouettes will be everywhere come summer, and the burned forests of the Columbia Gorge will serve as the background for many lookbooks. CARPENTER CHIC Carhartt and Dickies both had a big 2017 with their fashionf o r wa r d i m p r i n t s Wo r k i n Progress and Construct. These will likely continue prominence this year coupled with denim, beanies, waffle knit, vintage and plenty of highly functional overlap with Hike Goth (The convergence of these looks is called Blade Runner-Core.). Particularly, keep a lookout for cargo pants and cargo shorts making a big comeback for both men and women. You may even see a vest or two. STONERWAVE Some brands have recently tried to bring the stoner earth tones from the heyday of the ’70s back into the mainstream. These attempts have rightly failed because they were ugly. But I think we’re going to see a lot more “fun” in 2018, with women’s fashion in particular embracing kush in a manner more explicit than the crystal Wicca aesthetic. I’m looking forward to a Spice Girls/stoner mashup with lots of silver and gold, bright colors, weed graphic prints and, again, outlandish hair, likely with some flowy, hippie overlap. You want to know how to Spice Up Your Life? Some loud ass weed.
fetcheyewear.com | 877.274.0410 814 NW 23rd Ave
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Willamette Week JANUARY 10, 2018 wweek.com
THE BUMP
PRESIDENT
sgormley@wweek.com
ed ,
THE TRUMPIEST MOMENTS OF 2017, AS DETERMINED BY POLITICAL CARTOONIST MATT BORS.
After a year of drawing Donald Trump, the future looks bleak to political cartoonist Matt Bors. “This is our new reality. I don’t know if it will ever go back to normal,” Bors tells WW. “I don’t know if we’ll ever have a politician as president again. It might just be celebrities and tech entrepreneurs from here on out.” It’s hard to walk away from Bors' new art show, President Trump: Year One, with a more moderate conclusion. The exhibit, now on display at Sequential Art Gallery, displays 23 of Bors’ cartoons satirizing Trump and his administration. It was so inevitable that Bors, a Pulitzer-nominated cartoonist and founder of The Nib, would spend the year reckoning with an onslaught of absurdity, that Sequential Art Gallery asked him if they could display his work from Trump’s first year before Trump had even been sworn in. “We’re talking about the biggest idiot who’s ever been in the White House,” says Bors. “He’s 280 pounds and has dentures and fake hair, his wife won’t touch him and he watches 8 hours of television each day. I mean, this guy is probably one of the most loathsome creatures to ever occupy our minds.” Year One functions as a catalog of the endless stream of terrible and just plain baffling moments that made up the first year of Trump’s presidency. “It’s hard to keep track of everything,” says Bors. “It’s like a rolling disaster. It’s just one thing after another.” So we asked Bors to pick his comics that depict Trump at his Trumpiest.
GO: President Trump: Year One is at Sequential Art Gallery, 328 NW Broadway, sequentialartgallery.com. 11 am-5pm Monday, 2 pm-6 pm Sunday, through Jan. 27. Free.
June: Trump ignores the Max stabbing.
August: Trump responds to Charlottesville, “a terrorist attack by a white person he couldn’t ignore,” says Bors.
October: Trump argues with the widow of one of the soldiers who died in Niger.
November: "One bright spot in 2017 was very narrowly avoiding electing an accused child molester to the Senate,” says Bors. “It was a real squeaker, but in the end, a Democrat beat child molestation by a small margin.”
Willamette Week JANUARY 10, 2018 wweek.com
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LETTERING BY LEAH MALDONADO, C O M I C S P R O V I D E D B Y M AT T B O R S .
BY SHA N N ON GOR MLEY
STARTERS
J O N N Y P J E W E L S FAC E B O O K
B I T E - S I Z E D P O R T L A N D C U LT U R E N E W S
LOST JEWELS: Longtime Portland musician Jon Steuer, better known in the punk scene as Jonny P. Jewels, died of an apparent suicide on Jan. 1. He was 33 years old. Born in Escondido, Calif., Steuer was a child actor whose credits include Star Trek: The Next GeneraSTEUER tion and ’90s sitcom Grace Under Fire. After quitting acting at age 12, Steuer moved to Denver, where he formed his best-known band, power-pop outfit the Soda Pop Kids, and then relocated to Portland in 2005. Steuer played with several other projects, most recently the punk band P.R.O.B.L.E.M.S. with former Pierced Arrows drummer Kelly Halliburton. In 2015, Steuer opened Northeast Sandy Boulevard vegan restaurant Harvest at the Bindery, where a memorial was held on Jan. 7. A fundraiser to help his family pay for funeral expenses has been launched at youcaring.com.
DEVOUR NEWSLETER wweek.com/follow-us 24
Willamette Week JANUARY 10, 2018 wweek.com
CHRISTINE DONG
THIRD BIRD: This spring, two-time James Beard Award-winning chef Gabriel Rucker will open his third restaurant in Portland: a casual new wineand-cocktail-focused spot called Canard. It’ll be located next to Rucker’s landmark original restaurant Le Pigeon on East Burnside—which WW named the city’s best restaurant in our 2016 and 2017 restaurant guides. Along with weekend brunch, the restaurant will offer breakfast, lunch and an evening small-plates menu devoted to Rucker’s vision of “French bar food.” This will include an avian take on porchetta called “ducketta.” Le Pigeon co-owner and wine director Andy Fortgang says a menu heavy on wines by the glass will showcase Le Pigeon’s estimable bottle collection.
R.E.M.E.M.B.E.R: On Saturday, January 6, at a Wonder Ballroom benefit for Portland musician Scott McCaughey, three-fourths of R.E.M. reunited to perform a short set in his honor. Original drummer Bill Berry joined guitarist Peter Buck and bassist Mike Mills, who were in the midst of performing with Buck’s band Filthy Friends, to play five classic R.E.M. songs, including two with the Decemberists’ Colin Meloy and the Shins’ James Mercer handling vocal duties. (Berry left the group in 1997, and the band broke up for good in 2011.) It’s not the first time a partial R.E.M. reunion has happened at the Wonder. In 2013, Peter Buck got married at the venue, and various combinations of the band—that time including singer Michael Stipe—took the stage together for some impromptu jamming, but never all four at once. SOUL PROVIDERS: Snoop Dogg and Kobe Bryant’s favorite underground TRAP KITCHEN fried chicken and soul food kitchen just opened up in Portland—as a food cart called Trap Kitchen PDX at 8523 SE Stark St. Trap Kitchen was founded in LA by Malachi “Spankihana” Jenkins and Roberto “News” Smith, two former former gang members from Compton, one Crip and one Piru (Blood). Though famous in LA with stars like Kendrick Lamar, Traps’ owners have roots in Portland, according to local rapper Cool Nutz, who alongside rapper Mikey Vegaz helped the duo open the Portland cart. Offerings change daily among dishes like BBQ and pineapple bowls. The menu is updated on Instagram at @TrapKitchenPDX.
1/10
W E D N E S D AY
DESTROYER
GROW YOUR OWN
Famed for his word-drunk lyrics and acerbic wit, Dan Bejar, aka Destroyer, has let his writing be the glue that holds together 12 otherwise eclectic studio albums. Last year’s Ken is Bejar’s latest, mining inspiration from the chunky synths and bite-sized pop nuggets of New Order. Wonder Ballroom, 128 NE Russell St., 503-284-8686, wonderballroom. com. 9 pm. $20 advance, $22 day of. 21+.
Local authors Nicole Graf and Liz Crain—also the author of John Gorham’s cookbooks—have written a new how-to book called Grow Your Own dedicated to giving the would-be cannabis farmer all the tools they need to, uh, grow their own. Also there’s a nice recipe for pot brownies. Powell’s City of Books, 1005 W. Burnside St. 7:30 pm. Free.
1/11
“Celestial” is a word that often comes to mind when listening to the reverb-soaked joys of Portland’s Candace. The band manages to infuse lush space-pop with a punkish urgency that places them at the table amongst modern space-rock royalty. Bunk Bar, 1028 SE Water Ave., 503-328-2865. 9:30 pm. $10 advance, $12 day of show. 21+.
Get Busy NORMAN REEDUS, THE WALKING DEAD
1/12
THREE SISTERS F R I D AY
S 3 / AMC
OMSI’s annual retrospective of the strange animated world of Studio Ghibli kicks off with its best known and most subtly terrifying movie about a 10-year-old girl who becomes trapped in the spirit world. OMSI Empirical Theater, 1945 SE Water Ave., omsi.edu. 9 pm. Festival continues through Jan. 21. $7.
CANDACE
FRANK OC KENFEL
T H U R S D AY
SPIRITED AWAY
I DROWNED IN MOONLIGHT, STRANGLED BY MY OWN BRA
After a two-year hiatus, Northwest Classical Theater is returning with Chekov’s classic After premiering over the summer as part of a about a showcase, the contemporary show by Portland Russian famW H E R E W E ' LL B E choreographers Sada Naegelin and Leah Wilmoth ily who is forced is getting a night of its own. It’s a goofy exploration to leave their privileged C E LE B R ATI N G TH E N E W Y E A R of female stereotypes, so it’s fitting that the title comes life in Moscow for banal ( AGA I N) TH I S W E E K . from the obituary Carrie Fisher wrote for herself eight years farm life. Shoebox Theatre, before her death. Performance Works Northwest, 4625 SE 2110 SE 10th Ave., nwctc.org. 67th Ave., pwnw-pdx.org. 7:30 pm. $10. 7:30 pm. $25.
JAN . 1 0 –1 6
S AT U R D AY
1/13
CHERVONA’S RUSSIAN OLD NEW YEAR PARTY Think you’ve got one more New Year’s Eve left in you? Portland's premier Eastern European party band Chervona will be turning up the heat for its 12th annual Russian Old New Year Party. This year’s bash has a tropical theme. Guest singers are promised. Drunkenness is assured. Star Theater, 13 NW 6th Ave., 866-777-8932, startheaterportland.com. 9 pm. $20 general admission, $70-$360 for reserved tables. 21+.
RED FANG RED BOTTLE RELEASE Teutonic will throw a party for their new, epicly good Red Fang Red wine. The band will hang out, and drummer John Sherman will spin metal on the decks. $25 price of entry includes a glass of the wine, a metal-horns wine glass, a housemade corn dog with house-made sausage, and of course a bag of Fritos. Teutonic Wine Company, 3303 SE 20th Ave., teutonicwines.com. 6 pm. $25.
S U N D AY
1/14
HEROES AND VILLAINS FEST
WOLF PARADE
Kind of like a smaller, chiller version of Comic-Con, Heroes and Villains Fest has panels of actors from across the wide spectrum of nerdy TV shows. At the Portland iteration, there’ll be Melinda May from Agents of S.H.I.E.L.D and basically everyone from The Walking Dead. Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., heroesfanfest. com/portland. $45.
After a six-year break, Wolf Parade reemerged last year with Cry Cry Cry, and the unhinged chemistry of songwriters Dan Boeckner and Spencer Krug hasn’t atrophied one bit. It’s brighter, bouncier and more focused than either of the records that preceded it, proving Boeckner and Krug are better together than apart. Crystal Ballroom, 1332 W Burnside St., 503-225-0047, crystalballroompdx. com. 8 pm. $28 advance, $30 day of show. All ages.
1/15
M O N D AY
MLK JR. BREAKFAST For the 32nd year, The Skanner will host its annual Martin Luther King Jr. Day breakfast to honor the Reverend—and this year, the holiday falls on his actual birthday. The keynote speaker this year will be Cheryl Grace of Nielsen Entertainment, who will speak about how black consumers should not hesitate to influence the business world by voting with their wallets. Red Lion Hotel on the River, 909 N. Hayden Island Dr. $95. 8:30 am. Tickets at theskanner.com.
DUMPLINGS AND VODKA AT PALEY’S Every Monday in January and maybe beyond, Vitaly Paley will be hosting a night of pickles, vodka and especially dumplings at his flagship Paley’s Place restaurant. Expect five courses including beef, lamb and pork khinkali; Uzbek-style khanuma; multiple versions of varenyky; and jam-filled ponchiki dumplings. Paley’s Place, 204 NW 21st Ave, 503-243-2403. 6:30 pm. $40. Tickets at eatfeastly.com. Waitlist only.
T U E S D AY
1/16
INSTRUCTIONS FOR DRINKING WITH A FRIEND For Portland artist MK Guth’s interactive exhibit, you sit with a friend at a small table, drink some whiskey provided by the artist, and have a drunk conversation prompted by a book of rules. It’s a bizarre way to interact with art, plus free whiskey (you’re required to sign up ahead of time and sign a waiver). Elizabeth Leach Gallery, 417 NW 9th Ave., elizabethleach. com. See website for reservable time slots. Free.
LENI ZUMAS In local novelist Leni Zumas’ new dystopian Red Clocks, abortion and in-vitro fertilization are illegal, and the Personhood Amendment grants rights of life, liberty, and property to embryos. Zumas’ wildly inventive book is set in a small Oregon fishing town, exploring the stories of five women living under a new frightening future. Powell’s City of Books, 1005 W. Burnside St., powells.com. 7:30 pm. Free. Willamette Week JANUARY 10, 2018 wweek.com
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Fillmore Trattoria
Italian Home Cooking Tuesday–Saturday 5:30PM–10PM closed Sunday & Monday
FOOD & DRINK = WW Pick.
DRANK
Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.
SATURDAY, JAN. 13 Red Fang Red Bottle Release
1937 NW 23RD Place Portland, OR 97210
(971) 386-5935
In what may be the hardest rocking wine party of the year, Teutonic is throwing down with horns up for the bottle release of their new Red Fang Red. The namesake band will be on hand, and drummer John Sherman will spin his favorite metal on the decks. The $25 price of entry includes a glass of the wine, a metal-horns wine glass, a housemade corn dog with house-made sausage, and of course a bag of Fritos. Teutonic Wine Company, 3303 SE 20th Ave., teutonicwines. com. 6 pm. $25.
Bourbon and Bacon Fest
! S U PICK Advertise with WWEEK!
The idea is simple. A bunch of bourbon. A bunch of bacon. And a bunch of half-cocked adults whizzing around the science museum with no kids in sight, shooting off water rockets and pretending to be chemists in (mostly harmless) experiments. If you’ve still got the attention span, you can also learn why bacon has such a hold on the deepest parts of your reptile brain. OMSI, 1945 SE Water Ave., 503-797-4000, omsi.edu. 6-10 pm. Only VIP tickets still available. $70 for early admission and 15 drinking tokens
Cascade Oyster Pop-up
Cascade is inaugurating a new tradition this year: oysters! Along with a raw bar featuring scads of Hama Hama oysters, Cascade will serve up seafood chowder, oysters both paté and Rockefeller, and mignonettes made with sour beer. The brewers will also be pulling out some rarities from the cellar, alongside special seafoodsour-beer pairings. Note that oysters are finite and the event lasts only as long as the shells. Snoozing = losing, as always. Cascade Barrel House, 939 SE Belmont St., 503-265-8603, cascadebrewingbarrelhouse. 1-6 pm.
MONDAY, JAN. 15
Red Blend and White Wine (FREE PUBLIC WINES) Eat it, Sofia Coppola: Portland pretty much owns canned wine in America. And as it turns out, canned wine is the next big thing. Americans drank $28 million worth of the stuff last year, twice what they did in 2016—and local brands Underwood and Portland Sangria account for over a third of the canned wine made in the country. With numbers like that, it’s no wonder that heavyweights like former Stumptown Coffee VP Matt Lounsbury and winemaking legend Ron Penner-Ash signed on with new Portland wine canner Free Public Wines. At a mere $12.99 for a three-can set—the same volume as a 750-milliliter bottle—Free Public has crafted a pair of surprisingly crushable debut wines. Following the path already laid out by Underwood—which consistently tops blind taste tests of canned wine nationwide—Penner-Ash leveraged 30-some years’ worth of industry connections to source high-quality grapes at low cost, chosen to fit a specific flavor profile. The results are both balanced and eminently quaffable, if not exactly nuanced. The red blend—a 90-10 mix of Oregon Pinot and California Syrah— comes on pleasantly round and plummily fruit-forward with a lightly acidic finish. The white fares even better, especially straight out of the fridge—with strong mineral notes from the riesling pitted against the crisp apple notes of chardonnay. Sure, it’s the vinological equivalent of Canadian whiskey–with rough edges blended into easy-drinking smoothness—but it also feels refreshingly native to the can. When the weather warms, I can easily see myself breezing through three cans of white at dockside before easing into some Loggins and Messina. Recommended. MATTHEW KORFHAGE.
MLK Jr. Breakfast
For the 32nd year, The Skanner will host its annual Martin Luther King Jr. Day breakfast to honor the Reverend—and this year, the holiday falls on his actual birthday. The keynote speaker this year will be Cheryl Grace of Nielsen Entertainment, who will talk about how black consumers should not hesitate to influence the business world by voting with their wallets. Red Lion Hotel on the River, 909 N. Hayden Island Dr., $95. 8:30 am. Tickets at theskanner.com.
Dumplings and Vodka at Paley’s
Every Monday in January and maybe beyond, Vitaly Paley will be hosting a night of pickles, vodka and especially dumplings at his flagship Paley’s Place restaurant. Expect five courses including beef, lamb and pork khinkali; Uzbek-style khanuma; multiple versions of varenyky; and jam-filled ponchiki dumplings. Note that the rest of the world is as stoked about this as you are: Tickets are waitlisted all month. But if you must have a Russian pop-up from Paley, tix are still available for the fancier $125 DaNet feast at Headwaters on January 13. . Paley’s Place, 204 NW 21st Ave, 503-243-2403. 6:30 pm. $40. Tickets at eatfeastly. com. Waitlist only.
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Willamette Week JANUARY 10, 2018 wweek.com
TOP 5
HOT PLATES
1. 2.
Where to eat this week.
The Woodsman Tavern
4537 SE Division St., 971-373-8264, woodsmantavern.com. $$-$$$. Under former Imperial chef Doug Adams, the Woodsman has entered a new golden age. Order the fried chicken, or the trout, or the pimento dip, or the oysters, or... honestly, you can’t go wrong.
Sammich
2137 E Burnside St., 503-477-4393, sammichashland.com. $. Melissa McMillan is better known in Portland for pastrami. But in cold weather, that’s not the play: Instead, order the beefy, cheesy, jus-dipped, Chi-style Timbo. It’s a beefy depth-charge of Windy City comfort that warms from within.
3. 4.
Stoopid Burger
5.
Bark City BBQ
2329 NE Glisan St., 503-477-5779, pdxstoopidburger.com. $-$$. If you haven’t figured it out yet, the new Stoopid Burger brick-and-mortar is now the best damn burger spot in Kerns, instead of being the best damn burger cart in North Portland.
Departure
525 SW Morrison St., 503-802-5370, departureportland.com. $$$. If you’re out late downtown, check in for a cocktail and one of the insanely good desserts. Departure’s caramel apple custard cake might be one of our favorite new sweet treats we’ve tried this year. Sooo much apple. So much. 1331 N Killingsworth St., 971-227-9707, barkcitybbq.com. $$. There’s some seriously good new ’cue in town: Split a pit master platter for some seriously good pulled pork and ribs, plus a banana pudding milkshake studded with Nilla wafer and garnished with a crème brûlée banana.
C J M O N S E R R AT
REVIEW
PORK AND PORK AND BEANS: The most proper full English in Portland is at Kingsland Kitchen.
Breakfast of Kings FORMER FOOD CART KINGSLAND KITCHEN IS SERVING UP A FINE ENGLISH FULL MONTY. BY M AT T H E W KO R F H AGE
mkorfhage@wweek.com
After fish and chips and the almighty sandwich, the fry-up stands as England’s greatest contribution to world gastronomy. The full English breakfast is a painter’s palette of protein and fat: fried eggs always sunny, bacon, baked beans, black pudding, tomatoes, toast and especially breakfast banger sausages. It is a collage in comfort, a variety plate custom-made for a country shy of spice. But the meal is often hard to appreciate in Portland. The full English breakfast is obscure outside its homeland, available at precious few spots in town and often served in loose or subpar interpretations. Until recently, the best and most meticulously prepared full English in town came from a downtown food cart run by Englishman Chris Payne—a huddled mass of meat and egg that had to be speared out of a box. Well, now you can get it on a plate. This December, Payne and his wife Holli opened Kingsland Kitchen as a proper breakfast and lunch spot on Southwest Third Avenue that serves English breakfast every day but Sunday. The space still has the character of the coffee shop that preceded it, though the brightly lit and somewhat sparse counter-service restaurant now sports soft seats backed with genuine cowhide. The food is bolstered by craft beer and surprisingly good $8 cocktails, including one made with Scotch and pear Combier. The full English is better than ever, however. The bacon is back bacon, thank you, just as the beans come from Heinz. The housemade bangers pop with rusk—an English wheat filler that makes sausage into snappy dumplings—and are deepened with thyme and rosemary. They make Jimmy Dean seem like a fennel-plugged amateur. Meanwhile, the tomatoes come sliced and thyme-roasted with mushrooms, and the oh-so-English black pudding is also made in house. It is the finest example of the form I’ve had in Portland, and at $16 it could serve two. That plate is served all day until 3 pm, closing time, as is perhaps the city’s most generous avocado toast ($8), which comes slathered in a half-inch of smushed green on toasted wheat bread, in a bed of bitter greens. But the breakfast menu—served till 11 am weekdays and 3 pm on the weekend—has now broadened considerably with a seven-deep selection of English muffin sandwiches for those on the go, mostly breakfast-patty upgrades on the McMuffin. If you can’t sit still for
the full English, you should nonetheless skip the muffin fare in favor of the more intteresting sammies served on bap—a soft Scottish roll that comes pillowy with flour and lightly toasted on its bottom. These include both a $10 steak chimichurri sandwich and an $8 Little Britain stacked up with the banger, egg and bacon found in the Full English. Lunch finds Kingsland a bit less consistent, as the menu branches out into the Indian- and Jamaican influenced fare that defines the modern English diet. A Mumbai-spiced chicken breast sandwich was bland and a little dry, and diners should heavily prefer slathering the pub fries ($5) in HP brown sauce rather than getting them in $8 “pigsty” form—a hard-to-put-together combo of pork cracklin, banana peppers and tart-acidic “#1 King’s sauce.” A field mushroom salad ($7) filled the mushrooms’ hollow tops with oil while leaving the lettuce mostly dry. But alongside a juicy and excellent Guinness-braised beef sandwich ($11) that also graced the cart menu, there’s at least one genuine new hit on the lunch menu at Kingsland. Though the spicy fried chicken sandwich was shaky in early weeks, it’s has rounded into a gob-smackingly chili-spiced take on a General Tso’s sandwich. Saucy sweet heat, aged cheddar, slightly smushy breading and a wealth of very English “gherkin mayo” mash up three continents’ worth of junk food into joyous ecstasy. It’s a genuine winner, and at $10 it’s a full meal even without sides. Alongside multiple lunchtime dishes with those excellent sausages—including the classic bangers and mash—the menu also sports a decent apple-chutney pork sandwich and a double-patty burger ($11) with aged cheddar that one of our writers swears is her favorite in town. The $3 tomato soup side is spicy, thick and dense with flavor. The menu might want some editing, but Kingsland Kitchen is a roundly successful translation—one of the rare food carts to move to brick and mortar with its value proposition utterly intact: Nothing feels overpriced, and the hospitality is equally preserved. Spicy fried chicken aside, what’s on offer here is not a flavor wallop, but cloudyday comforts that can feel surprisingly particular. When someone flies in from Sussex with an insoluble need for black pudding and bangers, there’s now a place to recommend without a single caveat. GO: Kingsland Kitchen, 301 SW Pine St., 971-300-3118, kingslandkitchen.com. 8 am-3 pm Monday-Friday, 9 am-3 pm Saturday.
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Willamette Week JANUARY 10, 2018 wweek.com
MUSIC FEATURE
= WW Pick. Highly recommended.
COURTESY OF MARLON MCCLAIN
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 wweek.com/ 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: msinger@wweek.com. Fax: 243-1115.
Girl Fest: Gifted Gab, Wynne, Fritzwa, Paris Alexa, Dreckig, Sheers [TIME’S UP] While Girl Fest has been giving regional female musicians a platform for self-expression for five years now, the amplification of women’s voices seems especially important at this particular moment. Acclaimed rapper Gifted Gab and soul-pop newcomer Paris Alexa are coming down from Seattle, while viral fire-spitter Wynne, earthy R&B songwriter Fritzwa, space-cumbia duo Dreckig and trip-hop experimentalists Sheers represented for the home team. Holocene, 1001 SE Morrison St., 503-239-7639. 7 pm. $10. All ages.
Destroyer, Mega Bog
[RAMBLING POP] For almost 20 years now, Dan Bejar’s been making music with a rotating cast of musicians under the Destroyer moniker. Famed for his word-drunk lyrics and acerbic wit, Bejar’s let his writing be the glue that holds together 12 otherwise eclectic studio albums that range from ramshackle to slickly produced, and nearly always engage in some fresh form of genre play. Last year’s Ken is Bejar and Co.’s latest. Like 2011’s critically acclaimed
TOP
5
Kaputt, it mines ’80s Brits for inspiration, but instead of Roxy Music’s gauzy mysticism, it’s more interested in New Order’s chunky synths and bite-sized pop nuggets. Backed by a band that’s shockingly identical to the one he took on the road three years ago, expect Bejar to run a tight ship and provide poise galore onstage. PATRICK LYONS. Wonder Ballroom, 128 NE Russell St., 503-2848686. 9 pm. $20 advance, $22 day of show. 21+.
THURSDAY, JAN. 11 The Ghost Ease, Máscaras
[SPELL CASTERS] Portland trio the Ghost Ease cast quite the spell. The band’s potent mixture of garage-rock volume and heady textures makes for some of the heaviest yet hypnotic indie music out there. In 2015, the Ghost Ease wowed the Pacific Northwest with their drifting, temperamental and tantalizing record, RAW. There’s some added excite-
THE PlEaSurE PrinciPlE: Pleasure was one of the most successful Portland r&B groups of the ‘70s.
CONT. on page 30 COURTESY OF BOBBY SMITH
WEDNESDAY, JAN. 10
SlickaPHonicS
FIVE GREAT LOST PORTLAND SOUL GROUPS
The Gangsters
An early tastemaker in Albina’s jazz-funk scene, the group provided Grammy-winner Thara Memory a first crack at arranging music for a stage band. Memory’s compositions were carried out with sophistication by a vibrant cadre of hippie teens who made a name for themselves among local promoters by crashing the Vortex I music festival in Estacada.
2 Slickaphonics As their name suggests, this nine-piece powerhouse served up a butterysmooth helping of soul food in the mid-1970s. Both technical and infectious, the group featured local funk impresario, Randy Starr, and they were among the first Albina acts to throw down in our city’s parks. 3 Transport Anchored by the four-on-the-floor pounding of drummer Narvy James and bassist Randy Monroe, Transport kept the discos lit, and even wrote an anthem celebrating the Blazers’ 1977 championship that remains unreleased. 4 Lights Out Founded by Pleasure trumpeter Tony Collins, Lights Out was Albina’s answer to the boogie-funk sound sweeping through California in the early 1980s. Hybridizing horn arrangements with synthesizers, the group provided a solid backbone for vocalist Andy Stokes to tear it up on the mic. 5 Street Music Band With bassist Mike Belcha at the helm, the SMB fused electric R&B with elements of New Wave. Having pressed forth in the heyday of Prince and Rick James, it is a wonder the group’s LP never saw the light of day. BOBBY SMITH.
Rare Grooves
A LOCAL DJ IS RESURRECTING NORTH PORTLAND’S FORGOTTEN FUNK. BY MATTHEW SIN GER
msinger@wweek.com
Bobby Smith wants to save Portland’s soul. Then he wants to give it a home. But the first step in that process is reminding the city that it existed in the first place. An avid record collector, the 33-year-old DJ has spent the last decade digging deep into the history of the local R&B and funk scene. Indeed, it’s been something of an archaeological mission. Unlike jazz, rock ’n’ roll and other genres, the soul music that flourished in North Portland in the post-jazz era has largely been lost to time. Without much of a recording industry around to preserve it, by the end of the 1980s the music evaporated into memory, the details forgotten even by those who lived it. “There are countless times when I’m talking to someone and they can’t remember the name of their own band,” Smith says. “Then I show them the record and all of it just comes right back.” Through interviews with his neighbors in the Albina neighborhood, Smith—an occasional WW contributor—has excavated hours of old recordings and thousands of photos, amassing what he calls “the ultimate scrapbook of PDX funk.” Up to now, the main repository for that trove of lost music has been his XRAY.fm radio show, Night School. Seeking a less ephemeral platform for bringing that history to the public, Smith has partnered with the African-American arts nonprofit World Arts Foundation to launch the Albina Music Trust, a project celebrating—and, in many ways, restoring—a significant piece of Portland’s cultural heritage. The ultimate goal, he says, is to eventually find some kind of permanent residence for the archive, whether that ends up being a reissue label or an exhibit in a museum or library. “It became more and more clear that this music and these stories needed to be returned to their home, so to speak, before they went on to take any life of their own,” Smith says. In the 1940s and ’50s, Albina was a well-known hotbed for jazz, drawing major players like Duke Ellington and Cab Calloway to a cluster of venues on
the Central Eastside. But after that, “the narrative just drops off,” Smith says. In truth, black music— from soul to gospel, disco to boogie—continued to thrive even as the area gradually gentrified, in clubs and churches, parks and youth centers. “The vitality of the community really revolved around a lot of unsung heroes,” says Michael Grice, president of World Arts Foundation. “Jazz got a lot of recognition because of the great jazz musicians who came through here, but right next door to that were the R&B and funk artists who were generating their own without a lot of resources at that point.” A handful of success stories managed to survive beyond their moment. Pleasure and Shock scored minor hits that allowed them to tour outside the Northwest, and Nu Shooz came up through the R&B scene before “I Can’t Wait” shot them onto the national radar. But there are dozens, if not hundreds of other acts from that period that won’t turn up in a Google search (see Top 5, this page). A lack of access to downtown clubs kept many groups sequestered on the Eastside, and limited opportunities to record meant much of the music never escaped the time and place in which it was made. But recordings do exist—they ’re just not easy to find. Smith has spent hours tracking down and remastering reel-to-reel and cassette tapes salvaged from engineers and small private press labels. Whatever form the Albina Music Trust winds up taking, he promises the music will eventually get released. “Guys like me have been reissuing soul records for decades—go into a little town, find someone who made something a long time ago, put out 500 copies, and guys in Europe and Japan go gaga over this rare soul record they can now have,” he says. “The difference here is we’re engaging the community in the process. Right now, it’s for Albina. I’d love to see where it goes from there.” SEE iT: The Albina Music Trust will have a booth at the 33rd annual Martin Luther King, Jr. Tribute at Highlands Christian Church, 7600 NE Glisan St., on Monday, Jan. 15. 11 am. See worldartsfoundation.org for more information. Willamette Week JANUARY 10, 2018 wweek.com
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MUSIC ment tonight, as the band has been teasing a new full-length produced by Hutch Harris of the Thermals. The always-energetic local psych outfit Máscaras kick off the evening in frenetic style. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 503-328-2865. 9:30 pm. $10. 21+.
Idle Giant, Autonomics
[DOCTOR ROCK] Idle Giant shouldn’t be this good. You might think the passion project of a group of professional dudes— two doctors, one med student, one graphic designer and one music instructor—would cause some eyes to roll, but the musicians in Idle Giant work incredibly well together. Their voices coalesce into beautiful harmonies on every track of 2017’s Garden, which is pollinated tastefully with sugar-sweet synth licks and a pronounced Brit-pop influence. Opening act Autonomics spent years cutting their teeth before finding their sound, touring Europe and releasing the excellent, punk-pop punch-in-themouth of Debt Sounds. Both bands put out excellent, underrated albums last year, and neither
will disappoint live. JUSTIN CARROLL-ALLAN. Doug Fir Lounge, 830 E Burnside St., 503-231-9663. 9 pm. $8 advance, $10 day of show. 21+.
Fin de Cinema presents Jean Cocteau’s Beauty and the Beast
[LIVE SOUNDTRACK] A host of boundary-pushing Portland musicians, including Like a Villain, saxophonist Noah Bernstein and Amenta Abioto, provide what’s sure to be a mind-bending live score to director Jean Cocteau’s enchantingly surreal 1946 adaptation of Beauty and the Beast—no sing-alongs here, we don’t think. Holocene, 1001 SE Morrison St., 503-239-7639. 9:15 pm. $10. 21+.
Charley Crockett, Jaime Wyatt
[RHYTHM & ‘TONK] After listening to just one track by Texas revivalist Charley Crockett, it becomes obvious that he’s shared the stage with the likes of Leon Bridges and Justin Townes Earle. The honky-tonk musician’s ability to breathe life into dusty genres is both fashionable and methodical. The descendent of Davy Crockett turns out deft twang but
SHANE MCCAULEY
PREVIEW
Wolf Parade, Charly Bliss [REUNION PARADE] The parallel brilliance of Dan Boeckner and Spencer Krug was always Wolf Parade’s secret sauce. Though their affectations vary wildly on record, that pushand-pull is what made the band’s 2004 debut, Apologies to the Queen Mary, an instant indie rock classic. But it wasn’t until the two began exploring side projects that it became clear how badly these two unhinged songwriters needed each other to temper their individual eccentricities into something truly great. After a six-year break, Wolf Parade reemerged last year with Cry Cry Cry, and although it’s a musical event worth celebrating, it’s unclear whether their intentions are to bait the festival circuit, dust off the cobwebs or simply divert the focus from the lackluster output of Boeckner and Krug’s aforementioned side gigs. The good news is the hiatus hasn’t caused their interplay to atrophy one bit, with highlights like the jittery circus pop of “You’re Dreaming” and the crashing finale “King of Piss and Paper” gracefully combining the duo’s tics into a sound that’s brighter, bouncier and more focused than either of the records that preceded it. The album would’ve felt more like a victory lap if the indie boom that birthed Wolf Parade hadn’t fizzled into a fuzzy memory. But there’s no denying the unmistakable magic of a group that deserved to be on top of the world in a time when the competition couldn’t have been more fierce. Boeckner and Krug clearly still need one another, and the world always needs more geniuses teaming up to create art that far exceeds the sum of its parts. PETE COTTELL. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 8 pm Sunday, Jan. 14. $28 advance, $30 day of show. All ages. 30
Willamette Week JANUARY 10, 2018 wweek.com
Monarch, Color, Pushy, Gardener
[RIFF ROCK] This may be one California invasion Portlanders actually appreciate. The Golden State is sending up some severe riffs from its southern region by way of two bands well-studied in ’60s and ’70s hard rock. Monarch—not to be confused with the French doom-metal band—has a psychedelic vibe with nods to Brit-pop and shoegaze—are also present. Tour mates Color slightly go a different direction, recalling a lighter, fuzzier Led Zeppelin. The pairing makes good company for Portland’s own boogie-blues band Pushy and Gardener’s noisier garage feel. CERVANTE POPE. The Know, 3728 NE Sandy Blvd., 503-473-8729. 8 pm. $8. 21+.
FRIDAY, JAN. 12 Candace, Bitch’n
[SARAHS IN SPACE] It’s difficult to add punk urgency to the lush space-pop of Mazzy Star and Galaxie 500 without sounding like an unfocused heap of shoegaze mush, but Portland’s Candace did just that on their phenomenal 2016 release, New Future. “Celestial” is a word that comes to mind often as the reverb-soaked joys of that album unfold. However, on their 2017 EP Horizons/Greys, it’s the way Sarah Rose and Sarah Nienaber’s joyous harmonies orbit one another so beautifully that truly captures their essence and earns Candace a place at the table amongst modern space-rock royalty. PETE COTTELL. Bunk Bar, 1028 SE Water Ave., 503-328-2865. 9:30 pm. $10 advance, $12 day of show. 21+.
The Prids, Murderbait, Fotoform
[GLOOM FUZZ] With guitar tones ripped from the C86 compilation and shamelessly lovelorn lyrics, it’s no wonder the Prids have been likened to 1980s gloom-pop titans the Cure and the Smiths. “Elizabeth Ann,” the lead single from the Portland veterans’ newest album Do I Look Like I’m in Love?, is a perfect pop gem four decades tardy, evoking an ’85 Marty McFly fantasy and a blissfully garish dance on the illuminated floor of some smoky nightclub. Most songs follow its hook-filled example, and even the slow lulls of the ambient numbers are spread out in welltimed repose. Overall, it’s a brazen, throwback masterpiece. CRIS LANKENAU. The Know, 3728 NE Sandy Blvd., 503-473-8729. 8:30 pm. $8. 21+.
SATURDAY, JAN. 13 Black Belt Eagle Scout, Nsayi Matingou
[PERSONAL ROCK] It took Katherine Paul 10 years, four bands and the mastery of numerous instruments to discover that her most important asset was one she had all along. With Black Belt Eagle Scout, she’s finally found her voice. She expresses great frustration on songs like “Just Lie Down,” where a furious cascade of distortion washes out into a sinister, palm-muted riff over a booming tom beat. But it’s ultimately the quieter, more complex moments that resonate the most. “Indians Never Die” is the quintessential
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PROFILE
C O U R T E SY O F FAC E B O O K
also imparts a crooning, mid-century rhythm-and-blues element as well. Newest release Lil G.L.’s Honky Tonk Jubilee finds Crockett at his still-rising best. He’s a confident musician who transcends the worn gimmick for sound old for the sake of sounding old. He does it because that’s what he knows best. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 8 pm. $10 advance, $12 day of show. 21+.
What’s New Is Old Again 2018 ALREADY GETTING YOU DOWN? START OVER WITH CHERVONA. Chervona, Portland’s resident Eastern European party band, just celebrated their 11th birthday last year. Crossing the decade point is a feat for any group, but it’s especially impressive for one that can play songs that aren’t sung in English. Band leader Andre Temkin says there are a few reasons for their success and longevity. “One of the biggest keys to the band’s success is my wife, Alma,” Temkin says. Although Alma is not currently playing with Chervona, Temkin describes her as “the official muse of the band.” And on a personal level, “she shares the same frequency wave with me.” Another, perhaps more crucial ingredient to a successful band is great musicians, which Chervona has. “I’m very happy with my current band situation,” Temkin says. “Not only are they great musicians, but great people. It helps to have people that can productively work together, and it is a definite key to success.” Chervona’s songs range from punk to folk to popular Russian songs. Where the band truly thrives is in the live setting. Chervona is playing their biggest show of the year this week, their annual Old New Year Party. It’s an all-out bash based around the Russian tradition of celebrating the New Year as marked by the Orthodox Julian Calendar rather than the Gregorian one. This year, Temkin and his band are adding a new element to their show, with a tropical theme. Chervona hopes to transport the audience from a dreary Portland winter to a place filled with warmth and lots of partying. “We’re bringing a sunny energy to the event,” Temkin says. “We’re gonna make it a tropical time. There’s going to be an imaginary ship that takes the audience from Portland to a tropical island.” The tropical theme isn’t just an escape from the weather, but a reminder of the past that Russians once knew too well. Chervona will be playing songs that come from the Soviet past, that signify “when we were not able to travel anywhere. We could only wish that we one day we would have the ability to go see other countries.” But Temkin emphasizes that Chervona is not just for the Russian-speaking communities. After all, it probably wouldn’t have made it this long if that were the case. “Playing for a mixed audience is always great,” he says. “A good energy charges other people, and if you have an audience that shares that, it really helps the show sparkle. We play for everybody—having a mix is incredible.” SETH SHALER. SEE IT: Chervona’s Old New Year Party is at Star Theater, 13 NW 6th Ave., with POPgoji and Andrea Algieri, on Saturday, Jan. 13. 9 pm. $28-$30 day of show, $70-$360 for reserved tables. 21+. Willamette Week JANUARY 10, 2018 wweek.com
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K R I S T I N N E U S C H WA N D E R
MUSIC @WillametteWeek
@WillametteWeek
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ALL MY FRIENDS: The Prids play the Know on Friday, Jan. 12. Black Belt track, with a slow, minorchord momentum creeping up the neck of Paul’s guitar over and over on a seemingly endless burn. It builds up to the audio equivalent of an explosion captured in a vacuum—a sort of anticlimactic groove sparked and carried through to a sudden end. CRIS LANKENAU. Bunk Bar, 1028 SE Water Ave., 503-328-2865. 9:30 pm. $10. 21+.
JJ Thames & The Violet Revolt
[BLUES ROCK] Years spent on the road as a backing vocalist and frontwoman have prepared J.J. Thames to quickly turn any venue into a Southern blues dancehall. With a gravelly, soulful voice and an inviting dollop of onstage confidence, Thames and her New Orleans-based Violet Revolt project powerful and inviting blues rock, demonstrating a mesmerizing ability to make even the most staunch corner-dwelling concertgoers take at least three steps forward. Though the band originally began as a five-piece bass-drumsguitar-keys affair, lately Thames has been touring with a two-piece horn section, providing a touch of musical spice to an already tasty blues gumbo. PARKER HALL. Jack London Revue, 529 SW 4th Ave., 503-228-7605. 9 pm. $12. 21+.
Kinski, Havana Whaal, Galaxy Research
R E V NE SS MI A T A E B #wweek 32
Willamette Week JANUARY 10, 2018 wweek.com
[STONER PUNK] Kinski’s last record, 2015’s 7 (or 8), features a few too many wah-wah solos to qualify as “punk,” but the Seattle quartet’s agile approach to stonerrock qualifies the band for designation beyond the fuzzy chooglin’ their contemporaries often get lost in. The sneering, zero-fucks-given energy of Lemmy and Ozzy are certainly there, so why bother splitting hairs? Kinski scratches all the right spots for anyone itching for loud, fast and groovy rock that’s just heavy enough to hear above the weird noises your old Econoline 150 makes while tearing up I-5 toward sludgier pastures. PETE COTTELL. Kelly’s Olympian, 426 SW Washington St., 503-228-3669. 9 pm. $6. 21+.
Steve Gunn, Julie Byrne, Rebecca Gates
[GUITAR ROMANTIC] Brooklynbased guitarist Steve Gunn has accumulated the sort of resumé more often associated with a Nashville session player—the kind where any adept axemen can hang around a studio and find themselves as temporary members of whatever band is tracking that day. The bona fide troubadour blends the eclectic drone of Robbie Basho with the bluegrass twang of Jack Rose into succinct rock tunes
chipper enough to fit on a playlist alongside any of contemporary indie’s modern bigwigs. Meanwhile, Julie Byrne’s Not Even Happiness is a subdued, plaintive highlight featured on several of last year’s best-of lists. This double-header offers anyone who slept on getting tickets for her Revolution Hall gig opening for Whitney last year a second chance at redemption. CRIS LANKENAU. Mississippi Studios, 3939 N Mississippi Ave., 503-2883895. 9 pm. $15 advance, $17 day of show. 21+.
Strange Ranger, Goon, Alyeska, Layperson
[POST-EMO] Emo doesn’t really look or sound the way it used to back in the Myspace years. It’s less whiny and owes a lot to the likes of Sunny Day Real Estate and the Promise Ring, who came up during the genre’s first and second waves back in the ’90s. Grunge and a less poppy style of indie rock flow through headlining act Strange Ranger’s version. Though they’ve got the soft tenderness of emo, the band’s music by no means has anything in common with the eyelinerand-asymmetrical bangs version sold at Hot Topic. CERVANTE POPE. Turn! Turn! Turn!, 8 NE Killingsworth St., 503-284-6019. 8 pm. $7. All ages.
SUNDAY, JAN. 14 Sløtface
[NORWEGIAN POP PUNK] With Best Coast’s turn toward the dusty realm of alt-country all but a foregone conclusion, the timing feels just right for Norway’s Sløtface to snatch the sunny power-pop baton and never look back. Their excellent 2017 album, Try Not to Freak Out, is overloaded with soaring hooks and thrilling dynamics centered around brief moments of introspection that crash headlong into frontwoman Haley Shea’s massive choruses. It positions the quartet just one big festival outing away from catching fire stateside, so you better enjoy the wild ride while it’s still accessible. The group’s cult icon status is sure to be short lived. PETE COTTELL. Bunk Bar, 1028 SE Water Ave, 503-328-2865. 9:30 pm. $12. 21+.
TUESDAY, JAN. 16 Coco Columbia, LiquidLight, Childspeak
[JAZZ POP] It’s rare to see the combination of powerhouse vocals and top-level musicianship you find with Portland’s Coco Columbia and her band. Vocally, she can go
note-for-note with many of today’s pop stars, while the complexity of the music seems like it could have been produced by nouveau jazz gods like Snarky Puppy. On her latest album, When the Birds Begin to Walk, Columbia’s extensive knowledge of jazz merges with her songwriting skills into a groove-inspired treat. The only question is if this awesome mixture of jazz and indie-pop can pull a large audience. We think yes. SETH SHALER. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 9 pm. $5. 21+.
CLASSICAL, JAZZ & WORLD Third Angle presents A Family Affair
[FAMILY AFFAIR] Musical nepotism rules in this contemporary classical music concert. Ebullient Third Angle and Oregon Symphony cellist Marilyn de Oliveira and her sister, singer Edlyn, perform popular British composer John Tavener’s Akhmatova Songs. Her husband, fellow cellist Trevor Fitzpatrick, joins her in new music written especially for the couple by Portland composer and fellow Oregon Symphony player Kenji Bunch. Other members of de Oliveira’s Oregon Symphony/Third Angle “families” join on viola, percussion and clarinet in a pair of pieces by recent Pulitzer Prize winner Carolyn Shaw and young New York composer Andy Akiho. BRETT CAMPBELL. Studio 2 @ N.E.W., 810 SE Belmont St. 7:30 pm Thursday-Friday, Jan. 11-12. $10-$25. All ages.
Stravinsky’s Rite Of Spring
[CLASSICAL] Oregon Symphony conductor Carlos Kalmar eases into this program with Haydn’s Symphony No 70, followed by Bartok’s phantasmagoric, folkinspired Violin Concerto No. 2. After the intermission, Finnish violinist Elina Vähälä takes the stage to tear through Stravinsky’s 1913 ballet music, which eventually came to symbolize the spirit of all modern classical in the 20th century. The legend is that “Rite of Spring” caused a riot at its debut, but in reality the crowd’s violent response was in reaction to the choreography. This weekend’s performances will be visually enhanced by the work of New York-based multimedia designer Matthew Haber. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-248-4335. 7:30 pm Saturday and Monday, 2 pm Sunday, Jan. 13-15. $25-$120. All ages.
DATES HERE ALBUM REVIEWS
The Domestics LITTLE DARKNESS (Self-Released)
[CAREER OPPORTUNITIES] Anyone who’s ever driven past the Liquor Store or No Fun at 2 am on a Tuesday and wondered about the daily lives of the chain smokers out front is bound to be interested in the Domestics’ second album. On Little Darkness, the songwriting duo of Leo London and Michael Finn reprise their status as the poet laureates of Portland’s underemployed 30-somethings, while the music briefly teases a future beyond the alleyways and rusty Volvos in which their stories unfold. On opener “Love That Dress,” London sings drowsily about splitting a pack of cigarettes over a Room On Fire-era Strokes riff and tinny garage-rock beat. On the next track, the galloping “Tunnels and Trains,” Finn and London take a left turn toward sunny, strummy indie-pop of the sort that would fit perfectly on the soundtrack to The OC. Songs like that and the slow-building banger “For the Last Time”—with a chorus pleading to “get high to Destiny’s Child/Get stoned to the Rolling Stones”— show a strident ambition that fits uncomfortably next to simpler efforts like “Trampoline Girl” and “Going Down the Wrong Way.” The Domestics’ generous use of weeping strings, buzzing organs and spiky guitars hit that sweet spot between the sharp R&B of Spoon and the bittersweet soul of Harry Nilsson. But in light of the ill-advised viral marketing stunt that engulfed them in a cyclone of bad press last year, it seems like London and Finn are making a serious push to transcend the quarter-life doldrums that once grounded their subtle brilliance. Whether or not a bonafide career in rock ’n’ roll awaits them remains to be seen. PETE COTTELL.
SEE IT: The Domestics play Doug Fir Lounge, 830 E Burnside St., with Kacey Johansing, on Friday, January 12. 9 pm. $10 advance, $12 day of show. 21+.
1939 Ensemble BEATS & SAINTS (Jealous Butcher)
[JAZZ APOCALYPTICA] 1939 Ensemble are often labeled as “post-rock,” which is usually crit-speak for “we don’t really know how to classify this.” Certainly, they haven’t made it easy. Starting out as an instrumental drums-and-vibes duo, the band has gradually expanded into a four-piece, shading their groove-based arrangements in trumpet, synth and guitar textures and winding up somewhere in the vicinity of “apocalyptic lounge music.” On this six-song EP—also featuring difficult-to-discern contributions from Red Hot Chili Peppers guitarist Josh Klinghoffer and the late saxophonist Ralph Carney—the group helps suss out their reference points, pairing four covers with two originals. Though new songs “Bullseye” and “Illinois Lead Shot” swing with the band’s signature mix of jazzloft swank and ambient dread, the reworkings offer varying shifts in style. “Pluto,” the aggro outlier on Bjork’s otherwise placid 1997 classic Homogenic, gets an almost Detroit techno treatment, while Charles Mingus’ “II B.S.” is blown up to damn-near Zeppelin-size. The take on Stereolab’s whirlpooling “Percolator” replicates the original’s rhythmic angst. “Off You,” by founding member Jose Medeles’ other band, the Breeders, is the tender highlight, trembling softly against a night sky of twinkling vibes, brushed drums and buzzing keyboards. In the end, it’s no easier to pigeonhole 1939 Ensemble—but if there’s any cocktail party you want to be at when the bomb drops, it’s theirs. MATTHEW SINGER.
SEE IT: 1939 Ensemble plays Mississippi Studios, 3939 N Mississippi Ave., with Golden Retriever, on Friday, Jan. 12. 9 pm. $8 advance, $10 day of show. 21+.
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Willamette Week JANUARY 10, 2018 wweek.com
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Willamette Week JANUARY 10, 2018 wweek.com
MUSIC CALENDAR WED. JAN. 10 Alberta Street Pub
1036 NE Alberta St KMUZ Local Roots Live Series
Edgefield
Cairo Knife Fight
The Fixin’ To
2845 SE Stark St Fresh Track, Far Out West, Band Of Comerados
High Water Mark Lounge
421 SE Grand Ave The XwetH, Immaterial Possession
Holocene
1001 SE Morrison St Girl Fest 2018: Gifted Gab, Wynne, Fritzwa, Paris Alexa, Dreckig, Sheers
Mississippi Studios
3939 N Mississippi Ave Bryson Cone, Night Heron
Rock Hard PDX
13639 SE Powell Blvd Wednesday Acoustic Jam Featuring Haven
Teutonic Wine Company
3303 SE 20th Ave Michael Maynor Trio
The Goodfoot
2845 SE Stark St Euge Organ Trio with The Quadraphonnes
The Know
Wonder Ballroom
THU. JAN. 11 Alberta Street Pub
1036 NE Alberta St Laryssa Birdseye; Luke & Kati
Artichoke Music Cafe
2007 SE Powell Blvd Acoustic Village: A Theme-Based Open Mic with Jon Lee
Bunk Bar
1028 SE Water Ave The Ghost Ease, Máscaras
Doug Fir Lounge
830 E Burnside St Idle Giant, Autonomics
Edgefield
2126 SW Halsey St, Troutdale Sonny Hess (The Winery Tasting Room)
Holocene
1001 SE Morrison St Fin de Cinema presents Jean Cocteau’s “Beauty and the Beast”
Mississippi Studios
3939 N Mississippi Ave Charley Crockett, Jaime Wyatt
Muddy Rudder Public House 8105 SE 7th Ave Whiskey Deaf
Studio 2 @ N.E.W.
810 SE Belmont St Third Angle presents A Family Affair
The Analog Cafe
720 SE Hawthorne Blvd
116 NE Russell St The Not-So-Secret Family Show feat. Mo Phillips, Pointed Man Band
The Secret Society
Turn! Turn! Turn!
3100 NE Sandy Blvd Second Sleep, Mandark, Violetera
116 NE Russell St Thursday Swing featuring The Cherry Blossom Hot 4, Pink Lady & John Bennett Jazz Band
8 NE Killingsworth St Jeremy Ferrara, Ali Burress, The Duke of Norfolk
Turn! Turn! Turn!
1420 SE Powell Skyler Lutes Band, Colin Ranney Band, Steve Tyssen
White Eagle Saloon
White Eagle Saloon
Twilight Cafe and Bar
8 NE Killingsworth St Telecommuter, Prolly Knot, Indigoe, Sunson
836 N Russell St Moving the Mountain, Camp Crush; Anna Gilbert, Stereo RV, Bo Baskoro
836 N Russell St The Sam Chase, Five Letter Word, Rascal Miles
FRI. JAN. 12
MON. JAN. 15
Alberta Street Pub
1036 NE Alberta St Scratchdog Stringband; Galen Clark Trio
Bunk Bar
1028 SE Water Ave Candace, Bitch’n
Doug Fir Lounge
128 NE Russell St Destroyer, Mega Bog
3728 NE Sandy Blvd Yardsss, Volcanic Pinnacles, Halfbird
Tonic Lounge
The Secret Society
8 NE Killingsworth St Gut Knife, Lady Stane, Millstone Grit
The Know
The Lovecraft Bar
Crystal Ballroom
Turn! Turn! Turn!
600 E Burnside St Laura Palmer’s Death Parade, Heavii Mello
The Secret Society
3728 NE Sandy Blvd Monarch, Color, Pushy, Gardener
3728 NE Sandy Blvd Terror Apart, Body Shame, Folian, Alani 116 NE Russell St Wednesday Night Zydeco feat. Too Loose Cajun/Zydeco Band
Rontoms
The Goodfoot
The Know
6800 NE MLK Ave Scalafrea, Fields of Elysium, Hyborian Rage
LAST WEEK LIVE
8218 N Lombard St Petunia & the Vipers, Roselit Bone
2126 SW Halsey St, Troutdale Mary Flower and Spud Siegel (The Winery Tasting Room)
[JAN. 10-16]
For more listings, check out wweek.com.
HENRY CROMETT
= 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 wweek.com/ 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: music@wweek.com.
1332 W Burnside St Steel Panther 830 E Burnside St The Domestics
Edgefield
2126 SW Halsey St, Troutdale The Resolectrics (The Winery Tasting Room)
Hawthorne Theatre
1507 SE César E. Chávez Blvd Shredders
Jack London Revue 529 SW 4th Ave Salvatore Manalo
Jo Bar & Rotisserie
715 NW 23rd Ave Harvey Brindell & The Tablerockers
Kelly’s Olympian
426 SW Washington St Souvenir Driver
Kenton Club
2025 N Kilpatrick St Suicide Notes, Pity Fucks, Sean Croghan
LaurelThirst Public House 2958 NE Glisan St GBB Acoustic Show
Mississippi Studios
3939 N Mississippi Ave 1939 Ensemble
Muddy Rudder Public House 8105 SE 7th Ave Hey-Ho Trio
SouthFork
4605 NE Fremont St King Louie & LaRhonda Steele
Studio 2 @ N.E.W.
810 SE Belmont St Third Angle presents A Family Affair
The Fixin’ To
8218 N Lombard St Sleeping Beauties, Bobby Peru, Licky Chomp
The Know
3728 NE Sandy Blvd The Prids, Murderbait, Fotoform
Arlene Schnitzer Concert Hall
LARGE ADULT SON: Big Boi had every right to be upset coming out at the sold-out Wonder Ballroom on Jan. 8. The Atlanta-repping OutKast alum had just watched his Georgia Bulldogs lose the National Championship in heartbreaking fashion an hour before. Three songs in, a speaker blew onstage. If he’d been in the audience, he would’ve had even more reason to grit his teeth. The audaciously bad mix made it sound like he was rapping into a trashcan, and the stage lights washed out his video projections. But if there’s one thing everyone knows about Antwan André Patton, it’s that he remains cooler than cool—ice cold, even. Unflappability is his brand, and he wasn’t about to let less-than-ideal sound nor the goddamned Crimson Tide break his stride. Joined by equally imperturbable singer-hypeman Sleepy Brown, the 42-year-old exuded the smooth charisma that could sell a milkshake to a polar bear in a snowstorm (or something like that). Still, the show had issues, not all of them technical. The medleys of abbreviated OutKast hits buffering his solo work often felt rushed, sometimes criminally so—he sprinted from “ATLiens” to “Skew It on the Bar-B” to “Rosa Parks” so fast there was no time absorb any of it. And while fresher material like “Shutterbugg ” and “Shine Blockas” are classics in their own right, his new album, Boomiverse, is his weakest so far, and it showed. Delivering it all with a veteran’s touch, he still came off smelling like roses—but as his former partner once advised, best not sniff too closely. MATTHEW SINGER. The Old Church
1422 SW 11th Ave Patina and Rockstop Cello Quartet
Turn! Turn! Turn!
Arlene Schnitzer Concert Hall
1037 SW Broadway Stravinsky’s Rite Of Spring
8 NE Killingsworth St Rare Diagram, The Crenshaw, Paula Helen, Ally Harris
Bluehour
Twilight Cafe and Bar
Bunk Bar
1420 SE Powell Blvd MDC, No Red Flags, Dreadful Children, Hippie Fight, GFL
White Eagle Saloon 836 N Russell St Lowlight
Zarz On First
814 SW 1st Robbie Laws Band
250 NW 13th Ave King Louis and La Rhonda Steele 1028 SE Water Ave Black Belt Eagle Scout, Nsayi Matingou
Dante’s
350 W Burnside Rock Candi
Doug Fir Lounge
830 E Burnside St Foreverland (Michael Jackson Tribute)
Edgefield
SAT. JAN. 13 Aladdin Theater
3017 SE Milwaukie Ave Keola Beamer & Henry Kapono
Alberta Street Pub 1036 NE Alberta St Julie & The WayVes
Alberta Street Pub 1036 NE Alberta St TBone, the Local Strangers
Anarres Infoshop
7101 N Lombard St Deadly Discs, Cogito Amulets, Chemotroph, Glenn Sogge
2126 SW Halsey St, Troutdale Jacob Westfall (The Winery Tasting Room)
Hawthorne Theatre
1507 SE César E. Chávez Blvd Rest, Repose, Within Sight, The Home Team
High Water Mark Lounge
6800 NE MLK Ave Muscle Dungeon & The Lightheads
Jack London Revue
529 SW 4th Ave JJ Thames & The Violet Revolt
Kelly’s Olympian
426 SW Washington St Kinski, Havania Whaal, Galaxy Research
Kenton Club
2025 N Kilpatrick St Zyl, Mammoth Salmon, A//tar
The Jenny Finn Orchestra
The Secret Society
116 NE Russell St The Adio Sequence, Sarah Wild, Fortune’s Folly, Marsalis
Tonic Lounge
Mission Theater
3100 NE Sandy Blvd Year Of The Coyote, Repudiate, Impulse Noise, Snakes
Mississippi Studios
Turn! Turn! Turn!
1624 NW Glisan St Miz Kitty’s Parlour Vaudeville Variety Show 3939 N Mississippi Ave Steve Gunn, Julie Byrne, Rebecca Gates
Muddy Rudder Public House 8105 Se 7th Ave The Reverb Brothers
Slim’s PDX
8635 N Lombard St Live Music At Slims
Star Theater
13 NW 6th Ave Old New Year 2018 Chervona’s Tropical Party
The Fixin’ To
8218 N. Lombard St Gold Casio, Small Skies, DMN
The Know
3728 NE Sandy Blvd Fetish // Choose Your Poisoin // SMD // Gun
The Secret Society 116 NE Russell St
8 NE Killingsworth St Strange Ranger, Goon, Alyeska, Layperson
White Eagle Saloon 836 N Russell St Band of Comerados
SUN, JAN. 14 Alberta Street Pub 1036 NE Alberta St THe Hillwilliams
Al’s Den at Crystal Hotel 303 SW 12th Ave Kory Quinn
Anarres Infoshop
7101 N Lombard St The Hills & The Rivers, Hannah Mayree, Riley Coyote, Dogtooth&Nail
Arlene Schnitzer Concert Hall
1037 SW Broadway Stravinsky’s Rite Of Spring
Artichoke Music Cafe 2007 SE Powell Blvd Anne Weiss
Bunk Bar 1028 SE Water Ave Sløtface
Crystal Ballroom
1332 W Burnside St Wolf Parade, Charly Bliss
Doug Fir Lounge 830 E Burnside St Railroad Earth
Edgefield
2126 SW Halsey St, Troutdale Lewi Longmire & Anita Lee Elliott (The Winery Tasting Room)
Jack London Revue 529 SW 4th Ave Holiday Benefit Show for DJ Chill featuring Rich Hunter and DJ Wicked
Jade Lounge
2342 SE Ankeny St The Electric Brit
Kenton Club
2025 N Kilpatrick St K-Hole at the Kenton: Organic Acid, Disassturbator, Denmo
Mississippi Studios
3939 N Mississippi Ave Steve Gunn, Julie Byrne, Sir Richard Bishop
1037 SW Broadway Stravinsky’s Rite Of Spring
Dante’s
350 W Burnside Karaoke From Hell
Lake Theater and Cafe
106 N State St, Lake Oswego Pete Krebs and The Portland Playboys
Lincoln Performance Hall 1620 SW Park Ave Takács Quartet
Mississippi Studios
3939 N Mississippi Ave Willy Tea Taylor, Tommy Alexander
Teutonic Wine Company
3303 SE 20th Ave Live Folk & Americana
Turn! Turn! Turn!
8 NE Killingsworth St Robt Sarazin Blake
TUE. JAN. 16 Lincoln Performance Hall 1620 SW Park Ave Takács Quartet
Mississippi Studios
3939 N Mississippi Ave Coco Columbia, LiquidLight, Childspeak
Raven and Rose
1331 SW Broadway Na Rósaí
Smith Memorial Student Union
1825 SW Broadway The Lique
The Goodfoot
2845 SE Stark St Asher Fulero Band
The Know
3728 NE Sandy Blvd The Hague, Kali Masi, Soccer Babes
Tonic Lounge
3100 NE Sandy Blvd Escuela, Order Of The Gash, BadXMouth, Finicum Grimace
White Eagle Saloon 836 N Russell St Josh Nielsen and Daughter Talk
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MUSIC COURTESY OF GANGSIGNS
NEEDLE EXCHANGE
Gangsigns Years DJing: Six. My bands broke up and I started making beats for fun. I posted those beats online and all of a sudden people wanted to book me to play live. I was kind of forced into DJing, but I was really into the idea. My first real club gig was with Baauer at Holocene in 2012. Genres: Jersey club, trap, rap, R&B, house, almost any kind of bass music. Where you can catch me regularly: I have my own party at Holocene called Verified. We’ve done it every second Saturday for the last four years. You can also catch me at 45 East from time to time supporting Red Cube events. Craziest gig: Last year, I got to play at Bonnaroo in Tennessee with the Red Bull Music Academy Bass Camp program. I played a 3 am set at a stage called Snake and Jake’s Christmas Club Barn. It was right when the main stage closed and it was the only thing going on. It’s literally a huge barn with Christmas decorations and fake snow machines outside it. People went crazy for my set. They were trying to get onstage to rock out with me and kids were crowd surfing. I couldn’t believe the amount of people who came to see me and how great the response was for my first time in their state. It was everything I dreamed of when playing a festival like Bonnaroo. My go-to records: DJ Sliink, “Higher”; Ginuwine, “Pony (FS Green Remix)”; Cashmere Cat, “Mirror Maru”; Marvin Gaye, “Sexual Healing (Mike Gip Remix)”; Panic! At The Disco, “I Write Sins Not Tragedies (Hikeii Remix)”; Lil Uzi Vert, “XO TOU3 Life.” Don’t ever ask me to play…: J Cole. SEE IT: Gangsigns plays Holocene, 1001 SE Morrison St., for Verified’s 4th Anniversary, on Saturday, Jan. 13. 9 pm. $5 advance or before 11 pm at the door, $10 after. 21+. Killingsworth Dynasty 832 N Killingsworth St DJ/LAK//TRINITY// MISS CLEO
Maxwell Bar
WED, JAN. 10 Beulahland 118 NE 28th Ave Wicked Wednesday (hip-hop)
Dig A Pony
736 SE Grand Ave Marti
Elvis Room
203 SE Grand Ave Paul Q. & DJ Honeychild
Ground Kontrol
511 NW Couch St TRONix: Popcorn Mixed Signals
Killingsworth Dynasty 832 N Killingsworth St Baby I’m Cold Inside
Moloko
3967 N. Mississippi Ave Omari Jazz
Tonic Lounge
The High Dive
Tube
The Lovecraft Bar
Whiskey Bar
The Paris Theatre
3100 NE Sandy Blvd Death Throes (death rock, dark wave) 18 NW 3rd Ave Dubblife 31 NW 1st Ave The Sublimate Takeover
THU, JAN. 11 Crush Bar
1400 SE Morrison St Queer Latin Night
Sandy Hut
736 SE Grand Ave Gwizski (boogie & funk)
1430 NE Sandy Blvd DJ Sik Cougar & DJ Princess Of Pain
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421 SE Grand Ave Event Horizon (darkwave, industrial)
Maxwell Bar
20 NW 3rd Ave Wu-Tang Wednesday
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The Lovecraft Bar
20 NW 3rd Ave Ascension
Dig A Pony
Elvis Room
203 SE Grand Ave Bowie Night
1406 SE 12th Ave Do The Swim! Left-ofCenter Dance Party 421 SE Grand Ave Shadowplay (goth)
6 SW 3rd Ave Eidolon Presents: A Pulsated Thursday
FRI, JAN. 12 45 East
315 SE 3rd Ave A-Trak
Crush Bar
1400 SE Morrison St Lite Brite Dance Party
Crystal Ballroom
1332 W Burnside St 80’s Video Dance Attack
BUZZ LIST Where to drink this week.
BAR REVIEW C J M O N S E R AT T
TOP 5
1. Huber’s
411 SW 3rd Ave., 503-228-5686, hubers.com. The winter month after the holidays can be depressing. Find refuge at Portland’s oldest bar, where the owner may greet you personally and your server may do tableside magic tricks.
2. Brothers Cascadia
9811 NE 15th Ave., Vancouver, 360-718-8927, brotherscascadiabrewing.com. This new ’Couve brewery has balanced IPAs, clean pilsner, a nicely ricey Asian lager and a seriously excellent brown. Don’t sleep on the carnitas at neighboring Super Taco.
3. Tough Luck
1771 NE Dekum St., 971-754-4188, toughluckbar.com. Dekum bar Tough Luck is a whiskey-happy bit like The Old Gold—but with the addition of nice Korean fried chicken bowls and kimchi-pimento-cheese hamburgers to pair with your $5 michelada.
4. 15th Avenue Hophouse
1517 Northeast Brazee St., 971-266-8392, oregonhophouse.com. All month in January, the Hophouse will have a blind taste test: For $12 you taste 12 Oregon IPAs and try to guess them all. The crowd favorite wins a berth on the taplist.
5. Up North Surf Club
1229 N Killingsworth St., 503-706-5932, upnorthsurfclub.com. Peak surf season is now. Catch tips at this surprisingly rollicking surf shop bar with a great taplist.
Dig A Pony
TEAM TROPHY: Collaborations have been all the rage in music, design and craft consumables for years now. So maybe it makes sense that the trend has hopped into the bar world. The brand-new Thunderbird (5339 SE Foster Rd., instagram.com/Thunderbirdpdx) is a different sort of collaboration. New biz buddies Kurt Huffman and John Janulis, who have made a habit of trading off troubled properties, eventually forming a short-lived company to operate Omerta together downtown, are working together to turn a long-deserted space next to Foster Burger into a pleasant new bar with a midcentury-modern feel. The Janulis-helmed Lightning Bar Collective is the operator, and has brought its signature style from spots like Century, Jackknife and the Bye and Bye to this space. The design features modish light fixtures, orderly spirit shelves and the original painting of South Jersey racing legend Steve Elias by in-house artist Juan Casas. The drinks are the same style of mid-range cocktails you find at other spots in the empire, along with a limited pint selection and $2 Olys. When it came time for a food menu, though, Janulis teamed up with Huffman’s Foster Burger, which shares a wall. Now, it also shares a kitchen, with Foster Burger making vegan food to with “meat” from Homegrown Smoker and delivering it next door. Alongside Foster Burger’s own signature lineup of burgers, rings and fries, the menu also includes a rice bowl with smoked tempeh. Among the burgers, the beers and a large covered smoking patio with heaters, Thunderbird is likely to become part of the neighborhood bar circuit, which also recently added the Lay Low Tavern on Powell. MARTIN CIZMAR. DoublePlusDANCE w/ DJ Acid Rick & DJ Carrion (new wave, synth, goth)
Klavical (modern soul, heavy breaks, hip-hop)
Ground Kontrol
Valentines
Holocene
Whiskey Bar
2845 SE Stark St Tropitaal Desi Latino Soundclash w/ Anjali & The Incredible Kid
736 SE Grand Ave Maxx Bass (funk, boogie, rap) 511 NW Couch St DJ Mechlo (retrowave) 1001 SE Morrison St Dance Yourself Clean
Killingsworth Dynasty 832 N Killingsworth St Cake Party
Maxwell Bar
20 NW 3rd Ave Chi Duly
Moloko
3967 N. Mississippi Ave DJ aTrain
Quarterworld
4811 SE Hawthorne Blvd Quarter Flashback
Spare Room
4830 NE 42nd Ave The Hustle (disco)
The Goodfoot
2845 SE Stark St Soul Stew (funk, soul, disco)
The Liquor Store
3341 SE Belmont St Believe You Me feat. The Prey & Francis Sugar
The Lovecraft Bar 421 SE Grand Ave
232 SW Ankeny St Massacooramaan 31 NW 1st Ave Metta w/ AtYya, Mumukshu
SAT, JAN. 13 45 East
315 SE 3rd Ave Kai Wachi
The Goodfoot
The Liquor Store
3341 SE Belmont St Prince and MJ Experience
The Lovecraft Bar
421 SE Grand Ave Musick For Mannequins w/ DDDJJJ666, Magnolia Bouvier & DJ Acid Rick (creep-o-rama)
Bit House Saloon
Valentines
Crystal Ballroom
Whiskey Bar
727 SE Grand Ave CURVE w/ El Papachango 1332 W Burnside St 90’s Dance Flashback
Dig A Pony
736 SE Grand Ave Montel Spinozza
Holocene 1001 SE Morrison St Verified: 4 Year Anniversary
Killingsworth Dynasty
832 N Killingsworth St J-Boogie w/ Thot Process (japanese dance)
Moloko
3967 N. Mississippi Ave
232 SW Ankeny St Devil’s Pie (hip-hop, r&b) 31 NW 1st Ave Global Based: G-Buck
SUN, JAN. 14 Maxwell Bar
20 NW 3rd Ave Dubblife
Star Theater
Tube
18 NW 3rd Ave Sunday Funday
MON, JAN. 15 Ground Kontrol
511 NW Couch St Reaganomix: DJ Brodo Fraggins (80s)
Sandy Hut
1430 NE Sandy Blvd DJ Joey Prude
The Lovecraft Bar
421 SE Grand Ave Black Mass (goth, post-punk)
TUE, JAN. 16 Dig A Pony
736 SE Grand Ave Noches Latinas (salsa, merengue, reggaeton)
Kelly’s Olympian
426 SW Washington St DJ Mixed Messages
The Lovecraft Bar
13 NW 6th Ave Hive (goth, industrial)
421 SE Grand Ave Sleepwalk (deathrock, gothrock)
The Lovecraft Bar
Tube
421 SE Grand Ave Infinity Mirror (occult techno, esoteric ambiance)
18 NW 3rd Ave Tubesdays w/ DJ Jack
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PERFORMANCE OWEN CAREY
REVIEW
HEAD ON: Jacob Coleman and Amber Whitehall.
Off the Bookshelf PETE’S NEW CHEKHOV ADAPATION ISN’T FOR STUFFY ACADEMICS. BY R MITCHELL MILLER
Staging a classic play like Uncle Vanya requires a difficult balance. Often, contemporary productions of Anton Chekhov’s plays either feel like nothing more than a new coat of paint on an old shed, or something unrecognizable from the source material. Portland Experimental Theatre Ensemble manage to make the 1899 play feel fresh, but still recognizable as Uncle Vanya. Working from a new translation by Štepán Šimek, PETE’s production keeps Chekhov’s plot and characters intact. Uncle Vanya tells a story of class disparity between Russian “provencials” and citydwelling Russian elites. Vanya (Jacob Coleman), Astrov (Prentice Onayemi) and Sonya (Joellen Sweeney) live and work in the country. Their lives are full of hard work and minimal comforts. Professor Serebryakov (Victor Mack) is the owner of the house in which they all reside, a symbol of undeserved reward, of whom Vanya contemptibly says “studies things people already know.” The old professor’s young wife, Yelena (Amber Whitehall), becomes the object of desire for both Vanya and Astrov even though she’s at one point diagnosed by Astrov as “not being interested in anything.” It’s the kind of realist classic that could feel like the dramatic equivalent of eating your vegetables. But even though PETE is faithful to the source material, its reverence is far from staid. They’ve brought their version of the play to life with live music and imaginative staging. The set is simultaneously ornate and drabby. Gold-leaf wallpaper surrounds a floor covered in dusty rugs and vodka bottles. Below the 38
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house lights are a dozen or so dangling lamps, and the walls that frame the stage are covered with mirrors and polished metal platters. It has an eerie effect throughout, trapping and focusing the light, imbuing the stage with a vaguely supernatural characteristic. After seeing Uncle Vanya set to live music, it’s hard to imagine the play without it. Musicians Ralph Huntley, Andrei Temkin and Courtney Von Drehle act as both house band and occasionally interact with the characters from behind keyboards and drum kits off to the side of the stage. The trio play a multitude of instruments from accordion to saxophone. Their music was an eclectic rundown that sounded like everything from Russian folk to Sigur Ros to David Mamet jazz to Zero 7. Director Cristi Miles manages to bring everything together into one cohesive dramatic movement, making it feel thought-provoking but not laborious. As Vanya, Coleman’s natural comedic ability pairs well with the deep-seated anger in the character. Joellen Sweeney is also a standout as Sonya, Vanya’s niece and Serebryakov’s daughter, whose outlook grows more and more bleak as the play goes on. Often, Chekhov’s plays seem like they’re staged for soulless academics like Professor Serebryakov. But instead of treating Uncle Vanya with either too much or too little reverence, PETE’s production simply attacks Chekhov’s text with gleeful enthusiasm. SEE IT: Uncle Vanya is at Reed College Performing Arts Building, 3203 SE Woodstock Blvd., petensemble.org. 7:30 pm Wednesday-Saturday, Jan. 11-20, 7:30 pm Sunday, Jan. 21. $30.
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 (sgormley@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: sgormley@wweek.com.
THEATER OPENINGS & PREVIEWS Bi-
Milagro is one of Portland’s most overtly political theater companies, so perhaps it’s not surprising that their new play is a dystopian. Bi- is based off a strange Victorian novella called Flatland, which depicts a two-dimensional world in which men are shaped like polygons, while women are just lines. Milagro’s play will use geometry to evaluate cultural, rather than gender divisions. Set in 2089 when geometric identities are arbitrarily assigned to the citizens of a futuristic nation, the new work follows a group of misfits who attempt to escape their predetermined categories. It was written by Georgina Escobar, who directed several of the Milagro’s world premieres last season, and who has a knack for inventive staging and for finding hope in dark places. Milagro Theatre, 525 SE Stark St., milagro. org. 7:30 pm Thursday-Saturday, 2 pm Sunday, Jan. 11-20.
Three Sisters
After a two-year hiatus, the longrunning Northwest Classical Theater is returning with Chekov’s classic drama about a Russian family who is forced to leave their privileged life in Moscow for banal farmlife. NWCTC’s original version is still set in imperial Russia, but has updated, lightly retooled dialogue. Shoebox Theatre, 2110 SE 10th Ave., nwctc.org. 7:30 pm. $25.
ALSO PLAYING Astoria: Part One
The Reunion
After premiering last summer, The Reunion is returning for a second run. Written by Imago Theater cofounder Carol Triffle, it’s somewhere between farce and tragedy. The farce part of that equation comes from the play’s setting: An uncomfortable high school reunion whose attendees include the cancer-stricken Dolores, her older husband and the peppy and pompous Brittany. The clashing of the characters to yields some prickly laughs, but of the most part, The Reunion enjoys being nonsensical. Along with the show’s many musical performances, there’s an absurd scene that involves a pair of angel wings and a melodramatic deathbed farewell. BENNETT CAMPBELL FERGUSON. Imago Theatre, 17 SE 8th Ave., imagotheatre.com. 7:30 pm Friday-Saturday, 2 pm Sunday, Jan. 12-20.
I drowned in moonlight, strangled by my own bra
After premiering over the summer as part of a showcase, the contemporary show by Portland choreographers Sada Naegelin and Leah Wilmoth is getting a night of its own. It’s a goofy exploration of female stereotypes, so it’s fitting that the title comes from the obituary Carrie Fisher wrote for herself eight years before her death. Performance Works Northwest, 4625 SE 67th Ave., pwnw-pdx.org. 7:30 pm. $10. Jan. 12-13.
Love Heals All Wounds
A few years ago, hip-hop choreographers Jon Boogz and Lil Buck founded Movement Art Is, a performing arts collective aimed at addressing police brutality and promoting social change. Now, they’re taking that vision on tour with a lineup of artists performing dance and spoken-word poetry. The show is pro-diversity and anti-violence, and features some of the most progressively populist and technically impressive voices in contemporary dance—Lil Buck is best known for bringing jookin’ into the lexicon of “high brow” modern dance in the past few years. Newmark Theatre, 1111 SW Broadway, 7:30 pm Friday, Jan. 12. $20-$40.
COMEDY Loose Cannons
For the most part, Portland standup is pretty traditional— sets comprising craft-oriented jokes about dating and self-deprecation. While we have plenty of comedians who are really good at that, Tim Ledwith and Alex Rios’ standup showcase of selfproclaimed weirdos is a welcome change of pace. This time, it will be headlined by Jason Traeger, who spent the first half of his set at Helium’s Funniest Person Contest making jokes about his dead dad, and will feature sets by Fly Ass Jokes co-hosts Kate Murphy and Ben Harkins. The show doesn’t adhere to a regular schedule, so it may be another few months before the next Loose Cannons. Helium Comedy Club, 1510 SE 9th Ave., portland.heliumcomedy.com. 8 pm Wednesday, Jan. 10. $5. 21+.
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R U SS E L L J. YO U N G
Based on Peter Stark’s critically acclaimed book about John Jacob Astor’s attempt to create a fur trading empire in the Pacific Northwest before there were any permanent settlements on the West Coast, Astoria is a two-part play, and PCS is remounting Part One before Part Two premieres next week. The first part focuses on the two expeditions to establish the
trading empire: the ocean voyage led by Thorn (Ben Rosenblatt) and the overland journey led by Hunt (Douglas Dickerman), a businessman-turned-reluctant explorer. Full of period-piece peril, the two voyages set up a polar picture of masculinity and leadership: Thorn is the stern-faced, totalitarian captain, and changing his mind requires holding a gun to his head. Hunt, on the other hand, is indecisive and insecure, and constantly wonders aloud if he’s capable of leading the expedition. (Meanwhile, Astor—played by Leif Norby as an almost mousy, behind-thescenes dreamer—plans the adventure from his home in New York and appears in only a few scenes.) There’s plenty of unspoken irony in the lines about being farther west than “other white men,” but Astoria is more interested in examining power structures as they were than in rewriting them: It’s a subtle but intricate portrait of the era of westward expansion. SHANNON GORMLEY. Portland Center Stage, 128 NW 11th Ave., pcs.org. 7:30 pm Saturday-Sunday, 7:30 pm TuesdayWednesday, Jan. 13-17. 2 pm Sunday, Feb. 11, noon Thursday, Feb. 15, 2 pm Sunday, Feb. 17.
DANCE
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= WW Pick. Highly recommended.
BETWEEN THE LINES: Kenyon Acton, Ajai Terrazes Tripathi, Justin Charles and Sierra Brambila in BIWillamette Week JANUARY 10, 2018 wweek.com
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BOOKS D O U B L E N E G AT I V E
FEATURE
Onipresent PORTLAND’S ONI PRESS JUST BECAME ONE OF FEW COMIC BOOK COMPANIES TO THRIVE FOR 20 YEARS. WE ASKED THE FOUNDERS ALL THEIR SECRETS. Even as caped crusaders and masked vigilantes threaten to overtake mainstream culture, Portland comics publisher Oni Press has evaded the fray. If they don’t have a signature franchise, that was always sort of the point: Oni’s projects are each singular and often strange. But in the two decades since its first book hit the shelves, Oni has cut a very particular swath through the culture while defying genre at every turn. Kate Beckinsale’s arctic thriller White Out, the pop-art whimsy of Michael Cera movie Scott Pilgrim vs. the World, and last year’s lurid Charlize Theron shoot-em-up Atomic Blonde were all based on Oni books—and lately Oni has a movie production arm. But the press has also put out adult coloring books featuring strap-ons and highly detailed vaginas, the graphic adventures of Rick & Morty and Jay and Silent Bob, and adapted works by Stephen Colbert and Jim Jarmusch. As the press celebrates its 20th anniversary, we sat down with Oni co-founder Joe Nozemack and editor-in chief James Lucas Jones, to talk Charlize Theron, laser light shows and too many women. JAY HORTON WW: How did it all start? Joe Nozemack: I was working retail at the time and, you know, comics had a big bust in the mid ’90s. They were seen as this collectible thing dominated by superheroes, which always bugged me about the American comics market. On the one hand, I was kind of disgusted by what comics had become, but I still thought the medium was really great for storytelling. If I was going to start a business, let’s try to do the comics that I thought should be made—not too arty and alternative but also not so heavy-genre and nerd. How do you choose what to publish? Nozemack: When looking at a project, we ask: Is it a quality book? Who’s the audience? From the start, I was just as passionate about doing kids’ comics for kids, even though I wasn’t passionate about reading them myself. We’ve tried to make sure good, original books were out there for that audience instead of just watereddown versions of adult ones. James Lucas Jones: They ended up being pushed into the picture book category, which skews younger and not as literary, but attitudes are changing. An older generation of librarians less accepting of comics has been aging out. Scott Pilgrim was the first Oni movie? Nozemack: That was the first we were involved with as producers. Universal had been looking for material to give [Hot Fuzz director] Edgar Wright, who’d just been turning everything down. They sent Scott Pilgrim to him, he really loved it and we were off. The movie underperformed. It had a lot of buzz and just didn’t break out like we were hoping. But it really generated book sales. It’s kind of interesting—I don’t think anybody really looks at that 40
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film as an artistic failure. You go take meetings in the industry, and everybody ’s always excited about Scott Pilgrim. There are theaters that show it all the time. I saw clips of one that had a whole light show and smoke machine. It was crazy—like Rocky Horror on steroids. And, Atomic Blonde was based on ... Nozemack: … our original graphic novel called The Coldest City. One of our production guys down in Los Angeles was already working with [Theron’s] production company when the book was in development, and it all went the way you always hope it would. They did a great job with it. The film comes across as different from the comic. Nozemack: Since it’s set in ’80s Berlin, they decided to go all the way with the period and the color and the soundtrack, but the character arcs are kept intact. Some of that is Charlize, too. She’s a unique person, and she definitely has her own take. Oni has become known for having a lot of female lead characters. Nozemack: For a while, we had so many female protagonist books, we were, like, please—pitch us some dudes! Lucas Jones: Again, that’s something we weren’t seeing realized in the comics market, particularly when those comics were coming out. We thought they should be there for not just the female audience, but so the male audience too could see empowered badass ladies have a starring role as complicated characters in a compelling narrative.
SCOTT PILGRIM VS. THE WORLD
N oz e m a c k : Viewing female characters as the lead of their own story and not the support was definitely a plan. If somebody had brought us one of those superhero books with a female in some crazy exploitative costume, I think we’d know the difference between that and a book made for females. You were the first company to work with Kevin Smith? Nozemack: When Kevin wrote the original Jay and Silent Bob stuff, nobody was doing those kinds of projects with the filmmakers directly involved. With licensing, we’ve always been very picky. Our opinion was, let’s create new original content. It was always more about the creatives behind the properties. We were more excited to work with Stephen Colbert than work on Tek Jansen. You did a comic with Stephen Colbert? Nozemack: He used to have this skit on the show about, like, an unpublished science fiction novel, so we reached out to his reps about making a comic of that concept—basically, a graphic novel adaptation of a fake book. It’s about working with [creators] directly. That’s come to be an aesthetic of how we carried through work on the Colbert book or the kids’ comics with Yo Gabba Gabba! or Invader Zim with Jhonen Vasquez, or Rick & Morty with Justin Roiland and Dan Harmon. Lucas Jones: We asked Justin and Dan if they ’d even want comics before we ever reached out to Cartoon Network about licensing.
They were both pretty involved in terms of picking the original creative team and giving notes and feedback as we progressed on each individual issue. We’ve had Justin do some covers and he actually drew the lead story for one issue. For the hardcover, we got the actual voices on a soundclip that plays when you open the front cover. Nozemack: We’ve seen a bump in sales at the beginning of each season. And with the amount of time it takes them to do a season, that’s great for us. If people want a Rick & Morty fix, they have to get the comic. How has Oni changed over the years? Nozemack: Overall, I still think we’re just a little bit more idiosyncratic and left of center and creator-driven than our competitors or colleagues. Lucas Jones: We’re continually trying to find new voices or rarely explored elements of genre archetypes. For us, it’s just continuing to find those new takes. When there’s a certain talent pool, then you’re competing with other publishers the whole time. Nozemack: Keeping things from being too one-dimensional has always been a goal here. We’d get very bored just focusing on one type of book, and usually look to see if we have too much of something. Are there people who only buy Oni? The way people used to collect just Marvel or DC? Nozemack: No. I don’t think there ever have been. We don’t want one thing to appeal to everybody. We want to find the right book for each person, which feels more specialized and more personal. If the same person were buying all of our books, one of us would be doing something wrong. Keep the content fresh and varied and broad, you can last 20 years.
COURTESY OF GUNPOWDER & SKY
MOVIES Screener
GET YO U R REPS IN
Blade Runner (1982)
Fuck. Yes. It’s been several months since the sequel was released, but a theater in Portland is finally screening the Final Cut of Ridley Scott’s cyberpunk masterpiece. Academy is also screening Blade Runner 2049, so if you’re really hardcore, you could spend five hours immersed in grimmy futurism for a mere $8. Academy, Jan. 10-11.
Bringing Up Baby (1938)
PSU’s student-run theater returns for the spring term with the box office flop reclaimed as a modern-day classic about crazy rich people trying to raise a leopard in Connecticut. 5th Avenue, Jan. 12-14.
Purple Rain
Spirited Away (2001)
OMSI’s annual retrospective of the strange animated world of Studio Ghibli kicks off with its best known and most subtly terrifying movie about a 10-yearold girl who becomes trapped in the spirit world. OMSI Emperical, Jan. 11.
WHAT WE’RE MOST EXCITED TO SEE AT REEL MUSIC 35. BY DA N A A L STO N
Considering the heavy preference for talking-head interviews intercut with concert footage, it’s easy to dismiss music documentaries as a staid genre. But Reel Music Festival still manages to find new stones to turn over. The 35th iteration of the festival kicks off this Friday with a lineup that includes movies that challenge not just how we see music, but how we see film. Here’s what we’re most excited to watch.
Itzhak Whitsell Auditorium, 1219 Sw Park Ave. 7 pm Sunday, Jan. 14.
A l i s o n C h e r n i c k ’s 2 01 7 d o c u m e n t a r y attempts to get behind Itzhak Perlman, who’s widely regarded as the best violinist in the world. But the film is less concerned with the annotated history of Perlman’s life (he survived polio at an early age and later made a now-famous appearance on the Ed Sullivan Show) and more with impressions of his legacy. As an in-depth documentary, the film will likely leave audiences wanting more. As a piece of filmmaking, it’s a fascinating experiment.
Northwest Music Video Showcase Skype Live Studio, 1211 SW 5th Ave. 7 pm Thursday, Jan. 18.
Each year, Reel Music provides a platform for one of the most vibrant parts of Portland’s filmmaking scene—music videos. The short
format makes them more financially accessible for independent filmmakers, and more conducive to experimentation (see Netso’s riotous, single-shot video to the Memories’ “Royal United Song Service Sampler.”).
Trouble No More Whitsell Auditorium, 1219 Sw Park Ave. 8:30 pm Sunday, Jan. 21.
It’s hard to find anything new to say about Bob Dylan. But director Jennifer LeBeau’s new documentary depicts one of Dylan’s most neglected phases—his gospel music era in the 1980s. Trouble No More follows Dylan’s “born again” period that saw him record his most divisive records: Slow Train Coming (1979), Saved (1980) and Shot of Love (1981). LeBeau assembled previously lost concert footage and intersperses it with sermons performed by Michael Shannon.
Charles Mingus: Tale of the Underdog Whitsell Auditorium, 1219 Sw Park Ave. 6:30 pm Sunday, Jan. 21.
Art-jazz messiah Charles Mingus was at the forefront of his genre. But, like most uncompromising geniuses, he was also notoriously volatile and temperamental. Don McGlynn’s 1997 film relies on more than nine years of research and recovered footage, including performance clips and radio and TV broadcasts from the height of Mingus’ career. Twenty years later, it’s still one of the most personal documentaries ever made.
The Passion of Joan of Ark and Voices of Light
The Red Turtle (2015)
Arlene Schnitzer Concert Hall, 1037 SW Broadway. 7:30 pm Friday, Jan. 26.
The Passion of Joan of Ark is one of the silent film era’s great masterpieces—director Carl Theodor Dreyer basically invented the modern close-up. The NW Film Center screening will be accompanied by a live performance of “Voices of Light,” a sweeping oratorio written for the film. Three Portland State University ensembles will join Camerata PYP and three other vocal choirs for the performance.
A Life in Waves Whitsell Auditorium, 1219 SW Park Ave. 7 pm Tuesday, Jan. 30.
If you don’t know Suzanne Ciani, you definitely know her work. The electronic maestro has spent her career wielding synthesizers like tiny orchestras to create some of the most iconic sound effects in pop culture. The Atari logo? That was Ciani. How about the sound of a Coca-a-Cola bottlecap? Yep, also Ciani. Life in Waves tracks Ciani’s career from her training in classical music to her innovations in New Wave.
Totally unrelated to OMSI’s Ghibli retrospective, NW Film is screening one of the studio’s most recent movies that was released in the US less than a year ago. The Red Turtle is a gorgeous, wordless film about a man who befriends a massive turtle while marooned on a desert island. NW Film, Jan. 13.
ALSO PLAYING: Clinton: Any Gun Can Play (1967), Jan. 13. Horror Rises from the Tomb (1973), Jan. 13. King: A Filmed Journey (1970), Jan. 15. Laurelhurst: District B13 (2006), Jan. 10-11. The Raid (2011), Jan. 12-18. Mission: Sixteen Candles (1984), Jan. 14-19. Dazed and Confused (1993), Jan. 10-12. NW Film: Don’t Blink: Robert Frank (2015), Jan. 10. Altered States (1980), Jan. 13. My Life as a Zucchini (2016), Jan. 14.
SEE IT: Reel Music Festival runs from Jan. 12-30. $9-$50 per screening. See nwfilm.org for full schedule.
The Red Turtle Willamette Week JANUARY 10, 2018 wweek.com
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COURTESY OF SONY PICTURES CLASSICS
Seeing Sound
A LIFE IN WAVES
(1984)
Watching Prince act is pretty absurd, but Purple Rain still has one of the greatest movie sountracks of all time. Mission, Jan. 10-14.
COURTESY OF FOX SEARCHLIGHT PICTURES
MOVIES
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Editor: SHANNON GORMLEY. 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: sgormley@wweek.com. Fax: 243-1115. : This movie sucks, don’t watch it. : This movie is entertaining but flawed. : This movie is good. We recommend you watch it. : This movie is excellent, one of the best of the year.
NOW PLAYING In 1973, oil billionaire J. Paul Getty was the richest man to ever walk the planet. All the Money in the World follows the kidnapping of his grandson, which was a tabloid sensation of its day—despite his wealth, Getty wouldn’t pony up a ransom, allowing his grandchild to languish for half a year with his captors. The stakes could scarcely be higher, but none of it is particularly thrilling to watch. The characters here are merely chess pieces in a plot you could just as easily read about on Wikipedia. R. CHANCE SOLEMPFEIFER. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Tigard, Vancouver.
(Benjamin Bratt). Miguel’s family disapproves of his guitar-filled dreams, but Coco isn’t Footloose for musicians—it’s a Dia de los Muertos odyssey that sends Miguel on a trippy trek to the afterlife, where he seeks validation from de la Cruz’s fame-hungry ghost. Nestled beneath the film’s cheery mayhem, however, is an overwhelmingly powerful meditation on memory, mortality and familial love. Miguel may make some extraordinary discoveries in the great beyond, but the most beautiful thing in Coco is his realization that the only place he wants to journey to is the home he left behind. PG. BENNETT CAMPBELL FERGUSON. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Living Room Theaters, Lloyd, Tigard, Vancouver.
Blade Runner 2049
Darkest Hour
All the Money in the World
With an overwhelming dissonant, bassy score by Hans Zimmer, 2049 looks and sounds spectacular. But as a testament to the influence of the original, there isn’t much 2049 has to add about how technology blurs our sense of self and soul. 2049 seems less concerned with tiny moments of emotion than big reveals from a twisty plot that seems to define 2049’s imaginative boundaries rather than expand them. Still, it’s one hell of a spectacle. R. SHANNON GORMLEY. Academy, Empirical, Kennedy School Theater, Laurelhurst, Vancouver.
Call Me By Your Name
The new romance from director Luca Guadagnino (I Am Love, A Bigger Splash) follows the love affair between Elio, a teenager summering in Italy with his scholarly parents, and Oliver, a grad student studying with Elio’s father, smolders for the better part of this novelesque character study. Though its backdrop couldn’t be more different, there’s a chance Guadagnino’s excellent film could follow in the awards-season footsteps of Moonlight this winter— a highly acclaimed queer love story in which feelings of foreboding are personal and emotional, not societal. R. CHANCE SOLEM-PFEIFER. Fox Tower.
Coco
Pixar’s transcendent fable follows a young boy named Miguel (voiced by Anthony Gonzalez) who lives in Mexico and dreams of becoming a musician like his long-dead idol, Ernesto de la Cruz
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If this fussy, grandstanding biopic is too believed, Winston Churchill’s crusade against Adolph Hitler consisted primarily of shouting and smoking his weight in cigars. That’s the narrative that director Joe Wright (Atonement) tries to sell with help from Gary Oldman, who glowers and yowls mightily as Churchill. Their enthusiasm yields not a humanizing portrait of the venerated prime minister, but a history-book myth that treats him more like a statue to be dusted off from time to time than a human being. PG-13. BENNETT CAMPBELL FERGUSON. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Living Room Theaters, Lloyd, Tigard, Vancouver.
The Florida Project
Six-year-old Moonee (Brooklynn Kimberly Prince) lives in a harsh, impoverished world. The Florida Project’s heroine resides in a budget motel. Her mother, Halley (Bria Vinaite), is so strapped for cash that she has to work as a petty thief and a prostitute to make rent. The movie makes you worry that both mother and daughter will either starve, go broke or, given their delightful but dangerous recklessness, be dead by the time the end credits roll. Yet director Sean Baker’s luminous odyssey overflows with wit and joy. That’s mainly because of the happiness Moonee finds with her friend Jancey (Valeria Cotto) as they frolic across the sun-soaked outskirts of Orlando, Fla. Rather than begging us to pity these pint-sized scoundrels, Baker (Tangerine) lets us bask in the joy
of their parent-free adventures. Most of all, there’s the wild image of Moonee and Jancey sprinting together, laying claim to a world that may be brutal and imperfect, but is still theirs. R. BENNETT CAMPBELL FERGUSON. Academy, Laurelhurst.
Center, Clackamas, Eastport, Fox Tower, Lloyd, Tigard, Vancouver.
The Shape of Water
Two decades after the eponymous game loosed animal hordes upon New Hampshire suburbia, Jumanji is now a video game. Its cartridge is chanced upon by a detention-bound quartet of familiar teen caricatures (gamer, jock, princess, wallflower) who soon find themselves sucked into the game and retrospectively transformed into twofisted archaeologist Dwayne Johnson, fun-sized ‘weapons valet’ Kevin Hart, husky cartographer Jack Black and dance-fighting Karen Gillan. As Director Jake Kasdans slackens the rigors of saccharine banality just enough for absurdist flights of fancy and flashes of perverse wit to regularly subvert expectations. Can we ask much more of our modern holiday blockbusters? PG-13. JAY HORTON. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, St. Johns Pub and Theater, Tigard, Vancouver.
Guillermo del Toro (Pan’s Labyrinth) has created a film that is beautiful but cluttered, visionary but formulaic and sympathetic to its kind, lonely heroine, but unwilling to let her spearhead the story the way that men have driven del Toro fantasies like Pacific Rim. That heroine is Eliza (Sally Hawkins), a mute janitor who works in a Baltimore laboratory where she cleans bathrooms and, on occasion, the chamber where a darkeyed, water-dwelling creature (Doug Jones) has been imprisoned. Eliza and her slimy-but-beautiful prince, fall in love, but del Toro seems skittish about lavishing their romance with too much attention. He stuffs the film with subplots about Cadillacs, Russian spies and key lime pie—it’s a relief when he simply lets us stare in rapture at the image of Eliza and the creature floating together in a flooded bathroom. Love, that glorious image suggests, is enough for them. Why didn’t del Toro trust that it would be enough for the movie? R. BENNETT CAMPBELL FERGUSON. Bridgeport, Cedar Hills, Cinema 21, City Center, Clackamas, Hollywood, St. Johns Twin Cinema & Pub, Vancouver.
Lady Bird
Thor: Ragnarok
Jumanji: Welcome to the Jungle
In Greta Gerwig’s writer/director debut, Christine, who insists on being called Lady Bird, is a high school senior growing up in Sacramento, which she loathingly refers to as the Midwest of California. Desperate to break free from mediocrity, Lady Bird slowly abandons her theater-kid friends for a group of rich kids. Gerwig has crafted a sprawling story in which every character is subject to Gerwig’s absurd humor as much as her deep empathy. What makes the movie so uniquely touching is Lady Bird’s tense interactions with her mom— It’s rare to see a relationship between two complicated women portrayed with such care and empathy. Still, Lady Bird is endearing because of her boldness, not in spite of it. R. SHANNON GORMLEY. Bridgeport, City Center, Eastport, Fox Tower, Hollywood.
Molly’s Game
Written and directed by Aaron Sorkin, Molly’s Game is the story of the rise and fall of Molly Bloom (Jessica Chastain), from aspiring Olympian to “Poker Princess” of LA and New York. It’s a lot of ground to cover, but Sorkin is a master of hiding exposition by varying dialogic rhythm and precisely choosing the words hyper-articulate characters say. The unquestioned star, however, is Chastain. A lesser actor would be devoured by Molly Bloom, but Chastain’s performance accomplishes the difficult task of humanizing her. R. R MITCHELL MILLER. Bridgeport, Cedar Hills, City
The film pits Thor (Chris Hemsworth), the forever-buff God of Thunder, against yet another apparently indestructible menace: his genocidal sister Hela (Blanchett), who wears a creepy, antler-covered helmet. She has good reason to despise Thor, but any hint of pathos is squashed by lazy writing— the movie expects you to giggle every time someone says the word “anus.” It’s a glorified commercial for next year’s Avengers: Infinity War. PG-13. BENNETT CAMPBELL FERGUSON. Eastport, Joy, Valley Cinema Pub, Vancouver.
Three Billboards Outside Ebbing, Missouri
A year ago, Mildred Hayes’ (Frances McDormand) daughter Angela was raped and murdered. Now, the case has stalled for the hothead Ebbing police department. So she decides to rent the billboards so that they display three messages: “Raped While Dying”; “And Still No Arrests?”; “How Come, Chief Willoughby?” The residents of Ebbing are forced to choose between the mother whose daughter was brutally killed and the popular Chief Willoughby (Woody Harrelson), who’s dying of pancreatic cancer. It would be easy to imagine the premise as a seriously dark and thoughtful drama. But in the hands of writer/director Martin McDonagh, what emerges is a seriously dark and thoughtful comedy. R. R. MITCHELL MILLER. City Center, Clackamas, Fox Tower, Hollywood.
LEAH MALDONADO
POTLANDER
Introducing Portland's most prestigious pet contest
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Big Weed’s Cash Problem CANNABIS BUSINESSES OPERATE IN CASH. LOTS AND LOTS OF CASH. THIS MAKES THEM VULNERABLE TO VIOLENT CRIMINALS. CRYPTOCURRENCY MAY OFFER A SOLUTION.
HOW TO ENTER: Enter your pet & caption (140 character limit) by tagging #pdxpetpageant on Instagram OR email promotions@wweek.com with “My pet is the best pet!” in the subject line.
BY MATT STANGEL
Around 2 am on December 16, 2016, James Bowman awoke from a half-sleep to find seven dark silhouettes crowding his bedroom. Before he could make out much about the men behind the Teenage Mutant Ninja Turtle masks who closed in around him, Bowman was hooded and pistol whipped. Ziptied to a chair and beaten. Burned with a blowtorch and mutilated with an electric drill. Bowman was a cannabis farmer in Southern Oregon. His assailants were looking for money, and as one of Oregon’s most outspoken medical cannabis farmers, Bowman was an easy target. Because of the federal prohibition of cannabis, most traditional banks won’t touch businesses that get their hands sticky—and so the cannabis industry works in cash. It’s no secret, and it’s left weed businesses of all shapes and sizes vulnerable to violent criminals who want a quick cash injection. In lieu of traditional banking options, it seems that if we could only remove cash from the cannabis equation, things would be much safer for farmers, processors and retailers. Enter cryptocurrencies such as Potcoin, Hempcoin and Cannabiscoin—new designer, digital monies created to solve the cannabis industry’s big cash problem. Like the widely buzzed-over Bitcoin, these cryptocurrencies use public and private keys to conduct secure transactions over the internet, each of which is recorded across a decentralized digital ledger known as a blockchain—a database shared and stored by all coin holders that accounts for each and every transaction made using a given currency. If the industry were to adopt such a form of digital money, it would deincentivize violent crimes like the one suffered by Bowman. But all cryptocurrencies aren’t created equal, and these technological solutions have been slow to make an impact. “Largely, the strategy underlying a lot of those [early cannabis] tokens was let’s just put a pot leaf on a digital currency and hope the industry adopts it,” says Michael Wagner, founder and CEO of Las Vegas-based Tokes Platform, perhaps the most promising cannabis-specific cryptocurrency in a growing ecosystem of options. Wagner says the put-a-leaf-on-it strategy was doomed from the start: “The technology itself is not intuitive. It’s pretty difficult to use.”
What’s more, Bitcoin and cannabis-oriented services that rely on well-known cryptocurrency aren’t well suited for consumer-end cannabis purchases: transaction times are slow and fees are high. And more inconvenient yet, the value of coins can rapidly fluctuate—which is great when you turn a profit, but crummy when your buy-in is exposed to market volatility. Especially if all you’re trying to do is pick up some weed at your local dispensary. As an alternative, Tokes is built on a super-fast platform called Waves. This offers flat-rate, lessthan-a-penny transaction fees and payment verification in under a minute. Additionally, Tokes offers various ways to “peg” tokens at their current dollar value—essentially, removing money from the Tokes economy to shield coin holders from market fluctuations and unwanted exposure to risk. In this way, Tokes works a bit like a bank, designed to protect its users’ green-earned green. Making payments with Tokes is relatively simple: a user downloads the Waves platform for their desktop or mobile device, buys a desired amount of Tokes tokens and then trades key info via QR code with a retailer, wholesaler or other cannabis business. So far, only a single pilot dispensary in Las Vegas accepts Tokes in exchange for product. But Wagner says cannabis consumers are only one segment of the coin’s target market. The business-to-business arena, where large, very risky sums of cash are regularly traded, stands to gain the most. Not only is Tokes posed as a safer-than-cash solution for transactions between dispensaries, producers and processors, but Wagner is beginning to forge partnerships in supporting industries—such as with power companies and utility providers—allowing cannabis businesses to keep their money within the Tokes economy when paying bills. Tokes will soon debut operating software for dispensaries, and is currently developing applications to help producers track their products from seed to sale while automating compliance. It’s hard to say whether Tokes will achieve its vision of a universally adopted cryptocurrency suite for the cannabis industry—that is, whether a utopian, self-sufficient economy will come to fruition before banks come to their senses and start playing nice with the cannabis industry—but it certainly would be a delightful little shock toward the future if it succeeds.
before January January 10 10 before 11:59PM
BE ON THE LOOKOUT FOR THE SEMI-FINALISTS! VOTING WILL HAPPEN JANUARY 13TH- 21ST The twenty finalists will be paired off into twos to compete for different titles (such as: Most Glam, Best Dressed, etc.). You, the voter, will choose one pet from each pairing to win the title. After you have reviewed all the pets and chosen the title winners, you will then vote on the pet you think should be Portland’s Pet Pageant winner! Visit http://bit.ly/pdxpetpageant for more information! Willamette Week JANUARY 10, 2018 wweek.com
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LEGAL NOTICES IN THE CIRCUIT COURT OF THE STATE OF OREGON
FOR THE COUNTY OF CLACKAMAS Probate DepartmentIn the Matter of the Conservatorship of: GARRETT CLARK HOHMAN; MEGAN NICOLE HOHMAN, minor children, Respondents. Case No. 17PR01840 NOTICE OF TIME FOR FILING OBJECTIONS TO PETITION FOR ORDER APPOINTING CONSERVATOR FOR A MINOR NOTICE IS HEREBY GIVEN to all interested parties, that on October 10, 2017, the undersigned filed a petition to appoint Jason Michael Hohman (birth father of Respondents) as conservator for Respondents, Garrett Clark Hohman and Megan Nicole Hohman. The Petitioner’s address and telephone number are: Petitioner: Jason Michael Hohman; 17901 S. Princess Ct; Oregon City OR 97045 (971) 865-0083. Any objections to this petition must be made in the above court by February 8, 2018, at:Clackamas County Circuit Court; Civil Case Unit; 807 Main Street, Room 104; Oregon City, Oregon 97045. A true copy of the petition is a public document and is available at the same address. As of the date on this notice, no hearing has been set. NOTICE: If you wish to receive copies of future filings in this case, you must inform the judge and the person named as petitioner in this notice. You must inform the judge by filing a request for notice and paying any applicable fee. The request for notice must be in writing, must clearly indicate that you wish to receive future filings in the proceedings and must contain your name, address and phone number. You must notify the person named as petitioner by mailing a copy of the request to the petitioner. Unless you take these steps, you will receive no further copies of the filings in the case. DATED: this 10th day of January 2018
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Across 1 Mature insect stage 6 528i maker 9 Arrears 14 Once less than once 15 Noise at the dentist 16 Andrews of "Mary Poppins" 17 Port-au-Prince or Fort-LibertÈ, as an example of what to call cities? 19 "___ we all?" 20 City SE of Oklahoma City
21 Just the right amount of stellar? 23 Haves and have___ 25 They may be removed in "premium" versions 26 Some smartphones 27 Uncool sort 29 Uncle, in Oaxaca 30 Software problem 33 Jazz combo instrument 37 Facebook action 38 Oscar news about "Reds" or "Bulworth"
(or "Network")? 42 Shirt sleeves 43 Journalist Cokie who appears on ABC and NPR 44 Afternoon break 45 Part of FWIW 46 Congo basin animal 50 Solar system center 51 Surprised sounds 54 Madeline of "Blazing Saddles" 55 Much, much smaller?
60 Fish eggs 61 "That's ___ shame" 62 Go out with Carrie Ann of "Dancing With the Stars?" 64 Blue-gray shade 65 Back in time 66 Ambulance attendant 67 Scammed 68 Actor Jeong 69 Hard worker's output Down 1 Under one's control 2 Grassland 3 Do some flying 4 Figure out 5 First of its kind (abbr.) 6 Made some barnyard noises 7 Half of a 1960s pop quartet 8 Put a sharper edge on 9 "___ Unchained" (Tarantino movie) 10 Continent-wide money 11 Chicken Cordon ___ 12 Triangle sound 13 Late-night host Meyers 18 Program begun under FDR 22 Alchemist's potion 24 Stadium capacity 28 Crispy sandwich 29 Mild 30 Drill piece 31 Island strings, for short 32 Diploma
equivalent 34 Power in old movies 35 ___ about (roughly) 36 Show sorrow 37 Eye surgery acronym 38 Outlaw 39 Notable period 40 Current measure 41 Utmost degree 45 Put gas in 47 Holiday procession 48 Intense fear 49 Short play length 50 What a two-letter abbreviation may denote 51 "August: ___ County" (2013 Streep film) 52 Show interest in, in a way 53 Figure out 55 Laundry 56 "Alice's Restaurant" chronicler Guthrie 57 Affirmative votes 58 Bismarck's home (abbr.) 59 Wheel accessories 63 Word after "brand spanking" last week’s answers
©2017 Jonesin’ Crosswords (editor@jonesincrosswords.com) For answers to this puzzle, call: 1-900-226-2800, 99 cents per minute. Must be 18+. Or to bill to your credit card, call: 1-800-655-6548. Reference puzzle #JONZ823.
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Week of January 11
ARIES (March 21-April 19):
I’m happy to inform you that life is giving you permission to be extra demanding in the coming weeks -- as long as you’re not petty, brusque, or unreasonable. Here are a few examples that will pass the test: “I demand that you join me in getting drunk on the truth;” “I demand to receive rewards commensurate with my contributions;” “I demand that we collaborate to outsmart and escape the karmic conundrums we’ve gotten ourselves mixed up in.” On the other hand, Aries, ultimatums like these are not admissible: “I demand treasure and tribute, you fools;” “I demand the right to cheat in order to get my way;” “I demand that the river flow backwards.”
TAURUS (April 20-May 20):
Are you familiar with the phrase “Open Sesame”? In the old folk tale, “Ali Baba and the Forty Thieves,” it’s a magical command that the hero uses to open a blocked cave where treasure is hidden. I invite you to try it out. It just may work to give you entrance to an off-limits or previously inaccessible place where you want and need to go. At the very least, speaking those words will put you in a playful, experimental frame of mind as you contemplate the strategies you could use to gain entrance. And that alone may provide just the leverage you need.
GEMINI (May 21-June 20):
While thumping around the Internet, I came across pointed counsel from an anonymous source. “Don’t enter into a long-term connection with someone until you’ve seen them stuck in traffic,” it declared. “Don’t get too deeply involved with them until you’ve witnessed them drunk, waiting for food in a restaurant for entirely too long, or searching for their phone or car keys in a panic. Before you say yes to a deeper bond, make sure you see them angry, stressed, or scared.” I recommend that you take this advice in the coming weeks. It’ll be a good time to deepen your commitment to people who express their challenging emotions in non-abusive, non-psychotic ways.
CANCER (June 21-July 22):
My high school history teacher Marjorie Margolies is now Chelsea Clinton’s mother-in law. She shares two grandchildren with Hillary Clinton. Is that something I should brag about? Does it add to my cachet or my happiness? Will it influence you to love me more? No, nah, and nope. In the big scheme of things, it’s mildly interesting but utterly irrelevant. The coming weeks will be a good time for Cancerians like you and me to renounce any desire we might have to capitalize on fake ego points like this. We Crabs should be honing our identity and selfimage so they’re free of superficial measures of worth. What’s authentically valuable about you?
LEO (July 23-Aug. 22)
If I were your mentor or your guide, I’d declare this the Leo Makeover Season. First I’d hire a masseuse or masseur to knead you firmly and tenderly. I’d send you to the nutritionist, stylist, dream interpreter, trainer, and life coach. I’d brainstorm with the people who know you best to come up with suggestions for how to help free you from your illusions and infuse your daily rhythm with twenty percent more happiness. I’d try to talk you out of continuing your association with anyone or anything that’s no damn good for you. In conclusion, I’d be thorough as I worked to get you unlocked, debugged, and retooled.
VIRGO (Aug. 23-Sept. 22):
“It takes an extraordinary person to carry themselves as if they do not live in hell,” says writer D. Bunyavong. In accordance with the astrological omens, I nominate you Virgos to fit that description in the coming weeks. You are, in my estimation, as far away from hell as you’ve been in a long time. If anyone can seduce, coax, or compel heaven to come all the way down to earth for a while, it’s you. Here’s a good way to get the party started: Gaze into the mirror until you spy the eternal part of yourself.
LIBRA (Sept. 23-Oct. 22):
In accordance with the astrological omens, I encourage you to move the furniture around. If you feel inspired, you might even want to move some of that old stuff right out the door and haul it to the dump or the thrift store. Hopefully, this will get you in the mood to launch a sweeping purge of anything else that lowers the morale and élan around the house: dusty mementoes, unflattering mirrors, threadbare rugs, chipped dishes, and numbing symbols. The time is ripe, my dear homies, to free your home of deadweight.
SCORPIO (Oct. 23-Nov. 21):
When he was 16 years old and living in New York, Ralph Lifshitz changed his name to Ralph Lauren. That was probably an important factor in his success. Would he have eventually become a famous fashion designer worth $5.8 billion dollars if he had retained a name with “shitz” in it? The rebranding made it easier for clients and customers to take him seriously. With Ralph’s foresight as your inspiration, Scorpio, consider making a change in yourself that will enhance your ability to get what you want.
SAGITTARIUS (Nov. 22-Dec. 21):
In 1956, the prolific Spanish poet Juan Ramón Jiménez was awarded the Nobel Prize for Literature. The award committee praised his “high spirit and artistic purity.” The honor was based on his last thirteen books, however, and not on his first two. Waterlilies and Souls of Violet were works he wrote while young and still ripening. As he aged, he grew so embarrassed by their sentimentality that he ultimately tried to track down and eradicate every copy. I bring this to your attention, Sagittarius, because I think it’s a favorable time for you to purge or renounce or atone for anything from your past that you no longer want to be defined by.
CAPRICORN (Dec. 22-Jan. 19):
Three centuries ago, Capricorn genius Isaac Newton formulated principles that have ever since been fundamental to scientists’ understanding of the physical universe. He was also a pioneer in mathematics, optics, and astronomy. And yet he also expended huge amounts of time and energy on the fruitless attempt to employ alchemy to transform base metals into solid gold. Those efforts may have been interesting to him, but they yielded no lasting benefits. You Capricorns face a comparable split. In 2018, you could bless us with extraordinary gifts or else you could get consumed in projects that aren’t the most productive use of your energy. The coming weeks may be crucial in determining which way you’ll go.
AQUARIUS (Jan. 20-Feb. 18):
A rite of passage lies ahead. It could and should usher you into a more soulful way of living. I’m pleased to report that this transition won’t require you to endure torment, confusion, or passive-aggressive manipulation. In fact, I suspect it could turn out to be among the most graceful ordeals you’ve ever experienced -- and a prototype for the type of breakthrough that I hope will become standard in the months and years to come. Imagine being able to learn valuable lessons and make crucial transitions without the prod of woe and gloom. Imagine being able to say, as musician P.J. Harvey said about herself, “When I’m contented, I’m more open to receiving inspiration. I’m most creative when I feel safe and happy.”
PISCES (Feb. 19-March 20):
The Kalevala is a 19th-century book of poetry that conveys the important mythology and folklore of the Finnish people. It was a wellspring of inspiration for English writer J. R. R. Tolkien as he composed his epic fantasy novel The Lord of the Rings. To enhance his ability to steal ideas from The Kalevala, Tolkien even studied the Finnish language. He said it was like “entering a complete wine-cellar filled with bottles of an amazing wine of a kind and flavor never tasted before.” According to my reading of the astrological omens, Pisces, in 2018 you will have the potential of discovering a source that’s as rich for you as Finnish and The Kalevala were for Tolkien.
Homework I’ve gathered all of the long-term, big-picture horoscopes I wrote for you: http://bit.ly/YourGloriousStory2018
check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes
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