41 36 willamette week, july 8, 2015 by Willamette Week Newspaper

NEWS FREE COLLEGE! (MOSTLY.) OUTDOORS HIKING TRAILS BY BUS. WEED PLANNING BETTER POT EVENTS. P. 6

P. 18

“LOVE IS A DRUG, TOO, YOU KNOW.” P. 49 WWEEK.COM

VOL 41/36 07.08.2015

WHAT HAPPENS WHEN A HUSBAND-AND-WIFE TEAM FIGHT TO SAVE THE LIFE OF EVERY VIOLENT DOG. BY ANNA WALTERS PAGE 12

P. 52

Willamette Week JULY 8, 2015 wweek.com

EMMA BROWNE

FINDINGS

PAGE 25

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 36.

The historic Benson Bubblers can neither stop running to save water nor run hard enough to provide a satisfying flow to the thirsty. 4 The good news is, Mayor Charlie Hales took anti-everything Commissioner Amanda Fritz off development. The bad news is, she’s now in charge of weed. Bye, weed! 6 TriMet helped obscenely wealthy adman Dan Wieden save $450,000 in taxes for doing nothing. Thanks, TriMet! 7

ON THE COVER:

The Oregonian’s customer service department is being outsourced, meaning you will never stop delivery of Foodday. 11 We sure would save a lot of money by allowing an elderly couple to take three new pet dogs home. 17 A former St. Johns crack house painstakingly restored to become a gorgeous restaurant is now slated for demolition. 22 Forget the Timbers. Savvy ticket scalpers should get in on the action with weed events. 52

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Dog as Hannibal Lecter by Tim Foley.

Anti-gay Gresham baker Aaron Klein, now working as a garbage man, owes $135,000 in damages.

STAFF Editor & Publisher 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 Projects Editor Matthew Korfhage Music Editor Matthew Singer Web Editor Lizzy Acker Books Penelope Bass

Visual Arts Megan Harned Editorial Interns Mackenzie Broderick, Allie Donahue, Claire Holley, Hart Hornor, Emily Volpert, Amy Wolfe CONTRIBUTORS Dave Cantor, Nathan Carson, Rachel Graham Cody, Pete Cottell, Shannon Gormley, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Mark Stock, Anna Walters PRODUCTION Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Kristina Morris Graphic Designers Mitch Lillie, Xel Moore

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INBOX A FAN’S ALL-WET DREAM Now that the uncertainty is over—with Aldridge, Matthews, Lopez, Batum and Blake gone, and with a lot of money freed up—the Blazers have a chance to look for one or two good players to ﬁll out what actually might be a pretty good team [“Crystal Ballers,” WW, July 1, 2015]. Hey, since he has not signed yet and has a deal with Nike, why not sign LeBron? —Patrick Pine

TAXING DRIVERS BY DISTANCE

I’m perfectly happy to pay my appropriate gas tax for the amount of fuel I consume [“Paying by the Mile,” WW, July 1, 2015]. If my vehicle gets worse mileage than another vehicle, I obviously pay my higher share by consuming more gallons and paying more tax. Conversely, if my vehicle gets better mileage than others, I obviously pay my lower share by consuming fewer gallons. This new program is nothing more than a way to extract more tax from us and monitor how much and where I drive. This is simply not something I’ll ever agree to. If they need to collect more taxes, simply adjust the gas tax for everyone so we all pay our fair share, and tax non-gas vehicles by the mile. We need one more big brother looking into our privacy like we need a hole in our heads. —“Tahoe Joe” Why do we need a flat-rate mileage tax? We should tax vehicles by weight when they are

Why are the Benson Bubblers [Portland’s landmark public water fountains] always running, especially when Oregon is experiencing a serious drought ? —Indra Why do all those Benson Bubblers only release like a quarter-inch of water? Can’t they ratchet up the water pressure? —Pissed Oﬀ in SW The opportunity to socialize with political professionals is one of the perks of being a journalist. (It’s pretty much the only perk—you don’t wanna see the groupies you get in this line of work.) By “socialize,” of course, I mean “drink.” I don’t think anybody is surprised when a newspaperman can stick it away, but the two letters above, which came in within two weeks of each other, go a long way toward explaining why my mild-mannered, policy-wonk friends do such a good job of keeping up. I’m as pro-democracy as the next guy (assum4

Willamette Week JULY 8, 2015 wweek.com

registered, and continue to tax commercial vehicles and trailers by weight. Yes, you lose some money on out-of-state drivers, but overall it’s still a much better plan, as you would lose the same out-of-state drivers since they aren’t going to be installing these mileage trackers. —“Firegod”

SET FOR A SWEET AFTERLIFE

Nice marijuana coverage [“Sweet Releaf,” WW, July 1, 2015]. It convinced me that I made the right decision when I directed that after my death I be cremated and my ashes mixed in as a soil additive to a commercial or medicinal marijuana-growing operation. —Richard David Bach 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.

ing the next guy is Mussolini), but if it were my job to appease every selfie-stick-waving voter with an ax to grind, I’d need more than just whiskey to get me out of bed in the morning. To answer Indra’s question: The Bull Run Watershed, where we get our water, isn’t dependent on melting snowpack, and levels there are normal. Some parts of Oregon are indeed having a drought, but Portland isn’t one of them. Pissed Off, you should know that the fountains used to have a lustier flow, but they’ve been throttled back as a conservation measure, and also to appease people like Indra. The bubblers currently use less than a thousandth of our water. Should they use more? Less? In a perfect (or at least more entertaining) world, we could put these two letter writers in a cage and let them duke it out on pay-per-view. As it is, bureaucrats try to steer a middle course (success in government is achieved when all parties hate you equally) and count the minutes till happy hour. QUESTIONS? Send them to dr.know@wweek.com

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BUSINESS: TriMet gives the rich a tax break. MEDIA: Why The Oregonian is selling its presses. COVER STORY: Clawing over the fate of dangerous dogs.

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Portland Mayor Charlie Hales last week publicly embarrassed City Commissioner Amanda Fritz by abruptly yanking her control of the bureau that oversees realestate development. Fritz had angered developers with fee hikes and policies targeting skinny houses. The mayor reassigned the Bureau of Development Services FRITZ to Commissioner Dan Saltzman. Fritz got the Office of Neighborhood Involvement, which she had previously run—but that bureau now oversees the city’s marijuana policy program, about to become a major source of new cash. As reported on wweek. com, the city is poised to charge medical marijuana dispensaries $1,500 each for temporary licenses to sell recreational weed starting in October. Fritz declined to talk about her new weed empire, saying she hadn’t been briefed on it yet. The Oregon Legislature went home July 6 after its usual flurry of last-minute deals. This year’s buzzer-beating winners: community-college students and women’s reproductive rights. A bill sponsored by Sen. Mark Hass (D-Beaverton) provides free community college to needy students, as many as 12,000 annually. GOP darling Rep. Knute Buehler (R-Bend) passed legislation allowing pharmacists to prescribe birth control. The losers? Big names with grand aims. Outnumbered Senate Republicans blocked $40 million in bonds for affordable housing, a top priority for House Speaker Tina Kotek (D-Portland). House leaders killed a $337 million seismic upgrade of the state Capitol, the pet project of Salem’s most powerful lawmaker, Senate President Peter Courtney (D-Salem). He was unhappy. “When the magnitude 9 quake hits, the loss of life and property across our state will be tremendous,” Courtney said. “The decision not to complete this project ensures that those losses will include the Oregon State Capitol and the people inside it.” Northeast’s Portland’s Cully neighborhood has gotten rid of its most notorious landmark—a sexual shopping plaza called The Sugar Shack. The cost? Making the strip club’s federally indicted owners $2.3 THE SUGAR SHACK SITE million richer. WW reported last year that neighborhood groups were raising funds to buy the site (“Sugar Shackup,” WW, Nov. 26, 2014). In May, federal prosecutors charged Lawrence Gary Owen with engaging in interstate commerce for illegal purposes: He allegedly operated ATMs to promote prostitution at the Sugar Shack and three other area strip clubs. Neighborhood coalition Living Cully bought the Sugar Shack site from members of Owen’s family for $2.3 million in June after receiving donations from the Portland Development Commission and Business Oregon. “After 20 years of suffering through this, the community decided that they would act,” says Living Cully organizer Tony DeFalco. “If the community didn’t do that, the property would probably still be acting as a strip club.” Read more Murmurs and daily scuttlebutt.

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CREDIT SCORE TRIMET AND A PORTLAND BROKER WORK AROUND THE LEGISLATURE’S RULES ON SELLING TAX CREDITS TO WEALTHY INVESTORS. By nigel jaquiss

njaquiss@wweek.com

Dan Wieden recently did something few Oregonians can do: He bought a dollar for 75 cents. Wieden, co-founder of Portland’s Wieden+Kennedy advertising agency, purchased a $1.8 million state income tax credit from TriMet in April. To get the credit, he paid only $1.35 million—saving $450,000 on his taxes. The tax credits were created to encourage energy efficiency in transportation projects in Oregon. At the same time, however, they have allowed wealthy Oregonians to reduce their own taxes at the expense of state budgets for schools, health care and public safety. In 2011, state legislators saw that Oregon’s massive energy tax credit program was costing the state too much and too many people were doing what Wieden did: obtaining tax breaks at bargain prices. But the practice has continued, despite legislative reforms. Records obtained by WW show a private broker TriMet hired last year claimed to have found a loophole that allowed public agencies, including TriMet, to continue selling tax credits for a deep discount. Earlier this year, however, documents show a leading Portland accounting firm warned the Oregon Department of Energy that such discounts appeared to violate state law. Energy officials responded by rewriting the rules after the fact, according to records. Wieden and other investors who bought the discounted tax credits did not do anything wrong. But critics, such as Chuck Sheketoff of the Oregon Center for Public Policy, say public agencies in the state were supposed to have stopped serving up big tax breaks on a silver platter.

“This is a subsidy program for energy investments,” Sheketoff says. “It’s not supposed to be a program to further enrich the founder of one of the world’s largest ad agencies.” Oregon has a long and tangled history with tax credits. Like many states, Oregon has doled out tax credits to encourage investments that might not otherwise occur. The state provides credits, for instance, to stimulate development of alternative energy projects and lowincome housing, and to preserve historic properties. Tax credits work like grocery coupons. The Legislature approves the credits and grants them to project developers, who sell them to investors like Wieden. The proceeds help pay for new projects, and the investor gets to reduce his tax bill by the value of the credit.

“this is a suBsidy program for energy investments. it’s not supposed to Be a program to further enrich the founder of one of the world’s largest ad agencies.” —ChuCk Sheketoff, oregon Center for publiC poliCy

The Oregon Department of Energy issued more than $1 billion in tax credits between 2007 and 2014, according to the Legislative Revenue Office, much of it to support wind farms. After the agency’s main program, the Business Energy Tax Credit, proved too expensive, lawmakers in 2011 ended the program. One major flaw lawmakers wanted to address was the low price investors were paying for tax credits. New laws required that the purchase price of credits better reflect their value. If an investor is getting a tax credit worth $1, then the price of the credit should be as close to $1 as possible. To replace the old, unlimited energy tax credit program, lawmakers created new programs, including the Energy Investment Program, capping tax credits it would offer at $51 million per biennium. The program included incentives for transit agencies to save energy, and the Oregon Department of Energy awarded TriMet $3.6 million in tax credits beginning in 2015. Last year, TriMet hired a Portland broker named Blue Tree Strategies to help it find buyers for the tax credits. Blue Tree president Aaron Berg told TriMet he’d helped 25 public clients sell more than $10 million in tax credits. In a June 2014 letter to TriMet, Berg noted that legislative reforms had made tax credits less attractive. “These new discount rates are significantly reduced when compared to the old BETC program, resulting in a much lower rate of return for buyers,” Berg wrote June 3, 2014. “In our opinion, in order to induce buyers to purchase TriMet’s credits, the credits (and most other EIP credits in the marketplace) will need to be ‘marked to market’ against old-BETC discount rates.” Translation: To make the tax credits more appealing to investors, TriMet and Blue Tree would need to find a way to cut the price below what state law appeared to allow. cont. on page 8

Willamette Week JULY 8, 2015 wweek.com

BUSINESS

Documents show Blue Tree came up with an elaborate transaction allowing TriMet to show it had been selling the credits at a higher price, even while offering investors a big discount. In an interview, Berg told WW the mechanism he proposed to TriMet was perfectly legal and no different from the rebate programs that manufacturers and retailers offer their customers. He says he proposed it because new rules raising tax-credit prices made them unattractive to investors. “The feedback we were getting was, the price was too high,” Berg says. But while TriMet and Berg were preparing to sell the tax credits, a private accounting firm questioned how brokers could offer tax credits at prices lower than state guidelines. Irina Antonache, a senior manager in the tax group at the Portland accounting firm Moss Adams, wrote to state Energy Department officials earlier this year suggesting the practice didn’t comply with the new law. “I understand that one or more intermediaries have been transferring EIP credits at a pass-through rate that is lower than the mandated rate,” Antonache, who is also a lawyer, wrote in an email to Energy Department officials Jan. 16. “It has been our understanding that the EIP credits must be transferred at the pass-through rate as established by the DOE.” (Antonache did not respond to

Willamette Week JULY 8, 2015 wweek.com

“THE FEEDBACK WE WERE GETTING WAS, THE PRICE WAS TOO HIGH.”

SAM BEEBE/WIKIPEDIA

NEWS

—AARON BERG, BLUE TREE STRATEGIES

HE JUST DID IT: Portland ad man Dan Wieden beneﬁted from cheap tax credits.

a request for comment.) On March 23, the Energy Department acted to resolve the confusion. The agency issued a temporary rule allowing the transactions at whatever price buyers and sellers agreed upon and then made the determination retroactive. With the new, temporary rules, the mechanism Berg suggested to TriMet was no longer necessary. The agency completed the sale of the $3.2 million in tax credits in April, selling them at 75 cents on the dollar. (TriMet sold to six buyers in all. The next largest after Wieden was Pacific Office Automation, which bought

$772,500 worth of credits.) The Energy Department’s new rules yielded less money than sellers such as TriMet might have collected. On Wieden’s transaction, for example, TriMet netted only 70 cents on the dollar, after fees paid to Blue Tree. TriMet spokeswoman Mary Fetsch says that’s the best her agency could do. “Demand for the tax credits is the determining factor based on the rate willing buyers will pay for them,” Fetsch wrote in an email. Fetsch says her agency will use the proceeds to overhaul aging MAX cars and other vehicles. TriMet would have done the work that proceeds from the sale helped subsidize anyway, Fetsch says— just more slowly. Wieden did not respond to requests for comment. Sen. Mark Hass (D -Beaverton), cochairman of the Joint Committee on Tax Credits, says he’s unfamiliar with the spe-

cifics of the TriMet deal, but he’s opposed to discounting tax credits. “We’re trying to meet policy goals,” Hass says. “We’re not interested in lowering taxes for well-heeled taxpayers.” Sheketoff says big discounts are unnecessary. He notes that the Oregon Film Office auctions the $10 million in tax credits it receives each year and gets more than 99 cents on the dollar. Department of Energy chief financial officer Anthony Buckley says the agency always believed it was legal for tax-credit holders such as TriMet to sell credits below the state’s formula price. He says the March rule change merely clarified that point. “Once a credit is issued,” Buckley said in statement, “ODOE no longer has authority over how the credit is used.” Sheketoff says Buckley is missing the point. “Both ODOE and TriMet have a responsibility to taxpayers,” he says. “They are enriching people contrary to what the Legislature intended.”

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NEWS

Jarod opperman

MEdiA

LATE EDITIONS: Workers load newspapers for delivery at The Oregonian’s press plant at 1621 SW Taylor St. The paper’s owners announced last week they plan to sell the presses.

SHOP THE PRESSES THE OREGONIAN IS SELLING ITS PRINTING PRESS—AND ADVANCING DEEPER INTO THE WEB. By AARON MESH

amesh@wweek.com

For more than a century, the daily rumble of its downtown printing presses and the roar of its delivery trucks signaled the news rolling out of The Oregonian. But on June 30, a huge omen for the newspaper’s future arrived via a digital whisper on its website, OregonLive.com. The presses would be closed, the printing plant sold, and the newspaper printed by a private contractor. The move will cost as many as 100 of the newspaper’s longestserving employees their jobs. The Oregonian’s New York-based owner, Advance Publications Inc., signaled its intention in 2013 to move toward digital delivery of the news, and the paper is hardly alone in wanting to shift aggressively to the Web. News media industry observers say Advance is taking big steps in a national trend of jettisoning print facilities, which can account for half the costs of newspaper publishing. Ken Doctor, a longtime news industry analyst and a onetime editor and publisher in Oregon, says few newspapers have been willing to follow Advance’s reduction of print, but other papers will be forced to confront the same choices. “They’re right,” Doctor says. “By the year 2020, most people will access the newspaper on a digital basis. At some point, the print volumes don’t justify the whole process, and the daily newspaper goes away.” Advance, owned by the heirs of founder S.I. Newhouse, has enforced radical changes at The O as part of its “digital first” strategy. The newspaper went through major layoffs in 2010 and 2013, ended daily home delivery of the newspaper, shrunk the print version to a tabloid, and sold off the paper’s Southwest Broadway

headquarters. Advance also introduced steep Web quotas that rewarded—and potentially punished—reporters for how often they posted to OregonLive.com (“The Click Factory,” WW, March 26, 2014). The latest decision could rival the severity of the last round of cuts, when nearly 100 people lost their jobs. An Oregonian employee, who spoke with WW on condition of anonymity, says 14 customer service representatives were told June 30 they would be laid off in August. They were also told The O’s customer service department would be outsourced to a Colorado company. Sources tell WW that between 30 and 100 printing press employees will lose their jobs. Kevin Denny, vice president and general manager of Advance Central Services Oregon, which manages the newspaper’s physical operations, declined to comment for WW. The company hasn’t filed a layoff notice with the state, required of companies eliminating more than 50 jobs. Since 2009, more than 140 newspapers in the nation have shuttered production plants, according to the printing industry journal News & Tech. Most have been small- or medium-sized papers, which outsource printing to larger newspapers nearby. These bigger papers, in turn, have used revenues from this printing business to cover the costs of running their own presses. The Oregonian, for example, took on the job of printing the Salem Statesman Journal in 2012. But Advance has closed presses at the largest papers in the cities where it operates. “Advance is consolidating as much as they possibly can—not just Portland,” says Tara McMeekin, editor in chief of News & Tech. “They’re looking to do as much as they can with as little as they can.” In October, the Advance-owned Times-Picayune in New Orleans announced it would close its presses, lay off more than 100 workers, and print the paper at a company plant in Mobile, Ala.— trucking it across two state lines each morning for delivery. Joshua Benton, director of the Nieman Journalism Lab at Harvard University, says that by shutting down its Portland presses, Advance is giving The Oregonian more flexibility as it changes its operational DNA. “There’s been no American newspaper company that has been more aggressive in transitioning from print to digital as Advance has,” Benton says. “That has led to a lot of pain along the way. We’ll have to talk in 10 years about whether it was the right strategy or not.” Willamette Week JULY 8, 2015 wweek.com

PHOTOS BY VIKESH KAPOOR

FENCED IN: Dewbie, a pit bull belonging to a homeless woman, is in security quarters at Multnomah County Animal Services. A case to determine his fate is before the Oregon Court of Appeals.

Willamette Week JULY 8, 2015 wweek.com

EARNED STRIPES: Unlike his former neighbors in security, Tiger, a catkilling pit bull, now goes on walks, hangs around the office with Animal Services staff and occasionally is placed in a temporary foster home.

DEAD DOG WALKING WHAT HAPPENS WHEN A HUSBAND-AND-WIFE TEAM FIGHT TO SAVE THE LIFE OF EVERY VIOLENT DOG. BY A N N A WA LT ERS

awalters@wweek.com

The inmate wants out of his darkened cell. He paces, calling out day and night until his throat is raw. His nails bleed from trying to claw his way through concrete walls to freedom. His name is Cujo, a coiled 51 pounds of brown and white pit bull. When a keeper draws back a curtain, washing the cage in daylight, Cujo hurls himself against the cell’s wire door, his jaws snapping. If the door gave way, a second chainlink gate would stop the dog’s escape. No one around Cujo takes any chances. Cujo is locked up at Multnomah County Animal Services in Troutdale, a compound off West Historic Columbia River Highway and surrounded by trees, tall grass and bramble. He has been here since he mauled the face of a 4-year-old girl. County officials consider Cujo a “dangerous dog,” a legal finding that would allow them to euthanize him. Cujo may never walk out of his cage again except to die. Some animal-rights activists say the death penalty is no more ethical for dogs than it is for humans. Officials with Animal Services disagree, arguing they must protect the public. “These dogs are a potential threat to society,” says Randall Brown, Animal Services’ chief field supervisor. “There’s a potential that they could harm another human.” The county’s rules lay out the steps necessary before a dangerous dog can be euthanized, and the decision to put the animal down could be carried out in as few as three weeks. But Cujo has been locked up for 15 months. Cujo’s neighbor, Dewbie, is a brown pit bull who bit three strangers in a matter of weeks, breaking skin each time. He’s been in custody for 19 months. Tiger, a tawny, cat-killing pit bull, has been locked up nearly as long. County officials say it’s been years since so many violent dogs have been in solitary for this length of time. Animal Services can neither euthanize nor free these tail-wagging hard cases. That’s because the fates of these dogs are tied up in court, thanks to a psychologist named Gail O’Connell-Babcock and her lawyer husband, Robert “Reb” Babcock. CONT. on page 14

TREATED: Randall Brown, chief field supervisor for Animal Services, feeds treats to Tiger, who was moved from maximum security to a regular kennel space for good behavior. Willamette Week JULY 8, 2015 wweek.com

“MY CLIENT IS THE DOG.”

VIKESH KAPOOR

—GAIL O’CONNELLBABCOCK

JEFF HAMMOND

BAD TO THE BONE: Cujo, a pit bull classified as “dangerous,” has been in security since April 2014, when he was 10 months old. He’s now spent more than half his life in a cage.

RECOVERING: Yalitza Ballesteros, 6, with her miniature poodle, Bartolo, still has small scars on her face and head from the 2014 attack by Cujo. 14

ortland is dog heaven, where no-kill shelters are common and large swaths of city parks have been dedicated to four-leggers. But even among animal advocates, the Babcocks are unusual. For two decades, the Babcocks (she is 72, and he is 71) have waged a dog-by-dog fight to save the lives of the most violent canines—even when the dogs’ owners walk away and county officials say they can find no humane long-term shelter to keep the dogs away from the public. The Babcocks say they believe there is rarely—if ever—a dog that deserves to be called dangerous. They say dogs bite when they’re put in bad situations, either by the owners or even by the victims of a dog attack. The Babcocks say they work to help the dogs’ owners, given that the county’s determination to eliminate risk around violent dogs leads to the ruthless idea the animals must be killed. “It’s easier to blame the dog,” O’Connell-Babcock says. “That would be like our blaming our child on the playground when he punches someone, and saying, ‘That’s a dangerous child, we need to get rid of him.’” The Babcocks’ crusade has often been portrayed in the news media as good-hearted, if eccentric. But their tactics have a hidden price. O’Connell-Babcock routinely labels Animal Services as dishonest, manipulative and uncaring. They have also intentionally dragged out Cujo’s case, even though the owner isn’t sure he wants the dog back. The cost to taxpayers of caring for Cujo, Dewbie and Tiger has hit $34,000, including $6,000 for back surgery on Tiger in April. Meanwhile, the dogs grow more manic. Both Cujo and Dewbie are too dangerous to take on walks. Animal Services workers try to distract them with videos of squirrels and other wildlife on a 32-inch TV, recently purchased by a donor. County vets—hoping to decrease the dogs’ obsessive behavior—have Cujo and Dewbie on anti-anxiety meds. The Babcocks blame the county for the dogs’ condition. O’Connell-Babcock likens her struggle to save dogs in the county shelter to the battles waged by Rosa Parks, Susan B. Anthony and Nelson Mandela. The county says the Babcocks are the ones who have allowed the dogs to deteriorate. The couple has often left other animal-rights advocates uneasy. “I applaud their efforts to make a difference in the lives of shelter animals. It’s just not my style,” Sharon Harmon, executive director of the Oregon Humane Society, says of the Babcocks. “Extreme and idealistic people do have impact. But you can see how polarizing they are.” The Babcocks say that—regardless of how they are perceived—they are trying to save lives. “My client,” O’Connell-Babcock says, “is the dog.”

Willamette Week JULY 8, 2015 wweek.com

n the morning of April 2, 2014, Eleazara BallesterosPerez visited a friend in Gresham and took her daughter, Yalitza, a 4-year-old who loves dogs. Yalitza went outside to play with several other children in a fenced yard. One of the residents owned a pit bull. That dog was Cujo. A few minutes later, one of the children ran inside. “The dog is attacking the baby!” he screamed. Cujo had clamped its jaws around Yalitza’s head and face. Ballesteros-Perez yanked on the dog’s ears until it released the little girl, and then covered her daughter as Cujo lunged again. Ballesteros-Perez kicked at the dog until someone could control it. At Oregon Health & Science University, ER doctors found a nearly 3-inch gash on the top of Yalitza’s head and deep holes in both cheeks. Sasha Ballesteros, Yalitza’s aunt and guardian, says chunks of the little girl’s skin hung off her face. Multnomah County Animal Services investigates dog bites, and the agency put an officer on the case after learning about the attack on TV news. The initial story said the dog had been a stray that walked up and attacked the girl. The Animal Services officer went door to door, and two days later pieced together the real story. The officer seized Cujo and cited the dog’s owner, Luis Rocha, then 22, for owning a dangerous dog. A “dangerous dog” classification is reserved for dogs that

cause “the serious physical injury or death of any person.” In 1986, the county created a five-level scale for aggressive dogs after a pit bull in Gresham killed a 5-year-old boy who wandered into a fenced backyard. In 2013-14, the latest year for which the county has statistics, Animal Services labeled four dogs as dangerous dogs and 256 as “potentially dangerous.” Since 2010, according to Animal Services, the county has euthanized four dogs classified as “dangerous” and 44 considered “potentially dangerous.” (The numbers include dogs that were put down for health reasons.) “Euthanasia is always a last resort,” says county attorney David Blankfeld, who represents Animal Services in disputes. “It can be for a variety of unfortunate reasons such as illness or poor rehabilitative prognosis due to lack of a bite inhibition.” In many cases, the owner of a dog classified as dangerous or potentially dangerous voluntarily signs off on euthanizing the animal. Others, like Cujo’s owner, fight back.

espite the attack on Yalitza, Luis Rocha says he disagreed that his dog Cujo was a threat. Rocha says he got the dog as a puppy and named him Cujo because he “just liked the name.” He declined to say if he also named Cujo after the title dog in Stephen King’s 1981 best-selling novel (and a 1983 movie) about a rabid, homicidal Saint Bernard. “If he was a dangerous dog,” Rocha says about his dog, “why would I want him around my kids?” Rocha says he wanted to fight back. “I didn’t know what to do,” he says. Then he heard from Gail O’Connell-Babcock. She had learned about Cujo as she does about much of what goes on at Animal Services: through weekly public records requests about the shelter’s intake. In the last week of June, for example, she requested documents for 59 dogs and four cats. (The Babcocks pay the county as much as $400 a month for the reports. County officials say that barely covers the costs of dealing with the Babcocks—they estimate that responding to the couple uses 40 hours of staff time a week—the equivalent of a $50,000-a-year employee’s time. The Babcocks dispute that claim.) Once she identifies the dogs, O’Connell-Babcock then sends out letters to the owners of dogs cited for violating county code and volunteers her help. In her letter to Rocha, O’Connell-Babcock offered Reb Babcock’s legal services free of charge. Rocha says he was relieved. “There was somebody who

DOGS THOMAS TEAL

CONT.

DOGMATIC: Gail O’Connell-Babcock (pictured with Max, her mastiff lab mix) has dedicated the past two decades to saving dogs that may have otherwise been put down. She estimates she’s helped find hundreds of homes for canines with nowhere else to turn.

was actually there that cared,” he says. Animal Services issued 8,866 violations in 2013-14. Most are for unlicensed animals, but the violations include everything from stray pets to animal abuse. The county and pet owners settle most tickets. When cases such as Cujo’s don’t get settled, both parties enter what amounts to animal court. A hearings officer issues a decision after reviewing evidence, listening to witnesses and considering the owners’ pleas. It’s at these hearings where the Babcocks begin to tie Animal Services in knots. County records show the Babcocks have represented 147 dog owners in appeals since 2010. Reb Babcock (who does virtually all the dog legal work for free) took 23 cases to hearings in that time. Records show he lost all but one. “They will use every argument or appeal that they can,” says Blankfeld, the county’s counsel, “and wait until the last possible day to file an appeal.” Reb Babcock says he continues his legal fights for the dogs because he believes the county’s view of how to eliminate the risk of another attack is too narrow. “There’s a philosophy that killing is safer,” he says. “And there’s a philosophy, which I have, that let’s find out what, short of killing, will achieve a reasonable degree of public safety.” In Cujo’s case, documents show, Rocha, the dog ’s owner, had originally said the little girl had been attacked by a stray dog that had wandered into his yard. Rocha also said he had seen the entire incident, and asserted the wounds on Yalitza were mere scratches caused when Cujo jumped on her while playing. Testimony and other evidence showed Rocha had lied. The dog was indeed his, and he hadn’t actually witnessed the attack. Other witnesses, including Yalitza’s mother and Rocha’s wife, saw Cujo bite the girl. Yalitza told her story at the hearing. “The dog bit me everywhere,” she testified, “and would not let me go.” Reb Babcock defended Cujo in part by downplaying the harm done to the girl. He argued Cujo should not be classified as “dangerous” because the county had failed to prove that Yalitza’s wounds constituted “serious and protracted disfigurement.” “Looking at the little girl today, and looking at the improvement over time, it is not disfiguring now,” Babcock told the hearings officer. Babcock made the argument even though Yalitza had appeared at the hearing with scars caused by Cujo still visible on her face.

REBEL: Lawyer Robert “Reb” Babcock routinely fights Multnomah County Animal Services to get dogs that have bitten people or harmed other animals off the hook. One of his clients owns a catkilling pit bull that has been in county lockup for more than a year. “Does a cat-kill deserve a dog death?” Babcock asks. “What a cat-kill deserves is a good fence. Because dogs chase cats.”

“LET’S FIND OUT WHAT, SHORT OF KILLING [A DANGEROUS DOG], WILL ACHIEVE A REASONABLE DEGREE OF PUBLIC SAFETY.” —REB BABCOCK Today, Babcock says he’s sorry for Yalitza, but he blames adults who left her unsupervised with Cujo. He also says she appeared to be fine when she testified about the attack. “She was really over it, in terms of psychological trauma,” he says. He also believes the scars weren’t that serious and might not be permanent. “If my daughter had that blemish,” Babcock says, looking at a photo of Yalitza’s face, “that wouldn’t trouble me at all.” Sasha Ballesteros, Yalitza’s guardian, says the girl, now 6, isn’t over the trauma of the attacks—she continues to fear strange dogs. Yalitza healed but still has scars, including a patch on her head where hair won’t grow, and she asks Ballesteros when the marks will go away. Ballesteros says Babcock’s comments about Yalitza leave her feeling angry and sad. “This guy doesn’t have a heart or compassion for what people go through,” she says.

n July 2014, the hearings officer dismissed Babcock’s arguments, ruling that Cujo had launched “an unprovoked, unrelenting attack.” The only reason the injuries weren’t worse was because the girl’s mother stopped Cujo when she did. The hearings officer declared Cujo a dangerous dog and left it to county officials to determine whether he should die. When he loses before a hearings officer, Babcock has taken dog cases to Multnomah County Circuit Court. He’s filed at least 30 petitions since 1996. In Cujo’s case, Babcock filed the petition and then did nothing in court for months. He tells WW he took no action

in the case because he thought the delay might put pressure on the county to change its position. “I will admit I dragged my feet,” Babcock says. He finally filed paperwork three weeks ago to get Cujo’s case moving, only after WW asked about it. “The fact that these people can openly admit to stalling makes them nothing short of hypocrites,” says Multnomah County spokesman David Austin. “They claim that they care about dogs, but delaying these things only hurts these dogs.” Rocha, Cujo’s owner, tells WW he hasn’t heard from the Babcocks for a year and didn’t know about the appeal. “As far as I know,” Rocha says, “the whole case was closed and we lost.” (The Babcocks say that isn’t true—they say they told Rocha of the appeal, and that he approved.) Meanwhile, Cujo has spent 459 days in his cage. Rocha worries Cujo would need rehab before coming home. “That’s just like sending a guy to prison,” Rocha says. “He’s not going to return the same.”

he Babcocks met as undergrads at Swarthmore College outside Philadelphia in 1961. Reb came from Indiana. Gail says she grew up wealthy in Brazil. They were friends in college. He became a maritime lawyer, and she earned a Ph.D. in psychology from the University of Miami. Reb says both went through “a couple of marriages apiece” before they wed in 1985. O’Connell-Babcock says she had little interest in animal CONT. on page 16 Willamette Week JULY 8, 2015 wweek.com

VIKESH KAPOOR

rights aside from mailing checks to the Humane Society. That changed in 1995, when she read a story in The Oregonian about Pookie, a Rottweiler sentenced by the county to die after mauling the foot of a 2-year-old girl. She went to Pookie’s hearing and was appalled by the lack of fairness. “It was when I fell down the rabbit hole,” she says. “The way you become an activist is, you witness injustice.” She got her husband to take up Pookie’s case. He challenged Animal Services in Multnomah County Circuit Court and won Pookie’s freedom. A judge said there were extenuating circumstances that suggested the dog wasn’t dangerous and didn’t deserve to die. In court, Babcock argued the 2-year-old girl contributed to the bite because she trespassed when she stuck her foot through Pookie’s fence. The Pookie case won the Babcocks lots of media attention and emboldened them to keep fighting the county. (WW did a cover story on the Pookie case, and in 2010 called O’Connell-Babcock a “crusader” for her unrelenting watchdogging of Animal Services.) Dozens of stories have followed over the years, not all flattering. In 2006, The Oregonian reported the Multnomah County sheriff excluded O’Connell-Babcock from the shelter for a year because she was “abusive, disruptive or threatening” to staff. O’Connell-Babcock says the exclusion came when she refused to leave after closing hours in an effort to save a dog’s life. “They set me up and collected evidence,” she says. “It’s like any insular culture that doesn’t want somebody there.”

works with the Babcocks. “They choose to work this thankless job because it’s the right thing to do and there’s not many people who do it.” Fans of the Babcocks say the county is more interested in making sure the public doesn’t know what happens inside the shelter. “Reb and Gail are immensely talented and energetic,” says Toni Reita, who runs Happy Tails Rescue in Goldendale, Wash., a rescue for Rottweilers that has taken dogs from Animal Services. “But until people know what’s going on, no one is going to care. It’s easy to turn your head when you don’t know.” Other animal-rights advocates see the Babcocks’ methods as counterproductive. “You just can’t be associated with [Gail] professionally because of her poison pen,” says Ron Murray, executive director of Oregon Dog PAC and a frequent critic of Animal Services. “People dismiss her because of her virulent personal attacks.” Others wonder about the harmful effects the Babcocks’ protracted fights with the county have on the dogs they’re trying to save. “Keep the dog in a damn shelter for six months?” says Amy Sacks, director of the Pixie Project, a Portland animal rescue center. “Put it in a warehouse for six months because no one has the balls put it to sleep? It’s an insane use of resources. One must think of the quality of life, both for the animal and the potential adopter.”

Randall Brown with Tiger.

’ConnellBabcock says that, over the years, she’s helped with the adoption and rescue of several hundred dogs from Animal Services. She frequently mails information packets, at her own expense, to people who have had their dogs impounded or received a ticket. She’s taken in several dogs accused of biting people. Local animal-rights advocates have focused on bringing down the county shelter’s kill rate. It’s worked. In 1995, the shelter killed 53 percent of the animals that came through its doors. Today, that number is down to 9 percent, and most are euthanized because of health or behavior issues. The Babcocks accuse Animal Services of falsifying the live-release rates. “The county has an absolute duty as a public shelter to do no harm to the entire range of animals in their care,” O’Connell-Babcock says. “They have failed that responsibility miserably.” County officials—who have grown weary of the Babcocks’ broadsides—call her statements “absurd.” “You would think that we were holding these animals in Guantánamo Bay and subjecting them to torture,” says county spokesman Austin. “Animal Services staff are there because they like animals. Gail feels like we kill animals and lie about it. It’s like saying librarians hate books.” For some animal-rights advocates, the Babcocks’ methods are welcome. “Gail has just devoted her life to help these dogs that have nobody, have nothing,” says Robert Nixon, founder of the Humane Political Action Committee in Mahomet, Ill., who often 16

Willamette Week JULY 8, 2015 wweek.com

he Babcocks advocate creating an education program for owners of dogs that bite. They also call for sending some dogs classified as dangerous or potentially dangerous to shelters or sanctuaries willing to handle them. County officials say the Babcocks’ argument is

often unrealistic. “Most sanctuaries don’t want dangerous dogs, nor do humane societies or rescues,” says Michelle Luckey, legal aid officer at Animal Services. “They would end up holding onto nothing but dangerous dogs until the end of their lives. Adoptable dogs would be turned away.” Animal Services does work to reform some violent dogs. For example, the Babcocks fought unsuccessfully for more than a year to free Tiger after the pit bull killed two cats. Animal Services workers saw that Tiger posed no threat to people, moved him out of the security kennel and sent him for short stays in cat-free foster homes. O’Connell-Babcock isn’t impressed—she thinks Tiger should never have been held in maximum security in the first place. She thinks Cujo could have been released months ago. The same, she says, is true for Cujo’s pit bull neighbor, Dewbie. Dewbie also remains in limbo because of the Babcocks’ legal action. Shelter officials consider Dewbie more of a challenge than Cujo—it takes two people to handle him, using 6-foot poles that hook the dog’s collar. Like Cujo, Dewbie is on trazodone, an antidepressant, to lower his stress. O’Connell-Babcock says the county should give each dog a “psychological intervention.” “Abused and neglected animals recover,” she says. “One moves along the path to recovery.” The fight for dogs like Cujo and Dewbie, she says, is about saving a life: “It took Nelson Mandela, what, 16 years to get out of jail?”

CONT.

DOTT The day after Christmas 2012, a Wood Village woman went to a neighbor’s fourplex to complain about gossip she’d been hearing about herself. When she knocked on the door, she would later say, she heard the neighbor call out, “Come in.” When she entered, an 8-year-old pit bull mix named Dott attacked her, taking a bite out of her neck a police report described was “the size of a small fist.” The victim was taken by ambulance to the hospital and needed surgery to close the wound. Multnomah County Animal Services labeled Dott (a dog without a violent history) as “dangerous.” According to records, Reb Babcock argued the county couldn’t prove that the woman had actually been invited into the apartment. Testimony showed the resident didn’t hear the woman knock. Babcock noted county code states a dog may not be considered dangerous if the aggressive behavior “was directed toward a trespasser.” The hearings officer found the victim of the attack “could have reasonably been construed by Dott as threatening to his owners.” Dott went free. Babcock accuses some of the county’s hearings officers are biased against him. “But sometimes you get a hearings officer,” he says, “who follows the law.”

SMOKEY In October 2014, a pit bull named Smokey attacked the landlord entering an East Portland rental property. She required 105 stitches, mostly on her arms, and was hospitalized for nearly a week. An Animal Services officer testified that the wounds— the dog’s bites had exposed bone—were the worst she’d seen in 22 years on the job. When the county impounded Smokey, the pit bull was still covered in the victim’s blood. Babcock fought the county’s designation of Smokey as a dangerous dog, but lost before a hearings officer on Feb. 13. The county code says Animal Services is supposed to wait 20 days before euthaniz-

ing a dangerous dog, allowing the owner time to appeal. But Animal Services moved quickly, records show, injecting Smokey with a sodium pentobarbital mix called FatalPlus only six days after the hearings officer’s ruling. County officials dispute they moved too fast, claiming the waiting period didn’t apply in this case. “They’re obligated to follow the rules they wrote,” Babcock says of the county. “There’s no question they jumped the gun on this one.”

DEWBIE Animal Services took custody of Dewbie in October 2013 after the pit bill bit two people along the Willamette River in separate incidents over two days—a jogger running under the Burnside Bridge on the eastside, and someone walking in Tom McCall Waterfront Park. Dewbie’s owner was homeless. The county quarantined the dog and deemed Dewbie a Level 4, the classification just below dangerous. Records show that Animal Services considered euthanasia for Dewbie. Still, the county returned Dewbie to his owner two weeks later. Within a month, Dewbie had bitten someone else, a woman near the Southeast 122nd Avenue MAX station. Animals Services seized the dog. Dewbie’s owner appealed but didn’t show for a hearing in February 2014, and the county won by default. Babcock claimed the owner, still homeless, was not given formal notice of the hearing. (Babcock refused to show up in her absence.) Babcock argued in Multnomah County Circuit Court that Dewbie should get a hearing. A judge disagreed, and Babcock has asked the Oregon Court of Appeals to review the question. Dewbie is still in the county shelter and could face death. “I don’t think you have to kill a dog to solve this problem,” Babcock says. Narimen Rhodes was the woman Dewbie bit near the MAX station. She was surprised when WW told her the dog was still in detention and his case on appeal. “I think he should be put down,” Rhodes

says. “I hate to say it, but there could be more people he could attack in the future. I don’t want him out on the streets again.”

TIGER Erin McGibbon recalls the day in December 2013 when she saw two pit bulls running loose in her Sumner neighborhood near Northeast 87th Avenue and Alberta Street. “They were fighting over something, like a tug of war,” McGibbon later recalled to investigators. “I realized it was my cat Markus.” McGibbon recognized the dogs as pit bulls one of her neighbors often failed to keep in his yard. One dog took off, and the other continued to chew on Markus (now clearly dead) until McGibbon threw a rock at it. A neighbor shot and wounded one of the pit bulls, Chata, claiming it was threatening him. Chata was eventually euthanized at DoveLewis Emergency Animal Hospital in Northwest Portland.

“SHIT HAPPENS.”

—A COUNTY ATTORNEY, QUOTING GAIL O’CONNELL-BABCOCK

The other pit bull, Tiger, was well known to Animal Services. He had reportedly killed another cat, and Tiger’s owner had been sent 13 tickets for animal code violations over the past two years, county records show. Animal Services denied Tiger a hearing. Babcock fought in Multnomah County Circuit Court for a year, arguing the county erred. He won, and Tiger got his hearing in April. But the hearings officer sided with Animal Services and the case is now back in circuit court. Tiger remains impounded. Gail O’Connell-Babcock recalls confronting the county’s attorney, David

DOGS

Blankfeld, outside the hearing room, telling him Tiger could go free if the county was willing to settle. Blankfeld recalls how McGibbon wept during the hearing as she described witnessing the pit bulls maul her cat. Blankfeld says he wanted to know how O’Connell-Babcock felt about it. “What about the cat that got torn apart?” Blankfeld says he asked her. “What about the victim?” “Shit happens,” he recalls O’ConnellBabcock replying. O’Connell-Babcock says she doesn’t recall saying that to Blankfeld.

SNICKERS This Australian shepherd-husky mix attacked a 7-year-old girl outside her Troutdale home in August 2001, sending her to the ER for multiple stitches. The county impounded Snickers, classified him as dangerous, and had him examined by a certified dog trainer, who concluded euthanasia was “the only safe and humane option.” Babcock appealed Snickers’ case, and a hearings officer downgraded the dog to Level 4. The Babcocks found an animal sanctuary in Wisconsin to take Snickers. Five months later, a worker opened Snickers’ cage to clean it out, and the dog lunged at one of the sanctuary’s founders, an 85-year-old woman, knocking her to the ground and biting her head and neck. (Gail O’Connell-Babcock says the woman was at fault for improperly grabbing the dog’s collar—“a known trigger,” she says.) The woman died a year later of causes unrelated to the attack, and a Wisconsin jury found the worker negligent and awarded the woman’s estate $180,667. According to the Babcocks, Snickers was put down. The Babcocks say it’s an old case, but Snickers has become a cautionary tale for Animal Services officials. “That’s why we’re cautious about putting [dangerous dogs] in foster care or in a sanctuary,” says Randall Brown, Animal Services’ chief field supervisor. “That’s probably about as bad as it could get.” ANNA WALTERS. Willamette Week JULY 8, 2015 wweek.com

OUTDOORS

THE BOOT BUS

VANCOUVER

OUR PICKS FOR PORTLAND-AREA HIKING TRAILS ACCESSIBLE BY PUBLIC TRANSIT.

adonahue@wweek.com

You don’t need a car to go hiking around Portland. Thanks to the region’s robust public transit system, it’s totally possible to spend every weekend in the woods without even getting a driver’s license. For $4 a day, a Skamania County bus takes you by nine trailheads throughout the Columbia Gorge. Or, for just $2.50, MAX will drop you in Forest Park, dubbed the “nation’s largest urban woodland,” by Backpacker magazine. With bewildering timetables and complicated routes, public transit can pose logistical challenges. Know your limits—not just on the trails, but also whether you’re comfortable transferring at remote stops when your cellphone’s dead. Here are our picks for the best trails available by public transit in the greater Portland area.

3 BEAVERTON

OREGONHIKERS.ORG

PORTLAND GRESHAM

2 5

1. Gillette Lake 5.8 miles

LAKE OSWEGO

3. Pittock Mansion Loop 4.8 miles

golden trout and perfect for a lunch break. If you want more time in the woods, push onward another mile and a half to Greenleaf Overlook for a panoramic view of the Gorge. Feeling super-gonzo? Veer upward onto West Table Mountain Trail for a 15.8-mile round trip adventure. When you’re on the bus, the day doesn’t end when you limp into the parking lot. On the ride back, there’s an hour-and-a-half layover in Stevenson. For decent pizza, check out Andrew’s, just across the street from where the bus drops you. Also, about two blocks behind Andrew’s is Skamania County’s finest brewery, Walking Man Brewing, which has sausages on the grill out back.

Transit difficulty Hike difficulty Get there: Take the MAX Blue or Red Line to the Oregon Zoo. Walk up the hill to the uppermost parking lot and take a left onto Wildwood Trail. To get back from Pittock Mansion, head downhill on Northwest Pittock Drive. In a halfmile, take a left onto Northwest Barnes Road. In a couple hundred feet, you’ll see West Burnside Street. The No. 20 bus picks you up here. OREGONHIKERS.ORG

BY AL L IE D O N A H U E

CAMAS

2. Council Crest 3.3 miles

Rural Skamania County, which lies along the Columbia River north of I-84, has a bus that runs from Vancouver along Highway 14 to the town of Carson. The weekday bus mostly takes seniors to the doctor. On weekends from May to October, however, it offers more frequent stops at trailheads and travels as far east as Dog Mountain. The more outdoorsy weekend bus is still mostly people going grocery shopping or getting their hair cut, so don’t expect the driver to point out the local fauna and extol the virtues of each hike. Also, be sure to alert him where you want to get off and where you want to be retrieved later in the day. Feel free to request a roadside pickup even if it’s not an official stop. This rural bus opens up several Gorge trails to the car-less—Beacon Rock, Cape Horn, Dog Mountain. For views, a lake and the option to decide en route when you want to turn around, try the Bonneville Dam trailhead to the Pacific Crest Trail. From the parking lot, start out on the gravel road that soon turns upward onto the Tamanous Trail. About a half mile into your wooded climb, you reach a junction with the PCT. Turn left. A little more than 2 miles down the trail is Gillette Lake. It’s stocked with 18

Willamette Week JULY 8, 2015 wweek.com

PORTLANDOREGON.GOV

Transit difficulty Hike difficulty Get there: This is a walk from downtown Portland. Head south on Broadway and turn right at Southwest 6th Avenue. This will turn into Terwilliger Boulevard and then Sam Jackson Park Road. From here you can see the Marquam Nature Park Shelter at the trailhead.

There’s a wild gem hidden a mere mile from the Southwest 5th Avenue bus mall. Follow signs to Council Crest, the highest point in Portland, up the rocky, densely wooded Marquam Trail. At times, you are so deep in the forest that it’s easy to forget about the city. At other times, you cross busy streets or travel past rows of large houses. It’s impossible to get lost: Just keep going up. When you emerge at Council Crest, there’s a view of five Cascade Range mountains.

If somebody made a theme-park ride of Portland, it would probably look a lot like this hike. You see everything: zoo kids, bubbling creeks, Portland’s famous mansion, posh houses nestled among the trees, the cocktail-slurping yuppies of Northwest 23rd Avenue. Start on Wildwood Trail at the zoo and stay on it for the rest of the hike. You pass an archery range, cross rough-hewn bridges and sprint across Burnside when the traffic ebbs for a moment. The last mile or so is brutally steep, but when you crest the hill, you’re at Pittock Mansion, where you have awesome views of the whole city. On Burnside at the bottom of the hill, board the No. 20 bus and get off at 23rd for some people-watching and sushi.

C A C O P H O N Y/ C C B Y- S A 2 . 5

CULTURE

CASCADE LOCKS

Transit Diﬃculty Factor I’m used to driving. I take transit sometimes. I’ve memorized the MAX stops all the way to Gresham. Hike Diﬃculty Factor #FlipFlopChamp I like trees. Reese Witherspoon

F I N E TO OT H / C C BY- S A 3 . 0

4. Linnton Loop 5.2 miles

OREGONHIKERS.ORG

Transit difficulty Hike difficulty Get there: Take TriMet bus No. 16 toward St. Helens and get off at stop 5355 in Linnton, where the bench has a flat, silver bus art piece for a back rest. For directions on the hike (it’s a complex loop), check out the Linnton Loop Hike on oregonhikers.org.

SANDY RIVER

trails lead you through the shade, and little wooden bridges crisscross the cool creek.

CLEAN UP & FLOAT

Sunday July 19 - Dabney Park

6. Lacamas Park

5. Tryon Creek State Park

Transit difficulty Hike difficulty Get there: Take TriMet bus No. 39 to Lewis & Clark Law School. Behind the school, pick up the Lewis and Clark Trail, which leads you into the park. When the temperature spikes into triple digits, this is where you want to be. Well-marked

River Clean Up 1–2p.m.—Dabney Park

Sandy River Float 2–4p.m. Dabney Park >> Lewis & Clark Park

Leinenkugel’s After Party THEINTERTWINE.ORG

Hardly anyone ventures into these northern reaches of Forest Park, but you’ll be glad you did. Climb Firelane 10 with the whistles of freight trains echoing in the background. Take a left onto Wildwood Trail and listen for bird calls as you gently rise and fall, crossing streams in many of the gullies. Finally, descend through the dappled light of Waterline Road and Firelane 9. Note: The turn from Wildwood to Waterline is unmarked—the sign seems to have fallen down. End up on residential Northwest Wilark Avenue and follow it downhill to its dead end, where you find a stairway that leads back to the trailhead. Come August, this stairway may be the best place around for blackberry picking.

Transit difficulty Hike difficulty Get there: From Portland, go to Fisher’s Landing Transit Center by taking C-Tran No. 164 from Southwest 6th Avenue and Market Street or C-Tran No. 65 from Parkrose Transit Center. Unless you have a pass, C-Tran is cash-only, so bring exact change. A day pass is $5. Take C-Tran No. 92 from Fisher’s Landing to stop 2314 at Northeast 3rd and East 1st avenues in Camas. In front of you is a parking lot and an information board where you can plan your hike. It’s like Clark County’s version of Forest Park. And good job, Camas, it’s almost as cool. Recent signs from two Eagle Scout service projects make the park’s 6-plus miles of wooded trails easily navigable. Round Lake and the Camas Potholes make overheating impossible. This is the best outdoor sw i m m i n g h o l e you can get to by public transit. If you want a longer hike, connect to the Lacamas Heritage Trail, which runs along Lacamas Lake for 3.5 miles.

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Beyond the Print

“I’ve lived in apartments my entire life. I never imagined I could be a homeowner. Realizing it was possible has been a dream come true!”

@wweek @WillametteWeek Stephanie Lundin, Realtor 503.737.8500 scoutportland.com stephanie@stephanielundin.com Willamette Week JULY 8, 2015 wweek.com

FOOD: Smallwares’ awesome new pop-up. MUSIC: Death Cab for Cutie not dead, playing Edgefield. BAR REVIEW: Another vegan strip club. MOVIES: Ben Kingsley in Ryan Reynolds’ body.

25 31 41 47

SCOOP THERE’S A WORLD NAKED EVERYTHING NOW.

HE’S ST. JONATHAN NOW: The gentrification of St. Johns is moving into high gear. The former owners of famed, upscale New York City cocktail lounge Huckleberry Bar will open a fastcasual Asian-Southern restaurant called Mama San Soul Shack at 8037 N Lombard St. in St. Johns, with hot dogs, burgers, rice bowls and wings alongside a drink menu featuring “polished, refined” boozy slushies, including a mojito, a corpse reviver and possibly a Spanish coffee. “A boozy slushy done right is a beautiful thing,” says co-owner Andy Boggs. The opening is planned for the end SOON TO BE ROW HOUSES? of July. >> Just down the street from Mama San, developer Brett Schulz Architect has submitted plans for five townhouses at 8307 N Ivanhoe St., the current location of Asian fusion restaurant The Baowry. The former food cart built the restaurant inside a dilapidated former crack house in 2012. >> Also, a 100-unit apartment complex is planned at the former site of Huk Lab disc golf course on Lombard. NEED A PILLOW: If you make a mattress into an avantgarde sculpture, don’t be surprised if it gets swiped by someone who needs a bed. Or so it seems from the story of a red mattress that was ratchet-strapped to a chair and placed on the loading dock at the industrial eastside’s HQHQ Project Space on July 3. The sculpture had been part of Don Edler’s show Boredom Is the Ultimate Weapon, and is now probably a bed again. “A lot of homeless people whose camps just got broken up wander around here,” says curator Iris Williamson. “We kind of expected this.” The piece had not been listed in the official show notes, being installed as “an extra something” for the gallery’s barbecue, where visitors could buy a red Solo cup with a condom attached to fill with unlimited beer. Yes, Portland’s gallery and frat parties are blurring together. 22

Willamette Week JULY 8, 2015 wweek.com

JAROD OPPERMAN

STEEL YOU FACE: The dream of oldtimey beer isn’t dead yet. Two years after it disappeared from shelves because of problems with the steel cans, Entourage star Adrian Grenier’s Churchkey Can Co. is back. The original Churchkey beer was developed by two Portland homebrewers and packaged in cans that required a special piercer, or “church key.” The company generated international attention back in 2012 for its steel flat-top cans, which found a following but were also plagued by technical difficulties. The beer was pulled from shelves in May 2013 after consumers recognized it was, as our reviewer wrote, “lousy beer in a stupid package.” “If you put the beer in the can and let it sit, it didn’t hold up,” says Churchkey spokesman Ryan Chuckel. “I’d imagine it was the interior lining of the can. Whatever taste difference there was, was from the can.” Now, both the beer and the package are better: Churchkey’s new cans are made of efficient, reliable aluminum, and the recipe has been rejiggered. “We tried to find a way to make it work, but [steel cans] didn’t do the beer justice,” Chuckel adds. “Nobody had the appetite to try to push a rock uphill.” Chuckel says that aside from its current Pilsner, the company would reach out to homebrewers for other beer recipes.

HEADOUT

The 46th annual Oregon Country Fair is July 10-12 at 24550 Chickadee Lane, Elmira, 541-343-4298, oregoncountryfair.org. 11 am-7 pm. $23-$59.

I L L U S T R AT I O N S B Y L E V I G R E E N A C R E S

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

WEDNESDAY JULY 8

NICE COOL LIBERAL GUY

GIRL SCOUT CAMP REFUGEE

IDENTIFY HIM BY: His hair in a bun, a “This Is What a Feminist Looks Like” T-shirt and sandals he “bought from a local artisan in Guadalajara,” pronounced with rolled r’s.

IDENTIFY HER BY: A muddycolored hand-tie-dyed shirt with a “girl power” slogan. A wood cookie on a gimp necklace that says “Fern,” “Buttercup,” “Sierra” or “Aspen.”

WHERE TO FIND HIM:

WHERE TO FIND HER:

Incorrectly mansplaining falafel ingredients to his muchyounger girlfriend at Nearly Normal’s food booth.

Ogling the open-toed shoes and male-gendered people at the Blue Moon Stage.

FESTIE ON THE WAY NAKED PREGNANT ANTI-VAXXER TO BURNING MAN IDENTIFY THEM BY:

Glowstick

necklaces.

WHERE TO FIND THEM: Asking everyone at Ambiance on the Path if they have a camping pass, gratuitously mentioning Robot Heart.

IDENTIFY HER BY: Her very large belly painted with a questionable depiction of planet Earth being held by a pair of uneven hands. Her breasts painted as flowers. WHERE TO FIND HER:

Hula-Hooping with two naked and muddy children covered in some unidentifiable pox at the Main Stage.

MONIKER, JOHANNA WARREN, LUZ ELENA, COCO COLUMBIA [LOCAL FOLK] This year’s Best New Band poll whiffed when it came to female artists, and this show exemplifies how egregious that is, showcasing five exemplary talents ranging from mystical folk to jazzy future funk. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $6. 21+. CARAVAN CAMPFIRES [TINY HOUSE SHOW] Pick your s’more and beer pairing, BYOBBQ or grab from the Grilled Cheese Grill next door and watch indie band Three for Silver play teeny, tiny hotel trailers. Tiny House Hotel, 5009 NE 11th Ave., 288-5225. 8 pm. $10.

FRIDAY JULY 10 THE APPLESEED CAST [CELESTIAL EMO] Die-hard emo fans and casual passersby alike consider the seamless fusion of angsty urgency and spaced-out introspection of the Appleseed Cast’s 2000 masterpiece Mare Vitalis to be a cornerstone of the genre’s resurgence. The band will play it through tonight. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $15. 21+ WORLDWIDE WAFFLES [BREAKFAST IN BED] Last year, 800-plus yogis broke the world record for longest yoga chain at the annual World Domination Summit. This year, World Domination HQ is trying for biggest breakfast in bed—experience in bed and eating breakfast required. The wafflemakers are TBA. Donations and beds from the event will benefit local charities. Pioneer Courthouse Square, 701 SW 6th Ave. 8:30 am. $25. worldwidewaffles.com.

HERE ARE THE PEOPLE YOU’LL MEET AT THE OREGON COUNTRY FAIR.

SATURDAY JULY 11 THE DECEMBERISTS [FOLKY FABLES] Hey, have you heard of these guys? They’re pretty cool, if you’re into songs about dirigibles. And who isn’t, really? McMenamins Edgefield, 2126 SW Halsey St., Troutdale, 669-8610. 6:30 pm. Sold out. All ages.

SUPER-HIGH HIGHSCHOOL STUDENT IDENTIFY THEM BY: Bloodshot eyes, too-new shoes, Oregon Country Fair tie-dye shirt purchased at the entry booth, iPhone constantly buzzing with “Mom” on the screen, backpack with nothing in it. OK, so stop asking. WHERE TO FIND THEM: In a pack with other Super-High High-School Students, on the sidelines of a drum circle, making incomprehensible jokes and then laughing inappropriately when they see a naked old man.

EARNEST SURVIVALIST IDENTIFY THEM BY:

Handmade full-leather outfit, head to toe.

WHERE TO FIND THEM:

Struggling to make a matchless fire to start a hand animal skin tanning demonstration in front of their authentic tepee.

BASIC EUGENE MAN

ELMIRA TOWNIE

IDENTIFY HIM BY: His neutralcolored U of O polo shirt, neutral-colored khaki shorts, neutral-colored Arizona Birkenstocks.

IDENTIFY THEM BY: Their not-ironic NRA baseball caps. Their perfectly normal haircuts. Their aggravated looks.

WHERE TO FIND HIM:

WHERE TO FIND THEM: Selling water, strawberries and weed brownies at the side of Route 126.

Following a pack of SuperHigh High-School Students at a distance of about two booths, darting into a ceramics display anytime one of them turns around.

LAGERFEST [BEER] More than 50 craft lagers on a big-ass patio, from Buoy’s Helles to a schwarzbier from Pints that’s lighter than it looks. White Owl Social Club, 1305 SE 8th Ave., 236-9672. 2-10 pm. $10 for a cup and five drink tickets. lagerfest.com.

MONDAY JULY 13 SCIENCE PUB

[SMART STUFF] In the last decade, 18 earthquakes greater than magnitude 8.0 have struck around the globe causing massive destruction and death. Have we angered the gods? Communist plot? A geophysicist will be here to explain, while you get drunk. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 7:30 pm. $5 suggested donation.

Willamette Week JULY 8, 2015 wweek.com

BRUNCH Sunday

11AM – 3PM

FOOD & DRINK = WW Pick. Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.

SATURDAY, JULY 11 Lagerfest

Shandong www.shandongportland.com

Walk up window 11:30am–3pm

La Calaca Comelona 2304 SE Belmont | 503-239-9675 4-10pm Mon–Sat

Shandong www.shandongportland.com

Three years ago, when Lagerfest started, craft lager was still almost an oxymoron in these parts. Not anymore. More than 50 kickass lagers are promised on the massive White Owl patio, not to mention actual rock ’n’ fuckin’ roll on the speakers and a live set by Country Trash at 5 pm. Expect a Helles from Pfriem and Buoy, many Pilsners, including our 2015 Beer of the Year from Upright, a schwarzbier from Pints that’s lighter than it looks and a Black Knight from Block 15. Check lagerfest.com for details. White Owl Social Club, 1305 SE 8th Ave., 236-9672. 2-10 pm. $10 for a cup and ﬁve drink tickets. Extra tickets $2 or three for $5.

SUNDAY, JULY 12 Uncommon Wine Festival

WE SELL DRINKS

OPEN TILL 2:30AM DAILY libertyglassbar.com

For the third straight year, Vista Hills in Dayton will host a festival of wines you don’t often see— small batches from wineries that are already small. This will include Portland local urban wineries like Jackalope and Love & Squalor, but also rarities from farm country like Xylem, Franchere and Meristem. All the winemakers will be in attendance, as will pizza cart Ash Woodﬁred. Vista Hills Vineyard & Winery, 6475 NE Hilltop Lane, Dayton, 864-3200. 11 am-5 pm. $30.

Where to eat this week. 1. Kung Pow

500 NW 21st Ave., 208-2173, kungpowpdx.com. Get the spicy lamb bao bing mu shu wrap with every meal, then augment with ﬁsh balls and anything spicy. $-$$.

2. Conquistador Lounge

2045 SE Belmont St., 232-3227. Home to some of the ﬁnest bar food in town—and the ﬁnest nachos, period—Conquistador has quietly added weekend brunch to the repertoire until 2 pm, with eggs Benedict, empanadas, strawberry pancakes and some serious bloody marys. $-$$.

3. Simply Vietnamese

2218 NE 82nd Ave., 208-3391. It’s easy to forget about this barebones, late-night Vietnamese spot with barber-striped tables and an all-Vietnamese clientele. But it’s got dishes you can’t ﬁnd anywhere else, from goat curries to an addictively spicy chili-lemongrass dish with clam meat. $-$$.

4. Renata

626 SE Main St., 954-2708, renatapdx.com. This wood-ﬁred Italian restaurant is still working out the kinks on its pizza and some pastas. But we highly recommend the porcini mushroom tajarin. $$$.

TUESDAY, JULY 14 Bastille Day at Cocotte

The French celebrate Bastille Day by eating a big family meal, then pretty much skipping town for the rest of the summer. Cocotte is only covering the meal part of the holiday, featuring a three-course, family-style feast with mussels, salade nicoise and roasted chicken with rustic peasant dish ratatouille. After the meal, please go to the beach and don’t come back for like a month. Got a business? Close your business! Vive la France! Cocotte, 2930 NE Killingsworth St., 227-2669. 5-11 pm. $40.

5. Marmo Deli & Bar

1037 SW Morrison St., 224-0654, marmopdx.com. The $11 classic Italian sub goes quite well with three Negronis at lunch. $$.

DRANK

REVELATION MOUNTAIN ROSE (REVEREND NAT’S) Reverend Nat’s Revelation series is to cider what single malts are to whiskey. Every year, Nat’s ferments the juice of particular apples to make a set of single-varietal ciders, whether Siberian crab apples or down-the-road Gravensteins. And lately, Nat West has been plucking some rarities. Most people haven’t even caught a glimpse of a Mountain Rose apple, let alone drunk a cider made from it. The Mountain Rose is a ridiculously rare Hood River heirloom whose defining characteristic is its neon pink fruit on the inside. This year’s Revelation batch of Mountain Rose is equally singular as cider: winy, bright, complex and extraordinarily floral, slipping softly across the palate. It’s kind of like grazing the leaf to a strawberry. If you can still find some, take a date and a growler of the cider on a picnic with a light, hard cheese. Treat that pink Mountain Rose like it’s a metaphor for deeper feelings. Recommended. MATTHEW KORFHAGE. 24

Willamette Week JULY 8, 2015 wweek.com

FOOD & DRINK EMMa BroWNE

REVIEW

SUMMER LOVIN’

general tso’boy: the sandwich of the season.

helping of pickled shiitake mushrooms that pop like flavor-filled balloons under one’s teeth. The banchan are not free, as at Korean spots, but they are essential to the experience, tiny bursts of flavor and texture. You should order the farro dish ($4), especially. Already an underrated grain—deeply satisfying in texture and far more complex than rice or quinoa—Lil’ Wares’ misosoaked farro maintains just the right degree of starchiness, complicated further by the light By M at t h e w Ko r f h age mkorfhage@wweek.com crunch of pecan, the snap of pea tendril and the brightness of fresh strawberry or cherry. But to Like a new love born at Coachella, Lil’ Wares was fill out the palate with acidic brightness, also get never meant to last. Consider it a summer fling, the pickled salmon and arugula banchan ($5) or the oysters ($2 each) with an eye-opening, limeequal parts exciting and doomed. When the quaint Red Fig restaurant closed pickle chutney that easily betters the fish-sauce down this spring on Northeast Fremont Avenue, half-shells generally on offer at Smallwares. Other sandwiches fill out the menu—a serranonext door to Johanna Ware’s “inauthentic Asian” restaurant Smallwares, Ware looked longingly spiced turkey club, a kimchi burger—but consider at the Fig’s greenery-lined patio and rickety old the Tso your baseline entree. In particular, the house and gave it a resounding “Why not?” Sure, burger ($10) is a hoisin-kimchi burger in the school the property is getting developed, in the way of of all hoisin-kimchi burgers, with the added goo of all Portland things with more land than income. melted American cheese as a sop to the old-school But like last year’s World Cup Beer Garden, Lil’ In-N-Outers. But while it’s pleasant enough, it’s subject to the failings of all Wares is a pop-up patio party kimchi burgers, which is that beautiful in part for its eva- order this: General Tso sandwich ($10) the kimchi is too easily tamed nescence, a sunny-day lunch with mixed banchan and oysters. by the meatiness of the burger and cocktail spot with flavors I’ll pass: Grilled stuffed avocado, burger. but doesn’t add to its savor— as bright as the weather. I’ve still not seen the house’s cozy interior for longer it’s a competitor, not an ally. than it would take to find the restroom, and I Another slight failing at Lil’ Wares is its probably never will. This is a treat for summer schedule. Because Ware needs to cross the street days, a months-long Flannery O’Connor porch- for dinner, the spot’s open only until 3 pm on sit with fewer peacocks and more garlic. weekdays, so those of us without forgiving bosses Lil’ Wares’ signature item is a possibly perfect may not be able to take advantage of the crisp thing, a General Tso chicken sandwich ($10) cocktail menu, including a frosty, rosewater that’s essentially a Chinese po’boy. On a toasted pina colada that is a paragon of the form. But hoagie roll, Ware mixes fried chicken bites with the insanely refreshing sake citrus soda ($9)—all thin-cut mirin-soy broccoli slaw, Thai chilies, lemon, ginger and herb—is low-alcohol enough fried shallots and gooey sauce to create a crispy, you might be able to convince yourself to cheat. savory, sweet, spicy explosion. Ware is not the That or you could always pop in on the weekend first to have this idea—to my knowledge, that for Smallwares’ brunch service on the Lil’ Wares honor belongs to some dude on Long Island—but patio, where that beautiful breakfast congee can like all great culinary inventions, it is at once a finally see the light of day. complete surprise and instantly familiar. It’s as And when the summer is over, of course, the if the sandwich already existed in platonic form patio will likely close for good and our summer before you even took your first bite. tryst will turn bittersweet. “We’ll always have Lil’ The chop chae sweet-potato noodles ($11, add Wares,” we’ll say, with tears in our eyes, as the $3 for crab), meanwhile, are a riotous ferment of reign of General Tso comes to an end. black bean, bolstered with yet another idea that seems obvious but somehow isn’t: a pesto of shiso eat: Lil’ Wares, 4537 NE Fremont St., 971229-0995, smallwarespdx.com/lil. Lunch 11 instead of basil, accentuated by a wealth of whole am-3 pm Monday-Friday, brunch 11 am-3 pm pine nuts and the dish’s coup de grâce: a generous Saturday-Sunday.

THE POP-UP ROMANCE WITH LIL’ WARES’ GENERAL TSO SANDWICH WILL BE SHORT BUT INTENSE.

Willamette Week JULY 8, 2015 wweek.com

THANK YOU, POTLAND. Last Wednesday was a historic day in Oregon. Willamette Week threw the city’s ﬁrst legal weed party on July 1. We had a blast, and we want to thank everyone who played a role. - Willamette Week

P H OTO S BY D R E W B A N DY

Nectar Goochy Gardens West Coast Horticulture Green Sky Eco Firma Farms Golden Xtrx Proper Oils Bud Rub True North Extracts New Vansterdam The Weed Blog Women Grow Anthony Johnson Peter Zuckerman Lagunitas Brewing Co. Reverend Nat’s Cider Red E Coffee Brew Dr. Kombucha PDX Sliders Taqueria La Merced Curb Falcon Arts Community XRAY.FM Ben Hubbird DJ Wicked Risky Star & Blak Neon Bri Pruett Curtis Cook Nariko Ott Kurt McRobert Drew Bandy Rovers Security Solamor Brian Wannamaker

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EXCLUSIVE 1 day access to Festival Only Merchandise: hundreds of COWBOY BOOTS, MOCCASINS, and ROPERS for the whole family + LEATHER BAGS, BELTS and more. ONLY at:

3920 N MISSISSIPPI AVE | 503.281.0815 28

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MUSIC

july 8–14 HOTSEAT

= WW Pick. Highly recommended.

W W S TA F F

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.

Moniker, Johanna Warren, Luz Elena Mendoza, Coco Columbia

[ONE OF A KIND] This lineup is billed as some of Portland’s best female musicians, but really it’s just a night of some of Portland’s finest musicians… all of whom happen to be women. From the dreamy Johanna Warren to the darker shades of Moniker to Luz Elena Mendoza and her boundless voice, it’s a lineup with multiple unique takes on folk music, proving that the genre is alive and well and not all nostalgic kitsch. That might make Coco Columbia’s futuristic funk the odd sound, but she’s less an interruption to the theme of the night than an exciting wild card. SHANNON GORMLEY. Holocene, 1001 SE Morrison St., 2397639. 8:30 pm. $6. 21+.

Joy, Holy Grove, R.I.P.

[ACID ROCK] Joy is a supremely fuzzed-out psych-rock band that’s part of Tee Pee Records’ stellar lineup (King Tuff, Kadavar, et al.) The San Diego group’s cascading guitar work is rooted around quick and groovy basslines. Like a jam band on both acid and performance enhancers, Joy goes where the bass takes it, through the thick cacophony of garage rock and the spacy effects of Stonersville. If the Allman Brothers and Ty Segall converged in hyperactive fashion, it might sound a little something like Joy. MARK STOCK. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.

THURSDAY, JULY 9 Trails and Ways

[SUMMER POP] As often happens with the college-aged, the members of Trails and Ways took a trip out of the country, and haven’t quite gotten over it. A major part of the band’s bio is that the Oakland group spent some time in Brazil and Spain, and has since incorporated the breezy rhythms (and languages) of those countries into its exuberant brand of indie

pop. Certainly, some of that swing is evident on Pathology, Trails and Ways’ first full-length, but it’s a bit less pronounced than on the string of EPs that preceded it. For the most part, the band is yet another sun-dappled act fit for swaying to on the grass in the early afternoon at an outdoor music festival—and considering how many festivals there are that need those slots filled, you can never have too many of them. MATTHEW SINGER. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $8 advance, $10 day of show. 21+.

FRIDAY, JULY 10 Audacity, Together Pangea, White Night

[INSOLENT PUNK] Audacity is dedicated to its teenage garage-band ethos. It’s been more than a decade since the band first formed as highschool freshmen, and its songs still exude the angsty impudence of adolescence. It’s as if the band has reached Neverland through the medium of pop punk, where the most immediate concerns are girls and pissing off squares. That might sound trivial, but at least going on about stupid shit means you’re not burdened with real shit. Whether you find that charming or annoying is up to you. Either way, punk was never meant to grow old. SHANNON GORMLEY. Bunk Bar, 1028 SE Water Ave., 894-9708. 9:30 pm. $12.

LIFE ON THE SIDE DAVE DEPPER LANDED HIS DREAM GIG. WHAT HAPPENS WHEN HE WAKES UP? By MATTHEW SIN GER

Dirty Bourbon River Show

[NEW ORLEANS MEDICINE SHOW] Imagine if Vagabond Opera had originated in N’awlins instead of Portland and you’ll have an approximate idea of Dirty Bourbon River Show’s shtick. Channeling the pre-rock burlesque cabaret tradition, the band’s new album, Important Things Humans Should Know, flings gritty yet sometimes operatic vocals over a brew of sousaphone, keyboard, sax and accordion. It’s hard to imagine that a recipe of Balkan horns, old-time New Orleans jazz and vaguely punkish vocals

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TOP FIVE FIVE QUOTES FROM SHELLAC’S STEVE ALBINI 1. “If a record takes more than a week to make, somebody’s fucking up.” 2. “You can’t imbue awesomeness into something that actually sucks. And in its way, something that sucks full-bore sucking at me is an honorable experience.” 3. “Pretty much everybody on earth has a threshold for how much to indulge an idiot who doesn’t know how to conduct herself.” 4. “Christiania [in Norway] is a squalid, trashy string of alleys with rag-and-bone men selling drugs, tie-dye and wretched food. Jazz is similar.” 5. “Being a loudmouth doesn’t appeal to me as much as when I was younger.” SEE IT: Shellac plays Mississippi Studios, 3939 N Mississippi Ave., on Wednesday, July 8, and Revolution Hall, 1300 SE Stark St., with Shannon Wright, on Thursday, July 9. Both shows sold out.

F R E E KO R P S /C C BY- S A 3 . 0

WEDNESDAY, JULY 8

msinger@wweek.com

Dave Depper is doing his best to keep himself together. He flew back from London the previous night, and his jet lag is colliding with this godforsaken Portland heat wave. A few days prior, he was onstage at Glastonbury, the biggest music festival in the world, playing guitar for Death Cab for Cutie. Now, he’s drinking an iced coffee at Extracto on Northeast Killingsworth, waiting to go float on the Sandy River. It’s a change of pace to give anyone whiplash. “While we’re playing, Patti Smith brings out the Dalai Lama,” he says, recalling the Glastonbury set, “yet there’s still 16,000 people watching us.” That’s what Depper’s life is like now, ever since he joined the ranks of the beloved Seattle emo heroes last year. It’s the surreal cherry atop the tower of holy-shit moments that have been piling up since the 34-year-old settled in Portland a decade ago and committed to the itinerant lifestyle of an in-demand session musician. He’s gone from playing King Crimson covers in high school to talking shop with Robert Fripp, from worshiping R.E.M. to drinking tequila in Mexico with Peter Buck, and with this most recent “dream gig of dream gigs,” from touring in cramped vans to having his own guitar tech. But the nature of being a career sideman is that most gigs are temporary, even the dream ones. After experiencing the comforts of major-labeldom, can he ever go back? WW: How did you end up in the orbit of Ben Gibbard? Dave Depper: We were both pretty into long-distance running, actually. He’d started dating a good friend of mine, so he was in Portland a lot, and we decided to go running whenever he was in town. We’d run anywhere from 12 to 18 miles together. When you’re running that long, you get to know someone really well. One of those times I kind of said, “I don’t know if you are doing anything, but if you ever want to add a multi-instrumentalist kind

of guy, consider my name in the hat.” I guess he took it more seriously than I thought. You must’ve felt some pressure, replacing Chris Walla. It was a lot of pressure. That’s a beloved band that’s been around 17 years, and people were heartbroken that he left. I came into it knowing I’d have all eyes on me, being the guy who’s standing with the guitar in his old spot. I worked harder on that than anything. Months and months of eating and sleeping Death Cab. What was your first show with them like? It was at the Crocodile [in Seattle], a surprise announcement a few days before. I was so absolutely nervous for the show, but I knew we’d rehearsed the living hell out of everything. The first song was “I Will Possess Your Heart,” which is basically an eight-minute-long psychedelic guitar solo, and about halfway through I felt complete euphoria, and the nervousness melted away. I mean, that club was filled for 500 of their most dedicated fans, and everyone’s like, “What’s this band going to sound like now?” And I can tell there was this huge sigh of relief, like, “This sounds like Death Cab for Cutie.” What have been some of the “holy shit” moments so far? I think the most amazing thing for me, and always will be, was playing Letterman. We were a Letterman family growing up. Nothing I can ever do from now on will impress my parents as much as doing that. Now that you’ve toured with such a huge band, is getting back in a van possible? To answer that, I need only look to Peter Buck, who absolutely tours in a van still. I’m appreciating every second I have doing the bus thing, but I’m doing my absolute best not to be spoiled by it. Touring on a bus is really convenient for a lot of reasons, but still, touring is hard, and it really takes a lot out of you. I remember, on the first couple European tours I did, stopping at a random place in, like, Belgium and seeing what kind of weird-ass potato-chip flavors they have. That doesn’t happen on a bus. So just for that, I’d do it again. SEE IT: Death Cab for Cutie plays McMenamins Edgefield, 2126 SW Halsey St., Troutdale, with Built to Spill, on Wednesday, July 8. 6:30 pm. Sold out. All ages. Read an extended Q&A at wweek.com. Willamette Week JULY 8, 2015 wweek.com

Willamette Week JULY 8, 2015 wweek.com

FRIDAY–SATURDAY

Portland Cello Project’s Extreme Dance Party

[CLASSICAL ROCK] Just as Gustav Mahler converted to Christianity to gain favor with the public, Portland Cello Project is ditching its sheet music for something even more controversial: pop music I’d imagine this is every band geek’s dream come true—a night to show oﬀ their chops to a crowd who stays up past dusk and actually embraces dancing and screaming. This will be like an entire army of the shy bridesmaids at your BFF’s wedding who drank too much, unbuttoned and went a shade of apeshit no one knew they were capable of. CRIS LANKENAU. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $16-$18. 21+.

The Decemberists, Calexico

[FOLKY FABLES] The Decemberists can only tour behind What a Terrible World, What a Beautiful World for so long—and Edgeﬁeld is probably the last local stop. The group’s most recent LP is more eclectic than the bookish concept albums they’ve become known for, though, weaving the band’s modern pop sensibilities with a dash of antiquity and frontman Colin Meloy’s whimsical caricatures. He sings more about the contemporary woes plaguing society than the military wives of yore, but his healthy vocabulary and cheeky humor still render it a typical Decemberists album, with or without a dictionary at your side. BRANDON WIDDER. Edgeﬁeld, 2126 SW Halsey St., Troutdale, 669-8610. 6:30 pm. Sold out. All ages. Through July 11.

Tuba Skinny

[WASHBOARD ROMP] If Jay Gatsby had lived in the French Quarter, Tuba Skinny certainly would have been his house band. A ﬁve-membere group of New Orleans swingers with honest-to-God 1920s hot jazz energy—and even a trombone player named Barnabus—Tuba Skinny curates a creole sound that is hard to ﬁnd outside the Big Easy. The group, whose members met on the street in 2009 and already have four records to its name, plays deep in the tradition, with a ragged, youthful energy that is totally OK with spewing a touch of mud from the washboard onto pristine linen tablecloths. PARKER HALL. Melody Ballroom, 615 SE Alder St., 232-2759. 6:30 pm. $15 advance, $20 day of show. All ages.

The Appleseed Cast, ADJY, Coaster

[CELESTIAL EMO] While emo’s other founding fathers spent the aughts breaking up or flogging a dead horse, the Appleseed Cast turned inward and floated through space. Whether you agree with the term “twinklecore” or not, diehards and emo passersby alike consider the seamless fusion of angsty urgency and spaced-out introspection of 2000’s Mare Vitalis—which will be played in its entirety throughout this tour—to be a cornerstone of the genre’s resurgence. Anyone following the Appleseed Cast’s output since then will argue it never went away, but it’s heartening that founder Chris Crisci’s commitment to earnestness shrouded in beautiful soundscapes is finally getting the props its been due for quite some time. PETE COTTELL. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $15. 21+.

Yob, Lord Dying, DJ Dirty Red

[SLUDGE BEASTS] Describing Lord Dying as “stoner metal” is an easy mistake to make. Between the band’s Portland roots and its ﬂannel-clad, Viking-kush aesthetic,

one would expect a sludgy, brooding halfway point between Earth and High on Fire to be a comfortable place for the group to land. How does Lord Dying expand on the gnashing, angular terror that made its 2013 record, Summon the Faithless, such a substantial breakthrough from a scene bursting at the seams with quasi-occult riffmongering? On Poisoned Altars, the answer is simple, direct and punishing. Crushing guitars leap from the mix like pillars of flame before singer-guitarist Erik Olson unleashes a predatory snarl that recalls Lemmy and Tom Araya at their most sinister. Most of the time, songs lurch from a midtempo trudge to a proggy gallop fans of Leviathan-era Mastodon will recognize instantly. Here, the band teams with Eugene titan Yob for Coava Coffee’s seventh anniversary celebration. PETE COTTELL. White Owl Social Club, 1305 SE 8th Ave. 9 pm. Free. 21+.

SATURDAY, JULY 11 Derrick May, Bryan Zentz, Asss

[TECHNO PIONEER] Derrick May is a classic innovator of dance-music styles, mixing the best of house and techno into a Detroit sound he calls hi-tek soul. May, along with highschool classmate Juan Atkins, is responsible for creating rave music and a scene on the grittier ﬂip side from Chicago’s house beats. In the realm of producers turned CDJ artists, May’s live performance is electric. He stands tall in the international scene for good reason, as he’s also credited with starting the legendary Movement Festival.

Few artists balance on the ﬁne line between electronic music’s two most distinctive styles and juggle the beat to rock the dance ﬂoor. The inclusion of local heavy hitters Asss is a nod to the duo’s energetic and funky industrial jams, which bring hardware music to the club. WYATT SCHAFFNER. Branx, 320 SE 2nd Ave., 234-5683. 9 pm. $22. 21+.

Nostalgist

[SHOEGAZE] Seattle’s Nostalgist is aptly named. The trio’s maudlin guitar wash harks back to the muted glory days of Ride, Charterhouse and Slowdive. This tour stop is part of a weeklong journey down the coast, which will pit musical darkness against blistering summer sun: Joining the nostalgic mood is local post-punk trio Spirit Host, a trio of women who enshrine early Cure and Joy Division. Not sure how this show ended up at Rotture instead of the Lovecraft, but both acts should beneﬁt greatly from the massive sound system and black walls. NATHAN CARSON. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $8. 21+.

Hallowed Halls Opening Party with Gold Casio

[SMOOTH DANCE] It didn’t take long for Portland’s illustrious music scene to begin expanding its borders to a newly up-and-coming neighborhood. The Hallowed Halls, a once public library and now recording studio, opens its doors in Foster-Powell, oﬀering a stateof-the-art recording experience. While the studio boasts an echo

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INTRODUCING CHAMPAGNE DUANE

MICHELLE PEARL GEE

could actually hang together, but just as with VO, the band’s vaudeville humor and showmanship make its shows more than just another concert. Or as frontman Noah Adams says, “It’s like Shostakovich meets Entry of the Gladiators.” BRETT CAMPBELL. Dante’s, 350 W Burnside St., 226-6630. 9 pm Friday, July 10. $10. 21+.

MUSIC

Sounds like: The bastard child of Pete Rock and Diddy. For fans of: Kanye West, J. Cole, Kendrick Lamar, Wale.

If you’re a basketball fan, you and millions of others have already seen the work of Portland-via-Miami transplant Champagne Duane. His shoe designs have been worn by the likes of Dwight Howard and Tim Duncan. Now, Duane is set to prove his worth on the mic. He recently dropped his debut album, A Toast, and, true to his modus operandi, is an improbable amalgam of true-school rap and whatever is hot at the moment. The pop songs crank, hard. But Duane has a bigger vision. He stays true to his roots while also incorporating those aesthetics into his more radio-friendly material—a difficult trick to pull off. Of course, hardcore hip-hop heads might dismiss him off name alone. They shouldn’t. “Honestly, the name just came about as a joke,” Duane says. “It just kind of stuck. It really just came to kind of represent a celebration—having a good time, and striving to want to achieve. That’s the whole meaning behind it. It’s not necessarily about the flashiness or anything like that. It’s about working hard to give yourself a reason to celebrate your accomplishments.” Side hustle or no, Champagne Duane’s music reflects his influences. “I would say probably my biggest influences would be Jay Z, [Talib] Kweli and then, after that, you got Outkast, Black Thought, Common and Mos Def. But I appreciate people who still had a commercial element to them, like a Slick Rick or an LL Cool J. Even Diddy—he’s not lyricist of the year or anything, [but] I definitely had an appreciation for both mainstream artists and real MCs.” You want joints for the club? Check. You want songs for the hardcore heads? Check. Do you just love good music in general? Check. Champagne Duane is that dude. TJ LOVE. SEE IT: Champagne Duane plays Holocene, 1001 SE Morrison St., with Free Thought Takeover, Dope Kine, Murder Vibes, Double B & Laces, Jonny Cool and DJ Jupiter Williams, on Sunday, July 12. 6 pm. $5. 21+. Willamette Week JULY 8, 2015 wweek.com

Willamette Week JULY 8, 2015 wweek.com

MUSIC COLUMBINE GOLDSMITH

PROFILE

TANLINES: Jesse Cohen (left) and Eric Emm.

TANLINES THURSDAY, JULY 9 Tanlines drummer Jesse Cohen bursts through the door with a giant burlap bag labeled “cocaine” and a six-pack of beer. It’s the first in a series of shenanigans involving Cohen and singer-guitarist Eric Emm in the duo’s music video for the song “Palace.” Nose candy in the club is followed by a fivesome that Cohen watches from the back of the bedroom, nodding proudly while eating Chinese food. A toaster gets dropped into a bathtub, and Cohen ultimately ends up sleeping with the girl who left Emm (played by Girls’ Alex Karpovsky) in the beginning of the video. “It was one of the best parts of this whole thing,” Cohen says about making the video, “this whole thing ” being Tanlines’ sophomore album, Highlights. Though the band’s upbeat, carefully crafted dance pop is meant to be taken seriously, comedy is a major part of its multimedia presence. Aside from music videos, the layout of Tanlines’ website is an incredibly detailed Netflix knockoff, while the group’s official Twitter account alternates between Cohen’s witty jokes and administrative band information. “It’s a big part of our relationship with each other and who we are as individuals,” Cohen says. “It’s just about getting across who we are, what we are interested in, and letting people in.” Cohen is speaking by phone on his way to Pittsburgh for the first show of the Highlights tour. It seems symbolic that Tanlines is starting its tour there: It’s where Emm’s basement studio is located, the scene of a technical disaster that turned out to be formative in the making of the album. “When we first started writing in Pittsburgh, our computer blew up and we had to start sort of writing songs just from guitar and drums,” Cohen says. Although they weren’t planning to lose what is normally their main songwriting tool, being forced to use more live drums aided their plan to write songs with the live show in mind. It was a major move from the two guys behind a computer of the band’s debut, Mixed Emotions, which they initially hadn’t planned to bring onstage until the reaction at a few trial shows convinced them otherwise. As a result, Highlights sounds vast and full, partly from the space provided by more traditional instrumentation that blends with idiosyncratic, lighthearted synth hooks, and partly from Emm’s theatrical vocals, which were recorded as he belted them from the balcony of a century-old Brooklyn church. Because of the expansive sound on Highlights, Tanlines’ usual two-man lineup will expand to a four-piece. Adaptation seems to be an integral part of Tanlines. Mixed Emotions wasn’t completed without incident, either: Cohen and Emm were evicted from their Brooklyn studio halfway through recording. Maybe the group is doomed to face a calamity each time it makes a record. “I guess you could say it’s never simple,” Cohen says. “It’s never what you plan for it to be, but neither is life.” Whatever comes along, at least the bandmates will have their sense of humor to help them along. And maybe some cocaine…probably not, though. SHANNON GORMLEY.

How a comedy of errors inspired a seriously great synth-pop album.

SEE IT: Tanlines plays Mississippi Studios, 3939 N Mississippi Ave., with Mas Ysa, on Thursday, July 9. 9 pm. $12. 21+.

MOBILE

Beyond the Print

STAY CONNECTED Want to advertise? Email advertising@wweek.com for details. Willamette Week JULY 8, 2015 wweek.com

SATURDAY–TUESDAY

chamber, luxe ambience and one of the largest live rooms in Portland, the opening party guarantees to be just as lavish. With complimentary libations, ﬁnger foods and psychic dance grooves by Gold Casio (members of Adventure Galley), this is a promising step for both Portland music and FoPo. ASHLEY JOCZ. The Hallowed Halls, 4420 SE 64th Ave., 512-785-3351. 7 pm. Free. 21+.

SUNDAY, JULY 12 The Body, False, Muscle and Marrow

[MORE DOOM, LESS METAL] “Harrowing” is perhaps the best word to describe the minimalist dirges of Portland’s Muscle and Marrow—other options include “anguished,” “bleak” and “terrifyingly beautiful.” The lurching repetition has earned many comparisons to Swans, while the tone of heavy gloom has endeared Muscle and Marrow to the metal crowd, even if describing the band as “doom metal” wouldn’t be totally accurate. But while The Human Cry, the duo’s debut album, is intensely sorrowful, it’s not wallowing in misery— it’s searching for a way to cope. It should pair exceptionally well with headliners the Body, Portland transplants who’ve become a darling among fans of extreme music that manages to subtly unnerve as much as it pulverizes. MATTHEW SINGER. Bunk Bar, 1028 SE Water Ave., 8949708. 9:30 pm. $18. 21+.

The Deslondes, Jake Ray

[BIG EASY COUNTRY] The best bands are often the ones that tweak, rather than adhere, to traditional lines of music. The Deslondes are one of them, exuding an ability to mesh the work of its country and blues forebears with the pounding barroom rhythms of New Orleans. The band’s eponymous debut sees each member sharing vocal duties atop walking bass and two-step guitar, along with gentle clarinet solos and honky-tonk piano lining the fringes. Tracks such as “Louise” and “Low Down Soul” will rend your heart in two, yes, but not before nominal frontman Riley Downing shows you how a true rockabilly boogie should roll. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $10 advance, $12 day of show. 21+.

Ky-Mani Marley, Major Myjah, Steady Riot, Trinity Soundz

[POP REGGAE] That’s right, another Bob Marley scion. Ky-Mani Marley is no newcomer, though. Though he’s fallen a couple tiers below his halfbrothers Ziggy, Damian and Stephen in terms of recognizability, his 2000 sophomore album, The Journey, was a pop-reggae hit, and the followup, Many More Roads, was nominated for a Grammy. His newest album, Maestro, is his ﬁrst in eight years, and while it’s still high on his raspy energy, the glossy production feels a bit stale. MATTHEW SINGER. Star Theater, 13 NW 6th Ave. 9 pm. $20 general admission, $32 balcony seating. 21+.

MONDAY, JULY 13 Marriages

[GOTH-GAZE] It’s a shame postrock powerhouse Red Sparowes hit the brakes when it did. But the thundering gloom that makes Marriages’ debut full-length Salome such a thrilling listen might not have surfaced if it hadn’t. The gauzy guitar leads humming beneath Emma Ruth Rundle’s slow-burning, ethereal rage oﬀer plenty for diehard fans of the Sargent House label to love, making it no small coincidence that the group has established serious cachet touring Europe and the U.S. with labelmates like Russian Circles and Chelsea Wolfe. Where the latter falls ﬂat with brittle ambience masking turgid vampire folk, Marriages excels at knowing when to turn up the volume and snap out

Willamette Week JULY 8, 2015 wweek.com

of the languid haze. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $11 advance, $12 day of show. 21+.

An Evening With Lyle Lovett & His Large Band

[TIN PANHANDLE ALLEY] Decades past chart success—that longago marriage to Julia Roberts now seeming just a misremembered Friends subplot—it’s tempting to blame Lyle Lovett’s dimming star on poor timing. Had he arrived just a bit earlier, the bigger tent of old country might have found room for his straightforward songwriting, and the droll, incisive lyrics and manful fragility strung throughout those early collections would surely be trending among the unformatted generation had he not surrendered momentum to genre-touring diversions. Release Me, Lovett’s most recent album, ranges through jazz, blues and Western swing covers with practiced ease. But, even at his most rollicking, there’s a distant strangeness perhaps most comfortable along the fringes. JAY HORTON. Edgeﬁeld, 2126 SW Halsey St., 669-8610. 6:30 pm. $42-$83. All ages.

Ural Thomas & the Pain

[BEACH BLANKET SOUL] There will never be a bad place to see 2014 Best New Band winner Ural Thomas

MIC CHECK

& the Pain. The soul singer-turnedPortland statesman, backed by his nine-piece band, brings his powerful vocal punches to Sellwood as part of Portland’s Concerts in the Park series, where he will groove you and your family picnic basket happily into the pinkish-purple sunset. Thomas, who this summer will release a new version of his classic “Pain Is the Name of the Game” on 45, should be in perfect form after his recent show at the Waterfront Blues Festival. This one’s a nobrainer. Start the week oﬀ right. PARKER HALL. Sellwood Riverfront Park, Southeast Spokane Street and Southeast Oaks Parkway. 6:30 pm. Free. All ages.

TUESDAY, JULY 14 Eternal Summers, Nic Hessler

[CASSETTE ROCK] Don’t ﬁxate on the name too much: Eternal Summers is kind of a bummer. The Virginia trio plays the type of moody, jangly, slightly noisy indie pop that sounds just as good, if not better, on a rainy day. That’s not to say the music isn’t bright— tracks like the rocking “Play Dead” and latest single “Together and Alone” chime enough to garner rock-radio play while still appealing to Sensitive

PREVIE

MILO GREENE Whether it was their intention to create a festival-ready powerhouse or not, the four college friends who comprise Milo Greene are most definitely bound for greatness. Full-on democracy can make even the smallest band decisions a chore, but the way the L.A. group’s breezy four-part harmonies and gently shuffling folk ballads coalesced on its debut self-titled record provides a most serene listening experience for the throngs of strangers who spend the summer months gathering in sun-drenched fields in hopes of finding their next favorite band. On balance, one could easily levy the complaints reserved for roots-rock superstars like Fleet Foxes and Mumford & Sons against this troupe of stylish Angelenos. But its recent LP, Control, all but threw the Laurel Canyon-isms out the window in favor of a polished ’80s pop sound that’s far too groovy to be concerned with when and why the idea of populist, arena-ready folk rock became so passé. With a disco-posi shot in the arm, Milo Greene’s live set is now ready to accept a whole new batch of converts to the party. WW: Los Angeles hasn’t had a very specific identity in rock music since the ’70s, but it feels like a scene involving you guys, along with Foster the People and Fitz and the Tantrums, is really coming into its own. Do you feel there’s something at large happening in L.A. for “cinematic pop,” as you’ve described yourselves? Graham Fink: L.A. is so big, and there are so many artists coming up and at different stages of their career, from bands playing their first shows on the eastside of town, to bands like Fitz and Silversun Pickups that have built these huge careers and are staples of the city. Inevitably, you’re aware of other bands and they influence you both consciously and subconsciously because they’re your peers and people you respect. As far as a specific genre or sound goes, you kind of have to just carve out what makes you unique. For us, that’s always been the fact that we have four lead singers and the focal voice in the band shifts, and we trade instruments and are very much a collective. I think that inevitably makes us some kind of hodgepodge of different pockets of L.A. music because the four of us all have very different identities and perspectives to who we are as people and what we listen to. We’re kind of a web that catches all of what’s happening in L.A. and beyond, and tries to mesh it all together in a way that sounds like something we love collectively. SEE IT: Milo Greene plays MusicfestNW at Tom McCall Waterfront Park on Friday, Aug. 21. Go to musicfestnw.com for tickets. See wweek.com for an extended Q&A.

HARTMAN HARRIS

MUSIC

TUESDAY/CLASSICAL, ETC. COMMENTARY

C O U R T E S Y O F WA R N E R B R O S .

Sweater Boys (I’m a card-carrying member of the club). The band’s latest record, Gold and Stone, comes just a year after the great The Drop Beneath, and both releases emphasize singer-guitarist Nicole Yun’s plaintive vocals and aﬃnity for C86 compilations. See them at Bunk Bar before Urban Outﬁtters catches on. MICHAEL MANNHEIMER. Bunk Bar, 1028 SE Water Ave., 894-9708. 9:30 pm. $5. 21+.

MUSIC

The Adolescents, the Weirdos

[SOCAL PUNK] You could open a small school with the number of musicians who’ve passed through these two Southern California punk relics. Despite the revolving-door membership, both the Weirdos and the Adolescents have retained their most important people—the Denney brothers in the former, singer Tony Cadena and bassist Steve Soto in the latter—along with their snarl, even if it produces a few more wrinkles these days when employed. MICHAEL MANNHEIMER. Dante’s, 350 W Burnside St., 226-6630. 8 pm. $17. 21+.

Souvenir Driver, LiquidLight, Hollow Sidewalks

[POST GAZE] For over three years, Souvenir Driver has been conjuring melancholy slices of late-’80sinspired noise pop, informed equally by the monochromatic swirl of proto-shoegazers like Jesus and Mary Chain and Swervedriver and the hazy stoner-psych of Primal Scream. But the layers of looped guitars, digital drone and other sonic references to the noisier, neo-post-punk bands of today like Protomartyr and Eagulls let you know that you’re still listening to rock music, circa 2015. The band released its second album last year, tightening its sound and adding a layer of polish that bodes well for the future. CASEY HARDMEYER. Holocene, 1001 SE Morrison St., 2397639. 9 pm. $6. 21+.

Dead Sara

[POWER CHORDS] Los Angeles four-piece Dead Sara plays just the kind of hard pop rock one might expect to come out of Southern California. There’s some grit, but not enough to ruin the band’s FM radio chances. It has videos directed by Giovanni Ribisi that could double as Levi’s ads. But underneath the sun-kissed power chords is an act with an explosive, bluesy core and a wonderfully destructive stage presence. As a band of a certain popularity, look out for the occasional rock ballad to bring the house down. MARK STOCK. Star Theater, 13 NW 6th Ave. 8 pm. $15. All ages.

CLASSICAL, JAZZ & WORLD Chamber Music Northwest

[CLASSICAL AND CONTEMPORARY] A welcome new part of the 45-year-old summer festival, Chamber Music Northwest’s New@Noon series features hourlong performances of mostly contemporary music at Portland State University’s Lincoln Hall. Friday’s show oﬀers a quintet of world premieres (by composers Jake Heggie, Paul Moravec and others) sung by soprano Evanna Chiew, the latest rising young star in the festival’s artist development Protégé Project, accompanied by clarinet and piano, plus a couple of instrumental pieces. With several other CMNW concerts sold out this week, museum music fans will have to content themselves with a program of Beethoven violin sonatas Thursday at Reed College, the July 13-14 viola extravaganza featuring Paul Neubauer and other festival regulars playing Schubert, Schumann and more. BRETT CAMPBELL. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. Noon Friday, July 10. $5-$15. All ages.

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ELVIS COSTELLO WEDNESDAY, JULY 8 In April 1991, Elvis Costello released an unsettling promotional video from his upcoming album, Mighty Like a Rose. The opening shot is of waves lapping in slow motion at night, double exposed with a close-up of Costello’s scowling face. Only, it’s not the clean-shaven, skinny-jeans Costello of the ’70s and ’80s. He has long hair and a scraggly beard to match. He’s swapped his Buddy Holly glasses for tinted John Lennon spectacles, and he’s all decked out in black. (It was a look, Costello wrote later, that took hold one winter in Dublin, then “became a fixture once I realized how it infuriated people.”) Before long, he’s singing the song’s chorus: “From the foaming breakers of the poisonous surf/ To the burning forests in the hills of Astroturf/ The other side of summer.” Twenty-four summers later, with global warming sucking California dry and police violence prompting protests nationwide, “The Other Side of Summer” feels prophetic. On first listen, one hears airy Beach Boys harmonies buoying the chorus, and majestic piano runs—by Larry Knetchel, who played organ on “Good Vibrations”— cementing the song’s grandiosity. But lyrically, it is something else entirely. With machine-gun pacing, Costello addresses violence and mass unrest (“The casual killers/ The military curfew”), the failings of past social movements (“Because of their mistakes, you’d better be wide awake”) and the chronic inability of popular culture to deal with real-world problems (“The dancing was desperate, the music was worse”). Just for kicks, Costello even throws in a Lennon burn, singing, “Was it a millionaire who said ‘imagine no possessions’?” If the song sounds dark, the video is darker. It features shots of a smiling Costello, driving on a sunny beach with a gaggle of French models, intercut with increasingly bleak real-life scenes of tent cities and screaming Los Angeles street people. “I think that everyone has the experience on certain days of waking up, reading the paper and thinking, ‘Wouldn’t it be better if man was gone?’” Costello explained to The New York Times in 1991, quickly clarifying that “the song is not saying we should kill everybody” and that he was writing from “the blackest comedic position.” In another interview, with the Ocala, Fla., Star-Banner in June 1991, Costello tried to contextualize the song’s criticisms of Lennon and Pink Floyd. “Rock ’n’ roll has this inherent rebellion, but it also confuses freedom for license a lot, which is dangerous,” he said. “It doesn’t have any responsibility to itself.” In the age of poptimism, that last observation stings a little. Rebellious rock hasn’t charted in at least a decade, and pop music is pathologically opposed to addressing the issues of the day, save for the occasional John Legend tearjerker. Even contemporary folk artists write abstractly, and usually prefer to be called “folk pop.” The musical landscape is, much as Costello found it in 1991, full of date-stamped songs about dancing and fucking. And maybe we don’t need songs to remind us that we are destroying the Earth and each other, because we feel it in our bones. Or maybe, just maybe, Kanye West is about to grow out his beard. CASEY JARMAN.

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6/10/12 9:41 AM

Who loves the sun? Not this guy.

SEE IT: Elvis Costello and the Imposters play Arlene Schnitzer Concert Hall, 1037 SW Broadway, on Wednesday, July 8. 8 pm. $46.50-$89. All ages.

ROSELAND THEATER- FRIDAY AUGUST 21 NEW ALBUM #WILDHEART OUT JUNE 29TH TICKETS AVAILABLE AT CASCADETICKETS.COM | OFFICIALMIGUEL.COM Willamette Week JULY 8, 2015 wweek.com

Willamette Week JULY 8, 2015 wweek.com

MUSIC CALENDAR

[JULY 8-14] doug Fir lounge

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

LAST WEEK LIVE

830 East Burnside Street HONEYHONEY, Luke Bell

Greenway Park

dublin Pub

Jade lounge

duff’s Garage

K E N T O N WA LT z

Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

Kells Brewpub

210 NW 21st Ave. Sami Live

Kelly’s Olympian

426 SW Washington St. Space Shark & Buzzmutt, Kingdom Of Smith

Kennedy School

5736 NE 33rd Ave. Ma Fondue, Chringa

laurel Thirst Public House

2958 NE Glisan St. James Low Wreck Trio, Fernando Trio (9:30 pm); The Resolectrics (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Tanlines

Pub at the end of the universe 4107 SE 28th Ave. Thursday Night Community Jam

Wed. July 8 Al’s den

303 SW 12th Ave. Lincoln Barr

Ash Street Saloon 225 SW Ash St. Disentomb, Mortal Plague, & Guests

Blue diamond

2016 NE Sandy Blvd. The Fenix Project

Bunk Bar

1028 SE Water Ave. Mission Spotlight, The Parson Red Heads

Cadigan’s Corner Bar

Holocene

1001 SE Morrison St. Moniker, Johanna Warren, Luz Elena Mendoza, Coco Columbia, Luz Elena Mendoza, Coco Columbia

Jimmy Mak’s

221 NW 10th Ave. Chamber Music Northwest

Kelly’s Olympian

426 SW Washington St. Rose City Round, Nashville Style Writer’s Round Stirling Myles, Quinn Mulligan

Kelly’s Olympian

5501 SE 72nd Ave. Danny Hay Davis & The Rat Pack

426 SW Washington St. Rare Monk

doug Fir lounge

4847 SE Division St. Whiskey Wednesday

830 East Burnside Street Randy McAllister, Calico the Band, The Redeemed

duff’s Garage

2530 NE 82nd Ave Brad Stivers

edgefield

landmark Saloon

laurel Thirst Public House

2958 NE Glisan St. The Hillwilliams (9 pm); The Quick and Easy Boys (6 pm)

2126 SW Halsey St. Death Cab For Cutie, Built to Spill

Mississippi Studios

Hawthorne Theater

PCC Cascade Moriarty Auditorium

1507 SE 39th St The Griswolds, Wild Party

3939 N Mississippi Ave. Shellac, Shannon Wright

705 N. Killingsworth St. Summer Sings

Revolution Hall

1300 SE Stark St, #110 Washington High Celebration/Concert

Wilf’s Restaurant & Bar 800 NW 6th Ave. Ron Steen Band

Roseland Theater

8 NW 6th Ave. King Chip, Tre Redeau, SQD, Harris Rudman

4148 NE Hancock Consumer, Gel Set, James Curry IV, Matchess, PANTING

The Headwaters Theater

55 NE Farragut St. #9 El Sol de Verano Summer Flamenco

The Know

2026 NE Alberta St. Joy

The lodge Bar & Grill 6605 SE Powell Blvd. Pete Ford Band Jam

Turn! Turn! Turn!

8 NE Killingsworth St. Bone and Bell, Kassi, The Sagebrush Band, Dan Loredo

Vie de Boheme 1530 SE 7th Ave. Gypsy Jazz Jam

White eagle Saloon 836 N Russell St. Samuel

THuRS. July 9 Al’s den

303 SW 12th Ave. Lincoln Barr

Alberta Rose Theatre

3000 NE Alberta St. Ben Lee, The Falls, Ryan Dilmore

Artichoke Music

3130 SE Hawthorne Blvd. Acoustic Village

Blue diamond

2016 NE Sandy Blvd. Ben Jones and Friends

Bunk Bar

1028 SE Water Ave. Trails and Ways

Cadigan’s Corner Bar 5501 SE 72nd Ave. Thursday Night Jam

Chapel Pub

430 N Killingworth St. Steve Kerin

dante’s

350 W Burnside St Ancient River, Is/Is, The Verner Pantons, & The Kingdom Of The Holy Sun

830 East Burnside Street Portland Cello Project’s Extreme Dance Party

Access off SW Pearson Court and SW Parkview Loop Sabroso 2342 SE Ankeny St. The Rubatos, Prashan, Gabriel Surley, JD’s Blues/grass Sessions

RED HOT AND BLUES: You don’t need a damn air conditioner—you just need more Buddy Guy in your life. After he hit the stage July 5 to close the hottest Waterfront Blues Festival ever, he cooled the audience with every screaming guitar lick emanating from his icy, 78-year-old fingers. Guy, who wore a wry smile along with a white baseball cap and pink patterned Hawaiian shirt, spoke, sang, and hip-thrusted his band through a set of classics, showing the sort of poise you expect from an AARP-card-holding, sixtime Grammy winner. It was all good news from a blues world filled with steadily aging heroes, one still reeling from the recent loss of B.B. King—because Buddy Guy doesn’t just still play the guitar, he still plays the ever-loving shit out of it. And, as far as I can tell, his favorite word is still “fuck.” “I don’t know if you know it, but they don’t play this kind of fuckin’ blues on your radio anymore,” he declared loudly to the crowd after a burning solo. “But I’m not going to stop!” He’d better fuckin’ not. I can’t think of another elderly man I’d rather see hump a guitar, then play it with his teeth, then yell at the audience to sing louder, all as the hot July sun slowly fades with him, into a seemingly endless twilight. PARKER HALL. See our full Waterfront Blues Festival review at wweek.com/lastweeklive.

doug Fir lounge

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Three for Silver

The Know

2026 NE Alberta St. Pure Disgust, Hard Stripes, Barge, Pressing On

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

The lovecraft

421 SE Grand Ave. Ultra Violent Rays

The Muddy Rudder Public House

8105 SE 7th Ave. Jack Dwyer & Friends

The Secret Society

116 NE Russell St. 12th Avenue Hot Club, The Swingtown Vipers

Turn! Turn! Turn!

8 NE Killingsworth St. Chuck Warda, Coloring Electric Like, Vibrissae

Twilight Cafe and Bar 1420 SE Powell Blvd. Therapists, Sciatica, Warpfire

White eagle Saloon

836 N Russell St. Matt Buetow, Latlaus Sky and Mount Joy

FRi. July 10 Al’s den

303 SW 12th Ave. Lincoln Barr

Artichoke Music

3130 SE Hawthorne Blvd. Friday Night Coffeehouse

Biddy McGraw’s

6000 NE Glisan St DoveDriver

Bunk Bar

1028 SE Water Ave. Audacity, Together Pangea, White Night

dante’s

350 W Burnside St Dirty Bourbon River Show

6821 SW Beaverton Hillsdale Hwy. Tripwire 2530 NE 82nd Ave Ken Derouchie, Jawbone Flats

Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Barrows, Coastlands, A Collective Subconscious, Ron Rogers & The Wailing Wind

Turn! Turn! Turn!

The Hallowed Halls

Twilight Cafe and Bar

The Know

8 NE Killingsworth St. JDB and the Spirit Molecules 1420 SE Powell Blvd. The Exacerbators, Complaint Dept., Crush Hazard, Misfortunes Of Mr.Teal

Vie de Boheme

1530 SE 7th Ave. Dina y los Rumberos

White eagle Saloon 836 N Russell St. Garcia Birthday Band

White Owl Social Club

1305 SE 8th Ave. Yob, Lord Dying, DJ Dirty Red

Jimmy Mak’s

221 NW 10th Ave. Soul Vaccination

SAT. July 11

Kells Brewpub

Al’s den

Kelly’s Olympian

Aladdin Theater

210 NW 21st Ave. Sami Live 426 SW Washington St. Fanno Creek, Boone Howard, Glass Knees

laurel Thirst Public House

303 SW 12th Ave. Lincoln Barr 3017 SE Milwaukie Ave. A Night with Purusa and Ian Moore

Clyde’s Prime Rib Restaurant & Bar

2958 NE Glisan St. Denim Wedding, the Dull Richards (9:30 pm); Joe McMurrian and Woodbrain (6 pm)

5474 NE Sandy Blvd. Elite

lincoln Hall at PSu

doug Fir lounge

1620 SW Park Ave Chamber Music Northwest

McMenamins edgefield 2126 SW Halsey St. The Decemberists, Calexico

Mississippi Pizza Pub.

3552 N. Misssissippi Ave Pura Vida Band

dante’s

350 W Burnside St Mickey Avalon 830 East Burnside Street Portland Cello Project’s Extreme Dance Party

duff’s Garage

2530 NE 82nd Ave Bureau of Standards, Hot Tea, Cold

Hawthorne Theatre

1507 SE 39th Ave. Of Fact And Fiction, Within Sight, Sojourner, Against the Raging Tide, Divides, Fighting Silence

4420 SE 64th Ave. Hallowed Halls Opening Party, Gold Casino 2026 NE Alberta St. Prizehog, Burnt Books, Humours

The Muddy Rudder Public House 8105 SE 7th Ave. Jon Bunzow Duo

The Secret Society

116 NE Russell St. Anita Margarita and The Here and There Band

Three Mugs Brewing Taproom 2020 NW Aloclek Dr Ste 108 Cascade Crescendo

Trail’s end Saloon

1320 Main Street Rowell & Quinby Project

Turn! Turn! Turn!

8 NE Killingsworth St. Zirakzigil, Serpent’s Caul, BATT (Joshua Tree)

Twilight Cafe and Bar

1420 SE Powell Blvd. Schroeder Bomb, Lost Bombers, Zorched Realm, Hectic Shock

Vie de Boheme

1530 SE 7th Ave. Bastille Day Bash with Eric John Kaiser Band

White eagle Saloon 836 N Russell St. Jim Creek, Reverb Brothers

Sun. July 12 Al’s den

303 SW 12th Ave. James Dean Kindle

Alberta Rose Theatre

Jade lounge

3000 NE Alberta St. LIVE ANIMALS, A benefit for the Oregon Humane Society

Panic Room

2342 SE Ankeny St. Joseph Waya, Benny Gilberts, Will St John, Jack Maybe, Farrie

Rock Creek Tavern

Jimmy Mak’s

3000 NE Alberta St. Live Animals, A Benefit Concert for the Oregon Humane Society

Kells

6063 NE Glisan St. Miri It Is

Mississippi Studios

3939 N Mississippi Ave. The Appleseed Cast, ADJY, Coaster

3100 NE Sandy Blvd. Dispirit, Lycus and Knelt Rote 10000 NW Old Cornelius Pass Rd. Anita Margarita & The RattleSnakes

221 NW 10th Ave. Soul Vaccination

Saithong Thai Fusion

112 SW 2nd Ave. Pipes & Drums

Star Theater

210 NW 21st Ave. Sami Live

710 SW 2nd Ave Where’s Danny Band

Kells Brewpub

13 NW 6th Ave. The Aristocrats, Travis Larson Band, State of Balance

Kelly’s Olympian

The Firkin Tavern

laurel Thirst Public House

1937 SE 11th Ave. The Sublimities, Kool stuff Katie & Chocolate Cool But Rude

The Know

2026 NE Alberta St. Breaker Breaker, Gigantic, Boreal Hills

The Melody Ballroom 615 SE Alder Tuba Skinny

The Muddy Rudder Public House 8105 SE 7th Ave. Never Strangers

The Secret Society

116 NE Russell St. The Delines, Camerado, Pete Krebs & His Portland Playboys

The Slide inn

2348 SE Ankeny St. Live Jazz

Trail’s end Saloon

1320 Main Street Rich Layton & the Troublemakers, Shakey Jakey

426 SW Washington St. The Mercury Tree, Barrows, Long Hallways

2958 NE Glisan St. Elwood, Karyn Ann, Sara Wolf (9:30 pm); Lynn Conover and Little Sue

Mississippi Pizza Pub.

Alberta Rose Theatre

As you Wish

Blue diamond

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

Bunk Bar

1028 SE Water Ave. The Body, False, Muscle and Marrow, Muscle and Marrow

Cadigan’s Corner Bar 5501 SE 72nd Ave. Blues Jam

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd. Ron Steen Jazz Jam

3552 N. Misssissippi Ave Life During Wartime: Talking Heads Tribute; Ampersan

doug Fir lounge

Mississippi Studios

2530 NE 82nd Ave Melissa Ruth & The Likely Stories, with The Waysiders

3939 N Mississippi Ave. Late Night Action with Alex Falcone

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Garcia Birthday Band

Rotture

315 SE 3rd Ave. Nostalgist

830 East Burnside Street Foreverland

duff’s Garage

Gerding Theater at the Armory 128 NW 11th Avenue The Maestro Show

Hawthorne Theatre

Slim’s

1507 SE 39th Ave. Acceptance, The Money Pit

The Firkin Tavern

1001 SE Morrison St. Champagne Duane, Free Thought Takeover, Dope Kine, Murder Vibes

8635 N. Lombard Mtrik, Volcanic Pinnacles, Temple Maps, Two Crows Fighting 1937 SE 11th Ave. Blind Swords and Secret Ceremony

Holocene

CONT. on page 40

Willamette Week JULY 8, 2015 wweek.com

MUSIC CALENDAR

JULY 8–14

Jade Lounge

Blue Diamond

Laurel Thirst Public House

Corkscrew

2342 SE Ankeny St. Buddy Jay Kiefer

2958 NE Glisan St. Freak Mountain Ramblers

Lola’s Room

1332 W. Burnside St. Sunday Assembly with Dr. Chris Ryan

Mississippi Pizza Pub.

3552 N. Misssissippi Ave Echo Pearl Varisty

Mississippi Studios

3939 N Mississippi Ave. The Deslondes

Plews Brews

8409 N. Lombard St. Singer Songwriter Cabaret Open Mic

Portland Community Music Center 3350 SE Francis St Love:101, a musical cabaret

Rontoms

600 E. Burnside St. Sunday Sessions

Star Theater

13 NW 6th Ave. Ky-Mani Marley

Stonehenge Studios

3508 SW Corbett Ave. The Studio Series

2016 NE Sandy Blvd. Hot Tea Cold 1665 SE Bybee Ave. Open Mic

Director Park

815 SW Park Ave Monday Soundscapes

Doug Fir Lounge 830 East Burnside Street Marriages

Edgefield

2126 SW Halsey St. Lyle Lovett and his Large Band

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Trio

Kelly’s Olympian

426 SW Washington St. Bunker Sessions Open Mic

Kelly’s Olympian

426 SW Washington St. Eye Candy

Mississippi Studios

3939 N Mississippi Ave. Mustered Courage

Mittleman Jewish Community Center

6651 SW Capitol Hwy Musical Learning and Lunch

The Firkin Tavern

Pub at the End of the Universe

The Know

Rock Creek Tavern

1937 SE 11th Ave. Open Mic

2026 NE Alberta St. Vermin

The Muddy Rudder Public House 8105 SE 7th Ave. Irish Music

The Old Church

1422 SW 11th Ave David Rothman and Michael Barnes: The Chopin Concertos

The Waypost Coffeehouse & Tavern 3120 N Williams Ave. Loop Madness

Vie De Boheme

1530 SE 7th Ave. Brothers of the Baladi

White Eagle Saloon 836 N Russell St. Rob Johnston

MON. JULY 13 Al’s Den

10000 NW Old Cornelius Pass Rd. Bob Shoemaker

Sellwood Riverfront Park

SE Oaks Park Way Ural Thomas & the Pain

The GoodFoot Lounge

2845 SE Stark St. Sonic Forum Open Mic Night

The Know

2026 NE Alberta St. Feral Future, Backbiter and Bobby Peru

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

TUES. JULY 14 Al’s Den

303 SW 12th Ave. James Dean Kindle

Bunk Bar

1028 SE Water Ave. Eternal Summers, Nic Hessler, Nic Hessler

Cadigan’s Corner Bar 5501 SE 72nd Ave. Soul Provider, Naomi T

Dante’s

350 W Burnside St The Adolescents and The Weirdos

Doug Fir Lounge 830 East Burnside Street Dopapod, Vokab Kompany

Edgefield

2126 SW Halsey St. David Gray and Amos Lee

Holocene

1001 SE Morrison St. Souvenir Driver, LiquidLight

Jimmy Mak’s

221 NW 10th Ave. Minor 7

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet

Mississippi Studios

3939 N Mississippi Ave. Eleni Mandell, Courtney Marie Andrews

Northwest Portland Hostel & Guesthouse 425 NW 18th Avenue Summer Music in the Secret Garden

Panic Room

3100 NE Sandy Blvd. Epicardiectomy, Parasitic Ejaculation, Party Cannon, Nocturnal Slaughter

Rock Creek Tavern 10000 NW Old Cornelius Pass Rd. Open Bluegrass Jam

Star Theater

13 NW 6th Ave. Dead Sara

The Know

2026 NE Alberta St. Poney

The Lehrer

8775 SW Canyon Ln. Hot Jam Night with Tracey Fordice & The 8-Balls

White Eagle Saloon

836 N Russell St. Small Million, The Empty

CHRISTINE DONG

303 SW 12th Ave. James Dean Kindle

4107 SE 28th Ave. Open Mic

Blue Diamond

2016 NE Sandy Blvd. A.C. Porter and Special Guests

WHAT’S MY NAME?: Moniker plays Holocene on Wednesday, July 8. 40

Willamette Week JULY 8, 2015 wweek.com

JULY 8–14

MUSIC CALENDAR CHRISTOPHER ONSTOTT

BAR REVIEW

Where to drink this week. 1. Culmination Brewing 2117 NE Oregon St., 353-6368, culminationbrewing.com. After a slow start, Culmination actually has its own brew in nearly half of its 21 tap handles, but the real show for summer is its patio seating in a funny little neighborhood that’s somehow half-trucking, half-condo. Get a saison or the zesty citrus sour.

Beyond the Print

#WWEEK

2. Altabira City Tavern

1021 NE Grand Ave., Suite 600, 963-3600, altabira.com. Upscale beer bar Altabira oﬀers what E.M. Forster oﬀered: a room with a view. It’s a breathtaking view, with a partly open-lidded rooftop section. Just make sure you show up for happy hour from 4 to 6 pm, when menu items drop to about half-price with no commensurate drop in plate size. Wow. Otherwise, it’s expensive.

NEVER MISS A BEAT.

3. Shift Drinks

1200 SW Morrison St., 922-3933, shiftdrinkspdx.com. Order the “drinking tobacco”—actually a richly ﬂavorful vermouth—or a heartbreakingly good Palermo Viejo #2 ($10) with gin, Cynar, grapefruit liqueur, mint and bitters, plus one of the richly adorned bruschettas ($8) thick as garlic bread.

4. Sandy Hut

1430 NE Sandy Blvd., 235-7972. Club 21’s owners have done less a full-scale remodel of the decades-old Handy Slut than the sort of rearrangement a mother might give her son’s bedroom after he ﬁnally moves out: scrub the stink out of the carpets, move some furniture around and open a damn window.

5. Momo’s

725 SW 10th Ave., 478-9600. We have arrived at peak patio. And in downtown or the West End, a patio seat on the tucked-away, backporch area of Momo’s—still quaintly domestic, even with the ivy cleaned up—is one of the most coveted pieces of real estate.

SEITAN IN SELLWOOD: There is no menu at Portland’s newest vegan strip club. Sure, you can get animal-free nachos or cleaned-up sloppy Joes, but you’ll have to get your dining options read out loud by a topless bartender who—according to a sign by the bar—is also available for private dances. And when she tells you there’s some soy-beef stroganoff and she really likes the “sparkle chips,” it all just seems normal by now. Dusk ’Til Dawn: Casa Diablo II (8445 SE McLoughlin Blvd., 222-6610, dusktildawn.club) is the third in a meatless strip-club empire that’s been the opening line of every crappy comic’s Portland-sure-is-weird monologue since 2008. And despite being owner Johnny Diablo’s most unassuming location–pretty much just a box on the side of Route 99E—Dusk got a year’s worth of protest from a group set on preserving the sanctity of a “neighborhood” that otherwise consists of two other strip clubs, a weed dispensary, a dead-end gravel road and the Oregon Music Hall of Fame. But Diablo just quietly waited them out. And so now Dusk ’Til Dawn is a sordidly intimate, soy-curled neighbor to spectacle-filled nudie steakhouse the Acropolis. All seats at Dusk are tightly arranged around a central stage, putting everyone in the room on close terms with either the small coterie of dancers or the mostly naked servers, whose change belts look like suggestive chastity guards. You will be asked, again and again, if you need more $2 bills—the sole bills they offer in change. The only correct answer is “yes,” and there’s nowhere to hide. Really the mood’s a bit like the place in that Robert Rodriguez movie—all red light, tattooed skin and velvet-laced foreboding—and although the club was mostly empty on a recent weeknight at 10 pm, it already felt like Portland might get plenty weird later in the night. MATTHEW KORFHAGE.

Moloko Plus

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

WED. JULY 8 Ground Kontrol Classic Arcade 511 NW Couch St. TRONix

Plews Brews

8409 N. Lombard St. Wiggle Room

The Lovecraft

421 SE Grand Ave. Event Horizon, Industrial Dance Night

THURS. JULY 9 Holocene

1001 SE Morrison St. Body Party, Holla n Oates

Moloko Plus

3967 N Mississippi Ave. Montel Spinoza

Plews Brews

8409 N. Lombard St. Reggae Roots and Dub Night

The Lovecraft

421 SE Grand Ave. Shadowplay

FRI. JULY 10 Crystal Ballroom

1332 W. Burnside 80s Video Dance Attack, VJ Kittyrox

Holocene

1001 SE Morrison St. Dance Yourself Clean

SAT. JULY 11 Branx

320 SE 2nd Ave. Derrick May, Bryan Zentz, Asss

Crush Bar

1400 SE Morrison St. ABC DJs

Holocene

1001 SE Morrison St. Verified: Gang$ign$, Benny Rox, Drexler, Massacooramaan, Eastghost, Quarry, Portia, Lord Baby

Mississippi Studios

3939 N Mississippi Ave. Mrs. Presents Queen, DJ Beyonda, Ill Camino

Moloko Plus

@WillametteWeek

MON. JULY 13 Cadigan’s Corner Bar 5501 SE 72nd Ave. Fight Church TV, Jessie

@wweek

Ground Kontrol Classic Arcade

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

The Lovecraft

421 SE Grand Ave. Departures, DJ Waisted and Friends

TUES. JULY 14 Crush Bar

1400 SE Morrison St. Bi Bar, Bi/Pan/Fluid/Queer Dance Party

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

@WillametteWeek

3967 N Mississippi Ave. DJ Cuica

Willamette Week JULY 8, 2015 wweek.com

july 8–14

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

THEATER OPENINGS & PREVIEWS The Kilroys List: A Festival of Contemporary Plays

Gender-equality focused Portland theater group the Hearth Collective partners with the Kilroys, a gang of women playwrights and producers from L.A., to showcase three plays from the Kilroys 2014 list of underproduced plays by female playwrights. I Enter the Valley by Calcutta-born Dipika Guha is inspired by the life of Pablo Neruda and tells the tale of a legendary poet who faces writer’s block at the end of his life. Writing professor Jami Brandli’s Bliss (or Emily Post is Dead!) takes place in 1960s New Jersey where housewives deal with a pill addiction. And finally, L.A.based playwright Bekah Brunstetter brings the show back to the Northwest withThe Oregon Trail, where a family on the real 19th-century Oregon Trail and a confused teenager playing the the vintage computer game in 1997 deal with depression in different ways. Gerding Theater, 128 NW 11th Ave., 445-3700. Noon, I Enter the Valley; 4 pm, Bliss (or Emily Post is Dead!); 8 pm, The Oregon Trail. Sunday. Free.

Looking for Olivia

When an unemployed screenwriter poses as the husband of his knockout neighbor Olivia to fool her parents, the act inevitably ignites real sparks. The rom-com from local filmmaker, performer and playwright Steve Coker must outshine trope, though—its film adaptation won best screenplay at 2006’s Swansea Bay International Film Festival in Wales. Director and Twilight Theater co-founder JJ Harris helms the Portland show and one-time Grimm actor Tristan David Luciotti is our lovesick and down-on-his-luck writer. Twilight Theater, 7515 N Brandon Ave., 847-9838. 8 pm Thursday-Saturday, 3 pm Sunday, July 10-26. $15.

National Theatre Live: The Audience

Broadcast in HD from a 2013 performance in London’s West End, Helen Mirren reprises her Academy Award-winning role as the eponymous monarch in The Queen. Written by Peter Morgan (The Queen) and directed by two-time Tony Award winner and Academy Awardnominated director Stephen Daldry, The Audience delves into Queen Elizabeth II’s secretive weekly meetings with her 12 prime ministers. A screened Q&A with Stephen Daldry and Helen Mirren follows the show. World Trade Center Theater, 121 SW Salmon St. 2 and 7 pm Saturday. $15.

Original Practice Shakespeare Festival

Expect a lot of audience participation at these Original Practice Shakespeare Festival performances, which follow in the footsteps of the Bard’s 16thcentury pantalooned troupe: limited rehearsals, an onstage prompter and catcalls to the peanut gallery. This weekend has three options: The Merry Wives of Windsor, where two married women receive identical love letters from the same suitor and join forces to embarrass him in front of the whole town, Comedie of Errors, in which two sets of identical twins are separated at birth, and the serioushistorical tragedy Richard III. These shows are three of the 12 that OPS is staging this summer in parks around Portland. Irving Park Courts, Northeast 7th Avenue and Fremont Street. 2 pm Comedie of Errors and 7 pm Richard III on Saturday. The Merry Wives of Windsor 2 pm Sunday. Free.

Proscenium Live

Portland Shakespeare Project joins Proscenium, a free, quarterly theater journal first published in fall 2014, to bring a series of three staged readings of new works. Tuesday night opens with a reading of the first act of Shakespeare’s Pericles, followed by a modern adaptation called Pericles Wet by Ellen Margolis, a longtime playwright and the chair of theater and dance at Pacific University in Forest Grove. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Tuesday. Free.

Shakespeare in the Park: The Taming of the Shrew

the deadpan drunkard Williams wrote, but we’re missing the deeper sadness behind his cool exterior. No shadow of lost love makes us feel the tragedy as the couple’s current relationship fails. The sole example of Williams’ fiery characters comes from the standin actor Tobias Andersen, this year’s Drammy Lifetime Achievement Award winner. When the original Big Daddy actor fell ill three days before opening night, Anderson took the role, performing on-book. The tragedy here is this: that script is magnificent, but this performance might not be worth the drive. Clackamas Repertory Theatre, 19600 Molalla Ave., Oregon City, 594-6047. 7:30 pm Thursday-Saturday, 2:30 pm Sunday, through July 19. $30. clackamasrep.org.

ALSO PLAYING

COMEDY & VARIETY

Shakespeare in the Park: Macbeth

A Something Kind of Musical

Set among the tombstones on Lone Fir Cemetery, director Matt Pavik’s rendition of Shakespeare’s Scottish tragedy takes on an eerie verisimilitude. Pull yourself back to the pleasant reality of outdoor theater with a handmade picnic of local spreads, breads, sweets and pickles served by new picnic company Peacock Picnics from a bright yellow vintage bus. Twenty percent of the proceeds support Portland Actors Ensemble, which has been performing Shakespeare in the Park every summer for 44 years. Lone Fir Cemetery, Southeast 26th Avenue and Stark Street, 224-9200. 7 pm Thursday-Saturday through July 25. 6 pm July 11 at Marylhurst University. Free.

The crowd selects a title for this show and from there anything goes as Brody directors Domeka Parker and Aden Kirschner attempt to build a show around a few words. A local musician plays the show’s live soundtrack, so it’s improv upon improv upon improv. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Saturday, July 11. $12.

Brent Morin

Judgmental quips around Chelsea Lately’s late-night round table often come from baby-faced Morin, whose standup schtick, “New Faces,” tells stories of the nightmares he encountered in high school. The co-host of

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REVIEW C R A I G M I TC H E L L DY E R

PERFORMANCE

According to director Patrick Walsh, Shakespeare’s rom-com has long been misconstrued as a misogynist romp laden with sexual innuendo. Actually, he says, it’s about two people who must find a way to care for each other by rejecting society’s mores. Veteran Shakespeare actor Melissa Whitney, from Northwest Classical Theater, plays Kate the headstrong shrew and Sam Levi, who was seen as Octavius Caesar in the Portland Actors Ensemble’s 2014 production of Antony and Cleopatra, plays her suitor, Petruchio. The wit and romance will travel around town to 11 different outdoor locations, including three greater-Portland area wineries. Concordia University, 2800 NE Liberty St., 288-9371. 7 pm Saturday-Sunday. Free.

Twelfth Night

Two twins separated by a shipwreck don absurd disguises and find themselves trapped in a love triangle on the magical island of Illyria in this summertime slapstick comedy directed by visiting New Zealand stage and screen actress Lisa Harrow. Allen Nause, former artistic director of Artists Repertory Theater, plays Feste the jester and Portland Shakespeare Project artistic director Michael Mendelson is the hunky Duke of Illyria. With “love” spoken 87 times throughout the show, you might bet on this for your next Tinder date. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesday– Saturday, 2 pm Sunday through Aug. 2. $35.

Unnecessary Farce

In one cheap motel room an embezzling mayor has unprofessional encounters with his constantly undressing female accountant. In the next room over, two undercover cops attempt to catch it all on tape. This contemporary American plot mixes with classical farce in New York playwright Paul Slade Smith’s popular play, which has been performed in both English and French in 165 productions around the world since 2006. It’s no surprise that shit hits the whirring motel ceiling fans. Whether former Catholic school boy Michael Snider, a University of Portland grad, can make the madness necessary farce is TBD. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursday-Saturday, 2 and 7 pm most Sundays through Aug. 16; 7:30 pm Wednesday, July 22 and Aug. 5. $32.

NEW REVIEW Cat on a Hot Tin Roof

A horribly brilliant longing throbs at the heart of Tennessee Williams’s play, but this rendition flatlines. Southern belle Maggie (Heather Ovalle) speeds through her lines like she’s reciting them rapid-fire for memory retention. While she sits at her dressing table, primping for Big Daddy’s birthday party and boring her husband Brick with a monologue-rant of her fears and desires, her emotions and words don’t line up. Brick (Tom Walton) is

Willamette Week JULY 8, 2015 wweek.com

sHangHai-stePPing: Claire avakian (center).

THOROUGHLY MODERN MILLIE (BROADWAY ROSE) SEXUAL SLAVERY IS SOMETHING TO SING ABOUT AT BROADWAY ROSE. As the title suggests, Millie Dillmount is a modern woman. She left her little hometown of Salina, Kan., for life in the big city, determined to find a job—as long as that job has a wealthy, single boss whom she can persuade to marry her. According to Millie, a modern woman looks at marriage like a business contract and eschews romance in favor of financial support. Because feminism. The 1967 film version starring Julie Andrews and Mary Tyler Moore was nominated for seven Academy Awards, and the 2002 Broadway debut won six Tony Awards, including Best Musical. Because screw feminism—let’s see a gal try to snag a man with bouncy tap numbers. Madcap is the only way to describe this plot as Millie (played with equally endearing naiveté and ballsiness by Claire Avakian) checks into the Hotel Priscilla, where young actresses with no family keep disappearing. Turns out the proprietress Mrs. Meers (Emily Sahler) is herself a failed actress, one who kidnaps young women and ships them off to Hong Kong for the white-slave trade. But this is musical comedy, so Sahler puts on a terrible, over-the-top Chinese accent, and every allusion to sexual slavery is bookended by high-stepping musical numbers. Amid the candy-coated slave trading, Miss

Flannery (Lisamarie Harrison) steals the show as the matronly lead stenographer at Millie’s new gig with the Sincere Trust Insurance Company. The subtle eccentricities of Flannery’s character combined with Harrison’s comic timing put a star turn on her small supporting role. The brilliantly choreographed tap number with Flannery, a chorus of steno girls and their typewriters, is the best part of a relatively high-value production. It’s not surprising that musical acts pull the production along considering its setting is New York in 1922—a city rife with the carefree ebullience of the flapper lifestyle, speakeasies, dance parties and jazz. The music by Jeanine Tesori creatively mixes Millie’s original film score with jazz standards and melodies like Tchaikovsky’s The Nutcracker. The 12-piece orchestra conducted by Alan D. Lytle adds appropriate grandeur while director Lyn Cramer’s choreography keeps the tone light and sweet. Yes the plot is ridiculous, the Chinese characterizations are offensive, and the idea of marrying for money is anything but modern. But the beauty of musical theater is that it doesn’t really matter. Sometimes when you’re alone in a new city and you get mugged like Millie—or you’re caught in a Shanghai operation—all you can do is kick up your heels and dance. PENELOPE BASS. see it: Thoroughly Modern Millie is at the Broadway Rose New Stage Auditorium, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursdays-Saturdays, 2 pm Saturdays-Sundays, through July 26. Extra performance 7:30 pm Wednesday, July 8. $20-$44.

JULY 8–14

Curious Comedy Showdown

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

DeAnne Smith

Canadian-born comedian and former Last Comic Standing contestant Smith takes a stop oﬀ her regular festival schtick to join LGBT activist, standup comedian and vocalist Belinda Carroll for an improv night hosted by Portland’s own Whitney Streed. The unholy trinity of strong, independent women promises a loud and likely unladylike night of quips. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 9:30 pm Friday, July 10. $15.

Luther King Jr. Blvd., 477-9477. 9:30 pm every second Friday. $7-$10; $5 with the purchase of a ticket to the 7:30 pm show.

The Comedy Bull

This Bridgetown Comedy Festival favorite gives comics five minutes to preform in front of a panel of judges. And just when time’s up, judges throw out top-off challenges that keep the comedian fiercely butting heads on stage even longer. Brody Theater, 16 NW Broadway, 224-2227. 10 pm Friday, July 10. $8.

DANCE

POV Dance Company and Eliza Larson—a dancer who’s releasing her Terpsichore’s Deck of 52 choreographic cards for planning dances—headline Conduit’s fourthannual festival. The modern atrium of Reed’s Arts Building will house POV works between the nightly performances, and afternoon artists talks and workshops are open to everyone. Local artists like bass clarinet player Jonathan Sielaﬀ back the dancers. Reed College Performing Arts Building, 3203 SE Woodstock Blvd., 777-7284. 7 pm WednesdaySaturday. $20. danceplus.conduitpdx.org.

Conduit Dance Festival

Four double shows of contemporary works from visiting choreographers and locals like the lithe Heather Stewart, veteran

For more Performance listings, visit

FEATURE OWEN CAREY

NBC’s Undateable apparently has had problems dating pretty, rich girls. Headlining Helium shouldn’t be too much of a problem. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, 7:30 and 10 pm Friday and Saturday, July 9-11. $17-$32. 21+.

PERFORMANCE

Down to Funny

Katie Brien’s twice-monthly standup showcase features Alex Falcone, fresh from Helium’s Portland’s Funniest competition, 10-year Portland veteran comic Gabe Dinger, Dinah Foley, Laura Anne Whitley and Jeremy Laden. Analog Cafe, 720 SE Hawthorne Blvd., 432-8079. 8:30 pm Saturday, July 11. Free.

Flip the Bird

Improv is air and water as far as Brody veterans Domeka Parker and Kerry Leak are concerned. The comedy theater’s artistic and education directors, respectively, pair up for a completely on-the-spot show that’ll be an unusual chance to see the comics usually behind the curtain on stage. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Thursday, July 9. $10.

Helium Open Mic

Generally regarded as the best open-mic night in town, Helium’s sign-ups ﬁll quickly. Show up between 6 and 7 pm to snag some stage time. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm every Tuesday. Free with a twoitem minimum. 21+.

Hive Five

Two diﬀerent improv games set the stage for Brody’s Friday-night showcase starring a rotating cast from the comedy theater’s expert ensemble. No matter the premise, no two shows are the same. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Friday, July 10. $12.

Mixed Match

The Brody ensemble welcomes a variety of special guests and groups from within Portland’s improv community for Mixed Match. The showcase demonstrates Brody performers matching the improv techniques and specialties of their invitees, including long form, short form and storytelling acts. The format is all mixed up for the audience’s pleasure. Brody Theater, 16 NW Broadway, 224-2227. 10 pm Saturday, July 11. $8.

Naked Comedy Open Mic

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

Picture This!

In a show that mashes standup and Pictionary, comics perform while artists illustrate their sets live. There’s a predictable tendency toward penis drawings, but also an oﬀbeat play between the visual and the verbal. Andie Main hosts. Curious Comedy, 5225 NE Martin

HOT FORECAST: (From left) Amber Whitehall, Cristi Miles and Rebecca Lingafelter.

SUMMERFEST (COHO PRODUCTIONS) Your lawn isn’t the only thing this heat wave is drying up. During the summer, theater across the nation slows to a meager drizzle, and the occasional Shakespeare galas in the parks are no tall glass of water. For Portland’s scrawny, indoor-bound artistes who thirst for something more contemporary than the Bard, the sunless black box at CoHo Productions is an oasis. What began in 2012 as Solo Summer, a lineup of single-actor shows, has morphed into CoHo’s Summerfest, where five hourlong solo and small-cast performances are staged for one weekend each in June and July. The summer shows—like this weekend’s allfemale cabaret inspired by Moby-Dick—are a far cry from CoHo’s regular programming, which sticks to conventional American plays. Summerfest, says CoHo artistic director Philip Cuomo, is a chance to exist “on the edge of the mainstream.” So far, L.A. performer Deanna Fleysher has adopted the buffoon persona of a jaded private investigator in Butt Kapinski, an onstage version of film noir. Portland actor Gordon Boudreau channeled street theater in his 19th-century libertine poet act. And master of physical theater Matthew Kerrigan satirized biblical staples using only three red stools as props. Best yet was Loon by Portland mask theater company Wonderheads, in which a lonely, clown-masked janitor fails at a Tinderfor-Luddites telephone dating service and falls in love with the moon instead. With no dialogue and just a single expression on the intricately designed mask, Wonderheads co-founder Kate Braidwood used her body to deftly relay the janitor’s swing from depression to romantic ecstasy. This weekend, an all-female group from Portland Experimental Theatre Ensemble will perform Drowned Horse Tavern, a “seashanty cabaret” that’s part of its 18-month exploration of MobyDick, with performances all over Portland. The troupe promises ballads, lurking leviathans, salty vaudeville, live music from the galley, and even ocean grog for the audience, courtesy of Breakside Brewery. Indeed, CoHo knows no drought. ALLIE DONAHUE.

Sweet relief from theater’s dog days of drought.

THE DESLONDES SUNDAY, JULY 12TH AT 3PM

The Deslondes are a New Orleans-based band, whose raw, strippeddown sound springs to mind a country-meets-Southern-R&B hybrid rooted partly in the Texas singer/songwriter tradition, partly on the weathered floor of a Louisiana dance hall. While most music buffs will come to the album without any preconceptions, there may be a sense of anticipation among fans of Hurray for the Riff Raff. Deslondes members Sam Doores and Dan Cutler were part of that estimable group for years, pulling double-duty as The Deslondes evolved into what they are today.

HEAVEN ADORES YOU

a documentary film about the life and music of Elliott Smith TUESDAY, JULY 14TH AT 7PM

“Heaven Adores You” is the first comprehensive film about Elliott Smith’s life and music. It features both unheard tracks by the prolific singer/songwriter and over 30 on-screen interviews with Smith’s closest friends and collaborators, creating an intimate and personal history never seen before. Join us for a special in store screening of the film.

TESS DUNN

WEDNESDAY, JULY 15TH AT 6PM Raspy-voiced singer-songwriter Tess Dunn has accomplished more in 20 years than many performers with decades behind them. Reviewers and fans have described Tess as fearless, a songwriting phenom, a creative wunderkind, feisty, witty, a smartass. With her passion, drive, and stunning talent, Tess takes girl power to a whole new level.

JASON ISBELL

Something More Than Free (Listening Party) FRIDAY, JULY 17TH AT 6PM Jason Isbell, formerly of the Drive By Truckers, returns with the follow up full length to 2013’s award-winning ‘Southeastern’, produced by Dave Cobb (Sturgill Simpson ‘Metamodern Sounds In Country Western’).

SEE IT: Drowned Horse Tavern is at CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm Thursday-Sunday, July 9-12. $15. Willamette Week JULY 8, 2015 wweek.com

Willamette Week JULY 8, 2015 wweek.com

july 8–14

= 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.

Camino del Diablo

I expect a lot from landscapes for many of the same reasons I expect a lot from paintings of grain elevators, because art history. I wasn’t all that impressed with last month’s flat, golden silos, but I’ll reserve judgment of this crop of desert landscapes featuring mountainous panoramas, cacti and shifting light by Mark Klett. If they live up to the title of the show they’re sure to take us somewhere interesting. Through July 18. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

Gardens of Delight

Mary Henry is a Northwest Modernist icon whose work has long reflected her interest in the ideas of Bauhaus champion László Moholy-Nagy. Henry has spent the past half-century perfecting a spare yet expressive visual language out of geometric shapes and bold graphic colors. Unlike Piet Mondrian’s dispassionate geometry, Henry’s abstract compositions are emotionally charged experiences. Through July 11. Jeffrey Thomas Fine Art, 2219 NW Raleigh Ave., 544-3449.

Habitat: A Video Mandala

Habitat is a giant video mandala conjured for your contemplation and iteration, directed by Kello Goeller. It is an immersive experience that asks you to come sit on moss pods and enjoy the trance in this deep projected forest. Opening night features a live score by Biddy Thomas. This music then forms the soundtrack for the rest of the show’s run. Through July 31. Duplex, 219 NW Couch St., 206-5089.

Horizon With Crow

An exhibition of new work by Rick Bartow, a prolific Native artist from Newport, coincides with his retrospective Things You Know but Cannot Explain, on view at the Jordan Schnitzer Museum of Art at the University of Oregon. Bartow creates expressive and mystical drawings paintings and sculptures influenced by his Wiyot heritage and his service during the Vietnam War. With a linear, abstract style, Bartow creates anthropomorphic figures that feature in cultural stories or serve as personal catharsis. Through July 18. Froelick Gallery, 714 NW Davis St., 222-1142.

Idea of a Door

Liz Harris is a musician and visual artist based in Astoria. She createsintricate black-ink drawings on paper which she adapts into prints and wall paintings. Expressing the precarious tension between cohesion and dissolution, these compositions are formed from pattern fields that break apart and mutate, only to reincorpo-

rate themselves back into the larger whole. Through July 31. Portland Museum of Modern Art, 5202 N Albina Ave., 953-0515.

Incision

Multidisciplinary artist Nathanael Thayer Moss’ new paintings explore ideas of perfection and simplicity through carefully controlled design and repetition. Drawing on influences ranging from futurist design, sci-fi film architecture, video-game landscapes and electronic music, Moss’ complex structures mutate within carefully defined constraints. With his controlled palette of black and white, Moss’ paintings become objects for meditation. Through Aug. 1. Hap Gallery, 916 NW Flanders St., 444-7101.

Malt Liquor and Cold Cuts

Exhibiting seven large-scale, archival, ink-jet prints pairing antiquated malt-liquor cans with visceral studies of processed deli meats, Portlandbased photographer Todd Johnson’s Malt Liquor and Cold Cuts explores abject design and nihilistic function. Through July 12. False Front Studio, 4518 NE 32nd Ave., 781-4609.

No Boundaries: Aboriginal Australian Contemporary Abstract Painting

Portland is one of the stops for a traveling exhibition of Aboriginal Australian painting, which will bring this work into conversation with the various abstraction traditions within our own borders. Neither a Western invention nor a stage of development in the telos of art to be fashioned into something higher, abstraction exists whole wherever it’s found as a language for exploring the nature of materials and process, and personal and cross-cultural expression. Through Aug. 16. Mason Ehrman Building Annex, 467 NW Davis St.

The Eve Of…

Christine Wong Yap’s new body of work is a new installation of sculptures and video examining uncertain psychological states. It marks a shift in direction from the artist’s recent work in happiness and positive psychology towards disruptive emotions and intuition. Yap utilizes mirrors, colored vinyl, Mylar, plastic bags and asphalt-based paint to create scenes of light and darkness. Inspired by the decisive moment after setbacks and before actions, the project explores the disassembled self on the eve of re-organization. An example of the work in this series will also be on view in PDX Contemporary Art’s Window Project. Through July 18. Portland ‘Pataphysical Society, 625 NW Everett St., No. 104.

Tight Rope: New Paintings by Arvie Smith

REVIEW COURTESY OF HAP GALLERY

VISUAL ARTS

Tight Rope is a collection of vivid, powerful works linking our troubled past to our equally troubled present. About his work, local artist and educator Arvie Smith says “By critiquing atrocities and oppression, by creating images that foment dialogue, I hope my work makes the repeat of those atrocities and injustices less likely.” If reading about other experiences doesn’t always create empathy between people divided by race, class, religion, and sexuality, it’s my and many artists’ hope that art will reach across those divides more directly to help us experience our shared humanity. Through July 12. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., 3rd floor, Pioneer Place Mall, 998-4152.

Urban Growth Boundary

Upfor presents recent works by three artists who adapt unorthodox mediums to challenge the traditions of landscape and artistic depiction of nature. Mixed media works by Gregory Euclide, Alex Lukas and Laura Vandenburgh build on and play with the tensions between pastoral and urban stereotypes, offering an indirect but provocative critique in which human’s dominance of our environment is growing without boundary. Through July 18. Upfor Gallery, 929 NW Flanders St., 2275111.

Waiting for the Ice Cream to Melt

Impasto, a highly textural painting technique, peaks to near-facetious extremes in Matthew Clifford Green’s new series of oil paintings, but his imagery remains mostly figurative. In one instance, Green gives us a mere eyeball among dabs of paint. Bright colors, simple lines and cartoonish figures revel in the medium’s viscous materiality, becoming so visually tactile they’re almost grotesques. These paintings won’t melt in the heat, so there’s time to enjoy them. Through Aug. 23. Fourteen30 Contemporary, 1501 SW Market St., 236-1430. Opening reception Friday, July 10.

Willem Oorebeek

The first institutional solo exhibition in the United States by Dutch artist Willem Oorebeek is billed as an “idiosyncratic and deviant crossover between pop and conceptual art.” Oorebeek is a printmaker interested in the representation of the human figure, media personalities and publicity. His artistic approach features the distortion of print media through lithography in order to re-present the images to us so that we look at familiar pictures in new ways. Through July 19. Yale Union (YU), 800 SE 10th Ave., 236-7996.

For more Visual Arts listings, visit

HqHqxxx: Lover(s) Ladder (left) and Foam Time, Fun Time!.

DON EDLER, BOREDOM IS THE ULTIMATE WEAPON In Joshua Tree National Park, with nothing to do and nothing to do it with, Don Edler began Boredom Is the Ultimate Weapon, his ongoing series about what we create when bereft of inspiration. For a week ahead of the show, Elder scoured Portland for materials to make his ratcheted-together sculptures. Among his finds were assorted foam pieces, a floral pillow and a heart-shaped tub. With the materials’ formal and anthropomorphic qualities in mind, he built them into art. The results are sensual, larger-than-life sculptures. Foam Time, Fun Time! greets you as you walk into HQHQ’s small, well-proportioned space. Layered yellow and green blocks of foam are folded and squeezed around a pedestal with bright orange ratchet straps. The sculpture grows more welcoming as you walk around it to see where the layers of foam envelop the pedestal and each other, and the industrially straight lines soften into curves. Altogether, it creates a biomorphic allure. In contrast, Lover(s) Ladder projects and protrudes. A ladder with yellow rails extends horizontally across the gallery from a heart-shaped tub tilted on its side and supported by what look like your grandmother’s couch cushions. While Lover(s) Ladder may be a more immediately engaging work, it’s also the most quickly exhausted. Overtly phallic, it lacks its partner piece’s subtlety of form and sexuality. Two small, purplish paintings accompany the sculptures but don’t add much to the show. Repetitively layering upward of 100 layers of house paint in a meditative process, Edler’s Boredom Paintings are intimate surfaces with subtle color gradations. But we need a longer line of them to be drawn in—two were too few to stand up to eyecatching sculptures. The site-specificity of Edler’s work, sourcing materials from Portland streets and shops, is what makes these sculptures interesting. They’re a glimpse into what our city can inspire. It’s a little dirty and a little sexy. MEGAN HARNED.

Portland’s junk looks sexy when sculpted.

SEE IT: Boredom Is the Ultimate Weapon is at HQHQ Project Space, 232 SE Oak St., Suite 108. 1-4 pm Saturdays and Sundays through Aug. 23.

Willamette Week JULY 8, 2015 wweek.com

BOOKS

JULY 8–14

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

THURSDAY, JULY 9 Roger Hobbs

With pirates, a jewel heist, mysterious treasure and a “ﬁxer” known as Ghostman, Roger Hobbs’ new crime thriller, Vanishing Games (sequel to Ghostman), is everything you could ever want in a book…or a Nicholas Cage movie. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

Rebecca Makkai

A reality-show producer manipulates contestants to fall in love; a young boy has a revelation about his father’s past; a composer records folk songs by two women from a village on the edge of destruction. Following her ﬁrst two novels, The Borrower and The Hundred-Year House, Rebecca Makkai’s new collection of short stories, Music for Wartime, ﬁnds her same blend of wit and tenderness. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

SATURDAY, JULY 11 Christine Colasurdo and Anita Bigelow

Calligraphy is more than just fancy handwriting, as the large-scale pieces for the group exhibition Calligraphic Journeys clearly depict. Show participants Christine Colasurdo and Anita Bigelow, who, between them, have more than 60 years of calligraphic history, will share a related selection of their writing. Glyph Cafe & Arts Space, 804 NW Couch St., 719-5481. 3 pm. Free.

SUNDAY, JULY 12 Andrew Guest

University of Portland associate professor and sports enthusiast Andrew Guest will lead the conversation “Beyond the Scoreboard: Sports in Our Lives and the Community.” Hillsdale Meeting Room, 1525 SW Sunset Blvd., 988-5388. 2:30-4 pm. Free.

Jay Nebel

We’re all guilty of spying on the neighbors and wondering what the hell Chad is doing with a bag full of mannequin parts at 3 am. Jay Nebel’s new collection of poetry, Neighbors, is a collection of lyric narratives about those very men and women who live their lives all around us but about whom we know so little. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 800-8787323. 4 pm. Free.

The Studio Series

Sharing their own experiences with siblings, poets Liz Nakazwa, Laura LeHew and Paulann Petersen will read from the anthology The Knotted Bond: Oregon Poets Speak of Their Sisters for the monthly Studio Series open mic. Stonehenge Studios, 3508 SW Corbett Ave., 2243640. 7-9 pm. Free.

WWEEKDOTCOM WWEEKDOTCOM 46

Willamette Week JULY 8, 2015 wweek.com

MONDAY, JULY 13 Science Pub

In the last decade, 18 earthquakes greater than magnitude 8.0 have struck around the globe causing massive destruction and death—a rate two and a half times higher than the average of the previous century. Have we angered the gods? Communist plot? Geophysicist and professor Thorne Lay will delve beneath the crust for his Science Pub talk “A Global Surge of Great Earthquakes & What We Are Learning From Them.” Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 7:30 pm. $5 suggested donation.

Robert Lewisohn Hamm

The fascination of East Coast media with life in Portland is not a new phenomenon. In his new book, Becoming Oregon: From Expedition to Exposition, Robert Lewisohn Hamm compiles 150 newspaper articles, mostly from the East Coast, about Oregon and life out West between the Lewis and Clark Expedition in 1804 and Lewis and Clark Exposition in 1905. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

TUESDAY, JULY 14 Marc Bell and Anders Nilsen

Canadian cartoonist Marc Bell (Hot Potatoe, Pure Pajamas) will release his ﬁrst full-length novella with Stroppy, blurring the line between ﬁne art and doodles. Joining him will be fellow cartoonist Anders Nilsen (Big Questions), whose new collection of sketch books, Poetry Is Useless, comes together as a travelogue, a political and cultural commentary and a little conversational pingpong. Floating World Comics, 400 NW Couch St., 241-0227. 6-8 pm. Free.

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REVIEW

LIDIA YUKNAVITCH, THE SMALL BACKS OF CHILDREN The plot of The Small Backs of Children (Harper, 240 pages, $24.99), by Portland indie darling Lidia Yuknavitch, is almost irrelevant. But here it is anyway: A writer gives up on life because of grief for a daughter she lost long ago at birth. She is also distressed by a photo taken by her former lover, depicting a girl flying L’art pour l’art. through the air the moment an explosion destroys her house and family in Eastern Europe. To save her, the writer’s friends and family decide to find the girl in the photo. The story is clearly personal and contains a lot of horrible human behavior, including multiple instances of child rape. It’s brave and important to write about rape, but also terrifying. How do you allow it to be brutal but not erotic? How do you make it visceral and still readable? It’s hard to fault Yuknavitch for the route she takes in stylizing it—she imposes the awareness and sexuality of an adult artist on her young victim, who transforms her trauma into animalistic creations. From the girl’s paintings of blurry faces on wood done in her own blood, to the photography-based sexed scene, the real subject of this book is the transformative power of art. With one momentary exception, none of the characters have names. They are all “the photographer,” “the writer,” “the performance artist,” “the painter,” “the poet,” “the playwright,” etc. It is the depiction of a world where art is all-consuming, but there is a trade-off. Naming the characters based on the form of art they create ends up reducing them, and the implied self-importance in these artistic names also alienates the reader. Where is “the plumber” in all this? In fact, alienation is one of the main things I felt throughout this book. As in Yuknavitch’s previous works (The Chronology of Water, Dora: A Headcase), the prose was all about the prose, sometimes at the expense of communicating meaning, with sentences like: “The widow teaches the girl how to use a pad to carry the blood close to her body,” she writes, “and in the months to come, the girl’s and the widow’s bleedings synchronize.” At one point, Yuknavitch takes 10 sentences to say “he picked up a journal that was under the bed.” To put it in the parlance of an MFA fiction workshop, something of which I have plenty of grim memories: It didn’t work for me. But while I really didn’t like this book, I came out of it really liking Yuknavitch. People like to call her brave because she often writes about violence and sex; I wish she would write about those things in a more concrete way, with less of the flowery prose that keeps readers at a distance, but I do think she’s brave. It’s brave to put a book in the world that so clearly isn’t for everyone. The people who love this book will absolutely love it, and if some say they’re transformed by it, I’ll believe them. LIZZY ACKER. GO: Lidia Yuknavitch reads from The Small Backs of Children at Powell’s City of Books, 1005 W Burnside St., 800-878-7323, on Wednesday, July 8. 7:30 pm. Free.

JULY 8–14 REVIEW

= WW Pick. Highly recommended.

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

MOVIES

Editor: 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 Ai Weiwei: Never Sorry

B The gilded zodiac head sculptures at the Portland Art Museum get some context thanks to the NW Film Center’s screening of Ai Weiwei: Never Sorry, a documentary about the tumultuous years leading to Ai’s arrest in 2011. Alison Klayman’s film is a fine introduction to the Chinese art activist’s subversive work, which earned Ai acclaim abroad and official condemnation at home. Most other acts of artistic “bravery” fade as you watch Ai ruffle feathers in spite of police raids and video surveillance. This is the real deal, and Ai pays the price for his transgressions. But Never Sorry shies from the really gritty questions—like how does the Che-style commodification of Ai’s image cheapen his deeply felt convictions? Klayman compensates by giving nearly as much screen time to Ai’s vital work as she does to the man who made it. NR. CHRIS STAMM. Whitsell Auditorium. 7 pm Thursday, July 9.

Cartel Land

A A hypnotic, cautionary tale that could just as well be titled Things Fall Apart, Cartel Land is a brutal, uncomfortably intimate documentary of two heavily armed militias. The first, based in the Southern United States, is made up of ex-military men and racist rednecks who patrol the U.S. border with Mexico. The other militia, based in southern Mexico, is a shockingly effective citizen army formed to fight cartels that Mexican law enforcement won’t touch. Both groups justify themselves in the same way: When governments can’t ensure the basic security of their people, they will. As the leader of the Mexican group Autodefensas puts it, “We can take up arms in defense of our lives, our families, our properties.” Director Matthew Heineman lets the leaders of both groups ramble on, especially Autodefensas’, as the militia slowly starts resembling a cartel itself. But Heineman is deeply embedded enough in the groups to reveal their hypocrisies and ulterior motives in spectacular, haunting fashion. R. CASEY JARMAN. Fox Tower.

The Gallows

In the past 15 years, Jason Blum has built a production empire (Purge, Insidious, Paranormal Activity) by slavishly exploiting our dread fascination with grainy video shot in low light at odd angles. His newest promises the trademark Blumhouse technique, but the actual storyline seems more suited to a Halloween episode of Glee as a group of teenagers marks the 20th anniversary of gruesome student deaths on their high school’s stage by putting on a revival of the same play. Of course, Kathy Lee Giﬀord’s daughter plays the ingénue whose creative ambition looses upon the world an evil unseen for two decades. Screened after deadline. See wweek.com for full review. R. JAY HORTON. Cedar Hills, Eastport, Clackamas, Living Room Theaters, Oak Grove, City Center, Division, Evergreen, Movies on TV.

Minions

On a mission to ﬁnd their colony a suitable master, a trio of the oneeyed yellow creatures we’ve come to love sets out for adventure. Screened after deadline. See wweek.com for full review. PG. Bagdad, Cedar Hills, Eastport, Clackamas, Bridgeport, City Center, Division, Evergreen, Pioneer Place, St. Johns Cinemas.

Rubble Kings

B Watching Walter Hill’s hyperstylized 1979 classic, The Warriors, one gets the impression that the ﬁlm’s gangs are gross exaggerations. And while there are no orange-faced baseball clowns roaming the streets of the Bronx in Shan Nicholson’s Rubble

Kings, it becomes apparent that Hill wasn’t really that far off. Using archival footage and interviews with reformed gang bangers, it chronicles the tumultuous ’70s in New York—youth decked out in everything from leather vests to swastikas ran the streets as turf war zones that not even the cops would touch. The film’s centerpiece is the incident that inspired Hill’s film—a tragic murder at a “peace” summit. It’s rough, rattling stuff, especially given the footage of initiation beatings and crime scenes. But the brisk 80 minutes nonetheless captures much of the era’s tension and mentality with an air of fascinating nonjudgment. NR. AP KYRZA. Hollywood Theatre.

Strangerland

B- Catherine Parker (Nicole Kidman) is devastated when her two cute kids go missing shortly after moving to a small town in the Australian Outback in this slowly simmering indie drama. Catherine’s husband (Joseph Fiennes, who looks like a bearded Gumby) and the town’s only police oﬃcer (Hugo Weaving, who looks like a more serious Kyle Kinane) go around searching for the kids, yelling at people, and slowly revealing their various relational dysfunctions. The accents are fun, and the red desert of Northern Territory is eerie and beautiful, but the story isn’t as exciting as its score wants it to be. The Gumby-looking guy is a real piece of shit, but with kind eyes. And for some reason the couple cares way more about one of the children than the other, so it’s hard to get into the drama of their disappearance with that discrepancy. In a sharp departure from other Sundance ﬁlms, a pensive person runs across a barren wasteland instead of through the woods. R. ALEX FALCONE. Laurelhurst.

Testament of Youth

B Based on Vera Brittain’s groundbreaking 1933 memoir of the same name, Testament of Youth is full of beautiful, well-dressed people making their way through physical muck for recreation and for country. You can’t call it a naturalist film, because like any period piece its locales are carefully curated and scrubbed of any trace of modernity, but it is certainly a film in love with the idea of nature. Many characters are introduced and killed off over the course of the movie’s 2½-hour running time, but director James Kent stops to shoot the roses, the ocean and the trembling cheekbones of his star, Alicia Vikander (whom you may remember as the sexy robot from Ex Machina). Kent’s patience is the spiritual center of this decidedly unracy biopic, though Brittain endures so much tragedy that it can’t help feeling like the prequel (Brittain Begins!) to a film in which she goes out and conquers the world… with pacifism, of course. PG-13. CASEY JARMAN. Cinema 21.

STILL SHOWING 5 Flights Up

C+ This AARP-oriented dramedy strikes all the familiar chords. Retired teacher Ruth (Diane Keaton) and painter Alex (Morgan Freeman), with a niece (Cynthia Nixon, Sex and the City) as their broker, put their New York apartment on the market. PG-13. BRIAN MILLER. Laurelhurst.

About Elly

C+ It’s not surprising that the prequel to a film titled A Separation is bleak. A group of Iranian classmates’ vacation to the Caspian Sea goes tragically awry in About Elly, the “new” Asghar Farhadi film that was actually made five years ago, well before his 2012 Oscar winner. A Separation was the first-ever Iranian feature to win Best Foreign Language Film, but Farhadi’s masterful dramatization wanes in this film. Elly, a kindergarten teacher whom

MAGNETS: Ryan Reynolds.

LIFE/LESS

Ryan Reynolds and like Ben Kingsley inside Ryan Reynolds. If you can’t find a doubly good actor who also looks genetically perfect, you can keep Reynolds and go cast a kid you found at a middle school doing Our Town. And not even the lead. Then there’s the action. Did you know that just because somebody in a movie shoots a gun, that doesn’t make the movie exciting? And did When a movie starts with a dumb idea and it’s badly you know that adding a car chase to a boring executed, you can’t be that disappointed. It’s not a gunfight still isn’t enough? Especially when the big waste. But when a great concept gets bungled, it action doesn’t even make sense in the context feels like a loss. Like Cookie Crisp—how could you of the thriller you’ve set up. The main conflict of make cookies and breakfast taste bad? Why? It was /SELF:(LESS/ is a guy feeling bad for stealing a life. such a great idea! It’s hard to really get us into that plot if he kills 50 That’s what happened with SELF/LESS, the people along the way. annoyingly capitalized/punctuated science-fiction And there’s the little things. I’m of the belief that thriller that’s a loose remake of 1966’s Seconds, in science fiction—because you’re taking such leaps which you haven’t heard of but has a really solid with science and technology—all the tiny details concept. SELF/LESS should be a good movie. need to be extra-believable. I’ll go with you on the concept of transferring consciousness, but if Instead it’s just like eating soggy cardboard you discover two people are secretly the made to look like cookies. Ben Kingsley is an insanely rich same person because they both do the same weird thing where they asshole who’s dying of cancer, and flick the side of their eyeglasses he gets an opportunity that only insanely rich assholes get—a in a way that I’m confident no human ever actually does, my secretive medical group offers to transport his consciousness disbelief gets unsuspended. into a younger/hotter body. The Another example: The body is played by Ryan Reynolds machines that perform the (but IMDB could just as easily consciousness-transfer operation in ///////////// are just CT list Channing Tatum or any numscanners. The doctor repeatedly ber of other generic hot dudes). BY ALEX FALCONE @alex_falcone Kingsley the asshole is told his mentions magnets but explains new body has been grown in a lab nothing else about the process to be genetically perfect, but against the advice of as if we’re back watching Terminator GEN/ISYS. his doctors he pulls the Carfax and finds out it’s Unless the question is, how will we stick stuff to actually, kinda-sorta owned by somebody else. the inside of our lockers? The answer shouldn’t Right there SELF///LESS has a lot going for it. just be magnets. Body swapping, Ben Kingsley, rich people stealing And one more: My new favorite thing in movies poor people’s bodies—that’s cookies for breakfast. is badly photoshopped pictures staged in a person’s But it’s super not-good. house to show the backstory. Obviously, Ryan Part of that’s the acting. Ryan Reynolds may be Reynolds isn’t just pretending to be this character an aesthetically perfect meatsuit to put Ben King- because, look—here are three photos with his head sley’s consciousness in, but, sadly, acting seems to pasted on them! He’s lived a full life! be nontransferable. If it were possible to act with There’s probably a metaphor in here about bodychest muscles, he’d be all over it, but subtle faces swapping, but like Ryan Reynolds I’m just not willare not his thing. ing to put in the effort to make this great. Here’s the thing when you’re casting a movie C- SEE IT: SELF/LESS is rated R. It opens Friday at like this: The actor in the receiving body has to be Cedar Hills, Eastport, Clackamas, Bridgeport, City at least twice as good as the one going in. That’s Center, Division, Evergreen, Lloyd Center, Movies simple math. The body has to be able to act like on TV.

BEN KINGSLEY/RYAN REYNOLDS GOES LIMP.

CONT. on page 48 Willamette Week JULY 8, 2015 wweek.com

MOVIES

JULY 8–14

COURTESY OF UNIVERSAL

their gummy-bear hue. It’s basically Up, with more tech specs and less soul. PG. Academy, Avalon, Empirical, Kennedy School, Valley, Vancouver.

Inside Out

MINIONS the vacationers brought along, disappears, and the child she was watching washes up half-drowned. As Farhadi unwinds his psychological drama, we learn the vacation was a tangled web of taboo relationships all along. Elly lied about a new love in a phone call to her mother, and one vacationing couple concocted a cover-up to hide Elly’s burgeoning romance from their stalwart Iranian host. About Elly poses the question, did Elly drown or did she disappear to avoid drama? But Farhadi’s melodramatic treatment of the story doesn’t pull viewers in. It makes its characters seem like confused specimens observed from afar, but perhaps the ﬁlm was destined to be a sinker. NR. MICHAEL NORDINE. Living Room Theaters.

Aloft

C Like most movies that come out of Sundance, Aloft is slow and features at least one scene of someone sad running through the woods. The details are unlike anything I’ve ever seen, though: A midwife for pigs (Jennifer Connelly) becomes a mystic healer, and her disapproving son (Cillian Murphy from 28 Days Later and Batman Begins) finds solace in his hobby, the noble sport of falconry. That description makes the film sound much better than it is. The fascinating details are few and far between, buffered by long stretches of characters gazing angstily out of car windows. The tiny glimpses into the world of falconry are the best parts, and more than once I wished I’d stayed home watching YouTube videos about the kind of people who stand with giant raptors in tiny leather hoods perched on their wrists. R. ALEX FALCONE. Cinema 21.

Aloha

D+ Even before its release, Cameron Crowe’s Aloha was taking ﬂak for appropriation and whitewashing, but what’s most uncomfortable about this mess of a rom-com is that Crowe tries his awkward best to elevate Hawaiian culture and ends up stereotyping and patronizing native Hawaiians in the process. PG-13. CASEY JARMAN. Kennedy School.

Avengers: Age of Ultron

A- If you loved The Avengers: You’ll squee all over yourself because, man, everything looks so cool! But if you got dragged to the movie: Buckle up, it’s gonna be a long ride. Between giant, smashy fights, each of the 2,000 characters gets a dark past, a love story, a moment of self doubt, and a separate resolution. In between, there’s lots of fighting, too often just two indestructible characters bashing each other into stuff. PG-13. ALEX FALCONE. Eastport, Clackamas, Empirical, Evergreen, Movies on TV.

Cinderella

action retcon of Cinderella. PG. JOHN LOCANTHI . Vancouver, Valley.

his genius boss (Oscar Isaac) for a top-secret project. The story’s familiar. But we’re enticed enough to follow along anyway. R. MICHAEL NORDINE. Kiggins, Fox Tower.

Dope

Far From the Madding Crowd

D+ Kenneth Branagh’s tiresome live-

B This Sundance darling stands out

for its excellent soundtrack, heavy on ’90s hip-hop with A Tribe Called Quest, a shout-out to local punk darlings the Thermals and a cheap jab at Macklemore. Written and directed by Rick Famuyiwa (Our Family Wedding), Dope follows three geeky high-schoolers in a dangerous part of Inglewood, Calif., called the Bottoms. The geeks focus on their band, getting into Harvard and losing their virginity, which throws them into the hardhitting world of L.A. drug dealers. The ﬁlm has a lot of heart: more than you’d expect from a comedy and less than you’d expect from a drama. That genre-switching is its main failing, though. The swings from serious to lighthearted are jarring, and it’s so focused on being cutting-edge that it feels outdated, like one big Throwback Thursday eight months ago (when people did #TBT). But the youthful cast and cameos from rappers like A$AP Rocky as the neighborhood kingpin are charming. R. ALEX FALCONE. Eastport, Bridgeport, Fox Tower, Lloyd Center.

Entourage

B- You know who had a good Monday night? The bros who sat behind me at the Entourage screening. They had the time of their bro-y lives! Every time a pair of breasts appeared on screen, one of the bros audibly muttered, “Oh shit.” There are maybe 20 sets of breasts, and he “oh shit”-ed all of them. The audience bros loved that the ﬂimsy plot consisted entirely of the movie bros attempting to sleep with women, sleeping with women or talking about their attempts to sleep with women. There is something about the movie bros trying to make their own movie or having already made a movie or something, but it couldn’t matter less compared to the sleeping-with-women part. As far as I can tell, it’s all terrible. It’s a terrible group of humans being terrible and kinda making a movie with other terrible people. Maybe it’s all a comedy and I completely missed the point, but it’s so hard to tell if it’s funny on purpose or funny like a dog with its snout stuck in an ice-cream carton, where it’s definitely amusing in parts but it’s also sad because he’s trying his hardest. R. ALEX FALCONE. Mission, Fox Tower, Valley.

Ex Machina

B- Frankenstein’s monster is easy on the eyes in Ex Machina, Alex Garland’s sexualized science-ﬁction tale of a coder named Caleb (Domhnall Gleeson) whisked away by

Willamette Week JULY 8, 2015 wweek.com

B+ Carey Mulligan’s unsmiteable Bathsheba Everdene has little patience for society’s expectations in this stunning adaptation of Thomas Hardy’s 19th-century romance. The question is whether the captivating cinematography and Mulligan’s standout performance are enough to refresh what doesn’t amount to much more than another Victorian love story. PG-13 . LAUREN TERRY. Academy, Lake Theater, Laurelhurst.

The Farewell Party

B+ This is a darkly comedic Marigold Hotel from Ophir-nominated Israeli directors Tal Granit and Sharon Maymon. The film voyeuristically follows a clan of elderlies (think Ocean’s Eleven, but all Sauls) as they sneak into hospital rooms, connect their waning loved ones to a homemade contraption of bicycle gears and a lethal IV, and sneak out as the monitors flatline. Levana (Aliza Rosen) challenges the decision of her husband (Ze’ev Revach) to engineer such a well-intentioned killing machine, even if it does free their friends from the misery of bedsores, cancer and dementia. This all sounds so serious, and it is, but Granit and Maymon find humor in mortality: Late one night, the tightass retirement home director catches Levana and her friends hotboxing the greenhouse—au naturel. But this somber film mostly chugs along at the slow, contented pace of Tuesday afternoon bingo. NR. ALLIE DONAHUE. Living Room Theaters.

Furious 7

A- Furious 7’s action and ridiculous-

ness make it perhaps the best yet. Its tribute to Paul Walker, who tragically died (in a high-speed car wreck) before the film wrapped makes it one of the most affecting movies about things exploding ever made. The central chase scene is frantic and ludicrous, and Dwayne “The Rock” Robinson flexes his sinewy biceps so hard that he breaks a goddamned plaster cast. This time, the team takes on terrorists and Deckard Shaw (Jason Statham). PG-13. AP KRYZA. Avalon, Joy, Valley.

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. R. JAMES HELMSWORTH. Vancouver.

Home

A technicolor extraterrestrial descends to Earth. Children learn acceptance of all critters, no matter

A Pretty much everybody in the theater was sobbing at some point during Inside Out. It’s sad. Crushingly, relentlessly sad. And absolutely brilliant from writer-director Pete Docter, (Up). It’s not about depression per se. It’s about young Riley, who has to move across the country for her dad’s job, and the tiny people in her head who represent her emotions. It’s helped along by especially excellent voice work from its leads. Amy Poehler as Joy, Lewis Black as Anger (obviously) and Phyllis Smith (from The Oﬃce) as Sadness. Sadness steals the show, which is ﬁtting. I’m just not sure how much little kids will enjoy it. The main story, about an 11-yearold girl being bummed all the time, seems aimed more at parents and, to a lesser extent, older kids. There’s a talking elephant made of cotton candy to help occupy the littles, but you will love it, because it’s great. And since you’re paying for it, screw them. PG. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Mill Plain, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, St. Johns Theater.

Iris

A Famed documentarian Albert

Maysles’ penultimate film disrobes the avant-garde world of a 93-yearold interior designer who’s notorious for her gargantuan eyeglasses, for the Metropolitan Museum of Art exhibit dedicated to her, and for designing White House interiors under nine presidents. She shuffles through crowds with Karl Lagerfeld types, wearing enough magenta beads to hold her wrinkled neck up straight, as the film mindfully tours viewers through Apfel’s life. As with Maysles’ Grey Gardens and Salesman, it’s hard to look away. NR. ENID SPITZ. Living Room Theaters.

Jurassic World

B No more baby teeth. The Jurassic Park franchise has grown up, along with its audience. Unlike the three prior installments, Jurassic World takes place after the concept of “de-extinction” has long lost its cachet. Raptor wrangler Chris Pratt remains forever the gruff yet accessible hero. There are plenty of allusions and self-effacing moments to entertain the fanboys, and plenty of classic “Does it see me? Does it smell me?” shots, providing welcome glimpses into the truly gruesome maws of the best-rendered dinos to date. More unexpectedly, the film opens the floor to more nuanced storytelling. Anti-military and anti-corporate themes and even Blackfish-style commentary on animal captivity abound. But the overall magic of a park full of dinosaurs is somehow muted, as the film focuses primarily on one big baddie that must be stopped.PG-13. TED JAMISON. Bagdad, Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, St. Johns Cinemas.

Kingsman: The Secret Service

A- Remember when spy movies were fun? Kingsman: The Secret Service does. R . Laurelhurst, Vancouver.

A Little Chaos

piece is ﬁnished and Rickman stands majestically at its center, not a stone is out of place. A little tousling might do well here, but perfection does look lovely. R. ALLIE DONAHUE. Living Room Theaters.

Love & Mercy

B+ Brian Wilson’s mental breakdown in the mid-1960s is as essential to the Beach Boys mythos as the band’s Pendleton shirts and woodies. Love & Mercy is Bill Pohlad’s attempt to sort through the mess of Wilson’s collapse and treatment by Dr. Eugene Landy (Paul Giamatti), the psychologist who lost his license for exploiting Wilson. Two phases of Wilson’s life crisscross throughout the ﬁlm. Young, brilliant, falling-apart-at-the-seams Brian is played persuasively by Paul Dano (Little Miss Sunshine), but John Cusack is largely miscast as the middle-aged Wilson. The ﬁlm plays out like intertwined memories. Fans will delight in the picture-perfect re-creations of Wilson’s parties, photo shoots and recording sessions. Members of the Wrecking Crew, the session musicians who helped Wilson realize his titanic visions, practically step out of the screen. When drummer Hal Blaine gives Wilson a pep talk, telling him he’s better than Phil Spector, I shed a tear. PG-13. NATHAN CARSON. Kiggins, Bridgeport, Fox Tower.

Mad Max: Fury Road

A I left the theater feeling like I

should take a shower. This is a batshit, dirt-punk world, where the lack of resources has somehow convinced roving bands of ne’er-do-wells there is only one way to survive: make everything look awesome. And they do. It’s as if a world war erupted at Burning Man. This is not to say Fury Road makes any sense. In a world fighting over gasoline, the action is a nonstop fight scene between souped-up cars with flame throwers and a tanker truck full of breast milk. First, a group of people needs to drive one way and try not to die, then they need to drive another way and try not to die. That’s it. Suddenly, Furious 7 seems densely plotted. What’s so amazing is that this nonsensical explodey fuckpile can get away with almost anything. If you loved any part of the original Mad Max trilogy, you won’t be disappointed by it restarting with such vigor. If you don’t know anything about it, you’ll be thrilled to discover a new series. PG-13. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Hollywood, Bridgeport, City Center, Evergreen, Fox Tower, Hilltop, Lloyd Center, Movies on TV.

Magic Mike XXL

C If I base my critique on the room temperature when I left the theater, XXL gets the job done. Channing Tatum returns as the toned and thrusting Mike Lane, who left the stage to start a furniture business. But when Ginuwine’s grind-worthy “Pony” comes on the radio one night while Mike works, he’s reminded of how much he loves to dance and he gyrates around a table saw. Magic Mike writer Reid Carolin reunites the crew for one last show before they hang up their G-strings for good. Steven Soderbergh’s familiar cinematography gives the audience a chance to breathe between lap dances, adding quiet pans of the Florida coastline. But Gregory Jacobs’ festive direction fails to achieve the ambigu-

A There is very little chaos in Alan Rickman’s Versailles period piece, which he directed and stars in as King Louis XIV. Vying for the coveted role of le Roi-Soleil’s landscape designer, commoner Kate Winslet beats male contenders with her “chaotic designs.” Ever the stout heroine, Winslet impresses the royal court with her genius for engineering and slowly but surely becomes wholesome paramour Louis’ gardenerin-chief. Rickman gives us pristine gold leaf, the drama of a carriage ﬂip, and Stanley Tucci in a feathered cap. But the expected is done quite well. Winslet makes a convincing greenthumbed creative and an even more convincing lover. When her masterCHUCK ZLOTNICK

JULY 8–14 ous tension between characters that made Soderbergh’s work in the ﬁrst ﬁlm so unexpectedly fascinating, This chapter has more partying and fewer moments that test our perceptions of entertainers. With one exception: a fascinating scene in which the guys shoot the shit with a gorgeous divorcee (Andie McDowell) and her middle-aged friends, surprising each other with their sexual confessions. PG-13. LAUREN TERRY. Cedar Hills, Eastport, Clackamas, Mill Plain, Living Room Theaters, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV.

MOVIES

Max

Director Boaz Yakin (Remember the Titans) gives us Max—“Best friend. Hero. Marine.”—the German shepherd endearingly adopted by his former handler’s family, mainly Lauren Graham. PG. Cedar Hills, Eastport, Clackamas, Mill Plain, Bridgeport, City Center, Division, Evergreen, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville.

M U S ICFE STNW wAterFront PArk August 21-23 musicFestnw.com/tickets

3-daY pass

140

Me and Earl and the Dying Girl

FridaY 8/21

A- It’s so rare, in the post-Disney Channel age, to ﬁnd a young adult movie with a believable emotional center. In most ﬁlms, teens are hormonal train wrecks or micro-

CONT. on page 50

C O U R T E S Y O F P L AY M A K E R F I L M S

REVIEW

Foster the PeoPle

Misterwives • Milo Greene • lost lander

satUrdaY 8/22 $ HIGH NOTES: Amy Winehouse.

AMY “I don’t think I’m going to be at all famous. I don’t think I could handle it.” Even if you followed Amy Winehouse’s career, it’s hard to keep from crossing your fingers for a different ending while watching Amy. Filmmaker Asif Kapadia proved his capacity to make nonfiction gripping for any filmgoer with the award-winning racing documentary, Senna, notably without commentary. He approaches this exposé of “the girl behind Amy Winehouse” with the same unconventional eye, this time using only the voices of her friends and colleagues to narrate Amy’s home videos and live performances. Chronology goes out the window in Kapadia’s storytelling. Increasing levels of intimacy move the film forward instead. First, the director whisks through her early performances and first record deal, then we revisit her adolescence to investigate her relationships with her parents and her struggle with bulimia. Sound bites from interviews play over previously unseen footage of young Amy, full-faced and quick to smile, unknowingly brimming with musical genius. She just needed “a place to smoke weed all day and write songs without being bothered,” Amy said to explain buying her flat in Camden, a borough of London, and leaving her family home. “She was a force of nature at 18,” recalled the former president of Island Records, “an old soul in a young body.” Getting familiar with pre-famous Amy makes watching the tabloids tear her from public grace more unnerving than ever. She dreaded the idea of becoming a celebrity, so it’s painful to watch how criticism from her manager and absentee father Mitch weakened her ability to withstand the paparazzi’s attacks. Her vibrant, unfettered drive fell prey to a destructive amour fou with bad-boy club owner Blake Fielder-Civil. Worse yet, she saw her own pitfalls. “Love is a drug, too, you know,” Amy says in one clip. The drugs get harder and the footage gets more graphic. But like the loyal accompanists that played with her to the end, you feel compelled to believe she’s going to turn everything around. “She had an emotional relationship with music,” her pianist Sam Beste says. “She’d die for it.…You want to be around that sort of passion.” LAUREN TERRY.

Don’t even try to keep your eyes dry.

Beirut

Belle and SeBaStian • twin Shadow • BattleS • title Fight • CayuCas talk in tongueS • SaleS • alialujah Choir

sUndaY 8/23 $

modest mouse

the talleSt Man on earth • danny Brown • the helio SequenCe lady laMB • Strand oF oakS • Pure Bathing Culture • diverS • Beat ConneCtion

SEE IT: Amy is rated R. It opens Friday at Cinema 21. Willamette Week JULY 8, 2015 wweek.com

JULY 8–14

adults, but the teenage protagonists of Me and Earl and the Dying Girl are dignified, complex, and legitimately funny. They have layered relationships with the adults in their lives, none of whom is painted as a monster or clueless authority figure. They curse and look at porn and smoke cigarettes, but they also watch Herzog films and savor Vietnamese fare. It’s a deeply humanist dark comedy, alluring in presentation—with all the winking film literacy of a Wes Anderson flick, and a Brian Eno soundtrack to boot—and mostly devoid of the sappy coming-of-age trope. This film will make some teens feel less alone, which is about the best thing a movie like this can do. PG-13. CASEY JARMAN. Cedar Hills, Eastport, Bridgeport, Fox Tower, Movies on TV.

Monkey Kingdom

Baby monkeys actually look like a fetal Bruce Jenner, but we still love letting these critters to swing from our heartstrings. PG. Empirical.

The Overnight

A “The best sex comedy at Sundance,” according to Rolling Stone, is more than slightly uncomfortable to watch. Like the-elastic-in-your-socksis-worn-out-and-they’re-bunching-inyour-shoes uncomfortable. The film follows a Seattle couple that moves with their young kid to L.A., where the child has trouble making friends. When the parents are invited to dinner by a hot neighbor couple that also has a young kid, they jump at the chance. It’s obvious to us from the beginning, if not to them, that something else is up. The following innuendo and buildup accounts for the bulk of the movie. Taylor Schilling (Orange Is the New Black) and Adam Scott (Parks and Recreation) act perfectly on the edge of oblivious and have terrific chemistry, and the film deftly avoids tumbling into cliché, cheesy sex jokes or awkwardness for its own sake. Even Jason Schwartzman as a sexy version of Michael Scott from The Office is more endearing than annoying. R. ALEX FALCONE. Cinema 21, City Center, Movies on TV.

Poltergeist

Yet another remake of Steven Spielberg’s 1982 haunted-house ﬂick in which the Bowen family (parented by Sam Rockwell and Rosemarie DeWitt) ﬁnd their new suburban home occupied by evil forces. This time, Oscarnominated Gil Kenan (Monster House) and Sami Raimi (The Grudge) tell the supernatural kidnapping tale. PG-13. Avalon, Vancouver.

San Andreas

D Dwayne “The Rock” Johnson saves the day as rescue helicopter pilot Ray Gaines. But he can’t save the movie. There’s genuine parental tension between him and his ex-wife, Emma (Carla Gugino), but the screenplay is ironically sparse and flat. When a character advises, “Just get yourself next to something sturdy,” it’s both a survival tip and a metaphor for Emma’s love of the Rock’s Gaines. When tremors hit, the characters are either at the top of a high-rise or the bottom of a parking garage. San Andreas the film is an exaggerated worst-case scenario in itself. To director Brad Peyton’s credit, the CGI is inarguably exceptional, and wide shots of the entire Bay Area rippling like water have a somber, chilling effect. PG-13. LAUREN TERRY. Eastport, Clackamas, Division, Evergreen, Movies on TV, Sherwood, Tigard, Wilsonville.

Slow West

A- Slow West feels like propaganda made to discourage time travel back to the Old West. And that’s precisely what’s so refreshing about this movie: It doesn’t romanticize gunslinging. Instead, it focuses on the day-to-day indignities of living on a horse, constantly in danger of being robbed, murdered or caught in a ﬂash ﬂood and forced to ride the next day in your underwear while your only clothes dry out. It makes a dusty genre feel distinctly modern. It’s not surprising that this version of the American legend is so unromanticized, since its creator is Scottish folktronica keyboardist John Maclean. Consider it the equivalent of

a peaty Scotch instead of a ﬁne bourbon—both will get you drunk, robbed and left outside in your underpants. PG-13. ALEX FALCONE. Academy.

AP FILM STUDIES C O U R T E S Y O F WA R N E R B R O S .

MOVIES

Spy

A- Serious actors playing funny roles seriously, a la Airplane, is one of my favorite things, and Paul Feig’s new movie, Spy, delivers that in spades. Jason Statham is hilarious as a parody of every real role he’s played; Allison Janney is a funny version of her humorless self on West Wing; and 50 Cent, well, he can’t act to save his life. Every sentence he says sounds like an alien in 50 Cent’s body discovering his vocal chords for the ﬁrst time. But really, that’s a minor complaint. Spy is super-funny, and it’s a much smarter comedy than the trailer may lead you to believe. There are nut kicks, sure, and plenty of gross moments, but the smart jokes made me laugh—and made me feel good about laughing. R. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Lake Theater, Stadium 11, Oak Grove, Bridgeport, City Center, Division, Evergreen, Fox Tower, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy.

Ted 2

C From the instant Seth MacFarlane’s Ted grossed over $200 million in 2012, the sequel was inevitable. The foulmouthed Ted is back with more celebrities, low-hanging fruit and product placement. It’s not the movie the moviegoing public needs, but it is the film we deserve. It opens with the titular bear marrying Tami-Lynn, but when the two decide to adopt a child, they find out that Ted is not a person in the eyes of the government. Oh, and Ted also goes to a sperm bank with his best friend, John (Mark Wahlberg), because lol semen. There are plenty of awkward allusions to civil rights as Ted goes to court to prove his personhood, but these fall flat. Between lines bordering on homophobic and the film’s obsession with dick jokes, Ted 2 seems like something written by a mean-spirited 13-year-old. The most striking thing about this execrable sequel is its star power: Morgan Freeman, Mad Men’s John Slattery, and a deadly serious Liam Neeson join Patrick Warburton from The Tick. If you think “black cocks” coming up on every Google search or Marky Mark being covered in spooge is hilarious, Ted 2 is the movie for you. PG-13. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Bridgeport, City Center, Division, Evergreen, Fox Tower, Hilltop, Lloyd Center, Movies on TV, Tigard, St. Johns Cinemas.

Terminator Genisys

C Yes, Schwarzwhatever says, “I’ll be back.” The rest of Genisys makes no goddamn sense. It’s part sequel, part reboot, selectively using other parts of the series, which it can do because of two magic words: alternate timelines. But at least Arnold is still fun; the other characters, not so much. New Sarah Connor (Emilia Clarke from Game of Thrones) is unbelievable as a badass ninja about to become pregnant with the savior. The thing that made the ﬁrst Terminator work was its simplicity—one idea, relentlessly pursued to incredibly good eﬀect, but Genisys goes to unfortunate lengths to explain the why and how of time travel. Instead, why not explain why the fuck the robots have human teeth? Worse is that Skynet isn’t a DARPA program in this timeline. Now it’s a stupid app that everybody inexplicably wants. It’s harder to believe that you could sell a billion copies of that app than to accept that a super-genius robot could invent time travel and yet never think to send two fucking terminators at the same time and be done with it. PG-13. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Bridgeport, City Center, Division, Evergreen, Fox Tower, Lloyd Center, Movies on TV, Tigard, St. Johns Cinemas.

For more Movies listings, visit

Willamette Week JULY 8, 2015 wweek.com

THE WIZARD OF AAAHS OMSI PSYCHOANALYZES DOROTHY’S DREAMS. BY A P KRYZA

apkryza@wweek.com

During the past 76 years, people have spent a lot of time trying to get inside Dorothy’s pigtailed head in The Wizard of Oz. Scholars have pored over every frame of the 1939 film. Following the horrific 1985 sequel, Return to Oz—in which Dorothy is placed under the care of psychiatrists—fans began to see a more sinister side to the little girl from Kansas. Killjoys love to peel apart the layers of Dorothy’s visions. She heads for Oz to wipe out the bloodline of the woman who tried to take away her dog. She has Inception-style dreams-withindreams. In Kansas, she’s sleep-deprived and under stress. But is she a twisted mind? “It’s more that she would have an anxiety about losing her dog and witches in general. For her to have a vivid dream about killing a witch to save her dog is not out of the realm of normal,” says Dr. Kimberly Hutchison, who specializes in sleep medicine and neurology at Oregon Health & Science University. Hutchison headlines at OMSI to talk about the science of sleep at a screening of The Wizard of Oz (Empirical Theater; 6:30 pm Wednesday, July 8). She’s got a pretty good point, too. For so long, we’ve read so much into dreams and what they mean. We have films like Flatliners and What Dreams May Come that layer meaning and depth into dreams. History has been changed by powerful men who foresaw things in dreams. That shit’s ridiculous—just as ridiculous as imagining a sweet teenager as a genocidal maniac because she smoked a witch in a movie. The other night, I had a dream. In it, I was part of a buddy-cop duo. I was the level-headed one. He was a loose cannon. Also, he was a goat. Does this mean anything about my psychology, other than the fact that I had just read a story about mutton before watching Lethal Weapon? “Dreams usually have a plot, and how we get the content isn’t really that well understood. It’s generally accepted that dreams can be your messages from your deepest desires and anxieties, often having to do with childhood,” says Hutchison, giving me pause. “The parts of the brain that are active include the ‘old brain,’ where our emotional centers are and fear and anxiety live.

Dream conscience can send messages from your deepest desires and anxieties.” So maybe Dorothy does want to smoke Miss Gulch. Or maybe she’s just stressed, and her old brain’s giving her some catharsis. And maybe I love goats. Point is—stop being a killjoy and cut the dreamers some slack. Because dreams are our imaginations flexing their muscles. Whether that means going over the rainbow or killing the hag who wants to kill your dog, we have no right to judge. “The thing that’s so fun is, dreams are involuntary. They are what they are,” says Hutchison. “You can’t tell someone they’re right or wrong or criticize them. They’re yours. They’re your story. Enjoy them.” ALSO SHOWING:

Movies in Black & White returns, using Mel Brooks’ Blazing Saddles as a springboard for a talk about race that might last four weeks, given this movie. Hollywood Theatre. 7 pm Wednesday, July 8. The NW Film Center kicks oﬀ a series of ﬁlms by Swedish absurdist humanist director Roy Andersson, including A Swedish Love Story (7 pm Friday, 9 pm Saturday), Songs from the Second Floor (7 pm Saturday, 5 pm Sunday) and You, the Living (7 pm Sunday and Monday). Whitsell Auditorium. July 10-20. With Harper Lee’s sophomore novel (!!!) dropping next week, now’s a great time to revisit the masterful adaptation of her classic, To Kill a Mockingbird Mockingbird. Clinton Street Theater. 2 and 7 pm Friday, July 10. Seriously though, Raiders of the Lost Ark should just never leave Portland theaters. Hollywood Theatre. 2 and 7 pm Saturday-Sunday, July 11-12. Brian De Palma’s Phantom of the Paradise shows us what would happen if Phantom of the Opera had less whiny balladry and more gigantic mounds of cocaine in the writers’ room. Hollywood Theatre. 9 pm Friday and 9:40 pm Saturday, July 10-11. For its 40th anniversary, Jaws is getting a barrage of screenings. But Laurelhurst Theater wins out as the most essential, since it’s shipped in Quint’s beer of choice, Narrangansett. Laurelhurst Theater. July 10-16. The NeverEnding Story is here to get its theme song stuck in your head. Academy Theater. July 10-16. Footrace drama Chariots of Fire is still impressive in its ability to make the least cinematic sport since competitive standing look incredible. Clinton Street Theater. 7:30 pm Saturday, July 11. E.T. returns to Portland, this time under the stars where it belongs. Cartopia. Dusk Sunday, July 12. Kung Fu Theater unleashes the chaotic Shaw Brothers classic Invincible Shaolin. Hollywood Theatre. 7:30 pm Tuesday, July 14.

MOVIES

COURTESY OF HARBOR PRODUCTIONS

JULY 10–16

HIGH OPERA: Phantom of the Paradise plays July 10-11 at the Hollywood Theatre.

Regal Lloyd Center 10 & IMAX 1510 NE Multnomah St. MINIONS Fri-Sat-Sun 11:30, 04:30, 07:00 MINIONS 3D Fri-Sat-Sun 02:00, 09:30 SELF/LESS Fri-Sat-Sun 12:00, 03:00, 06:40, 09:50 EXHIBITION ONSCREEN: THE IMPRESSIONISTS Tue 07:00

Regal Division Street Stadium 13 16603 SE Division St. MINIONS Fri 11:30, 02:00, 04:30, 07:00, 09:30 MINIONS 3D Fri 12:00, 02:30, 05:00, 07:30, 10:00

Regal Movies on TV Stadium 16

2929 SW 234th Ave. MINIONS Fri-Sat-Sun 11:15, 01:50, 02:30, 04:15, 06:50, 09:20 MINIONS 3D Fri-SatSun 12:00, 05:00, 07:30, 10:00 SELF/LESS Fri-SatSun 12:30, 04:10, 07:10, 10:10

Bagdad Theater

3702 SE Hawthorne Blvd., 503-249-7474 MINIONS Fri-Sat-Sun-MonTue-Wed 12:45, 03:45, 07:00, 10:00

Cinema 21

616 NW 21st Ave., 503-223-4515 AMY Fri-Sat-Sun-Mon-TueWed 04:00, 07:00, 08:45, 09:35 THE OVERNIGHT Fri-Sat-Sun-Mon-Tue-Wed 04:30, 06:45 TESTAMENT OF YOUTH Fri-Sat-SunMon-Tue-Wed 04:00, 06:45, 09:15

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 TO KILL A MOCKINGBIRD Fri 04:00, 07:00 TO DIE FOR Sat 04:00 CHARIOTS OF FIRE Sat 07:30 THE ROCKY HORROR PICTURE SHOW Sat 12:00 GOOD WILL HUNTING Sun 02:00 PLANTPURE NATION MonTue-Wed 07:00 NO FILMS SHOWING TODAY

Lake Theater & Cafe

106 N State St., 503-482-2135 MAGIC MIKE XXL Fri-SatSun-Mon-Tue-Wed 02:45, 05:15, 08:00 FAR FROM THE MADDING CROWD FriSat-Sun-Mon-Tue-Wed 12:15, 02:30 SPY Fri-Sat-Sun-Tue 05:00, 07:45 HOME FriSat-Sun-Mon-Tue-Wed 12:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 JAWS Fri-Sat-Sun-MonTue-Wed 07:00 WHAT WE DO IN THE SHADOWS Fri-Sat-Sun-Mon-Tue-Wed 09:45 THE THIRD MAN FriSat-Sun-Mon-Tue-Wed 07:15 YOUNG FRANKENSTEIN FriSat-Sun-Mon-Tue-Wed 09:15 WHILE WE’RE YOUNG Fri-Sat-Sun-Mon-Tue-Wed 06:45 STRANGERLAND Fri-Sat-Sun-Mon-Tue-Wed 09:30 FAR FROM THE MADDING CROWD Fri-SatSun-Mon-Tue-Wed 06:30 TOMORROWLAND Fri-SatSun-Mon-Tue-Wed 09:00

Mission Theater and Pub

1624 NW Glisan St. NO FILMS SHOWING TODAY Fri-Sun JAWS Sat-Mon-TueWed 05:30 ENTOURAGE Sat-Mon-Wed 08:30

St. Johns Cinemas

8704 N Lombard St., 503-286-1768 MINIONS Fri-Sat-Sun-MonTue-Wed 04:30, 06:45, 08:50 JURASSIC WORLD Fri-Sat-Sun-Mon-Tue-Wed 04:15, 07:00, 09:45

CineMagic Theatre

Fri-Sat-Sun-Mon-Tue-Wed 11:05, 12:20, 01:45, 03:10, 04:25, 05:55, 07:15, 10:00 TED 2 Fri-Sat-Sun-Mon-TueWed 11:00, 01:50, 04:35, 07:25, 10:20 TERMINATOR GENISYS Fri-Sat-Sun-MonTue-Wed 01:40, 04:40, 07:40, 10:40 TERMINATOR GENISYS 3D Fri-Sat-SunMon-Tue-Wed 10:40, 12:10, 03:10, 06:10, 09:10 MAGIC MIKE XXL Fri-Sat-SunMon-Tue-Wed 10:45, 01:30, 04:30, 07:30, 09:15, 10:30 MINIONS Fri-Sat-Sun-MonTue-Wed 11:30, 01:10, 02:00, 03:40, 04:30, 07:00, 08:40, 09:30 MINIONS 3D Fri-SatSun-Mon-Tue-Wed 10:40, 12:20, 02:50, 05:20, 06:10, 07:50, 10:20 THE GALLOWS Fri-Sat-Sun-Mon-Tue-Wed 11:10, 01:30, 03:45, 06:05, 08:20, 10:40 SELF/LESS Fri-Sat-Sun-Mon-Tue-Wed 10:45, 01:45, 04:45, 07:45, 10:35 ME AND EARL AND THE DYING GIRL Fri-SatSun-Mon-Tue-Wed 11:15, 08:50 UFC 189: MENDES VS. MCGREGOR Sat 07:00

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474 ALOHA Fri-Sat-Sun-MonTue-Wed 12:00 JAWS Fri-Sat-Sun-Mon-Tue-Wed 02:15 HOME Fri-SatSun-Mon-Tue-Wed 05:00 TOMORROWLAND Fri-SatSun-Mon-Tue-Wed 07:15

Empirical Theater at OMSI

801 C St. MINIONS Fri-Sat-Sun 11:15, 03:55, 06:30 MINIONS 3D Fri-Sat-Sun 01:35, 09:00

1945 SE Water Ave., 503-797-4000 WALKING WITH DINOSAURS 3D Fri-Sat-Sun-Mon 12:00, 03:00 SECRET OCEAN Fri-Sat-Sun-Mon 11:00, 02:00 JOURNEY TO SPACE Fri-Sat-Sun-Mon 01:00, 05:30 DINOSAURS ALIVE! 3D Fri 10:00 MONKEY KINGDOM Fri-Sat-Sun-Mon 04:00 JAMES CAMERON’S DEEPSEA CHALLENGE 3D Fri-Mon 06:30 TOMORROWLAND Fri-SatSun-Mon 07:30 HOME Fri-Sat 05:30 AVENGERS: AGE OF ULTRON Fri-SatSun 07:00 FLIGHT OF THE BUTTERFLIES Sat-Sun-Mon 10:00

Century 16 Eastport Plaza

NW Film Center’s Whitsell Auditorium

2021 SE Hawthorne Blvd., 503-231-7919 JURASSIC WORLD Fri-SatSun-Mon-Tue-Wed 05:30, 08:05

Kiggins Theatre

1011 Main St., 360-816-0352 EX MACHINA Fri-SatSun-Mon-Tue 09:15 TOMORROWLAND Fri-SatSun-Mon-Tue 01:45, 06:45 LOVE & MERCY Fri-Sat-SunMon-Tue 04:15

Regal City Center Stadium 12

4040 SE 82nd Ave. MAX Fri-Sat-Sun-MonTue-Wed 12:15, 03:15, 06:15 JURASSIC WORLD Fri-Sat-Sun-Mon-Tue-Wed 12:50, 04:05, 07:20, 10:30 JURASSIC WORLD 3D FriSat-Sun-Mon-Tue-Wed 08:35 AVENGERS: AGE OF ULTRON Fri-Sat-Sun-MonTue-Wed 02:00, 05:25 MAD MAX: FURY ROAD Fri-SatSun-Mon-Tue-Wed 11:00, 01:55, 04:55, 07:45, 10:35 SPY Fri-Sat-Sun-Mon-TueWed 10:55, 01:50, 04:40, 07:30, 10:25 INSIDE OUT

1219 SW Park Ave., 503-221-1156 A SWEDISH LOVE STORY Fri-Sat 09:00 SONGS FROM THE SECOND FLOOR Sat-Sun 05:00 AL WEI WEI Sun 03:00 YOU, THE LIVING Sun-Mon 07:00 NO FILMS SHOWING TODAY Tue SONGS SHE WROTE ABOUT PEOPLE SHE KNOWS Wed 07:00 SONG OF THE THIN MAN

Regal Pioneer Place Stadium 6

340 SW Morrison St. MINIONS Fri-Sat-Sun-MonTue-Wed 11:30, 04:30, 07:00 MINIONS 3D Fri-Sat-SunMon-Tue-Wed 02:00, 09:30 ANT-MAN ANT-MAN 3D

0th

Century 16 Cedar Hills

3200 SW Hocken Ave. MAX Fri-Sat-Sun-Mon-TueWed 11:00, 01:45, 04:30, 07:15 JURASSIC WORLD Fri-Sat-Sun-Mon-TueWed 12:00, 03:00, 06:00, 09:00 JURASSIC WORLD 3D Fri-Sun-Mon 07:20, 10:20 MAD MAX: FURY ROAD Fri-Sat-Sun-Mon-TueWed 10:00 SPY Fri-SatSun-Mon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:20 INSIDE OUT Fri-Sat-SunMon-Tue-Wed 10:45, 11:50, 01:25, 02:30, 04:05, 05:10, 07:50, 10:25 TED 2 Fri-SatSun-Mon-Tue-Wed 11:15, 02:00, 04:50, 07:40, 10:30 TERMINATOR GENISYS Fri-Sat-Sun-Mon-Tue-Wed 12:15, 03:15, 06:15, 09:15 TERMINATOR GENISYS 3D Fri-Sat-Sun-Mon-Tue-Wed 10:45, 01:40, 04:35, 07:35, 10:30 MAGIC MIKE XXL Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:45, 04:35, 07:25, 10:15 MINIONS Fri-SatSun-Mon-Tue-Wed 10:45, 12:00, 01:20, 02:40, 04:00, 05:20, 06:40, 08:00, 09:05, 10:30 MINIONS 3D Fri-SatSun-Mon-Tue-Wed 10:30, 11:20, 01:00, 02:00, 03:25, 04:40, 06:00, 07:15, 08:40, 09:50 THE GALLOWS Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:15, 03:30, 05:45, 08:00, 10:15 SELF/LESS Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:20 BAAHUBALI Fri-SatSun-Mon-Tue-Wed 02:40, 09:20 UFC 189: MENDES VS. MCGREGOR Sat 07:00 EXHIBITION ONSCREEN: THE IMPRESSIONISTS Tue 07:00 HOW TO TRAIN YOUR DRAGON 2 Tue 10:30 MET SUMMER ENCORE: LA FILLE DU REGIMENT Wed 07:00 ANT-MAN ANT-MAN 3D TRAINWRECK

Regal Cinemas Bridgeport Village Stadium 18 & IMAX

7329 SW Bridgeport Road MINIONS 3D Fri-Sat-Sun 10:45, 01:15, 03:45, 06:30, 09:00, 09:35 MINIONS Fri-Sat-Sun 11:35, 02:05, 04:35, 07:05 SELF/LESS Fri-Sat-Sun 01:25, 04:15, 07:10, 10:05 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION FRIDAY-THURSDAY, JULY 10-16, UNLESS OTHERWISE INDICATED

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BEER WINE PIZZA 4 SCREENS LAURELHURSTTHEATER.COM

2735 E BurnsidE st • (503-232-5511) • LaurELhurstthEatEr.com

Minions (XD) (PG) 10:00AM 3:20PM Minions (XD-3D) (PG) 12:40PM 6:00PM 8:40PM Minions (PG) 10:35AM 11:20AM 2:00PM 4:40PM 6:40PM 7:20PM 9:20PM 9:55PM Terminator Genisys (PG-13) 10:40AM 1:00PM 1:40PM 4:40PM 7:00PM 7:40PM 10:40PM Minions (3D) (PG) 12:00PM 12:00PM ® 1:15PM 2:40PM 2:40PM ® 3:55PM 5:20PM 5:20PM ® 8:00PM 8:00PM ® 10:35PM 10:35PM ® Ted 2 (R) 10:50AM 1:40PM 4:35PM 7:30PM 10:25PM Terminator Genisys (3D) (PG-13) 10:00AM 11:50AM 2:50PM 4:00PM 5:50PM 8:50PM 10:00PM Spy (R) 10:40AM 1:35PM 4:30PM 7:25PM 10:20PM San Andreas (PG-13) 10:55AM 1:45PM 4:35PM 7:25PM 10:15PM Self/less (PG-13) 10:25AM 1:20PM 4:15PM 7:10PM 10:05PM Inside Out (3D) (PG) 11:00AM 1:35PM 4:15PM

Inside Out (PG) 10:10AM 11:35AM 12:50PM 2:15PM 3:35PM 4:55PM 7:35PM 10:15PM Gallows (R) 10:50AM 1:10PM 3:30PM 5:50PM 8:10PM 10:30PM Minions (PG) 11:20AM ® 2:00PM ® 4:40PM ® 7:20PM ® 9:55PM ® Avengers: Age Of Ultron (PG-13) 6:30PM 9:50PM Magic Mike XXL (R) 10:45AM 1:50PM 4:50PM 6:50PM 7:45PM 9:45PM 10:35PM Max (2015) (PG) 10:30AM 1:30PM 4:25PM 7:15PM 10:10PM Mad Max: Fury Road (R) 10:20AM 1:15PM 4:10PM 7:05PM 10:00PM Jurassic World (3D) (PG-13) 10:45AM 4:45PM 10:40PM Jurassic World (PG-13) 10:05AM 1:05PM 1:45PM 4:00PM 7:00PM 7:45PM 10:05PM

4:35PM 7:35PM 10:30PM

Self/less (PG-13) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM Spy (R) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM Baahubali (Telugu- Primo Medical) (NR) 2:40PM 9:20PM Gallows (R) 11:00AM 1:15PM 3:30PM 5:45PM 8:00PM 10:15PM Magic Mike XXL (R) 11:00AM 1:45PM 4:35PM 7:25PM 10:15PM Baahubali (Tamil- Info Tech) (NR) 11:20AM 6:00PM Jurassic World (PG-13) 12:00PM 3:00PM 6:00PM 9:00PM Mad Max: Fury Road (R) 10:00PM Inside Out (PG) 10:45AM 11:50AM 1:25PM 2:30PM 4:05PM 5:10PM 7:50PM 10:25PM Jurassic World (3D) (PG-13) 7:20PM 10:20PM

Minions (3D) (PG) 10:40AM 12:20PM 2:50PM 5:20PM 6:10PM 7:50PM 10:20PM Minions (PG) 11:30AM 1:10PM 2:00PM 3:40PM 4:30PM 7:00PM 8:40PM 9:30PM Terminator Genisys (PG-13) 1:40PM 4:40PM 7:40PM 10:40PM Me and Earl and the Dying Girl (PG-13) 11:15AM 8:50PM Ted 2 (R) 11:00AM 1:50PM 4:35PM 7:25PM 10:20PM Terminator Genisys (3D) (PG-13) 10:40AM 12:10PM 3:10PM 6:10PM 9:10PM Self/less (PG-13) 10:45AM 1:45PM 4:45PM 7:45PM 10:35PM

Spy (R) 10:55AM 1:50PM 4:40PM 7:30PM 10:25PM Gallows (R) 11:10AM 1:30PM 3:45PM 6:05PM 8:20PM 10:40PM Inside Out (PG) 11:05AM 12:20PM 1:45PM 3:10PM 4:25PM 5:55PM 7:15PM 10:00PM Max (2015) (PG) 12:15PM 3:15PM 6:15PM Avengers: Age Of Ultron (PG-13) 2:00PM 5:25PM Mad Max: Fury Road (R) 11:00AM 1:55PM 4:55PM 7:45PM 10:35PM Magic Mike XXL (R) 10:45AM 1:30PM 4:30PM 7:30PM 9:15PM 10:30PM Jurassic World (3D) (PG-13) 8:35PM Jurassic World (PG-13) 12:50PM 4:05PM 7:20PM 10:30PM

Minions (3D) (PG) 10:30AM 11:20AM 1:00PM 2:00PM 3:25PM 4:40PM 6:00PM 7:15PM 8:40PM 9:50PM Minions (PG) 10:45AM 12:00PM 1:20PM 2:40PM 4:00PM 5:20PM 6:40PM 8:00PM 9:05PM 10:30PM Terminator Genisys (PG-13) 12:15PM 3:15PM 6:15PM 9:15PM Max (2015) (PG) 11:00AM 1:45PM 4:30PM 7:15PM Ted 2 (R) 11:15AM 2:00PM 4:50PM 7:40PM 10:30PM Terminator Genisys (3D) (PG-13) 10:45AM 1:40PM

FRIDAY Willamette Week JULY 8, 2015 wweek.com

END ROLL TYLER HURST

GREEN AND GOAL WHAT WE CAN LEARN FROM THE WEED THE PEOPLE “SHITSHOW.” BY M A RT I N C I Z M A R

mcizmar@wweek.com

It took only three days of legalization for people to get pissy about legal weed in Oregon. And, no, it wasn’t the rednecks. On July 3, some 1,500 people showed up at Portland’s first totally public weed event, Weed the People. Temperatures soared into the high 90s and lines stretched on for three-plus hours as people waited to claim 7 ounces of product. Tickets were $40 but cost more on Craigslist, where scalpers sold tickets for $150. Weed the People was organized by The Portland Mercury, a competitor to Willamette Week. So, please, read everything here with a skeptical eye—better yet, don’t read anything here until you’ve read what attendees had to say on the event’s Facebook page, Reddit’s Portland Trees and a post at the Potlander. It was a historic event. Organizers are to be commended for pulling it off, even if a handful of people have demanded refunds, given the hourslong lines and the “1 gram” samples that didn’t weigh out. And even if a few people required medical attention for heat exhaustion— thankfully, nobody who passed out fell and hit their heads. If they had, Fox News and The Oregonian surely would have seized the chance to demonize weed. Now that the seal has been broken, it’s important that future cannabis events be better organized if they’re to win favorable treatment under the Oregon Liquor Control Commission’s coming regulations. How do we do that? Well, I’m not an event planner—I don’t set water-bottle policy for events nor do I take a cut of ticket sales—but here are three things I think everyone should keep in mind going forward. Let’s push event planners to err on the side of leaving money on the table… Welp, the green rush is here. Everybody has their grubby little paws out. Local media are showing up late to the party—this paper has Portland’s oldest pot column, and it only dates to 2013. We’re interlopers in this industry, and we need to be respectful of the people who built it during prohibition, when they risked jail to birth this bountiful era. That means we err on the side of caution—maybe selling fewer tickets, putting up shade tarps and giving away lots and lots of water. One commenter on Tyler Hurst’s event recap for the Potlander put it like this: “The path to legalization has been long, and the victory hard-won. Capitalizing on that success with a miserably planned event at $40 a head is nothing less than a cynical insult to the cannabis community. It validates every fear

THESE THE PEOPLE: Attendees at Portland’s ﬁrst totally public weed event.

that the advent of recreational use will usher in an era of predatory corporate behavior that cannabis culture has been, to date, a rare refuge from in the culture at large.” Let’s be open about who’s planning and profiting from weed events… Organizers passed up some opportunities for transparency that they maybe shouldn’t have. No one likes to listen to journalists bicker about ethics, and we don’t need a #ganjagate. But it’s worth noting that Weed the People was organized by Josh Taylor, the Mercury’s pot columnist, who writes under the pseudonym Josh Jardine. Taylor took a share of the profits through his company, Oregon’s Cannabis Concierge. (Taylor did not respond to requests for comment.) Taylor started hyping the event (“hit weedthepeoplepdx.com for your tickets now!”) in a June 16 column: “I’ve been visiting all kinds of canna-businesses to inform them about the event, to get word out to the growers who want to participate, and—as all those porta-potties need to be paid for—seeking vendors TAYLOR and sponsors.” This would have been a good time for Taylor to state clearly that by “inform them about the event,” he meant persuading business owners to give away product and that he would personally profit from their generosity. After tickets sold out, Taylor disclosed that he owns Oregon’s Cannabis Concierge, which sponsored the event. Based on the widely reported attendance of 1,500 and the ticket price of $40, the event grossed some $60,000,

before sponsorships. Taylor didn’t keep all that money, of course, but it’s still a huge pile of cash. Mercury Publisher Rob Thompson declined to discuss the terms of his deal with his writer/ promoter, saying only, “Weed the People was a huge success.” From a financial standpoint, yes. It typically costs $3,000 to rent the bare-bones space they chose in North Portland. Although the event has been described as a “shitshow” on social media, there’s little doubt that future events will sell out, too. But is any cannabis event truly a success if people leave less excited about the product? Let’s remember we need to take care of this delicate seedling of an industry… Believe it or not, not everyone involved in cannabis is driving ’Raris and Rovers, rolling blunts with Cohiba Esplendidos and collecting custom Illadelph glass. Oregon cannabis is an emerging industry. Sure, some people have deep pockets through venture capitalists or history on the black market. But lots of other Portland dispensary owners are dreamers and scrappers. They’ve invested what they can to build out dispensaries for recreational customers. That market will not be open for months, so they’re battling to stay afloat on the limited pool of medical clients. Giving away thousands of dollars in product is a major investment for them—we all need to make sure they’re in a place to have positive interactions with potential customers. There’s a lot of opportunity, and everyone wants a piece of the action. That’s cool. But the people who build a lasting business are going to be the ones who take care of their customers. Once the novelty of legal weed wears off, either you’ve got people who value your product or you don’t. That goes for all of us.

Cannabis news, culture & reviews from Portland. 52

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Week of July 9

ARIES (March 21-April 19): How can you fulfill your potential as an Aries? What strategies will help you become the best Aries you can possibly be? Now is an excellent time to meditate on these riddles. One of my Aries readers, Mickki Langston, has some stellar tips to inspire you: 1. One of your greatest assets is your relentless sense of purpose. Treasure it. Stay connected to it. Draw on it daily. 2. Love what you love with pure conviction, because there is no escaping it. 3. Other people may believe in you, but only sometimes. That’s why you should unfailingly believe in yourself. 4. It’s your duty and your destiny to continually learn more about how to be a leader. 5. Don’t be confused by other people’s confusion. 6. Your best friend is the Fool, who will guide you to laughter and humility when you need it most, which is pretty much all of the time. TAURUS (April 20-May 20): While making a long trek through the desert on a camel, British author Somerset Maugham passed the time by reading Marcel Proust’s novel In Search of Lost Time. After finishing each page, Maugham ripped it out and cast it away. The book weighed less and less as his journey progressed. I suggest that you consider a similar approach in the coming weeks, Taurus. As you weave your way toward your next destination, shed the accessories and attachments you don’t absolutely need. Keep lightening your load. GEMINI (May 21-June 20): “I have gathered about me people who understand how to translate fear into possibility,” writes John Keene in his story “Acrobatique.” I’d love to see you do the same, Gemini. From an astrological perspective, now is a favorable time to put your worries and trepidations to work for you. You have an extraordinary capacity to use your doubt and dread to generate opportunities. Even if you go it alone, you can accomplish minor miracles, but why not dare to think even bigger? Team up with brave and resourceful allies who want to translate fear into possibility, too. CANCER (June 21-July 22): When novelist John Irving begins a new book, his first task is to write the last line of the last page. Then he writes the second-to-last line. He continues to work backwards for a while until he has a clear understanding of the way his story will end. Right now, Cancerian, as you hatch your next big phase of development, I invite you to borrow Irving’s approach. Visualize in detail the blossoms that will eventually come from the seeds you’re planting. Create a vivid picture of the life you will be living when your plans have fully ripened. LEO (July 23-Aug. 22): You have cosmic permission to lose your train of thought, forget about what was so seriously important, and be weirdly amused by interesting nonsense. If stress-addicts nag you to be more responsible, tell them that your astrologer has authorized you to ignore the pressing issues and wander off in the direction of nowhere in particular. Does that sound like a good plan? It does to me. For now, it’s your sovereign right to be a wise and innocent explorer with nothing much to do but wonder and daydream and play around. VIRGO (Aug. 23-Sept. 22): Even the most provocative meme cannot literally cause the Internet to collapse from overuse. It’s true that photos of Kim Kardashian’s oiled-up butt spawned a biblical flood of agitated responses on social media. So did the cover shot of Caitlyn Jenner in Vanity Fair and the Youtube video of a tiny hamster noshing tiny burritos and the season-five finale of the TV show Game of Thrones. But none of these starbursts unleashed so much traffic that the Web was in danger of crashing. It’s too vast and robust for that to ever happen. Or is it? I’m wondering if Virgos’ current propensities for high adventure and rollicking melodrama could generate phenomena that would actually, not just metaphorically, break the Internet. To be safe, I suggest you enjoy yourself to the utmost, but not more than the utmost. LIBRA (Sept. 23-Oct. 22): The coming weeks will be a favorable time for you to acquire a new title. It’s quite possible that a person in authority will confer it upon you, and that it will signify a raise in status, an increase in

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