41 22 willamette week, april 1, 2015 by Willamette Week Newspaper

NEWS THE OLCC’s POT PLAN BUSTED.

P. 7

BAR REVIEW 10 BARREl PORTLAND. WEED COUNTRY-FRIED IN BATTLEGROUND. P. 23

SUMMER CAMP GUIDE P. 26-31 Untitled from Pinar Yolocan’s Perishables series, shown at Portland’s Gallery 500 in 2005.

wweek.com

VOL 41/22 04.01.2015

what went wrong in portland’s visual BY RICHAD SPEER arts scene, and what we can do to fix it. PAGE 12

P. 52

Willamette Week APRIL 1, 2015 wweek.com

christoPher onstott

FINDINGS

pAGE 22

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 22.

People who pay a premium for homes in quiet neighborhoods should expect tighter enforcement of zoning rules than the poors, says one reader. 4 The OLCC sees medical marijuana as a threat and is

Portland City Schools Superintendent Carole Smith got paaaaaaaid. 10 The guy who owns the two vegan strip clubs is finally opening his family vegan restaurant . 20

scheming to control the system. We know of this plot because of the brave martyr Tom Burns. 7

The comedian behind The People’s Republic of Portland has franchised her shtick into shows called “It’s Not You, It’s Me,

Now, even credit unions are screwing the 99 percent. 9

Indianapolis” and “Good for You, Albuquerque.” 44

ON THE COVER:

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Untitled from pinar Yolacan’s Perishables series, shown at Portland’s Gallery 500 in 2005.

disgraced former Gov. John kitzhaber was planning to crush teachers unions under his cowboy boot.

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

Visual Arts Richard Speer Editorial Interns Lucas Chemotti, Parker Hall, Anthony Macuk, Anna Walters CoNtrIbutorS Dave Cantor, Nathan Carson, Rachel Graham Cody, Pete Cottell, Shannon Gormley, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Mark Stock produCtIoN Production Manager Dylan Serkin Art Director Kathleen Marie Special Sections Art Director Kristina Morris Graphic Designers Mitch Lillie, Xel Moore Production Interns Kyle Key, Jennifer Plitzko

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INBOX LORETTA SMITH’S “GRAVY TRAIN”

Loretta Smith is another disappointing public official [“Spending Time,” WW, March 25, 2015]. Her constituents need real representation by an informed and engaged elected official. Giving them handouts so they feel good about you while you live high on the public dole is the height of disrespect and squanders the power and opportunity of the Multnomah County Commissioners seat. —“Seems2Me” Loretta Smith is all about personal benefit; that’s how she looks at everything. The good thing is her constituents are starting to see this. Hopefully she is bounced from her gravy train next time she’s up for election. —“NotProudInNorth” Nothing here is against the law, right? Smith is paying all her parking tickets? Not getting pulled over for DUII? Isn’t dodging Freedom of Information Act requests? Wake me up when the money trail leads to big developers or organized baseball. Seriously. —“Lisa Loving”

THE SECOND WEED ECONOMY

Great article [“Joint Ventures,” WW, March 25, 2015]. It reminds me of the people who made money in the California gold rush, providing supplies to the gold miners. They ended up making more money than most of the miners. —“John”

i moved to Portland partly because of its friendliness to my gluten-free lifestyle. Unfortunately, my new apartment is near a bakery, and now that it’s windows-open season, the wheat vapors are inescapable. Can i invoke my health concerns to break my lease? —Sensitive Plant Given the socio-dietary climate in the Rose City, Sensitive, I suppose I should be thankful you’re not asking me for advice on how to have the bakery shut down and branded a Superfund site. There is no scientific evidence that the smell of bread alone can trigger a gluten allergy. That said, you’re hardly the first to voice concerns about so-called “second-hand gluten.” While it won’t solve your problem, a bill making its way through the Oregon House of Representatives could keep the gluten haters of the future from winding up in situations like yours. Under House Bill 4115, the Allergen-Free/ 4

Willamette Week APRIL 1, 2015 wweek.com

FEES PROPOSAL ON DEVELOPERS

“The increases,” Mark Ross says, “are simply necessary to help pay for the impact on Portland parks of new development.” There’s a fundamental difficulty with saying you’ll charge developers more to pay for the infrastructure demand they create [“Pay to Playground,” WW, March 25, 2015]. For that to mean anything, you have to spend the money where there’s development. And development isn’t randomly scattered around the city, it’s concentrated in “hot” areas. I don’t trust Amanda Fritz to spend the money in the way being posed. —“bjcefola”

WEST HILLS NEIGHBORS’ FEUD

While there may be locations where this intense of a rental might work, a quiet dead-end street in a residential neighborhood isn’t one of them [“The Share Up There,” WW, March 25, 2015]. People pay a premium for such locations, and have a right to expect what is basically a 16-guest hotel not be allowed to move in next door. —“k15”

CORRECTION

In a March 18 theater listing, we misnamed the play Behind the Beautiful Forevers and mistakenly called Katherine Boo’s source book a novel. It won the 2012 National Book Award for Nonfiction. 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.

Toxin-Free Neighborhoods Act, bakeries like the one that’s giving you grief would lose their zoning designation and be given five years to relocate. (Those willing to install HEPA-compliant ventilation systems, however, could stay put.) The bill would ban food carts trafficking in high-gluten offerings like croissants or hot pretzels from operating within 1,000 feet of a school. There’s many a slip twixt the organic kombucha bottle and the lip, however. Bill co-sponsor Rep. George L. Baker (D-Southeast Portland) admits HB 4115 has an uphill climb, particularly with skeptical downstate Republicans. “We’re raising awareness,” Baker says. “This is a gesture to say, ‘Take heed, people; take heed!’” As for your lease, you and your landlord should be able to work out an agreement. Your flat shouldn’t stay vacant long—some people still like bakeries. Oh, and by the way, happy April Fools’ Day! QUEstions? Send them to dr.know@wweek.com

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MARIJUANA: Why is the OLCC trying to take over medical pot? BUSINESS: Questioning credit unions’ free ride. SCHOOLS: The PPS boss isn’t the only one enjoying a pay raise. COVER STORY: What’s wrong with Portland’s art scene.

7 9 10 13

CHRISTINE DONg

DRIBBLING OUT A LITTLE JUSTICE. Score one for girls’ high-school basketball. On March 30, the Portland Public Schools board voted 4-1 to hear the gender discrimination complaint that PPS dissed girls’ teams by routinely making them play before boys’ teams when the squads played at the same Wilson players Lily Brodrick (left) venue. (“Ladies First,” and Maddy Horn WW, March 18, 2015). The complaint, filed by Allison Horn, mother of a Wilson High School girls’ varsity player, alleges PPS violated federal law that requires “prime time” equity for boys’ and girls’ sports. PPS Superintendent Carole Smith previously rejected the complaint while suggesting only slight changes to next year’s schedule. The board’s vote suggests it wants a different approach. “I think we may need to take the opportunity to expand the discussion,” said PPS board member Bobbie Regan, who’s up for re-election in May. The board will vote on the substance of Horn’s complaint in April. WILL CORWIN

The alleged leader of a crime family running prostitution out of Portland strip clubs is behind bars, and it’s not clear how his arrest affects plans in the Cully neighborhood to wipe away his operations’ seedy legacy. A group called Living Cully wants to buy a strip mall that’s the former home to the Sugar Shack (now Peek-a-Boo’s) on a triangle of land where Northeast Killingsworth Street, Cully Boulevard and Highway 30 meet (“Sugar Shackup,” WW, Nov. 26, 2014). As WW reported, Living Cully agreed to pay $2.75 million to what the feds called a prostitution and money-laundering syndicate led by Lawrence Gary Owen, 73, who lives in Mexico when (courts records say) he’s not busy running a Milwaukie-based prostitution ring. In February, the feds charged Owen in a secret indictment with illegally using interstate cash transfers—that is, ATM machines— to promote prostitution. The Oregonian first reported on the charge this week. In December, Living Cully raised $54,094 through an Indiegogo campaign to buy the Sugar Shack site. Living Cully officials didn’t respond to WW’s questions. It took nearly two years, but a city of Portland watchdog has successfully pursued a construction company she suspected of minority-contracting fraud. In 2013, City Ombudsman Margie Sollinger questioned whether work on $88,000 in contracts with Elkins Masonry Restoration Inc. was simply passed on to a white-owned business (“Mortar Combat,” WW, June 19, 2013). After the state agency responsible for policing public contracts with minority-owned businesses wouldn’t help, Sollinger pushed the case to the Oregon Department of Justice, which last week settled the allegations, requiring Elkins to give up its minority- and women-owned business certification and pay $15,000. (Elkins denied wrongdoing and didn’t return WW’s calls seeking comment.) Sollinger is now backing state legislation to let the city run its own investigations of minority-contracting fraud. Read more at wweek.com. 6

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NEWS

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

HOW THE FIRING OF OREGON’S POT CZAR EXPOSED THE OLCC’S SECRET TALKS TO END MEDICAL WEED AS WE KNOW IT. BY AARON MESH

amesh@wweek.com

On a sunny Thursday last month, Rob Patridge, the man who will soon be Oregon’s top regulator of legal weed, and Anthony Johnson, the person who gave him that power, met over iced tea at Russell Street BBQ in Northeast Portland. The two discussed how to ensure that Oregon’s emerging plans to sell recreational marijuana succeed. To do that, the state has to squash the black market in pot and steer purchases through vendors with the Oregon Liquor Control Commission’s stamp of approval. OLCC chairman Patridge and Johnson, who led the successful Measure 91 campaign to legalize weed last fall, wanted the March 12 meeting kept quiet for good reason. Patridge and Johnson had discussed a plan to give the commission control of nearly all legal weed sales in the state— including those under the state’s existing medical marijuana system. The problem is, voters were told Measure 91 would leave the state’s medical marijuana sales alone. The ideas Patridge and Johnson discussed would go far beyond the scope of the ballot measure voters approved in November. Last week, a top official at the agency lost his job when he leaked a memo describing this plan to a lawyer representing the medical marijuana industry. The firing of Tom Burns made news all over Oregon, but the meaning of the secrets he revealed are only now becoming clear.

“IT’S NOT ABOUT A TAKEOVER. IT’S ABOUT DIMINISHING THE BLACK MARKET.” —STEVE MARKS “When Measure 91 passed, one of the things its proponents were most proud of is, it left medical marijuana alone,” says Matt Goldberg, a Lake Oswego lawyer advising pot businesses. But the plan that was leaked, he says, would mean “a total overhaul.” Before his firing, Burns was the adviser hired to help the OLCC craft rules that would govern how pot would be sold from retail outlets. He’d been hired in December with headlines calling him Oregon’s “pot czar.”

On March 23, OLCC executive director Steve Marks sent Burns an undated memo written by Measure 91’s backers. In the memo, eventually intended for lawmakers, the backers say they support the OLCC’s takeover of medical marijuana sales, now run by the Oregon Health Authority. Burns was supposed to have added his own comments to the memo. Instead, he sent a copy to Amy Margolis, a Portland lawyer advocating for some of the state’s biggest marijuana growers. Margolis in turn circulated the memo, blowing up the talks. OLCC spokesman Tom Towslee says Burns lied to agency officials about leaking the memo. On March 26, Marks fired Burns from his $101,952-a-year job. Burns has not responded to requests from WW for comment. That much has already been reported by the Oregon news media. But the memo in itself wasn’t confidential; had someone asked for it under the state’s public records law (as WW and other media outlets eventually did), the agency would have been compelled to release it. Instead, the memo embarrassed the OLCC by showing the agency was taking sides in the highly competitive and lucrative pot-growing industry. The agency has been accused of doing the same thing in its regulation of wine and beer distribution in the state (“Booze Wars,” WW, Jan. 11, 2012). The difference here is that the emerging marijuana industry stands to make a handful of people very rich very quickly—and the commission’s efforts could be seen as unfairly tipping the scales. “The stakes are high,” says Rep. Ann Lininger (D-Lake Oswego), co-chairwoman of the House- Senate committee on marijuana. “There are rural farmers whose livelihoods are at stake, and there’s a lot of money at stake.” It’s been apparent for months that the OLCC had singled out medical marijuana growers as the biggest threat to legal sales of recreational pot. That’s because medical growers in Southern Oregon are widely believed to be feeding the black market for marijuana. The more dope they supply, the lower the black market’s costs, keeping illegal dealers’ prices competitive with statelicensed stores’. The commission wants to choke off supply to the black market, and the proposal Patridge discussed would have forced more growers to deal with his agency as it tries to corral the supply of weed. In public, the OLCC has been holding town hall meetings across the state, with Patridge taking a highly visible role as moderator, asking citizens if they want more

W W S TA F F

BURNS NOTICE

regulation of medical weed (which voters approved in 1998). But Patridge’s secret talks showed the OLCC was already talking about how to take over the medical marijuana system and put larger growers under its thumb. Patridge says he and Measure 91’s backers were still beginning talks when Burns leaked the memo. “It was a good framework to kick off a discussion,” he says. “They were out talking to their people and trying to get everybody on board.” Marks says he and Patridge were looking for a way to stem the flow of weed from medical growers to the black market. “It’s not about a takeover,” Marks says. “It’s about diminishing the black market. We’re very clear that our job is to implement Measure 91. If there’s a consensus to do more, we’re happy to provide that service.” Johnson says he never agreed to a deal

when he met with Patridge. “I wasn’t formally considering any concessions or policy decisions, and nobody made any policy decisions,” Johnson says. “I was mostly just listening to what he had to say.” With the leak of the plans, Marks says the OLCC is now floating ideas for increased agency regulation of medical pot to legislators. The agency must still figure out how to bring as many growers and sellers of dope into the state-run system as possible— whether by creating incentives or threatening sanctions. Observers say the fact that Patridge and Johnson were even talking about an endgame strategy means medical weed won’t stay a separate system for long. “This is a radical revision to medical marijuana,” says Goldberg. “It basically gives up the ghost.” Willamette Week APRIL 1, 2015 wweek.com

Willamette Week APRIL 1, 2015 wweek.com

NEWS

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

JASON DESOMER

BUSINESS

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POINTING UPWARD: OnPoint Community Credit Union’s newest location at Northwest 20th Place and Burnside Street.

BANK SHOT MORE AND MORE, CREDIT UNIONS LOOK AND ACT LIKE BANKS. SO WHY DON’T THEY PAY TAXES? BY N I G E L JAQ U I S S

njaquiss@wweek .com

Robert Stuart enjoys a paycheck most bankers would envy. Stuart, 47, is CEO of Oregon’s second-largest financial institution, with 26 branches, 501 employees and assets of $3.6 billion. His organization is growing fast and opening branches so posh they would make tellers at Chase blush. Stuart and his board of directors fly first class as a matter of policy, and the CEO raked in $1.9 million last year. But Stuart doesn’t run a bank. He’s the boss at the not-for-profit OnPoint Community Credit Union. Credit unions are no longer spartan storefronts serving low-income workers and middleclass families. In fact, they look a lot like banks. But they don’t pay income taxes. No one feels sorry for bankers—whose industry helped destroy the American economy in 2007 and 2008—when they claim credit unions are reaping an unfair advantage. But a bill in Salem would push credit unions even further toward looking like banks—and few are asking why credit unions should continue to enjoy their historic tax exemption long after they have strayed from their public-service mission. “What’s out of balance isn’t what the executives are getting paid,” says Marvin Umholtz, an Olympia, Wash., consultant and former creditunion executive, “it’s that credit unions are still getting a subsidy.” Credit unions’ tax breaks date to 1934, when Congress decided to subsidize working-class Americans whom banks would not serve. The idea, according to the National Credit Union Administration, was to “serve the productive and provident credit needs of individuals of modest means.” A report written by Umholtz and released last month by the Oregon Bankers Association shows fewer than 1 percent of the 12,000 mortgages issued by Oregon credit unions last year went to low-income borrowers.

“Data irrefutably indicates that credit unions’ mortgage-loan originations are not focused on low-income populations or distressed communities in Oregon,” Umholtz wrote in his report. In an interview, Umholtz says the credit unions—and legislators—need to address changes in the landscape. “Credit unions don’t serve low- and moderateincome borrowers,” he says. “They ought to quit saying that they do.” Seven of the 10 largest state-chartered lending institutions in Oregon are credit unions. Credit unions are pushing Oregon Senate Bill 582, which among other things would allow Oregon credit unions to pay their boards of directors, whose members are now volunteers. Northwest Credit Union Association spokeswoman Lynn Heider says the proposed change acknowledges the complexity of directors’ work. “It’s very difficult and time-consuming,” Heider says. Heider acknowledges the state’s biggest credit unions now match banks’ executive pay. “I compare it to other financial-service providers,” Heider says. “You have to attract and hold on to the most competent people.” Bill Parish, a Portland investment adviser, says the notion of paying credit-union directors is “astonishing” and says credit unions should not be paying their leaders bank-level salaries. “It’s a complete betrayal of the fundamental intent of credit unions, which is that you serve the members first,” says Parish, formerly the chief financial officer for what is now Maps Credit Union in Salem. “They should use that money for the benefit of members.” A study by EcoNorthwest produced for credit unions in January found that Oregon creditunion members got $103 million in savings from cheaper checking accounts, lower interest rates on loans and higher rates on savings accounts. “I don’t think our customers are being subsidized,” Heider says. “I think they are being smart.” Credit unions originally served workers shunned by banks. OnPoint, for instance, used to be Portland Teachers Credit Union, serving the clientele its name implied. But those barriers to credit membership have fallen. Today, OnPoint serves 276,000 members in 10 Oregon and two Washington counties. Anybody can join. “It’s hard to tell the difference between community banks and credit unions,” Umholtz says. “Except one pays taxes and the other doesn’t.

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NEWS

SCHOOLS

HELP FOR HER FRIENDS

PORTLAND SCHOOLS BOSS DELIVERS PAY HIKES TO OFFICIALS WHO WORK FOR HER.

A N N A J AY E G O E L L N E R

BY BETH SLOVIC

RW AR

Last summer, Portland Public Schools Superintendent Carole Smith pocketed a nearly 28 percent pay raise, bringing her annual salary to $247,000. At the time, most Por tla nd School Boa rd members sa id Smith deserved the raise after receiving only a 2 percent increase in pay during her first seven years in the CAROLE SMITH district’s top job. The decision by the board majority outraged many, who wondered why Smith was worth the steep pay hike as veteran teachers’ salaries grew at a far slower rate and principals’ pay remained relatively flat. Smith’s raise is being talked about again as campaigns gather steam for the upcoming School Board elections May 19. It turns out hers wasn’t the only pay hike. Since 2011-12, Smith has given generous pay raises to the PPS administrators around her as well, according to budget documents obtained by WW under the state’s public records saw. In some cases, new hires have seen substantial pay boosts over what their predecessors received.

Portland Public Schools salary increases, by percentage, since 2011-12.

there’s more to

bslovic@wweek.com

Lolenzo Poe, the district’s chief equity and diversity officer, saw his pay jump 20 percent, to about $135,000. Three other PPS officials—Yousef Awwad, chief financial officer; Sean Murray, chief human resources officer; and the superintendent’s chief of staff, Amanda Whalen—saw their positions’ salaries increase by 17 to 18.5 percent. The co-chairwomen of the PPS board, Ruth Adkins and Pam Knowles, urged Smith to raise salaries “to hire the best and brightest,” according to an August 2014 memo. Murray, the human resources chief, says the raises are also necessary to keep administrative salaries ahead of teachers’ and principals’ pay. Murray says his own salary is higher than his predecessor’s but in line with the person who came before that. It’s the same for Whalen, Murray adds, noting that Jon Isaacs, the district’s chief spokesman, earns 14 percent more than his predecessor because he took on additional responsibilities. An internal PPS advisory group is weighing whether to study salaries at the district’s headquarters. “It’s important to be able to explain this to the public,” says Mike Rosen, a PPS board candidate who is running unopposed to replace incumbent Greg Belisle. “It’s the responsible thing to do.” The chart below shows the stark difference between pay hikes for people who work directly for Smith and the raises and salaries for highschool principals and teachers at the top of the district’s pay scales. WW intern Anthony Macuk contributed to this story.

SUPERINTENDENT $247,000

30%

CHIEF EQUITY AND DIVERSITY OFFICER $134,838 20%

than depression. When symptoms persist, there may be more you can do.

If feelings such as depressed mood or lack of energy are keeping you from the things that matter to you, you may be eligible for this research study. It’s evaluating an investigational drug designed to work with antidepressants to see if it can help address unresolved symptoms of depression.

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CHIEF FINANCIAL OFFICER $160,000

18.5%

CHIEF HUMAN RESOURCES OFFICER $146,084 17% CHIEF OF STAFF TO SUPERINTENDENT $134,838 17% CHIEF, COMMUNITY INVOLVEMENT 14% AND PUBLIC AFFAIRS $134,838 TEACHER $77,366

TO LEARN MORE: Oregon Center for Clinical Investigations, Inc. 503-276-6224 Whether or not you are currently taking an antidepressant, you may be eligible to participate. 10

Willamette Week APRIL 1, 2015 wweek.com

HIGH SCHOOL PRINCIPAL $120,100 3.5%

10%

20%

SOURCE: PORTLAND PUBLIC SCHOOLS’ PUBLIC RECORDS.

30%

Willamette Week APRIL 1, 2015 wweek.com

WALTERS CULTURAL ARTS CENTER

2015 CONCERT SERIES CHRIS SMITHER 4/10 PORTLAND CENTER STAGE MATINEE 4/18 OREGON MANDOLIN ORCHESTRA 5/1 ALASDAIR FRASER & NATALIE HAAS 5/15 Purchase tickets at brownpapertickets.com or at the Walters box office All concerts begin at 7:30 pm / Matinees at 2 pm 527 E Main St. Hillsboro, OR 503-615-3485 For a full concert listing visit us online at www.Hillsboro-oregon.gov/Walters

Willamette Week APRIL 1, 2015 wweek.com

JOSEPHCLIFFORDBLANCHETTE

IT USED TO BE BETTER

WHAT WENT WRONG IN PORTLAND’S VISUAL ARTS SCENE, AND WHAT WE CAN DO TO FIX IT. BY R I C H A R D S P E E R

rspeer@ wweek.com

dders hang from the rafters. They’re fake, fashioned from rubber molds, but the long-haired calf grazing in the corner of the gallery is real, and it’s pissing on the hay covering the hardwoods. It’s Saturday night, April 3, 2004, and New York artist Lindsay Bowdoin Key has transformed North Portland’s Haze Gallery into a simulated barnyard for her gonzo exhibition American Farm. About 500 people—everyone from curators to Lewis & Clark students attending their first art show—have made the trek up to St. Johns. Some of them are out in the parking garage, tailgating with Gentleman Jack and eight-balls. Most have ventured inside, where a girl acting as docent holds court, outfitted in Daisy Dukes and a plunging checkered blouse. Artist Lindsay Key is circulating, explaining her drawings, paintings and video installation to viewers, some of whom struggle to connect the show’s whimsical visuals to its high-minded critique of the meat industry. The cognitive dissonance is heady, as is the energy of a heterogeneous crowd swilling booze and processing big ideas. This was Portland circa 2004, at the crosscurrents of social and aesthetic synergy. It was fucking electric. Above the wafting scent of fresh hay and cow piss, you could almost smell the rocket fuel of an art scene flying fast and high, burning bright, very close to flaming out. CONT. on page 14

ART APPRAISAL: Departing WW art critic Richard Speer working his beat at PDX Contemporary in August 2012.

Willamette Week APRIL 1, 2015 wweek.com

IT USED TO BE BETTER

cont.

hat was 11 years ago, almost to the day, yet the memory is fresh and even more poignant as I step down from my perch at WW to concentrate on three book projects. (I’ll still be covering Portland shows for ARTnews and other national publications.) It’s been a wild run. For 13 years, I’ve galloped through 146 First Thursdays and more than 3,120 exhibitions. I covered the Portland presence at Burning Man and Art Basel Miami Beach, and chronicled our art community’s trajectory during a period when Portland’s national profile rose precipitously. As I sign off, I’m sharing an old-timer’s perspective on how our visual-arts culture has devolved since I began in 2002 and what we need to do to get back on the right track. First, the bad news. The Portland art scene is blander, more commercial, less experimental, and just plain less exciting than it was in 2002. Yes, there’s a chance this could just be the hindsight of a no-longerdewy critic looking backward through rose-tinted glasses. But I don’t think so. I believe that the gentrification and Portlandia-fication of this town has seeped into our art scene. The same forces that closed Slabtown and Magic Garden and have driven up housing prices have created an aesthetic climate that panders to recent transplants who have lots of money and deficient taste. We see many Pearl District condos and fresh apartment buildings in Southeast filled with white walls that are either bare or hung with posters instead of original work by Portland artists. In my first column for this newspaper (“A Critical Eye,” WW, July 31, 2002), I said that “to jolt the hipsters and somnambulant yuppies from their respective aesthetic comas,” we needed to cross-pollinate the First and Last Thursday scenes and spawn “the radiant love child of Northwest Everett and Northeast Alberta streets.” Little did we suspect that Alberta would essentially become Everett, replete with tony wine bars and shops for artisanal esoterica. To give you a sense of how juiced up the art scene was in the early aughts compared to now, consider the year 2003. In April of that year, Mark Woolley Gallery put on what I still consider the best exhibition I’ve seen in the Northwest, Julia Fenton’s Devices and Desires, a virtuosic exploration of gender and sexuality. Fenton used pink feathers, polished steel, mirrors, asphalt, pubic hair and menstrual blood to create ravishing sculptures that simultaneously delighted and repulsed. That summer, art impresarios Gavin Shettler and Bryan Suereth hatched the Modern Zoo, a bone-shattering knockout of a group exhibition that continues to set the standard for sheer curatorial cojones. With a bold but strategic lack of restraint, they invited more than 100 local artists to fill more than 100,000 square feet in the old Columbia Sportswear factory in St. Johns with every manner and media of artwork. It was a glut, a vomitorium, an expansively sloppy phantasmagoria. The spirit was best summed up by a sculpture installed by Chandra Bocci: Gummy Big Bang, a sunburst of gummy bears that perfectly captured the explosive creativity gripping Portland. That September, the Portland Institute for Contemporary Art held its first-ever Time-Based Art Festival. ’Nuff said. The following month, writers Matthew Stadler and Randy Gragg staged a series of 30 exhibitions all over town, collectively titled Core Sample. Unimpressed, I dubbed it “Snore Ample…one of the most important art extravaganzas ever to anesthetize Portland.” In hindsight, I realized it had been much better than I gave it credit for at the time. The very next month, Haze Gallery opened in St. Johns and immediately became the “it” gallery of the moment. Founded by artists Jack Shimko and Leah Emkin and businessman Randy Calvert, Haze mounted ambitious, often outrageous shows such as the aforementioned American Farm. Haze also had a hedonistic scene. At one opening, VIP room guests were served pre-rolled doobies on silver platters. One big reason Haze had such an electric charge was Shimko’s rivalry with his frenemy and fellow art impresario, Justin Oswald, founder of the now-legendary Gallery 14

Willamette Week APRIL 1, 2015 wweek.com

Adam Bailey’s Lineage of Harmonic Abstraction at Portland Art Center in 2006.

500, which was on the fifth floor of the Bullier Building downtown. For an entire year, Shimko and Oswald spurred one another on like Lennon and McCartney. Both galleries brought together first-rate exhibitions, youthful energy, and a mise en scène reminiscent of Andy Warhol’s Factory. At Gallery 500, Suicide Girls staffed a kissing booth one month, while revelers streamed into Oswald’s disco ball-appointed bedroom for conversation and cocaine, not necessarily in that order. A memorable art show featured New York artist Pinar Yolacan’s photographs of septuagenarian women dressed in garments made out of chicken skin, lamb and beef—one of those photos appears on the cover of this week’s issue. The energy created by Haze and Gallery 500’s competition between 2003 and 2004 hasn’t been matched since. Finally, in November 2003, the gender-queer duo known as 2Gyrlz Performative Arts held its annual Enteractive Language Festival, a series of happenings in visual and performance art. In an enduringly horrifying event called “Porno-Social Ritual,” gonzo French provocateur Jean-Louis Costes stripped naked, drank his own

The energy creaTed by haze and gallery 500’s compeTiTion beTween 2003 and 2004 hasn’T been maTched since.

Untitled by Julia Fenton from the show Devices and Desires at Mark Woolley Gallery in 2003.

cont.

IT USED TO BE BETTER

pee, ritually cut a female performer’s labia, and flung feces into the audience. I literally ran out of the venue to escape the flying shit. That was 2003: unruly, intense, unforgettable. It seems unimaginable today that so many groundbreaking exhibitions could have happened in a single year. That’s not to say the years that followed were lame. But as Portland-praising feature stories started popping up in The New York Times and elsewhere, the domino effect of new arrivals, the building boom to house them, and climbing rents gradually blunted the remnants of the city’s countercultural edge, which thrived on cheap space and a culture that rewarded the outlandish. Experimental artwork grew increasingly marginalized, and the work you saw in galleries began to look more and more interchangeable.

Gummy Big Bang by Chandra Bocci at the Modern Zoo in 2003.

American Farm by Lindsay Bowdoin Key at Haze Gallery in 2004.

West Coast Turnaround by Shelby Davis and Crystal Schenk at Disjecta’s Portland2010, March 2010.

Dorothy Goode’s Homage Grid at Butters Gallery.

hich brings us to now—and some good news. There’s a helluva lot going on. After a lull, the art scene’s picking up speed again. Some kick-ass new galleries have just opened, run by people with formidable curatorial chops. One is Portland ’Pataphysical Society, at the Everett Station Lofts, run by former Disjecta curator-in-residence Josephine Zarkovich and her husband, David Huff. Another is Carl & Sloan Contemporary, in the Disjecta complex, codirected by another husband-and-wife curatorial team, Calvin Ross Carl and Ashley Sloan. And Jeffrey Thomas’ eponymous gallery has a jazzy synergy with the other art businesses it abuts, Murdoch Collections and Katayama Framing. Meanwhile, established galleries like Elizabeth Leach, Fourteen30, Froelick and PDX Contemporary are exposing Portland artists to international collectors at fairs like L.A. Art, Palm Springs Modernism Week and Art Basel Miami Beach. Through their own initiative, local artists such as Eva Lake and Bruce Conkle have recently picked up galleries in New York City, which is a big deal. And artist, educator and curator Modou Dieng is connecting Portland artists with the world through his Worksound International program, partially funded by the Andy Warhol Foundation. With all these promising developments, what needs to happen to kick this clutch into even higher gear? First, the Portland Art Museum needs to replace recently retired chief curator Bruce Guenther with somebody who not only has great connections and can schmooze rich donors, but who also gets out of the museum regularly, hits First and Last Thursdays, and mingles with rank-and-file local artists. Otherwise, the museum may as well be an ivory tower. Secondly, above and beyond the museum’s Contemporary Northwest Art Awards and APEX series, PAM needs to mount more shows featuring local artists—and not just late-career, blue-chip names who have one foot in the grave. It’s a museum, not a mausoleum. “Our curators and educators are always searching for—and finding—new ways to connect people to art,” says Brian Ferriso, the museum’s executive director, who cites populist exhibits on bicycles, cars and Italian fashion as examples. He also promises engagement with local gallery owners like Elizabeth Leach to discover local talent. “Our next modern and contemporary curator will help the Portland Art Museum continue to be an institution of the city, state and region, and not just in it.” The museum’s next exhibit, in May, features work by Chinese artist and blogger Ai Weiwei. Out in the galleries, we need more owners traveling to art fairs and getting our local artists into the national spotlight. And newcomers to Portland need to deep-six the M.C. Escher posters they had back in Wisconsin, hit some shows at galleries and coffee shops, buy some original local art and keep buying it. We need more passionate, educated collectors. For far too long we’ve been in a doldrums where only a handful of people seriously collect—Jordan Schnitzer and Sarah Miller Meigs promicont. on page 17 Willamette Week APRIL 1, 2015 wweek.com

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IT USED TO BE BETTER

CONT. nent among them—and when those people stride into a gallery, they’re besieged by artists and gallerists in a feeding frenzy of ass-kissing and genuflection. We need more collectors like Intel brand manager Bryan Deaner, who is known for actively collecting artwork by emerging local artists rather than sticking to Damien Hirsts. As for our local nonprofits, Yale Union needs to clarify its mission. It’s a great, open, sunlit space, but its programming is an uneasy, unfocused hodgepodge of visual art, film and performance. YU also needs to start showing local artists, not just artists flown in from New York and Berlin. Unless it does that, it’s never going to connect with the Portland public. Finally, we need more cross-pollination among art lovers and people who love dance, theater and music. You hardly ever see art scenesters at the opera, Portland Center Stage or Doug Fir. Let’s mix it up! Keeping Portland’s art community vital and growing is going to be a big challenge, but I think we can do it. The next person who covers this beat is going to have her work cut out for her as she reports and opines on what happens next. As I sign off, I think back on that first column I wrote in 2002. In it, I said that although I was raised atheist, the world of art had become “my chosen church.” I still think art is the greatest religion. And I thank you for joining me in the pews these last 13 years.

Adam Sorensen’s Tabernacle at APEX in 2011.

RICHARD SPEER’S 10 FAVORITE SHOWS FROM 2002 TO 2015, IN CHRONOLOGICAL ORDER. Julia Fenton’s Devices and Desires (Mark Woolley Gallery, April 2003)

Visually extravagant with pink feathers and over-the-top sculptures, this show was also deeply thoughtful in its critique of the splendors and indignities of the human body. Like many of Mark Woolley’s shows, Devices and Desires was not a huge commercial success, but Woolley has always put art and ideas before profits, and the art community is richer for it.

Symbiont/Synthetic, curated by Jeff Jahn (Core Sample, October 2003)

Prolific artist, writer, editor and curator Jeff Jahn outdid himself when he put together this flashy yet substantive 18-artist show. The highlight was Matthew Picton’s glass-bead and cake-sprinkle sculpture, which hung from the ceiling by Slinkys. Yes, Slinkys. Jahn continues to edit the online arts digest Port, one of the Northwest’s most reliably zippy and controversial blogs.

Mark Zirpel’s Celestial/ Terrestrial (Bullseye Gallery, December 2004)

In Bullseye’s dark, vaguely spooky upstairs gallery, gonzo artist Mark Zirpel offered a mad-scientist

Scott Wayne Indiana (Residence Gallery, April 2005)

With oil paints, shellac and coffee grounds, Scott Wayne Indiana conjured brilliant contemporary updates of abstract expressionism. Notably, it was not his paintings, but his Portland Horse Project that garnered him his greatest acclaim. These miniature horses, attached to early-1900s metal rings, can still be found on streets around the city.

Adam Bailey’s Lineage of Harmonic Abstraction (Portland Art Center, July 2006)

You felt like you’d wandered onto the set of Barbarella when you walked through the eerily glowing salt pillars and multicolored banners of this haunting installation. To complete the futuristic ambience, Bailey composed a seductive soundscape with tones so deep, you felt them in your bones and blood.

Dorothy Goode’s In Homage to the Graffiti I Didn’t See in Manhattan (Butters Gallery, May 2008)

This massive, virtuosic grid of 75 egg-tempera and ink paintings filled Butters Gallery’s sunlit east wall with colors and gestures alternately bold and delicate, lyrical and whimsical. (Disclosure: I met Goode one year after writing about this stunning installation. The summer of the following year, we became romantically involved,

after which I never wrote about her in WW again, until this blurb. We have now been together nearly five years—and yes, her paintings still kick ass.)

COURTESY OF RICHARD SPEER

FAVORITE SHOWS

take on the music of the spheres and the waxing and waning of the moon. Like so many shows at Bullseye, Zirpel’s fantasia showed just how versatile and relevant glass is as a contemporary art medium.

Portland2010 (Disjecta, March 2010)

Cris Moss curated this jawdropping group show, which featured Shelby Davis and Crystal Schenk’s life-sized replica of an 18-wheeler, made of two-by-fours and drywall. Another highlight was Marne Lucas and Bruce Conkle’s fanciful chandelier, cobbled together from a tanning bed, geodes, moss and coconuts. Lucas and Conkle, operating under the moniker Eco-Baroque, have become pioneers in the eco-art movement, which extends far beyond the Pacific Northwest.

Adam Sorensen at APEX (Portland Art Museum, September 2011)

Sorensen’s idylls of mountains, waterfalls, rivers, and crystals the size of boulders conjure a vision one hobbit short of Lord of the Rings. His fantastical landscape in Portland Art Museum’s APEX series, entitled Tabernacle, remains one of the most impressive paintings I’ve ever seen at PAM .

Paul Dahlquist Retrospective (Cock Gallery, April 2012)

Beloved photographer (and Walt Whitman look-alike) Paul Dahlquist has been taking pictures in Portland and around the world for decades. He’s particularly renowned for his nudes and racy portraits of couples (and threesomes, foursomes, and

ART, CRITIC: Larry Cwik (left) and Richard Speer chatting at Mark Woolley Gallery in November 2013. more-somes) in flagrante delicto. When I interviewed Dahlquist for a 2008 feature, he summed up his philosophy of life with a quote I would gladly have inscribed on my tombstone: “Eye candy is my favorite drug—and I love to O.D.!”

Tom Cramer’s New Work (Laura Russo, May 2012)

Gleaming gold and silver leaf, intricately carved paintings on

mahogany and ponderosa pine, psychedelia-flavored wood burnings and drawings influenced by folk art and Keith Haring. These elements came together in a tour de force by one of the Northwest’s most popular artists. Cramer has since left Laura Russo, citing creative differences, but will have a solo show at his new gallery, Augen, in November.

Willamette Week APRIL 1, 2015 wweek.com

STREET

LOOKS WE LIKE SNAPSHOTS FROM THE WEEK. PHOTOS BY JEN N IFER PLITZKO A N D LU CAS CHEMOTTI

wweek.com/street

PRIORY

THE HILLWILLIAMS Saturday, April 4th @ 5PM

“The sound of Portland-based band The Hillwilliams’ new album, ‘Hill Yeah!’, starts with the hard driving sound of traditional bluegrass music, mixes in a bit of gypsy jazz and Dawg music, a couple of waltzes, some sweet three-part harmony singing, hot soloing throughout and ends up delivering a unique and satisfying blend of string band music.”

RECORD RELEASE EVENT Tuesday, April 7th @ 6PM “Priory is a project born of two young artists— Brandon Rush and Kyle Sears—betting on themselves. The pair met while living in a trashy bachelor pad in Portland, finding in the other kindred musical spirits. This event celebrates the release of their new album on Warner Brothers Records, ‘Need To Know’. It’s the sound of a band emerging triumphantly from the trials of their past and looking fearlessly into the future. “

KPSU, PSU.TV, PSPS & MUSIC MILLENNIUM PRESENT

SUMMER CANNIBALS Wednesday, April 8th @ 7PM

“Summer Cannibals aren’t wasting any time. The punk-flecked four-piece from Portland hit the ground at full speed with their 2013 debut album ‘No Makeup’. Now they’re back with their second full-length, the raw, to-the-point ‘Show Us Your Mind’. As before, Summer Cannibals come armed only with the things they need: fuzz pedals, razor-sharp riffs, and songs that get stuck in your head the first time you hear ’em. “

BOZ SCAGGS

A Fool To Care

Sale Priced CD $12.99*

“Finding musical and lyrical inspiration in his native Texas, Oklahoma and New Orleans, this freshly minted collection of songs boasts Scaggs’ pioneering blend of rock, soul, jazz and R&B taken to new heights.”

*sale price valid 4/1-4/30 Willamette Week APRIL 1, 2015 wweek.com

DRANK: Higgins’ super-steward. MUSIC: Bouncers, beware: Action Bronson is back in town. BAR REVIEW: We tried to hate the new 10 Barrel and failed. WEED: Battle Ground’s fancy new rec dispensary.

Beyond the Print

SCOOP

NEWSLETTER

CASA DOS: Johnny Zukle has finally put the sign up for his long-promised third vegan strip club, Casa Diablo II, on Southeast McLoughlin Boulevard, near discount strip steakhouses Acropolis and Blush. Zukle is notorious for shaking off the feds’ warnings about his club’s habit of distributing red-stained $2 bills, and for engaging in legal fights with former dancers. Neighbors had protested mightily in 2012 when Zukle announced the new location, but the club has been licensed for liquor since June 2012. >> Meanwhile, Zukle also appears to be opening his upscale vegan restaurant, ZUKLE FigMint, at the former Hutch on Holgate in Southeast. At a somewhat tense neighborhood meeting March 25, he said a marijuana dispensary might be nice in the basement. GREEN AND SILVER: Speaking of controversial vegans, Red and Black Cafe, the vegan anarchist collective that gained international fame for refusing service to a cop in 2010, is looking for someone to rent its space. The Buckman cafe closed March 24 after 15 years as an activist center and restaurant, but for now it still owns the building. A lease of the 1,400-square-foot space at 400 SE 12th Ave. must be signed before April 7 to preserve the building’s low-cost housing and the books-for-prisoners program run out of the basement. Total move-in, with first, last and deposit, is $10,000. VILLAGE BOOM: Portland singer-songwriter Laura Gibson’s New York apartment was the victim of a gas-line explosion in the East Village on March 26 that collapsed two buildings and killed two people. Though she escaped unharmed, Gibson, who moved to the city last year to attend grad school at Hunter College (see Q&A, page 34), lost nearly all her possessions, including lyrics for a new album. “When the explosion happened, I had to run down five flights of stairs,” she wrote on Facebook. “There was a moment when I looked down the stairwell and saw that smoke was beginning to fill the bottom…and thought GIBSON perhaps I was running into something much worse than what I was running away from.” An online effort doubled its $10,000 goal. Gibson’s homecoming show at Mississippi Studios was postponed. TIPPING POINT: Is Portland’s midlevel theater scene undergoing a domino effect toward pay-what-you-will? Post5 Theatre and Funhouse Lounge are both experimenting with the format, with Post5 artistic director Ty Boice, who runs pay-what-you-will shows on Sundays, saying he’s considering a total overhaul. “It could be a cultural shift, or a financial disaster,” he says. Meanwhile, Funhouse Lounge is using the generosity- and/or shame-dependent system for Multnomah Falls, which premieres this week. A handful of Portland companies, including Third Rail, Theatre Vertigo and Portland Center Stage, offer discounted or pay-what-you-will ticket nights. Asked whether he’d consider going all in, Funhouse’s Matty O’Shea says, “I don’t see that happening.”

Willamette Week APRIL 1, 2015 wweek.com

PA R K E R F I TZG E R A L D

http://bit.ly/wwnewsletter

BOYCOTTING INDIANA BEFORE IT WAS COOL.

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Do you like Free stuFF?

23 33 39 52

HEADOUT

GO: A man-sized rabbit will deliver an Easter basket crammed with Peeps on Sunday, April 5.

P H OTO S B Y M AT T W O N G

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

WEDNESDAY APRIL 1 TOBIAS JESSO JR. [INDIE PIANO POP] Goon, Jesso’s debut LP, is a stellar exploration of ’70s balladry that’s being hailed the world over. Think John and Paul’s solo outings during the time they publicly hated each other, played by a nearly 7-foot-tall Canadian with a wicked ’fro. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12. 21+

THURSDAY APRIL 2 GINGER PEOPLE [COMEDY] Ginger comics kicked out of recently closed Kickstand perform standup at Habesha for this especially pale rendition of Brodie Kelly’s regular comedy show, Garbage People. Habesha, 801 NE Broadway, 284-4299. 8 pm, $5.

FRIDAY APRIL 3 BELLEVILLE [THEATER] This is a relationship “pseudo thriller” from Third Rail Repertory Theatre about a yoga instructor who fi nds her doctor boyfriend pantsless with porn playing. CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm. $29.

RECIPEEPS SPICE UP YOUR EASTER BY USING EVERYONE’S FAVORITE BIRDTHEMED MARSHMALLOW Sweets, PEEPS, IN A VARIETY OF RECIPES.

GANT-MAN [SON OF JUKE] Gant Garrard is the dance-music world’s Herbie Hancock, a child prodigy who released his first record at age 15 on Chicago’s legendary Dance Mania label. A great deal of his prolific output exists only among friends, but his past year of house remixes are like a perfectly functioning, immaculately preserved ’90s time capsule. Holocene, 1001 SE Morrison St., 239-7639. 9 pm. $5 before 11 pm, $8 after. 21+.

SPLIT PEEP SOUP

PEEPERONI PEEPZA

PEEPCORN

1. Split Peeps in half. 2. Boil pot of soup broth. 3. Submerge Peeps in broth for, oh, 6-10 minutes or so?

1. Make pepperoni pizza. 2. Remove pepperoni, replace with Peeps.

DEVILED PEEPS

1. Find bottle of offbrand soda, remove top. 2. Shove Peeps inside, reapply top. 3. Shake.

1. Pile Peeps in microwave-safe container. 2. Place container in microwave. Close eyes and blindly press the number pad. 3. Press “Start.”

1. Cut heads off Peeps. 2. Soak head holes in vinegar. 3. Garnish with severed Peep heads. PEEPSTRAMI SANDWICH 1. Feed desired number of Peeps through meat slicer. 2. Pile between two slices of rye bread (pastrami optional). 3. Salt and pepper to taste.

PEEPSI

PEEPS BENEDICT 1. Top English muffin with thin-sliced ham, poached eggs and Peeps. 2. Slather in hollandaise sauce.

PEEPSICLES 1. Impale Peeps with stick. 2. Put in freezer. PEEPAYA SALAD 1. Place shredded papaya on plate. 2. Finely dice Peeps. 3. Sprinkle diced Peeps atop papaya. HONEY-ROASTED PEEPS

SATURDAY APRIL 4 HOPHOUSE CIDERFEST [DRINK APPLES] Over 50 ciders from 23 cideries—from basic drys to herbal numbers to grapefruit and honeywine renditions—will be on offer in a tented parking lot on one of the first warm weekends of the year. What could go wrong? Oregon Hophouse, 4111 SE Hawthorne Blvd., 477-9619. 2-7 pm. $20-$25 for 10 tasters. ACTION BRONSON [RAP’S TOP CHEF] Last time the burly, bearded Queens MC was in town, his show got shut down after an altercation with a security guard. But the potential for chaos is not the only reason to attend: The foodobsessed Bronson is one of hiphop’s most hilariously outlandish lyricists, and he just dropped one hell of a major-label debut, the excellent Mr. Wonderful. Wonder Ballroom, 128 NE Russell St., 2848686. 8 pm. $25 advance, $30 day of show. All ages.

1. Glaze Peeps with honey. 2. Roast.

Willamette Week APRIL 1, 2015 wweek.com

FOOD & DRINK DEVOUR CHRIStOPHER ONStOtt

= WW Pick. Highly recommended. By MAttHEW KORFHAgE. Editor: MARtIN CIZMAR. Email: dish@wweek. com. See page 3 for submission instructions.

FRIDAY, APRIL 3 Class of 2014 Beerfest

New School Beer gathers five of its favorite new breweries—Ex Novo, Baerlic, Fat Head’s, Stormbreaker and Royale—for a back-patio fest of saisons, all made using the same strain of Wyeast yeast (#3726, if that means anything to you). White Owl Social Club, 1305 SE 8th Ave., 236-9672. 6-10 pm. Free admission.

SATURDAY, APRIL 4 Hophouse Ciderfest

A group of 23 local cideries, including four of the five makers of our top ciders of the year (Reverend Nat’s, Cider Riot, Apple Outlaw and Atlas) will bring 50 ciders to the Hophouse’s tented parking lot for the tastin’. Hawthorne Hophouse, 4111 SE Hawthorne Blvd., 477-9619. 2-7 pm. $20-$25 for 10 drink tokens.

SUNDAY, APRIL 5 Cocotte Easter Prix Fixe

When you’re a kid, the Easter Bunny brings you chocolate. And when you grow up, you eat the fucking rabbit. Cocotte serves up a morbid take on Easter feast, with rabbit pate, rabbit crepinette and carrot cake. Reserve on opentable.com. Cocotte, 2930 NE Killingsworth St., 227-2669. $50.

Pix Easter Egg Hunt

Easter at Pix is always fantastic. Every year, the bar/bakery hides 50 eggs around the interior and grounds of Pix, each with a golden ticket inside netting you a treat— including one with a $50 payoff in goodies. Pix Patisserie, 2225 E Burnside St., 971-271-7166. 2 pm.

Traditional Exotic Fare All you-Can-Eat Buffets & Menu Orders Vegetarian, Vegan & Gluten-Free Options Locally Owned & Operated by the Chand Family from India

Where to eat this week. 1. Apizza Scholls

4741 SE Hawthorne Blvd., 233-1286, apizzascholls.com. Portland’s best pizza is now available for lunch or brunch on weekends, with personal pies topped with freaking eggs and bacon. $$.

bEEf cakE: the pastrami on rye.

CHARLIE’S DELI It all started on Facebook. We saw pictures of sandwiches at this place called Charlie’s Deli in Old Town, all seemingly 6 inches thick, plus fresh slabs of brisket and pork belly and prime rib right out of smokers or ovens. Jesus Lord, they looked good. But we balked at the opening prices. Sure, the pastrami and corned beef is freshly made, the brisket and turkey smoked by owner Charlie Mattouk. And it’s good. The corned beef tipped over from marbled to fatty on some slices, but the pastrami was transcendently flavorful, the brisket downright juicy. Every meat except the cured salami is prepped onsite, turkey and beef smoked in slabs. But until mid-March, the basic sandwiches were $12 and the monsters were $17 or $22—prices New York delis would catch hell for in Order this: Pastrami on rye ($9.75), pasta side. the Post. I’ll pass: german potato Well, glad that’s over. Charlie’s salad ($2). Oh. god, no. found a better meat deal as business improved, so now their terrific pastrami on rye is $9.75, with upgrades of $4 or $6 for double or almost triple the meat, respectively. The brisket ($9.75) could do with less lettuce but it’s damn juicy and meaty. The smoked turkey, however, was a little dry, and the smashed Cubano didn’t measure up to Bunk or El Cubo de Cuba. The sides, which are free with a sandwich, could use some work. The pasta salad and coleslaw are fairly standard, but the German potato salad was a grotesque mess of white wine vinegar that caused two staffers to actually spit, and one lover of the ideal German potato to declare he would not try it because he could see the vinegar from a distance. A 50-cent snickerdoodle was so underdone that its bottom stuck to my finger and left dough behind. But a few flaws are forgiven. Charlie’s is a true city deli in the heart of Old Town, with house meats available by the pound and a ridiculously friendly pair of owners. Walk in a few times, there’s a fair chance they’ll remember your name. MATTHEW KORFHAGE. Eat: Charlie’s Deli, 22 NW 4th Ave., 902-9428, charliesdeli.com. 10 am-8 pm Monday-Friday, noon-5 pm Saturday.

2. Fire and Stone

3707 NE Fremont St., 719-7195, fireandstonepdx.com. And on the subject of even more pizza, Fire and Stone’s are traditional Neapolitan pies, with a crust that’s paper-thin and hyperelastic and showcases the slightly fruity marinara, goopy mozzarella and house sausage. $$.

Parkrose since 2009 8303 NE Sandy Blvd 503-257-5059

Lloyd District Open 1403 NE Weidler 503-442-3841

Vancouver since 2001 6300 NE 117th Ave 360-891-5857

NamasteIndianCuisine.com 22

Willamette Week APRIL 1, 2015 wweek.com

3. Holy Mole

Southeast 33rd Avenue and Hawthorne Boulevard, 347-4270. Our 2015 Food Cart of the Year serves amazing mole from scratch with more than 30 ingredients. $.

4. Smokehouse Tavern

1401 SE Morrison St., Suite 117, 971-279-4850. Smokehouse tavern’s even better than the original—which we anointed as having the best ribs in town. But get the potato salad. $$.

5. The People’s Pig

3217 N Williams Ave., facebook.com/ peoplespig. Cliff Allen’s spot turns out some of the finest smoked pork shoulder in all of Portland, plus a Mason jar Old Fashioned with a giant ice cube. $$.

DRANK

BLUE BUTTERFLY CIDER (HEDGEROW) While most Oregon cideries struggle to get any Old World cider apples at all, Hedgerow’s Robert and Opal Morrow have planted no fewer than 58 varieties of English, French and American cider apples—from Kingston Black to Yarlington Mill to funny little crabs—on a few acres near Salem, a botanical diversity rarely seen in 10 square miles, let alone a single bottle. Their inaugural estate vintage, 2014’s Blue Butterfly, is an uncarbonated, wildly complex dry cider (they call it “semi-dry,” but let’s be real), a tannic journey from the front to the back of the palate with a satisfying finish. It’s terrific—a fact borne out by a silvermedal finish at England’s International Cider Awards in the cidery’s first year. But last year’s 88 cases are dwindling, and Bushwhacker is currently out of stock. Still, it makes sense it’s rare. The cider is named after the endangered Fender’s blue butterfly that thrives on Hedgerow’s property, on just one type of plant. This cider is just as rare as the butterfly, and just as pretty. MATTHEW KORFHAGE.

FOOD & DRINK

HIGGINS WINE STEWARD ANDY ZALMAN WATCHED AN INDUSTRY GROW UP AROUND HIM. BY PAR K E R H A L L

phall@wweek.com

Every Wednesday afternoon from 2 to 4 pm, Andy Zalman sits at table 49 at Higgins restaurant. One wine rep after another pitches him their latest cellar stock, in hopes he’ll order a case or more. Zalman, a legendarily cool wine director who only bothered to pass his first sommelier exam at age 50, looks across the table at much younger faces and puts them through their paces. “Listen, when you go to your next place—and this is going to sound like I’m being an asshole,” he says, without a trace of pretension, “Cahors is pronounced kah-hor.” Zalman, 61, used to be more like the reps than they might think. When he moved to Portland in 1977, he didn’t know much about wine, and he didn’t have much desire to learn—he wanted to be a musician. But after 21 years as wine steward at downtown’s Higgins, in February he became the fi rst to be honored as Oregon Wine Director of the Year at the state’s premier wine awards banquet. “I am a reed player—I had played really bad music in New York City,” says Zalman, who has a neatly trimmed white goatee. “I played on Broadway, and also weddings and bar mitzvah music. I wanted to play my kind of progressive stuff here.” So, like any progressive musician, Zalman got a job at a restaurant. First at Jake’s Famous Crawfish (“when it was singularly owned and really decent”) and then a seven-year stint at Veritable Quandary, where he was a bartender. During that span, he got married, had a child and couldn’t work until 4 am anymore. This

N ATA L I E B E H R I N G

KEEPER OF THE OLD VINES began a quest to get a job at the Heathman Hotel, which then housed his favorite restaurant in Portland. In order to get a leg up on the server competition, Zalman went to every industry wine tasting he could before leaving Veritable Quandary. He got the job, and took a shine to the Heathman’s head chef at the time—Greg Higgins. When Higgins jumped ship to start his own restaurant, now recognized as one of the forebears to Portland’s contemporary focus on local ingredients prepared with European craft, he took Zalman with him, with the caveat that he would be his wine steward. “I was not up to the job for the first three months.” Zalman says. “Nobody pointed it out to me—I wasn’t that great of a wine guy, but I was a hell of a waiter.” Oregon wine grew alongside Zalman. When he started drinking wine here in 1977, most Willamette Valley wineries had just a few vintages under their belts, and high-quality wines were hard to fi nd. Zalman talks about early chardonnays from 1978 to ’88, for example, as “underripe and overly oaked.” But all that started to change in the late ’80s and early ’90s. “The wine industry really started to pick up steam, and they got a lot better,” he says. And so did Zalman. “I knew, checking out other restaurants’ wine programs, that I was aiming very low and needed to reinvent what type of program I was doing and aim higher,” he says. “I needed to step my game up. So I did.” Zalman began a reserve wine list and selling port by the glass. He tried to showcase what he considered the best value wines in the region. Despite inflation, and what he considers a giant leap in the quality of Willamette Valley wines in particular, Zalman says bottles at Higgins cost about the same as they did 20 years ago. “The pricing has become a lot more

BOTTLE POP: Higgins wine steward Andy Zalman has been with the groundbreaking locavore restaurant since it opened.

competitive,” he says. W hen Za lman started at Higgins, he says there were about 13 pinot gris from Oregon, all of them close to the same price. Now, he says, “There are maybe a hundred from the Willamette Valley alone, and because they have been at it for a longer time, there is more competition.” Two decades ago, wine drinkers didn’t necessarily know what to look for in Oregon pinot noir. “If you look at, for example, a pinot noir compared to a Burgundy or a Bordeaux, the last two are more aggressive,” Zalman says. “Pinot noir is a quieter wine, with a bit more elegance. Wine descriptors for zinfandel might be black cherry or sassafras, but with Oregon pinot it’s dry cola or cherry; it’s a quieter flavor profile.” So, while brewers were creating bigger, bolder, flavors in beer to differentiate themselves from Budweiser, vintners were creating more subtly complex creations, and Zalman was teaching an audience how to appreciate them. And that is Zalman’s biggest contribu-

tion to the local wine industry. That fact was recognized when he was named Wine Director of the Year at the Oregon Wine A-List Awards in Portland. “When I was about 20, I dropped out of college for a while and went to work at a little ski resort in New Mexico,” he says, “The Danish chef-owner felt it was his need to make sure that all of the servers were up to speed on things like what makes a wine Burgundy.” It was a boost into restaurant work that he takes pride in passing on to anyone who wants it. “I am working with people who are, by and large, 30 years younger than me or more, and I don’t want to come off as a know-it-all,” he says. “But I want to be there when they have questions.” Zalman was asked for his biggest contribution at Higgins, which sits in the theater district. “I’ve gotten everyone to their show on time,” he says. “The questions largely aren’t about acidity or tannins, it’s, ‘Can I get to Miss Saigon in time?’”

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MUSIC

april 1–7 PROFILE

= WW Pick. Highly recommended.

CO U R T E SY O F PA N AC H E R O C K

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, APRIL 1 The Antlers, Shaprece, Musee Mecanique [SADCORE] Naming your debut record Hospice and touring with the National is as sure a path as any to strike a chord with the indie-lite sad-sack audience that’s had the Shins’ Pandora station on repeat for the past five years. But the Antlers have found it within themselves to lay their mourning to rest and explore jangly balladry that’s just a touch less sad than the requiems that put them on the map. While I’m not saying you could cut a rug to most of the tracks on 2014’s Familiars, there’s a lot more upbeat moments to love between the margins of shuffling waltzes about pain, regret and whatever else it is that keeps singer Peter Silberman up all night with a blank diary and a bottle of Dewar’s at his side. PETE COTTELL. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $17 advance, $20 day of show. All ages.

Mark Sultan, Suicide Notes, Psychomagic [SKEEVY GARAGE] If you go back far enough, Mark Sultan and the gentleman who performs as King Khan started jamming on garage-derived rock stuff about 20 years ago. But Sultan is set to embark on a ramble up the coast ahead of a new solo album that’s slated for release this summer. The last time he checked in with new studio material was with a set of 2011 bookends: Whatever I Want and Whenever I Want. Between them, there was as much revved-up soul and R&B as heedless garage, with a touch of the comedic on tracks like “Pancakes,” displaying a well-tempered approach to an aging genre. DAVE CANTOR. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $8. 21+.

Tobias Jesso Jr., Okay Kaya

[INDIE PIANO POP] Hearing his recently released debut LP, it’s hard to believe that, only a year ago, Tobias Jesso Jr. was just another Canadian expat in Los Angeles trying to break into the biz. Goon is a stellar exploration of ’70s balladry that is currently being hailed the world over—think John and Paul’s solo outings during the time they hated one another publicly, played by a nearly 7-foot tall guy with a Jew-fro that rivals the one I had in high school. CRIS LANKENAU. Doug Fir Lounge, 830 E Burnside St., 2319663. 8 pm. $12. 21+.

Jeremy Enigk, Jen Wood, Mark Nichols and the Everexpanding Experience Machine, Hip Hatchet

[MESSIANIC MOPING] It’s the heady introspective lyrics and inimitable voice that makes Jeremy Enigk one of the most important forefathers of what us geezers now call “emo,” but the proggy structures and ambitions of his latter work with Sunny Day Real Estate seems to be the flavors that have lived the longest when digesting Enigk’s impressively large catalog. While he hasn’t released any new music since 2009’s Ok Bear, hitting shuffle on his library of work is certain to yield pleasing, uniform results for nostalgists and novices alike who are drawn to the origins of post-hardcore’s meandering, maudlin approach to saccharine melancholy and sticky-sweet melodicism. PETE COTTELL. Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., 233-7100. 7 pm. $12 advance, $15 day of show. All ages.

Happyness, Ultimate Painting, Genders

[ALTERNATIVE KINGDOM] While the Anglo-American cultural conversation always flows both ways, Yankee inno-

vations have tended less to invade than slowly insinuate, and the likes of Britpop and Bush surely blunted the mid-’90s spread of our homegrown college-rock pioneers. Still, young trio Happyness proves indie-rock alive and droll in London. Its 2014 debut album Weird Little Birthday—recently expanded and reissued for this buzzfueled post-SXSW tour—drives a familiar melange of lo-fi guitar figures and highbrow lyrics along the left-hand side of the Pavement with an awkward charm for all seasons. JAY HORTON. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. $10 advance, $12 day of show. 9 pm. 21+.

Yonatan Gat, Eternal Tapestry, Hornet Leg

[PLANETARY PUNK] There’s a breakout performance every SXSW, and this year the media seem to think it was Yonatan Gat. The onetime guitarist for highly volatile garage band Monotonix now fronts a new trio based in New York by way of Tel Aviv and Brazil. Gat’s worldly upbringing is evident in his sound, blending punk aggression with surf rock, Brazilian jazz, psych rock and traditional Middle Eastern music. His new record, Director, recorded live over a three-day span, is an intriguing quilt of many genres that most musicians lack the courage to combine. MARK STOCK. The Know, 2026 NE Alberta St., 473-8729. 9 pm. Call venue for ticket price. 21+.

THURSDAY, APRIL 2 Broncho, Wyatt Blair, the Shivas, Psychomagic

[SUMMER’S LIFE] Oklahoma isn’t really a hotbed for indie rock. But like most middle-sized college towns, Norman isn’t all meatheads and keg stands at the Delta house, either. Garage punk trio Broncho are here to prove once and for all that some of the catchiest, most life-affirming, crush-thatbeer-can-and-sing-along pop music can come out of a basement anywhere in the country, as long as songs like “Class Historian” exist in the world. The second track on the band’s scintillating sophomore record, Just Enough Hip to Be Woman, “Class Historian” is aural magic, the perfect soundtrack for every acceptable summer activity: drinking at the river, watching the sunset on the coast, walking to get poutine after too many IPAs. The rest of the record—including “It’s On,” recognizable from the end credits of a Girls episode—lives up to the hype, offering crunchy sunburst punk tunes that are both sloppy and immaculately crafted. Your flyover-state boredom ends here. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 8:30 pm. $10 advance, $12 day of show. 21+.

FRIDAY, APRIL 3 Fly By Night: A Boat Party featuring Myke Bogan, Tope, Hot16, Blossom, Verbz

[SHIP WRECKING] KPSU’s 30 Shows In 30 Days series boards the Columbia Gorge Sternwheeler with two of Portland’s hottest rappers (Myke Bogan, Tope), two of its best producers (Hot16, Verbz) and rising R&B singer Blossom (no relation to Mayim Bialik…we think). Columbia Gorge Steamwheeler, boarding at SW Salmon and SW Naito. 10 pm. $12 for PSU students, $15 general admission. 21+.

CONT. on page 31

IT’S THE LITTLE THINGS TWERPS ARE A TINY BAND BUILDING A BIG BUZZ SINGING ABOUT SMALL ISSUES. BY micha el ma n n heimer

243-2122

When Australian indie-rock band Twerps set out to make their second album, the group hit the studio dogged by multiple uncertainties: new members, new songs and no record label. But instead of drowning in self-doubt, they embraced the uncertainty. “Weird stuff happens when you have four instruments playing in a room together,” says guitaristsinger Julia McFarlane. “We want our records to be a reflection of that process, of those strange frequencies that occur when two guitar amps are facing each other. All of the magic stuff that happens, we want that to be part of our sound.” The resulting collection—the charming, jaunty, and immensely listenable Range Anxiety—is the sound of a small band slowly embracing success and realizing that, yes, it can write songs that rival its heroes. Led by McFarlane and fellow singerguitarist Martin Frawley, Twerps’ classic jangle pop draws obvious comparisons to the Clean, Television Personalities and the Go-Betweens, with songs led by earworm melodies, melodic basslines and upbeat drums. But it’s not just a hollow pastiche. Range Anxiety’s tunes might be easily digestible, sure, but that doesn’t make them lazy. “We did feel a bit insecure going in, to be honest,” McFarlane says over Skype from the band’s home in Melbourne. “I think we were just trying to figure out how we were going to be as a band. It felt like it could fall apart or keep going at any given second.” Recorded over two years ago, Range Anxiety was the band’s first album with new member Alex Macfarlane (no relation to Julia). The reconfigured lineup led to a more open-ended songwriting process. Where previous recordings relied on the spontaneity of writing in the moment, this time they came to the studio with a lot of material already written. McFarlane jokes that Range Anxiety is “probably the most hi-fi we’ll ever get,” yet the album balances increased sonic crispness with imperfections and very few overdubs. Since forming in 2008, the band has grown in small increments rather than leaps and bounds. At

first, it was just Frawley and McFarlane trying to replicate the Clean’s “Anything Could Happen” in their bedroom. By the time 2011’s self-titled debut dropped, Twerps were a confident quartet, writing memorable songs like the Bondi Beach sing-along “Who Are You,” harmonizing the breezy “We’ll get drunk/ We’ll get stoned/ We’ll get high” refrain alongside members of Eddy Current Suppression Ring and Beaches. That song, along with the bouncy “Dreamin,” had critics quick to peg Twerps as millennial slackers. In truth, Twerps are just writing about the things they know. Like fellow Aussie Courtney Barnett, Twerps’ songs deal with all the common but not insignificant moments in life—waiting for a phone call, battling a wicked hangover, traversing a bad relationship—with a keen, winking eye. On album highlight “Shoulders,” McFarlane describes a universal worry—that your significant other might not come home from the pub one night—over perfectly

“WEIRD STUFF HAPPENS WHEN YOU HAVE FOUR INSTRUMENTS PLAYING IN A ROOM TOGETHER.” —TWErPS’ JULIA MCFArLANE reverbed guitars. It never sounds overdramatic. “The day is over before it began,” she sings. “Have no fear on my shoulder.” Range Anxiety places delicate, quieter moments such as “Shoulders” and sleepy-eyed anthem “I Don’t Mind” alongside the rollicking “Simple Feelings.” It’s the sound of a band not only in transition but also moving on up the industry food chain, even if it has a hard time believing it. “I still think of Twerps as a tiny little band,” McFarlane says, laughing. “People really shouldn’t know who we are. But this is super-big time— getting to go on a tour of the states, and being on a label like Merge, is crazy to me. It’s like we’re a massive band. At least we still play shows and make heaps of mistakes.” SEE IT: Twerps play Mississippi Studios, 3939 N Mississippi Ave., with La Luz, the Woolen Men and Will Sprott, on Thursday, April 2. 9 pm. $12. 21+. Willamette Week APRIL 1, 2015 wweek.com

Willamette Week – Presents –

Foster your child’s creativity through art, music, theater and dance! This summer, send them to MetroArts Kids Camp, July 13-17 and 20-24, at the Portland’5 Centers for the Arts. A bargain at the 23rd Anniversary discount of only $225 a week or $335 for two weeks if you register by May 15, 2015! Sign up now! Contact MetroArts at 503.245.4885 or visit our website at MetroArtsInc.org

guide guide

guide guide April 1st - 8th - 15th For info or how to advertise in this section:

Randy Emberlin

Ages 8-18 ThREE CAMpS:

EARTH ROAMERS K-8 • Child centered Garden and Nature based camps where food, art and science collide.

July 13-30

Make a SFX Poster • Design a Comic Book Cover • Draw a Comic Strip

Matt Plambeck 503-4 45 -2757

mplambeck@w week .com

OCF Joseph E. Weston Public Foundation

Comic Book Art Camps with Spider-Man Artist

A traditional weeklong summer camp experience for youth entering 3rd through 12th grades in the beautiful forested foothills of the Cascades. (An easy drive from Portland.) Summer fun and friends you will remember for a lifetime! Visit us at campadams.org to learn more!

Willamette Week APRIL 1, 2015 wweek.com

http://earthartag.wix.com/earthartag Contact: earth.art.ag@gmail.com Sliding Scale: $160-300 Work Trade available

Pacific University Forest Grove, OR â&#x20AC;¢ 800.944.7112 Save $25 - Coupon Code: WW15

TennisCamper.com

Willamette Week APRIL 1, 2015 wweek.com

About Town Summer Camp

Portland Early Learning Project

Get connected to your community and become a local expert. Daily outings based on food, art, transit, nature and history.

Language culture, music, and more!

503.284.0610 www.portlandearlylearning.com

Willamette Week APRIL 1, 2015 wweek.com

Horsemanship Day or Overnight Camp

For all Levels, Ages 5-18 Horse Care & Safety from Head to Tail 29 Years’ Experience June 22-26 • July 20-24 August 3-7 • August 10-14 Horsemanship Certiﬁcate, Hands-on Experience, Games on Horses, Horse Crafts, Daily Riding Lessons, Swimming, Barn Sleep-Over & Cook out, plus much more!

503.743.3704 www.Fantasyfarms.net

• Small class size • Low introductory rate • NE Portland location

www.classpdx.org

CLASS promotes community-based and service learning

What do you dream of doing this summer?

JA FINANCE PARK Boot Camp JA Finance Park Boot Camp helps students ages 14-17 build a founda on for making intelligent, lifelong, personal ﬁnancial decisions through hands-on, realis c experiences. June 23—25, 2015 $179.00

Overnight Camps

4–12th Grades, Sun thru Sat Horsemanship Camp Adventure Camp Day Camps with “Overnight Blast”

Day Camps

Mon thru Fri 9am–3:30pm Day Camp grades 1–6 Day Horse Camp, ages 8–14 Day Adventure Camp, grades 5–9 Day Paintball Camp, grades 6–12

Get More Info & Register • (360) 686-3737 www.royalridges.org

GOLF CAMPS & CLASSES

Teaching golf skills from the fundamentals to the most advanced. REGISTER NOW • AGES 4-17 Spring, Summer and Fall www.theﬁrsttee greaterportland.org (503) 722-1530, Ext. 0

“An investment in knowledge always pays the best Benjamin Franklin

JA Finance Park Boot Camp is an innova ve, educa onal experience designed to teach personal financial literacy skills to middle and high school students. The program blends instruc on with a culmina ng simula on assisted by volunteer coaches. During the simula on, students build a balanced household budget u lizing an iPad loaded with our custom JA Finance Park simula on app. DAY ONE: Career Explora on Students will explore different career fields and see how their educa on choices can help form their future. DAY TWO: The Basics Students will gain a basic understandings of what it means to make a budget, and how different financial decisions can effect their way of life. STEP THREE: The Simula on Students are assigned a fic onal adult role that reveals their age, occupa on, household income and family situa on. They then determine their Net Monthly Income as well as a minimum and maximum to be spent on sixteen household budget categories. visit www.jaorswwa.org to register Empowering young people to own their economic future.

Willamette Week APRIL 1, 2015 wweek.com

Camp Vida 2015: Fur, Fins & Feathers June 22– August 28 Contact us for a camp tour! Special guests include goats, llamas, fish, reptiles, service animals and more! Each week features art, music, dance, gardening and cooking for children ages 3-6.

www.portlandmontessori.org

Summer Camp guide ...continued on page 31 For info or how to advertise in this section: M att Plambeck • 503 - 4 45 -2757• mplambeck@w week .com

Willamette Week APRIL 1, 2015 wweek.com

FRIDAY–TUESDAY

[SON OF JUKE] Releasing your first record on legendary juke and ghetto-house label Dance Mania at age 15 is dance music’s equivalent of playing piano with the Chicago Symphony as a preteen, so that would make Gant Garrard, aka Gant Man, the dance-music world’s Herbie Hancock. Unlike Hancock, though, Gant Man was raised by the Dance Mania crew—juke’s first wave—as he continued to release records throughout his teen years. Like his predecessors, his output is prolific, and a great deal of it exists only among friends, but his last year of ghetto-house remixes, such as “4C1D” and “Tony’s Bitch Track,” are like a perfectly functioning, immaculately preserved ’90s artifact. MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 9 pm. $5 before 11 pm, $8 after. 21+.

Charlie Parr, Betse Ellis

[BLUES MASTER] The first time I stumbled upon Charlie Parr, my jaw fell open and remained that way for some time. The Midwestern master has consistently turned out some of the most genuine and technically sound Americana and Piedmont blues of the past few decades. A Minnesota icon, Parr decided to record outside his native state for the first time for his forthcoming release, Stumpjumper, relocating to North Carolina, which is fitting, as Parr has always played with a certain Southern flair. A walking, talking, strumming personification of American music history, Charlie Parr is an absolute joy to witness live. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $14. 21+.

SATURDAY, APRIL 4 Magma

[AVANT-PROG] Sui generis legends on par with Kraftwerk or Sun Ra (though rather less inﬂuential for all their daft majesty), French troupe Magma burbled upward from the coldest fusion with a founding concept to do L. Ron Hubbard proud—essentially, the future history of human refugees upon the planet Kobaïa. As tends to happen whenever a group is built around the drummer’s apocalyptic visions, a rumbling rhythm section is the most straightforward element. But just-released EP Slag Tanz shows the hodgepodge of surviving members and new acolytes assaulting prog-metal suites with the uncompromising fervor of old. JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. $25 advance, $30 day of show. 8 pm. Under 21 permitted with legal guardian.

veyors of said styles, the Prids, were forced to drop out of the headlining spot due to a medical emergency in their ranks. Of course, considering the leanings of many of the bands on this festival, perhaps the specter of dismay is appropriate. Performers include the Estranged, Arctic Flowers, Lunch, Vice Device and more. Rotture, 315 SE 3rd Ave., 234-5683. 5 pm. $8 advance, $10 day of show. 21+.

Bonnette’s connection to the band’s ever-growing audience has only gotten more personal. The heartbreak Bonnette shares on a nightly basis is enough to drop the entire crowd (and himself) to the stage ﬂoor. Punk celebrity Jeﬀ Rosenstock is along for the ride, keeping everyone’s DIY ethics in check. LUCAS CHEMOTTI. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $16. All ages.

SUNDAY, APRIL 5

MONDAY, APRIL 6

The Preatures, the Bots, Bloods

[AUSSIE POP] Thank God for litigation, the threat of which, from similarly-named bands, prompted Sydney’s erstwhile Preachers to change their name to the much more cleverly rendered Preatures. Similarly, the slightly oﬀ-kilter pop band has found ways to tweak its previously generic sound into something more interesting. Their breakthrough single, “Is This How You Feel?”, certainly recalls classic Fleetwood Mac in the en vogue manner of recent hitmakers Haim, but underpinning the song are mesmerizing, elliptical guitar lines and an oddly enervated percussion track that—call me crazy—conjure the Mac’s polar opposite in ‘70s rock, Teutonic oddballs Can. JEFF ROSENBERG. Doug Fir Lounge, 830 E Burnside St., 231-9663. 8:30 pm. $12 advance, $15 day of show. 21+.

Andrew Jackson Jihad, the Smith Street Band, Jeff Rosenstock, Chumped

[FOLK PUNK] Arizona folk-punk band Andrew Jackson Jihad’s dramatic performance requires more members, more time and bigger venues, but frontman Sean

Out of the Shadows Post-Punk & Darkwave Festival

[POST-PUNK] A pall has been cast over this ﬁrst annual summit meeting of Portland post-punk and darkwave acts, as long-running pur-

guid

Yelle, Hibou

For info or how to advertise in this section:

[ELECTRO-POP] Yelle is a bouncy French dance act led by Julie Budet. Mixing electronica with disco, Euro house and synth pop, it’s the stuff of wee-hours after-parties. Last year, Yelle released its third LP in Complètement Fou, which is a bit more complex and artier than its previous works. Still, Yelle remains a feel-good pop outfit at heart, turning venues into sweatboxes with its pulsing four-on-the-floor beats and ever-musical French lyrics. Surfy Seattle shoegazers Hibou open. MARK STOCK. Hawthorne Theatre, 1507 SE Cesar E. Chavez Blvd., 233-7100. 7 pm. $20 advance, $23 day of show. All ages.

M att Plambeck • 503 - 4 45 -2757• mplambeck@w week .com

COME DANCE WITH US IN OUR

TUESDAY, APRIL 7 IAMSU!, Rome Fortune

NEW HOME!

[HIP-HOP] Iamsu is one of those artists known more for jumping on other people’s tracks than for his own solo work. With only one fulllength, 2014’s Sincerely Yours, and a few mixtapes to his name, he’s joined the skater-rap ranks thanks to a number of collabs with everyone from A-Trak to 2 Chainz. On his

211 NE 10TH AVE YOUTH SUMMER

CONT. on page 33

DANCE! CLASSES AGES 4 TO 8 / SUNDAYS

PREVIEW

JUL 5 TO AUG 23 YOUTH SUMMER

DANCE! CAMP AGES 9 TO 15

JUL 20 TO 31 YOUTH DANCE! CLASSES

AGES 4 to 18 SPRING SESSION MAR 30 TO JUN 14

SCHEDULE + INFO 503.421.7434 / NWDANCEPROJECT.ORG

Ibeyi, Flo Morrissey

[BEAT FOLK] Ibeyi’s music ﬁnds the sweet spot between honoring its heritage and looking toward the future. The band, whose name is Yoruba for “twins,” is made up of, yep, 20-year-old twin sisters LisaKainde and Naomi Diaz. On their self-titled debut, the inﬂuences of their father, famous Cuban percussionist Anga Diaz, are just as evident as James Blake and Frank Ocean. The Paris-raised duo’s jazzy vocals— sometimes sung in English, sometimes in Yoruba—are backed by Lisa-Kainde’s soft piano and Naomi’s syncopated percussion. That Ibeyi already has such a distinct sound, combined with the fact that its music is fueled by awesome sister power, makes this group’s future especially promising. SHANNON GORMLEY. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Sold out. 21+.

Summer Camp guide ...continued

COURTESY OF DOUBLE TEE

Ecstasy: Gant-Man, Rap Class, Massacooramaan, DJ Rafael

MUSIC

Young Thug, Travis Scott, T Spoon [HIP-HOP ALIEN] Every few years, a rapper comes along who doesn’t just change popular culture but changes the way we hear the human voice. If Lil Wayne really is a Martian, as he claims on “Phone Home” (and approximately 1,500 more times on record), then Atlanta rapper Young Thug has to be some other form of extraterrestrial being from a planet we haven’t discovered yet. Over the course of a series of songs and guest verses, including last year’s excellent Black Portland mixtape, Thug has created a sound that takes Southern rap to some fertile planet where Auto-Tune is the new norm and gangsters communicate in a series of wordless grunts, coos, whispers, moans and “gows.” His flow is almost pure liquid, melting into whatever trap beat or treated piano he’s spitting over, like ice cooling a hot drink. It’s not quite a true slur, per se, but more of a stoned mumble that injects tracks such as “Danny Glover” and “Picacho” and Rich Gang’s “Lifestyle” with a syrupy swag as intoxicating as a Stephen Curry step-back jumper. Weirdo rap has seen the future, and we have no idea how to spell it. MICHAEL MANNHEIMER. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm Wednesday, April 1. $31.50. All ages.

Celebrating our 9th year!

July 13th - 17th fashiondesigncamp.com PDX-NY-LA-SEATTLE

Willamette Week APRIL 1, 2015 wweek.com

tuesday own songs, he picks up where the cool Kids left off, delivering highenergy rhymes about sunny afternoons at the skate park or sneaker shop, and the never-ending chase for girls. GEoFF nUDELMAn. Alhambra theatre, 4811 SE Hawthorne Blvd., 610-0640. 8:30 pm. $20 general admission, $50 VIP. All ages.

Boyz II Men with the Oregon Symphony

[MotoWnPHILLY’S BAcK AGAIn] the weekend I graduated from high school in 2000, my friends and I attended a two-day hip-hop and soul festival in L.A. called Urbanfest, co-headlined on the first night by Boyz II Men. the crowd went nuts when the waning R&B superstars first stepped onstage. But as the quartet went through its set, aided only by prerecorded backing tracks and eschewing its catalog of ’90s hits in favor of songs off a thenunreleased new album, the audience gradually turned. People began booing and chanting for the rapper DJ Quik, who was performing next. Eventually, they played “End of the Road”—the second-best graduation song of alltime, next to “It’s So Hard to Say Goodbye to Yesterday,” also by Boyz II Men—and much was forgiven. the point of this story is that they’ve probably learned their lesson. Squeeze into whatever you wore to senior prom, and prepare to hold your loved one tight, all

MUSIC

through the night. MAttHEW SInGER. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. $55-$120. All ages.

Gardens & Villa, Helvetia, Grandparents

[SUnBAKED SYntHPoP] In a post-chillwave world, bands like Santa Barbara’s Gardens and Villa are becoming the new norm. “Domino” is both the leadoff track and calling card for Dunes, Gardens and Villa’s third album and first working with DFA’s tim Goldsworthy. over a slow, rumbling beat and layers of gurgling synthesizers, singer chris Lynch’s soft falsetto is smartly hidden by the avalanche of sound. With songs like this, the vocals are just another part of the overall atmosphere, a floating instrument that’s not any more essential than, say, the bass. overall this is the kind of album that almost works better as background music than dancefloor fodder. MIcHAEL MAnnHEIMER. Bunk Bar, 1028 SE Water Ave., 328-2865. 9 pm. $3 with RSVP at redbullsoundselect.com, $12 day of show. 21+.

Stromae

[BELGIAn DIVo] Late last spring, a month or two before Belgium booted the United Stage from the World cup, their Prime Minister gifted President obama a copy of favorite son Stromae’s nimble, rest-

cont. on page 34

Jon WERRIn

FLASHBACK

An artistic rendering of the last time Action Bronson played Portland, on Feb. 3, 2014. Here’s an eyewitness account from WW contributor Michael Mannheimer: “On what started off as another sleepy Monday night, at a show that was moved up from Peter’s Room to the actual Roseland to accommodate a theater that was about half-full, all hell broke loose the second time the crowd serenaded Bronson—the chefturned-rapper from Queens with an equal penchant for both weed- and gourmet-food references—by tossing approximately 2,000 joints and lighters onstage. The second time Bronson picked up the joint and actually lit up, a security guard ran from behind the stage to first push Bronson from behind. When he tried to light up again, the guard put his arm around Bronson’s neck in a chokehold. You can probably guess what happened next: Bronson pushed the security guard to the ground, members of his crew rushed the stage along with the Roseland security dudes, and before I really had any idea what was going on, the house lights came up and the crowd started booing, then cheering ‘Bronson! Bronson! Bronson!’” SEE IT: Action Bronson plays Wonder Ballroom, 128 nE Russell St., with the Alchemist, on Saturday, April 4. 8 pm. $25 advance, $30 day of show. All ages. Willamette Week APRIL 1, 2015 wweek.com

TUESDAY/CLASSICAL, ETC.

less, artfully-provocative sophomore album, Racine Carrée—essentially, the Red Devils attack writ mordant Eurohouse. As fashion-forward Kanye-collaborator best resembling an evolutionarily-advanced Reggie Miller-Benedict Cumberbatch hybrid, the former Paul Van Haver’s turnt-ennui anthems had already colonized clubland, ridden chiclyvisceral videos to YouTube hits and ascended every market amenable to untranslated chansons, which may include our own sooner than you’d think. However suspicious of foreign tongues or lyrical worldliness wed to unabashed pop, won’t American audiences most readily accept socially-conscious dance music they do not understand? Apres Stromae, le deluge. JAY HORTON. Crystal Ballroom, 1332 W Burnside St., 2250047. 8 pm. $29.95 advance, $35 day of show. All ages.

CLASSICAL, JAZZ & WORLD Goodwin, Ken Ollis, Dan Gaynor, John Savage

[OUTRE JAZZ] Drummer Ken Ollis’ original compositions draw on mathy 20th-century classical music techniques from composers such as Olivier Messiaen and Anton Webern as well as contemporary avant-jazzers such as Tim Berne. Renowned flutist John Savage’s improvisations can range more freely, but he’s also a nationally renowned member of the jazz vanguard. The wild card (or should we say mild card) is local piano legend Dan Gaynor, more familiar for his work with more straight-ahead jazzers like local goddess Nancy King, Mel Brown and many other top-rank Portland musicians. But the protean pianist fit in just fine on the trio’s adventurous 2013 album, Senses Sharpened, which ranged widely from ferociously free to downright amiable. BRETT CAMPBELL. Turn! Turn! Turn!, 8 NE Killingsworth St., 284-6019. 8 pm Wednesday, April 1. $5-$15 sliding scale. 21+.

Saeeda Wright & Friends

[20 FEET FROM STARDOM] Vocalist Saeeda Wright has shared the stage with many of the best soul and gospel stars in the world. But Portland’s famed backup singer doesn’t usually get much besides a stirring reﬂection in the limelight. This will be her debut performance as a featured artist at Portland’s most important jazz venue, so come expecting to hear MaMa Sae’s full Whitney Houstonesque power pushed up behind Jill Scott-style soul, and backed by an extremely talented live band. You’d better bring a neck brace, or you might head-bob your way into the hospital. This woman doesn’t mess around. PARKER HALL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm Friday, April 3. $12 advance, $15 day of show. Under 21 permitted until 9:30 pm.

Krebsic Orkestar with Eric Stern

[BRASSY BALKANS] Not that you need another reason to hear Portland’s 14-piece Balkan brass band, which somehow regularly deploys some of the most danceable rhythms (despite the sometimes really odd meters) this side of Belgrade, but this time, along with the usual trumpets, tuba, saxes, trombones and drums, Krebsic Orkestar adds fellow traveler Eric Stern. The Vagabond Opera singerpianist-accordionist, who opens the show with a solo set, also trafﬁcs in uninhibited Eastern European rhythms, and will sit in with Krebsic’s gypsy brass bandits. BRETT CAMPBELL. Mississippi Pizza, 3552 N Mississippi Ave., 288-3231. 9 pm Friday, April 3. $8. 21+.

For more Music listings, visit 34

Willamette Week APRIL 1, 2015 wweek.com

PROFILE PA R K E R F I TZG E R A L D

MUSIC

Q&A: LAURA GIBSON Her first week in New York, on the way to her first classes in the creative writing program at Hunter College, Laura Gibson stepped off a curb and broke her foot. To some, that would register as a bad omen, but the formerly Portland-based singer-songwriter mostly took it in stride. “Now,” she says, “everything seems like a breeze.” But life has a way of upping the ante when you least expect it: Minutes after getting off the phone for the following interview, a gas-line explosion consumed Gibson’s East Village apartment. She escaped unharmed, but lost all her possessions—including notebooks containing lyrics for the record she’s been working on between semesters. Though her life changed immensely in the moments after speaking with her (and she’s canceled her homecoming show this week at Mississippi Studios), many of the things we discussed remain almost eerily relevant. You can read the extended Q&A at wweek.com. MATTHEW SINGER. Moments before her apartment caught ﬁre, Laura Gibson spoke about singing into New York’s noise.

WW: In what ways has living in New York affected you as an artist? Laura Gibson: I’m still figuring that out. But it’s fascinating for me, being here, because I think so much of making music in the past has been this way of filling silence. Now I live in the East Village. It’s so stimulating and so noisy, and I’ve been thinking about what it means to sing into the noise. You’ve said that focusing on writing fiction for school has made your songwriting more personal. Why is that? Again and again, I’ve rediscovered music and the way that it saves me. So much of my brain is engaged with writing fiction, and going and putting sentences together and thinking of ideas. I’ve dedicated my word-puzzling brain to this other endeavor, and what’s left has been more emotional. Why did you feel like making a new record while in school? Part of me thought, “This is a silly idea. I should just wait.” But there were songs I wrote in the process of deciding to leave [Portland], and there were a lot of things I was wrestling with in terms of being an artist in the world. Had I not written those few songs, I wouldn’t have felt as compelled to do the project, and I wouldn’t have believed I had anything meaningful to say. I don’t want to sound self-important—it’s just about having something to say to myself. What do you miss most about Portland? I really miss being in nature, and the mountains and clear water and green trees. You can find nature around here, but the minute I get back to Portland, all I want to do is go hiking, even if it’s raining. What do you miss the least? I do and don’t miss the small town-ness. When I broke my foot, as hard as it was to get around, every day there were 100 tiny kindnesses from people who I’ve never talked to in my life, and there’s something really amazing in that, that you can’t experience in a place where everyone knows who you are. New York can make you really frustrated with humanity, but it can make you really believe in humanity at the same time. MORE: To contribute to Laura Gibson’s ﬁre recovery fund, go to gofundme.com/lauragibsonfund.

MUSIC ALBUM REVIEWS

HOUNDSTOOTH NO NEWS FROM HOME (NO QUARTER) [POSTCARDS FROM SOMEWHERE] Appropriately for an album informed by the perpetual displacement of life on the road, No News From Home, the second full-length from kaleidoscopic folkies Houndstooth, begins with the band already in motion. Opener “Bliss Boat,” a motoring bit of country rock by way of the German Autobahn, comes in with the gas pedal down, chugging along on an insistent, almost krautrocking rhythm, suggesting miles of highway were in the rearview before the listener even hit “Play.” “Lately I’ve been thinking of the fall,” sings Katie Bernstein with the detachment of someone who’s been staring out the passengerside window too long. For a small-time touring band, the most pervasive hazard of living out of a van is not blown tires but the places idle minds drift when left to wander in those hours upon hours between gigs. As one might guess, on No News From Home, thoughts in the Houndstooth van most often turn to home, in one form or another. On the jangling title track, Bernstein, sounding like a less rambly Courtney Barnett, frets over the radio silence she’s receiving from the crush keeping her tethered to the place she left behind. On “Wasted Hours,” singer-guitarist John Gnorski outright begs to be taken back to “where I belong,” but “every road leads to the East/ There’s no escape for me.” The phrase “you can’t take it with you when you go,” uttered on the slow-burn ballad “Green Light,” is the album’s thematic tagline—“it” meaning anything from a loved one to the entire topography of the Pacific Northwest. But hey, at least they’ve got each other. Gnorski wraps Bernstein’s sweet-sad melodies in warm, slinky leads, while bassist James Mitchell and drummer Graeme Gibson dutifully keep the train a-rollin’ to the next town. Some weariness sets in during the homestretch, as the propulsion starts to drag and the songwriting blurs. But that’s just as well: With any road trip, you can rarely expect the endpoint to live up to the time spent getting there. MATTHEW SINGER. SEE IT: Houndstooth plays Bunk Bar, 1028 SE Water Ave., with No La La, on Saturday, April 4. 10 pm. $8 advance, $10 day of show. 21+.

NATURAL MAGIC NATURAL MAGIC (BOOMARM NATION) [BALEARIC BEAUTY] Natural Magic, the duo of Mike McKinnon and Matthew Quiet, puts on the Limited Edition parties in Portland that are as exclusive as the name suggests. I’ve never been to one, but from what I understand, the fun goes down with just a handful of attendees paying big bucks for entry at a secret location. It’s a reflection of the Natural Magic style: offbeat concepts paired with on-beat kick drums. Released on the local dub-leaning Boomarm Nation label, Natural Magic’s self-titled cassette stands out, with a sound that’s more Donna Summer than Sister Nancy. Occasionally the weirdness ventures into overgrown areas that could use a well-wielded machete. The first 10 minutes of this continuous mix gets a little lost in its own soundscapes. But the tone really picks up with “Psychic Bugs,” a midafternoon energizer characterized by Balearic beat’s slower tempo and disco-forward melodies, and with the club-pleasing, bass-heavy synths of “Playa Los Muertos.” Even on this, the album’s darkest track, glittering arpeggios tease and flutter, and the transitions among rhythms and moods never falter. The absolute gem on this record is the relentless, cinematic “Terminator on the Beach.” Extra-wide synths reflect back and forth across a heavily vocoded voice. It’s here where Natural Magic finally finds its groove and sticks to it, patiently letting the music stand on its own—no sleight of hand required. MITCH LILLIE. SEE IT: Natural Magic plays the Liquor Store, 3341 SE Belmont St., with Gulls and DJ Ross Island, on Friday, April 3. 9 pm. Call venue for ticket information. 21+.

Willamette Week APRIL 1, 2015 wweek.com

MUSIC CALENDAR = WW pick. Highly recommended. Editor: Michèl St. Michèl. 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.

[APRIL 1-7] edgefield

Kells Brewpub

Jimmy Mak’s

laurelThirst public House

2126 SW Halsey St. The Talbott Brothers 221 NW 10th Ave. Dr. Lonnie Smith Trio, Mel Brown Organ Group, Mel Brown B3 Organ Group

Kells Brewpub

LAST WEEK LIVE k AT H L E E N M A R I E

210 NW 21st Ave. Sami Live

laurelThirst public House

2958 NE Glisan St. Drunken Prayer, Morgan Geer, Sarah Gwen (9:30 pm); The Old Flames (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Twerps, La Luz, The Woolen Men, Will Sprott

Star Theater

13 NW Sixth Avenue Monophonics, Eric ‘DJ Aquaman’ Hedford

The GoodFoot lounge 2845 SE Stark St. The Dip and Tubaluba

The Know

2026 NE Alberta St. Auxes, White Murder, Damn!

The Muddy rudder public House 8105 SE 7th Ave. Sleepy Eyed Johns

The Secret Society

116 NE Russell St. Baby & The Pearl Blowers, The Hot Club Time Machine

Twilight Cafe and Bar

THE DOPE SHOW: Growing up in the commercialized wasteland of Fort Lauderdale, Fla., I had Marilyn Manson while you might have been listening to your Cobains, Reznors and Spears. At the Roseland Theater on March 25, two years and one album since his last Portland show, Manson—the band and the man himself, dressed to the nines in modest layers of worn black and painted up a la The Golden Age of Grotesque—slithered and screamed all over the stage for a sold-out crowd. The onstage energy was frightening and fast. They played all the required sing-alongs, from “Rock Is Dead,” covers of “Sweet Dreams (Are Made of This)” and “Personal Jesus” and, of course, “The Beautiful People,” and ripped the crowd back down with slower, bluesier songs from new album The Pale Emperor. Twice, an explosion of white glitter covered everyone in the pit. Several times, Manson rested his hands on people as if to exclaim, “You are saved!” Some older fans might say he has sold out over the years, but Manson knows a world far more brutal than what many in Portland see. His performance was a confession of those sins, and I fear the Pacific Northwest will never understand what he’s really about, as proved by the few in the audience who took the opportunity to act out violently toward others in the crowd. Go back home and play your Machine Head albums—you’re still not ready for this. KATHLEEN MARIE. See the full review at wweek.com/lastweeklive.com. Wed. April 1 Al’s den

303 SW 12th Ave. Sarah Jane Scouten

Alberta rose Theatre 3000 NE Alberta St. Led Kaapana, Mike Kaawa

Bunk Bar

1028 SE Water Ave. River City Extension, with Air Traffic Controller

Crystal Ballroom

1332 W Burnside Street The Antlers, Shaprece, and Muse Mcanique

dante’s

350 W Burnside St Mark Sultan, Suicide Notes, Psychomagic

doug Fir lounge

830 E Burnside St. Tobias Jesso Jr., Okay Kaya

duff’s Garage

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

edgefield

2126 SW Halsey St. Kris Deelane’s Sun Celebration: April Fools

Habesha lounge

Mississippi Studios

3939 N Mississippi Ave. Happyness, Ultimate Painting

roseland Theater

801 NE Broadway St. Fever Witch, Waver Clamor Bellow and Dead Death

8 NW 6th Ave. Young Thug and Travis Scott

Hawthorne Theatre

1507 SE 39th Ave. Jeremy Enigk, Jen Wood, Mark Nichols

315 SE 3rd Ave. Antateus, Demoncy, Ritual Necromancy, Infernus

Holocene

The Tonic lounge

1001 SE Morrison St. De La Spring Happening, Mascaras, Down Gown, Smokey Kingdom, Bozart, Consumer.

Jimmy Mak’s

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

laurelThirst public House

2958 NE Glisan St. Corner (9 pm); Annalisa Tornfelt and the Sound Outside (6 pm)

rotture

3100 NE Sandy Blvd. Tantric & Silversafe, In The Aether

Turn! Turn! Turn!

8 NE Killingsworth St. Goodwin, Ken Ollis, Dan Gaynor, John Savage

White eagle Saloon 836 N Russell St. Reverb Brothers

White eagle Saloon

836 N Russell St. Chris Marshall and the August Light

THu. April 2 Al’s den

303 SW 12th Ave. Sarah Jane Scouten

Aladdin Theater

3017 SE Milwaukie Ave. Charlie Musselwhite

Biddy McGraw’s

6000 NE Glisan St Kelsey Mousley

Chapel pub

430 N Killingworth St. Steve Kerin

Crystal Ballroom

1332 W Burnside Street Dark Star Orchestra

dante’s

350 W Burnside St Tony Ozier, Doo Doo Funk All Stars

doug Fir lounge

830 E Burnside St. Broncho, Wyatt Blair, the Shivas, Psychomagic

duff’s Garage

2530 NE 82nd Ave Don’t Tell Mary, Tough Love Pyle

1420 SE Powell Blvd. Random Axe and Dangerous Carousals, Secnd Best

White eagle Saloon 836 N Russell St. Polecat, Lil’ Smokies

White Owl Social Club 1305 SE 8th Ave. Summer Cannibals and Charts

Fri. April 3 Bunk Bar

1028 SE Water Ave. Orquestra Pacifico Tropical, Ancient Heat

Columbia Gorge Sternwheeler

Docks at SW Salmon and SW Naito KPSU & We Out Here Magazine Presents: FlyBy Night, A Boat Party

Crystal Ballroom

1332 W Burnside Street Dark Star Orchestra

dante’s

350 W Burnside St Dark Time Sunshine, Goldini Bagwell, Rafael Vigilantics

doug Fir lounge

830 E Burnside St. Elliott Brood, Shelby Earl

duff’s Garage

2530 NE 82nd Ave Hank Shreve, Reverb Bros

edgefield

2126 SW Halsey St. Anita Margarita & The RattleSnakes

Hawthorne Theatre

1507 SE 39th Ave. The Color Morale, Slaves, Vanna, Favorite Weapon

High Water Mark

6800 NE Martin Luther King Jr. Blvd. King Woman, Brave Young, Drowse

Jimmy Mak’s

221 NW 10th Ave. Saeeda Wright & Friends

210 NW 21st Ave. Sami Live

2958 NE Glisan St. Baby Gramps (9:30 pm); Tree Frogs (6 pm)

Magnolia’s Corner

4075 NE Sandy Blvd Pete LaMalfa, Cary Miga

Mississippi Studios

3939 N Mississippi Ave. Charlie Parr, Betse Ellis

ponderosa lounge

10350 N Vancouver Way Breaking Midnight

Star Theater

13 NW 6th Ave. Dead Winter Carpenters

The Headwaters Theater

55 NE Farragut St. #9 Three for Silver, Intuitive Compass, Hot Damn Scandal

The Know

2026 NE Alberta St. Tomorrows Tulips, Tarek Wegner, Ah God

The Secret Society

116 NE Russell St. Get Rhythm, The Black Crabs, Archangels Thunderbird, Pink Lady & John Bennett Jazz Band

The Spare room

4830 NE 42nd Ave Jugapalooza

The Tonic lounge

3100 NE Sandy Blvd. Saviours, Sons of Huns, DFMK, Honduran

Turn! Turn! Turn!

8 NE Killingsworth St. ASSS, Caustic Touch, William Hart

Twilight Cafe and Bar 1420 SE Powell Blvd. The Moans and Thundering Asteroids, The Vacillators

White eagle Saloon 836 N Russell St. Sin City Ramblers, Twinsmith, Stubborn Lovers

SAT. April 4 Aladdin Theater

3017 SE Milwaukie Ave. Magma

Angelo’s

4620 SE Hawthorne Blvd Step-Panther, Ah God, Mister Tang, Love Cop

Bunk Bar

1028 SE Water Ave. Houndstooth

Clyde’s prime rib restaurant & Bar

5474 NE Sandy Blvd. Cool Breeze

Crystal Ballroom

1332 W Burnside Street Saint Motel, Bike Thief

dante’s

350 W Burnside St Jahai, Death and Entrances EP Release Party with Bedlam Massacre

doug Fir lounge

830 E Burnside St. Bronze Radio Return, Swear and Shake

duff’s Garage

2530 NE 82nd Ave DK Stewart Sextet

edgefield

2126 SW Halsey St. The Columbians

Hawthorne Theatre

1507 SE 39th Ave. Kingdom Under Fire, Black Powder County, $intax

Jimmy Mak’s

221 NW 10th Ave. Bluzin the Northwest featuring Dexter Allen

Kells Brewpub

210 NW 21st Ave. Sami Live

laurelThirst public House

2958 NE Glisan St. Ron Rogers and the Wailing Wind, Lowlight (9:30 pm); Amanda Richards and the Good Long Whiles (6 pm)

lincoln performance Hall 1620 SW Park Ave. Portland Wind Symphony: Spring Concert

Mississippi pizza pub.

3552 N. Misssissippi Ave Gold Country, Breaks & Swells and Modern Relics, Condition White and Vinyl Gold

Mississippi Studios

3939 N Mississippi Ave. Ibeyi, Flo Morrissey

Mothership Music

3611 NE MLK CJ Boyd, Binary Marketing Show, and Consumer

The Muddy rudder public House 8105 SE 7th Ave. Lauren Sheehan

The Secret Society

116 NE Russell St. Matthew Zeltzer, Blind Willies, Hearts of Oak, The Libertine Belles

Townshend’s Tea House

2223 NE Alberta St OO-Ray, Abstracted with Lifelike Family

Turn! Turn! Turn!

8 NE Killingsworth St. Gravel Road, Hong Kong Banana, The Adulteration, DJ HWY 7

Twilight Cafe and Bar

1420 SE Powell Blvd. Whiskey Dickers and Ten Pole Drunk, Fire at Will and Sidewalk Slam

White eagle Saloon 836 N Russell St. Garcia Birthday Band

Wonder Ballroom

128 NE Russell St. Action Bronson, The Alchemist

Sun. April 5 Al’s den

303 SW 12th Ave. Lewi Longmire

Blue diamond

2016 NE Sandy Blvd. Kevin Selfe and the Tornadoes Jam Session

doug Fir lounge

830 E Burnside St. The Preatures

edgefield

2126 SW Halsey St. Julie McCarl and Bodacious

laurelThirst public House

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

lincoln performance Hall 1620 SW Park Ave. Friends of Chamber Music: Elias Quartet

rontoms

600 E. Burnside St. Moon by You

Saraveza Bottle Shop & pasty Tavern

1004 N Killingsworth St. Maris Otter

The Tonic lounge

3100 NE Sandy Blvd. Amos Val

White eagle Saloon 836 N Russell St. Rob Johnston

Wonder Ballroom

128 NE Russell St. Andrew Jackson Jihad, The Smith Street Band, Jeff Rosenstock, Chumped

MOn. April 6 Al’s den

303 SW 12th Ave. Lewi Longmire

Alhambra Theatre

4811 SE Hawthorne Blvd. The Grahams

Blue diamond

2016 NE Sandy Blvd. Hot Tea Cold

dante’s

350 W Burnside St Karaoke From Hell

doug Fir lounge

830 E Burnside St. The Doubleclicks, Joseph Scrimshaw, Molly Lewis

edgefield

2126 SW Halsey St. Skip Vonkuske, Albatross

Hawthorne Theatre

1507 SE 39th Ave. Yelle, Hibou

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Trio, Rules of Motion

lincoln Hall at pSu 1620 SW Park Ave Elias Quartet

The Muddy rudder public House 8105 SE 7th Ave. Lloyd Jones

The Tonic lounge

3100 NE Sandy Blvd. NonPoint, 36 Crazyfists, Scare Don’t Fear, Proven

Tue. April 7 Al’s den

303 SW 12th Ave. Lewi Longmire

Aladdin Theater

3017 SE Milwaukie Ave. The Sing Off with On The Rocks

Alhambra Theatre

4811 SE Hawthorne Blvd. Iamsu!, Rome Fortune

Bunk Bar

1028 SE Water Ave. Gardens and Villa

Crystal Ballroom

1332 W Burnside Street Stromae

edgefield

2126 SW Halsey St. Albatross

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet, University of Portland Jazz Band

lincoln Hall at pSu 1620 SW Park Ave Elias Quartet

newmark Theatre

1111 SW Broadway Young Artists Debut! Concert

The Tonic lounge

3100 NE Sandy Blvd. The Good Sons, Raw Dog and The Close Calls, Public Bulimic Limited, God Bless America, Erik Anarchy

White eagle Saloon 836 N Russell St. Shootdang, Robber’s Roost

CONT. on page 39

Willamette Week APRIL 1, 2015 wweek.com

BAR GUIDE

PORTLAND GUIDES WILLAMETTE WEEK

Portland Guides

2014

RESTAURANT OF THE

BEER GUIDE

INSIDE

YEAR

PORTLAND GUIDES

WILLAMETTE WEEK

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.

BARPublishes: GUIDE April 15, 2015 willamette week’s

april 9, 2014

willamette week

Space Reservation & Materials Deadline: Thursday, April 2 at 10am

Call: 503.243.2122 | Email: advertising@wweek.com 38

Willamette Week APRIL 1, 2015 wweek.com

april 1–7

MUSIC CALENDAR jenniferplitzko.co

BAR REVIEW

Where to drink this week. 1. White Owl

305 SE 8th Ave., 236-9672, whiteowlsocialclub.com. Dude, it’s warm. time to get back to Southeast’s best patio. But this time around, take note of the ever-better beer selection and an adventurous taste in midshelf craft liquors, from root liqueur to small-brand American whiskeys.

2. lompoc Tavern

1620 NW 23rd Ave., 894-9374, lompocbrewing.com. everybody’s eerily quiet about this, but lompoc Brewing makes a new ipA—like, a whole new kind of ipA—pretty much every other week. And some of them are pretty damn good. And on Monday, it’s only $2.50.

3. Charlie Horse Saloon

637 SE Morrison St. portland’s weirdest and most makeshift bar—Sway Bar—has just become a fine facsimile of an old West saloon, with your bachelor dad’s floor-toceiling paneling, cheap drinks, and more taxidermy than the Bates Motel.

4. The Standard

14 NE 22nd Ave., 233-4181. the unofficial winner of our cheap life issue, the Standard offers $2 craft brews on Sundays (including Buoy, Barley Brown’s and our beer of the year, Upright engelberg pilsner), plus $1 Hamm’s on Wednesdays. Mazel.

5. Black Water

835 NE Broadway, 546-1682. fast on the heels of Slabtown’s closure, punk-metal Black Water is worshipping at the altar of seitan, throwing together soldout rock shows, saucy vegan cheesesteaks and occasional tarantino marathons.

BARRELING FORWARD: I really wanted to hate 10 Barrel’s new Portland brewpub (1411 NW Flanders St., 541-585-1007, 10barrel.com). Last year, 10 Barrel Brewing, which was crafting some of my favorite offthe-shelf beer in Oregon, sold to Anheuser-Busch while in the process of opening this new brewery, which is helmed by former Pelican brewmaster Whitney Burnside. I haven’t bought any of my once-beloved OG Wheat IPA since. So when the new space finally opened March 16, I ho-hummed my way through their pretty doors. And, goddamn it, I liked the place. Situated across from Rogue and a few blocks from Fat Head’s in what’s fast becoming one of Portland’s better beer ’hoods, the bright, wide-open pub stands at the pinnacle of contemporary brewery chic, with lots of concrete and rough-hewn wood arranged around an open brewhouse. The staff is friendly, attentive and remarkably well-trained for new hires. The menu is similar to what you find at the Bend branch, with pizzas and $13 “nachos” consisting of a mountain of housemade potato chips topped with steak and Gorgonzola. That dish, plus a delicious $7 Cajun Brussels sprouts appetizer (also a huge amount of food) made me wonder whether this place is better than the nearby Deschutes pub, making me both angry and confused. The pub is mostly pouring 10 Barrel beers made at other locations while they break in the house brewing system. The first beer from that system, Pearl IPA, is a perfectly bitter, slightly hazy, excellently crafted beer. I won’t be back soon because I am a purist, but I won’t ruin a good thing for you, either. Don’t hate the player, hate the game. PARKER HALL.

holocene

1001 SE Morrison St. Ecstasy: Gant Man, Rap Class, Massacooramaan, DJ Rafael

Wed. April 1 Bar XV

15 SW 2nd AVE Deep House Wednesday’s

Moloko plus

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

Thu. April 2 The liquor Store

3341 SE Belmont St. Alchemy: Alter Echo, SPF666, Commune, Lincolnup

The lovecraft

plews Brews

421 SE Grand Ave. Shadowplay

The lovecraft

1230 Se Grand Ave DJ Natasha Kmeto

8409 N. Lombard St. Wiggle Room 421 SE Grand Ave. Event Horizon, Industrial Dance Night

The Whiskey Bar 31 NW 1st Ave Robin Schulz

Wildfang

Fri. April 3 Branx

320 SE 2nd Ave. Christian Martin

Booty Bassment, Dimitri Dickinson, Maxx Bass, Nathan Detroit

Moloko plus

lola’s room

3967 N Mississippi Ave. DJ Roane

Moloko plus

31 NW 1st Ave Kill Paris

1332 W Burnside 80s Video Dance Attack 3967 N Mississippi Ave. Hans Fricking Lindauers 21st Century Rhythm & Soul Review

The Whiskey Bar

31 NW 1st Ave Terravita, Kicks n Licks

SAT. April 4

The Whiskey Bar

Mon. April 6 Cadigan’s Corner Bar 5501 SE 72nd Ave. Fight Church TV, Jessie

The lovecraft

421 SE Grand Ave. Departures, DJ Waisted and Friends

Branx

320 SE 2nd Ave. Noizemakers, Hyperactive, Danny The Wildchild, Phidelity, & Cloudy with a Chance of Techno

The lodge Bar & Grill

holocene

The lovecraft

1001 SE Morrison St.

Tue. April 7 6605 SE Powell Blvd. DJ Easy Finger

421 SE Grand Ave. Bones with DJ Aurora

Willamette Week APRIL 1, 2015 wweek.com

April 1–7 FEATURE

= WW Pick. Highly recommended.

CHRISTOPHER PEDDECORD

PERFORMANCE

Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: 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 Beyond the Beautiful Forevers

On the dilapidated fringes of opulent Mumbai, mother Zehrunisa and son Abdul ambitiously sort recycling to fund a home. World Trade Center Theater, 121 SW Salmon St. 2 and 7 pm Saturday, April 4. $20.

Comedy of Errors

We all know Shakespeare put men in petticoats. Portland’s Six on Shakespeare’s battle-of-the-sexes version of the Bard’s mistaken-identity comedy splits male and female actors into two casts. Women perform Thursday and Saturday, men on Friday and Sunday ($25 for a ticket to both). The Back Door Theater, 4319 SE Hawthorne Blvd. 7:30 pm ThursdaysSundays through April 19. $18.

I Love Lucy Live

Lucy’s inevitably “got some ‘splainin’ to do” in this nationally touring premier of the 1950s TV classic adapted for the stage. Keller Auditorium, 222 SW Clay St., 800-745-3000. 7:30 pm TuesdaySaturday, 2 pm Saturday, 1 pm and 6:30 pm Sunday, April 7-12. $29-$69.

Multnomah Falls

Leave it to Portlanders to stage an improvised, ’80s-themed soap opera. Closet Kardashian fans tired of birds and bikes can get their dish under the guise of local-arts patronage with this serial production a la Real Housewives—of Lake Oswego. The Cardigan and Colton families stage Beaverton-esque glitz and drama where audience participation and actors’ imaginations dictate the plot. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7 pm Thursdays-Saturdays through April 25. $20.

The Price

Arthur Miller’s last major work visits the dark corners of family dynamics and death as two brothers literally clear the cobwebs from their late father’s estate to sell his legacy to a mysterious buyer. It may be a lesserknown Miller work, but it still got two Tony Award nominations, four Emmy nods for its TV adaptation and three Broadway revivals. Artists Rep and Profile Theatre’s Artistic Director Adriana Baer revive it again to celebrate the 100th anniversary of Miller’s birth. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Thursdays-Saturdays, 2 and 7:30 pm Sundays through April 26. . $25-$46.

Suddenly Last Summer

Stark, torrid and lyrical, Tennessee Williams’ 1958 one-act examines the aftermath of an American boy’s mysterious death in Spain. That tragic event left his cousin prone to insane babbling, which in turn has put her at the mercy of the boy’s imperious mother. After some delays in the fall, Shaking the Tree has finally moved into its new home—a bare-bones warehouse with soaring ceilings—which we’re hoping ever-industrious director Samantha Van Der Merwe converts into a hot and humid New Orleans garden. Shaking the Tree, 823 SE Grant Ave., 235-0635. 7:30 pm Thursdays-Saturdays and 5 pm Sundays through May 2. $10-$25, free for ages 19 and under.

Time Stands Still

Donald Margulies’ political drama about media in the Iraq War is this month’s reading at Portland Civic Theater Guild, a regular coffee and theater matinee production. Reporter James bids goodbye to his photojournalist girlfriend Mandy in Iraq, but the play follows their reunion in Brooklyn after Sarah’s painful encounter with

a roadside bomb. As both eye lifestyles far from exploding cars, the play trudges through guilt and relationship grit. The Old Church, 1422 SW 11th Ave., 222-2031. 10:30 am Tuesday, April 7. $8.

Umbrella Festival

Acrobats, aerialists, vaudevillians and funny people swarm the Alberta Rose in a carnival of physical comedy and spectacle for “Leapin’ Louie” Lichtenstein’s fourth Festival. Al Simmons and A-WOL Aerial Co. entertain kids Saturday afternoon, and at night, the adults cabaret sources local burlesque queen Carla Rossi and Tana the Tattooed Lady. It’s like all Last Thursday’s street folk coalescing under one big umbrella. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm Thursday-Friday, 1 pm and 8 pm Saturday-Sunday, April 2-5. $17-$30.

ALSO PLAYING Schoolhouse Rock Live

Oregon Children’s Theater takes audiences back to those simpler days. Winningstad Theatre, 1111 SW Broadway, 248-4335. 2 and 5 pm Saturdays, 11 am and 2 pm Sundays through April 26. $15-$28.

The Other Place

Privileged perfectionist Juliana Smithton is a pharmaceutical rep for dementia drugs who gets a rude awakening when her own mind goes a little off. Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays, through April 12. $20-$36.

Three Men on a Horse

Greeting card writer Erwin is lucky when it comes to picking horses in this 1930s comedy. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursday-Saturday 2 pm and 7 pm some Sundays through April 12. $32. All Ages.

COMEDY & VARIETY Comedy’s Best Kept Secret

New York comedians Dan Frigolette and Erik Anker are traveling from New York to Anchorage, Alaska, stopping everywhere possible along the way to tout their comedy. Duff’s Garage, 2530 NE 82nd Avenue, 234-2337. 8 pm Tuesday, April 7. $10.

Free Verse

Slam poetry meets improv comedy when local writers Heather Brown, Justin Rigamonti, Chrys Tobey and Mike Young perform their own verses then riff off the Brody ensemble’s standup. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Friday, April 3. $12.

Funemployment

Greg is out of work, so like any good Portlander he takes to juicing and woodworking and San Francisco skits. That’s the premise of local ex-radio personalities Greg Nibler and Sarah X Dylan’s Funemployment podcast. This staging of the regular radio show features comics Curtis Cook, Stacey Hallal, Jason Traeger and Andie Main. Secret Society Lounge, 116 NE Russell St., 493-3600. 8 pm Wednesday, April 1. $12. 21+.

Ginger People

Creator Brodie Kelly moves his troupe of fire-headed comics from the recently-closed Kickstand to Habesha for this especially pale rendition of his regular comedy show, Garbage People.

CONT. on page 43

En POintE: nWDP’s new dance studio took more than a year to find after the company’s eviction.

OPEN SPACE PORTLAND’S DANCE COMPANIES FIGHT BREWERIES FOR URBAN REAL ESTATE. by kA itie todd

ktodd@wweek.com

First, they came for the bars. Now, Portland dance is getting pushed around. In the past seven months, at least four different Portland dance companies have been shunted to new spaces—only some willingly. After a recent bankruptcy scare, the Oregon Ballet Theatre sold its longtime practice space in inner Southeast Portland last October to apartment developers to pay off old debts. Meanwhile, Polaris Dance Theater and Conduit Dance have both been evicted from their longtime homes, an old story of artists being forced to leave the neighborhoods they once helped make attractive. After being forced to leave its space on everposher North Mississippi Avenue, Northwest Dance Project had been left squatting at Portland State University while the company put together its new creative center in industrial-district Kerns, which will encompass classes, company rehearsals and shared studio space. The new center at Northeast 10th Avenue and Davis Street is one of the largest dance studios in the city. But NWDP director Scott Lewis and artistic director Sarah Slipper say the search was arduous. They toured dozens of buildings, in a lengthy hunt that took more than a year of scouting locations, followed by months to negotiate a lease. “It isn’t just, ‘Oh, let’s find a building and put a floor down and start dancing,’” Lewis says. Portland’s other celebrated industries offer some of the stiffest competition for space. What the company was searching for—and what both Conduit and Polaris also need in their new spaces—was a building with “clear span.” In other words, ceilings without pillars and an accessible location. But that means dance companies have to fight off incoming breweries, distilleries, tech firms and marijuana growers, who are all looking for the same open warehouse space so coveted by studios. “It’s hard right now because Portland is so hot,” says Slipper. Aside from the incoming breweries,

Portland’s population is expected to hit the 3 million mark by 2035, according to Metro—an influx of up to 725,000 people in the next 20 years. “It’ll be challenging,” says Tere Mathern, artistic director of Conduit, of what she expects in the dance community’s immediate future. “I think it’s a challenge to keep the arts truly alive in a city that’s going to be expanding in density. There needs to be really clear pathways for arts organizations to still be in the city. It doesn’t have to be all business, all retail, without the arts involved.” Conduit became the latest Portland dance company forced to relocate when its rental agreement suddenly fell through last month. The dance troupe had shared a location with Nia Technique, a fitness company, at Southwest 9th Avenue and Yamhill Street for the past five years. Conduit announced March 13 it had been given five days to get out of its fourth-floor ballroom space. “This is hard, but we’re not going away,” says Mathern of the fast turnaround for the organization. “There’s sort of a message of hope and an ongoing pursuit, as opposed to low morale.” Since leaving its space March 18, Conduit has moved into extra office space provided by Polaris Dance

“THE HAMMER FELL, AND IT’S JuST EXHAuSTING.” —SCOTT LEWiS, NWDP Theatre, packed most of its equipment into storage, and arranged for classes and performances to continue through September at other locations. Already, the organization is discussing an agreement for a temporary, shared space in close-in Southeast Portland while it seeks a more permanent location. But Mathern expects the search for a long-term home to take years. Details are still under wraps for the tentative new locations of OBT, Conduit and Polaris, since they are still in negotiations. But looking forward, several dance companies’ artistic directors agree they want long-term leases, like the 10-year agreement NWDP signed for its new space after being given a 45-day notice to leave its former location on Mississippi. “We’ve lived with that precarious existence for a long time, and then the hammer fell, and it’s just exhausting,” Lewis says. “You’re always looking over your shoulder.” Willamette Week APRIL 1, 2015 wweek.com

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Willamette Week APRIL 1, 2015 wweek.com

APRIL 1–7 Same premise: Local comedians dig into themselves and share dark secrets. But tonight they’ll all look like Weasleys. Habesha, 801 NE Broadway, 287-5433. 8 pm Thursday, April 2. $5.

Pauly Shore

“Hey, BU-DDY.”Shore recently grilled Bob Saget about going from Full House to “fuck”-laden standup on his self-titled podcast. When you’ve been doing comedy as long as Shore, that’s just your average Tuesday. Shore fasttracked to comedy fame in 1990 with Totally Pauly on MTV and then built a career acting in ﬁlms he writes, produces and directs. But it’s not all self-serving—2010’s Adopted documents him adopting an African child. Bossanova Ballroom, 722 E Burnside St.,

PERFORMANCE

206-7630. 8 pm Thursday, April 2. $25-$75. 21+.

Portland Secrets

Director Devin Harkness crowdsources secrets anonymously online for a group of improv comics to spin into a night of catharsis. Portland, of all cities, likes airing its dirty laundry. Two late night shows on the 18th and 25th are “Sexy Secrets,” more dirty laundry, just dirtier. You can air yours atdevinharkness.wix.com/ portland-secrets. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays though April 25. $12.

Sisters of Mercy

Portland Center Stage’s religious experience for Easter weekend is

CONT. on page 44

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REVIEW

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BELLEVILLE (THIRD RAIL) Amy Herzog ’s Belleville isn’t the kind of thriller with Psycho strings or undead dance moves. It’s the haunting kind that meticulously picks at peripheral, casual details until an entire marriage unravels in front of your eyes. Over the hour-and-a-half production by Third Rail Repertory Theatre, a fledgling couple’s dialogue gets as sharp as the knife that eventually makes its way onto their living-room table. Everyday sounds ring stark and unsettling—someone tripping over a table leg, shampoo dropping in the shower—in the otherwise silent black box theater. Helmed by director Philip Cuomo, the play opens with Abby, a 20-something yoga instructor who walks into her well-furnished apartment in the Belleville neighborhood of Paris, sets down her keys…and hears porn playing in the bedroom. “I thought you had class,” says her husband, Zack, once he stumbles out, with just a hint of tightness under a friendly exterior. The overly interested, overly cheery conversation that follows is quickly stripped down by the stabbing tinge in Abby’s voice when she says he should “finish up.” Their relationship, at least initially, feels like this: a teetering balance between underlying tension and a mask of calm. The two call each other “homie,” go on drunken dates and reminisce adorably about their college days in front of the neighbors. But what starts off as awkwardly comedic, all-in-good-fun bantering devolves into questions about how Zack really spends his day— he seems to play hookie an awful lot, despite being a doctor—or jabs at Abby for her deteriorating mental state. Isaac Lamb’s Zack possesses all the hidden danger of a dull razor blade, masterfully balancing smooth charm and lethal edginess. Rebecca Lingafelter is similarly captivating as Abby, entirely believable in her mannerisms—her sprawl on the couch, her hectic pre-date primping—and her grapples with lingering depression. Watching the two together feels uncomfortably familiar, a sensation heightened by black box-style intimacy. Belleville is all about the details, which makes its stomach-churning finale all the more startling. KAITIE TODD. Expat lovebirds unravel in Amy Herzog’s relationship psycho-drama.

SEE IT: Belleville is at CoHo Theater, 2257 NW Raleigh St., 2202646. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays through April 18. $29. Willamette Week APRIL 1, 2015 wweek.com

PERFORMANCE

April 1–7

wimple-topped slingshot comedy with local ladies. Gerding Theater, 128 NW 11th Ave., 445-3700. 10 pm Friday-Saturday, April 3-4. $20.

The Dirty Dozen

Cringe-worthy nastiness intended to make you blush from 12 Portland comics, including one of WW’s Top 5 Funniest, Bri Pruett. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, April 1. $12. 21+.

DANCE I Carried a Watermelon: A Dirty Dancing Story

Local contemporary group Trip the Dark kicks off its fifth season with

its take on a story familiar to most: the story of Johnny needing a new dance partner, and how nobody puts Baby in a corner. Disjecta, 8371 N Interstate Ave., 286-9449. 8 pm Friday-Saturday, April 3-4 and 10-11. $15 in advance, $18 day of show. 21+.

La Barbacoa

Contemporary dance troupe La Barabacoa Danza Contemporanea visits from Morelia., Michoacán, Mexico. Performance Works NW, 4625 SE 67th Ave., 777-1907. 7 pm, Wednesday April 1. Suggested $5 donation.

For more Performance listings, visit

PAT r i C k W E i S h A M P E L

REVIEW

THE PEOPLE’S REPUBLIC OF PORTLAND (PORTLAND CENTER STAGE) Lauren Weedman has made a small industry out of gently mocking cities she barely knows, sponsored by residents of the cities themselves. Since the debut of The People’s Republic of Portland—a one-woman play commissioned by Portland Center Stage in 2013 to spoof the city and its patriots—the former Daily Show correspondent has been asked to perform similar shows in Boise, Albuquerque and Philadelphia. Rather than a comprehensive overview, Weedman showcases the city through the increasingly more clichéd lens of a visitor looking in. Portlanders are of course notorious for their undying civic allegiance. Like tweens squabbling over a best friend, everyone wants to prove they’ve been here the longest and know the most. And so The People’s Republic of Portland, directed by PCS’s Rose Riordan, is back for a second run. To the outside world, Portland is a kombucha-obsessed, gluten-fearing, bearded-cyclist, strip-club Shangri-la. Weedman acknowledges these kitschy stereotypes right off the bat and vows to delve deeper. She doesn’t really deliver on that promise, but her observations—along with song, dance and video interludes—do keep the audience laughing. Incorporating stories of her recent divorce and likening her experience in Los Angeles to an affair with an abusive boyfriend, Weedman presents an affable and relatable character. As a native, it would be easy to call Weedman’s analysis shallow and trite. But it is nonetheless a skillful travelogue. Stories range from a night at the Kennedy School to encounters with ecstatic dancers, a blind strip-club patron, and an airplane companion who insists on driving Weedman to her LEED-certified hotel. One morning she takes her son to a Southern Baptist church on North Vancouver Avenue for a morning of worship and realizes she has “found the people who don’t like Portland,” a rare moment of serious critique. While her surface-level anecdotes are just that, the show is entertaining. Locals will critique Weedman’s portrayal, but since natives are now outnumbered by transplants, most viewers will hardly know what’s missing. HALEY MARTIN. lauren Weedman exploits rose City quirks.

Willamette Week APRIL 1, 2015 wweek.com

see it: The People’s Republic of Portland is at the Ellyn Bye Studio at the Armory, 128 NW 11th Ave. 7:30 pm WednesdaysSaturdays, 2 pm Saturdays-Sundays through April 19. $40-$55.

VISUAL ARTS

APRIL 1–7

= WW Pick. Highly recommended. By MEGAN HARNED. 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: mharned@wweek.com.

tain valleys whose far-oﬀ peaks are just barely visible and recognizable. Perhaps the reference to the Greek goddess of the underworld and springtime oﬀers some insight into the artist’s thinking. Through May 2. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

Lyric Truth : Paintings, Drawings and Embroideries by Rosemarie Beck

If you were an “important” New York painter in the late 1940s and 1950s, you dutifully pledged allegiance to Abstract Expressionism and trafficked in dollops, drizzles, smears and drips. Not so for Rosemarie Beck (1923-2003), subject of a rigorous exhibition at PSU organized by art historian Sue Taylor. In her mature work, Beck eschewed abstract statements, preferring to portray flesh-and-blood human beings. Sometimes, as in the oil painting Two with Horse, her depictions were frankly sensual and erotic. She also drew inspiration from the myths of Classical antiquity, a predilection that was not exactly considered forward-thinking by her contemporaries. Still, she persevered not only in the medium of painting but also in drawing and embroidery. This is the first time any of this artwork has been exhibited in Oregon. More information at rosemariebeckexhibit2015.blogspot.com. Through May 3. Broadway Lobby Gallery at Portland State University, Lincoln Hall, 1620 SW Park Ave.

Paul Nudd: Nudd-Mutts & Mushups

UNTITLED BY HIDEYUKI KATSUMATA

Animals Are Outside Today and Natural Findings

April is Portland Photo Month, and if you expect to take any of the walking tours you can look forward to examining your relationship to animals and the natural world at Blue Sky. Animals Are Outside Today shows us that our connection to animals goes back to our desire to consume them, and Colleen Plumb further explores the justifications we use to keep animals in captivity for our entertainment in the video Thirty Times a Minute. Meanwhile, Cheryle St. Onge’s Natural Findings captures the golden age of childhood when we captured fireflies in our backyard and played in the woods with salamanders and chickadees. Through April 3. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.

David Hilliard: Our Nature

Photographer David Hilliard’s subject matter is often autobiographical and erotic. He’s best known for his portraits, which are often presented not as a single, traditional image, but as several segments, broken up into two, three, four or five different parts. The space between these parts not only gives them visual breathing room, it also affords viewers more psychological distance between themselves and the artwork. April 2-May 2. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Fluid

Ceramic pieces, whether utilitarian or purely aesthetic, start out with soft, wet, pliable clay and end up hard and fragile. But the artists in Fluid, Peter Christian Johnson and Bobby Silverman, carry clay’s initial wet look over into their ﬁnished pieces, with sometimes disconcerting results. To see a ceramic artwork that appears to have water, slime, honey or molten lava ﬂowing across it, is like looking at something that ought to be impossible. Not only is it a technical feat, it also sets up a cognitive dissonance that bids us re-examine our preconceptions of the medium itself. April 3-May 30. Eutectic Gallery, 1930 NE Oregon St., 974-6518.

Hideyuki Katsumata: Hide in My Brain Hideyuki Katsumata creates artwork to connect with the universe. What does that mean? It may be an allusion to the idea that artistic endeavors bring one closer to the ultimate creator, or the raving of an artist who gets off on his work. In one composition, an epic battle rages between two figures with faces in Picasso-esque multi-perspective, bulging Mr./Ms. Universe physiques, and alien reproductive organs, in addition to wings and fire breathing appendages. These two look like they’ve been subject to excessive irradiation, or the mind of an artist. Up top, a massive hand pulls down the sky to spy on this intimate moment, and judging by the protuberance down below, the godhead isn’t the only one enjoying the view. Through May 3. Hellion Gallery, 19 NW 5th Ave., No. 208, 774-7327.

Intisar Abioto: Contents

Intisar Abioto, the local photographer known for the Black Portlanders series, is having a solo show at Duplex Gallery in Chinatown. Through folklore, storytelling and dance, Abioto creates work around the history, present and future of people of the African diaspora. Many people come to Portland from beyond the Paciﬁc Northwest; what draws us here, compels us to stay or move on and the choices along the way become the stories we tell each other, which deﬁne us as individuals and communities. Contents will feature new work exploring how we construct our identity around the places we live, and leave. Through May 2. Duplex, 219 NW Couch St.

Kim Osgood: Persephone’s Tale

Historically, landscapes were the domain of celebrating the creator’s domain and still lifes were designed to inspire the viewer to reflect on mortality and the necessity to live morally despite, or because of, the brevity of life. Today’s artists often deal with these issues in a much more superficial light, so I’m interested in Kim Osgood’s monotypes which place flower vases, lamps, books and other signs of domestic life in the foreground of moun-

Organic is the first word that I’d use to describe Paul Nudd’s larger than life paintings, and oozing is the second word. Nudd-Mutts & Mushups is full of amoebic alien creatures with humanoid features, and like things that go bump in the night, they have no coherent form. Instead, their flagella coalesce in response to the viewer like sci-fi Rorschach tests. Hap often commissions a limited-edition series of work from the artists that show there, and I’m very interested in seeing what the Hap edition will be this month. Through May 2. Hap Gallery, 916 NW Flanders St., 444-7101. Through May 2.

Robert Francian: The Lies We Tell Ourselves

Over at the Everett Street Lofts, Basic Space Gallery is opening The Lies We Tell Ourselves. Robert Francian’s narrative, ﬁgurative works are expositions on love and loss and are inspired by a poem: “When you look at something you’ve lost, you see a part of yourself that has become permanent.” Which is a sentiment those of us who’ve experienced unrequited feelings, spent afternoons daydreaming about “the one who got away,” and worry over which path to take in life will relate to. Through May 3. Basic Space Gallery, 625 NW Everett St., 4776452.

Susan Seubert: The Fallacy of Hindsight

Hindsight is not always 20/20. That’s the crux of photographer Susan Seubert’s The Fallacy of Hindsight at Froelick. In three separate photo series, she explores a phenomenon that psychologists call “hindsight bias.” This refers to the often mistaken belief that one always knew without a doubt how a given situation would turn out. Seubert illustrates this idea—sometimes effectively, sometimes less than convincingly—through depictions of a figure bound in twine, images of an Arctic ice field and a set of Polaroidsized images representing memories. Through May 2. Froelick Gallery, 714 NW Davis St., 222-1142.

For more Visual Arts listings, visit Willamette Week APRIL 1, 2015 wweek.com

BOOKS

April 1–7

= 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.

WEDNESDAY, APRIL 1 Stay Wild Magazine Release

Justin “Scrappers” Morrison is no stranger to Portland publishing, having been charged with slipping many a subtle Tolkien reference into the Mercury, a Seattlebased publication for disaffected Gen-Xers. While Justin “Scrappers” Morrison’s middle-aged colleagues sat in a cold, dim room toiling over Miley Cyrus jokes with the diligence of the jewel dwarves of Belegost, Scrappers snuck out to explore the craggy peaks and mossy riverbanks they’d only read about in storybooks. Now, he mocks their sorrowful existence with Stay Wild, a Kickstarter-funded magazine that seeks to “redefine what adventure means in these modern times.” This, of course, means an Instagram-filtered view of vaguely sporty hipsters with wind-tossed hair and healthy skin surfing in Newfoundland and bike camping in Death Valley. If all goes well, this magazine becomes Kinfolk for people in wool underwear. Worn Path, 4007 N Mississippi Ave., 2086156. 6-9 pm. Free.

Poetry Month Reading

Three visiting poets will kick off the first day of National Poetry Month. Jim Moore presents his first career retrospective, Underground. In her sixth book, 24 Pages and Other Poems, Lisa Fishman explores bodies of all types—person, plant, word—and Clementine von Radics sticks to the classics of love and loss in her collection Mouthful of Forevers. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

THURSDAY, APRIL 2 Melissa Madenski

Longtime Oregon poet Melissa Madenski brings lyrical grace to the everyday, such as her description of reading a book “John-Henry-like” next to a man on his Kindle. She will read from her first chapbook, Endurance. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Nominate now for your chance to win $250, What The Festival tickets, or movie passes for a year!

Maximum Rocknroll Release Party

For its annual Comics and Art issue, monthly punk-rock fanzine Maximum Rocknroll will entirely eschew words for a visual extravaganza, featuring work by more than 50 artists. On hand to celebrate the release will be contributing Portland artists Reuben Storey, Andrew Scully, Jack Hayden, Anna Vo and Karissa Sakumoto. Floating World Comics, 400 NW Couch St., 241-0227. 6-10 pm. Free.

Jessica Hagy

Sun Tzu’s The Art of War has inspired leadership for centuries and has been translated and reinterpreted many times. But for those who crave wisdom and knowledge with the ease of an Instagram feed, Jessica Hagy created The Art of War Visualized, a “Bronze Age/ Information Age” mash-up offering the brilliance of ancient military strategy in Venn diagrams and bite-sized wisdom morsels. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

FRIDAY, APRIL 3 Free Verse

Combining poetry and improvisation, the fifth incarnation of Free Verse will feature the best of both forms. Poets Heather Brown, Justin Rigamonti, Chrys Toby and Mike Young will share original work that will then be transformed into an improvised scene by the improv troupe of the Brody Theater. Before

Willamette Week APRIL 1, 2015 wweek.com

intermission, the performers will create a spontaneous scene to inspire the poets, who will then write through intermission and share their newly created work in the second half. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm. $9-12.

MONDAY, APRIL 6 The Conversation Project

Conversations on gun control inevitably circle back to the Second Amendment. So Reed College professor Pancho Savery will lead a discussion on why the Second

Amendment exists for his talk “Guns and America” as part of the Oregon Humanities’ Conversation Project. Portland State University Multicultural Center, 1825 SW Broadway, 725-5342. 4:30 pm, Free.

International Affairs Symposium

Organized by students, the 53rd annual symposium will host debates over three days on “The Dynamics of Identity: Characterizing Conflict in a Globalized World.” Speakers include retired four-star general Wesley Clark and national security and civil liberties journalist Murtaza Hussain. Lewis & Clark College, 0615 SW Palatine Road, 768-7000. Monday-Wednesday, April 6-8. Free.

For more Books listings, visit

HOTSEAT

J.C. HALLMAN, B & ME J.C. Hallman thinks book culture has been ruined by the academics. In part, this is because they take the human element out of reading. His new book, B & Me, is a highstakes gambit, intertwining his own life (and sex life, in often excruciating detail) with the story of discovering an author, from the very moment he putting the need back considered picking up a book, in reading. all the way through reading the entire oeuvre—in this case, that of Nicholson Baker, whose phone-sex novel Vox was famously a gift from Monica Lewinsky to Bill Clinton. B & Me’s autobiographical criticism recalls more than anything Baker’s own U and I, which chronicles Baker’s obsession with novelist John Updike. Hallman will be at Powell’s Books, talking about the book with National Book Award-winning poet Mary Szybist. We caught up with him first. MATTHEW KORFHAGE. WW: Is B & Me another turn of the screw on Baker’s U and I? J.C. Hallman: If all I had done was mimicry, I wouldn’t have wanted to do it—I had to know the way in which I was taking the next step. On the surface, B & Me has a lot in common with U and I, but it’s more or less the precise opposite. U and I is about remembering without consulting. But I hadn’t read [Baker] at all—I chronicled the experience from knowing nothing to having read everything. Your book is heavy on sex, but especially reading as a metaphor for sex. I wanted to describe reading in a way that could seem sexual, and describe sex in a way that could seem critical. These things are sort of states of heightened consciousness, thinking and being better than we are in our ordinary lives. The book is two intertwined love stories, [Hallman’s girlfriend] Catherine and I, and me and Baker. Proust said what we remember most about books is where we were when we read them. I wanted to tell these stories in tandem to show how our lives and our reading is intertwined. You write in the book that you thought Baker could save you. It was a book in which I set out to save myself. In a way, I’m borrowing from Henry James, characterizing it in this way. In novels, people are threading over First World problems: Who’s going to marry whom? Am I going to get my title, or save my social status? But in Henry James, they feel like their life is at stake. Someone is always saving or being saved. I was in this state of crisis, spending too much time in academia. What I learned in the book was really a process of relearning. It returned me to more of a state of innocence. GO: J.C. Hallman and Mary Szybist speak at Powell’s City of Books, 1005 W Burnside St., 800-878-7323, on Friday, April 3. 7:30 pm. Free.

aPRil 1–7 FEATURE

= WW Pick. Highly recommended.

C O U R T E SY O F T H R E E FAC E S F I L M S

MOVIES

Editor: ENID SPITz. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: espitz@wweek.com. Fax: 243-1115.

OPENING THIS WEEK A Girl Like Her

What if high-school girls armed themselves with hidden cameras to catch Mean Girls in real life? In Amy Webber’s fictional film, Jessica Burns (Lexi Ainsworth) attempts pillinduced suicide after ongoing bullying from her ex-friend and token popular girl. The filmmaker herself appears on screen between supposedly found footage and mockumentary reels in the style of The Blair Witch Project. PG-13. Clackamas Town Center, Regal Lloyd Center.

Effie Gray

Based on historical figures, English miniseries maven Richard Laxton’s period drama prods the underbelly of Victorian parlor society. Emma Thompson is a purse-lipped dame, Dakota Fanning joins her as teenage bride Effie Gray, whose art critic husband John Ruskin refuses to consummate their marriage. Divorce, gay marriage and hoop skirts. NR. Living Room Theaters.

Fall to Rise

A feted contemporary dancer suffers a knee injury and crow’s feet, funneling her into a life of domesticity. Motherhood is a poor fit, and she refuses even to name her newborn child, partnering instead with an uncouth fellow ex-dancer to get back ionto the stage. This is a directorial first follows Black Swan’s pas behind the psychological curtain of ballet, body-shaming, baby-hating and all. Like the name suggests, Fall to Rise (formerly Tiny Dancer) is more The Wrestler than Center Stage. NR. Living Room Theaters.

Gett: The Trial of Viviane Amsalem

C Viviane wants a divorce from her emotionally abusive husband, Elisha. In Israel, that means appearing before a council of rabbis and getting the full consent of her spouse. This is a black-and-white situation: These two should not be together, but are not allowed to part. “This system is bad!” expounds this claustrophobic courtroom drama with all the subtlety and nuance of an ox goad to the face. Israel’s submission for the Best Foreign Language Film Oscar. JOHN LOCANTHI. Living Room Theaters.

Home

A technicolor extraterrestrial descends to Earth for a harmless takeover full of CGI tricks and poop jokes. Our protagonist, Oh, voiced by The Big Bang Theory’s Sheldon (Jim Parsons) follows orders from Captain Smek (Steve Martin) and finds friendship in Tip (Rihanna). Children learn acceptance of all critters, no matter their gummy-bear hue. It’s basically Up, with more tech specs and less soul. PG. Showing at most Portlandarea theaters.

Human Capital

B+ Based on Stephen Amidon’s American novel, Paolo Virzi’s classconscious 2013 screen adaptation was selected by its home country, but not nominated, for this year’s Best Foreign Language Film Oscar. This is unfortunate, not for the quality of the film, which is engrossing enough if slightly overlong, but for its theme, which feels tailor-made for the U.S. in 2015. The story begins with the hit-and-run death of a working-class cyclist following a luxurious privateschool gala and then turns back the clock six months, constructing a genuinely absorbing whodunit based on the perspectives of three of the participants. While the intertwined narratives are deftly edited, the political message beats on in the background like a steady drum, through luxury cars and important business meetings and self-harm and a white mansion on a hill: The class system

and resultant oligarchy are just as ugly as we are. And if conscience is our only currency, then the whole world is broke. KAT MERCK. Living Room Theater.

The Last: Naturo the Movie

The sky is falling in this 10th adventure in the manga-inspired Naruto series. Actually, the moon is a massive meteorite bound for Earth and, of course, only heroic Naruto can stop it with the love of his scarfknitting sweetie, Hinata, and a clock counting down to doomsday. NR. Hollywood Theater.

Marfa Girl

A 16-year-old Adam (Adam Mediano) skateboards around his Texas border-town home, he’s bombarded with coital offers. Everybody tries to sleep with everybody else in Larry Clark’s newest, and the audience is unfortunately privy to Adam’s pregnant teacher spanking him. NR. Living Room Theaters.

don’t even go tHere: david Cross in The Gynotician, playing at the Clinton street’s Faux Film Festival.

McFarland

Having previously assisted underdog baseball and football teams, Kevin Costner now coaches an underdog 1980s track team. There are ethical epiphanies about race relations and being true to oneself. PG. Cedar Hills, Clackamas Town Ceter, Regal Cinema 99, Bridgeport Village, Regal City Center.

Queen and Country

A sequel 25 years in the making, Queen and Country picks up where 1987’s Hope and Glory, left off. Nine years later,the little British boy who cheered when his school was pummeled by the Luftwaffe is drafted for the Korean War. Instead, he and army buddy engage in M*A*S*H-like hijinks. NR. Living Romm Theater.

Occupy the Farm

Farmland in California’s Gill Tract was supposed to become a strip mall. Instead, 200 farmers planted 16,000 seeds to make the land unusable for development. Documentarian Todd Darling follows the fall-out. NR. Clinton Street Theater.

STILL SHOWING 3 Hearts

French filmmaker Benoît Jacquot charts a classically torrid love triangle in 3 Hearts as sisters Sylvie (Charlotte Gainsbourg) and Sophie (Chiara Mastroianni) both fall for Marc (Benoît Poelvoorde). But the following histrionics, complete with foreboding voiceover and score, crowd the film like too many lovers. PG-13. KRISTI MATSUDA. Fox Tower.

’71

B+ Behind enemy lines, as seen

through the eyes of an abandoned British soldier in the midst of the Troubles of 1971 Belfast. R. PARKER HALL. Fox Tower.

American Sniper

D Chris Kyle (Bradley Cooper) shoots people R. JAMES HELMSWORTH.

Ballet 422

A backstage look at up-and-coming choreographer Justin Peck as he puts together a new work for the New York City Ballet. PG.

Bears

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

Big Hero 6

Big Hero 6 is that rarest thing: an animated children’s adventure designed purely to delight its target audience. Based on a Marvel

CONT. on page 48

THESE FILMS SHOULDN’T EXIST CLINTON STREET THEATER SHOWCASES FAUX FILMS AND MOCKUMENTARIES. BY john loca n thi jloca n th i@wweek.com

We’ve all seen bad movies. Movies that make you cringe at tone-deaf jokes. Movies that make you shake your head at nonsensical plots. Movies that inspire you to spoof them. Riffing on films isn’t a new art—an entire generation of cinephiles was raised on Mystery Science Theater 3000—but it isn’t every day that you get to showcase your wit and snark to a larger audience than your poor, unfortunate friends. The 10th Annual Faux Film Festival kicks off this week at the Clinton Street Theater. It offers screenings of commercials, mockumentaries, and movie trailers, among other things. The only requirement: None of these products, subjects or movies is real. In the spirit of the festival, Willamette Week offers a selection of actual movies that shouldn’t be real. The Hobbit Trilogy The Hobbit is the shortest—and most poorly written— of J.R.R. Tolkien’s Middle-earth scribblings, so it only makes sense that director Peter Jackson split it into three films of three-plus hours each. The wonderful mini sets that gave the Lord of the Rings series a lived-in feel were replaced by endless green screens. Jackson managed to squeeze in even more tonal inconsistencies than already existed in the text. Indiana Jones and the Crystal Skull One of several valiant efforts by Steven Spielberg to destroy all the goodwill and credibility generated by his decades of blockbusters. Mission to Mars In 2000, having survived the Y2K scare, America turned its eyes to Mars. With disastrous consequences. The nonsensical Red Planet was harmless, but Brian de Palma’s Mission to Mars is a ham-fisted, faux profound homage to 2001: A Space Odyssey. Dumb sci-fi is fine. It runs into trouble when it doesn’t realize it’s dumb, and really stinks when it apes a beloved classic that isn’t dumb.

The Odd Couple II Riding on the coattails of Grumpy Old Men, acting legends Walter Matthau and Jack Lemmon returned as the original odd couple for what was one of their final performances. Thirty years after they first shacked up in 1968, the only difference is the characters’ ages—and a few more divorces. Oh, and Felix says “fuck” now. All that’s missing is Oscar riding a loud motorcycle, shouting, “Now, I’m gonna haul ass to Lollapalooza!” Never Say Never Again Far be it from me to take umbrage with a silly Bond film, but Never Say Never Again is an exception. It also isn’t an official James Bond film. It brought back Sean Connery during the tail end of Roger Moore’s run as Bond. At the time, there was a collective sigh of relief to see Connery back in the Bond role. It’s a pity that a complicated legal dispute required it to be a remake of Connery in Thunderball 20 years earlier. I guess replacing Bond’s card game against Largo in a Bahamian casino with Bond playing a laser-based world domination game against Largo in a Bahamian casino was kind of fun. The Two Jakes “Forget it, Jake. It’s Chinatown” is an unforgettable and iconic line from one of the most beloved nose-slashing films ever made. So, uh, why did we need this convoluted sequel 16 years later? The Two Jakes doesn’t answer that question. Writer Robert Towne wanted this to be the second leg of a Jake Gittes trilogy. Thankfully, The Two Jakes’ commercial and critical failure nixed those plans. The Wedding Ringer Some might forgive The Wedding Ringer because its script was passed around Hollywood for a while before the deluge of similarly themed bro comedies took over in the mid-aughts. Wedding Crashers and I Love You, Man mimic this film’s original script, but The Wedding Ringer looks like the copycat. All that matters is the release date. The Wedding Ringer came out late, making it feel stale. Also, it kinda sucked. see it: The Faux Film Festival is at the Clinton Street Theater. 7 pm Friday-Sunday, April 3-5. Willamette Week APRIL 1, 2015 wweek.com

april 1–7

comic about repurposed Japanese mutant-villains, this Disney feature makes us believe unadulterated tweener dreams can fly. pG. JAY HORTON. Avalon, Laurelhurst Theater, Mt. Hood, Vancouver, Valley.

Cinderella

D+ What do you get when you

replace the iconic singing fairy godmother with Helena Bonham Carter and a loud, repetitive score? You get Kenneth Branagh’s tiresome live-action retcon of Cinderella, pG. JOHN LOCANTHI. Showing at most Portland-area theaters.

Chappie

B- Anyone expecting Chappie to

match the brilliant political allegories of director Neill Blomkamp’s District 9 should know that Chappie is essentially a mashup of Short Circuit, Robocop and assorted direct-to-video action films from the ’80s. It’s all to say that Chappie is pretty fucking stupid. But if you lower your expectations, it’s also kind of a blast. r. AP KRYZA. Showing at most Portland-area theaters.

ing, just gems like “they fucking in San Quentin,” from Mr. Hart. Prison rapes happen. A lot. Ha? r. JAMES HELMSWORTH. Showing at most Portland-area theaters.

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 noirspaghetti Western-love story with vampires. And yet, somehow, it all works. JOHN LOCANTHI. Living Room Theater, Laurelhurst Theater.

Grease

[ONE WEEK ONLY, REVIVAL] An Aussie girl perms her hair. pG. Mission Theater and Pub.

The Gunman

Sean Penn is a gunman who suffers from PTSD as a result of gunning down so many people. r. Showing at most Portland-area theaters,

Inherent Vice

A Paul Thomas Anderson’s rollicking adaptation of Thomas Pynchon’s 2009 novel. r. Academy Theater, Kennedy School, Laurelhurst Theater.

Insurgent

C- The Divergent Series: Insurgent is essentially a dumb action movie, except with the traditional gender roles reversed. The hero is a woman. The villain is a woman. The ever-supportive eye candy is a dude. They kill a lot of people.

CONT. on page 49

REVIEW SEAN PORTER

MOVIES

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. r. MICHAEL NORDINE. Laurelhurst Theater.

Fifty Shades of Grey

D 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. Eastport, Clackamas, Forest Theatre, Bridgeport, Evergreen.

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. r. AP KRYZA. Showing at most Portland-area theaters.

Furious 7

Vin goes vroom, again. Screened after deadline, look for WW’s review online. Showing at most Portland-area theaters.

Get Hard

C+ Get Hard is a movie about a rich white guy hiring a poor black guy to get him ready for a stint in prison. Given that premise, it’s actually kind of surprising how frequently it manages to avoid being terrible. The jokes punch up. James (Will Ferrell) is some generic financial patrician who commits some generic financial crime. He’s awful: He promises his wife (Alison Brie) that he’s going to make enough money in a day to choke a baby and tells Darnell (Kevin Hart), “Just so you know, I would have done the same thing if you were white,” after knocking on Darnell’s window to give him his keys at the car wash where he works. As is a staple of his comedy, many of Hart’s bits deal with stereotypes of black men—when Hart is forced to take hold of a gun, he winces and his wrist goes limp, proving he’s kind of a wimp. But more of the jokes—really the whole premise of the movie—are about prison rape. There’s nothing subversive about these, nothing clever or surpris-

Willamette Week APRIL 1, 2015 wweek.com

Fargo or buSt: rinko Kikuchi.

KUMIKO, THE TREASURE HUNTER Countless films are influenced by the Coen Brothers, but few announce it outright like this one from another pair of filmmaking brothers, David and Nathan Zellner, whose Kumiko, the Treasure Hunter tells of a lost soul in Tokyo who takes her fascination with Fargo to dangerous extremes. Tired of a lonely life sharing noodles with her pet bunny and watching neighbors dance through their kitchen window, the eponymous seeker (Rinko Kikuchi) fixates on the Coens’ Minnesota neo-noir Fargo. Specifically, the cash-filled briefcase Steve Buscemi’s character buries in the snow. What follows evinces a clear love of cinema on the Zellners’ part, but also a wariness of immersion turning into obsession. Kumiko is gorgeously shot and scored, with a dreamlike ambience and slow-burning narrative that vacillates between beautiful and unsettling. It opens on a fuzzy, VHS copy of the film in question, with the (false) disclaimer assuring Kumiko it’s “a true story.” Outlandish though it may seem for anyone to believe the film’s claim, the Zellners never demean Kumiko. They’re endlessly sympathetic toward her, and viewers can’t help but share that sentiment. A loner who hides workplace troubles from her mother over the phone, Kumiko mentally detaches from her oppressive office job (and sexist older boss) long before setting off to unearth buried treasure. The possibility that said fortune may not actually exist never occurs to her, but she’s set on Minnesota regardless. There may not be the promise of a new life waiting for her in its snow, but there’s certainly nothing for Kumiko in Tokyo. “How go to Fargo?” Kumiko asks anyone who will listen upon her arrival in Minnesota, including several Good Samaritans who force well-intended help on her. An elderly widow houses her, and a police officer in the Marge Gunderson tradition buys her boots at Goodwill. When the cop tortuously explains that Fargo is a work of fiction and there are no stacks of cash to be found, Kumiko goes into denial and her monomaniacal fixation only intensifies. In a lesser film, Kimiko’s innocence and her bunny, Bunzo, could easily devolve into the precious but hollow quirks typical of indie features. But the trajectory of Kumiko, the Treasure Hunter is too tragic for precociousness or to inspire much laughter. MICHAEL NORDINE. “This is a true story.”

B+ SEE it: Kumiko, the Treasure Hunter opens Friday at Hollywood Theatre.

APRIL 1–7 In the Divergent series, dystopian future Chicago is ruled by fi ve factions, each defi ned by a personality trait. The second fi lm in this series picks up where the fi rst left off : Our hero, Tris (Shailene Woodley), is still reeling from the death of her mother (Ashley Judd), the destruction of her mother’s faction and the near annihilation of her own faction at the hands of Jeanine (Kate Winslet), who leads Erudite, yet another faction. Tris has an aptitude for multiple factions and is therefore “divergent,” which is bad. Why the factions want to eliminate divergents will never fully make sense. It’s best not to think about any of this too hard. The fi lm is essentially one long fi ght with occasional changes of scenery. Director Robert Schwenke spends some time trying to develop this drama, or at least as much as any dumb action movie invests in character development. It’s probably good that the old “chick fl ick” has been abandoned, and that the success of The Hunger Games and the Divergent series proves that

teenage girls like watching bloodshed, explosions and mayhem, too. PG-13 . JOHN LOCANTHI . Showing at most Portland -area theaters.

Interstellar

C+ The McConnaissance goes into outer space . PG-13 . Academy, Empirical, Laurelhurst.

Into the Woods

B+ Stephen Sondheim’s much-

loved musical has fi nally made it to the big screen. The fi lm is divided into halves: the fi rst full of payoff s 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 couple (James Corden and Emily Blunt) to undo a family curse they inherited . PG . SAUNDRA SORENSON . Academy Theater, Empirical, Vancouver, Valley.

MOVIES

Jupiter Ascending

B There’s not a recognizable idea to be found in the whole of Jupiter Ascending’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 ﬂ oating wraiths, blue-haired 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 . Academy, Avalon, Eastport, Kennedy School, Milwaukie, Mission, Mt. Hood, Valley.

Kingsman: The Secret Service

A- Remember when spy movies

were fun? Kingsman: The Secret Service does. R . JOHN LOCANTHI .

CONT. on page 50

COURTESY OF ORIGIN PICTURES

REVIEW

NABBED: Helen Mirren and Ryan Reynolds.

WOMAN IN GOLD The story behind Woman in Gold is a conversation starter in the art world. The question: Who owns art? The film’s response? Justice. Or, more accurately, judges. Holocaust escapee Maria Altmann (Helen Mirren) and her lawyer nephew Randol (Ryan Reynolds) take the Austrian government to court to reclaim a painting of Altmann’s aunt that the family commissioned from Gustav Klimt. It was stolen by Nazi art thieves (Nazis are the worst!). Carrying the film is a slew of wonderful actors on loan from the BBC, plus Reynolds, who suffers only from acute Clark Kent disorder (glasses don’t necessarily make the nerd). Mirren proves yet again she could play a toaster and still entertain. Unfortunately, director Simon Curtis sucks out any emotion by making every scene overobvious. “Hi, I’m an investigative reporter,” says the token investigative reporter. The pacing of the main plot is tedious as we watch Reynolds’ courtroom opponent slog through uninspired legal jargon in his defense. Occasional breaths of life come from Maria’s dark flashbacks, in which the marvelous Tatiana Maslany (Orphan Black) plays her younger self. Maslany watches Nazis sell her father’s cello

Helen Mirren goes after pilfering Nazis.

to pay back taxes from tax evasion charges they trumped up against her uncle. And in one of the rare, human moments not overdone by Curtis’ dry storytelling, Maria’s uncle gives her the very necklace Klimt painted her aunt in. But the lack of respectful adversaries makes it almost impossible to relish any of our heroes’ victories, however small (the Supreme Court judge winks at Mirren). If half of your characters are beset by Nazis, don’t make the other half face off with Austrian art authorities, who make the most boring villains ever. Indiana Jones could have busted into the courtroom yelling, “It belongs in a museum!,” and it would’ve improved the scene. Curtis and screenwriter Alexi Kaye Campbell made a movie about art so precious a woman battled Austria for it, but they cover most of the actors’ artistry with extraneous words. Reynolds says, “The most important thing America can give her is justice.” If Curtis offers justice as the ultimate solution, this Justice, unfortunately for his audiences, stays blindfolded. KELLY MCCRILLIS. C+ SEE IT: Woman in Gold opens today at Clackamas, Bridgeport, Fox Tower.

420 GUIDE Reserve your ad in WW’s 420 Guide today! This special section will feature a complete listing of 420 events, a look at Weedery Tours, throwback strains, women in weed, and more!

Publishes: April 15, 2015 Space Reservation & Materials Deadline: Thursday, April 9 at 10am

Call: 503.243.2122 | Email: advertising@wweek.com Willamette Week APRIL 1, 2015 wweek.com

APRIL 1–7

Showing at most Portland-area theaters.

Unbroken

Night at the Museum: Secret of the Tomb

movie stars typically exploit every advantage of the Hollywood fi lmmaking apparatus, so it should come as no surprise that Angelina Jolie’s second feature, Unbroken, looks terrifi c. Some would argue that the harrowing story of former Olympian Louis Zamperini’s torturous ordeals— 40-plus days lost at sea and the unending abuse of a Japanese prisoner-of-war camp—needn’t resemble a Tom Ford catalog. But Jolie still proves herself an engaged student of telling anatomical details: the ear damaged beyond repair, the athlete’s coltish calf muscles, and, especially, the piercing iris of a bombardier. Breezing through listless childhood reveries, the wartime heroics unfurl with understated grandeur while shark-boxing lifeboat scenes manage genuine laughs. But the gruesome slog through ever-worsening horrors seems intent on reversing Louie’s older brother’s insistence that a moment’s pain is worth a lifetime of glory. Only after we arrive in Tokyo and are introduced to the eff ete sadism of a POW camp commander does the fi lm come alive. As the cruelties grow more playful and more barbarous (and the psychosexual underpinnings more overt), a keening note of tragic romance nearly transcends the leaden structure throughout the, um, climactic coal-mine quasi-crucifi xion. Too long by half and perhaps fatally cluttered by forgettable characters and trivial sequences, Jolie nonetheless stirs up a darkly passionate, powerfully strange love story within an otherwise boilerplate docudrama . PG-13 . JAY HORTON .

Ben Stiller spends more time sprinting through a museum . PG . Valley.

Paddington

The cuddly, ﬂ oppy hat-wearing bear gets his own live-action feature . PG .

Paper Circus: Animations by Luca Dipierro

[ONE NIGHT ONLY] The Italianborn animator, who now makes his home in Portland, showcases more than a dozen of his short ﬁ lms, in which trees sprout from furniture and women give birth to ﬁ sh . Clinton Street Theater. 7 pm Thursday, July 3 .

Penguins of Madagascar

The besuited birds are back, trying to prevent an evil octopus from taking over the world. Sorry, WW was too hung over to make the Saturdaymorning screening . PG .

Project Almanac

Teenagers build a time machine. Things don’t go as planned. Not screened for Portland critics . PG-13 .

Selma

A- It’s is transﬁ xing, but not easy to watch. And it should not be easy to watch . PG-13 . CHRIS STAMM . Academy.

Slaughter Nick for President

B Archival clips of the ponytailed and orange-skinned Stewart doing somersaults while holding a gun . AP KRYZA . Vancouver, Valley.

Spring Breakers

B- A candy-coated vision of the American Nightmare. R . MICHAEL NORDINE . Fifth Avenue.

Still Alice

A- Still Alice charts a linguistics pro-

fessor’s descent into early-onset Alzheimer’s disease. Richard Glatzer and Wash Westmoreland’s fi lm has an element of carefully balanced melodrama, thanks to a tightly written script and Julianne Moore’s transformative performance. Moore’s Alice begins the fi lm as a put-together Columbia professor who beats herself up for forgetting a single word in a lecture. As Alice’s memory worsens, Moore loosens her performance in a gradual, almost imperceptible manner. The fi lm is somewhat hampered by an overly dramatic score and a few lackluster performances, though Kristen Stewart’s work as Alice’s free-spirited daughter is a refreshing turn for the usually stoic actress. PG-13 . BLAIR STENVICK . Clackamas, CineMagic, Bridgeport, City Center, Fox Tower.

Strange Magic

An animated ﬁ lm inspired by A Midsummer Night’s Dream. In other words, time to introduce your babies to the Bard . PG .

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 ﬁ nal (praise be!) chapter in the Taken franchise . PG-13 . Vancouver.

The Second Best Exotic Marigold Hotel

B Old people . PG . JOHN LOCANTHI . Showing at most Portland-area theaters.

The Wrecking Crew

A music documentary about the Wrecking Crew in L.A., which you’ve undoubtedly heard already, whether you know it or not. These studio musicians played on tracks for Frank Sinatra, the Beach Boys, the Mamas and and Papas, and the Monkees, among others . PG . .

Wild

A- On the Paciﬁ c Crest Trail, hikers

speak of the “green tunnel” that greets you in Oregon. This tunnel— lush layers of moss and ferns and Douglas fi r—rarely breaks for views and drenches those who enter. As 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, it’s hard not to anticipate this green tunnel—and its accompanying downpours—like a kid counting down the days till summer vacation. Here’s some good news for Oregonians: Wild gets our state right. It’s also a rich and aff ecting piece of fi lmmaking, independent of any book. For those who’ve been, uh, in the wild, Wild recounts how in 1995, a 26-year-old Strayed undertook a solo trek on the Pacifi c Crest Trail, the track that wends itself from Mexico to Canada. Her mother had died of cancer a few years earlier, her marriage had crumbled, and she was self-destructing with the help of heroin and promiscuous sex. Like the book, the fi lm—directed by Jean-Marc Vallée of Dallas Buyers Club —is punctuated by fl ashbacks. What keeps us engaged isn’t fear about whether Strayed will survive, but the alchemy of physical toil and emotional turmoil, and the way past traumas and current challenges illuminate one another. Vallée doesn’t traffi c in nature porn, and the score is wonderfully evocative. That’s not to say Wild is perfect. The screenplay, by Nick Hornby, allows too many voice-over intrusions. Vallée could have stood to cut a few close-ups of Witherspoon looking pensive. There’s some heavy-handed symbolism surrounding a fox that keeps appearing on the trail. But the fi lm—in large part thanks to Witherspoon’s nervy, funny and emotionally rich performance—transcends such fl aws. And the Oregon rain, of course, helps to wash some of the others away. R . REBECCA JACOBSON .

For more Movies listings, visit 50

AP FILM STUDIES

B Early directorial eﬀ orts from

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D AV I D T O W N S E N D

MOVIES

TIME WARPED AGAIN ROCKY HORROR STRUTS ITS LANDMARK 37TH YEAR AT CLINTON STREET THEATER. BY A P KRYZA

friends. If they’ve been, they’ll be cheering you on, or they’ll be right next to you. And (don’t worry), if you’re eating something, it’ll probably be a banana or a cupcake.” —Bud Grub

apkryza@wweek.com

On Saturdays, the Clinton Street Theater mutates into an entirely different world. Rice and toast rain from the skies. Sweet transvestites strut their stuff as coy “virgins” contort themselves into wacky sexual positions (often while noshing on cupcakes). Oh, and everybody dances. Everybody. If you’ve never experienced the Clinton’s weekly Rocky Horror Picture Show extravaganza, you’re running out of excuses. The theater has given Portlanders approximately 1,924 opportunities to catch the granddaddy of all cult films. This week, the show enters its 37th year of revelry, making it the longest continuously running Rocky celebration in the world. To celebrate, the Clinton Street Cabaret is pulling out all the stops with costume contests and perhaps the biggest onstage “Time Warp” dance of the year (Clinton Street Theater; midnight Saturday, April 4). AP Film caught up with CSC president Bud Grub and theater owner Lani Jo Leigh to talk about Rocky’s Portland legacy and to get the skinny on what newbies (myself included) should expect. On the infamous “virgin games” “Here, it’s pretty tame. Somebody asks if you’ve been before. If no, we’ll put a little V on your forehead. All the people marked will go up onstage. It’s something embarrassing, but nothing horrible. Every face they see in the audience had to go through it.” —Bud Grub “They do very sexualized games. One girl will eat a muffin off of a crotch of another. There’ll be a dance contest, a contest where you have to move into different sexual positions. There are rules, and the last one is, have a good time. ‘If you can’t have a good time, then have a fucking good time.’” —Lani Jo Leigh On surviving the initiation “I always advise people to come with a group of

On Rocky’s Portland legacy “I’ve met a lot of young people who, before Rocky, had a lot of real issues about their sexuality because they felt different. Rocky is a safe environment to try on some fishnets or a corset and see how it feels. I’ve met people who were cutters, or suicidal, and they got better–not because of therapy, but because of Rocky Horror Picture Show.” —Lani Jo Leigh “My favorite part is that it gives a lot of people confidence. You can come to the show, dress up sexy, and nobody’s judging. Once you’re in, it’s a family. We look out for each other.” —Bud Grub ALSO SHOWING: I don’t know where Joy Cinema finds the glorious crap for its free Weird Wednesdays. But somewhere a vault contains the vampire-plant flick Island of Doom, and dammit, I want a peek inside. The Joy Cinema. 9 pm Wednesday, April 1. Church of Film explores the “Black Wave” of Yugoslavian cinema with shorts and Aleksandar Petrovic’s And Love Has Vanished. North Star Ballroom. 8 pm Wednesday, April 1. The Breakfast Club recently turned 30, the same age as most of the cast playing teenagers in John Hughes’ classic. Laurelhurst Theater. April 3-9. Even if you’ve never seen Fritz Lang’s 1927 classic Metropolis, you know it. It’s the first true masterpiece of science fiction. Nearly 90 years later, it’s still awe-inspiring. This screening includes Giorgio Moroder’s 1984 soundtrack. Academy Theater. April 3-9. Spring break might be over, but it’s not too late for a revival of Spring Breakers. 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday and 3 pm Sunday, April 3-5. Fashion in Film presents 1991’s Don’t Tell Mom the Babysitter’s Dead, which makes me nervous that the next fashion revival will include mom jeans, shoulder pads and fluorescent turtlenecks. Hollywood Theatre. 7 pm Saturday, April 4. How perfect is Peter Sellers’ Inspector Clouseau in Return of the Pink Panther? Not even Steve Martin could fill his shoes. He probably shouldn’t have tried, either. Hollywood Theatre. 2 pm SaturdaySunday, April 4-5.

MOVIES

COURTESY OF UNIVERSAL PICTURES

APRIL 3–9

TEAM SHEEDY: The Breakfast Club plays April 3-9 at the Laurelhurst Theater.

FOUR BLOOD MOONS THE LONGEST RIDE

Kennedy School Theater Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St. FURIOUS 7: THE IMAX EXPERIENCE Fri-Sat-SunMon-Tue-Wed 12:20, 03:40, 07:00, 10:20 FURIOUS 7 Fri-Sat-Sun 11:40, 03:00, 07:30, 10:50 NFINITY CHAMPIONS LEAGUE 2 Sat 12:55 KING JOHN (STRATFORD FESTIVAL) Wed 07:00 THE LONGEST RIDE

Bagdad Theater

3702 SE Hawthorne Blvd., 503-249-7474 FURIOUS 7 Fri-Sat-SunMon-Tue-Wed 12:30, 03:30, 07:00, 10:20

Cinema 21

616 NW 21st Ave., 503-223-4515 WHAT WE DO IN THE SHADOWS Fri-Sat-SunMon-Tue-Wed 04:15, 06:30, 08:45 IT FOLLOWS Fri-SatSun-Mon-Tue-Wed 04:30, 07:00, 09:15 WILD TALES Fri-Sat-Sun-Mon-Tue-Wed 04:00, 06:45, 09:15

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 FAUX FILM FESTIVAL FAVORITES Fri 07:00 SABBATICAL Sat 03:00 FAUX FILM FESTIVAL SatSun 07:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 NO FILMS SHOWING TODAY MonTue SOMEWHERE ELSE TOMORROW Wed 07:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 THE BREAKFAST CLUB Fri-Sat-Sun-Mon-Tue-Wed 09:30 SELMA Fri-Sat-SunMon-Tue-Wed 06:15 THE THEORY OF EVERYTHING Fri-Sat-Sun-Mon-Tue-Wed 06:30 WHIPLASH FriSat-Sun-Mon-Tue-Wed 09:10 BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Fri-Sat-SunMon-Tue-Wed 07:00 MR. TURNER Fri-Sat-Sun-MonTue-Wed 06:45 A GIRL WALKS HOME ALONE AT NIGHT Fri-Sat-Sun-Mon-TueWed 09:45 INHERENT VICE Fri-Sat-Sun-Mon-Tue-Wed 09:00 SONG OF THE SEA Fri-Sat-Sun 01:00, 04:00

Mission Theater and Pub

1624 NW Glisan St. UNFINISHED BUSINESS Fri-Sat-Sun-Mon-Tue-Wed 05:30 BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Fri-Sat-SunMon-Tue-Wed 08:00

Oak Grove 8 Cinemas

16100 SE McLoughlin Blvd., 503-653-9999 FURIOUS 7 Fri-Sat-SunMon-Tue-Wed 01:15, 02:00, 04:10, 05:00, 07:05, 08:00 IT FOLLOWS Fri-Sat-SunMon-Tue-Wed 02:50, 05:10, 07:35 HOME Fri-Sat-SunMon-Tue-Wed 02:25, 04:45, 07:00 THE DIVERGENT SERIES: INSURGENT Fri-SatSun-Mon-Tue-Wed 01:50, 04:30, 07:10 MCFARLAND, USA Fri-Sat-Sun-Mon-TueWed 01:20, 06:50 THE SECOND BEST EXOTIC MARIGOLD HOTEL Fri-SatSun-Mon-Tue-Wed 04:10 THE GUNMAN Fri-Sat-Sun 09:40 CINDERELLA FriSat-Sun-Mon-Tue-Wed 02:25, 04:50, 07:15 GET HARD Fri-Sat-Sun-Mon-TueWed 02:40, 05:05, 07:30

St. Johns Cinemas

8704 N Lombard St., 503-286-1768 FURIOUS 7 Fri-Sat-SunMon-Tue-Wed 04:00, 07:00, 10:00 THE DIVERGENT SERIES: INSURGENT Fri-SatSun-Mon-Tue-Wed 04:30, 07:20, 09:45

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 IT FOLLOWS Fri-Sat-SunMon-Tue-Wed 05:30, 07:40

Century 16 Eastport Plaza

4040 SE 82nd Ave. KINGSMAN: THE SECRET SERVICE Fri-Sat-Sun-MonTue-Wed 12:40, 03:50, 07:05, 10:10 FIFTY SHADES OF GREY Fri-Sat-SunMon-Tue-Wed 12:45, 04:10, 07:20, 10:25 CHAPPIE Fri-Sat-Sun-Mon-Tue-Wed 11:05, 02:00, 04:50, 07:40, 10:30 CINDERELLA FriSat-Sun-Mon-Tue-Wed 11:00, 12:25, 01:50, 03:20, 04:40, 06:15, 07:30, 09:10, 10:20 THE DIVERGENT SERIES: INSURGENT FriSat-Sun-Mon-Tue-Wed 01:00, 04:00, 07:10, 10:20 THE DIVERGENT SERIES: INSURGENT 3D Fri-SatSun-Mon-Tue-Wed 11:15, 02:20, 05:30, 08:45 HOME Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:40, 04:20, 07:00, 09:40 HOME 3D Fri-SatSun-Mon-Tue-Wed 12:30, 03:00, 05:40, 08:20 RUN ALL NIGHT Fri-Sat-SunMon-Tue-Wed 11:10, 02:05, 04:55, 07:40, 10:30 GET HARD Fri-Sat-Sun-Mon-TueWed 11:50, 01:05, 02:25, 03:45, 05:05, 06:25, 07:45, 09:05, 10:25 FURIOUS 7 Fri-Sat-Sun-Mon-TueWed 10:55, 11:45, 12:35, 01:25, 02:15, 03:05, 03:55, 04:45, 05:35, 06:25, 07:15, 08:05, 08:55, 09:45, 10:35

5736 NE 33rd Ave., 503-249-7474 PADDINGTON Fri-SatSun-Mon-Tue-Wed 05:30 JUPITER ASCENDING Fri-Sat-Sun-Mon 02:30 BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Fri-Sat-SunTue-Wed 07:45

Empirical Theatre at OMSI

1945 SE Water Ave., 503-797-4000 WALKING WITH DINOSAURS 3D Fri-Sat-Sun 11:00 SECRET OCEAN FriSat-Sun 10:00, 01:00, 04:30 JOURNEY TO SPACE Fri-Sat-Sun 12:00, 03:30 THE SPONGEBOB MOVIE: SPONGE OUT OF WATER Fri-Sat 04:00 INTO THE WOODS Fri-Sat 06:00 FLIGHT OF THE BUTTERFLIES Fri 11:00 INTERSTELLAR Fri-Sat-Sun 05:30 JAMES CAMERON’S DEEPSEA CHALLENGE 3D Sat 11:00 BEARS Sun 02:00

5th Avenue Cinema

510 SW Hall St., 503-725-3551 SPRING BREAKERS FriSat-Sun 03:00 NO FILMS SHOWING TODAY Mon-TueWed

Hollywood Theatre

4122 NE Sandy Blvd., 503281-4215 KUMIKO, THE TREASURE HUNTER Fri-Sat-Sun-MonTue-Wed 06:45, 09:00 IT FOLLOWS Fri-Sat-Sun-MonTue-Wed 07:15, 09:30 THE WRECKING CREW Fri-SatSun-Mon-Tue-Wed 07:00, 09:15 THE LAST: NARUTO THE MOVIE Fri 07:00 THE RETURN OF THE PINK PANTHER Sat-Sun 02:00 A FULLER LIFE Sat-Sun 04:20 DON’T TELL MOM THE BABYSITTER’S DEAD Sat 07:00 THE CLONE WARS Mon 07:00 COMMANDO Tue 07:30 HOW TO CHANGE THE WORLD

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 A YEAR IN CHAMPAGNE FriSat-Sun 03:00, 05:00 BIG IN JAPAN Sat-Sun 07:00 NO FILMS SHOWING TODAY Mon-Tue-Wed FOR THE RECORD

Regal Pioneer Place Stadium 6

340 SW Morrison St. FURIOUS 7 Fri-Sat-SunMon-Tue-Wed 12:15, 03:30, 07:00, 10:15 THE LONGEST RIDE

St. Johns Theater

8203 N Ivanhoe St. 503-249-7474-6 CINDERELLA Fri-Sat-SunMon-Tue-Wed 01:00, 04:00, 07:00, 09:45

Century 16 Cedar Hills

3200 SW Hocken Ave. MCFARLAND, USA FriSat-Sun-Mon-Tue-Wed 11:00, 02:00, 05:00, 08:00 KINGSMAN: THE SECRET SERVICE Fri-Sat-Sun-MonTue-Wed 12:30, 03:30 THE SECOND BEST EXOTIC MARIGOLD HOTEL Fri-SatSun-Mon-Tue-Wed 11:00, 01:55, 04:45, 07:40, 10:30 CINDERELLA Fri-Sat-SunMon-Tue-Wed 11:00, 12:30, 01:50, 03:20, 04:40, 07:30, 10:20 THE DIVERGENT SERIES: INSURGENT Fri-SatSun-Mon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:20 THE DIVERGENT SERIES: INSURGENT 3D Fri-Sat-SunMon-Tue-Wed 12:25, 03:15, 06:05, 09:00 THE GUNMAN Fri-Sat-Sun-Mon-Tue-Wed 07:45, 10:25 HOME Fri-SatSun-Mon-Tue-Wed 11:00, 12:15, 01:30, 02:45, 05:15, 06:30, 07:45, 10:15 HOME 3D Fri-Sat-Sun-Mon-TueWed 11:00, 04:00, 09:00 GET HARD Fri-Sat-SunMon-Tue-Wed 11:30, 12:30, 02:00, 03:00, 04:30, 05:30, 07:00, 08:00, 09:30, 10:30 FURIOUS 7 Fri-Sat-SunMon-Tue-Wed 10:50, 11:40, 12:30, 01:20, 02:10, 03:00, 03:50, 04:40, 05:30, 06:20, 07:10, 08:00, 08:50, 09:40, 10:30 IT FOLLOWS Fri-SatSun-Mon-Tue-Wed 12:00, 02:30, 05:00, 07:30, 10:00 KOMBAN Fri-Sat-Sun 08:00 KING JOHN (STRATFORD FESTIVAL) Wed 07:00 FOUR BLOOD MOONS DANNY COLLINS WOMAN IN GOLD THE LONGEST RIDE

Academy Theater

7818 SE Stark St., 503-252-0500 SELMA: THE BRIDGE TO THE BALLOT Fri-Sat-SunMon-Tue-Wed 02:00, 06:45 SONG OF THE SEA Fri-Sat-Sun-Mon-Tue-Wed 02:15, 04:40 THE THEORY OF EVERYTHING Fri-SatSun-Mon-Tue-Wed 04:20, 07:00 BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Fri-SatSun-Mon-Tue-Wed 07:15, 09:35 WHIPLASH Fri-SatSun-Mon-Tue-Wed 04:55, 09:25 GIORGIO MORODER PRESENTS METROPOLIS Fri-Sat-Sun-Mon-Tue-Wed 03:00, 09:45 PADDINGTON Sat-Sun 12:10 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION FRIDAY-THURSDAY, APRIL 3-9, UNLESS OTHERWISE INDICATED

Gunman, The (R) 1:55PM 7:40PM Home 3D (PG) 2:40PM 7:45PM Woman In Gold (PG-13) 11:05AM 1:50PM 4:35PM 7:25PM 10:10PM Get Hard (R) 10:45AM 12:15PM 1:20PM 2:50PM 3:55PM 5:25PM 6:40PM 8:00PM 9:20PM 10:35PM Kingsman: The Secret Service (R) 12:35PM 3:45PM 7:05PM 10:15PM McFarland, USA (PG) 12:45PM 3:50PM 7:00PM 10:05PM Home (PG) 10:55AM 12:10PM 1:25PM 4:00PM 5:15PM 6:35PM 9:05PM 10:20PM It Follows (R) 11:40AM 2:15PM 4:55PM 7:30PM 10:05PM

Furious 7 (PG-13) 11:00AM 11:50AM 1:30PM 2:20PM 3:10PM 4:50PM 5:40PM 6:30PM 8:10PM 9:00PM 9:50PM Cinderella (2015) (PG) 10:40AM 12:05PM 1:30PM 2:55PM 4:20PM 5:45PM 7:10PM 8:35PM 10:00PM Divergent Series: Insurgent, The 3D (PG-13) 12:15PM 3:15PM 6:15PM 9:15PM Chappie (R) 11:00AM 4:45PM 10:30PM Fifty Shades Of Grey (R) 10:50AM 1:45PM 4:40PM 7:35PM 10:30PM Focus (R) 11:30AM 2:10PM 5:00PM 7:50PM 10:25PM Divergent Series: Insurgent, The (PG-13) 10:45AM 1:45PM 4:45PM 7:45PM 10:40PM Do You Believe? (PG-13) 10:40AM 1:35PM 4:25PM 7:15PM 10:10PM

It Follows (R) 12:00PM 2:30PM 5:00PM 7:30PM 10:00PM

Divergent Series: Insurgent, The 3D (PG-13) 12:25PM

Home (PG) 11:00AM 12:15PM 1:30PM 2:45PM 5:15PM

3:15PM 6:05PM 9:00PM

Furious 7 XD (PG-13) 12:40PM 4:00PM 7:20PM 10:40PM

6:30PM 7:45PM 10:15PM Second Best Exotic Marigold Hotel, The (PG) 11:00AM

Cinderella (2015) (PG) 11:00AM 12:30PM 1:50PM 3:20PM 4:40PM 7:30PM 10:20PM Home 3D (PG) 11:00AM 4:00PM 9:00PM

1:55PM 4:45PM 7:40PM 10:30PM

Get Hard (R) 11:30AM 12:30PM 2:00PM 3:00PM 4:30PM

McFarland, USA (PG) 11:00AM 2:00PM 5:00PM

5:30PM 7:00PM 8:00PM 9:30PM 10:30PM Furious 7 (PG-13) 10:50AM 11:40AM 12:30PM 1:20PM

Komban (MM Media) (NR) 8:00PM Kingsman: The Secret Service (R) 1:10PM 4:10PM

2:10PM 3:00PM 3:50PM 4:40PM 5:30PM 6:20PM 7:10PM 8:00PM 8:50PM 9:40PM 10:30PM

7:10PM 10:10PM

Divergent Series: Insurgent, The (PG-13) 11:00AM

Gunman, The (R) 7:45PM 10:25PM

1:50PM 4:40PM 7:30PM 10:20PM

Get Hard (R) 10:15AM 11:50AM 1:05PM 2:25PM 3:45PM

Furious 7 (PG-13) 10:05AM 10:55AM 11:45AM 12:35PM

5:05PM 6:25PM 7:45PM 9:05PM 10:25PM

1:25PM 2:15PM 3:05PM 3:55PM 4:45PM 5:35PM 6:25PM

Run All Night (R) 11:10AM 2:05PM 4:55PM 7:40PM 10:30PM

7:15PM 8:05PM 8:55PM 9:45PM 10:35PM

Home 3D (PG) 10:00AM 12:30PM 3:00PM 5:40PM 8:20PM

Cinderella (2015) (PG) 11:00AM 12:25PM 1:50PM 3:20PM

Kingsman: The Secret Service (R) 12:40PM 3:50PM

4:40PM 6:15PM 7:30PM 9:10PM 10:20PM

7:05PM 10:10PM

Divergent Series: Insurgent, The (PG-13) 10:00AM

Home (PG) 11:00AM 1:40PM 4:20PM 7:00PM 9:40PM Fifty Shades Of Grey (R) 12:45PM 4:10PM 7:20PM 10:25PM Chappie (R) 11:05AM 2:00PM 4:50PM 7:40PM 10:30PM

1:00PM 4:00PM 7:10PM 10:20PM Divergent Series: Insurgent, The 3D (PG-13) 11:15AM 2:20PM 5:30PM 8:45PM

FRIDAY Willamette Week APRIL 1, 2015 wweek.com

CANNABISCOUNTRYSTORE.COM

END ROLL

DISPENSARY REVIEW: CANNABIS COUNTRY STORE If Battle Ground’s new Cannabis Country Store sold John Deere tractors, it would be perfect. Hell, even a green-and-yellow bong would up the ante. Even without the farm gear, walking into this recreational pot shop in exurban Washington is something like walking through the tunnel that divides Disneyland’s Frontierland from Main Street, U.S.A.—well, if Main Street, U.S.A. was a blacked-out liquor store’s parking lot in front of a Goodwill. Outside, a sign that’s styled like an old corner saloon tips you off to the country store theme. But inside it ’s a ma zing how much this shop has done to continue the theme, from the moment you get your head through the door and are asked to “make yourself at home” by a clerk in what seems to be a semi-authentic country accent. The large room is done up in classic Wild West style, with wood paneling, comfy red

couches and a little Toby Keith on the stereo. In a ballsy new twist, you can use both cash and plastic here. And there’s plenty to buy. This Country Store has 60-plus strains in stock, plus edibles, tinctures and a wide selection of glass paraphernalia in jewelry cases. Like other shops in the newly competitive recreational weed scene, they’re running street-price specials, like $10 grams of Agrijuana’s OG Kush. Constr uctive criticism? The place needs more deer heads, a few wooden barrels full of pickles, maybe some cannabis-infused beef jerky and a raff le for that green-and-yellow tractor mower, which they should display in all its glory in the middle of the floor. TED LANAHAN. GO: Cannabis Country Store, 1910 W Main St., Battle Ground, Wash., 360-723-0073, cannabiscountrystore.com.

For more information on John Callahan’s memorial, see ﬀojohncallahan.tumblr.com. 52

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checked along with triglycerides 35 Was winning 36 Trap set under the kitchen window, say 40 Some TVs 44 Show set in Baltimore, with “The” 45 Christmas crooner Perry 47 Venomous snake 48 Dakota du Sud, for one 49 Dog’s

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(and Mariah Carey’s sixth) 27 Verdi opera 31 “La Di Da Di” rapper with Doug E. Fresh (1985) 33 Furniture wood 36 Slightly, in Shetland 37 ___ Lions (Penn State athletes) 38 It gets fired up on the farm 39 Baroque violinist and composer Giuseppe 40 Hard, like rain 41 World Series of Poker champ Mike, nicknamed “The Mouth” 42 Path for a jet 43 Dye company worker 46 “Children of a Lesser God” Oscar winner 50 They may help to lift wings 54 Medieval Japanese land manager (hidden in MOJITOS) 57 Cologne compass point last week’s answers

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TAURUS (April 20-May 20): The American snack cake known as a Twinkie contains 68 percent air. Among its 37 other mostly worthless ingredients are sugar, water, cornstarch, the emulsifier polysorbate 60, the filler sodium stearoyl lactylate, and food coloring. You can’t get a lot of nutritious value by eating it. Now let’s consider the fruit known as the watermelon. It’s 91 percent water and six percent sugar. And yet it also contains a good amount of Vitamin C, lycopene, and antioxidants, all of which are healthy for you. So if you are going to eat a whole lot of nothing, watermelon is a far better nothing than a Twinkie. Let that serve as an apt metaphor for you in the coming week. GEMINI (May 21-June 20): You may be as close as you have ever gotten to finding the long-lost Holy Grail -- or Captain Kidd’s pirate treasure, for that matter, or Marie Antoinette’s jewels, or Tinkerbell’s magical fairy dust, or the smoking-gun evidence that Shakespeare’s plays were written by Francis Bacon. At the very least, I suspect you are ever-so-near to your personal equivalent of those precious goods. Is there anything you can do to increase your chances of actually getting it? Here’s one tip: Visualize in detail how acquiring the prize would inspire you to become even more generous and magnanimous than you already are. CANCER (June 21-July 22): People are paying attention to you in new ways. That’s what you wanted, right? You’ve been emanating subliminal signals that convey messages like “Gaze into my eternal eyes” and “Bask in the cozy glow of my crafty empathy.” So now what? Here’s one possibility: Go to the next level. Show the even-more-interesting beauty that you’re hiding below the surface. You may not think you’re ready to offer the gifts you have been “saving for later.” But you always think that. I dare you to reveal more of your deep secret power. LEO (July 23-Aug. 22): Some people believe unquestioningly in the truth and power of astrology. They imagine it’s an exact science that can unfailingly discern character and predict the future. Other people believe all astrology is nonsense. They think that everyone who uses it is deluded or stupid. I say that both of these groups are wrong. Both have a simplistic, uninformed perspective. The more correct view is that some astrology is nonsense and some is a potent psychological tool. Some of it’s based on superstition and some is rooted in a robust mythopoetic understanding of archetypes. I encourage you to employ a similar appreciation for paradox as you evaluate a certain influence that is currently making a big splash in your life. In one sense, this influence is like snake oil, and you should be skeptical about it. But in another sense it’s good medicine that can truly heal. VIRGO (Aug. 23-Sept. 22): According to the Biblical stories, Peter was Christ’s closest disciple, but acted like a traitor when trouble came. After Christ was arrested, in the hours before the trial, Peter denied knowing his cherished teacher three different times. His fear trumped his love, leading him to violate his sacred commitment. Is there anything remotely comparable to that scenario developing in your own sphere, Virgo? If you recognize any tendencies in yourself to shrink from your devotion or violate your highest principles, I urge you to root them out. Be brave. Stay strong and true in your duty to a person or place or cause that you love. LIBRA (Sept. 23-Oct. 22): Marketing experts say consumers need persistent prodding before they will open their minds to possibilities that are outside their entrenched habits. The average person has to be exposed

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SCORPIO (Oct. 23-Nov. 21): In Cole Porter’s song “I Get a Kick Out of You,” he testifies that he gets no kick from champagne. In fact, “Mere alcohol doesn’t thrill me at all,” he sings. The same is true about cocaine. “I’m sure that if I took even one sniff that would bore me terrifically, too,” Porter declares. With this as your nudge, Scorpio, and in accordance with the astrological omens, I encourage you to identify the titillations that no longer provide you with the pleasurable jolt they once did. Acknowledge the joys that have grown stale and the adventures whose rewards have waned. It’s time for you to go in search of a new array of provocative fun and games. SAGITTARIUS (Nov. 22-Dec. 21): The English writer William Wordsworth (1770-1830) wrote hundreds of poems. Among his most famous was “I Wandered Lonely as a Cloud,” which is also known as “Daffodils.” The poem sprung from him after a walk he took with his sister around Lake Ullswater in the English Lake District. There they were delighted to find a long, thick belt of daffodils growing close to the water. In his poem, Wordsworth praises the “ten thousand” flowers that were “Continuous as the stars that shine / And twinkle on the milky way.” If you are ever going to have your own version of a daffodil explosion that inspires a burst of creativity, Sagittarius, it will come in the coming weeks.

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CAPRICORN (Dec. 22-Jan. 19): Your subconscious desires and your conscious desires seem to be at odds. What you say you want is not in precise alignment with what your deep self wants. That’s why I’m worried that “Don’t! Stop!” might be close to morphing into “Don’t stop!” -- or vice versa. It’s all pretty confusing. Who’s in charge here? Your false self or your true self? Your wounded, conditioned, habit-bound personality or your wise, eternal, ever-growing soul? I’d say it’s a good time to retreat into your sanctuary and get back in touch with your primal purpose.

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AQUARIUS (Jan. 20-Feb. 18): Sometimes you’re cool, but other times you’re hot. You veer from acting aloof and distracted to being friendly and attentive. You careen from bouts of laziness to bursts of disciplined efficiency. It seems that you’re always either building bridges or burning them, and on occasion you are building and burning them at the same time. In short, Aquarius, you are a master of vacillation and a slippery lover of the in-between. When you’re not completely off-target and out of touch, you’ve got a knack for wild-guessing the future and seeing through the false appearances that everyone else regards as the gospel truth. I, for one, am thoroughly entertained!

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PISCES (Feb. 19-March 20): How can you ripen the initiatives you have set in motion in recent weeks? Of the good new trends you have launched, which can you now install as permanent enhancements in your daily rhythm? Is there anything you might do to cash in on the quantum leaps that have occurred, maybe even figure out a way to make money from them? It’s time for you to shift from being lyrically dreamy to fiercely practical. You’re ready to convert lucky breaks into enduring opportunities.

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ARIES (March 21-April 19): “Choconiverous” is an English slang word that’s defined as having the tendency, when eating a chocolate Easter Bunny, to bite the head off first. I recommend that you adopt this direct approach in everything you do in the coming weeks. Don’t get bogged down with preliminaries. Don’t get sidetracked by minor details, trivial distractions, or peripheral concerns. It’s your duty to swoop straight into the center of the action. Be clear about what you want and unapologetic about getting it.

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