HEADOUT OUR SEMI-ANNUAL ADULT EASTER EGG HUNT. P. 13
“WHAT MAKES ME ME? WHO AM I?”
NEWS BILL CLINTON BUYS A BOOK. P. 7
PENSIVE THE BEST INEX , FROM LAND MEALS IN PORT NADAS TO A SQUID-INK EMP ET TACOS. KILLER BRISK WWEEK.COM
VOL 42/21 3. 23. 2016
Willamette Week MARCH 23, 2016 wweek.com
WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 42, ISSUE 21.
Bruce Springsteen is a very
generous man, and he deserves to enjoy the best. 4 There will be an investigation into the $11,000 spreadsheet. 6 There is a Northwest Parking District Stakeholder Advisory Committee, which sounds like a We Don’t Have Driveways and We Hate Sharing Public Streets Committee. 9 Even vegans can’t have an all-youcan-drink beer festival. 12
ON THE COVER:
There is a 7-minute Joanna Newsom track about flowers that is “basically a Bruce Springsteen song.” 17 There’s always been an issue with having large crowds of black people in downtown Portland. 21 There is a new Portland bar that would probably appeal to Hank Williamses I, II and III. 27 There was a special Y2K edition of Hank Junior’s classic “Country Boy Can Survive.” 28
OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:
Styled and modeled by LaToya Johnson. Photo by Rachael Renee’ Levasseur.
Jordan Schnitzer has a son…and some legal drama.
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 Jennifer Rabin Editorial Interns Peter D’Auria, Karina Buggy, Jenna Mulligan 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 Henry Croms, Gerardo Getzair de Osio, Gabriella McKenzie, Skylar Nguyen
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Willamette Week MARCH 23, 2016 wweek.com
SPRINGSTEEN FAN RESPONDS
I usually never write to a paper, but after reading So, Jordan Schnitzter wants to marry Cory Sause your article about Bruce Springsteen, I am very and raise the child together, and then wants her concerned that some of your facts are wrong not even on the birth certificate with no visita[“Horrible Boss,” WW, March 16, 2016]. tion, all within the term of a pregnancy. First of all, I used to live in Sounds like a cooling-off period is Monmouth County, N.J., not far from needed more than anything else. Bruce’s home. Surely some middle ground can be Bruce dislikes Chris Christie. reached. No arrangement is perfect. Bruce and his wife, Patti Scialfa, It would save a lot of legal fees, too. are very giving with their money. —“mtjim” They are big donors to the Monmouth County food bank. Excepting some of the interesting, Bruce and Patti give money nuanced issues that arise in surrogacy and horses to a riding camp for the (which would’ve been a worthwhile handicapped. story without dragging people through Bruce and Patti give free tickets “Bruce grew the mud), this story is fit for the likes of to cancer patients affiliated with his up very a desperate gossip rag. church in Freehold. How ignoble and lacking in taste to poor, but Bruce gives donations to a soup with hard transpose private, sacrosanct decikitchen in Freehold where I volunsions about parenthood to a cheap work he teered. story that purposefully and needOne day at the beach on his motor- succeeded.” lessly casts Jordan Schnitzer in a cycle ride to Manasquan, he met up with a fan who negative light. Get a life, WW. could not get tickets. He took the person’s name —t.rose@rosecounsel and sent him two free tickets in the front row. My high-school friend tours with him, and OVERLOADED 911 SYSTEM Bruce treats him very well. The issues here are not just Portland and MultBruce grew up very poor, but with hard work nomah County [“Call Waiting,” WW, March 16, and determination he succeeded. 2016]. Many if not all agencies in Oregon as well as He deserves the best now. So stop belittling many across the country face the same problems. Bruce Springsteen. Emergency dispatching does require a special —Faye Canape skill set. But even with the problems noted in this article, the quality of service is far higher than 40 Lake Oswego to 50 years ago, when dispatchers were firefightJORDAN SCHNITZER’S SON ers, police officers or untrained personal. Speaking as someone whose father was the same We as a society have allowed “the bar” to get very age as Jordan Schnitzer when I was born, it is high, expecting an immediate answer to our call and irresponsible of him at his age to be this child’s an immediate response from fire, police or EMS. sole parent [“It’s a Boy!” WW, March 16, 2016]. —“KarlW” A revolving cast of nannies who can quit at any time are no replacement for a younger par- LETTERS TO THE EDITOR must include the author’s street address and phone number for veriﬁcation. ent who will see him through to adulthood. I feel Letters must be 250 or fewer words. Submit to: badly for his child. 2220 NW Quimby St., Portland, OR 97210. Email: email@example.com. —Mo Daviau
The new city law requiring “deconstruction” of houses, instead of demolition, limits the requirement to 100-year-old houses. Why the 100-year limit? Why not include 50-year-old houses or 25-year-old houses, or no age limit at all? —My Old House
Deconstruction combines Portland’s two favorite activities—(a) recycling and (b) tearing down houses to make room for apartments—into a single endeavor. Instead of bulldozing condemned homes into piles of undifferentiated rubble, you basically part them out. Crews remove each board and fixture, setting them aside for later sale to the sort of house-mad yuppies who need a box of tissues to watch HGTV. Deconstruction has the same upsides as most other kinds of recycling—it’s less resource-intensive to build with repurposed materials, and since 25 percent of what goes into landfills is construction debris, reusing it reduces waste. (Careful 4
Willamette Week MARCH 23, 2016 wweek.com
disassembly also makes asbestos- and lead-paintrelated environmental snafus less likely.) More sentimentally, deconstruction turns every house into an organ donor—the 1910 Craftsman you grew up in may be gone, but its beveled-glass transoms live on in a McMansion in West Linn! (You’ll be arrested if you come near them, of course, but still, it’s a nice thought.) So why don’t we mandate deconstruction for all houses? For starters, houses are like Americans: most of the ones created after World War II are kind of shitty and lame. Houses built between 1917 and 1940, though, would be great candidates for deconstruction. Unfortunately, including them in the mandate would encompass two-thirds of all demolitions overnight. “If we take too large a first bite, we set ourselves up to fail,” says Shawn Wood of the Bureau of Planning and Sustainability. “We’ll revisit the date threshold in the future.” In the meantime, just thank me for doing a whole column on deconstruction without making any Jacques Derrida jokes—I bet the three literary-theory majors who got them would have thought they were a riot. QUESTIONS? Send them to firstname.lastname@example.org
Willamette Week MARCH 23, 2016 wweek.com
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Willamette Week MARCH 23, 2016 wweek.com
PPS No-Bid Contract Is Under Investigation
Portland Public Schools has hired an outside attorney to investigate the $11,000 contract that its public aﬀairs chief, Jon Isaacs, issued to a friend without formally soliciting other bids. PPS last year spent $11,000 on a nine-page spreadsheet that analyzed voting results by precinct in four recent PPS bond or levy elections, as WW reported in January. Jeremy Wright billed PPS for 150 hours of work, which Isaacs said would help the district make decisions about its 2016 construction bond campaign. Kyle Abraham of law ﬁrm Barran Liebman will conduct the investigation.
New Oregon DHS Director Fires Two Top Officials
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Portland State University’s plan to fund scholarships with a $35 million payroll tax has met with skepticism from business groups, labor unions and Portland Public Schools. But as PSU moves forward with a November ballot initiative asking voters to approve the tax, it has received $100,000 in backing from its own private fundraising wing. The PSU Foundation made the donation to the ballot-initiative campaign March 18. Now the president of the tax’s ﬁercest opponent, the Portland Business Alliance, says its members may stop donating to the PSU Foundation. “We have heard concerns from many of our members who had made donations to the foundation or to the Simon Benson [Awards] dinner who are concerned about foundation money being used for the campaign,” says PBA president and CEO Sandra McDonough. “I have had members say they will think twice about contributing to the foundation.”
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Police Union Hosts “Meet the Heat” Fundraiser
The Portland Police Foundation and the Citizens Crime Commission, a branch of the Portland Business Alliance, are hosting a $1,000-ahead fundraiser next month called “Meet the Heat.” The April 1 event, billed as an “exclusive VIP invitationonly event,” will introduce participants to emergency vehicle maneuvers, defensive tactics and the use of Tasers. “This is a positive event,” says Mike Reese, the former Portland police chief who now leads the crime commission. “It creates a deeper
The new director of the Oregon Department of Human Services has ﬁred two top oﬃcials who knew about neglected children and serious ﬁnancial problems at Portland foster care provider Give Us This Day—and did nothing for nearly 19 months. New DHS director Clyde Saiki announced March 18 he’d ﬁred Jerry Waybrant, chief operating oﬃcer for selfsuﬃciency and child welfare programs, and Lois Day, child welfare director. Both oﬃcials were responsible for regulating Give Us This Day, which WW reported last year kept children in ﬁlthy conditions while its director spent hundreds of thousands of dollars on herself (“Home Sweet Hustle,” WW, Sept. 16, 2015).
WHAT YOU NEED TO KNOW THIS WEEK
A First-Class Temperament: The Emergence of Franklin Roosevelt, 1905-1928 —The book purchased by former President Bill Clinton during his surprise March 21 visit to Powell’s City of Books. Clinton was also given the book Astoria: John Jacob Astor and Thomas Jefferson’s Lost Pacific Empire as a gift, says Powell’s CEO Miriam Sontz.
Should an elected or appointed official run Multnomah County’s jails?
2% 2% Adopted Adopted
Sarah Iannarone: Appointed.
“We don’t elect police chiefs, and operating the jail is largely an administrative position. Plus, objective hiring criteria could help us meet our goals for accountability and equity.”
Jules Bailey: Elected.
“I support a county sheriff elected by and directly accountable to the voters. Jails should be under an elected sheriff.”
Ted Wheeler: Appointed.
“The jails should be under the auspices of the county commission [which would appoint an administrator].”
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Here’s What Happens to Animals at the Multnomah County Shelter It’s a good time to be a stray dog, according to the Multnomah County auditor. For the first time in more a decade, Multnomah County has audited its animal shelters. The report, released late last month, shows euthanasia fell dramatically. County records show Multnomah County Animal Services cut its use of euthanasia from 3,864 animals killed in 2008, a kill rate of 47 percent, to 700 animals in 2014, a kill rate of 11 percent. Auditor Steve March says animal services cut its kill rate by pushing to get more animals into foster care and adopted, including by partnering with other agencies that work specifically with certain breeds. “They made a concerted effort,” says March. Here’s what happened to animals that arrived at the Troutdale shelter in 2014. JENNA MULLIGAN.
S O U R C E : M U LT N O M A H C O U N T Y A N I M A L S E R V I C E S A U D I T ; W W S TA F F ; L O VAT T O
Multnomah County’s jail system is in the news, thanks to reports that corrections deputies use force disproportionately against black inmates. The discrepancy, which Multnomah County Chairwoman Deborah Kafoury decried in her state of the county address March 18, has revived a debate about who should be running the county’s jails. That job currently belongs to an elected sheriff, who typically brings to the job more experience in law enforcement than jail administration. Others in county government would like to see that job be appointed by county commissioners. That debate has increased scrutiny on current Multnomah County Sheriff Dan Staton, who is under state investigation for allegedly profiling committee members who are deciding to recommend whether the sheriff ’s job be elected rather than appointed. The city of Portland has no oversight of the county’s jails. But what happens there matters to city officials, who manage police. So we asked the three leading candidates for Portland mayor: Should an elected or appointed official run Multnomah County’s jails? BETH SLOVIC.
Willamette Week MARCH 23, 2016 wweek.com
Willamette Week MARCH 23, 2016 wweek.com
Pay to Park HAS CITY HALL LEARNED ITS LESSON ABOUT PARKING SPACES HIKING RENTS? By r ac h e l m o n a h a n
Ben Schonberger has been saying for years that by forcing developers to add parking spaces to apartment buildings, Portland raises the cost of rent. This year, it looks like the city is listening. Schonberger, a board member of Housing Land Advocates, was disappointed in 2013, when Mayor Charlie Hales kicked off his return to City Hall by voting to require onsite parking for buildings with more than 30 apartments. That policy change pacified homeowners alarmed by parking crunches, especially near booming Southeast Division Street. But parking requirements can also add costs for developers, which they pass along to renters. In the midst of Portland’s double-digit rent increases, Schonberger was surprised to discover this month that city planners recommended expanding that parking requirement throughout Northwest Portland. “There was a bit of ‘here we go again,’” Schonberger says. “It was exactly the same as the proposal put forward three years ago. If that proposal passes at City Council, it would drive up the cost of housing.” Schonberger and affordable-housing allies gained a temporary victory at a Planning and Sustainability Commission meeting on March 8: no new parking requirements. The final decision now moves to Hales and his fellow members on the Portland City Council. The vote presents another test for City Hall in a tug of war over housing construction that launched Hales’ tenure and has often defined it: Should neighborhood livability trump keeping Portland affordable? But the political calculus has shifted. Rising rents in the past three years have supplanted street parking as the most polarizing issue in the city. And Hales, who in 2013 led the charge to
increase parking requirements for developers, now says he’ll vote against expanding them. “There is more awareness around the housing affordability issue, which should give anyone pause when making regulations that increase the cost of housing,” says Tony Jordan, founder of Portland Shoupistas, which advocates for progressive parking policies. It will come as little surprise to people who live or work in Northwest Portland that parking spaces are scarce in the midst of a construction boom along Northwest 21st and 23rd avenues. The city has started to address the parking problem—installing new meters this year and creating neighborhood permits, which cost $60 a year. In all, 7,000 permits have been issued for 6,000 available parking spaces, according to the Portland Bureau of Transportation. Neighborhood groups have pushed for three years to add a parking requirement for new apartment buildings after realizing that the 2013 parking mandates carved out an exception for the area. Figures from the Portland Bureau of Planning and Sustainability suggest that developers are in fact including parking. From 2006 to 2015, developers built 584 spaces in Northwest Portland—196 more than required under the proposed rules. But not all housing developments in Northwest include parking. Take the Tess O’Brien at Northwest Overton Street near 19th Avenue: The pair of six-story buildings include 123 apartments, average size roughly 300 square feet, and no parking. Rick Michaelson, chairman of the Northwest Parking District Stakeholder Advisory Committee, argues that parking spaces now are “full at all times” in his neighborhood. “We are projecting another 10,000 housing units over the next 20 years,” he says. “There will be no place to park their cars unless they displace current residents or we do some kind of rationing.” But Portland economist Joe Cortright argues that parking requirements add costs that developers pass along to renters. “I think if we’re serious about wanting to make housing more affordable,” Cortright says, “we should essentially abolish the system we have of
The conflicT beTween new aparTmenT buildings and neighbors’ desire for plenTiful sTreeT parking defined The beginning of hales’ Term. he picked parking.
socialism for private car storage in the public right of way and end the requirements for people to have to build parking when they build more housing.” The conflict between new apartment buildings and neighbors’ desire for plentiful street parking defined the beginning of Hales’ term. He picked parking. Before his run for mayor in 2012, Hales had championed policies to allow apartments of any size with no parking along transit corridors. But residents have revolted against an onslaught of buildings with no parking—at least 224 apartments with no parking in a 13-block span (“Block Busters,” WW, Sept. 18, 2012). Hales bowed to neighbors, pledging his support for parking requirements during the 2012 campaign, then passing changes to city zoning code in the fourth month of his administration. The mayor, who decided in October not to seek re-election and has since then focused primarily on housing and homelessness, now backs density over parking. His spokeswoman, Sara Hottman, says he will oppose new parking requirements in Northwest Portland. She says this isn’t a reversal for Hales, because he wanted the parking requirements expanded only in the corridors where he voted to add them in 2013. “Mayor Hales has not changed his view,” Hottman says. “He can’t justify adding more parking for multidwelling development if it will potentially drive up the cost of housing, or incentivize car use in an already walkable, transit-rich area.” Three commissioners—Nick Fish, Amanda Fritz and Steve Novick—declined to say how they’ll vote. But Dan Saltzman, the city’s housing commissioner, says he’s leaning against additional parking spots. Schonberger says the decision will show whether the City Council really has learned a lesson about keeping rents down. “They really get a choice between car storage and housing,” he says. “If they’re serious about affordability, I think it’s a pretty clear choice.”
Willamette Week MARCH 23, 2016 wweek.com
Willamette Week MARCH 23, 2016 wweek.com
UNION STATION THEY WENT BY TRAIN. PHOTOS BY CHR ISTIN E DON G www.wweek.com/street
Willamette Week MARCH 23, 2016 wweek.com
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BITE-SIZED PORTLAND CULTURE NEWS. COLONIAL RULE: Last week, much like Vasco da Gama, we “discovered” a new British colonialism-themed restaurant on North Williams Avenue called Saﬀron Colonial, and questioned the wisdom of bringing a cocktail called the “Plantation Press” to a rapidly gentrifying street. We spoke with Sally Krantz, owner of the restaurant, and she told us she isn’t a racist and she doesn’t understand the backlash. “I’m not trying to incense anybody,” she said by phone. “I’m just trying to make food.” She added: “The people who own the Rheinlander aren’t promoting Nazism, and the people who own the Screen Door aren’t promoting slavery.” The story, and Krantz’s responses, touched a nerve. Jezebel wrote it up and comedian Hari Kondabolu tweeted about the spot, saying, “Hope it ends quicker than colonialism.” A woman named Stephanie Dünx posted an open letter to Krantz on Medium, writing, “While molasses cookies and sausage rolls may come to mind for you when you think of British colonialism, many of us associate it with forced religious conversion/cultural erasure, famine.” Dünx, who says in her post that her parents are from the former British colony of Jamaica, was part of a group called “Stop Romanticizing Colonialism,” which staged Saﬀron Colonial (not closed) a protest at the restaurant March 19. According to accounts posted on the event’s Facebook page, “things got tense quickly” and devolved into a debate about Indian allegiances during World War II. Krantz, who responded to us by email, has a diﬀerent account of the protest. She wrote: “One woman was screaming at me that she was Native American and they were pushed out of this area, another woman was screaming that I’m not from Portland (I am), and no one had any right to lease any of the commercial premises on Williams and we should all leave immediately.” Krantz added: “When I stated that I was more than happy to have a dialogue and asked if Stephanie had a suggestion for a diﬀerent name, I had hurls of abuse thrown at me for being lazy and getting her to do my job.” At some point, the police were called. Dünx wasn’t available for comment March 21. When asked whether she planned to change the name, Krantz said: “I haven’t made an active decision on anything regarding the name. If Expatriate wasn’t taken, I might consider that!” TIKIPOCALYPSE: Another great cultural appropriator, Trader Vic’s Portland, formally announced it will close forever after being damaged in a March 2 ﬁre, which began in the oﬃce above the restaurant. The original Portland Trader Vic’s closed in 1998—the revival lasted just 4½ years. On March 15, Trader Vic’s manager Justin DuPre had already made public Facebook postings announcing both the closure and the reasons why: He wrote that the Pearl District Vic’s “had never turned a proﬁt in 4.5 years” due to slow lunch shifts, $20,000 monthly rent and $6,000-a-month licensing of the Trader Vic’s name. >> In other tiki news, Hale Pele owner Blair Reynolds announced an opening date for his new coﬀee-and-amaro bar, Americano, inside the Burnside 26 apartment building. It’ll open March 26.
Willamette Week MARCH 23, 2016 wweek.com
THE TOKEN VEGAN: The Portland Vegan Beer Fest won’t have unlimited pours after all. Local beer geeks had been asking why the June 11 festival, which started in Los Angeles seven years ago, was advertising “unlimited beer,” which is prohibited by Oregon law. The Oregon Liquor Control Commission and organizer Nic Adler have agreed to go to a token system. “We just fucked up, basically,” Adler says. “We already emailed everyone that purchased a ticket and that if they want a refund that we’re totally into a refund. Better to catch it now and get it ﬁgured out.”
A M Y B E N N E T T/ FA C E B O O K
“I don’t do any drugs I can’t grow myself. That’s why I’ve got a coca plant.”
HEADOUT W H AT TO D O T H I S W E E K I N A R T S & C U LT U R E
WEDNESDAY MARCH 23 Boys and Girls in America
[COMEDY] When Thermals frontman Hutch Harris broke into standup, locals like Alex Falcone, Bri Pruett and thenPortlander Amy Miller welcomed him. Now he’s giving the stage back to them with this new showcase. Helium Comedy Club, 1510 SE 9th Ave., 800-643-8669. 8 pm. $5-$13. 21+.
We hid Easter eggs
s prt ize the eigh wiinsid blue
[TWITTER] Sen. Cory Booker, the people’s champ, went from a hard-knocks Newark kidhood to New Jersey’s first African-American senator, and he tells you all about it in his new memoir. But Portlanders will remember him as that dude who got hot and bothered tweeting at one of the fine women from Casa Diablo. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.
Willamette Week boxes! Easter is the worst holiday for grown-ups—there’s no drinking tradition, no day off from work, no presents. This year, we tried to help a little. We hid eight plastic Easter eggs in blue Willamette Week boxes around Portland. Follow the clues below to find each location. If you figure out the clue, look on the roof of the box. Inside, you’ll find a plastic Easter egg fastened to the top. Each egg is full of sweet prizes, and we’re not talking jelly beans. Among the prizes: a $50 gift certificate to Ecliptic Brewing, four tickets to the Hollywood Theatre, and tickets to TechfestNW. HAPPY HUNTING!
1 Kids in green and yellow sip seasonal shakes / 15 blocks up from the place with steamy cakes
5 Where Amtrak and Greyhound lay their claim / Look toward the street with a Japanese name
2 Outside Kurt Russell’s favorite pizza joint / The street where new parking meters are a flash point
6 Near Portland’s best pro ball / Outside a chain burrito joint that took a big fall
3 Near New York pins, struck not pinned / By sub sandwiches that get you thinned
7 Salvage parts decorate this biker bar / From which Fifth Quadrant is not far
FRIDAY MARCH 25 Mazamas Used Equipment Sale
4 There’s a rooftop bar on this grocery store / Your chances of getting this first are rather poor
[GEAR HEADS] Mazamas’ annual sale is easily the best place for cheap, lightly used gear—tents, backpacks, climbing gear—and hugely discounted retail. You can also sell those pipe-dream snowshoes you bought last winter and never used. Members get in at 5 pm, public at 6, but only 200 enthusiasts at a time. Mazamas, 527 SE 43rd Ave., 5 pm. Free.
SATURDAY MARCH 26
Portland Farmhouse and Wild Ale Fest
A bakery named for a train station / Your prize is at the Southwest location
[BEER] This is consistently one of the best beer events all year—with sour, yeasty and foraged brews from the finest practitioners of sour, yeasty and foraged brews—whether de Garde and Pfriem close to home, or Jester King and Sante Adairius farther afield. Tickets include an event glass and 10 tastes. Saraveza, 1004 N Killingsworth St., 206-4252. 3-10 pm. $25. ($35 VIP starts noon.) Through March 27.
I L L U S T R AT I O N S B Y E L I S E E N G L E R T
SUNDAY MARCH 27 Traxman
[JUKE WERK] Traxman is the godfather of Chicago’s dance scene, from house to juke and now footwork. The Afrofuturist crate digger and soul reviver brings the Chi sound to Portland. The Rose Bar, 111 SW Ash St., 971-544-7330. 10 pm. $10. 21+.
TUESDAY MARCH 29 Iggy Pop
[POP STAR] Bowie is gone, so thank the rock gods for Queens of the Stone Age’s Josh Homme, who stepped in and squeezed one last solo record out of the Great and Powerful Ig. Post Pop Depression is the spiritual successor to the two classic albums Pop made with Bowie in the ’70s. Expect to hear material from all three. Keller Auditorium, 222 SW Clay St., portland5.com. 8 pm. $49.95-$79.95. All ages. Willamette Week MARCH 23, 2016 wweek.com
FOOD & DRINK = WW Pick. Highly recommended.
Now Serving Saturday and Sunday Brunch 10-2
accepting reservations for Easter and Mother’s Day brunch
Monday thru Friday Lunch 11-2 Life is Good 8051 SE 13th Ave at Spokane in Sellwood 503-233-4613
FRIDAY, MARCH 25 Roscoe’s IPA Beer Summit
This month, Roscoe’s summit will feature the big daddy of craft styles—IPA—with sour, double, triple, barrel-aged and experimental versions from Pfriem, Epic, Upright, Boneyard, Russian River, Barley Brown’s, Melvin, Great Divide and Double Mountain, among others. As with all of Roscoe’s summits, expect the unannounced and unexpected. Roscoe’s, 8105 SE Stark St., 255-0049. 2 pm. Free. 21+.
Knee Deep Tap Takeover
Apparently the IPA maker that N.W.I.P.A.’s Jackson Wyatt is most excited about right now is California’s Knee Deep. Unwilling to wait for them to wander up Portland way, Wyatt is throwing his own party for Knee Deep, with Breaking Bud, Lupulin F’n River, Tanilla Imperial Stout and probably some more. When N.W.I.P.A. likes an IPA, we generally listen. N.W.I.P.A., 6350 SE Foster Road, 805-7342, nwipa.beer.
Spring Beer and Wine Fest
For two days, the Oregon Convention Center will fill with beer and wine—along with booze, chocolate and cheese—but without the sadness of a drunken conference of dentists or taxidermists. Usually Convention Center fests don’t draw the big names like Pfriem or Upright, but rather the new ones looking to get noticed. Expect little breweries like 54-40, Astoria, Drinking Horse and Montavilla Brew Works, in a big ol’ mess hall close to lots of helpful transit. The $10 admission is good for both days. A mandatory sampling glass and $1 tasting tokens are separate. Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., springbeerandwinefest. com. Noon-10 pm. $10.
SATURDAY, MARCH 26 Portland Farmhouse and Wild Ale Fest
This is consistently one of the best beer events in town, since starting four years ago, with all and any variety of sour, yeasty and foraged from the finest practitioners of sour, yeasty and foraged, whether de Garde and Pfriem and the Commons close to home, or Jester King and Sante Adairius farther afield. As of press date, it doesn’t look like 10 Barrel is sending a beer, however. Huh. Admission includes an event glass and 10 tickets. Saraveza, 1004 N Killingsworth St., 206-4252. 3-10 pm. $25. ($35 VIP starts at noon.) Through March 27.
SUNDAY, MARCH 27 Pix Easter Egg Hunt
Where You Are Going To Go
V12 Records Sale Priced At $13.99 CD
Robin Trower’s new album, Where You Are Going To, is the latest in his ever growing catalog. More of a rocker than the last one, but still squarely based in Robin’s love for Blues. Robin’s voice is much more confident on these ten new studio recordings, and the guitar work is stunning. -Sale price good through 4/20/16
Willamette Week MARCH 23, 2016 wweek.com
As always, Pix will hold an adultfriendly egg hunt with golden tickets inside the eggs, good for prizes up to and including $50 worth of crazy-ass treats. For Easter, these will include chocolate rabbits, chocolate eggs and even Kinder Schokolade eggs with little prizes inside that Pix is strongly hinting might be somehow illegal— or at least very much undistributed through official channels. Only one prize egg per person, though, so no hoarding. Pix Patisserie/Bar Vivant, 2225 E Burnside St., 971-271-7166. 2 pm. Free.
609 SE Ankeny St., 894-9021, marukinramen.com.
The Japanese food chains just keep on comin’— and Marukin is a very welcome addition, with a chili-rich red broth and creamy-white shio that are rich and lovely as hell, a noodle-filled gauntlet thrown at Biwa a few blocks away. $$.
4237 SW Corbett Ave., 403-6186, paichepdx.com.
Chef Jose Luis de Cossio serves some of the most extraordinary food in Portland—including the brightest, most balanced and lovely ceviche we’ve had in this country, and the best purple potato salad we expect to find anywhere in Portland. $$.
Celebrating Our 20th Year!
By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: email@example.com. See page 3 for submission instructions.
TOKYO SHOYU RAMEN AT MARUKIN
8235 SE 13th Ave., 740-1325, tampdx.com.
Roll in for an eight-bowl pork-belly-dumpling won ton soup: no fuss, no noodle, all dumpling. But make sure you get those greens on the side. $.
1545 NW 21st Ave., 228-2619, besaws.com.
3. Wei Wei
7835 SE 13th Ave., 946-1732.
Taiwan spot Wei Wei’s beef noodle soup ($13) is the beefiest beef noodle soup. And the most wonderful beef noodle soup we’ve had this year. $$.
The Besaw’s reboot has had a rough start most restaurants would envy—it was as busy as Screen Door in its first week. It’s getting its legs under it with killer Benedict and pastrami sandwiches. $$.
Most American krieks fail to deliver the nuance of their Old World progenitors. And so it’s telling that Upright brewer Alex Ganum won’t call Shades a kriek, even though most of us would agree it very much is. This wonderfully fruity but restrained limited release uses 100 pounds of fruit per cask, all grown at Baird Family Orchards in Dayton. The barrels were spiked with three different strains of souring brettanomyces and aged for a year. The tannins in the fruit grew milder, but are still strong. There’s a light acidic bite on the front and a lingering farminess on the finish. It is, in other words, a very complex and layered beer, one of the few locals that could go toe to toe with the Belgians. Then again, competition and rigid style definitions are antithetical to the Belgian brewing tradition. And so we have a kriek that’s not called a kriek, making it the kriekiest of all. Recommended. MARTIN CIZMAR.
Whoever said beer cans have to be shiny? For some reason, they all are, which is what makes the caked-up matte green of Fort George’s new seasonal Overdub so striking. This tallboy of India session ale looks like a soundboard, and it is, in fact, exactly what I’d want to drink at a show. It smells like grapefruit juice. A sip delivers quaffable, slightly vegetal bitterness with a hint of sweetness, prompting another sip. If you want a session IPA, this is probably what you want. MARTIN CIZMAR.
E M I LY J O A N G R E E N E
IT AIN’T EASY BEING GREEN: The Chris Walas kale-potato pizza.
Handsome Pizza Modeling School THE FORMER CART-POD PIZZA SHOP HAS GONE UPPER-CRUST. BY M AT T H E W KO R F H AGE
Something has gone haywire with Portland’s notion of fancy. The new incarnation of an old wood-fired favorite, Handsome Pizza, has convinced me of this. Before moving into its new digs on Northeast Killingsworth Street, Handsome Pizza wasn’t so handsome. It was started six years ago as hardscrabble shop Pizza Depokos by an ironworker named Ethan Welt, in a North Portland auto garage whose parking lot housed a food-cart pod. By the next year, pizza-maker Will Fain had taken it over, and spent years honing his simple marinara, pepperoni and sausage pies in a wood-fired oven that might as well have been al fresco when the garage’s sliding doors were up. He eventually renamed the place Handsome Pizza. It was terrific. When the cart pod was shut down for new development, Handsome made do by working its way through the kitchens of Tabor Bread. And last year it reopened three doors down from Podnah’s Pit. After making pizza in a bakery while homeless, Handsome moved in with a baker in the new spot. Starting in the morning, Seastar Bakery makes pizza-dough-muffin breakfast sandwiches, plus obscure-grain pastries and fancy toasts so fancy they almost don’t seem like toast anymore— using spelt and cornbread and rye and something called kamut-sesame, made with grain first discovered in the tombs of the Pharaohs. I enjoyed my $7 yellow-eyed beans and greens toast. Handsome’s pizza is equally fancy toast, with cremini-and-cream pies, olive-oil pies without cheese, and pizzas with potatoes and kale that use salsa verde in lieu of sauce. The new place is full of friendly touches, like a village of kitsch on shelving, lamps papered with the work of local comics stars Matt Fraction and Kelly Sue DeConnick, and a huge iguanalike
dragon sculpture by Gremlins artist Chris Walas. Somewhat less friendly was the 80-degree heat venting off the wood-fired oven on one visit that co-owner Katia Bezerra-Clark says has not been a regular issue. The pizza dough is still a wealth of tang and char, beneath the ambitious ingredients. And the $3.50 pepperoni slices are still great. But after three visits, I can’t fall in love with the place. The new pies we tried, and the more sterile environs of the Little Beirut building, have actually managed to obscure what made Handsome great—its simplicity and execution. The cheeseless Marianna-Elyse ($9 small, $19 large) came with sparse, soft tomato chunks drenched in olive oil to the point that it dripped everywhere across the paper beneath it. And a Chris Walas ($13, $25) was a confusion of upscale ingredients that didn’t seem to belong together— kale, salsa verde, potato slices and mozzarella. The salsa and kale acted at strong cross-purposes, while the potato not only doubled the starch load but seemingly soaked up the heat from the somewhat underdone crust. A no-sauce Tissa Stein ($13, $25), meanwhile—named after the Tabor Bread baker—combines za’atar Middle Eastern spice with salty olives, onion, chili, garlic and mozzarella. The ingredients, unfortunately, stacked the sodium a bit high. A $7 seasonal veggie side plate, later reduced to $5, was just two sectioned baby-turnip bulbs and scant leafy strands of multifarious rabe greens, arranged prettily with flowers still attached. Like a new “dive bar” using Nueske’s bacon and Caveman Blue on a $13 burger, the pizzas feel overburdened with high-dollar toppings at the expense of utility and value and even flavor. It’s a fanciness without real luxury. And that’s too bad. Because there’s still a great pizzeria hidden under all that handsomeness, if you stick to the old-school pies. All that good dough is smothered by the potatoes and kale. EAT: Handsome Pizza and Seastar Bakery, 1603 NE Killingsworth St., 247-7499, handsomepizza. com and seastarbakery.com. 7 am-9 pm Monday, Wednesday-Friday; 9 am-9 pm Saturday-Sunday. Pizza service starts noon weekdays, 2 pm weekends.
THIS FRIDAY 3/25 AT DANTES! + Breaker Breaker/w Shawn Sonnenschein + Exacerbators + Fred and Toody Cole + Girl Trouble + Otis P. Otis + The Ransom + Fabulous Miss Wendy + The Fuckin’ Fucks + Elvis DJ DAIRY & CHEETO START AT 7, AND IN BETWEEN SETS
Doors at 7p.m. Suggested donation, but not required. Willamette Week MARCH 23, 2016 wweek.com
Willamette Week MARCH 23, 2016 wweek.com
THURSDAY, MARCH 24
An Evening With Greg Dulli
Pictureplane, Religious Girls, Mattress
[INDIE ICON] Greg Dulli was always a standout of those ’90s indie-cummajor-label bands that met their demise after dealings with the corporate machine. With his avantgarde take on emotive guitar rock as the frontman of the Afghan Whigs, he brought an often soulful groove to an otherwise bland landscape of alternative sludge. Side project the Twilight Singers was a step toward more dramatic song structure and just as essential. The career-spanning solo gigs are an intimate setting for a true giant of modern rock. CRIS LANKENAU. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. Sold out. 21+.
Chairlift, Lydia Ainsworth
Sarah Neufeld, Eartheater
[POSTMODERN] When she’s not playing with Arcade Fire or collaborating with experimental saxophonist Colin Stetson, Sarah Neufeld is creating her own postmodern music. The Canadian violinist and composer has been at it from a tender age, and it shows through her deft playing and acute attention to detail. Her latest solo eﬀort, The Ridge, is partially inﬂuenced
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[SYNTH POP] After the departure of a founding member, the two remaining musicians of Chairlift underwent a sonic makeover and have, in their last two albums, transformed from synth-inflected, made-for-advertising indie pop to an otherworldly hybrid of R&B, electronic music and hip-hop. New album Moth is a finely tuned romantic opus that could soundtrack America’s hyperevolved, utopian vision of humanity’s future, and there isn’t a weak track in the bunch. CRIS LANKENAU. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 9 pm. $20. 21+.
[EMOTICON ARTISTS] Oakland’s Religious Girls are probably the West Coast’s premier DIY band. The threepiece is reminiscent of a screamo Animal Collective—or, for true heads, Blood Brothers—with mathy drums and walls of lo-ﬁ electronics that power through seamless live sets. In the nearly 10 years they have been playing Portland, Religious Girls haven’t played a stage as big as Holocene’s, nor a sound system quite as pristine. Anticon’s latest signing, Pictureplane— whose image has become the Internet art-raver equivalent of Vanilla Ice— performs as well. WYATT SCHAFFNER. Holocene, 1001 SE Morrison St., 239-7639. 9:30 pm. $10. 21+.
FIVE SONGS GUARANTEED TO CONVERT ANYONE INTO A JOANNA NEWSOM FAN “Bridges and Balloons”
It’s a good song you’ve probably heard. If you don’t like it, you’re either an avowed enemy of fairy-tale flair or lying through your rotten teeth.
2 “Cosmia” The most straightforward seven-minute song that could possibly be built around a harp. It’s basically a Bruce Springsteen song about flowers. 3 “The Things I Say” Newsom’s new album, Divers, features more indie-rock flourishes and less anarchic folk and classic vibes. This lovely bon mot features pianos instead of harps, and is crystalline simplicity manifest. 4 “Baby Birch” The apex predator of Joanna Newsom songs, it’s a perfect concoction of harpy polyrhythms and high drama. 5 “Sawdust and Diamonds” Newsom in a room, with the goddamn harp, just shredding. Close your eyes and follow along with an air guitar. CORBIN SMITH. SEE IT: Joanna Newsom plays Arlene Schnitzer Concert Hall, 1037 SW Broadway, with Robin Pecknold, on Monday, March 28. 8 pm. $35-$44.50. All ages.
EIGHT PORTLAND HIP-HOP PRODUCERS YOU NEED TO KNOW. BY GR A N T “VER B Z” STOLLE
Editor’s note: Portland hip-hop is having a moment. It’s becoming a bigger part of the music community, and getting more adventurous. It’s not just the rappers who’ve made it possible, either—the producers working behind the boards deserve just as much credit. Grant Stolle knows this better than anyone. A longtime local DJ, Stolle, aka Verbz, hosts Crate Diggers, a podcast using vinyl records as a jumping-off point for conversations between artists. On March 24, Stolle hosts the first-ever live edition of the podcast at Kelly’s Olympian. So we asked him for a survey of the cream of the current Portland beatscape.
I ﬁrst came to know Drae as a student leader while we were both attending Portland State University. But as I started adding more songs by Portland artists to my crates, the more I saw Drae Slapz’s name attached to some of my favorite songs. His work with these artists, as well as production for Dame Dolla’s cousin, Brookﬁeld Duece, and other top-notch local talent rank him among Portland’s hottest producers. His 2015 project, Late Night: After Hours, features some of the town’s best and most solid production. KEY TRACK: Brookﬁeld Duece, “Sunday”
Lawz Spoken is one of the most mysterious beatsmiths in the Portland area. His work with fellow Northwestborn, now Cali-based producer Calvin Valentine received a lot of positive acclaim as did his work with Epp on both Chrome Plated Chronicles and Suicide Doors. He’s an artist that has created an identiﬁable sound, leaning heavily on obscure ’80s rock samples and soundtrack cuts. Though he’s been quiet lately as far as output goes, I’ve been privy to preview upcoming material and have been highly impressed. KEY TRACK: Illmaculate and Lawz Spoken, “Fuck You Mean?” featuring Epp & Cassow
Neill Von Tally
I discovered Neill Von Tally’s music by performing with Blossom. Von Tally is the most low-key on this list, but extremely wavy. He is the production mind behind many of the projects coming out of former Trail Blazer Martell Webster’s Eyrst label, which has swooped up an exceptional roster of Portland’s growing hip-hop talent, including Epp and Calvin Valentine of TxE, Ripley Snell, Maze Koroma, Blossom and arguably Portland’s hottest rapper, the Last Artful Dodgr. Von Tally deﬁnitely deserves to be recognized for what he’s doing behind the scenes. KEY TRACK: Neill Von Tally, “Travel Agent” featuring the Last Artful Dodgr and Illmaculate.
Samarei is one of the most eclectic producers in the area. He specializes in adding his own artistic touch to beats as an instrumentalist. Samarei released a unique and sonically fresh collaborative album called Best in Class, featuring Portland-raised artists like Glenn Waco, Mic Capes and Illmaculate, as well as Macklemore’s step-cousin XP and rapper/podcast host Open Mike Eagle. Samarei is a real musician willing to ﬂip any sample. KEY TRACK: Samarei, “Blacksmith” featuring XP, Epp and Farnell Newton.
Steez is not only my brother, he’s also the producer behind my podcast, Crate Diggers, so I might be biased. But his remixes and beats have been ﬁxtures in my sets for years. His most recognizable work was with Tope back in 2012 for the single “Come True.” In 2014, Steez released Bless, a beat tape using uplifting samples with inspired, Dilla-esque production that received a very positive reception. He’s currently wrapping up several projects to be released later in 2016, and has upcoming collaborations with some of the Northwest’s most talented hip-hop artists, as well as a remix EP. KEY TRACK: Tope, “Come True”
Stewart Villain is another doublethreat artist, being an extremely talented producer with a unique ﬂow and a self-assured style. He’s worked with a wide range of local talent, including TxE, Tope, Cassow and Tre Redeau, creating some of their standout songs. He’s got a chameleon style and ﬂips a wide variety of samples. Just listen for the tag: “My name is Stewart!” KEY TRACK: Tope, “Better Place”
Theory Hazit is one of the most criminally overlooked artists as a rapper but especially as a producer here in Portland. He’s been a mainstay of the local hip-hop community and has produced for well-known artists like Redman and Kokane. His steady stream of solid albums, combined with a knack for creative visuals and a habit of collaborating with talented artists, ranks him among the best producers in Portland. KEY TRACK: Redman, “Bars”
He truly stands out in the Northwest hip-hop production world, and is a force to be reckoned with on national level. Trox is passionate about music, from his knowledge of sampling and records to crafting a bassline and explosive drums. On top of his numerous beat battle wins in major competitions, he’s worked with artists like 50 Cent and Royce da 5’9”, as well as in Dre’s lab in L.A. KEY TRACK: 50 Cent, “You Took My Heart” SEE IT: Crate Diggers Live, hosted by Verbz and featuring Trox, Samarei and Steez, is at Kelly’s Olympian, 426 SW Washington St., on Thursday, March 24. 9 pm. $5. 21+. Willamette Week MARCH 23, 2016 wweek.com
C O U R T E SY O F FAC E B O O K
WEDNESDAY, MARCH 23
Beats Happening COURTESY OF SAMAREI
Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: firstname.lastname@example.org. Fax: 243-1115.
C O U R T E SY O F FAC E B O O K
= WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines.
MUSIC INTRODUCING COURTESY OF AMINÉ
by classical style, but demonstrates a closer kinship with avant-garde pop. When she’s plucking or playing percussively, it reminds of Andrew Bird. But overall, Neufeld’s sound is something else entirely, drifting into ambient realms in some distant dimension. MARK STOCK. Mission Theater, 1624 NW Glisan St., 223-4527. 8 pm. $18. Under 21 with legal guardian.
Nap Eyes, Cian Nugent, Dragging an Ox Through Water
[BLUES BALLADS] Cian Nugent is a singer-songwriter out of Dublin who’s typically strumming away on his steel-stringed guitar. His style is Jim O’Rourke-esque—a wondering, somewhat muted experimental rock that draws heavily from the blues. Nugent’s latest release, Night Fiction, is a gently swaying, moonlit piece of mostly acoustic balladry that’s soft yet commanding. Bells and whistles are nice, but sometimes it’s just as good to witness a musician with core abilities. Nova Scotian fourpiece Nap Eyes joins the bill. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.
Alex G, Porches, Your Friend
[LO-FI] Headlining this bill of selfmade Internet upstarts, Alex G released several albums of lo-ﬁ indie stuﬀ that sounds like Elliott Smith shoved through a Big Muﬀ on Bandcamp, until last year’s Beach Music was picked up by Domino. Brooklyn’s Porches, meanwhile, played a deceptively catchy take on muggy mope rock until January’s Pool, wherein front-Porch Aaron Maine traded his guitar for a Korg and streamlined his morose, Malkmus-with-a-head-cold pop into a darker shade of sleek electronica. Both acts are being heralded by major outlets as the DIY future of homemade indie pop. CRIS LANKENAU. The Analog, 720 SE Hawthorne Blvd., 206-7439. 7 pm. $14. All ages.
FRIDAY, MARCH 25 Geographer, the Crookes
[SYNTH ROCK] Geographer is a San Francisco indie-rock band, but really it’s the moniker of synth master Mike Deni. Recently, Geographer has included a guitarist, drummer and electric cellist (all armed with arsenals of pedals) to help transform the spacey sounds on Deni’s three LPs into live pop songs. As for Deni himself, his own singing holds the group together, as he switches seamlessly from a strong chest voice to soaring falsetto. HILARY SAUNDERS. Hawthorne Theatre, 1507 SE César E. Chávez Blvd. 8 pm. $13 advance, $16 day of show. All ages.
Quilt, Mild High Club, Eternal Tapestry
[PSYCH TWANG] Easily one of the most consistent bands of the past few years, Quilt is basking in its wonderfully twisted, folk-rock sweet spot. The Boston quartet released the heady Held in Splendor in 2014, and followed it up with the outstanding Plaza earlier this year. Careful listeners will pick up bits of the Byrds, Roky Erickson and Woods. What’s most attractive about Quilt is how understated its brand of psych-leaning ’60s rock is—but the band is loaded in the creative energy department and thrives in the live setting. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $14. 21+.
SATURDAY, MARCH 26 Hinds, Cotillon
[GARAGE ROCK] In case you missed this Spanish phenomenon last October, Hinds returns to Holocene for another night of controlled pop-punk debauchery. The young, all-female group—whose members range in age from 19 to
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Willamette Week MARCH 23, 2016 wweek.com
Aminé WHO: Adam Daniel FOR FANS OF: Anderson Paak, Miguel, Goldlink, OutKast, Busta Rhymes’ Timbaland productions. SOUNDS LIKE: World music for the Souncloud generation. Somewhere on the Internet—he’s hesitant to say exactly where—lies the roots of Adam Daniel’s rap career. “The way we started was, as a joke, we’d make dis songs to Grant High School and Lincoln High School,” says the Benson alum. At the time, Daniel wasn’t an eager rhyme-spitter; his friends had to goad him into getting on the mic. But those off-the-cuff goofs unlocked an artistic desire he never knew he had. “After high school, I kind of missed that,” he says. “So I started taking it more seriously.” That wasn’t too long ago. But things are moving fast for the 21-year-old, who performs under his middle name, Aminé. He’s put out two mixtapes, and already disavowed one of them. He’s built a strong online following, scored blog hype and label interest and a crucial co-sign from one of the top young producers in the game. It’s an impressive start for someone who, until a few years ago, had different aspirations entirely. “I wanted to be Kobe Bryant,” Daniel says. When that didn’t work out—he got cut from his freshman and sophomore basketball teams—he settled on track and field. But music surrounded him growing up. His parents, both Ethiopian immigrants, listened to everything from reggae to indigenous African music to John Mayer. His older cousin introduced him to R&B, while he discovered hip-hop on his own: The first CD he ever bought was Kanye West’s The College Dropout, “just because it had a teddy bear on the cover.” Having absorbed so much in his childhood, Daniel initially struggled to make his influences cohere. His first release, Odyssey to Me, indulged in a crooning rap style á la Drake, with mismatched production. “I wasn’t happy with it because there wasn’t a structured sound to it,” he says. He eventually took the album offline and regrouped. “I looked into my inner self, and asked my friends, ‘What do you want to hear from me? What makes me me? Who am I?’” He found the answer in his family heritage. On Calling Brio, Daniel reaches back to his Ethiopian roots, filtering hip-hop, R&B and electronic music through Afrofuturist production. “Brightwood” turns the “Ms. Jackson” chorus into a tribalist chant, while “Zzzz” flips “In the Jungle” over digitized percussion and his distinctive patois. Three tracks were produced by buzzing Canadian beatsmith Kaytranada, who reached out to Daniel after hearing him rap over one of his instrumentals. It’s a sound vividly reflective of who Daniel is, where he comes from and, musically, where he’s going. But Daniel says he isn’t just telling his story. It can be yours, too. “I want to leave you interested,” he says. “I want to leave you in a place where you can make that story for yourself, where it can relate to you, rather than just being my story.” MATTHEW SINGER. SEE IT: Aminé plays Peter’s Room at Roseland Theater, 8 NW 6th Ave., with Gangsigns, Manny Monday and Matt Burton, on Friday, March 25. 8 pm. $12. All ages.
Willamette Week MARCH 23, 2016 wweek.com
Willamette Week MARCH 23, 2016 wweek.com
Shearwater, Cross Record, the OO-Ray
[GRAND INDIE] Shearwater’s Jonathan Meiburg has never been one to dawdle. He’s kept himself busy, releasing an admirable nine studio albums in 15 years—not to mention writing a master’s thesis on a subspecies of falcon native to the Falkland Islands—which serves as an outlet for his well-crafted statements and ambitious breed of indie rock. That grandiose quality deﬁnes his latest, Jet Plane and Oxbow, an album that tackles our country’s political complacency with bits of dulcimer and soaring textures pulled straight from U2’s Joshua Tree. To their credit, Meiburg and his accomplished cohorts do so remarkably, forging triumphant grooves that seem to contradict the tension and the times he often sings about. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $14. 21+.
Curtis Young, I$$A, Mack & Dub and The Smoking Section, My G
[SON OF DRE] In many ways—visually, vocally, production-style—Curtis Young is the spitting image of his father, Dr. Dre. But while most rockstar children grew up coddled, Young came up in Compton, learning to rap while his father denied paternity. In fact, he had no idea he was a prodigal son until much later in life. A welldeveloped emcee and producer whose style mirrors the powerful West Coast G-funk sound pioneered by his dad, Young delivers verses atop classicsounding beats. He’s a son who probably won’t eclipse his father, but he deserves a meager living from riding his coattails. PARKER HALL. Peter’s Room at Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm. $20. 21+.
Women’s Beat League and Alchemy Present: Jlin, DJ Noir, Lincolnup B2B Rap Class, ILLordess
[CLUB FISSION] Jlin stepped out of the shadows of the footwork underground last year with her debut album, Dark Energy, a force of syncopated rhythm and rezzed-out synth work out of Gary, Indiana. Named The Wire magazine’s top record of 2015, the 11-track album introduced the world to a new voice in a gritty scene, with a feminist spirit inspired by her blue-collar hometown. Like Chicago legend RP Boo, Jlin’s minimal compositions deconstruct the battleground aesthetic of footwork, but invite organic collaborations with vocal talent like Holly Herndon. With S1’s resident Women’s Beat League cosponsoring, the power in ﬂipping the dynamics of club and dance culture is represented behind the decks tonight. WYATT SCHAFFNER. S1, 4148 NE Hancock St. 9:30 pm. $10 advance, $15 day of show. 21+.
SUNDAY, MARCH 27 Mean Jeans, Rich Hands, Las Piñas
[POP-PUNK] Whew—Mean Jeans hasn’t grown up! At least not all the way. The B-sides on the Portland trio’s new “Nite Vision” single are titled “Now I Wanna Be Yr Dogg” and “69 Tears,” and they are perfect throwbacks to the band’s debut LP, Are You Serious?, which itself was a perfect throwback to the ﬁrst few Ramones albums. But the A-side ﬁnds Mean Jeans dipping into a speedy and slightly dark strain of power-pop. These party punks are at that 3 am event horizon where they’re playing “I’ve Done Everything For You” on repeat until someone calls the cops, and it sounds better than anything in the world. CHRIS STAMM. Bunk Bar, 1028 SE Water Ave., 328-2865. 9:30 pm. $8. 21+.
CONT. on page 23
HOTSEAT COURTESY OF KEVIN BERRY
23—only released its debut, Leave Me Alone, this past January. Even still, Hinds channels a decades-old garage-rock sound from the ’60s all the way across the pond here in the U.S. HILARY SAUNDERS. Holocene, 1001 SE Morrison St., 239-7639. 7 pm. $14. 21+.
Q&A: Kevin Berry Kevin Berry calls himself Portland’s “King of Old School.” But he’s been around long enough to remember when everything old was new. A former KBOO host, Berry began booking classic R&B acts—from Zapp and Roger to Midnight Star to Evelyn “Champagne” King—at long-since-shuttered downtown clubs in the late 1980s, catering primarily to black audiences that were otherwise ignored by the city’s entertainment infrastructure. That’s what he continues to do today, right up to this week, when he brings ’80s rap icons Doug E. Fresh and Kool Moe Dee to town. We spoke to Berry about how concert promotion has changed, and exactly when the old school got old. MATTHEW SINGER. Portland’s Old-School King talks cops, condoms and concert promotion.
WW: When did you start doing concert promotion? Kevin Berry: I think the first show was the late ’80s. It was this group called Radiance, from Oakland, California. It was at the art museum. It wasn’t very good. I took a loss on the show. How has promoting shows in Portland changed in recent years? It’s different in the sense that it’s more divided now. Back in the late ’80s and ’90s, the music was universal, as far as R&B. Young folks listened to the same stuff the older folks listened to. In the clubs, you had a mix of that, you might have people who were 21 to 55, 60 years old. Today, you’ve got your hip-hop that appeals to the younger crowd, and your older clientele doesn’t want to mix with the younger crowd. When did that divide happen? It was probably ’97, ’98, right around in there. The transition was taking place, with hip-hop coming in more. After that, that’s when it started becoming divided up. Portland has had a problem with the police cracking down on shows that bring out black audiences. Did you have problems with the city authorities back then? In my opinion, there’s always been an issue with having large crowds of black people in downtown Portland. Back in the ’80s and early ’90s, that’s where the main clubs were. And there always was a problem, where you do get the tension, like the powers that be didn’t like to have black clubs downtown. What was the craziest demand you’ve have had from an artist? One artist, in their rider, they asked for a large box of latex condoms—Magnums. I did not supply that [laughs]. Do you feel a responsibility to continue entertaining that older black audience? Honestly, yes. That is a part of it. In my years at KBOO, I was a volunteer all those years. For many years, I bought and paid for my own music, to stay current with the music coming out. And it’s because I was trying to fill a void. I enjoy doing it, even now. It can be a headache, but I do it because I enjoy doing it, and I do know there is that need for that type of thing for black folks here. SEE IT: Doug E. Fresh plays Tao Event Center, 631 NE Grand Ave., with Kool Moe Dee, on Thursday, March 24. 9 pm. $35 advance, $45 day of show. 21+. Willamette Week MARCH 23, 2016 wweek.com
Willamette Week MARCH 23, 2016 wweek.com
MUSIC White Denim
[SoUtHERn RocK] White Denim gets around. the Austin band has released seven albums in eight years, including Stiff, which drops at the end of this month. Members even played on Leon Bridges’ debut album. Bridging the gap between those old-school soul sounds and the rockier noodlings of prog rock and the ferocity of punk, White Denim always delivers a highenergy show. HILARY SAUnDERS. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $17. 21+.
[cLASSIc tHRASH] In 1983, newcastle’s Satan released its magnum opus, Court in the Act. that seminal British heavymetal album helped usher in the thrash era and directly influenced Metallica, Exodus, and Death Angel. By the late eighties, Satan was in hibernation. Remarkably, the Court in the Act lineup reanimated in 2011 after two decades in stasis. Life Sentence, from 2013, proved to the world that Satan was still on fire. the band paid its respects to Portland on that tour and left us stunned by its Spinal tap-esque magnificence and absolutely topnotch metal skills and performance. 2015 brought a second reunion album, Atom by Atom, which was another feast of classic metal delivered by these expert true believers. nAtHAn cARSon. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $16 advance, $22 day of show. 21+.
Traxman, J Drago, Swisha, Albino Gorilla
[JUKE WERK] chicago’s traxman is the godfather of the city’s rich tradition of urban dance music, having lived Dance Mania’s ghetto house, juke and now footwork as a don of many styles and inspirations.
As a core member of the teklife collective, trax is responsible for spreading the 160 bpm music synonymous with the late DJ Rashad, schooling the young’uns on sampling technique and source. At once an Afrofuturist crate digger and soul reviver, traxman pushes those around him with a tireless studio ethic and global touring schedule, fusing uptempo rhythms with jazzy fills and carrying the chi sound through its past and present. WYAtt ScHAFFnER. Rose Bar, 111 SW Ash St., 971-544-7330. 10 pm. $10. 21+.
MONDAY, MARCH 28 Polica, Clara-Nova
[ELEctRIc FoRESt] Bon Iver frontman Justin Vernon has called Polica “the best band in the world.” Unlike his music, the band doesn’t play soothing forest folk, but Minneapolis-based synth pop. Earlier this month, the group released its third album, United Crushers, a collection of sensual electro-pop in the vein of Little Dragon and Purity Ring, but with more distortion. Singer channy Leaneagh’s voice is an explosion of force and control but veiled with ethereal, reverb-drenched synths, bringing to mind a rave in the middle of a forest. SoPHIA JUnE. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm MondayTuesday, March 28-29. $20 advance, $22 day of show. 21+.
Yuck, Big Thief
[DInoSAUR JR. JR.] Yet another British rock band reappropriating the golden age of northwest indie rock and adding its own vibrant take (see also: Paws, Martha, Bill Ryder-Jones), London punk outfit Yuck blends J Mascis’ guitar tone and the sentimental tenderness
cont. on page 25
The Thermals WE DISAPPEAR (Saddle Creek) [MÖBIUS STRIP POP] You could be forgiven for thinking the discography of the Thermals follows a traditional arc. Each successive album does seem more honed than the one before. But with the release of seventh album We Disappear, it’s clear the trio’s trajectory resembles something closer to a loop. For Portland’s garage heroes, after nearly 15 years together, time really is a flat circle— which means We Disappear is exactly as long (half-hour), exactly as polished (like the best major-label mall punk pre-Y2K), and exactly as effortlessly great as should be expected. We Disappear is something new that acts like something old. It specifically returns to 2009, when Now We Can See clarified the Thermals’ sound, unveiling a fully realized power-pop band. It makes sense that seven years later, on the gnarled epic “The Great Dying,” Harris sounds as nascent as always: “The words we leave/ Will be believed/They will be clear.” They aren’t alluding to other music for inspiration anymore, they’re looking only to themselves. We Disappear is filled with thoughts of the ways in which humans and artists both belie and embrace immortality. Opener “Into the Code” breathlessly lays out the stakes of being in a working band still trying to live up to Internet fame (“Every stone/ On every road/ Into the code”). Each subsequent track, from the melancholic bounce of “My Heart Turned Cold” to glacial coda “Years in a Day,” further chips away at the notion that the Thermals’ best years are behind them. We Disappear is exactly as wonderful a Thermals record as every one before, and every one to come. DOM SINACOLA. HEAR IT: We Disappear is out March 25. Willamette Week MARCH 23, 2016 wweek.com
Willamette Week MARCH 23, 2016 wweek.com
Iggy Pop plays Keller Auditorium on Tuesday, March 29. of Built to Spill into nostalgic and ever-evolving fuzz pop. Stranger Things, the band’s latest, marks a lineup change and a reﬁnement of their sunnier sensibilities. CRIS LANKENAU. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $14. 21+.
TUESDAY, MARCH 29 Iggy Pop, Noveller
[POP STAR] David Bowie is gone, depriving us of many things, not the least of which is the chance to hear him collaborate with his old buddy Iggy one last time. So thank the rock gods for Queens of the Stone Age’s Josh Homme, who stepped in and squeezed one last great solo album out of the Great and Powerful Pop. (And based on how Iggy’s been talking lately, it might be his last, period.) While it’s got the slinky grooves and guitar crunch of Homme’s main gig, Post Pop Depression is really the spiritual successor to the two classic albums Pop made with Bowie in the ’70s, The Idiot and Lust for Life. So much so that on this tour, Pop and his all-star backing band— including Homme and other QOTSA alumni, plus members of Arctic Monkeys—are focusing on material from all three. If nothing else, it should help erase the those whack Stooges reunion albums from memory. MATTHEW SINGER. Keller Auditorium, 222 SW Clay St., portland5.com. 8 pm. $49.95-$79.95. All ages.
Mothers, All Dogs, Haley Heynderickx
[OFF-KILTER FOLK] As the name might imply, Mothers has a way of coddling listeners. There’s a resounding comfort and warmth to the Athens band’s debut that’s borderline maternal, cloaked in a banner of horns and delicate guitar work that falls like a lullaby against a backdrop of gentle percussion. The eight-song LP, When You Walk a Long Distance You Are Tired , examines fractured connections and emotional insecurities, like so many albums before it, but it’s in the tender manner frontwoman Kristine Leschper addresses these, with aching vulnerability and a beautiful croon likened to Angel Olsen, that allows them to hit the mark on so many levels. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Free-$12. 21+.
Into It Over It, the World Is a Beautiful Place & I Am No Longer Afraid to Die, the Sidekicks, Pinegrove
[E(SKI)MO] Poster boy for the recent emo revival and a lyricist unafraid of dramatic self-importance, Into It Over It godhead Evan Weiss doesn’t really seem the sort to require extreme isolation
when summoning an inward muse. Nevertheless, the Chicago indie vet spent a month last winter chopping ﬁrewood ‘midst the snow-deadened forests of rural Vermont, without phone or Internet or any ties at all to the larger world (save, of course, his drummer—some modern conveniences one can’t live without). The resulting Standards, IIOI’s justreleased third album, boasts a fullyrealized tunecraft that ranks with the very best of its breed. But its peculiar power likely comes less from an insular gestation than through wedding the immaculate arrangements with the roughedged analog production of John Vanderslice. JAY HORTON. Star Theater, 13 NW 6th Ave., 248-4700. 7:30 pm. $15. All ages.
Rachel Platten, Eric Hutchinson, Hunter Hunted
[POTUS ROCK] Approaching a dangerously advanced age for little-known pop ingénues, Rachel Platten channeled every inchoate shred of frustrated entitlement into 2014 breakout hit (and U.K. charttopper) “Fight Song.” It’s a selfaﬃrmation jingle of such addictive vapidity it proved equally successful hawking SUVs, Supergirl and Hillary Clinton. Sure, pop anthems needn’t justify anything beyond sing-along ubiquity, but set within accompanying album Wildﬁre’s dully slick scamper through every radio-friendly format of the moment, the supposed message of empowerment does feel somewhat hollow. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $22. All ages.
CLASSICAL, JAZZ & WORLD Louis Pain and LaRhonda Steele Pay Tribute to Natalie Cole
[UNFORGETTABLE] Local organist Louis Pain and soul diva LaRhonda Steele go together like peas and carrots—a pair which eﬀortlessly blends shimmery high notes and tasteful legato runs into deep soul food. Joined by several of the area’s top musicians, the bandleaders turn their musical gaze on the legendary stylings of recently-deceased vocalist Natalie Cole, diving deep into her catalog to mine a sonic tradition stretching all the way back to her father, Nat King Cole. They might not be relatives of the Coles, but they nail their music, demonstrating that musical soul is indeed thicker than blood. PARKER HALL. Jimmy Mak’s, 221 NW 10th Ave., 2956542. 7:30 and 9 pm Saturday, March 26. $12 general admission, $15 reserved seating. Under 21 permitted until 9:30 pm.
For more Music listings, visit Willamette Week MARCH 23, 2016 wweek.com
MUSIC CALENDAR WED. MARch 23 Alberta Street Pub 1036 NE Alberta St Out of Dodge
Arlene Schnitzer concert hall
1037 SW Broadway Loreena McKennitt
830 East Burnside Street An Evening with Greg Dulli
2530 NE 82nd Ave Arthur Moore; Blues Jam
2126 S. W. Halsey ST. Tony Smiley
hawthorne Theatre 1507 SE 39th Tonight Alive, Set It Off, The Ready Set, SayWeCanFly
Gospel Hooligans; Tough LovePyle
2126 S. W. Halsey ST. Del Phoena
426 SW Washington St Crate Diggers Live
Kennedy School Theater
5736 N.E. 33rd Ave. The Noted
LaurelThirst Public house
303 SW 12th Ave The Punishment Brothers (Cruel & Unusual)
3939 N Mississippi Ave Chairlift
8 NW 6th Ave August Burns Red with Between The Buried & Me and Good Tiger
1801 NE Alberta St. Lorna Baxter Trio
3939 N Mississippi Ave Nap Eyes, Cian Nugent
The White Eagle 836 N Russell St Jumaane Smith
Twilight cafe and Bar
1420 SE Powell Jims/Mariya Block/Moon Debris/Drop Tank/Rachael Miles
ThUR. MARch 24 Alberta Abbey
126 NE Alberta St Rosh & The Blind Cafe Orchestra
Alberta Street Pub 1036 NE Alberta St JoyTribe + Soul Progression
Analog cafe & Theater
720 SE Hawthorne Blvd Alex G, Porches
3130 SE Hawthorne Blvd. Acoustic Village
Ash Street Saloon 225 SW Ash Dorado
Tao Event center
2026 NE Alberta St MOPE GROOVES
The Liquor Store
115 Buffalo Way Visceral Volume Presents: Rabbits, Cutthroats 9, & Drunk Dad
The White Eagle 836 N Russell St Hutson
Twilight cafe and Bar 1420 SE Powell Not Part Of It, Bloodrat, Stumblebum
128 NE Russell St The Floozies: The Granola Jones Tour
350 West Burnside Spiritual Rez
Doug Fir Lounge
830 E Burnside St The Lil’ Smokies & Trout Steak Revival
2530 NE 82nd Ave
426 SW Washington St Guitars 4 Vets Benefit Show
3939 N Mississippi Ave Quilt
1300 SE Stark St #110 Peter Frampton Raw: An Acoustic Tour
8 NW 6th Ave Aminé
13 NW 6th Ave A Great Big World
The Firkin Tavern
1937 SE 11th Ave Fikin Music Fest: The Husky Boys, The Sin City Ramblers, St Terrible, Volturz
2026 NE Alberta St FRANKIE AND THE WITCH FINGERS
The Secret Society
116 NE Russell St Secret Society Soul Revue: Kelsey and the Next Right Thing, DJ Klavical
The White Eagle
FRI. MARch 25 3000 NE Alberta St Blackstar Rising: David Bowie Tribute
Alberta Street Pub
1036 NE Alberta St Lowlight, Ezza Rose, T. Nile, The American West
Analog cafe & Theater 720 SE Hawthorne Blvd Free Box City
Ash Street Saloon 225 SW Ash Strictly Platonic
6000 NE Glisan St. Joe Baker and The Kitchen Men
Bossanova Ballroom 722 E Burnside St Y&T
1332 W Burnside St DATSIK
8371 N Interstate The Music That Makes Us
350 West Burnside Andrew Loomis Memorial Fundraiser
Doug Fir Lounge
13 NW 6th Ave Conan, Serial Hawk, Usnea, and Will
Alberta Rose Theatre
2026 NE Alberta St CHERRY COLA
221 NW 10th Ave Sabroso
631 NE Grand Ave. Doug E. Fresh, Kool Moe Dee
McMenamins Al’s Den
5389 W Baseline Rd. Matt Cluthe
McMenamins Mission Theater
2958 NE Glisan St Laurelthirst Presents: Ethan J. Perry & the Remedy Band
Insomnia coffee company
2348 SE Ankeny The Jack Maybe Project
LaurelThirst Public house
1001 SE Morrison St Gaytheist with School of Rock plays KARP
2958 NE Glisan St Lewi Longmire & the Left Coast Roasters
1624 NW Glisan St Sarah Neufeld, The Ridge
830 E Burnside St Alt-Nation Advanced Placement Tour with Banners, The Moth & the Flame and Pop Etc
2530 NE 82nd Ave Franco and the Stingers, JT Wise Band, Rafael Tranquilino/Leah Tushing
Willamette Week MARCH 23, 2016 wweek.com
LAST WEEK LIVE
1507 SE 39th The Broad Strokes (lounge); Geographer & the Crookes
1001 SE Morrison St Pictureplane
2126 S. W. Halsey ST. Mark Alan
1001 SE Morrison St General Assembly: An Evening of Collaboration Curated By Needle Drop Co. 426 SW Washington St T. Nile (British Columbia), Familiar Wild, Karyn Ann
For more listings, check out wweek.com.
= WW Pick. highly recommended.
Editor: Matthew Singer. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek.com/ submitevents. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: email@example.com.
836 N Russell St Rule of the Bone
Twilight cafe and Bar
1420 SE Powell The Atom Age, No More Parachutes, Beach Party, The Doom Generation
232 SW Ankeny St Havania Whaal, Hey Lover, Gentle Bender, Faxes
128 NE Russell St Thao & The Get Down Stay Down
ALIVE IN HELL: “So, you think you’re fucking ready for this?!” bellowed Slayer singer-bassist Tom Araya as he prepared to join founding guitarist Kerry King, returning drummer Paul Bostaph and recent addition Gary Holt on guitar in a pummeling and merciless rendition of opening song “God Send Death.” It was just the start of an incendiary collection of hits the legendary thrash-metal band unleashed at Roseland Theater on March 20. With a strict no-mosh rule in effect and a reserved-seating situation in the balcony, the vibe was far less confrontational than one might imagine—a testament to the fact that, like the band itself, we are all getting older. Of course, while no one escapes the passage of time, age doesn’t matter as long as you can still crush. And crush Slayer did. The set featured songs from the band’s most recent album, Repentless, interspersed with selections spanning its entire catalog, and the 30-year-old material sounded just as fresh and vital. Clad in a T-shirt that simply read “KILL THE KARDASHIANS,” Holt was in top form, effortlessly channeling the fury of the late Jeff Hanneman. Bostaph pummeled his kit with possessed fervor, balancing his relentless, doublekick hammering with the technical mastery of three decades of experience. Once the final, bludgeoning chords of “Angel of Death” had ceased, the only thing left to do was to soak up the sheer energy, the joie de vivre of being a true believer among true believers. If this is how hell awaits, I will see you there. MIKE GALLUCCI. Pin & Hornits
2126 S. W. Halsey ST. Moody Little Sister
1001 SE Morrison St Hinds
2348 SE Ankeny The Goatee Brothers; JD Dawson’s Songwriters Showcase
2348 SE Ankeny Penifore
Alberta Rose Theatre
221 NW 10th Ave Unforgettable: Tribute to Natalie Cole,
Analog cafe & Theater
4847 SE Division St Dust and Thirst
SAT. MARch 26 3000 NE Alberta St Hot Buttered Rum
720 SE Hawthorne Blvd Self Defense Family
Arlene Schnitzer concert hall
1037 SW Broadway Ten Grands
3130 SE Hawthorne Blvd. The Swing & Standards Jazz Band
Ash Street Saloon 225 SW Ash Tow Headed Beast
McMenamins Mission Theater 1624 NW Glisan St Garcia Birthday Band
3100 NE Sandy Blvd Lycus, Ninth Moon Black, In The Name Of God, Druden
2026 NE Alberta St DISPOSSESSED
The Secret Society
2522 SE Clinton St The Sum of Us Is One
116 NE Russell St Melao De Cuba Salsa Orchestra
Doug Fir Lounge
The White Eagle
clinton Street Theater
830 E Burnside St Bag Raiders
836 N Russell St ThorNton Creek
Twilight cafe and Bar
2530 NE 82nd Ave
1420 SE Powell
SUN. MARch 27 Ash Street Saloon
225 SW Ash Weedeater, Author & Punisher, Today Is The Day, & Lord Dying
Black Water Bar
835 NE Broadway Dreamdecay, Private Room, Panzer Beat
1028 SE Water Ave Mean Jeans, Rich Hands, Las Piñas
Doug Fir Lounge 830 E Burnside St White Denim
2530 NE 82nd Ave Gamblers Mark, Streakin’ Healys
2126 S. W. Halsey ST. Billy D
1001 SE Morrison St Mynabirds
McMenamins Al’s Den 303 SW 12th Ave Barton Carroll
3939 N Mississippi Ave Satan
600 E Burnside St Snow Roller, Mo Troper
13 NW 6th Ave
Smoke Rings, the Blood of Others, Terror Apart with DJ Savak, and DJ
PRAWN/WEATHERBOX/ ENEMIES/ UNCONDITIONAL ARMS
The Secret Society
116 NE Russell St This Twilight Orchestra, Hawks Do Not Share, Charlie Moses + bdRm
3120 N Williams Ave Star Witness, Lauren Kershner, Bluey
MON. MARch 28 Arlene Schnitzer concert hall
1037 SW Broadway Joanna Newsom
350 West Burnside A Special Evening with Elvis & the Gnash Voodoo Doughnut Recording
830 East Burnside Street Polica
2348 SE Ankeny The Global Folk Club Hosted by Andrea Wild
221 NW 10th Ave AMP Jazz Combo, with Devin Phillips
TUES. MARch 29 Aladdin Theater
3017 SE Milwaukie Ave Warren Haynes
Alberta Rose Theatre 3000 NE Alberta St Birds of Chicago
Analog cafe & Theater 720 SE Hawthorne Blvd B. Dolan; Citizen
Ash Street Saloon 225 SW Ash Milstone Grit
Bossanova Ballroom 722 E Burnside St Gen & Trinidad’s Blues Quartet
222 SW Clay St. Iggy Pop
LaurelThirst Public house 2958 NE Glisan St Jackstraw
3939 N Mississippi Ave Mothers, All Dogs
1300 SE Stark St #110 An Evening With Steve Hackett at Revolution Hall
Doug Fir Lounge 830 E Burnside St Poliça
The Ranger Station
2530 NE 82nd Ave Reverand Hylton
1420 SE Powell
221 NW 10th Ave AJAM jazz ensemble
13 NW 6th Ave INTO IT. OVER IT. THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID...
2505 SE 11th Ave #101 Pagan Jug Band
Twilight cafe and Bar
8 NW 6th Ave Jared & The Mill
1332 W Burnside St X Ambassadors with Seinabo Sey
2126 S. W. Halsey ST. Ben Larsen
2026 NE Alberta St SLEEPING BEAUTIES
1507 SE 39th The Contortionist
3939 N Mississippi Ave Yuck
Ford Food and Drink
Goodfoot Pub & Lounge
2845 SE Stark St JIMMY RUSSELL’S PARTY CITY 2034 (Free)
4260 SE Hawthorne Blvd Bluegrass Tuesdays, w/ Pete Kartsounes and Friends
The White Eagle
836 N Russell St Anthemtown Artist Showcase
Vie de Boheme 1530 7th Ave Salsa Dancing
Wonder Ballroom 128 NE Russell St Rachel Platten
MUSIC Where to drink this week.
1. Devils Point
FRIDAY, APR 1 7:30PM MODERN DANCE | $10 / $15 / $20 “THE CITY’S MOST POPULAR AND INTERNATIONALLY RENOWNED DANCE TROUPE”—THE OREGONIAN
5305 SE Foster Road, 774-4513, devilspoints.com. Apparently Dave chappelle sang karaoke here during stripparaoke last sunday, making it briefly Portland’s coolest bar ever. Bask in the afterDave.
OREGON MANDOLIN ORCHESTRA FRIDAY, APR 22 7:30PM CLASSICAL / BLUEGRASS | $15 / $20
2. Pope House Bourbon Lounge
SPECIAL GUESTS: DUTCH BROTHER AND SISTER DUO WEISENKKER
2075 NW Glisan St., 222-1056, popehouselounge.com. The sun is intermittently back, the skies are intermittently clear, and it’s patio whiskey season again—a fine time for a whiskey-vermouth $5 half man cocktail at happy hour or a $10 old Fashioned one of our writers swears is precisely twice as good.
FRIDAY, MAY 6 7:30PM ROOTS / SLIDE GUITAR | $20 / $25 “BANJO VIRTUOSO FURTADO IS WELL-KNOWN FOR HIS ENVELOPE PUSHING, PROGRESSIVE BLUEGRASS STYLINGS. HIS PICKING IS RAPID-FIRE QUICK, SHARP AND CLEAR…” —TELLURIDE DAILY PLANET
FRIDAY, MAY 20 7:30PM CELTIC / SINGER SONGWRITER | $14 / $18
3. Flying Fish
2340 NE Sandy Blvd., 971-806-6747 providorefinefoods.com. Grab an imported beer from the fridge at Providore Fine Foods, or pour one from one of the store’s two bars—the hidden Pfriem and Buoy taps in back or Flying Fish’s oyster-paired wines. Then down netarts Bay oysters straight from the oyster farm for 2 bucks apiece.
4. Fat Head’s
131 NW 13th Ave., 820-7721, fatheadsportland.com. The two best-loved IPAs in town in a blind tasting, semper FiPA and IBUsive, were brewed here. But don’t miss the beautifully hoppy, low-IBU Built for speed pale.
5. Loyal Legion
710 SE 6th Ave., 235-8272, loyallegion.com. Above Loyal Legion is a huge event hall called the evergreen, where beer people like to throw parties. Well, as of now, that huge hall will also open for every Timbers away game, fitting a whole cheering section worth of the Army. home games are shown downstairs only.
“WHEN DOES A VERY GOOD SINGER BECOME A GREAT SINGER—FOR PORTLAND’S COLLEEN RANEY, THAT TIME IS NOW.”—BOSTON IRISH REPORTER
NEW OLD BAR: If you want to know what kind of bar Pop Tavern (825 N Killingsworth St., 206-8483) is, just look where they hang the marquee. A few blocks away on Killingsworth, the Florida Room uses its near-identical letterboard sign to tell the whole damn world “HONUS IS THE MAN” and “MORALITY IS THE LAST BASTION OF COWARDICE.” Pop Tavern, though? They hang their slogan board inside the bar instead, facing nobody but the bartender. They’re just talking to themselves— and what they’re saying is, they’re “THROUGH BEING COOL” or in mourning for recently departed drummer Andrew Loomis. They’ve got no website—and the official Facebook page until recently was just a picture of a dog wearing sunglasses. The exposed brick wall opposite the marquee is mostly bare except for a few posters of old Wire and Gun Club shows, and the bar top is the same old repurposed bowling-lane wood as when the space was still called Duckett’s Public House, a mungy dive that dug so, so deep the old regulars are probably still buried under the floorboards. Pop Tavern owner Demetri Kassapakis—who also owns the Hilt on Alberta, and helped start the Bonfire Lounge on Stark in the ’90s—threw months of toil into rebuilding filthy, rotten Duckett’s from the ground up. But the result was a bar that looks a lot like “bar”—the platonic form of bar, as understood equally well by Hank Williams I, II and III. But the tap list is way more decent than it should be, with the $2.75 Coors Banquet joined by Commons Urban Farmhouse and Pfriem IPA. And the burger—a mere $6.50—is juicy and beefy and comes with maybe the city’s finest crinkle fries, salted just so. It’s all so worn-in you could be fooled into believing the bar has been open for 20 years instead of just a month, until a little piece of the old Duckett’s drifts in. “I don’t do any drugs I can’t grow myself,” says a former Duckett’s patron. “That’s why I’ve got a coca plant.” He then leaned in menacingly and called one of our former interns “good-looking but full of shit.” The bartender pulled the guy’s beer, turned up the David Bowie, and all was well. MATTHEW KORFHAGE. Monkeytek & Friends The Evergreen 618 SE Alder St Infinite Vision: ONEMAN b2b MY NU LENG
WED. MARch 23 Dig A Pony
736 SE Grand Ave Holla n’ Oates (shout raps, dad rock)
Euphoria Nightclub 315 SE 3rd Ave San Holo
ThUR. MARch 24 Dig A Pony
736 SE Grand Ave A Train (cumbia)
421 SE Grand Ave Shadowplay (EBM, goth, industrial, darkwave)
421 SE Grand Ave Event Horizon (industrial, EBM, electro)
8409 N Lombard St Wiggle Room (electronica, disco, house, hip-hop, downtempo)
There Be Monsters
1308 SE Morrison st DJ Gina Gardenia (post punk, Nu Wave)
FRI. MARch 25 Dig A Pony
736 SE Grand Ave Maxx Bass (boogie)
Euphoria Nightclub 315 SE 3rd Ave GHASTLY
421 SE Grand Ave Club Kai Kai Drag Dance Party
3967 N Mississippi Ave
SAT. MARch 26 Analog cafe & Theater
720 SE Hawthorne Blvd ANDAZ Bhangra Bollywood Dance with DJ Anjali and The Incredible Kid
Dig A Pony
736 SE Grand Ave Jimbo (‘80s)
1001 SE Morrison St Main Squeeze with DJs Kiffo & Rymes (house, techno, disco)
421 SE Grand Ave Darkness Descends with DJ Maxamillion
4148 NE Hancock Ave Women’s Beat League & Alchemy Present: JLIN, DJ NOIR, Lincolnup B2B Rap Class, Illordess
Call for tickets or visit www.brownpapertickets.com
Walters Cultural Arts Center
527 E. Main Street—Hillsboro, OR Box Office: 503-615-3485 www.hillsboro-oregon.gov/Walters
SUN. MARch 27 Dig A Pony
736 SE Grand Ave Do Right Sunday (electro, rap, R&B)
421 SE Grand Ave Softcore Mutations with DJ Acid Rick (hunkwave)
111 SW Ash St, Traxman, J Drago, Swisha, Albino Gorilla
MON. MARch 28 Dig A Pony
736 SE Grand Ave Ramophone (post-punk, garage)
TUES. MARch 29 Dig A Pony
736 SE Grand Ave Cuica (golden era hip-hop)
421 SE Grand Ave BONES
Willamette Week MARCH 23, 2016 wweek.com
PERFORMANCE = WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: ENID SPITZ. Theater: ENID SPITZ (firstname.lastname@example.org). Comedy: MIKE ACKER (email@example.com). Dance: ENID SPITZ (firstname.lastname@example.org). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: email@example.com.
OPENINGS & PREVIEWS The Few
Failing newspapers, double-wide trailers, lonely long-haul truckers and the impending doom of Y2K welcome Bryan (Third Rail mainstay Michael O’Connell) when he returns to his rural Idaho home. There, he ﬁnds a tempestuous ex named QZ (What the Bleep Do We Know !? actress Val Landum) and a starry-eyed youth (Lincoln High student Caleb Sohigian) squatting in his trailer. It’s a drama of words and emotional explosions—rather than a millenial apocalypse—from local writer and MacArthur genius grant-winner Samuel D. Hunter. CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm Thursday-Saturday and 2 pm Sunday, March 25-April 16. $28.
Sir Cupcake’s Queer Circus Goes to the Future
Transgender circus performer and director Jack Stocklynn, aka Sir Cupcake, brings his queer circus performers to an interstellar cruise ship that’s set sail sometime in the future. There, Sir Cupcake meets spectacular aerialists like contortionist Meg Russell and trapeze stars Larke and Kelsey, whose characters face conﬂicts ranging from love to sheer survival. Additional guests performers include DieAna Dae and Box of Clowns. And yes, cupcakes will be provided. HILARY SAUNDERS. Echo Theater, 1515 SE 37th Ave., 231-1232. 8 pm Thursday-Saturday and 3 pm Saturday, March 24–26. $20-$25.
“Oh, be ﬁery. By all means be ﬁery,” said Dr. King in the speech that inspired this drama about civil rights issues plaguing modern-day teens. It’s a heart-swelling story about young people ostracized by their peers and struggling with racial discrimination. IFCC, 5340 N Interstate Ave., 235-8079. 7:30 pm FridaySaturday and 3 pm Sunday, through April 10. $20.
NEW REVIEWS Davita’s Harp
Chaim Potok’s coming-of-age story isn’t a sappy World War II drama about Ilana (Kayla Lian), a girl growing up with Communist parents in New York. Instead, Jewish Theatre Collaborative’s new play feels eerily present-day. Trump springs to mind when one character calls Hitler “a clown who nobody takes seriously,” or when the play zooms in on gender discrimination. Ilana’s point of view anchors the story, with other characters referring to themselves in third person. While the nontraditional technique seems like an improv game, it gives the play an urgency that ﬁts the intense subject matter of fascism and communism. Quick scene changes and abrupt blackouts augment that intensity and give a realistic perspective of what the events would look like to a child. Lian’s physical acting successfully characterizes Ilana as a child, with deliberate gestures and overt emotion, but her voice verges on overacting. Danielle Weathers as the mother brings a welcome tenderness to her brash character and nails the Polish accent. Extra show 7:30 pm Wednesday, March 30. SOPHIA JUNE. Milagro Theatre, 525 SE Stark St., 236-7253. 7:30 pm ThursdaySaturday and 2 pm Sunday, March 19-April 9. $30.
The Lady Aoi
A sparkly red drum kit resembling Star Bar is the last thing you’d expect in an ancient Japanese Noh drama. It’s also the ﬁrst thing you see in this erotic ghost story about a woman hospitalized for “sex complexes” and tormented nightly by the living ghost of her husband’s ex-lover. Director Jerry Mouawad returns from an 18-month hiatus with all of his signature Brechtian techniques. The set is a modern hospital, but the ﬂoor is painted with a mural of Japanese ocean waves; the cast is only three people, but their presence seems huger thanks to microphones and ghostly sound techniques; the lighting alternates from ﬂuorescent ceiling bulbs to spotlights to an ambient red glow; and at one point, two sailboat sails drift through the hospital lobby. It’s a shortand-sweet production that feels like an artist sampling techniques. Without enough set-up, it’s hard to care when the ghost of Lady Rokujo and Aoi’s husband reminisce about their dead (or is it?) romance. And the sudden changes between natural speech and microphone are distracting. Instead of trying to suspend your disbelief, appreciate this for what it is—a public playground for an artist who likes to pull out all the stops. ENID SPITZ. Imago Theatre, 17 SE 8th Ave., 231-9581. 7:30 pm Thursday-Saturday and 2 pm Sunday, March 24-27. $15-$25.
ALSO PLAYING Chicago
The Tony, Olivier and Grammywinning sing-along about pretty jazz dolls killing and high kicking tours to Portland. Extra show 7:30 pm Sunday, March 27. Brunish Theatre, 1111 SW Broadway, 800-273-1530. 7:30 pm Friday-Saturday, 2 pm SaturdaySunday, March 25-27. $25-$28.
Heathers: The Musical
Triangle Productions’ candy-colored musical version of the 1988 cult classic is slightly lighter, but with the same body count. Picture fewer F bombs, and when mean girls get knocked oﬀ, they hang around as specters to enjoy the show. Hilarious song and dance numbers make excellent use of the movie’s best lines—you’ll be singing along to “My Dead Gay Son” in no time. On-brand bonuses include a pre-show signature cocktail called the Heathers-Up, snack-size bags of Heather C’s favorite snack— corn nuts—and scrunchies on sale to beneﬁt a local crisis hotline. BrightFaced Malia Tippets shines as the outsider Veronica, particularly in the duet “Seventeen” with the darkly-funny and brooding J.D. (Ethan Crysal). Extra show at 7 pm Sunday, April 3. MERYL WILLIAMS. Triangle Theater, 1725 NE Sandy Blvd., 239-5919. 7:30 pm Thursday-Saturday, through April 2; 2 pm Sunday, March 27. $15-$35.
No Man’s Land
Put Mean Girls into the not-so-hallowed halls of an all-girls Catholic school, and you get this semi-improvised play. Over four “episodes” (this week is episode two), new girl Andy Sawyer has run-ins with nuns and antiabortion teachings. Action/Adventure Theatre, 1050 SE Clinton St. 8 pm Thursday-Sunday, through April 3. $15
When this episodic horror show debuted at Pilot Season, an annual “theater for TV people” competition hosted by Action/Adventure Theatre, it didn’t win a full run, but it did get a cult following. Now creator Joel Patrick
Willamette Week MARCH 23, 2016 wweek.com
Pop Culture’s Best Plans for the Y2K Apocalypse COHO PRODUCTIONS’ THE FEW REMEMBERS THE PANIC OF 1999. An Idaho town where Y2K panic plagues truckers is the scene for CoHo Productions’ ﬁnal show this season. Faced with the impending apocalypse, a publisher named QZ focuses on saving her struggling newspaper and punishing her ex. There are worse ways people in pop culture have coped. Here are a few from 1999. ENID SPITZ.
Apple’s HAL 9000 commercial (Jan. 31)
Steve Jobs teased the iPhone’s ubiquity with Apple’s Y2K commercial, where supercomputer HAL reminisced, “We had no choice but to cause a global economic disruption.”
Oﬃce Space (Feb. 19)
Behind the sparkly ﬂair, Oﬃce Space was actually a fearful premonition that cubicle rats would dedicate their existence to saving our banking system.
The Simpsons’ “Treehouse of Horror X”
(Oct. 31) Milk cartons went haywire and destroyed the Earth in “Life’s a Glitch, Then You Die,” the Y2K segment of this Halloween special.
Nike’s “The Morning After” (Nov. 9)
In Nike’s Emmy-winning commercial, a jogger wakes up on
Durham is producing the show on his own and billing it as theater you can binge-watch. On Saturdays, you can even consecutively watch all four episodes of the semi-improvised part sitcom, part psychological-horror play. Episode one begins with a terriﬁed Thea (Rose Proctor), sitting alone with a bottle of pills, hearing voices. Scared of being alone, Thea asks her childhood friend Gabe (Nathan Crosby) and his girlfriend Penny (Alwynn Accuardi) to move in. Over the course of four episodes, the characters are all haunted by voices, which manifest as a terrifying villain (Murri Lazaroﬀ-Babin). It’ll make your palms sweat, but the plot feels more like a sitcom you quasi-watch while folding laundry than worthy of a Bachelor-style viewing party. SOPHIA JUNE. Shoebox Theater, 2110 SE 10th Ave., 481-9742. 8 pm Friday-Sunday and 3:30 pm Saturday, through March 26. $15.
Jan. 1 to a disintegrating world and decides it’s a nice morning for a run.
Dogma (Nov. 12)
Ben Aﬄeck and Matt Damon plot to take down God (Alanis Morissette) and undo all of creation in 1999’s most anti-Catholic Y2K riﬀ, the ﬁlm Dogma.
Willenium by Will Smith (Nov. 16) Smith raps, “The Will 2 K/The new millennium, yo excuse me Willenium,” on his Y2K album. Thankfully, both 2000 and The Legend of Bagger Vance followed.
“A Country Boy Can Survive (Y2K Version)”
(Nov. 22) Country singers Chad Brock and George Jones wrote a Y2K version of the Hank Williams Jr. standard, which featured lyrics like, “Y2K don’t mean a thing to me/I’ve got a shotgun, a riﬂe.”
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. Action/Adventure Theatre, 1050 SE Clinton St. 10 pm Thursday-Sunday, through April 3. $10-$12.
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 teen-
Futurama’s “Xmas Story”
(Dec. 19) Futurama’s doomsday episode predicted that Conan O’Brian’s preserved head would not only survive Y2K—it would keep telling ﬂat jokes into the 31st century.
King of the Hill’s “Hillennium” (Dec. 19)
Hank and the town prepare by buying out Mega-Lo Mart, hoarding Mountain Dew and putting the arcade through a “Y2K compliance check.”
Family Guy’s “Da Boom”
(Dec. 26) Family Guy’s 10th episode introduced Mila Kunis as Meg and a world where Twinkies were the only food to survive. SEE IT: The Few is at CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm ThursdaySaturday and 2 pm Sunday, March 25-April 16. $28.
ager 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 setchange 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 Saturday-Sunday; noon Thursday, through March 27. $25-$70.
CONT. on page 30
Willamette Week MARCH 23, 2016 wweek.com
PERFORMANCE 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
The new show at Artists Rep is a theatrical mic drop. The audience sat in silence for three minutes (I timed it) when the show ended on opening night, except for the sound of a few people trying to swallow their sobs. It’s a hilarious, belly-laughing show about German soldiers committing genocide in Namibia. Playwright Jackie Sibblies Drury, in a stroke of genius, packages dense history as a presentation by a group of lovable actors. On a mostly empty stage, Chantal Degroat leads a series of skits that jump from present-day improv workshops to past atrocities. Your belly will hurt from laughing at Rebecca Ridenour’s ukulele rendition of “Edelweiss,” until the play makes a 180 and gut-punches you
BOOKS with the harsh, horrible reality of racial prejudices. Then all you can do to stare at the blank stage, with the house lights shining on you, and practice your deep breathing. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaySunday and 2 pm Sunday, through April 3. $48.
COMEDY & VARIETY Bert Kreischer
Did you know that Van Wilder is based on the life of an actual person? That person is Bert Kreischer. After spending nearly a decade in college, and earning the title of America’s Top Party Animal from Rolling Stone, Kreischer turned his prodigious talents to the standup stage. He probably won’t talk about inspirating Van Wilder, but he’ll probably take his shirt oﬀ. MIKE ACKER. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Tuesday, March 29. $15-$23. 21+.
Boys and Girls in America
Comedy upstart and indie rocker Hutch Harris hosts Bri Pruett, Adam Pasi, Alex Falcone, Joann Schinderle, Wednesday Weiss and Neeraj Srinivasan in this new standup showcase. MIKE ACKER. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, March 23. $5-$13. 21+.
The Father of Alternative Comedy, aka the guy who was a writer for seven years of The Simpsons, circles back to Portland for the ﬁrst time since IFC greenlighted his new horror comedy series. His act at Helium is titled Comedy with Brains, and has a zombie on the poster. Gould’s Twitter features a lot of digs at Trump. Picking which apocalypse to mock is indeed hard. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, 7:30 and 10 pm FridaySaturday, March 24-26. $15-$31. 21+.
that the third and fourth episodes are the best. It would have been nice if we had done six or 12, but that was all the time we had. Are you guys going to do more? We want to. We have the same problem we always do, which is that David has other jobs and I have other jobs. It’s not just that we sit back and wait to have nothing to do. We’ve told Netflix that we want it, and they want it too, so I think it will happen.
Mr. Show Goes On
BOB ODENKIRK LIKES PORTLAND BECAUSE THERE’S NO PRESSURE HERE, UNLIKE IN L.A. The biting sarcasm of David Cross might seem like the legacy of HBO’s Mr. Show. But the normal-seeming guy who’s just a little off, created and perfected by Bob Odenkirk, was an equally important comedy development. The absurdist everyman is enjoying a renaissance. Saul Goodman, Odenkirk’s Breaking Bad character, successfully spun off into Better Call Saul on Netflix and introduced him to a new generation of comedy nerds. Before headlining the Brody Theater this Saturday, Odenkirk talked to Willamette Week about his past on television and the legacy of Walter White. MIKE ACKER. WW: Why come to Portland for this show? Bob Odenkirk: Because of the Internet, it’s hard to do anything out of the way. If you have some material that’s new, you want to give it a shot without tons of pressure. In L.A., you feel that pressure. Portland is such a perfect city—the audience is hip, there’s a lot of them, and they know my stuff. I have a friend who runs the Brody Theater, a small theater that’s kind of experimental. Plus, it’s not L.A., which is wonderful for a lot of reasons. W/ Bob & David had a lot of buzz behind it. What was the reaction when it came out? It was kind of wildly positive. I had a lot of people say, “Holy crap, it’s like you just kept making shows.” I’m amazed as anyone, but it’s also true 30
Willamette Week MARCH 23, 2016 wweek.com
Mr. Show was such an important comedy artifact, did you go into the new show with the intention of creating something different? I really expected it to be different in a more substantial, elemental way, which is one of the reasons I wanted to call it something else, not Mr. Show, even when we could have legally done that. I certainly didn’t think we’d get that cast and those writers together. That’s why I like W/ Bob & David. Because it suggests that it’s similar. But it was a whole lot more similar than I expected it to be. How do you feel about having to carry on the legacy of Breaking Bad? I try not to think about that. You can’t be a more important show than Breaking Bad, not just because of it’s creative excellence, which is undeniable, but also because it was the perfect show for streaming and it came along just when people discovered and had the technology to stream. There’re aspects of Breaking Bad that no one can equal or beat, and we’re included in that group called no one. Like you, Adam McKay wrote for SNL. Does his recent Oscar win open the door for comedic writer-directors who’re interested in doing more serious work? I don’t think the door is closed for me. One of the things I have in my favor is that my comedy was never that successful. When you have a big financial success in one area, that’s what really shuts the doors in all the other areas. The industry has such a desire to make money, and to have you do that thing you do that makes big money. But I’ve never made anybody big money. As a result, I’m lucky and I’m not sequestered in some corner. In the minds of the business, I’m just an interesting artist. That’s all I want to be, and that’s good enough for me. SEE IT: Bob Odenkirk is at the Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturday, March 26. Sold out.
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: firstname.lastname@example.org. Fax: 243-1115.
WEDNESDAY, MARCH 23 Cory Booker
FRIDAY, MARCH 25 Barry Gifford with Willy Vlautin
Sen. Cory Booker has made a career branding himself as New Jersey’s people’s champ: He grew up in a tough neighborhood in Newark, went to Yale Law School and returned to work as a tenant rights lawyer, before becoming the city’s mayor and, later, New Jersey’s ﬁrst African-American Senator. Booker tells this story in his new book, United: Thoughts on Finding Common Ground and Advancing the Common Good. You might also remember Booker as that dude who got all hot and bothered tweeting at one of the ﬁne women from Casa Diablo. Portland remembers, baby. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.
Barry Giﬀord is probably best known as an inspiration for David Lynch: He wrote Wild at Heart, and will appear at a screening of that ﬁlm at the Hollywood Theatre on Saturday (see page 34). But Giﬀord has a truly Herculean bibliography, spanning poetry, nonﬁction and ﬁction. His latest eﬀort, Writers, is somewhere between the latter two: It follows imagined scenarios in the lives of real writers like Emily Dickinson and Ernest Hemingway. He’ll be speaking with Willy Vlautin, author of The Motel Life and frontman of Richmond Fontaine. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.
Lawrence M. Schoen
Broken Frontier is a Kickstarter-funded anthology from creator-owned comics publisher A Wave Blue World, centering on themes of “breaking boundaries and exploring the great unknown.” Cover artist Robbi Rodriguez, Justin Zimmerman and Mike Lawrence, authors behind the selection “Flyer,” and author and A Wave Blue World co-founder Tyler Chin-Tanner will all make appearances. Floating World Comics, 400 NW Couch St., 241-0227. 5 pm. Free.
Since the dawn of the Industrial Revolution, our greatest minds have puzzled over the distinction between human and machine (while slightly lesser minds have puzzled over the distinction between “human” and “dancer”). In Curtis White’s new book, We, Robots: Staying Human in the Age of Big Data, he says that the widespread adoption of information technology is infringing on that which makes us human, despite its presentation in innocuously pleasant Bay Area-Buddhist overtones (too like the original). The singularity might not be as chill as the people in all those new apartments think. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.
THURSDAY, MARCH 24 Ann Neumann
Here in the great state of Oregon, we have an easy relationship with death: Once your physician comes into the waiting room with that terminal diagnosis, you can rest assured they’ll give you a gentle nudge toward the inky arms of the One Who Waits for Us All, with the knowledge that your loved ones will throw your ashes into the ocean or the Gorge and that your buddy will name their next run of homebrew after you. But death in the U.S. varies greatly by region, religion, race and socioeconomic status. In her new book, The Good Death: An Exploration of Dying in America, journalist Ann Neumann explores the people and practices that grant us “good deaths.” Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.
Janette Sadik-Khan in Conversation with Congressman Earl Blumenauer
During her time as transportation boss in New York City from 2007 to 2013, Janette Sadik-Khan prioritized making the city safer for pedestrians and cyclists. Her new book explores her approach, like painting parts of Broadway to show they were reserved for foot traﬃc. Here’s hoping paint can ﬁx our jacked-up roads! She’ll be speaking with U.S. Rep. Earl Blumenauer (D-Ore.), who hasn’t actually ever voted on anything because he keeps getting shoved in various lockers throughout the Capitol. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.
MONDAY, MARCH 28 In Lawrence M. Schoen’s novel, Barsk: The Elephants’ Graveyard, it’s the way distant future and humans are gone, but other animals have anthropomorphized and spread throughout the galaxy, like the Fant—I bet you can guess what they evolved from. Though the weird, weird race of trunk people brings the galaxy medicine, a shadowy organization is trying to loosen their hold on the pharmaceutical industry. Schoen is also the founder of the Klingon Language Institute. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.
Garth Greenwell, Idra Novey and Jonathan Lee
A power trio of literary talents converges at Powell’s to share its new releases. This year Garth Greenwell put out his debut novel, What Belongs to You (go to wweek.com for a review), which tells the story of an American teacher beginning a relationship with a Bulgarian hustler in Soﬁa. Idra Novey, an accomplished translator and poet, also made her literary debut this year with Ways to Disappear, about a translator searching for a missing writer. Tempering the neophytes’ verve is the seasoned Jonathan Lee, whose third novel, High Dive, reimagines the Brighton bombing of 1984. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.
TUESDAY, MARCH 29 Parent Hacks: 134 Genius Shortcuts for Life With Kids
Every word’s a virus, capable of spreading across the lexicon like a plague and bearing the same deleterious eﬀect. Perhaps most noxious of these is “hack,” which took the concept of breaking a system to make it work for your own purposes—a particularly useful idea for the IT world in a succinct package—and traversed into metaspace, rendering even life itself as a series of codes and circuits upon which one can inﬂict their will. The latest victim of the hack virus? Children. Asha Dornfest will tell you how to hack yours. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.
Windfall is a literary journal that explores the relationship between poetry and place. In honor of the Spring 2016 issue, contributors Margaret Chula, Tim Gillespie, David Hedges, Patty McLean and Donna Prinzmetal, as well as editors Michael McDowell and Bill Siverly, will be reading. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.
VISUAL ARTS Rowland Ricketts
By JENNIFER RABIN. 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: email@example.com.
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. 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, chainlink 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. Blue Sky Gallery, 122 NW 8th Ave., 225-0210. Through April 3.
Conversations With The Dead
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. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521. Through April 2.
Some of Jenene Nagy’s works look like pieces of origami that have been taken apart and ﬂattened, leaving a three-dimensional echo to the twodimensional piece. Nagy’s use of repetitive hatchings in graphite as a way to build up the material on the surface of the paper creates a subtle texture that reﬂects light in every direction. A painted palm frond propped in the corner of the gallery and a wall-sized photo mural of a desert landscape—meant to add levity and oﬀer a sense of place—are at odds with the quiet minimalism of the rest of the series, and end up feeling like afterthoughts to an otherwise compelling show. PDX Contemporary, 925 NW Flanders St., 227-5111. 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 white-gloved 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 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. Oranj Studio, 0726 SW Gaines St., 719-5338. Through March 31.
CO U R T E SY O F B A S I C S PAC E G A L L E RY
Photographer Danny Lyon’s series, Conversations With the Dead, is a feat of immersion journalism, in which Lyon documented life in six diﬀerent prisons throughout Texas during the late 1960s. In one photo, a prisoner sits alone next to the master controls that open the cell doors, so close to the freedom that eludes him. In another, black prisoners, segregated from their white counterparts, ﬁll a large ﬁeld, hunched over in the backbreaking work of picking cotton. It is an uncomfortable experience to take in Lyon’s stunning black-and-white photographs because we are unaccustomed to seeing tragedy and cruelty through such a beautiful lens. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886. Through March 26.
seems possible they might ﬂy oﬀ the page. Froelick Gallery, 714 NW Davis St., 222-1142. Through April 2.
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. Horowitz created the impossibly detailed blackand-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
Traces of Creation: Phenomena
When you walk into Leslie Ebert’s photography show, you will be confused. You will have no idea what you’re looking at. You will put your face right up to the photos to try to ﬁgure it out. Then, you will back away in hopes that some distance will clear things up. That will fail too. Ebert photographs light phenomena using a macro lens, so it’s no surprise that your brain has little context for the hazy, colorful glimmerings. Also, the photographs are printed on aluminum sheets, creating an unidentiﬁably luminous surface that you’ve likely never seen before. The images look out of focus, like faded memories. In contrast to the thoughtprovoking photojournalism that is popular today, Ebert’s photos don’t make you think of anything. They make you feel. Sage Gallery, 625 NW Everett St., No. 106, 541-206-2560. Through March 31.
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. 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 boardedup 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. Hap Gallery, 916 NW Flanders St., 444-7101. Through April 2.
THE RESTORATIVE SERIES
The Restorative Series
Many of painter Valerie Winterholler’s muted abstracts feature a hazy horizon stretching across a sharp, vertical chasm. This seems poetic for a body of work that Winterholler created after a diﬃcult time caused her to quit painting. The series was “my way of bringing myself back to where I was,” she says. Winterholler paints on diﬀerent-sized birch panels topped with a skim coat of absorbent clay, making for an exceptionally smooth surface, which she then burnishes to the point where they begin to reﬂect light. The result is meditative, ambient and hopeful. Basic Space Gallery, 625 NW Everett St., No. 111, 477-6452. Through March 25.
Some of Rowland Ricketts’ wallmounted 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. Museum of Contemporary Craft, 724 NW Davis St., 223-2654. $6. Through April 23.
C O U R T E S Y O F D AV I D B R AY
= WW Pick. Highly recommended.
Variable States: Prints Now
Upfor Gallery is doing what it does best by celebrating the intersection of a classic art form and the technologies that have reshaped it into what is newly possible. This month, eight artists show us the entire spectrum of printmaking, from serigraph to 3-D printing. Alyson Provax’s looped video, using letterpress animation cells, will keep you glued in front of it. And Janet Ballweg gives us a series of moody intaglio prints, which look like 2-D theater sets of abandoned living spaces. Created from computer-generated models, the ﬁnal prints exist in the ineﬀable space between the digital and the tangible. Upfor Gallery, 929 NW Flanders St., 227-5111. Through April 9.
For more Visual Arts listings, visit
JOAN OF ARC/VOICE OF GOD BY DAVID BRAY
Everything I Stole Is Better Than Everything You Stole David Bray’s Amateur Occult Club is a sophisticated fuck-you.
Artist David Bray ’s philosophy is “use what you’ve got… whatever implement is available immediately, right now, no excuses.” This would explain the materials list for his painting series Amateur Occult Club: stolen paint, marker, Wite- Out, ballpoint pen. It also accounts for the feeling of in-your-face immediacy you get from the work. Bray renders his figures with a single black outline, flattened against a solid matte background. Cheeks, nipples and tongues provide the only flashes of color. Part naive, part Sailor Jerry, the images are incredibly simple, but it would be a mistake to write them off as simplistic. In Joan of Arc/Voice of God, Bray paints a woman’s head in profile, like a hieroglyph, her raven hair adorned with an Egyptian falcon. At the top of the panel, the name Bill S. Preston—a reference to the eponymous character in Bill & Ted’s Excellent Adventure—is lettered in reverse. It’s disorienting because your brain tells you that you are looking at a mirror image of the painting instead of the painting itself. Bray continues this conceit throughout the series, distorting and manipulating words and numbers, perhaps inspired by another naive painter, Jean-Michel Basquiat, who frequently crossed out text in his paintings. He believed that by making certain words difficult to read, it caused the viewer to be more curious about their meaning. In Grail/The Hills Shall, a woman bleeds from her ribs into a chalice. Disembodied praying hands, the kind you’d find tattooed on a felon’s neck, hover over the font of blood. Next to it, Bart Simpson’s head is scrawled in pen, as though some hoodlum had walked into the gallery with a Bic and tagged the work after it was hung. Except the hoodlum is Bray himself, and there are elements of defacement in all of his pieces, whether Bray is doodling symbols next to graceful figures or scratching the hell out of the painted panels to make them look like they’ve been dragged behind a car. Bray’s great skill is his ability to combine disparate influences and iconography with pop-culture references to create his own visual language, a sophisticated aesthetic of fuck-you punk. In the art world, we call this “successful appropriation,” a fancy way of talking about stealing, something Bray might be referencing in one of his pieces when he writes in a faint unsteady hand, “Everything I stole is better than everything you stole.” JENNIFER RABIN.
SEE IT: Amateur Occult Club is at Stephanie Chefas Projects, 305 SE 3rd Ave., Suite 202, 719-6945. Through April 2. Willamette Week MARCH 23, 2016 wweek.com
MOVIES = WW Pick. Highly recommended.
OPENING THIS WEEK An Evening With Kurtis Hough
A Imagine David Attenborough’s Planet Earth, but switch the narration with a throbbing beat and add the surreal whimsy of Jean Painlevé’s underwater ﬁlms. The NW Tracking Series night of shorts by Portland ﬁlmmaker Kurtis Hough is weed-worthy, but the eﬀects and 3-D animation will leave you awestruck regardless of your THC levels. Hough’s style makes the real ﬁlm and special eﬀects indistinguishable at times, so that you’re not sure if you’re watching a van Gogh painting come to life, or if you just witnessed a cyber planet destroyed in the Cloud. He uses a macro lens to capture tiny ﬂora and fauna, and in his most recent short, “Painted Hills,” sandstone cliﬀs manipulated with surreal eﬀects look like they’re colored with brushstrokes. Hough’s ﬁlms will make you feel very big, then very small, and open your mind to the way digital art is even better when paired with the unreplicable beauty of nature. The director will be present to introduce his ﬁlms. LAUREN TERRY. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, March 24. $9.
Batman v Superman: Dawn of Justice
You clamored for it and it’s ﬁnally here, Ben Aﬄeck as Batman punching an invincible superhero who fought Nazis. Even though dread reigned supreme after Ben’s casting, early reviews of this ﬁlm suggest it’s not entirely terrible, which might be enough for DC to get back into the superhero-movie game dominated by Marvel. Screened after deadline; see wweek.com for Alex Falcone’s review. PG-13. Bagdad, Cedar Hills, Eastport, Clackamas, CineMagic, Edgeﬁeld, Lake Theater, Milwaukie, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, St. Johns Cinemas.
My Big Fat Greek Wedding 2
Fourteen years after the big fat wedding bells, Nia Vardalos and John Corbett are back, with a ton of familiar faces and Hollywood-style parental trails. Remember Joey Fatone of ’N Sync fame in the original? Neither did we. Here’s hoping for a fun family reunion, but in case it all goes wrong, remember the Portokalos family cure-all and put some Windex on it. Screened after deadline; see wweek. com for Meryl Williams’ review. PG-13. Cedar Hills, Eastport, Clackamas, Moreland, Oak Grove, Bridgeport, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, St. Johns Theater.
Theory of Obscurity
A Instantly absorbing and completely entertaining, Theory of Obscurity tells the story of the Residents, who have blazed a trail of idiosyncratic and inﬂuential performance art for more than 40 years, while remaining completely anonymous. An outstanding collection of interviewees, including Matt Groening, Les Claypool of Primus, Mickey “Dean Ween” Melchiondo, Devo’s Jerry Casale, and Penn Jillette, trace the seminal group’s career from its Louisiana origins to the San Francisco psychedelic scene in the ’60s, its Vileness Fats project in the ’70s, and its wide MTV exposure in the ’80s to present day. Talking heads have rarely been as candid or as absorbing as they are here. The ﬁlm serves as both a celebration of the group’s legacy for its exuberant fans and a perfect introduction for the uninitiated. PG-13. MIKE GALLUCCI. Clinton.
Gold Digging FAMED L.A. FOOD CRITIC JONATHAN GOLD DISHES ABOUT RATTLESNAKES AND BEING UNLOVED IN PORTLAND. BY MATTHEW KORFHAGE
Jonathan Gold is one of food journalism’s only legitimate heroes, and certainly the only one with a Pulitzer on his metaphorical belt buckle. With his Counter Intelligence column for L.A. Weekly and the Los Angeles Times beginning in the ’80s, Gold helped change the way traditional working-class and ethnic fare like tacos and pho are viewed by food critics—as cuisines every bit as layered, vital and full of history as the stuff at high-dollar French spots. City of Gold, a new documentary by Laura Gabbert that opens at Cinema 21 on Friday, accompanies the legendary journalist as he tours the eateries and neighborhoods of L.A. Gold talked to WW on the phone about Everclear, quinoa and the tiresome kabuki of food-critic anonymity. WW: So you’re a film star now. How does it feel? Jonathan Gold: I’m a writer, I’m behind a typewriter. It’s slightly uncomfortable seeing myself onscreen. But the movie shows what I do in a way that represents me. I love the way it makes Los Angeles look. It’s a part of Los Angeles that doesn’t make it onto film so often. In a way, it’s probably as much about the ecstasy of being in your car as the sun sets as it is about going to restaurants.
to eat in a phone booth. When I first started writing about food in L.A., I was a punk-rock kid who had lucked into a gig. It’s not about being served well at Spago. I was surprised that they let me in at all. Did you ever feel like you didn’t belong there? A little bit. I wore suits more than I do now,
“Quinoa! Fucking quinoa! You think we walked miles barefoot through the Andes in order to cook quinoa?”
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: firstname.lastname@example.org. Fax: 243-1115.
You’ve said food now occupies the cultural position THE QUINOA BOWL, PLEASE?: once held by rock ’n’ roll, Jonathan Gold in Laura What’s the worst thing about Gabbert’s City of Gold. that? The extreme dogmatism. Jesus—you’re in but they were always those thrift-shop, skinnyPortland. I only have to talk to vegans every lapel jobs. I’d go with friends who were wearing couple weeks. I’m sure you talk to them every their one pair of pants. You know this; you work day. Or the paleo people, or the people who at an alt weekly. insist on eating gross organ meats because they want to one-up one another. ‘Oh, goat penis? I This is not a town that cares what you wear. just had a dog anus!’ I appreciate we’ve talked this long and you haven’t asked a snarky question about Everclear. Any worries about being anonymous as a I used to go to Portland a lot and sometimes I food critic after doing a movie? felt I was not welcome after that piece went out. Any critic in town that restaurateurs care about is [Gold had written an article in the August 1996 known within a few months. It’s less about abso- issue of Spin about a feud between Portland lute anonymity and more about plausible deni- musicians Pete Krebs and Art Alexakis.] There ability. I got tired of the kabuki. They can’t make were a lot of people who didn’t like that piece it better. They don’t have magical ingredients in Portland. Actually, Art didn’t like it much in the back. The recipes aren’t going to change. either. Their aesthetic isn’t going to change. Shitty waiters aren’t going to become better waiters. What’s been your experience eating in It seems weird to complain about service Portland? in a specific way. If the food is great, I’m happy [Food writer Karen Brooks] almost had me
Willamette Week MARCH 23, 2016 wweek.com
persuaded to move there. We’re talking earlyish ’90s. It was lovely, and she’d have dinner parties where there’d be the chief of police and somebody who owned two galleries and a house painter and somebody who drove a school bus. Any food you’ve liked here? Jen Louis [of Lincoln on North Williams Avenue] is a kitchen god. The first four or five times I went to Pok Pok were magical. The chicken-rice truck [Nong’s Khao Man Gai] is great. [Le Pigeon’s Gabe Rucker] is really good with meat and with meaty flavors, and he plays with gaminess in a way that not a lot of chefs control. The contrast between, say, maybe the sourness and high quality of a piece of duck, what he’s able to bring out with the red-wine reduction that comes with it. It’s really good— really good rustic French cooking. There aren’t a lot of places in the United States that do that. Is there anything in your old reviews where you look back and cringe? I can look back at stuff I wrote in the ’80s and wince a little bit at what I may have written about caviar, rattlesnakes and beef tenderloin with kiwi. They were perfectly valid within the culture of the time, even though they were incredibly stupid. There will be a day where I’m actually nostalgic for quinoa bowls and wood-roasted Brussels sprouts. My wife and I were in Peru. We went to this workshop in one of the barrios. They were having a workshop on how to cook with indigenous ingredients. Women I assume were going to this because they were being given bags of food at the end. At one point, they started talking about quinoa. You see these angry looks on the faces of the women. “Quinoa! Fucking quinoa! You think we walked miles barefoot through the Andes in order to cook quinoa?” Now I hear there’s a quinoa shortage in parts of Peru. It’s better if you pop it like popcorn. Oh—you know, I will never be nostalgic for the era of eggs on everything. I can’t wait for it to end. I think I had eggs, bacon and kale on spelt recently. Of course it’s spelt. Everything is fucking spelt, or sprouted black barley, or grains that our forefathers had the good sense not to put into bread. What bread would you want on a sandwich? Depends on the sandwich, but usually a beautifully crackly crusted country white, then you slice it, put it on the grill so it’s just a little charred. Whatever you put on it from then on is gravy. SEE IT: City of Gold is not rated. It opens Friday at Cinema 21.
10 Cloverfield Lane
C+ the motto of J.J. Abrams’ latest thriller is, basically, don’t text and drive. Also, don’t break up with your fiance, or else you’ll get in a terrible car accident, be abducted by a Lolitainspired murderer and watch your whole family die in the alien apocalypse—in one night. 10 Cloverfield Lane falls victim to the usual thriller clichés: It doesn’t come close to passing the Bechdel test and contains numerous gratuitous shots of Michelle (Mary Elizabeth Winstead) in her underwear, a cheap thriller soundtrack and, of course, aliens. Despite the clichés, Abrams shows for the first hour and 20 minutes that he’s almost capable of a smart psychological thriller. the last 10 minutes, however, confirm he’s not. the majority of the film creates a claustrophobic, paranoid world inside a bunker designed to survive the apocalypse, and Howard (John Goodman) is the seemingly friendly ringleader. the bunker is surprisingly homey, equipped with games, DVDs and enough food to last for years. For a second, you wonder: Is this really so bad? that’s a question Abrams makes sure to answer. PG-13. SoPHIA JUnE. Bagdad, Cedar Hills, Eastport, Clackamas, Edgefield, Lake Theater, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, St. Johns Cinemas.
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. Academy, Laurelhurst, Living Room Theaters.
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. Cedar Hills, Clackamas, 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.
A- one minute into the film, former olympian Hope Ann Greggory—played by writer Melissa Rauch, from The Big Bang Theory—masturbates to a video of herself winning the medal for the U.S. women’s gymnastics team despite a Kerri Strug-esque injury. And I was sold. that scene introduces you to the backstory of Hope, a former national hero, without feeling sappy or forced. now, it’s years after her medal-winning performance, and Hope’s injuries kept her from further competition. She’s older, but she’s never moved on. She’s still a hero to her small town, but maybe she’s been milking her celebrity a little too long. Despite her best efforts to remain a drain on the city, she gets roped into training another young gymnast and has to sideline her concerns that this new blood will eclipse her own fame. A very nonstandard, and really great, sports movie ensues. R. ALEX FALconE. Cedar Hills, Clackamas, Bridgeport, City Center, Fox Tower.
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. PG13. ALEX FALconE. Cinema 21.
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. Laurelhurst, Vancouver.
B+ this art drama tucked into the
shiny ad world of new York city features Reggie Watts and Google Glasstype eyewear that gives ad men a little too much fun. Shot in black-and-white, with a classical music soundtrack and voyeuristic tracking shots, the film explores the consequences of technology’s unstoppable march forward. David (writer Benjamin Dickinson) cheats on his yogi girlfriend with a hologram of his friend’s girlfriend, using the glasses that he’s working on a campaign for. But whether the film is more against technology than it is inner peace-seeking yogis isn’t clear. Instead, it further complicates both extremes. While technology is often a physical and emotional barrier between characters, the film also cites overblown spirituality as a legitimate excuse for cheating. It verges on long and self-indulgent, with too many slow-motion shots that glamorize the lives of young “creatives.” But the selfreflexive humor—like when David gets punched by a photographer and continues posing while bleeding on the ground—keeps the film grounded. R. SoPHIA JUnE. Cinema 21.
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 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, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center Pioneer Place, Tigard.
The Divergent Series: Allegiant, Part 1
D Undistinguishable from its young-
adult science-fiction counterparts, Part 1 spends every second dragging out what it calls a plot in order to set up the entirely unnecessary final installment. It was intended to be anchored by a joyless love story that features zero chemistry. Instead, we don’t give a fuck about either of them, so we don’t give a fuck about their love story. the film’s excessively dull proceedings are punctuated by generic and sanitized action scenes in which the Bureau of Genetic Welfare uses a bunch of weirdo future army shit to kidnap little kids and wipe their brains clean. the barely competent cGI can’t save the garish production design, which oscillates between two locations: “Hot Pink nuclear Wasteland” and “Ugly Future city.” A sleepy-eyed Jeff Daniels on auto-pilot is easily the best thing in a film constructed entirely of stereotypes. If you are over 17 years old there is exactly zero reason for you to waste your money on this. PG-13. MIKE GALLUccI. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, St. Johns Cinemas.
Hello, My Name is Doris
B Enter the mind of Doris, where
20-something men with waxed chests rip off their shirts and slam her pas-
sionately against the wall. Until someone wakes her from the daydream. Doris is a whip-smart comedy that pokes fun at the ultra-curated youthful lifestyle, while avoiding the recent trope of seniors finding a place amid the nostalgic fascination of millennials. You can almost feel John trying not to laugh as he offers custom-blended artisanal cocktails to Doris during Friendsgiving at his place. PG-13. LAUREn tERRY. Cedar Hills, Clackamas, Living Room Theaters.
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, Clackamas, Bridgeport, City Center.
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. Hollywood, Living Room Theaters, Moreland.
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. Kennedy School, City Center, Fox Tower, Valley.
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. Laurelhurst, Fox Tower, Valley.
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.
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, Empirical, Milwaukie, Bridgeport, Division.
cont. on page 34
REVIEW KEItH BERnStEIn
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-and-white 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.
Gods of Egypt
D It’s ancient Egypt like you’ve 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 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 firebreathing snakes; and why the characters are all so white. This is Egypt! PG-13. ALEX FALconE. Eastport, Clackamas, Oak Grove, Division.
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
no fooliSh wand-waving: alan Rickman.
It’s Not Alan Rickman’s Fault Eye in the Sky is mostly white people discussing war in Kenya.
When the first Hellfire drone missile launched in 2001, it missed, and Taliban leader Mullah Mohammed Omar got out alive. Hollywood’s cultural criticism is rarely as accurate as military drone strikes claim to be, so it’s no surprise that Eye in the Sky, the year’s first movie on the ethics of drones and the last film featuring Alan Rickman, misses its mark too. The film’s narrative is succinct: British Col. Katherine Powell (Helen Mirren) tracks infamous terrorists to a house in Nairobi, Kenya. To stop the suicide bombing they’re planning, Powell orders a Predator drone to destroy the house. The only problem is a small, hula-hooping neighbor girl. When she sets up a table selling bread on the edge of the missile’s blast radius, the high risk of collateral damage makes the drone’s American pilot (Aaron Paul) stall for as long as possible. The plot arc is more of a plot sine wave. Every 15 minutes, the girl’s life seems doomed. Then some new circumstance delays the strike. This pattern is an exasperating running joke, with the withering Lt. Gen. Frank Benson (Rickman as a wandless Professor Snape in olive drab) throwing up his hands and staring down the people who just refuse to blow that little girl up already. It’s not Rickman’s fault (RIP) that his dry humor is out of place in a movie about the ethics of vaporizing people with missiles. Despite serviceable performances, Rickman, Mirren and Paul get dragged down by a poorly constructed script. What can you expect from a movie about the cost of war in Kenya in which white people speak 95 percent of the lines? Eye in the Sky didn’t have to be Pulitzer-worthy political commentary if it at least succeeded at entertainment. Shooter wasn’t thoughtful, but it had Mark Wahlberg on a ’roidless Rambo spree. Here, the effects look cheap, the action scenes are unmemorable, and the plot regularly blows up its own tension—and the audience’s interest—with missiles raining ignorantly down from the heavens. ZACH MIDDLETON.
C+ See it: Eye in the Sky is rated R. It opens Friday at Living Room theaters. Willamette Week MARCH 23, 2016 wweek.com
MOVIES 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 back to Fuckheadistan.” The look of horror on the face of his BFF-in-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.
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, Fox Tower, Tigard.
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, Division.
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. Lake Theater, City Center, Fox Tower, 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. Academy, Avalon, Eastport, Clackamas, Empirical, Kennedy School, Laurelhurst, Mt. Hood, Bridgeport, Division,Tigard, Valley.
B+ If you haven’t heard about abor-
tion-trap laws, you must not have a uterus. Some conservative states’ legislatures are trying to roll back Roe v. Wade by passing laws that are impossible for clinics to comply with. They frame these laws as “helping women,” but they make it harder for women to get legal abortions. As one anonymous interviewee in Trapped says: “People are going to ﬁnd a way.” This movie comes through the perspective of health care providers who are struggling tirelessly to provide women with safe abortions. So, if you consider abortion murder, (a) you’re wrong and (b) should probably sit this one out unless you want to see your brethren act like dicks. If you’re of a diﬀerent mind,
decide whether or not to watch based on how angry you want to feel. Does the sight of Rick Perry taking away women’s rights incapacitate you with sadness, or does it ﬁll you with righteous rage? If the former, don’t watch. If the latter, watch and be inspired to do something. NR. LIZZY ACKER. Cinema 21.
AP FILM STUDIES RICK VODICKA
London Has Fallen
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. Academy, Kiggins, Laurelhurst, 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, Evergreen, Fox Tower.
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. Academy, Avalon, Kennedy School, Mt. Hood, Vancouver, Valley.
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 small-mindedness 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, furrycoated message. PG. AMY WOLFE. Cedar Hills, Eastport, Clackamas, Milwaukie, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, St. Johns Theater.
For more Movies listings, visit
Willamette Week MARCH 23, 2016 wweek.com
“YOU GOT ME HOTTER THAN GEORGIA ASPHALT”: Laura Dern and Nicolas Cage.
Wild at Heart, Weird on Top BARRY GIFFORD REFLECTS ON THE ENDURING MADNESS HE AND DAVID LYNCH CREATED. BY A P KRYZA
At its core, 1990’s Wild at Heart is a classic love story about two star-crossed kids, Lula and Sailor, played by Laura Dern and a gloriously unhinged Nicolas Cage. It’s what’s surrounding that core that’s fucked up. Written by Barry Gifford and directed by David Lynch—post-Blue Velvet, mid-Twin Peaks—the romance is populated by everything from Willem Dafoe’s corn-toothed pervert to Diane Ladd’s psychotic mama bear to Isabella Rossellini’s demonic hit woman. Plus, some Wizard of Oz and ample splattered viscera. While Gifford is best known for his Lynch collaborations, he’s also a novelist in his own right, with eight Sailor and Lula novels to date. Gifford visits Portland this weekend for two appearances: a Friday reading of his latest book, Writers, at Powell’s, and a Saturday screening of Wild at Heart at the Hollywood Theatre. WW: Why do you think, after more than 25 years, people keep coming back to Sailor and Lula? Barry Gifford: It’s a genuine love story, and that’s what I was always after. There’s an openness between them that everybody would like to have. The thing about it is, time is compressed. This all takes place now, within these last couple decades. Sailor and Lula age and so forth, but it’s always the same time. I don’t know what it’s going to be like in the year 2018 or 2030. It really is a pure love story, but it’s surrounded by this absolute insanity. There’s a line from a William Carlos William poem: “The pure products of America go crazy.” I’ve always had that in my head. My feeling was that Sailor and Lula were out there in the world. They each have their story, but there’s all this shit coming down around them. You can’t avoid the shit. You just have to deal with it.
Wild at Heart was divisive. Then you and Lynch did something else divisive, Lost Highway. David optioned my novel Night People. He was obsessed, but he couldn’t figure it out. He said: “To tell you the truth, what I really like were two sentences: ‘We’re just a couple of Apaches riding wild on the lost highway,’ and then when a bad guy says, ‘You and me, mister, we can really out-ugly them sons of bitches.’” I said: “That was a Hank Williams song. We’re a couple of halfway original thinkers. Let’s incorporate those things, and we’ll go from there.” What was writing with Lynch like? We work in a very similar way. Usually, you have one person who walks around the room and talks it out, and the other person sits at the typewriter or the computer. Both of us are the guy who walks around the room. So we had to bring in someone to type it up. Both of these films are divisive, but Sailor and Lula are now cult icons. Did you ever see that coming? There’s no way you can know. I was doing a press conference in Mexico City, and a beautiful young woman said, “Do you mind if I take off my shirt?” I said, “Whatever you like, it’s your country.” On her shoulders and back, written in Gothic lettering, is: ‘This world is wild at heart and weird on top.’ You’ve done a whole Sailor and Lula series on the page. Would you ever want to do another movie? A few months ago, I was having breakfast with Nic Cage. The new book is about Sailor’s son, Pace, from age 58, and [Cage] said, “I’m 50 years old now. I could play Pace.” Then David read the book, and he’s crazy about it. He’s doing the Twin Peaks redux, but when that’s over we’re going to sit down and talk about doing The Up-Down, because it really is a fitting bookend to the story. Who knows, man! We’re just talking. I’d love to see it. SEE IT: Wild at Heart is at the Hollywood Theatre. 7 pm Saturday, March 26. $9. To see ALSO SHOWING, visit wweek.com.
Regal Lloyd Center 10 & IMAX
1510 NE Multnomah St. THE DIVERGENT SERIES: ALLEGIANT -- THE IMAX EXPERIENCE Wed-Thu 11:45, 2:45 THE DIVERGENT SERIES: ALLEGIANT Wed-Thu-Fri-SatSun-Mon-Tue 12:45, 3:45, 6:45, 9:45 ANOMALISA / WHISKEY TANGO FOXTROT WedThu 3:55 10 CLOVERFIELD LANE Wed-Thu 12:20, 3:20 WHISKEY TANGO FOXTROT / ANOMALISA Wed-Thu 12:50, 6:45 MIRACLES FROM HEAVEN Wed-Thu 12:00, 3:10 THE PERFECT MATCH Wed-Thu 11:50, 2:15, 4:45 THE BROTHERS GRIMSBY Wed 7:20, 10:00 ZOOTOPIA WedThu 12:10, 3:40, 6:40, 9:35 LONDON HAS FALLEN WedThu 1:10, 4:20 DEADPOOL Wed-Thu 12:40, 3:50 ZOOTOPIA 3D Wed-Thu 1:00, 4:30 BATMAN V SUPERMAN: DAWN OF JUSTICE -- AN IMAX 3D EXPERIENCE Thu-Fri-Sat-Sun-Mon-Tue 12:00, 3:30, 7:00 BATMAN V SUPERMAN: DAWN OF JUSTICE Thu-Fri-Sat-SunMon-Tue 3:00, 6:30, 10:00 MY BIG FAT GREEK WEDDING 2 Thu-Fri-Sat-Sun-Mon 11:50, 2:25, 5:00, 7:40, 10:15 BATMAN V SUPERMAN: DAWN OF JUSTICE 3D Fri-Sat-Sun-MonTue 11:30, 12:30, 4:00, 7:30
Regal Division Street Stadium 13
BIG FAT GREEK WEDDING 2 Thu 6:00, 9:45
Avalon Theatre & Wunderland
3451 S.E. Belmont St., 503-238-1617 ZOOLANDER NO. 2 WedThu-Fri-Sat-Sun-Mon-Tue 3:00, 7:10 THE 5TH WAVE Wed-Thu-Fri-Sat-Sun-Mon-Tue 4:55, 9:05 DADDY’S HOME Wed-Thu 1:15, 5:15 ALVIN AND THE CHIPMUNKS: THE ROAD CHIP Wed-Thu-Fri-Sat-SunMon-Tue 1:05 THE HUNGER GAMES: MOCKINGJAY, PART 2 Wed-Thu 4:50 STAR WARS: THE FORCE AWAKENS FriSat-Sun-Mon-Tue 1:50, 4:25, 7:00, 9:30
3702 S.E. Hawthorne Blvd., 503-249-7474 10 CLOVERFIELD LANE Wed-Thu 12:30, 3:30 BATMAN V SUPERMAN: DAWN OF JUSTICE Thu-Fri-Sat-Sun-MonTue 11:00, 2:45, 7:00, 11:00
616 NW 21st Ave., 503-223-4515 BROOKLYN Wed-Thu-FriSat-Sun-Mon-Tue 4:00, 7:00 ANOMALISA Wed-Thu-FriSat-Sun-Mon-Tue 4:00, 8:15 TRAPPED Wed-Thu-Fri-SatSun-Mon-Tue 6:30 CREATIVE CONTROL Wed-Thu 4:00, 6:45, 9:00 CITY OF GOLD Fri-Sat-Sun-Mon-Tue 4:15, 6:45, 9:00
Clinton Street Theater 2522 SE Clinton St., 503-238-8899 NO FILMS SHOWING TODAY Wed-Fri ALL THE TIME IN THE WORLD Thu 7:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 BLOOD AND SUGAR Sun 8:00 TANK GIRL Mon 7:00 THEORY OF OBSCURITY: A FILM ABOUT THE RESIDENTS Tue 7:00
Laurelhurst Theatre & Pub
2735 E Burnside St., 503-232-5511 THE HATEFUL EIGHT WedThu 6:00 2016 OSCAR NOMINATED SHORT FILMS: ANIMATED Wed-Thu 6:30 ROOM Wed-Thu 8:45 SISTERS Wed-Thu 6:45 CAROL WedThu 9:15 THE FIFTH ELEMENT Wed-Thu 9:30 THE DANISH GIRL Wed-Thu 6:15 THE CONFIRMATION Wed-Thu 9:00
Mission Theater and Pub
1624 NW Glisan St. HOOSIERS Fri-Mon 6:00, 8:30
St. Johns Cinemas 8704 N Lombard St., 503-286-1768
2021 SE Hawthorne Blvd., 503-231-7919 DEADPOOL Wed-Thu 5:30, 7:45, 10:00 BATMAN V SUPERMAN: DAWN OF JUSTICE Thu 6:00, 9:15
Regal City Center Stadium 12
801 C St. ANOMALISA / WHISKEY TANGO FOXTROT WedThu 2:55 THE BRONZE Wed-Thu 12:20, 2:50, 5:40 THE DIVERGENT SERIES: ALLEGIANT Wed-Thu-Fri-SatSun-Mon-Tue 11:15, 2:05, 5:00, 8:10 THE HATEFUL EIGHT Wed-Thu 11:00, 3:00, 7:00 WHISKEY TANGO FOXTROT / ANOMALISA Wed-Thu 12:05 MIRACLES FROM HEAVEN Wed-Thu 11:20, 2:40, 5:30, 8:45 10 CLOVERFIELD LANE Wed-Thu 1:10, 3:45, 6:25, 9:05 THE BROTHERS GRIMSBY Wed-Thu 12:50, 3:05, 6:00 LONDON HAS FALLEN WedThu 1:00, 3:30, 6:05, 9:10 ZOOTOPIA Wed-Thu 11:30 ZOOTOPIA 3D Wed-Thu 2:15 EDDIE THE EAGLE Wed-Thu 2:30, 8:50 DEADPOOL WedThu 12:40, 3:20, 6:15, 8:55 THE REVENANT Wed-Thu 11:10, 1:55, 5:15, 8:05 SPOTLIGHT Wed-Thu 11:35, 5:50 BATMAN V SUPERMAN: DAWN OF JUSTICE Thu-Fri-Sat-SunMon-Tue 12:00, 10:00 BATMAN V SUPERMAN: DAWN OF JUSTICE 3D Thu-Fri-Sat-SunMon-Tue 3:20, 6:40
Kennedy School Theater
5736 NE 33rd Ave., 503-249-7474 THE GOOD DINOSAUR WedThu-Fri-Sat-Sun 12:00 THE HATEFUL EIGHT Wed-Thu 8:00 ZOOLANDER NO. 2 Wed-Thu 2:45 STAR WARS: THE FORCE AWAKENS FriSat-Sun-Mon-Tue 2:20, 5:30, 8:45
4122 NE Sandy Blvd., 503-281-4215 THE WITCH Wed-Thu 7:15, 9:20 THE REVENANT WedThu 6:30, 9:35 SECONDS Wed 7:30 LIFEFORCE Wed 9:45 UNGRUND COLLECTIVE: BE NATURE Thu 7:30
Regal Fox Tower Stadium 10
846 SW Park Ave. THE BRONZE Wed-Thu 12:10, 2:30, 4:50, 7:15, 9:45 THE HATEFUL EIGHT Wed-Thu 12:00, 2:40, 6:15, 9:15 KNIGHT OF CUPS Wed-Thu 12:40, 3:45, 6:40, 9:30 WHISKEY TANGO FOXTROT Wed-Thu 12:00, 4:10, 6:45, 9:50 THE WITCH Wed-Thu 3:50, 10:00 ONLY YESTERDAY Wed-Thu 12:30,
3:30, 6:20, 9:00 HOW TO BE SINGLE Wed-Thu 3:40, 8:50 WHERE TO INVADE NEXT Wed-Thu 12:50, 6:10 THE LADY IN THE VAN Wed-Thu 12:45, 3:20, 6:00, 8:40 THE REVENANT Wed-Thu 12:20, 2:50, 6:30, 9:20 SPOTLIGHT Wed-Thu 1:00, 4:00, 6:50, 9:40
NW Film Center
1219 SW Park Ave., 503-221-1156 AN EVENING WITH KURTIS HOUGH Thu 7:00 THE FIRST LEGION Fri 7:00 THE BIG BROADCAST Sat 4:30 WHITE ZOMBIE Sat 7:00 HER SISTER’S SECRET Sun 4:30 TOKYO-GA Sun 7:00
Regal Pioneer Place Stadium 6
340 SW Morrison St. THE DIVERGENT SERIES: ALLEGIANT Wed-Thu-FriSat-Sun-Mon-Tue 12:15, 3:15, 7:15, 10:15 10 CLOVERFIELD LANE Wed-Thu 12:50, 4:00, 7:50, 10:30 THE BROTHERS GRIMSBY Wed-Thu 1:00 LONDON HAS FALLEN WedThu 1:10, 3:45 ZOOTOPIA WedThu 12:40 ZOOTOPIA 3D WedThu 3:15, 6:40 DEADPOOL Wed-Thu 1:20, 4:15, 9:45 BATMAN V SUPERMAN: DAWN OF JUSTICE Thu-FriSat-Sun-Mon-Tue 2:30, 6:00, 9:30 BATMAN V SUPERMAN: DAWN OF JUSTICE 3D ThuFri-Sat-Sun-Mon-Tue 11:00, 12:00, 3:30, 7:00, 10:30 MY BIG FAT GREEK WEDDING 2 Thu 6:30, 9:15
5TH H2 ARC M DAY FRI
BEER WINE PIZZA 4 SCREENS LAURELHURSTTHEATER.COM
2735 E BurnsidE st • (503-232-5511) • LaurELhurstthEatEr.com
7818 SE Stark St., 503-252-0500 THE MERMAID Wed-Thu 2:40 ZOOLANDER NO. 2 WedThu 4:45, 9:00 2016 OSCAR NOMINATED SHORT FILMS: ANIMATED Wed-Thu 2:15, 7:00 THE GOOD DINOSAUR WedThu 12:30, 4:30 THE HUNGER GAMES: MOCKINGJAY, PART 2 Wed-Thu 2:30, 6:45 ROOM Wed-Thu 12:00, 7:15 FANTASTIC MR. FOX Wed-Thu 12:15, 5:15, 9:35
Living Room Theaters
341 SW 10th Ave., 971-222-2010 45 YEARS Wed-Thu 11:50, 2:50, 9:00 EMBRACE OF THE SERPENT Wed-Thu 12:05, 2:20, 5:05, 6:30, 9:40 HAIL, CAESAR! Wed-Thu 11:55, 2:00, 3:00, 4:20, 5:15, 7:30, 10:00 HELLO, MY NAME IS DORIS Wed-Thu 11:45, 12:20, 2:10, 4:10, 5:00, 7:00, 7:40, 9:10 THE BIG SHORT Wed-Thu 12:15, 1:50, 4:30, 9:45 THE METROPOLITAN OPERA: CARMEN Thu 7:00 EYE IN THE SKY Thu 7:15, 9:30 SubjecT To change. call TheaTerS or ViSiT WWeek.coM/MoVieTiMeS For The MoST up-To-daTe inForMaTion Friday-ThurSday, april 16-22, unleSS oTherWiSe indicaTed
courTeSy oF coluMbia picTureS
16603 SE Division St. THE DIVERGENT SERIES: ALLEGIANT Wed-Thu-Fri-SatSun-Mon-Tue 11:45, 3:15, 6:45, 9:45 ANOMALISA / WHISKEY TANGO FOXTROT WedThu 3:20 WHISKEY TANGO FOXTROT / ANOMALISA Wed-Thu 12:30 MIRACLES FROM HEAVEN Wed-Thu 11:50, 2:25, 5:00, 7:35, 10:15 10 CLOVERFIELD LANE Wed 11:40, 2:20, 4:55, 7:30, 10:10 THE BROTHERS GRIMSBY Wed 7:45, 10:05 THE YOUNG MESSIAH Wed-Thu 12:20, 3:05 LONDON HAS FALLEN Wed-Thu 11:35, 2:05, 4:50, 7:20, 10:15 ZOOTOPIA WedThu 11:30, 2:10, 4:35, 7:15, 9:50 ZOOTOPIA 3D Wed-Thu 12:00, 2:40, 7:40, 10:20 GODS OF EGYPT Wed-Thu 3:25 GODS OF EGYPT 3D Wed-Thu 12:25 RISEN Wed-Thu 11:55, 2:45 DEADPOOL Wed-Thu 11:45, 2:15, 4:45, 7:25, 9:55 KUNG FU PANDA 3 Wed-Thu 12:10, 2:30, 5:20 STAR WARS: THE FORCE AWAKENS Wed-Thu 12:05, 3:10, 6:45, 9:45 BATMAN V SUPERMAN: DAWN OF JUSTICE Thu-Fri-Sat-SunMon-Tue 3:00, 6:30, 10:00 BATMAN V SUPERMAN: DAWN OF JUSTICE 3D ThuFri-Sat-Sun-Mon-Tue 11:30, 12:00, 3:30, 7:00, 10:30 MY
10 CLOVERFIELD LANE Wed 5:15, 7:55, 10:20 THE DIVERGENT SERIES: ALLEGIANT Wed-Thu 4:20, 7:00, 9:40 BATMAN V SUPERMAN: DAWN OF JUSTICE Thu 6:00, 9:15
“HAS IT BeeN So LoNg?”: Gattaca screens at Laurelhurst Theater on March 25-31. Willamette Week MARCH 23, 2016 wweek.com
END ROLL W W S TA F F
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The Hax 1.0
THE SECRET TO GETTING AN OIL VAPE WITH PAX BUILD-QUALITY. BY TYLER HU R ST
It’s no secret that Pax makes the Lexus of looseleaf vaporizers. The Pax 2, released about a year ago, is the slickest and most reliable way we’ve found to toast up cannabis flower. But what about an oil vape? Not everyone wants real flower—it smells like weed and looks like weed, and most people need a whole bowl to feel the effects. Some people, especially medical users, prefer their flower to be distilled down to a more potent and portable substance. Pax has you covered there too—sorta. Pax Labs is not in the cannabis business—its marketing department maintains strict insistence that Pax’s flagship product be used for tobacco or herbs like lavender— but it is in the nicotine business. Last year, the San Francisco company started by Stanford alums launched its second product, the Juul, a super-slick and powerful e-cig. The Juul is about the size of three Popsicle sticks and charges by USB. This closed system is pre-loaded with juice in a tiny, disposable plastic nub, which doubles as the mouthpiece. The Juul uses the nicotine salts found in tobacco leaves to deliver a potent experience one dedicated smoker at WW compared to a Turkish cigarette. As far as nicotine vaporization goes, it’s a big leap forward. If you’ve got some pliers, you can turn the Juul into a best-in-class cannabis oil vape, with Pax build-quality and a super-premium oil. Here’s how we did it. As should be obvious, the company did not endorse this project, and we have no idea if there are any potential dangers. But it did work for us.
Street P.11 36
Willamette Week MARCH 23, 2016 wweek.com
STEP 1: Gather your tools Unless you have the finger strength of the most successful cam girls, you’ll need some help with this one. Grab one pair each of needle-nose pliers, slip-joint pliers and tweezers. Small forceps will work, but make prying much tougher—as seen in the video we posted at wweek.com.
STEP 2: Prepare the pull The Juul is made of plastic meant to handle heat, falls and mild amounts of pressure from being left in a pocket. It is not made of plastic able to withstand the high pressure of metal tools. Using your non-dominant hand, grip the cartridge of the vape capsule with the needle-nose pliers. Use the split-joint pliers to do the same with the cap. Hold them in front of you. STEP 3: Squeeze and pull the cap, gently As with a great hand job, the key here is just enough squeezing to get the job done, but no more. Using the split-joint pliers in your dominant hand, squeeze and pull on the black cap. This may take a few tries, as the bottom will slip as you get a feel for the pressure. Don’t worry about it; technique is far more important than strength. STEP 4: Tweeze and pull the stopper We’re almost done! Use the tweezers to pry off the rubber stopper. If that doesn’t work, feel free to push it in and then it pull back out. Take care not to rip the rubber unless you dig the taste of terpenes (you won’t). STEP 5: Clean everything Dump the nicotine juice. Wipe off the rubber stopper. Shake off the cap. STEP 6: Fill ’er up Using a syringe or dropper, fill the cartridge on both sides with e-liquid. We used Titrate because it smells amazing and allows for easily measured doses of about seven puffs per 2.5 milligrams THC. STEP 7: Reassemble Holding the bottom cartridge upright, affix the clean rubber stopper back on top. Next, slide on the black cap. Squeeze from top and bottom to make sure the sides latch. STEP 8: Puﬀ, puﬀ, pass, baby! Sip, don’t suck, on the mouthpiece.
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SUMMONS KINGSLEY SAUNDERS VERSOZA.Petitioner. vs MAYLYN KANE, andORLANDO MARIO WARE, RespondentsTo: Maylvn Kane and Orlando Mario Ware:You arc hereby required to appear and defend the Petition for Paternity, Custody, and Parenting Time filed against you in the above-entitled cause within thirty (30) days from date of service of this summons upon you, and in case of your failure to do so. for want thereof, Petitioner will apply to the court for relief demanded in the Petitioner for Paternity, including an order awarding Petitioner custody and paternity recognizing him as the legal rather of La’ Ria May Ware, and an order of non-paternity against Mr. Orlando Mario Ware. NOTICE TO THE RESPONDENTS: READ THESE PAPERS CAREFULLY! You “appear” in this case the other side will win automatically. To “appear” you must file with the court a legal paper called a “motion” or “answer.” The “motion” or “answer” must be given to the court clerk or administrator within 30 days from the date of the first publication date of this Summons along with the required tiling Rx. It must be in proper form and have proof of service on thePetitioner’s attorney or. if the Petitioner does not have an attorney, proof of service upon the Petitioner. If you have any questions. you should see an attorney immediately. if you need help in finding an attorney, you may call the Oregon State Bar’s Lawyer Referral Service at (503) 684-3763 or toll-free in Oregon at (800) 452-7636. In addition. you have been ordered by the court to appear at Multnomah County Courthouse on -May 19, 2016 to why DNA testing in this case should not be ordered, you are also required to appear at 9:00 AM at Multnomah CountyCourthouse for case assignment on the show cause on May 18, 2016. A default order against you recognizing Kingsley Versoza as La’ Ria’s biological Father shall be sought if you fail to appear.S/Liza Langford; OSB 882509 0324 SW Abernathy Street Portland. Oregon 97239 (503) 274ó9070Published March 9, 16, 23 and 30, 2016
HAVE YOU BEEN HURT BY OR HAD A NEGATIVE EXPERIENCE WITH RELIGION? Do you want to move on from that story & desire tools for developing peace or your own spirituality? HRASO meets every 2nd and 4th Monday of each month 7:00 - 8:30 pm New Thought Center for Spiritual Living (NTCSL) 1040 C Avenue Lake Oswego, OR 97034 For more info contact firstname.lastname@example.org
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MISCELLANEOUS REMEMBER? For HE (God) etablished a Testimony in Jacob (Scriptures), and appointed a LAW in Isreal, which HE Commanded (Directly) to Our Fore-Fathers - that they should make them known to their children: that the Generation(s) to come might know HIOM, even their children after them, which should be born; and who should arise and declare them to their children! So that they might HOPE in God and not forget the works of God, but KEEP HIS COMMANDMENTS!(Now join us in prayer that the teaching of the 10 Commandments (+ HIS stories) might come to Portland.)
FUNDRAISERS EXCEED ENTERPRISES , a nonprofit for people with disabilities, will host its annual fundraiser on April 30, 5-9 at the Oregon Convention Center to benefit the more than 200 adults and students that we serve.EE is selling Raffle tickets for a 55” TV. Funds collected will go toward the purchase of a new bus with a wheelchair lift. The winner will be announced at the Gala.Please visit exceedpdx.com to sign up and purchase tickets.
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“Completing the Circle”–one letter update at a time.
everything involving sugar suffixes? 58 “Falling Up” poet Silverstein 61 Earth sci. 62 Actor Tom of “The Dukes of Hazzard” 63 Lose it, in a way? 64 Bowling spot 65 Numbers ending in 8, e.g. 66 Pro votes 67 Suffix after hip or hoop 68 Yellow Muppet
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Across 1 CBS drama spun off from “JAG” 5 Retired auto racer Teo ___ 9 “That was close!” 13 1966 Grammy winner Eydie 14 “___ stands ...” 15 First state to vote 16 Trap during a winter storm 17 Mah-jongg piece 18 Sketch look 19 Scrunch a sea mammal into a tiny space?
22 A googol divided by a googol 23 “It’s nothing ___ consequence” 24 “The Hunchback of ___ Dame” 28 Stefan who won six Grand Slam singles titles 30 Catching up to, with “on” 32 Put into piles 33 Specter 35 What old mattresses do 36 Big sea waves for a Detroit union?
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Down 1 “Out of the question” 2 Dessert with a hardened layer 3 Phony, for short 4 Mister, in Rio 5 Ayatollah’s decree 6 Man from Manchuria 7 Farm animal with a beard 8 Anatomical duct 9 Name yelled in “Cast Away” 10 Earth mover 11 She for a shepherd 12 Hell, it’s said 13 Some action figures 20 CD followers? 21 Conglomerate 25 Gift bag padding 26 “Messenger” substance 27 Deviled item 29 Frat vowel 31 Entreat 33 Internet celebrity whose real name is
Tardar Sauce 34 Farm female 37 Piques, as an appetite 38 “The sheep says ...” response, on a See ‘n Say 39 “It’s Always Sunny in Philadelphia” cocreator McElhenney 40 Had some grub 41 “Much appreciated,” in a text message 44 Shining 45 Biases 47 Creatures who cause trouble on walls? 48 Ball club VIP 49 String in the attic? 52 Former ABC executive ___ Arledge 53 Swiss mathematician Leonhard 56 Long swimmers 57 Travel randomly 58 Retreating 59 Paint swatch option 60 “Golden” time
last week’s answers
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Week of March 24
ARIES (March 21-April 19) When Orville and Wilbur Wright were kids, their father gave them a toy helicopter powered by a rubber band. The year was 1878. Twenty-five years later, the brothers became the first humans to sail above the earth in a flying machine. They testified that the toy helicopter had been a key inspiration as they worked to develop their pioneering invention. In the spirit of the Wright Brothers’ magic seed, Aries, I invite you to revive your connection to a seminal influence from your past. The coming weeks will be a favorable time to feed a dream that was foreshadowed in you a long time ago. TAURUS (April 20-May 20) “The task of a writer is not to solve the problem but to state the problem correctly,” said Russian writer Anton Chekhov. Whether or not you’re a writer, Taurus, that is also your special task in the coming weeks. The riddle that has begun to captivate your imagination is not yet ripe enough for you to work on in earnest. It has not been defined with sufficient clarity. Luckily, you have the resources you need to research all the contingencies, and you have the acuity to come up with a set of empowering questions. GEMINI (May 21-June 20) The good news is that if you eat enormous amounts of chocolate, you will boost your memory. Science has proved it. The bad news is that in order to get the full effect of the memory enhancement, you would have to consume so much chocolate that you would get sick. I propose that we consider this scenario as a metaphor for what may be going on in your life. Is it possible you’re doing things that are healthy for you in one way but that diminish you in another? Or are you perhaps getting or doing too much of a good thing -- going to unbalanced extremes as you pursue a worthy goal? Now is a favorable time to figure out if you’re engaged in such behavior, and to change it if you are. CANCER (June 21-July 22) When the young director Richard Lester got his big break, he took full advantage. It happened in 1964, when the early Beatles asked him to do their first movie, A Hard Day’s Night. Lester’s innovative approach to the project propelled his career to a higher level that brought him many further opportunities. Writing of Lester’s readiness, critic Alexander Walker said, “No filmmaker . . . appeared more punctually when his hour struck.” That’s what I hope you will soon be doing in your own chosen field, Cancerian. Do you understand how important it will be to have impeccable timing? No procrastination or hemming and hawing, please. Be crisply proactive. LEO (July 23-Aug. 22) As a young man, the poet Arthur Rimbaud (1854-1891) left his home in France and settled in Abyssinia, which these days is known as Ethiopia. “I sought voyages,” he wrote, “to disperse the enchantments that had colonized my mind.” You might want to consider a similar strategy in the coming weeks, Leo. From an astrological perspective, it’s going to be an excellent time both to wander free of your usual haunts and to disperse the enchantments that have colonized your mind. Why not find ways to synergize these two opportunities? VIRGO (Aug. 23-Sept. 22) At one point in his life, author C. S. Lewis had a rude awakening as he took stock of the progress he thought he had been making. “I am appalled to see how much of the change I thought I had undergone lately was only imaginary,” he wrote. I want to make sure that something similar doesn’t happen to you, Virgo. You’re in the midst of what should be a Golden Age of Self-Transformation. Make sure you’re actually doing the work that you imagine you’re doing -- and not just talking about it and thinking about it. LIBRA (Sept. 23-Oct. 22) “There are questions that you don’t ask because you’re afraid of the answers,” wrote Agatha Christie. I would add that there are also questions you don’t ask because you mistakenly think you already know the answers. And then there are questions you don’t ask because
their answers would burst your beloved illusions, which you’d rather preserve. I’m here to urge you to risk posing all these types of questions, Libra. I think you’re strong enough and smart enough, and in just the right ways, to deal constructively with the answers. I’m not saying you’ll be pleased with everything you find out. But you will ultimately be glad you finally made the inquiries. SCORPIO (Oct. 23-Nov. 21) If you are enmeshed in a jumble that makes you squirm or if you are caught in a tangle that stifles your self-love, you have three choices. Here’s how Eckhart Tolle defines them: 1. Get out of the situation. 2. Transform the situation. 3. Completely accept the situation. Does that sound reasonable, Scorpio? I hope so, because the time has come to act. Don’t wait to make your decision. Do it soon. After that, there will be no whining allowed. You can no longer indulge in excuses. You must accept the consequences. On the bright side, imagine the new freedom and power you will have at your disposal.
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SAGITTARIUS (Nov. 22-Dec. 21) Here’s a proposed experiment. Sidle up to a creature you’d love to be closer to, and softly sing the following lyrics: “Come with me, go with me. Burn with me, glow with me. Sleep with me, wake with me.” At this point, run three circles around the creature as you flap your arms like a birds’ wings. Then continue your singing: “Rise with me, fall with me. Work with me, play with me. Pray with me, sin with me.” At this point, leap up into the air three times, unleashing a burst of laughter each time you hit the ground. Continue singing: “Let me get high with you. Laugh with you, cry with you. Make me your partner in crime.” At this point blow three kisses toward the creature, then run away. (P.S. The lyrics I’m quoting here were composed by songwriter Fran Landesman.) CAPRICORN (Dec. 22-Jan. 19) In getting energy from food, we humans have at our disposal over 50,000 edible plants. And yet we choose to concentrate on just a few. Wheat, corn, rice, and potatoes make up two-thirds of our diet, and 11 other staples comprise most of the rest. Let’s use this as a metaphor for the kind of behavior you should avoid in the coming weeks. I think it will be crucial for you to draw physical, emotional, and spiritual sustenance from a relatively wide variety of sources. There’s nothing wrong with your usual providers, but for now you need to expand your approach to getting the nurturing you need. AQUARIUS (Jan. 20-Feb. 18) “We teach each other how to live.” Poet Anne Michaels said that, and now I’m passing it on to you -- just in time for the phase of your cycle when acting like a curious student is your sacred duty and your best gift to yourself. I don’t necessarily mean that you should take a workshop or enroll in a school. Your task is to presume that everyone you meet and every encounter you have may bring you rich learning experiences. If you’re willing to go as far as I hope you will, even your dreams at night will be opportunities to get further educated. Even your vigils in front of the TV. Even your trips to the convenience store to buy ice cream. PISCES (Feb. 19-March 20) In her poem “Time,” Piscean poet Lia Purpura wonders about “not picking up a penny because it’s only a little luck.” Presumably she is referring to a moment when you’re walking down a street and you spy an almostbut-not-quite-worthless coin lying on the concrete. She theorizes that you may just leave it there. It adds next to nothing to your wealth, right? Which suggests that it also doesn’t have much value as a symbol of good fortune. But I urge you to reject this line of thought in the coming weeks, Pisces. In my astrological opinion, you’ll be wise to capitalize on the smallest opportunities. There will be plenty of them, and they will add up.
Homework Imagine that seven years from now you will want a new career or line of work. What will it be? Write: Truthrooster@gmail.com.
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