October 2023

SCIENCE & TECH NEWS

WHO WE ARE

The Pacific Sentinel is a studentrun magazine that seeks to uplift the diverse cast of voices here at Portland State.

We offer a space for writers and artists of all skill levels to hone their craft, gain professional experience, and express themselves. We are inspired by publications such as The New Yorker and The Atlantic. We advocate for the underrepresented and the marginalized.

EXTRAS

6 HAUNTING WITH BEDLUM by Will

CONTENTS

10

FEATURED

PAVING THE WAY TO LANGUAGE DIVERSITY by Shaelee Singer

14

ARTS & CULTURE

We are always looking for new students to join our contributor team as we c a n’t do it with out yo ur help. If you’re interested in wor king with us, visit our website at pacsentinel. com or c ontact our Executive Editor at editor @ pacsentinel.com.

OF

18

THE LONELY MEDUSA by Guzide Erturk DONUTS & CRYPTO by Lillian Kennedy

24

22 EVENTS CALENDAR

CULT CLASSICS...UNCOVERING THE CANON IN DOJA CAT’S CINEMA by Emily Zito

26

WHAT WE’RE ENJOYING

27 COMICS AND GAMES

FEATURED THIS ISSUE

will boechler is an author from Fargo, North Dakota. He currently lives in Portland, Oregon, pursuing his MFA in Creative Writing and watching the rain fall by his window.

shea dancey is an artist and writer from Portland, Oregon. She is currently studying Art History at Portland State University and has special interests in film, fashion, and popular culture.

guzide erturk was born and grew up in Istanbul, Turkey. She is a storyteller, who currently lives in Portland, Oregon, and is studying Creative Writing at Portland State University.

courtney jeffs is from Coos Bay Oregon and moved to Portland to finish her bachelor’s degree in business advertising at Portland State University. She enjoys illustrating, story writing, and design.

lillian kennedy (she/her) is a prelaw social science major who writes about the people, tech, philosophy, global ecosystems, politics, and facts of blockchain related issues.

yomari lobo is a creative originally from Las Vegas, NV and now lives in Portland, OR studying book publishing at Portland State University. You can find her staring out her window waiting for the rain and inspiration to strike for her future best seller.

becky phillips is originally from Rochester, NY but has lived in Portland, OR for seven years. She studies nonfiction creative writing and is currently pursuing a career in music journalism.

laura renckens is a publishing student and book designer compelled by work that connects art, ideas, and community. Hailing from the chilly lands of Minneapolis, Minnesota, she is a constant provider of midwestern energy and an avid road-tripper.

eva sheehan grew up in Atlanta, Georgia and moved to Portland to study book publishing. She loves poetry and exploring new coffee shops around the city.

LETTER FROM THE EDITOR

shaelee singer grew up in Salem, Oregon and graduated from Mckay High School in 2021. She is pursuing a BA in Applied Linguistics and working towards her TESL Certificate as well. Shaelee is extremely passionate about spreading social awareness regarding language bias, linguistic diversity, and to help others learn more about applied linguistics. When she is not in school she travels the country to see her favorite bands and artists on tour throughout the year.

emily zito was born and raised in San Diego, California. She moved to Portland two years ago to attend PSU to pursue English and Film Studies. Her interests include music journalism, film criticism, and arts/ culture. When she’s not writing or reading she’s teaching dance or DJing for KPSU.

Dear Readers,

Welcome back! We are so excited for you to read our first issue of the school year.

We’re starting off the year by welcoming in a brand new staff, new contributors, and some familiar pen names sprinkled throughout the issue.

This issue pays homage to the autumnal season. Our staff and contributors endured this summer’s heat wave and smoke filled skies and allowed ourselves to drift off into an autumnal wonderland. A wonderland that celebrates the odd and the spooky; the dreary sultry skies that Portland is most famous for; the fantastical monsters that distract us from the tangible villains; and the academic air that blows in tandem with the leaves.

Will Boehler’s piece takes us through a haunting band practice with interviews from each band member. Shaelee Singer’s piece then brings awareness to the many ways in which people can speak and the biases that surround each dialect. We’re then taken to the underground depths of Istanbul where Guzide Erturk enchants us on the resting place of Medusa. Lillian Kennedy sucks us back into the digital world to continue her “Donuts, (Dim Sum) & Crypto” series. Lastly, we end our issue with a music video review by Emily Zito. The video parallels horror films throughout time. Each contribution in this issue is interested in expressing the overlooked, the odd, and the freaky.

We hope this issue immerses you into the season, but also brings light to the darkened or shadowed topics that hide in the warmer months. With the start of the school year, we are brought back into knowledge; brought back to “reality” some might say; brought back to unturned stones that need our lifting. We hope we brought something new into your sight of knowledge this month.

As always, thank you so much for your support and we look forward to seeing what this school year has to bring.

Until next time, Eva

A HAUNTING WITH BEDLUM

GOTHIC PUNK WITH A HORROR TWIST

It’s just after midday and I’m heading towards Salem with two members of the horror punk band Bedlum to watch them practice. Calvin Lieurance, the guitarist, is at the wheel, and Paige Hanna, the vocalist and main lyricist, is in the passenger seat. Between listening to The Smashing Pumpkins, Megadeth, and talking about their viewing of Bram Stoker’s Dracula from the night before, Paige quotes jokes from an old, crinkled book called “Halloween Jokes and Riddles” by Craig Yoe. “This thing is practically our bible.” Paige said of the riddle book later that afternoon.

Bedlum is an up-and-coming horror punk band based in Portland. They were formed in November 2022 by Paige and Calvin, then brought in Parker Hanna, the bassist (and Paige’s brother), and Casey Raber, the drummer, to complete the group.

I first heard Bedlum when Paige sent me some demos from their forthcoming EP, which releases later this year. Most of the songs on the EP revolve around a monster, with songs like “Human Chimera” featuring lyrics about using body parts to bring a Frankenstein monster to life backed by harsh, energetic guitar riffs, and “Blood Is The Life”, opening with a mosh worthy intro before Paige hisses vampiric lyrics about needing the blood of the living to feel alive. I could tell then that there was a passion and enthusiasm for the horror genre that bled through into the music effortlessly.

Practice began as everyone settled into a spare bedroom in Casey’s basement with their instruments, and within moments of their playing, I felt the same passion I heard in their demos right in front of me. It was unforgettable.

Bedlum has a fondness for darker and heavier artists like The Misfits, Black Sabbath, and Type O Negative, but finds their main influences in the aesthetics of classic monster movies and the explorations of those characters’ stories in a more human light. Their lyrics are laced with deep and utterly human storytelling techniques that contrast the quick, heavy instrumentals that are typical of the punk genre. Their sound is sure to excite fans of punk and horror, and the way they explore the very human sides to these monsters is something to love. Their music is uncompromising of their punk roots, using the genre as a medium to speak on the lives of those monsters that may have problems that aren’t so different from ours. We talked about their backgrounds in music as the practice session continued and more of the band’s catalog was played. All of the members of Bedlum were brought into music at a relatively early age, and the memories associated with those beginnings still stand strong to help them perform today.

WB: What are some of the earliest memories of music for you and how has that helped you today?

Paige: Our dad (well, me and Parker’s dad) is a musician, and so I’ve been singing before I can talk, basically, is what he says.

Calvin: My parents just started making me play when I was a kid, so I just learned and then didn’t stop.

Casey: I got kinda pushed into music in like middle school… and then all of a sudden I heard Rush and a couple other bands on the radio, and it’s not just like, playing the beat… Maybe I wanna do that.. And then I met a couple other people that wanted to get together and do that in real life and that was it…

Parker: I joined the music program in seventh grade and it was the School Of Rock so we had three options; Guitar, bass, or sing, so I chose the bass. There was one other kid that played the bass with me and they locked us in the closet to practice like… the whole period.

WB: What’s one word you’d use to describe Bedlum?

Paige: Spooky.

Casey: Graveyards.

Parker: Eerie.

Calvin: Bedlum.

After a bit more chatting and a few more songs, the group was warmed up and played “Reaper” for me. This song is perhaps the best showcase of Paige’s vocals, as she belts out long sustained high notes about the temporariness of a body, revenge, and the all consuming rage of Pumpkinhead.

Practice ended with the band deciding on things to do for the next time they met up, keeping themselves moving forward in preparation for what the rest of the year holds. Then we all decided to go out to eat at Shari’s, a well known spot in Oregon for pie and breakfast food. We shared stories, like Casey talking about his time working at an actual graveyard, our favorite horror movies, and the group talked about costumes for upcoming shows. The energy was upbeat and the kinship between the bandmates was wonderful. While no shows are currently on the calendar yet, the band is excited to perform their EP and show the world what they can do.

Bedlum is a band that should be on any punk fan’s radar, with raw, powerful energy, a love of the genre, and bonded by the monsters that we fear, they bring a fresh and unique sound to the horror punk genre. If they have one piece of advice for new listeners and fans, it’s this: Be afraid.

“Within moments of their playing, I felt the same passion I heard in their demos right in front of me. It was unforgettable”

“I could tell then that there was a passion and enthusiasm for the horror genre that bled through into the music effortlessly”

“Their music is uncompromising of their punk roots, using the genre as a medium to speak on the lives of those monsters that may have problems that aren’t so different from ours”

“She belts out long sustained high notes about the temporariness of a body, revenge, and the all consuming rage of Pumpkinhead”

Paving the Way to Language Diversity

LiDA’s Mission to Eliminate Language Bias on Portland State University’s Campus

“Applied Linguistics is a field that investigates the development and use of language in real-world situations and institutions. It aims to understand how language choices reflect and create contexts, and to address communication-related problems. Applied Linguistics analyze language in context and examine social and psychological factors related to language use or development.”

When thinking about the study of “Applied Linguistics” not much may come to mind. Most people say “Doesn’t that mean when you can speak a bunch of languages?” Applied Linguistics reaches far more than just learning another language!

Applied Linguistics brings social issues, like bias to light. Language bias is the assumption that there is a right way to speak or write, and if someone is not speaking or writing in that way they could be subjected to discrimination. A person’s language ties in within their identity and who they are. When the way that they speak or write is made fun of or discriminated against, most times the person feels the need to re-learn the “correct” ways to speak and write to fit in. The Reimagine PSU project aims to bring diversity, education, and inclusivity issues to light and begin the process of giving justice to those who have experienced racism or discrimination on campus.

The Linguistic Inclusivity Diversity Awareness project (LiDA) is working with ReImagine PSU to enforce a language bias policy for students, faculty, and staff.

I spoke briefly with Dr. Lynn Santelmann who is the department chair of Applied Linguistics and principal investigator of the ReImagine PSU project. After speaking with Dr. Santelmann revealed that, “language diversity is not a big thing on campus”. No specific languages or cultures are put on display for appreciation on campus, other than the diverse clubs who promote cultural nights themselves, rather than the entire institution. LiDA’s mission statement on their website is to, “raise awareness and address systemic language bias at Portland State University”. With more diverse students coming to PSU, the more diverse social and language backgrounds are

for incoming students. This is the cause of one of LiDA’s biggest goals, stated on their website is that, “we hope to educate all community members about linguistic diversity and the biases that come with it to better encourage change towards a more supportive community for

But… How can language bias be actually harmful to the PSU community? Dr. Santelmann stated, “The ‘right’ way to speak is based on educated white upper class norms and the way you learn to speak the ‘right’ way by going to good schools and associating with the ‘right’ people. The academic expectations send out a message [that] if you dont speak or write the “right” way, [it] means you aren’t smart enough and makes it hard to succeed. These norms have nothing scientific, they are mainly just people’s personal opinions about language, there’s not a full explanation.” Some who have encountered language bias, feel that they’ve had to sacrifice their identity and lose important ties that they once had within their language or culture. When someone grows up in a culture where English isn’t their first language and transitions to an American school system, it can be hard for the student to ease back into their culture due to potential ridicule and having the education that having an accent or speaking in

what society would consider outside the accepted norms. This can make someone feel that they have to sacrifice parts of their culture to be able to fit in. I also spoke with Dr. John Hellermann, who is a professor in the Applied Linguistics department and co principal investigator for the LiDA project. Dr. Hellermann stated, “When people are discriminated against for the way they speak or write they don’t feel good about themselves and feel belittled. When I talk to intro linguistics students and say everyone has an accent it’s a new idea for a lot of people, and when they think about it they say ‘I don’t have an accent, they do!’. Language is infinitely variable. Like any discrimination is harmful, it prevents people from reaching their full potential.” By knowingly or unknowingly making fun of another person’s language, you can make someone feel out of place, that they don’t belong, or that they should have to change a part of themselves to be able to be treated equally amongst the rest of the community. However, there are numerous ways to combat and be educated on language bias.

“The ‘right’ way to speak is based on educated white upper class norms and the way you learn to speak the ‘right’ way by going to good schools and associating with the ‘right’ people. The academic expectations send out a message [that] if you dont speak or write the “right” way, [it] means you aren’t smart enough and makes it hard to succeed”

“A person’s language ties in within their identity and who they are”

Dr. Santelmann said that, “Awareness is a lot of it. [For faculty, it’s important] to look at your grading criteria when assessing written or speaking material. Are you assessing the material or language? Other than when things are needing to be corrected unlike saying, ‘you cant talk like that.’ It would be better to say, “if you want it to sound academic you can say..” as long as someone can understand [what they’re saying].” Making fun of someone’s use of grammar, accent, dialect, or way of writing is contributing to the problems language bias brings to the community. Other than spreading awareness, Dr. Hellermann suggests taking an introductory linguistics course or familiarizing yourself with language by reading books or listening to podcasts, like “Lingthusiasm” by Gretchen McCulloh, and “The Allusionist” by Helen Zaltzman. For those who aren’t studying applied linguistics, Dr. Hellermann suggests a podcast done by John Mcwhorter called “Lexicon Valley”. This is a good podcast for those who are not exactly familiar with linguistics!

I asked both Dr. Santelmann and Dr. Hellermann what a language bias would look like on campus. Dr. Santelmann would like to see an embrace in the idea that linguistic differences are a point of strength but that they can also be used as an asset. By having linguistic differences, it can promote multilingualism, be helpful in a situation where language barriers are present, and can promote diversity in media and literature. Although, what would a language bias statement or policy entail? Dr. Santelmann stated, “At the very base it would be a statement that would include language in the diversity department goals and that we would not discriminate against types of language, and languages used at PSU. LiDA would then include issues with language and identity in training faculty and staff.” Dr. Hellermann’s views align with Dr. Santelmann, that the statement, “would let people know that there is no correct way to speak or write a language, and that if people prescribe language to other people and tell them they should or shouldn’t do this, that they’re making judgements about people [rather] than their [use of] language”. By including a language bias statement, it can help students and staff feel more welcome and included. Doing this can also bring a larger and diverse crowd to campus, and can put all students on an equal baseline academically. For faculty and staff, being specifically trained on language bias can help them identify it and put a stop to it.

If you are interested in being surveyed and interviewed for the LiDA project about your language experiences on campus, please contact lidaproject@pdx.edu and visit https://sites.google.com/pdx.edu/lidaproject/home to take the survey.

“Making fun of someone’s use of grammar, accent, dialect, or way of writing is contributing to the problems language bias brings to the community”

“By having linguistic differences, it can promote multilingualism, be helpful in a situation where language barriers are present, and can promote diversity in media and literature.”

“There is no correct way to speak or write a language, and that if people prescribe language to other people and tell them they should or shouldn’t do this, that they’re making judgements about people [rather] than their [use of] language”.

THE LONELY MEDUSA

Stories from Underground Istanbul

arts & culture

It’s hard to navigate the winding and narrow streets of Istanbul. You might get distracted by the ancient walls of Gulhane Garden or the majestic dome of the Hagia Sophia Grand Mosque. But if you muster the courage to journey amidst the throngs of curious tourists, you’ll hear the faint echoes of dripping water and feel the irresistible pull of the city’s hidden underground world. It’s there, in the Basilica Cistern’s shrouded depths, that you’ll encounter the solitary, inverted head of a woman. Her stone eyes and serpentine hair intrigued and terrified me as a child. I didn’t know her name back then, but her presence stayed with me. While my classmates giggled and whispered, I felt an overwhelming sadness for her –trapped, upside-down, and alone in perpetual darkness. It wasn’t until I was introduced to Greek Mythology that I recognized her as Medusa, the tragic figure who turned onlookers into stone with a single gaze.

After reading more about the monster recently, I wanted to see the stone head again. However, in 2017, the Basilica Cistern started upon a prolonged renovation, and my visits to Istanbul, Turkey, were too short. Last year, when the Turkish government reopened the Basilica with a new exhibition, circumstances kept me away. After visiting Hagia Sophia and Topkapi Palace, the older Ottoman imperial residence, I came across an endless line outside the Basilica. My husband and I promised to return next year one day early in the morning before the line had a chance to grow long.

My family and I were fortunate to find ourselves in Istanbul again this summer. I said, “Let’s get up early and get to the Basilica early this time.” When my kids asked me, “Where are we going?” I replied, “A place you will remember your whole life. I first visited it when I was your age.”

Early the next day, without breakfast, we left our house in Üsküdar, walked down to the main square next to the sea, and caught one of the ferry boats crossing the Bosphorus. But before boarding, we bought some freshly cooked simits, a kind of Turkish bagel, from one of the bakeries there to eat along the way. From the upper deck, we watched the captivating panorama of old Istanbul from the sea as it passed by. Fifteen minutes later, we had crossed the strait dividing Europe from Asia and arrived at the Eminönü ferry station. From there, we took a streetcar to Sultanahmet, the center of the old city and right next to the new entrance of the ancient cistern. We arrived just after it had opened, and the first wave of early patrons had entered. There was hardly a single person waiting in line. Before reacquainting myself with Medusa, I immersed myself in the history of the ‘Sunken Palace,’ displayed at the Basilica’s entrance. The grand underground cistern was built by the Eastern Roman Emperor Justinian I

“When my kids asked me, ‘Where are we going?’ I replied, “A place you will remember your whole life.

I first visited it when I was your age’ ”

“While my classmates giggled and whispered, I felt an overwhelming sadness for her – trapped, upside-down, and alone in perpetual darkness”

(527-565) as part of the new basilica complex in the 530s. The plaques of Yerebatan Sarnici Museum, the cistern’s name in Turkish state, “Although Istanbul is located at the intersection of important waterways, it is a ‘waterless’ city.” This ancient city has relied on external sources for its potable water. A sophisticated system was developed during the Roman-Byzantine era using aqueducts to transport water from the east in Thrace, where fresh water is plentiful. In addition, they built large cisterns to store the water inside the city walls, of which this cistern is the most magnificent example. The waterworks saw further enhancements under Ottoman rule. Following the conquest of Istanbul in 1453, the cistern also provided water for Topkapı Palace. As the area transitioned to urban development, the cistern became accessible to everyone.

‘The Sunken Palace’ has experienced multiple renovations since its construction. During the first major one in modern times, between 1985 and 1987, while digging out all the silt that had accumulated over the centuries, they discovered two iconic blocks used as bases of columns with Medusa heads carved into them. These were some of the most remarkable stone carvings ever found from that time. The cistern was first opened to the public after this renovation, and the heads have been one of the most prominent attractions of the museum.

Although the cistern forms a rectangle roughly 450 feet long and 200 feet wide, it’s held up by a forest of 336 marble columns 30 feet high. With every step, I wanted to stop and stare at the water, a shallow layer of which still coats the ground, mirroring the low, subdued lighting and dark ceiling, creating a fantastic symmetry. Guests walk along raised platforms that snake through the site, creating the feeling of being in a labyrinth. My eyes searched for her petrifying gaze. Has she changed in the many years since I saw her last? Did she age? Thirty years later, the stone of Medusa turned upside down was in front of me again. My memory had failed me. I had remembered only one Medusa head, but a second stone head was nearby. A work by Muzaffer Tuncer, ‘Seclusion,’ was placed next to them, waiting for the sightseers.

The sunlight greeted me again as I climbed the stairs out of the cistern. The light overwhelmed my eyes. I took one last look into the deep darkness behind me. It had been worth the beautiful journey.

It was late morning, and now there was a long line in front of the cistern. We left, and headed towards the Blue Mosque. The haunting gaze of Medusa lingered in my mind, as it did when I first saw her when I was nine. I grew up in Istanbul, and had walked along these streets countless times. It was sad to leave the old city, but I’m sure that we will see each other again. But, who knows when.

I didn’t remember where exactly they were when I went down the stairs and entered, but the incredible atmosphere of the cistern had already enchanted me. Although we were in the middle of a scorching summer, there, underground was cool. Visitors’ voices echoed throughout. With the new opening, the museum added a modern exhibition called ‘Deeper Beneath.’ The juxtaposition of the new and the ancient made the Basilica seem even more magical. Ozan Ünal’s ‘Shell, Iron and Concrete’ was the first work on display that welcomed us.

Ali Abayoğlu’s ‘Jellyfish Mold Implosion and Hot Fusion’ made me feel as if I was swimming next to it underwater.

“Two iconic blocks used as bases of columns with Medusa heads carved into them”

“The incredible atmosphere of the cistern had already enchanted me”

“The sunlight greeted me again as I climbed the stairs out of the cistern. The light overwhelmed my eyes. I took one last look into the deep darkness behind me. It had been worth the beautiful journey”

2027: One Potential Reality

science & tech

A semi-fictional tech sci conversation in a creative nonfiction series

Utterance: The story and some of the science here is fiction but blockchain tech is real and moving into your life rapidly. When parts of the story have been based on reality, a link for your deep-diving pleasure is included in the references. This story attempts to begin your deep dive which starts with the “WHY” you must care about crypto right now...and when you do, where you should be focused,

If you are a freedom-loving intellectual being.

PART II

I remember the second time I saw Jack the day of our first date.

Oct 15, 2025

I was already out locking the door and Jack tried to sneak up on me.

“Ok, Dim Sum?

I pretended to be surprised, “Ah! HAHA. Ok...but only if you tell me ‘bout your T-shirt...”

Jack PJ’d (photon-jected) their GPS coordinates.

“Ok...what do you want to know?”

We had started walking.

4:00PM

The glaze that day was runny. Pink icing had striped my shoe. I stared at it. “ding!”

Damn obnoxious door.

I looked up. Heart fluttered. Jack.

Their voice grew softer as they sauntered closer. “Hi...so do you like working at the donut shop?”

I feel like I stuttered, “....It’s money...and study time”.

Jack had this foolishly sexy shuffle, left right, then skipped a beat, and right left.

Without losing eye contact, “I’m taking you to Dim Sum after work”.

“Huh?”

“Dim Sum.”

“Ohhhhh-K?” I definitely remember stuttering...

“Yes.” Their gentle insistence! Jack winked. And left.

And that’s when everything started. When Jack turned around--and I saw the back of their vintage T-shirt.

“Not your keys, not your coins”. 6:00

My sales were uploaded to the central server and I was free. 6:01

I just let myself be blunt. “How are you feeling safe wearing that?”

“I wear this in active protest. Remember civil disobedience?

“Yes, with longing,” I remember replying.

Jack said,

“I actively protest the mesmerizing messages we were getting before the Central Server Task Force told us that it would be impossible for the market to recover without the hand offering equality and stability, aka, “the big dupe’. Also, I simply wear this T-shirt in homage to a day when we had the right to choose. We fell for the narrative that self-sufficiency “on the Central Server” was a super freedom to replace real experienced freedom bought by human blood, lives, and sweat, like it was going to be different for us than anyone in history.”

“Wow..ok..I guess you answered my question.” I was trying not to say my next words too harshly...and was saved by us having approached a nice Dim Sum place.

“....Dim Sum?” (Jack had opened the restaurant door and a waft of hot rice and sweet mayo made me smile)

I couldn’t help but notice the Maneki Neko Cat in the window, beaconing with his paw up.

“Oh, Purrrr...the sound of the machinery of the earth.”

Jack laughed.

I have never forgotten that laugh..nor what they did. Bending down with arms bowed, they worshiped, “Oh great cat, I pray for a return of good fortune for the human, in freedom of spirit, mind, and independence of body and wealth.”

I remember wanting to know Jack forever.

We headed to a table to sit down and the “superserve” bots followed us,

“Two Dim Sum. That is all”, Jack ordered. I ordered the same. The bots left.

Jack said, “Do you know what Milton Friedman once said?

“I am convinced there should be private currencies. Many. With competition. Not just money controlled by central Feds and state banks.’’

I tried to get my words out with nominal poise, “...Slow burn. People didn’t know their options,”

“Yes,” Jack had said, “ the trees looked like trees, the path looked like a path, self custody adoption was minimal because theatrics were masking its powerful need and capability to every human on the planet and the onboard seemed too steep..even though it really wasn’t.

“I’m still looking at your shirt and wondering ....are they crazy or a revolutionary?”

Jack smiled again, “I’m not a brilliant revolutionary like Vaclav Havel, but I still own an exchange and I’m grand personed in, from the days when a money transfer bond was only $30,000.”

“Oh. But I thought they outlawed exchanges?

“Yes, the system of -isms did”... but I own it on the block. I’m just currently not exchanging...waiting for the coup.”

“Coup?”

A super-serve bot arrived for payment...so I never heard Jack’s answer.

The bot held out the bio-scanner to pay. We both looked at each other.

“Dutch?” I said?

“Dutch,” Jack said.

I scanned my finger first, then Jack did...or tried.

7:13

That moment was the beginning of our incredibly mad last 3 years, but also the abrupt end of my first date with the legendary Jack Buldas.

The globally dreaded red light beamed a fear-inducing glow on the scanner.

“Oh ha, please try again”, Jack had a Cheshire cat grin and invoked the Maneki Neko move that really would have engineered an anti compliance protocol effort in me if I had been an employee at the Dim Sum Restaurant.

But the red glow wasn’t just a color anymore. It was a social legal panic button.

“Human, come with me. “ The superserve bot said.

I remained calm. { BCSP, or, Bot Compliance Security Protocols was a required class for all employees of any front facing business. I have taken every upgrade. 1.0 in 2025, 2.0 in 2026, 3.0 just came out this year.]

“Yeah, ok.” Jack seemed calm.

But then, and this is when I turned on my record mode. I play this over and over when I am sad and miss Jack.

7:24

Jack looked at me and started singing,

“They fear today’s evening

They fear tomorrow’s morning

They fear today and everyday

They fear the future

They fear the past

They fear heart attacks”

Another bot arrived. Jack stood and walked backwards, looking at me, singing....

They fear their own castle ghettos

They fear the truth

They fear the freedom

They fear democracy

They fear The declaration of human rights

SO WHY ARE WE AFRAID OF THEM?”

Jack was gone.

I had asked GPT 12 first thing on my body comp about the song he had recited.

I knew not to ask G12 where Jack was.

So I asked where the political prisoners are sent this week, quoting directive 606 for authority which I got access to from my compliance training at the donut shop.

G12 replied.

To be continued.....

Read Part I on Page 26 of the June 2023 Sentinel Edition

Cult Classics

Uncovering the canon in Doja Cat’s Cinema

As Doja Cat releases her music video for her newest song “Demons,” she surely signals the start of spooky season.

The song is an absolute banger. The aggressive production done by D.A. Got That Dope, combined with Cat’s assertive chorus really packs a punch for the listener.

a 3mint green tiled bathroom—which directly mirrors the design of the Room 237 bathroom from The Shining. The twenty second bathroom sequence from “Demons” exists as the only scene that is lit with high light. This stark difference juxtaposes the rest of the video that presents a majority of dark, low lit scenes. I found this shot to be one of the more stunning ones due to its coloring as well as the camera’s zoomed-out to zoom-in effect; however, it only stays pretty for an instance, until the black bath water begins to overspill.

Moments later in the same scene, we see the 4demon’s black hand reach out of the bathtub—queuing us to remember the claw scene from Wes Craven’s A Nightmare on Elm Street. This moment continues the on-going theme of creatures sneakily submerging out of water to scare—similarly seen in films such as 5Shivers (1975), 6Slither (2006), 7Cure for Wellness (2017), and 8The Grudge (2020).

The first time I heard the song was also my first time watching the video. I was in for a total surprise (and scare). The music video had me in complete captivation with its luminous lighting and chilling costume/makeup design. The all-black demons, dripped in diamonds, have now, in my mind, become a stand-out figure from the genre of Horror.

The music video feels exciting with the existence of these new demon prototypes; however, the references to cult classic horror flicks oozes out of each frame. The director, Christian Breslauer, intentionally pays homage to past thrillers that live in the Horror Canon:

Tobe Hooper x Steven Spielberg’s 1982 Poltergeist, stands at the forefront of the visuals seen in “Demons.”

The opening shot of the video reveals the setting of a (haunted) house, then jump-cuts to the 1iconic static tv shot. The music video’s final sequence shows a demonic kitchen scene, as well as the 2notable chair shot—once again referencing Poltergeist.

One of the next most noticeable references is Stanley Kubrick’s 1980 The Shining. “Demons” displays Doja in

Towards the end of the video (2:46) the cinematography switches to the POV of a night-vision camcorder— providing a Paranormal Activity essence to the viewing experience. Once again, the video plays with the function of light by further expressing the range that the Horrorgenre holds with the technique of lighting. A variety of tensions are presented through the images shown on screen, and more significantly how those images are lit. Whether it be complete blackness with strobe light effect, flashlight/spotlight (seen at 2:19), well-lit scenes like the bathroom, or the green tint of night-vision light, each one depicts a different feeling of fear from the viewer.

Doja Cat’s “Demons” reminds us of the classics that paved the way for the beloved genre of Horror. The Canon of this genre is clearly in conversation with current day works of art. The video left me wanting more of the cinematography and creativity of storytelling. What I loved most about this release was the timing of it; end of August, beginning of September, basically October’s eve.

Doja Cat is brilliant for starting this new era of hers (album released on Sept. 22nd) with Halloween just around the corner.

“The all-black demons, dripped in diamonds, have now, in my mind, become a stand-out figure from the genre of Horror”

“Doja Cat’s “Demons” reminds us of the classics that paved the way for the beloved genre of Horror”

WHAT WE’RE ENJOYING WHAT WE’RE ENJOYING WHAT WE’RE ENJOYING WHAT WE’RE

Laufey’s “Bewitched” Album

Laufey (2023)

Eva’s Score: *****

As I anticipate the fallen leaves and chunky knits, I’ll be listening to Laufey’s new album, Bewitched, which tricks my brain into a New York-esque autumnal wonderland. I swear, while listening to the song, “Nocturne,” the leaves turn a shade closer to yellow as if Laufey is lullabying them closer to a winter sleep. So, for now, I’ll let Laufey gaslight me into believing it’s fall with her jazzy ballads.

Björk’s “Post” Album

Becky’s Score: *****

Björk (1995)

I had a dream recently that I felt the urge to revisit Bjork’s Post album. When I awoke, that urge remained within me. I opened up my Spotify, and I’ve been delving into it ever since. Bjork’s strange and eclectic sounds throughout each track push and pull me through different states of mind like no other, ultimately preparing me for the season’s change as summer ends and fall quietly creeps in.

The Barbie Movie

Gretta Gerwig and Warner Bros (2023)

Courtney’s Score: *****

Life in plastic is fantastic... Until it isn’t. The highly anticipated summer blockbuster, The Barbie Movie, is a fun and emotional rollercoaster from start to finish. As it incorporates the joyous nostalgia of the dolls every little girl grew up with, it also demonstrates the same struggles of growing up and facing reality. The only reason I’m giving four and a half stars is solely because the film lacked recognition of the early 2000s Barbie animated classics.

“Sounds Like a Cult” Podcast

Laura’s Score: *****

Sounds Like a Cult is the only reason I made it past the third week of my ‘couch to half-marathon’ running program. There’s truly no better way to cover up the sound of my heavy breathing than with the voices of hosts Amanda Montell and Isa Medina breaking down the modern-day cults we all follow— from heterosexuality to the Kardashians— in a sonic space that feels like a living room gossip session with your uber-smart girlfriends.

Park Avenue Café

1535 SW Park Ave

Courtney’s Score: ****

Portland is quite popular for its abundance of classy coffee and jazzy café spots, and Park Avenue is on my list of favorites. The espresso is delightful, and the ambiance is just what you want for a delectable morning meal and beverage. Although the food menu is limited, the specialty drinks are customizable to your taste. If you want something a little sweet, the affogato is a treat with a pick-me-up shot of espresso drizzled over vanilla gelato.

“Coping Mechanism” Song review

Yomari’s Score: *****

Being a teenage girl in your twenties is hard, but when you can find another teenage girl in her twenties yelling her feelings, it makes you feel seen. Coping Mechanism is an absolute revelation in the world of music. Each track feels like a journey through her creative psyche, blending elements of pop, R&B, and experimental sounds. Smith’s lyrics dive deep into the intricacies of human emotions, resonating with raw authenticity. Songs are not merely heard but felt. It is a must-list for any music lover.

Multi-instrumentalist, dancer, and visual artist Adrian Galvin performs pop hits “Beige” along with “Truly Madly Deeply,” and more at the Wonder Ballroom. 21+ event.

Queer excellence is front and center at Defiant Joy, a monthly variety show featuring drag, comedy, music, and delightfully mischievous performances that you won’t see anywhere else. 21+ event.

Every Saturday, vendors set up shop at the PSU Park Blocks to sell their crafts. Grab locally grown produce and hand-baked goods at this wildly popular Portland Farmer’s Market.

The Tony Award-winning musical comedy “Hairspray” is making its way to the Keller Auditorium. Grab your hairspray, you won’t want to miss this reenactment of this broadway classic.

With a cheap entry fee & happy hour pricing all night long, this is a great spot to hunker down and laugh at some of our best local comedians. 21+ event.

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