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CHANTI DARLING and nine other local acts you need to hear right now. Page 12 WWEEK.COM

VOL 42/19 3.9.2016



Willamette Week MARCH 9, 2016









The Old Town “Entertainment District” is not quite the

Portland’s New Best Band is not a fan of “all these little indie

unalloyed gift to douchedom it might seem. 4

dudes that are calling themselves R&B.” 13

It’s tough to find takers for a 1,272-square-foot Pearl District apartment priced at $4,907 a month. 6

If you are a fan of humor site The Chive, there is a bar for you, with Chive beer and Chive TV. 41

Uber and Lyft are even cheaper now! 7

Los Angeles will soon be home to two of the three comedians judged the best in town by their peers. 42

You can now be successfully sued for reposting public records. 11

If you want to see The Godfather on 35 mm, there is a place. 50



Chanti Darling photographed by Matt Wong.

Our favorite spring hikes.

STAFF Editor & Publisher Mark Zusman EDITORIAL News Editor Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Rachel Monahan, Beth Slovic Copy Chief Rob Fernas Copy Editors Matt Buckingham, Madeline Luce Stage & Screen Editor Enid Spitz Projects Editor Matthew Korfhage Music Editor Matthew Singer Web Editor Lizzy Acker Books James Helmsworth

Visual Arts Enid Spitz Editorial Interns Peter D’Auria, Karina Buggy, Sophia June CONTRIBUTORS Mike Acker, Dave Cantor, Nathan Carson, Alex Falcone, Shannon Gormley, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Mark Stock PRODUCTION Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Alyssa Walker Graphic Designers Rick Vodicka, Xel Moore Production Interns Gerardo Getzair de Osio, Michaela Fujita-Conrads

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Willamette Week MARCH 9, 2016



This is a story of a privileged male just now realizing there is still gender discrimination [“Men Need Not Apply,” WW, March 2, 2016]. I’m sorry you lost your dream job. Join the club. I gave up the career I loved after 13 years of being told I couldn’t be promoted because I didn’t have a penis or “know my place as a woman.” Every woman you know has lost a dream job. To a man. So because one man lost his, and finally realized things aren’t equal, we should what? Parade? Protest? Weep? —Gibson Jacobs WILLAMETTE WEEK

So take your pick—neither mayoral candidate is good on the environment on this issue. I won’t vote for either man. —“trees” #PDXMAYOR: LET’S KEEP DEBATING. FEMINIST WIKIPEDIA EDITS.


VOL 42/18 03.02.2016

This article is about someone who has chosen to fight a battle he thinks is right. This isn’t some BS “reversediscrimination” whining from a person of privilege—this is an article about someone who sounds like a fantastic human being. —“PDX97206”


Jules Bailey unambiguously voted to fund and build the Oregon-only version of the Columbia River Crossing [“Double Crossing,” WW, March 2, 2016]. Even ignoring the huge environmental problems with that project, the Oregon-only proposal was extremely fiscally irresponsible. But Ted Wheeler’s hands are not very clean either, in terms of fiscal responsibility. He easily could have issued a stronger statement against the Oregon-only proposal. Instead, his attempt to straddle the issues meant that the CRC’s proponents continued to spend tens of millions for several more months.


Why do the cops close off the streets in Old Town on weekends? You’d think they’d be cracking down on all the date-rapey bros and blacked-out douchettes who go there to get their drink on, not rolling out the red carpet for them. —The Mean Dad From Footloose

As someone who will soon be old—really old, like where you can call an ambulance because you’re bored and no one even gets mad—I sympathize with your hostility to young people enjoying themselves. Why can’t they just drink at home, alone, sobbing quietly in the dark like grown-ups? That said, the Old Town “Entertainment Zone” is not quite the unalloyed gift to douchedom that it might seem. The area around Northwest 3rd Avenue and Davis Street has a lot of bars and clubs that cater to the X Games crowd, and it’s been a trouble spot for years—police calls, fights, public intoxication, Willamette Week MARCH 9, 2016


“Every woman you know has lost a dream job. To a man.”

A wise employer would reward performance rather than focus on genetics. —“ChasJo”



Wheeler, let me help you out right now. Leave the CRC alone—abandon it. Take up cleanup. Clean up the air pollution. Clean up the river banks. Clean up the out-of-control camping, garbage, used needles. Clean up the corruption among the City Council. Clean up the roads, fill in the potholes, and strengthen the bridges. You do the cleanup first, then you tackle affordable housing. —“Fracturelines”


Oops! Another taxpayer-funded state agency charged with protecting Oregonians drops the ball [“Toxic Waste,” WW, March 2, 2016]. Disappointing but, sadly, not surprising. Ask anyone who has sat in his car in long lines at a Department of Environmental Quality inspection facility in the past 10 years, watching the horseplay among employees in the alternating stations that have no customers at all. There are long-standing accountability and oversight problems at DEQ. —“FWIW”


I ate at Paiche recently. It was simply astounding [“Big Fish,” WW, March 2, 2016]. We shared four dishes, a Pfriem and the smoothie. I cannot recommend the food here enough. —Todd Norvell LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Email:

drunk driving…you know, fun! In 2013, inspired by the example of cities like New Orleans (also noted for roiling masses of booze-fueled humanity), Portland decided to make a few blocks pedestrian-only during the peak party hours of 10 pm to 3 am on Friday and Saturday. This has the obvious benefit (or drawback, depending on your point of view) of keeping wasted millennials from getting run over by automobiles. However, because there’s no on-street parking during the closure (cars left there get towed, easily the program’s least-popular feature), it’s also much easier for police and club security to keep an eye on revelers. You might not think that simply taking away a drunken person’s ability to hide behind a parked car would take a bite out of crime, but by all accounts it has. So don’t be too outraged, Dad—in a sense, the cops are cracking down. And anyway, most of these kids will only have about six months to party between their 21st birthday and parenthood; might as well let them enjoy it.

QUESTIONS? Send them to

Willamette Week MARCH 9, 2016



rent for a 1,272-square-foot, two-bedroom penthouse in Block 17 tops out at $4,907, according to online listings.

Fritz Gets Challengers FBI Agent Investigated in Finicum Shooting

The Jan. 26 fatal shooting of anti-government militant LaVoy Finicum by Oregon State Police officers was justified, according to the results of a law enforcement investigation released March 8. But the investigation by the Deschutes County Sheriff’s Office also found that at least one FBI agent may have lied about firing two shots during the confrontation with Finicum, a 54-year-old Arizona rancher who helped take over the Malheur National Wildlife Refuge. The U.S. Department of Justice is investigating the FBI agent for possible misconduct. In a dramatic press conference, officials released video and audio footage taken by militant Shawna Cox from inside the pickup truck Finicum was driving—including the moments after he stepped out of the truck and was killed. “You’re gonna have to shoot me,” Finicum yells, seconds before the Oregon State Police fire.

Pearl District Apartment Market Cools

Portland’s scorching-hot apartment rental market may finally be cooling down—at least at its upper reaches. The Pearl District apartment tower Block 17, one of the city’s most expensive buildings, is offering six weeks’ free rent to entice tenants. In all, 166 of the 281 apartments in the 16-story tower on Northwest Overton Street are vacant, even though the building was fully open Dec. 15, an official with developer Wood Partners tells WW. Block 17 is advertised as a “gated community” with maid service, “local organic food delivery” and pet-washing stations. The offer of six free weeks suggests the rent hikes the city has seen in recent years could be slowing. But don’t cancel your lease just yet: Monthly


Willamette Week MARCH 9, 2016



Portland Commissioner Amanda Fritz won’t get to waltz into a third term after all. Just one day before the March 8 filing deadline for the May 17 primary election, Fritz drew two opponents—anti-Wi-Fi activist David Morrison and anti-street-fee activist Ann Sanderson. Sanderson, a Woodstock neighborhood business owner, tussled with Commissioner Steve Novick, not Fritz, over Novick’s 2014 push for a fee on residents and businesses to pay for road repairs. But Novick already had eight opponents when Sanderson jumped in the fray March 7. Sanderson says she’s taking on Fritz because the entire City Council needs shaking up. “City Council says they listen, but they don’t really hear us,” she says. “This is an opportunity to make widescale change.”

Portlanders Play in Presidential Primary

Portlanders are drawing national attention for their forays into presidential politics. Local music agency Marmoset grabbed the spotlight after Rolling Stone incorrectly reported Hillary Clinton’s campaign paid the Portland firm $90,000 to compile a musical playlist for rallies. (Clinton actually paid Marmoset $9,000 for musicusage rights.) Portland political organizer Henry Kraemer made headlines for founding a political action committee called “Trump Has Tiny Hands PAC.” And Division Street ceramics artist Ariel Zimman is selling hash pipes featuring the logo of Sen. Bernie Sanders. “If they need me to stop and ask me to stop, I’ll stop,” she told United Press International.


SEATTLE: Other cities look north

to Seattle as a model for sanctioning homeless camps, like downtown Nickelsville. But it’s an unauthorized camp—the Jungle, which runs for 3 miles under Interstate 5— that’s in the national news after a shooting there killed two people in January.

PORTLAND: Since Hales announced his new camping policy in February, city officials have explored hosting tents in city-owned parking garages, swept a camp out from under the Steel Bridge, and voted to host the camp Right 2 Dream Too on city land.

EUGENE: City officials have permitted “rest stops” where up to 20 people can sleep in tents. The city has also attracted international attention for hosting 30 tiny houses in Opportunity Village, a site modeled after Portland’s longtime camp Dignity Village.

SACRAMENTO: City council

members toured Seattle’s authorized camps in February, considering whether to try a similar model back home. Most council members said they supported the idea. “I’m now the cold-hearted bastard,” a holdout sighed to The Sacramento Bee.

$1.59 Million THE BIG NUMBER

Albertson’s, the Idaho-based grocery chain, last week gave $1.59 million to Oregonians for Competition, the campaign seeking to privatize liquor sales in Oregon with a November ballot measure. That’s the biggest contribution in at least a decade—and perhaps ever—to a

Tent Cities

HOMELESS CAMPS SPARK A GROWING DEBATE ALONG THE WEST COAST. Few debates have polarized Portland like the decision by Mayor Charlie Hales last month to allow people to sleep on the sidewalks between 9 pm and 7 am (“A Field Guide to Urban Camping,” WW, Feb. 7, 2016). But Portland is far from the only West Coast city dealing with highly visible homeless camps. Up and down the Pacific rim, homeless encampments—both sprawling and organized—have sparked concern and outrage this winter. The West Coast’s biggest cities are taking divergent approaches. AARON MESH.

SAN FRANCISCO: Last month, Mayor Edwin Lee

ordered the eviction of a 50-tent homeless camp beneath an overpass at the edge of the Mission District. Police swept the remaining campers March 1. The Division Street camp had become a flashpoint between San Francisco’s homeless people and business owners.

measure that has yet to collect the signatures needed to qualify for the ballot. The same group spent more than $2.5 million in 2014 but did not get a measure onto the ballot. In 2011, Costco spent more than $20 million to pass a similar measure in Washington. NIGEL JAQUISS.

FARE SHARE The ride-hailing company Uber reduced its prices nationwide in February. The idea, Uber said, was to increase ridership. But Portland drivers are complaining they need to work longer hours and pay more for gas to keep up. This week, Lyft cut its prices to match Uber’s. Drivers are discussing forming a union. The lower rates take a bite out of what drivers take home after paying a 20-percent surcharge to Uber. Newer drivers give even more to Uber: 25 percent. Before the change, a 13-minute, 4-mile journey from Providence Park to Prost! on North Mississippi Avenue would cost a passenger about $13. With the price cuts, the same ride would cost about $10. Drivers say that means they’re taking home about $7 instead of $9. BETH SLOVIC.


camps around the city for years—and last year, city officials changed the rules to make crackdowns easier. A formerly homeless man named Elvis Summers donated about three dozen tiny houses on wheels to people living on the streets. In February, the city began seizing the tiny houses.




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E M I LY J O A N G R E E N E ; P O R T L A N D B U S I N E S S J O U R N A L ; W W S T A F F


GOING HOME: Douglas Square, on Southeast 87th Avenue, is home to many Cantonese immigrants.


On Jan. 27, a frightening notice arrived on the doorsteps of 36 apartments in the heart of Portland’s Jade District, a hub of the Asian community along Southeast 82nd Avenue. The notice said utility charges were going up for all units in the building, called Douglas Square. That amounted to a 10 percent rent hike for a two-bedroom apartment, from $795 a month to $845. For the dozens of first-generation Cantonese immigrants in the building—few of whom speak English—that represents a sizable sum. “It’s a huge amount,” says one resident, who asked not to be identified for fear of reprisal from the landlord. She says her family moved to Portland from Guangzhou, China, for a better life. “Now it seems like it’s not better. The price of food, the rent and tuition is increasing, and we are making the same amount.” The utility charge increases, which go into effect May 1, are a warning sign of a significant shift in the Portland housing market—and another dilemma for city leaders trying to keep housing affordable. The previous landlord at Douglas Square, one of the city’s largest, has for decades been renting out the apartments to the working class, raising rents slowly on a building that was built in 1974 and hasn’t changed much since. But the real estate magnate, Joe Weston, is now transferring his holdings to his charitable foundation, which is selling them off in order to give away the proceeds.

The new landlord at Douglas Square—a Californiabased company called Cascade Investments—is coming in, fixing things up and raising prices on immigrant families who fear even larger hikes are in store. In the coming years, more apartments from Joe Weston’s extensive holdings could be exposed to dramatic rent increases. That presents a test for Portland City Hall, which has pledged to keep the city from becoming too expensive for working-class residents. But the city’s Housing Bureau had an opportunity two years ago to buy Douglas Square and keep it affordable. It didn’t. “The city talks a better talk than they did 10, 15 years ago, but in terms of dollars spent, I just haven’t seen it in the Jade District,” says Duncan Hwang, associate director of the Asian Pacific American Network of Oregon. “We don’t have affordable housing at all. The Douglas Square building might have been our first, but they didn’t go with that.” Douglas Square was sold in November to an investor for $2.6 million. The proceeds went to the charitable Joseph E. Weston Public Foundation. Weston is one of the largest apartment landlords in Portland. He owns an estimated 2,500 apartments, many of them older, motor-lodge-style buildings nestled in neighborhoods across Northeast and Southeast Portland. Weston has been slowly donating his real estate holdings to charity. In the past five years, Weston has sold 750 apartments, he says, adding he’s already picked the next three or four buildings to transfer to his foundation. “I’m in the process of getting rid of them,” he said, noting he’s 79. “I’m not going to live forever. I’m not Methuselah.” Weston’s foundation is set up as a branch of the Oregon

Community Foundation, which has the general mission to “improve the lives of all Oregonians.” In 2014, the latest year for which its financial records are publicly available, Weston’s foundation donated $939,810 to the Archdiocese of Portland, $562,000 to Central Catholic High School, and a half-million dollars in scholarships to private-school students and college kids in their first year at an Oregon public university. Hwang wonders why some of that money didn’t go to the Cantonese immigrants affected by the sale. “I would think foundations would have a higher duty not to do harm in real estate investments,” Hwang says. Weston says he’s willing to sell his buildings to housing nonprofits—to do his part to keep the units affordable. “I’d give preference if they could come up with the money,” he says. In 2014, the housing nonprofit Rose Community Development Corporation asked the Portland Housing Bureau for a $4.6 million loan to buy and refurbish the building. Among its reasons for asking for the funding was the “vulnerable” immigrant population served by the building. The city chose to fund other projects instead. “Unfortunately, there’s a history of the city acting too late on gentrification,” says Nick Sauvie, director of Rose CDC. Commissioner Dan Saltzman, who oversees the Housing Bureau, says the city didn’t have enough money in its 2014 budget for a loan to buy Douglas Square. “It’s especially important to focus on areas that are in the beginning stages of gentrification,” Saltzman says, “like East Portland.” The city now says it’s ready to buy Weston’s properties. Director Kurt Creager of the Housing Bureau says the agency’s proposed budget this year includes a rental rehabilitation program designed to buy market-rate but low-cost rental buildings that go up for sale. “The Portland Housing Bureau will be prepared to facilitate acquisition and preservation of these marketaffordable units when and if they are made available by the Joseph E. Weston Public Foundation,” he says. Willamette Week MARCH 9, 2016


e m i ly j o a n g r e e n e


glass houses: Pediatrician Monique Pritchard didn’t want to scare her son Matteo with details of his test results for heavy metals. “I basically said, his was a little high,” says Pritchard, “and that I’m going do everything I can to make it better.”


books P. 47

Food & drink P. 26 10

Willamette Week MARCH 9, 2016

results of children under age six can be falsely high and should be interpreted carefully with an expert.” The first results of those tests have now begun to arrive. Parents are sharing information—and compiling their children’s cadmium levels on a website. But for many parents living nearby, the test By peter D’au r ia 243-2122 results have offered little reassurance—only Libby Borte’s 3-year-old daughter didn’t under- more confusion and worry. stand why her parents wanted to collect her urine. Monique Pritchard is co-owner and medical “She was upset we wanted to take her pee to director of Sellwood Medical Clinic. She lives in the doctor,” Borte says. “After a long, tearful pre- Ladd’s Addition, about a mile from Bullseye Glass. schooler conversation about ‘pee belongs in the Pritchard, a pediatrician, had her two children toilet’ and ‘is there something wrong with me?’ tested immediately after she saw news of the conshe agreed to send it in.” taminated moss. Her 7-year-old son Matteo tested The Borte family has lived about six blocks at 1.8 micrograms per liter of cadmium—above the from the Bullseye Glass Co. factory at 3722 SE 21st typical upper limit of 1.2 micrograms. Ave. for 10 years. When U.S. Forest Service tests on Since Matteo’s results came back, Pritchard has moss samples taken across the city found high con- done extensive research into the health effects of centrations of two toxic heavy metals— arsenic and cadmium. She says she’s cadmium and arsenic—in neighborhoods installed air purifiers in her house, and “i don’t near Bullseye, Libby Borte decided to get her family takes their shoes off when know her two kids tested. coming indoors, so as not to introduce The test results showed both Borte what the potentially contaminated soil. Matteo children’s urine contained significantly numbers takes dietary supplements to maintain more than the normal range of arsenic his levels of iron and calcium, which mean,” she Pritchard says mitigate the effects of and cadmium. “I was just pinging back and forth,” says. “not the heavy metals. Borte says, “between ‘oh shit’ and ‘we But Pritchard admits that Portland’s too many medical community doesn’t have all don’t know what this means.’” The five weeks since The Portland doctors the answers. Mercury first reported the high pollution “Physicians, especially in this comdo, it levels near the Bullseye and Uroboros munity, we haven’t had a lot of experiglass factories have been filled with ence with that,” she says. doesn’t uncertainty for families living in the April St. John, a pregnant mother seem.” Southeast and North Portland neighborliving in the Brooklyn neighborhood, hoods surrounding the plants. says her children tested within the William Lambert, the head of epidemiology normal range for cadmium and arsenic. at Oregon Health & Science University, says that But her own results showed nearly twice the prolonged exposure to high levels of arsenic and normal levels of arsenic. cadmium is unlikely to pose immediate health “I am trying to withhold the panic and fear of threats, but may have long-term effects. my results until I talk with a specialist,” St. John “The concern is for long-term exposures across says. She has an appointment this week at the a lifetime that may raise the population risk for Northwest Perinatal Center. “I don’t know what bladder, kidney and lung cancer, and organ damage the numbers mean,” she says. “Not too many (chronic obstructive pulmonary disease or kidney doctors do, it doesn’t seem.” disease),” Lambert tells WW in an email. Borte has purchased $150 worth of nutriLocal and state health officials have issued simi- tional supplements from a naturopath’s office. lar warnings about these risks—but admit they still She keeps her children from playing in the yard don’t fully understand what the toxic moss samples for fear the soil may be contaminated. mean for human health, especially in children. She’s still unsure if her children are in danger. “Testing is an individual decision,” reads a March “Our pediatricians don’t know,” she says. “Do I 4 document released by two state agencies and the need to worry? I don’t know.” Multnomah County Health Department. “Test


@lisadunnpdx | 877.274.0410


J O N W E R R I N / E D I T E D B Y W W S TA F F

A ruling last month in a Portland defamation case could have wide-reaching effect on what people can say about each other on social media—even if those statements are true. A Multnomah County Circuit Court jury ruled that a local member of the Burning Man community intentionally inflicted emotional distress on another man with two Facebook posts and a website that described him as a danger to women. The jury awarded Joseph A. Brown $2,200 for emotional distress, even though it found the posts and website created by Phil Hutchinson did not defame Brown or portray him in a false light. That’s an unusual verdict, says Kyu Ho Youm, a media law professor at the University of Oregon. “To find someone guilty of intentional infliction

he didn’t intend to harm Brown but felt he needed to “alert the community to behavior [he] believed caused danger to women who might interact with Mr. Brown.” Hutchinson says he built the website because he wanted to substantiate his claims. “I thought it would be better than just another vague post on Facebook,” he tells WW. Hutchinson made the posts and the website after Brown repeatedly broke a no-contact request from an ex-girlfriend (who was Hutchinson’s former roommate) and attempted to apply for services at the nonprofit where she was employed. Jonathan Radmacher, Hutchinson’s attorney, says Hutchinson, in crafting the website, was acting within reason. “Phil used public record and didn’t delve beyond that,” Radmacher says. “But the jury saw it as some kind of vendetta against Brown.”

of emotional distress [without defamation] is extremely unusual,” Youm says. He says juries rarely find someone liable for intentionally inflicting emotional distress unless they’ve spread lies. “We are talking about something way outside the boundary of decency.” WW first reported in December about Brown’s lawsuit against Hutchinson (“Burned Out,” WW, Dec. 16, 2015). On Jan. 30, 2015, Hutchinson wrote a public Facebook post about Brown, alleging he had been ostracized from multiple social circles “for not respecting boundaries and the withholding of sexual consent.” In a second Facebook post on Feb. 11, 2015, Hutchinson posted a link to a website he created that features several public records related to Brown’s legal history. That history comprises an arrest for voyeurism, restraining orders— including one from his ex-wife—three stalking orders, and a conviction in a “complex burglary case” that culminated in Brown allegedly breaking into a woman’s house and climbing into bed with her. In a sworn court declaration, Hutchinson stated

Civil suits, Radmacher says, do not set legal precedent, but Hutchinson still has to pay Brown the $2,200 in damages. Brown’s lawyer, Rebecca Cambreleng, declined to comment on the verdict. Brown could not be reached for comment. The verdict raises questions about what individuals can and cannot post on social media and what is and is not protected speech on the Internet, where the lines between traditional and social media are becoming increasingly blurred. “[Hutchinson] was doing a kind of blogging, and his intention has to do with calling attention to very serious public issues,” Youm says. “More people are talking about these kinds of things through their own blogs and websites, and I’m not sure it’s so outrageous as to make a claim to intentional infliction—especially with the evolving journalistic landscape.” One of the women who testified against Brown, whose name WW is withholding, says she’s hesitant to speak about Brown publicly. “It’s scarier now to post anything, because you could be fined for speaking out,” she says. “It’s absurd.” Willamette Week MARCH 9, 2016



e’re about to start an argument. In 2004—back when folks did their trolling in person—we launched our annual Best New Band issue, and even then, we knew people were going to fight about the results. Maybe it’s the word “best,” or our loose definition of “new,” or even the idea of what constitutes a “band.” Maybe it’s all three. But in Portland, arguing about music is a civic tradition that predates social media and comments sections. We just care about it so deeply—especially the local stuff. Twelve years later, the wrangling continues, now in digital form. And with this issue, it will start again. But before firing off your annual tirade about how we got it all wrong, you should know what you’re getting worked up about. First, “we” had little to do with it. This isn’t an arbitrary list of artists Willamette Week decided to anoint. Instead, it’s the result of polling more than 200 music insiders—the people going to shows every

BEST NEW BA ND night, obsessively reading zines and blogs and scanning Bandcamp and Soundcloud pages. There’s not any shadowy cabal oppressing your buddy’s shitty metalcore band: You can read every ballot at, and we’ve provided the names of notable voters in the following pages. Fact is, what our Best New Band issue does is take a snapshot of the music scene at this moment. And what it’s captured recently is a community in transition. We built this city on rock ’n’ roll, but it’s now being retrofitted for hip-hop, soul and electronic music. Our top vote-getter this year is the brainchild of a military brat who grew up all over the world, absorbed his mom’s Prince and Evelyn “Champagne” King records, and emerged here as a self-styled R&B savant. Guitar-driven bands still exist, of course, but while some crank up the volume, others are more apt to use their instruments to paint heavenly, psychedelic dreamscapes. And after years of wondering where all the rappers are, they’re now finishing in the poll’s top three, and producing some of the most powerful, vibrant and future-forward sounds in the city. It’s a testament to how New Portland isn’t only changing, but evolving and diversifying. Of course, you’re still welcome to be mad that your favorite emo-jazz troupe or health-goth revival ensemble didn’t make the cut. It’s why we do this— to get people talking about the music being made right here in town. Just make sure that when you’re done calling us stupid hipsters, you don’t forget to leave a link, so we can hear what we’re missing. See you in the comments. —Matthew Singer, WW music editor Chanticleer Tru (middle) with dancers Marquise Dickerson (left) and William Jay. 12

Willamette Week MARCH 9, 2016



cha n ti darling (91 points)

FORMED: 2015

SOUNDS LIKE: A world where Michael Jackson never died, disco never went out of style, and the night never ends. NOTABLE VOTES: Holocene booker Gina Altamura; Tender Loving Empire co-owners Jared and Brianne Mees; DJ Beyonda; promoter Coco Madrid; singer Reva Devito; Máscaras bassist and former Rontoms booker Theo Craig.





Chanticleer Tru is a man of many obsessions. Over beer and whiskey at Beulahland in Northeast Portland, the Chanti Darling frontman mentions several of them, and not in an offhand way—it’s often how he explains who he is, as an artist and a person. He talks about drawing creative inspiration from reality television shows, especially the “ratchet” ones. When asked about the breakup of his old band, Magic Mouth, Tru references something he heard on his favorite podcast, StarTalk with Neil deGrasse Tyson, about how indifference can end a relationship faster than contempt. Describing his mindset as a songwriter, he doesn’t cite another musician but comedian Amy Schumer, and her ability to “pull you into her brain, almost.” But his greatest obsession—the one he gets the most worked up talking about—is R&B. Not the kind being made on laptops by suburban shut-ins, but the stuff he grew up hearing his mother play around the house: Prince and Evelyn “Champagne” King, Janet Jackson and Sade, Sylvester and Morris Day. For Tru and his bandmates, Natasha Kmeto and Damon Boucher, it’s an important distinction. “The whole premise of Chanti Darling, really, is me, Natasha and Dame saying, ‘Fuck all those little indie dudes that are calling themselves R&B,’” he says with playful impudence. “We want to give proper tribute and respect to this genre that hasn’t gone any damn place.” One glance at Tru, with his hypercolor wardrobe and stagetrained charisma, and it’s clear that he’s the person for the job. And that’s before he opens his mouth to sing, revealing the show-stopping vocals he honed in church choir as a kid and the musical-theater productions he toured with after college. On its face, Chanti Darling doesn’t seem like a band with an agenda. Its plush synths and late-night grooves appear designed purely for dance-floor escapism, and Tru acknowledges, for the audience, that’s precisely the intent. But for him, it’s something bigger. In his estimation, R&B has been disrespected far too long—co-opted by hipster new jacks, reduced to a punch line by the Andy Sambergs of the world. With Chanti Darling, the goal is to reclaim the form, not just through the music, but in the look, performance and all-around concept. Tru has no problem calling it a “throwback,” at least in part. In his case, looking backward is a means of pushing the music forward. On a personal level, Tru says Chanti Darling represents “the most fully realized art I’ve put out to date,” the thing that pulls his disparate interests closer together than ever before. In terms

of pedigree, the band could legitimately be called a “supergroup”: Boucher is a well-known producer in Portland’s queer hip-hop scene, while Kmeto, who placed on the Best New Band list as a solo artist three years ago, has a rising national profile; the band’s live iteration also includes Gossip drummer Hannah Blilie and Rebecca Cole of the Minders and Wild Flag on keytar. But everyone involved agrees that this is Tru’s project, first and foremost. “When I signed on to do this, I was very much a proponent that this is Chanti’s vision,” Kmeto says. “I just want to assist in making that come to fruition.” A military brat, Tru—whose given name is Stephfon Bartee— spent his childhood bouncing around the globe, from Germany to Okinawa, to England and Guam, and didn’t really stop until he landed in Portland five years ago. Within months, he’d formed Magic Mouth with three acquaintances, and set forth scorching stages with sweaty, ecstatic live shows. But as someone who’d spent his whole life to that point in a constant state of movement, it wasn’t long before Tru started getting restless. “I’m easily bored,” he says. “If there’s a box at all, it’s boring to me.” As that band dissolved, Chanti Darling started in earnest last year, beginning as a group thrown together for a Sade tribute show. It piqued Tru’s interest in doing something less visceral and more stylized. “I didn’t want to stop,” he says, “and Chanti Darling gave me something different that I wasn’t getting from Magic Mouth.” Having Kmeto involved was a given: She and Tru were mutual admirers stretching back to a “song swap” they did for a Red Bull promotion, and she, like him, worships at the altar of ’70s, ’80s and ’90s R&B. Boucher, meanwhile, had already been working with Tru on some boogie-funk-oriented tracks, though having been raised in a conservative Christian household, he has a different relationship to the specific references Chanti Darling draws from. “It took me a while after growing up to go back and hear all these influences Stephfon was talking about,” he says. “For him, I think it was exciting because he got to show me a lot of stuff, because I didn’t really know a lot of it.” So far, Chanti Darling has only two songs online, but they exemplify the band’s aesthetic, the smooth-gliding rhythms, neon-lit keyboards and soft caress of Tru’s voice invoking an air of nocturnal glamor. More recorded material is on its way. But the best way to experience the band is in person, with Tru, often wearing something most of the population could never pull off, voguing through choreographed routines alongside two dancers. Tru talks a lot about wanting to inject a sense of lighthearted fantasy into a world whose reality is growing increasingly dark. “Escapism exists for a reason,” Tru says. “Anyone who’s dwelling on all the fucked-up shit that’s happening in the world is probably going to live a good five, 10 less years than anyone else. They need to calm down and come get this R&B valium over here.” MATTHEW SINGER. NEXT SHOW: March 11 at WW’s Best New Band Showcase at Mississippi Studios.

Willamette Week MARCH 9, 2016




cat hoch

(88.5 points)

FORMED: 2015

2 14

SOUNDS LIKE: A summer daydream where Tame Impala and St. Vincent go swimming in a moonlit Technicolor lagoon below a sky of shooting stars. NOTABLE VOTES: Sallie Ford; Summer Cannibals singer-guitarist Jessica Boudreaux; Bunk Bar co-owner Matt Brown.

Cat Hoch is already looking for a change. In a short time, the 24-year-old singer-guitarist has established herself as an expert of the psychedelic form. But now, she wants something different. “We want to make a pop record,” she says, sitting in a booth at My Father’s Place, gulping down her third ice water in 20 minutes in an attempt to chase off a hangover. “At the time of the EP, it was a lot of emotional stuff that was therapeutic for me to play and get out. I think I’m in a happier place now, so it’ll show through the music. It’s weird how that works.” Released last October, Hoch’s Look What You Found EP contains four tracks of dreamy, slow-burn psych rock, full of driving, fuzzed-out guitars that fade in and out of celestial synths. The melodies are swirling, but not “tasty”—the word she uses to describe her idea of what pop should sound like. She’s no longer aiming to make music to soundtrack long evenings of staring at black-light posters. These days, her inspiration is Justin Bieber, whose new album she loves. It sounds like a drastic shift. But for Hoch, movement is far more familiar than stasis. She grew up in the suburbs of Washington, D.C., and spent her high-school years moving frequently, living in Virginia, Kentucky and, finally, “buttfuck North Carolina” before moving to Portland in 2009 to attend Pacific Northwest College of Art. Constant movement has long characterized her musical life, too. Hoch played in a band in high school, called the Cokes—“it was so corny,” she says—but decided she wanted to be a professional musician four years ago, while spending a year studying abroad in Manchester, England. Since returning to Portland, Hoch has racked up an impressive rap sheet, infiltrating a slew of psychedelic, punk and garage-rock bands. She started playing drums in the lo-fi punk band Sex Ghost in 2013, before a long stint in the dreamy rock group Tender Age, where she played synths, drums and guitar, and wrote songs. “At the time, I felt like Tender Age was the closest that success could be in my mind,” she says. “It was a really unhealthy relationship. It was such a bad, dramatic falling out that I went on this last tour with them and I was like, ‘I hate this, I’m quitting and I’ll figure it out.’ I was really sad because I really

Willamette Week MARCH 9, 2016

thought that was going to be it.” After Tender Age, Hoch wandered through several other bands—Eternal Tapestry, Daydream Machine, Hennessey, Appendixes and Black Ferns, to name a few—before meeting musician Jackson Boone, who convinced her she should start her own project. “Jackson was like, ‘You need to quit all these bands you’re doing and just focus on you,’ and I was like, ‘I don’t want to!’” she says. “It’s hard. It’s like you’re dating a bunch of people and you need to go be single.” She contacted her friends Eric Sabatino, Anna Tyler, Adam Breeden and Theo Craig to fill out her band, and began playing under her own name—something she was apprehensive about doing, afraid people would get confused. “If you say it backwards, it’s ‘hat cock,’” she says. Luckily, it hasn’t proven to be an obstacle. In the last year, she’s released an EP, produced by Riley Geare of Unknown Mortal Orchestra, and played packed shows at the Crystal Ballroom, opening for Elle King and Ride. Currently, Hoch and her band are in the lineup for the Treefort Music Festival in Boise, and working on a full-length album. Not bad for a group that played its first show last May. Still, Hoch is feeling antsy. Perhaps it’s fatigue from playing in nine bands in the past three years, but she’s again seeking a change—not just in sound, but location. “I had a crisis. I was like, ‘I’m going to move to L.A. this winter,’” she says. “I don’t know. I love Portland, but I am really bored here. But at the same time, more people are moving here, which is awesome.” She feels similarly about the psychedelic scene, switching back and forth even in the same sentence. “I hate it now. I don’t want to be a part of it,” she says. “That’s not true. But I’m just so bored with it.” There’s one thing Hoch says she wants for sure: “It sounds nerdy, but if you’ve ever written something or had some piece of yours inspire someone else, that’s all I want. I want people to be inspired.” SOPHIA JUNE. NEXT SHOWS: March 11 at WW’s Best New Band Showcase at Mississippi Studios and March 17 at Star Theater.



the last artful, dodgr (75.5 points)

FORMED: Started performing in 2013.

SOUNDS LIKE: Missy Elliott living in Future’s future. NOTABLE VOTES: Party Damage Records owners Ben Hubbird and Casey Jarman; ex-We Shared Milk bassist Travis Leipzig; PDX Pop Now artistic director Meagan Ruyle. Alana Chenevert could have followed her hip-hop dreams back to her native L.A. Instead, she moved to Portland. “Because when has a black woman popped from Portland?” she says with a grin. “I didn’t come here necessarily to do just that, but I need to make a change somewhere. Why not start here?” If the Aston Martin in the driveway is any indication, things are going well. The car isn’t hers—it belongs to former Blazers swingman Martell Webster, who operates Eyrst Studios in Northwest Portland—but it’s still indicative of how far she’s come in a short time. Three years after her arrival, Chenevert, who performs under the name the Last Artful Dodgr, has a deal with rising indie label Fresh Selects, and says she’s too busy these days to respond to emails. After all, she’s spending upward of 24 hours a week in Webster’s studio. But personal success isn’t the only goal in bringing her act north. For Chenevert—whose stage name is simultaneously a reference to Oliver Twist, a tongue-in-cheek homage to her hometown baseball team and a reference to the time she narrowly avoided catching a stray bullet outside her childhood home—everything operates in layers. “My dream is to be more than just hip-hop,” she says from a leather chair inside Eyrst. “There’s a social message that I am trying to get across.” A graduate of Humboldt State University, with degrees in journalism and biological anthropology, she sees Portland as a city with a target painted on its back, a metropolis of forward thinkers that lacks culturally diverse artists. As a vocalist whose dense and kaleidoscopic speech-song appeals to hardcore hip-hop heads, rolled-cuff latte drinkers and suburban Kanye fans alike, Chenevert thinks of herself as a sort of musical bridge. Where other rappers might have viewed Portland as a hard scene to crack, she saw it as a massive personal project—a place with a huge,

mostly untapped market for her wares, and a growing community of like minds trying to break molds. It was tough going at first. A hard worker who now has more recorded material on Eyrst’s hard drive than any other artist, Chenevert settled into her new scene slowly when she first arrived, another Portland transplant with big dreams but no local foundation of musical minds to help her accomplish them. Persistent writing and a lucky trip to the supermarket were her first keys to success. “Finally, I went to New Seasons by my house,” she says. “For whatever reason, I mentioned that I rapped or something, and the dude that was checking me out was like, ‘Oh, you rap? I am an engineer!’ His name was Matt, and he started connecting me to other artists.” That’s when her bet started paying off. Because of her talent and unique taste—she equally values the musical importance of a third-grade teacher showing her the Beatles as she does her older brother introducing her to Snoop Dogg—Chenevert had by the end of 2015 become one of Portland’s best up-and-coming hip-hop voices. Having collaborated with former Best New Band finalist Myke Bogan and released the three-track Fractures EP, showcasing a vibrant take on Southern trap music, she’s looking to put out a full-length release in 2016. So far, Portland has proven a good fit for her. “There are so many people here that have open minds and want to hear all kinds of music, and who want to be able to relate to something,” she says. “It’s all love.” As a result of her ongoing efforts to bring people together, the Last Artful Dodgr is the first African-American woman to make our annual Best New Band list as a solo rapper—an honor which Chenevert takes as both a sign of success, and a reminder of all the work she has left to do. “At first I react with ego, like, ‘Oh my God, this is so amazing! I can’t believe I am the first black woman on this list!’” she says. “And then there’s the other side of me that’s like, ‘I can’t believe I am the first black woman on this list!’” PARKER HALL. NEXT SHOW: March 9 at Mississippi Studios as part of Live Wire Radio.

Willamette Week MARCH 9, 2016



(72 points)


little star FORMED: 2015

SOUNDS LIKE: Your best friends coming over to your house to validate your feelings and let you know that you are loved. NOTABLE VOTES: Shaky Hands bassist Mayhaw Hoons; former host of OPB’s In House Jeremy Petersen; Ghost Ease singer-guitarist Jem Marie. Little Star drummer John Value is sick—he has a cellphone picture of his mottled throat to prove it. So he’s content to let bandmates Daniel Byers and Julian Morris carry the conversational weight today. But when the subject of Little Star’s interpersonal dynamic comes up, Value is momentarily invigorated, keen to illuminate a bond that means a lot to him. “The question I asked my friend when he said Daniel and Julian needed a drummer was, ‘Are they nice?’” he says. “I don’t want to be in a band with people who aren’t people I can be friends with.” Byers and Morris were the musicians he’d been looking for. “They had a connection that was clear,” Value says, “almost like they were siblings.” Byers, who spent 2014 stockpiling dour solo songs before teaming with longtime friend Morris last January, felt a spark of instant rapport when Value practiced with the nascent Little Star for the first time. “It was really special,” Byers says. “I’ve never played with a drummer that made me more excited about my songs. John is a special musician. That first day, we kinda all just knew.” That was last April. Three months later, Little Star recorded its debut full-length, Being Close, during an 18-hour session at 16

Willamette Week MARCH 9, 2016

Type Foundry Studio. The album, which Good Cheer Records released in January, finds the trio channeling the oddly complementary melancholy of Elliott Smith and the Cure. But Little Star dodges mannered reverence at nearly every turn, ending up with something bracing, vital and entirely its own. The credit can be evenly split between the three band members: Byers is an inventive songwriter capable of subtly upsetting convention; Value’s drumming is a marvel of anxious energy; and Morris’ two songwriting contributions, which favor anthemic catharsis over hushed introspection, add a bare and bold urgency to the somber proceedings. Good Cheer co-founder Morgan Troper calls Being Close a “brave record,” and there’s something to that. Listening to Little Star can sometimes feel like stumbling into a raw and vulnerable moment shared by friends— we are cast as witnesses to an openness and a realness that is all too rare. Not only in music, but in life. The secret is simple: The people in Little Star are there for each other. “It’s about writing songs that are deeply personal and trusting,” Morris says. “Not only that you can talk about that stuff and express that, but that they’ll take that information and be a part of making it into a song, and want to be a part of expressing it. That’s the best part of the band.” Little Star’s mutual support system is already being breached by new friends. And for now, that’s just fine. “John and I were walking downtown,” Byers says, “and a cab driver pulled over and he’s like, ‘Hey, these guys are Little Star!’ It made me feel really good.” CHRIS STAMM. NEXT SHOW: March 23 at Anarres Infoshop.

bitch’n (60 points)




FORMED: 2015

SOUNDS LIKE: A communal shouting party soundtracked by rhythm-heavy jams. NOTABLE VOTES: Comedian Amy Miller; producer Skyler Norwood; Sun Angle and Mascaras drummer Papi Fimbres. Last January, the five members of Bitch’n gathered in the middle of a studio with joints and Champagne to record some unscripted audio for “Funemployed,” the last song on their debut album, Messed Out. “We started to talk about political ethics and, you know, what a job means,” says keyboardist Emily Overstreet. “It was really like one of the funnest nights I’ve had with these girls.” Getting together and hashing things out is pretty much how the band works. Already active musicians in the Portland music scene—the group’s pedigree includes Point Juncture WA, Sallie Ford’s band, Great Wilderness, Duover and Orquestra Pacifico Tropical—the members of Bitch’n first came together as a “jam club,” which, over time, progressed into a full-fledged band. But its mode of operation remains loose. There’s no clear frontwoman. Everyone sings, often at the same time. On Messed Out, no one instrument features more prominently than another, and every song is borne from improvisation. The result is a harmonious hodgepodge of different genres. The band’s head-on lyrics and raw drive could be labeled “punk,” but that’s a bit of an oversimplification. Messed Out dabbles in bits of everything, from garage rock to funk and even hip-hop, an influence that spilled over from a pre-Bitch’n project of drummer Amanda Spring and bassist Nefertiti Porter. With its echoing effect and Rebecca Rasmussen’s dragging guitar, “Funemployed” opens in a psychedelic haze before launching into a sprint, with Spring savagely pounding her drums as all five members simultaneously yell the song’s title. “It’s almost like the ethics of the band is more of what’s punk than the actual music,” Spring says. “I think of it as just groovy jams that you can dance to.” While the Bitch’n “jam club” has evolved into something more serious, the band says it does not intend to change how it operates. When asked if the jamming is going to continue, someone on the line responds that she “wouldn’t have it any other way.” It’s hard to tell who’s talking, but given the chorus of “yeah” following the statement, it’s reasonable to assume the opinion is unanimous. SHANNON GORMLEY. NEXT SHOW: April 9 at High Water Mark.


boone howard

(53 points)

FORMED: 2015

SOUNDS LIKE: Harry Nilsson stumbling out of the Know into the light of day, wondering just where the hell his life went so wrong. NOTABLE VOTES: And And And drummer and Portland mayoral candidate Bim Ditson; the Builders and the Butchers frontman Ryan Sollee; comedian Aaron Ross. The party is over for Boone Howard. That’s the goal, anyway. It’s partly why he ended his old band, the We Shared Milk, and struck out on his own. After six years of drunken, rowdy shows, Howard wanted to get back to his songwriting roots—just a couple chords and a lot of upfront honesty, undisguised by riffs, metaphors and showers of beer. But, you know, old habits and all that. “I get a little worked up singing a couple lines,” Howard says of his new material. “I was swinging the mic around and throwing beers and acting like a lunatic at Mississippi Studios the other night.” It’s understandable. Howard’s recent songs were all written right before, during and just after a breakup, in the apartment he and his girlfriend once shared, and what came out of him was a lot of anger, much of it self-directed. Being reminded of how badly you’ve screwed up every time you’re onstage would make anyone go a little crazy.

And this time around, at least he’s reacting to his emotions, rather than trying to distract from them. On his upcoming album, The Other Side of Town, Howard sounds like someone who’s just emerged from a yearslong hangover. Each song moves at the midtempo stagger of an early-morning walk of shame, while Howard—groggy and conversational, and also sneakily melodic—tries to figure out where he’s been, what he’s done and whom he’s hurt. “They’re not supposed to be flattering to myself,” he says. “You’re supposed to listen to the song and think, ‘This guy needs to get a grip or something.’” It’s a project personal enough that Howard felt he couldn’t brand it with anything other than his own name. He’s not going it completely alone—his live band features members of the Domestics and Minden and his old We Shared Milk bandmates—but, unencumbered by an instrument, it’s about the most exposed he’s ever been onstage. Bouts of lunacy aside, he seems to be enjoying it. “This is the most actual expression of myself I’ve ever had, where I don’t have to worry about technical things. I just get to sing,” he says. “What you see is my true personality coming out.” MATTHEW SINGER.

(48.5 points)

FORMED: 2013


Sounds like: An early-’90s garage-rock 45 set to 33 1/3 RPM, with the volume turned down. NOTABLE VOTES: Jackpot Recording Studio owner Larry Crane; Thermals bassist Kathy Foster; former Habesha Lounge booker Brandon Nikola.

As members of a self-described “slow-fi” band, Sierra and Alex Haager aren’t apt to rush into anything. Well, except marriage. The brains behind Bed met in San Francisco in summer 2013. Within months, they relocated to Portland, got tattoos of each other’s names on their wrists and became husband and wife. Somewhere in there, they penned “Bother,” their first song together. The Rose City rains set in right away, imparting a certain gloominess to the duo’s sound. “We’re not very good at being outside,” Sierra says. She describes the Portland climate as both miserable and beautiful—perhaps the perfect combo for a pair of shut-ins channeling the best of the disenchanted downand-outers, from the sluggishness of shoegaze to the nuanced numbness of Sonic Youth or Young Prisms. Marriage inspired them, too. “When you’re married, the disagreements you have are so much more vulnerable,” Sierra says. “You get into some deep shit.” It’s the ideal recipe for a classic duet: two perspectives on the same experience. (The two also own and operate boutique label Breakup Records.) That potent type of partnership seeps into their sound. The vocals are shared while the guitars pace between slumberous and searing. The overall feeling is deeply melancholic and unhurried, but imbued with the comforting familiarity of domestic idle. While the pace of the music is slow, that’s the beauty of the band’s work. Bed plans to release its debut EP, Klickitat, this spring and just finished its first proper full-length with Larry Crane at Jackpot Recording Studio. It’ll certainly pair well with the next downpour. “No one thinks we’re a new-sounding band or that we’re innovating,” Sierra says. “It’s more of an exercise in re-creating something special.” MARK STOCK. NEXT SHOW: June 12 at Mississippi Studios. CONT. on page 19




NEXT SHOW: April 5 at Doug Fir Lounge.

Willamette Week MARCH 9, 2016



Willamette Week MARCH 9, 2016

(42 points)




blowout FORMED: 2014

SOUNDS LIKE: Kathleen Hanna stomping on ’90s Blink-182 records. NOTABLE VOTES: Divers’ James Deegan, Harrison Rapp and Seth Rapp; music photographer Jason Quigley.

Although Blowout has technically been a band since 2014, last year is when it came into its own. It added guitarist Brennan Facchino to the fold, began gigging multiple times a week, and started preparing songs for its forthcoming debut full-length. “We were kind of all honeymooning and having fun in uncharted territory, so I think we just hit it hard,” says singer-bassist Laken Wright. “We found our niche and a group of friends who all played in other bands, and a new community arose out of it.” Filled out by guitarist Travis King and drummer Nick Everett, Blowout plays a style of sloppy, heart-on-the-sleeve rock ’n’ roll that pairs Katie Crutchfield of Waxahatchee’s pop charm with the punk bite of her sister Allison’s group, Swearin’. Lasting 15 thrilling minutes, the five tracks on Blowout’s We All Float Down Here EP roar and snarl through different emotions, from the sarcasm of “Tune Out” to the sentimentality of “Wet and Reckless.” Recorded in the basement of Blowout’s old band house, the record is admittedly rough. Wright’s lyrics are difficult to decipher, and the distorted guitars could use more pop in the mix. But nothing can eclipse the band’s addictive energy and skillful songwriting. No Beer, No Dad, Blowout’s debut long-player, is currently being pressed to vinyl. While the band moved its recording process outside of its house this time, many of the songs were written in that familiar space, with some referencing “a busted green couch,” or the shared home itself. Blowout has grand expectations for 2016—from a full U.S. tour this summer to another release or two—but at the same time, Wright wants to keep her perspective in the moment. “I’m proud that we finally finished the full-length,” she says, “and created something that we are truly happy with and feel is an accurate reflection of our sound and writing.” HILARY SAUNDERS.


NEXT SHOW: May 1 at the Know.

9/10 candace

(41 points)

FORMED: 2009

SOUNDS LIKE: Falling asleep stoned listening to Loveless and dreaming you’re a character in Reality Bites. NOTABLE VOTES: Banana Stand Media co-founder Louie Herr; founder Jenny Logan; Talkative guitarist Cody Berger. Anyone who hangs out with the three women in Candace is bound to feel excluded. It’s a feeling anyone with a big sister is familiar with—knowing an elusive coolness that will probably never be open to you. It’s not that Sarah Rose, Sarah Nienaber and Mara Appel DesLauriers want to keep their club exclusive. It’s just that, at this point in their history as a band, they’re so tight-knit, there’s really no space to let anyone else in. “We don’t go to shows that much,” Rose says. “It’s not like we don’t want friends or we’re anti-shows. It’s just that we live together and we practice so much. We’re just very focused right now.” Their recent dedication coincides with a name change from Is/Is—lest anyone confuse them with a certain terrorist organization—and a piecemeal relocation from Minneapolis in the past three years. After releasing a few limited-run cassettes under its old handle, Candace began work on the songs that compose its forthcoming record, New Future.

Insular as the group is, there’s one crucial outsider whose input is invaluable: Neil Weir, of Old Blackberry Way studio back home in Minneapolis. After rehearsing a track to a state of modest completion, the band members submit it to Weir, who serves as their producer-cum-guru. Once the song gets a nod from him, it goes back into rehearsal to be fine-tuned and perfected until recording. The result is an album of drowsy, crystalline clamor, with whispery studio tricks that feel otherworldly but are elevated by subtle pop elements—see the coda of “Mirror Bird,” for instance, or the shimmery backing vocals on the title track’s chorus. The ethereal production surrounding such accessible melodies makes for lush, addictive songs. As one might expect from such a close (and closed-off ) group, though, the members insist there is no conscious decision to appeal to a broader audience. “We can’t design anything in the interest of people liking it,” Nienaber says. “We’re not good enough. We can only do our thing.” DesLauriers picks up the thought: “We want to hit on a truth and do justice to something that’s way bigger than being popular or being part of a scene.” CRIS LANKENAU. NEXT SHOW: March 17 at Star Theater. CONT. on page 21

Willamette Week MARCH 9, 2016


WHO’S GOT NEXT? 11/12. Blossom (39 points) Lush, vaporous R&B slow jams redolent of billowing curtains and steaming pots of tea. 11/12. Jackson Boone (39 points) A cosmic folk troubadour singing about the earth while staring at the stars. 13. New Move (36 points) Classic pop executed with workmanlike precision. 14. Months (35.5 points) Bleeding-heart indie rock with a ’90s soul and shoegazing vocals. 15. Fog Father (32 points) Outsider pop soundtracking the prom scene of your fever dreams. 16. The Lavender Flu (31 points) A cut-and-paste experiment taking on a life of its own. 17. Sabonis (30.5 points) Basement-emo revivalists giving “all the feels.” 18. Hurry Up (29 points) Westin Glass and Kathy Foster of the Thermals (plus Maggie Vail) rage against the poppunk machine. 19. Haley Heynderickx (23.5 points) Jangly folk triangulating Elliott Smith, Angel Olsen and Luz Elena Mendoza.


20. Grape God (22 points) Portland hip-hop’s drunken master, inventing a whole new rap language in real time.


Willamette Week MARCH 9, 2016


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9/10 mic capes (21 points)


SOUNDS LIKE: The Wire if it were set in St. Johns. NOTABLE VOTES: Vinnie Dewayne; WW music editor Matthew Singer; DJ Klyph. It seems like every time Mic Capes turns on the television these days, he sees a reflection of himself. He saw it in Beyoncé’s nod to the Black Panthers at the Super Bowl, and in Kendrick Lamar’s uncensored display of pain and anger at last month’s Grammys. It’s fuel, the St. Johns native says, to see likeminded artists on the world’s biggest stages. “With their celebrity, they could just choose to sit back and collect money,” says the 26-year-old rapper born Michael Caples, “but they put a message out there, and they’re willing to make some people uncomfortable to do so.” Capes is well aware of how America responds to raw displays of black pride. But the willingness to push through all the noise and express one’s personal truth is basically his mission statement. On songs like the fiery “Razor Tongue,” Capes engages closely with the country’s legacy of racial inequality, pointedly bouncing from references to broken homes and race wars, from Ronald Reagan to Marcus Garvey. He acknowledges that, if things had gone just a little differently for him, he easily “coulda been slangin’, bangin’, a killer, even a pimp.” If listeners take offense to any of it, his answer is curt: “I don’t really care if someone feels uncomfortable with me speaking on something I feel is wrong.” Capes’ aim to empower his community on wax is an outgrowth of the reallife work he does with Step Up, an organization supporting ninth-graders through their transition to high school and beyond. His forthcoming album, Concrete Dreams, is essentially directed toward those students, because he knows what they’ve been through. “It’s dedicated to inner-city youth,” he says. “People that come from poverty, messy violence and a rougher life.” He hopes it will also reach the nearsighted masses living across the bridge from where he grew up, and “open their mind to a new perspective.” That’s no simple feat. But Capes embraces the challenge. “I don’t just do this because I like to rap,” he says. “I do it because I feel like what I’m saying needs to be heard, and there’s people that don’t have the voice that I have, or the platform I have.” MATT SCHONFELD. NEXT SHOWS: March 11 at WW’s Best New Band Showcase and March 20, both at Mississippi Studios.

CHEAP EATS From oodles of noodles to tacos, breakfast joints, pub grub and food carts, Portland is rich with delicious discount destinations. Our annual Cheap Eats will feature where you can score a complete meal for under $25.

Publishes: 3/23/16 Deadline: 3/10/16

Call: 503.243.2122 Email: Willamette Week MARCH 9, 2016



Willamette Week MARCH 9, 2016



Willamette Week MARCH 9, 2016


“I’m just a regular guy who raps with his cats.” page 31



SHOBI’S KILLER BOOZE: Former Dave’s Killer Bread CEO Shobi Dahl, nephew of Dave, is having trouble opening a distillery called Modernist Spirits in Portland. He says the distillery is stuck “in limbo” as a result of city regulation. “I’ve been fighting with the city, trying to open a distillery for more than a year,” Dahl tells WW. The distillery first planned to open in Montavilla—but Dahl abandoned the location and instead bought the Swan Island warehouse of party-supply company the Party People for $2.25 million in November. He now says he doesn’t know whether the distillery will open there, either. “The city of Portland is now treating distilleries like they’re an oil refinery,” says Dahl. “They think they’re going to blow up the city.” Dahl and his partners hope to distill gin, vodka, whiskey and bittersweet Italian- and French-style liquors.

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Willamette Week MARCH 9, 2016

RAZE AGAINST THE MACHINE: The iconic Machine mural by Tom Cramer on North Williams Avenue might be torn down and replaced by offices and new retail. Cramer is actively fighting the demolition of his 26-year-old mural, according to the Save “Machine” From Demolition page on Facebook. Local firm William Kaven Architecture, whose office is one block north of the mural, filed an application for early assistance with the city, which is the first step to development. William Kaven didn’t respond to requests to confirm. Cramer is trying to use the federal Visual Artists Rights Act of 1990, which gives artists the right to “prevent distortion, mutilation, or modification” of their work, to make developers incorporate his mural into any new building design. MEET OSCAR: The estate of Academy Award-winning film editor Elmo Williams (High Noon) is for sale in Portland. His Oscar will be on display for photo ops but isn’t for sale. Gary Germer & Associates will raffle off a gift certificate to someone who posts a selfie with the statuette, hashtagged #BestPictureWithOscar. Williams was the oldest member of the Academy of Motion Picture Arts and Sciences when he died at age 102 last November in Brookings, Ore., where “the old-guard Hollywood people were vacationing or moving to, to get away from the hustle and bustle of California,” says appraiser Marie Dietrich. The estate sale is at Gary Germer & Associates on North Broadway WILLIAMS this weekend.


ABBEY OF SLABBY: Slabtown just got beerier. The Abbey Belgian beer bar is abandoning its tiny Northwest 21st Avenue digs for the tonier environs of Northwest 23rd Avenue, in the former Twist fro-yo space next door to Lompoc Tavern. This follows news late last year that Breakside Brewing’s newest taproom would also locate just blocks away, on Northwest 22nd Avenue. “We need more space. On busy nights we get maxed out pretty quick,” says Abbey owner Bristol Kelley. “We’ll be letting someone else take over the 21st Avenue lease.” She expects to open on 23rd in mid-April.



Stupid F***king Bird

[THEATER] Aaron Posner doesn’t just twist Chekhov’s classic The Seagull, he dumps its guts onstage and finger paints with the gore. Seven actors fly through episodic scenes of family fights, artistic meltdowns and what Portland Center Stage calls “fleeting nudity.” Gerding Theater at the Armory, 128 NW 11th Ave., 445-3700. 7:30 pm. $25-$70.

FRIDAY MARCH 11 WW’s Best New Band Showcase

[PORTLAND MUSIC] Dare we say this is the most eclectic Best New Band Showcase ever? Even if you’re not into electro R&B, psych rock or hip-hop, certainly you’ll enjoy watching a music editor attempt public speaking between bands. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Free. 21+.



Anyone who’s ever smoked a joint knows that weed pairs well with almost any cookie, but nothing is quite so sublime as the taste of a Tagalong and the feeling of empowering the next generation of women while simultaneously being high. However, we are pros, and as such, we decided to experiment with taste, terpenes and cookie variety to see if we could make the perfect experience even more perfecter. Armed with a vaporizer in the basement of a private club, we filled bag after bag while chewing on four of the five most popular Girl Scout cookies, plus a gluten-free cookie no one should ever order, to determine which strain goes best with each cookie. We did it for you, dear reader. Only for you. TYLER HURST and K.C. SWAIN.

Samoas with Hindu Kush

Samoas are chocolate and coconut combined in a way that we still think most kids don’t like. Sweet and woody Hindu Kush added a sweetness that brought out more chocolate. We chose Hindu Kush for its tasty and stinky combination of sweet, nutty and earthy flavors. It made sense that the toasted coconut in the cookie would pair well. Major terpenes: Caryophyllene, pinene, humulene Also try: Chocolate Chunk

Tagalongs with Trainwreck

Tagalongs are peanut butter atop a shortbread cookie covered in chocolate. The sweet lemon and spicy pine of Trainwreck neutralized the chocolate and spiced up the peanut butter—one tester liked it so much she called it her Ratatouille flavor moment. When searching for strains to combine with this cookie, we focused our attention on varieties with a combination of sweet, nutty and chocolate notes. The most prominent taste in Trainwreck is its nuttiness as well as a sweet, almost lemon flavor. We wanted to mellow out the peanut butter and turn the sweetness in the chocolate. Major terpenes: Limonene, myrcene, caryophyllene Also try: OG Kush

[LATE-NIGHT ELECTRONICA] Big Black Coat, the Canadian duo’s first album in five years, reflects Junior Boys’ mastery of downtempo, electro-lounge grooves, highlighted by a crafty reimagination of Bobby Caldwell’s smooth-as-marble 1978 hit, “What You Won’t Do for Love.” Star Theater, 13 NW 6th Ave., 248-4700. 9 pm. $17. 21+.

SUNDAY MARCH 13 Daniel Clowes

Do-si-dos with Jack Flash

Do-si-dos are oatmeal and peanut butter cookies made with four common allergens. Earthy citrus Jack Flash amped up the nuttiness. Its distinct sweet-and-sour flavor profile mellowed the richness in the peanut butter. At the same time, it made sense that the spectrum of sugary tastes would flow together. Major terpenes: Pinene, limonene, humulene Also try: Burmese Kush

Thin Mints with Black Betty

Thin Mints are chocolate and mint, just like the ones mom used to hide in the freezer. Powerful fuel-first Black Betty smoothed over the sometimes overwhelming menthol while giving more body to the mint. We chose Black Betty to pair the sweet dark chocolate and tart cherry flavor notes with the chocolate in the cookie. The plan was to pump up the chocolate and balance out the strength of the mint. It worked. Major terpenes: Humulene, limonene, linalool Also try: God Bud

Toffee-tastic with White Widow

Junior Boys

[COMICS] With a mastery of visual styles ranging from ’50s ads to Mad magazine marginalia, Clowes is probably the bestknown name in whatever we’re supposed to call non-superhero, non-Garfield comics. Powell’s City of Books, 1005 W Burnside St., 2 pm. Free.

Amy Miller and Sean Jordan’s Going-Away Party

[COMEDY] These WW Funniest 5 veterans are the latest of Portland’s comedian sacrifices to L.A. Whoever’s left will either be backing or watching them, and the White Guys house band—made up of members of the Decemberists and the Thermals—will play the swan song. Aladdin Theater, 3017 SE Milwaukie Ave., aladdin-theater. com. 8 pm. $17.

TUESDAY, MARCH 15 Festival of Fire

Buttery Toffee-tastics have little pieces of toffee that taste just like the year-old cookies your grandma forgets to throw out. The pungent earthy woodiness of White Widow and Chocolate Cream smells of room-temp cake frosting. Our first choice didn’t enhance a damn thing, and our second felt like we were insulting the cannabis. Don’t buy this one, even if you’re a celiac—not even 10 bowls could make this into a desirable munchie. Major terpenes: Linalool, pinene, myrcene Don’t also try: Chocolate Cream

[IT BURRRNS!] In honor of CharShanbeh Soori—the festival of fire—Pasha Persian restaurant will serve up traditional foods at Oaks Park amid festivities that include jumping through open flames. Legend has it that if you live to see your shadow, you get six more days of winter. Oaks Park Dance Pavilion, 7805 SE Oaks Park Way, 6-11 pm. $10.

Willamette Week MARCH 9, 2016


FOOD & DRINK = WW Pick. Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: See page 3 for submission instructions.


There will be burgers. And there will be oysters. And there will be hops. Southeast Foster Road’s N.W.I.P.A. is taking over the taps at North Killingsworth’s sweetheart of a beer bar, Saraveza, with a mess of IPAs alongside a Plastic Paddy Cider Riot cider, a stout and a sour. Why? No reason. But expect Saraveza to return the favor later this year. Saraveza, 1004 N Killingsworth St., 206-4252. 6-9 pm.

Simple ApproAch

Bold FlAvor vegan Friendly

open 11-10



SATURDAY, MARCH 12 Baker’s Dozen Fest

Beer writer Brian Yaeger will put on his second annual coffee, beer and doughnut fest at Culmination Brewing, with more than 10 doughnut makers, including Tonalli’s and Delicious (which are delicious), and coffee brews from a grip of breweries, including newcomers Great Notion and Labrewatory. If you get too wired on the coffee, try to sneak a pint of the Phaedrus—it ranked fourth in Portland in a blind taste test of IPAs. Culmination Brewing, 2117 NE Oregon St., 971-258-2808. 10 am. $24 for 13 beer tasters and 13 doughnut samples.

Nostrana chef Cathy Whims will trek out to Forest Grove’s Montinore Winery to celebrate all things pig and serve up a feast. Don’t dress fancy, though—guests are expected to pitch in on processing 500 pounds of hog into sausage and such, alongside chefs including Whims, Jason French (Ned Ludd) and Rick Gencarelli (Lardo, Grassa). Welcome to the Italian peasant life. Montinore Estate, 663 Southwest Dilley Road, Forest Grove, 359-5012. 11:30 am. $175. 21+.



Willamette Week MARCH 9, 2016

In a half-hidden John’s Landing shoebox restaurant, chef Jose Luis de Cossio serves some of the most extraordinary food in Portland—including the brightest, most balanced and lovely ceviche we’ve had in this country. $$.

Roll in for an eight-bowl porkbelly-dumpling won ton soup and get no fuss, no noodle, all dumpling, at Sellwood’s spanking-new noodle-house that looks like a sweet ode to tiny things. $.

2. Wei Wei

7835 SE 13th Ave., 946-1732.

Taiwan noodle house Wei Wei’s beef noodle soup ($13) offers thick cuts of meat amid handpulled noodles almost as thick, in deep-brown broth that is meatier, richer and more downright excessive than that in any pho or British meat pie. $$.

8235 SE 13th Ave., 740-1325,

4. Providore Fine Foods

2340 NE Sandy Blvd., 232-1010,

Pastaworks’ new marketplace is open—including the Flying Fish oyster bar, which offers a nice crab bisque and, you know, lots and lots of oysters. $-$$.

5. Chicken and Guns

1207 SE Hawthorne Blvd., 234-7236,

As we were reminded at the recent all-Portland IPA tasting at N.W.I.P.A., Chicken and Guns’ Latin-inspired chicken is kicking everyone’s ass halfway to next Tuesday. $.

Maialata Pigfest


want to advertise? email for details.

3. Tam

4237 SW Corbett Ave., 403-6186,


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

NewS | ARTS & cULTURe FooD & DRINk | eVeNTS | mUSIc moVIeS | coNTeSTS | GIVeAwAYS

1. Paiche

Saison Greeting

In a now-expected rite of spring, Bazi will tap a whole slew of saisons— whether local and brand-new like brews from Clackamas’ Drinking Horse and Portland’s Ruse and Culmination, or far-flung and ancient like De Glazen Toren Saison d’Erpe-Mere and Du Bocq Saison 1858 from Belgium. The domestic flight is $8, foreign is $12. Get both, and you will sound very… cultured. Bazi Bierbrasserie, 1522 SE 32nd Ave., 1-9 pm.

Jolie Laide

City-hopping chef Vince Nguyen— who’s cooked at Castagna in Portland, Coi and Providence in California, Noma and Dragsholm Slot in Copenhagen, and the Royal Mail Hotel in Australia—is hopping restaurants with his fancily rarefied, constructed-dish Jolie Laide pop-up, taking up a regular SundayMonday slot on B&T Oyster bar’s off-nights. $80 for 10-course dinner, $55 for six-course lunch. B&T Oyster Bar, 3113 SE Division St., 1 pm and 5:30 pm Sunday, 5:30 pm Monday.

TUESDAY, MARCH 15 Festival of Fire

Holy crap, a fire-jumping fest! In honor of Char-Shanbeh Soori—the festival of fire—Pasha Persian restaurant will serve up traditional foods at Oaks Park amid general festivities that include fire-jumping, kids’ activities and fire-jumping. Did we mention fire-jumping? There will be fire-jumping. Oaks Park Dance Pavilion, 7805 SE Oaks Park Way, 6-11 pm. $10.


Juice Box (GREAT NOTION BREWING CO.) It seems weird, but Pliny and Heady are the same age. The two most influential imperial IPAs the world has known were both born in the fall of 2003, as Saddam spent his last days in that spider hole and the Concorde landed its last supersonic flight. Pliny the Elder, from Northern California’s Russian River Brewing, became the standard-bearer of the bitter but citrusy style. In Waterbury, Vt., a tiny brewery called the Alchemist put out its cloudy, fruity version, called Heady Topper. Pliny and his descendants came to dominate Portland, while New England got a slew of turbid, vaguely sweet IPAs from small operations with limited distribution. It took a decade, but the New England strain of that IPA style finally spread west. The clouds have come to Colorado— last week, Denver’s alternative newspaper wrote about a raft of new breweries there making them—and, now, to Oregon. Corvallis’ Block 15 Brewing has a limited release of a beer called Hop Workshop #2, which BeerAdvocate posters are fighting to get. And in Portland, the two industry outsiders behind Great Notion have finally released Juice Box. Great Notion already has crazy hype thanks to Ripe, which uses Heady’s yeast, and a lighter IPA called Juice Jr., the little brother to Juice Box. Juice Box looks like a peach milkshake and is deceptively big, an 8-percenter that sips like Sunny D. It’s loud, fruity and balanced as much by an earthy hop note as bitterness. It is to Heady Topper what peak-era Boneyard RPM was to Pliny. Recommended. MARTIN CIZMAR.



VEG OUT: The beyaynetu vegetarian sampler.


Nobody argues about Ethiopian food. At least not in Portland, home to about 10 East African restaurants and a population that never tires of debating burgers, pizza or burritos. You can ruin a date with your opinion of La Sirenita, or lose a friend over Little Big Burger, but you’ll never hear a hot take on tibs. Why? Maybe it’s because most of the city’s Ethiopian spots are pretty good, though not transcendent, or because most folks tend to gravitate toward the spot they’ve always gone. Well, the newish Abyssinian Kitchen is a place that might spark a debate. Taking over the old house off Southeast Clinton Street that formerly contained the much-missed Sok Sab Bai, this homey, earth-toned space serves Ethiopian and Eritrean dishes like tilapia stew, sauteed lamb and slow-cooked lentils. They are all plated on a very tangy version of injera, the spongy brown sourdough pancake that doubles as silverware. Abyssinan Kitchen is a very good restaurant—it immediately joins Enat Kitchen and Bete-Lukas on the city’s top tier of Ethiopian eateries. And like Lukas, it is relatively upscale compared to its competitors. Meats here are “ethically raised,” produce is local, and the spices are blended in-house. You can taste the difference, but will also notice it on the check. The Oregonian reviewed Abyssinian in its cheap eats column, but considering a meal will set you back $25 to $30 a person, that seems a function of an editor’s notions about what African food should cost more than what this particular food actually does cost. Is the upgrade worth the expense? After four visits, I’m still not really sure. Several local Ethiopian spots make tilapia dishes—all of the country’s fisheries are freshwater—but Abyssinian stands out by offering two, one-quarter of its protein options. We

really enjoyed the asa dulet ($11), a light, bright preparation of crumbled flesh seasoned with serrano peppers and onions. If you dislike fishy flavor, it’s probably not for you. And if you’re looking for a big pile of food, it’s definitely not for you, since the $11 portion would have trouble stretching to fill three street tacos. The same goes for the dish called siga and gomen ($12), which I haven’t encountered elsewhere in Portland. Gristly beef short ribs are cut into slivers the width of a wooden nickel and fried on the bone with collard greens in herbed butter. You have to fight for every scrap of meat, but the warming herb and fat flavors are incredible, especially on the greens. You’d need at least one other meat and a veggie combination to make a two-person meal with this dish, but if you’re treating yourself, it’s an absolute must. For heartier appetites, I highly recommend the awaze tibs ($14), which includes large cubes of tender, pot-roasty beef in a spicy deep red sauce built from berbere, that magical Ethiopian spice blend that is as integral to many of the nation’s dishes as salt and pepper are to Western Europe. If you’ve eaten Ethiopian food before, chances are you’re familiar with the three dishes on the beyaynetu combination platter ($15). There are red and yellow lentils cooked into pleasant mushiness. The red lentils, especially, have a pleasant heat and a nice sprinkle of cinnamony flair. The gomen are firm, lightly cooked collard greens that are far less stewy here than elsewhere. Depending on what else you order, the kitchen may throw in some of the ayb ($3), a fresh and fluffy soft white cheese you often see used more as a garnish than a dish—Abyssinian does just that with its own roasted beet salad ($7). But, here, the side includes a very healthy portion. Then again, maybe it’s because so many of the other dishes here are a little smaller, and a little bit more expensive, than we’ve been trained to expect at the spots clustered in Northeast. Should you go here instead? Argue among yourselves. EAT: Abyssinian Kitchen, 2625 SE 21st Ave., 894-8349, 4-10 pm Tuesday-Friday, 11 am-10 pm Saturday-Sunday. Willamette Week MARCH 9, 2016



Willamette Week MARCH 9, 2016

Willamette Week MARCH 9, 2016



Willamette Week MARCH 9, 2016


Feline the Funk BY LIZZY ACKER



By his own admission, Dwayne Molock has always been a little weird. As a kid, he felt like an outsider in his own neighborhood. Growing up in Baltimore, while other kids his age were out on the corner, Molock just wanted to stay home and play Dragon Ball Z or listen to James Taylor. He started rapping at a young age, and dropped his first mixtape when he was 14. “I grew up in the projects,” he says, “so I was rapping gangster stuff and pretending a life that I didn’t really live.” After a while, he put down the mic. “I just didn’t feel comfortable rapping about things I didn’t do,” he says. Molock doesn’t have that problem anymore. Now living in Portland, he’s returned to music, and this time, he raps about what he knows and what he loves. He raps about cats. When he visited WW’s office, the 28-year-old wore a yellow shirt with light-black stripes, a burgundy jacket over a navy sweatshirt, and a light-pink scarf patterned with black cat silhouettes. Tali—one of four sphynxes he owns, and wearing a shirt covered in sphynx faces— walked back and forth on a conference table, looking for a scratch and a pet. Molock reached into a small cat carrier and petted the second cat in the room, Tali’s daughter, Sushi. His other two cats, Mega Man and Ravioli, stayed home. The cat-rap game appears to be working. Molock has nearly 30,000 followers on Instagram. His video for the song “Cat World” has over 10,000 views on YouTube. He’s been featured on KGW-TV, and this week he’ll be rapping live—not at a club, but at the Portland Art Museum, in front of Carl Kahler’s My Wife’s Lovers, the so-called “world’s greatest cat painting.” Molock goes by the name Moshow, a shout-out to his dad, a high-school basketball star whom everyone called “The Mo Show.” The name, he says, is “just me saying thank you, Dad, for creating me.” It’s clear that Molock loves his family as much as he loves cats… almost. As a gift for graduating from high school, his mother moved the family out of the Baltimore projects to Essex, Md. Molock then attended York College of Pennsylvania, exposing him to a kind of diversity he had never seen. “I grew up in literally an all-black life,” he says. In college, the situation reversed: He was one of the only people of color. “I remember going to my first party,” he says. “I was used to music and people dancing, and then I go downstairs and it’s just a keg and people playing beer pong. It blew my mind!” Beer-pong culture shock was followed by another new experience: meeting his first cat. “I grew up not having animals,” he says. “I didn’t know what I was missing.” Her name was Queeny. She belonged to a friend whose house Molock would study at. “It started

Moshow with his cat Sushi.

with her standing right there staring at me, and I was like, ‘Man, I need to get this cat away from me,’” he recalls. “And then two weeks later, she was closer, and I was like, ‘All right, it’s not that bad.’ And then a month later, next thing I know I’m getting rubs on my legs, and I’m like, ‘OK, I can deal with this.’ And then a month later, she was sitting on my lap, and I was like, ‘How did this even happen?’” As the cat grew on him, so did the girl. “She liked Lil Wayne, and I just thought that was awesome,” he says. “This little girl, with glasses. You know, very nerdy. And she’s like, ‘I like Lil Wayne!’ And I’m like, ‘What? What’s going on?’ It just connected from there.” The two bonded over music and cats, and the sphynx breed in particular. “I always felt like I had a connection with sphynx,” Moshow says. “They’re weird, like me.” After college, Moshow and his girlfriend moved to Bel Air, Md., where he launched his cat-rap career, uploading short videos to Instagram and YouTube. In them, he dances, sings in Auto-Tune and brags about his pets with an enthusiasm other rappers reserve for weed, cars and strippers, while his sphynx squad shoots icy glares into the camera. People in Maryland didn’t really understand what he was doing. “I was always known as the weird dude,” he says. “I would always get stares.” So seven months ago, Moshow and his girlfriend finally saved enough money to move across the country. Portland, they felt, was a place where people seemed to be authentically themselves, where they might welcome a cat rapper. Turns out, he was right.

“I’m just a regular guy that raps with his cats.”

“I picked Portland because I felt like I was born for Portland,” he says. “I was pretty much a Portlander living in Maryland.” For now, Moshow is focusing on making videos and creating all kinds of music. He says his next mixtape will include rap and more indie-rock-influenced sounds. If he has one complaint about Portland, it’s that people still stare. But this time, they are staring because they recognize him. People send him pictures of himself in public and the message, “Is this you?” “If you ever see me out,” he says, “just say, ‘What’s up?’” And he means it. “I don’t think I’m too cool,” Moshow says. “I’m just a regular guy that raps with his cats, that’s spreading peace, love and positivity and telling people to follow their dreams. That’s it. So if you see me, just say, ‘What’s up?’ I’ll probably give you a hug.” SEE IT: Moshow plays the Portland Art Museum, 1219 SW Park Ave., on Saturday, March 12. 1 and 1:30 pm. Free with museum admission. All ages.

Willamette Week MARCH 9, 2016




Esperanza Spalding plays Wonder Ballroom on Friday, March 11. = WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to 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: Fax: 243-1115.



Penny & Sparrow, the Whistles & the Bells

[TEXAS FOLK] Penny and Sparrow is actually two dudes from Texas named Andy Baxter and Kyle Jahnke. Since 2011, they’ve been writing and recording country-folk music that leans heavily toward adult contemporary. But with members of the Alabama Shakes and the Civil Wars producing Penny and Sparrow’s forthcoming record, Let a Lover Drown You, the duo is increasingly borrowing from other classic Southern sounds, such as the whirring Leslie speakers foundational to Muscle Shoals and sweet guitar twang. HILARY SAUNDERS. Doug Fir Lounge, 830 E Burnside St., 2319663. 8 pm. $13 advance, $15 day of show. 21+.

THURSDAY, MARCH 10 Pillar Point

[ELECTRONIC IMPRESSIONS] Pillar Point is the project of Seattle’s Scott Reitherman, former frontman of the 2000s indie band Throw Me the Statue. Reitherman released Marble Mouth, his second album under the moniker, last month, and the album telegraphs its sound with the impressionist painting on its cover. On first listen, it sounds like most synthdriven dance-pop albums. But on closer inspection, it’s full of intricate, unwavering noise, and grounded by blunt lyrics. Synths are layered like paint, backed by bright percussion and sludgy bass in a swirl of electronic sounds, bringing to mind a combination of YACHT, Of Montreal and an ’80s cartoon theme song on speed. SOPHIA JUNE. Bunk Bar, 1028 SE Water Ave., 328-2865. 9:30 pm. $8. 21+.

FRIDAY, MARCH 11 The Weather Machine, Two Planets

[FOLK ROCK] Slater Smith and Colin Robson’s first album as the Weather Machine was an earnest, emotive entrance point to their excellent take on Pacific Northwest folk, bringing Cassadaga-era Bright Eyes or that Bruce Springsteen album of all traditional songs to mind. Last year’s Peach is the band’s foray


Willamette Week MARCH 9, 2016

into chamber rock. Imagine Punch Brothers if they got Butch Vig to produce instead of T Bone Burnett, and if Chris Thile looked like a men’s underwear model. CRIS LANKENAU. Alberta Street Pub, 1036 NE Alberta St., 284-7665. 8:30 pm. $12. 21+.

The High Highs

[WAVY POP] Rumor has it Brooklyn’s High Highs were inspired by the Pacific Northwest when they last toured here—so much so, the duo named its latest record Cascades. Drawing from the wavy sounds of bands like the Mary Onettes and Pure Bathing Culture, the High Highs come off as fluid and oceanic. Fitting that the band is originally from Sydney, a town steeped in water culture. In many ways, the act’s sound feels like a longing letter to its beloved hometown—tender, tidal and expansive. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 3282865. 9:30 pm. $10. 21+.

Eli & Fur

[DANCE HALL DARLINGS] London DJs Eli and Fur, aka Eliza Noble and Jennifer Skillman, released their California Love EP in November, their eighth release since 2012. The duo combines classic house beats with tight, echo-drenched harmonies and chants that aren’t meant to take you anywhere but straight to the dance floor. Songs like “You’re So High” and “Free Your Mind” aren’t exactly groundbreaking, but it doesn’t matter. This is the theme music of Ibiza and Miami beach clubs—sparse, seductive and satisfyingly sweaty. SOPHIA JUNE. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15-$40. 21+.

Willamette Week’s Best New Band Showcase: Chanti Darling, Cat Hoch, Mic Capes

[LOCAL MUSIC VANGUARD] Dare we say this is the most eclectic Best New Band Showcase ever? We’re just going to say that. Whether you want to two-step to ‘80s-gazing R&B, trip out to some heavenly psychedelic rock or throw your hands up for the hardest-hitting hip-hop in town, there’s something for you on the bill. And if none of that interests you, certainly you’ll enjoy watching a music editor attempt to speak publicly between bands. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 9 pm. Free. 21+.

Pell, Daye Jack, J.I.D.

[NOLA SOUL] Jared Pellerin used to work at the Dollar Store. Now, he’s on a national tour promoting Limbo, his second album in two years. Pellerin is a New Orleans native, but was displaced from his home when Hurricane Katrina hit, forcing him to move to Jackson, Miss. But despite that tragedy, Pell’s music is light and dreamy, with poppy hooks and soulful vocal runs. He combines Shwayze’s carefree, Corona vibe with the throwback soul of Leon Bridges to create playful, improvised tracks that include bits of offthe-cuff studio dialogue, like “I went boy-band with that,” but remain unexpectedly emotional. SOPHIA JUNE. Peter’s Room at Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm. $12. All ages.

Waxahatchee, Briana Marela, Globelamp

[LO-FI POP] Things have changed since Katie Crutchfield, aka Waxahatchee, released her bedroom-recorded debut back in 2012. Although last year’s Ivy Tripp carries the same brittle intimacy, she’s become more certain in her sound since, and more capable of packaging the looming uncertainty and aimlessness she explores in her writing into a cohesive package. Her palette is also bolder and broader than before, exemplified by the crunching guitars of “Under a Rock” and the rueful tones of “Half Moon.” This gives her familiar voice and beautiful melodies more room to shine than recording straight to an eight-track ever could. BRANDON WIDDER. The Old Church, 1422 SW 11th Ave., 222-2031. 8 pm. $13 advance, $15 day of show. All ages.

Esperanza Spalding presents Emily’s D+Evolution

[NU SOULJAZZ] It’s no longer acoustic jazz, torch songs and relatively traditional R&B for former Portland bassist and surprise Grammy-winner Esperanza Spalding. She’s moved into—and maybe beyond—21st-century nu soul and rock stuff. Luckily, though, Emily’s D+Evolution, her latest effort as a bandleader, is handled with the same sort of grace that led to her touring and working in ensembles helmed by veteran jazzbos like Joe Lovano. “Unconditional Love,” the second track on her new disc, insinuates a funky drummer and descending guitar figures into a work that’s bound to find a wider audience than some of her more traditional jazz and soul workouts. DAVE CANTOR. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $35 advance, $38 day of show. 21+.

CONT. on page 34

Willamette Week MARCH 9, 2016




SATURDAY, MARCH 12 An Evening With David Crosby

[DÉJÀ VU] ”An evening with David Crosby” once meant something far different. During the ’60s and ’70s Laurel Canyon heyday of CSNY and the Byrds, the tireless hellraiser with a choir-boy lilt burned so brightly that few could have guessed the counterculture icon would still be touring at 74, much less adding another worthy chapter to an important (if intermittent) recording career. Forty-some years after the launch of his solo debut, If I Could Only Remember My Name, Crosby entered the home studio of his newfound son for recent release Croz. If never approaching the heights of his early psych-rock landmark, the sedate swirl of freak folk and free jazz should delight the faithful nonetheless. JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. Sold out. Under 21 permitted with legal guardian.

Annares Infoshop Benefit: Dogtooth and Nail, Porch Cat, Birth Teeth, Shootdang

[BENEFIT] Annares Infoshop is the epicenter of Portland’s all-ages rock scene—a scene that’s been pushed to the city’s margins in recent years. The venue was broken into twice recently, and proceeds from this show—featuring a trio of rough, ramshackle acoustic outfits from Portland, plus Birth Teeth from Seattle—will go helping pay for window repairs and other bills. Annares Infoshop and Community Space, 7101 N Lombard St. 8 pm. $5 suggested donation All ages.

Umphrey’s McGee, Tauk

[JAM BAND] Umphrey’s McGee is not just another jam band to be lumped in with Phish. Rather, the six-piece improvisational group combines elements of funk, synths with technical precision and pop hooks that have attracted devotees for nearly 20 years. Additionally, the band is known for promoting creative ways to experience its shows. On this tour, Umphrey’s McGee has a program called Headphones and Snowcones, which enables fans to rent headphones to listen to the band as heard through the soundboard mix. Or you could just smoke a bowl, bring your Hacky Sack and settle into a groove. HILARY SAUNDERS. Crystal Ballroom, 1332 W Burnside St., 225-0047. 7:45 pm, through March 13. $27.50 advance, $30 day of show, $50 for both nights. All ages.

Nightfell, Torture Rack, Shrine of the Serpent

[DEATH DOOM] Guitarist Todd Burdette and drummer Tim Call are two of the stalwart figures in Portland’s underground doom scene. Both have poured years of blood and sweat into a decadent cavalcade of misanthropic metal bands, finally coming together on the collaborative Nightfell project. The duo’s excellent second album, Darkness Evermore, slithered out in 2015, and features increasingly well-crafted, melodic, blackened death doom that fans of Asphyx, Bolt Thrower and Candlemass would do well to imbibe. This show marks the local debut of Nightfell’s live incarnation, which expands the studio team into a full group. NATHAN CARSON. Panic Room, 3100 NE Sandy Blvd., 238-0543. 9 pm. $8. 21+.

Brothers Comatose, The Easy Leaves

[SPLENDID STRINGS] Bluegrass isn’t known for rolling with technological advancements, but San Francisco’s booming tech industry is what inspired the Brothers Comatose to produce City Painted Gold, a fine LP that encapsulates their changing hometown with songwriting as poignant as it is jubilant. Guitarist Ben Morrison remains at the helm throughout, and while it doesn’t deviate far from the band’s catalog, the album still showcases the harmonies, searing string breakdowns and brotherly love that have catapulted the group from house

CONT. on page 37 34

Willamette Week MARCH 9, 2016

Dusty Santamaria MARCH 12 Dusty Santamaria saunters in from the rain—guitar slung over his back, black nail polish on his fingernails— and approaches the candlelit table at the Liquor Store. Before he can sit down, he comments on the Blur song booming through the room from the overhead speakers. “Interesting music,” he says sarcastically, his brow furrowed. Before we can make introductions, or even shake hands, he’s delicately addressing the situation with the young woman tending bar. He motions to the surrounding shelves, stacked with vinyl records and the idle turntables. When he finally takes his seat, red wine in hand, the Velvet Underground’s “Sunday Morning” comes on, and Santamaria is swaying back and forth in his chair, arms raised in a “hallelujah” pose. “It’s funny that we’re doing this now,” he says, still grooving. “I’m moving to Los Angeles in a week.” He continues unprompted: “The working poor in L.A., I really resonate with. I need that around me in order to thrive. There’s so much soul in that community. I love so much about Portland, so much about Oregon, but it’s complacent. It is. I don’t think anyone could argue that.” Over the next half-hour, Santamaria talks about growing up in Rainbow, Calif., among the Mexican migrant community, living his childhood mostly in his imagination, then seeing the Cramps at age 15 and feeling enlightened. He moved to New Orleans in his early adulthood, toured the country with his band, the Commercial Rockstars, published two books of poetry and painted two gallery shows. Upon moving to Portland, he befriended local poet laureate Walt Curtis, toured with his best friend Galen Ballinger as the Singing Knives and drove a graveyard-shift cab until Uber demolished the local taxi industry. He’s eked out a living with gigs around town, where the usual compensation structure is a gratuity-based style. Strange as he may seem upon first glance, the guy is nothing if not an artist, and everything most folk singers claim to be—at least as origin stories go. Santamaria has released two solo albums, Existential Detective Rock n Roll and Now That I’ve Stopped Killing... Vocally, Santamaria’s closest analogue is early Dylan, but the instrumentation is more a SouthernCreole-voodoo hybrid. Melodic lines follow well-tread territory from the bourbon- and Beaujolais-splattered American Songbook. It’s possible his appeal is best conveyed in person, because while it’s palpable listening to his records, it’s not nearly as overt as when you hang out with the guy. It seems tragic we’re about to lose him. “I’ve always had one foot in and one foot out in Portland,” Santamaria says. “I’ve written a lot of songs at this point, and I don’t have a lot of national recognition or anything, but I feel like I have a pretty good catalog. I’m an oddball artist, and this is what I think I can do to help others.” He pauses to take a sip of wine, then exclaims: “Los Angeles! Yeah, there’s somebody I want to study under that lives down there. A guy that’s really involved in chaos magick.” I ask if he’s always looked for a mentor when moving to a new place, and he nods and chuckles: “We’re just the residue of all that’s come before us. I’ve had heroes, yeah. I think I am my hero.” CRIS LANKENAU. Portland is losing one of the greatest enigmas it never knew it had.

SEE IT: Dusty Santamaria plays the Know, 2026 NE Alberta St., with Kulululu and Love/Fuck, on Saturday, March 12. 8 pm. $5. 21+.

Willamette Week MARCH 9, 2016




The Flavr Blue

THURSDAY, MARCH 10 The Flavr Blue defines itself by not being definitive. Moving between the realms of electronic dance music and popleaning rap, between Seattle and L.A., between producing other artists and creating its own music— whatever it does, the group is a lesson in refusing to be boxed in. “Exploration has always been at the forefront of everything we do,” says singer Hollis Wong-Wear. “We never walked in being like, ‘We want to be like this band.’ We don’t quite know where we fit in the grand scheme, but we know what’s brought us all together is our desire to experiment and learn about ourselves through the music.” Although associated with Seattle’s hip-hop scene—Wong-Wear was nominated for a Grammy for her songwriting and vocals on Macklemore’s “White Walls,” while singer-producers Lace Cadence and Parker Joe were members of Clockwork and State of the Artist, respectively—the sound of the Flavr Blue is closer to ethereal, danceable soul, with driving ’80s synths underscoring Wong-Wear’s broad, seemingly effortless vocal range. One of the rising groups in the Emerald City music scene, the Flavr Blue suddenly went national last December, albeit for reasons largely unrelated to its music. After an article in The Seattle Times referred to her as a former “sidekick” of Macklemore’s, Wong-Wear wrote a response about how the headline reinforced the marginalization of Asian-Americans, whose role in media is often “to bolster the white male hero.” “There’s a difference between being thoughtful about how you frame someone, and casting them in a way that shows they’re only important because they’re connected to someone famous,” she says. Wong-Wear’s response to the article wasn’t her first political action. She has contributed essays to Jezebel, is on the board of the Seattle Arts Commission, comes from a spoken-word background and has given talks at Planned Parenthood and the YMCA and shared stages with Gloria Steinem. But the Flavr Blue isn’t a political band, and Wong-Wear doesn’t want it to be. “I am so politically active, the Flavr Blue is a really rad place to let my emotions bleed and that humanity breathe,” she says. “To me, it always feels a lot more authentic if those opportunities are more organic than strategic. So for me, with this project, I’m not thinking, ‘How are we going to politicize our musical content?’” Whether it happens organically or strategically, the decision is entirely up to the band. Although a manager may soon become essential, Wong-Wear emphasizes that the band is in no hurry to give the reins to someone else. After all, she’s proved more than capable of handling anything that comes the band’s way. “We’ll never not be DIY in a certain sense,” she says. “We’ve all been doing this for several years, so we’re not just going to jump on the first label deal or management opportunity that comes our way. We still want to be in the driver’s seat.” SOPHIA JUNE. Hollis Wong-Wear is politically woke, but when it comes to her music, she just wants to make you to dance.

SEE IT: The Flavr Blue plays Holocene, 1001 SE Morrison St., with Heartwatch and Blossom, on Thursday, March 10. 8 pm. $10 in advance, $12 day of show. 21+. 36

Willamette Week MARCH 9, 2016

DATES HERE shows to household name within the scene in a matter of five years. BRANDON WIDDER. Revolution Hall, 1300 SE Stark St., No. 110, 288-3895. 9 pm. $15 advance, $18 day of show. All ages.

Junior Boys, Jessy Lanza, Borys

[AFTER-HOURS ELECTRONICA] It’s hard to believe that Last Exit was released over 10 years ago. Junior Boys’ hushed electro-pop debut was somewhat of an anomaly back then, overshadowed in the hipstersphere by heaping helpings of indie rock. The Canadian duo has hardly been proficient since then, having just released Big Black Coat after five years of silence. It’s not quite an opus, but the record certainly reflects Junior Boys’ mastery of downtempo, electro-lounge grooves, highlighted by a crafty reimagination of Bobby Caldwell’s smooth-as-marble 1978 hit, “What You Won’t Do for Love.” MARK STOCK. Star Theater, 13 NW 6th Ave., 248-4700. 9 pm. $17. 21+.

E*Rock, New Romancer, Polly Dactlyl

[APHEX SCHWIN] With a number of enterprises, including Audio Dregs and Dream Street, ERock is the musical front to Eric Mast’s various cultural contributions to the Portland underground. Tonight’s rare show—headlining this art opening for multimedia work by Sean Christensen of nu-beat electro-pop outfit LL LL—is no exception, showcasing the artist’s Machinedrum tracks, industrious grooves and fresh-select software synths. Polly Dactyl’s dubbed-out, analog arpeggios and tropical beats open the party, as an aquatic-inspired prelude to a playful night of inspired solo auteurs. WYATT SCHAFFNER. The Waypost, 3120 N Williams Ave., 367-3182. 8 pm. Free. 21+.

Reverend Horton Heat, Unknown Hinson, Legendary Shack Shakers, Lincoln Durham

[ROCK REVIVALIST] Jim Heath is the antithesis to that sagely advice recovered addicts always give to the newly sober about not ending up as the old guy at the party. In his world, that proposition is not at all frightening, even while pushing 60. I’m guessing anyone not already devoted to the Rev. Horton Heat’s cranked-up psychobilly sermon won’t convert now, but with an array of signature guitar moves and a trove of lyrical dirty jokes, the Rev plays a very specific bag of rock ’n’ roll, and with several decades of experience, it does it very well. CRIS LANKENAU. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $23 advance, $25 day of show. 21+.

SUNDAY, MARCH 13 Justin Bieber

[POP] Did you know it’s cool to like Justin Bieber now? It’s true. Our cultural gatekeepers have deemed it so. Granted, it has little to do with anything he’s actually done, and pretty much everything to do with Skrillex and Diplo turning his voice into a synthesized pan flute. Still, that trio of addictively breezy singles—”What Do You Mean,” “Where Are U Now” and “Sorry”—repositioned the semi-reformed Canadian bad boy as an artist rather than a celebrity. Alas, outside of those aforementioned songs, Purpose, his recent “adult” coming-out, is littered with snoozy forays into contemporary R&B, and at least one cringeworthy attempt at social commentary. On second thought, maybe it’s not actually cool to like Justin Bieber. Maybe it’s that he’s just respectable enough to dislike for his music, rather than his past bouts of petulant affluenza. But hey, it’s a start. MATTHEW SINGER. Moda Center, 1 N Center Court St., 235-8771. 7:30 pm. $50.50-$116. All ages.

CLASSICAL, WORLD & JAZZ Northwest Piano Trio

[HOMEGROWN CLASSICAL] One of the city’s newest chamber music ensembles, Northwest Piano Trio, spotlights music from Oregon’s own increasingly fertile original classical music scene—and puts its money where its music is, commissioning and premiering two new compositions on the program. The show, which adds guest percussionists, a singer and a clarinetist, features Portland composer Kenji Bunch’s jazzy, explosive little concerto for piano trio and percussion, plus pieces by two more of the city’s composers, Lisa Marsh and Mike Hsu, who both create sounds that appeal to lovers of pop as well as classical music. The show also includes music by rising young composer Stacey Philipps and Zach Gulaboff Davis. BRETT CAMPBELL. Cerimon House, 5131 NE 23rd Ave. 7:30 pm Friday, March 11. $15-$20. All ages.

The Patrick Lamb Band

[SOUL MAN] Vocalist-saxophonist Patrick Lamb may have made his home in Portland, but he was born in Mississippi, and it shows. An energetic musician with a distinctly Southern charm, Lamb blends country choruses with roaring tenor-sax solos, as though the Boss and Clarence Clemons were one and the same. Performing selections from his latest Billboardcharting release, It’s All Right Now, Lamb will bring the funk to Jimmy Mak’s for an evening, skirting the club’s normal post-bop fare—and rousing a few AARP members out of their chairs in the process. PARKER HALL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm Friday, March 11. $12 general admission, $15 reserved seating. Under 21 permitted until 9:30 pm.

Copland’s Quiet City

[CLASSICAL] Though not quite as ominous or frenetic as the recent Holst symphony, this program looks to be one of the most pleasantly modern of the season. The concert opens with an impressionistic Debussy piece that concerns a day in the life of a faun. The following three pieces are all 20th-century works, starting with Ernest Bloch’s Concerto for Violin, inspired by American Indian rhythms Bloch heard while traveling in New Mexico. Next up is Copland’s Quiet City—a short piece originally composed for a failed Irwin Shaw play. Tonight’s finale is one of Bartók’s few stage works, the suite from The Miraculous Mandarin. These are the symphonies that adventurous listeners should not miss. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pmSaturday and 8 pm Monday, March 12 and 14. $29-$105. All ages.

Takács Quartet

[CLASSICAL ICONS] Almost every year, Portland gets to experience what many critics consider the world’s greatest string quartet, which regularly fills Portland State’s Lincoln Hall for its annual Friends of Chamber Music appearances. Those typically consist of 18th-, 19thand 20th-century masterpieces like its excellent Monday program, featuring quartets by Haydn, Beethoven and Shostakovich. On Tuesday, though, the Takács bring a new piece by one of today’s most acclaimed young composers, 30-year-old Brooklynite Timo Andres, whose quartet Strong Language follows his frequent practice of building transparent compositions from very simple means. Traditionalists can scurry to the safe harbors of the Haydn and Brahms quartets that open and close Tuesday’s show. BRETT CAMPBELL. Lincoln Performance Hall at PSU, 1620 SW Park Ave., 224-5058. 7:30 pm Monday-Tuesday, March 14-15. $30-$47. All ages.

For more Music listings, visit Willamette Week MARCH 9, 2016



! y r a s r e v i n n 47th A






Penny & Sparrow is American singer-songwriter duo of Andy Baxter and Kyle Jahnke out of Austin, Texas. Their new album, ‘Let A Lover Drown You’, features 11 beautifully crafted songs overflowing with gorgeous melodies, soaring harmonies and thought provoking lyrics that cut right to the core.


J.D. SIMO (Free Guitar Clinic)


Three of the original members of the legendary “Takoma 7” touring together for the first time! Finger style guitar masters Peter Lang, Rick Ruskin and Toulouse Engelhardt were hand picked by the late John Fahey and signed to his now cult label, Takoma Records.

By the time he was five, JD was begging his parents for a guitar. They obliged, and by age 10—much like his peers Derek Trucks and Joe Bonamassa—he was regularly playing bars backed by older musicians. By 15, he’d dropped out of school, put his own band together and was touring full time. After moving to Nashville at 21, he assembled the band Simo. Together, they’re an adventurous rock & roll trinity, a thriving creative partnership completed by JD’s combustible guitar playing and soulful vocals.

Fronted by lead singer and multi-instrumentalist Hunter Ackerman, and anchored by Jon Siembieda and Carmelo Bonaventura on guitar, Aaron Barnes on bass, Brian Lara on drums, with Moana Avvenenti on vocals, they are a blues-infused rock and roll force that is not to be missed.





WYNONNA & THE BIG NOISE Wynonna & The Big Noise $10.99 CD Also on Vinyl

A Man Alive $10.99 CD Also on Vinyl

It would not be a stretch to say the upcoming project from Wynonna Judd is a celebration of love. In talking with the country songstress, one gets the feeling she is at a blissful point in her life where she has wanted to be for a long time—and it can be heard glowingly on each track on Wynonna & The Big Noise.

A Man Alive, the fourth studio album from San Francisco’s Thao & The Get Down Stay Down, was recorded at Tiny Telephone Studios in San Francisco and produced by Merrill Garbus aka Tune-Yards. The 12 track album is the first musical collaboration between longtime friends Thao and Merrill. The two experimented extensively while recording and the result is an album whose songs and production extend into the extraordinary.

What sets the disc—her first of non-covers since 2003’s What The World Needs Now Is Love—apart is that it is truly a band effort recorded with her four-man ensemble. She said she was encouraged by her husband and bandmate, Cactus Moser, to differentiate from what she has done before in her career. The disc features guest appearances from the likes of Derek Trucks, Susan Tedeschi, Timothy B. Schmit and Americana favorite Jason Isbell, who adds his vocal touch on the confessional Things I Lean On. Judd said the song is one of the most personal she has ever been a part of. — SALE RUNS THROUGH 3/9/16-4/6/16

A Man Alive is an evolution in both subject matter and sound. Thao says: “I wanted A Man Alive to be beat and bass-driven—rather than guitar-based—extending and elaborating upon the hip hop influences of 2009’s Know Better Learn Faster. A Man Alive is more instrumental, more riff and loop-centric, and has more manipulated sounds.”

MUSIC MILLENNIUM TURNS 47! Join us for cake & refreshments, Tuesday, March 15th at 6PM! free

Octobe r 2015




the potlander SAVE THE DATE! Publishes: APril 20, 2016 Space Reservation & Materials Deadline: Thursday, March 31 at 10am Call: 503.243.2122 Email:



Willamette Week MARCH 9, 2016

reserVe YOur sPACe TODAY!

MUSIC CALENDAR WED. MARCH 9 Alberta Rose Theatre

3000 NE Alberta St Run River North w/ The Wild Reeds

Ash Street Saloon 225 SW Ash The Debts


350 West Burnside Yo Mama’s Big Fat Booty Band

Doug Fir Lounge

830 E Burnside St. Penny & Sparrow, The Whistles & The Bells

Duffs Garage

2530 NE 82nd Ave Arthur Moore; Blues Jam


2126 S. W. Halsey ST. Michele Van Kleef

Goodfoot Pub & Lounge

2845 SE Stark St Fresh Track, Coco Columbia Single Release at The Goodfoot!


1001 SE Morrison St The Hilldogs w/ Balto + Those Willows

Jade Lounge

2348 SE Ankeny Ronnie Carrier Hosts

Jo Rotisserie & Bar 715 NW 23rd Ave Allison Au Quartet

Justa Pasta

1336 NW 19th Ave Anson Wright Duo

Kelly’s Olympian

426 SW Washington St The Want Ads, Katie Kuffel, Chloe Stuff

McMenamins Al’s Den 303 SW 12th Ave Ritchie Young (of Loch Lomond)

Raven and Rose

1331 SW Broadway The Keepers

Sweet Basil Thai Cuisine

Doug Fir Lounge

Artichoke Music

Duffs Garage

Ash Street Saloon


Bunk Bar Water

Hawthorne Theatre

Cerimon House

830 E Burnside St Bronze Radio Return 2530 NE 82nd Ave Tough LovePyle; Zydeco Jam 2126 S. W. Halsey ST. Sonny Hess 1507 SE 39th The Alienated; Silverstein, Being as an Ocean, Emarosa, Coldrain, Rarity


1001 SE Morrison St The Flavr Blue

Jade Lounge

2348 SE Ankeny A Night with BB and Friends; Camille Perry, Aaron Lindstrom, Curtis Reynolds

Kelly’s Olympian

426 SW Washington St The Sextet, Almost Rock, Headdress

Artichoke Music

3130 SE Hawthorne Blvd. Acoustic Village

Ash Street Saloon 225 SW Ash Cannabidroids

Ash Street Saloon

225 SW Ash Robotic Stimulus Tour

Biddy McGraw’s

6000 NE Glisan St Dig Deep

Bunk Bar

1028 SE Water Ave. Pillar Point

Crush Bar

1400 SE Morrison St Seven Cake Candy


350 West Burnside Swingrowers

2530 NE 82nd Ave Amanda Richards


2126 S. W. Halsey ST. Lynn Conover & John Mitchell

Jade Lounge

Jimmy Mak’s

426 SW Washington St Dookdagenius, Mic Capes, Lang, Rasheed Jamal, DJ Drae Slapz

Lovecraft Bar

Kenton Club

3939 N Mississippi Ave Yppah / Manatee Commune

Muddy Rudder Public House 1805 SE 7th Ave. Jack Dwyer Trio

Roseland Theater

715 NW 23rd Ave Friday Night Blues & Jazz

2025 N Kilpatrick St Smoke Rings Tour Kickoff

LaurelThirst Public House 2958 NE Glisan St GBB

Mississippi Pizza Pub

3552 N Mississippi Ave Three Sigma + The Broad Strokes + The Goods

Mississippi Studios

8 NW 6th Ave JAUZ

3939 N Mississippi Ave Best New Band 2016

Studio 2@Zoomtopia

Moda Center

2026 NE Alberta St. Alto!, Golden Hour, Faxes 4260 SE 41st Ave Open Mic with host Dave Kelsay

The White Eagle


Turn Turn Turn

3017 SE Milwaukie Ave The Revivalists

Duffs Garage

Kelly’s Olympian

The Ranger Station

Aladdin Theater

830 E Burnside St Ben Ottewell; Eli & Fur

2958 NE Glisan St Lewi Longmire & the Left Coast Roasters

The Secret Society


Doug Fir Lounge

LaurelThirst Public House

The Know

836 N Russell St Willow Grove

350 West Burnside Hell’s Belles

Jo Rotisserie & Bar

The Know

The White Eagle


2025 N Kilpatrick St Lungs and Limbs, Darkswoon, Vibrissae

3135 NE Broadway St Sweet Basil Music/Poetry Open Mic

116 NE Russell St The Brian Odell Band (live recording), Louder Oceans

5131 NE 23rd Ave. Northwest Piano Trio

221 NW 10th Ave. The Patrick Lamb Band

810 S.E. Belmont Third Angle New Music’s Radio Happenings: Cage and Feldman, a conversation in words and music

2026 NE Alberta St. The Ghost Ease

1028 SE Water Ave. The High Highs

Kenton Club

Mississippi Studios

8 NE Killingsworth St Open Mic

Twilight Cafe and Bar

1420 SE Powell Anther, No Parts, Survival Mode

Vie de Boheme

1530 SE 7th Ave Hot Club Time Machine

World Famous Cannabis Cafe

7958 SE Foster RD Green Room Jam

FRI. MARCH 11 Alberta Rose Theatre 3000 NE Alberta St Mean Mary in Concert

Alberta Street Pub

1036 NE Alberta St. The Weather Machine, Two Planets

Analog Cafe & Theater 720 SE Hawthorne Blvd Hunter Valentine


225 SW Ash Dead Nexus, Entoxikutioner

2348 SE Ankeny Amy Blue

421 SE Grand Ave Nero from Psyclon Nine

[MARCH 9-15]

3130 SE Hawthorne Blvd. Friday Night Coffeehouse

Kennedy School Theater

5736 N.E. 33rd Ave. Ma Fondue

For more listings, check out


= 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 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:

1 N Center Court St TobyMac

Reed College Student Union

3203 SE Woodstock Blvd UNiiQU3, Neybuu, DJ Rivera

PET SOUNDS: For a band so often compared to the Beach Boys, Animal Collective can be tough on the casual listener. The band has done more than its share to redraw the boundaries of pop music in nearly 20 years together, existing in that sliver of the Venn diagram that splits the accessible and the downright psychedelic. Its set at Roseland Theater on March 5, though, was relatively mild. It could have been louder, the set could have been nuttier, and the band could have bantered more. But that’s nitpicking. The most impressive trait of the set was how it functioned like a single organism, rarely falling silent, with the songs deftly blending together via careful knob-turning and percussion that would shuffle in and out of fuzzy solos and crystal-clear beats. The band released Painting With last month and showcased it proudly, with Panda Bear and Avey Tare flexing their masterful vocal interplay on the droned-out “The Burglars” and the jumpy, primal “Summing the Wretch.” After teasing it for a stretch, the quartet finally fell into the highly rhythmic “Golden Gal,” drawing huge applause. It was vintage Animal Collective music—mathy in its layering but still very danceable. The band may be a little older, a little more reserved and perhaps in bed before midnight these days. But it still excites as a live act, and continues throwing grenades at pop standardization. MARK STOCK. Wonder Ballroom

128 NE Russell St. Esperanza Spalding presents Emily’s D+Evolution

SAT. MARCH 12 Aladdin Theater

1300 SE Stark St #110 Ben Rector

3017 SE Milwaukie Ave An Evening With David Crosby

Roseland Theater

Alberta Abbey

Revolution Hall

8 NW 6th Ave. Pell, Daye Jack, J.I.D.

126 NE Alberta St Luck of the Irish

The Old Church

Alberta Street Pub

1422 SW 11th Ave. Waxahatchee, Briana Marela, Globelamp

1036 NE Alberta St The Druthers

The Secret Society

720 SE Hawthorne Blvd RJ

116 NE Russell St Well Swung

The White Eagle

836 N Russell St The Parson Red Heads

Tony Starlight Showroom

1125 SE Madison Tony Starlight & John Gilmore Sing the Great Gentlemen of Song by Request

Vie de Boheme

1530 SE 7th Ave Buddy Jay’s Jamaican Jazz Band

Village Baptist Church 330 SW Murray Blvd. Beaverton Symphony Orchestra: The Planets

Walters Cultural Arts Center 527 East Main St. Delgani String Quartet

Analog Cafe & Theater

Annares Infoshop and Community Space

7101 N Lombard St. Annares Infoshop Benefit: Dogtooth and Nail, Porch Cat, Birth Teeth, Shootdang

Arlene Schnitzer Concert Hall

1037 SW Broadway Copland’s Quiet City

Artichoke Music

3130 SE Hawthorne Blvd. Takoma Records Guitar Masters featuring Toulouse Engelhardt, Peter Lang and Rick Ruskin

Ash Street Saloon 225 SW Ash Within Sight

Camellia Lounge

510 NW 11th Avenue Lori Boone and Tom Grant Jazz

Classic Pianos

3003 SE Milwaukie Ave, Lisa Hilton

Crystal Ballroom

1332 W Burnside St Umphrey’s McGee, TAUK


350 West Burnside Separation of Sanity, Proven, At The Seams, Othrys

Doug Fir Lounge

Jimmy Mak’s

13 NW 6th Ave Junior Boys, Jessy Lanza, Borys

Kaul Auditorium at Reed College

The Tardis Room

3203 SE Woodstock Blvd. Spring Classics

Kelly’s Olympian

426 SW Washington St Labradora, Centaurs of Attention, Ronnie Haines

830 E Burnside St Motorbreath (Metallica tribute), Plush (Stone Temple Pilots tribute)

Lincoln Performance Hall

Duffs Garage

Living Savior Lutheran Church

2530 NE 82nd Ave The 44’s

Elks Lodge

13121 S.E. McLoughlin Blvd Winter Blues Music Festival

First Congregational United Church of Christ

1126 SW Park Avenue Consonare Chorale: Pulling on Heart Strings

Goodfoot Pub & Lounge

2845 SE Stark St JOE DORIA BAND (McTuff)

Hawthorne Theatre 1507 SE 39th SOL

Jade Lounge

2348 SE Ankeny Kids Table Presents: King Columbia & Friends

Jade Lounge

2348 SE Ankeny Steven Grenwood

Star Theater

221 NW 10th Ave Andy Stokes Sings Love Songs

1620 SW Park Ave Joseph Moog

8740 SW Sagert St. Songs From Nature: Music of the Americas

Lovecraft Bar

421 SE Grand Ave. Volt Divers

Mississippi Studios

3939 N Mississippi Ave Mrs. Presents Queen

Panic Room

3100 NE Sandy Blvd Nightfell / Torture Rack / Shrine of the Serpent

Portland Art Museum

1219 SW Park Ave Moshow the Cat Rapper

Portland Foursquare Church

2830 NE Flanders St. African Marimba Concert

Revolution Hall

1300 SE Stark St., No. 110 Brothers Comatose, The Easy Leaves

1218 N Killingsworth St, Portland, OR The Living Souls and Rubyfruit

The Know


The Secret Society

116 NE Russell St M.O.D. Club PDX feat. The Cool Whips, Original Middle Age Ska Enjoy Club

The Waypost

3120 N Williams Ave. E*Rock, New Romancer, Polly Dactlyl

The White Eagle 836 N Russell St Paul Lesinski

The White Eagle 836 N Russell St Two Bit Rumor

Turn Turn Turn

8 NE Killingsworth St The Gutters

Twilight Cafe and Bar

Peter Yeates and New Shilling

Wonder Ballroom

128 NE Russell St. Reverend Horton Heat, Unknown Hinson, Legendary Shack Shakers, Lincoln Durham

SUN. MARCH 13 Alberta Rose Theatre

3000 NE Alberta St Lúnasa with special guest Tim O’Brien

Arlene Schnitzer Concert Hall

1111 SW Broadway Metropolitan Youth Symphony Winter Concert

Ash Street Saloon 225 SW Ash Random Axe

Bossanova Ballroom 722 E Burnside St Stump City Soul

Crystal Ballroom

1332 W Burnside St Umphrey’s McGee, TAUK


350 West Burnside SIMO

1420 SE Powell Kings and Vagabonds, Right Lane Ends, Stab in the Dark, Jake Silberman


Vie de Bohème

1001 SE Morrison St DNCE

1530 SE 7th Ave. International Women’s Day Party featuring Chervona & Guests and Retro Diskoteka

Winona Grange #271 8340 SW Seneca St

2126 S. W. Halsey ST. Lewi Longmire


Jo Rotisserie & Bar

715 NW 23 Jo Rotisserie & Bar Latin Jazz Brunch

CONT. on page 40

Willamette Week MARCH 9, 2016


MUSIC Kelly’s Olympian

426 SW Washington St Supercrow, The Late Great, Small Field

McMenamins Al’s Den 303 SW 12th Ave Bevelers

Milwaukie Community Center

10666 SE 42nd The Portland Roadhouse


350 West Burnside PolyglΔmoury (followed by Karaoke From Hell)


2126 S. W. Halsey ST. Groovy Wallpaper with Chris Funk

Hatfield Hall

1111 SW Broadway Noontime Showcase: Celtic Trill

Hunter & the Dirty Jacks

Duffs Garage

2530 NE 82nd Ave Bene for Bernie; Renee Amici/Dean Mueller


2126 S. W. Halsey ST. Henry Hill Kammerer

Goodfoot Pub & Lounge

3939 N Mississippi Ave. Fanno Creek, Ali Muhareb’s Mujahedeen, Ah God

Jade Lounge

2845 SE Stark St JIMMY RUSSELL’S PARTY CITY 2034 (Free)

Jimmy Mak’s

Jade Lounge

Moda Center

1 N Center Court St Justin Bieber

221 NW 10th Ave Willamette University Jazz Band

Muddy Rudder Public House

Kennedy School Theater

Jimmy Mak’s

Mississippi Studios

8105 SE 7th Ave. Irish Jam


2348 SE Ankeny Songwriter’s Showcase

5736 N.E. 33rd Ave. Ethos Rock Band Showcase

Lincoln Performance Hall

600 E Burnside St RONTOMS SUNDAY SESSIONS: Sama Dams, No Kind of Rider

1620 SW Park Ave. Takács Quartet

Saint Matthew Catholic Church

Muddy Rudder Public House

Soma Space

4050 NE Broadway St Lyrical Strings

The Old Church

1422 SW 11th Ave Keith Harkin; Greg Lief Piano Concert: A Benefit for Friends of the Columbia Gorge

The Village Ballroom 700 NE Dekum Street The Not-Its!, Johnny Keener

The White Eagle

836 N Russell St The Portland Sound

Twilight Cafe and Bar 1420S E Powell Black Snake, Swamp Ritual, Mother Crone, Stone Elk

Vie de Boheme

1530 SE 7th Ave Rebirth of the Cool

World Forestry Center Discovery Museum 4033 S.W. Canyon Road Portland Youth Philharmonic Presents Cushion Concert

MON. MARCH 14 Brody Theater

16 NW Broadway The Doubleclicks Show

8105 SE 7th Ave. Lloyd Jones

Roseland Theater 8 NW 6th Ave Disturbed

St David of Wales Church

2800 SE Harrison The Everyone Welcome Community Choir

The Secret Society

116 NE Russell St Dan Jones & THEforREALS, The Little Sue Band, Eagles of Freedom

The White Eagle 836 N Russell St Lessons In Fresh

221 NW 10th Ave Milwaukie High School Jazz Ensemble

LaurelThirst Public House 2958 NE Glisan St Jackstraw

Lincoln Performance Hall

1620 SW Park Ave. Takács Quartet

Portland Art Museum 1219 SW Park Ave Portland Opera’s Resident Artist Recital

St. Johns Christian Church 8044 N Richmaond Ave. St. Johns-Cathedral Park Tuesday Noon Chamber Music

The Ranger Station

4260 SE Hawthorne Blvd Bluegrass Tuesdays, w/ Pete Kartsounes and Friends

The White Eagle

836 N Russell St White Eagle Blues Jam, hosted by Travers Kiley


Twilight Cafe and Bar

1036 NE Alberta St Dinner Pairing Series: TBA

1420 SE Powell The Two Tens/Adam and the Molecules/ The Ransom/The Reverberations

Bossanova Ballroom

Vie de Boheme

Alberta Street Pub

722 E Burnside St Portland Blues & Jazz Dance Society

Dickey Doo’s Pub

6618 SE Powell Blvd Jam Night at Dickey Doo’s Pub, Hosted by Winn Alexander

1530 7th Ave Salsa Dancing

Whitsell Auditorium

1219 SW Park Ave Resident Artist Recital: Felicia Moore and Abigail Dock

Doug Fir Restaurant, Bar & Lounge 830 E. Burnside St


447 SE 3rd Ave Songs From Nature: Music of the Americas

2348 SE Ankeny Small Time Jazz w/ Russell Gores

March 11 / Mississippi studios / 21+ / FrEE 8pM doors / 9pM show

chaNti darLiNG cat hoch Mic capEs Junior Boys play Star Theater on Saturday, March 12. 40

Willamette Week MARCH 9, 2016

Where to drink this week.



1. Fat Head’s

131 NW 13th Ave., 820-7721, Ohio, shmohio. The two best-loved IPAs in town in a blind tasting, Semper FiPA and IBUsive, are an all-Portland production by brewer Mike Hunsaker—although for now you’ll have to make do with his beautifully hoppy, low-IBU Built for Speed pale, which won’t feel like a compromise.

2. Pop Tavern

825 N Killingsworth St. The former Ducketts—a Killingsworth dive that dove deeper than Cousteau—has been reborn as a fine, punky patio hang with old show posters for Wire and the Gun Club on its exposed-brick wall, Crux Pilsner and Ex Novo beers on tap, and a thick-ass burger that costs a mere $6.50 with fries and comes blessedly pink in the center unless you ask otherwise.

3. Great Notion Brewing

2204 NE Alberta St., No. 101, 548-4491, Great Notion tapped its full list of 12 beers last weekend, including two of Portland’s top five IPAs: fruity, hoppy to the point of opaque and not bitter at all. But don’t miss the new maple imperial stout, either.

4. Pilcrow

830 NW Everett St., 802-0755, “Enjoy a glass of beer or wine while you shop!” reads the sign by the Pearl District World Foods’ little elbow of a grocery-store bar. It is perhaps the most wonderful sign in all of Portland.

5. IBU Public House

4439 SW Beaverton-Hillsdale Highway, 971-254-9558, Don’t look now, but the westside has gotten very beery. Out on B2H, across from Jack’s Tap Room and Quarterback Bar, IBU is a massive, split-level beer barn with 36 tapped kegs, including edgy options like an Ex Novo beer dry-hopped with Sour Patch Kids.

CHIVE ON: Pay no attention to the numbers on the sign. Brooklyn’s Bar 33 (4729 SE Milwaukie Ave, 719-4344,—no relation to Belmont bourbon speakeasy Circa 33—is where Prohibition themes go to die. Next to the Rumple Minze and Jägermeister, the whiskey in that Rockstar fridge is all Sinfire, Fireball and Jack Daniel’s Tennessee Fire. And that “33” hung in big, metal-cut letters on the bar’s wall? It’s not the year of anything. It’s the address of the first Bar 33 location in downtown Gresham, not to mention the number of the Scottie Pippen jersey (Bull, not Blazer) framed on the wall. The newish sports bar—housed in what used to be Yummy Garden, before that eatery’s owner fled the country under suspicions of running a drug empire—has a very deep-fried menu, free popcorn, a large back patio and more inside screens than a Chip Kelly offense, including a Golden Tee Golf game placed in the center of the bar for maximum viewing. But on crappy sports nights, the most interesting screen is a Roku box perma-tuned to CHIVE TV—slogan: “Keep Calm and Chive On”—a viral-video channel based on a website with a virulently loyal following. Think Tosh.0 without the anti-gay jokes: Chive-branded bikini slide shows, beer-pong tricks involving dogs, and dudes with selfie sticks free-climbing construction cranes. Bar 33 has one of the few Chive boxes in Portland, and also sports multiple Chive banners and a Chive-branded KCCO “Gold Lager” that tastes like malt farts. Order the Breakside IPA instead. On a recent gamefree Monday, Bar 33 was packed with scruffy faces in ball caps or hood-up sweatshirts—plus one guy who somehow looked like both Jay and Silent Bob at the same time—drinking to a soundtrack of A Tribe Called Quest and 4 Non Blondes. “My tab is open!” yelled one guy to his friend-pack. “Do whatever you want with it!” No prohibition, indeed. MATTHEW KORFHAGE. Lovecraft Bar

421 SE Grand Ave Necronancy queer dance party


3967 N. Mississippi Ave DJ Cuica


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

WED. MARCH 9 Dig A Pony

736 SE Grand Ave Marti (eclectic)

Lovecraft Bar

Shadowplay (EBM, goth, industrial, darkwave)

FRI. MARCH 11 Crush Bar

SAT. MARCH 12 Dig A Pony

736 SE Grand St. Montel Spinozza (funk)

1400 SE Morrison St MINISTRY BASH w/ DJ Acid Rick & MizzAurora (Alainwave)

315 SE 3rd Ave Bearracuda (house); DJ Craze

Plew’s Brew’s

Crystal Ballroom

1001 SE Morrison St Verified with Jai Wolf

THURS. MARCH 10 Dig A Pony

736 SE Grand Ave Vortex (soul, R&B)

Lovecraft Bar

421 SE Grand Ave

1332 W Burnside St 80s Video Dance Attack

Dig A Pony 736 SE Grand Ave Cooky Parker (soul); Happy Hour with Cali Mike (jazz, mellow rap, dub)

Euphoria Nightclub


736 SE Grand Ave Sunday Selects with Ante Up (hip-hop, R&B)

Lovecraft Bar

421 SE Grand Ave Glam Rock Trash Bash

Euphoria Nightclub

421 SE Grand Ave Event Horizon (industrial, EBM, electro) 8409 N Lombard St Wiggle Room (electronica, disco, house, hip-hop)

SUN. MARCH 13 Dig A Pony


Jo Bar & Rotisserie

715 NW 23rd Ave Saturday Night Spins (funk, soul, R&B, deep house)

Lovecraft Bar

421 SE Grand Ave Musick for Mannequins w/ DDDJJJ666 & Magnolia Bouvier (eclectic vinyl dance)

MON. MARCH 14 Dig A Pony

736 SE Grand Ave Bad Wizard (‘50s-’60s soul and rock)

TUES. MARCH 15 Dig A Pony

736 SE Grand Ave Atom 13 (eclectic)

Lovecraft Bar

421 SE Grand Ave Mood Ring

Willamette Week MARCH 9, 2016





Sunday marks the end of an era. When Amy Miller and Sean Jordan say farewell after their shared goodbye show at the Aladdin Theater, they’ll close a chapter of Portland comedy. Miller and Jordan—who’ve both topped our annual Funniest Five poll—are the latest comics to move to L.A. the last of a golden generation that included Ian Karmel, Ron Funches and Shane Torres. In many ways, the two couldn’t be more different. The fiery Miller moved here from Oakland, and while she plays up her sweetness onstage, she also delivers biting takedowns. She’s outspoken on all sorts of topics—last month she was fully doxxed by Male Rights Activists after an Internet beef with another comic that drew in everyone from Joe Rogan to Cameron Esposito. Jordan, meanwhile, tends to keep his chill. He moved here from South Dakota and joined Karmel and Torres to produce Funny Over Everything, one of the city’s most popular recurring comedy shows. His likable routine juxtaposes his folksy manner with skateboarder slang. But the two share a keen eye for opportunities and a steadfast desire to make it in comedy—something we eventually got them to concede is rather rare. Our conversation took two hours and three drinks at two different bars. You can read an extended 6,000-plusword exit interview at, covering everything from why there are some bad sets at the Bridgetown Comedy Festival to Sean Jordan’s preferred form of french fry. Here are some outtakes on various topics. MARTIN CIZMAR. On why there are so many allegations of sexual misconduct by comedians, including Bill Cosby, Louis CK and T.J. Miller... Sean Jordan: First of all, that happens in every scene. I feel like we’re singling out comedy like it happens more. It doesn’t. It happens way too much everywhere. There’s a small industry in standup right now, and that is also very, very popular, so people focus on it a lot. Amy Miller: But I think there’s a certain psychology to comedy that helps it thrive a little bit more. I mean, it is another profession where there aren’t that many women, and I think female comics are expected, if they’re going to get ahead, to be a little less feminist than we want to be, a little less outspoken than we want to be, because you kind of have to be one of the dudes. So if you are sexually assaulted and you’re at the beginning of your career, it’s hard to be like, “Well, am I going to blow the whistle on this whole thing?” A lot of people aren’t going to believe me, because that’s always what happens. I mean [Bill Cosby] was in a position where he basically had no power. It’s not like he was a super-funny guy on the scene that people were like, “I just don’t believe it”; people were like, “Yeah, I can see it.” There are plenty of comics who are super-funny and successful that get away with being sort of casual date rapists that never get called out except among female comics. We all warn each other and we know about it. 42

Willamette Week MARCH 9, 2016

goodbye, bridgetown: Amy Miller and sean Jordan.

On the role of hobbyists in the comedy scene… Miller: It’s impossible for any hobbyist to get ahead, which it’s not like music—you can’t be like, “I’m in a dadrock band, let me play at this Irish pub once a month,” because if you’re a hobbyist, people smell it on you and then anytime we’re asked, “Who should the industry look at? Who are the best people in your town?” There are people who I won’t name who you think are really great, but they don’t have the long term in mind, so you don’t recommend them and it becomes this cycle where they’re like, “Why don’t I get booked, why don’t I get recommended for stuff ?” Well, because you don’t show up. When people are like, “I just do it because it’s kind of

“our generation will be the first generation of comics where it’s almost impossible to quit.” fun,” it’s like, “Noted, I’ll never book you again,” because there are people who are like, “This is all that I want and all I’m good at, please book me.” Jordan: I said I was going to be a professional skateboarder when I was 18, and I meant it if you asked me, but I didn’t because I didn’t pursue it. I didn’t do shit. I just stayed in South Dakota. Whatever, I know it’s a childish analogy to put on this thing, but it is like that, like you have to, because standup, to tell your family that you’re going to be a comedian, is a really harsh fucking gun to put in your mouth. Miller: I went snowboarding twice. And took lessons both times and I just fell down constantly. But the second time, my instructor was like, “What do you like to do?” and I was like, “I don’t know, I’m a singer, like a choral singer,” and he was like, “That’s great, I bet you’re really good,” and I was like, “I’m OK,” and he was like, “Some people shouldn’t

sing, right?” and I’m like, “Yeah, no, a lot of people are really bad singers,” and he’s like, “You’re like that, but for snowboarding.” And that’s just like a conversation I want to have with a lot of comics—like, “It’s really cool that you want to do this and you’re willing to fall down over and over, but at some point, you’ve got to stop.” On day jobs… Miller: Our generation will be the first generation of comics where it’s almost impossible to quit. Because could you imagine trying to get a regular job? I work in music, so it’s fine, but everything we’ve done has been chronicled online. There hasn’t been a generation of comics who’re like, “I’m gonna go get a fuckin’ regular office job because nobody will know who I am.” Jordan: The erotic fan fictions that you’ve written, all those disgusting things, like drunken sets that you didn’t know people were recording, and they throw them up on YouTube that I still don’t know are out there. On what will happen to the Portland comedy scene after they leave… Miller: You’d be surprised. Comedy is very small. I mean, of people who really hustle and are truly funny, most of them end up working. Especially right now. Jordan: And that’s what’ll happen, is when we leave there won’t be a void, but there will be opportunities for people to get noticed more. Out of that class, I’m the last one to leave, so people have just been like, “Well, Sean’s still here, let’s have him do this show at Mississippi.” Or the Willamette Week thing—I won that because Ian and Shane were gone, Amy had already won it, so other people are going to step up and do this stuff, but you probably haven’t noticed yet because they’re not on the forefront. see it: Amy Miller and Sean Jordan’s going-away party is at Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm Sunday, March 13. $15-$17. Under 21 permitted with a legal guardian.

Editor: ENID SPITZ. Theater: ENID SPITZ ( Comedy: MIKE ACKER ( Dance: ENID SPITZ ( TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to:

OPENINGS & PREVIEWS Green Ten Minute Play Festival

Green is the theme for the 15th installment of Monkey with a Hat On’s tenminute play festival, which they’ve produced for the past five years. But don’t expect a sustainability conference. Portland writers interpreted “green” as everything from “a troubled woman with a leaf tattoo” to “a post-apocalyptic sequel to Green Eggs and Ham” for this evening showcase. SOPHIA JUNE. Clinton Street Theater, 2522 SE Clinton St., 2385588. 7 pm Friday-Sunday, March 11-13. $5.

Heathers: The Musical

The original Mean Girls comes to Portland in the Northwest premiere of Heathers: The Musical. The Broadway adaptation, written and composed by Kevin Murphy of Desperate Housewives and Laurence O’Keefe of Legally Blonde: The Musical, adds musical numbers to the 1989 black comedy about three high school socialites named Heather. When social outcast Veronica and her smoldering boyfriend plot murder, this satire follows peer pressure and bullying to the extreme. SOPHIA JUNE. Triangle Theater, 1725 NE Sandy Blvd., 2395919. 7:30 pm Thursday-Saturday, March 10-April 2; 2 pm Sunday, March 20 & 27. $15-35.

Star Work

Space travel can’t always be unrealistically attractive astronauts and sleek jetpacks. Follow a crew of bureaucratic spaceship workers as they gather space data, file soil samples and play board games aboard the Griffin 23J in Action/Adventure’s newest play. If the company’s mission is theater for TV people, we’re thinking Parks & Rec meets Star Trek. Action/Adventure Theatre, 1050 SE Clinton St. 10 pm Thursday-Sunday, March 10-April 3. $10-$12.

We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Sudwestafrika, Between the Years 1884–1915

German colonizers wiped out 80 percent of Namibia’s Herero people in the early 1900s. That’s the inspiration for a troupe of present-day, idealistic actors in the first play from Jackie Sibblies Drury, which started as a thesis at Brown and then skyrocketed off-Broadway. It’s an exposé of what happens backstage and a blatant racial fire-starter, directed by Kevin Jones, the guy behind Portland’s diversity-focused arts organization, the August Wilson Red Door Project. That should be buzz enough to ignore the tedious title: We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Sudwestafrika, Between the Years 1884–1915. And the painful character list: White man. Black man. Another white man. Artists Repertory Theatre, 1515 SW Morrison St., 2411278. 7:30 pm Wednesday-Sunday and 2 pm Sunday, March 12-April 3. $48.

Wizard of Oz

In all the Wicked buzz, Toto and the Tin Man got left in the Kansas dust. Broadway in Portland brings all the show of MGM, amped by Andrew Lloyd Webber, with a nostalgic, cut-out backdrop, nightmarish monkey dancers and a full ensemble cast—though the munchkins look a little older now. ENID SPITZ. Keller Auditorium, 222 SW Clay St., 800-273-1530. 7:30 pm WednesdaySaturday; 2 pm Saturday; 1 and 6 pm Sunday, March 9-13. $40-$105.

NEW REVIEWS Moby Dick, Rehearsed

The first female-helmed adaptation of Orson Welles’ Dick is a surprisingly stunning, immersive production from Hillsboro’s one theater troupe. The Venetian Theatre morphs into a swashbuckling Nantucket wharf, where actors playing whalers sing shanties through the aisles or mime epic harpooning scenes with little more than ropes and wooden blocks as props. The play is framed as a company’s rehearsal of Moby Dick, and Kymberli Colbourne starts the show as a bullheaded director, marching through the theater and barking orders while the house lights are still up. When the lights dim, Bag & Baggage will make you forget there is such a thing as Hillsboro. This is the first production with permission from Welles’ estate to cast women as the leads, and Colbourne as Ahab is a wonderful tempest onstage. As the cast files through the audience carrying candles and flags, actors yell lines from the stage to the balcony, and Colbourne belts tear-jerking monologues from the top of a swaying ladder—you’ll never think of Dick as a snoozefest again. ENID SPITZ The Venetian Theatre, 253 E. Main St., Hillsboro, 345-9590. 7:30 pm Thursday-Saturday and 2 pm Sunday, through March 20. $25-$30.

Stupid F***ing Bird

Loosely adapted from Chekhov’s The Seagull, this play is three acts of neurotic moaning about the struggles of artists and the role of theater in a lengthy “woe is me” rant that feels like artistic masturbation. Stupid F***ing Bird breaks the fourth wall, with characters confessing their desires to the audience as if in a Stanislavsky acting class. While intriguing at first, the techniques get old quickly, like a teenager who has to tell everyone he just started smoking pot. The play knows its audience— beret-wearing theater devotees who think adding “fuck” makes something edgy—and the script plays to that crowd with endless theater in-jokes. It’s not the cast’s fault; each actor is stunning, especially Kimberly Gilbert as the emo cook Mash. Portland Center Stage’s pop art set, graffitied with neon green and pink portraits of Chekhov, and the set-change scene, in which Russian music blasts, are almost worth the three hours. SOPHIA JUNE. Gerding Theater at the Armory, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesday-Sunday; 2 pm SaturdaySunday; 12 pm Thursday, through March 27. $25-$70.

the repulsively offensive journalist Ian rapes an unsuspecting ingénue named Cate in his swanky Leeds hotel room, which is then stormed by an unstable soldier armed with a rifle. Scenes of anal rape, brutality and cannibalism earned Blasted harsh criticism and then strong praise from Harold Pinter. Not recommended for audiences under 18. There will be a post-show discussion about PTSD and domestic violence on Saturday, March 12. Back Door Theatre, 4321 SE Hawthorne Blvd., 481-2960. 7:30 pm Thursday-Sunday, through March 19. $10-$25.


If the premise sounds like a squishy Diane Keaton movie that your grandma’s been waiting for—it is. Betty is a cat lady. Dan is a dog man. They meet in a scheme to switch out a dead cat that’s been hit by a car. But this quiet portrait of loneliness, getting old and the role of pets in our lives is stunning and honest. In what feels like two solo shows, Betty (Jacklyn Maddux) and Dan (Allen Nause) slowly unfold their lives, speaking to the audience in perfect Irish accents. Narrating every emotion and even physical actions, their direct addresses let us in on each character’s secrets. On one side of the thrust stage is Dan, alone in his sparse, dark and empty bedroom with his dog for company. Nause—who served as Artists Rep’s artistic director for 25 years—gives a haunting performance that captures Dan’s suicidal distress with facial tics and real tears. On the other half of the stage, in a bright living room decorated with daffodils, Betty details the death of her marriage, and Maddux draws surprising intrigue from her character. In the audience, you feel like her best friend as she spills nervous excitement like a giddy teenager. Because this is a quiet Irish play, it mines dead pets and suicide plans for plot points. But because it’s a quiet Irish play with Nause and Maddox as the leads, it can build even sexual tension out of dead pets, suicide plans and surprisingly steamy cups of tea. SOPHIA JUNE. CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm Thursday-Saturday and 2 pm Sunday, through March 13. $25.


The Père Lachaise cemetery in Paris is famous as the final resting spot for some of history’s most famous artists, and it’s the jumpingoff point for Pulitzer finalist Dael Orlandersmith’s one-woman show. Walking through the graves conjures up her memories of growing up with an alcoholic mother. The raw and emotional tell-all won praise from The New Yorker when it opened off-

Broadway last spring. Domestic trials, confessional monologues, pathos for the well-educated—PCS has a formula. That said, it normally adds up. Ellyn Bye Studio at the Armory, 128 NW 11th Ave., 445-7300. 7:30 pm Tuesday-Sunday; noon Thursday; 2 pm Saturday-Sunday, through March 20. $40. 16+.

King Lear

The new Post5 inaugural show isn’t the “edgy” theater director Rusty Tennant said he wants to bring to Sellwood. But we’re all better off for its classicism. Ithica Tell drips disdain from her curled upper lip as Goneril; Stan Brown is her indulgently flamboyant minion; Jessica Tidd fills out the lusty Regan in a black slip or red fur coat; and Todd Van Voris... you should know the name. The axis is 80-year-old Tobias Andersen, a 50-year veteran of Northwest theaters who plays the titular King as a tempest of rage, a pathetically mad king and a heartbreaking embodiment of human sorrow. Despite the occasional garbled speech and a weird cell phone cameo, when Lear stands center stage carrying his daughter’s corpse in frail arms, the burly guy in my row was crying too. Post 5 Theatre, 1666 SE Lambert St., 971-258-8584. 7:30 pm FridaySunday, through March 19. $20.


Creeped out by her creaky house, Thea asks friends move to in—and then the haunting multiplies. This semi-improvised horror series didn’t win a full run when Joel Patrick Durham debuted it during Action/ Adventure’s 2015 Pilot Season, but it did win a cult following. The idea is Netflix on stage—like Master of None meets American Horror Story, told over 4 episodes. Episodes 1 and 2 debut this weekend, and 1 through 4 will run later in March. Tickets are $25 if you purchase for both shows. Shoebox Theater, 2110 SE 10th Ave., 481-9742. 8 pm Friday-Sunday and 3:30 pm Saturdays, through March 26. $15.

firewood, red flannel shirts and a full-sized wooden canoe. This is dialogue-based, character-driven humor instead of slapstick. The couple “canoe” in, playing hopeless hipster campers, then do a dozen or so sketches about things like a feminist summer camp and elfin mating rituals. Marshall Bradley is a hilarious third wheel, making cameos as a distraught camper in short shorts and an automated paper towel dispenser. The Aces know how to quit when they’re ahead, ending each sketch with a welcomingly abrupt punch for the best camping trip you’ll get this side of July Fourth. SOPHIA JUNE. Siren Theater, 315 NW Davis St. 8 pm Friday-Saturday, through March 12. $15-$20.

Amy Miller and Sean Jordan

WW’s Funniest Five veterans Sean Jordan and Amy Miller are the the latest Portland comic sacrifices to Los Angeles. Whoever’s left will either be backing them or watching their sets at this send-off. House band the White Guys—made up of members of the Decemberists, the Thermals, Weinland and Great Wilderness—will play the swan song. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm Sunday, March 13. $15-$17. Minors allowed with a legal guardian.

Curious Comedy Open Mic

Sign up start at 7:15, and every comic gets a tight three minutes onstage in this weekly show hosted by Andie Main. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 4779477. 8 pm Sundays. Free.

The Dirty Dozen

Bring your girlfriend, bring your boyfriend, bring your mom, and see how much dirty comedy they can handle. This time, telling their raunchiest and naughtiest jokes will be local favorites Dan Weber, Wednesday Weiss, Jake Silberman, James Bosquez, Kristine Levine, James Barela, Adam Pasi, Tim Ledwith, JoAnn Schinderle, Kyle Harbert and Gabe Dinger. MIKE ACKER. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, March 9. $12-$20. 21+.

Earthquake Hurricane

COMEDY & VARIETY The Aces’ National Forest

The newest sketch show from one of Portland’s oldest comedy duos, the Aces, takes us camping—in Old Town. Michael Fetters and Shelley McLendon’s wacky camping trip turns the spacious, new Siren Theater into what looks like the Lost Lake Campground, complete with fresh

Some of WW’s favorite funny Portlanders showcase famous and not-so-famous, local and not-so-local comedians. Hosted by Curtis Cook, Alex Falcone, Anthony Lopez and Bri Pruett. Velo Cult Bike Shop, 1969 NE 42nd Ave., 922-2012. 9 pm every Wednesday. Free, $5 suggested donation. 21+.

CONT. on page 45 PAT R I C K W E I S H A M P E L / B L A N K E y E .T V

= 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.


Kitty just wants a good nip and a nap, but life’s clumps stink things up in this Oregon Children’s Theatre adaptation of the best-selling book series. Extra shows 11 am Saturday, March 12 and 26. Winningstad Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturday; 11 am and 2 pm Sunday, through March 27. $14$28.


PTSD, brutal sex and racism rocket to center stage in plays by Sarah Kane, the English playwright notorious for staging graphic violence and creating “one of the most violent and racially offensive programmes ever,” as one British critic called her 1995 TV movie, Skin. Her first play, Blasted, getting it’s Portland premiere with Defunkt, looks to be the most violent play on any stage this season. In it,

STUPID F***ING BIRD Willamette Week MARCH 9, 2016



Willamette Week MARCH 9, 2016



Brodie Kelly’s weekly pizza party/ comedy showcase gives locals a tight 5 for standup, and coincides with happy hour: $2.50 pints. Hotlips Pizza, 2211 SE Hawthorne Blvd., 234-9999. 8 pm Mondays. Free.

Late Night Action with Alex Falcone and Bri Pruett

Portland’s favorite comedy talk show is returning for a political special. Hosts Alex Falcone and Bri Pruett welcome U.S. Sen. Jeff Merkley and mayoral candidate (And And And drummer) Bim Ditson to talk politics both local and national. Along with the political talk will be comedy from Robbie Pankow, music from the Minders, plus Anthony Lopez and DJ Bobby D. MIKE ACKER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 7 pm Saturday, March 12. $10-$15. 21+.

Open Court

This weekly, long-form improv show combines performers from many Portland theaters and troupes. Newbies are welcome and teams are picked at random, then coached by an improv veteran before taking the stage. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm Thursdays. $5.

Open Mic

Twice-weekly, Portland’s most prolific improv venue opens its stage to everyone for 3-minute bits. Sign up online day of before 1 pm. Brody Theater, 16 NW Broadway, 224-2227. 8:30 pm TuesdayWednesday. Free.

The Ranger Station Open Mic

Sign ups start at 8 pm for a weekly open mic night hosted by Victor Johnson, set in the whiskey-heavy bar WW once compared to “a Roosevelt-era public works cabin.” The Ranger Station, 4260 SE Hawthorne Blvd., 894-8455. 8:30 pm Wednesday. Free. 21+.

Sunday School

Workshop students, veteran crews and groups that pre-register online perform long form improv every Sunday. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 6 pm Sundays. $5 suggested donation.


Brody’s students showcase their improv, sketch and standup skills— a different class each week. Brody Theater, 16 NW Broadway, 2242227. 7:30 pm Thursdays. $5.

Thursday Night Throwdown

Curious’ twice-monthly competition pits teams that apply in advance online against one another for a chance to compete in Friday Night Fights the next week. It’s first come, first served, and every groups gets 17 minutes. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every second and fourth Thursdays. Free.


Present Matter DANCERS INSPIRED BY THE NOTORIOUS B.I.G. AND BLACK LIVES MATTER ARE MAKING ONE WEST COAST STOP: PORTLAND. This weekend, a New York dance company is bringing one of this season’s most interesting and racially charged dance numbers to Portland. Inspired by the Black Lives Matter movement, New York choreographer Kyle Abraham’s “Absent Matter” mixes Kendrick Lamar and Drake with live jazz and archival footage of protests, part of Abraham.In.Motion at the Newmark Theatre. For Tamisha Guy, one of the principal dancers, the show reflects real life. “It’s super-personal,” Guy says. “You don’t have to dig in the dust pile to find images of [Black Lives Matter], you just turn on the news.” Guy has been dancing since a talent scout from Manhattan’s Ballet Tech discovered her in middle school, shortly after the Trinidad native immigrated with her family to New York City. Talent scouts marched the students into the gym, and told them to jump. “They point your feet; they look at you; they ask you to make arm movements,” Guy says. When the Ballet Tech scout discovered Guy, she was still reeling from her family’s relocation. Dancing was the outlet that finally helped her acclimate to America.

“In Trinidad, we didn’t have this kind of black/white,” she says. “There, you have other issues. Once I moved to New York, this is something I had to choose to continue living in. It still feels surreal.” The Martha Graham Dance Company accepted Guy one month after she graduated from State University of New York at Purchase, and during her first three-month break from touring, Abraham swooped in. “I went into rehearsals [with Abraham] and just never left,” Guy says. Someday she’ll go back to Trinidad. “When I’m old,” she says. This is prime time for a 25-year-old contemporary dancer in New York City, especially in a company that thrives on activism and Drake. “It’s a tough program for me to get through, physically too,” Guy says. “What helps is the other dancers onstage, seeing their eyes and knowing we’re in it together.” The dance, like the Black Lives Matter movement, finds strength in collaboration. When Abraham brings his playlist of D’Angelo and Kanye into the studio, he asks for his dancers’ input. “There are companies where you’re given steps, and just have to do those,” Guy says. “This one is different.” And she isn’t down with someone telling her to jump. ENID SPITZ. see it: Abraham.In.Motion is at the Newmark Theatre, 1111 SW Broadway, 800-380-3516. 8 pm Thursday-Saturday, March 10-12. $25-$34.

Blasting Drake, Tupac, D’Angelo and Kendrick Lamar in rehearsals is part of choreographer Kyle Abraham’s process. “He’s a music head,” says dancer Tamisha Guy. “If something comes out today, he has it tomorrow.” Rap battles and rappers’ obsession with immortal fame inspired Abraham’s newest dance, “Absent Matter.” Here are his top five tracks.

Trump vs. Bernie

Fresh off hosting a headline-grabbing mayoral debate, Revolution Hall will play host to one of the most anticipated debates in American political history. Presumptive GOP nominee, former CEO of Trump Steaks, Donald J. Trump, and the leader of the Socialist revolution, U.S. Sen. Bernard “Bernie” Sanders, will go face-toface, with nothing short of the fate of the nation at stake. MIKE ACKER. Revolution Hall, 1300 SE Stark St., No. 110, 808-5094. 8 pm Wednesday, March 9. $16-$20. All ages.

For more Performance listings, visit

“Ready to Die” —The Notorious B.I.G. I’m ready to die!/ Nah we ain’t gon’ kill your ass yet/ We gonna make you suffer

“Mortal Man” —Kendrick Lamar

“A haunting interview with the late Tupac,” says Abraham.

“Sing About Me, I’m Dying of Thirst” —Kendrick Lamar

Everybody’s a victim in my eyes/ When I ride it’s a murderous rhythm/ And outside became pitch black/ A demon glued to my back whispering, ‘Get em’/ I get em, and I ain’t give a fuck

“Fire Squad” —J. Cole

History repeats itself and that’s just how it goes/ Same way that these rappers always bite each others flows/ While silly…argue over who gon’ snatch the crown/ Look around…white people have snatched the sound

“Alright” —Kendrick Lamar

“We been hurt, been down before…/ When my pride was low, lookin’ at the world like, “Where do we go…/ And we hate Popo, wanna kill us dead in the street, for sure…/ My knees gettin’ weak and my gun might blow, but we gon’ be alright

Willamette Week MARCH 9, 2016


VISUAL ARTS By ENID SPITZ. 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:

A Future Life

Tens of thousands of tiny charcoal bricks pave the gallery floor like modernist cobblestones. Some climb the gray walls, others rise up to form plinths, atop which Jonathan Berger’s minimalist sculptures perch. Among them: an imperfect orb, a flattened cross and a miniature century plant made of tin. Once in a while, a show comes along that feels more like an experience than a collection of art in a room. This is one of those times. Berger’s monochromatic installation will swallow you up, in the best way. JENNIFER RABIN. Adams and Ollman, 209 SW 9th Ave., 724-0684. Through March 12.

Al-Mutanabbi Street Starts Here!

On March 5, 2007, a car bomb destroyed Al-Mutanabbi Street in Baghdad, Iraq’s beloved and ancient street for booksellers. To pay homage to the books, ideas and culture that were lost, poets, book artists, photographers and printmakers contributed work to the international exhibition Al-Mutanabbi Street Starts Here!, which has made its way to Portland. Not only does the exhibition show solidarity with our fellow Iraqi citizens, it gives us an opportunity to see visual art that glorifies books and the literary form. Additional exhibitions are being held at the Museum of Contemporary Craft and Portland State University. JENNIFER RABIN. Multnomah County Central Library, 801 SW 10th Ave., 988-5123. Through May 15.


Photographer William Binzen’s panoramas of the American West are so massive that the viewer is sucked into the landscape, feet no longer touching the gallery floor. Shot with a large format camera, Binzen’s photos show the impacts people have had on the land. Smoke plumes from power plants choke the sky and pollute a nearby lake, ribbons of highways slice through pristine desert, chain-link fence corrals rubble outside of a gothic-style cathedral and mills deface foothills without a thought. In Azimuth, it is clear that destruction comes on the heels of man’s desire to grow, to build, to expand, to industrialize. And we are left to consider the consequences. JENNIFER RABIN. Blue Sky Gallery, 122 NW 8th Ave., 225-0210. Through April 3.

Contemporary Native Photographers and the Edward Curtis Legacy

Portland Art Museum’s curator of photography and the curator of Native American art have collaborated to recontextualize the work of Edward Curtis, an ethnologist who documented the Native tribes of North America a hundred years ago. Curtis’ iconic portraits are on display alongside the work of contemporary native artists Zig Jackson, Wendy Red Star and Will Wilson. Jackson uses humor and metacommentary in his black-and-white series. Red Star employs color, scale and interaction with museum visitors to highlight the traditions of Crow women, a matrilineal people whose lives were not captured by Curtis’ sepia portraits of male chiefs. Wilson’s breathtaking tintypes are digitally scanned and printed so that the original images can be offered to his subjects with whom he collaborated on the portraits, something Curtis never did. JENNIFER RABIN. Portland Art Museum, 1219 SW Park Ave., 226-2811. $20. Through May 8.

Desperate Measures

Max Cleary plays with the medium of photography. He prints images on concrete bricks, giving them depth and weight, then shoots them in settings that evoke something more. To create the triptych To See You Again, the artist turned a photograph of a rock into a sculpture of a rock, which he rephotographed, making the two-dimensional into the three-dimensional and back again. Some of his photographs are meant to be touched, like a xerographic print of pebbled cement sculpted to take on the texture of the original surface.


JENNIFER RABIN. Soltesz Fine Art, 1825 NW 23rd Ave., 971-276-9097. Through March 19.

Drawing to Planet Earth

The organic forms in Christine Bourdette’s abstract graphite and watercolor series call to mind natural phenomena formed over millenniums. Bourdette is a Portland resident and Drawing to Planet Earth is informed by the landscape of the American West. Dappled rock formations fill the background, muted and as old as time. Bright splashes of color overlaid by Bourdette’s brush remind the viewer that nothing is stagnant, everything changes. Alongside her drawings, Bourdette is showing a series of small paper sculptures that use an ephemeral material to evoke the enduring textures of the geological world. JENNIFER RABIN. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521. Through April 2.

The Emotional Life of Objects

Every object has a story. For this joint exhibit at Bullseye, mixed media artists Silvia Levenson, Dante Marioni and Heidi Schwegler unpack the complexities of “objecthood” with pieces of crafted, repurposed and combined materials like metal and ceramic. The finished works shine light on how we look at objects, making us reconsider their emotional lives, from production and function to symbolic or cultural significance. HILARY TSAI. Bullseye Projects, 300 NW 13th Ave., 227-0222. Through March 26.

The Human Hybrid

An unlikely mash-up of scientific journalism and high fashion, these collage works use anatomy drawings as a base. Then, artist Wangechi Mutu layers ink, cosmic paint splatters, textured fabrics and magazine cutouts to create bizarrely sexualized humanoids. Some are abstract, free-floating faces with exotic animal skin, human features and urban afros. Others are curvaceous figures labelled as though they were medical diagrams. Tumors of the Uterus is the title of one, a grotesquely swollen uterus with runway-ready eyes and lips. It’s body horror at its finest (or worst), but the artist’s use of medical jargon together with the female nude creates a push-pull between pain and glamour that is not often seen. HILARY TSAI. 511 Gallery, 511 NW Broadway, 226-4391. Through March 12.


After gaining access to Oregon State University’s archive of nearly three million insect specimens, artist Sarah Horowitz decided to devote an entire series of etchings to moths, which fascinated her. Horowitz created the impossibly detailed black-and-white images by scratching delicate lines into a copper plate while looking through a magnifying visor. The etchings are sedate and still, like biological illustrations in an antique book, but the moths are so realistic it seems possible they might fly off the page. JENNIFER RABIN. Froelick Gallery, 714 NW Davis St., 222-1142. Through April 2.

The People’s Liberation Army Goes Shopping

The subjects of adman-turned-artist Jim Riswold’s photographs are female soldier dolls from China’s People’s Liberation Army. Each doll, beautifully shot against a communist-red backdrop, wears luxury accessories with her starched whitegloved uniform: a foofy dog peeking out of a Kate Spade shoulder bag, a fur coat and chandelier earrings to compliment an AK-47. The juxtaposition of these elements makes for images so arresting they distract the viewer from their lack of substance. Riswold’s artist’s statement is devoted to information about China’s biggest shopping day and how it outmatches Black Friday. If Riswold had followed this thread, the series could have been an interesting commentary about commercialism, capitalism and communism. But by only using images of women (the artist said female dolls were all he could find), Riswold is making a

Willamette Week MARCH 9, 2016

powerful statement that he didn’t intend. Presenting an image of a female soldier holding a rifle in one hand and a beauty pageant bouquet in the other—especially a female soldier from a country that has a history of aborting girls—adds to the culture of undervaluing women instead of commenting on it. It also fails to communicate anything substantive about China’s commercialism. JENNIFER RABIN. Oranj Studio, 0726 SW Gaines St., 719-5338. Through March 31.


= WW Pick. Highly recommended.

Rowland Ricketts

Some of Rowland Ricketts’ wall-mounted squares of indigo fabric evoke abstract color fields, while others look like they were kissed by a cloud of calligrapher’s ink. They all show the incredible nuance of color that the artist is able to achieve through dyeing and weaving. Most notable is the fact that “daylight” is listed as one of the materials used to create each piece. This is a nod to the impermanence of the work, the fact that the colors and the fabric will begin to change and fade over the course of the exhibition in a room with floor-to-ceiling windows. This degradation is as important to Ricketts’ work as the growing, harvesting and fermenting of the indigo plants. It is not the final result, but the process of making that is the most lasting. JENNIFER RABIN. Museum of Contemporary Craft, 724 NW Davis St., 223-2654. $6. Through April 23.

Screw Art

What the street artist Invader did for mosaic tiles, Sam Klein is doing for Phillips-head screws. Klein uses multicolored screws of various sizes to construct simple but beautifully rendered images of ’80s nostalgia and geekery. Think of it like pointillism for the Comic-Con crowd. The textured pieces—depicting stormtroopers, skulls and robots—drip with humor and craftsmanship. If you’ve ever wanted a portrait of Boba Fett made out of hardware to hang next to your standup Pac-Man machine, this is the show for you. JENNIFER RABIN. Ford Gallery, 2505 SE 11th Ave., 449-3305. Through March 19.

Stone, Cloth, Flushed Cloud

Charlene Liu’s colorful, patterned works combine watercolor, printmaking, collage and pen and ink. In one series, Liu digitally processes images of ornate textiles salvaged from her mother’s restaurant, a nod to memory and lineage that draws you into every fold. Larger panels use hand-marbled paper to create kaleidoscopic images that feel both geometric and organic. Timed to coincide with an annual printmakers conference in Portland, Liu’s work shows us another way to explore the printmaking tradition. JENNIFER RABIN. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521. Through April 2.


In a two-person show, mixed media artists Mario Gallucci and Danielle Gottesman explore the idea of thresholds based on their own practices. Gottesman works in steel and wood to create minimal architectural forms that evoke openings and closings, like that of a bird’s wings or the pages of a book. Gallucci’s hyperrealistic sculpture of a dying houseplant and his photograph of a boarded-up building reference crossings over from life to death, utility to obsolescence. Gallucci and Gottesman show us that thresholds can be internal or external, physical or intangible. JENNIFER RABIN. Hap Gallery, 916 NW Flanders St., 444-7101. Through April 2.

Variable States: Prints Now

Printmaking has come a long way since the advent of movable type. And Upfor Gallery is doing what it does best by celebrating the intersection of a classic art form with the technologies that have reshaped it into what is newly possible. Eight artists, whose practices include some kind of printmaking, will show us the entire spectrum of the form, from letterpress to intaglio to serigraph to 3-D printing, filling the gallery with sculpture, installation and moving images. JENNIFER RABIN. Upfor Gallery, 929 NW Flanders St., 227-5111. Through April 9.

For more Visual Arts listings, visit

Prison tattoos (1967-1968) by danny lyon

The Talking Dead All the photos in Conversations With the Dead, Danny Lyon’s black-and-white series documenting prison life in the late 1960s, are small enough that you have to get close to make sense of the images. Often, you’ll wish you hadn’t. In one photo, a guard stands expressionless in a doorway, looking into the room where the electric chair looms terrifyingly in the foreground. Lyon gives us more than one image, like Shakedown Before Returning to the Building, of naked inmates, arms outstretched, being stripped and searched in the yard by guards in ten-gallon hats. Lyon was granted unlimited access to the Texas penitentiary system for 14 months in ’67 and ’68, making Conversations a seminal work of New Journalism, a movement that encouraged artists to immerse themselves in the environments they were attempting to represent. About the experience, Lyon wrote: “I tried with whatever power I had to make a picture of imprisonment as distressing as I knew it to be...and the few times I doubted the wisdom of my attitude, I had only to visit someone I knew in his cell.” Lyon’s images are starkly high-contrast, an aesthetic choice that highlights the black-and-white reality of the world they depict. Good guys and bad guys; inside and outside; lifers and parolees; inmates and guards. The time period exerts a curious effect on the series. It makes some of the images more disturbing, like the photo of black inmates segregated from their white counterparts and hunched over in a field, picking cotton. The intervening half-century makes other images downright charming, like Seven Years Flat on a Twenty-Year Sentence, in which a dimple-chinned, pompadoured prisoner holds a kitten in the open doorway to his cell. The most poetic image of the series is a young, shirtless inmate sitting alone next to the master controls that open all the prison cells—so close to the freedom that eludes him. What makes looking at Conversations so uncomfortable is how jawdroppingly beautiful the photographs are. As a viewer, it’s difficult to reconcile the aesthetic pleasure you get from the images of maltreatment, humiliation, exhaustion and incarceration. It feels perverse. JENNIFER RABIN.

Conversations With the Dead brings prisoners from the ’60s back to life.

SEE IT: Conversations With the Dead is at Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886. Through March 26.



On a sunny Sunday morning in 1980, Mount St. Helens erupted, obliterating miles of forest and killing 57 people. Eruption is the newest from National Book Award finalist Steve Olson, exploring how the eruption affected the way we live. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

THURSDAY, MARCH 10 Cat Winters

Back in the 1920s, the KKK exerted about as much power over the state of Oregon as bike-riding, craft-brew aficionados do today. For Hanalee, the biracial teen protagonist of Cat Winters’ The Steep and Thorny Way, that means she’s in constant danger. It’s a sad day when books about the Klan are again topical, but here we are. Powell’s at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.

Matt Love

There’s perhaps no more fitting a send-off to Antonin Scalia than a book in which he figures as a key villain. In The Great Birthright, when an L.A. developer convinces Scalia to declare the Beach Bill unconstitutional, thereby privatizing Oregon’s beaches, it’s up to both the fictional and nonfictional writer Matt Love and washedup detective Tom West to save the day. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

FRIDAY, MARCH 11 Rebecca Traister

Over the last 25 years, the median age of marriage has steadily shot up—it’s now 27. In All the Single Ladies, Rebecca Traister of New York Magazine and Elle talked to 100 very different women about their relationship with marriage. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

SUNDAY, MARCH 13 Daniel Clowes

With a mastery of visual styles ranging from ’50s ads to Mad magazine, and a narrative taste for existential chaos, Daniel Clowes is probably the bestknown name in whatever you call non-superhero, non-Garfield comics. He’s the dude who wrote the comics (and the screenplays) for Ghost World and Art School Confidential, as well as comics Ice Haven and Wilson. His newest book, Patience, is a sci-fi love story. He’ll speak with Eric Reynolds of Fantagraphics. Powell’s City of Books, 1005 W Burnside St., 228-4651. 2 pm. Free.

Helen Oyeyemi

Helen Oyeyemi is a former literary wunderkind, having written her first book at a grizzled 18. Her most recent release, What Is Not Yours Is Not Yours, is a series of interlocking stories with fantasy and humor sprinkled in. There are weight-loss clinicians who help teenage girls cast spells to Hecate, magical puppets and wars between collegiate societies. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

MONDAY, MARCH 14 Smallpressapalooza

Powell’s celebrates Small Press Month with its ninth annual

Smallpressapalooza, featuring 12 authors, including Olivia Olivia, poet Sarah Bartlett, and writer and musician Dao Strom. Powell’s City of Books, 1005 W Burnside St., 228-4651. 6 pm. Free.

Walidah Imarisha

One in 100 Americans is in prison. Organizer and Portland State professor Walidah Imarisha exposes this part of our country in Angels With Dirty Faces with the stories of three individuals’ experiences with the legal system. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

TUESDAY, MARCH 15 Brian Doyle PNBA Award Ceremony

collection of short stories, Children and Other Wild Animals, won a Pacific Northwest Booksellers Prize, and Broadway Books is hosting the award ceremony. There will be cake. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Robert Hill

As the residents of New Eden—a utopia for people with genetic abnormalities—age, the town is preparing to disappear. But before it does, one of the residents has shocking news. The Remnants is the latest from Robert Hill, whose 2006 book, When All Is Said and Done, received rave reviews. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.


For more Books listings, visit

This year, Portland writer Brian Doyle’s




Jon Raymond is an art critic the same way a novelist is a critic of humans—a keen and often cold-eyed observer who manages to use his subjects for purposes other than their own. Raymond is probably best known to Portlanders for his fiction (The Half-Life, Livability) or the works he’s written for the screen (Todd Haynes’ Mildred Pierce, Kelly Reichardt’s Wendy and Lucy). But he has been for 20 years one of Portland’s most perspicacious commenters on the arts—whether in Plazm, the art and design magazine Raymond has long edited, or in national publications like Artforum. The Community: Writings About Art in and Around Portland 19972016 (Publication Studio, 180 pages, $25-$30), which collects those writings for the first time, shows Raymond as a sort of high Romantic in reverse. Instead of remaking the landscape to suit human emotion, he seems instead to see the marks of Portland in the works artists produce here, to divine the city’s essential nature by reading into local luminary Storm Tharp’s synthesis of “West Coast funk, Japanese woodblock prints, and Francis Bacon” or Malia Jensen’s “taxidermied forms investigating the dark comedy of death and death’s display.” The book’s recurring obsession is our regional character, Portland’s place in the world, the oft-thwarted ambitions of institutions like PICA and Disjecta—and, of course, our uncomfortable postPortlandia transition away from an amorphously obscure city where “people came to disappear,” known for “repelling those with too much ambition and half-embracing those who chronically underachieve.” The collection’s beating heart is therefore one of its earliest pieces—a 1998 Plazm article about photographer Cherie Hiser’s work Re:Visions, which restaged portraits across 20 years to “portray the grueling process by which adults become different adults, not necessarily better or worse or smarter than before.” In Hiser’s ex-husband, Raymond describes a “nose softening around the bridge, wide, chiseled jawline shrinking like a day-old balloon,” and finds evidence in this of the man’s tender commitment to civility. In The Community, Raymond seems to take on much the same project for Portland’s arts scene—as the city’s own lineaments become more firmly drawn, and it comes to resemble the decisions it has made much the same way a face reflects the life that preceded it. Multiple artists (Jensen, Tharp, Michael Brophy, Miranda July) reappear in the book’s pages years apart, and we see in retrospect what has become of them. The book’s official release will be July 9, at Disjecta’s Portland Biennial, although it’s available for purchase at a pre-publication party this week. The Biennial is perhaps a fitting venue—the book is no less artful a portrait than the works it describes. MATTHEW KORFHAGE.

For the full list of speakers go to


= 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: Fax: 243-1115.

AUBREY THELEN Nest Labs Head of developer relations

Aubrey works with developers to bring your home into the 21st century – like lights that automatically flash red when smoke is detected or washing machines that switch to energyefficient modes when energy prices are at their highest.

ANTHONY BATT wevr cofounder & executive vice president

Wevr, is the leading Hollywood virtual reality studio and distributor. Prior to founding Wevr, Anthony was the president of digital at Ashton Kutcher’s Katalyst, an innovative media studio creating programming for television, film, and the social web.

FUN PitchfestNw for startuPs / Demo aLLey featuriNg the Latest iN virtuaL /augmeNteD reaLity / Parties / NetworkiNg

GO: Jon Raymond will attend a book party for The Community at Publication Studio, 717 SW Ankeny St., 360-4702,, on Friday, March 11. 7:30 pm. Free. Willamette Week MARCH 9, 2016


MOVIES = 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: Fax: 243-1115.

10 Cloverfield Lane

A woman gets in a car accident and wakes up in an underground cellar. Meanwhile, chemical warfare ignites the world above her in Dan Trachtenberg’s directorial debut. The J.J. Abrams-produced science-fiction film isn’t a sequel but a “spiritual successor” to Cloverfield. Screened after deadline. See for Sophia June’s review. PG-13. Bagdad, Cedar Hills, Eastport, Clackamas, Edgefield, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard.

Eisenstein in Guanajuato

C+ This is a love-it-or-hate-it proposition, both for the story about Russian filmmaker Sergei Eisenstein’s sexually experimental Mexican vacation and for the film’s spastic montages. In the ’20s, Eisenstein was a complicated figure in Hollywood: a Soviet Jew with a face like Uncle Fester’s who reinvented the use of montage. Here, director Peter Greenaway pays homage to that art. He splits the screen so that old photographs of the real Eisenstein flank the actors onscreen. Elmer Bäck stars as Eisenstein, a big personality in awe of this new world, nervously rambling about comparative religion even while olive oil is being poured down his back for lubrication. There’s no time to blink thanks to Greenaway’s wild style, lunging from scene to scene with the swish of a skirt and the sudden swell of a full string section. Hold on tight, things get weird. NR. LAUREN TERRY. Cinema 21.

Embrace of the Serpent

A- Colonialism rears its ugly head

in this Oscar-nominated film, which follows a shaman, a German explorer and a native who’s assimilating into colonized culture as they journey through South American jungles in the early 1900s, searching for a plant with mysterious healing powers. The film deftly critiques colonialism and nativism without scolding or celebrating either. But while it succeeds in addressing the mucky morality of both, the message feels heavy-handed. The native people are painted as violently religious, while the German character is too attached to material possessions. Filming in black-andwhite is an unexpected choice for the long shots of Amazon wilderness, but the film mainly zooms in on less obvious details: a long canoe on the water, where the tree line meets the horizon, or the different textures of various characters’ clothing. The film’s purpose isn’t showcasing the jungle, but exposing the people in it. NR. SOPHIA JUNE. Living Room Theaters.


A- Andrew Haigh’s rich, slow-moving

marital mystery, 45 Years, centers on gorgeous cinematography and masterful acting by Tom Courtenay and Charlotte Rampling as a buttoned-up, childless woman on the verge of celebrating her 45th wedding anniversary to a man she suddenly doesn’t know. R. LIZZY ACKER. Lake Theater, Living Room Theaters.

The 5th Wave

D It’s the cookie-cutter story of a

peppy teenage girl who is, obviously, Earth’s best hope. Sixteen-yearold Cassie (Chloë Grace Moretz from


Kick-Ass) is a normal adolescent until a group of faceless aliens start killing everybody for no reason. Cassie has to fight back, but only after she deals with her inevitable love triangle. PG-13. ALEX FALCONE. Clackamas.


B- It’s a little creepy watching a stopmotion puppet perform cunnilingus. Charlie Kaufman (Eternal Sunshine of the Spotless Mind) fills his movie with jarring moments when our childhood associations of stop-motion animation collide with this very grown-up story. It was nominated for an Oscar for Best Animated Feature, but it’s also an early contender for feel-bad movie of 2016. R. RICHARD SPEER. Cinema 21.

The Big Short

A We’re in a bubble of movies about the financial crisis, but The Big Short is the first good one. It’s based on the book by Michael Lewis, who’s known for making complicated financial topics into compelling stories, and adapted by Adam McKay, who is known for Talladega Nights and the “More Cowbell” sketch. Surprisingly, this combo works. R. ALEX FALCONE. Living Room Theaters, Moreland, Bridgeport.


A- Based on the novel by Irish author Colm Tóibín and adapted by Nick Hornby (High Fidelity, About a Boy), Brooklyn is just the sweetest thing. Saoirse Ronan (Atonement) makes an adorable couple with Emory Cohen (Smash), and I could watch them court for hours, especially their awkward dinners with Cohen’s Italian family. PG-13. ALEX FALCONE. Clackamas, Cinema 21, Tigard.


A Todd Haynes’ newest feature is an

experience you remember mostly by token images—Cate Blanchett’s lacquered nails, Rooney Mara developing film in her shabby apartment kitchen, Blanchett’s lipstick stains on Mara’s nipples. A romance between a young salesgirl and older housewife set against the picture-book 1950s, Carol is an almost painfully beautiful adaptation of Patricia Highsmith’s novel, The Price of Salt. R. ENID SPITZ. Academy, Laurelhurst.

The Club

A- Some psychologists believe that

when it comes to traumatic stress, the brain can’t differentiate between physical and emotional violence. If that is true, this new film from acclaimed Chilean director Pablo Larrain is a George Romero gorefest for the soul. In a flophouse for broken and excommunicated priests in one of Chile’s remote coastal towns, the sins of institutional religion become living characters who must hide in shame from the townspeople they once served. By turns perversely prurient and quietly brutal, the gothic tale plays out in a dimly lit mise en scène. The Club won a Golden Globe nomination but was apparently too tough of a pill for the Academy Awards to swallow. That’s a damn shame, but it also proves the movie’s premise: The darkness deep inside ourselves and our institutions is something most would prefer to ignore. NR. ZACH MIDDLETON. Living Room Theaters.


B Within the first 10 minutes of Deadpool, the titular “merc with the mouth” graphically slaughters a baker’s dozen of goons to a soundtrack of “Shoop,” breaks the

Willamette Week MARCH 9, 2016






Few directors are labeled geniuses as consistently as Terrence Malick, whose newest film, Knight of Cups, is perhaps his most Malick-iest work to date. The Rhodes Scholar-turned-filmmaker has a very distinctive style, frustratingly so. When you know someone is universally acclaimed, it’s hard to watch scene after scene of a woman dancing under a tree with poetry dubbed over it and not wonder what you’re missing. With many directors, the first film isn’t as good as the rest. The director hasn’t established a signature style or confidence yet. But those are the very reasons Malick’s early features are so much more accessible. Badlands (1973) and Days of Heaven (1978) have a linear narrative, and the internal monologue is limited to a single character. Aside from the gorgeous photography, you wouldn’t know these were Malick films. It was only with The Tree of Life that he went fully into nonlinear stories, tracking shots of trees and whispery monologues dubbed over muted dialogue. If you watch Malick’s seven films in chronological order, you can actually see the director crawling farther up his own ass. And I mean that in the least bad possible way. In Knight of Cups, Christian Bale stars as Rick, a Hollywood screenwriter who revisits his past relationships with girlfriends, his ex-wife, co-workers, his brother and his father. Rick seems a man of few words and little internal monologue. Instead, Malick trusts viewers to intuit what’s going on in Rick’s head from the way others react to him. Being a true Malick film, Knight of Cups has little narrative momentum. It is mostly a series

of beautiful images and beautiful people speaking with their voices drowned out by internal monologues and poetry. Compared with The Tree of Life, the film is less weighty. There are no dinosaurs, fewer CGI images of the cosmos, but far more beautiful, beautiful people. The film is a series of vignettes, each named for a tarot card, that each focus on one particular relationship. The relationship as experienced by Rick. You see people fighting, but you hear Rick’s thoughts instead of their words. In a Hollywood party scene, the actors never square up to face the camera, and semi-intelligible ambient conversations make it feel like a genuine party, only you’re trapped in some guy’s brain. The realism is no mistake. As actor Thomas Lennon divulged, there was no actual script. The actors were given only cards with words of inspiration. It is less a movie than a series of shots of trees, cacti, people running along beaches, colorful parties and gorgeous people skinny-dipping in pools all overdubbed with poetry. And it is gorgeous, from three-time Oscar-winning cinematographer Emmanuel Lubezki. The credits are an impressive roll—Cate Blanchett, Natalie Portman, Antonio Banderas and Imogen Poots— but the film feels purposefully inaccessible. Knight of Cups requires an appreciation for Malick’s style. It’s asking, practically begging, for you to acknowledge its profundity. But you get the feeling there might not be anything more meaningful than what you see. Maybe there isn’t anything deeper to being a screenwriter and womanizer in Hollywood. As with tarot, you’re only going to spoil the magic by overthinking Knight of Cups. It’s best just to enjoy the pretty pictures. B- SEE IT: Knight of Cups is rated R. It opens Friday at most Portland-area theaters.

MOVIES fourth wall by talking to the audience, punches multiple scrotums, drops more f-bombs than tony Montana and takes a bullet directly up the butthole while giggling about it. Deadpool doesn’t reinvent the wheel. But it does teabag it. And sometimes that’s enough. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, CineMagic, Edgefield, Lake Theater, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, Sandy.

Eddie the Eagle

C Based on Michael “Eddie the Eagle” Edwards’ rise to (sort of) olympic fame, this is an underdog story with a twist: He never gets any cooler, and he doesn’t win the gold. As Britain’s first competitor in olympic ski jumping, he qualified just by successfully landing a jump, which on its own can be a deadly feat without proper training. though he finished last, his enthusiasm and goofy appearance won over audiences worldwide. taron Egerton brings his own twitchy charm to the role of Eddie, scrunching up his face to get a better look through his thick glasses. A synthy musical score sets the tone during the 1988 olympics in calgary, but ’80s nostalgia and a lovable, bespectacled hero can’t save the cheesiness of coach Bronson Peary (Hugh Jackman) taking on a ski jump in jeans and a lit cigarette. Predictable training montages aside, this is a prime opportunity for Winter olympics buffs to nerd out on high-definition wipeouts. PG-13. LAUREn tERRY. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Pioneer Place, Tigard, Sandy.

The Finest Hours

C Although the death-defying rescue mission depicted in this film was a proud moment in the history of the U.S. coast Guard, The Finest Hours is for the wives. PG-13. Mt. Hood, Valley.

Gods of Egypt

D It’s ancient Egypt like you’ve

Hail, Caesar!

B+ From the opening scene, in

which capitol Pictures “fixer” Eddie Mannix (a gruff Josh Brolin) skips out of confession, it’s a quick 27-hour shitstorm through high drama as movie star Baird Whitlock (George clooney) gets abducted. the coens’ funniest film since The Big Lebowski combines a zany caper, a communist plot, ’50s studio politics and a touching story about one man’s calling in life into a cohesive, lighthearted and quip-heavy comedy. It’s a neat package like only the coen brothers can tie up. PG-13. JoHn LocAntHI. Bagdad, Eastport, Living Room Theaters, Bridgeport, Vancouver, Sandy.

The Hateful Eight

A- Quentin tarantino’s new mystery

Western, The Hateful Eight is a spectacular bit of storytelling set against 70 millimeters of Wyoming grandeur, yet neat enough to fit together like the gears in a Swiss watch. R. Academy, Empirical, Kennedy School, Laurelhurst, Joy.

How to Be Single

D Dating is hard, not sure if you’ve heard. It’s especially hard for four single women in new York who are, like, different kinds of single (Rebel Wilson, Leslie Mann, Dakota Johnson, Alison Brie). this movie is not aimed at me, a married man. It’s aimed at rich women in new York with perfect apartments and great jobs they never have to attend to. R. ALEX FALconE. Eastport, Clackamas, Bridgeport, Fox Tower.

The Hunger Games: Mockingjay, Part 2

B Katniss Everdeen leads a group of rebels against the capitol, which has been booby-trapped with hot oil, lasers, and an army of lizard people. PG-13. Academy, Avalon, Vancouver, Valley.

In the Shadow of Women

A- two married bohemian artists struggle through infidelity in Phillippe Garrel’s black-and-white drama. While the film wholeheartedly embraces French cinema’s clichés in plot and aesthetic, it takes a new approach to the infidelity story by showing how the act affects men and women differently. It’s more dialogue than action, but the film’s emotional conversations hit home—especially the brutally honest scenes in which the couple lie together after sex and both know that the love is gone. NR. SoPHIA JUnE. Living Room Theaters.


B+ Director David o. Russell takes his formula for American Hustle,

co U R t E SY o F PA R A M o U n t P I c t U R E S

never seen it before: bigger, shinier and chock-full of deities punching each other. the gods are distinguishable from the normals because they’re a bit taller, they transform into shiny animal robots and—despite being in Africa 5,000 years ago—they’re white as crystal meth. they’re led led by nikolaj coster-Waldau (Game of Thrones) as Horus, god of light, and Gerard Butler (Olympus Has Fallen) as Set, god of beard stubble. the motto of the almost entirely cGI film seems to be, “Why not?” and everything has a weird yellow glow as if the crew illuminated the whole movie with piles of burning money. Shown but never explained: giant flying beetles; a 3,000-foot waterfall; removing and putting back somebody’s glowing blue brain; a flaming pyramid; ridable, giant fire-breathing snakes, and why they’re all so

white. This is Egypt! PG-13. ALEX FALconE. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, Sandy Cinema, St. Johns Cinemas.

wraps it in christmastime and casts America’s ass-kicking sweetheart Jennifer Lawrence as the woman who invented the self-wringing Miracle Mop. PG-13. Academy, Kennedy School, Laurelhurst.

Kung Fu Panda 3

A- It’s been five years since Kung Fu Panda 2, and Jack Black hasn’t been in anything even close to that good since. PG. Cedar Hills, Eastport, Clackamas,Milwaukie, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Sandy.

London Has Fallen

D About halfway through London Has Fallen, Gerard Butler’s grumbling, stabby Secret Service agent slowly digs his gigantic knife into the organs of Random Brown Villain no. 453 and implores him to go “go back to Fuckheadistan.” the look of horror on the face of his BFFin-chief, Aaron Eckhart as the U.S. president, is meant as part of a joke (he’s such a pussy!). Featuring Melissa Leo, Morgan Freeman and Jackie Earl Haley, for fuck’s sake, this sequel to Olympus Has Fallen is a huge-budget debacle that looks like a direct-to-video toss-away. the action sequences are at best shootouts and at worst look like cutscenes from an old Playstation game—with added gay panic and racism. It’ll undoubtedly inspire some jingoistic fists to pump. In fact, it might have inadvertently given the trump campaign a new slogan for foreign policy: “Go back to Fuckheadistan.” R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard.

Nominate your favorites during our annual readers’ poll 3/2–3/30.

The Martian

B- When a massive storm hits the Martian exploration project and Watney’s team leaves him for dead, the skilled botanist realizes that the only way to avoid starvation and space madness is to “science the shit” out of his situation. PG-13. Empirical, Valley.


the Jesse owens story long-jumps from biopic favorite to big-screen drama, with Degrassi veteran Stephan James as the AfricanAmerican olympian and Stephern Hopkins (24) in the director’s chair. Screened after deadline. PG-13. Cedar Hills, Clackamas, Bridgeport.

The Revenant

A- In terms of pure spectacle

and cinematic beauty, Alejandro González Iñárritu’s The Revenant approaches masterpiece status. Fur trapper Hugh Glass (Leonardo Dicaprio) finds his trapping party on the receiving end of a bear attack that leaves him barely clinging to life. R. AP KRYZA. Eastport, Clackamas, Hollywood, Bridgeport, City Center, Evergreen, Fox Tower, Tigard.

Nomination Categories: Food & Drink Health & Body Arts & Culture Local Business/Service Personality/Media Night Life Outdoor Cannabis


Risen goes big with the Jesus story, telling a swords-and-sandals epic about pagans trying to solve the resurrection mystery. It focuses on the non-canon Roman detective clavius, played by Joseph Fiennes (Shakespeare in Love), and his sidekick, played by tom Felton (Draco Malfoy), who’s got that clean-cut blond boy appearance you’d expect from a soldier in the Middle East. Jesus himself is played by cliff curtis, though he isn’t around much, which is kinda the point. But it was such a surprising choice (obviously, Jesus shouldn’t have a new Zealand accent, cute as it is). not screened for critics. PG-13. ALEX FALconE. Eastport, Clackamas,Oak Grove,Bridgeport, City Center, Division.


Email for promotional opportunities

cont. on page 50 Willamette Week MARCH 9, 2016


MOVIES C+ Amy Poehler and Tina Fey as the

titular sisters throw one last rager in their family’s house before their parents sell it. For the most part, it’s a straight-up party comedy and disappointingly standard. R. Laurelhurst, Vancouver.

Son of Saul

A- Son of Saul may be the most vis-

ceral, intimate take on the Holocaust ever made, and it’s the first Hungarian movie to win a Golden Globe. In it, Saul (Géza Röhrig) is a Hungarian Jew and member of the Sonderkommando, a special unit of Jewish prisoners assigned to cleaning up the remains of their own people. R. ZACH MIDDLETON. Academy, Laurelhurst.


A- Spotlight inverts the usual comparison: It’s a movie that feels like prestige television. Specifically, it feels like The Wire. Recounting how a Boston Globe investigative team uncovered an epidemic of pederast priests abetted by the archdiocese, the 2016 Oscar winner for Best Picture borrows the rhythms of a propulsive TV procedural and resists the temptation for self-congratulation. R. AARON MESH. Clackamas, Lake Theater, Bridgeport, City Center, Fox Tower, Lloyd Center, Tigard.

Star Wars: The Force Awakens

A- If there’s one thing we know

about Star Wars fans, it’s that they’re as resistant to change as any religious zealot. And so, the best thing that can be said about The Force Awakens is that it’s almost old-fashioned. PG-13. Eastport, Clackamas, Forest Theatre, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Tigard, Sandy Cinema, Living Room Theaters.

Triple 9

C+ This star-studded heist film combines ex-Special Forces (Chiwetel Ejiofor, Norman Reedus), current cops (Anthony Mackie, Clifton Collins Jr.), and one floundering former policeman (Aaron Paul) for a crackerjack bank take-down that quickly goes awry. When Kate Winslet, playing a mafia empress, challenges them to pull a triple 9 (officer down, in cop lingo), young pup Casey Affleck appears a heaven-sent fall guy. The script maximizes momentum with minimal exposition and no extraneous beats, but it feels like the husk of a blockbuster has-been. Direcor John Hillcoat channels the bleakness of The Road, but every scene also has tints of cerulean or hot pink, like a Miami Vice-themed porno. It’s an unpleasant experience, really. Winslet’s “Kosher Nostra” grande dame and Woody Harrelson as a Major Crimes True-ish detective deserve nods for acting skill, but there are no believable characters or coherent world view. Cut away all the Hollywood bullshit from a starstudded heist, and you’re left with the thudding wrongness of ordering salads from Burger King. There’s every reason to rail against the escapist slaughter—but when in Rome, maybe just enjoy the gladiators? R. JAY HORTON. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Lloyd Center, Pioneer Place, Tigard.

The Wave

B- This Norwegian disaster film plays

out a lot like its Hollywood brethren: nearly an hour of buildup, followed by destruction. Unlike the recent San Andreas, though, it manages to make you actually give a shit about the characters. That’s because it relies not on a sprawling, Towering Infernostyle ensemble, but on a family whose patriarch (Kristoffer Joner) happens to be a geologist tracking potential rockslides on a picturesque fjord overlooking a tourist town. Once the inevitable tsunami hits, Joner’s clan is divided, as is the action, between those trapped in a flooded hotel and those on the ground. The film ratchets up the tension nicely, but it wants to pack the emotional wallop of The Impossible and have its destruction


porn too. The results are often exciting, but the film never transcends the expected, cresting early and never committing to a tone. R. AP KRYZA. Cinema 21, Kiggins.



Where to Invade Next

B America hasn’t won a war in a while, Moore posits, so why not use the military nearly 60 percent of our taxes support to invade a country we can get something useful from? In Italy, the film’s first stop, he documents the average Italian’s time off. In Portugal, he talks to cops who no longer bust drug offenders. In France, nutritious and delectable school lunches. But arguments about “Americanness” fall flat out of the mouths of lefties like Moore, and he glosses over some of the existential issues that those other countries face. R. JAMES HELMSWORTH. Fox Tower.

Whiskey Tango Foxtrot

C+ Tina Fey stars in this light comedy about the war in Afghanistan, based on the book The Taliban Shuffle by Chicago Tribune writer Kim Barker, who was sent to cover Afghanistan with no prior experience in a war zone. Fey’s portrayal of Barker is the same as other characters you’re used to seeing from her, bumbling yet surprisingly competent, awkward in life, awkward in love. She’s funny for sure, but something just feels off with the 30 Rock-style humor interlaced with the horrific violence of Kabul circa 2004. Mix in some friend drama with Margot Robbie (The Wolf of Wall Street) and a really uncomfortable sexual encounter in which Bilbo Baggins puts his fingers in her mouth, and WTF ends up an awkward teenager of a movie, not sure who it is or why it feels the way it does. It’s occasionally brilliant but never seems comfortable. R. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Fox Tower, Lloyd Center, Tigard, St. Johns Cinemas.

Zoolander 2

D Ben Stiller’s sequel falters, as so many sequels do, when it tries to be little more than a repackaging of the original, with more celebrity cameos. Occasionally, there are inspired moments—the mid-’90s aqua vitae commercial—but it ends up as 100 minutes of a movie trying to be dumber than a brain fart. PG-13. JOHN LOCANTHI. Eastport, Clackamas, Bridgeport, Fox Tower.


B Leave it to Disney to sneak powerful, adult messages into a PG-rated movie. A modern-day Morocco, the Zootopia of the title is a metropolitan melting pot, where predator and prey live in perfect, fictional harmony. Every dynamic, doe-eyed character in this animated adventure brings laughs for the kids, and hope for adults that their children won’t adopt Donald Trump ideals. A smalltown bunny with big dreams, Judy Hopps (Ginnifer Goodwin), escapes her carrot-farming future by becoming the first rabbit to join Zootopia’s police force. Little does she know, when predators mysteriously return to their ferocious, prey-hungry ways, her hometown’s smallmindedness multiplies throughout Zootopia faster than bunnies during breeding season. Judy befriends a clever but con-artist fox, Nick Wilde (Jason Bateman), and the unlikely pair fight for equality and understanding while saving the city from savages. There’s a lesson under every hoof, inside every snout, and behind every bubbly buttocks. This movie puts supremacists to shame with its mere, motivational, furry-coated message. PG. AMY WOLFE. Cedar Hills, Eastport, Clackamas, Milwaukie, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, Sandy Cinema, St. Johns Theater.

For more Movies listings, visit

Willamette Week MARCH 9, 2016

LOVE THIS GIANT: Rock Hudson and Elizabeth Taylor.


George Stevens’ 1956 classic Giant is the very definition of a sprawling American epic. Clocking in at an ass-numbing three-plus hours, the film is a portrait of a changing Texas landscape from the early to mid20th century, a starkly romantic film of huge ambition that has more than earned its reputation as one of the era’s most important films. Beneath that layer of grandeur, though, lies the specter of two of Hollywood’s greatest tragedies: the too-early death of James Dean and the closeted life of star Rock Hudson, whose death at age 59 made him one of the first—and most public—stars to die of AIDS complications. It’s the latter loss that makes this year’s Elizabeth Taylor birthday celebration all the more poignant. Hosted by Laela Wilding, a Portland graphic designer who also happens to be Taylor’s granddaughter, the celebration doubles as a way to carry on the star’s philanthropic mission. Wilding previously screened Taylor touchstones like National Velvet and the Stevens-directed A Place in the Sun, but this year is more personal. The event will benefit two HIV-oriented groups (Our House of Portland and Nkosi’s Haven in South Africa), honoring Taylor’s legacy of AIDS activism. “My grandmother was a great friend to many of her leading men, and was very close with both James Dean and Rock Hudson,” Wilding says, reminiscing about watching the film with her grandmother as a child. “Decades after Giant, my grandmother and Rock were still great friends. When Rock revealed that he had AIDS in 1985, Elizabeth galvanized Hollywood to get informed and get involved in the fight against AIDS.” Taylor’s legacy of activism is storied: She was one of the first celebrities to dive into AIDS philanthropy when the disease emerged. She created the Elizabeth Taylor AIDS Foundation, galvanized Hollywood and took politicians to task for downplaying the epidemic, making her activism as embedded in her public persona as White Diamonds and tabloid gossip.

In hindsight, Giant becomes something more: an origin story for Taylor’s fiery later years. It’s a classic tale of American ambition and tragedy carried by Hudson and Taylor, a pair who met at the peak of their cinematic glory and whose legacies are forever entwined both on- and offscreen. You can see the affection these cinematic greats shared for each other each time they lock eyes in the film. Knowing the outcome of their real-life relationship makes the already swelling film that much more affecting. SEE IT: Giant screens at the Hollywood Theatre. 2 pm Sunday, March 13. $15. ALSO SHOWING:

Say what you will about The Departed (and what you’ll say is that its Oscar for Best Picture was really for Goodfellas), but it does stand up as Scorsese’s most approachable and entertaining film perhaps ever, and that’s worth celebrating too. Mission Theater. March 12 and 14-16. Mel Gibson’s Braveheart is one of the most inaccurate historical epics of all time, a film showered with extraneous violence and subplots to make an extremely compelling true story somehow watered down (mostly with blood). It’s also…well, kind of fantastic. Mission Theater. March 12-13. NW Film Center’s Wim Wenders retrospective continues with Kings of the Road (7 pm Thursday), the Dennis Hopper-as-Tom Ripley chiller The American Friend (4:30 pm Sunday) and his bestknown opus Paris, Texas (7:15 pm Sunday). NW Film Center’s Whitsell Auditorium. See for full listings. The Academy continues its fantastic slate of audience picks from the past 10 years with P.T. Anderson’s modern masterpiece There Will Be Blood. Academy Theater. March 11-17. The Hollywood’s Masters of Cinematography series brings The Godfather back where it belongs: on the big screen, and in glorious 35 mm, so you can see all the ornate detail and bloodstains of Gordon Willis’ vision. Hollywood Theatre. 7:30 pm Monday, March 14. Repressed Cinema presents a reel of rare oldschool trailers. And while the Hollywood is keeping mum about the surprises in store, rest assured that the program includes a peek at a bike-themed Italian sex comedy called Hugo’s Magic Pump. Hollywood Theatre. 7:30 pm Tuesday, March 15.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St. ZOOTOPIA: AN IMAX 3D EXPERIENCE Wed -Thu 1:20, 4:10, 7:00, 9:50 THE METROPOLITAN OPERA: MANON LESCAUT ENCORE Wed 6:30 LONDON HAS FALLEN Wed-Thu 11:45, 2:20, 4:55 WHISKEY TANGO FOXTROT Wed-Thu 1:00, 3:55, 7:15, 10:10 ZOOTOPIA Wed Thu 12:40, 3:40, 7:30, 10:20 GODS OF EGYPT Wed -Thu 3:10 GODS OF EGYPT 3D Wed-Thu 12:05 TRIPLE 9 Wed Thu 12:30, 4:15 DEADPOOL Wed-Thu 12:50, 3:50, 6:55, 9:45 KUNG FU PANDA 3 Wed-Thu 11:55, 4:50 KUNG FU PANDA 3 3D Wed-Thu 2:25 STAR WARS: THE FORCE AWAKENS Wed-Thu 12:10, 3:20 SPOTLIGHT Wed -Thu 12:20, 3:30, 6:45, 9:55 10 CLOVERFIELD LANE Thu-FriSat-Sun-Mon-Tue 12:30, 3:30, 6:30, 9:30 THE BROTHERS GRIMSBY Thu-Fri-Sat-Sun 11:55, 2:20, 4:45, 7:10, 9:35 THE PHOENIX INCIDENT Thu 7:30 10 CLOVERFIELD LANE: THE IMAX EXPERIENCE FriSat-Sun-Mon-Tue 1:00, 4:00, 7:00, 10:00 BOLSHOI BALLET: SPARTACUS Sun 12:55

Regal Vancouver Plaza 10

7800 NE Fourth Plain Blvd. HAIL, CAESAR! Wed -Thu 1:50, 4:40, 7:05, 9:30 DIRTY GRANDPA Wed-Thu 2:00, 4:30, 7:30, 10:00 13 HOURS: THE SECRET SOLDIERS OF BENGHAZI Wed-Thu 1:00, 3:15, 6:20, 9:25 RIDE ALONG 2 Wed-Thu 2:10, 4:50, 7:20, 9:45 THE FOREST Wed -Thu 1:05, 4:15, 7:00, 9:10 SISTERS Wed-Thu 1:20, 3:50, 6:40, 9:50 ALVIN AND THE CHIPMUNKS: THE ROAD CHIP Wed -Thu 1:40, 4:05, 6:45, 9:00 CREED Wed-Thu 1:15, 6:30, 9:35 THE GOOD DINOSAUR Wed Thu 1:00, 3:35, 4:00, 6:10, 8:50 THE HUNGER GAMES: MOCKINGJAY, PART 2 Wed Thu 1:30, 4:25, 6:50, 9:20

Regal Division Street Stadium 13

Bagdad Theater

3702 SE Hawthorne Blvd., 503-249-7474 HAIL, CAESAR! Wed-Thu 3:30 10 CLOVERFIELD LANE ThuFri-Sat-Sun-Mon-Tue 12:30, 3:30, 7:00, 10:15

Cinema 21

616 NW 21st Ave., 503-223-4515 BROOKLYN Wed-Thu-FriSat-Sun-Mon-Tue 3:45, 6:30 ANOMALISA Wed-Thu-FriSat-Sun-Mon-Tue 7:15, 9:15 AFERIM! Wed-Thu 4:00, 9:00 CHIMES AT MIDNIGHT Wed Thu-Fri-Sat-Sun-Mon-Tue 4:00 THE WAVE Fri-Sat-Sun-MonTue 6:45, 9:00 EISENSTEIN IN GUANAJUATO Fri-Sat-SunMon-Tue 4:45, 9:00

St. Johns Cinemas

8704 N Lombard St., 503-286-1768 GODS OF EGYPT Wed -Thu 4:35, 7:15 WHISKEY TANGO FOXTROT Wed-Thu 5:00, 7:45

Regal City Center Stadium 12

801 C St. LONDON HAS FALLEN Wed Thu 1:00, 3:30, 6:05, 9:00 WHISKEY TANGO FOXTROT Wed-Thu 12:05, 2:55, 5:40, 8:25 ZOOTOPIA Wed-Thu 11:30, 8:00 ZOOTOPIA 3D Wed -Thu 2:15, 5:00 EDDIE THE EAGLE Wed-Thu 1:10, 3:45, 6:25, 9:05 GODS OF EGYPT Wed -Thu 3:05 GODS OF EGYPT 3D Wed-Thu 11:45, 5:15 TRIPLE 9 Wed 5:45, 8:45 RISEN Wed Thu 12:15, 3:00 DEADPOOL Wed-Thu 12:40, 3:20, 6:15, 8:55 KUNG FU PANDA 3 Wed -Thu 12:25, 2:45, 8:15 THE LADY IN THE VAN Wed-Thu 11:20, 2:40, 5:30, 8:40 THE REVENANT Wed-Thu 11:10, 1:55, 5:10, 8:05 STAR WARS: THE FORCE AWAKENS Wed-Thu 11:00, 2:10, 5:20 SPOTLIGHT Wed Thu 11:35, 2:30, 5:50, 8:50 10 CLOVERFIELD LANE Thu 7:00, 8:30 THE BROTHERS GRIMSBY Thu 7:00, 9:10

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474 THE GOOD DINOSAUR Wed Thu 5:45 JOY Wed-Thu 2:45 THE HATEFUL EIGHT Wed Thu 8:15

Regal Fox Tower Stadium 10

846 SW Park Ave. THE BOY AND THE BEAST Wed-Thu 1:00, 4:00, 7:00, 9:50 WHISKEY TANGO FOXTROT Wed-Thu 1:20, 4:20, 7:00, 9:30 MEI RÉN YÚ Wed-Thu 1:10, 6:40 MEI RÉN YÚ 3D Wed -Thu 4:10, 9:00 THE WITCH Wed Thu 12:00, 4:30, 7:20, 9:45 HOW TO BE SINGLE Wed Thu 12:40, 3:50, 6:50, 9:20 WHERE TO INVADE NEXT Wed-Thu 12:10, 3:20, 6:10, 8:50 ZOOLANDER NO. 2 Wed -Thu 3:40, 10:00 THE LADY IN THE VAN Wed-Thu 12:15, 3:15, 6:45, 9:15 THE REVENANT Wed Thu 12:50, 3:00, 6:20, 9:40 SPOTLIGHT Wed-Thu 12:30, 3:30, 6:30, 9:20 ROOM Wed Thu 12:20, 7:15

St. Johns Theater

8203 N Ivanhoe St., 503-249-7474 ZOOTOPIA Wed-Thu 1:00, 4:00, 7:00, 9:30

Academy Theater

7818 SE Stark St., 503-252-0500 THE HATEFUL EIGHT Wed Thu 11:00, 9:05 JOY Wed -Thu 4:10 SON OF SAUL Wed -Thu 11:10, 6:45 THE DANISH GIRL Wed-Thu 11:20, 7:15 THE GOOD DINOSAUR Wed -Thu 2:15 CAROL Wed-Thu 1:30, 9:30 THE HUNGER GAMES: MOCKINGJAY, PART 2 Wed Thu 4:25 ROOM Wed 7:00 BRIDGE OF SPIES Wed -Thu 4:00 CHILDREN OF MEN Wed-Thu 1:50, 9:45 KHARMA BUMS Thu 7:00

Valley Theater

9360 SW Beaverton-Hillsdale Highway, 503-296-6843 DADDY’S HOME Wed -Thu 6:50 DIRTY GRANDPA Wed Thu 8:50 THE FINEST HOURS Wed -Thu 6:40 THE MARTIAN Wed -Thu 9:05 THE HUNGER GAMES: MOCKINGJAY, PART 2 Wed-Thu 7:00, 9:45

Living Room Theaters 341 SW 10th Ave., 971-222-2010 45 YEARS Wed-Thu 12:15, 2:30, 5:10, 6:50 HAIL, CAESAR! Wed-Thu 11:55, 1:50, 2:50, 4:30, 5:00, 7:15, 9:45 IN THE SHADOW OF WOMEN Wed-Thu 12:05, 2:10,

4:40, 7:30, 9:00 STAR WARS: EPISODE VII -- THE FORCE AWAKENS Wed-Thu 12:00, 9:20 THE BIG SHORT Wed Thu 11:45, 2:20, 4:00, 7:00, 9:30 THE CLUB Wed -Thu 11:50, 2:00, 4:20, 6:30, 8:45

Century Clackamas Town Center and XD

12000 SE 82nd Ave. TO KILL A MOCKINGBIRD Wed 2:00, 7:00 TRIPLE 9 Wed-Thu-Fri-Sat-Sun-Mon-Tue 10:05 THE METROPOLITAN OPERA: MANON LESCAUT ENCORE Wed 6:30 SPOTLIGHT Wed-Thu 11:00 STAR WARS: THE FORCE AWAKENS Wed-Thu-FriSat-Sun-Mon-Tue 3:45, 10:10 STAR WARS: THE FORCE AWAKENS 3D Wed-Thu-FriSat-Sun-Mon-Tue 12:25, 7:00 BROOKLYN Wed-Thu 10:55 THE REVENANT Wed-ThuFri-Sat-Sun-Mon-Tue 12:50, 4:25, 8:10 THE 5TH WAVE Wed-Thu-Fri-Sat-Sun-Mon-Tue 2:00, 7:25 RISEN Wed-ThuFri-Sat-Sun-Mon-Tue 11:10, 1:55, 4:35, 7:15, 9:55 KUNG FU PANDA 3 Wed-Thu-FriSat-Sun-Mon-Tue 11:35, 2:05, 4:40, 7:10, 9:40 HOW TO BE SINGLE Wed-Thu 12:55 DEADPOOL Wed-Thu-Fri-SatSun-Mon-Tue 11:20, 2:10, 5:00, 7:45, 10:30 ZOOLANDER NO. 2 Wed -Thu 3:50 RACE Wed Thu 11:15 GODS OF EGYPT Wed-Thu-Fri-Sat-Sun-Mon-Tue 10:50, 1:45, 4:45, 7:40, 10:35 THE WITCH Wed-Thu-Fri-SatSun-Mon-Tue 11:25, 4:55, 10:15 ZOOTOPIA Wed-Thu-Fri-SatSun-Mon-Tue 10:50, 12:30, 1:35, 3:20, 4:20, 6:10, 7:05, 9:50 ZOOTOPIA 3D Wed-Thu-FriSat-Sun-Mon-Tue 11:40, 2:25, 5:10 LONDON HAS FALLEN Wed-Thu-Fri-Sat-Sun-Mon-Tue 10:55, 12:15, 1:30, 2:50, 4:05, 5:25, 6:45, 8:00, 9:20, 10:35 EDDIE THE EAGLE Wed-ThuFri-Sat-Sun-Mon-Tue 11:00, 1:45, 4:20 THE BOY AND THE BEAST Wed-Thu-Fri-Sat-SunMon-Tue 10:55, 1:50, 4:45, 7:40, 10:35 WHISKEY TANGO FOXTROT Wed-Thu-Fri-SatSun-Mon-Tue 11:15, 2:05, 4:50, 7:35, 10:25 MEI RéN Yú Wed Thu 12:00, 5:15 MEI RéN Yú 3D Wed -Thu 2:40 THE OTHER SIDE OF THE DOOR Wed Thu-Fri-Sat-Sun-Mon-Tue 11:45, 2:15, 4:50, 7:25, 10:00 THE BROTHERS GRIMSBY Thu-FriSat-Sun-Mon-Tue 8:00, 10:20 THE YOUNG MESSIAH ThuFri-Sat-Sun-Mon-Tue 11:00, 1:50, 4:40, 7:30, 10:20 THE PHOENIX INCIDENT Thu 7:30 10 CLOVERFIELD LANE ThuFri-Sat-Sun-Mon-Tue 10:50, 1:30, 4:10, 6:50, 9:30



16603 SE Division St. LONDON HAS FALLEN Wed-Thu 11:35, 2:05, 4:55, 7:30, 10:10 THE OTHER SIDE OF THE DOOR Wed Thu 11:40, 2:15, 4:40, 7:05, 10:05 WHISKEY TANGO FOXTROT Wed-Thu 12:30, 3:10, 6:50, 9:35 ZOOTOPIA Wed-Thu 11:30, 2:10, 4:35, 7:15, 9:30 ZOOTOPIA 3D Wed Thu 12:00, 2:40, 5:05, 7:45, 10:00 EDDIE THE EAGLE Wed-Thu 11:50, 2:25 GODS OF EGYPT Wed-Thu 3:20, 9:45 GODS OF EGYPT 3D Wed-Thu 12:10, 6:45 TRIPLE 9 Wed-Thu 12:25, 3:25, 7:00,

9:50 RISEN Wed-Thu 12:15, 3:00, 6:35, 9:20 THE WITCH Wed -Thu 2:25 DEADPOOL Wed-Thu 11:45, 2:20, 4:50, 7:20, 10:10 KUNG FU PANDA 3 Wed-Thu 12:05, 2:30, 5:20, 7:40, 10:20 RIDE ALONG 2 Wed-Thu 11:55 STAR WARS: THE FORCE AWAKENS Wed Thu 12:20, 3:30, 6:40, 9:40 10 CLOVERFIELD LANE Thu 7:00, 9:45 THE BROTHERS GRIMSBY Thu 7:00, 9:30

4122 NE Sandy Blvd., 503-281-4215 POW FEST Wed -Thu THE WITCH Wed-Thu-Fri-SatSun-Mon-Tue 7:15, 9:20 THE REVENANT Wed-ThuFri-Sat-Sun-Mon-Tue 6:30, 9:35 PORTLAND MUSIC VIDEOS Thu 7:00 RISE OF THE LEGEND Fri-Sun 7:00 SHADOW OF THE VAMPIRE Fri 9:30 BEND OF THE RIVER Sat 3:00 RATS: NIGHT OF TERROR Sat 7:30 DEMONS Sat GIANT Sun 2:00 THE GODFATHER Mon 7:30 REPRESSED CINEMA TRAILER RARITIES: BONANZA Tue 7:30

BLUE MAN GROUP: Braveheart screens at the Mission Theater on March 12 and 13.

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STREET P. 23 Willamette Week MARCH 9, 2016




1979 NW VAUGHN ST. SUITE B PORTLAND, OR 97209 HOURS: Mon – Sat: 11 – 8 losed 1:30 – 2pm daily. Closed Sunday, Closed Just North of the Pearl District.



companies behind each brand. Vape cartridges use a wick to absorb the liquid cannabis extract and deliver to the vape chamber. If the wick is made of cheap material with uneven absorption, or even if the pen is stored upside down for long periods, you could be smoking the string.

It’s common knowledge we don’t actually know much about how vaping affects our bodies. Sure, extracting vapor doesn’t create carcinogens, and it’s a more effective way to get the most THC and other cannabinoids from your bud. However, the first disposable vape pen I tried burned my throat after a few rips, and some of my friends experienced headaches that had never happened after smoking flower. With new laws enacted last month, recreational customers will soon be able to purchase oil and vape pens from dispensaries. I asked Marley Bankoff, founder of Eugene’s Evolvd Organics, what sets processors apart. “There’s a lot of product that isn’t cared for,” she says. “It’s looked at as waste that is being recycled—a profitable way to use garbage.” Without research on the long-term effects of e-cigarettes and hand-held vape pens, it’s a bit of a gamble to use them regularly. For users who stick to the cheapest option, or seek out THC-exclusive extracts rather than whole-plant extracts, there are some factors to consider. LAUREN TERRY.

Smoking only extracted THC is not ideal. In 1985, the Food and Drug Administration approved a pharmaceutical THC formula named “Marinol” to treat nausea during cancer chemotherapy. The surprisingly unchill side effects showed that consuming isolated THC compounds has the opposite effect. “People felt paranoid rather than stoned,” explains Mowgli Holmes, chief scientific officer at Phylos Bioscience. “The other cannabinoids in the plant moderate the effects of THC. Our bodies don’t like THC by itself.” More and more concentrate producers are turning to whole-plant extraction, which processes all of the plant to get a full profile of cannabinoids and terpenes. You can expect a fullflavored smoke and nuanced effects far beyond feeling high.

You might be smoking plastic. “Just like American capitalism, we’re seeing a trend of cheap parts, outsourcing and disposable products that creates excessive waste,” says Bankoff, who markets her brand as unique for extracting from quality plants rather than throwaway trim usually used to make concentrate. It’s important to take the time to understand the 52

Willamette Week MARCH 9, 2016

The oil you smoke is only as good as the lab that tested it. While gas chromatography has become an industry standard for Oregon dispensaries, it’s not the highest bar. This process heats up the sample, which alters it and results in a less-than-accurate analysis. A handful of labs have upped the ante with instruments that perform liquid chromatography, a more tedious system but one with much more precision. “Many cannabinoids are heatsensitive, changing under high temperatures to reform as other cannabinoids,” says OG Analytical, one of the labs that uses high-performance liquid chromatography to test cannabis. That goes for pesticides and mildew as well, so don’t inhale before you know where your flower or concentrate was tested.



503-445-2757 •



by Matt Jones

“Freestyle by the Numbers”–well, mainly one number. label 50 Type of restaurant featured in Hulu’s “11.22.63” 51 Historic river of Paris 52 “Things done,” in legal terms 54 “The Killing Fields” Oscar winner Haing S. ___ 55 Prefix before modern or marathon 56 “___ Time” (Finn and Jake’s Cartoon Network show) 59 Braid of hair 60 They display information in wedges 61 Cultivated land 62 Those who signed up


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Across 1 What did Yours Truly do on March 10th, 2016? 10 Drive away 15 Unhurriedly 16 Gymnastically gifted 17 Chemistry kit vessels 18 1999 Kevin Smith comedy 19 Old Peruvian currency 20 Like some early 20th-century abstract art

22 “Never have I ever been ___ 10 in my whole life” (Rihanna lyric) 24 Alamogordo’s county 25 “The Evil Dead” protagonist 26 Dressed to the ___ 27 Legendary lawman Earp 28 Suffix with meteor 29 French city famous for its lace 31 Outback leaper

32 Cookie jar piece 33 “Spectre” director Mendes 34 “Letters from ___ Jima” (2006 film) 36 Broadcaster based in Toronto 39 Fido’s foot 41 Ford line of trucks 45 The Land of ___ (setting of Finn and Jake’s Cartoon Network show) 46 Diciembre follower 48 NRA piece? 49 Elvis’s record

Down 1 “From Russia With Love” Bond girl Romanova 2 Knife, e.g. 3 Author of the “Goosebumps” books 4 Social media users, e.g. 5 In good physical shape 6 Home of the Beavers, for short 7 Massage table activity 8 Peace talks objective 9 Long-running CBS sitcom of the 2000s 10 Structures that help transmission 11 Psyche parts

12 Braid on one side 13 Peruvian volcano 14 Removed by percolating 21 Belgian beer brand Stella ___ 23 Get out of a perilous situation 30 Muscat natives 35 Avenue next to Reading Railroad, in Monopoly 36 Crooked 37 Blind singer Andrea 38 Shorefront 40 Lost one’s mind with excitement 41 A long time to wait, it seems 42 “Yeah, that seems about right” 43 1983 movie about Guatemalan immigrants 44 Cassandra, for instance 47 Enter, as data 53 Sandpaper coarseness measure 57 Author Umberto who died in 2016 58 Lady Byng Memorial Trophy org.

last week’s answers

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©2016 Rob Brezsny

Week of March 10


ARIES (March 21-April 19) “He in his madness prays for storms, and dreams that storms will bring him peace,” wrote Leo Tolstoy in his novella The Death of Ivan Ilych. The weird thing is, Aries, that this seemingly crazy strategy might actually work for you in the coming days. The storms you pray for, the tempests you activate through the power of your longing, could work marvels. They might clear away the emotional congestion, zap the angst, and usher you into a period of dynamic peace. So I say: Dare to be gusty and blustery and turbulent. TAURUS (April 20-May 20) Quoting poet W. H. Auden, author Maura Kelly says there are two kinds of poets: argument-makers and beauty-makers. I think that’s an interesting way to categorize all humans, not just poets. Which are you? Even if you usually tend to be more of an argument-maker, I urge you to be an intense beauty-maker in the next few weeks. And if you’re already a pretty good beauty-maker, I challenge you to become, at least temporarily, a great beauty-maker. One more thing: As much as possible, until April 1, choose beauty-makers as your companions. GEMINI (May 21-June 20) To have any hope of becoming an expert in your chosen field, you’ve got to labor for at least 10,000 hours to develop the necessary skills -- the equivalent of 30 hours a week for six and a half years. But according to author William Deresiewicz, many young graphic designers no longer abide by that rule. They regard it as more essential to cultivate a network of connections than to perfect their artistic mastery. Getting 10,000 contacts is their priority, not working 10,000 hours. But I advise you not to use that approach in the coming months, Gemini. According to my reading of the astrological omens, you will be better served by improving what you do rather than by increasing how many people you know. CANCER (June 21-July 22) “I sit before flowers, hoping they will train me in the art of opening up,” says poet Shane Koyczan. “I stand on mountain tops believing that avalanches will teach me to let go.” I recommend his strategy to you in the coming weeks, Cancerian. Put yourself in the presence of natural forces that will inspire you to do what you need to do. Seek the companionship of people and animals whose wisdom and style you want to absorb. Be sufficiently humble to learn from the whole wide world through the art of imitation. LEO (July 23-Aug. 22) The marathon is a long-distance footrace with an official length of over 26 miles. Adults who are physically fit and well-trained can finish the course in five hours. But I want to call your attention to a much longer running event: the Self-Transcendence 3100-Mile Race. It begins every June in Queens, a borough of New York, and lasts until August. Those who participate do 3,100 miles’ worth of laps around a single city block, or about 100 laps per day. I think that this is an apt metaphor for the work you now have ahead of you. You must cover a lot of ground as you accomplish a big project, but without traveling far and wide. Your task is to be dogged and persistent as you do a little at a time, never risking exhaustion, always pacing yourself. VIRGO (Aug. 23-Sept. 22) In old Vietnamese folklore, croaking frogs were a negative symbol. They were thought to resemble dull teachers who go on and on with their boring and pointless lectures. But in many other cultures, frogs have been symbols of regeneration and resurrection due to the dramatic transformations they make from egg to tadpole to full-grown adult. In ancient India, choruses of croaks were a sign of winter’s end, when spring rains arrived to fertilize the earth and bestow a promise of the growth to come. I suspect that the frog will be one of your emblems in the coming weeks, Virgo -- for all of the above reasons. Your task is to overcome the boring stories and messages so as to accomplish your lively transformations. LIBRA (Sept. 23-Oct. 22) “Your anger is a gift.” So proclaims musician and activist Zack de la Rocha, singer in the band Rage Against the Machine. That statement is true for him on at least two

levels. His fury about the systemic corruption that infects American politics has roused him to create many successful songs and enabled him to earn a very good living. I don’t think anger is always a gift for all of us, however. Too often, especially when it’s motivated by petty issues, it’s a self-indulgent waste of energy that can literally make us sick. Having said that, I do suspect that your anger in the coming week will be more like de la Rocha’s: productive, clarifying, healthy. SCORPIO (Oct. 23-Nov. 21) “Even now, all possible feelings do not yet exist,” says novelist Nicole Krauss. In the coming weeks, I suspect you will provide vivid evidence of her declaration, Scorpio. You may generate an unprecedented number of novel emotions -- complex flutters and flows and gyrations that have never before been experienced by anyone in the history of civilization. I think it’s important that you acknowledge and celebrate them as being unique -- that you refrain from comparing them to feelings you’ve had in the past or feelings that other people have had. To harvest their full blessing, treat them as marvelous mysteries. SAGITTARIUS (Nov. 22-Dec. 21) “Look at yourself then,” advised author Ray Bradbury. “Consider everything you have fed yourself over the years. Was it a banquet or a starvation diet?” He wasn’t talking about literal food. He was referring to the experiences you provide yourself with, to the people you bring into your life, to the sights and sounds and ideas you allow to pour into your precious imagination. Now would be an excellent time to take inventory of this essential question, Sagittarius. And if you find there is anything lacking in what you feed yourself, make changes! CAPRICORN (Dec. 22-Jan. 19) According to a report in the journal Science, most of us devote half of our waking time to thinking about something besides the activity we’re actually engaged in. We seem to love to ruminate about what used to be and what might have been and what could possibly be. Would you consider reducing that amount in the next 15 days, Capricorn? If you can manage to cut it down even a little, I bet you will accomplish small feats of magic that stabilize and invigorate your future. Not only that: You will feel stronger and smarter. You’ll have more energy. You’ll have an excellent chance to form an enduring habit of staying more focused on the here and now. AQUARIUS (Jan. 20-Feb. 18) One of the legal financial scams that shattered the world economy in 2008 was a product called a Collateralized Debt Obligation Squared. It was sold widely, even though noted economist Ha-Joon Chang says that potential buyers had to read a billion pages of documents if they hoped to understand it. In the coming weeks, I think it’s crucial that you Aquarians avoid getting involved with stuff like that -- with anything or anyone requiring such vast amounts of homework. If it’s too complex to evaluate accurately, stay uncommitted, at least for now. PISCES (Feb. 19-March 20) “I wish I knew what I desire,” wrote Palestinian poet Mahmoud Darwish, born under the sign of Pisces. “I wish I knew! I wish I knew!” If he were still alive today, I would have very good news for him, as I do for all of you Pisceans reading this horoscope. The coming weeks will be one of the best times ever -- EVER! -- for figuring out what exactly it is you desire. Not just what your ego yearns for. Not just what your body longs for. I’m talking about the whole shebang. You now have the power to home in on and identify what your ego, your body, your heart, and your soul want more than anything else in this life.

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42 19 willamette week, march 9, 2016  
42 19 willamette week, march 9, 2016