SEXUAL ASSAULT ALLEGATION SHAKES UP COUNTY ELECTION. A Portland woman comes forward with her story of being attacked by two prominent men. By Nigel Jaquiss, Page 8
“SMOKE A JOINT, HAVE A SANDWICH, GO BACK TO WORK.”
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ABBY GORDON
FINDINGS
KATY PERRY, PAGE 35
WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 44, ISSUE 15.
Don’t punch that off -duty cop guarding the Apple store. 4
The fire marshal will not let you host country music on Division Street without sprinklers. 24
A can of tuna costs more in Portland than in any other American city. 7
Dad ribs are back on Division Street. 27
Forever 21 will pay you to walk down Division Street looking cool.
G Perico says gentrification is good for rap. 32
13 Broccoli is Kinfolk for stoners. 17
A man with a machete can really put a damper on a clown show. 23
ON THE COVER:
Don’t ride the Magnum roller coaster after popping a nitroglycerin pill. 38
OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:
Instagrammer Kassala Holdsclaw
(@kassalaholdsclaw)
America’s third-oldest McDonald’s is still closing.
photographed by Emily Joan Greene
(@emilyjoangreene)
MASTHEAD EDITOR & PUBLISHER
Mark Zusman EDITORIAL
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DIALOGUE Last week, WW ran a profile of Seth Woolley, the good-government advocate who has been filing complaints against local and state officials for alleged elections law violations (“The Enforcer,” WW, Jan. 31, 2018). Recently, he’s been critical of Multnomah County Commissioner Loretta Smith’s campaign fundraising practices. Here’s what readers thought about Woolley’s watchdogging. Tangerine Bolen, via Facebook: “Three cheers to gadflies who swarm campaign finance reform! Serious public service there.” Joseph Brown-Womack, via Facebook: “Hey, Seth, Portland doesn’t need any more white male cops. Thanks for your application, we’ll keep it on record.” Jesse Liberty, via Facebook: “If [Smith] is violating the campaign rules, then the rules need enforced. This guy is a hero.” Thedeadtext, via wweek.com: “He is an opportunist, not a traffic cop.” Econline, via wweek.com: “When Smith says that what she is doing is fine because someone else did it in the past, even though it is illegal, it strikes me that she is admitting that Woolley is correct.” Chedward, via wweek.com: “I don’t buy [Smith’s] ‘someone else did it so why can’t I?’ defense. Do what’s right by the letter of the law and there is no problem.” SocraticMeathead, via wweek.com: “This really exemplifies the petty corruption Oregon Democrats engage in.”
Bridger, via wweek.com: “I think [Smith] violated the letter while adhering to the spirit of the law. The spirit being: Politicians do what we want.”
PORTLAND’S CHANGING SKYLINE
Enjoyed your article (“Sky Wars,” WW, Jan. 24, 2018) while thinking the headline presented a false choice. • The crisis is affordability, and the root cause is income disparity and low wages. Portland’s rental vacancy rate actually has been rising. Without huge subsidies, it is impossible to build housing that is affordable for lower-income levels. • We’ll only catch up with housing demand when population growth abates—another root cause no one wants to talk about. City dwellers still have huge impacts on the planet through their footprint—especially if they fly a lot or are major consumers. For every mouth to feed, whether in a city or a suburb, another little piece of a rainforest will be lost to farms. Stop touting urban growth as a cure-all. • What about Gateway? Served by three transit lines, two freeways, and only 5 miles from the city center, and even a nice swath of parkland. Long penciled in as a regional center, the city has given up on it because developers want the quick profits downtown. Yet a Gateway midrise can have stunning mountain views. Gateway is the great opportunity to build a truly mixed-income, midrise village here. There isn’t the will. In short, Portland’s myopic view is, most growth needs to occur within a 3-mile radius of downtown, but that wasn’t so much the vision 20 years ago. Jeff C. 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
The Apple store downtown has real, uniformed police officers acting as security. I was told these are off-duty officers moonlighting for extra cash. But in uniform? Are they acting as cops or private contractors? Can anybody rent one? —iWonder Jeez, iWonder, if I didn’t know better, I’d think you were suggesting the rich and powerful enjoy state-granted privileges that the rest of us have to do without. First, the facts: It is perfectly legal for private entities to hire uniformed off-duty cops to act as security officers, nightclub bouncers, etc. A 2016 study suggested that about 80 percent of U.S. police departments allow this kind of work. Under the law, off-duty officers retain all the authority of on-duty cops “24 hours a day, anywhere in Oregon.” Moonlighting cops can put their hands on you, restrain you and arrest you, provided they follow the same guidelines they use when on duty. Given this, it’s actually a courtesy that they wear the uniform. Do you really want to find out after the fact that the guy you just hit in the face with a pie was an off-duty cop and not—as you’d previously supposed—just some guy with no sense of humor and an unfortunate haircut? You could go on a granola-fueled rant here 4
Willamette Week FEBRUARY 7, 2018 wweek.com
about the civic functions of government being sold to the highest bidder (can I hire uniformed soldiers to assist with my pre-emptive invasion of Troutdale? How about a fully robed judge to imprison my friends for particularly egregious rules violations in Scrabble?), but be aware that, actually, the Portland Police Bureau’s handling of cops’ off-duty work is considered a model for the nation. In Portland, corporate overlords seeking police muscle contract for it through the bureau itself. Other cities have allowed private companies to do it, leading to abuses like the price-fixing and intimidation an FBI investigation found last year in Seattle. (They’re now in the process of switching to our method.) Look on the bright side: Plenty of rich folks lobby the city for more regular, on-duty, taxpayer-funded officers to be assigned to their area. At least Apple is willing to put its money where its mouth is. QUESTIONS? Send them to dr.know@wweek.com
Willamette Week FEBRUARY 7, 2018 wweek.com
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Saving Theft Victims Money May Cost City
The Portland Police Bureau plans to change its current policy that passes on to victims the cost of towing recovered stolen vehicles. That change follows a WW investigation (“Held for Ransom,” WW, Dec. 20, 2017). But a deputy ombudsman in the City Auditor’s Office advised the bureau that changing the policy could cost the city up to $600,000 annually in lost surcharges that are used to fund city programs. “The unfairness of forcing crime victims to pay for the return of their own stolen property is apparent,” deputy ombudsman Tony Green said in a letter sent to PPB and the Portland Bureau of Transportation on Jan. 23. “One way to mitigate the fiscal impact would be to increase the existing $9 surcharge that funds the city’s ‘zombie RV’ disposal program.” PBOT negotiates the contracts with local tow companies and sets the city’s fees, and the agency may need to alter its contracts to compensate for the lost revenue.
Zombie Bridge Rises Again
On Feb. 2, the Oregon Department of Transportation submitted its new list of priority projects to Metro—a list the regional government updates only every four years. On the list: $3.2 billion to “replace I-5/ Columbia River bridges and improve interchanges on I-5.” That sounds a lot like the Columbia River Crossing project, which died in 2014 after about $200 million in planning and design work. ODOT spokesman Don Hamilton notes the timeframe is 2028-2040 and cautions against reading too much into the list. “At this point, it’s just a placeholder,” he says. Metro will take comment on the list of transportation priorities through Feb. 17.
Portland Rolls Forward With Autonomous Vehicles
Last June, the City Council adopted a policy supporting pilot programs for autonomous vehicles in Portland. On Feb. 1, Mayor Ted Wheeler and Transportation Commissioner Dan Saltzman suggested next steps. So far, 19 companies have proposed various ideas, including one for testing autonomous vehicles. The city now plans to establish a permitting system for such testing. Officials have proposed putting the cars through their paces at Portland International Raceway. “We know that emerging technologies have the potential to disrupt markets and challenge policymakers,” Wheeler tells WW. “By getting out ahead of autonomous vehicle technology, we can make our streets safer and attract innovators and investors to our local economy.”
MARCARIO
TechfestNW Returns
TechfestNW will be back in Portland April 5-6. The event, sponsored by WW, will gather startups, established companies and leaders at the forefront of tech trends in food, health, smart cities and inclusivity. Speakers will include Patagonia CEO Rose Marcario, Impossible Foods COO and CFO David Lee, and Moovel CEO Nat Parker. The event will expand again this year to fill the new Viking Pavilion at Portland State University—with a demo floor filled with gadgets, breakout workshops and PitchfestNW, which connects entrepreneurs with potential investors. Tickets for TechfestNW 2018 are available at techfestnw.com.
NEWS
WHAT YOU NEED TO KNOW THIS WEEK
Big Fish
A NEW NATIONAL SURVEY SHOWS PORTLAND IS THE MOST EXPENSIVE CITY TO BUY A CAN OF TUNA AND HAS THE 17TH HIGHEST COST OF LIVING OVERALL. BY E L I SE H E R R O N
eherron@wweek.com
A national economic research group just published an updated comprehensive cost-of-living index for U.S cities. The study unearthed some interesting findings about Portland. The Arlington, Va., Council for Community and Economic Research, or C2ER, has been publishing a cost-of-living index for the past 50 years. The data represents a side-by-side comparison of the cost of more than 60 goods and services for 269 U.S. cities. Those goods and services are also collectively grouped into six different categories: housing, transportation, grocery items, health care, utilities and miscellaneous goods. C2ER’s index is used by the U.S. Census Bureau and the Bureau of Labor Statistics. A new index, published last week, reveals that
Portland has the 17th-highest cost of living overall. Of the U.S. cities surveyed, it’s also the most expensive place to buy a can of tuna—at $1.59. State economist Josh Lehner wasn’t surprised. “These numbers aren’t wildly out of line with expectations,” Lehner says. “Portland is a very unaffordable metro city; it just happens to be that other West Coast cities are comparatively more expensive.” Lehner adds that Portland’s high housing costs will have the biggest long-term economic impact. “Long-run economic growth is based on the ability to attract smart, young, working-age households where people stay and buy or rent houses,” he says. “If housing continues to be a problem, my concern is that it will choke out growth because the only people who will be able to afford to move here will be people of higher income.”
>> Here’s where Portland ranked in selected index categories:
1st
most expensive can of tuna.
5th 14th 16th 17th 31st
$2.1 million That’s the amount Portland City Commissioner Chloe Eudaly’s office is seeking in the upcoming budget to spur development of granny flats on existing lots. Eudaly hopes to roughly triple the private market’s production to 1,500 units a year. More than $1 million would help create loans for building what Portland calls “accessory dwelling units.” The remainder would go toward a project of looking at ways to reduce the cost of designing and permitting ADUs. The city has already waived development fees. Eudaly ’s proposal would dwarf the county’s $410,000 pilot project to build four publicly financed ADUs for homeless residents. More than 1,000 people expressed interest in participating in that program. “In general, when people ask what they can do for help, the government has really lousy answers like, ‘Pay your taxes,’ and ‘Follow directions,’” says Marshall Runkel, Eudaly’s chief of staff. “This is an entrepreneurial approach for solving the most urgent problem in this city.” RACHEL MONAHAN.
most expensive for a bottle of wine—at an average of $13.72.
highest rent and home fees—with the average annual rent for an apartment being $2,482 and the average home price falling at $507,368.
most expensive groceries—a dozen eggs average $1.78, more than in 228 other cities, and ground beef averages $4.34 a pound, more than in 232 other cities.
highest cost of living overall. New York and San Francisco ranked 1 and 2, respectively. Seattle was No. 8, and McAllen, Texas, was last. most expensive beer— at an average of $9.82 a six-pack.
55th most expensive for veterinary services, at an average of $57.17 an exam.
55th most expensive for health care services. A trip to a doctor in Portland costs an average of $107.61 per visit.
62nd highest transportation costs. 259th
THE BIG NUMBER
most expensive utilities fees, with average monthly energy costs of $145.24 and average monthly phone bills of $19.33.
QUOTE OF THE WEEK “In order to do the right thing and to provide the right long-term view for the city, it might mean you’re only in politics for a little while. And I made a decision that that’s OK with me.” —Portland Mayor Ted Wheeler, speaking at a “Mayors of Cascadia” panel at the Crosscut Festival in Seattle on Feb. 3. The day before, Wheeler weathered criticism for ordering the sweep of the latest organized homeless camp. Portland has had a string of three one-term mayors, but Wheeler has clearly not given up on a career in politics just yet. A Feb. 6 fundraiser in his honor asked donors to contribute between $500 and $2,500. Wheeler won’t face re-election until 2020. Willamette Week FEBRUARY 7, 2018 wweek.com
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E M I LY J O A N G R E E N E
NEWS “ I A LWAY S T O LD MY S E LF T H AT I WO U LD C OM E F O RWA R D I F C H A R LE S EV E R R A N F O R O F F IC E . BE C AU S E T H E R E A R E S OM E T H I NG S T H AT S I M PLY C A N N O T BE A LL OW E D.” — E R I C A N A I TO - C A M P B E L L
BREAKING SILENCE: Erica Naito-Campbell tells a harrowing story of sexual assault.
No Way Out Erica Naito-Campbell says Multnomah County Commission candidate Charles McGee and state housing council chairman Aubré Dickson sexually assaulted her in 2012. BY NIG E L JAQ UI SS
njaquiss@wweek.com
Content warning: This story includes a detailed account of sexual assault. On Jan. 10, Charles McGee entered the race for Multnomah County commissioner after 12 years leading a Portland nonprofit called the Black Parent Initiative. As CEO of one of the city’s leading culturally specific nonprofits, McGee has built an expansive network. Supporters hailed his bid for office as a promising step for the causes he has championed. But for Erica Naito-Campbell, McGee’s announcement brought back painful memories and prompted a reckoning. “I always told myself that I would come forward if Charles ever ran for office,” says Naito-Campbell. “Because there are some things that simply cannot be allowed.” In a recent series of interviews with WW, Naito-Campbell, 37, says that nearly six years ago, McGee and another man sexually assaulted her. In those interviews and a three-page sworn affidavit she provided WW, Naito-Campbell described a May 10, 2012, incident in which she says McGee and the other man sexually assaulted her at a private residence. “At no time was I interested in being touched by either man, nor did I consent to be touched,” Naito-Campbell writes in the Jan. 20, 2018, affidavit. “The next day, my body was bruised all over with fingerprint marks, and I bled when I went to the bathroom.” On Jan. 19, WW began an interview with McGee about Naito-Campbell’s allegations. He said he knew NaitoCampbell but had never sexually assaulted her or any 8
Willamette Week FEBRUARY 7, 2018 wweek.com
woman. However, McGee ended the interview before responding to specific questions about the alleged assault and turned down further interview requests. “My attorney doesn’t think we should meet,” he wrote in a Feb. 3 text message. His attorney, Edie Rogoway, also declined to answer further questions. The other man, Aubré Dickson, a Portland banking executive, did not reply to two dozen interview requests over a three-week period. After calling, emailing and texting him repeatedly, WW visited his office and his home and sent registered letters to both addresses. Dickson never responded. A spokesman for his employer said the bank notified Dickson of WW’s inquiries but otherwise declined to comment. On Feb. 5, Dickson quit the Oregon Housing Stability Council, which he chaired. On Feb. 6, McGee abruptly quit the county race, citing only “personal reasons.” Naito-Campbell is a granddaughter of Bill Naito, a real estate developer credited with revitalizing Portland’s downtown in the 1970s and ’80s. She is a graduate of Reed College and Lewis and Clark School of Law and a single mother of one son. Her decision to step forward comes at a time when women all over the country are revealing longsuppressed accounts of sexual harassment and abuse. Naito-Campbell says she didn’t report the alleged assault to police, but she did tell her family and numerous friends at the time. WW interviewed six of those friends and also her therapist, whom she told years afterward. All of those interviewed recalled her telling them the same story she outlines in her affidavit. Naito-Campbell also provided an email she’d sent to another friend in July 2013, telling the story in similar detail.
Friends say they found the story credible, and those who knew her before the alleged incident say Naito-Campbell is a different person than she was prior—distraught and often paralyzed by fear and anxiety. “I believed her absolutely,” says Elizabeth Peters, a doctoral student at Portland State University who attended high school and college with Naito-Campbell. “The trauma changed who she is. You don’t make that up.” The therapist, who saw her weekly for two years, agrees. “This incident has damaged her to a place where I’m not sure she can make a full recovery,” says the therapist, who also interviewed some of her family and friends about Naito-Campbell’s condition before the incident. “In terms of her self-worth, her ability to have a relationship and her belief in the concept of trust, there’s been a huge, negative shift.” McGee, now 32, entered politics at 19, when he ran unsuccessfully for a seat on the Portland School Board. He left PSU after his sophomore year and co-founded the Black Parent Initiative. His organization has contracts with Multnomah County, Portland Public Schools and the state of Oregon, among others. It provides a variety of services, including helping families prepare children to succeed in school and maintain a stable home. McGee twice previously considered runs for public office but finally decided this year to run for the seat being vacated by Multnomah County Commissioner Loretta Smith. Smith is running for the Portland City Council seat being vacated by Commissioner Dan Saltzman. Dickson, 43, is a leading Oregon figure in affordablehousing finance. He serves on the board of the Portland Housing Development Center and, until Monday, the state Housing Stability Council, which this year will provide $250 million to projects across Oregon. Naito-Campbell worked for her family’s real estate business when she met Dickson and McGee in 2010. All three were enrolled in Leadership Portland, a nine-month program offered by the Portland Business Alliance. She says she and Dickson were Platonic friends before the alleged incident. She was not friends with McGee and says she had never previously met with him outside the PBA program. Naito-Campbell says that on May 10, 2012, after the PBA program ended, she and Dickson arranged to meet downtown at the University Club, where they would connect with McGee, a friend of Dickson’s. (Dickson served on McGee’s board at the Black Parent Initiative.) “He said Charles wanted to hang out with us,” NaitoCampbell recalls. A University Club official says May 10 was the one night a year the private club was open to the public for what’s called a “Grand Reception.” Naito-Campbell provided WW copies of a number of emails between her and Dickson written in late April and early May 2012, making arrangements to meet at the University Club that evening. Dickson sent his messages from a work email account. Naito-Campbell says the three met for drinks at the University Club on the evening of May 10. When the Grand Reception wound down, they all decided to leave in McGee’s car. She wanted to go dancing, but she says Willamette Week FEBRUARY 7, 2018 wweek.com
McGee insisted on going to a strip club instead. Portland Women’s Crisis Line on May 13, 2012) and told Naito-Campbell says things started going wrong in friends. She remembers making those calls while walkMcGee’s vehicle, which she thinks was a Toyota Camry. ing in Tryon Creek State Park near her home. She soon (Records show McGee’s wife owned a 2007 Camry at the began seeing a therapist and walked endlessly. time.) Naito-Campbell sat in the front passenger seat, “I was trying to exorcise what happened to me,” she with Dickson in back. says. “[McGee] keeps reaching over and touching my knee,” Naito-Campbell says after the incident, she feared she says. “I reminded him he was married. He took off his going downtown, stopped attending public events with wedding ring and put it in the cup holder and said, ‘Not crowds, and found herself unable to sit in a movie thetonight, I’m not.’” ater or an airplane. She was afraid she might see her They crossed the Willamette River to a strip club— alleged attackers. In confined spaces, she felt trapped she thinks it was in North Portland but cannot recall the as she says she had felt in McGee’s house. “I developed club’s name. She says McGee bought her a drink there severe PTSD and began to have dissociative episodes,” that she neither wanted nor drank. They soon left the Naito-Campbell says. club. McGee drove the three of them to a private residence, which Naito-Campbell described as being on the Naito-Campbell says she never had further contact with city’s outer eastside. McGee, but almost a month after the alleged incident, Records show McGee’s wife owned a home on South- Dickson reached out to her. This time, instead of coneast 89th Avenue in Montavilla from 2009 to 2015. tacting her via his work email, he used a personal email Inside the home, she says, McGee account. produced tequila and marijuana and In a June 7, 2012, email Naitoput both on an island in the kitchen. Campbell provided WW, Dickson She remembers feeling trapped. wrote: “Can we PLEASE be friends “Charles just looked at me and I again?! I’ll keep harassing you until knew,” she says. you say YES :).” Then, Dickson turned off the lights. “Seriously though, E, I haven’t “I said, ‘Don’t do this, please don’t do been the same since that night,” this,’” recalls Naito-Campbell. She Dickson continued. “Can we at least says McGee grabbed for her, reachgrab coffee and talk? I want to make ing under her dress and pulling down things right between us. I value your her panties. She fell onto a hardwood friendship and genuinely care about floor and a child’s high chair tipped your well-being. At least reply to this AUBRÉ DICKSON over, spilling a drink (McGee and his email to let me know you got this.” wife had a young child then). McGee Naito-Campbell says she never pinned her to the floor. replied. “I said ‘no’ over and over, so many Three months later, in September, times,” she says. Dickson wrote her again from his “Charles was going down on me, personal account, in an email with and I kept trying to push his head the subject line “I hope you’re well.” away,” Naito-Campbell says. “Aubré “Just wanted to say hello,” he just stood there and watched. Then wrote. “I hope you had an enjoyable Charles was going to try and pensummer.” etrate me with his penis, and I put my Naito-Campbell didn’t reply to hand over my vagina.” that email either. CHARLES MCGEE Dickson eventually turned the In October 2015, more than three lights back on, she says, and told years after the alleged incident, NaiMcGee to stop. She hoped the assault to-Campbell’s therapist persuaded was over. But then, she says, Dickson grabbed her as she her that writing to Dickson about the alleged assault sat on the couch and McGee turned off the lights. might help her move past it. “Then they were both all over me,” says Naito-CampSo she did. “You violated so much that night,” she bell, who is 5-foot-2 and 110 pounds. Dickson, who briefly wrote in a Oct. 4, 2015, handwritten letter she mailed to played football for PSU, is 6-foot-1 and 190 pounds, Dickson’s work address. “I believed that if Charles tried according to his driver’s license; McGee, 5-foot-10 and anything, you would step in and protect me.” 205 pounds. She says Dickson did not reply. “Aubré was fingering me really hard,” she says, “and I just kept saying, ‘Don’t do this.’ He pulled his penis out Since 2012, McGee’s public profile has grown. He served and I put my hand over my vagina. Aubré was trying to on the state’s Early Learning Council and numerous jam his penis in and I wanted it to be over. Then they local advisory groups. His nonprofit grew to $1.1 milstopped.” lion in annual revenues. Last year, his wife, Serilda Naito-Campbell says she thinks she was in the house Summers-McGee, became the human resources director for more than an hour. Then, Dickson drove her back for the city of Portland. And downtown developers and downtown to Southwest Broadway, where she’d left her community leaders wrote checks to his campaign. car near the University Club. Dickson has also thrived, moving to a new job as She says she didn’t notify police. vice president of community development lending at “I was still too traumatized to fully admit how much KeyBank and becoming chairman of the state’s Housing I’d been harmed, emotionally and mentally,” she says. Stability Council, a gubernatorial appointment. Rosemary Brewer, a former prosecutor who now Today, Naito-Campbell is working on a biography heads the Oregon Crime Victims Law Center, says sexual of her grandfather and does some legal writing, includassault victims frequently don’t go to the police. “They ing co-authoring a chapter on post-traumatic stress fear backlash,” Brewer says, “and there’s a long history of disorder for a new Oregon State Bar practice guide for women coming forward and people not believing them.” lawyers. (Under Oregon law, sodomy [forcible oral sex] and She doesn’t expect going public with her story will unlawful penetration are felonies, each punishable by a suddenly fix the demons she says have plagued her since mandatory minimum sentence of 100 months in prison. the night of May 10, 2012. The statute of limitations for those crimes is six years— “My PTSD won’t get resolved by one or both [men] in Naito-Campbell’s case, until May 12, 2018.) taking responsibility or apologizing,” she says. “What Naito-Campbell says in ensuing days, she called a rape they broke can never be put back together. I will never hotline (her phone records show a 42-minute call to the be who I was before that night.”
A PATTERN OF BEHAVIOR WW has not found any other evidence of sexual assault or harassment in Aubré Dickson’s past. Charles McGee’s history is more complicated. WW has interviewed multiple sources who described alleged sexual harassment and abuse by McGee reaching back to 2006. • In 2006, a woman who knew McGee invited him to her house in Northeast Portland. They attended the same church and had friends in common. But once in her home, the woman, now in her mid-30s, says McGee initiated and engaged in nonconsensual sex, grabbing her from behind when her back was turned. The woman, whose identity WW is withholding, never reported the assault to police, although she says she spoke to friends about it at the time. (Another woman confirmed to WW that the alleged assault was known among a small group of church members.) The alleged victim says McGee, who moved in the same social circles she did, pestered her for another meeting. “Why won’t you talk to me?” she remembers him asking. “‘I told you ‘no,’” she replied. “You forced yourself on me.” • In 2007, a woman named Patrice Hardy went to court to seek a stalking order against McGee, claiming he had aggressively pursued her in person and online against her wishes. She says he called and emailed her incessantly and entered her home uninvited. “I just want him to leave me alone, and he will not do so,” Hardy, who lived near McGee, testified in September 2007 in Multnomah County Circuit Court. “I’ve begged him.” In his ruling, Judge Terry Hannon called McGee’s behavior a “classic” case of stalking. “She has every right to fear for her safety,” Judge Hannon told McGee, according to a tape of the hearing. Hannon issued a stalking order that was in effect for three years. After the Portland Tribune first reported the stalking order in December 2017, McGee issued a statement on Facebook: “I want to be clear that, while I made a mistake in continuing to initiate communications, at no point was there any physical or sexual harassment or anything of that nature,” he wrote. McGee’s supporters, including some elected officials, applauded his statement in Facebook comments. “Thank you for being vulnerable and sharing your story,” wrote state Rep. Diego Hernandez (D-Portland). “I’m sorry this is happening to you, Charles,” added City Commissioner Chloe Eudaly. “We’ve all had missteps.” • In September 2010, McGee was the subject of a harassment complaint after a Portland Business Alliance retreat at Skamania Lodge in Stevenson, Wash. A female participant in the PBA’s Leadership Portland program complained to the alliance that McGee made unwanted advances at the retreat. The woman declined to comment to WW, but PBA executive director Sandy McDonough acknowledges receiving a complaint about McGee. “Concerns were raised about an interaction between certain class members,” McDonough says, adding that alliance staff “counseled” McGee. • In 2014, another woman whom McGee dated before his 2010 marriage said that after he repeatedly approached her on Facebook, she finally blocked him. Says the woman, “He made me very, very uncomfortable.” NIGEL JAQUISS. The nonprofit WW Fund for Investigative Journalism provided support for this story. Willamette Week FEBRUARY 7, 2018 wweek.com
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E M I LY J O A N G R E E N E
NEWS
NO SANCTUARY: Oregonians protest increased immigration enforcement efforts under the Trump administration.
IT'S GREAT TO BE BACK!
ICE House
Now ServiNg BreakfaSt!
In a new lawsuit, the ACLU of Oregon seeks answers about feds’ arrests of undocumented immigrants at courthouses.
8:00am-2:30pm (every Day) 3159 Se Belmont Portland, or 97214
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Willamette Week FEBRUARY 7, 2018 wweek.com
BY KATIE SHEPHER D
kshepherd@wweek.com
The ACLU of Oregon is filing a new lawsuit in federal court Feb. 7 against the U.S. Department of Homeland Security and Immigration and Customs Enforcement, seeking information about the agency’s secretive practice of making arrests at Oregon courthouses. The suit follows ICE’s resumption of the controversial tactic of apprehending suspected undocumented immigrants as they leave court. On Jan. 22, plainclothes ICE agents followed a man as he left the Washington County Courthouse in Hillsboro with an ACLU legal observer. The man had been in court for a hearing on misdemeanor drug and theft charges. The ICE agents waited until the legal observer left him on the platform of a nearby MAX station, the ACLU says, and then arrested him. Such arrests have spread fear in immigrant communities. After public outcry, ICE appeared to temporarily halt the practice late last year. “People don’t feel safe going to court,” says Unite Oregon lead organizer Yanely Rivas. “Their tactics are cruel and they need to stop.” The ACLU’s lawsuit aims to figure out ICE’s rationale for its enforcement actions. “ICE is ignoring numerous requests from the court that they not do this and also ignoring advocacy organizations that are on the ground in these communities,” says Mat dos Santos, legal director for the ACLU of Oregon. The ACLU has tracked 11 arrests by ICE agents in or near Oregon courthouses over the past year. But the U.S. Department of Homeland Security has provided little information about ICE policies regarding these arrests despite widespread public alarm. In October, the ACLU of Oregon filed a Freedom of Information Act request asking for records that would shed light on ICE’s tactics. The agency acknowledged the organization’s request and, after prodding from U.S. Rep. Suzanne Bonamici (D - Ore.), whose district includes Washington County, granted the group’s request for expedited processing. More than three months later, ICE has failed to release any responsive records. “They continue to operate in this sort of secret mode without giving the public informa-
tion,” dos Santos says. “We don’t want our own secret immigration police, and that’s essentially what we have right now.” ICE agents have been targeting Oregon courthouses since President Donald Trump expanded immigration enforcement last year. The Jan. 22 arrest in Hillsboro follows previous controversial enforcement actions. On Sept. 18, agents mistakenly questioned a Washington County employee and U.S. citizen, Isidro Andrade-Tafolla, at the courthouse. About a month later, ICE agents entered a downtown Portland home under renovation, allegedly without a warrant, and arrested Carlos Bolanos, who was working there. Bolanos was later released. U.S. lawmakers from Oregon have demanded that ICE leadership answer questions about those two incidents. The agency says its agents followed federal law and agency policies. But WW found ICE agents may have violated their own policies in Portland at least once last spring when they arrested a 19-year-old man at a bus stop in front of a hospital (“A Hospital on ICE,” WW, Nov. 1, 2017). That arrest remained secret for nearly seven months because ICE rarely releases information about arrests in which the person detained faces no criminal charges. In response to questions about the January arrest, which has never been previously reported, ICE spokeswoman Lori Haley cited the agency’s new directive on courthouse tactics. “Civil immigration enforcement actions taken inside courthouses can reduce safety risks to the public, targeted alien(s), and ICE officers and agents,” deputy director Thomas Homan wrote in a directive issued Jan. 10. The directive creates policy where there had been no clear guidelines, but leaves agents wide latitude to determine acceptable enforcement actions. It says immigration officials “should generally avoid” making arrests at civil court proceedings, but gives agents discretion to make enforcement decisions on a case-by-case basis. The Jan. 22 arrest, coupled with changes to ICE policies, may signal the agency is ramping up its enforcement efforts. “We have heard recently—since the promulgation of this new policy—that ICE enforcement actions at courthouses appear to be starting again,” dos Santos says.
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FOLLOW ME Portland is a big deal on Instagram and Twitter. Meet the city’s social media power players. BY WA L K E R M AC MURD O
wmacmurdo@wweek.com
In the future, every Portlander will be famous to 15,000 Instagram followers. Maybe that’s an exaggeration. But this midsized West Coast city has a swagger beyond its size—and social media is a big reason why. Hundreds of this city’s residents have become online celebrities with a national reach. They don’t go on TV or get book deals—they gather huge digital audiences on Twitter, Facebook and especially Instagram. They are “social media influencers.” It’s not new: For most of this decade, people have used platforms like Instagram to market themselves as
razor-sharp dressers, elite chefs, or chic stoners. And it’s not entirely legit: Last week, The New York Times revealed that many of the biggest names on Twitter purchased fake followers—bots and stolen profiles— to increase their numbers. Looking cool online isn’t mere narcissism. It’s a business model. An influencer with a million followers can draw $200,000 a year in sponsorship deals from companies like H&M or Dr. Pepper. In return, companies get product placement in the photos of enviable lives. (The key role images play is why Instagram, a photo-sharing site, is at the center of this trend.)
FASHI O N
In Portland, the influencer exists on steroids. Portland is home to an outsized number of social media influencers (by our admittedly unscientific survey). In a handful of industries—cannabis, food, sportswear, outdoor adventuring and tech—Portlanders have impact in New York City and Tokyo. Take Kassala Holdsclaw (@kassalaholdsclaw), who appears this week on our cover. Her fashioncentered Instagram account shows her dressed in clothes from two of the brands that partner with her: Forever 21 and A.S.98. She poses gracefully in Portland or Brooklyn, N.Y., or on the Oregon coast, sometimes holding a bottle of Soylent or a tube of mascara from Almay. She has 26,000 followers. Holdsclaw and the 17 people you will meet in the following pages are among Portland’s top cool merchants. Some are famous in “real life.” Others you wouldn’t recognize on the street. But to thousands, they’re what Portland looks like. They’ve harnessed the tools we use to goof off to build careers—and, in some cases, make money. Meet some of the most powerful social media personalities in Portland in 2018.
ASA BREE @asabree F O L L O W E R S : 49.5K ON INSTAGRAM
LAVENDA MEMORY @lavendascloset F O L L O W E R S : 197K ON INSTAGRAM D AY J O B : Full-time blogger and social media consultant W H Y P E O P L E F O L L O W : Lavenda Memory’s Instagram feed shows a pristine Portland life. She’s dressed in a mix of fast-fashion staples from Forever 21, sometimes set off by a piece from Gucci, hair and makeup immaculately styled. This is her job. “I spend two days a week just responding to emails,” Memory tells WW. “I live online, so I spent Monday and Tuesday looking over contracts, negotiating terms, reaching out to brands. Wednesday through Friday, I’m creating content. I’m moving more into video this year, because that’s where brands are most interested right now.” Memory, 32, started working as an influencer in 2014, moving from an eight-year career in fashion photography into blogging. “I would go out and buy the clothes, on sale, of the brands I wanted to work with,” she says. “I would tag them in the photos, I would find their emails, or shoot them a message on Instagram. I was hustling.” Today, Instagram is overflowing with well-dressed kids trying to break into the influencer game. But just a few years ago, Memory’s plan was still novel, and she was rapidly able to build a raft of business partnerships with brands like Forever 21, H&M and BCBG. (She won’t say how much they’re paying her.) But now, she says, the Portland competition rivals that in New York and Los Angeles. “There are so many bloggers now,” she says. “There are so many influencers. Brands are actually hosting events here. We weren’t even on the map two years ago.”
D AY J O B : Nail technician at Finger Bang W H Y P E O P L E F O L L O W : The star nail technician at upscale salon Finger Bang (@fingerbang) keeps her Instagram updated with hi-res photos of the most lavishly adorned digits in the city.
JUSTIN AND JULINE MACHUS @machusonline F O L L O W E R S : 41K ON INSTAGRAM, 15.5K ON TWITTER D AY J O B S : Owners of Machus menswear boutique on East Burnside Street W H Y P E O P L E F O L L O W : The Machuses’ eponymous shop has achieved a national footprint for Portland’s modernist streetwear scene. They use their Instagram as a live portfolio for their newest pieces.
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FOLLOW
ME
TR AV E L
FOOD
FOSTER HUNTINGTON @fosterhunting F O L L O W E R S : 1 MILLION ON INSTAGRAM
JOSHUA MCFADDEN @jj__mc @tuskpdx @avagenes F O L L O W E R S : 48.4K COMBINED ON INSTAGRAM D AY J O B : Partner in Submarine Hospitality Group, owners of Tusk and Ava Gene’s restaurants, and executive chef at Ava Gene’s
D AY J O B: Author, photographer a nd stop motion animator W H Y P E O P L E F O L L O W : Huntington lived out of a luxe van and created the #vanlife hashtag, which kicked off an entire subgenre of travel photography on wheels. Then he built a treehouse and skatepark in the Columbia River Gorge, 45 minutes east of Portland. Today, he owns special effects studio Movie Mountain (@moviemountain) and sells coffee-table books of artful van photography.
SAM LANDRETH @samlandreth F O L L O W E R S : 107K ON INSTAGRAM
TALLY GUNSTONE @tullitha F O L L O W E R S : 73.8K ON INSTAGRAM
D AY J O B : Art director
D AY J O B : Blogger and wedding photographer
W H Y P E O P L E F O L L O W : Gorgeous nature photography. Whether shooting orange rock formations or mistshrouded forests, Gunstone has an eye for landscapes, one that’s netted her sponsorships from brands like Eddie Bauer.
W H Y P E O P L E F O L L O W : Landreth combines outdoor lifestyle photography and fashion blogging to great effect, building an aesthetic that combines the best of #vanlife and streetwear. That means flowing clothes on white sand beaches in Thailand.
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W H Y P E O P L E W AT C H : McFadden’s Tusk changed the way that people looked at Portland food—literally. “Tusk is superficial modernity,” WW said in its 2016 review, “food built to look pretty on Instagram.” Sorry, haters: All food is now built to look pretty on Instagram. “There’s no detail that’s not worth considering,” McFadden, 42, says. “That extends to social media as well. You’re telling a story.” The photos on Tusk’s Instagram page do that. You can almost taste the mélange of verdant vegetables, rose petals, deep amber olive oils and burnt orange spice mixtures popping from the screen of your phone. You could imagine yourself eating off of Tusk’s tastefully speckled plateware, or lifting your thymegarnished cocktail from the restaurant’s marble countertops. McFadden shows that if you are a restaurant in Portland in 2018 that is trying to draw attention and you do not have a professionally managed Instagram feed, you are not doing your job. It worked: Tusk drew buzz in Bon Appetit and The New York Times before serving a single customer. (It helped that the food caught up: Tusk now ranks in WW’s top 10 restaurants of the year.) “[Instagram] becomes a part of the process,” says McFadden. “What is this story? What is this food? Why are we doing what we’re doing? You’re just trying to create an experience.”
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CHRISTINE DONG AT LANGBAAN @langbaanpdx @christinedong F O L L O W E R S : 6.2K COMBINED ON INSTAGRAM D AY J O B : Freelance photographer W H Y P E O P L E F O L L O W : Langbaan head chef Earl Ninsom brought professional photographer Christine Dong on his staff trip to Thailand to document the research that goes into building menus. The result? A combination of food and travel photography that builds anticipation for the upcoming dishes.
NAOMI POMEROY @naomipomeroy FOLLOWERS: 14.9K ON INSTAGRAM
February 28 6PM revolution Hall HoSted by
D AY J O B : Owner and head chef at Beast and Expatriate restaurants and Colibri florist
Stacey Hallal
W H Y P E O P L E F O L L O W : It’s hard for a restaurant to stay relevant for more than a decade, but Pomeroy’s Instagram keeps her diner abreast of restaurants’ ever-changing dishes, which are as strikingly arranged as the boutiques from her new flower shop, Colibri.
Tickets on sale now:
Curious Comedy Theater
Herb aPon Beer Drinker
bit.ly/oba2018 benefit f or
Oregon Wild Willamette Week FEBRUARY 7, 2018 wweek.com
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FOLLOW
ME
TECH STEPHEN GREEN @pdxstepheng F O L L O W E R S : 8.8K ON TWITTER
D AY J O B : Community director at co-working space WeWork and startup adviser at Backstage Capital W H Y P E O P L E F O L L O W : Green has spent much of his career levelling the playing field for minority and women entrepreneurs. He uses Twitter for the same goal: He amplifies stories of people of color in tech so investors can find them. “Often, the implicit bias is that they don’t exist,” he says, “or that they only do barbecue or barber shops, as opposed to trying to find the black-owned drone company in Portland. I try and use social media to try to expose people to those other narratives.”
SARAH JEONG @sarahjeong F O L L O W E R S : 54.4K ON TWITTER D AY J O B : Senior writer covering law and technology for The Verge W H Y P E O P L E F O L L O W : Jeong is a Portland journalist with international impact: She’s the tech law expert for Vox Media tech website The Verge (@verge, 2.4 million followers). This means every time someone’s about to lose a couple billion bucks, you’ll hear the how and why from her.
MARA ZEPEDA @marazepeda @switchboardhq @sexandstartups F O L L O W E R S : 7.6K COMBINED ON TWITTER D A Y J O B : Co-founder and CEO of networking startup Switchboard W H Y P E O P L E F O L L O W : It’s no secret that tech is hostile toward women. Portland startup founder Zepeda is one of Portland’s biggest advocates for changing that—co-founding the Zebras Unite movement (@sexandstartups) to build a more ethical and inclusive startup and funding culture. 16
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CA NNA BI S ANJA CHARBONNEAU
ARIAL ZIMMERMAN @stonedwarecompany FOLLOWERS: 18.7K ON INSTAGRAM
@broccoli_mag @anjalouise FOLLOWERS:
24.1K COMBINED ON INSTAGRAM
D A Y J O B : Founder, editor-in-chief and creative director at Broccoli magazine W H Y P E O P L E F O L L O W : Oregon’s recreational cannabis industry isn’t yet 3 years old, but Charbonneau says it’s already all bro’d up. “It began feeling very male-dominated from the beginning,” says Charbonneau, editor and creative director at brand-new magazine Broccoli. “So we want to make sure that we’re speaking to the women out there that nobody was talking to.” Launched in November, Broccoli isn’t just a magazine staffed entirely by women. It feels like a new step forward in Portland’s stoner aesthetic. Broccoli is far past the “weed porn” close-ups of multicolored, crystalcoated buds that dominated the industry’s media for decades. Rather, the magazine and its Instagram page are resplendent with pastel tones, artfully arranged pot leaves, gently distorted typefaces and cats. Basically, it’s Kinfolk for pot smokers. Which makes sense: Charbonneau was Kinfolk’s creative director for nearly four years. (Broccoli, a free magazine, makes money the old-fashioned way: selling ads.) Broccoli’s Instagram—just 9 months old—is an oasis of off-kilter hygge calm in a cannabis media landscape that is sometimes so dank it’s unchill. “People have all of these sensory interests that tie into their cannabis experience, but weed isn’t their No. 1 focus,” says Charbonneau. “We’re talking about life, and where it fits in.”
D AY J O B : Ceramicist. W H Y P E O P L E F O L L O W : For the hash pipes. Zimmerman’s geometric smoking pieces are as much minimalist ceramic sculpture as they are tools for getting high. The Instagram feed is part art gallery, part twee head shop.
JADE DANIELS AND HARLEE CASE, LADIES OF PARADISE @ladiesofparadise F O L L O W E R S : 21.5K ON INSTAGRAM D AY J O B : Stylists, branding consultants, photographers and bloggers W H Y P E O P L E F O L L O W : Daniels and Case show up to cannabis-industry parties in colored wigs and vintage jackets. Their events company looks like Willy Wonka crashed the Summer of Love, and the photos of their candy-colored shindigs create Portland cannabis’s most fun Instagram.
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SAM GEHRKE
MA, LOOK TER! IL NO F
Five local “influencers” teach me everything I need to know about achieving Instagram fame.
UNDER THE
INFLUENCE BY E L I S E H E R R O N
eherro n@wweek.com
My finger bled as I steadied my phone for the perfect photo. I was on the floor of my living room, getting clawed by my cat, Simon. I had tied a floral scarf to Simon’s head like a bonnet. He hated it. He was biting ferociously at the bow tied under his chin. I clicked the shutter on my phone as he lunged at my hand, snapping a blur of nose and whiskers. It was worth it. I was going to be famous. A week ago, you couldn’t find my Instagram account. It was set to private. The thought of people I don’t know scrolling through the poorly shot snaps of my life makes me uncomfortable. If I don’t know you in real life, my thinking goes, why would you care about the hike I went on last weekend? That’s why the rising tide of Instagram influencers— people making a living from hypercurated shots of their personal lives—is both fascinating and completely foreign to me. With my meek 305 followers and average of 15 likes per post, I’m not on the radar of any marketer doling out swag. And I’m not particularly cool, stylish or good at photography. So those were drawbacks. But I was willing to learn. To understand what skills are needed to quit my day job and make a living posting photos of lattes and sunsets, I reached out to five local experts. These influencers were surprisingly willing to teach me their ways. 18
Willamette Week FEBRUARY 7, 2018 wweek.com
STEP ONE: BE FRESH “Nice photography isn’t enough,” explains Thomas Guy (@thomasguy on Instagram). “Doing something cool that other people aren’t doing or setting a new trend is typically how you build up a following.” Guy’s account certainly has nice photos. His 106,000 followers have attracted Alaska Airlines, which gave Guy a free trip to Minneapolis for a weekend of “showing off what the city is like.”
“NICE PHOTOGRAPHY ISN’T ENOUGH.” Guy, who lives in Portland and works as a design director for Nike, got on the ’Gram early. He signed up for an account in 2010, when the platform first launched, and landed a feature on the app’s “suggested user” list. He says my first step is to find a niche that none of the app’s roughly 800 million users has yet filled. His advice for picking my niche was just to choose something I genuinely enjoy. And, he added, “play up your persona.”
STEP TWO: DRAW PEOPLE IN Joseph Watrous (@gemini_digitized) takes nature shots. He travels from sunflower farms in California to national parks in Utah, and is paid by a tripod company and photo filter app. He has 165,000 Instagram followers. But on a drizzly afternoon last week, he was outside St. Rose of Lima Catholic Church in Portland’s Hollywood neighborhood, teaching me how to shoot. Watrous tried to teach me to “see like a photographer.” Which meant finding “leading elements,” like stairs or rivers or streets, for viewers’ eyes to follow. “The key is finding unique versions of ‘same old’ scenes,” he says. He tried helping me photograph the church for practice. I pointed out the building’s arched windows—a nice architectural element, Watrous agreed, before commandeering my phone. He said the front stairs and arches were in fact the leading elements, and he crouched down low to get them in the frame. Watrous doesn’t normally shoot city scenes, he says, because nature ’Gramming is really about “scene exploration” and “showcasing Mother Nature’s beauty.” In the end, I decided that an old Forest Park photo in my phone would do. I followed his Instagram’s example. I captioned my photo with a gooey nature quote (“The world is mudluscious and puddle-wonderful” —E. E. Cummings), used his favorite color filter (Ludwig) to increase the picture’s contrast, threw in a few emojis (a tree, sparkles and raised hands) and copied a few of his hashtags (#travelstoke, #awesomeearth, #portland, #forest, #hiking, #pnw). The post got 14 likes. I still had some work to do.
“MY MOM ACCIDENTLY COMMENTED
‘FANCY’ THREE TIMES.”
STEP THREE:
TAG,
TAG,
TAG Influencers must become intimately acquainted with hashtags to be successful. Tags are much more than pithy add-ons to posts. Jen Stevenson of @jenlikestoeat , a food-dedicated Instagram account with more than 12,000 followers, told me that exploring hashtags is a good first step toward identifying and connecting with my “niche community.” “Pick something you’re interested in,” she says, “and see what people are tagging. I use hashtags to find out where is everybody hanging out?” Stevenson, whose day job is food and travel writing for the magazine 1859, advised that I save every relevant hashtag I come across so I can add them to my posts later on. This will increase the probability that my photo is seen and reshared on a larger feed. Choose your hashtags wisely, she adds: “You only get 30.” I met Stevenson at Vivienne—a Northeast Sandy Boulevard breakfast spot that makes her list of places with pretty food. There she gave me a crash course in food Instagramming.
No matter where I’m eating, she advised, get to the restaurant early to get a seat next to the window where the light is best. Sometimes, she added, getting the perfect shot means putting a plate of food on the floor because the backdrop is better, or standing on a chair to get the right angle, or buying a pocketsize spotlight for illumination in dimly lit restaurants. I should rotate the meal as I shoot, so that the light hits different food groups equally. I should use the same Instagram filter to edit every photo, for continuity. She likes Clarendon. Most importantly, she says, I better be tenacious (and OK with eating cold food). “There’s definitely a culture of food-picture-shaming,” she told me, adding that she’s heard plenty of “rude comments” from diners annoyed by her techniques. “But unless my elbow is in their plate,” she says, “it’s none of their business.” My breakfast arrived. I held my iPhone up high to get a photo. Right away, Stevenson advised me to turn the plate so that the light would hit the egg yolk better. Then she moved the handle of my coffee cup, the handle of the salt container and the flower vase so that everything lined up perfectly. Time for a caption. “You only get three lines,” she advises. “Just write exactly what’s on the plate.” My caption read, “Cream biscuit with rosemary butter and strawberry jam with baked egg and a wee salad at @viviennepdx,” and ended with Stevenson’s favorite emoji: a fried egg in a skillet. This post got 37 likes and five comments. My mom accidently commented “fancy” three times.
STEP FOUR: EVERY PICTURE TELLS A STORY Kelsey Rodas (@rustyrodas) has dedicated her feed to her golden retriever, Rusty, a rescue dog. In five years, Rodas, who lives in Hood River and is an accountant, has gained more than 100,000 followers. Good Instagramming, Rodas says, takes committing to a larger story or theme. “I wanted to write about Rusty being a rescue dog and about kindness and positivity,” she says. It also involves putting Rusty in turtlenecks and glasses and posing him like he’s reading a book or typing on a laptop. Rodas reaches out to companies she likes and says if they’ll give her free stuff, she’ll put it on Instagram. She just got a $2,000 couch from AllModern because she posted a picture of Rusty on it. I don’t have a dog. Rodas advised I make a trip to the shelter and get one. “Find a unique-looking mixed breed that nobody has ever seen,” she said. Then she reconsidered: “If you only want a dog only to be Instagram-famous, maybe you shouldn’t get one.” I decided to use my cute-enough cat, Simon, as a stand-in. I was able to get one clear shot of my cat. This post got 36 likes, and three comments. Progress!
STEP FIVE: MAKE THE PERSONAL PUBLIC Jade Sheldon (@jade_melissa) resists the term “influencer.” She says she’s a working artist who uses Instagram like a portfolio—one with 73,000 followers. She recently landed a gig modeling for a Sorel boot commercial and another deal from Dunkin Donuts. This is her living, and almost all of the work she gets comes through her Instagram account. She says her social media success is in part because she treats her feed like an open diary. “People consistently open up and share their stories with me whenever I post about my struggles,” she says. “The platform needs to be used for more than consumerism.” I met with Sheldon at Coava Coffee Roasters on Southeast Grand Avenue for a lesson in photo-journaling. Some of the photos Sheldon posts are of books or of her reading. She will write about what the day is like and how she’s feeling, along with a quote to “set the scene and make people feel like they’re there.” I’d come with a favorite book: Bluets by Maggie Nelson. She put it near the edge of the wood table, framed with our half-empty coffee mugs, a bit of the day’s New York Times and her black leather jacket. I captioned it, “Reading Maggie Nelson’s book on blue on a gray day. Because we all feel a little blue sometimes, right?” Followed by a quote: “It is easier, of course, to find dignity in one’s solitude. Loneliness is solitude with a problem.” The post got 17 likes—way less than Simon. “Unless you’re in the business,” Sheldon says, “you have no idea how much work goes into it.”
Willamette Week FEBRUARY 7, 2018 wweek.com
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STREET PRESENTED BY
“Gaia Online, and my username was xxbatwomanxx.”
“Facebook! And of course just my name.”
PHOTOS BY SAM GEHRKE @samgehrkephotography
WHAT WAS THE FIRST SOCIAL MEDIA PLATFORM YOU JOINED? AND WHAT WAS YOUR USERNAME? “Myspace. My username was probably Big Mac.”
OUR FAVORITE LOOKS THIS WEEK.
“First one was Instagram, and my username is keekzz11.”
“I don’t even remember. I’m gonna say Instagram—never really had anything else. And my username is just my name!” 20
Willamette Week FEBRUARY 7, 2018 wweek.com
“My first site was Tagged. I know I’m really dating myself there. Quite honestly, I can’t remember what my username was. Probably something like bratling10200, ’cause I was a teen at the time and my best friend and I tried to match literally everything. Looking back, it’s kinda cute, but mostly embarrassing.”
“I had a Tumblr first. My username was just my name on that.”
“I was definitely a Myspace girl. My user name was probably a Death Cab for Cutie lyric, with some upper- and lowercase X’s on either end.”
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An in-joke in the online world of streetwear provides lessons in social media influence. BY WA L K E R M AC M UR D O
“You have to provide people a reason to follow you,” says Gilmer. “You have to provide In the world of streetwear, there’s influence and something new to the Instagram community to get the quote-unquote clout.” then there’s clout. Providing something new is how Gilmer, 21, When you’re influential, you can build a career by using your social media brand to and his business partner Kyan McKernan, 23, secure partnerships, nab modeling and styling got started. Before they opened Heir in 2017, gigs, and quit your day job. If you have clout, a Gilmer built a name by flipping vintage clothes barista might give you a free espresso because he on eBay. In 2012, McKernan was an early force in the now-saturated world of Supreme resale Insrecognizes your hoodie. “It’s all an image,” says Cam Gilmer, co-owner tagram by making a change to the then-standard of downtown streetwear resale boutique Heir. formula of posting piles of your clothes. “Clout is just an image. It’s how you portray “After being on Instagram for a year or two, I started posting pictures of myself wearing the yourself and the people around you.” Clout is a slang term clothes, which no one at the time was really doing,” turned meme. Last June, rapper Denzel Curry was says McKernan. “I kinda “CLOUT IS JUST AN filmed wearing a pair of brought a personal touch IMAGE. IT’S HOW what he called “Clout Gogto the whole culture.” The second rule is to netgles,” the Christian RothYOU PORTRAY designed ovoid sunglasses work. YOURSELF AND THE “It started with just first made famous by Kurt Cobain. In the following realizing all you have to do PEOPLE AROUND YOU.” months, the word picked is talk to the right people, —CAM GILMER, HEIR up currency among all and they don’t even have to live in your state,” says stripes of extremely online Gilmer. “You can’t just people. YouTuber FaZe Banks started referring to himself and his cohort walk onto the scene.” as #CloutGang. Prompted by popular streetwear Off the back of his network of streetwear afiTwitter account @fourpins, the term became an cionados, he was able to secure a styling gig with in-joke playing on the huge gulf between “look- megapopular rap trio Migos when they played ing cool” and having any kind of power or finan- Portland in 2016. cial stability. Master these techniques and you’ll start to As is the fate of all internet ephemera, clout hear the signal above the noise. is on its way out—a Google Trends search shows “There’s real-life clout and Instagram clout,” usage peaked in October and has sharply declined says Gilmer. “A lot of people who are cool on Inssince. Yet clout provides insights into the influ- tagram are actually fuckin’ lame.” ence business and the razor edge between being a guy with a cool hoodie and being a successful SEE IT: Follow Cam Gilmer @camgilly69, Kyan McKernan @kyansol and Heir @heirportland on guy with a cool hoodie. Instagram. Visit Heir at 515 SW Broadway. The first rule of clout is to offer something novel. wmacmurdo@wweek.com
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Willamette Week FEBRUARY 7, 2018 wweek.com
THE BUMP
MAKE ’EM LAUGH: David Lichtenstein (far right) on a 2010 Clowns Without Borders tour in Haiti.
We talk to a veteran member of Clowns Without Borders about performing comedy in crisis zones. BY S HA N N O N G O R M L EY
S
sgormley@wweek.com
ending clowns to crisis zones seems counterintuitive. David Lichtenstein disagrees. “We’re self-supporting, and we’ll make everybody in your community laugh really hard for an hour,” Lichtenstein says he tell skeptics. “They will love it, and after you see it, you will love it.” Lichtenstein, who’s 57 years old, has clowned in crisis zones for almost two decades. He’s been on almost a dozen trips to five different countries on four different continents. Lichtenstein heads the Portland chapter of Clowns Without Borders, which is holding its 19th annual show and fundraiser this week. But Lichtenstein was going on clowning trips before Clowns Without Borders was even founded. The first Portland clowning-in-crisis benefit show was held in Lichenstein’s living room in 1999. The groups perform in hospitals and small towns, but they also give clowning lessons to hospital staff or to the local organizations that brought them wherever they are. Lichtenstein says what they do is better described as “physical comedy” than clowning. It’s classic slapstick gags, but there’s no white makeup or painted-on smiles, and they don’t always wear red noses. WW talked to Lichtenstein about what it’s like to be a clown in a crisis zone.
WW: How do you decide which places to go to? David Lichtenstein: We always only go to places
where we’re invited. We’re often working where people aren’t sleeping in their usual homes and where kids are often having trouble sleeping at all after trauma, but if we can make them laugh really hard for an hour and a half and have a great time. Once we start telling these other helping organizations on the ground, sometimes they don’t grab onto the idea until they take us out to the community and see it.
Do you have to think about cultural sensitivity?
Physical comedy works everywhere, it’s universal. But we definitely have to change a show depending on where we go. We know when we go to Palestine, which I did in 2012— that was an intense trip—that you have to be more careful with man/woman things. Whereas in Haiti, we were doing a routine where I would be dressed as a woman, and Lydia, who’s a woman, would be dressed as a man, and we would get a volunteer to dance with us, and they loved that. But that wouldn’t fly in Palestine.
Is it ever hard to be funny when you’re performing in kind of intense situations?
We get really enthusiastic audiences. In the places we go to, they don’t get to see as much entertainment as people here, and they’re not as screened out or computered out as people are here. So, generally, it’s easier audiences, and that’s maybe one reason why we have only done a moderate amount of domestic projects over the years.
Have there been any shows that didn’t go over well?
One time, we were doing a show in Chiapas, Mexico, during the Zapatista wars way off the road, up high in the mountains. In the middle of the show, this drunk starts screaming and goes wandering off. Then later he comes back and he’s swinging a machete, goes to the middle of the crowd and comes right into our show. And we just backed away, and then he goes back out through the crowd again, and the crowd just parted like the Red Sea for him twice. He goes off, and about half the audience follows him, and the other half stays watching us, and then the people drift back to us. We just sat down on our suitcases, had a drink of water, said, “OK, you guys want to restart?” By the time we finished the show, they had him corralled into a little tiny village cell.
You wrote in a blog there was one show where kids in the audience threw rocks at you?
Yeah, that was a fun show. That was our first show in Guatemala. It was in a suburban village that was wiped out by a mudflow, where it’s 7,500 feet in the mountains and we’re on the mudflow. The mudflow is volcanic sand, so it’s just blowing sand in your eyes and in your ears, in your nose and all the kids had respiratory infections. But they were just wild, so a couple kids got into throwing pebbles at us. A lot of them did that for a while, but they were having a great time, so we just kept going.
Have you dealt with people who are skeptical of the benefits of clowning in crisis zones?
There’s a feature film [Send in the Clowns] that was made about our work in Haiti. It’s a terrifying film for Clowns Without Borders’ work because they actually attack: “Are these and NGOs helping Haiti at all and clowning, that’s ridiculous.” The organization that sponsored [Clowns Without Borders] to teach these wonderful workshops to the caregivers for two weeks, they pulled out. They pull out and disappear and fire all those people. [A year later] the filmmakers go back and see. They ask them about the clowns, and they say, “No, that was the best thing we ever did.” A few of us clowns who were watching were like, “Phew, we thought they were going to open us a new one there for a minute.”
SEE IT: The Clowns Without Borders Benefit Show is at the Alberta Rose Theater, 3000 NE Alberta St., albertarosetheatre.com. 8 pm Friday, Feb. 9. $28-$50.
P H O T O S C O U R T E S Y O F D AV I D L I C H T E N S T E I N I L L U S T R AT I O N S B Y A L É C A R DA
Willamette Week FEBRUARY 7, 2018 wweek.com
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STARTERS
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
TECHFESTNW april 5–6, 2018 | viking pavilion | portland, oregon
Tickets on sale now! www.techfestnw.com Carefully curated speakers in four themed tracks bring their stories to the main stage.
Meg Dryer, Cambia Health Shoukhrat Mitalipov, OHSU
health teCh presented by Cambia health Solutions
FooD teCh
presented by ecotrust
SMart CitieS/ SMart traNSit
liSa FetterMaN, Nomiku DaviD lee, Impossible Foods aMaNDa oborNe, Ecotrust keba koNte, Red Bay Coffee gregory gourDet, Departure Restaurant MiChael robertS, 11th Hour Project roSe MarCario, Patagonia
DaviD bloCk SChaChter, Massachusetts Bay Authority DaviD bragDoN, Transit Center Nat parker, moovel
presented by moovel
iNCluSivity iN teCh Culture
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Willamette Week FEBRUARY 7, 2018 wweek.com
kara SWiSher, Recode Nellie boWleS, New York Times MeliSSa gregg, Intel NiCole reNNallS, Tektronix
C O U R T E SY O F F I D O ’ S FAC E B O O K
A Global Tech Conference on the Upper Left Coast
DOG DAY AFTERNOONS: The Portland area is now home to the world’s first dog tap house, according to its owner. Fido’s, which softly opened Feb. 1 at 7700 SW Dartmouth St. in Tigard, is part 40-tap beer bar and part dog rescue shelter, with a playroom filled with six adoptable dogs at any one time. Owner Scott Porter says 25 percent of profits go to dog charities, such as the Oregon Friends of Shelter Animals, and there’s a multistep process FIDO’S for adopting a dog so no one will impulsively take home a dog after a beer. “I joke about this,” he says. “We don’t want anybody here with a couple drinks, then you wake up in the morning with a leash in your hand and somebody licking your face.” UPROOTED: Southeast Division Street’s Landmark Saloon, one of Portland’s few hot spots for roots and country music, has been forced to cancel all live gigs due to a “zoning and capacity issue,” according to a message posted on the bar’s Facebook page Jan. 24. The owners did not respond to requests for comment, but a spokeswoman for the fire marshal confirms the venue will no longer be allowed to host concerts due to the building’s lack of a sprinkler system. The bar’s maximum legal occupancy is only 49 people, the spokeswoman added. “It’s definitely a shock to see what felt like the center of the roots, and certainly country, scene suddenly be done for a little while,” says singersongwriter Wes Youssi, whose album release show was one of the recent cancellations. SUPERFUNDED: Last week, Artists Repertory Theatre announced the largest donation in the company’s history. The $7 million, given by an anonymous donor, comes at a crucial time for the theater. As WW reported last month, the company was so deep in debt it decided to sell half its building. According to a press release from the theater, Artists Rep still plans to sell part of its Goose Hollow headquarters. The donation is twice the theater’s $3.5 million yearly budget. The funds will be used in part to pay off ART’s $1.3 million debt and renovate the south half of the theater. AUDIOBOOK: A New York record label is reissuing the “soundtrack” to late Portland literary icon Ursula K. Le Guin’s 1985 novel, Always Coming Home. The book imagines a future civilization of people living in Northern California named the Kesh, whose culture Le Guin—who died Jan. 22 at age 88—brings to life in meticulous detail. Early editions of the book even came with a cassette tape of fictional “field recordings” performed on instruments designed by Le Guin and played by her friend, Oregon musician Todd Barton. The label Freedom to Spend had been working with Le Guin to reissue the album at the time of her death. With the approval of her family, the album, Music and Poems of the Kesh, will be released March 23. On April 6, a de facto release concert, featuring Barton, the experimental electronic group Visible Cloaks and members of Le Guin’s family, will take place at the Leaven Community Center.
W E D N E S D AY
2/7
THE CLARK DOLL: A PLAY OF RITUAL AND MASK
HAREM ROOM-1 AND TWO WOMEN
Inspired by the 1940s experiment that gives the play its name, the first production by performance art/theater company Syde-Ide is a new dystopian play about three black women mysteriously isolated in a room. Since it’s starring Tyrha Cozier and director Victor Mack, two of the most consistently captivating thespians in Portland right now, it’s bound to be compelling. Performance Works NW, 4625 SE 67th Ave., 503-777-1907, pwnw-pdx.org. 8 pm. Through Feb. 21. $20.
For Harem Room-1, New York artist Alix Pearlstein arranges dozens of tiny cat figurines on the gallery floor. It’s paired with Two Women, a video of a man making out with a small cutout photo of a naked woman. Like a Tim and Eric sketch, it's both hilariously awkward and deeply unsettling. Upfor, 929 NW Flanders St., 503-227-5111, upforgallery.com. Gallery hours 11 am-6 pm. Free. Through Feb. 24.
2/8
T H U R S D AY
KARL LIND
SIMIAN MOBILE DISCO AND MATTHEW DEAR DJ SETS
Along with making quirky videos for everyone in the city from Performance NW to Portlandia, Portland videographer Karl Lind makes some weird-ass abstract films. The showcase of Lind’s work will feature experimental film festival darling 122 Seconds, as well as some new works. NW Film Center, 1219 SW Park Ave., 503-2211156, nwfilm.org. 7 pm. $9.
Get Busy BERMUDA TRIANGLE
2/9
F R I D AY
KURT BRAUNOHLER
When Kurt Braunohler was in Portland more than a year ago, it was to record his Comedy Central WH E R E WE ' LL B E E NJOYI N G special Trust Me, which established him as a prominent voice of a new wave of comedy— N I C E CO M E DY A N D D I R T Y instead of distancing himself from nice-guy B LU E S TH I S W E E K . observational humor, he leans into it and plays the fool. This time, former Portlander Amy Miller FEB . 7-13 is performing the opening set. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669, portland.heliumcomedy. com. 7:30 and 10 pm. $22-$30.
James Murphy gets the credit for plying shy indie kids to the dance floor, but London electro-pop duo Simian Mobile Disco and producer Matthew Dear helped keep the party going through the aughts. You can trust both have impeccable taste, which they will showcase tonight as the special guests of monthly DJ party Spend the Night. Holocene, 1001 SE Morrison St., 503-2397639, holocene.org. 9 pm. $20. 21+.
<< BERMUDA TRIANGLE It’s a great week for catching big-league rock stars in small rooms. Dan Auerbach’s side project is at the Crystal (see below), and tonight you can see Alabama Shakes leader Brittany Howard with her brandnew three-piece, whose gentle, harmonyrich sound underscores her knockout voice. Aladdin Theater, 3017 SE Milwaukie Ave., 503-234-9694, aladdin-theater.com. 8 pm. $26 advance, $28 day of show. All ages.
S AT U R D AY
2/10
JON RAYMOND, PATRICK DEWITT, VANESSA VESELKA
THAT’S NASTY Rock ’n' roll is an old word for getting it on, and the blues used to be dirty. As in, really dirty—from 1935 classics “Shave ’Em Dry” and “Please Warm My Wiener” to Bo Carter’s 1936 “Don’t Mash My Digger So Deep.” Lisa Mann will play X-rated blues live for V-Day. Blue Diamond, 2016 NE Sandy Blvd., 503-230-9590, bluediamondpdx.com. 7 pm.
Three of Portland’s best and most interesting authors will be hanging out at its finest small bookstore to mark the paperback release of Jon Raymond’s Freebird on its most literary of publishing houses. You should probably hang out for this one. Mother Foucault’s, 523 SE Morrison St., 503-236-2665. 7 pm. Free.
S U N D AY
2/11
DAN AUERBACH AND THE EASY EYE SOUND REVUE
MIDCENTURY POTLUCK
For his second solo album away from the Black Keys, Dan Auerbach recruited a murderers’ row of Nashville side players to make a classic Southern soul record. Now he’s taking them on the road, along with signees to his Easy Eye label, and throwing the sort of old-school showcase rarely seen since the Motown days. Crystal Ballroom, 1332 W Burnside St., 503-225-0047, crystalballroompdx.com. 8:30 pm. $35 advance, $37 day of show. All ages. See feature, page 29.
The Eagles Lodge will play host to a world of Jell-O molds, ambrosia salads, stroganoffs and pineapple-ham hors d’oeuvres—dishes will be both shared and judged. Dress in your finest bow tie or evening gown made for twirling. Eagles Lodge, 4904 SE Hawthorne Blvd. 4:30 pm. $10. Tickets at tickettailor.com.
2/12 M O N D AY
SABATON AND KREATOR This double bill of European metal heavyweights is technically a co-headlining deal, but the true highlight is German legends Kreator. The band has graced Portland almost annually for the past 15 years, but their antiauthoritarian thrash feels more crucial now than ever. Wonder Ballroom, 128 NE Russell St., 503-284-8686, wonderballroom.com. 6:30 pm. $27.50 advance, $32 day of show. All ages.
ANIMATED OSCAR-NOMINATED SHORTS They get way less buzz and even less screen time than whatever’s up for Best Picture each year, but shorts are delightful bursts of often odd ideas. Case in point: One of the shorts in this year’s lineup is a collaboration between Kobe Bryant and John Williams. Hollywood Theatre, 4122 NE Sandy Blvd., 503-493-1128, hollywoodtheatre.org. 6:30 pm. $9.
T U E S D AY
2/13
CLAP YOUR HANDS SAY YEAH
ACADIA MARDI GRAS
With Wolf Parade and LCD Soundsystem back on the touring circuit, it feels as much like 2008 as 2018, so the timing is great for Clap Your Hands Say Yeah to celebrate the 10th anniversary of their sophomore effort, Some Loud Thunder. It might get overshadowed by the band’s exalted debut, but it remains a sterling example of their spastic indie-pop sound. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895, mississippistudios.com. 9 pm. $20. 21+.
If you’re less into beer-slicked beads and more into Louisiana wild catfish, jambalaya and white shrimp creole, Acadia is always your huckleberry on Mardi Gras. Dessert is King Cake bread, and reservations are strongly recommended. Acadia, 1303 NE Fremont St., 503-249-5001, acadiapdx.com. Willamette Week FEBRUARY 7, 2018 wweek.com
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♥
C O U R T E S Y O F TA PA L AYA
FOOD & DRINK = WW Pick.
Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.
VALENTINE’S DAY EVENTS Pix Tea for Two
On the weekend, Pix Pâtisserie offers an $80 procession of 20 bites both sweet and savory, whether tawny port mousse or caramel almond truffles—plus sparking wine. If you’re just shopping for boxes of chocolate, one box at Pix on Valentine’s Day will contain diamond earrings worth $300. Pix Pâtisserie, 2225 E Burnside St., 971-271-7166, pixpatisserie. com. Saturday and Sunday, Feb. 10 and 11. Earring giveaway Feb. 14.
Altabira City Tavern
Get high on Valentine’s Day—literally—on the upper deck of the Hotel Eastlund with a view of downtown. V-Day specials include lobster bisque and marinated Dungeness. Altabira, 1021 SE Grand Ave., 503-963-3600, altabira.com. Reservations recommended.
♥ Oui! Wine Bar and Restaurant
Pair some of the best wines made in Portland with one of its best prix-fixe values: a $35 chef’s choice tasting menu from chef Althea Grey Potter, who’s been working wonders at the Southeast Wine Collective. Oui! Wine Bar, 425 SE 35th Place, 503-208-2061, sewinecollective.com. Reservations recommended. $35-$50 prix-fixe. Reservations recommended.
♥ An Evening in Spain
Morgan St. Theater will host a pop-up with sparkling wine, live performance from Espacio Flamenco, and ice cream with Spanish flavors from sherry to blood orange to sheep’s milk and quince. Shout House, 210 SE Madison St., Suite. 11, morgansttheater.com/tickets. 9-10:30 pm. $50.
Aviary Prix-Fixe
At our 2012 Restaurant of the Year, wildly inventive chef Sarah Pliner cooks up a four-course prix-fixe with options like oxtail cannelloni, butter-poached salmon and hoisin-glazed ribs. Vegetarian options available. Aviary, 1733 NE Alberta St., 503-287-2400, aviarypdx.com. Reservations recommended.
♥ Natty by Nature
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Willamette Week FEBRUARY 7, 2018 wweek.com
Natty by Nature is a hip-hop-themed parade of some of the best natural wine available—orange wine from Central Europe, light reds from Italy, and “damn good Champagne”—curated by celebusomm Dana Frank. Expect oysters, cured meats and tapas-style bites in a freeflowing social environment. Tournant, 920 NE Glisan St., 503-206-4463, tournantpdx.com. 6-10 pm. $49 advance, $59 door.
Bar Casa Vale
Our Spanish-inflected 2017 Bar of the Year serves a parade of Latin bites for $50 a person, whether fideos, grilled octopus with panisse or the restaurant’s truly excellent lamb cazuela. Optional (and strongly recommended) are $30 beverage pairings. Bar Casa Vale, 215 SE 9th Ave, 503-477-9081, barcasavale. com. $50 prix-fixe. Reservations recommended.
My Beery Valentine
For the ninth (and perhaps final!) year, Bazi will host a V-Day for the beerobsessed, with love-themed beers from Burnside Brewing’s Sweet Heat to Oedipus Brewing’s Polyamorie. Bazi Bierbrasserie, 1522 SE 32nd Ave., 503234-8888, bazipdx.com.
♥ Love and Basketball
Rev Hall is throwing the weirdest V-Day event of the year: A batshit Blazerthemed party featuring the little-seen 1978 documentary Fast Break, B-ball print giveaways and “Bust a Bucket” karaoke. Nothing says romance like Bill Walton riding his bike to the Oregon Coast. Revolution Hall, 1300 SE Stark St., 503-288-3895, revolutionhall.com.
TOP 5
HOT PLATES
1. 2.
Where to eat this week.
Tapalaya
8525 NE Fremont St., 503-572-8595, tapalaya.com. $$. All week till Mardi Gras, Tapalaya is serving King Cake beignets and cajun and Creole classics, with silly hats and beads for every customer.
Afuri
50 SW 3rd Ave., 971-288-5510, afuriramenanddumpling.com. $$. The poke tacos at the westside Afuri are a flavor bomb of umami, citrus and spice—a Latin-Asian carnival alongside lovely shrimp ramen and whitefish shinjo-age dumplings that are like fish bonbons wrapped in a pinwheel of fried noodle.
3.
Pot and Spicy
4.
Trap Kitchen
5.
Stoopid Burger
8230 SE Harrison St., No. 345, 503-788-7267, potnspicy.com. $. Pot and Spicy is making deep-fried skewers, jja jiang mian noodles, spicy Szechuan classics and hot pots both dry and brothy in Portland’s best Asian food strip mall.
8523 SE Stark St., trapkitchen.com. $-$$. The most famous pop-up soul kitchen in LA has slung food to Kobe Bryant and Kendrick Lamar—but the first permanent location is this Portland cart, serving pineapple bowls loaded with meat.
2329 NE Glisan St., 503-477-5779, pdxstoopidburger.com. $. When Stoopid Burger went brick and mortar, it also went big: The burgers here will leave you dazed, meat-drunk and dumbfounded. Not just stupid, but Stoopid.
DRANK
Milkshake IPAs (RIVERBEND BREWING) Milkshakes: Everybody knows they bring all the boys to the yard. But lately, I’ve been a little sour on the sweet, hazy IPAs that often employ a little lactose to get a creamy base that showcases fruity hops and, sometimes, a touch of actual fruit. Great Notion’s New England-style IPAs continue to rock my world, but so many of the people following in their footsteps can’t recreate the magic. Well, we’ve gotten a little obsessed with the four flavors of milkshake IPA from Bend’s Riverbend Brewing, which can be found at grocery stores but tend to disappear fast. The line of canned Milkshake IPAs are extra, extra hazy, with a soft, round sweetness and lots of fruit flavor. The four flavors are Mango, Peach, Berry and Passionfruit-Orange-Guava, and all offer the promised flavor. The Berry the HOPetition is the softest and least focused of the four, while the Man-go Fluff Yourself is the most natural. Recommended. MARTIN CIZMAR.
ABBY GORDON
WING THING: The saucy, smoked wings at Clay’s might be our new favorites in town.
REVIEW
Rather Slather Clay’s makes a compelling case for old-school, soul food-style barbecue. BY M A RT I N C I Z M A R
mcizmar@wweek.com
Where I grew up, barbecue meant pork ribs bathed in a sweet sauce. Twenty years ago, most places outside the South didn’t have restaurants serving pulled pork, let alone such exotic fare as beef ribs or sliced brisket with a thick black barque. So it probably makes sense that I went nuts for Texas brisket once I first encountered it—in Texas, before it became a niche foodstuff available in almost any big city, like deep-dish pizza or fried cheese curds. Ever since Podnah’s, it seems every serious Portland barbecue restaurant has pledged its allegiance to the Lone Star flag. Which is what makes the reborn Clay’s Smokehouse such a surprising treat. The old Clay’s closed in June 2016 and is now a vegetarian Thai spot. Truth be told, I was never a big fan of the place. The new Clay’s opened across the street in December and has new owners, Matt Hurley and Mike Bender. The old owners, the Slymans, are both managers. The fare is still old-school, soul food-inspired ’cue—this is a place that serves fried catfish alongside its smoked hot link. But the revived Clay’s has a renewed spirit and much-improved attention to detail. My first piece of advice: Get the wings. I’m ambivalent about smoked wings, because of the oft-soggy texture. But the ones at Clay’s (four for $6, eight for $12) manage to thread the needle, with taut flesh that’s rich in smoke and slides off the bone. They’re lavished in a deeply earthy and spicy sauce, and might be my new favorite wings in town. I’m also a fan of the nachos ($12, add chicken or pork for $3), which are a new addition to the menu. They come in a hulking portion with red bean chili, sweetspicy pickled jalapeños and a slathering of a garlicky white sauce. We got them with the heavily shredded pulled pork, which came in a heaping portion for the $3 price tag.
REBORN CLAY’S SMOKEHOUSE IS SUCH A SURPRISING TREAT.
The ribs ($16 with fries, toast and a side) are another highlight. They’re heavily smoked to start and then charred on the broiler before serving. They’re on the soft side and come drenched in a dark red sauce you’re almost guaranteed to make a mess with. These are dad ribs, but I found them to be flawlessly executed both times I tried them. I recommend the extra-crisp cabbage slaw jammed with poppy seeds as your side. The mac ’n’ cheese, which has a thick roof of crisped yellow cheddar, is another good option. One of the more unique things about Clay’s is that it offers two fish dishes, pan-fried catfish and smoked salmon. Both were well-executed, though the salmon’s texture was a little tougher than I’d hope—serving hot-smoked fish to order is tough. The other disappointment was the cocktails, which are new. They have promising recipes but are made by the servers and tend to end up a little heavy on the ice and light on nuance. But then there’s the desserts, which are outrageously good. They’re made by Grandma Jean Slyman, who makes them special for Clay’s. According to the servers, she comes in during off-hours a few times a week to make them, leaving explicit instructions on how to serve them. We tried them all during our four visits and found everything to be outstanding, including the honkin’ huge slice of the best chocolate peanut butter pie I’ve had north of the Mason-Dixon line and an appropriately decadent mud pie. But the star of the show is Grandma Jean’s pineapple upside down cake, which can stand up to any dessert in town right now. It’s the texture of mousse and has a crackling sugar sauce. It’s the perfect way to end a surprisingly perfect meal at this born-again barbecue gem. GO: Clay’s Smokehouse, 2865 SE Division St., 503327-8534, clayssmokehouse.com. 11 am-10 pm SundayWednesday, 11 am-11 pm Thursday-Saturday.
Willamette Week FEBRUARY 7, 2018 wweek.com
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Willamette Week FEBRUARY 7, 2018 wweek.com
MUSIC A ly s s e G A f k j e n
PROFILE
Music City Social Club Black Keys’ Dan Auerbach tapped Nashville’s forgotten hitmakers for his new solo record. BY M A RT I N C I Z M A R
mcizmar@wweek.com
There’s a staccato burst of snare at the beginning of “King of a One Horse Town,” a song on the new Dan Auerbach record, which strongly resembles the little drum roll on Elvis Presley’s 1969 hit, “Suspicious Minds.” It’s not that Auerbach is aping the King’s sound, or even that he was subconsciously influenced by it. That’s just how Gene Chrisman plays. You’ll hear that same little stutter before the line about kisses being sweeter than honey on Aretha Franklin’s “Respect” and leading into the refrain on the Willie Nelson version of “City of New Orleans.” “I think a lot of the familiarity on the record is the actual musicians,” Auerbach says. “It doesn’t actually sound like something that reminds you of a song, it’s actually the person that invented the sound that you’re talking about—I mean, literally. Some of these musicians are that special. It’s kind weird to think about it, but it’s true in this particular case.” At his Nashville studio, the Black Keys singer can call a guy like Chrisman in to lay down some tracks. In fact, given the way things have gone down on Music Row—listen to the drum machines and R&B refrain of Kane Brown’s “Heaven” and try to explain what country music is now, other than pop music with occasionally
twangy vocals and mentions of Jesus—Auerbach has his pick of studio musicians. “There’s this incredible, rich history and all of these people who are still active and potent musicians and writers, who are kind of adrift at sea here because of the way the business is here. It’s a little bit more, you know, on a grid,” he says. “A lot of the successful producers, a lot of them worked in LA for years, making LA rock and pop records. I didn’t come here to be part of that, and that’s where all the money is. I drive down Music Row every day, but I’m not in those studios. I pretty much keep to myself, and I’ve created my own little space here, and I’ve found these musicians who are kind of hiding in the cracks—people who’ve made some of my favorite records of all time.” Auerbach moved to Nashville from his native Akron, Ohio, in 2010. It was a commitment to music, he says. He’s recorded “hundreds” of songs in the past year, some of which made it on his album, Waiting on a Song. Some of them were co-written, some were by him. And he’s done a dozen records with other artists, a few of which he’s released through his label, Easy Eye Sound. He’s built up enough of a repertoire to go on the road, playing his solo material backed by those same session musicians and showcasing his signees with the kind of old-school, soul-style revue rarely seen since the Motown days. COnT. on page 30
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MUSIC = WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to 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.
WEDNESDAY, FEB. 7 Boink, Toothbone, Surfer Rosie
THURSDAY, FEB. 8 Spend the Night: Simian Mobile Disco Matthew Dear
[DJ KICKS] See Get Busy, page 25. Holocene, 1001 SE Morrison St., 503-239-7639. 9 pm. $20. 21+.
Kimbra, Arc Iris
[ART POP] Kimbra is somebody you used to know. The New Zealand-born singer collaborated with Gotye on the multiplatinum, Grammy-winning breakup anthem “Somebody I Used to Know” that was everywhere in 2013. As a
EASY EYE SOUND
[STONER CHILL] Portland’s own Toothbone sounds like Real Estate if they consumed a sheet of acid and spent the next few days wading through the Yes discography. Over echoing, jangly guitar riffs and vocalist Daniel Rossi’s gentle warbling voice, their upcoming self-titled album walks a thin line between structured pop songs and heady jam sessions. This isn’t an easy thing to do, and the fact that Rossi and company’s arrangements show the restraint they do is proof of their artistry. Because of their propensity for improvisation and their unusually high-level energy, Toothbone’s live shows shouldn’t be missed, either. JUSTIN
CARROLL-ALLAN. Doug Fir Lounge, 830 E Burnside St., 503231-9663. 9 pm. $8 advance, $10 day of show. 21+.
CONT. from page 29
“I couldn’t have even comprehend it three years ago, even, what I’m able to do now, after having spent the last years just kind of hunkered down and really working with musicians and making different records,” he says. ‘I definitely have an A team, a crew that work here all the time. All the gear’s set up—all the guitars and all the drums. The drums haven’t moved in years. The studio is its own living, breathing thing.” Not bad for a self-taught producer. Along with Keys drummer Patrick Carney, Auerbach produced and recorded the first four Black Keys records by himself. In fact, he’d never been in a real studio until meeting Danger Mouse, who produced 2008’s Attack & Release. The way he learned to record was by reading about how his favorite records were made. Now he can do that with the people who made those very records. No AutoTune, no grids. “Those guys are still really addicted to that, and that’s always what they’ve done, for decades,” he says. “That’s their bread and butter, and it hasn’t been tested so much for a couple years, because it’s just a little bit stiffer making pop records.” If there’s any obvious precursor to Auerbach’s current work, it’s probably Ry Cooder—who flew to Havana to work with forgotten octogenarian talents for his Buena Vista Social Club project. “I’m playing with the guitar player who wrote the riff from ‘Pretty Woman’ by Roy Orbison,” Auerbach says. “I’m playing with him every week, and he’s so creative. Stuff flows out of him. He’s a fucking genius. There’s a bunch of these guys—whether they’re overlooked, or Nashville’s moved on—I don’t think there’s any moving on from good music. When you hear good music, you feel something. It has nothing to do with retro or new or old. When it’s right, it feels right.” SEE IT: Dan Auerbach and the Easy Eye Sound Revue plays Crystal Ballroom, 1332 W Burnside St., with Shannon and the Clams, on Sunday, Feb. 11. 8:30 pm. $35 advance, $37 day of show. All ages. 30
Willamette Week FEBRUARY 7, 2018 wweek.com
Diet Cig, Great Grandpa, the Spook School
COURTESY OF BILLIONS
PREVIEW
[FEMME FUZZ] The downside of indie pop’s mainstream crossover was when DIY bands were yanked out of the basement against their own will. It’s far too often that buzzy youngsters with shambolic charm crumble under the weight of expectations when they finally enter a real studio, but Diet Cig has become a notable exception. Rather than wither in the limelight, the duo’s sound has grown alongside the hype surrounding their frantic live shows. On their full-length debut, last year’s Swear I’m Good at This, singer and guitarist Alex Luciano and drummer Noah Bowman parlayed the energy they used to light up the upstate New York college town circuit into something bigger and brighter than a cramped house show could ever hold. With the help of some subtle studio magic, Luciano’s blurry power chords and diary-entry vocals about feminism, scene politics and fuzzy childhood memories soar on a gale of energy that might have fizzled if the stakes were smaller. We may never get the chance to catch Diet Cig in a cramped, sweaty basement ever again, but it’s satisfying to know they’re doing just as well in spaces that actually have fire exits and sound systems. PETE COTTELL. Aladdin Theater, 3017 SE Milwaukie Ave., 503-234-9494, aladdin-theater. com. 8 pm Monday, Feb. 12. $15. All ages. soloist, the art-pop princess has released two albums, and the upcoming third, Primal Heart, is exactly what you’d expect from the title. It’s a fiercely raw portrait of heartbreak that is, as Kimbra puts it, “a little less bullshit” compared to her earlier work, lacing R&B vocals with dreamy synthesizers and aggressive bass. If you’ve forgotten about her, she’s worth getting to know again. LAUREN KERSHNER. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 8:30 pm. $25 advance, $28 day of show. All ages.
FRIDAY, FEB. 9 Bermuda Triangle, Bells Atlas
[ON THE SIDE] See Get Busy, page 25 Aladdin Theater, 3017 SE Milwaukie Ave., 503-234-9694. 8 pm. $26 advance, $28 day of show. All ages.
Tezeta Band, Korgy & Bass
[ETHIOPIAN FUNK] The funky, African-inspired sounds of the Tezeta Band have been polishing local dance floors for more than a decade now, transforming timid Portlanders from shy head-bobbers into full-on party animals in just a few short songs. The key to the instrumental septet is their fun and palatable blend of ’70s R&B grooves and crisp East African horn lines, an aesthetic that would be as equally at home at a jazz club as in the credits of Quentin Tarantino’s latest. Want a preview? Turn up their 2015 full-length, The Origin of Nightlife, then count the seconds until you’re bobbing around in the middle of the room. PARKER HALL. Bunk Bar, 1028 SE Water Ave., 503-328-2865. 9:30 pm. $12 advance, $14 day of show. 21+.
SATURDAY, FEB. 10 Dent May, Moon King
[RETRO SYNTH POP] Born in Mississippi but based in Los Angeles, Dent May is an underrated synth-pop auteur. Blending a deadpan slacker mindset with effervescent, analog-era sounds, May comes off like a late-’70s crooner updated for the new millennium. Across the Multiverse, Dent May’s grandest album to date, mixes glassy keys and Casio tomfoolery with disco, old-school R&B and May’s witty lyrics. The larger sound suits May’s retro bandleader persona and promises to translate to a fun live show. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 503-328-2865. 9:30 pm. $12 advance, $14 day of show. 21+.
On Drugs, Scarves, Friskies, Die Fam
[SCUZZ POP] Even though Xans, molly, Percocet and any other mixture of mind-altering extracurricular substances are a huge part of pop culture at the moment, no parent would be relieved to hear the words, “Hi, Mom, I’m on drugs.” Still, local scuzzy pop kids On Drugs have taken that sentiment and turned it into a good schtick that perfectly fits with the two-sided sounds of the band. Their songs recollect the addled nature of certain drug experiences, existing somewhere between slightly chaotic and intently focused and placid. Be prepared to jump around and then sway slowly within just a few measures. CERVANTE POPE. The Know, 3728 NE Sandy Blvd., 503-473-8729. 8 pm. Call venue for ticket prices. 21+.
Mike Gordon
[GONE PHISHING] A pivotal member of the immortal jam band Phish, Mike Gordon has a thriving but oft-overlooked solo career. His fifth studio effort, OGOGO, shows the bassist operating on more concise terms. Gordon’s natural inclination to groove shines brightly, but his songs are tighter and more radio-friendly, a com-
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MUSIC
DATES HERE MARSNARE
PROFILE
Gangsta’s Paradise G Perico is resurrecting the sound and style of ’90s West Coast rap while embracing the changing landscape of his hometown. On the day his debut mixtape hit the streets in 2012, LA rapper G Perico turned himself over to the authorities for a gun charge. By the time he got out of prison a year later, he was being bumped around the neighborhood, and his name was sweeping across music blogs. It’s the sort of rise tailor-made for gangster rap mythology— and the rapper, born Jeremy Nash, is as gangster rap as Ben Davis shirts and Raiders gear. Simmering with synths, catchy basslines and hard-nosed hooks, the music of G Perico sounds like something you might’ve heard spilling out of an ’85 Cutlass Supreme lowrider parked at a liquor store off Crenshaw Boulevard 25 years ago. It’s a throwback to a time when Los Angeles was ruled by the likes of Dr. Dre, Snoop Dogg and Eazy E. Nash gets this comparison a lot. He takes it as a compliment. “LA gangster rap played an instrumental role in my life,” Nash says. “It’s where I come from. If it wasn’t for the LA gangster rap scene, I probably wouldn’t even exist right now.” The 29-year-old rapper grew up in South Central, hearing his hometown called out on some of the biggest rap songs of the era. He also heard rappers talking about the issues plaguing his neighborhood, and he wanted to add his voice to his city’s narrative. On both of the solo albums Nash released in 2017, All Blue and 2 Tha Left, he takes listeners on an odyssey through the LA he knows. He tells stories of selling dope, banging with the Broadway Gangster Crips, and the perils of sleeping with women from the wrong side of town. He doesn’t romanticize the street life— he’s simply bearing witness. This isn’t empty bravado. He’s just being honest. “It’s damn near killing yourself to not keep it real,” Nash says. “I just come from a different type of world, where fakery is not tolerated.” Nash says he’s changed since prison. His projects since getting out center on the brutality of street life, and the toll it takes on a person. As he was on the come-up, his friends were getting killed and incarcerated. Rap has given Nash a second chance, and he’s taking it seriously. As he told Fact magazine last year: “I’m making up for the time I wasted as far as being a legit citizen. I’m behind on that.” LA is changing, too. Like a lot of cities, gentrification is stripping away decades’ worth of character in some neighborhoods, replacing it with Peet’s Coffee and mixed-use condo buildings. Surprisingly, Nash thinks it’s for the best. “I’d say gentrification has actually helped the rap scene,” he says. “Now at shows, you see less gangsters and more hipsters. It makes the scene more peaceful and tranquil. Still, LA’s so crazy— people from my end, 15 minutes apart [from gentrified areas], it’s like a totally different world. They don’t get to experience or know gentrification is even going on. But I think it’s helped a whole lot. Now people are coming from all over the world and moving to places that used to be violent. I think it’s dope as fuck.” JUSTIN CARROLL-ALLAN. SEE IT: G Perico plays Hawthorne Theatre, 1507 SE Cesár E. Chávez Blvd., on Saturday, Feb. 10. 8 pm. $15. All ages. 32
Willamette Week FEBRUARY 7, 2018 wweek.com
SUNDAY, FEB. 11 Holy Smokes & the Godforsaken Rollers
[DELTA SEX ROCK] After meeting six years ago in a Portland dive bar, Johnny Holliday and Gabriel Sweyn channeled their passion for Delta blues and country rock into a genre they call “Delta sex rock.” They’ve rolled all around the U.S.— from Portland to South Carolina— and even spent three months touring in South Africa, finding the time to put out two albums amid their travels. Bursting with metallic banjo, slide guitar and gritty vocals, their tunes are reminiscent of an old-fashioned front-porch jam session with an edge. Though the group has rotated members, Holliday’s still doing his thing. At Al’s Den, he’ll be joined by guest musicians—including Lucas Warford of Three for Silver—for a week of sexy, boot-stomping blues. LAUREN KERSHNER. Al’s Den at Crystal Hotel, 303 SW 12th Ave. 7 pm everyday. Through Feb. 17. Free. 21+.
he wrote in the two decades before his death in 1987—music often as gentle as the blustery New Yorker wasn’t. Running nearly an hour, his elusive Three Voices, from 1982, is usually performed with a singer taking one of the three melody lines and accompanied by two recordings. But in this performance presented by Third Angle New Music, the three women of acclaimed young Quince Ensemble sing it live. With added lighting effects, that should add extra eeriness to one of the late-20th century’s most haunting vocal works. BRETT CAMPBELL Studio 2 @ N.E.W., 810 SE Belmont St. 7:30 pm Thursday, Feb. 8 $10$25. All ages.
his final symphony. Luckily, he was extremely happy with the “Pathétique”—so named, it’s speculated, after his alleged infatuation with his own nephew. The rest of this weekend’s program is decidedly more modern. Moscow-born pianist Natasha Paremski returns to showcase her fiery talents on the early futurist “Piano Concerto No. 2” from Prokofiev. The evening begins with Walter Piston’s 1960 composition Symphony No. 7, a pastoral work by the once-famed American teacher and composer. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-248-4335. 7:30 pm Saturday-Monday, Feb. 10-12. $25-$120. All ages.
Tchaikovsky’s Pathétique
For more Music listings, visit
CLASSICAL] Tchaikovsky died nine days after the premiere of
INTRODUCING COURTESY OF ROBERT COMITZ
pliment for a guy whose main gig is known for going on and on for 40 minutes per song. With a keen handle on funk, prog rock, pop and more experimental sounds, Gordon is a true musical marksman whose shy lyrics betray his natural showmanship. MARK STOCK. Wonder Ballroom, 128 NE Russell St., 503284-8686. 8 pm. Sold out. 21+.
MONDAY, FEB. 12 Ural Thomas & the Pain
[PORTLAND SOUL] You know him. You love him. You’ve probably seen him multiple times now. But it’s hard to ever get tired of experiencing Portland soul legend Ural Thomas live, especially when he’s playing a funky, sweaty little place like the Goodfoot. Tonight marks the end of Thomas and his backing band, the Pain’s, 15-month residency at the Southeast Portland venue—a bummer, but at least they’re going out in style, with a Mardi Gras-themed celebration that promises extra funk and extra sweat. The Goodfoot Pub & Lounge, 2845 SE Stark St., 503-239-9292. 9 pm. Free. 21+.
Majid Jordan, STWO
[SOFTBOI BANGERS] With production credits on Drake’s hit single “Hold On, We’re Going Home” on their résumé, it was only a matter of time before Majid Jordan caught fire on their own. After making headway with their eponymous 2016 debut, the Toronto duo finally came into their own on last year’s The Space Between, which uses trap beats, warm synths and saccharine vocals to hit that sweet spot between modern hip-hop and retro slow jams. PETE COTTELL. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8:30 pm. $31.50. All ages.
Sabaton, Kreator, Cyhra
[EURO METAL] See Get Busy, page 25. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 7:30 pm. $27.50. All ages.
TUESDAY, FEB. 13 Clap Your Hands Say Yeah, Steady Holiday
[INDIE ICONS] See Get Busy, page 25. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 9 pm. $20. 21+.
CLASSICAL, JAZZ & WORLD Quince Ensemble
[THREE VOICES] “It’s too fuckin’ fast, and it’s too fuckin’ loud!” That’s what midcentury modernist composer Morton Feldman used to spit at many of those who performed the spacious, ethereal music
Marriage + Cancer WHO: Jay Mechling (guitar), Robert Comitz (vocals, guitar), Christian Carmine (bass), Chase Hall (drums). SOUNDS LIKE: Nirvana circa In Utero if they decided to scrap the singles and go back to the underground for good. FOR FANS OF: Jesus Lizard, Unsane, Godheadsilo. Marriage + Cancer singer-guitarist Robert Comitz admits he spends more time writing lyrics than is probably necessary, given that all of them could just as easily be “fuck you.” “It’s like, Brock Turner comes up,” he says, referring to the convicted collegiate rapist. “Well, fuck him, and everybody like him. It’s not just about Brock, but the other Brocks. Anger, indeed, is the energy that powers Marriage + Cancer’s blistering noise rock. And even if many of the words end up getting ripped to bits as they pass through Comitz’s larynx, the message still comes through loud and...well, “loud” pretty much covers it. Dissonant guitars clang and scrape against each other, creating a wall of sound the sledgehammering rhythm section seems hellbent on demolishing. It’s as unrelenting as the Portland winter, which the band agrees is not a coincidence. “I think it’s intrinsic and pervasive,” says guitarist Jay Mechling. “When you live in this gray sort of thing, the grayness leaks in.” Comitz and Mechling first met in a sunnier but no less depressing place—Phoenix. When both escaped to Olympia, Wash., Comitz formed the dark garage-pop group Nucular Aminals, who eventually settled in Portland. After the original incarnation of that band fell apart, Comitz resurrected the Marriage + Cancer imprimatur he used for his solo bedroom recordings years earlier and gradually evolved the project in a more aggressive direction. On their upcoming self-titled debut, the band hits on several noisy touchstones, from Sonic Youth to nearly the entire Amphetamine Reptile roster, with the raw production of a Steve Albini project. (In truth, Comitz recorded the album in his own Stop/Start studio.) But while the sound is vicious and punishing, it’s not amelodic. Comitz’s shredded howl bears more than a passing resemblance to Kurt Cobain, and like Cobain, he won’t let his rage obscure a good melody. “Something has to hold some of this shit together,” he says. “I can’t just ditch the pop aspect of things.” MATTHEW SINGER. SEE IT: Marriage + Cancer plays Tonic Lounge, 3100 SE Sandy Blvd., with Hair Puller and Maximum Mad, on Saturday, Feb. 10. 8 pm. $8. 21+.
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Willamette Week FEBRUARY 7, 2018 wweek.com
MUSIC CALENDAR WED. FEB. 7 Alberta Street Pub 1036 NE Alberta St Jet Black Pearl
Doug Fir Lounge
830 E Burnside St Boink, Toothbone, Surfer Rosie
Edgefield
2126 SW Halsey St, Troutdale Warren Floyd (The Winery Tasting Room)
Justa Pasta
1336 NW 19th Avenue Anson Wright Duo
Mississippi Studios
3939 N Mississippi Ave Miss Rayon, Planet Damn, Cool Flowers
O’Malley’s Saloon & Grill 6535 SE Foster Rd The Toads
The Analog Cafe and Theater
720 SE Hawthorne Blvd Distinguisher, Castaway, Born a New, When the Broken Burn, Banners Raised
The Goodfoot
2845 SE Stark St Swindler
The Know
3728 NE Sandy Blvd The Globalist, Berator, Goddamned Animals
The Old Church 1422 SW 11th Ave Matthew Kocel
The Secret Society 116 NE Russell St Wednesday Night Zydeco
Turn! Turn! Turn!
8 NE Killingsworth St Outset Series: Ad Hoc Improv with guest Spencer Zahn
Twilight Cafe and Bar
1420 SE Powell Blvd Fake News, Lauren Lakis, Farm Animals, Millstone Grit
THU. FEB. 8 Alberta Street Pub 1036 NE Alberta St Luke & Kati
Alberta Street Pub 1036 NE Alberta St Midnight Honey
Artichoke Music Cafe 2007 SE Powell Blvd Acoustic Village
Doug Fir Lounge 830 E Burnside St Belle Game
Edgefield
2126 SW Halsey St Troutdale Sonny Hess (The Winery Tasting Room)
The Lovecraft Bar 421 SE Grand Ave Smomid
The Analog Cafe
720 SE Hawthorne Blvd Mako
The Goodfoot
2845 SE Stark St The New Triumph
The Know
3728 NE Sandy Blvd Redneck, Hacksaw, Apraxic
1037 SW Broadway Tchaikovsky’s Pathetique
Crystal Ballroom
1332 W Burnside St Walk The Moon
Edgefield
2126 SW Halsey St, Troutdale Groovy Wallpaper (The Winery Tasting Room)
Twilight Cafe and Bar
Lincoln Performance Hall
8 NE Killingsworth St Millennial Falcon, Vanity Project, The Wild Jumps 1420 SE Powell Blvd The Holy Dark, Idea The Artist, Tyler Burdwood, Jeremy Ferrara
1620 SW Park Ave Portland Wind Symphony: A Musical Sojourn
Wonder Ballroom
Mississippi Studios
128 NE Russell St Kimbra, Arc Iris
3939 N Mississippi Ave The Wind + The Wave
Roseland Theater
FRI. FEB. 9
8 NW 6th Ave Majid Jordan, STWO
Aladdin Theater
The Goodfoot
3017 SE Milwaukie Ave Bermuda Triangle, Bells Atlas
2845 SE Stark St Ural Thomas & The Pain Mardi Gras Bash
Alberta Street Pub
1036 NE Alberta St Maurice and the Stiff Sisters, Hawkeye Pierce, Hammerhead; Hayley Lynn
Bunk Bar
1028 SE Water Ave Tezeta Band, Korgy & Bass
Crystal Ballroom
1332 W Burnside St Super Diamond (Neil Diamond tribute), Petty Theft (Tom Petty tribute)
Dante’s
350 W Burnside St Coloring Electric Like, Photona, When We Met
Doug Fir Lounge
830 E Burnside St Under The Covers: A Valentine’s Weekend Affair
Edgefield
2126 SW Halsey St, Troutdale The Resolectrics (The Winery Tasting Room)
Hawthorne Theatre
1507 SE César E. Chávez Blvd Marty Grimes
Jack London Revue
TEENAGE FEVER DREAM: A Katy Perry show operates on a kind of dream logic the great surrealist Luis Buñuel would appreciate, if he’d lived long enough to direct the Nickelodeon Kids Choice Awards. Her Witness Tour, which hit Moda Center on Feb. 2, has so much happening onstage, at all times, that once it ends, it’s hard to parse the real from the hallucinatory. It’s like Dorothy trying to tell her relatives about Oz while coming down from a DMT binge: “There were flamingos on stilts. And, like, uh, dancers with TV sets on their heads, or something. And Left Shark, you were there, too! OMG!” Arriving through a cloud of smoke on a levitating platform, draped in sparkly red, she performed in front of an eye-shaped video screen whose pupil would open to reveal the next oversized set piece: a lion’s head for “Roar,” massive red lips for “I Kissed a Girl,” a basketball hoop the size of an aboveground pool for “Swish Swish.” A portion of the set had a “Tim Burton reboot of Honey, I Shrunk the Kids” motif. And yes, Left Shark, the meme sensation from her 2015 Super Bowl performance, indeed made a cameo. At times, Perry attempted to leaven the spectacle with moments of intimacy, praising “the vegan food at Sassy’s” and even calling her dad on a huge novelty phone. But this is a show where even the requisite strippeddown acoustic portion takes place as she’s hovering above the crowd on a platform shaped like the planet Jupiter. It was dazzling, dizzying and, like Perry herself, trying harder than probably necessary. MATTHEW SINGER.
Turn! Turn! Turn!
The 1905
Al’s Den at Crystal Hotel
830 N Shaver St The Ben Fowler Quintet
The Analog Cafe
The Firkin Tavern
Arlene Schnitzer Concert Hall
720 SE Hawthorne Blvd Seaway, plus guests 1937 SE 11th Ave High Five Danger, Mr. Pink
The Know 3728 NE Sandy Blvd RILLA, Bitch’n, Months
Jo Bar & Rotisserie
1422 SW 11th Ave Frontier Ruckus, Cataldo (solo)
715 NW 23rd Ave Harvey Brindell & The Tablerockers
Lewis and Clark College
0615 SW Palatine Hill Rd (Anti)Valentine’s Concert
Mississippi Studios
8105 SE 7th Ave Pretty Gritty
Roseland Theater
8 NW 6th Ave Dark Star Orchestra
Sherwood Center for the Arts
22689 SW Pine Street, Sherwood Open the Door for Three with Liz Knowles, Kieran O’Hare, Pat Broaders
SouthFork
4605 NE Fremont King Louie & LaRhonda Steele
Julie & The WayVes
Alberta Street Pub
1036 NE Alberta St “Roots Folk Night” feat. Nathaniel Talbot, Fellow Pynins, Lake Toba
529 SW 4th Ave New Kingston, The Late Ones
Muddy Rudder Public House
810 SE Belmont St Quince Ensemble
Arlene Schnitzer Concert Hall
Turn! Turn! Turn!
Muddy Rudder Public House
Studio 2 @ N.E.W.
303 SW 12th Ave Holy Smokes & the Godforsaken Rollers
116 NE Russell St Thursday Swing featuring The Cherry Blossom Hot 4, Pink Lady & John Bennett Jazz Band
3939 N Mississippi Ave Hot Buttered Rum
8105 SE 7th Ave Whiskey Deaf
[FEB. 7-13] Al’s Den at Crystal Hotel
The Secret Society
3939 N Mississippi Ave SOS Portland, Solillaquists of Sound, Marv Ellis & We Tribe
Mississippi Studios
LAST WEEK LIVE
The Liquor Store
3341 SE Belmont St The Fur Coats, Plastic Cactus, Night Heron, RAD
For more listings, check out wweek.com.
AbbY gORDON
= 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.
The Old Church
The O’Neill Public House 6000 NE Glisan St Special Purpose
The Secret Society 116 NE Russell St Pete Krebs and his Portland Playboys
Turn! Turn! Turn!
8 NE Killingsworth St LoveBomb Go-Go & Cabbagehead
Twilight Cafe and Bar
1420 SE Powell Blvd Grey Fiction, Xmelt, Light and The Black, ATTRA
Wonder Ballroom 128 NE Russell St ALO
Zarz On First
814 SW 1st Portland Robbie Laws Band; Carey Campbell
SAT. FEB. 10 Alberta Street Pub
1037 SW Broadway Tchaikovsky’s Pathetique
Bluehour
250 NW 13th Avenue Greg Goebel Duo
Bossanova Ballroom
722 E Burnside St Dimond Saints | Curated by Living Prism
Bunk Bar
1028 SE Water Ave Dent May, Moon King
Community Music Center
3350 SE Francis Street Chamber Music Concert
Dante’s
350 West Burnside Bleeding Hearts Ball
Doug Fir Lounge 830 E Burnside St Cover Your Hearts
Edgefield
2126 SW Halsey St Troutdale Ian Moore live at The Winery Tasting Room
Hawthorne Theatre
1507 SE César E. Chávez Blvd G Perico
High Water Mark Lounge
6800 NE MLK Ave The Foil Antenna LP, Scourge of Ians, Spreads
Jack London Revue
529 SW 4th Ave Marty Willson-Piper (formerly of The Church)
Mcmenamins White Eagle Saloon & Hotel 836 N Russell St Garcia Birthday Band
T3 Turns 4: Máscaras, Arteries, Guillotine Boys
Twilight Cafe and Bar 1420 SE Powell Blvd My New Vice, The Ransom, Bloodrat, Dr. Amazon
Jack London Revue
Wonder Ballroom
Killingsworth Dynasty
Muddy Rudder Public House
128 NE Russell St Mike Gordon
Roseland Theater
814 SW 1st Portland Alyssa Schwary
8105 SE 7th Ave Reverb Brothers
8 NW 6th Ave Dark Star Orchestra
SouthFork
4605 NE Fremont The Michael Raynor Trio
The Analog Cafe
720 SE Hawthorne Blvd Piranhapuss with PCR, Set in Stone, Idletap, Crimson Guardian
The Goodfoot
Zarz On First
SUN. FEB. 11
116 NE Russell St The Jenny Finn Orchestra
Tonic Lounge
3100 NE Sandy Blvd Marriage + Cancer, Maximum Mad, Hair Puller
Turn! Turn! Turn!
8 NE Killingsworth St
600 E Burnside St Rontoms Sunday Session: Brown Calculus, Soot Uros
The Secret Society
1036 NE Alberta St THe Hillwilliams
Al’s Den at Crystal Hotel
The Know
The Secret Society
Rontoms
Alberta Street Pub
Arlene Schnitzer Concert Hall
421 SE Grand Ave Volt Divers
832 N Killingsworth St Church of Film 2018 Party & Fundraiser
Roseland Theater
3017 SE Milwaukie Ave We Banjo 3
303 SW 12th Ave Holy Smokes & the Godforsaken Rollers
The Lovecraft Bar
529 SW 4th Ave Midnights Children Mardi Gras Party
Aladdin Theater
2845 SE Stark St Brazilian & Latin Mardi Gras-Carnaval 3728 NE Sandy Blvd On Drugs, Scarves, Friskies, Die Fam
Lewi Longmire & James Low (The Winery Tasting Room)
1037 SW Broadway Tchaikovsky’s Pathetique
Crystal Ballroom
1332 W Burnside St Dan Auerbach and the Easy Eye Sound Revue featuring Robert Finley and Shannon Shaw, Shannon & the Clams
Doug Fir Lounge
830 E Burnside St Kevin Leigh Robinson, Sunbathe, Risley
Edgefield
2126 SW Halsey St, Troutdale
8 NW 6th Ave Gramatik
116 NE Russell St The Not-So-Secret Family Show featuring Mo Phillips, Pointed Man Band
Twilight Cafe and Bar 1420 SE Powell Blvd In Confidence, Artificial Aliens, Separating the Seas, Us Underwater, Gravity
White Eagle Saloon
836 N Russell St The Variants, Kool Stuff Katie
MON. FEB. 12 Aladdin Theater
3017 SE Milwaukie Ave Diet Cig, Great Grandpa, the Spook School
8 NE Killingsworth St I Hate Mondays #5: Darcy Neal, Twenty Three Suns, RON
Wonder Ballroom
128 NE Russell St Sabaton, Kreator, Cyhra
TUE. FEB. 13 Aladdin Theater
3017 SE Milwaukie Ave Jesse Cook
Alberta Street Pub
1036 NE Alberta St Two-Step Tuesdays feat. The Waysiders
Alberta Street Pub 1036 NE Alberta St Chez Stadium
303 SW 12th Ave Holy Smokes & the Godforsaken Rollers
Arlene Schnitzer Concert Hall
1037 SW Broadway Johnny Mathis
Crystal Ballroom
1332 W Burnside St Walk The Moon
Edgefield
2126 SW Halsey St, Troutdale The Hot Club Time Machine (The Winery Tasting Room)
First Christian Church 1314 SW Park Ave Elizabeth Hungerford,
Mississippi Studios
3939 N Mississippi Ave Clap Your Hands Say Yeah, Steady Holiday
Portland Community College Rock Creek Campus
17705 NW Springville Road Christopher Brown Band
Roseland Theater 8 NW 6th Ave MØ & Cashmere Cat, Darius
Tonic Lounge
3100 NE Sandy Blvd Rotten Monolith, The Misery Men
Alberta Street Pub 1036 NE Alberta St Camp Crush
1036 NE Alberta St
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MUSIC COURTESY OF PURPLE SCOTT
NEEDLE EXCHANGE
Purple Scott Years DJing: About a year after moving to Portland in 2012, I bought a DJ controller and started messing around on that for fun. My first gig at a club was in 2016 at the Liquor Store opening for Blap Deli with Wiliker. Genres: Trap, bass, club, hip-hop, beats, dancehall, house, garage, breaks, techno, drum ’n’ bass. Lately I’ve been having fun with different club sounds, which you can hear in my last mix on Verified’s SoundCloud. Where you can catch me regularly: Every second Saturday at Holocene for Verified. Craziest gig: Opening for Rezz at the Doug Fir, back-to-back sold-out nights. Shout-out to Ryan Lassi for getting me that amazing booking. My go-to records: “Money (Thunderbird Jukebox Remix),” Metaknight (featuring Shug). Don’t ever ask me to play…: Hippie Sabotage. SEE IT: Purple Scott spins at Holocene, 1001 SE Morrison St., for Verified, on Saturday, Feb. 10. 9 pm. $5 advance, $10 day of show. 21+.
The Lovecraft Bar 421 SE Grand Ave Shadowplay (goth, industrial, 80s)
FRI. FEB. 9 WED. FEB. 7 Beulahland
118 NE 28th Ave Wicked Wednesday (hip-hop)
Killingsworth Dynasty 832 N Killingsworth St Finite Plane (techno, noise, weird)
The Lovecraft Bar
421 SE Grand Ave Event Horizon (darkwave, industrial)
Tonic Lounge
3100 NE Sandy Blvd Death Throes (death rock, post punk, dark wave)
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Willamette Week FEBRUARY 7, 2018 wweek.com
DAY, THU. TUE. FEB. 8 Dig A Pony
736 SE Grand Ave Gwizski (boogie, modern funk)
Holocene
1001 SE Morrison St Spend the Night: Simian Mobile Disco, Matthew Dear (DJ sets)
Killingsworth Dynasty 832 N Killingsworth St Steve Summers, DJ Andre, AOYM
Moloko
3967 N. Mississippi Ave Omari Jazz
45 East
315 SE 3rd Ave Breathe Carolina
Dig A Pony 736 SE Grand Ave Maxx Bass (funk, boogie, rap)
Holocene
1001 SE Morrison St Dance Yourself Clean (indie pop dance)
Killingsworth Dynasty 832 N Killingsworth St Cake (hip hop)
Moloko
3967 N. Mississippi Ave King Tim 33 1/3 (aqua boogie, underwater rhymes)
BAR REVIEW THOMAS TEAL
TOP 5
BUZZ LIST Where to drink this week.
1. Small Bar
919 NW 23rd Ave., 971-712-3016, functionpdx.com. On Tuesdays and Wednesdays this month at pop-up bar space Function, Small Bar is turning out excellent classic cocktails and a truly killer jackfruit taco by former Ración chef Anthony Cafiero.
2. The Nerd Out
3308 SE Belmont St., 503-233-1225, thenerdoutpdx.com. The Nerd Out is a life of nerd-dom exploding into bar form, with a comic book library, a 4-foot Batman, walls papered in comics and a menu that consists entirely of in-jokes.
3. Brothers Cascadia
9811 NE 15th Ave., Vancouver, 360-718-8927, brotherscascadiabrewing.com. The North ’Couv’s Brothers Cascadia is a marker of how far our beeriest suburb has come: There’s not a dud on the menu, from a trio of IPAs to an excellent brown spiked with coffee.
4. Garrison Tap Room
8773 N Lombard St., 503-780-6914, royalebrewing.com. With a new tasting room open at the brewery since last year, Royale Brewing’s St. Johns taproom has transitioned into the pleasant cocktail haunt the ’hood had been missing for years.
5. No Vacancy
235 SW 1st Ave., facebook.com/novacancypdx. Aggressively art deco No Vacancy is like a housemusic DJ party on the set of The Great Gatsby, with surprisingly good daiquiris coming out of the bar.
Night Light Lounge
2100 SE Clinton St Carlos B (techno, house)
Quarterworld
4811 SE Hawthorne Blvd QuarterFlashback (80s)
The Goodfoot
2845 SE Stark St Soul Stew (funk, soul, disco)
The Liquor Store
3341 SE Belmont St Believe You Me feat. Olin & CCL
The Lovecraft Bar
421 SE Grand Ave DoublePlusDANCE (new wave, synth, goth)
Tonic Lounge
3100 NE Sandy Blvd Bridge Club Six Year Anniversary
SAT. FEB. 10 45 East
315 SE 3rd Ave
CALIFORNICATION: It’s almost eerie walking into the Belmont Fermentorium (630 SE Belmont St., 503-420-0799, moderntimesbrewing.com), the new Portland outpost of San Diego’s Modern Times Brewing. Only two months after the Commons farmhouse brewery closed in the same space, it’s like a team of retro-obsessed vegans immediately moved in and started a tech company. The cavernous brewing area is filled with a wealth of shiny new tanks, while the pub’s 10 taps are busting out better-than-average hazy IPAs and truly excellent sours and coffee stouts—half already brewed onsite, the other half sent up from California. A 40-foot, shiny piñata looms overhead like a balloon from the Macy’s parade, while the halls leading to the restroom have turned into a yarn web that looks like the world’s most complicated game of cat’s cradle. Earth tones prevail, from Southwesternstyle mosaic behind the taps to tiling of 3.5-inch floppies lining the front of the bar. The food is vegan, including a tasty but expensive $12.50 a la carte burger made with Beyond Meat, and a $9 plate offering two bewildering jackfruit tacos wrapped in what appears to be spongy Ethiopian injera. Modern Times came in with a swaggering reputation as a brewery, and the beer is good, particularly an Order of Hermes “Super Berliner” sour that’s a swirl of tropicalia. The only question is whether Portlanders will pay the prices. Beer tabs have crept up in these parts—see Great Notion or Breakside Slabtown—but Portlanders are not used to paying $7 for 5 ounces of beer, even if it’s a strong, barrel-aged vanilla stout. Nor, for that matter, paying $6.50 for a pint of Pilsner or basic IPA made onsite, a bill made even more jarring when you see them for less money at the bar down the street. If this pricing works here, expect your own local beer hall to start charging prices that are a little more…Modern. MATTHEW KORFHAGE.
Andrew Rayel
Dig A Pony
DJ Renz (hip hop, new jack swing)
736 SE Grand Ave Deena Bee (the noise, the funk)
The Liquor Store
District Portland
The Lovecraft Bar
220 SW Ankeny St DJ Heat
3341 SE Belmont St You Are Real (techno)
Holocene
421 SE Grand Ave Musick For Mannequins (creep-o-rama)
Killingsworth Dynasty
232 SW Ankeny St Devil’s Pie (hip-hop, r&b)
1001 SE Morrison St Verified presents: R3LL 832 N Killingsworth St J-Boogie (japanese disco, boogie)
Mississippi Studios
3939 N Mississippi Ave Jump Jack Sound Machine: Love To Love You Baby
Moloko
3967 N. Mississippi Ave Klavical (modern soul, heavy breaks, hip-hop)
Night Light Lounge 2100 SE Clinton St
Valentines
SUN. FEB. 11 Dig A Pony
736 SE Grand Ave Mienne & Lovelost (tropical, dancehall)
Star Theater
13 NW 6th Ave Hive (goth, industrial)
The Lovecraft Bar
421 SE Grand Ave Infinity Mirror (occult techno, esoteric ambiance)
MON. FEB. 12 Dig A Pony
736 SE Grand Ave Sweaty Technique (soul, funk)
#wweek
Sandy Hut
1430 NE Sandy Blvd DJ Major Sean
The Lovecraft Bar
421 SE Grand Ave Black Mass (goth, post-punk)
TUE. FEB. 13 Dig A Pony
736 SE Grand Ave Bad Wizard (50s-60s soul, rock)
Sandy Hut
1430 NE Sandy Blvd DJ Montel Spinozza
Tube
18 NW 3rd Ave Tubesdays w/ DJ Jack
STREET Willamette Week FEBRUARY 7, 2018 wweek.com
37
PERFORMANCE Magellanica
= WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: SHANNON GORMLEY (sgormley@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: sgormley@wweek.com.
THEATER OPENINGS & PREVIEWS The Clark Doll: A Play of Ritual and Mask
Inspired by the 1940s experiment that gives the play its name, the first production by performance art/theater company Syde-Ide is a new dystopian play about three black women mysteriously isolated in a room. Since it’s starring Tyrha Cozier and director Victor Mack, two of the most consistently captivating thespians in Portland right now, it’s bound to be compelling. Performance Works NW, 4625 SE 67th Ave., pwnw-pdx.org. 8 pm. Through Feb. 21. $20.
19th Annual Clowns Wihout Borders Benefit Show
See the Bump, page 23. Alberta Rose Theatre, 3000 NE Alberta St., albertarosetheatre.com. 8 pm Friday, Feb. 9. $28-$50.
ALSO PLAYING Astoria: Part One
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, PCS is remounting Part One. It focuses on the two expeditions to establish the trading empire: the ocean voyage helmed by Thorn (Ben Rosenblatt) and the overland journey led by Hunt (Douglas Dickerman), a businessman-turnedreluctant explorer. Full of periodpiece peril, the two journeys 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. There’s plenty of unspoken irony in the lines about being farther west than “other white men,” but Astoria is more interested in exam-
ining 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-Feb. 17. 2 pm Sunday, Feb. 11, noon Thursday, Feb. 15, 2 pm Sunday, Feb. 18. $25-$70.
Astoria: Part Two
When last we left the intrepid explorers trying to establish the first American settlement on the West Coast at the mouth of the Columbia, they were about to die. Then again, there are very few portions of Astoria where our protagonist aren’t about to die—well, at least the protagonists not wearing a top hat and living in Manhattan. Chris Coleman’s Astoria was adopted from Peter Stark’s popular history tome, from which the longtime Portland Center Stage artistic director drew a framework he fashioned into a stage play with a coherent plot and invented dialogue. In an ambitious twist, the play was split into two parts over two seasons, with the first emerging as a surprise hit. The strength of the first part was that there were two narratives to follow, one aboard a ship sailing around Africa and an over land party coming from St. Louis. In Part II, the two parties link up in the newly christened Astoria, where the narrative frays into subplots involving up river trading posts, skirmishes with the indigenous people and the war of 1812. It’s a harder story to tell, and the result is a script that grows a little more impressionistic, getting its best moments from scenes like the one where the paranoid drunk Duncan McDougall convinces the Chinook that he holds a vile of smallpox in his pocket. Potentially the most intense scene, the sinking of the Tonquin, is told by the surviving interpreter, rather than playing out on stage. Part One was mesmerizing, and Part Two is a little less so but remains a must-see for its ambition and local import. MARTIN CIZMAR. Portland Center Stage, 128 NW 11th Ave., pcs. org. 7:30 pm Tuesday-Sunday, 2 pm Sunday, through Feb. 18. $25-$77.
Written by Portland playwright E.M. Lewis, Magellanica is a harrowing, epic odyssey about a group of researchers working in an isolated Antarctica laboratory. A world premiere staged by Artists Repertory Theatre, Magellanica has a five-anda-half-hour run time, three intermissions and a 25-minute dinner break. But Magellanica isn’t something you sit through to prove that you can—full of intoxicating images and intense emotions, it’s a seamless fusion of spectacle and intimacy. Directed by Dámaso Rodríguez, the story begins in February 1986 as a crew of fictional scientists—Morgan (Sara Hennessy), May (Barbie Wu), Vadik (Michael Mendelson), Lars (Eric Pargac), Todor (Allen Nause) and William (Joshua J. Weinstein)— prepare to depart for an Antarctic research station where they will be sequestered for roughly eight months. While the play is sweeping in scope, some of its finest moments are its most delicate, as in a scene in which Adam tends to Todor, who is stricken with elevation sickness. Magellanica is so impressive as a work of visual art it would be easy to sit back and solely savor its technical achievements. But that would defeat Lewis’ point. Throughout the play, we are reminded that the specter of climate change is looming. The snowy landscape recreated onstage may be gorgeous, but its days are numbered. We are also never allowed to forget it’s not too late to do something about that. Like the characters, everyone who sees Magellanica is bound together for a massive stretch of time—you have little choice but to communicate with one another. And that, the play declares, is what will save us. BENNETT CAMPBELL FERGUSON. Artists Repertory Theatre, 1515 SW Morrison St., artistsrep.org. Jan. 20-Feb. 18. $25-$50.
Sex We Can: An Erotic Uprising
Inspired by her time as a professional dominatrix in New York City, second-generation Portland actor Eleanor O’Brien has been making theater about sex and sexuality, which shouldn’t surprise anyone who saw her one-woman show Good Girls’ Guide: Dominatrix for Dummies. Two years ago, she founded Come Inside, a sex and culture theater festival. Sex We Can is almost a mini festival of its own—18 sex-positive performing artists who, under the direction of O’Brien, address the current political climate. BENNETT CAMPBELL FERGUSON. Clinton Street Theater, 2522 SE Clinton St., cstpdx.com. 8 pm Friday-Saturday, Feb. 9-10, 8:30 pm Wednesday, Feb. 14. $20-$35.
COMEDY Kurt Braunohler
When Kurt Braunohler was in Portland more than a year ago, it was to record his Comedy Central special Trust Me, which established him as a prominent voice of a new wave of comedy—instead of distancing himself from nice-guy observational humor, he leans into it and plays the fool. This time, former Portlander Amy Miller is performing the opening set. Helium Comedy Club, 1510 SE 9th Ave., portland. heliumcomedy.com. 7:30 and 10 pm. $22-$30.
DANCE Skinner|Kirk Dance Ensemble
BRAUNOHLER 38
Willamette Week FEBRUARY 7, 2018 wweek.com
They perform only about one show a year, but Skinner|Kirk are one of Portland’s most meditative, emotive contemporary dance companies. For their 2018 show, they’ll perform two pieces from their repertoire, plus a new duet that’s sure to be heart-wrenching. BodyVox Dance Center, 1201 NW 17th Ave., bodyvox. com. 7:30 pm Thursday-Saturday, 2 pm Saturday, Feb. 8-10. $30-$64.
FAV I D K I N D E R
REVIEW
ON A ROLL: Allison Mickelson in 2.5 Minute Ride.
Laughing on the Outside 2.5 Minute Ride looks back at the Holocaust with gallows wit and ruthless honesty. BY BE N N E T T C A M P B E LL FERGUS O N
2.5 Minute Ride is not an easy play to produce. Lisa Kron’s autobiographical one-woman play doubles as a scalding standup routine and a love letter to her father, a Holocaust survivor. Its blend of black comedy and real-life tragedy demands that its director and star strike a balance between overwhelming scenes set at Auschwitz and lighter moments when Kron jokes about everything from her mother’s fear of being photographed to her father’s arguably life-threatening obsession with roller coasters. Directed by Jane Unger, Profile Theatre’s new production of 2.5 Minute Ride juggles those seemingly contradictory parts with grace to create an uproarious and cathartic whole. The first play in Profile’s season of Kron’s work, it also offers a spectacular showcase for the talents of actress Allison Mickelson, whose thrilling charisma lends weight to the play’s meditation on survival, grief and familial love. Ride begins with Lisa (Mickelson) on a stage comprising little more than a plywood floor and a brick wall. As she moves swiftly through this minimalist world, she reflects on growing up gay and Jewish. But the play mostly concentrates on three defining moments in her life: her brother’s wedding, a trip she and her father took to Auschwitz, and a family excursion to the notorious Cedar Point Amusement Park in Sandusky, Ohio. The Cedar Point portions of the play give Lisa plenty of opportunities to roast her family—after all, what else can you do but laugh in disbelief when your father insists on riding a roller coaster called the Magnum right after he’s popped a nitroglycerin pill? Ride is packed with affectionate jabs, all of which Mickelson sells with irrepressible kinetic
energy. She sweeps across the stage and underlines each joke with gestures so emphatic that her hands practically qualify as supporting actors. There are a few times when the play’s sense of humor becomes overbearing. It may be hilarious when Lisa mocks bawling audience members at a screening of Little Women or unleashes a gag about Polish pizza—which she describes as a combination of ketchup, cheese and toasted bread—but there are moments when the jokes either don’t land or feel like a distraction from the story of Lisa and her father. Yet 2.5 Minute Ride eschews silliness in favor of sincerity when it counts. As subtle lighting shifts transport us from Ohio to Auschwitz, the play immerses us not only in Lisa’s mourning for slaughtered relatives she never met, but in her father’s painful reckoning with his survival. Particularly impressive is a scene in which Mickelson adopts a flawless German accent to play Lisa’s father in a flashback where he interrogates a Gestapo agent—a man, he comes to realize, not so different from him. There are multiple moments in Ride when Lisa mentions her father’s belief that it was fortunate he was born Jewish—if he hadn’t been, he says, he doesn’t know if he would have had the strength to stand up to the Third Reich. It’s a sobering revelation to hear, but it is also underscores what makes the play so powerful: its insistence on the importance of loving people in spite, and even because, of their imperfections, whether they involve moral confusion or even an unhealthy love of the Magnum. SEE IT: 2.5 Minute Ride is at Profile Theatre, 1515 SW Morrison St., 503-242-0080, profiletheatre.org. 7:30 pm Friday-Saturday and 2 pm Sunday, Feb. 9-11. $20-$38.
Willamette Week’s BEER GUIDE 2017 Free
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2018
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Our annual guide to beer is back! As our local beer scene continues to expand and change, we’ll follow the evolving taste the industry is offering our community. From our top 10 beers to best breweries and bars in Oregon, this guide will arm our readers with the information they need explore this state’s beer scene. 503.445.1426 advertising@wweek.com Willamette Week FEBRUARY 7, 2018 wweek.com
39
BOOKS
CELEBRATE OREGON CRAFT BEER
= WW Pick. Highly recommended. BY MATTHEW KORFHAGE. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: words@wweek.com. Fax: 243-1115.
WEDNESDAY, FEB. 8 How to Fix the Future
Longtime internet Cassandra Andrew Keen’s new book, How to Fix the Future, is all about shoring up the ruins by providing instructions for how we might “preserve human values in an increasingly digital world.” He’ll talk with a tech company’s “director of influencer marketing.” (See page 13 for more on influencers.) Powell’s City of Books, 1005 W Burnside St., 800-878-7323, powells.com. 7:30 pm. Free.
SATURDAY, FEB. 10 Jon Raymond, Patrick DeWitt, Vanessa Veselka
Three of Portland’s finest and most interesting authors will be hanging out at its finest small bookstore to mark the paperback release of Jon Raymond’s novel Freebird—a whirlwind of eco-activism, domestic terrorism and familial wounds that comes out this month from its most literary of publishing houses, Tin House. Not a reading you should miss, book fans. Mother Foucault’s, 523 SE Morrison St., 503-236-2665. 7 pm. Free.
SUNDAY, FEB. 11 Terese Marie Mailhot with Lidia Yuknavitch
Terese Marie Mailhot’s memoir Heart Berries is a coming-of-age tale set on the Seabird Island Indian Reservation off the coast of British Columbia. After a traumatic childhood, an adult Mailhot is hospitalized with a diagnosis of both bipolar and post-traumatic stress disorders but uses writing to dig her way out of the hole. She’ll be appearing with The Misfit’s Manifesto author Lidia Yuknavitch. Powell’s City of Books, 1005 W Burnside St., 800-878-7323, powells.com. 7:30 pm. Free.
Hosted by
Stacey Hallal
Curious Comedy Theater
Herb aPon Beer Drinker
February 28 6PM revolution Hall Tickets on sale now:
bit.ly/oba2018
benefit f or
Oregon Wild 40
Willamette Week FEBRUARY 7, 2018 wweek.com
REVIEW
MONDAY, FEB. 12 Surveillance Valley: The Secret Military History of the Internet
Silicon Valley, the NSA, pushmarketers who’ve been sold your information, your cable company— they’re watching you online if they want to. In Surveillance Valley, Yasha Levine details not only the military origins of the tools the internet’s platforms are built on but the vast network of companies, agencies and lone wolves watching the porn you watch and the feelings you think are secret. Powell’s City of Books, 1005 W Burnside St., 800-878-7323, powells.com. 7:30 pm. Free.
TUESDAY, FEB. 13 Tim Kreider
Tim Kreider is an essayist, cartoonist and contributor to The New York Times and Al Jazeera—a deep and humorous chronicler of self who counted David Foster Wallace as a fan. In his new collection, I Wrote This Book Because I Love You, Kreider seeks to figure out his own commitment phobia by tracking down a psychologist who tested him for attachment issues when he was a toddler, and plumbs the depths of his relationships with women. Powell’s City of Books, 1005 W Burnside St., 800-878-7323, powells.com. 7:30 pm. Free.
Time’s Up?
ZUMAS
Leni Zumas’ Red Clocks is a local feminist dystopia that hits close to home. BY MATTHE W KORF HAG E
mkorfhage@wweek.com
Dystopia is sometimes conceived, sometimes proposed. Portland author Leni Zumas’ Red Clocks (Little, Brown; 368 pages; $26) is set two years after Congress has ratified the Personhood Amendment granting life, liberty and property to every fertilized egg. This is, of course, already the dream in the cloistered head of Mike Pence and the architects behind Colorado’s Amendment 62. In vitro fertilization is also bannedIn Clocks, because the egg could not consent to be transferred to a uterus. And so a small-town Oregon history teacher named Ro—unmarried but desperate for a child—must have her uterus basted by a doctor with the sperm of a 19-year-old boy to become pregnant. The “red clock” of the title is the one in her own thinning uterus. Meanwhile, high school girls scrape out their own uteruses or lose their pregnancy to a tumble down a stairwell—afraid of being charged with murder if they abort the incipient life inside them. Healers in the woods are accused of murder by means of a fenugreek and lavender potion, a witch hunt with an anti-abortion bent. Zumas’ book is not a dreary slog through female torment, however. It is impressionistic, lyrical and sometimes even maddening as it switches between the perspectives of four women trapped by their roles as a persecuted healer, a pregnant daughter or a wife who looks longingly at freeway guardrails as a way out of her marriage. The novel is obsessed with the drive for reproduction— and how it gets distorted. “Blonde-brown, endearing, demanding, sometimes quite irritating—how eerily they resemble Susan and Didier,” the teacher thinks about a friend’s children. “They are the products of desire: sexual, yes, but more importantly (in the age of contraception, at least) they come from the desire to recur.” One of the book’s most striking features is its mordant wit—a mastery of the absurdist humor of political cruelty. Canada, eager to remain cozy with its dangerous southern neighbor, has agreed to create a “Pink Wall” stopping young girls suspected of seeking abortions, a policy advertised on highway billboards: “WON’T STOP ONE, WON’T START ONE. CANADA UPHOLDS U.S. LAW!” The obvious comparisons are to Margaret Atwood’s Handmaid’s Tale, now filling Hulu with the relentlessly plaintive face of Elizabeth Moss. But the world of Clocks is not fantastical or far-fetched. It is our own, almost banal in the way it tears down its protagonists’ sense of self or autonomy. If one climactic triumph feels like deus ex machina, the actual hope found in the book is the sort that became a hashtag during the 2016 election—the optimism of dogged, staggering persistence. GO: Leni Zumas’ Red Clocks was published Jan. 16. She reads at Broadway Books, 1714 NE Broadway, 503-284-1726, broadwaybooks.net, on Tuesday, Feb. 20. 7 pm. Free.
COURTESY OF EVERYTHING IS TERRIBLE!
MOVIES
GET YO U R REPS IN
Purple Rain
(1984)
Prince’s acting may be ridiculous, but the world still feels like its reeling from his absence. Plus, Purple Rain still has one of the greatest soundtracks of all time. Clinton, Feb. 12.
Blade
(1998)
Shut your mouth! Hollywood, Feb. 8.
Chameleon Street
SCREENER
(1989)
Wendell B. Harris Jr. is one of American cinema’s great, lost directors. Chameleon Street was the first and only film Harris wrote and directed. A tragedy about a con man in Detroit who impersonates the likes of doctors and lawyers, it won the Grand Jury Prize at Sundance but never secured a theatrical release. Why? Probably because of its unflinching commentary about the black experience and the fact that Hollywood’s gatekeepers are conservative white males. 5th Avenue, Feb. 9-11.
Hail Satan
Everything Is Terrible! hopes to build a pyramid of Jerry Maguire VHS tapes. In the meantime, they’re honoring Satan. BY D ON OVA N FA R L E Y
Video collective Everything Is Terrible! began at the University of Ohio in 2000. Bored by the unforgiving Ohio winters, founder Nic Meier sought escape by making his friends laugh with obscure, outdated and generally terrible VHS tapes—the more nonsensical and cornier the better. Eighteen years later, the group has created nine feature-length films and a wildly popular website, and toured the country with a puppet-featuring live show, all the while amassing the world’s largest collection of Jerry Maguire VHS tapes with the intention of building a massive pyramid in the Arizona desert out of them. (Yes, really.) “It’s amazing we get to do this stupid t h i n g w e l o v e ,” says Meier. “I keep thinking, ‘This is the thing that’s going to end us, and people will tell us to stop,’ but people keep coming along with us, and it’s really awesome.” For their latest project, which is coming to Cinema 21 this week, Everything Is Terrible! consumed and recontextualized more than 2,000 VHS tapes into The Great Satan, a film made up of archaic videos pertaining
to general religious kookery, D horror films and the satanic panic of the ’80s. That includes a gaggle of folks who once thought that Dungeons & Dragons was a gateway to child sacrifice and calling upon none other than Lucifer (whom Everything Is Terrible! lists as a “longtime collaborator”) to return to earth. The resulting work is a psychedelic mishmash of quaintly out-of-touch and outof-context hilarity. “Religion is the thing we get the most footage of,” says Meier. “It’s been a thing we’ve harped on for many years and found the Satan angle to be the most funny. There is a lot of unfunny stuff about Christian propaganda, but we liked the idea of a villain.” In The Great Satan, middle-aged white pastors show youths how hip they are by rapping about Jesus (“Do the hiphop!” one pastor intensely commands his young audience over and over while “rapping ”). There are evangelical ducks. The Phil Donahue/Oprah talk-show circuit is mined for gold. Glenn Danzig appears (shirtless of course), as does a pre-fame Keegan-Michael Key in a video informing kids they can have asthma and still be cool. Overall, The Great Satan feels like someone
spiked the punch at a religious conversion camp with LSD. “It makes you think about how we got to where we are now. The black and white ideas of good and evil and villain and hero,” says Meier. “Our world is crafted to some extent by all these crazy goofballs. And the underlying horror with everything is one of the main facets of Everything Is Terrible!” Considering Meier spent countless hours for two years watching all this madness, I asked him if consuming so much insanity is detrimental to his mental well-being. “I have been twisted pretty hard by Everything Is Terrible! in the last decade,” says Meier. “I’m bored more quickly than ever. I’ll stand in my office and go through like 13 movies, so after that, do I want to watch Game of Thrones? No! I’m way behind on everything like that.” Still, it’s clear Meier loves what he’s doing. “It’s kinda cheesy, but I really think that everything is terrible. I’ll be watching TV and wonder if anyone else sees what I see—this is terrible!” he laughs. And anyway, there’s still quite a bit of work to be done. When asked how many Jerry Maguire tapes the group wants for their pyramid (they’ve currently amassed around 16,000), Meier responds in typically absurdist and obsessive Everything Is Terrible! fashion. “All of them,” he says. “Every single one out there.” SEE IT: The Great Satan screens at Cinema 21, 616 NW 21st Ave., 503-223-4515, cinema21.com. 10:30 pm Saturday, Feb. 10. $12 in advance, $14 at the door.
Harold and Maude
(1971)
In a post-Wes Anderson world, it’s easy to forget that Harold & Maude was an eccentric breath of fresh air upon its release in 1971, and remains as compelling a tale of weirdos finding solace in one another as ever. Academy.
Robert Frank: Frank Perspectives (1998-2008) In conjunction with a photography retrospective at Blue Sky Gallery, NW Film Center is screening works by the seminal American filmmaker and photographer. On Wednesday, it’ll screen three of Frank’s experimental realist shorts. NW Film Center, Feb. 7.
ALSO PLAYING:
Clinton: When Harry Met Sally (1989), Feb. 12. Hollywood: Master of the Flying Guillotine (1975), Feb. 13. Joy: Vampyr (1932), Feb. 7. Kiggins: Raiders of the Lost Ark (1981), Feb. 7. Laurelhurst: Last Dragon (1985), Feb. 7-8. Mission: Breakfast at Tiffany’s (1961), Feb. 11. Sleepless in Seattle (1993), Feb. 11-13. An Affair to Remember (1957), Feb. 11-13.
Willamette Week FEBRUARY 7, 2018 wweek.com
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MOVIES
PHANTOM THREAD 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. : 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 All the Money in the World
In 1973, oil billionaire J. Paul Getty was the richest man ever to walk the planet. All the Money in the World follows the kidnapping of his grandson, which was a tabloid sensation in 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 SOLEM-PFEIFER. Bridgeport, Fox Tower, Vancouver.
Blade Runner 2049
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, Laurelhurst, Vancouver.
Call Me By Your Name
MORE MOVIE TIMES AND REVIEWS AT wweek.com 42
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 awardsseason 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. Bridgeport, Cedar Hills, City Center, Clackamas, Eastport, Fox Tower, Living Room Theaters, Lloyd.
Coco
Pixar’s transcendent fable follows a young boy named Miguel (voiced by Anthony Gonzalez) who lives in Mexico and dreams of
Willamette Week FEBRUARY 7, 2018 wweek.com
becoming a musician like his longdead idol, Ernesto de la Cruz (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, Clackamas, Living Room Theaters.
Darkest Hour
If this fussy, grandstanding biopic is too be believed, Winston Churchill’s crusade against Adolf 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, Eastport, Living Room Theaters.
Film Stars Don’t Die in Liverpool
Based on the real-life romance between faded Hollywood starlet Gloria Grahame and an unlikely Liverpool thespian 30 years her junior, this drama is clouded by dread. Director Paul McGuigan shapes his movie around the requisite flashbacks of Gloria (Annette Bening) falling madly in love with Peter Turner (Jamie Bell). On the present timeline, a bedridden Gloria grows sicker. Film Stars Don’t Die in Liverpool has no hope of living up to its own star. Annette Bening exacts a brilliant hybrid of breathy Doris Day and intransigent Norma Desmond in a movie that can’t match her creativity or range. Even more, the script constantly gestures to stories on its margins—about pansexuality, industry sexism and stepsons-turned-husband—that are more interesting than the physical and emotional decay at its core. CHANCE SOLEM-PFEIFER. R. Cinema 21.
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). Rather than begging us to pity these pint-sized scoundrels, Baker (Tangerine) lets us bask in the joy of their parent-free adventures. R. BENNETT CAMPBELL FERGUSON. Academy, Laurelhurst.
Lady Bird
In Greta Gerwig’s writerdirector 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, Division, Eastport, Fox Tower, Hollywood, Vancouver.
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, Clackamas, Eastport, Fox Tower, Vancouver.
Phantom Thread
Reported to be Daniel Day-Lewis’ final film, Paul Thomas Anderson’s latest movie is his gentlest yet. A love story of sorts set in London during the 1950s, we are immersed in the House of Reynolds Woodcock (Day-Lewis), a quietly eccentric couturier known for his daring and unique designs. Alma (Vicky Krieps) is his
latest muse, a sweet-natured country girl who catches his eye and doesn’t want to let go. After a half-hour worth of needles pulling thread and three bumpy shots of them driving down a country road, it’s clear that Anderson didn’t make a period piece; he made a movie that looks like it was made in the 1950s. Although easily counted as another standout transformation by Day-Lewis into a persnickety, avantgarde dressmaker, if this is truly his last film, it is perhaps too mild an adieu from such a fierce actor. Maybe I’m just not ready to say goodbye without one more vein-bursting monologue. R. LAUREN TERRY. Bagdad Theater, Bridgeport, Cedar Hills, City Center, Clackamas, Eastport, Fox Tower, Lloyd, Vancouver.
The Shape of Water
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 restrooms 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, so he stuffs the film with subplots about Cadillacs and Russian spies. R. BENNETT CAMPBELL FERGUSON. Bridgeport, Cedar Hills, Cinema 21, Cinemagic Theatre, City Center, Clackamas, Hollywood, Living Room Theaters, Oak Grove, St. Johns Twin 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 billboards 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 police chief (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, Division, Fox Tower, Hollywood, Kiggins, Tigard, Valley Cinema Pub.
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ALÉ CARDA
POTLANDER
Bong Bodega Jeffrey’s Flower and Oil mixes weed and grocery to come up with a new casual evolution of the dispensary. BY M AT T H E W KO R F H AGE
mkorfhage@wweek.com
At a new store that opened last November on North Interstate Avenue, you can pick up a little bit of La Quercia prosciutto and some aged Vermont cheddar from the fridge, a San Pellegrino, some tinned sardines, a single-serve ice cream, maybe some Kettle chips. A little meat and cheese board sits near the registers—it’s sample Sunday, after all—inviting you to take some sliced Olympia Provisions sausage and stone-ground mustard on crispy bread. There’s nothing remarkable about any of that, until you take note that Jeffrey’s Flower and Oil is a cannabis dispensary. After you sample your chorizo, you can sniff some Animal Cookies from Albion Farms or some Purps from HUG, or maybe refill your vape cartridges. Jeffrey’s is Portland’s first true cannabis bodega, a one-stop for tinctures, drinks and munchies. With its reclaimed-wood, subdued wall art and electric chandeliers, the mood inside is somewhere between chill boutique and Portland bar—leaving aside the DayGlo candy wall spanning Swedish Fish, Haribo and Ritter Sport candy bars. “We wanted something new and fresh,” says owner Sam Watson, “something that would be different. As a consumer myself—I love cannabis—I almost always go somewhere to get a tasty beverage. Let’s curate some stuff that’s made here in Portland.” In its location at 4027 N Interstate Ave., cattycorner from the Alibi, Jeffrey’s customers might be people from the hospital stopping in for food, locals on their way home or patrons of nearby bars taking advantage of the “Dank ’n’ Drank” district along Interstate. The weed prices reward the everyday shopper: Prices for flower range from $4 to $14 a gram on product from high-end farms like Eco-Firma, Phyre and Mindful.
“If I were to compare ourselves to anything,” Watson says, “it’d be like a mini Providore with cannabis.” The shop is named after the famous Jeffrey joint from the movie Get Him to the Greek, Russell Brand’s fat blunt of “a little bit of this, a little bit of that,” including methadone, crushed-up E and “maybe some angel dust as well, and a little glue to keep it traditional.” Watson has no plans to make joints like that. But he does hope to offer Oregon Liquor Control Commission-approved pre-rolled joints mixing different strains of cannabis to take advantage of different aromatics. The shop has other big plans that include summertime concerts and Korean shave ice in the parking lot. But the most interesting blend at Jeffrey’s is the simplest—the idea that you can pick up weed and a snack as casually as you’d pick up a bottle of wine and some bread for dinner, or a sixer and some chips at the Plaid. Like a lot of very smart ideas, it feels head-thunkingly obvious the second you’re inside. “It’s lunchtime,” says Watson. “Smoke a joint, have a sandwich, go back to work. Depending on where you work, that is.” Watson hopes after the shop takes off he can add produce like apples and oranges, and maybe some grab-and-go sandwiches, or picnic baskets to take to the Skidmore Bluffs with your dog. “This summer, we’re going to allow people to pre-order picnic baskets online,” says Watson. “You pay for it and walk out with whatever strains and food. It’s like a grocery store, you can fill your cart up, put it in a Jeffrey’s picnic basket. You know: ‘I want some Lemon Sour Diesel, some prosciutto and some Cypress Grove cheese.’ Then you can go to the park.” GO: Jeffrey’s Flower and Oil, 4027 N Interstate Ave., 971-339-3149, jeffreysjoint.com. 8 am-10 pm Monday-Friday, 10 am-10 pm Saturday, 11 am-7 pm Sunday.
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US BANK NATIONAL ASSOCIATION, Plaintiff vs. REID MARTIN ANDERSON and ERICA C. ANDERSON; INTERLOCK INDUSTRIES, INC.; UNKNOWN PARTIES IN POSSESSION, OR CLAIMING A RIGHT TO POSSESSION, Defendants. TO: Defendants Reid Martin Anderson and Erica C. Anderson EXPLANATION OF THE RELIEF REQUESTED. Defendant Interlock Industries, Inc. (Interlock), filed CrossClaims against Defendants Reid Martin Anderson and Erica C. Anderson (the Anderson Defendants) seeking: (1) a money award and judgment in favor of Interlock against the Anderson Defendants in the total amount due and owing under a Retail Installment Contract for installation and financing of a roofing system on their residence located at 214 SE Vista Ave, Gresham, OR 97080 (the Subject Property), together with collection fees and interest at the contract rate of 24% per annum; (2) a money award and judgment in favor of Interlock against the Anderson Defendants for Interlocks’ reasonable attorney fees, in-house counsel expenses, collection fees, and costs pursuant to contract; (3) foreclosure of Interlock’s duly perfected security interest in the Subject Property and that the Subject Property be sold by the Sheriff of Multnomah County, Oregon, in the manner provided for by law and that Interlock’s security interest and/or money award(s) on cross-claims thereon should be paid prior to the satisfaction of any interest possessed by Plaintiff US Bank National Association or other lienholder pursuant to the Stipulated Supplemental Judgment entered on January 9, 2018, herein; and (4) that Interlock be permitted to appear at the sale and credit bid up to the amount of the Court’s money award(s) to Interlock without advancing any cash except money required for the Sheriff’s fees and sale costs. The Subject Property is more fully described in Plaintiff’s Complaint at page 2, paragraph 5, on file herein. IN THE NAME OF THE STATE OF OREGON: You are hereby required to appear and answer the Cross-Claims filed against you in the above-entitled case within 30 days from the date of first publication of this summons, and if you fail to answer, for want thereof, Interlock will apply to the Court for the relief demanded therein. NOTICE TO THE ANDERSON DEFENDANTS: READ THESE PAPERS CAREFULLY! You must appear in this case or the other side will win automatically. To appear you must file with the court a legal document called a motion or answer. The motion or answer (or reply) must be given to the Court clerk or administrator within 30 days of the date of first publication specified herein along with the required filing fee. It must be in proper form and have proof of service on Interlock’s attorney or, if Interlock does not have an attorney, proof of service on Interlock. The date of first publication is January 31, 2018. If you have questions, you should see an attorney immediately. If you need help in finding an attorney, you may contact the Oregon State Bar’s Lawyer Referral Service online at www.oregonstatebar.org or by calling (503) 684-3763 (in the Portland metropolitan area) or toll-free elsewhere in Oregon at (800) 452-7636.BLACKWELL LAW, P.C. Of Attorneys for Interlock Michelle A. Blackwell, OSB No. 002070 Email: mblackwell@blackwell.law PO Box 10326, Eugene, OR 97440 T: 541-345-8800
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Across 1 Big meals 8 Abrasive stones 15 Restricted, one way 16 Amount of a minor shock 17 Frazzle 18 Thorny problem 19 Glance of contempt 20 Oprah’s longtime partner Graham 21 They hold onto everything
23 Barnyard noise 24 Give permission 28 Reason for news to interrupt regular programming 36 Roam (about) 37 “Le Misanthrope” playwright 38 Assessment that may determine how well you work with others 40 In a way 41 “411” 43 Fuel-efficient
vehicle 50 Tiny organism 54 Lovingly, in music 55 Freeloaders 56 Fallen for 57 First name on Mount Rushmore 58 “Gimme,” in more words 59 Tooth component 60 Egg containers Down 1 Early Baseball Hallof-Famer Edd
2 Film composer Morricone 3 “Bear” that’s not a bear 4 Like ___ in the headlights 5 Fathered 6 “Fiddler on the Roof” protagonist 7 Completely avoid, with “of” 8 Detergent containers that I shouldn’t have to tell you never to eat 9 Fathom, e.g. 10 “___ Kalikimaka” (Bing Crosby holiday song) 11 Exclamation akin to “Eureka!” 12 Council 13 Jazz trumpeter Ziggy 14 Played terribly 22 Sound of lament 25 Relating to coins or currency 26 Mail delivery site? 27 ___ May Clampett (“Beverly Hillbillies” daughter) 28 Oil additive letters 29 Early start? 30 Food involved in “typewriter eating,” according to tvtropes.org 31 Caption seen early in an alphabet book, maybe
32 NASDAQ newcomers 33 “It comes ___ surprise ...” 34 E-file agency 35 Badminton divider 39 Some capts.to-be 41 “Grrr!” 42 Mythological weeper 44 Kitchen appliance brand 45 TV weatherman Al 46 Armour’s Spam rival 47 Apartment that’s owned 48 “Lord of the Rings” actor Sean 49 “The Tonight Show” house band, with “The” 51 “Fancy meeting you here!” 52 Rowan Atkinson’s “Mr.” character 53 J.D. Salinger title character
last week’s answers
©2018 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 February 8
ARIES (March 21-April 19):
British athlete Liam Collins is an accomplished hurdler. In 2017, he won two medals at the World Masters Athletics Indoor Championships in South Korea. Collins is also a stuntman and street performer who does shows in which he hurtles over barriers made of chainsaws and leaps blindfolded through flaming hoops. For the foreseeable future, you may have a dual capacity with some resemblances to his. You could reach a high point in expressing your skills in your chosen field, and also branch out into extraordinary or flamboyant variations on your specialty.
TAURUS (April 20-May 20):
When he was 32, the man who would later be known as Dr. Seuss wrote his first kid’s book, And To Think That I Saw It on Mulberry Street. His efforts to find a readership went badly at first. Twenty-seven publishers rejected his manuscript. On the verge of abandoning his quest, he ran into an old college classmate on the street. The friend, who had recently begun working at Vanguard Press, expressed interest in the book. Voila! Mulberry Street got published. Dr. Seuss later said that if, on that lucky day, he had been strolling on the other side of the street, his career as an author of children’s books might never have happened. I’m telling you this tale, Taurus, because I suspect your chances at experiencing a comparable stroke of luck in the coming weeks will be extra high. Be alert!
GEMINI (May 21-June 20):
A survey of British Christians found that most are loyal to just six of the Ten Commandments. While they still think it’s bad to, say, steal and kill and lie, they don’t regard it as a sin to revere idols, work on the Sabbath, worship other gods, or use the Lord’s name in a curse. In accordance with the astrological omens, I encourage you to be inspired by their rebellion. The coming weeks will be a favorable time to re-evaluate your old traditions and belief systems, and then discard anything that no longer suits the new person you’ve become.
CANCER (June 21-July 22):
While serving in the U.S. Navy during World War II, Don Karkos lost the sight in his right eye after being hit by shrapnel. Sixty-four years later, he regained his vision when he got butted in the head by a horse he was grooming. Based on the upcoming astrological omens, I’m wondering if you’ll soon experience a metaphorically comparable restoration. My analysis suggests that you’ll undergo a healing in which something you lost will return or be returned.
LEO (July 23-Aug. 22):
The candy cap mushroom, whose scientific name is Lactarius rubidus, is a burnt orange color. It’s small to medium-sized and has a convex cap. But there its resemblance to other mushrooms ends. When dried out, it tastes and smells like maple syrup. You can grind it into a powder and use it to sweeten cakes and cookies and custards. According to my analysis of the astrological omens, this unusual member of the fungus family can serve as an apt metaphor for you right now. You, too, have access to a resource or influence that is deceptive, but in a good way: offering a charm and good flavor different from what its outer appearance might indicate.
SCORPIO (Oct. 23-Nov. 21):
In 1939, Scorpio comic book writer Bob Kane co-created the fictional science-fiction superhero Batman. The “Caped Crusader” eventually went on to become an icon, appearing in blockbuster movies as well as TV shows and comic books. Kane said one of his inspirations for Batman was a flying machine envisioned by Leonard da Vinci in the early 16th century. The Italian artist and inventor drew an image of a winged glider that he proposed to build for a human being to wear. I bring this up, Scorpio, because I think you’re in a phase when you, like Kane, can draw inspiration from the past. Go scavenging through history for good ideas!
SAGITTARIUS (Nov. 22-Dec. 21):
I was watching a four-player poker game on TV. The folksy commentator said that the assortment of cards belonging to the player named Mike was “like Anna Kournikova,” because “it looks great but it never wins.” He was referring to the fact that during her career as a professional tennis player, Anna Kournikova was feted for her physical beauty but never actually won a singles title. This remark happens to be a useful admonishment for you Sagittarians in the coming weeks. You should avoid relying on anything that looks good but never wins. Put your trust in influences that are a bit homely or unassuming but far more apt to contribute to your success.
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CAPRICORN (Dec. 22-Jan. 19):
A Chinese man named Wang Kaiyu bought two blackfurred puppies from a stranger and took them home to his farm. As the months passed by, Wang noticed that his pets seemed unusually hungry and aggressive. They would sometimes eat his chickens. When they were two years old, he finally figured out that they weren’t dogs, but rather Asian black bears. He turned them over to a local animal rescue center. I bring this to your attention, Capricorn, because I suspect it may have a resemblance to your experience. A case of mistaken identity? A surprise revealed in the course of a ripening process? A misunderstanding about what you’re taking care of? Now is a good time to make adjustments and corrections.
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AQUARIUS (Jan. 20-Feb. 18):
Charles Nelson Reilly was a famous American actor, director, and drama teacher. He appeared in or directed numerous films, plays, and TV shows. But in the 1970s, when he was in his forties, he also spent quality time impersonating a banana in a series of commercials for Bic Banana Ink Crayons. So apparently he wasn’t overly attached to his dignity. Pride didn’t interfere with his ability to experiment. In his pursuit of creative expression, he valued the arts of playing and having fun. I encourage you to be inspired by his example during the coming weeks, Aquarius.
PISCES (Feb. 19-March 20):
VIRGO (Aug. 23-Sept. 22):
A grandfather from New Jersey decided to check the pockets of an old shirt he didn’t wear very often. There Jimmie Smith found a lottery ticket he had stashed away months previously. When he realized it had a winning number, he cashed it in for $24.1 million -- just two days before it was set to expire. I suspect there may be a comparable development in your near future, although the reward would be more modest. Is there any potential valuable that you have forgotten about or neglected? It’s not too late to claim it.
LIBRA (Sept. 23-Oct. 22):
agricultural regions. Better satellite imagery helped, as did more thorough analysis of the imagery. The new data show that the Earth is covered with 618 million more acres of croplands than had previously been thought. That’s 15 percent higher than earlier assessments! In the coming months, Libra, I’m predicting a comparable expansion in your awareness of how many resources you have available. I bet you will also discover that you’re more fertile than you have imagined.
The U.S. Geological Survey recently announced that it had come up with improved maps of the planet’s
According to ancient Greek writer Herodotus, Persians didn’t hesitate to deliberate about important matters while drunk. However, they wouldn’t finalize any intoxicated decision until they had a chance to re-evaluate it while sober. The reverse was also true. Choices they made while sober had to be reassessed while they were under the influence of alcohol. I bring this to your attention not because I think you should adhere to similar guidelines in the coming weeks. I would never give you an oracle that required you to be buzzed. But I do think you’ll be wise to consider key decisions from not just a coolly rational mindset, but also from a frisky intuitive perspective. To arrive at a wise verdict, you need both.
Homework Describe how you plan to shake off some of your tame and overly civilized behavior. Testify at Freewillastrology.com. check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes
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Non-Profit Law Firm Sliding-Scale · Payment Plans Bankruptcy · Debt · Eviction Call 503-208-4079 www.communitylawproject.org
Marijuana Shop
*971-255-1456* 1310 SE 7TH AVE
20595 SW TV Highway. Aloha, OR 97006 503-746-4444
NORTH WEST HYDROPONIC R&R We Buy, Sell & Trade New and Used Hydroponic Equipment. 503-747-3624
OMMP CARDHOLDERS GET 25% DISCOUNT!
Quick fix synthetic urine now available. Kratom, Vapes. E-cigs, glass pipes, discount tobacco, detox products, Butane by the case Still Smokin’ Glass and Tobacco 12302 SE Powell 503-762-4219
Top 1% Buyer’s Agent Kami Price, Broker 13+ years experience Permiere Property Group, LLC 503-773-0000
IF YOU DEAL IN CASH
Now is the time to protect whats yours! We sell stun guns, tasers, mace, hidden cameras, pepper spray, surveillance systems 800-270-6850
Need Computer Help? Guaranteed on-site help flexible pricing, fast turnaround 360-773-1861
SO, YOU GOT A DUI. NOW WHAT?
Get help from an experienced DUI trial lawyer Free Consult./ Vigorous Defense/ Affordable Fees David D. Ghazi, Attorney at Law 333 SW Taylor Street, Suite 300 (503)-224-DUII (3844) david@ddglegal.com
JiuJitsu
Ground defense under black belt instruction www.nwfighting.com or 503-740-2666
Top 1% Portland Agent
Stephen FitzMaurice, Broker Home Selling Specialist 14+ Years Experience 4.5% Max Commission Premiere Property Group, LLC. 4300 NE Fremont St. 503-714-1111. RealEstateAgentPDX.com
CASH for INSTRUMENTS 2017 BoP Winner! Tradeupmusic.com SE - 503-236-8800 NE - 503-335-8800
Eskrima Classes
Personal weapon & street defense - www.nwfighting.com or 503-740-2666
MEDICAL MARIJUANA Card Services Clinic
503-384-WEED (9333) www.mmcsclinic.com 4911 NE Sandy Blvd, Portland Mon-Sat 9-6
503 235 1035
New Downtown Location! 1501 SW Broadway www.mellowmood.com
4119 SE Hawthorne, Portland ph: 503-235-PIPE (7473)
Pizza Delivery
Until 4AM!
www.hammyspizza.com