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Willamette Week JULY 20, 2016

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Being a cop is roughly as dangerous as being a janitor. 4 One of the campers along Springwater Corridor has been living there for 13 years and plants a vegetable garden every year. 7 There are Pikachus hiding in Laurelhurst Park. 22 Former Hazel singer Pete Krebs will join the illustrious list of twotime Oregon Music Hall of Fame inductees. 24


If you want Burmese cuisine, which is all the rage in San Francisco, there is a place. 26 Live, Dame DOLLA sounds just like he does on SoundCloud. 37 Some bone china is made of actual bones. 44 The Ab Fab duo is now obsessing over Jon Hamm. 46 Large corporations used to commission “industrial musicals” to motivate their sales forces. 49


Photo by Christine Dong. Mural by Ashley montague.

Portland might be home to the largest homeless camp in the u.S.

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interest in clearing downtown streets is the only Incestuous Portland. Jeff Cogen and Dan Saltz- interest I can fathom being served in all of this. man create the Portland Children’s Levy, then —“Wayne Wayne” assign Mrs. Cogen to run it [“Don’t Call It a Comeback,” WW, July 13, 2016]. The INVASION OF BIKE RACKS As these bike racks pop up, we are fund writes checks to Impact NW. finding out that, contrary to what the When Cogen is exposed as a pothead and adulterer on taxpayer time, Portland transportation office claims, people were not asked about siting or his biggest defender is the director of Impact NW, which is heavily funded notified that it was going to happen [“Portland’s Transportation Chief by Cogen’s wife. Rides Confidently Into the BikeNow, disgraced and forced out of his county job, Cogen becomes Share Era,” WW, July 16, 2016]. director of Impact NW, which is —“Commenter 35648” mostly funded by his wife’s job. “Is there PAGAN PICNIC PIECE Cogen and his wife together make really close to $300,000 a year, not includ- nobody else After decades of supporting your ing generous benefits, at mostly out there organization and considering you taxpayer expense. the go-to news source in Portland, who can Sad and stupid Portland. I am officially done. While I have competently become used to the mediocre —“Links” articles that have become the norm, run this Cogen was a poor choice for this nonprofit?” “What You Should Bring to This position because it creates a conWeekend’s Pagan Potluck” [wweek. flict of interest. Is there really nobody else out com, July 13, 2016] was the last straw for me. there in the job market who can competently It was one of the worst pieces of “news” I run this nonprofit? have ever read—you and the author should be —“Skepti-Cal” ashamed! It was offensive and showed a lack of understanding and respect for anyone who folHALES’ TEXTS ON HOMELESS lows the path. Charlie Hales is worried about his integrity?! —Ernest Ryan [“Charlie Hales’ Texts Show the Mayor Embracing a Big Idea for Sheltering the Homeless—Until CORRECTION He Got Really Mad,” WW, July 13, 2016.] Sorry, A story in last week’s paper, “Best Vocal SupCharlie—you have been caught lying to the public port” in our Best of Portland feature, incorrectly for a while now, so in my opinion you shot your identified Mary McDonald-Lewis’ father. While James Ford Lewis was a minister at First Unitarintegrity down the hole a long time ago. ian Church of Portland, he was not the city’s first —“Commenter 48711” Unitarian minister. WW regrets the error. Hales blatantly shot down mass sleeping in front of City Hall and elsewhere yet legalized mass LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. camping. Now he’s talking about inviting home- Letters must be 250 or fewer words. less people into City Hall. Submit to: 2220 NW Quimby St., Portland, OR 97210. The Portland Business Alliance’s original Email:


Has a grand jury ever indicted a Portland police officer for an on-duty shooting? —Michael B.

Under current conditions, Mike, your question seems like an invitation to throw our police under the bus. While I’m not afraid of the cops (or TriMet), I’m too deficient in hard-news skills (and too high on cough syrup) to pass judgment on Portland’s finest. I can tell you that, according to Portland Copwatch, eight men (no women) have been shot and killed by Portland police since the start of 2012. Seven were white, one was Latino, none were African-American. So…yay? There’s been one indictment of the kind you describe: In 2011, officer Dane Reister fired at a fleeing suspect with what he thought (spoiler 4

Willamette Week JULY 20, 2016

alert) were non-lethal beanbag rounds. (They weren’t.) The suspect nearly died, and Reister was charged with assault. Reister committed suicide by freight train in 2015 before there could be a trial. Bummers all around. One more thing. At a town hall last week, Texas Lt. Gov. Dan Patrick asked President Obama whether police could “really, in their heart, feel like you’re doing everything you can to protect their lives?” It’s a common theme: Cops deserve the benefit of every doubt because police work can actually get you killed. Which is true—be careful out there! But it’s also true that on the Bureau of Labor Statistics’ list of most dangerous jobs in America, “police officer” ranks No. 15, right between “maintenance worker” and “groundskeeper.” “Logger” tops the list, followed by “commercial fisherperson,” “aircraft pilot,” and “roofer.” When was the last time you saw a flag at halfmast for a roofer? I’ve actually held two of the jobs that beat “cop” on this list: “truck driver” (No. 8) and “taxi operator” (No. 10). Given the risks, I totally deserved some kind of death ray to vaporize any cars that might have been about to hit me, but I never got one. I just had to pay attention all the time—and worse, had to let people just drive away, even after they’d really, really pissed me off. Life is unfair. QUESTIONS? Send them to













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Little League Softball President Resigns After Rifle Raffle

The president of a Portland-area Little League has resigned in the wake of controversy surrounding his girls’ softball team raffling off an AR-15 rifle as a fundraiser. WW first reported July 12 on that 15 teenage girls from Centennial, Gresham and Milwaukie high schools were raffling the gun to raise $6,000 for a trip to California. Ron Brown, who’s coached the team for 10 years, resigned last week as president of Centennial Little League, although he will continue to coach the team. “We sincerely hope that Ron reconsiders his decision and will once again join the Board at a later date,” the league’s board wrote in a July 14 Facebook post. The board—which objected to the raffle—still donated $2,000 to the team, sending the players this week to the Big League Softball West Regional Tournament in Lancaster, Calif.

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The Portland Business Alliance wants Benson High School included in the $750 million construction bond that Portland Public Schools expects to send to voters in November. In a July 13 letter to the Portland School Board, PBA president and CEO Sandra McDonough wrote that the group supports the district’s “original plan” to renovate three high schools—but is paying particular attention to Benson. “We are especially concerned that renovation may be delayed for Benson Polytechnic High School, which is one of Oregon’s top-performing schools and the Portland school with

the most robust career and technical education offerings,” she wrote. The powerful business group hasn’t yet taken a stand on the bond, details of which will be decided as soon as next week’s School Board meeting. In addition, McDonough also indicated that the PBA might not support the bond if the board backs a corporate tax hike, known as Measure 97, which business groups fiercely oppose (see story on page 11).

Still No Equity in Contracting

Mayor Charlie Hales’ brainchild to address racial disparities in city of Portland contracting continues to languish. At an emergency meeting of CITY OF PORTLAND

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the so-called Equitable Contracting and Purchasing Commission on July 18, Dante James, director of the city’s Office of Equity and Human Rights, proposed disbanding the commission, which last month saw three commissioners quit in protest over the committee’s lack of effectiveness. James proposed refashioning the committee as an advisory group to the city’s existing fair contracting forum. Maurice Rahming, a remaining commissioner on the ECPC, called the idea “ludicrous,” because it would further erode the committee’s clout. James dropped the idea under pressure. “They want to move forward as is,” says Jeff Selby, a spokesman for James.



Springwater Spills Over

10 111th Ave


On July 15, Portland Mayor Charlie Hales gave an eviction notice to the largest homeless camp in the Pacific Northwest. The mayor announced that, starting Aug. 1, Portland police would sweep homeless people living along the Springwater Corridor bike trail. As many as 500 people are living along the trail, with the biggest camps in East Portland between Southeast 82nd Avenue and the wetlands of Beggars Tick Wildlife Refuge. The camps have incited the fury of neighbors as they grew during the past year, becoming one of the largest concentrations of homeless people in the nation. “ We have resisted removing campers from the area because we don’t yet have good options for all the people living there,” Hales said in a state-

ment. “But public safety and environmental issues have reached a tipping point.” It’s unclear where the hundreds of campers will go. Multnomah County just opened a new East Portland shelter, but many of those beds are already taken. In the week before Hales’ announcement, WW visited several camps along the Springwater. Here are three of the people who told us their stories. Rachel Monahan contributed reporting to this story.



r Rd. W W S TA F F


Beggars Tick Wildlife Refuge


## Tents


Johnson Creek



Springwater Trail


92nd Ave



82nd Ave

Sam Blaga AGE: 39


ns Joh




45 NAME:




aka “The President” AGE: 46

The “president” of a 45-tent camp known as Headquarters, the largest camp along the Springwater Corridor, Florida lives next to Johnson Creek and “Mohawk,” another veteran. A large U.S. flag hangs from a tree overhead. Like many campers,

Florida is intelligent, resourceful and uses hard drugs—heroin, in his case. Florida says he holds a B.A. in mechanical engineering. He was a .50-caliber machine gunner in Operations Desert Storm and Desert Shield, he says, but lost his veteran’s benefits after lying to military officials. He puts down a handful of bicycle pedals to grab a piece of freshly grilled steak offered by a neighbor, then scolds a reporter who crushes a Mountain Dew can: “We don’t do that here, man.” He adds that campers “go deep into Clackamas, Sellwood” to collect

aluminum cans. Florida says local TV news stations often shoot footage of the camp from a spot directly across Johnson Creek, where campers wash clothes and dishes and sometimes bathe. “The neighbors across Johnson Creek hate us,” he says, “so they let news crews come.”


Florida has roots in Pittsburgh and Florida, he said, and plans to quit his 35-year drug habit once and for all. “When I leave here,” he says, “I’m done with drugs.”

AGE: 48

Hillary and her husband, Joel—who says he’s been living “up and down Johnson Creek” for about 13 years—eschew use of last names, like most campers. Married five years, the pair occupy a small tent a few feet from the bike path. They’re removed from the ruckus of the main Headquarters camp, where the yelling and screams grow more intense as afternoon turns to twilight. “Everywhere we go, we plant a garden,” Hillary says. “What’s the best thing about living

here? The garden.” A native of Southeast Portland who grew up nearby, Hillary is disabled and receives Social Security benefits. Despite her bad knees and obvious difficulty walking, her care for her jalapeños, tomatoes and sunflowers necessitates a daily walk with buckets down to Johnson Creek for water. She shares her veggies with other campers. “Out here,” she says, “we know each other and we respect each other.” WHERE SHE’LL GO:

Hillary and Joel aren’t sure, though they’re certain it will have a garden. “I want to see the rest of Oregon, heard it’s beautiful,” Joel says. “I ain’t seen the ocean yet.”

Calmly munching on a burrito on a park bench in front of Beggars Tick Wildlife Refuge, Sam Blaga recounts the car accident and string of events that led him from being housed and employed full-time to living in his car nearby. “It all started with a little vacation,” says Blaga, whose easygoing tone and steady gaze are notable in an area where drug use is the norm. “Some girl hit me, hurt my lower back.” After that: loss of job, stolen wallet, stolen truck, a move to a vacant house, then to his car. “I was saving money to buy a house, but now I’m starting all over again,” he says. “[Homelessness] is kind of like a circle, a never-ending circle. On the streets, it seems like I’m just getting shut down, nonstop. WHERE HE’LL GO:

“To tell the truth, I don’t have a plan,” Blaga says. “It does feel really weird. I have nothing in my mind— blankness.” Willamette Week JULY 20, 2016



Willamette Week JULY 20, 2016





Carole Smith’s reign at the top of Portland Public Schools went down the drain in 38 pages. That’s the length of an outside investigation’s damning report on PPS’s systemic failures to adequately test for lead in schools’ drinking water, fix plumbing fixtures when positive test results popped up, and warn students and teachers about possible sources of poisoning. On July 18, the school district released the results of that investigation, conducted by the law firm Stoll Berne. The report pointed to wholesale failures by the school district to protect children’s health. “Although a ‘Lead in Water Program’ existed,” the report says, “no one was aware of what the program was and no one supervised the program. Within the PPS administration hierarchy, there has been no reporting mechanism or oversight up the chain of command, and no top down direction provided.” Within minutes, Smith announced she would resign as Portland Public Schools’ superintendent immediately, rather than retire in 2017. Just four weeks ago, Smith went public with her plan to retire next year after WW exposed how the district failed to disclose elevated lead levels at dozens of schools, dating back to 2010 (“Failing the Test,” WW, June 1, 2016). But the investigation’s report made it impossible for Smith to stay another year. The Portland School Board, which just a month ago supported Smith’s decision to stay for another year, at best looks weak and at worst is now in complete chaos. “I fault years and years and years of school boards that failed to provide any kind of oversight,” says Rita Moore, a North Portland schools activist. “The fact is that PPS is a system with no systems in place. This is not new. It’s not even new news. This is just outside confirmation.” Board members are left explaining away their decision to support Smith’s plan to stay another year—only to have her walk away as soon as the dismal report came out. “She clearly sensed she was out of synch with the board,” says School Board Chairman Tom Koehler. He adds that the report offered a critical look at the “lack of management” at the highest levels of the school district. “That’s what we want to change going forward.” Koehler does not yet have plans for who will take over from Smith, but says the board will have someone in place before the school year begins Aug. 29. There’s also a political context to Smith’s departure. The School Board plans to go to voters in November for approval of a record-setting $750 million construction bond. The political consulting firm Strategies 360, hired to run the campaign by the private committee supporting the bond, has already conducted polling. (The firm has declined to release its survey results and says it has offered the district no advice on leadership decisions.) PPS also hired a crisis public relations consultant, Anna

END OF AN ERA: Carole Smith served nearly nine years as superintendent of Portland Public Schools before her resignation July 18.

Richter Taylor of ART Public Affairs. Emails obtained by WW via a public records request show Richter Taylor was pressuring a reluctant Smith to announce her retirement in June. The school district will have to prove to voters in the next three months that it can clean up a huge mess, and the report made it obvious Smith was damaging to that case. “I think the report did her in,” says Southeast Portland parent Lisa Zuniga. “It just pointed out too many flaws.” What’s not in the report is in many ways as important as what is. Unlike in Flint, Mich., where public officials knowingly covered up a water crisis shown to have harmed residents’ health, no child in Portland has tested positive for elevated lead as a result of PPS’s water. The report’s authors, in fact, go out of their way to shield district employees from Flint-like accusations. “We found no indication,” the Stoll Berne lawyers write, “that anyone intended harm or to neglect his or her job duties.” And the report finds no smoking gun showing that Smith was aware of any test results indicating elevated lead levels before the scandal broke in late May, or that she lied about what she knew. So why is Smith out after nearly nine years at the helm of the state’s largest school district? The short answer from the scathing 38 pages: PPS cultivated a culture of ignorance, incompetence and deception. And Smith? She presided over a district that was unprepared to deal with health problems, that looked the other way when hazards appeared, and that covered up the truth when asked. It’s how little Smith knew, or wanted to know, that ended her tenure. Here’s what the report shows—and how it leads back to Smith and board members who didn’t hold her accountable.

1. The PPS employee in charge of safeguarding students from lead hazards had no qualifications to hold that position. In April 2014, the district made Andy Fridley its senior manager of environmental health and safety. PPS placed Fridley in charge of keeping the drinking water safe, but the district gave him “no guidance or training,” the report reads.

That was a major oversight, because Fridley “has no formal training in the field of lead in water,” the report states. “Mr. Fridley learned ‘on the job’ by conducting internet research and looking at what PPS had done in the past.” His superiors—Tony Magliano and David Hobbs—also had “no training or specific background regarding lead in drinking water.” That helps explain why the district didn’t follow U.S. Environmental Protection Agency guidelines in multiple ways, such as conducting ongoing tests of sink faucets and drinking fountains in school buildings. “Without periodic testing, it is not possible to detect when fixtures…may again exceed acceptable levels of lead in the water,” the report notes. And when the district found elevated lead levels in the water this spring at Creston and Rose City Park school buildings, no one shut off the water to the affected sinks and fountains before they were fixed—another violation of EPA guidelines.

2. When the person in charge of health learned about problems, he did nothing. WW made a public records request for information on lead testing in schools in early 2015. Fridley, the senior manager of environmental health and safety, pulled together the information from a PPS database. In the process, he made a startling discovery: “The database showed no remediation action for some of the fixtures that had tested for excessive levels of lead in water,” the report says. But Fridley did nothing. “Simply put, in February 2015, Mr. Fridley observed that the database appeared to show that some fixtures tested above acceptable levels for lead in water that did not appear to have been remediated, but Mr. Fridley did not address this with any of his superiors,” the report says.

3. When the district was asked to explain the problems, it tried to hide them. Fridley shared the database with Jon Isaacs, PPS’s chief spokesman and public information officer, in February 2015. CONT. on page 10 Willamette Week JULY 20, 2016


HAPPIER TIMES: Smith and former Portland Police Chief Larry O’Dea both left top jobs this summer after being felled by scandals.

Smith hand-picked Isaacs for her cabinet in 2013 after he successfully ran the district’s 2012 campaign to pass a construction bond. He was given a raise and promoted to chief of communications and public affairs in 2014; his background was as a political consultant—not a public information officer. Fridley, the report says, “informed Mr. Isaacs that the database report was missing some data.” But Isaacs provided WW with only an excerpt of the database—a portion that failed to show PPS had apparently made no fixes on some of the sinks and fountains after the testing in 2011 and 2012. As the report notes: “In one significant instance, the former Chief of Communications & Public Affairs knowingly provided incomplete excerpts of the water testing database to Willamette Week.” Isaacs disputed the finding Monday, saying he followed district protocol for records requests, and other top officials knew what he was doing.

4. Smith gave a raise and a glowing review to the person responsible for overseeing the health and safety of school buildings. Fridley’s boss was Magliano, who ascended the ranks of the facilities department to chief operating officer in charge of district facilities in 2014. From 2010 to 2012, he was facilities director. That timeline is important because in 2011, the district hired a part-time employee to test drinking fountains for lead. Her findings clearly showed that PPS had a lead problem. Yet no one, including Magliano, “was more than vaguely aware of the work.” Despite this, Smith gave Magliano top marks in January for his job performance. She gave him the highest possible rating, in fact—“A Role Model”— in managing the business operations of the district, the report says. But in June, Smith blamed the problems on Magliano, abruptly putting him and Fridley on leave amid the investigation. Her positive review of Magliano shows, at best, she had little idea whether he was on top of his job. 10

Willamette Week JULY 20, 2016

5. Top leaders displayed an “absence of diligent inquiry” regarding lead in PPS’s water both before and after the scandal broke. The old saying goes: It’s not the crime, it’s the cover-up. But investigators pinpoint willful ignorance as the bigger problem at PPS. And that’s where the buck stops with Smith. Even after the superintendent was alerted to lead testing in one of two schools this spring, she failed to inquire about the results. She and her chief of staff, Amanda Whalen, who brought attorneys with them to their interviews, told investigators that “they believed that if there was a problem with the tests, they would be notified.” Investigators characterize this, mildly, as “an absence of diligent inquiry by PPS individuals in upper levels of administration hierarchy.” That’s a nice way of saying that top officials, including Smith, were taking a see-no-evil, hear-no-evil approach while navigating the district’s biggest health scandal in decades. “There has been no ‘top down’ management and no supervision in this area,” the report says. “The district is largely unable to account for its activities and, in some cases, has reported inaccurate information.” That’s the main reason Smith is gone: The school district must quickly demonstrate it can make reforms, and the superintendent, who oversaw a culture of looking the other way, was in no position to do it. Smith declined an interview request. But in her letter announcing her resignation, she suggested the School Board was to blame for the district’s dysfunction. “In order to accomplish the significant work that lies ahead,” Smith wrote, “I believe it is critical for the board to figure out how to work together with each other as a governing board and in partnership with the superintendent.” Observers say the School Board must now demand better. “What the report highlights,” says Portland Association of Teachers president Suzanne Cohen, “is a management culture that kind of leaves everybody and nobody accountable.”


Money Talks Tough BY NIG E L JAQ UI SS



The cancellation of a late-July political debate that few even knew existed might seem insignificant—until you consider why one side pulled out. Our Oregon, the labor-backed advocacy group that is supporting Ballot Measure 97—a $3 billion-a-year tax hike on corporations—was scheduled to debate opponents of the tax increase July 28 at Portland’s hippest new venue, Revolution Hall. But last Friday, July 15, Our Oregon executive director Ben Unger informed the organizers, the City Club of Portland, that his group was pulling out of the event. Unger’s objection: The Standard, a large insurance company with its headquarters in Portland, was sponsoring the event. The Standard is a sponsor of City Club’s “Big Idea” series, of which the Measure 97 debate was to be part. The Standard is also a vehement opponent of Measure 97, previously known as Initiative Petition 28 (or IP 28, for short). Unger says it’s the company’s tactics, not its political views, that caused Our Oregon to walk. “The Standard is making threats to local nonprofits about future pledges should those groups choose to support our measure,” Unger says. “That’s bullying behavior.” The Standard’s top government affairs official, Justin Delaney, acknowledges the company threatened in June to withhold support from Children First for Oregon, a Portland nonprofit. “We’ve been a supporter of Children First for several years and were disappointed to learn that its board voted to support IP 28,” Delaney says. “This organization receives philanthropic support from a number of large Oregon companies, including the Standard, that will be severely impacted by IP 28. Yet, we had no opportunity to share our perspective with the board or staff until after that group made its decision.” Children First for Oregon executive director Tonia Hunt says the nonprofit “heard arguments from both proponents and opponents of IP 28” before deciding to endorse the tax measure. Delaney says the Standard relented last week, and has not reduced or cut funding to any other nonprofit. “After thinking about it, we decided that the reasons for past support are more important than transitory political disagreement and reinstated our contribution early this week,” he says. Delaney says Our Oregon is overreacting by pulling out of the debate. He says his company made no attempt to influence the event. “Our sponsorship of the Big Idea series is just that— funding the yearlong series to encourage debate about important civic issues,” Delaney says. “We have no role in

topic selection and don’t participate in the debate.” Delaney says that just as citizens need to hear both sides of the issue, nonprofits ought to give their corporate partners a hearing before reflexively supporting Measure 97. Measure 97 has the potential to divide the state more bitterly than did Measures 66 and 67, smaller income tax hikes voters passed in 2010. Many of the state’s nonprofits support Measure 97, which would impose a 2.5 percent tax on a corporation’s Oregon sales over $25 million, because the new tax would provide more money for education and social services. But that money, of course, would come from companies that support those same nonprofits. Although the proposed tax increase is aimed at large, out-of-state companies, Oregon-headquartered companies, such as the Standard, would feel considerable pain if it passes.

“THAT’S BULLYING BEHAVIOR.” —Ben Unger, Our Oregon

The Standard is among the biggest contributors to Defeat the Tax on Oregon Sales, the political action committee opposing Measure 97, having contributed $95,000 so far. The opposition campaign reported more than $5 million in contributions last week, and some of its members say they expect to raise $20 million. Like other big companies headquartered in Oregon— although the Standard was recently acquired by the Japanese insurer Meiji Yasuda Life for $5 billion in cash, it will remain here—the Standard faces a big tax bill if Measure 97 passes.

An analysis by the state economist’s office found that about 230 Oregon-headquartered companies would be affected by the new tax. The average tax bite would go from $200,000 to $2.3 million—an 11-fold increase. Big insurers like the Standard would be hit even harder—the analysis projected the 20 big insurers located here would see their average tax go from $200,000 to $3.5 million annually—a nearly 18-fold increase. Unger claims other large corporations that oppose Measure 97 are rattling their piggy banks at nonprofits as well, although most nonprofits are afraid to speak up. One nonprofit leader willing to talk is Doug Moore, executive director of the Oregon League of Conservation Voters. Moore says he met with Jill Eiland, Intel’s director of government affairs, on March 17. Intel has been a longtime sponsor of OLCV’s annual fundraising dinner, Moore says, providing amounts ranging from $2,500 to $25,000 in previous years. “They’ve been very generous,” Moore says. But Moore says Eiland had a different message this year: If the league was even thinking about supporting what would become Measure 97, Intel would not support this year’s event. Although OLCV has not yet taken a position on the measure, Moore says he told Eiland there was no chance the league would oppose it. For the first time in many years, Intel provided no funding for OLCV’s dinner, which occurred May 13. “I was shocked,” Moore says. “I would not have expected that from Intel. But they made it clear that OLCV would be punished for not opposing the tax—or even being involved with Our Oregon.” Intel did not respond to WW’s requests for comment. Unger says Intel is playing dirty pool. “With state funding shrinking, many of these nonprofits have no choice but to fill the service gap by seeking funding from the very corporations that are not paying their share in taxes,” Unger says. “That any company would use that leverage to attempt to silence nonprofits is unacceptable.” Willamette Week JULY 20, 2016



An Unlikely Muse: Brahms and Mühlfeld Join us for the world premiere production of playwright Harry Clark’s newest theatrical experience about Johannes Brahms and clarinetist Richard Mühlfeld. Musicians including David Shifrin and the Miró Quartet will be joined by actor Jack Gilpin for these exciting performances! July 29 | 8 pm | PSU, Lincoln Performance Hall July 31 | 4 pm | PSU, Lincoln Performance Hall

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Willamette Week JULY 20, 2016


Saturday, October 15 Noon–6 p.m. 27 new beers you can only try here! Portland’s original home and pro brewer collaboration festival!


NEWS WW: What is the most memorable call you’ve been on? Laura Krum: I don’t know if I can answer that question. I’ve been on some really powerful calls and some really profoundly difficult situations. I don’t think I can answer that question without revealing details, and still completely protect the privacy of my clients. Well, more generally, what are some of your toughest calls? Calls involving children are always extremely tough. Suicides are extremely tough. Every death is difficult for somebody in some way, and so it doesn’t feel right to sort of say this is tougher than others, but I think as a volunteer, there is a continuum. Of course, it’s very different to be assisting a family who has just experienced a death of a loved one who’s 102, who’s lived long and had a long, full life. Very different than, say, assisting a family who’s suddenly experiencing the death of a child or the suicide of a love one. An accident that’s a horrible, terrible accident. How do you calm people down? It’s a matter of being a good observer, a very good listener, and meeting those people where they are. Slowing down. I keep things very slow and simple, and I convey that we’ve got time. We might put an arm around a shoulder; if a client indicates willingness for a hug, we’re available for that. What we don’t do is pat people on the back—we’re very conscious of how we use touch. What happens when kids are a part of the emergency? Most children work out their feelings through play, so we are equipped with simple distractions. I carry pipe cleaners and crayons, things like that would just allow me to meet the child where he or she is.



When Laura Krum’s phone rings, it often means somebody’s dead. For seven years, Krum has been a volunteer for Trauma Intervention Program of Portland/Vancouver Inc. About 150 times a month, police or firefighters arriving on the scene of an emergency tell the 911 dispatch center to send a tip volunteer like Krum. She and her colleagues give emotional first aid to the survivors of fatal events: loved ones, co-workers, children and even bystanders who witnessed a death or traumatic incident. Krum, 59, a former juvenile court counselor, is one of 180 TIP volunteers dispatched to 911 calls in Multnomah, Clackamas and Clark counties. This summer has already seen its share of deadly accidents: an 18-year-old man drowned in the Clackamas River in late June, and in July a car crashed into a North Portland

house, killing a 58-year-old woman in the car. Last summer, TIP responded to 500 calls. Most of the calls involved deaths from natural causes, but 11 calls included drowning, and 10 others involved fire. Volunteers have 20 minutes to get to their designated location, which could be a school, a hospital, the couch in a deceased person’s apartment. Volunteers get 50 hours of training before ever being sent to the scene of a traumatic incident. Krum brings with her a bag containing packets of tissue, bottled water, and resource guides that include the telephone numbers for bereavement and mental health hotlines. A checklist of what to do after a death is also inside the bag, next to crayons for children. WW talked with Krum about what it’s like to provide emotional first aid to the people of Portland and Vancouver.



What are you not supposed to do? In TIP, we try to avoid what we call second injuries. Which could mean a visit from a nosy neighbor that [my client] is not ready for, or an approach from a media person when they’re just in no condition to have a conversation like that. I might redirect a distraught mother from walking out into the middle of the street or doing something very absentminded at a time when she’s not thinking clearly. What’s the longest time you spent on a call? Typically, our calls last about two to three hours that we spend with clients, but in the case of a drowning, we spend in excess of 15 hours on a scene. We sent a team of volunteers that spent seven days to volunteer following the Umpqua Community College shooting. What’s something that stands out to you during calls? I have the privilege of entering an individual’s life at an incredibly emotional, sensitive, private time. I have the privilege of staying and offering support during a really private time. And in the course of doing that, I find myself providing support to all manner of my fellow humans, regardless of our differences in age or ethnicity or belief system. We can help anyone at any time, and we do.

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c o u r t e s y a s h l e y m o n ta g u e

BLACK LIVES MATTER: The original Michael Brown mural before building owner George Kassapakis asked artist Ashley Montague to paint over the depiction of police.


Every time graffiti artist Ashley Montague rides his Suzuki motorcycle down Southeast Stark Street, he stops next to Bonfire Lounge. He wants to make sure his mural of slain teenager Michael Brown—or what’s left of it, anyway—is still on the outside wall. It’s been two years since Brown, an unarmed black teenager, was fatally shot by a white police officer in Ferguson, Mo., a killing that sparked waves of riots and a political movement called Black Lives Matter. Two days after the Ferguson shooting, the 42-year-old Montague, a rebellious graffiti artist now mainstream enough that he speaks at Portland grade schools, painted Brown’s portrait 15 feet tall and 30 feet wide. The wall Montague chose, on the side of Bonfire Lounge, has long been a canvas for muralists, one of the few Portland walls that has remained a piece of public art since the early ’90s. That’s when the building’s owner gave permission to another artist to paint palm trees on the site. The rights to the wall changed hands for nearly 20 years, until they landed with Montague. cont. on page 16

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ontague’s mural depicted Brown with a bright orange halo, a heart floating outside his chest, and a dove taking f light from his outstretched hands. Behind Brown, two police in riot gear pointed guns at the back of his head. This memorial—perhaps the most prominent symbol of the Black Lives Matter movement in Portland—seems even more potent today. The recent killings of two black men by police in Baton Rouge, La., and St. Paul, Minn., and the slaying of police officers in Dallas and Baton Rouge, have rekindled a national debate about the frayed relationship between African-Americans and law enforcement. But the Michael Brown mural has been controversial since the day it was painted. “It’s unnerving—a representation of the beauty and violence in life mixed together,” says Royal Harris, a Portland black activist. “In really white Portland, it’s jarring to be faced with that reality.” Almost immediately after Montague painted the mural in August 2014, it became fodder for debate. The morning after he completed it, the building owner, George Kassapakis, demanded Montague paint over the riot cops. Then, this May, vandals tagged the mural with the words “cops killed me” in orange spray paint, rendering the mural even more provocative. Portland’s anti-graffiti laws mandate that tags be painted over, and in covering the graffiti, the city’s contracted pa inter rolled over parts of the dove and halo, too. In February, B on f i r e L ou n g e sold to Travis Miranda, who also owns Baby Doll Pizza next door. While Miranda doesn’t own the building, he wants the entire mural gone. His first idea was to replace it with ads for



Willamette Week JULY 20, 2016

pizza slices and a gym. In May, Montague dropped in on Miranda at Bonfire, offering to paint over the mural with a new piece. Instead, Montague says, Miranda told him he planned to paint over the mural because “the neighborhood fucking hated it.” So the artist took to Facebook. Montague’s post about his dispute got more than 500 shares and 100 comments, many threatening to boycott all of Miranda’s businesses. Today, the memorial to Brown remains half painted over and obscured by dumpsters. It is easily missed by crowds passing by on their way to dance nights at the Goodfoot Pub & Lounge. It is also protected by a little-known federal law. The Michael Brown portrait is one of at least two dozen murals across Portland that are being threatened by hostile landlords or new development. But these murals enjoy a federal legal protection, the Visual Artists Rights Act of 1990, that prohibits building owners from covering them up. It’s a law that’s been in place for a quartercentury, yet most developers, business owners, and even artists don’t know about it. Even the Portland city attorney, who oversees a local program to preserve murals, knows little about the law known as VARA. Portland City Attorney Tracy Reeve says the city carefully oversees the legal rights of public art funded by the city, but isn’t monitoring the legal safeguarding of other murals. “That’s between the owner of the wall and the artist,” she says. This federal protection could be the salvation for dozens of threatened murals. “Building owners assume they own their walls, but when their walls contain murals, there are rights in those murals that belong to artists,” says Lydia Loren, a copyright lawyer and Lewis & Clark law professor. “VARA runs counter to our intuition about property ownership.” In a city highly sensitive to both social justice and the slightest change to the streetscape, VARA is likely to be at the center of fresh battles over artists’ rights. The best example of the confusion about who controls a wall might be Montague’s mural, which takes the controversy of the Black Lives Matter movement and makes it visceral. “Sometimes you want to shock people,” Montague says. “Art is a form of communication. If it’s going to say something, why not have it say something with meaning?”


MALCOLM X: One of Portland’s oldest “grandfathered” walls is Lewis Harris’ 1984 mural on Northeast 17th Avenue at Alberta Street.

Montague describes himself as a “skinny white kid.” Yet the police shooting of Brown disturbed him so much, he felt he had to paint. “ E v er y p er s on h a s t h ei r limit,” he says. “I thought, ‘This keeps happening. Now I need to say something.’” Montague is nobody’s idea of a militant activist. Thin as a fence post, he wears tortoiseshell prescription sunglasses and a tweed hat, regardless of the weather. Tattoos of phoenix feathers peek out from under his sleeves. He spends weekdays with his 3- and 11-year-old sons, weekends painting for wineries or EDM music labels, and leads grade-school classes on tours of Portland murals, encouraging kids to see art on the street. Painting in Portland since 1996, Montague makes his living through commissions for album covers and businesses like Astoria’s Buoy Beer, and DJing at Northeast Portland’s Swift Lounge. He describes himself as the middle generation of street painters, younger than the old guard—like Vanport flood survivor Isaka Shamsud-Din, who painted AfricanAmerican figures on the Justice Center in 1983—but established enough to oversee about 15 ever-changing walls scattered across the city. “Twenty-plus years ago, all the murals were done by black folks up in North Portland, and all highly political,” Montague says. Now, about 20 active street artists make up the mural scene specifically, competing for a limited number of local public-art grants. Young artists come to Montague for advice on how to get their paint on a wall. “I go to places I know and just talk to people,” he says. “Like Angel Food & Fun. It’s a few doors down from my house, and I would just go in for burritos. Then we started talking. You have to slowly build a relationship with them. Some people are very trusting. Some, it’s taken five or seven years.” That conversation turned into an Aztec-inspired mural with a Mayan pyramid, shirtless warrior and setting sun. Montague turned another wall, on the side of Northeast Prescott Street’s Motivisi Coffee, into an 8-foot portrait of Prince after the musician’s

death in April. Sometimes Montague inherits a “grandfathered” wall in Portland—a wall designated for art, and passed down from artist to artist, since before the city passed a strict signage code in 1998 that bans large billboards. The city calls them “nonconforming use walls,” meaning they do not need to conform to current signage laws. That was the case at Bonfire Lounge. In the 1990s, Malaysian-American artist Ping Khaw painted a promenade lined with palm trees on the wall. When Khaw’s mural faded, the Regional Arts and Culture Council sponsored her and a group of local volunteers to repaint the wall with a world map. Bonfire’s then-owner, Kassapakis, who still owns the building, signed an easement officially allowing Khaw to repaint the wall in 2005. To give Montag ue the wa ll in 2014, K haw removed the mural from RACC’s public art registry and handed it off to Montague through a legal process called deaccessioning, through which the wall’s VARA rights were retained. Most of Montague’s public works lean heavily toward social-justice issues. He constantly scours the city for walls that get “bombed” with unplanned graffiti, offering to paint over the tagging with meaningful murals. Sometimes these walls are grandfathered or permitted by the city. Sometimes Montague and the building owner just talk it out. “The concept is what takes the longest,” he says. “Then, it’s a hundred or so dollars of paint and around 16 hours painting in the sun.” Once they’re painted, Montague casually keeps tabs on his walls and gets updates from friends or through social media. And if he sees something change? “I’ve always been like, ‘Hey, can we just talk about it?’” But that strategy isn’t always effective.


CONT. on page 18

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A SCRAPPED: When Lompoc renovated its Sidebar location, part of Bruce Orr’s untitled 2005 mural was replaced by a glass door.

FOREST FOR THE TREES: New development on North Albina Avenue now blocks the untitled mural that Souther Salazar (pictured) and Brendan Monroe painted at Forest for the Trees festival in 2014.

rtist advocates like Joanne Oleksiak, a founder of the now-defunct Portland Mural Defense group, can rattle off a long list of murals in the city that have disappeared this decade. “There are way too many examples of murals that have been painted over,” Oleksiak says. “Just like with a house that’s on the historic register, we’ve been verbally assured it’s safe—and then, bam, wrecking ball at 6 am.” Advocates tracking outdoor art say dozens of murals are currently under threat—most of them not because the building owner disagrees with the message, but because the building itself could be torn down or covered up by new development. The future of a psychedelic mural by local artist Klutch is in limbo because the United Refrigeration building at Southeast 10th Avenue and Stark Street is for lease. Located on the former Farm Cafe on East Burnside Street, Cars Into Plowshares may come down with the building, which was recently bought by local development firm Fowler Andrews. On North Albina Avenue, a new building just went up next to Souther Salazar and Brendan Monroe’s mural of trees and smiling critters, blocking it almost completely from view. (This is a common problem for muralists, who often find space on walls adjacent to empty lots.) One mural, at the former location of arts and crafts store SCRAP on North Williams Avenue, is partially gone. First painted in 2005 by North Portland artist Bruce Orr, one-quarter of the mural was removed to make room for a glass garage door when Lompoc’s Sidebar moved into the spot in 2014. “The bar never notified the city, asked anybody, or thought to ask the artist,” Oleksiak says. “They cut the hole in the wall and ruined the mural.” Orr’s mural was part of a collection of public art overseen by the Regional Arts and Culture Council, a taxpayer-funded agency that requires artists to waive their legal rights.




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MACHINE: Tom Cramer could set a national precedent if development threatens his North Williams Avenue mural.


ut artists who haven’t signed a release? Federal law says they keep the rights to their work for life. “If they have not waived their rights under VAR A, in writing, then the artist has rights,” says Portland copyright lawyer Kohel Haver. “Artists can seek to have an impending [change] halted by the court through disjunctive order,” says Loren, the Lewis & Clark professor. “If it’s occurred already, they can get money or damages for the destruction.” For most working artists, legal fees are a huge deterrent. “Hiring a lawyer can be expensive, and filing a federal lawsuit is expensive,” Loren says. “Then there’s the actual case. But the real issue is how neither party understands the nuances of VARA. The copyright act has a fee-shifting provision. If you win, you can get attorney fees paid by the other side. It’s a double-edged sword, though, and for artists, that’s quite a deterrent.” One block north of Orr’s Williams Avenue mural is another, the handiwork of Portland legend Tom Cramer. And while the mural itself is inoffensive, it sits on a warehouse that was bought this year by architect Daniel Kaven. While Kaven would not return WW’s phone calls, Cramer says it is his expectation that the building will be coming down. And he says he plans to sue, which could have national

repercussions for visual artists who paint on the streets of rapidly changing cities. There are few cases where VARA has been tested in court, leaving artists, business owners and lawyers with little precedent on which to base claims. “Many of us are hoping for good case law in Portland because it would be valuable for the rest of the country,” says Oleksiak, who describes herself as an anti-war activist and artist. Loren, who helps run Oregon Volunteer Lawyers for the Arts, an organization that offers free legal clinics for artists, encourages them to know their rights but says she rarely sees cases go to court. “I don’t know of any VARA cases that have resulted in published decisions here in Portland,” she says. “I’ve heard through the grapevine of allegations based on VARA, but parties will settle out of court.” Cramer and his lawyer Kohel Haver could change that, giving artists and building owners across the nation a precedent to refer to. “We are poised and ready to go to court if someone touches that wall without talking to me or Tom,” Haver says. “We will make national news, but we need imminent threat.” So far, the new owner hasn’t filed a demolition permit for the site.

CONT. on page 21

Willamette Week JULY 20, 2016


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hen Travis Miranda took over Bonfire Lounge in February, he barely noticed the Michael Brown mural. “The mural outside the building was not even on my to-do list,” he told WW after the graffiti appeared in May. “I was thinking of ways to promote the businesses, and no, I don’t really like the mural. Art is subjective, right?” But when the mural was tagged with “cops killed me” graffiti, Miranda’s mild dislike turned into fear. “I don’t want that portrayal of violence when there are a lot of kids in this neighborhood,” he said in May. “We will probably leave it alone for a while for fear of anyone coming back.” Two months after the May uproar that jeopardized Miranda’s business and reputation, with calls for boycotting Bonfire and allegations of racism, Miranda realizes he can’t simply paint over a mural he dislikes. “After looking into it further since this all happened, I see the laws are very complex,” he says. “It’s one more thing to learn. As business owners, we’re always learning—to be plumbers, electricians, lawyers. It’s confusing for everybody.” Miranda is working with Kassapakis, the building’s owner, to find new art. Kassapakis, who did not return WW’s requests for comment, will let Miranda decide the fate of the wall and simply sign off if he approves, Miranda says. “We have two different ideas floating around,” he adds, declining to discuss them. “Then we need to check with the building owner. He is the only one who can make the final call.” Miranda says he intends to work more closely with artists. “We’ll talk to Ashley before going forward,” he says. “From an artist’s standpoint, it would make sense to have him hand it over symbolically.” Oleksiak, who has carefully watched the wall’s progression since Khaw first painted palm trees on it, hopes Miranda will offer the wall to a local artist of color, possibly Toma Villa, a Native American muralist. Montague says he wants the wall to keep rotating between artists, and would support Villa as his successor. “The goal,” he says, “was to have it be a changing wall for social-justice issues that are current. We’re really just one, big fucked-up nation right now.” Montague is already planning his next mural, which will be on Northwest Portland’s Cinema 21. Theater owner Tom Ranieri says the mural will be a memorial to James Chasse Jr.—an unarmed, mentally ill man beaten to death by Portland police officers in 2006.



MONKEY IN SPACE: Pablo Gonzalez painted over a depiction of a dab gun in his mural after neighbors complained. Now the ape is flashing a peace sign in the mural on Southeast 136th Avenue at Powell Boulevard.


EAGLES: New buildings in a nearby lot could threaten Latika Fields’ mural at Southeast 3rd Avenue and Morrison Street.

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Just two weeks ago, it was my understanding Pokémon were just various colors of Pikachu. As of the morning of July 10, I did not even know how to work a Pokéstop and could not figure out how to make them give me stuff. I was 15 when the first Pokémon game came out—we were playing Quake. I knew nothing about the Pokéverse until Pokémon Go dropped, and I still don’t understand how electric types fare against bug types. But because my job prompts a natural curiosity about any emerging trend, and because I was on vacation last week, as of press time I find myself at level 22 with 99 different Pokémon caught. I’m the best player at Willamette Week, and pretty much any time I show up to a gym battle I’ve got the bigger, stronger monsters. Here’s how I did it, and some tips on how you can do the same if you’re willing to spend some time and money on the game.

JOIN A TEAM THAT’S THE OPPOSITE OF THE ONES CONTROLLING GYMS NEAR YOUR HOME AND OFFICE… I’m blue, which means I can’t capture any of the blue-held gyms near the WW office. If I had it to do over again, I’d be yellow since only like 12 people in the country are yellow. IF YOU WANT A PIKACHU, LOOK UP SIGHTINGS ONLINE… I can confirm there are Pikachus spawned just east of the Oregon Convention Center and near the pond in Laurelhurst Park, where I got mine. But if you Google around, you’ll find maps where other players have spotted them. Pro tip: Remember that Pikachus are cute, but not especially useful in the game. I still wanted one enough to get up from a nice dinner and chase one, and you may feel the same. SPEND SOME MONEY… There are two big advantages we olds have in Pokémon Go. First, many of us are grandfathered into unlimited data plans, meaning we can chase monsters without thinking twice about network usage. Second, we remember a time when you had to pay to be entertained. There were no free games when I was a kid. A Nintendo cartridge cost $50, same as it does now—and that’s with inflation. So far I’ve spent $40 on lures, magic eggs, incubators and the like. I have no regrets.

DON’T USE YOUR REAL NAME AS YOUR POKÉMON TRAINER NAME… There’s only one way to get a new Pokémon trainer name, and it’s if you use identifiable information in your handle. The problem: The Niantic support email is so overwhelmed that it won’t even see your request for a change. I stupidly used Martincizmar as my handle, so you’ll know where I am at all times. Don’t be like me, fellow olds! TO GET STUFF AT A POKÉSTOP, SWIPE LEFT TO SPIN THE WHEEL… This is surprisingly counterintuitive! I’ve had to show a few other olds how to do this. Once you learn how to do this, and how to toss the Pokéballs at the monsters, you’ve got the basics down. DON’T WASTE TIME WHEN THE GAME FREEZES… Even when the servers are up, Pokémon Go freezes more than any other app on my phone. The moment things stop happening, quit and restart by double-tapping your home button and swiping up to close the window. Reopen the game and hope it saved your progress—it seems like you have 50-50 odds. WORK ON TOSSING A CURVEBALL WITH YOUR THUMB… In the beginning, it’s easy just to toss a Pokéball at the green circle and catch the creature. Once the circles get yellow or red, and once you start seeing Pokémon with a Combat Power above 100, you’re going to need to develop a curve, wherein you spin the ball around a little before releasing it so that it flies at an angle that makes it harder for the monster to escape. My advice: Start practicing with your thumb. The curve is easier with your index finger, but you’ll eventually get too lazy to use two hands anyway, so work on the more practical thumb technique early and often.

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SERIOUSLY, BUY SOME INCUBATORS… The eggs you collect at Pokéstops contain monsters you hatch by walking. You get one free incubator that has unlimited use, and you will sometimes get a free three-use incubator when you level up. But you can hold up to nine eggs at a time, although any other incubators will need to be purchased. If you spend the money to buy incubators—about a buck—you can incubate your eggs concurrently instead of consecutively. Some of those eggs will hatch Zubats and Pidgeys, sure, but I’ve got a Charmander, a Butterfree, a Tentacruel and a Chansey. Also, it’s possible that gamemaker Niantic saw fit to show me a Porygon on the street instead of someone who is not a paying customer. DUMP YOUR REVIVES AND POTIONS WHEN YOU NEED SPACE TO HOLD MORE STUFF… Not only do the normal healing potions pale in power to the stronger stuff, until you’re serious about gym battles, you won’t need them. Better to hold onto more Pokéballs—I actually had to buy Pokéballs at one point because I’d been holding useless stuff instead. HAVE A STRATEGY FOR YOUR STARDUST… To power up your Pokémon for gym fights, you’ll need stardust. Right now, the serious players are hoarding the stardust they get from grinding through Pidgeys until they get the stronger, rarer creatures available later in the game. I didn’t get that memo, and powered up several smallish Hypnos and Golbats before I realized how precious the stuff was. If you already made the mistake I did, my suggestion is to buy lots of incubators and take your powered-up Pokémon to the gym—you get five times as much stardust for holding gyms as you do for catching another Rattata. REMEMBER THAT YOU CAN HAVE SOME FUN WITH YOUR MONSTER NAMES… For example, on vacation I captured Fenway Park and stationed a creature named “Sox Suck” there. Everyone knows exactly who did that since I used my real full name as my handle.

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Willamette Week JULY 20, 2016


“I felt the uneven asphalt vibrate my legs and the rumble of the rockets in my feet.” page 51



BACKSTAGE DRAMA: Portland’s theater scene is being rocked by a report of racial profiling posted by Kevin Jones, 63, co-founder of the August Wilson Red Door Project, an arts organization dedicated to racial diversity. “I was profiled last night in front of ART [Artists Repertory Theatre] sitting in my car,” Jones wrote in a statement to the PDX Backstage Yahoo group July 15. “I wasn’t manhandled. But the hand was on the gun,” he wrote. Jones described himself as “an older, gray-haired man” sitting in his 1976 BMW outside the theater. “I want someone, someone in power—someone white, to get mad and stop this,” he wrote. “This shit hurts.” The theater community responded with a wave of support, offering to share Jones’ story on Facebook, which he declined. Local actress Michele Mariana wrote a letter to Mayor Charlie Hales and Police Chief Mike Marshman. Jones, who is directing a show inspired by the Black Lives Matter movement, declined to comment at press time. FAME-ISH: SleaterKinney is being inducted into the Oregon Music Hall of Fame. The post-riot grrrl power trio formed in Olympia, Wash., in 1994 but made its most well-regarded albums after relocating to Portland in the late ’90s. The band broke up in 2006 and reunited last year, releasing No Cities to Love. Sleater-Kinney leads a 2016 class that also includes singersongwriter Fernando Viciconte, blues singer SLEATER-KINNEY Duffy Bishop, sideman Paul Brainard, the late Brian Berg of 44 Long, and Kung Fu Bakery recording studio founder Tim Ellis—both of whom passed away in the last year—and two-time inductee Pete Krebs, who also got in with alt-rock favorites Hazel in 2013. The induction ceremony is Saturday, Oct. 8, at Aladdin Theater, and will feature performances by Bishop, Fernando with Brainard and Krebs, and 3 Leg Torso. IMAGE GONE: Imago Theatre will close its East Burnside building, which also houses Third Rail Repertory, at the end of this season. The theater is an old Masonic Lodge located around the corner from Le Pigeon that the owners purchased in 1982 and converted into a 200-seat venue. Both companies will finish their scheduled seasons and plan to continue staging shows at undetermined locations after the building closes. Imago co-owners Carol Triffle and Jerry Mouawad said they “made a difficult decision to sell the facility to be able to focus more deeply on art work and spend less time on facility management.” PAUSE ENDED: After 10 years on North Interstate Avenue, Pause Kitchen and Bar called it quits July 17. The familyfriendly pub, best known for its spacious patio, meatloaf, and half-pound burgers—not to mention free pasta, butter and cheese for kids under 12—announced July 11 that it had sold the business. The space will be taken over by new owners James Hall and Josh Johnston, who also own whiskey-happy westside spots Paddy’s Bar & Grill and North 45. The new bar will be called Patton Maryland. 24

Willamette Week JULY 20, 2016


GO DEAD AND COMPANY is at Moda Center,

I L L U S T R AT I O N S K A R A L I E J U R A S K A , P H OTO D E A D . N E T

1 N Center Court St., on Friday, July 22. 7 pm. $50-150.


[PRECIOUS METAL] If Inter Arma’s first two collections were merely demonstrations of its powers—dazzling proficiency, batshit ferocity, influences ranging across various metal subgenres—the Virginian horde’s latest release, Paradise Gallows, delves deeper, harder, and weirder for epic album ambitions. Doug Fir Lounge, 830 E Burnside St., 503-231-9663. 9 pm. $10. 21+.


[SOUR PATCH] For a week at Belmont Station, it’s everything sour. Gorge stuff like Logsdon and Pfriem on Wednesday, Belgians on Thursday, Cascade on Friday, de Garde and Block 15 on Saturday, and California on Sunday. No admission fee—but bring cash for beer. Beer list at Belmont Station, 4500 SE Stark St., 503-232-8538. 5-7 pm.

THURSDAY JULY 21 Welcome to Night Vale

[GHOST STORIES] The imaginary desert town of Night Vale has a cult following thanks to the uber popular radio show podcast from Joseph Fink and Jeffrey Cranor. Described as Prairie Home Companion filtered through Stephen King’s stories, this live show includes the token weather updates, sheriff ’s news and live music by Disparition. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-248-4335. 8 pm. $27.50-$32.50. All ages.


The relationship between the Grateful Dead and Oregon has been a long, strange trip, which you may be vaguely aware of if you’ve ever walked into Fire on the Mountain—named, of course, after a song by the Dead—or stared into the eyes of a dancing bear painting while taking a bong rip at the Oregon Country Fair. Unsurprisingly, this connection is largely due to the Merry Pranksters and One Flew


Why was the Dead banned from playing its 1991 show at University of Oregon’s Autzen Stadium? They weren’t selling enough tickets. The Oregon Ducks football season was one of the best. The University of Oregon didn’t want to be associated with drugs. Fights kept breaking out.

A. B. C. D.

Which Oregon business’s ethos was inspired by the Grateful Dead song “Dark Star”? New Seasons Market McMenamins VooDoo Doughnut The Portland Mercury

A. B. C.

What brought the Grateful Dead to the Oregon Country Fair in 1972? A. Gov. Tom McCall invited the band to play the Vortex I music festival in Portland that same summer. B. It was the first band to play the Oregon Country Fair. C. It heard there was good weed. D. Ken Kesey asked the band to play a benefit show for his family business, the Springfield Creamery.

Over the Cuckoo’s Nest author Ken Kesey. The Grateful Dead played the Oregon native’s San Francisco Bay Area Acid Tests, and when Kesey moved to a Pleasant Hill, Ore., farm, many people from the scene followed, giving the Grateful Dead a spiritual home near Eugene. As Dead and Company rolls into Moda Center this Friday—a band consisting of the non-Garcia Dead (minus Phil Lesh) and John Mayer—we’d figure we’d test your knowledge of Oregon Deadhead trivia.

Can you spot which Oregon -based Grateful Dead tribute band is fake? A. Blue Lotus B. Ramblin’ Rose C. Garcia Birthday Band D. Dead Eds

A. B. C. D.

What was the Grateful Dead’s last show in Portland? Portland Meadows, 1995 Memorial Coliseum, 1992 La Luna, 1993 Tom McCall Waterfront Park, 1994

A. B. C. D.

Where was one of the Dead’s first shows in Portland? Portland Meadows, 1966 Beaver Hall, 1966 Memorial Coliseum, 1972 Reed College, 1965

Who/what is Sunshine Kesey? A. Ken Kesey’s nickname, when he was in a particularly good mood. B. A Grateful Dead tribute band based in Salem. C. The daughter of Ken Kesey and stepdaughter of Jerry Garcia. D. The sister of Ken Kesey.


What was the Grateful Dead doing at roughly the same time as a June 1980 Mount St. Helens eruption? A. Cremating Jerry Garcia’s uncle. B. Playing a show at a downtown Eugene fire station. C. Playing “Fire on the Mountain” at Memorial Coliseum. D. Driving past Portland on the way to a Seattle show.

[LOCAL MUSIC] If you’ve outgrown the basement-party scene, PDX Pop Now—Portland’s most locally sourced music festival, now in its 13th year—is the best way to survey the music being made in your backyard right at this moment. Garage rockers Summer Cannibals, rapper Mic Capes and post-rock trio 1939 Ensemble are among the headliners. AudioCinema, 226 SE Madison St., pdxpopnow. com. Free. All ages. Through July 24.

SATURDAY JULY 23 Breakside Luau

[BEER] Pack up the kids—you’re goin’ to Milwaukie. Breakside’s annual luau—with island food, passionfruit sour and a kiddie pool—is one of the only times that those whose lives have been deformed by children can drink special brewery-only beers without hiring a babysitter. Breakside Brewery, 5821 SE International Way, Milwaukie, 503-342-6309. Noon-8 pm. $15.

Who is Chez Ray? A. The Grateful Dead’s former chef. He now owns a coffee business in Eugene. B. The Grateful Dead’s touring manager. He now runs a record shop in the Haight. C. The Grateful Dead’s official biggest fan. He lives in Portland. D. The Grateful Dead’s dog. He “moved out to a farm.” Answers are on page 43.


Mount Tabor Downhill Challenge

[RACE DAY] The sound of hundreds of skateboards racing down Mount Tabor is deafening, horrifying and the greatest spectacle you’ll see until the Adult Soapbox Derby. Brass Tacks and Boiler Room are sponsoring Daddies Board Shop’s sixth annual challenge. Mt. Tabor Park, Southeast 60th Avenue and Salmon Street. 9 am. Free. $77 to register.

Willamette Week JULY 20, 2016


food & drink review megan nanna

= WW Pick. Highly recommended.  By Matthew Korfhage. Editor: MARTIN CIZMAR. Email: See page 3 for submission instructions.

WEDNESDAY, JULy 20 Puckerfest

Puckerfest at Belmont Station offers everything wild and everything sour: Gorge Night on Wednesday with Double Mountain krieks, Solera, Logsdon and Pfriem; Belgians on Thursday, special blends of Cascade on Friday, de Garde and Block 15 on Saturday, and California on Sunday. No admission fee—but bring cash. Your cards aren’t welcome. Beer list at Belmont Station, 4500 SE Stark St. 5-7 pm.

THURSDAY, JULy 21 Freigeist Bier Dinner

Cologne brewery Freigeist is the wild child of the notoriously conservative German brewing industry, with shizz like Quince gose and salty-sour “Salzspeicher” porters flavored with raspberry. Chat up the brewer—visiting from Germany—at 5 pm, and stick around for a $75 beer-pairing dinner at 6:30. Call to reserve dinner tickets. Stammtisch, 401 NE 28th Ave,, 503-206-7983. 6:30 pm. $75.

SATURDAY, JULy 23 Oregon Distillers Fest

At least 25 Oregon distillers will haul their hooch to McMenamins Edgefield for the fifth annual statewide distillers fest put on by the brothers McM. Expect Black Rabbit snacks, lots of people in golf clothes, and hopefully a bus ride home for yourself: the $35 admission comes with 10 tastes of booze. Edgefield, 2126 SW Halsey St., Troutdale, 503- 669-8610 4-7 pm. $35.

Night of 1000 Tepaches

Tepache is the sweet, earthy, wonderful alcoholic pineapple skin of summer. And as it turns out, spicy tepache is even better. But as for smoked hot tepache? Mint tepache? Cocoa coffee tepache? Guess you’re gonna have to go to Nat’s on Saturday to find out. Reverend Nat’s Cidery & Public Taproom, 1813 NE 2nd Ave., 503-567-2221. 5 pm.

land of seeds and nuts: Burmasphere’s tea leaf salad (left) and chicken curry.

The First Burmese Eatery in Town Is Now Open on Killingsworth Street In San Francisco, Burmese food is the next big thing among Asian cuisines. But in Portland, the cuisine has been mostly without a home, though it’s an occasional feather on the fedora of restaurants like Naomi Pomeroy’s Expatriate—which serves a lovely tea leaf salad augmented by nontraditional green papaya—and Tasty N Sons, which has sported a Burmese red-curry pork. That’s changing with Killingsworth cart Burmasphere, open only Friday through Sunday at the Piedmont cart pod. Its cook, Tommy Schopp, is not a Myanmar emigrant but a fan of the cuisine: He first had the fiery, fermented mix of Indian and Thai food cultures that characterizes Myanmar while eating in San Francisco. Schopp’s take on tea leaf salad ($8), the Burmese national dish, involves a mountainous wealth of cabbage, and he retains the Burmese habit of letting eaters mix in their own tomato, nuts and seeds. The fermented tea leaves are chopped up as herb rather than served whole leaf, making the tea more accent than centerpiece. Still, the dominant notes of sesame, fish sauce and bitter leaf mix admirably with the crunch of cabbage and a hint of citrus. The fatal flaw is its generous size: the salad grows monotone, and would be better offered as a side. Otherwise, there’s a spicy carrot-cabbage salad (also $8), fried chickpeas and a pair of scratch-made curries each blended with an absolute wealth of rice and red and green bell peppers. Both are also topped with the satisfying crunch of fried scallions. The prawn curry ($10) is a bit stewy, but the turmeric-heavy, silky chicken curry ($8) is a rewarding meal, with the spice blended satisfyingly into the rice. But watch out for that ghost-pepper ice cream dessert ($3). By the third bite your mouth feels like a sore. “It’s like divorce,” said my dining partner. “The pain lasts forever.” MATTHEW KORFHAGE. EAT: Burmasphere, 625 NE Killingsworth St., 503-998-1095, Noon-8 pm Friday-Sunday.

1. Hat Yai

1605 NE Killingsworth St., 503-764-9701. Thai chicken and curries with fresh, earthy, complex flavors. $$.


2. Southpark

(Division Winemaking Co.)

901 SW Salmon St., 503-326-1300, Southpark’s got a new oyster bar with 13 varietals—and newly ambitious small plates like a great octopus-andblood sausage plate with melon. $$$.

3. Please Louise

1505 NW 21st Ave., 503-946-1853. Please Louise is bringing fine artisan pizza pie to underserved Slabtown— with a nice country terrine besides. $$.

4. Jouk Li Jou

1505 NE Alberta St., 340-244-4802. At Portland’s only Haitian spot, get impossibly cheap $5 pork tenderloin or chicken. $.

5. Burger Stevens

6238 SW Capitol Highway, 971-279-7252, The fine 70-30 burgers on a Franz bun are great—but Burger Stevens may also have the best soft-serve in town, rich and fatty without crossing into custard. $.


Willamette Week JULY 20, 2016

Chardonnay “Trois”

If you’re like a lot of American wine drinkers, you might be suffering from post-traumatic chardonnay drinking syndrome (PTCDS). But as the new “Trois” chardonnay from Division Winemaking Co. makes abundantly clear, chardonnay doesn’t have to be the oaky-dokey, butter-bombed lobster sauce you’re probably used to—especially if you’re from the sort of family that had a bottle of Chateau Ste. Michelle chilling ominously in the fridge at all times. Not that there’s anything wrong with that—love you, Mom! But at Portland’s Division, Kate Norris and Tom Monroe are making fresh, steely, living wines from Oregon chardonnay, with more acidity and zip than you probably thought possible. Think lychee, pear, and lemon LaCroix. The Trois chardonnay undergoes a cool, slow fermentation in the barrel, aging in 50 percent new French oak for 18 months before bottling. The resulting liveliness should dispel whatever vestiges of PTCDS may be lingering in your psyche. Recommended. JORDAN MICHELMAN.




The finest piece of fish I’ve had anywhere in Portland this year was at Southeast Belmont Street’s Fukami Sushiya. Nodoguro—a small, rosy perch—is considered rare and precious even in Japan. And though it’s a whitefish, its flesh was fatty as any tuna, with flavor that blossomed over the course of the bite into ecstasy. Sourced directly from Japan, the fish was served on a bed of rice—brushed lightly with sauce and dabbed with fresh wasabi before receiving its tiny fillet—that managed to be ethereally airy while maintaining its integrity. It was a piece of sushicraft rarely seen in Portland, delivered humbly as pie. But nodoguro is also the namesake fish of the other spot Fukami most resembles. Like chef Ryan Roadhouse’s much-lauded Nodoguro, 15 blocks west down Belmont—whose reservations disappear months in advance, into the virtual mitts of San Franciscans and New Yorkers—chef Cody Auger’s reboot in the same space of already-esteemed sushi spot Hokusei is high-dollar, prix-fixe Japanese fare somewhere between omakase and formal kaiseki. But while Nodoguro segregates its sushi into impossibly scarce “hardcore” nights—I’ve yet to manage a seat— Fukami makes sushi the centerpiece of its nightly $65 and $85 multicourse tasting menus. One course is always a generous parade of nigiri (12 pieces on our visit), doled out singly fish by fish so it stretches out longer than any other course. It’s a feeling of genuine well-being to see Auger gently smashing bright-green wasabi directly from a fresh bulb, placing it between fish and rice. And from roe to heavenly squid or scallop or sardine, Auger is now using only wild-caught fish—with the welcome side effect that all fish is in season. In mid-July, yellowtail and mackerel are younger, with slightly different flavors. For now, those nigiri are also available a la carte starting at $4 apiece, alongside lovely natto and ume shiso maki rolls wrapped with pleasingly thick, pliable nori seaweed. For $50, you can pile into a 12-piece succession of beautiful fish and leave in love with life itself—although the restaurant is considering a move to prix-fixe only.

TASTE THE RAINBOW: Nigiri (above) and shiromi nanbanzuke (left) at Fukami.

But there, too, you are well-served. The omakase menu morphs night to night, according to the best ingredients available, so one night a sunomono might include a cold-smoked mussel so delicate it’s like the essence of a beach campfire, and the next it’ll be replaced by the tentacles of an equally delicate squid, topped with bright tomato and wakame seaweed in dashi broth. Cucumber suspended in a dashi gelee cube playfully recalls the dish’s customary main ingredient. An albacore tataki, meanwhile—fish lightly seared and marinated in citrus—was served with light aji-amarillo sauce on a bed of light chimichurri, an ode to a felicitous meeting of fish cultures amid the many Japanese immigrants to Peru. The sake and Japanese whiskey pairings are expertly managed by bar and front-of-house manager Marjorie Caputo, including especially a truly wonderful, chestnut-and-melonnoted Yamahai-style sake—a more traditional, naturally fermented sake style that shows off the yeast—from revered boutique sake label Yuki no Bosha. A black-sugar-syruped panna cotta was paired surprisingly well with a Coffey-grain Nikka whiskey. Meanwhile, owner-sommelier Kurt Heilemann from East Burnside’s Davenport assisted with a spot-on but unlikely wine pairing for the nigiri course—a muscadet, the same thing a coastal Norman might swig with his oysters. At $30 or $45, the drink pairings aren’t a cheap addition— though they are carefully managed not to leave you hope-


lessly sloshed at the end of your many-course meal—but take the suggestions very seriously as a starting point for singledrink orders. Or just pick up a lovely Kemura cocktail ($14) granting equal say to mezcal smoke, bitter fernet and citrus tang under egg-white froth—a precarious highwire of a tipple whose delicacy could be matched by few drinkeries in town. In comparison to Nodoguro’s themed dinner theater, Fukami feels much more improvisational and casual in general—sometimes to a fault—and the composed dishes don’t quite attain the heights of that restaurant. The space also feels cavernous for the number of diners; Fukami will seek a more intimate space when Hokusei’s original lease ends next February. But the spot’s casualness can also amount to a pleasant approachability. And with its fine attention to detail, Fukami has also become what’s almost certainly the finest dedicated sushiya in town, comparable to high-end sushi spots you’d find in a city like Los Angeles that has a more established Japanese population. And though Fukami may seem high-priced in makihappy Portland, it’s a steal compared to what you’d pay for sushi of this caliber anywhere else in the country. Don’t come here to fill up your belly—that’s not what nigiri is for. Come here to fill up your senses, the same way John Denver does with a walk in the rain.


FUKAMI, 4246 SE Belmont St., 971-279-2161, 5-9 pm Tuesday-Saturday.




Willamette Week JULY 20, 2016



Willamette Week JULY 20, 2016

Willamette Week JULY 20, 2016



Willamette Week JULY 20, 2016


courtesy of blowout


If we’re being honest, you don’t really need a guide to PDX Pop Now. It’s free, it’s one of Portland’s best civic traditions, and it goes on for three days. Just show up and hang around a while, and chances are you’ll discover a great band, rapper or producer you never knew existed. They might even be your neighbor. On the other hand, some of us just need schedules, whether in life or a music festival. So if you’re looking to plan your time, and take in the full breadth of the Portland music scene in one weekend, here are my picks for the acts you should make sure to see. c o u r t e sy o f fac e b o o k

FRIDAY, JulY 22 Come early for: Saola (6:40 pm)

Remember Unlocking the Truth, the preteen metal band whose videos of playing on the streets of New York briefly went viral? Saola isn’t quite that young, but the band has shown a similarly advanced mastery of the shredding arts that should make the stoner bros you knew in high school who are still pining for a Wednesday night opening slot at Ash Street weep with envy.

Stick around for: Loch Lomond (10 pm)

A few years ago, the Portland indie-folk institution vowed it would never play in the United States again because, as founder Ritchie Young put it at the time, he couldn’t bear the thought of touring through Phoenix again. Obviously, they didn’t hold to that, but hometown performances have grown more rare. With fifth album, Pens From Spain, arriving in September, look forward to hearing a lot of new material.

Stay late for: Mic Capes (midnight) In Portland, it seems like only one rapper is allowed local ubiquity at a time, and right now it’s Mic Capes. That’s a testament to his hustle, and his continuing maturation into a potent voice of African-American protest—see newest single “One 4 O’Shea,” his enraged response to the most recent spate of officer-involved shootings. Even if you saw him on the steps of City Hall for Hip-Hop Day, at WW’s Best New Band showcase, or opening for Bone Thugs-n-Harmony at Crystal Ballroom, headlining PDX Pop Now is the culmination of Capes’ year on the grind. Expect him to deliver something special.

t o t e m e n t.

Also make time for: Ali Muhareb’s Mujahedeen’s post-Animal Collective beatscapes (7:20 pm), Snowblind Traveler’s moody blues (9:20 pm), Gold Casio’s dreamy disco (11:20 pm).


SuNDAY, JulY 24 Come early for: Blowout (1:20 pm) lolA buzzkIll

SAtuRDAY, JulY 23 Come early for: Mr. Bones (12:40 pm) One of three representatives from Good Cheer Records, the youth-oriented label run by Blake Hickman and Mo Troper, the quartet makes lo-fi bubblegum in the Robert Pollard genus. Taken with the basement emo of Sabonis and Little Star’s heart-bearing indie rock, it’s proof that the kids of Portland are all right, even if they don’t have many places to play. Stick around for: Old Grape God (4:40 pm) A visual artist who seems to regard hip-hop as just another open canvas, Grape God splatters beats with his stream-of-consciousness flow in a way that defies a lot of the preconditioned rules of the rap game. Whether painting with the alien screw music of his main producer, Skelli Skel, or the cosmic electronica of his recent Calmanac EP, a collaboration with the Dropping Gems label, no one in Portland sounds quite like him, and predicting what he’ll bring to the stage for any given show is impossible. Stay late for: Lola Buzzkill (10:40 pm)

Admittedly, there’s not a whole lot out there about this new project—all that exists online is a handful of YouTube videos revealing a jammy soul ensemble with a glittery fashion sense to match its burlesque-dancer band name. But PDX Pop Now is the place for comingout parties, and based on what little evidence exists, a party it should be.


Also make time for: Tender Age’s hazy slowcore (2 pm), Tiny Knives’ grimy, zig-zagging punk-metal (5:20 pm), 1939 Ensemble’s jazzy post-rock—now with trumpet! (9:20 pm).

Playing roughly effervescent pop-punk that’s both sugary and scrappy, Blowout somehow triangulates the Get Up Kids, Hop Along and the Breeders within swollenhearted pogo anthems that seem destined for bigger things and, frankly, better set times in the near future. The just-after-lunchtime placement for these Best New Band finalists is downright criminal, but if you need a reason to get out of bed before midafternoon, here’s your inspiration.

Stick around for: Disemballerina (4 pm) “Doom metal” to the degree that the Game of Thrones theme song is “doom metal,” this goth-leaning chamber trio’s morose instrumentals—played primarily on harp, cello and viola—suggest a heaviness most can’t conjure with their amps turned to 11. Seeing them in the glare of the midafternoon sun isn’t ideal, but unless the festival moves to a medieval dungeon, the setting was never going to be perfect. Stay late for: Maze Koroma (8 pm)

A standout member of psychedelic rap crew Renaissance Coalition, Maze Koroma recently found a home for his future-forward vision in Martell Webster’s EYRST label, home to the breakout star of last year’s PDX Pop Now, the Last Artful, Dodgr. On his recent Osiris EP, Koroma offers his knack for blending abstraction and commentary on life in the digital age, largely moving away from the dusty psych samples of his previous projects toward production that could be used to score the next Mega Man game. Also make time for: Cilantro’s potpourri of multi-culti grooves (2 pm), Force Publique’s electronic shoegaze (3:20 pm), Consumer’s cataclysmic (but sometimes oddly danceable) sound collages (6:40 pm). SEE It: PDX Pop now is at audiocinema, 226 se madison st., on friday-sunday, July 22-24. free. all ages. see for complete schedule.

Willamette Week JULY 20, 2016



= 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. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to 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: Fax: 243-1115.

WEDNESDAY, JULY 20 Inter Arma, Withered, Norska

[PRECIOUS METAL] If Inter Arma’s first two collections were merely demonstrations of its powers—dazzling proficiency, batshit ferocity, influences ranging across various metal fiefdoms—and 2014’s 45-minute, single-track EP, The Cavern, a declaration of uncompromising principles, the five-sided Virginian horde’s latest release, Paradise Gallows, delves deeper, harder and weirder for epic album ambitions. Though songs don’t flow together by any conventional means, as proggy fretwork suddenly surrenders to seismic riffs careening atop hellish caterwauling between cataclysmic thuds, even the most weaponized bursts of sonic chaos bleed hints of an infernal muse tightening strings. JAY HORTON. Doug Fir Lounge, 830 E Burnside St. 9 pm. $10. 21+.

The Jayhawks, Fernando

[AMERICANA] The new Paging Mr. Proust marks the fourth album the Jayhawks have made without founding co-leader Mark Olson. I’ve never cared much for the band’s work with singerguitarist Gary Louris alone at the helm, but Proust—which the Minnesotan band cut in Portland with Peter Buck and Tucker Martine co-producing alongside Louris—seems about as strong a collection as 2011’s one-off reunion with Olson, Mockingbird Time. As on his first disc sans Olson, 1997’s Sound of Lies, Louris sounds both pissed and chastened, and the alternately crunchy and smooth guitar tones effectively deliver each emotion. The absence of the pair’s Everly-esque harmony blend, though, remains a grievous loss. JEFF ROSENBERG. Revolution Hall, 1300 SE Stark St. No. 110. 8 pm. $35. 21+.

THURSDAY, JULY 21 The Avett Brothers

[NEW-AGE FOLK] Brotherly love makes for the best harmonies—in theory. The Avetts have been channeling heartache for 16 years now, and though they started as an earnest act with country-tinged grit and some shoddy tweed, their folkish tendencies have shifted with their Mumfordian ascent, reaching its apex with True Sadness. Songs like lead single “Satan Pulls the Strings” take the group’s old-time instrumentation and blast it through with a chorus of EDM synths. These effects make for a varied LP, but the bloated layers suffocate the winning simplicity that was once the Avetts’ best quality.


BRANDON WIDDER. Edgefield, 2126 SW Halsey St., Troutdale. 7 pm. Sold out. All ages. Through July 22.

Mild High Club, Sun Angle, Boone Howard

[ELEVATOR PSYCH] If this isn’t the lineup of the year, it will undoubtedly finish toward the top of the list. Any one of these experimental-rock outfits could headline a show of its own, but they’ve decided to join together for maximum enjoyment. Headlining the night is Mild High Club, Alex Brettin’s heady, groovy, L.A. band, whose forthcoming LP, Skiptracing, is easily one of the strongest in a busy year of music. It offers a lo-fi smoothness akin to elevator music while challenging the listener with psyched-out effects and subtle hints of jazz, soul and glam. MARK STOCK. Holocene, 1001 SE Morrison St. 8 pm. $10 advance, $12 day of show. 21+.

Pinegrove, Sports, Half Waif, Snow Roller

[RUSTIC EMO] Much like the band’s home state of New Jersey, the music of Pinegrove at first seems, to the unacquainted, very much one thing—until it definitely isn’t. On its recently released debut, Cardinal, songwriter Evan Stephens Hall and drummer Zack Levine start each song by orienting the listener to alt-country tropes—plucked banjo, warmly reassuring pedal steel, an undercurrent of existential malaise—before leaving them wallowing in the catharsis of post-rock, emo and power pop. Unlike New Jersey, all this upending of expectations makes the band seem capable of anything. DOM SINACOLA. The Analog Cafe, 720 SE Hawthorne Blvd. 6 pm. $10 advance, $12 day of show. All ages.

Crystal Castles

[SILVER LINING] Being a fan of Crystal Castles these days is like being the child of divorced parents. Since frontwoman Alice Glass split from producer Ethan Kath on less-than-amicable terms in 2014, supporting either faction can feel like choosing sides in a conflict you don’t really understand. But what we’ve heard from Crystal Castles’ first album with new singer Edith Frances is pretty awesome so far. “Char” features more of the aggressively dreamy lo-fi electronics the group is known for, while “Concrete” is an assaulting, grungy party song. Navigating the hurt feelings within this breakup can be tricky, but just look at it this way: With Glass set to release her own solo album, you’re about to get two Christmases! SHANNON GORMLEY. Wonder Ballroom, 128 NE Russell St. 8:30 pm. $20 advance, $25 day of show. All ages.

Willamette Week JULY 20, 2016

Laura Gibson plays Mississippi Studios on Saturday, July 23.

FRIDAY, JULY 22 Wand, Sleeping Beauties

[HOT FUZZ] Once you get through the thick, beaded entry of searing guitar, Wand’s sound is surprisingly melodic. The vocals are echoey and enchanting, giving the growling garage-rock backdrop a trippy edge. The Los Angeles trio released Golem last year, a calculated batch of fire-breathing noise. Get lost in the droning walls of sound if you like, but the really good stuff is in the wild rhythms and tempo switches. Fans of Ty Segall and Thee Oh Sees ought to attend. MARK STOCK. Doug Fir Lounge, 830 E Burnside St. 9 pm. $10 advance, $12 day of show. 21+.

Dead and Company

[YOUR BODY IS A DARK STAR] See Headout, pg. 25. Moda Center, 1 N Center Ct St. 7 pm. $50-$149.50. All ages.

Sera Cahoone, Anna Tivel

[FOLKING AWESOME] It’s been a minute since Sera Cahoone released her lush, gorgeously orchestrated Deer Creek Canyon, a tribute to her onetime home in Colorado. Her voice sits perfectly among the lap steel and jangly banjo in unpretentious humility, a bit like Georgia Hubley from Yo La Tengo sitting in with Neil Young’s band on Harvest and everyone took Demerol. Luckily, the record is dense enough to make shelf life nonexistent. CRIS LANKENAU. Revolution Hall, 1300 SE Stark St., No. 110. 7 pm. $13 advance, $15 day of show. 21+.

SATURDAY, JULY 23 Laura Gibson, Loch Lomond

[LITERARY FOLK-ROCK] It’s hard to pick a favorite song on Empire Builder, the fourth album from Oregon-bred singer-songwriter Laura Gibson and the first one recorded after she left Portland to attend grad school in New York City. Gibson’s music has always had an understated beauty, and Empire Builder continues to expand her scope. Songs which, on the surface, scan as acoustic reveries, like the gorgeous “Damn Sure,” actually contain little layers of sound hidden in every crevice, from echoing backing vocals to whisps of warm electric guitar and piano. It’s the type of record that you want to purchase just so you can get a lyric sheet to follow along to every word. With Empire Builder, Gibson makes the claim that she’s not just one of the best songwriters to emerge from the local scene of the last 10 years, but one of the best writers, period. MICHAEL MANNHEIMER. Mississippi Studios, 3939 N Mississippi Ave. 9 pm. $15 advance, $17 day of show. 21+.

The Claypool Lennon Delirium, JJUUJJUU

[ODDBALL PSYCH] As seemingly looney a pairing as Les Claypool and Sean Lennon make in theory, the album the two have made under the name the Claypool-Lennon Delirium, Monolith of Phobos, is fairly easy to imagine if you have any familiarity with the pair’s respective backgrounds. Lennon is the son of John and Yoko, who has been playing around the edges of pop since the alt-rock ‘90s. And Claypool is, of course, the slap-happy bass wiz behind Claymation-funk institution Primus. Put them together, and you get shroomed-

out, loosely arranged carnival psych which, at certain moments of heated weirdness, resembles Sgt. Peppers after being left to melt in the sun. That is to say, fans of Claypool’s million other excursions will certainly dig it. Everyone else is advised to stay away. But you were probably going to do that anyway. MATTHEW SINGER. Roseland Theater, 8 NW 6th Ave. 9 pm. $32. All ages.

SUNDAY, JULY 24 Willie Nelson, Richmond Fontaine

[COUNTRY] You know what to expect from a Willie Nelson show. His laconic, homespun delivery of his vast and exquisite back catalog, and perhaps of some of the even older tunes assayed on this year’s Summertime: Willie Nelson Sings Gershwin. Jokes about smoking dope—especially here In Oregon, where it’s been newly legalized—perhaps joined to serious remarks about his efforts to keep the nascent weed industry out of the clutches of big agribusiness; fleeting snatches of Django-esque brilliance from Nelson’s battered axe; and, due to Nelson’s universally beloved charm, a warm glow uniting the entire audience, be they boosters of Sanders, Clinton or Trump. JEFF ROSENBERG. Edgefield, 2126 SW Halsey St., Troutdale. 6:30 pm. Sold out. All ages.

Pure Bathing Culture, Mike Gamble

[PASTEL POP] Portland’s Pure Bathing Culture burst on the scene to much fanfare with one of the best albums of 2013. It churned with distant echoes, retro-inspired synths and guitars that would have fit just as nicely on a Beach House or Lower Dens record.

MONDAY, JULY 25 Robert Ellis, Bustin’ Jieber

[tWAnGY PoP] When Robert Ellis released Photographs in 2011, people were hailing the texan as the next Willie nelson. the record features mostly Ellis and his guitar, that age-old country music pairing that inspires self-reflection and one too many drinks, but the new Ellis is wading in safer waters, preferring pop melodies and lush, symphonic sounds to the tender Americana he started with. His new self-titled record echoes this transition, while still containing flashes of brilliance and the sharp lyricism that captured crowds years ago. MARK StocK. Dante’s, 350 W Burnside St. 8 pm. $10. 21+.

Yoni and Geti, Go Dark, Ant’lrd

[InDIE RAP] Yoni and Geti are the power combo representing the rapping quotient behind Anticon’s esteemed Why? collective, which comes across like a DatPiff-certified tV on the Radio on sophomore release Testarossa. Local standout Ant’lrd’s power-electronic bricolage and field recordings provide ample prelude to the abstract production of this set—a droning preamble through hazily constructed sequences of cloudy bliss. WYAtt ScHAFFnER. Mississippi Studios, 3939 N Mississippi Ave. 8 pm. $15. 21+.

TUESDAY, JULY 26 Psychedelic Furs, the Church

[PREttY In GREY] Although their career path fits the precise blueprint of permanent nostalgia-circuit fixtures, Psychedelic Furs deserve a grander fate than shilling awesomely’80s memories alongside the revivified novelty acts of that old new wave. their lyrics were too incisive and warmly unsentimental, and Richard Butler’s lacquered-oak vocals held too much gravitas. However dated the light dusting of saxophone riffs atop pub-punk rumblings, the elegantly-serrated tunes were marvels of ruminative momentum. At their best, Psych Furs’ shambling anthems evoked more lovelorn folly and bittersweet hauteur than either Molly Ringwald’s pout or James Spader’s smirk put together, and they’ve weathered the years with considerably more panache. JAY HoRton. Revolution Hall, 1300 SE Stark St., No. 110. 8 pm. $39.50. Under 21 permitted with legal guardian.

Dubais, Mattress, Strange Babes

[SoUL’S FUtURE PASt] Despite their futuristic sounds, a bill featuring Dubais and Mattress feels like a flashback to Portland past. now living in Berlin, nadia Buyse, of Dubais, has mixed spacey pop with lo-fi appeal since her days in Ghost Mom, while Rex Marshall has been and always will be best-known for the gothic lounge songs he produces as Mattress. (new album Looking for My People just came out on Isaac Brock’s Glacial Pace label.) With the thermals’ Kathy Foster spinning records along with the rest of the fabulous Strange Babes crew, this show should transport you back to the days before everything was condos—if only for a moment. cERVAntE PoPE. The Know, 2026 NE Alberta St. 8 pm. Call venue for ticket information. 21+.

CLASSICAL, JAZZ & WORLD Tony Barba, Tricapitate

[SAXoPHonE SUMMIt] As the years since the passing of musical explorers like John coltrane and Rahsaan Roland Kirk wane ever onward, reed players like tony Barba are carrying the creative torch forward rather than quoting the gilded past. A virtuosic trickster whose innovative approach makes him equally enthralling as a solo performer as he is in more layered settings, Barba’s music is replete with digital effects and hard-grooving rhythms, with the saxophonist taking an Eddie Van Halenstyle approach to his instrument. A trio of Portland’s finest sax players called tricapitate—who borrow their name from a mythological triple-headed eagle—will follow Barba, in an night of harmonies, squeaks and squeals, courtesy of the city’s creative Music Guild. PARKER HALL. Turn! Turn! Turn!, 8 NE Killingsworth St. 8 pm Wednesday, July 20. $5-$15 sliding scale. 21+.

Metropolitan Youth Symphony presents Portland Summer Ensemble Faculty Recital

[cLASSIcAL] Every summer, present and former oregon Symphony musicians—including former concert master Jun Iwasaki, who now plies his trade with the nashville Symphony— coach the young musicians of the Metropolitan Youth Symphony, culminating in concerts by the students and faculty. the latter (oregon Symphony violinist Emily cole, violist Brian Quincey, cellist Marilyn Deoliveira and Iwasaki) will play Mendelssohn’s op. 80 string quartet and a movement from one of Beethoven’s string trios. Pianists Susan Smith (from third Angle) and Yoko Greeney will also play Pulitzer Prize-winning contemporary Michigan composer William Bolcom’s little off-balance ragtime duet, “the Serpent’s Kiss,” which musically depicts Adam and Eve cakewalking their way out of the Garden of Eden. the student concert happens Saturday at Marylhurst University. BREtt cAMPBELL. The Old Church, 1422 SW 11th Ave. 7:30 pm Thursday, July 21. $20. All ages.

cont. on page 35


Dreamy follow-up Pray for Rain followed suit in 2015, offering up gauzy textures and pre-programmed drumbeats, laying the groundwork for frontwoman Sarah Versprille’s voice to beautifully dawdle alongside guitarist Daniel Hindman’s melodies. the cool, nonchalant approach renders it some of the best dream pop around, and it’ll sound especially lovely paired with the view from the Revolution Hall roof deck. BRAnDon WIDDER. Revolution Hall, 1300 SE Stark St., No. 110. 7 pm. $15. 21+.


WOODS MAY HAVE CUT ITSELF OFF FROM THE WORLD, BUT ITS SOUND IS GOING GLOBAL. The history of Brooklyn psychedelic folk-pop outfit Woods reads like a how-to guide on doing everything yourself. The band’s formation in Bushwick a decade ago coincided with the establishment of Rear House, the home studio where the group rehearsed and recorded. Guitarist Jarvis Taveniere has engineered Woods’ extensive catalog, and vocalist-guitarist Jeremy Earl has released each record—nearly one a year since the group’s inception—on his own Woodsist label. They’ve even started an annual festival in Big Sur, Calif., that shares the label’s name and features bands whose careers the label helped launch. In the band’s early days, though, Tavaniere admits it wasn’t much different from other New York transplants in the same fruitless hustle. Eventually, the band made a decision to ignore the pursuit of its own success and instead look inward. “We took ourselves too seriously and weren’t getting results,” he says. “And then, when we started just making things we loved and not worrying about the outside world, that was when people started to care.” That insular ethos has remained essential to Woods, guiding the band through nine LPs and a handful of singles whose influences range from ’60s pop and bucolic folk to the psychedelic reggae of new record City Sun Eater in the River of Light. The Taveniere-Earl songwriting partnership is the kind of symbiotic harmony most musicians spend lifetimes searching for, with Earl as the prolific creative and Taveniere as the preternatural technician, inclined more toward editing or enhancement, with his development as an engineer happening in parallel to the band’s expanding ambition.

A few things have changed, though. The record label Earl had initially founded as a platform for his own band has grown large enough—launching the careers of ancillary members or friends of the band like Kevin Morby and Rafi Bookstaber—that it now requires his full attention. So Earl moved to upstate New York, where he can run Woodsist whenever he’s not writing music. With Earl running Woodsist and Tavaniere producing records for other bands full-time, the creative process now requires months of planning and out-of-town retreats to write for the project that was once just part of their daily routines. But while it might take more effort for the band to get together these days, the distance and distractions have hardly slowed Woods’ evolution, with City Sun Eater in the River of Light incorporating tropicalia and African jazz influences that are a far cry from the band’s lo-fi folk roots. Taveniere says it’s all part of a natural progression. “We like all kinds of stuff,” he says. “All of our records are all over the place. I don’t think anything is off boundaries. People think of us as a folk band, and I’m OK with that, but there’s so much more that we listen to. I don’t wanna die only playing one kind of music. I want to incorporate more.” CRIS LANKENAU. SEE IT: Woods plays Mississippi Studios, 3939 n Mississippi Ave., with cian nugent and the Lavender Flu, on Friday, July 22. 9 pm. $13 advance, $15 day of show. 21+.

Willamette Week JULY 20, 2016



Willamette Week JULY 20, 2016

MUSIC Lakou Mizik, Balans

[HAITIAN POP] After the ruinous 2010 earthquake that devastated so much of their already beleaguered home island, several Haitian musicians formed a collective to raise national spirits through music. Enlisting the help of Refugee All Stars producer Chris Velan and David Bowie producer Iestyn Polson, the three-generation band Lakou Mizik mixes rising young stars with esteemed elders like vodou drummer Sanba Zao. The Portau-Prince nonet’s music blends Caribbean and other influences that span the decades and the oceans, including French chanson-style accordion, jazzy horns and intensive doses of Afropop. BRETT CAMPBELL. Alberta Rose, 3000 NE Alberta St. 8 pm Friday, July 22. $20-$35. Under 21 permitted with legal guardian.

The Extradition Series

[CONTEMPORARY CLASSICAL] The Creative Music Guild’s annual summer Extradition concert mingles today’s contemporary improvisational, classical, electronic and other experimental music with some of the modernist 20th-century music that inspired 21st-century composers. This summer’s avant-garde classic is the late, influential New YorkLos Angeles composer James Tenney’s oceanic 1967 “Swell Piece,” which gradually unfolds independent, overlapping long tones into sonic crosscurrents of morphing textures, performed here by the local sax stars John C. Savage, Joe Cunningham (of Blue Cranes), bass clarinetist Jonathan Sielaff and more. Savage will

DATES HERE play one of his own impromptus for solo flute, while Sielaff performs a piece by Mark Hannesson. The concert also offers music by Christian Pincock and Robert J. Kirkpatrick, performed by Portland and Seattle musicians. BRETT CAMPBELL. Leaven Community Center, 5431 NE 20th Ave. 7:30 pm Saturday, July 23. $5-$15 sliding scale. All ages.

Seffarine with Randy Porter

[MOROCCAN FLAMENCO] For over 1,000 years, deep in the heart of Fes, Morocco, metalsmiths like those in the family of vocalist Lamiae Naki have hammered away in Seffarine Square, famed curators—by virtue of their backbreaking work—of some of the world’s most interesting ambient rhythms. Naki may not have taken up the family trade, but her genredefying partnership with flamenco guitarist Nat Hulskamp is itself a skilled blending of musical alloys. Modal Middle-Eastern scales join mellow Iberian guitar, a match that will be accented this evening by local piano hero Randy Porter. Together, they offer the crowd a classic-sounding world-music combination that is, in reality, anything but classic. PARKER HALL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm Monday, July 25. Free. Under 21 permitted until 9:30 pm.

For more Music listings, visit


Bombay Beach

DEATH TAPE (Amigo/Amiga) [GARBAGE SONATA] Nothing about B o m b a y B e a c h ’s debut—the delirious, detritus-daubed Death Tape— suggests the trio h a s a ny i n tention other than pushing as many hooky riffs and as much scrappy noise through in as few minutes as possible. Everything about the album succeeds to that extent, and every one of its 18 tracks is like a petri dish overflowing with the discharge of too many good ideas, trapping the bacteria of surf rock and grunge and postwhatever noise within the culture of a lo-fi sound that acts like a mini-universe unto itself. “Singularity Chorus” and “Deep City Chase” make for surprisingly lush, gorgeous walls of sound into which the chewy, thorny “Murder USA” and the sing-along “Future Fever” sprint headfirst. Some songs imagine what would happen if Sparks fronted Death Grips (“New American Rage”) or if Spoon embraced its nihilistic side (“Breakneck/Breakbottle”). Death Tape is all over the place, but it isn’t so much a mess as just a wonderful clusterfuck. That it also happens to be a concept album, serving as a script for Bombay Beach’s in-the-works genre film, is nothing short of inspiring. It should make other bands wish they could get as much done with so little. DOM SINACOLA. SEE IT: Bombay Beach plays the Know, 2026 NE Alberta St., 503-473-8729, with Full Creature, Bohr and Willow House, on Friday, July 22. 8 pm. Contact venue for ticket prices. 21+. Willamette Week JULY 20, 2016




Elke Robitaille is a Portland based singer-songwriter and folk artist who performs original compositions from haunting ballads to foot-stomping bluegrass. To date, Elke’s original songs have now been released on albums and a Live EP. The latest studio album, “In The End” was just released in June through Robitaille’s independent label.

No Cover Charge


Inspired by the country, folk, and bluegrass records he’d heard while growing up in southern Texas, Ellis began playing shows around his hometown of Houston, earning residencies, gaining diehard fans and landing a deal with New West Records. His new self titled album released last month.




The Mystery Lights are living proof that vital contemporary music, in this case real-deal rock’n’roll, can still be dreamed, constructed, and performed in the Empire city. Organically unfolding over the nights and months and years, the Lights’ sound evolved into a fuzzed-out hopped-up 21st Century revisionist take on 60s garage pebbles and 70s punk and proto-punk that is very much their own.


at Oregon Convention Center Thursday 11–6 | Friday & Saturday 10–6 Sunday 10–4 FREE Admission

Auctions • Postal History Exhibition New Stamp Issues • Stamp Dealers Free Stamp Collection Evaluations Stamp Designers • History Seminars



Karaoke nightly till 2:30am

Ride with Rambush and you’re as likely to headbang to the heavy riffage of Slayer on their car stereo as you are to sing along to the warm storytelling of Marty Robbins. On their EP The Leech, released in May on Sound Judgment, the group strikes the perfect balance between ugly and pretty. Over the course of five songs, the group thrashes and harmonizes in equal parts.

(503) 234-6171 3390 NE Sandy Blvd 535 NE Columbia Blvd


3 Over 1000 New Vinyl Titles At

50% Off! (That’s right, 50% off!)

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Willamette Week JULY 20, 2016

MUSIC CALENDAR WED. JULy 20 Alberta Street Pub

1036 NE Alberta St Folkslinger with The Lesser Known and Eric Kallio

Bossanova Ballroom 722 E Burnside St. Stu Hamm : Rock Experience PDX


1665 SE Bybee Blvd Thorleif and Colescott

Doug Fir Lounge

830 E Burnside St. Inter Arma, Withered, Norska

High Water Mark Lounge

6800 NE MLK Ave Sweeping Exits, Moe Meguro, Mordecai


1001 SE Morrison St. Pop + Puppetry #3

Jimmy Mak’s

221 NW 10th Ave. The Christopher Brown Quartet; Mel Brown Quartet

Kelly’s Olympian

426 SW Washington St. Keeper Keeper, Each Both

LaurelThirst Public House

2958 NE Glisan St Dead Wood Standing; Boys II Gentlemen

Mississippi Pizza

3552 N Mississippi Ave Tallulah’s Daddy

Adlai Alexander Trio

Duff’s Garage

2126 SW Halsey St Troutdale OR 97060 The Avett Brothers

6800 NE MLK Ave Castle, Disenchanter, tba

426 SW Washington St. Green Luck Media Group presents: Sophia Bass and Mikaela Bailey, Conscious Nest

The Know

The Liquor Store

Six Gun Romeo; The Pearls

Revolution Hall

1300 SE Stark St #110 Toad the Wet Sprocket, Rusted Root

The Analog Cafe

Panic Room

Revolution Hall

2845 SE Stark St Sneaky Pete & The Secret Weapons with Cycles

The Analog Cafe

720 SE Hawthorne Blvd. Kingston 10, Reggae Weddnesdays

The Goodfoot

2845 SE Stark St Farnell Newton’s Othership Connection

The Know

2026 NE Alberta St The Hight Curbs, Hey Lover, Lady Wolf, On Drugs

The Liquor Store

3341 SE Belmont St, Old Kingdom / BoneHawk / Pseudoboss

The Old Church

1422 SW 11th Ave Christopher Schindler, concert pianist

Turn! Turn! Turn!

8 NE Killingsworth St Tony Barba, Tricapitate

Twilight Cafe and Bar 1420 SE Powell Karaoke From Hell


232 SW Ankeny St Tiger Breaks

The Firkin Tavern

The Goodfoot

2026 NE Alberta St Mini Blinds // Love, Fuck // Seance Crasher 3341 SE Belmont St, Deathlist, Moon Tiger, Top Parts

The Old Church

1422 SW 11th Ave Metropolitan Youth Symphony presents Portland Summer Ensemble Faculty Recital

The Secret Society

116 NE Russell St Thursday Swing featuring Trashcan Joe, Pink Lady & John Bennet Jazz Band at The Secret Society

White Eagle Saloon 836 N Russell St Tom Rhodes

Wonder Ballroom 128 NE Russell St. Crystal Castles

FRI. JULy 22 Alberta Rose

3000 NE Alberta St Lakou Mizik, Balans


THURS. JULy 21 Bossanova Ballroom

722 E Burnside St. D.I. with Rendered Useless & Unite


1665 SE Bybee Blvd

SUN. JULy 24

DAME TIME: The MVP chants started early, right after the crowd sang “Happy Birthday.” DJ OG One might have proclaimed Damian Lillard had “left” the Crystal Ballroom shortly before the All-NBA point guard’s concert debut July 15, only to be replaced by his hip-hop alter-ego, Dame DOLLA, but there was no fooling this crowd. Lillard might take music more seriously—and do it more respectably—than a lot of his peers, but basketball is the reason he sold out one of Portland’s biggest theaters. If he decided to try improv comedy or kabuki theater, or just stand onstage eating a sandwich, the city still would’ve clamored for tickets. That’s why “reviewing” Lillard as a rapper still feels beside the point. For the record, he sounded the same live as he does on SoundCloud: technically proficient, if a bit monotone. Surrounded by what seemed like his entire family—his cousins, Brookfield Duece and Danny From Sobrante, opened—Lillard paced the stage, often with one hand over his crotch, accentuating the heavy-looking diamond watch on his wrist. He carried himself with the same stoicism he brings to the court, hardly deigning to smile even while pausing the performance to get down to “I’ve Got 5 on It” and “Blow the Whistle.” Tim Frazier ran out and did the Tim Frazier Dance. CJ McCollum jumped up and endearingly danced like a nerd. Was it a good show? Good enough. But it was a great party, one we should all feel lucky to have been invited to. As OG One said at one point, “He didn’t have to do this.” All hail the MVP. MATTHEW SINGER.

3939 N Mississippi Ave. The Lonesome Billies // Dick Stusso

226 SE Madison St PDX Pop Now

Doug Fir Lounge

830 E Burnside St. Wand, Sleeping Beauties

Duff’s Garage

2530 NE 82nd Ave

Mississippi Pizza

116 NE Russell St Get Rhythm; Mission Spotlight, VACILANDO, Underwhelming Favorites

Mississippi Pizza


2126 SW Halsey St., Troutdale The Avett Brothers

High Water Mark Lounge

6800 NE MLK Ave Badr Vogu, Vastation, Tsepesch, Maximum Mad

Jimmy Mak’s

221 NW 10th Ave. Mike Phillips

Kelly’s Olympian

426 SW Washington St. GLMG + WOHM present: #TOWN: YEAR ONE Visual Art and Fashions from Bro Pluto - Jordan Carter Keegan, Karess, DrewLocs, Gifted Gab, QDOT, Eminent, We Be The Team, Talilo

Kenton Club

Mississippi Studios

3939 N Mississippi Ave. Woods // The Lavender Flu

Moda Center 1 N Center Court St Dead & Company

Oregon Zoo

4001 SW Canyon Rd. UB40, the Wailers

Panic Room

3100 NE Sandy Blvd IDLEHANDS (Equal Vision Records) West Coast Tour 2016

Revolution Hall

1300 SE Stark St #110 Sera Cahoone, Anna Tivel (roof deck); The Wailin’ Jennys

Roseland Theater 8 NW 6th Ave NW Hard Rock Invitational II

2025 N Kilpatrick St Cougar/Greenriver Thrillers (Sea)/KLAW (Sea)

The Analog Cafe

LaurelThirst Public House

The Firkin Tavern

2958 NE Glisan St Tommy Alexander / Mike Coykendall; Lynn Conover & Little Sue

Mississippi Pizza

3552 N Mississippi Ave The Good, The Broad Strokes; Chuck Masi Bluegrass

720 SE Hawthorne Blvd. School of Rock Concert ; El Escapado 1937 SE 11th Ave Jameson & The Conditionals

The Know

2026 NE Alberta St Bombay Beach, Full Creature, Bohr, Willow House

The Lovecraft Bar 421 SE Grand Ave

Witch Bottle

The Old Church 1422 SW 11th Ave Bryne & Kelly

The Secret Society

116 NE Russell St Pete Krebs and his Portland Playboys; The Local Strangers, Kelsey and the Next Right Thing, DJ Klavical

Wonder Ballroom

128 NE Russell St. Streetlight Manifesto

SAT. JULy 23 Alberta Street Pub 1036 NE Alberta St The Sextet • Two Planets


226 SE Madison St PDX Pop Now

Doug Fir Lounge 830 E Burnside St. HONEYHONEY

Duff’s Garage

2530 NE 82nd Ave Bridgecreek; Joe Baker and the Kitchen Men

Euphoria Nightclub

315 SE 3rd Ave Mr. Carmack, Promnite

High Water Mark Lounge

6800 NE MLK Ave Order of the Gash, Balsa, Cura Cochino, Law Boss

Leaven Community Center

5431 NE 20th Ave. The Extradition Series

Mississippi Pizza

3552 N Mississippi Ave Hayley Lynn; Maia Pilot

Mississippi Studios

3939 N Mississippi Ave. Laura Gibson, Loch Lomond

Oregon Zoo

4001 SW Canyon Rd. The B-52s, English Beat

Panic Room

3100 NE Sandy Blvd Undergang, Spectral Voice, Blood Freak and Sempiternal Dusk.

Revolution Hall

1300 SE Stark St #110 The Wailin’ Jennys

1300 SE Stark St #110 Oh Pep! (roof deck)

The Analog Cafe

Doug Fir Lounge

1665 SE Bybee Blvd ArcadiaPDX String Quartet 350 West Burnside SHIRLEY GNOME with Mr Plow and Matt Danger followed by Sinferno Cabaret

Doug Fir Lounge

830 E Burnside St. Great Good Fine Ok

Edgefield 2126 SW Halsey St Troutdale OR 97060 Willie Nelson, Richmond Fontaine

LaurelThirst Public House

2958 NE Glisan St Pagan Jug Band; Freak Mountain Ramblers

Mississippi Studios

2958 NE Glisan St Billy Kennedy (all ages); The Yellers

Revolution Hall


PDX Pop Now

Kelly’s Olympian

LaurelThirst Public House

Mississippi Studios

3939 N Mississippi Ave. Yoni and Geti, Go Dark, Ant’lrd


226 SE Madison St

Mississippi Pizza

426 SW Washington St. GLMG + WOHM present: #TOWN: YEAR ONE Visual Art and Fashions from Bro Pluto - Jordan Carter Brookfield Duece, Lang, Yo-X, Samuel the 1st, San Andrews, NickB, MOsley WOtta

3552 N Mississippi Ave Mr. Ben



Jimmy Mak’s

221 NW 10th Ave. Sabroso

LaurelThirst Public House

The Lovecraft Bar

The Secret Society

2958 NE Glisan St Billy Kennedy Band; Lewi Longmire & the Left Coast Roasters

Jimmy Mak’s

221 NW 10th Ave. Seffarine with Randy Porter; Dan Balmer Trio; Colescott Rubin and Friends

2958 NE Glisan St Portland Country Underground Kung Pao Chickens

421 SE Grand Ave Sexpark, Shadowlands

LaurelThirst Public House

830 E Burnside St. Benjamin Francis Leftwich

3341 SE Belmont St, Hanssen

The Liquor Store

Kelly’s Olympian

Mississippi Studios

Doug Fir Lounge

2026 NE Alberta St Irata // Mammoth Salmon // SkullDozer

221 NW 10th Ave. Mel Brown B3 Organ Group


The Firkin Tavern

720 SE Hawthorne Blvd. Garcia Birthday Band

The Know

Jimmy Mak’s

Letlive, Seahaven, Silver Snakes, & Night Verses 350 West Burnside Robert Ellis, Bustin’ Jieber; KARAOKE FROM HELL

2845 SE Stark St Otis Heat, Rose City Thorns

1001 SE Morrison St. Mild High Club, Sun Angle, Boone Howard

[JULY 20-26]

The Analog Cafe

The Goodfoot


3552 N Mississippi Ave Mo Phillips

8 NW 6th Ave The Claypool Lennon Delirium, JJUUJJUU

1937 SE 11th Ave Feral Friend//Neon Culpa //Jumblehead

High Water Mark Lounge

1937 SE 11th Ave The Shriekers//The Bricks//Under The Antlers

1300 SE Stark St #110 The Jayhawks, Fernando

Roseland Theater


Mississippi Studios

3100 NE Sandy Blvd Disassturbator / Slather / Jagula / Scourge of Ians


2530 NE 82nd Ave The Pearls

720 SE Hawthorne Blvd. Pinegrove, Sports, Half Waif, Snow Roller

3939 N Mississippi Ave. Ear Candy with Laura Palmer’s Death Parade, Reptaliens, Brumes

For more listings, check out


= WW Pick. Highly recommended.

Editor: Matthew Singer. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at submitevents. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email:

3552 N Mississippi Ave Star Witness 3939 N Mississippi Ave. On An On // Sego

Revolution Hall

1300 SE Stark St #110 Pure Bathing Culture, Mike Gamble


600 E Burnside St Ezza Rose + Sparrows Gate [CA]


600 E Burnside St Rontoms Sunday Sessions: Ezza Rose // Laura Palmer’s Death Parade

TUES. JULy 26 830 E Burnside St. The Mystery Lights, Psychomagic, Love Cop

Duff’s Garage

2530 NE 82nd Ave Hi-Fi Mojo

Jimmy Mak’s

221 NW 10th Ave. AJAM; Mel Brown Septet

LaurelThirst Public House 2958 NE Glisan St Mule on Fire; Lynn Conover & Gravel

Mississippi Pizza

3552 N Mississippi Ave Ian Uponen

Mississippi Studios

3939 N Mississippi Ave. Richard Buckner // Kory Quinn

Panic Room

3100 NE Sandy Blvd The Toads, OddKnee, Dr. Something

Revolution Hall

1300 SE Stark St #110 Psychedelic Furs, The Church

The Analog Cafe

720 SE Hawthorne Blvd. Brad Fowble (Seattle), The Living Souls (Portland), Millstone Grit (Portland); Sarah Anne DeGraw (SLC touring); THE RIFLE

The Goodfoot

Star Theater

2845 SE Stark St Jimmy Russell’s Party City 2034

The Analog Cafe

2026 NE Alberta St Dubais, Mattress, Strange Babes

13 NW 6th Ave. Ivardensphere, Cyanotic, Iszoloscope 720 SE Hawthorne Blvd. AFTON PRESENTS 2 FLOORS

The Secret Society

116 NE Russell St Miller & Sasser, Secret Emchy Society, John Shepski, Yours Truly, Michele

MON. JULy 25

The Know

The Liquor Store

3341 SE Belmont St, Dungeon Brothers, Dreckig, Etbonz


232 SW Ankeny St SOCCER MOMS with My Body is an Ashtray, xiphoid process

Bossanova Ballroom 722 E Burnside St.

Willamette Week JULY 20, 2016




Ill Camino Years DJing: My first regular gig was in 2003, so 13 years. Genre: Hip-hop, R&B, house. Where you can catch me regularly: Twerk at Killingsworth Dynasty, Titty Pop at Holocene. Craziest gig: In 2012, I got to play this huge gig in Paris with my friend Beth Ditto. It was in a giant tent that had been built in the Tuileries Garden. There were thousands of people. We got drunk on Veuve Clicquot mixed with sugar-free Red Bull. I met Grace Jones’ son, Paulo, and smoked a spliff with him. So surreal and so fun. My go-to records: Brenmar featuring Calore, “Payroll”; Maluca, “Lola”; reggaeton and moombahton remixes of pop and hip-hop songs. Don’t ever ask me to play: Eminem. NEXT GIG: Ill Camino spins at Twerk at Killingsworth Dynasty, 832 N Killingsworth St., with Deena B and II Trill, on Friday, July 22. 10 pm. $5. 21+.


232 SW Ankeny St DJ Bourbon Biscuits

FRI, JULY 22 WED, JULY 20 Beech Street Parlor 412 NE Beech Street DJ Andy Maximum

Dig A Pony

736 SE Grand Ave. Morning Remorse (fuzz, psych, hand claps)

Ground Kontrol

511 NW Couch St. TRONix (electronica)

Star Bar

639 SE Morrison St. DJ Suzanne Bummers

The Lovecraft Bar

421 SE Grand Ave Event Horizon (darkwave, industrial, EBM, synthpop)

THURS. JULY 21 Beech Street Parlor 412 NE Beech Street Krinkle Tooth


2600 NE Sandy Blvd. Emerson Lyon


Willamette Week JULY 20, 2016

Dig A Pony

736 SE Grand Ave. Battles & Lamar (freestyle, electro, boogie)

Double Barrel Tavern 2002 SE Division St. DJ Easy Fingers

Gold Dust Meridian

3267 SE Hawthorne Blvd. DJ Joel Jett


3967 N. Mississippi Ave. Brazilian Night w/ Nik Nice & Brother Charlie

Panic Room

3100 NE Sandy Blvd House Call - Techno Takeover 5.0

Star Bar

639 SE Morrison St. DJ Jonny Cakes

The Embers Avenue 100 NW Broadway Thursday Electronic

The Lovecraft Bar

421 SE Grand Ave Shadowplay w/ DJ Carrion (goth, industrial)

Beech Street Parlor

412 NE Beech Street Cowboys From Sweden

Black Book

20 NW 3rd Ave The Cave w/ Massacooramaan (rap)


2600 NE Sandy Blvd. ER & Leif

Crystal Ballroom

1332 W Burnside St 80’s Video Dance Attack

Dig A Pony

736 SE Grand Ave. Cooky Parker (music for dancing)


1001 SE Morrison St. Y.G.B. 1-Year Anniversary Party: The Thickest Summer w/ DJ Lamar LeRoy

Killingsworth Dynasty

832 N Killingsworth St Twerk w/ II Trill, Ill Camino & Deena B (trap, booty)

No Fun

1709 SE Hawthorne Blvd DJ Drew Groove

Where to drink this week.



THURSDAY 7/21 California Punk Legends


With Rendered Useless, Unite, Sidewalk Slam ALL AGES | 6PM | $15ADV.

1. Century

930 SE Sandy Blvd., As American sports goes into July garbage time, Century has started highlighting its roof and showing movies on its gigantic pull-down screen and DJ-ready sound system. We vote for lots and lots of explosions.


Funemployment Radio: PROM! 21+ | 8PM | $10 ADV.

5. Crackerjacks

2788 NW Thurman St., 503-222-9069. The old dive has been gussied up with a new set of owners united by a love story that started right at Crackerjacks. Also, there are Jell-O shots.

Star Bar

639 SE Morrison St. DJ Truhn Juice

The Embers Avenue

100 NW Broadway Friday Night 80’s & Top 40

The Goodfoot

2845 SE Stark St Soul Stew w/ DJ Aquaman (funk, soul, disco)

The Liquor Store

3341 SE Belmont St, Flight (house, techno, acid)

The Lovecraft Bar

421 SE Grand Ave Oh My Goth! (deathrock, goth, 80s dance)


232 SW Ankeny St Surface Noise Vinyl Invitational Happy Hour (bring your own vinyl)


232 SW Ankeny St Cherry Mint Video DJs

SAT. JULY 23 Beech Street Parlor 412 NE Beech Street DJ Turkey Burger


2600 NE Sandy Blvd. DJ Dirty Red (funk, soul, bangers)

*9/9&9/10 Eternal Warfare Fest—ALL AGES *9/29 Kataklysm—ALL AGES Check Us Out at:


Letlive , Seahaven, Silver Snakes, Night Verses ALL AGES | 6PM | $15 ADV.


Tuesday Blues Dance Night All Ages | 7:30PM | $8–$22

3. Gestalt Haus

3564 SE Division St., 503-234-7281, One of the finest wine shops in town—especially if your tastes run toward the natural, oddball and aperitif— Division now has a highly pleasant wine bar where you can happily while away your happy hours.

*9/18 Marduk/Rotting Christ/ Carach Angren / Necronomicon/ Uada—ALL AGES

Inferno! 21+ | 7PM | $8

5474 NE Sandy Blvd., 503-281-9200, There are new owners and upgraded food—but that classic soul song remains the same.

4. Division Wines

8/25 Get Dead, My Life In Black And White, The Brass, Dartgun & The Vignettes


2. Clyde’s Prime Rib

3584 SE Division St. German bier, bikes and local brats are a pretty simple formula for a bar—and this is a pretty simple bar, which makes it a very welcome addition to its fancy Division Street neighborhood.


THURSDAY 7/28 Indie Film Networking Event 21+ | 8PM | FREE

SATURDAY 7/30 OK CORRAL: As more and more would-be Alberta Street homebuyers realize that their New Portland dream isn’t a possibility without a hefty cash inheritance, they roll their Subarus north—carting with them a demand for places like Royale Brewing’s newly opened Garrison Tap Room (8773 N Lombard) in St. Johns. The first tasting room for the unassuming 2-year-old North Portland brewery looks just like it would in inner-Northeast Portland: brand new, groovily wood-paneled and garage-doored, with a gigantic painting of a rhinoceros on the wall. Royale did a good job of recruiting its new customers from the dive bars across the street—offering $4 pints and allowing food from elsewhere. But although it has one of the best-appointed awning-and-picnic-tabled patios in the area, there’s something eerie about this place and its affordably fashionable patrons. Without looking at the labels on the six Royale beer taps, five of them—pale ale, Pilsner, session IPA, strong ale, and bière de garde—could be generically described as “pale, and somewhat hoppy.” The sixth was a coffee saison laden with cold brew. And though none of them were buttery or offensive by any means—if we lived in the neighborhood, the price of the beer alone would often make it our watering hole—the beers all come across as stand-ins for better regional selections. Everything looks OK, tastes OK and costs the right amount here, but there is a lack of depth to the experience. It’s kind of like living on Alberta Street. PARKER HALL. Crush Bar

1400 SE Morrison Underground 90’s Dance Party w/ Mr. Bixel & Jason Wann

Crystal Ballroom

Electronomicon w/ DJ Straylight & friends (darkwave, EBM, electro, synthpop)


1332 W Burnside St Come As You Are - 90s Dance Flashback

Beech Street Parlor

Dig A Pony


412 NE Beech Street Blind Bartimaeus

Bad Wizard (50s-60s soul, rock)

Ground Kontrol

511 NW Couch St. Reagan-o-mix (new wave, hip-hop, soundtrack)

Star Bar

639 SE Morrison St. Metal Monday w/ DJ Chainsaw

736 SE Grand Ave. Freaky Outty (floor fillers)

2600 NE Sandy Blvd. Overcol (glam, new wave)

Gold Dust Meridian

Dig A Pony

421 SE Grand Ave Black Mass (dark dance)

1001 SE Morrison St. Love In This Club: Local Love w/ Ben Tactic & Nathan Detroit

The Embers Avenue

Club 21

Killingsworth Dynasty

832 N Killingsworth St Soul A Go-Go w/ DJ Drew Groove (soul, mod, R&B)

421 SE Grand Ave Softcore Mutations w/ DJ Acid Rick (new wave, synth, weird, hunkwave)


White Owl Social Club

3267 SE Hawthorne Blvd. DJ Matt Stanger


3967 N. Mississippi Ave. Lamar Leroy (hip-hop)

Sandy Hut

1430 NE Sandy Blvd. DJ Sean from Pork Magazine

The Embers Avenue

100 NW Broadway Saturday Top 40 Remixed

The Lovecraft Bar 421 SE Grand Ave

736 SE Grand Ave. VJ Nortro (music video history of rap) 100 NW Broadway Latino Night (latin, salsa)

The Lovecraft Bar

1305 SE 8th Ave East No Control Crew

MON. JULY 25 Club 21

2035 NE Glisan St. DJ F

Dig A Pony

736 SE Grand Ave.

Club Kai Kai: Boulet Brothers & Milk 21+ | 8:30PM | $10 ADV.

The Lovecraft Bar

TUES. JULY 26 2035 NE Glisan St. DJ Joey Prude


1001 SE Morrison St. Taking Back Tuesday (emo, pokemon)

Star Bar

639 SE Morrison St. DJ Wrestlerock

The Embers Avenue 100 NW Broadway Recycle (dark dance)

The Lovecraft Bar

421 SE Grand Ave Bones w/ DJ Aurora (goth, synth)


18 NW 3rd Ave. Tubesdays w/ DJ Jack

Willamette Week JULY 20, 2016


NIGHT SHOWS Presented by Jack Daniels



Crystal Ballroom 21+ 7pm doors/8pm show • $25 FRIDAY, AUGUST 26TH, 2016


Revolution Hall 21+ 7pm doors/8pm show • $15 FRIDAY, AUGUST 26TH, 2016


Crystal Ballroom 21+ 7pm doors/8pm show • $18 FRIDAY, AUGUST 26TH, 2016


Ash St. Saloon 21+ 8pm doors/9pm show • $10 SATURDAY, AUGUST 27TH, 2016


Mississippi Studios 21+ 9pm doors/10pm show • $20 SATURDAY, AUGUST 27TH, 2016

BELL WITCH • MUSCLE AND MARROW ZIRAKZIGIL • JOHN HAUGHM Ash St. Saloon 21+ 9pm doors/10pm show $10 at the door 40

Willamette Week JULY 20, 2016


Todd Barry


with Bryan Cook and Joann Schinderle Dante’s • $15



Mississippi Studios 21+ 8pm doors/9pm show • $12 FRIDAY, AUGUST 26TH, 2016

Candace • Talkative Adventure Galley Kelly’s Olympian 9pm show/8pm doors • $5




Crystal Ballroom 21+ 9pm doors/10pm show• $25 SATURDAY, AUGUST 27TH, 2016

And And And Souvenir Driver Rilla • Grand Lake Islands Kelly’s Olympian 9pm show/8pm doors • $5 SUNDAY, AUGUST 28TH, 2016


Revolution Hall 21+ 8pm doors/9pm show • $20


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 ( Dance: ENID SPITZ ( TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to:

THEATER A “something for everyone” talent showcase hosted by experimental artist and burlesque dancer Miz Chaos. The evening will include burlesque dance, circus acts, drag performances and Hula-Hooping in an inclusive, body-positive and queer-friendly environment. Funhouse Lounge, 2432 SE 11th Ave., 503-841-6734. 9 pm Sunday, July 24. $10. 21+.

the world has ever seen) dressed in flowing silks and bejeweled headdresses. Performers crawl around their horses’ torsos as they gallop and stack themselves in human pyramids. The Arabic soundtrack is live, performed in two glass booths for you to watch. The level of control from these riders and acrobats demonstrates a company of entertainers with a lifelong pursuit and dedication to their craft. RUSSEL HAUSFELD. Extra shows at 7:30 pm Wednesday, July 20, and 7 pm Friday, July 22. Zidell Yards, 3121 SW Moody Ave. 8 pm Tuesday-Friday, 2 and 8 pm Saturday, 2 pm Sunday, through July 24. $50-$120.

The Italian Girl in Algiers



In this lesser-known opera by Gioachino Rossini, the playwright examines the comedic potential for relationships between Europe and the Arabian world. Two actors will make their Portland Opera debuts in this production—Ashraf Sewailam as Mustafa, and Aleksandra Romano, the star of the play who arrives to save her husband from Mustafa’s enslavement. The opera will be sung in Italian with English text projected to the audience. Newmark Theatre, 1111 SW Broadway, 503-248-4335. 7:30 pm July 22, 27 and 29 and Aug. 6; 2 pm July 24 and 31. $35-$200.

Jesus Christ Superstar

Post5 Theatre is hosting Michael Streeter’s production of Jesus Christ Superstar. This irreverent comedy tells the story of Jesus Christ through the lens of his disciple-turned-rival Judas. The rock opera by Tim Rice and Andrew Lloyd Webber is a hit when it comes to town, being raised from the grave by theaters around the country every year since 1970. Post5 Theatre, 1666 SE Lambert St., 971-333-1758. 8 pm Thursday-Sunday, through Aug. 20. $20.

Pop and Puppetry

Dance pop gets taken over by shadow puppets as local puppetry collective Beady Little Eyes hosts a night of puppetry and pop music with local artist Aaron Chapman of Nurses, theremin music from Chelsea Uniqorn of Unicorn Domination and the band Yeah Great Fine. The puppet acts include performances with blacklight, puppet “architectural fashion” shows and humanette puppetry, a human/puppet hybrid performance in which the puppeteer’s face and head are visible over a puppet body. Holocene, 1001 SE Morrison St., 503239-7639. 8 pm Wednesday, July 20. $10. 21+.

Trickster of Seville

Tirso de Molina’s Trickster is the first written version of the famous Don Juan legend. This mash up comes from Masque Alfresco member Ravyn JazperHawke, using characters and scenes from the Moliere and Goldoni adaptations for a family-friendly version. Drammy-Award winner Ken Dembo stars as Don Juan, with Masque Alfresco’s token gags and colorful period costumes. George Rogers Park Iron Foundry, Green Street and Furnace Avenue, Lake Oswego, 503-254-5104. 7 pm Friday-Sunday, July 22-Aug. 7. Free.


If you traverse the Tilikum Crossing at all during the week, you’ve seen it—the world’s largest big top tent. That’s where Cavalia performs their spectacle of a horse circus. Under the tent, you’ll find aerial acrobats, african rhythm players and over 60 ultra-trained horses and their trainers (who, as you’d expect, are some of the most gorgeous people

With plebeians taking selfies, iPhone videos of Roman general Caius Martius ranting, and a drunk singing Beyonce’s “Daddy Lessons” as he stumbles through ancient Antium, Portland Actors Ensemble’s outdoor production of Coriolanus draws winking comparisons between Shakespeare’s military drama and present-day politics. The Ensemble’s pop-culture additions jerk audiences away from the 17th-century world of the play. Even without these nudges, though, it’s hard to ignore the resemblance to present day: a commander who can’t drum up support from the common people, a rash populace that makes shortsighted choices in the wake of a famine. Even the tenuous peace between Rome and its former rival looks uncomfortably familiar. The tight, twohour production was beautifully acted, with particularly stellar performances by Ken Yoshikawa as Aufidious and Allison Anderson as Volumnia, but technical issues held it back. Strange acoustics in the Pettygrove Park courtyard, which is located in a noisy pocket of downtown, made much of the dialog inaudible. Any time an actor wasn’t facing the audience and half-yelling, it was impossible to hear. It is a testament to Anderson’s dynamism and Yoshikawa’s booming voice that the production never felt longer than it was. The Shakespearean play is an eerily topical pick for the Ensemble’s 12th annual “Twilight Tragedie” summer series. GRACE CULHANE. Pettygrove Park, Southwest 2nd Avenue and Harrison Street. 7 pm Thursday-Saturday, through July 31. Free.

Coriolanus, or the Roman Matron

Normally one of Shakespeare’s most infrequently produced plays, Coriolanus is having a moment. Two Portland companies are staging outdoor productions of it this month. Depending on who produces it, the Roman political drama can serve as a warning against the dangers of mob rule or an indictment of a tyrannical, self-congratulating elite. It is most interesting when bounces between these two clichéd poles, especially in an election year marked by extremes. Between Hillsboro’s Bag & Baggage and the Portland Actors Ensemble, B&B sets the bar. Its all-female production is the first recorded performance in U.S. history of Thomas Sheridan’s 1754 adaptation. As the title character, Cassie Greer lends explosive energy, commanding the room every time she enters it. The exception is when Bethany Mason’s equally compelling Aufidius joins her onstage. Clocking in under two hours, the show barrels along with the vigor and electricity of General Coriolanus himself, and it’s not until the final moments that the audience has a chance to process the destruction. GRACE CULHANE. The Tom Hughes Civic Center Plaza, 150 E Main St., Hillsboro. 7:30 pm ThursdaySaturday, through July 23. $20.

CONT. on page 42

WEATHERMAN: Cecil Baldwin.


Welcome Back, Cecil in an early episode in which Cecil started taking notice of his “perfect hair.” This soon developed into a romantic relationship between the two men—something not often handled so sweetly or nonchalantly in other media. BY N ATHA N CA R SON 503-243-2122 “It is a reflection of the artists who are making this There are two kinds of people; one of them show, and it’s a fun idea. Why not?” Baldwin says. enjoys podcasts, the other is missing out on a “Gay people exist…they can be the center of these fifth dimension of sight and sound and mind stories, and their sexuality has nothing to do with it,” called Welcome to Night Vale. Baldwin says. “And yet, at the same time, their sexuSince 2012, word of mouth has helped put this ality also informs who they are as a character. The independent creative production into the ears of tens same with race, the same with gender, the same with of thousands of enthusiasts. Like an NPR story piped people who have different abilities. Getting a chance in from The Twilight Zone, Night Vale is a strange, to make these characters part of the story is inspidark place. But it is one that you will want to visit and rational to a lot of people who don’t see themselves return to. It is smoothly narrated and populated by represented all the time in mainstream media.” characters you won’t find in other podcasts, and it That Night Vale has become such a phenomis coming to Portland this week. enon is inspirational. It is now a full-time “You can listen to one episode, or job for Baldwin and writers Joseph “THERE’S all 90, and still get an idea of what Fink and Jeffrey Cranor, but there the world of Night Vale is,” says is no corporate overlord keeping NO IMAGINARY show narrator Cecil Baldwin. tabs. A significant source of their FOURTH WALL. Baldwin’s smooth voice is income is generated by live shows, instantly recognizable as that of WE’RE ALL GOING when the crew brings a special the radio announcer and host script to live audiences across the ON THIS JOURNEY nation Cecil Palmer, a mild-mannered for four months out of the TOGETHER” hero who broadcasts about the year. Baldwin describes it like the strange doings in Night Vale in a life of a touring musician. —CECIL BALDWIN pleasantly distant, deadpan manner. “We tour like a band,” he says. Angels, glowing clouds, and shad“We are in Portland one night and then owy figures lurking in the dog park are on to Seattle the next. It’s not like doing all reported about the way a radio personality in a play where you rehearse for a month and then Molalla might turn ducks stopping traffic into a you’re in a theater for a month or two months.” special interest story. The current live script is called Ghost Stories, and Good-natured fans of conspiracies and Art Bell’s unlike the podcast—which is meant to be enjoyed Ghost to Ghost will find everything to love about alone, with ear buds or in the car, at your own pace, Night Vale’s winking send-up of the way people like reading a novel—fans will be immersed. interact with strange phenomena. “There’s no imaginary fourth wall. We’re all “I think it’s more about the idea of conspiracies,” going on this journey together,” Baldwin says. “The Baldwin says. “The idea of these sort of communal live show is much more about community and lies that that we all have agreed upon.” But that’s about getting together with a whole bunch of peojust the bait. Night Vale has, over its four-year ple who love the same thing that you love, which at course, introduced a pantheon of characters for its best is what theater does.” Cecil to interview, discuss, befriend and fear. One particular character that has become SEE IT: Welcome to Night Vale: Ghost Stories is at Arlene Schnitzer Concert Hall, 1037 SW an inspiration to many is Carlos, the scientist. Broadway, on Thursday, July 21. 8 pm $27.50Voiced by Dylan Marron, Carlos was introduced $32.50. All ages.


Willamette Week JULY 20, 2016



Murmurs P.6

SATURDAY, SEPTEMBER 10, 2016 – 7 PM PORTLAND’5 CENTERS FOR THE ARTS Tickets at the       and at all TicketWest locations 1-800-273-1530 or

One Slight Hitch

Written by the grumpy comedian Lewis Black, who frequented The Daily Show with Jon Stewart, this farcical production is a series of unfortunate events that occur on Courtney Coleman’s wedding night. The zany farce takes place in Cincinnati in the ’80s during a lavish wedding ceremony that is going just perfectly until, of course, the bride’s aky ex-boyfriend shows up and her family begin to show their true colors. This is also a good chance to support local talent Jayne Stevens in her second-ever production as director at Clackamas Repertory Theater. Osterman Theatre, 19600 Molalla Ave. 7:30 pm Thursday-Friday and 2:30 pm Sunday, through July 24. $12-$30.

Reefer Madness

“This is not the Keller,â€? announced the Funhouse Lounge emcee on opening night. While 1936’s anticannabis propaganda ďŹ lm Reefer Madness was essentially a boring public service announcement that was only tolerable to watch while high, it seems destined to ďŹ t the decommissioned carnival vibe at Funhouse. In this musical satire of the original ďŹ lm, the pot-crazed characters are the worst imaginable humans: torturing animals, groping their mothers, selling their own baby for weed. It’s all played with maximum comedic value in this enthusiastic production by John Monteverde. The audience gasps and hollers along. Even if you don’t consume beforehand, it’s impossible to hold in giggles. LAUREN TERRY. Funhouse Lounge, 2432 SE 11th Ave., 503-309-3723. 7 pm ThursdaySaturday, through July 23. $25-$30.

Weekend at Bernie’s

Not that Bernie. This might the the longest-running summer show in Portland, but the comedic buddy tale won’t last until election night. Instead, Portland’s top improv talents stage the bumbling tale of two guys trying to convince the world that their boss is not dead. Think OďŹƒce Space with 1980s Hawaiian shirts, mob bosses and super hot babes, inside Portland’s best new comedy venue. After the show, enjoy the fragrant Old Town scene outside. The Siren Theater, 315 NW Davis St. 10 pm FridaySaturday, through July 30. $16.

West Side Story

Street P.23 42

Willamette Week JULY 20, 2016

Tigard High School’s Deb Fennell Auditorium, which plays host to The Broadway Rose Theatre Company each summer, is surprisingly suited for professional performances—with 600 seats and room beneath the stage for a live orchestra. Broadway Rose’s production of West Side


Eugene Onegin

You’ll forget you’re at an opera at all. At the beginning of the second act, Lensky wanders over to a lonely bench awaiting a duel with his best friend, the headlights from his 80s Volvo illuminating the falling snow against a black backdrop, it looks and feels more like something out of Tokyo Drifter than a performance of a nearly 140-yearold opera. The Portland Opera’s production of Tchaikovsky’s seven lyrical scenes of romance, heartbreak, betrayal and loneliness set against the backdrop of the decaying Soviet Union of the 1980s is an indecently cinematic experience. In it, two sisters—the practical Olga (Abigail Dock) and daydreaming Tatiana—fall for Lensky (Aaron Short) and Eugene Onegin (Alexander Elliott, in Sweeney Todd last month). It’s a “He loves me, he loves me not� story stretched over seven scenes (and nearly three hours) with those heightened operatic emotions where friendships can only end in a duel on a snowy night. You will get swept away in this tale of love unrequited, pettiness and regret. JOHN LOCANTHI. Newark Theatre, 1111 SW Broadway. 7:30 pm Saturday, July 23, and Tuesday, July 26. $35-$200.

SLAY: Cassie Greer in Bag & Baggage’s Coriolanus, or the Roman Matron.

The Curse of the Coriolani The most obscure play Shakespeare wrote is getting a lot of love in Portland.

The end of the world seems more and more imminent with each news update, and Portland’s theater scene is no exception. In fact, an unnerving coincidence is unfolding right now: During the dead season of summer theater, the most obscure work that Shakespeare ever wrote is being staged by two companies simultaneously. Hillsboro’s Bag & Baggage is putting on an all-female production that is the first U.S. performance of Thomas Sheridan’s adaptation. The show is propelled by the explosive energy of Cassie Greer as Roman general Caius Marcius. Portland Actors Ensemble presents its version in Pettygrove Park. It is a less compelling show, but one that incorporates selfies and BeyoncÊ’s “Daddy Lessons.â€? Coriolanus probably never made it to the stage during Shakespeare’s lifetime. The Roman political drama’s first recorded performance happened, ominously, 66 years after the Bard’s death. Since that 1682 production, critics have largely overlooked the tale of a pugnacious war hero and his ill-fated pursuit of political office. Maybe that is due to what we’re dubbing the “Coriolanus curse,â€? a trend of Coriolanus call-outs coinciding with startling historical catastrophes. Two years after the Bolshevik Revolution forced the Russian Empire out of the First World War in 1917, T. S. Eliot wrote an essay titled “Hamlet and His Problems,â€? insisting that Coriolanus is a greater artistic success than Hamlet. Jump ahead a few decades to 1938, when Laurence Olivier starred in a high-profile production of the play at the Old Vic in London. Two years later, on July 10, 1940, Hitler started bombing England in what would become known as the Battle of Britain, expanding the theater of the war. While idle skeptics may dismiss these connections as mere coincidences, the two-year pattern continues. Shakespeare himself died on May 3, 1616. Just two years later marked the start of the Thirty Years’ War, one of the most destructive conflicts in European history, claiming millions of lives. And while the play floated along in obscurity for decades following Olivier’s performance, Tom Hiddleston took a turn as old Caius Marcius in 2014 for National Theater Live. Two years later, Taylor Swift was spotted canoodling with the General, and on July 18, 2016, the #KimExposedTaylorParty cemented Hiddleston’s status as collateral damage from the Molotov cocktail that is this KanTay feud. Forget Macbeth—the curse of Coriolanus is alive, sheeple, and we are its next victims. GRACE CULHANE.

SEE IT: Portland Actors Ensemble’s Coriolanus is at Pettygrove Park, Southwest 2nd Avenue and Harrison Street. 7 pm Thursday-Saturday, July 21-23. Free. Bag & Baggage’s Coriolanus, or the Roman Matron is at the Tom Hughes Civic Center Plaza, 150 E Main St., Hillsboro. 7:30 pm ThursdaySaturday, July 21-23. $20.

Story showcases impressive voices, and well choreographed— if slightly unenergetic—dance numbers by Jacob Toth. Actors Austin Arizpe and Drew Shafranek deliver a calculated fight scene at the end of the first act, darting at one another and dodging the other’s switchblade. And, Maria’s (Mia Pinero) breakdown at the end of the final act is heartbreaking as she flails a revolver around at the crowd of other characters gathering around Tony’s (Andrew Wade) dead body. It’s a solid production that will please Broadway fans and surprise anyone who thinks a high school is a lame venue. RUSSEL HAUSFELD. Deb Fennell Auditorium, 9000 SW Durham Road, Tigard, 503-6205262. 7:30 pm Thursday-Saturday, 2 pm Saturday-Sunday, through July 24. $30-$50.

COMEDY & VARIETY Al’s Den Comedy Night

A rotating lineup, of mostly local stand-up comedians and Seattleites passing through share an hour long show. Sometimes the best part is watching Crystal Hotel guests awkwardly sidle by the stage, wearing only a swimsuit and towel, on their way to the pool behind this basement bar. Al’s Den, 303 SW 12th Ave. 10:30 pm FridaySaturday. Free. 21+.

The Brody Open Mic

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

Curious Comedy Open Mic

Sign up start at 7:15, and every comic gets a tight three minutes onstage in this weekly show hosted by Andie Main. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Sunday. Free.

Curious Comedy Playground

It’s basically free time for comedians. Acts run the gamut, from improv to video and musical comedy, and you never know who’s coming out to play. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every first, third and fifth Thursday. Free.

Earthquake Hurricane

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


Funny Humans vs. the Wheel

David Mascorro and Adam Pasi have developed a comedy game show. Pitting comics against a wheel of chance, come and see some of the funniest local acts compete in hilarious challenges including Sing Your Set, Bad Hype Man, and Spicy Comedy. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, July 20. $5. 21+.

Open Court

This weekly, long-form improv show combines performers from many Portland theaters and troupes. Newbies are welcome and teams are picked at random, then coached by an improv veteran before taking the stage. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 4779477. 7:30 pm Thursday. $5.


Steve Martin and Martin Short

Titled An Evening You Will Forget for the Rest of Your Life, two of the biggest names in the history of comedy are coming to Portland. Steve Martin and Martin Short are the type of performers who literally need no introduction. Two thirds of the Three Amigos will be joined by Steep Canyon Rangers, a bluegrass band Martin often performs with. Though Martin is a world-class banjoist, there’s a good chance he’ll tell some jokes, too. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-274-6551. 8 pm Sunday, July 24. $85-$179.50.

50% TO 80%



Sunday School

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

(Grateful Dead History Quiz – P 25)


Who’s Metal AF?

Who among us is metal as fuck? Wendy Weiss and Dan Weber are here to find out. In their brutal, hardcore game show, contestants compete to see who holds the most obscure, sometimes madeup, knowledge of heavy-metal music. For this installment, Weiss and Weber welcome Nariko Ott, Bill Conway, Phil Schallberger, and returning Anica Cihla. Funhouse Lounge, 2432 SE 11th Ave., 503-8416734. 10 pm Friday, July 22. $5. 21+.

For more Performance listings, visit



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

Extra Cheese

C. The ban was lifted in 1993, after fans protested in downtown Eugene’s Wayne Morse Free Speech plaza. B. The chorus goes like this: “Shall we go, you and I, while we can, through the transitive nightfall of diamonds?” D. The Springfield Creamery later created Nancy’s Yogurt, named after Nancy Hamren, the Kesey family’s longtime bookkeeper and recipe supplier. D. Other Oregon tribute band names include: Garcia Birthday Band, Hardly Deadly and Cap’n Trips. A. The author of this quiz attended the show as a 2-year-old and ate a Ben & Jerry’s Cherry Garcia Peace Pop. B. Beaver Hall was a small venue on NW 5th and Glisan St. This is also reportedly also the location of the Portland Acid Test. C. Her mother was Carolyn Garcia, also known as “Mountain Girl.” C. “There’s a dragon with matches that’s loose on the town/ Takes a whole pail of water just to cool him down.” A. His slogan? “I Fed The Dead.”


1-3: You probably heard about the band on a Ben and Jerry’s container. No worries; “Ghostbusters” is still in theaters.

4-7: Casual ‘head. Maybe you’ve seen a couple shows, or maybe you just like to get down to “Ripple” sometimes. Enjoy John Mayer’s shredding blues licks!

@WillametteWeek Steve Martin and Martin Short

8-9: You’re a true Deadhead… which means you’re probably not going to the show. But hey, Willie Nelson’s in town. Willamette Week JULY 20, 2016


= WW Pick. Highly recommended. 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:

21st Annual Recent Graduates Exhibition

Blackfish Gallery is hosting the Annual Recent Graduates Exhibition, featuring the work of emerging artists from all over the state singled out as exceptional by the faculties of their universities. I was drawn in by Kristin Miller’s “Concept in Space,” a minimal abstract ink-on-paper that made me think of a reverse constellation—dark stars against a light sky; a disquieting, untitled photo by Nicolette Silva of platinum-haired Lolita-esque twin sisters in the doorway of a white church; and a ghostlike painting by Nicole Williford of a gray-haired woman with eyes closed, her body either receding from or just coming into form. Surely, if you go, different work will speak to you. But you should go because there’s talent in the room that’s worth keeping an eye on. Blackfish Gallery, 420 NW 9th Ave., 503-224-2634. Through July 30.

Case Work

Architect Brad Cloepfil and his architecture firm Allied Works Architecture (AWA) are responsible for the Wieden + Kennedy headquarters, the redesign of new PNCA mothership, and international projects such as The National Music Centre of Canada. Portland Art Museum is showing a retrospective of their work in which a fabricated steel structure, like the skeleton of an unfinished building, houses the firm’s concept models—as aesthetically beautiful as any sculptures you have ever seen—made from wood, brass, resin, metal and concrete, to name a few. Displayed alongside the models are the corresponding material studies for each project, which give us insight into how the architects use things like resin, pinecones, wooden dowels, printed plastic, and stone to play with texture, luminosity and surface. The firm’s original sketches for each project are hung around the gallery, highlighting the importance of process and showing us how an idea can materialize into form. Portland Art Museum, 1219 SW Park Ave., 503-226-2811. Through Sept 4.

The Color of Memory

Gallery owner Jeffrey Thomas curated a group show spanning decades of 2-D work by well-known artists that highlights their exploration of color and memory. But, really, these elements of inquiry can be found in most artists’ practices. So the real through line of the exhibition is Thomas himself, who is approachable and warm and who will take you through the show and tell you wonderful things. He will explain to you that a formal still life is displayed next to a canvas of total chaos because the two share the exact same palette—one contained within realism, the other blown to bits by abstraction. He will tell you about the artist who, in his dementia, is reworking old paintings, changing the memories they hold, as his own evanesce. This is the type of gallery to go into, ask questions, and listen to stories. You will be better for it. Jeffrey Thomas Fine Art, 2219 NW Raleigh St., 503-544-3449. Through Aug. 6.

Conversations With Strangers

The work of artists Caleb Hahne and Adrian Landon Brooks in this two-person show couldn’t be more different. Hahne’s figurative paintings, with soft dusty palettes, deal with absences: faces and hands are often missing. Other features are rendered only to the point that allows our eyes to fill in the rest. Brooks’ paintings on panel are defined, geometric, and concrete. There is a romanticism to his work, though, his perfect lines and angles offset by gold moons hanging over birdmen and nomads. In his astonishingly beautiful and bold compositions, he makes excellent use of the wood


on which he paints, leaving some elements bare in order to highlight, in some pieces, its blond, perfect grain, and in others, its gnarled, degraded surface. Stephanie Chefas Projects, 305 SE 3rd Ave., Suite 202, 310-990-0702. Through Aug. 5.


A mountain of oversized ceramic heads—abstract, animal, human—rises from the floor of the Laura Russo Gallery. When sculptor J.D. Perkin started working on the installation, he concentrated on the individual faces that now make up the whole, wanting simply to have fun creating each one. As more of them came into being— people of different races, ages, stations in society—a narrative began to take shape. Some of the details— gas masks, nursing hats bearing the symbol of first aid—point to a postapocalyptic tableau, while others, like the feeling of inclusivity, leave us with an idea of a utopia in which everyone is together and represented. Since Perkin is not a conceptual artist and doesn’t have strong designs on what the work needs to convey, we all get to decide for ourselves. Laura Russo Gallery, 805 NW 21st Ave., 503-226-2754. Through July 30.


Photographer Jenny Olsen’s latest series is a collection of color portraits of her home in North Portland where she lived after getting sober. “I found humility, honesty, and compassion for myself and others in this house,” says Olsen. “I became human in this house.” Olsen shows us how it is possible to capture images of a place as lovingly, faithfully, and with as much gratitude as one might photograph a person who has kept them safe, guided them, and loved them into being. It is a meditation on how certain places in our lives can shape the people we turn out to be. Wolff Gallery, 618 NW Glisan St., Suite R1, 971-413-1340. Through July 30.

Porcelain Figurines

In his large-scale color photographs, Martin Klimas captures images of what would otherwise be precious porcelain figurines—the type your grandmother keeps in her curio cabinet—except that Klimas rigged his camera’s shutter to open at the exact moment that the ceramic pieces crash to the ground after being dropped from a height. This creates jaw-dropping action from an object that was completely static a mere fraction of a second earlier. In one photograph, two men are frozen in Matrix-like suspended animation, but instead of a flock of birds hovering around them, they are engulfed in a cyclone of their own shattered body parts. Violence and destruction abound, but so do other things, like the process of aging captured by the breaking apart of a white-bearded figure. Blue Sky Gallery, 122 NW 8th Ave., 503-225-0210. Through July 31.

Portland 2016 Biennial Salon

For Portland’s 2016 Biennial, some of Oregon’s most high-profile contemporary artists are showing their work across the state, in venues as disparate as residential garages, hardware stores, and hotel lobbies. Think of it as an Oregon-wide Easter egg hunt, where all the eggs are art installations. The jewel in the Biennial crown is the salon at Disjecta, where every inch of wall space in the cavernous warehouse is covered with sculptures, paintings, drawings, and video projections by artists who were handpicked to represent our fair state. You won’t have a chance to have many intimate moments with the work, or to even find out who made what (unless you want to fumble with the awkwardly folded maps and numbered dia-

Willamette Week JULY 20, 2016


VISUAL ARTS grams), but perhaps that shouldn’t be the goal. If you stop trying to appreciate each work individually, you can delight in the chorus of hundreds of artistic voices shouting, “Look what we made!” Disjecta, 8371 N Interstate Ave., 503-286-9449. Through Sept. 18.

Reactive Matters

This might be the first time you see a photo show in which one of the photographers never touched a camera. Newspace’s thoughtful exhibition, Reactive Matters, features the work of three photographers about the effect of nuclear energy on our environment. Shimpei Takeda exposes photosensitive paper to soil samples from Fukushima, capturing latent images of radioactivity that look like the night sky—his camera nowhere in sight. Abbey Hepner photographs nuclear waste facilities using a vanished processing technique involving uranium that lends an acid-orange cast to her images. Jeremy Bolen buried his film near nuclear reactors before unearthing it to document the surrounding landscapes. The work of these three artists is a powerful testament to conceptual photography. Newspace Center for Photography, 1632 SE 10th Ave., 503-963-1935. Through July 23.


Read It and Weep

Christian Rogers’ figurative monotypes range from black-and-white to bright color and are, notably, printed on the distinctive pink newsprint of the Financial Times. In some pieces, the paper is obscured more than in others, but it remains a fleshy background for Roger’s figures. And given the human brain’s desire to find meaning, narrative and connection even where there is none, the words that peek through offer some sort of commentary on what is happening in the composition. Nationale, 3360 SE Division St., 503-477-9786. Through July 25.

A Stand of Pine in the Tilled Field

PDX Contemporary, one of Portland’s most revered blue-chip galleries, is celebrating its 21st anniversary with a group show featuring work by over 30 of its artists. The title of the exhibition, A Stand of Pine in the Tilled Field, draws a poetic parallel between an artist and a tree that thrives after a fire. But it is also a metaphor for the gallery itself, able to grow through the cultural and economic rain and drought over the last two decades. PDX Contemporary, 925 NW Flanders St., 503-227-5111. Through July 30.


In artist Cat Del Buono’s video installation, small monitors throughout the gallery play testimony from abuse survivors. The videos are cropped around each woman’s mouth, their identities protected. Only by leaning in close and listening can you single out individual stories. Step back and you will hear a clamor of sound, a collective testimony that serves as a reminder of the insidiousness of this problem, which does not discriminate by race, age, religion, or social status. Blue Sky Gallery, 122 NW 8th Ave., 503-225-0210. Through July 31.

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Art Vultures “I see art-making as an excuse to learn other things,” says artist Maria Lux, whose research for her installation Eat, Drink, and Be Merry led her to the Field Museum in Chicago to look through drawers full of dead vultures. The first thing you notice when entering Upfor Gallery is a plinth topped with neat rows of 3-D-printed vulture skulls. There are 97 of them, a reference to the percentage of vultures that died off in the Great Indian Vulture Crisis. What is the Indian vulture crisis, and why does it matter? Here is the short version: Hindus keep cows for milk but do not partake of their flesh. When cows die, vultures provide two important services by eating the carcasses and picking the bones so beautifully clean that nearby residents can sell them for bone china (yes, it is made of actual bone). Turns out, though, that a drug dairy farmers were injecting in their cows was fatal to the raptors, killing them off almost entirely. In their place, wild dogs and rats have come for the rotting feast. Unlike the vultures, though, they act as carriers for cattle pathogens such as rabies, anthrax and the plague, killing tens of thousands of people. To bring this complicated chain reaction into form, Lux sets a Victorian-inspired table in the corner of the gallery, where a cake, topped with a miniature dead cow, is served on bone china. A tiny pack of dogs crouches in wait. Lux’s sense of humor is delicious and macabre when backed, as it is, by chilling data. Lux’s symbolism is multilayered and often subtle. It is a thrill to discover that the ornate pattern decorating one of her painting ’s frames is actually the molecular structures of SARS, Ebola, rabies and the other viruses harbored by animals and spread to humans. A lot of this visual information would be missed were it not for “Much to Digest,” Lux’s statement that accompanies to the show, featuring photos, musings and essays—everything a viewer needs to make sense of the elements that might otherwise go over our heads. By speaking to us directly in this way, but still leaving room for our curiosity and revelation (the chandelier is made of bats!), Lux gives us a chance to have the fullest possible experience with her work and to appreciate the fruits of her research. Eat, Drink, and Be Merry is a compelling distillation of the complicated relationship between animals and people. Lux succeeds in illustrating how, in our attempts to provide abundance for ourselves, we often cause the opposite by tinkering with the natural order. JENNIFER RABIN. Eat, Drink, and Be Merry is a lot to digest.

SEE IT: Eat, Drink, and Be Merry is at Upfor Gallery, 929 NW Flanders St., 503-227-5111. Through Aug. 27.

= WW Pick. Highly recommended. By JAMES HELMSWORTH. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: Fax: 243-1115.



Think and Drink with Isabel Wilkerson and Rukaiyah Adams

Bob Mehr with Scott McCaughey

Rare is the opportunity to grow brain cells while simultaneously destroying them, but Oregon Humanities is only happy to provide. Its Think and Drink series convenes at the Alberta Rose Theatre with a conversation between journalist Isabel Wilkerson, whose The Warmth of Other Suns is a rigorously researched document on the Great Migration, and Meyer Memorial Trust CIO Rukaiyah Adams, whose family came to Oregon as part of it. Alberta Rose Theatre, 3000 NE Alberta St., 503-719-6055. 7 pm. Sold out.

Shane Kuhn

Kennedy is a private airport security contractor and the brother of a 9/11 victim who is kidnapped by the CIA to help stop a terror attack. The Asset is the latest from Shane Kuhn—a longtime film writer and director— whose playful Intern series imagined a secret society of assassins that infiltrated workplaces for murder. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

THURSDAY, JULY 21 The Fire Line

In the summer of 2013, a fire started by lightning killed 13 firefighters in Arizona. In the wake of the incident, controversy spread in the firefighters’ hometown of Prescott as to how the miscommunication that exacerbated the fire could have been avoided. It’s The Fire Line, the debut book from New York Times Phoenix bureau chief Fernanda Santos. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

Coyote America: A Natural and Supernatural History

The history of the West is rife with coyotes—and attempts to destroy them. Since white dudes decided it was their divine mission to move westward, they’ve used helicopters, guns and biological warfare in attempts to destroy the varmints, to spectacular failure. Venerated natural historian Dan Flores tells this story in Coyote America: A Natural and Supernatural History. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.


DistributeD at Powell’s year rounD, PortlanD’s #1 tourist attraction!


The Replacements never got the credit they deserved. Though their influence can be heard in everything from pop-punk to a legion of ’90s chart-toppers, they were too busy being drunken lowlifes to get their live act together and rise to the fame and fortune that their songwriting deserved. Trouble Boys, the new book by music journalist Bob Mehr, is based on decades of interviews and research of the band, as well as a full plumbing of their archives at two record labels. Their story fits their music: funny, sad and kind of messed-up. Mehr will be speaking with Scott McCaughey of ’80s Seattle alt-rockers Young Fresh Fellows. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 4 pm. Free.

MONDAY, JULY 25 Gail Carriger

Impudence is the latest in archaeologist-cum-steampunk author Gail Carriger’s Custard Protocol series. It finds the crew of the Spotted Custard back in England from India, to shocking upheaval in the social and supernatural world, with shocking scientific revelations of their own. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323. 7 pm. Free.

Tess Gallagher and Larry Matsuda

For years, two poets—Tess Gallagher (recipient of a Guggenheim Fellowship, two National Endowment for the Arts awards, and the widow of Clatskanie’s own Raymond Carver), based in Ireland, and Larry Matsuda, based in Seattle— have kept up a poetic correspondence, trading verse for verse. Now, their collaboration is available for public consumption in the collection Boogie-Woogie Crisscross. Powell’s City of Books, 1005 W Burnside St., 800-8787323. 7:30 pm. 7:30 pm. Free.


Featuring all things great in Portland. Finder focuses on neighborhoods, extensive business listings, people profiles and detailed maps. The guide also features the nightlife, arts, dining and shopping that define our city. Distributed at locations in the Portland Metro area. Including restaurants, shops & retailers.

TUESDAY, JULY 26 The Art of Money


Whether you think it’s the root of all evil or a hit (and are sick of that doo-goody-good bullshit), we’re probably stuck with money as a societal institution. Bari Tessler’s book, The Art of Money, is for people in the former group, and seeks to give them both financial tips and a mechanism for self-awareness. Annie Bloom’s Books, 7834 SW Capitol Highway, 503-246-0053. 7 pm. Free.

Donald Ray Pollock

Jessi Klein

Jessi Klein

courTney TheIM


Jessi Klein has won Emmy and Peabody awards for her work as head writer and executive producer on Inside Amy Schumer. In her new book, a collection of essays titled You’ll Grow Out of It, she covers everything from the pathos of Anthropologie to her fascination with The Bachelor. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

After their father joins the titular Heavenly Table, brothers Cane, Cob and Chimney Jewett venture north from the GeorgiaAlabama line to seek their fortunes. Meanwhile, in southern Ohio, the Fiddlers wait for their son to return from Europe. These two families intertwine in a novel from Donald Ray Pollock, the author of Knockemstiff, that will have you saying the other F-word: Faulknerian. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

Publishes: AuGusT 17, 2016 Space Reservation & Materials Deadline: JULY 28 503.243.2122 •


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Willamette Week JULY 20, 2016



= WW Pick. Highly recommended. Editor: ENID SPITZ. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: Fax: 243-1115.


B This Kickstarted documentary shot on a goat farm in Southern Oregon will give you a very clear idea of just how slowly time moves when you get away from urban life. Unfortunately, the three young people managing the farm—despite their work ethic and their remote lifestyles— can’t escape their creditors or legislators. In the 75 minutes it takes to witness the impending doom of the Boone farm, goats are born and die, a chicken has its head cut off, and the eldest dog is laid to rest. The mortality of animals in a real setting is something anyone who has dropped a thousand bucks at the vet should see. Boone is agonizing in pace, nearly dialogue-free, and sometimes beautiful. It feels like being there. NR. NATHAN CARSON. NW Film Center’s Whitsell Auditorium. 7 pm Wednesday, July 12.

Hunt for the Wilderpeople

B Foster care is a less-than-ideal situa-

tion. Ricky has been bounced from family to family for a while now, and his foster care agent takes no time to inform the new family of his long history of running away and petty crimes. And just when it looks like Ricky has found an ideal situation, his new foster mother dies. Ricky and his reluctant foster father, Hec (Sam Neill), run off into the woods. This latest offbeat film from Taika Waititi, of What We Do in the Shadows fame, searches for humor and hope in this tragic setup, with just enough bloody boar slayings, militarized foster care agents and conspiracy theories from a bumbling trailer dweller to make a coming-of-age-in-the-wilderness story feel like something you haven’t seen many times before. PG-13. JOHN LOCANTHI. Cinema 21.

Ice Age: Collision Course

C- Watching saber-toothed squirrel Scrat bounce about the cosmos in pursuit of the coveted acorn is like watching a tragic effort to re-create the humor and entertainment one could find in say, a Looney Toons clip. The fifth installment of an already lustless franchise, Ice Age: Collision Course brings back Sid and the gang, this time on a quest to save the world from a deadly asteroid heading toward Earth. A cacophony of brazen, shrill characters coupled with a predictable and tedious plot certainly makes it seem as if that asteroid couldn’t hit soon enough. PG. MICHELLE DEVONA. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Tigard.

Lights Out

David F. Sandberg’s award-winning Swedish short, also Lights Out, struck a nerve when it dropped in 2013. His threeminute exploration of fear of the dark received a $5 million budget to go big. Apparently, a light switch does more to banish spooks than any ghost-busting proton pack connected to a backpacksized particle accelerator. Screened after deadline; see for Nathan Carson’s review. PG-13. Cedar Hills, Clackamas, Eastport.

A Space Program

A- A mission to Mars goes from mechanical to artistic in this doc following artist Tom Sachs and his team as they build all the necessary tools for life in space entirely from scratch using materials like steel and plywood. A step-by-step tutorial with hints of comedy in every narrated scene, this film is an intimate look into the creative process behind a simulated space mission. It may be just an art project, but director Van Neistat playfully brings that project to life. NR. AMY WOLFE. Living Room Theaters.


Star Trek Beyond

The 13th Trek movie has been heralded as a return to good, old-fashioned fun for the series. In Beyond, Chris Pine and his Enterprise crew go head to head with Idris Elba as the villain Krall. Not screened for critics. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Pioneer Place, Tigard, Vancouver.

STILL SHOWING Batman v Superman: Dawn of Justice

D Batman and Superman are fighting, and it’s hard to choose a side. The new Superman is boring and out of place in the 21st century. Batman, on the other hand, has been reinvented as a huge dickhead. Played by Ben Affleck with a characteristic lack of gravitas, Batman walks around in a silly metal suit killing people. You know how Batman never kills people? He does now. With nobody to root for, BvS:DoJ is just an unconscionably long slugfest simultaneously attempting too much and accomplishing almost nothing. PG-13. ALEX FALCONE. Vancouver.


B- Like all Roald Dahl books, it’s an ecstatic mix of the sentimental and cruel—the story of a young orphan named Sophie abducted by a lovable Big Friendly Giant who catches and releases dreams. It is also a cavalcade of bodily functions rendered funny and an encyclopedia of brutality at the hands of other, evil giants like Bonecruncher and Fleshlumpeater. PG. MATTHEW KORFHAGE. Bridgeport, Cedar Hills, City Center, Clackamas, Eastport, Lloyd, Oak Grove, Pioneer Place, Roseway, Tigard, Vancouver.


B+ The star of Grimm, the villain in Pitch Perfect 2 and the director of the Al-Jazeera documentary Borderland used to be roommates, and back then, they swore they would make a movie together. Buddymoon makes good on that promise. It is a charming, bromance-in-nature comedy following David Giuntoli and German YouTube phenomenon Flula Borg as fictional versions of themselves. The trio filmed in Oregon, ad-libbing most of the dialogue in this unscripted film about a morose actor who gets dumped right before his wedding and agrees to go on his honeymoon hike with his eccentric foreign friend Flula instead of his would-be wife. NR. LAUREN TERRY. Living Room Theaters.

Captain America: Civil War

A- Captain America: Civil War, though,

is proof you can jam pretty much every superhero in your roster into one film and still let individuals shine. In pitting team Iron Man (Robert Downey Jr.) against Team Cap (Chris Evans) over a suspiciously fascist registration law for “enhanced humans,” directors Joe and Anthony Russo could have just put the heroes in a big-ass sandbox and let them duke it out. They do that, and it’s spectacular. But there’s nothing redundant in the action here, from a Bourne-esque opening chase to close-combat thrills reminiscent of The Raid to a surprisingly subdued and heartfelt finale. The Russos have heard your complaints about universe-building at the expense of story. Civil War is fun. It’s smart. It’s coherent. And, most importantly, it allows its heart to beat strongly amid the chaos. Your move, DC. PG-13. AP KRYZA. Fox Tower, Vancouver.

Willamette Week JULY 20, 2016

CONT. on page 47

HAMM IT UP: Joanna Lumley (left) and Jennifer Saunders.




Most TV-to-film projects hawk the comforts of a destination wedding—catch up with old friends, glimpse heretofore hidden depths, embrace the most flattering elements of maturation—but the cinematic expansion of Absolutely Fabulous is grittier. For fans of the old BBC series, the further adventures of buffoonish publicist Edina Monsoon (Jennifer Saunders) and perma-soused fashion editrix Patsy Stone (Joanna Lumley) shouldn’t seem all that different from a favored punk band’s reunion tour. You expect sloppy retreads of past anthems and a touch of the grotesque, but a few hours spent with wastrels fighting irrelevance promises a few giggles. Aging poorly was always the point. As Edina flounces around her normcore daughter Saffron (Julia Sawalha), dismissive “Mother” (June Whitfield) and assistant Bubble (Jane Horrocks), little seems changed at first. The interfamilial barbs still sting, and while Hollywood’s relaxed attitudes toward drugs and drinking might blunt the impact of Edina’s debauchery, the film’s fatshaming, transgender-mocking, racially insensitive gags still hit. As the film shifts to its office setting, though, there’s a sense of spoilage. The lone good laugh—Edina’s memoirs are 300 pages of “BLAH BLAH BLAH”—is subsumed by overlong physical humor and an awkward appearance by Graham Norton, looking like he happened to be walking by when the cameras turned on. Clumsy slapstick and extraneous cameos were always Ab Fab hallmarks, but the film version lingers cruelly on slower stretches. It literally magnifies the inabilities of Britcom director Mandie Fletcher to stage set pieces, and sketch queen Saunders to craft a proper screenplay.

The fashion-backward wardrobes and attitudes are no help. What PR whiz tries to revive her flagging brand through publishing? When searching for a star client, why target Kate Moss? Who are Emma Bunton and Lulu anyway? Hasn’t plot exposition via TV news clips gone the way of spinning headlines? Stylistic ruts happen to all women of a certain vintage (Saunders is 58; Lumley, somehow, 70), but neither seem to have aged in the slightest. If anything, Edina now appears younger than her daughter, which adds yet another layer of dysfunction to their banter. Set amid Clintonera aesthetics, passing mentions of social media and modern-day stars feel bizarrely anachronistic. The British cultural references, which were always obscure for stateside audiences, now seem like a parody of a celebrity world where no one (besides Jon Hamm) is famous and nothing (save Hamm) is attractive. Lacking any connection to the surrounding culture or satirical intent, we’re left with just a pair of rapacious, self-centered monsters seeking fun. Strangely, that’s almost enough. Freed from the requirements of plot or pleasing fans, their batshit efforts to afford a retirement on the French Riviera finally hit a successful comic rhythm as the film ends. There is, after all, a cinematic tradition in pairing squat, infantile characters with lanky, borderline-sociopathic ones as lifemates. Do we expect cogent critiques of militarism from Abbott and Costello or Laurel and Hardy? Like all great comedy duos, Pats and Edina escape the moral consequences of unforgivable actions, and we relish their solipsism. They know what they’re doing. They just utterly, wholly, with an apathy to blot out the stars, do not care. They’re still larger than life. It’s the tweets that grew small.


C SEE IT: Absolutely Fabulous is rated R. It opens Friday at Clackamas.

Captain Fantastic

A Viggo Mortensen reprises his

Eat That Question

A Frank Zappa mostly evokes

extreme mountain man role in the new Cannes favorite Captain Fantastic— mud-splattered, idealistic, good at killing things. But this time with six kids in tow. Mortensen plays the idealistic patriarch as a drill sergeant with believable heart. He raises his kids in isolation in the Pacific Northwest, schooling them in killing deer, the Bill of Rights, and the banjo. When he leads the brood into society for their mother’s funeral, the film becomes a quirky, emotional quest that outshines Little Miss Sunshine. Watching homeschooled children eat grocery-store rotisserie chicken, show up at a funeral in a dinosaur costume, and experience a first kiss is hilarious. Because it has pried you with cuteness, the film’s tear-jerking moments hit hard. As Mortensen relinquishes control, you realize that this is no Fellowship, it’s a film about the naked truth of parenting. R. ENID SPITZ. Fox Tower.

memories of big hair, peculiar mustaches and cacophonous sounds. But in Eat That Question: Frank Zappa in His Own Words, documentarian Thorsten Schütte brings the avantgarde artist back to life with a collection of archival footage, concert clips and interviews that dates back to a 1963 episode of The Steve Allen Show, in which a clean-cut, cleanshaven Zappa demonstrates how to play a bicycle. The star’s tiffs with the media seem humorous thanks to Schütte’s careful selection of mocking replies Zappa made to trite interview questions. When asked about being interviewed, he offers this: “I don’t think anybody has ever seen the real Frank Zappa, because being interviewed is one of the most abnormal things that you can do to somebody. [It’s] just two steps removed from the Inquisition.” R. MICHELLE DEVONA. Cinema 21.

Central Intelligence

Finding Dory

C A buddy action comedy that relies on cheesy stunts, penis jokes and bro buffoonery—like most of its genre brethren—Central Intelligence is a far cry from anything resembling intelligence. Dwayne Johnson, once the overweight target of bullies in high school, shows up 20 years later as a steroid-ridden CIA agent who recruits former classmate Kevin Hart, now a number-crunching desk jockey, to help him solve a case. PG-13. MICHELLE DEVONA. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Pioneer Place, Tigard, Vancouver.

The Conjuring 2

Free State of Jones

B The trailer smacks of another story of a “great white man” pushed over the edge. Matthew McConaughey is a Mississippi farmer who turns against the Confederacy in what amounts to a less cliché retelling of a truly fascinating, forgotten bit of history. The bad guys are not the South, war or slavery (although they are all bad). The real enemies in this movie are the haves and the have nots. The film’s struggle for liberty outlasts the main char-


A It’s been 32 years since the

release of the original, and the Ghostbusters reboot has no chill. The script from Paul Feig and Kate Dippold hammers home the message that it’s 2016 and rebooting a classic Dude Comedy with an allfemale cast will make people mad. Kristen Wiig, Melissa McCarthy, Kate McKinnon and Leslie Jones bring to the plate what they always have. Wiig is slightly frenetic, McCarthy has a Roseanne Barr-esque appeal, McKinnon is Harpo Marx with a functioning voice box, and Jones is loud and brash. The jokes hurtle past, and you’re excused for not laughing at all of them, because not all of them work. There are fart jokes, selfreferential jokes, vagina jokes, race jokes, comedy nerd jokes, showbizinsider-Arrested Development-type jokes, all presented in a mille-feuille of irony. The movie is maximalist. At the climax, we find a battle scene reminiscent of The Lord of the Rings, in which legions of ghosts fight the Lady Ghostbusters. McCarthy gets super-powered brass knuckles while Jones shreds nerds into ectoplasm with a handheld ghost chipper. When this movie succeeds, it shows you how silly it is to get angry about a movie. When it fails, well, it fails in seizure-inducing, herniating, mindnumbing glory that makes you sort of giggle and fart anyway. It’s glorious, and if it ruined your childhood, sorry bro. PG-13. ZACH MIDDLETON. Bagdad, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, St. Johns Pub and Theater, Tigard, Vancouver.

The Infiltrator

A- Riddled with cocaine, bullets

to the head and Bryan Cranston, The Infiltrator is a delightfully bloody mess splattering the silver screen and an action-packed, gripping ride. Based on a true story, the action follows undercover agent and family man Bob Mazur (Cranston), who poses as a fraudulent banker cozying up to the big names in the Colombian drug-trafficking industry. Under the umbrella of infamous Pablo Escobar, Mazur, his audacious partner Emir (John Leguizamo) and alluring fake fiancee Kathy (Diane

CONT. on page 48



B- First thing’s first: The Conjuring 2 is often very scary. The story of a downtrodden British family in Enfield tormented by the vengeful spirit of an old cockney man ups the voltage slowly but steadily. Never mind that the true story is reportedly a hoax: Scary’s scary, and for at least its first hour, C2 delivers an old-school haunted-house experience of the Poltergeist variety. Thing is, we’ve seen this before. In between creating the Saw series and launching Vin Diesel off a skyscraper in Furious 7, director James Wan has more or less been revisiting the same funhouse during the course of the Insidious and Conjuring films, which are essentially interchangeable except for Conjuring’s ’70s setting. Still, Wan seems content painting over the same canvas, adding flourishes that are richer and scarier with each pass. If he wants to keep tinkering, we’ll keep coming, because when Conjuring 2 is scary, it’s in a class of its own. R. AP KRYZA. Academy, Division, Kennedy School, Laurelhurst.

B+ The sea has become a little more existential since Nemo got found. For 13 years, the entire world eagerly awaited Pixar’s sequel and the return of Ellen DeGeneres as the forgetful Dory. This time, Dory is on a quest to find her family. The Nemo clan’s all here—the SoCal sea turtle still stoned—plus the introduction of a likable, pessimistic octopus named Hank (Ed O’Neill) and catty sea lion (Idris Elba). The film keeps its Nemo charm and comedic voices while offering a more serious tone for Pixar’s message: We are all special, in our own way. You can sway to the singing stingrays, 3-D giggle at a nearsighted hammerhead shark and appreciate the humor in fish residing in a rehabilitation center for “sick” sea life. There’s tears to fill a tide pool, wit to keep adults amused, and laughs for any audience with a short attention span. You will (hopefully) remember a majority of this film. PG. AMY WOLFE. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Oak Grove, Pioneer Place, St. Johns 1 & 2, Tigard, Vancouver.

acter, Newt Knight, and the Civil War, staying relevant to modern-day issues but happily devoid of any references to the present day. It’s a true epic that should sit alongside films like Glory. R. EZRA JOHNSONGREENOUGH. Bridgeport, City Center, Clackamas.

STAR TREK BEYOND Willamette Week JULY 20, 2016




Headout P.25

LIGHTS OUT Kruger) try to keep the cocaine from reaching American soil. The storyline moves faster than a cocaine high, but Cranston holds the film together. It gives two sides to every cartel’s story, as Mazur and Kathy befriend the family of Escobar’s right-hand-man, which is as welcoming as it is corrupt. Flying stacks of bills from Florida, Central America and Europe, The Infiltrator sure makes cartel life look cushy. R. AMY WOLFE. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Fox Tower, Oak Grove, Vancouver.

Independence Day: Resurgence

Director Roland Emmerich waited 20 years to revisit Independence Day. Will Smith won’t be back in his star-making turn, but Jeff Goldblum and other essential cast members are back to stammer and stare wide-eyed as monuments go boom once more. Not screened for critics. Not a good sign. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Pioneer Place, Tigard, Vancouver.



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The Jungle Book

B+ Director Jon Favreau may have been out to show off the latest in special effects, but his reverence for the classic 1967 cartoon shines through all the digital rendering. He probably should’ve thought twice before having Bill Murray sing a warbly, soulless version of the “Bare Necessities,” but even I felt a shiver of childhood nostalgia when the familiar drum beat played in the opening credits. PG. LAUREN TERRY. Academy, Avalon, Empirical, Kennedy School, Valley, Vancouver.

The Legend of Tarzan

Alexander Skarsgård and his 24-pack abs take to the jungle in an effort to make me die of heat stroke. Thanks a lot, Skarsgård. Because of you, a whole generation of dudes got a gym membership for Father’s Day. But Googling Hozier’s music video—a sad man at a piano spliced with softcore porn and animal nuzzling—will give you a good idea. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Lloyd, Oak Grove, Tigard, Vancouver.

Life, Animated

A The Little Mermaid teaches autis-

tic children writing skills in director Roger Ross Williams’ Disney doc. For most of us, Mermaid was an underthe-sea sing-along and The Lion King our entree to the circle-of-life lesson, but for Owen Suskind, animation was vital for developing his reading, writing and communication skills. Life, Animated spotlights the Suskind family, based on father Ron Suskind’s book about raising his son with animation. From Owen’s initial autism diagnosis to the now-23-yearold moving out of his parents’ home, the film is conversational, with oneon-one interviews with each family member. It’s hard to hate Disney while watching Owen communicate flawlessly through memorized movie


Willamette Week JULY 20, 2016

lines as cartoons play onscreen, presenting an intimate picture of life according to Owen. PG. AMY WOLFE. Fox Tower.

The Lobster

B+ The Lobster is one of those dystopian sci-fi movies that needs to spend the first 30 minutes laying down the ground rules of the setting. David (Colin Farrell) is single, which is outlawed, so he goes to a singles retreat. But there is one catch: If you don’t find a mate within 60 days, you will be turned into an animal. On the plus side, you get to pick your animal. David chooses the lobster. Interesting concept, though this vision of the future mostly involves Farrell, John C. Reilly, Rachel Weisz and the rest of cast speaking in a dull, passionless monotone. R. JOHN LOCANTHI. CineMagic, Cinema 21, Kiggins.

Love & Friendship

B+ Kate Beckinsale stars in Whit Stillman’s vicious comedy of manners as Lady Susan Vernon, an accomplished flirt and recent widow who guilts her sister-in-law into hosting her and then brings a maelstrom of drama into the household, mainly in the form of wouldbe suitors and a runaway daughter. Lady Susan may have no shame, but Beckinsale plays up her character’s propriety, always pronouncing her witty, backhanded comments with a composed pout. Anything besides another Pride and Prejudice remake would feel radical, but Stillman manages to play with the text’s catty eloquence in a modern way, reminding us of Austen’s audacity and sense of humor. R. LAUREN TERRY. Fox Tower.

Maggie’s Plan

B Greta Gerwig plays a chronically single woman who falls for a wannabe novelist, matched by a terrifically severe performance from Julianne Moore as the novelist’s wife. From writer-director Rebecca Miller, the film’s ambience is the heir to ’70s Woody Allen, right down to the gypsy jazz. R. CHANCE SOLEM-PFEIFER. Cedar Hills, Laurelhurst.

Me Before You

D Take me back to before I witnessed the train wreck that is Me Before You. Based on Jo Jo Moyes’ bestselling novel, it’s no surprise the film’s death with dignity plot is already suffering backlash ranging from angry twitter hashtags to picketing outside film screenings. Spontaneously ditzy Lou (Emilia Clarke) is hired to care for Will Turner (Sam Claflin), a job that includes trying to convince Turner he shouldn’t end his life because of a disability he suffers from since an accident years ago. PG-13. AMY WOLFE. Academy, Bridgeport.

Mike and Dave Need Wedding Dates

C Based on a true story of hardpartying brothers Mike and Dave Stangle (Adam DeVine and Zac

Efron), this summer comedy is a frat fantasy in which the Stangles use Craigslist to find parent-friendly dates for their sister’s wedding. Writers Andrew Jay Cohen and Brendan O’Brien rely on the dynamic between Efron’s straight man and DeVine’s screeching tantrums, but their lack of comedic chemistry fails to carry the simple storyline. Anna Kendrick plays the neurotic sweetheart, Alice, whose best friend (Aubrey Plaza) sees the Hawaiian wedding as a free vacation. They play their girl-next-door parts well, until marijuana smoke starts rolling out of their room. But switching the roles would’ve been funnier here, with Kendrick as the bad girl who trades oral sex for Rihanna tickets, and Plaza as a twittering mess who falls for DeVine’s soft side. R. LAUREN TERRY. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Living Room Theaters, Lloyd, Oak Grove, St. Johns 1 & 2, Tigard, Vancouver.

Money Monster

C- George Clooney stars as a financial TV show host in the vein of Mad Money’s Jim Cramer, with Julia Roberts as his capable director and Jack O’Connell as the gunman who takes the studio hostage during a live broadcast. R. EZRA JOHNSON-GREENOUGH. Jubitz, Valley.

The Music of Strangers

B Within the first few moments of this film, some of the world’s best musicians are seen playing an eclectic tune in an open-air market adjacent to the sea, defying any notions one might have had about an orchestral documentary. Morgan Neville (director of 20 Feet From Stardom) returns to a musical theme while following Yo-Yo Ma’s unlikely international supergroup through the struggles of war, bigotry, isolation and cultural exchange. As the musicians devise new takes on old traditions, they also find themselves questioning art’s effectiveness against man’s capacity for evil and passivity toward hate. PG-13. CURTIS COOK. Fox Tower, Kiggins.

The Nice Guys

A- The Nice Guys exists in some weird, hyperviolent mirror image of Los Angeles—one that looks a lot like Atlanta. It’s like Roger Rabbit’s Toontown, but populated with cartoons that bleed. The movie plays like a 1970s spiritual sequel to writer-director Shane Black’s 2005 Kiss Kiss Bang Bang, a winking landmark of selfaware grit that revitalized Robert Downey Jr.’s career. And it’s kind of perfect. The plot is inconsequential, involving a dead porn star, a bunch of gangsters, a missing student, some more gangsters and the auto industry. But all of that is just an excuse to get its perfectly cast stars lobbing insults.This movie starts at full speed and never stops. R. AP KRYZA. Academy, Joy, Kennedy School, Laurelhurst, Valley, Vancouver.

C- A hyperbolic spectacle more than

anything else, Now You See Me 2 supersedes its predecessor on every level of absurdity. Jesse Eisenberg leads the Four Horsemen in his usual irritatingly haughty fashion as the gang goes on a mission to steal a computer chip that can control the world. Trying too hard to be cool with a string of tricks each more ridiculous than the next, the flashy caper proves anything but magical. PG-13. MICHELLE DEVONA. Avalon, Bridgeport, Cedar Hills, Clackamas, Jubitz, Vancouver.

Our Kind of Traitor

B- It is not great like Tinker Tailor Soldier Spy, but Our Kind of Traitor satisfies in a pinch. The everyman anchoring Traitor is poetry professor Perry Makepeace (Ewan McGregor), who looks less like the chinless wimp his name implies and more like Movie Star McGregor with longish hair. If Makepeace were the recluse his name implies, we might be more engaged when he is thrown into the company of dashing MI6 agents and burly Russian mafiosos. R. ZACH MIDDLETON. Fox Tower.


C Even if it doesn’t bring to screen a Wayne Campbell or a Blues Brother, Popstar: Never Stop Never Stopping is an SNL movie. From the music parody trio the Lonely Island (Andy Samberg, Jorma Taccone, Akiva Schaffer), the mockumented rise and fall of famemongering musician Conner4Real is a sketch’s sensibility spread thinly, or simply repeated, across a film’s length. The comedic rhythm of Popstar may be telegraphed like bass drops in a banger, but its giddy irreverence and excessive talent pose a simple question: “What if this thing you once liked was a movie?” It features a dozen new Lonely Island songs, 30 celebrity cameos and the SNL Digital Short pioneers understanding what they always have: Their imitation and ludicrous exaggeration of radio rap is somehow both appealing satire and joyful tribute. R. CHANCE SOLEMPFEIFER. Laurelhurst.

The Purge: Election Year

C- This third installment finally delivers the fleshed out storyline the Purge series deserves, but our violent reality offscreen makes this fiction a lot less appealing. Veteran director James DeMonaco this time broadens the story to show us the world that thought up this one day a year when you can commit any crime. The story would be more entertaining if the script exercised greater subtlety. Instead, onedimensional characters spell out health insurance reform and Trump rhetoric, combined with nightmarish imagery of murder tourists from Germany and sadistic girl gangs waving AK-47s. R. LAUREN TERRY. Cedar Hills, Clackamas, Division, Eastport, Lloyd, Pioneer Place, Vancouver.

The Secret Life of Pets

Louis C.K. voices a pampered terrier who gets sucked from his NYC home into a tough gang of pets set on punishing the people who’ve wronged them. It looks heart-rending like Pixar and candy-colored like Minions, with Kevin Hart as the cherry on top. PG. Beaverton, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Moreland, Oak Grove, Pioneer Place, Tigard, Vancouver.

The Shallows

C+ In spite of the worrying combination of Blake Lively, a computergenerated shark, and director Jaume Collet-Serra (House of Wax), many critics welcomed The Shallows as a relief from the sequels and summer superhero flicks. But drone shots of an aquamarine coastline do not a good film make. The story follows basic action-movie format: Nancy (Blake Lively) is taking time off from med school to retrace her late mother’s surfing tour through Mexico. Once you make it past the ill-fitting techno music as Nancy paddles into the break and a hungry shark strands her on a rock, the film grows into a decent thriller. PG-13. LAUREN TERRY. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Laurelhurst, Vancouver.

Swiss Army Man


B+ Known as the “Daniel Radcliffe


Now You See Me 2

farting corpse boner movie” since its Sundance premiere, Swiss Army Man somehow makes flatulence and an erection even more preposterously important than that description suggests. Together, they are symbols of body positivity, courtesy of a cadaver. The living member of this two-man show is Hank (Paul Dano), who opens the movie in preparation to hang himself on a deserted island. What stops him is a dapper corpse (Radcliffe) washing ashore. Hank will come to call the body “Manny,” and it will start farting almost immediately. This debut feature from Dan Kwan and Daniel Scheinert finds its keel with Dano carrying the corpse inland, convinced of its magic. In gorgeous, intense montage sequences, the actors make their own world from flotsam and litter. Swiss Army Man is surrealist like Calvin & Hobbes is. R. CHANCE SOLEM-PFEIFER. Clackamas, Fox Tower, Hollywood, Vancouver.


D+ With Warcraft, writer-director Duncan Jones has managed to squander the creative momentum and critical goodwill he’s amassed, presenting another generic and listless excursion into a wasteland of storytelling misery. Die-hard veterans of the games will find fun in seeing icons come to a bizarre sort of life, but the incomprehensible spectacle will crush the uninitiated. The film’s few saving graces include batshit insane spell-casting effects, the likes of which have never before been committed to the screen. The other high—an enraged gryphon kicks a few Orc dudes off a cliff. Shame on you, Duncan. PG-13. MIKE GALLUCCI. Vancouver.


A His name is Anthony Weiner, and he’s been busted for dick pics (again). “And for that, I am profoundly sorry,” he says over and over, trying to affect the perfect tone of sincerity. Weaving together clips from cable news shows, YouTube videos, and footage filmed onsite at crucial moments, the new documentary shows the rise and eventual implosion of Weiner’s 2013 campaign for mayor of New York City. It’s the unprecedented level of access to the subject that makes Weiner a necessary and unflinching look at how the sausage of modern politics gets made. R. ZACH MIDDLETON. Laurelhurst.

X-Men: Apocalypse

B+ The latest in the X-franchise proves that the Marvel Cinematic Universe is not the only home for A-grade superhero fare. With Apocalypse, writer Bryan Singer has finally steered the ship back on course, crafting one of the greatest comics pictures to date. The film opens in ancient Egypt, introducing the titular villain as the first mutant. Oscar Isaac portrays the blue-skinned Apocalypse then, aping Marlon Brando in Apocalypse Now. Jennifer Lawrence and Michael Fassbender return as Mystique and Magneto, respectively, and Hugh Jackman makes a brief but satisfying cameo as the pre-Wolverine Mutant X. Factions on the internet will inevitably find reasons to hate this movie. The Egyptians will be too pale for some. The question is: Do you want to have fun and enjoy a comic book turned into a quarterbillion-dollar feature film or would you rather stay home reading Proust? PG-13. NATHAN CARSON. Clackamas, Empirical, Tigard.


B 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. PG. AMY WOLFE. Academy, Vancouver.

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The golden age of film musicals is usually considered to have ranged from 1943 to 1959—the era of Rodgers and Hammerstein, Gene Kelly, and the Jets and the Sharks. Steve Young, a longtime writer for David Letterman, has a different definition. For him, it stretched from the mid-’50s to early ’80s, and it wasn’t centered in Hollywood. It was based in corporate America, where companies staged lavish, highly choreographed musicals to motivate sales forces. On Wednesday, Young is bringing his film reels and records to the Hollywood Theatre for “The Lost World of Industrial Musicals,” a look at the three-decade period when companies would rally their salespeople with Broadway-style performances—armies of dancers, original songs and all—and custom-made films, from The Bathrooms Are Coming to a Hamm’s beer movie animated by Hanna-Barbera. What the hell was going on? AP Film Studies talked with Young— who is making a Lettermanproduced documentary on the subject—before his visit to Portland. WW: How did you end up becoming an expert on this bizarre genre? Steve Young: Back in the early ’90s, we were doing a bit called “Dave’s Record Collection,” which consisted of Dave [Letterman] holding up weird, unintentionally funny records. I’d hit a bunch of thrift shops and record stores. I started coming back with these albums from company events, and to my surprise they weren’t speeches but they were full musicals…showtunes about selling typewriters or soda or paint or tractors, all these motivational shows to get the sales force fired up. How rare are these things? People like you and I were never meant to see or hear any of this stuff. It was meant for private, corporate, closed-door audiences at conventions and so on. But they’re actually pretty good? Many of them were strikingly catchy. So I began a long project of tracking down producers and writers, and it took a hold of me. I felt like I was the first one to understand that there was a genre here. Like it chose me.

And companies were just all about it? It was like a prestige version of an arms race. If you were a rival company at a convention with a 40-piece orchestra with 30 dancers, you had to match them. Did legitimately famous people cycle through these? I have a Ford tractor record from 1959 with the guys who, five years later, wrote Fiddler on the Roof. Florence Henderson did a lot of automobile shows. I was working for Martin Short most recently on a TV gig, and Marty Short, starting out in Canada in the ’70s, did a couple of these and still remembered the songs from them. Did the audiences actually get behind the shows? The music and the messages, if they were crafted by smart people, really did grab you by the collar and say: “You are part of an organization that’s making life better for America and all mankind. It’s a noble fight and we’re with you and we’re building a better future.” I’ve heard stories from people who made these shows watching the audience with tears streaming down their faces. I think a post-war, optimistic America was much more able to feel like that. GO: “The Lost World of Industrial Musicals” is at the Hollywood Theatre. 7:30 pm Wednesday, July 20. alsO showinG:

Who Framed Roger Rabbit remains the best film ever to blend animation and live action, and also stir really weird feelings in unsuspecting OshKosh B’goshes. Pix Pâtisserie. Dusk Wednesday, July 20. There’s still one more night to catch Point Break in theaters for its 25th anniversary as the greatest fucking action movie of the ’90s. Mission Theater. 6 pm Thursday, July 21. Chuck Palahniuk is teasing his upcoming Fight Club II comic with a Q&A before the original Fight Club screens. Hollywood Theatre. 7:30 pm Saturday, July 23. George Cukor’s storied 1939 ensemble picture The Women—not to be confused with the shitty Meg Ryan remake—returns as part of the NW Film Center’s Bette & Joan series. NW Film Center’s Whitsell Auditorium. 7 pm Sunday, July 24. Lucio Fulci’s Zombie: Come for the skewered eyeball, stay for the epic smackdown between a zombie and a real shark. Hollywood Theatre. 7:30 pm Tuesday, July 26.

Willamette Week JULY 20, 2016


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CITIES WHERE WEED IS STILL ILLEGAL: A. Scappoose; B. Forest Grove; C. Cornelius; D. Fairview; E. Oregon City, Wilsonville, West Linn, Sherwood, Lake Oswego, Damascus, Happy Valley; F. Sandy; G. Maupin; H. Shaniko; I. Manzanita; J. Junction City; K. Coburg; L. Creswell; M. Myrtle Point; N. Grants Pass; O. Shady Cove; P. Eagle Point; Q. Medford; R. Jacksonville

Last October, Oregon officially legalized the sale of recreational cannabis after a successful 56 percent “yes” vote on Measure 91. However, the law allowed counties and cities to opt out of legalization. And some have: 87 cities and 19 counties chose not to legalize. A year after sales began, we decided to map out the areas of Oregon still living under prohibition. And, as a service to all those who fi nd themselves in one, the nearest dispensaries from those red zones.




Recreational Sales Banned Recreational Sales Allowed












1. The Flowershop, 56821 Columbia River Highway, Warren. 5 miles from Scappoose.


2. Mahalo, 353 SW Walnut St., Hillsboro. 6

miles from Forest Grove. 3 miles from Cornelius.

3. Go to Portland for a dispensary if you live in Oregon City, Wilsonville, Sherwood, West Linn, Lake Oswego, Damascus, Fairview, Happy Valley or Sandy.

Newport Eugene 5.

4. Bloom Well, 1814 NE Division St., Bend. Go here if you’re visiting Bend from the east.


5. High Desert Dispensary, 1825 Highway 97, Madras. 49 miles away from Maupin. 39 miles from Shaniko.





6. La Mota, 158 N Highway 101, Rockaway Beach. 12 miles from Manzanita.

7. The Herbal Connection , 463 River Ave., Eugene. 12 miles from Junction City.


Coos Bay 9.

8. Nectar Cannabis , 340 River Road,

Eugene. 10 miles from Coburg. 17 miles from Creswell.

9. Herbal Choices Dispensary, 63247


Troller Road, Charleston. 30 miles from Myrtle Point.

10. Rogue Valley Cannabis, 6388 Crater Lake Ave., Central Point. 15 miles from Shady Cove. 5 miles from Eagle Point. 11. Breeze Botanicals, 315 2nd Ave., Gold Hill. 13 miles from Medford. 11 miles from Jacksonville. 18 miles from Grant Pass.

O 11.




Willamette Week JULY 20, 2016






I Sure Miss the Rocket (Skates)

Cat and Girl



There is much hullaballoo about the racks of orange bikes appearing throughout the city. Bike-sharing is upon us, Portlanders. Will you be using BikeTown? Many years ago in Portland, there was a similar but more inventive concept. I remember it well and still mourn its loss. Having not had a car at the time, I was one of its most loyal customers. RocketSkateTown debuted with little fanfare. I don’t remember hearing a thing in advance about what it was or how to use it. One day, the kiosks just starting appearing all over town. I would chance by one of them and wonder what it was, and perhaps squint at it, or see someone else walk to one, stand there for a few moments, then leave hurriedly. The kiosks were there for a month, and not once did I see anybody use one. Looking back, it should have come as no surprise. Isn’t it true that ideas as innovative as RocketSkateTown throughout history have always been met with fear, resentment and, worst of all, indifference? One day, I was walking on Hawthorne trying to decide where to eat when I saw some people demonstrating how the kiosks worked, how to wear the safety equipment, and how to stay upright on the skates. My curiosity got the best of me. I tried RocketSkateTown for the first time the following day. I was trying to get downtown from the eastside for a job interview. I was running five minutes late, just punctual enough to see the bus roar past my stop. There was a conveniently located kiosk across the street, and luckily, it had a pair of skates in my size, a helmet, a set of turning poles, and a quick-release parachute. I donned the safety equipment and blasted off. I felt the uneven asphalt vibrate my legs and the rumble of the rockets in my feet. I merged into the center lane, and accelerated. I remember speeding past the bus I had missed, and all the people aboard gazing out enviously. The rockets themselves were long and thin and protruded 18 inches behind the skates. They looked like industrial-grade sparklers, and hissed as they propelled you to 35 mph. (Yes, only 35 mph. Hold your horses, Wile E. Coyote, they’re rocket skates, not suicide machines.) I rocketed onto the bridge that afternoon, and found another conveniently located kiosk where I could drop off my equipment. I made it to my interview a few minutes early—almost got the job, too. The HR manager told me I was their second-favorite candidate. I don’t remember any announcement about the end of RocketSkateTown, but gradually the kiosks disappeared. It came as a surprise. Did this not seem like the kind of forward-thinking transportation solution that Portlanders would appreciate? Denizens of a bygone Portland, perhaps. Perhaps we should have recognized the failure of RocketSkateTown as a harbinger of that new era Portland had entered. Dr. Mitchell Millar is president of the Olde Portland Preservation Society, which holds among its collection the only complete bound archives of The Rocket and the pair of size 4 ice skates purportedly worn by local hero Tonya Harding while she trained at Lloyd Center. Willamette Week JULY 20, 2016




SATURDAY, OCTOBER 15 Noon–6 p.m. 27 new beers you can only try here! Portland’s original home and pro brewer collaboration festival!


Willamette Week JULY 20, 2016

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JULY 20, 2016








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Across 1 It may be dank 4 Civics field, for short 11 It gets laid down 14 “Now I get it!” 15 Surname on the sitar 16 Decorate with frosting 17 1967 hit by The Doors 19 Unpaid bill 20 Just meh 21 A bit of 22 “A Change is Gonna Come” singer Redding

23 Possesses 26 Hammer or sickle, e.g. 28 Part of one of the Ten Commandments 35 He followed Peyton as Super Bowl MVP 36 Boutros BoutrosGhali’s birthplace 37 “TMZ” subject 39 Milhouse’s teacher 41 “Three Coins in the Fountain” fountain 43 Frank Herbert book series 44 River of forgetfulness in

Hades 46 Three of ___ 48 Made the first play 49 T-Bone Walker’s genre 52 Cuban coin 53 7 1/2-foot Ming 54 Wise crowd 56 Texas city 60 Converse, e.g. 64 Woody’s ex 65 Long-running TV science show that hints at the other long entries 68 Business letters? 69 Caesar salad base

Down 1 Buds 2 Athens is there 3 Makes it? 4 L.A. clock setting 5 Bit of resistance? 6 Places down, as carpeting 7 Dope 8 Take money off the top 9 “___ comment?” 10 Acrimony 11 Comic-strip girl who debuted in the 1930s 12 Berry for the health-conscious 13 Halloween decorations 18 Swiss Roll lookalike 22 Expressed admiration 24 Compass tracing 25 “Chop-chop!” 27 Available without a prescription, for short 28 Achilles’ vulnerable spot 29 With more “years young” 30 Well out of medal contention 31 Distiller ___ Walker 32 Northern California town that once had a palindromic bakery 33 “___ Out” (musical based on

Billy Joel songs) 34 “Chicago” actress Zellweger 38 Growing planes? 40 “I remember well ...” 42 ___ 500 45 French connections? 47 AKA, before a company name 50 “___ doin’?” (Joey Tribbiani greeting) 51 Got the highest score, in golf 54 Leave out 55 Jacob’s Creek product 57 Fast money sources 58 “The New Yorker” cartoonist Addams, for short 59 “In memoriam” bio 61 Burlap material 62 Administered by spoon 63 Catch sight of 65 What Elmo calls Dagwood in “Blondie” 66 “Wooly Bully” opening number? 67 Sapphire’s mo.

last week’s answers

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Willamette Week Classifieds JULY 20, 2016

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Week of July 21

ARIES (March 21-April 19) You now have more luxuriant access to divine luck than you’ve had in a long time. For the foreseeable future, you could be able to induce semi-miraculous twists of fate that might normally be beyond your capacities. But here’s a caveat: The good fortune swirling in your vicinity may be odd or irregular or hardto-understand. To harvest it, you will have to expand your ideas about what constitutes good fortune. It may bestow powers you didn’t even realize it was possible to have. For example, what if you temporarily have an acute talent for gravitating toward situations where smart love is in full play? TAURUS (April 20-May 20) A directory published by the U.S. Department of Labor says that my gig as an astrologer shares a category with jugglers, rodeo clowns, acrobats, carnival barkers, and stuntpersons. Am I, therefore, just a charming buffoon? An amusing goofball who provides diversion from life’s serious matters? I’m fine with that. I may prefer to regard myself as a sly oracle inflamed with holy madness, but the service I provide is probably more effective if my ego doesn’t get the specific glory it yearns for. In this way, I have certain resemblances to the Taurus tribe during the next four weeks. Is it OK if you achieve success without receiving all of the credit you think you deserve? GEMINI (May 21-June 20) Over the course of a 57-year career, Japanese movie director Akira Kurosawa won 78 major awards for his work, including a Lifetime Achievement Award from the Oscars. Among the filmmakers who’ve named him as an inspirational influence are heavyweights like Ingmar Bergman, Werner Herzog, Bernardo Bertolucci, Robert Altman, Francis Ford Coppola, and Martin Scorsese. But Kurosawa wasn’t too haughty to create lighter fare. At age 86, he departed from his epic dramas to create a 30-second commercial for a yogurt drink. Did that compromise his artistic integrity? I say no. Even a genius can’t be expected to create non-stop masterpieces. Be inspired by Kurosawa, Gemini. In the coming weeks, give your best to even the most modest projects. CANCER (June 21-July 22) Capricorns may be the hardest workers of the zodiac, and Tauruses the most dogged. But in the coming weeks, I suspect you Cancerians will be the smartest workers. You will efficiently surmise the precise nature of the tasks at hand, and do what’s necessary to accomplish them. There’ll be no false starts or reliance on iffy data or slapdash trial-and-error experiments. You’ll have a light touch as you find innovative short cuts that produce better results than would be possible via the grind-it-out approach. LEO (July 23-Aug. 22) My friend’s 12-year-old daughter Brianna got a “B” on her summer school math test. She might have earned an “A” if it weren’t for a problem her teacher had with some of her work. “You got the right answer by making two mistakes that happened to cancel each other out,” he wrote on her paper next to question seven. I suspect you will soon have a similar experience. Leo. But the difference between you and Brianna is that I’m giving you an “A.” All that matters in the end is that you succeed. I don’t care if your strategy is a bit funky. VIRGO (Aug. 23-Sept. 22) Have ever fantasized about being a different gender or race or astrological sign? Do you suspect it might be fun and liberating to completely change your wardrobe or your hairstyle or your body language? The coming weeks will be an excellent time to experiment with these variables, and with any others that would enable you to play with your identity and mutate your self-image. You have a cosmic exemption from imitating what you have done in the past. In this spirit, feel free to read all the other signs’ horoscopes, and act on the one you like best. Your word of power is “shapeshifter.” LIBRA (Sept. 23-Oct. 22) The Golden Goose Award is given annually to “scientists whose work may have been considered silly, odd, or obscure when first conducted,” but which ultimately produced dramatic advances. Entomologists Raymond

Bushland and Edward Knipling were this year’s winners. More than 60 years ago they started tinkering with the sex life of the screwworm fly in an effort to stop the pest from killing livestock and wildlife throughout the American South. At first their ideas were laughed at, even ridiculed. In time they were lauded for their pioneering breakthroughs. I suspect you’ll be blessed with a vindication of your own in the coming weeks, Libra. It may not be as monumental as Bushland’s and Knipling’s, but I bet it’ll be deeply meaningful for you. SCORPIO (Oct. 23-Nov. 21) I hope it doesn’t sound too paradoxical when I urge you to intensify your commitment to relaxation. I will love it, and more importantly your guardian angel will love it, if you become a fierce devotee of slowing down and chilling out. Get looser and cozier and more spacious, damn it! Snuggle more. Cut back on overthinking and trying too hard. Vow to become a high master of the mystic art of I-don’t-give-a-f*ck. It’s your sacred duty to steal more slack from the soul-anesthetizing grind. SAGITTARIUS (Nov. 22-Dec. 21) I regularly travel back through time from the year 2036 so as to be here with you. It’s tough to be away from the thrilling transformations that are underway there. But it’s in a good cause. The bedraggled era that you live in needs frequent doses of the vigorous optimism that’s so widespread in 2036, and I’m happy to disseminate it. Why am I confessing this? Because I suspect you now have an extra talent for gazing into the unknown and exploring undiscovered possibilities. You also have an unprecedented power to set definite intentions about the life you want to be living in the future. Who will you be five years from today? Ten years? Twenty years? Be brave. Be visionary. Be precise.

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CAPRICORN (Dec. 22-Jan. 19) Here’s one strategy you could pursue, I guess You could spank the Devil with a feather duster as you try to coax him to promise that he will never again trick you with a bogus temptation. But I don’t think that would work, frankly. It may have minor shock value, in which case the Devil might leave you in peace for a short time. Here’s what I suggest instead: Work at raising your discernment so high that you can quickly identify, in the future, which temptations will deliver you unto evil confusion, and which will feed and hone your most noble desires. AQUARIUS (Jan. 20-Feb. 18) After a cool, dry period, you’ll soon be slipping into a hot, wet phase. The reasonable explanations that generated so much apathy are about to get turned insideout. The seemingly good excuses that provided cover for your timidity will be exposed as impractical lies. Are you ready for your passion to roar back into fashion? Will you know what to do when suppressed yearnings erupt and the chemicals of love start rampaging through your soft, warm animal body? I hereby warn you about the oncoming surge of weird delight -- and sing “Hallelujah!” for the revelatory fun it will bring.



check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes






PISCES (Feb. 19-March 20) I’m composing your horoscope on my iPhone after midnight on a crowded bus that’s crammed with sweaty revelers. We’re being transported back to civilization from a rural hideaway where we spent the last 12 hours at a raging party. I still feel ecstatic from the recent bacchanal, but the ride is uncomfortable. I’m pinned against a window by a sleepy, drunken dude who’s not in full control of his body. But do I allow my predicament to interfere with my holy meditation on your destiny? I do not -- just as I trust you will keep stoking the fires of your own inspiration in the face of comparable irritations. You have been on a hot streak, my dear. Don’t let anything tamp it down!

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42 38 willamette week, july 20, 2016  
42 38 willamette week, july 20, 2016