Willamette Week, August 5, 2020 - Volume 46, Issue 41 - "Jammed"

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Willamette Week AUGUST 5, 2020 wweek.com

DIALOGUE CHRISTINE DONG

FINDINGS

TAQUERÍA LOS PUÑALES, PAGE 23

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 46, ISSUE 41 Lindsey Graham worries about Portland’s courthouses. 4

Postal workers say they are too poorly managed to deliver your ballot on schedule. 9 Portland saw a homicide an average of every other day last month. 10 A firefighter blamed his use of racist slurs on too many “moonshine margaritas.” 11

Oregon health officials beg Damian

Lillard to get a flu shot. 12

Multnomah County residents east of 82nd Avenue contract COVID-

19 at twice the rate of Portlanders living west of that street. 13 A former airline chef is in lockdown with her eight kids. 15 Le Bistro Montage is coming back—and bringing something called “nacho-ronies” with it. 19

ON THE COVER:

After a protester sprayed “Black Lives Matter” on their church, the staff at Imago Dei decided to turn it into a mural. 20 “Keep Portland Weird” is out.

“Don’t Fuck With Portland” is

in. 20

A Portland street medic painted President Trump as Emperor Palpatine from Star Wars. 21 The chef at a new queer-owned taqueria on Southeast Belmont Street originally wanted to name the restaurant “Gay Tacos.” 23 A Portland cannabis lifestyle magazine has formed an antiracist giving circle. 25 Portland Center Stage’s new associate artistic director misses Pearl Bakery’s cinnamon crowns. 26 Oregon’s Death With Dignity Act inspired a former Portland physician’s new screenplay. 28

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Life east of 82nd with the Amran Goni family, photo

by Alex Wittwer.

Nike will lay off 500 workers at its world headquarters in Beaverton.

MASTHEAD EDITOR & PUBLISHER

Mark Zusman

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Last week, Nike notified state employment officials that it will lay off at least 500 employees at its Beaverton headquarters. The workforce reduction, which will begin Oct. 1, will be one of Oregon’s largest layoffs during the pandemic. Nike says it’s restructured its executive suite to switch its focus to online sales. The sportswear giant has shut most of its stores due to the coronavirus and, in June, reported a quarterly net loss of $790 million. WW reported the news on wweek.com. Our readers were not wholly sympathetic.

Andrew Kaiser via Facebook.com: “I feel bad for those employees, but I’m also not surprised.

Nike is a terrible corporate business entity and they have been for years.” @sparkysixty6 via Twitter: “‘Through this process, we’re leading with our values and are committed to acting with compassion and respect for our employees.’ Are you certain it has nothing to do with shareholders ? Any of those shoemakers getting furloughed? Asking for a friend.”

Hazel Nituob via Facebook: “How can Nike not afford to pay workers with what they charge for subpar shoes?”

Alva via wweek.com: “Any word on the 600 Uyghurs who have been moved 600 miles from Xinjiang to Qingdao to make Nike shoes by day in Qingdao and attend reeducation lessons in the evenings? Some of them might welcome a layoff.”

Dr. Know

Destiny via wweek.com: “Hmmm, they get all the discounts on their taxes, scoop up the profits, but don’t seem to save for a rainy day to help keep Portlanders employed, which is the whole reason they get shielded from the taxes that the middle class has to pay (according to Kate Brown). Can Kate Brown stop giving these guys so many tax breaks? They obviously aren’t keeping their end of the deal up.”

Jaz Marie via Facebook: “So, can they pay taxes now?”

Skye Whitaker via Facebook: “This, right here, is why unemployment needs to be extended.

These are people with specific job skills who are now all out of jobs in an economy that isn’t hiring.”

Andrea4578 via wweek.com: “But I think Phil Knight will still be OK.” Rod Lundgren via Facebook: “I thought Phil Knight would trickle down his billions in wealth to create jobs and save the economy. Come on Phil, Just Do It.” Jerry Channell via Facebook: “We’re all in this together unless yer a corporate prince.”

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BY MART Y SMITH @martysmithxxx

In the unlikely event Ted Wheeler resigns, who would take over as acting Portland mayor between now and the November election?

Do we have a deputy mayor position? And has the mayor ever resigned in the city’s history? —Katie G. Given how thankless and miserable the job is supposed to be, I was somewhat surprised to learn (as far as my research could determine) no sitting chief executive of Portland has ever told the city where it can stuff its weak-mayor system of government.

That’s a shame, because any Portland mayor who did would demonstrate at a stroke his or her preeminent fitness to lead the world capital of grandly passive-aggressive gestures.

You see, if the mayor of Portland quits, not only do we not have that mayor to kick around anymore, we don’t have any mayor to kick around at all.

It may come as a surprise to folks whose primary experience with municipal government is listening to Commissioner Gordon’s phone calls to Batman, but Portland does not have a deputy mayor or any comparable office.

It doesn’t matter if the mayor resigns, dies or is eaten by a giant radioactive poodle named Frunobulax—if something happens to Portland’s chief exec, we just have to do without until we can have an election to fill the vacant office. Bet you wish you’d been a little nicer to old Mayor McMayorface now!

That said, Portland’s founders didn’t want to leave us completely ungoverned. If Frunobulax (if you thought I was done talking about Frunobulax, you don’t know me very well) eats an additional two members of the City Council—depriving that body of quorum—there is an emergency plan of succession whereby the city auditor, city attorney, and various other officials who seem like they should know what they’re doing are seated as emergency council members.

Until fairly recently, that plan of succession started with the chief of police and the fire chief.

That makes a fair amount of sense, until you realize that any calamity that wipes out half the council will probably be keeping the fire and police chiefs fairly busy with their day jobs. The matter was referred to voters, who approved the current plan in 1988. We’ve been poodle-ready ever since.

QUESTIONS? Send them to dr.know@wweek.com

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STATE TROOPERS CALM PROTEST ZONE: Portland protests took on a decidedly gentler tone after Oregon State Police replaced federal agents surrounding the Mark O. Hatfield U.S. Courthouse beginning July 30. The shift followed last week’s announcement by Oregon Gov. Kate Brown that she had reached an agreement with Vice President Mike Pence to begin a “phased withdrawal” of federal agents from the city. For the first time in weeks, law enforcement did not deploy tear gas or crowd control munitions at demonstrators. Protesters and politicians alike took notice: “After national coverage of these tactics, President Trump retreated, withdrawing his federal agents from Portland,” U.S. Sen. Jeff Merkley (D-Ore.) told the Senate Judiciary Subcommittee on the Constitution on Aug. 4. “The protests since have been peaceful celebrations focused on the message of the [Black Lives Matter] movement.” During that same hearing, U.S. Sen. Lindsey Graham (R-S.C.) argued federal agents were needed in Portland to stop protesters from destroying the federal courthouse. “If we hadn’t intervened,” Graham said, “they’d have burned the goddamn thing down.”

PARENT COMPLAINS ABOUT COMCAST INTERNET SPEED: A parent and advocate has filed a complaint with the Oregon Department of Justice against the cable company Comcast over internet service being provided to low-income students in partnership with Portland Public Schools. The complaint, filed with the DOJ’s Consumer Complaints Division by Linda Nezbeda, alleges the company is advertising a Comcast Internet Essentials program that doesn’t provide adequate data speeds for online instruction, particularly for families with more than one child. “In each instance it creates an opportunity to sell new plans to new customers while using vulnerable children/ families during challenging times. And in cases where families couldn’t afford it, completely removes their children from online learning as they lost their internet.” Comcast spokesperson Amy Keiter tells WW “the complaint is replete with inaccuracies.”

SICK PORTLANDERS AREN’T SAYING WHERE THEY’VE BEEN: Up to 15% of Multnomah County residents who have tested positive for COVID-19 shared no contacts with the county, Dr. Jennifer Vines, county health officer, said Aug. 3. That’s a problem for public health officials trying to trace contacts with infected people. “That could genuinely be because they’ve taken precautions and they don’t have contacts,” Vines said, “or it could be because they declined to talk to public health.” But health officials have struggled to trace cases. For the week ending July 25, 54% of Multnomah County’s COVID-19 cases could not be traced to another case, far short of the benchmarks set by state officials to reopen counties.

OPPONENTS CHALLENGE METRO BALLOT TITLE: Opponents of the multibillion-dollar transportation funding measure that the Metro Council referred to voters in November filed a ballot title challenge July 31 in Multnomah County Circuit Court. The opponents, who include more than a dozen business groups in the region, argue the ballot title does not accurately represent the taxing mechanism, a 0.75% tax on payrolls of entities that employ 25 or more workers (state and local governments are exempt). “What Metro’s measure proposes is a wage-based payroll tax,” opponents say in their filing. “Metro’s ballot title instead uses the term ‘business tax’ in an apparent attempt to make its proposal more palatable to voters.

But Oregon law does not permit a measure’s proponents to inaccurately represent a measure’s effects for political advantage.” Metro declined to comment.

BALLOTS DUE FOR AUG. 11 ELECTION: Ballots in this month’s special election to fill late City Commissioner Nick Fish’s seat must be received by 8 pm Aug. 11 to be counted.

Dan Ryan, the former executive director of the educational nonprofit All Hands Raised faces former Multnomah County Commissioner Loretta Smith. WW endorses Ryan in the contest.

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NEWS

WHAT YOU NEED TO KNOW THIS WEEK

MAPPED

Three Homeland Security flights circled Portland protesters. Here are their flight paths.

BY TE SS R I SK I

tess@wweek.com

For weeks, Department of Homeland Security officials watched Portland protesters through security cameras situated around the Mark O. Hatfield United States Courthouse downtown, court records show.

But DHS also surveilled demonstrators from the sky.

Flight tracker data shows that on at least three occasions, airplanes owned by Homeland Security circled for hours over Portland protests—on the evenings of July 22, 28 and 29. Since July 16, DHS has restricted flights of all nondesignated aircraft within the airspace directly above Portland for “special security reasons.” The restrictions remain in place through Aug. 16.

The planes made repeated, concentric circles over the city for hours, in a technique consistent with “dirtboxing”—when

Flight 1 | Tail number: N419K Date: July 22-23, 2020 Departed: Bellingham International Airport (BLI) at 8:17 pm Arrived: Portland International Airport (PDX) at 11:19 pm (Brief layover at PDX) Departed: Portland International Airport at 12:30 am Arrived: Bellingham International Airport at 1:50 am Time in air: 4 hours, 22 minutes Flight pattern: After departing from BLI and arriving over Portland airspace, the plane made approximately 24 concentric circles above the city, narrowing in closer to downtown Portland. After 11 pm, it landed at PDX before departing again toward downtown Portland airspace, where it arrived again shortly after midnight July 23. The plane then made several more circles for about an hour above the city before returning to Bellingham.

Altitude: 8,100-10,100 feet Total distance traveled: 1,017 miles Speed: Approximately 200 mph Flight 2 | Tail number: N541G Date: July 28, 2020 Departed: Portland Hillsboro Airport (HIO) at 6:45 pm Arrived: Portland Hillsboro Airport at 10:19 pm Time in air: 3 hours, 34 minutes Flight pattern: After arriving over Portland airspace from HIO, the plane made clockwise circles over North Portland.

Beginning around 8 pm, it began making erratic circles as far northwest as Portsmouth and as far southeast as Foster-Powell.

For the last 45 minutes, it made neat, concentric circles around downtown Portland before flying back to HIO. Total distance traveled: 695 miles Altitude: 10,000 feet Speed: Approximately 200 mph Flight 3 | Tail number: N541G (same as Flight 2) Date: July 29-30, 2020 Departed: Portland Hillsboro Airport (HIO) at 10:02 pm Arrived: Portland Hillsboro Airport at 12:41 am Time in air: 2 hours, 39 minutes Flight pattern: The plane departed from HIO and arrived over North Portland, where it began making clockwise circles. Near midnight, the plane moved south above downtown Portland, where it continued to make counterclockwise circles before returning to HIO. Altitude: 10,500 feet Total distance traveled: 502 miles Speed: Approximately 200 mph

BLACK AND WHITE IN OREGON ALEX WITTWER

Whose Skies?

Trump’s Skies.

a circling plane equipped with Digital Receiver Technology, a DRT box, or a cell site simulator mimics a cellphone tower, effectively intercepting the signals of nearby cellphones. This allows government agents to retain cell phone data and track locations of those in radio range. (DHS did not respond to WW’s questions about the type of surveillance conducted.)

“It’s hard to say what they’re doing, but we should all be pretty alarmed at how routine this type of surveillance is becoming in the wake of the George Floyd protests,” says Brett Max Kaufman, a senior attorney at the American Civil Liberties Union’s Center for Democracy.

Earlier this year, before President Donald Trump deployed federal agents to Portland protests, WW first reported that a small Cessna linked to the U.S. Marshals Service spent hours circling Portland protests on Saturday, June 13. The agency has never confirmed or denied whether it owned the aircraft, even after it received a letter from Oregon’s congressional delegation demanding information by July 17.

“The Trump administration has failed to answer basic questions from June about federal law enforcement surveillance flights over peaceful protests in Portland,” says U.S. Sen. Ron Wyden (D-Ore.), who sits on the Senate Intelligence Committee. “Willamette Week’s new report raising questions about even more surveillance flights by another agency at Trump’s direction adds to his alarming track record of abuse and disdain for constitutional oversight.”

But the planes that circled Portland later in July weren’t so mysterious. Both were Beechcraft Super King Air 350 twin turboprops registered to Homeland Security. Here are their flight paths over Portland.

Who Gets Sent to the Principal’s Office?

Black and Indigenous kids are disciplined at twice the rate of their white classmates.

Life in Portland for Black and white people is overwhelmingly different. In the coming weeks, WW will explore these contrasting realities—the inequities that have molded the Black experience in this city and state. This week, we look at education.

A 2018-19 Oregon Department of Education report report grading public schools indicates how often Black Oregonians are viewed as troublemakers before they reach adulthood—they are disciplined at twice the rate of their white peers.

The report, released in May 2019, stated that Black students had the second-most incident reports: 12.6%. American Indian/Alaska Native students were slightly higher at 12.8%. White students accounted for only 6% of incident reports.

Portland Public Schools has even more drastic discipline gaps between white and Black children, especially in middle schools.

A 2018-19 PPS report says Black students accounted for 46.1% of all the major discipline incidents reported, including expulsions and out-of-school suspensions in PPS middle schools, while white students made up 5.2%.

Disciplinary actions can have a ripple effect on other aspects of students’ lives, such as their likelihood of dropping out of school, or worse.

“Discipline practices (suspensions and expulsions) are strongly linked to youth involvement in the juvenile justice system and greater likelihood of dropping out of school,” says a Coalition of Communities of Color report.

Statistics bear that out: The high school dropout rate for Black students between 2017 and 2018 was 5.9%, but only 3.3% for white students, according to the state report. LATISHA JENSEN.

Willamette Week AUGUST 5, 2020 wweek.com

9

NEWS

Wednesday, Aug. 5

SWIFT COMPLETION: Mail carriers are alarmed by new workplace rules they say slow delivery.

This is the last day U.S. Postal Service workers say Multnomah County voters should mail their ballots for the Aug. 11 special election if they want their votes to be counted.

That’s one day earlier than the Aug. 6 deadline set by the Multnomah County Elections Division. But letter carriers warn that the Post Office is now so mismanaged it cannot be trusted to promptly deliver mailed ballots to the elections office.

“The way the mail is piled up, it’s just haphazard,” says Jamie Partridge, a retired letter carrier in Portland for 28 years and an organizer with Communities and Postal Workers United. “We used to say, ‘Get your ballot in the mail by Friday before [election day].’

Then we were saying, ‘Get your ballot in the mail by Thursday.’

What we’re saying now is: Give it another day. And who knows if that’s even going to be enough?”

The allegation of mismanagement is part of a labor dispute by postal employees who object to new workplace rules. The postal workers union plans to picket Aug. 5 outside the Rose City Park neighborhood post office.

But unlike most such disputes, this one includes claims about the trustworthiness of Oregon elections.

If true, such incompetence undermines the integrity of Oregon’s vote-by-mail system—one that state officials are defending against a barrage of disparagement from President Donald Trump.

The workers say that’s no coincidence. They allege the mess comes from three Portland-area post offices testing out new directives issued last month by Postmaster General Louis DeJoy, a Trump appointee.

Partridge says DeJoy’s new program, called “Pivot for Our Future,” has clogged up the mail system and jeopardized vote by mail nationwide. “The delay of the mail can impact our democracy,” he says. “This has huge implications for the election this fall.”

The Washington Post reported that DeJoy told employees in an internal memo that “major operational changes” were needed to cut costs and save the federal agency. This included cutting overtime hours of an already understaffed workforce and demanding that if workers gathering mail for delivery run even a minute late, they must leave that mail behind and get it the next day, delaying delivery by one whole day.

Larry Guarnero, a steward with the American Postal Workers Union who’s worked at the Portland mail processing facility for 14 years, says DeJoy is directly responsible for causing delays in delivery services. “It’s absolutely maddening,” Guarnero says.

In an email to WW, USPS spokesman Ernie Swanson said the postal service is committed to delivering mail in a timely manner, but said voters must use first-class mail or an “expedited level of service” when returning their ballots.

Multnomah County Elections says it is working closely with USPS, as it has done for the last two decades. “For the August election, we have been assured by our local USPS liaison, Danny Rogers, that we should expect the same service as always and that our Aug. 6 ‘last day to safely mail your ballot back’ is adequate,” said Tim Scott, director of Multnomah County Elections. “As we plan for the Nov. 3 general election, we are closely monitoring information about USPS operations.”

What should voters do if they’re reading this on Thursday, Aug. 6? Find one of the ballot drop-off sites across Portland, including at all branches of the Multnomah County Library. TESS RISKI. 10

Willamette Week AUGUST 5, 2020 wweek.com

ROCKY BURNSIDE

SAVE THE DATE

TRENDING

Shootings Up What’s driving the spike in Portland gun violence?

In July, Portland saw the most homicides in one month—15—that this city has experienced in 30 years.

Those killings came amid a maelstrom of events, including the disbanding of the Portland Police Bureau’s Gun Violence Reduction Team on July 1, a significant rise in the severity of the COVID-19 pandemic, a second month of nightly protests of police brutality, and President Donald Trump sending federal forces to Portland. Adding a dramatic increase in shootings (see chart) to that combustible mixture has left residents rightly alarmed.

We spoke to three experts about the surge in gun violence to see what they made of it. Here’s what they told us.

1. When it comes to gun violence, Portland isn’t special.

Although Trump blames the recent spike in gun crimes on Democratic leaders, The Wall Street Journal reported Aug. 3 that the homicide rate is way up in most big U.S. cities, including “at a double-digit rate in most of the big cities run by Republicans, including Miami, San Diego, Omaha, Tulsa, Okla., and Jacksonville, Fla.” Abbey Stamp, executive director of the Multnomah County Local Public Safety Coordinating Council, which brings together local, state and federal criminal justice experts, says the increase in shootings here and nationally has little to do with politics.

Stamp points to the pandemic, which has brought economic devastation, dislocated normal routines, and created massive uncertainty.

“There’s incredible anxiety and fear out there, and it’s just getting worse,” Stamp says. “Kids aren’t in camp or school, and parents are out of work. There’s a total lack of economic opportunity.”

Historically, Stamp says, violent crime is driven by economic inequality, which COVID-19 has increased. “The gap between white Americans and Black Americans is always there, and the pandemic is making that gap wider,” Stamp says. “When the gap increases, the violence gets worse.

2. In the short term, disbanding the city’s Gun Violence Reduction Team has left a vacuum among police.

The spate of gun violence came in the month after the Portland City Council ordered the Police Bureau to scrap GVRT because of concerns about racist policing.

Erika Preuitt, director of Multnomah County’s Department of Community Justice, says she strongly supports police reform, but she also thinks cutting GVRT opened the door to wanton shootings, which disproportionately harm people the policy decision was supposed to benefit.

“When we defund, it leaves a vacuum and particularly impacts our communities of color,” Preuitt says. “Because there is less police presence and no coordinated response, there are more people in the community being bold about their criminal activity and feeling like there are no consequences.”

Preuitt, whose parole and probation officers supervise ex-offenders, says GVRT members built community relationships and shared information with her officers and others agencies that helped keep violence in check.

“We’re going to have to find a new way to communicate, with the disbanding of GVRT,” she says. “We have to listen to our community come up with strategies. We can do it. We’ve done it before.”

3. It’s too soon to draw any conclusions.

Professor Brian Renauer, director of Portland State University ’s Criminal Justice Policy Research Institute, says taking one month or even a few months of data and trying to draw any substantive conclusions from it is a mistake.

“We’ve heard this story before,” Renauer says.

“In 2015, murders were up and then they ticked down again.”

He’s also skeptical that disbanding GVRT will have lasting consequences. “No study every showed that the GVRT had an impact,” Renauer says, noting that homicides fluctuated significantly while the team and its predecessor, the Gang Enforcement Team, operated.

Renauer says every shooting is regrettable and every homicide a tragedy, but the public and policymakers should focus on the long term—which, until proven otherwise, is a 30-year decline in violent crime.

“For it to be significant, we need to see yearly increases that establish a new baseline,” Renauer says. “What we’re seeing now is not something to panic about.” NIGEL JAQUISS.

Source: Portland Police Bureau

WESLEY LAPOINTE

NEWS

NEW DAY: Portland firefighters rallied in support of the Black Lives Matter movement over the weekend.

What Happens in Nashville A drunken Portland firefighter launched a racist tirade against a hotel clerk—and kept his job.

BY NIG E L JAQ U I SS

njaquiss@wweek.com

Tresia Givens was alarmed by the man kicking and pounding on the locked, glass front doors of the Nashville hotel where she worked.

It was about 4 in the morning on Aug. 18, 2019. The man was trying to use a credit card instead of his hotel key card to gain access to the building.

“I have my key, you black bitch…you black n----r, open the door,” he said, according to a subsequent investigation.

When Nashville police came, the man was so drunk, according to a witness, he “fell on the police officer when he arrived.”

That man was Portland firefighter Nicholas Perkins. And he was visiting Nashville on the taxpayers’ dime.

Perkins, 40, who joined Portland Fire & Rescue in 2007, had traveled to Nashville at city expense to attend a conference on the physical and mental health of firefighters and first responders.

He is an EMT and peer fitness trainer in the bureau, working out of Station 24 in North Portland’s Overlook neighborhood.

Like many of his colleagues, he is a white male—almost 90% of fire bureau employees are men and 80% are white— and he lives far from the people he serves: in Cowlitz County, Wash., where just 1.1 % of the population is Black. In a city known for its lack of racial diversity, Portland Fire & Rescue is a citadel of white men. (Perkins declined to comment.)

Yet for the first time in its history, the bureau is under the command of a Black female fire commissioner—Jo Ann Hardesty—and its first Black chief, Sara Boone.

It was within that context that Hardesty and Boone had to decide what to do with Perkins when he returned from Tennessee.

Perkins arrived in Nashville on Aug. 17, travel records show.

It was a muggy Saturday evening. He began his night at a brewery, then finished it at what he would tell a fire bureau investigator were “honky-tonks.”

“I landed in Nashville and have never been to Nashville,” he would tell the investigator. “I was excited to go downtown and see what it was about.”

Perkins would later claim, records show, that he drank a couple of “moonshine margaritas.” He also claimed to have no memory of using any racial slurs or much else of what happened when he got back to the hotel.

“I don’t recall,” he repeatedly told the investigator, according to the interview transcript WW obtained through

a public records request.

But when the investigator interviewed the desk clerk Givens and her manager, who was on the phone with her during the incident, they were very specific in their recollections.

Perkins “used the word ‘n----r’ several times throughout the incident,” they told the investigator.

Perkins’ superiors learned what had happened the next day and ordered him to return to Portland right away, meaning he missed the conference for which the fire bureau had paid $2,300.

Perkins sat down Sept. 26, 2019—a month later—for an interview with Greg Espinosa, the fire bureau’s deputy chief of professional standards, and Keith Hathorne, a human resources official for the bureau.

In the interview, Perkins expressed equal measures of amnesia and contrition. He said he had Black friends and had never before made racist remarks. He begged to keep his job.

“I’m very, very sorry for this,” Perkins said. “I want to hopefully put this behind me and prove that I’m a good employee, a good member of the bureau, and I’m sorry.”

His plea seemed to resonate with Espinosa, the professional standards chief. “It really goes a long way, Nick, you saying that,” Espinosa told him. “I mean, it choked me up.”

Division chief Ryan Gillespie, who as head of training was responsible for Perkins being in Nashville, was less moved. After the investigation, Gillespie, who is white, recommended in January 2020 that Perkins be fired.

That did not happen.

When Hardesty found out what had happened in Nashville, she was “appalled.”

“My initial reaction is that he should never wear a Portland Fire & Rescue uniform again,” Hardesty says. “I thought he should be gone.”

But Perkins is a member of the Portland Firefighters Association, a union that is very effective at sticking up for its members. Union president Alan Ferschweiler says in his 15 years as a PFA officer, only a couple of firefighters have been terminated.

The bureau placed Perkins on paid leave Nov. 22 and left him there for nearly seven months. (His salary is $94,479.)

Before he could be fired, however, Perkins had the right to a due process hearing before Chief Boone and Ferschweiler.

That hearing took place Feb. 4. Ferschweiler poked at the allegations against Perkins: There was no video; Givens’ statement didn’t match up exactly with the police report or witness statements. And, Ferschweiler emphasized, Perkins was sorry.

“He’s been a wonderful employee for this fire department,” Ferschweiler said in the hearing. “We are absolutely taking somebody’s life and ruining it based upon a he-saidshe-said situation.”

In March, records show, the union sent a private investigator to Nashville to reexamine the allegations against Perkins. That didn’t change anything.

On May 26—the day after a Minneapolis police officer killed George Floyd—Boone, who as the bureau’s top official is ultimately responsible for hiring and firing decisions, handed down her ruling: Perkins would not be fired but would be suspended for six months without pay.

He would also have to sign a “last chance agreement,” effectively putting him on probation for five years, and consent to diversity training. Meanwhile, the union and fire bureau agreed their officers would also undergo such training.

“This is an opportunity for us to take some steps forward,” Ferschweiler says. “We are very supportive of Chief Boone and happy to walk on this new path with her.”

Although she spared his job, Boone made her displeasure with Perkins clear in a letter to him.

“Your use of targeted racial slurs against a resident of Nashville, Tennessee, and while representing PF&R on official city business is simply unacceptable and violates the core values of the city and the bureau,” Boone wrote. “The violations were of such an egregious level as to cause severe distress, emotional trauma, and fear from the complainant, which is the antithesis of who we are as public servants and the oath we have sworn to uphold.”

Boone overruled Gillespie and convinced Hardesty, her boss, to go along with the reprieve.

Both say Boone convinced them that keeping Perkins in the bureau would be an opportunity to catalyze change. “I support it 100%,” Gillespie says.

But the fire bureau didn’t want to talk about Perkins’ case. When WW filed a public records request June 15 for details of his actions and the resulting discipline, the city rejected the request. (Boone says that’s because as part of the last chance agreement, the city agreed to assert the documents were exempt from public disclosure.)

Heidi Brown, chief deputy city attorney, explained the rationale. “[Boone] determined that the interest in achieving change outweighs the public interest in knowing the details of this matter,” Brown wrote in a July 12 letter. “Her decision was not to cover up or hide the matter, but rather to achieve broader change.”

WW successfully appealed that denial to then-Multnomah County District Attorney Rod Underhill last month.

Underhill, whose office referees public records disputes, ruled the public had a right to know.

“The records in this case do shed light on the issues of structural reform, race, and public employee union involvement in the disciplinary process. All three of which are of intense public interest at present,” Underhill wrote in his July 22 order.

Boone says she anguished over the final decision on Perkins. She says she felt “horror” when she initially learned about the incident. But as she considered what outcome would best serve the bureau’s mission and need for transformational change when it came to equity, Boone found herself taking a different direction.

“I have gone through many scenarios,” Boone says. “Termination was first and foremost. But I had to check myself.

How can I be fair and objective and not make a decision based on emotion?”

She says that having known Perkins for years, she believes he is capable of redemption and that his positive example will help change the bureau’s culture.

“As a Black person in a white institution, you have to create the change you want to see,” she says.

Hardesty now believes Boone made the right call.

She says Boone made the case to her that firing Perkins would fail to allow improvement for him or, more importantly, for the bureau.

“This is an opportunity to continue to shift a culture that has been dominated by white males since its inception,” Hardesty says. “What we inherited is something we have an obligation to change.”

Willamette Week AUGUST 5, 2020 wweek.com

11

WESLEY LAPOINTE

NEWS

QUICK SHOT: Drive-through COVID-19 testing is now a thing. Oregon Health Authority hopes to support drive-through vaccinations.

Hotseat: Mimi Luther A state health official dreads the prospect of flu season mixed with a pandemic. She begs you to get a flu shot.

BY R AC H E L M O N A H A N

r monahan@wweek.com

O

Oregonians eagerly await a COVID-19 vaccine to put an WW: Flu vaccine isn’t entirely effective for the perend to social distancing and bring us back to normal. son getting it. The COVID-19 vaccine may be no more But public health officials are already beseeching Ore- effective than the flu vaccine. Why should I get the gonians to get a different vaccine. It’s one everyone has flu vaccine? heard of before but less than half of adults in Oregon get: Mimi Luther: This year, that’s more important than it’s the yearly flu vaccine. ever, ever been.

Flu season typically starts by November. But the idea of We know that for a lot of people, flu doesn’t kill them. a bad flu season mixed with a pandemic is the stuff of pubBut we also know that for a lot of people, flu does kill. If lic health officials’ nightmares. So they’re preparing now. you add flu to COVID, I don’t know what that clinical out“The whole world runs around looking for a COVID come looks like. vaccine,” Dr. Arthur L. Caplan, professor of bioethics at I have a 26-year-old son who says, ‘You know, Mom, I New York University’s Grossman School of Medicine, don’t need to get the flu vaccine. I never get sick.’ told the National Press Foundation’s Vaccine So I’m intimately familiar with those converCO UR TE Boot Camp on July 30. “If you want to get sations. Last week, we talked about what S Y a nightmare scenario for late in the year, if you got flu and you got COVID, or what you could have COVID come back, the flu if you got flu and you gave it to me? That start up, and measles break out. That’s my made him stop and think. So he would be super-duper trifecta of misery.” willing to get a flu vaccine to protect me.

There’s a selfish reason to get vacThat’s a great tool to use. cinated this fall. Getting COVID-19 on top of the flu could prove deadly for any In 2018-19, 61% of children and 45% unlucky patient. of adults in Oregon got the flu vacBut another reason to get a flu shot cine. What’s your goal this year? is more systemic: It reduces the strain on My goal would be 80%. We’re very far MIMI LUTHER away from that. You know, if Damian Lilhospital beds. One reason that Oregonians spent months staying home was to protect lard came out and got a flu shot, that would against emergency rooms being overwhelmed. Increasing take care of a lot of it. the flu vaccination rate also helps reduce need for critical care.

What are the challenges going to be this year in getNationwide, the Centers for Disease Control and Pre- ting a flu vaccine to people during a pandemic? vention estimated that increasing vaccination rates by 5 They’re sort of inseparable at this point, in part because percentage points could prevent 4,000 to 11,000 hospital- we think the COVID vaccine will be available before any of izations, depending on how severe flu is in a given year. us really thought it would. So that’s the added pressure.

WW spoke with Mimi Luther, provider services team We need to get the word out. People need to start thinkmanager with the Oregon Immunization Program, about ing about it now, talking to their friends and their families how the state is going to get flu vaccines out this year—and about what are we going to do and when are we going to why the preparation for the flu vaccine will help the state get our flu vaccine and how are we going to do this? What prepare for the COVID-19 vaccine. [will it] look like if we have both flu and COVID at a high rate? I don’t want to imagine it.

F

Can you give examples of how you’re building the infrastructure to get a vaccine out that will apply for a COVID-19 vaccine too?

One of the things we’re trying to support right now is people giving vaccines in a whole new way. So, curbside, drive-thru clinics. And then one of my favorite examples is Clackamas County Fire has what they call a community paramedic. Her name is AmyJo Cook. And AmyJo approached us two years ago and said, “I provide a lot of care to homeless folks and other folks in need, and I want to be able to offer vaccines to them.”

That’s really unusual and uncommon, and we’re going to rely on the AmyJos of Oregon to come forward and help us provide that kind of access in more than just Clackamas County.

M

IM

U I L

THE

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Willamette Week AUGUST 5, 2020 wweek.com

Do you think people should be required to get a vaccine?

I think at this point it’s not a valuable conversation to have.

We don’t have kids going back to school. That’s where flu gets spread really easily, and we don’t have the community consensus around immunization and science that we need to have to support making a flu vaccine mandatory. And I don’t think the time is right to do it right now.

Oregonians really don’t like to be told what to do. They like to be asked for help, and we’re asking for their help.

Do you think there will be more people willing to get their flu vaccine this year?

I’m counting on it. Yeah, I’m absolutely counting on it.

Have you asked Damian Lillard to get the flu shot?

I have not. Can you do that?

Rachel Monahan reported this story with the support of the Dennis A. Hunt Fund for Health Journalism, a program of the USC Annenberg Center for Health Journalism’s 2020 National Fellowship.

ALEX WITTWER

JAMMED People are more likely to catch COVID east of 82nd Avenue.

That’s also where Portland's housing is the most overcrowded.

BY L ATISH A J E N S E N

lje nsen@wweek.com

It’s no secret the poor and people of color suffer the brunt of the COVID-19 pandemic.

In Multnomah County, that phenomenon means people living east of 82nd Avenue get sick at more than double the rate of those living west of that street. It’s no coincidence that the parts of Portland with the highest COVID case rates are the city’s poorest and most diverse.

There are plenty of factors to suggest why COVID infections fall disproportionately along race and class lines. People of color often have less access to health care and suffer from chronic conditions that make the disease worse. Plus, many minorities also work frontline jobs with the most risk of exposure to the virus.

But an analysis by WW of census data shows another reason: The neighborhoods hit hardest by COVID-19 are the same places where people live in extremely close quarters.

East of 82nd Avenue, data shows, people are packed into housing, often without enough rooms for people to sleep away from others when they get sick.

Immigrants and refugees, who often reside in this part of the city, traditionally live with their entire families, but Portland offers few affordable alternatives that could accommodate them.

Kim Toevs, director of communicable disease for the Multnomah County Health Department, says crowded housing is a dire problem during a pandemic.

“When folks are living together in a smaller house or when there’s more people in a household,” she says, “it’s trickier for folks to figure out how to navigate not exposing their whole household if they get sick.”

WW analyzed rental housing density for 32 ZIP codes in Multnomah County. We found that eight of 12 ZIP codes in East Portland, Fairview and Gresham had a higher proportion of overcrowded households than the

county average.

Put another way, two-thirds of East Portland renters’ households are in zips codes more overcrowded than the county average.

It’s also the case that a disproportionate percentage of Multnomah County’s COVID-19 cases are people east of 82nd Avenue.

All but one of the 11 ZIP codes we examined in East Portland had a higher case rate than the county average.

Meanwhile, all but two of the 19 ZIP codes of inner Portland—the more affluent portion of the city west of 82nd Avenue—had a lower average.

East of 82nd Avenue, the rate of infection is 84 cases per 10,000 people. That’s well above the Multnomah County rate of 55 cases per 10,000 and the statewide average of 43.7 cases per 10,000.

On the west side of the Willamette River, in the city’s best-known ZIP code, 97201, the rate is just 25.1 cases— about one-sixth of the highest rates in East County.

In other words, the highest rate of COVID-19 infections in the city fall in the same neighborhoods where people live in close quarters—all east of 82nd Avenue.

In fact, two of the three ZIP codes with the highest COVID-19 rates in Multnomah County are also the two ZIP codes with the highest share of crowded households (see charts).

In effect, the virus reveals that Portland is two different cities. In many of the city’s central neighborhoods, people are returning to everyday life—even sipping a weekend pint at a sidewalk bar. But on the eastern edges of Portland, residents are forced by economic necessity to go to work and are packed together in tight quarters when they come home.

Nowhere is the disparity in housing density felt more sharply than among Portland’s immigrant and refugee communities, whose members live predominantly east of 82nd Avenue.

YARD SALE: A food cart is tucked against the edge of an apartment complex along Southeast 122nd Avenue.

Members of those communities are among those testing at a disproportionately high rate for the coronavirus.

Pacific Islanders have 239.6 cases per 10,000 people— more than double the number of any other demographic.

Following them are Hispanic residents with 120 cases per 10,000 and Black people with 79.9 cases per 10,000.

For white people, the rate is just 19.7 cases per 10,000.

Experts say that gentrification and Portland’s chronic shortage of affordable housing and lack of family-sized living quarters, which forced impoverished residents to the eastern edge of Portland, also could place them at greater risk from the relentless virus. Large families that seek to live together, often with several generations in the same home, cannot afford or even find a place with enough bedrooms to keep a safe distance from each other.

For families who move here from other places, such as Mexico, Latin America and Africa, multigenerational living is both a function of economics and tradition.

In many situations, the unfamiliarity of a new country makes staying together imperative.

Djimet Dogo, associate director of the Immigrant & Refugee Community Organization, says his thousands of clients would need temporary housing when a family member gets sick to prevent further spread.

“In many cases, we have entire households who are infected by COVID,” Dogo says. “The young will recover, but the elderly? Some are still in the hospital as we speak.”

The dread of illness looms over families who live multigenerationally or tightly with large families in East Portland. This summer, WW spoke with three of those families as they sought to avoid bringing the pandemic into their homes.

CONT. on page 14 Willamette Week AUGUST 5, 2020 wweek.com

13

MULTNOMAH COUNTY ZIP CODES WITH THE MOST CROWDED RENTAL HOUSING WITHIN THE MARGIN

ABOVE BELOW

While 6% of Multnomah County renters live in crowded households on average, the ZIP codes marked “above” denote areas where the percentage of crowded households is substantively above the county average.

MULTNOMAH COUNTY ZIP CODES WITH THE HIGHEST RATES OF COVID CASES 150-100

49-1

99-50

N/A

Multnomah County most recently reported 55 cases per 10,000 residents.

But that average belies a clearer divide along 82nd Avenue, where case rates in most ZIP codes to the east are higher and most ZIP codes to the west are lower.

Case Rate vs. Density by Zip Code

WHERE THE PROBLEM HITS HARDEST EAST PORTLAND

Percent of Renters' Households with >1 Occupant per Room

18%

Each dot in this chart represents a ZIP code.

The higher a dot sits, the more likely renters are to live in crowded conditions. The farther to the right a dot sits, the more COVID-19 cases the ZIP code has per capita.

16%

14%

12%

10%

8% Multnomah County (6%)

6%

4%

2%

0% Multnomah County Case Rate per 10k (55) 0

20

40

60

80

100

Total Cases per 10,000 Residents 14

INNER PORTLAND

Region Willamette Week AUGUST 5, 2020 wweek.com East Portland Inner Portland

120

140

REPORTING FOR EAST PORTLAND In partnership with Report for America, a national service that places journalists around the country, WW recently hired an enterprise reporter, Latisha Jensen, to join our reporting staff. Jensen will cover East Portland—one of the fastest-growing regions in the metro area and the most ethnically diverse.

To find out how you can contribute to WW’s coverage, visit wweek.com/fund.

STILL LIFE: Goni’s only daughter, Asha, who is 15, poses for a portrait on Aug. 2. She helps her mom take care of her siblings and enjoys cooking.

ALEX WITTWER

FAMILY PORTRAIT: Amran Goni (left) and seven of her eight children pause from playing at the Lincoln City Park playground.

She raises the children as a single mother.

A

mran Goni

Southeast Division Street and 130th Avenue

BREAKING AWAY: Three of Goni’s lively children race each other on the basketball court of Lincoln Park Elementary School.

Amran Goni spent most of her life in a refugee camp in Kenya, escaping a civil war in her native Somalia.

Goni, 33, moved to Portland in 2013 with her four children. Now, she is mother to eight kids—ages 3 to 18—whom she supports on her own.

Before the pandemic, she worked as a chef at Portland International Airport, preparing meals for airline passengers.

Goni and her eight children live in a three-bedroom apartment in outer East Portland at the intersection of Southeast 130th Avenue and Division Street that she pays $1,155 a month to rent. They sleep three to a room.

“It is too tight for all of us,” Goni says in Somali through a translator, “but we cannot afford to rent a bigger apartment.”

The apartment got smaller when the COVID-19 virus arrived in Portland. What once felt cramped, Goni says, now sometimes feels like jail.

Goni suffers from diabetes, and two of her children are immunocompromised. If one family member contracts the virus, she fears it could spread to the entire household. In her home, social distancing is nearly impossible.

Infection is not a risk she’s willing to take. Goni has effectively quarantined her family, even though no one is sick. She halted almost all social interactions for everyone in the household. She only allows her children to play at the park once a week.

Her oldest son, 18-year-old Salman Hashi, is allowed to shoot hoops—by himself.

“It’s hard because the children always want to play,” Goni says. “I am worried. I am always thinking about [COVID-19].”

When another son, Abdirahman, celebrated his sixth birthday in May, no friends or classmates were invited.

“We watched funny YouTube videos and he loves kisses, so we all tried to cheer him up that way,” says Asha Goni, 15, the family’s only daughter.

Meanwhile, Amran Goni faces a new challenge to keep her family healthy.

Goni just started working a parttime job as a home care aide, increasing her risk. Before, the African Youth & Community Organization provided financial support.

“It’s hard,” Goni said. “We are worried like everyone else in the community, but we are grateful for what we have.”

Willamette Week AUGUST 5, 2020 wweek.com

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ALEX WITTWER

B

elen Gomez

Northeast Glisan Street and 178th Avenue Belen Gomez, 24, lives in a two-bedroom apartment in Gresham with her family of six, which moved to the U.S. from Michoacán, Mexico, when Gomez was 6 years old.

Rent for the apartment is $1,270 a month. Her parents share one bedroom.

Gomez, her 4-year-old son, and her younger sister share the other room, while her older brother sleeps on the couch.

“The apartment is not big enough for all of us, and we’re always so close to each other,” Gomez says. “It feels like canned food right before you open it. We’re all just mushed together.”

The thought of COVID-19 keeps Belen Gomez awake at night. She tries to keep herself distracted, but the stress and fear of getting sick creep into her mind.

Ernesto Fonseca, chief executive of Hacienda Community Development Corp., a nonprofit that provides housing support for the Latinx community, says the breadwinners in many immigrant and refugee families do not have the ability to work from home. They work in service industries, such as landscaping, painting, construction, or maintenance and cleaning services. They have to go to work and share spaces with many other people.

“Many families are concerned they will bring something back to their homes where they have middle-aged to older adults,” Fonseca says.

Gomez’s mom and son are the only ones who have not left the apartment except once to attend her sister’s high

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school graduation in early July. Gomez, her dad and sister work essential jobs, so they all leave home most days of the week.

Her mother has a weakened immune system from a prior illness, and her lungs don’t oxygenate at 100%. She prays her family stays safe.

“I am scared, especially when they leave the house,” her mom, Luz Maria Gomez, says in Spanish. “I don’t want to think about what would happen. I can only hope they’re careful and take precautions when leaving and entering the house.”

The family has always shared a small space and didn’t think much of it until the pandemic. Now, the walls are closing in.

"IT FEELS LIKE CANNED FOOD RIGHT BEFORE YOU OPEN IT. WE’RE ALL JUST MUSHED TOGETHER." —BELEN GOMEZ Gomez was scrolling through Facebook one day when she saw a friend who reported a positive test for the coronavirus. In the post, the friend wrote about renting an Airbnb to quarantine. Gomez and her family could not afford to do anything like that.

“Even if you’re in quarantine, your bills have to get paid,” Gomez says. “What if I get sick, what am I going to do? I share a room, my parents share a room. Where would I go?”

CLOSE BOND: Belen Gomez and her 4-yearold son, Santi, pose in their East Portland apartment backyard. Gomez’s older brother, younger sister, mom, dad and son all share this two-bedroom residence.

C O U R T E S Y O F A N D R E A VA L D E R A M A

A

ndrea Valderama

Hazelwood neighborhood Andrea Valderrama, advocacy director of the Coalition of Communities of Color, is steeped in local policy issues, having served on the David Douglas School District board and run for Portland City Council in 2018.

And Valderrama herself lives in multigenerational housing.

Her family fled Peru before she was born because of violent political unrest, something she hasn’t discussed much outside her family.

Now, Valderrama, 31, lives with her 5-year-old daughter, her mom and her mom’s husband in a three-bedroom, one-bathroom house that she owns.

Valderrama enjoys having her mom around.

She cooks everyone traditional Peruvian meals and helps take care of her daughter. Their bond is important and part of their cultural identity.

“I think in American Western culture, the separation from your parents is an achievement,” Valderrama says. “In our culture, it’s almost the exact opposite. There’s a lot of benefits—even if the space is 900 square feet.”

But Valderrama is aware that if someone in her family took ill, the rest would have nowhere to go. Her advocacy work and the demands of parenting, along with the constant fear someone may catch the virus, make her feel she is failing at everything.

“It’s been a big challenge mentally and emotionally. There’s this concern about whether we’re able to make ends meet and whether we’re able to keep housing,” Valderrama says.

“There’s literally nowhere else for us to go, and that’s something I am continuously anxious about.”

Multnomah County officials have one option.

The Joint Office of Homeless Services and the county have reserved a block of hotel rooms for people infected with the coronavirus who need to be quarantined. The project was aimed at houseless people, says Toevs, the county’s disease director, but the county now offers it to people in cramped quarters. The project has 120 rooms available as of Aug. 3, but only 25 are occupied.

“By the time they get diagnosed, they’ve probably exposed the folks in their house anyways,” Toevs says, “but we do want to have that as an option.”

But Dogo, the IRCO director, says he has no way of referring members of his community to medical motels. And he’s not sure how much good it would do.

“In some cases, the youngest ones with no underlying conditions have to quit their job to help [sick members] in their household,” Dogo says. “Once they quit their job, there is no income—and so how can we help this household?”

Valderrama was also alarmed by recent reports of immigration raids at motels. “If that were to happen in Oregon,” she says, “I don’t think my family would be open to utilizing hotels as a quarantine option.”

Valderrama worries as she juggles multiple tasks each day. She can visibly see the impact that lost learning is having on her daughter and the job she has and is passionate about bringing in the income that helps support her family.

“This bizarre expectation on moms to ‘balance everything’ is untenable. I can’t quit my job and I can’t cut my hours back,” Valderrama says. “My community needs me, and we need to advocate and fight for these things. It’s a lot. You do what you can.”

Melissa Lewis, a data reporter at Reveal/The Center for Investigative Reporting, and Jamaal Green, an independent data analyst, contributed reporting to this story.

GENERATIONS: Andrea Valderrama (top) and her 5-year-old daughter, Rosalía Ka Ling, at Blue Lake Regional Park in Fairview.

Valderrama’s mom, Ana, and daughter decorate holiday treats together this past December (below). Ana cooks traditional Peruvian food and helps Valderrama with her daughter when she can.

Willamette Week AUGUST 5, 2020 wweek.com

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STREET ALONG THE WILLAMETTE Photos by Mick Hangland-Skill On Instagram: @mick.jpg

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Willamette Week AUGUST 5, 2020 wweek.com

THE MOST IMPORTANT THINGS T H AT H AP P E NE D I N PORTLAND CULTURE THIS WEEK, F ROM B E ST TO WORST .

WW ARCHIVES

STARTERS

SUMMER SHOE SALE! Just Got Better

Additional Brands and Styles Just Added

30-70% OFF *On Selected Brands and Styles

Now Open for Walk-in Shopping - Space Permitting 1433 NE Broadway St Portland • 503 493-0070 Tues-Sat 10-5pm APPOINTMENTS ALSO AVAILABLE

FOILED AGAIN: Montage’s tinfoil wrappings for leftovers were a signature feature.

A LA CART A month after closing, Le Bistro Montage is staging a comeback—as a food cart. The iconic late-night Cajun restaurant announced its closure at the end of June after 27 years in the Central Eastside. But the restaurant recently announced its chef will open a cart at the Hawthorne Asylum food cart pod. The menu included in the post is a pared-down version of Montage’s classic menu, featuring the jambalaya, the po’boy and the muchloved classic mac and cheese. The new menu also includes something novel: the godless and wildly tempting “nacho-ronies,” housemade tortilla chips topped with Cajun pulled chicken and nacho cheese macaroni along with fresh-cut pico de gallo and cilantro. The cart is set to open Aug. 8.

CAMP DOWN The Portland brewery that fused drinkers’ passion for beer and outdoor adventures appears to be calling it quits. Base Camp Brewing announced on its Instagram account that it will close its brewpub at 930 SE Oak St. “for the foreseeable future” due to the economic fallout from the COVID-19 pandemic. It’s unclear whether Base Camp is temporarily shuttering or if this marks the end of the business completely: Representatives of the company could not be reached for comment. You have until Sunday, Aug. 9, to swing by the taproom and pick up what might be your last cans of POG Juicy IPA or the always-popular S’more Stout, which the brewery famously served with a toasted marshmallow perched on the rim of the glass.

SECRET DINER Lincoln City is giving people another excuse to take a road trip this month by rolling out secret menu items at select restaurants across town. From Aug. 2 to 16, 17 eateries promise to feed you something you don’t necessarily know you want. All they promise is confidential to-go items that showcase both innovation and local ingredients. But if you’re in town to hit Chinook Winds Casino anyway, why not continue to gamble with your dinner? See oregoncoast.org/secret-takeout for a complete list of participating restaurants.

ROCKY BURNSIDE

CLOSE THE BOOK

Powell’s Books has permanently closed its airport kiosk and store effective immediately, the company announced last week. Opened in 1988, the airport store was the smallest of the company’s five outlets. But it’s further evidence of the iconic Portland bookstore and tourist attraction’s struggle to stay afloat during the pandemic. In March, the company laid off “the vast majority” of its employees, only a few days after it indefinitely closed all five of its locations and moved all sales online.

In an open letter earlier this month, Emily Powell wrote that the company does not plan to reopen its physical stores anytime soon.

WOLFSON R.I.P.

LOCAL REPORTING THAT DRIVES

CHANGE After WW reported both outbreaks at Townsend Farms, Gov. Kate Brown and OHA announced a reversal in policy.

After WW revealed the outbreak, the Oregon Health Authority pledged to report clusters of cases at child care centers in its weekly reports.

Mike Wolfson and family

Mike Wolfson, the club owner behind several foundational Portland music venues, has died.

He was 48 years old. According to a crowdfunding campaign established to help his family, the cause of death was a heart attack suffered on July 22. Wolfson owned many notable clubs in Portland going back to the ’90s, spanning from Old Town night spots Tube and Black Book to seminal punk club Satyricon, which he helped relaunch in 2006. Perhaps his best-known ventures were housed in the building at 315 SE 3rd Ave., which over time was known as Loveland, Rotture, Branx and Euphoria, and whose programming ranged from underground rock to electronic dance music. Most recently, he started Killingsworth Dynasty in Northeast Portland. Wolfson and his family had recently moved back to Oregon after four years in Pittsburgh. He is survived by his wife, Tammar, and two children, Ozma and Elvi. Conrad Loebl, a talent buyer at Wolfson’s venues, says, “He gave a lot of people who didn’t fit anywhere else a place they could call home.”

Five members of Oregon’s congressional delegation are calling on the U.S. Marshals Service to disclose information following a June 15 report from WW

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Divine Intervention

IMAGO DEI

DON’T SHOOT PDX

GET...OUTSIDE?

WHAT TO DO—AND WHAT OTHERS ARE DOING—AS PORTLAND REOPENS: PROTEST ART EDITION.

SAY HIS NAME: Demonstrators protest the police killing of Quanice Hayes in 2017.

Hands Up Don’t Shoot PDX’s latest gallery exhibition shows that while today’s protests might look different, the message hasn’t changed.

A lot has changed in the three years since Don’t Shoot PDX last held an exhibition at Northwest Portland art gallery Holding Contemporary.

There’s now a global pandemic coinciding with a worldwide uprising against police brutality. Don’t Shoot recently filed suit against the U.S. Department of Homeland Security for the excessive force used by federal agents deployed to the Portland protests.

And last week, its website was added to the Library of Congress’ web archive.

What hasn’t changed is the basic onus behind the exhibits.

“We still have to say, ‘Stop killing us,” says Tai Carpenter, the organization’s president. “Things haven’t changed in the fact that we still have to take to the streets with our children to protest police brutality. Black lives still don’t matter in the city of Portland.”

This Thursday marks the opening of Stop Killing Us, an installation curated by Don’t Shoot PDX of protest banners, posters and art. State of Oregon, a film documentary about the sentencing of white supremacists who murdered 19-year-old Larnell Bruce in Gresham in 2016, will play on loop in the gallery.

The art spans years of demonstrations, from drawings created by children at this year’s Juneteenth summer camp, to the “Justice for Quanice Hayes” banner that protesters carried through the streets in 2017, after Hayes, a 17-year-old Portlander, was killed by police.

But much of it could have come from any number of protests: “Fuck the Police” and “Say Her Name” signs to recent screen prints of Christopher Kalonji, a teenager killed by police in Oak Grove while experiencing a mental health crisis.

“That’s why we’re doing another installation, and keep this movement on everyone’s minds and remind them it’s not a moment,” says Carpenter. “It’s not about whether you go downtown or not. It’s about every single day. These streets are covered in blood, and people need to wake and realize that.”

SHANNON GORMLEY. SEE IT: Stop Killing Us shows at Holding Contemporary, 916 NW Flanders St., holdingcontemporary.com. Noon–5 pm Thursday-Saturday, Aug. 6-29. Two guests allowed inside at a time, masks required.

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Willamette Week AUGUST 5, 2020 wweek.com

MURAL BOOSTER: Imago Dei’s Black Lives Matter mural.

A protester spray-painted “Black Lives Matter” on a Southeast Portland church. Staff decided to keep it—and add to it.

On June 3, a protester tagged the outside of Imago Dei, a nondenominational church in the Kerns neighborhood, with the phrase “Black Lives Matter.” The next day, staff convened online to discuss the next steps.

“Our building gets tagged all the time and we paint over it, keep it moving,” says Pastor Michelle Jones. “Then a discussion just kind of happened: ‘What if we kept it? What if we changed it? What if we made it art?’”

Heidie Ambrose, a staff member and artist by

Sticker Situation Jerena Donovan thinks Portland needs a new motto. “Keep Portland Weird” had a good run, but it doesn’t quite reflect the mettle of a town that just came out in droves to oppose a federal occupation. A tougher, more defiant slogan would speak better to the moment. So Donovan and some old work friends came up with one. It’s simple, direct and not entirely safe for work, but still looks good slapped on a bumper sticker: “Don’t Fuck With Portland.”

Kathy Pearson, Donovan’s former co-worker at the Kaiser Permanente Center for Health Research, had the idea while watching the protests unfold from Little Rock, Ark., where she now lives.

Another friend, Lisa Fox, did the design, while Donovan is in charge of distribution. The stickers cost $2.50, with proceeds to benefit Black Lives Matter-affiliated organizations.

Donovan is in the process of getting them into local stores, but for now, you can email an order to dont.f.with.portland@gmail.com. MATTHEW SINGER.

trade, began the process of expanding the graffiti into a sprawling mural. Each brick is marked with the name of a Black man or woman who has died at the hands of systemic racism, and painted bricks are reserved for those who have died in the Portland area.

The mural is seen as a part of Imago Dei’s greater ethos around race and reconciliation, which has been the subject of the church’s sermons since the earliest days of the protests.

“We have to admit that throughout history, the church has been complicit in allowing injustice to flourish in this country, either by its silence or by speaking in the wrong way,” says Jones. “But if we’re going to own it, then we’ve gotta own it.”

SCOUT BROBST. Imago Dei is located at 1302 SE Ankeny St.

GET...OUTSIDE?

Color Me Mad A street medic documents Portland’s protests through striking watercolor paintings.

Here, he shows and tells.

The first time Bird O’Flaerty painted an image inspired by the Portland protests, he was pissed off—and it shows.

It was early in the uprising, long before federal officers arrived in town, and before the clashes between police and protesters turned into a predictable routine. Getting his first taste of tear gas opened Bird O’Flaerty’s eyes.

“The general message was, ‘We’re here to protect Portland’s property,’” says O’Flaerty, 36. “Whatever the cops’ intentions are, that became real to me for the first time.”

He still vibrated with rage when he got back home that night. A tattoo artist by trade who attended art school in Colorado, O’Flaerty broke out his watercolors and illustrated his feelings: It took the form of a pig in a police uniform, accompanied by the phrase “To Serve the Wealthy and Protect Their Property.”

“It’s sort of like, get the creative juices out to cleanse out the vitriol,” he says.

As he continued to attend the protests, three or four nights per week, painting became a mental health ritual for O’Flaerty, who paints under a pseudonym. Although there’s still plenty of anger in the pieces he shares on social media, he finds equal inspiration in the community that’s formed around the demonstrations: In one, a team of street medics charge into a cloud of gas, loomed over by Imperial Walkers, the ambulatory armored vehicles used against the Rebel Alliance in The Empire Strikes Back. (Star Wars is a common motif for him: He’s also painted President Trump as Emperor Palpatine.)

Afterward, O’Flaerty became a medic himself, attending to injured protesters and helping flush out their eyes.

Initially, painting the protests were O’Flaerty’s way of processing what he was witnessing every night. He’s since come to see it as documenting a moment in history. Below, O’Flaerty shares some of what he’s seen, and why he decided to turn it into art. MATTHEW SINGER.

[STREET MEDICS] “Here’s a tribute to some amazing troops of the uprising. I’ve seen street medics rush into clouds of tear gas against walls of federal agents to pull people out who are burned by the gas, unable to breathe. I’ve seen them stretcher people out after catastrophic asthma attacks and seizures, overdoses and head injuries. They deescalate fights and support the traumatized and shell-shocked.

They’ve washed gas from my own eyes over and over, and I’ve seen them beaten and trampled by Trump’s thugs. Even in war, it’s illegal to gas and to target medics.”

[BURNING FLAG] “This is not sacred.

The great experiment is done, so it’s time for a new hypothesis.

I want to live in a country worthy of loving: a place where people are more sacred than fabric.”

[WALL OF MOMS] “When Mama came marching in. Trump sent in his mercs to say, ‘Black lives don’t matter, and neither do any one else’s but mine. You’re only as free as I let you be.’ Antifascist moms of every color and creed said, ‘No!’ Moms carried us all, and they will do it again when needed and make history in the process.”

Willamette Week AUGUST 5, 2020 wweek.com

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GET...OUTSIDE?

[SPEAKERS]

[ELIJAH MCCLAIN] “[Elijah McClain] was a beautiful soul who was brutally murdered by cops for being Black. We demand justice for Elijah!”

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“In Portland, we’re following Black leaders. We’ve had the ‘white way’ for 400 years, and it led us to politicians who create legislation for their own wealth and use racist militants to further their gains. We live in a fake democracy. Votes do little to nothing, money makes the rules, and prisons are full of modern-day slaves. Cops murder people of color with legal immunity, the wealth gap is sickening, Indigenous people are invisible in extreme poverty, and now people are at war with the government because they won’t listen. This is the Trump era: Rich white men brought us here. This is the white way. I’m ready for a different way.”

[FEDS]

[STATUE OF LIBERTY]

“While we march for the right to live and demand justice, our homegrown despot releases his hounds on Black folks, brown folks, allies, moms, veterans and all else he doesn’t give a shit about. And it’s all for campaign photos. Feds—history will not treat you kindly.”

“She’s a symbol of the liberty we were supposed to have and never did. Her arms were meant to welcome the broken and oppressed but never did. And why? Racism. Now, the child president has removed even the illusion of liberty.”

Willamette Week AUGUST 5, 2020 wweek.com

CHRISTINE DONG

FOOD & DRINK

FEATURE

COMPLIMENTS TO THE CHEF: Taquería los Puñales chef and co-owner David Madrigal.

Gran Guisado

Chef David Madrigal is a third-generation taquero. And at his new Belmont Street taco shop, he’s giving the taqueria tradition a queer makeover. chicken tinga. Many of the recipes Madrigal learned from his mother, who is originally from Zacatecas.

When David Madrigal first came to Portland from Guada“My mom would make pork in green sauce in the mornlajara, Mexico, in 1994, at age 17, he was effectively living ing, and the next day steak with potatoes, and the next day in exile. whatever,” he says. “That way you could come home from “Back then, being gay was seen an exhausted day at work, see what’s as very, very bad in Mexico,” he says, in the fridge, and make tacos from it.” “and my parents did not accept me.”

Aster and Madrigal have known It took a few years, but Madrigal, each other for decades. As Madrigal now 45, has reconciled with his parworked his way up through kitchens ents—and not only that, he’s joined across the city, including La Bonita, the family tradition. In June, he and Aster pursued a career in marketing —Taquería los Puñales for a local global footwear company. his business partner, Brian Aster, co-owner Brian Aster opened Taquería los Puñales on The duo tested recipes extensively Southeast Belmont Street, making before opening the space, adding him a third-generation taquero. dishes that reach into the distinct street taco tradition, “I’ve known how to make tacos a long time,” says Madrigal. such as adobada—pork loin in adobo sauce. They’ve also And does it ever show. Los Puñales is not yet 2 months created a distinct brand for Los Puñales, one that is boldly old, but it feels like it’s been sitting there, in the former original—and fearlessly queer.

Dick’s Kitchen space, for years, serving exemplary gui“There is no gay taqueria tradition in Mexico,” says sado-style tacos, plus a few curveballs, to an appreciative Madrigal. Adds Aster, “We don’t know of another unabashneighborhood. Every tortilla is made in-house that day, edly gay taqueria in America, to be honest.” stuffed with an array of guisados—complex braises of The pair originally wanted to call the project “Gay meats and vegetables, including carnitas, barbacoa and Tacos,” before settling on Los Puñales as a more subverBY JO R DA N M I C H E L M A N

@suitcasewine

“Irreverence is nothing if it’s not justified by amazing tacos.”

THE SAUCE

Los Puñales’ Chicken Tinga Guisado Taco

Madrigal starts by making a sauce of garlic, chipotle peppers, tomatoes and salt. As this comes together, he sweats down onions in a separate pan and then adds the sauce over the onions to integrate flavors.

“Our tinga is not too spicy—that’s something people from Mexico have noticed,” Madrigal says. If you want to add kick, choose one of the shop’s homemade salsas, all derived from the chef’s mother’s recipes.

CHRISTINE DONG

THE TORTILLA

Madrigal makes every last tortilla served at his shop in-house. “Tortillas from Mexico are not the same as what you find in the States,” he says. “And when you make a fresh-made tortilla and mix with the meat, it’s a different experience.” Madrigal uses Maseca brand corn flour, a readily available ingredient, “but it’s all about the kneading to create texture—and the love. That’s the key to everything we make. We make it like I’m going to eat it myself.”

sive, evocative choice. The term has no exact translation into English, but it means several things in Mexico: to be “a handful,” as in a difficult person; a dagger, a knife meant for stabbing; and a particularly venomous pejorative for gay Madrigal knew growing up.

“I talked to lots of people about it,” he says of the name.

“Other Mexican friends, people who grew up in Mexico and then moved like me, and also people who grew up here. And they would ask me, ‘Why Puñales?’ Well, it’s because I’m gay, for one. Also, it has these other meanings. Even my mom was like, ‘That’s a pretty good explanation and I’m OK with that.

That’s very smart.’”

In that way, Aster and Madrigal are participating in the linguistic tradition of reclaiming language originally meant to harm, and turning it into a new colloquial form. They’re queering the traditional taqueria through an evolution of personal resonances to create something that feels at once familiar and new.

But it’s not just the name. Everything from the interior design by Lola Interiors to Felix d’Eon’s subverted traditional Mexican art on the walls to the Kennedy Barrera-Cruz’s logo design to the menu, designers and staff identify as queer.

“Los Puñales a distinct name and can be polarizing,” Aster says, “but we aren’t trying to please everyone. This is an unapologetically gay taqueria. This place is Mexican and gay, and when people come here, they realize it’s a queer space.

We want a progressive crowd that loves and celebrates identifying with queer places owned by people of color.”

But, he adds, “irreverence is nothing if it’s not justified by amazing tacos.”

Madrigal likes to say he has tacos in his blood, and damn if you can’t taste it in the mole, bistec con papas, taco de puerco, and the 11 other options available. Indeed, it’s difficult to pick a single standout dish, which makes the guisado sampler ($8.50, for in-house dining only) a surefooted starting point for exploring Madrigal’s cooking.

Over repeat visits, however, the chicken tinga ($3.50) continually stood out for its effortless execution and complex range of flavor and texture. It’s based on one of Madrigal’s mother’s recipes, and contains only three ingredients, but the result is greater than the sum of its parts.

To be clear, the chicken tinga at Los Puñales is not reinventing the wheel. If you want innovation, there’s Madrigal and Aster’s unique pesto carne asada, inspired by Aster’s Argentine husband and endless home cooking sessions. But the classic tinga is a perfect gateway to the guisado taco style, and Madrigal’s version is subtly excellent.

THE CREMA

Each tinga taco is topped with a swirl of crema— sometimes called “Mexican sour cream”—produced

by Ochoa’s Queceria in Albany, Ore. It’s thicker and a touch tangier than most brands of sour cream and has a richer depth of flavor.

THE CHICKEN

The tinga guisado at Los Puñales is a two-part process that adds up to something greater than the individual ingredients. First, a whole chicken is poached with garlic, onion, salt and bay leaves.

Timing is important here, as is a finely shredded consistency once the chicken is pulled from the water. That texture is part of what makes Madrigal’s tinga stand out.

THE BRAISE

EAT: Taquería los Puñales, 3312 SE Belmont St., 503-206-7233, lospunales.com. 11 am-10 pm daily.

One of the key aspects of Madrigal’s chicken tinga is time. As the poached chicken and subtly spicy, garlicky, creamy tomato sauce are given hours to commingle, the result is ambrosial. “The longer the chicken braises in the sauce, the better it tastes,” says Madrigal. “That’s the best part.”

Willamette Week AUGUST 5, 2020 wweek.com

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BAR REVIEW

HOP ALONG: TopWire Hop Project is nestled among crops at Crosby Hop Farm.

Crosby Hop Farm’s new beer garden is a hidden oasis just outside the city.

BY AN DI P R E W I T T

aprewitt@wweek.com

Number of tables: 28, plus two bar tops under the awning.

Space between tables: Approximately 8 feet.

Additional safety measures: Flippable placards on tables reading “Dirty” and “Clean”; masks required when not seated; sanitizer stations.

Peak hours: 3-6 pm.

TOP 5

BUZZ LIST

Where to drink outside this week.

1. Century 930 SE Sandy Blvd., 503-446-6418, centurybarpdx.com. Call to confirm hours.

Century is many things to many people, but chill-seekers looking for a panoramic view at sundown know this luxe Buckman sports bar is unbeatable during the golden hour.

2. Tough Luck 1771 N Dekum St., 971-754-4188, toughluckbar.com. Call to confirm hours.

From the same minds as the Old Gold and Paydirt, Tough Luck boasts a bar that mostly resembles a suburban irrigation barrier and an expansive patio, which it’s taking advantage of now that the NBA season has restarted to show Blazer games outside.

3. OK Omens 1758 SE Hawthorne Blvd.

503-231-9959, okomens.com.

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4-9:30 pm daily.

Castagna’s raucous wine bar restaurant remains one of the city’s funnest places to drink wine, whether that’s $3 wine bumps—dealer’s choice shots—or a Domaine les Pentes de Barène, a tiny French winery that produces only about 5,000 bottles a year.

TOP 5

HOT PLATES Where to get food this week.

1. Sunshine Noodles WESLEY LAPOINTE

I Walked the Bines

During the kickoff to the last full weekend in July, two men lifted their glasses to the Oregon Brewers Festival, which has held that spot on beer lovers’ summer calendars for nearly 30 years.

The salute did not take place at the event itself—it was called off in early May. Instead, the toast happened 30 miles south of Portland, in the middle of a tranquil farm, an environment far removed from the tangle of sweaty drinkers that usually takes over Waterfront Park this time of year.

Clearly, the opening of Crosby Hop Farm’s TopWire Hop Project is well-timed. At a moment when crowds are a health hazard, the safest way to experience that communal prost rush is on a carefully spaced-out beer lawn tucked within a 600-acre estate in Woodburn.

TopWire—a reference to the trellis structure hop bines use for their clockwise climb skyward—also offers drinkers the chance to immerse themselves in a part of the brewing industry they rarely get to experience in person.

Most hop farms don’t offer public pop-ins, even in Oregon, the third-largest hop-producing state.

At Crosby, those bushy, 18-feet-tall emerald walls make it feel like you’re slipping into the state’s most secretive

4. Loyal Legion 710 SE 6th Ave., 503-235-8272, loyallegionpdx.com. 5-10 pm Tuesday-Sunday.

This sprawling beer hall boasts almost 100 Oregon beers and ciders on tap daily, with draft lines and kegs meticulously cared for and maintained. The bar has put up plexiglass for ordering and limits service to outdoor seating.

5. Wonderly 4727 NE Fremont St., 503-288-4520, wonderlypdx.com.

The market for upscale cocktail spots with a casual twist is oversaturated, but Wonderly manages to pull off something fairly special. The Wonderly Old Fashioned ($11) blends a trio of well-known whiskeys with rum bitters and orange oil for a smoky, citrusy concoction.

Willamette Week AUGUST 5, 2020 wweek.com

beer garden. The fifth-generation farm has parted the bines to create “Lupulin Lane,” a half-mile gravel road leading to the tasting area. Wander the path and, seemingly out of nowhere, you’ll hit a patch of land that’s been stripped of its hops and is now dotted with umbrella-topped spools and a 40-footlong shipping container repurposed as a serving station.

TopWire’s 10 rotating taps exclusively feature batches made with Crosby’s hops. On opening weekend, that included pFriem’s Jammy Pale Ale and a smooth double IPA called When Is the Future by Dallas’ Celestial Beerworks. The selection is evocative of the brewfest experience: There’s likely to be something you’ve had before and want to order again as well as something you’ve never tried but would very much like to.

Once served, take your drink to the yard to admire the view. Take it in while you can: In just a few weeks, this landscape will look vastly different. By late August, when the green veil enveloping the garden is harvested, the farm won’t be nearly as photogenic.

TopWire’s appeal will last beyond that point: No matter the season, it beats drinking in a parking lot. Still, it’s best not to wait. Get there while the bines are high.

ANDI PREWITT

C O U R T E SY O F H C R O B SY H O P FA R M

FOOD & DRINK

GO: TopWire Hop Project at Crosby Hop Farm, 8668 Crosby Road NE, Woodburn, 503-982-5166, topwirehop.com. 11 am-8 pm Thursday and Sunday, 11 am-9 pm Friday-Saturday.

verbial and literal—hadn’t yet settled when Hat Yai owner Earl Ninsom and chef Andrew Mace realized things might not go as planned. The duo took over the former Country Cat space, hoping to convert it into a family-style restaurant that would become a culinary anchor for the neighborhood. COVID-19 threw those plans off course, but the eatery is finally open for outdoor dining, serving flaky dinner rolls, farm-fresh veggies and charcoal-grilled proteins.

3. Langbaan 3560 N Mississippi Ave., 971-220-1997, sunshinenoodles.com.

11 am-3 pm Thursday-Saturday.

Sunshine Noodles is an avowedly irreverent, none too serious take on contemporary Cambodian food by Revelry vet Diane Lam. The corn pudding is a candidate for the city’s best new dessert, but the lime pepper wings are the breakout hit—spicy and complex, they want for nothing except a beer, and perhaps a napkin.

2. Lazy Susan 7937 SE Stark St., 971-420-8913, lazysusanpdx. com. 4-9 pm Friday-Sunday.

At Lazy Susan, the dust—pro-

6 SE 28th Ave., 971-344-2564, langbaanpdx.com. 3-9 pm Thursday-Sunday.

Speaking of Ninsom, his most elusive property is adjusting to the current reality by opening its patio and introducing a newer, snackier, dare we say funner menu, with Thai coconut-rice pancakes, cuttlefish salad, chilled curry noodles and alcoholic slushies. It used to be that you had to make a reservation a year in advance to get a table at Langbaan—now you can just walk up. Thank you, pandemic?

4. Street Disco 1305 SE 8th Ave., street-disco. com. 3-9 pm daily.

Summarized simply, Disco Snacks is a multifaceted snack bar concept at White Owl

Social Club comprising a series of distinct ideas. That includes Taco Tuesdays, a public school cafeteria homage to tacos of the hard-shell variety, and pizza inspired by the suburban food court experience, currently available for preorder on Fridays and Saturdays. The stunner is the cheeseburger pie, a heavyweight concoction made of pickles, ketchup, onions and American cheese.

There is nothing else quite like it in Portland.

5. Montage Ala Cart (at Hawthorne Asylum) 1080 SE Madison St. 11 am-8 pm daily.

Remember Montage? It’s back—in cart form. The iconic late-night Cajun restaurant announced its closure at the end of June after 27 years on the Central Eastside.

Almost as suddenly as it shut down, though, it’s staging a comeback, moving into the Hawthorne Asylum food cart pod and offering a pareddown version of Montage’s classic menu, featuring the jambalaya, the po’boy and the much-loved classic mac and cheese, plus variants—as well as the new, wildly tempting “nacho-ronies,” which are basically macaroni-topped nachos.

Sounds godlessly delicious!

TOM NEWTON

POTLANDER

High and

Ladies of Paradise, the high-femme creative agency behind Potlander fave Lady Jays preroll packs, have pulled up by partnering with the Last Prisoner Project to launch a special edition BLM Blend pre-roll pack starting Aug. 16.

Mighty

The Weed: 10 half-gram medleys of Strawberry Ice, Black Water, Great White Shark, God Bud and Holy Grail make up the BLM Blend pack, a curated blend of this year’s finest hybrids from the venerable Indoor Orchards hydroponic farm. Think of these as the perfect pre-rolls to finish out summer 2020. Either smoke them solo or with a tiny social bubble that won’t otherwise judge you for getting weird on a five-strain frankenjoint.

The Floret Coalition doesn’t just want to talk about the damage the War on Drugs wreaked on communities of color—it wants to help repair it.

When Maya Shaw first entered the world of recreational cannabis, she found an industry skilled at churning out Instagrammable content but unable—or unwilling—to confront its own problems.

“It’s crazy that no one was really talking about the fact that we were openly profiting off cannabis and making it cute and making it fun and accessible,” says the Richmond, Va., founder and namesake of online smoke shop Shaw. “And it’s like, OK, that’s cool, but can we have a conversation about what’s happening behind the scenes? The War on Drugs?”

Shaw is now part of a group aiming to start those hard conversations—and put some money where the discussion is.

The 27-year-old entrepreneur is an inaugural member of the Floret Coalition, a business collective with the mission of bringing together small businesses in the weed space who are eager to become involved in the fight for restorative justice but might not be entirely sure how or where to start.

The Floret Coalition is a division of Broccoli, a Portland arts and culture magazine centered on cannabis. It operates as a modified giving circle: Small cannabusinesses join the coalition, receive an onboarding packet and commit to a minimum monthly donation. When the group’s board announces the charity of the month, all Floret Coalition members direct donations straight to the recipients.

The three-member board vets each charity, and the board changes yearly. For the coalition’s first year, Shaw is joined by entrepreneur and podcaster Mennlay Golokeh Aggrey and cannabis advocate Kassia Graham.

Floret emerged as “both a response and a realization that we had some community power that we could activate beyond just what we could do individually,” says Anja Charbonneau, Broccoli’s editor in chief. “Seeing the way that people were willing to open their wallets during the first wave of this summer’s protests really gave us the push to believe that people were ready to rally.”

Shaw puts it another way: “It’s time to tell your friends to pull up.”

WW: Did the idea for the Floret Coalition arise in response to the George Floyd uprising or had it been in the works before then?

Anja Charbonneau: Floret getting started in June was not only a reaction to the recent Black Lives Matters

uprisings but also addressing a longer-term need that we’ve seen in cannabis to find tangible, financial ways to give back.

Maya Shaw: It was pretty seamless. Anja sent a message to the three of us, and she was just like, “Here’s what I want to create, and the three of you would be an awesome first team of board members.” And I couldn’t agree more.

We’re all pretty like-minded in the sense that we want to do the right thing and we want to make sure that we’re making this the best that it can be—setting the ground, setting the stakes, and showing up for our community.

The Cause: All proceeds from sales of Lady Jays BLM Blend go to the Last Prisoner Project, a nonprofit focused on nationwide restorative justice in the cannabis industry, including release, clemency and expungement, and successful reentry into the job market. See more at LastPrisonerProject.org.

The Lady Jays team will promote the BLM Blend and curate a series of vendor days at participating dispensaries Aug. 17-23. Put on your fanciest masks and visit with the team for some Instagrammable spontaneous dance parties, candid convos about restorative justice in the cannabis industry, and the warm feeling of contributing to social justice in a tangible—albeit hella stoned—way. BW. S O F PA R A D I S E COURTESY OF LADIE

TAKING STALK: Virginia cannabis entrepreneur Maya Shaw is among the inaugural board members of the Floret Coalition.

BY BRIA N N A W H E E L E R

Joints for Justice

What criteria do organizations need to meet in order to qualify to receive donations?

Shaw: We want to make sure that we are really choosing organizations that are going to use the money properly.

We’re focused on organizations created so that these communities can have the same resources already available within communities that haven’t been affected as such by the War on Drugs. Knowing that the Black community, the Latinx community, and Indigenous people overall are affected most, there’s so much opportunity there.

It’s not necessarily just one specific thing. There are so many pockets and different crevices where we can put the money knowing it’s going back into communities in need that are affected.

What criteria must businesses meet to join the coalition, aside from being cannabis adjacent and donation consistency?

Charbonneau: That’s pretty much it. The funniest example I have is a brand that makes catnip toys shaped like joints. They’re like, “Does this count?” Of course—you’re making money off the idea of weed, so why not?

Can you explain the difference between performative allyship and, as Rihanna put it, “pulling up”?

Shaw: Brands just really need to be honest with themselves in terms of the long run. Silence speaks louder than anything. This industry is built on the backs of Black people, Latin people and Indigenous people, and anyone profiting off this industry needs to be finding a way to donate back to the communities that are affected negatively by the injustice in the industry. It’s almost, in a sense, reparations, or reworking profit. If you’re profiting, you also need to be giving back.

: BUY IT y d Jays Find La Edition Limited rolls eBLM Pr at Eden, Farma, nd Serra a . e L ttuce Electric

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Editor: Andi Prewitt | Contact: aprewitt@wweek.com P O R T L A N D C E N T E R S TA G E AT T H E A R M O R Y

PERFORMANCE

My Essential Seven: Chip Miller KANSAS CITY BLUES: Chip Miller misses their hometown but is excited about opportunities in Portland.

Portland Center Stage’s new associate artistic director has a lot to say about cinnamon rolls, musicals and Kansas City barbecue.

BY BE N N E T T C A M P B E L L FE RGUS O N

Chip Miller has a superpower: They make you want to drop whatever you’re doing and catch a plane to Kansas City. So vivid are their descriptions of the Missouri metropolis where they grew up that they make you feel as if you’re listening to live jazz, smelling cinnamon rolls made with croissant dough, and tasting meat that’s been smoked for hours, elevating it to legendary heights.

“There is no better meal than Kansas City barbecue,” Miller says, “and if you’ve never had Kansas City barbecue, I don’t know what you’re doing with your life.”

Miller has done plenty with their life. For seven years, they were an artistic associate/resident director at Kansas City Repertory Theatre, and recently became Portland Center Stage’s associate artistic director. Given Miller’s exhilaratingly eclectic résumé—their directing credits include Hedwig and the Angry Itch and A Raisin in the Sun—almost anything is possible for them at PCS. Yet as Miller spoke about seven things that they deem essential in life, their gaze continually drifted back to the city that shaped them.

“Kansas City is home,” Miller says. “It will forever be home. Even when I hate it—and there are many times when I do hate it—it is always home.”

1. My circle of family and friends We have a family text thread that is never-ending and a really great way to digest everything that’s happening in the world and to have friendly debates. Today, we talked about the Oklahoma governor testing positive for coronavirus, the conflict of calling the Washington Redskins the Red Tails—and how the Red Tails [name] is so tied to the Tuskegee Airmen—and the defeat of Jeff Sessions in Alabama.

2. Kansas City, Mo. My complicated relationship with Kansas City, I think, is based in growing up as a queer, Black kid in the Midwest in the ’90s and early aughts, and that feeling of “I don’t belong here. I don’t see a community for me here. I don’t see a place where I fit in.” And when I came back as an adult, I realized that I could make a space for myself there. I could find comfort and I could find a life, because I suddenly had the autonomy of being an adult with a car, a home and a job.

3. Coffee It is truly a thing that I have every day, and if you took it away from me, I don’t know what 26

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I’d do. I love Sterling Coffee in Northwest—that’s my main squeeze. I’ve liked Never Coffee in Southwest. I’m sad that the Pearl Bakery is gone—that was where I was having a ton of my meetings. Those cinnamon crowns, I miss them. I think there was a week where I had a meeting there every single morning, mainly because I just wanted to go and get cinnamon crowns.

4. The work of James Baldwin He was, for me, the first Black intellectual—a queer Black intellectual—who seeped into my psyche and told me that I wasn’t some alien, that there were people like me who existed and would continue to exist. I’m looking at my bookshelf and there are nine books that say “Author: James Baldwin,” and it’s because he has given me permission through his writing to do the things that I do.

5. Musical theater cast recordings I believe that life is a musical. You can ask most of my friends—I will randomly break out into songs. What I love about theater in general is that there’s catharsis that comes from a story being told to you in real time. You’re watching art being made while engaging with the story. Music and dance are cathartic because they’re expressing something that we can’t just say, and so to add catharsis on top of catharsis on top of catharsis can make musical theater totally overwhelming and consuming in a way that few artforms can be.

6. Dance parties I think anyone can dance. Dance is just feeling the music. Sometimes your dance is bopping your head. Sometimes your dance is doing a plié. Sometimes your dance is literally just tripping over yourself onto the floor. Everything, if it’s framed correctly, is dance. I love that dance allows me a moment to not be totally conscious of the voices in my head and give over to the voices in my body.

7. Homemade cinnamon rolls I have a grandmother who makes the most incredible cinnamon rolls, and her cinnamon rolls will forever be little bites of deliciousness.

The real fun of quarantine is that I decided I’m going to learn how to make cinnamon rolls. And so I have been working on my own homemade cinnamon rolls, and I’m getting pretty good. This next round will be my fifth attempt, and I feel like each one has gotten better.

Because I live alone, I end up with 13 cinnamon rolls that I try to give away.

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BOOKS

BOOKS FIVE OTHER GREAT GRAPHIC NOVELS BY WOMEN.

Cowboy, Rikke Villadsen

Love and Basketball

Portland comics artist Sloane Leong’s A Map to the Sun is the graphic novel of the summer.

BY S U ZE T T E S M I T H

@suzettesmith

Sloane Leong’s A Map to the Sun is built on a simple narrative: Five young women join a scrappy, underfunded high school basketball team to avoid getting expelled. But the personality the Portland cartoonist breathes into each of her graphic novel’s characters—who are primarily women of color, with complex families and responsibilities—brings the familiar story an extraordinarily lived-in weight.

It might seem unlikely that a brightly drawn book about youth basketball could also speak powerfully to the vestiges of colonialism that linger and hold court over so many marginalized lives. But Leong ’s perspective as a person of Hawaiian, Chinese, Italian, Mexican, Indigenous and European ancestries makes her an ideal voice to tell those stories. When A Map to the Sun isn’t busy being fun and action-packed, it carefully portrays intergenerational relationships—both loving and damaging—with a deft touch that puts it in a class of its own.

For years, Leong self-published her comics and worked as a professional penciller and artist. In 2018, the first collection of her sci-fi comic series Prism Stalker appeared on year-end lists by the AV Club, Paste magazine, and the New York Public Library, catapulting her to national comics notoriety and causing the publisher Image to rush order more copies to keep up with demand. It’s hard to expect anything less from A Map to the Sun. WW: How did this story come to you? Is it based on personal experience?

Sloane Leong: It’s very personal. I made a short comic in 2016, which is the first 30 pages of Maps. It focuses on Ren and Luna, who meet over the summer and have this whirlwind friendship [and] romance that quickly falls apart. That was inspired by a dynamic I experienced with a friend when I was young. I loved them so much, and then one day they just literally disappeared and I had no way to contact them.

Growing up, I didn’t see my experiences reflected a lot in coming-of-age fiction, especially in movies. I felt alienated by how popular culture portrayed young people’s childhoods. So I wanted to do my own take on that.

Reading A Map to the Sun feels like running through it—the colors pull you through with their intensity.

Where does your approach to color come from?

A lot of my inspiration for color comes from Hawaii. The colors you see there are just phantasmagoric. You have sunsets with a million colors. You have these orchids that contain entire color palettes in one petal alone. Then from my mom’s side, I had exposure to traditional Mexican art, which is also extremely vivid [and] clashy. I wanted to fuse that into Maps. I drew the comic on paper with ink—using brush and nib pens—then I colored it digitally. And I found

SLOANE LEONG

that color changed the scene and made some interesting, surprising twists in the atmosphere.

Mainstream comics have very literal color: green trees, green grass, blue sky—just very literal. I also work in scifi, and that whole genre is very scared of color. When you think of a spaceship, you think of silver—clean, sterile.

And, to me, that’s a very colonized view of the future. It’s a very colonized view of color.

The vivid color reminded me of the intensity of emotions at that age, too.

Yeah, everything is at 110%.

Where is the setting of this story? It feels like Southern California.

I grew up all over Southern California, so it’s a vague amalgamation of Oceanside, L.A. and Carlsbad.

Did you move to Portland to go to art school?

I’m self-taught.

This level of skill made me think you attended a fine arts school.

The extent of my schooling is that I got a GED when I was 16.

What led to that?

I got my GED while I was living in Hawaii. The schools there were exceptionally terrible. There were good teachers but no funding. If I could finish the math problem of the week, I would have nothing to do, and I just spent the rest of my time drawing. I thought it was a waste of time, so I took my GED and just started working.

A Map to the Sun reminds me of Mariko Tamaki and Jillian Tamaki’s 2014 graphic novel, This One Summer, mostly for the way both works dig deep on real human imperfections. Was that an influence?

This One Summer wasn’t really an influence because, by the time I read it, I’d already mostly drawn Maps. Lynda Barry’s autobio stuff was pretty inspiring to me. She also gets to the kind of grim but potently real aspects of childhood, teenhood, and developing relationships.

A lot of my references are manga. Real by Takehiko Inoue was a big influence. That’s about wheelchair basketball. It’s like a 20-volume master work. The wheelchair basketball scenes are amazing. I also love Mitsuru Adachi’s sports-themed manga. His humor and the way he paces out sports games are really great. Those are the ones that were present with me while I was working on Maps.

It sounds like you’ve been actively studying motion and portraying sports in comics.

Personal experience, too. I was on a co-ed basketball team in middle school. There weren’t enough kids to make boys or girls teams individually, but I’ve never been especially athletic. I have asthma and I’m a book nerd, but I had a lot of fun playing, and a lot of team dynamics in Maps are drawn from that weird, little, thrown-together team.

Even if you bristle at the guns and the lawlessness and the political signaling, there is something to be said for the cowboy aesthetic. The shady figures and weathered faces easily translate to the graphic novel format, which Danish artist Rikke Villadsen takes full advantage of in her newest release. Cowboy is Villadsen’s follow-up to The Sea, a black-and-white tale of a man lost on a boat, and it relies on the same skills that have made her a critical darling from the start: sparse lines, surrealist interpretations of old faithful tropes and ultramodern creativity.

Snotgirl, Leslie Hung This monthly series was bound to develop a cult audience given its author is Bryan Lee O’Malley of Scott Pilgrim fame, but the runaway talent is Leslie Hung, an artist just at the beginning of her comics career. Hung’s style relies on color and gloss, making for an easy read that works within the digital utopia it imagines, in which a buzzy influencer is stuck between a life of glamour and a life full of stalkers, idolatry, mystery, humor and less than ideal allergies.

Skip, Molly Mendoza Molly Mendoza’s Skip doesn’t seem to cater to the typical graphic novel crowd, or the young adults, or the adult adults, or any one group in particular. The book, a dimension-tripping narrative freefor-all, goes light on the dialogue and heavy on the illustrations. But it makes sense—Mendoza is a Portland illustrator whose command of color and texture works on its own. The result is a graphic novel that reads as an independent work of art, drawing readers back to its pages again and again.

Before the Rain, Anne Pomel It may be self-indulgent for locals, but there is something about seeing Portland sketched from the perspective of a new arrival that is cathartic in a time of unrest. Before the Rain is the work of French artist Anne Pomel, a former graphic designer who moved to the city on a whim, blind to the weather and the eccentricities. The pages are filled with Pomel’s unique sense of place, using intricate panels to reconcile the new with the old, the corporate with the homegrown, and all the other -isms that have crystallized over time.

Cult of the Ibis, Daria Tessler Daria Tessler, a Finnish-born Portland transplant, works mostly with screenprinting, but she’s dabbled in stationery, watercolor, graphite and textiles. All those skills are on display in Cult of the Ibis, a visual fever dream that has been applauded for its maximalist approach to artistry and unconventional storytelling. Some images take up whole pages while others fall back to the traditional graphic novel paneling, adding new life to the genre and satisfying those who appreciate the atmospheric, experimental type. SCOUT BROBST.

STREAM: Sloane Leong appears at A Map to the Sun’s virtual book release on Floating World Comics’ Twitch stream at twitch.tv/floatingworldcomics. 6 pm Wednesday, Aug. 5.

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MOVIES

H E R E AW H I L E . C O M

Editor: Andi Prewitt / Contact: aprewitt@wweek.com

SCREENER

GET YOUR REPS IN While local rep theaters are out of commission, we’ll be putting together weekly watchlists of films readily available to stream. This week, the theme is coming-ofage under the sun—each film centers on adolescents who experience unforgettable summers that alter the course of their lives, for better or worse.

Skate Kitchen (2018)

DEATH WISH: Anna Camp plays a terminal cancer patient exploring her end-of-life options in Here Awhile.

Script Doctor A former Portland physician’s screenplay about Oregon’s Death With Dignity Act is earning critical acclaim.

BY JAY H O RTO N

@hortland

A former Portland pediatrician and health care administrator, whose first produced script became a critically acclaimed motion picture, is living the dream of every weekend screenwriter. But Csaba Mera’s overnight success story with Here Awhile was actually years in the making.

Over a decade ago, the well-connected Hollywood production-acquisitions executive who championed Mera’s initial screenplay about a troubled inner-city teen fell ill and died just after they had begun shopping it around.

For his second effort—a story depicting the struggles of homeless sisters—Mera partnered with a local indie production company that ended up declaring bankruptcy a few weeks before filming was scheduled to start.

In 2017, Mera worked tirelessly to adapt the memoir of a female death row investigator only to learn her agents had other plans for the property.

“That was my third strike,” he laughs. “At that point, you’d think this mad Hungarian would just give up, but nooo!”

Instead, Mera drew inspiration from an acquaintance who’d developed colon cancer at a young age and wished to explore Oregon’s state-sanctioned, end-of-life alternatives.

“Driven by frustration, I pounded out a new script in 10 days, sent that off to [Here Awhile director/co-writer] Tim [True], and he reached out to a casting director,” Mera says. “The timeline was absolutely ridiculous. In mid-December, there wasn’t a word written, but we finished shooting by August. It was crazy. All along, I kept thinking, ‘When is somebody going to kill this thing?’”

To be sure, production schedules are more easily streamlined once a bona fide star signs on, and Anna Camp (Pitch Perfect, Perfect Harmony, True Blood) immediately expressed an interest in portraying the lead role of a terminal cancer patient reconciling with her estranged brother (The Expanse’s Steven Strait) and unexpectedly bonding with his Asperger’s-diagnosed neighbor (Brooklyn 99’s Joe Lo Truglio).

“It was a bit of a casting hack,” True explains. “Once we realized that some real talent might come on board, even though we couldn’t offer anything financially, our strategy was giving opportunities to actors primarily known for their comedic talent. I just knew Anna had this wonderful range within her. Steven Strait, this great leading man, comes from Syfy television to join our little film, and Joe Lo Truglio has the biggest heart ever. We were able to 28

Willamette Week AUGUST 5, 2020 wweek.com

move them with the writing and trust them with roles they weren’t really playing up until this film, but we had faith.

Great acting is great acting.”

Although the emotional depth of Mera’s screenplay doubtlessly attracted some of the industry’s bigger names, he’d also structured the story in such a way that it could be made with a minimal budget. Aside from brief trips to the woods and the coast, almost every scene takes place at a Northeast Alberta Street Victorian—home to Strait’s character.

“Shooting the film in Portland was an automatic decision because Portland’s such an important character within the film,” says producer Deborah Lee Smith. “The Death With Dignity Act is specific to Oregon, and we wanted to make sure we stayed true to that. [Although] they both live in L.A. now, Csaba and Tim have a very strong connection to Oregon. They really wanted to ensure the characters and the story were as accurate as possible.”

Emerging as an audience favorite and critical darling during an abbreviated run through the festival circuit last winter, Here Awhile won the Omaha Film Festival’s Best Feature award, drew crowds to three separate screenings at the Napa Valley Film Festival, and inspired Portland International Film Festival judges so much that they introduced a category, Best New Director, to honor True.

Shortly before the pandemic effectively pushed all new releases that weren’t postponed to Video on Demand, the filmmakers had scheduled a limited theatrical run at independent venues in New York, Los Angeles and Portland, where the patient rights advocacy group Compassion & Choices was set to lead a discussion following the local premiere.

By focusing on the distinct travails of such finely etched characters, Here Awhile never feels politicized, but the film’s creators are all too aware that physician-assisted suicide remains a divisive issue in many parts of the country.

“We never felt any pushback,” True says, “but we’ve been to festivals where it was clear some audience members held a different opinion. One thing this film does not do is push an agenda. We just tell one person’s story in a way that isn’t preachy. Our desire certainly isn’t to change anybody’s mind, but maybe we could set the table for people to be able to talk about the end of their lives in a way that’s not so scary. That’s what’s really powerful about this story. We create space for the conversation.”

SEE IT: Here Awhile streams on Amazon Prime, Google Play and YouTube.

The inspiration for the new critically acclaimed HBO series Betty, Crystal Moselle’s coming-of-age drama focuses on a teen girl who joins an all-female skateboarding collective called “Skate Kitchen” one summer in New York City. Together, the rebellious girls curate a safe space to find a reprieve from the male-dominated boarding culture. Amazon Prime, Google Play, Hulu, Vudu, YouTube.

Dirty Dancing (1987) One hot summer in the Catskills, a repressed 17-yearold girl (Jennifer Grey) falls hard and fast for dance instructor Johnny Castle (Patrick Swayze). As he trains her for her first performance, their undeniable chemistry and alluring choreography stokes a forbidden romance. Amazon Prime, Google Play, Hulu, iTunes, Sling TV, Vudu, YouTube.

Claire’s Knee (1970) The fifth entry in French auteur Éric Rohmer’s loose Six Moral Tales series follows a diplomat on holiday at Lake Annecy, where he’s tempted by the landlady’s daughters—despite the fact that he’s about to be wed. Oh, and they’re teens. Dialogue-driven and sumptuously filmed, this romantic drama tackles a taboo subject with a rare elegance. Criterion Channel.

The Florida Project (2017)

In Sean Baker’s slice-of-life drama, 6-year-old Moonee (Brooklyn Prince) and her unstable mother live a life of poverty in a shabby motel in Kissimmee, Fla. To cope, Moonee and her friends cause mischief as they fantasize about escaping to nearby Disney World.

Willem Dafoe earned an Oscar nomination for his role as the paternal motel manager, which he should’ve won. Amazon Prime, Google Play, Kanopy, Netflix, Vudu, YouTube.

George Washington (2000) Set over the course of one fateful summer in rural North Carolina, a group of working-class Black tweens’ lives are disrupted when they’re forced to work together to cover up a tragic mistake. The film is a harrowing reflection on guilt, grief, redemption, and the brutal weight of an unwieldy secret. Amazon Prime, Criterion Channel, iTunes.

MOVIES RAPPLER

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TOP PICK OF THE WEEK TOP PICK OF THE WEEK

A Thousand Cuts If it’s felt as though democracy has been on the ropes this month, this year, this century, A Thousand Cuts is a harrowing snapshot of its knockout.

Since President Rodrigo Duterte’s election in 2016, the Philippines’ “War on Drugs” has effectively given the federal government carte blanche to execute anyone suspected of dealing or using narcotics. In A Thousand Cuts, director Ramona S. Diaz turns her lens on the beleaguered Philippine free press illuminating that state violence—mostly Maria Ressa, CEO of the journalism website Rappler and Time’s Person of the Year in 2018.

(Ressa is currently appealing a conviction for “cyber-libel” that Reporters Without Borders has deemed “Kafkaesque.”) The most tragic and canny component of Diaz’s documentary is simply its demonstration of how unpopular journalists are in a country where propaganda has accelerated through social media at an unprecedented pace. Sure, Ressa procures Amal Clooney’s personal email in one slightly hopeful scene, but Diaz shrewdly cuts back to a rally of several thousand Duterte supporters bellowing for a strongman who freely jokes about rape and turns murder into explicit federal policy. It’s a terrifying reminder for pro-democracy advocates to act now. Because once one side is unpacking publishing principles and the other is wholly comfortable with bloodshed, it’s probably too late. NR. CHANCE SOLEM-PFEIFER. Cinema 21 Virtual Cinema.

ALSO PLAYING Welcome to Chechnya In 2017, the Chechen Republic targeted all gays and lesbians in a countrywide “hunt.” Its tactics and atrocities are noted with precision in the poignant documentary Welcome to Chechnya. The film follows a network of activists who smuggle LGBTQ individuals out of Russia, focusing on two rescuers and two rescuees as they navigate their way to safety. With its rough and raw camerawork, the documentary exposes a human rights tragedy that, for one reason or another, has been purged from headlines. Here, crisis coordinator David Isteev is doing all he can to change that, not just by detailing the tragedy on film, but by spiriting at-risk gays and lesbians out of Russia to nearby countries. The film does all it can to keep its subjects safe, too.

Director David France uses “deep fake” technology to overlap their faces with that of a volunteer, allowing France to capture daily routines. In the tradition of guerrilla filmmaking, France zeroes in on hang-out scenes, where men and women chat, joke and make love while hiding from authorities. There are nail-biting moments, too—checkpoints, blown covers—but France treats the banal and the pivotal equally to speak to his greater point: The queer people of Chechnya live in fear day and night, at home and in public. Chechnya the movie blends this terrifying message with glimmers of hope and resistance. NR. ASHER LUBERTO. Amazon Prime, HBO Go, HBO Now.

A Girl Missing With the revenge preoccupations of Park Chan-wook but the no-frills living-room style of Ken Loach, Japanese writer-director Koji Fukada makes movies about the echoes of guilt. The successor to his 2016 high-water mark Harmonium, A Girl Missing witnesses the unraveling and transformation of a devoted nurse named Ichiko (played by Fukada favorite Mariko Tsutsui) into a lonely woman about town. Her character shift is brought on by Ichiko’s nephew dispassionately abducting the granddaughter of a patient, but this kidnapping mystery is only the initial thread in one of 2020’s knottiest films. As with Harmonium, Fukada entrenches audiences in the darkest possible subject matter but omits violence or action that could rack up

points for shock, style or catharsis.

His tastes are unflappably drab.

Meanwhile, Mariko is outstanding as a trusting woman realizing too late that accusations about the kidnapping are rippling her way. For the most part, A Girl Missing is a writing achievement.

At only 40, Fukada seems a whisker away from resounding international acclaim, but he keeps stiff-arming audiences back from any version of narrative or experiential gratification.

Still, if you dig a fathoms-deep script about guilt coming home to roost, consider this a loud but conflicted endorsement. NR. CHANCE SOLEM-PFEIFER. Virtual Cinema.

Days of the Whale Both by recent American standards and the (perhaps outdated) reputation of the city itself, the streets of Medellín, Colombia, appear almost tranquil in Days of the Whale. We follow university student Cris (firsttime actor Laura Tobón Ochoa) biking to a cafe, adopting a stray dog with her flame Simon (another newcomer, David Escallón Orrego) and dancing in a commune of fellow graffiti artists.

Where injustice does exist—cartel flunkies shake down the neighborhood for “protection”—it’s absorbed into a civic mural. Their threat is almost atmospheric in Medellín, so Cris and Simon must decide how seriously to take it and whether to quit painting their zoological street art over top of gang tags. Though her debut feature is slight and its script more like a sketch at times, Catalina Arroyave Restrepo brings her home city to life with marvelous assuredness and ease. This is a movie chiefly about place, and instead of explaining Medellín in a post-Escobar world, she reveals it, earning audience trust with docurealistic visuals still fluid enough to demonstrate the craft of fiction. The painting scenes are probably the film’s most euphoric, and in this way, Days of the Whale is an artist’s manifesto: It believes in the transformative value of creation. NR. CHANCE SOLEM-PFEIFER. Virtual Cinema.

Manchild: The Schea Cotton Story In 1995, Schea Cotton was the country’s top-ranked high school basketball player. The hoop dreams were high and his vertical was higher.

Cotton, whose publicity matched that of later stars, like LeBron James and Jason Kidd, was such an explosive athlete you couldn’t help but wonder if

A THOUSAND CUTS he ate gunpowder before each game.

At 15 and 16, he was packing arenas, signing autographs and appearing in Sports Illustrated features. Then the moment was gone. The NBA draft passed him by in 2000, as did his competitors, like Baron Davis, Paul Pierce and Tyson Chandler. How could a top prospect in his sport drop off the map so quickly? That’s the cautionary tale spun by Manchild: The Schea Cotton Story, a brisk, troubling documentary that doesn’t over-dribble. In less than 90 minutes, Manchild tells Cotton’s story through interviews and archival footage of the 6-foot-6 player dominating the court. “He was LeBron James before LeBron James,” says former Celtic Paul Pierce. The only way to stop him was off the court. The documentary doesn’t shy away from detailing the media’s perverse role in hyping kids at an early age and the NCAA’s corruption, which derailed Cotton from playing Division I basketball. But Eric Herbert’s directorial debut, which premiered at the L.A. Film Festival in 2016, and released on streaming services this summer, is more than a “what could have been” narrative. It’s a rewarding reminder of how athletes who are considered “failures” can still rebound off the court.

NR. ASHER LUBERTO. Amazon Prime, Google Play.

Carmilla A carriage crashes and out climbs Carmilla, a mysterious young lady ready to spark the 19th century English gentry in their own version of The Witch meets Portrait of a Lady on Fire. Taken in by a local family to recover, Carmilla instantly earns the affection of their teenage daughter, Lara (Hannah Rae), and the distrust of Lara’s stern governess (Jessica Raine) and the attending physician following the crash (Tobias Menzies). Based on one of the earliest known works of vampire fiction, dated 1871, Carmilla seeks to explore how oppressive social expectations of women catalyze a fairly innocent rebellion that can look devilish in the right (or wrong) light. But that kind of social commentary requires an insightful dramatic core, and Carmilla too often shoehorns in horror elements for convenience.

Director Emily Harris’ script constantly fills gaps where character detail should go with demonic illustrations, dream sequences and time-lapse footage of decaying wildlife. Even if it is pinned

between the stately drama and the scrappy genre play, Carmilla arrives lovingly crafted and noticeably well lit, creating constricting circles of visibility around its characters with encroaching darkness. It just doesn’t matter how well we can see them; we don’t know them. NR. CHANCE SOLEM-PFEIFER. filmmovement.com/carmilla.

Greyhound The ocean has always beckoned Tom Hanks. From mermaid romances (Splash) to Gulf shore shrimping (Forrest Gump) to tragically losing Wilsooooon (Cast Away), Hollywood’s favorite Everyman has often been put in his place by the briny abyss.

In Greyhound, it’s more like Hanks, who also wrote the screenplay, premeditated the humble place. Stoic and dutiful as the skipper of a U.S. destroyer shielding a convoy from Nazi U-boats, Hanks undercooks his own passion project in this ominous Apple TV+ war movie, which Sony sold off to streaming when the pandemic hit this spring. Largely free of backstory or B plots, Greyhound (or Coordinates: The Movie, as it could’ve been called) steams forward as a historical military exercise. Hard right rudder now, to avoid yet another unidentifiable ripple in the black waves. On the one hand, there’s value in fixating a war movie so fully on process that the glory is sapped out of violence. But Greyhound veers too sternly toward lifelessness.

Of all the nautical Hanks movies to imitate, this one apes Captain Phillips, obsessed with the realism and alienating qualities of military might. It’s too bad Hanks has narrowed the definition of Everyman to “glum avatar for bravery.” PG-13. CHANCE SOLEMPFEIFER. Apple TV+.

John Lewis: Good Trouble

Congressman John Lewis was an undeniably important civil rights leader: Over his 60-year career, he was arrested 45 times, and his steadfast activism paved the way for the end of segregation and the advancement of voting rights. His tenacious approach to these issues also “highlighted the inactivity of the federal government,” according to Congresswoman Alexandria Ocasio-Cortez, who is interviewed in the film along with a host of other leaders, ranging from newwave progressives like Rep. Ilhan Omar to outdated centrists like the Clintons and House Speaker Nancy Pelosi.

It’s difficult to make a documentary about a living subject that doesn’t feel self-serving—Lewis died of pancreatic cancer July 17 just a few weeks after the film debuted—especially if the subject is a politician, of whom there are no perfect ones. At times, Good Trouble sidesteps this trap by featuring archival footage of the 1965 Selma-to-Montgomery marches, but its present-day content is cursory, verging on cloying and pandering.

Did we really need a segment dedicated to Lewis’ fondness for dancing to Pharrell Williams’ “Happy”? Good Trouble may be emblematic of our tendency to lionize public servants— though Lewis’ impeccable voting record demonstrates he practiced what he preached—but it also serves as a welcome and timely reminder that causing a stir is exactly what creates societal and political change.

PG. MIA VICINO. Amazon Prime, Google Play.

Rebuilding Paradise When he’s directing fiction, Ron Howard’s voice tends to be that of a centrist dad: Obstacles loom impossibly large in movies like Apollo 13 and A Beautiful Mind, but that’s what makes these men’s jobs worth doing, kids. Howard takes pretty much the same stance in his documentary Rebuilding Paradise, sifting through the ashes of a 2018 inferno that consumed Paradise, Calif., claiming 85 lives and leaving little standing. Like all Howard efforts, except maybe that Grinch remake, Rebuilding Paradise clings to the best intentions, and it’s more emotive than inquisitive. The documentary’s favorite refrain is that the Paradise residents didn’t just lose homes, they lost home. That’s a powerful and worthy sentiment the first few times, but Howard’s tendency to bask in the Rockwellian fantasy of this lost community clearly takes precedence over more hard-nosed insights on lawsuits against the electric company PG&E, regional and international climate concerns, and relevant Indigenous history in Butte County.

The documentary actually tips its hat to all three of those ideas, which only really serves to highlight the more melodramatic approach. In interviews, Howard has called himself merely a “wannabe journalist.” He’s being humble, of course, but with this documentary, it shows. PG-13. CHANCE SOLEM-PFEIFER. rebuildingparadise.film.

Willamette Week AUGUST 5, 2020 wweek.com

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SPOTLIGHT

SONJA ANISE

by

JACK KENT Bridge Edition!

Sonja Anise is a painter and mixed media artist whose work explores the intersection of physical and transcendent themes investigating the tension of the tug between tangible and ephemeral.

Her work is a type of processing - allowing a moment of introspection into the human condition. The departure from flesh tones and proportional bodies encourages the consideration of synthesis between physical & emotional forms.

For more of her work visit - www.sonjanise.net For inquiries, email - sonjanise@gmail.com

Jack draws exactly what he sees n’ hears from the streets.

IG @sketchypeoplepdx | kentcomics.com

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Willamette Week AUGUST 5, 2020 wweek.com

JONESIN’

Week of August 13

©2020 Rob Brezsny

by Matt Jones

"Getting Free K"--reaching #1000! I say 28 Across!

ARIES (March 21-April 19)

LIBRA (Sept. 23-Oct. 22)

Motivational speaker Les Brown says his mission in life is to help people become uncomfortable with their mediocrity. That same mission is suitable for many of you Rams, as well. And I suspect you'll be able to generate interesting fun and good mischief if you perform it in the coming weeks. Here's a tip on how to make sure you do it well: Don't use shame or derision as you motivate people to be uncomfortable with their mediocrity. A better approach is to be a shining example that inspires them to be as bright as you are.

"I have one talent, and that is the capacity to be tremendously surprised," writes Libran author Diane Ackerman. I advise you to foster that talent, too, in the weeks ahead. If you're feeling brave, go even further.

Make yourself as curious as possible. Deepen your aptitude for amazements and epiphanies. Cultivate an appreciation for revelations and blessings that arrive from outside your expectations. To the degree that you do these things, the wonderments that come your way will tend to be enlivening and catalytic; unpredictability will be fun and educational.

TAURUS (April 20-May 20) Taurus musician and visual artist Brian Eno has a practical, down-to-earth attitude about making beautiful things, which he has done in abundance.

He says that his goal is not to generate wonderful creations nonstop—that's not possible—but rather to always be primed to do his best when inspiration strikes. In other words, it's crucial to tirelessly hone his craft, to make sure his skills are constantly at peak capacity. I hope you've been approaching your own labors of love with that in mind, Taurus. If you have, you're due for creative breakthroughs in the coming weeks. The diligent efforts you've invested in cultivating your talents are about to pay off. If, on the other hand, you've been a bit lazy about detail-oriented discipline, correct that problem now. There's still time to get yourself in top shape.

GEMINI (May 21-June20)

ACROSS

44 Go with the flow, maybe?

23 One in charge

1 They're out to pasture

48 Minimal

24 Admire excessively

10 Words before "your mother" or "your father"

50 Hull backbone

25 Told, as a secret

51 Rod Stewart's "Lost _ _ _"

26 _ _ _ Bachika ("Gurren Lagann" anime character who I just found out is a human and not a cat)

15 Prepared statement 16 Slip 17 Verdi opera originally titled "La maledizione" ("The Curse") 18 _ _ _ Selänne, highestscoring Finn in NHL history 19 Short gamut 20 Measures of loudness

52 Extended 57 Make grime pay?

58 Moved forward, perhaps 59 River through France and Belgium 60 Vacation purchase with a possibly aggressive sales pitch

29 _ _ _ De Spell ("DuckTales" character voiced by Catherine Tate in the 2017 reboot) 31 Place for neighborly gossip 32 Samuel L. Jackson movie that Roger Ebert called the best film of 1997

In his 2010 album *My Beautiful Dark Twisted Fantasy*, Gemini musician Kanye West confesses the decadent and hedonist visions that fascinate and obsess him. Personally, I'm not entertained by the particular excesses he claims to indulge in; they're generic and unoriginal and boring. But I bet that the beautiful dark twisted fantasies simmering in your imagination, Gemini, are more unique and intriguing.

In accordance with astrological omens, I invite you to spend quality time in the coming weeks diving in and exploring those visions in glorious detail. Get to know them better. Embellish them. Meditate on the feelings they invoke and the possibility that they have deeper spiritual meanings. (P.S. But don't act them out, at least not now.)

CANCER (June 21-July 22) "Make all your decisions based on how hilarious it would be if you did it," advises Cancerian actor Aubrey Plaza. I wish it were that simple. How much more fun we might all have if the quest for amusement and laughter were among our main motivating principles.

But no, I don't recommend that you always determine your course of action by what moves will generate the most entertainment and mirth. Having said that, though, I do suspect the next few weeks may in fact be a good time to experiment with using Plaza's formula.

21 Change direction sharply

DOWN

23 Does a dairy duty

1 Harness part

34 Adherence to mystic doctrines

27 "Them!" creature

2 Nation where kreyÚl ayisyen is spoken

39 Wisconsin city known for kids' overalls

3 Bush or Clinton, informally

45 Yiddish gossip

4 Game for NFL all-stars

46 "I gotta go feed the _ _ _"

31 Iconic "Lady and the Tramp" song whose title means "Beautiful Night"

5 Daughter of Loki

47 Hitch in haste

6 One of the saisons

49 _ _ _-chef

33 Elemento numero 79

7 Dirty groove?

34 CLE player

52 1-800-CALL-_ _ _ (bygone collect call service)

In the dictionary, the first definition of "magic" is "the art of producing illusions as entertainment by the use of sleight of hand and deceptive devices." A far more interesting definition, which is my slight adjustment of an idea by occultist Aleister Crowley, doesn't appear in most dictionaries. Here it is: "Magic is the science and art of causing practical changes to occur in accordance with your will—under the rigorous guidance of love."

According to my analysis of the astrological omens, the latter definition could and should be your specialty during the next four weeks.

8 "The 5,000 Fingers of _ _ _" (1953 Dr. Seuss film)

53 "What _ _ _ know?"

VIRGO (Aug. 23-Sept. 22)

9 _ _ _-Caps (movie candy brand)

54 DeLuise in many outtakes with Burt Reynolds

10 Increases in difficulty, like a hike

55 Get by, with "out"

"The soul, like the moon, is new, and always new again," wrote 14th-century mystic poet Lalleswari.

I will amend her poetic formulation, however. The fact is that the soul, unlike the moon, is always new in different ways; it doesn't have a predictable pattern of changing as the moon does. That's what makes the soul so mysterious and uncanny. No matter how devotedly we revere the soul, no matter how tenderly we study the soul, it's always beyond our grasp. It's forever leading us into unknown realms that teem with new challenges and delights. I invite you to honor and celebrate these truths in the coming weeks, Virgo. It's time to exult in the shiny dark riddles of your soul.

28 Cry of accomplishment 30 WWE wrestler _ _ _ Mysterio

35 Middle of a French Revolution motto 36 Pharmacy chain with unusually long receipts 37 Card seen in skat 38 Risky purchase 40 Places for Whoppers, briefly 41 Frigid ocean areas that can be seasonal or permanent

11 Vowel-rich cookie 12 Category for Styx and (arguably) the Stones 13 "Wow, that was rude!"

42 Site for mil. planes

14 Cereal on "The Simpsons" where Bart ingested some jagged metal

43 Record producer Mike _ _ _, or actress _ _ _ Kaye

22 Small-screen movie, quaintly

56 _ _ _ EFX ("Mic Checka" hip-hop group)

last week’s answers

LEO (July 23-Aug. 22)

SCORPIO (Oct. 23-Nov. 21) Author and theologian Frederick Buechner writes, "If we are to love our neighbors, before doing anything else we must see our neighbors. With our imagination as well as our eyes, we must see not just their faces but also the life behind and within their faces." The coming weeks will be prime time for you to heed Buechner's advice, Scorpio. You're in a phase when you'll have extra power to understand and empathize with others.

Taking full advantage of that potential will serve your selfish aims in profound ways, some of which you can't imagine yet.

SAGITTARIUS (Nov. 22-Dec. 21) “Refine your rapture,” advised occultist Aleister Crowley. Now is an excellent time to take that advice.

How might you go about doing it? Well, you could have a long conversation with your deep psyche—and see if you can plumb hidden secrets about what gives it sublime pleasure. You could seek out new ways to experience euphoria and enchantment—with an emphasis on ways that also make you smarter and healthier. You might also take inventory of your current repertoire of bliss-inducing strategies—and cultivate an enhanced capacity to get the most out of them.

CAPRICORN (Dec. 22-Jan. 19) Are you ready to make the transition from slow, deep, subtle, and dark to fast, high, splashy, and bright? Are you interested in shifting your focus from behindthe-scenes to right up front and totally out in the open? Would it be fun and meaningful for you to leave behind the stealthy, smoldering mysteries and turn your attention to the sweet, blazing truths? All these changes can be yours—and more. To get the action started, jump up toward the sky three times, clicking your heels together during each mid-leap.

AQUARIUS (Jan. 20-Feb. 18) Greenland is a mostly autonomous territory within the nation of Denmark. In 2019, US President Donald Trump announced that his government was interested in buying the massive island, describing it as "a large real estate deal" that would add considerable strategic value to his country. A satirical story in *The New Yorker* subsequently claimed that Denmark responded with a counter-offer, saying it wasn't interested in the deal, but "would be interested in purchasing the United States in its entirety, with the exception of its government." I offer this as an example for you to be inspired by. The coming weeks will be a favorable time for you to flip the script, turn the tables, reverse the roles, transpose the narrative, and switch the rules of the game.

PISCES (Feb. 19-March 20) Author Doris Lessing told us, "It is our stories that will recreate us." Whenever we're hurt or confused or demoralized, she suggested, we need to call on the imagination to conjure up a new tale for ourselves. "It is the storyteller, the dream-maker, the myth-maker, that is our phoenix," she believed. The fresh narratives we choose to reinvent ourselves may emerge from our own dreams, meditations, or fantasies. Or they might flow our way from a beloved movie or song or book. I suspect you're ready for this quest, Pisces. Create a new saga for yourself.

HOMEWORK: What is a blessing you can realistically believe life might bestow on you in the coming months? Testify at FreeWillAstrology.com.

Check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes

freewillastrology.com ©2020 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 #JNZ990.

The audio horoscopes are also available by phone at

1-877-873-4888 or 1-900-950-7700

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