41 17 willamette week, february 25, 2015 by Willamette Week Newspaper

NEWS More from Kitzhaber’s emails. p. 9 DISH TASTY GAS-STATION FOOD. p. 23 WEED INSTANT COFFEE WITH THC. p. 44

“IT’S CREEPILY SOFT, LIKE A WET MUPPET.” P. 22 wweek.com

VOL 41/17 02.25.2015

Willamette Week FEBRUARY 25, 2015 wweek.com

K AT I E D E N N I S

FINDINGS

PAGE 19

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 17.

The Bull Run Reservoir is not filled by melting glaciers, but by springs and falling rain. 4 Mt. Hood Community College’s board could take a hard right thanks to a fringe Republican candidate who may or may not believe in the Easter Bunny. 6 The disgraced ex-governor’s key adviser was “being mindful not to put too much on paper” by emailing his personal account. 10

ON THE COVER:

If you’re going to dump Hillsboro, you better do it gently. 20 Aged 35 years, Henry Weinhard’s Private Reserve will taste “kinda like a Rogue beer.” 23 A white guy was shocked— shocked!—to discover people would be offended after he named his band “Black Pussy.” 25

If you want to bust the FBI doing shady stuff, you might need to break into their offices. 41

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Illustration by Murphy Phelan.

“Cylvia Game Plan: Dec. 2013Dec. 2018...land lucrative work.”

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 Enid Spitz Web & Projects Editor Matthew Korfhage Music Editor Matthew Singer Books Penelope Bass Dance Kaitie Todd

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Willamette Week FEBRUARY 25, 2015 wweek.com

INBOX KITZHABER AND ETHICS

Cylvia Hayes is a narcissist in the extreme, as is John Kitzhaber [“What He Left Behind,” WW, Feb. 18, 2015]. To think that Kitzhaber called her his “most trusted adviser” is scary beyond belief. They are both completely beyond anything that resembles ethics and integrity. They are both for sale. I am sick to death of these shameless profiteers acting like they have the people’s interest at heart—when it’s all about money and power and taking everything they can. Throw the book at both of them. They are disgusting. And thanks to Nigel Jaquiss. He has exposed both of them for exactly what they are. —“oregongrown” Kitzhaber is every bit the equal as a con artist as Hayes. He managed to trick almost half the voting public to re-elect him. I don’t feel sorry for him. His mistake was having a partner who exposed his corruption. —“Andrew Rapp”

HAYES’ FINANCIAL TIES

Through the documents provided by Whitney Bates’ son, it is clear that Cylvia Hayes lied about the loans, lied about the mortgage, and lied about the ownership of the house [“Relying On an Old Man’s Money,” WW, Feb. 18, 2015]. She is a practiced deceiver. WW has provided a useful service by demonstrating a pattern to her behavior, which gives credence to all the information now coming out

Our snowpack is dangerously low. Can you explain why the city isn’t asking us to conserve water? Would it not be wise to start conserving now, instead of waiting for a crisis? —Better Safe Than Sorry The notion that humanity can avoid future retribution by denying itself current pleasure is considerably older than modern ecological awareness. It used to be called “sin.” Eschew fornication, the ancients warned, or be cast into the Lake of Fire! (Depending on one’s partners, one might even experience a localized preview of that fiery torment right here on earth.) Later, our worries took on a medical aspect: Avoid ye Outback Steakhouse and ye Olive Garden, lest thine own heart rise up and attack thee! These days, our paranoia is environmental— climate, drought, extinction. What can we sacrifice to appease the gods? How about our cars? Ha-ha, just kidding—gluten, get up on that altar! This gratification-deferring impulse often 4

Willamette Week FEBRUARY 25, 2015 wweek.com

of Salem. The sad, hardscrabble story Hayes tells about herself is not about the fortitude and character of a woman earning her place professionally, but one of using other people (usually men) to achieve her success. —“Portland Resident” That $7,000 check John Kitzhaber wrote to Tom Bates would be an interesting piece of evidence. It ties Kitzhaber’s and Hayes’ personal finances into one neat little package. And it takes away from the idea that Hayes was her own person and made all her own financial decisions. —“John Retzlaff”

CORRECTIONS

A story last week addressing the challenges facing new Gov. Kate Brown (“Carbon Copy?”) attributed two statements to the wrong person. They were from John Horvick, political director of polling firm DHM Research, not from DHM pollster Tim Hibbitts. A recent story (“Governor in Waiting,” WW, Feb. 11, 2015) identified Maura Roche as the former Salem lobbyist for the National Abortion Rights Action League. In fact, she lobbied for Planned Parenthood. WW regrets the errors. 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.

does prod us in the right direction, but since it’s not rational, it doesn’t always do a good job of matching the sacrifice to the threat. This is how you get folks who walk around with a vague sense that declaring oneself allergic to soy will save the rainforest, or that riding a fi xed-gear bike reduces famine, or that using Tom’s of Maine products will ward off stray asteroids. My point, Safe, is that your suspicion that the historically low snowpack is our fault—as a species, at least—is well-founded. But your impulse toward a mitigating sacrifice is misplaced. Portland’s water supply (mostly) doesn’t come from melting snowpack. Bull Run is a lowelevation watershed, and is primarily filled by spring and fall rains. Other parts of Oregon might be right to start worrying now, but as long as it rains enough between now and June, you and I can relax and watch some Netflix. Just, y’know, don’t bogart that gluten, brah. QUESTIONS? Send them to dr.know@wweek.com

Willamette Week FEBRUARY 25, 2015 wweek.com

WWEEK.COM MOBILE SITE

MARIJUANA: Putting weed-testing labs to the test. POLITICS: Kitzhaber’s campaign ran the Cover Oregon cleanup. COVER STORY: Hard Core: The local boom in cider.

• BREAKING NEWS • GEO-LOCATING BAR AND RESTAURANT REVIEWS • CITY GUIDES

7 9 13

PORTLAND’S POLICING OF AIRBNB? INTO THIN AIR. An independent analysis of Airbnb’s Portland hosts reveals only 93 of 2,006 online rentals in the city show they have a city permit to operate legally. That’s just 4.6 percent. The city of Portland set a Feb. 20 deadline for Airbnb and other sites to post hosts’ permit numbers or face a $500 fine for each violation. The deadline passed and the city is… shrugging. City Revenue Bureau director Thomas Lannom says he hopes companies will make “a good-faith effort” to follow the rules. “What we’re looking for is that they are working with us and trying to comply,” Lannom says. “If they appear to be dragging their feet, that is when we can bring and will bring penalties into play.” The analysis was done for WW by insideairbnb.com, an interactive tool that compiles data taken from Airbnb’s site, and was based on Portland’s permit data as of Feb. 21—a day after the city’s deadline. The Oregon Supreme Court on Feb. 20 dismissed all ethics charges against two prominent Portland lawyers, Lois Rosenbaum and Barnes Ellis, in one of the longest and most highprofile legal ethics cases in years. The Oregon State Bar had accused Ellis and Rosenbaum of playing both sides of a same case. The pair, then with Stoel Rives, represented FLIR Systems, a Wilsonville high-tech firm, and company executives during a U.S. Securities and Exchange Commission investigation. The bar said Rosenbaum and Ellis improperly represented both the company and employees when their clients’ interests were at odds. The ethics case lasted nearly five years and received attention from The Oregonian and WW (“Crossing the Bar,” WW, Nov. 21, 2012). The O first reported the Supreme Court’s 76-page decision that all the ethics charges be dismissed—a big loss for the state bar. Rosenbaum told WW in an email: “We always believed, and the Court found, that our representation was in all our clients’ best interests [and] involved no conflict of interest.” Mark Callahan is back. The otherwise obscure Republican candidate for U.S. Senate became a right-wing hero in May 2014, when WW kicked him out of a primaryelection endorsement interview for interrupting other candidates. Video from wweek.com— replayed frequently on CALLAHAN Fox News—shows Callahan calling out WW reporter Nigel Jaquiss during the endorsement interview for writing “blah blah blah” in his notebook while another GOP candidate spoke. Callahan finished a distant third in the primary, but seems ready to get back into politics. He’s registered as a candidate for a seat on the Mt. Hood Community College board of directors in this May’s elections. It’s an unpaid position, and Callahan is currently unopposed. Asked by WW if he had a second to comment on his new campaign, Callahan said no. “I don’t have a second,” he said. Read more Murmurs and daily scuttlebutt.

Willamette Week FEBRUARY 25, 2015 wweek.com

NEWS

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

DANIEL COLE

TESTING TRAINWRECK FOUR LABS RETURN VERY DIFFERENT POTENCY RESULTS FROM THE SAME MARIJUANA BATCH. BY AARON MESH

amesh@wweek.com

Customers at Nectar Cannabis use several methods to choose the weed that’s right for them. Some trust the budtenders at the medical marijuana dispensary on Northeast Sandy Boulevard to pick a strain from the nearly 60 options on the menu. A few veteran patients trust their sense of smell, sniffing the green nuggets kept in gallon-sized Mason jars. But most rely on the labels affixed to each jar, which list the percentage of the intoxicants THC and CBD in each bud. Those numbers tell consumers how quickly the pot will get them high, what the buzz will feel like, and how long it will last. “Patients focus a lot on the numbers,” says Nectar manager Jeff Johnson. “Almost too much sometimes. There’s so much variation in strains, we really need the testing to know what we’re getting.” But an inspection of those test results shows consumers aren’t always getting reliable information. WW sent samples from a single marijuana batch to four Portland-area pot testing labs whose results go on the labels that inform consumers. The results? Big discrepancies in how much THC and CBD were found in samples from the same batch. The labs’ results showed a 10-point spread in THC levels. That could be like handing a glass of gin to a drinker and telling him it’s wine. CBD levels ranged from one-third lower than what appeared on the label to more than six times as high. “Of course there’s a spread, because there’s no standardization, there’s no regulation, there’s no nothing,” says Amy Margolis, a Portland lawyer representing marijuana growers. “People need to know what they’re putting in their body, and to have the one consumer protection be totally unsupervised is absurd.” Clamor is increasing for state lawmakers to license and regulate labs that test and label pot sold in Oregon medical dispensaries. WW reported earlier this month that growers have complained the state requires testing pot for potency, mold and pesticides—but sets no rules for the labs doing the work (“Testing Flower Power,” WW, Feb. 4, 2015). Labs charge dispensaries $100 to $200 to test one batch of weed. The state doesn’t regulate how much dope can be in the batch, what methods labs use to conduct tests, and what parts of the plant they measure. (Buds closer to the top of the plant, where they get more sunshine, have higher levels of THC.) Legislators worry the lack of oversight and inconsistent results could spark a big problem as the state prepares for recreational weed to become legal this July. Lawmakers have said new buyers will have less experience with labeled products than people who have been using the medical marijuana system for years. Last week, the Oregon Liquor Control Commission asked the Legislature to require licensing for weed labs.

BEST BUDS: Craig Timmerman, a chemist at MRX Labs in Northeast Portland, examines a marijuana sample.

HOW HIGH? HARD TO SAY

16%

Sunrise Analytical

17.6%

3B Analytical

Trainwreck Arcata Cut from Eco Firma Farms is labeled for sale as medical marijuana at 16 percent THC content. At WW’s request, four labs tested the buds—and came up with diﬀerent results.

16.9%

Rose City Laboratories

Green Leaf Lab

13.9% 23.9%

MRX Labs

How this marijuana’s THC content is labeled in dispensaries

Lawmakers are now mulling a bill that would certify labs through the state accreditation agency. “We’ve been hearing there are very uneven standards in the labs,” says state Sen. Ginny Burdick (D-Portland), who co-chairs the Legislature’s House-Senate committee on marijuana legalization. “And that can be very risky when you consider that we’re getting into a recreational market. We need quality control.” WW put Portland’s marijuana labs to the test by obtaining about 20 grams of Trainwreck Arcata Cut—a sativa hybrid strain known for its strong THC kick. We divided the batch into four portions, and delivered those samples to four different local labs in the span of 48 hours. The batch, all grown in a 300-square-foot room at Eco Firma Farms in Wilsonville, is currently being sold on dispensary shelves with its THC content labeled at 16 percent.

What tests from four diﬀerent labs found

But the results from local labs ranged from less than 14 percent THC content up to almost 24 percent. The label also says Trainwreck Arcata Cut has a CBD potency of 0.1 percent. One lab result was .003 percent, while another was 0.66 percent. Labs also test for acceptable levels of mold. The batch passed in three tests and failed in a fourth. Shown the range of test results, lab owners said the variations could have been caused by different moisture levels in the buds and varying test methods and equipment. But they agreed new oversight was needed. “We’re in support of anything that produces standardized results and keeps the costs low,” says Patsy Myers, co-owner of MRX Labs in Northeast Portland. “People should be able to trust without question what their results are.” Willamette Week FEBRUARY 25, 2015 wweek.com

! W O EN

L A S ON

Willamette Week FEBRUARY 25, 2015 wweek.com

poLItIcS

NEWS

NEWLY OBTAINED EMAILS SHOW EX-GOV. JOHN KITZHABER PUT HIS TOP POLITICAL CONSULTANT IN CHARGE OF COVER OREGON. By NIGEL JAQUISS

njaquiss@wweek.com

A year ago, it looked as if then-Gov John Kitzhaber’s biggest headache was Cover Oregon, the $305 million health care website that was pitched as a national model but became a national laughingstock. Kitzhaber, a Democrat facing re-election, had built a reputation as a health care reformer. But his failure to make Cover Oregon work threatened his legacy. In public, Kitzhaber assured Oregonians he was working diligently with state officials to find a solution for the website’s woeful performance. In private, however, Kitzhaber handed oversight of the Cover Oregon mess to a secretive campaign consultant who liked to call herself the Princess of Darkness. By her own admission, Patricia McCaig knew virtually nothing about health care reform or the reasons Cover Oregon had crashed. Her primary mission was not to save a beleaguered state program but to get Kitzhaber re-elected. Emails that Kitzhaber’s office tried to delete from state computers show McCaig was effectively in charge of all decision making for Cover Oregon beginning in February 2014. Records show McCaig oversaw the decision to shut down Cover Oregon rather than work with the state’s contractor, Oracle Corp., to fix it. McCaig—rather than the governor or state lawyers—drove the decision to sue Oracle. And McCaig routinely directed senior government employees and staff in the governor’s office. The records also show McCaig and other advisers based many of their moves on polling and how voters’ perceptions of Cover Oregon might affect Kitzhaber’s

hopes for re-election. Kitzhaber didn’t respond to questions for this story. McCaig declined to be interviewed, but in an emailed statement to WW, she said Kitzhaber turned to her because of her experience as a governor’s chief of staff and an elected official. (She worked for former Gov. Barbara Roberts and served on the Metro Council for one term in the 1990s.) She says she did nothing wrong. “The governor was forced to respond to the ‘debacle’ of Oracle’s failure to deliver a working website for Cover Oregon by using the best tools and people at his disposal,” she says. “Oracle’s contention that politics drove the failure of Cover Oregon could not be further from the truth.” But observers say Kitzhaber placing the state’s response to Cover Oregon in the hands of his chief political adviser is problematic. “If they made decisions based on Kitzhaber’s personal political interests rather than what was best for taxpayers, that’s not right,” says David Friedman, an associate professor at the Willamette University College of Law. “It just looks bad.” WW first reported in November that Kitzhaber relied on campaign consultants to help direct his response to Cover Oregon (“Blurred Lines,” WW, Nov. 12, 2014). The newly obtained emails provide a far more detailed account of that effort. State ethics and elections laws require a separation between political activity and official decisions. Congress, which paid for the Cover Oregon project, now wants to know where taxpayer dollars went and whether Kitzhaber put his re-election interests ahead of the public interest. The emails between Kitzhaber and McCaig about Cover Oregon are among those Kitzhaber sought to have removed from state servers Feb. 5, claiming they contained personal communications. But Kitzhaber’s personal email accounts also relate to public business and are subject to disclosure under Oregon’s public records law. Federal investi-

vivian johnson

KITZHABER’S SECRET WEAPON

GOVERNMENT TAKEOVER: “I do not think the governor’s office has the staff capacity on the Cover Oregon piece,” Kitzhaber re-election campaign adviser Patricia McCaig wrote the governor on Feb. 8, 2014. She then proposed taking control of the Cover Oregon problem herself.

gators have requested the emails as part of a criminal subpoena. On Feb. 13, investigators for the U.S. House Commit tee on O versig ht a nd Government Reform wrote to Kitzhaber demanding all documents relating to his campaign staff’s involvement with Cover Oregon, adding that decisions “may have been based on politics, not policy and campaign advisors working on your re-election campaign may have coordinated the state’s response to the Cover Oregon roll-out.” Kitzhaber resigned Feb. 18 amid state and federal criminal investigations into allegations of influence peddling involving himself and former first lady Cylvia Hayes. The intensified congressional scrutiny could only add to his legal woes. McCaig has played a unique role in Kitzhaber’s career. She ran his successful 2010 election campaign. Soon after he took office, Kitzhaber made her his top adviser on the Columbia River Crossing, the proposed $3 billion highway project connecting Portland and Vancouver, Wash. McCaig then worked for the CRC’s top contractor, David Evans & Associates (“The Woman Behind the Bridge,” WW, Feb. 27, 2013). McCaig eventually collected $553,000 for her work on the CRC, which was never built. Cover Oregon was another big Kitzhab-

er initiative. The website was supposed to allow Oregonians to purchase health insurance online. But the project missed its “go-live” deadline Oct. 1, 2013 and never worked properly. By early 2014, Kitzhaber was taking a political beating over the failure from The Oregonian, which reported in detail his failure to oversee the project. In early February 2014, McCaig emailed Kitzhaber, offering to take over damage control for Cover Oregon. “I’d also like to request any publicly available information on the independent review—it’s charge timeline, etc,” McCaig wrote to Kitzhaber Feb. 6, 2014. “Let me know if you’d rather I let it all alone.” “No not at all,” Kitzhaber responded that same day. “I like it when you don’t leave things alone (like my last campaign for example).” McCaig told Kitzhaber his current approach was failing. She proposed that his chief of staff, Mike Bonetto, blend his official duties with a campaign-led effort on Cover Oregon. “ We need more accountability and follow-thru from the campaign and some specific, intensive management of the Cover Oregon issues. I do not think the governor’s office has the staff capacity on cont. on page 9

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the Cover Oregon piece,” McCaig wrote Feb. 8. “How about? Mike chairs a joint campaign and key staff meeting weekly starting ASAP. I staff him (quietly, privately).” On Feb. 8, McCaig told Kitzhaber that Tim Raphael, a lobbyist and former Kitzhaber spokesman, would direct the governor’s staff on how to handle communications about Cover Oregon. Kitzhaber’s campaign would put Raphael on its payroll. “To do that [Raphael] would identify what Mike [Bonetto] and [Kitzhaber’s state spokeswoman] Nkenge [Harmon Johnson] need to be managing from the gov’s office, bridging the information gap with the campaign, and most importantly identifying and teeing up the critical and emerging Cover Oregon issues for the combined team so we can develop a plan and be more prepared both at the state level and the campaign,” McCaig wrote. “You have know idea how much better this makes me feel,” Kitzhaber wrote her back the same day. “You truly are a Princess. How did I get so lucky to be on your team?” “Because you are you and you are governor of the great state of Oregon,” McCaig responded. “And I believe.” McCaig told Kitzhaber she was being careful not to create a record of her actions—“being mindful of not putting too much on paper,” she wrote in a Feb. 16, 2014, email. She also acknowledged, in preparing a Cover

Mccaig told Kitzhaber he needed to show that he was taKing on oracle and “going after the Money.” Oregon battle plan, that she knew almost nothing about the issue. “I have no pride of authorship, and barely know enough about the topic to write the goals,” she wrote in the same email. By March 2014, emails show, McCaig was in full control of Cover Oregon. She routinely advocated keeping key details concealed from the public. For example, when the state was preparing responses to the U.S. Government Accountability Office, the investigative arm of Congress, McCaig argued against sharing information with Oregon Attorney General Ellen Rosenblum. “Why is the AG reviewing?” McCaig wrote in a March 20 email to Kitzhaber and Bonetto. “Sending it to the AG could produce questions and allow speculation there is criminal behavior. It escalates the concern, gives the press another place to keep/promote a negative narrative, and expands external reviews.” (Disclosure: Rosenblum is married to WW publisher and co-owner Richard Meeker.) Kitzhaber continually expressed his appreciation for McCaig’s help. “HAPPY BIRTHDAY PRINCESS!!!” he wrote her March 30, 2014. “Your Faithful Friend and Fan. I am glad you are in my Life.” In April, Cover Oregon’s board of directors was supposed to decide whether it should abandon the state’s Oracle-built system and switch over to the federal government’s health insurance exchange. But records show McCaig had already made the call. In an email dated April 9, 2014, McCaig presented Kitzhaber with a memo titled “MANAGING/STAGING THE DECISION.” She laid out an eight-step process that would provide the illusion of deliberation. “Regardless, the Cover Oregon Board would hear and accept the federal exchange recommendation,” McCaig wrote. 10

Willamette Week FEBRUARY 25, 2015 wweek.com

w w s ta f f

NEWS

POWER SWITCH: Kitzhaber told McCaig he was pleased she was taking control of the Cover Oregon issue. “How did I get so lucky to be on your team?” he wrote her on Feb. 8, 2014.

The emails also show McCaig orchestrated the state’s legal strategy against Oracle. Polling showed voters blamed the governor for Cover Oregon’s failure. McCaig wanted Kitzhaber to demand money back from Oracle. “We need to start the discussion from a different place,” McCaig wrote to Kitzhaber on April 7, 2014. “Mike [Bonetto] and I talked offline about Oracle—we’re leaning, regardless of which option, of announcing we’re going ‘after’ them.” McCaig added in a May 19, 2014, email to Kitzhaber: “We need to show the taxpayers that we are going after the money. It doesn’t really matter if it is $200 million or $40 million, or how many people enrolled, until we make it clear that we’re going after the money.” On May 27, 2014, McCaig drafted a letter for Kitzhaber to send to Rosenblum: “Dear Attorney General Rosenblum I am writing today to ask you to immediately initiate legal action to recover payments and other damages from Oracle.” The next day, in an email, McCaig told Bonetto and the governor’s general counsel, Liani Reeves, to coordinate with Rosenblum’s office. Then, success: Politico, an influential Washington, D.C., news website, highlighted the looming lawsuit. “Headlines coming in are all good! Politico is great,” McCaig wrote to Kitzhaber on May 29. “We’ve got another first…. First in the country to sue Oracle!” KGW TV reported that day a poll showing Kitzhaber leading his Republican opponent for governor, state Rep. Dennis Richardson, by 15 percentage points. “If true this may require an extra round of whiskey,” Kitzhaber wrote McCaig on May 29. 2014. “If true, two extra rounds,” she replied. By mid-June, McCaig told Kitzhaber their Cover Oregon media strategy was working. “Quite a week,” she wrote to him on June 13, “it wasn’t all about Cover Oregon. (FYI—no cameras at [Cover Oregon] board meeting and only 2 reporters, that’s great progress).” Records show dozens of emails between Kitzhaber and McCaig on Cover Oregon. During this time, McCaig wasn’t billing Kitzhaber’s campaign. That enabled Kitzhaber not to disclose her work on his campaign finance reports, as required by law. McCaig says her work was properly documented. “All of my state-related work is a public record, and my campaign work has been appropriately reported,” she says. In August 2014, WW reported that McCaig was effectively running Kitzhaber’s re-election campaign and that Kitzhaber was not reporting her contributions. On Sept. 12, Kitzhaber emailed McCaig from the Pendleton Round-Up. He joked about that lack of transparency. “No cheering crowds (but, then again, only one hiss), more horse shit that you can possibly imagine, highly efficient [fundraising] call time,” Kitzhaber wrote. “I can pay you now…really.”

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he tree wasn’t all that special. It was just too damn big.

ABRAM GOLDMAN-ARMSTRONG (LEFT) AND IZAAK B U T L E R AT C I D E R R I O T | J E N N I F E R P L I T Z KO

Back in 2004, Nat West’s friend and neighbor in North Portland, Norris Thomlinson, had a large and craggy tree in his backyard that produced an unholy wealth of apples. “Backyard apples,” West describes them. “No good name for them—green, small, scabby. Maybe Gravenstein, that’s my only guess.” They tried everything to keep those apples from going to waste in Thomlinson’s backyard. They made pies, preserves, dried apples, applesauce. Still, there were too many apples: 500 pounds of apples. Finally, West had an idea that changed his life. “I thought, ‘We could turn it into juice,’” he says. “I knew you could make alcohol out of apples.” Within a few harvests, he was making hundreds of gallons of cider a year. He came to be known as the guy with free cider, holding weekly Wednesday potlucks for up to 50 people. By then, he had left that crabby tree behind and started picking from abandoned orchards on the edge of town. Those parties were also focus groups. “Every week I tried out a new flavor, a new yeast, a new type of apple,” West says. “They didn’t complain too much about free alcohol, but I could read between the lines.” When West finally started Reverend Nat’s Hard Cider in the basement of his house, in the summer of 2011, few were talking about cider-making in Portland. That’s because it barely existed. Cider was mostly the province of Anglophiles, out-of-town wineries, and people with orchards. Craft cider juggernaut 2 Towns Ciderhouse, in Corvallis, had just barely kicked off its training wheels. Four years later, the Portland area is home to 13 cideries, whether in a Mount Tabor garage or an Oregon City industrial park. It’s amazing how fast Portland has become the Big Apple of the national cider scene, but it has. Our city is hard at work creating the American cider scene to come. We have the apples, we have the cideries, and we drink more cider than anyone else in the nation.

Ask anybody: Portland is Beervana. You

can look at our 2015 Beer Guide, distributed with select issues of this week’s paper and otherwise available at local beer bars, for confirmation. We have more craft breweries than any city in the world, and as of last year, we drink more craft brew than suds from the two largest macro makers combined. But for all of Portland craft beer’s success, cider is growing four times as fast. The overall numbers remain small, at about 5 percent of the beer market in Portland and only 2 percent nationally, but cider sales have grown by over 50 percent each year since 2011, rocketing from $39 million to $219 million nationwide. “No one expected this boom in cider to happen as quickly as it has,” says Alter Ego’s Anne Hubatch, who also owns Helioterra urban winery. No city in the nation drinks as much cider per capita as Portland, according to January 2015 Nielsen data. We drink almost as much cider as Los Angeles, which has six times as many people. We drink more than all of New England combined. Beer isn’t the competition. Rather, cider makers cite Portland’s beer scene as the reason for cider’s fast acceptance. West says it’s the No. 1 reason—and not just because of beery hopped ciders like Nat’s Envy, a collaboration with Barley Brown’s Brewpub that we today named our 2015 Cider of the Year (see page 14). “Craft beer is huge,” West says. “I’ve always felt that cider is the sister to craft beer. Across the country—we can’t look at other markets and say, ‘How is cider doing?’ We just look at how craft beer is doing. Where craft beer goes, cider goes.” Craft cider is about where craft beer was two decades ago, when Budweiser still stalked the Midwest largely unchallenged. Although two Oregon cider companies— Widmer Brothers’ Square Mile and 2 Towns—are among the top 10 best sellers nationwide, 90 percent of the cider market is controlled by macro-ciders: Woodchuck, Angry

Orchard, Strongbow and offerings from Anheuser-Busch and MillerCoors. But as of this year, Portland is the only U.S. city where Angry Orchard, which sells over half the cider in America, is not increasing its market share. “It doesn’t come as a surprise,” West says. “It’s a bit of a canary in the coal mine. We’ve been doing cider long enough in Portland that we see through the thin veneer of fake apple.” Instead, craft ciders are ascendant. From about 10 cideries in the entire Pacific Northwest in 2010, Oregon and Washington now have more than 70 licensed cideries, about a quarter of the nation’s total. To Pete Mulligan, co-owner of Bull Run Cider and president of the Northwest Cider Association, our love of craft is fundamental to our state’s character: “You have to look what’s happened in the past 10 years with craft beer and Oregon wine. It’s the willingness to check out new things. We support entrepreneurs, and we are entwined with where food comes from and where it’s made.”

Portland also has access to apples. Most

of the apples fueling Portland’s cider boom come from across the Columbia River. Washington is the No. 1 state for apple growing—it grows over half the apples in America—and one of the largest apple processors in the nation is in Hood River. Local cider makers have a bounteous supply of the cheap, fresh dessert fruit found in every refrigerator crisper: Jonagold, Honeycrisp, Red and Golden Delicious, Gravenstein and Granny Smith. But one thing we don’t have is traditional cider apples. In England, France and Spain (see page 15), cider makers prefer apples that are too bitter to slice up and eat, tannic as an old Bourdeaux Superieur. Sharp and bitter-sharp apples are grown in a few places in Oregon—the old White Oak Cider farm in the Yamhill Valley, Wandering Aengus’ orchards near Salem—but not enough to fill the demand for cider. CONT. on page 14 Willamette Week FEBRUARY 25, 2015 wweek.com

CONt.

C O U R T E S Y O F B A I R D & D E WA R

Bull Run’s Mulligan, who co-owns orchards in Forest Grove with partner Galen Williams, says they’ve sold thousands of traditional cider trees in recent years. “People want to get involved in the cider movement,” he says. “We just got 4,000 trees for a farmer in Estacada.” But it will take up to a decade until they really start bearing fruit, and more than that until they can fill the ever-growing demand for cider. Sure, this means that some sugary American ciders taste like Jolly Ranchers made of chalk. But Portland’s reliance on our local crop of dessert apples isn’t holding back our cider scene, says Jeff Parrish of Portland Cider Co. It’s a chance to create a new and different tradition in American cider. “American and Northwest palates are being introduced to cider,” he says. “Marry that with the inventive culture that surrounds the craft brew scene, and anything goes.” Local crafters instead have to experiment with other ways to balance the natural sweetness of their fruit and layer more complex flavors. Portland Cider Co. makes most of its sales with Parrish’s mainstream sweet and semisweet ciders, but at its Oregon City taproom, you can drink a passionfruit cider, and a Cascade Juniper cider with berries crushed by forklift. “You don’t get the natural tannins you get from traditional cider apples,” says Cider Riot’s Abram GoldmanArmstrong, who makes cider out of his home garage in Tabor, “so we’re experimenting, bringing that in from different places.” In his Plastic Paddy—sold in a 2-liter soda bottle for St. Patrick’s Day—he gets tannins from tea, while in his blackberry cider he uses black currants. This spirit of innovation impressed even the Brits. When English cider maker Tom Oliver tasted Anthem’s hopped

cider at cider bar Bushwhacker, says Goldman-Armstrong, “I could see the wheels turning in his head. And now he’s making a hopped cider. But it’s kind of an exchange program. I’m using Goldings hops [in Cider Riot’s Everybody Pogo], which are English, and he’s using Cascade.” At Alter Ego, the inaugural ciders include a semisweet Brute—which, like its name, approaches Champagne— and a tart cider using local raspberries. “To say that there’s one New World cider is very difficult,” says Alter Ego co-owner Nate Wall. “It’s more like categories. But we don’t even know what we’d call the categories.” It’s this experimental quality engendered by our local craft beer scene, West says, that puts our local ciders in a position to take over nationwide. In New York, cider is still mostly made by traditional-minded orchards, while Reverend Nat’s own off-Broadway taproom brims with ginger tonics, barrel-aged ciders, and ciders made with sour-cherry and carrot and “hopricot,” plus ciders so hopped they taste like barleywine. And the apples themselves offer one of nature’s broadest palettes. “Apples are one of the most diverse plants on the planet,” Wall says. “If you actually pollinate an apple tree, the offspring is nothing like either parent. There’s so much diversity out there. There’s so much to choose from.” To West, who quit his job as a computer programmer to make cider, there’s something special about this time and place. The future of American cider is growing here. “The thing that really sustained me was sort of the magic of it—Garden of Eden shit,” he says. “It’s a child’s fruit, but then you can make alcohol. It goes from this innocent thing to the greatest vice ever created.” 14

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R E V E R E N D N AT ’ S H A R D C I D E R TA P H O U S E | J E N N I F E R P L I T Z KO

thE big applE

orEgon’S bESt ciDErS Cider of the Year

7 Deadly Sins: Envy

and fermented it.” But they weren’t done. They did multiple rounds of dry-hopping, both during fermentation and in the bright tank. Then they aged it a few weeks. The resulting cider is unlike anything else we’ve tasted, a true hop bomb that’s remarkably balanced in earthy bitterness and apple-y sweetness, almost reminiscent of a cider barleywine. Hopped ciders aren’t new to Portland, of course. The ubiquitous Anthem and Cider Riot’s Everybody Pogo are our go-to drops—an applebased analog to IPA, the beer style that accounts for 50 percent of all Oregon craft beer. But, until Envy was released in August, we hadn’t tasted a cider that successfully channeled giant double IPAs like Pliny the Younger or Laurelwood’s Megafauna. “ We set the standard for whatever the hell that thing is that we made,” West says. MATTHEW KORFHAGE.

Reverend Nat’s/Barley Brown’s Unlike some cider makers, Nat West loves beer. Really loves beer. When he’s not downing ales after a cider festival—after a cider festival, he really needs a beer—he’ll drive down to FosterPowell for a triple IPA fest. It was on that drive home from N.W.I.P.A. that he had the inspiration for our 2015 Cider of the Year. “I’m driving home,” West says, “and mind you, I have a breathalyzer in my car. I’m going over in my head what draws me to triple IPAs. I could come up with three characteristics: high ABV, high hop levels, and some level of sweetness.” So he got to thinking: Could he make a cider that was like an Imperial IPA, except with apple juice instead of wort? No. 1 He started by seeking some advice from brewmaster Tyler Brown at Barley Brown’s. The Baker City brewery’s Pallet Jack IPA won gold at the 2013 Great American Beer Festival, and the fresh-hop ver- 2. Apple Outlaw Rabid Dry sion of Pallet Jack won gold last year. Blair Smith didn’t plan to be a cider “I advised them on ways that we use the hops in big maker. Twelve years ago, Smith and IPAs, such as wort-hopping, late kettle additions, whirl- his wife, Marcey Kelley, decided they pool additions and dry-hopping,” says Tyler Brown, Barley wanted get away from the hustle of Brown’s brewer. “They had to come up with a way to get the Bay Area and buy a piece of rural the IBUs into the cider. It’s somewhat easy to get some land in Southern Oregon. The parcel aroma by dry-hopping a cider, but Nat wanted it to have they found in the Applegate Valley the full IIPA hop bitterness, flavor and aroma.“ happened to have an apple orchard. West ended up making the cider at Hopworks Urban “We just wanted to live someBrewery, on a Sunday. “We treated it just like we were place really nice and pretty,” Smith making beer,” West says. “We skipped the mash tun, put it says. into the kettle and threw the hops in, and added literally a The trees were just an add-on. ton of dark muscovado sugar.” “We thought, ‘How hard could it That molasses-colored sugar was meant to mimic the actually be to run it?’” he says. “Like notes in caramel malt. But after that, the process went a a lot of things, maybe it’s best when little berserk. They boiled the hops in apple juice, then you don’t actually know how hard transferred it to the whirlpool, where they began hop- it’s going to be when you start. It was bursting—adding hops late in the boil, then running the just a massive learning curve, but we mixture through a hop back full of whole-leaf Amarillo. figured it out.” “When we were done,” West says, “we had this liquid, Just last week, Smith finally quit and it was extremely sweet and extremely bitter and very his job as a software engineer, which full of hop flavor. We brought this juice back to our place he’d been doing remotely while

No. 2

Cont. tending his trees, to focus on making cider. About the same time, we were getting the best and biggest surprise in a tasting of Oregon ciders, discovering that the bottle with a goofy cartoon raccoon on the front is a serious cider, made the right way and with complex flavors that caught our tasters off guard. Apple Outlaw’s Rabid Dry is a bright, acidic cider made mainly from dessert fruit that’s crisp but not bitingly dry, with a vivid straw color and a little spiciness from the skin. We were late to the party: Apple Outlaw had already won Best of Show at last June’s Portland International Cider Cup. The consistent quality is not borne of consistent ingredients. Most of Apple Outlaw’s fruit comes from its own orchard, with some being purchased from neighbors. That means several types of apples are used in the ciders. Smith isn’t sure what made it into the bottle we bought from Belmont Station. “I can take a guess,” he says. “Very likely it could have some McIntosh, Golden Delicious…maybe some Granny Smith.” While the blends of tart and sweet apples are done to taste and can vary, the rest of the process is carefully managed by Smith and Kelley and involves Champagne yeast and keeping a close watch on the thermometer. “We’re really careful with our yeast; we really try to keep it happy,” Smith says. “A lot of those flavors come from the apple, and a lot of it comes from the fermenting and the esters you develop, and watching those.” Ignore the goofy raccoon: This is among the most sophisticated ciders made in Oregon. Now that he’s got more time after quitting his day job, Smith hopes to expand the line. First up is a new hop cider. The first allotments shipped to Whole Foods in Oregon and Washington. MARTIN CIZMAR. 3. Cider Riot 1763 Abe Goldman-Armstrong spent a long time on 1763. Not 250 years, but close. “It was the first cider we pressed, but those tannins take a lot longer to age,” says Goldman-Armstrong, who opened Cider Riot last February but didn’t release the cider we were most excited about until August. “It’s got to mature throughout the year, much more like a wine. The ciders made with dessert apples, we ferment with an ale yeast. But with those proper no. 3 cider apples, you need to let it age seven, eight months, and we use a wine yeast for that.” It was well worth the wait. While Cider Riot makes a fine hopped cider and a very nice Burncider draft cider with the local dessert crop mixed with the tart wilds and bitter cider apples, 1763’s Somerset-style English cider is the hidden heart of the lineup. This batch was made with Yamhill County-grown Yarlington Mill, Harry Masters Jersey, Dabinett, and Kingston Black apples, traditional English cider varieties that are high in tannins. The apples’ provenance is signaled by the cider’s name, the year of the great cider tax revolts in the English West Country. The apples came from White Oak orchards, one of Oregon’s first cider orchards, where Goldman-Armstrong worked planting trees and sorting apples 20 years ago, when he was 16. The blend was seven years in the making, something Goldman-Armstrong experimented with while other local makers were focused on turning readily available dessert fruit into something that’s not intolerably sweet. “Once a year it’ll come out,” he says of 1763. “It’s a vintage cider.” And for now, the amount of cider he’ll make will be limited by the number of apples produced by Alan Foster’s White Oaks orchard. There are only about 25 cases of last year ’s

bottling left, but expect to see a larger release from the 2014 ha rve st ne xt Aug ust—it wa s a bumper year for Yamhill County cider apples. MATTHEW KORFHAGE. 4. Atlas Apricot If you want to make a great apricot cider, you’re going to need some peaches. That’s what Atlas Cider’s Dan McCoy learned after blending a few batches of apricot cider that didn’t have the punch he wanted. It was a little too tart, and not a lot of the apricots were shining through. So, last summer, Atlas added a touch of fresh Yakima peach juice—Eureka! The newer, improved Atlas Apricot is a relatively dry blend, with the added sweetness of the apricot/peach aroma hiding the tartness of the Hood River apples. It is a strong, semi-sweet perno. 4 fume of a beverage, and at 6.2 percent ABV, it’s equally suited for a snifter or pint glass. It has the comforting aroma of a morning hug from grandma, and the bite of the cocktail grandpa would sneak you sips of as he drank it with breakfast. In fact, Joe Leineweber, who wears production, sales and promotion hats at Atlas says, “We jokingly refer to Apricot here as our mimosa—it goes very well with brunch.” Blending is the name of the game when it comes to adjusting non-apple fruits to make cider that rolls on the tongue, McCoy says, and he sees new blends as an extension of the rabid craft beer exploration in the United States. “You are seeing everyone getting more creative; I think of cider as another extension of that,” he says. “One thing that excited me most about cider when we started two years ago was playing around with some of the other fruit varieties that grow in the Northwest.” PARKER HALL.

thE big applE

cidEr, cidrE, sidra A PRimeR on tHe CiDeR StyleS of tHe olD woRlD. By T y l e r H u r s T

2 4 3 -2 1 2 2

While America’s founding fathers drank the stuff for breakfast, American cider makers and the domestic market, thanks to Prohibition, lag far behind the Europeans. Originally used to create clean, low-alcohol beverages similar to kombucha, fermented apples produced for social imbibing can be traced back to before the Norman Conquest of England in 1066. Apple trees grown in U.K., French and Spanish orchards have passed on specific traits to their apples, giving ciders from each region unique flavors. The world’s three great cider traditions have also developed fermenting techniques to accentuate those qualities.

English

Often thought to be the most traditional method of cider making, the English technique produces a still, dry cider that’s rich with tannins that heavily coat the tongue. It’s the most apple-y of the three, thanks to its reliance on tannin-heavy apple varieties. Produced in England, Wales and Northern Ireland, English cider is required by U.K. law to be at least 35 percent apple juice or concentrate (in the U.S., it’s 50 percent), but craft cider makers are heavily influenced by the Campaign for Real Ale’s recommendation of 90 percent. It’s not always served warm or at room temperature, but is most enjoyable when not ice cold. Great because: Balanced sweetness; feels like something you could drink in an old, stone blacksmith’s shop. Haters say: Too dry; tastes like licking apple skin. try tHese:

no. 5

5. Rack & Cloth Stony Pig Stony Pig isn’t a showstopper. It won’t wow you with hops or odd fruits. There are no esters of exotic yeasts, and there’s just a touch of vanilla borne of barrel-aging in oak. No, the flagship cider from Mosier’s Rack & Cloth is an admirably dry and quaffable drop. It’s a straightforward but remarkably clean-lined cider that’s well-suited to the bare-bones menu at this little pizza and salad spot outside Hood River. Stony Pig is made with organic Jonagold, Winesap and wild crabapples from the fruit loop, some of which are aged on oak while others ferment in stainless steel. At 6.9 percent ABV, it’s relatively strong—and dangerous given the smoothness. Stony Pig won the People’s Choice award at last year’s Hood River Hard-Pressed Cider Fest, and it’s easy to see why. This is a crisp, acidic cider that draws from Old World ideas without mimicking them in any obvious way. We just wish we could get it everyday—sadly, there’s a very limited production that’s mostly sold directly from a tiny house overlooking the Columbia Gorge. MARTIN CIZMAR.

Henney’s Dr y Cider, $6 This is the stuff English football fans must drink before a riot. The bone-dry Henney’s coats your tongue with a chalky tannic grip from the first taste, which seems to allow the rest of the bottle to more easily slip-slide into your belly. My God, it’s good. Imagine if Strongbow were less watery, tasted like better apples, and had a more pronounced yeast character. Henney’s takes everything we like about clean English cider and sharpens the resolution. A slightly sour bitterness, stemming from the outright dryness of the stuff, jolts your mind to attention at first, but smooths out over time. And after a few pints, the pale yellow liquid practically sings the drinking songs for you. PARKER HALL. Bur row Hill Kingston Black , $25 Kingston black apples are known for their distinctive bitter-sharp juice, which leads to a full-bodied cider that doesn’t need to be blended. This Champagne-like cider has English characteristics, but takes the beverage from the pub and into the white-tableclothed dining room. It has more body than most, due to the variety of the fruit and the 8 percent ABV that it’s fermented to, but Burrow Hill’s Kingston Black still focuses its attention on clean tannic flavor, one that sings effervescent in the glass. It’s better suited to special cont. on page 16 Willamette Week FEBRUARY 25, 2015 wweek.com

THE BIG APPLE

CONT.

occasions than Henney’s, but what it lacks in drinkability it quickly makes up for in subtlety of f lavor that allows you to peel into a new, magically nuanced layer with every slow sip. PARKER HALL.

tannic to start, it reminds of caramel apples without any sickly sweetness. Drink this deliberately, as the bubbles dance down the throat when swallowed slowly. You should probably pair it with fancy cheese. TYLER HURST.

FRENCH

SPANISH

French methods, which are heavily influenced by the nation’s wine culture, produce a more aggressive, usually carbonated quaff that will remind you of the best vinegar your nose has ever sniffed. This style is often thought as the most flavorful—French law requires ciders to be made from apples only—as the rich soil and climate bring out fruitish and nutty notes. Usually served cold, this style, to no one’s surprise, will remind you of Champagne. GREAT BECAUSE: Fruity effervescence turns up the nose for a perfect French experience. HATERS SAY: Tastes like vinegar without the bite. TRY THESE:

Etienne Dupont Cidré Brut De Normandie, $11 Etienne Dupont Cidré stands apart from its French brethren because of its light, residual sweetness, which creates a full-bodied apple flavor. It’s semi-dry instead of bone-dry, and that extra hint of sugar gives it an eminently more quaffable quality than the others. Made from apples grown on a 74-acre estate, this is cider for the wine glass, but the Etienne Dupont flirts with the pint so well that you might end up bogarting the whole bottle, one stemmed pour at a time. PARKER HALL. Eric Bordelet Sidre Brut Tendre, $17 Known as one of the world’s top cider makers, Bordelet’s low-ABV offerings might be mistaken as delicate, apple-tinged fruit juice at first sip. Softly

The more tart Spanish style, usually fermented with wild yeast, is known for its acidic, musty and somewhat Band-Aid aroma that gives way to a tannic, dry finish that you’ll taste in your burps later. Easily the most complex of the three, probably due to its yeasts, Spanish cider should be approached with care. GREAT BECAUSE: You’ll sniff what a gladiator did while competing in the Colosseum. HATERS SAY: Tastes like chewing on straw while smelling a Band-Aid. TRY THESE:

Petritegi, $11 One of the great Basque houses, Petritegi is as essential as it is ubiquitous among shops that carry any form of Spanish elixir. The color of daisies on an overcast day, Petritegi is yeast, funk and oak made into unbearable lightness and tart sharpness. Which is to say, it is terrific, and it is not for everyone. Savor it alone, and be happy. MATTHEW KORFHAGE. Isastegi, $11 Isastegi is Peritegi’s counterpoint, an equally widely available Basque from the same region. It’s a honey-straw concoction, lightly tart and dry to the point of pinching, with complex and oaky notes. It is almost airy compared to most other Basque ciders—compare especially the funky, tropical juiciness and yeastiness of Sarasola, available at Bushwhacker—which makes it a perfect summertime share, paired with stinky cheese and the smell of grass. MATTHEW KORFHAGE.

NEW WORLD CIDERS THAT DRINK LIKE OLD WORLD CIDERS Virtue Sidra de Nava When he sold Goose Island brewing to Anheuser-Busch, Greg Hall knew he’d have to stay out of beer for a while. He had a great fallback: traditional Old World ciders made with apples grown in the lush orchards of southwest Michigan. Everything that Virtue makes is good—and available in Portland—but the company’s Sidra de Nava is the one to try. Made in the style of Asturias, where most of Spain’s cider comes from, this bottled offering is crisply lemony, with a refreshing bite of tartness and the clean, dry finish you’d expect from a well-made Teutonic Riesling. MARTIN CIZMAR. Troy California Hard Cider Stanford graduate Troy Carter tasted almost every cider on the West Coast, and most from the United States, and was not satisfied with what he discovered. So he decided to make it himself. He rode around California on his motorcycle until he found the raw materials he was looking for: heirloom apples, from trees up to 130 years old. That fruit is pressed, then wild fermented and aged for a year in pinot noir barrels, a trifecta of Old World cider technique. The cider is dry, lightly carbonated, and semi-cloudy with a bit of sediment. The taste is extremely nuanced and complex—on certain 16

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sips it smacks tart and herbal, on others fruity and round. The world’s greatest ciders, like Troy, easily rival the best in their wine counterparts, and this one finds itself equally well-suited to long, multicourse meals as it is to thoughtful sips at the end of a long day. PARKER HALL. E.Z. Orchards 2009 Cidre Ripe apple aroma mixed with effervescent lightness, in an Oregon-produced French-style cider. E.Z. Orchards, like many American farm producers, is relatively new to traditional cidre production, with just over 10 years’ experience. But the Zielinski family knows its fruit—they have been growing apples for three generations. That, it turns out, gives them a big leg up on the competition. Made with nine varieties of bittersweet French, English and early American apples, the Zielinskis’ cidre aims for the medicinal, Champagne-glass cider enthusiast, who likes the taste of ripe fruit, terroir, and small helpings of cinnamon and nutmeg in his glass, and who pairs his cidre with fine meat and cheese. This is the New World gone old-school, and it was the best French-style cider—including the actual French ones—that we tasted this year. PARKER HALL.

cont.

the big apple BUSHWHACKER CIDER | EMMA BROWNE

pickin’ pubs WHeRe to go foR dRaft and Bottled cideRS. Reverend nat’s Hard cider

1813 NE 2nd Ave., 567-2221, reverendnatshardcider.com. The hardwooded taproom at Nat’s runs eight taps with only his own product, which is wide-ranging enough you’d never know it all came from the same place, from hopped apricot to ginger tonic to apples-only Revival cider to a crazily multihopped collaboration with Barley Brown’s, Envy, that is our Cider of the Year (page TK). Of all the ciders in town or maybe even the country, Reverend Nat’s are by far the most experimental, with a beefheart cider in his past and rumors he’s fiddling with…sardines.

Pix Patisserie

2225 E Burnside St., 971-271-7166, pixpatisserie.myshopify.com. When Portland macaron doyenne Cheryl Wakerhauser installed Bar Vivant on a dry stretch of lowish East Burnside, it was an odd case of border war between Spanish tapas and French pastries. It’s been a felicitous marriage, so far. While her bar is best known for that many-page Champagne list that’s gotten national recognition, Pix also hosts Xtotx! Spanish cider parties in which the Old World cider flows from the cask, while a well-curated list of both French and Spanish cider flows year-round from bottles.

St. Honoré Boulangerie

3333 SE Division St., 971-279-4433, sainthonorebakery.com. When the excellent Normandy-style bakery moved onto food-happy Division, it did so with 10 cider taps. That number has dwindled to six, alongside four beers. But for now, that still places it among the most extensive draft cider selections in town. They’re mostly local at the moment, but have extended to Asturian and French ciders.

civic taproom & Bottle Shop

621 SW 19th Ave., 477-4621, thecivictaproom.com. While a lot of bottle shops from Apex to Bailey’s will make a point of scooting a cider or two somewhere among their tap lists, the spartan Civic Taproom places cider front and center as its first six taps. They’re not always the most adventurous selections—hopped ciders, pear ciders,

uPcoMing cideR eventS. thursday, Feb. 26 Cider Riot Tap Takeover Civic Taproom, 621 SW 19th Ave., thecivictaproom.com. Abram Goldman-Armstrong’s garage cidery will take over a bar larger than his cidery. Expect the hopped Everybody Pogo, the flagship Burncider (including a new barrel-aged version), Never Give an Inch blackberry and the Plastic Paddy, among others.

semi-sweet—but they know their audience. For Timbers fans, Cider Riot’s Everybody Pogo, made by team booster Abe Goldman-Armstrong, takes up tap residence during soccer season.

Belmont Station

4500 SE Stark St., 232-8538, belmont-station.com. Co-owned by renowned beer writer Lisa Morrison, Belmont Station is home to 1,200 bottles, an always interesting tap list, and a great back patio. For ciders, the tap list usually just pulls one or two interesting seasonal ciders out for a quaff—recently Nat’s sour cherry—but the real wealth is in the bottles. The shop boasts more than 100, with a heavy focus on local apple quaffs.

Bushwhacker cider

1212-D SE Powell Blvd., 445-0577, bushwhackercider.com. America’s first cider-only pub is still Portland’s most voluminously stocked, a boxy building in Brooklyn made cheerily domestic within, with eight taps that run from Spanish to a pile of Northwesterns, including Bushwhacker’s own somewhat inconsistent house product. Try five ciders on a $7 taster tray. Oh, and keep your eyes peeled for a much-delayed second Bushwhacker spot in northeasterly Woodlawn in 2015, which is slated for 15 taps, dart games and a lot of space to sit—more than 2,000 square feet.

Hi-Wheel Wine & Mead

6719 NE 18th Ave., 928-5723, hiwheelwines.com. It is not wine. It is not mead. It is not quite cider, either.

saturday, March 21 Cider Rite of Spring The Tiffany Center, 1410 SW Morrison St. Noon-5 pm. $25 advance, $30 door. Thirty cider makers from across the Northwest—or the Southwest, if we’re talking about the British Columbians who come down—at the tony Tiffany Center. Your chance to sample E.Z. Orchards without committing to a $30 bottle, see what McMenamins is up to at Edgefield, and sample little-seen labels like Olympia’s Whitewood.

saturday, april 4 Hophouse CiderFest Tented parking lot at Fifteenth Avenue Hophouse, 1517 NE Brazee St. 2-8 pm. $12, includes glass and eight tokens. Additional tokens $1. It’s basically a big neighborhood block party, but with many cideries pouring.

Hi-Wheel makes “fizzy wines”—a fermented, carbonated fruit juice that is closest to an artisanal take on wine cooler, in flavors like lavender-lemon and pomegranatehabanero. What are they like? They are like spiked, bittersweet, highly effervescent sodas. Get the Death Wish Bunny, which mixes carrot, chai, ginger and lemon for a surprisingly balanced drink.

Prospect Bottleshop & Bar

1611 NE Killingsworth St., 971-229-0422. This tiny, spartan bottle shop and bar on Killingsworth has a better Basque, French and Asturian cider selection than anywhere short of Bushwhacker. So uncork your sedimented bottle of yeasty Petritegi for $11 to split, and drink it with killer brisket tacos from La Taq next door.

Portland cider co.

275 S Beavercreek Road, Suite 149, Oregon City, 908-7654, portlandcider.com. Decked out in wall-to-wall cedar, Portland Cider Co.’s Oregon City taproom is possibly the most mothproof bar on the planet, with seven house ciders on tap, from a hopped cider to a cinnamony holiday cider laced with a little cayenne. Eventually, this’ll mostly just be a stopover en route to Willamette Falls: This spring, the cidery is opening a huge 28-tap cider house (up from its original plans for 24) at 3638 SE Hawthorne Blvd., with eight taps of its own and room for up to 20 more mostly local ciders. This taproom will also be a mostly cedar production, with most of the furniture made in the basement of Portland Cider coowner Jeff Smith. MATTHEW KORFHAGE.

org/hard-pressed-cider-fest. Noon-6 pm. $5. Another $5 for a glass and four drink tokens. The Hood River fruit loop is home to 440 orchardists and nine cideries.

Friday-saturday, June 19-20 Cider Summit NW

Hood River Hard-Pressed Cider Fest

The Fields Neighborhood Park, Northwest 10th Avenue and Lovejoy Street, cidersummitnw. com. $25-$30, includes glass and eight cider tastes.

3315 Stadelman Drive, Hood River, 541-386-2000, hoodriver.

A big ol’ cider party full of lots of cider, put on by the Northwest

saturday, april 11

Cider Association. One hundred forty different ciders expected.

thursday-sunday, June 18-28 Oregon Cider Week 2015 A week of cider-themed events across the state.

saturday-sunday, Oc t. 10-11 NW Ciderfest nwciderfest.org. For the second year, this large festival brings cider to Pioneer Square.

Willamette Week FEBRUARY 25, 2015 wweek.com

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

New Patient $74 Exam and X-rays Dr. Viseh Sundberg

New Patient $49 Basic Cleaning

(exam required)

Children’s $59 Exam & Cleaning

(new patients age 12 and under)

Professional

$99 Home

Whitening

(exam required)

(503) 546-9079 222 NW 10th Avenue www.sundbergdentistry.com

Willamette Week FEBRUARY 25, 2015 wweek.com

STREET

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Willamette Week FEBRUARY 25, 2015 wweek.com

DRANK: The time we drank 25 old beers. MUSIC: “Black Pussy” a strangely controversial name. BAR REVIEW: Tap this, tap that, untap it, retap it. MOVIES: Cronenberg’s first U.S. film shoot

23 25 31 39

SCOOP I LIKE YOU, BUT YOU’RE CRAZY.

FAC E B O O K .C O M / M O S D E F

nothing under the kilt: Sherwood ’s Two Kilts Brewing Company caused a stir earlier this month when it decided against expanding into a 11,000-square-foot facility in Hillsboro. Signs on the downtown Hillsboro building that read “Two Kilts: Coming January 2015” had been conspicuously missing for a few weeks. In a Valentine’s Day Facebook post, the brewery wrote: “Hillsboro is not going to happen. Sorry! Staying in the ’Wood!” The brewery later stated plans were halted due to repair and financing issues with the building, and apologized for the Facebook post. “I think you underestimate the stir you caused in Hillsboro,” posted one local quoted in the Hillsboro Tribune. “There were a great many people excited about the prospect of a brewpub downtown.… I do think your fan base here deserves more than a one-line end to the story.” For a look inside the ’Wood location of Two Kilts, pick up a copy of WW’s 2015 Beer Guide, out today and available inside copies in the central city and at better Portland beer bars and bottle shops. mos brains: Music festival season is upon us. Though the Portland area’s most anticipated multiday concerts— MusicfestNW and Project Pabst—have yet to announce their lineups, a few secondary fests have rolled out their first waves of acts. Soul’d Out isn’t a proper music festival per se, more like a series of shows falling under the loose banner of soul. But this year’s Yasiin beY installment, taking place April 14-20, includes one of the most unique bills you’re likely to see anywhere in town: singer-rapper Yasiin Bey (aka Mos Def), fronting D.C. hardcore legends Bad Brains for the first time anywhere. Other scheduled performers include Charles Bradley, hip-hop jazzers BadBadNotGood, blues legend CeDell Davis and second-generation African guitar master Vieux Farka Touré. The increasingly popular EDM gathering What the Festival, meanwhile, returns to the woods near the gorge June 19-22, topped by Big Gigantic, Odesza and Griz. shaCking uP: Cacklack’s Hot Chicken Shack has applied for a beer license to serve its hot fried chicken in a brick-andmortar eatery next to the Petco store in Bethany Heights. >> Northeast bike shop Cyclepath plans to install a pair of beer taps—one of which will be eternally dedicated to bike team sponsor Ex Novo. According to Mitch Lomacz at the shop, it’ll have eight barstools and a TV showing bike races for riders looking to relax before or after a ride starting at the shop. sCreen time: In case you missed it while reading the masthead on page 3, WW has a new staffer. Enid Spitz is our new stage and screen editor. The former arts and culture intern’s byline has previously appeared in these pages on stories about jugging, pay phones, bagels, wine and, especially, yoga. (Previous stage and screen editor Rebecca Jacobson is “moving to Germany.”) faster food: There are still a few spots left for teams at this Sunday’s Cartathlon V, the Super Bowl of area foodthemed races. Registration is $60 and gets your team of five one food item each, a two-hour TriMet pass and an excuse to dress up and run around town like a crazy person. More info at wweek.com/cartathlonv. 20

Willamette Week FEBRUARY 25, 2015 wweek.com

HEADOUT

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

WEDNESDAY FEB. 25 MILK MUSIC [HEAVY VIBES] Milk Music’s grungy rock is mired in murk, owing to the fact that each release so far has been recorded straight to tape. But within the mud, among the molten guitar solos and frontman Alex Coxen’s incomprehensible yowling, there’s plenty of melody to hold on to. It’s pretty heavy, too. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12. 21+.

THURSDAY FEB. 26 ANDER MONSON [BOOKS] We’ve all stumbled upon notes scribbled in book margins, from witty observations to dirty jokes. Ander Monson’s new collection of essays, Letter to a Future Lover, explores the phenomenon of these human traces found in university libraries, friends’ bookshelves and even a KGB prison library. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

FRIDAY FEB. 27 OF BEN KUBANY PHOTOS COURTESY

MARK FELL [HOUSE] Fell is a dance-music iconoclast who’s been spinning highbrow house since long before “EDM” meant anything. He’s also created several art installations, with names like Untitled Study for Computer Controlled Laser, Stroboscope and Linn LM-1. He won’t be installing anything in YU’s downstairs gallery, but his warm, deconstructed rhythms will certainly disrupt the crowd upstairs. Yale Union, 800 SE 10th Ave., 236-7996. 9 pm. $12. 21+.

BY M AT T H E W S I N G E R

msinger@wweek.com

Until the 2013 NBA Finals, I’d never seen anyone I know cry over sports. And then came Game 7 of the series between the San Antonio Spurs and the Miami Heat. After Tim Duncan uncharacteristically missed a chip shot in the final moments, sealing back-to-back titles for the Heat, I turned to San Antonio native and WW digital director Ben Kubany. It was like that scene from The Simpsons where Bart watches Lisa break Ralph Wiggum’s heart in slow motion. Kubany broke down sobbing in a crowded bar, surrounded by his co-workers. That’s how deeply he cared. As much as the Spurs are a model of smallmarket success, Kubany is a paragon of true sports fandom. He’s gone to every Spurs game in Portland since 2006, including last year’s playoffs. He has no shame wearing a Spurs bucket hat with a Kawhi Leonard Christmas sweater to work. He’s been to coach Gregg Popovich’s Rex Hill winery in Newberg and cradled a bottle from Pop’s personal collection. Kubany is, safe to say, the biggest Spurs fan in Oregon. And with the Blazers, who play the Spurs tonight, hoping to one day mimic their success, Rip City can learn a lot from him.

WW: WHAT’S YOUR EARLIEST SPURS MEMORY?

Ben Kubany: It was definitely seeing them against the Pistons in David Robinson’s first year [198990]. My memory is hazy, but that’s partly because the arena itself was pretty hazy. The lighting was kind of dark, and it felt more like a high-school gym. I remember David Robinson’s socks. He used to do this weird double roll.

WHAT’S BEEN THE MOST SATISFYING CHAMPIONSHIP RUN?

It was 2005, against the Pistons, just because that was the most hard-fought. Robert Horry, in the fourth quarter of Game 5, hit three big 3s. And that dunk! That’s one of my top Spurs memories.

WAS 2013 THE MOST CRUSHING DEFEAT?

The lowest of the low was when the Spurs lost to the Thunder in the 2012 Western Conference Finals. That was the last year of Duncan’s contract. It was like the family pet getting run over by a car.

WHAT’S YOUR MOST CHERISHED PIECE OF MEMORABILIA?

I have a ’90s “fiesta era” Spurs nylon tracksuit. It’s green, pink and yellow with the Spurs logo. The other thing that’s back home somewhere—my sister, who was in kindergarten at the time, wrote a letter to David Robinson before my birthday, asking if he would sign and send a photo to me for my birthday, and he did.

WHAT SPURS PLAYER DO YOU IDENTIFY WITH THE MOST?

It would be easy to say Matt Bonner, because his shot is like mine, in that it’s like a high-school physics catapult trial. But I really respect Kawhi Leonard. He just TCB’s on the court. I think the only time I’ve seen him celebrate was when they won last year, and it felt like he had to force himself to celebrate publicly.

WHAT LIFE LESSONS HAVE YOU’VE TAKEN FROM THE SPURS?

Get the right people on the bus, trust the process, and make everything a metaphor. GO: The Blazers play the Spurs at Moda Center, 1 N Center Court St., on Wednesday, Feb. 25. 7:30 pm. See rosequarter.com for tickets.

HAILEY NISWANGER [SOUL JAZZ] Hailey Niswanger may be the next Portlander to follow Esperanza Spalding’s lead. For this show, the young saxophonist and composer will be backed by her funk-fueled, ’70s-style PDX Soul band, featuring some of Portland’s top players. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm. $15 general admission, $20 reserved. Under 21 permitted before 9:30 pm.

SATURDAY FEB. 28 BREWDISTILLERY FEST [BOOZE] StormBreaker loves liquorbeer pairings. They’ll take that love large with this fest: 18 brewers, 12 distillers and a whole host of pairings. Distillers such as Clear Creek, Stone Barn and Stein will be on hand to match up with Hair of the Dog, the Commons and Upright. StormBreaker Brewing, 832 N Beech St., 971-703-4516. Noon-10 pm. $20 advance, $25 day of event. 21+.

TUESDAY MARCH 3 JEFF BAKER [BOOKS] Jeﬀ Baker, who has written for The Oregonian for 20 years and currently serves as books editor, shares wisdom on the “arcane art” of book reviews at the Willamette Writers meeting. The Old Church, 1422 SW 11th Ave., 222-2031. 7 pm. $10.

Willamette Week FEBRUARY 25, 2015 wweek.com

FOOD & DRINK = WW Pick.

DRANK

Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek. com. See page 3 for submission instructions.

25 BOTTLES OF BEER ON THE WALL THE ULTIMATE VERTICAL TASTING OF HENRY WEINHARD’S PRIVATE RESERVE.

WEDNESDAY, FEB. 25 Cascade Tart Fruit Fest

The Cascade Brewing Barrel House is often one of the ﬁrst stops for beer tourists in town, but for a week you get to be a tourist at home. The Barrel House will have one-oﬀs, vintage blends and limited-availability tarts on tap all week, from Candied Cantaloupe to Shrieking Violet to goji berry and date beers. No admission: Just soak up the bounty. Cascade Brewing Barrel House, 939 SE Belmont St., 265-8603. Noon. Through March 2.

SATURDAY, FEB. 28 Brewstillery Festival

One of the best features at StormBreaker is the liquor-beer pairing, and here they take that love large: 18 brewers, 12 distillers and a bunch of pairings. Clear Creek, Stone Barn and the rye-makers at Stein will be on hand to match up with such local brewing stalwarts as Hair of the Dog, the Commons and Upright. Not a festival to miss. StormBreaker Brewing, 832 N Beech St., 971-703-4516. $20-$25 for 10 tickets.

BY PA R KER HA LL and

“That actually has something that smells like a hop, but probably isn’t. I am now scared, because theoretically this should be the best one...” “It’s got a weird, watery limeness that I can’t put my ﬁnger on, like a really old Bud Light Lime.” “This one’s a little sweeter. I am surprised how diﬀerent these two are, actually.” “It’s a little better balanced, like a horribly old Oktoberfest.” “This one actually smells like beer, and it has something that might, a long time ago, have been a bubble.”

SUNDAY, MARCH 1

243-2122

“Robust, but in a foreboding sort of way.”

“It tastes like drain water that just rolled over a dead squirrel.” “To me, it is more like the last little bit of the pool water left before it is drained completely.” “Do you ever drink out of a water bottle that you haven’t washed in a long time?” “Or smell a growler that you didn’t clean very well and then put the cap back on for a few months?”

“I can’t even swallow this.” “This one is kinda good, maybe there is a hump here that I don’t understand.” “No, this is not good. Six was uniquely bad, but this is still terrible.”

“This one tastes like Pixy Stix that have been dissolved in water and left outside for a couple weeks.”

“What was I thinking?” “We’ve got to get out of here. Looking at these bottles is giving me a cold sweat.”

“Like sweet, watery urine.”

“In hindsight, I actually agree that it is turning a corner. It’s still gross, it’s just...”

“This is what a rotten raisin would taste like.”

“Do you think they just cared more in the beginning?”

“How is that possible? Raisins don’t really rot...”

“I think whoever was storing these cared more in the beginning. Like, he stored them in a fridge for a while or something, then gave up. That man was an idiot. Who sells these for so cheap after keeping them for so long?”

“To me, it tastes leather-boot-ﬁltered.”

4. Canteen

2816 SE Stark St., 922-1858, canteenpdx.com. The little black box on Stark Street may be known for kale smoothies, but its vegan bowls are the real prize, with ingredients like house kimchee or baked maple tempeh. $.

“This tastes like a ﬂat regular beer, just ﬂat.” “I feel like I am drinking High Life, just very oxidized.”

“That tastes a little bit like vomit water, but that could just be my mouth.” “Please don’t talk about vomit.”

“It’s creepily soft, like a wet Muppet.” “It tastes like weird oﬀ-brand toﬀee you’d get from Grandma.”

“This one actually has a fruity nose, almost Belgian.”

5. Taste of Poland

Willamette Week FEBRUARY 25, 2015 wweek.com

“I honestly think they really did care about the ﬁrst couple more than the rest.”

“It tastes like licking on a ear of corn. Not eating it, just licking it.” “If they made milk out of corn, and then added water to that, this is what I think that would taste like.”

KYLE KEY

8145 SE 82nd Ave., 863-6924, cartlandia.com. There’s a dearth of Polish food in Portland—this new cart from the farmers market fave ﬁxes that with scratch-made kielbasa and pierogi. $.

“Not as bad?”

“Oddly hard to get open. Those might be bubbles. I seriously almost vomited again.”

“It does have several bubbles. And it seems darker than the others.”

3. Boke Bowl West

1200 NW 18th Ave., 719-5698, bokebowl.com/dimsum. Boke Bowl does dim sum, with some dishes a bit like soul food. Skip the chicken and waﬄes, and get the fried chicken. $$.

“Not as bad.”

“This one is…still shitty beer water. I clearly hate myself.”

“This is unnaturally bubbly. Also, I am starting to worry about my stomach.”

1852 SE Hawthorne Blvd., 971-340-9734, farinabakery.com. Farina’s macarons are by far the best in town, sure, but have you tried the brownie with ganache? The coconutty, jammy bird’s nest cookie? You have much to do. $.

“It tastes like shitty oﬀ-brand corn chips in water. At this point, it is hard to speak about these. All I can see is the ﬁnish line.”

“Let’s power through this shit.”

“You’re right, this tastes like it was once good.”

2. Farina Bakery

[Throws up in his mouth] “It’s really getting hard.”

“This tastes like that PIFF movie I reviewed, Corn Island.”

“Tastes kinda like a Rogue beer.”

3707 NE Fremont St., 719-7195, ﬁreandstonepdx.com. After slight patchiness, Fire and Stone is coming beautifully into focus with Toscano salami pie and a moist leg of lamb resting on a bed of bulbs. $$.

“Ugh.”

“Why is this the most carbonated of them all? I am not sure if I like beer anymore.”

“This one is by far the grossest smelling. Taylor Swift was wrong: 22 is horrible, and it feels horrible in my stomach, too.”

1. Fire and Stone

“Like licking Ron Burgundy’s mustache on a hot day.” “At this point, all I want to do is stop. I feel like this is making me sick.”

(Jan. 13, 1978)

“It’s like turpentine. I don’t understand why this one is so much worse.”

Where to eat this week.

“It’s like the pool of water that a cigar butt has been ﬂoating in.”

“It tastes like the kind of beer you would dig up on a beach if you got shipwrecked.”

“It smells kind of like a rye beer, and it tastes like a wet cornﬁeld.”

Cartathlon V

Dress up funny, eat funny food, go on a treasure hunt with physical challenges and riddles. Teams of five compete in a city-traipsing food cart challenge for first place finish, best team name, and best team costume. Grand Central Bowl, 808 SE Morrison St., register at wweek.com/cartathlonv. 12:30 pm registration, 2 pm race. $60 for team of five.

MA RTIN CIZMA R

Today’s Henry Weinhard’s Private Reserve is not craft beer. Made by MillerCoors at an undisclosed location, the bottles of “Northwest-style lager” now shipped across the country aren’t anything like the beer that legendary beer writer Fred Eckhardt called “perhaps the best of its class in the United States” back in 1984. We got our hands on the first 25 numbered bottlings, roughly spanning the years 1977 to ’79. To toast our annual Beer Guide, we decided to sample all 25 to see how they’ve held up. There was only a little vomit—here’s a transcription of our tasting, from newest to oldest.

“It still smells like corn and Scotch.” “It still kinda tastes like malt water.”

FOOD & DRINK JENNIFER PLITZKO

FILL ’ER UP A SURVEY OF PORTLAND’S GAS-STATION FOOD SPOTS. BY M AT T H E W KO R F H AGE mkorfhage@wweek.com

In the heartland, where the towns that survive are built along the great and open freeway, no gas station is just a gas station. It’s the town square, the place everybody goes, home to fresh pie and stale coffee and an everchanging cast of drivers who swing through once every week or so on their routes. In a work-strong country, it is stunning efficiency: Why not get your fuel at the same place as your car? Portland doesn’t have many of these places—Milwaukie’s Bomber restaurant has ripped out not only the gas tanks, but the plane that used to float majestically over 99E—yet we stopped by our favorite gas-station restaurants in the city to get in touch with our roots. Signal Station Pizza 8302 N Lombard St., 286-2257, signalstationpizza.com. St. Johns’ Signal Station Pizza is less a gas-station restaurant than a lovely homage to one. In the cramped ex-gift shop of a decommissioned fuel stop, Signal Station is bedecked on its exterior with the bygone glam of the roadside 1940s, while its interior offers the food of a county fair gone unaccountably twee. Artichokeheart pizza by the slice ($4.10) sits on pagoda racks near bakery cookies and Blue Bunny ice cream by the scoop ($2.25). As in all of blue-collar Portland, the full-sized specialty pies ($10-$22) are often creative beneath the surface, with sauces ranging among garlic, pesto, bianca and barbecue. Signal Station doesn’t make Portland’s best pizza crust by a long shot—they’re more into a heaped-up variety of toppings—but even if you live next door it feels like tourism to a forgotten age. Filled mostly with high school and college kids on dates, it’s the intersection of beach town and small town at the edge of Portland.

DONNIE VERCHER OF DADDY D’S

Tammy’s Pho 3323 NE Killingsworth St., 282-2077. Oh, snap. This place is a true find. Along with serviceable egg rolls and teriyaki, this 76 station beer mart is home, every weekday before 4 pm, to its operators’ sharp-salty take on pho ($6.50). Tack on the food order to your unleaded, and get a bowl of fresh-cooked beef flank and vermicelli in broth teeming with onions—a soup less umami-rich than it is floral with anise and scallion. Order it to go, and you can warm yourself on the road by sipping from its lidded plastic cup like it’s a thermos full of Lipton. You’ll feel comfortably at home even while driving far, far away. Bonnie’s Burger 1111 NW 21st Ave., 224-8438. Bonnie’s is a sparse, yellow-painted takeout spot inside an Astro station that serves food’s version of Esperanto: a culturally agnostic array of burgers, grinders, gyros, udon, breakfast burritos, omelets and bento. All are welcome. Everything is served. There’s Fox News on the TV, if it isn’t Ellen DeGeneres. The teriyaki is a little rubbery, maybe, and so are the yakisoba and gyoza. But the curried rice is a gracious comfort, while a Western burger heaps with onion rings, bacon, sauce, veggies and a double stack of meat patties, all priced at a mere $7.95 with a hilariously wet bag of fries to boot. You don’t

SIGNAL STATION

CASCADE GRILL AT JUBITZ

really taste it, but it fills you up, just like the pumps outside. What elegance of purpose. Daddy D’s BBQ 7204 E 4th Plain Blvd., Vancouver, 360-892-4418, daddydsbbq.com. Widely acknowledged as the king of gasstation barbecue in the wilds of Vancouver, Donnie Vercher of Lake Charles, La., presides over a cherry-wood smoker early each morning alongside the Shell station, cooking up apple-rubbed ribs ($14.99 for a half rack), or brisket he chops and stews into thin, tangy sauce. Sometimes he’ll round up some gator, sometimes some boudin sausage. But no matter what, he’ll tell you a story or six over his lunch counter inside the gas-station mini-mart. Treat it like a full-service truck stop and eat in. You’ll feel like you’ve gone somewhere. Hollywood Food Mart & Gas 1510 NE 42nd Ave., 287-0550. Every mini-mart has its hot-rollered tacos and dogs. But the Hollywood Food Mart, at the Halsey Street 76 station, is the apotheosis of the form, distinguished not for quality but in the sheer shameless quantity displayed in its huge heated case. At prices that never crest $1.25, you get hot dogs, corn dogs, chicken strips, pizza rolls, multiple varieties of burritos for breakfast and supper, and pockets that are always hot

alongside that country-store mainstay, the bag of jojos. Load up on junk and feed your friends for $10. The guy behind the register will only laugh at you a little for what you’re doing to yourself. Jubitz 10350 N Vancouver Way, 345-0300, ponderosalounge.com. Jubitz, on the outskirts of Portland, is a completely self-sufficient village for redstate truckers who’d rather treat weirdo Portland like a flyover. The local-owned truck-fueling giant hosts a cinema, a FedEx office, a clinic, three delis, multiple arcades, a big ol’ diner called Cascade Grill, an outpost of Bernie’s shoe repair and, of course, the Ponderosa, a boots-up country bar staffed with a fleet of women in jeans and cowboy hats, serving “one-pound margaritas,” a drink called Angry Balls that mixes Fireball and Angry Orchard, and an arterytightening Pondo Burger with a half-pound of beef stacked with onion rings, barbecue sauce and a two strips of bacon ($10.95). Those hankering for homestyle can get ribs, meatloaf, and spaghetti and meatballs. Late nights, the place packs with some of Portland’s most raucous live country shows and swing dancing, including occasional afterparties by touring stars. Jubitz, like Georgia, is a state of mind. I leave a little piece of me there every time I go.

Springwater Farm

Wild & Exotic Mushrooms

Cuisine of Northern China 3724 NE Broadway (503) 287-0331

9-2 Sat Portland Farmer’s Market

Nettles in Season

fetcheyewear.com | 877.274.0410

FOR A 15% DISCOUNT, APPLY COUPON CODE WWEEK15 TO YOUR ONLINE ORDER Willamette Week FEBRUARY 25, 2015 wweek.com

Willamette Week FEBRUARY 25, 2015 wweek.com

feb. 25–March 3 PROFILE

= WW Pick. Highly recommended.

JA L E H PA D R O N

MUSIC

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, FEB. 25 Milk Music, the Woolen Men

[HEAVY VIBES] When Milk Music first broke in 2010, nary an article was written about it that didn’t include the word “mysterious.” The musicians self-released their record, they had no website, and they were from Olympia. Of course, if you’re from Portland, Olympia is no mystery—it’s just where the kid that smoked the most pot at your high school ended up settling. But there is a certain murkiness to the band’s sound, owing to the fact that each release so far—the Beyond Living EP in 2010 and the 2013 fulllength, Cruise Your Illusion—has been recorded straight to tape. You can hear it in occasional warbles and panning lapses in the tracks and, of course, in the ineffable variations in frequency that distinguish the “lo-fi” from the “mid-fi.” But within the mud, among the molten guitar solos and frontman Alex Coxen’s muttering, there’s plenty of melody, and there are layers that give something solid to hold on to. It’s pretty heavy, too. JAMES HELMSWORTH. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10$12. 21+.

Tops, Tender Age, Satsuma

[INDIE-POP FOREVER] There’s a charming simplicity at the heart of Picture You Staring, the second record from Montreal indie-pop quartet Tops. This is pop music for the unfussy: vibrant, catchy, touched by the gloss of vintage synthesizers. Everything really is in its right place, from the chiming guitars of “Blind Faze” to bouncy “Superstition Future,” a song that could soundtrack the prom scene of a lustful teen movie from either 1985 or 2015. Singer Jane Penny encapsulates all the heartache ever felt on weightless ballad “Easier Said,” coming off like breathy version of Mr. Twin Sister minus the criticaltheory undertones. Somewhere, there’s a lonely teenager making her crush a mixtape, and trying to find the perfect place to slot “Way to be Loved.” MICHAEL MANNHEIMER. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 9 pm. $10. 21+

Gern Blanston, the Pynnacles, Down Gown, the Last Regiment of Syncopated Drummers, DJ for No One

[WHAT A DRAG IT IS GETTING OLD] If you saw a show at Satyricon in the ’90s, there’s a good chance it was booked by Ben Munat. This stalwart local scene supporter also wrote about emerging Portland bands in the longforgotten PDXS magazine and was a WW contributor. Now Munat plays bass for local noise-rock quartet Down Gown, the group that opens Munat’s own 50th-birthday bash tonight. This event, and Munat’s deep commitment to the Portland music scene over the past few decades, was also enough to persuade ’90s heavy-rockers Gern Blanston to extend their reunion beyond their appearance at the EJ’s 20th-anniversary show. NATHAN CARSON. Star Theater, 13 NW 6th Ave. 8:30 pm. $5. 21+.

Andy Grammer, Alex & Sierra, Paradise Fears

[SACRED COWELLS] If Alex and Sierra suffer from a fading momentum, blame their launching pad. Where American Idol (the Avengers of reality programming) formally recognizes the sleekest, vaguely alien, preternaturally ambitious showbiz avatars already costumed among us, sister starmaking apparatus The X Factor USA tended to treat freakishly talented unknowns as mutants undeserving of their gifts. Fan favorites since their introduc-

tory a cappella performance of “Toxic” as post-Glee soft jazz, eventual 2013 champs Alex Kinsey and Sierra Deaton were implicitly dismissed as novelty fodder. But careers have been made on less than heaven-blessed harmonies and a palpable romantic chemistry. Take, for instance, this evening’s headliner, Andy Grammer, whose inanely eclectic—stabs at rap and reggae among the usual John Mayer clinic—sophomore album, Magazines or Novels, reads as a desperate catalog of adult-contempo trends. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $18 advance, $20 day of show. All ages.

THURSDAY, FEB. 26 Genders, Gothic Tropic, Lucy

[SWISS ARMY ROCK] Portland rock quartet Genders is that ideal amalgam of all of your favorite music. Sometimes cerebral, sometimes pounding. Sometimes postpunk, sometimes dreary-eyed alt-rock. The band covers a lot of territory, and while there’s plenty of balance, it’s hard not to dwell on the lingering guitar riffs and Maggie Morris’ ever so brushy vocals. Genders is at work on a new EP, the first release since the outstanding Get Lost in 2013. After deserving tours with the likes of Built to Spill, Morris and company are poised for much more. MARK STOCK. Holocene, 1001 SE Morrison St., 2397639. 8:30 pm. $7 advance, $8 day of show. 21+.

Howlin Rain, the Blank Tapes, Phantom Ships

[NEW CLASSIC ROCK] Howlin Rain’s unexpected dissolution upon leaving Rick Rubin’s American Recordings didn’t bode well for the future career of singer-guitarist Ethan Miller. Reviving the group for this year’s downtrodden Mansion Songs, he opted for a rotating lineup of musicians rather than a concrete roster, treating it as a rebirth steeped in jam bandesque solos and tender lyrics. It’s still underpinned by a soulful ’70s boogie, which is delicately masked beneath grandiose choruses and Miller’s pitchy vocals, yet the sprawling nature of the band’s throwback sound is beginning to feel more contrived than ever. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 9 pm. $12 advance, $15 day of show. 21+.

FRIDAY, FEB. 27 Guttermouth, Counterpunch, My New Vice, 48 Thrills

[SOCAL TRANSPLANTS ONLY] Huntington Beach, Calif., is known for right-wing politics, white suburban families and teenagers raging against it all. Guttermouth emerged at a time when slam dancing was being invented at local house shows and Ed Templeton was shredding the high school, but the culture in Huntington was a major part of the band. Guttermouth’s irreverent pop-punk songs might be a little too much for your average politically correct liberal Portland punk, but just might be what the skater dad needs to get out of the house and back in the pit. LUCAS CHEMOTTI. Dante’s, 350 W Burnside St., 226-6630. 8 pm. $15. 21+.

Langhorne Slim, Jonny Fritz

[PUNK-HOUSE CAMPFIRE SONGS] The gravel-and-lavender-voiced Langhorne Slim toured almost nonstop with his band, the Law, ever since

CONT. on page 26

Dustin Hill (right) and Black Pussy.

ALMOST INFAMOUS BLACK PUSSY IS PORTLAND’S MOST CONTROVERSIAL BAND. bY Matthew sin ger

msinger@wweek.com

Whoever thought a band calling itself Black Pussy could be controversial? Not singer-guitarist Dustin Hill, apparently. When he bestowed the Google-unfriendly name on his stoner-rock project three years ago, he swears it wasn’t for shock value. To him, it was simply the perfect fit for the songs he was writing at the time. It sounded, in his words, “sexy and ’70s.” “It’s very Tarantino-influenced,” says Hill, 41, who, with his long blond mane, mustache and furfringed coat, could’ve just stepped off the set of Jackie Brown. “If he was going to have a band or make a movie about a band, it’d be called Black Pussy.” Hill didn’t even consider that people might find it distasteful, but then, he admits his mind works differently than most. “I sit in a very isolated spot compared to [the rest of ] humanity,” he says. “Words do not offend me.” Nonetheless, for some in the Portland music scene, the name is an insurmountable impasse before the group’s music. But Hill isn’t about to rebrand now, not with a new album out. And anyway, he says he’s gotten more love for this band than any he’s ever been in, not to mention more merch sales. “I’m not going to change the name because I’m afraid it’ll hurt my project,” he says. “I’ve committed to it, because that’s what artists do: They commit to an idea. It’s not about trying to be successful or trying to make money, it’s about the idea. We build on the idea, and if it fails, it fails. But I’m not going to change it because a tiny percentage of the population has an issue with it.” Black Pussy spun off from Hill’s other band, the heavy-psych foursome White Orange, in 2012. A prolific writer—the walls of the band’s practice space are covered in strips of cardboard scribbled with titles of dozens of unreleased songs—Hill envisioned the project as a repository for whatever music he happened to be gravitating toward at the moment. Over two albums, Black Pussy has estab-

lished itself along the same spectrum of black-light desert rock as Kyuss and early Queens of the Stone Age, with a sound placing as much emphasis on sticky melodies as bong-water-soaked riffs. Its latest record, Magic Mustache, adds keyboardist Chief O’Dell to the mix, lending a stratospheric lift to the psychedelic swirl. While the tone is as lascivious as you’d expect, it’s more playful than sleazy, with lyrics couched in sci-fi imagery ripped straight off the side of an airbrushed conversion van. “It’s a celebration of freedom,” says guitarist Ryan McIntire. “There’s no negativity with what we’re trying to do.” Still, the band’s name has proven to be an obstacle. While touring with Kyuss offshoot Vista Chino in 2013, Black Pussy was prohibited from playing the Disney-owned House of Blues in Anaheim, Calif. At a show last year, the Portland soul-punk band Magic Mouth, whose frontman is AfricanAmerican, called the group out from the stage, blasting the moniker as racist and misogynist. The band has attempted to circumvent such accusations in its official bio, pointing out that “Black Pussy” was the working title of the Rolling Stones’ “Brown Sugar,” “a blatantly anti-racism tune”— though Hill admits he learned that fact only after coming up with the name. Hill says if anyone has a problem with the name, he’ll hear them out, and would even consider changing it if the argument was persuasive enough. He’s yet to be convinced. But with the band preparing to make a national push for Magic Mustache, it’s fair to wonder: If the name threatens to turn off listeners before they even hear the music, why hold onto it so fiercely? Hill, though, has dug in his heels. The way he sees it, haters are going to hate, for one reason or another. So why compromise? “Even if it was a different band name, people are always going to talk shit about your songs or how you look or this or that,” he says. “You can’t have self-doubt. It’s an idea, and you’re going to battle for it. A lot of people aren’t going to get it, and a lot of people are. But once you start doubting it, you’re going to hurt the art.” SEE IT: Black Pussy plays the Kenton Club, 2025 N Kilpatrick St., with Mos Generator and In the Whale, on Saturday, Feb. 28. 9 pm. Free. 21+. Willamette Week FEBRUARY 25, 2015 wweek.com

MUSIC

friday–saturday

the release of The Way We Move in 2012. the full band brought a raucous sound to Langhorne’s jangly yarns, as well as some deserved notice from critics. the former Brooklyn resident had settled in Portland for a few years but has uprooted once again for a few hand-picked solo gigs such as this one, before rejoining the Law for more touring and another record in the near future. cRIS LAnKEnAU. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15. 21+.

Mark Fell

[ARt FoR tHE HoUSE] thirty seconds before Mark Fell finished his set of highbrow house at a Polish festival, he grabbed his water bottle and put on his bag. this is one of the more subtle ways the British producer disrupts the mainstream dance-music world, challenging the notion that every festival set must end in some epic crescendo. Fell is normally more overt when it comes to his creative intentions with installations like Untitled Study for Computer Controlled Laser, Stroboscope and Linn LM-1. He won’t be installing anything in YU’s downstairs gallery, but his warm, deconstructed rhythms will certainly disrupt the crowd upstairs. MItcH LILLIE. Yale Union, 800 SE 10th Ave., 236-7996. 9 pm. $12. 21+.

SATURDAY, FEB. 28 The Grizzled Mighty

[BARE-KnUcKLE BLUES] Seattle’s the Grizzled Mighty is a blues-rock duo, sure, but it’s no Black Keys. Guitarist Ryan Granger’s guitar is bigger than Dan Auerbach’s, caked in a gritty layer of fuzz that demands as much attention during his monumental licks as

drummer Lupe Flores’ explosive fills. the group’s latest LP, Closed Knuckle Jaw, tones down the crunch for once, while grounding itself in Granger’s glammed-out vocal delivery, hints of psychedelia and guitar riffage that recall the heavier side of the ’70s. Lead single “chantael” is the epitome of its sound, filled with brash solos and a mean attitude that is simply hard to ignore. BRAnDon WIDDER. Bunk Bar, 1028 SE Water Ave., 894-9708. 7:30 pm. Call venue for ticket information. 21+.

Old Man Gloom, Coliseum, Beast

[DooM tRoLL] A sub-rosa supergroup of sludge-metal musos (cave In, converge, Isis), old Man Gloom never bothered to explain its sudden 2004 disappearance or announce its return eight years later. As part of a monumentally complicated hoax, the advance copies of 2014’s Apes of God sent to critics actually comprised truncated, differently mastered tunes taken from two separate collections. While the gambit succeeded spectacularly in mind-fucking the media, few news outlets bothered to revise their coverage. As catfished-by-their-own-hook tragic irony, a younger generation of enlightened heshers no longer awed by all-inclusive post-metal discursions actively preferred the early edits without the ponderous ambient stretches doubling the track lengths. JAY HoRton. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $14. 21+.

Dead Prez, Mic Capes, Zakee El

[tHAt’S GAME] Whatever sonic developments Dead Prez undergoes—and as its last full-length

cont. on page 27

tHoMAS nEUKUM

PREVIEW

Caribou, Koreless [ELECTRONIC SOUL] Much has been made about Dan Snaith’s inability to stay still. The Canadian musician, who records under the name Caribou, has never made the same record twice, constantly exploring new ideas, sounds and moods. But there is a unifying thread in Snaith’s shifting electronics, from 2003’s psychedelic Up in Flames to the R&B swoon of his latest record, 2014’s Our Love. Caribou makes EDM of another sort—emotional dance music, driven by love and longing and the constant need for human interaction. Our Love is Snaith’s soul record, dance music for both the club and the walk home, inspired equally by classic house and modern pop radio. It’s his most personal record, from the resilient “Back Home” to the opening manifesto “Can’t Do Without You,” which takes the title and loops it into infinity, the intensity growing as the vocals shift from a Marvin Gaye sample to Snaith’s own hushed plea. Snaith long ago blended the scope of his production with his songwriting, and Our Love is his defining statement: intimate and festival-ready, a perfect missive sent directly to the heart. MICHAEL MANNHEIMER. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 9 pm Tuesday, March 3. $18. All ages. 26

Willamette Week FEBRUARY 25, 2015 wweek.com

SATURDAY–TUESDAY release, 2012’s Information Age, attests, there are always at least a few—there is a social and intellectual imperative that comes along with every track M-1 and Stic Man get behind. Still, it’s just hard to surpass the achievements realized on Let’s Get Free and Revolutionary but Gangsta. Regardless of the duo’s contemporary relevance, Portland’s Mic Capes is set to open with his hyper-aware lyricism. It’s not “conscious,” it’s cognizant, with Capes often rapping about being bound by a social code to set a good example for the younger generation, and the community as a whole. DAVE CANTOR. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $28. 21+.

a few star-turn vocals on Kendrick Lamar tracks and recording an embittered post-relationship vent of silky R&B as the debut of his current imprimatur, he unfurled a self-titled sophomore LP last December—a pleasant skip through familiar beats that fans have dubbed “The Blue Album”—and started playing guitar with a full band on the subsequent tour to the swooning delight of tastemakers nationwide. JAY HORTON. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $12 advance, $14 day of show. 21+.

Turn! Turn! Turn! First Anniversary: Sir Richard Bishop, Woolen Men, Rllrbll

[RAGGEDLY SOULFUL] If you’re a cool kid starting a garage band in the American Northeast, you buy some synths, or if you can’t afford a fancy Roland or even a cheap MIDI rig, you go punk. But the Districts, who first came together as highschoolers in Lititz, Pa., did neither. Their self-titled EP, the band’s first on Mississippi’s Fat Possum Records, was built on harmonica, organ and twanging guitar, on songs that mourn lost loves but aren’t afraid to rock out. A Flourish and a Spoil, its newest full-length, contains anthems aplenty, managing to sound classic without sounding stale. Not bad for four guys raised north of the MasonDixon line (albeit by just a few

[SUBLIME FREQUENCIES] Guitarist and world traveler Sir Richard Bishop is best known for his work with the avant-psychedelic Sun City Girls, but he is plenty proliﬁc on his own, having just recorded his 10th solo album, Tangier Sessions. That record was tracked in Morocco, and the photos that Bishop took on the trip have been cleverly sequenced into a music video slideshow for the rousing acoustic song “Safe House.” Joining Bishop tonight for this celebratory Turn! Turn! Turn! ﬁrstanniversary show are garage-rock stalwarts Woolen Men and the everfabulous weirdoes Rllrbll. NATHAN CARSON. Turn! Turn! Turn!, 8 NE Killingsworth St., 284-6019. 8 pm. $7, $15 for three-day pass. 21+.

Malt Ball 2015

[MERC PERKS] The Portland Mercury’s annual beer-and-localmusic bash includes two separate showcases (one in the afternoon, one at night), featuring a bevy of Portland up-and-comers including power-poppers Levon’s Helmet, hard-rockers Holy Grove and free-jazz punks Máscaras, among others. Wonder Ballroom, 128 NE Russell St., 284-8686. 2 pm and 8 pm. $25 for both showcases, $15 individually. 21+.

SUNDAY, MARCH 1 Chronixx and the Zincfence Redemption, DJ Yt Small Axe

[REGGAE] Someone needs to make reggae cool in the States again, and 22-year-old Chronixx might be the one do it. After years of dancehall dominance, the Spanish Town singer is leading a revolution in Jamaican music back toward Rastafarian spiritualism and a warm, soulful roots sound, but infused with energy and charisma that is distinctly modern. Alhambra Theatre, 4811 SE Hawthorne Blvd., 610-0640. 9 pm. $18.50. 21+.

Daniel Lanois, Rocco DeLuca

[IN FRONT OF THE BOARDS] Daniel Lanois is mostly known for co-producing, along with Brian Eno, a batch of U2’s ﬁnest albums, along with helming records by everyone from Neil Young to Willie Nelson to the Killers. Lesser known, relatively, is his own music, which is touched with the evocative atmospherics he lends to others. His latest solo album, Flesh and Machine, is less a collection of songs as a topographical survey of dreamy, near-ambient soundscapes. Doug Fir Lounge, 830 E Burnside St., 231-9663. 8 pm. $25. 21+.

Jmsn, Rochelle Jordan, Devon Baldwin

[BLUE-EYED SOUL] Courted by the major labels since high school, the former Christian Berishaj spent his teen years recording forgettable pop craft for Atlantic (as Love Arcade) and Universal Motown (as Christian TV) before suddenly abandoning his corporate patrons, only to emerge from the wilderness as a bedraggled, impressively hirsute soul survivor with a new moniker vowellessly name-checking a preferred Irish whiskey. After ghosting

MONDAY, MARCH 2 The Districts, Pine Barons

MUSIC

hundred miles). TREE PALMEDO. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $11 advance, $12 day of show. 21+.

TUESDAY, MARCH 3 The Sidekicks, Cayetana

[WIDE-OPEN MIDWEST] “How do we not get lost?” goes the plaintive mantra that opens Runners in the Nerved World, the Epitaph debut from the Sidekicks, from Columbus, Ohio. It’s a logical starting point for a breakthrough effort that found the group decamping to Seattle and working with famed producer Phil Ek. Between the nervous, chiming guitar and anthemic heartland yowling of Steve Ciolek (a current member of Ohio folk-rock firebrands Saint Seneca), it is indeed easy for listeners to get lost in comparisons to similar Ek alumni such as Built to Spill and Band of Horses. Runners is rife with driving punk moments touched up by expansive production elements endemic in the Pacific Northwest, creating a harmonious fusion of basement DIY urgency and the space and emotion to fill the vastness of America’s wild new West. PETE COTTELL. Analog Cafe, 720 SE Hawthorne Blvd. 7 pm. $10. All ages.

CONT. on page 29

INTRODUCING ULTRA VAN KROME Who: Stevie Ray Mays (bass, guitar, vocals), Ramsey Embick (keyboards), Brian Harrison (guitar), Johnny Linn Russell (drums). Sounds like: Morris Day and the Time, having tired of battling Prince and the Revolution, taking to motivating people to dance with religious intensity. For fans of: KC and the Sunshine Band, Controversy-era Prince, Parliament and, to a lesser extent, Funkadelic.

Two years ago, things were looking pretty bleak for Stevie Ray Mays. He was diagnosed with both types of diabetes. He had extremely high blood pressure. Doctors came from all over the hospital to look at the medical anomaly. “When they showed me my kidneys,” Mays says, “they looked like jellyfish with streamers.” That’s when his physician decided that, to help get Mays’ blood pressure down, it was in his best interest to put him into a coma. Before all this, Mays, who counts blues singer Norman Sylvester and the late soul singer Linda Hornbuckle as cousins, had been an accomplished bass player. He played with jazz institution Thara Memory and pivotal Portland funker Calvin Walker. Mays even claims Miles Davis ripped off one his bass solos. But, expectedly, going into a medically induced coma changed Mays’ life. After coming that close to death, he awoke with a new resolve. He decided to get healthy, adopting a pescatarian diet and giving up processed foods. And, after having been a sideman for his entire career—Mays won’t say how old he is, but he attended Washington and Adams high schools, which both closed in 1981, before graduating from Jefferson—he decided to embark on his own project. He chose the name Ultra Van Krome, after a hallucination he had during a teenage acid trip while looking at a psychedelic box of laundry detergent. The album, due out this week, is titled Cyber Funkist. It’s an apt name: It’s full of stuttering bass pops, ferocious synth squalls, rivet-tight drumming and blazing, “Let’s Go Crazy”style guitar leads, played by another of Mays’ cousins, Marlon McClain of legendary local R&B act Pleasure. The cover depicts Mays as the titular Van Krome, wings sprouting from his back. He says they’re meant to symbolize his resurrection: “If I swoop in and catch you sitting down, those wings are gonna cut you in half,” he says. JAMES HELMSWORTH. SEE IT: Ultra Van Krome plays Peter’s Room at Roseland Theater, 8 NW 6th Ave., on Saturday, Feb. 28. 9 pm. $5 or three cans of food. 21+.

Willamette Week FEBRUARY 25, 2015 wweek.com

PROFILE

VIET CONG TUESDAY, MARCH 3 When Calgary-based noise-pop band Women split up in 2012, it wasn’t without controversy. Led by brothers Matt and Patrick Flegel, the band had carved out a niche as one of the most innovative and fiery guitar acts around, but an onstage fight between the brothers—and the sudden death of guitar player Christopher Reimer—led Matt Flegel back to his roots: messing around in his basement with old friend Scott Munro. “When we first started recording together, we didn’t really have any intentions of being a band or playing shows or anything like that,” Flegel says. “Sometimes you want to avoid having too many cooks in the kitchen.” The early demos were so promising, though, that the duo decided to flesh out the project, recruiting guitarist Daniel Christiansen and former Women drummer Mike Wallace to join them as Viet Cong. Armed with a seven-song, tour-only tape (later officially released under the title, appropriately, Cassette), the band embarked on a grueling winter tour, honing its dark, combustible sound at dinky dives across North America. It turns out Cassette was more a harbinger than a sharp veer to the left. Viet Cong, the band’s official debut, has a serious industrial bent, from the distorted, stomping percussion that opens “Newspaper Spoons” to the blissful, frantic rave-up “Silhouettes,” which sounds a bit like the best song Interpol never released. Mostly written in the band’s garage studio space, a good chunk of the record was recorded live, with a few overdubs and happy accidents to make things weird. “We got to try out all sorts of synthesizers we’d never seen or played before,” Flegel says. If Viet Cong does resemble Women, it’s mostly in mood—and the piercing, stabbing blasts of guitar noise. But Viet Cong isn’t just a continuation of the past. It’s a seismic shift to the stale fabric of post-punk, simultaneously referencing the greats (there’s just a bit of Joy Division in the droning keyboards and ghostly vocals) while also sounding alien. Every song on Viet Cong is locked in a different dungeon maze, and the guys spend each track trying to find a different way out. “March of Progress” is the expansive centerpiece, a simmering six-minute juggernaut that builds from a steady pulse to a knockout punch in its final section, when the guitars part the clouds, shooting rays of jagged noise in every direction. “What is the difference between love and hate?” Flegel asks, repeatedly, as the guitars and interlocking beat surround him like a cyclone. Asked what Viet Cong has planned next, Flegel mentions the band has about half of a new album written and would like to hit the studio this summer, if inspiration strikes. Don’t expect a total reinvention of the wheel, though. “We’re not making a ska record just yet,” Flegel jokes. “After a year of touring and checking out pawn shops in weird cities and finding new instruments, we’re mostly looking to push things forward.” MICHAEL MANNHEIMER. When the going got tough, Matt Flegel just got noisier.

SEE IT: Viet Cong plays Mississippi Studios, 3939 N Mississippi Ave., with Freak Heat Waves and Aan, on Tuesday, March 3. 9 pm. $10 advance, $12 day of show. 21+. 28

Willamette Week FEBRUARY 25, 2015 wweek.com

d AV i d WA l d M A N

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TUESDAY/CLASSICAL, ETC.

Red Bull Sound Select: Slow Magic, Manatee, Commune, Quarry

[COSMIC RHYTHMS] Notions of what a “dude with a laptop” is capable of must be checked at the door to properly process a Slow Magic show. True, it’s mostly the work of a mysterious producer in a Technicolor tribal mask, but the “Burial of chillwave” storyline is mostly a disservice to what may be the most cathartic live experience available in the realm of instrumental electronic music. Armed with Ableton and a bare-bones drum kit of the analog variety, Slow Magic pounds out swirling, undulating bangers dashed with house pianos and wobbly samples—elements that are dialed in perfectly to the halcyon days of ’90s U.K. rave culture made famous by the labels Astralwerks and Warp. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $3 with RSVP at redbullsoundselect.com. 21+.

CLASSICAL, JAZZ & WORLD PDX Jazz Festival: Portland Jazz Composers Ensemble Presents the Sound of Our City

[ROSE CITY JAZZ] Instead of pretending that the jazz world stopped turning in 1969, the Portland Jazz Composers Ensemble and its associated record label provide a valuable environment for newer, boundaryexpanding music. The sounds are varied, ranging from jazz reconstructions of Woody Guthrie tunes to swirling, colorful and abstract originals. It should be an exciting night of new Rose City music, featuring three ensembles: the Metropolitan Youth Symphony Jazz Band, a PJCE records all-star band and the 12-piece composers ensemble itself. PARKER HALL. The Old Church, 1422 SW 11th Ave., 222-2031. 7 pm Thursday, Feb. 26. $5 for students, $15 general admission. All ages.

PDX Jazz Festival: Julian Lage Trio featuring Scott Colley and Eric Harland

[GUITAR TRIO] Jazz musicians wish they were Julian Lage. The soft-spoken guitar virtuoso, whose fretboard aesthetic ﬂoats somewhere between Django Reinhardt and Pat Metheny, spent 2014 touring with Nels Cline of Wilco and playing with various members of New York’s jazz royalty. In Portland, he leads a trio with two of the ﬁnest instrumentalists on the face of the earth: drummer Eric Harland and bassist Scott Colley. His music is technically new but melodically old, and he whips it up with a nonchalant smile. PARKER HALL. Evans Auditorium at Lewis & Clark College, 0615 SW Palatine Hill Road. 7:30 pm Friday, Feb. 27. $15 for students, $30 general admission. All ages.

PDX Jazz Festival: Hailey Niswanger & PDX Soul

[SOUL JAZZ] Hailey Niswanger might be the next Portland native to follow the path of Esperanza Spalding to national jazz renown. The young saxophonist and composer has both the Thara Memory training (like Spalding, she worked with the legendary local trumpeter and American Music Program founder who’s mentored so many Portland jazzers) and the Berklee College of Music pedigree (Boston’s world-famous jazz incubator). Since moving to New York, Niswanger has performed with Spalding, Wynton Marsalis and other leading jazz musicians. Her funk-fueled, ’70s-style soul-jazz PDX Soul band, featuring some of Portland’s top players, has already electriﬁed audiences in previous appearances. This showcase should whet appetites for their new album, Niswanger’s second. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm Friday, Feb. 27. $15 general admission, $20 reserved seating. Under 21 permitted until 9:30 pm.

John Doan

[SOR HEAD] Like most classical guitarists, Portland’s John Doan reveres Fernando Sor, who is considered the father of classical guitar music. He’s even performed some of it on a three-neck, 20-string instrument of a kind Sor wrote music for. In this Portland Classic Guitar Series tribute, Doan plays the early 19thcentury Spanish composer’s music— as well as his own works inspired by Sor’s themes—on an authentic 1819 guitar that Sor might have commissioned himself, and another instrument made recently from ancient old-growth (5,500-year-old) wood. BRETT CAMPBELL. Marylhurst University, 17600 Highway 43, 6991814. 8 pm Friday, Feb. 27. $30-$35. All ages.

PDX Jazz Festival: Luis Conte with Bobby Torres’ Full Ensemble

[LATIN RHYTHM] The voracious, frothing energy that accompanies good Latin jazz is second to none, and its key ingredient is percussion. Latin music requires a lot, and it takes musicians who really know the territory to pull it oﬀ. Enter Luis Conte and Bobby Torres, whose combined experience playing behind everyone from Latin greats to Madonna and Joe Cocker joins together to create powerfully refreshing and wildly virtuosic waves of rhythm. Here, they turn their lenses on Conte’s native Cuba and beyond, where they really get to stretch out. PARKER HALL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 7:30 and 10 pm Saturday, Feb. 28. $18-$25. Under 21 permitted until 9:30 pm.

PDX Jazz Festival: Lucky Peterson

[FUNKY BLUES] The best thing about blues musicians is how well they seem to age. Fifty-year-old

MUSIC

singer-keyboardist Lucky Peterson is right in his sweet spot. He’s got more cackling wisdom in his voice than ever, and his hands still move as fast as when he ﬁrst hit The Ed Sullivan Show as a kid. Catch him lending his energetic patina to Portland for a night, spreading a nice even layer of soul, funk and blues over keyboards, a guitar and the mic. PARKER HALL. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 7 pm. $30 advance, $35 day of show. Under 21 permitted with legal guardian.

PDX Jazz Festival: Ron Carter Trio, Benny Green Trio

[SIDEMEN TAKE THE LEAD] This concert pairs bands led by wellrespected musicians from two different generations who earned sterling reputations as in-demand sidemen before winning acclaim as leaders. Ron Carter’s bass has anchored and enhanced literally thousands of albums, including some of jazz’s most famous (e.g., Eric Dolphy’s Out There and the string of classics made with Miles Davis’ second quintet of the 1960s), not to mention collaborations with the likes of B.B. King and A Tribe Called Quest. Now a Juilliard prof, he’s as distinguished a veteran as jazz can oﬀer. Benny Green, meanwhile, played piano in bands led by Freddie Hubbard, Art Blakey and other legends. He released a baker’s dozen of much-praised albums under his own name over the past two decades, leading several hardcharging bands. BRETT CAMPBELL. Newmark Theatre, 1111 SW Broadway, 248-4335. 3 pm Sunday, March 1. $29-$59. All ages.

FOOD SCAVENGER HUNT • MARCH 1

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For more Music listings, visit

ALBUM REVIEW

LOST LANDER MEDALLION (GLAD I DID) [EPIC POP] Whereas debut albums often begin with a bang, sophomore records tend to start with a statement. Lost Lander hit the ground running in 2012 with its excellent first album, DRRT, pairing orchestral rock with rich vocal harmonies and a Sufjan Stevenslike dose of wide-eyed curiosity. The quartet’s follow-up, Medallion, shifts markedly toward pop, trading melodic meandering for marching synthesizers, and loose daydreaming for crisp arrangements. Opener “Gemini” is a straight-up hit, but it’s several leagues away from Lost Lander circa three years ago. The swelling synth lines, colossal builds and anthemic kick drum proclaim a changed band. Former Menomena member Brent Knopf, who plays with Lost Lander frontman Matt Sheehy in Ramona Falls, produced both records, and compared with its predecessor, Medallion sounds less like a Menomena project, which is perhaps the point. Lost Lander is sculpting its own sound, and while still built around keys, communal vocals, chamber elements and Sheehy’s electric guitar, the band has embraced a certain bounciness. Tracks like “SunBurns,” with its war chants, funky guitar loops and driving synths, feel perfectly prepped for both the arena and the FM dial. “Feed the Fever,” is a bona fide dance-rock number, offering that familiar one-two punch of big synths and disco drumming. Yet, just when you think Lost Lander has entered pop-rock complacency, it fights the urge with tracks like “Flinch” and “Never Go Easy,” which challenge the listener with imaginative melodic fluidity and tactful layering. Medallion represents a move toward the center that’s not too overwhelming or unexpected, especially given the group’s virtually guaranteed rise in popularity. I just can’t help combing through the record for songs like “Trailer Tracks,” which manage to push toward new territory without giving up some of the original sound that won over Portland’s ears in the first place. MARK STOCK. SEE IT: Lost Lander plays Mississippi Studios, 3939 N Mississippi Ave., with Radiation City Duo and Sama Dams, on Friday, Feb. 27. 9 pm. $12. 21+. Willamette Week FEBRUARY 25, 2015 wweek.com

MUSIC CALENDAR = 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.

[FEB. 25-MARCH 3] Wilf’s Restaurant & bar 800 NW 6th Ave. Phil Baker Band

FRi. Feb. 27 Al’s den

303 SW 12th Ave. Harmed Brothers

LAST WEEK LIVE kYLE kEY

Aladdin Theater

3017 SE Milwaukie Ave. Hapa

Ash Street Saloon

225 SW Ash St. Dinner for Wolves, Monica Nelson and The Highgates, The 63 Fremonts

dante’s

350 W Burnside St Guttermouth, Counterpunch

doug Fir Lounge

830 E Burnside St. Langhorne Slim (Solo), Jonny Fritz

evans Auditorium, Lewis & Clark College

0615 S.W. Palatine Hill Road Julian Lage Trio, Scott Colley and Eric Harland

Hawthorne Theatre

1507 SE Cesar E. Chavez Blvd. NW Hip Hop Fest 4

Jimmy Mak’s

221 NW 10th Ave. PDX Jazz Festival: Hailey Niswanger & PDX Soul

YOUNG LIONS AND OLD TIGERS: The best virtuosos don’t smother you with their talent. Playing at the Newmark Theatre on Feb. 21 as part of the Portland Jazz Festival, Christian McBride demonstrated this fact with unrelenting melody and poise. The famed Philadelphia bassist with the mellow DJ voice and thick, white-rimmed glasses allowed his young sidemen, pianist Christian Sands and drummer Ulysses Owens Jr., to stretch out and showcase their world-beating skills on standards such as “Caravan,” while guest vocalist Freda Payne got to show off over the bluesy, hard-swinging shuffle of “Muddy Water.” Distinguished saxophonist Lou Donaldson’s quartet, meanwhile, spread Donaldson’s legendary stage energy as the second act of the double bill, even though Donaldson’s playing showed the wear of his 88 years, too. PARKER HALL. See more photos at wweek.com. Wed. Feb. 25 Al’s den

303 SW 12th Ave. Harmed Brothers

Aladdin Theater

3017 SE Milwaukie Ave. Crystal Bowersox

Alberta Rose Theatre 3000 NE Alberta St. Tommy Castro and The Painkillers

Andina Restaurant 1314 NW Glisan Toshi Onizuka

doug Fir Lounge

830 E Burnside St. Milk Music, the Woolen Men

duff’s Garage

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

eastburn

1800 E Burnside St. Kelly Bosworth

edgefield

2126 SW Halsey St. Sloan Martin of Beach Fire

Holocene

1001 SE Morrison St. AKUA, Magic Fades

Jimmy Mak’s

221 NW 10th Ave. 2015 Portland Jazz Festival: A Tribute to Michel Legrand

LaurelThirst Public House

2958 NE Glisan St. Jerry Joseph & the Jackmormons Acoustic (9 pm); Wilkinson Blades (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Tops

Reed College

3203 SE Woodstock Blvd. Paul Roberts

Star Theater

13 NW 6th Avenue Gern Blanston, the Pynnacles, Down Gown

The GoodFoot Lounge 2845 SE Stark St. Shafty, Portland’s Tribute to Phish

The Know

2026 NE Alberta St. Black Is Bright, Silty Loam

The Tonic Lounge

3100 NE Sandy Blvd. Enuff Z’ Nuff & Madame Torment, Die Robot

The World Famous Kenton Club 2025 N Kilpatrick

Ultra Violent Rays White eagle Saloon

836 N Russell St. Heavy Gone Acoustic, Monica Nelson and The Highgates

Willamette Week FEBRUARY 25, 2015 wweek.com

Wonder ballroom

128 NE Russell St. Andy Grammer, Alex & Sierra, Paradise Fears

Mississippi Studios

3939 N Mississippi Ave. Howlin Rain, The Blank Tapes

The GoodFoot Lounge

THURS. Feb. 26 Al’s den

303 SW 12th Ave. Harmed Brothers

Ash Street Saloon

225 SW Ash St. Agents of Ecco, King Ghidora

Chapel Pub

430 N Killingworth St. Steve Kerin

doug Fir Lounge 830 E Burnside St. Kawehi

edgefield

2126 SW Halsey St. The Resolectrics

Holocene

1001 SE Morrison St. Genders, Gothic Tropic, Lucy

Jimmy Mak’s

221 NW 10th Ave. 2015 Portland Jazz Festival: Joe McBride

Kells brewpub

210 NW 21st Ave. Sami Live

LaurelThirst Public House

2958 NE Glisan St. Jerry Joseph & the Jackmormons Acoustic (9 pm); Lewi and the Left Coast Roasters (6 pm)

2845 SE Stark St. Naive Melodies

The Know

2026 NE Alberta St. Hex Dispensers, The Stops, The Rat

The Old Church

1422 SW 11th Ave. PDX Jazz Festival: Portland Jazz Composers Ensemble Presents the Sound of Our City

The Secret Society

116 NE Russell St. Anita Margarita & The Rattlesnakes, Doug &amp; Dee’s Hot Lovin’ Jazz Babies

The Spare Room

4830 NE 42nd Ave Shannon Tower Band

The Waypost

3120 N Williams Ave. Ultra Violent Rays

The World Famous Kenton Club

2025 N Kilpatrick Fauxgazi, Fugazi Tribute from Denver

Vie de boheme

1530 SE 7th Ave. Re-Birth of the Cool: Bebop & Beyond

White eagle Saloon 836 N Russell St. Brett Harris, Johnny Keener

Kells brewpub

210 NW 21st Ave. Tribe Mars

Kelly’s Olympian

426 SW Washington St. dKOTA, John Rankin

Kenton Club

2025 N Kilpatrick St. Modern Pantheist

LaurelThirst Public House

2958 NE Glisan St. Jerry Joseph & the Jackmormons Acoustic (9:30 pm); Reverb Brothers (6 pm)

Alhambra Theatre

Arlene Schnitzer Concert Hall

The Know

777 NE MLK Jr Blvd Hussein Al Deek, Maestro Talal Daour and Ali Bourjii

1037 SW Broadway Let’s Dance!

2026 NE Alberta St. The Buttfrenchers, City of Pieces, The King Dot

Artichoke Music

The Old Church

600 E. Burnside St. Swahili, Like A Villain, Japanese Breakfast

3130 SE Hawthorne Blvd. Pea Flamenca de Portland

Ash Street Saloon 225 SW Ash St. Dead Conspiracy, Panzergod, Uada

blue diamond

2016 NE Sandy Blvd. The Vicki Stevens and Sonny Hess Band

bunk bar

1028 SE Water Ave. The Grizzled Mighty

Crystal ballroom

1332 W Burnside Street Galactic, Kung Fu

dante’s

350 W Burnside St Swan Sovereign, Misty Mountain

doug Fir Lounge

830 E Burnside St. Old Man Gloom, Coliseum, Beast

duff’s Garage

2530 NE 82nd Ave Big Monti, Henry Cooper

Hawthorne Theatre

1507 SE Cesar E. Chavez Blvd. Omnihility, Morbid Fascination, Spawn, Psithurism, Void, Haborian Rage, The Desolate, Dead Nexus

Jimmy Mak’s

221 NW 10th Ave. 2015 Portland Jazz Festival: Bobby Torres Ensemble, Grammy Winner Luis Conte, Carmelo Torres, Shoshanna Bean, & Karla Harris

LaurelThirst Public House

Mississippi Studios

3939 N Mississippi Ave. Lost Lander

Ponderosa Lounge

Mississippi Pizza Pub.

Sandy Hut

1430 NE Sandy Blvd. Reverberations, Paradise, Dandylyons

Star Theater

13 NW 6th Ave. Mbrascatu, Vaudeville Etiquette

The Know

2026 NE Alberta St. Psychomagic, Santorors

Turn! Turn! Turn!

8 NE Killingsworth St. Sam Coomes, with The White Shark, The Tenses, & DJ Lindsey Thrasher

Vie de boheme 1530 SE 7th Ave. The Djangophiles

White eagle Saloon

836 N Russell St. The Resolectrics, Stars of Cascadia

Yale Union (YU)

800 SE 10th Ave. Mark Fell

SAT. Feb. 28 Al’s den

303 SW 12th Ave. Harmed Brothers

Aladdin Theater

3017 SE Milwaukie Ave. Martin Sexton, Brothers McCann

Oregon Convention Center

2845 SE Stark St. 14 Year Anniversary Party with McTuff

2958 NE Glisan St. Jerry Joseph & the Jackmormons Acoustic (9:30 pm); The Yellers (6 pm)

10350 N Vancouver Way Britnee Kellogg

The GoodFoot Lounge

4811 SE Hawthorne Blvd. The Tragic Thrills, Trapper Schoepp

3552 N. Misssissippi Ave Fourteen Dangerous Strings:, Lincoln Crockett and Jim McKeon in Concert

1422 SW 11th Ave. PDX Jazz Festival: Sheila Jordan & Cameron Brown Duo

The Ranger Station PdX

4260 SE Hawthorne Blvd Anna Fritz and Huck Notari

Rontoms

Rotture

315 SE 3rd Ave. Leon Vynehall, Lincolnup, Sappho, Maxx Bass, Andy Warren

White eagle Saloon 836 N Russell St. Rob Johnston, New Solutions

The Secret Society

116 NE Russell St. Fundraiser for the Jeremy Wilson Foundation, The My Oh Mys, Us Light, The Youngest

Turn! Turn! Turn!

8 NE Killingsworth St. Sir Richard Bishop, Woolen Men, Rllrbll

White eagle Saloon

836 N Russell St. Penny and Sparrow (9 pm); Fernando, Ned Roberts, Luther Russell, Sarabeth Tucek (4:30 pm)

SUn. MARCH 1 Al’s den

303 SW 12th Ave. Gabe Rozzell

Aladdin Theater

3017 SE Milwaukie Ave. Lucky Peterson

Alberta Rose Theatre

MOn. MARCH 2 dante’s

350 W Burnside St Karaoke From Hell

doug Fir Lounge

830 E Burnside St. The Districts, Pine Barons

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet

LaurelThirst Public House

2958 NE Glisan St. Kung Pao Chickens (9 pm); Copper and Coal (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Sales, Arrange, The Sarcastic Dharma Society

Roseland Theater

8 NW 6th Ave. Joshua Radin, Andrew Belle

TUeS. MARCH 3

3000 NE Alberta St. Hello Everybody, Music Together Teachers Concert and Scholarship Fundraiser

Al’s den

Alberta Rose Theatre

3000 NE Alberta St. Willy Porter, Ellis Paul

Alhambra Theatre

303 SW 12th Ave. Gabe Rozzell 3000 NE Alberta St. The Great American Songbook: Songs of Love

4811 SE Hawthorne Blvd. Chronixx and The Zincfence Redemption, DJ Yt Small Axe

Cadigan’s Corner bar

Arlene Schnitzer Concert Hall

1332 W Burnside Street MarchFourth!, 12 Anniversary Family Show, Joy Now

1037 SW Broadway Let’s Dance!

5501 SE 72nd Ave. Soul Provider, Naomi T

Crystal ballroom

Ash Street Saloon

dante’s

Mississippi Studios

dante’s

doug Fir Lounge

830 E Burnside St. Slow Magic, Manatee Commune, Quarry

Oregon Convention Center

350 W Burnside St Hopeless Jack & The Handsome Devil, Witchburn

doug Fir Lounge

2126 SW Halsey St. Lex Browning and Friends

3939 N Mississippi Ave. Dead Prez, Mic Capes, Zakee El

777 NE MLK Jr Blvd Hussein Al Deek, Maestro Talal Daour and Ali Bourjii

Peter’s Room

8 NW 6th Ave Ultra Van Krome

Ponderosa Lounge

225 SW Ash St. Garden of Eden, Fluid Spill, Cherrybomb 13

830 E Burnside St. Daniel Lanois, Rocco DeLuca

duff’s Garage

2530 NE 82nd Ave The Rhythm Renegades

Holocene

10350 N Vancouver Way Whisky Union

1001 SE Morrison St. JMSN, Rochelle Jordan

Revolution Hall

LaurelThirst Public House

1300 SE Stark St, #110 Daniel Handler, David Shields

Sandy Hut

1430 NE Sandy Blvd. Nekro Drunkz, Smut, Torture Rack

Star Theater

13 NW Sixth Avenue Jim Boyer Band, Johnny Credit and the Cash Machine, DJ Andrew Loomis

The Firkin Tavern

1937 SE 11th Ave. Slim Bacon, EvilOlive

2958 NE Glisan St. Open Mic (9 pm); Freak Mountain Ramblers (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Mimicking Birds, the Ghost Ease, Kevin Lee Florence

newmark Theatre

1111 SW Broadway PDX Jazz Festival: Ron Carter Trio, Benny Green Trio

350 W Burnside St 2nd Annual Portland Sex Workers Right Benefit

edgefield

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Quartet, Clackamas High School Jazz Band

LaurelThirst Public House

2958 NE Glisan St. Michael Kirkpatrick (9 pm); Jackstraw (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Viet Cong

Roseland Theater 8 NW 6th Ave. Caribou

Rotture

315 SE 3rd Ave. Heavy Tuesdays

White eagle Saloon

836 N Russell St. Big Feelings, The Dirty Looks, Egg Plant

feb. 25–march 3

MUSIC CALENDAR Thomas Teal

BAR REVIEW

Where to drink this week. 1. The Liquor Store

3341 SE Belmont St., 421-4483, theliquorstorepdx.com. Vinyl spinning, antique newspapers and cocktails with housemade blue curacao. on saturday nights, the basement is a cramped dance club. But on weeknights, the homey upstairs bar joins with aalto lounge across the street to create the best living room/den combination you’ll find outside a hillsdale split level.

5. Savoy Tavern

2500 SE Clinton St., 808-9999, savoypdx.com. Peter Bro recently brought his recipe for the all-Way burger, a “pre-mcDonald’s” take on the fast-food classic, to savoy. It instantly becomes one of the best bar burgers in the city. at $4.50 for the original (you want the 2-Way for $5.75), it’s a steal.

DANIEL LANOIS

Sunday, February 28th at 3PM

Throughout a storied career as a musician, producer and engineer, Daniel Lanois helped push the ambient genre forward into celestial new territory as Brian Eno’s foremost protégé; he has recorded landmark albums for U2 and Peter Gabriel and helped to revitalize the sonic dimensions of Bob Dylan and Neil Young. But Flesh And Machine marks the first time Lanois has truly deployed every sonic weapon in his arsenal and attempted to break virgin ground in support of his own music.

MBRASCATU

Thursday, March 5th at 6PM

TAP TAKEOVER: In 2013, when WW published its first Beer Guide, it was pretty easy to list the city’s serious beer bars. Even here in Beervana, each quadrant had only a few destinations with an ever-changing tap list and no hard liquor. Today, as we release our 2015 Beer Guide, it’s amazing how many new spots have popped up—in the inner eastside, you can walk 15 minutes in any direction and find a bare-bones room with rotating kegs and a cooler stocked with wax-dipped bottles. They’re not much for atmosphere—bright lights, spartan décor, limited menus, coffeehousetype crowds—but Untapped (4320 N Interstate Ave., 206-4830) and Tap That (2724 SE Ankeny St., 946-1898, facebook.com/tapthatpdx) are both solid beer bars that would be treasures in a town without so many choices. Untapped, across from a MAX stop on North Interstate, is a clean-edged room that closes at 10 pm on weeknights, and still has room for five Firestone Walker beers and a coconut lime kombucha on tap. Tap That is in the former Coalition Brewing tasting room on Southeast Ankeny—the buildout seems to have consisted of installing one cooler and hanging new art on the walls. Yet the tap list includes many of Portland’s better beers, including two from our just-released Beer Guide’s top 10. In 2013, I received a few complaints about how hard it was to find the beers listed in our top 10. These days, it’s all so much easier. MARTIN CIZMAR. The Whiskey bar 31 NW 1st Ave Must Die!

sAT. Feb. 28 Analog Cafe & Theater

Wed. Feb. 25 bar XV

15 SW 2nd AVE Deep House Wednesdays

Fri. Feb. 27 dig a Pony

736 Southeast Grand Ave. Cooky Parker

720 SE Hawthorne Blvd. Andaz: DJ Anjali & The Incredible Kid

branx

320 SE 2nd Ave. Humans, Max Ulis

Ground Kontrol Classic Arcade

holocene

511 NW Couch St. TRONix

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

dig a Pony

Moloko Plus

Lovecraft bar

holocene

3967 N Mississippi Ave. The Diamond stylus with King Tim 33 1/3

The Whiskey bar 31 NW 1st Ave Grandtheft

Thurs. Feb. 26 rotture

315 SE 3rd Ave. Breakmode, The Best Dancers, Octonaut, Snackman

The Lovecraft

421 SE Grand Ave. Shadowplay

In the short term, there are two goals for The Emotion Farmers: gigging like hell and finishing their new album due out in late Spring. Long term is easy: fight their personal demons together with original Rock n’ Roll.

Jacob has worked in the bands Race You There and Roll Acosta, along with the legendary producer and indie wizard, John Vanderslice. This tour is for his newest release ‘Silver Lining’.

3. roscoe’s

2637 SE Hawthorne Blvd., prettymansgeneral.com. Guess what twee, friendly bar just started a sunday brunch? This one did. Way to justify your morning drinking habit, Portland.

Thursday, February 26th at 7PM

JACOB ACOSTA

8409 N Lombard St., 283-2243. In this beer bar on the fringes of st. Johns, there are blacklit restrooms, grandma couches that smell of ommP, a huge collection of obscure board games, thrift-store T-shirts and a mess of obscure local brews.

4. Prettyman’s General

EMOTION FARMERS

Friday, February 27th at 6PM

2. Plew’s brews

8105 SE Stark St., 255-0049, roscoespdx.com. montavilla’s best beer bar always impresses us. Did you know you can get sushi here? You can get sushi here.

UPCOMING IN STORES

421 SE Grand Ave Turnt Up: DJ Pavone

Moloko Plus

736 Southeast Grand Ave. Freaky Outty 1001 SE Morrison St. Main Squeeze: DJs Kiffo & Rymes

3967 N Mississippi Ave. Hans Fricking Lindauers 21st Century Rhythm & Soul Review

rotture

The GoodFoot Lounge

The Lovecraft

2845 SE Stark St. Soul Stew: DJ Aquaman

The rose bar

111 SW Ash St Gran Ritmos VI: Svnta Mverte

315 SE 3rd Ave. Blowpony vs. Regina of Light Fires 421 SE Grand Ave. Darkness Descends Dance Night

Mbrascatu is a fusion of the cobbled streets and cafés of the Old World and the creative melting pot of Portland. The band is a group of talented musicians that draw from very different musical backgrounds to create a unique blend of sounds encompassing European and American roots.

sun. MArCh 1 The GoodFoot Lounge

2845 SE Stark St. MOM (Motown on Mondays) on Sunday

Mon. MArCh 2 Cadigan’s Corner bar 5501 SE 72nd Ave. Fight Church TV, Jessie

Ground Kontrol Classic Arcade

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

The Lovecraft

421 SE Grand Ave. Departures, DJ Waisted and Friends

Tues. MArCh 3 Analog Cafe & Theater 720 SE Hawthorne Blvd. Boombox

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

The spare room

4830 NE 42nd Ave The Get Down

Willamette Week FEBRUARY 25, 2015 wweek.com

feb. 25–march 3

= WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: ENID SPITZ. Theater: ENID SPITZ (espitz@wweek.com). Dance: KAITIE TODD (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: espitz@wweek.com.

THEATER OPENINGS & PREVIEWS Durang Durang

Post5 Theatre puts on a series of one-acts by Christopher Durang that satirizes the likes of Sam Shepard, Tennessee Williams and David Mamet. Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 7:30 pm Fridays-Sundays through March 28. $15-$20.

Other Desert Cities

Portland Center Stage presents a drama by Jon Robin Baitz about a wealthy family with a thorny past— because we’ve never seen any of those sorts of people onstage before. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysSundays, 2 pm Saturdays-Sundays and noon Thursdays through March 22. $39-$69.

Timmy Failure: Mistakes Were Made

In addition to writing and illustrating the comic strip Pearls Before Swine, Stephan Pastis has started penning kids’ chapter books. Now, the protagonist of that series—a wannabe detective with a giant polar bear for a business partner—makes it onstage, courtesy of a world-premiere play at Oregon Children’s Theatre. Best for ages 8 and up. Winningstad Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays and 2 pm Sundays through March 22. $15-$28.

ALSO PLAYING Becoming Dr. Ruth

In this solo show at Triangle Productions, local theater stalwart Wendy Westerwelle stars as Dr. Ruth Westheimer. Before she became a wonderfully frank and funny sex therapist, Westheimer was whisked away from her family on the Kindertransport, spent time as a sniper in Israel and taught at the Sorbonne. Unfortunately, reviews of other productions suggest Mark St. Germain’s script has little of Westheimer’s vivacity or candor. In the mood for a good time? Head to Westheimer’s Twitter feed. Sample tweet: “Sigmund Freud said clitoral orgasms were ‘infantile.’ Today is his b’day & ladies I suggest you celebrate in a childish manner!” Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through Feb. 28. $15-$30.

The God Game

The God Game premiered only hours after Gov. John Kitzhaber’s resignation announcement. Shaking the Tree Theatre could hardly have planned it, but it was an uncanny moment to examine the role personal discretion plays in politics. Unlike Kitzhaber, Virginia’s junior senator, Tom (Leif Norby), is careful about how his private life will affect his career choices. During a quiet night in with his wife, Lisa (Laura Faye Smith), he is interrupted by the seemingly unexpected arrival of Matt (Kelsey Tyler), campaign manager for the Republican presidential nominee. Lisa is a good, church-attending Christian wife irritated by her husband’s sudden default to agnosticism. Matt sees Tom’s crisis of faith as easily smoothed over. With excellent direction by Brandon Woolley, the verbal sparring ricochets seamlessly among the personal, political and ideological. And scene designer Demetri Pavlatos gives us a domestic space with all the trappings of a neat political family: vaguely colonial furnishings, leather-bound books and

a rather ominous, inky globe prominently displayed on the mantle. But the central conceit—that a Republican senator from Virginia suddenly has reservations about pandering to the base by dropping G-bombs—is questionable to the point of absurdity. RIHANNA WEISS. Shaking the Tree, 823 SE Grant Ave., 235-0635. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through March 7. $15-$22.

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 show March 1). $17-23.

Little Gem

Irish playwright Elaine Murphy’s humblebrag of a title gets it right. Her multi-generational study of three Irish women and the mixed bag of men they contend with eschews the brilliant chatter and beautiful failures that make Irish theater a recognizable brand. Instead, this understated set of interwoven monologues focuses on the quotidian: Young Amber (Lauren Mitchell) confronts a blonde who’s after her boyfriend; her mother Lorraine (Sara Hennessey) screams at an annoying customer. Bigger dramas turn up over the course of the play, but they stay rooted in the everyday details of these three lives. Murphy can be very funny: The struggles of Kay (Michele M. Mariana), Lorraine’s mother, with a new vibrator (her “alien willie”) reliably broke up the opening night audience. That bit is s a testament to the strength of the writing; the laughs come not at Kay’s expense, as they might in some Apatow comedy, but in sympathy with her complex humanity and rueful self-awareness. Little Gem is an actor’s showcase, and all three performers transform the bare second floor of Kells Irish Pub into a lively slice of urban Irish life. Gemma Whelan’s production is as modest as the play itself, and as quietly revelatory. JOHN BEER. Kells, 112 SW 2nd Ave., corribtheatre.org. 7:30 pm Mondays-Thursdays through Feb. 26. $15-$25.

The Musical Comedy Murders of 1940

North End Players, based in St. Johns, present a farce by John Bishop that tries to poke fun at both murder mysteries and musicals while not really being either of those things. St. Andrew’s Episcopal Church, 7600 N Hereford St., 705-2088. 7:30 pm Friday-Saturday, Feb. 13-14, 7:30 pm Friday, Feb. 20; 2 and 7:30 pm Saturday, Feb. 21; 7:30 pm ThursdayFriday, Feb. 26-27 and 2 pm Saturday, Feb. 28. $12.

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. 7 pm Saturday, March 14. $15-$20.

Opción Múltiple

Imagine sharing an apartment with four roommates who have no sense of personal space. There’s the overly aggressive guy, the childish drama queen, the mom type who tries to make everyone get along, and the slut. Now imagine these four people follow you everywhere because they live not in your apartment but in your mind. If this sounds incredibly annoying, it is, as the production of Opción Múltiple makes vividly clear. Directed by Nelda Reyes, Milagro Theater

presents the American premiere of the Spanish-language play (shown with English supertitles) by Luis Mario Moncada Gil. Diana is a woman suffering from dissociative identity disorder. This is played to mostly comic effect in the first act, but forays into heavy-handed melodrama in the second, with dialogue that is almost exclusively shouted. Diana’s sanity is not the only one left in question. PENELOPE BASS Miracle Theatre, 525 SE Stark St., 236-7253. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Feb. 28. $16-$24.

Portland Civic Theatre Guild

Sorry, Wrong Number by Lucille Fletcher and Mystery at Twicknam Vicarage by David Ives, both murder thrillers, will be read in the style of old-time radio broadcasts. The Old Church, 1422 SW 11th Ave., 222-2031. 10 am Tuesday, March 3. $8.

ing a sexual playground, the couple’s spartan bedroom plays host to a mess of neuroses. As flesh is gradually revealed, so are secrets about the couple’s history that suggest this night might not be the lighthearted romp it would at first seem. That’s upsetting to Doug, a consummate New Age Bro who’s “all about good vibes and good karma.” But that’s is the thing about threesomes. In practice, twice as many partners offers double the opportunity for humiliation. JAMES HELMSWORTH. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays (excluding March 3 and 8); 2 pm select SaturdaysSundays; noon select Thursdays. Through March 8. $20-$55.

Tribes

Artists Rep’s first show of 2015 is Nina Raine’s drama about an intellectual, combative family—which includes one deaf member, Billy, who’s never learned sign language, and who scrabbles to find community outside of the home. Other productions have scored strong reviews, with The Washington Post calling it “turbulent” and “absorbing.” Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSundays and 2 pm Sundays through March 1. $25-$55.

CONT. on page 34

REVIEW OWEN CAREY

PERFORMANCE

Precious Little

“I chew. I swallow. I recognize the vegetable.” As Precious Little begins, an uncostumed actress playing an unnamed ape crouches low on the Defunkt Theatre’s unadorned stage to gnaw on stalks of celery. Although the simian poetry slam seemed an oblique prelude to whatever Madeline George’s 2009 play wanted to say about the inability to communicate, Jane Vogel clearly relished her performance, savoring each syllable with game-day bombast. Compared to the empty pantsuits and conceptual placards otherwise populating Precious Little, the gorilla may well be the most fully realized character— more sympathetic than the lesbian linguistics professor Brodie (Lori Sue Hoffman) examining her late-life pregnancy complications through the prism of benumbed self-absorption, more believable than the ditzy genetic researcher (Christy Bigelow) mining chromosomal abnormalities for shtick. Whether nearing a career triumph or first gazing on a sonogram of her unborn child, Hoffman gives our protagonist the benumbed wince of an imminent migraine. Christy Bigelow, chirping through each of her characters like a sketchtroupe diner waitress, suggests the reason why. Where Vogel’s talents in multiple roles (she’s also granted a tasty scene as the last speaker of dying tongue) and Defunkt’s unshowily-excellent sound design and stagecraft neatly prop up the zoo scenes, Hoffman and Bigelow’s varying pitches would demand just the right script to work in tandem. But the play is filled with academic talking points and soap-opera banter. Maybe the hamfisted dialogue itself was meant to emphasize the limitations of language? We chew on this. We do not swallow. JAY HORTON. The Back Door Theater, 4319 SE Hawthorne Blvd., 481-2960. 7:30 pm ThursdaysSundays through March 21. $15-$25 Fridays-Saturdays, “pay what you can” Thursdays and Sundays.

Romeo and Juliet

Students from Portland Actors Conservatory, joined by a few guest artists, take on Shakespeare’s classic tale of doomed romance—with a little original rock music. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through March 1. $5-$25.

Threesome

It only takes about 10 minutes for the first penis to appear. But that’s hardly the most shocking moment in Threesome, a richly scripted worldpremiere production by Seattle playwright Yussef El Guindi. Under the careful blocking of director Chris Coleman, the bed is the centripetal force grounding the action—the titular threesome rotates around it, dressing, undressing, moving from under the covers to the room’s furthest corners. Couple Rashid (Dominic Rains) and Leila (Alia Attallah) make up twothirds of the three. Both are EgyptianAmerican artists—he a photographer, she a writer. They’ve invited over their acquaintance, Doug (Quinn Franzen), for a night of horizon-broadening fun. But instead of becom-

i just Wanted cHiPs: damon Kupper and christina Holtom.

THE NIGHT ALIVE (THIRD RAIL) “Sad and poor Irish people sitting in a room” is practically a theatrical genre unto itself these days. The Night Alive, a play by famed Irish playwright Conor McPherson, hardly reinvents it. But in this production by director Scott Yarbrough, Third Rail Repertory Theatre’s players do hit all the right notes and add a few of their own in dense layers of symbolism and questions about the moral order of the universe. Spoiler alert: There isn’t one. What protagonist Tommy (Damon Kupper) does learn is that no good deed goes unpunished. When he goes out for a bag of chips, he finds bruised Aimee (Christina Holtom) just thrown out of a car, and takes her in. What little sanity exists in his life quickly crumbles in this production’s classic mix of Irish melancholia and verbal jousting. Tommy isn’t exactly sweeping Aimee off her feet or anything. He lives in the side room of his uncle Maurice’s (Del Lewis) house, which he keeps littered with trash bags, pizza boxes and James Bond paperbacks. And Doc (Michael O’Connell), the “employee” he uses for his odd-job “business”—pretty much just schlepping junk around—is constantly barging in. But it’s safer than the streets, and so Aimee stays. As does the play. Aimee’s assailant, Kenneth (Rolland Walsh), is out there somewhere, as are rumors about what she does for money, but all two unintermissioned hours of Yarbrough’s production takes place in the dingy room. Most of the action comes from McPherson’s writing. In the characters’ conversations, motifs begin to accumulate, suits and black holes chief among them. McPherson goes for laughs in the dark places, too. “Which way was your nose crooked before?” Tommy asks Aimee when he first picks her up. “It was only €1.99,” says Doc when his survival book advises him to “run away” if shot at. Perhaps the deepest plunge, however, is using signs of poverty—savings kept in a box, feeding a meter for electricity, sleeping in cars—for laughs. (Note: Tommy and I use the same shitty Samsung flip phone.) Evil takes human form when Kenneth comes a-calling. Walsh is terrifying, baby blues and genteel manners offering a kind of cleancut sadism. Bespectacled and stammering, Doc provides comic relief and still manages to seem like a real person. The leading couple is less memorable, but perhaps that’s by design: The play is less about their lives and more about the stuff at life’s periphery, continually getting sucked back into its center. JAMES HELMSWORTH.

Looking for laughs in all the dark places.

see it: CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays through March 14. $29. Willamette Week FEBRUARY 25, 2015 wweek.com

PERFORMANCE

FEB. 25–MARCH 3

The World Goes ’Round

Tigard’s Broadway Rose Theatre presents a musical revue of songs by John Kander and Fred Ebb, who contributed tunes 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 Thursdays-Saturdays and 2 pm Saturdays-Sundays through March 1. $30-$42.

COMEDY & VARIETY Bam!

The Brody folks present a new improv show, in which the performers begin the show blindfolded—and thus unable to see how the stage is set or how they’re being costumed. Once the blindfolds come oﬀ, the ad-libbing begins. REBECCA JACOBSON. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm Saturdays through Feb. 28. $8.

Baron Vaughn

Comedian Baron Vaughn has made a serious impression at the Bridgetown Comedy Festival over the years—he’s got a super-lively stage presence and a slightly absurdist way of framing totally mundane things (“I bet when you ﬁ rst started walking, giants that looked like you came out and took pictures”). He hits Portland as part of standup showcase Funny Over Everything. REBECCA JACOBSON. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 8 pm Friday, Feb. 27. $10.

Control Yourself: A Showcase of Funny

JoAnn Schind erle—a Mid west transplant with a high-energy, engaging style—hosts a free, twice-monthly standup showcase, followed by an open mic at 10 pm. Alberta Street Pub, 1036 NE Alberta St., 284-7665. 9 pm every ﬁ rst and third Sunday. Free. 21+.

Curious Comedy Open Mic

Curious hosts a weekly open-mic night. Sign-ups begin at 7:15, and comics get three minutes of stage time apiece. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm every Sunday. Free.

Curious Comedy Showdown

Comedians Katie Brien and Hutch Harris (you might also know the latter from a little band called the Thermals) produce a twice-monthly standup showcase, this time featuring sets from Bri Pruett, Chase Brockett, Kirsten Kuppenbender and David Mascorro. Analog Cafe, 720 SE Hawthorne Blvd. 8 pm Thursday, Feb. 26. Donation.

Earthquake Hurricane

An army of impressive Portland comedians—Curtis Cook, Alex Falcone, Bri Pruett and Anthony Lopez—host a weekly standup showcase with some of the funniest people you’ll ever see in the basement of a bike shop. Kickstand Comedy Space, 1969 NE 42nd Ave., 937-219-1334. 8:30 pm every Wednesday. $5 suggested.

Funny Humans vs. the Wheel

If you go to enough shows around town, you start to memorize comedians’ sets. Think of this weekly show, hosted by silly duo Adam Pasi and David Mascorro, as an antidote to all that repetition: Comedians start out with a planned set, but halfway through, they have to spin a wheel to determine what comes next— crowd work, one-liners, maybe even a heckle battle. Bar of the Gods, 4801 SE Hawthorne Blvd., 232-2037. 9 pm every Sunday. Free. 21+.

Helium Open Mic

Generally regarded the best openmic night in town, Helium’s signups ﬁ ll quickly. Show up between 6 and 7 pm to snag some stage time. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm every Tuesday. Free with a two-item minimum. 21+.

It’s Gonna Be Okay

Hosted by the ever-chipper Barbara Holm, this twice-monthly showcase is a prime spot to catch Portland ’s top comics, as well as the occasional out-of-towner. The cozy basement room is almost always packed (especially impressive for a Monday night), and Holm often tosses out prizes—plastic dinosaur ﬁ gurines, comic books— to audience members. Also: free skeeball afterward . EastBurn, 1800 E Burnside St., 236-2876. 8:30 pm every ﬁ rst and third Monday. Free. 21+.

Minority Retort

A standup show produced by Jeremy Eli and Jason Lamb that gives the spotlight to comedians of color. Tonight’s lineup includes Nathan Brannon, Katie Nguyen, Crystal Davis, Anthony Lopez and David Mascorro. Curious Comedy,

5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every fourth Friday. $7.

Naked Comedy Open Mic

The Brody hosts a thrice-weekly open-mic night. Comics get fourminute standup slots and can sign up online. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm every Tuesday, Wednesday and Thursday. Free with one-item minimum purchase.

Open Court

Team-based, long-form improv open to audience members and performers of all stripes. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm every Thursday. $5.

Random Acts of Comedy

Curious Comedy puts on a freewheeling show that brings together sketch, standup and improv. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every Saturday. $7-$10.

Rob Delaney

Comedy Central has proclaimed him the funniest man on Twitter (“Doughnuts are gay bagels”), but Delaney is pretty funny live, too, with plenty of pathos alongside the outland ish bits. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm Sunday, March 1. $25.

Taylor Williamson

Young standup comedian Taylor Williamson may not have won America’s Got Talent, but he did develop the ﬂ irtiest relationship with Heidi Klum in the show’s history. He hits Helium for a threenight run. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm Friday-Saturday, Feb. 26-28. $15-$30. 21+.

You Are Here

The Brody ensemble puts on a weekly improv showcase, generally featuring a ton of audience participation. Brody Theater, 16 NW Broadway, 224-2227. 8 pm every Friday. $9-$12.

DANCE Alonzo King LINES Ballet

Dance presenter White Bird kicked off its fi rst round of “Barney” creative prizes in 2013, awarded as a grant that recognizes innovative choreographers from around the world. The fi rst winner? British choreographer Alonzo King, known for tingeing his classicballet techniques with splashes of contemporary technique. He returns to Portland for the fi rst PAT R I C K W E I S H A M P E L / B L A N K E Y E .T V

Curious Comedy’s improvisers duke it out, in hopes of winning audience votes and advancing to the next round of competition. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm every Friday and Saturday. $12-$15.

Down to Funny

OTHER DESERT CITIES 34

Willamette Week FEBRUARY 25, 2015 wweek.com

FEB. 25–MARCH 3 time since 2008 with his San Francisco-based LINES ballet company, a group often noted for its ability to make unique shapes and lines with its movements. King brings three pieces to the Portland stage, all with a determined focus on exploring the complex musicality of each song. This includes the ﬁ rst piece, Concerto for Two Violins, a work originally premiered in October 2013. Later, audiences can expect to see Writing Ground, a piece which premiered in 2010, is set to free verse by Irish author Colum McCann and backed by early music from Jewish, Muslim, Buddhist and Christian sources. Newmark Theatre, 1111 SW Broadway, 245-1600. 7:30 pm Thursday-Saturday, Feb. 26-28. $26-$68. All ages.

Cinderella

Oregon Ballet Theatre kicks off its spring season with the classic story Cinderella, as imagined with a few energetic twists by British choreographer Ben Stevenson. Set to Sergei Prokofi ev’s theatrical score this is the company’s fi rst production of Stevenson’s choreography. There should be no shortage of colorful sets, sparkling costumes and fairy-tale romance. Stevenson’s version of the story is known for bringing as much comedy into the mix as it does magic, opting for a slapstick approach to the ugly stepsister’s usual cruelty. The lineup for the premiere performance on Feb. 28 includes principal ballerina Xuan

PERFORMANCE

Cheng taking on the beloved rags-to-riches role, Brian Simcoe as Prince Charming, and Brett Bauer and Michael Linsmeier trying on high heels for their roles as the ugly stepsisters. Keller Auditorium, 222 SW Clay St., 227-0977. 7:30 pm Feb. 28, March 1 and March 5-7. 2 pm Saturday, March 7. $40-$165. All ages.

Hyde

We all know the story of Dr. Jekyll and Mr. Hyde: a man with good and evil split personalities. Inspired by this duality, local choreographer Tracy Broyles has created Hyde, a mix of experimental dance and theater that is about the contrasts and similarities we see within ourselves and share with others. The performance sees ﬁ ve dancers breaking up into solos, duets, and fullgroup numbers that, according to Broyles, range in mood from things such as proud, silly, combative, forceful and loving. The divisive moods aren’t just shown through the full-bodied movement, however—each dancer will incorporate his own spoken word, random sounds and exaggerated facial expressions to compliment his d ueling natures. Studio 2, 810 SE Belmont St. 8 pm FridaysSaturdays Feb. 27-28 and March 6-7 and 2 pm Sundays, March 1 and 8. $12-$17.

MUSIC PG. 25

For more Performance listings, visit

PA U L FA R D I G

REVIEW

A song-studded romp detailing one adorable girl’s murder of another for the lead role in a school play, Ruthless! The Musical explores the sinister glint behind every child star’s manufactured smile. Tina (an awkwardly precocious Alexa Shaheen) kick-starts the labored plot with her bloody ascent, but this farcical engine really builds steam when the keening ambitions of all its players amass. Amid weary puns and cartoon diva stints, the cleverest dialogue is entrenched in the blinkered worldview of the theatah. The drama-school slam “INDICATING!”—an inside joke for theater nerds—drew confused chuckles from a matinee crowd. But such shameless preaching to the onstage choir does uncork a certain rapture among performers. Stephanie Heuston’s maternal and disapproving Judy initially appears above the surrounding silliness, but she eventually assumes her prima donna mantle as Ginger Del Marco and takes flight alongside her character’s soaring dementia. A bewigged Darius Pierce sucks the marrow from every line as suspiciously invasive talent agent Sylvia St. Croix, creating an over-the-top archness equal parts Margo Channing and Dr. Evil. Alternately captivating and cloying as our young murderess, Shaheen may seem lacking compared to Laura Bell Bundy’s original Tina, but the part does lend itself to career upswings. Honestly, considering Bundy’s 1992 understudies Britney Spears and Natalie Portman, we’re more curious who’s waiting in the wings. JAY HORTON. SEE IT: Ruthless! The Musical is at Brunish Theatre, 1111 SW Broadway, 248-4335. 7:30 pm Thursdays-Saturdays, 2 pm Saturdays-Sundays through March 8. $30.75-$44.75. Willamette Week FEBRUARY 25, 2015 wweek.com

VISUAL ARTS

feb. 25–march 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.

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.

Dianne Kornberg: Madonna Comix Project

Free Fall by Friderike Heuer, Part oF stories

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 equally allusive, with its succession of oysters

Willamette Week FEBRUARY 25, 2015 wweek.com

A decade or so back, in a city other than Portland, Dianne Kornberg’s racy Madonna Comix Project would probably have had right-wingers lined up to protest. These photo-based prints, based on poems by Celia Bland, dispense gritty commentary on womanhood and motherhood. In Education of the Virgin 4, a nude torso and pregnant belly (presumably the Virgin Mary’s) are encircled in a nimbus. Below, a caption ironically offers: “Anybody can have a baby.” Education of the Virgin 6 shows the lower half of a nude woman, squatting above a caption that begins, “Virgin Mary is not hairy down there,” and continues with equal irreverence: “It’s God the Father, the Son and the Holy Spirit in there— swallowed, perhaps, and passed with a kiss through nether lips.” In these and other pieces, Kornberg winningly marries feminism with blasphemy. Through Feb. 28. Augen Gallery DeSoto, 716 NW Davis St., 546-5056.

It’s Raining Cats and Dogs

Animal-themed art shows should be granted a special rung in hell. In 2008, Froelick devoted a show to horses and so did Butters. Yes, that was seven years ago, but the statute of limitations is far from up on cutesy showcases of our fun ’n’ furry friends. Now comes Charles Hartman’s paean: as the show’s subtitle puts it, A Group Exhibition of the Canine and Feline. There are important historical artists represented here—André Kertész (1894-1985) and Arnold Newman (1918-2006), for example—but really?

Do those of us who love pets really need to keep vintage photographs of pets around the house to remind us how much we love pets? Maybe so. Through March 15. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

Jo Hamilton: Whom

After a thoughtful and poignant show last year at Q Center, Jo Hamilton unveils a new body of work at Laura Russo Gallery. This artist works in crochet, yet her work transcends ghettoization into the subgenre of “fabric art.” Working in portraiture, she achieves uncanny realism, which she simultaneously undermines and heightens by letting the fabric hang down from the subjects’ faces, bodies and clothes. This stalactite-like effect suggests the decay we all succumb to over time. It’s a sumptuous, sobering show. Through Feb. 28. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

Joe Rudko: Picturesque

It’s heartening when an established blue-chip gallery such as PDX Contemporary takes on an artist for his first-ever gallery show. That’s happening this month when Joe Rudko, a recent graduate of Western Washington University, makes his debut with the exhibition Picturesque. Spartan and elegant, Rudko’s works on paper exude minimalist savoir-faire. He creates them by ripping, cutting, folding and reconfiguring photographs and other images into new compositions, challenging the viewer to reconsider the dynamic between component parts and overall gestalt. Through Feb. 28. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Kevin Kadar and Takahiko Hayashi

Froelick offers a strong pairing of shows for February. A standout in Kevin Kadar’s show, Portals and Puzzles, is the acrylic painting Firewall. With its flamelicked, scorched-earth landscape, it looks like the unholy love child of James

Lavadour, Alex Lilly and Hieronymus Bosch. Another standout is Paint Portal, Paint Puzzle, in which two nude women stand beside an upside-down nude man, whose penis and scrotum dangle comically. In the back galleries hang Takahiko Hayashi’s impossibly intricate etchings and drawings on paper. The astonishing series of 12 pen drawings, collectively entitled In a Swirl of Many, Many Small Circles, shows a geometric cyclone of circles floating like snowflakes or fairydust. Some of the pieces are scored with tiny pinpricks inside the circles’ centers, emphasizing the fastidiousness of these miniature masterpieces. Through March 14. Froelick Gallery, 714 NW Davis St., 222-1142.

Stories

Three artists unite for Stories, a myththemed exhibition that is Blackfish’s most satisfying and sophisticated show in at least five years. Steve Tilden and Jen Fuller’s metal-andglass collaborations make a stunning visual impact, especially in the installation entitled Their Strong, Thick Wings, which hugs its way along three walls. It’s a myriad of metal triangles that seem to float, morphing into abstracted wings, then into realistic wings, complete with glass feathers. The components cast a web of shadows, arguably as beautiful as the shapes that create them. Friderike Heuer provides a brilliant foil to the metal and glass sculptures with her haunting digital photomontages. In her Free Fall series, she takes on a near-mythic event in recent history: the devastation of Lower Manhattan during the 9/11 attacks. Amid her tableaux of wreckage are images of birds, suggesting an uplift of the spirit even in the face of tragedy, and engaging in a kind of visual call-and-response with Tilden and Fuller’s bird-wing installation. Through Feb. 28. Blackfish Gallery, 420 NW 9th Ave., 234-2634.

For more Visual Arts listings, visit

BOOKS

feb. 25–march 3

= WW Pick. Highly recommended. 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.

THURSDAY, FEB. 26 Mark Pomeroy

Two Portland high-school teachers are thrust into turmoil when one is accused of sexual misconduct with students and the other is assaulted by a former student. The events lead them down parallel but linked paths as they struggle to reconcile past events that connect them both to Vietnam. Mark Pomeroy’s debut novel, The Brightwood Stillness, weaves the legacy of Vietnam through a story of friendship and cross-cultural communication. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

John Benditt

When a young man awakens from a dream determined to build a boat and sail away from the small island and the only life he has ever known, he encounters racial hatred, fanatical religion and destructive love. Journalist John Benditt wrote for Scientific American and spent five years as editor-in-chief of MIT’s Technology Review. His debut novel, The Boatmaker, is a modern fable of self-discovery. Powell’s City of Books, 1005 W Burnside St., 800878-7323. 7:30 pm. Free.

Ander Monson

From witty observations to dirty jokes, we’ve all stumbled upon notes scribbled into the margins of a book. Ander Monson’s new collection of essays, Letter to a Future Lover, explores the phenomenon of these human traces found in university libraries, friend’s bookshelves and even a KGB prison library. Monson’s witty musings reflect the human need to catalog and annotate and how our connections with books create connections with one another. You won’t find that shit in an e-book. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 800-8787323. 7:30 pm. Free.

FRIDAY, FEB. 27 Mary Pilon

Honing those good old-fashioned capitalist cutthroat instincts for generations of children, Monopoly might be the world’s most famous board game. But Mary Pilon’s new book calls into question the history of the game and its true creator. The Monopolists: Obsession, Fury, and the Scandal Behind the World’s Favorite Board Game highlights a history of corporate greed and life’s real winners and losers. Powell’s City of Books, 1005 W Burnside St., 800878-7323. 7:30 pm. Free.

MONDAY, MARCH 2 Race, Place and Gender: A Roundtable Discussion

Portland State professors Lisa Bates, Derrais Carter and Roberta Hunte will host a discussion about social justice, housing policy and gentrification, gender and the definitions of community as they relate to the book The Residue Years by Portland author Mitchell S. Jackson. Jackson’s autobiographical novel about growing up black in a neglected Portland neighborhood in the ’90s was selected as the library’s annual Everybody Reads book. Multnomah Country Library—North Portland Branch, 512 N Killingsworth St., 9885394. 6-8 pm. Free.

For more Books listings, visit

REVIEW

SCOTT TIMBERG, CULTURE CRASH Last November, Jack Conte of the California indie-pop duo Pomplamoose penned a blog post on the plight of the modern indie-rock band. “Being in an indie band,” Conte wrote, “is running a never-ending, rewarding, sca r y, low-ma rg in sma ll bu si ness.” S ome cr it ic s found Conte’s business acuYou’re Kanye or you’re no one. men suspect—26 grand for lighting and road cases?— while others considered the sob story of a scrappy independent artist losing $11,000 on a sold-out American club tour to be the sad reality in today’s music business, where you’re either Kanye or you’re no one. How did we get ourselves in this mess? In Culture Crash (Yale University Press, 310 pages, $26), Scott Timberg claims the hollowing out of America’s middle class in the wake of the Great Recession is largely to blame. While history has fetishized stories of blue-collar romantics like the Beatles and Bruce Springsteen making good on their working-class ethics and sterling commitment to songcraft, it’s the bohemians of the middle class who have rallied around urban scenes to help alternative cultures catch fire. It’s culture, after all, that our country is in the business of exporting today. “America doesn’t make industrial goods anymore and perhaps never will again,” Timberg writes, “because what the United States produces now is culture and ideas. Unfortunately, making a living doing this has never been harder. It wasn’t supposed to be this way.” New York has always been the nexus of creativity in America, but the cheaper rent of “second cities” like Boston and L.A. has fostered creative enclaves outside the East Village for decades. Cities like Austin and Portland now teem with aspiring creatives attracted to walkable neighborhoods and the kinds of jobs—service industry and otherwise—that afford musicians and the like the freedom to pursue artistic endeavors until they make it. Rising rents are now squeezing the creative class out of the very neighborhoods they sought out as incubators. “Americans have long worried about big cities and the endemic poverty that seemed to take root in them,” Timberg writes, “but it’s excessive wealth, not poverty, that’s now making some cities unlivable.” We now live in a world in which arbiters of good taste—a once noble task—see their livelihoods in free fall. Robert Christgau, the patron saint of rock journalism, has been laid off twice. Timberg himself, once an arts writer for the Los Angeles Times, saw his own career go up in flames in 2008. The very act of creating middlebrow art in any regard faces pressure from the money-driven elite at the top and the consensus of commondenominator apologists—often disguised as “poptimists”—who invalidate anything seen as too academic or pretentious for the average consumer. Timberg spills a lot of ink over the devastation of the past and bleak outlook of the future. Culture Crash is timely, relevant and absolutely terrifying. Although the epilogue offers a few words on what might work to steer culture out of the celebrityworshipping wasteland we’re in at the moment, it doesn’t add up to much beyond the subversive cheerleading one would read in an Adbusters cover story. Until Kanye and Perez Hilton become irrelevant, all us young bohemians can do is buy a vacant lot in Detroit and hope for the best. PETE COTTELL. GO: Scott Timberg appears at Powell’s City of Books, 1005 W Burnside St., 226-4681, on Sunday, March 1. 7:30 pm. Free.

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From oodles of noodles and banh mi to small plates, pub grub and food carts, Portland is rich with delicious discount destinations.

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Cheap Eats is the budget diner’s bible, our annual homage to affordable fare.

willamette week’s

BAR GUIDE willamette week’s

Publishes: 3/18/15 Deadline: 3/5/15 february 19, 2014

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april 9, 2014

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Willamette Week FEBRUARY 25, 2015 wweek.com

So many bars, so little time. Our annual Bar Guide gives readers the lowdown on where to load up. We do the dirty work of exploring the city’s bars, taverns, lounges, and pubs to produce a curated list of the best and most interesting places to imbibe, including our Bar of The Year. Publishes: 4/15/15 Deadline: 4/2/15

feb. 25–maRch 3 REVIEW

= WW Pick. Highly recommended.

C O U R T E S Y O F F O C U S F E AT U R E S

MOVIES

Editor: JOHN LOCANTHI. 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: jlocanthi@wweek.com. Fax: 243-1115.

OPENING THIS WEEK Focus

B- Great con-man movies—a subgenre old as cinema itself—strike a difficult balance between breezy capers and deeper examinations of character motives. It’s a dance between glamorizing the life of crime and facing the inevitable emptiness it begets. In this scenario, Focus hits most of the right notes. It’s a slick, funny and sometimes suspenseful yarn, a picture that’s light on its feet and mostly forgettable, but it still manages moments of intrigue. Making a welcome return to his charismatic side after a decade of selfserious drudgery, Will Smith stars as Nicky, a globetrotting crook who reimagines the con game as an industry. That means employing an army of pickpockets, identity thieves and hackers to descend on unsuspecting crowds, including a rollicking job at the Super Bowl in New Orleans. As older cons are wont to do, Nicky takes a protégée (The Wolf of Wall Street ’s Margot Robbie) and inevitably falls in love. What follows is a requisite series of double crosses, twists and dangerous flirtations that, sadly, take all the spark out of the story. Focus, directed by I Love You Phillip Morris’ Glenn Ficarra and John Requa, explodes out of the gate with an hourlong series of slick, fast-paced sequences so good the rest of the movie can’t keep up. It’s a film that shows its cards far too early. R. AP KRYZA. Showing at most Portlandarea theaters.

ster and self-deluded egotist—presented himself as the artist. Big Eyes is often tiresome, and Burton skims over thorny questions—the populist craze for kitsch, gendered expectations in art, the line between highbrow and lowbrow. PG-13. REBECCA JACOBSON. Academy Theater, Laurelhurst Theater.

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. Substantial swaths of the picture are devoted to nothing loftier than portraying just how unstoppably cool soaring on the back of your own robot would feel. PG. JAY HORTON. Avalon, Empirical, Twin, Kennedy School, Laurelhurst Theater, Milwaukie, Vancouver, Valley.

Birdman

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. Cedar Hills, Clackamas, Cornelius, Edgefield, Hollywood Theatre, Moreland, Oak Grove, Bridgeport, City Center, Fox Tower, Sandy, St Johns.

Black or White

STILL SHOWING

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. Clackamas, Division, Movies on TV, Sherwood.

All the Wilderness

The Boy Next Door

The Lazarus Effect

Like Lazarus, Olivia Wilde is brought back from the dead, except Mark Duplass performs the miracle instead of Jesus this time. PG-13. Showing at most Portland-area theaters.

B- Other than cataloguing his

unhealthy morbidity in a journal devoted to the deceased creatures he comes across in the woods, James (Kodi Smit-McPhee) spends his time wandering through town, bailing on therapy appointments, and getting a black eye after telling a bully exactly when the jerk is going to die (in 279 days, to be precise). Debuting writerdirector Michael Johnson wrangles uniformly solid performances from his cast, which includes Virginia Madsen as the distant mother and Danny DeVito as the therapist. All the Wilderness is filled with moody grace notes, namely Malick-inflected nature shots and poetic asides delivered via voice-over. MICHAEL NORDINE. Living Room Theaters.

American Sniper

D Chris Kyle (Bradley Cooper) shoots

people. R. JAMES HELMSWORTH. Showing at most Portland-area theaters.

The Babadook

A- The Babadook is scary. AP KRYZA.

Living Room Theaters.

Bears

A nature documentary about an Alaskan family of the titular large fuzzy creatures. G. Empirical.

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. 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)—a charming huck-

D An unintentionally funny thriller starring Jennifer Lopez as a teacher sleeps with a student-cum-violent stalker, the Boy Net Door 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 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.) It’s a pity the film doesn’t fully embrace camp to become an awesomely bad movie. Instead, it’s just a bad movie. R. JOHN LOCANTHI. 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 realworld consequences. Yet there are also instances of near-levity. In one scene, we see Snowden fuss with his hair in the bathroom mirror while a story about him is broadcast on CNN in the background. He’s reached a point of no return, and watching him jump willingly into the unknown is as terrifying as it is thrilling. Those familiar with Snowden’s story may complain at the paucity of new details,

FROm juPITER TO TINSELTOWN: julianne moore shines as a fallen star.

MR. CRONENBERG GOES TO HOLLYWOOD THE VIDEODROME DIRECTOR TURNS HIS EYE TO TOXIC CELEBRITY CULTURE IN MAPS TO THE STARS. bY micha el n oR din e

243-2122

David Cronenberg has always been fixated on bodies. He fused them to television screens in Videodrome, crafted the finest head-explosion scenes of all time in Scanners, and charted every gruesome step of Jeff Goldblum’s transformation into an insect in The Fly. So it comes as little surprise that he would eventually make a wartsand-all send-up of celebrity culture. You have to imagine the stars’ adoring fans glued to the TV in Maps to the Stars—the Canadian director’s first feature filmed in the U.S.—but it isn’t too difficult: Cronenberg’s roving ensemble includes a Justin Bieber-like child star who calmly meets with obsessed Make-A-Wish kids and an aging actress whose glory days have faded along with her youth. Our entry point to this superficial world is the arrival of a stranger in town, though we’ll discover that she isn’t exactly a newcomer. Mia Wasikowska’s Agatha wears arm-length gloves to conceal the scars she received in a fire that nearly killed her as a child, but her hair can’t entirely cover the ones on her face. Her wounds lie even deeper below the burned surface, as quickly revealed in her conversation with the wannabe actor driving her around in a limo. Said chauffeur is played, somewhat ironically, by Robert Pattinson—an embodiment of Agatha’s declaration that “everything is stunt-casting.” There are, of course, several types of stars, and Cronenberg makes the celestial connection explicit in this car ride. Agatha claims to have come to Tinseltown from Jupiter; she’s actually fresh out of a mental institution in Florida. Thanks to Carrie Fisher, Agatha quickly lands a gig as the personal assistant to an aging actress, Havana Segrand (Julianne Moore). Moore delivers the kind of performance that’s often hyperbolically described as brave. In this

case, it’s richly deserved. We see the past-herprime starlet sitting on the toilet while barking orders to Agatha. Havana clings desperately to the last vestiges of youth, exhibiting her relentlessness without coming across as a caricature. She and countless others are products of a system that likes to make stars but has no use for them when they’re no longer bankable. Moore is undeniably great in her role, but Wasikowska deserves equal praise for her nuanced turn as a pyromaniac-turned-personal assistant. Agatha is quieter than her employer but no less menacing in her navigation of Hollywood politics. When she doesn’t get the latest role she was counting on, Havana’s frustration is mostly motivated by having never experienced fame at all. She repeatedly recites an esoteric verse, often when no one can quite hear her: “On all the flesh that says yes/ On the forehead of my friends/On every hand held out/I write your name….” It’s both a mantra and an incantation, Videodrome’s “Long live the new flesh” updated for film. It takes on an increasingly sinister connotation the more we learn of Agatha’s family history and what she plans to do after strolling down the Hollywood Walk of Fame. However, she’s hardly the only one with family issues. Havana’s mother died in a fire at a young age, and the cruel matriarch haunts her daughter by appearing at random moments and preying on her insecurity. Evan Bird’s Benjie, the aforementioned Bieber-like child star, likewise has visions of visitors from the afterlife. (Did I mention that incest and suicide pacts also play significant roles in the plot?) Maps to the Stars can be wildly disjointed at times, its tonal range often unwieldy. This is Hollywood at its most uncensor, and there’s rarely a voice of reason or moral compass to bring things back to earth. Cronenberg doesn’t pull any punches in his excoriation of this world, but he doesn’t provide much revelatory insight either. It’s no secret that the film industry is obsessed with youth and snubs nonessential personnel trying to eke out a living within its narrow confines. B- SEE IT: Maps to the Stars is rated R. It opens Friday at Living Room Theaters.

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feb. 25–march 3

but what Citizenfour lacks in revelatory information it makes up for with insight into its subject’s motivations. Snowden is meek and articulate, touching on everything from worries about his loved ones’ safety to how he’s more willing to risk imprisonment or “any other negative outcome” than surrender his intellectual freedom. r. MICHAEL NORDINE. Academy Theater, Laurelhurst Theater, Living Room Theaters.

The DUFF

DUFF (“designated ugly fat friend”) is apparently a thing kids say these days. PG-13. Showing at most Portland-area theaters.

Dumb and Dumber To

B Twenty years after Dumb & Dumber

entrenched the Farrelly brothers as keepers of a frat house of filmic offense, the directors return to their first heroes for the sequel just about nobody demanded. PG-13. JAY HORTON. Vancouver.

Fifty Shades of Grey

D Fifty Shades of Grey is one of the landmark works of the new millenium, the novel that proved definitively Americans will suffer through anything for a few fleeting moments of titillation. Anastasia Steele is a virgin when she meets Christian Grey, the world’s most eligible 27-year-old billionaire bachelor. That doesn’t last long. The appeal of Fifty Shades of Grey is that it wasn’t just a romance novel; it was a romance novel with bondage, spanking and anal beads, which have been left out of the film. But the R rating holds these scenes back. Quick cuts, strategic camera angles and body positioning make some of these scenes look like a badly choreographed fight. “I don’t make love,” Grey tells Ana. “I fuck… hard.” The film never follows through on that promise. You’re left with an oddly virginal—Ana’s a virgin; Grey has never slept with the women he fucks, until Ana—trite romance with a forced “why won’t you let me touch you?!” conflict. Fifty Shades turns what was supposed to be a torrid affair into an overly serious episode of Beverly Hills 90210 with some timid softcore erotica thrown in. The source material might have made a decent porno. Unfortunately, Universal sued the porn studio that intended to do this movie justice. That’s a shame. r. JOHN LOCANTHI. Showing at most Portland-area theaters.

Foxcatcher

B Michael Scott with a funny nose. r.

MATTHEW SINGER. Academy Theater, Laurelhurst Theater, Valley.

A Girl Walks Home Alone at Night

A- Writer-director Ana Lily Amirpour’s

A Girl Walks Home Alone at Night is an eclectic cinematic mishmash: an Iranian noir-spaghetti Westernlove story…with vampires. And yet, somehow, it all works. The score— including music from Portland’s own Federale—feels like it wandered in from a Sergio Leone movie. The stark black-and-white photography, smoke, prostitution and drug use paint it as the noirest of noirs. The sparing use of vampire antics—just three necks are bitten—makes the vampire character more human than many leads in conventional romance movies. Arash, a handsome 20-something in a white T-shirt and jeans, is the son of a junkie in Bad City. His father is in a significant hole to his dealer. A vampiric girl prowls the shadows—following, waiting and judging. For all its spaghetti Western flourishes, this is a quiet film about loneliness at heart. Amirpour the writer knows when to get out of the way of Amirpour the director. What could have been a trite love story or a generic vampire movie is instead a sombre, moody, beautiful piece of filmmaking. From the scratchy, hypnotic electronica when the girl follows the dealer to his cocaine-filled apartment to Morriconean chantings, the score keys the offbeat dream that is A Girl Walks Home Alone at Night. The minimal dialogue and an understated romance leave the viewer with something rare: a movie quiet enough

you can soak in the imagery and be bowled over by the propulsive score. JOHN LOCANTHI. Cinema 21.

Gone Girl

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.

Hot Tub Time Machine 2

B+ If you thought the first installment of Hot Tub Time Machine was stupid, that’s because, well, it was. But, as is the case with movies where a good chunk of the joke is also the movie’s central conceit and title, it was a carefully constructed stupid. It was a stupid that induced joy as it revealed new implications of this stupid conceit. It was really funny. Hot Tub Time Machine 2 picks up where the original left off. At the end of the first movie, scumbag druggie Lou (Rob Corddry) stayed in the past to make him and his friends rich by creating the Google rip-off “Lougle.” Lougle runs into trouble when somebody shoots Lou in the dick, and so the crew takes the hot tub into the past to prevent the shooting. But it takes them into the future instead— wait, no, it’s an alternate future that’s somehow also the past—so they can stop the shooting. If that sounds like a lot, that’s because, well, it is. Whereas the first movie’s plot was the best part, this one is overly technical. It’s not so much that it’s hard to follow, it’s that it isn’t inherently funny. Thus, the cast, writer Josh Heald and director Steve Pink must turn elsewhere for humor. There’s a joke about dead people shitting themselves. There’s a lot of naked chicks and booze. One of them goes on a zany drug trip. There are a couple rape jokes. It’s the sequel to a movie that approached the genre in a novel way, a movie that instilled brilliance in its stupidity. HTTM 2 isn’t brilliantly stupid. Just the regular kind. r. JAMES HELMSWORTH. Showing at most Portland-area theaters.

The Imitation Game

B Full of childhood flashbacks,

handsome sets, sharp zingers and a careful dash of devastation, the Imitation Game takes a prickly prodigy—Turing pioneered the field of computer science and helped crack Nazi codes—and places him in an eminently (and sometimes overly) palatable picture. PG-13. REBECCA JACOBSON. Cedar Hills, Eastport, Clackamas, CineMagic, Cinema 99, Bridgeport, City Center, Evergreen, Fox Tower, Movies on TV, Tigard.

Inherent Vice

A In Inherent Vice, Paul Thomas

Anderson’s rollicking adaptation of 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. r. AP KRYZA. Cinema 21.

Interstellar

C+ The McConaissance goes into

outer space. PG-13. AP KRYZA. Academy Theater, Avalon, Empirical, Kennedy School, Laurelhurst Theater, Vancouver, Joy Cinema, Valley.

Into the Woods

B+ Stephen Sondheim’s much-loved

musical has finally made it to the big screen. The film is divided into halves: the first full of payoffs and the second full of inescapable relationship truths and romantic boredom. 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, with the Witch (Meryl Streep) pushing a young

Willamette Week FEBRUARY 25, 2015 wweek.com

couple (James Corden and Emily Blunt) to undo a family curse they inherited.. PG. SAUNDRA SORENSON. Academy Theater, Eastport, Empirical, Kennedy School, Kiggins Theatre, Laurelhurst Theater, Milwaukie, Mission, Valley.

Jupiter Ascending

B There’s not a recognizable idea to be found in the whole of Jupiter Acending’s grand space opera/ cartoon. A plotline does exist, though the movie dispenses with the important bits as swiftly as possible. We’re scarcely introduced to Jupiter Jones (Mila Kunis), plucky cleaning woman with a penchant for stargazing, before floating wraiths, bluehaired bounty hunters, and dashingly feral disgraced soldier Caine Wise (Channing Tatum) appear on her trail. A wholly illogical fairy-tale denouement that leaves little expectation of sequels. Mad they may be, but the Wachowskis aren’t stupid. PG-13. JAY HORTON. Showing at most Portlandarea theaters.

than Michael Moore anyway—is no demagogue seeking to incite revolt. The dialogue is as (mis)calculated as any drunken dinner-table chat, while quieter scenes swell with wonderful detail. 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. r. MITCH LILLIE. Fox Tower.

Mortdecai

Johnny Depp has a mustache. r. Vancouver.

A Most Violent Year

B Tthe film takes place in 1981 New York, one of the most crime-ridden years in the city’s history. 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 restau-

rants 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. This is a slow, methodical character study whose title belies a relatively bloodless story. r. AP KRYZA. Fox Tower.

Mr. Turner

B+ 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. It’s a warts-and-all view of a frequently unpleasant man, as mired in the muck and disease of 19th-century England as in the arresting scenery that inspired Turner’s art. There’s little Turner wouldn’t give to his art, including his own saliva.

Kingsman: The Secret Service

A- In the grand tradition of early James Bond, Derek Flint and, to a lesser extent, Austin Powers, Kingsman just wants to have some fucking fun.The independent spy agency Kingsman is headquartered in a tailor shop on Savile Row, headed by Arthur (Michael Caine, because of course he’s in this movie) Every Kingsman is named after an Arthurian knight. After Lancelot is quite literally cut in twain by Valentine’s sword-legged right-hand woman, The agency is in desperate need of a new agent. Kingsman isn’t a send-up of the genre; it’s a rebuke of the relentlessly grim, faux-realistic modern Bond, Bourne and Batman, and the latter half of Liam Neeson’s career. The body count is high. The violence is cartoonishly over-the-top. But when you’re watching an immaculately dressed gentleman spy fight a woman with swords for prosthetic legs in a secret mountain lair while the countdown clock ticks away and KC and the Sunshine Band play in the background, you’ll feel something you haven’t felt in quite some time: fun. r. JOHN LOCANTHI. Showing at most Portland-area theaters.

The Last Five Years

C The Last Five Years, originally a musical by Jason Robert Brown, chronicles the arc of a romance over (drumroll, please) five years. Cathy Hiatt (Anna Kendrick) gets a song about the horrible end, then Jamie Wellerstein (Jeremy Jordan) gets a song about the happy beginning, each going forward or backward in time until they meet in the middle and get married. In the stage version, each character appears only separately until the wedding. Not so here. Director Richard Lagravanese seems to have realized Kendrick wouldn’t get enough screen time otherwise. The musical numbers are done right, but the timeline is made more confusing without the stage’s separation of cast. Lagravanese apparently missed the memo that films about tumultuous relationships between 20-something artists living in unrealistically expensive New York apartments are the beige of 21st-century love stories. And that’s something the best lyrics in the world can’t fix. PG-13. PARKER HALL. Living Room Theaters.

Leviathan

A Leviathan is a genre-defying take

on guilt and fate that rewards both the eye and heart. Much praised after premiering at Cannes, it was nominated for Best Foreign Language Film at the Oscars. Director Andrey Zvyagintsev centers on Kolya, a hapless but tenacious handyman who lives with his wife and son in the far northwest of Russia. When the government wants to bulldoze their home for development, Kolya calls on old friend Dmitri to appeal the case and eventually blackmail the corrupt mayor. 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 heavy-handed commentary. Zvyagintsev—far more Oliver Stone

REVIEW JIM SAAH

MOVIES

D.C. harDCore: it was messy.

SALAD DAYS The Washington, D.C., punk scene documented in Scott Crawford’s Salad Days was a hydra of privileged brattiness, toughguy posturing, earnest disaffection and lofty purpose. It was, as youth movements tend to be, loud and ungainly, beautiful and frustrating, political even when it wasn’t trying to be. It was messy. Although Salad Days does a fine job of taking viewers on a superficial tour of the adolescent and then post-adolescent and then post-post-adolescent growing pains and pleasures of D.C. hardcore’s ’80s evolution, Crawford, a veteran of the scene himself, too often dodges the era’s awkwardness, opting instead for a glossy, yearbook-style nostalgia trip. Which would be OK if Salad Days were intended for neophytes who are ambivalent about which side of the Faith/Void split album is superior, but Crawford’s film is instead aimed at those of us who memorized the Minor Threat discography decades ago. Yes, it is thrilling to see grainy clips of young people bashing out some of the 20th century’s most vital music, and it’s amusing to watch Ian MacKaye gripe about his legacy as straight edge’s reluctant inventor. But we have YouTube. We have Spotify. And we have countless other documentaries in which Henry Rollins blesses us with a stressed monologue. Been there done that. What we don’t have—or not enough of—are music documentaries that land their time machines in rough patches. Salad Days only dips its toe into choppy water just often enough to make us wish it would dive in already. Crawford brushes against some problematic tidbits: that D.C.’s hardcore scene was created by sons of capital privilege in a city known for its murder rate or that the celebrated (and maligned) mid-’80s lurch into groovier music was inspired by D.C.’s mostly black go-go movement. This is important stuff, sure, but it’s also just factually interesting. If rockumentaries like Salad Days want to match the vitality of their subjects, they need to dig a little deeper, get a little messy. CHRIS STAMM. a nostalgia trip through D.c. punk.

B-

see it: Salad Days opens Friday at the Kiggins Theatre.

FEB. 25–MARCH 3

Night at the Museum: Secret of the Tomb

Ben Stiller spends more time sprinting through a museum. PG. Academy Theater, Avalon, Milwaukie, Mt. Hood, Vancouver.

Nightcrawler

B+ Jake Gyllenhaal’s Lou Bloom is

terrifying. Not so much for what he does, but for what he represents: He’s sensationalistic and exploitative media personiﬁ ed. The title of Dan Gilroy’s debut feature refers to the lecherous freelance cameramen who prowl city streets, their ears trained to police scanners so they can get to gruesome crime scenes before help arrives and shoot the carnage, tragedy and response as it all unfolds. What makes Lou such a fascinating and terrifying beast isn’t rooted in traditional cinematic tropes of violence. It’s his extreme disconnect and lack of conscience: He sees nothing wrong with moving a still-breathing victim into better light to improve his shot . R. AP KRYZA. Laurelhurst Theater.

Selma

A- Selma, Ava DuVernay’s drama

about three 1965 civil rights marches in Alabama, is not perfect, but it arrives at a historic moment that will leave only the most blinkered viewer feeling chuff ed about the superiority of the present to the past. Violence here is never aestheticized for its own sake, but brought to life so that we might understand its escalation and impact. The fi lm is transfi xing, but not easy to watch. And it should not be easy to watch . PG-13. CHRIS STAMM. Living Room Theaters, Bridgeport, City Center.

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. Avalon, Milwaukie, Cinema 99, Valley.

The Theory of Everything

B- A brief history of Stephen Hawking’s 30-year marriage to Jane Wilde, The Theory of Everything ﬁ ts a tad too snugly into the biopic tradition. Here, Hawking’s contributions to the ﬁ elds of physics and cosmology take a backseat to the story of his and Wilde’s courtship, marriage and eventual divorce . PG13. MICHAEL NORDINE. Fox Tower, Tigard.

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. PG-13. REBECCA JACOBSON. Fox Tower.

Unbroken

B Merry Christmas, Mr Lawrence meets Chariots of Fire in Angelina Jolie’s “meh” directorial debut. PG-

13. JAY HORTON. Academy Theater, Laurelhurst Theater, Living Room Theaters, Cinema 99.

Whiplash

B+ Whiplash clefts music from

dance, love and spirituality. What’s left is muscle, red and raw, beating faster and faster against a drum. Damien Chazelle’s beautiful but troubling ﬁ lm centers on a battle of egos and tempos, as Andrew (Miles Teller) must decide how much of himself and his sanity he’s willing to give to music. Teller gives a close-to-the-chest performance. J.K. Simmons is certainly horrifying as his instructor. And here’s where Whiplash is most troubling: It views the abusive instructor as a necessary evil for creating great art. This ﬂ ies in the face not just of morality but of history. R. JAMES HELMSWORTH. Fox Tower.

Wild

A- Reese Witherspoon trudges

north in Wild, the ﬁ lm adaptation of Portlander Cheryl Strayed’s best-selling memoir about hiking 1,100 miles from scorched California to soggy Oregon. R. REBECCA JACOBSON. Eastport, Living Room Theaters, Bridgeport, City Center.

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REVIEW C O U R T E S Y O F T H E R A I N E S F A M I LY

Rather than looking down his nose at these philistines, director Mike Leigh is more interested in how this criticism aﬀ ected Turner. He becomes an object of derision near the end of his career, a punch line for vulgar stage acts . R . MICHAEL NORDINE . Cinema 21.

MOVIES

Seventh Son

A fantasy that reunites Jeﬀ Bridges and Julianne Moore. We rewatched The Big Lebowski instead . PG-13 . Clackamas, Oak Grove, Cinema 99, Bridgeport, Division, Movies on TV, Sherwood.

Focus XD (R) 12:00PM 2:40PM 5:20PM 8:00PM 10:40PM

The SpongeBob Movie: Sponge Out of Water

B Maybe it’s the titular charac-

ter’s manic—nay, demented—laugh. Or maybe it’s the cavalier way the writers sneak in references to Mad Max and The Shining amid the wholesomeness. Let’s just say there’s a reason The SpongeBob Movie: Sponge Out of Water will still be showing after your kids’ bedtime. The quest to recover the lost Krabby Patty Secret Formula by SpongeBob (Tom Kenny) and Plankton spans time and space in what feels somewhere between an extended episode and a halfbaked animated feature . PG . JOHN LOCANTHI . Showing at most Portland-area theaters.

St. Vincent

B- Under most circumstances,

his debut, St. Vincent, would be blasted for its contrived, overwrought plot. But luckily for director Theodore Melﬁ , that crusty bastard is played by Bill Murray. PG-13. AP KRYZA. Laurelhurst Theater.

Still Alice

A- Academy Award-winner

Julianne Moore plays someone with Alzheimer’s. PG-13. BLAIR STENVICK. Cedar Hills, Eastport, Clackamas, Forest, Hollywood Theatre, Bridgeport, City Center, Fox Tower.

Investigating the FBI: On March 8, 1971, the night that Joe Frazier fought Muhammad Ali in the Fight of the Century, a group of activists broke into an FBI office in Media, Pa. They found documents proving the FBI abused its power. The group—calling itself the Citizens’ Commission to Investigate the FBI—leaked these documents to the press. While often overlooked among 1970s political scandals, Johanna Hamilton’s documentary 1971 aims to give the Media break-in its due. The documentary touches on the eventual result of this leak—the first-ever set of guidelines limiting the FBI’s investigative powers—but it primarily tells the story of the Citizens’ Commission. “I was ready to move from nonviolent protest to nonviolent disruption” explains John. (1971 uses only the first names of those involved.) The documentary tells this story through interviews, archival footage and dramatic re-creations. The latter are only occasionally justified—we see one activist try to pry open the FBI office door while security watches the Ali-Frazier fight downstairs. These scenes add some cinematic flair but mostly distract. Do we really need to see actors popping Champagne bottles post-heist? Minor quibbles aside, it’s an important documentary. Watergate would have been difficult without this break-in, a Washington Post reporter says. “No newspaper had dealt with this before. What do you do with documents stolen from the FBI?” The right thing, in this case. JOHN LOCANTHI. SEE IT: 1971 plays at Clinton Street Theater. 7 pm FridaySaturday, Feb. 27-28. B+

Project Almanac (PG-13) 11:25AM 2:10PM 4:55PM 7:40PM 10:25PM Seventh Son 3D (PG-13) 2:35PM 7:55PM Paddington (PG) 12:20PM 2:50PM Wedding Ringer, The (R) 7:55PM 10:35PM McFarland, USA (PG) 10:45AM 1:45PM 4:45PM 7:45PM 10:45PM Seventh Son (PG-13) 11:55AM 5:15PM 10:35PM The SpongeBob Movie: Sponge Out of Water 3D (PG) 12:25PM 3:00PM 5:30PM The SpongeBob Movie: Sponge Out of Water (PG) 11:05AM 1:40PM 4:20PM 7:00PM 9:30PM The Lazarus Effect (PG-13) 10:55AM 1:15PM 3:35PM 5:55PM 8:15PM 10:35PM Still Alice (PG-13) 11:10AM 1:50PM 4:30PM 7:10PM 9:50PM

Kingsman: The Secret Service (R) 11:30AM 1:00PM 2:30PM 4:00PM 5:30PM 7:00PM 8:30PM 10:00PM McFarland, USA (PG) 1:00PM 4:00PM 7:00PM 10:00PM The SpongeBob Movie: Sponge Out of Water (PG) 12:15PM 2:45PM 5:15PM 7:45PM 10:15PM Kaaki Sattai (AIM Distribution) (NR) 9:00PM The Lazarus Effect (PG-13) 11:00AM 1:15PM 3:30PM 5:45PM 8:00PM 10:15PM The SpongeBob Movie: Sponge Out of Water 3D (PG) 11:00AM 1:30PM 4:00PM 6:30PM Still Alice (PG-13) 12:00PM 2:35PM 5:10PM 7:50PM 10:25PM

Paddington (PG) 11:05AM 1:40PM Still Alice (PG-13) 11:00AM 1:45PM 4:30PM 7:10PM 10:00PM Wild (R) 11:05AM 1:50PM 4:35PM 7:20PM 10:10PM McFarland, USA (PG) 12:30PM 3:45PM 7:00PM 10:05PM The SpongeBob Movie: Sponge Out of Water 3D (PG) 11:15AM 1:40PM 4:05PM 6:35PM 9:10PM The SpongeBob Movie: Sponge Out of Water (PG) 12:20PM 2:50PM 5:20PM 7:50PM 10:20PM The Duff (PG-13) 11:20AM 2:15PM 5:00PM 7:45PM 10:30PM The Lazarus Effect (PG-13) 11:00AM 1:15PM 3:30PM 5:45PM 8:00PM 10:30PM

The Duff (PG-13) 11:30AM 2:05PM 4:50PM 7:35PM 10:15PM Birdman (R) 10:50AM 1:40PM 4:35PM 7:25PM 10:20PM Fifty Shades Of Grey (R) 10:45AM 1:45PM 2:30PM 4:45PM 7:45PM 9:10PM 10:45PM American Sniper (R) 12:40PM 3:50PM 7:05PM 10:15PM Kingsman: The Secret Service (R) 11:20AM 1:00PM 4:10PM 6:00PM 7:20PM 10:30PM A La Mala (PG-13) 11:45AM 2:20PM 4:55PM 7:30PM 10:10PM Focus (R) 10:55AM 1:35PM 4:15PM 6:55PM 9:35PM Jupiter Ascending 3D (PG-13) 1:45PM 7:45PM Jupiter Ascending (PG-13) 10:45AM 4:45PM 10:45PM Imitation Game, The (PG-13) 10:50AM 1:35PM 4:25PM 7:15PM 10:05PM Hot Tub Time Machine 2 (R) 11:00AM 1:30PM 4:05PM 5:20PM 6:35PM 7:50PM 9:05PM 10:20PM

The Duff (PG-13) 11:40AM 2:15PM 4:50PM 7:25PM 10:00PM Birdman (R) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM Fifty Shades Of Grey (R) 11:30AM 1:20PM 2:30PM 4:15PM 5:30PM 7:15PM 8:30PM 10:10PM Jupiter Ascending (PG-13) 12:10PM 7:10PM American Sniper (R) 12:00PM 3:10PM 7:00PM 10:05PM Imitation Game, The (PG-13) 11:05AM 1:50PM 4:35PM 7:20PM 10:10PM Jupiter Ascending 3D (PG-13) 3:10PM 10:10PM Focus (R) 11:50AM 2:25PM 5:00PM 7:35PM 10:10PM Hot Tub Time Machine 2 (R) 12:30PM 2:55PM 5:20PM 7:45PM 10:10PM

Fifty Shades Of Grey (R) 11:10AM 2:30PM 4:10PM 5:40PM 7:15PM 9:00PM 10:25PM Focus (R) 11:15AM 2:00PM 4:45PM 7:30PM 10:15PM Kingsman: The Secret Service (R) 11:10AM 12:45PM 2:25PM 3:55PM 5:35PM 7:10PM 8:45PM 10:25PM American Sniper (R) 12:55PM 4:00PM 7:05PM 10:10PM Jupiter Ascending 3D (PG-13) 3:50PM 10:05PM Jupiter Ascending (PG-13) 12:40PM 6:55PM Hot Tub Time Machine 2 (R) 11:05AM 1:30PM 3:55PM 6:20PM 7:55PM 8:50PM 10:20PM Into The Woods (PG) 11:00AM 1:55PM 4:55PM

FRIDAY Willamette Week FEBRUARY 25, 2015 wweek.com

AP FILM STUDIES COURTESY OF MGM

MOVIES

LITTLE WOMAN: A young Liz Taylor in National Velvet.

TAYLOR-MADE LIZ TAYLOR’S PORTLAND GRANDDAUGHTER KEEPS HER LEGACY ALIVE. BY A P KRYZA

apkryza@wweek.com

Elizabeth Taylor was many things during her life, which was spent mostly under the spotlight and in the public eye. She was perhaps the most famous star of Hollywood’s golden age, netting two Oscars and seven husbands. She provided Maggie Simpson’s first words. She was a pioneering HIV/AIDS activist. But to Portland graphic designer Laela Wilding, Liz Taylor was something much bigger: Grandma. Wilding, 43, a lifelong Portlander and one of Taylor ’s 10 grandchildren, is celebrating what would have been the actress’s 83rd birthday on Saturday with a screening of the her breakout film, 1944’s kid-friendly equine drama, National Velvet. All of the profits go to the Cascade AIDS Project’s Camp KC and Our House of Portland’s veterinary program. Wilding chatted with AP Film Studies about growing up with Hollywood royalty and keeping her grandmother’s legacy alive. AP: Why did you decide to start these yearly screenings? Laela Wilding: After my grandmother passed away [in 2011], it was getting near her birthday, and I missed her. I wanted to honor her in a better way than just thinking of her at home. I thought it would be an opportunity to share her in a more personal way with my community in Portland. Why did you choose National Velvet this year? I have an 11-year-old daughter who is really connected to the spirit of the event. I wanted to show one of the few family-friendly movies while my child is still young so she can invite her friends. It’s funny that not all of the movies from this era aren’t considered family films. We showed Cat on a Hot Tin Roof, and I felt like we had to give it a caveat. It’s not a kids’ film. The highballs are clinking on the big screen and everything. Probably more than anything it 42

Willamette Week FEBRUARY 25, 2015 wweek.com

might have been boring for kids…“oh, the adults are talking” What’s your favorite of your grandmother’s films? Last year we showed A Place in the Sun. It’s an excellent piece of artwork. It’s a great story that’s still relevant to our times. And next year, I plan to show Giant. It’s so long, but it’s so great. Were you always aware of your grandmother’s fame? There was no point where it wasn’t part of the story. She’d been a huge movie star for decades before I came along. When we would spend time together, we would just spend time at home. We’d eat food and talk about boys and watch movies in bed. Why is it important for you to carry on the legacy of activism? The values that underlie her passion for [philanthropy] are my values. I really want people to be inspired by her level of activism. I would love to live in a world where everybody had that integrity, where we were all looking out for each other and sometimes doing something that’s a little uncomfortable to help somebody else. The Elizabeth Taylor birthday celebration begins Saturday, Feb. 28, at 2 pm at the Hollywood Theatre. Admission is $15. Advance tickets are strongly recommended. See hollywoodtheatre.org for details. ALSO SHOWING: A person is punched with such force that the assailant’s hand goes through the victim’s head in Tales From the Crypt: Demon Knight. Hollywood Theatre. 9:30 pm Thursday, Feb. 26. Long overlooked, 1971’s A Touch of Zen pioneered the high-flying, mythical martial arts aesthetic later popularized by films like Crouching Tiger, Hidden Dragon. 5th Avenue Cinema. 7:30 pm Friday, Feb. 27. Anyone decrying the culture of remakes should consider that 1941’s The Maltese Falcon was, in fact, a remake of a film released a mere 10 years earlier. Academy Theater. Feb. 27-March 5. John Carpenter’s The Thing stands as one of the best modern horror films of all time. Hollywood Theatre. 7 pm Saturday, Feb. 28. Larry Coen’s 1976 schlockfest God Told Me To imagines a world where people go on random killing sprees at God’s behest. Hollywood Theatre. 9:30 pm Saturday, Feb. 28.

MOVIES

COURTESY OF UNIVERSAL PICTURES

FEB. 27–MARCH 5

WELL, FUCK YOU, TOO!: John Carpenter’s 1982 classic The Thing comes to the Hollywood Theatre on Saturday, Feb. 28.

PADDINGTON Fri-Sat-SunMon-Tue-Wed 05:00

Kennedy School Theater Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St. FOCUS: THE IMAX EXPERIENCE Fri-Sat-Sun 01:10, 04:10, 07:00, 09:45 FOCUS ON THE FAMILY Tue-Wed 07:00 CHAPPIE: THE IMAX EXPERIENCE Fri 01:00, 04:00, 07:00, 10:00 UNFINISHED BUSINESS Fri 12:10, 02:35, 05:00, 07:25, 09:50

Avalon Theatre & Wunderland

3451 SE Belmont St., 503-238-1617 TAKEN 3 NIGHT AT THE MUSEUM: SECRET OF THE TOMB Fri-Sat-SunMon-Tue-Wed 03:10, 04:55 PENGUINS OF MADAGASCAR THE HUNGER GAMES: MOCKINGJAY, PART 1 FriSat-Sun-Mon-Tue-Wed 08:35 BIG HERO 6 Fri-SatSun-Mon-Tue-Wed 01:10, 05:00 INTERSTELLAR PADDINGTON Fri-SatSun-Mon-Tue-Wed 12:15, 02:05, 06:45 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES Fri-Sat-Sun-MonTue-Wed 07:00, 09:40

Bagdad Theater

3702 SE Hawthorne Blvd., 503-249-7474 HOT TUB TIME MACHINE 2 Fri-Sat-Sun-Mon-Tue-Wed 01:45, 04:15, 07:00, 09:45 CHAPPIE

Cinema 21

616 NW 21st Ave., 503-223-4515 INHERENT VICE Fri-SatSun-Mon-Tue-Wed 09:00 MR. TURNER Fri-Sat-SunMon-Tue-Wed 03:00, 06:00 A GIRL WALKS HOME ALONE AT NIGHT Fri-Sat-Sun-Mon-Tue-Wed 04:15, 06:45, 09:00 RED ARMY Fri-Sat-Sun-MonTue-Wed 04:30, 07:00, 09:00

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 21 YEARS: RICHARD LINKLATER 1971 FriSat 07:00 THE ROCKY HORROR PICTURE SHOW Sat 11:59 NO FILMS SHOWING TODAY Sun-Tue THE IMMORTALISTS Mon 07:00 GIRLHOOD Fri-Wed 04:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 FOXCATCHER Fri-SatSun-Mon-Tue-Wed 07:00 DIRTY HARRY BIG EYES Fri-Sat-Sun-Mon-TueWed 06:30 THE HUNGER GAMES: MOCKINGJAY, PART 1 Fri-Sat-Sun 01:00, 03:40 NIGHTCRAWLER INTERSTELLAR Fri-SatSun-Mon-Tue-Wed 08:45 GONE GIRL ST. VINCENT CITIZENFOUR Fri-SatSun-Mon-Tue-Wed 06:45 THE BIG LEBOWSKI FriSat-Sun-Mon-Tue-Wed 09:40 BIG HERO 6 FriSat-Sun-Mon-Tue-Wed 09:20 UNBROKEN Fri-SatSun-Mon-Tue-Wed 06:15 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES FriSat-Sun-Mon-Tue-Wed 09:00 INTO THE WOODS Fri-Sat-Sun 01:15, 04:10 PADDINGTON Sat-Sun 01:30

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 JAWS INTO THE WOODS Fri-Sat-Sun-Mon-TueWed 05:30 DOG DAY AFTERNOON Fri-Sat-Sun 07:15 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES Sat-Sun-Mon-TueWed 08:30

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 AMERICAN SNIPER BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Fri-SatSun-Mon-Tue-Wed 05:30, 08:00

St. Johns Cinemas

8704 N Lombard St., 503-286-1768 FIFTY SHADES OF GREY KINGSMAN: THE SECRET SERVICE Fri-Sat-SunMon-Tue-Wed 05:00, 07:55 BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Fri-Sat-SunMon-Tue-Wed 05:30, 08:30

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 THE IMITATION GAME FriSat-Sun-Mon-Tue-Wed 04:35, 07:00

Kiggins Theatre

1011 Main St., 360-816-0352 NO FILMS SHOWING TODAY INTO THE WOODS Fri-Sat-Sun-Mon-Tue-Wed 07:00 SALAD DAYS FriSat-Sun-Mon-Tue 09:00

5736 NE 33rd Ave., 503-249-7474-4 BIG HERO 6 Fri-SatSun-Tue-Wed 05:30 INTERSTELLAR INTO THE WOODS Fri-Sat-SunMon-Tue-Wed 02:30 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES Fri-SatSun-Tue-Wed 08:00

Indoor Twin Cinemas Highway 99W, 503-538-2738 NO FILMS SHOWING TODAY Sun-Mon-Tue-Wed THE HUNGER GAMES: MOCKINGJAY, PART 1 FriSat 07:00 BIG HERO 6 FriSat 07:00

Empirical Theatre at OMSI

1945 SE Water Ave., 503-797-4000 WILD OCEAN SECRET OCEAN Fri-Sat-Sun 12:00, 03:30 JAMES CAMERON’S DEEPSEA CHALLENGE 3D Fri-SatSun 02:30 FLIGHT OF THE BUTTERFLIES Fri-Sat-Sun 10:00 ADRENALINE RUSH: THE SCIENCE OF RISK LEWIS & CLARK: GREAT JOURNEY WEST WALKING WITH DINOSAURS 3D Fri-Sat-Sun 11:00 THE HUNGER GAMES: MOCKINGJAY, PART 1 Fri 06:30 INTERSTELLAR Fri-Sat-Sun 06:45 BIG HERO 6 Fri 04:30 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES Sat 06:15 PADDINGTON Sat 04:30 BEARS Sat-Sun 01:00 INTO THE WOODS Sun 04:30

5th Avenue Cinema

510 SW Hall St., 503-725-3551 NO FILMS SHOWING TODAY Sat-Mon-Tue-Wed A TOUCH OF ZEN Fri 07:30 CROUCHING TIGER, HIDDEN DRAGON Fri-Sun 03:00

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 STILL ALICE Fri-Sat-SunMon-Tue-Wed 06:45, 09:00 BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) FriSat-Sun-Mon-Tue-Wed 07:15 DEMON KNIGHT IN HECKLEVISION EVERLY Fri-Sat-Sun-Mon-Tue-Wed 09:35 THE CROW Fri 09:30 NATIONAL VELVET Sat 02:00 THE THING Sat 07:00 GOD TOLD ME TO Sat 09:30 ARRESTING POWER: RESISTING POLICE VIOLENCE IN PORTLAND, OREGON Sun 07:00 HOLOGRAM MAN Tue 07:00 NOSOTROS LOS

NOBLES

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503221-1156 NO FILMS SHOWING TODAY Sun-Mon-TueWed PORTLAND INTERNATIONAL FILM FESTIVAL Fri-Sat CALL THEATRE FOR SHOWTIMES Fri-Sat CHILDHOOD MACHINE LA DOLCE VITA Fri 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St. HOT TUB TIME MACHINE 2 MCFARLAND, USA THE LAZARUS EFFECT THE DUFF KINGSMAN: THE SECRET SERVICE Fri 12:50, 03:50, 06:50, 09:50 THE SPONGEBOB MOVIE: SPONGE OUT OF WATER THE SPONGEBOB MOVIE: SPONGE OUT OF WATER 3D AMERICAN SNIPER

Food Scavenger Hunt MarcH 1 wweek.com/cartathlonv

St. Johns Theater

8203 N Ivanhoe St., 503-249-7474-6 HOT TUB TIME MACHINE 2 Fri-Sat-Sun-Mon-Tue-Wed 01:00, 04:00, 07:00, 09:30

Academy Theater

7818 SE Stark St., 503-252-0500 CAKE BIG EYES NIGHT AT THE MUSEUM: SECRET OF THE TOMB THE HUNGER GAMES: MOCKINGJAY, PART 1 FOXCATCHER FriSat-Sun-Mon-Tue-Wed 06:45 INTERSTELLAR Fri-Sat-Sun-Mon-Tue-Wed 09:15 CITIZENFOUR FriSat-Sun-Mon-Tue-Wed 04:15 BONNIE AND CLYDE PADDINGTON Fri-Sat-SunMon-Tue-Wed 04:25 INTO THE WOODS Fri-Sat-SunMon-Tue-Wed 01:50, 07:00 UNBROKEN Fri-Sat-SunMon-Tue-Wed 01:30, 06:30 THE HOBBIT: THE BATTLE OF THE FIVE ARMIES Fri-Sat-Sun-Mon-TueWed 04:05, 09:25 THE MALTESE FALCON Fri-SatSun-Mon-Tue-Wed 02:00, 09:35 STRANGE MAGIC Sat-Sun 11:20

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, FEB. 27-MARCH 5, UNLESS OTHERWISE INDICATED

Willamette Week FEBRUARY 25, 2015 wweek.com

END ROLL

REVIEW: WAKE AND BAKE (GREEN CHIEFS)

Sunday brunch with endless mimosas and from-the-can hollandaise is basic. Local coffee laced with locally grown, trimmed and prepared weed is not. Caffeine and THC are a wonderful pair. But everyone knows you can’t just add ground flowers to your beans, and not everyone wants to deal with tinctures or other food-grade cannabis oils that stick to everything. Enter Green Chiefs. The Granite Falls, Wash., grower is well-known throughout our northern neighbor as one of the first legal edible manufacturers to get product on shelves. From trail mix to carnival nuts to a party mix, Green Chiefs’ Baked Botanicals line is available statewide, though with typical warnings about high prices and low stock apply. Well, now they ’re bringing us Wake and Bake, a single-ish ser ving of THC-infused instant coffee crystals made from either sativa or hybrid plants. Our baggie of Folgers-style insta-joe cost $20 and is available at High End Market Place in Vancouver. The package is labeled as containing 10 milligrams of THC, enough to get an inexperienced user a little sleepy. There’s no dosage recommendation—a problem that’s been identified many times, including New York Times columnist

Maureen Dowd’s complaints after eating too much of a THC-infused chocolate in Colorado, which inspired a $75,000 advertising campaign aimed toward pot tourists. While displaying the legally required information about batch testing and THC levels is helpful, it’s never a bad idea to start with a small amount and work your way up when sampling unfamiliar product. We’re experienced users, so we tried the whole package of Wake and Bake plant at once. Flavor-wise, it ’s the instant coffee you remember from camp-outs past, smelling faintly of burnt caramel corn. And the speedball of caffeine and THC from a hybrid plant turned a normal weekend morning into the laziest Sunday ever. The body high is soft but long-lasting and didn’t have us snoozing while face-planted in the comics section. Bad TV is better—I plowed through some of Friends season 7 and yet another Mulaney episode—and my hash browns tasted hash-brownier. The dog should have been taken out a few hours earlier, but I got caught up on all my weekly videos, picture galleries and long-form articles, so that was a win. Coffee and weed, with no smoking or brewing necessary. Happy Sunday. TYLER HURST.

Food Scavenger Hunt MarcH 1 wweek.com/cartathlonv 44

Willamette Week FEBRUARY 25, 2015 wweek.com

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

CLASSIFIEDS

TO PLACE AN AD CONTACT:

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MUSIC LESSONS VOICE INSTRUCTION Anthony Plumer, Concert Artist/Voice Teacher. www.naturalvocalarts.com 503-299-4089. LEARN PIANO ALL STYLES, LEVELS With 2 time Grammy winner Peter Boe. 503-274-8727.

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HOSPITALITY/RESTAURANT MCMENAMINS CORNELIUS PASS ROADHOUSE AND IMBRIE HALL is now hiring LINE COOKS!

Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for applicants who have prev exp or related exp and enjoy working in a busy customer service-oriented enviro. We are also willing to train! We offer opps for advancement and excellent benefits for eligible employees, including vision, med, chiro, dental and so much more! Please apply online 24/7 at www. mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

McMenamins Edgefield is now hiring line cooks, prep cooks, catering cooks, servers, bartender

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Alternative Press” magazine, familiarly 25 Music show all about the sun? 29 “Crazy” singer Cline 31 It’s north of LAX 32 Pitched 33 Animation collectible 35 “Take on Me” group 37 “Much ___ About Nothing” 38 Money stashed away for big-time sport fishermen?

Down 1 Faux pas 2 Pumpkin seed snack 3 Not there 4 Simile center 5 Shoe strings 6 Song starts 7 Moo goo ___ pan 8 Laundry soap brand of old 9 Silver, on a coat of arms 10 Security lapse 11 Thin promo on a website 12 Prefix for pressure 13 “Whaddaya know!” 18 Grapefruitflavored drink 22 Italian sports car 26 Pacific Coast salmon

27 Herring color 28 Afternoon hour 30 Ouija board reply 34 “Dropped” substance 36 Rearward, at sea 38 Words after “3...2...1...” 39 Late chanteuse Edith 40 “Weird Al” Yankovic movie about TV 41 Turntable need 42 No gentleman 43 Montreal mate 47 Paul of “Fresh Off the Boat” 48 Crayola’s “burnt” color 50 Garfield’s successor 52 Mr. Richie 53 Swooning 54 ESPN event 56 Boisterous 57 Bete ___ (nemesis) 62 Handheld device 63 Mag mogul 64 Simple signatures 66 Tiny strands

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BACK COVER CONTINUED...

Week of February 26

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ARIES (March 21-April 19): Lately your life reminds me of the action film Speed, starring Sandra Bullock and Keanu Reeves. In that story, a criminal has rigged a passenger bus to explode if its speed drops below 50 miles per hour. In your story, you seem to be acting as if you, too, will self-destruct if you stop moving at a frantic pace. I’m here to tell you that nothing bad will happen if you slow down. Just the opposite, in fact. As you clear your schedule of its excessive things-to-do, as you leisurely explore the wonders of doing nothing in particular, I bet you will experience a soothing flood of healing pleasure. TAURUS (April 20-May 20): One of the most dazzling moves a ballet dancer can do is the fouetté en tournant. The term is French for “whipped turning.” As she executes a 360-degree turn, the dancer spins around on the tip of one foot. Meanwhile, her other foot thrusts outward and then bends in, bringing her toes to touch the knee of her supporting leg. Can you imagine a dancer doing this 32 consecutive times? That’s what the best do. It takes extensive practice and requires a high degree of concentration and discipline. Paradoxically, it expresses breathtaking freedom and exuberance. You may not be a prima ballerina, Taurus, but in your own field there must be an equivalent to the fouetté en tournant. Now is an excellent time for you to take a vow and make plans to master that skill. What will you need to do? GEMINI (May 21-June 20): If you’re a martial artist and you want to inject extra energy into an aggressive move, you might utter a percussive shout that sounds like “eee-yah!” or “hyaah!” or “aiyah!” The Japanese term for this sound is kiai. The sonic boost is most effective if it originates deep in your diaphragm rather than from your throat. Even if you’re not a martial artist, Gemini, I suggest that in the coming weeks you have fun trying out this boisterous style of yelling. It may help you summon the extra power and confidence you’ll need to successfully wrestle with all the interesting challenges ahead of you. CANCER (June 21-July 22): The prolific and popular French novelist Aurore Dupin was better known by her pseudonym George Sand. Few 19th-century women matched her rowdy behavior. She wore men’s clothes, smoked cigars, was a staunch feminist, and frequented social venues where only men were normally allowed. Yet she was also a doting mother to her two children, and loved to garden, make jam, and do needlework. Among her numerous lovers were the writers Alfred de Musset, Jules Sandeau, and Prosper Mérimée, as well as composer Frederic Chopin and actress Marie Dorval. Her preferred work schedule was midnight to 6 a.m., and she often slept until 3 p.m. “What a brave man she was,” said Russian author Ivan Turgenev, “and what a good woman.” Her astrological sign? The same as you and me. She’s feisty proof that not all of us Crabs are conventional fuddy-duddies. In the coming weeks, she’s our inspirational role model. LEO (July 23-Aug. 22): It seems you’ve slipped into a time warp. Is that bad? I don’t think so. Your adventures there may twist and tweak a warped part of your psyche in such a way that it gets healed. At the very least, I bet your visit to the time warp will reverse the effects of an old folly and correct a problem caused by your past sins. (By the way, when I use the word “sin,” I mean “being lax about following your dreams.”) There’s only one potential problem that could come out of all this: Some people in your life could misinterpret what’s happening. To prevent that, communicate crisply every step of the way. VIRGO (Aug. 23-Sept. 22): In English and French versions of the word game Scrabble, the letter z is worth ten points. In Italian, it’s eight points. But in the Polish variant of Scrabble, you score just one point by using z. That letter is rarely used in the other three languages, but is common in Polish. Keep this general principle in mind as you assess the value of the things you have to offer. You will be able to make more headway and have greater impact in situations where your particular beauty and power and skills are in short supply.

LIBRA (Sept. 23-Oct. 22): “Learn all you can from the mistakes of others. You won’t have to make them all your yourself.” So said Alfred Sheinwold in his book about the card game known as bridge. I think this is excellent advice for the game of life, as well. And it should be extra pertinent for you in the coming weeks, because people in your vicinity will be making gaffes and wrong turns that are useful for you to study. In the future, you’ll be wise to avoid perpetrating similar messes yourself. SCORPIO (Oct. 23-Nov. 21): “Love her but leave her wild,” advised a graffiti artist who published his thoughts on a wall next to the mirror in a public restroom I visited. Another guerrilla philosopher had added a comment below: “That’s a nice sentiment, but how can anyone retain wildness in a society that puts so many demands on us in exchange for money to live?” Since I happened to have a felt-tip pen with me, I scrawled a response to the question posed in the second comment: “Be in nature every day. Move your body a lot. Remember and work with your dreams. Be playful. Have good sex. Infuse any little thing you do with a creative twist. Hang out with animals. Eat with your fingers. Sing regularly.” And that’s also my message for you, Scorpio, during this phase when it’s so crucial for you to nurture your wildness. SAGITTARIUS (Nov. 22-Dec. 21): “Don’t worry, even if things get heavy, we’ll all float on.” So sings Modest Mouse’s vocalist Isaac Brock on the band’s song “Float On.” I recommend you try that approach yourself, Sagittarius. Things will no doubt get heavy in the coming days. But if you float on, the heaviness will be a good, rich, soulful heaviness. It’ll be a purifying heaviness that purges any glib or shallow influences that are in your vicinity. It’ll be a healing heaviness that gives you just the kind of graceful gravitas you will need. CAPRICORN (Dec. 22-Jan. 19): “What I look for in a friend is someone who’s different from me,” says science fiction novelist Samuel Delany. “The more different the person is, the more I’ll learn from him. The more he’ll come up with surprising takes on ideas and things and situations.” What about you, Capricorn? What are the qualities in a friend that help you thrive? Now is a perfect time to take an inventory. I sense that although there are potential new allies wandering in your vicinity, they will actually become part of your life only if you adjust and update your attitudes about the influences you value most.

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Walter ‘Bo’ Lee Addleman 76, Sept. 05, 1938 – Jan. 25, 2015 Walter “Bo” Lee Addleman passed away Jan. 25, 2015, at the age of 76. He was born Sept. 5, 1938, in Hermiston. Bo was one of the good ol’ boys. He would give the shirt off his back to someone in need, especially an animal of any kind. Bo was a good father, husband and grandfather of four. He worked at The Oregonian Publishing Co. for 36 years, retiring in 2000. He then moved back to Eastern Oregon, which he called “God’s country,” following his retirement and lived on the family farm until his untimely death. Bo loved to hunt and fish, and did so all his life. He was an avid motorcyclist for many years also. He will be greatly missed by all who met and knew him. Bo is survived by his wife of 56 years, Carol Jean; sons, William Lee, John Edward and Paul “Randy” Randall; grandchildren, Cody, Andrew, Alyssa and Alexandria; sister, Shirley Steele (Don); nephews, Lance, Jay and Jesse Steele; and many pets. Please sign the guest book at Obits.oregonlive.com

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AQUARIUS (Jan. 20-Feb. 18): At the turn of the 19th century, Russian laborers constructed thousands of miles of railroad tracks from the western part of the country eastward to Siberia. The hardest part of the job was blasting tunnels through the mountains that were in the way. I reckon you’re at a comparable point in your work, Aquarius. It’s time to smash gaping holes through obstacles. Don’t scrimp or apologize. Clear the way for the future. PISCES (Feb. 19-March 20): The British rock band the Animals released their gritty, growly song “The House of the Rising Sun” in 1964. It reached the top of the pop music charts in the U.S., Canada, U.K., and Australia, and was a hit with critics. Rolling Stone magazine ultimately ranked it as the 122nd greatest song of all time. And yet it took the Animals just 15 minutes to record. They did it in one take. That’s the kind of beginner’s luck and spontaneous flow I foresee you having in the coming weeks, Pisces. What’s the best way for you to channel all that soulful mojo?

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