41 23 willamette week, april 8, 2015

NEWS A FIRE INSPECTOR GETS SMOKED. DRANK ALL THE BEERS IN SALEM. MUSIC THE REPLACEMENTS’ DEBACLE.

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WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“HE’S GOT A LOVING WIFE. HE’S MISERABLE.” P. 38 WWEEK.COM

VOL 41/23 04.08.2015

EL IS U B E V ST E AT I N G , T I R R I A Y, C R A N K B O R N —A N D R ST U B FO R C E FO I S I N G O RT LA N D R P R U S E IN P LS. CHANG BLIC SCHOO AG E 1 5 P PU C I H S LO V T E B Y B

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FINDINGS

PagE 47

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 23.

The OLCC wants to swipe your ID before you can buy weed, and to hire its own police force. 7 Former first lady Cylvia Hayes was looking for “focused, proactive support” managing her personal “brand.” 8

If you hit a duck with your bicycle, technically you are supposed to alert the feds. 24 At long last, you can finally get Pfriem beer in a bottle. 26

ON THE COVER:

The best brewpub experience in Salem is at a McMenamins. 27 The Replacements formally apologized for a disastrous Portland show that didn’t even include “Bastards of Young.” 35 Before Belle & Sebastian played Portland on Sept. 11, 2001, they wrote a new song. 40 Our weed writers may have finally found lucrative work for Cylvia “Purple” Hayes. 60

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Illustration by Jon Werrin.

rIP brave martyr tom Burns.

STAFF Editor-in-Chief Mark Zusman EDItorIal Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Aaron Mesh, Beth Slovic Copy Chief Rob Fernas Copy Editors Matt Buckingham, James Yu Stage & Screen Editor Enid Spitz Web & Projects Editor Matthew Korfhage Music Editor Matthew Singer Books Penelope Bass Dance Kaitie Todd

Visual Arts Richard Speer Editorial Interns Anthony Macuk, Anna Walters ContrIButorS Dave Cantor, Nathan Carson, Rachel Graham Cody, Pete Cottell, Shannon Gormley, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Mark Stock ProDuCtIon Production Manager Dylan Serkin Art Director Kathleen Marie Special Sections Art Director Kristina Morris Graphic Designers Mitch Lillie, Xel Moore Production Interns Kyle Key, Jennifer Plitzko

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INBOX PORTLAND’S ART SCENE

The art critic interprets meaning, evaluates, responds to and assesses specific works of art by measuring the artist’s success at conveying an intended direction, message (or meaning ) in a work [“It Used to be Better,” WW, April 1, 2015].

Indeed, in an era when the very nature of objects (or actions ) are in question of being “art,” few realize that art criticism is, in and of itself, an art.

Few performed this art as entertainingly or as well as Richard Speer.

Joseph Clifford Blanchette Via Facebook I’m an art student in the U.K. and visit my family in Portland often. While I agree that the Portland art scene has a lot of room for improvement, I think it’s a mistake to blame it on “the gentrification and Portlandia-fication of this town.”

Compared to other similar-sized cities around the world, Portland is very open to contemporary art. This is because of Portlanders, not in spite of them.

—“K Madson”

Willamette Week APRIL 8, 2015 wweek.com

Anything medicinal about marijuana should not be handled by a profit-seeking commission like the OLCC [“Burns Notice,” WW, April 1, 2015]. Medicinal use should be regulated through a health authority.

The “liquor commission” has nothing to do with health other than being directly responsible for dealing dangerous drugs (alcohol) to citizens on the loose concept that age has something to do with responsibility. The OLCC doesn’t care about anyone’s health, which is why a provision was put into Measure 91 to leave medical use of cannabis out of the hands of organizations not involved with the health of existing patients.

—“onuorous lamis”

TAX-EXEMPT CREDIT UNIONS

This reads like a press release from the bankers’ lobby [“Bank Shot,” WW, April 1, 2015]. Of course member-owned co-ops wouldn’t pay taxes!

Bankers just want to force us to pay them for the privilege of using our own money, and don’t like the fact we have a cheaper alternative.

—“Mikenathan”

We also need more people writing about art from a variety of critical and aesthetic viewpoints.

If the local press had as many articles on current art shows and Portland artists as they did on gardening, food and home redesign, perhaps the new inhabitants of those Pearl condos and Southeast apartments would know where to start looking.

—“Lily F.”

BIG RAISES FOR PPS OFFICIALS

My commute entails changing MAX trains at the Rose Quarter. Nearly every time, I arrive just in time to see the connecting train leaving. Why can’t TriMet use Transit Tracker data to adjust the trains’ speeds on the fly and prevent these near misses?

—Almost There

I accept that the bus system isn’t going to be perfect, with its sprawling 79 lines and 6,670 stops. You think you can make a better schedule, here’s 12,000 sheets of graph paper and an Adderall; knock yourself out.

The MAX, though, has only four lines and four main transfer points. What’s the big deal?

For starters, 607 trains representing all four MAX lines come through the Rose Quarter every day. During rush hour, one train from every line comes by every 15 minutes, in both directions.

That’s about one train every two minutes.

Your northbound train is coming from a section of track where all four lines share a single track in each direction. The trains have to stay a safe distance apart—if one gets stopped by an emergency, the others can’t just go around it.

You can see how this quickly starts to get a little hairy. If you wanna try to improve on it, I’ve got plenty of graph paper left. (The Adderall, sadly, seems to have gone missing.)

This is the type of complaint I like to call the “failure of they.” “They” are the folks who maintain our civilization as it coddles your nacho-eating ass from cradle to grave, and no one is even slightly grateful.

“They” can never succeed—they’re either invisible or they’ve failed you.

They’re the “they” in, “If they can put a man on the moon, why can’t they invent bacon that makes me taller?” Nobody ever says, “If they can put a man on the moon, maybe we should throw them a party, because that was actually pretty impressive.”

That said, Almost, I initially had the same reaction as you about the MAX. 4

THE OLCC AND MEDICAL WEED

Why must school administrators’ pay be above teachers’ and principals’ pay? [“Help for Her Friends,” WW, April 1, 2015.] I would advocate for exactly the opposite.

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MARIJUANA: The OLCC wants its own strain of cops to police pot.

POLITICS: New questions about Cylvia Hayes and political favors.

PUBLIC SAFETY: A fire bureau whistle-blower faces a cover-up.

COVER STORY: The crankiest man in Portland schools.

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IT’S NOT ALL ABOUT US. Last December, Mayor Charlie Hales exchanged sharp words with Uber executive David Plouffe when Plouffe called to tell him the ride-hailing app was launching in Portland in defi ance of city rules. The confrontation resulted in a AUG 20-21 • REVOLUTION HALL • PORTLAND, OR landmark deal that will allow Uber to return this month. Hales and Plouffe—the Obama presidential campaign manager who now runs Uber’s national expansion strategy—will face off again, this time in front of an audience. The two will talk April 30 at the Oregon Museum of Science and Industry as part of an evening discussion on the sharing economy presented by TechFestNW, sponsored by WW. The panel will also feature executives from app companies Instacart (grocery delivery), Rover (peer-to-peer dog boarding) and Spinlister (bicycle rental). Tickets are $30 at bit.ly/tfnw15tickets.

Last week, WW reported on big raises for Portland Public Schools administrators and close advisers of Superintendent Carole Smith (“Help For Her Friends,” WW, April 1, 2015).

Other media picked up the story, and we’ve now published an online database at wweek.com that shows salaries for PPS centraloffi ce workers earning more than $70,000 a year since 2007, when Smith became SMITH superintendent. See how job titles and pay rates have changed under her leadership.

A N N A J AY E G O E L L N E R

Plouffe will no doubt be asked whether Uber will disclose data on ridership when the company and another car-sharing service, Lyft, come to Portland. The City Council is scheduled to vote April 15 on a 120-day program—called “Taxis Gone Wild” by Commissioner Steve Novick—that will temporarily deregulate “for-hire” vehicles. Portland wants Uber’s and Lyft’s data to help the city write rules governing the taxis and ride-hailing services. Uber and Lyft, however, haven’t yet agreed to share data. The city, meanwhile, is ready to give Uber permission to use its controversial “surge pricing,” which spikes fares during peak periods.

Department of Shameless Self-Promotion: WW staff writer Nigel Jaquiss last week won one of journalism’s highest honors, the Investigative Reporters and Editors Medal, for stories on former Gov. John Kitzhaber and fi rst lady Cylvia Hayes. The stories started last fall (“First Lady Inc.,” WW, Oct. 8, 2014) and triggered a federal criminal investigation into infl uence peddling, which led to Kitzhaber’s resignation Feb. 18. “This small news organization punched way above its weight, taking on a powerful governor and his fiancee,” the IRE award judges wrote. “Jaquiss’ work stood out due to his clear and fair writing style, persistent legal advocacy for records and unflinching reporting.”

Read more at wweek.com.

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GANJA POLICE

anybody for having five plants instead of four.

We have no conflict with the committee.”

Lawmaker questions about the commission’s police requests follow upheaval at the agency, and revelations its leadership was trying to increase its power over pot.

The OLCC fired its “pot czar,” Tom Burns, on March 26 after he leaked a memo to a OLCC chairman Rob Patridge declined lawyer for marijuana growers. WW reported to be interviewed for this story. He has said that the memo showed top agency officials the agency’s new “peace officers” would were engaged in talks with weed advocates carry out rules that mirror the authority about the commission taking over control the agency has over bars, liquor stores and of the state’s medical marijuana system even backyard keggers—even though the (“Burns Notice,” WW, April 1, 2015).

By AARON MESH amesh@wweek.com The powers the agency seeks to police commission rarely exercises its full power.

“We don’t want the agency to be a paper marijuana sales go beyond those it uses to Just when you thought it was safe to smoke tiger when it comes to enforcing the law,” regulate booze.

In March, the commission asked the marijuana in Oregon, along comes a new breed Patridge, who is also the Klamath County Legislature for the power to fingerprint District Attorney, said in January. of law enforcement officer: the pot cop.

The pot cop can bust retailers for selling News of the agency ’s plan has been applicants for licenses, in order to conduct buds to people under 21—or even letting reported elsewhere. But the OLCC has run criminal background checks. That’s somethem inside a store. He runs stings on grow- into growing opposition to its plans for a thing the agency does not currently do for new police force—and the blowback shows liquor licenses, OLCC spokeswoman Chrisers who aren’t paying taxes.

And if you’re growing too many plants in tensions between the agency and state law- tie Scott tells WW. The agency also requested the authoryour house, some fear the pot cop could seize makers it answers to. your marijuana and take you to jail.

“You could potentially have a marijuana ity to keep minors from setting foot inside The pot cop doesn’t exist yet—but the Ore- enforcement agent knocking on someone’s legal weed stores even when accompanied gon Liquor Control Commission has asked door to look at a home grow,” says Sen. by an adult, and to require retailers to use to greatly extend its power beyond what vot- Floyd Prozanski (D-Eugene), a member of ID scanners to verify the age of customers.

That raised an alarm with the American ers gave the agency in November when they the House-Senate committee overseeing approved legalized recreational marijuana. legal weed. “I don’t think anyone on the Civil Liberties Union of Oregon. “If enacted, State lawmakers are worried the OLCC committee would want them to have that these provisions will lead to a system where every purchaser of marijuana will have their is seeking power it doesn’t need. Weed broad of power.”

Agency officials now say they are fine ID card swiped at the time of purchase,” ACLU growers are concerned, too.

“The OLCC should be able to regulate with power scaled back from their proposal. legislative director Kimberly McCullough “If they want to limit our authority to testified March 23. licensees and not the general public,” says OLCC spokesman Towslee now says the Geoff Sugerman, lobbyist for the Oregon licensed premises, we’re good,” OLCC spokesCannabis PAC. “And that should be reflected man Tom Towslee tells WW. “We don’t agency is unlikely to require ID scanners in envision anybody from the OLCC busting weed shops. in the enforcement powers they are given.”

THE OLCC MAY HAVE REACHED TOO FAR IN SEEKING TO CREATE A NEW CLASS OF POLICE: POT COPS.

m at t h e w b i l l i n g to n

NEWS

At the same March 23 hearing, growers’ lobbyists objected to the OLCC’s police plan, arguing the state had no reason to monitor weed consumption when it hadn’t legalized smoking pot in public places.

“Retail marijuana shops are more like liquor stores,” Sugerman tells WW. “Not bars. The OLCC’s enforcement powers should clearly reflect those differences.”

The OLCC returned April 1 to the HouseSenate committee to offer a scaled-back plan that would give its pot cops authority only over businesses licensed by the agency.

The hearing, held in the wake of Burns’ firing, went poorly. Neither Patridge nor OLCC executive director Steve Marks testified. Instead, they sent staffers, who struggled to describe how the pot cop program would work.

“I tried to come and provide clarity on this issue, but it seems I’m only providing more questions,” said Jesse Sweet, an agency policy analyst on marijuana, told the committee. “In practice, the OLCC is not out there going after moonshiners—although, technically, we have the authority to do so.”

Lawmakers seized on the idea of limiting the agency’s power. Rep. Ann Lininger (D-Lake Oswego), who co-chairs the HouseSenate committee, questioned whether the commission already had too much authority in its liquor policing.

Sen. Ted Ferrioli (R-John Day) asked whether the agency should be placed in charge of marijuana at all.

“Notwithstanding the heroic efforts of the OLCC staff,” Ferrioli said, “my confidence in their ability to manage this program is rapidly diminishing.”

Willamette Week APRIL 8, 2015 wweek.com

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NEWS

POLITICS OREGON.GOV

RISKY BUSINESS FORMER GOV. JOHN KITZHABER’S STATE ATTORNEY WAS ALARMED BY A BUSINESS GROUP’S HELP FOR FIRST LADY CYLVIA HAYES.

BY NIGEL JAQUISS

njaquiss@wweek.com

The federal investigation into allegations of influence peddling by former Gov. John Kitzhaber and fi rst lady Cylvia Hayes is heating up.

Sources tell WW that a grand jury in Portland has been calling former Kitzhaber administration aides to testify, and records show FBI agents are showing up at state agencies, as agents did last week at the Oregon Department of Energy.

Meanwhile, investigators are examining thousands of state documents obtained through a criminal subpoena issued Feb. 13, the day Kitzhaber announced his resignation.

The investigation is focused on whether Hayes—assisted by Kitzhaber—broke the law when she used her position in the governor’s office to leverage more than $220,000 in private consulting contracts.

But federal investigators have also zeroed in on whether Hayes or others broke the law when the fi rst lady got a powerful business lobbying group to fund a spokeswoman to help publicize her work.

WW last fall first reported that the Oregon Business Council spent $35,000 to pay for a PR person to help Hayes win more media attention for her anti-poverty causes. The group financed Hayes’ spokeswoman as Kitzhaber was championing the OBC’s political agenda (“First Lady Inc.,” WW, Oct. 8, 2014).

Now, emails newly obtained by WW show how far Kitzhaber’s staff attorney, Liani Reeves, went to make the arrangement look legal and avoid appearing as if the OBC deal was a political payoff to Hayes.

In 2013, Hayes started looking for ways to draw more attention to the work she was doing on a state-funded program called the Oregon Prosperity Initiative. Kitzhaber saw the program as a way to help reduce poverty in Oregon, and he put Hayes in charge of it.

The OBC, which represents for some of the biggest

POVERTY FIGHTER: “Reducing poverty, as you know, is challenging,” Cylvia Hayes told WW in October. “I share a commitment to reducing poverty in Oregon with my fiance and with executives from some of the largest companies in Oregon.”

employers in Oregon, was among the supporters of Hayes’ initiative. The group in 2013 landed a $500,000 foundation grant to help fund a statewide “prosperity” plan.

The OBC used some of that money for a communications director, Therese Lang, to help promote the plan. The final version of Lang’s contract said she worked directly for the program to promote its goals—not for Hayes.

The distinction is important. Having a private lobbying firm finance a public official’s agenda could violate state and federal laws, especially if the payments were a tradeoff for political favors.

In reality, however, Hayes was working behind the scenes to get the OBC to give her a press spokesperson.

She was doing this at the same time Kitzhaber was championing the business lobbying group’s two top priorities: the $3.2 billion Columbia River Crossing project between Portland and Vancouver, and cutting $5 billion in costs from the state’s public employee pension system.

In October 2014, Hayes denied that Lang had been engaged to promote her agenda.

“OBC didn’t hire a consultant ‘for’ me,” Hayes wrote to WW. “OBC hired a communications professional for the Oregon Prosperity Initiative using grant money earned for that very purpose.”

But emails contradict Hayes’ denial.

They show Hayes believed the OBC was providing her with a personal spokeswoman, and it was Hayes—not the lobbying group—who handpicked Lang and dictated the terms under which the spokeswoman would work for her.

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On July 13, 2013, Hayes emailed members of Kitzhaber’s top staff seeking advice on what she should be looking for in the spokesperson the OBC was going to pay for with the grant money. Hayes’ email was among 94,000 emails that state officials released to the news media last week.

Hayes made it clear she—not the lobbying group paying the bill—was the one doing the hiring.

“Will you please take a look at the write up below of what I am looking for in the comms position and let me know your thoughts?” Hayes wrote to Kitzhaber staff members. “Biggest question is do I want to hire one person to perform all of these components or do I want to contract several specialty Service Providers?”

Under the heading “Services Needed,” Hayes laid out the job description: “Focused, Proactive Support and Coverage of First Lady Activities: This may include help with speech-writing, photography and videography, generating media coverage.

This needs to be managed strategically both to best serve the goals of the Prosperity Initiative and to align with desired first lady brand.”

Hayes had been promoting her “brand” for months as a first lady who was engaged in energy and environmental issues. Her anti-poverty campaign was intended to help bolster her image.

Hayes made clear she believed the spokesperson funded by the OBC would work for her.

Hayes wrote in Sept. 1, 2013, email, to Robert Lee, who CONT. on page 10

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politics

osb

NEWS

Hayes wanted a business group to pay for a pr person to promote Her “desired first lady brand.”

Hayes had submitted.

That’s when alarms went off with Reeves, Kitzhaber’s staff attorney.

DAMAGE CONTROL: “I’m trying to get my head wrapped around this,” Liani Reeves, the general counsel to former Gov. John Kitzhaber, said about a plan to have a business group provide Cylvia Hayes with a spokesperson.

also worked for the Prosperity Initiative, that she saw the new spokeswoman as “my comms person.”

In a previously undisclosed Sept. 13, 2013, email obtained

by WW, Hayes told OBC officials whom they should hire.

“The person I am contracting for this work is Therese Lang. She is cc’d here in case you need any additional information from her,” Hayes wrote to OBC president Duncan Wyse. “Therese, as discussed, your contract will actually be with Oregon Business Council.”

The OBC went along with Hayes’ direction. Wyse provided the governor’s office with a draft contract that in some places copied word-for-word the job description

Reeves saw legal and ethical problems with the deal, as WW has reported online (wweek.com, Dec. 11, 2014).

But the emails obtained by WW show the depths of Reeves’ concerns—and the lengths she went to make the arrangement appear legal.

“I’m trying to get my head wrapped around this,” Reeves wrote to Hayes in a Sept. 19, 2013, email. “Do I have this right: A non-state non-profit entity (Oregon Business Council Charitable Institute) has received a private grant (from NW Area Foundation), which is going to be used to support the official duties of the First Lady through the hiring of a communications staff person (Therese Lang)?”

“I’m just trying to get a handle on some of the issues we may need to work through,” Reeves continued, “including the use of a non-state entity to do state work; public contracting issues since we are essentially bypassing the public contracting process and getting services donated; and whether the ‘value of the services’ that the state is getting for free is a ‘gift.’”

Later that day, Reeves suggested a change in the contract wording that would eliminate the appearance that a business group was paying for the first lady’s spokeswoman.

“In thinking about this further,” Reeves wrote to Hayes on Sept. 19, 2013. “I think that if the scope of work is revised slightly to make it so that it is clear that Therese is working with OBC on its own policy initiative related to poverty, which they could instruct her to line up to be consistent with the first lady’s, instead of directing Therese to

support you directly, we can get to the same outcome but it doesn’t look like OBC is basically paying someone to support a state position.”

Hayes disagreed and told Reeves she was wrong.

“That is not the case,” Hayes wrote to Reeves on Sept.

21, 2013. “They are clear that this position is working for me, supporting our Oregon Prosperity Initiative.”

In the end, Reeves won out on the contract language.

An Oct. 1, 2013, email the governor’s office released to WW in December shows Reeves wanted to reinforce the image that the spokeswoman did not answer to Hayes.

“The modified language makes it more clear that Ms. Lang works for OBC on the Prosperity Initiative led by the First Lady, rather than working for the First Lady directly (which creates legal and ethical issues for our office),” Reeves wrote.

But nothing had really changed. Records show Hayes often directed Lang, who set up interviews and media opportunities for Hayes.

A now-disabled website, Oregonprospers.org, described the Prosperity Initiative as Hayes’ work and did not mention the OBC. The state website listed Lang as “communications director.”

The federal subpoena issued in February seeks communications between the governor’s office and the OBC. On Feb. 19, after the federal subpoena went out, Wyse circulated a statement to the business community in which he said the group’s attorneys “did not believe that the funding of a consultant was inappropriate, much less illegal.”

Wyse declined to answer questions for this story. “OBC is proud,” he said in a statement, “of the work we are doing to reduce poverty in Oregon.”

H A K KO D O Through the Ages.

100 years. 4 generations.

A P R I L 1 1 – M AY 3

A special thanks to Katherine & Mark Frandsen for their support of this exhibition.

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FOUR SEASONS • FIVE SENSES ONE EXTRAORDINARY EXPERIENCE

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pUBLIc SAfEty Jarod opperman

NEWS

TRANSPARENCY FOE: “Releasing the interview transcripts to Inspector Cruser would undermine morale and the integrity of future internal investigations,” Portland Fire & Rescue Chief Erin Janssens wrote last week.

SMOKE SCREEN WHY WON’T THE PORTLAND FIRE BUREAU GIVE A WHISTLE-BLOWER DOCUMENTS THAT HAVE ALREADY BEEN MADE PUBLIC?

By N IGEL JAQU ISS

njaquiss@wweek.com

Rob Cruser enforces rules that save lives.

Cruser, 51, is a fire inspector for Portland Fire & Rescue. That job takes him into buildings where the public gathers for big events—such as nightclubs and music venues—to guarantee patrons can exit safely in an emergency.

Last summer, Cruser found problems at Club Sesso, a downtown swingers club. The club lacked proper exit lighting and had failed to complete renovations as scheduled.

Cruser blew the whistle on a supervisor who turned a blind eye to Club Sesso’s violations and was later untruthful about his actions.

Now, Cruser finds himself in a Kafkaesque situation. He wants to see documents the city collected in an investigation that he prompted. The city has made the records public for media outlets, including WW, but refuses to give them to Cruser.

“I thought it was fair that since I was involved in an investigation as a whistle-blower that I have a chance to look at the results of that investigation,” Cruser says. “The city doesn’t see it that way.”

City officials claim that releasing the documents Cruser wants could invite “retaliatory” actions against fire bureau officials interviewed in the investigation.

The target of the city investigation was Assistant Fire Marshal Doug Jones. Jones effectively told Club Sesso’s manager to proceed with a large bash on the night of June 28, 2014, even though the fire marshal had told the club it couldn’t hold the event. The manager, Paul Smith, captured the conversation with Jones on tape (“Hot Tip,” WW, Aug. 20, 2014).

Club Sesso went ahead with the party. Cruser showed up and told the club it was in violation of fire safety codes. To Cruser’s surprise, Jones, his boss, showed up to intervene. Jones wasn’t on duty but drove in from his Sandy home and overruled Cruser.

Cruser reported the event to supervisors, who he says ignored him. City Ombudswoman Margie 12

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Sollinger last August convinced the city’s human resources department it should investigate.

The investigation, finished in January, found that Jones had been “less than truthful” in the report he wrote about his interaction with Club Sesso. Despite this, Jones escaped with only a reprimand, a light punishment.

WW and The Oregonian requested and received a copy of the investigation report, and The Oregonian wrote about it Feb. 13, with a Web link to the report.

Now, the city won’t give Cruser that report or, more importantly, hundreds of pages of interview transcripts from the investigation, even though they have already been released to the media. Cruser appealed the city’s denial of his request for public records to the Multnomah County District Attorney’s Office.

Fire & Rescue Chief Erin Janssens is fighting the release.

“Based on my conversations with personnel, I believe that releasing the interview transcripts to Inspector Cruser would undermine morale and the integrity of future internal investigations at PF&R,” Janssens said in her declaration, dated April 1, 2015.

“Releasing the transcripts (even those with redactions) would risk retaliatory behavior from other employees against interviewed staff by creating the potential for a hostile work environment.”

Janssens and the city attorney ’s office declined to comment for this story.

Judson Randall, president of Open Oregon, says Janssens and the city attorney’s office have put their own interests above the law.

“There’s no reference to ‘morale’ in the public records law,” Randall says. “Once the city provided those records to the media, they should be available to any member of the public.”

Cruser, who’s been with the fire bureau for nearly 26 years, says as an inspector he’s at the “bottom of the food chain” in the Fire Marshal’s Office. He’s not in a position to retaliate, and says he took a risk by questioning Jones’ behavior.

“The fire bureau has become about damage control and burying damage under a good story instead of addressing the problem,” Cruser says.

“I don’t want to sound like Pollyanna, but it feels like we’ve forgotten who we work for—the public.”

PAID ADVERTISEMENT

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N ATA L I E B E H R I N G

TOO BUEL FOR SCHOOL: Steve Buel, 70, won a seat on the Portland School Board in 2013, after a 30-year absence from the board. He served one term, from 1979 to 1983, before he was ousted. He’s never shied away from conflict, as his current term on the board illustrates.

“You have to have conflict sometimes in order to make progress,” he says.

G

BY B ETH SLOVIC

G, N I T A T I R Y, IR ORCE FOR K N A R C IS GF L N I E S U I B R P E STEV AND A SUR BLIC SCHOOLS. PU RN— STUBBO GE IN PORTLAND CHAN

bslovic@wweek.com

reg Belisle demanded an answer. Steve Buel refused to give him one.

It was Jan. 27, 2014, and Belisle was holding the gavel as co-chairman of the Portland Public Schools board. He and the other six board members were about to vote on a plan by Superintendent Carole Smith to stash $14 million in unexpected revenue in the school district’s piggy bank.

Most of the School Board was willing to go along. After years of tight budgets, the district could finally put away a little extra cash for emergencies.

Not Buel.

A former teacher elected to the board in 2013, Buel thought the emergency was already at hand. He wanted to spend more money in classrooms immediately. “We could have put a certified librarian in every elementary school in the city of Portland with that money,” he told fellow board members.

That wasn’t the only problem with Smith’s plan, Buel argued. The board’s blind support of Smith typified deeper problems—the absence of hard questions, the disregard for transparency, and the lack of frank discussions about the district’s educational failings.

When it came time to vote, Buel kept talking. Belisle lost his cool.

“Yes or no, Director Buel?” Belisle demanded.

Buel reached for a white paper bag.

“I’ve been trying to get along with the rest of the board,” he said. “I figured I might get in a little better if I brought my own rubber stamps.”

CONT. on page 17

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BAR GUIDE So many bars, so little time. Our annual Bar Guide gives readers the lowdown on where to load up. We do the dirty work of exploring the city’s bars, taverns, lounges, and pubs to produce a curated list of the best and most interesting places to imbibe, including our Bar of The Year.

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THE BAD BOY

LEAH NASH

CONT.

BY THE BOARD: Greg Belisle (second from left) led Portland Public Schools’ board as co-chairman for two years and often clashed with Buel over Buel’s insistence the board conduct more of its business in public. Belisle, who strongly supported Superintendent Carole Smith (far left), isn’t running for a second term in the May 19 election, creating the possibility of new alliances on the board.

He then took two stamps out of the bag—one for “yes” and the other “no.” He stamped the resolution in front of him, then held it up for colleagues to admire.

“Anyone want to borrow my rubber stamp?”

Teachers cheered as Smith, seated next to Buel, forced a painful grin.

Buel is often rude, irritating and insulting. Yet he may be the school district’s best chance for a rescue from the eightyear slumber that has characterized Smith’s reign.

On May 19, Portland voters get a chance to shake up the PPS board and decide whether Buel going forward will have enough support around him to transform the district like he wants.

Rex Hagans, a retired planning director for Education Northwest, a research organization, describes Buel as smart, committed, organized and effective.

“He’s a very persistent and very consistent person in his philosophy, which is basically that you need to trust the professionals in the schools,” Hagans says. “You can’t quiet him. You can’t do it. It’s not going to happen.”

A

t an age when his peers are gliding into retirement, Buel, 70, still burns like a spiraling fireball. In passive-aggressive Portland, he’s just plain aggressive—an outlier on a School Board that’s about as buttoned up as the Dowager Countess of Grantham.

Craggy and vinegary, Buel has a wide, crooked grin and white, side-swept hair. At 5-foot-7, he’s short but scrappy.

He once tackled a man who trespassed and tried to expose himself at a middle school where Buel taught, holding the man down until help arrived.

He often attacks his fellow board members the same way: If he disagrees, Buel will knock their ideas to the ground as if they were an intruder.

Buel has a long history as an agitator on education

issues. In the 1970s, he wrote articles on schools for Willamette Week, which was founded by his older brother, Ron. (The Buels haven’t had any affiliation with the newspaper since the early 1980s.)

Buel served on the PPS board once before, from 1979 to 1983, when he lost a bid for re-election. In 1983, a thencolleague on the board said Buel was like “sandpaper—he just scrapes on people.”

At times, Buel seems unaware of how irritating he can be, even to people who are likely to agree with his goals.

“Steve’s one of those people you listen to with one ear and ignore with the other,” says Zeke Smith, the superintendent’s chief of staff from 2007 to 2012. “He’s constantly launching grenades just to see how they explode.”

Even his allies notice his effect on others.

“He has some really good things that he’s bringing up,” says Andrew Davidson, a 2014 Grant High School graduate and student representative to the board last year. “The board just marches on right past him.”

Buel has had a second, unexpected effect on the board: His impertinence has cracked open PPS leaders’ long-held reluctance to question the status quo and Smith’s decisions.

“He really has changed how the board operates,” says Davidson, who is now running for a full seat on the board.

“They seem less afraid to ask questions now and challenge staff.”

Three incumbents who regularly fought with Buel— Ruth Adkins, Greg Belisle and Matt Morton—have all declined to run again in the May 19 School Board election.

Adkins and Belisle said they wanted to spend more time with their families; Morton said he needed to focus on running his nonprofit, the Native American Youth and Family Center.

It also seems Buel has worn them down. Adds Tom Koe-

hler, who also joined the board in 2013 with Buel: “There was a kind of cozy consensus before Steve and I got on the board. That no longer exists.”

The Buel-driven change in the board’s makeup could shift a majority against Smith. New candidates—such as Davidson, Paul Anthony and Mike Rosen—and incumbent Bobbie Regan have shown more willingness to work with Buel to challenge Smith to do more.

Buel, who often appears to be failing in his larger mission, could actually be the force that creates a School Board that brings more attention to the needs of students, teachers and parents—and perhaps new leadership at PPS.

P

ortland Public Schools is the largest district in the state, with 47,000 students, 3,200 teachers and a $535 million annual budget. Yet it’s run by an unlikely superintendent.

In 2007, Carole Smith had been chief of staff to thenSuperintendent Vicki Phillips, who moved with such force and speed to close and merge schools she earned the nickname “Hurricane Vicki.” She lasted less than three years.

The PPS board named an interim superintendent and then, turning away nearly three dozen other local and national applicants, gave Smith the permanent job.

Smith’s previous management experience included running a small alternative school in North Portland. Her biggest asset eight years ago was that she was nice and that she seemed to listen well, two traits Phillips couldn’t claim to share.

Smith answers to the Portland Public Schools board, whose seven members volunteer their time. Historically, the board has been deferential to the PPS superintendent.

But Smith has pushed through a number of controversial changes over the years, and the board often goes along with a minimum of questions.

Willamette Week APRIL 8, 2015 wweek.com

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LEAH NASH

CONT.

THE DISRUPTER: Buel, a former teacher, won his 2013 School Board election with strong support from the Portland Association of Teachers. But PAT president Gwen Sullivan says Buel pushes back on the union just like he does everybody else. “He’s his own man,” she says.

“YEH, WELL, I’LL SAY IT AGAIN,” BUEL WROTE IN AN EMAIL TO A PORTLAND PUBLIC SCHOOLS BOARD COLLEAGUE. “SCREW YOU, ASSHOLE.” Buel took notice.

He had lost a campaign for the board in 2005. After Smith’s hiring, Buel tried and failed to get appointed to the board in 2008, and lost another election bid in 2009.

Buel retired from teaching in 2010 and two years later helped found a small activist group called Oregon Save Our Schools. The group rails against standardized tests and topdown administration. It bird-dogs the Oregon Education Investment Board, the superboard that oversees all schools, colleges and universities in Oregon. Buel rarely misses a meeting.

After he took down PPS board incumbent Martín González in 2013—with a hefty $12,000 check from the Portland Association of Teachers union—Buel didn’t wait long to start pushing his agenda and upsetting the board’s go-along-to-get-along attitude.

In an August 2013 meeting, one month after being sworn in, Buel refused to keep quiet when Belisle told him he couldn’t interrupt the board’s consideration of the business agenda to question Smith about a $35,000 tutoring contract.

He also demanded to know why PPS was spending $800,000 on outside attorneys when it had lawyers on staff.

(The answers didn’t satisfy him.)

He then introduced three motions that—breaking with custom—had not been pre-approved by the board’s cochairs.

The other board members tried to put him off. “I’m trying to make a point here,” Buel said. “We’re supposed to be making decisions in open meetings.”

Belisle relented, letting Buel put forward a motion requiring Smith to make sure the grass got cut in front of school buildings. Buel waved weeds he had plucked from the lawn at Vernon K-8 School in Northeast Portland.

“How’d you like to live next door to that?” Buel asked.

“How do we expect our kids to take pride in our schools?”

Buel later said he knew his stunt was symbolic, but he wanted to put an end to board members’ passively waiting for the superintendent to put forward ideas.

The other members voted his proposal down.

Buel would soon get used to that.

In February 2014, Buel pushed a peanut ban at Beverly Cleary K-8 School’s Hollyrood campus after learning that a single first-grader at that Northeast Portland school had a life-threatening peanut allergy. Board members rejected his proposal, agreeing a peanut ban could give the child a “false sense of security”—a line Buel traced to the peanut lobby hoping to tamp down growing peanut fears.

For the next several School Board meetings, Buel set a jar of Skippy peanut butter in front of him to protest his colleagues’ inaction.

“No one likes to be accused of killing children in public,” he says.

B

uel’s persistence has put pressure on other board members regarding much weightier issues than peanut butter and weeds.

He was the only School Board member to attend contract talks regularly as PPS teachers and administrators negotiated a teachers contract in 2013 and 2014. As teachers neared a possible strike, student protesters interrupted a January 2014 meeting. Of those present, only Buel stayed to listen to their demands.

Buel voted against Smith’s glowing performance evaluation in May 2014 and rejected the superintendent’s 2014-15 budget because of the board’s unwillingness to allow more public discussion about it. (Buel claimed the board scheduled only eight seconds of budget debate for every million dollars spent.)

That August, he voted against a 28 percent pay raise for

THE BAD BOY

Smith, which brought her annual salary to $247,000. “It was too much money,” Buel says. “We gave a 2.3 percent raise to teachers, and a 28 percent raise to the superintendent? It doesn’t make much sense to me.”

Last October, he voted against board protocols that asked members to refrain from “personally criticizing another board member or district staff in public.” He passed out copies of the First Amendment and accused colleagues—including Morton, who is Native American and oversees a high school for native students—of quashing free speech.

“I would think Mr. Morton, who runs a school filled with children whose ancestors had their rights stripped from them for centuries, might be cognizant of protecting basic rights,” Buel said. “But I guess not, so vote away, but as for me, I am voting no.”

The majority voted yes. Koehler abstained, but not before Belisle chimed in.

“I just want to acknowledge that I felt co-opting another group’s oppression for personal gain, or to make someone’s point, especially someone from the dominant culture, is quite inappropriate,” he said.

Buel’s off-the-cuff remarks often draw rebukes from critics. He says his words are misread. During a public budget forum with Spanish-speaking parents in April 2014, Morton noticed a note in front of Buel.

“Kick my chair if I nod off,” Buel had scribbled on a notepad. Morton—who often battles with Buel—took a picture of the note with his phone. Morton says the note struck him as being at odds with Buel’s claims of devotion to transparency and inclusiveness. “It makes me wonder if his private beliefs match his public displays,” Morton says.

Buel says he doesn’t remember writing the note, but says it would have had nothing to do with the fact the audience included Latino parents. “There’s no way for Matt Morton to know what I was thinking,” he says.

Charles McGee, co-founder of the Black Parent Initiative, calls Buel “the Joe Biden of Portland politics.” Buel, McGee says, often utters statements that give him pause.

“At the same time, his heart is in the right place,” he says. “It doesn’t take away from the inappropriateness.”

At a board retreat in March 2014, Buel questioned the district’s recent practice of pulling teachers at low-income schools out of their classes for professional development training, frequently leaving their students with substitutes.

The next day, Morton, currently the only minority member on the board, sent an email to the other members in response to Buel. Morton said the training helped teachers—most of whom were white and middle-class—to provide more culturally relevant instruction.

“It is not cut and dried in the manner Matt suggests,” Buel shot back. “Much of our professional development has been spent around re-engineering adults’ attitudes instead of giving teachers the skills to deal with children who are of significantly different backgrounds than they are themselves.”

“If you believe ‘re-engineering adults’ attitudes’ is unnecessary,” Morton responded, “you may want to brush up on your critical race theory and develop a firmer understanding of the elements of institutional racism.”

“Yeh, and you brush up on how to educate children,” Buel wrote back. “Screw you.”

“My style of communication you are so openly disgusted with is founded in my indigenous values,” Morton responded. “Based on your behavior I’m not at all surprised you don’t recognize key elements like kindness, respect and consensus.”

“Yeh, well, I’ll say it again,” Buel wrote. “Screw you, asshole.”

B

uel’s outspokenness on the School Board may not have produced monumental policy change, but his willingness to challenge Superintendent Smith has created openings for other candidates who are also questioning the district’s direction.

“Steve’s raising some really important issues,” says Paul CONT. on page 21 Willamette Week APRIL 8, 2015 wweek.com

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20

Willamette Week APRIL 8, 2015 wweek.com

CONT.

THE BAD BOY RICHARD BROWNE

Anthony, who’s running to replace Morton in inner Northeast Portland. “He is inviting more dissent.”

Mike Rosen, who’s running unopposed to replace Greg Belisle, says Buel once described himself to Rosen as a “disrupter.”

“He’s the guy who throws the wrench into the gears,” Rosen says.

Buel, Rosen says, has been treated poorly by some members of the board, and that has made him angry and frustrated. “He’s just so completely isolated,” Rosen says.

“If he had a group of people who were willing to work with him, it’s reasonable to expect he’d be part of constructive progress.”

Board members with whom Buel has clashed—Ruth Adkins, Pam Knowles and Belisle—declined to be interviewed.

“I appreciate that he’s pushing us out of our comfort zone,” says Bobbie Regan, an incumbent running for her fourth term. “He is pushing us, and I think in the end, he’s going to make us a better board.”

Buel says a different board could make Smith more effective.

STANDING FOR ATTENTION: Ron Herndon (on the desk) and other members of the Black United Front disrupt a Portland Public Schools board meeting in the early 1980s.

IN THE WEEDS: In August 2013, Buel brandished a bouquet of weeds he says came from a school’s front lawn—a prop he used during his complaint that PPS was neglecting its schools and their grounds.

“If things switch over, and you get a different group, she’s said she’s very willing to work with the new board,” Buel says.

One of the biggest preoccupations of the school district’s administration and the board today concerns which students go to which schools. It’s an issue Buel dealt with when he served on the School Board in 1980. (See sidebar, right.)

The district recently spent months tweaking its student transfer policy, a change that had at its heart a desire to alter the racial makeup of schools that were seen as too white or too black. It’s also why the board and Smith recently launched a process to redraw school boundaries—an effort to ensure all neighborhood schools offer high-quality programs.

“We haven’t come that far,” says Rosen. “We just feel better about the way we talk about it.”

Except Steve Buel. He’s talking the same way, saying the same thing. The question now is, will anyone listen?

“There will always be some disagreements, and I think that’s a good thing,” says Bill Scott, who served with Buel on the School Board from 1979 to 1983. “I would continue to be skeptical of Steve’s skills in expressing those in a way that’s useful or helps the group move toward a consensus.”

Koehler has heard the same criticism of Buel. “For every good thing that he says, he also shoots himself in the foot,” Koehler says, though he holds out hope. “I expect going forward there will be less foot-shooting and more statesmanlike behavior.”

Buel says he’s not only capable of change, he’s ready for it. “I was a disrupter because that was the only avenue I was given,” he says. “It will be imperative for me to move from ‘disrupter’ to ‘builder.’”

He says his message has gotten through. “A lot of people understand the board isn’t working—that’s progress,” he says. “You don’t have to disrupt things that are moving along smoothly.”

BUEL’S HISTORY LESSON Tensions in the Portland Public Schools over race and equity were shaped by tumultuous events at the district decades ago—and Steve Buel had a direct role in shaping them.

Buel, then 31 and a teacher in the Reedville School District, now part of Hillsboro, first sought election to the board in 1976. He lost, but then tried twice unsuccessfully to get appointed to vacancies.

He won outright in 1979. His opponent was Evie Crowell, an African-American who was then the only minority on the board.

Buel’s path to victory was smoothed by an endorsement from Herb Cawthorne, a black leader of the Community Coalition for School Integration, who told the Portland Observer that Crowell didn’t represent the AfricanAmerican community’s interests.

Portland Public Schools was then led by Superintendent Robert Blanchard, a nationally recognized educator who had served more than a decade as superintendent.

The city’s white elite loved Blanchard, who was under tremendous pressure by minority leaders to reduce disparate discipline against black students and address the district’s two-tiered system of schooling for black and white children. The burden of integration fell to black families.

“Our kids were being bused all over creation,” says Ron Herndon, then leader of the Black United Front, a fiery protest group whose members commanded attention by standing on School Board members’ desks. “Our black teachers were not allowed to teach in predominately black schools, and there were very few black principals.”

Buel sided with the Black United Front.

“What the Black United Front was saying was, ‘We want to be equal, therefore we want our children’s schools to be as good as anybody else’s,’” Buel recalls. “For me that was the connection—to be able to choose a good education in your own community, if you wanted. That choice wasn’t previously available to you in that way.”

In April 1980, the Portland School Board, without Blanchard’s support, adopted a desegregation policy that ended forced busing and allowed all children to attend neighborhood schools.

Buel played a crucial role. “He was more than willing to challenge the status quo,” Herndon says, “which was very uncommon for most people on the School Board.”

Three months later, the board voted 4-3 to fire Blanchard. The decision sparked dueling recall campaigns—one against the four

who had fired Blanchard and one by the Black United Front against the three members who supported the superintendent.

“The community turned on every one of us,” Buel says. “I was getting bombarded.”

In November 1980, Blanchard died of a massive heart attack. His estate claimed on-the-job stress contributed to his death. A year later, the board voted to name the district’s headquarters after Blanchard. Buel abstained.

Anger over the Blanchard firing lingered into the next election. “[H]e has been a time-wasting obstructionist,” The Oregonian editorial board said of Buel when he sought re-election in 1983. “Even during the important school desegregation meetings, Buel, more than anyone else, was responsible for interminable attention to trivia, pointlessly prolonging meetings beyond rational patience. His four-year performance has been a disappointment both in terms of style and substance.”

Voters ousted Buel in favor of a former bank executive.

His departure was a relief to others. “Utterly difficult to work with,” is how Charlotte Beeman, who served with Buel on the board from 1981 to 1983, sums him up. “It appears that he hasn’t changed.” BETH SLOVIC.

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21

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DRANK: All the beers of Salem.

MUSIC: Worst Replacements show ever.

MOVIES: Hollywood hates Earth.

WEED: Replacing the brave martyr Tom Burns.

Beyond the Print

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Here is something important you can do about it: House bill 3470 is expected to be discussed on April 14th in Salem.

This bill will cap Oregon’s greenhouse gas emissions and ratchet them down steadily over time. HB 3470 is similar to a California bill, CA AB 32 which was passed in 2006 and continues to have strong public support in California. British Columbia and Mexico also regulate carbon pollution. Washington State is expected to evaluate a carbon pollution bill this year. If HB 3470 is passed in Oregon most of the west coast will be regulating carbon pollution. This is a huge step in the right direction. You can make this happen. For more info on HB 3470 visit: olis.leg.state.or.us/liz/2015R1/Measures/Overview/HB3470 olis.leg.state.or.us/liz/2015R1/Downloads/MeasureDocument/HB3470/Introduced

There is no scientific debate about climate change. Climate change threatens our children’s future.

Stand up for them, and your own future, and contact your legislator. Take two minutes and call them. It doesn’t take many calls to make a big impression. Cut out this ad and sign it and mail it to them. Be in Salem on April 14 if you can and show your support. With your help this bill will be signed into law by Governor Kate Brown.

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503-986-1447 | 900 Court St. NE, H-285, Salem, Oregon 97301 Email: Rep.JessicaVegaPederson@state.or.us

Deborah Boone (D) - Clatsop, half of Tillamook, Western Washington County

503-986-1432 | 900 Court St. NE, H-481, Salem, Oregon 97301 | Email: Rep.DeborahBoone@state.or.us

Ken Helm (D)—Washington County

503-986-1434 | 900 Court St. NE, H-490, Salem, Oregon 97301 | Email: rep.kenhelm@state.or.us

Mark Johnson (R)—Hood River, Cascade Locks, Corbett, Sandy, Estacada, Gresham, Clackamas, and Multnomah Counties

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Jeff Reardon (D)–Happy Valley and East Portland

503-986-1448 | 900 Court St. NE H-473, Salem, Oregon 97301 Email: Rep.JeffReardon@state.or.us

Jim Weidner (R) – Yamhill

503-986-1424 | 900 Court St. NE, H-387, Salem, Oregon 97301 | Email: Rep.JimWeidner@state.or.us

Paid for by Julian Bell MD / haironfireoregon.org Willamette Week APRIL 8, 2015 wweek.com

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Are you concerned about climate change (or global warming)? It’s not your imagination - record low snowpack in the Cascades and Sierras, polar vortex weather in Boston, drought and mandatory water rationing in California, bigger forest fires in Oregon every summer…this is exactly what scientists have predicted: climate instability and extreme weather events.

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THE WHISKEY RUNS, THE BEER CHASES.

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What Kind of Future Do You Want for Our Children?

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DROP THE MIC: One of Portland’s most popular rappers is leaving town. Tope is relocating to Oakland, which he says will probably be a “launching pad” for an eventual move to a bigger music-industry center such as Los Angeles. “Every goal I set out for myself, I have achieved,” says the 29-year-old MC, born Anthony Anderson. “I started out as a nobody—just a fan” of Portland stalwarts such as Cool Nutz and Liv Warfield, “and now I collaborate with them…. It’s time for something new.” Tope has twice been a finalist in WW’s Best New Band poll, as a solo artist and with his group, TxE. TOPE His most recent album, Broke Boy Syndrome, received positive notice from influential hip-hop blog 2DopeBoyz and XXL. Tope, who’s never lived elsewhere, says he hopes the move will help him grow his fan base enough to headline shows along the West Coast. “I don’t think it’s impossible for an artist to get national recognition [in Portland],” he says, “but you have to have some money to do it from Portland.” In L.A., he says, he can make those moves just “walking down the street.”

PICKS OF THE ’THON: Pickathon, the annual music festival held at Pendarvis Farm in Happy Valley, has announced its first wave of acts for 2015. Initially focusing on American roots music, the festival has embraced a broader array of styles in recent years. Though there are no obvious headliners so far, the highlights include art-pop visionary Tune-Yards, African desert-blues ensemble Tinariwen, Dom Flemons of old-time string band Carolina Chocolate Drops, and return engagements from garage-rocker Ty Segall and obtuse rappers Shabazz Palaces. More artists are expected to be announced in the coming weeks. Pickathon takes place July 31-Aug 2.

DUCK HUNT: The Portland bike community is rallying to catch a man who allegedly killed a duck with his bicycle near Bethany Lake. A tipster named “Steve C.” told bikeportland.org that a man in red and white spandex ran down a duck with his bicycle, then didn’t stop. “Steve said several people pleaded with the man to stop and report the incident,” writes Jonathan Maus, “but to no avail.” Maus called on his readers to report any information about the man to park rangers, and stated his last known location. The killing of the duck does not, apparently, violate any laws enforced locally, but may fall under the purview of the federal Migratory Bird Treaty Act. So the feds, theoretically, could come after the man if he is identified. “This wouldn’t be considered a case any court would likely entertain,” says Mike Green of the U.S. Fish and Wildlife Service, but said he was obligated to refer it to enforcement.

NEW BLOCK: Bill the Butcher may not be dead. The Seattlebased butcher shop chain announced in January 2014 it would open 10 stores in Portland, but the chain instead shut down in October amid reports of financial losses and allegations its owner had funded a $2.4 million home using company money.

But on March 31, Bill the Butcher investor Erick Paulson of Portland filed for a liquor license to start a butcher shop called Block and Board on Southwest Terwilliger Boulevard.

HEADOUT

GO!

The Nike Hoop Summit is at Moda Center, 1 N Center Court St., on Saturday, April 11. Noon. $7-$50.

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

CRYSTAL BALLIN’ PREDICTING THE NBA FUTURES OF THE NIKE HOOP SUMMIT’S GRADUATING CLASS.

Basketball never stops, they say, but it does slow down. In fact, this particular week is among the most interminable for hardcore hoopsheads.

March Madness is over, and the NBA playoffs have yet to begin. Thankfully, in Portland, there is a reprieve from this moment of stasis: the Nike Hoop Summit, an annual showcase of the best high-school players in the world.

Of course, just seeing the game’s next crop of stars in their embryonic stage isn’t enough.

Hardwood junkies must always prognosticate.

But mock drafts tell only half the story. Here are our predictions for these graduating seniors when they finally reach the big leagues, in the things that really matter. MATTHEW SINGER.

WEDNESDAY APRIL 8 KAKI KING [SOLO GUITAR] On this tour in support of her latest project, The Neck Is a Bridge to the Body, the virtuoso guitarist’s custom-made instrument acts as a projector, reacting to her fingers as she sways between brooding melodic lines and bouts of violent chords. Doug Fir Lounge, 803 E Burnside St., 231-9663. 9 pm. $18. 21+.

CHICKEN AND EGG FORUM [FOOD] Oregon’s thinking about being the first state to outlaw bathing chickens in antibiotics. So this is a talk about how to raise chickens in ways that don’t need so many ’cillins. Chicken is served, as is liquor. Ecotrust, 721 NW 9th Ave., 227-6225, ecotrust.org. 5:30 pm. $15.

SATURDAY APRIL 11 JAYLEN BROWN

Forward; Alpharetta, Ga. Most likely to date Kylie Jenner On Twitter, the nation’s top recruit grumbled about being referred to as a “gentle giant” by a classmate. He’s looking to improve his “rep,” and nothing bad-boys up one’s image like being linked to one of the spinoff Kardashians.

CHASE JETER

IVAN RABB

Forward; Las Vegas Most likely to enter into a chaste relationship with Ariana Grande

Forward; Oakland, Calif.

Most likely to go through puberty on live television

He’s got a nice face, and seems like he’d totally be willing to carry a girl through a hotel lobby when her feet get tired.

Imagine: It’s 2016, and Rabb is on the bench, when suddenly, a full beard sprouts from his baby face and his voice drops a few octaves.

THE MINDERS [PSYCH POP] Casual fans may know the Minders only as a footnote of the Elephant 6 Collective, but frontman Martyn Leaper recently took steps to change that, putting the band’s full catalog online and plotting a late 2015 relaunch with the infectious teaser single “It’s Gonna Break Out.” Bunk Bar, 1028 SE Water Ave., 3282865. 9:30 pm. $7. 21+.

THE MYSTERY BOX SHOW [SEXY STORIES] Amateurs of various predilections, porn superstars and sex-toy mavens will tell you all about their first times and fetish mishaps at this adult story time. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 7 pm. $18. 21+.

PORTLAND PREVIEWS [NEW FILMS] It’s rare you get a scrappy, DIY experience in Portland cinema. Tonight, locals get big screen space to show their stuff.

Think of them as video ’zines, and thrive on the energy of creation.

Cinema 21, 616 NW 21st Ave., 2234515. 4 pm.

THON MAKER

LUKE KENNARD

JALEN BRUNSON

Forward; Ontario, Canada Most likely to develop a cult following among adult basketball nerds

Forward; Franklin, Ohio Most likely to develop a cult following among teen girls from the Midwest

Guard; Lincolnshire, Ill. Most likely to be confused with Jalen Rose

He looks like Grace Jones meets the T1000, allegedly plays like an unholy hybrid of Kevin Durant and Chris Paul and has already been written up by Grantland. Expect to hear a lot of “next Giannis Antetokounmpo” hype, which won’t mean much to anyone outside the state of Wisconsin and avid fans of The Starters.

He’s a 3-point specialist, he passed LeBron James on the Ohio High School Athletic Association’s scoring list and looks like the son of the coolest Baptist minister in Warren County. Ladies and... well, mostly ladies: Meet the Christian Jimmer Fredette!

Sorry, but Mike Rice has room for only one Jalen in his head, and it’s occupied.

STEPHEN ZIMMERMAN

Center; Las Vegas Most likely to tank in dunk contest He actually impressed in the McDonald’s All-American Dunk Contest earlier this month, but he’s also the player most likely to have received his basketball powers through a magic pair of Paul George’s sneakers. And as we know from Like Mike and Thunderstruck, those powers always wear off at the most inopportune moments.

G A R R E T T E L LW O O D / U S A B A S K E T B A L L

SUNDAY APRIL 12 GREEK EASTER [FOOD] Yeah, you had Easter, maybe. But did you have Greek Easter? It comes later. You dance, you smash the plates, you eat the sausage and lamb and spaghetti, and you drink the ouzo. Not in that order. The meal will be family style, which means you fight for the food.

Olympia (nee Olympic) Provisions, 1632 NW Thurman St., 894-8136, olympiaprovisions.com. 6 pm. $60$90.

TUESDAY APRIL 14 CHARLES BRADLEY & HIS EXTRAORDINAIRES [SOUL] The Screaming Eagle of Soul has made almost annual appearances in Portland since his late-life rediscovery a couple years ago, and each performance is a heart-knifing revelation. Tonight, he kicks off the Soul’d Out Music Festival, along with nu-jazz trio BadBadNotGood.

Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm. $25-$38.50.

21+.

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FOOD & DRINK = WW Pick. Highly recommended.

By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek.com.

See page 3 for submission instructions.

WEDNESDAY, APRIL 8 Chicken and Egg Food Forum

WE SELL DRINKS

OPEN TILL 2:30AM DAILY libertyglassbar.com

Oregon is thinking about outlawing blanket antibiotics for chickens, and so Ecotrust is holding a panel on how to raise up some chickens that maybe don’t need to be fed any of the various ’cillins.

Fort George Brewery and New Deal Distillery are apparently both into that. So there are drinks.

Ecotrust, Billy Frank Jr. Conference Center, 721 NW 9th Ave., 227-6225.

5:30-8:30 pm. $15, includes snacks and drinks.

FRIDAY, APRIL 10

Happy Hour Monday–Saturday 4–6pm & 8pm–close

Walk-Up Window 11am - 2pm

La Calaca Comelona 2304 SE Belmont | 503-239-9675 4-10pm Mon–Sat

Springwater Farm

Wild & Exotic Mushrooms Portland Farmers Market

8:30–2:00 Sat Morels, Porcini & Fiddleheads in Season

The Farmers Feast 503-734-4329 Wildeats@msn.com

Celebration of Syrah

For the 14th year now, McMenamins Edgefield will host a syrah fest with over 100 wines from 35 different wineries, whether Quady North or McCrea Cellars. The grand tasting at 4 pm on Saturday is $45 and is guaranteed to get you drunk, but if you’re fancy you can show up a day early for the Rhone White Reception and Gourmet Syrah Dinner, prepped by McM’s house chef at Edgefield. More info at mcmenamins.com. McMenamins Edgefield, 2126 SW Halsey St., Troutdale, 669-8610. 6:30 pm Friday, 11:30 and 4 pm Saturday, April 10-11. $45-$95.

SATURDAY, APRIL 11 Red Lips and Tulips

Walk through tulips. Drink wine. Eat goulash. It doesn’t have to make sense. St. Josef’s is old school among local wine, stretching all the way back to 1978, and owners Josef and Lilli (Josef is technically not a saint) are sharing a bit of their own history with music from the Portland Gypsy Dance Project and some homemade Hungarian soup to go with their pinots noir and rose, plus a syrah. St. Josef’s Winery, 28836 S Barlow Road, Canby, 651-3190. noon-5 pm. $5 for tastings, and you keep a wine glass.

Pfriem Bottle Release

At long last: Pfriem in a goddamn bottle. Denizens of the Beermongers will likely end up living heftily up to the bar’s name, as the first of a planned release of 22 different Pfriem bottles begins here, at least in Portland. Here’s your shopping list: Pilsner, IPA, blonde IPA, Belgian strong dark, Belgian strong blonde, saison, Flanders red and Flanders blonde.

Also, sours are coming—but not tonight. The Beermongers, 1125 SE Division St., 234-6012. 5 pm.

SUNDAY, APRIL 12 Greek Easter

Beyond the Print

MOBILE STAY CONNECTED 26

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Olympia (née Olympic) Provisions will roll out chef Elias Cairo’s family tradition one week later than the Protestant-Catholic version. You dance, you smash the plates, you eat the loukaniko sausage, you drink the ouzo. Not in that order.

The meal will be family style, like actual Easter, which means somebody’s gonna bogart the lamb with garlic sauce or the Greek spaghetti or something. Don’t worry.

The Cairos will bring more. RSVP

by April 10. Olympia Provisions, 1632 NW Thurman St., 894-8136. 6 pm. $60, $90 with wine pairings.

Includes tip.

MONDAY, APRIL 13 Charlie Bravo Charlie Beer Dinner

Seven courses of food, each with its own hard-to-get beer attached, from Surly’s Cacao Bender Brown

to Firestone Walker’s Stickee Monkee to Avery’s Maharaja Imperial to the draft-only Penn Quarter Porter from D.C. Brau.

Foodstuffs are things like hazelnutcrusted wild boar and such. The usual. EastBurn, 1800 E Burnside St., 236-2876. 6:30 pm. $100. 21+.

Field Guide to Drinking in America

You know if you get a DUI in Jersey you can’t get personalized license plates? It’s illegal to beg for alcohol in Colorado? And that to have a bar with liquor in Oregon you need 30 seats for “diners”?

Well, there you go. Portland writer Niki Ganong chronicled the quirks and stupidities of various states’ liquor establishments, in an apparent effort to make you feel better about the OLCC. So next time you hop in a car and drive around America while drinking, this book will help you. Ganong will be on hand at White Owl, as will drinks and treats. White Owl Social Club, 1305 SE 8th Ave., 236-9672. 6-9 pm. 21+.

Where to eat this week.

1. Le Pigeon

738 E Burnside St., 546-8796, lepigeon.com.

Swanky tasting menus with wine are old hat. Boring, even. Well, during the whole of the Craft Brewers Conference, Le Pigeon’s Gabe Rucker will offer beer pairings instead. It ain’t cheap, sure, but it’ll probably be pretty damn good.

And so, with the multicourse tasting menus, Le Pigeon will offer $30 (five-course) or $45 (seven-course) beer pairings to match the flavors of the food, whether seared foie gras or bacon-rabbit meatloaf. $$$.

2. Bamboo Sushi

1409 NE Alberta St., 889-0336, bamboosushipdx.com.

Bamboo has swapped out its Alberta izakaya for another sushi restaurant, but it’s opted to hang on to some of the successes from the izakaya in the bargain. Also, it’s apparently planting seagrass to become the first fully carbon-neutral restaurant in the world. Which leads us to believe we should also plant some seagrass. $$.

3. Apizza Scholls

4741 SE Hawthorne Blvd., 233-1286, apizzascholls.com.

Portland’s best pizza is now available for lunch or brunch on weekends, with personal pies topped with freaking eggs and bacon. And spinach and chilies and such. $$.

4. Holy Mole

Southeast 33rd Avenue and Hawthorne Boulevard, 347-4270.

The chef at our 2015 Food Cart of the Year, Fernando Otero, serves amazing mole from scratch with more than 30 different ingredients. Meanwhile, Otero’s pozole— pre-Hispanic corn soup, served both vegan and with chicken—is deeply hearty, while his enchiladas de picadillo dulce reveal a wealth of flavor and texture. It might cook slowly, but you will wait happily. $.

5. Smokehouse Tavern

1401 SE Morrison St., Suite 117, 971-279-4850.

The new Smokehouse Tavern, a finely wrought affair in taxidermy and metallic wallpaper, has great barbecue, sure—but holy crap. It also has some of the best potato salad in town, with that rare perfect balance of cream and acidic tang. $$.

FOOD & DRINK W W S TA F F

SALEM’S SOT DRINKING ALL 54 ORIGINAL BEERS MADE IN OREGON’S CAPITAL CITY.

BY M A RT I N C I Z M A R

mcizmar@wweek.com

Salem, Ore., is known by many names: the Cherry City, Exits 260A and B, the Beaverton of the Mid-Valley. It’s often forgotten that this patch of flat, grassy land along Mill Creek, originally valued as a suitable site for a grist mill, is also our state’s capital, despite Oregon voters twice choosing Eugene instead.

Now that every Oregon city with any ambition has a handful of breweries to her name—Oregon City, the state’s original capital, will have five by summer’s end while Salem’s closest rival, Beaverton, has two—Salem is getting serious about its suds.

Last month, four Salem breweries announced plans to form the Salem Brewery Association to represent Salem Ale Works, Santiam Brewing, Vagabond Brewing and Gilgamesh Brewing.

How’s the brew south of Keizer? I went and tasted all 54—every beer made by a Salem-based operation, plus the original recipes made by the brewer at the city’s McMenamins branch—in a single afternoon. Everyone was really nice, but I would not do this again, nor would I recommend it to others when the charms of Corvallis lie a mere 45 minutes away.

VAGABOND BREWING

SALEM ALE WORKS

park on the northern fringe of town, next to a crossfit gym, a tae kwon do place and a store that sells rare Australian coral frags and melanurus wrasses to serious fish keepers. The whole complex is ringed with barbed wire, and there’s a Mercedes SUV and a two-door Audi in the lot.

Inside, there are high ceilings, cement floors, leather couches and GPS coordinates painted on the wall. There’s also a shuffleboard table, a sit-down Pac-Man Battle Royale cabinet and fliers for upcoming yoga and board-game nights. The air hangs heavy with malt, and a couple guys are working in the brewhouse on a Saturday afternoon.

THE BEER: Ten house beers and two ciders from Hi-Wheel on our visit, available on two taster trays for $15. After I ordered them all, the barkeeper generously comped my DD a soda.

THE BAD: The Pioneer Golden ale tasted like an old cider—sweet and vaguely appley. The Irish Red was more like a Newcastle Brown, with none of that spiciness you want from a modern red ale. The Into the Wild IPA was extremely catty, the stout was over-aggressively smoky. The worst concoctions, though, were a collaboration with 7 Brides of Silverton, a milk stout that tasted like smoked Pixy Stix and ground-up pennies and the extra-syrupy barrel-aged version.

THE GOOD: The cherry pomegranate wheat, which has a really nice balance between crisp fruit flavors and grainy wheat. It’s a little like sucking a cherry pit.

into town, you pass the Salem airport and the Big K. This little nook is in the Airport Business Park, a mazelike plaza where you’ll also find a store that sells marijuana growing supplies, a store that sells marijuana, and a disc golf pro shop. (Synergy?)

Look for the keg stuck to a bike rack. Inside, they’re listening to midperiod Black Keys, and a guy passing through from Montana is marveling at how many breweries there are in Portland.

THE BEER: The brewery usually has 10 on tap, available as 10-beer taster trays for $10.

By local standards, they stray hoppy.

THE BAD: The red was stale and the double IPA was foul—toothpaste, sawdust and a little cat piss on the tongue.

THE GOOD: The Hootenanny Honey Basil is a light-sipper that’s well-balanced between sweet and herbal notes. The Cast Iron Cascadian Dark Ale is really more of an American stout, with a thick, chocolaty backbone to counterbalance 84 IBUs.

2195 Hyacinth St. NE, Suite 172, Salem, 512-9007, vagabondbrewing.com. 3-10 pm Monday-Thursday, 3 pm-close Friday, noon-close Saturday, 2-10 pm Sunday.

THE SPOT: Vagabond sits in an industrial

2027 25th St. SE, Salem, 990-8486, aleinsalem.com. 4-9 pm Monday, Thursday-Friday, noon-9 pm Saturday, noon-5 pm Sunday.

THE SPOT: As you work your way

GILGAMESH BREWING: THE CAMPUS ON PRINGLE CREEK

2065 Madrona Ave. SE, Salem, 584-1789, gilgameshbrewing.com. 11 am-10 pm Monday-Thursday, 11 am-midnight FridaySaturday, 11 am-9 pm Sunday.

THE SPOT: One mile south of Salem Ale

Works, on the other end of the airport runway, you find the “grounds” of the city’s largest brewery, Gilgamesh. This facility is called “the Campus” and looks like a small version of Stone’s San Diego beer gardens.

It is behind a muddy field, and you park by the loading dock. The lodgelike interior was built by the owners and includes wood furniture fashioned from alder and Norfolk pine. The back patio is near Pringle

Creek and is covered and heated in winter.

Unlike Salem’s other breweries, it has a full food menu with decent happy-hour deals on pretzels with beer cheese, and chips and salsa.

THE BEER: This is a full-scale production brewery with bottles, cans and a small barrel-aging program. Much of the beer is solid, with a few really impressive offerings.

You can get 12 tasters for $12.

THE BAD: The Pumphouse Copper Ale barely exists, and the DJ Jazzy Hef is soft and fluttery even for an American-style hefeweizen, a style I usually dislike.

THE GOOD: The Filbert Lager, a Pilsner made with Oregon hazelnuts, is clean and ricey. The Hoot Attack IPA, named for the city’s famously ill-tempered owls, packs a whole plantation of guava into every sip.

I’ve long been a fan of Hopscotch, a dryhopped strong ale with a nice earthy heft.

SANTIAM BREWING

2544 19th St. SE, Salem, 689-1260, santiambrewing.com. Noon-8 pm MondayWednesday,

noon-10 pm Thursday-Friday, noon-10 pm Saturday, 2-7 pm Sunday.

THE SPOT: The third operation in Salem’s Brewery/Airport District, Santiam sits in an industrial park near the old rock quarry.

Inside it’s decorated like a British sports pub, with flags, soccer paraphernalia and a row of dart boards. The stereo goes to middlebrow rock like Van Halen’s “Right Now” and Hole’s “Malibu.”

THE BEER: With 15 house brews on tap (all for $20), Santiam has the largest selection in the city. Because it’s got a British tint, four of those are on cask. The restrained

menu begins with three lagers.

THE BAD: Those lagers are pretty boring.

Also, being warmer and flatter, as cask conditioning goes, does not benefit a Bohemian Pilsner. The rum barrel-aged beers were far too sweet.

THE GOOD: I was a big fan of Ecotopia IPA, which got a really nice spicy fruitness from Amarillo hops.

THOMPSON BREWERY

3575 Liberty Road S, Salem, 363-7286, mcmenamins.com. 11 am-10 pm SundayTuesday, 11 am-11 pm Wednesday-Thursday, 11 am-1 am Friday-Saturday.

THE SPOT: Ah, McMenamins. They always

feel like home—like Portland. This house was built for an elderly Civil War veteran back in 1905 and sits outside the Brewery/ Airport District in a neighborhood with trees and buildings shorter than a city block. This very busy McMenamins is staffed by a delightfully sassy bartender who pours beers made by brewer Jen Kent, who worked her way up from prep cook.

THE BEER: Like other McMenamins, they brew their own versions of classics like Ruby and Hammerhead along with ambitious Kent creations like a kriek made with sweet tart cherries and fermented with a Belgian yeast. $8 gets you the originals.

THE BAD: That kriek needs a lot more fruit and maybe body and the honey jalapeño doesn’t have much heat, just a lot of honey.

The ideas are good, but the flavors need to be dialed up. Maybe this is a tough market for aggressive beers, maybe she just needs to push things further.

THE GOOD: Hopped Up Pole Ale has a green and grassy but not unpleasant flavor from Citra hops.

Willamette Week APRIL 8, 2015 wweek.com

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Willamette Week Presents

April 8th & 22nd

Comic Book Art Camps with Spider-Man Artist

Randy Emberlin

Ages 8-18 ThREE CAMpS:

July 13-30

Make a SFX Poster • Design a Comic Book Cover • Draw a Comic Strip

Register Online at RandyEmberlin.com 503-645-6026 971-227-1608 28

Willamette Week APRIL 8, 2015 wweek.com

Pacific University Forest Grove, OR • 800.944.7112 Save $25 - Coupon Code: WW15

TennisCamper.com

Willamette Week APRIL 8, 2015 wweek.com

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Portland Early Learning Project

Language culture, music, and more!

503.284.0610 www.portlandearlylearning.com

Horsemanship Day or Overnight Camp

For all Levels, Ages 5-18 Horse Care & Safety from Head to Tail 29 Years’ Experience June 22-26 • July 20-24 August 3-7 • August 10-14 Horsemanship Certificate, Hands-on Experience, Games on Horses, Horse Crafts, Daily Riding Lessons, Swimming, Barn Sleep-Over & Cook out, plus much more!

503.743.3704 www.Fantasyfarms.net

Do you love to act, sing and dance?

Do you want professional training in a fun, friendly and emotionally safe environment?

Do you have Summer plans?

Spend a week, or two, or three or four at the Columbia Gorge School of Theatre. Study Acting, Singing, Dancing, TV/Film Acting and the Biz with professionals from across the country! Be in a show and make new friends from around the world!

www.TheatreCamp.com

About Town Summer Camp Get connected to your community and become a local expert.

Daily outings based on food, art, transit, nature and history.

• Small class size • Low introductory rate • NE Portland location

www.classpdx.org

CLASS promotes community-based and service learning

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Willamette Week APRIL 8, 2015 wweek.com

What do you dream of doing this summer?

Overnight Camps

4–12th Grades, Sun thru Sat Horsemanship Camp Adventure Camp Day Camps with “Overnight Blast”

Day Camps

Mon thru Fri 9am–3:30pm Day Camp grades 1–6 Day Horse Camp, ages 8–14 Day Adventure Camp, grades 5–9 Day Paintball Camp, grades 6–12

Get More Info & Register • (360) 686-3737 www.royalridges.org

Camp Vida 2015: Fur, Fins & Feathers June 22– August 28 Contact us for a camp tour!

Special guests include goats, llamas, fish, reptiles, service animals and more! Each week features art, music, dance, gardening and cooking for children ages 3-6.

www.portlandmontessori.org Willamette Week APRIL 8, 2015 wweek.com

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JA FINANCE PARK Boot Camp JA Finance Park Boot Camp helps students ages 14-17 build a founda on for making intelligent, lifelong, personal financial decisions through hands-on, realis c experiences.

June 23—25, 2015 $179.00

EARTH ROAMERS K-8 • Child centered Garden and Nature based camps where food, art and science collide.

COME DANCE WITH US IN OUR

NEW HOME! 211 NE 10TH AVE YOUTH SUMMER

“An investment in knowledge always pays the best Benjamin Franklin

DANCE! CLASSES

http://earthartag.wix.com/earthartag Contact: earth.art.ag@gmail.com Sliding Scale: $160-300 Work Trade available

AGES 4 TO 8 / SUNDAYS

JUL 5 TO AUG 23 YOUTH SUMMER

DANCE! CAMP AGES 9 TO 15

JUL 20 TO 31 YOUTH DANCE! CLASSES

AGES 4 to 18 SPRING SESSION MAR 30 TO JUN 14

SCHEDULE + INFO 503.421.7434 / NWDANCEPROJECT.ORG

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JA Finance Park Boot Camp is an innova ve, educa onal experience designed to teach personal financial literacy skills to middle and high school students. The program blends instruc on with a culmina ng simula on assisted by volunteer coaches. During the simula on, students build a balanced household budget u lizing an iPad loaded with our custom JA Finance Park simula on app.

DAY ONE: Career Explora on Students will explore different career fields and see how their educa on choices can help form their future.

DAY TWO: The Basics Students will gain a basic understandings of what it means to make a budget, and how different financial decisions can effect their way of life.

STEP THREE: The Simula on Students are assigned a fic onal adult role that reveals their age, occupa on, household income and family situa on. They then determine their Net Monthly Income as well as a minimum and maximum to be spent on sixteen household budget categories. visit www.jaorswwa.org to register Empowering young people to own their economic future.

A traditional weeklong summer camp experience for youth entering 3rd through 12th grades in the beautiful forested foothills of the Cascades.

(An easy drive from Portland.)

Summer fun and friends you will remember for a lifetime!

Visit us at campadams.org to learn more!

GOLF CAMPS & CLASSES

Teaching golf skills from the fundamentals to the most advanced.

REGISTER NOW • AGES 4-17 Spring, Summer and Fall www.thefirsttee greaterportland.org (503) 722-1530, Ext. 0

April 8th & 22nd For info or how to advertise in this section: Matt Plambeck

503-4 45 -2757 • mplambeck@w week .com

Celebrating our 9th year!

July 13th - 17th fashiondesigncamp.com PDX-NY-LA-SEATTLE

Willamette Week APRIL 8, 2015 wweek.com

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MUSIC

THE REPLACEMENTS STEVEN COHEN

SWINGIN’ PARTY

SET LIST: THE REPLACEMENTS AT PINE STREET THEATER, 12/7/87 1. Happy (The Rolling Stones cover) 2. Valentine 3. Hold My Life 4. Honky Tonk Women (The Rolling Stones cover) 5. Left of the Dial 6. Little Mascara

THE REPLACEMENTS PLAYED A LOT OF TERRIBLE SHOWS. THE ONLY ONE IT APOLOGIZED FOR HAPPENED IN PORTLAND.

7. Answering Machine

BY M AT T H E W S I N G E R

12. Darlin’ One

8. Never Mind 9. Favorite Thing 10. Kiss Me on the Bus 11. Another Girl, Another Planet (The Only Ones cover)

msinger@wweek.com

13. I Will Dare

wenty-eight years later, and 24 since their last visit, the Replacements are coming back to Portland. Of course, this Replacements isn’t the Replacements, as two of the four slots in the band are occupied by literal replacements. It’s more like Paul and Tommy Play the Hits. It’ll almost assuredly be great. Few legacies are as protected against reunion-tour cynicism as theirs, and reports from the festival dates they’ve played over the last year, including a triumphant Minneapolis homecoming in September, indicate the songs are as vital as ever, regardless of who’s actually playing them.

But without the threat of the whole thing falling apart in a boozy mess, it still won’t be

n 1987, though, there was still plenty to fuck up. Released in April, Pleased to Meet Me was the Replacements’ second major-label album and, as many ascertained from its production sheen and punkdeficient songwriting, was meant to be the record that would finally break the band big. (It had horns on it, for crying out loud.)

The night before the start of the supporting tour, Westerberg, Stinson, drummer Chris Mars and guitarist Slim Dunlap (who joined after Tommy’s brother, Bob, either quit or got fired), along with McCaughey, shaved off their eyebrows. This is how the Replacements chose to present themselves to a potential new mainstream audience: as a crew of bedheaded Uncle Festers.

By the time the tour reached its end in Portland, the ’Mats were no more famous

than when it began, and everyone was exhausted. They’d played San Francisco the night before and, according to McCaughey, were operating on an hour of sleep.

“The minute we arrived at Pine Street,” he says, “Paul came up to me and chanted, ‘Drink! Drink! Drink! Drink!’” The tour had actually swung through town five months earlier, and while that show wasn’t exactly a sober affair, this was something else. “We’re not talking a bunch of New England Conservatory grads to start with,” says former WW music critic Marty Hughley. “The second time, they were so drunk whatever chops they had just disintegrated.” With the Fellows lobbing food at them, the ’Mats stumbled through a set consisting mostly of songs from its back catalog and several covers, of everything from the Stones to Prince to Dusty Springfield, stopping, restarting and occasionally abandoning a song altogether (while, naturally, completely disregarding their single at the time, “Alex Chilton”). Stinson and Westerberg—who came out draped in a velvet “Leonardo da Vinci” robe McCaughey often wore onstage, with the rest of McCaughey’s tour clothes wrapped around him—gradually stripped, tossing garments into the crowd and eventually playing with their pants around their ankles. About half the crowd left. All in all, a pretty standard Replacements experience.

“I don’t know if, from an audience perspective, that show was any more disastrous than other Replacements shows over the years,” says David Benedetti, a former KBOO DJ who used his tax return to follow the band on tour. “I saw some crazy Replacements shows, so this just fit in as another crazy Replacements show.”

If the show has earned a place in Replacements lore, it’s likely more because of what happened backstage. Aside from the couch-tossing incident, Westerberg charged at a chandelier for a “Tarzan swing” and yanked it out of the ceiling. The two bands bowled in the hallways using empty beer cans and balls stolen from a nearby alley. Fellows drummer Tad Hutchison fell on a broken jar of peanut butter during an attempt at a human pyramid

15. I Don’t Know (with Scott McCaughey of the Young Fresh Fellows) 16. Within Your Reach 17. California Sun (The Rivieras cover) 18. The Look of Love (Dusty Springfield cover) 19. Color Me Impressed 20. Let It Out (Let It All Hang Out) (The Hombres cover) 21. I Could Never Take the Place of Your Man (Prince cover) 22. Can’t Hardly Wait 23. Gary’s Got a Boner Encore: 24. Johnny’s Gonna Die 25. Willpower 26. Unsatisfied TI

the Replacements. In its heyday, the group made self-sabotage into an art form. By the metric of practically anyone who heard them, the ’Mats should’ve been the biggest band in the world, the pre-Nirvana force to rise up from the American punk underground and bring raw, honest rock ’n’ roll back to the pop charts. And over and over again, they managed to snatch failure from the jaws of success.

Over time, those spectacular flameouts— getting banned from Saturday Night Live, getting tossed off a Tom Petty tour—came to define the Replacements as much as anything they recorded. With almost any other band, that might seem depressing. In the case of the ’Mats, though, it’s damn near heroic.

“They knew they were never going to succeed on their own terms,” says Gorman Bechard, director of the documentary Color Me Obsessed. “At least they could fail on their own terms.”

It’s all different now, though. A reunion tour is an inherent victory lap, particularly for a band that didn’t sell a lot of records in its prime. It’s proof the Replacements did succeed on their own terms—it just took two decades in absentia for it to happen.

Even with their old Pacific Northwest running buddies the Young Fresh Fellows on the bill, there’s little chance this show will devolve into chaos. There’s nothing to ruin, because there’s nothing to protect. All we’ll get are the songs. And, truth be told, that’s not such a bad consolation.

14. Cruella DeVille

ET ID BENED Y O F D AV

BASTARDS OF MIDDLE AGE: The Replacements’ Tommy Stinson (left) and Paul Westerberg in 2014.

COURTES

bout the time the couch crash-landed on Southeast Ash Street, it became clear this was a Replacements show that would live in infamy.

Portland always brought out the worst in the Replacements. Singer Paul Westerberg went so far as to call it a “curse.” And the show on Dec. 7, 1987, the last on the Pleased to Meet Me tour, was the nadir. Or, depending on your perspective, the peak.

Memories being what they are, no one is sure if the crashing couch was punctuation for the most disastrous gig in the career of a band famous for disastrous gigs or just the beginning. What’s certain is, at some point, members of the ’Mats and their opening act, the Young Fresh Fellows, got it in their heads that it’d be fun to pitch the dressingroom sofa out the second-floor window of what was then the Pine Street Theater.

“Who’s idea was it? I can’t remember for sure, but let’s blame it on Tommy,” says Fellows frontman Scott McCaughey, referring to Replacements bassist Tommy Stinson. “We thought it was brilliant at that moment—it would have been less comical had it landed on somebody.

Obviously none of us were interested in thoughts of safety or retribution at the time.”

In truth, the show doesn’t sound much different than other Replacements shows of the era: moments of blotto ineptitude interspersed with the occasional glimmer of transcendence and lots of random cover tunes. Nevertheless, it’s probably the only show the band ever felt the need to publicly apologize for. They even wrote a song about it.

CONT. on page 37 Willamette Week APRIL 8, 2015 wweek.com

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MUSIC

april 8–14 = WW Pick. Highly recommended.

Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called convenience charges may apply. Event lineups are subject to change after WW’s press deadlines.

Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.

WEDNESDAY, APRIL 8 Soulection Presents: Esta, Iamnobodi, Joe Kay, Gangsigns, Tyler Tastemaker

[BEAT AMBASSADORS] Beats—as in cinematic, instrumental hip-hop that skips to a stoned rhythm— don’t always take the spotlight in house- and techno-happy Europe, so the U.S.’s finest emissaries, the L.A. Soulection crew, have invaded.

Last year, they played one of the finest sets at London’s semiunderground Boiler Room and signed up for a set on famed radio station Rinse. Esta is one of the label’s rising stars, whose upcoming album is alleged to venture into R&B and beyond. And like any receptive ambassador, Esta also brings a taste of the foreign back home, dabbling in bass-heavy house on the opening of the jazzy “DancingInPuntaFuego.” MITCH LILLIE. Branx, 320 SE 2nd Ave., 234-5683. 10 pm. $10. 21+.

Kaki King, Rebecca Marie Miller

[SOLO SPECTACLE] Something changed after Kaki King’s sophomore effort, Legs to Make Us Longer. Her music, once epitomized by imaginative acoustic guitar and intricate fret-tapping, turned into something of a postrock affair that was less centered on her own instrumental virtuosity. Her latest album, The Neck Is a Bridge to the Body, is an amalgam of those styles, though, one intended to be played live on a custom-made Ovation guitar wedged between two stationary rods. On this tour, her guitar serves as the projection screen, reacting to her fingers as she sways between brooding melodic lines and bouts of violent, thrashing chords, all the while airing the gorgeous chops she first honed busking the subway cars of New York City. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $18. 21+.

Santiparro, Jeremy Lee Faulkner, Windus

[PSYCH-FOLK] Freak-folk’s not dead, y’all! Not only does Alan Scheurman have the loose, mystical sound of prime Devendra Banhart, he has the kooky backstory to go with it: Dubbed “Santiparro” by a group of Huichol Indians while on a pilgrimage to the sacred site of Wirikuta in central Mexico—the name allegedly means “the lens that sees many things not usually seen”— Scheurman left his native Detroit and went on a spiritual vision quest…to Brooklyn. If you’re allergic to patchouli-scented psychedelia, you probably stopped reading at “freak folk.” But if you’ve got old copies of Arthur magazine yellowing in a storage space somewhere, Santiparro’s Will Oldham-blessed debut, True Prayer, will make a long, gnarly shaman beard spontaneously grow out of your face. Namaste.

MATTHEW SINGER. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $6. 21+.

Palo Verde, Polst, Sei Hexe

[DOOM PSYCH] It doesn’t take more than two people to make a giant mass of noise. At least, that’s the case with Portland duo Palo Verde’s epic, experimental psych rock. Eight years into it, Lauren Newman (drums) and Terrica

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Kleinknecht (guitar) know how to work together to improvise something that’s complex, heavy and sludgy while still being dreamy. It’s the kind of dense sound you can get lost in. SHANNON GORMLEY. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm.

Free. 21+.

THURSDAY, APRIL 9 Disappears, Clay Cole, Black Is Bright

[NEGATIVE NOISE] As unlikely as it was at the time, the ripples sent

by Liars’ 2006 release Drums Not Dead are still cascading throughout post-punk’s clanging minimalists. Chicago’s Disappears certainly work within the trudging, spare constructs of krautrock and No Wave, but its commitment to subtle grooves and nervously ticking harmonies on the recently released Irreal creates an odd landscape that can be both desolate and comfortable at the same time. Recommended for fans of brooding noise rock that fills the negative space with just enough forward motion to hang on to. PETE COTTELL. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

Bane, Backtrack, Malfunction, Bill Conway

[HARDCORE, MASS.] Unquestionably birthed from the same lineage that offered up the ultraviolent but dedicated Boston youth crew bands, including SS Decontrol and DYS, Bane first functioned as a side project back in the ’90s. But the band’s been around enough—despite almost a decade passing since its last album—to have grown wary of traditional hardcore lyrical tropes. So, 2014’s Don’t Wait Up features a harsh critique of short-sighted songs about “hanging out with your friends” and “loyalty.” Lambasting all that, though, necessitates that the band repeat the litany of rehashed concepts, making the dismissal seem more like pining than anything else. PETE COTTELL. Star Theater, 13 NW 6th Ave., 248-4700. 7 pm.

All ages.

FRIDAY, APRIL 10 Ezza Rose, Balto, White Glove

[PLUGGED-IN FOLK] If Ezza Rose’s dreamy, delicate vocals weren’t so recognizable, one might not realize that her latest album, When the Water’s Hot, is the product of the folk songstress who’s been playing across Portland for the past eight years. Her music, previously built on gentle, minimalist melodies and eerie harmonies, takes a different tone on her new LP. More electrified and slightly more ominous than the simple, lilting sound she previously established, this is Rose at her best so far. KAITIE TODD. Bunk Bar, 1028 SE Water Ave., 8949708. 9:30 pm. $10. 21+.

His Name Is Alive, Cynthia Nelson Band

[COLLAGE ROCK] Plucking His Name Is Alive from its humble beginnings in a Livonia, Mich., basement where it layered loops by hand the esteemed 4AD label introduced the damaged dreamcore of Warren Defever and his rotating cohorts to indie tastemakers worldwide. before cutting them loose as Defever veered

FRIDAY–SATURDAY ever farther afield through tweaked soul, tangled roots and instrumental ambient pastures. Latest release Tecuciztecatl pretends to be a psych-prog opera concerning the ritualistic murder of an unborn evil twin by an obsessive librarian.

But with flute-driven synthscapes flowing behind current chanteuse Andrea Morici’s breathy pop while over-extended guitar solos limn the silliest ’80s cock rock, His Name Is Alive remains its own daftest concept. JAY HORTON. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $13 advance, $15 day of show. 21+.

Loren Connors

[ACOUSTIC GUITAR] Brooklyn guitarist Loren Connors has recorded under a half-dozen names and produced several dozen albums in his three decades of making music, including work with his group, Haunted House. He’s collaborated with artists from Jim O’Rourke to Sonic Youth’s Thurston Moore to acoustic guitar wizard John Fahey.

That range of experience gives

him plenty of original and improvised material to draw on in his solo recital, but expect much of it to be folk-blues-based, atmospheric, even dreamy—moods that should play well in YU’s open space. BRETT CAMPBELL. Yale Union (YU), 800 SE 10th Ave., Portland, 236-7996. 9 pm. $12. 21+.

SATURDAY, APRIL 11 The Minders, Rio Grands

[PSYCHEDELIC POP] As the Minders rally the troops to mount a late 2015 band relaunch and new album release, frontman Martyn Leaper recently took steps to ensure that the band’s full catalog is finally available on that ol’ godforsaken Internet, giving casual fans (who may know the Minders only as a footnote of the Elephant 6 Collective) a more complete map of what ground the underrated outfit has covered in its first 20 years. Last year’s terrifyingly infectious “It’s Gonna Break Out” single, though, with its whistle harmonies

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and swelling string section, might just be a better indicator of where the Minders are headed in the project’s third decade. CASEY JARMAN. Bunk Bar, 1028 SE Water Ave., 8949708. 9:30 pm. $7. 21+.

Witch Mountain, Holy Grove, Zirakzigil

[DOOMSCAPES] You’d be forgiven for thinking that losing singer Uta Plotkin late last year would spell the end of Witch Mountain. Lesser bands might have folded, but for Portland’s longtime merchants of epic doom, it only signaled the beginning of yet another era, this time with vocalist Kayla Dixon out front. After a few weeks on the road, the band (which features frequent WW contributor Nathan Carson on drums) returns home to show off its newest acquisition. Star Theater, 13 NW 6th Ave., 248-4700.

9 pm. $8. 21+.

CONT. on page 40

THE REPLACEMENTS CONT. from page 35

and had to get stitches. There was even an appearance by Pappy the Clown, mild-mannered Chris Mars’ “demonic,” drunken alter ego. “Eight Keith Moons armed with bottles and bowling balls and a complete disregard for reason” is how McCaughey describes the scene. Concert promoter Monqui had just taken over the building, and co-founder Mike Quinn admits to feeling ambivalent about the situation.

“I was pissed,” Quinn says “But it’s like, what do you do? I love the band. Part of me was like, ‘This is awesome,’ and another part of me is like, ‘This is fucked up.’” hen the Replacements went back into the studio in 1988, they committed two apologies for the Portland debacle to record, one more literal than the other. On the original vinyl pressing of Pleased to Meet Me’s followup, Don’t Tell a Soul, Westerberg requested the phrase “We’re Sorry Portland” be etched into the record’s run-out groove, where the serial number would normally go. More obliquely, around the same time, Westerberg also wrote a song called “Portland,” a countryish tune that went unreleased for a decade. Though not a direct expression of contrition, it does feature a lyric that seems to address that besotted night: “It’s too late to turn back/ Here we go, Portland.”

(Westerberg also requested to play for free the next time through town, but management nixed that idea. They did lower the ticket price, though.) As late as 2013, members of the band were still talking about it: In an interview with Time, Tommy Stinson was asked about the story behind “Portland.” “It wasn’t one of our defining great moments,” he said. “It was a bad gig, and people were really bummed.”

The “curse of Portland,” as Westerberg once referred to it in The Oregonian, continued to haunt the group even after it initially disbanded.

In 1993, Westerberg was supposed to play solo at La Luna—the renamed Pine Street Theater— when a back injury forced him to cancel. The Replacements did manage to get through one gig in Portland without incident, in 1991, on its final tour until this current one. But that show had problems of its own, in that it didn’t have any. If they were too drunk in ’87, they were too sober in ’91.

“To me, that’s a bad Replacements show,” Benedetti says. “A show that’s loose and sloppy

Ad for the ’Mats most infamous Portland show.

and comes off the rails, that’s what I loved about the Replacements—you never knew what you were going to get.”

They just couldn’t win—which is precisely why everyone loved them.

SEE IT: The Replacements play Crystal Ballroom, 1332 W Burnside St., with the Young Fresh Fellows, on Friday, April 10. 9 pm. Sold out. All ages.

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MUSIC GARTH BROOKS SUNDAY-THURSDAY, APRIL 12-16 Why No Fences is the best album of the early ’90s.

Garth Brooks has a reputation for going over the top. And if you have tickets to see one of his five sold-out shows at the Moda Center next week, surely you expect smoke machines, a drum kit suitable for prog-rocking and a 53-year-old Okie with a headset microphone jumping around until he’s sweated through his chambray shirt.

More likely, you don’t have those tickets. Dualies with gun racks from rural Oregon will take up two parking spots on Broadway, the occupants piling out onto the street to pregame with Budweiser products before belting out the third verse of “Friends in Low Places.”

Even if you’re among the very high percentage of WW readers who does not cotton to mainstream country music, the brilliance of Brooks—and make no mistake, his work is equal to anything made by his ’90s contemporaries in grunge and gangsta rap—is something you really should learn to appreciate.

Garth’s breakthrough, No Fences, is the place to jump in. To my mind, it’s the best of the mega-selling albums of the early 1990s—better than Nevermind and maybe even The Chronic. And that’s not because of the two songs you probably know but for their missing third verses, “Low Places” and “The Thunder Rolls.”

The rest of No Fences is a quiet, brooding album about unavoidable failure, unearned success and a sense of loss that lingers so long because it’s mixed with fear. Fate, I guess you’d call it.

After the theatrical “Thunder,” we enter a dark barroom where the heartbroken line up on the stools like “birds on the high line,” hoping to find a “New Way to Fly.” They spend their money on a sense of possibility and a distraction, what Brooks calls “a high price to pay, to just find a way to get by.”

After the jokey honky-tonk of “Two of a Kind,” we’re back to the piano bench for another ballad about the brokenhearted, where “it don’t matter who you are,” because “it treats everyone the same.”

For me, though, the first moment of blunt agony on a record that could leave you crying at least four times is “This Ain’t Tennessee.” It’s an unusual set-up: Our narrator has made it, living on a big estate with chandeliers and wrought iron gates surrounded by palm trees and crisp ocean air. He’s got a loving wife. He’s miserable.

“It’s not that it’s not grand enough,” Brooks sings, “and it’s not that I’m not man enough, there’s just something easy that I love about you and Tennessee.”

What does he do? Nothing. He learns his lines, and carries on with a gentlemanly stoicism.

“Wild Horses,” about a cowboy who can’t give up the rodeo for his woman even though he knows he’ll lose more than he can ever win, follows. And then comes the happiest song on the album, the bittersweet “Unanswered Prayers,” about a man who runs into his old girlfriend at a high-school football game. “She was the one that I’d wanted for all times, and each night I’d spent praying that he would make her mine,” Brooks sings. “Remember when you’re talkin’ to the man upstairs, that just because he may not answer doesn’t mean he don’t care.”

And if that didn’t get you? Well, the last track on the record, “Wolves,” should rip your heart right off the artery. It’s a cowboy song, about ranching in a January storm and farming in a drought. Our narrator can’t shake the specter of “the ones the wolves pull down”: “I don’t mean to be complaining, Lord, you’ve always seen me through. And I know you got your reasons, for each and every thing you do, but tonight outside my window there’s a lonesome mournful sound.”

When Brooks’ fans descend on town this weekend, that’s what I’ll be thinking about. Well, that and whiskey. Gon’ be a hell of a party. MARTIN CIZMAR. SEE IT: Garth Brooks plays the Moda Center, 1 N Center Court St., 235-8771, on Sunday-Thursday, April 12-16. See rosequarter. com for complete show details.

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MARK TUCKER

COMMENTARY

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SUNDAY–TUESDAY

SUNDAY, APRIL 12 Redwood Son

[WEST COAST COUNTRY] For a handful of years now, Redwood Son has been quietly turning out Northwest roots rock just under the radar. Chances are good that the Portland act’s current project, a forthcoming record produced

by Steve Berlin of Los Lobos, will change things a bit. Tonight, Redwood Son plays as part of a weeklong residency, with special guests from local jam-grass band the Student Loan. If you enjoy laidback Americana with no strings attached and tons of sticky hooks, this is your show. MARK STOCK. Al’s Den at the Crystal Hotel, 303 SW 12th Ave., 972-2670. 7 pm. Free. 21+.

wide reinvigoration of the classic Motown sound that began in the late aughts. But the 66-year-old Bradley isn’t some new-jack trendjumper. More than any other vintage-style crooner who’s popped up in recent years, Bradley legitimately sounds like an artist who was frozen in the 1960s and happened to thaw at the right time.

Tonight, as part of the Soul’d Out Music Festival, he’s joined

by BadBadNotGood, an instrumental trio whose vision of jazz seems mostly derived from hip-hop samples. MATTHEW SINGER. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm. $25-$38.50.

21+.

Wand, Vexx

[MAGIC AND FEEDBACK] Where or what is Ganglion Reef? Considering it’s the name of Wand’s debut album, it’s probably a place that exists only in the band’s strange collective mind. Indicative of the kind of humor required of modern psychpop bands, the members of Wand are evasive about creative details like origins of album titles, often offering strange, mystical, often totally nonsensical explanations.

But hey, strange, mystical, nonsensical—with as much fuzzy feedback as you’d expect from signees of Ty Segall’s record label—is pretty much what the band’s all about, anyway.

SHANNON GORMLEY. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $10 advance, $12 day of show. 21+.

Soul’d Out Music Festival Kickoff: Billie & the Holidays, Cherimoya

[FUNKY JUMPSTART] This year’s Soul’d Out Music Festival kicks off with a tribute to Billie Holiday (featuring great local gospel-soul singer Liz Vice) and hard-hitting Afro-funk instrumentalists Cherimoya. Star Theater, 13 NW 6th Ave., 248-4700.

5 pm. $5. 21+.

White Violet, Geronimo Getty, Sam Fowles

[INDIE ROCK] Meet White Violet, a four-piece formed in Athens, Ga., and currently based in Tennessee.

The band just released its sophomore full-length, Stay Lost, a deliberate move away from the softer, introverted sounds of its first release and into grander indie-rock territory. Supported by wavy guitar

FLASHBACK

Micky & the Motorcars, Big E & the Stomp, Redwood Son

[BAR-BACKED COUNTRY] Much has changed for Micky and the Motorcars since the band’s formation in the outskirts of Stanley, Idaho—well, aside from the band’s sound. The country-rockers have experienced multiple lineup shakeups, but they’ve never veered far the music that typifies their latest LP, Hearts From Above. It’s the kind of sharpened alt-country brimming with muscled guitar and saccharine vocal hooks, tightly bound together with guitarist Micky Braun’s pop-infused lines about booze, women and the asphalt between here and the next gig. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $13 advance, $15 day of show. 21+.

MONDAY, APRIL 13 Haunted Summer, Leo, Hart & Hare, Bon Wrath

[DREAM POP] For all the meltedwax candelabra and ghostly, longexposure band photos touted by the L.A. duo—plus, you know, the name—Haunted Summer doesn’t “haunt” as much as it sleepwalks. On its debut EP, 2013’s Something in the Water, gentle, hazy vocals take the forefront, gliding along on clouds of delicate synth and simple, nostalgic melodies. Just when the whole thing is about to float off untethered into the ether, though, come gentle rolls of surf guitar and sudden sweeps of strings that keep things grounded in a wall of intricately woven electronic sounds. Despite its gentle ease, there’s still something kind of eery about the way the harmonies seem to linger in the air for a moment, even after a song ends. KAITIE TODD. Alhambra Theatre, 4811 SE Hawthorne Blvd., 610-0640. 9 pm. $5 advance, $7 day of show. 21+.

TUESDAY, APRIL 14 Soul’d Out Music Festival: Charles Bradley & His Extraordinaires, BadBadNotGood

[SOUL] Referring to the music of Charles Bradley as “retro soul” isn’t really fair. Sure, the Florida-born, New York-raised singer owes his late-life discovery to the industry-

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Belle & Sebastian at Roseland Theater, Sept. 11, 2001: In 2001, the Glaswegian indie-pop group Belle and Sebastian went on a brief tour of the West Coast. It was the band’s first official trip to the States. At that time, B&S was still relatively unknown here aside from a small army of devoted fans, none of whom would think it strange to traverse the length of the country to see a rare live appearance, which is exactly what I’d done to see its show at Roseland Theater when I was 19—a show that just happened to fall on Sept. 11.

“We’d just come from San Francisco,” says Stevie Jackson, the band’s guitarist. “I have this memory in my mind now of seeing the sunset from those two hills, the Twin Peaks, and just imagining that that was the last day of…I don’t know, innocence?” After waking up and hearing about what had happened in New York, Jackson says he and the band were entirely in agreement about what to do next.

“I just remember thinking, we had to play. I really had this feeling that the best thing we could do, the only thing we could do that would somehow be useful, was to play.”

The band opened with Pete Seeger’s “Turn! Turn! Turn!” after frontman Stuart Murdoch made a brief speech. “I was glad that Stuart said something beforehand,” Jackson recalls. “We knew it would be vulgar not to address what had happened, you know? We wanted to do something that was useful. I imagine there were a lot of people with tickets who didn’t come, and I’d hate to think they would be somehow offended, but I don’t think that’s how it was received.” That evening, the band played a brand-new song titled “Portland, Oregon,” which Jackson had written specifically for the gig, earlier in the day. “We’d only just learned it,” he says. “I showed it to the band at sound check, and everyone liked it, but really that was the only time, aside from maybe one other occasion that it was played, so it really was a special thing.” CRIS LANKENAU. SEE IT: Belle and Sebastian plays Roseland Theater, 8 NW 6th Ave., with Perfume Genius, on Thursday, April 9. 8 pm. Sold out.

All ages.

TUESDAY/CLASSICAL, ETC. effects and an overall languid mood, there’s a patience about White Violet that is both soothing and reverberant. The move to Nashville has rubbed off on the band, too, imparting small hits of twang and early rock ’n’ roll. MARK STOCK. White Eagle Saloon, 836 N Russell St., 282-6810. 8:30 pm. $8. 21+.

CLASSICAL, JAZZ & WORLD Anna Webber’s Simple Trio

[ZIGZAG JAZZ] The penultimate track on Anna Webber’s recent trio album, Simplify, is titled “Zig Zag,” which aptly describes both the piece and the Canadian-born Brooklyn saxophonist-flutist’s recent avant-garde jazz. Melodic lines bounce around odd intervals, meters and beats shift abruptly, and the cyclical structure of some of her compositions merely provides a stable base for repetition and unexpected, even whimsical tangents. Despite its broad parameters, Simplify isn’t really a blowing session, and Webber’s Simple Trio knows just when to zig and when to zag, even when its direction can be difficult to fathom. BRETT CAMPBELL. Secret Society Lounge, 116 NE Russell St., 493-3600. 8 pm Wednesday, April 8. $10 advance, $12 day of show. 21+.

Willie Jones III

[JAZZ] Jazz drummers are usually judged more by the company they keep than the skill of their playing, but on both of those fronts, Willie Jones III leaves a distinct impression. He has accompanied giants such as Cedar Walton and Horace Silver and been the go-to percussionist for more contempo-

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rary artists such as pianist Cyrus Chestnut and perennial poll-winning vocalist Kurt Elling. Jones is a chameleonic player, often tastefully restrained as an accompanist but inventive and explosive in the driver’s seat—see his solo on Max Roach’s “Freedom Day,” from Jones’ recent tribute to the late genius. CASEY JARMAN. Jimmy Mak’s, 221 NW 10th Ave., 295-6542.

7 and 9:30 pm Thursday, April 9. $20-$25. Under 21 permitted until 9:30 pm.

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than depression.

Satori Men’s Chorus

[THE BLUES MEET THE GRAYS] “I don’t believe we can have an army without music,” wrote Robert E. Lee, and his soldiers and his Union adversaries sought solace from Civil War carnage in song, as did the families they left behind. Satori’s intriguing program offers musical views of America’s deadliest conflict from different angles, including songs written

by Southerners and Northerners, blacks and whites, war contemporaries and later (even 21st-century) writers and songwriters, including Irving Berlin and James Weldon Johnson. Some you’ll recognize— “When Johnny Comes Marching Home,” “Dixie,” “Yellow Rose of Texas”—but others commemorating victory or urging peace will be revelations to listeners a century and a half after the gunfire ceased. BRETT CAMPBELL. Central Lutheran Church, 1820 NE 21st Ave, 284-2331. 7:30 pm Saturday, April 11. $7-$15. All ages.

For more Music listings, visit

If feelings such as depressed mood or lack of energy are keeping you from the things that matter to you, you may be eligible for this research study. It’s evaluating an investigational drug designed to work with antidepressants to see if it can help address unresolved symptoms of depression.

NEWS ARTS & CULTURE FOOD & DRINK EVENTS MUSIC MOVIES CONTESTS GIVEAWAYS

All eligible study participants will receive at no cost: Consultation with study doctor

Study drugs

Study-related care and visits

TO LEARN MORE: Oregon Center for Clinical Investigations, Inc. 503-276-6224 Whether or not you are currently taking an antidepressant, you may be eligible to participate.

THOM KERR

PREVIEW

When symptoms persist, there may be more you can do.

Kimbra, Radiation City, Mikky Eko [SOMEBODY THAT YOU SHOULD KNOW] New Zealand singer Kimbra was just a blip on the international pop radar until she appeared on Gotye’s chart-smashing megahit “Somebody That I Used to Know” in 2011. Suddenly well-known and flush with a major-label recording budget, she decamped to the studio, supposedly recording over 70 songs for her second album, The Golden Echo. The resulting record is an intriguing and occasionally inspiring collection of collaborations and styles. Instead of flowing seamlessly from song to song, it often resembles a Spotify playlist created for a long road trip with no real rhyme or reason. It’s a testament to creative collaboration, as Kimbra worked with a truly weird mix of people (producer Rich Costey, John Legend, members of Foster the People, the Mars Volta and Silverchair) but it often falls flat in execution. Single “90s Music” tries for Missy Elliott playfulness but feels too clunky to really knock, and the dreamy “Carolina” would be a better song without the thick layer of Auto-Tune that coats the whole thing like a burly winter coat. But there’s still talent here, and Kimbra’s mix of pop, R&B, and jazz is very of-the-moment in a time when our entire lives are basically constructed like playlists.

MICHAEL MANNHEIMER. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm Tuesday, April 14. $25. All ages.

Willamette Week APRIL 8, 2015 wweek.com

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Willamette Week’s

WEDNESDAY, APRIL 29 5:00PM TO 9:00PM Eat Mobile’s gone mobile!

Instead of bringing the carts to you, WW is bringing you to the carts! Sample from more than 25 food carts in two of our favorite SE Portland pods.

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Willamette Week APRIL 8, 2015 wweek.com

$40/WRISTBAND INCLUDES: 25+ SAMPLES! 2 FREE DRINKS SHUTTLE TRANSPORTATION BETWEEN PODS

TICKETS ON SALE NOW! wweek.com/eatmobile

TIDBIT

A LA CARTS FOOD PAVILION SE 50TH AND DIVISION

28TH PLACE AND DIVISION

FOOD The Doghouse PDX Aybla Mediterranean Grill Namu Korean Earth Burgers Ingrid’s Scandinavian Food Tambayan Stacy’s 65 Tandoor’s Saffron Indian Kitchen Love Belizean Azul Tequila Mexican Taqueria Dog Town Dogbone Farm

Parsons Farms Smaaken Waffles Buki Garden Monsters Back to Eden Bakery BEER Scout Beer Garden SHOP Lodekka Menagerie

FOOD Teepee’s Fry Bread Dolicious Azul Tequila MexIcan Taquieria Run Chicken Run Scoop’s Ice Cream Year of the Fish

Burger Guild Chicken Coop Second Son Kimbap Himalayan Food La Arepa SERVICES Swordfish Tattoo Salon Bucci

MUSIC BY DJ SHORT CHANGE AND CLARINET CAT BOX

= WWCartsTopofFivethe Food Year 2015 THANK YOU, SPONSORS! www.smartfoodservice.com

Willamette Week APRIL 8, 2015 wweek.com

43

MUSIC CALENDAR

[APRIL 8-14] Wonder Ballroom

= WW pick. Highly recommended.

Editor: Mitch Lillie. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek.com/submitevents. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: music@wweek.com.

128 NE Russell St. George Ezra

THu. April 9 Al’s den

For more listings, check out wweek.com.

303 SW 12th Ave. Lewi Longmire

Aladdin Theater

LAST WEEK LIVE kYLE kEY

430 N Killingworth St. Steve Kerin

Clyde’s prime rib restaurant & Bar

5474 NE Sandy Blvd.

Mesi and Bradley

Corkscrew

1665 SE Bybee Ave. Live Jazz

dante’s

350 W Burnside St Dunnoy, The Booms & The Hoons

doug Fir lounge

830 E Burnside St. The Prids, The Upsidedown, Leading Psychics

duff’s Garage

2530 NE 82nd Ave The Giving Tree Band, The Cerny Brothers, Tough Love Pyle

eastBurn

1800 E Burnside St. Eat Off Your Banjo Dinner and Live Music

edgefield

2126 SW Halsey St. Sonny Hess

Grand Central restaurant & Bowling lounge 808 SE Morrison St Throwback Thursdays 80’s Night

Ground Kontrol Classic Arcade 511 NW Couch St. Magic Fades

Holocene

1001 SE Morrison St. Body Party, Holla N Oates, Barisone

Jimmy Mak’s

Al’s den at the Crystal Hotel 202 SW 12th Ave. Lewi Longmire, Michael Hurley, and The Croakers

Analog Cafe & Theater 720 SE Hawthorne Blvd.

Peep Show

Blue diamond

2016 NE Sandy Blvd.

The Fenix Project

Blue room Bar

8145 SE 82nd Ave. Open Mic, Hosted

by Vega Black of Th-Thunder

doug Fir lounge

830 E Burnside St. Kaki King, Rebecca Marie Miller

duff’s Garage

2530 NE 82nd Ave Blues Jam, Arthur Moore’s Harmonica Party

edgefield

Gemini Bar & Grill 456 N State St. Sarah Billings

Holocene

1001 SE Morrison St. Santiparro, Jeremy Lee Faulkner, Windus

Homebase Coffee

2620 SE Powell Blvd.

Fred Van Vactor Show

Jade lounge

2342 SE Ankeny St. The Famous Haydell Sisters Jaded Variety Show

Jimmy Mak’s

221 NW 10th Ave. The Christopher Brown Quartet, Mel Brown Quartet

landmark Saloon

4847 SE Division St. Whiskey Wednesday

2126 SW Halsey St. Tanner Cundy, the Silent Comedy

44

Willamette Week APRIL 8, 2015 wweek.com

2958 NE Glisan St. Willow Grove, Aaron LeMere and the Jeroboams & Annalisa Tornfelt and the Sound Outside

lents Commons 9201 Foster Rd. Open Mic

Mississippi Studios

3939 N Mississippi Ave. Palo Verde, Polst, Sei Hexe

Music Millenium

3158 E Burnside St Summer Cannibals

rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Billy D

Secret Society lounge 116 NE Russell St. Anna Webber’s Simple Trio

The Birk

11139 hwy 202 Jimmy Thackery & The Drivers

8105 SE 7th Ave. Jack Dwyer & Friends

Mazza’s Club

Trail’s end Saloon

3552 N Mississippi Ave. The Golden Country, Breaks and Swells, and Modern Relics

1320 Main Street American Roots Jam

Twilight Cafe and Bar

White eagle Saloon

1 N Center Court St. Chris Tomlin, Love Ran Red Tour

836 N Russell St. The Welfare State, Surf Stoned & the Sun Drunks

Wineup On Williams

3037 N Williams Ave Thursday Night Jazz Jam

Fri. April 10 Al’s den

303 SW 12th Ave. Lewi Longmire

Aladdin Theater

3017 SE Milwaukie Ave. Junior Brown

Alhambra Theatre

4811 SE Hawthorne Blvd.

One Drop

Artichoke Music

3130 SE Hawthorne Blvd.

Friday Coffeehouse

Bunk Bar

1028 SE Water Ave. Ezza Rose

Clinton Street Theater 2522 SE Clinton St. Claudia Schmidt in Concert

Clyde’s prime rib restaurant & Bar

5474 NE Sandy Blvd.

Muthaship

Crystal Ballroom

1332 W Burnside Street The Replacements

dante’s

Kells Brewpub

doug Fir lounge

The lodge Bar & Grill

Kennedy School

Trail’s end Saloon 1320 Main Street Big Monti

Turn! Turn! Turn!

5736 NE 33rd Ave. Albatross

Magnolia’s Corner

4075 NE Sandy Blvd Darius Lux

Mississippi Studios

8 NE Killingsworth St. Bob Bucko Jr., Ghost to Falco, Ali Muhareb

3939 N Mississippi Ave. Disappears, Clay Cole, Black Is Bright

White eagle Saloon

pub at the end of the universe

836 N Russell St. GreyDogz

White eagle Saloon 836 N Russell St. Reverb Brothers

White eagle Saloon 836 N Russell St. Gabriel Cox

Wilf’s restaurant & Bar 800 NW 6th Ave. Ron Steen Band

4107 SE 28th Ave. Thursday Night Community Jam

rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Pagan Jug Band

roseland Theater

8 NW 6th Ave. Belle & Sebastian

Saithong Thai Fusion 710 SW 2nd Ave Thursday Night Ladies Night Out

Mississippi pizza

Mississippi Studios

2026 NE Alberta St. DJs Lamar Leroy, B Hammer 6605 SE Powell Blvd.

Pete Ford Band

728 NE Sandy Blvd Under The Lake

1420 SE Powell Blvd.

Faithless Saints and Xiphoid Process, King Ghidora and Streakin Healys

221 NW 10th Ave. Willie Jones III 210 NW 21st Ave. Sami Live

Magnolia’s Corner

116 NE Russell St. The Oregon Valley Boys, Jacob Miller and the Bridge City Crooners

350 W Burnside St The Shrine, Dirty Fences, Sons of Huns and Joy

The Know

lincoln performance Hall

Blue diamond

Chapel pub

1937 SE 11th Ave. Firkin Full of Eye Candy

6605 SE Powell Blvd.

Ben Rice B3 Trio

2958 NE Glisan St. Malachi Graham, Dustin Hamman, Benny Gilbert

4075 NE Sandy Blvd Richie Rosencrans

5501 SE 72nd Ave. Thursday Night Jam

laurel Thirst public House

The lodge Bar & Grill

laurel Thirst public House

The Secret Society

Cadigan’s Corner Bar

Firkin Tavern

2026 NE Alberta St. Shadowhouse, Terminal A, Lunch

2823 SW 1st Ave Lorna B Quartet

The Muddy rudder public House

2016 NE Sandy Blvd.

Ben Jones and Friends

Wed. April 8

The Know

lair Hill Bistro

Alhambra Theatre

4811 SE Hawthorne Blvd.

Passafire, Stranger

GOING UP ON A WEDNESDAY: Despite its limitations as a venue, the Roseland Theater is perfect for a certain type of hip-hop show—not legacy acts or old heads, but young, unhinged rappers that just want to turn the entire pit into a sweaty party. On April Fool’s Day, Atlanta weirdo rapper Young Thug and Houston’s Travis Scott hit town for the last stop on their Rodeo Tour, turning a quiet Wednesday night into a raucous ode to wildin’ out. Because Thug and Scott are frequent collaborators, it made the set—the artists were billed as co-headliners—triumphant instead of showy. The pair hit the stage together and performed with each other a majority of the night, with one guy disappearing backstage for a few songs before coming back even more hyped and, in Thug’s case, wearing an entirely different outfit. The show was lean and quick. The only encore occurred when Young Thug came out to mime a few verses from Rich Gang’s “Lifestyle” before the DJ teased the crowd with the opening minute of Kanye’s new jam “All Day,” before promptly leaving the stage to take a selfie in front of the large onstage neon cowboy sign. Kanye, of course, jumped onstage at the duo’s Los Angeles show. His co-sign wasn’t needed here: Young Thug and Travis Scott already had the entire place up in arms.

MICHAEL MANNHEIMER. See the full review at wweek.com/lastweeklive.

13 NW 6th Ave. Bane, Backtrack, Malfunction

1620 SW Park Ave. Republic of Jams: Oregon Guitar Quartet

3017 SE Milwaukie Ave. Josh Garrels

YOunG THuG

Star Theater

830 E Burnside St. His Name Is Alive, Cynthia Nelson Band

dublin pub

6821 Beaverton-Hillsdale Hwy Trixy and The Nasties

duff’s Garage

2530 NE 82nd Ave Margraves, Dalharts, Shoogie B. Goode, Roy Kay Trio, Jawbone Flats

Hawthorne Theatre 1507 SE 39th Ave. Strung Out, Masked Intruder, La Armada

Holocene

3939 N Mississippi Ave. The Brothers Comatose, Marty O’Reilly

Moda Center

plews Brews

8409 N. Lombard St. Kaos Fest

rock Creek Tavern

3017 SE Milwaukie Ave. Wishbone Ash

Alberta rose Theatre 3000 NE Alberta St. Miz Kitty’s Parlour: The Rites of Spring

Alberta Street public House 1036 NE Alberta St. Jon Ostrom and and MSMW

Alhambra Theatre

4811 SE Hawthorne Blvd.

Knox Hamilton

Arlene Schnitzer Concert Hall

1037 SW Broadway The Oregon Symphony: Dvorak’s Slavonic Dances

Bunk Bar

1028 SE Water Ave. The Minders, Rio Grands

Central lutheran Church

1820 NE 21st Ave. Satori Men’s Chorus

Clyde’s prime rib restaurant & Bar

5474 NE Sandy Blvd.

Elite

roseland Theater 8 NW 6th Ave. Vance Joy, Kaleo

830 E Burnside St. Ramble On, Black Power County

Star Theater

dublin pub

13 NW 6th Ave. The Main Squeeze

Sun Gate Studio

350 W Burnside St Brothers Gow

doug Fir lounge

6821 SW Beaverton Hillsdale Hwy. Bond & Bentley, Hey Now

2215 NE Alberta St. Music from Love and Life: Jean Rohe

duff’s Garage

The Know

edgefield

2530 NE 82nd Ave Chris Baum Project

2026 NE Alberta St. The Knast, The Crush, The Reverberations

2126 SW Halsey St. The Resolectrics

The Muddy rudder public House

1507 SE 39th Ave. Cartel, Team, Driver Friendly, Hydra Melody

8105 SE 7th Ave. The Junebugs

The Secret Society

116 NE Russell St. Ezra Bell, Beach Fire, Two Planets, Pete Krebs and his Portland Playboys

Tony Starlight Showroom

1125 SE Madison Sinatra By Request

Hawthorne Theatre

Hawthorne Theatre 1507 SE 39th Ave. D.R.I.

Jimmy Mak’s

221 NW 10th Ave. Thara Memory Soul to Soul

Kaul Auditorium

Torta-landia

SE 28th Ave. & Botsford Dr. From Our Closet: Portland Gay Symphonic Band

Turn! Turn! Turn!

Kells Brewpub

4144 SE 60th Ave. Live Music 8 NE Killingsworth St. Sam Densmore & Ryan Stively, Poison Arrows & Motel Lights

Twilight Cafe and Bar

1420 SE Powell Blvd.

63 Fremonts and Bobby Peru, King Ghidora

Venti’s

2840 Commercial Street The Student Loan

Walters Cultural Arts Center 527 East Main Street Chris Smither

White eagle Saloon

Jimmy Mak’s

Wilf’s restaurant & Bar

210 NW 21st Ave. Sami Live

Aladdin Theater

dante’s

836 N Russell St. Mexican Gunfight

Kells Brewpub

303 SW 12th Ave. Lewi Longmire

10000 NW Old Cornelius Pass Rd. Anita Margarita & The RattleSnakes

1001 SE Morrison St. Dance Yourself Clean 221 NW 10th Ave. Stephanie Schneiderman, Little Sue, The Earnest Lovers

SAT. April 11 Al’s den

800 NW 6th Ave. Shelly Rudolph

Yale union (Yu) 800 SE 10th Ave. Loren Connors

210 NW 21st Ave. Sami Live

Mississippi pizza pub.

3552 N. Misssissippi Ave Flamenco Dance & Music

plews Brews

8409 N. Lombard St. Kaos Fest

polish Hall

3900 N Interstate Ave. Music of the Court of Versailles

ponderosa lounge

10350 N Vancouver Way Flexor T

rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Reverb Brothers

roseland Theater

8 NW 6th Ave. Crizzly, Antiserum and LAXX

Star Theater

13 NW 6th Ave. Witch Mountain, Holy Grove, Zirakzigil

APRIL 8–14 The Know

2026 NE Alberta St. Only You, Hollow Sidewalks, Patrimony

The Muddy Rudder Public House 8105 SE 7th Ave. Alan Hagar

The Secret Society

116 NE Russell St. Drunken Prayer, The Jackalope Saints, The Redeemed, Anita Margarita and the RattleSnakes

Turn! Turn! Turn!

8 NE Killingsworth St. Phantom Ships, Crush Hazard

Twilight Cafe and Bar

Mississippi Studios

3939 N Mississippi Ave. Micky & the Motorcars

Moda Center

1 N Center Court St. Garth Brooks

Plews Brews

8409 N. Lombard St. Singer Songwriter Cabaret Open Mic

Rock Creek Tavern 10000 NW Old Cornelius Pass Rd. Irish Sundays

Rontoms

600 E. Burnside St. Eternal Tapestry

Roseland Theater 8 NW 6th Ave. SOJA

1420 SE Powell Blvd.

Sic Waiting and Absent Minds, Wild Bill and Yotem Ben Harin

The Firkin Tavern

Venti’s Cafe And Tap House

2026 NE Alberta St. Joy

2840 Commercial Street The Junebugs

White Eagle Saloon 836 N Russell St. Don & The Quixotes, Ferns

Winona Grange No. 271

8340 SW Seneca St. Little Black Train, Blazing Acoustic Americana with a Twist

Wonder Ballroom

SUN. APRIL 12 Al’s Den

303 SW 12th Ave. Redwood Son

Alberta Rose Theatre 3000 NE Alberta St. Samsel, Tyler Stenson and the Elegant Folk, Nate Bosford

Alhambra Theatre 4811 SE Hawthorne Blvd.

Tribal Theory, CRSB

Anna Bannanas Alberta

1937 SE 11th Ave. Open Mic

The Know

The Muddy Rudder Public House 8105 SE 7th Ave. Irish Jam

The Secret Society

116 NE Russell St. Keys to Life Music School Fundraiser, Anne-Marie Sanderson

White Eagle Saloon 836 N Russell St. Rob Johnston

Winona Grange No. 271 8340 SW Seneca St. Music Jam

Al’s Den

303 SW 12th Ave. Redwood Son

Alhambra Theatre

4811 SE Hawthorne Blvd.

Haunted Summer

Arlene Schnitzer Concert Hall

1037 SW Broadway The Oregon Symphony: Dvorak’s Slavonic Dances

Blue Diamond

Arlene Schnitzer Concert Hall

1665 SE Bybee Ave. Open Mic

Blue Diamond

2016 NE Sandy Blvd.

Kevin Selfe and the Tornadoes Jam Session

Cadigan’s Corner Bar 5501 SE 72nd Ave. Portland Casual Jam

Dante’s

350 W Burnside St Old Salt Union

Doug Fir Lounge

830 E Burnside St. Wand, Vexx

Edgefield

2126 SW Halsey St. Lewi Longmire

Grand Central Restaurant & Bowling Lounge 808 SE Morrison St Soul Bowl

Hawthorne Theatre

1507 SE 39th Ave. Mushroomhead, Doyle, The Family Ruin, Toxic Zombie

Laurel Thirst Public House 2958 NE Glisan St. Open Mic, Freak Moutain Ramblers

2901 SE Steele Two Piano Concert

The Know

2026 NE Alberta St. The Hague, Blowout, Beach Party

The Muddy Rudder Public House 8105 SE 7th Ave. Lloyd Jones

TUE. APRIL 14 Al’s Den

2016 NE Sandy Blvd.

Hot Tea Cold

Corkscrew

Edgefield

2126 SW Halsey St. Groovy Wallpaper, The Adequates

Grand Central Restaurant & Bowling Lounge 808 SE Morrison St Service Industry Night

Hawthorne Theatre

1507 SE 39th Ave. The Maine, Real Friends, Knuckle Puck, The Technicolors

Jade Lounge

2342 SE Ankeny St. The Jelly Roll Jamboree, Mud Porch, High Water Jazz Band, The Davenport Brothers, Johnnie Ward

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Trio

3000 NE Alberta St. Portland Opera presents The Great American Songbook, Steppin Out: The Fred Astaire Songbook

Spend a week, or two, or three or four at the Columbia Gorge School of Theatre. Study Acting, Singing, Dancing, TV/Film Acting and the Biz with professionals from across the country! Be in a show and make new friends from around the world!

www.TheatreCamp.com

720 SE Hawthorne Blvd.

People’s Ink Weekly

Blue Diamond

2016 NE Sandy Blvd.

A.C. Porter and Special Guests, Blue Tuesday

Cadigan’s Corner Bar 5501 SE 72nd Ave. Soul Provider, Naomi T

Crystal Ballroom

1332 W Burnside Street Kimbra

Doug Fir Lounge 830 E Burnside St. Helio Sequence

2530 NE 82nd Ave Hi Fi Mojo, Johnny Ward and Friends

Edgefield

2126 SW Halsey St. The Earnest Lovers

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet

Kelly’s Olympian

426 SW Washington St. That Kelly’s Show, Moon

By You, Arlo Indigo, Happy Dagger

Rock Creek Tavern 10000 NW Old Cornelius Pass Rd. Open Bluegrass Jam

Roseland Theater

8 NW 6th Ave. Charles Bradley & His Extraordinaires, Badbadnotgood

Star Theater

13 NW 6th Ave Soul’d Out Music Festival Kickoff:, Billie and the Holidays, Cherimoya

The Know

2026 NE Alberta St. Street Eaters, Marriage & Cancer, Sloppy Kisses, Backbiter

The Tonic Lounge

3100 NE Sandy Blvd.

The Last of Lucy, Apophis Theory, The Desolate

Twilight Cafe and Bar

1420 SE Powell Blvd.

Calamity Cubes and Jason Rocksmore

Mississippi Pizza Pub.

White Eagle Saloon

Moda Center

Do you love to act, sing and dance?

Do you want professional training in a fun, friendly and emotionally safe environment?

Do you have Summer plans?

Analog Cafe & Theater

Venti’s Cafe And Tap House

3552 N. Misssissippi Ave Mr. Ben

MOBILE

Alberta Rose Theatre

Kelly’s Olympian

426 SW Washington St. Eye Candy

Beyond the Print

303 SW 12th Ave. Redwood Son

Duff’s Garage

MON. APRIL 13

2403 NE Alberta St. KPSU Presents: Hemingway + Jake Stein-Ross

1037 SW Broadway Dvorak’s Slavonic Dances

Reedwood Friends Church

2840 Commercial Street Lounge Night

836 N Russell St. White Violet, Geranimo Getty, Sam Fowles (of the Parson Red Heads)

1 N Center Court St. Garth Brooks

Plews Brews

8409 N. Lombard St. Med Monday

CONT. on page 47

STAY CONNECTED

128 NE Russell St. Fruition, James Bay, Elle King

MUSIC CALENDAR

Willamette Week APRIL 8, 2015 wweek.com

45

Beyond the Print

#WWEEK UPCOMING INSTORES at MUSIC MILLENNIUM 32nd & E Burnside

KPSU, PSU.TV, PSPS & Music Millennium Present

SUMMER CANNIBALS Wednesday, April 8th at 7PM

The punk-flecked four-piece from Portland are back with their second full-length, the raw, to-the-point Show Us Your Mind. As before, Summer Cannibals come armed only with the things they need: fuzz pedals, razor-sharp riffs, and songs that get stuck in your head the first time you hear ’em.

NEVER MISS A BEAT.

STAR ANNA

Saturday, April 11th at 5PM Star Anna’s “Go To Hell” is a dark, haunting collection of songs that capture the essence of betrayal, regret, and hope, “Go To Hell” delivers melodic, soaring folk-rock with an Americana heart, best described as Americana-soul, and it will penetrate right to your core.

BEN RICE & LUCY HAMMOND Bluestreak w/ Dave Johnson and Dr. Jane Manning

Monday, April 13th at 7PM Music Millennium is proud to announce a new monthly series highlighting the Portland Blues scene! April features the acclaimed Ben Rice & Lucy Hammond, performing songs from their new release, ‘Destination Clarksdale’.

@WillametteWeek

Record Release Event!

THE VON TRAPPS Tuesday, April 14th at 7PM

Meet The von Trapps, the next generation. Siblings Sofia (26), Melanie (24), Amanda (23) and August (20), the great-grandchildren of the Captain and Maria von Trapp, are reinventing the legacy of their birthright for the modern age.

HIP HATCHET

Wednesday, April 15th at 6PM

RECORD STORE DAY 2015

@wweek

SATURDAY, APRIL 18TH!

OVER 500 LIMITED EDITION RELEASES! FREE GIFT BAGS FOR THE FIRST 1000 CUSTOMERS! LIVE PERFORMANCES FROM DAWES (6PM) & DEAD MOON (8PM)!

OPENING EARLY AT 8AM! 46

Willamette Week APRIL 8, 2015 wweek.com

@WillametteWeek

APRIL 8–14

MUSIC CALENDAR THOMASTEAL.COM

BAR REVIEW

Where to drink this week.

1. Civic Taproom

621 SW 19th Ave., 4774621, thecivictaproom.com.

With the beer conference rolling into town, this cider-happy Goose Hollow beer spot is hosting an array of tap takeovers, rolling from Monday to Friday. Pair the beer with a different color of potatoes every day from Boise Fry Company next door.

2. White Owl

1305 SE 8th Ave., 2369672, whiteowlsocialclub.com.

It’s time to get back to Southeast’s best patio. But this time around, take note of the ever-better beer selection and an adventurous taste in midshelf craft liquors, from Root liqueur to small-brand American whiskeys.

3. Lompoc Tavern

1620 NW 23rd Ave., 894-9374, lompocbrewing.com.

Everybody’s eerily quiet about this, but Lompoc Brewing makes a new IPA—like, a whole new kind of IPA—pretty much every other week. And some of them are pretty damn good. And on Monday, it’s only $2.50.

4. The Standard

14 NE 22nd Ave., 233-4181.

The unofficial winner of our Cheap Life issue, The Standard, offers $2 craft brews on Sundays (including Buoy, Barley Brown’s and our beer of the year, Upright Pilsner), plus $1 Hamm’s on Wednesdays.

Mazel.

5. Black Water

835 NE Broadway, 546-1682.

Fast on the heels of Slabtown’s closure, punk-metal Black Water is already worshipping at the altar of seitan, throwing together sold-out rock shows, saucy vegan cheesesteaks and occasional Tarantino marathons.

BUCKS, SHOT: Every age needs a metaphor. In Portland’s constructioncraned Southeast, it’s apparently the Wild West frontier, from Double Barrel to the incoming Bit House to the brand-new Charlie Horse Saloon (627 SE Morrison St.), a wood-paneled facsimile of an old cowboy haunt done up in ’70s bachelor-pad wood paneling, with more taxidermy than the Bates Motel. The women wear brimmed hats and tats, the men stocking caps, in true Portland frontier style. Also in Portland frontier style, the food menu is casual Vietnamese, mostly $6 banh mi. The only gun is on the Buck Hunter machine. Really, the location’s previous resident, Sway Bar, was more cowboy than Charlie Horse—if only because of its goofball, improvised liquor selection and vape-penned basement speakeasy (now closed, sorry). But between Star Bar’s aggressive black-on-black punk squall and Dig a Pony’s bass-heavy, bridge-and-tunnel weekends, Charlie is destined to be the neighborhood’s service-industry station, not to mention a watering hole for travelers who got rode hard. That said, avoid the needless $9 cocktails (a margarita made with Jameson ain’t so fancy as that) in favor of the $6 boilermakers, whether Buffalo Trace and Montucky or Hornitos and Tecate. Then, settle in for a soundtrack by the Cramps.

MATTHEW KORFHAGE.

The Rose Bar 111 SW Ash St Family Affair

The Whiskey Bar 31 NW 1st Ave Wuki and Astronomar

WED. APRIL 8 Bar XV

15 SW 2nd AVE Deep House Wednesday’s

Branx

320 SE 2nd Ave. Esta, Iamnobodi, Joe Kay, Gangsigns, Tyler Tastemaker

Plews Brews

8409 N. Lombard St. Wiggle Room

Pub at the End of the Universe 4107 SE 28th Ave. Wicked Wednesdays

The Lovecraft

421 SE Grand Ave. Event Horizon, Industrial Dance Night

The Whiskey Bar 31 NW 1st Ave Peking Duk

THU. APRIL 9 Dixie Tavern

NS 3rd & Couch St. Throwback Thursdays

Moloko Plus

3967 N Mississippi Ave. Strictly Vinyl

FRI. APRIL 10 Lola’s Room

1332 W Burnside 80s Video Dance Attack

The Lovecraft

SAT. APRIL 11 Holocene

1001 SE Morrison St. Stooki Sound, GANG$IGN$, Quarry

Mississippi Studios

3939 N Mississippi Ave. Mrs. Dance Party, DJ Beyonda

Moloko Plus

3967 N Mississippi Ave. DJ Cuica

The Lovecraft

421 SE Grand Ave. Musick for Mannequins, Volt Divers Synth Party

SUN. APRIL 12 Berbati

19 SW 2nd Ave. Future Bass

High Water Mark

6800 NE Martin Luther King Jr. Blvd.

Country Music DJ

MON. APRIL 13 The Lovecraft

421 SE Grand Ave. Departures, DJ Waisted and Friends

TUE. APRIL 14 Crush Bar

1400 SE Morrison St. Bi Bar, Bi/Pan/Fluid/Queer Dance Party

The Lodge Bar & Grill 6605 SE Powell Blvd.

DJ Easy Finger

421 SE Grand Ave. BOAN, Marie Davidson, Vice Device & DJ Horrid

Willamette Week APRIL 8, 2015 wweek.com

47

Beyond the Print

NEWSLETTER Do you like Free stuFF?

Sign up at

http://bit.ly/wwnewsletter

Theatre Vertigo Presents

The School for Lies

by David Ives • Directed by JoAnn Johnson

April 10 - May 9

www.theatrevertigo.org 48

Willamette Week APRIL 8, 2015 wweek.com

503-306-0870

april 8–14

= WW Pick. Highly recommended.

Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead.

Editor: ENID SPITZ. Theater: ENID SPITZ. (espitz@wweek.com). Dance: KAITIE TODD (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: espitz@wweek.com.

THEATER OPENINGS & PREVIEWS A Chance Encounter: Syrian Theater Now

Syrian playwright and activist Mohammad Al-Attaris not allowed to leave the country, but he’ll Skype in for discussions with peace activists and audiences after A Chance Encounter, his inflammatory political play that follows a simple moment on one Beirut corner all the way to revolution. The Arab American Cultural Center and World Affairs Council back PSU’s staging, which stars Artists Rep regular John San Nicholas, most recently on stage as a terrorist jailer in The Invisible Hand. Lincoln Hall, Portland State University, 1620 SW Park Ave., 7253307. 7:30 pm Friday-Saturday, 3 pm Sunday, April 10-12. $15-$20.

Columbinus

Sixteen years after the shooting at Colorado’s Columbine High School, Young Professionals’ teen actors, some of whom weren’t yet born in 1999, stage its story. The drama draws together personal accounts, police reports and the shooters’ notorious journals for a heady look at the horror, putting a serious cap on Oregon Children’s Theatre’s yearlong youth mentoring program. Their other shows were an improv sketch and The True Story of the 3 Little Pigs. Ages 15 and older. Oregon Children’s Theatre Young Professionals Studio Theatre, 1939 NE Sandy Blvd., 228-9571. 7 pm ThursdaySaturday 1 pm and 5 pm Sunday, April 10-19. $15.

Cyrano

Talented poet and swordsman Cyrano has one unfortunately large facial feature obstructing his romance with beautiful Roxane. Nosing his way into her heart, Cyrano pens heart-stopping prose for her handsome suitor Christian to pass off as his. Seattle’s Andrew McGinn starts as the schnoz, directed by another Seattleite, Jane Jones, and flanked by a classicallytrained cast of PCS regulars. A traditional staging of a traditional play asking the traditional question: pen or sword? Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaySunday, 2 pm Saturday-Sunday, noon Thursdays, through May 3. $36-63.

Is He Dead?

What’s more pricey than original art?

A dead artist’s original art. So, struggling artist Jean-Francois Millet kills himself. Or more accurately, he fakes his own death to boost the worth of his works. Aided by his pupils and disguised as his own sister, Millet undertakes a series of comedic attempts to cash in so he can wed his sweetheart.

Instead, he ends up in an abstract tangle of misunderstandings and marriage proposals. David Ives, whose The School For Lies is currently onstage at Theater Vertigo, adapted the hodgepodge comedy from Mark Twain’s original. Magenta Theater, 606 Main St., Vancouver, 360-635-4358. 7:30 pm Thursday-Saturday, 2 pm April 18 and 25, through April 25. $15-$18.

The Mystery Box Show

Double-entendre aside, the Mystery Box is a prolific source of pubic...er, public, sexuality in the form of risqué storytelling. In the city of strip clubs, crowdsourcing sensual tails...er, tales, isn’t very hard. Going on three years running, creator Eric Scheur’s Mothlike production features average adults as well as porn personalities and sex shop curators, all intimately telling you about their awkward first times or fetish mishaps. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 7 pm Saturday, April 11. $18. 21+.

Pulp Gulp

Wine helps the imagination, so it’s lucky Sip D’Vine is well stocked as it hosts readings of local playwrights’ work. This iteration of Pulp Gulp Theater is an hour of steampunk, vampire lairs, massive bugs and time traveling: basically every episode of Doctor Who, but with more pinot. Sip D’Vine, 7887 SW Capitol Highway, 9779463. 8 pm Friday, April 10. $5-$10.

All ages.

Really Really

Elite collegiate youth emerge from a vodka-clouded night to see their futures teetering on the brink. Really opens on the lingering wreckage of an epic party, strewn with mixed messages and school politics for this West Coast premier from one of New York’s rising off-Broadway writers, Paul Downs Colaizzo. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm ThursdaysSaturdays, 2 pm Sundays, April 19 and 26. Through April 26. $5-$25.

The School for Lies

Sharp-tongued verbal jousting is best taught in 17th-century Parisian parlors, especially young widow Celimene’s.

She’s basically Hugh Hefner in petticoats. That is, until Frank, the only suitor able to match Celimene’s banter, takes out her hordes of lovers and reintroduces the beauty to deep emotion. Theatre Vertigo, known for its risqué programming, stages the fast-paced witty banter based on Moliere’s The Misanthrope. Moliere’s classic is written in couplets, but David Ives’ rewrite and Vertigo’s interpretation remakes the classic as contemporary. Enchanté. Shoebox Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursday-Saturday, 2 pm Sunday, April 10 through May 9. $20.

Three Guys and a Fool: The Unshorn Truth

Portland Storytellers Howard Adler, Norman Brecke, Steve Henegar and Frans van der Horst call their April show The Unshorn Truth. We’re wondering if there are sheep. And which one is the fool. They promise to tell all. Hipbone Studio, 1847 E Burnside St., 358-0898.

7:30 pm Saturday, April 11. $10.

When Animals Were People

Tears of Joy Theater’s puppeteers put on a multicultural homage to old Argentinean and Mexican folktales.

Children can make their own puppets in the lobby 30 minutes before the show, which is in both English and Spanish. Imago Theatre, 17 SE 8th Ave., 231-3959. 7:30 pm Friday, April 10; 11 am and 1 pm Saturday, 1 pm and 3 pm Sunday, through April 19. $15-22.

ALSO PLAYING Belleville

Amy Herzog’s Belleville is the haunting kind of thriller that meticulously picks at details until an entire marriage unravels in front of you. Helmed by director Philip Cuomo, Third Rail Repertory’s production opens with Abby, a 20-something yoga instructor who walks into her Parisian apartment, sets down her keys and hears porn playing. “I thought you had class,” says her husband, Zack. We then watch their relationship teeter between underlying tension and a mask of calm as the two call each other “homie” and go on drunken dates. But their awkwardly comedic bantering devolves into deeper questions about how well we really know our loved ones—Zack plays hookie a lot for being a doctor.

Isaac Lamb as Zack masterfully balancing smooth charm and lethal edginess. Rebecca Lingafelter’s Abby is is captivating in both her hectic predate primping and her grapples with depression. With the production’s black box-style staging, its stomach-

churning finale is startling. KAITIE TODD. CoHo Theater, 2257 NW Raleigh St. 220-2646. 7:30 pm WednesdaysSaturdays, 2 pm Sundays through April 18. $29.

REVIEW N AT E C O H E N

PERFORMANCE

Multnomah Falls

Leave it to Portlanders to stage an improvised, ’80s-themed soap opera.

Closet Kardashian fans tired of birds and bikes can get their dish under the guise of local-arts patronage with this serial production a la Real Housewives—of Lake Oswego. The Cardigan and Colton families stage Beaverton-esque glitz and drama where audience participation and actors’ imaginations dictate the plot. In true improv fashion, Funhouse was crowdsourcing actors a week before opening.

Because the quality of a sequindrenched improv about trust-funded Portlanders wasn’t already precarious enough. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7 pm ThursdaysSaturdays through April 25. $20.

People’s Republic of Portland

Former Daily Show correspondent Lauren Weedman has made a small industry out of mocking cities she barely knows since Portland Center Stage commissioned a one-woman show from her in 2013. She did Boise, Albuquerque and Philadelphia and now she’s back for a second Portland run. Weedman still offers the clichéd perspective of a visitor.

To the outside world, Portland is a kombucha-obsessed, gluten-fearing, bearded-cyclist, strip-club Shangri-la.

She acknowledges these kitschy stereotypes and vows to delve deeper, but doesn’t deliver. Her affable character—along with song, dance and video interludes—do keep the audience laughing. Stories range from a Kennedy School stay to encounters with ecstatic dancers and a blind strip-club patron. At a Southern Baptist church on North Vancouver Avenue she realizes she “found the people who don’t like Portland,” a rare moment of serious critique. Locals will scoff, but since natives are now outnumbered by transplants, most viewers won’t know what’s missing.

HALEY MARTIN. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Wednesdays-Saturdays, 2 pm Saturdays-Sundays through April 19. $40-$55.

School House Rock Live

Oregon Children’s Theater takes audiences back to school with a live-action rendition of classic jingles such as “Conjunction Junction” and “Three is a Magic Number.” If the passive voice weren’t exciting enough, ’70s-era singalongs make it rock. Winningstad Theatre, 1111 SW Broadway, 248-4335.

2 and 5 pm Saturdays, 11 am and 2 pm Sundays through April 26. $15-$28.

Suddenly Last Summer

Stark, torrid and lyrical, Tennessee Williams’ 1958 one-act examines the aftermath of an American boy’s mysterious death in Spain. That tragic event left his cousin prone to insane babbling, which in turn has put her at the mercy of the boy’s imperious mother.

After some delays in the fall, Shaking the Tree has finally moved into its new home—a bare-bones warehouse with soaring ceilings—which we’re hoping ever-industrious director Samantha Van Der Merwe converts into a hot and humid New Orleans garden. Shaking the Tree, 823 SE Grant Ave., 235-0635.

7:30 pm Thursdays-Saturdays and 5 pm Sundays through May 2. $10-$25, free for ages 19 and under.

The Other Place

Portland Playhouse is a seemingly abandoned church with a labyrinthine interior, perfect for Sharr White’s 2011 play about biochemical researcherturned-pharmaceutical representative Juliana Smithton (Sharonlee McLean) and her identity crisis following dementia-like cognitive lapses.

Playhouse enlivens the heady topic with a non-linear narrative, but streamlining the tale for maximum suspense eliminated a lot of emotion, too. The action opens with Smithton introducing a revolutionary Alzheimer’s treat-

CONT. on page 50

MedIeval THIzz: James C. lawrence and Jeff desaultes.

A COMEDY OF ERRORS (SIX ON SHAKESPEARE) “Do you know me, sir? Am I Dromio? Am I your man? Am I myself?” Shakespeare’s fool in A Comedy of Errors questions identity in what could go down a rabbit hole of existential philosophizing.

So could local theater troupe Six on Shakespeare’s decision to split its cast by sex. The all-female production runs Thursdays and Saturdays; men take the stage Fridays and Sundays. Mistaken identities perhaps, but serious commentary on gender discrepancies in the arts this is not.

Shakespeare’s shortest farce is slapped together with nonstop wordplay and overt sex jokes—picture ball gags and riding crops, fake breasts that resemble a fifth-grade art project, and cast members breaking into song and dance.

The play begins in the city of Ephesus, where a Syracusan merchant narrates the tragic separation of two sets of twins, the boys Antipholus of Ephesus and Antipholus of Syracuse, and the sirrahs, Dromio of Ephesus and Dromio of Syracuse. When Antipholus and Dromio of Syracuse travel to their rival state of Ephesus in search of their respective brothers, both Antipholi and Dromios are mistaken for each other. In true to form, who’s who keeps everyone’s heads spinning until the neat tie-up.

“A Comedy of Errors is, in its own title, a comedy about craziness,” says director Bill Barry. “I took that and ran with it.” And they ran, far.

“This play is twisted on its side, it’s a full on Monty Python farce,” says Michelle Seaton, who plays Egeon. This SNL-like comedy sketch is a light-hearted battle-of-the-sexes social experiment. So, who wins?

When Ben Plont filled in at the last minute for female cast member MaryAnne Glazebrook, he became the perfect measuring stick for our debate. “My interpretations are pretty much the same, but my reactions will be different based on the gigantic differences between the male cast and the female cast,” says Plont, who plays a Persian merchant in the male version.

The women were up first. As Barry says, “Men have had the opportunity to wear drag [in Shakespeare], and women rarely get the opportunity to do the same thing.” Careful costuming and a signature gesture make the sets of twins discernible, but it’s their performances that make them believable. Torrey Cornwell’s Adriana, duchess of Ephesus, is sincere as the nagging wife with a spot-on Jersey accent. She sticks out like a sore thumb in her blue silk kimono and Snooki bouffant hairdo, but her credible and hilarious performance fits flawlessly. The women playing men do just as well, especially a strong Cecily Overman juggling both Antipholi, and Melissa Whitney as a powerhouse Solinus.

Here Plont could have been the odd man out; instead, he was the best error. Flanked by females, he delivered sidesplitting quips and punch lines, often in a dead-ringer Sean Connery impersonation.

However, alongside his fellow male castmates, Plont’s jokes fall flat. The men portray underdeveloped characters and rely too heavily on individual props to keep their wits about them. It’s confusing, not comedic, when Chris Murphy fumbles to put on Luciana’s flaming red wig while simultaneously exposing the courtesan’s nipple clamps. And the only distinction between Antipholi is their colored lapels. Even playing their own sex, the men feel like a botched boob job, hard and uncomfortably obvious. But when the females go macho, it looks like the real deal. Honestly, no one here is spotting the difference; they’re still snickering because someone said “boob.” KATHRYN PEIFER.

Gender-swapping as social experiment.

see IT: A Comedy of Errors is at the Back Door Theater, 4319 SE Hawthorne Blvd., 481-2960. 7:30 pm Thursdays-Sundays through April 19. $18.

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PERFORMANCE

APRIL 8–14

ment when she’s overwhelmed by a flood of memories—playful jousting with a fellow specialist (Nikki Weaver), pleas for reconciliation with her estranged daughter (Weaver, again), banter with her husband (Duffy Epstein). Some confusion is expected, but the production is almost too focused on cleverness in construction, not storyline. Aside from a bittersweet denouement, each plot twist is too foreshadowed, When Smithton climactically arrives at “the other place,” the play wrestles messily with psychological identity and surrendering control, but its tug at our heartstrings feels conspicuous after a play full of non-linear scene switches. The play might take us on an interesting journey toward “the other place,” but we never quite arrive. JAY HORTON. Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm Wednesdays-

Saturdays, 2 pm Sundays, March 21 through April 12. $20-$36.

Three Men on a Horse

Greeting card writer Erwin is lucky when it comes to picking horses.

The catch is he can’t personally bet, hence a comedic collaboration with small-time gambler Patsy in this 1930s comedy by John Cecil Holm and Tony Award and Pulitzer Prizewinning playwright George Abbott.

Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901.

7:30 pm Thursday-Saturday 2 pm and 7 pm some Sundays through April 12. $32. All ages.

COMEDY & VARIETY The Comedy Bull

Portland comics are generally very loving and supportive. The churlishly avuncular Anatoli Brant

ENID SPITZ

FEATURE

TESTIFY: Maesie Speer passes the mic.

SLAMMER STAGE After the scripted lines are spoken, Hand2Mouth’s Pep Talk turns into a public forum. The show’s actresses play macho coaches, re-enacting speeches from the likes of Al Davis, the late Oakland Raiders owner. At the end, audience members get to share their own motivational moments.

Pep Talk was performed for Seattleites and students at Western Oregon University and Springdale Job Corps. At the end of April, a four-hour super-cut version will be shown at Portland’s Surplus Gallery.

None of those audiences is likely to top a cafeteria full of inmates at Coffee Creek Correctional Facility. The women’s prison in Wilsonville is the intake site for all Oregon inmates, including one on death row. But Hand2Mouth is the first theater company to pass through its metal detectors, bringing a prisonapproved, 20-minute version of its show last week.

“Chariots of Fire” blared and inmates fist-pumped as H2M veteran actresses Erin Leddy, Maesie Speer and Julie Hammond entered, sprinting through the aisles and cheering.

However, the most motivational moments came from inmates.

“Once upon a time, I was a stripper,” said a young woman in the back row. In her story, a regular patron confided to her how his life was in a shambles. She urged him to take charge and then didn’t see him for months. “But when he came back, he thanked me,” she said. “He had money and his daughter back.”

Inmate Becky’s example came from behind bars. “I was sitting in dorm 400 15 minutes before [prisoner] count, and my bunkmate said, ‘I got bunked in for not tucking in my shirt, and oh my God, I’m gonna go to the hole,’” Becky said. “But officer Kilgore gave her a pep talk. He said, ‘Where is that thought going to get you? Will that get you back to your child faster?’”

Usually a “captive audience” in Portland’s theater scene means Gerding or Artists Repertory patrons held hostage by some talented principal actor. Coffee Creek’s women turned the tables. The entry guard is legally required to inform visitors that the prison will not negotiate in a hostage situation.

“When you drive up, it’s scary and over-the-top intimidating,” said artistic director Jonathan Walters, “but then we’re here just looking at each other, all human.” ENID SPITZ. Hand2Mouth Theatre brings Pep Talk to Coffee Creek Correctional Facility.

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april 8–14

Curious Comedy Open Mic

Curious hosts a weekly open-mic night. Sign-ups begin at 7:15, and comics get three minutes of stage time apiece. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 4779477. 8 pm every Sunday. Free.

Funny Humans vs. the Wheel

If you go to enough shows around town, you start to memorize comedians’ sets. Think of this weekly show, hosted by silly duo Adam Pasi and David Mascorro, as an antidote to all that repetition: Comedians start out with a planned set, but halfway through, they have to spin a wheel to determine what comes next—crowd work, one-liners, maybe even a heckle battle. Bar of the Gods, 4801 SE Hawthorne Blvd., 2322037. 9 pm every Sunday. Free. 21+.

Naked Comedy Open Mic

The Brody hosts a thrice-weekly open-mic night. Comics get fourminute standup slots and can sign up online. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm every Tuesday, Wednesday and Thursday.

Free with one-item minimum purchase.

Nikki Glaser

Glaser is making a career of knowing nothing about love or life and giving a ton of advice about it anyway.

Her podcast “We Know Nothing” turns callers’ pleas for relationship help into fodder for FML jokes. But as someone who reached the Last Comic Standing semifinals while her peers were at college parties, Glaser’s trajectory looks promising.

Top Portland comic Bri Pruett hosts.

Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, 7:30 pm and 10 pm Friday-Saturday, April 9-11. $20. 21+.

Burlynomicon

This monthly burlesque show promises a dark, macabre twist with an amusing surprise. Created by Critical Hit Burlesque–the producers of Geeklesque and CTRLALT-Striptease–this month’s Burlynomicon lineup includes performances from established locals such as Rummy Rose, Layne Fawkes and Vanity Thorn. It also draws Scarlett Storm from Philadelphia. A burlesque dancer and sideshow performer, Storm has spent the past 10 years developing a repertoire of circus-themed and macabre acts, with acts like “Human Fly,” “Beetlejuice” and “Fresh Blood.” The Lovecraft, 421 SE Grand Ave., 971-270-7760.

9:30 pm Tuesday, April 14. $10. 21+.

I Carried a Watermelon: A Dirty Dancing Story

Local contemporary group Trip the Dark kicks off its fifth season with its take on a story familiar to most: the story of Johnny needing a new dance partner, and how nobody puts Baby in a corner. The company promises to add “everything you didn’t know it was missing” to the ’80s classic, including the imagination and quirky flares the group has become known for. Disjecta, 8371 N Interstate Ave., 286-9449. 8 pm Friday-Saturday, April 3-4 and 10-11. $15 in advance, $18 day of show. 21+.

Trust Rhythm

For its latest show, PDX Dance Collective debuts five new dances mixing tap with contemporary, with each piece focused around the theme of the cycle of life. The six-member company relies on group participation for its final

piece, as the audience chooses the music and the dancers improvise.

Somewhere in between that and a live musical performance by guitarist Jesse Pender and percussionist Carly Barnes, the company’s tap dancers, Jordan Wallis and Brianna Whitehead, tap an a cappella score to choreographer Rachael Brown’s contemporary movement.

Headwaters Theatre, 55 NE Farragut St., No. 9, 512.0104. 7:30 pm FridaySaturday, April 10-11. $12.

Urban Bush Women

Dance presenter White Bird closes out its 2014-15 Uncaged Season with Urban Bush Women, a seven-member contemporary dance company.

The 30-year-old Brooklyn-based collective returns to Portland for the first time since 2008, debuting three brand new works inspired by John Coltrane, leaders of the civil rights movement and Kansas City jazz.

Founded by Jawole Willa Jo Zollar in 1984, Urban Bush Women tends to focus on stories and the history of the African diaspora, and was the first major all-female AfricanAmerican dance company in the country. Each piece balances stories of racism, hope and jazz music, told from personal perspective— the first piece tells of Zollar’s childhood experience moving from Texas to Kansas—and imagined snapshots through history of African-American civil rights leaders. The final piece, Walking with Trane celebrates Coltrane’s famous 1964 album, A Love Supreme, played live by composer/pianist George Caldwell.

Newmark Theatre, 1111 SW Broadway, 245-1600. 8 pm Thursday-Saturday, April 9-11. $25-$30.

REVIEW For more Performance listings, visit

OWEN CAREY

brings some heat to the scene with this competitive show, which requires standups to respond to surprise topics and improv challenges.

The funnier they are, the longer they remain onstage. Brant recently expanded the show to Helium: Every three months, the six strongest comedians will duke it out. Brody Theater, 16 NW Broadway, 224-2227.

9:30 pm every second Friday. $8.

PERFORMANCE

Picture This!

In a show that mashes standup and Pictionary, comics perform while artists illustrate their sets live. There’s a predictable tendency toward penis drawings, but also an offbeat play between the visual and the verbal. Andie Main hosts.

Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every second Friday. $7-$10; $5 with the purchase of a ticket to the 7:30 pm show.

Portland Secrets

Director Devin Harkness crowdsources secrets anonymously online for a group of improv comics to spin into a night of catharsis. Portland, of all cities, likes airing its dirty laundry.

Two late night shows on the 18th and 25th are “Sexy Secrets,” more dirty laundry, just dirtier. You can air yours at devinharkness.wix.com/ portland-secrets. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays though April 25. $12.

DANCE Behind Closed Doors

AWOL opens the doors to its brand new performance space for its latest show—a work ironically all about what happens behind closed doors, when people think they are alone.

The 18-member company, formed in 2003, brings up topics such as OCD rituals, one person’s infatuation with love, a group’s tendency to gossip and the rocky relationship between roommates, bringing its usual blend of various dance styles and aerial stunts to the stage.

AWOL, 513 NE Schuyler St., 351-5182.

8 pm Thursday-Saturday, April 9-11; 5 pm Saturday, April 11; 4 pm Sunday, April 12. $12-$30.

mEaSurIng up: Joseph Costa (left) and michael Elich.

HAPPY BIRTHDAY, ARTHUR: Thinking about Arthur Miller, the first phrase that jumps to mind is: “They don’t make ’em like they used to.” Certainly it’s a common motif in his writing, but more to the point, the man himself was a master of his craft. Artists Repertory Theatre celebrates what would be Miller’s 100th birthday this year by staging The Price. It is classic Miller expertly performed by a tight, virtuosic ensemble. The comparisons to Death of a Salesman are inevitable: bickering brothers, the hazardous intersection of family and capitalism, and a tattered, manipulative father. But in The Price, the patriarch is already deceased and represented only by a pile of furniture, leaving the brothers to unpack the man’s lasting impact on their lives. Also unlike Salesman, the audience is treated to a story set in a single room without any trace of dreamy theatricality. Only the beginning and ending bookends— actors alone on stage, sumptuously lit, letting a room full of objects recall them to the past—have that dreamlike tone. It’s rare that Miller allows his audience to laugh, but this play is filled with humor. Joseph Costa balances impeccable comic timing and heartaching tenderness as Gregory Solomon, an elderly Jewish antiques dealer. The ensemble fuels one another throughout this barreling freight train, and Adriana Baer’s direction disappears effortlessly, allowing these powerhouse actors and Miller’s well-crafted text to have center stage. CONOR EIFLER. SEE IT: The Price is at Artists Repertory Theatre, 1515 SW Alder St., 241-1278. 7:30 pm Wednesdays-Sundays, 2 pm Sundays through April 26. $25-$49.

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VISUAL ARTS

april 8–14

= WW Pick. Highly recommended.

By MEGAN HARNED AND RICHARD SPEER. TO BE CONSIDERED FOR LISTINGS, submit show information—including opening and closing dates, gallery address and phone number—at least two weeks in advance to: Visual Arts, WW, 2220 NW Quimby St., Portland, OR 97210. Email: mharned@wweek.com.

Ben Bushwell: No One Above or Below

This is Ben Bushwell’s third show in Portland in as many months, having exhibited at the Art Gym in March and been included in The Sum of Its Parts at Jeffrey Thomas Fine Art since February. I enjoy the near hallucinatory effect of his mark-making on photographic prints for how it restores the three-dimensionality that photography flattens, and because it looks cool. If you’re a fan of art that “blurs the line” between this and that, No One Above and Below promises to deliver a sculptural approach to image making that not everyone can pull off. Through May 7. Upfor Gallery, 929 NW Flanders St., 227-5111.

Intisar Abioto: Contents

Contents, Black Portlanders photoblogger Intisar Abioto’s show up at Duplex, is full of incomplete narratives.

This is the point, because between the images, mostly portraits, and the story of how she took those pictures, Abioto asks us to imagine the details. She tells us how her subjects make her feel: comfort from the woman who works in the convenience store, pride for the young man who cares for the children, etc. She doesn’t know them all completely, and doesn’t try to present them completely to us. This means we have to work harder to know them, to know our friends, neighbors and community, but Abioto inspires us to rise to the challenge with beautiful people and evocative language. Through April 30. Duplex, 219 NW Couch St.

Jim Neidhardt: Nuts & Bolts, 15 Clues to Life

Jim Neidhardt, who’s previously been known for photographing museumgoers photographing art, has a new batch of work at Augen Gallery. Nuts & Bolts, 15 Clues to Life is a series of digital prints that started as instruction manuals, made impenetrable with painterly additions and edits, that bring us in as viewers through the use of mannequin hands holding down the pages. These deconstructions of the picture plane as entryway into another, legible, world mirror the uselessness of trying to implement good advice. I’m not sure if we’ll find the answers to life, the universe and everything among these clues, but we surely can build something worth living in the meantime. Bound art books of the prints are on display in addition to others in the series, which actually manage to fit even my budget. Through May 2.

Augen Gallery DeSoto, 716 NW Davis St., 546-5056.

Kim Osgood: Persephone’s Tale

Historically, landscapes were the domain of celebrating the creator’s domain and still lifes were designed to inspire the viewer to reflect on mor-

tality and the necessity to live morally despite, or because of, the brevity of life. Today’s artists often deal with these issues in a much more superficial light, so I’m interested in Kim Osgood’s monotypes which place flower vases, lamps, books and other signs of domestic life in the foreground of mountain valleys whose far-off peaks are just barely visible and recognizable. Perhaps the reference to the Greek goddess of the underworld and springtime offers some insight into the artist’s thinking. Through May 2. Laura Russo Gallery, 805 NW 21st Ave., 2262754.

Lyric Truth: Paintings, Drawings and Embroideries by Rosemarie Beck

If you were an “important” New York painter in the late 1940s and 1950s, you dutifully pledged allegiance to Abstract Expressionism and trafficked in dollops, drizzles, smears and drips. Not so for Rosemarie Beck (1923-2003), subject of a rigorous exhibition at PSU organized by art historian Sue Taylor. In her mature work, Beck eschewed abstract statements, preferring to portray flesh-and-blood human beings. Sometimes, as in the oil painting Two with Horse, her depictions were frankly sensual and erotic.

She also drew inspiration from the myths of Classical antiquity, a predilection that was not exactly considered forward-thinking by her contemporaries. Still, she persevered not only in the medium of painting but also in drawing and embroidery. This is the first time any of this artwork has been exhibited in Oregon. More information at rosemariebeckexhibit2015.blogspot. com. Through May 3. Broadway Lobby Gallery at Portland State University, Lincoln Hall, 1620 SW Park Ave.

Nancy Lorenz: Polished Ground

I love gold. It’s part vanity, because I’m blond and it suits my complexion, but it’s also deeply aesthetic: a result of having spent so much time with gilded medieval altarpieces, manuscripts illuminated with gold leaf, and all the rest of the long history of Christian art. I was always bound to love Polished Ground, and in person I couldn’t resist the swirling, shimmering golds, silvers and platinum. The soft metallic pigments accentuate the coarse burlap canvases, and vice versa. Some even include mirrors, like a vanitas painting, as if to scold the viewer for reveling in the artist’s vision. But beauty can’t be punished. The only telling off you’ll get from me is if you don’t make time for this show. Through May 2. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

New York Salon

After a recent trip to New York City, Mark Woolley rounded up five New York artists who work in photography

and curated them into an invigorating group show at his Pioneer Place gallery. In addition to Kyle Rudd, David Hanlon and Patrick Arias, the show features two artists more familiar to Portland art lovers. Noah and Nathan Rice, formerly known as the Christopher Twins, were longtime staples at Woolley’s gallery before they moved from Portland to New York five years ago. Working as a team, the twin brothers blend elements of photography, painting and collage. In works such as This City Is a Dagger, they overlay images drawn from film, cartoons and cityscapes, resulting in an enigmatic, Popflavored mélange. Through May 10.

Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., 3rd floor, Pioneer Place Mall, 998-4152.

Ave., 286-9449.

Susan Seubert: The Fallacy of Hindsight

Hindsight is not always 20/20. That’s the crux of photographer Susan Seubert’s The Fallacy of Hindsight at Froelick. In three separate photo series, she explores a phenomenon that psychologists call “hindsight bias.” This refers to the often mistaken belief that one always knew without a doubt how a given situation would turn out. Seubert illustrates this idea—sometimes effectively, sometimes less than convincingly— through depictions of a figure bound in twine, images of an Arctic ice field and a set of Polaroid-sized images representing memories. Through May 2. Froelick Gallery, 714 NW Davis St., 222-1142.

Testable Predictions

Husband-and-wife curatorial team Calvin Ross Carl and Ashley Sloan have opened a new gallery in the space that used to be Nisus Gallery, on the east side of the Disjecta complex. Their first show, Testable Predictions, is a strong, three-artist debut, informed by the kind of heady but humorous aesthetic that Carl and Sloan are known for in their own artwork. Michelle Liccardo’s diminutive sculptures are fashioned from metal, concrete, paper and paint, but they look like sea creatures made out of Play-Doh. Perry Doane’s silkscreens, spartan and elegant, are punctuated by welcome bursts of saturated color. Finally, Amy Bernstein’s oil paintings wryly critique the gestures abstract painters keep in their arsenals: dollops, squiggles, arcs and simple shapes, set upon a white background. Isolated from one another, the marks are like painterly insects pinned down on an entomologist’s display board. Together, the artists’ contributions enliven this boxy, bright gallery with color, vivacity and optimism. Through April 12. Carl & Sloan Contemporary, 8371 N Interstate Ave., No. 1, 360-608-9746.

For more Visual Arts listings, visit

REVIEW

backWard gazE: Hilliard’s Ransom Turned Around.

PHOTOGRAPHY MONTH AT ELIZABETH LEACH Call me old-fashioned, but I’ve always had trouble thinking of photography as fine art. Well, Photolucida’s Portland Photo Month shows at Elizabeth Leach are forcing me to reconsider.

One of them, at least.

Leach is showing two photographers, Christopher Rauschenberg and David Hilliard, who respectivley redeem and undermine photography’s potential. Rauschenberg, a longtime leader in Portland’s art community, co-founded Blue Sky Gallery and previously spent nine years documenting every quadrant of the city for the Portland Grid Project. Here, he pushes against his own preconceptions, encouraging viewers to follow suit. Meanwhile, Hilliard, a Yale-educated, much-collected Massachusetts artist, shows 15 years’ worth of semistaged panoramic images that explore a middle ground between fact and fiction, but which didn’t engage me.

Rauschenberg’s show comes from a recent trip to Africa. Immediately, his photos from Tanzania had me on edge: a white American photographer in a sub-Saharan African nation? No, I’ve seen enough of those volunteerism trips, thank you. But Rauschenberg has an eye for details. Zanzibar XV captures the corner of a single story building, antennas rising above the shingled roof, where a mural shows schoolchildren stirring and measuring experiments above the phrase, “Better learning through science.” Rauschenberg evades the Western trope of exotic, desolate cityscapes, curtailing viewers’ tendency toward fetishized benevolence. No travel porn here.

There’s no porn in Hilliard’s show, either—but to a less admirable effect. Our Nature is a world of photoscapes populated by white men, but meant to represent our universal human nature. In the center of a five-paneled display, Ransom Turned Around, a shirtless man holds a staff, his hand and a leaf covering his groin in a manner that recalls Adam’s shame. He gazes away, deep into the woods across the additional four images. Hilliard’s semi-dressed men are in settings without any real emotional tension, intensity or spontaneity. The wise @GuyInYourMFA tweeted it better than I can say it: “Homoerotic subtext. But only subtext.” MEGAN HARNED.

rauschenberg and Hilliard go opposite ways.

SEE IT: Our Nature and On African Time are at Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521. April 2-May 2.

Tickets On Sale Now! 52

Willamette Week APRIL 8, 2015 wweek.com

BOOKS

APRIL 8–14

= WW Pick. Highly recommended.

By PENELOPE BASS. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: words@wweek.com. Fax: 243-1115.

THURSDAY, APRIL 9 Lisa Ohlen Harris and Jared John Smith

In her Oregon Book Awardnominated The Fifth Season, Lisa Ohlen Harris recounts the years spent as a caregiver to her motherin-law while trying to raise her own family. In his book Rabbit: (a novel?), Jared John Smith also explores the meaning of love and family.

Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

FRIDAY, APRIL 11 Stonecutters Union Reading

Writers Andy Valentine and Benjamin M. Ficklin, members of Eugene literary collective the Stonecutters Union, will read new fiction, joined by poet Eric Benick.

Mother Foucault’s Bookshop, 523 SE Morrison St., 236-2665. 7 pm. Free.

HomeWord Bound

Portland literati will join forces for good for “HomeWord Bound: An Event of Literary Proportions,” the 17th annual fundraiser for the Community Partners for Affordable Housing. Headlining this year’s event will be Smith Henderson (Fourth of July Creek), Lois Leveen (Juliet’s Nurse) and Oregon Poet Laureate Emerita Paulann Petersen, as well as 10 guest authors. Oregon Zoo, 4001 SW Canyon Road, 220-2789. 6-10 pm. $85, reservations required.

SATURDAY, APRIL 11 Portland Storytellers’ Guild

Whether it’s ancient oral traditions or your drunken recounting of that time you met Christian Slater and thought it was Christian Bale, storytelling builds community. In that spirit, the Portland Storytellers’ Guild will host Howard Adler, Norman Brecke, Steve Henegar and Frans van der Horst for the event “Three Guys and a Fool: The Unshorn Truth.” Hipbone Studio, 1847 E Burnside St., 358-0898. 7:30 pm. $10.

Sister Spit

Legendary literary road show and queer-feminist spoken word showcase Sister Spit will return for a one-night performance touching on race, gender, body politics, sex and heroine worship. Headlining the event will be activist Virgie Tovar (editor of the anthology Hot and Heavy: Fierce Fat Girls on Life), poet and artist Myriam Gurba (Sweatsuits of the Damned), and avant-drag performance artist Mica Sigourney.

Independent Publishing Resource Center, 1001 SE Division St., Suite 2, 827-0249. 7 pm. $10-$15 sliding scale.

Cherry City Comic Con

Rebranding as Salem’s First Nerd Fest, the second annual Cherry City Comic Con will host more than 150 artists and vendors with special appearances by actor and martial artist Michael Jai White (The Dark Knight, Black Dynamite), actress Naomi Grossman (American Horror Story), and other folks you would recognize but don’t really know.

Oregon State Fair & Expo Center, 2330 17th St. NE, Salem, 947-3247.

10 am-7 pm Saturday, 10 am-5 pm Sunday, April 11-12. $10-$20.

SUNDAY, APRIL 12 Where The Mountains End Tour

Toronto artist and writer Vivek Shraya (She of the Mountains) is teaming up with fellow Canadian writers Amber Dawn (Where the

Words End and My Body Begins) and Leah Horlick (For Your Own Good) for a West Coast tour exploring sex, myth and magic. Local authors Nghia Nguyen, Galadriel Mozee and Ebin Lee will join the reading. Independent Publishing Resource Center, 1001 SE Division St., Suite 2, 827-0249. 7 pm. Free.

Rad American Women A-Z

It may be a children’s book, but we can all benefit from a lesson about some badass ladies. Californiabased writer and educator Kate Schatz partnered with Bay Area artist and activist Miriam Klein

Stahl to create the new book Rad American Women A-Z: Rebels, Trailblazers, and Visionaries Who Shaped Our History…And Our Future. The slide show reading will be followed by a Q&A and signing.

Reading Frenzy , 3628 N Mississippi Ave., 274-8044. 3 pm. Free.

MONDAY, APRIL 13 Oregon Book Awards

The 28th annual awards, hosted by Portland native Mitchell S. Jackson, will honor authors in the genres of poetry, fiction, nonfiction, young readers and drama. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30-9 pm. $10-$65.

For more Books listings, visit

REVIEW

JON RONSON, SO YOU’VE BEEN PUBLICLY SHAMED On Dec. 20, 2013, Justine Sacco, a PR rep for Tinder parent company IAC, tweeted a very poorly received joke: “Going to Africa. Hope I don’t get AIDS. Just kidding. I’m white!”

By the time she disembarked a transatlantic plane, she was both fired from her job and the most Twitter-hated human Everybody must get stoned. in the world. Another woman posed for a photo raising her middle finger next to a sign at Arlington National Cemetery, and she—like seemingly all women in the eye of the Internet—was threatened with rape. And also fired.

But once their momentary scandal subsides, these people seemingly disappear. Except they don’t, really. They walk around undead and unhirable, saddlebagged with Googleable shame.

In his new book, So You’ve Been Publicly Shamed (Riverhead Books, 306 pages, $27.95), Jon Ronson (The Men Who Stare at Goats) meets with the Saccos of the world after they’ve been publicly obliterated. Ronson has empathy for all of them, not only the ruined but those who ruined them—like Michael Moynihan, who feels guilty about exposing The New Yorker’s onetime squishy pop scientist and serial fabricator Jonah Lehrer.

Ronson’s book could have been morally necessary, not only to humanize the dehumanized but also as a cracked mirror on journalism. A newspaper’s only power against corruption is to reveal shameful facts about the powerful. It’s the same mechanism, though more policed, as that of the million-strong haters of Sacco.

But Ronson is uninterested in tricky ethical gray areas.

Rather, Ronson’s greatest sympathy seems to lie with people like Lehrer and Sacco, questionable elites who’ve fallen to mere million-dollar lives after wrongdoing, whose mix of self-martyrdom and narcissism comes off as excruciating. Never mind that Lehrer has shown he probably shouldn’t be in journalism, and Sacco’s tweet shows remarkably bad PR acumen. The book eventually descends into an attempted how-to manual on rising again like a post-call-girl Eliot Spitzer.

The book’s eventual thesis is that the mass Web enforces conformity and punishes deviance, just like small-town Kansas— shame on you all—never mind that the Web has many corners with many different ideals. Shamed flits around from Radical Honesty proponents to identity management experts to Zumba prostitution rings with all the active intelligence of a trending keywords search. It’s a shame, really.

Meanwhile, Sacco has been publicly rehabbed by her original tormenter, Gawker’s Sam Biddle. And Lehrer has another book deal. It’s about how true love conquers everything, even the Internet. As proven by squishy science. MATTHEW KORFHAGE. GO: Jon Ronson speaks at Powell’s City of Books, 1005 W Burnside St., 800-878-7323, on Wednesday, April 8. 7:30 pm. Free.

Willamette Week APRIL 8, 2015 wweek.com

53

april 8–14 FEATURE

= WW Pick. Highly recommended.

COURTESY OF UNITED ARTISTS

MOVIES

Editor: ENID SPITZ. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: espitz@wweek.com. Fax: 243-1115.

OPENING THIS WEEK 5 to 7

C- In France, 5 to 7 pm is the des-

ignated time for an affair. At 5 on a Friday, Brian Bloom (Anton Yelchin), a wide-eyed aspiring writer, is magnetized to the hourglass hips of Arielle (Beréniece Marlohe). Their idyllic love blooms in two-hour spurts, and at 7 pm Ariel slips back into her chiffon shifts and leaves the St. Regis for a diplomat husband, storybook children, and dark-skilled nanny. Brian plays Wiffle ball in an apartment wallpapered with rejection letters. But everyone is blissful, Ariel’s husband included. She schools Brian in merlots, and he teaches her kids baseball in Central Park. Those two hours seem flawless; but 5 to 7’s perpetual honeymooning is its downfall. “They say love can’t be perfect, but they haven’t met you,” is one nauseating voice-over as the screen pans across silken sheets and lavender roses. Nicholas Sparks groupies will swoon. r. ENID SPITZ. Living Room Theaters.

For the Record

C+ Portland filmmaker Marc Greenberg’s new documentary answers the burning question you’ve been asking yourself for years: How the hell does the person with the mini keyboard in the courtroom type every word? For the Record delves into the unknown world of stenography, which is by definition dry and droll. But to the leading stenographers, it’s a life of rock and roll they call the “world’s best job.” The film follows the industry’s finest on their quest to break a Guinness World Record and be crowned the world’s fastest court reporter. Their insatiable desire for more words per minute is bizarre and oddly intriguing. With national conventions showcasing the blind passion of a WakeUpNow conference and the collective bongo drumming of a firstgrade after-school program, the only thing missing is a motivational speech from Michael Scott. HALEY MARTIN. NW Film Center’s Whitsell Auditorium.

The Longest Ride

Screened after deadline. See wweek. com for review. Showing at most Portland-area theaters.

On the Way to School

A- Pascal Plisson accompanied chil-

dren from Kenya, Morocco, Argentina and India on their journeys to school.

From the beginning, Plisson’s premise promises a tear-jerker with commutes far more harrowing than the average American student’s suburban bus ride, and his film does not fail to deliver.

Some travel by horseback, on foot, or even in a wheelchair; they hike across mountain ranges, run from rogue elephants prowling the savannah and gallop across dusty Patagonian plateaus, all just to make it by the starting bell. Along for the ride, we’re forced to reconsider the privilege of education and also awed by Plisson’s subtle but powerful exhibition of human determination. IAN CLARK. NW Film Center’s Whitsell Auditorium.

STILL SHOWING 3 Hearts

French filmmaker Benoît Jacquot charts a classically torrid love triangle in 3 Hearts as sisters Sylvie (Charlotte Gainsbourg) and Sophie (Chiara Mastroianni) both fall for Marc (Benoît Poelvoorde). But the following histrionics, complete with foreboding voiceover and score, crowd the film like too many lovers. pG-13.

KRISTI MATSUDA. Fox Tower.

’71

B+ Behind enemy lines, as seen through

the eyes of an abandoned British soldier in the midst of the Troubles of 1971 Belfast. r. PARKER HALL. Fox Tower.

54

A Girl Walks Home Alone at Night

A- Writer-director Ana Lily

Amirpour’s A Girl Walks Home Alone at Night is an eclectic cinematic mishmash: an Iranian noir-spaghetti Western-love story with vampires.

And yet, somehow, it all works. JOHN LOCANTHI. Laurelhurst Theater, Living Room Theaters.

American Sniper

D Chris Kyle (Bradley Cooper) is still shooting people. r. JAMES HELMSWORTH. Regal Bridgeport.

Ballet 422

A backstage look at up-and-coming choreographer Justin Peck as he puts together a new work for the New York City Ballet. pG. Living Room Theaters.

Big Hero 6

A Shelving wordy cleverness for its own sake, ignoring parental intrusion, and allowing moral lessons to develop organically through a simplified storyline, Big Hero 6 is that rarest thing: an animated children’s adventure designed purely to delight its target audience. Substantial swaths of the picture are devoted to nothing loftier than portraying just how unstoppably cool soaring on the back of your own robot would feel. pG. JAY HORTON. Avalon, Laurelhurst Theater, Vancouver, Valley.

Birdman

B- If Birdman’s message is that the theater, specifically Broadway, is the home of high art and Hollywood a place of debased, greed-driven entertainment, Alejandro González Iñárritu doesn’t make a convincing—or even amusingly satirical— argument. r. REBECCA JACOBSON. Mission Theater, Academy, Kennedy School, Laurrelhurst Theater.

Chappie

B- Anyone expecting Chappie to

match the brilliant political allegories of director Neill Blomkamp’s District 9 should know that Chappie is essentially a mashup of Short Circuit, Robocop and assorted direct-to-video action films from the ’80s. It’s all to say that Chappie is pretty fucking stupid. But if you lower your expectations, it’s also kind of a blast. r. AP KRYZA. Showing in most Portland-area theaters.

Cinderella

D+ What do you get when you replace the iconic singing fairy godmother with Helena Bonham Carter and a loud, repetitive score? You get Kenneth Branagh’s tiresome live-action retcon of Cinderella, pG. JOHN LOCANTHI. Showing at most Portland-area theaters.

Effie Gray

Emma Thompson again headlines a film as a purse-lipped dame. This time, Dakota Fanning joins her as teenage bride Effie Gray, whose art critic husband John Ruskin refuses to consummate their marriage, leaving a sexual vacuum that Fanning fills with a scandalous affair. Based on historical figures, English miniseries maven Richard Laxton’s period drama prods the underbelly of Victorian parlor society. Divorce, gay marriage and a love triangle get pushed behind the veneer of Scotland’s high society and hoop skirts.. pG-13. Living Room Theaters.

Fifty Shades of Grey

D Fifty Shades turns what was supposed to be a torrid affair into an overly serious episode of Beverly Hills 90210 with some timid softcore erotica thrown in. The source material might have made a decent porno. Unfortunately, Universal sued the porn studio that intended to do this movie justice. That’s a shame.

Willamette Week APRIL 8, 2015 wweek.com

CONT. on page 55

aT lEaST IT dIdn’T gIvE joHn WaynE cancEr: Apocalypse Now.

THE DAY AFTER EARTH DAY AS THE PORTLAND ECOFILM FEST OPENS, WW LOOKS BACK AT THE LEAST ENVIRONMENTALLY CONSCIOUS FILMS EVER GREEN-LIT.

BY JaY horton

243-2122

Filmmaking doesn’t have a particularly proud record of harmony with nature. Disney’s White Wilderness shoved lemmings off a cliff; Jacques Cousteau’s The Silent World conducted a census of marine life through dynamite; Thomas Edison’s Electrocuting an Elephant electrocuted an elephant.

In the dirty business of major motion pictures, they’re called location shoots for a reason...

The Conqueror (1956) Howard Hughes producing John Wayne as Genghis Khan would’ve served as warning for unbridled arrogance even if location scouts hadn’t chosen a Utah canyon near St. George, just downwind of the Yucca Flats nuclear range. Aware of the recent A-bomb tests, 220 cast and crew members still filmed near open-air detonations. Half of them (including the director and principal stars) later contracted cancer.

Aftermath: St. George rebounded as tourist mecca and branded itself “Utah’s Hot Spot.” Howard Hughes retired from film and bought back every existing print of The Conqueror for obsessive private viewings. Fifteen years after surgery to remove a tumorous lung, John Wayne succumbed to stomach cancer.

The Charge of the Light Brigade (1936) For megalomaniacal folly, Michael Curtiz’s shining moment is Noah’s Ark (three extras died when the director released a 600,000 gallon flood without warning), but The Charge of the Light Brigade stampeded 125 riderless mounts down a valley of the shadow of death.

Aftermath: The dozens of horses put down amid Charge’s filming spurred public outcry. To forestall congressional action, the film industry invited American Humane Association monitors to vouchsafe its conduct.

Heaven’s Gate (1980) Oversight was still a voluntary procedure begrudging audiences’ love of animals, and the abstruse Western Heaven’s Gate proved just how dearly director Michael Cimino hated both. United Artists gave him free rein to stage cockfights, disembowel cattle, behead chickens, blow up horses, and bleed to death a major studio founded by Charlie Chaplin.

Aftermath: Noting that inspectors were barred at gunpoint from visiting Heaven’s Gate’s set, contractual entanglements were instituted to formally permit AHA personnel on all sets, and their proclamation “No Animals Were Harmed” appears briefly at the end of every movie. The UA logo now appears briefly before such pictures as Hot Tub Time Machine.

Apocalypse Now (1979) While the only animals harmed were a pair of water buffaloes already destined for the chopping block— give or take a Martin Sheen heart attack—Francis Ford Coppola burned acres of Philippine rainforest to the ground re-creating the effects of napalm.

Aftermath: For 1986’s Platoon, Oliver Stone would assemble a rather more accurate (red soil brought from Southeast Asia) Vietnamese village within the Philippine jungle for elaborate incineration. Some day, this war’s gonna end.

Waterworld (1995) Watchdog groups debunked the grislier rumors of whale casualties, but the most expensive film of its day dredging a sunken set over a coral bed, and simply placing so large a cast and crew on an artificial atoll off the coast of Hawaii’s Big Island posed an equally massive trash problem.

Aftermath: Fifteen years after his unnamed hero rescued the last hope of mankind from the villain’s lair aboard the rusting hulk of the Exxon Valdez, Kevin Costner flew to the Gulf of Mexico to hawk his company’s proprietary oil-water separation system in the wake of the Deepwater Horizon oil rig disaster.

SEE IT: The Portland EcoFilm Festival is at Hollwood Theatre, 4122 NE Sandy Blvd., on Thursday-Sunday, April 9-12. $8, $50 passes. See portlandecofilmfest.org for a full schedule.

MOVIES

SCOTT GARFIELD

april 8–14

furious 7 r. JOHN LOCANTHI. Eastport, Clackamas, Vancouver.

Focus

B- Great con-man movies—a sub-

genre old as cinema itself—strike a difficult balance between breezy capers and deeper examinations of character motives. It’s a dance between glamorizing the life of crime and facing the inevitable emptiness it begets. In this scenario, Focus hits most of the right notes. It’s a slick, funny and sometimes suspenseful yarn, a picture that’s light on its feet and mostly forgettable, but it still manages moments of intrigue. r. AP KRYZA. Academy, Clackamas Town Center, Bridgepot, Living Room Theaters.

Furious 7

A- Furious 7’s action and ridiculousness make it perhaps the best yet. Its tribute to Paul Walker, who tragically died (in a high-speed car wreck) before the film wrapped makes it one of the most affecting movies about things exploding ever made. The central chase scene is as frantic and ludicrous (it also features Ludacris) as action scenes get. Michelle Rodriugez battles MMA star Ronda Rousey, a high-altitude car chase crosses the top floors of three skyscrapers, there’s a weird futuristic jet, and Dwayne “The Rock” Robinson flexes his sinewy biceps so hard that he breaks a goddamned plaster cast.

This time, the team takes on terrorists and Deckard Shaw (Jason Statham), who pops into chase scenes like a Looney Tunes villain and blows things up. But Furious 7 stands out by wearing its big, oversized heart on its bulging sleeve.

The film seems like an over-the-top wake for Walker. Hell, when I die, I hope somebody collapses a skyscraper in my honor. AP KRYZA. pG-13. Showing at most Portlandarea theaters.

Get Hard

Gett: The Trial of Viviane Amsalem

C Viviane wants a divorce from her emotionally abusive husband, Elisha. In Israel, that means appearing before a council of rabbis and getting the full consent of her spouse. This is a black-

Home

A technicolor extraterrestrial descends to Earth. Children learn acceptance of all critters, no matter their gummy-bear hue. It’s basically Up, with more tech specs and less soul. PG. Showing at most Portland-area theaters.

Inherent Vice

A Paul Thomas Anderson’s rollicking adaptation of Thomas Pynchon’s 2009 novel. r. Laurelhurst Theatre.

Interstellar

C+ The McConnaissance goes into outer space. pG-13. Empirical.

Into the Woods

B+ Stephen Sondheim’s muchloved musical has finally made it to the big screen. The film is divided into halves: the first full of payoffs and the second full of inescapable relationship truths and romantic boredom. Though timid—it waters down forest sex to an agonized make-out scene in the pines—Disney’s long-shelved adaptation is still a beautiful compromise. And hell, the mash-up of cautionary fairy tales is fun, with the Witch (Meryl Streep) pushing a young couple (James Corden and Emily Blunt) to undo a family curse they inherited. pG. SAUNDRA SORENSON. Vancouver, Valley.

It Follows

A- When your guard is lowered, something truly terrifying like It Follows can burrow into your psyche. We meet Jay (Maika Monroe), a normal 19-year-old girl falling for dreamboat Hugh (Jake Weary). Following their first sexual encounter, Jay awakens in an abandoned warehouse, bound to a wheelchair. That’s when Hugh lays it all out: When they had sex, he passed along a curse. Until she sleeps with somebody else, she will be followed by a malicious force. Said force can take any human form. Like Jennifer Kent’s masterful The Babadook, It Follows is anchored by excellent performances and layered with subtext. With The Babadook it was all about a mother’s resentment of a child. Here, Mitchell is dealing with the loss of innocence and the dangers of sexuality. But rest assured, the subtext, like the creature stalking its prey, is in the background. For most of the movie, you’ll be too nervous to think about allegories—and too busy looking over your shoulder. r. AP KRYZA. Showing at most Portland-area theaters.

Kingsman: The Secret Service

A- Remember when spy movies were fun? Kingsman: The Secret Service does. r. Showing at most Portland-area theaters.

Kumiko: The Treatsure Hunter

B+ Countless films are influenced

by the Coen Brothers, but few announce it outright like this one from another pair of filmmaking brothers, David and Nathan Zellner, whose Kumiko, the Treasure Hunter tells of a lost soul in Tokyo who takes her fascination with Fargo to dangerous extremes. Tired of a lonely life sharing noodles with her pet bunny and watching neighbors dance through their kitchen window, the eponymous seeker (Rinko Kikuchi) fixates on the Coens’ Minnesota neo-noir Fargo.

It opens on a fuzzy, VHS copy of the film in question, with the (false) disclaimer assuring Kumiko it’s “a true story.” Outlandish though it may seem for anyone to believe the film’s claim, loner Kumiko sets off to unearth Fargo’s fictional buried treasure. When an American cop tortuously explains that Fargo is a work of fiction she goes into denial and her monomaniacal fixation only intensifies. Kumiko is gorgeously shot and scored, with a dreamlike ambience and slow-burning narrative. In a lesser film, Kimiko’s innocence and her bunny, Bunzo, could easily devolve into the precious but hollow quirks typical of indie features. But the trajectory of Kumiko, the Treasure Hunter is too tragic for precociousness or to inspire much laughter. MICHAEL NORDINE. Hollywood Theatre, Living Room Theaters.

Marfa Girl

16-year-old Adam (Adam Mediano) skateboards around his Texas border-town home, he’s bombarded with coital offers. Everybody tries to sleep with everybody else in Larry Clark’s newest, and the audience is unfortunately privy to Adam’s pregnant teacher spanking him. NR. Living Room Theaters.

McFarland

Having previously assisted underdog baseball and football teams, Kevin Costner now coaches an underdog 1980s track team. There are ethical epiphanies about race relations and being true to oneself.

PG. Showing at most Portland-area theaters.

Ned Rifle

The third in Hal Hartley’s Henry Fool trilogy, about a murderous son set to exact revenge on his father. Nr. Laurelhurst Theater

Paddington

The cuddly, floppy hat-wearing bear gets his own live-action feature. pG. Avalon, Kennedy School, Vancouver, Valley.

Queen and Country

A sequel 25 years in the making, Queen and Country picks up where 1987’s Hope and Glory, left off. Nine years later,the little British boy who cheered when his school was pummeled by the Luftwaffe is drafted for the Korean War. Instead, he and army buddy engage in M*A*S*H-like hijinks. NR. Living Room Theater.

STREET PG. 23

C+ Get Hard is a movie about a rich white guy hiring a poor black guy to get him ready for a stint in prison. Given that premise, it’s actually kind of surprising how frequently it manages to avoid being terrible. The jokes punch up. James (Will Ferrell) is some generic financial patrician who commits some generic financial crime. He’s awful: He promises his wife (Alison Brie) that he’s going to make enough money in a day to choke a baby and tells Darnell (Kevin Hart), “Just so you know, I would have done the same thing if you were white,” after knocking on Darnell’s window to give him his keys at the car wash where he works. There’s nothing subversive, nothing clever or surprising, just gems like “they fucking in San Quentin,” from Mr. Hart.

Prison rapes happen. A lot. Ha?. r.

JAMES HELMSWORTH. Showing at most Portland-area theaters.

and-white situation: These two should not be together, but are not allowed to part. “This system is bad!” expounds this claustrophobic courtroom drama with all the subtlety and nuance of an ox goad to the face. Israel’s submission for the Best Foreign Language Film Oscar. JOHN LOCANTHI. Living Room Theaters.

CONT. on page 57 Willamette Week APRIL 8, 2015 wweek.com

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Nominate now for your chance to win $250, What The Festival tickets, or movie passes for a year!

56

Willamette Week APRIL 8, 2015 wweek.com

APRIL 8–14

about three 1965 civil rights marches in Alabama, is not perfect, but it arrives at a historic moment that will leave only the most blinkered viewer feeling chuff ed about the superiority of the present to the past. Violence here is never aestheticized for its own sake, but brought to life so that we might understand its escalation and impact. The fi lm is transfi xing, but not easy to watch. And it should not be easy to watch . PG-13 . CHRIS STAMM . Academy, Laurelhurst Theatre, Vancouver.

Serena

Bradley Cooper and Jennifer Lawrence play filthy rich, newlywed timber magnates, the Pembertons.

When things get messy, Lawrence proves jazz-age brides can be just as fierce as bow-slinging freedom fighters. PG. Living Room Theaters.

The Wrecking Crew

A music documentary about the Wrecking Crew in L.A., which you’ve undoubtedly heard already, whether you know it or not. These studio musicians played on tracks for Frank Sinatra, the Beach Boys, the Mamas and and Papas, and the Monkees, among others. PG. Hollywood, Laurelhurst Theatre.

Whiplash

B+ Whiplash clefts music from

dance, love and spirituality. What’s left is muscle, red and raw, beating faster and faster against a drum.

Damien Chazelle’s beautiful but troubling fi lm centers on a battle of egos and tempos, as Andrew (Miles Teller) must decide how much of himself and his sanity he’s willing to give to music. Teller gives a close-to-the-chest performance.

J.K. Simmons is certainly horrifying as his instructor. And here’s where Whiplash is most troubling: It views the abusive instructor as a necessary evil for creating great art. This fl ies in the face not just of morality but of history. R .

JAMES HELMSWORTH . Acad emy, Laurelhurst.

Wild

A- Reese Witherspoon trudges north in Wild, the fi lm adaptation of Portlander Cheryl Strayed’s best-selling memoir about hiking 1,100 miles from scorched California to soggy Oregon. R. Living Room Theaters, Bridgeport.

REVIEW

Still Alice

A- Still Alice charts a linguistics professor’s descent into earlyonset Alzheimer’s disease. Richard Glatzer and Wash Westmoreland’s fi lm has an element of carefully balanced melodrama, thanks to a tightly written script and Julianne Moore’s transformative performance. Moore’s Alice begins the fi lm as a put-together Columbia professor who beats herself up for forgetting a single word in a lecture. As Alice’s memory worsens, Moore loosens her performance in a gradual, almost imperceptible manner. The fi lm is somewhat hampered by an overly dramatic score and a few lackluster performances, though Kristen Stewart’s work as Alice’s free-spirited daughter is a refreshing turn for the usually stoic actress. PG-13 .

BLAIR STENVICK . Fox Tower

The Hunting Ground

B+ Documentarians Kirby Dick

and Amy Ziering reunite following 2013’s successful The Invisible War—an award-winning look at rape in the armed forces—to interview collegiate victims of sexual violence. People in denial, preferring a cozy image of college, talk about the “unreliability” of victims. But the realities are stark as the film’s young women and men speak convincingly about their personal nightmares and make a clear call to action. The problem and solution begin in the same place, Dick argues: “It has to start with the schools.” The Hunting Ground is all about that call to action: Schools should invest more in resources than cover-ups, and visiting parents should ask for sexual assault statistics. As an exposé, The Hunting Ground hits its mark, tasking us all to do our homework.

JAMES WALLING. PG-13. Fox Tower

The Imitation Game

B Full of childhood fl ashbacks, handsome sets, sharp zingers and a careful dash of devastation, the Imitation Game takes a prickly prodigy—Turing pioneered the fi eld of computer science and helped crack Nazi codes—and places him in an eminently (and sometimes overly) palatable picture . PG-13.

Fox Tower, Vancouver.

The Second Best Exotic Marigold Hotel

B Old folks home in India revisited.

PG . Showing at most Portland-area theaters.

The Theory of Everything

B- A brief history of Stephen Hawking’s 30-year marriage to Jane Wilde, The Theory of Everything fi ts a tad too snugly into the biopic tradition. Here, Hawking’s contributions to the fi elds of physics and cosmology take a backseat to the story of his and Wilde’s courtship, marriage and eventual divorce . PG13 . MICHAEL NORDINE . Academy, Laurelhurst.

OVER THE HILL AND INTO A RUT: Stiller and Watts.

WHILE WE’RE YOUNG

SCOOP PG. 24

A- Selma, Ava DuVernay’s drama

J O N PAC K

Selma

MOVIES

MUSIC PG. 35

Ben Stiller spent years and millions on his Walter Mitty remake, a statement movie no one wanted to see. Director Noah Baumbach could’ve saved him the trouble—a dozen times over. While We’re Young is a career-best for them both: generous, wise and consoling for those facing their forlorn 40s.

In outline, it’s a Gen-X midlife-crisis: Filmmaker Josh (Stiller) and wife Cornelia (Naomi Watts) are stalled in careers and marriage. He can’t complete his unwatchable opus (something on geopolitics and a Chomskyan scholar); they tried IVF, failed, and are settling into a childless rut. They need a shakeup, and it arrives with young Brooklyn couple: would-be documentarian Jamie (Adam Driver, from Girls) and wife Darby (Amanda Seyfried).

While We’re Young sends cynical Josh into unexpected bromance, and much of the movie’s charm lies in our being swept along, too. Jamie freshens his newfound mentor’s perspective on film, revamps his wardrobe, and invites him into adventurous social circles. (One, with musician Dean Wareham presiding as a shaman, involves an ayahuasca ceremony and copious vomiting.)

Cornelia, oppressed by the Park Slope mommy cult, starts taking hip-hop dance classes. Still, the female characters aren’t so skillfully drawn as the males, who include gray-muzzled new father Fletcher (the Beastie Boys’ Adam Horovitz), the only guy who can speak truth to Josh’s blind infatuation. Charles Grodin also brings welcome, sour appeal as Josh’s disapproving father-in-law.

Is Josh deluded and ridiculous? Of course, but that’s not the movie’s real source of laughter and inspiration. In denial about his fading eyesight, Josh will discover that being foolish and confounded is good for the system. If Jamie is a hustler, he’s also like a personal trainer—pushing his client into discomfort. As the two collaborate on a doc about a PTSD war veteran and kids’-party clown, Jamie rejects Josh’s purist ethics. Yet, more than a generational clash, this is a satire of an entire class of narcissists (the director perhaps included).

By the time Cornelia and Josh have woken from their spell, they’ve absorbed the movie’s best gag and fundamental irony: Accepting that you’re old takes no less imagination than pretending you’re young. BRIAN MILLER. Stiller and Baumbach get better with age.

A- SEE IT: While We’re Young is rated R. It opens Friday at Cinema 21.

Willamette Week APRIL 8, 2015 wweek.com

57

Furious 7 (XD) (PG-13) 12:40PM 4:00PM 7:20PM 10:35PM Home 3D (PG) 2:40PM 7:50PM Home (PG) 10:55AM 12:10PM 1:25PM 4:05PM 5:15PM 6:35PM 9:10PM 10:20PM Woman In Gold (PG-13) 11:05AM 1:50PM 4:35PM 7:25PM 10:10PM Get Hard (R) 10:45AM 12:15PM 1:20PM 2:50PM 3:55PM 5:25PM 6:40PM 8:00PM 9:20PM 10:35PM Longest Ride, The (PG-13) 10:40AM 1:40PM 4:40PM 7:40PM 10:40PM McFarland, USA (PG) 12:45PM 3:50PM 7:00PM 10:05PM It Follows (R) 11:40AM 2:15PM 4:55PM 7:30PM 10:05PM Kingsman: The Secret Service (R) 12:35PM 3:45PM 7:05PM 10:15PM Furious 7 (PG-13) 11:00AM 11:50AM 1:30PM 2:20PM 3:10PM 4:50PM 5:40PM 6:30PM 8:10PM 9:00PM 9:50PM

Danny Collins (R) 11:20AM 2:05PM 4:50PM 7:35PM 10:25PM Divergent Series: Insurgent, The 3D (PG-13) 12:20PM 3:15PM 6:15PM 9:15PM Cinderella (2015) (PG) 10:40AM 12:05PM 1:30PM 2:55PM 4:20PM 5:45PM 7:10PM 8:35PM 10:00PM Freetown (PG-13) 11:00AM 1:55PM 4:45PM 7:40PM 10:30PM Furious 7 (PG-13) 11:00AM ® 11:50AM ® 2:20PM ® 3:10PM ® 5:40PM ® 6:30PM ® 9:00PM ® 9:50PM ® Divergent Series: Insurgent, The (PG-13) 10:50AM 1:45PM 4:45PM 7:45PM 10:40PM Do You Believe? (PG-13) 10:40AM 1:35PM 4:25PM 7:15PM 10:10PM

7:00PM 10:10PM

Danny Collins (R) 11:35AM 2:15PM 4:55PM 7:35PM 10:15PM Cinderella (2015) (PG) 11:00AM 1:50PM 4:40PM 7:25PM 10:20PM Home 3D (PG) 1:30PM 6:30PM 9:00PM Divergent Series: Insurgent, The 3D (PG-13) 3:00PM 9:00PM Get Hard (R) 11:30AM 12:30PM 2:00PM 4:30PM 6:00PM 7:00PM 9:30PM Furious 7 (PG-13) 10:50AM 11:40AM 12:30PM 1:50PM 2:20PM 3:00PM 3:50PM 5:00PM 5:30PM 6:20PM 7:10PM 8:10PM 8:45PM 9:40PM 10:30PM Divergent Series: Insurgent, The (PG-13) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM

Home 3D (PG) 12:30PM 3:00PM 5:40PM 8:20PM

Chappie (R) 11:05AM 2:00PM 4:50PM 7:40PM 10:30PM

Get Hard (R) 11:50AM 1:05PM 2:25PM 3:40PM 5:05PM

Furious 7 (PG-13) 10:55AM 11:45AM 12:35PM 1:25PM

6:20PM 7:45PM 9:05PM 10:15PM

2:15PM 3:05PM 3:55PM 4:45PM 5:35PM 6:25PM 7:15PM

It Follows (R) 2:30PM 5:00PM 7:30PM 10:00PM Home (PG) 11:00AM 12:15PM 2:45PM 4:00PM 5:15PM 7:45PM 10:15PM Woman In Gold (PG-13) 11:05AM 1:45PM 4:25PM 7:05PM 9:45PM Kingsman: The Secret Service (R) 10:50AM 1:45PM 4:40PM 7:35PM 10:30PM Special Screening (NR) 11:00AM Second Best Exotic Marigold Hotel, The (PG) 11:00AM 1:55PM 4:45PM 7:40PM 10:30PM Longest Ride, The (PG-13) 10:50AM 12:40PM 3:50PM

Run All Night (R) 11:00AM 4:45PM 10:30PM Longest Ride, The (PG-13) 12:45PM 4:00PM 7:15PM 10:30PM Kingsman: The Secret Service (R) 1:15PM 7:30PM

8:05PM 8:55PM 9:45PM 10:25PM

IT’S REALLY, REALLY BIG: Galaxy Quest plays as part of OMSI’s sci-fi festival.

THE EMPIRICAL STRIKES BACK OMSI GOES REALLY, REALLY BIG, WITH A SCI-FI FILM FEST.

BY A P KRYZA

apkryza@wweek.com

Fifty Shades Of Grey (R) 1:10PM 4:10PM 7:20PM 10:25PM Divergent Series: Insurgent, The (PG-13) 1:00PM 4:05PM

Home (PG) 11:10AM 1:40PM 4:20PM 7:05PM 9:40PM

7:10PM 10:10PM

Cinderella (2015) (PG) 11:00AM 12:25PM 1:50PM 3:20PM

Divergent Series: Insurgent, The 3D (PG-13) 11:15AM

4:40PM 6:15PM 7:30PM 9:10PM 10:20PM

2:20PM 5:30PM 8:45PM

FRIDAY

58

AP FILM STUDIES CO U R T E SY O F PA R A M O U N T

MOVIES

Willamette Week APRIL 8, 2015 wweek.com

With science-fiction films, bigger is always better. Whether in the tight corridors of Alien or the cityscapes of Dark City, increasing your viewing radius even a couple of inches can transform an awe-inspiring world into a fully immersive experience.

Portland theaters have long done a great job of reviving old-school sci-fi flicks. Hollywood just last month debuted its new 70 mm system with a revival of 2001.

Now OMSI is getting into the sci-fi game. From April 13 to 19, the Empirical Theater will host its inaugural OMSI Sci-Fi Fest.

OMSI ditched the old, dome-style Omnimax screen in 2013, and put tons of effort into upping its presentation with a fully digital projector— North America’s first Dolby Atmos surround-sound system. Sound blasts from four behind-the-screen speakers, 36 surround speakers, and 20 subwoofers.

In layman’s terms: It’s really big and really loud.

The festival itself is like a greatest-hits collection of sci-fi over the past 50 years. Sure, we’ve seen The Matrix over and over. But OMSI’s high-tech presentation will offer up the most jaw-dropping look at the film since it blew minds when first released.

Even on the small screen, Alfonso Cuaron’s vastly underappreciated Children of Men is a film of pulse-pounding intensity. But when projected on a four-story screen, the magnificent war-zone climax transports you directly into the action in the same way that his Gravity made you feel adrift in space.

The 14 films in the series tick off all the boxes for hypersteroidal science-fiction experiences, ranging from the dystopian claustrophobia of 12 Monkeys to Planet of the Apes, Blade Runner, The Day the Earth Stood Still, Galaxy Quest and The Last Starfighter. Trust me: You haven’t seen Ricardo Montalban’s shimmering man cleavage until you’ve seen Wrath of Khan on a screen the size of a building.

This being OMSI, you can even learn some-

thing. Joss Whedon’s crowd-favorite Serenity screens Tuesday, April 14, along with a talk by PSU Professor Emeritus Carl Abbott, “Big Sky Country: Reliving the American West in Serenity, Firefly and American Science Fiction.” More to the point: Serenity. On a four-story screen.

Lloyd Center might have an IMAX, and the Hollywood has upped the ante with 70 mm, but OMSI has something nobody else does: The ability to show big movies in a way that makes us all feel incredibly small, and a sound system with the ability to make us feel incredibly deaf.

ALSO SHOWING: Our old friend Larry Colton—former MLB player, author, Wordstock co-founder, Fast Break star and generally nice dude—hits up OMSI for a Reel Science talk about Field of Dreams.

OMSI’s Empirical Theater. 6:30 pm Wednesday, April 8.

Never mind the dead-eyed romance between human sparkler Edward Cullen and Bella Swan.

Weird Wednesday has 1973’s Count Dracula’s Great Love. Joy Cinema. 9:15 pm Wednesday, April 8.

Church of Film presents a program of films by surrealist French filmmaker Germaine Dulac, a pioneering female director whose work dates back to 1915. North Star Ballroom. 8 pm Wednesday, April 8 Jean-Michel “Son of Jacques” Cousteau beams into OMSI’s Empirical Theater for the world’s biggest Skype conversation, followed by a screening of his new doc, Secret Ocean. OMSI’s Empirical Theater. 9:45 am Thursday, April 9.

KBOO returns to the Clinton to present Charles Lloyd: Arrows Into Infinity, a documentary about the pioneering jazz man. Clinton Street Theater. 7 pm Thursday, April 9.

Burt Lancaster headlines 1963’s The Leopard, Marxist Italian auteur Luchino Visconti’s look at aristocracy and upheaval in 19th-century Sicily. 5th Avenue Cinema. 5 and 9 pm Friday-Saturday and 3 pm Sunday, April 10-12.

A perfect snapshot of ’50s paranoia, 1956’s Invasion of the Body Snatchers remains the benchmark by which all pod-person cinema shall be judged. Academy Theater. April 10-16.

All you need to know about Kung Fu Theater’s presentation of 1983’s extremely rare A Fistful of Talons is that, yup, eagles get mixed up in the martial arts mayhem. Hollywood Theatre. 7:30 pm Tuesday, April 14.

april 10–16

MOVIES

allied arTiSTS

08:00 SONG OF THE SEa Sat-Sun 04:00

Fifth Avenue Cinema

510 S.W. Hall St., 503-725-3551 THE lEOparD Fri-Sat-Sun 03:00 NO FilMS SHOWiNG TODaY Mon-Tue-Wed

Forest Theatre

1911 Pacific Ave., 503-844-8732 KiNGSMaN: THE SECrET SErViCE Fri-Sat-Sun 03:20, 06:30, 09:15

Hollywood Theatre

HERE THEy COME: Invasion of the Body Snatchers is at the Academy Theater.

Regal Lloyd Center 10 & IMAX

1510 N.E. Multnomah St. THE lONGEST riDE FriSat-Sun 12:40, 03:45, 06:50, 10:00 EXHiBiTiON ONSCrEEN: ViNCENT VaN GOGH Tue 07:00 r5: all DaY, all NiGHT

Regal Tigard 11

11626 S.W. Pacific Highway THE lONGEST riDE Fri-SatSun-Mon-Tue-Wed 01:35, 04:45, 08:00

Regal Evergreen Parkway Stadium 13 & RPX

2625 N.W. 188th THE lONGEST riDE Fri-SatSun-Mon-Tue-Wed 12:40, 04:00, 07:00, 10:00

Regal Wilsonville Stadium 9

29300 SW Town Center Loop THE lONGEST riDE FriSat-Sun 01:20, 04:15, 07:10, 10:05

Regal Movies On TV Stadium 16

2929 S.W. 234 THE lONGEST riDE Fri-SatSun 12:30, 03:50, 06:50, 09:50

Bagdad Theater

3702 S.E. Hawthorne Blvd., 503-249-7474 NO FilMS SHOWiNG TODaY Fri FUriOUS 7 Sat-SunMon-Tue-Wed 12:20, 03:30, 07:00, 10:20

Cinema 21

616 N.W. 21st Ave., 503-223-4515 WHilE WE’rE YOUNG Fri-Sat-Sun-Mon-Tue-Wed 02:15, 04:30, 07:00, 09:15 WHaT WE DO iN THE SHaDOWS Fri-Sat-SunMon-Tue-Wed 01:30, 04:15, 06:30, 08:45 iT FOllOWS Fri-Sat-Sun-Mon-Tue-Wed 02:00, 04:15, 06:45, 09:00

Clinton Street Theater

2522 S.E. Clinton St., 503-238-8899 NO FilMS SHOWiNG TODaY Fri-Mon-Tue-Wed rOCKS iN MY pOCKETS Sat-Sun 07:00 THE rOCKY HOrrOr piCTUrE SHOW Sat 12:00 ValENCia Sun 02:00

Laurelhurst Theatre & Pub

2735 E. Burnside St., 503-232-5511 COMMaNDO Fri-Sat-SunMon-Tue-Wed 09:45 THE WrECKiNG CrEW Fri-Sat-

Sun-Mon-Tue-Wed 06:45 NED riFlE Fri-Sat-SunMon-Tue-Wed 09:15 THE THEOrY OF EVErYTHiNG Fri-Sat-Sun-Mon-Tue-Wed 06:30 WHiplaSH Fri-SatSun-Mon-Tue-Wed 07:00 a Girl WalKS HOME alONE aT NiGHT Fri-Sat-Sun-MonTue-Wed 09:30 BirDMaN Or (THE UNEXpECTED VirTUE OF iGNOraNCE) Fri-Sat-Sun-Mon-Tue-Wed 07:15 iNHErENT ViCE Fri-Sat-Sun-Mon-Tue-Wed 09:00 SElMa Fri-Sat-Sun 03:45 THE SpONGEBOB MOViE: SpONGE OUT OF WaTEr Sat-Sun 01:30

Mission Theater and Pub

1624 NW Glisan THE SpONGEBOB MOViE: SpONGE OUT OF WaTEr Fri-Sat-Sun-Mon-Tue-Wed 05:30 CHappiE Fri-SatSun-Mon-Tue-Wed 08:00

Moreland Theatre

6712 S.E. Milwaukie Ave., 503-236-5257 HOME Fri-Sat-Sun-Mon-TueWed 05:30, 07:45

Mt. Hood Theatre

401 E. Powell Blvd., 503-665-0604 THE SpONGEBOB MOViE: SpONGE OUT OF WaTEr Fri-Sat-Sun-Mon-Tue-Wed 07:00 CHappiE Fri-SatSun-Mon-Tue-Wed 08:50 alEXaNDEr aND THE TErriBlE, HOrriBlE, NO GOOD, VErY BaD DaY Fri-Sat-Sun-Mon-Tue-Wed 04:30

St. Johns Cinemas

8704 N. Lombard St., 503-286-1768 FUriOUS 7 Fri-Sat-SunMon-Tue-Wed 04:00, 07:00, 10:00 iT FOllOWS Fri-SatSun-Mon-Tue-Wed 05:30, 07:40, 09:50

CineMagic Theatre

2021 S.E. Hawthorne Blvd., 503-231-7919 iT FOllOWS Fri-Sat-SunMon-Tue-Wed 05:30, 07:40

Regal Cinema 99 Stadium 11

9010 N.E. Highway 99 THE lONGEST riDE Fri-SatSun 12:30, 04:00, 07:10, 09:30

Century 16 Eastport Plaza

4040 S.E. 82nd Ave. KiNGSMaN: THE SECrET SErViCE Fri-Sat-SunMon-Tue-Wed 01:15, 07:30 FiFTY SHaDES OF GrEY Fri-Sat-Sun-Mon-Tue-

Wed 01:10, 04:10, 07:20, 10:25 CHappiE Fri-SatSun-Mon-Tue-Wed 11:05, 02:00, 04:50, 07:40, 10:30 CiNDErElla FriSat-Sun-Mon-Tue-Wed 11:00, 12:25, 01:50, 03:20, 04:40, 06:15, 07:30, 09:10, 10:20 THE DiVErGENT SEriES: iNSUrGENT FriSat-Sun-Mon-Tue-Wed 01:00, 04:05, 07:10, 10:10 THE DiVErGENT SEriES: iNSUrGENT 3D Fri-Sat-SunMon-Tue-Wed 11:15, 02:20, 05:30, 08:45 HOME FriSat-Sun-Mon-Tue-Wed 11:10, 01:40, 04:20, 07:05, 09:40 HOME 3D Fri-Sat-Sun-MonTue-Wed 12:30, 03:00, 05:40, 08:20 rUN all NiGHT Fri-Sat-Sun-MonTue-Wed 11:00, 04:45, 10:30 GET HarD Fri-Sat-Sun-MonTue-Wed 11:50, 01:05, 02:25, 03:40, 05:05, 06:20, 07:45, 09:05, 10:15 FUriOUS 7 Fri-Sat-Sun-Mon-Tue-Wed 10:55, 11:45, 12:35, 01:25, 02:15, 03:05, 03:55, 04:45, 05:35, 06:25, 07:15, 08:05, 08:55, 09:45, 10:25 THE lONGEST riDE Fri-Sat-SunMon-Tue-Wed 12:45, 04:00, 07:15, 10:30

99 West Drive-In

Hwy 99W, 503-538-2738 FUriOUS 7 Fri-Sat 08:00 THE BrEaKFaST ClUB Fri-Sat 09:30 NO FilMS SHOWiNG TODaY Sun-MonTue-Wed

Edgefield Powerstation Theater 2126 S.W. Halsey St., 503-249-7474 THE SpONGEBOB MOViE: SpONGE OUT OF WaTEr Fri-Sat-Sun-Mon-Tue-Wed 11:45, 03:00 CHappiE Fri-Sat-Sun-Mon-Tue-Wed 06:00, 09:30

Kennedy School Theater

5736 N.E. 33rd Ave., 503-249-7474 THE SpONGEBOB MOViE: SpONGE OUT OF WaTEr Fri-Sat-Sun-Mon-Tue-Wed 06:00 CHappiE Fri-SatSun-Mon-Tue-Wed 03:00, 08:15

Empirical Theatre at OMSI

1945 S.E. Water Ave., 503-797-4000 WalKiNG WiTH DiNOSaUrS 3D Fri-Sat-Sun 01:00 SECrET OCEaN Fri-Sat-Sun 11:00, 02:00 JOUrNEY TO SpaCE Fri-Sat-Sun 12:00, 03:00 JaMES CaMErON’S DEEpSEa CHallENGE 3D Fri 05:00 FliGHT OF THE BUTTErFliES Fri-Sat-Sun 10:00 MYSTEriES OF THE UNSEEN WOrlD Fri 12:00 WilD OCEaN Fri 01:00 THE SpONGEBOB MOViE: SpONGE OUT OF WaTEr Fri-Sat 06:00 iNTErSTEllar Fri-Sat

4122 NE Sandy Blvd., 503-281-4215 THE EpiC OF EVErEST Fri 07:00 THE SOWEr Fri 09:15 METalHEaD Fri-SatSun-Mon-Tue-Wed 06:45 iT FOllOWS Fri-Sat-SunMon-Tue-Wed 07:15, 09:30 KUMiKO, THE TrEaSUrE HUNTEr Fri-Sat-Sun-MonTue-Wed 08:45 all THE TiME iN THE WOrlD Sat 01:30 JUST EaT iT: a FOOD WaSTE STOrY Sat 04:00 THE BrEaCH Sat 06:30 MONSOON Sat 09:00 CrYiNG EarTH riSE Up Sun 04:30 CHUiTNa: MOrE THaN SalMON ON THE liNE Sun a FiSTFUl OF TalONS Tue 07:30 pEpE El TOrO Wed 07:30

NW Film Center’s Whitsell Auditorium

1219 S.W. Park Ave., 503-221-1156 NO FilMS SHOWiNG TODaY Fri-Mon-Wed ON THE WaY TO SCHOOl Sat-Sun 02:00, 04:00, 07:00 WaTCHErS OF THE SKY Tue 07:00 aMEriCaN HOT WaX

Regal Pioneer Place Stadium 6

340 S.W. Morrison THE lONGEST riDE Fri-SatSun-Mon-Tue-Wed 12:00, 03:15, 06:45, 10:00

Regal Cinemas Bridgeport Village Stadium 18 & IMAX

7329 SW Bridgeport Road THE lONGEST riDE Fri-SatSun 11:00, 01:00, 04:05, 07:10, 09:40

Academy Theater

7818 S.E. Stark St., 503-252-0500 CHappiE Fri-Sat-Sun-MonTue-Wed 04:30, 09:15 FOCUS Fri-Sat-Sun-MonTue-Wed 02:05, 07:00 THE SpONGEBOB MOViE: SpONGE OUT OF WaTEr Fri-Sat-Sun-Mon-Tue-Wed 04:20 SElMa Fri-Sat-SunMon-Tue-Wed 09:00 SONG OF THE SEa Fri-Sat-SunMon-Tue-Wed 04:40 THE THEOrY OF EVErYTHiNG Fri-Sat-Sun-Mon-Tue-Wed 06:45 BirDMaN Or (THE UNEXpECTED VirTUE OF iGNOraNCE) Fri-Sat-SunMon-Tue-Wed 01:50, 06:30 iNVaSiON OF THE BODY SNaTCHErS Fri-Sat-SunMon-Tue-Wed 02:50, 09:25

Valley Theater

9360 S.W. Beaverton-Hillsdale Hwy, 503-296-6843 paDDiNGTON Fri-Sat 05:50 S/O SaTYaMUrTHY Fri-SatSun-Mon-Tue-Wed 07:55 JUpiTEr aSCENDiNG FriSat-Wed 06:30 BirDMaN Or (THE UNEXpECTED VirTUE OF iGNOraNCE) Fri-Sat-Sun-Mon-Tue-Wed 09:05 THE SpONGEBOB MOViE: SpONGE OUT OF WaTEr Fri-Sat-Wed 06:15 CHappiE Fri-Sat-Sun-MonTue-Wed 08:15 BiG HErO 6 Sat-Sun-Mon-Tue-Wed 05:30

SubjecT To change. call TheaTerS or ViSiT WWeek.coM/MoVieTiMeS For The MoST up-To-daTe inForMaTion Friday-ThurSday, april 10-16, unleSS oTherWiSe indicaTed

F I N E TO O T H / C C - S A - B Y

Enter the

Hood Life

Photography Contest

Pro Photo Supply and Willamette Week seek your best shots inspired by the mountain.

Contest Opens: April 6 Contest Closes: May 4 at midnight What does Mount Hood mean to you?

Willamette Week and Pro Photo Supply are now accepting submissions of your best photograph taken on or near Mount Hood.

Have you camped there with friends?

Skied there with family? Found a random swimming hole with an epic view?

What are your favorite climbing spots, places to float, or shops for gear? We want your best images inspired by Hood.

Winning photograph(s) will be featured in Willamette Week’s Outdoor Guide on May 27. Winning photographs will also be printed by Pro Photo Supply and displayed at Willamette Week’s Outdoor Guide Launch Party at KEEN in the Pearl on May 26.

bit.ly/hoodlifepix To submit your photo, head to Facebook.com/ProPhotoSupply and look for the “Photo Contest” tab, or simply follow this link: http://a.pgtb.me/PqS9Q. Limit one photograph per entrant. Winning photographs will be chosen by judges from Willamette Week and Pro Photo Supply.

Winners will be contacted via email by May 8.

Please note: By making your submission, you agree to let Willamette Week publish your photo in conjunction with the 2015 Outdoor Guide, in both digital and print formats.

Willamette Week APRIL 8, 2015 wweek.com

59

END ROLL

MEMO: NEW WEED CZAR

reCommendation: Wait

We hate to say it, but Oregon’s pot overlords don’t know shatter from shinola. Oregon Liquor Control Commission executives know their liquor, sure, as brave police officers pulling over cars have occasionally attested. But the one guy in the OLCC who knew anything about pot, former weed czar and medical-marijuana dude Tom Burns, just got fired after “leaking” a document about the OLCC trying to take over medical marijuana, which was already public record.

This heroic martyr cannot be replaced, but he will be replaced.

And who by is very important, since they’ll be serving under weed commissioners who admit they don’t know anything about pot and have suggested that you “say yes to life and no to drugs.”

But there’s a ray of hope in all this. OLCC board member Robert Rice has gone so far as to tell us the only thing he knows about weed is “what I read in the papers.”

Well, we are a paper! So here are our own candidates and recommendations for Burns’ job—people knowledgeable about weed, who have Oregonians’ real interests at heart. ROBERTO JAMÓN.

Who he is: XRAY.FM

Paul “King Bong” Stanford Who he is: Head

of almost every weed legalization campaign in Oregon (except the successful one), chairman of getting people weed cards.

Pros: Knows how to navigate tricky bureaucratic waters to certify people for weed. Knows lots of weed farmers. Farms weed (or tries to).

Cons: Slight money-handling issues—for example, he was sued for debt owing to back taxes in January of 2014. Friend-

ship with Willie Nelson creates conflict of interest vis-a-vis outof-state business interests. reCommendation: Keep on retainer.

Cylvia “Purple” Hayes

Who she is: Former First Lady.

Pros: Highly ambitious go-getter

deeply familiar with state-level government. Weed farm experience, stretching way back. Looking for “lucrative work.”

Cons: Currently under federal investigation.

until she gets rid of her dead-weight fiance.

Jefferson “Airplane” Smith

radio host, Bus Project founder, former mayoral candidate.

Pros: There’s a twitter account populated by his dog. Rode around on a bus like Ken Kesey.

Very, very politically connected.

Cons: Publicly stated he no longer smokes weed. May therefore now be unfamiliar with the product he’s regulating. reCommendation: Ask him in for some bong hits, to make sure he’s not a narc.

Duane “Wake and Bake” Sorenson

Who he is: Stumptown founder.

Pros: Knows maybe better than

anyone in Oregon how to court out-of-state investors and get an artisanal Oregon product off the ground. Told The New York Times that coffee and weed go “hand in hand.”

Cons: Known for sowing Division. reCommendation: Insufficient funds to make serious offer.

Rasheed “Rashweed” Wallace Who he is: Best

of the Jail Blazers, maybe better than us all.

Pros: On the right side of history a thousand times over.

Threatened to “punch out” John Canzano, showcasing strong moral fiber. Technically gifted.

Highly versed in subject.

Cons: None. reCommendation: Hire!

For more information on John Callahan’s memorial, see ffojohncallahan.tumblr.com.

60

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You need to be comfortable walking an old newshound through embedding tweets from a contentious water board meeting, then edit a new intern’s art review and pen the perfect tease for the swimming hole listicle that’s going to melt our server. You need an eye for photography, an ear for quotes and the ability to parse analytics to determine once and for all what’s the best time to share our weekend events roundup. It’d be nice if you knew a little code, too, since our creaky old site sometimes sputters. You should also have some ideas about what the next version of our site should look like and be ready to work with our sister papers in Santa Fe and and Raleigh to share best practices. Send resume and portfolio to our culture editor, artseditor@wweek.com.

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What we need from you: An open and flexible schedule, including days, evenings, weekends and holidays; Previous experience is preferred, but If you’re willing to learn, we’re willing to train; A love of working in a busy, customer service-oriented environment. We offer opportunities for advancement as well as an excellent benefit package to eligible employees, including vision, medical, chiropractic, dental and so much more! Please apply online 24/7 at www.mcmenamins. com or kick it old-school and pick up a paper application at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-2218749. Call 503-952-0598 for info on other ways to apply. And, people, please no phone calls or emails to individual locations!. E.O.E.

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Saturaday, April 18, 2015 7:30 PM Tickets are $20 for non-members in advance and available through www.kalakendra.org or may be purchased at the door for $25 Students $15 and children $12:50 ($15 at the door).

2014-15 Friends of Kalakendra and members are admitted free. Membership is available at the door.

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Willamette Week newspaper is seeking a creative, enthusiastic, responsible and fun human being to be our next Art Director.

Applicants must have a passion for journalism and our mission to serve the community with news they can use. The right candidate will have a unique vision for solid editorial design, page layout, visual storytelling, and thoughtful typography to maximize the readers’ experience. Being deadline-driven and have the ability to work collaboratively in a team-oriented environment are a must.Qualified candidates should have 3-5 years experience designing and/or art-directing editorial content; working with freelance photographers and illustrators; art-directing photo shoots; managing budgets and deadlines; and have a good understanding of production and printing processes. Previous experience at a newspaper, magazine or other print publication is a plus.Responsibilities include brainstorming and communicating ideas between our editorial staff and artists to create a weekly publication. Conceiving art and carrying it through to completion are the biggest priorities.Rewards of the job include being a part of a team of people who are there to support each other. One must be driven to collaborate and inspire.Working hard and playing hard are a part of the job. The successful candidate will have fluent skills in page design, communication and office plant care.This is a full-time, salaried position with benefits and an office desk with a skylight. Please submit a cover letter, rÈsumÈ and examples of your work or a portfolio to dserkin@wweek.com.

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INTERNATIONAL MIDWIVES MONTH FUNDRAISER FOR THE ICTC Celebrate with a special screening of “Bringin’ In Da Spirit,” an evocative and passionate documentary that celebrates the history of the Black midwives who committed themselves to holistic answers in the face of powerful misconceptions about the practice of midwifery by Western medicine. Narrated by Phylicia Rashad, this film won the Paul Robeson Award Initiative Special Prize, FESPACO, Burkina Faso, 2005.

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CHATLINES

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Across 1 Word before out or put 5 It precedes theta 8 Make a difference 14 Phone connection 15 3-D med. scan 16 “Java” trumpeter 17 Rob Ford, by residence 19 With 20-Across, the first cat president?

20 See 19-Across 22 Luau staple 23 Two-player card

41 Directed (toward) 42 Recent small, furry president in a cage?

46 Resort type 47 Victorian or Edwardian, e.g.

48 Leading pot-bellied pig president?

55 Underwater naval habitat 57 Picture of pandemonium 58 Actress Hemingway

game 24 Twice-serving dog president?

32 Affix, as a button 33 “As I see it,” in a text 34 “Night” author Wiesel 35 “Mod Squad” member 36 Flower part made up of sepals 38 Up and quit 39 ___ Day multivitamins 40 Ending for spat

Down 1 Like molasses 2 Turner of note 3 Formicary dwellers 4 “Hell ___!”

5 Key of Brahms’s Symphony No. 4 6 Dire 7 Grammar class faux pas 8 Zenith competitor, once 9 Porto ___, Brazil 10 You, long ago 11 Radial, e.g.

12 Rowing machine unit 13 Delivery path, for short 18 Decide not to go green?

21 “I ___ soul to the company store” (“Sixteen Tons” lyric) 24 Queen, in Quebec 25 “For Sale by ___” 26 Words from the teacher?

27 Pale purple 28 Aboveboard, slangily

29 Texas Revolution site 30 “Separate Tables” Oscar winner David 31 Monopoly holding 32 Go through mud 36 Deserving of blame 37 Koran focus 41 “Delta of Venus” author Nin 43 Jordan’s neighbor 44 Like some furniture polishes 45 1950 sci-fi short story collection by Isaac Asimov 48 Modern Maturity publisher 49 Radar reading 50 “I totally agree!”

51 Elite Eight org.

52 Iodine-rich seaweed 53 Lowdown 54 Certain tide 55 Texting protocol initials 56 Evian or Perrier

last week’s answers

©2015 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 #JONZ722.

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Week of April 9

ARIES (March 21-April 19): Uitwaaien is a Dutch word that means to go out for a stroll in windy weather simply because it’s exhilarating. I don’t know any language that has parallel terms for running in the rain for the dizzy joy of it, or dancing through a meadow in the dark because it’s such nonsensical fun, or singing at full volume while riding alone in an elevator in the mad-happy quest to purge your tension. But in the coming weeks, you don’t need to describe or explain experiences like this; you just need to do them. Experiment with giving your instinctive need for exuberance lots of room to play.

TAURUS (April 20-May 20): Your nasty, nagging little demon isn’t nasty or nagging any more. It’s not doing what demons are supposed to do. It’s confused, haggard, and ineffective. I almost feel sorry for the thing. It is barely even keeping you awake at night, and its ability to motivate you through fear is at an all-time low. Here’s what I suggest: Now, when the demon’s strength is waning and its hold on you is weak, you should break up with it for good. Perform an ultimate, non-reversible exorcism. Buy it a one-way bus ticket to the wasteland and say goodbye forever.

GEMINI (May 21-June 20): When he was in his fifties, French painter Claude Monet finally achieved financial success. He used his new riches to buy a house and land, then hired gardeners to help him make a pond full of water lilies. For the first time in his life, he began to paint water lilies. During the next 30 years, they were his obsession and his specialty. He made them a central feature of 250 canvases, which now serve as one of his signature contributions to art history. “I planted my water lilies for pleasure,” he said. “I cultivated them without thinking of painting them. And then suddenly, I had the revelation of the magic of my pond.” I regard the imminent future as a good time for you to do something similar, Gemini: Create or find a source of beauty that will stimulate your sense of wonder and fuel your passion to express yourself for a long time.

CANCER (June 21-July 22): “Everything we do in life is based on fear, especially love,” said Cancerian comedian Mel Brooks. Although he was joking, he was also quite serious. More often than we like to admit, desperation infects our quest to be cared for. Our decisions about love may be motivated by a dread of loneliness. We worry about whether we are worthy of getting the help and support we need. It’s a fundamental human problem, so there’s no reason to be ashamed if you have this tendency yourself. Having said that, I’m happy to report that you now have the necessary power to overcome this tendency. You will be able to summon tremendous courage as you revise and refine your relationship with love. It’s time to disappear the fear.

LEO (July 23-Aug. 22): Do you ever feel reverence and awe, Leo? Are there times when you spontaneously yearn to engage in acts of worship? Is there anyone or anything that evokes your admiration, humility, and gratitude? The coming weeks will be a good time to seek out experiences like these. According to my reading of the astrological omens, you will get tender jolts of transformational inspiration if you blend yourself with a sublime force that you trust and respect.

VIRGO (Aug. 23-Sept. 22): A lot has happened since you were . . . uh . . . indisposed. You’ve missed out on several plot twists. The circle has been broken, repaired, broken again, and partially repaired. Rumors have been flying, allegiances have been shifting, and riddles have been deepening. So are you ready yet to return to the heated action? Have you learned as much as you can from the commotion that provoked your retreat? Don’t try to return too early. Make sure you are at least 70 percent healed.

LIBRA (Sept. 23-Oct. 22): Rent, but don’t buy yet.

That’s my $250-per-hour advice. Keep rehearsing, but don’t start performing the actual show. OK? Flirt, but don’t fall in love. Can you handle that much impulse control? Are you strong enough to explore the deeper mysteries of patience? I swear to you that your burning questions will ultimately be answered if you don’t try to force the answers to arrive according to a set time-

table. I guarantee that you will make the necessary connections as long as you don’t insist that they satisfy every single one of your criteria.

SCORPIO (Oct. 23-Nov. 21): The Guerrilla Girls are a group of prankster activists who use humor to expose sexism and racism in the art world. Every so often they take a “weenie count” at New York’s Metropolitan Museum of Art. During their first survey in 1989, they found that five percent of the artists who had work hanging in the galleries were women, while 85 percent of the nudes depicted in the paintings were women.

More recently, in 2012, their weenie count revealed that four percent of the artists were female, but 76 percent of the naked people in the paintings were female.

The coming week would be a good time for you to take a weenie count in your own sphere, Scorpio. Conditions are more favorable than usual to call attention to gender disparities, and to initiate corrective action.

SAGITTARIUS (Nov. 22-Dec. 21): The English term “engine” refers primarily to a machine that transforms energy into mechanical power. But its roots are in the Old French word engin, which meant skill or wit, and in the Latin word ingenium, defined as “inborn talent.”

I’d like to borrow the original meanings to devise your horoscope this week. According to my reading of the astrological omens, your “engine” is unusually strong right now, which means that your cultivated skills and innate talents are functioning at peak levels. I suggest you make intensive use of them to produce maximum amounts of energy and gather more of the clout you’d love to wield.

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CAPRICORN (Dec. 22-Jan. 19): What I’m about to say is not a hard scientific fact, but it is a rigorous poetic fable. You don’t need to go to the mountain, because the mountain is willing and able to come to you. But will it actually come to you? Yes, but only if you meet two conditions. The mountain will pick itself up and move all the way to where you are if you make a lot of room for it and if you are prepared to work with the changes its arrival will bring.

AQUARIUS (Jan. 20-Feb. 18): If you were a four-yearold, cookies might be a valuable treasure to you. Given a choice between a bowl of stir-fried organic vegetables and a plate full of chocolate coconut macaroons, you’d probably choose the macaroons. For that matter, if you were four years old and were asked to decide between getting a pile of macaroons and a free vacation to Bali or an original painting by Matisse or a personal horoscope reading from the world’s greatest astrologer, you’d also opt for the cookies. But since you’re a grownup, your list of priorities is screwed on straight, right? You would never get distracted by a sugary, transitory treat that would cause you to ignore a more nourishing and long-lasting pleasure. Right?

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PISCES (Feb. 19-March 20): On June 23, 1917, Babe Ruth was the starting pitcher for the Boston Red Sox in a Major League Baseball game against the Washington Senators. After the first batter drew a walk, Ruth got upset with the home plate umpire and punched him in the head. Ejected! Banished! The Babe had to be dragged off the field by the cops. The new pitcher was Ernie Shore. He proceeded to pitch a perfect game, allowing no further Washington player to reach base in all nine innings. In the coming weeks, Pisces, I see you as having the potential to duplicate Ernie Shore’s performance in your own sphere. Coming in as a replacement, you will excel. Chosen as a substitute, you will outdo the original.

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Homework What’s the best question you could ask life right now? Tell me by going to FreeWillAstrology.com and clicking on “Email Rob.”

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

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