41 45 willamette week, september 9, 2015 by Willamette Week Newspaper

NEWS PORTLANDERS FOR PRESIDENT. HEADOUT GO SEAHAWKS? GO SEAHAWKS! BAR REVIEW WORLD FAMOUS CANNABIS CAFE. P. 9

P. 29

P. 47

W ILLAMETTE WEEK

LOOK INSIDE

“ONCE I WAS A PIG; NOW I’M NOT.” P. 12

U N S E E N C A N D I DS O F W A R H O L A N D BA S Q U I AT, A M O RAL E U R O P EA N CKS F A B LE S , T H E AT E R I N HAMMOCKS AN D M O RE. PAGE 1 1

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VOL 41/45 09.09.2015

Willamette Week SEPTEMBER 9, 2015 wweek.com

RICK VODICKA

FINDINGS

PAGE 29

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 45.

You’re not necessarily wrong to be instinctually distrustful of people with 971 numbers. 4

Jacksonville, Fla., is to vegan chefs what Purdue University is to quarterbacks. 32

Oregon is home to the nation’s first transgender presidential candidate. 9

If you have $4,000, there’s a bottle of lambic with your name on it at the world’s largest rare-beer auction. 33

Bernie Madoﬀ is “super-boring,”

says Portland’s best young novelist. 12

Weird Al has held the same band together for 34 years. 45

Unless you believe Jesus himself blocked for Tim Tebow, you should not be a Broncos fan. 29

The nation’s first cannabis cafe has reopened and will sell you a $3 bowl of cereal. 47

ON THE COVER:

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Collage inspired by the work of Paige Powell, by WW staﬀ.

If Kim Davis doesn’t have to marry gay people, Christian Scientist cab drivers don’t have to drive people to the hospital.

STAFF Editor & Publisher Mark Zusman EDITORIAL News Editor Pro Tem Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, 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 James Helmsworth

Visual Arts Megan Harned Editorial Interns Claire Holley, Coby Hutzler, Walker MacMurdo, Zach Middleton CONTRIBUTORS Dave Cantor, Nathan Carson, Rachel Graham Cody, Pete Cottell, Shannon Gormley, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Anthony Macuk, Mark Stock, Anna Walters PRODUCTION Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Alyssa Walker Graphic Designers Rick Vodicka, Xel Moore Production Interns Elise Englert, Emily Joan Greene, Caleb Misclevitz, Kayla Sprint

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Willamette Week SEPTEMBER 9, 2015 wweek.com

INBOX THE COPS’ CROOKED SNITCH

signed off on Taylor’s informant contract, what George Taylor is a crook, no question [“Rat Tale,” the hell is going on? WW, Sept. 2, 2015]. But what was the point of Heads should [but] will not roll on this. It’s arresting and rearresting small-bore drug deal- just another day in the gang of cops. ers with his help? —Joseph Walsh One guy Taylor rolled over on Maybe if cops just walked a beat in Chihad 47 priors and got 19 months in jail? What a waste of court natown and downtown, they wouldn’t need snitches in the first place. A little time, DA time, police manpower, bit of old-school policing wouldn’t hurt etc. Senior deputy district attoranybody. ney John Copic was right to dump —Tom Mcroy all the cases Taylor touched. But that’s small-town law enforcement. Just like it says SCHOOL’S TREATMENT OF A GAY EMPLOYEE in the article, most of the crime While I acknowledge this was a very world is impenetrable unless “I would painful process for Lauren Brown, informants are used. And inforrather the mants are always dirty to some she was able to bring about change at Portland extent. a Catholic institution that has been I would have rather the Port- police left operating in Portland for 150 years land police left Taylor alone, used [“Proud Mary,” WW, Sept. 2, 2015]. [George] She should be very proud of that him to rat out the Russians, and Taylor alone, accomplishment. let him continue to operate with And St. Mary’s Acadand used him emy should be proud it didn’t hide the FBI or Homeland Security. to rat out the behind its fear of possible consequencThey needed to put him on a tighter leash, and forget the PDX Russians.” es from the Archdiocese of Portland. drug crimes. St. Mary’s faced it head-on in a very —“Crymia Ryver” open manner. —“Elizabeth” I’m left wanting to know more about the 88 active informants and dozens of others the Port- CORRECTION land Police Bureau have hired. These informants Last week’s story on LGBT hiring practices at St. probably are not too different from Taylor. Mary’s Academy (“Proud Mary,” WW, Sept. 2, 2015) How many Aryan Brotherhood-tattooed incorrectly identified a statue in front of the school. convicted offenders could the police find under It is not St. Mary, but Blessed Marie-Rose Durocher, Capt. Mark Kruger’s supervision? I bet there is the nun who founded the Sisters of the Holy Names of Jesus and Mary. WW regrets the error. more than one. —“Retro Girl” Is the whole damn system corrupt? From Mayor Charlie Hales, who is “monitoring,” to Central Precinct Cmdr. Sara Westbrook, who

I keep getting telemarketing robocalls from different 971 numbers. I’ve clicked through to be removed from their lists, but they keep calling. When I call the numbers to complain, they’re just regular people’s cell numbers. Is this, like, legal? —Maria V. Short answer: You’re hosed. Long answer: You’re hoooooooooosed. What you’re experiencing is called “caller ID spoofing,” and most of the time it is legal— and even when it isn’t, the callers tend to be beyond the reach of the law. The telephone system, you see, is like an old person: It dates from a time when people were fundamentally decent, so it’s touchingly easy to defraud. Caller ID is blindly trusting— it just takes the incoming call’s word for it that the number attached is correct. If you have access to equipment or software that allows you to change that number, you’re 4

Willamette Week SEPTEMBER 9, 2015 wweek.com

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in. (Online services like SpoofCard make this so simple a 10-year-old child can do it, to the delight of junior identity thieves worldwide.) Your harassers randomize their originating numbers so you can’t block them, and they use your local area code because they know you’re not going to pick up a call from the Cayman Islands. “But this shouldn’t be happening!” you protest. “I’m on the Do Not Call list!” Yes, that’s adorable. While you’re at it, you should have yourself added to the “Do Not Murder” list—that’ll show those deranged serial killers! It’s illegal to use spoofing with the intent to “defraud, cause harm, or wrongfully obtain anything of value.” But your tormentors can simply respond that (A) “We’re not defrauding you; we’re offering you great deals!” and (B) “We’re in India, so fuck you.” Friends of Tyler Durden take note: Caller ID spoofers have even been known to make the call appear to be coming from your own number, apparently just to drive you insane. “It’s in the house! Run! The call is coming from inside the house!” QUESTIONS? Send them to dr.know@wweek.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

MOBILE

“Our philosophy is that we have actually replaced the value of life with money.” –Renee Stephens, p. 9

JUST SITTING HERE WATCHING THE WHEELS.

STAY CONNECTED

THURSDAY SEPTEMBER 17 TH, 2015 6:45PM DoubleTree Hilton 1000 NE Multnomah St, Portland, OR 97232 CALL NOW FOR YOUR RESERVED SEATING FREE ADMISSION & GOURMET MEAL

State Treasurer Ted Wheeler plans to announce Sept. 9 that he will challenge incumbent Mayor Charlie Hales in next May’s primary election. Wheeler, 53, was elected Multnomah County chairman in 2006 and was appointed Oregon treasurer in 2010. In that job, he manages state borrowing and helps guide the investment of nearly $90 billion in state pension funds. Because of term limits, he can’t seek re-election. He’s been at odds with lawmakers who thwarted his desire to make the treasury more independent, but Wheeler, hales. he pleased organized labor by backing 2015 legislation that promotes financial savings for workers without pensions. Long seen as a potential governor, Wheeler saw his path to Mahonia Hall blocked by the resignation of Gov. John Kitzhaber and the rise of Secretary of State Kate Brown to replace him. Wheeler flirted with a gubernatorial run throughout the summer before fixing his sights on City Hall. “We have a governor in Kate Brown who’s making progress,” he tells WW, “and a mayor in Charlie Hales who isn’t.” Mike Rosen won a seat on the Portland Schools Board in May, days after being placed on administrative leave from his city of Portland job for insubordination and bullying behavior. Newly released records show Rosen had his city-issued credit card taken away in March after he used it to pay for a $569 dinner at Mekong Bistro without permission from his boss. The dinner, held for immigrants and refugees in the city’s New Portlander Program, was intended to encourage communities of color to apply for Bureau of Environmental Services grants to improve the city’s watershed. A March 27 memo about the decision to revoke Rosen’s purchasing card for one year says the dinner needed preapproval from the bureau’s then-director, Jim Hagerman. Rosen, who resigned from the city in July, says BES spends far more on dinners that feed city employees. He argues that the dinner, which fed dozens, provided grant-writing training to disenfranchised communities. “It was an appropriate expenditure,” he says.

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Willamette Week SEPTEMBER 9, 2015 wweek.com

ThUNDerBIrD hOTel

Howard Dietrich’s Thunderbird Hotel, which burned to the ground on Hayden Island in 2012, is the biggest property tax delinquent in Multnomah County, with $720,000 overdue. The county’s top 10 scofflaws owe a combined total of just under $2.5 million in unpaid taxes. The debts are cumulative: Most of the scofflaws have been ignoring their tax bills for at least two years, and a few have been letting the fees build for at least five years. In second with $348,500 owed: the Ross Island Sand & Gravel Co., owned by Portland Tribune publisher Robert Pamplin Jr. Read the full list at wweek.com. Read more Murmurs and daily scuttlebutt.

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

amy churchwell

NEWS

Logrolling THE TIMBER INDUSTRY IS MIGHTY IN OREGON—THANKS TO TAX DOLLARS IT SPENDS ON ADS. By Be n D e Ja r n e t t e

In VeStIGate WeSt invw.org

Although environmental groups have helped Democrats win big legislative majorities, the timber lobby trounced enviros in Salem once again this year. A bill to regulate aerial spraying of timberland—the subject of a sobering investigative series in The Oregonian— went nowhere. A bill to impede the export of raw logs met the same fate. Critics say that even as the timber industry’s tax burden has eased, a well-funded industry trade group has skillfully used a growing war chest to shape public perception—to the public’s detriment. Now those critics want to redirect those funds and revive a repealed tax on the industry. One recent timber industry-funded television ad shows fourth-generation logger Bob Luoto filling a glass with crystalclear water retrieved from one of the forest’s streams. “Oregon has strong laws to help protect our watersheds,” Luoto explains. “Buffers of trees help ensure cool, shady streams that are great for fish and wildlife.” The feds disagree with Luoto. Oregon’s stream-protection rules are so lax the U.S. Environmental Protection Agency took the unprecedented step this year of nixing the state’s water-pollution plan. Nonetheless, in July, the Oregon Board of Forestry postponed a long-anticipated vote on whether to increase

logging buffers along streams. Environmentalists such as Steve Pedery, conservation director for Oregon Wild, point a critical finger at the Oregon Forest Resources Institute, a semi-independent state agency that spent $1.05 million in tax money on advertising last year. Officially, OFRI’s mission is to educate the public about forestry practices, but Pedery says the agency’s allegiance to timber interests is clear. OFRI receives its funding from a volume-based harvest tax paid by timber companies when they cut trees, and the agency’s commercials paint an idyllic portrait of forestry in Oregon, despite mounting criticism of state regulations. “People who see those ads think that Oregon has the strongest logging rules in the country,” Pedery says. “As much as I disagree with the policies OFRI advocates, I have to give them credit: Their propaganda has been highly effective.” OFRI’s tax-funded advertising campaign has put the agency at the center of a controversy over where the timber industry’s tax dollars go—and where they don’t. In the 1990s, lawmakers phased out what was called the “privilege tax” on timber. According to analysis by InvestigateWest, that decision has saved Oregon’s timber companies an average of $59 million each year, adjusted for inflation. But even as lawmakers gutted the privilege tax, they approved increases for a different tax—one that is popular within the industry. Under the current distribution formula for the Forest Products Harvest Tax, 26 percent of revenue is earmarked for OFRI, while the other 74 percent is split between forestry research and education, wildfire protection for private timberland owners, and enforcement of the Forest Practices Act—all stuff the timber industry supports. “In effect, tax dollars go from the right pocket of the industry to the left pocket of the industry,” says Ernie Niemi, president of Natural Resource Economics. “Timber companies are serving their own interests.” OFRI executive director Paul Barnum rejects criticism that OFRI is simply a mouthpiece for the industry. He says the agency’s advertising plays an important role in educating

new Oregon residents. “We’re not making a statement that the laws are good or bad,” explains Barnum, a former communications director for Weyerhaeuser, a publicly traded timber company. “We’re making a statement that the laws exist.” The harvest tax that funds OFRI and its advertisements is allocated by the Legislature and the OFRI board. They’ve repeatedly restricted the money to timber-related programs. That pool of money has been growing. Revenue from the harvest tax has more than tripled in the past 25 years, reaching an all-time high of almost $15 million a year ago. OFRI’s take of the harvest tax has increased on three occasions. Meanwhile, the industry’s overall tax contribution to the state has plummeted. InvestigateWest’s analysis found timber companies saved about $72 million last year thanks to the privilege-tax phaseout, even as they contributed more than ever to OFRI. “The industry is saying, ‘Woe is me, we can’t be forced to pay these taxes any longer because we’re so poor,’” Niemi says. “It’s sort of an astounding argument.” Enviros and loggers agree on few things. Among their disputes: whether timber companies are paying their fair share of taxes. The unraveling of the privilege tax began in 1991, when the timber interests made the case that property tax relief for residential and commercial property owners under Measure 5 should be similarly applied to trees. The Republican-controlled 1999 Legislature finalized the phase-out of the tax. Linc Cannon of the Oregon Forest Industries Council says repeal of the privilege tax was fair. Since 1972, state law has required timber companies to replant trees after harvest, supporting their argument that timber is a crop—and like other crops, shouldn’t be subject to property tax. “The big source of confusion is that it takes 30 to 60 years for us to produce our crop,” Cannon says. “The bottom line is, cont. on page 8 Willamette Week SEPTEMBER 9, 2015 wweek.com

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NEWS we’re taxed like everyone else.” Environmental groups want to put timber taxes back on the table as part of a broader struggle over the future of Oregon’s publicly owned forests. Since 2012, Congress has been considering bills that would increase logging on the state’s federally owned public lands as a way to boost timber revenues for rural counties. And last month, the State Land Board approved selling off the 140-squaremile Elliott State Forest to raise money for public schools. Critics say restoring the privilege tax on private timber companies could provide nearly $50 million a year for schools and $25 million for Oregon counties (assuming the state kept the most recent distribution formula). OFIC’s Cannon calls it “disingenuous” for environmentalists to blame timber companies for state and county funding woes. Environmental groups successfully sued to block logging on most public lands in the state, cutting off a key source of revenue for schools and counties. Cannon says environmentalists want the private timber industry to foot the bill for a problem it didn’t create. “Why would private forest owners get taxed to make up for declining federal timber harvests?” he says. “Because they both have trees? That’s the only reason for it.” But as timber companies continue to funnel money into OFRI, even some timberland owners are beginning to question whether spending timber money on ads is good for Oregon. Sarah Deumling, who manages the 1,300-acre Zena Forest near Salem, is among a group of ecology-minded foresters who disapprove of the agency’s message. “OFRI aggressively represents a type of forestry that doesn’t represent me,” she says. “I don’t feel good supporting educational work that I think is inadequate and misleading.” Deumling and fellow forester Peter Hayes, owner of Portlandbased Hyla Woods, plan to petition the agency for a tax refund next year, an option they say is permitted under state law. Deumling and Hayes say the timber industry—led by OFRI—has tried to bend public opinion its way through rose-colored advertising. It’s unclear how well it’s succeeding. Each year, the agency conducts polling to gauge public perception of Oregon’s forestry laws, asking questions like this one: “Does Oregon law require forest landowners to protect forest streams and water resources during timber harvest?” The EPA answered with a resounding “not exactly” this January, when the federal agency determined that Oregon’s logging laws do not adequately protect fish habitat or drinking water. Public opinion appears to be moving in the same direction, if only modestly. In 2012, 79 percent of respondents answered yes to OFRI’s query. In 2013, the number fell to 76 percent. A year later: 71 percent. Despite the slipping poll numbers, OFRI isn’t giving up on its campaign. The agency’s most recent commercial, titled “Amazing,” touts the state’s logging rules, including the protections for drinking water and wildlife habitat. The commercial aired during the NCAA men’s basketball tournament this spring. “The industry was quite clever,” Hayes says. “They knew that if they could control the narrative, they could control the outcomes.”

CHOPPING TAXES The Oregon Legislature rolled back the timber privilege tax throughout the 1990s. This graph shows how much privilege-tax revenue the state collected—and how much it lost by revising the tax code. (Both ﬁgures are adjusted for inﬂation.)

$120M

$60M

’93

’04

Adjusted Privilege/Severance Tax Receipts 8

Willamette Week SEPTEMBER 9, 2015 wweek.com

’15 Lost Revenue

S O U R C E S : 2 0 1 5 O R E G O N P U B L I C F I N A N C E B A S I C FA C T S R E P O R T, O R E G O N D E PA R T M E N T O F F O R E S T RY

A ly s s A W A l k e r

NEWS

Portland’s Presidential Candidates LONG SHOTS RENEE STEPHENS AND MARTIN HAHN III HAVE BIG PLANS FOR THE WHITE HOUSE. By C L A I R E H O L L E y

Pay It Forward Leadership Society to rid the world of paper currency, and attended the interview in matching white T-shirts. “Money is not real,” Renee Stephens’ shirt read. “I am.” Here’s what else Hahn and Stephens have to say.

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Ready or not, Oregon’s campaign season is underway. The election cycle kicked off this week at Oaks Park, with most of the state’s elected officials dropping by the annual Oregon AFL-CIO Labor Day picnic to cozy up to union rank and file. Martin Hahn III and Renee Stephens didn’t attend the Sept. 7 picnic. Yet these two Portland-area residents are seeking the nation’s highest elected office. Any natural-born citizen at least 35 years old who has been a U.S. resident for 14 years is eligible to run for president. More than 1,093 people have filed applications with the Federal Election Commission to run in the 2016 election. Nine of them are from Oregon. Fringe candidates are often the subject of mockery. But WW talked for nearly an hour each with Hahn and Stephens, and we found them better prepared than many local office-seekers to discuss their unorthodox solutions for a nation they see as fundamentally broken. Hahn, 48, who lives in Milwaukie, says she’s the first transgender presidential candidate and is currently transitioning from male to female. On disability, she’s a former bill collector who served as minister at St. Valentine’s Christian Church, a traveling congregation that meets in Portland-area public parks near bodies of water. Stephens, 37, is a Jefferson High School graduate and former Nike designer now working as a carpenter in the Maplewood neighborhood. He and his wife, Karellen, propose one of the more radical policies WW has heard: They want to abolish money. The Stephens have spent much of the past decade in court battles, which Karellen Stephens details in a self-published book alleging a wide-reaching conspiracy by Nike, Oregon Health & Science University and the Stephens’ own attorneys. The couple founded the

WW: What would your first day in the White House look like? Martin Hahn III: It would be very chaotic. We’ve got a lot of things to fix in this country. A lot of times our government works for the businesses instead of the people, and the people need a lot of help. We need to help the person that’s down here become the person in the middle. And we need to help the people in the middle move forward. We need to constantly progress, not decline like we’ve been doing for years. Renee Stephens: I would address the nation and let

“We’ve been getting puppets in the presidency. And they’re just eAsily puppeteered by the big-Money interests.” —renee stephens

everybody know that I’m here to change things up. What we would do is basically educate. Our philosophy is that we have actually replaced the value of life with money. So, in order to change things, we’re going to make life the value. You are now the currency. So when you go into a business, because you are there, because of your presence, that is actually the payment for the cost of doing business. Everything has a cost. Human labor, time, raw materials,

resources, everything. But what we’re trying to say is that life is actually worth the cost of doing business. Is Donald Trump right on immigration? Hahn: I don’t think Donald Trump is right in a lot of ways. Immigration is a good thing for this country. I feel having a border fence up is wrong, because that’s sending the wrong signal. It says, we’re trying to keep people out, when no, that’s not the case. We’re trying to let them in, but there is a legal process. Stephens: I believe that this country was built on immigrants. And I believe that we should be working with immigrants because they’re coming here to establish a better life for themselves. We should be inviting people here and then taking care of them and helping them, and asking them to help make this place better. What message you are trying to send by running? Hahn: I’m wanting to bring the people together to rise up against a government that is broken. To restructure it and rebuild it. To help restore the country to the greatness that it once was and could be again, and to open the eyes of everybody in the country as to what’s been going on in the country, and to help bring that to the forefront so the people know how the government works, so they can be a part of it. Stephens: That life is what is valuable. Money isn’t necessarily the problem—it is that we have replaced the value of life with anything. Because we’re living beings. We’re trying to live. That’s what every other living being on the planet is trying to do. But as human beings we’ve kind of veered away from the idea that we’re here to live. If you couldn’t vote for yourself, who would you vote for? Hahn: Bernie Sanders. He’s got a fire in him that I can see. Stephens: I wouldn’t vote for anybody. We’ve been getting puppets in the presidency. And they’re just easily puppeteered by the big-money interests. Willamette Week SEPTEMBER 9, 2015 wweek.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

UIAT,

AND BASQ L O H R A S OF W D I D N A C N E E S

, S E L B A F N A E P O R U E L A R AMO CKS

O M M A H N I THEATER AND MORE.

Portland needs the rain.

After months of record high temperatures, even Portlanders’ notorious sweet dispositions seemed burnt to a crisp. Gang-related crime soared in May, including a triple shooting outside an icecream shop. A serial defecator started leaving a messy trail through Southeast. By August, the Portland Spirit was bulldozing boats blocking its path in the Willamette. Theater slowed to outdoor productions of Shakespeare, and even those shut down thanks to wildfire smoke. Good news: The dark is rising. The clouds are back, and the arts are following closely behind. Theater, book readings and art shows all come back strong in September after slow summer seasons. It’s time to retreat indoors to be entertained and provoked into thought. And maybe it’s just us, but when we look at this year’s fall arts calendar, most of our anticipated events have a shadowy cast. The book of the season is Undermajordomo Minor, a blackhumored fairy tale set in a dark castle. Local author Patrick deWitt isolated himself in an old French monastery to find inspiration in European fables (page 12). The Portland Art Museum’s most interesting show features photographs by Paige Powell, who gives us an unromanticized look at New York City’s art scene in the ’80s—a world of secret parties dominated by her boyfriend Jean-Michel Basquiat and her boss Andy Warhol (page 14). The play we’re most excited about follows a doomed 1847 Arctic expedition that ended in cannibalism, which will be staged in a labyrinthine basement that was once a Masonic lodge (page 17) And we poked down into the low-lit basement where you’ll find one of Portland’s most quietly important comedy clubs (page 20). Even the usually cheery Northwest Dance Project is importing two choreographers known in Germany for their spasmodic, contorting works with names like Feeding Monsters and Traumatorium (page 23). And Portland cinemas are going full noir, with a series of screenings that brings us mentalists, crooked cops and an alcoholic circus performer who eats live chickens (page 24). We’re ready. This summer was way too long and hot. Now, give us some gloom. ENID SPITZ.

Willamette Week SEPTEMBER 9, 2015 wweek.com

CHRISTOPHER ONSTOTT

BOOKS

The Art of Losing PATRICK DEWITT SCRAPPED A NOVEL AND TURNED FAIRY TALES INSIDE OUT. BY M ATT H E W KO R F H AGE

mkorfhage@wweek.com

ANDREW MOIR

A little over three years ago, Patrick deWitt sold his car, flew to Paris and moved into a former convent. It didn’t necessarily change his lifestyle much. The Portland novelist was already living a hermetic life here, and besides, he could steal Wi-Fi from the iPhone of his neighbor in the cloister. But it did change what he wrote. In the nunnery, deWitt says, he lost a novel. For more than a year, he had been writing a book about a Bernie Madoff-style investor. It was meant as a follow-up to his blackly comic Western The Sisters Brothers, which in 2011 had shortlisted the Canadian native for the greatest literary prize in the British Commonwealth, the Man Booker. The monastery, now an arts colony subsidized by the French government, was deWitt’s final hope of saving his next book. “I was attempting to plumb the depths of the psyche of a man obsessed with money,” he says. “I thought this would be interesting. It was super-boring.” He’s speaking from the sparsely decorated home he recently bought in Portland’s Overlook neighborhood. The slender, almost gaunt author—monastic-looking himself apart from a few faint tattoos, including the words “thank you” on the palm of one hand—has spent the past

Willamette Week SEPTEMBER 9, 2015 wweek.com

five minutes brewing me a strong cup with his Italian-style stovetop coffeemaker, but has for his own part abstained. He speaks softly and with articulate bemusement, a serene presence until he unfolds his arms to gesture with his hands, at which point he often fidgets or lightly scratches—an arm, his chin, back to the arm—before returning to rest. DeWitt’s forthcoming third novel, Undermajordomo Minor, out Sept. 15, is the book he found instead, while reading old European fables to his first-grade son in the halls of a monastery he says felt haunted enough he dreaded the five steps to the laundry room’s light switch. It’s a “fable without a moral,” he says, set in a lonely European castle from long ago, surrounded by a war that is never explained. Each of his books, deWitt says, carries a thin thread of autobiography. His first novel, 2009’s Ablutions, was a tortured drunk- and drugfest based in part on him. In The Sisters Brothers, deWitt says he sees himself in Eli Sisters’ feelings of isolation, while in Undermajordomo Minor it’s antihero Lucien Minor’s love of lies as an art form. Which is to say: alcohol abuse, loneliness and lies. “Those are the three tenets of my life,” he says, smiling. “The guiding lights.” DeWitt had been trying to avoid novels set in the past, in part to avoid hamstringing art with the strictures of fact. This comes despite his success with the historical form. The Gold Rush-era Sisters Brothers is a singular work—bloody and in full humor, driven by a tattered formality of speech and the peculiar morals of murderous Eli and Charlie Sisters. And for at least a week in 2011, it was the top-selling book in deWitt’s native Canada. Bookmakers in England were placing odds on whether his novel would win the Man Booker Prize. (“My odds were shit,” he says.) But historical books still require fealty to the past, which is a problem. “That’s never an appealing thing, to have things that are required,” deWitt says. Much of his research for The Sisters Brothers involved “mutilating” an old book called The Forty-Niners he’d picked up at a yard sale, pasting up pictures of cowboys and prospectors and then writing vividly realized characters to fit the images. Even though he ended his book at a bar in Oregon City, he has never been to a bar in Oregon City. “Oregon City is 10 minutes away,” deWitt says. “I knew it was there.” Undermajordomo Minor avoids specific-

ity of setting altogether. Like The Sisters Brothers before it, deWitt’s new book is a thing of tumbledown beauty, a deadpan picaresque that turns its genre inside out. It takes place both nowhere and everywhere, a murky vision of old Europe inspired in part by the postwar fables of Italo Calvino and Czech novelist Bohumil Hrabal, but especially a book about a misanthropic dwarf by Swedish novelist Pär Lagerkvist. Part of the great success of the book is its rootlessness—the feeling that anything is possible. A noble might eat a rat, while a man might lose three fingers to mild pique. Lucien “Lucy” Minor, the “undermajordomo” of the book’s title, is an amoral weakling from a village of dimwitted giants who flees to work at a castle mostly because he feels the townspeople don’t like him enough. He is boastful and untalented, with no greater aspirations than “not to die” and to avoid boredom. Upon leaving town, he cheerily rejects being his mother’s son, and out of lighthearted spite he tells a town girl her future husband is unfaithful. “I had him in mind as classic fable or fairy-tale protagonist,” deWitt says. “In fairy tales, oftentimes he’s a weakly hero, oftentimes a flawed individual. Lying and liars are common themes. Fables typically are cautionary tales, something with a moral attached. I knew I didn’t want to teach anybody anything, and I’d never assume a moral high ground.” DeWitt has abandoned carousing, he says, for a settled existence punctuated by travel—and is surprised how deeply he’s become attached to his new home despite not really knowing how to fill its space. A room by the kitchen sits unfilled, a bare bulb swinging over a bare floor. “Once I was a pig; now I’m not,” he wrote in an email a few days after our interview. “I might take a hint of whiskey here and there to be sociable, but otherwise I’m an old lady darning socks by the fire whistling a moldy tune through the gap in my teeth and wondering who’s going to carry me up the stairs, to bed.” He has removed all Internet, in further abstention. “I was a year late on this last book,” he says. “At a certain point, I felt I wasn’t going to make it.” And so he removed all Web access from his home and phone, which allowed him to finish without toxic distraction. But even after turning in Undermajordomo Minor, deWitt says he’ll keep the Internet from his home “until somebody comes to the door, like a policeman demanding that I get it.” His current flip phone causes people to pity him in public. “I tend to hole up when I work, and it forces me to go out every day,” he says. “This is obnoxious, but oftentimes when I go to the coffee shop, I will have a list of things that I need to do with relation to the Internet, like look up someone’s phone number.” But then, drunkenness and self-abnegation are often mir-

“OnCe I WaS a PIg. nOW I’m nOT.” —Patrick deWitt

ror images—just different ways of letting go. In deWitt’s books, the grim and joyfully funny often combine in the same image, as when in Undermajordomo Minor the undertakers slip and notch a miraculously bloodless divot into the head of a man who died with a sneer. DeWitt has had to get used to letting go of his novels. In addition to the Madoff book, he also had to scrap a novel between Ablutions and The Sisters Brothers. Upon mentioning his next book—a story about an explorer in a bygone era—he worries he’s already jinxed it. But maybe, he says, some things deserve to go lost. “A lot of authors, judging by their list, will put anything out that they finish,” deWitt says. “I was watching Woody Allen recently, and you know he’s this guy that puts out a movie every year. That’s the worst model I’ve heard of in my life. It’s just idiotic. Why wouldn’t you just wait for the good ones?” GO: Patrick deWitt is at Powell’s City of Books, 1005 W Burnside St., on Tuesday, Sept. 15. 7:30 pm. Free.

FALL

WORDSTOCK

PICKS

Whenever anything closes for “retooling,” we usually file our obituary. But the huge Wordstock book fair is coming back for real, not in a sad Convention Center meant for dentists and taxidermists, but inside the Portland Art Museum. And there will be readings all over town—in galleries, bars and bookstores—in a lit crawl centered on Portland’s greatest bookstore smaller than a city block, Mother Foucault’s. This, finally, is the book fest that Portland deserves. Welcome back, Wordstock. We like the new look. Portland Art Museum, 1219 SW Park Ave., literary-arts.org. Saturday, Nov. 7. $15.

JOY WILLIAMS

From its chilling, impossible first page, Joy Williams’ 1973 novel State of Grace is a masterpiece that feels like a rent in the fabric of the world. But it is for her biting, deeply funny short stories that Williams is best known and loved, and she’s releasing her first new collection in 10 years, The Visiting Privilege. Williams is a kneeslapping presence, with lacerating intelligence, and one of American fiction’s few true masters. Don’t miss her. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm Monday, Sept. 21. Free.

MATTHEW DICKMAN AND BRIAN LAIDLAW

In January, Spider-Man himself read hometown poet Matthew Dickman’s poem ”King ”—based on the suicide of Dickman’s brother—to hundreds of thousands of people for The New Yorker Presents. Actor Andrew Garfield dedicated it, however, to someone else. Hear the 2015 Guggenheim winner read his singular, sad, idiosyncratic and conversational poems in his own soft voice instead. He’ll be joined by Minneapolis poet Brian Laidlaw, whose most recent collections are accompanied by music. Mother Foucault’s, 523 SE Morrison St., 236-2665. Thursday, Sept. 17. 7 pm. Free.

EILEEN MYLES

Eileen Myles is a badass. For 40 years of published poetry, she has been a source of mirth and joy and sudden heartbreak. Not to mention her last book was probably the first Guggenheim-funded novel about the life of a dog. “The things I embrace as new are in fact old things, re-released,” she writes. Well, all her poems up to now have been re-released in a new collection, and she’s being re-released in Portland. Treat her as new. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. Sunday, Oct. 18. 7:30 pm. Free.

CARRIE BROWNSTEIN

Haters, sit the fuck down. Carrie Brownstein’s local history as part of Sleater-Kinney is, for many of us, our own—and she has long been an articulate and funny and intelligent voice behind piercing guitar that left tatters behind. She will appear with a “special guest” to discuss her new memoir, Hunger Makes Me a Modern Girl, documenting her trip from a kid in a weird family to feminist icon to, you know, a brief flirtation with Wieden + Kennedy. And if you’re mad she grew up, well, why didn’t you? Newmark Theatre, 1111 SW Broadway , 248-4335, portland5.com/newmark-theatre. 7:30 pm Thursday, Nov. 5. $37.95.

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influenced by Andy, and Jean-Michel was young, had some paranoia and was insecure. That was really hurtful to Andy. They never patched it up.

VISUAL ARTS

RIDE ALONG BY E NID SP I TZ

espitz@wweek.com

When Paige Powell left Portland in 1980 for New York City with the dream of working at Interview magazine, she didn’t even know that Andy Warhol was behind the publication. When she got there, she got a job offer from another iconic New York artist—Woody Allen. However, Powell stuck with Interview, and it’s shaped everything else that’s happened to her. “I picked Interview because that job started earlier,” she says, “and I figured if that didn’t work, I could do the other one later.” The fifth-generation Oregonian fell into Warhol’s inner circle and spent the next two decades documenting New York City’s most intimate art parties through her camera lens and curating elite shows in her Manhattan apartment. She ended up dating influential artist Jean-Michel Basquiat until his fatal heroin overdose in 1988 at age 27. Powell returned to Oregon in 1994, but her photo archives sat untouched in boxes for two decades. With the help of a friend, Pink Martini musician Thomas Lauderdale, she finally sorted through them for a show called The Ride, which opens at the Portland Art Museum on Nov. 5. The show, featuring personal camcorder-shot videos of Powell and Warhol and intimate photos of Basquiat, will be among the city’s most compelling art shows of the season. WW: How did you get into that niche arts scene in New York City? Paige Powell: Through Interview and Andy [Warhol]. At the time, there weren’t cellphones to call or any job postings, but I went to New York to work at Interview before I even knew that Andy was behind it. So I knocked on the studio door—it was a bulletproof door with a tiny bulletproof window because Andy had been shot a decade before—and one of Andy’s techs actually let me in. They were interested in me because no one there had been to Portland or met anyone from Portland. I was a fascinating creature to them. They needed an ad salesperson, and I told them that when I worked at the Washington Park Zoo [now the Oregon Zoo] in the chimp enrichment program, we’d been very successful selling elephant dung for fertilizer. They figured that if I could sell dung, I could sell ads for Interview. Working there reminded me of the zoo. It was casual and we were like family. You had to be careful when you walked to the kitchen not to spill your coffee, because Andy’s work was all over the floor, his portraits and art lying everywhere.

When did the intimate art parties and the work with Warhol start? Interview hosted get-togethers in the lunchroom with people like the North American director of Hasselblad cameras, editors for Vanity Fair and Bianca Jagger. So I started using Andy kind of as bait for selling ads, and that’s when we got close. We lived right by each other, and I started doing some photography. Then we worked closely on art projects together. One of your more famous photographs shows Andy and Jean-Michel Basquiat side by side, and you’re credited with bringing them together. What was it like to witness those two icons as friends? I dated Jean-Michel on and off from ’82 through ’86, mainly off because of the drugs. And the two met at a gathering I had. Andy was afraid of Jean-Michel because he was afraid of anyone who did drugs. But they did a portrait exchange. Jean-Michel was so enamored of Andy that Andy agreed to come in and do a portrait, but they didn’t talk. As a thank you, Jean-Michel made a portrait and took it to Andy, I think while the paint was still wet. It didn’t just have Andy in it, Jean-Michel painted himself into it, too. But Jean-Michel dropped Andy in ’85 because of something printed in The New York Times that said he was too

“I DATED JEAN-MICHEL

ON AND OFF FROM ’82

THROUGH ’86, MAINLY OFF BECAUSE OF

THE DRUGS.”

How was it returning to Portland’s art scene from New York after they both died? I moved back to the Oregon Coast in ’94 and to Portland in ’97. Animals are my real priority in life, way above art even, so I work a lot for animal activism. But I’ve been curating art for hotels, like the 750-room Lexington hotel in New York and the Nines [in Portland], and I worked with the Pearl Arts Foundation on its site-specific installations around the city. Before, there were a few big, seminal galleries like Mary Beebe’s and Bill Jamison’s and the Fountain Gallery. Jamison was a very special soul who really cared about the artists, and we had the most fun parties. Now I love all the little pop-up galleries. My favorite new place is an old house in Northeast, Surplus Space—it’s basically a house that a hoarder used to live in, and they’ve turned it into this special little gallery. Describe your new show at PAM and why you finally decided to go through your archives to put it together? I’d shipped all my boxes of photos and film on a Mayflower to Oregon, but they hadn’t even been opened. It wouldn’t all fit into the closets and cabinets and garage. It was overwhelming, so my friend Thomas Lauderdale came over, loaded it all up in the Pink Martini truck and took it to his huge loft, where we started going through it. It’s still not completely archived, due to resources, and it’ll probably take another year and a half or two at this rate. The show is something I wanted to do in New York. It’s these huge projected photographs and videos that cover all the walls and the ceiling. They show Jean-Michel in a limousine as we’re driving to Brooklyn. He’s smoking a pipe and wearing a tweed hat and leaning into the TV, watching Goldfinger. His face is almost touching the screen, and in the photos you can see Sean Connery. But I wanted to add a film component, so we’re playing different videos on each of the screens. The first is me talking to Andy at the studio about why he isn’t going to a party he was hosting that evening. The second is Keith Haring painting this large, white papier-mâché elephant with a boombox blasting, and Andy comes in for a party. The third is Andy just shopping, going to a flea market. It’s all gritty and raw. When I used my camera, I didn’t treat it like I was doing anything big. I never used a tripod or flash. So the whole show is a ride—it’s my movement through the city over that decade and a half. CO U R T E SY PA I G E P OW E L L

PAIGE POWELL’S THE RIDE SHARES UNSEEN MOMENTS WITH JEAN-MICHEL BASQUIAT AND ANDY WARHOL.

Why do you think those artists are still relevant? Andy will always be relevant. When I knew him, he was going through a quiescent period. I think he was more reclusive—he loved taking food to the homeless on holidays, he was becoming a vegetarian, he went out to feed the pigeons and got concerned about endangered species. He was tired of portraits and wanted to get into other mediums, but portraits were the moneymaker for the office. But his work doesn’t get outdated. He was pre-Instagram, and the new generation wants analog.

HOME SHOW: Paige Powell. 14

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GO: Paige Powell’s The Ride is at the Portland Art Museum, 1219 SW Park Ave. Nov. 5-Feb. 21.

COURTNEY THEIM

PAIGE POWELL

FALL

WE WERE SINGING

PICKS

Ellen Lesperance stole the show with her paintings and textiles paying tribute to direct action campaigns and feminist activism at the 2014 Biennial of Contemporary Art at North Portland’s Disjecta gallery. This is her second solo show, and it responds to the radical, intimate paintings of nude males by feminist painter Sylvia Sleigh (1916-2010). Lesperance’s photography riffs on Sleigh’s iconic Turkish Bath, her gouacheon-paper paintings reference Sleigh’s 1978 A .I.R. Group Portrait, and her graphite drawings are inspired by texts from Sleigh’s archive. Side by side, the two artists from different generations will provide a fascinating portrait of two women grappling with the same set of issues. Adams and Ollman Gallery, 209 SW 9th Ave., 724-0684, adamsandollman. com. Through Oct. 10.

CONFESSIONS

Portland artist Jessica Jackson Hutchins’ assemblages of ceramics, newspapers and upholstery rose to prominence in 2010 with two simultaneous shows at New York City

galleries and a piece in the Whitney Biennial. This month she has another double-booking with Confessions at the Lumber Room and the Cooley Gallery at Reed College. The show, organized by Lumber Room owner and collector Sarah Miller Meigs and Cooley Gallery curator and director Stephanie Snyder, is a self-conscious examination of the distinctions between collecting, curating and creating when private and academic art galleries collide. The Lumber Room, 419 NW 9th Ave.; the Cooley Gallery, 3203 SE Woodstock Blvd. Through Nov. 8.

ALIEN SHE

Organized by Carnegie Mellon University and curated by Astria Suparak and Ceci Moss, Alien She examines the lasting impact of riot grrrl on artists today by focusing on seven people whose visual art is inspired by the feminist punk movement. Representing 20 years of projects across many artistic disciplines, the show includes works by Ginger Brooks Takahashi of Pittsburgh, Tammy Rae Carland of Oakland, Miranda July of Los Angeles, L.J. Roberts of Brooklyn, and Stephanie Syjuco of

San Francisco. The works will be on display at two locations— the Museum of Contemporary Craft and the 511 Gallery at Pacific Northwest College of Art. Museum of Contemporary Craft, 724 NW Davis St.; 511 Gallery, 511 NW Broadway. Through Jan. 9.

DEMOS: WAPATO CORRECTIONAL FACILITY

Wapato Jail, the never-opened Multnomah County detention center in North Portland, is mainly inhabited by coyotes that burrow beneath the fenced perimeter. This anomaly is eerily captured in Demos: Wapato Correctional Facility, a multipart art project by Bay Area group ERNEST that’s the culmination of its two-year artist residency at C3: Initiative. Demos includes video, publications, limited-edition prints and a documented roundtable led by a character acting as a coyote in hopes of stoking conversation related to general issues of incarceration and the role of art in social justice. C3: Initiative, 7326 N Chicago Ave. Sept. 18-Nov. 22.

MY NEW BLUE FRIENDS

Despite her national and international success, Julie Green, professor of art at Oregon State University, is getting her first solo show in a Portland gallery. She’s best known for her ongoing series, The Last Supper, but in October she’ll cover the walls of Upfor Gallery with more than 100 sheets of mulberry paper, each painted in sumi ink with thousands of sea shells. Green began the long drawing process in 2011 as a backdrop for a series of blue paintings, using a unique process of airbrushing egg tempera onto prepared panels. Influenced by Zen calligraphy, Japanese ceramics and the Pattern and Decoration movement, Green’s work meditates on the ocean, consumption, the color blue and airbrushed imagery. Upfor Gallery, 929 NW Flanders St. Oct. 13-Nov. 25. MEGAN HARNED.

Willamette Week SEPTEMBER 9, 2015 wweek.com

ANDREW MOIR

THEATER

A DEEP, DARK WELL IN ALL WELL, AUDIENCES WILL GO SIGHTLESS INSIDE AN ARCTIC SHIPWRECK. BY E NID SP I TZ

espitz@wweek.com

Lie back in your hammock and listen. That’s the invitation of Portland’s oddest fall theater offering, October’s Wild Card collaboration between Third Rail Repertory Theatre and Portland Experimental Theatre Ensemble. In Portland, companies have to get increasingly wild to survive the city’s crowded field of midrange troupes fighting to get the same butts in their seats. Many are offering pay-what-you-can nights. Post5 Theatre rolled out theatrical trailers on its Facebook page. Actors in dinosaur suits threw Tootsie Rolls into the audience during a musical number at Triangle Productions. This summer, PETE offered its audiences drinks in their seats during the seashanty cabaret Drowned Horse Tavern. Third Rail Rep’s solution is twofold: a Netflix-style subscription model, and a series of short-run Wild Card productions like All Well, the “sightless” piece that will seat audiences in hammocks, in pure darkness, and play with their senses. “We try really hard to do plays that not everybody will like,” says Third Rail’s Isaac Lamb. In this case, it’s a play about a doomed 1847 Arctic expedition. “I immediately thought of these guys trapped for three years in the ice, until they finally ate each other and died,” says director Jacob Coleman. But essentially tormenting audiences—subjecting them to sound experiments in a dark basement while tucked into hammocks and blasted with smells like wet moss—is a risk in more ways than one. The director and sound engineer Mark Valadez are still dreaming up the specifics, meaning that both subscribing audiences and Lamb himself are buying into the production sight unseen. “The best part is going to be playing with [theatergoers’] senses,” says Coleman. Valadez is delving deep into his repertoire of sound effects to play out of mini speakers near the audience’s ears and massive ones that could blast out the room. Coleman is toying with the idea of leading audiences through Imago’s winding space in a “traveling installation.” He wants people to feel the play through fabric textures and temperature changes. “There’s that morbid interest that we have as children in the dark and unknown,” says Lamb, retelling how he used to close himself in his aunt’s pitch-black closet until he freaked out. “We’re going back and poking that monster.” Hallucinations are likely—“the human brain wants badly to see, so after too long in the dark it will start to make light,” Lamb says. That’s a psychological game PETE’s members are playing themselves as they develop the play, rehearsing in the lightless black box at Reed College, where actors satellite in and out of tiny light spots to toy with each other’s sense of perception. “We all have this fascination with dark things,” says Coleman. Creepy sea stories and the weirdest part of Herman Melville’s novel Moby-Dick—a notoriously boring sec-

“WE ALL HAVE THIS FASCINATION WITH DARK THINGS” —Jacob Coleman

tion about whale anatomy—were the cast’s biggest inspiration. Analyzing how whales see when their eyes are on opposite sides of their wide heads inspired company members to test what happens when you amputate one sense at a time. The audience is their guinea pig. Lamb is betting Third Rail’s season on the hope that Portlanders still buy weirdness. For one low monthly payment of $29.33, they get cheap buddy tickets, entry to closed events and mainstage shows, and can even come back if something hooks them. But the hook is short-run Wild Cards that source multidisciplinary talent from acts like Portland’s musical duo the Bylines, former BodyVox dancer Éowyn Emerald, and PETE. Risk is the whole point for Lamb, who says he has no interest in inviting audiences to play it safe: “The whole point of Wild Card performances is to introduce unexpected, even unsettling things.” All Well promises to be nothing if not unsettling. “We’ll take people on a journey,” says Coleman. Destination unknown. “The sea is this great unknown, an ancient expanse. It will kill you in a second and not give a fuck.” GO: All Well is at Imago Theatre, 17 SE 8th Ave., 235-1101. Oct. 27-Nov. 1.

FALL PICKS

PASSION PLAY

Sarah Ruhl’s celebrated Passion Play shows three disparate communities staging the death and resurrection of Christ. Part I is set in 1575 in northern England, right before the play was outlawed by Queen Elizabeth; Part II hops to 1934 Bavaria as Hitler rises to power; and the climactic Part III is set in post-Vietnam South Dakota. For their seasonlong immersion within the oeuvre of Ruhl, Profile Theatre and Shaking the Tree Theatre’s founding director Samantha Van Der Merwe are reorganizing the three-part Play into two parts and staging them at different theaters, at different times, while retaining the same cast and crew. This is the first attempt at following a stray suggestion from the playwright for an idealized cross-town production. Parts I and II are at Profile, and two weeks later PICKS CONT. on page 18

Willamette Week SEPTEMBER 9, 2015 wweek.com

FALL PICKS Part III resurrects the drama at Shaking the Tree. Parts I and II are at Profile Theatre, 1515 SW Morrison St., 242-0080, profiletheatre.org. 7:30 pm Wednesday-Saturday and 2 pm Saturday-Sunday, Sept. 9-13. $15-$32. Part III is at Shaking the Tree, 823 SE Grant St., 235-0635, shaking-the-tree.com. 7:30 pm Thursday-Sunday, Sept. 25-Oct. 24. $20-$25.

CUBA LIBRE

A rhythmic drama steeped in Cuban compositions and choreography, this world premiere brings three-time Grammy-nominated band Tiempo Libre together with Artists Rep’s new resident director, Dámaso Rodriguez, and a large company of 21 actors and dancers. Set in Cuba and America, and filled with Latin musical numbers, Cuba Libre tells the story of a bandleader on the verge of success and toys with themes of politics, ambition and romance. Artists Repertory Theatre at the Winningstad Theatre, 1111 SW Broadway, 241-1278, artistsrep.org. Oct. 3- Nov. 8. $35.

EQUUS

D AV I D K I N D E R

Post5 founder Ty Boice helms this production of Peter Shaffer’s notorious horse play, Boice’s last before he moves to Seattle. A controversial mix of religion, sensuality and neuroses, Equus follows child psychologist Dr. Martin Dysart as he tries to cure a shy teen of his religious obsession with horses. As the psychological therapy delves deeper, Dysart is ultimately forced to confront his own perspective. Based on the real-life case of an English boy who blinded six horses, the 1975 Tony Award winner for Best Play is known for starring a nude, 17-year-old Daniel Radcliffe at its West End show and Anthony Hopkins as Dysart on Broadway. Post5 Theatre, 1666 SE Lambert St., 971-258-8584, post5theatre.org. 7:30 pm Thursdays-Sundays, Oct. 16-Nov. 14. $15-$20.

REMME’S RUN

Remme’s Run opened to rave reviews during last winter’s Fertile Ground festival, and local audiences have anxiously anticipated the world premiere of this ambitious multimedia presentation. Crafted from historical accounts of the Oregon Territory by writer-director (and two-time Oregon Book Award nominee) Wayne Harrel, it recounts the tale of a cattleman’s desperate ride north from Sacramento to save his fortune and start a family on Sauvie Island. Animated backdrops, photographic projections, and an immersive milieu of era-appropriate actors situated throughout the theater bring the second-grade history lesson to life. CoHo Theater, 2257 NW Raleigh St., 220-2646, cohoproductions.org. 7:30 pm, Thursdays-Saturdays and 2 pm Sundays, Oct. 16-Nov. 7. $18-$55.

THE REALISTIC JONESES

Following up the local company’s celebrated production of Will Eno’s Middletown last fall, Third Rail and director Rebecca Lingafelter bring another one of the Obie Award winner’s recent achievements to the new stage at the Imago Theatre. The Realistic Joneses, Eno’s Broadway debut (starring Toni Collette and Marisa Tomei), doesn’t start with much of a premise. It’s an elongated meet-and-greet between new neighbors, but Eno’s deft writing and addled characters highlight the absurd, making the mundane interaction between strangers poignant and powerful. Third Rail Repertory Theatre, 17 SE 8th Ave., 235-1101, thirdrailrep.org. 7:30 pm Wednesdays-Saturdays and 2 pm Sundays, Oct. 23-Nov. 14.

Willamette Week SEPTEMBER 9, 2015 wweek.com

esents Theatre pr the Tree h profile theatre g n ki a Sh on wit llaborati in co

passion play by sarah ruhl

th by saman directed erwe van der m

Sept 25 - Oct 24 www.shaking-the-tree.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

EMMA BROWNE

COMEDY

DEN OF LAUGHS

PORTLAND’S MOST INVITING COMEDY SCENE IS UNDERGROUND. L.A. scene—one of his all-time favorite guests was Baron Vaughn, who’s been on The Tonight Show Every Friday and Saturday, even on the Fourth Starring Jimmy Fallon and Conan. of July and Halloween, Danny Felts books comEven with more high-caliber acts, the comedy ics at Al’s Den. night at Al’s Den is dominated by scenesters. Below the hanging pink lights in the expansive Instead, the only familiar face is Felts, a 27-yearold a native of suburban Seattle. With long, basement of the Crystal Hotel, Felts manages an hourlong show of local and traveling acts for a free straight hair that hangs down his back and a smile comedy night with no drink minimum. that takes up half his face, Felts warms up the crowd with bits based on local issues like This is unusual in Portland. “Having these ongoing comedy the impending earthquake. “The difference between my crowd and spaces that aren’t major comedy clubs is very common in other Helium’s crowd is that Helium’s crowd major cities,” says local comic Amy knows they came for comedy,” he says. Miller. “You go to New York, and The audience at Al’s Den tends to some dude fliering on the corner be at least 50 percent accidental and almost guaranteed to include at least pulls you into a basement show or some other unexpected space.” one person in a bathrobe, heading In Portland, the comedy scene through the bar toward the Crystal “THE is largely divided between the exHotel’s soaking pool. (For people who DIFFERENCE remember the Crystal Hotel when it SNL acts at Helium and unpaid BETWEEN open-micers at Brody Theater was Club Portland, a gay bathhouse, these soakers, even if they are mainly and Funhouse Lounge. There’s a MY CROWD gaping hole in the middle. Which AND HELIUM’S tony out-of-towners, are an ironic is where the weekend shows at detail.) CROWD Al’s Den, a little-known and newThe show is less about the comediIS THAT ans and more about the experience of ish McMenamins pub, come in. HELIUM’S Al’s is in many ways a classic sitting in the basement of the hotel, CROWD comedy club: a mix of highsipping a pear brandy and eating KNOWS THEY quality local and traveling comics McMenamins’ fries under the faux CAME FOR in a room that’s got plenty of bamboo houses and globes in different COMEDY.” atmosphere and a few random shades of pink hanging from the ceil—Danny Felts hotel guests in bathrobes. ing. It’s about people watching the rest Depending on how many of the audience, imagining yourself in people are on the bill for the Friday and Saturday the romance of some old-time night on the town night shows, Felts (organizer, promoter, emcee and without having to spend all your money on tickets sound guy) pays his talent about $35 a night. Not and drinks or losing your sanity through an endenough for anyone to quit their day job, but enough less, amateurish open-mic night. “Sure,” Miller to signal to performers that this isn’t a free-for-all says, “sometimes you have to wait for a Grateful open mic. It also means he can attract better talent Dead cover-band show to clear out before the when it is passing through town. Felts has had two comedy starts, but sometimes the hippies stick Australian comics since the show began in April around and laugh, and that’s pretty cool.” 2014, Nick Cody and David Quirk, both of whom GO: Comedy nights at Al’s Den, 303 SW have performed at the Melbourne International 12th Ave., 972-2670. 10:30 pm Fridays and Comedy Festival. He also gets people from the Saturdays. Free. 21+. BY L I ZZY AC K E R

lacker@wweek.com

DANNY FELTS

FALL PICKS

CAMERON ESPOSITO AND RHEA BUTCHER’S SHE SAID/SHE SAID TOUR

Once called the future of comedy by Jay Leno, Cameron Esposito was named Comedian of the Year by Consequence of Sound, crowned No. 1 Funny Woman to Watch by Cosmopolitan and hosted a Rolling Stone “Best Comedy Podcasts Right Now” podcast all in the same year. She’s bringing personal, irreverent and mullet-inspired comedy—along with her fiancee and hilarious podcast co-host Rhea Butcher—back to the Portland stage where she recorded her hit comedy album Same Sex Symbol. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 7:30 and 10 pm Friday, Oct. 16. $20. 21+.

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PDX COMEDY MIXTAPE ALBUM RELEASE

Several notable local comedians are putting out a mixtape album. Recorded at Jackpot Recording Studio, the album will be released at Helium Comedy Club. Hosted by Andie Main, the evening’s lineup features the unique comedy of Willamette Week top comics Curtis Cook, Christian Ricketts and Nariko Ott, and the rapid-fire and idiosyncratic delivery of Barbara Holm. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, Sept. 23. $5-$13. 21+.

IMPRACTICAL JOKERS

From their humble beginnings as the sketch and improv group the Tenderloins to their current incarnation as the stars of a hit show on truTV, the Impractical Jokers have made a name for themselves by hosting gags and stunts. The four

friends from Staten Island, N.Y., are putting on an evening of never-before-seen hidden-camera challenges, unbelievable on-set stories, a live Q&A, and outrageous messages from their fans. Parental discretion is advised. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Friday, Sept. 25. $52-$212. 16+.

MICHAEL IAN BLACK

If there is something off-putting, weird, slightly dark, and definitely hilarious that you loved in the last 20 years, chances are good that Michael Ian Black (The State, Burning Love, Wet Hot American Summer: First Day of Camp) had a hand in it. Cynical, opinionated and tending toward the absurd, Black’s comedy has covered everything from children’s Halloween costumes to touring the nation with Meghan McCain. His two nights at Helium Comedy Club will feature the

strange observations that have made him an in-demand comic. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 7:30 and 10 pm Friday-Saturday, Oct. 16-17. $25-$33. 21+.

CRAIG FERGUSON

During his run behind its desk, Craig Ferguson made The Late Late Show a destination for the best up-and-coming standup comics. Introduced to Americans as Mr. Wick, the boss on Drew Carey’s eponymous sitcom, Ferguson has a diverse comedy résumé thanks to his smart and heavily accented humor. He hosts Celebrity Name Game, made the Grammy-nominated comedy album I’m Here to Help and wrote the best-selling memoir America on Purpose, which tells stories about earning U.S. citizenship. Aladdin Theater, 3017 SE Milwaukee Ave., 234-9694. 8 pm Friday, Dec. 18. $60 day of show. Under 21 permitted with legal guardian.

Presents

Robert Gamblin Color, My World, new paintings & Sheila Evans, Atmosphere Opening reception Saturday, Sept 12th, 5–8PM 2236 NE Broadway St • 503-249-5659 brianmarkifineart.com Exhibition runs to September 30th

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The 22nd Annual Van Buren Concerto Competition

Young Artists Debut! Concert

Antoinette Antique & Estate Jewelry

Conducted by Niel DePonte

Friday, April 1st, 2016, 7:30pm Lincoln Performance Hall Who will be the next winners? Application deadline: Monday, November 30, 2015

MetroArtsInc.org 503.245.4885

2328 NW Westover Rd. AntoinetteJewelry.com

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CHRISTOPHER PEDDECORD

DANCE

DANCING IN THE

DARK

WITH THREE WEEKS AND NO RULES, TWO EUROPEAN CHOREOGRAPHERS WILL MAKE PORTLAND PREMIERES. BY KA IT I E TO D D

NWDP DANCERS: Viktor Usov, Franco Nieto and Elijah Labay (with resident choreographer Ihsan Rustem).

ktodd@wweek.com

Northwest Dance Project’s season opener is a mystery— even to the company. Since 2009, the company has kicked off each season by bringing in renowned choreographers to create a new work on the fly. After three weeks with free rein and access to some of Portland’s best dancers, they have a world premiere. But until the first rehearsal, not even the dancers know what they’re getting into. “We love telling choreographers that they have a platform to do anything that they want,” says artistic director Sarah Slipper. “It has a flavor that is different from all of our other shows.” The “flavor” of New Now Wow! is typically edgier and more unpredictable than the rest of the eight-dancer company’s season, which continues with the holiday celebration In Good Company and a celebratory Summer Splendors. This year, New Now Wow! promises premieres from Czech choreographer Jiri Pokorny, who started with the State Opera in Prague at age 8, and Scapino Ballet Rotterdam’s Felix Landerer. Pokorny’s past shows have dancers in business casual collapsing like their leg bones suddenly snapped or jerking mechanically as if controlled by a giant puppeteer. Landerer—who has choreographed ballets in countries ranging from Brazil to Sweden—is known for works such as Blind Spot, where the stage is in almost complete darkness and

“IT HAS A FLAVOR THAT IS DIFFERENT FROM ALL OF OUR OTHER SHOWS.” —Sarah Slipper

strobe lights flash on dancers as they contort. Anticipating the new choreography racks dancers’ nerves, says Ching Ching Wong, a company member who won a Princess Grace Award in August. When Pokorny visited NWDP last year, his dance At Some Hour You Return pushed Wong to her limits. “The solo that he gave me was one of the most complicated, intricate, musical phrases that I’ve ever had to learn,” Wong said. “Usually you get lots of movement thrown at you, and I can usually absorb it into my body on a certain level. But with his work, I went home that night and all I did was repeat his movement over and over.” Most of Pokorny’s choreography is built on fast, isolated movements combined with stark lighting and prominent musicality. The effect is both unsettling in its intensity and magnetic because of its power. “He has a very interesting way of moving— such speed and such quirkiness between spaces,” Slipper says. “He’s an incredible mover in his own right.” Meanwhile, Landerer likes burrowing into the dismal and unknown, explaining his popular The End of Things for Hannover Ballet’s

Commedia Futura as a moving question: “How can we live with death right before our eyes?” Feeding Monsters, Drop of Doubt, Traumatorium—the list of his contemporary ballets reads like a list of childhood nightmares, and he populates them with characters like a sorcerer who “enters the humans and the animals,” as Landerer’s description explains, “and feeds himself on human emotions.” New Now Wow! will stage one work that isn’t completely new, for the first time reprising the theatrical Mother Tongue by the company’s first resident choreographer, Ihsan Rustem. The work was inspired by Rustem’s sudden feeling of belonging when he visited Istanbul after growing up in London, far from his Turkish heritage. The piece alternates between well-lit soloists slithering on the ground and couples silhouetted in statuesque poses. “I think that theme of home always comes with some anxiety, but also excitement,” says Wong. “We’re all just trying to find how we fit, where we fit.” GO: New Now Wow! is at Portland State University’s Lincoln Hall, 1620 SW Park Ave. Oct. 22-24.

FALL

AMORE ITALIANO

PICKS

Oregon Ballet Theatre kicks off its 26th season with a piece by Canadian choreographer James Kudelka, inspired by the music of Italian composer Carlo Gesualdo, a 16th-century nobleman and murderer who is known for his passionate works. After Amore comes August Bournonville’s Napoli (1842), a ballet full of lively leaps and swiftly intricate footwork which tells the story of a young Italian girl who falls in love with a fisherman. Keller Auditorium. 7:30 pm Thursday-Saturday, 2 pm Sunday, Oct. 10-17. $29-$146.

TWYLA THARP 50TH ANNIVERSARY TOUR

It’s been 50 years since the debut of Twyla Tharp’s first choreographed dance, and she celebrates with a performance centered around trumpet music. The program fea-

tures cheerful moments set to John Zorn, Bach, Henry Butler and trumpeter Steven Bernstein. Tharp has won a Tony Award and multiple Emmys for her work on films and Broadway musicals, while also working with the Joffrey Ballet, American Ballet Theatre and the Royal Ballet. Her company of 12 dancers is known for mixing jazz and ballet with movement techniques like boxing. Arlene Schnitzer Concert Hall, 1037 SW Broadway. 7:30 pm Wednesday, Oct. 14. $26-$70.

L-E-V

Since forming in 2013, the Israeli contemporary dance company L-E-V has built itself on a repertoire of raw, intensely charged work. It combines demanding, rigorous movement from the dancers with heavy use of props, theatrical lighting and technology. The brainchild of former Batsheva Dance

Company dancer Sharon Eyal and party producer Gai Behar, the eight-member company makes its Portland debut this fall, bringing two pieces to the stage: Sara and Killer Pig, both built on bold moves, contorted angles and whole body jerks. Portland State University’s Lincoln Hall, 1620 SW Park Ave. 8 pm ThursdaySaturday, Oct. 15-17. $25-$30.

MOMIX

Connecticut dance troupe Momix is known for its creative brand of optical illusions and breathtaking acrobatic stunts. Founded by Moses Pendleton in 1981, the company has explored themes ranging from the history of baseball to the four seasons, using wires, fabric, light-show techniques and video to create effects like anti-gravity and water on stage. White Bird brings the company to Portland to open its 18th season. New-

mark Theatre, 1111 SW Broadway. 7:30 pm Thursday-Friday, 2 and 7:30 pm Saturday, Oct. 8-10. $26-$70.

JUDY DUNAWAY + LINDA AUSTIN

Avant-garde sound designer and composer Judy Dunaway has won awards for her balloon music, in which she rubs, taps and slowly lets the air out of balloons to create unusual compositions. She teams with Linda Austin, founder of Performance Works Northwest, who she’s known since their time in New York’s late-80’s experimental music scene. This show reunites them, with Austin translating her 2012 ensemble piece “A Head of Time” into a solo while Dunaway plays the soundtrack on her balloons. Performance Works Northwest, 4625 SE 67th Ave. 7:30 pm Thursday, Nov. 12. $12.

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P H O T O S C O U R T E S Y H O L LY W O O D T H E A T E R

MOVIES

SHADOWY STUMPTOWN TWO FILM NOIR SERIES PUT A DARK STAMP ON PORTLAND MOVIEGOING. BY AP KRYZ A

akryza@wweek.com

Femmes fatales. Emotionally calloused tough guys. Dark, rain-drenched alleyways where shady politicians and criminals meet as equals. Seedy bars where stiff drinks alter honest men’s judgment, initiating ill-advised spirals into amoral behavior. And oh, those hats. The elements of classic noir seem perfectly at home in a city like Portland. But when most of us think of the enduringly hard-boiled genre, our minds immediately go to Los Angeles and San Francisco. Yet you’d be hard-pressed to find a film style that appears more often in Portland theaters. “Portland is a Noirville,” says Brian Young, co-founder of NW Noir, a film series designed to screen classic and rare noir films in their natural environment: a dive bar. “We’re a total movie town. Film noir’s also very theatrical in its stylized acting, and Portland’s a theater town. And Portland has a history of corruption. In the ’40s and ’50s, Portland was a very corrupt city, and a lot of these movies deal with corruption in law enforcement. Plus, Portland has a real love and affinity for dive-bar culture, where a lot of these movies take place.” This month, Portlanders get two hearty doses of shifty gumshoes, shiftier dames and craggy crooks via two very different noir events sharing their desire to bring films steeped in darkness into the light. The higher-profile of the two, Noir City, brings the genre’s international notoriety to the Hollywood Theatre on Sept. 18-20. Hosted by author, historian and Film Noir Foundation mastermind Eddie Muller, the touring event makes its third appearance in Portland, featuring newly restored classics like Gun Crazy, Woman on the Run and The Guilty on 35 mm. On the other side of the spectrum is NW Noir, which Young founded with fellow cinephiles Ben Plont and Mark Snow to showcase lesser-known genre films of the era, choosing to take over Cully’s Spare Room—a windowless dive that looks like a place where a corrupt police captain might solicit a hit man—for double and triple features. On Sept. 13, a week before Noir City, NW Noir returns with a triple feature of forgotten Raymond Burr classics, all of which feature the future TV Perry Mason as the heavy, including the child-trafficking shocker Abandoned. The events couldn’t sound more different, but they’re also indicative of a larger trend among filmgoers both casual and obsessive. “The era that these films were made is the height of American style. Everything in the era is worth remembering—the music is great, the clothes are great, the architecture is great, the cars are great, the patter and dialogue,” says Muller, a San Francisco writer steeped in the genre. “One thing that amazes me is that when these films were originally made, they were seen as ominous and threatening. They were saying things about America that were tough. Now, these are comfort food in a way. It’s funny to see people return to these films and find them reassuring. It was back when we had some degree of innocence about us.” To this day, filmmakers embrace noir elements. The shadowy settings and rapid-fire dialogue have permeated American culture like darkness has evaded the genre’s characters’ psyches. The effect is that even films as diverse as Looper or Blade 24

Willamette Week SEPTEMBER 9, 2015 wweek.com

GUN CRAZY

ABANDONED

Runner (which screens at the Clinton Street Theater on Nov. 27-29, and never seems to leave Portland theaters for long) avoid becoming dated when classic noir elements are sprinkled in. Oddball films like The Big Lebowski and Inherent Vice transcend stoner audiences and become something else altogether when Raymond Chandler’s influence is worn on the sleeve of their trench coats. Adding an element of the old makes films seem perpetually new. “An artist like a Tarantino or a Rian Johnson or a Chris Nolan is clearly influenced by these films,” says Muller. “Whenever I meet a contemporary, they all have a sense of noir. I would say without question that it’s the most influential genre or style. It has a greater influence over filmmakers than any other type of film, from William Friedkin to the Coen Brothers to David Lynch. It’s what they cut their teeth on. I don’t know that there’s any question about that.” And while Portland itself seldom shows up in noir proper—the closest the city has come to being featured in a pure noir would be the forgotten 1957 potboiler Portland Exposé— the city can’t seem to get enough, with noir dominating repertory theaters and art houses virtually every week. Maybe it’s Portland’s retro style. Maybe it’s the rain, or that we just happen to live in a city that knows great movies. Or maybe, just maybe, it’s because Portland’s a town that really appreciates a little stylized luridness. “There’s sort of a naughtiness to these movies,” says Young. “Film noir is naughty. There’s always these femme fatale women and normally honest people making criminal choices. Portland really embraces naughtiness. That naughty culture is mirrored in these movies.” NW Noir is screening its Raymond Burr triple threat at the Spare Room, 4830 NE 42nd Ave., on Sunday, Sept. 13. $3. Noir City is at the Hollywood Theatre, 4122 NE Sandy Blvd., 4931128, on Friday-Sunday, Sept. 18-20. $8 per film.

FALL PICKS

OREGON INDEPENDENT FILM FESTIVAL

This showcase of lower-profile offerings from the U.S. and beyond includes shorts from up-and-comers and feature films like Portland director Dmae Roberts’ Mei Mei, a Daughter’s Song, an autobiographical movie using archival footage, live action and animation to tell the tale of Roberts and her mother’s return to Taiwan to confront the past. SNL alum Laura Kightlinger’s Laura Gets Adopted follows a swinger couple through the adoption process, while shorts explore everything from laughing at cancer to Bigfoot hunts and agoraphobia. Clinton Street Theater, 2522 SE Clinton St., 238-5588, oregonindependentfilmfest.com. Sept. 25-27.

PORTLAND GERMAN FILM FESTIVAL

While German cinema has the occasional breakout (The Lives of Others, Run Lola Run), Portland audiences typically have to wait until the Portland International Film Festival to get a taste of the country’s contributions to world cinema. The Portland German Film Festival offers up a wide swath of the talent coming out of that country, including the U.S. premiere of The Misplaced World and Lola on the Pea, a family adventure that disproves the stereotype of German film as all nihilistic expressionism. Other highlights include the U.S. premiere of the Alzheimer’s drama Head Full of Honey starring director Til Schweiger, the metal documentary Wacken: The Movie, and a revival of 1946’s The Murderers Are Among Us. Clinton Street Theater, 2522 SE Clinton St., 238-5588; Cinema 21, 616 NW 21st Ave., 223-4515; portlandgermanfilmfestival.com. Sept. 25-29.

PICKS

Satu Imp Auth and Live rday orte C e Mus 1 n Sun r 1 d t o a i c P a P m– day t o ic i a l ish 1 n Cu 12p olish m – 0pm B i e sine er Cuis 6pm i

FALL

RE-ANIMATOR

H.P. LOVECRAFT FILM FESTIVAL

For 20 years, this festival has brought the gothic horror author’s love of elder gods, tentacles, creeping dread and violated corpses to Portland. Offering a mix of horror, science fiction and the downright bizarre, the event is a whirlwind of parties, gaming, and classic and indie films. This year, the festival celebrates its longevity by hosting iconic weirdo actor Jeffrey Combs, star of Stuart Gordon’s 1985 gorehound classic Re-Animator, the most famous film based on Lovecraft’s tales. He’ll join Laundry Files author Charles Stross in ushering in another decade of Cthulhu worship in Portland. Hollywood Theatre, 4122 NE Sandy Blvd., 493-1128, cthulhucon. com. Oct. 2-4.

CRIMSON PEAK

When he’s not preoccupied with making robots punch monsters, Guillermo del Toro is one of the most visually poetic directors out there, and his return to gothic horror looks to be another knockout. With Tom Hiddleston, Jessica Chastain and Mia Wasikowska in the leads, the otherworldly chiller looks like a cross between Edgar Allan Poe, Rebecca-era Hitchcock and H.P. Lovecraft, all with del Toro’s penchant for creating the most alarming and original creatures in modern cinema. Scheduled release Oct. 16.

SPECTRE

Daniel Craig has already defied skeptics by starring in two of the best Bond movies of all time, but expectations for Spectre are sky high. How could returning director Sam Mendes top Skyfall? Well, start with Christoph Waltz, who plays slimy and charming better than anyone, including Javier Bardem, who seethed menace in Skyfall. Rumors are circulating that Waltz might even play Bond nemesis Blofeld. Scheduled release Nov. 6.

NORTHWEST FILMMAKERS’ FESTIVAL

For 42 years, the Northwest Filmmakers’ Festival has served up shorts, documentaries, comedies, horror films and everything in between from the region’s emerging voices. Past entries have included works by Portland auteur (and maker of The Auteur) James Westby, local dread maestro E.P. Davee, “Twisted Twins” Jen and Sylvia Soska, and Peter D. Richardson, whose How to Die in Oregon became the face of the right-to-die movement. NW Film Center’s Whitsell Auditorium, 1219 SW Park Ave., 221-1156, nwfilm.org. Nov. 12-17.

STAR WARS EPISODE VII: THE FORCE AWAKENS

Even the hardest-core skeptic was left with goose bumps when the trailer hit—practical effects! Chewbacca and Han! The Millennium Falcon! That beach-ball droid thing!—and J.J. Abrams is the man who made Star Trek appealing even to the uninitiated. The Force is strong in that one. Even if The Force Awakens doesn’t meet the hype, at least it’ll be better than Attack of the Goddamned Clones. Scheduled release Dec. 18.

THE HATEFUL EIGHT

Quentin Tarantino’s Western finally hits the screen, and in glorious 70 mm. If you haven’t been paying attention, the Hollywood Theatre is among the few cinemas in the nation with 70 mm capability. Does that mean we’ll get an earlier opportunity to see Samuel L. Jackson, Jennifer Jason Leigh, Kurt Russell and other badasses crack wise and paint the snow red while holed up in post-Civil War Wyoming? It happened with Interstellar, and Tarantino is hardcore about screening his films in their intended form. Scheduled release Dec. 25.

Polish Festival 3900 N Interstate Ave. Portland, Oregon www.portlandpolonia.org/festival Questions: 503.281.7532

September 19–20, 20-21, 2014 September 2015

The Potlander Ready for October 1? Joining the Willamette Week family of successful glossy magazines such as Beer Guide, Outdoor Guide, Finder and Restaurant Guide, The Potlander will be every Oregonian’s handbook for recreational cannabis! WE’LL TELL OUR READERS: • Where to buy with a comprehensive dispensary directory and maps (including Vancouver) • What to smoke with strain reviews and photos • Plus gear reviews, head shops, and more!

AVAILABLE SEPTEMBER 30! Pick up your copy at hundreds of select distribution outlets (pick up WW every week to ﬁnd out where)! On-sale year-round at Powell’s

Space Reservation & Materials Deadline: Thursday, September 10 at 4pm Call: 503.243.2122 Email: advertising@wweek.com Willamette Week SEPTEMBER 9, 2015 wweek.com

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STREET

WOODSTOCK OUR FAVORITE LOOKS OF THE WEEK. PHOTOS BY KATIE DEN N IS wweek.com/street

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ZAKIR HUSSAIN’S JAZZ A Musical Bridge East to West

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featuring Zakir Hussain (tabla), Shankar Mahadevan (Vocal), Louiz Banks (Piano), Amit Chatterjee (Guitar), and Dave Holland (Bass)

WEDNESDAY, OCTOBER 7, 2015 AT 7:30 PM

Arlene Schnitzer Concert Hall, 1037 SW Broadway, Portland, OR 97205 Tickets ($25, $40, $60 and $100, plus service charge) at PCPA box office and www.portland5.com/arlene-schnitzer-concert-hall/events/zakir-hussains-jazz Discounted admission to Kalakendra members (more information at www.kalakendra.org)

Kalakendra Limited E-mail: info@kalakendra.org | Phone: 503-308-1050 Willamette Week SEPTEMBER 9, 2015 wweek.com

“Organic food isn’t limited to tofu. It’s not just vegetables and fruits…”

STARTERS

BITE-SIZED PORTLAND CULTURE NEWS.

DRY DOCK: If we get another burst of summer heat, you’d better get down to the The Dock while you can. The swimmer-friendly ﬂoating dock on the southeastern side of the Hawthorne Bridge became famous last year as the very best place in Portland to chillax and take a dip on a hot day, much to the consternation of dragon boaters and rowers. But the city is now considering removing The Dock next summer while PGE cleans up “signiﬁcant” contamination under it, according to city planner Joe Zehnder, and it may not return to the same spot. The Dock was always planned as temporary, he says; it’s just a matter of determining the best spot for a permanent dock. “There are a limited number of docks that we’ll ever be permitted for,” Zehnder says, “and we have these competing uses.” The nearby Portland Boathouse—which includes Rose City Rowing Club and Alder Creek Kayak & Canoe—is set to lose its lease in 2019, meaning if The Dock survives, beerswilling sunbathers and swimmers will soon have it all to themselves.

I N S TA G R A M . C O M / SOCALITYBARBIE

#BLESSED: Once, long before you were born, it was impossible to be famous unless you were a movie star or an important war general. Things are diﬀerent now. Now you can come up with a clever idea on Instagram, and overnight you can be a celebrity. Today’s case study in instant fame: The Socality Barbie Instagram. The account, which is run by an anonymous Portlander, features pictures of a Barbie in big glasses and an occasional beanie, living the #blessed life and gramming it hard. Is the account, as TechCrunch says, showing us how “plastic” we really are? Is it “satirizing the great millennial adventurer trend in photography,” as Wired suggests? Also, what the hell is “socality”? We were able to reach the human behind the account. She told us that Socality Barbie was inspired because she “couldn’t help noticing the strong presence of people on Instagram who were taking the same ‘authentic’ images.” Her stated goal: “To take over Instagram and show the world that anyone, even Barbie, can live authentic as long as you use the right ﬁlter.” DANCING HERO: On Aug. 23, three handsome, all-American male friends were traveling from Paris to Amsterdam when they stopped an evil terrorist from shooting up their train. One of those heroes, Alek Skarlatos, has been announced as a cast member on Dancing With the Stars season 21, which starts Sept. 14. Skarlatos is from Roseburg, Ore., and is in the Oregon Army National Guard when not being a dancing hero. OLD DOUGHNUTS: A massive collection of previously unheard live recordings from the golden age of Old Portland is making its way onto the local airwaves. Last year, Voodoo Doughnut co-owner Tres Shannon obtained a trove of highquality bootlegs from the early ’90s, many originating from Shannon’s former rock club, the X-Ray Cafe, with the intent of releasing them through Voodoo’s in-house record label. Now, those recordings have been licensed to XRAY.FM. According to DJ Jeremy Petersen, hosts at the radio station will be incorporating the recordings into their broadcasts, with the eventual goal of making the entire archive available for streaming online. While the collection—an estimated 400 shows—is still being mastered, Petersen says it includes such major names as Green Day, Spoon and Everclear, local cult heroes Hazel and Crackerbash, and obscure acts like Gashdig and Shannon’s own Kurtz Project.

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HEADOUT I L L U S T R AT I O N B Y W W S TA F F A N D R I C K V O D I C K A

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

THURSDAY SEPT. 10 TBA OPENING NIGHT WITH STEPHEN MALKMUS & THE JICKS [KICKOFF] This year’s Time-Based Art Festival has plenty of noteworthy musical events—from soundscientists Tyondai Braxton and Benoit Pioulard to DJ Klyph’s local hip-hop showcase—but how often do you get to see Portland’s favorite alterna-dad for free? The Works at the Redd, 831 SE Salmon St., 242-1419. 10:30 pm. Free. All ages.

YOU ARE A SEAHAWKS FAN! YOU HAWKS! FAN! ARE AGO SEAHAWKS GO HAWKS! BUT I DON’T WANT TO BE A SEAHAWKS AN! I’MTOFROM BUT I DON’TFNOT WANT BE A PORTLAND, SEATTLE. SEAHAWKS F AN! I’M FROM EVEN THOUGH PORTLAND HAS PORTLAND, NOTAN SEATTLE. NEVER HAD NFL EVEN THOUGH PORTLAND HAS FRANCHISE, I ELECT TO BE NEVER HAD AN NFL STUBBORN AND DENY MYSELF FRANCHISE, I ELECT TO BE THE JOYS AND OF BEAST MODE. STUBBORN DENY MYSELF THE JOYS OF BEAST MODE.

WELL, THE ANDTHE WELL, PLAY ANDFOOTY IN THE CASCADE PLAY FOOTYBOWL. IN THE CASCADE BOWL. CHEERIO, CHEERIO,

OH? WELL, ARE YOUR MOTHER OR FWELL, ATHERARE LIFELONG FANS OH? YOUR MOTHER ANOTHER TEAM? F YOU OROF FATHER LIFELONG ANS HAVE PHOTOSTEAM? OF THEM OF ANOTHER YOU AS CHILDREN WEARING HAVE PHOTOS OF THEM PACKERS JERSEYS? AS CHILDREN WEARING PACKERS JERSEYS?

WHATEVER TEAM IS NEAREST THETEAM PLACEISYOU WHATEVER GREW UP IS YOUR YOU NEAREST THE PLACE LEGITIMATE F AVORITE GREW UP IS YOUR NFL TEAM UNLESS YOU HAVE LEGITIMATE FAVORITE NFL DEEP F AMILY ROOTS IN TEAM UNLESS YOU HAVE ANOTHER PLACEROOTS AND WERE DEEP FAMILY IN RAISED AS A F AN OF THAT ANOTHER PLACE AND WERE TEAM RAISED ASFROM A FANBIRTH. OF THAT TEAM FROM BIRTH.

DO YOU REALIZE THAT PORTLAND AND SEATTLE NOTTHAT CURRENTLY ENGAGED DO YOU ARE REALIZE PORTLAND AND IN ANY SORT OF NOT ABLE SPORTING RIVALRY? SEATTLE ARE NOT CURRENTLY ENGAGED IN ANY SORT OF NOTABLE SPORTING RIVALRY? I CHOOSE TO MAINTAIN AN IRRATIONAL DISLIKE OF OUR NFL FRANCHISE. I CHOOSE TOREGION’S MAINTAINONLY AN IRRATIONAL DISLIKE OF OUR REGION’S ONLY NFL FRANCHISE.

FRIDAY SEPT. 11 HOLCOMBE WALLER’S REQUIEM MASS: LBGT/WORKING TITLE [TIME-BASED ART] The first big show of PICA’s 20th annual TimeBased Art Festival, Holcombe Waller’s choral mass is dedicated to anyone persecuted for sexual orientation. TBA continues through Sept. 20 at venues around Portland, including Ecotrust’s new food producers mecca, the Redd. Schedule at PICA.org. Trinity Episcopal Cathedral, 147 NW 19th Ave., 242-1419. 6:30 pm. $10-$30.

! !

SATURDAY SEPT. 12

CONGRATULATONS, YOU ARE A SEAHAWKS FAN! CONGRATULATONS, YOU PERSONS! ARE12TH A SEAHAWKS FAN! 12TH PERSONS!

WHICH WEST COAST TEAM DO YOU PROPOSE ROOTING INSTEAD? WHICH WEST COASTFOR TEAM DO YOU PROPOSE ROOTING FOR INSTEAD?

PASSION PLAY PARTS I & II [THEATER] As part of a cross-city, multimonth theatrical undertaking, Shaking the Tree and Profile theaters are staging a wide range of passion plays. Players will do the resurrection of Christ in 1575 England and then in a very different context: Hitler’s Bavaria right before World War II. Turns out, Jesus’ story is kind of timeless. Next month, another venue will resurrect the story in modernday Idaho. Profile Theatre, 1507 SW Morrison St., 242-0080. 7:30 pm. $32.

BREWS FOR NEW AVENUES [BEER] This fundraiser for homeless youth, now in its fourth year, is the world’s largest rare-beer auction, with sales of dozens of rare bottles and vintage collections, including a Cantillon Pineau d’Aunis—expected to sell for as much as $2,000. General admission still nets access to plenty of special beers, along with tickets to the show. Leftbank Annex, 101 N Weidler St. 5 pm. $10 general admission. For more information, visit brewsfornewavenues.org.

SUNDAY SEPT. 13

WOULD YOU BE OK IF A BUNCH OTHER WOULDOF YOU BE OKNINERS IF A FANS MOVED HERENINERS FROM BUNCH OF OTHER SANMOVED FRANCISCO FANS HEREAND FROM TURNED ALL OF AND YOUR SAN FRANCISCO FAVORITE INTO TURNED DIVE ALL BARS OF YOUR CO-WORKING SPACES WHERE FAVORITE DIVE BARS INTO THEY DEVELOPED CO-WORKING SPACESAPPS WHERE THAT, LIKE, IDENTIFIED THEY DEVELOPED APPS BRUNCH PLACES WITH THAT, LIKE, IDENTIFIED LONG LINES? BRUNCH PLACES WITH LONG LINES?

OK, GO IN PEACE. OK, GO IN PEACE.

ARE YOU FROM ARE YOU GRESHAM? FROM GRESHAM?

OK, GO IN PEACE. OK, GO IN PEACE.

ARE YOU PRETTY CHILL ARE YOU AND CANCHILL SURF PRETTY OR AND CAN SURF SKATEBOARD OR LEGITIMATELY SKATEBOARD WELL? LEGITIMATELY WELL?

OK, GO IN PEACE. OK, GO IN PEACE.

SALMAN RUSHDIE [APOSTASY] In 40 years of writing, Rushdie has written 11 books, avoided being assassinated, been knighted and hung out with U2. This year, he puts out Two Years Eight Months and Twenty-Eight Nights, a riff on Scheherezade. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 2 pm. Free.

ARE YOU YOU VOTING ARE FOR ING VOT MP? TRU FOR TRUMP?

OK, GO IN OK, PEACE GO. IN PEACE .

TUESDAY SEPT. 15

OK, GO IN OK, PEACE GO. IN PEACE .

MAC MCCAUGHAN [AMERICAN HI-FI] This year marks the inaugural solo outing of the Superchunk frontman and Merge Records co-founder under his given name, and while it’s a softer affair, it displays a polished, mature version. Doug Fir Lounge, 830 E Burnside St., 231-9663. $14. 8 pm. 21+.

Willamette Week SEPTEMBER 9, 2015 wweek.com

Beyond the Print

#WWEEK NEVER MISS A BEAT.

@WillametteWeek

@wweek

@WillametteWeek 30

Willamette Week SEPTEMBER 9, 2015 wweek.com

FOOD & DRINK By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.

Sunday

K AY L A S P R I N T

Highly recommended.

BRUNCH

FOOD CARTS

= WW Pick.

11AM – 3PM

WEDNESDAY, SEPT. 9 Oktoberfest Release Party

Lompoc releases its amber Octoberfest lager to great fanfare, including a special appearance from the Pamplemousse himself. PARKER HALL. Lompoc Sidebar, 3901B N Williams Ave., 288-3996. 4 pm. Free.

Lunch walk up window 11:30am–2:30pm

La Calaca Comelona

SATURDAY, SEPT. 12 Beaverton Night Market

Beaverton is hosting its first night market with food and crafts from Latin America, the Middle East, East Africa, Korea, Japan and Eastern Europe. The Round, 12600 SW Crescent St., Beaverton, 526-2503. 5 pm. Free.

Tannins & Terpenes

Tannins & Terpenes mixes wine and weed, in a connoisseur sort of way. Sign up for Leaf Nation membership (a mere $10) so you’re part of a private club. Then, you’ll get to attend a private event open only to Leaf Nation members, pairing fine shiskaberry with shiraz, Grape Ape with cab, or Elvis BHO with PBR. AudioCinema, 226 SE Madison St., 708-287-8045. 3 pm. Free.

SUNDAY, SEPT. 13 Middle East Festival

Expect plenty of falafel, Arabic meat pies, kebabs, Orthodox liturgical music, folk dancing and, like, a bouncy castle. Because bouncy castles. St. George Antiochian Orthodox Church, 2101 NE 162nd Ave., 307-8494. Noon. Free.

1. Burrasca

2032 SE Clinton St., 236-7791, burrascapdx.com. Burrasca is a Florentine restaurant plopped down on Southeast Clinton Street, with excellent tagliatelle, pungent inzimino and a sformato di piselli appetizer that will change how you think about peas. $$.

2. Chicken and Guns

1207 SE Hawthorne Blvd., 234-7336, chickenandguns.com. The best damn roadside chicken in city limits, roasted over oak and mesquite, rubbed with spice, and doused in Peruvian-style aji sauce. $.

3. Coquine

6839 SE Belmont St., 384-2483, coquinepdx.com. Coquine is a lovely French-ish bistro on Tabor’s edge that feels like a vacation taken within the city—with terrific cocktails. $$$.

4. The Hot Box BBQ

3121 SW Moody Ave., thehotboxbbq.com. The Volcano pulled-pork sandwich is a logjam of jalapeño pepper jelly and Sriracha aioli, with fried onion providing the crunch instead of cabbage. $.

5. Rose VL

6424 SE Powell Blvd., 206-4344. Ha & VL’s new sister restaurant serves most of the same delicate, lovely soups as Ha & VL—but on different days, and for dinner. Get their take on tom yum Monday if it’s available. $.

MEAT, MEAT, MEAT AND THREE: The everything platter at Matt’s BBQ.

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

Got Ribs? “We’re out of ribs,” says Matt Vicedomini from inside his food cart. It’s 11:02 am. His cart, Matt’s BBQ, has been officially open for two minutes. “There were people camping out here when I showed up.” By 11:28, the cart was picked clean of all meat. This is solid advertisement for a barbecue cart, especially one hidden inauspiciously behind a chain-link fence in a pawn-shop parking lot on Martin Luther King Jr. Blvd. His “MATT’s BBQ” sign is made from machine-cut aluminum letters Vicedomini got at Home Depot. And the meat truly matters here. New York-bred and Order this: Get the platter with Australia-trained, Vicedomini everything for $16. Choose favorites later. nonetheless serves up a solid all-beef hot link, with just the right pop in the casing and the oiled burst of mild, sweet heat beneath. His brisket’s bark is a smoky burst of white-oak around tender, slow-cooked beef. If there’s a complaint, it’s a rare one: On some bites, the brisket was maybe a little too soft, a bit stewy. But close to the bark and on the smoke ring, the stuff just tears my heart out, and the tomato-based sauce is light, sweet and tangy, perfect to sop up with the traditional piece of white bread. The bean side is the stuff of summer potlucks, the potato salad a pleasantly mustardy affair with bittersweet celery crunch. But you’re here for the meat. And if you value your clothing, get it in platter, not sandwich, form—because for now the bread Vicedomini is using gets soaked and just about disappears. Wednesdays are pulled pork instead of brisket, and Vicedomini has now doubled his rib output and expanded to Saturday service. So maybe next time I won’t have consider buying meat off a stranger’s plate. MATTHEW KORFHAGE. EAT: Matt’s BBQ, 4709 NE Martin Luther King Jr. Blvd. 11 am until they’re out of meat, Wednesday-Saturday.

DRANK

TILIKUM CROSSING ORANGE LINE IPA VS. STEEL BRIDGE PORTER What’s your favorite bridge? C’mon, every Portlander has one. To commemorate the opening of our city’s new murderous whale/friendship-themed bridge, BridgePort Brewing has released a new white IPA. To celebrate, we made it square off against Widmer Brothers’ Steel Bridge Porter, which debuted at WW’s Pro/Am Beer Festival back in 2013 and is still readily available at your favorite local supermarket. Brewed with Lemondrop hops and orange peel, Tilikum is as inoffensively smooth as the gleaming monument to New Portland after which it is named. Although very much a generic and only mildly citrusy wheat beer, it’s very quaffable and an excellent companion for pretending to enjoy a Timbers game. On the other hand, Steel Bridge threw me for a curve. This medium-bitter porter has a crisp body and is strong on vegetal umami flavors, particularly uncooked grain, light roast coffee and mushrooms. This is a beer best suited to drink with pot roast or beef bourguignon on a rainy autumn day. Tilikum is pleasant, but it isn’t anything special. Steel Bridge is a new classic. WALKER MACMURDO. Willamette Week SEPTEMBER 9, 2015 wweek.com

E M I LY J O A N G R E E N E

FACEOFF

HARVEST AT THE BINDERY

FARM SPIRIT

Florida Man Eats Only Plants PORTLAND’S TWO MOST EXCITING NEW VEGAN RESTAURANTS, HARVEST AND FARM SPIRIT, SHARE AN UNCOMMON LINEAGE. BY M A RT I N C I Z M A R

mcizmar@wweek.com

What do Lynyrd Skynyrd, Limp Bizkit and the two most ambitious new Portland vegan restaurants have in common? If you guessed they all have roots in Jacksonville, Fla., then you deserve an appropriate prize. (Maybe a Waffle House gift certificate? A tattered Byron Leftwich jersey? A mint copy of Quad City DJ’s “C’mon N’ Ride It (The Train)”? Thanks to Farm Spirit and Harvest at the Bindery, Portland vegans owe a small debt to the Bold New City of the South. For it was in Jacksonville that Farm Spirit’s owner and head chef, Aaron Adams, befriended Harvest at the Bindery’s Sean Sigmon. And thanks to Adams’ evolving scruples, and Sigmon’s big weed bust, they’re both here today. Back in October 2004, Adams was running one of the first organic locavore restaurants in Jacksonville—a high-end bistro serving foie gras to North Florida foodies. The lively chef is a natural storyteller, entertaining the 14 diners lined up at the salvaged ash counter inside his reservationonly, prix-fixe restaurant. Between courses, he explains his journey from goose liver to the little gooseberries carefully peeled of their bitter skin for the summer squash dish on tonight’s menu. In Jeb Bush-era Florida, organic food was a novelty, the subject of a trend story in The Florida Times-Union. (“Organic food isn’t limited to tofu. It’s not just vegetables and fruits. Organic food is food just like that in grocery stores…”) Adams’ restaurant evolved to serve only grass-fed beef. Eventually, he says, he wanted no beef or animal products at all. He figured he was done cooking professionally. Coincidentally, Sigmon was featured in the same story on Jacksonville’s budding organic food market. 32

Willamette Week SEPTEMBER 9, 2015 wweek.com

And Sigmon was back in the paper the very next day: Police busted him with nearly 100 marijuana plants in two massive grow houses. Fast-forward a decade and cross the country to Portland, circa 2014. Adams left his successful Portobello Vegan Trattoria in Southeast after a breakup, and was doing some consulting. Meanwhile, Harvest’s original chef, a skilled home cook without any experience running a line, left before its doors opened. The owner asked Adams if he knew anybody. He recommended his old friend Sigmon.

FARM SPIRIT Farm Spirit does modernist vegan cuisine, and aspires to be the best vegan restaurant in the world—El Bulli, but with plants. The restaurant is slotted into a narrow storefront across from Nostrana and Smokehouse Tavern. Adams and his two sous chefs begin their prep early in the day. By the time 7 pm dinner service rolls around—tickets are nonrefundable but transferable—Adams is free to sing along to Cass McCombs as he tweezes flowers onto plates. Diners watch from their counter seats as he spoons sauces out of plastic containers and plates each course. The modernist-leaning menu ($65 for nine courses Wednesday and Thursday, $75 for 12 courses Friday and Saturday) changes nightly to highlight ingredients that are not only vegan but locally sourced, meaning the best plates of the year are just arriving now and the entire operation is likely to go on hiatus in the shoulder season of April. Right now, Farm Spirit is also canning produce for winter. Our plates were creative and mostly satisfying. The first salad was served with a dressing of pureed sous vide peaches with a little pectin, packing acid and body into one lovely

package—it was inspired by a customer who adheres to an oil-free diet. A soup made with delicately sweet tomato water got nasturtium bud capers and an infusion of basil to make it, essentially, a clear-liquid version of a caprese salad. A slender Asian eggplant was quick-pickled, sous vide, grilled, smoked and lightly roasted. It’s served atop an umami-intense pile of crushed, fried hazelnuts and a hazelnut yogurt that functioned as a wonderfully rich gravy. It was made pretty, and a little herbal, with a sprig of fennel pollen served on the stamen. The only disappointments were $30 wine pairings that didn’t manage to heighten food flavors, and the lack of a more substantial protein course toward the end of the meal. The plate that took that position in the batting order, smoky and slightly gummy chanterelles over locally grown quinoa, didn’t quite hit the note of decadence I’ve come to expect from a dinner with this much pomp. I did, however, very much enjoy the desserts, including a dense and moist quinoa cake with plump blackberries and a beautiful slice of translucent isomalt and sugar candy Adams calls anise glass.

HARVEST AT THE BINDERY Nothing is quite so delicate and precious at Harvest, which reminds me of Eugene’s beloved Cornbread Cafe. My first two visits to the large and dimly lit space on Northeast Sandy Boulevard several months ago were pretty rough. But it’s coming into its own of late and could become the vegan soul-food joint needed by those Southern-bred vegans who formerly spent special occasions picking apart a rack of ribs. Every table gets a plate of cornbread with a sweet and creamy spread of hazelnuts, herbs and safflower, which I’d put up against any free bread plate in town. When perusing the menu at Harvest, look for anything that has that country flavor. For example, salads include a high-falutin kale panzanella ($8 small, $12 large) with too-sweet tomato vinaigrette and large toast-sized slabs, which sort of destroys the point of a bread salad. But I loved the green goddess salad ($8, $12) with pickled onions and unbelievably delicious chewy roasted mushrooms called “shiitake cracklins.”

Much of the menu consists of competently roasted vegetables with a little flair, and those dishes will change seasonally, but right now we really liked the summer squash in a delightfully oily pecan pesto ($6, $10). Among the main courses, look south again. One of my favorite vegan plates in town is Harvest’s newish barbecue of trumpet mushrooms ($16). The tangy sauce is based on Sigmon’s grandfather’s barbecue recipe, but with sherry, and has a pleasantly stringy, and very porky, consistency. Served in a hollowed-out log, the dish requires assembling a little sandwich of mushrooms and a slaw of kale, cabbage, carrot, red onion and miso aioli. I would probably prefer it just came as a sandwich, but it’s a fun plate. I’d love to see Harvest add more dishes like that, possibly making room by getting rid of the disappointing tamales ($14). I’ve had them twice, months apart, and both times they didn’t come close to working. Traditional tamales are made with lard to hold the masa together, and vegan technology has yet to solve this problem. Instead we have a chalky pile of cornmeal and olive oil that crumbles at the first touch of a fork, underneath a dull green sauce of roasted pumpkin seed, basil and fruit. It costs seven times the price on the street. Hopefully, Sigmon can dig deeper into his roots and add some exciting new tricks. What else do they eat in Jacksonville that’s ripe for a plant-based retake? Hmm. Has anyone tried making gator-flavored tempeh or deep-fried tofossum? EAT: Farm Spirit, 1414 SE Morrison St., farmspiritpdx.com. Nine-course dinner at 7 pm Wednesday-Thursday, 12-course dinner at 7 pm Friday-Saturday. Harvest at the Bindery, 3101 NE Sandy Blvd., 894-9172, harvestatthebindery.com. 5-10 pm TuesdaySaturday, 9 am-3 pm Saturday-Sunday.

Most vegan cheese is a foul abomination that makes even the most empathetic people assent to the nonlethal exploitation of milkable mammals. And yet, maybe there’s another way? Goose Hollow’s new Vtopia Cheese Shop & Deli (1628 SW Jefferson St., 971271-7656, vtopiancheeses.com) makes the best case I’ve heard. Cheesemaker Imber Lingard started as a server at Cornbread Cafe in Eugene— arguably the best vegan restaurant in the state—where she impressed with a homemade, cultured cashew cheese at a party. She started making other varieties for the restaurant. Customers loved them, so she spun off into a new business, figuring out how to wrangle a cornucopia of bacteria to turn humble cashew cream into very good milk-free cheese. The process, obviously, is highly proprietary, but so far successful. Lingard, an affable Australian, has since expanded her line to include a tasty aged white cheddar, an herby Mediterranean feta and a dark-purplish brown fermented black garlic wedge that’s aged for two months. You should definitely bring the latter to your next vegan-heavy party. The shop doesn’t have much atmosphere—and a liquor license is pending, meaning kombucha is your best pairing option—but the $23 five-cheese plate with fruit, olives, bread and crackers is worth a try even if you’ve been disappointed by vegan cheese. MARTIN CIZMAR.

SIMPLISTIC APPROACH

BOLD FLAVOR

C O U R T E S Y O F B R E W S F O R N E W AV E N U E S

FEATURE

Vegan Friendly

Open 11-10

Everyday

WE SELL DRINKS

OPEN TILL 2:30AM DAILY BID AWAY: Proceeds help at-risk kids.

libertyglassbar.com

500 NW 21st Ave, (503) 208-2173 kungpowpdx.com

Auction Hammered

Grote Dorst Gueuze is one of the rarest and most expensive beers in the world. A blend of 11 lambics from four different years and seven European breweries, only 15 magnums of this beer were made, and one is expected to fetch as much as $4,000 at auction Saturday at Brews for New Avenues in Portland. The event, in its fourth year, is the world’s largest rare beer auction. Organizers hope to raise about $50,000 for homeless and at-risk youth, much of it from the sale of dozens of rare bottles and vintage collections, including a Cantillon Pineau d’Aunis, which is expected to go for as much as $2,000. There is no telling how much a collection of beers from Vermont’s Hill Farmstead Brewery—often called the best brewery in the world—will go for. Local beer-geek favorites like a 7-year-old Hair of the Dog Cherry Adam will seem affordable at probably less than $100. But because this is Portland, and not New York or London, the event bridges the gap between beer’s working-class history and the premium price tag. For a $10 general-admission ticket, you get to rub elbows with beer-world celebrities, not to mention gain access to taps such as Base Camp Brewing ’s Scotch Ale aged on bourbon- and scotch-soaked oak chips, brewed exclusively for the event. You can also test your luck with a $10 mystery bottle from the 500-strong “Wall of Beer,” which may score you a rare beer from Tillamook’s De Garde Brewing or California’s the Bruery, both of which donated bottles to the cause. With all funds going to homeless and at-risk children, you might not feel so bad about your gluttonous imbibing. The event was started by the nonprofit’s ambassador board, whose goal is to get a younger generation of leaders involved. “We were thinking, ‘What could we be doing that would attract young people to the mission, that was accessible and could generate awareness as well as revenue?’” says organizer Jessica Elkan. “Our board of directors is involved in a classic wine auction, so could we do that with beer?” Two members of the ambassador board— Jeremy Herrig and James Bruce—got their friends to donate rare bottles, and a third member, Don Lowman, moved to Europe and started making connections with brewers there. The next thing they knew, they were pouring a keg of Cantillon Iris and a one-off, barrel-aged nectarine saison by Upright. Regular ticket holders can grab a pint of Boneyard’s Hop Venom Double IPA to wash down a Koi Fusion kimchi dog while listening to a Talking Heads tribute band called Life During Wartime. Or just chill out with a chocolate stout ice-cream float while watching live college football. EZRA JOHNSON-GREENOUGH.

PORTLAND HOSTS THE WORLD’S LARGEST RAREBEER AUCTION SATURDAY.

GO: Brews for New Avenues is at the Leftbank Annex, 101 N Weidler St., on Saturday, Sept. 12. 5 pm. $10 general admission includes commemorative glass, drink ticket and raffle ticket. For more information, see brewsfornewavenues.

so many marthas

MOBILE STAY CONNECTED

Sha

www.sha

Shandong www.shandongportland.com

New Brunch Sat & Sun 10am - 2pm Daily Happy Hours 4pm - 6:30pm 816 N Russel St. • Portland mintand820.com Willamette Week SEPTEMBER 9, 2015 wweek.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

MUSIC PROFILE

= WW Pick. Highly recommended.

DUSDIN CONDREN

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.

Machine Gun Kelly

[SLIMMER, SHADIER] Machine Gun Kelly makes music that sounds nearly indistinguishable from Eminem’s post-2009 output. If you like blisteringly fast technical rap delivered by a sneering white kid with an energy suitable for getting a 44-year-old mom pumped up before her Xtreme cardio class, you’ll probably like his music. Now for a thought experiment: Imagine what Eminem’s career would have been like if he had been born 15 years later and released The Marshall Mathers LP, widely considered one of the greatest rap albums of all time and possibly the most homophobic, in 2015. Some things don’t age well. WALKER MACMURDO. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm. $25. All ages.

THURSDAY, SEPT. 10 Golden Retriever, Visible Cloaks, MSHR, DJ Jason Urick

showcase of your local zoners helps support Golden Retriever’s grant-sponsored chamber orchestra, to be presented as an acoustic exhibition within the Old Church in downtown Portland later this month. WYATT SCHAFFNER. Holocene, 1001 SE Morrison St., 2397639. 8:30 pm. $6. 21+.

Jackie Greene, Lauren Shera

[JAM MAN] In the past few years, California-bred Jackie Greene has become a sideman of the highest caliber. He toured with Gov’t Mule and served as lead guitarist for the Black Crowes before they disbanded, and he continues to tour alongside Phil Lesh of the Grateful Dead. His most recent solo record, Back to Birth, channels what he’s learned on the road, allowing him to set his sociopolitical statements to a blend of folk and boyish blues. It comes off as plain-sailing pop, but his rootsy examination on the cyclical nature of life could make Tom Petty swoon if he would just stop soloing for a second. BRANDON WIDDER. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $20. 21+.

[STRANGE SOUNDS] Celebrating the vinyl reissue of their second album on Seattle’s Debacle Records, hometown heroes Golden Retriever will be joined by a jazz ensemble as a progressive glimpse into a more classical future. Funded in part by Holocene’s commitment to experimental Portland, tonight’s proceedings invite the progressive, Fourth World village fusion of Visible Cloaks and its ambient projections to the same table as the vibrant noise-prog improvisations of MSHR. Proceeds from this evening’s

TOP

Hive Mind

CONT. on page 37

TYONDAI BRAXTON MAKES ABSTRACT MUSIC FOR THE PEOPLE. BY MATTHEW SIN GER

THE JICKS

FIVE OTHER NOTABLE MUSIC EVENTS AT TBA Stephen Malkmus & the Jicks (10:30 pm Thursday, Sept. 10)

Portland’s favorite alterna-dad kicks off the week with a free show.

2 Live Riot (10:30 pm Friday, Sept. 11) A living tribute to the legacy of riot grrrl, complete with a cover band and karaoke. 3 Beacon Sound Night (10:30 pm Wednesday, Sept. 16) The Mississippi record store and label curates an evening of loops, ambiance and techno, from Bardo:Basho, Benoit Pioulard and Apartment Fox. 4 DJ Klyph Night (10:30 pm Thursday, Sept. 17) A showcase of Portland hip-hop new (Mic Capes, Neka and Kahlo) and not-so-old (Vursatyl), put together by one of the scene’s longtime champions. 5 Decibel Night (10:30 pm Friday, Sept. 18) The Seattle electronic music festival brings U.K. “abstract R&B” producer and Brainfeeder signee Lapalux, along with Portland’s Strategy and a live set from Raica. SEE IT: All performances are at the Works at the Redd, 831 SE Salmon St. See the full schedule at pica.org.

C O U R T E S Y O F M ATA D O R R E C O R D S

WEDNESDAY, SEPT. 9

msinger@wweek.com

As an experimental musician, Tyondai Braxton is aware that once he starts talking about one of his projects, he is susceptible to sounding like an asshole. It comes with the territory, really. Whenever an artist working along the avant-garde fringe is pressed to explain inscrutable ideas, there’s a risk of making the music even more impenetrable—and of coming off like a total wanker. But for Braxton, explaining himself is part of his process. As he sees it, interviews are a gesture of inclusiveness, a way of opening up the music rather than walling it off to anyone who isn’t a composition major. If he seems, as The New York Times observed, “openly self-conscious of any pretension” when discussing his art, it’s because he’s careful not to violate the spirit in which it was made. “I feel like the spirit of music that is challenging and obtuse is sometimes alienating,” says Braxton, 36, from his home in Brooklyn, “and I don’t make music in that spirit.” Indeed, for a composer whose work is lauded for its technical complexity, Braxton’s music, mostly, is not difficult to access. Its unifying quality is a playfulness bordering on cartoonish whimsy. Classifying it is another matter. Braxton first came to the attention of the indie world at large as the frontman of Battles, the still-extant math-rock band he left in 2010. A year earlier, he issued Central Market, a wild, full-on orchestral album. On his new record, HIVE1, the only elements are two modular synthesizers and a panoply of small percussion instruments. Such exploration is practically Braxton’s birthright: His father is composer and musician Anthony Braxton, who’s spent decades breaking apart traditional notions of jazz and classical music. Whatever he’s done, though, Tyondai Braxton has operated on a basic rule, drawn more from pop than the avant-garde: If he’s going to play it, he must enjoy listening to it. “One of the laws that governs the way I work is that, as cerebrally exciting as something is to me, in the end, it needs to grab me in a visceral way,” he says.

PHOTO: CAPTION TKTKTK

“I need to be able to push ‘play’ on something and say, ‘Oh yeah, I’m feeling that.’ It’s not like an equation written on a chalkboard.” Despite its origins as an art installation, the same rule applied to HIVE1, which Braxton will perform selections of, along with new music, at the TimeBased Art Festival in Portland. After quitting Battles and releasing Central Market, Braxton’s fascination cycled back to electronic music, just as a store specializing in modular synthesizers opened down the street from his Williamsburg apartment. The process of learning the instrument “turned me inside out,” he says. Adjusting to the concept of algorithmic composition, Braxton then turned to another infatuation, the percussion ensembles of Edgard Varèse. “I knew I really wanted to have a live element interfacing with this [synthesizer],” he says, “and I was wondering what it would even mean to do that.” In 2013, Braxton debuted the project at the Guggenheim Museum, performing with four other musicians on specially constructed platforms. Although the visual component is removed on record, HIVE1 remains an immersive experience—and, if you believe the reviews, almost as visual. Critics have described the buzzing, bustling songs as sounding like the score to a “sci-fi chase scene,” “an insectoid culture at work” and “an episode of Tom and Jerry if it was melting.” Braxton had his own images in mind: On “Boids,” the spirals of synth, snares and woodpecker hammerings were inspired by an ’80s software program designed to mimic bird murmurations, while the gradual cascade of white noise on “K2” is, appropriately, meant to simulate an avalanche. It is a world apart from Central Market’s hyperactive symphony, and even further removed from the looping guitar-and-voice manipulations of Battles. But as Braxton explains, every project is part of a continuum, and while it might not be obvious in the music, he’s taking something from each one and applying it to the next. In other words, the experiment is ongoing, and it never ends. “I don’t want to say this record is an outlier, because I don’t know what I’m going to do next, but it was very specific in what I wanted to do,” he says. “Now, I’ll be able to go back, plug my voice into this new way of working and see what that means.” SEE IT: Tyondai Braxton plays Lincoln Hall at PSU, 1620 SW Park Ave., as part of TBA, on Sunday, Sept. 13. 8:30 pm. $20 for PICA members, $25 general admission. All ages. Willamette Week SEPTEMBER 9, 2015 wweek.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

MUSIC FRIDAY, SEPT. 11 Colleen Green, Jaill, Summer Cannibals, Coma Serfs

[RIOT POP] I Want to Grow Up is a cheeky title for a record that’s held together by unashamed longing for the fuzzy power pop of breakout ’90s grrrl groups like Veruca Salt and the Breeders. But each spin of Colleen Green’s finest work yet reveals myriad reasons why the 30-year-old’s position of being happily lodged between the past and the present is the young(ish) songwriter’s strongest selling point. More hi-fi than Girlpool and more stonerific than Waxahatchee, it’s safe to say Green’s scrappy nostalgia is fuel for a long, fun trip down the memory lane of Gen X for records to come. PETE COTTELL. The Know, 2026 NE Alberta St., 473-8729. 8 pm. $8. 21+.

Darsombra, Hot Victory

[HEAVY PSYCH] Baltimore drone duo Darsombra soars back to Portland for their latest pilgrimage as part of a 100-date megatour. Now on its third leg, the tour is migrating west, one city at a time. Darsombra tends to play all the towns between the cities, too, and has laid claim to the reality that live music is an important and ephemeral experience, eschewing recording in recent years, since T-shirts sell better than records anyway. With so much live experience, Brian Daniloski and partner Ann Everton use visual projections to elevate their spiritual, guitar-driven explorations. Informed by metal and psychedelia, Darsombra invites higher- and lower-level states of consciousness to unsuspecting audiences in need of aural adjustment. NATHAN CARSON. High Water Mark, 6800 NE Martin Luther King Jr. Blvd., 286-6513. 9 pm. $8. 21+.

The Mynabirds, Bad Bad Hats

[INTERNAL POP] The Mynabirds is Laura Burhenn of Postal Service fame. The singer-songwriter has toured and traveled extensively lately, accruing material for her third and most intimate solo effort, Lovers Know. The Mynabirds possesses the powerful ability to make sad universal truths sound bright and palatable. Burhenn is essentially holding the mic up to her tender heart and adding some ’80s pop elements and her memorable voice. It’s at once personal and uplifting, not unlike much of the Postal Service catalog. Away from Ben Gibbard’s crooning and tinkering, though, Burhenn is all the better. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 328-2865. 9:30 pm. $10. 21+.

SATURDAY, SEPT. 12 The Cribs

[ANGULAR ANGLOS] In the decade since the Strokes and the White Stripes kicked the door down by reminding Americans that guitars, sweat and denim are still viable components of the pop music landscape, it’s been the Brits who have largely borne the responsibility of carrying the garage-rock revival’s corpse into a scary, mostly rock-’n’-roll-free future. Though the Cribs sound as sharp and saucy as ever on For All My Sisters, the buzzing guitars scribbles and crooning “ooohs” that make up the bedrock of their sound lose a lot of its punch when their brash, youthful energy has been sanded down to a need to simply remain relevant. It’s a shame, because early hit single “Mirror Kissers” still bangs, but you’re not likely to eat much besides the routine diet when you’re no longer hungry for domination on both sides of the Atlantic. PETE COTTELL. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $15 advance, $17 day of show. All ages.

Hopsin, Dizzy Wright, DJ Hoppa, Jarren Benton

[HORROR-KORE] Hopsin has that perfect storm of undesirable traits that make a rapper so bad I become

slightly physically uncomfortable while listening to them. Start with a run-of-the-mill technical rapper. Polish up those 1988 “I’m a better rapper than you” bars with a little casual homophobia and some Coal Chamber-style “Don’t fuck with me, I’m crazy!” horrorcore. Top it off with an excruciatingly embarrassing gimmick—Hopsin wears contact lenses that make his eyes white— and a fan base made entirely of suburban 13-year-olds named Kyler and Braxxtyn whose moms won’t let them listen to Tyler the Creator. Look forward to seeing him at the 2018 Gathering of the Juggalos. WALKER MACMURDO. Roseland Theater, 8 NW 6th Ave., 971-2300033. 8 pm. $25 advance, $27.50 day of show. All ages.

Ice Princess, Aerial Ruin

[FANTASY METAL] A thousand years in the making, the Ice Princess will finally be thawed to life to sing again and resume her timeless war with the evil wizard, Scrotiam—a thousand years in the mind of guitarist and conceptualist Richard Marshall, anyway. Marshall made his name by writing much of the music for New York art-rock outfit Alice Donut during its most fruitful phase in the early and mid-’90s. He’s been in Portland a long time now, studying and plotting. Ice Princess promises a theatrical show with cloaks, swords, dry ice and a lead singer who will burst from a giant crystal with a piercing wail. Musically, it’s exactly the type of rousing, melodic, hard-rocking metal that you’d expect. Are you cool enough to answer the call of the Ice Princess? NATHAN CARSON. Ash Street Saloon, 225 SW Ash St., 226-0430. 9 pm. $5. 21+.

SUNDAY, SEPT. 13 Arc Iris, Coco Columbia, Jennifer Hall

[GO BIG OR GO HOME] It doesn’t get any more twee than Arc Iris. Her self-titled debut is an exaggerated skip through banjos, warm brass, twinkling pianos, violins, softly tapped drums, picked acoustic guitars and her crazy-soft voice. In short, she totally goes for it in a way that’s both self-aware and selfindulgent, like David Lynch’s boldly corny soap tactics in Twin Peaks or Gabriel García Márquez’s references to trashy romance novels in Love in the Time of Cholera. Or maybe it’s just because Arc Iris (aka Jocie Adams) casually mixes subjects like masturbation with the regular cutesy folk tropes like harvest season and shit that gives the impression that she’s “keeping it real.” Either way, I buy it. SHANNON GORMLEY. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $5-$8.

Jennifer Castle

[FOLK] It’s the curse of female folk singers to get compared to Joni Mitchell simply because they’re female folk singers. But damn, Jennifer Castle seriously sounds like Joni Mitchell—which, of course, is one of the highest crowning comparisons when it’s not just loosely valid. But that kind of praise would mean nothing if the Toronto music scene veteran was just some hollow copycat of a songwriting great. Thankfully, she’s not. Castle’s balladic lyrics and her hauntingly minimal approach prove she’s a deeply capable artist on her own, and keep her songs from sliding into pastiche, even when she’s mixing slide guitars and flutes. SHANNON GORMLEY. Bunk Bar, 1028 SE Water Ave., 328-2865. 9:30 pm. $10-$12.

Mark Knopfler

[CLASSIC ROCK] In one sense, Mark Knopfler might deserve respect for forgoing the windfall that would come from reuniting Dire Straits. Not that his solo work—including his latest, this year’s Tracker—strays far from Straits’ sonic template, vaguely Dylanesque vocalization, vaguely Claptonesque guitar intonation and all. But if the band name implied

any kind of anxious energy born of being in a tight spot, now that Knopfler is a comfortable country squire he shares only the most soporific side of his muse. JEFF ROSENBERG. Keller Auditorium, 222 SW Clay St., 248-4335. 8 pm. $68$100.

Shania Twain, Gavin DeGraw

[UP!-SELL] Imagine if Britney Spears or Beyonce, at the height of their powers, suddenly retreated to Switzerland without explanation. While Shania Twain didn’t quite disappear—Las Vegas residencies technically count as performances, we suppose—the elongated shrug following her sudden retirement from touring and recording on the heels of 2002’s 11-times platinum Up! still seems sort of remarkable. But the gal who forever splintered the boundaries between New Country and old-skewing pop rock faced a succession of betrayals torn from the Nashville blueprint. Illness took her voice, a best friend stole her husband, and the lack of new material absent ex-hubby and superproducer Mutt Lange all but erased public memory of the Soundscan era’s 10th-best-selling artist, which this swan song isn’t likely to change. JAY HORTON. Moda Center, 1 N Center Court St., 235-8711. 7:30 pm. $46-$136. All ages.

TBA: S1 Night with Zola Jesus (DJ Set), U.S. Hard / Contemporary, Coast2C

[PDX UNDERGROUND] S1, known to some as a polarizing contemporary art hangout with late-night dance parties, has provided Portland with an accessible music venue and safe space for all ages in just under a year in existence. Tonight’s Night at the Works brings the bunker vibe upstairs for the masses to interpolate, with internationally renowned video and 3-D artists curated left of stage as part of the audiovisual exhibit. Zola Jesus headlines with a rare DJ set as an avantpop muse risen from the underground, with Coast2C etching her way further into the PDX club consciousness for genre-splicing beat culture. The inclusion of U.S. Hard/ Contemporary in the mix is a fitting homecoming for the young mensch of uber-tech dance music, kicking off the night to soundtrack the ascendance of S1’s radical collective. WYATT SCHAFFNER. The Works at the Redd, 831 SE Salmon St., 2421419. 10:30 pm. $10. All ages.

MONDAY, SEPT. 14 A Place to Bury Strangers, Grooms

[EARPLUGS REQUIRED] New York noise-rock aficionados A Place to Bury Strangers concoct manic sounds anchored by ballistic drum work and scratchy rhythm guitar. The trio released Transfixiation earlier this year, a ballsy collection of highly amplified, volatile sounds. Beneath APTBS’s chaos is a dark and haunting underbelly, one that takes some of the sting out of the overarching madness. Much of the band’s recent work has been recorded in Norway, a place familiar with dark and chaotic music. Oh, and there will be guitars thrown, guaranteed. MARK STOCK. Star Theater, 13 NW 6th Ave., 248-4700. 9 pm. $13 advance, $15 day of show. 21+.

Foo Fighters

[LAST ROCKIST STANDING] Fun fact: The first legit Foo Fighters show happened at Satyricon, in March 1995. Back then, it must’ve seemed a stretch to imagine they’d one day headline the big arena then under construction across the river. It’s hard to remember now, when you can hardly open a magazine or turn the channel without seeing his face, but at the time, Dave Grohl was just the drummer from Nirvana, abandoning his great-

JUDITH OWEN

MONDAY, SEPTEMBER 14TH AT 6PM That Judith Owen’s new album Ebb & Flow evokes the spirit of the halcyon days of the great 1970s troubadours is neither surprising nor is it accidental. In a set of potent songs about love and loss, pain and joy, dreams and despair, the Welsh singer-songwriter fearlessly explores the duality of the human condition – and to do justice to the songs she turned to the legendary musicians who created the seventies troubadour sound.

SILVERSUN PICKUPS MONDAY, SEPTEMBER 14TH AT 8PM

It’s no secret that Silversun Pickups score the soundtrack for the cacophony and quiet of the urban environment. Their songs curl like a sleeping dragon around the foothills, soar between the skyscrapers, and slouch in the shadows of forbidden offramps and skid row. Produced by Jacknife Lee (U2, Two Door Cinema Club, Crystal Castles) and recorded in the band’s hometown of Los Angeles, ‘Better Nature’ is easily the band’s best and most ambitious album to date.

PRE-BUY THE NEW ALBUM (OUT SEPTEMBER 25TH) FOR GUARANTEED ADMISSION TO THE PERFORMANCE!

CONT. on page 39 Willamette Week SEPTEMBER 9, 2015 wweek.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

MUSIC est musical strength to try to prove himself as a frontman with a group cobbled together from members of Sunny Day Real Estate and fellow Nirvana refugee Pat Smear. How would he ever escape the shadow of Kurt Cobain’s chalk outline? Twenty years later, here we are. It’s all pretty baffling. Because the more music changes, the more Foo Fighters stay the same, rolling out assembly-line post-alternative rock ’n’ roll with all the character of a saltine cracker. “I’ll stick around,” Grohl shouted in ’95. For better or worse, he kept the promise. MATTHEW SINGER. Moda Center, 1 N Center Court St., 235-8711. 7 pm. $35-$75. All ages.

Old 97’s

[COUNTRY ROCK] Rhett Miller and Old 97’s are usually credited with merging country and whatever “alternative” was supposed to mean, but in truth, they’re just a rock band from Texas weaned on Townes Van Zandt, Waylon Jennings, Guns N’ Roses and Led Zeppelin. Rhett Miller has never really had the well-documented personal traumas of someone like Jeff Tweedy, but he’s certainly more amiable. The guitar player, Ken Bethea, plays more like a member of Dick Dale and the Phantom Surfers than, say, Crazy Horse. The 97’s are crowdsourcing in support of a covers album that will feature a wide array of other artists performing their tunes for the benefit of developing countries in need of clean water. I’m guessing that strange combination of barroom and surf shack won’t sound the same coming from someone else. CRIS LANKENAU. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $23-$25.

Shinyribs, BigE

A L L A N A M ATO

[GULF COAST SOUL] The dissolution of Texas supergroup the

DATES HERE Gourds may have been bad for some, but former co-frontman Kevin Russell took it as an opportunity. He refocused his energy on Shinyribs’ third LP, Okra Candy, once again placing the project center stage. The added enthusiasm makes it one of Russell’s best offerings to date, allowing him to accent his quirky brand of folk with Stax-style percussion and creeping Delta grooves once reserved for the northernmost parts of Mississippi. The poignant metaphors and writing just make his tales of the downtrodden that much more insightful, whether talking the plainspoken “Dead Batteries” or the funk-infused chorus of “Baby What’s Wrong?” BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

TUESDAY, SEPT. 15 Chastity Belt, Pinecones, Mope Grooves

[GIRL POWER] Female musicians don’t just have to sing about being women; they can attack whatever the fuck they want. But without trusting the weight of social responsibility on those who don’t (and even those who do), there’s a little bit of extra awesomeness when female musicians do sing about that stuff. There are plenty of songs about woman in the Western pop canon, most of which are reductive, platitudinous, love-and-loss songs written by sexually frustrated men. So we women deserve some songs about us that are actually by us, and that’s what Chastity Belt offers up. By the time you reach the chorus of the first song on its recently released sophomore album, Time to Go Home, and you hear Julia Shapiro sing, “He was just another

CONT. on page 43

PREVIEW

Ben Folds with yMusic

[PIANO POP] In the late ’90s and early 2000s, there was one voice for the slightly disenfranchised suburban white band kid, and that voice was Ben Folds. Going to a Ben Folds show was like going to church. Folds would preach from the stage, telling stories of not wanting to go to college, watching other people trip on acid, and small humiliations. He would lead the crowd in sing-alongs, making us feel like we were part of something that wasn’t lame or disappointing. He was angry but also aware of how ridiculous it was to be angry when you are born into the extreme privilege of being an educated white person in America. Then, Ben Folds got happy. He got married, moved to Australia, and instead of singing about abortion, he sang about real estate. Then he got divorced, and that’s when things got really rough: He became a judge on a reality show. The last time I saw Ben Folds in concert, he was playing a winery in Northern California, where a glass of wine cost $15, the woman in front of me had a Gucci bag, and no one was singing along. On Tuesday, he comes to the Roseland with yMusic, a group blending pop and classical music. Like any fool who can’t let go of the past, I’ll be in the back, yelling, “‘Eddie Walker’!” LIZZY ACKER. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm Tuesday, Sept. 15. $42.50 general admission, $65 reserved balcony seating. 21+. Willamette Week SEPTEMBER 9, 2015 wweek.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

MUSIC A L E X A N D R A G AV I L L E T

PROFILE

Wavves WEDNESDAY, SEPT. 9 Even the stodgiest of punk idealists has to concede that the cultural liberation afforded by a simple Internet connection is, at least in musical terms, more profound than the fall of the Berlin Wall. The downside to such a low barrier of entry, though, is the multitude of competing voices fighting to be heard. It’s a dichotomy which has created an odd conundrum for bands like San Diego’s Wavves: If the Man offered you the chance, and the money, to be heard loud and clear over everyone else, would you take it? One could imagine the ascent of Wavves from a furiously fuzzy thrash-pop project to hi-fi surf-rock quartet with a Warner Bros. recording contract being written off by some as a classic case of “selling out.” But, while founder Nathan Williams’ wanton disregard for minding the red lines on the cheap recording equipment he used to make Wavves’ self-titled 2008 debut is what initially stoked critics on his songs, it’s the big-money Phil Spector sheen of 2013’s Afraid of Heights that showed just how much raw talent Williams had lurking under all the grit and grime of his earlier work. According to bassist Stephen Pope, signing to a major label was paramount to the quartet being able to step out from the shroud of lo-fi and seriously grow as songwriters. “It’s definitely easy and quick to record at home,” Pope says. “But I think working in a studio has made us better songwriters and better musicians because you can’t hide under that mask of fuzz. You have to play your parts right, or it’s gonna sound like garbage.” With forthcoming record V in the can, it wasn’t until Williams tried in July to release the record’s first single, “Way Too Much,” that the benefits of working within the major-label machine clashed with the group’s desires. Due to a conflict summarized by Pope as “a dispute over legal clearance for the album art,” Warner pulled the song from Williams’ SoundCloud account, effectively negating efforts to sidestep the label’s legal morass and get his new tracks heard. As evidenced in a series of tweets—the most angsty being one reading, “its so obnoxious to work tirelessly on something and then have a bunch of ppl who just see me as a money sign go and fuck it all up”—Williams was pissed. Having been the bassist for the late, hard-partying punk hero Jay Reatard before joining Wavves in 2009, Pope is no stranger to rage being part of the creative equation. The group was jarred by the harsh reality of its situation—that autonomy and major-label cash aren’t always in accordance—but things were eventually ironed out to a point where the art in question got the green light, and the record now has a solid release date of Oct. 2. Pope’s advice for young bands in the same situation leads one to believe Wavves’ experience with a major has still been a net positive. “Don’t get screwed over,” he says. “I’m not saying we did, but if you’re a small band and you feel it’s necessary to get to that next level—and I’m not saying it’s necessary, either—don’t sign a 360 deal where they get a piece of your merch and touring and all that. “Oh yeah,” he adds, “try to get as much money from them as possible.” PETE COTTELL. How to rage against the machine— and mostly win.

SEE IT: Wavves plays Wonder Ballroom, 128 NE Russell St., with Twin Peaks, on Wednesday, Sept. 9. 8 pm. $18 advance, $20 day of show. All ages. Willamette Week SEPTEMBER 9, 2015 wweek.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

MUSIC man trying to teach me somethin’,” it’s hard not to be hooked— partly for feminist reasons, but also because of the flawlessly executed slacker grunge rock. SHANNON GORMLEY. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

Mac McCaughan and the NonBelievers, Mike Krol, Flesh Wounds

[CHAPEL CHILL] Previously, when Mac McCaughan had some material that wasn’t quite peppy enough for his bombastic main act, indie icons Superchunk, he’d release a Portastatic record. This year marks his inaugural solo outing under his Christian name. It’s a softer affair, but displays a polished, mature version. Whereas Portastatic was a downtempo, lo-fi endeavor that took its name from a popular 4-track recorder, Non-Believers is a shimmering studio effort that’s distinctly hi-fi. At times it’s more in line musically with English New Wave, but lyrically and aesthetically it’s still vulnerable and romantic. CRIS LANKENAU. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12$14. 21+.

CLASSICAL, JAZZ & WORLD Ken Vandermark/Paal NilssenLove Duo, Optic Nerve Trio

[FREE-RANGE JAZZ] After 13 years and eight albums together, in between gigs with various major free-jazz outfits, Chicago reedman Ken Vandermark (a MacArthur “genius” grant winner) and Norwegian drummer Paal NilssenLove have achieved that telepathic connection small-combo jazzers frequently seek but seldom find. A piece might start off as a ballad, shift to backbeat-driven funk, then erupt in the squawking flurries familiar from late Coltrane forward. BRETT CAMPBELL. Redeemer Lutheran Church, 5431 NE 20th Ave., 971-258-1812. 8 pm Friday, Sept. 11. $15 sliding scale.

The Oregon Symphony presents Pablo Villegas

[SPANISH SIX STRING] Spanish guitarist Pablo Sáinz Villegas has so many musical accomplishments under his belt, only Antonio Banderas’ character from Once Upon a Time in Mexico could outbadass him. Having used his soft and expressive sound to win the Andrés Segovia Award at 15, he has since performed with symphonies in more than 30 nations. A dedicated classical performer who appreciates all aspects of his instrument, he celebrates the guitar’s New World history in his latest recording, Americano, and stretches his style to fit everything from tango to bluegrass. PARKER HALL. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday, Sept. 12. $23-$150.

Cappella Romana performs Rachmaninoff’s Vespers

[RUSSIAN CHORAL] Early 20thcentury Russian composer Sergei Rachmaninoff may be best known for his Romantic piano concertos and legendary pianistic prowess, but he also wrote one of the 20th century’s greatest sacred works. To celebrate the centennial of his 1915 All-Night Vigil (sometimes called Vespers), Portland’s Cappella Romana, one of the few Western choirs that has singers with the low range, skill and experience with Orthodox music to properly sing this masterpiece for large chorus and soloists, will perform it in an authentic way, mixing in readings of various psalms, hymns, canticles and other Russian Orthodox sacred settings. BRETT CAMPBELL. St. Mary’s Cathedral, 1716 NW Davis St., 236-8202. 7:30 Saturday, 2:30 pm Sunday, Sept. 12-13. $26-$54.

For more Music listings, visit

DATES HERE ALBUM REVIEWS

Jackson Boone NATURAL CHANGES (SELF-RELEASED) [COSMIC FOLK] On 2014’s Starlit, Jackson Boone introduced himself via a transmission from somewhere far above the Earth. Drawing on the trippy-dippy ends of ’60s psych-folk revivalism, the singersongwriter’s debut was transfixing in its weightlessness, levitating on a exquisitely layered bed of guitars, celestial strings and melodies sung in his faux-British accent. Natural Changes, Boone’s second album in a little over a year, is more of a companion piece to its predecessor than a follow-up, ever so much more lush and dreamy, but with an eye back toward the terrestrial world. Recorded at the Oregon Coast, it opens with the sound of waves lapping against the shore, and many of its best moments are marked by a lovely pastoralism. Songs drift by at the pace of a cloud crossing the face of the moon, but the production, once again from Riley Geare of Unknown Mortal Orchestra, keeps the experience immersive enough that the album never turns into psychedelic wallpaper, even as a few tracks flow a bit too seamlessly into one another. Highlights include the acid-daydream “The Dolphin Turned Into a Cat” and the concluding title track, sure to be adopted as the go-to wedding song for crystal healers everywhere. MATTHEW SINGER. SEE IT: Jackson Boone plays Mississippi Studios, 3939 N Mississippi Ave., with Wampire and Cat Hoch, on Wednesday, Sept. 9. 9 pm. $5. 21+.

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

Dirty Revival DIRTY REVIVAL (SELF-RELEASED) [NEW WORLD SOUL ORDER] Dirty Revival technically has five ( give or take) members, but an illustration of frontwoman Sarah Clarke’s profile dominates the cover of the band’s self-titled, self-released debut. I t ’s r e p r e s e n t a t i v e of how Clarke—who can channel Alabama Shakes’ Brittany Howard as easily as Aretha Franklin or even Mary J. Blige—leads the band’s sound, which bounces between soul, funk and hip-hop. But when guitarist and MC Evan “evv’n’flo” Simko, drummer Terry Drysdale, keyboardist Karl Ludwigsen and bassist Jon Shaw combine their forces and find a sense of unity among the rotating cast of local horn players and backup singers, Dirty Revival transcends its gallery of influences. The spoken-word elements, in particular, differentiate the band from other neo-soul revival acts, especially on opening track “Dirty Love” and “Lately,” both highlighted by Simko’s rhythmic delivery. The electric violin-based blues ballad “She Can’t Wait” ends with an empowering soliloquy that positions Clarke as the Carla Thomas to Otis Redding’s “Tramp.” And “Breathe,” a proper protest song with a sermon-like outro on what is otherwise a party record, proves Dirty Revival has emotional depth to counter its deep grooves. HILARY SAUNDERS. SEE IT: Dirty Revival plays Mississippi Studios, 3939 N Mississippi Ave., with Redray Frazier and DJ Weather, on Friday, Sept. 11. 9 pm. $12 advance, $15 day of show. 21+.

New Patient

$74 Exam and X-rays

New Patient

Dr. Viseh Sundberg

$49 Basic

Cleaning

(exam required)

Children’s

$59 Exam

& Cleaning

(new patients age 12 and under)

Professional

$99 Home

Whitening

(exam required)

(503) 546-9079 222 NW 10th Avenue www.sundbergdentistry.com Willamette Week SEPTEMBER 9, 2015 wweek.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

MUSIC CALENDAR WED. SEPT. 9

Mississippi Studios

Colleen Green, Jaill, Summer Cannibals, Coma Serfs

Star Theater

The Waypost

3939 N. Mississippi Ave. Clive Carroll

Alberta Rose Theatre

13 NW 6th Ave Grandparents, Minden, Talkative, Is/Is

Doug Fir Lounge

The Waypost

3000 NE Alberta St Matt Wertz 830 E Burnside St Big Scary

Holocene Portland 1001 SE Morrison St Lane 8

Kelly’s Olympian

426 SW Washington St Bibliothek, The Lummox, The Dungeon Brothers, Kelli Schaefer, Paul Seely Times Infinity

Kelly’s Olympian

426 SW Washington St Rose City Round: Nashville style writer’s round

Kenton Club

2025 N Kilpatrick St BIG DEBBIE, THRONES, SILLKEEPER,CAUSTIC TOUCH

Mississippi Studios

3939 N Mississippi Ave Jackson Boone

Roseland Theater 8 NW 6th Ave. Machine Gun Kelly

Clinton Street Theater 2522 SE Clinton St Star Witness Blast Off Party

The White Eagle

836 N Russell St Taken By Canadians

Wonder Ballroom

128 NE Russell St Wavves

THURS. SEPT. 10 Aladdin Theater

3017 SE Milwaukie Ave Elephant Revival (moved from Revolution Hall)

Aladdin Theater

3017 SE Milwaukie Ave George Winston

Ash Street Saloon

225 SW Ash The Get Ahead, Mister Seahorse

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd MESI & BRADLEY

Dante’s

350 West Burnside Whiskey Myers

Duffs Garage

2530 NE 82nd Ave TOO SLIM & THE TAILDRAGGERS

Edgefield

2126 S. W. Halsey ST. Sonny Hess

Hawthorne Theatre

1507 SE 39th P.O.D., Islander , Amerakin Overdose , When Vanity Kills

Holocene

1001 SE Morrison St. Golden Retriever, Visible Cloaks, MSHR, DJ Jason Urick

Kelly’s Olympian

426 SW Washington St Garlic Man & Chikn (Seattle), The Toads, Daisy Deaths

LaurelThirst Public House

2958 NE Glisan St Lewi Longmire & the Left Coast Roasters

Lovecraft Bar

421 SE Grand Ave Animal Bodies

Mississippi Pizza Pub 3552 N Mississippi Ave Red Yarn kids show

3120 N Williams Ave Pulse: A benefit for VoiceCatcher

The White Eagle 836 N Russell St King Columbia

The Works at the Redd 831 SE Salmon St. TBA: Opening Night at the Works with Stephen Malkmus & the Jicks

Twilight Cafe and Bar

1420 SE Powell Blvd Burn Burn Burn, Pageripper, Alden Glinert

Wonder Ballroom

128 NE Russell St. Jackie Greene, Lauren Shera

FRI. SEPT. 11 Aladdin Theater

3017 SE Milwaukie Ave The Revivalists

Alberta Rose Theatre 3000 NE Alberta St The Subdudes

Bunk Bar

1028 SE Water Ave. The Mynabirds, Bad Bad Hats

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd Muthaship

Dante’s 350 West Burnside RED ELVISES

836 N Russell St Portland Country Underground

Twilight Cafe and Bar

1420 SE Powell Blvd Bitch School, Fuzzy Dice, Terminal Fuzz Terror

SAT. SEPT. 12 Aladdin Theater

3017 SE Milwaukie Ave Everyone Orchestra

Arlene Schnitzer Concert Hall

1037 SW Broadway The Oregon Symphony presents Pablo Villegas

Ash Street Saloon

225 SW Ash St. Ice Princess, Aerial Ruin

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd Elite

Dante’s

350 West Burnside ROB DAIKER with Berahmand, and Emotitron

Duffs Garage

Hampton Opera Center

211 SE Caruthers St. A Day and a Night at the Opera

Hawthorne Theatre

Edgefield

Hawthorne Theatre

2126 S. W. Halsey ST. Brandi Carlile

1507 SE 39th Vendetta Red

Hawthorne Theatre

James John Cafe

8527 N Lombard St, SadoDaMascus Records NO FEST 2015 Stage

Jimmy Mak’s

6800 NE Martin Luther King Jr. Blvd. Darsombra, Hot Victory

221 NW 10th Ave The Yachtsmen & Philly’s Phunkestra

Holocene

Lovecraft Bar

1001 SE Morrison St Body Language

421 SE Grand Ave Volt Divers

Jimmy Mak’s

Multiple venues

221 NW 10th Ave The Mac Potts Band, Too Loose Cajun Band

St Johns St. Johns NoFest 2015

Kelly’s Olympian

3100 NE Sandy Blvd Nightingales (U.K.), Surplus 1980

Panic Room

Roseland Theater

3939 N Mississippi Ave Dirty Revival

8 NW 6th Ave. Hopsin, Dizzy Wright, DJ Hoppa, Jarren Benton

Ponderosa Lounge

St. Mary’s Cathedral

Mississippi Studios

10350 N. Vancouver Way Lace & Lead with Special Guest Matt W.

Redeemer Lutheran Church

5431 NE 20th Ave. Ken Vandermark/Paal Nilssen-Love Duo, Optic Nerve Trio

St. David of Wales Episcopal Church

2800 SE Harrison St. Portland FolkMusic Society presents Men of Worth

Star Theater

13 NW 6th Ave Beloved Presents: Desert Dwellers & Kalya Scintilla with Eve Olution & special guests

The Know

2026 NE Alberta St.

CAPTION TKTKTKTK

2530 NE 82nd Ave Sista Otis

2530 NE 82nd Ave TY CURTIS BAND

426 SW Washington St The Ronz, Blood Hot Beat, Supersun

LAST WEEK LIVE

The White Eagle

Duffs Garage

High Water Mark

[SEPT. 9-15]

3120 N Williams Ave SPACIOUS and Shed Inc.

1507 SE César E Chávez Blvd. Four Year Strong, Defeater, Expire, Speak Low If You Speak Love

1507 SE 39th Eligh, Dem Atlas, Bad Habitat, Ugly Tarantino

For more listings, check out wweek.com.

E M I LY J O A N G R E E N E

= WW Pick. Highly recommended.

Editor: Matthew Singer. 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.

1716 NW Davis St. Cappella Romana performs Rachmaninoff’s Vespers

Starday Tavern

6517 SE Foster Rd Mr. Musu

The White Eagle 836 N Russell St Ojos Feos

Twilight Cafe and Bar

1420 SE Powell The Dumps, Sir Coyler and his Asthmatic Band, Mr Tang

Wonder Ballroom 128 NE Russell St. The Cribs

BETTER OFF WEIRD: There are people who think “Weird Al” Yankovic is a hack, a silly novelty act with no real talent or cultural value. Those people were not at the Oregon Zoo on Sept. 5. As protesters outside begged him to save the elephants, he opened his tight, well-choreographed show with “Tacky,” his take on Pharrell Williams’ awful earworm “Happy,” while a camera followed him through the zoo until he reached the stage. Yankovic, 55, has been known for his parody songs since (Reed alum) Dr. Demento discovered him at age 16, and he has played with the same band since he was 21. That experience, plus a surprising amount of enthusiasm, was apparent throughout his show. He danced, changed costumes between numbers, rode a Segway during “White & Nerdy” and gave the sold-out crowd what it wanted, mixing songs from his most recent album, Mandatory Fun, and blockbusters from the past like “Dare to Be Stupid,” “Fat” and “Smells Like Nirvana.” About halfway through, Yankovic broke for a classic rock-star acoustic set, giving new and hilariously self-serious life to classics like “Eat It” and “Like a Surgeon.” Everyone got what they came for: a night of laughing to sometimes ridiculous, sometimes utterly genius song parodies that only get better with time. LIZZY ACKER. See the full review at wweek.com/ lastweeklive. SUN. SEPT. 13 Ash Street Saloon 225 SW Ash Amos Val

Bunk Bar

1028 SE Water Ave. Jennifer Castle

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd Ron Steen Jazz Jam

Doug Fir Lounge

830 E Burnside St. Arc Iris, Coco Columbia, Jennifer Hall

Edgefield

2126 S. W. Halsey ST. Lewi Longmire

Keller Auditorium 222 SW Clay St. Mark Knopfler

Lincoln Hall at Portland State University

1620 SW Park Ave.

Tyondai Braxton

Lovecraft Bar

421 SE Grand Ave UK82 punk night

Mississippi Studios

3939 N Mississippi Ave Bearcubbin’, Rags and Ribbons, Gaythiest

Moda Center

1 N Center Court St Shania Twain

Rontoms

600 E Burnside St. Fanno Creek, Old Age, Joel Magid

St Josef’s Winery

28836 S Barlow Rd Arriverderci Jazz Picnic

Star Theater

13 NW 6th Ave Soul’d Out Proudly Presents: VULFPECK with Dove Driver

The White Eagle 836 N Russell St Rob Johnston

The Works at the Redd

831 SE Salmon St. TBA: S1 Night with Zola Jesus (DJ Set), U.S. Hard / Contemporary, Coast2C

MON. SEPT. 14 Bunk Bar

1028 SE Water Ave Magic Giant

Doug Fir Lounge

830 E Burnside St Rhett Walker Band

Edgefield

2126 S. W. Halsey ST. Groovy Wallpaper with Rob Wynia

Goodfoot Pub & Lounge 2845 SE Stark St Sonic Forum

Hawthorne Theatre 1507 SE 39th

Bowling For Soup Live in Portland

Wonder Ballroom

Kelly’s Olympian

128 NE Russell St. Old 97’s

Kelly’s Olympian

Ash Street Saloon

426 SW Washington St Eye Candy VJ’s Music Videos in the bar 426 SW Washington St Open Mic hosted by Lee Aulson and Talon Bronson

Lovecraft Bar

421 SE Grand Ave rock w/ Cory, dance w/ Cory, watch videos w/ Cory

Mississippi Studios

3939 N Mississippi Ave. Shinyribs, BigE

Moda Center

1 N Center Court St Foo Fighters World Tour

Star Theater

13 NW 6th Ave. A Place To Bury Strangers, Grooms

TUES. SEPT. 15 225 SW Ash Motion Trap

Doug Fir Lounge

830 E Burnside St. Mac McCaughan and the Non-Believers, Mike Krol, Flesh Wounds

LaurelThirst Public House 2958 NE Glisan St Jackstraw

Mississippi Studios

3939 N Mississippi Ave. Chastity Belt, Pinecones, Mope Grooves

Roseland Theater

8 NW 6th Ave Ben Folds & yMusic

Willamette Week SEPTEMBER 9, 2015 wweek.com

THOMAS LAUDERDALE FRIDAY, SEPT 25 + 26 7:30PM CLASSIC PIANO | $28 / $32 RIO CON BRIO FRIDAY, OCT 16 7:30PM BRAZILIAN / GUITAR | $14 / $18 NAOMI WACHIRA FRIDAY, OCT 23 7:30PM INDIE FOLK | $14 / $18 THE BARN OWLS FRIDAY, NOV 13 7:30PM VINTAGE COUNTRY | $15 / $20 KATE DAVIS FRIDAY, NOV 20 7:30PM SINGER + SONGWRITER| $20 / $25 PATRICK BALL FRIDAY, DEC 11 7:30PM CELTIC / STORYTELLING | $22 / $25 OREGON MANDOLIN ORCHESTRA FRIDAY, DEC 11 7:30PM CLASSICAL, BLUEGRASS | $15 / $20

Call for tickets or visit www.brownpapertickets.com

Walters Cultural Arts Center

527 E. Main Streetâ&#x20AC;&#x201D;Hillsboro, OR Box Office: 503-615-3485 www.hillsboro-oregon.gov/Walters

Willamette Week SEPTEMBER 9, 2015 wweek.com

MUSIC ADAM WICKHAM

BAR REVIEW

Where to drink this week. 1. SE Wine Collective

2425 SE 35th Place, 208-2061, sewinecollective.com. Harvest time! There is no more wonderful time to wander down to the wine collective—the grapes stack up outside the winery to get squished, and you can watch everybody do it while lazily drinking last year’s crop.

2. Noble Rot

1111 E Burnside St., 233-1999, noblerotpdx.com. Noble Rot may be best known for its rare eastside rooftop view and its signature flight of funky Sauternes dessert wine, but dig a little deeper and you’ll find the throaty sweetness of a 1983 Toro Albala Don PX sherry. Take advantage.

3. The 19th Hole

Southwest 15th Avenue and Yamhill Street, hoteldeluxeportland.com. Nothing says summer quite like mini golf, cheap beer and blisteringly hot parking lots. Mini golf is $6 per person per ninehole round, but hanging out is free, and they’ve got $5 cans of Grapefruit Sculpin and Vortex IPA.

4. Analog Cafe

720 SE Hawthorne Blvd., 206-7439, analogpdx.com. After mild contention, the great demonstration of freedom that is Marijuana Mondays will survive OLCC scrutiny with bud giveaways through October.

5. Fifteenth Avenue Hophouse

1517 NE Brazee St., 971-266-8392, oregonhophouse.com. Hophouse co-founder Leah Lockwood has bought out her business partners in the two Hophouses— including her husband, Phillip—and will assume sole management of both bars. No changes to the kitchen staff are planned, but Lockwood says to expect more ciders and healthy food options.

DOWN AT THE NEW AMSTERDAM: My parents are nice Midwestern people. They like station wagons, syndicated episodes of Monk, and breakfast at the type of diners you’ll find within a stone’s throw of the World Famous Cannabis Cafe (7958 SE Foster Road, 777-1667, usaworldfamouscannabiscafe.com). They certainly aren’t stoners—I imagine their image of a cannabis user is still the Wu-Tang Clan-loving, Jeep-driving bro-dudes they encountered in the parking lot of my high school—but I know they’d be more comfortable experiencing this whole legal weed thing here. Madeline Martinez’s new spot is much more welcoming than, say, my dealer dude’s house. Or my own house, even. Being a user myself, my expectations were low for the reboot of this accidentally world famous cafe, the first place in the nation where cannabis users could congregate and imbibe. I assumed sagging couches, mismatched knickknacks and perhaps a banged-up espresso machine. Well, on a recent Thursday evening visit I found the Cannabis Cafe is more like a spartan, small-town gathering space for smokers of all stripes than a pretentious multiuse den for dilettantes. The thanks goes to Martinez, former executive director of the Oregon NORML chapter. I was told there are no plans to operate as a dispensary starting Oct. 1, but you can find one within three blocks in any direction. Bring your bud here, and smoke in warmth, dryness and peace. Beyond the entry fee— $5 most days, $10 during events—and a small menu of cafeteria snacks, there’s not much in the way of commerce. You can get a cheeseburger ($8) or a bowl of cereal ($3). The hours are in constant flux, so check before you visit. The volunteer-manned dab station is the only “bar” to speak of, and there you’ll find an array of top-shelf shatter equipment and samples, like the small selection of complimentary product crafted by Winn Extracts from ownership’s personal harvest. And then there’s the sharing, which is the real reason you should consider paying WFCC a visit. Whether it’s a toke or a joke or a good idea or two, there’s something in the air here. It smells a lot like freedom. PETE COTTELL.

WED. SEPT. 9 Lovecraft Bar

421 SE Grand Ave Event Horizon - Industrial EBM and electro night! DJs Straylight and Miss Q

THURS. SEPT. 10 Lovecraft Bar

421 SE Grand Ave “Shadowplay presents: the Official H.P. Lovecraft Film Festival Pre-Party.” 8pm

FRI. SEPT. 11 Moloko

3967 N. Mississippi ave The Diamond Stylus with King Tim 33 1/3

Lovecraft Bar

421 SE Grand Ave NecroNancy gay goth party w/DJ ShaChristmas LaMiracle and Stormy

SAT. SEPT. 12 Moloko

3967 N. Mississippi Ave DJ Cuica

Lovecraft Bar

421 SE Grand Ave Musick for Mannequins - DDDJJJ666 & Magnolia Bouvier10pm

The Liquor Store

MON. SEPT. 14 Kelly’s Olympian

426 SW Washington St Eye Candy VJ’s Music Videos in the bar

Lovecraft Bar

421 SE Grand Ave rock w/ Cory, dance w/ Cory, watch videos w/ Cory

TUES. SEPT. 15 Lovecraft Bar

421 SE Grand Ave Mood Ring dance party

3341 SE Belmont Spend The Night with Sage Caswell

Willamette Week SEPTEMBER 9, 2015 wweek.com

PERFORMANCE R O B E R T D U N C A N G R AY

REVIEW

= 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). Comedy: MIKE ACKER (macker@wweek.com). Dance: ENID SPITZ (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: espitz@wweek.com.

THEATER OPENINGS & PREVIEWS The Best of Everything

Career, marriage, family. What today we would call “having it all,” the secretaries of the ‘50s called “the best of everything.” Like Mad Men told from a less misogynistic perspective, The Best of Everything chronicles the lives of ambitious secretaries working their way up in the city while trying to snag a man (because it was still the ‘50s). Bag & Baggage, which regularly brings bygone eras back to life on stage, will mount Julie Kramer’s adaptation of the perpetually relevant tale. Venetian Theatre, 253 E Main St., Hillsboro, 345-9590. 7:30 pm Thursday-Saturday, 2 pm Sunday, Sept.10-27. $25-$30. .

Anything Goes

Drammy Award-winning actor-director Joe Theissen brings Cole Porter’s classic 1934 musical to Lake Oswego. Full of song-and-dance numbers and tap dancing spectacles, this show-tune classic follows a stowaway on an ocean liner from New York to London who attempts to woo a nightclub singer away from the wealthy nobleman she’s engaged to. Lakewood Center for the Arts, 368 S State St., Lake Oswego, Sept. 11- Oct. 18. $20-$37.

Play On!

A bumbling community theater tries to stage a murder mystery amid constant re-writes from the playwright— right up until opening night—in the New Century Players’ Play On! The Players themselves have been fighting the community theater fight since 2004, when founders started the theater as an alternative to Portland’s overflowing stage scene, so this wacky comedy hits close to home. Jo Strom Lane directs Rick Abbot’s play-within-a-play comedy about short tempers and unusual personalities. Rex Putnam High School Auditorium, 4950 SE Roethe Road, Milwaukie, 367-2620, newcenturyplayers.org. 7:30 pm Sept. 12, 17-19, 24, 26 and 2 pm Sundays, Sept. 13-27. $18.

One Man, Two Guvnors

Clackamas Rep co-founder and artistic director David Smith-English leads the Pacific Northwest’s first production of Richard Bean’s Tony Award-winning farce, based on Carlo Goldoni’s Servant of Two Masters. Set in Brighton, England, in 1963, One Man follows a young street urchin who bumbles his way into being employed by a lowly street gangster and an upper-class criminal. As he struggles to keep his employers from learning about one another, a mixture of traditional farcical antics, slapstick, audience interaction and musical comedy ensues. WALKER MACMURDO. Clackamas Repertory Theater, 19600 Molalla Ave., Oregon City, 594-6047. 7:30 pm Thursday-Saturday and 2:30 pm Sunday, through Oct. 4. $12-$30.

Founders, Friends and Faves

For this annual kickoff to Portland Story Theater’s season, company founders Lawrence Howard and Lynne Duddy invite our city’s finest dishy raconteurs and droll confessors to the Alberta Abbey mainstage for an extemporaneous evening of shared secrets, poignant narratives, barbed anecdotes and transformational revelations told with conspiratorial intimacy. JAY HORTON. Portland Story Theater, 126 NE Alberta St., 284-2226. 8 pm Saturday, Sept. 12. $15-$18.

Our Town

PCS reprises the play every high school theater has done many times over, but adds significant star power (for Portland) with Gary Norman (Grimm, The Librarians, Leverage), Vin Shambry (Rent on Broadway) and Laura Faye Smith (Grimm, Leverage). And local director Rose Riordan has a strong track record with Portland Center Stage, deftly staging Broadway mainstays like Doubt and One Flew Over the Cuckoo’s Nest, so there’s hope for this four-time Drammy Award winner’s interpretation of Thornton Wilder’s 1938 Pulitzer Prize classic. Portland Center Stage, 128 NW 11th Ave., pcs.org, 7:30 pm TuesdaySunday and 2 pm Saturday-Sunday, Sept. 12-Oct. 11. $21-$35.

Passion Play

Shaking the Tree’s founding director and Drammy Award-winner Samantha Van Der Merwe collaborates with Profile Theatre to tackle Sarah Ruhl’s celebrated look into three communities as they stage the death and resurrection of Christ. Parts I and II dramatize the staging of the play in 1575 in northern England—right before it is outlawed by Queen Elizabeth II—and in 1934 Bavaria as Hitler rises to power. Profile Theater, 1507 SW Morrison St., profiletheater.org, 7:30 ThursdaySaturday and 2 pm Saturday-Sunday, Sept. 10-13. $15-$32.

Spectravagasm

Sam Dinkowitz created Spectravagasm after dropping out of Penn State’s MFA program and moving to Portland for theater. Reprising his show for its seventh season, Dinkowitz once described his raunchy sketch-comedy show as “the kind of late-night show that makes you feel like a naughty kid laughing at dirty jokes in your friend’s basement.” Reverently titled “SHHH… ART!,” Spectravagasm 7 sends up the ridiculousness of the art world with song, dance and a trailer for Dinkowitz’s third mock film. Post5 Theater, 1666 SE Lambert St., 971258-8584. 11 pm Friday-Saturday, Sept. 11-Oct. 3. $5. 21+.

The Understudy

The play-within-a-play concept is a familiar one, often utilized to comic effect. Artists Rep takes it one step further with the Portland premiere of Theresa Rebeck’s The Understudy, where Harry (who’s the understudy for Jake, who’s the understudy for Bruce) must rehearse a fictional Kafka play with a stage manager whose life he ruined many years ago. If the premise proves anything, it’s that the most captivating drama happens behind the curtain. PENELOPE BASS. Artists Repertory Theatre, 1515 SW Morrison St., 2411278. 7:30 pm Wednesday-Sunday and 2 pm Sunday, Sept. 8-Oct. 4. $25-$55.

Waiting for Godot

Two friends, Vladimir and Estragon, wait under a tree for Godot to show up, and we spend 60 years trying to figure out what it all means. This iconic absurdist play is known for polarizing audiences and being “a play in which nothing happens, twice.” Award-winning actor-director Pat Patton, who spent 32 seasons with the Oregon Shakespeare Festival, directs veteran Northwest actors Don Alder and Grant Byington in Northwest Classical Theatre Collaborative’s take on Samuel Beckett’s modernist masterpiece. Shoebox Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm ThursdaySaturday and 2 pm Sundays, Sept. 11-Oct. 11. $25.

One TBA Top Act Is TBA EXPECT THE UNEXPECTED FROM KEYON GASKIN. These are heady days for Keyon Gaskin. When we reached him by phone, the 32-year-old Portland performance artist was in Berlin, freshly arrived from an arts festival in Vienna and imminently departing for Oslo, where he’s creating a new piece with choreographer Mia Habib before jetting home for PICA’s 20th annual Time-Based Art Festival. In between international collaborations, he makes Portland headlines with hybrid dance-theaterdrag performances that are just as likely to include cookwear as Lil Wayne lyrics. It has been three years since Gaskin quit his day job to become a full-time artist. During that time, he’s earned a reputation for performances that get under people’s skin, often dealing with issues of race, gender and the body. His movements are polarised—fluid and graceful one moment, jerky and disjointed the next. In one performance last year, he tap-danced inside a cloak of helium balloons, squeezing a balloon ominously at one point. Why? To make people nervous. “I think it’s important to implicate people,” he explained. “If you’re an audience member and I put you in a space of uncomfortability, of being

in tHe dark: keyon Gaskin.

overwhelmed, then perhaps you’re more vulnerable to receive something.” For TBA, Gaskin will perform the latest iteration of an ongoing work he began two years ago. Entitled Its Not a Thing, the piece is a free-form improvisation where Gaskin interacts with the audience. We’d predict his donning a black hoodie or stuffing dice in his mouth like at PICA’s Weird Fucks release party in February, but even Gaskin doesn’t know exactly what each performance will hold. “It’s not codified,” he says. “There’s not a concrete order or spatial pattern of how I’m going to navigate the space. There’s a lot of opportunity for me to be influenced by what’s happening in the room.” It’s part of his strategy “to shift or negate the way I’m seen.” There is indeed something strategically shifty in the artist’s approach. His pieces are oblique, indirect, deflective. In the TBA performance booklet, where the show description and artist’s bio should be, all the text is blacked out. Readers only get two “paragraphs” of solid black ink and a photo of Gaskin lying face-down on a stairwell. This isn’t an artist interested in making things easy for people, himself included. “I’m very much about challenging anything I’m doing,” he says— and that extends to performance art itself. “Is this my life’s calling? It’s what I’m doing right now. I could quit at any moment.” RICHARD SPEER. see it: Its Not a Thing is at BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 8:30 pm Friday-Saturday, Sept. 11-12. $15. PICA’s TimeBased Art Festival is Thursday-Sunday, Sept. 10-20, at venues across Portland. Individual events $10-$50. Passes $60-$500. pica.org.

ALSO PLAYING

COMEDY & VARIETY

I Hate Hamlet

The Comedy Bull

A skewering of actorly pretensions and the legitimate theater’s dimming relevance in show business, I Hate Hamlet ’s famously troubled 1991 Broadway run launched the career of comic playwright Paul Rudnick with this tale of a callow, young sitcom star bedeviled by the ghost of John Barrymore after unhappily accepting an offer to play the titular role for Shakespeare in the Park. Penny Lonergan will direct the Hillsboro Artists’ Regional Theater production, and newcomer Benjamin Philip, himself not long removed from an iambic pentameter stint ‘round New York, will play long-suffering hero Andrew Rally. JAY HORTON. HART Theater, 185 SE Washington St., Hillsboro, 693-7815. 7:30 pm FridaySaturday, 2 pm Sunday, through Sept. 20. $11-15.

An intense and high-energy game show, the Comedy Bull is returning to the Brody Theater. Hosted by Ben Harkins, featuring Amanda Arnold, Jon Washington, Jake Silberman, Jeremiah Coughlan, and judged by Anatoli Brant, the comedians in this show must perform their best prepared material while dealing with unexpected improvisational challenges and audience interaction. Each acts competes to see whose on-the-spot observations are the best, but it’s the audience that always wins. Brody Theater, 16 NW Broadway, 224-2227. 10 pm Friday, Sept. 11. $8.

Competitive Erotic Fan Fiction with Bryan Cook

suggestions of the audience or their personal whims returns to Portland for one night only. Hosted by Bryan Cook, Competitive Erotic Fan Fiction is featured on the Nerdist Podcast Network, was named a Rolling Stone top-20 comedy podcast, and is a perennial favorite at comedy festivals across the country (including the Bridgetown Comedy Festival). The Portland show will feature a handful of the city’s best erotic fan fiction craftsmen and women including former Portland ’s Funniest Person winner Steven Wilber, Barbara Holm, JoAnn Schinderle, Jacob Christopher, Trevor Thorpe, Belinda Carroll and more. Helium Comedy Club, 1510 SE 9th Ave., 888643-8669. 8 pm Wednesday, Sept. 9. $10-$18.

Curious Comedy Open Mic

The show that features two rounds of comedians writing and performing erotic fan fiction based on the

Curious hosts a weekly open-mic night. Sign-ups begin at 7:15, and comics get three minutes of stage

CONT. on page 50

Willamette Week SEPTEMBER 9, 2015 wweek.com

PERFORMANCE Curious Comedy Showdown featuring PIPES

Curious Comedy’s improvisers duke it out, in hopes of winning audience votes. After a brief intermission, Curious’ ﬁ nest perform PIPES , a totally improvised musical comedy that is completely new and diﬀ erent for every performance. Curious Comedy Theater, 5225 NE MLK Blvd, 477-9477, 7:30 Friday-Saturday Sept. 11-12. $12-$15.

Earthquake Hurricane

Four hosts are better than one. Portland ’s hottest showcase returns to Velo Cult Bike Shop. Hosts Curtis Cook, Alex Falcone, Bri Pruett, and Anthony Lopez welcome local comics Ed Black and Jordan Casner and visiting funnymen Matt Lieb and Torio Van Grol. Throw on your favorite bike shorts and your most expensive Chrome bag, and get ready to enjoy some comedy. Velo Cult Bike Shop, 1969 NE 42nd Ave., 922-2012. 9 pm Wednesday, Sept. 9. $5 suggested donation.

Helium Open Mic

Generally regarded as the best open-mic night in town, Helium’s sign-ups ﬁ ll 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 Tuesday, Sept. 15. Free.

Jessimae Peluso

Jessimae Peluso is known as a “bottle rocket with a pulse.” Featured on MTV’s Girl Code and Failosophy, Peluso honed her talent in New York City, and was included in in the Huﬃ ngton Post ’s list of funniest comedians to follow on Twitter. Peluso comes to Portland in the midst of a tour that features her tearing up comedy clubs from coast to coast. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, Sept. 10th, 7:30 & 10 pm Friday-Saturday, Sept. 11-12. $20$28.

Russell Peters: Almost Famous World Tour

Not many comics reach the heights of global fame achieved by Canadian-born funny man Russell Peters. With fans in practically every corner of the globe, Peters comes to Portland for an unforgettable night of comedy. With hilarious riﬀ s on his favorite communities, cell phones, dating, and an uncle who has never been punched in the mouth, Peters has recorded four incredibly successful specials, served as a judge on Last Comic Standing and was given a star on the Canadian Walk of Fame. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 8 pm Friday, Sept. 11. $48.75-$59.25.

DANCE Anything Goes Burlesque

Dee Dee Pepper and Wanda Bones promise a lot in their shows: making out with strangers, cocktails, T&A, beautiful people and something ominously titled “Clown Room.” Back for the fourth season of Anything Goes, Pepper and Bones co-host this quarterly show with an evening of solo and duet performances, interactive games with the audience and striptease performances from Fannie Fuller, Lascivious Lenore, Rocket and Mona DePlume. Funhouse Lounge, 2432 SE 11th Ave., 841-6734, pepperandbonespresents.com. 10 pm Friday, Sept. 11. $12.

National Circus and Acrobats of China

Open Court

Urban

Quirktastic

Presented by Barbara Holm and Chris Khatami, Quirktastic is a new showcase that explores the more unique side of the Portland comedy scene. Always funny and often weird, this showcase features quirky characters, musical comedy, possibly storytelling, and maybe even some sketches. Saturday’s show stars Dinah Foley, Laura Anne Whitley, Jeremy Eli and Whitney Streed. Ford Food and Drink, 2505 SE 11th Ave. #101 236-3023. 7:30 pm Saturday, Sept. 12. Free.

Random Acts of Comedy

Curious Comedy puts on a freewheeling show that brings together sketch, standup and improv. Curious Comedy Theater, 5225 NE MLK Blvd, 503-477-9477, 9:30 pm Saturday, Sept, 12. $7-$10.

Heidi Duckler Dance Theatre/ Northwest mixes lumber and fancy leg work for this site-speciﬁ c performance that is dedicated to sustainability. As a follow-up to Portland choreographer Carla Mann’s Forest, which was at the Hoyt Arboretum on Aug. 30, Duckler combines two of Portland ’s major loves— the great outdoors and the arts—in Urban. Sustainable Northwest Wood Lumberyard, 2701 SE 14th Ave., 7 and 9 pm Saturday, Sept. 12. $25.

Xana-redU, A Parody Tribute to Xanadu

Quirky contemporary dance company TriptheDark joins forces with Stageworks Ink, a local fringe theater troupe, for a revival production based on the 1980s dancecentric movie, Xanadu. The ﬁ lm itself was a bit of a ﬂ op: This version promises a parody tribute about a man who falls in love with Terpsichore, the Greek muse of dancing, and decides to open a disco roller-skating rink. KAITIE TODD.The Hostess, 538 SE Ash St., 7:30 pm Thursday-Saturday through Sept. 19. $10-$18.

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In 1965, Hollywood g r a n d e d a m e Ta l lulah Bankhead once notoriously took eight hours in a recording studio to tape a single line of dialogue for her final film, Die! Die! My Darling! The Lifeboat actress’s melodramatic session—full of “dahlings” and cleavage and bottomless drinking— is a fitting fall premiere for Triangle Productions, a company as notoriously outspoken as Tallulah herself. With past seasons that have featured dirtymouthed housewives singing, “Eat your fucking corn flakes!” and onstage re-enactments of the Kent State shootings, Triangle lives up to its reputation for disrobing the recent past. But perhaps Looped does the job of capturing Tallulah’s lengthy career all too well. Margie Boulé’s Tallulah (don’t you dare call her “Miss Bankhead”) is perfectly on point. Boulé belts “baby” and “dahling” in an uncomfortably accurate impression of the foghorn voice that made Tallulah famous. Throwing her head back with a stilted yet flirty laugh and bending over to reveal her bosom, Boulé captures the actress’s campy antics without seeming fake herself. Telling awkward sex jokes as a stalling tactic, Triangle’s Tallulah convincingly drives her film editor Danny Miller (David Sargent) and sound engineer Steve (James Sharinghousen) within an inch of losing their sanity. Unfortunately, Looped’s script has a similar effect on us in our seats. Despite Boulé’s bravado and Triangle’s authentic 1960s set, Matthew Lombardo’s script can’t be helped. Tallulah’s inebriation takes center stage. Fueled by a stiff cocktail of booze, pills and coke, she’s a never-ending reel of uncouth comments—“cocaine isn’t habit-forming. I should know”—when not disappearing on Miller and Steve for hours at a time. While the diva’s behavior is hastily explained by her shitty life—a dead mother and abusive, alcoholic father— there’s no deeper or more interesting reflection. The

This Old Hollywood requires patience, or pills.

Following a run of 12 consecutive sold-out performances, the brainchild of local actor and comedy writer Sean McGrath has returned with an all-new sketch show. Bath Night is an hour of partially scripted (nonimprov) comedy. This show features an all-new cast culled from among Portland’s most outstanding comic actors. CoHo Theater, 2257 NW Raleigh St., 220-2646, 7:30 pm Thursday-Saturday Sept. 4-19. $18$21.

Portland ’s best late night talk show is back. Alex Falcone and Bri Pruett present a star-studded evening that includes an interview with Kim Malek, the founder of Salt & Straw; comedy from Amy Miller, a semiﬁ nalist on Last Comic Standing on NBC and Portland’s reigning funniest person; and an appearance by Hutch and Kathy, of the Thermals. MATT ACKER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 7 pm Saturday, Sept. 12. $10-$15.

Team-based, long-form improv open to audience members and performers of all stripes. ENID SPITZ. Curious Comedy Theater, 5225 NE MLK Blvd, 503-477-9477, 7:30pm Thursday September 10. $5.

Looped (TRIANGLE PRODUCTIONS)

Seth McGrath Presents Bath Night

Beijing acrobats from the Chinese National Circus take over the Schnitz with a spectacle of martial arts, aerial silk performances, circus feats and opera. Traditionally garbed singers that look like characters out of Mulan give way to acrobats in tuxedo vests that leap and tumble on trampolines. And then there are the contortionists, who spin parasols on their feet while in a handstand. Beijing seems to have acid-trip dreams. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Wednesday, Sept. 9. $20$55.

Late Night Action with Alex Falcone

REVIEWS

Willamette Week SEPTEMBER 9, 2015 wweek.com

R U SS E L L J YO U N G

time apiece. Curious Comedy Theater, 5225 NE MLK Blvd, 503477-9477, 8 pm Sunday, Sept. 13. Free.

OH, DAHLING: Tallulah Bankhead.

only redemption is her one poignant monologue, when Tallulah voices her regret at turning down the role of Blanche Dubois in A Streetcar Named Desire, a part her friend Tennessee Williams wrote for her. The pain of Miller’s closeted life is hinted at, as he slumps over a coffee table and tells Tallulah the story of his broken family. Besides Sargent’s unconvincing sobs, however, the script leaves this dramatic mine unexplored. Looped isn’t about lost opportunities, life’s regrets or the struggle of repressed identity. No, this show is a spot-on re-enactment of those grueling eight hours, which culminated in one meager line of dialogue for a camp thriller now largely forgotten. We get a show as frustrating to watch at times as the real-life process might’ve been. Intentionally campy at best, unbearably slow at worst, Looped is as selfindulgent as Tallulah was. If only we were as loaded. RACHEL SANDSTROM. SEE IT: Looped is at Triangle Productions, 1785 NE Sandy Blvd., 239-5919. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through Sept. 26. $15.

of rhetoric and staging to get around his dilemma. Post5’s staging and cast perfectly match this flexibility. The set—two staircases flanking a balcony—serves as a courtroom, a jail cell, Shag’s house and the Globe. Post5 newcomer Todd Van Voris switches deftly from the conspirator Father Henry Garnet to the blustering actor Richard Burbage. Smith’s Cecil shifts from weary bureaucrat, to put-upon lackey, to a sadist. As is only appropriate of his last DOUBT TRUTH TO BE A LIAR: (From left) Ty Boice, Jim Vadala and Keith Cable. production, Post5 co-founder and artistic director Ty Boice steals the show (he’s moving to Se—dry heave—attle). As Sharpe, the newest member of Shagspeare’s company, he’s a In the face of religious petulant prodigy. As King James, he’s a terrifying ScotNo question here— persecution, govern- tish jock lording over the nerds that are Shagspeare Post5’s premiere is sharp. ment subterfuge and and Cecil. Perhaps his most stirring turn is as Gunpowtorture, what power does art have? That’s the question der Plotter Thomas Wintour, whom Shagspeare finds in Bill Cain’s post-9/11 masterpiece that filters terror- tortured but unbroken, holding his arms so gingerly you can almost feel the rack. ism paranoia through the lens of Jacobean London. The notoriously cruel politician Robert Cecil At the play’s center, Cable’s Shagspeare possesses (Matt Smith) wants William Shagspeare (Keith both the dignity of a theatrical mastermind and Cable) to write a play about how the government the helplessness of a guy trying to entertain people stopped the Gunpowder Plot. But Shag—the Bard to save his neck. Where does he find power? The in all but his name—knows that staging the govern- answer is deceptively simple: in the ability to tell ment’s propaganda will destroy his credibility with the truth. JAMES HELMSWORTH. the groundlings. Not to mention the fact that a play about a bomb that doesn’t go off spits in the eye of SEE IT: Equivocation is at Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 7:30 pm Fridaysthe very concept of dramatic tension. Sundays through Oct. 4. $20. Fitting of the name Equivocation, Shag uses tricks

Equivocation (POST5 THEATRE)

Willamette Week SEPTEMBER 9, 2015 wweek.com

VISUAL ARTS Skinning Vision

= 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.

Daniel Long appropriates both common painting techniques and visual symbols into an open-ended rumination on representation and narrative. The ensuing world—populated by scenes of largely ancient Egyptian and Greco-Roman pottery floating amidst textured backdrops and hieroglyphic serpents, disguised as MS Paint squiggles, attempting to pop off the surface plane—is a rabbit hole wherein visual references constantly collide and combust. Through Sept. 19. Nationale, 3360 SE Division St., 4779786.

Beauty in the Age of Indifference

This self-proclaimed “controversial” exhibition celebrates and challenges our notions of what is beautiful, and what role beauty plays in a contemporary society obsessed and distracted by new technologies which have obliterated old ways of doing and seeing things. These disruptive patterns of behavior, and our ability to constantly need to upgrade and adapt to them have taken us away from traditional appreciation of how important beauty is in our lives. Through Sept. 12. Jeffrey Thomas Fine Art, 2219 NW Raleigh St., 544-3449.

Co-Conspirators and the Possibilities of Painting in a Parallel Universe

In her first Portland show, Leslie Baum presents a series of new works in conversation with her existing painting, Co-conspirator. Using differing media and scale, each of these new pieces— which include oil paintings, large-scale drop-cloth paintings, standing floor panels and table-top watercolors— engages in conversation with the reference piece. Working both as fully realized objects and in the larger dialogue, the new works are building blocks for her painting-based installation. Through Oct. 1. Hap Gallery, 916 NW Flanders St., 444-7101.

Decoy

Guest curators Emma McKee and David Strand present five Seattlebased artists of differing international backgrounds whose practices emphasize the material properties of images and objects through various strategies of presentation and arrangement. Sept. 12-Oct. 3. Worksound International, 820 SE Alder St.

Emerging Dissolving

Loving and losing love, an action and state of being that is as much a part of being human as is the need to drink water, are the themes of Danielle Wyckoff’s site/sight-specific installation at Northwest Portland’s newest gallery. Using hand-scribed mulberry paper, salt and water, Wyckoff’s installation will use material and metaphorical transformations found in the natural world to explore common human experiences. Soltesz Fine Art, 1825 NW 23rd Ave., 971-276-9097,

art that spans 30 years. The collection will include his early paintings, his commercial work and his newer paintings. Some number of these pieces will be from private collections or from Melloy’s own trove and won’t be for sale. This is a celebration of an artist with an enduring creative drive and whose long tenure bridges old and new Portland. Opening reception 2-6 pm, and salon 8 pm-midnight Saturday, Sept. 12. Ford Gallery, 2505 SE 11th Ave., 449-3305.

Impromptu in Grey

Roya Motamedi grew up in her parents’ homelands of Afghanistan and Japan and has been adjusting to living in the U.S. for the past 25 years. This makes the process of finding herself in a painting much like the effort to locate herself culturally. This push/pull dynamic, translated into a play of vibrating color and negative/ positive shapes, animates Motamedi’s pared-down paintings that she limits to just two colors and shapes. Through Sept. 26. Blackfish Gallery, 420 NW 9th Ave., 224-2634.

Jessica Jackson Hutchins: Confessions

Confessions is a collective endeavor that seeks transparency about the distinctions between collecting, curating and making, while exploring related concerns such as the care, circulation and preservation of works of art. The exhibition is organized by Portland collector Sarah Miller Meigs and Cooley Gallery curator and director Stephanie Snyder, working closely with Jessica Jackson Hutchins to develop one interrelated exhibition that expresses the distinctiveness of each space, while allowing the artist to investigate their differences in situ through experimentation and dialogue. Through Nov. 8. The Lumber Room, 419 NW 9th Ave.; Cooley Gallery, 3203 SE Woodstock Blvd., 777-7251.

Moment With Tadashi Ura

Tadashi Ura is a Japanese artist with a background in design who in 2006 began studying a style of ink and wash painting known as suibokuga. Ura’s paintings, inspired from everyday life, feature children and animals in idyllic settings and bring a contemporary vision to a traditional technique. Through Sept. 30. Hellion Gallery, 19 NW 5th Ave., Suite 208, 774-7327.

Pictures of the Moon With Teeth

The visual arts portion of the 2015 TBA Festival, curated by Kristan Kennedy, asked artists “What do we believe in, or perhaps what is spirit?” The resulting work lives at the intersections of belief and disbelief. Through Oct. 11. Opening reception 7-9 pm Thursday, Sept. 10. TBA at 2500 NE Sandy Blvd., 242-1419.

This Is the Only One

Heather Watkins’ process- and material-based practice examines ideas of action and repetition, and seeing and experience, through gesture and pigment. This new series of work includes experimental forms of drawing, printmaking, installation and sculpture. Her use of the richly hued cobalt-blue ink is consistent across genres. Through Sept. 26. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Traces of the Arctic

Lauren Hartman’s embroidery and sculptural installations respond to current topics to serve as a record in our cultural conscience. After watching news of the 2010 Deepwater Horizon oil spill, Hartman began to focus on our relationship to the sea, which became a platform to discuss global issues connected by international waters through her craft and printmaking-based practice. Through Oct. 23. Duplex Gallery, 219 NW Couch St., 206-5089.

Trust Falls & Transparent Things

Local painter Michelle Ross’ newest body of work, Trust Falls & Transparent Things, starts with outdated logos and art periodicals and ends up with abstract washes of color that refer to architectural space. Through Sept. 26. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

We Were Singing

Ellen Lesperance, best known for her detailed paintings and textiles that pay tribute to direct-action campaigns and feminist activism, debuts a new body of work based on the noted feminist painter Sylvia Sleigh and her radical and intimate paintings of nude males. After years of investigating and paying homage to women activists—Angela Davis, Rachel Corrie, Pippa Bacca and others whose names are unknown– Lesperance turns her gaze inward to mine her life and experiences as they intersect with Sleigh and the history of art and feminism. Through Sept. 19. Adams and Ollman Gallery, 209 SW 9th Ave., 724-0684.

For more Visual Arts listings, visit MARIO GALLUCCI

A Peanut in a Suit Is a Peanut Nonetheless

Over the past year, Rebecca Mackay Rosen Carlisle created a series of process-driven works using dense layering, thick application of paint, and physical manipulation of the surface to reimagine the body. The tactile material qualities suggest flesh and skin, and obscure nearly all underlying figurative imagery. Eyes and eye-like forms are employed as a means of drawing viewers into the work and creating an empathetic response. The pull is a result of experiencing pareidolia— in this case the recognition of a face where there is none. Through Sept. 26. PNCA, Gallery 2, New Commons, 511 NW Broadway, 226-4391.

Eyebeam in Objects

Eyebeam, a New York nonprofit art and technology center, commissioned a group of experimental artists working in myriad tech-related forms, from conceptual to sound arts, to render their work into objects. The resultant pieces challenge, quiz, and interrogate notions of materiality and its porous relationship to data and concepts. The exhibition Includes work by Chloë Bass, Zach Blas, James Bridle, Heather Dewey-Hagborg, Zach Gage, Brian House and Addie Wagenknecht. Upfor Gallery, 929 NW Flanders St., 227-5111.

Ford Gallery Launch with Richard Melloy Paintings

The Ford Gallery (formerly the Gallery:Homeland space in the Ford Building) reopens on Saturday, Sept. 12, with a collection of Richard Melloy

Willamette Week SEPTEMBER 9, 2015 wweek.com

WORK BY ADDIE WAGENKNECHT, PART OF EYEBEAM IN OBJECTS

BOOKS = WW Pick. Highly recommended. By JAMES HELMSWORTH. 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, SEPT. 9 Denis Hayes and Gail Boyer Hayes

There are 93 million cows in the U.S. They’re ruining everything: soil, aquifers and the health of the 320 million humans with whom they share a country—and, for the humans’ part, the conditions that they keep the cows in are inhumane. That’s roughly the case laid out by Denis Hays and Gail Boyer Hayes, the cofounder of Earth Day and an environmental lawyer, respectively. Powell’s City of Books, 1005 W Burnside St., 228 4651. 7:30 pm. Free.

Robin Hobb

Since 1995, Robin Hobb has been weaving a fast world of dragons, assassins and magical powers that has earned her the admiration of the likes of George R.R. Martin and Orson Scott Card. The second book in Hobb’s Fitz and the Fool trilogy, Fools Quest, finds the Fool ill and FitzChivalry Farseer too concerned about his friend’s health to prepare for the tragedy awaiting his family. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228 4651. 7 pm. Free.

THURSDAY, SEPT. 10 T. Geronimo Johnson

As a teen brainiac, Daron Davenport doesn’t fit in in his hometown of Braggsville, Ga. Fleeing to Cal Berkeley, he finds he doesn’t really fit in there, either, especially when he takes his friends back to Braggsville to protest the city’s Civil War reenactment. Geronimo skewers both Southern casual racism and liberal arts self-righteousness with a style that The Washington Post says “plays cultural criticism like it’s acid jazz.” Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228 4651. 7:30 pm. Free.

Ursula K. Le Guin

There’s no shortage of Oregon literary greats, but if you had to pick one as the greatest, Ursula K. Le Guin (The Left Hand of Darkness, Earthsea series) would be a good choice. Known mostly for weaving fantastic worlds, she’s also something of a pedagogue: This year, she’s revised and rewritten her 1998 writing guide Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

FRIDAY, SEPT. 11 William Shakespeare’s Tragedy of the Sith’s Revenge

William Shakespeare’s Tragedy of the Sith’s Revenge is the latest in Portland author Ian Doescher’s series of Star Wars retellings in Shakespearean style and verse. If the cantina band be the weird blue milk of love...uh, never mind. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.

SATURDAY, SEPT. 12 Craig Thompson

Craig Thompson, who has called Portland home for nearly 20 years, came to fame with Blankets, an autobiographical account of growing up in a fundamentalist Christian family in Michigan. Next, he channeled Islamic art and lore in Habibi. For his latest release,

Space Dumplins, he’s eschewed Earth all together, telling the story of a teenage girl who must go on a space odyssey to save her father. Powell’s City of Books, 1005 W Burnside St., 228-4651. 2 pm. Free.

SUNDAY, SEPT. 13 Salman Rushdie

In 40 years, Salman Rushdie has written 12 books, avoided being assassinated, been knighted and hung out with U2. This year, Rushdie puts out Two Years Eight Months and Twenty Eight-Nights. A riff on One Thousand and One Nights, it finds New York ripped apart by a storm and an invasion of mystical jinn into the human world. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 2 pm. Free.

MONDAY, SEPT. 14 Jonathan Evison

In Jonathan Evison’s new novel, This Is Your Life, Harriet Chance!, the title character’s husband dies of Alzheimer’s disease before he can take the Alaskan cruise he won. So Harriet, 78, takes it for him, bringing her ex-addict, unemployed daughter with her. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Naomi J. Williams

In 1785, Jean-François de Galaup, comte de Lapérouse left France with a team of scientists to learn about the world. He never came back. In her debut novel, Landfalls, Naomi J. Williams brings that world to life in a series of vignettes that finds the characters ranging from the captain himself to Alaskan natives as they traverse the ocean from the South Pacific islands to California and Russia. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.

Summer Brennan

Of all the types of war, “oyster” would seem to rate somewhere above “color” but well below cold. But in Summer Brennan’s The Oyster War, the conflict between environmentalists and oyster farmers at Point Reyes National Seashore is as heated as an international conflict. It’s populated by pirates, mad scientists and the specter of the Koch brothers, exploring how and why humans try to exert control over nature. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

TUESDAY, SEPT. 15 Harold Johnson

After the Korean War, small-town Washingtonian Joseph Birdsong is drafted into the Army and sent to El Paso, Texas, where he encounters young men from across the country. The Fort Showalter Blues mirrors Johnson’s, who is mostly known for his poetry. Born and raised in Yakima, he played trumpet in the Army in Texas. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Patrick deWitt

Portland author Patrick deWitt (Ablutions, The Sisters Brothers) reads from his third novel, Undermajordomo Minor. See feature, page 12. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

For more Movie listings, visit Willamette Week SEPTEMBER 9, 2015 wweek.com

Willamette Week SEPTEMBER 9, 2015 wweek.com

MOVIES

OPENING THIS WEEK Blind A As haunting and internally reflective as its title suggests, this quiet film from Norwegian director Eskil Vogt fully deserves its Sundance award for best international screenplay, making the lonely existence of Ingrid into a sexy, arthouse masterpiece. She first noticed a spot on her contact lenses and suddenly, as Ingrid explains in her chilly monotone, she was blind. Despite its icy, clinical tone, Vogt’s film is surprisingly intimate as it falls down the rabbit hole of Ingrid’s imagination. A writer trapped within her own internal world and too shy to venture outside the iconically white Nordic loft she shares with her architect husband, Ingrid imagines her husband is having a lurid affair with a woman who’s recently been blinded. In a Faulknerian merry-go-round of flashbacks and vivid daydreams, the film follows as this imaginary mistress becomes Ingrid’s alter ego. In the author’s alternate reality, the mistress gets pregnant, a peeping Tom neighbor stalks her through the tampon aisle, and the entire psychologically blurry cast converges at a real-life party that Ingrid’s husband drags her to. The film is spliced together with eerie close-ups of a retina and minimalist shots of the trees, dogs and city streets that Ingrid desperately imagines in an attempt to maintain her ability to visualize reality. Like the snapshots of life Ingrid clings to, Vogt’s film lingers long after the final credits roll. NR. ENID SPITZ. Clinton Street Theater.

Learning to Drive

B Wendy (Patricia Clarkson) is a lit-

erary critic going through a difficult divorce. Darwan Singh Tu (Ben Kingsley) is a charming, sagely driving instructor. Wendy needs to learn to drive so she can visit her daughter (played by Meryl Streep’s daughter Grace Gummer) in Vermont and get a fresh start on life. The setup is painfully formulaic, but Learning to Drive is an unexpectedly fresh take on the romcom genre from director Isabel Coixet. Instead of restricting Singh Tu to the cliché Sikh taxi driver role, the film looks at his faith and life as a bearded, turban-wearing man in post9/11 New York. Instead of focusing on Wendy getting back in the game, Learning to Drive explores the uncertainty at the end of a 21-year relationship. Oh, and there are also a few laughs—Daily Show expats Samantha Bee and John Hodgman play supporting roles, after all. R. JOHN LOCANTHI. Fox Tower.

The Perfect Guy

David M. Rosenthal gives us the newest attempt at psychological thrillers about men who turn out to be— mother of all surprises—imperfect. He’s Just Not That Into You gave us the whole “if he abuses you, it’s not because he loves you” thesis, but again and again Hollywood vixens get stuck in that conundrum. The cast list might almost woo us with credits for Family Matters, Cold Case and Think Like a Man, but we’ll probably choose between the JLo renditions, Enough and The Boy Next Door, and save our money for Mace. Not screened for critics. PG-13. Eastport, Clackamas.

The Visit

M. Night Shyamalan is back with a new thriller focused on the super-creepy premise of visiting your grandparents. It’s been a tough decade for M. Night’s movies, but maybe this time around the surprise twist will be that the movie is actually good. Screened after deadlline, see wweek.com for Alex Falcone’s review. PG-13. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Bridgeport, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer place, Sherwood, Tigard, Wilsonville.

Best of the NW Animation Fest

Hollywood Theatre revisits this spring’s NW Animation Festival with special screenings of the “best of the fest,” picked by audiences from the festival’s 270 films. Portlanders love things like a 5,000-year-old mammoth that’s defrosted from cryogenic sleep and forced into a modern-day, rat-race existence, a little piggy orphan with environmental activist tendencies, and two cosmonaut friends turned bitter rivals. Special award winners will be announced during the screenings. Hollywood Theatre. 7 pm Friday, Sept. 11. $10. nwanimationfest.com.

STILL SHOWING American Ultra

C+ Mike Howell (Jesse Eisenberg) is a

perpetually stoned clerk at the CashN-Carry in Lyman, West Virginia. He outkicked his coverage with his girlfriend, Phoebe (Kristen Stewart), and worries that he is holding her back. This all changes one day when a strange woman (Connie Britton) walks up and utters a series of seemingly unintelligible gibberish to him. Howell then unwittingly—and masterfully— kills two people. He’s been activated. And the CIA wants him dead. This is all light and funny in a gory kinda way, but it’s only one of the two movies writer Max Landis tries to fit into this one film. The other is a serious exploration of Howell realizing he has been programmed by the CIA. The result is a wildly inconsistent tone. Is American Ultra an action comedy with somewhat earned pathos? Or, is it the story of a man coming to terms with the fact that everything he thought he knew and loved is a lie, and he also happens to kill a dude by ricocheting a bullet off a frying pan? We can’t quite be sure. R. JOHN LOCANTHI. Cedar Hills, Eastport, Clackamas, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy.

Amy

A Even if you followed Amy

Winehouse’s career, it’s hard to keep from crossing your fingers for a different ending while watching Amy. Filmmaker Asif Kapadia approaches this exposé of “the girl behind Amy Winehouse” with his usual, unconventional eye, using sound clips from the star, her friends and colleagues to narrate Amy’s home videos and live performances. Getting familiar with pre-famous Amy makes watching the tabloids tear her from public grace more unnerving than ever. The drugs get harder and the footage gets more graphic. But like the loyal accompanists that played with her to the end, you feel compelled to believe she’s going to turn everything around. R. LAUREN TERRY. Cinema 21.

Ant-Man

B+ Ant-Man is a largely self-contained, breezy, hilarious and gorgeous heist film that manages a feat few recent superhero films do: It stands up well on its own. Ex-con Scott Lang (a beefed-up Paul Rudd) invades the home of Dr. Hank Pym (Michael Douglas) and finds a weird-looking suit that can shrink its wearer to insect size while granting super strength and the ability to control ants telepathically. He’s nobody’s favorite superhero, but director Peyton Reed is fully aware of this dopiness, and just runs with it. He deftly balances its awestruck visuals— from an ant’s-eye view of a shower drain to a battle in a briefcase—with a sly humor. Ant-Man might be the most disposable superhero movie, but that makes it all the more enjoyable. If it were a comic book, it wouldn’t be the kind you put in a Mylar bag. It’d be one that you read with greasy fingers and childlike relish. PG-13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Bridgeport, Division, Evergreen,

Lloyd Center, Movies on TV, Tigard, Wilsonville, Sandy.

Best of Enemies

A This doc centers on the debates between Gore Vidal and William F. Buckley during the 1968 Republican and Democratic conventions and plunges viewers into the frothy political climate of protests against militarized police in a decade when people were fighting for freedom of body and opinion. R. LAUREN TERRY. Fox Tower.

The Diary of a Teenage Girl

A Minnie (Bel Powley) begins an affair

with her mom’s (Kristen Wiig) boyfriend, Monroe (Alexander Skarsgård). She’s 15. But this isn’t some Nightline investigation. Minnie wants to have sex, so she does. Minnie wants to do drugs and does (there’s a joint roller listed in the credits). Sometimes bad things happen, but they’re all Minnie’s choice. I guess this is growing up. R. JAMES HELMSWORTH. Cinema 21.

the movie (based on the titular video game franchise), the Hitman program was a government experiment to create super-soldiers, super-strong and devoid of human emotions like fear and love. Based on the film, its makers seem like graduates of this program since they don’t understand human emotion—no character gets time to develop or any qualities that would get in the way of slo-mo shots of bullets flying and blood splattering. The bar for well-crafted drama is already low in movies based on video game franchises, but Htiman makes the Mortal Kombat movie look like My Dinner With Andre. R. JAMES HELMSWORTH. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Movies on TV, Pioneer Place, Sherwood, Tigard.

Infinitely Polar Bear

B- Mark Ruffalo stars as a bipolar dad forced to care for his two daughters alone when his wife (Zoe Saldana) moves to New York to pursue her career. As you’d expect, sometimes things are terribly awful and other times they’re wonderful. Ruffalo is great throughout, though he does speak weirdly, which makes it seem like bipolar disorder turns you British. And it took me 20 minutes to stop worrying he would hulk out when he got angry. As is the way in these Sundance movies, there are moments of beauty, nothing much happens, and at one point somebody runs through the woods. You definitely won’t enjoy it if (like me) you agreed to go because you assumed it was a Disney documentary about how polar bears mate for life. R. ALEX FALCONE. Academy.

CONT. on page 57

REVIEW SCREEN MEDIA FILMS

= WW Pick. Highly recommended. 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.

Digging for Fire

C- I’ll say two things for Digging for Fire: One, Jake Johnson is charming as fuck. Also: Chris Messina gets naked. Other than that, Digging for Fire is generic mumblecore garbage. Johnson stars as a teacher named Tim who is married to yoga instructor Lee (Rosemarie DeWitt). They have a 3-year-old son. They’re poorish (in this L.A. world, “poor” means they have a nice car, unlimited Uber rides and lots of leisure time), but they’re house-sitting a mansion. While messing around in the yard, Tim finds a bone and a gun. Then Lee decides Tim needs to spend the weekend alone doing taxes in the mansion, so she takes their son to her mom’s. Famous actors doing poor imitations of real people appear. More bones are dug up. Conversations about adulthood, parenthood, marriage and spirituality are conducted. Leather jackets are worn. R. LIZZY ACKER. Kiggins.

7 Chinese Brothers

Fantastic Four

No brothers, no point, but a really cute dog.

D While neither Avengers: Age of

Ultron nor Ant-Man were total failures, they were, at least, fun. Fantastic Four is decidedly not fun and—with the exception of largely decent casting and some genuinely compelling flashbacks—a total failure. It is a gloomy, vacuous parade of junk science wherein four perfectly serviceable actors spend most of their time staring at computer holograms or strapped to hospital beds. The comics are kitschy, colorful affairs, and this mess is unbearably self-serious and claustrophobic. Worse yet, because Marvel once handed out its eternal big-screen rights like AOL discs—Fox is the culprit this time—audiences won’t even be rewarded for suspending their agonizing disbelief with cheeky references or guest appearances. Please God, make it stop. I’d ask Thanos, but for contractual reasons he cannot intercede. PG-13. CASEY JARMAN. Clackamas, Eveergreen, Movies on TV, Sandy.

The Gift

C The Gift is that rare mass-marketed psychological thriller that’s less concerned with scares than nuanced interiority. It’s as ominous, thoughtful and ultimately meaningless as any of the elaborate gifts left at the sparkling new home of Simon (Jason Bateman) and Robyn (Rebecca Hall). Following his dream job, the couple leaves Chicago for Simon’s hometown of Los Angeles, where a chance encounter with a forgotten schoolmate leads “Gordo the Weirdo” (writer-director Joel Edgerton) to aggressive efforts at rekindling a friendship Simon insists never existed. The meandering narrative makes us question how intently we should care about the empty actions of awful or absent characters. Some presents are perhaps best left unopened. R. JAY HORTON. Cedar Hills, Eastport, Clackamas, Bridgeport, City Center, Division, Evergreen, Fox Tower, Hilltop, Tigard, Wilsonville.

Hitman: Agent 47

D- According to the extensive voiceover (accompanied by some 3-D rate CGI, which plays a larger role in the film than most characters) that begins

sleeP aWay tHe Pain: Jason schwartzman.

It’s the end of the world as we know it every summer in Hollywood. All those Earth-in-the-balance blockbusters eventually leave you totally apathetic about the apocalypse. Because it really is the end of the world outside the theater, and maybe we’re a little sweaty, but we feel fine. That’s not just a 2015 thing: Times are always tumultuous for anyone who’s paying attention, and thus it is often argued that films like 7 Chinese Brothers—a semi-sitcom that ambles through funny vignettes for an hour and 15 minutes without making any sort of statement—can’t possibly matter. Sure, director Bob Byington’s protagonists are working-class, but they are unexcitingly reasonable when facing their First World problems. Maybe that’s all right. Because as the aforementioned blockbusters tend to burn us out on the whole concept of plot with capital P, we are in desperate need of anti-blockbusters in which nothing is at stake. The plot of 7 Chinese Brothers is incidental. It involves no brothers of Chinese origin (it’s an R.E.M. song, and the director is a music geek). Jason Schwartzman’s character jumps from job to job, drinks with his ailing grandmother, bathes his scene-stealing dog, and plays wingman to his deadpan friend Major Norwood (deftly played by TV on the Radio’s Tunde Adebimpe) with an emotionally vagueness that alternates from hilarious to infuriating. At his best, Schwartzman recalls Bill Murray in Broken Flowers or Tim Heidecker in The Comedy. The movie is, more than anything, a glorified showcase for Schwartzman’s face. Well, that long face, Byington’s taste in rock music, and the bright streets of Austin’s outskirts. As with The Comedy, 7 Chinese Brothers’ greatest missteps are its halfhearted stabs at Plot: Schwartzman’s character has what seems an epic drinking problem, but we never witness him getting legitimately drunk. We find out his dying grandmother is his only living relative, but their relationship reads as remarkably casual. It’s tricky to parse how much of the emotional ambiguity is written into the screenplay and how much of it is a result of the compelling force field of aloofness that Schwartzman carries throughout almost all his projects. Maybe there’s a disaffected target audience that finds muted reactions to small-stakes problems moving, just as there is, apparently, an audience that still thrills at crumbling buildings and CGI tidal waves. Lately I have found myself wondering if this great cinematic divide might help explain why we can no longer agree on reasonable solutions to real-life problems. CASEY JARMAN. B-

SEE it: 7 Chinese Brothers opens Friday at Cinema 21. Willamette Week SEPTEMBER 9, 2015 wweek.com

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Willamette Week SEPTEMBER 9, 2015 wweek.com

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Gaming Expo

MOVIES Inside Out

A Pretty much everybody in the

theater was sobbing at some point during Inside Out. It’s sad. Crushingly, relentlessly sad. And absolutely brilliant from writerdirector Pete Docter, (Up). It’s about young Riley, who has to move across the country for her dad’s job, and the tiny people in her head who represent her emotions. PG. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Mill Plain, Empirical, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Tigard, Wilsonville, Sandy.

The Man From U.N.C.L.E.

B+ If you walked out of Mission: Impossible: Rogue Nation and thought, “I can’t wait to see another spy thriller with too much punctuation based on a ’60s TV show,” then fear not. The film feels a lot like writer-director Guy Ritchie’s amazing heist flick Snatch: innovative action sequences, unflappable characters and lots of jazzy flute riffs. PG-13. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy. St. Johns Theater.

Minions

A Like the nose-tickling carbonation of a freshly cracked soda, Minions is light and makes you giggle. The little yellow creatures are leaderless after a run of fearless rulers like T-Rex, Napoleon and Count Dracula, so Kevin, Bob and Stuart set out to ﬁnd their next villainous king...or queen. PG. AMY WOLFE. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Movies on TV, Sandy,

Mission: Impossible: Rogue Nation

A None of this film’s merits is unique to the Tom Cruise-led series, but they add up to something that’s top-of-class for the genre. One of the most identifiable moments in any M:I movie is when a character pulls at the side of his face and you realize he is actually a completely different character wearing an incredibly convincing rubber mask. Even though you know it’s going to happen, Rogue Nation still got me every time. Sure, James Bond had his Walther P99 pistol-equipped surfboard, but Rogue Nation uses cool spy gadgets to perfection, like the sniper rifle built into a bassoon for all your opera-hall assassination needs. And Tom’s aging actually plays well in the movie without becoming a huge deal. Instead of discussing his age and whether it’s a problem. The only thing missing is the mushy, romancy stuff. But that’s another appeal of the franchise. It’s not sappy. It’s a tight action movie focused on talented people working together for the good (or harm? You have no idea!) of the world. PG-13. ALEX FALCONE. Bagdad, Cedar Hills, Eastport, Clackamas, Mill Plain, Moreland, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Tigard, Wilsonville.

Mistress America

B- Greta Gerwig’s newest collaboration with director Noah Baumbach has depreciated every day since I saw it. It’s a buddy movie about two intolerably self-centered women in New York. One is introverted college student Tracy (Lola Kirke from Gone Girl), who cares exclusively about getting published in a literary magazine and mumbling. The other is

social butterﬂy Brooke (Gerwig from Frances Ha), who seems like Jenna from 30 Rock without the success. They go on an adventure to raise money for biggy’s bad idea for a restaurant. It’s hard to get worked up over what is or is not being written in a college lit mag, though every student and a frightening number

of adults in the movie act like it’s the biggest deal. While the quasiintellectual banter is fun, I just can’t get too excited about whether or not two people I do not like are going to fulﬁll their terrible dreams. PG-13. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Hollywood, Living Room Theatres, Bridgeport, City Center.

No Escape

B A taut, relentlessly old-fashioned thriller that plays shamelessly upon the worst fears imagined by First World families on exotic vacations, No Escape at first appears uncomfortably exploitative of a presumed collective racism. From the moment a Texan couple (Owen Wilson and Lake Bell) arrives in a politically unstable Southeast Asian country, the film obsesses over the leads’ whiteness. The story completely follows obvious ethnic lines, inviting unwelcome historical parallels, and Pierce Brosnan reprises his role as a gin-soaked colonial guide and protector. But in this case, his twinkling parody of a British secret agent has gone to seed and the Yanks have no defining characteristics beyond unflagging optimism and cheerful ignorance. As the couple runs for their lives, the film romanticizes innocence abroad more than most homegrown genre vehicles have for generations. It ignores how the proud Americans illegally enter Vietnam by any means necessary, emphasizing instead how foreign nations are all intrinsically dangerous and tourists are all inevitably luckless. This theme, hammered home again and again, proves that at the end of the day, all politics are local. R. JAY HORTON. Cedar Hills, Eastport, Clackamas. Mill Plain, Living Room Theaters, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy, St. Johns Cinemas.

Phoenix

A Since its debut at the Toronto

International Film Festival last summer, the nominations keep coming for this concise, moving neo-noir set in postwar Germany. Nelly (Nina Hoss) has just returned from a concentration camp, her face disfigured beyond recognition. After recovering from reconstructive surgery, she learns of her massive inheritance, but is only concerned about finding her husband, Johnny (Ronald Zehrfeld). “I no longer exist,” she says after seeing her unfamiliar reflection, but her search for Johnny spirals into a far more twisted tale of what remains of her sense of self. Subtle clues illuminate the relationships between characters and their backstories— a glance, a murmur in passing. Director Christian Petzold crafts this stylish period piece without relying on dramatic lighting or odd angles, instead thickening the mystery with jarring cuts that keep the audience guessing. PG-13. LAUREN TERRY. Cinema 21, City Center.

Pixels

C I’ve got to hand it to Pixels: It’s refreshingly colorful for a summer blockbuster. Those who are bored by the sight of exploding national monuments can at least rejoice in a watching them reduced to rainbowcolored LED rubble. Visuals aside, though, you’d be hard-pressed to ﬁnd a memorable line of dialogue or a running gag that didn’t feel entirely played-out here. The allwhite cast is dull and unconvincing: Adam Sandler is utter cardboard, Peter Dinklage has an accent that doesn’t make any sense, and Kevin James as the president is a little too Chris Christie for comfort. Once the thrill of the leetle cubes wears oﬀ—and the plot-recapping closingcredits song, by Waka Flocka Flame and Good Charlotte, begins—one realizes a trip to Ground Kontrol would have been cheaper and more satisfying. PG-13. CASEY JARMAN. Eastport, Clackamas, Division, Movies on TV.

Ricki and the Flash

D It sounds all right on paper: the story of rocker mom Ricki Rendazzo (Meryl Streep), who left her kids and ex to focus on her career, returning home to comfort her newly divorced daughter, Julie (played by Streep’s real-life daughter Mamie Gummer). One expects another fresh, touching tale from the pen of Diablo Cody. But this ﬁlm has none of the soul that made Juno so endearing. Ricki’s rock persona relies on her Viking-like, half-braided hairdo and the scenes of her aging cover band are more cheesy than rock ’n’ roll, especially when they play covers like Pink’s “Lets Get It Started.” Besides a joke about Ambien shits, Gummer’s post-suicidal Julie doesn’t do much more than throw random angsty stabs at her absentee mother. Lacking any hook, the ﬁlm doesn’t give us cause to care when their relationship is inexplicably repaired after a mother-daughter salon visit. PG-13. LAUREN TERRY. Clackamas, Bridgeport, City Center, Fox Tower.

Shaun the Sheep Movie

A- In a vibrant return to traditional clay animation, Shaun the Sheep Movie tells a fresh story with the familiar painstaking imagery that makes Aardman Studios the “English Pixar.” A strong-willed sheep named Shaun has grown tired of his predictable life on a happy, picturesque farm in the country. His plan to distract the farmer for a play day goes awry, and the farmer is sent to the Big City with a nasty concussion. Out to find the confused farmer, Shaun befriends a stray dog and makes an enemy of the local animal control. While there is no actual dialogue, the expressive characters move the story along with inflection and swiftly punctuated visual jokes, as when Shaun and the sheep disguise themselves as humans and mimic the patrons in a posh restaurant. Steeped in the tongue-in-cheek charm of the original Wallace & Gromit, parents will find as much in store for them as their children. PG. LAUREN TERRY. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, Evergreen, Lloyd Center, Movies on TV, Sherwood, Tigard.

The Man from U.N.C.L.E. (PG-13) 11:00AM 1:50PM 4:45PM 7:30PM 10:25PM Trainwreck (R) 10:55AM 1:45PM 4:40PM 7:35PM 10:30PM Straight Outta Compton (R) 12:05PM 3:35PM 7:00PM 10:15PM War Room (PG) 10:55AM 1:45PM 4:35PM 7:25PM 10:20PM Ricki and the Flash (PG-13) 1:40PM 7:00PM Transporter Refueled, The (PG-13) 12:10PM ® 2:45PM ® 5:20PM ® 7:50PM ® 10:25PM ® Walk in the Woods, A (R) 11:30AM 2:10PM 4:50PM 7:30PM 10:10PM Visit, The (2015) (PG-13) 11:00AM 1:30PM 4:00PM 6:30PM 9:05PM Transporter Refueled, The (PG-13) 10:55AM 12:10PM 1:30PM 2:45PM 4:05PM 5:20PM 6:35PM 7:50PM 9:15PM 10:25PM

Un Gallo Con Muchos Huevos (PG-13) 11:20AM 2:05PM 4:45PM 7:20PM 10:05PM Fantastic Four (2015) (PG-13) 11:30AM 2:10PM 5:00PM 7:45PM 10:20PM Hitman: Agent 47 (R) 11:05AM 4:20PM 9:40PM Ant-Man (PG-13) 11:10AM 2:00PM 4:50PM 7:40PM 10:30PM Pixels (PG-13) 11:10AM 1:45PM 4:30PM 7:15PM 10:00PM 90 Minutes In Heaven (PG-13) 10:55AM 1:50PM 4:45PM 7:40PM 10:30PM Inside Out (PG) 11:15AM 1:55PM 4:35PM 7:15PM 9:55PM No Escape (R) 11:35AM 2:15PM 4:55PM 7:35PM 10:10PM Perfect Guy, The (PG-13) 12:00PM 2:35PM 5:10PM 7:45PM 10:20PM Mission: Impossible - Rogue Nation (PG-13) 12:45PM 4:00PM 7:10PM 10:15PM Minions (PG) 11:25AM 1:55PM 4:25PM 7:05PM 9:30PM Mission: Impossible - Rogue Nation (PG-13) 12:45PM ® 4:00PM ® 7:10PM ® 10:15PM ®

Perfect Guy, The (PG-13) 12:00PM 2:30PM 5:00PM 7:30PM 10:00PM Straight Outta Compton (R) 12:15PM 3:30PM 7:00PM 10:15PM War Room (PG) 1:00PM 4:00PM 7:00PM 10:00PM No Escape (R) 12:00PM 2:35PM 5:10PM 7:45PM 10:20PM The Man from U.N.C.L.E. (PG-13) 11:30AM 2:15PM 5:00PM 7:45PM 10:30PM Visit, The (2015) (PG-13) 12:15PM 2:40PM 5:10PM 7:40PM 10:05PM Walk in the Woods, A (R) 11:30AM 2:15PM 5:00PM 7:45PM 10:30PM Trainwreck (R) 1:00PM 4:00PM 7:00PM 10:00PM Transporter Refueled, The (PG-13) 12:00PM 2:30PM 5:00PM 7:30PM 10:00PM

Bhale Bhale Magadivoi (CineGalaxy) (NR) 12:20PM 3:30PM 6:40PM 9:55PM Gift, The (2015) (R) 11:40AM 4:50PM 1005PM Mistress America (R) 10:00PM Ant-Man (PG-13) 11:30AM 2:15PM 5:00PM 7:45PM 10:30PM Hitman: Agent 47 (R) 2:20PM 7:45PM Minions (PG) 12:35PM 2:55PM 5:15PM 7:35PM Mission: Impossible - Rogue Nation (PG-13) 1:15PM 4:15PM 7:15PM 10:15PM Inside Out (PG) 12:00PM 2:30PM 5:00PM 7:30PM 10:05PM Learning To Drive (R) 12:00PM 2:30PM 5:00PM 7:30PM 10:00PM

Shaun the Sheep Movie (PG) 11:35AM 2:10PM 4:30PM 7:05PM 9:30PM Sinister 2 (R) 12:00PM 2:35PM 5:15PM 7:45PM 10:30PM Walk in the Woods, A (R) 11:40AM 2:20PM 5:10PM 7:50PM 10:30PM Pixels (PG-13) 11:20AM 2:05PM 4:50PM 7:30PM 10:10PM Transporter Refueled, The (PG-13) 11:30AM 2:15PM 5:00PM 7:45PM 10:25PM Visit, The (2015) (PG-13) 11:45AM 2:30PM 5:05PM 7:30PM 10:15PM Straight Outta Compton (R) 11:30AM 3:00PM 6:30PM 10:00PM

The Man from U.N.C.L.E. (PG-13) 1:00PM 4:10PM 7:20PM 10:20PM No Escape (R) 11:15AM 2:00PM 4:40PM 7:25PM 10:05PM Gift, The (2015) (R) 11:25AM 2:10PM 4:55PM 7:40PM 10:20PM Hitman: Agent 47 (R) 11:20AM 4:35PM 10:00PM Perfect Guy, The (PG-13) 12:00PM 2:40PM 5:20PM 8:00PM 10:30PM Ant-Man (PG-13) 11:00AM 1:55PM 4:45PM 7:35PM 10:25PM Mission: Impossible - Rogue Nation (PG-13) 12:20PM 3:40PM 6:55PM 10:10PM Mistress America (R) 2:00PM 7:15PM Inside Out (PG) 11:05AM 1:40PM 4:25PM 7:10PM 9:55PM Minions (PG) 11:10AM 1:50PM 4:20PM 6:50PM

Visit, The (2015) XD (PG-13) 12:25PM 2:55PM 5:25PM 7:55PM 10:25PM

FRIDAY

Sinister 2

Like an Invisible Children army of the damned, innocent children are recruited to murder their loved ones by the evil spirit Bughuul in this Sinister ﬁlm. Not screened for critics. R. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Sandy, Wilsonville

Southpaw

B- There’s no way to describe Southpaw without making it sound like a list of boxing-movie clichés, because that’s exactly what it is. It’s also eﬀective in precisely the way it means to be. Director Antoine Fuqua borrows liberally from the pugilistic playbook here, putting Jake Gyllenhaal’s lightheavyweight champion through the ringer in a familiar tale of redemption. Undefeated Billy Hope loses everything in short order: his wife (Rachel McAdams), riches, entourage and daughter. Life goes from idyllic to catastrophic for the champ faster than he can yell, “Adrian!” Even a rookie could see Forest Whitaker’s no-nonsense trainer and Eminem’s hype song coming from a mile away. That probably won’t stop you from jumping out of your seat in bloodthirsty joy when Gyllenhaal punches the other guy in the head. R. MICHAEL NORDINE. Academy, Cedar Hills, Eastport, Clackamas, Fox Tower, Movies on TV.

CONT. on page 58 Willamette Week SEPTEMBER 9, 2015 wweek.com

MOVIES B Director Alex Gibney, who earlier

this year put L. Ron Hubbard and his acolytes under the microscope in Going Clear: Scientology and the Prison of Belief, swings his spotlight over to the Apple cult’s beloved leader in Steve Jobs: The Man in the Machine. Gibney’s sketch of Apple’s history and latter-day market dominance is perfectly serviceable, but the film doesn’t heat up until its final third, when Gibney gets to work on his de-canonization of St. Jobs, the Dylan-quoting monomaniac whose ostensible liberation theology belied a cold, calculating will to power. That a rich genius just cared mostly about himself is not all that surprising, and viewers who are even a little bit cynical about capitalist triumphalism won’t find any new fuel here. But we should remember Gibney’s film when the next savior starts talking sweet to us. R. CHRIS STAMM. Kiggins, Living Room Theaters.

Straight Outta Compton

C Telling the greatest story in the history of popular music—full of actual violence and sex and death and betrayal and redemption and brotherhood—wasn’t going to be easy. Especially since it attempts to follow three main story lines, as Dre, Cube and Eazy-E all get major play, with DJ Yella and MC Ren rightly relegated to bit-player status. And even more especially since it’s co-produced by the star subjects, who all want to manage their own images and follow their own arcs. That doesn’t really work here. As best I know, it’s a fairly faithful telling of the story, but it’s not the movie N.W.A. deserved. R. MARTIN CIZMAR. Cedar Hills, Eastport, Clackamas, Mill Plain, Hollywood, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, St. Johns Cinemas.

Tangerine

B+ Shot on an iPhone and featuring two fi rst-timers in the leading roles, Sean Baker’s fi fth feature resembles a debut fi lm. Taking place one sunny Christmas Eve, the fi lm is led by two transgender prostitutes whom we fi rst meet as they commune in the window seat of a Hollywood doughnut shop. Sin-Dee (Kitana Kiki Rodriguez) is fresh out of jail after a 28-day stint and looking to fi nd her unfaithful pimp boyfriend’s lover. The quest narrative that follows is often hilarious, giving a more groundlevel view of Los Angeles than in any other movie in recent years. Laughs abound, but so do moments of silent understanding in what’s ultimately an exploration of friendships that form between people with no one else to care about. That may not sound like much, but when everything else unravels, it’s more than enough. R . MICHAEL NORDINE. Laurelhurst.

Trainwreck

C Amy Schumer is the absolute tops. She’s right about way more things than she’s wrong about, and she’s absolutely killing it on your Facebook friends’ walls with sketches from her Comedy Central show Inside Amy Schumer, but Trainwreck isn’t worth the ticket price. Amy Schumer stars as Amy, a version of herself as a magazine writer instead of a comedy writer. She inexplicably falls in love with a boring guy (Bill Hader from Saturday Night Live) who loves her back unconditionally but for no apparent reason. It goes well for a while, then it doesn’t for a couple days, then it does again. That’s the entire plot, composed pretty much entirely of jokes, and many are straight from her standup. Not only does Amy Schumer sound like she’s just quoting her standup, all the characters sound like they’re quoting Amy Schumer’s standup. It’s as if a race of intergalactic Schumers invaded New York and decided to inhabit several human bodies: Amy Schumer stars in Invasion of the Sense-of-

Humor Snatchers. Schumer’s acting itself is a monotone smirk: Things are going well? Smirk. At a funeral? Smirk. Having sex? Smirk smirk smirk. Save your time, save your money, and most importantly, save your little heart from breaking over what this ﬁ lm could ’ve been. R . ALEX FALCONE. Cedar Hills, Clackamas, CineMagic, Bridgeport, City Center, Fox Tower.

AP FILM STUDIES C L AY G E R D E S

Steve Jobs: The Man in the Machine

Vacation

D+ You can look forward to the same opening tune of Lindsey Buckingham’s “Holiday Road,” but this spin on 1983’s National Lampoon’s Vacation replaces the original’s irreverent, campy charm with puke scenes and punch lines that rely on the comedic value of a child saying “vagina.” Rusty Griswold (Ed Helms) is all grown up and wants to refresh his relationship with his wife (Christina Applegate) and kids by re-creating his family’s road trip to Walley World. The drive from Chicago to California is a bumpy ride for middle-class Rusty, forced to defend his adequacy in the face of his wealthy sister, Audrey (Leslie Mann), and her well-endowed husband, Stone (Chris Hemsworth). Director John Francis Daley focuses more on Rusty’s emotional voyage than consistent laughs, but strategic cameos help to keep things light (including two of the Always Sunny in Philadelphia crew). Ultimately, Helms’ character is just too sad of a clown to ever make it out of Chevy Chase’s shadow, as is surely the fate of this sort-of remake. R. LAUREN TERRY. Oak Grove, Movies on TV,

A Walk in the Woods

B+ Based on Bill Bryson’s novel, this film shows Robert Redford as Bryson, embarking on a hike of the Appalachian Trail, joined by an estranged friend from his youth, Stephen Katz (Nick Nolte). The pair of older men, unfit for the strenuous length of the trail, meet skeptical glances from their perky, young fellow hikers and wheeze as troops of Boy Scouts trot past. At their age, even crossing the slick rocks of a minor stream amps up the tension along the way. Nolte is bloated and gravelly as ever, but as morbidly amusing as his physical comedy comes off, the screenplay sets up honest, candid conversations between two men coming to grips with their mortality. Director Ken Kwapis mixes in stunning shots of the pristine forests and seemingly mile-deep ravines, so awe-inspiring that, like Bryson and Katz, one is reminded that the need for validation is not at all the meaning of life. R. LAUREN TERRY. Cedar Hills, Eastport, Clackamas, Bridgeport, City Center, Division, Evergreen Parkway, Fox Tower, Hilltop, Lloyd Center, Movies on TV, Tigard.

We Are Your Friends

D The tale of a young, deadbeat DJ trying to make it in this tough EDM world, We Are Your Friends is essentially a music video from director Max Joseph—we haven’t heard of him, either—that wouldn’t get MTV air time. Cole (an eager Zac Efron) plays the DJ in a fratty quartet of friends rounded out by a promoter, a drug dealer and a token quiet guy. When Cole becomes involved with the girlfriend of his established DJ mentor, We Are Your Friends looks like it’ll be just another selfserving comedy a la Pineapple Express, etc. But those poor, porny jokes—“She better have been an 8 on a bad day”—don’t land hard enough for consistent laughs. The ﬁ lm does have a weepy inspirational message, though: Work hard and work together and things will just work out. Without any insight into the culture of EDM, we’re left with a bad millennial family movie sprinkled with tits and MDMA. R. MITCH LILLIE. Cedar Hills, Eastport, Clackamas. Mill Plain, Bridgeport, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard.

For more Movie listings, visit

Willamette Week SEPTEMBER 9, 2015 wweek.com

COUNTERCULTURE ROYALTY: The Cockettes.

Original Glitter Queens THE COCKETTES REVEALS A FORGOTTEN SIDE OF THE ’60S. BY A P KRYZA

apkryza@wweek.com

To the masses, San Francisco’s Haight-Ashbury scene of the 1960s evokes visions of flower children on acid trips and free love. But so much that defined the era gets glossed over, including a messianic, bearded man named Hibiscus who coated himself in glitter, threw on a dress and made as big an impact as any. With 2002’s The Cockettes, local director and QDoc co-founder Michael Weissman (co-directing with Bill Weber) tells the story of the group’s role as hugely influential and often overlooked pioneers of queer culture. Part vaudeville, part psychedelic freak show, part family and part drag revue, the Cockettes influenced everything and everyone from Rocky Horror to Bowie to Lou Reed with their stage shows and satirical films. In advance of its screening at Hollywood Theatre, Weissman sat down to chat about his award-winning, wartsand-all documentary. WW: How did you discover the Cockettes? Michael Weissman: I was a teenage hippie kid in Los Angeles, and I wasn’t out of the closet yet. I didn’t have much connection with gay people— certainly not drag—and all of a sudden you’d read in Rolling Stone or the L.A. Free Press about this gay, bearded drag-queen theater troupe. I saw their film Trish’s Wedding (1971), which was a parody of Nixon’s daughter Tricia’s White House wedding. It was a life-changing experience. I met a couple of Cockettes when I was out of high school living in Venice Beach, and when I moved to San Francisco in ’76, I met a range of people who had been involved. You have a lot of former Cockettes speaking in the film but, aside from John Waters, not a lot of outsiders. Sometimes documentaries have too many people, so you don’t get to develop a relationship with the people on screen. We didn’t want anyone in the film who didn’t have a direct involvement. It takes you out when you have people pontificating. I had to deal with some very difficult and eccentric people, and some unbelievably generous people. Then

there are people who—once you do find them—are suspicious. They may have had a bad history with the troupe, or felt they had been fucked over, or they wanted money. I got to meet all these people who were legendary to me, who were part of counterculture royalty. As somebody who was a fan going in, was it fascinating or distressing to see what your idols had become in reality? Some of them had very hard lives. All of them were very hard drug users. There was a lot of death from overdoses early on, but many died during the AIDS epidemic. But there’s nothing in the film that I didn’t already know. You have this counterculture revolution that’s very based on LSD and rejected bourgeoisie norms and pre-existing structure. It was a time of despair and incredible idealism. San Francisco was the most extreme flowering of all of those pieces: of politics and psychedelia and sexual exploration. Where do the Cockettes fall in that era’s legacy? It was just a couple years, but it did in a sense presage a darker cultural period. I’ve described them as being the last of the pre-ironic avant-garde—this happy, celebratory wildness that faded pretty quickly. SEE IT: The Cockettes screens at the Hollywood Theatre. 7 pm Sunday, Sept 13. $8. ALSO SHOWING:

Pix’s Movies at Dusk gets to the inevitable martini pairing with Dr. No. Pix Patisserie. Dusk Wednesday, Sept. 9. With Japanese animation legend Hayao Miyazaki once again returning from retirement—dude should collaborate with Jay Z—now’s the perfect time to revisit his masterpiece, Spirited Away. Academy Theater. Sept. 11-17. Terry Gilliam’s nutso Adventures of Baron Munchausen is a full-tilt fantasy yarn featuring Death, sea monsters and Robin Williams as the king of the moon. Hollywood Theatre. 3 pm Saturday-Sunday, Sept. 12-13. Long before Rian Johnson went all Sam Spade in a high school, 1962’s Fallguy brought a teenage sensibility to the hard-boiled world of noir. Hollywood Theatre. 7:30 pm Tuesday, Sept. 15.

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4122 NE Sandy Blvd., 503-281-4215 MISTRESS AMERICA FriSat-Sun-Mon-Tue-Wed 07:00 STRAIGHT OUTTA COMPTON Fri-Sat-SunMon-Tue-Wed 06:45, 09:45 BEST OF THE NW ANIMATION FESTIVAL Fri 07:00 THE ADVENTURES OF BARON MUNCHAUSEN Sat-Sun 03:00 THROWING SHADE Sat-Sun 07:00 THE COCKETTES Sun 07:00 OMSI SCIENCE PUB Mon 07:00 FALLGUY Tue-Wed 07:30 GOP DEBATE IN HECKLEVISION Wed CALL THEATRE FOR SHOWTIMES Wed FLASHBACK GAME ATTACK Wed 09:30

Clinton Street Theater

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Funnest Bus BY TYLER HU R ST

Cannabis news, culture & reviews from Portland.

potlander.com Willamette Week SEPTEMBER 9, 2015 wweek.com

243-2122

With closely cropped, military-style dark hair, a mustache and the gait of a soldier, Franco of Franco’s Finest doesn’t look much like a stereotypical cannabis grower. But after a stint in the Marine Corps and then a motorcycle accident, he turned to cannabis, and in 2009 began growing his own. Knowing he needed more than just product to make a name for himself in the emerging cannabis industry, he looked to throw parties starting July 10—710 is the new 420, as it spells “OIL” upside down, and is a day for dabbers. Enter Franco’s Finest Fun Bus. Billed as a mobile party venue with unlimited snacks, drinks and dabs, we joined Franco and his crew on his last two rides. If you’ve been on a good drunk bus, you know what the fun bus is like. Well, this is better. Plush leather seats. Three flat-screen TVs. A full-width restroom in the back. Satellite stereo. Compartments up front lined with garbage bags for puking. Oh, and the dab rig. Oh, that dab rig. Over a foot tall with a 700-degree nail attached, the dab rig is perched on Franco’s lap in the middle of the bus. Each of the 20-ish attendees takes turn after turn inhaling hits of Hot Mess, Pineapple Diesel and some standout Purple Buddha—grown by Franco—that turned my lingering nausea from a night of overindulgence into a pleasant, cloudlike experience. As the night grows longer and we make our three stops, we don’t talk about much other than the beautiful scenery whizzing by outside the large windows. There’s a somewhat regular chant of “Dab bus!” and woohoos whenever someone inhales a dab, but the din isn’t the raucous shoutouts and exaggerated conversations typically heard from groups of drinkers.

Except when Franco sets down the dab rig and addresses the crowd. Before and after each stop and during lulls in the line for dabs, he and/or his wife walk from front to back, taking videos, highfiving us, asking us how we’re all doing aboard the Franco’s Finest Fun Bus. He’s a showman. Some might call his brand a bit cheesy, but he’s not sitting on a war chest of funds from investors with a team behind him creating a marketing strategy—his personality drives this entire venture. In my two trips, we weren’t late for a planned event or stop. Perfect traffic aside, this attention to detail is what stood out while many were getting more stoned than we’d ever been before: We had people taking care of us. The Franco’s Finest brand may be one man, but his company certainly is not. While many tour companies have too few guides to join in, lead and be responsible during the festivities, the dab bus solved that issue before it ever became a problem. This kind of service doesn’t come free. Fourhour tours start at $98 and the all-day Saturday trip to Mount Hood at $200. Snacks but not meals are included, along with unlimited water and soda. Attendees can also bring their own food for themselves or to share, but we were not allowed to use open flame on the bus and were discouraged from using in public settings at stops, so leave your stuff at home. Gift bags given out when disembarking contained flower, concentrate, salve and marketing samples, which were worth the ticket price for my first trip, alone. GO: Franco’s Finest Fun Bus rolls again on Sept. 19. More info at francosﬁnest.com.

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MATT PLAMBECK

Week of September 10

ARIES (March 21-April 19): “More and more I have come to admire resilience,” writes Jane Hirshfield in her poem “Optimism.” “Not the simple resistance of a pillow,” she adds, “whose foam returns over and over to the same shape, but the sinuous tenacity of a tree: finding the light newly blocked on one side, it turns in another.” You have not often had great access to this capacity in the past, Aries. Your specialty has been the fast and fiery style of adjustment. But for the foreseeable future, I’m betting you will be able to summon a supple staying power -- a dogged, determined, incremental kind of resilience. TAURUS (April 20-May 20): “The fragrance from your mango groves makes me wild with joy.” That’s one of the lyrics in the national anthem of Bangladesh. Here’s another: “Forever your skies . . . set my heart in tune as if it were a flute.” Elsewhere, addressing Bangladesh as if it were a goddess, the song proclaims, “Words from your lips are like nectar to my ears.” I suspect you may be awash with comparable feelings in the coming weeks, Taurus -- not toward your country, but rather for the creatures and experiences that rouse your delight and exultation. They are likely to provide even more of the sweet mojo than they usually do. It will be an excellent time to improvise your own hymns of praise. GEMINI (May 21-June 20): There have been times in the past when your potential helpers disappeared just when you wanted more help than usual. In the coming weeks, I believe you will get redress for those sad interludes of yesteryear. A wealth of assistance and guidance will be available. Even people who have previously been less than reliable may offer a tweak or intervention that gives you a boost. Here’s a tip for how to ensure that you take full advantage of the possibilities: Ask clearly and gracefully for exactly what you need. CANCER (June 21-July 22): Why grab the brainscrambling moonshine when you may eventually be offered a heart-galvanizing tonic? Why gorge on hors d’oeuvres when a four-course feast will be available sooner than you imagine? According to my analysis of the astrological omens, my fellow Crab, the future will bring unexpected opportunities that are better and brighter than the current choices. This is one of those rare times when procrastination may be in your interest. LEO (July 23-Aug. 22): As I hike up San Pedro Ridge, I’m mystified by the madrone trees. The leaves on the short, thin saplings are as big and bold as the leaves on the older, thicker, taller trees. I see this curiosity as an apt metaphor for your current situation, Leo. In one sense, you are in the early stages of a new cycle of growth. In another sense, you are strong and ripe and full-fledged. For you, this is a winning combination: a robust balance of innocence and wisdom, of fresh aspiration and seasoned readiness. VIRGO (Aug. 23-Sept. 22): I hope it’s not too late or too early to give you a slew of birthday presents. You deserve to be inundated with treats, dispensations, and appreciations. Here’s your first perk: You are hereby granted a license to break a taboo that is no longer useful or necessary. Second blessing: You are authorized to instigate a wildly constructive departure from tradition. Third boost: I predict that in the next six weeks, you will simultaneously claim new freedom and summon more discipline. Fourth delight: During the next three months, you will discover and uncork a new thrill. Fifth goody: Between now and your birthday in 2016, you will develop a more relaxed relationship with perfectionism. LIBRA (Sept. 23-Oct. 22): A “wheady mile” is an obsolete English term I want to revive for use in this horoscope. It refers to what may happen at the end of a long journey, when that last stretch you’ve got to traverse seems to take forever. You’re so close to home; you’re imagining the comfort and rest that will soon be yours. But as you cross the “wheady mile,” you must navigate your way through one further plot twist or two. There’s a delay or complication that demands more effort just when you want to be finished with the

story. Be strong, Libra. Keep the faith. The wheady mile will not, in fact, take forever. (Thanks to Mark Forsyth and his book Horologicon.) SCORPIO (Oct. 23-Nov. 21): Trying improbable and unprecedented combinations is your specialty right now. You’re willing and able to gamble with blends and juxtapositions that no one else would think of, let alone propose. Bonus: Extra courage is available for you to call on as you proceed. In light of this gift, I suggest you brainstorm about all the unifications that might be possible for you to pull off. What conflicts would you love to defuse? What inequality or lopsidedness do you want to fix? Is there a misunderstanding you can heal or a disjunction you can harmonize? SAGITTARIUS (Nov. 22-Dec. 21): Is feeling good really as fun as everyone seems to think? Is it really so wonderful to be in a groove, in love with life, and in touch with your deeper self? No! Definitely not! And I suspect that as you enter more fully into these altered states, your life will provide evidence of the inconveniences they bring. For example, some people might nag you for extra attention, and others may be jealous of your success. You could be pressured to take on more responsibilities. And you may be haunted by the worry that sooner or later, this grace period will pass. I’M JUST KIDDING, SAGITTARIUS! In truth, the minor problems precipitated by your blessings won’t cause any more anguish than a mosquito biting your butt while you’re in the throes of ecstatic lovemaking. CAPRICORN (Dec. 22-Jan. 19): In this horoscope, we will use the Socratic method to stimulate your excitement about projects that fate will favor in the next nine months. Here’s how it works: I ask the questions, and you brainstorm the answers. 1. Is there any part of your life where you are an amateur but would like to be a professional? 2. Are you hesitant to leave a comfort zone even though remaining there tends to inhibit your imagination? 3. Is your ability to fulfill your ambitions limited by any lack of training or deficiency in your education? 4. Is there any way that you are holding on to blissful ignorance at the expense of future possibilities? 5. What new license, credential, diploma, or certification would be most useful to you? AQUARIUS (Jan. 20-Feb. 18): The story of my life features more than a few fiascos. For example, I got fired from my first job after two days. One of my girlfriends dumped me without any explanation and never spoke to me again. My record label fired me and my band after we made just one album. Years later, these indignities still carry a sting. But I confess that I am also grateful for them. They keep me humble. They serve as antidotes if I’m ever tempted to deride other people for their failures. They have helped me develop an abundance of compassion. I mention this personal tale in the hope that you, too, might find redemption and healing in your own memories of frustration. The time is right to capitalize on old losses. PISCES (Feb. 19-March 20): It’s never fun to be in a sticky predicament that seems to have no smart resolution. But the coming days could turn out to be an unexpectedly good time to be in such a predicament. Why? Because I expect that your exasperation will precipitate an emotional cleansing, releasing ingenious intuitions that had been buried under repressed anger and sadness. You may then find a key that enables you to reclaim at least some of your lost power. The predicament that once felt sour and intractable will mutate, providing you with an opportunity to deepen your connection with a valuable resource.

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