41 32 willamette week, june 10, 2015

“PORTLAND HAS NOW BECOME POOHLAND.” P. 35

WHY THE APARTMENT BUILDINGS YOU HATE ARE GOOD FOR THE CITY. PAGE 12

WWEEK.COM

VOL 41/32 06.10.2015

NEWS GANGS AND INSTAGRAM.

P. 11

CULTURE OUR PRIDE EVENT PICKS.

P. 23

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Willamette Week JUNE 10, 2015 wweek.com

FINDINGS

PAGE 17

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 32.

A TriMet driver who illegally collected almost $78,000 in disability payments is still driving a bus. Oh, he’s also a convicted sex offender. 7 Kids are shooting people over beefs that start on Instagram,

not because they spot someone wearing a rival gang’s colors. 11 Thanks to rent control, one in 12 units in San Francisco sit empty because they’re not worth renting out at below-market rates. 15

ON THE COVER:

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 Projects Editor Matthew Korfhage Music Editor Matthew Singer Web Editor Lizzy Acker Books Penelope Bass

Portland has a gay Cheers. 25 The King of Dookion has proclaimed our city henceforth be known as Poohland. 35

A new Reagan biography depicts Nancy as “a world-class bitch.” 46 Hair-metal bands shot their

music videos in 35 mm. A film archivist is showing classic Crüe and Jovi clips this week. 50

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

“Grow Up, Portland” illustration by Dylan Boyd @dylandoodles.

STAFF

Those macho whiskey-tippling manly barber shops are ovah. 22

NEWS TKTKTKT.

Citizen heroes pushed over a portable toilet with a chronic public masturbator inside.

CULTURE OUR PRIDE EVENT PICKS.

Dance Enid Spitz Visual Arts Megan Harned Editorial Interns Allie Donahue, Ted Jamison, Anthony Macuk, Emily Volpert, Amy Wolfe CONTRIBUTORS Dave Cantor, Nathan Carson, Rachel Graham Cody, Pete Cottell, Alex Falcone, Shannon Gormley, Jordan Green, Parker Hall, Jay Horton, Tyler Hurst, AP Kryza, John Locanthi, Adrienne So, Mark Stock, Anna Walters PRODUCTION Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Kristina Morris

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Willamette Week JUNE 10, 2015 wweek.com

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One dumb decision may put five local taxi companies out of business and 1,000 people out of work. For what? So Mayor Charlie Hales can sit at the Big Boy table? [“An Immigrant’s Fare Fight,” WW, June 3, 2015.]

This whole ordeal stinks. The only people who win here are Hales and Uber and Lyft. The cab drivers and the passengers are going to get chewed up.

—“AR” CELL TOWERS IN PORTLAND

BROWN DEFENDS EMAIL LEAKER

I live below Mount Tabor and support a new cellphone tower on Mount Tabor that will improve service for the T-Mobile customers in our household and around the neighborhood [“Pole Position,” WW, June 3, 2015].

NIMBYism happens over everything—cell towers, skinny houses, naked bike rides, homeless camps, you name it.

—Benjamin Kerensa

Gov. Kate Brown is right. Michael Rodgers made the right call, 100 percent [“Defending the Whistle-Blower,” WW, June 3, 2015].

Get that guy back to work. We need more like him, standing up to those who can harm them, and doing the right thing at great personal cost.

—“Lily Bart”

Mayor Charlie Hales should be investigated because he is in the pockets of his developer friends. I am sure he has made a lot of money with the contractual agreements he made with them. It’s a conflict of interest.

—“K B”

Who approves building designs? Specifically, who approved the hideous “Zipper” building at Northeast 28th Avenue and Sandy Boulevard? Were any of the neighbors consulted? How does the city decide when a new building is just too ugly to be built?

—Eyes Averted You know, I remember the days when I could do a whole column on “Why is it worse to suck green donkey dicks than other colors of donkey dicks?” Now I gotta gloss the Bureau of Development Services’ exhaustive land-use guidelines in 200 words.

Small projects such as single-family homes usually just need to hit a set of objective marks— this much window area, this kind of garage, etc.

Bigger developments, though, have to convince BDS planners that their design serves the Community Design Guidelines in force in that neighborhood.

The CDGs are subjective goals rather than objective measures, and include things like enhancing neighborhood identity, promoting 4

Willamette Week JUNE 10, 2015 wweek.com

It’s called competition. If you can’t deal with competition and losing your monopoly on something, then you don’t deserve to be in business.

People forget this is a consumer-run world. If the consumer wants it, let them have it. Government has no right to step on what the consumer wants.

—“dan”

CORRECTION

Last week’s Murmurs column incorrectly stated the amount of marijuana $350,000 could buy in the current Portland market. That much money could buy 120 pounds. WW regrets the error.

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.

walkability, and displaying “cohesive architectural composition.”

How does the BDS get away with making these decisions in some gluten-filled backroom, without so much as a by-your-leave from the neighbors?

The answer, of course, is that they beg for citizen input, and rarely can anyone be arsed to give any.

Take the project you’re griping about, the Zipper. In July 2013, the BDS sent a “Notice of Proposal” letter about it to all the site’s close neighbors, as well as the relevant neighborhood associations, asking for feedback.

Only one person replied. That guy suggested two fairly major structural changes—fewer “fins” and modified windows—and the developers made both of them. That coulda been you, Eyes.

Sure, neighborhood involvement is dull— and, let’s face it, terminally uncool. But if you don’t show up, you leave all the decisions to local cranks with time on their hands and Ron Paul stickers on their Rascal scooters. Don’t say I didn’t warn you.

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

Willamette Week JUNE 10, 2015 wweek.com

5

TRANSIT: TriMet won’t explain a bus driver’s criminal past.

SCHOOLS: A grad’s success story: hardscrabble to Harvard.

HOTSEAT: Anti-gang program chief Erika Preuitt.

COVER STORY: New apartments are everywhere. Deal with it.

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DID THE OLCC RIG A HUGE LEGAL WEED CONTRACT? A Florida software company says the state’s marijuana overlords improperly awarded a $1.7 million contract to follow the flow of legal pot from farm to bong. The company, BioTrackTHC, wants to provide the Oregon Liquor Control Commission with a seed-to-sale tracking system to prevent recreational weed from leaking onto the black market.

BioTrackTHC finished second in an April competition for the contract. In a May 26 lawsuit in Marion County Circuit Court, the firm alleges the OLCC improperly awarded the contract to a competitor, Florida-based Franwell, with a last-minute and unexplained scoring change. BioTrackTHC’s lawsuit stops short of accusing the state of rigging the game, but suggests the OLCC’s actions may have been “nefarious.” OLCC officials declined to comment on the lawsuit. “What I can tell you,” says OLCC spokesman Tom Towslee, “is that we’re continuing to work to finalize the terms of the contract with Franwell.”

There’s widespread belief at City Hall that Gail Shibley, chief of staff to Mayor Charlie Hales, is leaving her post. Shibley, a former state legislator and director of the Oregon Health Authority’s Office of Environmental Public Health, has helped Hales weather a series of crises. Shibley was also the subject of a state civil rights complaint last year. A former employee SHIBLEY in the mayor’s office said Shibley called him a “skank.” Hales has been under pressure from supporters to replace Shibley as he approaches a 2016 run for re-election, but he has dragged his feet, seemingly unable to announce the change more than a week after word began circulating that Shibley was out. Josh Alpert, a Hales staffer, is said to be Shibley’s probable replacement. Shibley didn’t respond to a request for comment. Hales spokesman Dana Haynes said simply, ”She’s not leaving.”

Dept. of Shameless Self-Promotion: The Society of Professional Journalists last weekend handed out awards for stories published in 2014, and Oregon’s top journalism prize, the Bruce Baer Award, went to WW’s Nigel Jaquiss for “First Lady Inc.” (Oct. 8). The story and Jaquiss’ follow-up work revealed alleged influence peddling by former Gov. John Kitzhaber and first lady Cylvia Hayes, and led to Kitzhaber’s resignation in February. WW also won six first-place awards among other Pacific Northwest alternative weeklies. Jaquiss won in investigative reporting for “First Lady Inc.” Aaron Mesh won two awards: personalities reporting for “Breaking Bread” (Jan. 8), a profile of Dave’s Killer Bread co-founder Dave Dahl; and government and political reporting for “Talkin’ Bull” (April 23), on the fight over Portland’s water. Elizabeth Armstrong Moore won in two categories, health reporting and environment and science reporting, for “Splice of Life” (Sept. 17), a profile of Oregon Health & Science University geneticist Shoukhrat Mitalipov.

Cambria Roth and Brent Walth won in business reporting for “Wipeout!” (May 21), about a Portland State University student who claimed his professor stole his surfboard business.

There’s lots more news at wweek.com.

JAMES REXROAD

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GOT A GOOD TIP? CALL 503.445.1542, OR EMAIL NEWSHOUND@WWEEK.COM

A TRIMET DRIVER’S CRIMINAL PAST BECOMES AN ISSUE IN A UNION ELECTION—AND EMBARRASSES THE TRANSIT AGENCY.

BY AN T H O N Y M AC UK

amacuk@wweek.com

TriMet and the transit agency’s biggest union share many problems.

They blame each other for the financial troubles ailing the agency. TriMet points to an overly generous contract with expensive benefits that end up forcing the agency to cut service and increase fares.

The Amalgamated Transit Union Local 757 has long argued it’s TriMet’s leaders who have mismanaged the agency’s finances.

But TriMet and ATU share another problem neither want to discuss: a union leader and bus driver with a troubled past.

Daniel Lee Martin, 51, has driven a bus for TriMet for the past 16 years and earns $51,677 annually. Union members elected Martin three years ago to a seat on ATU’s executive board. Now, Martin is seeking a promotion: He’s running in the current union election for the No. 2 position, behind ATU president Bruce Hansen.

Martin also has a criminal record. In 2006, he pleaded guilty to defrauding the federal government out of nearly $78,000 in disability payments. And 30 years ago, he pleaded guilty to second-degree sex abuse after he admitting having sex with a 15-year-old girl. Court records say Martin was 21 at the time.

“I’ve made mistakes,” Martin tells WW. “I’m a changed person.”

Martin says his past has surfaced only because of the bitterly contested union election scheduled June 23.

One of the state’s biggest unions, ATU has been locked in a power struggle. The group that ran the union for decades lost the presidency in 2012. The old guard is now aggressively seeking to regain control. Martin is part of the group standing in the way.

Martin says his record has never been an issue until this election, and that he’s now being targeted by supporters of former ATU president Jon Hunt, who is running against Martin for union vice president. “Look at the timing,” Martin says. “Three weeks ago, no one gave a shit about me.”

Hansen, the current ATU president, declined to comment on Martin’s criminal record involving fraud. “We don’t investigate our members,” Hansen tells WW. “That’s it—the employer [TriMet] goes through a criminal background check when they hire.”

Martin says TriMet officials have long been aware of his criminal history. TriMet officials have spent the past few days avoiding WW’s questions about him.

WW asked TriMet spokeswoman Roberta Altstadt to confirm that Martin worked for the agency. She refused to do so.

“The agency does not verify an individual’s employment,” Altstadt said.

Altstadt finally confirmed Martin’s employment only after WW threatened to appeal to the Multnomah County District Attorney’s Office, which can order a government agency to release public information.

“We are carefully investigating this matter internally,” Altstadt added in a statement to WW. “We have no further comment at this time.”

TriMet moves more than 335,000 riders a day. The regional agency has faced major budget and management challenges, and was blasted in a scathing 2014 state audit report released by then-Secretary of State Kate Brown. The audit pointed to TriMet’s antagonistic relationship with ATU as a reason for the agency’s dysfunction.

Critics and TriMet officials have both argued that the union’s obstinacy is responsible for a large portion of the agency’s financial woes. Brutal contract fights have taken place over the years, and ATU has frequently emerged victorious.

Under longtime union leader Ron Heintzman, the union won comprehensive health care benefits for its retirees in 1994.

TriMet’s financial fortunes, meanwhile, are looking up. The agency gets 54 percent of its revenues from payroll taxes, which increase as the economy improves.

(Another 22 percent of revenues come from fares.)

The union represents about 3,800 transit workers in at least 15 transit agencies across the state. About 2,100 members work for TriMet. The 2012 ATU election saw Hansen defeat Heintzman, who had served five terms as president, from 1988 to 2002.

Jon Hunt, a Heintzman loyalist, served as president from 2002 to 2012. Hunt didn’t run again after a conviction for driving while intoxicated. Martin is now taking on Hunt for the post as the union’s second in command.

Martin was born Daniel Lee Overby in 1963. He attended Sunset High School in Beaverton. In August 1985, the Tillamook County Sheriff ’s office arrested him for third-degree rape after he had sex with an underage girl. He pleaded guilty to seconddegree sex abuse, a misdemeanor, and served three years’ probation.

Martin says he eventually married the girl and divorced her years later. (WW

AT U 7 5 7 U N I T E D . C O M

DRIVER’S RECORD

RECORDS UNEARTHED: Daniel Martin says he didn’t think his criminal record would impact the election. “I hate to think my PHOTO: Caption tktktk career is going to be over because of a mistake 30 years ago,” he says.

could find no record of the divorce case.)

He says a mistake he made 30 years ago has had no effect on his job performance at TriMet, and that he poses no risk to the safety of passengers. Martin says he was hired at a time when TriMet did not conduct routine criminal background checks, and that the agency was aware of his record.

“I could have expunged my record,” Martin says. “I could have hidden that I screwed up in my life. I didn’t do it.”

Court records show he changed his name from Overby to Martin in 1993.

Federal court records show Martin started receiving Social Security disability payments in 1990 after suffering a spinal injury, and continued receiving them off and on for several years.

He went to work as a bus driver for TriMet in 1998 but continued to collect federal disability payments for at least three years while employed by the agency.

In 2003, court records show, Social Security investigators tipped off by the Internal

Revenue Service caught up with Martin.

The feds charged Martin with theft of government property, and in June 2006 he pleaded guilty. He was sentenced to serve six months of home detention and three years’ probation. He also agreed to pay back the money.

“I owed it, and I owned it,” he says. “I regret it. Wholeheartedly, I regret it.”

Martin says the transit agency is aware of his federal conviction as well. “This is nothing new to TriMet,” he says.

Martin says that, even though the agency is aware of his past, he fears TriMet will try to use the information to fire him and undermine the union. He also says he has a strong record as a driver: only 10 complaints in 15 years, and he has never been disciplined.

“I’ve worked every day to make myself such a better person and overcome the stupid things I’ve done in my life,” Martin says. “I don’t think this should disqualify me from working at TriMet or trying to help my union.”

Willamette Week JUNE 10, 2015 wweek.com

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NEWS

SCHOOLS

On June 11, Josh Kellebrew will graduate with 545 other classmates from David Douglas, the state’s largest and one of its most diverse high schools.

In many ways, Kellebrew blends in at David Douglas, a school with high rates of poverty. His parents split when he was 6, and his mother raised him mostly on her own. She earned a certificate to work as a medical assistant, but she never got a college degree. Money was tight.

Kellebrew assumed he’d go to Mt. Hood Community College and later transfer to a state university. “I didn’t have a high goal,” he says.

But Kellebrew—muscular and bespectacled, with red hair and freckles—is going to Harvard University. He’s the first David Douglas student ever to do so, according to the district. And he’s going on close to a full scholarship. (Harvard declined to verify Kellebrew’s achievement, saying it doesn’t make admissions statistics public.)

Kellebrew was helped along by terrific grades (a 3.93 grade-point average) and speed: He’s a track star, winning the 6A state title in the 800 meters in 2014, and placing third last month in the 2015 finals.

Even those qualities might not have been enough. Kellebrew is among a growing number of Oregon high-school students who have taken part in innovative and often aggressive programs aimed at lifting students’ college goals.

Oregon’s education system is, by many measures, a mess. The state lags in its financial support for schools. Its 72 percent graduation rate statewide consistently places Oregon near the bottom nationwide.

Every year, about 32,000 Oregon highschool students graduate, but only about 60 percent go to college. The path is even tougher for low-income students such as Kellebrew: Only about 8 percent ever graduate from college.

School districts desperate to propel more of their graduates into college are

FROM SCARLET TO CRIMSON: Josh Kellebrew, a track star at David Douglas High School, will don a Harvard jersey after he enrolls this fall. Kellebrew once aspired to attend Mt. Hood Community College, then transfer to a state university. But a school-district partnership with College Possible helped him aim higher.

Aminah Ali, who was Kellebrew’s teacher in AP psychology. “He never does anything to draw attention to himself other than his accomplishments.”

Kellebrew excelled in track, although his family didn’t have money for new equipment. He ran his sophomore year with holes in his shoes. “It didn’t rain that much that season, so it was OK,” he says.

David Douglas track coach Cameron Cross recalls a 1,600-meter relay in which Kellebrew was running the anchor leg.

The David Douglas team was in third place and 20 meters behind after the third leg.

What’s worse, Kellebrew had a terrible cold. “Don’t worry, coach,” Cross recalls Kellebrew saying, “I’ll chase them down, or I’ll die trying.”

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“Most people in this school don’t know how people are helping them,” Hae Nay says.

“They don’t have the thankfulness. I wanted to bring that up. I think it is really important to thank people who have helped us. So I really want to do that.”

RACHEL GRAHAM CODY.

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speeches. School officials say she will be the first refugee student to do so.

In our 2013 story, Hae Nay longed to move beyond basic English courses for immigrants and participate in mainstream classes. She accomplished that last year, allowing her to broaden her academic and social experiences.

Hae Nay has volunteered with the Youth Action Council, which works on mental health issues and suicide prevention among teens. Her work—and her own experience as a refugee—has inspired her to pursue nursing. In September, she will enter Warner Pacific College in Southeast Portland to study health sciences.

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2013, when WW wanted to understand the experience of immigrants in public schools, we went to David Douglas High, where more than 50 languages are spoken among its 2,800 students. Never a wealthy district, David Douglas has nonetheless helped immigrant students thrive as they learn English and adjust to an American school. To do that, we followed then-sophomore Hae Nay Paw (“Miracle on 135th Avenue,” WW, Feb. 13, 2013).

Hae Nay immigrated to Portland in 2010 after living in a Thai refugee camp. She arrived knowing only two words in English and few people outside her family who spoke her native language, Karen.

On June 11, Hae Nay will graduate from David Douglas—but not before delivering one of the commencement

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two seconds ahead of the second-place team. “I went out fast,” he says. “I don’t know how I held on.”

Financial aid from Harvard will help Kellebrew. His mother, Lisa, works as a special education assistant in Portland Public Schools, a job that pays between $15 and $19 an hour, and she has another child at home.

Tuition, fees, room and board at Harvard would otherwise cost $60,659 next school year. Kellebrew’s scholarship means he will pay $1,600, plus perform $3,000 of work study. He will also run for the Harvard track team.

It’s clear Kellebrew has little inkling of the doors Harvard can open for him. He says he’s heard that having Harvard on his résumé will help him get a job.

“At least,” he says, “you’ll probably get an interview.”

M

bslovic@wweek.com

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increasingly searching for ways to bring those numbers up. At Franklin High in Portland Public Schools, for example, the Advanced Scholar Program encourages students to load up on Advanced Placement classes, get involved in extracurricular activities and meet regularly with mentors—all with an eye toward success after high school.

Other districts are turning to outside, private organizations. One is College Possible, a nonprofit mentorship program that began operating in Oregon in 2012. It now partners with the Gresham-Barlow, Reynolds and Parkrose school districts and charges $20,000 per school to provide mentors for promising low-income students.

Another partner, David Douglas, serves the most impoverished population of Multnomah County’s eight school districts.

About 78 percent of its students qualify for free or reduced-price lunch, compared to 42 percent in Portland Public Schools.

Nonetheless, David Douglas students last year graduated at a higher rate, 74.1 percent, compared to 70.4 percent in PPS. David Douglas students start College Possible in their junior year, meeting twice a week for a total of four hours—practicing standardized tests, learning financial literacy and navigating the intricacies of college financial aid.

Mentors also keep tabs on students once they’re in college—key to the program’s success. “It’s one thing to get into college,” says Julie Mancini, executive director of College Possible’s Portland branch. “It’s another thing to feel comfortable there, and to feel like you’ll be successful.”

That’s why College Possible—which has so far worked with 300 Portland-area students—focuses on college completion rates, not just admissions.

“It’s not about getting in,” says Ken Thrasher, chairman of College Possible Portland’s board. “It’s about getting out.”

For Kellebrew, the extra support has been life-changing. “It helped me realize the potential I had,” he says.

Kellebrew’s path to Harvard looks more like a hurdles race than a 100-meter sprint.

He generated his own success with terrific grades, a calculator-quick mind and a philosophical bent, teachers say.

“He is quiet, unassuming, humble,” says

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AM CODy | PAGE 13

Willamette Week JUNE 10, 2015 wweek.com

LEAHN

A DAVID DOUGLAS SENIOR GAINS ADMISSION TO A TOP UNIVERSITY— WITH HELP FROM MENTORS.

COURTESY OF CAMERON CROSS

RUNNING TO HARVARD

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NEWS

GANG SHOOTINGS ARE WAY UP. THE WOMAN CHARGED WITH GETTING GANG MEMBERS TO GIVE UP CRIME SAYS SHE WANTS TO KNOW WHY.

BY EMILY VOLPERT

evolpert@wweek.com

May was a bad month in the anti-street gang business.

Portland police were called to at least 25 violent incidents involving suspected gang members last month, the most in a single month since police started keeping track in the late 1990s.

Those numbers worry Erika Preuitt. She runs the Adult Services Division in Multnomah County’s Department of Community Justice. A former probation and parole officer, she now manages a unit whose job it is to convince convicted gangsters they should change their ways.

Preuitt, 48, grew up in Northeast Portland, the daughter of the city’s first female African-American female police officer. In the 1990s, when Preuitt started at the Department of Community Justice, gang shootings peaked in Portland. Since then, she’s made helping reduce such violence her life’s work.

WW sat down with Preuitt to ask her why gang activity spiked last month.

WW: Why is this happening now?

Erika Preuitt: There is more access to guns, and young people are being more brazen in using those guns. At certain points, they were hiding the guns—maybe at a girlfriend’s house, maybe in the bushes. Now we are seeing more and more people carrying guns on their person.

That doesn’t explain the spike in shootings last month.

Why is it at an all time high in May? If the police can’t tell you and the DA can’t tell you, I can’t tell you.

I can’t tell you something provocative like we know (gangs such as) the Hoovers have a beef against the Unthanks, and the Unthanks don’t like the Rollin’ 60s. I can’t give you that formula. I can tell you that sometimes you have new beefs, sometimes you have old beefs, and it all plays out in a shooting. All of this conflict is converging.

How does this make you feel?

Very, very sad. I am grieving. It angers me. It perplexes me, because there are so many of us out there doing positive things to reach people. There are kids that are getting connected to services. There are kids that are really making choices to

E M I LY V O L P E R T

ERIKA PREUITT change their lives and do their part in the community.

How have gangs changed since you became a parole officer in 1994?

People are involving themselves in gang violence at younger ages. We are shocked when we find out the ages of the shooters. Things have also changed around how girls were involved in gangs. When I was a PO in the 1990s, crack was huge. Now it’s about sex trafficking.

What are the first questions you ask after a shooting?

My first question is, who? Because when you know the who, you can get closer to the why. You have to consider the personal beefs and interpersonal conflicts. Once I know the who, I figure out what gang he was involved in. And it helps the police get that shooter and hold them accountable.

What specific triggers lead to gang violence?

As we’ve seen gentrification, the idea that people in specific gangs live in certain areas of the city has changed. Now, there’s been a migration out east, and the turf issues aren’t so much prevalent anymore.

In an apartment building, you might open your door and just down the hallway is a rival gang member. It used to be because of your gang type; you know, “You’re a Blood, I’m a Crip.” It was about the allegiance to your color.

Now it’s about personal beefs. People are choosing to solve their interpersonal conflict by using guns.

Why has that changed?

Our ability to communicate quickly and rapidly. Within seconds, someone can get a picture, sound bite, a string of messages that can be offensive. Sometimes that’s not even a face-to-face beef. The conflict may have started on Facebook, Instagram, Twitter. It’s not like your classic, “You said something that disrespected me.” It’s: “I saw this on Facebook. I saw your tweet.”

Does it surprise you that in the strongest economy in more than a decade, gang shootings are up?

The driving factor behind gang violence is about what gang members think, what they believe, and who they are associating with. Giving a person a job is not going to resolve those issues.

The Portland Police Bureau recently added six members to the gang unit. Will that make a difference?

We can’t arrest our way out of the gang problem. Of course, having more people out on the streets, being available to respond to the gang activity, and to be able to investigate crimes are very important. But we need to work on stopping

SEEKING ACCOUNTABILITY: “I don’t want to demonize the African-American kids in our community,” Preuitt says. “But there are still shooters out there that we need to catch.”

“WE CAN’T ARREST OUR WAY OUT OF THE GANG PROBLEM.” the kids from being in the gangs in the first place.

The May 28 shooting at Last Thursday on Northeast Alberta Street got lots of attention. Isn’t that because it happened in front of middle-class white people?

No. It was in the middle of a very busy, busy, busy part of our community. The recklessness of the act is why it got so much attention. Any type of gun violence is very serious.

Especially when people are shooting into crowds of people.

What is it about the rise in the number of gang shootings the news media are missing?

Young boys in our community feel very disenfranchised.

They feel that their only recourse is to be in a gang and to engage in gang activity or gang violence.

The story for our gang members is not a hopeless story, it is a hopeful story. There are resources available to gang members and people who want to help. There are people who have averted being in gangs and have done good things with their lives. Those positive stories have been missed.

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Untitled-2 1

6/10/12 9:41 AM

11

WHY THE APARTMENT BUILDINGS YOU HATE ARE GOOD FOR THE CITY.

12

Willamette Week JUNE 10, 2015 wweek.com

They pop up seemingly overnight, multiplying faster than food carts on every street corner in the city.

Just a whisper of them transforms normally mild-mannered Portlanders into fire-breathing Trotskyites. Politicians and economists can’t stomp them out. They make the rent too damn high.

No, we’re not talking about all these new apartment buildings.

We’re talking about the myths, misconceptions and misinformation too many people spread about all these new apartment buildings.

No contemporary Portland phenomenon, except perhaps Carrie Brownstein, has been as regularly and unfairly slandered in the past year than the beige-and-cream bunkers landing like alien pods equipped with Little Big Burgers.

Witness, for example, the hot-as-hell anger over a Web commercial for a new building, Burnside 26, and the even more intense response two weeks ago when one writer, Tyler Hurst, on wweek.com defended his decision to live there.

And then there are those “truths” about all these new apartments—that they are ruining Portland.

WW wrote about the apartment crunch four years ago, and, at the time, experts said the market wasn’t yet ready for a building boom of new units (“Renter’s Hell,” WW, Dec. 7, 2011).

Developers built 4,413 rental units last year, says real-estate brokerage Marcus & Millichap—the most added here in more than a decade. They’re on pace to erect 6,100 units this year.

And it’s true that Portland faces a serious problem with the cost of housing. The average rent for an apartment in Portland jumped into the thousand-dollar-a-month club last year. It’s at $1,070 a month, a 7 percent jump in a year.

What is really going on here?

We invited Hurst to expand on his online post that lit a fuse with so many people outraged by the apartment boom, examining the uncomfortable truths behind all the anger.

And we peel back the myths about the boom itself and look at the well-meaning but nonetheless wrong ideas about housing. Our apartment buildings—for years low-slung and affordable—are growing up and, for many, out of reach. AARON MESH.

Why My Apartment is Good for Portland

M

@tdhu rst

odern look and clean lines. Open floor plans with bright and airy rooms. Reliable Internet and an entire roof to host guests. Not to mention the end of ant trails, mold in the showers, and leaving home to do laundry.

My wife and I had been touring new apartment buildings in Portland for two months. After I saw this shiny new building in Kerns, I told her I didn’t need to see any more.

We moved in with our dog, a queen-size bed, and a used chaise longue with love seat two days before the start of 2015 after signing the lease in early December.

We live at Burnside 26, and we love it.

I grew up in Kent, Wash.; my wife, Chicago. We chose Portland as our home because we wanted to walk and bike and not sit in traffic. I’ve never owned an umbrella. My wife bikes to her job as a marketer for a local company in the Pearl District. I work from home as a freelance writer and run almost daily, usually around the waterfront. The companies we work for have headquarters in either Portland or Seattle.

We own a Nissan Cube, one bike (my wife’s was stolen, she now rides mine), two computers, two iPhones, a TV and an iPad. Together, we earn about $85,000 a year before taxes.

We have good jobs, no kids and the simple desire to enjoy our city while taking up as little space as possible— and our apartment allows us to live that life.

We thought we were just like other Portlanders.

But because of the building we live in, we’ve been mocked on the Internet, with haters labeling us trust-

fund kids, privileged, idiots, morons, hipsters, yupsters, and everything else people think is wrong with this city.

It turns out Burnside 26 has become a symbol to many of what is going very wrong in a Portland facing rising rents, neighborhoods crowded by new-apartment bunkers, and growing unease about the changing city.

I believed that people who thought this were wrong— but when I tried to respond to online commenters, the attacks turned personal.

The first city that felt like home hated me, not because of something I’d done, but because of my address. Our dream, the one that included sacrificing our honeymoon so we could afford the move, wasn’t the right kind of “weird.” I felt like I was being punished because we chose a cool apartment.

I saw critics as whiny, mostly anonymous, cowards. They saw me as a symbol of everything wrong with their fair city. And what I’ve learned in the past three weeks is that the vitriol aimed at me personally is really about something else: a Portland at war with itself over the city everyone wants it to become.

I

t started with a marketing video for Burnside 26, a 52-unit, four-story building that opened in July 2014 at East Burnside Street and 26th Avenue. The video stars Luke and Jess—in reality, actors playing a fictional couple in their late 20s, dressed in clichéd stocking caps dur-

Online commenters saw me as a symbol of everything wrong with their fair city.

CONT. on page 14 CAMERON BROWNE

BY TY L E R H U R ST

ing the day, jean jackets at night, and many layers of sweaters.

The video shows Luke and Jess’ adventures: enjoying drinks, singing karaoke at a bar next door, having pillow fights—every cutesy, roll-your-eyes moment corporations produce when they’re trying to entice couples to buy stuff.

We didn’t require such enticements. Since college, I had lived in makeshift situations and dingy rooms. We moved to Portland in November 2012, to Wimbledon Square next to Reed College, an Ewok village for college students. At Burnside 26, we pay $1,400 for a one-bedroom apartment that’s all of 592 square feet, takes minutes to clean, and has an open floor plan. My home office is here, making our rent competitive for the area, including our living space and all the amenities—yep, we use the bike rack and dog wash. When the dishwasher broke, the managers fixed it within hours.

We can walk to drinks at Portland Cider Co. or dinner at Fonda Rosa, and then catch the sunset from Burnside 26’s rooftop lounge. What I really love is the silence. I’m a writer, and even though our apartment looks over East Burnside Street, our apartment is quiet. The one window we can open provides plenty of soothing road noise from Burnside, and it’s open every second I’m not working. But it’s quiet when I want it to be. I like that.

I watched online as friends, and friends of friends, passed the video around with cutting comments about Luke and Jess.

“Trust-fund towers,” they said.

“Leave Portland,” said another.

I winced at the stupidity of the video. I thought the commenters had been fooled by the marketing fiction.

BRIGHT, QUIET AND NEW: Tyler Hurst in the 592-square-foot apartment at Burnside 26 he shares with his wife, Katie, and their dog, Layla.

Willamette Week JUNE 10, 2015 wweek.com

13

CONT. CAMERON BROWNE

GROW UP, PORTLAND

CLEAN LIVING: Hurst says the amenities at Burnside 26 are a major selling point. “Yep,” he writes, “we use the bike rack and dog wash.”

I’m cynical and sarcastic and delight in Internet fuckery as much as the next mean bastard. So I get it. And I’d also sneer at anyone like the characters in this ad.

To my surprise, the attacks about the video made me wince. My wife and I were being typecast in a make-believe world that makes the Friends gang look erudite.

It shouldn’t have gotten to me. But it did.

What should my wife and I feel bad about? Liking our apartment building? Earning more than minimum wage? Choosing to spend my money on housing instead of bars, clothes and trips? Not wanting kids or a house? Preferring to live and work in a small space?

The apartment life that earned so many nasty comments actually fulfills the ethic this city says it wants. Portland wants to control growth, provide opportunities for people-based transportation, and be kind to the environment (did I mention this place is LEED certified?), all to make room for more people.

What would the alternatives be? Should we be living in an older complex that takes up more space, or crowd into a sagging bungalow with six other people, just to make a political point? We’re renters, and I didn’t understand why this wasn’t obvious to everyone writing a rent check every month. Just like us.

I

fell in love with Portland during childhood visits and again while interning at Western Oregon University. I’d long been interested in modern buildings. As a writer, I’d published stories about homes I couldn’t afford. The staff of the magazine I worked for was so poor many of us had to live together. I did that through my 20s, and I’d do it again. But I also moved on—not just because the Great Recession killed the magazine’s advertising base, but because I wanted to find that lifestyle promised by welldesigned urban homes. It involved modern, small apartments close enough to most amenities so I didn’t have to drive.

That’s why the hatred over Burnside 26 struck me as so wrong, so stupid. The wholesale

14

Willamette Week JUNE 10, 2015 wweek.com

blog attacks inspired by Luke and Jess got so ridiculous that I came home one night in late May to find a KATU reporter standing on the sidewalk in front of my home, having people read Internet rants about how awful we were to live in our building.

So I did what I know how to do: I wrote an article.

It was an angry rant disguised as a personal essay. I took it on at WW’s request, and it posted on wweek.com May 23. A lot of what I say in this article I said in that post. I tried to make sense of why a building had taken on such a stigma. I tried to make light of the whole debate. Most of all, I wanted to let people know I didn’t think I should feel guilty about the choice we made.

I ended it by saying, “My home is pretty rad.

Sorry yours isn’t worth talking and making videos about.”

Hoo boy.

A few commenters on my post made reasonable points mentioning gentrification and housing for the poor, and I received five private messages from people who agreed with me or appreciated the fact I’d started the discussion.

But the vast majority of the 1,280-plus comments made earlier rants feel like lullabies.

I was—and, frankly, had made myself—the personification of everything that had people pissed off. “You are truly a first-class piece of shit,” read one assessment of me. “You really are evil and, yes, you should be ashamed of yourself, just for being you.”

And: “I will simply say, you are a moron. Yes. That is a pointedly, purposely intended insult.

You are a complete and total idiot douchebag.”

And also: “You just waved your dick in the face of an already pissed off group of people. And then told them where you live.

Hope that works out for you.”

What I began to see through the shimmering heat coming off these comments was a meaningful pattern of worry and concern that I hadn’t considered before.

“You’re a suburbanite briefly playing at being a city dweller.

CONT.

BURNSIDE 26

$

$

Low Vacancy

Rising Rents

Development

Drop in vacancy rate since 2009: 53%

Rise in average apartment rents since 2009: 35%

New apartment units forecast this year: 6,100.

10 times more than in 2011.

SOURCE: MARCUS & MILLICHAP

$

The 5 Myths About Portland Apartments amesh@wweek.com

The accusations ring out in bars. The gripes spill onto Internet comment threads. And the complaints echo like angry yodels down the newly built canyons of Southeast Division Street and North Williams Avenue.

The backlash against Portland’s apartment boom runs deep, if not silent. And the myths people voice are as predictable as sneering hatred of Californians.

The case goes like this: Fancy new apartments are making the city more expensive. Renters are being kicked out of cheap houses so greedy developers can smash them and build grotesquely oversized homes.

We need rent control to quell the skyrocketing prices.

We could keep working-class people in the city by forcing developers to build affordable housing.

And then the heart of the argument: Portland would be less expensive—and better—if neighborhoods stopped changing.

It’s likely you believe a few—maybe all—of these things.

Here’s why you’re wrong.

opers broke ground on Burnside 26, Portland apartments became extremely hard to find.

Portland housing has been hot for a while. By 2011, this city’s rental market was the tightest in the nation.

Last year, the number of apartments available for rent at any given time hit a record low of 2.8 percent, says real-estate brokerage Marcus & Millichap.

With so few units available, tenants have no leverage—landlords can charge more.

“It’s like musical chairs,” Cortright says. “If you don’t add more chairs to the game, people get squeezed out of the game.”

If it makes you feel better, you can still blame greedy developers for this shortage. That’s because for most of the past decade, developers weren’t building apartments—they were building condos, and taking rental units off the market and selling them as condos.

When the mortgage bubble burst in 2008, people wanted apartments again. So did the newcomers flooding to a city hyped by every publication from CONT. on page 16

MYTH 1:

The Portland apartment vacancy rate plunged in 2010. Rents started going up the same year.

New apartments are raising the cost of rent.

Apartments don’t raise rents. People do. And like Buddhism warned us, they do it the same way that people ruin everything: with desire.

When you curse an apartment building like Burnside 26 for charging $1,336 a month for a studio, you’re confusing cause and effect: thinking the developers caused a pricey apartment building by constructing it.

That’s so wrong that when we called local economists to ask them about it, three of them laughed at us.

“Force them to remember the economics class they slept through freshman year,” says Portland economist Joe Cortright.

Pencils down: What causes the price of anything to go up isn’t a new supply, but the strength of demand for a product that’s in short supply. Long before devel-

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Monthly Rent

BY AA R ON MESH

2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 Willamette Week JUNE 10, 2015 wweek.com

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SOURCE: MARCUS & MILLICHAP

T

he heart of these complaints is change. People want a city that’s great to live in, so more people want to live there.

Neighborhoods morph, property values go up, rents climb, and a minimum-wage earner can no longer afford a one- or twobedroom apartment close to downtown or the Willamette River.

It’s even more acute here, where the urban growth boundary ringing Portland encourages residential density.

Every city has been through this change. It’s heartbreaking, painful, and not fair. It’s not fair that people with money can come in and change a neighborhood. It’s not fair that longtime renters have no say in how the property they call home is maintained or sold. It’s not fair that wages have been stagnant for years. It’s not fair that the people who helped make Portland awesome are now being pushed farther away because outsiders see how great this place is. It’s not fair at all.

Nor is it fair to love a city and not want to share it.

None of us, not a single damn one of us, is entitled to live where we want to live for as long as we want to live at a price we can easily afford.

That may be how it’s worked in the past, but you only have to look to San Francisco, Austin and Brooklyn, cities that filled with the very kind of person moving here now.

Maybe Portland needs rent control. Maybe we need to rethink the standards that allow blocky apartments to be dropped from the sky on our neighborhoods.

But maybe it’s really about this central truth: Portland’s culture is itself an art.

The strip clubs and the breweries and the food carts— they’re all the art of our shared experience. The music—available nearly every night—is art. So is cider made in someone’s garage, and fancy lattes, and naked bike rides.

It shouldn’t have surprised me that what I said generated so much hatred. As I tried to explain myself, I could have been more adept at saying what I meant to say.

What surprised me is that so many Portlanders don’t accept that creativity requires destruction. Order needs chaos. Old needs new. It requires friction, new voices, and, yes, lots of money.

And it creates noise—a din you can’t just close the window on.

The mosaic of dreams shifts every time we adjust our gaze, and no amount of blinking can restore the image of a moment ago. Portland for me can never be what Portland is for someone else. So maybe it’s time we see the reality of the choice in front of us. We can pursue the city we want, or work together to create the city we all need.

Low vacancy rates triggered rent hikes and new apartments.

Vacancy Rate

If you don’t end up buying in Beaverton, it’ll be some suburb somewhere.”

“He doesn’t give a rat’s ass about any of those things. He is too busy cultivating his douche image and being a ‘Portlander’ living in his shitty building that makes him feel cool…but he will never know how it felt to live in Portland 10+ years ago.”

“Did you ever get a chance to see Portland when it was how it used to be? If so, you might understand. It was a killer little gem of a place.”

What was I really seeing? Aside from sharing fury, these commenters were all talking about the same thing, and I don’t mean their ginned-up hatred of me.

They were talking about what they see as the place we live, the place where we want to live, and the place we would never want to live, all in the same city. They were talking about identity: mine, theirs, and the Portland that each of us holds in our minds. A city we imagine is a gem, our gem—or it was a gem, until all these other people moved here.

GROW UP, PORTLAND

GROW UP, PORTLAND

cont.

S o u R c e : u . S . c e n S u S B u R e a u a M e R i c a n c o M M u n i t y S u R v e y, 2 0 1 3

The New York Times to Kinfolk magazine. But Portland didn’t have many apartments left, and nobody built any new ones during the recession.

Developers have finally started adding new apartments—increasing construction from 518 rental units in 2011 to 4,413 in 2014.

But the population continues to grow, and Portland added 30,500 jobs last year, nearing a 15-year high. So the supply of new apartments still hasn’t caught up to the demand of people who want them. (See chart on page 15.)

Until the supply of new apartments jumps way ahead of demand, rents will keep rising.

Myth 2:

the rash of home teardowns is destroying affordable housing.

Myth 3:

Rent control is the answer.

When you get the notice from your landlord that he’s hiking your rent $50 a month, you might fire off an angry email to City Hall, demanding somebody make him stop.

1 in 12 units in San Francisco sit vacant.

You’re a private in the wild-eyed, tie-dyed army fighting for rent control.

Maybe you’ll win. (Probably not.) But rent control in other cities hasn’t changed the reality of rents rising everywhere else. Instead, it creates a bubble in which you can float around while ignoring a wider problem.

“Rent control is an Econ 101-level policy disaster,” says Jerry Johnson, who runs the Portland real-estate consulting firm Johnson Economics. “If you happen to get one of the rentcontrolled units, good for you. But it’s basically a lottery of who wins and who loses.”

Sure, maybe you get to protect your lower rent, and the California refugees fleeing the drought and pestilence of Silicon Valley pay more. But rent control is a trap. Now you have to stay.

Rent control means the only place in your neighborhood you can afford is the one you’re already in. That means problems when people change jobs, need to live near a hospital, or simply want to start over.

San Francisco—where the average apartment rents for $2,834 a month—has the nightmare scenario of rent control. Many landlords either evict

Single-family homes demolished in the past five years: 929.

Housing units built on those lots: 2,002 16

Willamette Week JUNE 10, 2015 wweek.com

cont. on page 19

S o u R c e : P o R t l a n d B u R e a u o f P l a n n i n g a n d S u S t a i n a B i l i t y. data : 2 0 1 0 - 2 0 1 4 .

Few trends boil the blood of Portlanders like developers ripping down old homes and replacing them with monster houses.

If you and three roommates just moved your drum kit and yourselves from a beat-up party house so the owner could raze it and build a McMansion, you too might feel a convenient impulse toward historic preservation.

“On average, replacement houses are nearly twice the size of what existed before demolition,” wrote Denise Bartelt last August for preservation group Restore Oregon. “Most replacement housing contributes to rising home prices.”

But there’s one problem with the idea that teardowns are a force in making the city more costly. The numbers show it can’t be true.

In the past five years, developers tore down 929 single-family homes, according to the Portland Bureau of Planning and Sustainability.

That’s just 0.6 percent of the city’s total number of single-family homes, not nearly enough homes to move the needle on rental rates. (See chart on page 15.)

Developers then built 2,002 new housing units on those cleared lots. Twice as many households now live on the same land.

Don’t forget: The battlegrounds over teardowns are some of the city’s richest neighborhoods.

“If you look at the median price of a house in Eastmoreland,” says Portland State University urban studies professor Ethan Seltzer, “and you claim that tearing one down is reducing affordability, that’s patently ridiculous.”

CONT.

GROW UP, PORTLAND

AARON MESH

3339 SE DIVISION ST. COMPLETED 2013

MASON WILLIAMS 4150 N WILLIAMS AVE. COMPLETED 2015

THE WILMORE 4357 N WILLIAMS AVE. COMPLETION DATE AUGUST 2015

BLOCK 296 NW QUIMBY STREET AND 21ST AVENUE COMPLETION DATE SUMMER 2015

A gallery of

SAVIER STREET FLATS 2270 NW SAVIER ST. COMPLETED 2013

HASSALO ON EIGHTH: ASTER TOWER 1088 NE 7TH AVE. COMPLETION DATE OCTOBER 2015

HASSALO ON EIGHTH: THE VELMOR 1088 NE 7TH AVE. COMPLETION DATE JULY 2015

D STREET VILLAGE 3150 SE DIVISION ST. COMPLETED 2015

NEW APARTMENT BUILDINGS IN PORTLAND

EKOHAUS MISS 3855 N MISSISSIPPI AVE. COMPLETED 2014

THE BENEVENTO 1606 NW 23RD AVE. COMPLETED 2013

TUPELO ALLEY 3850 N MISSISSIPPI AVE. COMPLETED 2013

GRANT PARK VILLAGE 3215 NE WEIDLER ST. COMPLETED 2014 Willamette Week JUNE 10, 2015 wweek.com

17

Dentistry In The Pearl That’s Something To Smile About!

New Patient $74 Exam and X-rays Dr. Viseh Sundberg

New Patient $49 Basic Cleaning

(exam required)

Children’s $59 Exam & Cleaning

(new patients age 12 and under)

Professional

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(exam required)

(503) 546-9079 222 NW 10th Avenue www.sundbergdentistry.com

18

Willamette Week JUNE 10, 2015 wweek.com

CONT.

Build Out

tenants or keep apartments empty. Roughly one in 12 housing units in San Francisco sits vacant, according to the U.S. Census Bureau.

(See chart on page 16.)

“Has that really been effective at solving their problems?” asks Tim Duy, an economics professor at the University of Oregon. “No. You think you’re helping people, but you’re constraining the stock of affordable housing.”

MYTH 4:

We can solve the problem by making developers build affordable apartments.

OK, so you’re not a narcissist who wants to keep your rent cheap at the expense of everybody else.

But you also want Portland not to become a city only for people who can afford Apple Watches and Teslas. So the question is, how can government get developers to build affordable housing?

One trendy idea: Force them.

“Development is a not a right, it’s a privilege,” says Jonathan Ostar, executive director of OPAL Environmental Justice Oregon. “There are many reasons why folks are being priced out of the city. One reason is the inability of Portland to use a tool like inclusionary zoning.”

Inclusionary zoning is a policy that requires developers to make a certain percentage of any development affordable to poor and working-class people.

Oregon is one of two states—Texas is the other—that bans cities from mandating inclusionary zoning. State lawmakers are now trying to end that ban.

The policy could work in Portland.

Because it ties affordable housing to the market, it works best in a building boom, like the one we have now. But it’s no silver bullet.

In the roughly 500 cities that have tried inclusionary zoning, the policy has proven to be a powerful but complicated tool. Set

Build Up

OR

the rules too lenient and developers wiggle out of building affordable units. Make it too strict and they don’t build at all.

“It costs you nothing as a politician,” Johnson says. “I can go to a ribbon-cutting and show you the units. But I’ve basically made everything cost more for the people who didn’t win the lottery.”

Often, there aren’t many units to show.

In 2014, Seattle city officials conducted a survey to see how many affordable homes and apartments were built in the previous four years by similarly sized cities, including Portland.

Six of those cities had inclusionary zoning. Portland mostly used taxpayer financing from urban renewal areas. (See chart below.) None of those cities produced as many affordable housing units as Portland.

MYTH 5:

Portland should just stay the same.

Portland was designed to grow up—literally.

The city has limits to how much it can expand—a border around the city that declares where homes must stop to protect farms and forests.

The urban growth boundary is what keeps Portland from sprawling into endless tracts of suburban houses, like Phoenix or Los Angeles.

It also means that when the city gets bigger, it must pack in new people within the existing land, by increasing housing density.

“If you don’t let developers build out, they’re going to build up,” Duy says. “And if you don’t let them build up or build out, then prices are going to rise fairly quickly.”

Affordable housing units built, 2010-2013 2,817 2,523 1,836 1,603 1,328

Portland

San Diego

Boston

GROW UP, PORTLAND

Denver

Washington D.C.

Portlanders are proud of the urban growth boundary—until its effects reach their neighborhoods.

In the mid-1980s, Lake Oswego developer Phil Morford bulldozed old houses in Northwest Portland and bulldozed them to erect more than 70 row-house units.

People hated Morford’s row houses for the same reason they now loathe fancy apartments: They blamed the new buildings for raising rents and ruining a neighborhood.

The developments also help stop sprawl.

Ted Reid, a planner for regional government Metro, predicts the Portland area will need 200,000 new housing units over the next 20 years. He says if just half those units are single-family houses, the urban growth boundary would need to balloon outward by 4,000 acres every six years.

Each time, we’d be adding a city the size of Forest Grove.

Reid says any scenario where Portland doesn’t add new apartments would make the city’s central neighborhoods astronomically expensive.

“People would continue to move here,” he says. “People would continue to have children. You’d create a situation where the city would become unaffordable to all but the very wealthy.”

In fact, the policy decision that would most rapidly lower housing costs is changing Portland zoning code to allow more apartments to be constructed in neighborhoods where only single-family homes are allowed.

That’s something city planners are doing cautiously. But good luck to the Portland politician who must fight door to door with homeowners when the next neighborhoods start changing: St. Johns, Sellwood and even Lents.

It’ll be ugly—unless you learn to love the apartments that are so easy to hate.

Source: Seattle Workforce Housing Survey, May 2014

Willamette Week JUNE 10, 2015 wweek.com

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Beyond the Print

@wweek @WillametteWeek

FOOD: Todos los tacos at the Mercado.

MUSIC: The reincarnation of Valet.

VISUAL ART: Nonvisual sound art.

POTLANDER: TMI on Tyler Hurst and Empower Oil.

27 31 45 52

SCOOP GOSSIP FROM WHISPERS SOFTER THAN STEPH CURRY.

REALITY BITES: It’s a sad day for everyone who likes pumpkins or believes in love on reality television.

Yes, Amy and Matt Roloff, Portland-area stars of Little People, Big World, have filed for divorce. “After 27 years of marriage, it is with great sadness LITTLE PEOPLE, BIG WORLD that we have come to the difficult decision to file for divorce,” the Helvetia ex-couple told Us Weekly.

The Roloffs rose to fame when TLC decided to film their daily size-based challenges in 2006, and though the original show ended in 2010, the family still runs Roloff Farms outside of Portland. “We will continue to work together side by side in the daily responsibilities for our many current ventures,” said the Roloffs.

So, love is dead, but don’t give up hope completely...business partnerships last forever!

HBO WTF: Whiskey Tango Foxtrot, Portland author David Shafer’s critically well-regarded techno-thriller without an ending, has been optioned by HBO as a 30-minute, darkcomedy series. Shafer will be co-executive producer alongside Brad Pitt’s Plan B Entertainment, with Chuck’s Zev Borow in the writer and executive producer role. The 2014 book, which The New York Times called the “novel of the summer—and which ended up on top-10 lists from Time and NPR—concerns everyday Portland issues such as boredom, 30-something identity crises, and a vast technological conspiracy to take over the world hatched from a megayacht.

GOOGLEPLANT: Google has been playing coy with the city of Portland about installing its new gigabit-speed Internet service, Google Fiber, here. Although Google refuses to commit, however, it has been dropping a lot of hints lately: After winning a major tax break for its service, Google posted a new job for an “outside plant engineering manager.” The posting is not the first in Portland, but previous listings were mostly for advance and scouting duties. The latest post may be an indication Google is getting more serious about setting up shop in Portland.

22

Willamette Week JUNE 10, 2015 wweek.com

DCL

I FEEL I’M LOSING THE FEELING: Two of the original barbers from lumbersexual grooming empire Modern Man, Mikey Denton and Cory Lee, are striking out with their own barbershop called Brick & Mortar, at 1413 SE Hawthorne Blvd.

Denton left Modern Man in 2014, he says, after disagreeing with the direction of the chain. Modern Man is currently embroiled in a dispute with barbers who claim they have not been paid in over a month, and Denton says his new shop hired a barber who’d moved here from Las Vegas for a Modern Man chair but had never been paid. Brick & Mortar plans to open June 19, with a full grooming shop, kids’ play area and free joe from Water Avenue Coffee. “We’re not pushing the whole testosterone, men-only thing,” Denton says. “It’s 2015. Times change.”

HEADOUT

Flip page for our Pride Week event picks.

I L L U S T R AT I O N B Y H U G H N E W E L L

WHAT TO DO THIS WEEK IN ARTS & CULTURE

OTHER PICKS THIS WEEK FRIDAY JUNE 12

FRIDAY JUNE 12

SATURDAY JUNE 13

SUNDAY JUNE 14

TUESDAY JUNE 16

PORTLAND FRUIT BEER FEST [BEER] Beer Week kicks off with crazy fruit beers all weekend, including a snakebity Reverend Nat’s/Burnside collab using ghost, aji and Scotch bonnet peppers; tropical fruits from Breakside, and marionberries from Elysian.

Twelve drink tickets with admission.

Burnside Brewing, 701 E Burnside St., 946-8151, burnsidebrewco.com.

Through Sunday, June 14. $20.

50 FOOT CHALLENGE [B-DAY PARTY] Local filmmakers used only retro, single rolls of Super 8 mm film and in-camera editing to make shorts for this birthday party celebrating Super 8’s 50th year. Participants include photographer Alicia Rose and Portlandia producer David Cress. There will be cake! NW Film Center, 934 SW Salmon St., 221-1156. 7 pm. $5.

LAURA GIBSON [CHANTEUSE] The Portlandbred, now New York-based folk songwriter returns home two months after losing nearly everything in an apartment fire, most likely previewing songs from her upcoming new album. The Old Church, 1422 SW 11th Ave., 222-2031. 8 pm. $15 advance, $18 day of show. All ages.

ZOOBOMB CENTURY [PEDALPALOOZA] Zoobomb is a weekly occurrence—grown-ups roll kids bikes down the steep hills near the zoo—but during Pedalpalooza it gets epic for a week. Riders will MAX up and bomb down again and again and again, until they’ve logged 100 miles on a 16-inch kids bike. Southwest Knights and Fairview boulevards. 10 am. Free.

RHETT MILLER [OLD 97] For his latest solo album, The Traveler, the charismatic frontman for alt-country stalwarts Old 97’s enlisted R.E.M.’s Peter Buck to produce and local bluegrass-rock purveyors Black Prairie as his backing band. We’re pretty sure this means he’s a Portland artist now. Best New Band 2016?

Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $15 advance, $17 day of show. 21+.

Willamette Week JUNE 10, 2015 wweek.com

23

CULTURE

SUBSECTION PRIDE

2015 PRIDE EVENTS FIND YOUR EVENT ON THE PREVIOUS PAGE, THEN READ ABOUT IT HERE. adonahue@wweek.com

HUGH NEWELL

BY ALLIE DONAHUE

PRIDE AT HOLLYWOOD THEATRE

It’s the summer of 1984 and the British National Union of Mineworkers is on strike against conservative meanie Margaret Thatcher. A group of gay and lesbian activists want to help the miners, but union leaders are too embarrassed to accept their support. Undeterred, the activists pile into a minibus and travel to a village in Wales to volunteer in person. Pride is the way smart people kick off the weekend.

Hollywood Theatre, 4122 NE Sandy Blvd., 493-1128. 7 pm Wednesday, June 10. $6.

QUEEREST BIKE RIDE OF THE YEAR

It’s the queerest, and also probably the chillest. Pedal along the esplanade until you find a good spot to plop down and enjoy the sunset. Hosted by the Sexual and Gender Minority Youth Research Center. South Park Blocks at Southwest Columbia Street. 5 pm Thursday, June 11.

FLARE PARTY

Flamethrowers. Yes, real live fire in the air! There will also be graffiti artists and three giant geodesic domes (we also had to look it up), along with fancy cocktails and celebrity DJs. Did we mention the flamethrowers? The Redd, 831 SE Salmon St., portlandmonthlymag.com/flare. 7 pm Thursday, June 11. $15. 21+.

DRAG QUEEN BINGO

Just one droplet of Portland drag queen extraordinaire Poison Waters can transform boring, old bingo into a dangerously sexy and hilarious festival of glitz and glam. Keep laughing afterward with the evening’s featured film, The Birdcage (1996), in which the gay owner (Robin Williams) of a South Beach drag club meets his son’s soon-to-be inlaws, a super-conservative Republican senator and his wife. McMenamins Mission Theater, 1624 NW Glisan St., 223-4527. 6 pm Friday, June 12. $15. 21+.

SE 2nd Ave., 234-5683. 9 pm Friday, June 12. $5 before 10 pm, $7 after. 21+. Lumbertwink at Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 3-10 pm Sunday, June 14. $6 in plaid, $10 without. 21+.

TRANS PRIDE MARCH

March, everyone! Really, everyone: Men, women, in between, or fuck that, this protest is for you. Lace up your marching shoes and paint your signs to help spread the spirit of acceptance. Hosted by more than 25 organizations. Northwest Park Avenue and West Burnside Street.

3:30 pm, Saturday, June 13. Free.

ABBAQUEEN: A ROYAL CELEBRATION WITH PORTLAND GAY MEN’S CHORUS

Voulez-vous rockez avec moi? Expect a ’70s musical mashup of ABBA and Queen, performed in a plethora of polyester. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7 pm Saturday, June 13. $15-$48.

INFERNO PRIDE

Hotflash dance company brings a party for women and anyone across the trans spectrum. But hold your horses, guys—the Gaylabration dance takes over at 10 pm, for everyone across the gamut of the LGBTQ community.

Crystal Ballroom, 1332 W Burnside St., 225-0047. 6-10 pm Saturday, June 13. $12 advance, $15 at door. Gaylabration starts at 10 pm. $20-$60. 21+.

STARK STREET BLOCK PARTY

It’s the 10th anniversary of Scandals’ weekendlong celebration of drag, DJs and drink. Bring a few bucks to support Peacock Productions, which sends LGBTQ kids to college, and Cascade Aids Project. Scandals, 1125 SW Stark St., 227-5887. Noon Friday-midnight Sunday, June 12-14.

Suggested donation $5. 21+.

BIG GAY BOAT RIDE

Even if you already have enough 5k T-shirts, the Glow Run is still worth it. Registration packets include glow bracelets and necklaces, and an LED baton. You’ll probably want to hit Goodwill for more neon, though, so you don’t, you know, stand out. Hosted by Pride NW. Southwest Morrison Street and Naito Parkway. 9 pm Friday, June 12. Registration starts at $35. For more details, see prideglowrun.com.

Party on a boat with big-name drag queens. Hosted by drag clown Carla Rossi and drag hottie Alexis Campbell Starr, both from Portland, and featuring Coco Peru, Heklina, Poison Waters and Trixie Mattel. Please, cap’n, can I wear my heels? Portland Spirit, docking at Tom McCall Waterfront Park, Southwest Naito Parkway and Salmon Street. 2:30 pm Sunday, June 14. Sold out. 21+.

BEARRACUDA AND LUMBERTWINK

HAIRCUTS WITH WILD PLANET RADIO

PRIDE GLOW RUN

“A fun, friendly party for bears, cubs and other wildlife.” We think that says it all. If you want even more bear hair, don’t miss Lumbertwink two days later. Bearracuda at Branx, 320 24

Willamette Week JUNE 10, 2015 wweek.com

Only the truly self-confident get their hair cut by a radio station. At least it’s free. Under the Morrison Bridge at the Southwest Waterfront. 6:30–9 pm, Sunday, June 14. Free.

PRIDE

OUR FAVORITE GAY BARS IN PORTLAND.

balcony. Not to mention that its happy-hour, buy-one-get-one, well-drink special seems positively designed to encourage fraternization.

Sure, the gay/queer dance nights at mixed-orientation bars may have become where the party and booty’s at in Portland—the ever-popular indiedance parties of Rotture’s Blow Pony and Holocene’s Gaycation, the beautiful genderqueered inclusivity of Beyonda’s Queen night at Mississippi Studios, the bear-essential Lumbertwink at Funhouse Lounge—but the day-in, day-out gay bar is a community home base. After a long die-off of standbys on Stark Street, the local scene feels blessedly resurgent.

Here are a few favorites.

JAMES HELMSWORTH, MATTHEW KORFHAGE and AMY WOLFE.

1400 SE Morrison St., 235-8150, crushbar.com.

As the sign on the door—two man symbols holding hands, two women symbols holding hands, a man symbol and a woman symbol holding hands—indicates, Crush welcomes everybody, of every persuasion, whether with burlesque or boylesque twice a month, a house and techno night, or a drink menu that comes with such tongue-busting-through-cheek, houseinfused selections as “Male Order Bride,” “Bitter Bitch”, and “French Whore.” You needn’t choose only one: After all, the night is long.

Casey’s

412 SW 4th Ave., 505-9468, caseyspdx.net.

What a difference a quadrant makes. The old Casey’s in Northwest Portland was one of those bars that made you surprised it even existed—an oft-empty haunt for Edward Hopper types. The new one is infinitely livelier, with a surprisingly bumping sound system, a shirtless bartender, a sunny-day patio and a wall of pinball and arcade games that seem far less interesting than the downright useful semi-privacy offered by the back corners of the zebra-chaired upstairs

FAC E B O O K /S C A N DA L S P DX

NEAR AND QUEER

CULTURE

Crush

The Fox & Hounds

217 NW 2nd Ave., 243-5530.

“Just know where you are,” says a lone, visiting sailor at the bar to the seven other Rose Festival sailors filing in. “We were just at CC’s!” they say.

“Oh,” says an older man at the bar. “It’s much tamer in here.” And it is. The Fox & Hounds is in its own way a treasure, a gay bar that feels like a Midwestern sports bar except for the preponderance of rainbows within and the 20 or so drag queens taking up the rear tables—with three years of first-place softball trophies on the mantel, a wiry bartender who seems like he’s won a few fistfights and TVs behind the bar likely to be showing the NBA Finals.

Scandals

1125 SW Stark St., 227-5887, scandalspdx.com.

Scandals touts itself as “Gay Cheers,” and it more than lives up to it, full of years-long regulars and yet immediately welcoming to the redheaded stranger wandering through. It feels like the friendliest place in town, from its alwayspacked landing strip of a patio, to a bar lined

SCANDALS with flirtatious singletons, to its tiny, Timberswatching TV corner tucked away to one side.

Expect every-damn-body to be at its weekendlong Pride block party, now a Portland institution. As everything around it goes retail and restaurant, Scandals is holding up the Stark Street legacy all by itself. And with the bar’s near-stunning pyramidal collection of flavored vodkas and rums and Red Bulls, you can rest assured: You’re going to stay awake here, and it’s going to be sweet.

Silverado

318 SW 3rd Ave., 224-4493, silveradopdx.com.

Silverado is Portland’s classic go-to spot for vacationing gay men, even if the vacation lasts only a night: Observe an elderly man placing a tip into the bright-red Spanx of chiseled-torsoed Michael. One of only a few all-nude, male strip clubs in the country—Wednesdays are Latino night, but that doesn’t mean they don’t still play “It’s Raining Men”—Silverado serves food to the backdrop of gyrating genitalia, with a main

stage in eyeshot of everywhere in the room just like a big-screen at a sports bar, and smaller stages that include one fashioned like a cage.

Stag

See bar review, page 41.

Starky’s

2913 SE Stark St, 230-7980, starkys.com.

On the other Portland Stark Street, Starky’s is a nearly 30-year Portland institution, a patioed mountain chalet with homestyle food that seems as domestic as Grandpa’s house, with busy Thursday karaoke, “bottomless” mimosas at its essential Sunday brunch, and a charmingly dirty-avuncular bartender who seems to have an answer for everything. Asked about one of the cameras that seemed to be down, he smiles: “Oh, that one’s in the basement. The queens are always doing something down there, and they cover up the lenses. It’s not fair.”

Willamette Week JUNE 10, 2015 wweek.com

25

FOOD & DRINK = WW Pick. Highly recommended.

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

See page 3 for submission instructions.

FRIDAY, JUNE 12

FARM TO DELI

Portland Fruit Beer Fest

Reverend Nat’s has a snakebity collab with Burnside using ghost, aji and Scotch bonnet peppers.

Breakside has a beer with six different tropical fruits. Elysian is bringing a huckleberry sour. There are at least 24 more in the same vein. Tickets net a pint glass and 12 drink tickets.

Burnside Brewing Co., 701 E Burnside St., 946-8151. 4-9 pm Friday, 11 am-9 pm Saturday, 11 am-6 pm Sunday. $20, includes re-entry all three days, glass and 21 wristband. 21+.

Catering - Take out - Dine in

I

3560 N. Miss Ave / PDX 97227 8:AM - 6:PM Tues - Sat & 10 - 4 Sunday www.oregondelico.com 503-282-DELI (3354)

Shandong www.shandongportland.com

Chenin Blanc Takeover

BRUNCH

Shandong Sunday

11AM – 3PM

www.shandongportland.com

Southeast Wine Collective will hold its first Drink Chenin event in honor of the undersung chenin blanc grape: a “Chenin Takeover” with tastes, half glasses and glasses of over 15 different chenins available. Southeast Wine Collective, 2425 SE 35th Place, 208-2061. 4-7 pm.

SATURDAY, JUNE 13 Thali Supper Club

Walk up window 11:30am–3pm

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

Indian food pop-up Thali Supper Club is going vegetarian “with an Ayurvedic twist”—i.e., with a balance of salt, sweet, bitter, sour and heat.

Alongside more familiar sag paneer and dal, expect a black-pepper dish, arbi kofta with colocasia root, and a string-bean dish with fresh coconut and cumin. Ten percent of profits go to Nepal relief efforts. Reserve at 754-6456 or thalisupperclub@gmail. com. Din Din Supper Club, 920 NE Glisan St., 544-1350. 6:30 pm.

Where to eat this week.

1. P.R.E.A.M. 2131 SE 11th Ave., 231-2809, preampizza.com.

P.R.E.A.M.’s pies are on point—classic Italian Neapolitan crust made with double zero flour, proofed for 72 hours and baked at about 900 degrees in an Acunto Gianni oven. $$.

2. Double Dragon 1235 SE Division St., 230-8340, doubledragonpdx.com.

Double Dragon is best known for its banh mi, but try the kimchee hot dog. It’s a master stroke of poise and balance on a toasted bun that barely contains it. $.

3. The Original Pancake House 8601 SW 24th Ave, 246-9007.

It’s like going on a small-town vacation, but within Portland, and eating breakfast with your grandparents without actually talking to them.

Perfect. $$.

4. The 9 520 SE Martin Luther King Jr. Blvd., 415-335-8475.

The chicken biryani ($8.50) is in short supply, but it is heaven in a cardboard box, moist and deeply layered with flavor. $.

5. Batter Griddle & Drinkery 4425 NE Fremont St., 971-271-8784, batterpdx.com.

Batter’s waffles and pancakes are served up in an absolutely dizzying array of options, whether fruited or baked with bacon within. $$.

DRANK

HOW TO PWN PDX BEER WEEK PDX Beer Week is not actually a week. It takes 11 days (June 11-21, pdxbeerweek.com) to cram in all three festivals, plus tap takeovers and pairings dinners. Here’s your guide. MARTIN CIZMAR.

Traditional Exotic Fare All you-Can-Eat Buffets & Menu Orders Vegetarian, Vegan & Gluten-Free Options Locally Owned & Operated by the Chand Family from India

WE SELL DRINKS

OPEN TILL 2:30AM DAILY libertyglassbar.com

Parkrose since 2009 8303 NE Sandy Blvd 503-257-5059

Lloyd District Open 1403 NE Weidler 503-442-3841

Vancouver since 2001 6300 NE 117th Ave 360-891-5857

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Get the official Beer Week sandwich, maybe the official Beer Week doughnut, but probably not the official Beer Week ice cream.

Every year, Beer Week organizer (and occasional WW contributor) Ezra Johnson-Greenough lines up a bunch of one-offs from local chains.

This year’s standout is Bunk’s beerbraised brisket po’boy ($11). Absurdly rich even by Bunk standards, this beefy ’wich was made with GoodLife Pass Stout. It’s only available during Beer Week and only at the Bunk Bar locations on Southeast Water Avenue and below the Wonder Ballroom on Northeast Russell Street.

If you’re a fan of Blue Star Donuts, it’s worth picking up the special Beer Week cake doughnuts made with Hopworks IPA, which will be available at Blue Star locations throughout the week.

Salt & Straw makes a special ice cream every year for Beer Week. This year’s attempt at creamy frozen IPA is useful only for endrunkening—it’s surprisingly boozy, but otherwise a confused tangle of sweetness and astringent hop flavors. The only place to try it yourself is the June 11 kickoff party at EastBurn (1800 E Burnside St., $10 for pork from a whole pig and a pint of beer, starts at 6 pm).

Use your last ticket at the Fruit Beer Fest on the Fruit of the Garden of Good and Evil.

When we tried Reverend Nat’s Tepache for the first time last year, we suspected it might need a beer partner stronger than lager.

Somebody agreed. At the Fruit Beer Festival (June 12-14, Burnside Brewing, 701 E Burnside St., fruitbeerfest.com, $20), we have Fruit of the Garden of Good and Evil—two parts Burnside’s Sweet Heat, one

part Tepache infused with Scotch bonnet, aji and habanero peppers for a satisfying burn more than balanced by the sweetness of both beer and cider. Usually we’d say to get our favorite beer first before you try any others. But get this one last, or it’s all you’ll taste for the next half hour.

Find the next great brewery out in the sticks.

Portland Mercury beer writer Brian Yaeger will promote his book, Oregon Breweries, by bringing beer from corners of the state that a simple kid from Beaverton might turn 30 without seeing. So go to the Rural Brewer (Hawthorne Hophouse, 4111 SE Hawthorne Blvd., oregonhophouse.com, Saturday, June 14, 2-7 pm, $15). Sure, many of the beers can commonly be found in town (Boring, Beer Valley, Fire Mountain), and some are rural for a reason, but how often do you get to try the Prodigal Son from Pendleton or Plough Monday from Veneta? Word on the street is, you should use your first ticket on Yachats Brewing.

Head down to Silverton for the Oregon Garden Brewfest.

By the second week of Beer Week, probably, you’re sick of seeing the same old faces everywhere. (“Oh, hey DJ... Hey, Ben, Ben and Ben.”) So pack up the car and drive to the gorgeous Oregon Garden for a festival (June 19-21, 879 W Main St., Silverton, oregongarden.org/ events/brewfest) with a different crew and no ties to Beer Week.

Head down on Saturday, June 20, and you can see Ural Thomas & the Pain, WW’s Best New Band of 2014.

Steer clear of the super-local (read: Salem) beers, and grab something from rarely seen spots such as Ordnance, Elk Horn and Sunriver.

FOOD & DRINK A N N A J AY E G O E L L N E R

¿QUÉ ES LO BUENO? TRYING EVERY LATIN AMERICAN FOOD CART AT PORTLAND MERCADO.

BY MATTHEW KORFHAGE

mkorfhage@wweek.com

The new Portland Mercado of FosterPowell is beautiful, and if you don’t like it, I don’t trust you. The project—begun through assorted nonprofiteering, goodwill-type impulses having to do with helping immigrants start up selfsufficient small businesses—is a Latin American wonderland with a chorizo maker, a carniceria that grills adobo chicken out front, a Mexican candy store with those crazy chili-coated candies as well as piñatas, a juice store with similarly pepper-coated Diablitos

QUÉ BACANO, SABOR COLOMBIANA Cuisine: Colombian Who’s cooking: Apparently the entire health care system of Pila, Colombia. Karen Castañeda is a med-school grad, while partner Andres Felipe Perez was a dentist.

What to eat: Arroz mixto, a modified take on Chinese fried rice that’s become one of Colombia’s most-favored foods, is salty and pungently spiced and loaded here with chicken, pork and shrimp. I didn’t bond as much with the Picada Colombiana, a profusion of grilled meats and yuca that came out a bit dry.

MIXTECA Cuisine: Oaxacan Who’s cooking: Doña Paula Acunsión, from El Carmen Tuxtitlan in Oaxaca, who worked in fast food and farms around Portland for 20 years before starting her tamale business at the St. Johns farmers market three years ago.

What to eat: There is nothing that isn’t wonderful here, and it is handily my favorite cart in the pod. The 15-spice mole negro plate, in particular, is so beautiful it caused passersby to stop and ask, oh dear Lord, what is that? But Acunsión’s moles shine best on the tamales, which are perhaps the best I’ve had in Portland—and I have had many, many tamales in Portland. Cooked Oaxacan style, in plantain leaf, they are moist, tender, pleasantly frictional and richly redolent of corn flavor, with none of the mucoid texture endemic to far too many banana-leaf tamales. Get them with Acunsión’s chileajo (red mole), a sauce fiery less with simple heat than with deep smoke and spice: the essence of flame rather than its painful effects.

FERNANDO’S ALEGRIA Cuisine: Burritos and wraps Who’s cooking: Fernando Rodriguez of Tula, Mexico, who’s been running food carts named Fernando’s in Portland for years.

and a little Mexican grocery. The small children of one business owner might be found with chocolate on their faces at the spot next door, getting either a treat or a friendly talking-to about not wandering into the parking lot. It’s terrific. But by far, the biggest draw is the rainbow of carts out front, pulling foods from across the Latin American spectrum, plus a bar where you can eat all of their food: the friendly, patioed Wine Nomad, which also serves Pfriem beer and a very fine michelada alongside its own wines. We ate at every single cart in the pod. Here’s what to get.

What to eat: Maybe something vegan?

Fernando’s is deeply adapted to the Portland environment, with a “Rip City” tofu vegan burrito, vegan and veggie wraps, and big ol’ American-portioned asada and al pastor burritos filled with rice and dollops of sour cream and optional guac ($1), with the young lady in the cart window gamely fielding a couple’s many, many questions about possible gluten content and grill-sharing ’twixt meat and vegetable. It is an exercise in deep familiarity.

EL GATO TUERTO Cuisine: Cuban and Argentine Who’s cooking: Hans Schmidt of Rosario, Argentina, and Jose Perez-Perillo of Havana.

The cart’s named after a restaurant PerezPerillo remembers fondly in Havana—it translates as “the one-eyed cat.”

What to eat: You can’t throw a Frisbee in Portland without hitting a Cubano, but El Gato Tuerto’s version ($8.50) stands out as wildly citric and piled ridiculously high with pulled pork, in contrast to the hamminess of the many local Cubanos influenced by Mexican traditions. Schmidt and Perez-Perillo aren’t running a fusion shop so much as a shared kitchen, but Argentine and Cuban have a shared focus on grilled meats, bright flavors and the occasional sandwich. Among the Argentine plates, just go for the Churrazquito ($8), a mess of beef, spice-crusted grilled chicken and chorizo all muddled together next to lightly spiced black beans. Still, the Cubano’s the star.

5 VOLCANES PUPUSERIA Cuisine: Salvadoran Who’s cooking: Maria Lizama and Victor Hernandez, both of whom grew up with 10-deep families in Usulután, El Salvador, and have been here for a little over 15 years.

What to eat: Pupusas, duh ($3). With loroco, a desert flower. Or especially with the blessed fat and crunch of chicharron.

But my actual favorite item? The sweet

LATIN LOVERS: Crowds at Portland Mercado (above); Mixteca’s tamale and mole negro plate (top).

plantain empanadas ($3.95), touched with cinnamon and sugar. Oh, man. Whatever else you get at the other carts, just wander by here and pick up an order. These are not the dull, pie-dough versions eaten by pastyfaced folk used to pasties: These are thincrusted, lightly browned balls of sweetness and light, and caused a very skeptical toddler of my acquaintance to freak out a little (once they finally cooled down).

LAS ADELAS Cuisine: Mexican comfort food like pozole, birrias and huaraches Who’s cooking: Dora Reyna, from the Free and Sovereign State of San Luis Potosí in Mexico, named her cart after the female soldiers who fought in the Mexican Revolution.

What to eat: Las Adelas has relatively few items on its menu, and yet a startling diversity among them. The guy at the window was most stoked about the huaraches—soft, handmade tortillas loaded with meats or sauces— but I liked best the birria plate ($10.95), with wonderful, brightly spiced shredded beef filling out the little house tortillas served with it, or especially a rare food-cart pozole ($9.95).

Among multiple options, roll with the pozole puerco rojo, thick with comfort and hominy.

LOS ALAMBRES DOS Cuisine: D.F. street food Who’s cooking: Mexico City’s Bryan Hernandez, son of Antonio Hernandez—who owns the first (excellent) Los Alambres out on Southeast 82nd Avenue—along with partner Nancy Ivette Cruz.

What to eat: Los Alambres Dos continues the tradition of the father cart’s massive football-sized tortas so stacked within with meat and cheese that they are also footballshaped. Each offers over a pound of stomachswelling, salty, savory goodness. The trick to Los Alambres’ tortas—as with all tortas, really—is always the quality of the bread, and it excels here: thick, fluffy, toasted and capable of withstanding the sheer weight of topping. But if the trick’s the bread, the secret is the dish without it, the cart’s titular Los Alambres plate that welds together four different meats, bell peppers and onions with a preponderance of cheese. It is the world’s most decadent nacho served not over chips but with little corn tortillas.

TIERRA DEL SOL Cuisine: Oaxacan Who’s cooking: Husband and wife Juan and Amalia Vazquez have been in Portland for more than 20 years after moving here from the Oaxacan town of Santa Cruz Tacache de Mina in Mexico.

What to eat: Holy shit, the tlayuda. At $13 for veggie and $15 for meat, the tlayuda is a tostada to end all tostadas—a tostada to end all hunger—big as a pizza and eaten either by slicing it or ripping it apart like a predatory dinosaur. The baked corn tortilla is topped with a layer of spicy black beans, a pizza sauce made of protein that serves as glue for all manner of delicious things: chorizo or other meat, quesos both fresco and Oaxaca, salsa, cabbage, veggies, onions and a little bit of chicharron. It is meant to heartily serve two, but a feat of will frightening to imagine can allow a singleton to finish it off.

EAT: Portland Mercado, Southeast Foster Road and 72nd Avenue, portlandmercado.com. 10 am-9 pm daily.

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june 10–16 PROFILE

= WW Pick. Highly recommended.

COLIN HAND

MUSIC

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, JUNE 10 Surfer Blood, Alex Calder

[SO PITTED, BRO] Surfer Blood ’s been having a hard time. A band member left after a cancer diagnosis. They got robbed on a recent tour. As if that weren’t bad enough, they’re from the same neighborhood in Florida that I am and, holy shit, let me tell you: That is the hardest tribulation of all. The band ’s new one, 1000 Palms, is the ultimate lemonade-from-the-shit-lemons-lifehands-you. Leaning more toward the Rentals than Weezer proper, the band retains the vibrant energy of its initial releases but shows maturity in the lyrical content and dynamic structure. Rather than ape its influences outright, Surfer Blood now weaves them in more delicately. Let’s just hope its luck improves in kind. CRIS LANKENAU. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $18. 21+.

Mischief Brew, Ramshackle Glory

[AMERICAN PUNK] The music may have changed, but the Crass-era politics and anti-establishment stance of Philly’s Mischief Brew have never wavered. The folk-punk outfit, which began as a DIY outlet for frontman Erik Peterson in the early 2000s, continues to change, swinging between folkish gypsy punk and garage rock with the release of every new EP. More so than most of the records, though, the forthcoming This Is Not for Children looks to trade in the trumpets and barreling acoustics for distortion and licks better suited to crusty venues than the aging pubs along the Mason-Dixon line.

BRANDON WIDDER. Star Theater, 13 NW 6th Ave., 345-7892. 9 pm. $12.

All ages.

THURSDAY, JUNE 11 Avid Dancer

[ROCK DREAMS] Jacob Summers’ biography reads like a rock-’n’roll fairy tale. The man behind Avid Dancer grew up in the Deep South in a strict religious household, learned to play drums when a neighbor serendipitously left sticks at Summers’ house, then joined the Marines before breaking to the West Coast to live out his dream of becoming a rock star. But Summers is an actual person, not an archetype, and doesn’t seem to see his music as some kind of rebellion against the rigidness of Christianity or the American Armed Forces. But with its poppy psychedelic sheen, tambourines and wire brushes, his 2015 debut, 1st Bath, definitely seems better suited to headphones and a joint than a church service or the battlefield. SHANNON GORMLEY. Bunk Bar, 1028 SE Water Ave., 894-9708. 9:30 pm. $8. 21+.

Sam Prekop, Panabrite, Pulse Emitter

[BLEEP-BOP] Sam Prekop’s offerings outside of the Sea and Cake have gotten more distant from the jazzy post-rock that’s made him famous.

The Republic, released in February, is a synth bricolage of mostly standard electronic bleeps and pulses, but arranged with a masterful, minimalist ear for melody and mood. As if the music itself didn’t already evoke a painter’s use of tone and color, he also hand-built the synthesizer he’s performing with for precision’s sake.

It looks a lot like a refrigerator or the thing Johnny Greenwood was “playing” when Radiohead performed Idioteque on SNL, but I guarantee Prekop is doing a hell of a lot more

with his contraption than just looking weird. CRIS LANKENAU. Doug Fir Lounge, 830 E Burnside St., 231-9663.

9 pm. $14. 21+.

Ancient Heat, the Lower 48, Foxy Lemon

[FOUR ON THE FLOOR] Frankly, Ancient Heat has done more to keep the mirror ball spinning in modern clubs than a young John Travolta and revival screenings of Saturday Night Fever ever could. The 10-piece ensemble’s contemporary form of disco doesn’t just take a cue from the synth-warped ’70s but brazenly manifests it, bringing with it skipstep drumming, powerhouse choruses and brass solos that are almost as tantalizing as the band ’s appropriate choices in performance attire.

And if the eerie, funk-infused grooves and spacy unpredictability glimpsed from the title track of the forthcoming Come to Me Slowly are any indication, they’re not stopping the show just because the lights begin to dim.

BRANDON WIDDER. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $8 advance, $10 day of show. 21+.

An Evening With Delta Spirit & Friends

[INDIE LOVES COMPANY] A collaboration roadshow of sorts, An Evening With Delta Spirit and Friends features the San Diego indie-rock band sharing the stage with folks like Alec Ounsworth and members of Deer Tick and Dr. Dog. Each show will feature a new guest or two and draw from the group’s impressive catalogue and beloved covers. Delta Spirit’s latest, Into The Wide, feels like an experienced record from a group of longtime friends, ripe with the full-bodied guitar riffs and melodic gusto we’ve come to expect from group. Seeing it fleshed out live with an all-start cameo or two will only add to the intrigue. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 7 pm. $20 advance, $22 day of show. 21+.

FRIDAY, JUNE 12 The Life and Times, Last Giant

[MIDWESTERN MATH-PUNK] Beyond ribs and jazz, there was a brief portion of the ’90s in which Kansas City was an under-the-radar hotbed for angular hardcore—an integral piece of what eventually became “emo.” KC’s Shiner broke up soon after releasing its masterstroke, The Egg, and a legion of impersonators stepped in before offshoot the Life and Times could gain a foothold over the navel-gazing cowtown kids with Telecasters and weird haircuts. On Lost Bees, singer-guitarist Allen Epley fuses the hypnotic studio trickery of modern post-rock with the syncopated rhythms and sprawling guitars that made Shiner a band to root for over a decade ago. PETE COTTELL. Bunk Bar, 1028 SE Water Ave., 3282865. 9:30 pm. $10. 21+.

Screeching Weasel, MXPX

[PUNK AS…] With a back catalog that includes gems like “I Wanna Be Naked,” Chicago pop-punkers Screeching Weasel probably shouldn’t have been expected to issue a rock opera. And as its title might suggest, Baby Fat: Act 1 is just the beginning. But sporting a past that includes some of the genre’s most simplistic and savvy co-options of the Ramones, figuring out that the arc of the band’s new effort sounds like an update to Tod Browning’s Freaks makes some sense. And since

CONT. on page 32

naTurE comPany: (From left) Valet’s rafael Fauria, Honey owens and mark Burden.

MOTHER OF REINVENTION THE BIRTHS AND REBIRTHS OF VALET’S HONEY OWENS.

BY MATTHeW SIn Ge R

msinger@wweek.com

One night in 2008, while on tour in Europe, Valet died onstage. It was only 2 years old.

“All my gear was destroyed because this record store didn’t have a power converter,” says singer Honey Owens. “I started to play, and one by one, all my lights were going on and off, on and off, and then off forever.” Owens and her partner, Rafael Fauria, trudged through the rest of their scheduled dates, using iPods and the lone surviving delay pedal during shows. But really, the band was on life support. When Valet returned to the states, Owens pulled the plug.

“It was a nightmare,” she says. “So I was like, ‘Fuck Valet, this sucks. I’m never playing ever again.’”

That might sound like an extreme reaction to a freak accident, but the truth is that Owens’ frustration with her own project had been simmering long before her equipment betrayed her. A veteran of Portland’s avant-garde fringe, Owens started Valet as an outlet for her solo sound experiments, releasing two well-regarded albums, but she struggled to reproduce the “accidental songwriting” live. After that disastrous tour, she and Fauria put their focus into the Miracles Club, delving into house music, and effectively laid Valet to rest.

Seven years later, Valet is back from the dead.

As with most reanimated corpses, it hasn’t come back quite the same. It’s more of a band now, with Fauria taking on an expanded role, along with multi-instrumentalist Mark Burden. Once drifting and abstract, Valet’s new music is more structured and guitar-based, reining in its ambient deep-space explorations and bringing the sound closer to classic shoegaze. What’s changed the most, though, is Owens. In the past, her songwriting may have been “accidental,” but it was hardly uninhibited: She’d often second-guess herself into creative paralysis.

She’s since learned to let go of her pretenses and trust what feels right. Nature, Valet’s new album, is blissfully ethereal, but in terms of its creation, it is the most visceral music Owens has ever made—the product of instinct superseding intellect.

It took having a child to get her there. Despite

proclaiming that she would never play as Valet again, Owens spent the intervening years trying to write another record, but nothing stuck. After she and Fauria became parents in 2013, though, the nagging self-consciousness that caused her to throw out whole albums of material dissipated in the fog of delirious exhaustion. After all, it’s hard to overthink things when time for free thought is at a premium. “I always felt that music just happened naturally, and you shouldn’t press it,” Owens says.

“If you just stroll up to it every day, it’ll come to you and reveal itself to you. But when you’re pressed and you have this small amount of time, you literally have to press out the music.”

But according to Owens, the resurrection of Valet happened by “sheer accident.” In the months after her son’s birth, she rediscovered the joy of playing guitar as a respite from the pressures of motherhood. The songs that began coming out of her didn’t exactly fit the Valet mold, but they certainly wouldn’t have made sense for the dance-floor pulse of the Miracles Club. Working a few hours a week—whenever Owens and Fauria could get a babysitter—Nature came together over the course of a year, growing from simple “guitar music” into cosmic dreamscapes, in which entire star systems seem to spiral out from every strum. Owens credits Burden and Fauria for helping shape her ideas, and for keeping her from floating off into what she calls “ambient stoner land.”

It was crucial that she stay tethered. Because unlike Valet’s earlier work, when Owens would use her gentle monotone to color the music’s otherworldly qualities, her main concern on Nature is the world she brought her child into. She says the title refers to human nature, something she was previously more interested in transcending than examining. Valet is still Owens’ project, but she knows that, this time around, it can’t just be about her anymore.

“I like the idea of me trying to lose my ego, and having a child, the ego goes out the door a little bit,” she says. “Like, to just play something that feels good, and not worry about trying to impress anyone.

Either people will like it or they won’t.”

SEE IT: Valet plays Holocene, 1001 SE Morrison St., with Ilyas Ahmed, Itasca and DJ Jason Urick, on Wednesday, June 10. 8:30 pm. $7. 21+.

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friday

Screeching Weasel’s musical scaffolding hasn’t changed over three decades, there’s not a huge chance for the band to falter. Gabba gabba, right? DAVE CANTOR. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $24.99 advance, $28 day of show.

All ages.

Eight Bells, Zirakzigil, Serpent’s Caul

[BEARD METAL] One does not simply listen to Zirakzigil—or pronounce its name. And though the brother-cousin outfit claims to not be a Tolkien-themed band, one is hard pressed to listen to its cinematic, sludgy doom metal and not imagine Gandalf’s fiery fracas with a balrog upon the peak of the Misty Mountains that just so happens to be the band ’s namesake. Expect the epic. TED JAMISON. Panic Room, 3100 NE Sandy Blvd., 238-0543. 9 pm. $8 advance, $10 day of show. 21+.

Divers, Gaytheist, the Suicide Notes [CONFRONTATION ROCK] By this point we know Divers as an urgent, hard-rocking band that went from playing pinball palaces to headlining Willamette Week ’s Best New Band showcase. But don’t be fooled: In true Springsteen fashion, it will still rock the taco house down the street. Gaytheist, on the other hand, has been making headlines since 2001 for its name alone. Its confrontational blend of hardcore and noise rock only makes the font bold. TED JAMISON. The High Water Mark , 6800 NE Martin Luther King Jr. Blvd., 2866513. 9 pm. $6. 21+.

Is/Is, Charms, Talkative

[PSYCH ROCK] I guess I’m slipping. Somehow Is/Is put out four releases—each with a perfect, albeit different, sludge-to-jangleto-gloss ratio—before I noticed them. The trio’s latest cassetteonly release, Shadow Days, trades riffage for bleak, shoegazey sounds reminiscent of Cowboy Junkies and Mazzy Star. Unlike the group’s previous releases, it’s an exceedingly minimal affair, but here and elsewhere in the band’s discography, a strong songwriting core shines through its expertly built walls of sound.

This is a Portland transplant I can get behind. CASEY JARMAN. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.

Roman Zawodny, Jak, Jason Shelton, AA27

[NU-TRIBAL TECHNO] The tribal sound was mostly over. The postrave world isn’t well-suited to pounding conga beats or stressinducing minor chords. Seattle UKR label boss Roman Zawodny is trying to change that. In contrast to industrial or the bloodshot-eyed dub techno currently dividing the 140 BPM scene, Zawodny is bringing tribal back to the Northwest, especially through his releases of distant artists like Lester Fitzpatrick and Amir Razanica. His skill at coordination and unification don’t stop there: He just dropped West Coast Connection, a collab with artists from three countries, including Portland ’s Jak. MITCH LILLIE. The Rose, 111 SW Ash St., 971-5447330. 9 pm. $5. 21+.

A L L I S O N S TATO N

PREVIEW

No Joy, Appendixes, Tender Age [LOVEMORE] It’s hard to break new ground in shoegaze. By definition alone, the genre tag—designated by the British music press in the late ’80s to describe loud, brittle bands like My Bloody Valentine and Ride that remained basically motionless onstage—is narrow in scope. Montreal quartet No Joy thrive not by pushing the boundaries of the form, but instead in finding new ways to make the same noise ache just a little bit more.

The band’s exemplary new album, More Faithful, sees the group expanding its sonic palette while also doubling down in the kind of direct, physical songwriting that doesn’t require a thesaurus or college radio background to understand. Lilting single “Moon in My Mouth” has such a gorgeous melody that any band could do it justice, but No Joy’s off-kilter take—yes, that’s an 11/4 time signature you hear, nerds—makes it one of the most transcendent noise ballads released in years. It’s not all quiet beauty, though: The blistering “Hollywood Teeth” shows that singerguitarist Jasamine White-Gluz can also write a chugging rock song. Sometimes it’s OK to let the light in, even just for a brief moment. MICHAEL MANNHEIMER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm Friday, June 12. $12. 21+.

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FRIDAY–SATURDAY

Todd Rundgren

[ELECTRIC WIZARD FUNK] Todd Rundgren—man of 25 solo releases and counting, not to mention innumerable production credits for the likes of Meat Loaf and New York Dolls and his own space-prog supergroup Utopia—wants his core audience to expect the unexpected.

Or, to be more specifi c, he is out to remix hits so old songs don’t sit around like “a turd in a punch bowl,” as per a recent interview to kick off his 75-day (!) U.S. tour. With the esteemed modern boogie synth master Dam-Funk as the sole backing band member, Rundgren live promises to be a feel-good abstraction of one of rock ’n’ roll’s most enduring, eclectic eccentrics, out to shred his smooth-rock origins toward a dancy, neon-lit future. WYATT SCHAFFNER. Wonder Ballroom, 128 NE Russell St., 284-8686. 7:30 pm. $45-$75. 18+.

SATURDAY, JUNE 13

MUSIC

ambassador, bringing the style of music and dance bastardized by Madonna’s “Vogue” to the masses—with a few updates.

Recent remixes, like the one of Spank Rock’s “Back Up,” have been infl uenced more by the rest of Fade to Mind’s roster rather than the other way around. MikeQ does still have Qween Beat, his vogue-ballroom label, a catalog he draws on heavily during his over-the-top performances.

MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 9 pm. $10. 21+.

An Evening with Laura Gibson

[SINGER-SONGWRITER] The Portland-bred, now New Yorkbased folk songwriter returns home two months after losing nearly everything she owned in an apartment fi re, and will likely be previewing at least a few songs off her upcoming new album. The Old Church, 1422 SW 11th Ave., 222-2031. 8 pm. $15 advance, $18 day of show. All ages.

Now on your dial at 99.1 fm, every day until 3 pm. Streaming 24/7 at prp.fm.

A local artist every 15 minutes. Features from local non-profits.

NO COMMERCIALS. Radio like it oughta be.

Verified: Mike Q, Gang$ign$, SPF666, Beyondadoubt, Quarry

CONT. on page 35

MIC CHECK RHETT MILLER ON PORTLAND Rhett Miller isn’t one to pass up an opportunity. The Texas-bred musician spent the better half of two decades serving as the charismatic frontman for alt-country stalwarts the Old 97’s, while still managing to issue a handful of excellent solo records. For his latest, The Traveler, he traded New York— where he’s currently based—for Portland, enlisting the help of R.E.M. guitarist Peter Buck and local bluegrass purveyors Black Prairie to serve as his backing band. WW spoke to Miller about his eight-day recording session at Jackpot Recording Studio and why Portland remains No. 1 on his list. BRANDON WIDDER. WW: How was working with Black Prairie different from working with the 97’s?

Rhett Miller: Black Prairie is the perfect illustration of why I got into music in the first place. It’s about collaboration, friendship and creating something in the moment. Recording with the Old 97’s is fun because we have a strong grasp on our roles and what we bring to the table, but Black Prairie has their own shorthand and form of telepathic communication. I was stepping into a group of friends with a multitude of varied strengths. I didn’t think the record was going to be attributed to me and Black Prairie, but I began listening to the rough cuts, and I realized I’m just the singer-songwriter fronting the band. I’ve worked with great studio musicians in the past when recording on my own. They’re great and show for the job, but Black Prairie approached it as though we were a band, not just a group of hired guns.

Would you ever consider relocating from New York to the Pacific Northwest?

Traveling to new places has always been a fun sideline of my career. You show up in a town, spend a little time there, and suddenly you find yourself saying, “I could live here!” Portland has always been at the top of my list, though. I went to yoga classes and a great vegetarian place—I’ll never remember the name of it—while we were recording. It’s really strange, right down to its bones, which is what Austin used to be and the exact opposite of where I grew up. God, maybe I’ll just get a second home? Someday.

JASON QUIGLEY

[SLOW BALL] Though fresh off an international tour, MikeQ remains the dark horse of Fade to Mind’s pan-club roster. He’s also the label’s unoffi cial ballroom house

Tune In Turn On

SmarT

FrIendly

lOcal

#TuneInTurnOn

Beyond the Print

@wweek @WillametteWeek

SEE IT: Rhett Miller plays Mississippi Studios, 3939 N Mississippi Ave., with Annalisa Tornfelt, on Tuesday, June 16. 8 pm. $15 advance, $17 day of show. 21+.

Willamette Week JUNE 10, 2015 wweek.com

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MUSIC BY THE PEOPLE FOR THE PEOPLE! Join in the music celebration that will rock more than 725 cities around the world on June 21. From Alternative to Bluegrass to Classical to Zydeco, Make Music PDX is a celebration of music of all genres played by and enjoyed by people of all stripes.

ALL DAY, ALL FREE! makemusicdaypdx.org MEDIA SPONSOR 34

Willamette Week JUNE 10, 2015 wweek.com

sunday–monday/classical, etc.

Tell Mama: A Tribute to Etta James

PROFILE ADRIAn ADEL PHotoGRAPHY

SUNDAY, JUNE 14

MUSIC

[At LASt] A host of homegrown talent—including Duffy Bishop, LaRhonda Steele and Lisa Mann— try their hand at some of the most powerful songs in R&B. Good luck!

Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm. $18 advance, $22 day of show, $30 preferred seating. Under 21 permitted with legal guardian.

Fog Father, Landlines, Grapefruit

[PoSt-BASEMEnt] Landlines are close to greatness—literally. over the years, the band has recorded in rooms adjacent to the rehearsal spaces of Pacific northwest giants Built to Spill and Hive Dwellers.

What results is a band that wears its lo-fi influences on its sleeve in a manner that is somehow not trite. Imagine the best parts of cloud nothings, without the worst parts of pop punk. tED JAMISon. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm.

Free. 21+.

MONDAY, JUNE 15 San Cisco, MOTHXR

[YoUtHFUL PoP] Aussie quartet San cisco plays candy-coated pop perfect for the free-for-all days of summer. Pulling equally from Hot chip and MGMt, the band ’s retro dance sound is both funky and cerebral. San cisco’s ability to fuse intoxicating guitar lines with big beats and high-flying vocal harmonies has landed the band on many must-watch lists, and sophomore LP Gracetown suggests the band is more than capable of penning pop songs clever enough to stand out in a crowded genre. they also just want to get down, and so should you. MARK StocK. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12 advance, $14 day of show. 21+.

The Donkeys, Extra Classic, the Zags

[GooD VIBRAtIonS] the Donkeys are a quintessential california band, as “Sunny Daze,” the opening song on the band ’s most recent effort, Ride the Black Wave, can attest.

Like the rest of the outfit’s colorful discography, it’s brimming with chiming, Pavement-esque solos, with a vibe fit to soundtrack a surf video. Drummer-vocalist Sam Sprague’s spacey voice hovers above it all, wry and soulful, drifting over sitar melodies and harmonies culled directly from the pages of the cSnY songbook. “I don’t want you to change,” he sings against the bright chugging of “Shines.” It’s about a girl, but given the album’s context, it could just as easily be about the Golden State itself. BRAnDon WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

CLASSICAL, JAZZ & WORLD Farnell Newton & Friends

[JAZZ-ISH] Wait! Don’t let the word “jazz” scare you away! Aside from being Portland ’s go-to jazz trumpeter, Farnell newton is one of the biggest all-around music heads in Portland, and it shows on his latest record, Ready to Roll. From the D’Angelo-esque R&B of “You Gotta Move” and “Peace Love,” to the folky balladry of “Softly,” to the straight-up funk of “Stankie’s Revenge Part Doo” (with frequent collaborator tony ozier), there is something here for everybody. tonight should be considered more of a Farnell newton-helmed variety show, featuring many of the best musicians in Portland—these folks play with Jill Scott, Bootsy collins and some guy named Prince— than anything else. think of it as an extra-classy version of ozier’s Dookie Jam. cASEY JARMAn.

TONY OZIER WEDNESDAY, JUNE 10 It’s a sweltering day in Portland, and Tony Ozier, the self-appointed “King of Planet Dookion,” is gracing Katie O’Brien’s on Northeast Sandy Boulevard with his royal presence. As he dunks a grilled cheese sandwich into a bowl of tomato soup, the tall, dreadlocked MC and multi-instrumentalist explains how someone so regal ended up in our humble town.

“The airwaves on Earth were hurting, and the people of our planet sent our top specialists to bring the airwaves back to conscious music,” he says, a cheeky grin stretching across his face. “We landed in Portland, Oregon—which has now become Poohland, Oregon.”

In reality, Ozier grew up splitting time between Texas and Michigan, and moved to Portland in 2009 after trying his hand in L.A. and Atlanta. But his sound—which he’s dubbed “doodoo funk”—does come off like something from another world.

A mixture of ’70s psychedelic funk with hip-hop swing and D’Angelo-esque soul, the definition of “doo doo” is limited only by the imagination of its creator. And after witnessing one of Ozier’s monthly Dookie Jams at Dante’s with his Doo-Doo Funk AllStars, it seems positively boundless.

Despite his confidence, Ozier, who releases his third solo album, 36 Flavas, this month, got a late start in the music game.

Though his grandfather was a gospel singer who toured the country, and he played on the drum line in high school, Ozier focused on music only after dropping out of Western Michigan University.

Ozier says he “just wasn’t ready” for the four-year college experience, and found himself living back at home with his father, wondering what to do with his life. “It just came to me, clear as day,” he says. “Go learn to play that piano at your dad’s house.” After many hours spent practicing chords, a friend showed him how to make beats. “When that happened, it was over,” Ozier says. “I knew what I was going to do.”

Ozier pursued a degree in studio engineering, and immediately moved to L.A. to shop his music. “I would present my music as R&B, and labels would tell me it was ‘too neo-soul,’” he says. “So then I would submit to a neo-soul label, and they would tell me it was ‘too hip-hop.’

“The one thing they all told me,” he adds, “was that it was funky.”

And so was birthed doo-doo funk—“the stankiest thing you can think of.” It’s a malleable sound. On 36 Flavas, crisp, radio-ready production masks out-there concepts, to the point that it’s easy to forget you’re listening to a concept album by imaginary funk heroes from outer space. Onstage at Dante’s, where Ozier leads his revolving cast of All-Stars, the sound is even more diverse: You’re just as likely to hear a soulful solo from horn player Farnell Newton as a 16-bar verse from Slimkid3 of the Pharcyde.

“I really still don’t know what to call it,” Ozier says, laughing.

“I’ve just tried to keep it drippy.” PARKER HALL. Stank you smelly much.

SEE IT: tony ozier plays Dante’s, 350 W Burnside St., with Farnell newton and the chicharones and host Devin the Dude, on Wednesday, June 10. 9 pm. $12. 21+.

cont. on page 37 Willamette Week JUNE 10, 2015 wweek.com

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Willamette Week JUNE 10, 2015 wweek.com

classical, etc.

Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm Friday, June 12. $15. 21+.

Astoria Music Festival Portland Preview

[COASTAL CLASSICAL] In this benefit for the Old Church, violinists Martin Chalifour and Sarah Kwak—concert masters of the Los Angeles Philharmonic and Oregon Symphony, respectively— join award-winning cellist Sergey Antonov and versatile Portland pianist Cary Lewis in a snapshot of some of the chamber music featured at the coast’s premier summer classical festival, including a quartet by Sibelius, a trio by Brahms and sonatinas by Honegger and Dvorak. BRETT CAMPBELL. The Old Church, 1422 SW 11th Ave., 222-2031. 7:30 pm Friday, June 12. $18 general admission, $30 reserved. All ages.

Kúkátónón: The Village 2015

[WEST AFRICAN RHYTHMS] It’s hard to imagine modern music without West Africa’s influence.

Traditional rolling rhythms, beautiful patterned dress and infectious dance moves have captured the imagination of everyone who has come into contact with it—from New York’s Vampire Weekend to Senegal’s Akon. Members of Portland’s African and AfricanAmerican communities come together to form Kúkátónón, a troupe of dancers, musicians and storytellers who showcase the power of African music with energetic stomping movements and big, loud hand-drum solos to boot. PARKER HALL. Winningstad Theatre, 1111 SW Broadway, 2484335. 7:30 pm Friday, June 12. $12$22. All ages.

Resonance Ensemble

[WAR AND PEACE SONGS] Resonance Ensemble performs music by composers whose countries have had too much familiarity with war over the past century or so. One of Arnold Schoenberg’s last works before he moved into atonality, the short Peace on Earth from 1907, sets a text by a Swiss poet. Francis Poulenc wrote his World War II choral cantata Figure humaine (The Human Face), dedicated to Picasso, at some risk during the Nazified Vichy regime in occupied Paris. The choir, comprising some of Portland ’s finest singers, will also sing British composer Ralph Vaughan Williams’ Grant Us Peace and American composer Lee Hoiby’s Last Letter Home, a setting of a letter from an Iraq War veteran opened by his wife and children after his death. BRETT CAMPBELL. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307.

7:30 pm Saturday, June 13. First Presbyterian Church, 1200 SW Alder St. 2 pm Sunday, June 14. $22 general admission, $15 seniors, $11 students.

ViVoce

[GLOBAL CHORAL] Now celebrating its 10th anniversary, Portland Revels’ 18-voice women’s a cappella ensemble ViVoce has become a de facto world-music choir, and a pretty enjoyable one.

Repertoire for this concert ranges from Ireland, Georgia, Romania, Bulgaria, France, Italy and beyond, from folk to classical, and from the Renaissance to the present. As usual, it includes more than music, framing the songs, poetry and dance in a pastoral story of community, courtship and marriage.

BRETT CAMPBELL. St. Michael and All Angels Church, 1704 NE 43rd Ave., 284-7141. 7:30 pm Saturday and 4:30 pm Sunday, June 13-14. $15 general admission, $12 students and seniors. All ages.

For more Music listings, visit

MUSIC

ALBUM REVIEWS

MÁSCARAS MÁSCARAS VS. MÁSCARAS (PARTY DAMAGE) [INSTRUMENTAL PSYCH] Of the 20 or so bands drummer Papi Fimbres makes time to play for these days, desert-psych group Máscaras is getting most of his attention right now, with good reason. The trio’s debut album distills its frenetic acid rock down to eight barely three-minute songs, a rare feat in the pantheon of instrumental rock. Sure, there’s enough phased guitar fuzz and tape echo to make the 13th Floor Elevators blush, but Máscaras manages to shirk psychedelia’s indulgent nature by serving up its lysergic concoction in small doses. It mostly works, as it turns out, because three minutes is plenty of time to enjoy the Hawkwindon-surfboards chug of “Desert Masks” and the Farfisa-laden sludge of “Going Home.” No slow crescendos, no half-hour jams—this is prog rock on a tight schedule. Máscaras doesn’t always escape the monotony that drags down even the best instrumental rock music, as certain songs can’t find their way out of first gear. But if you prefer psychedelic music in potent, bite-sized pieces, Máscaras vs.

Máscaras does the trick just fine. CASEY HARDMEYER. SEE IT: Máscaras plays Bunk Bar, 128 SE Water Ave., with Bearcubbin’, on Saturday, June 13. 9:30 pm. $8. 21+.

BROWNISH BLACK LIFE LESSONS (BREAKUP) [GARAGE SOUL] Don’t call it a throwback. On its debut LP, Life Lessons, Brownish Black is a band serrating the edges of soul music. Sure, the blend of R&B and funk might sound oldschool, but when compared to contemporaries like Nick Waterhouse or the Daptone Records crew, the Portland octet’s aggressive sound is less a pristine mirror of decades past than a forceful projection of the places the idiom can be taken. In the case of this album, that place is the garage. Detroit native M.D. Sharbatz’s hardcore punk roots show in the record’s raw sound. The horns waver, and Sharbatz is more apt to bark and quiver than straighten his voice into a smooth croon. But throughout Life Lessons, Brownish Black proves capable of producing thick grooves at near-Stax levels of competency. Many tracks take unexpected turns: the ascending swell in “Singing a Song”; the sudden spaghetti Western drop in “Le Systeme”; the Family Stone-style a cappella handclap break in “Making Time.” If the goal of Life Lessons is to push the soul genre toward a rough-hewn fringe beyond the familiar, it’s undoubtedly a success. TED JAMISON. SEE IT: Brownish Black plays Goodfoot Lounge, 2845 SE Stark St., with Thanks and DJ N-Able, on Thursday, June 11. 10 pm. $7. 21+.

LUNCH LET US HAVE MADNESS OPENLY (MASS MEDIA) [POST-PUNK] It doesn’t take a geneticist to map the DNA of post-punk resurrectors Lunch—only a BBC radio host from the 1980s.

On its second album, the band wears its debt to such harbingers of English gloom as Echo & the Bunnymen and the Chameleons like a full-length trench coat, drenching its guitars in moody reverb and howling at the killing moon in a melodic-goth bellow. But Let Us Have Madness Openly isn’t just some shadowpuppet version of Crocodiles. On its previous recordings, Lunch declared allegiance to the Gun Club’s swampy voodoo punk, and it’s part of the milieu here, in the warped groove of “Brand New Shirt” and the energetic propulsion to “Flat Circles” and “Witch’s Apartment.” And while the group might borrow bits from Joy Division’s oft-plundered toolbox, extraordinarily named singerguitarist Prometheus Wolf remains more Jeffrey Lee Pierce than Ian Curtis, preferring to embrace the void with wild hysteria.

“The more you cry, the more I feel the need to laugh out loud,” he confesses on “Madness Openly.” “How is no one getting this cosmic joke?” Don’t worry, dude: Some of us are giggling maniacally right along with you. MATTHEW SINGER. SEE IT: Lunch plays Black Water Bar, 835 NE Broadway, with Shadowhouse, Spirit Host and Caustic Touch, on Friday, June 12.

8 pm. $5. 21+.

Willamette Week JUNE 10, 2015 wweek.com

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Young Audiences Music In The Schools Ethos

THE TALLEST MAN ON EARTH DANNY BROWN THE HELIO SEQUENCE LADY LAMB STRAND OF OAKS PURE BATHING CULTURE DIVERS BEAT CONNECTION

MUSIC CALENDAR

[JUNE 10-16] Hawthorne Theatre

= 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.

1507 SE 39th Ave. The Story So Far, Four Year Strong, Terror, Souvenirs

Holocene

1001 SE Morrison St. Ancient Heat, the Lower 48, Foxy Lemon

For more listings, check out wweek.com.

LAST WEEK LIVE

Jade Lounge

THOMAS TEAL

2342 SE Ankeny St. JD’s Blues/grass Sessions

Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

Kells Brewpub

210 NW 21st Ave. Sami Live

Kelly’s Olympian

426 SW Washington St. Soul Vibrator, Helena Cinema, White Bear Polar Tundra

Laurel Thirst Public House

2958 NE Glisan St. Ridgerunners (9:30 pm); Lewi Longmire and the Left Coast Roasters

Mississippi Studios

3939 N Mississippi Ave. Delta Spirit

Music Millennium

3158 E. Burnside St. The Earnest Lovers

WED. JUNE 10 Al’s Den

303 SW 12th Ave. Pretend Sweethearts

Alberta Rose Theatre 3000 NE Alberta St. Eilen Jewell

Blue Diamond

2016 NE Sandy Blvd.

The Fenix Project

Classic Pianos Recital Hall 3003 SE Milwaukee Ave Louis Coliannia/John Paris Concert

Dante’s

350 West Burnside Tony Ozier, Farnell Newton, the Chicharones

Doug Fir Lounge

Jade Lounge

2342 SE Ankeny St. Ronnie Carrier Hosts

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Quartet, Union High School Jazz Band

Kelly’s Olympian

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

Laurel Thirst Public House

2958 NE Glisan St. Tim Snider (9 pm); Nick Foltz, Karyn Ann, Mike Elias (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Surfer Blood

830 East Burnside Street 2530 NE 82nd Ave Arthur Moore’s Harmonica Party, Mandolin Orange

Old Church & Pub

Hawthorne Theatre

3100 NE Sandy Blvd.

Gomorrah

1507 SE 39th Ave. Against The Raging Tide, Noise Brigade, Sojourner

Holocene

1001 SE Morrison St. Valet & Ilyas Ahmed, Itasca, DJ Jason Urick

30340 SW Boones Ferry Rd. Brian Copeland Band

Panic Room

Star Theater

13 NW 6th Ave. Mischief Brew, Ramshackle Glory, Dirty Kid Discount

The GoodFoot Lounge 2845 SE Stark St. The Giraffe Dodgers

The Know

2026 NE Alberta St. Girls in the Noise

The Lodge Bar & Grill 6605 SE Powell Blvd.

Pete Ford Band Jam

Turn! Turn! Turn!

8 NE Killiingsworth St The Debts, Mt. Joy, Sioux Falls

Twilight Cafe and Bar

19335 Willamette Dr. Island Sound

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd.

Muthaship

Crystal Ballroom

1332 W. Burnside Screeching Weasel, MxPx

Dante’s

Panic Room

3100 NE Sandy Blvd.

1349 & Necrophagia, Vattnet Viskar, Panzergod

The Firkin Tavern

2530 NE 82nd Ave Trixie and the Nasties, Jawbone Flats

Hawthorne Theatre

6800 NE Martin Luther King Jr. Blvd.

Divers, Gaytheist, the Suicide Notes

Jade Lounge

2342 SE Ankeny St. Vega Black

Jimmy Mak’s

210 NW 21st Ave. Sami Live

Kelly’s Olympian

Blue Diamond

2016 NE Sandy Blvd.

Ben Jones and Friends

Bunk Bar

1028 SE Water Ave. Avid Dancer 430 N Killingworth St. Steve Kerin

5474 NE Sandy Blvd.

Mesi and Bradley

Twilight Cafe and Bar 1420 SE Powell Blvd.

The Unknowns, Less Cash and The Gringo Stars

Vie De Boheme 1530 SE 7th Ave. My Happy Pill

White Eagle Saloon 836 N Russell St. New Zoo

Wilf’s Restaurant & Bar

Dante’s

Wilf’s Restaurant & Bar

Doug Fir Lounge

Al’s Den

350 West Burnside Tracorum, Kierston White and Mason Reed 830 East Burnside Street Sam Prekop, Panabrite, Pulse Emitter

Duff’s Garage

2530 NE 82nd Ave Tough Love Pyle

FRI. JUNE 12 303 SW 12th Ave. Pretend Sweethearts

Alhambra Theatre

4811 SE Hawthorne Blvd.

Moonalice With David Nelson Band

1420 SE Powell Blvd.

Cast Down, Another Way Out, Levity, Noise Complaint 1530 SE 7th Ave. Bart Hafeman Hit Machine 836 N Russell St. The Hip Replacements

800 NW 6th Ave. Richard Arnold & Groove Swingers

Winningstad Theatre 1111 SW Broadway Kktnn: The Village 2015

Wonder Ballroom

128 NE Russell St. Todd Rundgren

SAT. JUNE 13 Al’s Den

303 SW 12th Ave. Pretend Sweethearts

Artichoke Music

3130 SE Hawthorne Blvd.

Stillway & Bonham

Ash Street Saloon

225 SW Ash St. She Preaches Mayhem, Rustmine, We The Wild, Vivil Wolves

Bunk Bar

Clyde’s Prime Rib Restaurant & Bar

Ash Street Saloon

225 SW Ash St. Kingdom Under Fire, Awaken Antagonist, Dreizehn

Twilight Cafe and Bar

Laurel Thirst Public House

Milwaukie Elks

8 NE Killiingsworth St Color-coder, Bombay Beach, No Phone

1125 SE Madison Dean Martin Birthday Tribute

1028 SE Water Ave. Bearcubbin’, Mascaras

Turn! Turn! Turn!

3130 SE Hawthorne Blvd.

Acoustic Village

Tony Starlight Showroom

426 SW Washington St. Hart & Hare

Artichoke Music

6605 SE Powell Blvd.

Ben Rice B3 Trio

3120 N Williams Ave. Dr. Something, Youngest of Elders, Bone & Bell

Duff’s Garage

Kells Brewpub

The Lehrer

The Waypost Coffeehouse & Tavern

Wilf’s Restaurant & Bar

The GoodFoot Lounge

2026 NE Alberta St. Sleeptalker, The Bugs, White Glove

Laurel Thirst Public House

1422 SW 11th Ave Astoria Music Festival Portland Preview

White Eagle Saloon

830 East Burnside Street This Charming Band, For The Masses

221 NW 10th Ave. Farnell Newton & Friends

The Know

The Old Church

8105 SE 7th Ave. Dumpster Joe

Doug Fir Lounge

1937 SE 11th Ave. When We Met, The Eiffels

2845 SE Stark St. Brownish Black, Thanks, DJ N-Able

Kelly’s Olympian

Vie De Boheme

High Water Mark

30340 SW Boones Ferry Rd. Dirty Revival

The Muddy Rudder Public House

350 West Burnside Electric Six, White Reaper & Atlas & The Astronauts

Old Church & Pub

White Eagle Saloon

303 SW 12th Ave. Pretend Sweethearts

Cask N’ Keg Taproom

4627 Fremont David Friesen’s Circle 3 Trio

800 NW 6th Ave. Women With Standards Sextet

THURS. JUNE 11

1028 SE Water Ave. The Life and Times, Last Giant

Magnolia’s Corner

Clyde’s Prime Rib Restaurant & Bar

Al’s Den

Bunk Bar

The Lodge Bar & Grill

Vie De Boheme

800 NW 6th Ave. Ron Steen Band

225 SW Ash St. The Adarna, The Shrike, Tuesday’s Project

8775 SW Canyon Ln. The Land Between The Lakes

Chapel Pub

836 N Russell St. Damn Family, Terror Bird, Bud Wilson (of Aan)

Ash Street Saloon

2958 NE Glisan St. Houndstooth, Nick Delffs (9:30 pm); Joe McMurrian and Woodbrain (6 pm)

1420 SE Powell Blvd.

Blowout, Caves, Worriers, Jesus Miranda 1530 SE 7th Ave. Alicia Baker: French Jazz Quartet

3130 SE Hawthorne Blvd.

Friday Night Coffeehouse

1507 SE 39th Ave. Dr. Know featuring Kyle Toucher, Roadkill Carnivore, Gladius, Fatal Fix, 86

NoHo’s Hawaiian Cafe

HOW TO DIE IN OREGON: Clad in dark colors, Sufjan Stevens and his band looked ready for a funeral, and the first half of his sold-out show at the Schnitz on June 8 proved to be a quiet reception. Perhaps it is wrong to call a Portland concert from the Detroitborn Stevens a homecoming, but it’s the closest he’s performed to the physical and emotional core of his new record, Carrie & Lowell—an album about the death of his estranged mother, who lived in Eugene—and frankly, you could feel it. Stevens brought a four-piece band of multi-instrumentalists who roamed the stage, demonstrating impressive faculty with vocal harmony, piano, percussion, trombone, synthesizer and all flavors of stringed instrument. The addition of the lush band to the staid simplicity of Carrie & Lowell added welcomed flesh to the usually bare-boned sound of the grief-stricken record. At one point in his midset monologue, Stevens reminisced: “There were a few years when my mom and my stepdad lived here, in Eugene, and we would come out and visit them in the summers… and it was magic.” Perhaps returning to Oregon brought him that much closer to healing.

“Thanks for being with me through the thick of it,” said Stevens to the crowd before closing with fan-favorite “Chicago,” and exiting to a standing ovation. TED JAMISON. See the full review at wweek.com/lastweeklive.

Artichoke Music

4075 NE Sandy Blvd Byron & Johny 13121 SE McLoughlin Blvd Taska

Mississippi Studios

5474 NE Sandy Blvd.

Elite

Dante’s

350 W Burnside St Extra Action Marching Band

Doug Fir Lounge

830 East Burnside Street World Party

Friends Meeting House 4312 SE Stark St. Portland Shanty Singers

426 SW Washington St. Coronation, Seance Crasher, Cruel Lankin

2958 NE Glisan St. Cedar Teeth, Lumberjack (9:30 pm); Kris Deelane and the Hurt (6 pm)

Lincoln Hall

1620 SW Park Ave. Resonance Ensemble

Magnolia’s Corner

4075 NE Sandy Blvd Benjamin Brown

Ponderosa Lounge

10350 N Vancouver Way Whisky Union

S1

4148 NE Hancock Iji, The Ocean Floor, Graves

Shanti Om Yoga

7334 N Chicago Ave Ustad Mashkoor Ali Khan,

St Michael and All Angels Episcopal Church

1704 NE 43rd Ave. ViVoce: Love’s Labor’s Lyric

Star Theater

13 NW 6th Ave. Otis Heat, Hill Dogs and Count Kellam

The Bitter End

1981 W Burnside Sarah Vitort and Colin Johnson

The GoodFoot Lounge 2845 SE Stark St. Garcia Birthday Band

The Know

2026 NE Alberta St. Sioux, Serial Hawk, Towers

The Lehrer

8775 SW Canyon Ln. The Madson Band & The Nu Wavers

The Muddy Rudder Public House 8105 SE 7th Ave. Mark Shark

The Spare Room

4830 NE 42nd Ave Norman Sylvester

Twilight Cafe and Bar

1420 SE Powell Blvd.

My Life in Black and White, Kids on Fire, Wild Bill, Ninjas With Syringes

Vox Academy

5101 SE 17th Ave Sing-a-Thon

White Eagle Saloon

836 N Russell St. RedRay Frazier, Ghosts Like Us and Jane Kramer, Reverb Brothers

Hawthorne Theatre

Wilf’s Restaurant & Bar

3100 NE Sandy Blvd.

Eight Bells, Zirakzigil, Serpent’s Caul

1507 SE 39th Ave. Poison’Us (A Tribute to Poison), Same Ol’ Situation (A tribute Mtley Cre)

800 NW 6th Ave. Shelly Rudolph

Ponderosa Lounge

Hotel Oregon

Al’s Den

3939 N Mississippi Ave. No Joy

Panic Room

10350 N Vancouver Way Carrie Cunningham

Sheraton Portland Airport Hotel

310 NE Evans St. JP Harris & The Tough Choices, Great Northwest Music Tour

8235 NE Airport Way 11th Annual Portland Salsa Congress

Hotel Oregon

Star Theater

Jade Lounge

13 NW 6th Ave. The Sindicate, Dear Drummer, Champagne Duane

The Know

2026 NE Alberta Street Is/Is, Charms and Talkative

The Lehrer

8775 SW Canyon Ln. Big Monti and Special Guests

310 NE Evans St. Tate Peterson 2342 SE Ankeny St. Joseph Waya, Benny Gilberts, Will St John, Jack Maybe, Farrie

Jimmy Mak’s

221 NW 10th Ave. The Jacob Merlin Band

Kells

112 SW 2nd Ave. Pipes & Drums

Kells Brewpub

210 NW 21st Ave. Sami Live

SUN. JUNE 14 303 SW 12th Ave. Courtney Marie-Andrews

Alberta Rose Theatre 3000 NE Alberta St. Tell Mama: A Tribute to Etta James

Ash Street Saloon

225 SW Ash St. The Picturebooks, Stone Sky, Copper Moons, & Guests

Blue Diamond

2016 NE Sandy Blvd.

Kevin Selfe and the Tornadoes Jam Session

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd.

Ron Steen Jazz Jam

CONT. on page 40

Willamette Week JUNE 10, 2015 wweek.com

39

M U S ICFE STNW wAterFront PArk August 21-23 musicFestnw.com/tickets

3-daY pass

140

$

FridaY 8/21

MUSIC CALENDAR Dante’s

350 W Burnside St Davis Rogan

First Presbyterian Church

1200 SW Alder St. Resonance Ensemble

Hawthorne Theater

1507 SE 39th St Valiant Bastards, Helsting, Toroidal, Wild Call

Jade Lounge

45

$

2342 SE Ankeny St. Buddy Jay Kiefer

Kells

112 SW 2nd Ave. Traditional Irish Music

Laurel Thirst Public House

225 SW Ash St. Underground Resistance

Blue Diamond

2016 NE Sandy Blvd.

Hot Tea Cold

Dante’s

350 West Burnside Karaoke From Hell

Director Park

815 SW Park Ave Monday Soundscapes: Two Spirit Jazz

Doug Fir Lounge

2530 NE 82nd Ave Big Monti

St Michael and All Angels Episcopal Church

1704 NE 43rd Ave. ViVoce: Love’s Labor’s Lyric

The Know

2026 NE Alberta St. The Heavenly States

Duff’s Garage

Edgefield

2126 SW Halsey St. Groovy Wallpaper

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Trio

Kelly’s Olympian

426 SW Washington St. Bunker Sessions Open Mic

Laurel Thirst Public House

8105 SE 7th Ave. Irish Jam

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

Turn! Turn! Turn!

Mississippi Studios

White Eagle Saloon

The Muddy Rudder Public House

The Muddy Rudder Public House

60

Ash Street Saloon

Mississippi Studios

600 E. Burnside St. Sunday Sessions

satUrdaY 8/22 $

720 se Hawthorne Blvd Outline In Color, We Rise The Tides, Subtle City, Raines To Ruin, and Guests

830 East Burnside Street San Cisco, The Prettiots

Rontoms

Misterwives • Milo Greene • lost lander

Analog Cafe

2958 NE Glisan St. Open Mic (9 pm); Freak Mountain Ramblers (6 pm) 3939 N Mississippi Ave. Fog Father, Landlines

Foster the PeoPle

JUNE 10–16

8 NE Killiingsworth St Zach Bryson & Dusty Boots 836 N Russell St. Rob Johnston

MON. JUNE 15 Al’s Den

303 SW 12th Ave. Courtney Marie-Andrews

3939 N Mississippi Ave. The Donkeys, Extra Classic, The Zags

8105 SE 7th Ave. Lloyd Jones

TUES. JUNE 16 Al’s Den

303 SW 12th Ave. Courtney Marie-Andrews

Aladdin Theater

3017 SE Milwaukie Ave. Steven Wilson

Blue Diamond

2016 NE Sandy Blvd.

A.C. Porter and Special Guests

Bunk Bar

1028 SE Water Ave. Ex Cops

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

Dante’s

350 West Burnside The Supersuckers

Edgefield

2126 SW Halsey St. Ingrid Michaelson, Jukebox the Ghost, Irish Tuesday: Hanz Araki Band

Jade Lounge

2342 SE Ankeny St. The Great American Songbook Celebration

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet, The Chameleons

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

Mississippi Studios

3939 N Mississippi Ave. Rhett Miller, Annalisa Tornfelt

Panic Room

3100 NE Sandy Blvd.

Dirty Kid Discount, Raw Power, Death Wish, Everymen

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

The GoodFoot Lounge

2845 SE Stark St. Boys II Gentlemen

The Know

2026 NE Alberta St. Electro-Kraken, Verma, Ghost to Falco

The Lehrer

8775 SW Canyon Ln. Hot Jam Night with Tracey Fordice & The 8-Balls

White Eagle Saloon

836 N Russell St. Blues Jam with Travers Kiley TODD RUNDGREN

Beirut

Belle and SeBaStian • twin Shadow • BattleS • title Fight • CayuCas talk in tongueS • SaleS • alialujah Choir

60

sUndaY 8/23 $

modest mouse

the talleSt Man on earth • danny Brown • the helio SequenCe lady laMB • Strand oF oakS • Pure Bathing Culture • diverS • Beat ConneCtion

HYPNOTEYES: Todd Rundgren plays Wonder Ballroom on Friday, June 12.

40

Willamette Week JUNE 10, 2015 wweek.com

JUNE 10–16

MUSIC CALENDAR C O U R T E S Y O F FA C E B O O K . C O M / S TA G P DX

BAR REVIEW

Where to drink this week.

1. Sandy Hut

1430 NE Sandy Blvd., 235-7972.

Club 21’s owners have done less a full-scale remodel of the decades-old Handy Slut than the sort of rearrangement a mother might give her son’s bedroom after he finally moves out: scrub the stink out of the carpets, move some furniture around and open a damn window. The integrity of Sandy Hut, such as it was, has been maintained.

2. Shift Drinks

1200 SW Morrison St., 922-3933, shiftdrinkspdx.com.

Shift Drinks proposes itself as exactly what its name implies: a bar made specifically for service-industry staff. This also works out for those of us who take our post-work drink after a shift at an office, in a cavernous space with bright, exotic tastes poured out of Erlenmeyer flasks, plus a huge photo of drunken Batman listing against the wall.

I get HAPPY 4-6pm Tues-Fri $3 menu

Karaoke 9pm nightly Hydro Pong Sat. night

3. Solae’s Lounge

1801 NE Alberta St., 206-8338, solaeslounge.com.

In the spot where punk dive the Nest burned down in 2012, Solae’s is now a standing party on Alberta, a jazz-blues freefor-all where the legendary Lloyd Allen Sr. plays Saturday, the day after Mel Brown’s son Christopher pounds the skins behind his quartet.

4. No Fun

1711 SE Hawthorne Blvd., 236-8067, devilsdill.com.

You can now get your favorite tasty-ass, fivespice, pulled-pork Devil’s Dill sandwich in an amiable, sunny bar, with one of five craft taps, a reasonably priced $8 Negroni, a Pickleopolis pickle plate with beets, or especially the $8.50 house martini—gin and vermouth dirtied up not with olives but with pickle juice.

5. Killingsworth Dynasty

832 N Killingsworth St., 234-5683, killingsworthdynasty.com.

Like a North Portland Holocene from the guy who made Rotture and the Tube, the deeply queerfriendly Dynasty is a muchneeded dance-party venue for the art kids who’d rather not bike over the Alameda Ridge to get home.

Ho Ti

Chinese-American Restaurant 2610 SE 82nd at Division 503-774-1135 Read our story: canton-grill.com BUCK NAKED: Portland’s newest gay bar looks like your grandpa’s den.

More to the point, Stag (317 NW Broadway, 971-407-3132, stagpdx.com), designed by tastefully haute Christopher David, looks like the private rooms where today’s grandpas once held stag parties, with brown leather couches, Victorian wallpapered sitting rooms, Edison bulbs hanging from nautical rope, and dark, aqua walls covered in snowshoes and ancient oars and framed kitsch—plus a taxidermal white buck behind the bar. But unlike your grandpa, who hid his true self in the dirty-movie drawer under his desk, this grandpa proudly displays his treasure: the adorable, young, shirtless bartender in suspenders and a bow tie who, while I was there, served delicious cocktails from the menu in his head and told me about his other life as a professional player of Magic: The Gathering. Everything about Stag is a happy surprise. The location is just out of reach of Old Town, where parking exists and the Broadway Bridge is readily available should you need a west-side-of-the-river exit strategy. But the best surprise comes at 9:30 pm, when the pop hits morph into something with deeper bass, the sky gets darker, and the men get naked for a pole dance. A happy-hour haunt by day, by night it becomes one of only two all-nude gay strip clubs on the West Coast, after downtown’s Silverado. But while the patrons are 90 percent male, not a single one side-eyed me, a woman, as I sat alone at the bar.

By the time I left, someone had bought me a no-strings-attached drink and I had at least two new best friends. All in all, Stag might be my new favorite place in Portland. LIZZY ACKER.

The Rose

111 SW Ash St. Roman Zawodny, Jak, Jason Shelton, AA27

The Whiskey Bar

WED. JUNE 10 The Lovecraft

421 SE Grand Ave. Event Horizon

The Whiskey Bar 31 NW 1st Ave Savant and Jelo

THURS. JUNE 11 The Lovecraft

421 SE Grand Ave. Shadowplay

Dragon Lounge

FRI. JUNE 12 Holocene

1001 SE Morrison St. Dance Yourself Clean

Moloko Plus

3967 N Mississippi Ave. The Diamond Stylus, King Tim 33 1/3, Montel Spinoza

The GoodFoot Lounge

2845 SE Stark St. Soul Stew with DJ Aquaman

31 NW 1st Ave Kill Paris

SAT. JUNE 13 Crystal Ballroom

1332 W. Burnside INFERNO Pride with Emilio & Kimikaze, DJ Lauren and DJ WildFire

Holocene

1001 SE Morrison St. Mike Q, Gang$ign$, SPF666, Beyondadoubt, Quarry

Mississippi Studios

3939 N Mississippi Ave. Mrs.: DJ Beyonda

The Whiskey Bar 31 NW 1st Ave Vanilla Ace

SUN. JUNE 14 Floyd’s Coffee Shop Old Town

118 NW Couch st.

For The Win: A Queer Pride T-Dance

THE EARNEST LOVERS Thursday, June 11th at 6pm

The Earnest Lovers are vintage honky tonk heartbreak serenaders Pete Krebs (Hazel, Stolen Sweets, Portland Playboys) and Leslie Beia (Copper & Coal, The Lowburners). An alliance forged from their mutual and devoted love of the golden era of country duets, the Lovers have set out to capture that classic sound and to invigorate it with new life in the form of original compositions.

PINS

Thursday, June 18th at 6pm Speaking about their second album, PINS say “With Wild Nights we didn’t want to be bound to the sound of our first album. The albums were recorded years apart, and in Wild Nights you can hear the new experiences, ambitions, and influences we’ve taken on. We have introduced new instruments, and stronger vocal harmonies and have brought this through to our live performances.

MUSIC MILLENNIUM RECOMMENDS

HALIE LOREN Butterfly Blue Sale Priced CD $15.99 The first thing you notice is that voice: gorgeous, graceful, and somehow earthy and ethereal at once. It is an instrument perfectly matched to the song writing talents of the artist who channels it — Halie Loren. Her music conveys the wonders of the invisible world: wounded defiance, stubborn love, hard-earned hopefulness. Fed by the hyperborean beauty of her childhood Alaska home, Loren’s gift for discovering the playfulness, pizzazz, and sensuality inherent in a lyric appeared early on. But it was her talent for turning those feelings into genre-defying original compositions — songs at once universal and deeply personal — that captured wider attention. *sale price valid 6/10-7/8

Star Theater

13 NW 6th Ave Church of Hive: En Esch, Ghost Feeder

Willamette Week JUNE 10, 2015 wweek.com

41

june 10–16

= WW Pick. Highly recommended.

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

Editor: ENID SPITZ. Theater: ENID SPITZ (espitz@wweek.com).

Dance: KAITIE TODD (dance@wweek.com).

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

THEATER OPENINGS & PREVIEWS In the Next Room, or the Vibrator Play

In the late 1800s, doctors devised a treatment for women’s hysteria: the vibrator. This three-time Tony Awardnominated play is divided into two sets: In the doctor’s office, Dr. Givings uses his electric machine to bring his female patients to orgasm, and in the parlor, Mrs. Givings discovers that she can actually experience the same climax with her real, live husband.

Profile’s artistic director Adriana Baer, who just closed a testosterone-heavy production of The Price at Artists Rep, puts on this hysterical and historical tale of science and sex. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm ThursdaySaturday, 2 pm Sunday, through June 28. $15.

Rose Colored Glass

In 1938 Chicago, Catholic idealist Lady O’Riley and Jewish realist Rose Fleishman, two delicatessen owners who couldn’t be more different, join forces to get Rose’s nephew out of Europe before the Nazis set in for good. Magenta Theater, 606 Main St., Vancouver, 360-635-4358. 7:30 pm Thursday-Saturday, June 12-27, 2 pm June 20 and 7:30 pm June 24. $15.

Suburban Tribe

Local acting teacher Kate Mura takes “change of face” literally. She’ll use eight elaborately painted masks she made to play an entire family and its community, both thrown by a recent tragedy. St. Johns niche Atelier Art Gallery, couched in a neighborhood now much more suburban than tribal, hosts the Puppet Central production.

Atelier Gallery, 7315 N Alta Ave., 2864959. 8 pm Friday-Saturday, 4 pm Sunday. $10.

This is Not a Western!

But it is a mashup of two seemingly disconnected, one-act plays strung together with the twang of tunes from local country-western duo the Band with No Name. Play I is a cowboy’s tale of three deaths. Play II follows a job hopeful through his stressful interview process at an advertising agency. Clinton Street Theater , 2522 SE Clinton St., 238-8899. 8 pm FridaySunday, June 12-14. $5.

Urban Tellers

Every month Portland Story Theater showcases personal, unscripted yarns from six tellers. This Saturday’s tellers’ tales include a bildungsroman of a young woman reinventing herself in Paris and a yoga instructor learning to take her own advice after hip replacement surgery. Alberta Abbey, 126 NE Alberta St., 897-7037. 8 pm Saturday, June 13. $15 advance, $18 at the door.

The Wildly Inappropriate Poetry of Arthur Greenleaf Holmes

Portland native Gordy Boudreau began as a contract poet at Renaissance festivals, roving around in Shakespearian pantaloons and asking festival folk, “Would you like to hear something wildly inappropriate?” One would only do such an embarrassing act under a pseudonym, and so Arthur Greenleaf Holmes was born. Boudreau has been performing around the country as his libertine poet alter-ego since 2007.

He’s a master at spoofing the classics.

In the past he’s done Beowulf, Dante’s Inferno and Gilgamesh...all in a pit of mud. CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm ThursdaySunday, June 11-14. $15.

42

ALSO PLAYING Comedy of Errors

Shakespeare gets a plaid button-up, fixie and a man-bun for this update to his classic, mistaken-identity comedy from Post 5’s founding artistic director Ty Boice. The long-lost Antipholus of Elizabetha (originally Syracuse in Shakespeare’s day) and his manservant stumble upon the new realm of Portland’a, which is ironically the hometown of Antipholus’ twin. And of course Antopholus’ manservant also has a twin, who also happens to be the manservant to Antipholus’ twin. Fill in the blanks with star-crossed lover jokes, wrongful accusations and gags.

As usual, Post 5 is sure to give things a shake; in Twelfth Night Chip Sherman was the female lead in drag. Now he’s a ginger’s twin. Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 7:30 pm Friday-Sunday, through June 27, and 7:30 pm Thursday, June 25. $20.

dim. AMY WOLFE. Artists Repertory Theatre, 1515 SW Morrison St., 2411278. 7:30 pm Wednesday-Saturday, 2 pm and 7:30 pm Sunday, through June 21. $25.

The Lion

Benjamin Scheuer’s one-man show is billed as a play, but The Lion doesn’t feel like one. Trade the six guitars balanced on the Ellyn Bye Studio’s minimalist stage for a baby grand, costume our protagonist in a brocaded gown, offer the crowds cocktail service, and the tuneful tell-all would seamlessly become cabaret. But his songs fade from memory mid-chorus. and the autobiographical tales he sings about his deceased father and fight with cancer would crush the dullest dinner party. But he is an engaging performer.

The adept instrumentalist comes off as an effervescent Danny Kaye filtered through a gimlet-eyed Steve Zahn as he cranks out hook-challenged ballads

with by-the-numbers rhyme schemes in place of proper lyrics. The sinking fault is Scheuer’s blinkered self-regard.

Even his songs about recovering from a rare form of cancer serve more to confirm his sense of self-importance than to elicit emotion. Scheuer has brains aplenty and a heart as big as all outdoors, but forging public entertainment from private pain with brutal objectivity, that takes…courage.

JAY HORTON. 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 Undiscovered Country

This play is all explicit, drug-tripping 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, 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 Theatre, 4319 SE Hawthorne Blvd., 481-2960. 7:30 pm ThursdaysSundays through June 20. Pay-whatyou-can Thursdays and Sundays, $15-$25 Friday-Saturday.

The Winter’s Tale

Director Caitlin Fisher-Draeger crafts a sparse world dominated by Leontes (Glen McCumber), who alternates between attacking his wife for imagined infidelity and showing tender affection for his son. Leontes’ raw

CONT. on page 44

PREVIEW KAREN ALMOND

PERFORMANCE

George Washington Slept Here

This is one fixer-upper of a play, a lesser comedy from legendary playwriting duo George S. Kaufman and Moss Hart (You Can’t Take It With You). Faithful adaptations need either technical wizardry or outsized charm to overcome the play’s weak foundation, poor construction and plentiful structural flaws. Both redeeming qualities are sorely lacking here. Without the slightest warning to his teenage daughter or urbanite wife, Newton Fuller (Ken Doud) relinquishes his family’s New York City apartment, signs on a mortgage for a crumbling relic in the middle of nowhere and blows his savings on renovations. Miscasting takes the play down: Doud’s acting approximates a panicky Richard Dreyfuss as stroke victim, and even the play’s house seems ill-fitting, not nearly as decrepit as the script promises. If there’s any lesson George Washington teaches us, it’s that some fixer-uppers are better just left alone. JAY HORTON. Twilight Theater Company, 7515 N Brandon Ave., 8479838. 8 pm Thursday-Saturday, 3 pm Sundays, through June 14. $15.

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.

The Liar

Portland is on a 17th-century comedy binge. Theater Vertigo, PSU’s theater and Portland Center Stage opened the door, and now Artists Rep’s artistic director Dámaso Rodriguez brings the real feast. The year is 1643. Having just arrived in Paris, our liar Dorante (Chris Murray) hires a new servant and right-hand man, Cliton (John San Nicolas). Dorante immediately falls for brash Clarice (Amy Newman), but he spins himself into a tangled web when he mistakes Clarice’s shy confidant Lucrece (Chantal DeGroat) for the object of his affection and pursues her instead. But it’s San Nicolas’ and Murray’s warp-speed elocution and fraternal chemistry that carry the play. When Dorante explains to Cliton that lying is like adding spice to a bland fish dish, their saucy banter is a perfect example of that liar’s wit.

There’s plenty of intrigue, but this is no Dostoyevsky: We can hear the wedding bells chime when the house lights

Willamette Week JUNE 10, 2015 wweek.com

it’s bliss: Newlyweds baba the turk (Angela Niederloh) and tom Rakewell (Jonathan boyd).

THE RAKE’S PROGRESS (PORTLAND OPERA) PORTLAND’S PROGRESS IS A POP-ART TAKE ON FREUD AND FACEBOOK. by r icha r d speer

rspeer@wweek.com

Give in to temptation at your own peril: That’s the moral of Igor Stravinsky’s spiky, sexy opera The Rake’s Progress. This archetypal morality play opens in an idyllic countryside, where a charming but idle young man, Tom Rakewell, is wooing the beautiful, if boring, Anne Trulove. Rakewell longs for the big city, however, and at the suggestion of a diabolical stranger named Nick Shadow, he trots off to London and promptly winds up in a bordello, betraying his love back home. Svengali-like, Shadow then persuades him to marry a shrewish circus freak-cum-vaudeville performer named Baba the Turk, who sports a full beard. Finally, he persuades Rakewell to risk his fortune marketing a machine that supposedly turns stones into bread. When the bogus machine flops, leaving Rakewell bankrupt, Shadow reveals his true identity—he is none other than the devil himself—and curses Rakewell to die a madman in an asylum. That’s what you get for a lifetime of sloth, lust and avarice.

This cautionary tale (think Barry Lyndon meets Don Giovanni) comes to life in a rhythmically complex, sometimes dissonant musical language. And yet Stravinsky’s score isn’t nearly as violent and avant-garde as you’d expect from the composer of The Rite of Spring. That’s because by the time the composer got around to Rake’s Progress, 38 years after that cacophonous work, he’d moved on to a

subtler, neoclassical style.

Portland Opera’s staging of Rake revives a 1975 production with sets designed by British artist David Hockney, who designed for London’s Royal Opera Company and the Met. He ingeniously updated a series of 18th-century paintings and engravings by William Hogarth, which were Stravinsky’s original inspiration for the opera. Hockney’s sets aren’t realistic; they transmogrify the simple lines of Hogarth’s engravings into a pop-art pastiche, naive and cartoonish. That’s apropos, given that, as stage director Roy Rallo says, the opera itself “is a kind of cartoon, fable or fairy tale, where everything stands in for something else.” The story’s message is timely too, according to Rallo. The devilish Nick Shadow is a prototype for a “Facebook mentality,” he says, “where you advertise to society that you have all the things other people want.”

These themes come into crystalline focus, thanks to the wry poetry and campy subtext of the libretto writers (and sometime lovers) W.H. Auden and Chester Kallman. Their words and Stravinsky’s score paint the opera’s main characters as a Freudian triad, with each character an element of the human psyche.

Rakewell is the vanity of our ego; Trulove the conscience of the superego; and Shadow our id, leading us toward lechery and dissolution. It’s a struggle each of us navigates every day—captured here and elevated

by Stravinsky’s strange and sumptuous music. see it: The Rake’s Progress is at the Keller Auditorium, 222 SW Clay St., 248-4335. 7:30 pm Thursday-Friday, June 11-12, and 2 pm Sunday, June 14. $25-$250.

june 10–16

PERFORMANCE

gAry normAn

REVIEW

so pretty when you’re faithful: Melissa whitney (left) and rebecca ridenour.

GOODNIGHT DESDEMONA (GOOD MORNING JULIET) (NORTHWEST CLASSICAL THEATRE) Shakespearean theory in the age of fanfic.

Goodnight Desdemona (Good Morning Juliet) is like fan fiction writ large. A long-suffering grad student falls down a trash-can rabbit hole and into a parallel reality, where the plots of two of Shakespeare’s greater works unfold simultaneously and give her a chance to test her thesis: Othello and Romeo and Juliet were both meant to be comedies.

Desdemona is often charming, and rookie director Brenan Dwyer did well to cast Rebecca Ridenour as Constance Ledbelly, a heartbroken assistant professor who suffers something of a breakdown after being reassigned to an obscure college somewhere in the prairies. Ridenour brings eloquence and restraint to the role, grounding scenes that would otherwise have careened into irredeemable absurdity. Constance lands in Cyprus in time to convince Othello (a regal Ashleigh Bragg) that Iago is pulling one over on him, and that Desdemona is, in fact, faithful. Enter Desdemona (an eye-rolling if ecstatic Melissa Whitney) who, unknowingly freed of her death sentence, reveals herself as a kind of kindred spirit to Othello: paranoid and constantly on some kind of warpath.

An unseen hand then delivers Constance to Verona, where she reveals Romeo (Deanna Wells) and Juliet’s (Bonnie Auguston) secret marriage and efficiently strikes a truce between the Capulets and Montagues—it’s really about communication, just as Constance suspected. This paves the way for quick, conjugal boredom between the no-longer-star-crossed-lovers, two teenagers with wandering eyes.

But in this final Northwest Classical Theatre Company production at the Shoebox Theater, Dwyer forgoes subtlety and ignores scale, and the cast at times appears to be playing theater games rather than giving Ann-Marie MacDonald’s sometimes treacly script its due. The performances are often outsized, delivered with too much of a thud at the feet of an audience that sits only a couple feet away; Juliet’s pratfalls, Desdemona’s nasal inflections and Romeo’s pained British patois are to theater what vocal fry is to broadcasting.

Yet there is an undeniable chemistry among the cast, and the audience can’t help but hope they will land somewhere great after the theater disbands or relocates (depending on which rumor you give more credence to). Each has strong moments, and they have pulled off an impressive, flip-of-script accomplishment: The male parts are all played by women. And they did it so ably that I didn’t realize what had happened until the second act.

RIHANNA WEISS.

see it: Goodnight Desdemona (Good Morning Juliet) is at the Shoebox Theater, 2110 SE 10th Ave., 971-244-3740, nwctc.org.

7:30 pm Thursdays-Saturdays, 2 pm Sundays through June 21. $22.

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PERFORMANCE

JUNE 10–16

emotion hits hard thanks to the bleak setting and an eerily beautiful live soundtrack. The second half flips, transforming the drama into a comedy bursting with song and vibrant colors. You can’t avoid cringing when Leontes screams at his wife during her trial in the first half, and it’s impossible not to laugh when Polixenes (Brian Demar Jones) and Camillo (Paul Susi) disguise themselves as old men and attend a riotous party.

IAN CLARK. Shaking the Tree, 823 SE Grant Ave., 686-0294. 7:30 pm Friday, May 15, Thursday-Sunday through June 13. Additional performance June 8. $15.

Three Days of Rain

If you describe your mother as “sort of like Zelda Fitzgerald’s less stable sister,” chances are your childhood wasn’t rosy. Walker and Nan, the brother and sister at the center of Richard Greenberg’s engrossing play, Three Days of Rain, live in a chronic state of posttraumatic stress. In middle age, they’re still licking the psychological wounds inflicted by their parents, an emotionally withholding architect named Ned and an alcoholic Southern belle named Lina. As the play begins, Walker and Nan are about to hear their father’s will. They get a gut-punching surprise when it turns out the old man didn’t leave his awardwinning home to them. Instead, it goes to a soap-opera actor named Pip, the son of Ned’s architectural collaborator, Theo. This sets in motion a complex plot as the children learn more about their parents’ lives. And the more they learn, the less they understand. The play’s second act is set 35 years before its first, with the actors playing their characters’ parents. In the double role of Nan and Lina, Lisa Datz brought a winning confidence, infusing Nan with jittery suburban ennui and Lina with a convincing Southern drawl. But her foreshadowing of Lina’s alcoholism and impending mental illness fell short. Three Days of Rain gleams with hyperarticulate wit and esoteric references.

If you catch even half of them, you’re probably Mensa material.

Although the second act doesn’t fully resolve the tantalizing questions posed in the first, it still gives the audience plenty to chew on.

RICHARD SPEER. 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.

COMEDY & VARIETY 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.

Helium Open Mic

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Generally regarded as the best open-mic 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., 888-643-8669. 8 pm every Tuesday. Free with a twoitem minimum. 21+.

Picture This!

In a show that mashes standup and Pictionary, comics perform while artists illustrate their sets live. There’s a predictable tendency toward penis drawings, but also an offbeat play between the visual and the verbal. Andie Main hosts. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 4779477. 9:30 pm every second Friday. $7-$10; $5 with the purchase of a ticket to the 7:30 pm show.

comedic sketch written by Kickstand co-founder Nick Beaird, regular Curious Comedy performer Craig McCarthy and local standup comic Dane Wilder. Comedian Jordan Casner wrote a theme song for the sketch. If you’re new to these adventures, you’re not alone, but boys and butter do sound like a good time. Action/Adventure Theatre, 1050 SE Clinton St. 8 pm Thursday-Saturday, June 11-13. $10 advance, $12 at the door.

DANCE (Un)Made Solo Relay

Dance performances have notoriously short runs. But Performance Works Northwest’s latest experiment, the (Un)Made Solo Relay, ambitiously spans two years. It progresses like a game of telephone in which dancers use the previous month’s performances as inspiration for their work. In March, artistic director Linda Austin kickstarted the relay with her own piece, a solo of awkward movements and still poses intended to make the audience take notice of mundane moments. Now in the fourth round of the relays, international performer Nancy Ellis and Oregon Ballet Theatre grad Robert Tyree pick up the baton.

Performance Works NW, 4625 SE 67th Ave., 777-1907. 8 pm FridaySaturday, June 12-13. $10.

Burlesque on Mars

Ground control won’t save you from the sexy overload of this David-Bowie-inspired burlesque, belly dance and song extravaganza. Seattle and Portland performers channel the glam that Bowie oozed into pop personas such as Ziggy Stardust and the Thin White Duke. Break out your Bowie finery—the show ends with an audience costume contest.

Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7 pm and 10 pm Saturday, June 13. $15.

Just Play

Local director Aaron WheelerKay’s choreography is part aerial scarf dancing, part partner acrobatics and part philanthropy. On June 20 it pairs with Olympia Provisions during a benefit for Echo Theater’s summer kids classes. Echo Theater, 1515 SE 37th Ave., 231-1232. 7:30 pm Friday, 3 pm and 7:30 pm Saturday and 3 pm Sunday, through June 20. $18.

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-and-comers, 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+.

The Village 2015

West African rhythm and culture take over the Winningstad with dancing performances by Sébé Kan West African Dance Company and Kúkátónón Children’s African Dance Troupe, drumming by youth drumming ensemble Baramakono and stories from Mali native Baba Wague Diakite. Winningstad Theatre, 1111 SW Broadway, 2484335. 7:30 pm Friday, June 12. $12$22.

The Continued Adventures of the Good Time Butter Boys

Live Wire’s Jason Rouse hosts The Continued Adventures of the Good Time Butter Boys, a 70-minute

For more Performance listings, visit

VISUAL ARTS

june 10–16 REVIEW

= 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.

Disgruntled Baristas

Baristas. We all know one or two with aspirations to be artists, actors and real-estate agents. Local artist/barista Alexey Moore explores the dynamic of working for tips and for your big break in a new series of ink drawings. When all that caffeine wears off, baristas get disgruntled. Through June 30. Miss Zumstein Bakery, 5027 NE 42nd Ave., 971-279-2746.

Entwined: A Sound installation

Can sound be expressed through nonmusical mediums? This question is the crux of Ethan Rose’s newest body of work, though you may be familiar with him from TBA Festivals of yore. Strings taut between speakers vibrate from the multichannel audio output, and drawings record the effect on paper when the strings are inked. Together the experiential installation and archival work investigates the materiality of acoustic vibration. Pay attention to how you hear; is it just with your ears, or does the show create a more complex sensory experience? Through June 27. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Gardens of Delight

Mary Henry is a Northwest Modernist icon who’s work has long reflected her interest in the ideas of Bauhaus champion László Moholy-Nagy. Henry has spent the past half-century perfecting a spare yet expressive visual language out of geometric shapes and bold graphic colors. Unlike Piet Mondrian’s dispassionate geometry, Henry’s abstract compositions are emotionally charged experiences. Through July 11. Jeffrey Thomas Fine Art, 2219 NW Raleigh Ave., 544-3449.

Hold That Thought

Jiseon Lee Isbara uses text and textiles to reflect on her experiences as an immigrant wrangling with communication. Textual illegibility represents her sense of displacement, while obsessive attention to detail compensates and orders. Applying the time-consuming process of embroidery to markers of modern efficiency such as flashcards, paper receipt rolls, and study tabs, Hold That Thought promises to be an exhibition that will make you pause and look. Through June 27. Hap Gallery, 916 NW Flanders St., 444-7101.

Horizon With Crow

An exhibition of new work by Rick Bartow, a prolific Native artist from Newport, coincides with his retrospective Things You Know but Cannot Explain, on view at the Jordan Schnitzer Museum of Art at the University of Oregon. Bartow creates expressive and mystical drawings paintings and sculptures influenced by his Wiyot heritage and his service during the Vietnam War. With a linear, abstract style, Bartow creates anthropomorphic figures that feature in cultural stories or serve as personal catharsis. Through July 18. Froelick Gallery, 714 NW Davis St., 222-1142.

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 led 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.

Ryan Woodring: Jaws Returns to the Water

A looped animation of the fictional shark (from the now-extinct, eponymous ride at Universal Orlando) is projected onto the surface of a painting on panel. Covered layer by layer in cast and painted acrylic, the painting was used to create the animation, drawing from amateur video footage taken by a rider. The loop continuously replays the part of the ride in which the animatronic shark fatally bites down, seeming to be killed and resurrected in succession by the same electrical current. Woodring’s work is appearing as part of Apres-Upfor, an after-hours program of moving-image art playing from 6 pm to midnight in Upfor Gallery’s storefront. Ongoing. Upfor Gallery, 929 NW Flanders St., 227-5111.

The Eve Of…

Christine Wong Yap’s new body of work is a new installation of sculptures and video examining uncertain psychological states. It marks a shift in direction from the artist’s recent work in happiness and positive psychology towards disruptive emotions and intuition. Yap utilizes mirrors, colored vinyl, Mylar, plastic bags and asphaltbased paint to create scenes of light and darkness. Inspired by the decisive moment after setbacks and before actions, the project explores the disassembled self on the eve of re-organization. An example of the work in this series will also be on view in PDX Contemporary Art’s Window Project.

Through July 18. Portland ‘Pataphysical Society, 625 NW Everett St., No. 104.

Tight Rope: New Paintings by Arvie Smith

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 my and 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.

Urban Growth Boundary

Upfor presents recent works by three artists who adapt unorthodox mediums to challenge the traditions of landscape and artistic depiction of nature. Mixed media works by Gregory Euclide, Alex Lukas and Laura Vandenburgh build on and play with the tensions between pastoral and urban stereotypes, offering an indirect but provocative critique in which human’s dominance of our environment is growing without boundary.

Through July 18. Upfor Gallery, 929 NW Flanders St., 227-5111.

Willem Oorebeek

The first institutional solo exhibition in the United States by Dutch artist Willem Oorebeek is billed as an “idiosyncratic and deviant crossover between pop and conceptual art.”

Oorebeek is a printmaker interested in the representation of the human figure, media personalities and publicity. His artistic approach features the distortion of print media through lithography in order to re-present the images to us so that we look at familiar pictures in new ways. Through July 19. Yale Union (YU), 800 SE 10th Avenue, 236-7996.

For more Visual Arts listings, visit

entwined

ETHAN ROSE, ENTWINED: A SOUND INSTALLATION ART ALL ABOUT THAT BASS.

BY Me GA n HA R n eD

mharned@wweek.com

Ethan Rose’s sound installation at PDX Contemporary Art, Entwined, is about making the invisible visible. Speakers emit tones that oscillate across attached strings, allowing viewers to observe the strings’ movement as sound waves move through them. Rose is a local artist and composer whose recordings, performances and installations all consider sound itself an art medium, part of the materials and craft that create his pieces. Rose uses speakers and strings not just in motion, but also to create static compositions; paper marked by the sound vibrations are on display throughout the gallery.

Round speakers sit on the floor, and threads from them are strung up the wall and attach on the opposite side. Varying tension and tone determine each string’s movement. When the gallery is empty, tones can be heard throughout the space, but when it’s bustling, bodies dampen every sound, requiring viewers to move closer to the strings to both hear and see. I’m glad it was busy during my visit. I got in close and low to the speakers, where I could see the strings and feel the vibrations through the floor where I sat. As I moved around the installation to experience it better, I observed how the light cast shadows of string on the wall, capturing its movement in another ephemeral form. These visual and auditory layers created a

comprehensive sensory experience. But while I enjoyed the use of line, light and sound, the exhibition failed to coalesce or reveal another layer of meaning or emotion.

For his static compositions, Rose inks the threads and places them on top of paper while the tone runs through them. The result is his visual recording of sound. The artworks’ simple vertical marks, which divide the paper evenly, resemble Barnett Newman’s zip paintings. But where Newman uses vertical lines to define his painting ’s spatial fields, Rose’s lines are the central focus, uniting visual and auditory into a singular composition. Their subtle curves and splatter cut through the paper’s white space, which is analogous to “noise,” and the inked lines represent “sound.” Or if you want to take it all the way to a life metaphor, Rose’s art is about how meaning emerges from the unintelligible.

The work is formally and conceptually coherent and offers room for interpretation, but it feels like Rose could push further. Those shadows from the vibrating strings made me think of ways that tones can be layered—one on top of another, as in a symphony—to make experiencing them more personal and rewarding. Then there are the choices of sounds, which are infinite. Rose’s sound installation might be low-hanging fruit as far as sound art goes, but it’s a formally satisfying experience that makes us want to put our ear to the ground for more.

SEE/HEar IT: Entwined: A Sound Installation is at PDX Contemporary Art, 925 NW Flanders St., 222-0063, through June 27.

Willamette Week JUNE 10, 2015 wweek.com

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BOOKS

JUNE 10–16

= 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, JUNE 10 Paolo Bacigalupi

National Book Award finalist Paolo Bacigalupi’s new book, The Water Knife, may be a “near-future thriller” but the topic is frighteningly plausible. In the drought-ravaged Southwest, Las Vegas “water knife” Angel Velasquez cuts water for the Southern Nevada Water Authority.

But when bodies begin to stack up, he realizes he is part of something far more corrupt. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323.

7 pm. Free.

THURSDAY, JUNE 11 Margaret Grundstein

Margaret Grundstein abandoned her responsibilities and Yale graduate degree to follow her activist husband into a hippie commune in the backwoods of Oregon in 1970. Her new memoir, Naked in the Woods, chronicles the years she and a handful of others tried to create their vision of utopia. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

FRIDAY, JUNE 12 Rose City Book & Paper Fair

Rare book aficionados, avid readers, collectors of ephemera and straightup hoarders will converge for the annual Rose City Book & Paper Fair.

Thousands of books, from rare first editions to bargain erotica, will be available from more than 40 independent booksellers. DoubleTree Inn, Lloyd Center, 1000 NE Multnomah St., 281-6111. 2-8 pm Friday, 10 am-5 pm Saturday, June 12-13. Free.

Koren Shadmi

Filmmakers Jack Baxter and Joshua Faudem re-create the slow build and painful aftermath of a Tel Aviv suicide bombing in their graphic novel Mike’s Place: A True Story of Love, Blues, and Terror in Tel Aviv, with award-winning cartoonist Koren Shadmi, who will sign copies.

Floating World Comics, 400 NW Couch St., 241-0227. 5-7 pm. Free.

SATURDAY, JUNE 13 Submission

In new local series Submission, prose editor Chris Leslie-Hynan and poetry editor Ally Harris choose from blind online submissions. The kickoff will feature Elaine Kahn’s new book of poetry, Women in Public, and a fiction reading by David Shafer (Whiskey Tango Foxtrot).

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

Paul Tobin and Benjamin Dewey

Local comic creators Paul Tobin and Benjamin Dewey will share the wisdom they acquired in the creation of their Eisner-nominated graphic novel I Was the Cat, in the talk “How to Deal With a Writer, How to Handle an Artist, How to Work as a Team.” Multnomah County Library-Belmont, 1038 SE 39th Ave., 988-5382. 3-4 pm. Free.

SUNDAY, JUNE 14 Joanna Klink

Joanna Klink’s new collection of poetry, Excerpts from a Secret Prophecy, offers a meditation on being alone and finding connections after isolation. She will be joined by fellow poet Michele Glazer (It Is Hard to Look at What We Came to Think We’d Come to See). Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 4 pm. Free.

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Willamette Week JUNE 10, 2015 wweek.com

The Studio Series

International journalist Heather Bourbeau (Daily Palm Castings) found her poetry inspired by storytellers like Lyle Lovett and Studs Terkel, trying to seek a better understanding of our neighbors and communities. She will be joined by poet and translator Elizabeth Gray Jr. (Series/India) as they read in celebration of the fifth anniversary of the Studio Series. Stonehenge Studios, 3508 SW Corbett Ave., 2243640. 7-9 pm. Free.

MONDAY, JUNE 15 Joseph Kim

When Joseph Kim was 5, his father died in the first wave of North Korea’s Great Famine, and his mother and sister sought escape to China. He had to beg and steal to survive until he finally escaped to China. After hiding from authorities, he was taken to the American consulate and became one of a small number of North Koreans brought to America as refugees. His new memoir, Under the Same Sky, will void every complaint or problem you have ever had. Powell’s City of Books, 1005 W Burnside St., 800878-7323. 7:30 pm. Free.

For more Books listings, visit

REVIEW

H.W. BRANDS, REAGAN: THE LIFE Republicans deify him. The Tea Party tries to remake him in its own image. But as H.W. Brands reminds us in his new biography, Reagan: The Life (Doubleday, 816 pages, $35), not even Ronald Reagan was as conservative as “Ronald Reagan.” The nearsighted lifeguard from Dixon, Ill., began as a Roosevelt Democrat and in Another one for the Gipper. many ways remained one after turning Republican in 1962.

He stole some of his best lines from Roosevelt (“You and I have a rendezvous with destiny”) even as he called for toppling the New Deal colossus his political idol had built. As governor of California, Reagan signed a sweeping abortion rights bill and as president, he granted amnesty to illegal immigrants, raised taxes and clashed repeatedly with Israel. After leaving the White House, he advocated passage of the Brady bill, creating a federal waiting period for handgun purchases. Abortion, amnesty, new taxes, disagreeing with Israel, gun control—today, any one of these would be the kiss of death for an aspiring conservative.

So how did Reagan get away with it? With a self-deprecating sense of humor and an unwavering belief in his core principles, Brands writes. The author retells Reagan’s favorite jokes, quips and anecdotes with alacrity—such as the time Reagan was rejected for combat duty in World War II because of poor vision. “If we sent you overseas, you’d shoot a general,” a doctor told him. “And you’d miss him,” another added.

If you’ve heard that one before, brace yourself. Brands’ biography tells us nothing new about Reagan’s early years either, relying heavily on the president’s memoirs and padding the narrative with history already familiar to most interested readers. What Reagan told the House Un-American Activities Committee behind closed doors in the 1950s, and the alleged efforts of his closest advisers to forestall Iran’s release of the hostages in 1980, will likewise remain a mystery. James Watt, Reagan’s embarrassing secretary of the interior who derided environmentalism because Jesus was coming soon, gets three paragraphs, with no explanation of where he came from or why the president appointed him.

Brands’ book only gathers steam with the arrival of Mikhail Gorbachev. His account of the 1986 summit at Reykjavik is alternately agonizing and riveting. Secretary of State George Shultz stands out during this period, pushing Reagan to meet with Gorbachev against the advice of his cabinet and urging him to face up to Iran-Contra. Nancy Reagan emerges as a world-class bitch who was unhinged by the Hinckley shooting in 1981 and connived to destroy anyone who stood between her and getting her way. Reagan’s legacy among conservatives has survived the flying circus that was his presidency because, like him, Republicans and the Tea Party have never really looked back. MATT BUCKINGHAM. GO: H.W. Brands visits Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323, on Friday, June 12. 7 pm. Free.

juNe 10–16 FEATURE

= WW Pick. Highly recommended.

XEL MOORE

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

STILL SHOWING

Hungry Hearts

The 100-Year-Old Man Who Climbed Out the Window and Disappeared

C Is it possible to get postpar-

tum depression from watching a movie? Hungry Hearts comes close to answering in the affirmative.

Beginning with the most unpleasant meet-cute in film history and only getting more arduous from there, Saverio Costanzo’s film is the groundlevel view of both a struggling relationship and New York City, all shot in dreamy 16 mm. In the early going it’s all Woody Allen as Jude (Adam Driver) and Mina (Alba Rohrwacher) rapidly advance from strangers to lovers to husband and wife with a child on the way, but word from their doctor that the expectant mother is troublingly underweight signals a potential descent into Rosemary’s Baby territory. Mina takes the words of a fortuneteller too seriously when the soothsayer declares their unborn son an “indigo child” whom traditional doctors aren’t qualified to treat. Hungry Hearts goes off the rails at roughly the same pace as she does. NR. MICHAEL NORDINE. Cinema 21.

The Connection

C+ You know that turn-of-thescrew moment in superhero movies when the villain details his evil plot to the tied-up hero? Director Cédric Jimenez starts The Connection with that. This francophile version of 1971’s Oscar-winning The French Connection follows the infamous heroin circuit from Turkey to North America via Marseilles. Within the first 10 minutes, magistrate Pierre Michel (The Artist ’s Jean Dujardin) is reassigned to an empty-handed drug investigations unit, his boss outlines the eponymous connection in a Wikipedia schpiel, and the hunt for heroin kingpin “Tany” Zampa (Gilles Lellouche) is underway. Michel lights a fire under Zampa, cigarette smoke hangs overhead, and poor bastards get fished out of the sea. It might’ve been an intriguing two-plus hours, if it’s 1971 predecessor, Argo and Donnie Brasco hadn’t already dominated the genre with more craft and precision. The Connection verges on Godfather-ly length, a sin we cannot forgive, because each minute ticks by with excruciating lethargy as Jimenez replays familiar montages of chemical labs making drugs, investigators making arrests, chemical labs packing drugs in shrimp cans, investigators canning small-time mobsters, and around and around the rote connections go. R. ENID SPITZ. Hollywood Theatre, Fox Tower

Love at First Fight

B A young carpenter named Arnaud (Kévin Azaïs) falls in love with the beautiful and intense survivalist Madeleine (Adèle Haenel) who beats him in a wrestling match staged by some military recruiters by a lake.

He enlists in a training camp just to be near her and they…continue to wrestle. This 2014 Cannes-nominated French romance is not a love story you see every day. It’s contemplative and romantic with lots of casual indoor smoking, just like you expect from any good French movie. It’s also very slow. If you’re the kind of person who goes to French movies, you won’t be surprised, and you’ll probably even love it. If you’re on the fence about French cinema and the movies you care about now include Mad Max, The Avengers, and Jurassic World, this is not the explosive action you’ve grown accustomed to. NR. ALEX FALCONE. Cedar Hills, Clackamas, Bridgeport, City Center, Fox Tower.

C- Cinema is a peerless cultural ambassador. It cracks open entire worlds, and sometimes, as with this film based on Swedish author Jonas Jonasson’s novel, it reassures us that people worldwide love to turn their brains off and watch a dumb comedy, just like us Americans. The 100-Year-Old-Man follows its titular character from his Swedish nursing home to the shores of Bali, as he’s pursued by a disgruntled biker gang.

The affected comedy has been called a new Forrest Gump. But whereas Tom Hanks played Gump as touched, Robert Gustafsson’s centenarian lead has his wits intact (if somewhat dulled by a Lebowski-ish drinking problem). Unfortunately, the film often feels brainless: Constant flashbacks deflate any escalating comic tension. They feel like toothless Saturday Night Live sketches that drag on a bit too long: All the while, Gustafsson is there at the edge of the frame, deadpan and a little buzzed.

But while The 100-Year-Old-Man makes pit stops all over the world, it already feels a little too Hollywood.

CASEY JARMAN. R. Cinema 21.

5 Flights Up

C+ This AARP-oriented dramedy strikes all the familiar chords. Retired teacher Ruth (Diane Keaton) and painter Alex (Morgan Freeman), with a niece (Cynthia Nixon, Sex and the City) as their broker, put their New York apartment on the market.

PG-13. BRIAN MILLER. Living Room Theaters.

About Elly

C+ It’s not surprising that the prequel to a film titled A Separation is bleak.

A group of Iranian classmates’ vacation to the Caspian Sea goes tragically awry in About Elly, the “new” Asghar Farhadi film that was actually made five years ago, well before his 2012 Oscar winner. A Separation was the first-ever Iranian feature to win Best Foreign Language Film, but Farhadi’s masterful dramatization wanes in this film. Elly, a kindergarten teacher whom the vacationers brought along, disappears, and the child she was watching washes up half-drowned. As Farhadi unwinds his psychological drama, we learn the vacation was a tangled web of taboo relationships all along. Elly lied about a new love in a phone call to her mother, and one vacationing couple concocted a cover-up to hide Elly’s burgeoning romance from their stalwart Iranian host. About Elly poses the question, did Elly drown or did she disappear to avoid drama? But Farhadi’s melodramatic treatment of the story doesn’t pull viewers in. It makes its characters seem like confused specimens observed from afar, but perhaps the film was destined to be a sinker. NR. MICHAEL NORDINE. Living Room Theaters.

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.

CLEVER GIRL

prepare myself.

Alex: That’s the best thing I’ve ever heard.

Una: It works pretty well. In Lord of the Rings there’s this scary part where this gross orc jumps out of the mud, and it’s like, “whaaa,” so I watched that like 10 million times until I got used to it.

Alex: That would give me nightmares!

Una: I didn’t get nightmares from that. But when Yet again Hollywood decided it didn’t need my opin- I was 6, I probably shouldn’t have been watching a ion of a major motion picture, so they screened it Scooby Doo movie, but I did ,and I had a nightmare after my press deadline. But the man can’t hold me about a mutated wrestler chasing me and my dad. down! Instead of reviewing Jurassic World, the new- Alex: If you had to rank them, which of those three est entry in the famous dino franchise, I decided to things is the scariest? interview a 10-year-old girl about dinosaurs.

Una: Um, I would say mutated wrestler, then orc, then dinosaur.

Alex: Hi, Una. Do you remember me? We met when Alex: Really? When I was 10, I saw Jurassic Park. your dad and I were on a radio show together. You It really scared me, and I think that’s because I and I ate doughnuts backstage. lived on the second floor, so a dinosaur could just Una: Ummm. poke through the wall and eat me because he was Alex: There was a dog there. already that tall.

Una: Oh yeah! I don’t remember you, but I Una: [Unimpressed] I guess that’s reasonable. know there were people there.

Alex: You don’t seem scared of that.

Una: Well, my dad and I live in a pretty Alex: That’s OK. I’m forgettable.

Anyway, your dad said you’re small house, so they’d probably just excited about the new Jurassic walk by and not notice us.

Park movie?

Alex: Does your dad like scary things, too?

Una: Yeah! I’ve seen the previews for the other ones, and Una: Kinda. I guess I’m braver they weren’t as good quality than my dad. because they were made a long Alex: Does he just let you watch time ago. I’m really excited about all these scary movies? the scene where the sea-dinosaur Una: He won’t let me watch Human totally owns that shark. That Centipede, but besides that. by a lex fa lcoNe @alex_falcone looks aaawesome.

Alex: Oh my God, Una. He’s right.

Alex: So does it seem scary at all?

You don’t want to see that. But Una: Ummm…I guess. the thing that scared me the most in the original Alex: Which part?

Jurassic Park is this terrifying scene with these Una: Because there’s this new mutated dinosaur, kids in the kitchen getting chased by raptors. What and he’s really intense. There’s a scene where he’s would you do in that situation? behind a door and they’re trying not to breathe. Una: Hmmm…I would probably grab my dad’s realThose kinds of scenes are very suspenseful. ly big knife and then turn the kitchen into a murder Alex: Is mutating dinosaurs a good idea? scene and then run away as fast as possible.

Una: No! It’s such a stupid idea. That’s like combin- Alex: Really? You’d fight the raptors? That would ing Loki and the Hulk. It would be so scary. Or like never have occurred to me. combining a spider and Annabelle, the creepy doll Una: But if I didn’t fight them, then they would just from that one movie. Then you’d have Annabelle go kill everybody else. with eight legs.

Alex: You are the coolest person I’ve ever met.

Alex: Jesus, yeah. Yuck. Una, it seems like you’re Una: OK. kind of into scary things. So when you watch scary See IT: Jurassic World is rated PG-13. It opens Friday movies, how do you deal with it? at Bagdad, Cedar Hills, Eastport, Clackamas, Mill Una: My friends always watch movies before me, Plain, Cornelius, Oak Grove, Bridgeport, City Center, so they tell me the scary parts and then I watch Division, Lloyd Center, Pioneer Place, Sherwood, those scary parts on YouTube 10 million times to Wilsonville, Sandy, St. Johns.

A 10-YEAR-OLD’S ADVICE FOR SURVIVING JURASSIC WORLD.

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MOVIES

JUNE 10–16

PG-13. JAY HORTON. Academy Theater, Living Room Theaters.

Aloha

D+ Even before its release, Cameron Crowe’s Aloha was taking fl ak for appropriation and whitewashing, but what’s most uncomfortable about this mess of a rom-com is that Crowe tries his awkward best to elevate Hawaiian culture and ends up stereotyping and patronizing native Hawaiians in the process. The fi lm’s fi rst half is a veritable parade of white characters “speaking in Hawaiian,” then immediately translating themselves into English for no one in particular. One native Hawaiian charac-

ter gets a substantial role. Real-life activist Dennis “Bumpy” Kanahele makes the most of it, out-acting Bradley Cooper and Emma Stone.

Humor might have salvaged the fi lm, but Aloha is neither funny nor believable. It elicits thin performances from some of the better actors in Hollywood; even Bill Murray’s dance number is lifeless. Aloha fl ounders as another clunky Hollywood relic in which the bad-boy bro fi nds himself stuck choosing between two gorgeous, driven younger women who inanely believe he’s a better man, deep down. Aloha. That’s Hawaiian for “goodbye.” PG-13 . CASEY JARMAN. Cedar Hills, Eastport,

Clackamas, Mill Plain, Cornelius, Living Room Theaters, Oak Grove, Stadium 11, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy.

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 fi rst appearance to the smooth and witty version with even more personality than in the comics. But if you got dragged to the movie: Buckle up, it’s gonna be a long

COURTESY OF ZIPPER BROS FILMS

REVIEW

MONKEY ON HER BACK: A victim of sleep paralysis.

THE NIGHTMARE Conveying the surreal power of dreams is nearly impossible, whether onscreen or in conversation. They have their own logic, of course, plus inexplicable time and hazy details that are difficult to recall, let alone relay. Rodney Ascher confronts this challenge in The Nightmare, his new documentary about sleep paralysis.

Several interviewees recount their experiences with the condition, which is hard to diagnose and harder to treat.

Every story in the film describes a phenomenon far more unsettling than just the temporary inability to move upon waking up; The Nightmare’s subjects describe feeling as if there’s a malevolent presence in the room with them. It’s like a personal ghost, demon or alien who haunts them and them alone. Whether that’s selection bias or an effect of the condition as a whole, there’s no denying the trauma of being so afflicted.

As in Room 237, Ascher’s film about wild interpretations of Stanley Kubrick’s The Shining, the filmmaker displays a talent for inventive visualizations. He shows shadowy figures drifting into bedrooms as half-awake dreamers sit paralyzed, unable to stop or comprehend what’s happening to them. Describing these occurrences seems Sleep paralysis looks haunting in this new documentary.

MUSIC PG. 31 48

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therapeutic for several interviewees, as though they’ve been searching for just such an outlet for years, or even decades. But it slowly becomes clear that few of them expect to be cured.

More experiential than insightful, the film at its worst feels like a series of poorly staged reenactments. Ascher never succeeds in creating a fully immersive experience. Too often he cuts to footage of his subjects talking instead of committing to said re-enactments. “You can’t apply logic to a liminal situation,” one interviewee says, which is advice that Ascher might have taken to heart. His approach is too literal, and there’s something lost in the telling.

It was easy, if inaccurate, to peg Room 237 as merely a soapbox for obsessives to share their over-the-top analyses of a cult horror movie; it was really about the power of art and our own responses to it. It takes longer for The Nightmare’s larger point to emerge. When it does, it’s chilling: A man says that something actually happening to him—even something horrific, like a demonic entity breathing down his neck as he lays motionless in bed—would be preferable to being crazy. Perhaps there’s nothing in the real world as terrifying as the monsters we’re capable of imagining. MICHAEL NORDINE. B- SEE IT: The Nightmare opens Friday at Living Room Theaters.

june 10–16 coURtESY oF GAUMont

hold her wrinkled neck up straight, as the film mindfully tours viewers through Apfel’s life. As with Maysles’ Grey Gardens and Salesman, it’s hard to look away. nR. EnID SPItZ. Living Room Theaters.

It Follows

A- When your guard is lowered, something truly terrifying like It Follows can burrow into your psyche.

We meet Jay (Maika Monroe), a normal 19-year-old girl falling for dreamboat Hugh (Jake Weary).

Following their first sexual encounter, Jay awakens in an abandoned warehouse, bound to a wheelchair. that’s when Hugh lays it all out: When they had sex, he passed along a curse.

Until she sleeps with somebody else, she will be followed by a malicious force. For most of the movie, you’ll be too nervous to think about allegories—and too busy looking over your shoulder. R. AP KRYZA. Laurelhurst, Vancouver.

the connection

Cinderella

D+ Kenneth Branagh’s tiresome live-action retcon of cinderella. PG. JoHn LocAntHI. Academy, Avalon, Clackamas, Empirical, Kennedy School, Laurelhurst, Mission.

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 grapples with her waning fame.

R. KELLY MccRILLIS. Laurelhurst, Academy, Living Room Theaters.

Entourage

B- You know who had a good

Monday night? the bros who sat behind me at the Entourage screening. they had the time of their bro-y lives! Every time a pair of breasts appeared on screen, one of the bros audibly muttered, “oh shit.” there are maybe 20 sets of breasts, and he “oh shit”-ed all of them. the audience bros loved that the flimsy plot consisted entirely of the movie bros attempting to sleep with women, sleeping with women or talking about their attempts to sleep with women. there is something about the movie bros trying to make their own movie or having already made a movie or something, but it couldn’t matter less compared to the sleeping-withwomen part. As far as I can tell, it’s all terrible. It’s a terrible group of humans being terrible and kinda making a movie with other terrible people. Maybe it’s all a comedy and I completely missed the point, but it’s so hard to tell if it’s funny on purpose or funny like a dog with its snout stuck in an ice-cream carton, where it’s definitely amusing in parts but it’s also sad because he’s trying his hardest. R. ALEX FALconE. Bagdad, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Edgefield, Oak Grove, Stadium 11, Bridgeport, City Center, Division, Evergreen Parkway, Fox Tower, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy, St. Johns Theater.

Ex Machina

B- Frankenstein’s monster is easy on the eyes in Ex Machina, Alex Garland’s sexualized science-fiction tale of a coder named caleb (Domhnall Gleeson) whisked away by his genius boss (oscar Isaac) for a top-secret project. the story’s familiar. But we’re enticed enough to follow along anyway. R. MIcHAEL noRDInE. Hollywood, Fox Tower, Eastport, Bridgeport.

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. 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. Hollywood Theatre, Bridgeport, City Center, Fox Tower.

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. PG-13. AP KRYZA. Eastport, Clackamas, Movies on TV.

A- Remember when spy movies were fun? Kingsman: The Secret Service does. R. Academy, Laurelhurst, Vancouver, Valley.

Kumiko: The Treasure Hunter

B+ A lost soul in tokyo who takes

her fascination with Fargo to dangerous extremes. She sets off to unearth Fargo’s fictional buried treasure. In a lesser film, Kimiko’s innocence and her bunny, Bunzo, could easily devolve into the precious but hollow quirks typical of indie features. But the trajectory of Kumiko, the Treasure Hunter is too tragic for precociousness or to inspire much laughter. MIcHAEL noRDInE. Laurelhurst.

The Longest Ride

D+ Bullriding champ Luke (Scott Eastwood) and budding art gallery intern Sophia (Britt Robertson) take hand-holding strolls across north carolina resortland. this is not Mr. Sparks’ first rodeo. PG-13. JAY HoRton. Vancouver.

Love & Mercy

B+ Brian Wilson’s mental breakdown in the mid-1960s is as essential to the Beach Boys mythos as the band’s Pendleton shirts and woodies.

Love & Mercy is Bill Pohlad’s attempt to sort through the mess of Wilson’s collapse and treatment by Dr. Eugene Landy (Paul Giamatti), the psychologist who lost his license for exploiting Wilson. two phases of Wilson’s life crisscross throughout the film.

A

Mad Max: Fury Road

I left the theater feeling like I should take a shower. this is a batshit, dirt-punk world, 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. It’s as if a world war erupted at Burning Man. this is not to say Fury Road makes any sense.

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. 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. What’s so amazing is that this nonsensical explodey fuckpile can get away with almost anything.

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. PG-13. ALEX FALconE. 99 West, Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, Cornelius, Oak Grove, Stadium 11, Bridgeport, City Center, Division, Evergreen Parkway, Fox Tower, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville, Roseway, Sandy, St. Johns.

Paul Blart: Mall Cop 2

Kevin James takes his daughter to Vegas and saves the world on a Segway. PG. Avalon, Sherwood, Valley.

DeWitt) find their new suburban home occupied by evil forces. this time, oscar-nominated Gil Kenan (Monster House) and Sami Raimi (The Grudge) tell the supernatural kidnapping tale. PG-13. Cedar Hills, Eastport, Clackamas, Bridgeport, Division, Evergreen Parkway, Movies on TV.

Rebels of the Neon God

B+ this isn’t a new movie, but it is new to this part of the world. tsai Ming-liang’s breakout feature first traveled the festival circuit 23 years ago, when it made a name for the taiwanese auteur and hinted at the greatness to come in his later works Vive L’Amour, What Time Is It There? and Stray Dogs. the rebels here are a small group of disenchanted adolescents who while away rainy days in glowing arcades and run-down apartments. the young nazha is said to be a reincarnation of the deity he’s named for, but he hardly acts the part. Instead, nazha’s affinity for Street Fighter, ambivalence about school and poor taste in friends put him on a trajectory for trouble. More petty criminals than city gods, few of these rebels know what they truly want, and fewer still get it. Luckily, Ming-liang’s film has a clear enough vision to guide us all. nR. MIcHAEL noRDInE. Living Room Theaters.

Results

B “I will pay you $200 to come over right now and turn my tV on,” Danny (Kevin corrigan) writes on craigslist at the beginning of Results. the recently divorced middle-aged schlub has just come into an unexpected inheritance, some of which he spends on private lessons from a gorgeous personal trainer named Kat (cobie Smulders) in his unfurnished McMansion. Danny is strangely likable even when he’s borderline repellent—he wails away on his Les Paul to an audience of none, texts Kat selfies of himself eating pizza as a brutally honest food log, and eventually falls in love with her. Kat’s boss (Guy Pearce) also carries a torch for her, and while the ensuing love triangle is nothing we haven’t seen before, writer-director Andrew Bujalski (the innovator of mumblecore) has as much fun making sense of his characters as we do. R. MIcHAEL noRDInE. Cinema 21, Kiggins.

Poltergeist

Yet another remake of Steven Spielberg’s 1982 haunted-house flick in which the Bowen family (parented

by Sam Rockwell and Rosemarie

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Hot Pursuit

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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. Cedar Hills, Eastport, Clackamas, Mill Plain, Forest Theatre, Stadium 11, Bridgeport, City Center, Division Street, Evergreen Parkway, Fox Tower, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville.

Kingsman: The Secret Service

Young, brilliant, falling-apart-at-theseams Brian is played persuasively

by Paul Dano (Little Miss Sunshine) but John cusack is largely miscast as the middle-aged Wilson. the film plays out like intertwined memories.

Fans will delight in the picture-perfect re-creations of Wilson’s parties, photo shoots and recording sessions.

Members of the Wrecking crew, the session musicians who helped Wilson realize his titanic visions, practically step out of the screen. When drummer Hal Blaine gives Wilson a pep talk, telling him he’s better than Phil Spector, I shed a tear. PG-13. nAtHAn cARSon. Cedar Hills, Clackamas, Bridgeport, City Center, Fox Tower.

MOVIES

D Reese Witherspoon applies her blondness to a bumbling Barney Fifetype police officer who’s improbably bad at human interactions. She’s paired with Modern Family’s Sofia Vergara, and the pair goes on a wacky road trip, trying to avoid being shot by a murderous drug cartel. It’s like chief Wiggum and Jessica Rabbit running from Hans Gruber. there’s also a delightful cameo from Jim Gaffigan, which just made me wonder why it wasn’t a Jim Gaffigan movie with a Reese Witherspoon cameo. that would have been great. PG-13.

ALEX FALconE. Clackamas.

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. Laurelhurst.

Iris

A Famed documentarian Albert Maysles’ penultimate film disrobes the avant-garde world of a 93-yearold interior designer who’s notorious for her gargantuan eyeglasses, for the Metropolitan Museum of Art exhibit dedicated to her, and for designing White House interiors under nine presidents. She shuffles through crowds with Karl Lagerfeld types, wearing enough magenta beads to

love at first fight Willamette Week JUNE 10, 2015 wweek.com

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JUNE 10–16

Saint Laurent

B- More than 50 years after its

inception, Yves Saint Laurent remains one of the most recognizable luxury fashion houses in the world. It was no small controversy when the house chose to drop the Yves and become Saint Laurent Paris in 2012, just four years after the death of the designer, who was notoriously hesitant to relinquish creative control. Bertrand Bonello’s new dramatic biopic returns the focus to Saint Laurent’s peak years, from 1967 to 1976. The fi lm manages to be both beautifully detailed and irritatingly vague.

We are treated to extended scenes of disco debauchery, mind-boggling drug use, pensive chain smoking and orgies in the hedge maze, but there’s little in the way of context or backstory. As the titular designer, Gaspard Ulliel nails the tormented-genius role, but his charm can carry this lengthy picture only so far. Just like the dazzling haute couture that parades through the fi lm, Saint Laurent is beautiful to look at but ultimately not worth the investment. PENELOPE BASS. R. Cinema 21.

San Andreas

D Dwayne “The Rock” Johnson saves the day as rescue helicopter pilot Ray Gaines. But he can’t save the movie.

There’s genuine parental tension between him and his ex-wife, Emma (Carla Gugino), but the screenplay is ironically sparse and fl at. When a character advises, “Just get yourself next to something sturdy,” it’s both a survival tip and a metaphor for Emma’s love of the Rock’s Gaines.

When tremors hit, the characters are either at the top of a high-rise or the bottom of a parking garage.

San Andreas the fi lm is an exaggerated worst-case scenario in itself.

To director Brad Peyton’s credit, the CGI is inarguably exceptional, and wide shots of the entire Bay Area rippling like water have a somber, chilling eff ect. Peyton solves the mystery: When the inevitable apocalyptic quake does come, what would the Rock do? PG-13. LAUREN TERRY. 99 West, Cedar Hills, Eastport, Clackamas, Mill Plain, Forest Theatre, Oak Grove, Stadium 11, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.

Slow West

A- Slow West feels like propaganda

made to discourage time travel back to the Old West. And that’s precisely what’s so refreshing about this movie: It doesn’t romanticize gunslinging. Instead, it focuses on the day-to-day indignities of living on a horse, constantly in danger of being robbed, murdered or caught in a fl ash fl ood and forced to ride the next day in your underwear while your only clothes dry out. It makes a dusty genre feel distinctly modern. It’s not surprising that this version of the American legend is so unromanticized, since its creator is Scottish folktronica keyboardist John Maclean. Consider it the equivalent of

a peaty Scotch instead of a fi ne bourbon—both will get you drunk, robbed and left outside in your underpants.

PG-13. ALEX FALCONE. Cinema 21.

Spy

A- Serious actors playing funny roles seriously, a la Airplane, is one of my favorite things, and Paul Feig’s new movie, Spy, delivers that in spades.

Jason Statham is hilarious as a parody of every real role he’s played; Allison Janney is a funny version of her humorless self on West Wing; and 50 Cent, well he can’t act to save his life. Every sentence he says sounds like an alien in 50 Cent’s body discovering his vocal chords for the fi rst time. But really, that’s a minor complaint. Spy is super-funny, and it’s a much smarter comedy than the trailer may lead you to believe. There are nut kicks, sure, and plenty of gross moments, but the smart jokes made me laugh—and made me feel good about laughing. R. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Stadium 11, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy, St. Johns.

Tomorrowland

C Of course, a movie based on a section of a theme park isn’t going to be good. It can’t be. Everything is shiny and white, and there’s lots of product placement, so it’s just how Disney would imagine the Future.

During the 1964 World ’s Fair, a tiny British girl persuades a plucky young boy to wear a pin that magically transports him to a distant future, but then the future goes to shit and needs to be saved, by George Clooney. The plot is exactly the same as Atlas Shrugged, but with more child actors and awkward sexual tension between a child robot and Clooney. Oh, and somewhere back there they fl y a steampunk rocket ship out of the Eiff el Tower. Also Hugh Laurie’s in it, and we like him.

PG. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Stadium 11, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.

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. What We Do in the Shadows follows four vampires as they prepare for the annual Unholy Masquerade.

Viago (Taika Waititi, who shares writing and directing credits with Clement) explains his nighttime ritual to the camera and then leaves to wake his fl atmates. Deacon (Jonathan Brugh) is the youngest and lives in the closet. Viago awkwardly interrupts the severe-looking Vladislav (Clement) in the middle of a Coppola-esque threesome. Peter, a hairless 2,000-year-old vampire, lies in a stone coffi n in the basement.

They then sit down for a meeting to confront Deacon about his unwillingness to do the dishes. These are not oversexed, unholy demigods; these are petty, childish people who just happen to be vampires. They want blood, preferably virginal. “Think of it this way: If you were going to eat a sandwich, you would enjoy it more if you knew nobody had fucked it,” Vladislav explains. While other monster fi lms often get bogged down explaining their mythology and origin stories, What We Do in the Shadows trusts you already know this shit.

“It’s this big, homoerotic dick-biting club.” You’d be hard-pressed to fi nd a more biting and accurate critique of vampiredom. R. JOHN LOCANTHI .

Cinema 21.

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AP FILM STUDIES COURTESY OF SONY PICTURES

MOVIES

Willamette Week JUNE 10, 2015 wweek.com

GRANT’S LAND HIS GIRL FRIDAY ’S FAST TALK HIDES A DERANGED MIND.

BY A P KRYZA

apkryza@wweek.com

Hannibal Lecter managed to seduce the FBI’s top minds with his devious charm. Alex DeLarge controlled an army of droogs. Ferris Bueller duped the entire city of Chicago to do his bidding so he could cut school.

All are brilliant cinematic masterminds. But these men are all so excessive in their selfish pursuits that they might as well have “sociopath” stamped on their foreheads like Jared Leto’s new Juggalo Joker. The mark of a truly successful sociopath is that he or she is never identified as such. In that regard, Walter Burns is a rousing success.

As played by Cary Grant at his most Cary Grant in Howard Hawks’ 1940 screwball classic, His Girl Friday (Hollywood Hollywood Theatre; 3 pm Saturday-Sunday, June 13-14), Burns is a paragon of absurdist wit. The editor of a scoop-horny newspaper, he exudes an impossible amount of charm, speaking in curt patter at a million miles an hour (the film was groundbreaking in its sound mix and rapid-fire dialogue). He’s the perfect combination of charisma, warmth, quirk and passion.

He’s also a remorseless, manipulative nut job who launches an elaborate scheme to pull ace reporter Hildy Johnson (a fantastic Rosalind Russell)—who happens to be his ex-wife—back into the paper to report on a sensational murder trial, despite her desire to leave with her new fiance (Ralph Bellamy, who Walter notes looks like…Ralph Bellamy). What unfolds is a series of kidnappings, frame jobs, elaborate lies, harboring of criminals and emotional manipulation, all simply so Walter can get his scoop and maintain his viselike grip on those around him.

It should be noted that, despite Walter’s misogynistic-sounding and stalkerish treatment of his estranged wife, Hildy was originally a man in the film’s source material, The Front Page, and most of the character’s lines and traits remain unchanged.

Which is to say, Walter would have been the same calculating psycho even if his wife weren’t involved.

The result is one of the best comedies ever filmed, a wonderfully wry takedown of media culture decades before cable news. Resurrected today, Walter would probably emerge unchanged.

He’d still be calculating, self-centered and willing to crush everyone in his path, operating without anyone even noticing his sociopathic tendencies.

“I’m a newspaperman,” he repeats in the film, almost as a tic. And newspapermen haven’t really changed.

ALSO SHOWING:

How serious is 1977’s “sword-wielding killer vs. horny teens” slasher Drive-in Massacre about its visceral horrors? Why, it’s “filmed entirely in bloodcurdling GORE-COLOR.” Joy Cinema. 9:15 pm Wednesday, June 10.

Weird Science might be the weak link in John Hughes’ teen-centric movies—and with its feathered hair, weirdly racist undertones, sexism and Kelly LeBrock quotient, it’s aged less than gracefully—but it’s still a riot of pubescent wish fulfillment that wears its nerdy heart on its sleeve. Pix Patisserie. Dusk Wednesday, June 10.

It’s hard to believe, but Tim Burton’s gorgeous Edward Scissorhands is the last of the director’s films based on an original concept. It’s been 25 years of remakes, reimaginings and reassessing the director ever since. Hollywood Theatre.

9:30 pm Friday, June 12.

Published in 1953 and adapted for film in 1966, Fahrenheit 451 has carried its themes seamlessly into the present, none more so than the idea that books make great kindling. Laurelhurst Theater.

June 12-18.

Flash Gordon: Come for the blaring Queen score, stay to see what happens when you spill a brain full of cocaine onto film. Hollywood Theatre. 7 pm Friday-Saturday, June 12-13.

It’s only been 16 years, but American Beauty has cemented itself as the most gorgeously shot film in history celebrating a perverted middle-aged man’s single-minded goal of fucking an underage girl while ruining his child’s life. Cartopia. Dark Sunday, June 14.

With a new Terminator looming, now’s the perfect time to revisit the original. Especially since the odds of the new one holding a candle to James Cameron’s are slim. Century Clackamas Town Center. 2 pm Sunday, June 14.

Film archivist Dennis Nyback usually specializes in silent films and other curiosities. But, apparently, dude’s down with the Crüe (and Maiden and Scorpions and Bon Jovi), and will prove it with a series of 35 mm music videos by hair bands from the ’80s.

Hollywood Theatre. 7:30 pm Monday, June 15.

Repressed Cinema gets red during a screening of Roger Corman’s beatnik-slaying 1959 black comedy, A Bucket of Blood. Hollywood Theatre. 7:30 pm Tuesday, June 16.

MOVIES

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

JUNE 12–18

Mad Max: Fury Road (3D) (R) 1:30PM 7:40PM Mad Max: Fury Road (R) 10:35AM 12:05PM 3:10PM 4:30PM 6:10PM 9:10PM 10:40PM Tomorrowland (PG) 12:55PM 4:10PM 7:20PM 10:30PM Love & Mercy (PG-13) 10:40AM 1:35PM 4:35PM 7:30PM 10:25PM Pitch Perfect 2 (PG-13) 10:50AM 1:40PM 4:35PM 7:35PM 10:30PM San Andreas (PG-13) 10:40AM 1:30PM 2:10PM 4:20PM 7:10PM 7:50PM 10:05PM Spy (R) 10:30AM 12:10PM 1:25PM 3:15PM 4:30PM 6:15PM 7:35PM 9:25PM 10:40PM Poltergeist (2015) (PG-13) 9:40PM San Andreas (3D) (PG-13) 11:20AM 5:00PM 10:45PM

Jurassic World (PG-13) 10:00AM 11:15AM 1:00PM 2:15PM 4:00PM 5:15PM 7:00PM 8:15PM 10:00PM Avengers: Age Of Ultron (PG-13) 12:25PM 3:45PM 7:00PM 10:20PM Beyond The Mask (PG) 10:50AM 1:25PM 4:15PM 7:10PM 9:55PM Aloha (PG-13) 11:50AM 2:30PM 5:10PM 7:55PM 10:35PM Entourage (R) 11:25AM 2:05PM 4:45PM 7:25PM 10:10PM Jurassic World (PG-13) 10:00AM ® 1:00PM ® 4:00PM ® 7:00PM ® 10:00PM ® Jurassic World (3D) (PG-13) 11:45AM 12:15PM 12:15PM ® 2:45PM 3:15PM 3:15PM ® 5:45PM 6:15PM 6:15PM ® 8:45PM 9:15PM 9:15PM ® Home (PG) 10:00AM 11:10AM 1:45PM 4:25PM 7:05PM Insidious: Chapter 3 (PG-13) 11:40AM 2:15PM 4:45PM 7:15PM 9:50PM

Pitch Perfect 2 (PG-13) 11:00AM 1:50PM 4:40PM 7:30PM

Dil Dhadakne Do (Eros International) (NR) 11:10AM

10:20PM

2:35PM 6:00PM 9:25PM

Mad Max: Fury Road (R) 10:45AM 1:35PM 4:25PM

Avengers: Age Of Ultron (PG-13) 12:30PM 3:45PM

7:15PM 10:05PM

7:00PM 10:15PM

Tomorrowland (PG) 10:00AM 1:00PM 4:00PM 7:00PM

Love & Mercy (PG-13) 11:10AM 2:00PM 4:50PM 7:40PM

10:00PM

10:30PM

Spy (R) 11:00AM 12:25PM 1:50PM 3:15PM 4:40PM 6:05PM

Jurassic World (3D) (PG-13) 10:15AM 11:25AM 12:00PM

7:30PM 9:00PM 10:20PM

1:10PM 1:45PM 2:55PM 4:05PM 4:40PM 5:50PM 6:25PM

San Andreas (PG-13) 11:00AM 1:45PM 7:15PM 10:00PM

7:00PM 8:45PM 9:55PM 10:30PM

San Andreas (3D) (PG-13) 4:30PM

Insidious: Chapter 3 (PG-13) 12:30PM 3:00PM 5:30PM

Jurassic World (PG-13) 10:50AM 12:35PM 2:20PM 3:30PM

8:00PM 10:30PM

5:15PM 7:35PM 8:10PM 9:20PM

Entourage (R) 11:00AM 1:35PM 4:10PM 7:15PM 10:00PM

Pitch Perfect 2 (PG-13) 11:05AM 1:50PM 4:40PM 7:35PM 10:25PM Mad Max: Fury Road (R) 11:00AM 1:55PM 4:50PM 7:45PM 10:40PM Tomorrowland (PG) 12:50PM 4:00PM 7:10PM 10:10PM Poltergeist (2015) (PG-13) 7:35PM 10:05PM Spy (R) 11:00AM 12:30PM 1:50PM 3:20PM 4:40PM 6:10PM 7:30PM 9:00PM 10:20PM San Andreas (PG-13) 11:10AM 2:00PM 4:50PM 7:40PM 10:30PM San Andreas (3D) (PG-13) 12:45PM 3:35PM 6:25PM 9:20PM

Entourage (R) 11:15AM 2:00PM 4:45PM 7:30PM 10:15PM Avengers: Age Of Ultron (PG-13) 12:15PM 3:30PM 6:50PM 10:10PM Jurassic World (PG-13) 12:35PM 2:50PM 5:05PM 7:20PM 8:50PM 10:20PM Ex Machina (R) 11:15AM 1:55PM 4:45PM 7:25PM 10:15PM Jurassic World (3D) (PG-13) 10:20AM 11:05AM 11:50AM 1:20PM 2:05PM 3:35PM 4:20PM 5:50PM 6:35PM 8:05PM 9:35PM Insidious: Chapter 3 (PG-13) 11:00AM 1:45PM 4:30PM 7:15PM 10:00PM Home (PG) 11:20AM 2:15PM 5:00PM

Jurassic World XD-3D (PG-13) 10:45AM 1:45PM 4:45PM 7:45PM 10:45PM

AAAH-AAAAAAH!: Flash Gordon plays June 12-13 at Hollywood Theatre.

Kennedy School Theater

Regal Lloyd Center 10 & IMAX 1510 NE Multnomah St. SAN ANDREAS: AN IMAX 3D EXPERIENCE Wed 01:10, 04:20, 07:20, 10:10 INSIDIOUS: CHAPTER 3 Wed 01:00, 04:40, 07:30, 10:05 SPY Wed 12:40, 03:45, 07:10, 10:15 ALOHA Wed 12:10, 04:30, 07:35, 10:20 ENTOURAGE Wed 12:50, 03:55, 07:05, 09:55 SAN ANDREAS Wed 12:20, 03:15 TOMORROWLAND Wed 11:45, 02:55, 06:55, 10:05 PITCH PERFECT 2 Wed 12:00, 03:25, 06:35, 09:30 MAD MAX: FURY ROAD Wed 03:35, 06:50 MAD MAX: FURY ROAD 3D Wed 12:30, 09:50 AVENGERS: AGE OF ULTRON Wed 11:50, 03:05, 06:30, 09:45 JURASSIC WORLD: AN IMAX 3D EXPERIENCE Fri-Sat-SunMon-Tue-Wed 01:20, 04:25, 07:30, 10:35 JURASSIC WORLD Fri-Sat-Sun 12:40, 03:50, 07:00, 10:05

Avalon Theatre & Wunderland

3451 SE Belmont St., 503-238-1617 PAUL BLART: MALL COP 2 Fri-Sat-Sun-Mon-Tue-Wed 01:20, 03:10, 07:15 GET HARD Fri-Sat-Sun-MonTue-Wed 05:10, 09:15 THE DIVERGENT SERIES: INSURGENT Fri-Sat-SunMon-Tue-Wed 05:00, 09:05 CINDERELLA Fri-Sat-SunMon-Tue-Wed 01:00, 03:05, 07:05

Bagdad Theater

SHOWING TODAY FriSun-Mon THE AMAZING BUBBLE MAN Sat 11:00, 02:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 PLANET OF THE APES Wed 09:05 THE IMITATION GAME Wed 07:00 KUMIKO, THE TREASURE HUNTER Fri-Sat-Sun-Mon-Tue-Wed 09:30 CLOUDS OF SILS MARIA Fri-Sat-Sun-MonTue-Wed 07:00 KINGSMAN: THE SECRET SERVICE Fri-Sat-Sun-Mon-Tue-Wed 09:10 IT FOLLOWS FriSat-Sun-Mon-Tue-Wed 09:45 WILD Wed 06:45 THE DIVERGENT SERIES: INSURGENT Wed 09:20 WHILE WE’RE YOUNG Fri-Sat-Sun-Mon-Tue-Wed 07:20 WOMAN IN GOLD Fri-Sat-Sun-Mon-Tue-Wed 06:45 WILD TALES Fri-SatSun-Mon-Tue-Wed 06:30 FAHRENHEIT 451 Fri-SatSun-Mon-Tue-Wed 09:00 CINDERELLA Fri-Sat-Sun 01:20, 04:20

Mission Theater and Pub

1624 NW Glisan St. GET HARD Wed 08:30 CINDERELLA DARK STAR: H.R. GIGER’S WORLD Fri-Sat-Sun-Mon 03:00 WOMAN IN GOLD SatSun-Tue-Wed 05:30, 08:15 ALIEN Sun 08:00 VILLA TOUMA Mon 07:00

Roseway Theatre

3702 SE Hawthorne Blvd., 503-249-7474 ENTOURAGE Wed 01:15, 04:00, 07:00, 10:00 JURASSIC WORLD

7229 NE Sandy Blvd., 503-282-2898 MAD MAX: FURY ROAD Wed 01:30, 04:45, 08:00

Cinema 21

8704 N Lombard St., 503-286-1768 SPY Fri-Sat-Sun-Mon-TueWed 04:45, 07:30, 10:15 MAD MAX: FURY ROAD Wed 05:15, 07:55 JURASSIC WORLD Fri-Sat-Sun-MonTue-Wed 04:15, 07:00, 09:45

616 NW 21st Ave., 503-223-4515 THE 100-YEAR-OLD MAN WHO CLIMBED OUT THE WINDOW AND DISAPPEARED Fri-SatSun-Mon-Tue-Wed 04:00, 06:30 WHAT WE DO IN THE SHADOWS Fri-Sat-SunMon-Tue-Wed 08:45 SAINT LAURENT Fri-Sat-Sun-MonTue-Wed 09:00 RESULTS Fri-Sat-Sun-Mon-Tue-Wed 04:15, 06:45 THE SEARCH FOR FREEDOM Wed 07:00 HUNGRY HEARTS Fri-SatSun-Mon-Tue-Wed 09:15

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 BUDDENBROOKS Wed 07:00 DEATH METAL ANGOLA NO FILMS

St. Johns Cinemas

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 MAD MAX: FURY ROAD Fri-Sat-Sun-Mon-Tue-Wed 05:30, 08:00

Kiggins Theatre

1011 Main St., 360-816-0352 WHEN MARNIE WAS THERE Fri-Sat-Sun-Mon-Tue-Wed 06:45 RESULTS Fri-SatSun-Mon-Tue-Wed 09:00 WHEN MARNIE WAS THERE Mon-Wed 04:30

5736 NE 33rd Ave., 503-249-7474 CINDERELLA Fri-Sat-SunMon-Tue-Wed 12:00, 05:30 GET HARD Fri-Sat-Sun-MonTue-Wed 10:20 WOMAN IN GOLD Fri-Sat-Sun-Mon-TueWed 02:30, 08:00

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 EX MACHINA Fri-Sat-SunMon-Tue-Wed 07:15, 09:30 FAR FROM THE MADDING CROWD Wed 08:45 THE SEVEN FIVE Wed 06:45 PRIDE Wed 07:00 ONLY THE ESSENTIAL THE CONNECTION Fri-SatSun-Mon-Tue-Wed 06:45, 09:20 FLASH GORDON Fri-Sat 07:00 EDWARD SCISSORHANDS Fri 09:30 HIS GIRL FRIDAY Sat-Sun 03:00, 07:00 CONGO: IN HECKLEVISION Sat 09:30 35MM MTV VIDEOS Mon 07:30 A BUCKET OF BLOOD Tue 07:30 ELEKTRO MOSKVA Wed 07:30

Regal Fox Tower Stadium 10

846 SW Park Ave., LOVE & MERCY Fri-Sat-SunMon-Tue-Wed 12:20, 03:40, 06:40, 09:20 ENTOURAGE Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:30, 05:00, 07:30, 09:15, 10:00 WHEN MARNIE WAS THERE Fri-Sat-SunMon-Tue-Wed 12:45, 03:45, 07:00, 09:40 I’LL SEE YOU IN MY DREAMS Fri-SatSun-Mon-Tue-Wed 12:10, 02:20, 04:30, 06:50, 09:00 MAD MAX: FURY ROAD Fri-Sat-Sun-Mon-Tue-Wed 01:00, 04:00, 07:20, 10:00 FAR FROM THE MADDING CROWD Fri-Sat-Sun-MonTue-Wed 12:15, 03:15, 06:15 EX MACHINA Fri-Sat-SunMon-Tue-Wed 12:50, 04:15, 07:15, 09:45 MAD MAX: FURY ROAD 3D Fri-Sat-SunMon-Tue-Wed 12:30, 03:30, 06:20, 09:10 WOMAN IN GOLD Wed 09:00 THE CONNECTION Fri-Sat-SunMon-Tue-Wed 12:10, 03:10, 06:45, 09:45 AVENGERS: AGE OF ULTRON Fri-SatSun-Mon-Tue-Wed 12:00, 03:20, 06:30, 09:30

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 THE TALES OF HOFFMANN Fri-Sat 01:00, 04:00, 07:00 MAGIC MEN Sun 07:00 THE MUSES OF ISAAC BASHEVIS SINGER Mon 07:00 A PLACE IN HEAVEN Tue 07:00 TO LIFE! Wed 07:00

Regal Pioneer Place Stadium 6 340 SW Morrison St. INSIDIOUS: CHAPTER 3 Wed 01:00, 04:15,

07:15, 10:20 SPY Wed 12:45, 04:00, 07:00, 10:00 SAN ANDREAS Wed 04:30, 10:10 SAN ANDREAS 3D Wed 01:15, 07:30 TOMORROWLAND Wed 12:10, 03:30, 06:45, 09:50 PITCH PERFECT 2 Wed 12:20, 03:40, 06:40, 09:30 AVENGERS: AGE OF ULTRON Wed 12:00, 03:15, 06:30, 09:40 JURASSIC WORLD Fri-Sat-Sun-MonTue-Wed 12:45, 01:00, 04:00, 06:00, 07:45 JURASSIC WORLD 3D FriSat-Sun-Mon-Tue-Wed 12:00, 03:00, 07:00, 10:00, 10:45 INSIDE OUT INSIDE OUT 3D

Academy Theater

7818 SE Stark St., 503-252-0500 CLOUDS OF SILS MARIA Wed 02:00, 07:00 GET HARD Wed 09:25 THE DIVERGENT SERIES: INSURGENT Wed 04:30, 08:45 CINDERELLA FriSat-Sun-Mon-Tue-Wed 12:00, 04:15 KINGSMAN: THE SECRET SERVICE Wed 01:50, 06:45 STAND BY ME Wed 04:45, 09:35 SLOW WEST Fri-Sat-Sun-MonTue-Wed 05:45, 09:45 THE AGE OF ADALINE Fri-SatSun-Mon-Tue-Wed 11:30, 06:40 MONKEY KINGDOM Fri-Sat-Sun-Mon-Tue-Wed 01:25 WHILE WE’RE YOUNG Fri-Sat-Sun-Mon-Tue-Wed 02:00, 07:40 WOMAN IN GOLD Fri-Sat-Sun-Mon-TueWed 02:25, 06:55 WILD TALES Fri-Sat-Sun-MonTue-Wed 03:15, 09:05 THE PRINCESS BRIDE Fri-SatSun-Mon-Tue-Wed 11:20, 04:45, 09:15 ZOMBIE CATS FROM MARS Sat 09:00, 10:45

FRIDAY

Living Room Theaters 341 SW 10th Ave., 971-222-2010 5 FLIGHTS UP Wed 12:05, 02:15, 04:30, 07:40 ABOUT ELLY Wed 12:00, 02:00, 04:40, 07:00, 09:35 ALOHA Wed 11:50, 01:50, 04:10, 06:30, 07:15, 08:55, 09:30 CLOUDS OF SILS MARIA Wed 12:10 IRIS Wed 11:55, 02:40, 05:00, 06:50, 09:05 REBELS OF THE NEON GOD Wed 12:15, 02:50, 04:20, 06:40, 09:45 THE AGE OF ADALINE Wed 02:30, 08:45 WILD TALES Wed 05:10

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION FRIDAY-THURSDAY, JUNE 12-18, UNLESS OTHERWISE INDICATED

Willamette Week JUNE 10, 2015 wweek.com

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END ROLL

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Enter Empower Oil and its three products, with a fourth still in testing. Its flagship products—CBD-only, THC-free Healing Hemp Oil Blend ($24) and THC and CBD Cannabis Infused Oil ($30)—each come in 9-ounce bottles with roller-ball applicators. There’s also Therapeutic Soaking Salts ($10) for bathing, and a yet-to-be released Personal Touch Oil that’s fun for any gender. TYLER HURST. Cannabis Infused Oil No, you cannot get high from this, but you sure can tell it’s more than just fancy oil. I used this product for three weeks to treat back spasms and psoriasis on my right foot. The fresh, minty aroma isn’t the typical medicine smell of most store-bought muscle relaxers. As for my skin issues, it hasn’t yet cured my condition—neither did doctor-prescribed steroids, for that matter—but it did dramatically lessen the painful itching, reduced the ugly swelling, and soothed dry skin I was worried would crack. It also returned some sensation to my calloused feet, though it never pulsed, stung or felt unnatural. Verdict: Would buy again.

Healing Hemp Oil Blend You definitely can’t get high from this one, so don’t even try. This was used for three weeks to treat recurring tennis elbow and forearm tightness, sore calves, and a psoriasis outbreak on my left foot. It treated muscle pain well, though didn’t provide the same added sensation experienced with the THC-infused oil. It also treated all of my psoriasis symptoms, but didn’t cure it. Verdict: Would buy if THC version wasn’t available or for someone super-scared of psychoactive substance.

Therapeutic Soaking Salts My skin felt soft and smooth but not oily or greasy, and I smelled like I’d just left a spa. Verdict: Buy if you enjoy soaking in baths.

Personal Touch Oil It took a little persuading to get my wife to try the Personal Touch Oil, because for some reason she wasn’t too keen on me asking her questions while actively reviewing the product. Application was tougher than I expected, as the directed stream seemingly shot any direction it wanted—granted, I was a little distracted—but I figured out where the hole was before accidentally shooting it in either of our faces. My wife thought I felt more turned on but not bigger, and didn’t report increased sensation, while the oil made me think of my penis as a pulsating rod, which made me think of hentai. My orgasm was more intense and lingered longer than normal, while my wife reported that her turn included a quicker-than-normal and longer-lasting orgasm.

Verdict: may I order by the case?

BUY IT: Empower Oil locations can be found at empoweroil.com, currently for OMMP patients only.

For more information on John Callahan’s memorial, see ffojohncallahan.tumblr.com.

52

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Across 1 Nullifies 11 Basketball hoop part 14 Savory bakery appetizers 15 Hungarian wine city 17 “Tommy” star 18 The heart’s location?

19 Hard rain 20 Straddled 22 Service pieces 25 Prefix before

pod or pub 26 Drake’s genre, derisively 27 Target for some vacuum attachments 28 Henner of “Taxi” 30 Figure out 31 “Deliverance” piece 36 “Save us!”

37 Words before well or often 38 Lifelong 42 Head-of-the-line

boast 45 Subway in a Duke Ellington tune 46 They chase in chase scenes 48 Tony with a Lifetime Achievement Grammy 50 Attacked on foot 51 Times long gone?

52 Upgrade from black-and-white 56 Submission tape 57 NPR show

Down 1 Get down without much energy?

2 Founder of the American Shakers 3 Workday start, for some 4 Phrase of reassurance, to a Brit 5 F flat, enharmonically 6 Copier option smaller than 29Down 7 Go limp 8 Hockey legend Bobby 9 Early Coloradans 10 Booster phase on some rockets 11 Unoriginal idea 12 “Whoa, look at the time ...”

13 Photo album contents?

16 Do the news 21 Arm art, for short 23 ___-mutuel (type of betting) 24 Relating to a certain column 27 Out in the open 29 Copier option

larger than 6-Down 31 Eurasian cousin of the plover 32 Password accompaniment 33 Airy beginning?

34 Like 4, 6, 8, 9, 10, and 12 35 Onetime R.J. Reynolds mascot 36 Bottom of the ocean 39 1996 Gibson/ Sinise flick 40 Never, to Nietzsche 41 Aphid that produces honeydew 43 Olivia NewtonJohn film of 1980 44 Lamentable 47 Slab of meat 49 “Beloved” writer Morrison 53 Capt. juniors 54 “Now I understand!”

55 “Automatic for the People” group

last week’s answers

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Week of June 11

ARIES (March 21-April 19): “To look at a thing hard and straight and seriously -- to fix it.” Aries author Henry James said he wanted to do that on a regular basis. He didn’t want to be “arbitrary” or “mechanical” in his efforts. I invite you to make this perspective one of your specialties in the coming weeks, Aries. Pick out a tweaked situation you’d like to mend or a half-spoiled arrangement you want to heal. Then pour your pure intelligence into it. Investigate it with a luminous focus.

Use all your tough and tender insight to determine what needs to be transformed, and transform it.

TAURUS (April 20-May 20): Drug expert Jonathan P. Caulkins estimates that Americans are stoned on marijuana for more than 288 million hours every week. A U.N. report on global drug use concluded that Canadians consume weed at a similar rate. Among Europeans, Italians are number one and the French are fourth. But I encourage you to avoid contributing to these figures for the next twelve to fourteen days. In my astrological opinion, it’s time to be as sober and sensible and serious as you ever get. You have the chance to make unprecedented progress on practical matters through the power of your pure reasoning and critical thinking.

GEMINI (May 21-June 20): I think it’ll be better if you don’t engage in much sacrifice, compromise, or surrender in the next two weeks. Normally they are valuable tools to have at your disposal, but for now they may tend to be counterproductive. Judging from the current astrological omens, I suspect you need to be more commanding than usual, more confident in your vision of how to take action with maximum integrity. It’s time for you to draw deeper from the source of your own power, and express it with extra grace and imagination.

CANCER (June 21-July 22): You will soon be escaping -- or maybe “graduating” is the right word -- from your interesting trials and tribulations. In honor of this cathartic transition, I suggest you consider doing a ritual.

It can be a full-fledged ceremony you conduct with somber elegance, or a five-minute psychodrama you carry out with boisterous nonchalance. It will be a celebration of your ability to outlast the forces of chaos and absurdity, and an expression of gratitude for the resources you’ve managed to call on in the course of your struggle.

To add an extra twist, you could improvise a rowdy victory prayer that includes this quote adapted from Nietzsche: “I throw roses into the abyss and say: ‘Here is my thanks to the monster who did not devour me.’”

LEO (July 23-Aug. 22): I propose a Friends Cleanse. It would be a three-week-long process of reviewing your support team and web of connections. If you feel up for the challenge, start this way: Take inventory of your friendships and alliances. If there are any that have faded or deteriorated, make a commitment to either fix them or else phase them out. Here’s the second stage of the Friends Cleanse: Give dynamic boosts to those relationships that are already working well. Take them to the next level of candor and synergy.

VIRGO (Aug. 23-Sept. 22): After Walt Whitman published Leaves of Grass in 1855, he made sure it would get the publicity he wanted. He wrote anonymous reviews of his own book and submitted them to several publications, all of which printed them. “An American bard at last!” began the glowing review that appeared in one newspaper. According to my reading of the astrological omens, Virgo, you now have license to engage in similar behavior. You will incur no karma, nor will you tempt fate, if you tout your own assets in the coming weeks. Try to make your bragging and self-promotion as charming as possible, of course. But don’t be timid about it.

LIBRA (Sept. 23-Oct. 22): If you carry out the assignments I recommend, you will boost your charisma, your chutzpah, and your creativity. Here’s the first one: Try something impossible every day. Whether or not you actually accomplish it isn’t important. To merely make the effort will shatter illusions that are holding you back. Here’s your second assignment: Break every meaningless rule that tempts you to take yourself too seriously. Explore the art of benevolent mischief. Here’s the third: Clear out space in your fine mind by shedding

one dogmatic belief, two unprovable theories, and three judgmental opinions. Give yourself the gift of fertile emptiness.

SCORPIO (Oct. 23-Nov. 21): In the 16th century, roguish French author Francois Rabelais published a comic novel entitled The Life of Gargantua and of Pantagruel.

In the course of his satirical story, a learned teacher named Epistemon takes a visit to the afterlife and back.

While on the other side, he finds famous dead heroes employed in humble tasks. Alexander the Great is making a meager living from mending old socks. Cleopatra is hawking onions in the streets. King Arthur cleans hats and Helen of Troy supervises chambermaids. In accordance with the Rabelaisian quality of your current astrological aspects, Scorpio, I invite you to meditate on the reversals you would like to see in your own life.

What is first that maybe should be last? And vice versa?

What’s enormous that should be small? And vice versa?

What’s proud that should be humble? And vice versa?

SAGITTARIUS (Nov. 22-Dec. 21): There’s no better time than now to ask the big question or seek the big opening or explore the big feeling. People are not only as receptive as they will ever be, they are also more likely to understand what you really mean and what you are trying to accomplish. Which door has been forever locked? Which poker face hasn’t blinked or flinched in many moons? Which heart of darkness hasn’t shown a crack of light for as long as you can remember? These are frontiers worth revisiting now, when your ability to penetrate the seemingly impenetrable is at a peak.

CAPRICORN (Dec. 22-Jan. 19): The writer Donald Barthelme once came to see the artist Elaine de Kooning in her New York studio. Midway through the visit, loud crashes and bangs disturbed the ceiling above them. De Kooning wasn’t alarmed. “Oh, that’s Herbert thinking,” she said, referring to the metal sculptor Herbert Ferber, who worked in a studio directly above hers. This is the kind of thinking I’d love to see you unleash in the coming days, Capricorn. Now is not a time for mild, cautious, delicate turns of thought, but rather for vigorous meditations, rambunctious speculations, and carefree musings. In your quest for practical insight, be willing to make some noise. (The story comes from Barthelme’s essay “Not-Knowing.”)

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AQUARIUS (Jan. 20-Feb. 18): Sidney Lumet was an American director who worked on 50 films, including 14 that were nominated for Academy Awards, like Network and Dog Day Afternoon. Actors loved to work with him, even though he was a stickler for thorough rehearsals. Intense preparation, he felt, was the key to finding the “magical accidents” that allow an actor’s highest artistry to emerge. I advocate a similar strategy for you, Aquarius. Make yourself ready, through practice and discipline, to capitalize fully on serendipitous opportunities and unexpected breakthroughs when they arrive.

PISCES (Feb. 19-March 20): “It is not only the most difficult thing to know oneself, but the most inconvenient one, too,” said American writer Josh Billings. I agree with him. It’s not impossible to solve the mystery of who you are, but it can be hard work that requires playful honesty, cagey tenacity, and an excellent sense of humor. The good news is that these days it’s far less difficult and inconvenient than usual for you to deepen your self-understanding. So take advantage! To get started, why don’t you interview yourself? Go here to see some questions you could ask: http://bit.ly/interviewyourself.

Homework Name two ways you think that everyone should be more like you.

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