41 13 willamette week, january 28, 2015 by Willamette Week Newspaper

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WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“DABS ARE NOT FOR YOU, DAD.” P. 23 wweek.com

VOL 41/13 01.28.2015

The Potlander Our Annual Weed Issue

l o vat t o

NEWS NURSING HOMES WITH BARS. FOOD PORTLAND’S BEST NACHOS. BOOKS NEW PATTON OSWALT.

Willamette Week JANUARY 28, 2015 wweek.com

WILL CORWIN

FINDINGS

PAGE 46

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 13.

After driving the postwar economy into the ground and mortgaging their kids’ future, baby boomers are growing old in Oregon prisons in droves, which is expensive. 7

We didn’t even start to understand how humans got high on pot until 1988. 31

The first movie ever made in North Africa’s Tuareg language

plays at the Hollywood Theatre this weekend. 49

The life of a child in Gresham is more important than county land-use rules, says the guy who wanted to build a new fire station in Gresham. 9

The Oregon Symphony is livescoring a Star Trek movie at the Schnitz. 54

In Oregon, indica was made a scheduled drug almost a decade before sativa. 21

Patton Oswalt wanted to use a time machine to commit shovel murder. 65

ON THE COVER:

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Our apologies to The New Yorker and Mr. Eustace Tilley, by Lovatto.

The Portland high school with the highest percentage of black students has a very white dance team.

STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Aaron Mesh, Beth Slovic Copy Chief Rob Fernas Copy Editors Matt Buckingham, James Yu Stage & Screen Editor Rebecca Jacobson Web & Projects Editor Matthew Korfhage Music Editor Matthew Singer Books Penelope Bass Dance Kaitie Todd

Visual Arts Richard Speer Editorial Interns Lucas Chemotti, Gabriella Dunn, Parker Hall, Anna Walters CONTRIBUTORS Nathan Carson, Rachel Graham Cody, Pete Cottell, Jordan Green, James Helmsworth, Jay Horton, AP Kryza, John Locanthi, Grace Stainback, Mark Stock PRODUCTION Production Manager Dylan Serkin Art Director Kathleen Marie Special Sections Art Director Kristina Morris Graphic Designers Mitch Lillie, Xel Moore Production Interns Kyle Key, Jennifer Plitzko

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Willamette Week JANUARY 28, 2015 wweek.com

INBOX ACTIVIST FACING ALLEGATIONS

I took no pleasure in reading the horrific accounts of alleged abuse perpetrated by Hart Noecker [“Purged,” WW, Jan. 21, 2015]. The victims and affected community will undoubtedly have much healing to do together to overcome this violent breach of trust. A red flag for me was why no one knew Noecker’s story. Why did no one probe and ask about his background? An activist or leader must have ownership of their personal story in order to inspire others and enact change—radical ideology or direct action alone cannot build a movement. The activist community has the opportunity to take a hard look and not only “look inside themselves and evaluate their own worst impulses,” but also take a hard look at the endemic centering of young, charismatic and sexually available men within Portland’s activist movements. It would be too easy to say Noecker was just one rotten egg. Social movements historically have been led by women, and specifically by women of color. The failure to center these leaders and their voices (as well as their personal stories and narratives) is something we all need to evaluate to ensure we don’t get Noecker’d again. Vivian Satterfield Southeast Portland

DANCE TROUPE’S RACIAL MAKEUP

Willamette Week JANUARY 28, 2015 wweek.com

CORRECTION

Last week’s story about Multnomah County Commissioner Diane McKeel (“McKeel-Hauled,” WW, Jan. 21, 2015) misidentified the fire district board on which her husband, Dr. Mike McKeel, serves. It’s the Multnomah Rural Fire Protection District No. 10. WW regrets the error.

What an awful article, and what a “slap in the face” to Steve Gonzales, former company member, current artistic director of the Jefferson Dancers, and the man who saved this institution from going

LETTERS TO THE EDITOR must include the author’s street address and phone number for veriﬁcation. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Fax: (503) 243-1115. Email: mzusman@wweek.com.

Is it socially acceptable in Portland to take bottles and cans from strangers’ recycling bins? In my old hometown, this was considered stealing—it deprived the city of revenue for the recycling program. Here, it’s a cottage industry. —Wondering

and bottles they don’t even bother redeeming the ones they get—they just recycle them with the rest of the glass, aluminum or plastic. More troubling, perhaps, is the specter of turf wars among the bottle pickers. Once I was riding my bike home from the gym (I know, shut up) when a lady flagged me down because her cart of bottles had been stolen by a competing gang of bin raiders. We spent an hour passing my iPhone back and forth trying to fi nd a cop who spoke Hindi. (As we spoke, a passing photographer from Webster’s paused to snap my picture for inclusion with their entry on “Portland liberal.”) An officer eventually materialized, and I discreetly legged it. Still, you can see why the authorities might not want to wade too deeply into this arena of law enforcement. Nobody makes money on unredeemed containers except the beverage distributors (they pocket a nickel for each can that doesn’t come back), so it hardly seems worth the trouble.

If that guy with the unicycle and bagpipes can’t find the limits of social acceptability in Portland, what hope do the rest of us have? The general feeling on the matter seems to be that if you’re in such bad financial shape that it’s worth your time to collect cans at a nickel a pop, knock yourself out. Bruce Walker, the city’s solid waste and recycling manager, says they don’t encourage such scavenging, but he notes, with bureaucratic understatement, that such a precept is “difficult to enforce.” Perhaps a better way to put it would be “not worth enforcing.” Metro recycling officials report there’s so little money in curbside cans 4

extinct [“Sidestepped,” WW, Jan. 21, 2015]. As a former member of the company, I’d like to inform you that we asked ourselves this question 20 years ago. The simple answer, we surmised, was that many students from the neighborhood, while respectful of the dance program, weren’t interested in joining the company. Being a member of the Jefferson Dancers was a commitment equal in intensity to being on a sports team. Many kids from the neighborhood who had that kind of commitment offered their services to something viewed as more mainstream: to Jefferson’s basketball, football and wrestling teams, or cheerleading squad, etc. The bigger question here is: Why is the dance company located at the high school with the largest African-American student body in the city? Could it be because dancers, and all artists, are marginalized in larger society, just as the black community is marginalized in Portland? Andrew Parodi Gervais

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

“It’s not you, Big Insurance, it’s me.” It just isn’t working out between us. You have your profits, your shareholders, your investments to worry about. You have a business to run, I know. I just think our life goals have drifted apart. I need to think about me. So I’ve found somebody else: Health Republic ® Insurance. They’re not worried about maximizing their profits. They can’t. By law. They only worry about me and my health. They make sure I have access to one of the largest, best provider networks in the state. And they offer me a wide variety of plans to fit my budget and needs. You’ll be okay. This is for the best.

www.healthrepublicinsurance.org | 503-673-3577

Willamette Week JANUARY 28, 2015 wweek.com

PRISONS: Aging inmates send health care costs soaring. POLITICS: County Commissioner McKeel’s husband pulls strings. SCHOOLS: An accused principal won’t be charged with assault. COVER STORY: The Potlander: Weed for the refined enthusiast.

7 9 10 13

INGER KLECAKZ

NO INFLUENCE. NOPE. NONE WHATSOVER. The Portland Development Commission is finally making progress unloading land it has collected in the Lents neighborhood. The PDC plans to sell six of the 12 Lents acres it owns to developers—including LENTS Pearl District power brokers Homer Williams and Dike Dame. That’s good news for the PDC, which has spent $103 million in urban renewal money from the neighborhood since 1998 with little to show for it except empty lots (“Razed and Confused,” WW, Jan. 22, 2014). Development plans include apartments, shops and a community center. Still in play: the New Copper Penny, the controversial nightclub whose owner, Saki Tzantarmas, has long haggled with the PDC to reach a sales price (“Saki’s Big Bet,” WW, Nov. 12, 2014). Oregon Labor Commissioner Brad Avakian is poised to ink a $2.4 million settlement with Daimler Trucks North America to resolve allegations that minorities working at the company’s Swan Island plant and corporate offices put up with years of racial intimidation and abuse, sources near the investigation tell WW. The complaints—first reported by WW—allege workers endured racial slurs, threats of violence and assaults (“Truck Race,” WW, Sept. 3, 2014). The civil rights settlement would be the largest in Bureau of Labor and Industries history. BOLI spokesman Charlie Burr declined to comment, as did Daimler officials.

Secretary of State Kate Brown got caught this week shilling for Comcast and the cable giant’s bid for Federal Communications Commission approval to merge with Time Warner Cable. TheVerge.com revealed that an Aug. 25 letter Brown sent to the FCC supporting the merger was cut and pasted from a letter drafted by Oregon’s Comcast lobbyist. Brown has accepted nearly $10,000 in camBROWN paign contributions from Comcast since 2008. Brown spokesman Tony Green says the campaign cash didn’t inﬂuence the secretary of state (whose job has exactly zero to do with cable companies). “This was a decision based on the good work Comcast has done in the community,” Green says. Read more Murmurs and daily scuttlebutt.

Willamette Week JANUARY 28, 2015 wweek.com

W W S TA F F

City Commissioner Amanda Fritz says she will seek a third term on the City Council in 2016. She hadn’t planned to run again but changed her mind after her husband, Dr. Steven Fritz, died in a September car crash on Interstate 5 near Salem. “I was hoping to be able to retire and spend time with my husband,” Fritz tells WW. “I have lots of goals for the city, and I’m trying to make something good come out of this horrible thing that’s happened.” Fritz won re-election in 2012 after a tough challenge from former state Rep. Mary Nolan (D-Portland). Multnomah County Commissioner Loretta Smith and former County Chairwoman Marissa Madrigal were both rumored to be interested in the City Council seat if Fritz retired. Fritz—who has rejected large donations and PAC money— says she will fund her re-election campaign with the payout from her husband’s life insurance.

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

OLDER, AND MORE COSTLY

NOT SO COMPASSIONATE

As the percentage of older prisoners has increased, so has Oregon's per-inmate cost of health care.

Out of 53 inmates who requested early parole based on their medical condition, only one inmate in the past four years has won release from the Oregon Board of Parole.

100%

Spending

w w s ta f f

NEWS

Percentage increase of per-inmate health care spending, adjusted for inﬂation

75%

50%

Percentage increase of elderly inmate population

25%

2003-2005

2005-2007

2007-2009

Biennium

Sources: Oregon Department of Corrections; U.S. Bureau of Labor Statistics.

HIGH COST OF ILLNESS The annual health care costs for a terminally ill inmate can be 15 times that of other prisoners.

2009-2011

2011-2013

2013-2015 (projected)

HOW OREGON COMPARES WITH THE REST OF THE NATION

Oregon has the nation's highest percentage of elderly prisoners. Meanwhile, other states have sought ways to curb the number of aging inmates.

$600,000

California loosened standards for medical parole in 2010 and saved more than $20 million by releasing 47 inmates under the revised law.

$450,000

Connecticut expanded its medical parole in 2012 to let the correction commission release severely debilitated inmates.

$300,000

$150,000

4.00% - 5.80% 5.81% - 7.59% 7.60% - 9.39% 9.41% - 11.20% 11.21% - 13.00% No Data

$0 Source: Oregon Legislature

In 2009, Colorado created a more in-depth review of prisoners who are eligible for early release due to their medical conditions. Sources: The Pew Charitable Trusts; American Civil Liberties Union.

PRISON BLUES—AND GRAYS AN AGING POPULATION OF INMATES IS COSTING OREGON A BUNDLE. By GABRIELLA DUNN

gdunn@wweek.com

Oregon prisons are looking more and more like assisted living centers. That’s because Oregon houses the highest percentage of elderly inmates in the nation, according to a 2014 report by the Pew Charitable Trusts. The number of Oregon prisoners 55 and older is 1,800—and it’s grown four times faster than the overall inmate population between 1995 and 2010. With older inmates come higher health care costs—as much as $500,000 a year each for the sickest inmates, according to Oregon legislative estimates. Since 2003, the Oregon Department of Corrections’ health care spending per inmate has doubled. The aging of the prison population is one result of a tough-on-crime law known as Measure 11 that Oregon voters approved in 1994. It created mandatory minimum sentences and longer prison terms for certain violent crimes. “You have someone that’s a murderer but is now in the final throes of Alzheimer’s,” says state Rep. Jennifer Williamson (D-Portland). “What do you do with that guy? He has a

mandatory life sentence but is clearly not in the same state, mentally or physically, as when he committed the crime.” Corrections will spend more than the $200 million—or 14 percent of its overall budget—originally authorized for prison health care in 2013 to 2015. While the state looks for ways to cut the costs of prison health care—assigning a task force to examine the issue last year—it already has one way to do it: grant chronically or terminally ill prisoners early release. Since 2011, the earliest year for which WW could obtain records, the state has released only one inmate of the 53 who requested early parole, according to the Department of Corrections. Most of the inmates didn’t fit release criteria— either because they were serving mandatory minimums or their medical conditions weren’t serious enough to qualify. “It is no secret that a significant portion of an individual’s lifetime health care costs are incurred during end-of-life care,” says Steve Robbins, the Corrections Department’s health services administrator. “If we had fewer elderly inmate patients in our care, it would correlate that our costs would likely be reduced.” In 1989, Oregon enacted an early parole law that allowed inmates to request release for severe medical conditions. But prisoners with a Measure 11 sentence aren’t eligi-

33 Had a sentencing restriction 8 Died before medical release was initiated 3 Reached the end of their sentence and were released 7 Did not meet the medical criteria 1 Denied by the Oregon Board of Parole 1 Granted medical release Source: Oregon Department of Corrections

ble—and those inmates make up most of the Department of Corrections’ elderly population. In 2011, four legislators proposed a Senate bill to relax release standards, but the bill died that session. It’s a tough sell—many legislators see it as political suicide to endorse early release. “When the voters passed Measure 11, the intent was for these offenders to do every day of their sentence,” says Steve Doell, director of Crime Victims United of Oregon. “That intent should be followed.” A 2014 Stetson Law Review study found that by 2030, one-third of U.S. prisoners will be at least 50 years old. And while 50 might sound young, experts say inmates are biologically 10 years older than their chronological age—generally because of their experiences before and during prison. Even though taxpayers would still pick up the check for inmates released on parole, the potential health care savings could be significant. That’s because Medicaid represents a large enough pool of patients to negotiate lower medical and hospital prices. Thanks to a 2013 law, the Corrections Department can now access Medicaid dollars when inmates receive overnight medical treatment outside prison. But Williamson says Oregon faces growing health care costs for prisoners and needs to consider different options—even if those choices are politically difficult. “An inmate may be completely incapacitated by dementia,” Williamson says. “But people in the community are going to be looking at their records. That doesn’t work well in a political sound bite.” Willamette Week JANUARY 28, 2015 wweek.com

Willamette Week JANUARY 28, 2015 wweek.com

POLITICS

FIRED UP COMMISSIONER DIANE MCKEEL’S HUSBAND PULLED STRINGS WITH COUNTY OFFICIALS. VOTEMCKEEL.COM

BY NIGEL JAQUISS

njaquiss@wweek.com

The husband of Multnomah County Commissioner Diane McKeel used his relationship with McKeel to get his way in a landuse dispute last year over a local DR. MIKE MCKEEL fire station. Records show Dr. Mike McKeel used what one county planner called veiled threats and “overt” pressure on county officials who were trying to follow local zoning rules. Other documents, obtained by WW under Oregon’s public records law, show Commissioner McKeel’s staff directly contacted county officials on her husband’s behalf. The records raise more questions about how far Commissioner McKeel has been willing to go to aid friends and her husband by using her elected office to help them. Last week, WW reported that a former

county employee has alleged that Commissioner McKeel engineered his firing after he tried to enforce land-use rules against a Corbett bed-and-breakfast owned by her political friends (“McKeel-Hauled,” WW, Jan. 21, 2015). McKeel denied the accusation. The ex-employee also charges that Mike McKeel exerted undue influence on county officials to expedite the siting of a new fi re station for Multnomah Rural Fire Protection District No. 10. McKeel, a Gresham dentist and realestate investor, is the elected chairman of the fire district’s board, and the station site falls within the geographic boundaries of his wife’s district. In 2012, the district wanted to replace an aging fi re station, but the proposed site of the new station wasn’t zoned for such use. After the county approved the zoning change, the fire district proposed a larger project footprint and more road access points than the county wanted. The approval process was contentious. In a May 2014 email, Don Kienholz, lead county planner on the project, described McKeel’s “name-dropping of his county commissioner wife to send the message he’s connected.” According to one document, McKeel told a county planner that “we’ll fire” a county attorney involved in the dispute— and then claimed he was just joking. “This was the most overt inference that he has influence and can even tell us staff what to do,” Kienholz wrote in a June 6, 2014 email. Documents show Mike McKeel made

dozens of contacts with county officials, including Kienholz’s bosses. “It’s my hope that somehow issues as important as ours could be done in a more efficient way,” McKeel wrote in a May 30, 2014, email. “When 30 seconds can be the difference in the life of a child, it makes some of the issues raised by land use seem pale.” A hearings officer gave McKeel and the fire district most of what they wanted on the new station. County officials later withheld the final permit, however, because the fire district hadn’t satisfied all the conditions of approval. At that point, Commissioner McKeel’s staff got involved. On Sept. 4, Mary-Margaret Wheeler-Weber, an aide to the commissioner, sent an email with the subject line “Urgent Call from Mike McKeel re: fire station/landuse” to Diane McKeel’s chief of staff, Eric Zimmerman. “Zimmerman called Karen [Schilling] and blasted her,” Kienholz wrote Sept. 5 (Schilling is the county’s director of transportation and land-use planning). “He is not the applicant but is acting on behalf of Diane McKeel and Mike McKeel.” Zimmerman tells WW he understood Mike McKeel’s role created a sensitive situation, but that he was troubled previous tensions over the fire station were continuing. “He’s working on behalf of a fire district,” Zimmerman says of Mike McKeel. “It’s not like he’s building a house.” Kim Peoples, director of the county’s Depar tment of Communit y Ser v ices, met once with Mike McKeel at McKeel’s

NEWS

request and talked to him several times on the phone. Peoples says he does not recall another land-use applicant contacting him so often. But Peoples says McKeel’s communications with him did not change the outcome. Mike McKeel disputes Kienholz’s version of events. McKeel says he never joked about firing a county employee and never used his wife’s position to threaten Kiehnolz. “That’s patently untrue,” he says. McKeel acknowledges enlisting his wife’s staff to contact a county attorney to speed the process. He notes that an independent hearings officer decided the case, largely in the fire district’s favor. “We won on every issue on which there was a disagreement,” Mike McKeel says. “But Diane never did anything for us. We didn’t get any special treatment.” Diane McKeel agrees. “He was treated the same as any other constituent,” she says. Multnomah County Chairwoman Deborah Kafoury, who oversees all county departments, tells WW she is troubled by allegations regarding McKeel’s office. “Even the appearance of inappropriate influence from elected officials erodes public trust,” Kafoury says. On Sept. 12, the fire district broke ground on the new station. According to the Gresham Outlook, the crowd sang “Happy Birthday to You” to Diane McKeel before she gave her speech and pointed to another reason to celebrate. “We don’t have a lot of big capital projects in East Multnomah County,” she said.

Willamette Week JANUARY 28, 2015 wweek.com

SCHOOLS TWITTER

NEWS

PHOTO: Caption tktktk COSTUME CHANGE: Portland Public Schools Superintendent Carole Smith (left) and Marti Diaz, principal at Kelly Elementary, celebrated Kelly students’ improved reading scores in March 2014. Diaz, whose custom of wearing superhero T-shirts rubbed oﬀ on Smith, is now on the outs with PPS.

SUPERMESS PORTLAND PUBLIC SCHOOLS MUST DECIDE WHAT TO DO WITH A PRINCIPAL ARRESTED FOR—BUT NOT CHARGED WITH—DOMESTIC VIOLENCE. BY BETH SLOVIC

bslovic@wweek.com

In the Portland Public Schools firmament, few stars shined as brightly as Marti Diaz. The former teacher rose to the position of principal at Southeast Portland’s Kelly Elementary School in January 2013 and soon became one of Superintendent Carole Smith’s trusted insiders. She served as a member of the district’s negotiating team during last year’s contentious contract talks with teachers. And she played a key role in one of Smith’s signature programs, presenting Oct. 27 on the Latino experience at the 2014 National Summit for Courageous Conversation in New Orleans. Three days later, her star plummeted when Portland police arrested Diaz, 52, at district headquarters on allegations of fourth-degree assault and domestic violence. Diaz was marched out of PPS headquarters in handcuffs before other district employees. PPS placed her on paid administrative leave, giving parents, teachers and students at Kelly no more details. Now, three months after Diaz’s very public arrest, Clackamas County prosecutors say they will not charge her after all. The alleged victim, her partner of 17 years, never told police Diaz had hit her. Diaz tells WW the allegations were “malicious” lies that stem from professional jealousy. “It’s been very hard for me to stay silent while my entire career has unfolded in front of me knowing that I haven’t done anything wrong,” Diaz says. PPS now has a new problem. The district must decide what to do with Diaz, who could go back to Kelly, a school in the Lents neighborhood that serves a significant population of Russian refugees. Or PPS could send Diaz to another school. On Dec. 22, Diaz informed PPS she plans to sue the district for invasion of privacy, malicious prosecution, false arrest, intentional infliction of emotional distress, and negligence. 10

Willamette Week JANUARY 28, 2015 wweek.com

“This is an ongoing confidential personnel matter, and we cannot comment further,” says Jon Isaacs, a district spokesman. “Parents are pretty aggravated that they’ve been kept in the dark about pretty much everything,” says one Kelly parent. Diaz’s troubles started the weekend of Oct. 11 at Milo McIver State Park near Estacada, where she went camping with her partner, Penny Domm, and several other principals for Portland schools. Almost two weeks later, on Oct. 22, one of those principals, Carol Campbell of Grant High School, told her school’s resource officer Diaz and Domm had fought inside their RV during the camping trip. Campbell said she didn’t witness a fight but later saw that Domm’s “clothes were torn, she had blood on her shirt, and that she was holding her face” as if she’d been hit. Pam Joyner, then-principal of Hosford Middle School, told the officer she went to the RV and heard screaming. “[Joyner] opened the door and walked in, and when she did she observed Ms. Domm crouched down on the couch….Ms. Diaz was standing over [Domm] with clenched fi sts.” Joyner didn’t see Diaz strike Domm, the report says, “but believed that she had.” According to the report, a third principal, Brenda Fox of Lane Middle School, says he heard Domm say, “She fucking hit me.” Fox also told the officer Domm had spoken of “other incidents” with Diaz, who disputes this. (Campbell, Joyner and Fox did not respond to WW’s request for comment.) Domm refused to discuss with police what had happened. (Domm has declined through her attorney to respond to WW’s questions.) An officer with the Portland Police Bureau’s domestic violence unit, Todd Christensen, followed up. According to police reports, Diaz told Christensen there was never any physical violence and that there had been a “misunderstanding” that evening. Christensen decided there was probable cause to arrest Diaz anyway. Edie Rogoway, Diaz’s attorney, says Williams’ report failed to note that the other principals had all been drinking, making them unreliable witnesses. Rogoway says PPS—now that Diaz will not be charged—has no basis for taking personnel action against the principal. Rogoway says the district has no reason to delay a decision, but officials appear in no hurry to resolve matters. “I’m a great educator,” Diaz says. “I want to go back to doing what I do best.”

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THE TOKE

OF THE

TOWN

OUR ANNUAL WEED ISSUE

elcome to the new normal. It took a while. Oregon’s journey to legal weed, which culminates in a big, smoky rally on the waterfront this July, started way back in 1973, when we decriminalized pot at the height of Hoover-and-Nixon-fueled reefer paranoia. In 1998, we got medical weed, but we didn’t officially license dispensaries until last March. It was all so slow, until it wasn’t. But now, even our 2012 weed issue seems quaint. None of the writers smoked for their stories, and two were professed non-tokers. When one enterprising reporter wanted to know the price of weed in Oregon, he called the Portland Police Bureau and the University of Oregon. These days, we’d just open a phone book— that is, if anybody had a phone book—and

call a dispensary to ask what a gram of White Widow is going for. Here’s a promise: Every person who wrote about weed in this issue also smoked, vaped, ate or dabbed it while reporting their articles. Not everyone is caught up yet. You may need some advice talking to your parents about today’s weed (page 23), and you still need an OMMP card to get into the six new dispensaries we think best represent what Portland’s cannabis scene will become (page 27). The future of weed will be based in connoisseurship. If Colorado and Washington are any guide (see page 19 for a look at Vancouver), legal weed will look a lot like Oregon’s craftbeer industry—fueled by individual growers interested in making the best product possible for an increasingly refi ned group of consumers.

A local company is mapping the weed genome, just like we did for apples and pears (page 31). We’re making better, cleaner, more sciencey bongs (page 41). With medica l ma r ijua na dispensa r ies becoming more and more like bars or Apple stores, gone are the days of smoking whatever crap you can get your hands on—although we offer some help to bargain hunters on page 33. You can now choose your high (page 17) with the specificity you’d apply to deciding what movie you’re in the mood for. Indeed, yesterday’s dispensaries are probably tomorrow’s OLCC-certified weed bars. So remember to tip your budtenders (page 35). They’re about to become your new best friends. Happy smoking.

Willamette Week JANUARY 28, 2015 wweek.com

WEED

J E N N Y Z YC H

CONT.

CAN A LIFELONG WEED-HATER FIND A STRAIN HE LIKES? I’ve never liked weed. This confuses certain people; it’s like I just told them I hate ice cream. But at the age of 21, it was a profound relief when I figured out I could just pass the joint at a party, rather than subject myself to an obtrusive, spinny high. Lately, though, some friends have been a little schoolmarmish about it. “You probably just smoked the wrong strain,” they tell me, saddened by my laziness. In the crypto-medical, geekily specific world of dispensary greenery, you can choose your own high. So fine. I got high for a solid week. Seven days, seven strains, each one recommended by WW’s in-house weed critics or fans. As a control scenario for this highly scientific experiment, I spent 30 minutes of each high watching the Web series High Maintenance, about a Manhattan bicycle pot-delivery man. Because science! And because the show is wonderful. DAY 1: WHAT’S WRONG WITH WEED IN GENERAL STRAIN: Sour Diesel. Hybrid strain, sativa-dominant, listed on Leafly.com as “energetic.” Ah, Sour Diesel, the smelly baseline weed of campfire tokers. My joints are lazily limber, my head tingly and my consciousness fuzzy; depth perception is suddenly negotiable. But I am far too aware of each effect on my body. When drunk, you’re stupid, but you hardly know it after the first buzz; as on Fox News, stupidity is papered over by blissful ignorance. But with Diesel I am all too conscious of the fogginess of my reason, the smudgy scrim between thinking and doing. It is obnoxious, and it’s everything I always hated about weed. DAY 2: 99 PROBLEMS, BUT THIS AIN’T ONE STRAIN: Space Queen. Hybrid, sativa-forward, described on Leafly.com as a “head high.” Well, this is better. But oh, man, is it wellnamed. I think intensely about a single subject—an ex-girlfriend from four years ago, say—but the second I’m distracted I can’t remember what in the hell I was on about. It’s serial monomania. I solve a thousand problems and forget a thousand solutions. And then, two hours later, I miss my bus stop on my way to lunch. This high lasts…forever.

DAY 3: I’D HIT THAT STRAIN: Omega, a brand-new, sativa-dominant hybrid from Oregon’s Emerald Twist Farm—a mix of White Widow and three other things. None of the tranciness of the previous two. My skin tingles a bit, and I’m uncontrollably happy, as in I want to meet everybody immediately. It’s like cocaine mixed with empathy and a very large appetite. I also become keenly aware that cannabis is a vasodilator: The world seems sexy. Consider this a dopamine shot to the back of the brain, delivered to a very happy lab rat. This is my huckleberry—the first joint I would not bogart. DAY 4: COTTONMOUTH STRAIN: Cherry Kush, which, according to a Leafly online reviewer, “makes you eat cheese puffs n play with your penis in front off you computer.” He posted this review 17 times. Most strains involve a dry throat, but within 10 minutes of smoking, I feel like I’ve got a mammal trapped in my neck. Not to mention my forehead is so numb it’s like I’ve been Botox-ed. I am hungry, glued to a couch, barely able to swallow. It’s the worst. Just: the worst. DAY 5: SMOKED NYQUIL STRAIN: Berry White. Indica-forward, which means it’s a bit of a downer. Berry White, like its namesake, gets you straight into bed. DAY 6: STATUS QUO STRAIN: Cannatonic. CBD-heavy (pain-relieving cannabinoid), and low on THC (high-making cannabinoid). It’s medicine, man. By now, the weed experiment has become a chore. Like anybody with a real habit, I’m having to plan my days around the time I need to get high. In any case, Cannatonic has few psychoactive effects for me, except that I become very aware of how fast my fingers move when I type. I type pretty fast. Oh, and this weed is useless. DAY 7: MAKE IT STOP STRAIN: Skywalker, an indica-dominant hybrid. This strain is all laserlike attention and narrow focus, the mental equivalent of Cyclops’ visor in X-Men. Can I stop now? VERDICT: Congratulations, weed aficionados. I used to just say no. Now, I will ask 17 irritating questions—indica-sativa ratio, strains that went into the hybrid (White Widow? Niiice). And then I will probably still say no. Are you happy about what you’ve done? ROBERTO JAMÓN.

Willamette Week JANUARY 28, 2015 wweek.com

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WEED

KYLE KEY

CONT.

Measure 91 Startup. Licensing. Compliance.

As one of Oregon’s most experienced providers of marijuana enterprise startup, licensing and compliance expertise, the Green Rush Advisory Group is uniquely qualified to help you establish your Measure 91 business. Green Rush has helped hundreds of Pacific Northwest entrepreneurs startup, license and properly operate legal marijuana businesses. MAIN STREET MARIJUANA

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ON THE ROAD, LOOKIN’ FOR WEED, IN THE ’COUV. It took a little longer than it needed to, but Washington has finally figured out the recreational marijuana business. Or so it seems from a recent Saturday afternoon trek to the two recreational marijuana dispensaries nearest Portland, where our hassle-free visits took less than 10 minutes each. Yes, the prices are still high—we went budget and paid $20 per gram at each, double the price of OMMP weed—but so is the quality. Unless you’ve already got a guy you really like (see page 23), New Vansterdam or Main Street Marijuana are now viable options for Portlanders who want to dabble in weed. MAJOR E. SKINNER. Traveling from the I-205 Bridge…

New Vansterdam

6515 E Mill Plain Blvd., Vancouver, 360-5974739, newvansterdam.com. New Vansterdam is situated next to Safeway and a Jackson Hewitt tax preparation office in a thoroughly suburban stretch of town. Nearby, there’s a pay phone and a bus stop with cold, wet people from the surrounding apartment megaplexes. Inside, it smells like weed—well, like bong water—and there’s a security guard checking IDs before you can even get to the ATM. After passing through another door, you enter a wide-open room with two counters where you can pick a strain or buy a bong. Vansterdam seems to be aiming for the Denver dispensary vibe, with reclaimed wood paneling and iPad minis for perusing the dossiers on available strains. A couple from Seattle is impressed: “This is so nice compared to the ones up there. It’s way cleaner.” You don’t really need the iPad to go through the 200-plus-item menu since there’s also a handy binder at each station. A little plastic spice jar has been repurposed for smelling

VAN’

samples, which the budtenders say they try to switch out every week. After you pick a strain, you go into a third room where there’s a cash register, then over to another station where you hand over your receipt and get a brown paper bag with your preweighed and packaged weed. Pros: Plenty of parking, nearby Vanco driving range if you want to hit a bucket after smoking, Muchas Gracias located next to driving range. Cons: Far from the freeway, sterile, Muchas Gracias is not that good. Traveling from the I-5 Bridge…

Main Street Marijuana

2314 Main St., Vancouver, 360-828-7737, mainstmj.com. The hipper, more urbane of Vancouver’s two recreational dispensaries, Main Street Marijuana sits behind a frosted-glass window on the leafy northern edge of ’Couvian downtown. Inside, you probably won’t even see the security guard until you’re leaving, since he’s perched behind the door. The back wall is graffiti-styled, the light fixtures are from IKEA, and there’s a domesticated seating area with a leather couch and books—in other words, it looks just like your dealer’s house after his ladyfriend moved in. The menu is smaller than New Vansterdam’s, but there are more unusual strains, including a “historic first harvest” of Berry White from Life Gardens, which the budtender recommends. The place seems busy with old people asking endless questions about vape pens, but the budtender says business is slow and it only takes about five minutes to get an order, which comes in a baggie with your name on it, just like at Starbucks, and a complimentary bowl, because you can never have too many bowls. Pros: Free bowl with purchase; next to a record store; indie movie theater nearby; Muchas Gracias also within walking distance, but so is Woody’s Tacos (which is way better). Cons: Parking can be a hassle, and you’re downtown, so everyone is watching you and knows.

Our regulatory and compliance acumen, and substantial and diverse marijuana industry experience, empowers our clients with a beginning-to-end advocacy that enables surefooted navigation of the Measure 91 startup and licensing process and adds clarity and velocity to your Measure 91 enterprise. Green Rush’s project management approach to Measure 91 licensure includes access to our curated network of Northwest cannabis professionals with proven track records in the marijuana industry. From security to traceability to financing and banking to accounting and even facility site acquisition or fabrication, Green Rush’s unparalleled and hard-earned vendor connectivity accelerates your ROI and the implementation of your Measure 91 business plan. Please call Green Rush Advisory Group founder F. Thurston Pearson to discuss how we can help you startup and license your Measure 91 Producer, Processor, Retailer or Wholesaler marijuana business.

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CONT.

1923: Oregon’s ﬁrst medical marijuana law

Aug. 28, 1970: The governor’s pot party

OK, ﬁne, pot was fully legal before 1923. But Oregon recognized medical uses for cannabis indica way back in 1923, when it became a prescription drug—sativa followed in 1931—before the state succumbed ignobly in 1935 to the cookie-cutter law that put weed in the same class with cocaine and opium.

To avoid clashes between peaceniks and President Nixon’s scheduled appearance at a pro-’Nam rally, Republican Gov. Tom McCall approved a music festival near Estacada called Vortex…and said both weed and nudity were allowed during the festival.

WEED

June 1973: The weed ticket Oregon was the first state to lower the penalty for marijuana possession to the equivalent of a traffic ticket. Some cops stopped bothering to even write the ticket. They just confiscated the pot to, um, dispose of it properly.

November 1986: Freedom boat

November 1994: The greenwash

Nov. 3, 1998: Legal medical marijuana, part II

Portlander Tom Sherrett—a hard-working refugee-center employee—heroically organized the transport of 13 tons of weed to Oregon and California, by boat. He was later arrested in Switzerland. Switzerland!

Republican gubernatorial candidate Denny Smith, desperate for a handhold in the polls, accused Democrat John Kitzhaber of smoking weed. Kitzhaber won the election by 9 percentage points. (He also denied smoking the weed.)

Oregon returns to the comparatively enlightened days of 1923 by legalizing medical weed.

July 8, 2003: Foiled again!

June 28, 2013: Reaaallll good in the ’hood

Nov. 4, 2014: Marijuana for fun and proﬁt

Blazin’ Trail Blazers guard Damon Stoudamire attempts to storm the Tucson airport’s metal detectors with a zip and a half of weed wrapped in…aluminum foil. He is slapped on the wrist, then re-embraced by America.

According to former lover Sonia Manhas, disgraced Multnomah County Chairman Jeﬀ Cogen was baked during his appearance at Portland’s 2013 Good in the Hood Festival parade…and at the 2012 St. Johns Parade. Also maybe at the 2013 Portland Pride Parade. In local government, only Cogen truly understood parades.

Oregon returns fully to the comparatively enlightened days of 1922, with the added bonus that as of July 2015, you can get totally high and also marry someone of the same sex. And then call Uber to get home, and hopefully not get hit in the face with a hammer by the driver. Where is the Google car we were promised?

Willamette Week JANUARY 28, 2015 wweek.com

CONT.

WEED

BIG PRINT EDITION!

TALK

L O VAT T O

HOW

YOUR PARENTS

ABOUT WEED NOW THAT WEED IS GOING LEGAL, YOUR MOM AND DAD MAY HAVE SOME QUESTIONS. HERE’S WHAT TO TELL THEM. BY M A J O R E . S K I N N E R

243-2122

The prohibitionists warned us it would happen, and it did. Oregon’s legalization of marijuana has profoundly altered the public’s perception of the once-illicit substance. Legalization—even if not technically in effect quite yet—has led to normalization. That means lots of cheerfully earnest questions from people who maybe haven’t smoked a “doobie” since 1973, who are suddenly interested in knowing all about today’s marijuana scene. Here’s what they’re asking, and what you should tell them in response.

How do I ﬁnd weed? Just ask around. Chances are, one of your friends or co-workers has an OMMP card and will be happy to get you some weed on their next visit to the dispensary. Ask them what you owe, and remember that, at minimum, it’s polite to offer to let them keep your change for the hassle.

It’s really that easy? Yes, someone you know has a hookup. Much of the weed that people are smoking in Portland right now is siphoned from the medical industry—just like the conservative scolds warned would happen…

A “hookup?” Isn’t that what your generation calls a sex partner? Yeah, but it’s also a non-professional dealer. The other acceptable nomenclature is “a guy,” as in: “My guy has some fresh Sour Diesel.”

I don’t want to ask people I know. Is there another option? A street corner or something? Just go to Craigslist. Just search for “420” or “weed” or “MJ.” You’ll fi nd someone who is happy to part with some of his or her medical stash in exchange for a donation. They may even deliver it to you.

Aren’t you worried it’ll be an undercover cop? Naw, cops in Portland generally don’t bother busting people for selling weed on Craigslist. In fact, if one did, that would be a classic “man bites dog” news story, and you’d read about it in The Oregonian.

What about Vancouver? Sure, you can do that. Vancouver’s two recreational shops (see page 19) are well-staffed and stocked, and the budtenders we’ve encountered seem to make a special effort to reintroduce oldsters to

their long-neglected bud. The only downsides are the drive and the price, which is about double what you’d pay on the gray market in Portland.

So what does weed cost? Well, it really varies depending on potency and the source. In Vancouver, the floor is usually $20 per gram, which is enough to make two or three joints. On the gray market in Portland, it could range anywhere from $5 to $20 for a gram. For a fat joint’s worth of respectable-grade Oregon medical weed, expect to pay about $7. If you get a pre-rolled joint in Vancouver, it might cost about the same, but the joint will be smaller and less potent—which is probably OK, anyway. Generally, if you’re using a guy in Portland, you want to buy at least $20 worth, which should get you through a few sessions.

I heard pot is a lot stronger now. Yeah, it is, especially on the West Coast. That’s what happens when you make something into contraband. Just as Prohibition led to the golden age of cocktails—hard liquor was the most efficient product for smugglers, so bartenders made bathtub gin into something tasty—the drug war led to the creation of super-potent weed. The Woodstock weed you knew and loved is gone, sorry. Blame yourself for not stopping Nixon when you had the chance. So you’ll just have to smoke less now. Start with two hits.

you don’t want edibles, at least not until you’ve re-familiarized yourself with the experience of being stoned. Generally, edibles are great for college kids, committed stoners and cancer patients— people who spend most of their life high—or total fucking amateurs who endanger themselves and those around them. Oh, and if you’re traveling by commercial airline.

What about dabs? You don’t want dabs.

But I’ve heard a lot about them. Dabs are the crack of marijuana, super-concentrated hash oil that looks like amber and gets you really, really high. The things you smoke them out of look like crack pipes. Dabs are not for you, Dad.

So I should just smoke a bowl or joint even though smoking is bad? Yeah, sorry. You’re only taking three or four puffs, which you will hold in your lungs as long as you can and then exhale. That should get you high for between 1½ and three hours. It’s also worth noting that some researchers actually found that people who toke up have slightly better lung function because they exercise their lungs in different ways. If you use a bubbler—think of it as a tiny bong or water bowl—it cools the smoke, which makes it less harsh on the lungs and fi lters some of the tar.

What about edibles?

What about vaping?

You don’t want edibles.

Well, it’s not as easy to just buy a vape pen from a friend, but it does solve your cancer worries. They have them at most dispensaries, starting around $25. Give your hookup $30.

But Maureen Dowd did edibles. Yes, and you saw what happened to her. Edibles last a long, long time, and most people end up eating too much and getting too fucked up. Do you want to spend the next eight hours high? If not,

The extra $5 is going to my guy as a tip? You’re getting the hang of this, Pops. Willamette Week JANUARY 28, 2015 wweek.com

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WEED P H O T O S B Y K Y L E K E Y ( L E F T ) A N D C H R I S R YA N . C O M ( R I G H T )

CONT.

FARMA

THE NEW CROP SIX PORTLAND DISPENSARIES THAT POINT TO THE FUTURE OF RETAIL WEED.

Checking out a new dispensary is a gamble. Menus and discounts can be found online, but there’s no early warning system against running into the middle-aged shop owner who mentions during checkout that he’s the only one of his friends who doesn’t use Viagra. The storefront side of cannabis has made dramatic leaps over the course of this year, and these six new shops will serve as bellwethers for where marijuana retail is headed in 2015 and beyond. WM. WILLARD GREENE AND MARY ROMANO.

FOR PATIENTS...

Farma

916 SE Hawthorne Blvd., 206-4357, farmapdx.com. Farma is the cutting edge of marijuana as medicine. The shop pairs neatly appointed modern décor with a vast menu carefully curated to engage a variety of ailments and tastes. But as the name implies, Farma’s focus is patient care—symbolized by a green medical cross on its wall. The dispensary’s greatest asset is probably Jeremy Plumb, a bundle of frenetic energy and cannabis knowledge who bred one of Portland’s most popular strains (Cinex) and is currently learning to play the plant’s effects like a violin. The process of buying and shopping at Farma can be intimidating to newcomers, in part because there is so much information to learn. But the staff’s enthusiasm at guiding patients through the medicinal process, paired with a proprietary classification system that is leaps ahead of the standard indica/sativa/hybrid delineations, establishes Farma as one of the nation’s gleaming visionaries for what medical marijuana could be. Bonus points

for having a storefront along Portland’s original cannabis corridor. WWG. Recommended strain: Gorilla Glue #4, a lateafternoon strain that relaxes and focuses the mind without a knockout punch.

FOR INVESTORS...

Bloom

2637 NE Martin Luther King Jr. Blvd., 444-7538, bloomportland.com. Bloom streamlines the buying process by offering prepackaged and weighed canisters of leaf. Roving budtenders walk patients through their selections in a halfunfinished, half-bougie space that looks like somebody placed a dentist’s waiting room inside an Urban Outfitters. Receptionists pull double-duty as stock retrievers and cashiers behind a glass window sturdier than you’d find in many Portland banks. The measures may seem draconian until you consider that security is a very real problem for an industry still an arm’s length from legality in the rest of the country. There are a number of visionary shops out there to get excited about, but it’s the practicalities of how this industry is run that will ultimately decide who thrives and who goes under. WWG. Recommended strain: Blue City Diesel, a social strain that balances the diesel chug with a mellow berry body calm.

FOR NEW PORTLAND LOVERS OF THE OLD WORLD...

Brooklyn Holding Company

1436 SE Powell Blvd., 477-8380, brooklynholdingcompany.com. Shops have advanced past Grateful Dead tapestries and Marley on the radio, but most modern layouts still end up resembling Stumptown Roasters knockoffs. Not so with Brooklyn Holding Company, Oregon’s first themed dispensary. Before your head fills with visions of Critter Country, the decadent Prohibition-era apothecary was assembled lovingly by a host of trades-

BROOKLYN HOLDING COMPANY

men. With iridescent damask wallpaper, gold-leaf trim framing the shelves of stock, hand-drawn cannabis leaves, and a soundtrack that could end an episode of Boardwalk Empire, BHC’s attention to detail stands out. Whether or not dispensaries will be allowed to sell to non-OMMP clients after July, Brooklyn Holding Company’s allure will likely endure either outcome of recreational rulings. MR. Recommended strain: Scottish Caveman OG, a heavy hitter that is actually a choice cut of Jesus OG prepared by a Scotsman.

FOR WESTSIDERS...

Divine Kind

8601 SW Terwilliger Blvd., 889-0929, dkpdx.com. It’s no surprise that the bulk of shops have popped up along corridors such as Sandy, inner Hawthorne and 122nd Avenue. The eastside has always been friendlier to libertarian living standards, and laws about distance from schools limit the available sites. What’s interesting is how cannabis reaches into the less likely markets, and Divine Kind’s expansion from its 82nd Avenue location to the southwest hills is telling. Proximity to Lewis & Clark’s political science students probably helps, but what remains to be seen is whether the second location can tap the young families currently shuffling the deck in Multnomah Village and Burlingame, or the blue bloods ferrying their M-Class SUVs between downtown and Dunthorpe. Despite a discrete and fenced shop front across the street from Tryon Creek Grill & Sports Bar and a run-of-the-mill layout, Divine Kind’s confines are cozy, and the selection is solid. WWG. Recommended strain: Blue Magoo, which will make what you’re eating more delicious and your countenance more enjoyable.

FOR CUSTOMER SERVICE...

Bridge City Collective

4312 N Williams Ave., 384-2955, bridgecitycollective.com. Portland is different from other cities in part because of how we treat each

other. The staff members at Bridge City Collective embody that ethos: They’re self-aware and chill, and make an effort to speed up transactions when you’re in a rush. The inventory is meager compared to other spots that pack their shelves with brownies from every Tom, Dick and Mary. But what Bridge City does have is quality and an emphasis on uncommon products and strains, like Dr. Who, Grandpa Larry, and Where’s My Bike?—which feels a lot like how it sounds. BCC stands out for its loyalty and recycling programs, the latter offering credit to patients who remember to round up the sea of plastic containers that develops after a few visits. You can follow one of their famed budtenders on Instagram at @SheSmokesJoints. She has attracted over 100,000 followers with her impressive smoke-ring skills. MR. Recommended strain: Where’s My Bike?, a dopey uplifter that pairs well with friends willing to tag along.

FOR EVERYONE...

GreenSky Collective

4027 N Interstate Ave., 208-9775, greenskycollective.com. With an emoji owl logo, a joint-rolling station, and an old-timey floor space decked with antique scales and reclaimed wood, GreenSky Collective is the most Portlandian herbmart on the list. There’s also a cheery hum of optimism filling the sizable retail space. This could partly be due to a sizable and friendly staff, or the fact that they just opened. Green Sky would be a good catch-all fit for those new to the cannabis experience and looking for introduction to a wide selection of strain types in a friendly environment. What remains to be seen is whether the shop’s location along Interstate’s MAX corridor and across the street from the Alibi will provide a sufficient draw of shoppers. WWG. Recommended strain: San Fernando Valley OG, an effective pairing of painkilling and brain stimulation that’s only brought down by harsher-than-average smoke. SFV OG isn’t especially common in Oregon, but it is welcome. Willamette Week JANUARY 28, 2015 wweek.com

Willamette Week JANUARY 28, 2015 wweek.com

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CONT.

DANIEL COLE

GREEN GENES

WEED

WEED’S BEEN WITH US SINCE THE ANCIENT STEPPES. PORTLAND’S PHYLOS BIOSCIENCE WILL REVOLUTIONIZE WHAT WE KNOW ABOUT IT. In the winding curves south of I-405, across the street from the Oregon Health & Science University Integrity Office, the history of marijuana is being mapped. For 10,000 years, humans have carried this plant everywhere, but we still know astonishingly little about it. For the first time, its genetic lineage is being mapped; this means not only helping develop cures for disease, but also determining the tenor of your high with scientific certainty. Mowgli Holmes, chief scientific officer at Phylos Bioscience, leads a team that is tackling a maze of crossbreeding and landraces, strains that were isolated in specific regions and adapted accordingly. Samples are culled and drawn from every available source. “We’re testing everything we possibly can,” says Holmes, a molecular geneticist who has a doctorate in microbiology from Columbia University. “We’re testing samples from jars pulled directly off the shelf from a shop in Ohio, in 1937, after prohibition went into effect. The pharmacist stashed them away in his attic.” I ask him for an example of a species the cannabis family tree will resemble. Apples? Grapes? He smiles. “Humans,” he says. So far, the Phylos Bioscience team has sequenced more than 1,000 samples of modern cannabis hybrids, most of which are pulled from dispensaries around the world. Now, the oddities are rolling in. There is the Ohio collection, an assortment of bottles, pills and gooey concoctions pulled directly from shelves in the early 20th century. There are Thai landraces to study, sterilized seeds from collections and museums across Europe, Russia and China. Every available shred of cannabis DNA is here. And it must be cataloged. Perhaps this conjures images of a laboratory packed with apothecarial garbage, an old hippie hoarder hunched over the browned glass fragments of medicine bottles from the late 1800s, with piles of yellowed herb scattered about. But the lab is spotless and neat, with work stations establishing increasingly stringent clean-room standards. The researchers, led by Holmes and director of research Jessica Kristof, are dressed in lab coats. The cannabis samples don’t even look like marijuana. Purified DNA look like salt and are suspended in a few drops of clean water, drawn from partner labs across the country. Having the actual plant on premises would raise legal concerns, and wouldn’t be permitted on OHSU property. When Phylos Bioscience set out to research a plant that’s probably growing within a 100-yard radius of you and yet

is still classified by the Food and Drug Administration as a Schedule I drug, the lab’s biggest hurdle was acceptance. “We used to get a lot of chuckles,” Holmes says. Writer Andrew Sullivan has identified this nervous titter as a uniquely American response to cannabis—if you’ve shared your cannabis consumption with weetotaling family and friends, you know the one. “But that just meant we had to present a stronger case,” Holmes says. “People stop giggling when we tell them what we are doing.” It is surprising how little marijuana has been studied. The plant has vast potential— as a fiber, as an intoxicant, as medicine. Yet many highly educated people assume the plant’s resources are tapped out at glaucoma and possible benefits to cancer patients, that the enthusiastic heralds of marijuana’s healing properties are simply too stoned to know better. “I’d say the climate among our colleagues shifted about four or five months ago,” Holmes says. “Some of that might be due to Washington and Colorado not burning down, but I think most of the new interest was based on the science. Most of the research up to this point has been aimed at finding out what’s wrong with marijuana. When CNN publishes a story

where a child goes from 300 grand mal seizures per week down to a handful, scientists pay attention.” But asking for samples from growers required an entirely different form of bona fides than most Ph.D.s possess. After spending the majority of their career underground, Oregon growers are wary of outsiders and reluctant to provide samples. One particular danger is piracy: Bioprospectors sometimes attempt to patent indigenous plant species, and box out growers. Both of Phylos Bioscience’s co-founders—Holmes and CEO Nishan Karassik— grew up in Southern Oregon, with family ties to the Oregon Country Fair. These ties

were instrumental in connecting the lab with the state’s top growers. The full findings won’t be released for at least a few months, but the first thing genetic mapping will accomplish is a true catalog of what exists. Strains have been marketed with colloquial nicknames for decades, and nothing we know can actually prove that the Trainwreck you put down seven months ago wasn’t something else entirely, like Lamb’s Bread or a one-off mutant hybrid. If it’s determined a strain has been identified by a number of handles, a panel of experts called the Open Cannabis Project—unaffiliated with Phylos—will pass final judgment. In exchange, growers will receive legitimacy: A map of marijuana’s genetic history will shield the state’s underground innovators from nefarious bioprospectors looking to bank a fast buck by patenting strains that already exist. But in the long run, the genetic map could provide a baseline for understanding how the plant gets you high, and how it helps alleviate symptoms. We know THC is instrumental in fueling marijuana’s psychoactive effects, but we barely understand why highs are so different between strains. We didn’t even know our body’s cannabinoid-receptor system existed until 1988. Breaking down the chemical makeup of different types of cannabis will kickstart research into why some strains make a user hungry, drowsy, energetic or expressive. The results will also answer the debate over how we classify cannabis. Most dispensaries still classify strains with uplifting and energetic effects as sativas, sedating ones as indicas, and the vast array in the middle as hybrids. But the

latest research shows that all drug strains and Chinese hemp are indica, while only European hemp should be classified as cannabis sativa. We may need a whole new way to think about pot—maybe something like the color-coding system at Portland dispensary Farma. But back to why the family tree of cannabis resembles that of humans. Alongside figs, barley, flax and rice, cannabis has been cultivated by humans since the dawn of civilization; some theorists believe cannabis was one of the catalysts for civilization. Over the centuries, the seeds we carried across continents and oceans were scattered—and the type of cannabis we grew was always adapted to the people who used them. Some were carried over the Russian steppes, to be planted and woven into clothes. Some nestled in isolated valleys, and some climbed foothills into the mountains. Some strains, such as Durban Poison and the Thai strains, developed very singular effects and flavors. Prohibition drove the plant underground, pushing marijuana’s illicit qualities to the fore. “THC content is at historical highs now. How we grow the plant is market-driven. It’s the moonshine effect,” Kristof explains. “When a product is forced underground, it usually becomes more potent, because products with higher potency are easier to move and conceal.” Beyond what researching marijuana will teach us about the plant itself and its benefits and drawbacks, Phylos Bioscience’s research into the plant’s genetic history will also tell us something about who we are, where we’ve been, and how we dragged our favorite herb along the way. WM. WILLARD GREENE. Willamette Week JANUARY 28, 2015 wweek.com

Willamette Week JANUARY 28, 2015 wweek.com

COLIN ANDERSEN

CONT.

WEED

Busted for DUII? Drugs? You still have a right to choose where you go to treatment and How much $$$ you pay!

F D

Affordable, accessible, quality, state approved DUII and other drug treatment

Be fully informed before someone else chooses for you…Use your bar code scanner Find out about

our discount pricing!

Find us on the web www.terasinc.org Call 503-719-5250 Centrally located 3945 SE Hawthorne Blvd in Portland

Payment Accepted: Oregon Health Plan and cash or credit cards accepted You won’t have to give up your medicine because you made a mistake We accept current OMMP Members for DUII/Diversion! Respectful counseling services by people who have been there…

KINDER BUD 10 PORTLAND WEED SHOPS OFFERING THE CITY’S BEST DEALS. BY M A RY R O M A N O

243-2122

A. BEST MONDAY PICK-ME-UP: TreeHouse Collective (2419 NE Sandy Blvd., pdxtreehouse.com) Free edible with purchase on Mondays. TreeHouse has a wide selection, so you may ﬁnd yourself swinging by more frequently than the occasional Monday. It also oﬀers one of the best deals in the city for discounted shatter on Saturdays.

B. BEST WELCOME GIFT: Pure Oregon (11134 NE Halsey St., pomeds.com) First-time patients get a free gram of bud and are entered to win a free half-ounce. The talented in-house grower goes by the name Campfire Farms, which routinely has among the finest and most interesting selections. Some spots save their crappiest remnants for the free pre-rolled weed, but any form of flower from Pure Oregon will be prime.

C. BEST LOYALTY PROGRAM: Bridge City Collective (4312 N Williams Ave., 215 SE Grand Ave.) There’s a 5 percent gift of in-store credit with every $100 spent. Bring a referral and receive credit for the money they spend, too.

D. BEST SHATTERDAY DISCOUNT: Kind Heart Collective (8217 N Denver Ave., kindheartcollective.com) All concentrates are only $25 per gram. Most dispensaries oﬀer a shatterday discount—shatter is reﬁned THC concentrate—but few extend the discount across all strains and strengths. The normal price for good shatter is $35 or $40 per gram.

E. BEST WEEKEND KICKOFF: Cannabliss (1917 SE 7th Ave., cannablissandco.com) You get a free joint with any purchase on Fridays. Few other spots give you free goodies on your ﬁrst visit—we suggest visiting during lunch to avoid the potential rush-hour wait.

F. BEST HAPPY-HOUR DEAL: Club Sky High (8957 N Lombard St., clubskyhigh.net) From 5 to 6 pm, everything in the store is 20 percent oﬀ. That means for one hour, you’ll have access to the same prices available to most budtenders at their respective shops.

G. BEST PASS FOR GRASS: Five Zero Trees (10209 SE Division St., Suite 100, ﬁvezerotrees.com) With a snowboard/ski pass, you get an eighth of an ounce of

a house strain for $26. Unlike pretty much everyone else, FZT actually cares that you are a legit liftie, and will give you the homie discount. Enjoy your cheap eighth, brah.

H. BEST RECYCLING DISCOUNT: Today’s Herbal Choice (2606 SE Gladstone St., Suite 101, thcglad.com) Bring in any OMMP-mandated container for recycling, and receive a free pre-rolled joint. City recycling won’t take the OMMP containers because of weed residue. THC cleans the containers and brings them to a proper facility, spending their own time and money while you puﬀ on a free joint.

I. BEST BIRTHDAY GIFT: Natural Rxemedies (8700 SW 26th Ave., Suite Z, naturalrxemedies.com) This shop knocks $10 oﬀ your purchase on your birthday. Because it’s your birthday, man. Rock that crown and sash.

J. BEST HANGOVER RECOVERY: Urban Farmacy (420 NE 60th Ave., urbanfarmacyprc.com) From noon to 7 pm on Sundays, selected strains are available for $5 to $6 a gram. Make your day of rest a bit more recuperative by visiting Urban Farmacy’s minimalist space at the most memorable address in town. Willamette Week JANUARY 28, 2015 wweek.com

BUY LOCAL, BUY AMERICAN, BUY MARY JANES Pipes, Incense Candles BUYGlass LOCAL, BUYVaporizers, AMERICAN, BUY &MARY JANES Glass Pipes, Vaporizers, Incense & Candles

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Willamette Week JANUARY 28, 2015 wweek.com

5425 NE 33rd Ave. Portland, OR 97211 (971) 279-5050

17937 SW McEwan Rd. Tualatin, OR 97224 (503) 746-7522

CONT.

HOW TO BUY LEGAL WEED

DON’T: THROW A FIT ABOUT OUR CASHONLY POLICY We know—you’ve got an app that gives you Dogecoin when you meet fitness goals, and another to help you wipe yourself. But pretty recently, we were all still exchanging a crumpled $20 for an unlabeled Ziploc baggie, and federally regulated banks are really skittish about pot money. So… cash. And really slow point-of-sale software made by stoners, for stoners.

DO: COME IN 10 MINUTES BEFORE CLOSING TIME It ’s rea lly polite that you’d panic about your la st-m inute v isit causing us inconvenience, but don’t worry: We got this. You aren’t risking We get it. The fi rst time you bought a light weigh-out during your next visit. As it THE DOS AND weed was on your neighbor’s couch, turns out, we want your business just as much as DON’TS OF while these days you can drive to a you want to get high. But do note that once the BUDTENDER well-lit pot shop in Vancouver—or, clock strikes close, our doors won’t open for any if you’re an OMMP card-carrying amount of frantic knocking. There are a handful ETIQUETTE. patient, a dispensary in Portland. of 24-hour dispensaries throughout town; you The room is studded with security can figure it out. Oh, and we don’t want to smoke cameras and full of enough products to make the Apple Store look with you after our shift. Sorry. lazy. There’s a tip jar next to the liability waiver and medical-grade DON’T: BE A KNOW-IT-ALL scale. It is a brave new world, people—and it helps to know the etiquette. It’s cool you spent four hours on Leafly last weekJust like a bartender who can choose to measure your bourbon with end, but here’s the thing: Ancient Japanese farma thimble or a four-count that involves the word Mississippi—your ers harnessed industrial hemp thousands of years budtender can either be your best friend or a blank-faced bureaucrat before you planted a $20 clone in a red plastic cup

and hid it in your closet, and we still don’t really know anything about weed. Biologists the world over are racing to understand marijuana as well as we do oranges, and testing facilities are pretty much unregulated. Besides, keep in mind that the hoodied 20-something operating the register might be the owner and have an even bigger ego than you. P H O T O S B Y C H R I S R YA N , I L L U S T R AT I O N B Y L O VAT T O

when it comes to heavy weigh-outs and strain recommendations. From my own experience behind the counter and from conversations with seasoned weedtenders Botanical Ben and M. Jane, here are a few tips for minimizing shit-talking among the staff when you leave the bud room. MARY ROMANO.

WEED

DO: GIVE HONEST REVIEWS Let us know when you aren’t satisfied with medicinal effects. Dispensaries are knee-deep in samples from prospective new vendors, and we really do want to know what you liked or didn’t like, even if that means you found a new erotic use for a medicated ointment. Actually, especially that. And if we take you and your comments seriously, we’ll be honest about which products we bring home to our own medicine cabinets. CONT. on page 36

fetcheyewear.com | 877.274.0410 Willamette Week JANUARY 28, 2015 wweek.com

WEED

CONT.

DON’T: ASK FOR FREE GOODIES It’s not in our best interest to ever give out free shit, but we do it because we like you and want you to come back. But anyone who whines that some of the free shit has lower THC can look forward to stoner hell, where you’re forced to smoke 10 percent THC weed from the ’70s for eternity. Look, if you’re chill, you’ll see extra grams in your shopping bag sooner or later, like that “extra” margarita the bartender made. Petty haggling for a cheaper ounce just inspires dispensary staff to add a cruel nickname to your patient file. Oh, and when you keep staring furtively at those jars of ancient, dirty nug samples, thinking of improvising your own freebies? We totally see that. DO: OVERSHARE ABOUT MEDICAL NEEDS The more details, the better. Feeling overwhelmed at work? There’s a strain for that. Itchy skin? There’s a topical for that. Sure, there are medical tinctures with CBD concentrations for serious treatments, but for the majority of patients who shrugged and wrote “back pain” on their applications, there are other products for universal problems like carpal tunnel and PMS. Knowing that you actually just smoke spliffs, or that edibles make you nauseated during 3-D movies, helps us narrow down what we’ll pitch to you and what you’ll never be interested in buying. That said, we aren’t therapists. There is no strain for a bad boyfriend or a worse boss; save that shit for blind items on Twitter.

DON’T: COME IN WHEN YOU’RE SUPER HIGH We like hanging around high people just fine, but stoned people just can’t handle a weed store. They ask to check out 12 strains and then buy a medicated soda while five people shift angrily behind them. And when they text at the register, it’s pretty obvious they’re picking up weed for their friends. The red-eyed confusion is endearing sometimes, like when they absent-mindedly reach into the stale coffee beans meant to be sniffed as a palate cleanser, and chomp them like popcorn. But here’s some advice: If you must come in high, always do whatever you did last time—ask for “five separated eighths of Blue Dream.” DO: CONFESS YOUR SINS We’ve also smoked many a bowl before anything got legal. We’re still sneaking joints into concerts, too. But likewise, don’t be bashful if your only previous smoke session involved a soda can, or if you typically wake and bake before your corporate gig. No one will judge how, where or with whom you smoked. And feel free to ask questions about what glass, storage or strains you want, without any worries we’ll judge you for what you don’t know. We always like the ignorant a lot more than the arrogant, especially when you’re honest about it. We’ve all been there. 36

Willamette Week JANUARY 28, 2015 wweek.com

The Cannabis Collection Essentials for the Herbal Enthusiast

�A�WILLAMETTE�WEEK�ADVERTORIAL�

Water Pipe

Portland Medicine Pot

5135 NW St Helens Rd • Portland • 503-208-2454 www.portlandmedicinepot.com • $365.00

This Stemless Water Pipe is made with extra thick glass & measures a full 18 inches. You won’t believe the smoothness coming from this three chamber beauty with percolators in each, one of which features a 10 arm tree!

Wake N’ Bake Cookies Collective Awakenings

2823 NE Sandy Blvd • Portland • 503-206-7090 collectiveawakenings.com • $10

These hand-crafted “no-bake” cookies are soy, gluten and dairy free! Every mouth-watering bite is packed with decadent chocolate, oats and creamy peanut butter. Not only are these cookies delicious, they are dosed effectively with cannabis-infused coconut oil (average 20mg THC per cookie). This product is exclusively available at Collective Awakenings.

Chronic Creations, Optimus Diesel Solvent-Free Hash Collective Awakenings

2823 NE Sandy Blvd • Portland • 503-206-7090 chroniccreations.com • $30

This Oregon Medical Cup award-winning, solvent-free hash is extracted with the highest quality blend of nugs and trim. Chronic Creations produces solvent-free extracts that regularly test over 60% THC, which compares with potency levels of other solvent made concentrates. Chronic Creations ﬂowers and concentrates can be found at select Portland Dispensaries.

Udoxi Scientiﬁc Shatter Ascend Cannabis Dispensary

13836 Northeast Sandy Boulevard • Portland • 503.434.8937 www.ascenddispensary.com • starting at $20

Udoxi Scientiﬁc Shatter uses a proprietary system to produce high quality cannabis concentrates, such as their BHO shatter and Liquid Amber cartridges, preserving cannabinoids and terpenes to produce effective and great tasting medicine. Shatter at $25 a gram and Liquid Amber cartridges starting at $20.

Leif Medicinals, Truﬄe Collective Awakenings

2823 NE Sandy Blvd • Portland • 503-206-7090 leifmedicinals.com • $6-$13

Leif Medicinals Truffle - Our full extract cannabis oil infused, dairy-free truffles are made with rich, dark, gourmet chocolate, free of additives, highfructose corn syrup or gluten. Available in low dose, high dose, and high-CBD for patients seeking relief without intense psychoactive effects, each bite provides amazing ﬂavor, accurate dosing and solvent-free ingredients.

Applied Synergy Botanicals, Cannalollies Collective Awakenings

2823 NE Sandy Blvd • Portland • 503-206-7090 appliedsynergybotanicals.com • $4

Our high grade extracts are infused into these delicious lollies, making them extremely potent, highly convenient and one of Applied Synergy Botanicals most popular items. These delectable suckers are available in 12 traditional ﬂavors. Keep an eye out for the new Naturals line by Applied Syngery Botanicals, which will be all organic, vegan, no GMO & dye free!

Elbe’s Edibles, Marionberry Coﬀee Cake Collective Awakenings

2823 NE Sandy Blvd • Portland • 503-206-7090 elbesedibles.com • $22

Elbe’s Edibles is known for creating delicious, freshly baked, butter based, cannabis infused foods. Elbe combines carefully selected fresh ingredients to elevate the taste of your edible experience while simultaneously addressing health and wellness issues. Elbe’s Edibles Marionberry Coffee Cake is a great way to start your day.

Premium CO2 Cannabis Oil Vaporizer Cartridge Canna-Daddy’s

16955 SE Division • 971-279-4932 • www.canna-daddys.com

Golden XTRX is the smoothest, best tasting, most potent Co2 oil in the world. Extracted using only Co2, it’s 100% pure—no additives whatsoever. Buy two 1-gram cartridges for $70 or two Proper shatters for $50. Limit 1 per person. Offer expires 2/28/15.

Willamette Week JANUARY 28, 2015 wweek.com

Premium Dabbable Co2 Cannabis Extract

The Cannabis Collection

Golden XTRX

goldenxtrx.com • $40

Golden XTRX is the smoothest, best tasting, most potent Co2 oil in the world. Extracted using only Co2, it’s 100% pure—no additives whatsoever. We have a ‘from patients, for patients’ heritage and are very proud of our Oregon roots. Available at most dispensaries throughout the state.

Essentials for the Herbal Enthusiast

Dr. Funk

Brooklyn Holding

1436 SE Powell • Portland • 503-702-3598 • www.brooklynholdingcompany.com

Brooklyn Holding is a throwback to a simpler, yet decadent time, but with modern strains, hemp-based elixirs, medibles, and technologically-advanced retail service. Our goal is to offer the discerning consumer the best product in a pleasing retail environment. Come in and enjoy the sounds of hot jazz while our knowledgeable budtenders fulﬁll your needs.

�A�WILLAMETTE�WEEK�ADVERTORIAL�

Beautiful Hand Blown, Locally Made Glass Mary Janes House of Glass

Eco Hoodie

Many Locations www.maryjaneshouseofglass.net • prices vary The highest quality local glass at 11 different locations.

Eco Firma Farms

PO Box 1424 • Wilsonville • 971-276-6100 www.ecoﬁrmafarms.com • $40

Eco Firma Farms offers this high quality hoodie in many colors, sizes, and styles. Eco Firma also offers hats, beanies, shirts, and a host of other products. Please go to our sight and look under the “shop” tab at www.ecoﬁrmafarms.com to see all our great apparel.

Catapult Coﬀee from Fairwinds Manufacturing The Herbery

212 NE 164th, Ste. 11 • Vancouver, WA • 360-841-7500 www.facebook.com/theherberynw

Herbery Exclusive: Catapult -The ﬁrst of a cannabis infused series featuring Northwest roasters supplying premium freshly roasted coffee beans from regions throughout the world. Infused with a high THC sativa dominant hybrid cannabis strain using an advanced oil extraction process, Catapult is a delicious way to perk up your day. Visit The Herbery to see our entire line of Premium cannabis and non-cannabis products.

Root Pouch Root Pouch

800.801.2053 • www.RootPouch.com • $1 - $30 The BEST end products start with the POT. Fabric planting containers made from recycled water bottles. Pot’s can be washed, sterilized & re-used. Produces bigger yields. Promotes dense vigorous root growth. Better drainage and use of water and nutrients.

Girl Scout Cookies by Rancho Verde Pure Green

Empower Bodycare, Empower Oil Collective Awakenings

2823 NE Sandy Blvd • Portland • 503-206-7090 empowerbodycare.com • $25-$60

Empower™ Oil is a synergistic blend of the highest quality essential oils, carrier oils, and a proprietary combination of cannabis strains. Empower™ BodyCare Products are made of pure, premium ingredients. Empower™ is a vegan, non-toxic, anti-bacterial, anti-inﬂammatory, hypoallergenic remedy for pain associated with conditions like arthritis, sore muscles, injuries, ﬁbromyalgia, neuropathy, RLS, and aiding with skin conditions like eczema, psoriasis, and cold sores.

3738 NE Sandy • Portland • 971.242.8561 • puregreenpdx.com $30 eighth / $60 quarter / $115 half ounce / $220 ounce

Girl Scout Cookies by Rancho Verde is a favorite at Pure Green. This gorgeous strain is abundant with greens and purples with a thick coating of frosty resin. The smell and ﬂavor are fruity, with a hint of diesel from the OG Kush lineage. Enjoy its uplifting effect today!

Measure 91 Package Urban Garden Supply

12115 SE 82nd Ave. Ste. B • Happy Valley • 503-305-6531 urbangardensupply.net • $349.95

This package contains all of the equipment you will need to start your grow. This includes a 1000 watt ballast, bulbs, reﬂector and timer for your plants’ lighting needs. Fan and ducting to air cool your light. Fill your four pots with your favorite soil, nutrients and genetics and get growing. Free growing advice with every purchase.

CO2 Extracted Cannabis Oil True North Extracts

Portland • 503.867.6275 www.truenorthextracts.com • prices vary

True North’s CO2 extracted cannabis oil is so pure you can taste and feel the difference. We offer a variety of quality strains that ﬁt the unique lives of our patients. Each strain is additive-free and has it’s own vibrant ﬂavor. Enjoy this new way of medicating today.

Rose City Roca Rose City Oreganics

5918 SE 89th Avenue • Portland • 503-477-6727 www.rosecityoreganics.com • $10/gram rose city

oreganics wellness center

Willamette Week JANUARY 28, 2015 wweek.com

Chocolate Mediballz Westside Wellness

18918 SW Shaw • Aloha • 503-649-2999 westside-wellness.com • $8

Cannatonik Elixirs is proud to offer our award winning Mediballz as well as many other delicious treats at Westside Wellness. Each hand crafted ﬂavor is infused with 350mg of THC. This multi dose treat has been enjoyed by many as an evening snack for the serious chronic pain patient. Lab tested and patient approved Since 2009.

Personal Vaporizers Golden XTRX

goldenxtrx.com • $40

Our personal vaporizers are discrete and easy to use with no charging or ﬁlling required. This product is cost effective; each unit supplies approximately 250 doses. Available at most dispensaries throughout the state.

Take premium bud... drizzled with 70-80 percent THC hash oil... then rolled in kief and what do you get? The result is the ultimate marijuana smorgasbord. We’ve got it and its good... a cannabis connoisseur’s dream! This ain’t your grandpa’s pot. Warning: This product is likely to cause severe couch lock.

Willamette Week JANUARY 28, 2015 wweek.com

WHEN THE GOING GETS TOUGH,THE TOUGH GET CLASSIFIEDS SupaStarPDX@gmail.com

503-479-5457 Classifieds start on page 73

FRACK BOUGHT AN 1/8TH FOR $250

OPEN 11AM – 11PM EVERYDAY

Burgers • shakes hand-cut Fries Mention thiS ad for free frieS With your next Big fraC!

503-245-5597 • 8981 SW BarBur Blvd, Portland 97219 503-266-7654 • 919 SW 4th ave, CanBy 97013 503-405-4659 • 31251 hWy 26, Boring 97009 360-312-7026 • 221-a ne 104th ave, vanCouver 98664

GUS MODERN

On Community Day, there will be free refreshments, special one-day deals, and a variety of unique events throughout the year, including the Songwriters’ Circle this month at 7:00 PM.

FEATURING JACK MCMAHON, LYLE FORD & GREG PAUL MONDAY, FEBRUARY 2ND AT 7PM

February features the talents of Jack McMahon, Lyle Ford & Greg Paul.

MATT HAIMOVITZ & CHRISTOPHER O’RILEY TUESDAY, FEBRUARY 3RD AT 7PM

In support of their new album, “BEETHOVEN, Period,” on the brand new Pentatone/Oxingale series imprint, cellist Matt Haimovitz and pianist Christopher O’Riley bring the Sonatas of Beethoven to Portland’s Music Millennium. Following their close collaboration on Shuffle.Play.Listen, a celebration of the evolving musical experience postipod, Haimovitz and O’Riley go back to the birth of the cello/piano genre with Ludwig van Beethoven’s Sonatas and Variations, played on period instruments of the early 19th century. Hand in hand with their wide-ranging musical appetites, Haimovitz and O’Riley have long been immersed in the compositional process and there is no more fascinating, influential, and documented figure than Beethoven. And, long before Haimovitz and O’Riley blurred the lines between Radiohead and Stravinsky, Beethoven’s use of popular themes of the day, by Mozart and Handel, in his Variations, had already embraced.

Willamette Week JANUARY 28, 2015 wweek.com

CONT.

WEED PHOTOS BY DANIEL COLE

HIGH FROTH

PORTLANDER DAVE GOLDSTEIN BROUGHT LABORATORY SCIENCE TO THE ART OF MAKING BONGS. As Dave Goldstein took a rip off his new bong, his first thoughts drifted to the law. I’m going to need a patent lawyer, he thought. Goldstein can claim the percolator and the ash trap as inventions—two of the most important creations in the last 40 years of weed. But he realized in that moment that he’d just made his best bong yet. That hit back in April 2011 was the easiest one Goldstein had experienced in over 35 years as a daily toker. A chalky white smoke passed through his new fritted-disc bong and through a frothy fi ltering foam that looked like tiny bubble wrap stuffed into a clear glass chamber. It then landed comfortably and smoothly in his lungs. Before that hit, he thought his newest creation was just a gimmick—another cool-looking percolator that would serve up the same cooled shots of smoke he’d become known for during his long career as a bong blower. “It brought laboratory technology to the smoking world and changed the game,” wrote ERB Magazine. Speaking about what he now calls the Rooster Apparatus, as it compares with his previous inventions, Goldstein says: “It’s like holding a candle up to a thousand-watt halide. I mean, if anybody remembers me for the original percolator, great. But this is what I’ll go down in the history of hippies for.” It’s different enough from bongs that came before it that YouTube is currently larded with hundreds of videos made by solo, dorm-room experimentalists, awed at the milkiness of the foam as it climbs the tube. “I know i’ve been putting alot of videos of the Goldstein up,” writes user Nish ATX. “I had to do this video to show y’all the close up on how much the fritted disc perc stacks bubbles, literally hits my mouth each hit.” The honeycombed glass bowl is packed with marijuana. The user lights and inhales, and immediately a tower of tiny stacked bubbles begins to filter the smoke on its way to the lungs. Goldstein came up with the idea while having a conversation with a friend about how scientific modern bongs had come to look. But after he saw the bongs, Goldstein disagreed. He had experience with the real thing, when he blew glassware for chemists at the University of Maryland. “I kind of scoffed,” he says. “You’d never see any of this stuff used in an actual laboratory. If the object of the day were to scrub a gas with a liquid, you’d see a fritted disc.” A fritted disc is a glass filter made of many fragments, fused together so finely that it’s impossible to suck air through at lung pressure. Chemists often use them to purify gases. The Rooster Apparatus, a bong named for the Chinese calendar year of Goldstein’s birth, was developed to use the same technology but allow the user to suck through it at lung pressure. The idea is simple: To get the best filter and smoothest hit, you want the tiniest bubbles possible. Smooth hits are something a certain breed of bong designers has been working toward for years—without getting close to what a Rooster’s disc accomplishes. “As far as the smallest possible bubbles you can get,

BLAZIN’: Glass blower Dave Goldstein makes his Rooster Apparatus (below right) at his Portland workshop.

this is the best scientifically accepted way to do it,” he says. “After this, the honeycomb [percolator] is probably the next best in filtration, and you don’t see laboratories ditching their fritted discs for honeycombs.” Comment rooms fill with supporters—and with people who say it diffuses the smoke so much it’s almost too pure to have flavor. Most 20-something lathe artists differentiate themselves by how pretty their bong is. Goldstein’s trump card is real lab experience. He got his start at a glass-blowing shop called Odyssey Glass in the mid-1970s while working toward an environmental economics degree at the University of Maryland. In 1976, when he says he invented the ash trap, it was just a way to change his bong water less often while living in his parents’ basement. But after paraphernalia laws started to tighten under the Reagan administration, Goldstein quit Odyssey, walked into the scientific glass shop at the university and asked for a job. “I managed to wrangle myself a few semesters of Chem 386: Laboratory Glass Blowing,” he says, “a class in which I was the only student.” After graduation, Oregon’s lax pot laws drew Goldstein to Portland. By the early 1980s, when Goldstein bought a glass

lathe and started making bongs here, he had another cool invention to show Oregon from his days at Odyssey: the percolator chamber, which cools down a bong’s smoke to a more comfortable level. “Boy, I sold a lot of them in the ’80s,” he says. “That was back in the days of rubber stoppers.” Based on the number of bongs he’s sold, he figures he’s personally responsible for over 50 million bong hits. But the number he’s most proud of wasn’t reached until he sent a couple of Roosters to the labs at MEI-Charlton in North Portland. “The surgeon general in 1963 had suggested that water fi ltration may remove carcinogens and antigens from tobacco smoke,” Goldstein says. “I figured it’s in my best interest to resolve this question. MEI came back with the Rooster, removing as much as 10 percent of the poly-aromatic hydrocarbons from tobacco smoke.” In other words, the Rooster actually fi lters up to 10 percent of the cancer-causing substances in smoke. Goldstein got his patent application approved this December. “If imitation is the most sincere form of flattery,” he likes to say, “then innovation is the most sincere form of criticism.” Since the history of the bong intersects so tightly with Goldstein’s own, it seems he’s mostly critiquing himself. PARKER HALL. Willamette Week JANUARY 28, 2015 wweek.com

Willamette Week JANUARY 28, 2015 wweek.com

STREET

THE CON WIZARD WORLD BRINGS OUT THE FANS. PHOTOS BY KATIE DENN IS wweek.com/street

Shandong www.shandongportland.com

Springwater Farm

Truffle Dinner Saturday, January 31st The Farmers Feast Wildeats@msn.com Willamette Week JANUARY 28, 2015 wweek.com

FOOD: Portland’s best nacho platter. MUSIC: The Saharan Purple Rain. BOOKS: Patton Oswalt’s film geek years. MOVIES: In Russia, bureaucrats have bulldozer.

47 49 65 66

SCOOP NBC 2014

YOU MAD, BRO? ghost of bars past: What’s going in the former Wildwood space? Last week, passers-by on Northwest 21st Avenue—including a former chef at the restaurant—saw what appeared to be a new restaurant, ominously called Los Portales, in the long-vacant restaurant space. That same chef posted a Twitter picture of a “notice of inconvenience” left on his door by the makers of Grimm. As it turns out, the Grimm producers gussied up a fake restaurant—complete with chalkboard drink specials like “Martini” and “Manhattan”—for three days of filming Jan. 21-23. As of press time, Wildwood will new wildwood chef? remain vacant until Portlandia needs it or Leverage gets uncanceled. >> Another long-empty spot looks to be getting a new lease on life, however. The owners of the beachthemed Splash Bar have filed for a liquor license to take over Old Town’s Couture Ultra Lounge space at 28 NW 4h Ave., with a new concept called SoHo Lounge. Karaoke, dancing and heavy security are promised. bebiendo futuro: As Southeast Foster Road turns into a hotbed for bars, the Portland Mercado, the long-awaited Latino marketplace coming together at Southeast 72nd Avenue, seems also to be rounding into shape. Along with eight planned food carts, two businesses have now been confirmed in the brick-and-mortar space. Guatemalan immigrant Erick Caravantes plans to open a tropical and Latin foods store called Kaah Market, named after the Mayan word for “neighborhood.” The owners of the Wine Nomad will add Barrio, a bottle shop with wine from Latin America and beer meant for pairing with spicy food. The Mercado is scheduled for a spring grand opening.

surprisingly watchable: A big thanks to the Clinton Street Theater and everyone who showed up to WW’s screening of the iconic flop, Pillars of Portland. Based on Larry Colton’s ancient WW column of the same name, the first episode of a planned network TV show had gone unseen since it debuted Dec. 14, 1983 to scathing reviews. The show, while not a gem by any stretch, proved surprisingly watchable. Arts & Culture editor Martin Cizmar would like to apologize for calling it “a fossilized turd” in an email to director Tom Chamberlin’s daughter, Mya. 44

Willamette Week JANUARY 28, 2015 wweek.com

E V E LY N H A M I LT o N A N d T o M CHAMBERLIN, 1986

mazel tov: A Eugene playwright is a semifinalist in an international Yiddish playwriting contest. Connie Bennett’s play, Hungry Hearts, charts the scandal and romance that erupt when a Yiddish theater company travels to South America in the early 1920s. It’s the first full-length play by Bennett, who serves as executive director of an annual 10-minute play festival in Eugene called Northwest Ten. The winner of the competition will have his or her play performed in June at New York City’s National Yiddish Theatre Folksbiene.

HEADOUT

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

HANDY-DANDY

SUPER BOWL XLIX PREDICTION WORKSHEET KEEP SCORE AT HOME! THE TEAM WITH MORE CHECKS IS YOUR LIKELY CHAMPION. PATRIOTS WIN:

SEAHAWKS WIN:

Game balls look a little soft, Patriots players studying iPads on sidelines

Seahawks RB Marshawn Lynch gives long,

Cut-off hoodie

Plaid trapper hat

thoughtful response to reporter’s question

THURSDAY JAN. 29 AKOUNAK TEDALAT TAHA TAZOUGHAI [DESERT RAIN] Portland blogger and “guerrilla ethnomusicologist” Christopher Kirkley premieres his directorial debut, a remake of Purple Rain set in the Sahara and starring Nigerien guitarist Mdou Moctar, which is also the first feature film ever made in the Tuareg language. Well, you certainly can’t say he’s not ambitious. Hollywood Theater, 4122 NE Sandy Blvd., 281-4215. 7 pm. $8. 21+. GROOVIN’ GREENHOUSE [DANCE] At each year’s Fertile Ground festival, Polaris Dance Theatre puts the spotlight on local up-and-coming companies. Tonight, experimental dance group Automal performs Graft, a new work about human substance and elasticity. Think cells, skin, love and life cycles...and maybe some Silly Putty, too, all set to Björk covers and remixes. Polaris Contemporary Dance Center, 1501 SW Taylor St., 380-5472. 7:30 pm. $15-$18.

FRIDAY JAN. 30 Trenchcoat

Bow tie

Gisele tweets

Ashton Meem unlocks her private Twitter account

Patriots coach Bill Belichick cracks smirk

Seahawks coach Pete Carroll does double arm pump

Play-by-play man Al Michaels speaks wistfully of former broadcast partner John Madden

TV reporter Erin Andrews stands on Seahawks sideline, in close proximity to Richard Sherman

Patriots QB Tom Brady featured in commercial for Man Uggs

Marshawn Lynch featured in headphone commercial

“The Seahawks miss Golden Tate, but they had to deal him because…”

“The Pats miss Aaron Hernandez, but not the

Gronk Spike Ball Hard

Marshawn Lynch grabs crotch

Cris Collinsworth compliments Roger Goodell’s leadership

Cris Collinsworth mentions that he also lost Super Bowls

Remote shot of our brave soldiers watching the game in Iraq

Establishing shot of cactus forest

Russell Wilson throws fourth interception

Julian Edelman helped off the field after Tom Brady tosses a floater into the middle of the field

Kia ad makes you consider whether you are the type

Washed-up actor resurrects once-famous character in

of person who could own a Kia

advertisement for obscure company

Katy Perry opens in outfit that is more red and white than blue and green

Lenny Kravitz tugs on Katy Perry’s bodice in

three people who he allegedly…”

a humorous nod to Nipplegate

WATCH: The Super Bowl airs on KGW, Channel 8, at 3:30 pm Sunday, Feb. 1.

BASS DRUM OF DEATH [BEER-BATTERED BLUES] If the Sonics were skateboarders from Mississippi who wrote gnar songs about being super hung over, they’d be Bass Drum of Death. New album Rip This is another steady stomp in that climb back up the hill, with plenty of blown-out riffs to hype you up for the bomb back down. Doug Fir Lounge, 830 E Burnside St., 231-9663. 8 pm. $12. 21+. PAW ANIMAL CONCERT [MEWSIC] As part of a fundraiser for the Portland Animal Welfare Team, we are promised the debut of a “canine soloist” in a work called “Concert in the Key of Woof and Meow.” No, we do not know what this means. There is also Vivaldi, and “de-arranged” selections from Fiddler on the Woof. Tabor Space, 5441 SE Belmont St., 238-3904. 7pm $15 adult, $5 child.

SATURDAY JAN. 31 DEAD MAN’S CELL PHONE [THEATER] Profile Theatre kicks off its season of Sarah Ruhl with the playwright’s 2007 comedy about a woman who comes into ownership of a dead man’s cellphone. Like much of Ruhl’s work, it juggles the eccentric and the mundane, and does so with language that’s vibrant but playful. Artists Repertory Theatre, 1515 SW Morrison St., 2420080. 7:30 pm. $15-$32.

TUESDAY FEB. 3 IT’S NOT ME, IT’S YOU: STORIES FROM THE DARK SIDE OF DATING [STORYTELLING] Tired of hearing your friend moan about the latest douchebag from Tinder? Instead, listen to some genuinely funny folks—including Amy Miller, JoAnn Schinderle and Curtis Cook—recount their most disastrous dates. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 7 pm. $18-$20. Willamette Week JANUARY 28, 2015 wweek.com

FOOD & DRINK EAT MOBILE WILL CorWIN

= WW Pick. Highly recommended. By MATTHEW KorFHAGE. Editor: MArTIN CIZMAr. Email: dish@wweek. com. See page 3 for submission instructions.

FRIDAY, JAN. 30 Plazm Farmhouse Launch

Fort George and the Commons breweries teamed up with the master brewers at Plazm magazine to make a farmhouse ale called Plazm, released on this very day at Belmont Station. The collaborators will be on hand, alongside a mess of other promised rarities and special offerings from Fort George and the Commons. There will be a second release party at music venue Holocene at 8:30 pm Saturday. Belmont Station Biercafe, 4500 SE Stark St., 232-8538. 5-8 pm.

A Country Meal: Japan

The second of Ned Ludd’s Small Supper series is based on the food of rustic Japan, as described by Nancy Hachisu’s book Japanese Farm Food. Twelve people can come to each of four dinners Friday and Saturday, which will include wine, sake and tea pairings. Expect simple preparations and a lot of fancy talk about simplicity. Elder Hall, 3929 NE Martin Luther King Jr. Blvd. 6 pm and 8:30 pm. $90 including drinks and tip.

Brewery Tour

Brewvana’s Behind the Scenes tour trips around the Laurelwood Brewery, Widmer, Upright and the gruits of Buckman Botanical every Friday. It’s one of the more pleasantly curated beer circuits in town, with looks into the vats of the various breweries, from Upright’s no-frills basement of farmhouses and lagers to the homier environs of Laurelwood’s brewpub and Widmer’s Gasthaus. Go to experiencebrewvana.com for details. 1-5 pm. $85. 21+.

Where to eat this week. 1. Muscadine 1465 NE Prescott St., 841-5576, muscadinepdx.com. Brunch and Southern fare are the twin towers of American comfort. Combine them, and you might as well be auditioning as somebody’s replacement mom. $$. 2. Tapalaya 28 NE 28th Ave., 232-6652, tapalaya.com. Lately, chef Anh Lu has been making interesting nightly VietFrench-Creole fusions, from spicedup clams or étouffée to chili-honey Brussels sprouts. $$. 3. Tacos Chavez 5222 SE Foster Road, 926-1506. This tiny outpost serves beautiful burritos with fresh, housemade flour tortillas, and is deeply unafraid of spice, including a distilled adobo chili oil that will haunt your sinuses for weeks. $. 4. Devil’s Dill 1711 SE Hawthorne Blvd., 236-8067, devilsdill.com. Their No Fun Bar next door is still rounding into shape, but for now? That 5-spice pulled-pork sandwich with chili and slaw would be worth making a trip for even if they didn’t deliver. $. 5. Pollo Norte 5427 NE 42nd Ave., 287-0669. Norte’s birds get a light coat of nutty achiote powder, lime juice, chili powder and sea salt, seasonings that sit lightly on the skin while the birds leak their juices onto a bed of leafy cabbage that cooks under the rotating grill. $.

Willamette Week JANUARY 28, 2015 wweek.com

gET sTOOPid: But not so stupid you ask for spaghetti.

STOOPID BURGER Some of the best french fries in Portland are served crinkle-cut and salty in a crumpled paper bag, in a rain-slicked parking lot, by two guys who seem as if they’re having the time of their lives. Those fries have a thin layer of variable crispness determined by the curve of the crinkles, where house seasoning collects and dissolves into the lightly oily surface. You do not need ketchup. Stupidly, I ask about spaghetti instead. I’d seen a sign in the window. “Spaghetti?” says Stoopid Burger’s “co-CEO,” Danny Moore, at the food cart’s window. “We’ve never served that. We were just helping out the community.” Turns out he and co-owner John Hunt were Order this: Stupid Burger helping promote their friend’s food cart. or Luni Burger, plus fries. They also do free advertising for a nearby salon. “But you seem like a burger expert,” he tells me. “I’m going to guess you’re a Luni guy.” The man knows his customer. The Luni Burger ($8.50) is a 6-inch-thick conflagration of habanero, jalapeño, bacon, blue cheese, grilled onions, tomato, pickle and some mayo-based secret sauce they call “stoopid.” It’s a flavor-packed, fatty, salty mess of goop and spice, as is everything here. A friend who accompanied me on my first visit wrote the next day to say she’d found stray sauce on her jacket, scarf and purse. She then vowed to go back for more. “More” is pretty much a guiding philosophy. The namesake Stupid Burger ($9.75) boasts a wildly diversified portfolio of protein, stacking grass-fed beef from New Seasons across the street with bacon, ham, a hot link and an egg. The Crazy Burger ($9.50) heaps on onion rings and sauteed mushrooms. The burger’s wrapping is of no help. Your hands are sopping wet, and you must dry your fingers on the french fries, using the salt. These french fries are perfect. And these burgers are ridiculous. I can’t believe I keep eating them sober. MATTHEW KORFHAGE. EAT: Stoopid Burger, 3441 N Vancouver Ave., 971-801-4180. 11 am-11 pm Tuesday-Saturday.

DRANK

HAWTHORNE’S BEST BITTER (LUCKY LABRADOR) As one of the original six recipes at Lucky Lab, Hawthorne’s Best Bitter has been around for a generation. Come this October, the beer would be 21, old enough to drink itself, if beers could drink. This is an English bitter, little brother to the higher-ABV and more hoppy ESB, a balanced London-born style that’s little-seen today. Back in 1994, lighter English styles like this were popular stateside, which is why Rogue still makes an ESB named for Don Younger, proprietor of its first account, the Horse Brass, and why Honkers Ale is one of the oldest recipes in service at Goose Island. Lucky Lab keeps the Best Bitter in light rotation, brewing it only a few times a year, and I’d never run across it until last week. Well, it’s a delight. This bitter is impeccably balanced between bready and bitter, just a little lighter than amber, with softly fruity flavors mostly in the melon range. Given the renewed interest in session ales, I think it deserves fresh consideration in Hawthorne’s former roofing factory and beyond. Recommended. MARTIN CIZMAR.

FOOD & DRINK

DON’T SETTLE FOR SUBPAR SUPER BOWL NACHOS. BY PE T E COT T E L L

243-2122

There’s a lot that can go wrong with nachos. An unfavorable ratio of chips to toppings, congealed cheese sauce, globs of brown guacamole, tough chicken—any of these moving parts can break, torpedoing the ship before it sets sail from plate to gullet. Since sports, beer and nachos go together like beans, cheese and tortilla chips, we sampled nine popular Portland nacho plates to help you make an informed decision about where to exchange sloppy high-fives with your best buds this Super Bowl Sunday.

THE BEST

The Conquistador 2045 SE Belmont St., 232-3227. Price: $8, $10 with guacamole. Ingredients: Queso fresco, cheddar cheese, jalapeños, olives, onions, tomatoes, cilantro, sour cream, choice of salsa (pico, tomatillo or house hot). While Old Portland bemoans barmageddon claiming their beloved Matador, the rest of us quickly moved on to its sister across the river. While its gaudy iron accents and gold lamé couch conjure visions of mustachioed men inhaling mountains of cocaine with Steely Dan’s “Do It Again” playing in the background, it’s the holy grail of bar nachos that brings Jack back to do it again and again at the Conquistador. The ingredients list looks pedestrian, but the flavors are bold, bountiful and accented perfectly by the house hot sauce that’s generously applied to most other items on the menu. Perfection is hard to grasp with a dish as messy as nachos, but the fact that you’re likely to run out of nachos to cart the mounds of guacamole and fresh tomatoes speaks volumes about the unparalleled greatness at the Conquistador.

ALSO AWESOME

Breakside Brewery 820 NE Dekum St., 719-6475, breakside.com. Price: $11 regular, $15 Imperial. Ingredients: Melted cheddar jack, jalapeños, grilled chicken, Buffalo IPA wing sauce, celery, carrots, ranch, Smokey blue cheese crumbles, green onions. Is combining wings and nachos cheating? Is goosing the Buffalo sauce with Breakside’s Great American Beer Festival gold medal-winning IPA akin to Bill Belichick deflating footballs or stealing opponents’ defensive signals? Should we care? Breakside’s Buffalo chicken nachos are in a league of their own in flavor and ingredients, but the idea of faulting the brewery for playing a different game is silly once you’ve tasted the creamy, red-hot glory. The “regular” size is easily dinner for two, and the peril of running out of top-

S A R A H H AY E S

NACHOQUEST pings before chips is mitigated by a texture and flavor that stands up without an excessive amount of trimmings piled on top. Fat Head’s 131 NW 13th Ave., 820-7721, fatheadsportland.com. Price: $10.99. Ingredients: Housemade potato chips with smoked chicken, cheddar cheese sauce, pickled jalapeños, tomatoes, scallions, cilantro. Sour cream on request. Leave it to the enterprising Midwesterners behind Fat Head’s to skew their approach and knock one out of the park. A purist would split hairs over the Pearl’s newest brewpub’s wild defiance of Universal Nacho Law—that nachos must use nacho chips—but the housemade potato chips are a sturdier, if also saltier, upgrade to their corn-based brethren. The confluence of sour cream and smoked chicken tumbling off the top layer creates impressive plate coverage with a tangy finish that endures one explosive bite after another. The cheddar cheese sauce actually tastes like cheddar, making it a massive upgrade over the congealed gas station-grade goo most other bars use to hide their mistakes. The only knock is the massive amount of salt that punctuates each bountiful bite, but it makes sense given they’re in the business of selling beer.

GOOD ENOUGH

Grand Central Restaurant & Bowling Lounge 808 SE Morrison St., 236-2695, thegrandcentralbowl.com. Price: $11.95 Ingredients: Black beans, spicy chicken, melted cheddar and jack cheese, grilled tomato salsa, guacamole, jalapeños, tomatoes, chipotle aioli, cilantro sour cream. This is a generous spread for a sports enthusiast who’s fed up with the tablejockeying and elbow-bumping at either Blitz location in Portland. The chicken and neon-green jalapeños mingle perfectly with a glob of guacamole to create a zesty top layer with a smooth finish, but this heap is, unfortunately, not in it for the long haul. Things go south when you crack the second layer of cheese sauce masquerading as “melted cheddar.” The cilantro sour cream is a nice flourish, but there isn’t enough of it to account for the missteps of the cheese situation, which is the glaring downfall of an otherwise serviceable pile of salty fan fuel. Santeria 703 SW Ankeny St., 956-7624, thesanteria.com. Price: $7.50 small, $10.50 large; $6.50 and $9.50 without protein. Ingredients: Beans, cheese, sour cream, pico de gallo, guacamole sauce, choice of: vegan or chicken tinga, cochinita, asada, pastor, chicken, pork or beef (shredded or ground). Being the adjunct kitchen for Mary’s

Club and Bailey’s Taproom makes Santeria an automatic inclusion, but its heavy hand with beans was a major letdown. The chicken tinga’s smoky flavor did wonders for the few bites it was a major player, but the soupy remains of the bean drippings render the bottom third of the plate thoroughly unappetizing. Using bottled guacamole sauce over the real stuff is also questionable. The Fields 1139 NW 11th Ave., 841-6601, thefieldspdx.com. Price: $9; add chicken, shredded pork or kalbi beef for $3. Ingredients: Pepper jack, black beans, olives, green onion, pico de gallo, guacamole, sour cream. As one would expect from a high-end sports pub in the Pearl, the Fields offers a paltry portion of local ingredients on the kind of rectangular plate you’d find at a post-makeover TGI Friday’s. The sweethot flavor of the kalbi beef was a standout among protein options across the board, but the presentation left us confused and unsatisfied. Washing down a rectangular plate of high-end nachos with a tallboy or Rainier would feel gauche. This is not a head space you want to be in while consuming sloppy finger food.

NOPE!

River Pig Saloon 529 NW 13th Ave., 266-8897, riverpigsaloon.com. Price: $9, $11 with bacon or chicken, $12 with pork. Ingredients: Pico de gallo, pickled jalapeños, black olives, nacho sauce, green onion, cilantro-lime sour cream, colby, Cotija, cheddar. When the jalapeños stand in defiance of an otherwise flavorless dish—even after spending $3 to upgrade to pulled pork— you have a fundamental nacho problem. The Cotija cheese was as pungent as it

was daring, but the end result was little more than a bizarre funk that would’ve sullied the top-layer flavors of a competing spread—if that spread had any flavor to begin with. Lompoc Hedge House 3412 SE Division St., 235-2215, lompocbrewing.com. Price: $6 small, $9 large. Ingredients: Pepper jack and cheddar cheese, black beans, tomatoes, pickled jalapeños, scallions, salsa, sour cream. Choosing Lompoc’s quaint Division Street location was a misclick—it’s the only location of five Lompocs that doesn’t offer a protein. But it’s hard to imagine the addition of mole pork or spicy chicken would improve a below-average spread that offers little besides a hearty amount of cheese keeping dry, mealy chips stuck together. The jalapeños are a bright counterpart to the blandness of the salsa and chips, but there aren’t enough to go around for the bottom half of the pile. Rialto Poolroom Bar & Cafe 529 SW 4th Ave., 228-7605, rialtopoolroom.com. Price: $7, $8 with beef or chicken, $9.50 with guacamole. Ingredients: Cheese, black beans, pico de gallo, jalapeños and sour cream. This retro pool hall’s attempt at nachos is a wholly American experience: It’s not very good, but gosh is there a whole lot of it! A recent visit during a busy game day yielded burnt chips and crusty bits of chicken that may have been products of an overworked kitchen. But the delicate science of baking a pile of meat and condiments until it’s appetizing to drunk football fans leaves little room for error in even the most extreme circumstances. Can Rialto do better? That’s debatable. But you, the noble nacho connoisseur, should aim higher in your sloppy conquest. Willamette Week JANUARY 28, 2015 wweek.com

Willamette Week JANUARY 28, 2015 wweek.com

MUSIC

jan. 28–feb. 3 HOTSEAT

= WW Pick. Highly recommended.

JEROME FINO

Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.

WEDNESDAY, JAN. 28

THURSDAY, JAN. 29

Kishi Bashi String Quartet, Elizabeth & the Catapult

Psychomagic, Mister Tang, the English Language

[CLASSICAL LOOPS] There is a small percentage of artists circling the world who perform in a way audiences remember forever. Whether alone or in collaboration, Kishi Bashi is part of that tribe. Tonight, the violinist, singer and composer, accompanied by a string quartet, will play in support of his sophomore release, Lighght, an album inspired by minimalist poet Aaram Saroyan and featuring songs crafted during Bashi’s initial period of focusing only on his music. The songs are diverse and hint at the most obscure genres: avant-pop unfurls into ‘70s prog, Eastern psychedelic music and curious classical creations. Bashi has been described as “kaleidoscopic” more than once, and it’s the truest way to describe his art. COLETTE POMERLEAU. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $25. Under 21 permitted with legal guardian.

The Blow, Anna Oxygen

[ELECTRO-POP] The word “unplugged” might not mean the same thing to formerly Portland, now Brooklyn duo the Blow as it does to most other people. That’s what they’ve dubbed this current West Coast tour, but since unplugging is basically impossible for a band led by synths and samples, they’re remaining more or less electrified. But Khaela Maricich and Melissa Dyne will pare down their usual show—which typically includes projectors, art installations and spoken-word monologues—to just the keyboards and modular synthesizers employed on record. Dyne, who often triggers her sound effects from a location offstage, is set to join founder and vocalist Maricich onstage this time around, as together, the two create a shimmering foundation of staggering beats, gorgeously layered vocals and eccentric, sampled flourishes. KAITIE TODD. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15. 21+.

Fanno Creek, Lost Cities, Tiger Merritt

[INDIE FOLK POP] If you think you’ll learn all there is to know about the musicians of Portland’s Fanno Creek by listening to the first few minutes of their debut album, Monuments, you’re wrong. Though it still borders on the simple, early Beatles sound found on their previous EPs, the trio’s first fulllength is a folk-inspired shape-shifter, led in large part by the dual vocals of Quinn Mulligan and Evan Hailstone, whose harmonies act as the group’s symbiotic center. KAITIE TODD. Holocene, 1001 SE Morrison St., 2397639. 8:30 pm. $6. 21+.

Jukebox the Ghost, Twin Forks, Secret Someones

[BIG POP] Jukebox the Ghost is a band that makes a broken heart sound like a walk through the park. There are puppies running around, the sun is shining and there you are, strutting along to an upbeat drum pattern while thinking, “I should have known right from the start that we were made for ending.” It’s a weird contrast, but puzzling disparities aside, the trio knows how to craft a catchy chorus. Last year’s self-titled album is a continuation of the sound they’ve honed over the past decade, a brand of pop that grounds singer Ben Thornewill’s piano in the forefront, creating a plucky, borderline theatrical jaunt built on a familiar formula of big drums, soaring group choruses and synthbacked guitar solos. It’s about as cute as heartbreak gets. KAITIE TODD. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $13. 21+.

[PSYCH ROCK] “Monster Mash” might be a rarely cited influence, but on “Bad Idea” from Psychomagic’s sophomore album, Bad Ideas, that’s exactly what Steven Fusco’s vocals appear to mimic. The next track, “Flowers on the Sun,” is like a parody of an MGMT song. The Portland band’s album, released this past December, is sincerely goofy without skimping on the feedback and distortion. If you missed one of the ample opportunities to see Psychomagic in 2014, you should make up for it now. SHANNON GORMLEY. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $5. 21+.

Bad Suns, Coasts, Maudlin Strangers

[DANCE ROCK] There’s a mushy and metronomic sort of thing happening in the festival-headlining pop-rock world right now, and the results are decidedly mixed. For bands like Foals, at once catchy with just enough edge, it tends to work. For bands like L.A.’s Bad Suns, it’s often too straightforward. But with one LP called Language & Perspective to its name, it’s too early to call Bad Suns a cow in the herd. There’s promise, but the lads will have to start saying the occasional no to the pop-factory tastemakers that have turned many good Southern California bands into, well, just another pretty dance-rock act. MARK STOCK. Hawthorne Theatre, 1507 SE Cesar E. Chavez Blvd., 233-7100. 8 pm. $15 advance, $18 day of show. All ages.

Club Chemtrail: Sudanim B2B Miss Modular, Ben Tactic, Lincolnup, SPF666, Commune

[MODULAR CLUB] Founded in 2013 by Sudanim, Miss Modular and CYPHR, South London’s Her Records is on its own crooked branch of the dancemusic family tree, with only a few cousins—Night Slugs’ dark club aesthetics, the future grime of New York’s Lit City Trax—bearing some family resemblance. Sudanim’s “The Link” is the runway version of Zaytoven’s prêta-porter trap beats; Miss Modular’s “Reflector Pack/Cruzer Edge” is a clown car jammed with styles, vamps and samples from across the club spectrum. It’s exhilarating. MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 9 pm. $6. 21+.

Left Coast Country, Kory Quinn, Crow and the Canyon

[NEWGRASS] Drinking music knows no era. Thanks to the timelessness of broken hearts, betrayal and bourbon, Portland bluegrass quintet Left Coast Country will always have a muse. Last year, the band released a solid EP in Pines Fly By, which fixates on old loves and general wanderlust. But instead of telling the nearest barfly at the local tavern, Left Coast Country expresses the sweet and the sour through classic folk instrumentation, namely strings of all shapes and sizes. It’s in the band’s creative structures and phrasing where the “new” in newgrass comes to the fore. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $5. 21+.

FRIDAY, JAN. 30 Marriages, Helms Alee

[POST-GOTH] It’s a shame it took us this long to bear witness to the soaring, ethereal vocal prowess of Emma Ruth Rundle, former guitarist for L.A. post-rockers Red Sparowes.

CONT. on page 51

DESERT RAIN

A PORTLAND ETHNOMUSICOLOGIST REMAKES PURPLE RAIN IN THE SAHARA. bY MaTTHe W SIn Ge R

msinger@wweek.com

One thing Christopher Kirkley can’t be accused of is lacking ambition. Since 2008, through his Sahelsounds blog and record label, the Portland “guerrilla ethnomusicologist” has collected and shared music from West Africa that had previously only been traded by locals via cellphone MP3s. A year ago, he took the next logical step: directing a remake of Purple Rain in the Sahara. Shot in the city of Agadez in northern Niger on a $12,000 budget, Akounak Tedalat Taha Tazoughai (translation: Rain the Color of Blue With a Little Red in It), starring a young guitarist named Mdou Moctar, is the first film ever made in the Tuareg language. Kirkley spoke to WW in advance of the movie’s Portland premiere about translating Prince’s finest hour to fit the culture of the region, the challenges of filming there and how bootlegging fits into his distribution plan. WW: What made you want to transition into making movies? Christopher Kirkley: I think it’s a natural extension of what I do, anyway. The label is so much based around looking at something over there, then taking it out of its cultural context and bringing it to a different audience. It was also a chance to do something that would be for both audiences. No one is buying vinyl records in West Africa, but with this movie, Tuareg kids could watch the movie, and we could make it for Western audiences as well. How much of the film is a direct translation of Purple Rain? When we started, we were making a remake of the film, but pretty quickly we were having to write in new scenes because things didn’t work or weren’t culturally appropriate—like, entire plot lines of Purple Rain. There’s this domestic violence plot line, and the father’s attempt at suicide; none of that works in Niger. It happens, but it’s not something you put in a movie.

BaBy, I’m a STaR: Christopher Kirkley (left) and mdou moctar on the set of Akounak.

Are there examples of scenes you had to tweak to make them work? Mdou has a conflict with his father in the film, to the point where his father finds his guitar and burns it. I didn’t want them to have a pushing fistfight like in Purple Rain, but at least show some emotion. “Your dad just burned your guitar, you should be angry.” And when we did the scene, he just sort of talked to his father, shook his head and walked off. I said, “We have to do it again. He just burned your guitar!” And he was like, “Yeah, but we don’t yell at our parents here.” It made it hard to be a director in that sense, because at times I didn’t know if it was actors being uncomfortable or if it was something where I had to bend. So there was a lot of push and pull. What were the difficulties you ran into filming there? Women were hard to get in the movie. Either they didn’t want to be in it, or their family or boyfriends didn’t want them to be in it. We changed the lead actress during the shoot two or three times, and had to keep putting off the scenes with her. We had a windstorm start halfway through shooting. Our purple motorcycle broke down. We got hauled away by the police a couple times. At times, it started to feel like [the Apocalypse Now] documentary Heart of Darkness. When we actually finished it, we were all sort of amazed we had shot everything. You want Tuareg people to see it. Do you have an idea of how you’re going to do that? I went back in October. I screened the movie there, and it was full of people. Everyone was asking for the DVD after that. So there’s already a really huge demand. I’m interested in doing a thing where we make a bunch of cheap Nigerien DVDs and distribute them across the Tuareg diaspora. I think it’s going to be less work than we think. It’s just a matter of seeding it into a few different areas, and the bootleg industry will take over. Media will get distributed, especially if they like it. That’s sort of the biggest appreciation you can get. If you go and see it’s been bootlegged everywhere, then you’ve done your job. SEE IT: Akounak Tedalat Taha Tazoughai plays at Hollywood Theatre, 4122 NE Sandy Blvd., on Thursday, Jan. 29. 7 pm. $8. 21+. Read the full Q&A at wweek.com. Willamette Week JANUARY 28, 2015 wweek.com

BETTYE LAVETTE-WORTHY • First record came out in 1962 • Went to #7 on the R&B Charts • Known as The Great Lady Of Soul • Her latest album, ‘Worthy’, was released on the 27th of this month • You can get your copy for just $14.99 at Music Millennium

KENNY G-BRAZILIAN NIGHTS • Played with Seattle funk band Cold, Bold and Together • Got his start as a sideman for Barry White’s Love Unlimited Orchestra • Played with Portland’s own Jeff Lorber and Bruce Carter • His latest album, ‘Brazilian Nights’, was released on the 27th of this month • You can get your copy for just $12.99 at Music Millennium

Willamette Week JANUARY 28, 2015 wweek.com

friday With the Sparowes rhythm section in tow, Rundle and company assume the name Marriages to craft chilly, dense blasts of discordant melody one could ostensibly call “murky” if they weren’t so painfully beautiful. If the single “Skin” is a barometer of what to expect from their forthcoming debut LP Salome, even the most casual follower of the Sargent House imprint has yet another entry in the label’s canon of brooding, atmospheric post-metal to be very excited about. PEtE cottELL. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $10 advance, $12 day of show. 21+.

Bass Drum of Death, Lee Corey Oswald

Dy L A n H oW E

[BEER-DREncHED DELtA BLUES] If “garage” still just meant poor white guys playing the music of poor black guys with more volume, and the Sonics were skateboarders from Mississippi who wrote gnar songs about being super hung over, they’d be Bass Drum of Death. Averaging an album per year since its inception, BDoD add

MUSIC

more dynamics with each trip out. newest effort Rip This is another steady stomp in that climb back up the hill, with plenty of blown-out riffs to hype you up for the bomb back down. cRIS LAnKEnAU. Doug Fir Lounge, 830 E Burnside St., 231-9663. 8 pm. $12. 21+.

Strategy, Soft Metals, Goodwin

[ELEctRonIc LIFERS] Paul Dickow is not one to rest on his laurels. the musician and producer has been recording all sorts of electronic music under the moniker Strategy since 1999— some dancy, some noisy, some krautrock-inspired. Strategy’s latest works might be his most accessible yet. Both the houseinfected Boxology tape and “bass ‘n’ breakz” hardcore of the Pressure Washer EP are primed for clubs, though they sound equally wonderful on headphones. “tomorrow May never come,” released last summer, was one of the better dance tracks to come

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INTRODUCING KARMELLOZ Who: Producer Matthew Pepitone. Sounds like: Ambient music stripped of all pretense and programmed for club versatility by an itinerant neurologist-cum-software developer living on a weed farm deep in Cascadian forests. For fans of: Magic Fades, Ryuichi Sakamoto, PC Music, Warp Records, the World Wide Web. It’s not that Karmelloz doesn’t know his history—he does, maybe too well. “I took an electronic-music history class that I was really disappointed in,” he said of his time at the University of Oregon. “They just did Karlheinz Stockhausen and then Skrillex and then it was over.” Suffice it to say that the protean yet accessible sound of Karmelloz fits somewhere in that chasm. Since starting the Karmelloz project in 2011, he’s self-released a pair of EPs—Feel Better and Resident Evil—that would make good hold music for the right kind of tech company or, with volume blasting, the soundtrack to a stoner basement party. His sound is constantly evolving, thanks in part to the fact that his studies didn’t stop at music history. Cognitive psychology and mental health eventually became his nonmusical thesis, but also came to hold sway over his tracks, too. “Brain waves look like sound waves,” he says. “If your mood can have an effect on brain waves, what about sound?” Delving into Max for Ableton, a fitting middle-ground program between the software tools of musique concrète composers and trap beat-makers, Karmelloz released a flurry of albums on the Sewage Tapes label and its antecessor, Interscape. His debut for Vancouver, B.C., label 1080p, Source Localization, was followed just five months later by Inversion, released shortly after moving to Portland from Eugene. Both albums find Karmelloz’s sound moving out of that hazy basement and into the club, upping production values without forsaking his ambient roots. “Lately I’ve been trying to do some house stuff, around 120 beats per minute,” he says. But that would ignore his recent bombedout hip-hop production for Young Braised and his orchestration of dark visuals for local club night Paradise. A 2013 Eugene Emerald interview lumped Karmelloz in with basic “beats” producers, while others give him tags like “vaporwave” and “bedroom pop.” And Eugene, too. He won’t have any of it. “I’m outside it altogether,” he says. “Or maybe just between it.” MITCH LILLIE. SEE IT: Karmelloz plays a DJ set at Beech Street Parlor, 412 nE Beech St., on Sunday, Feb. 1. 9 pm. Free. 21+. His new album, Silicon Forest, is out Feb. 2 on cleaning tapes. Willamette Week JANUARY 28, 2015 wweek.com

MUSIC COURTESY OF TOO MANY ZOOZ

PROFILE

TOO MANY ZOOZ SATURDAY, JAN. 31

1 4 c o n c e r t s • 1 4 D ay s

chamber blast chamberblast.org

Five of Portland’s premier arts organizations band together to bring you a winter storm of exceptional, intimate, and live chamber music.

M Jan 19 T Jan 20

Takács Quartet

W Jan 28

Matthew Polenzani, tenor & Julius Drake, piano

Lincoln Performance Hall, PSU

Th Jan 22 “Blown Opportunity” F Jan 23 Studio 2@Zoomtopia

Su Jan 25

Camerata PYP •

Su Jan 25 M Jan 26

Denis Kozhukhin, pianist Lincoln Performance Hall, PSU

Jan 31

Rachel Kudo, pianist •

Jan 27

Beethoven’s Inner World

Th Jan 29

Wieden + Kennedy Bldg

Portland Piano Company

Masterpieces for Piano, Four Hands

Jan 30

Dover and Friends

Jan 31

Mozart, Bartók & Schumann

Su Feb 1

Dvořák , Dohnányi & Brahms

Willamette Week JANUARY 28, 2015 wweek.com

In a way, the New York City subway system is kind of like Satyricon, Portland’s legendary punk club. Take it from drummer David Parks, who’s played both. “There’s a certain randomness about the subway that’s definitely like an old-school punk-rock club,” says Parks, a member of Too Many Zooz, a trio that has spent the past year drawing crowds to the subterranean labyrinth of the world’s most iconic transit system. “Back in the day, there was really no control. Maybe there was one security person at the door, but never really anyone in the actual room. People break out dancing, there’s overly drunk people, obnoxious people, whatever.” In 1990, Parks dropped out of cooking school in Nashville and bought a bus ticket to Portland, intent on being involved in the city’s music scene. He began playing drums in Hitting Birth, the Portland art-punk act known for using shopping carts as percussion. (He also had a stint as Satyricon’s janitor.) Feeling like he’d done all he could musically in Portland, Parks left for New York, eventually joining the busking drum group Drumadics, through which he met baritone sax player Leo P. After recruiting Leo’s music-school acquaintance Matt Doe, they formed Too Many Zooz. Too Many Zooz became Internet famous last year when a video of one of its subway performances made it to the front page of Reddit. Between ads for Ketel One vodka, Leo P stomps and slides across the station’s tiles in bright white sneakers, while Doe, red-haired and red-faced, transforms his trumpet into a ravelike synth, and then a mariachi horn, exhorting the crowd to come closer. At the center is Parks, in a red headband, keeping time on a bass drum with blocks, bells and tambourine attached. In the time since the video came out, Zooz has toured France, given TED Talks, put out two albums and been written up by the New York Post. But Parks is quick to point out that Reddit wasn’t the band’s first big exposure. “Our first push came from the thousands of New Yorkers who see us daily,” he says. That’s one of the major differences between playing the subway and headlining an actual stage. “In the subway, it’s like having a club fill up and then empty and fill up again every 10 minutes, and the people there aren’t there to hear us.” The band has adjusted its sound, Parks explains, to try and capture the attention of everyone who passes by on their daily schlep around the city. Parks describes Too Many Zooz’s eclectic sound as “a walk down 116th Street in Harlem. You can walk down that street and within 10 blocks you’re going to hear African [music], reggae, hip-hop, merengue—every style of music that you could possibly hear.” There’s another obvious influence in Too Many Zooz’s sound: dance music. The pitch of Leo P’s and Doe’s horns shift gradually in homage to the frantic buildups and drops of EDM, and Parks’ drumming is booming enough for the biggest of the proverbial big rooms. As detached as that might seem from the Satyricon days, Parks thinks otherwise. “I’m not doing anything I haven’t already done for 25 years,” he says. “The only difference is location, and maybe instrumentation.” JAMES HELMSWORTH. Some real underground music.

SEE IT: Too Many Zooz plays Peter’s Room at Roseland Theater, 8 NW 6th Ave., with Tope, on Saturday, Jan. 31. 8 pm. $15. All ages.

friday–tuesday out of this city in a long time—its ebullient, circular melody and clashing percussion don’t quit for a full seven minutes, enough time to get truly sweaty on the dance floor, even in the dead of winter. tonight, Dickow is releasing a new record, but be sure to show up early for the openers: Ethereal darkwave duo Soft Metals are also prepping a new record for release in 2015, and Scott Goodwin is retiring his current Juan Atkins-worshipping set for the foreseeable future. MIcHAEL MAnnHEIMER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $7. 21+.

Tribal Seeds, Hirie, Leilani Wolfgram

[REGGAE] San Diego’s tribal Seeds have spent several years cultivating a sound that singles them out from typical reggae redundancy, combining the roots sounds of Bob Marley with a dash of Eek-a-Mouse’s stony staccato, a slice or two of Spearhead cheese, a little bit of ska-bordering rock and the requisite feigned Jamaican accent. that combination serves the group well, creating a spacier sound that’s still rooted in the music’s origins, while also serving to help the sextet avoid the trappings of the genre—except for the Faux-maican accent, which is to reggae what fake Brit accents are to pop-punk and is no less puzzling for its commonality. AP KRYZA. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $17 advance, $20 day of show. All ages.

SATURDAY, JAN. 31 Sage Francis, Sapient, Dalton

[PoEtIc RAP] Large, bearded Mc Sage Francis has long fallen somewhere between a spoken-word poet and a conscious rapper. With a style that is simultaneously introverted and infused with early 2000s battle-rap confidence, Francis’ latest album, Copper Gone, demonstrates an interesting dichotomy still rarely seen even in the most forwardthinking hip-hop: that of fragile humanity hiding behind a big voice. PARKER HALL. Alhambra Theatre, 4811 SE Hawthorne Blvd., 610-0640. 9 pm. $20 advance, $25 day of show. 21+.

Coma Serfs, Still Caves, Jackson Boone

[SURF PUnX] Psyched-out Portland garage punks coma Serfs celebrates its new EP, Ready or Not America, Here Come the Coma Serfs. Bunk Bar, 1028 SE Water Ave., 328-2865. 10 pm. $5. 21+.

SadoDaMascus Records Winter Compilation CD Release Party

PartyNextDoor

[PARtY&B] Drake’s oVo Sound is very much a love ’em or hate ’em sort of label, so I should note that, personally, I wear the owl-branded oVo hoodie proudly. Drake uses his label to control his own music and prop up others, but it’s always Drake’s features that get all the love, his appearance on ontarian signee Partynextdoor’s “Recognize” included. But PnD has also released some of the sexiest, upbeat R&B this side of Usher in the past year, and deserves to represent on his own. check the melancholy “SLS” and the “Latch”—sampling “Sex on the Beach” for proof. MItcH LILLIE. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. Sold out. All ages.

Black Witchery

[SAtAnIc DEAtH MEtAL] When it comes to keeping it troo, cvlt, necro, blackened and dirty, American metal doesn’t get more filthy than Black Witchery. Hailing from Florida (where else?), this trio blasts through blinding sets that fuse the speed of black metal, the aggression of death metal and the antics of headlinegrabbing dudes from the weirdest state in the union. If you want speed, darkness and no compromises, this is brutality for the sake of extremity. All it will cost is your soul. nAtHAn cARSon. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $12 advance, $14 day of show. 21+.

Murder by Death, Rocky Votolato

[PUnK FoLK] Murder by Death’s dark acoustic sound has grown more nihilistic with each album. As Midwest folk heroes alongside groups like Plan-It-X, the band brought attention to Bloomington’s outstanding folk landscape, which is the direct antithesis to what passes for folk on pop radio stations. As the faux-hemian indie-folk trend begins to pass, Murder by Death will still be standing. LUcAS cHEMottI. Star Theater, 13 NW 6th Ave. 9:30 pm. $17. 21+.

SUNDAY, FEB. 1 Raffi

[BABY BELUGA/cHAMPAGnE DREAMS] While your feelings about Raffi’s children’s music likely says more about your feelings about children, there’s no arguing the undimmed delirium a track like “Bananaphone” inspires among the preschool set with only a simple guitar figure, playful vocal and a perfect turn of phrase. Despite rather limited success with

more mature efforts—1977’s Adult Entertainment is only available on vinyl, which scarcely seems possible—recent release Love Bug marks the first kids album he’s recorded this century, and the old folkie’s taken to writing screeds against the culture of immediate gratification and advocating a boycott of all products marketed to the youth. It’s a noble principle that, taken to its logical conclusions, would bring Raffi back to the coffeehouse stage. JAY HoRton. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 1 pm and 4 pm. Sold out. Under 21 with parent or legal guardian.

Lil Ripp, Leezy Soprano, D. Worthy, Myke Bogan, Ill Chris, Camthamac

[noRtHWESt HIP-HoP] A showcase of rising regional hip-hop acts, headlined by tacoma’s Lil Ripp, whose got a Drake-like sing-song flow but a taste for more skeletal, slightly more eerie club-ready productions. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10. 21+.

Lubec, Sister Palace, Golden Hour

[AnGULAR JAnGLES] there’s a small, dusty corner of Sub Pop’s pre-Shins/Postal Service catalog that’s made up of dour indie-pop outfits whose bread and butter is jangly minor chords and plaintive, faraway vocals. northwest groups like Lubec play an essential role in keeping the hazy dream of exuberant sadness alive and well in the modern indie scene. the malefemale vocals and almost math-y guitar figures, vacillating between power pop and slowcore, give recent record The Thrall a detached urgency that’s truly the dream of the ’90s. PEtE cottELL. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.

TUESDAY, FEB. 3 The Shrine, Danava, Naslrod

[tHRoWBAcK MEtAL] Venice Beach skate rats the Shrine are bringing old-school heavy metal back, with all its simplistic, hardhitting power intact. In support of latest release Bless Off, the Black Sabbath-worshiping shredders have hit the road selling their own pair of HUF socks and stopping in at skate spots as often as music venues. With huge, fuzz-packed riffs, the Shrine set themselves completely apart from many garage-rock bands simply by kicking more ass. this is a band that turns its Marshalls to 11, gargles Jack Daniel’s, and just lets it rip. LUcAS cHEMottI. Doug Fir Lounge, 830 E Burnside St., 2319663. 8:30 pm. $3 with RSVP at redbullsoundselect.com. 21+.

cont. on page 54

c o U R t E S Y o F WA R n E R B R o S .

[MAKE PoRtLAnD WEIRDER] Portland’s most adventurous record label, SadoDaMascus, celebrates the release of its seasonal compilation with a showcase featuring 14 artists you’ve likely never heard of. Rather

than coming in with any shred of expectation, you should probably just show up and be surprised by what you experience. It’s more appropriate to the label’s spirit. High Water Mark Lounge, 6800 NE Martin Luther King Jr. Blvd., 286-6513. 7 pm. $5. 21+.

MUSIC

howdy, neighbor: Partynextdoor plays roseland Theater on Saturday, Jan. 31. Willamette Week JANUARY 28, 2015 wweek.com

Are you reAdy? WillAmette Week presents

It’s back and better than ever. sundAy, mArCH 1 registrAtion for teAms of 5 begins februAry 4.

MUSIC

classical, etc.

CLASSICAL, JAZZ & WORLD David Friesen Circle 3 Trio

[LOCAL JAZZ] Upright bass that has been miniaturized, made electric and played sitting down by a man who refused to cut his long, curly hair at the end of the ’80s, even as he began to go bald—it’s only desirable when David Friesen is the musician in question. The famed Portland bassist, who shared stages with legends such as Stan Getz, Dizzy Gillespie and Philly Joe Jones, guides his local piano trio through twisting harmonies with astounding melody and grace. The jazz is relatively classic and straightahead, but such low-end virtuosity is always worth a listen. PARKER HALL. Noho’s Hawaiian Cafe, 4627 NE Fremont St., 445-6646. 6:30 pm Thursday, Jan. 29. Free. All ages.

Bill Frisell presents Guitar in the Space Age!

[ROOTS JAZZ] Jazz-guitar legend Bill Frisell has lent his bespectacled virtuosity by way of an ethereal Telecaster to many important musicians, from Elvis Costello and the late Paul Motian’s trio to Lucinda Williams. On his latest project, Jazz in the Space Age!, his quartet interprets music from the era of the duck-and-cover PSA. Jazz records with covers of songs like the Byrds’ “Turn! Turn! Turn!” can sometimes spin their way into the elevator, but this is not the case with Frisell, who morphs well-known classics into nostalgic musical mist, scented with the sort of stirring melancholy that only he is capable of creating. PARKER HALL. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm Friday, Jan. 30. $35. Under 21 permitted with legal guardian.

Star Trek

[LIVE FILM SCORE] Composer Michael Giacchino earned his stripes scoring Sega Genesis video games and earning Academy Award nominations for his Pixar film scores. Fast forward a few light years, and Giacchino caught the bold ears of director J.J. Abrams. After working together on Fringe, Lost and Cloverfield, Giacchino was transported to the decks of Abrams’ U.S.S. Enterprise to reimagine Alexander Courage’s classic Star Trek TV theme for the 2009 franchise reboot. It’s a powerful and emotionally stirring score that will require an alliance between the Oregon Symphony and the Pacific Youth Choir to pull off tonight. And, in the neutral zone of the lobby, there will be a costume contest. Engage. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Friday, Jan. 30. $55-$125. All ages.

45th Parallel

[CLASSICAL HOME TEAM] Saturday’s 45th Parallel concert offers truly homegrown sounds by Portlanders and other contemporary composers, played and sung by a local all-star team. The show features contemporary classical music by one of Portland’s finest and broadly appealing composers, Kenji Bunch, plus Portland composer and avid hiker Jeff Winslow’s neo-romantic evocation of his excursions in Oregon’s Eola Hills and Sergio Carreno’s tribute to his fellow Oregon Symphony percussionist, Niel DePonte. The nonclassical playbook includes music by Stevie Wonder and B.B. King, performed by Portland jazz piano master Randy Porter and jazz singer Alonzo Chadwick, plus tunes by Gillian Welch, Alicia Keys, Leonard Cohen and others sung by top local vocal quartet the Julians. BRETT CAMPBELL. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 7:30 pm Saturday, Jan. 31. $15 for students and seniors, $20 general admission. Under 21 permitted with legal guardian.

For more Music listings, visit 54

Willamette Week JANUARY 28, 2015 wweek.com

ALBUM REVIEWS

LORD DYING POISONED ALTARS (RELAPSE) [SLUDGE BEASTS] Describing Lord Dying as “stoner metal” is an easy mistake to make. Between the band’s Portland roots and its flannel-clad, Viking-kush aesthetic, one would expect a sludgy, brooding halfway point between Earth and High on Fire to be a comfortable place for the group to land. Signing with the venerable Relapse Records, the same label as local heroes Red Fang, is certainly a shot in the arm for the band’s fame, but its ascent to the little big leagues is not without expectation. How does Lord Dying expand on the gnashing, angular terror that made its 2013 record Summon the Faithless such a substantial breakthrough from a scene bursting at the seams with quasioccult riff-mongering? On Poisoned Altars, the answer is simple, direct and punishing. The opening title track wastes no time with dirges or preludes: Crushing guitars leap from the mix like pillars of flame before singer-guitarist Erik Olson unleashes a predatory snarl that recalls Lemmy and Tom Araya at their most sinister. It’s one of the few tracks that plays it straight throughout its entirety. Most of the time, songs lurch from a midtempo trudge to a proggy gallop fans of Leviathan-era Mastodon will recognize instantly. The abundance of ideas Lord Dying crams into Poisoned Altars’ eight tracks is both its strongest suit and most obvious fault. This maximalist approach to spot-welding disparate parts together—polyrhythmic breakdowns with explosive minor-key shredding, say—works wonders for tracks like “Offering Pain” and closer “Darkness Remains.” But the thundering, full-bore attack of “Suckling at the Teat of a She-Beast” is a not-so-subtle reminder that the driving grooves of classics like Motörhead and Sabbath are too far out of Lord Dying’s consciousness. It was the glue that kept Summon the Faithless firing on all eight cylinders, but that thunder and aggression is still put to good use with Poisoned Altars’ cerebral dynamics and jagged, elongated structures. PETE COTTELL. SEE IT: Lord Dying plays Mississippi Studios, 3939 N Mississippi St., with Sons of Huns and Graves at Sea, on Saturday, Jan. 31. 9 pm. $10. 21+.

ETERNAL TAPESTRY WILD STRAWBERRIES (THRILL JOCKEY) [FRAGARIA VESCA] Slowly but decisively, Eternal Tapestry’s been easing itself into a more pastoral conception of psychedelia. This new double album, as fragile as any German synth extravaganza from the 1970s, extends the ensemble’s already endless warbling experiments, culminating in the electronically backed “Maidenhair Spleenwort.” While referencing a common fern, the almost nine-minute excursion, with murmured vocals just powerful enough to rise above an incessant, electronic clapping, hovers long enough to remind of everything from Syd Barrett-era Pink Floyd to Harmonia. There’s just no guitar shredding. With that brushwood and any number of other plants springing from the hothouse environment Eternal Tapestry cultivates during the Wild Strawberries sessions, sparse moments of aggro musicianship crop up. Even when it does, the heavy psych the band traded in over the course of albums like Palace of the Night Skies and The Invisible Landscape is largely absent. Distancing itself from a steadfast approach to psych (or space rock, or whatever this is) could be attributed to guitarist Dewey Mahood’s departure a few years back, but the troupe’s sonic proclivities were by then being sedately altered for its collaborative recording with Los Angeles’ Sun Araw and the band’s other 2011 release, Beyond the 4th Door. Engaging with such obtuse music, though, Eternal Tapestry furthering swiveling toward a more genteel spectrum of the genre still leaves listeners with about 70 minutes of new improvisations to wade through. If nothing else, it’ll give your copy of Robert Fripp and Brian Eno’s (No Pussyfooting) a rest. DAVE CANTOR. SEE IT: Eternal Tapestry plays Mississippi Studios, 3939 N Mississippi Ave., with Weyes Blood and Moon by You, on Sunday, Feb. 1. 9 pm. $5. 21+.

Willamette Week JANUARY 28, 2015 wweek.com

MUSIC CALENDAR

[JAN. 28-FEB. 3] FRi. JAn. 30

= WW Pick. Highly recommended. Editor: Mitch Lillie. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek.com/submitevents. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: music@wweek.com. For more listings, check out wweek.com.

Aladdin Theater

3017 SE Milwaukie Ave. Bill Frisell: Guitar in the Space Age!

Alberta Rose Theatre

3000 NE Alberta St. Women of Heart and Mind: Joni Mitchell Tribute Concert, Anne Weiss, Kris Deelane, Bre Gregg, Paula Sinclair

WILL CORWIN

LAST WEEK LIVE

Analog Cafe & Theater 720 SE Hawthorne Blvd. Cellar Door

Arlene Schnitzer Concert Hall

1037 SW Broadway Star Trek

Ash Street Saloon

225 SW Ash St. East End Boils Meat West End Ghouls, Grotesque Gorelesque, Headless Pez

Bunk Bar

1028 SE Water Ave. Marriages, Helms Alee

Dante’s

350 W Burnside St The Welfare State, Pinehurst Kids, Down Gown

Disjecta

8371 N Interstate Ave. Chamber Music NW, Dover & Friends

Doug Fir Lounge

830 E Burnside St. Bass Drum Of Death

Edgefield

ALONE WOLF: Willis Earl Beal performs by himself, with prerecorded backing tracks, almost as an act of defiance. The singer began his career singing along to a reel-to-reel, before being joined by a backing band as he started to build a profile. But since his falling out with the music bloggerati, he’s back to playing by his lonesome, with just his voice and an iPod. At Holocene on Jan. 21, it hardly seemed like anything was missing. Dressed in light echo, Beal’s dynamic voice transitioned effortlessly from a low croon to falsetto to the bluesy howl that made him indie-famous. “I just want to let everybody know that nothing too exciting is going to happen,” he said to open the show, encouraging everyone to sit down if they felt so inclined. Beal himself didn’t sit still, though. He stood on a stool, draped in a flag, from which he fell to his knees and jumped down to the floor. Musically, the material wasn’t always consistent, with some songs running together in a wash of synth-string presets and reverb. Since leaving his old label, Beal’s output has increased exponentially, but sometimes, having a company overseeing quantity also helps control the quality. JAMES HELMSWORTH. See the full review at wweek.com/lastweeklive. WED. JAn. 28 Al’s Den

303 SW 12th Ave. Small Houses

Aladdin Theater

3017 SE Milwaukie Ave. Kishi Bashi String Quartet, Elizabeth & The Catapult

Ash Street Saloon 225 SW Ash St. Ethereal Sea

Doug Fir Lounge

830 E Burnside St. The Blow, Anna Oxygen

Duff’s Garage

2530 NE 82nd Ave Blues Jam, Arthur Moore’s Harmonica Party

Landmark Saloon

4847 SE Division St. Miller and Sasser’s Twelve Dollar Band

LaurelThirst Public House

2958 NE Glisan St. Del Phoena, LEO (9 pm); The Student Loan (6 pm)

Lincoln Performance Hall 1620 SW Park Ave. Friends of Chamber Music: Matthew Polenzani, Julius Drake

Mississippi Studios

3939 N Mississippi Ave. Jukebox The Ghost, Twin Forks, Secret Someones

Sandy Hut

Edgefield

1430 NE Sandy Blvd. Mercy Music, No Red Alice, Burn the Stage

Hawthorne Theatre

The Know

2126 SW Halsey St. Hot Club Time Machine 1507 SE 39th Ave. Mayhem, Watain, Revenge

Holocene

1001 SE Morrison St. Tiburones, Fanno Creek, Lost Cities

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Quartet, Mel Brown B3 Organ Group

2026 NE Alberta St. Joy, Sons of Huns, R.I.P.

White Eagle Saloon

836 N Russell St. Monica Nelson and The Highgates

THuRS. JAn. 29 Al’s Den

303 SW 12th Ave. Small Houses

Willamette Week JANUARY 28, 2015 wweek.com

Aladdin Theater

3017 SE Milwaukie Ave. Particle

Crystal Ballroom

1332 W Burnside Street G. Love & Special Sauce Matt Costa

Dante’s

350 W Burnside St Psychomagic, Mister Tang, the English Language

Duff’s Garage

2530 NE 82nd Ave Tough Love Pyle

Hawthorne Theatre 1507 SE 39th Ave. Bad Suns

Hawthorne Theatre Lounge

1503 SE Cesar E Chavez Blvd. John Statz

LaurelThirst Public House

2958 NE Glisan St. Nick Jaina (9:30 pm); Lewi and the Left Coast Roasters (6 pm)

Lincoln Performance Hall

1620 SW Park Ave. CMNW: Masterpieces for Piano, Four Hands

Mississippi Studios

3939 N Mississippi Ave. Left Coast Country, Crow

And The Canyon, Kory Quinn

Sandy Hut

1430 NE Sandy Blvd. The Good Sons, King Ghidora Youth Destroyer

The GoodFoot Lounge 2845 SE Stark St. Klozd Sirkut, Fresh Track

The Know

2026 NE Alberta St. Feel Young

The Lodge Bar & Grill 6605 SE Powell Blvd. Ben Rice B3 Trio

The Muddy Rudder Public House

2126 SW Halsey St. Kelly Brightwell

Habesha Lounge

801 NE Broadway St. Sprng, No Body, Mascaras and Ah God!

Hawthorne Theatre

1507 SE 39th Ave. Earth To Ashes, Morbid Fascination, Anchor Chain, To Die Elsewhere, Iron Serpent, Valiant Bastards

Hawthorne Theatre Lounge

1503 SE Cesar E Chavez Blvd. Ryan Sollee, Joe Vickers

High Water Mark

6800 NE Martin Luther King Jr. Blvd. Drouth, Usnea, Humours, & Serpens

Kelly’s olympian

426 SW Washington St. Hopeless Jack & the Handsome Devil, Urban Pioneers

Landmark Saloon

4847 SE Division St. Countryside Ride, the Pickups Bluegrass Quartet

LaurelThirst Public House

2958 NE Glisan St. Beach Fire, the Includers (9:30 pm); Ana Margarita and the Rattlesnakes (6 pm)

Mississippi Studios

8105 SE 7th Ave. Gabrielle Macrae & Friends

3939 N Mississippi Ave. Strategy, Soft, Goodwin

The Secret Society

10350 N Vancouver Way Carrie Cunningham

116 NE Russell St. Jumptown!, Oregon Valley Boys, Doug & Dee’s Hot Lovin’ Jazz Babe

White Eagle Saloon

836 N Russell St. Spiricles, JT Wise Band

Wonder Ballroom

128 NE Russell St. The Expendables, BALLYHOO, Katastro

Ponderosa Lounge

Roseland Theater 8 NW 6th Ave. Kip Moore

Rotture

315 SE 3rd Ave. Die Robot, Force Publique, Ghost Motor, Scorpion Warrior

The Know

2026 NE Alberta St. Fools Rush, Pageripper, Absent Minds, Blowout

The Muddy Rudder Public House 8105 SE 7th Ave. Reverb Brothers

Valentine’s

232 SW Ankeny St Chenille, Nature Thief

White Eagle Saloon

836 N Russell St. The Easy Leaves, Reverb Brothers

Wonder Ballroom

128 NE Russell St. Tribal Seeds, Hirie, Leilani Wolfgram

SAT. JAn. 31 Aladdin Theater

3017 SE Milwaukie Ave. Winterfolk XXVII: Featuring Bryan Bowers

Alberta Rose Theatre 3000 NE Alberta St. 45th Parallel presents Superbowl Saturday

Alhambra Theatre

4811 SE Hawthorne Blvd. Sage Francis, Sapient, Dalton

Arlene Schnitzer Concert Hall

1037 SW Broadway Ode to Joy: A Holiday Celebration

Ash Street Saloon

LaurelThirst Public House

2958 NE Glisan St. Kalida, Gabby Holt (9:30 pm); Lynn Conover and Little Sue (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Lord Dying, Sons of Huns

Peter’s Room

8 NW 6th Ave Too Many Zooz

Ponderosa Lounge

10350 N Vancouver Way Jones & Fischer

Portland Piano Company 711 SW 14th St. Rachel Kudo

Roseland Theater

8 NW 6th Ave. Partynextdoor

Rotture

315 SE 3rd Ave. Black Witchery

Sandy Hut

1430 NE Sandy Blvd. Skull Island, Right Hand of Doom Mammoth Salmon

St Michael and All Angels Episcopal Church

1704 NE 43rd Ave. ViVoce’s Winter Concert, Far From Home

225 SW Ash St. Yo Adrian!, Boom City, The Wobblies, The Knuckles

Star Theater

Bunk Bar

The Firkin Tavern

1028 SE Water Ave. Coma Serfs, with Still Caves and Jackson Boone

Cafe Artichoke

3130 SE Hawthorne Blvd Eric & Encarnacion’s Duo Flamenco

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd. ON-Q Band

Crystal Ballroom

1332 W Burnside Street Last Chance Winter Dance: The Radical Revolution

Dante’s

350 W Burnside St Orchestra L’Pow, the Bar Pilots, Goldfoot

Doug Fir Lounge

830 E Burnside St. BowieVision, This Is Not My Beautiful Band

Edgefield

2126 SW Halsey St. Moody Little Sister

Hawthorne Theatre

1507 SE 39th Ave. Proven, 30 Pound Test, Path To Ruin, Wade Graham

Hawthorne Theatre Lounge

1503 SE Cesar E Chavez Blvd. Stealing Lucky, Pine Street Junction

High Water Mark

6800 NE Martin Luther King Jr. Blvd. SadoDaMascus Records Winter Copulation CD Release Party

13 NW 6th Ave. Murder by Death, Rocky Votolato 1937 SE 11th Ave. Long Hallways, LiquidLight, Down Gown

The GoodFoot Lounge 2845 SE Stark St. Turkuaz

The Know

2026 NE Alberta St. Gladness, Salon, Slumlord

Saraveza Bottle Shop & Pasty Tavern

1004 N Killingsworth St. Maris Otter

St Michael and All Angels Episcopal Church

1704 NE 43rd Ave. ViVoce’s Winter Concert, Far From Home

The Know

2026 NE Alberta St. Lubec, Sister Palace, Golden Hour

White Eagle Saloon 836 N Russell St. Rob Johnston, New Solution

Mon. FEB. 2 Dante’s

350 W Burnside St The English Language, Karaoke From Hell

Edgefield

2126 SW Halsey St. Skip vonKuske’s Cellotronic

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet, the Dan Balmer Trio

Landmark Saloon

4847 SE Division St. Mike Coykendall

LaurelThirst Public House

2958 NE Glisan St. Kung Pao Chickens (9 pm); Portland Country Underground (6 pm)

The Muddy Rudder Public House 8105 SE 7th Ave. Lloyd Jones

White Eagle Saloon 836 N Russell St. Singer Songwriter Showcase, Eric John Kaiser

The Tonic Lounge

3100 NE Sandy Blvd. Splintered Throne, Perseverance, Chemical Rage, Factor V

White Eagle Saloon 836 N Russell St. Jon Ostrom Band

Wonder Ballroom

128 NE Russell St. School of Rock Portland, Best of Portland 4

Sun. FEB. 1 Aladdin Theater

3017 SE Milwaukie Ave. Raffi

Alberta Rose Theatre

TuES. FEB. 3 Al’s Den

303 SW 12th Ave. Jay Cobb Anderson (of Fruition)

Alhambra Theatre

4811 SE Hawthorne Blvd. Natural Vibrations, Junior Reid, Karlos Paez

Ash Street Saloon 225 SW Ash St. ParadoX

Blue Diamond

2016 NE Sandy Blvd. A.C. Porter and Special Guests, Blue Tuesday

Doug Fir Lounge

3000 NE Alberta St. Second Season Second Sunday

830 E Burnside St. The Shrine, Danava, and Naslrod

Ash Street Saloon

Jimmy Mak’s

Doug Fir Lounge

LaurelThirst Public House

225 SW Ash St. Olivia Awbrey, Ryan Davidson, Wanderers and Wolves 830 E Burnside St. Lil Ripp, Leezy Soprano, D.WORTHY, Myke Bogan, ILL CHRIS, CamThaMac

Duff’s Garage

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

2958 NE Glisan St. Jackstraw

Music Millennium

2530 NE 82nd Ave The Rhythm Renegades

3158 E. Burnside St. Matt Haimovitz & Christopher O’Riley

Jimmy Mak’s

Edgefield

Rotture

Kaul Auditorium

Lincoln Performance Hall

221 NW 10th Ave. The Yachtsmen and StimPak SE 28th Ave. & Botsford Dr. Mozart, Bartk & Schumann, Chamber Music Northwest

Kelly’s olympian

426 SW Washington St. Golden Gardens, With Wind Burial, Hart and Hare

2126 SW Halsey St. Kris Deelane’s Sun Celebration

1620 SW Park Ave. CMNW Finale: Dvok, Dohnnyi & Brahms

Mississippi Studios

3939 N Mississippi Ave. Eternal Tapestry, Weyes Blood

315 SE 3rd Ave. Heavy Tuesdays

The GoodFoot Lounge 2845 SE Stark St. Boys II Gentlemen, Members of Quick and Easy Boys and Excellent Gentlemen

White Eagle Saloon 836 N Russell St. S.S. Curmudgeon

CONT. on page 58

Willamette Week JANUARY 28, 2015 wweek.com

MUSIC CALENDAR

JAN. 28–FEB. 3

RACHELLE HACMAC

BAR SPOTLIGHT

Where to drink this week. 1. Habesha Lounge 801 NE Broadway, 284-4299. Finally, a restaurant event space that doesn’t cost $75 a head for a party: This bar above an Ethiopian restaurant springs to life for Tuesday open mics and indie-tinged Thursday karaoke, with most of the party always on the patio. 2. Bar Maven 6219 SE Foster Road, 384-2079, barmaven-pdx.com. Bar Maven has recently rounded into one of the neighborhood’s best bars, with a tight-knit crowd, an interesting drink selection and walls made from a faded rainbow of reclaimed wood. 3. Bazi Bierbrasserie 1522 SE 32nd Ave., 234-8888, bazipdx.com. It’s hard to argue with the food and drink pairings this little Belgian spot has been trucking out lately, from a New Year’s party with chef Paul Kasten serving roast, to a glutenfree beer dinner. 4. Sandy Hut 1430 NE Sandy Blvd., 235-7972. Behold the surprising resurgence of the Handy Slut: The dive bar chucked the pool table and threw down a stage to become a place where the Dwarves might play a New Year’s Eve Eve show, with even more punk the next day. 5. Wilder Bar Cafe 5501 NE 30th Ave., 704-8332. This little “bar cafe” has aged into a lovely hangout and 31st-date spot. The cozily domestic bar oﬀers a curated array of elevated comfort food, craft beer and cider—and has perhaps the best TV placement we’ve seen in a bar, with no seat quite facing it.

IN, OUT, IN: Things are changing fast at Savoy Tavern (2500 SE Clinton St., 808-9999, savoypdx.com). Broder proprietor Peter Bro’s “Midwesterninspired American food” tavern on Clinton Corner was never especially Midwestern. Not for lack of trying, but just by virtue of being a little too fancy for its surrounds. Well, one great burger is about to change that. Bro recently brought his recipe for the All-Way burger, a “pre-McDonald’s” take on the fast-food classic preserved by regional chains like In-N-Out, Culver’s and Shake Shack. It instantly becomes one of the best bar burgers in the city, and at $4.50 for the original (you want the two-way for $5.25), it’s a steal. The butter buns baked by Alessio are golden, crushable and, yes, dripping with butteriness, providing a firm handhold for the juicy patty, butter lettuce and American cheese that melts right into the house’s spread. Come February, the sparse room on the west side of the building will become another All-Way during lunch hours. At supper time, the richly appointed den to the east opens to serve pan-seared trout and gin gimlets. But you can still get the burger, and a $3 Bitburger. Ten bucks for a tasty burger and a lager in a dim room with loud classic rock playing? Well, that’s the Midwest I know. MARTIN CIZMAR.

The Whiskey Bar 31 NW 1st Ave KJ Sawka

SAT. JAN. 31 WED. JAN. 28 Bar XV

15 SW 2nd AVE Deep House Wednesdays

Ground Kontrol Classic Arcade

511 NW Couch St. TRONix

Moloko Plus

3967 N Mississippi Ave. King Tim 33 1/3

The Whiskey Bar 31 NW 1st Ave Alvin Risk

THURS. JAN. 29 Holocene

1001 SE Morrison St. Club Chemtrail: Sudanim, Miss Modular, Ben Tactic, Lincolnup, SPF666, Commune

Rotture

315 SE 3rd Ave. Sublimate with Sinistarr

Willamette Week JANUARY 28, 2015 wweek.com

The Lovecraft

421 SE Grand Ave. Shadowplay

FRI. JAN. 30 Alhambra Theatre

4811 SE Hawthorne Blvd. Jai Ho! Bollywood Party Five Years Anniversary

Cadigan’s Corner Bar

Holocene

Ground Kontrol Classic Arcade

720 SE Hawthorne Blvd. Andaz: DJ Anjali & The Incredible Kida 1001 SE Morrison St. Main Squeeze: DJs Kiffo & Rymes, DJ Spencer D, DJ Quincy

The Refuge Portland

Crystal Ballroom

Holocene

31 NW 1st Ave Destructo, Motez

1001 SE Morrison St. SNAP: Dr. Adam, Colin Jones, Freaky Outty

Moloko Plus

3967 N Mississippi Ave. Hans Fricking Lindauer Rhythm and Soul Review

The GoodFoot Lounge 2845 SE Stark St. Soul Stew: DJ Aquaman

225 SW Ash St. The Underground Resistance, DJ D-Train

Analog Cafe & Theater

116 SE Yamhill Russliquid

1332 W Burnside Street 80s Video Dance Attack

MON. FEB. 2 Ash Street Saloon

The Whiskey Bar

SUN. FEB. 1 Beech St. Parlor

412 NE Beech St.. Karmelloz (DJ set)

Berbati

19 SW 2nd Ave. Future Bass

5501 SE 72nd Ave. Fight Church TV, Jessie

511 NW Couch St. Metal Mondays: Metal Kyle and DJ Shreddy Krueger

The Lovecraft

421 SE Grand Ave. Departures, DJ Waisted and Friends

TUES. FEB. 3 Analog Cafe & Theater 720 SE Hawthorne Blvd. Boombox

Roseland Theater

8 NW 6th Ave. Excision, Protohype, Minnesota

The Lodge Bar & Grill 6605 SE Powell Blvd. DJ Easy Finger

The Lovecraft

421 SE Grand Ave. Bones with DJ Aurora

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Theatre Vertigo Presents

The Sexual Neuroses of Our Parents by Lukas Bärfuss Directed by Bobby Bermea

Jan 15 – Feb 14 Translated by Neil Blackadder

www.theatrevertigo.org / 503-306-0870 Willamette Week JANUARY 28, 2015 wweek.com

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Willamette Week JANUARY 28, 2015 wweek.com

JAN. 28–FEB. 3 REVIEW

= WW Pick. Highly recommended.

OWEN CAREy

PERFORMANCE

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: REBECCA JACOBSON. Theater: REBECCA JACOBSON (rjacobson@wweek.com). Dance: KAITIE TODD (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: rjacobson@wweek.com.

FERTILE GROUND FESTIVAL The festival of world-premiere theater and dance continues, with more than 70 full productions, readings and workshops over 11 days. Fertile Ground productions are marked . Through Feb. 1. Full pass with a $50; individual tickets vary. Visit fertilegroundpdx.org for details.

THEATER OPENINGS & PREVIEWS 36 Perfectly Appropriate Mealtime Conversations

Brianna Barrett’s new comedy, presented here as a workshop performance, dives into knotty questions about dating, relationships, gender, sexuality, propositioning strangers and makin’ babies. Clinton Street Theater, 2522 SE Clinton St., 238-8899. 7:30 pm Thursday-Saturday, Jan. 29-31. $15.

#BadDecisions, a Musical

A new musical about all the times you used Internet slang IRL and were then plunged into a swampy morass of regret...or, actually, a new musical about (le duh) bad decisions and their consequences, written by John Maggi and Hamilton Barrett. Presented as a workshop production. Clinton Street Theater , 2522 SE Clinton St., 2388899. 9:30 pm Thursday-Saturday, Jan. 29-31. $15.

Carla Rossi: To Indignity & Beyond

Local drag performer Carla Rossi (also known as Anthony Hudson) puts on a multimedia show about fame and art. Expect song, monologue, video and heavy-duty clown makeup. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 7:30 pm Wednesday, Jan. 28. $8.

The Conditions of Unconditional Love and Threshold

An evening of staged readings of two plays: Sharon Sassone’s The Conditions of Unconditional Love, about an adolescent girl visiting her grandmother for unclear reasons, and Redmond Reams’ Threshold, following a young boy who was abused as a baby. Hipbone Studio, 1847 E Burnside St., 358-0898. 7 pm Friday, Jan. 30. $10.

Dead Man’s Cell Phone

Profile Theatre kicks off its season of Sarah Ruhl—a two-time Pulitzer Prize nominee who has one of the most distinctive voices in contemporary American theater—with the playwright’s 2007 comedy about a woman who comes into ownership of a dead man’s cellphone. That sets her down an unexpectedly twisty path, one that involves much more than text messages and and mysterious voicemails. Like much of Ruhl’s work, the play juggles the eccentric and the mundane, and does so with vibrant, bold and lyrical language. Artists Repertory Theatre, 1515 SW Morrison St., 242-0080. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through Feb. 15. $15-$32.

Hal Holbrook is Mark Twain Tonight!

Actor Hal Holbrook has been performing his one-man show about Mark Twain for 60 years, which is only 14 fewer years than Twain was alive. Holbrook, now 89, continues to tinker with the comic monologue, and this iteration features three new bits, including material about the Bible and the feuding families in Huckleberry Finn. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Saturday, Jan. 31. $42-79.50.

The Harriad

An in-progress presentation of a new play by Devon Wade Granmo that’s somehow a mashup of Homer, Shakespeare and Prince Harry. Action/ Adventure Theatre, 1050 SE Clinton St. 7:30 pm Wednesday, Jan. 28. $8.

I’d Rather Goya Robbed Me of My Sleep than Some Other Son of a Bitch

Boom Arts presents a solo show, written by Argentine-Spanish playwright Rodrigo García and performed by Ebbe Roe Smith, about a beleaguered middle-aged man who decides to break into the Prado and kick it with Goya’s Black Paintings. There will also be two piglets onstage. Because what is fringe theater without the porcine contingent? Disjecta, 8371 N Interstate Ave., 567-1644. 7:30 pm WednesdayThursday, Jan. 28-29; 7:30 pm Thursday-Saturday, Feb. 5-7. $15.

It’s Not Me, It’s You: Stories from the Dark Side of Dating

Tired of hearing your friend moan about that douchebag from Tinder? Here’s a chance to hear some genuinely funny folks—including comedians Amy Miller, JoAnn Schinderle and Curtis Cook, as well as several storytellers, actors and filmmakers—recount their most disastrous dates. Bri Pruett and Leo Daedalus host. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 7 pm Tuesday, Feb. 3. $18-$20.

The Jungle Book

In collaboration with the Anjali School of Dance, Northwest Children’s Theatre presents an original adaptation of Rudyard Kipling’s classic adventure tales. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 4 pm Saturdays-Sundays through March 1 (no 4 pm shows Feb. 16 and March 1). $17-23.

Kaleidoscope

In this new play written and directed by Naga Nataka, two Portland couples wind up in an unexpected romantic entanglement. Performance Works NW, 4625 SE 67th Ave., 777-1907. 2 pm Friday-Sunday, Jan. 30-Feb. 1. $10.

Late Nite Catechism

The long-running solo show about a nun and her students—played by audience members, if you’re into that sort of thing—hits Portland. Winningstad Theatre, 1111 SW Broadway, 248-4335. 7:30 pm Thursday-Saturday, Jan. 29-31. $45.50-$50.50.

A Lovely Sunday for Creve Coeur

Portland Civic Theatre Guild presents a staged reading of a little-seen play by Tennessee Williams, a one-act that follows a quartet of women in St. Louis in the mid-’30s. The Old Church, 1422 SW 11th Ave., 222-2031. 10:30 am Tuesday, Feb. 3. $8.

Maybe it’s Because... (I’m So Versatile)

In this partnership between Well Arts and P:ear, homeless youth tell stories—and recite poems, sing songs and possibly crack jokes about mushroom omelets. P:ear, 338 NW 6th Ave., 228-6677. 6 pm Saturday-Sunday, Jan. 31-Feb. 1. $7-$10.

Me Here Now

Megan Bradley presents a workshop performance of her new, eveninglength solo show about growing up in a dysfunctional family that tried to muffle her creativity. Awakenings Wellness Center, 1016 SE 12th Ave., 544-3838. 7:30 pm Friday-Saturday, Jan. 30-31. $10.

CONT. on page 62

side by side: (From left) Amber Whitehall, Jacob Coleman and Cristi Miles.

PERCHANCE TO DREAM PORTLAND EXPERIMENTAL THEATRE ENSEMBLE’S ENTER THE NIGHT IS BEAUTIFUL, SURREAL AND SURPRISINGLY FUNNY. By R EB Ecc A JAcoB soN

rjacobson@wweek.com

In Enter the Night, playwright Maria Irene Fornes takes on big issues. One character mourns the loss of his lover to AIDS. Another visits a doctor for her worsening heart palpitations. The third is a nurse who tends to the terminally ill—in fact, the play’s first lines are medical notes about green phlegm and incontinence. That hardly sounds like a formula for an invigorating evening, but in the hands of Portland Experimental Theatre Ensemble, Enter the Night pulses with wonder, beauty and unexpected joy. Though the characters grapple with mortality, they’re motivated as much by love as by fear, and the show swings easily between serious reflection and giddy, generous comedy. Fornes, a prolific Cuban-born playwright known mostly in avant-garde circles, wrote Enter the Night in 1993, but it’s only been produced a handful of times. Set in a New York City loft, the play covers about 24 hours, during which its three characters come and go, dance and kiss, laugh and wail, eat croissants and drink red wine, and make toasts to ugly artists and re-enact scenes from silent movies. Fornes has little interest in exposition or backstory—she prefers goofy non sequiturs to biographical details, and we never even learn how these three friends know each other. Here’s what we do know: Tressa (Amber Whitehall), the nurse, lives in this loft. Paula (Cristi Miles) has moved from the city to a farm in Vermont, and her health is failing. Jack (Jacob Coleman) is an aspiring playwright who’s convinced he’s HIV-positive, negative test results be damned. With a barely there plot and language that can fly into abstraction, it would be easy for Enter the Night to feel elusive or distant. Instead, New York City director Alice Reagan allows the show to move with little fuss from naturalism to surrealism. The surroundings help. The production takes place in a high-ceilinged warehouse in Southeast Portland, with a few wooden platforms—some covered in fine gray sand that squeaks as the actors tread across it—serving as the set. It’s spare but dreamlike, as if

this could be a world apart, a place where the normal rules of the universe no longer apply. In one of the more surreal moments, Jack and Tressa reenact a scene from D.W. Griffith’s 1919 silent film Broken Blossoms: He dons a tattered blue dress to play the unloved waif, while she portrays the kind Chinese man who adores her. Reagan adds richness by projecting scenes from the original film (not something Fornes’ text demands). In another smart move, she’s slashed the references to Frank Capra’s Lost Horizon, which helps slim down the show to a focused, intermissionless 90 minutes. Occasionally, things tip into comic delirium, as when Tressa and Paula perform Jack’s newest play. A silly exchange between a man from the city and a woman from the country, it’s ostensibly about the conflict between urban and rural. But it gets great comic velocity from the exaggerated German accents—“udder” and “other” become indistinguishable—and the stylized physicality, with Whitehall’s slo-mo head tilts growing funnier with each repetition.

IT’S SPARE BuT DREAMLIKE, A PLACE WHERE THE NORMAL RuLES OF THE uNIvERSE NO LONGER APPLy. The scant storyline means the stakes must come from the performances, which is exactly what happens here. The three actors, all founding members of the company, bring palpable urgency to the material—you can’t fake this sort of commitment. I’ve criticized Whitehall’s babyish voice before, but here she dips into a deeper register and accesses fuller emotional resonance. Coleman brings both manic flamboyance and vulnerability to his role, sometimes galloping about the stage and sometimes crumpling into a dejected heap. Miles, meanwhile, plays Paula with courage and sorrow. Though it’s not quite a love triangle among this trio, it is an intricate, intimate web of adoration and need. By the end of the night, we feel tangled up in it, too. see it: Enter the Night is at Shaking the Tree Warehouse, 823 SE Grant St., 971-258-2049, petensemble.org. 7:30 pm Thursdays-Sundays through Feb. 7, and 7:30 pm Wednesday, Feb. 4. $15-$50. Willamette Week JANUARY 28, 2015 wweek.com

JAN. 28–FEB. 3

NT Live: Treasure Island

A family-friendly adaptation of Robert Louis Stevenson’s classic tale of pirates and adventure, broadcast in high-def from London’s West End. Best for kids ages 10 and up. World Trade Center Theater, 121 SW Salmon St. 2 and 7 pm Sunday, Feb. 1 and 2 and 7 pm Saturday, March 14. $15-$20.

One Off! Completely Improvised One Act Plays

Infinite Improv presents an afternoon of ad-libbed one-acts. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 2 pm Saturday, Jan. 31. $10.

PLAY

A free noontime reading of a new play by D.C. Copeland, an hourlong absurdist show about writing a play, discovering characters and witnessing the result. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. Noon Wednesday, Jan. 28. Free.

Short & Sweet: Short Plays by P-Town Playwrights

Staged readings of short plays by four playwrights—Susan Faust, Miriam Feder, Rich Rubin and Heather Thiel— with subject matter ranging from puppet therapy to breakfast rituals to finding love. Hipbone Studio, 1847 E Burnside St., 358-0898. 7 pm Saturday, Jan. 31. $10.

The Snowmaker

A free noontime reading of Aleks Merilo’s new play about a teenage girl who’s reunited with her estranged father in a cabin in Montana. He, of course, is packing a sawed-off shotgun. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. Noon Friday, Jan. 30. Free.

Threesome

In a stab at healing their troubled relationship, an Egyptian-American couple invites a stranger into the sheets for a threesome. The sexy times don’t go quite as planned, and things quickly move from amusing to downright tense. Portland Center Stage presents the world premiere of the play, written by the Seattle-based Yussef El Guindi. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays (excluding Feb. 8, 22 and 24 and March 3 and 8); 2 pm select SaturdaysSundays; noon select Thursdays. Through March 8. $20-$55.

The World Goes ‘Round

Broadway Rose presents a musical revue of songs by John Kander and Fred Ebb, who contributed to Cabaret and Chicago, and crafted the theme song to Martin Scorsese’s New York, New York. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm ThursdaysSaturdays and 2 pm SaturdaysSundays through March 1. $30-$42.

NEW REVIEWS Bruté

Billed as a “complete reimagining” of Julius Caesar, Bruté purportedly places the timeless tale of betrayal and greed in 1950s Little Italy. But Gorilla Bomb Productions’ reimagining is neither complete nor imaginative. The sole changes to Shakespeare’s script lie in wardrobe, a mercifully shortened storyline and Italian accents as selective as they are inconsistent. Writer and director Edward Lyons Jr. impresses as a swaggering Cassius, but his rendering of the script hampers his actors. A mafioso proclaiming, “For this time I will leave you, till then think of the world,” could have come straight from the mouth of an eloquent Godfather. But elsewhere, the verbal acrobatics emerge as cheesy, neckbearded fedora-tipping. A bewildering 10-minute war sequence complete with strobes and inexplicable zombie soldiers does nothing to lend Bruté a sense of purpose. What Lyons has promised is an ambitious and theoretically compelling conceit—Julius Corleone—but he’s instead delivered a haphazard rendering of the original with only suspenders and some Italian hand gestures to hold it up.

MITCH LILLIE. The Hostess, 538 SE Ash St., fertilegroundpdx.org. 7:30 pm Thursdays-Sundays through Feb. 1. $15.

Genuis

When Sean Bowie strolls onstage at the Headwaters, stark naked and carrying a clipboard, it sets an appropriate tone for his new solo show, Genuis. Though there’s no nudity in the rest of the performance—aside from a brief clip from the 1984 ski bum movie Hot Dog—Bowie does spend the next 70 minutes laying bare his soul. Told in a series of essay-style vignettes, Genuis is Bowie’s autobiographical offering of his experiences and thoughts on everything from his fear of ecstatic dance to his nostalgia for video rental stores. The Canadian transplant is no stranger to sharing his deeper personal struggles and failings: His previous work, Drunken Fucker, explored his years as an alcoholic and, in his words, a “big ‘ol self-indulgent A-hole.” Though here he keeps the tone light with self-deprecating humor—like the time he clogged the toilet at his Portlandia audition—Bowie also delves into the slow heartbreak of a crumbling relationship and the pure wonder at the birth of his first child. It’s an effective mix of standup-style entertainment and confessional. But for all the genuineness of sentiment, Bowie’s delivery often feels too well-rehearsed. That extemporaneous quality is what makes storytelling such a captivating medium, and it’s lacking in Genuis. But you can’t deny that Bowie certainly has some good stories to tell. PENELOPE BASS. The Headwaters, 55 NE Farragut St., No. 9, fertilegroundpdx.org. 7:30 pm Thursdays-Saturdays through Jan. 31. Donation.

Woman on the Scarlet Beast

Woman on the Scarlet Beast, a darkly sarcastic new play by Portlander Caroline Miller, follows the lives and secrets of three generations of women. There’s the sweet but victimizing grandmother, Dulce (Jane Fellows). Her cynical daughter, Ruby (Adrienne Flagg), is a wheelchair-bound former prostitute struggling with her faith in others. And then there’s Ruby’s daughter, Jenny (Olivia Weiss), a headstrong teen recently rejected from a nunnery. According to the program, the family dynamic—which cycles from anger to blame to regret—was inspired by Miller’s real-life neighbors in the 1960s, and the dysfunction in this Post5 production is about as bleak as in a Noah Baumbach film. Scenes are heavy on explosive shouting, biting accusations and uncomfortably tense silences. This, admittedly, makes it a bit rough to sit through. Still, it’s not without its compelling moments. Flagg brings a wonderful, bitter sarcasm to the damaged Ruby, who can’t trust her family enough to have an honest (and incredibly important) moment with them. Even when she turns away from the audience, her intonation says just as much as her facial expressions would. KAITIE TODD. Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 7 pm most Thursdays-Fridays and 5 pm most Saturdays-Sundays through Feb. 8. $15.

ALSO PLAYING Alice’s 1-Woman Wonderland: The Original Adventure

Anne Rutherford puts on a familyfriendly solo performance of Alice’s Adventures in Wonderland. Multnomah Arts Center, 7688 SW Capitol Highway, 823-2787. 2 pm Saturdays-Sundays through Feb. 1. $12-$15.

Always Without Warning

As part of Fertile Ground, Spring 4th Productions presents an unscripted show that co-writers/directors Tobin Gollihar and Ian Paul Sieren assert is not improv, but rather something “living, growing” and “unexpected.” Y Arts Center, 6036 SE Foster Rd., fertilegroundpdx.org. 7:30 pm ThursdaysSaturdays through Jan. 31. $10-$15.

BOX: A Live Science Fiction Trilogy

Pulp Stage presents a three-part sci-fi serial written by Tina Connolly and Matt Haynes. The story, set in the future, follows a high-school student who’s arrested and sent to a deten-

Willamette Week JANUARY 28, 2015 wweek.com

tion center, where the government tries to prove her guilt by putting her into a virtual-reality program. Hipbone Studio, 1847 E Burnside St., 358-0898. 7:30 pm Mondays through Feb. 9 and 7:30 pm Sunday, Feb. 8. $10.

How To Stop Dying

Noah Dunham’s new play has dark themes—ghost hunting, death, the great beyond—but a comedic slant. In advance of its full production in May, Action/Adventure puts on an inprogress showing for Fertile Ground. Action/Adventure Theatre, 1050 SE Clinton St. 2 pm Sunday, Feb. 1. $8.

ID[ea]

Third Rail mentees put on an evening of original short plays about creating and changing our identity. Echo Theater, 1515 SE 37th Ave., 231-1232. 8 and 10 pm Fridays and 8 pm Saturdays through Jan. 31. $10.

La Fenêtre (The Window) and Perpetual Wednesday

The Defenestrators Clown Troupe presents a double bill of original plays, the first about a butler struggling to communicate with his mistress, and the other about a magician and sidekick who’ve become immortal. Friendly House Community Center, 1737 NW 26th Ave, 484-5482. 10:30 pm Fridays, 8 pm Saturdays and 9 pm Sundays through Feb. 1. $10-$12.

“Mom?” A Comedy of Mourners

New ensemble Box of Clowns presents a slapstick-filled show about three siblings wrestling with memories of their mother. Friendly House Community Center, 1737 NW 26th Ave, 484-5482. 9:30 pm Fridays; 7 pm Saturdays and 8 pm Sundays through Feb. 1. $10-$12.

NT Live: John

In November, London’s DV8 Physical Theatre premiered this work, based on dozens of interviews with men about love and sex. Some of the dance-theater piece deals with the goings-on at a gay sauna, but the narrative heart is with a man called John, whose traumatic story involves abuse, addiction and crime. Reviews quibbled with the show’s structure but generally deemed it startling, unsettling and unforgettable. It’s presented here as a high-def screening. World Trade Center Theater, 121 SW Salmon St., 235-1101. 2 and 7 pm Saturday, Jan. 31. $15-$20. 18+.

HELMSWORTH. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Feb 15. $30-$32.

The Sexual Neuroses of Our Parents

Though its title might suggest something adorably uncomfortable, Lukas Bärfuss’ The Sexual Neuroses of Our Parents is downright anxiety-inducing. For years, Dora (Shawna Nordman) has taken medications for an unspecified condition, and they’ve kept her heavily sedated. But when her mother decides she no longer needs the drugs, Dora’s libido suddenly goes into overdrive. This would all be well and good—hooray sexual liberation!—if it weren’t so clear Dora was pretty mentally unwell. Is this because she was overly medicated? Does this affect her ability to give consent? These are legitimate questions, and this Theatre Vertigo production treats them with the sensitivity they deserve. But also with a bunch of weird blocking. When actors come onstage, they make a motion that looks like someone sleepily taking their head off their desk. Nordman and Nathan Dunkin spiral around each other in an impressionistic dance sequence. On top of the harrowing plot, loaded dialogue, and Nordman’s compelling performance, these affectations feel unnecessary. It’s already fucked-up enough. JAMES HELMSWORTH. Shoebox Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Feb. 14. $20; Thursdays “pay what you will.”

Sidekicks: Season 2

Action/Adventure presents a second season of its semi-scripted serial comedy about those who play second fiddle to the big-shot superheroes. Action/Adventure Theatre, 1050 SE Clinton St. 8 pm Thursdays-Sundays through Feb. 8. $12-$16.

Skippyjon Jones

Oregon Children’s Theatre stages a musical about a Siamese cat who realizes his alter ego is a sword-fighting Chihuahua named Skippito Friskito. Newmark Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays and 2 pm Sundays through Feb. 15. $15-$30.

The Snow Queen: A Folk Opera

In this new folk opera written by Laura Dunn, Hans Christian Andersen’s The Snow Queen gets transplanted to contemporary Detroit. The Steep and Thorny Way to Heaven, 1464 SE 2nd Ave. 9 pm Friday-Saturday, Jan. 30-31; 2 pm Sunday, Feb. 1. $15.

The Snowstorm

An original work by local composer Eric Nordin and director-choreographer Jessica Wallenfels, The Snowstorm takes Sergei Rachmaninoff compositions and pairs them with abstract choreography—sweeping arm movements, rigid shoulder shrugs. Set in Russia in 1910, it follows a grieving father, Dmitri (Chris Harder), his imaginative son Pavel (Elisha Henig), and a woman named Anna (Jamie Rea) who’s painfully haunted by her past. Often, the play slips into imagination or memory, with nonlinear moments revealing how these three are connected. Though not without fault, the show finds a wonderful harmony between story, sound and movement. KAITIE TODD. CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Feb. 7. $15-$25.

Vanya and Sonia and Masha and Spike

Christopher Durang has likened his latest play, Vanya and Sonia and Masha and Spike, to Chekhov put through a comic blender. It’s a comparison that puts me in mind of those Will It Blend? videos, in which iPhones, garden hoses

REVIEW R U SS E L J YO U N G P H OTO G R A P H Y

PERFORMANCE

One Weekend in October

A staged reading of a new play by Rich Rubin, following the confirmation hearings of Supreme Court Justice Clarence Thomas and Anita Hill’s testimony against him. Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 7 pm Wednesday, Jan. 28. $10.

Please Validate Your Identity

Aiyana Cunningham directs a devised show about identity and self-discovery in the digital age. Multnomah Arts Center , 7688 SW Capitol Highway, 823-2787. 7:30 pm Jan. 28, 30 and 31; 5 pm Feb. 1. $10-$20 sliding scale.

Roots, Reality & Rhyme

An in-progress presentation of a new multimedia project, written by Turiya Autry, about the experience of being a poor black woman in the United States. Conduit Dance, 918 SW Yamhill St., Ste. 401, 221-5857. 2 pm SaturdaysSundays through Feb. 1. $10.

The Seven Wonders of Ballyknock

The Seven Wonders of Ballyknock aren’t too impressive. “The eighth is my arse!” says Mag (Marilyn Stacey), proprietor of the Cap ’n’ Bells pub. But her lumbering, amiable son Jonty (Heath Koerschgen) is obsessed with them. So when Cordelia (Louise Chambers), a New York blue blood with a mysterious connection to Ballyknock, shows up, Jonty jumps at the chance to play tour guide. As you might expect from a play about Ireland by an American—in this case, Oregonian C.S. Whitcomb—there are a lot of jokes about drinking and a lot of grating pronunciations of “tea.” But there’s also another Irish tradition: quick wit, and director Stephanie Mulligan helps the cast find a careful balance between jaunty humor and the play’s darker elements. JAMES

BEND AND REND: A work in progress by Portlander Cassandra Boice, Gender Tree begins by posing a few questions. Do people still identify with traditional gender roles? How do you define the word “gender”? But rather than becoming didactic, this Post5 production— part of the annual Fertile Ground festival of new works— unfolds into a thoughtful and amusing look at how gender issues affect our everyday life. In a series of short vignettes, we meet a variety of characters: an optimistic male feminist debating a cynical women’s studies major, a couple deciding who will stay home with the baby, a polyamorous woman forced to explain herself on a tense date. The two performers, Rebecca Ridenour and Phillip Berns, maintain wicked comic timing as they scream, squawk and support each other through some of life’s trickier matters of gender and acceptance. Beginning with a prehistoric act of reproduction and ending with today’s workout-focused culture, the pacing loses some momentum in the second half, with the actors falling into a tedious “a-ha!” pattern. But it’s also hard to be bored when Ridenour, playing a monkey, dances up on an audience member while making falsetto club beats, or when Berns tries and fails to stuff two socks down his pants, all in an effort to one-up an issue of Men’s Health. KAITIE TODD. SEE IT: Gender Tree is at Post5 Theatre, 1666 SE Lambert St., 971258-8584. 9 pm Thursdays-Fridays and 8:30 pm Saturdays-Sundays through Feb. 14. $15, Sundays “pay what you can.”

PERFORMANCE

COURTESY OF AUTOMAL

JAN. 28–FEB. 3

SILLY PUTTY STYLE: Automal performs as part of Groovin’ Greenhouse at Polaris Contemporary Dance Center on Jan. 29 and 31. and rotisserie chickens get tossed into a Blendtec and pureed. The problem is that Durang doesn’t have a $300 machine—he’s working with a decades-old Osterizer, and the result is a slight, self-congratulatory comedy. Durang’s 2012 play, presented at Portland Center Stage, introduces us to three middle-aged siblings whose names bear the burden of their deceased parents’ Russophilia. Vanya (Andrew Sellon) and Sonia (Sharonlee McLean) lead a melancholy, resentful life in Bucks County, Pa. When movie-star sister Masha (Carol Halstead) shows up with her newest boy toy (Nick Ballard), Vanya and Sonia’s rabidly dull existence is briefly interrupted. But beneath the Snow White outfits, rants about postage stamps and reverse stripteases, it’s all defiantly, frustratingly safe. REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays; 2 pm select Saturdays and Sundays; noon select Thursdays. Through Feb. 8. $20-$69.

What Is Erotic?

Eleanor O’Brien of Dance Naked Productions has a knack for making theater about sex that’s buoyant, candid and refreshingly devoid of preachiness. She workshops a cabaret-style show of original performances that all attempt to answer the same question: What is erotic? Expect standup, spoken word, storytelling, dancing, singing and probably some puppets. The Headwaters, 55 NE Farragut St., No. 9. 7:30 pm Wednesday, Jan. 28. $15.

COMEDY & VARIETY The $5 Bill

Record-store bar Turn! Turn! Turn! hosts standup from Iris Gorman, Nariko Ott, Hutch Harris and Whitney Streed. Turn! Turn! Turn!, 8 NE Killingsworth St., 284-6019. 8 pm Wednesday, Jan. 28. $5.

David Saffert’s 40th Birthday—The Liberace Edition

David Saﬀert presents his ﬁfth annual (and evidently his last) birthday variety show, this time costumed as Liberace. Guests include dancers from TriptheDark, drummer Jason Miranda and Jillian Snow Harris playing Liza Minnelli, Judy Garland, Bernadette Peters and Eartha Kitt. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 4779477. 7:30 pm Fridays-Saturdays through Jan. 31. $12-$15.

Fit to Print

An improv comedy show with sketches based on newspaper headlines. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 4779477. 9:30 pm Friday, Jan. 30. $5.

Garbage People

Brodie Kelly hosts the second installment of a storytelling show that features comedians spinning tales about people being, well, garbage. Tonight’s raconteurs are Bri Pruett, Hutch Harris, Sean Connery and Tim Ledwith. The Waypost, 3120 N Williams Ave., 367-

3182. 8 pm Thursday, Jan. 29. $5.

Here’s the Thing...

All-lady improv ensemble Girls! Girls! Girls! puts on a performance combining oﬀ-the-cuﬀ comedy with personal stories. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays through Feb. 7. $9-$12.

Impulse

Teenage performers from Oregon Children’s Theatre’s Young Professionals program craft improvised scenes based on audience suggestions. Oregon Children’s Theatre Young Professionals Studio Theatre, 1939 NE Sandy Blvd., 228-9571. 7 pm Fridays-Saturdays through Feb. 7. $10-$12.

Lez Standup

Funny lesbians, and occasionally some non-lesbians, take the stage for standup with a feminist bent. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm Thursday, Jan. 29. $8-$10.

LightBox Ensemble

LightBox Ensemble presents a night of long-form improv called Death to False Idioms. Lightbox Kulturhaus, 2027 NE Martin Luther King Jr Blvd. 7:30 pm Saturday, Jan. 31. $7.

Loose Mics Start Fights

Comedy becomes a cage match at this show hosted by Eric Cash. Each comedian gets 15 minutes to do their standup thing, with the other contestants seated onstage with microphones of their own, free to heckle and holler as they wish. Up tonight are Kristine Levine, Adam Pasi, Dan Weber and Kyle Harbert. Dante’s, 350 W Burnside St., 2266630. 9 pm Sunday, Feb. 1. $5. 21+.

Mostly True: A Storytelling Spectacle

Don Frost, Lonnie Bruhn, JoAnn Schinderle, Jacob Christopher, Dan Weber and Todd Armstrong spin tales that may or may not be based in fact. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, Jan. 28. $5-$13. 21+.

DANCE CoLevity

CoLevity—formerly known as Eclectic and run out of the Cami Curtis Performing Arts Center— debuts That’s How We Roll. An hourlong bout of musical theater that includes tap, jazz, contemporary and hip-hop inﬂuences, the show revolves around the Guttenburg family, an eccentric mix of characters who happily get along—at least some of the time. Featuring dances choreographed by Polaris alum Stephen Diaz as well as current Polaris dancer Blake Seidel, Curtis calls the show a blend of Big Love and Portlandia. Acts include a hip-hop number set to Weird Al’s “White and Nerdy,” as well as a tap dance to Wild Cub’s “Thunder Clatter.” Polaris Contemporary Dance Center, 1501 SW Taylor St., 380-5472. 1 and 5 pm SaturdaySunday, Jan. 31-Feb. 1. $15.

Ecdysiast Pole Dance Company

Aerial performers and pole dancers show oﬀ some of their best moves for this instructor showcase, which Ecdysiast co-founder Shannon Gee says will be a little more relaxed than the semi-annual shows at the Alberta Rose. The music spans from 1950’s doo-wop to current Top-40 hits, with the company’s seven instructors performing solos, duets and trios. One piece involves roller skates, and you can expect others to incorporate inﬂuences from tap, ballet, trapeze and jazz. Ecdysiast, 326 SE Madison St., 231-2542. 6:30 and 9 pm Friday, Jan. 30. $10-$15.

Groovin’ Greenhouse: Automal and Polaris Dance Theatre

At each year’s Fertile Ground festival, Polaris Dance Theatre brings local up-and-coming dance companies to its annual showcase, Groovin’ Greenhouse. Here, Polaris has teamed with experimental dance company Automal. Formed in 2011 by choreographer Kate Rafter, Automal premieres Graft, centered around human substance and elasticity. Think cells, skin, love and life cycles...and some Silly Putty, too. The show is set entirely to covers and remixes of Björk’s album Volta. Later, Polaris performs new work by artistic director Robert Guitron. Polaris Contemporary Dance Center, 1501 SW Taylor St., 380-5472. 7:30 pm Thursday and Saturday, Jan. 29 and 31. $15-$18.

Groovin’ Greenhouse: NW Fusion, Art in Progress Choreographer’s Collective & Polaris Dance Theatre

This installment of Polaris Dance Theatre’s Groovin’ Greenhouse series features a wide swath of work. Preprofessional company NW Fusion premieres work set to a variety of musical genres, including doo-wop, disco, pop and opera. Art In Progress, a newly formed choreographers’ collective, makes its Portland debut with This is How We Werk, which aims to give audiences a peek into the rehearsal process. Finally, Polaris performs new work by artistic director Robert Guitron. Polaris Contemporary Dance Center, 1501 SW Taylor St., 380-5472. 7:30 pm Friday, Jan. 30. $15-$18.

Shake-N-Bake: A Foodie Burlesque Show

If you thought whipped cream and chocolate sauce were naughty, this show, produced by Zora Phoenix, might do you one better. A tribute to the foodies out there, Shake-NBake adopts the structure of a fourcourse meal, complete with hors d’oeuvres and dessert-themed acts. There will be bits inspired by pizza, beef, tacos, doughnuts and, yes, pie. Crush, 1400 SE Morrison St., 2358150. 9 pm Friday, Jan. 30 . $12$15. 21+.

For more Performance listings, visit Willamette Week JANUARY 28, 2015 wweek.com

VISUAL ARTS

JAN. 28–FEB. 3

= WW Pick. Highly recommended. By RICHARD SPEER. 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: rspeer@wweek.com.

equally allusive, with its succession of oysters opening up to reveal crystals and geodes inside. Finally, Susan Harlan’s kiln-formed glass panels are diminutive masterpieces of exquisitely nuanced textures and wave forms in blue, beige, black and orange. Dark Ecologies is a strong, haunting show. Through March 28. Bullseye Projects, 300 NW 13th Ave., 227-0222.

Dark Paradise

Ecologically themed art tends to be dull and sanctimonious, but not so in the hands of Wesley Younie. His idylls of environmental paradise lost abound with equal parts whimsy and intelligence. In the paintings Timeshare and All Inclusive, he updates Audubonstyle bird illustrations with images of garish resort hotels and cruise ships—a droll commentary on civilization’s relentless encroachment upon the natural world. Natural History I and II counterpose a decorative illustration of a bird, cherry tree, and waterfall with a decidedly un-decorative assortment of mosquitoes, poisonous mushrooms and a bat hanging upside down. Wild West, a fantasia on Manifest Destiny, fills the picture plane with buffalo, deer, a California condor, tepees and a stream snaking through an idealized landscape. As if this portrait of the American West were not hyperbolic enough, Younie adds a rainbow, mountains made of crystal, and abstracted clouds and foliage in shimmering gold leaf. The paintings draw our attention to the ways in which we love to deify nature, then promptly desecrate it. Through March 15. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., 3rd floor, Pioneer Place Mall, 998-4152.

Hap Tivey: Surface of Light

CasCade by Carolyn HoPkins, Part of dark eCologies

Constructs

Constructs is curator Rachel Adams’ inspired solution to the quandary of how to fill Disjecta’s massive exhibition space. This clean, elegant show is a kind of “etude on the wall,” a series of strategies for filling the space without actually plopping anything down in the middle of it. Three artists pull the trick off with élan. Nathan Green’s earth-toned mural recalls the abstract patterns of the late minimalist Sol LeWitt, and Pablo Rasgado’s strips of vertical wall coverings are excavated from buildings he’s seen around the world. Most impressively of all, Laura Vandenburg’s cut-paper sculptures have obsessive detail that complement their gigantic scale. The show’s coup de grâce is Adams’ ballsy decision to

leave a large section of the north wall empty. The negative space lends an off-kilter dynamism that perfectly sets off the three artists’ works. Through March 1. Disjecta, 8371 N Interstate Ave., 286-9449.

Dark Ecologies

The first thing you see when you walk into Bullseye’s three-artist show, Dark Ecologies, is Carolyn Hopkins’ beautiful and disturbing sculpture, Cascade. It depicts a strung-up dog with stylized entrails spilling out of its belly and looping over a tree limb. Glass beads link the dog to an eviscerated bird underneath it, which appears to leak blood into a red pool on the floor. This violent, virtuosic piece is left wide open to each viewer’s interpretation. Emily Nachison’s Diver is

Willamette Week JANUARY 28, 2015 wweek.com

The LED lights in Hap Tivey’s sculptures seem to reach out beyond their aluminum contours to claim the wall behind them. They seep into your own personal space, too, until you begin to feel all woo-woo, like you’re becoming one with the light. The colors are delectable—soft greens, pinks, yellows and blues. Most of the pieces are triangular in configuration, such as Bella Donna and Corner Flavor, while the rectangular sculpture RGB Goldbogen basically looks like a Barnett Newman painting that somebody plugged into the wall socket. The metal armatures in which the lights are embedded are not smooth, as one might expect; they’re nubby and distressed, making for a powerful contrast between the lights’ cool modernism and the surfaces’ organicism. Through Jan. 31. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Jay Humphreys

Jay Humphreys’ quirky mixed-media piece is the strongest PDX Window Project has had in a long time. Called Untitled #2 (Mandala Series), it’s made out of acrylic, string, glass and wood, and has a big electric cord hanging out of it. With the suave geometry of its concentric circles contrasting with cheesy wood paneling, it looks like a vintage 1970s TV cabinet that got time-warped into a 1950s tiki bar. The

piece is an agreeable mashup of kitsch and geometric rigor. Through Jan. 31. PDX Window Project, 925 NW Flanders St., 222-0063.

Long Tone

Frequent collaborators Ellen George and Jerry Mayer have done it again. These two can be counted on to take the simplest of materials and transubstantiate them into gorgeous sculptural installations. In their latest, room-filling exhibition, Long Tone, tall planks of wood stretch, gently bent, from floor to ceiling, bracketing one another like parentheses. Five sets of these brackets define the space, with varying numbers of planks on either side of a central opening, creating differing visual rhythms. The shapes and the apertures in their middle are allusive; to walk through them is like emerging from a stylized birth canal. Unlike in previous collaborations, Mayer and George didn’t include dramatic lighting or a sound element this time. It’s just about the wood, which kicks the minimalist impact of the piece into an even more austere plane. Through Feb. 1. Nine Gallery, 122 NW 8th Ave., 227-7114.

Passage

There’s a new gallery in Northeast Portland called Verum Ultimum (Latin for “ultimate truth”). It’s a humble space open only on weekends (12-5 pm Saturdays and Sundays or by appointment), but this kind of decidedly nonslick exhibition space is the sort of small gallery that makes Portland so delightfully, well, non-San Francisco. The January exhibition, entitled Passage, is a juried show with work by 30 artists. The opening reception is from 6 to 8 pm on Saturday, Jan. 10. So hey, come out and support a new gallery that’s the freshest blip on the city’s cultural radar. Through Jan. 31. Verum Ultimum Art Gallery, 3014 NE Ainsworth St., 493-4278.

The New Eve

After a three-year run and a total of 30 exhibitions (the majority of which were superb), Nisus Gallery will close on Feb. 15. Its final show is Christal Angelique’s The New Eve, a moody meditation on nature-worship. In 35-millimeter photographs and images projected on the gallery walls, Angelique stages self-portraits in which she climbs ladders, poses exultantly on a tree stump and lies back soulfully on a log spanning a creek. These pagan-flavored pictures combine soft focus and dappled sunlight searing through forest clearings. It’s a rhapsody on a woo-woo witchy woman who’s in touch with her primal side, and while we’ve seen this subject before, Angelique makes us care about it again through a combination of selfassured technique and sheer sincerity. This makes for a strong close for Nisus, which will be missed on the local gallery scene. Through Feb. 15. Nisus Gallery, 8371 N Interstate Ave., Suite 1, 806-1427.

The Spaces Between

This thoughtful group show is curated by painter Elise Wagner. Among the

highlights are Lorraine Glessner’s Pink Tornado, with its big ovals of wax and paint. It looks like a curio cabinet that got dunked in a vat of wax. Lisa Pressman’s The Plan also incorporates wax. Bisected into two panels of equal size, it alternates graphite scrawls with edible-looking passages of aqua, sunflower and seafoam green. Linda Ethier’s “pate de verre” glass sculptures incorporate thin glass wafers shaped like leaves. Ethier also includes sundry elements such as bones, feathers and twigs. Brenda Mallory is known for her sculpted wax cloth pieces, which are often hooked together by hog rings, as in the piece Porous Borders. But she’s been making works on paper lately, which is an invigorating departure, especially in the complex and elegant piece titled Rifts #2. Through Jan. 31. Butters Gallery, 520 NW Davis St., 2nd floor, 248-9378.

Victoria Haven: Subtitles

Victoria Haven’s arid conceptual show has some moments that make you scratch your head thoughtfully, but not much of anything to entertain your eyes. In about a hundred works on paper, Haven counterposes two words atop or beside one another. These words were randomly lifted from Haven’s text conversations, then arbitrarily linked by a computer program. It’s mildly interesting to imagine stories that would connect the words: “opposable/friend,” “dog/pathos,” “monologue/over,” and my personal favorite, “vanquish/blueberries.” But the idea loses steam pretty quickly, and it’s hard to imagine that anyone would linger in such an exhibition, much less want to buy any of these pieces. There are also anomalies in the printing that leave white tracers on the black ink. Visually, these imperfections read as sloppy printing. The show as a whole is overhung and undercooked. After the conceit wears thin, you’re left looking at rows upon rows of black and white paper, wondering why you’re supposed to give a shit. Through Jan. 31. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Window: A Dialogue

A bracing blast of color is always good for combatting the drabness of January. And there’s plenty of saturation to be found in Blackfish’s group show this month. Lynda Ater’s painting, Orange Frames, weaves together acidic color fields of orange and chartreuse. Michael Knutson’s cumbersomely titled Four-Layered Rotational Symmetry III, with its ovals overlapping like a Venn diagram, is a riot of purple, orange and fuchsia. Finally, Rory ONeal’s untitled acrylic painting on paper is a bright flash of orange, red and white, the planes pushing and pulling in what amounts to a spirited ripoff of the late Abstract Expressionist Hans Hofmann. Through Jan. 31. Blackfish Gallery, 420 NW 9th Ave., 234-2634.

For more Visual Arts listings, visit

BOOKS

JAN. 28–FEB. 3

= WW Pick. Highly recommended.

REVIEW

By PENELOPE BASS. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: words@wweek.com. Fax: 243-1115.

WEDNESDAY, JAN. 28 OMSI After Dark

Sure, there are a lot of cool scientific reasons why we crave sugar and how it affects our brains and bodies. But this OMSI After Dark presentation on the sweet science of sugar is really just a reason to eat a bunch of candy and light gummy bears on fire. Good enough. OMSI, 1945 SE Water Ave., 797-4000. 6-10 pm. $13. 21+.

THURSDAY, JAN. 29 Michael Shermer

As the founding publisher of Skeptic magazine and a columnist for Scientiﬁc American, author Michael Shermer argues that it is secular and scientiﬁc reasoning that lead to true justice. As in his eight previous books about the history and evolution of human belief, such as Why People Believe Weird Things, Shermer asserts in his new book that true morality will be born of science. He will read from The Moral Arc: How Science and Reason Lead Humanity Toward Truth, Justice, and Freedom and discuss the topic. Portland State University, Smith Memorial Student Union, 1825 SW Broadway. 7 pm. Free.

MONDAY, FEB. 2 Oregon History 101

Continuing to explore the events that shaped the state, Oregon History 101 will host professor of history and gender studies Kimberly Jensen to speak about the challenges faced by women in the state 100 years ago. Her lecture, Social Movements, Citizenship, and Civil Liberties: Oregon Women and Progressive Era Reform and Reaction, will highlight pioneers in public health, labor and educational reforms. McMenamins Kennedy School, 5736 NE 33rd Ave., 249-3983. 6 pm. Free.

TUESDAY, FEB. 3 David Gilkey

NPR photojournalist and video editor David Gilkey was the ﬁrst journalist to cross into Iraq while embedded with the Army. He’s also covered conﬂicts in Somalia and Rwanda. His lecture, Travelogue of a Crisis Correspondent, will explore his work. Mercy Corps Action Center, 28 SW 1st Ave., 8965002. 7 pm. $5-$10.

For more Books listings, visit

REVIEW

NICK JAINA, GET IT WHILE YOU CAN Nick Jaina is not famous. Far from it, really. But the question of what it means to be an artist—and how much pain you’re willing to endure to pursue your art in the quest for something greater, career be damned—is at the center of Get It While You Can (Perfect Day Publishing, 208 pages, $10), his wonderful, timely debut memoir. Suﬀering, and reﬂecting, The Portland musician, a staple of in silence. the fertile folk-rock scene here, has long been known as one of the most literate songwriters in town (full disclosure: He wrote a semi-regular column for this newspaper for a year, which I occasionally edited), but Get It While You Can is so much more than a slight book by a guy who loses his guitar. Part memoir, part music criticism, part cathartic exorcism, it’s a meditation on suffering and the things we put ourselves through in the name of discovering the best version of ourselves. For Jaina, that means attending a 10-day meditation retreat in rural Washington. Stuck inside his own head, he’s left grappling with failed relationships, lost jobs, iconic musicians and, in one of my favorite sections, trying to recite the entire track list of the Beatles’ “White Album” from memory. Though the book is broken up into small, bite-sized morsels— including a series of unsent love letters—a silent retreat ultimately frames the story. Along the way, we visit hallowed locations, including New Orleans (and the idealized New Orleans he imagined before moving there) and Folsom State Prison, where Jaina and his band spend a few days playing songs to prisoners as his hero Johnny Cash did. When Jaina writes about Nina Simone at the 1976 Montreux Jazz Festival, frolicking around the stage in a sleek black dress and maybe or maybe not addled by the kiss of cocaine, you can’t help but queue up YouTube and see what all the commotion is about. Jaina’s writing is rich and vivid, swimming in detail and moments when he says that thing you’ve been trying to articulate but couldn’t find the words for. His prose is never showy but still achingly beautiful, full of spot-on metaphors and heartbroken laments. It’s also the prose of experience, from the hand of a man who has traveled the country with just a beat-up guitar and a few songs about girls you’ve probably seen at New Seasons Market. In “Battleground,” one of the finer tracks from his 2008 album, A Narrow Way, Jaina wonders: “Does the life of a poet/ Does it have to be sad?” Well, not sad, necessarily, but always questioning. Jaina is many things—a wandering musician, a truth-seeker, a lover and a skeptic. Get It While You Can positions him as something more concrete: one of the brightest young writers in this city. MICHAEL MANNHEIMER. GO: Nick Jaina celebrates the release of Get It While You Can with a night of words at the IPRC, 1001 SE Division St., on Wednesday, Jan. 28. 7 pm. Free. All ages. He will perform a night of songs at LaurelThirst Pub, 2958 NE Glisan St., on Thursday, Jan. 29. 9:30 pm. $5. 21+.

PATTON OSWALT, SILVER SCREEN FIEND There’s a bit in Patton Oswalt’s 2007 standup record, Werewolves and Lollipops, where he says his “geekiness is getting in the way of his nerdiness.” To casual fans who came Oswalt’s way via King of Queens or Ratatouille, it’s circular logic. But for those of us who consider Oswalt the grand arbiter of esoteric dweeb humor, there’s a thirst to understand how he could conjure The old fantasy about an idea so relatable to the human shovel-murdering condition of nerddom. Within his new George Lucas. memoir, Silver Screen Fiend (Scribner, 222 pages, $25), we’re given to believe the answer lies in the miles of warm celluloid he ingested early in his career. A great deal of Oswalt’s coming-of-age story has already been told in 2011’s Zombie Spaceship Wasteland. Rather than firebrands from the outermost fringes of weirdo society (GG Allin, H.P. Lovecraft), we’re given a backdrop of classic film and a tireless obsession to devour as much of it as possible. Oswalt coins the term “sprocket fiend” as his name for “the subterranean dimension of my addiction.” Oswalt crams his head with classics and crap alike, mostly compelled by a completist obsession to cross each film off a self-compiled master list found in five encyclopedic reference tomes of film history. While Wasteland feels like a direct line to the part of Oswalt’s brain that makes him so undeniably funny, the dark nature of his obsession in Fiend creates moments when you wonder how many alternate personalities Oswalt has hiding behind the acerbic mega-nerd. This book is not very funny. It is, however, important to understanding how he became a punch-up specialist for films as transcendent as Shrek. Fiend’s greatest revelation comes in showcasing Oswalt’s misguided ambition of becoming a director through osmosis. Simply by showing up and filling his head with every style of film he could see, quality be damned, he would one day wake up a director the likes of Coppola or Kubrick. “Devouring movies, checking off, and convincing myself that my improving fortunes onstage came from expanding this alternate movie world inside my head.” Oswalt’s revelation comes with the much-maligned Star Wars: The Phantom Menace. “Here I am, angry at George Lucas for producing something that doesn’t live up to my exacting, demanding, ultimately nonparticipating standards, and failing to see that four hours of pontificating and connecting and correcting his work could be spent creating two or three pages of my own.” The bit about Oswalt’s geekiness getting in the way of his nerdiness ends up being about how he would use a time machine to go back and kill George Lucas with a shovel to prevent him from ever making The Phantom Menace. Bitterness aside, the lesson learned from both of his memoirs still holds up. PETE COTTELL. GO: Patton Oswalt appears at Powell’s City of Books, 1005 W Burnside St., 228-4651, on Thursday, Jan. 29. 6 pm. Free.

“Now and then we had a hope that if we lived and were good, God would allow us to be pirates” ~Mark Twain

A coming of age surf adventure Available now at Powell’s Books and Online at Amazon.com Pier Rats: A Novel on FB

MUSIC PG. 49 Willamette Week JANUARY 28, 2015 wweek.com

jan. 28–feb. 3 REVIEW

= WW Pick. Highly recommended.

A N N A M AT V E E VA

MOVIES

Editor: REBECCA JACOBSON. 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: rjacobson@wweek.com. Fax: 243-1115.

OPENING THIS WEEK Back the Way We Came

[ONE NIGHT ONLY, DIRECTOR ATTENDING] Portland director Sean Strauss screens his new documentary about local post-punk band the Prids. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Jan. 29.

Black or White

Kevin Costner plays an alcoholic lawyer who suddenly gets custody of his biracial granddaughter, and then winds up battling the child’s paternal grandmother (Octavia Spencer) to keep it. Grantland’s Wesley Morris called it “tiresome” and “preposterous,” deeming it Tyler Perry’s Crash. Not screened for Portland critics. PG13. Cedar Hills, Eastport, Clackamas, Mill Plain, Evergreen Parkway, Hilltop, Lloyd Center, Movies on TV, Tigard.

Black Sea

B- Jude Law and his merry band of misfits search for sunken Soviet gold in Black Sea, a recession drama in the guise of a submarine thriller. Refreshingly bare-bones, Kevin Macdonald’s film is red meat for the 99 percent—and a much-needed reminder that midwinter at the multiplex isn’t always a dumpster fire. Nearly all the danger is internal, though the crushing vacuum that is the bottom of the sea is on everyone’s mind. The halfEnglish, half-Russian crew goes on a semi-legal quest to recover decadesold treasure, and tensions rise when it’s revealed every one of them will get an equal share. One agitator doesn’t think the Russkies deserve it, and he’s hardly the only conniving hothead aboard the rusty, barely seaworthy vessel. Gallows humor and lighthearted cynicism abound. Law anchors Black Sea as the tough-but-fair captain trying to prevent the inmates from running the asylum, though he goes a bit stir-crazy himself as the prospect of millions of dollars clouds his judgment. Macdonald is a fine captain himself, particularly when it comes to the more visceral thrills. But he could have stood to cut the screed against the fat cats who line their pockets with dollars earned by the workingman. R. MICHAEL NORDINE. Vancouver, Clackamas, Cedar Hills, Bridgeport, Fox Tower.

The Loft

Five married men decide to go in on a penthouse loft so they’ll have have somewhere to engage in all their sordid, secret love affairs. What could go wrong? A dead body, you say? Yikes. Not screened for Portland critics. R. Cedar Hills, Eastport, Clackamas, Cornelius, Evergreen Parkway, Lloyd Center, Movies on TV.

Nikola’s Nickelodeon

[ONE NIGHT ONLY, DIRECTORS ATTENDING] Portlanders Philip Van Scotter and Abbey Pleviak screen two silent comedy shorts, inspired by the inventions of Nikola Tesla and Thomas Edison and shot on 16 mm. Lightbox Kulturhaus, 2027 NE Martin Luther King Jr. Blvd., 750-3811, lightboxkulturhaus.com. 8 pm Friday, Jan. 30. $15.

The Old Man and the Seaweed: The Life of Dr. Ryan Drum

[ONE DAY ONLY, DIRECTOR ATTENDING] Filmmaker David Kaufman screens his new documentary about Ryan Drum, a botanist who left academia behind to live off the grid in a remote cabin. Clinton Street Theater. 2 pm Saturday, Jan. 31.

Oscar-Nominated Shorts

Project Almanac

Teenagers build a time machine. Things don’t go as planned. Not screened for Portland critics. PG-13. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Cinema 99, Evergreen Parkway, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard.

Still Alice

A- Julianne Moore started her screen

career in the world of soap operas, starring in As the World Turns for much of the early 1980s. Still Alice, which charts a linguistics professor’s descent into early-onset Alzheimer’s disease, is hardly a return to that universe. But Richard Glatzer and Wash Westmoreland’s film does have an element of carefully balanced melodrama, thanks to a tightly written script and Moore’s transformative performance. Moore’s Alice begins the film as a put-together Columbia professor who beats herself up for forgetting a single word in a lecture. As Alice’s memory worsens, Moore loosens her performance in a gradual, almost imperceptible manner. The film is somewhat hampered by an overly dramatic score and a few lackluster performances, though Kristen Stewart’s work as Alice’s free-spirited daughter is a refreshing turn for the usually stoic actress. But when you hold up such faults against Moore’s masterful work, they all fall away; she doesn’t so much elevate the film as she is the film. If you’re looking for an antidote to the middling, testosterone-heavy nominees this awards season, Still Alice is it. PG-13. BLAIR STENVICK. Fox Tower.

WHaLE OF a TaLE: Life and death above the arctic Circle.

RUSSIAN SOUL ANDREY ZVYAGINTSEV’S EPIC LEVIATHAN HAS A HEAVY HEART AND LIGHT HAND. bY mitch lillie

mlillie@wweek.com

Song One

Two Brooklyn folk musicians—one played by Anne Hathaway, the other by a real-life guitarist who starred in a British sitcom called Scrotal Recall—fall in love. Good for them. PG-13. Living Room Theaters.

Two Days, One Night

A- The premise of Two Days, One

Night seems almost too small: To keep her job, a woman at a solarpanel factory in Belgium must persuade her co-workers to give up their annual 1,000-euro bonuses. But with Jean-Pierre and Luc Dardenne at the helm, mundane circumstances make for an exquisite tale of suspense and urgency. The Dardenne brothers are, of course, Belgium’s masters of social realism, but here they’re working with something new: a glamorous megastar, in the form of Marion Cotillard. The Oscar-winning actress plays Sandra Bya, a mother of two young children who’s just emerged from the hospital after a bout of depression. She learns her boss has given her co-workers a decision as crass as it is cruel: Take Sandra back on, or receive their annual bonus. For these 16 employees, who teeter between just getting by and sliding into poverty, 1,000 euros is no insignificant sum. So over the course of a single weekend (hence the film’s title), the Xanax-popping Sandra must visit each of her colleagues and plead with them to vote for her. The otherwise powerless suddenly wield immense power. Competition has supplanted solidarity. Cotillard, who’s up for another Oscar with this movie, is a little too gorgeous to disappear completely into the role. But she’s still one of the most precise, emotionally engaging actresses working today, and her performance here is as piercing as a needle to the heart. PG-13. REBECCA JACOBSON. Fox Tower.

STILL SHOWING American Sniper

D Chris Kyle (Bradley Cooper) lies with his gun on a rooftop in Iraq. In his sights is a boy holding a grenade,

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In 2004, Marvin Heemeyer drove an armorplated bulldozer through 13 buildings, including a newspaper office and the town hall, in his small Colorado town. Heemeyer, a welder, had snapped after a zoning dispute and botched land sale. That rough tale—of one man’s doomed fight against an insurmountable bureaucracy—eventually made it to the storyboard of Russian director Andrey Zvyagintsev. The resulting film, a 2½-hour epic called Leviathan, doesn’t have any militarized construction equipment, but it’s a genre-defying take on guilt and fate that rewards both the eye and heart. Much praised after premiering at Cannes, it’s now up for Best Foreign Language Film at the Oscars. Leviathan centers on Kolya (Aleksey Serebryakov), a hapless but tenacious handyman in the Murmansk Oblast, in the far northwest of Russia. Kolya lives with his son, Roma, from a previous marriage, and a young and depressed wife named Lilya (a quietly compelling Elena Lyadova). When the government wants to bulldoze their home for development, Kolya calls on old friend Dmitri (Vladimir Vdovichenkov) to appeal the case and eventually blackmail the corrupt mayor (Roman Madyanov, whose arrogance and blubbering way of talking are hopefully less repulsive in real life). Both sides blame avarice, but when the mayor shows up at Kolya’s home, slurring insults— “you’ve never had any rights and you never will,” he says—we’re primed to take Kolya’s side. Yes, there’s a portrait of Putin above the mayor’s desk. And yes, every adult character drinks copious amounts of vodka. But this isn’t heavyhanded commentary. Zvyagintsev—far more Oliver Stone than Michael Moore anyway—is no demagogue seeking to incite revolt. The film does pander to the West, but not with stereotypes of shirtless men or beautiful blondes. The dialogue

is as (mis)calculated as any drunken dinner-table chat, while quieter scenes swell with wonderful detail. A man in a puffy camo jacket driving a mufflerless jeep through the countryside has filled his car with stickers: three Orthodox saint stickers on the dashboard, and three nude women lower on the glove box. Such slices of life are like good Russian meat jelly: surprising, chilling and a little too real. Though bitter in tone at times, Leviathan exists on such a grand scale—it juggles elements of thriller, drama and beautiful nature doc—that its political jeering and cautious pacing get a free pass. Most politically conscious films out of Russia have tried to reinforce the regime or throw darts at it. Leviathan does neither. Nor does it stand preening in front of a mirror, admiring its modernization of the story of Job. Instead, Leviathan evaluates people, and finds them imperfect: Characters suffer rage, beatings, injustice, alcoholism, infidelity and eventually suicide. Places don’t escape judgment, either. The rolling seaside hills tease the characters with their infinite horizons, only to be neatly bound in by Soviet-era power lines. The sky and the sea alike are cerulean blue but filtered through a merciless black. With such surroundings, it’s heartrending but never overbearing to watch fate take its course.

SuCH SLICES OF LIFE ARE LIKE GOOD RuSSIAN MEAT JELLY: SuRPRISING, CHILLING AND A LITTLE TOO REAL. And even if Zvyagintsev and co-writer Oleg Negin get a little heavy-handed with the dialogue, there’s also a welcome urgency and precision to the characters’ speeches. “Each of us are guilty of our own faults,” Dmitri says, exhausted from the repeated failure of his appeal. “Everyone is guilty of everything. But who’s going to prove anything? And to whom?” By the end, nothing is resolved. No miracles befall Kolya. The leviathan—be it bureaucracy, society or just a fatalism that would make even Dostoyevsky blush—carries on, dark and divisive but unfettered. A SEE IT: Leviathan is rated R. It opens Friday at Fox Tower.

JAN. 28–FEB. 3

Birdman

Hemsworth types so hard and so passionately that, half the time, he’s too distracted to finish buttoning his shirt, the neon glow of his computer screen glistening against his chiseled chest. Sequences of aggressive typing and pensive Websearching have been the bane of cyber thrillers since their inception. So what happens when you put a cyber thriller in the hands of Michael Mann, one of the most kinetic filmmakers of his generation? Well, all that Googling and 10-key mayhem gets treated like a gunfight. And it’s…well, it’s pretty stupid, actually. Why is Hemsworth typing? An anonymous cyber terrorist has

B- If Birdman’s message is that the

theater, speciﬁcally Broadway, is the home of high art and Hollywood a place of debased, greed-driven entertainment, Alejandro González Iñárritu doesn’t make a convincing—or even amusingly satirical— argument. R. REBECCA JACOBSON. Clackamas, Forest, Hollywood Theatre, Movies on TV.

Blackhat

C- Never mind Thor’s ability to ﬂy and channel lightning. In Blackhat, Chris Hemsworth puts his previous role as the God of Thunder to shame by portraying a dude who can type, like, 250 words per minute. As Nicholas Hathaway,

CONT. on page 68

REVIEW AT S U S H I N I S H I J I M A

approaching American troops. It’s up to him: kill a child or see his friends slaughtered. Before he decides, director Clint Eastwood cuts away to Kyle as a child, hunting with his father. The real-life Chris Kyle killed more than 250 people as an “overwatch” sniper—he sat on roofs and shot people who posed threats to U.S. troops. In February 2013, at a gun range in his home state of Texas, a Marine with PTSD—whom Kyle was trying to help rehabilitate—shot and killed him. American Sniper provides a chance to explore the man behind these facts, starting with Kyle’s childhood, moving to the anger and patriotism that drove him from being a reckless rodeo rider to a Navy SEAL, and exploring the struggles of being a married man serving abroad. But Eastwood is uninterested in nuance, and the result is an irresponsible movie that steamrolls its themes: Military training is hard. Americans are righteous. Iraqis are bad. Kyle is very good at shooting. As with the opening scene, the movie resolves every complication as soon as it’s raised. Kyle pulls the trigger every time. R. JAMES HELMSWORTH. Bagdad, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Hilltop, Lloyd Center, Movies on TV, St. Johns Cinemas.

MOVIES

The Babadook

A- Dressed in a ﬂowing trench

coat and tattered black hat, the apparition in the superb Aussie creeper The Babadook immediately lodges itself in your nightmares. First glimpsed in an Edward Gorey-esque pop-up book, the titular monster is like an unholy combination of a vaudevillian clown and Jack the Ripper. But what sets director Jennifer Kent’s debut ﬁlm apart from standard creature features—and elevates it into the realm of horror art—is that even if this ghostly menace never appeared, The Babadook would still be a gorgeous, heartbreaking exercise in dread. The spare, haunting and often tragic horror drama centers on Amelia (Essie Davis), a nerve-jangled nurse still reeling from the death of her husband, who was killed while driving her to the hospital when she was in labor. Seven years later, Amelia and her son, Samuel (Noah Wiseman), lead a lonely and sleepless existence. Kent allows much of her ﬁlm to play out in the shadows, creating a sense of claustrophobic paranoia and lunacy. AP KRYZA. Academy Theater, Living Room Theaters.

Big Eyes

B- For Margaret Keane, “eyes are the window to the soul.” At least, that’s the drivel the artist (a blondwigged Amy Adams) has to deliver in Tim Burton’s Big Eyes, a biopic that winds up wanting for both vision and soul. It’s got the makings of a rich story: In the late ’50s and early ’60s, Keane churned out hundreds of paintings of sad, saucereyed waifs. Art critics lambasted the work as sentimental kitsch, but the public adored it. And Margaret got none of the credit. Her husband, Walter (Christoph Waltz) presented himself as the artist. It wasn’t until years later, when Margaret sued Walter for slander, that the truth emerged. As he did in Ed Wood 20 years ago, Burton has fashioned a portrait of an earnest artist producing work of dubious value. But unlike in that ﬁlm, the director won’t let himself sink into strangeness. PG-13. REBECCA JACOBSON. Living Room Theaters, Kiggins Theatre.

Big Hero 6

A Shelving wordy cleverness for its

own sake, ignoring parental intrusion, and allowing moral lessons to develop organically through a simpliﬁed storyline, Big Hero 6 is that rarest thing: an animated children’s adventure designed purely to delight its target audience. PG. JAY HORTON. Academy Theater, Clackamas, Empirical Theatre at OMSI, Laurelhurst Theater, Mission, Mt. Hood, Movies on TV.

THEY PAVED PARADISE: Jessica Chastain and Oscar Isaac.

A MOST VIOLENT YEAR Calling A Most Violent Year a period piece is like calling a ruby a rock. Yes, the film takes place in 1981 New York, one of the most crime-ridden years in the city’s history. And yes, director J.C. Chandor takes pains to make it all feel accurate, from the cars to the extra-wide lapels on characters’ expensive suits. But what makes the film so entrancing is that it actually feels like the kind of picture you’d see back in the late ’70s and early ’80s, when directors like Sidney Lumet, William Friedkin and John Frankenheimer combed Gotham’s grimy streets. From the long takes and fluid camera movements to the color palette—icy blue nights, washed-out industrial zones and the yellow glow of dark restaurants full of sinister men—the film could easily be mistaken for a vintage production. The story’s brooding, heavy heart is an ambitious Colombian immigrant named Abel—played by rising star Oscar Isaac with the looks and ferocity of a young Al Pacino—who seeks to expand his sketchy heating-oil business despite near-constant hijackings of his trucks. So he puts down a deposit on a shipping yard, confident he’ll secure a loan from his bank. If he doesn’t, he loses millions. But when a crusading DA (David Oyelowo, of Selma and Interstellar) starts investigating crooked bookkeeping, Abel’s bank tucks tail. Increasingly desperate, Abel seeks loans from the very competitors who may be robbing his trucks, all the while dealing with frightened drivers who’ve taken to arming themselves with unregistered guns. Abel’s mob-daughter wife (Jessica Chastain, in a role that would’ve gone to Gena Rowlands back in the day) turns the screws as the crisis escalates. One minute, she’s trembling in fear of a latenight trespass. The next, she’s packing heat and acting as aggressor. She goes from stroking Abel’s ego to calling him a pussy, coiling him around her well-manicured finger with a mix of malice and purring manipulation. A Most Violent Year is gorgeously shot and expertly acted. Still, it won’t appeal to all tastes. This is a slow, methodical character study whose title belies a relatively bloodless story. But for those looking for cinema’s most promising directorial chameleon since Steven Soderbergh, Chandor is one to watch. He made white-knuckle experiences out of investment banking in Margin Call and watching Robert Redford alone on a boat in All Is Lost. Here, he does the same with the world of heating oil. That skill works in any era. AP KRYZA. Down and out in New York City.

B SEE IT: A Most Violent Year is rated R. It opens Friday at Fox Tower, Cedar Hills, Clackamas.

Willamette Week JANUARY 28, 2015 wweek.com

jan. 28–feb. 3

struck a nuclear reactor in China and a futures exchange in the U.S. When a joint task force—led by Barrett (Viola Davis) and Chen (Leehom Wang)— can’t track down the culprit, Chen remembers his brilliant college roommate, Hathaway. The only trouble is that Hathaway has been in prison for 15 years. An agreement is reached, and soon the U.N. of sexy nerds is traveling the globe, with Hemsworth bedding Chen’s sister and growling unintelligible dialogue that sounds like Sylvester Stallone reading Hacking for Dummies. R. AP KRYZA. Clackamas.

tlers to compete in the upcoming world championships in Seoul. What unfolded over the next decade was so bizarre that a grayscale mood piece of the sort crafted by director Bennett Miller is the only way it would translate to the screen. It is an unpleasant two hours, spent with two impenetrable, broken characters. But it is also too intense, and too profoundly strange, not to recommend trudging through it at least once. R. MATTHEW SINGER. Cedar Hills.

The Boxtrolls

B+ Gone Girl might be David Fincher’s battiest work. The director has taken a lurid suspense yarn—the wildly popular novel by Gillian Flynn—and emerged with a film that deftly straddles the line between brilliant and stupid. It’s a media satire and a meditation on a volatile marriage that masquerades as the kind of plop you’d find Ashley Judd starring in back in the ’90s. It’s mesmerizing. R. AP KRYZA. Laurelhurst Theater, Valley.

C+ As in Laika’s previous two efforts— the fantastical Coraline and playfully supernatural ParaNorman—The Boxtrolls boasts a scrupulously crafted world. But its overstuffed screenplay lacks humor, and it could use a great deal more fun. PG. REBECCA JACOBSON. Laurelhurst Theater, Valley.

Boyhood

A Boyhood took 12 years, in film as

in life. For 12 years, director Richard Linklater shot the movie for a few weeks each summer as both the main character, a boy named Mason, and the actor, Ellar Coltrane, came of age, from 6 to 18. The epic undertaking has resulted in one of the most honest and absorbing representations of growing up ever put to film: all the tedium, all the wonder. R. MATTHEW KORFHAGE. Laurelhurst Theater.

The Boy Next Door

D The Boy Next Door wastes no time. In its first few minutes, it halfassedly skims over the strained marriage of high-school teacher Claire Peterson (Jennifer Lopez). In the next few minutes, Claire is seduced by her 19-year-old neighbor, Noah Sandborn (Ryan Guzman), who’s evidently come straight from the J. Crew spring catalog. This hunk promptly transforms into a violent, superhuman stalker in the vein of Cape Fear’s Max Cady. By that point, we’re a mere 20 minutes into the film, an unintentionally funny thriller that displays all the patience you’d expect from director Rob Cohen, the man behind xXx and The Fast and the Furious. Exhibiting behavior equal parts Oedipal, violent and psychotic—with an added Madonna-whore complex—Sandborn is everywhere. He’s hacking into Claire’s computer. He’s tampering with the brakes on her husband’s car. The film treats Guzman as a master manipulator, but the suggestibility of other characters strains credulity. Some of the groan-worthy double entendres—“I love your mom’s cookies,” for one—suggest the film realizes its own ridiculousness. (And that’s not to mention the “first edition” of The Iliad that Sandborn gives Claire.) But with such dull acting, The Boy Next Door doesn’t fully embrace camp to become an awesomely bad movie. Instead, it’s just a bad movie. R. JOHN LOCANTHI. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Hilltop, Lloyd Center, Movies on TV.

Citizenfour

B History happens in real time in

Citizenfour, a behind-closed-doors account of Edward Snowden’s decision to reveal the dizzying extent of U.S. government surveillance programs. Much of Laura Poitras’ documentary consists of long interviews with Snowden in the Hong Kong hotel room where he was holed up in June 2013, divulging everything he knew to Guardian reporter Glenn Greenwald. The result is a portrait of the whistle-blower as neither hero nor traitor. Citizenfour’s ground-level vibe and Poitras’ necessary cloak-and-dagger tactics make the documentary like a ’70s paranoia thriller with real-world consequences. R. MICHAEL NORDINE. Living Room Theaters.

Foxcatcher

B Foxcatcher is a brutal grind of a

movie, which fits the subject matter. In 1987, John du Pont contacted Mark Schultz, who’d won an Olympic gold medal three years earlier, and offered him room, board and a hefty paycheck to assemble a team of wres-

Gone Girl

The Hobbit: The Battle of the Five Armies

B+ Prior to The Battle of the Five Armies, it would have been fair to say the Hobbit movies at their best were inferior to the Lord of the Rings films at their worst. This may not have been much of an issue for anyone whose fictional universe of choice is Middleearth, but even apologists had to admit the first two installments were often sluggish, if enjoyable. There’s finally a genuine sense of breathless urgency to the concluding chapter, which pits man against dwarf against elf against orc in an elegantly crafted, altogether glorious skirmish for supremacy over the Lonely Mountain. Peter Jackson links this trilogy back to LOTR in seamless fashion, reminding us why this is such an immersive cinematic world. PG-13. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Empirical Theater at OMSI, Movies on TV.

The Homesman

B+ Gone Girl has inspired much

debate over its particular brand of feminism and the twists and turns of its narrative, but the more low-key Homesman outshines that pulpy thriller in both aspects. It proves there’s still more to explore within the well-trod Western genre, and what it finds is as strange as it is dolorous. R. MICHAEL NORDINE. Academy Theater.

The Imitation Game

B As geniuses often are, British math-

ematician Alan Turing was an odd duck. And, as Oscar-season biopics often are, The Imitation Game is a resolutely traditional film. But the story packs natural dramatic wallop, and Norwegian director Morten Tyldum tells it with the brisk pacing of a thriller. During World War II, Germany put military transmissions through a complex encoding machine called Enigma. To break it, the British government gathered the country’s best cryptological minds at a country estate near London. It’s here that most of the film unfolds, with the 27-yearold Turing (Benedict Cumberbatch) talking himself onto the team by coolly bragging about his crossword skills—and then exasperating everyone with his egotism and social awkwardness. Cumberbatch, the screen’s preeminent player of brilliant weirdos, is detached but pained—it’s a wonderful performance. We also get scenes set after the war, when Turing was interrogated for homosexuality, an illegal activity at the time. Tyldum, though, presents Turing as a gay martyr but never as a gay man, an elision more frustrating than the film’s many historical tweaks. And yet there’s something to be said for a drama as sturdy and watchable as The Imitation Game. With a story this compelling and a cast this good, it’s difficult not to play along. PG-13. REBECCA JACOBSON. Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, Cornelius, Moreland, Oak Grove, Lloyd Center, Movies on TV, Roseway, St. Johns Theater.

Inherent Vice

A In Inherent Vice, Paul Thomas

Anderson’s rollicking adaptation of

Willamette Week JANUARY 28, 2015 wweek.com

Thomas Pynchon’s 2009 novel, the beaches of ’70s Los Angeles are populated with human flotsam. Hippies, Nazis, bikers, junkies, whores, Manson acolytes, dentists, cops, criminals and all manner of freaks commingle in the grimy tide pools. It’s a magnificent film. It’s also not for all tastes, but hey, that’s Anderson—he’s always defied genre. Here, though, Anderson is working in one of the most timeworn genres of all: the detective story. Only with Inherent Vice, said private detective is less Sam Spade than Wavy Gravy, a pot-addled former doper named Doc Sportello (Joaquin Phoenix) whose ex, Shasta (Katherine Waterston), disappears before tipping him off about a plot to overthrow a powerful construction magnate. That takes Doc on a journey through the stony underworld of the 1970s. All the while, he’s feverishly dogged by police detective Christian “Bigfoot” Bjornsen (Josh Brolin) a flat-topped wannabe actor who takes great pleasure in stomping over hippies. The key to enjoying Inherent Vice is to roll with the punches. This is a director riding high on a wave he himself created by cannonballing into the deep end. Let’s hope it never crests. R. AP KRYZA. Cinema 21, Lloyd Center, St. Johns Cinemas.

Mortdecai

Johnny Depp plays an art dealer on the hunt for a stolen painting that might lead to Nazi gold. Yes, he does wear a dramatic mustache, and yes, Gwyneth Paltrow does play his blond bombshell wife. Not screened for Portland critics. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Hilltop, Movies on TV.

Night at the Museum: Secret of the Tomb

Ben Stiller spends more time sprinting through a museum. PG. Movies on TV.

Nightcrawler

B+ With eyes bulging from his gaunt

skull like a Chihuahua trapped in an industrial vise, Jake Gyllenhaal is an

unnervingly strange sight to behold when he walks onto the screen in Nightcrawler. And that’s before his character, Lou Bloom, even opens his mouth. Once Lou starts chattering—and boy, does Lou chatter—what emerges is one of the slimiest, most disarming sociopaths to hit theaters in some time. R. AP KRYZA. Academy Theater, Laurelhurst Theater.

Paddington

The cuddly, floppy hat-wearing bear gets his own live-action feature. PG. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Hilltop, Movies on TV.

Penguins of Madagascar

The besuited birds are back, trying to prevent an evil octopus from taking

REVIEW SIMON MEIN

MOVIES

Interstellar

C+ Christopher Nolan is Hollywood’s most masterful huckster: a blockbuster auteur who uses incredible sleight of hand to elevate into art what other directors would leave as garbage. He is the king of making you think his films are smarter than they actually are. So it makes perfect sense that Nolan takes us to another galaxy with Interstellar. In space, nobody can hear you scream, “Wait, that doesn’t make sense...but holy shit, did you see that?!” PG-13. AP KRYZA. Empirical Theater at OMSI, Movies on TV.

The Interview

A Some people take a strong dislike

to Katy Perry. There are a variety of stupid reasons for this, and it’s mostly pointless to argue with anyone who believes such a perspective indicates you’re a wizened iconoclast rejecting useless pink fluff. There’s some symmetry between Perry and The Interview, the new movie from Pineapple Expressionists Seth Rogen and James Franco. A lot of symmetry, actually. Enough that I don’t think it’s a stretch to call director Evan Goldberg’s use of “Firework” in the movie’s memorable death scene a masterstroke of meta-narrative. As you’ve heard by now, The Interview follows Franco’s douchebaggy talk-show host and Rogen’s Columbia-educated producer into North Korea, where they’ve been assigned to assassinate newish dictator Kim Jong-un. After all the studiohacking and release-pulling, it’s not easy to unfreight the film of the controversy. So is The Interview funny? I laughed, hard. To be sure, the jokes are better if you read international news. Are Rogen and Franco likable? Not as likable as Kim (Randall Park), who becomes the most brutal real-life dictator ever developed into a relatable character before being melted into wax. Like so much of Ms. Perry’s work, The Interview’s best moments are about the universal thirst for validation. The moral, too, is plain: Ignite the light, and let it shine, or else evil wins. R. MARTIN CIZMAR. Kennedy School.

Into the Woods

B+ Stephen Sondheim’s much-loved

musical has finally made it to the big screen, living somewhere between the stage original, with its shattered happy endings and higher death count, and the more sanitized, shortened version that’s long been making the rounds in school productions. Though timid—it waters down forest sex to an agonized make-out scene in the pines—Disney’s long-shelved adaptation is still a beautiful compromise. And hell, the mash-up of cautionary fairy tales is fun. And it’s Sondheim! Meaning that, for the most part, this production is scored by show tunes more erratic than earworm. PG. SAUNDRA SORENSON. Cedar Hills, Eastport, Clackamas, Forest, Oak Grove, Hilltop, Movies on TV.

hEy girl: i’m just painting a Victorian boat.

MR. TURNER Known as “the painter of light,” J.M.W. Turner created some of the world’s most awe-inspiring artwork. His landscapes are by turns frightful and beautiful, and the same goes for Mr. Turner, Mike Leigh’s exceptional biopic about the painter. It’s a warts-and-all view of a frequently unpleasant man, as mired in the muck and disease of 19thcentury England as in the arresting scenery that inspired Turner’s art. Leigh charts the last quarter-century of Turner’s life, as he moved from producing fairly straightforward (and warmly received) work to more outré paintings. Plot is less of a concern than the sense of time passing as people move in and out Turner’s world, and critical reception vacillates. The film is also marvelous to look at. Cinematographer Dick Pope captures the world as Turner might have seen it: In one scene, what appears to be a painting is actually a landscape flooded with overwhelming colors. As Turner, Timothy Spall delivers a master class in grunts and groans—if the painter really was so loath to convey his feelings verbally, it’s no wonder he took to the easel in the first place. There’s little Turner wouldn’t give to his art, including his own saliva. But spittle isn’t the only violent force here. Nearly everyone is afflicted with some illness or another, and those who aren’t suffer from survivor’s guilt while mourning lost loved ones. Turner is an object of affection for his psoriasis-afflicted housekeeper (Dorothy Atkinson), whose face grows increasingly scarred as it becomes increasingly clear she’s of little value to a man who uses her only for sex. Turner—who eventually develops a nasty cough of his own—is more interested in Sophia Booth (Marion Bailey), a twice-widowed innkeeper. Bailey gives a performance of remarkable sensitivity and grace. She’s a center of warmth in a film that leaves many of its characters out in the cold. Along with Big Eyes and Birdman, this is another recent film in which art critics are elitist bores with no real mind for what they’re critiquing. The hoi polloi don’t get off any easier: “Mr. Turner seems to have taken leave of form altogether,” a shocked museumgoer says at the sight of one of his later, more experimental works. But rather than looking down his nose at these philistines, Leigh is more interested in how this criticism affected Turner. He becomes an object of derision near the end of his career, a punch line for vulgar stage acts. He’s not unbothered by these parodies, but he’s steadfast in approaching his art in increasingly avantgarde ways. And Mr. Turner works so well because Leigh makes every attempt to rise to Turner’s level. MICHAEL NORDINE. brilliant scenery, with extra spittle.

B+

SEE it: Mr. Turner is rated R. It opens Friday at Cinema 21.

JAN. 28–FEB. 3 over the world. Sorry, WW was too hung over to make the Saturdaymorning screening. PG. Academy Theater, Empirical Theater at OMSI, Kennedy School, Mt. Hood, Valley.

Selma

A- Movies about humanity’s failures

tend to flatter their audiences. Look at yesterday’s folly, they say, and be proud of our relatively democratic present. Too rare are movies that shine a retrospective light strong enough to throw long, cold shadows into the now. Such is Selma, Ava DuVernay’s drama about three 1965 civil rights marches in Alabama. It’s not perfect, but it arrives at a historic moment that will leave only the most blinkered viewer feeling chuffed about the superiority of the present to the past. Selma is not only a vital missive, though. It is also expertly crafted entertainment. The film begins with a quiet moment of domestic dilly-dallying between Martin Luther King Jr. (David Oyelowo) and Coretta Scott King (Carmen Ejogo). While DuVernay returns to such pensive stretches, her film is mostly intent on examining the nature of collective action. When the canvas expands, Selma truly sings. Violence here is never aestheticized for its own sake, but brought to life so that we might understand its escalation and impact. The film is transfixing, but not easy to watch. And it should not be easy to watch. PG-13. CHRIS STAMM. Cedar Hills, Eastport, Clackamas, Forest, Hollywood Theatre, Lloyd Center, Living Room Theaters.

She’s Beautiful When She’s Angry

St. Vincent

B- Freshman director Theodore Melfi is a very, very lucky man. Under most circumstances, his debut, St. Vincent, would be blasted for its contrived, overwrought plot. Does the world really need another story about a mean old bastard who finds redemption and purpose thanks to a kid? But luckily for Melfi, that crusty bastard is played by Bill Murray, who takes what could have been a geriatric riff on About a Boy and turns it into a showcase of his ever-evolving comedic prowess. PG13. AP KRYZA. Laurelhurst Theater.

Strange Magic

An animated ﬁlm inspired by A Midsummer Night’s Dream. Time to introduce your babies to the Bard. PG. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Hilltop, Movies on TV.

Taken 3

Somehow, there are still some ambiguously ethnic throats left in the world that Liam Neeson hasn’t chopped. He completes his hammer-punching campaign in this ﬁnal (praise be!) chapter in the Taken franchise. PG-13. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Hilltop, Movies on TV.

The Theory of Everything

B- A brief history of Stephen Hawking’s 30-year marriage to Jane Wilde, The Theory of Everything fits a tad too snugly into the biopic tradition. Anyone who’s seen Errol Morris’ expressionistic 1992 documentary on Hawking knows a conventional approach isn’t ideal for the ALS-afflicted genius—which isn’t to say James Marsh’s new film doesn’t succeed on its own more modest terms. Here, Hawking’s contributions to the fields of physics and cosmology take a backseat to the story of his and Wilde’s courtship, marriage and eventual divorce. But Eddie Redmayne and Felicity Jones do a superb job bringing Hawking and Wilde to life, like two shining stars revolving around the same tragic center of gravity. PG13. MICHAEL NORDINE. Cedar Hills, Clackamas, Movies on TV.

Top Five

A- Chris Rock took way too long to

play himself in a movie. Or perhaps it’s more accurate to say he took far too long to make a movie that sounds like he does. That’s the immediate thing to leap out about Top Five, the third ﬁlm the comic has written, directed and starred in but the ﬁrst to come across as a true Chris Rock joint: The dialogue

has the tone, pacing and detonation of his standup. For most of the ﬁlm, it’s a loose, engaging walk-and-talk, something like Before Sunrise meets Seinfeld, energized by interjections of hip-hop brashness. R. MATTHEW SINGER. Academy Theater, Laurelhurst Theater, Valley.

Unbroken

B Early directorial efforts from movie stars typically exploit every advantage of the Hollywood filmmaking apparatus, so it should come as no surprise that Angelina Jolie’s second feature, Unbroken, looks terrific. Some would argue that the harrowing story of former Olympian Louis Zamperini’s torturous ordeals—40-plus days lost at sea and the unending abuse of a Japanese prisoner-of-war camp— needn’t resemble a Tom Ford catalog. But Jolie still proves herself an engaged student of telling anatomical details: the ear damaged beyond repair, the athlete’s coltish calf muscles, and, especially, the piercing iris of a bombardier. Too long by half and perhaps fatally cluttered by forgettable characters and trivial sequences, Jolie nonetheless stirs up a darkly passionate, powerfully strange love story within an otherwise boilerplate docudrama. PG-13. JAY HORTON. Forest Theatre, Living Room Theaters.

Wild

A- On the Paciﬁc Crest Trail, hikers

speak of the “green tunnel” that greets you in Oregon. This tunnel— lush layers of moss and ferns and Douglas fir—rarely breaks for views and drenches those who enter. As Reese Witherspoon trudges north in Wild, the film adaptation of Portlander Cheryl Strayed’s bestselling memoir about hiking 1,100 miles from scorched California to soggy Oregon, it’s hard not to anticipate this green tunnel—and its accompanying downpours— like a kid counting down the days till summer vacation. Here’s some good news for Oregonians: Wild gets our state right. It’s also a rich and affecting piece of filmmaking, independent of any book. Wild recounts how in 1995, a 26-year-old Strayed undertook a solo trek on the Pacific Crest Trail. Her mother had died of cancer a few years earlier, her marriage had crumbled, and she was self-destructing with the help of heroin and promiscuous sex. Like the book, Jean-Marc Vallée’s film is punctuated by flashbacks. What keeps us engaged isn’t fear about whether Strayed will survive, but the alchemy of physical toil and emotional turmoil, and the way past traumas and current challenges illuminate one another. That’s not to say Wild is perfect. But the film—in large part thanks to Witherspoon’s nervy, funny and emotionally rich performance—transcends such flaws. And the Oregon rain, of course, helps to wash some of the others away. R. REBECCA JACOBSON. Cedar Hills, Eastport, Clackamas, Cinema 21, Edgefield, Movies on TV.

COURTESY OF SUNDANCE SELECTS

A- Think back to Beyoncé’s performance at the 2014 MTV Video Music Awards. Recall the moment she slid out on a conveyor belt, legs akimbo, the word “FEMINIST” glowing behind her. Remember how the crowd roared with approval. Now, travel back to 1969. That year, activist Marilyn Webb took the podium at an antiwar rally and began to speak about women defining their own issues. Men—antiNixon leftists—booed and catcalled her. “Take her off the stage and fuck her!” some yelled. “Fuck her down a dark alley!” Yes, it’s an imprecise comparison. But Beyoncé’s performance is still testament to the progress women have made over the past half-century—not just in terms of publicly proclaiming themselves feminists, of course, but also in terms of workplace equality, reproductive rights and combating sexual violence. This is one of many accomplishments of She’s Beautiful When She’s Angry, a wise and fiercely watchable documentary about second-wave feminism: It makes plain the immense debt we owe the activists of the late ’60s and early ’70s. With its blend of archival footage and new interviews, it’s a stirring, illuminating and sometimes upsetting portrait of a movement. Like the new civil rights drama, Selma, She’s Beautiful

is both a celebration and cautionary tale. And like Selma, She’s Beautiful gives credit where it’s due: to the radical thinkers and fearless organizers and on-the-ground activists who persisted against the odds. “You can’t convince me you can’t change the world,” says former NOW leader Mary Jean Collins. “I saw it happen.” REBECCA JACOBSON. Living Room Theaters.

MOVIES

TWO DAYS, ONE NIGHT Willamette Week JANUARY 28, 2015 wweek.com

AP FILM STUDIES

COURTESY OF ARGOS FILMS

MOVIES

AMOUR FOU: Finding love in Georges Franju’s La Première Nuit.

THE PASSION OF THE SPLICED CHURCH OF FILM WORSHIPS AT THE ALTAR OF OBSCURE CINEMA. BY A P KRYZA

Willamette Week JANUARY 28, 2015 wweek.com

apkryza@wweek.com

In 2013, Matthew Lucas and Leslie Napoles quietly started a film club for a few friends to gather, geek out over lesser-known cinema and sip a little wine. Soon, it became a church that worships cinematic idols so diverse and wide-reaching—a little Austrian surrealism here, some Yugoslavian horror there—it just might be Portland’s most sprawling and deep-cut film series. Now, Church of Film returns with a lineup of films by Georges Franju, a French director best known for 1960’s cultishly beloved body horror nightmare Eyes Without a Face. That film, however, will not be showing. Instead, Church of Film is presenting shorts, plus Franju’s rare 1962 existential drama Thérèse Desqueyroux. (The program begins at 8 pm Wednesday, Jan. 28, at the North Star Ballroom, 635 N Killingsworth Court.) That’s just how they roll. “I want people to know there are a lot of films outside the canon,” says Lucas, 31, who looks a bit like Wes Anderson and shares qualities with Rushmore’s Max Fischer, from his humble upbringing in Salem to his mastery of Latin. “Everybody knows 2001 or Seven Samurai, but have you ever seen a film from Turkmenistan?” Such questions have led to programs of surrealist Ukrainian cinema, screenings of the Orson Welles-starring gothic fantasy Malpertuis, and a Czech film so rare, Lucas had to create his own subtitles. Though it hosts the occasional screening at the Hollywood Theatre, Church of Film holds most events at North Portland’s North Star Ballroom (which Napoles manages). It’s a former Odd Fellows hall, built in the ’30s and still sporting crimson curtains and a chandelier. This can all make it seem intimidatingly niche or exclusive. But, as the program has grown, it’s drawn a very different crowd from the beret-clad bourgeoisie who might show up at a NW Film Center revival of a Jean Renoir film. “The median age is maybe 23—a very colorful group,” Lucas says. “Honestly, I’m a hipster, so I thought it would attract the other hipsters. It

sort of got to the club kids who are a little more interested in aesthetics. There are film kids and students. It’s always been open to the public. Now it’s just more public.” The response has allowed the programmers to get more ambitious, as when they booked Italian ambient musician Estasy to live-score a littleknown Japanese animated feature called Belladonna of Sadness. It’s also brought challenges: Legal threats from a distributor led to the cancellation of several screenings and forced Lucas and Napoles to dig even deeper into film history (and beyond the realm of copyright control). But word is spreading, and to the faithful, Lucas and Napoles are serving up funky KoolAid well worth drinking. “We’re entering an era where we have access to almost everything, so we don’t need a canon,” Lucas says. “Do you know what arthouse is like in Argentina in the ’70s? I want to revive that expansive notion of world cinema and arthouse cinema.” Amen. ALSO SHOWING: Weird Wednesday returns with 1975’s The Mysterious Monsters, a schlocky documentary exploring the existence of Bigfoot and the Loch Ness Monster. Joy Cinema. 9 pm Wednesday, Jan. 28. 21+. With Dogville, Lars von Trier proved he could make the sparsest film possible—on a stage with drawn-on furniture— and still punish women with maximum effect. 5th Avenue Cinema. 5:30 and 9 pm Friday-Saturday and 3 pm Sunday, Jan. 30-Feb. 1. NW Film Center presents 1980’s The King and the Mockingbird, a landmark of French animation featuring a shepherdess who lives in a painting, a chimney sweep and other things that sound exactly like what you’ll see at the Portland International Film Festival next week. NW Film Center’s Whitsell Auditorium. Jan. 30-Feb. 1. Long before Tarantino inserted Rick Ross into a Western, Butch Cassidy and the Sundance Kid used modern music courtesy of Burt Bacharach, and still managed to be a great movie. Academy Theater. Jan. 30-Feb. 5. Rumor has it, if you watch Groundhog Day on actual Groundhog Day (Feb. 2), Bill Murray will show up at your bar mitzvah. Laurelhurst Theater, Jan. 28-Feb. 5. Clinton Street Theater, 7 pm Monday, Feb. 2. B Movie Bingo rolls out TC 2000, a Billy Blanks action extravaganza that manages to rip off The Terminator, Universal Soldier, RoboCop and Wesley Snipes’ barber all at once. Hollywood Theatre. 7:30 pm Tuesday, Feb. 3.

MOVIES

COURTESY OF 20TH CENTURY FOX

JAN. 30–FEB. 5

Mortdecai (R) 2:00PM 7:30PM Paddington (PG) 11:15AM 1:45PM 4:20PM 7:00PM 9:35PM Project Almanac (PG-13) 11:25AM 2:10PM 4:55PM 7:40PM 10:25PM Wild (R) 10:55AM 1:45PM 4:35PM 7:25PM 10:15PM Into The Woods (PG) 10:45AM 4:40PM 10:30PM Loft, The (R) 11:50AM 2:30PM 5:10PM 7:50PM 10:30PM Taken 3 (PG-13) 11:30AM 2:20PM 5:05PM 8:00PM 10:45PM Theory Of Everything, The (PG-13) 1:40PM 7:35PM Wedding Ringer, The (R) 11:55AM 2:35PM 5:15PM 7:55PM 10:35PM Selma (PG-13) 10:45AM 1:40PM 4:40PM 7:40PM 10:40PM Spare Parts (PG-13) 11:05AM 4:45PM 10:10PM

Strange Magic (PG) 11:10AM 1:50PM 4:30PM 7:05PM Big Hero 6 (PG) 10:50AM 1:30PM 4:20PM 7:10PM 9:55PM Birdman (R) 10:55AM 1:50PM 4:45PM 7:35PM 10:35PM Imitation Game, The (PG-13) 10:50AM 1:35PM 4:25PM 7:15PM 10:05PM A Most Violent Year (R) 11:00AM 1:55PM 4:50PM 7:45PM 10:45PM American Sniper (R) 11:40AM 3:00PM 6:20PM 9:30PM Boy Next Door, The (R) 12:25PM 2:55PM 5:25PM 7:55PM 10:25PM Hobbit: The Battle Of The Five Armies 3D (PG-13) 3:40PM 7:00PM Hobbit: The Battle Of The Five Armies (PG-13) 12:20PM 10:20PM Black or White (PG-13) 11:00AM 1:55PM 4:50PM 7:45PM 10:45PM Black Sea (R) 10:45AM 1:35PM 4:30PM 7:20PM 10:10PM Blackhat (R) 9:45PM

Paddington (PG) 12:10PM 2:35PM 5:00PM 7:25PM 10:00PM Project Almanac (PG-13) 11:00AM 1:40PM 4:20PM 7:00PM 9:40PM Wild (R) 11:05AM 1:50PM 4:45PM 7:30PM 10:25PM Mortdecai (R) 10:45AM 4:40PM 10:35PM Selma (PG-13) 1:05PM 4:05PM 7:05PM 10:05PM Theory Of Everything, The (PG-13) 1:50PM 7:30PM Wedding Ringer, The (R) 12:00PM 2:35PM 5:10PM 7:45PM 10:20PM Strange Magic (PG) 11:30AM 2:00PM 4:30PM 7:00PM Taken 3 (PG-13) 11:00AM 4:50PM 10:30PM American Sniper (R) 11:15AM 12:50PM 2:25PM 4:00PM 5:35PM 7:10PM 8:45PM 10:15PM

Black or White (PG-13) 10:50AM 1:45PM 4:40PM 7:35PM 10:30PM Loft, The (R) 11:15AM 1:50PM 4:25PM 7:00PM 9:35PM A Most Violent Year (R) 10:50AM 1:45PM 4:40PM 7:35PM 10:30PM Boy Next Door, The (R) 12:05PM 2:30PM 5:10PM 7:40PM 10:10PM Imitation Game, The (PG-13) 11:15AM 2:00PM 4:45PM 7:30PM 10:20PM Into The Woods (PG) 10:50AM 1:45PM 4:40PM 7:35PM 10:30PM Foxcatcher (R) 9:30PM Hobbit: The Battle Of The Five Armies (PG-13) 1:25PM 7:20PM

Paddington (PG) 11:05AM 1:40PM 4:20PM 7:00PM 9:40PM Project Almanac (PG-13) 11:05AM 2:00PM 4:45PM 7:30PM 10:25PM Wild (R) 10:55AM 1:45PM 4:30PM 7:20PM 10:15PM Mortdecai (R) 11:05AM 4:50PM 10:20PM Taken 3 (PG-13) 1:50PM 7:40PM Wedding Ringer, The (R) 11:15AM 1:55PM 4:35PM 7:25PM 10:00PM Selma (PG-13) 12:30PM 3:45PM 6:55PM 10:05PM Strange Magic (PG) 11:30AM 2:15PM 5:00PM 7:45PM 10:15PM Into The Woods (PG) 10:50AM 1:45PM 4:40PM 7:35PM 10:30PM

An Ode to My Father (CJ Entertainment) (NR) 11:00AM 1:50PM 4:40PM 7:30PM 10:35PM Black or White (PG-13) 10:50AM 1:45PM 4:40PM 7:35PM 10:30PM Loft, The (R) 11:20AM 2:10PM 4:55PM 7:50PM 10:25PM American Sniper (R) 11:00AM 12:15PM 2:05PM 3:40PM 5:15PM 7:05PM 8:30PM 10:20PM Hobbit: The Battle Of The Five Armies (PG-13) 12:05PM 6:50PM 10:05PM Imitation Game, The (PG-13) 10:50AM 1:35PM 4:25PM 7:15PM 10:10PM Boy Next Door, The (R) 12:00PM 2:30PM 5:00PM 7:25PM 10:00PM Hobbit: The Battle Of The Five Armies 3D (PG-13) 3:25PM

American Sniper XD (R) 1:00PM 4:15PM 7:30PM 10:40PM

BOY, I GOT VISION: Butch Cassidy and the Sundance Kid plays Jan. 30-Feb. 5 at Academy Theater.

Century 16 Eastport Plaza

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St. GAME OF THRONES: THE IMAX EXPERIENCE (SEASON 4, EPISODES 9 AND 10) Fri-Sat-Sun-MonTue-Wed 12:50, 04:00, 07:10, 10:20 BLACK OR WHITE Fri-Sat-SunMon-Tue 12:40, 03:40, 06:40, 09:40 PROJECT ALMANAC Fri-Sat-SunMon-Tue 01:00, 03:50, 07:05, 10:10 THE LOFT Fri-Sat-Sun-Mon-Tue 12:20, 03:25, 06:55, 10:30 THE BOY NEXT DOOR Fri-Sat-SunMon-Tue 11:45, 02:25, 05:00, 07:30, 10:00 THE WEDDING RINGER FriSat-Sun-Mon-Tue 12:00, 02:50, 06:20, 09:30 AMERICAN SNIPER FriSat-Sun-Mon-Tue 11:30, 12:10, 03:10, 06:35, 07:20, 09:50 SELMA Fri-SatSun-Mon-Tue 11:50, 03:00, 06:25, 09:35 INHERENT VICE Fri-Sat-Sun-MonTue 03:20, 09:45 THE IMITATION GAME FriSat-Sun-Mon-Tue 12:30, 03:35, 06:50, 09:55 THE METROPOLITAN OPERA: LES CONTES D’HOFFMANN Sat 09:55 UFC 183: SILVA VS. DIAZ Sat 07:00 THE METROPOLITAN OPERA: LES CONTES D’HOFFMANN ENCORE Wed 06:30 N.E.D NO EVIDENCE OF DISEASE DOCUMENTARY & TRIBUTE Wed 07:30

Bagd ad Theater

3702 SE Hawthorne Blvd., 503-249-7474 AMERICAN SNIPER FriSat-Sun-Mon-Tue-Wed 12:00, 03:15, 07:00, 10:30

Cinema 21

616 NW 21st Ave., 503-223-4515 MR. TURNER Fri-Sat-SunMon-Tue-Wed 03:45, 07:00, 09:55 WILD Fri-Sat-Sun-Mon-TueWed 03:30, 06:15, 08:30 INHERENT VICE Fri-SatSun-Mon-Tue-Wed 03:30, 06:45, 09:35 THE ROOM Fri 10:45

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 NEXT GOAL WINS Sat 11:00 THE OLD MAN AND THE SEAWEED: THE LIFE OF DR. RYAN DRUM Sat 02:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 GROUNDHOG DAY Mon 07:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 GROUNDHOG DAY FriSat-Sun-Mon-Tue-Wed 09:45 FORCE MAJEURE Fri-Sat-Sun-Mon-TueWed 06:30 THE HUNGER GAMES: MOCKINGJAY, PART 1 Fri-Sat-Sun-MonTue-Wed 09:00 TOP FIVE Fri-Sat-Sun-Mon-Tue-Wed 09:15 ST. VINCENT FriSat-Sun-Mon-Tue-Wed 07:00 BOYHOOD Fri-SatSun-Mon-Tue-Wed 06:15 NIGHTCRAWLER Fri-SatSun-Mon-Tue-Wed 09:30 GONE GIRL Fri-Sat-SunMon-Tue-Wed 06:45 BIG HERO 6 Fri-Sat-Sun 01:30, 04:00 THE BOXTROLLS Sat-Sun 01:15

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 WET HOT AMERICAN SUMMER Fri-Sat-SunMon-Tue-Wed 10:15 THE HUNGER GAMES: MOCKINGJAY, PART 1 FriSat-Sun-Mon-Tue-Wed 07:15 BIG HERO 6 Fri-SatSun-Mon-Tue-Wed 04:30

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 THE IMITATION GAME FriSat-Sun-Mon-Tue-Wed 05:30, 08:00

Roseway Theatre

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4040 SE 82nd Ave. THE IMITATION GAME FriSat-Sun-Mon-Tue-Wed 10:50, 01:35, 04:25, 07:15, 10:10 WILD Fri-Sat-SunMon-Tue-Wed 10:55, 01:45, 04:30, 07:20, 10:15 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES FriSat-Sun-Mon-Tue-Wed 12:05, 06:50, 10:05 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES 3D FriSat-Sun-Mon-Tue-Wed 03:25 INTO THE WOODS Fri-Sat-Sun-Mon-Tue-Wed 10:50, 01:45, 04:40, 07:35, 10:30 PADDINGTON FriSat-Sun-Mon-Tue-Wed 11:05, 01:40, 04:20, 07:00, 09:40 SELMA Fri-SatSun-Mon-Tue-Wed 12:30 AMERICAN SNIPER FriSat-Sun-Mon-Tue-Wed 11:00, 12:15, 02:05, 03:40, 05:15, 07:05, 08:30, 10:20 TAKEN 3 Fri-Sat-Sun-MonTue-Wed 01:50, 07:40 THE WEDDING RINGER Fri-Sat-Sun-Mon-Tue-Wed 11:15, 01:55, 04:35, 07:25, 10:00 THE LOFT Fri-SatSun-Mon-Tue-Wed 11:20, 02:10, 04:55, 07:50, 10:25 THE BOY NEXT DOOR Fri-Sat-Sun-Mon-TueWed 12:00, 02:30, 05:00, 07:25, 10:00 MORTDECAI Fri-Sat-Sun-Mon-TueWed 11:05, 04:50, 10:20 STRANGE MAGIC FriSat-Sun-Mon-Tue-Wed 11:30, 02:15, 05:00, 07:45, 10:15 PROJECT ALMANAC Fri-Sat-Sun-Mon-TueWed 11:05, 02:00, 04:45, 07:30, 10:25 ODE TO MY FATHER Fri-Sat-SunMon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:35 BLACK OR WHITE Fri-SatSun-Mon-Tue-Wed 10:50, 01:45, 04:40, 07:35, 10:30 THE METROPOLITAN OPERA: LES CONTES D’HOFFMANN Sat 09:55 THE METROPOLITAN OPERA: LES CONTES D’HOFFMANN ENCORE Wed 06:30

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SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, JAN. 30-FEB. 5, UNLESS OTHERWISE INDICATED

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END ROLL

THE FLYOVER STATES, PART II Editor’s note: Last week, Wm. Willard Greene wrote about traveling to Dallas to watch the Ducks’ game and not bringing any weed because he was worried about getting busted. His experiences with weed withdrawal after a year of neardaily use continue below... The effects of my last pre-travel smoke wore off some time in the air over Quartzsite, Ariz. I know the exact location because the airplane had little screens on the back of the seats that tracked the plane’s real-time location on a map. Every other airline should follow suit. Flights directly to Big D were difficult to obtain, so we flew into Portland’s southwesterly buddy, Austin, before driving north with a friend of mine, whom I’ll call Arturo. The only K-9 unit I saw was just past security on the flight back. My abstention was not strict. If we stumbled upon an Austinite or fellow Ducks traveler offering a toke, I would graciously accept, and then probably cash the bowl like a hungry infant suckling a warm bottle. But I wouldn’t go looking directly. We settled on drinks and quickly befriended a charming Iraqi named Mustafa who had access—just not in time for game day. When the bartender learned where we were

from, she apologized for Austin gaffling “Keep Portland Weird,” and we assured her that, no, it was the other way around and offered an apology. She accepted and poured us stronger drinks. Austinites seem a lot like Portlanders. There’s some debate whether marijuana is addictive or not, but cannabis withdrawal does happen. The effects of withdrawal set in at about the 24-hour mark, can last for a couple weeks, and may physically manifest as abdominal pain and headaches. Heavy users might experience general irritability, depressed mood, and changes in sleep or meal patterns. These are also symptoms common to one night of heavy drinking and traveling around the Dallas-Fort Worth metroplex. “It feels like we’re always on the wrong side of town, except when we’re right by stadiums,” Arturo notes. Despite the blight of concrete and swirling, skyrocketing overpasses, and despite the fact that the weather was grayer and colder than Jerry Jones’ grundle, and despite the fact that the fourth quarter felt like being hooked up to the six-fingered man’s death machine, only one of these symptoms—a loss of appetite—ever kicked in. And I’m not sure whether to chalk that up to the absence of weed, nerves over the game, or spending time in a place so aesthetically objectionable. Still, it annoyed me, since one of the things you’re supposed to do in Texas is eat a lot of meat. So in the sense that I would’ve eaten more, I missed weed. I didn’t miss it otherwise. I’m sure I would’ve appreciated a puff somewhere north of Waco, when I wondered briefly whether my stoned deductive skills could resolve the Hae Min Lee case once and for all. Maybe a toke would’ve eased the pain of the Ducks’ demise, but a breakfast taco on the road back to Austin also did the trick. Besides, sometimes losses need to be felt. We arrived back at PDX a couple nights later, the question of Adnan Syed’s guilt weighing more heavily than UO’s fizzled fairy tale, and the question of what a big ol’ cloud of Orion’s Belt would do after four days away. I resolved to blow smoke rings in solidarity with Darren Carrington. NEXT WEEK: Back off the wagon, all the way to the stars.

For more information on John Callahan’s memorial, see ffojohncallahan.tumblr.com. 72

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CLASSIFIEDS DIRECTORY

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The Worst of 2014–so much room for improvement. 61 “I ___ Rock” 62 John Travolta mispronunciation that made Rolling Stone’s “Worst TV Moments of 2014” 66 “Morning Edition” producer 67 Big top figure 68 2006 movie subtitled “Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan” 69 Eeyore, for one 70 “The Waste Land” poet T.S. 71 Apartments, e.g.

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Across 1 The P of PBR 6 “How do you measure, measure ___?” (“Rent” lyric) 11 Org. for pinheads? 14 Birth country of Amy Adams and Rose McGowan 15 Music in some “Weird Al” Yankovic medleys 16 Cafeteria coffee holder 17 She got a Worst Actress nomination for a 10-Down for “The Other Woman” 19 Hang behind

20 “Dark Angel” star Jessica 21 “Aw, shucks!” 22 Many South Africans 24 #2 on Time’s 10 Worst Songs of 2014 28 Absolute lastminute day for shopping 29 Formal footwear 30 Bicycle shorts material 33 Go after flies 35 Aspirations 38 Reptilian squeezer 39 Sworn enemy

42 Grammy winner Kool Moe ___ 43 It’s not worth much 45 Facts 46 Out there 48 “The Golden Notebook” author Lessing 50 Anti matter? 51 “Conscious Uncoupling” person of 2014, instead of just saying “divorce” 57 Muslim veil 58 NYC thoroughfare 59 “Am ___ only one?”

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Down 1 12-point type 2 In any way 3 Animated ruminant 4 ___-Kinney (band with Carrie Brownstein of “Portlandia”) 5 Norse god 6 Breathing interruption 7 Climber’s calling? 8 Whitney with a gin 9 “Alias” equivalent 10 Award celebrating bad movies 11 Bring into a private conversation 12 Author of “The Cat Who...” mysteries 13 Teen turmoil 18 Fearsome sort 23 The Daily Bruin publisher 25 “Thirteen” actress ___ Rachel

Wood 26 ___ apso 27 Rumored Himalayan beast 30 “Selma” role 31 “Oh, it’s ___” 32 Glass containers 33 Chart-topper 34 Soaked 36 Mal de ___ (seasickness) 37 Turn from liquid to Jell-O 40 Use Pro Tools, say 41 Santa’s laundry problem 44 Coffee coast of Hawaii 47 “Can you hear me now?” company 49 Mail-in offer 50 Ran off 51 Accra’s country 52 Scaredy-cats 53 Caveman diet 54 Prevent, as a disaster 55 “SNL” alumna Cheri 56 ___ Thins 60 911 responders 63 The Mavericks, on scoreboards 64 “Never Mind the Bollocks” closer (or label) 65 “Aladdin” monkey

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Week of January 29

La Vie en Rouge

Starring Siri Vik

a cabaret honoring edith Piaf & the French chanson ARIES (March 21-April 19): Do you have an entourage or posse that helps you work magic you can’t conjure up alone? Is there a group of co-conspirators that prods you to be brave and farseeing? If not, try to whip one up. And if you do have an inspirational crew, brainstorm about some new adventures for all of you to embark on. Scheme and dream about the smart risks and educational thrills you could attempt together. According to my reading of the astrological omens, you especially need the sparkle and rumble that a feisty band of allies can incite. TAURUS (April 20-May 20): The cosmos seems to be granting you a license to be brazenly ambitious. I’m not sure how long this boost will last, so I suggest you capitalize on it while it’s surging. What achievement have you always felt insufficiently prepared or powerful to accomplish? What person or club or game have you considered to be out of your league? What issue have you feared was beyond your understanding? Rethink your assumptions. At least one of those “impossibilities” may be more possible than usual. GEMINI (May 21-June 20): When I attended the University of California at Santa Cruz, my smartest friend was Gemini writer Clare Cavanagh. She headed off to Harvard for her graduate studies, and later became a pre-eminent translator of Polish poetry. Her work has been so skillful that Nobel Prize-winning Polish poet Czselaw Milosz selected her as his authorized biographer. Interviewing Milosz was a tough job, Clare told blogger Cynthia Haven. He was demanding. He insisted that she come up with “questions no one’s asked me yet.” And she did just that, of course. Formulating evocative questions is a Gemini specialty. I invite you to exercise that talent to the hilt in the coming week. It’s prime time for you to celebrate a Curiosity Festival. CANCER (June 21-July 22): “Somewhere someone is traveling furiously toward you,” writes poet John Ashbery, “at incredible speed, traveling day and night, through blizzards and desert heat, across torrents, through narrow passes. But will he know where to find you, recognize you when he sees you, give you the thing he has for you?” This passage might not be literally true, Cancerian. There may be no special person who is headed your way from a great distance, driven by a rapt intention to offer you a blessing. But I think Ashbery’s scenario is accurate in a metaphorical way. Life is in fact working overtime to bring you gifts and help. Make sure you cooperate! Heighten your receptivity. Have a nice long talk with yourself, explaining why you deserve such beneficence. LEO (July 23-Aug. 22): In 1768, Britain’s Royal Society commissioned navigator James Cook to lead a long naval voyage west to Tahiti, where he and his team were supposed to study the planet Venus as it made a rare transit across the face of the sun. But it turned out that task was a prelude. Once the transit was done, Cook opened the sealed orders he had been given before leaving England. They revealed a second, bigger assignment, kept secret until then: to reconnoiter the rumored continent that lay west of Tahiti. In the coming months, he became the first European to visit the east coast of Australia. I foresee a comparable progression for you, Leo. The task you’ve been working on lately has been a prelude. Soon you’ll receive your “sealed orders” for the next leg of your journey. VIRGO (Aug. 23-Sept. 22): According to computer security company Symantec, you’re not in major danger of contracting an online virus from a porn website. The risk is much greater when you visit religious websites. Why? They’re often built by inexperienced programmers, and as a result are more susceptible to hackers’ attacks. In the coming weeks, Virgo, there may be a similar principle at work in your life. I suspect you’re more likely to be undermined by nice, polite people than raw, rowdy folks. I’m not advising you to avoid the do-gooders and sweet faces. Just be careful that their naivete doesn’t cause problems. And in the meantime, check out what the raw, rowdy folks are up to.

There’s not much wiggle room, I’m afraid. Here it is: You must agree to experience more joy and pleasure. The quest for delight and enchantment has to rise to the top of your priority list. To be mildly entertained isn’t enough. To be satisfied with lukewarm arousal is forbidden. It’s your sacred duty to overflow with sweet fulfillment and interesting bliss. Find ways to make it happen!

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SCORPIO (Oct. 23-Nov. 21): You may have never sampled the southeast Asian fruit called durian. It’s controversial. Some people regard it as the “king of fruits,” and describe its taste as sweet and delicious. Naturalist Alfred Russel Wallace said it was like “a rich custard highly flavored with almonds.” But other people find the durian unlikable, comparing its aroma to turpentine or decaying onions. TV chef Anthony Bourdain asserts that its “indescribable” taste is “something you will either love or despise.” I foresee the possibility that your imminent future will have metaphorical resemblances to the durian, Scorpio. My advice? Don’t take things personally.

L C O E U H D T S N I

SAGITTARIUS (Nov. 22-Dec. 21): Talking will be your art form in the coming week. It’ll be healing and catalytic. You could set personal records for most engaging phone conversations, emails, text messages, and face-to-face dialogs. The sheer intensity of your self-expression could intimidate some people, excite others, and generate shifts in your social life. Here are a few tips to ensure the best results. First, listen as passionately as you speak. Second, make it your intention to communicate, not just unload your thoughts. Tailor your messages for your specific audience. Third, reflect on the sometimes surprising revelations that emerge from you. They’ll give you new insights into yourself.

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CAPRICORN (Dec. 22-Jan. 19): Let’s say you want to buy an 18-karat gold ring. To get that much gold, miners had to excavate and move six tons of rock. Then they doused the rock with poisonous cyanide, a chemical that’s necessary to extract the good stuff. In the process, they created toxic waste. Is the gold ring worth that much trouble? While you ponder that, let me ask you a different question. What if I told you that over the course of the next five months, you could do what’s necessary to obtain a metaphorical version of a gold ring? And although you would have to process the equivalent of six tons of raw material to get it, you wouldn’t have to use poison or make a mess. Would you do it?

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AQUARIUS (Jan. 20-Feb. 18): In 1899, the King of the African nation of Swaziland died while dancing. His only son, Sobhuza, was soon crowned as his successor, despite being just four months old. It took a while for the new King to carry out his duties with aplomb, and he needed major guidance from his grandmother and uncle. Eventually he showed great aptitude for the job, though, and ruled until his death at age 83. I’m getting a Sobhuza-type vibe as I meditate on you, Aquarius. New power may come to you before you’re fully ready to wield it. But I have confidence you will grow into it, especially if you’re not shy about seeking help. PISCES (Feb. 19-March 20): In the 1951 animated movie version of Alice in Wonderland, Alice says to herself, “I give myself very good advice, but I very seldom follow it.” I hope you won’t be like her, Pisces. It’s an excellent time for you to heed your own good advice. In fact, I suspect that doing so will be crucial to your ability to make smart decisions and solve a knotty problem. This is one of those turning points when you really have to practice what you preach. You’ve got to walk your talk.

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Vaporizers, hookahs, glass pipes, tobacco, gift items 3554 NE SANDY BLVD. 503-253-0504

CASH for INSTRUMENTS Tradeupmusic.com SE - 503-236-8800 NE - 503-335-8800

Nonprofit Attorneys Bankruptcy

Tax, Tenants, Small Business, More Payment Plans - Sliding-Scale (503) 208-4079 www.CommunityLawProject.org

Opiate Treatment Program

Evening outpatient treatment program with suboxone. CRCHealth/Dr. Jim Thayer, Addiction Medicine http://belmont.crchealth.com 1-800-797-6237

NORTH WEST HYDROPONIC R&R

We Buy, Sell & Trade New and Used Hydroponic Equipment. 503-747-3624

HAS SMOKING POT STOPPED BEING FUN? Marijuana Anonymous can help www.madistrict11.org 503-567-9892 2015 MA world convention in Portland! www.mawsconvention.org Oregon Medical Marijuana Patient Resource Center *971-255-1456* 1310 SE 7TH AVE Open 7 Days www.ommpResourceCenter.com

OMMP CARDHOLDERS GET 25% DISCOUNT!

Quick fix synthetic urine now available. Your hookah headquarters. Vapes. E-cigs, glass pipes, discount tobacco, detox products, salvia and kratom Still Smokin’ Tobacco For Less 12302 SE Powell 503-762-4219

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MEDICAL MARIJUANA Card Services Clinic

503-384-WEED (9333) www.mmcsclinic.com 4911 NE Sandy Blvd, Portland Mon-Sat 9-6

503 235 1035

New Downtown Location! 1501 SW Broadway www.mellowmood.com

4119 SE Hawthorne, Portland ph: 503-235-PIPE (7473)

Pizza Delivery

Until 4AM!