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NEWS CANNIBAS COURIERS. MOVIES A MAD MAD MAX WORLD. WEED CANNABIS-SPIKED SIZURP. P. 6

P. 47 P. 52

“I HAVE TO GLUE 2,000 MORE SPIKY THINGS ON THIS VW BUS.”

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

2015

BEST NEW BAND

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10 PORTLAND ARTISTS LOCAL MUSIC EXPERTS THINK YOU MUST HEAR P. 14

WWEEK.COM

VOL 41/28 05.13.2015


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Willamette Week MAY 13, 2015 wweek.com


FINDINGS

pagE 47

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 28.

A state senator from Eugene wants to create the Meals on Wheels of weed. 6

Sluricane is the best damn alcoholic fruit punch made by a

The proposed $337 million state Capitol renovation includes 5,500

The OLCC forced a bar on Northeast Killingsworth to hire a glorified night watchman. 41

square feet of designated chillaxing space for lobbyists and

legislators. 7

Free, semi-functioning guitar amps sometimes appear on the

streets of Northeast Portland. 15

ON THE COVER:

Bay Area rap legend. 35

The new movie from the director of the dancing-penguin movie Happy Feet features a truckload of breast milk and death by flaming guitar. 47

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Divers’ Harrison Rapp. photo by Jason Quigley.

tonic lounge is now panic room: Caution High volume bar. this is not a good thing.

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 Enid Spitz

Visual Arts Megan Harned Editorial Interns Ted Jamison, Anthony Macuk, Amy Wolfe Contributors Dave Cantor, Nathan Carson, Rachel Graham Cody, Pete Cottell, Shannon Gormley, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Mark Stock, Anna Walters produCtion Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Kristina Morris Graphic Designers Mitch Lillie, Xel Moore Production Intern Olivia Tsefalas

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INBOX NEEDED: A NEW APPROACH TO EDUCATION WW is correct to call the current K-12 state education model a “Beast” [“Feed the Beast,” WW, May 6, 2015]. However, WW leaves out the opportunities to use technology and personal choice, like University of Oregon education professor Yong Zhao advocates, to radically reform K-12 education by injecting competition to make more efficient use of existing education dollars while tailoring a student’s edu-

DEFENDING BAR’S REDO

Jon Taffer and his [Bar Rescue] team were actually very cool and did a great job with the face-lift of the bar [Bar Review: “Panic, Don’t Panic,” WW, May 6, 2015]. The new look is a starting point that we at Panic Room will build from. Your article smacks of elitism and the toocool-for-school attitude that Portland sometimes has for everything in it. Don’t like the new look and feel of Panic Room? Fine, but don’t be so scared of change. —“Joe Gallagher”

WHO GETS TO CONTROL HOTEL?

This sounds like “if you can’t beat ’em, join ’em.” [“Hijacked Hyatt,” WW, May 6, 2015.] If Gordon Sondland’s offer truly would save significant public dollars, I’d be very disappointed to think Metro would choose not to do business with him just because he challenged them in the past. On the other hand, if another vendor has been promised the deal, through a fair and open bidding process, they should keep it. —“Seems2Me”

CORRECTION

A recent story on police body cameras (“Faceoff,” WW, April 29, 2015) stated WW is not a member of the Oregon Newspaper Publishers Association. In fact, while WW is not eligible for full membership, limited to newspapers with a second-class mail permit, we do maintain an associate membership. WW regrets the error.

EDITOR’S NOTE

As many readers have noted, the art for last week’s cover story (“Feed the Beast, WW, May 6, 2015) was inspired by Odd Rods, the trading cards popular in the 1970s that were in turn inspired by the art of Ed “Big Daddy” Roth. LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Fax: (503) 243-1115. Email: mzusman@wweek.com.

What’s up with the erupting volcano off the Oregon Coast? When will it break the surface and form an island? Will the new land be part of Oregon, or up for grabs to whoever wants to plant their flag? —Richard Feder, Fort Lee, N.J.

But before you start building your death ray, be aware that the volcano in question is unlikely ever to breach the waves. Sure, Axial Seamount rises an impressive 3,600 feet above the ocean floor—but that still leaves 4,600 feet between its summit and the surface. Moreover, the seamount is just one of a chain of underwater peaks that have formed over the eons as the Pacific plate drifts over the Cobb hotspot. None so far has achieved island status. But let’s say that, somehow, this volcano defies expectations and rises above the briny. Who would own it? By convention, a nation’s territorial waters extend 200 miles from its shores. Axial Seamount, however, is 300 miles out. Theoretically, that would make it terra nullius under international law, meaning that sovereignty would devolve to the first nation to occupy it. In practice, though, it’s hard to imagine the U.S. allowing, say, North Korea to build the island’s first Walmart.

Before I answer your question, I should respond to readers who misinterpreted last week’s column on lethal injection. To be clear, I floated a revival of the guillotine not because I’m a bloodthirsty fascist, but because making executions look pleasant shields us from their moral consequences: “Don’t worry, Oregon, we sent convicted killer Gary Haugen to live with a nice farm family in the country, where he’ll have plenty of room to run and play!” Now, on to this eruption. It’s obvious, Richard, you’re already imagining yourself as emperor of your own sovereign island, complete with skullshaped volcano, scantily clad henchmodels, and superspies tied up in the basement. Willamette Week MAY 13, 2015 wweek.com

Saturday night I see cars circling for blocks [“A Driveway Moment,” WW, May 6, 2015]. But what happens when I rent my driveway to a 75-year-old, and they slip and break their hip getting out of their car. It’s my property, so I get sued, right? And since I’m technically in violation of city policy, that’s a double whammy. —“Dave J.”

RENTING OUT YOUR DRIVEWAY

I’ve thought about doing this—I have a driveway in a congested part of town, and every Friday and

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cation to that which inspires him/her to learn useful skills. What we have now is a beast. It is a state-sanctioned monopoly using an outdated one-size-fits-all factory model. Let the market solve it for the optimal solution, matching parent and student ambitions with educational services. —“Bob Clark”

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


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POLITICS: Hiding state Capitol renovation costs under the dome. HOMELESSNESS: Eastside campers and Hales’ meandering policies. HOTSEAT: U.S. Reps. Earl Blumenauer and Peter DeFazio. COVER STORY: The Best New Band for 2015 is…

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NEXT: GOOD HUMOR TRUCKS SELLING THC ON A STICK. State lawmakers are in the weeds (sorry) over how to fine tune the state’s voter-approved laws on legalized marijuana. One debate seems to be ending: Oregon will have “dry” cities and counties that outlaw any weed sales—recreational or medical. (Already, 146 cities and 26 counties have barred medical sales.) “Don’t think this will keep your citizens from being able to get their medicine,” Sen. Floyd Prozanski (D-Eugene), a longtime supporter of legal weed, warned city and county lobbyists at a May 11 legislative hearing. Prozanski wants to deal with pot deserts by authorizing marijuana delivery services to reach patients in any areas off-limits to dispensaries and retail stores. Leaders of the House-Senate committee on marijuana like the idea. Says co-chairwoman Rep. Ann Lininger (D-Lake Oswego): “It’s like Meals on Wheels for marijuana.” Food Front, the 43-year-old grocery co-op, faces a major challenge at its flagship store at Northwest 23rd Place and Thurman Street. A New Seasons Market is opening five blocks away. The Northwest Examiner reports Food Front has lost money in each of the past six years. This week, employees announced they hope to join United Food and Commercial Workers Local 555. “With hours being cut, we’re all worried about being marginalized,” Food Front employee Parker Lemus said in a statement. “By unionizing, we can build an organization that provides stable jobs, and gives staff an equal voice in making staffing decisions, without fear of repercussions.” Food Front didn’t respond to a request for comment. An Ainsworth Elementary parent is taking Portland Public Schools to court over its troubled system for handling complaints. On May 11, Kim Sordyl asked the Multnomah County Circuit Court to force PPS to follow a new complaint procedure for parents that the district established under orders from the Oregon Department of Education. In March, the ODE told several PPS parents, including Sordyl, that it wouldn’t make PPS adhere to the new rules. “I want someone to hold Portland Public Schools accountable for following the law,” Sordyl says. PPS officials didn’t respond to a request for comment. School board campaigns rarely capture the public imagination, but there’s much at stake in the May 19 election. As WW reported, voters can overturn the Portland Public Schools board majority that has repeatedly supported Superintendent Carole Smith (“Bad Boy,” WW, April 8, 2015). WW on April 29 published its endorsements in contested PPS races and other school board campaigns. Here’s the summary: PPS, Zone 1: Julie Esparza Brown; Zone 2: Paul Anthony; Zone 3: Bobbie Regan. Portland Community College, Zone 3: Courtney Wilton. Multnomah Education Service District, Position 6: Stephen Marc Beaudoin; Position 7: Siobhan Burke. Parkrose School District, Position 3: Dave Carter. There’s a lot more at wweek.com. 6

Willamette Week MAY 13, 2015 wweek.com


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THUNDER DOME THERE ARE ALREADY RUNAWAY COSTS FOR A STATE CAPITOL REMODEL THAT FEW PEOPLE KNOW ABOUT. BY NIGEL JAQUISS

njaquiss@wweek.com

Peter Courtney usually gets what he wants. As president of the Oregon Senate for 12 years, Courtney, 71, has amassed more influence than almost any other legislator in state history. The Democrat from Salem—whose affection for the institution of the Legislature is almost religious—has put that power to work. In his official biography, Courtney cites two major accomplishments: He spearheaded construction of a new Oregon State Hospital, and he convinced lawmakers and voters that the Legislature should meet annually, ending the every-other-year schedule that was as old as statehood. Courtney—a snowy-haired lawyer-turned-professor who recently retired from Western Oregon University—has alternately used charm and bluster to work on his colleagues. That’s on top of the power of the Senate president to grant or withhold political favors. What Courtney wants now is a renovation of the Oregon Capitol, the 77-year-old art deco edifice that’s the seat of the Legislature, home to the governor’s office and scene of much

ANNIE SEO

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of the state’s political history. Courtney argues the state needs to shore up the building against earthquakes and replace aging pipes, wiring and vents. “It is time now to move to the point where we start to rebuild this wonderful old building,” Courtney said before a legislative committee last week. “She is hurting. She is suffering.” This time, Courtney is not resorting to charm or bluster. He’s relying on secrecy. The projected price tag of renovating the state Capitol has soared to $337 million, according to documents obtained by WW. That’s a 34 percent jump in costs since a study encouraged by Courtney was released in 2009. But Courtney has not revealed the dramatically higher costs to his colleagues. When he appeared before a legislative committee May 8 to talk about the renovation plan, he didn’t disclose the project’s new, higher cost. “They didn’t ask me,” Courtney tells WW. Sen. Doug Whitsett, R-Klamath Falls, sits on the budgetwriting Ways and Means Committee—a panel that should be aware of what major projects will cost. But Whitsett says he didn’t learn about Courtney’s plan until a lobbyist slipped him a copy of the project’s budget. “To focus that kind of money on this building makes no sense,” Whitsett says. “We can pass laws in the parking lot if necessary.” Under any circumstances, a $337 million remodel of the Capitol would be a tough sell. Courtney wants to use a big chunk of the state’s debt capacity to fix up the Capitol building. Courtney wants the state to borrow $161 million this year to begin the project. That puts pressure on the state’s bonding capacity and could squeeze out money for seismic upgrades for other public buildings such as courthouses and hospitals. Earthquake vulnerability was the chief selling point for the 2013 Legislature, which in the final days of that session allocated $34.5 million to a design phase of the project. “It is not just about the earthquake,” Courtney testified last week. “It involves much more than that.” The “much more” includes four new hearing rooms and significant upgrades to the plumbing, electrical, and heating and cooling systems.

The plan also includes what Whitsett calls “largesse”: a 4,700-square-foot cafe, a 2,500-square-foot hangout space for lobbyists, and a 3,000-square-foot “legislative lounge.” Whitsett says the project exemplifies skewed priorities. “Three-thousand square feet—that’s a pretty good-sized house,” he adds. Courtney said the project’s price increased after early design work revealed the seismic retrofit would need to be larger than expected. Neither he nor legislative staff, however, can yet say how much of the $337 million price tag is for the retrofit and how much is for remodeling. Whitsett says if lawmakers are going to spend money on seismic retrofits, they should focus on public buildings located in areas of greatest seismic risk, such as the coast or along fault lines in Eastern Oregon. “I cannot fathom how we can prioritize this building over schools,” he says. A 2007 state survey rated the seismic risk at half of Oregon’s 2,109 public school buildings for K-12 as “high” or “very high.” The big ask Courtney wants to make for the Capitol could look disproportionate by comparison. On April 30—perhaps anticipating criticism of the Capitol project—Courtney’s office issued an unusually detailed press release about his interest in finding $200 million for seismic work on schools. In an interview with WW, Courtney called questions about the Capitol renovation budget “an assault” on his work. He says he’s been trying to bring public attention to seismic risks since 1999 and is fully committed to funding upgrades for schools, hospitals, public safety buildings and roads. He notes there can be as many as 1,000 people in the Capitol every day. That number includes visitors, staff, 90 legislators, other elected officials (the governor, treasurer and secretary of state) and more than 400 registered lobbyists. But Courtney says he’s tired of people questioning his motives for upgrading the Capitol. “Some generation of legislators is going to have to fix this building,” he says. “It’s taken me years to get people to take this seriously. I’ve gone through hell to get this issue out there.” Willamette Week MAY 13, 2015 wweek.com

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HOMelessNess Christopher onstott

NEWS

SIDEWALK CAMPERS: Louis Wagner, 57, outside his tent on Southeast Madison Street, recently lost his house after a problem with his VA benefits. He’s not certain about City Hall plans to move Right 2 Dream Too to the eastside. “It helps a little bit,” Wagner says. “But what we need are homes.”

DECAMPED THE MAYOR’S OFFICE CALLS THE EASTSIDE ESPLANADE UNSAFE. WILL HALES’ HOMELESS POLICIES MAKE A DIFFERENCE? By ANTHONy MACUK

amacuk@wweek.com

James Noel has seen a lot of changes in his neighborhood, which consists of a narrow sidewalk against a chain-link fence that runs along Southeast Main Street, with the northbound ramp to Interstate 84 serving as a concrete canopy. Last year, when Noel arrived with his blue tent and its olive tarp, almost no one camped there. Now more than two dozen tents crowd the sidewalk along Main and Southeast Madison Street one block south. As the numbers have grown, so have security concerns. Mayor Charlie Hales’ office calls the area near the southern end of the Vera Katz Eastbank Esplanade unsafe. Noel, 31 and homeless since he was 16, says police have occasionally rousted him and other campers, but now there are too many to handle. “If they had the jail full of everyone here, they’d be in trouble,” he says. Noel and other campers may now get even more neighbors. Mayor Charlie Hales said last week he wants to move Right 2 Dream Too, the Old Town/ Chinatown homeless camp, to the eastside, nine blocks south of the Main and Madison tents. Business owners in the Central Eastside Industrial District—already upset about the increase in homeless campers—have complained about the idea. Several campers tell WW they also aren’t impressed. “It’s a bad idea—too many people in a cage,” says Sheri Hobbs, whose tent is near Noel’s. “If we don’t utilize [Right 2 Dream Too] now, why would we utilize it there?” Since taking office in 2013, Hales has cast about for a cohesive policy on homelessness. He’s tried before and failed to move Right 2 Dream Too. Hales also launched a massive sweep of homeless camps in the summer of 2013 that out8

Willamette Week MAY 13, 2015 wweek.com

raged housing advocates—an approach that City Commissioner Nick Fish called “a poor substitute for a thoughtful and compassionate policy to address homelessness.” The Portland Mercury first reported last week that Hales now wants to see a string of authorized “rest stops” for the homeless, like Right 2 Dream Too, in such areas as the Springwater Corridor. “I’d like to see more rest stops,” Hales tells WW. “We have to bear in mind that Right 2 Dream didn’t work because the city created it. It worked because it was a community-led effort.” Right 2 Dream Too requires visitors to check in each night and doesn’t assign permanent spaces. Hales’ proposed rests stops would follow a similar model—provide resources but not permanent, individual campsites. Supporters say business owners and the homeless should give the new location for Right 2 Dream Too a chance. “Having Right 2 Dream in their neighborhood can be an asset, versus the idea that it can create more unrest on the street,” says Israel Bayer, executive director of Street Roots, which covers issues affecting the homeless community. The mayor’s office acknowledges that the central eastside homeless camp is a growing problem. “Right now, people are avoiding those areas because they are unsafe and scary,” says Josh Alpert, Hales’ director of strategic initiatives, adding, “The hope is that Right 2 Dream will bring a little more order to what is a fairly chaotic situation.” The plan hinges in part on whether Noel and other campers along Main and Madison will give Right 2 Dream Too a shot. Not many say they will. “It’s a joke,” says Dyno, a camper who lives along Madison. “It was done wrong. They have too many rules. You can spend the night, but it’s not a camp. Part of it is space—you don’t have a space that’s yours.” Local business owners have also expressed doubts about the new camp’s potential to improve the situation. “It doesn’t make sense to allow camping in a place where you can’t build housing,” says James Camaioni, manager of Star Rentals, three blocks north of the proposed Right 2 Dream Too location. “There’s already some illegal campers down living in that area…. They’re just moving the problems around, and we need to come up with a solution, not just legalize the camp.”


Willamette Week MAY 13, 2015 wweek.com

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NEWS

ECONOMY

TWO OREGON CONGRESSMEN— DIVIDED OVER FREE TRADE—DISAGREE ABOUT WHAT A TRANS-PACIFIC DEAL WOULD MEAN. BY NIGEL JAQUISS

njaquiss@wweek.com

President Barack Obama jetted to Portland last week to use the city and the world headquarters of Nike as backdrops in his push for a sweeping new free-trade agreement with 11 Pacific Rim countries. The setting made sense. Oregon—especially Washington County, where Nike’s campus sits—depends heavily on trade. The visit also reminded many critics of the concerns about free-trade deals: concerns about jobs shipped overseas (where Nike, through its contractors, employs 1 million workers) and weakened labor and environmental standards. The pact Obama seeks, the Trans-Pacific Partnership, would likely boost Oregon businesses by lowering tariffs and other barriers to trade. The deal—still under negotiation— would include legal protections for multinational companies operating abroad. Critics say the deal would make it even easier for U.S. employers to send jobs overseas. As WW went to press, the U.S. Senate was debating whether to give Obama authority to “fast track” the deal. That means Congress would have the power only to approve a final deal, but not amend it. The House also needs to approve the authority—and that’s where many Democrats and some Republicans hope to stop it. Proponents say U.S. manufacturers and professional service providers would win new markets without giving much up, because U.S. tariffs are typically lower than those in the Trans-Pacific pact countries. Opponents point to the North American Free Trade Agreement, or NAFTA, which they say sucked hundreds of thousands of jobs out

of the U.S. and into Mexico despite promises of safeguards. They dismiss Obama’s assurances the Trans-Pacific Partnership would have better protections for labor and the environment. Oregon represents the extremes of that divide with two of its Democratic congressmen, Earl Blumenauer and Peter DeFazio. Blumenauer, from Portland, has become an outlier in his party for his free-trade philosophy, which also earned him face and limo time with Obama last week. Blumenauer, 66, is a 10-termer in the U.S. House, known for his bow ties and expertise in transportation issues. He says he’s spoken with hundreds of Oregon companies—and none opposes the Trans-Pacific Partnership. He’s optimistic that Obama and Sen. Ron Wyden (D-Ore.), who has led the Senate fight for the fast-track authority, will “bake” strong protections into legislation to make sure the TPP creates a level playing field for U.S. interests. “Being able to penetrate foreign markets,” Blumenauer says, “will have significant benefits for Oregon.” WW: You say the TPP would help the U.S. How would that happen? Earl Blumenauer: We have some of the lowest tariffs, so people who bring their goods to the United States pay a relatively modest burden. But the guy who is making pipe in Eugene that he wants to sell in Vietnam, it’s a big hit. You’ve said you had concerns about how NAFTA worked out. Why would this agreement be any better? There’s more transparency. The TPP will be available to the public for two months before the president signs it. There will be the strongest provisions for labor and environmental standards. I’ve spent a lot of time dealing with fisheries— one of the greatest environmental threats of our time, overfishing and the collapse of our

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EARL BLUMENAUER AND PETER DEFAZIO fishing stock. The provisions are going to be really pathbreaking in that regard. Do you believe the U.S. has the ability to dictate how other nations manage themselves? I’ve proposed a fund where DEMS DIVIDED: “I respect Peter [DeFazio],” says U.S. Rep. Earl Blumenauer. “But this is one where we would take some of the we’re going to agree to disagree.” money from the cheaters who violate trade provisions and dedicate it to enforcement. Enforcement nies, such as Precision Castparts and of labor standards and worker protections is a ESCO Corp., are supportive of the trade global challenge. We don’t always do so well in deal. Is there any manufacturer that’s the U.S. Look at The New York Times report- come to you and said don’t do this? ing on New York City nail salons. Abuse and I have talked to hundreds of businesses, and corruption is a problem here, too. I can’t think of a manufacturer or an agricultural producer that’s said, “No, we think Critics of this deal say the TPP is just a we will be at a disadvantage.” warmed-over version of NAFTA. That’s just categorically not true. We’re going Are critics just wrong? to find in Oregon that we’ll be able to penetrate People are frustrated because of other trends. markets for agricultural products, for wine, for Look at what is going on in the woods now. If bicycles and a whole host of other items with you gave the Oregon timber industry permissignificant beneficial consequences. sion to cut all of our old growth, we won’t have a fraction of the employment we used to have. Economics professors love free trade, You sit in one of those mills and you see one but critics say it has cost America man- guy or gal with a computer getting everything ufacturing jobs. but a little bit of sawdust out of it. There are other forces at work with the loss of manufacturing jobs. Those jobs are declining around the world, and it’s primarily because of modernization and technology. We have a fraction of the agricultural jobs that we used to have but more output. In Portland, we are a manufacturing powerhouse, and that should continue. The extent to which things were outsourced, chasing cheap labor, that’s gone, that’s done. Why is outsourcing finished? There are many countries where labor is much cheaper than in the U.S. Well, why isn’t everything in Bangladesh now? You’ve mentioned that big local compa-

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T

If you’ve looked at when we’ve really gone into the tank economically, we’ve lost jobs, and industry has been really slow to hire them back. Either they’ve automated or they’ve shifted production to other parts of the country.

here was no limo ride last week for Peter DeFazio. The Democrat from Springfield wasn’t in Portland for Obama’s visit. The president wouldn’t have held any car doors open for him anyway. Had he been in town, DeFazio probably would have been happier on the protest lines outside Obama’s hotel. DeFazio, 67, is serving his 15th term in Congress. His district—covering the Willamette Valley and many rural counties— has been scarred by mill closures and job losses since the 1980s. DeFazio notes that NAFTA, ratified by Congress in 1993, made things worse by giving American employers carte blanche to chase cheap labor in Mexico and around the world. The deal cost Oregon 22,000 manufacturing jobs, according to the group Public Citizen. The TPP, DeFazio says, is just NAFTA on steroids, another historic mistake being ghostwritten by American multinationals, and that it would do far more for Japan, Vietnam and Singapore than it would for the U.S. Supporters say the pact could help build an alternative to China, with its vexing trade policies and currency manipulation. But DeFazio warns that a trade agreement would do little to keep China in check—and instead make the trade imbalance worse while sucking away more American jobs.

What will be the impact of the TPP on the average Oregonian? The average Oregonian will be better off. There will be more access to markets. Some of their core values will be reinforced, and there will be more upside for companies that want to have access to the other 95 percent of the world. There are other considerations as well. I was just in Africa visiting my daughter. What I saw there was the Chinese Development Bank stepping in to provide loans and economic muscle. I’ll guarantee you the Chinese are not concerned about labor rights. They are not concerned about environmental standards.

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

So you’re saying if we don’t pass the TPP, the Chinese win? If China moves in to fill the bill in these other countries, that’s good for Chinese markets and their increasing influence. As a child of the Vietnam War era, I think what we do to try to deal with the troubling consequence of that tragic war is an important consideration. This trade agreement gives us a chance to recalibrate the relationship with Vietnam, a country with almost 100 million people that can serve as a counterweight to China. People need to consider with these massive trade agreements, they work both ways. The world is moving on with agreements. We’re part of them or not. We have to ask whether we’re better served trying to use our values, or sitting on the sidelines.

President Obama at Nike headquarters May 8.

WW: You’re a longtime critic of freetrade agreements. Why is that? Peter DeFazio: The first one when I was in Congress was NAFTA. It had a complete lack of any environmental or labor standards. Bill Clinton ponied up five meaningless side agreements that said, “Hey, we’re taking care of labor and the environment, we’ll put them in later.” I didn’t buy that, but other Democrats did. And of course NAFTA was never renegotiated. I was right, and in fact, it was worse than I thought. Of course, they go running around saying it creates 400,000, 500,000 American jobs, and they’ll be buying American goods. The total buying power of the country of Mexico, if they spent all their pesos on nothing but U.S. goods, would be less than the people of the state of New Jersey. How the hell could that be a boom for U.S. industry? It was always about U.S. capital moving south of the border, where they could dump the toxics out the back door and exploit people for labor. That’s the basis for all these trade agreements.

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NEWS C O U R T E S Y O F R E P. D E FA Z I O

ECONOMY Obama, Wyden and Oregon U.S. Reps. Kurt Schrader and Suzanne Bonamici— they’re all smart people. Why are they full speed ahead on this agreement? This is incredibly important to Nike and Intel. Nike wants to be producing in places like Vietnam, and it would be safer for them to make that investment there with the TPP. You’ve been in Congress for nearly 30 years. Can you put the risk this agreement poses in the context of your tenure in Washington? It’s the worst. There will never be another need to negotiate— it’s an all-encompassing trade agreement.

TRADE SKEPTIC: “Huge multinational corporations and Wall Street drive our trade policy,” U.S. Rep. Peter DeFazio says.

China is not part of the TPP now. Everybody says the U.S.-China rivalry is the context for this deal. What are your concerns? When Obama started this, he said we’re not going to let the Chinese take over. We’re going to challenge them. The Chinese were really upset for the first couple years of the negotiation. Then they saw it: “This isn’t so bad, we can pretend to comply with this.” Now the Chinese have indicated that they’re interested in joining as soon as possible. This will be the end of U.S. manufacturing, substantially. So given everything you’ve said, why would U.S. negotiators work on a deal with all the negatives you describe? Remember, this agreement is being shared online in real time with 500 corporations, and the corporations write much of the language, and then they hand it to the diplomats to negotiate. You’ve ended up allied with people you’re not usually allied with, some of the more conservative members of the Republican Party. Wait, just back up from that. According to news reports, TPP supporters have less than 20 House Democrats lined up. These agreements under Democratic presidents are passed with a large Republican majority and a small minority of Democrats. I’m not exactly alone on my side of the aisle. I have tremendous company.

If we’re going to beat this, we need people on the other side. There are Republicans who are concerned about our ongoing trade deficit and the loss of American jobs. There are people who are concerned about Congress ceding its constitutional authority. And there are some Republicans who just hate Obama. All together, it adds up to some number of Republicans who ally with 90 percent of Democrats. The House can potentially beat this. How would the average Oregonian, who doesn’t think about these things every day, see his or her life affected? What we might lose, what sectors of manufacturing, I can’t tell you specifically. It’s easier to predict the national stuff than to predict how it’s going to hit each and every state. If I had gone out publicly in 1994 and said thousands of Oregonians are going to lose jobs through the NAFTA, they would have locked me up in a mental institution. I had enough credibility issues just opposing it: “You’re protectionist.” A year after that, they came up and said, “Hey, you know, you were right.” How does this whole TPP process make you feel, given you were right about NAFTA. You’re seeing history repeat itself with what you say is an even worse agreement. Well, angry and frustrated. And determined to do the best we can to defeat it. We’re in a pretty good spot at the moment.

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JASON QUIGLEY

BEST NEW BAND 2015

Willamette Week’s Best New Band Showcase, featuring DIVERS, THE DOMESTICS and MÁSCARAS, is Friday, May 15, at Mississippi Studios, 3939 N Mississippi Ave. 9 pm. Free. 21+.

10 PORTLAND ARTISTS LOCAL MUSIC EXPERTS THINK YOU MUST HEAR.

I

n Portland, if you build a music venue, the bands will come. And if you pave it over and put up condos? Well, the bands will find a warehouse, basement or Ethiopian restaurant to play in. No matter how much this city changes, music perseveres. This year’s Best New Band poll is proof positive of that. Our expert voting bloc of 200 journalists, promoters, musicians and fans turned in a staggering list of 457 individual artists. At a time when so many local institutions are closing we’ve decreed the era “Barmageddon,” the bands just keep multiplying. Of the 10 you’ll read about here, most have yet to headline the major clubs in town. All of them, however, are born of a particular Pacific Northwest tradition, best summarized as “down for whatever.” They all came up playing anywhere they could— garages, pizza parlors, street corners—whether or not there was a stage, lights, a sound system or even people watching. Our top band is a group of heart-on-sleeve punks who honed themselves into one of Portland’s best live acts playing local living-room eviction parties, VFW halls in Missoula and pinball palaces in Ottawa, and will still take a gig at a downtown taco shop. Another had its best show at a house the size of a walk-in closet. One found its sound from the stage of a creaky dive in Eugene, while another cut its teeth performing for children. And then there are the three rappers—the most we’ve ever had on this list—each of whom has managed to grab attention in a city where hip-hop is practically outlawed. This process, as we often confess, is not perfect. Many genres remain sorely underrepresented. Women, in general, are regrettably lacking this year. But the Best New Band issue is never meant to be the end of the conversation. It’s the ice-breaker. As always, our hope is that, whether or not you’re thrilled by the artists we’re about to introduce you to, you’ll be inspired to get up, go down to the nearest coffee shop or art gallery or burger chain, and discover the great music being made right in your backyard. Now, if you excuse me, I’ve got a show in someone’s backyard to attend. — Matthew Singer, Willamette Week music editor WILL ROCK FOR TACOS: Divers playing Loco Locos Burritos at Portland State University on April 29. 14

Willamette Week May 13, 2015 wweek.com


Jason Quigley

punk position: (From left) Divers’ James Deegan, Harrison Rapp, seth Rapp and Colby Hulsey.

DIVERS I

t’s a breezy night in late April, and Divers are about to take the stage at a basement Mexican joint on the campus of Portland State University—or, rather, the floor adjacent to the stage. With cheap tacos, tiny plastic cups of watery salsa and a sprawling 68-item menu, Loco Locos is not the kind of establishment you’ll find popping up alongside a Little Big Burger and the newest Salt & Straw location anytime soon. Nor is it the type of place where you’d typically expect to find Portland’s Best New Band playing a show. But “typical” is no longer an option in the city’s music scene, not when dedicated music venues closed as often as they did the past year. Divers play like a band on the run, even if all they’re running from is the metaphorical chasm that’s slowly swallowing the scene whole. Regardless of the setting, the careening urgency with which Divers tear through their half-hour set of earnest, shout-along punk anthems lights up the small but sincerely amped gathering of scenesters and students. When frontman Harrison Rapp isn’t thrashing his Telecaster or unleashing an embattled yawp that’s equal parts Springsteen and Westerberg, he shambles stage left to give his Fender amp a good kick or two. The violent equipment-bashing isn’t some cheap put-on to look punk as fuck: He found the thing abandoned along Northeast Ainsworth Street a few years back, and its signal has been spotty ever since. When Rapp charges back to the mic to resume his plaintive wailing, you’d think his landlord would evict him if he failed to raise the hair of everyone within earshot. What’s really at stake is unclear, but one thing is immediately obvious: Divers are at war with apathy.

“You spend a lot of time doing this shit, and you act like it’s no big deal,” Rapp says later from a bench on the patio of Radio Room on Northeast Alberta Street. “But of course it’s a big deal. You spend all your time doing it. We spend all of our money doing this! We pretty much work just to do this.” “It’s stupid to act like you don’t give a fuck when clearly you do,” adds bassist James Deegan. “What are you even doing there? It’s like, ‘Oh, I took a day off work to stand here and look disinterested.’ That’s dumb.” Considering the thrilling, brokenhearted abandon with which they play and the prevailing themes of their debut record, Hello Hello—there’s a narrative thread involving bank robbers on the lam across state lines— describing Divers as “heartland punk” feels appropriate. But aside from the members’ meager finances, lumping Divers in with the rest of the denim-clad Midwestern kids who worship at the throne of fuck-up forefathers the Replacements would be inaccurate. Both Deegan, 29, and Rapp, 35, work the kind of go-nowhere food-service jobs endemic to Portland’s creative class that are close-enough analogs to the blue-collar drudgery the Boss used to romanticize. But Rapp isn’t keen on the homogenous “lovable loser” construct tied to that particular sound. “We love punk rock, but we’re definitely not trying to be fuck-ups,” Rapp says. “The bands we get compared to the most didn’t necessarily have just one sound. What do the Replacements even sound like? What about the Clash? They’re all over the place. You can’t say they

sound like one specific thing after listening to their catalogs.” Further confounding the comparison are the group’s origins. With the exception of Deegan, who’s from across the river in Vancouver, Harrison and his guitarist brother, Seth, as well as drummer Colby Hulsey, all grew up in the suburbs of Las Vegas. The group was thrown together at the last minute by Rapp and Deegan to fill an opening on the bill of a show in Deegan’s basement, a punk house once known as “Fucketts,” so named for its proximity to the North Portland pub Ducketts. Drawn together by their mutual love of the ’90s skate-punk compilations that most teenagers received with their first pair of Vans, the foursome spent the next five years playing anywhere that would have them: skateboard shops, pizza parlors, pinball palaces, “a phony-ass vampire bar in Providence.” The release party for Hello Hello was held at the High Water Mark, a cavernous metal bar located in a drab section of Northeast Martin Luther King Jr. Boulevard—an area that will soon be the hot spot for underground music in Portland by default, as it’s one of the last bastions of cheap rent for dudes like Deegan and Rapp. Having come here more than 15 years ago, Rapp has witnessed the slow wave of gentrification that’s forced important punk venues like Slabtown, Laughing Horse Books and Backspace to close. It’s fitting that Rapp also runs sound at the Know, whose future will probably be up in the air when its lease ends in less than two years. The venerable Alberta Street dive is home for now, but like the members’ actual homes, nothing is guaranteed. “No one is gonna know how rad that place is until it’s gone,” Rapp says. “It’s our CBGB. I mean, look at the neighborhood. They’re out of place.”

1

122 PTS FORMED: 2010 SOUNDS LIKE: Bruce Springsteen and Paul Westerberg took over as the house band at a blue-collar bar somewhere in the Rust Belt—then robbed the bar, ran from the cops and wrote songs while on the lam. “But the Oregon Theatre is still on Division!” Deegan interjects. “If they can hold out, the Know can hold out. It’s a good home base for us, but every new place we play is our favorite place.” If there’s any band that’s built to handle the tectonic shifts in Portland’s musical landscape, though, it’s Divers. You can feel it in the jagged riffs and fist-pumping choruses of Hello Hello, and you’d have to be a corpse not to feel it at whatever strange, off-the-cuff venue you have the chance to see Divers live—though you won’t find them playing Loco Locos again, as it closed just a few days after the band metaphorically blew the roof off the place. “At this point,” Rapp says, “‘weird’ is playing some of the clubs with nice sound systems.” If keeping momentum in spite of the circumstances seems like a challenge, Divers don’t appear ready to give up yet. “Portland is a really easy place to be a band,” Rapp says. “It’s not necessarily easy to be a poor person. It seems like a paradox, but there’s a lot of support for the band and there’s a lot of musicians. I think it’ll stay that way for a while, but you know, rent’s going up. There are reasons why people who just moved here now are already looking at the door. I’ve lived here so long that I can make it work. We do get evicted from houses all the time. There’s a lot of moving and suitcases, but it’s all right. I like it here. “But,” he adds, “we might start blowing up condos soon.” PETE COTTELL. cont. on page 17 Willamette Week May 13, 2015 wweek.com

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BEST NEW BAND JASON QUIGLEY

CONT.

DOMESTICS BLISS: (From left) The Domestics’ Kyle Moderhak, Matt Moore, Michael Finn, Leo London and Brad Norton.

THE DOMESTICS A

month before Michael Finn and Leo London forged their Domestics partnership, another domestic partnership had ended for Finn. He wasn’t handling it well. “I was not taking care of myself,” he says. “I had no ambition.” A bad breakup had left him with an apartment he couldn’t afford, but when his move-out date came, Finn hadn’t so much as emptied the fridge. “I was telling Leo, ‘I don’t know, I’m probably just not going to move. I’m going to test out my squatter’s rights.’” The next morning, as Finn slumped on his porch, London and his girlfriend, Lori, pulled up in a van and, like social workers cleaning out a hoarder, helped extricate him from his apartment. “I just sort of sat there,” Finn says. “I’m pretty sure at some point Lori shaved me.” Finn is in a better place these days, though the backyard could use a good mowing. He lives in the house known as “Minden Manor,” the Northeast Portland bungalow he shares with members of the disco-pop group Minden. Finn and London, along with the three members of the Domestics’ live lineup, practice in the basement. At the time Finn left his lonely apartment, he and London were already collaborators, assisting one another on their respective solo projects. But both cite

London’s act of emotional rescue as the moment that made them bandmates. In the two years since, the Domestics have become a sleeper hit in the Portland music scene, which, for a band that contains no trace of synthesized bliss, psychedelic noodling or punk rage, is somewhat surprising. Instead, the music of the Domestics is built on the bedrock elements of classic American pop: bittersweet melodies, rich arrangements, the o c c a s i o n a l swa g g e r i n g guitar riff. It’s a sound both timeless and not of this particular moment—which is, perhaps, the key to the band’s appeal. As songwriters, neither Finn, 23, nor London, 29, were made for these times. But that’s mostly because of how they were raised. Neither came of age like their peers, with the entire breadth of popular music at their fingertips. Adopted by his grandparents—his birth parents were junkies—London didn’t have Internet access until after graduating from high school. All he had were his father’s old records— “the ones that didn’t get pawned,” at least. At a young age, he immersed himself in the Beatles, Elton John and the Velvet

Underground, and for a while swore off anything recorded after he was born. Finn’s adolescent listening tastes, meanwhile, tended toward contemporary Christian music, the product of growing up in a softly religious household. His cultural awakening happened at Goodwill, when he picked Rage Against the Machine’s Evil Empire and the first Foo Fighters album at random from the $1 bin. “That wasn’t all that substantial, but it showed me there’s a lot of other stuff going on,” Finn says. A more poignant moment of discovery occurred shortly after his maternal grandmother passed away, when he walked in on his mother playing Bob Dylan’s Blonde on Blonde on the record player she’d inherited. “It was clearly this emotional moment,” he says. “And I was totally blown away. I looked at the cover, and I was like, ‘This is the coolest dude.’” In July, the Domestics will issue their self-titled debut through Tender Loving Empire, the label that broke Typhoon and Radiation City. Not surprisingly, given what first brought the band members tog ether, the album is steeped in urban heartache. As organs hum beneath guitars that alternately jangle and g ently weep, Finn and London share tales of disintegrating romance, strewn with cigarettes and broken glass, set in bars and driveways, in Conoco sta-

2

77 PTS FORMED: 2013 SOUNDS LIKE: Two strangers in a bar at closing time, swapping stories of relationships gone bad until their voices conjoin in bittersweet harmony.

tions and on the MAX. The two trade lead vocals—the former high and plaintive, the latter deeper and more beleaguered—but always seem to intertwine right when they need each other most. Though the record is haunted by old loves, the relationship that informs the Domestics the most is the one between its principal members. Finn and London joke about being “the Lennon-McCartney of Portland,” but, faux self-aggrandizement aside, their dynamic is not unlike that of all great songwriting tandems, where the differences uphold the similarities. “I have probably 100 starts to songs no one will ever hear, and I’ll never play for anyone because it’s so frightening,” Finn says. “And I’ll get three emails a week from Leo with new tunes. It’s a balance. It’s cautiousness and recklessness together, and hopefully it turns into something cool.” MATTHEW SINGER. CONT. on page 19 Willamette Week May 13, 2015 wweek.com

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BEST NEW BAND JASON QUIGLEY

CONT.

MASKED MEN: (From left) Máscaras’ Theo Craig, Carlos Segovia and Papi Fimbres.

MASCARAS O

n the patio of the Cement Building, the austere, gray rehearsal complex under the Hawthorne Bridge, the communal pipe is going around, and the talk among the members of Máscaras is getting a little emo. “I had a really bad tour,” says bassist Theo Craig, explaining why he stopped playing music for five years. “I was on tour with my ex-girlfriend, and it just went really poorly. I came home, and I didn’t want anything to do with music.” “Aw, homie,” says Papi Fimbres, the band’s gregarious panda bear of a drummer, packing a fresh bowl with nugs from a small tin box. “I didn’t realize it was so dramatic.” “It wasn’t dramatic,” Craig says. “I just kind of set it aside. I was sad, and I forgot about it.” For Fimbres, that concept must be hard to compute. He currently plays in more than two dozen bands. “Setting music aside” isn’t an option. To be fair, Craig may have hung up his bass, but he didn’t go into hiding. He put his focus into booking, building Rontoms’ weekly Sunday Sessions into the city’s premiere showcase for emerging local music. Two years ago, though, he began to feel the itch again. Jamming with Fimbres, who drums with the same ecstatic force he carries through life, and guitarist Carlos Segovia, Craig got his groove back. “I was like, ‘Why did I quit doing this?’” he says. “‘Why would I stop doing something that brings me so much joy?’” None of them expected the project to go much further than those initial jam sessions. Instrumental psych rock built on furious polyrhythms and riffs resembling Link Wray dabbling in Peruvian chicha doesn’t have a particularly high ceiling for success. But joy is an infectious thing. What comes through most in the music of Máscaras, cacophonous as it can be, is that feeling Craig experienced when he first picked up his instrument again—the rush of getting in a room with some good homies, and just letting it rip.

71.5 PTS FORMED: 2013 SOUNDS LIKE: The house band for the end of the world playing the last basement party on Earth.

It’s a feeling that permeates the band’s live shows, especially. Though the trio doesn’t improvise much onstage, Fimbres’ free-form flailing and inside-joking banter can make it seem like you’re huddled in their practice space with them, watching as a song gets bashed into existence. It’s a quality that’s allowed Máscaras to win over a house of hardcore metalheads (“we were called ‘funky’ that night,” Fimbres recalls) and persuade another to strip to its underwear (“I think I broke the ice on that one,” he adds). It’s also probably why you’re reading about them here. “We were all pretty surprised that people liked what we were doing,” says Craig, who says he never intended the group to be heard outside the walls of the Cement Building. But now, it might be going overseas. In September, Fimbres is leaving Portland for a yearlong sabbatical in Germany. His hope is “to have all 30 of my bands come play Europe with me.” Even if Máscaras don’t make it over, at least they’re leaving something behind: a full-length album. Not just some dashed-off home recording, either, but an actual studio album, which two real labels, Party Damage and Resurrection Records, asked to put out. (They’ll co-release the record in June.) Says Craig, “It’s that next level of ‘I can’t believe people are this into it.’” MATTHEW SINGER.

3

CONT. on page 20 Willamette Week May 13, 2015 wweek.com

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TO D D WA L B E R G

CONT. ANNA LARINA

BEST NEW BAND

SAMA DAMS

TALKATIVE

W

M

hen interviewing the 49 PTS members of Sama Dams, FORMED: 2011 answers typically come SOUNDS LIKE: in the form of an inside joke. In Stumbling into a dark industrial the course of an hour, sitting in the warehouse and hearing a warped Southeast Portland home of singerjazz album playing somewhere in guitarist Sam Adams (not the former the shadows. mayor) and his wife, keyboardist Lisa Adams, everything from Midwest gas-station chains to the struggle of gift-wrapping footballs becomes fodder for conversation. “We’re avid Yelpers on the road,” says drummer Chris Hermsen. “Sam has this alias where he basically writes very wholesome and detailed and kind comments.” Such targets for optimism include Buffalo Wild Wings, which Sam Adams praised online for its “unique ambiance”—even if, privately, the group vows to never step foot inside one again. That lighthearted joking belies a band whose music is streaked with darkness. Sama Dams’ sophomore album, last year’s Comfort in Doubt, is fraught with a sense of impending doom, built through wicked shreds of distortion, frenetic rhythms and the Adams’ eerily intertwined vocals. It was the first album the trio, which formed in 2011 after Sam and Lisa moved to Portland from Michigan and met Hermsen, started and finished together. In comparison to 2013’s No Vengeance, the production was rushed. Comfort in Doubt was recorded in three days under a tight, selfimposed deadline, with the band members writing much of the material by playing what they call “the 20-song game,” in which they gave themselves 12 hours to write 20 songs. It was challenging exercise, but it helped the band venture into new territory it would have otherwise talked itself out of exploring. Album opener “My Ears Are Ringing,” for instance, is a sparse song that steps away from the group’s fuzzy, experimental sound and welcomes more soul influence, backed by a scattered, stuttering beat, shaky keys and Sam’s bellowing croon. He admits to being hesitant to put the song on the album. “I was like, ‘We’re not going to do up some pastiche of the genre that is not part of our sound,’” he says. “All it takes is doing that one time, and then it’s part of your sound, I guess. Now it’s really nice. We’ll have at least six polkas in running for the next album.” That’s probably another joke. But Sama Dams is already looking ahead to the next album, which it hopes to spend a little more time on. “Bands have their own rhythms,” Lisa Adams says. “Some take a lot longer to release things, and I think for us, we really love the momentum and energy behind having new material.” KAITIE TODD.

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Willamette Week May 13, 2015 wweek.com

ost people who’ve been to 49 PTS Eugene know Sam Bond’s Garage. The small, rustic FORMED: 201O bar’s rickety old stage has played host to SOUNDS LIKE: an impressive cast of characters over the Martians hosting a psych-rock festival years. It was from that stage that art-rock act Talkative discovered its identity— inside a funhouse. literally overnight. Back in 2010, frontman Cody Berger and bandmate Cason Taft were students at the University of Oregon, playing bizarro experimental music at their friends’ house parties. “We would do things like run an AM radio through an effects pedal for an entire show,” Berger recalls, laughing. He and Taft were booked to play with a bunch of punk bands at Sam Bond’s, and decided to try writing an entire set’s worth of appropriate songs just hours before the show. In that moment, the sound of Talkative was born. Berger refers to it as “space punk”—a kaleidoscope of cosmic droning, mathematical buildups, percussive instrumentation and Animal Collective-like bounciness colliding in a great psychedelic ballet. It’s a sound the band refined on last year’s Hot Fruit Barbeque. Officially Talkative’s fourth release, the record is fun, inventive and detailed. “We like to get wild in the studio,” Berger says. “There was a lot of impromptu overdubbing and shit going on while we recorded Barbeque.” With Chad Davis and Chad Heile filling out the lineup, though, the band is now more equipped to step away from some of the pedals and dials it relied on as a duo and impart some trusty rock ’n’ roll—or, at least, its interpretation. Opening track “Mongoose” is a perfect example, a raucous punk number thrust into orbit via Berger’s blown-out vocals, yet grounded by a neat bassline. Berger graduated from college in 2011, Taft two years later. The band is all in Portland now, practicing often, with Berger splitting his time arranging songs and working at the Firkin Tavern. The space-punk realm seems to be Talkative’s sweet spot, but Berger is not ruling out another reinvention. “I’d like to write better pop songs,” he says, “but I don’t have the voice of Michael Jackson.” MARK STOCK.

4/5


BEST NEW BAND

TIM SLEW

ROBIN EISENBACH

CONT.

MYKE BOGAN

VINNIE DEWAYNE

M

V

yke Bogan’s parents just don’t 45 PTS understand. FORMED: Started “I feel like my mom keeps putperforming in 2012. ting me on this time limit,” he says “What a SOUNDS LIKE: lot of people don’t understand is you can do Going one toke over the line and well in music and not be a superstar. I think challenging your subconscious fears my mom is waiting to see me on MTV.” to a rap battle—and losing. If only Mrs. Bogan could’ve seen him last summer at PDX Pop Now. The 28-yearold rapper was the highlight of the weekend, delivering a set with more energy than anyone who claims to “smoke like a freight train” should be capable of. She might not have approved of the joint he sparked in celebration, though. Only a few years after daring to spit his first rhymes in public, Bogan is doing pretty well for himself. He has more than 14,000 followers on social media. He’s put out three mixtapes in as many years, plus an EP. He can go on tour and people actuBogan at PDX Pop Now, 2014. ally come out, and rap every word of his odes to weed, women and beer back at him. But he’s got problems, too, and an impatient mother is only the beginning. Sift through the skunky haze that enshrouds his music like Pigpen’s dust cloud, and you’ll find a Tumblr’s worth of late-20s angst hiding in his chilled beats and confident delivery. “People have to understand, I’ve got two kids, and I don’t get along with my babies’ mom,” he says. “Me and my parents don’t always get along. Music is my diary, it’s my journal, so sometimes it comes out.” Bogan grew up in Lancaster, Calif., but kept his artistic ambitions to himself until attending the University of South Dakota—the last place anyone might expect a rap career to take root. “There was nothing else to do but drink beer, work out and freestyle,” he says. Hip-hop became an outlet for his feelings of loneliness and self-doubt, but the catharsis is hard won: It often sounds like Bogan, who moved to Portland after graduation, would be content just making music for his friends to get blunted to, but his conscience is constantly ripping the mic out of his hands, forcing him to confront his anxiety over raising a family and the pressure to prove himself in the rap game. Live, though, Bogan’s only concern is pure release. His philosophy is simple: Win the crowd first, worry about the consequences later. “I tell people all the time, ‘I want to get kicked out of every venue in Portland,’” he says. “If that means everyone had a good time, so be it.” MATTHEW SINGER.

innie Dewayne is feeling good. 45 PTS Driving home from his new job FORMED: Started teaching at-risk youth at Open performing in 2009. Meadow, an advocacy-based North PortSOUNDS LIKE: land education program, the 24-year-old Kendrick Lamar’s cousin who really rapper talks with pride about the 10 stugot into The Warm Up-era J. Cole but dents he worked with that day. wanted more atmospheric beats. “I had them write a verse today that had to use four metaphors and four similes,” he says. “I feel like when I heard their stories, I could hear the hunger. I could hear where they were coming from. It was a reminder to me: What’s most important is my community.” It’s a community he’s relied on often throughout his life. Most recently, when the St. Johns native returned to Portland after graduating from Chicago’s Columbia College with a degree in business management, he was sleeping on friends’ couches—another new graduate trying to find a job in a quickly transforming Portland. Dewayne, whose pursuit of a college degree earned him the nickname “the St. Johns Scholar,” raps with a casual ease on the mic in a voice reminiscent of a younger Kendrick Lamar, the well-rehearsed product of 10 years of experience in the recording booth. But it’s not just his tone and an excellent taste in R&B-inflected beats that have attracted collaborations with a who’s-who of Portland hip-hop over the past few of those years. It’s the words themselves. “I clocked into the studio with Chris Barnett/’Cause last night I had some shit up on my chest,” he raps on his Rites of Passage EP, the prelude to his upcoming album, Saint Johns Scholar, scheduled for release in early summer. “I was on the phone with my mama, she stressed/The doctor says she’s worried too much/She ain’t paid rent.” His willingness to share real-life experiences with such stark candor has made Dewayne one of the best young rappers in Portland. But he’s no longer content to communicate his experiences alone. “All that I am trying to bring to the music is honesty,” he says, “and hopefully help share the kids’ stories that I work with.” PARKER HALL.

6/ 7

CONT. on page 23

Willamette Week May 13, 2015 wweek.com

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EYELIDS C

8

WHO’S GOT NEXT? 12. New Move ... 30 13. Mimicking Birds ... 26.5

m a r t i n Va n l o n d e n

PSYCHOMAGIC RASHEED JAMAL

hris Slusarenko has lost his train 34.5 PTS FORMED: 2013. of thought. SOUNDS LIKE: “I had a really good Pacific Northwest indie point,” says Eyelids’ singer-guitarist, “and it just rock steeped in Southern flew out my skull because California psychedelia, of my age.” with all of the vibes and Co-frontman John none of the lethargy. Moen steps in: “Weren’t you going to say that we both do boatloads of acid?” “More like boatloads of antacid,” Slusarenko replies. That might not have been his actual point, but that exchange says a lot of what you need to know about Eyelids. First, the members of the band—which also includes guitarist Jonathan Drews, bassist Jim Talstra and drummer Paulie Pulvirenti—are indeed older than the others on this list. Each musician has a paper trail of ticket stubs, liner notes and posters attesting to past engagements with names like Stephen Malkmus, Guided by Voices, Peter Buck, Elliott Smith, and the Decemberists. It is also true that Eyelids is partial to psychedelics, at least of the musical variety. Specifically, Slusarenko and Moen are partial to the Paisley Underground scene, which resurrected the sound of the ’60s in 1980s Los Angeles. “Those bands were psychedelic, but they weren’t psychedelic with a capital P,” Slusarenko says. “They wrote pretty songs that rocked. That’s what we want to do.” So far, Eyelids have written plenty. In a short time, the band has amassed a tower of vinyl: two 7-inch singles, a Record Store Day release, a full-length album and a new self-titled EP. That might seem like a frantic pace for a band that’s only 2 years old, but in the case of Eyelids, much has been levied for a long time. Slusarenko and Moen first met in Portland in their late teens, playing with nearly everyone except for each other. The idea was always to collaborate at some point, but both were busy with behemoth bands—Moen as the drummer for the Decemberists (a post he still holds), Slusarenko as a bassist for Guided by Voices. It took them until their mid-40s finally to make good on that promise. But if you ask them, the “boatloads of antacid” years are the best years. “It’s just fun to still be inspired,” Slusarenko says. TED JAMISON.

11. Hustle and Drone ... 32 pts.

BEST NEW BAND

co u rt e sy p syc h o m ag i c

john clark

cont.

N

ormally, when you ask a band, 33 PTS FORMED: 2013. “How did you SOUNDS LIKE: get together?” the answer A broken kaleidoscope is g oing to be pretty st r a i g h t f o r w a r d . B u t designed to give flower nothing about the psychchildren bad trips. rock quintet Psychomagic is straightforward. Bass player Scott Page says he stumbled across keyboardist Eddie Bond on an amateur webcam site. Bond says he met the band “in a basement” and “fell in love with Scott’s eyes.” Guitarist Stone Tang is the most forthcoming: “I was pissed off at my bandmates, and they were pissed of at some of theirs, and I said, as a joke: ‘Fuck this. This sucks. I should play guitar for you guys.’ And then a month later I was in the band.” In truth, Psychomagic began when singer-guitarist S t e v e n Fu s c o a n d d r u m m e r Anthony Brisson started writing songs together in 2013. However journalistically inhibiting the group’s sense of humor may be, that lighthearted humor is integral to the band. Fusco’s performance history, in fact, includes a public-access cable TV comedy show, and his first songs were written specifically for kids. “I think it was more of a defense mechanism, too,” Fusco says, “because no one can tell you, like, your children’s songs suck, you know what I mean? Because then they’re a dickhead.” Though Fusco is now comfortable enough to write songs for adults, Psychomagic has held onto its sense of absurdity. With nostalgic ’60s keyboards, surf-flecked guitars and Fusco’s shape-shifting voice, the band’s new album, Bad Ideas, showcases a parade of slightly disturbed characters: a lovesick Transylvanian on the “Monster Mash”-style title track; a spaced-out cult member on “Flowers on the Sun”; a brutally honest rock-’n’-roller on “Your Lover.” Comedic deflection is still clearly part of what makes Psychomagic tick. But Fusco says they’re not worried about the self-conscious silliness coming off as insincere. “I’m not concerned at all about it, at least live,” Fusco says. “Whatever you can conjure up and express, that’s what comes out, and people are going to gravitate towards that energy or that expression. And the people that do gravitate towards it, that’s fucking awesome.” SHANNON GORMLEY.

R

asheed Jamal is a rising figure 33 PTS FORMED: in Portland Started hip-hop, but he says he’ll performing in 2011 . never feel fully at home in the Northwest. SOUNDS LIKE: “I can’t use my regular A series of Southernvoice here,” he says. “I fried subreddits set to moved here and realized stark, minimalist beats. people weren’t paying attention to me because I wasn’t talking fast enough. I had to learn how to keep up.” Jamal is quick to clarify that he doesn’t really feel at home in his native Hot Springs, Ark., either. He left there for an open-ended visit to family in Portland at 21, shortly after his father died. Struggles with depression persisted, but Jamal adapted to his new surroundings the same way he adapted his speech. “You could be from fucking Togo, West Africa, or you could be from Scotland—I’ll find a way to communicate with you,” he says. “That’s supposed to be our principal thing as human beings, right?” One of the first people he communicated with was esoteric local MC Cloudy October—a fellow Southerner with shut-in tendencies of his own—who made Jamal his de facto hype man. Appearing with Cloudy October helped rid Jamal of his considerable anxiety around live performance, and taught him a number of tricks that he’d later share with the members of the FRSH TRB artists collective he founded in 2011. “I told them, ‘We don’t have to be holding hands and singing ‘Kumbaya’ or anything, but you share me with your fans and I share you with my fans, and then we’ll all have more fans,’” Jamal says. Upon releasing his recent full-length, Sankofa—an urgent hybrid of personal and political themes with dark beats that are both club-ready and sharply critical of club-rap mentality—it seemed to appear everywhere, on local Facebook pages and Twitter feeds, due in large part to the collective mentality of FRSH TRB’s members. That collective is just one way Jamal has built a home—for now—in Portland. “I told myself I wasn’t going home without something to show for it,” he says. “I don’t have it yet, but I’m close. My hair is long, I’m 25 pounds heavier, I’m making a different type of music. Portland has been a great chrysalis to develop within.” CASEY JARMAN.

9/ 10

2015’S BEST NEW BAND FINALISTS, NOS. 11-20

14. Orquestra Pacifico Tropical ... 24.5 15/16. Houndstooth ... 24

15/16. Rio Grands ... 24

19/20. The Delines ... 22

17/18. Liz Vice ... 23

19/20. The Shivas ... 22

17/18. Rap Class ... 23 Willamette Week May 13, 2015 wweek.com

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Willamette Week MAY 13, 2015 wweek.com


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FOOD: Pyro Pizza’s new sandwich cart. MUSIC: Critic Jessica Hopper on sexism, emo and R. Kelly. THEATER: A star-spangled phallus. WEED: THC-spiked purple drank.

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LIGHTS OUT TONIGHT: Portland’s “graffiti mecca,” the burnt-out shell of Taylor Electric Supply Company at 240 SE Clay St., started demolition May 11. After the 1936 building burned down in 2006, graffiti artists turned its concrete shell into a street-art landmark and favored cause of groups like Portland Street Art Alliance. “It’s an institution for street artists,” said the anonymous founder of street-art blog Invoice PDX. But local muralist Ashley Montague says street artists can always find a new spot. “It’s kind of like saying 82nd Avenue is getting built up with high rises,” he says, “and so the prostitutes have to go somewhere else.” The site is slated to become a 65,000-square-foot office space built by the same developers behind the new apartments taking over Southeast Belmont Street’s “goat blocks.” Workers on the site told WW they plan to preserve the most historic sections of graffiti, and use them in the new structure. WHO’S THE BOSSA?: In our May 6 review of Panic Room Caution: High Volume Bar, recently rebranded by Spike TV’s Bar Rescue, we reported that the program would be coming for Bossanova Ballroom next. Well, it looks like that’s no longer the case. “I saw in your article what happened to Tonic,” says Bossanova’s booker, “and they kind of pissed me off after that.” And so audiences at the May 21 Quiet Riot concert will find Bossanova much as it was during this year’s Bridgetown Comedy Festival. Bar Rescue also offered to “save” punk dive B-Side Tavern, as well as legendary old-time haunt My Father’s Place. Both heartily declined. “We laughed and laughed,” wrote a B-Side bartender on social media. Meanwhile, the old Six Point Inn on North Columbia Way in St. Johns is now the Over Easy Bar and Breakfast, courtesy of the good people at Bar Rescue.

WHAT’S IN A NAME?: The owner of “Besaw’s” will be decided in court, it appears. Amid conflicting trademark claims on the restaurant’s name, both Besaw’s owner Cana Flug and landowner C.E. BESAW’S John realty have each filed lawsuits against the other asserting sole ownership of the name, seeking damages and attorney fees, and demanding exclusive rights to open a restaurant called Besaw’s. Flug filed her suit May 1. C.E. John filed its countersuit May 8. The restaurant as it currently stands will close May 29.

26

Willamette Week MAY 13, 2015 wweek.com

C O U R T E S Y B E S AW ’ S

FUTURE DRINKING: The South Waterfront is getting a beer garden. Scout, which provides beer at both Belmont’s Good Food Here cart pod and Tidbit Food Farm and Garden on Division Street, plans to open a third food-cart beer garden at 3201 SW Moody Ave., and co-owner Joe St. Martin says other food carts are also planned for the location. The anticipated opening date is July 1.


HEADOUT

SEE IT: The final episode of Mad Men airs at 10 pm Sunday, May 17, on AMC. Local showings at EastBurn, Hollywood Theatre and Mission Theater. Free. WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

MADDERMEN

THURSDAY MAY 14 I L L U S T R AT I O N S B Y A L L I S O N K E R E K

AMC NEEDS TO KEEP MAD MEN ALIVE. WHY NOT A PORTLAND-BASED REBOOT?

After seven critically acclaimed seasons, Mad Men is meandering its way to a close this Sunday. There is little to say about this show that hasn’t already been said. It’s an engaging look not only at the “creative revolution,” but also at the turbulent 1960s. It inspired a wave of 20-somethings to adopt the suits, ties and sweater dresses of their grandparents’ era. It introduced me to the Gibson cocktail. We at Willamette Week are already beginning to feel nostalgic for this show. In Greek, “nostalgia” literally means “the ache from an old wound.” An ache for where we long to go again. And so we would like to lobby for a new series of the show, Portland’s own Mad Men, a thinly disguised version of Wieden+Kennedy working out of an office in the Pearl. Here’s the outline of our pitch to AMC. And, AMC, don’t just trash this—no one watches your network otherwise. You need this more than we do. JOHN LOCANTHI.

ROGER STERLING At the office every day, but semiretired. Roger routinely ventures out from his family’s Laurelhurst home to Belmont bars in order to feel young again. Waxed his mustache before it was cool.

PETE CAMPBELL

Not only one of the brighter minds at the firm, Peggy is also one of the few to have embraced Portland culture. Well, except she’s still trying to move out of the shithole behind Costco that her deadbeat exboyfriend who freelanced for Willamette Week talked her into.

A man about town who’s never quite fit in town, Pete can be found eating banh mi at Lardo—where they put the pickled vegetables “right on the sandwich!”—and playing squash with clients at the MAC. He rides the Blue Line out to Beaverton every other weekend to visit his daughter at his ex-wife’s house on Cooper Mountain.

JOAN HARRIS Married to John Kitzhaber.

HARRY CRANE Still resents Joan for getting a partnership for landing the Nike account.

Don moodily sips an Old Fashioned at the end of the bar at the Pope House. He undoes the top button of his dress shirt, takes a long drag on his e-cig and continues scribbling down ideas on cocktail napkins. Perhaps, he thinks to himself, a trip to Cinema 21 will help clear out the cobwebs.

Comfortably living in the Francis family mansion in the West Hills while contemplating going to Lewis & Clark to get her master’s. She speaks Italian, and still smokes.

HENRY FRANCIS

Catlin Gabel by day, sneaking off to Reed to hang out with more bohemian friends by night, Sally is still not sure what she wants out of life. Except that she doesn’t want to be either of her parents.

STAN RIZZO No one at Sterling CooperPortland is more excited for the legalization of marijuana than Stan.

FRIDAY MAY 15

SATURDAY MAY 16 BETTY FRANCIS

SALLY DRAPER

UFO FESTIVAL [ALIEN ENCOUNTERS] Only at McMenamins’ 16th annual cosmic celebration will you get a parade of kids dressed in tinsel, talks by UFO abductee Travis Walton and concerts from Kirby Swatosh & the Moon Rocket Patrol. They’re releasing a special Alienator IPA to fuel this mission. The abduction lasts through Sunday; full schedule and tickets at ufofest.com. McMenamins Hotel Oregon, 310 NE Evans St., McMinnville. 7 pm. Passes $70.

BEST NEW BAND SHOWCASE [STUMPTOWN ROCKS] Not only do you get Portland’s best punk band, you get its best new-classic rockers and its best instrumental trio, too. Oh, and you get a CD, featuring all 10 Best New Band finalists, at the door. It goes without saying, but get there early. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Free. 21+

DON DRAPER

PEGGY OLSON

HUMP! [PORN FESTIVAL] Portland’s DIY porn festival is rolling out a Dan Savage-curated “greatest hits” collection for its 10-year anniversary. The 18 top films include Beethoven’s Stiff, in which a schlong conducts a French horn-blowing vagina. Cinema 21, 616 NW 21st Ave., 223-4515. 8 and 10 pm. $20. 18+.

A frustrated Henry spends entirely too much time on the estate these days after his time as the director of communication for the governor came to an all-too-abrupt end a few months ago.

JOHANNA WARREN [SUPERNATURAL FOLK] Who holds a record-release show at a yoga studio? The same enchanting folkstress who writes mystical, enigmatic songs about the natural world, human nature, death and, on much of her spellbinding new album, Numun, the moon. Makes sense, really. Sun Gate Studio, 2215 NE Alberta St., 830-7977. 8 pm. $10-$25 sliding scale. All ages.

SUNDAY MAY 17 JESSICA HOPPER [BOOK READING] She’s exposed sexism in the emo scene and the sex crimes of R. Kelly. Now, Hopper— one of the best music journalists in the nation—is releasing The First Collection of Criticism by a Living Female Rock Critic, a collection of her stellar work spanning the last 20 years. Beacon Sound, 3636 N Mississippi Ave., wearebeaconsound. com. 6 pm. Free. All ages.

MONDAY MAY 18 BEETLEJUICE [FILM REVIVAL] Back in the day, Tim Burton didn’t just dip a bunch of fairy tales in Hot Topic sauce and call them “visionary.” Burton was a visionary, and to this day, Beetlejuice remains a damn-near flawless macabre comedy. The only thing that could make it better? It’s playing for free. Clinton Street Theater, 2522 SE Clinton St., 238-5588. 7 and 9 pm. Free. Willamette Week MAY 13, 2015 wweek.com

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FOOD & DRINK = WW Pick.

Monday–Saturday 4–6pm & 8pm–close

EAT MOBILE W W S TA F F

Happy Hour

Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.

THURSDAY, MAY 14 Brunch Saturday & Sunday

I

La Calaca Comelona

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

WE SELL DRINKS

OPEN TILL 2:30AM DAILY libertyglassbar.com

Adam Richman at Burnside Brewing

Former competitive eater and Man Finds Food host Adam Richman will be in town promoting his book and eating Burnside’s offmenu “Ridiculous Burger” stacked with lobster claw, apricot-ginger chutney, mango slaw, pork belly, plantains, Scotch bonnet, and other stuff. $50 nets a book, beer, burger, and your first coronary surgery. Burnside Brewing, 701 E Burnside St., 946-8151. Noon-2 pm.

FRIDAY, MAY 15

Shandong

A Swedish Evening With Anna Brones

Fuck teatime. Sweden needs sterner stuff: the coffee break. Anna Brones,

www.shandongportland.com author of Fika: The Art of the

Shandong www.shandongportland.com

Swedish Coffee Break, will serve up Nordic coffee and kanelbullar (Swedish cinnamon rolls), which Brones will also teach patrons how to make. Meanwhile, beer-spirit aficionado Jacob Grier will make a Dill Collins cocktail with aquavit. This will be capped with a light dinner of Swedish potato dumplings from Broder. Broder Nord, 2240 N Interstate Ave., 282-5555. 6-8:30 pm. $35-$50.

Xylem Wines Tasting

On National Bike to Work Day— which is to say every damn day, in this town—the Portland bike superhighway’s wine shop is hosting a tasting of rare, small-batch wines from little-seen Xylem. In fact, this will be the first Xylem tasting in Portland, presumably because the wine shops were sifting slowly down the alphabet. WineUp on Williams, 3037 N Williams Ave., 236-3377.

Where to eat this week. 1. The Portland Mercado

Experience Lebanese cuisine at its best Call us for your event party & catering needs! Belly dancing Friday and Saturday evenings

223 SW STARK STREET PORTLAND, OR 503-274-0010 ALAMIRPORTLAND.COM 28

Willamette Week MAY 13, 2015 wweek.com

7238 SE Foster Road, portlandmercado.com. Eight Latin food carts from Argentinian to Colombian to Salvadoran to multiple versions of Mexican, plus a bar to eat them in. Heaven. $.

2. Noraneko

1430 SE Water Ave., 238-6356, noranekoramen.com. You want the mushroom ramen with two-way chasyu and egg at Biwa’s new ramen-ya spinoff on an industrial corner by the train tracks. $.

3. Smokehouse Tavern

1401 SE Morrison St., Suite 117, 971-279-4850, smokehouse21.com. The new Smokehouse Tavern contends with Podnah’s Pit, with impressive brisket, great drinks and sides, and the best ribs in town. $$.

4. Ya Hala

8005 SE Stark St., 256-4484, yahalarestaurant.com. At Ya Hala’s new Lebanese weekend brunch, you can get both lamb bacon and sausage, not to mention a beautiful vegan houmous balila— but still, the most consistent offerings are baked goods and drinks, including a yogurt vodka blend. $$.

5. Bing Mi

Southwest 9th Avenue and Alder Street, bingmiportland.com. Jian bing is the quintessential Chinese street food, but until now it could not be found in Portland. They’re crepes folded around a cracker, not to mention a riot of ferment and sweet heat. $.

SMOKED STACK: One Wicked brisket sandwich.

WICKED WICHES Pyro Pizza didn’t mean to expand, but since it happened, why not keep going? Owner John Eads has been serving up perfect bubblecrusted pies at Cartopia on Southeast Hawthorne Boulevard since 2009, using a brick oven he forged himself, housemade mozzarella, and spicy pepperoni from Otto’s Sausage Kitchen. When it looked like Cartopia was going to get shoved aside for another shiny new box of apartments, Eads secured a spot in the new Tidbit pod on Division Street and put up his catering rig. And when a second spot became available, he opened a bun-based spinoff, Pyro’s Wicked Wiches. Those Wicked Wiches aren’t quite the game-changer his pies have proven to be—it’s hard to do sandwiches like Shut Up and Eat and Lardo did in their cart days—but they’re tasty. There are five options, each $10 except the brisket ($12). There’s a turkey melt, a triple-cheeser (brie, Swiss, cheddar) and a smoked-pork Cuban, the unofficial sandwich of the People’s Republics of Order this: The ABC melt ($10), a housemade soda ($2) and a cookie ($2). both Cuba and Portland. We went for the more decadent-sounding options: barbecue brisket and a bacon-andavocado melt. Neither is especially decadent for those of us who survived the era of the Schnitzelwich and Broad Street Bomber. But that smoked Nueske’s bacon does come in cardboard-thick slabs, grilled and chopped into salty pork pieces that play well off the cooling avocado. The toasted sesame bun offers a satisfying crunch as you lift and compress. The brisket is coated in a tangy tomato-based sauce and comes on the same sesame bun, ours with a tall pile of salad greens. The meat is sliced thick and laid into an overlapping double stack. Housemade chips and soup are available on the side—go for the soup. And add a cookie, too. Along with really tasty housemade sodas—spring for the refill when you swipe to pay, because you’ll want it—Eads is baking plump and buttery chocolate-chip cookies ($2 each). If another space opens up, who knows, maybe there will be a whole cart dedicated to them. MARTIN CIZMAR. EAT: Pyro’s Wicked Wiches, Southeast 28th Place and Division Street (Tidbit pod), 706-6344, pyropizzacart.com. Noon-2 pm, 5-8 pm Tuesday-Saturday.

DRANK

2014 WHITÉ (JACKALOPE WINE CELLARS) Cabernet franc is a workhorse of a grape. The gnarlybranched red fruit flourishes in cold, gravelly soil and is mostly used to give heft to red blends. But Jackalope Wine Cellars’ new wine is an albino version, a rare 100 percent cab franc they call “white.” Or, as the bottle says, “whité.” Winemaker Corey Schuster meant to make a rosé at the Southeast Wine Collective facility he rents. For his label’s third vintage, he foot-stomped the grapes sourced from Applegate Valley’s Quady North vineyards and put the pressed liquid in steel tanks to age. He expected a soft-pink wine to come out. Instead, he got a white wine and “this sludgy mush of color and yeast” that dropped to the bottom of the tank. What we get is a demure, drinkable drop with more weight than a pinot grigio, more sting than a rosé and enough red to give it a dishwater hue. “It’s like a salad, but a steak salad,” Schuster says. It’s easily polished off by 6 pm on your rooftop patio. ENID SPITZ.


FOOD & DRINK cHriSTinE Dong

REVIEW

Apron-sTrApping lAds: Holdfast chefs Will preisch (left) and Joel stocks.

HOLD ME POP-UPS ARE A HASSLE FOR CUSTOMERS. HOLDFAST IS WORTH IT. By M a rt i n C i z M a r

mcizmar@wweek.com

In a perfect world, Holdfast is pretty much perfect. Just before dusk, you arrive at a semi-industrial street, where the neighboring car dealership recently took down its barbed wire. Inside a sparsely decorated cocoon that could double as a sound stage but for the L-shaped bar and a few barrels of aging pinot, you find two eager young chefs wearing gentlemanly leather-strapped aprons. They know your name and show you to your seat. They bring an aperitif and paint the scene of their drive out to the foggy coast to grab the fresh geoduck clams you’re about to eat. There are no servers or even dishwashers—two guys do it all. No need to fret the order; three wellcoursed hours later, you emerge sated, smarter and perhaps with a couple of new friends. But, of course, the world is not always so perfect. Say you bought that $95 ticket a few weeks in advance, and you’re still chasing off a bug. Maybe your date isn’t feeling up for a marathon meal on a Sunday night. And maybe you’re allergic to shellfish. In that case, you might end up sitting alone in a dark room with a leaky nose, finishing your second drink on an empty stomach, surrounded by happy chatter and eyes made. The inevitability of those situations has always dimmed my enthusiasm for Portland pop-ups. We’re not talking about a chef from a Michelinstarred restaurant who rents out a roach coach to surprise office drones with foie gras tacos. Rather, we’re talking about a chef-friendly restaurant that operates in the same cheap, no-frills space for months or years and employs a strict reservation system. It’s exactly what so many chefs want and yet are afraid to ask for. But in a city with sympathetic eaters and a rah-rah food press, it’s proven sustainable. And in the case of Holdfast’s 228th dinner, I’m glad of that. Chefs Will Preisch and Joel Stocks—the guys in the custom-made aprons—are local journeymen. They previously worked together at Bent Brick during its ill-fated fling with molecular

gastronomy. When that bistro’s owner tossed the pressure-cooked hazelnuts in early 2012, Portland Monthly and The Oregonian both filed obituaries for Preisch’s career and local modernist cooking. And yet, with a minor rebrand and fresh-harvested local seafood, they’ve managed to make the same ideas “Zeitgeisty.” The menu changes weekly, and there’s a short speech to accompany every course, but there are a few things you should look out for. The first is the wine pairings, chosen by a different person each week—in this case a local wine distributor. It was the only thing I found lacking. The first two courses came with a 2011 Brooks Ara riesling, whose huge green-apple and grassy notes overpowered delicate fennel puree, celery and baby fennel fronds. It’s a prestige bottle—the 2006 vintage was served at a White House state dinner—but wasn’t well-matched to the food. A caramel-heavy 1999 Spanish white Rioja was too much for subtle halibut, and a 2014 J.K. Carriere white pinot noir called “Glass” was more cute than interesting with dessert. But every plate had at least one revelation. A salad of anchovy, peas and pea leaves got a wonderful punch-up from bits of rich, dehydrated olives. It was a perfect setup pitch for the seafood course that followed: innovative, fresh and salty. And, my God, that halibut—so plump and delicate it ate like a marshmallow, floating like a cloud on a pretty pink rhubarb butter sauce. That prepared us for a soup with broth made from jamón ibérico bones from Ataula. And then, a beautiful beef culotte with a gobsmacking bone-marrow bread pudding atop a few pungent ramps. Ramp season is fleeting, and by the time you read this they’ll probably be gone. But here’s some good news: The very best thing on the Holdfast menu was the only thing that comes back for every meal. That’s a cornbread madeleine that looks like Easter candy and gets a wonderful salty-sweet jabuppercut from local honeycomb and a little Parmesan cheese. It’s followed by two more desserts, then candies, then excellent coffee from Heart. If you’re anything like me, you walk out a little dazed, having been sucked into the little world that these two guys created. Once you’re inside, it is sort of perfect. EAT: Holdfast Dining at Fausse Piste Winery, 537 SE Ash St., Suite 102. Dinner 7 pm Thursday-Sunday. Tickets at holdfastdining.com.

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NamasteIndianCuisine.com Willamette Week MAY 13, 2015 wweek.com

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MUSIC

may 13–19 HOTSEAT

= WW Pick. Highly recommended.

D AV I D S A M P S O N

Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.

WEDNESDAY, MAY 13

THURSDAY, MAY 14

Sepultura, Destruction

Truckfighters, Sons of Huns

[THRASH GODS] Pobre Sepultura. The band has been whittled down to just one member from the early days, guitarist Andreas Kisser, and no interviewer can seem to avoid pressing the idea of an almost inevitable reunion with the Cavalera brothers (who, incidentally, were just in town earlier this month). But while the Cavaleras are cranking out more aggro post-numetal schlock for the moshing bro crowd, Sepultura continues to forge onward with arty albums like 2009’s A-lex—a disc all about A Clockwork Orange—and the band’s 13th and latest disc, The Mediator Between Head and Hands Must Be the Heart. Still, the best reason to catch this show is Germany’s lords of thrash, Destruction. NATHAN CARSON. Bossanova Ballroom, 722 E Burnside St., 206-7630. 6:15 pm. $28 advance, $35 day of show. All ages.

And And And, Kyle Craft, Animal Eyes

[PUNK ’N’ ROLL] Hot off one of the better Portland releases of the year, The Failure, 2011 Best New Band winner And And And remains a force to be reckoned with. By some miracle, the local quintet stitches together punk, rock ’n’ roll, alt-country and surf, leaving a few broken strings and beer bottles in its wake. Singer Nathan Baumgartner leads with his loud and brushy vocals while drummer-abouttown Bim Ditson keeps time on the trap kit. Overall, it’s as wonderfully raw and inviting a take on guttural and sincere pop rock as we know it. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $5 advance, $8 day of show. 21+.

[TAG] Truckfighters’ most popular track on Spotify is a song called “Desert Cruiser,” which is almost too perfect a name for a scuzzy, woolly post-Sabbath banger that conjures images of dudes with mustaches and baseball tees doing doughnuts in the Mojave in a souped-up Club Wagon. The hook is that these dudes are actually from Sweden, but besides being blonder and possessing more inherent Viking cred than the likes of the Sword or Red Fang, the bored-out low end and bone-dry drums (with plenty of cowbell, natch) of 2014’s Universe stacks up well alongside more approachable classics from luminaries like Fu Manchu or Kyuss. PETE COTTELL. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $10. 21+.

CRITICAL MASS

The Ghost Ease, Máscaras, Tiny Knives

[POST-POST] Maybe this is Kim Deal’s ideal. Or the result of treacherous hours poring over album liner notes while listening to a batch of ’90s gonowhere acts. But those tiny-labeled troupes, too wild even for the decade’s post-Nirvana feeding frenzy, seem to have begotten Portland three-piece the Ghost Ease. Since last year’s selftitled cassette, the band’s gone and become a tauter ensemble, as well as a bit more wild, for its new Quit Yer Job EP. It’s hard to ignore the contrast between cooed choruses and bouncy guitar lines, but just as easy to get lost in the band’s endlessly shifting musical moods. DAVE CANTOR. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 8 pm. $5. 21+.

WRITER JESSICA HOPPER ON THE SEXISM OF EMO AND THE SEX CRIMES OF R. KELLY. By JaSON WOODB U Ry

TOP FIVE FIVE PAST BEST NEW BAND FINALISTS RE-EMERGING IN 2015 1. Copy (No. 1, 2006) coPy The keytar-wielding, video-game-herocome-to-life is releasing his first album in five years this week (see review, page 37). 2. Valet (No. 3, 2008) In June, Honey Owens’ ethereal pop project is also putting out its first album in seven years. 3. The We Shared Milk (No. 5, 2013) The psych-pop group broke up only last September, but it’s coming back—for one night only!—to celebrate its second Live at the Banana Stand album on June 27 at Mississippi Studios. 4. Nurses (No. 2/3, 2009) Speaking of dormant psychedelic pop bands, Nurses, whose last record came out in 2011, is playing shows again, recently opening for Unknown Mortal Orchestra and teasing new material. 5. Point Juncture, WA (No. 4, 2005) Per the folk troupe’s Facebook page, it “basically finished” a new album in January, though no release date has been announced yet. MATTHEW SINGER. SEE IT: Willamette Week’s Best New Band 2015 Showcase, featuring Divers, the Domestics and Mascaras, is at Mississippi Studios, 3939 N Mississippi Ave., on Friday, May 15. 9 pm. Free. 21+.

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Jessica Hopper is only kind of joking when she refers to her new collection of essays, The First Collection of Criticism by a Living Female Rock Critic, as a “bible.” The physical similarities are undeniable. There’s striking gold gilding on its pages, a design decision intended to make the book look “fucking immaculate.” Beyond the look of the thing, there’s Hopper’s authoritative voice, which finds her taking on sexism in emo, profiling artists such as Kendrick Lamar, St. Vincent and Chief Keef, surveying the rise of Miley Cyrus and Taylor Swift and, in her widely read conversation with fellow critic Jim DeRogatis, detailing allegations of underage sexual abuse by R&B singer R. Kelly. Now the senior editor at Pitchfork, Hopper’s work is informed by her years working in publicity and freelancing, but remains fueled by the romance with music she fell into as a teenager. “Once I found punk rock,” she says, “there was zero going back.” WW: I’m just now reading your essay about emo and sexism, “Emo: Where the Girls Aren’t,” from 2003. I wish I had read it then, when I was listening to those bands. Jessica Hopper: I’m very fortunate that became a linchpin piece. Meredith Graves from Perfect Pussy interviewed me the other day, and she said, “I read that piece 10 years ago,” when she was going to Taking Back Sunday shows. She read it while it was making the rounds on LiveJournal or some teenage Internet zone, and she said, “That changed everything for me.” I was like, “Oh, well that’s good,” if all it did was help get Meredith Graves in a post-emo direction [laughs]. If you would have asked me if I was listening to sexist music at that time, I never would have thought I was. That was part of the Catch-22 of emo in particular.

It was wrapped up in this idea that it was more liberated. We thought it was valuable in showing something that was freed of being macho, perhaps apolitical. But it was hard to get that entire heavy subtext there, even when you’re immersed in it. I remember reading your interview with Jim DeRogatis about the allegations against R. Kelly and thinking, “How did I not know this?” There’s that part in the interview where Jim details all of the many ways there was a conscious conspiracy to cover it up. And there was our own fear, as rock critics—who, more than any other journalists, didn’t go to journalism school. So, how the fuck do we grasp this? How do we report it? All of these things conspired on top of conscious, collective racism and unconscious racism, and how society doesn’t value the lives of young black women. All of those things put all of us on the hook for R. Kelly’s success. That’s what made that piece a reckoning for people. It was a reckoning for me, and Jim put it on my fucking plate, because he knew I wasn’t somebody who could turn away from that shit. No one wanted to hear about it from Jim, so he literally made it my problem. If I never wrote another piece again, so long as that one was still out there, I could live with that. Everything I could ever hope to have my writing do in the world it did in the span of two days and 4 million hits on The Village Voice website. Your approach is so intensive—it really attacks that whole “it’s just music” idea. It certainly hasn’t been for me. Yeah, sure there are a trajillion consumers out there who maybe listen to the kind of music they play in spas or hair salons or on the radio, but who’s like, “Music’s stupid, I don’t like it?” We’re so nostalgic about music and what it means to us. It’s more influential to culture than almost anything. It helps us orient ourselves in the world, gives us a sense of identity when we’re young. I mean, who in the world hasn’t been stuck on some God-awful pop song that comes on the radio when you’re in the middle of a breakup, and suddenly you’re weeping and you’re suddenly like, “Yes, ‘Against All Odds’!” The people who are saying, “It’s just music,” are people who are scared to live. Or they’re assholes. I don’t know which. SEE IT: jessica Hopper is at Beacon Sound, 3636 N Mississippi Ave., on Sunday, May 17. 6 pm. Free. All ages. Read the extended Q&A at wweek.com. Willamette Week MAY 13, 2015 wweek.com

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saturday–tuesday

SATURDAY, MAY 16 Tony Furtado, Annalisa Tornfelt

[SInGER-SonGWRItER] tony Furtado has developed a deserved rep by recording for nationally recognized roots-music outlets, but with his latest collection, The Bell, he inaugurates his own new label, charmingly christened YousayFurtado Records. His newfound self-determination coincides with continued deepening of his ever more evocative songwriting, tackling weighty topics like his son’s birth and father’s death. Having developed his songwriting chops largely on guitar on recent albums, he returns his banjo-playing to the foreground here, newly exploring the lower-toned cellobanjo. As with many artists who’ve freed themselves from contractual fetters, though, Furtado’s new lack of an editor results in things getting perhaps a bit too expansive. not content with a 13-track, nearly hourlong album, he’s also issued a companion EP, Copper and Tin, featuring traditional tunes. Well-executed as they may be, the world isn’t exactly clamoring for new versions of “Pretty Peggy-o” and “Amazing Grace.” Furtado may feel obliged to his trad-folk-loving followers, but these days, his original material is strong enough to stand alone. JEFF RoSEnBERG. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 8 pm. $15 advance, $18 day of show. Under 21 permitted with legal guardian.

Swahili, Smoke Rings, Force Publique

[FLoAtInG FUnK] When they first emerged a few years ago, the members of Swahili were psychedelic sound-painters whose work implied rhythm more often than actually providing any. With second album Amovrevx, the band has found its groove—in a crate of dusty ’70s dance records, apparently. Drawing on spacey funk, throbbing Giorgio Moroder synths and slinky dub production, the group has fashioned itself into a cosmic cousin of local mutant-disco army Ancient Heat. the band sometimes loses itself in its own soundcloud, but then again, getting lost might be the whole point. Just close your eyes, and keep moving. MAttHEW SInGER. Bunk Bar, 1028 SE Water Ave., 328-2865. 9:30 pm. $5. 21+.

MONDAY, MAY 18 Vaadat Charigim, Psychomagic

[SHoEGAZE REVIVAL] to say the Israeli shoegazers in Vaadat charigim wear their dream-pop influences on their sleeves would be an understatement. In fact, until you hear Yuval Haring’s Hebrew lyrics, you’ll swear that you’re listening to some recently unearthed Ride outtakes . But that’s no knock on Vaadat charigim, as the advance single “Hashiamum Shokea,” from forthcoming second album Sinking As a Stone, is perhaps one of the best and most authentic slices of dream pop since Slowdive’s Souvlaki. the three-piece has garnered well-deserved acclaim for its intense live shows, and is certainly one of the most exciting bands to emerge from a region of the world not exactly known for rock music. cASEY HARDMEYER. Bunk Bar, 1028 SE Water Ave., 894-9708. 9:30 pm. $10. 21+.

Elvis Perkins, Alec Salcido, Peter Oren

[Lo-FI FoLK] For his third LP, Elvis Perkins did away with his steady studio band and producers that helped make his earlier records and returned to the bare-bones techniques of his youth. Making lo-fi sound big is an aesthetic any northwest indie-rock superfan will already know well, since we’ve been listening to Phil Elverum do Phil Spector since the mid-’90s. Perkins’ warm and warbling croon is half Syd Barrett, half Matt Hales of Aqualung, and fits perfectly among the uncluttered weirdness of this latest collection. cRIS LAnKEnAU. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $15-$50. 21+.

The Wombats, Life in Film, Cheerleader

[PoSt-PoP] A thumpingly dimwitted (in the clever-clever British manner) band aimed squarely at the indie-disco crowd—2007 single “Let’s Dance to Joy Division” remains its mission statement—the Wombats were loathed by critics, ignored on this side of the pond and universally considered a dismal bet for career longevity. newly released third album Glitterbug tries to split the difference between acting one’s age and soldiering onward, darkening lyrical threads while doubling down on their trademark daffy ebullience. But the production gloss caked onto their increasingly synthfueled anthems feels more like the desperate overreaction of an incipient midlife crisis. “Let’s bicker to Passion Pit” isn’t nearly so thrilling an invitation. JAY HoRton. Wonder Ballroom, 128 NE Russell St., 2848686. 8:30 pm. $14 advance, $16 day of show. All ages.

TUESDAY, MAY 19 Rhiannon Giddens, Bhi Bhiman

[IntERPREtIVE PASt] In stringband revivalists the carolina chocolate Drops, Rhiannon Giddens invigorates the songs of 19th century American South with modern soul. on her t Bone Burnett-produced solo debut, Tomorrow Is My Turn, she updates her songbook by 100 years or so, delivering rootsy interpretations of nina Simone, Dolly Parton and Patsy cline. taking on artists of that caliber all in one place is a bold statement, but Giddens pulls it off with power and grace. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $29.50 advance, $32 day of show. Under 21 permitted with legal guardian.

cont. on page 35

PREVIEW S H AW n B R A c K B I L L

MUSIC

The Rezillos, Kid Congo Powers and the Pink Monkey Birds, Chemicals

[PUnK] Can’t Stand the Rezillos isn’t just one of the exemplary punk records of the late ’70s, it’s one of the best records of all time. I don’t care how empowered the clash’s debut made you feel in high school or how influential Talking Heads: 77 was to modern rock music. the Rezillos embraced the part of punk that deems acting like an idiot an effective form of rebellion. If you ever wanted to attend a futuristic sock hop on Mars and dance to theatrical dual vocalists and crunchy, light-speed guitars, this is as close as you’re going to get. cRIS LAnKEnAU. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $15. 21+.

SUNDAY, MAY 17 Timber Timbre, Xiu Xiu

[noRtHERn GotHIc] canadian psych-folk outfit timber timbre quietly released one of 2014’s most beguiling records, a wonderfully cryptic and eerily gothic fever dream appropriately titled Hot Dreams. the ontario, canada, foursome, led by baritone vocalist taylor Kirk, whips up a sound that’s at once deceptively familiar and disquietingly alien, and often hair-raising. While its sparse sound may not totally translate to a live setting, it’s a safe bet you won’t see anyone else quite like this band for a long while. cASEY HARDMEYER. Wonder Ballroom, 128 NE Russell St., 2848686. 8:30 pm. $16-$17. All ages.

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Torres, Aero Flynn [STORIES FROM THE CITY] Mackenzie Scott doesn’t take things lightly. The singer-songwriter, who records under the name Torres, has written one of the most intense, unflinching albums of the year, a vast departure from her roots in sparse, ghostly folk music. Sophomore record Sprinter is her first foray into the type of ugly, distorted guitar rock that PJ Harvey made in the ’90s, and it’s phenomenal—nine songs drenched in distortion, self-loathing and catharsis. The name-drop here is intentional: Torres co-produced Sprinter with Harvey’s longtime sideman Rob Ellis, with additional contributions from occasional Harvey bassist Ian Oliver and Portishead’s Adrian Utley on guitar. Sprinter veers from the anxious slow-build of “Son, You Are No Island” to the acoustic closer “The Exchange,” a nearly eight-minute song bound to make a few people tear up when she plays it live. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside, 231-9663. 9 pm Friday, May 15. $12. 21+.


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Beyond the Print

NEWS | ARTS & CULTURE FOOD & DRINK | EVENTS | MUSIC MOVIES | CONTESTS | GIVEAWAYS Want to advertise? Email advertising@wweek.com for details. Willamette Week MAY 13, 2015 wweek.com

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TUESDAY/CLASSICAL, ETC.

MUSIC

Grieves, Grayskul, Goldini Bagwell, Saint Warhead

True Widow, Muscle and Marrow

Of Monsters and Men

CLASSICAL, JAZZ & WORLD

[HIP-POP] Insofar as hip-hop ennobles keeping things real, uncomplicated sincerity has somewhat a spottier track record within a genre so dependent on lyrical invention. Seattle rapper Grieves has built his burgeoning audience on all-too-sincere rhymescapes, and fourth album Winter & the Wolves unfurls another collection of supra-direct musings through a pleasant flow buffeted along the sort of melodic backdrops that inevitably force Macklemore comparisons, however misguided. There is, after all, a world of difference between the thrift shop and Goodwill bins. JAY HORTON. Hawthorne Theatre, 1507 SE César E. Chávez Blvd., 2337100. 8 pm. $13 advance, $15 day of show. All ages.

[INDIE ARMY] Singing about the animal kingdom and the metaphorical birds and bees can feel a bit precious. And while Icelandic darlings Of Monsters and Men are guilty of just that, they’ve grown up over the past few years. Still all about the steady, anthemic, evermarching build, OMAM has evolved into a sharper, smarter, slightly more daring arena-indie-rock machine. Forthcoming sophomore record Beneath the Skin suggests the group has already carved out a slick and triumphant sound that is incredibly popular and rather uniquely its own. And who are we kidding? Anything sung in a Nordic accent is better. MARK STOCK. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm TuesdayWednesday, May 19-20. Sold out. Through May 20. All ages.

Sloths, Maeth, Humours

[SLINTCORE] Beneath all the sludge, Sloths’ sound contains more than enough agitation for the thinking listener. In the metalcore genre, where label affiliation often dictates a group’s sound profile, this Portland band spreads itself across a multitude of imprints (its latest EP straddles the catalogs of the Ghost Is Clear and Illuminasty records). Since forming in 2011, the group has lit up the Portland hardcore blogosphere with heavy breakdowns, throaty vocals and guitar eccentricities often leaning toward Slint. TED JAMISON. The Know, 2026 NE Alberta St., 4738729. 8 pm. Call venue for ticket information. 21+.

[SLUDGE LITE] True Widow’s trudging, atmospheric update of stoner rock is easy enough to process, but placing the group in any box is made all the more difficult by the company it keeps. The band has toured in support of its 2013 record Circumambulation —an excellent effort that’s too groovy to be shoegaze and too damn pretty to be metal—alongside disparate acts like Boris and Surfer Blood, which is certain to keep the elitists at a safe distance from its lilting, singular sound. True Widow holds the door wide open for inquisitive indie kids, though, which may be exactly what the scene needs right now. PETE COTTELL. White Owl Social Club, 1305 SE 8th Ave., 236-9672. 9 pm. Free. 21+.

Avishai Cohen Trio

[TRUMPET, BASS AND DRUMS] Let’s be honest: Bearded, tattooed trumpeter Avishai Cohen looks more like a Portland lumbersexual than a world-class horn player. But the outrageously talented avantgarde musician, best known for spraying complex, coded melodies over spinning, rhythmic motifs, was actually raised in the Israeli jazz equivalent to the Marsalis family, alongside famed siblings Anat (clarinet) and Yuval (sax). Cohen’s bass-and-drums trio arrives in Portland supporting his latest release, Dark Nights, a hauntingly naked effort which purposefully eschews piano or guitar to fill in the harmonic gaps. PARKER HALL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 7:30 pm Wednesday, May 13. $18 general admission, $22 reserved. Under 21 permitted until 9:30 pm.

JSO Hall of Fame Induction Concert

[YOUNG SAX STAR] Being inducted into a hall of fame typically marks the twilight of a long and distinguished career. Not so for young tenor player Devin Phillips, the New Orleans transplant and 2015 Jazz Society of Oregon inductee, whose career is still simmering white-hot in the center. Phillips, who performs two sets with his quartet tonight, has the uncanny ability to light up a room, whether teaching a student to play a scale or transforming tra-

CONT. on page 37

DRANK SPECIAL

SLURICANE HURRICANE (E-40) There is an alternate universe in which Master P is the first to develop Sluricane. Pairing a tasty, bottled version of New Orleans’ greatest alcoholic concoction with his considerable business acumen, the No Limit empire rolls on. Mystikal won the beef with Weezy. Silkk the Shocker is mentioned in the same breath as Biggie and Pac. The Converse MP is highly sought by sneakerheads, and the Pen & Pixel show is about to open at MoMA. Alas, it took Oakland’s E-40 to bring Sluricane to the world. This rummed-up and premixed concoction tastes like Hawaiian Punch with a splash of Malibu coconut rum. But at 18 percent ABV, it hits like a Prohibition-era cocktail. And it comes in a wine bottle for roughly $20. I love this drink, but I’ll let another reviewer take it from here: “BE CAREFUL WITH THYS ONE THO DIS BE LIKE ROCKET FUEL. TOO MUCH AND YULL FIND YOSELF AT THE SIDESHOW GIGGIN WIT THE GHOST OF MAC DRE.” Rest in peace, Dre. Yo, P, you really should have thought of this instead of trying to make the Raptors roster. Recommended. MARTIN CIZMAR. SEE IT: E-40 plays Roseland Theater, 8 NW 6th Ave., with Stevie Stone and Cool Nutz, on Wednesday, May 13. 8 pm. $25. All ages.

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MUSIC BEth BEhlEr

PROFILE

JOHANNA WARREN SATURDAY, MAY 16 Spirituality is as subjective as music taste. It can be accessed and expressed in countless ways. For songwriter Johanna Warren, orchestrator of brainy, atmospheric folk, it’s about submitting to something much bigger than herself. Like, say, the moon. It’s a mindset borne of an incredibly difficult year. In 2012, Warren lost a friend and former bandmate to cancer. Shortly thereafter, she nearly lost her own life in a car accident. “On paper it was probably the worst thing that ever happened to me,” she says, “but in actuality it saved my life.” Citing the crash as a source for a psychic transformation, Warren says it was “an initiation to a world in which I was kind of in contact with the other side.” The proceeding year was “all about trying to integrate a lot of new info that was coming my way,” Warren says. The universe had shaken up her course, but it wasn’t just unseen forces at play, she says: “Part of that realization was that, up to that point, I was kind of an asshole.” Later in 2013, through a musician pal, she landed a gig singing in Iron and Wine’s 13-piece touring band. Apart from falling in love with Portland during a weeklong rehearsal there, Warren wrote her own material between stops, the bulk of which would become her forthcoming sophomore record, Numun (“new moon”). Numun touts a Darwinian sense of wonder. Warren’s poetic lyrics tread elegantly through matters of the natural world, human nature, death and letting go. There is a sense of awakening throughout, as one might expect after surviving a run-in with mortality. Warren captures the serenity of feeling relatively insignificant with a wide, awestruck lens. She refers to the record as “the constant return from dark to light and back again.” Musically, Warren touches on two very different brands of folk: the fantastical early Midlake realm and the poetic, beatnik side embodied by Joni Mitchell. Utilizing a small grab bag of instruments—acoustic guitar, flute, light percussion, found sounds—Warren takes a rustic approach, but with her obscure song structures and offbeat, otherworldly lyrics, the result feels supernatural. Perhaps it’s no wonder that Warren’s live shows can seem like seances. “Art-making has always been a spiritual practice for me, even when I wasn’t acknowledging it as such,” she says. “It’s connecting to something much greater than you—the collective unconsciousness or whatever you want to call it.” Walking that tightrope between the spiritual and natural worlds takes balance, agility and, in some cases, an interpreter. Musician and engineer Bella Blasko offered Warren all three. The duo, who met while living in Hudson, N.Y., several years ago, have worked together on both of Warren’s records. Warren, accustomed to being a passenger during previous recording scenarios, found herself in true collaboration with Blasko. Like an audiophile’s spirit guide, Blasko is able to put into speakers what Warren seems, at times, to be pulling from a different universe altogether. “Working with her has been all about cultivating this space, a lot like planning a birth,” Warren says of her creative partner. “We’re making this very sacred, comfortable space in which to deliver a song.” MARK STOCK.

Finding new life under the pale moon.

SEE IT: Johanna Warren plays Sun Gate Studio, 2215 NE Alberta St., on Saturday, May 16. 8:30 pm. $10-$25 sliding scale. All ages. 36

Willamette Week MAY 13, 2015 wweek.com


CLASSICAL, ETC. ditional standards into exceptionally powerful sonic sculptures. He is a welcome new addition to Oregon’s jazz elite. PARKER HALL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm Thursday, May 14. $12 general admission, $15 reserved seating. 21+.

XX Digitus Piano Duo

[FOUR HANDS, 88 KEYS] A pair of New England Conservatory alumnae who grew up in different parts of Latin America, pianists Momoko Muramatsu and Maria Garcia turned in an electrifying performance at a recent Cascadia Composers concert. The Portland duo’s attractive debut concertfeatures the world premiere of Ken Selden’s Dialogues, plus more piano four-hand music by Ravel (his charming 1908 Mother Goose Suite), Stravinsky, Juan Morel Campos (Puerto Rican Dances) and Darius Milhaud’s exhilarating The Ox on the Roof, a jolly postcard from the 20thcentury French composer’s years in Brazil. Named after a popular tango that’s one of many South American tunes it incorporates, it became the basis of a popular Jean Cocteau ballet and the namesake of a famous Parisian bistro. BRETT CAMPBELL. The Old Church, 1422 SW 11th Ave., 222-2031. 7 pm Thursday, May 14. $8 students, $10 seniors, $15 advance and $20 day of show general admission. All ages.

Beethoven’s Piano Concerto No. 1

[CLASSICAL] It’s hard to imagine anyone more fit to take on Beethoven’s first published piano concerto than British pianist Stephen Hough. With a master’s from Juilliard, a MacArthur Fellowship award and memberships in more prestigious orders than you can shake a baton at, Hough brings his expertise to a three-movement concerto sonata that weds Beethoven’s love for Mozart and Haydn. The night opens with a short, bombastic modern orchestral piece from German composer and clarinetist Jörg Widmann, and concludes with a large orchestral work by Tchaikovsky. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 2 pm Sunday and 8 pm Monday, May 17-18. $22-$99. All ages.

Instant Composers Pool Orchestra

[FREE-JAZZ LEGENDS] One of the living European legacies of the late 1960s’ free-jazz explosion, Amsterdam’s Instant Composers Pool Orchestra has evolved into a multigenerational, multinational nonet, including cello, piano, various reeds and horns, and co-founder Han Bennink’s drums—though cofounding pianist Misha Mengelberg is missing from this tour. After nearly a half-century of far-out explorations, the band’s recent release, East of the Sun, resists consignment to relic status, leavening the usual freejazz squawks, shrieks and squeals with fresh takes on classic swing and splashes of sheer whimsicality. BRETT CAMPBELL. Redeemer Lutheran Church, 5431 NE 20th Ave. 8 pm Sunday, May 17. $12-$20 sliding scale. All ages.

Portland State Chamber Choir

[PRIZE PASSION] Hans Christian Andersen’s poignant tale of childhood poverty, The Little Match Girl, seems again relevant amid 21stcentury America’s rising homelessness and socioeconomic inequality. David Lang, one of today’s leading composers and the co-founder of New York’s groundbreaking Bang on a Can collective, gave his Little Match Girl Passion a suitably stark, bleak, musical setting that won him the 2008 Pulitzer Prize in Music. In the Portland premiere of this major, 21st-century American choral composition, Ethan Sperry leads PSU’s international award-winning student choir. BRETT CAMPBELL. St. Stephen’s Church, 1112 SE 41st Ave. 4 pm Sunday, May 17. $7 students, $12 general admission. All ages.

For more Music listings, visit

MUSIC

ALBUM REVIEWS

COPY CHALICE AGENDA (AUDIO DREGS) [SYNTHETIC POP] Copy entered the Portland music landscape in an era when indie-rock bands and laptop artists seemed to be facing off like two lame gangs from West Side Story. Then here was this dude with a keytar in his hands and chiptune-tinged sounds pouring out of the speakers actually performing. Five years after Marius Libman’s last Copy album, Chalice Agenda picks up pretty much where he left off, which is to say the record sticks to a distinct sonic palette largely EW comprised of glitchy or shimmering synths, with song BEST N ND A L T R PO SIC structures that rely on subtle shifts of melody and MU percussion. Copy’s avant-garde, video-game sound is so recognizable by now that Libman can paint in broad strokes, as he does on “Hard to Care,” and impart as much feeling as he does with the much busier “Multiples.” He can even get nostalgic without losing the plot: “Tell Me Something New” shares a tempo and drum pattern with “Billie Jean,” while “Perish” reminds of Vangelis’ Blade Runner soundtrack crossed with Final Fantasy boss music. They both work. This record might feel more like an austere refinement than a full-on comeback reinvention, but if the chalice ain’t broke, don’t fix it. CASEY JARMAN. SEE IT: Copy plays Mississippi Studios, 3939 N Mississippi Ave., with Phone Call and Natural Magic, on Saturday, May 16. 10:30 pm. $8. 21+.

GUANTANAMO BAYWATCH DARLING…IT’S TOO LATE (SUICIDE SQUEEZE) [GOLDEN OLDIES] On 2012’s Chest Crawl, Guantanamo Baywatch pushed its surf-punk deep into the murk and stayed there, reveling in the pleasures of getting filthy with bygone sounds. It might still be spiritual siblings with such raunchy rock-’n’-roll mutants as the Mummies and the Trashwomen, but the Portland trio has morphed into an upstanding heir to pop nobility of the ’50s and ’60s, and it’s mostly a great thing. Darling…It’s Too Late plays like a jukebox fiend’s $5 run through antiquated favorites, with Dion, the Ventures and the Shangri-Las all brushed free of dust for a Guantanamo spin. The album opens with a few forgettable nostalgia trips, but it soon soars, peaking just shy of the middle with the splendid arpeggiated heartbreak of “Too Late,” which summons the holy power of “Unchained Melody” and carries the band through a thrilling side-two stretch of pop bliss. CHRIS STAMM. SEE IT: Guantanamo Baywatch plays Doug Fir Lounge, 830 E Burnside St., with the Bugs, on Sunday, May 17. 9 pm. $5 advance, $6 day of show. 21+.

MACKINTOSH BRAUN ARCADIA (CHOP SHOP/ISLAND) [PASSION PIT PANDORA] Portland synthpop duo Mackintosh Braun just want you to love them. Playing together since 2006, the pair are well known to television execs— they’ve placed songs on Grey’s Anatomy and Gossip Girl—but still relatively unknown in local circles. Ian Mackintosh and Ben Braun are banking on that changing with Arcadia, the duo’s shiny, transparent new record, which doesn’t sound like it was written by them as much as calculated in a lab by scientists to mimic every other keyboard-heavy band that plays the noon slot at Coachella. The music aims for the rafters but often sounds better in a cubicle. It is overwhelmingly catchy and pleasant, sure, yet also limp and timid. Mackintosh Braun is best when it slows down the pace—soft-focus burner “Another Place” is rather lovely, hitting that sweet spot between saccharine ’80s ballad and quivering chillwave revival. Arcadia could use more tunes of the same ilk, because imitation only gets you so far. MICHAEL MANNHEIMER. SEE IT: Mackintosh Braun plays Doug Fir Lounge, 830 E Burnside St., with MXMS, on Thursday, May 14. 9 pm. $10 advance, $12 day of show. 21+. Willamette Week MAY 13, 2015 wweek.com

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Willamette Week MAY 13, 2015 wweek.com


MUSIC CALENDAR

[MAY 13-19] Panic Room

= 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. For more listings, check out wweek.com.

3100 NE Sandy Blvd. Faster Pussycat & Deathtrap America, Garden of Eden, The Fabulous Miss Wendy

Rotture

315 SE 3rd Ave. Green Jello, Headless Pez, Blackwitch Pudding, Clackamas Baby Killers

LAST WEEK LIVE THOMAS TEAL

The Know

2026 NE Alberta St. Woolen Men, Talkies, Patsy’s Rats

The Muddy Rudder Public House

8105 SE 7th Ave. Jack Dwyer & Friends

The Secret Society

116 NE Russell St. Love Gigantic, Casey Ruff & the Mayors of Ballard, The My Oh Mys, The Sportin’ Lifers

The World Famous Kenton Club

2025 N Kilpatrick R.I.P., Moondrake, Bitch School, Animal Throat

White Eagle Saloon 836 N Russell St. Shannon Tower Band, Little Hexes

Wilf’s Restaurant & Bar

800 NW 6th Ave. Eldon T Jones & NTouch

The Old Church

1422 SW 11th Ave XX Digitus Piano Duo

The Secret Society

116 NE Russell St. The Swingtown Vipers

Valentine’s

232 SW Ankeny St Waver Clamor Bellow

White Eagle Saloon 836 N Russell St. Indianhead

Wonder Ballroom 128 NE Russell St. The English Beat

FRI. MAY 15 Al’s Den

303 SW 12th Ave. Dylan Lee Johnston

Alberta Rose Theatre

SWEATIN’ TO THE MIDI: At Mississippi Studios on May 6, it didn’t take long for Baltimore electronic composer Dan Deacon to kick off the crowd-participation part of his act—an awkwardly ebullient gimmick more cynical critics have dubbed “hipster aerobics.” The crowd parted into halves and made an attempt at synchronizing their kinetic freak-outs, which propelled 75 percent of the crowd into a frenzy. Typically apathetic Portland concertgoers seem poorly equipped to process what’s happening onstage and shake their shit accordingly. If it weren’t for Deacon’s impossibly positive vibes egging everyone on like some strange art-school Richard Simmons—“Rule No. 3: No cowards allowed!”—this may have been yet another shrugfest. So thank God for the stray festival kids, high on God knows what, who were shamelessly stirring the pot with their reckless twirling and gyrating. It’s oddly comforting to know that Deacon, whose potbelly, male pattern baldness and grease-stained, short-sleeve button-downs make him look more like a stoner substitute teacher than a contemporary of Trey or Jerry, has found some love among the patchouli-andpatchwork set. They care not whether the unbridled joy being blasted in their face is digital or analog, man. PETE COTTELL. DEACON See the full review at wweek.com/lastweeklive. WED. MAY 13 Al’s Den

303 SW 12th Ave. Dylan Lee Johnston

Alberta Street Public House

1036 NE Alberta St. Cosmic Rose, Dusu Mali Band

Blue Diamond

2016 NE Sandy Blvd. The Fenix Project

Bossanova Ballroom

722 E Burnside St. Sepultura & Destruction, Arsis, Boris the Blade, The Last Ten Seconds of Life, MICAWBER

Bunk Bar

1028 SE Water Ave. And And And, Kyle Craft, Animal Eyes

Duff’s Garage

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

Edgefield

2126 SW Halsey St. Tanner Cundy

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Quartet, Avishai Cohen Trio

Kelly’s Olympian

426 SW Washington St. Songs, Stories, and a Lil’ Twang

Laurel Thirst Public House

2958 NE Glisan St. King Columbia, Johnny Appleseed, Joy Pearson, Chris Davis (9 pm); Redwood Son (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Ivan & Alyosha

Roseland Theater

8 NW 6th Ave. E-40, Stevie Stoneand Cool Nutz

The Know

2026 NE Alberta St. All Eyes West, Colin Sears & Vic Bondi, Beach Party

The Liquor Store

3341 SE Belmont St. The Cool Whips, Slutty Hearts, The Reverberations

White Eagle Saloon 836 N Russell St. Reverb Brothers

THURS. MAY 14 Alberta Rose Theatre 3000 NE Alberta St. The Pine Hill Project, Richard Shindell and Lucy Kaplansky

Alberta Street Public House 1036 NE Alberta St. Junk Parlor, Chris Carpenter and The Collective

Bunk Bar

1028 SE Water Ave. Truckfighters, Son of Huns

Dante’s

350 W Burnside St Tumbleweed Wanderers, One Bad Son, and Bar Brawl 3

Doug Fir Lounge

830 E Burnside St. Mackintosh Braun, MXMS

Duff’s Garage

2530 NE 82nd Ave Missoula Floods, Tough Love Pyle

Jimmy Mak’s

221 NW 10th Ave. JSO Hall of Fame Induction Concert

Laurel Thirst Public House

2958 NE Glisan St. Colton Elwood, Kory Quinn, Simon Tucker (9:30 pm); Lynn Conover and Lenny Rancher (6 pm)

Mississippi Studios

3939 N Mississippi Ave. The Ghost Ease, Mscaras, Tiny Knives

Newmark Theatre 1111 SW Broadway Philip Glass

3000 NE Alberta St. Karim Nagi

Dante’s

350 West Burnside Alien Fun Machine: Wanderlust Circus Orchestra

SAT. MAY 16 Alberta Rose Theatre

3000 NE Alberta St. Tony Furtado

Alberta Street Public House

1036 NE Alberta St. Tenth Annual Bob Dylan Birthday Tribute Show

Alhambra Theatre

4811 SE Hawthorne Blvd. Through the Roots, Maoli

Arlene Schnitzer Concert Hall

1037 SW Broadway Cherry Poppin’ Daddies

Bunk Bar

1028 SE Water Ave. Swahili, Smoke Rings, Force Publiqu

Dante’s

350 West Burnside The Rezillos, Kid Congo Powers and the Pink Monkey Birds, Chemicals

Doug Fir Lounge

The Know

2026 NE Alberta St. No//Se, Old City, Vicious Pleasures

The Secret Society

116 NE Russell St. Whiskey N’ Rye, The Stubborn Lovers, Flash Flood and the Dikes, Everything’s Jake

1125 SE Madison St Sinatra By Starlight, A Swinging Tribute To Sinatra

1028 SE Water Ave. Vaadat Charigim, Psychomagic

Turn! Turn! Turn!

Dante’s

8 NE Killingsworth St. Magpies, Moon Debris, Wishes

White Eagle Saloon

836 N Russell St. Symmetry/Symmetry, Novosti and Coastlands

Wilf’s Restaurant & Bar

800 NW 6th Ave. Michael Allen Harrison & Juliann Nelson

SUN. MAY 17 Al’s Den

303 SW 12th Ave. Garcia Birthday Band

Alberta Rose Theatre

corner of NE 6th and Main Streets Get Rhythm, A Johnny Cash Tribute

Hawthorne Theatre 1507 SE 39th Ave. Local H, Battleme

Jimmy Mak’s

221 NW 10th Ave. The Curtis Salgado Band

Laurel Thirst Public House

221 NW 10th Ave. The Curtis Salgado Band

2958 NE Glisan St. Jacob Miller & the Bridge City Crooners, Todd Day Wait’s Pigpen

Kells Brewpub

Mississippi Studios

Jimmy Mak’s

210 NW 21st Ave. Sami Live

Laurel Thirst Public House

2958 NE Glisan St. Shoeshine Blue, Folded Forest (9:30 pm); Michael Hurley and the Croakers (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Best New Band Showcase

Panic Room

3100 NE Sandy Blvd. In the Aether

Plews Brews

3939 N Mississippi Ave. Copy, Phone Call, Natural Magic, New American Classics

Panic Room

3100 NE Sandy Blvd. American Roulette & Chase the Shakers, Ape Cave, Battleaxe Massacre, Mr. Plow

Plews Brews

8409 N. Lombard St. Grif Bamaisin, The Electric Brit

Ponderosa Lounge

10350 N Vancouver Way Britnee Kellogg

Blue Diamond

2016 NE Sandy Blvd. Kevin Selfe and the Tornadoes Jam Session 830 E Burnside St. Guantanamo Baywatch, The Bugs, The Courtneys

1503 SE Cesar E Chavez Blvd. Main Attrakionz, Stevo The Weirdo, Grape God

Holocene

1001 SE Morrison St. Arbo & New Social Outcasts, Amber Moon, Superhighway

Jade Lounge

2342 SE Ankeny St. Buddy Jay Kiefer

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

Mississippi Pizza

3552 N Mississippi Ave. The Ed Haynes Show

Music Millenium

3158 E Burnside St The Go Project

Panic Room

3100 NE Sandy Blvd. Gavin Castleton, Brother Grand, Brooke D.

Rontoms

600 E. Burnside St. Sunday Sessions

St. Stephens Catholic Church

8409 N. Lombard St. Garry Mezeire and the No Tomorrow Blues Band

Roseland Theater

1112 S.E. 41st Ave. The Little Match Girl Passion

Star Theater

The Buffalo Gap

The Waypost Coffeehouse & Tavern

8 NW 6th Ave. Will Sparks & Jackal

13 NW 6th Ave. Polyrhythmics, Brownish Black

6835 SW Macadam Ave. Neil Darling Band

The Buffalo Gap

1937 SE 11th Ave. Space Shark, Tribe Mars, The Want Ads

6835 SW Macadam Ave. John Nilsen, Swimfish

The Firkin Tavern

830 E Burnside St. Elvis Perkins, Tove Styrke

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Trio, Athey Creek Middle School Jazz Ensemble

Laurel Thirst Public House

2958 NE Glisan St. Kung Pao Chickens (9 pm); Anita Margarita and the Rattlesnakes (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Diesto, Sioux

Wonder Ballroom

19 SW 2nd Ave. Amber Harlan Granmo Jazz Trio

Hawthorne Theatre Lounge

1001 SE Morrison St. David Torn

Doug Fir Lounge

Berbati

Hawthorne Theatre

Holocene

350 West Burnside Karaoke From Hell

Star Theater

Duff’s Garage

Estacada Community Auditorium at the Junior High

Bunk Bar

3000 NE Alberta St. Laurie Lewis & Kathy Kallick Sing the Songs of Vern & Ray

830 E Burnside St. Torres

1507 SE 39th Ave. Emery, Wolves at the Gate, Forevermore, To Die Elsewhere

MON. MAY 18 Al’s Den

303 SW 12th Ave. Garcia Birthday Band

Doug Fir Lounge

2530 NE 82nd Ave Robbie Laws, Reverb Bros

1015 SW 18th Ave Living In A Holy City, Portland Symphonic Girlchoir Showcase Concert

Tony Starlight’s Showroom

830 E Burnside St. Steelhorse: Bon Jovi Tribute, Jukebox Heroes Foreigner Tribute

Doug Fir Lounge

Zion Lutheran Church

13 NW 6th Ave. The Temperance Movement 128 NE Russell St. The Wombats, Life in Film, Cheerleader

TUES. MAY 19 Aladdin Theater

3017 SE Milwaukie Ave. Rhiannon Giddens, Bhi Giddens

Alberta Street Public House 1036 NE Alberta St. Harold’s IGA, Promise The Moon

Arlene Schnitzer Concert Hall

1037 SW Broadway A Classical Menagerie with Pink Martini

Dante’s

350 W Burnside St G.B.H. with Fang & Hammered Grunts

Hawthorne Theatre

1507 SE 39th Ave. Grieves, Grayskul, Saint Warhead

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet, The Sunset High School Jazz Lab

Laurel Thirst Public House 2958 NE Glisan St. Folkslinger (9 pm); Jackstraw (6 pm)

Roseland Theater

8 NW 6th Ave. Of Monsters and Men

The Know

2026 NE Alberta St. Sloths, Maeth, Humours

White Owl Social Club 1305 SE 8th Ave. True Widow, Muscle and Marrow

3120 N Williams Ave. Muse, Forward Emeging Music Salon #13

Wonder Ballroom

128 NE Russell St. Timber Timbre, Xiu Xiu

The Know

2026 NE Alberta St. Spit Vitriol, Sofistif*cks

CONT. on page 41 Willamette Week MAY 13, 2015 wweek.com

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Beyond the Print

#WWEEK NEVER MISS A BEAT. @WillametteWeek @wweek @WillametteWeek

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Willamette Week MAY 13, 2015 wweek.com


MAY 13–19

MUSIC CALENDAR JENNIFER TREZZA

BAR REVIEW

Where to drink this week. 1. Portland Cider House 3638 SE Hawthorne Blvd., 206-6283, portlandcider.com. Finally, a cider bar in the central city, with 24 rotating taps of almost all-local cider (with a little English thrown in), and six-cider flights for a mere $7. The best recently? A hopped Apple Outlaw, just released to the world.

2. Brooklyn Park Pub

3400 SE Milwaukie Ave., 234-7772. Go for the excellent whiskey, and stay as long as you can without inadvertently insulting someone from Jersey and making it awkward.

3. Stammtisch

401 NE 28th Ave., 206-7983, stammtischpdx.com. Stammtisch, our Bar of the Year, is slavishly dedicated to the German bierkeller experience—German-made beers served in their native glassware, little-known Bavarian schnapps, and the city’s best currywurst.

4. The Liquor Store

3341 SE Belmont St., theliquorstorepdx.com. Everything at the Liquor Store is damn good: solid local taps, a truly excellent gin and housemade tonic, and a weathered casualluxe room that makes you feel like you’ve already been drinking there for years.

5. Holman’s

15 SE 28th Ave., 231-1093, holmanspdx.com. Greasy spoon and bloody mary-infusion center Holman’s has a 70-strong selection of whiskey bottles, and if you drink everything from their topshelf Whiskey Club, you get your name on a brass plaque. There are many brass plaques. One of them reads “R.I.P.”

ROTTURE NORTH: Few things at Killingsworth Dynasty (832 N Killingsworth St., 234-5683, killingsworthdynasty.com) are as they appear. The “chicken burger” contains no chicken—everything here is vegan. The light fixtures, on closer examination, are made of wind chimes or a little crosshatch of PVC pipe. The security guy is there to watch the sidewalk, not the bar, the result of an arcane agreement with the Oregon Liquor Control Commission due to the city’s somewhat disturbing worries about “the neighborhood” on North Killingsworth. And the signless bar, from the outside, does not at all appear to be a bar. But within, the space is both cavernous and comfortable, with cool-kid bangers spinning on the decks, from throwback hip-hop to post-punk to First Saturday queer nights devoted to “house, disco, magic and sharing bathroom stalls.” To the right of the door, it’s a new-Portland affair dressed up in wood slats, with a chamomile whiskey cocktail and an open kitchen turning out plantain chips, arepas and black-eyed pea curry. To the left, it’s an unfinished-concrete dance bunker, with a long bar table in the middle to split the difference, and a DIY VIP section behind the DJs that smells impressively of fresh cedar. It’s sort of like a North Portland Holocene from the guy who made Rotture and the Tube, a much-needed dance-party venue for the art kids who’d rather not bike over the Alameda Ridge to get home. MATTHEW KORFHAGE.

FRI. MAY 15 Gateway Elks

711 NE 100th Third Friday Baby Boomers Social Club DJ Ron Taking Requests

Holocene

WED. MAY 13 Dixie Tavern

NS 3rd & Couch St. Hump Night

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

THURS. MAY 14 Dixie Tavern

NS 3rd & Couch St. Throwback Thursdays

Holocene

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

1001 SE Morrison St. ROCKBOX, DJ Kez, Matt Nelkin

Rae’s Lakeview Lounge 1900 NW 27th Ave DJ Mike-a-Nay

Rotture

315 SE 3rd Ave. Blockhead, Mono/poly, Tor

Lola’s Room

1332 W Burnside Come As You Are, 90s Dance Flashback

The GoodFoot Lounge

2845 SE Stark St. DJs Anjali and The Incredible Kid

SUN. MAY 17 Moloko Plus

3967 N Mississippi Ave. Tom2k

MON. MAY 18

The Barrel Room

The Lovecraft

Cadigan’s Corner Bar

The Lovecraft

The Whiskey Bar

The Lovecraft

105 NW 3rd Ave F*ck Cancer - Let’s Dance 421 SE Grand Ave. Shadowplay

421 SE Grand Ave. Electronomicon 31 NW 1st Ave Habstrakt

SAT. MAY 16 Holocene

1001 SE Morrison St. GAYCATION, Mr. Charming, DJ Snowtiger

5501 SE 72nd Ave. Fight Church TV, Jessie

421 SE Grand Ave. Departures, DJ Waisted and Friends

The Know

2026 NE Alberta Street ThirstyCity: International Edition

Willamette Week MAY 13, 2015 wweek.com

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may 13–19

= WW Pick. Highly recommended.

Grease

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

THEATER OPENINGS & PREVIEWS Mr. Burns: A Post-Electric Play

When the apocalypse comes, only The Simpsons will remain. That’s completely possible in Portland, where Simpsons creator Matt Groening and playwright Anne Washburn both used to live. Catastrophe survivors in Portland Playhouse’s newest comedy reminisce about Homer and his Technicolor world while they wait for who-knows-what in their own ruined universe. Local actor Brian Adrian Koch (Portlandia, Grimm) stars with Isaac Lamb, who’s notorious for his elaborate YouTube proposal in 2012. But the big question is: Did the doughnuts make it? Thirty-five-minute Act I is staged outside, rain or shine, or apocalypse. Ponchos provided. Portland Playhouse, 602 NE Prescott St., 488-5822. 8:30 pm WednesdaySaturday, 2 pm Sunday through June 7. $20-$36.

The Misanthrope

Molière’s 1666 comic exposé of courtly French extravagance is a popular theater revival. The witty Alceste, and every other pompous marquis, lusts after gorgeous Célimène while flouncing around salons Françaises. But this is more than mindless tea-drinking, Molière put fierce political commentary in-between the quips. Portland State University’s student works program makes its update Portland-centric by touching on a little thing called gentrification. Lincoln Hall, Portland State University, 1620 SW Park Ave., 7253307. 7:30 pm Wednesday-Saturday, 2 pm Sunday, May 17. Opens May 15; through May 30. $15.

The Phantom of the Opera

This national tour with a massive 52-person cast is bringing Andrew Lloyd Webber’s music of the night in all its chandelier-shattering glory to Portland’s closest approximation of the Paris Opera. A mysterious phantom haunts Parisian theater and his beautiful young pupil, the leading songstress Christine. Gaston Leroux’s 1910 classic could be nothing more than extravagant and oozing swoon-worthy drama on the Keller stage. For added intreigue, Chris Mann, who placed fourth on NBC’s The Voice, will be the man behind the mask. Keller Auditorium, 222 SW Clay St., 800-7453000. 7:30 pm Monday-Friday, 2 pm and 7:30 pm Saturday, 1 pm and 6:30 pm Sunday through May 23. $30-$125.

The Winter’s Tale

This Shakespeare play is a confusing comedy-romance-tragedy mash-up known as one of the Bard’s “problem plays.” King Leontes of Sicilia invited his royal buddy, King Polixenes of Bohemia, to visit. But when Polixenes gets a little to close to his friend’s wife, charges of infidelity drive him back to Bohemia. But there’s always the twist, and this one involves baby abandonment, infidelity and statues coming to life. The premise is hardly new to Bard followers, but this is a rarely-staged play from Anon It Moves, a femaleled, local company known for flavoring its plays with shadow puppets and dance. Shaking the Tree, 823 SE Grant Ave., 235-0635. 7:30 pm Friday, May 15, Thursday-Sunday through June 13. Additional performance June 8. . $15.

NEW REVIEWS Grounded

Despite its one-woman cast and minimalist set design, George Brant’s Grounded is a play of epic proportions. It follows a female fighter pilot (Rebecca Lingafelter) who is reassigned to fly drones after she gets

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pregnant, putting her into a new, more personal battle. Initially elated by her godlike power, Lingafelter’s fighter pilot unravels as time wears on, unable to connect with her husband and daughter in the suburbs after waging war at work every day. As Grounded grapples with technology that can kill from 8,000 miles away, playwright Brant repeatedly references Homer and the Bible to interject ancient worlds of gods and plagues into the modern action. It all seamlessly comes together thanks to Lingafelter’s muscular and heartfelt performance. Far from grounded, the play charts human savagery all the way from ancient heroes and monsters, to 21st-century, robotic buzzards packing enough firepower to decimate a city. IAN CLARK. CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm Thursday-Saturday, 2 pm Sunday, through May 23. $25.

As over the top and ostentatious as you’d expected from Broadway Rose Theater, this production maintains all the Pink Ladies and T-Birds drama, plus bursts from its tiny stage with athletic dance routines. From its beginning ode to the play’s fictional alma mater, Grease gives the audience pure and simple entertainment. Stars Peter Liptak (Danny Zuko) and Claire Rigsby (Betty Rizzo) ham it up with deafening musical numbers but are also convincing in their angsty, teenage vulnerability. Despite its campy tone and dated subject material, Grease can still convince you to take a joyride back to the ’50s greasers, proms and pom-poms, soda fountains and burger joints. Like an irresponsible spin in a flashy car, it’s pretty innocent, overly-optimistic, and really just fun. IAN CLARK. Broadway Rose New Stage Theatre, 12850 SW

Grant Ave., Tigard, 620-5262. 7:30 pm Thursday-Friday, 2 pm and 7:30 Saturday, 2 pm Sunday through May 24. $30-$42.

How to Stop Dying

Sarah, who has a ghost-hunting reality show, is mourning the death of her father when she gets a call from a rural Oregon funeral home claiming to have a photo of his ghost. This comedic hunt for meaning in the great beyond is the culmination of director Noah Dunham’s year-long pondering and five-month workshop with the cast, which is substantial for a troupe accustomed to improv. But then, death is kind of a big thing. Action/ Adventure Theatre, 1050 SE Clinton St. 8 pm Thursday-Saturday through May 30. $18.

The Lion

Guitarist Benjamin Scheuer’s one-man show is a bildungsroman of fatherand-son stories, set to music. Scheuer, wearing business-casual slacks on a plain stage, alternates between six guitars and sings folksy ballads about banjos, cookie tins and other heartwarming things. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesday-Sunday, noon Thursdays, 2 pm Saturday-Sunday through June 14. $25-$50.

The Little Mermaid

Northwest Children’s Theater stages a vaudeville-themed version of Ariel’s quest for solid ground, given legs by Portland’s A-WOL Dance Collective. Northwest Children’s Theater and School, 1819 NW Everett St., 222-2190. noon and 4 pm Saturday-Sunday and 7 pm some Fridays through May 22. $17-$23.

REVIEW COURTESY OF TRIANGLE PRODUCTIONS

PERFORMANCE

The Undiscovered Country

Defunkt’s dark tale of addiction follows the demise of a group of friends, made up of three couples, as it spirals out of control. The play is all explicit, drugtripping episodes and provocative sex scenes on a minimalist stage at Back Door Theater. The flamboyant narrator and drug-dealer Terry (Matthew Kern) leads a four-person cast and provides for its characters’ plentiful narcotic needs. It’s an unglamorous portrait of drugged-out relationships. Terry’s one-night stand with his conquest Richie (Spencer Conway) has an unexpectedly complicated aftermath; Rebecca (Lyn Sher) jumps off a roof as the play begins, sending her girlfriend Jess (powerfully acted by Lauren Modica) into drugged-out mourning; closeted Tony (also played by Conway) and his cracked-out girlfriend Angie (also played by Sher) yell in drug-induced arguments about who’s picking up the beer. Reminiscent of a bad thriller where the group dwindles down to one forsaken victim, The Undiscovered Country is a dark, opiate-filled, waiting game. It would be a dreary, tiresome tale if not for the tiny cast’s strong performances. After all, it’s just a matter of time until the next character overdoses. AMY WOLFE. Back Door Theater, 4319 SE Hawthorne Blvd., 481-2960. 7:30 pm ThursdaysSundays through June 13. “Pay what you can” Thursdays-Sundays; $15-$25 sliding scale Fridays-Saturdays.

ALSO PLAYING American Night: The Ballad of Juan José Richard Montoya’s play is an inventive satire about Juan José (Osvaldo González), a lovably innocent Mexican immigrant who falls into an imaginative dream world when he falls asleep in the middle of studying for his American Citizenship exam. José journeys through a comedic re-imagining of American history, strung together like Woody Allen’s Midnight in Paris. Montoya’s writing uses side-splitting humor to deliver his social critique, and the play is at its best when it is thoroughly outlandish. When the production attempts earnest emotion, like in the cheesy ending musical number, it feels awkward and flat. The dream trip is an entertaining premise, but the production’s forced emotion doesn’t quite satisfy. IAN CLARK. El Centro Milagro, 525 SE Stark St., 236-7253. 7:30 pm Thursday-Saturday, 2 pm Sunday, through May 23. $24.

Buffy: A Parody Musical

From the comedy crew that brought you Flair: An Office Space Parody comes Buffy: A Parody Musical, Funhouse’s newest illogical repurposing of something you really loved in the ’90s. The original is still enticing, do we need more? Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7 pm Thursday-Saturday through June 6. $16-$20.

Willamette Week MAY 13, 2015 wweek.com

extra salty: lindsay schramm and David swadis.

STOREFRONT REVUE: THE BABES ARE BACK (TRIANGLE PRODUCTIONS) Three songs after the Kent State shootings, a man unbuttons the front of his costume to expose a massive, starspangled phallus. Like the legendary 1970s-’90s Portland theater that inspired it, Triangle Productions’ Storefront Revue: The Babes Are Back is a constant, rainbow-hued provocation. But the backstory is more serious. As the play begins, Portland State University exiles the company because its founders, Anne Gerety and Tom Hill, refused to cross student picket lines to teach their theater courses at the university. After rebranding as Storefront, they reopened as an independent theater in what’s now the Widmer brewery building on North Russell Street—“the black part of town,” as Gerety puts it in the play, which revisits 20 years of insane, and sometimes inane, Storefront productions. The script was pieced together by Triangle founder Don Horn from stacks of old Storefront scripts and scenes he wrote himself about the company’s history. “Independent” is a gross understatement for Storefront’s plays, which stage a nude, black lead in Spartacus and profane PTA moms in Angry Housewives. Triangle’s spectacularized dramedy is just as enterprising, but not as deep as its backstory would suggest. One moment the ensemble cast is protesting in the South Park Blocks, then one actress shares a blowjob story backstage, and then three actors dress as technicolor dinosaurs for a children’s show about fossil fuels. Smartly produced, Triangle’s stage is split in two for this play. One half is Storefront’s stage. Behind a gray curtain that bisects the stage, audiences get a voyeur’s peek at the AIDS-afflicted, drama-riddled Storefront company. Part scandalous musical, part historical biopic.

Horn’s historical sections are a necessary, grounding foil to the play’s outrageous musical numbers, but they feel tacked-on. Storefront Revue’s company is a blob of unnamed “ensemble” actors without individual identities, and its biopic scenes aren’t long enough to dull the fun, but they’re too clipped to make the audience care. Storefront Revue: The Babes Are Back is best as a bedazzled “greatest hits” production. An actor, dressed in what can only be described as an iconic rape-van costume, throws candy into the audience while the cast sings, “No, no, don’t get in his car.” In another overblown act, two Italian divas exchange blows while wearing tiny black slips and tassels for underarm hair. When one sits and splits her legs, another well-placed tassel is the scene’s punch line, and it hits home. Even through a black-lit strip tease and the ditty “Eat Your Fucking Cornflakes,” Storefront Revue never lets us forget its history. The production comes full circle, ending with the theater’s dissolution in 1991. Ironically, Storefront’s end was the beginning of Triangle Productions. Horn took over Storefront’s iconic Burnside space with his fledgling theater company, and he kept the relics he found in its basement. One actress dances in an original french frypatterned leotard with hamburgers on her buns, and another’s chocolate onesie still has the 20-year-old plastic cherries on its nipples. If you nitpick, you’ll see Storefront Revue’s flaws, but who’s looking that closely at a khaki-balled, patriotic phallus with tinsel for pubic hair? ENID SPITZ. see it: Storefront Revue: The Babes Are Back is at the Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays through May 30. $15.


may 13–19

Friday Night Fights

Competitive improv, with two teams battling for stage time.. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every first and third Friday. $5; free with the purchase of a ticket to the 7:30 pm show.

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., 232-2037. 9 pm every Sunday. Free. 21+.

GROUNDED

Mame

Depression-era eccentric Mame Dennis introduces her nephew to a free-wheeling lifestyle of parties with washed-up actresses and unfortunate Southern gents like Beauregard Jackson Pickett Burnside. We’re supposed to find that “life’s a banquet” in this encouraging musical from the Lake Oswego theater, which will pelt you with famous jingles like “We Need a Little Christmas” and “Bosom Buddies.” Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursday-Saturday, 2 pm and 7 pm Sunday, through June 14. $37.

Our Country’s Good

A crew of Royal Marines and its convict charges wax theatrical after mooring in the jailhouse colony Great Britain made of Australia. Optimism and comfort are hard to come by, so one aspirational lieutenant hatches a plan to stage a comedy with the thieves and murderers as the cast. A little historical and unabashedly metafictional, this play is a more serious selection from Hillsboro’s slapstick Bag & Baggage crew. Venetian Theatre, 253 E Main St., Hillsboro, 693-3953. 7:30 pm Thursday-Saturday, 2 pm Sundays through May 31. $26-$30.

Ramona Quimby

Portlander Beverly Cleary’s obnoxious yet somehow beloved thirdgrader is up for big adventures. In Oregon Children’s Theatre’s play about the very average Quimby family on Northeast Klickitat Street, Ramona gets in sisterly tiffs and navigates the big world of grade-school drama. When Mr. Quimby loses his job, the buzzword “gentrification” seems apt, and storylines where Ramona tries to make her dad quit smoking give this children’s play a little political heft. Newmark Theatre, 1111 SW Broadway, 248-4335. 2 pm and 5pm Saturdays 11 am and 2 pm Sundays through May 31. $18-$30.

Three Days of Rain

Instead of bothering with Lauren Weedman’s needless reprise of People’s Republic of Portland, go see Portland Center Stage wrangle some star power in a more interesting way, as Grimm cast members Sasha Roiz and Silas Weir Mitchell appear in Richard Greenberg’s play about architecture, fame, betrayal and complicated family legacies. Here’s hoping they can keep up when no mythological creatures are involved. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays, 2 and 7:30 pm Sundays and noon Thursdays through June 21. $34-$74.

Twelfth Night

Post5 is known for putting Shakespeare’s lusty ladies in jeggings, but this performance goes all out with slapstick skits like drunkard Sir Belch exorcising Artistic Director Ty Boice, who’s sports canary yellow tights. Viola disguises herself as a boy under the alias Sebastian and promptly falls in love with the Duke, who loves Olivia, who falls in love with Sebastian...and around in the Shakespearian rat race

of twins, slapstick comedy and ukelele sing-a-longs we go. Director Cassandra Boice goes even further, casting Chip Sherman in drag as the idyllic Olivia. While lesser characters feel canned, Sherman convinces us his role was meant for drag. Post5 mainstay Jessica Tidd as the disguised Viola switches sexes seamlessly; Portland veteran Jeff Gorham is a deliciously disgusting drunkard; and Boice, the pathetically lithping Malvolio, steals the show. If Post5’s mission is Shakespeare for the masses, this is Bard 101, little brain required. ENID SPITZ. Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 7:30 pm Friday-Sunday through May 16. $20.

COMEDY & VARIETY Bats in the Belfry

Like a delightful romp through posttraumatic stress disorder, Bats in the Belfry promises an “improvised adventure” comedy about mental illness, delving into how we’re all crazy and should probably be medicated into sanity. But let’s laugh at ourselves instead. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Saturdays through May 30. $12.

Control Yourself: A Showcase of Funny

JoAnn Schinderle—a Midwest transplant with a high-energy, engaging style—hosts a free, twice-monthly standup showcase, followed by an open mic at 10 pm. Alberta Street Pub, 1036 NE Alberta St., 284-7665. 9 pm every first and third Sunday. Free. 21+.

Cristela Alonzo

Alonzo, known for being raunchy, realistic and proudly Latina, hit a bump with her ABC sitcom Cristela. But Conan O’Brien at least liked her racial quips and pop culture-heavy sets. We’d like to sit with her and Chelsea Handler and watch some parade of morning-after fashionistas, with vodka. The Aladdin will have to do. Aladdin Theater, 3017 SE Milwaukie Ave., 2349694. 8 pm Friday, May 15. $20-$22.

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., 477-9477. 8 pm every Sunday. Free.

Curious Comedy Showdown

Curious Comedy’s improvisers duke it out, in hopes of winning audience votes and advancing to the next round of competition. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm every Friday and Saturday. $12-$15.

Down to Funny

Katie O’Brien’s long-standing standup showcase is going monthly, starting with this extended show. Past WW Funniest 5 comic Nariko Ott hosts, fresh off the Bridgetown Comedy Festival scene. The night’s lineup has two more Funniest 5-ers, Amy Miller and Sean Jordan, and Derek Sheen, known for his scathing self-criticism.

Helium Open Mic

English quips from local choreographer Jayanthi Raman. She’s known for bringing classics to life by adding experimental choreography. This show mixes dance, music and theatre to tell three of the most well-known fables from the 2,500-year-old Panchatantra. It’s like history class, except you can stay awake. Winningstad Theatre, 1111 SW Broadway, 248-4335. 2 pm Sunday, May 17. $22-$32.

Pastie Pageant

A nine-week-long competition, the Pastie Pageant promises a mix of RuPaul’s Drag Race and Survivor, with burlesque and boylesque dancers competing weekly for the winning prize. Designed to hone the skills of up-andcomers, the pageant picks a musical theme and a random skill each week that must be incorporated into the following week’s acts. Produced by

Zane Phoenix, expect a rotating panel of judges each week with some of Portland’s best in burlesque. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 9:30 pm Thursdays through June 11. $7-$10. 21+.

Polaris Spring Student Showcase

Youth dance companies pop up like spring weeds for end-of-the-year showcases. But Polaris’ interesting youth classes, such as aerial and acro dance, make this student showcase more than your average talent show. Polaris Dance Theatre, 1501 SW Taylor St., 380-5472. Noon and 2:30 pm Saturday-Sunday, May 16-17. $10-$15.

For more Performance listings, visit

REVIEW OWEN CAREY

OWEN CAREY

Analog Cafe, 720 SE Hawthorne Blvd., 432-8079. 8 pm Thursday, May 14. $5.

PERFORMANCE

Generally regarded as the best openmic night in town, Helium’s sign-ups fill quickly. Show up between 6 and 7 pm to snag some stage time. Helium Comedy Club, 1510 SE 9th Ave., 888643-8669. 8 pm every Tuesday. Free with a two-item minimum. 21+.

It’s Gonna Be Okay

Hosted by the ever-chipper Barbara Holm, this twice-monthly showcase is a prime spot to catch Portland’s top comics, as well as the occasional outof-towner. The cozy basement room is almost always packed (especially impressive for a Monday night), and Holm often tosses out prizes—plastic dinosaur figurines, comic books—to audience members. Also: free skee ball afterward.. EastBurn, 1800 E Burnside St., 236-2876. 8:30 pm every first and third Monday. Free. 21+.

Jimmy Pardo

Portland’s Late Night Action host Alex Falcone will introduce Jimmy Pardo, who’s known for chatting up Conan about “gentleman problems” and asking top comics irrelevant questions on his weekly podcast, Never Not Funny. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 7:30 pm and 10 pm Friday-Saturday, May 15-16. $20$28. 21+.

Naked Comedy Open Mic

The Brody hosts a thrice-weekly openmic night. Comics get four-minute 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.

Open Court

Team-based, long-form improv open to audience members and performers of all stripes. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm every Thursday. $5.

Random Acts of Comedy

Curious Comedy puts on a freewheeling show that brings together sketch, standup and improv. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every Saturday. $7-$10.

DANCE CTRL-Alt-Tease

A nerdy burlesque night really isn’t as niche as it sounds. He (or she) who hasn’t dreamed of watching a striptease that pays tribute to a favorite sci-fi show, fantasy series or video game shall cast the first stone. Critical Hit Burlesque, Zed Phoenix and a handful of some of Portland’s most innovative burlesque dancers are here to make your fantasies come true in this new monthly extravageekanza. Oh, and the best part? It’s happy hour all night long. Crush, 1400 SE Morrison St, 235-8150. 8 pm Tuesday, May 19. $10. 21+.

Panchatantra

Some of India’s oldest folk tales are turned into a dance show full of mysticism, colorful costumes and

the sound of silence: (from left) Kelly Godell, sam dinkowitz, Rolland Walsh and Maureen Porter.

STATIC (THIRD RAIL REPERTORY) Scottish playwright Dan Rebellato’s Static pits the power of rock against the sound of silence. The production’s first ambitious undertaking is being bilingual in English and American Sign Language. The second is pulling off a show with four strong leads, but hardly any props and no supporting cast. The third is to balance comedy and tragedy, which is the one area where Static gets fuzzy. The play’s four characters are Chris—a music fanatic who lost his hearing in an accident several years prior to the start of the play—his wife, Sarah, sister Julia and best friend Martin. The stage is spartan, a scant array of wooden cubes that serve as seats, platforms and eventually a stereo system. The soundtrack is key here, and it’s the same ’90s fetishizing of rock found in films like High Fidelity. Rebellato nods to his adolescence in pre-millennial Great Britain with nostalgic tracks from the Who, the Beatles, the Smiths, and the Fall. Often, the play’s spotlit musical numbers degenerate into total darkness and static noise amplified to a volume you can feel. The action begins with comedy inspired by music. Maureen Porter’s Sarah is a chronically bad dancer, openly mocked by her friends and family. Thanks to clever use of sign language, there are moments when only the handful of deaf attendees laugh. That was a treat to hear. But disaster soon strikes when Chris dies unexpectedly. Watching his survivors cope with loss, the play’s pathos falls a bit flat. Chris is gone before we grow attached, so it’s hard to miss him, especially since he lingers in the play as a ghost. But Chris’ ghost brings the most engaging moments, hopping on a soapbox during scene changes to recite reviews of imaginary concerts—the Beatles at Live Aid and late-’80s Elvis comebacks. These are from his blog of 8,000 reviews for shows that never happened. It’s an interesting analog to the rest of Chris’s life, which also can never be. One thing Chris left behind is a mixtape, and if Static is anything, it is a love letter to the mixtape phenomenon. The play makes every effort to stab at the sterility of digital media. The mystery for Sarah is, why would her deaf husband make a mixtape at all? And unraveling the answer takes the rest of the play. NATHAN CARSON.

Sound and sign language harmonize in Third Rail’s new dramedy.

see it: Static is at Imago Theatre, 17 SE 8th Ave., 231-9581. 7:30 pm Wednesdays-Saturdays and 2 pm Sundays, May 13-24. $24-$47. Willamette Week MAY 13, 2015 wweek.com

43


VISUAL ARTS

MAY 13–19

= WW Pick. Highly recommended. By MEGAN HARNED. 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.

Blazermania

A group art show themed around, you guessed it, the Portland Trail Blazers. Come for art, come for basketball, come for 30-plus artists from Portland and beyond celebrating Rip City. Promising a diverse array of media and styles, Blazermania is here to remind us we don’t have to choose between physical and artistic creativity. Through May 30. Gallery 135, 135 NW Park Ave., 312-4856.

Cash For Your Banksy

CFYB is the brainchild of artist and curator “Mad One.” The project began in late 2013 in response to the ongoing attention to the artist known as Banksy and to an art market that treats paintings and sculptures as investments similar to real estate and gold. Through stickers, stencils, plastic signs and installations, Cash For Your Banksy has been a subtly hilarious part of the urban landscape and the art market for the past couple of years throughout Portland and other major cities. Through May 30. Future Shock, 1914 E Burnside St., 327-8473.

Dazed and Glazed

Greenberg might have called it kitsch, but back in the heyday of the ’50s and ’60s, everyone had a boldly designed smoking dish on their coffee table. In light of marijuana’s upcoming legalization, Thurman Street Collective is bringing us decorative ashtrays by local artist Brett Stern that combine his industrial-design training and ceramic skills. With a variety of glazes and shapes that are fun to stare at while stoned, Dazed and Glazed embraces the rituals inherent to the smoking-for-pleasure process. Through June 5. Thurman Street Collective, 2384 NW Thurman St., 971-803-7970.

Emily Counts: The Ins and Outs

Holes, perforations, and protrusions dominate the surfaces of Emily Counts’ ceramic sculptures in her exhibition of new work. Although largely abstract, her forms have a bodily presence— those repeated interruptions recall pores, faces and sexual organs. By playing with scale and materials, Counts pushes traditional symbols of celebration and condolence into complex, unwieldy icons. Are they Freudian, feminist or just weird? You’ll have to see and decide for yourself. Through June 1. Nationale, 3360 SE Division St., 4779786.

Julia Oldham: Farewell Brave Voyager Farewell Brave Voyager is an installation of video, animation, music and drawing that memorialize two doomed space explorers, one fictional and one historical. While two screens playing different narratives

could easily have distracted from both and overwhelmed the viewers in the small space, their differing scales and angles complimented each other instead. The animated piece, Laika’s Lullaby, was projected against the wall and told the story of an early Soviet space dog. Laika, man’s best cosmonaut, pants, sniffs, and looks out on Earth from the solitude of her grand voyage and coffin, set to a haunting composition by Lindsay Keast. Farewell Brave Voyager played on a smallish screen set perpendicular to the projection against the wall facing the door, and just about everyone could see both while they sat or stood. There were moments when the actors of the film seemed to be looking at the great emptiness of space alongside our canine hero. Through such moments the separate works coalesced into a single installation. Through May 23. Portland ’Pataphysical Society, 625 NW Everett St., No. 104.

Justin James Reed: Shining Bodies

In Shining Bodies, Justin James Reed starts with medieval reliquaries—originally used to house spiritually significant bones, shrouds and other relics—but divests them of content to draw our attention to the ideas they represent, as framing devices that endow objects with mystical powers. The works are made of glass, referencing ideas of holy light. The show also includes experimental photographic work incorporating laser etching on paper, which burns away the surface layers to reveal a hidden image below. Traditional black-andwhite photographs round out the show, which asks us to consider how medium structures the message. Through May 17. Melanie Flood Projects, 420 SW Washington St., No. 301, 862-7912.

Mothmeister’s Wounderland: Surreal World of Imagination, Nightmares and Taxidermy

Mothmeister is an artistic, taxidermy-loving duo based in Antwerp, Belgium. They anthropomorphize their bestial preserves with outfits and masks as a reaction against the dominant exhibitionism of selfie culture and beauty standards marketed by mass media. Is it a lot of contemporary affect to justify playing with dead animals, or is there real critique of our ever present narcissism and surveillance state? Only one way to find out! Through June 9. Paxton Gate, 4204 N Mississippi Ave., 719-4508.

Open Call

Open Call is a visual artist competition that combines the forms of a sports tryout, a juried application process and a reality TV show. Five artists will be selected to compete in

a series of quick challenges that will test their creativity in front of a live audience. Megan Harned, visual arts critic at Willamette Week, will choose a winner at the end of the event. The winning artist will be awarded a future solo exhibition at composition. This is a one-time performance event. Surplus Space, 3726 NE 7th Ave., 5501885. 7:30 pm Thursday, May 14.

REVIEW

PICA: Celebrating 20 Years, Reflecting on the First Decade

How long has PICA been an artistic mainstay? Twenty years, according to the curated retrospective of the first decade, from 1995 to 2005. Those early years were lead by founder Kristy Edmunds, whose unique vision included emerging and established regional, national and international artists. Her legacy lives on in the annual Time-Based Art Festival that includes visual, sound, dance and performing arts. Through June 27. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

The World Is Not the Earth

This is a group show that includes James Castle, Austin Eddy, John O’Reilly, Blair Saxon-Hill and Timmy Straw. The works all develop a highly personal, complex narrative using collage and appropriation. Blair Saxon-Hill was included in last year’s Portland Biennial at Disjecta, and also has a concurrent solo exhibition this month at Fourteen30 Contemporary. Through May 30, Adams and Ollman, 209 SW 9th Ave, 724-0684.

THE DANCE PARTY BY JEREMY OKAI DAVIS

JEREMY OKAI DAVIS, THOSE DAYS ARE OVER Painting a convincing memory lane.

Tight Rope: New Paintings by Arvie Smith

Those Days Are Over began when local artist Jeremy Okai Davis’ landlord gave him an album of photographs left behind by a travel agency. The pictures of friends vacationing in the 1980s inspired Davis to paint a nostalgic new collection that tries to capture the feeling of an old photo album. Davis replicated the pictures of skiers passing Kodak cameras and pitchers of beer, but his loose brushstrokes and bright hues are more abstract than their source material. I expected straightforward copies—the same size, scale and colors at least. But Davis’ style, like memory, is more concerned with feeling than accuracy. His paintings range from the petite, 11-by-4-inch When It Rains to the nearly 3-foot square If He Only Knew…. The variation in size lures us into interaction with the art, like flipping through a stack of found photos. We peer closer to see the feathered hair of vacationers in Tub, and step back to see the movement of two men swinging their hips, hands and shoulders in The Dance Party. Snow Break captures the outdoor light and the lightness of having drinks on a patio with friends. A woman’s polarized sunglasses refract a rainbow of colors, and the man next to her squints. Behind the couple are friends keeping cool, one in an eye-catching white hat. Kenn Stephenson (Planning Party) is a group hug. Two women, wearing blues and pinks, flank a man in a brown-and-white checked shirt. Together they’re the 1980s color palette incarnate. These colors bleed past the image’s bottom, hinting at how photos fade over time, and our memories with them. Next to the artist statement, there is a display of books with titles like How to Take Good Pictures and decorative tchotchkes. They are inoffensive additions, serving as physical markers for our trip down memory lane, but these few relics seem sparse. Davis’ paintings are emotive enough to convey whole worlds of meaning on their own. MEGAN HARNED.

For more Visual Arts listings, visit

SEE IT: Those Days Are Over is at Duplex Gallery, 219 NW Couch St., 206-5089. 9 am-5 pm Monday-Friday through May 29.

Tiffany Calvert

Tiffany Calvert uses images to juxtapose the historical and the contemporary. Her arrangements and mark-making conceal the subject, reveal voids and release new meanings. The works coalesce into the subject’s energy while leaving the subject itself behind. They’re paintings, by the way. Through May 31. Carl & Sloan Contemporary, 8371 N Interstate Ave., Suite No. 1, 360-608-9746.

Tight Rope is a collection of vivid, powerful works linking our troubled past to our equally troubled present. About his work, local artist and educator Arvie Smith says, “By critiquing atrocities and oppression, by creating images that foment dialogue, I hope my work makes the repeat of those atrocities and injustices less likely.” If reading about other experiences doesn’t always create empathy between people divided by race, class, religion and sexuality, it’s many artists’ hope that art will reach across those divides more directly to help us experience our shared humanity. Through June 12. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., 3rd floor, Pioneer Place Mall, 998-4152. Opening reception 5-9 pm Saturday, May 16.

Summer Guide 2015 A heAvy dose of vitAmin d in newspAper form! Publishes June 17 Advertising Deadline June 10 Contact advertising@wweek.com 44

Willamette Week MAY 13, 2015 wweek.com


BOOKS

MAY 13–19

= 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.

WEDNESDAY, MAY 13 Beth Shapiro

An evolutionary biologist and “ancient DNA” researcher, Beth Shapiro explores the possibility of de-extinction in her new book, How to Clone a Mammoth: The Science of De-Extinction. Combining the actual scientific processes being used today with the quandary of what species can (or should) be sequenced and re-created, the concept manages to be both astounding and terrifying. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

THURSDAY, MAY 14 Windfall Reading

With its abundant majesty, the Pacific Northwest is an easy place to feel inspired. Proving just that point, contributors to local anthology Windfall: A Journal of Poetry of Place will read their work to celebrate the release of the Spring 2015 issue. Readers will include Judith Barrington, Barbara Drake, Andrea Hollander, Verlena Orr and Kim Stafford, along with Windfall editors Michael McDowell and Bill Siverly. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Philip Glass

Crafting everything from minimalist symphonies to operas to Academy Award-nominated film scores for The Hours (and other gems, such as Candyman: Farewell to the Flesh), Philip Glass became one of the most influential composers of the modern era. His new memoir, Words Without Music, ventures behind the scenes of his career and depicts the point where life and art collide. Glass will be joined in conversation by Portland Opera’s Christopher Mattaliano. Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm. $39.95, includes book.

Transmit Culture: Kinfolk

Georgia Frances King, editor of Portland-based global lifestyle monolith Kinfolk, will speak about the magazine for Transmit Culture, a series of conversations about the publishing industry hosted by Ooligan Press. Joining King in conversation will be Bitch Media’s Julie Falk. Portland State University Shattuck Hall, 1914 SW Park Ave., 725-4407. 7:30 pm. $5-$10.

FRIDAY, MAY 15 Loggernaut Reading Series

To celebrate the 10th birthday of the Loggernaut Reading Series, the ’nauts will host a handful of former readers to write and share a total of 10 sentences or lines. Stepping up to the challenge will be Justin Hocking, Pete Rock, Emily Kendal Frey, Jamalieh Haley, Michael Heald, Scott Nadelson, Sarah Bartlett, Jay Ponteri, Dan DeWeese, Robin Romm, Don Waters, Rodney Koeneke, Mary Rechner and Nancy Rommelmann. There will also be booze and snacks, plus a top-secret musical guest. Independent Publishing Resource Center, 1001 SE Division St., Suite 2, 827-0249. 7 pm. Free.

MONDAY, MAY 18 David Gessner

Nature writer David Gessner (The Tarball Chronicles, My Green Manifesto) examines the very different but equally passionate work of two of his inspirations, Edward Abbey and Wallace Stegner, in his new book, All the Wild That Remains. Gessner entwines the stories of the two writer-environ-

mentalists to reflect on the impact each had on the American West. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

TUESDAY, MAY 19 The Moth Story Slam

We all harbor delusions to a certain extent—of how funny we are when we’re drunk, how we could probably make it as a professional tap dancer. Storytelling juggernaut

the Moth will host the Story Slam, with local tellers sharing their own tales of delusion. Holocene, 1001 SE Morrison St., 239-7639. 8 pm. $8-$16.

Heidi Pitlor and Karen Russell

Hannah vanishes the morning after an explosive argument with her scientist husband. While he attempts to discover what happened, readers are taken through the events of Hannah’s day. Heidi Pitlor will discuss her new novel, The Daylight Marriage, with fellow author Karen Russell (Swamplandia!). Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

For more Books listings, visit

REVIEW

JEREMY ROBERT JOHNSON, SKULLCRACK CITY Jeremy Robert Johnson is a madman. As poster boy for the locally driven Bizarro fiction movement, he’s spent years combating adherence to a single genre, with several collections of violent, drug-fueled, psychotic, reality-shattering short tales. Now Johnson has finally issued his long-awaited debut novel, Skullcrack City Hex and violence. (Lazy Fascist Press, 344 pages, $12.95). It was worth the wait. Skullcrack City veers closer to cyberpunk than any other lazy genre tags one might apply. It takes place on a near-future Earth, and concerns a lonely, paranoid banking drone named SP Doyle. Johnson himself recently left the banking industry, and pours 13 years of dread into Doyle’s servitude to a bleak and ruinous system—conspiracy, shadow organizations, and tooth-grinding drug addiction are taken to cosmic and catastrophic extremes. The MacGuffin in Skullcrack City is Hexadrine, a serious upper of a drug that gives the user a sense of clarity accompanied by a hurricane rush, the urge to jack off until your scar tissue has scar tissue, and which, with overuse, will make your eyes turn black and implode. Doyle’s first descent into chronic Hex abuse inspires him to do right by single-handedly taking down the big banks. It’s the kind of grandiose fixation that a motivated addict can convince himself is possible. But in Johnson’s universe, the opposition includes brain-eating monsters and apocalyptic wolf gods. Doyle would be a tough character to piggyback for 332 pages were it not for Johnson’s sharp prose, and Doyle’s relentless focus on keeping his mother and his pet turtle Deckard unscathed in the midst of drug deals gone wrong, stolen financial secrets, and a steadily unhinging tear in the fabric of reality. But for each trip back to 45th Street to score more Hex, there’s a balancing scene in which Doyle closes the blinds to feed his turtle worms and kiss its shell. If there’s a problem with Skullcrack City, it’s that the third act is nearly as long as the first two. And while a whole lot goes on, and the resolution has a denouement and an epilogue, there are still reams of pages, fairly late in the game, that get hung up on a lot of meta-scientific jargon and cyber-dimensional gobbledygook that probably sounds brilliant when you’re deep in a Hex binge. Henry Miller used to pull this off, but he was digressing into pure poetry, not inventing scientific portmanteaus just to explain concepts so fantastic that no suspension of disbelief is even possible. Most readers will start skimming ahead in search of anchor points. Luckily, there are plenty of them, and the end is both unexpected and rewarding. NATHAN CARSON. GO: Jeremy Robert Johnson reads from Skullcrack City on Thursday, May 14, at Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., powells.com. 7:30 pm. Free. Willamette Week MAY 13, 2015 wweek.com

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may 13–19 REVIEW

= WW Pick. Highly recommended.

M AT T H E W B I L L I N G TO N

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 Death on a Rock

B- Shit happens, and Death on a Rock is all about dealing. Family, love, body and death—the film mines all these deep themes, pointing out that imperfection is the only uncompromising character. The film’s action is mainly our young protagonist driving herself to and from stints in a hospital bed, where friends visit with wheatgrass shots meant to cheer her. Instead, she is perpetually depressed, lusting after her life before this mysterious, chronic affliction. We’re given pieces of plot, but this is film as art. Writer and director Scott Ballard’s many years behind a camera show on screen in the film’s montages of picturesque shots—wheat in a field, sun shimmering on the water, a solitary car driving far. These are interspersed with disorienting tilt-shift scenes—our protagonist is on a rowboat, in a hospital gown. How did she get there? Where will she go next? All the pieces of plot are beautiful, but they’re not compelling enough for us to care about how they come together. NR. TED JAMISON. Northwest Film Center. 4 pm Thursday, May 14.

Far From the Madding Crowd

B+ Carey Mulligan’s unsmiteable Bathsheba Everdene has little patience for society’s expectations in this stunning adaptation of Thomas Hardy’s 19th-century romance. Despite the progressive youth’s best efforts, Everdene attracts three suitors: an esteemed businessman (Michael Sheen), a dashing sergeant (Tom Sturridge) and a neighboring farmer (Matthias Schoenaerts). Each actor is expertly cast for his role. But it’s Mulligan’s effortlessly free-spirited performance that keeps the classic relevant, as she smirks through her marriage refusals with disconnected amusement. Director Thomas Vinterberg’s widescreen nature shots of the English hills give us time to breathe between the inevitable twists of fate that befall each character. The question is whether the captivating cinematography and Mulligan’s standout performance are enough to refresh what doesn’t amount to much more than another Victorian love story. PG-13. LAUREN TERRY. Fox Tower.

I Am Big Bird

B Unlike the documentary about

Kevin Clash—who played Elmo on Sesame Street and then resigned amid allegations that would have embarrassed Kermit—I Am Big Bird can’t hurt my childhood memories because Caroll Spinney isn’t nearly as lovable. This documentary about the man awkwardly hiding in the bodies of Big Bird and Oscar the Grouch starts with, “Will the real Caroll Spinney please stand up?” It exposes the largely unknown actor as a talented loner within the Sesame Street crew, and it’s no easy task to stand out as weird among puppeteers. Luckily, Spinney’s lack of charisma isn’t crippling to the documentary, which has plenty of interesting anecdotes from his 40-plus year career. And learning about the physics of portraying Big Bird is alone worth the price of admission. Still, I’ve got my fingers crossed that Spinney isn’t secretly a monster. NR. ALEX FALCONE. Living Room Theaters.

In a Lonely Place

B+ “The Bogart suspense picture with

the surprise finish,” promises the mendacious poster for this dark gem by Nicholas Ray. At least they got the actor right. As for suspense, it’s virtually nonexistent. It begins in the standard noir mode, with the midnight strangling of a bright-eyed Hollywood naif who spent her few final minutes on earth with cantankerous screenwriter Dixon Steele (Bogart). Luckily for Dix, his svelte neighbor Laurel Gray

(a glowing Gloria Grahame) saw the doomed dame leave Dix’s apartment alone, so there’s little doubt Dix is innocent. There’s also little doubt Dix is a world-class dick. He’s a brawler with a hot head and a cold heart— Laurel, of course, falls head over heels. This is Bogie’s show, dammit, and Ray knows it. So the mystery falls away, and Laurel falls into Dix, and Ray zeroes in on the darkness at the center of Dix, in the heart of Bogart, at the edges of our more morbid moments, and it is, in fact, very lonely there. NR. CHRIS STAMM. Northwest Film Center. Friday-Saturday.

The Lusty Men

B+ [ONE NIGHT REVIVAL] One of two 1952 films directed by Nicholas Ray, The Lusty Men stars Robert Mitchum and Arthur Kennedy as a pair of saddle tramps entrenched in the glory and heartbreak (and legbreak and ribbreak and neckbreak) of the rodeo. It doesn’t quite measure up to Ray’s best work, but the film’s long middle stretch offers a compelling and even touching portrait of the homosocial tensions and prickly camaraderie that develops when a group of men is bound by a single, self-destructive compulsion. The Lusty Men eventually stumbles into a tragic finale that it hasn’t engaged us enough to earn, but it’s hard not to love something with Mitchum’s impossible face all over it. NR. CHRIS STAMM. Northwest Film Center. 7 pm Saturday, May 16.

Pitch Perfect 2

Anna Kendrick and her Barden Bellas are now seniors and determined to belt their way back to No. 1 a capella group by becoming the first Americans ever to win the world championships. But first they’ll have to outsing Das Sound Machine’s “Zis Is How Ve Do It.” Screened after deadline, see Penelope Bass’s review at wweek.com. PG-13. Pioneer Place, City Center, Eastport, Cedar Hills, Clackamas, Vancouver.

Tangerines

C+ Set during the 1992 Abkhazia war—when separatists fought for Abkhaz independence from Georgia— Tangerines gives Western audiences an unfamiliar conflict with a very familiar plot. The somber Estonian film (the country’s first Oscar contender) follows elderly Estonian farmers tending their tangerine orchards as war rages around them. Their existence is mundane until a small battle breaks out on farmer Ivo’s front lawn, leaving two men wounded. Naturally, one is a Chechen mercenary and the other Georgian. Will these two mortal enemies begin to see each other as human as they heal under the care of Ivo the wise and peaceful? Well, duh. Director Zaza Urushadze deserves some credit for not going overboard with the obvious, allowing his characters to come to peace naturally amid gorgeous shots of vibrant orchards. Tangerines would make a hell of a play. As a film, its plot is far too familiar to be engaging. War is hell, sure, but in a rush to expose the gentleness of its victims, Tangerines mistakes sentimentalism for profundity, and familiarity for universalism. NR. AP KRYZA. Living Room Theaters.

STILL SHOWING 5 Flights Up

C+ Completely reliant on the warmth and goodwill generated by its stars, this AARP-oriented dramedy strikes all the familiar chords. Retired teacher Ruth (Diane Keaton) and painter Alex (Morgan Freeman) are finding it a chore to huff up the stairs to their sprawling Brooklyn apartment. Nor can their beloved old dog—the Carvers are childless—easily make the climb. The place could be

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TRUE GRIT

MAD MAX: FURY ROAD IS A NONSENSICAL EXPLODEY FUCKPILE. WE LOVE IT. By a lex fa lcoNe

243-2122

I left the theater feeling like I should take a shower. That’s how immersively Mad Max: Fury Road renders its batshit, dirt-punk world; I was sure I felt pieces of grit between my fingers as I walked out. The other thing I felt was a rabid need to drive really, really fast. The gritty world I stumbled out of is a postapocalyptic hellscape where the lack of resources has somehow convinced roving bands of ne’er-dowells there is only one way to survive: make everything look awesome. And they do. Every single prop, costume and character looks insanely cool, like a world war erupted at Burning Man. This is not to say Fury Road makes any sense, because it so totally does not. In a world fighting over gasoline, the action is a nonstop fight scene between souped-up cars with flame throwers and a tanker truck full of breast milk. One car is made out of speakers and topped with a man bungee-corded to the roof, playing an electric guitar that shoots fire. This seems perfectly normal. And all of these vehicles have riders hanging off them like guntoting garbage men, because even though there are only a handful of humans left on earth, they’re all pretty reckless with their own safety. The exterior passengers and flaming musician are critical, because the film is essentially just one continuous chase scene. If the characters ever took their feet off the gas, literally or metaphorically, it would become painfully obvious how hollow it all is. First, a group of people needs to drive one way and try not to die, then they need to drive another way and try not to die. That’s it. Suddenly Furious 7 seems densely plotted. Halfway through the movie, the characters actually sit down and ask each other why they’re doing all this, as if Charlize Theron challenged writerdirector George Miller, “What’s my motivation?” and he made something up: “Uh, redemption? Great, let’s go with that. Now leave me alone, I have to glue 2,000 more spiky things on this VW Bus.” What’s so amazing is that the nonsensical explodey fuckpile didn’t bother me one bit. The art

and violence kept me in a testosterone stupor the entire time, so the film could get away with almost anything and I’d accept it. Even if, for example, a man was murdered by a flaming electric guitar. Actually, I saw that one coming because, like Chekhov said, if there’s a fire-shooting guitar in the first act, it has to go off by the end of the movie. With that kind of stuff happening, there’s no way you could register Fury Road’s problems. In the moment, the only thing I had real trouble believing was that this movie was written and directed by the same guy who made Happy Feet. There’s no way one human had both of these stories inside himself. It’s much more likely he’s three tiny geniuses wearing one trench coat. If you loved any part of the original Mad Max trilogy, you won’t be disappointed by it restarting with such vigor. If you don’t know anything about it, you’ll be thrilled to discover a new series that’ll inevitably be run into the ground. Just make sure you take public transit to the theater so you aren’t tempted to spit gasoline in your air intake and drive home like a madman. go: Mad Max: Fury Road is rated R. It opens Friday at Lloyd Center, Division, Bridgeport, and Movies on TV.

MAX OUT WITH THESE FAKE MAXES Until now, Beyond the Thunderdome (featuring a glam-punk Tina Turner) was the end of Max’s long and dusty road, but that didn’t stop a bevy of terrible, low-budget impostors. This handful is worth watching to set the bar low before Fury Road debuts. See more at wweek.com. PETE COTTELL.

Exterminators in the Year 3000 (Italy, 1983)

Storyline: In a post-apocalyptic wasteland, farmers struggle to water their underground greenhouses. Takeaway: Transporting a tanker full of anything across the desert is a bad, bad idea. D+.

Warlords of the 21st Century, aka Battletruck (New Zealand, 1982)

Storyline: After the oil wars, out of the rubble of the cities comes…Battletruck! Takeaway: A giant truck manned by a deranged colonel runs a bunch of shit over until a rogue biker named Hunter pops in for lots of close-up, hand-to-hand combat. A-.

Land of Doom (United States, 1986)

Storyline: Amazon warriors fight in a future ravaged by marauders. Takeaway: This domestic title is a shoo-in for Jezebel’s Strong Womyn of the Apocalypse awards, as well as a great name for Kathleen Hanna’s next riot grrrl/doom-metal fusion. C.

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MAY 13–19

worth a million after 40 years in a now-gentrifi ed ’hood, so it’s time to move to somewhere with an elevator. With a niece (Cynthia Nixon, Sex and the City) acting as their broker, they put their place on the market. The sick dog, real-estate haggling, and specious subplot about a fugitive Muslim terrorist all turn out to be tremendously mundane. It’s hard to see why this warranted a feature fi lm, except for the welcome chance to enjoy Keaton and Freeman coasting in what’s essentially a TV movie. PG-13. BRIAN MILLER. Living Room Theaters.

’71

D Behind Enemy Lines, as seen through the eyes of an abandoned British soldier in the midst of the Troubles of 1971 Belfast. ’71’s excellent pacing and a well-crafted, character-driven plot manage to evoke comparisons to films like Scorsese’s Departed. R. PARKER HALL. Academy, Laurelhurst Theater.

ples with her waning fame. R. KELLY MCCRILLIS. Living Room Theaters.

The D Train

C Dan Landsman (Jack Black) is an alumni committee chairman trying to round up the class of ’94 for its 20th reunion. He wasn’t popular. Even the rest of the committee makes fun of him. But Dan gets an epiphany: He’s going to bring the star of that commercial, the coolest kid in the class of ’94, to the reunion. By roping in Oliver Lawless (James Marsden), Dan is convinced he’ll finally earn the acceptance he has craved for 20 years. The film is as lawless. Marsden and Black frequently get fucked up, sneaking off to snort coke. Dan’s son’s girlfriend tries to finagle a threesome. With so much going on, The D Train can’t tie it all together. Instead of trying to make something meaning-

ful out of its mound of plot material, The D Train retreats into the warm embrace of cheap laughs. It’s an odd film that mostly exists to show Jack Black make out with James Marsden. PG. JOHN LOCANTHI . Cedar Hills, Clackamas, Bridgeport, Fox Tower, Lloyd Center.

Dior and I

B+ “My work is my life’s reason,” says king of couture Christian Dior in this decadent look at the work—or work of art—that is high fashion. Director Frédéric Tcheng reveals the behind-the-seams brainstorming, fabric cutting, and copious amounts of coff ee people endure to see a single clothing line produced. Dior and I successfully shows us a dress and makes us see a people’s life reason. NR. KATE PEIFER. Fox Tower.

PREVIEW COURTESY OF QDOC

MOVIES

The Age of Adaline

B Though the wisp of a plot could never achieve the epic romance trailers promise, this is the nearest chick flicks have come to the superhero blueprint. Adaline doesn’t fight her way out of trouble but dominates through unerring good taste and a particular set of skills (like conversational Portuguese). Her foes, beyond the government agents following her, are all overeager suitors until Ellis Jones (Michiel Huisman) wins her over. Their love is pleasant, if pointless, until a weekend trip to meet Ellis’ parents brings Adaline face to face with an old beau (Harrison Ford), who happens to be her new beau’s father. This is typical 20th-century cinema, and the character of Adaline isn’t especially rewarding either. PG-13. JAY HORTON. Cedar Hills, Clackamas, Cinetopia, Living Room Theaters, Bridgeport, City Center, Division, Lloyd Center, Lloyd Center.

The Avengers: Age of Ultron

A- If you loved The Avengers: You’ll

squee all over yourself because, man, everything looks so cool! You’ll love the portrayal of Ultron from the ramshackle first appearance to the smooth and witty version with even more personality than in the comics. C+ But…if you got dragged to the movie: Buckle up, it’s gonna be a long ride. Between giant, smashy fights, each of the 2,000 characters gets a dark past, a love story, a moment of self doubt, and a separate resolution. In between, there’s lots of fighting, too often just two indestructible characters bashing each other into stuff. PG-13. ALEX FALCONE. Pioneer Place, City Center, CineMagic, Lloyd Center, Bagdad, Bridgeport, Movies on TV, St. Johns Cinemas, City Center, Clackamas, Cedar Hills.

Chappie

B- 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. Avalon, Vancouver.

Cinderella

D+ Kenneth Branagh’s tiresome live-action retcon of Cinderella, PG. JOHN LOCANTHI . Cedar Hills, Eastport, Clackamas, Bridgeport, Movies on TV.

Clouds of Sils Maria

B- Directed by Olivier Assayas (Paris, je t’aime), this meta-narrative about an immensely talented, and uncomfortably aging, actress named Maria is as foggy as its titular clouds. Juliet Binoche as Maria and the ineffably relaxed Kristen Stewart as her savvy assistant, Valentine, wax philosophical and run lines for Maria’s next role, a new part in a revival of a lesbian relationship drama that once made her famous. With a modern Hollywood starlet (Chloë Grace Moretz) shining in Maria’s original role, Maria grap-

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Willamette Week MAY 13, 2015 wweek.com

ALL OUT: Terrence Collins and Jason Collins.

QDOC FILM FESTIVAL The first openly gay player in the NBA, Jason Collins, retired last year amid a deluge of media coverage following his announcement about his sexuality in Sports Illustrated. Collins’ less-publicized screen time in the LGBTQ documentary Game Face is raw and personal. It’s also the reason he’ll visit the Hollywood Theatre for this week’s ninth annual QDoc. North America’s first LGBTQ documentary film festival is a weekend of films selected by festival founders David Weissman and Russ Gage. Unless you are Roger Ebert reincarnated, 11 documentary films in three days is a lot to process. We did watch them all, and here are our three picks. But you really can’t go wrong.

What documentaries to watch at the ninth annual LGBTQ fest.

Limited Partnership, 6 pm Saturday, May 16

American citizen Richard Adams and Australian Tony Sullivan were legally married in Colorado in 1975, but their next 40 years were a bittersweet love story. Filmmaker Thomas G. Miller’s callto-action film includes an official letter from the U.S. Immigration and Naturalization Service refuting the existence of “a bona fide marital relationship between two faggots.” It’s hard to imagine weed was legal first, and this must-watch film drives that home.

The Cult of JT LeRoy, 8:30 pm Saturday, May 16

Nineteen-year-old West Virginian JT LeRoy awed the late-’90s art world with his first semiautobiographical novel about years of prostitution and drug use. The soft-spoken blond was a media darling until late 2005, when New York magazine exposed LeRoy as the invention of writer Laura Albert and Geoffrey Knoop. Director Marjorie Sturm’s film is a fantastic look into the bizarre tale and the creation of a cultural icon who never really existed.

Larry Kramer in Love & Anger, 7 pm Sunday, May 16

Larry Kramer was one of the most effective activists during the height of the AIDS crisis. He helped found the Gay Men’s Health Crisis and ACT UP, but preferred inciting institutional change with loud shouting. It worked. So does director Jean Carlomusto’s HBO portrait. It paints Kramer kindly, but not without blemishes. The hero you need is not always the hero you want. PARKER HALL. SEE IT: QDoc Portland Queer Documentary Film Festival is at Hollywood Theatre May 14-17. $10 general admission, $75 festival pass. For the full schedule, visit queerdocfest.org.


MAY 13–19

Ex Machina

Hot Pursuit

on the eyes in Ex Machina, a sexualized science-fiction movie that comes right out and addresses what many of its forebears merely danced around: that robots will eventually be hot, and attraction is inevitable. Alex Garland’s tale of a coder named Caleb (Domhnall Gleeson), whisked away by his genius boss (Oscar Isaac) for a top-secret project, is familiar. But we’re enticed enough to follow along anyway. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Hollywood Theatre, Bridgeport, City Center, Division, Fox Tower, Lloyd Center, Movies on TV.

you do this to me? Here, Reese Witherspoon applies her blondness to a bumbling Barney Fife-type police offi cer who’s improbably bad at human interactions. She’s paired with Modern Family’s Sofi a Vergara, who has got to be tired of overplaying her accent for laughs by now. The adorably Bert-andErnie pair goes on a wacky road trip, learning lessons about life and love. Oh, and trying to avoid being shot by a murderous drug cartel. It’s like Chief Wiggum and Jessica Rabbit running from Hans Gruber. There are gags. Mostly of the physical variety, relying heavily on the fact that Witherspoon keeps handcuffi ng herself to Vergara for no apparent reason. Now they’re “kissing;” now they’re catfi ghting; now they’re straddling each other while driving a bus and shooting guns. There’s also a delightful cameo from Jim Gaffi gan, which just made me wonder why it wasn’t a Jim Gaffi gan movie with a Reese Witherspoon cameo. That would have been great. PG-13. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Cinetopia, Bridgeport, City Center, Division, Lloyd Center, Pioneer Place, St. Johns Theater.

Felix and Meira

B- Director Maxime Giroux plays it safe in this character study of a Hasidic woman’s un-Orthodox extramarital affair with a sad bachelor. The film stays on familiar emotional terrain, going just far enough to reach a bittersweet truth. We sadly discover that even great passion can’t liven up the ambivalent human heart. Giroux should have let the film thrive on this simple revelation. Instead, he couldn’t resist overreaching with melodramatic moments. R. CHRIS STAMM. Living Room Theaters.

Fifty Shades of Grey

D Fifty Shades turns what was

supposed to be a torrid aff air into an overly serious episode of Beverly Hills 90210 with some timid softcore erotica thrown in. R . JOHN LOCANTHI . Academy, Kennedy School, Valley.

Focus

B- Great con-man movies—a subgenre old as cinema itself—strike a diffi cult balance between breezy capers and deeper examinations of character motives. Focus hits most of the right notes. R . AP KRYZA . Kennedy School, Mission.

Furious 7

A- Furious 7’s action and ridicu-

lousness 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 frantic and ludicrous 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), PG-13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Bridgeport, Division, Fox Tower, City Center, Lloyd Center, Movies on TV.

D What the shit, Reese? How could

The Imitation Game

B As geniuses often are, British

mathematician Alan Turing was an odd duck. Turing pioneered the field of computer science and helped crack Nazi codes. And there’s something to be said for a drama as sturdy and watchable as The Imitation Game. With a story this compelling and a cast this good, it’s difficult not to play along. PG-13. Academy, Laurelhurst, Valley.

In Country

A- For one weekend each year, a fictitious regiment of veterans, Portland brewmasters and highschool students convenes to relive one of America’s greatest failures. Director Mike Attie’s documentary explores why the Delta 2/5(R) company deprives itself of sleep,

eats out of cans, and walks miles in the rain for this annual Vietnam reenactment somewhere in a forest in rural Oregon. NR. TED JAMISON. Living Room Theaters.

Insurgent

C- A dumb action movie, except with the traditional gender roles reversed . PG-13. JOHN LOCANTHI . Eastport, Clackamas, Bridgeport, City Center, Fox Tower, Movies on TV.

It Follows

A- When your guard is lowered, something truly terrifying like It Follows can burrow into your psyche. We meet Jay (Maika Monroe), who slept with Hugh and caught a curse. Until she sleeps with somebody else, she will be followed by a malicious force. For most of the movie, you’ll be too nervous to think about allegories— and too busy looking over your shoulder. R . AP KRYZA. Academy, Clackamas, Laurelhurst, Living Room Theaters.

Jupiter Ascending

B A wholly illogical fairy-tale denouement that leaves little expectation of sequels. PG-13 . JAY HORTON . Vancouver.

Kingsman: The Secret Service

A- Remember when spy movies were fun? Kingsman: The Secret Service does. R . Academy, Avalon, Kennedy School, Laurelhurst, Mission, Valley, Joy Cinema.

Kumiko: The Treasure Hunter

B+ A lost soul in Tokyo sets off

to unearth Fargo’s fictional buried treasure. NR. MICHAEL NORDINE. Academy, Laurelhurst, Living Room Theaters.

Lambert & Stamp

B+ Lambert & Stamp, a documentary about Kit Lambert and Chris Stamp, managers of the Who, has enough drama for several episodes of Behind the Music. But it offers

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VAN SANT C O U R T E S Y O F TA N G O F I L M S

B- Frankenstein’s monster is easy

MOVIES

Get Hard

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. R. JAMES HELMSWORTH. Eastport, Clackamas, Division, Movies on TV.

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. For all its spaghetti Western flourishes, this is a quiet film about loneliness at heart. The minimal dialogue and an understated romance leave the viewer with something rare: a movie quiet enough you can soak in the imagery and be bowled over by the propulsive score. NR. JOHN LOCANTHI. Laurelhurst.

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. Cedar Hills, Clackamas, Bridgeport, City Center, Division, Lloyd Center, Movies on TV, Pioneer Place.

GUS, WHERE’S MY CAR?: Matt Damon and Casey Affleck.

Longest Ride, The (PG-13) 10:40AM 1:40PM 4:40PM 7:40PM 10:40PM Mad Max: Fury Road (R) 12:30PM ® 3:25PM ® 6:20PM ® 9:05PM ® Where Hope Grows (PG-13) 11:30AM 2:20PM 4:55PM 7:35PM 10:10PM Little Boy (PG-13) 11:05AM 1:50PM 4:30PM 7:15PM 9:55PM Mad Max: Fury Road (3D) (R) 11:20AM 11:20AM ® 2:10PM 2:10PM ® 5:00PM 5:00PM ® 7:50PM 7:50PM ® 10:40PM 10:40PM ® Paul Blart: Mall Cop 2 (PG) 12:20PM 2:55PM 5:25PM 7:55PM 10:25PM Pitch Perfect 2 (PG-13) 11:10AM 11:50AM 12:40PM 2:00PM 2:50PM 3:40PM 4:50PM 5:50PM 6:40PM 7:40PM 8:50PM 9:40PM 10:35PM

Mad Max: Fury Road (R) 12:30PM 3:25PM 6:20PM 9:20PM Avengers: Age Of Ultron (3D) (PG-13) 11:40AM 1:20PM 3:00PM 4:40PM 6:25PM 8:00PM 9:45PM Avengers: Age Of Ultron (PG-13) 10:45AM 12:25PM 2:05PM 3:50PM 5:30PM 7:10PM 8:55PM 10:30PM Hot Pursuit (PG-13) 12:00PM 2:30PM 5:05PM 7:30PM 10:00PM Age Of Adaline, The (PG-13) 10:50AM 1:45PM 4:30PM 7:25PM 10:15PM Cinderella (2015) (PG) 10:45AM 1:25PM 4:15PM 7:15PM 10:05PM Get Hard (R) 7:00PM 9:35PM Home (PG) 11:25AM 1:55PM 4:25PM Ex Machina (R) 11:00AM 1:50PM 4:35PM 7:20PM 10:10PM Furious 7 (PG-13) 12:15PM 3:45PM 7:05PM 10:20PM

Hot Pursuit (PG-13) 12:20PM 2:45PM 5:15PM 7:35PM

Age Of Adaline, The (PG-13) 11:00AM 1:45PM 4:30PM

10:00PM

7:15PM 10:00PM

Mad Max: Fury Road XD-3D (R) 10:40AM 1:30PM 4:20PM 7:10PM 10:00PM

GERRY

Home (PG) 12:05PM 2:35PM 5:05PM 7:35PM 10:05PM

Why it’s Portlandy: It’s a fiercely artistic love letter from Portland’s most iconic filmmaker to Oregon’s most iconic author. One Flew Over the Cuckoo’s Nest writer Ken Kesey died in Pleasant Hill while Van Sant spent $3.5 million to film Casey Affleck and Matt Damon, both named Gerry, improvise an art-school Dude, Where’s My Car? in the desert.

Mad Max: Fury Road (3D) (R) 10:55AM 12:00PM 1:00PM

Avengers: Age Of Ultron (3D) (PG-13) 11:50AM 1:55PM

1:55PM 3:00PM 4:00PM 4:50PM 6:00PM 9:55PM 10:40PM

3:10PM 6:30PM 9:50PM

Pitch Perfect 2 (PG-13) 11:00AM 12:25PM 1:50PM 3:15PM

Ex Machina (R) 11:15AM 2:00PM 4:45PM 7:30PM 10:15PM

Film professor Falsetto’s notes: “You’ll be reminded of Samuel Beckett, Bela Tarr and other great desert films. You’ll look at your watch and curse Van Sant for making you sit staring at a film made up of only 100 shots, but you won’t forget the experience. It’ll make you rethink your understanding of cinema—if you let it.” Van Sant said: “My characters aren’t really talking so that you can understand what they are saying.” Best quote from the movie: “Fuck ‘the thing.’” SEE IT: Gerry plays at NW Film Center’s Whitsell Auditorium, 1219 SW Park Ave., on Thursday, May 14. 7 pm. $9.

Woman In Gold (PG-13) 11:05AM 1:45PM 4:25PM 7:05PM 9:45PM

4:40PM 6:05PM 7:30PM 8:55PM 10:20PM Paul Blart: Mall Cop 2 (PG) 1:50PM 7:05PM 9:40PM

36 Vayadhinile (Praneeth Media) (NR) 6:00PM 9:00PM Furious 7 (PG-13) 12:50PM 4:00PM 7:10PM 10:20PM

Cinderella (2015) (PG) 11:05AM 4:15PM

Mad Max: Fury Road (R) 11:00AM 7:00PM 7:45PM

Avengers: Age Of Ultron (PG-13) 11:00AM 12:35PM

8:55PM

2:20PM 3:50PM 5:35PM 7:05PM 8:55PM 10:20PM

Hot Pursuit (PG-13) 12:10PM 2:40PM 5:10PM 7:40PM 10:05PM Home (PG) 11:35AM 2:10PM 4:35PM 7:20PM 9:55PM Pitch Perfect 2 (PG-13) 11:00AM 2:00PM 5:00PM 8:00PM 10:45PM Mad Max: Fury Road (3D) (R) 10:30AM 11:00AM 1:55PM 4:50PM 6:20PM 9:15PM 10:40PM Paul Blart: Mall Cop 2 (PG) 12:45PM 3:10PM 5:35PM 8:00PM 10:25PM Monkey Kingdom (G) 11:00AM 1:15PM 3:30PM 5:45PM 8:00PM 10:15PM Mad Max: Fury Road (R) 12:30PM 3:25PM 7:45PM Furious 7 (PG-13) 12:35PM 3:55PM 7:15PM 10:35PM

Avengers: Age Of Ultron (3D) (PG-13) 10:55AM 1:20PM 5:50PM 8:15PM 10:30PM Age Of Adaline, The (PG-13) 11:10AM 2:00PM 4:45PM 7:45PM 10:30PM Get Hard (R) 12:20PM 2:50PM 5:20PM 7:50PM 10:20PM Avengers: Age Of Ultron (PG-13) 12:00PM 2:20PM 3:30PM 4:55PM 7:00PM 9:20PM Ex Machina (R) 11:05AM 1:45PM 4:35PM 7:30PM 10:15PM Divergent Series: Insurgent, The (PG-13) 11:05AM 1:55PM 4:45PM 7:35PM 10:25PM Cinderella (2015) (PG) 11:00AM 1:50PM 4:40PM 7:25PM 10:10PM

FRIDAY Willamette Week MAY 13, 2015 wweek.com

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MAY 13–19

something much deeper: authenticity. We follow Stamp and Lambert from when they first stumbled on the Who in London’s Mod scene to their bitter separation under charges of mismanagement. There’s enough archival footage to almost make up for the absence of three principal figures. What you have is a story about how a band of unphotogenic people who didn’t like each other, managed by people who had no idea what they were doing and no money, came to be one of the defining rock-and-roll acts of the 20th century. R. JOHN LOCANTHI. Fox Tower.

Little Boy

B- This home-front family drama

of friendship and faith from Roma Downey and Mark Burnett (The Bible and Son of God) is set in a Norman Rockwell-style 1940s California seaside where 8-year-old Pepper (Jakob Salvati) misses his dad (Michael Rapaport), a POW being held by the Japanese. So: The earnest, comicbook-crazy kid takes Bible parables literally, inspires the townsfolk and makes everyone believe in miracles. Oh, and Little Boy also overcomes racism. PG-13. SEAN AXMAKER. Clackamas, Bridgeport.

The Longest Ride

D+ Bullriding champ Luke (Scott Eastwood) and budding art gallery intern Sophia (Britt Robertson) take handheld strolls across North Carolina resortland. This is not Mr. Sparks’ first rodeo. PG-13. JAY HORTON. Clackamas, Bridgeport, Division.

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. Avalon, Kennedy School, Mission, Valley, Vancouver.

Monkey Kingdom

Baby monkeys actually look like a fetal Bruce Jenner, but we still love letting these critters to swing from our heartstrings. PG. Eastport, Clackamas, Bridgeport, Fox Tower, Movies on TV.

Paul Blart: Mall Cop 2

Kevin James takes his daughter to Vegas and saves the world on a Segway. PG. Cedar Hills, Clackamas, Bridgeport, City Center, Division, Pioneer Place.

The Salt of the Earth

B Sebastiao Salgado’s still photos are more alive than most moving pictures. The UNICEF Goodwill Ambassador honed in on Indian coffee harvesters and Brazilian gold miners, and now The Salt of the Earth follows the economist-turned-photographer to Africa. His equally beautiful and disturbing photographs do their job on the bigscreen, holding a magnifying glass that isn’t too sentimental to the massive scope of our social and ecological responsibility. NR. KATHRYN PEIFER. City Center, Fox Tower.

Song of the Sea

Saoirse, the last Selkie seal-child of Ireland, frees lovable creatures from a Celtic curse in this mystical fable from Academy Award-nominated Tomm Moore (The Secret of Kells). PG . Academy.

True Story

B- Disgraced New York Times reporter Michael Finkel (Jonah Hill) gets a shot at redemption in this true story based on his 2005 book. Jobless after fabricating the subject of a cover story for newspaper’s Sunday magazine, Mike is back in Montana with his girlfriend (Felicity Jones, The Theory of Everything) when news breaks that wanted Oregon murderer Christian Longo (James Franco) was using his name when he was arrested in Mexico for killing his wife and three kids. Mike keeps insisting on getting his “second chance,” making you wish the movie weren’t so aligned with that dubious goal. R. BRIAN MILLER. Academy, Laurelhurst.

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Unfriended

AP FILM STUDIES CO U R T E SY O F PA R A M O U N T P I C T U R E S

MOVIES

B Unfriended ingeniously reboots

the tired, teen horror genre, employing a daunting menu of low-fi horror strategies to make fear incarnate in an uncloseable browser window. A group of frenemies virtually hanging out gets an uninvited guest using the screen name of a deceased classmate, Laura, who committed suicide after an anonymously posted video exposed her drunken misadventures. R. JAY HORTON. Clackamas, Division, Pioneer Place.

The Water Diviner

D+ Actor-musician Russell Crowe’s feature directorial debut is a dumb and overwrought mess that aims for the heart with a sledgehammer. And misses. Repeatedly. For two long hours. Crowe stars (of course) as Joshua Connor, a recently widowed water diviner who treks to Turkey to retrieve the remains of his three dead (or are they?) sons from the World War I battleground of Gallipoli. R. CHRIS STAMM. Bridgeport, Fox Tower.

Welcome to Me

B- Kristen Wiig proves her relat-

able allure and comedic timing once again, hypnotizing us as Alice Klieg, an Oprah fanatic with borderline personality disorder who wins the lottery. Empowered with a “new life,” Alice stops taking her meds and is “managing her moods with a high-protein lifestyle.” Her dream is to host a two-hour talk show with no theme but herself, and she finds a failing TV station to agree. Segments include five minutes of Alice eating meatloaf made to look like birthday cake and a re-enactment of her college friend’s betrayal, which closes with the credits rolling over Alice as she bawls, “Fuck you to death, Jordana!” At first, director Shira Piven’s pacing is refreshing, challenging us to face our own stereotypes about money and mental health. But writer Eliot Lawrence’s increasingly uncomplicated plot line falls flat compared to the magnetic strangeness of Wiig’s character. You’re left not caring about her relationship with Gabe or whether she’s being a bad friend to Gina; like the fans of her show, we just want to see what Alice does next. R. LAUREN TERRY. Kiggins, Cinema 21.

What We Do in the Shadows

B+ The last thing pop culture needs is another vampire fl ick. The secondto-last is more reality TV. Leave it to a pack of Kiwis—including Jemaine Clement of Flight of the Conchords fame—to give us both and somehow make vampires and reality TV feel fresh. JOHN LOCANTHI. Cinema 21.

While We’re Young

A- This Gen-X midlife-crisis movie is

a career-best comedy for both Ben Stiller and Noah Baumbach. Filmmaker Josh (Stiller) and producer wife Cornelia (Naomi Watts) are stalled in careers and marriage. More than a generational clash, this is a satire of an entire class of narcissists (the director included). R. BRIAN MILLER. Cinema 21.

Wild

A- Reese Witherspoon takes a walk. R. Academy, Laurelhurst, Valley.

Wild Tales

B+ Don’t let the dark subject matter fool you: Director Damián Szifron mines the humor out of all six stories in Wild Tales. He fi nds the smirk in a chef suggesting rat poison and even squeezes a few laughs out of a millionaire’s attempts to buy his drunken-driving son’s way out of prison after he kills a pregnant woman. The fi lm even has an Aesopian moral: Sometimes it’s better to just let things go. R . JOHN LOCANTHI. Living Room Theaters .

Woman in Gold

C+ Holocaust escapee Maria Altmann (Helen Mirren) and her lawyer nephew Randol (Ryan Reynolds) take the Austrian government to court to reclaim a painting that was stolen by Nazi art thieves (Nazis are the worst!). R. KELLY MCKRILLIS. Hollywood, Bridgeport, City Center, Division, Fox Tower.

Willamette Week MAY 13, 2015 wweek.com

Photo caption tk

A STRANGE CASE: John Barrymore (right) in Dr. Jekyll and Mr. Hyde.

SPLIT PERSONALITIES BY A LEX FA LCON E

AND

A P KRYZA

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Editor’s note: Substitute teacher Alex Falcone will graciously educate us while Professor AP Kryza takes maternity leave. Unsurprisingly, adaptations of the 1886 novella Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson are sometimes great and sometimes really terrible. The 120 film adaptations so far range from the powerful—Paramount Pictures’ 1920 version playing this week (Joy Cinema; 9:15 pm Wednesday, May 13)—to complete garbage, like Eddie Murphy’s The Nutty Professor. It’s lucky Stevenson didn’t live long enough to see his fascinating story of good and evil turn into the Klumps and fart jokes. The 1920 film takes liberties too, but in less fi lthy ways. Stevenson didn’t reveal that the two men were the same person until the twist ending, like Fight Club. But in the film, that’s the premise. It’s as if Fight Club opened with Edward Norton saying, “I get sexier and more confident at night. The fi rst rule of Fight Club is ‘Tell your friends!’” The more troubling change is that adaptations almost always show Dr. Jekyll’s transformation as an issue of split personalities. He has a good side and an evil side. Stevenson’s story was really about a doctor who wanted to do a bunch of evil shit, but couldn’t because that would besmirch his good name. His solution: create a magical potion so he can act like the giant dick he is but still get invited to parties. Hyde is more like Dr. Jekyll’s YouTube handle, letting his inner asshole run wild in the comments section because it’s anonymous. While The Nutty Professor was the Mr. Hyde of adaptations, Paramount’s silent fi lm is defi nitely in the Dr. Jekyll camp. It’s early special effects just might raise your jaded expectations of horror films, and Drew’s granddad, John Barrymore, acts out split personalities masterfully. During one transformation, he convulses so violently that we see one of his prosthetic fi ngers go flying. Best of all, because it’s silent, there isn’t a single fart joke.

ALSO SHOWING: We’re not saying that you need to be high to enjoy Re-Run Theater’s screening of 1979’s spandexstraining reboot of Buck Rogers. But, well, you probably need to be high. Hollywood Theatre. 7:30 pm Wednesday, May 13. Church of Film presents early works by legendary filmmaker Luis Buñuel, ranging from his silent surrealist period to the celebrated 1950 examination of poverty in Mexico City, Los Olivados. North Star Ballroom. 8 pm Wednesday, May 13. Often overshadowed by the works of Sergio Leone, Giulio Petroni’s grim 1966 revenge flick, Death Rides a Pale Horse, stands tall among the best spaghetti Westerns, and it’s got Lee Van Cleef to prove it. 5th Avenue Cinema. 7:30 pm Friday, May 15. Mexican director Carlos Reygadas’ semi-autobiographical drama Post Tenebras Lux divided audiences when it premiered in 2012. Whether you find its hallucinogenic surrealism inspiring or pretentious, it’s undeniably gorgeous. 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday and 3 pm Sunday, May 15-17. Celebrating 35 years of rubber biscuits and aping black culture, The Blues Brothers’ return to the multiplex finally affords us the opportunity to have the ultimate vehicular-mayhem double feature with Furious 7. Oddly, Jake and Elwood might just have Vin Diesel beat. Century Clackamas Town Center. 2 pm Sunday, May 17. One of the first great World War II films, 1957’s The Bridge on the River Kwai is everything you’d expect from an epic from the director of Doctor Zhivago and Lawrence of Arabia: sweeping, grandiose and sometimes quite boring. Laurelhurst Theater. May 15-21. With the next generation of Griswolds hitting Walley World in this summer’s reboot, now’s the perfect time to revisit when Chevy Chase and Christie Brinkley were a believable couple in the original National Lampoon’s Vacation. Academy Theater. May 15-21. Film historian Dennis Nyback dusts off a collection of old-school rail-hopping films with Hobo, You Can’t Ride That Train, featuring shorts, cartoons and music. Hollywood Theatre. 7:30 pm Monday, May 18. There are lost movies, and then there’s A Day at the White House, a 1972 political sexploitation farce that existed in cinematic purgatory. Now, it will unspool in all its 35 mm glory, with kinky footage that probably doesn’t have shit on Clinton’s Oval Office days. Hollywood Theatre. 7:30 pm Tuesday, May 19.


MOVIES

COURTESY OF UNIVERSAL PICTURES

MAY 15–21

WE’RE ON A MISSION FROM GOD: The Blues Brothers plays at 2 pm Sunday, May 17, at Century Clackamas Town Center.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St. AVENGERS: AGE OF ULTRON -- AN IMAX 3D EXPERIENCE Wed 11:45, 03:15, 07:00, 10:25 BACKSTREET BOYS: SHOW ‘EM WHAT YOU’RE MADE OF Wed 07:00 AVENGERS: AGE OF ULTRON Wed 12:15, 02:45, 03:45, 07:30, 09:55 AVENGERS: AGE OF ULTRON 3D Wed 11:15, 01:00, 04:30, 06:30, 08:15, 10:55 FURIOUS 7 Wed 12:00, 03:25, 06:50, 10:05 HOME Wed 12:05, 02:30, 04:55, 09:45 THE D TRAIN Wed 11:50, 02:25, 05:05, 07:40, 10:15 HOT PURSUIT Wed 11:35, 02:10, 04:35, 07:20, 10:00 THE AGE OF ADALINE Wed 12:30, 03:35, 06:40, 09:35 EX MACHINA Wed 12:50, 03:55, 07:10, 09:50 MAD MAX: FURY ROAD Fri-Sat-Sun 12:50, 03:50, 06:50 MAD MAX: FURY ROAD 3D Fri-Sat-Sun 01:30, 04:30, 07:30, 09:50, 10:30 PITCH PERFECT 2 FriSat-Sun 01:00, 03:55, 07:00, 09:50 DRIVING MISS DAISY: ON STAGE CLASSIC MUSIC SERIES: R.E.M. BY MTV Tue 07:30

Avalon Theatre & Wunderland

3451 SE Belmont St., 503-238-1617. CHAPPIE Wed 07:10, 09:25 MCFARLAND, USA Wed 02:00, 04:30 KINGSMAN: THE SECRET SERVICE Wed 04:30, 07:00, 09:30 THE SPONGEBOB MOVIE: SPONGE OUT OF WATER Wed 12:30, 02:30

Bagdad Theater

3702 SE Hawthorne Blvd., 503-249-7474. AVENGERS: AGE OF ULTRON Fri-Sat-Sun-MonTue-Wed 11:40, 03:00, 07:00, 10:35

Cinema 21

616 NW 21st Ave., 503-223-4515. WELCOME TO ME Fri-SatSun-Mon-Tue-Wed 04:30, 07:00, 09:00 WHAT WE DO IN THE SHADOWS FriSat-Sun-Mon-Tue-Wed 08:45 WHILE WE’RE YOUNG Fri-Sat-Sun-MonTue-Wed 04:00, 06:30 THE HUMAN EXPERIMENT Wed 07:00 BEST OF HUMP FriSat 06:30, 08:30, 10:45

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511. THE TREASURE OF THE SIERRA MADRE Wed 06:40 KINGSMAN: THE SECRET SERVICE Fri-Sat-Sun-MonTue-Wed 07:00, 09:20 ‘71 Fri-Sat-Sun-Mon-Tue-Wed 09:00 WILD Fri-Sat-SunWed 06:30 A GIRL WALKS HOME ALONE AT NIGHT Wed 09:45 THE IMITATION GAME Fri-Sat-Sun-Mon-TueWed 07:10 TRUE STORY Fri-Sat-Sun-Mon-Tue-Wed 09:35 THE BRIDGE ON THE RIVER KWAI Fri-Sat-SunMon-Tue 06:15 KUMIKO, THE TREASURE HUNTER FriSat-Sun-Mon-Tue 07:00 IT FOLLOWS Fri-Sat-Sun-MonTue 09:40

Mission Theater and Pub

1624 NW Glisan St. MCFARLAND, USA Fri-SatSun-Tue-Wed 05:30 FOCUS Wed 08:30 KINGSMAN: THE SECRET SERVICE Fri-SatSun-Tue 08:30 MAD MEN Sun 10:00 THE BREACH Mon 06:30

St. Johns Cinemas

8704 N Lombard St., 503-286-1768. AVENGERS: AGE OF ULTRON Fri-Sat-Sun-MonTue-Wed 04:00, 05:30, 07:00, 08:30 MAD MAX: FURY ROAD Fri-Sat-SunMon-Tue 05:00, 07:45

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919. AVENGERS: AGE OF ULTRON Fri-Sat-Sun-MonTue-Wed 04:00, 07:00

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474. MCFARLAND, USA Fri-SatSun-Wed 02:45 FOCUS Wed 06:00 FIFTY SHADES OF GREY Wed 08:20 SHARK TALE Fri-Sat-SunTue 05:30 KINGSMAN: THE SECRET SERVICE Fri-SatSun-Tue 02:30, 07:45 NO FILMS SHOWING TODAY Mon

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215. EX MACHINA Fri-Sat-SunMon-Tue-Wed 07:15, 09:30 MAGGIE Wed 09:45 BUCK ROGERS Wed 07:30 QDOC WOMAN IN GOLD Fri-SatSun-Mon-Tue 06:45, 09:00

PACKED IN A TRUNK: THE LOST ART OF EDITH LAKE WILKINSON Fri 06:45 WE CAME TO SWEAT: THE LEGEND OF STARLITE Fri 09:00 TAB HUNTER CONFIDENTIAL Sat 01:00 THE ROYAL ROAD Sat 03:30 LIMITED PARTNERSHIP Sat 06:00 THE CULT OF JT LEROY Sat 08:30 THE YEAR WE THOUGHT ABOUT LOVE Sun 12:30 EL HOMBRE NUEVO Sun 02:30 FEELINGS ARE FACTS: THE LIFE OF YVONNE RAINER Sun 04:30 LARRY KRAMER IN LOVE AND ANGER Sun 07:00 A DAY AT THE WHITE HOUSE Tue 07:30

Regal Fox Tower Stadium 10

846 SW Park Ave. THE D TRAIN Wed 01:00, 04:20, 07:10, 09:30 DIOR AND I Fri-Sat-Sun-Wed 01:15, 04:10, 06:50, 09:00 LAMBERT & STAMP FriSat-Sun-Wed 12:45, 03:30, 06:45, 09:20 THE WATER DIVINER Fri-Sat-Sun-Wed 01:10, 03:40, 06:40, 09:10 MONKEY KINGDOM Wed 12:50, 03:50, 06:30, 08:45 EX MACHINA Fri-Sat-SunWed 01:00, 04:00, 07:00, 09:30 FURIOUS 7 Wed 12:30, 03:00, 06:10, 09:15 THE DIVERGENT SERIES: INSURGENT Wed 03:20, 06:20, 09:10 THE SALT OF THE EARTH Fri-Sat-SunWed 12:20, 03:15, 06:15, 08:50 WOMAN IN GOLD Fri-Sat-Sun-Wed 12:40, 03:20, 06:00, 08:40 MAD MAX: FURY ROAD 3D FriSat-Sun 11:20, 12:40, 02:00, 03:40, 04:45, 06:30, 07:30, 09:15, 10:15 MAD MAX: FURY ROAD Fri-Sat-Sun 12:00, 03:00, 06:00, 07:00, 08:45, 09:45 FAR FROM THE MADDING CROWD FriSat-Sun 11:00, 12:15, 01:50, 03:15, 04:30, 06:30, 07:15, 09:20, 10:00

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156. NORTHWEST TRACKING Sun-Wed 07:00 GERRY IN A LONELY PLACE Fri-Sat 05:00 ON DANGEROUS GROUND Fri-Sun 02:00 WERCKMEISTER HARMONIES Sat-Sun 07:00 THE LUSTY MEN Sat 07:00 A RIVER BETWEEN US Mon 07:00 ÉLéPHANT Mon 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St. HOT PURSUIT Wed 12:45, 03:45, 06:45, 09:45 AVENGERS: AGE OF ULTRON Wed 12:00, 03:30, 07:00, 09:30 AVENGERS: AGE OF ULTRON 3D Wed

11:30, 12:30, 03:00, 04:00, 06:30, 07:30, 10:00 PAUL BLART: MALL COP 2 Wed 12:15, 03:15, 06:15, 09:15 UNFRIENDED Wed 06:30, 10:20 HOME Wed 01:00, 03:45 PITCH PERFECT 2 Fri-Sat-Sun-Mon-Tue 01:00, 04:00, 07:00, 10:00

St. Johns Theater

8203 N Ivanhoe St., 503-249-7474-6. HOT PURSUIT Fri-Sat-SunMon-Tue-Wed 01:00, 04:00, 07:00, 09:45

Friday, May 22nd through Monday, May 25th 10am to 7pm all days! 1000’s of New CDs! 1000’s of Used CDs! 1000’s of New & Used Vinyl! DVDs, Books & Other Surprises!

Save up to 70%!

Academy Theater

7818 SE Stark St., 503-252-0500. THE SECOND BEST EXOTIC MARIGOLD HOTEL Fri-SatSun-Mon-Tue-Wed 02:15, 06:45 ‘71 Wed 09:50 FIFTY SHADES OF GREY Wed 09:20 KINGSMAN: THE SECRET SERVICE FriSat-Sun-Mon-Tue-Wed 01:40, 07:00 TRUE STORY Wed 05:10, 09:40 SONG OF THE SEA Fri-Sat-SunMon-Tue-Wed 04:50 WILD Wed 04:20 SOME LIKE IT HOT Wed 02:40, 07:20 IT FOLLOWS Fri-Sat-SunMon-Tue 04:30, 09:40 KUMIKO, THE TREASURE HUNTER Fri-Sat-Sun-MonTue 02:05, 07:15 NATIONAL LAMPOON’S VACATION Fri-Sat-Sun-Mon-Tue 05:05, 09:30

Living Room Theaters 341 SW 10th Ave., 971-222-2010. 5 FLIGHTS UP Fri-SatSun-Mon-Tue-Wed 11:50, 02:00, 05:00, 06:50, 08:50 CLOUDS OF SILS MARIA Fri-Sat-Sun-Mon-Tue-Wed 12:05, 02:25, 04:00, 06:40, 09:10 FELIX AND MEIRA Fri-Sat-Sun-Mon-Tue-Wed 12:10, 02:20, 04:10, 07:00, 09:20 IN COUNTRY Wed 11:55, 05:20, 07:15 IT FOLLOWS Wed 09:45 KUMIKO, THE TREASURE HUNTER Wed 01:50, 04:35 THE AGE OF ADALINE Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:50, 05:10, 07:30, 09:15 WILD TALES Fri-SatSun-Mon-Tue-Wed 12:15, 02:40, 06:30, 09:05 MET SUMMER ENCORE: LA FILLE DU REGIMENT I AM BIG BIRD: THE CAROLL SPINNEY STORY Fri-Sat-Sun-Mon-Tue 12:20, 02:00, 05:30, 07:15, 08:45 TANGERINES Fri-SatSun-Mon-Tue 11:55, 02:10, 05:00, 07:00, 09:35 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION FRIDAY-THURSDAY, MAY 15-21, UNLESS OTHERWISE INDICATED

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2015

243-2122

First, just for a split second, everything slowed down. Next, I relaxed but didn’t feel awash with fatigue. After that, I waited for the high to hit and for me to get goofy, but it never happened. I stayed right where I’d hoped to be: relaxed enough to ease my sore muscles from a massage so deep it left bruises. After a few hours of sitting at my desk the next day, my back again started to tighten and ache. Another sip from my bottle, and 30 minutes later, I was as loosey-goosey as the day before. Still no high, but it felt like lying on a hammock in the warm shade. Lean Back Sizurp works, folks. Made with pure cane sugar, water, cannabis concentrate (flower, not trim) and natural flavors with typical preservatives and colorings, Lean Back Sizurp contains no codeine, despite its name. It does, however, contain 66.4 milligrams of THC and 2.5 milligrams of CBD per fluid ounce. Directions for use state, “shake well or twerk while drinking…start low and go slow… find the dose that works for you,” which a person may connect to the popular-in-the-South-but-illegal sizzurp, lean, or purple drank. A spokesman for creator Dirty Arm Farm likened the product’s name to “something silly you’d say while relaxing and drinking syrup,” so we’ll go with that for now. The taste is straight-up grape syrup, without the bitterness or dryness you’d expect from the similarly named street drug, and zero cannabis aroma or resin aftertaste—a welcome improvement from previous liquid concentrates. Dirty Arm Farm says Lean Back Sizurp was designed for mixing with flavored sodas. To test, we grabbed some West Coast-based canned beverages best suited for summer camping or beach trips: vanilla bean soda from Dry, BrightCider from 2 Towns Ciderhouse, Revel Berry Yerba Mate from Guayaki, and a shot of cinnamonflavored tequila someone may have forgotten in their fridge. Results were varied. Lean Back Sizurp mixed with the soda without stirring, adding a slight grape sweetness without any sugary, slimy after-

W W S TA F F

BY TYLER HU R ST

taste. The Yerba Mate was tasty, too, with the flavor perfectly matched with the berry, while elevating the sugariness to noticeable but not overpowering levels. The cider mix tasted like a dissolved Jolly Rancher, giving it a poorly back-sweetened finish more suitable for spiked lemonade. Don’t ruin good apples and yeast here, people. The tequila was also disgusting. Not recommended. The aforementioned “high” was the same: pleasant relaxedness without anything fuzzy or cloudy. At $40 per 4-ounce, four-serving bottle, it’s not cheap, but it’s still good value for the quantity of THC and CBD. Could Lean Back Sizurp as a mixer be a way to sip cannabis with your craft-beer-snob friends? Properly and responsibly dosed, this could be a hit at summer backyard pot parties. Lean Back Sizurp is available at PDX TreeHouse Collective for OMMP card carriers.

GIVE! GUIDE JUNE 1 GO LIVE ON

AT GIVEGUIDE.ORG

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Saturday, May 16 • 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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“MashQuote”–my first (and probably last) quote mash-up. astronomy 62 Pampers rival 64 Took a leap 65 “Atlas Shrugged” author Rand 66 Faucet annoyance 67 “___ Macabre” (Saint-Saens work) 68 “I Really Like You” singer Carly ___ Jepsen 69 Zapper target

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Across 1 “Girls” airer 4 CBS drama set in Vegas 7 Brewpub category 12 “The Hurt Locker” setting 14 Abbr. in real estate ads 15 Round number? 17 In ___ (in its original place) 18 Letters in an oval on bumper stickers 19 Painful spasms 20 With 25-Across, 37-Across,

37 See 20-Across 41 Op. ___ (footnote abbr.) 42 Central Utah city 44 Broadway play about Capote 45 Tequila ingredient 47 “Club Can’t Handle Me” rapper Flo ___ 48 See 20-Across 51 Trier trio 53 Admit honestly 54 See 20-Across 60 1960s Olympic track star ___ Tyus 61 A billion years, in

48-Across and 57-Across, late night partier’s quote 23 Monopoly’s Water Works or Electric Company, for short 24 Soaks flax 25 See 20-Across 29 “Ghostbusters” director Reitman 33 “In ___” (1993 Nirvana album) 34 Ft. Worth school 35 Defendant’s plea, for short 36 Upper limit

Down 1 That dude’s 2 Man from Manchester 3 Hippocratic thing 4 Prefix meaning “skull” 5 “Freedom” doesn’t have it, but “freedom” does 6 Words before “old chap” 7 Like a fugitive 8 Kind of shutout, in baseball 9 Submits 10 Overly excited 11 “Man, is it humid in here!” 13 Line former 16 Mao’s middle name? 21 First of four Holy Roman Emperors 22 “Baywatch” actress Bingham 25 David Sedaris forte 26 Brand of console with joysticks and paddles 27 Irked 28 Bygone rechargeable bike

brand 30 Shorter word list? 31 Hanging in there 32 Prominent 38 “Titanic” passenger class 39 Cup of legend 40 Swamp reptile 43 He can’t be whacked without a sit-down 46 Throw caution to the wind 49 Michael and Janet’s sister 50 Miss ___ (“PeeWee’s Playhouse” character) 52 Comes down heavy 54 “Lookit how cute!” sounds 55 Big Apple enforcement org. 56 Swiper tries to swipe from her 57 The next palindromic one won’t be until 2112 58 Catch a wave, brah 59 Like a goateed twin? 63 Secret Squirrel, e.g.

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 #JONZ726.

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get your

© 2015 Rob Brezsny

Week of May 14

ARIES (March 21-April 19): The danger of resisting a temptation too strenuously is that the temptation might depart. I suggest that you prevent that from happening. Without throwing yourself at the mercy of the temptation, see if you can coax it to stick around for a while longer. Why? In my view, it’s playing a useful role in your life. It’s motivating you to change some things that really do need to be changed. On the other hand, I’m not yet sure that it should become anything more than a temptation. It might serve you best that way, not as an object of your satisfied desire. TAURUS (April 20-May 20): My astrological colleagues discourage me from talking to you Bulls about financial matters. “Most Tauruses know ten times more about the mystery of money than you will ever know,” said one. “Their excellent instincts trump any tips you could offer.” Another astrologer concurred, noting, “The financial advice you give Tauruses will at best be redundant and at worst simplistic.” A third colleague summed it up: “Offering Tauruses guidance about money is like counseling Scorpios about sex.” So although I’m shy about providing recommendations, I will say this: The next five weeks will be a favorable time to set in motion the plans to GET RICHER QUICKER! GEMINI (May 21-June 20): “Endings to be useful must be inconclusive,” wrote science fiction novelist Samuel R. Delany. I endorse that theory for your use in the coming weeks. Interweave it with this advice from playwright Sam Shepard: “The temptation towards resolution, towards wrapping up the package, seems to me a terrible trap. Why not be more honest with the moment? The most authentic endings are the ones which are already revolving towards another beginning.” In other words, Gemini, don’t be attached to neat finales and splashy climaxes. Consider the possibility that you can simply slip free of the complicated past and head toward the future without much fanfare. CANCER (June 21-July 22): In mythic terms, you should be headed for the winner’s circle, which is inside the pleasure dome. The parade in your honor should follow the award ceremony, and let’s hope you will be on the lead float wearing a gold crown and holding a real magic wand while being sung to by a choir of people you love and who love you. If for any reason you are not experiencing some version of these metaphors, I urge you to find out why. Or better yet, get busy on planning a homecoming or graduation party or award ceremony for yourself. From an astrological perspective, you have a mandate to be recognized and appreciated for the gifts you offer the world. LEO (July 23-Aug. 22): British Field Marshal Arthur Wellesley was a brilliant military commander. Renowned for his ability to beat larger armies, he also had great skill at minimizing loss of life among his own troops. His most famous triumph took place in 1815, when he led the forces that defeated Napoleon Bonaparte at Waterloo. In the aftermath, the French tyrant lost his power and went into exile. What was the secret of Wellesley’s success? “Bonaparte’s plans were made in wire,” he said. “Mine were made in string.” In other words, Wellesley’s strategy was more flexible and adaptable. As circumstances changed, it could be rearranged with greater ease. That’s the approach I recommend for you in the coming days. VIRGO (Aug. 23-Sept. 22): You may not be strong enough to take a shot at a daunting challenge that’s five levels beyond your previous best. But I think you are at least ready to try a tricky challenge that’s one level higher than where you have been operating. And that, in my opinion, is a more practical use of your courage. I think it would be a waste of your energy to get wrapped up in grandiose fantasies about impossible perfections. As long as you don’t overreach, you can accomplish small miracles. LIBRA (Sept. 23-Oct. 22): I suspect you are about to experience some prime contenders for The Most Unusual Adventures of 2015. Are you thoroughly prepared? Of course not. There’s no way you can be totally ready to adapt to unpredictable wrinkles and change your mind at a moment’s notice. But that’s exactly what will make

these experiments so fun. That’s why they will be effective in building up your resilience and willpower. For best results, apply your nighttime thinking to daytime activities, and vice versa. Spend minimal time on responsibilities that don’t teach you noble truths about your fellow madmen and madwomen. Now here’s my big question: How can you tap into the extra power you will need during your rite of passage?

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SCORPIO (Oct. 23-Nov. 21): Many modern astronomers are allergic to astrology, but from my perspective there is no inherent conflict between the two fields. Four of history’s greatest astronomers were practicing astrologers, after all: Johannes Kepler, Galileo Galilei, Tycho Brahe, and Pierre Gassendi. One of my friends in college, a Scorpio woman named Martha Maiden, is a first-rate astrologer who got a degree in astronomy and became a top scientist at NASA. In the spirit of finding reconciliation between apparent opposites, I’m happy to say that you are now a virtual virtuoso in your ability to reconcile both apparent opposites and actual opposites. I invite you to use this aptitude with flair and daring. SAGITTARIUS (Nov. 22-Dec. 21): Sagittarian Matt Stutzman competes in the sport of archery. He’s the world’s record holder for longest accurate shot, having hit a target 230 yards away. What makes his accomplishment so extraordinary is the fact that he was born without any arms. He holds each arrow in his mouth and grasps the bow with his right foot and the help of a chest harness. In the spirit of this armless archer, and in accordance with your current astrological omens, I invite you to initiate an attempt to triumph over one of your so-called disadvantages. CAPRICORN (Dec. 22-Jan. 19): Long before Lou Reed recorded the song “Walk on the Wild Side,” Nelson Algren wrote a novel titled A Walk on the Wild Side. It depicts the luxuriant depravity of New Orleans’ French Quarter in the 1930s. One of Algren’s most enduring bits of spiritual advice goes as follows: “Never, ever, no matter what else you do in your whole life, never sleep with anyone whose troubles are worse than your own.” What do you think of that, Capricorn? Even if you don’t regard it as a universal rule that you should unfailingly obey, I suggest you observe it in the coming weeks. For the sake of your mental hygiene, be extra discerning about what influences you absorb -- not just in bed, but everywhere. AQUARIUS (Jan. 20-Feb. 18): The cosmos has authorized you to be hungrier than usual. You may also feel free to respond to your enhanced hunger with an extra aggressive quest to be fed. Therefore: Be voracious! Risk being avid, ardent, and even agog. Fill yourself up with pudding, pleasure, praise, peace, perks, and privileges. Anything else you’d like to engorge? If some unenlightened person questions your right to claim the biggest piece and the sweetest taste and the best fuel, inform them that your astrologer says you have ultimate permission. PISCES (Feb. 19-March 20): Is there an interesting ally whose path rarely crosses yours? Do you draw inspiration from a like-minded dynamo who is not fully available? Has fate kept you and a friend from getting as close as you would wish? According to my reading of the astrological omens, relationships like these could become more substantial in the coming weeks. The dream of a more robust connection could ripen into an opportunity to actually collaborate. So be alert for the openings, and be prepared to do what’s necessary to go deeper.

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41 28 willamette week, may 13, 2015  
41 28 willamette week, may 13, 2015  
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