41 49 willamette week, october 7, 2015 by Willamette Week Newspaper

NEWS CHOIRS SILENCED IN THE GROTTO. DISH FRENCH FRY SANDWICHES. MUSIC NEO BOYS WEREN’T BOYS.

P. 6

P. 28

THE P. 31

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“I’M TELLING METHOD MAN.”

recruit

P. 59

Portland Public Schools brought Erica Jones to Portland. In less than a year, she lost her job. Here’s what went wrong. BY BET H SLOVIC Page 13

WWEEK.COM

VOL 41/49 10.07.2015

Come along for Willamette Week’s Dispensary Tour! Visit four of Portland’s premiere lady-run dispensaries and enjoy a customized shopping experience at each dispensary. Tour guides Ashley Preece-Sackett and Leah Maurer, of Women Grow, will enlighten guests between shops and answer questions about the emerging industry. Each guest will also leave with a great goodie bag, courtesy of Bud Rub.

Green Goddess Green Sky Collective Homegrown Apothecary Pure Green

21+

Thursday, October 8 • 5-9pm

bit.ly/wwdispensarytour 2

Willamette Week OCTOBER 7, 2015 wweek.com

FINDINGS

PAGE 31

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 49.

A story about refugees from wartorn countries is an “Orientalist portrait,” says a reader. 4 The city’s best sports columnist

is leaving The Oregonian, which he says is “not the same place.” 6 Reagan-era tax policy is still oppressing small businesses. 9

TriMet tore down the bridge over a busy railway and scratched plans to replace it, but will install swing gates to slow the people trying to climb between stalled train cars. 11

ON THE COVER:

A white student said he wanted to kill a black schoolteacher, whom he had already shoved. Officials determined he was just saying it “out of frustration.” 13 Portland will finally have a stripclub haunted house. 27

If you want a really good french fry sandwich, there is a place. 28 A new lady Sasquatch may become a riot grrrl icon. 50 Basquiat subsisted mainly on Cheez Doodles. 53

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Erica Jones in Atlanta, photographed by Joeﬀ Davis.

Even housing in East Portland is ridiculously expensive these days.

STAFF Editor & Publisher Mark Zusman EDITORIAL News Editor Pro Tem Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Beth Slovic Copy Chief Rob Fernas Copy Editors Matt Buckingham, Madeline Luce Stage & Screen Editor Enid Spitz Projects Editor Matthew Korfhage Music Editor Matthew Singer Web Editor Lizzy Acker Books James Helmsworth

Visual Arts Megan Harned Editorial Interns Katana Dumont, Lisa Dunn, Coby Hutzler, Walker MacMurdo, Zach Middleton CONTRIBUTORS Dave Cantor, Nathan Carson, Rachel Graham Cody, Pete Cottell, Shannon Gormley, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Anthony Macuk, Mark Stock, Anna Walters PRODUCTION Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Alyssa Walker Graphic Designers Rick Vodicka, Xel Moore Production Interns Elise Englert, Emily Joan Greene, Caleb Misclevitz, Kayla Sprint

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Willamette Week OCTOBER 7, 2015 wweek.com

PORTLAND’S REFUGEES

Ecumenical Ministries of Oregon, and nonprofits I’m dismayed by Leah Sottile’s article about refu- like the Center for Intercultural Organizing. gees in Portland [“The Newest Portlanders,” WW, Susi Steinmann, president Sept. 30, 2015]. It represents an Orientalist por- Portland Meet Portland trait—identifying refugees primarily as victims— both in their “most dangerous” home countries Thank you so much for publishing Leah Sottile’s story on “The Newest Portlanders.” It was amazand on arrival here, struggling to survive. While adjustment is difficult, “victims” are ingly insightful and timely. The interviews show us what it’s like to not what I see after working for come here with nothing and start over. almost a decade with refugees It should win a Pulitzer Prize. in Portland. I see mostly resil—Suzan Ireland ient survivors who have already contributed so much to our city. DRIVING UP RENTS The article also misrepre“To use a car analogy, there’s a lot more people who are looking for Chevrolets sents refugee resettlement as a new phenomenon, yet refugees than are looking for BMWs.” [“Take a have been arriving in Portland Rent Hike,” WW, Sept. 30, 2015.] since the Vietnam War. IgnorYet somehow rents have increased ing this history and the vitality to BMW levels and Portland has one of of what previous waves and gen- “I see mostly the lowest vacancy rates in the country. resilient erations of refugees have offered Basically, while there are a lot of Portland disrespects newcomers. survivors who people looking for Chevys, they aren’t The article’s focus on the have already available. And while less are looking for horrors of refugee experiences BMWs, there’s more of them than there contributed “there” in the context of the are BMWs available, and prices rise. so much to recent Syrian refugee crisis has Funny how supply and demand works. our city.” brought this humanitarian issue —John Retzlaff to the forefront. This story is timely and offers great PR for newspapers, but CORRECTIONS few options to facilitate avenues for Portlanders Last week’s Murmurs incorrectly stated the amount of marijuana that Oregon dispensaries to engage with newcomers. WW’s mission is “to provide Portlanders with are allowed to sell to any adult. It is a quarteran independent and irreverent understanding of ounce, not 8 ounces. Oregonians are allowed to how their worlds work so they can make a differ- possess 8 ounces at home. In last week’s story on WW’s Beer Pro/Am ence.” My concern with this article is this: If I knew nothing of refugees in Portland, and I wanted to (“Mangoin’ for It,” WW, Sept. 30, 2015), the name make a difference, I would think that the Immi- of Lompoc Brewing’s Bryan Keilty was misspelled. grant and Refugee Community Organization is the WW regrets the errors. only “actor” in town where I could donate time, LETTERS TO THE EDITOR must include the author’s money or resources to support refugees locally. street address and phone number for veriﬁcation. Please know of and also consider resettlement Letters must be 250 or fewer words. Submit to: agencies such as Lutheran Community Services 2220 NW Quimby St., Portland, OR 97210. Email: Northwest, Catholic Charities of Portland and mzusman@wweek.com.

I despise the glue dots on junk mail. I diligently peel them oﬀ and put them in the trash, but I imagine most go into recycling. Then what? Are they water-based? Petrochemical? Do they gum up the recycling equipment? —TDMaus

It’s letters like yours, Maus, that put to rest any suspicion that I make up the questions for this column based on what I think will be interesting or funny. Still, your query raises a significant point. Just kidding! Glue dots and their discontents may well be the least significant public-policy 4

Willamette Week OCTOBER 7, 2015 wweek.com

issue of our time, which is saying something. For what it’s worth—which is literally nothing—glue dots are petroleum-based, and do not dissolve in water. This actually makes them easier to skim out of the watery pulp slurry that old paper is turned into on its way to becoming new, recycled paper. Still, as I imagine Maus huddled in her garret, convulsed with fury as she picks tiny polymer blobs off her mail, it’s hard to shake the sense that humanity was meant to fight bigger battles. Our species was designed to confront daily adversity—famine, exposure, plague. When was the last time somebody you know died of plague? These days, we’ve got it made. But instead of rejoicing in the fact that our species’ usual enemies have been vanquished, we just look for new enemies—Comcast, or people who disagree with us about who Hermione should have wound up with, or glue dots. All I’m saying is, take a minute to appreciate life. Comcast sucks, but let’s be real: It doesn’t suck in the way that four of your seven children die of it before they reach adulthood. This is not to say you shouldn’t fight the good fight for the recycling stream, but Metro assures me that the real problems are (1) plastic bags and (2) disposable diapers. Keep those out, and the glue dots can go to hell their own way. QUESTIONS? Send them to dr.know@wweek.com

Willamette Week OCTOBER 7, 2015 wweek.com

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NO MORE PREACHING TO THE CHOIR. Is nothing sacred? Student choirs in the Portland Public Schools have been told they can no longer participate in the Christmas Festival of Lights concert series at The Grotto because of its Catholic affiliation and the fact that the venue charges visitors a parking fee that supports its religious mission. The Grotto is a Catholic shrine and botanical garden on 62 acres in the Madison South neighborhood of Northeast Portland that hosts choral performances during the holidays each year. “Even if PPS singing groups perform songs from a variety of religious traditions, the strongly religious setting during the Festival of Lights could create a perception that the school is endorsing and supporting a particular religious tradition,” PPS general counsel Jollee Patterson wrote in a Sept. 9 email to school administrators, responding to a complaint from the Freedom From Religion Foundation. The Oct. 1 killing of nine people at Umpqua Community College in Roseburg has renewed calls for stricter gun-control laws. But Oregon’s fiercest champion of tougher gun regulations says not to expect quick fixes. State Sen. Ginny Burdick (D-Portland) was suddenly promoted Sept. 28 to Senate majority leader. Burdick led the successful 2014 drive to pass universal background checks on gun buyers, the first gun-control law passed by the Oregon Legislature in more than a decade. She tells WW she doesn’t expect any new gun bills in the short 2016 session— but is beginning discussions for 2017. “There’s great urgency to it,” Burdick says. “People are still in shock. Now is the time to start BURDICK some serious conversations.” The fiasco continues at Portland foster care provider Give Us This Day (“Home Sweet Hustle,” WW, Sept. 16, 2015). Last week, an associate of GUTD director Mary Holden plunked down more than $50,000 in cash to save a Northeast Rodney Avenue group home from foreclosure. That move infuriated GUTD foster parents, who say they haven’t been paid since August, although they still host nearly 30 foster children for the agency. “If a homeless child walked into a store and stole a hot dog, he’d get locked up,” says Shari Bray, a GUTD foster parent. “There’s millions missing from Give Us This Day, and she’s still out there.” Holden didn’t respond to a request for comment. The Portland Trail Blazers begin a new NBA season with last season’s starting lineup reduced to point guard Damian Lillard. But the Blazers aren’t the only team that must rebuild: So must the newspaper sports department covering them. Oregonian columnist Jason Quick and photographer Bruce Ely—two of the cornerstones of The O’s sports desk—both announced this month they’re leaving the paper. Ely will work for the Blazers organization, while Quick is headed to local Blazers television broadcaster Comcast SportsNet Northwest. “At The Oregonian, we both agreed that I was not a good fit,” says Quick, a 21-year veteran of the paper. “It breaks my heart. I put a lot of myself into that company. But I think we can all see that it’s not the same place.” Read more breaking news daily.

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UNAFFORDABLE: Percentage increases in rent for a one-bedroom, 650-square-foot apartment at the city-owned Headwaters Apartments in Multnomah Village.

A Part of the Problem PORTLAND CITY HALL IS TRYING TO FIGHT RISING RENTS. IT FORGOT AN APARTMENT BUILDING IT OWNS. BY NIG E L JAQ UI SS

njaquiss@wweek.com

In recent weeks, Portland City Hall has pledged to halt—or at least slow—the city’s breakneck rise in rents. Mayor Charlie Hales declared a citywide housing emergency Sept. 23. A week later, he pledged $20 million in city money to fund shelters and affordable housing. City Commissioner Dan Saltzman is calling for landlords to provide a 90-day notice of any rent hike higher than 10 percent. The problems the city are trying to solve are evident at the Headwaters Apartments in Multnomah Village. The building, completed in 2007, is seeing an exodus of tenants because rents are spiking nearly 20 percent this year. At least six renters have left the 100-unit building in the past month, according to remaining residents. That’s a lot of turnover in a market with vacancy rates of about 1 percent. City Hall doesn’t need to enact large-scale reforms to curb the rent hike in Multnomah Village, however. That’s because the Headwaters Apartments are owned by the city of Portland. More than a decade ago, city officials recognized a looming housing shortage. In 2004, the City Council approved an innovative financing package that paid to replace an abandoned Eagles Lodge with a model of sustainable and—at least notionally—affordable housing. The city issued $12 million in bonds to be repaid from Headwaters rents and chipped in another $2 million from the Portland Development Commission. After years of rent increases in the low single digits, the Headwaters’ residents were recently asked to absorb hikes

of nearly 20 percent to keep their leases. That kind of spike is contrary to the city’s stated intention of providing affordable housing at the Headwaters— and, WW has learned, it caught city officials unaware. WW asked city officials about the rent hikes this week. Mayoral spokeswoman Sara Hottman said Hales was traveling and would defer comment on the Headwaters to Housing Commissioner Saltzman. On Oct. 6, Saltzman’s housing adviser, Shannon Callahan, said no one at City Hall, including Saltzman, knew about the steep Headwaters rent hike. “The rent increase is being rescinded immediately,” Callahan tells WW. She says the city has not had a policy about rent increases but will include the Headwaters in pending renter protections. Two Headwaters residents shared five years of rental agreements at the building with WW and agreed to be interviewed, although they asked for partial anonymity because they fear their candor could hurt their chances of landing new apartments. Andrew, a Headwaters resident in his 50s who lives on a fixed income of about $1,600 a month, saw his rent jump Oct. 1 from $1,025 to $1,200, a 17 percent increase. “It’s insane,” Andrew says. “They’ve really outpaced people’s ability to pay.” He signed the new lease recently, even though it will consume three-quarters of his income. He says he’s resorted to selling possessions, including a table and an iPad, to make ends meet. He can’t afford restaurants or movies and recently gave up a weekly $9 bottle of wine, a reminder of better days when he lived in Napa Valley. “I’m going to have to borrow from my mother to make ends meet,” he says. “I never imagined that, at my age, I’d have to do that.” Through the Housing Bureau, the city regularly

provides subsidies and various kinds of support to developers, but it only owns two apartment buildings: the Fairfield and the Headwaters. Documents show that city leaders approved the unusual construction of city-owned “workforce” housing aimed at serving Portlanders making 70 percent or less of the city’s median income. (A 2011 Oregonian investigation found the project falling far short of city goals.) The building the city paid for is snazzier than most public housing. The complex’s two four-story pods are joined by glass sky bridges, underneath which snakes a creek that was unearthed and landscaped for the project. Residents have Energy Star-rated appliances, including washers and dryers in each unit. A coffee machine in the lobby provides free java. Each unit has a terrace. Despite the goal of affordability, rents at the Headwaters are higher than average for the Multnomah Village neighborhood. Housing Bureau numbers released in September pegged the average rent of a one-bedroom apartment there at $867. The Headquarters’ steep rates come despite two layers of public subsidy. First, the project was funded by cityissued bonds, which are tax-free to buyers and carry lower interest costs. And the city does not pay property taxes on the building, a savings of over $100,000 a year. It’s not clear why rents were increased so steeply, since the project’s largest cost—the interest payment on the money the city borrowed—is fixed for 30 years. Residents of Headwaters say it’s well past time City Hall remembered the reason the building was developed in the first place: to protect low-income Portlanders from being forced out of the city. “This isn’t the Pearl, and it’s not downtown,” says a female resident in her 40s who lives on a fixed income of $1,900 a month. “I can’t afford a car, and it takes me 30 minutes to get to my classes downtown by bus.” Based on the increase for units similar to hers, the female resident had expected her rent to go up next month from $980 to $1,200, a 22 percent increase. “I’ve lost a lot of faith in our political system,” she says. “This is gouging—just pure greed.” Willamette Week OCTOBER 7, 2015 wweek.com

Willamette Week OCTOBER 7, 2015 wweek.com

NEWS

MARIJUANA BUSINESSES ARE RAKING IN CASH—AND THE IRS WILL TAKE MOST OF IT. BY AA R O N M E S H

amesh@wweek.com

The line along Southeast Hawthorne Boulevard looked like a windfall for Farma. A crowd started gathering outside the Portland medical-marijuana dispensary shortly before 10 am on Oct. 1, the first day of legal recreational pot sales in Oregon. By the end of the day, more than 250 customers at Farma bought weed at $70 a quarterounce. But Farma co-owner Jeremy Plumb isn’t expecting to keep much of the money. “People don’t understand,” Plumb says. “They see this huge volume of business and they think we must be making money hand over fist.” The long lines and eager customers at Portland’s pot dispensaries this week disguise a bitter financial reality: Much of the cash from Oregon’s legal weed sales is being inhaled by the Internal Revenue Service. That has long been the case for medical

marijuana. The legalization of recreational weed has generated a land rush of investors looking to cash in, but many newcomers are getting a rude surprise. “We do not know what the federal tax burden will be,” Plumb says. “Even with the most responsible and conservative accounting practices in place, you could be hit with a tax bill that would wipe you out.” The federal tax code prohibits pot growers, processors or dispensaries to claim standard business deductions in their tax returns. That means cannabis businesses can deduct only the cost of goods sold—and can’t deduct significant expenses such as making payroll, paying rent, and buying advertising, all of which are expenses most businesses write off. The resulting tax burden has shrunk profit margins to almost nothing, say dispensary owners like Plumb. Typical businesses pay taxes on net profits, but dispensaries in effect pay taxes on a much larger percentage of their revenues. Simone Cimiluca-Radzins, a Portland accountant who advises marijuana businesses on tax law, says many dispensary owners have been caught unprepared. She says they did not understand how federal

IRS THIS MESS: This comparison shows how a marijuana bakery can’t claim federal deductions that a typical bakery can.

TODD’S CHOCOLATE BROWNIES MARY JANE’S POT BROWNIES GROSS REVENUE COST OF GOODS & SERVICES GROSS INCOME GROSS MARGIN PERCENTAGE GENERAL & ADMIN EXPENSES RENT EXPENSE PAYROLL EXPENSE NET INCOME TAXABLE INCOME

$1,000,000 $700,000 $300,000 30% ($75,000) ($50,000) ($20,000) $155,000 $155,000

$1,000,000 $700,000 $300,000 30% $75,000 $50,000 $20,000 $155,000 $300,000

S O U R C E : S I M O N E C I M I LU C A- R A DZ I N S , N E W E R A C E R T I F I E D P U B L I C ACCO U N TA N TS

Willamette Week OCTOBER 7, 2015 wweek.com

W W S TA F F

Weed Cash Cached

In April, U.S. Sen. Ron Wyden (D-Ore.) and Rep. Earl Blumenauer (D-Ore.) introduced legislation to reform the tax code. “The 280E provision of the federal tax code is the perfect example of the insanity of our failed marijuana policies,” Blumenauer tells WW. “It is ridiculous that thousands of state legal marijuana businesses across the country are unable to fully deduct business expenses.” The Oregon Cannabis Association, the trade organization for Portland marijuana growers and retailers, is sending representatives to Washington, D.C., on Oct. 20 to lobby for Wyden and Blumenauer’s bills. But Plumb isn’t optimistic that Congress will change the tax code unless marijuana is removed from the list of Schedule 1 narcotics. “This is the Death Star,” Plumb says. “Until cannabis is rescheduled, there’s always going to be issues with the tax code. The longer you’re in operation, the more punitive 280E becomes. Over time, you’re just going to have to put in so much additional money, it just becomes untenable.” To help her clients steel themselves for their tax bills, Cimiluca-Radzins has prepared a comparison (below) of what a typical business can deduct from its taxes and what a marijuana business can’t. She uses the example of a bakery that makes traditional brownies, and another bakery that sells pot brownies. The pot brownie bakery? It’s looking at double the tax burden.

taxes would affect profits. “It’s so sad,” she says. “It’s ridiculous. If you’re not allocating and saving that to pay the federal government—they’re like, ‘Oh my God.’ And then they still have to pay their employees.” The race by Oregon’s state, county and city governments to claim a share of sales taxes on weed was off and running well before voters legalized recreational cannabis last November (“Don’t Bogart That Tax,” WW, July 30, 2014). But the federal government takes a huge portion of marijuana business grosses not through any tax on the product, but through basic business income taxes. (The state of Oregon allows weed businesses to claim standard deductions.) The federal tax code that penalizes weed businesses is a clause called Section 280E, which prohibits any business “trafficking” in Schedule 1 narcotics from taking standard deductions. As The Washington Post reported last year, Congress amended the tax code in 1982, at the height of the Reagan-era war on drugs, to prevent drug traffickers from writing off their couriers’ salaries as a business expense. Industry analysts told The Post that numerous pot businesses have folded under the tax burden. Sources tell WW that many Portland dispensaries are using venture capital to stay afloat until Congress changes the federal tax laws.

Willamette Week OCTOBER 7, 2015 wweek.com

NEWS

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W W S TA F F

VIKESH KAPOOR

When the Gideon replacement was removed, TriMet planners focused plans on two nearby crossings as alternatives: the surface-level crossing at 12th and Clinton, and another along Southeast Powell Boulevard that runs beneath the tracks—a half-mile walk from the former bridge at Southeast 13th Avenue and Gideon Street. But TriMet is aware that pedestrians are crossing the Union Pacific tracks even while trains are stopped there. Security video released to TriMet this summer shows a woman climbing between cars of a stopped train onto another set of Union Pacific tracks. She makes it through the intersection, but time stamps on the footage show a second freight train heading the opposite direction minutes after her crossing. “Human beings tend to be like water,” Claudia Howells, coordinator of Oregon Operation Lifesaver, a national rail-safety advocacy group, tells WW. “They will find the path of least resistance.” Howells, a retired rail-safety professional of RUNAWAY BRIDGE: Hosford-Abernethy neighborhood residents (from left) Susan Pearce, 30 years, says most people who make crossings Linda Nettekoven, Jessica Engelman and Jim Kogler want a safe way to cross over the like this don’t think freight and light-rail tracks near Southeast 12th Avenue and Clinton Street. they’ll end up getting hurt or killed. “I figure there’s a OMSI/ certain mythology,” SE Water g in ss she says, “that a lot of o Cr m people who are hit by u ik Til trains are transients or committing suicide. Clinton St That’s actually not Clinton/ true. People have to SE 12th Ave Demolished treat that kind of a Gideon Pedestrian Location of Rejected location just like you Bridge Replacement Pedestrian would a freeway. You SE Brooklyn Bridge have to cross when and where it’s safe.” TriMet is installing swing gates and other safety features on either side of the TriMet tracks at 8th, 11th and MAX station and the missing bridge 12th avenues, primarily are a bad combination. to slow pedestrians and “They’ve given people a reason to be bicyclists before they BY CO BY H UTZ L E R 243-2122 at this intersection, and they tore down our cross. bridge,” he says. According to BikePortland.org, TriMet’s original plan “It’s a huge, dangerous situation,” says Susan Pearce, TriMet is rightly proud of the Tilikum Crossing, the nation’s to install eight swing gates has been met with heated chairwoman of the Hosford-Abernethy Neighborhood first car-free pedestrian and transit bridge. outcry from neighbors who question whether people on Open to light rail, buses, streetcar, pedestrians and District Association. “That’s not acceptable to us.” bicycles or with disabilities could easily use them. bicyclists, the $134 million bridge is the standout feature Pearce says it doesn’t make sense that the bridge hasn’t TriMet cut six of the proposed gates, leaving two to be of the Orange Line, itself a $1.49 billion light-rail cor- been replaced yet—especially with the Orange Line coming installed for a price that has not been determined. ridor to Milwaukie and the agency’s first new rail line in in under budget by $10 million to $40 million, by TriMet’s The agency is looking to install these features by the estimates. six years. end of October, but they would not be installed on Union “The freight train cuts off our whole neighborhood” Consistently hailed for being on time and under budPacific tracks, which run parallel to the Orange Line. get, the Tilikum Crossing is a showcase of TriMet’s com- from the MAX station, Pearce says. “People are going to Union Pacific’s Brooklyn yard is an intermodal facilmitment to giving commuters alternatives to their cars. be running across [the rail yard] to avoid missing their ity, where cargo containers are swapped between trucks But one mile southeast on the Orange Line, at South- light-rail trains.” and trains, often on their way to and Though a replacement bridge was east 16th Avenue and Brooklyn Street, local residents are from ships. furious about another bridge for walking and cycling—one part of the original plans, TriMet Francisco Castillo, a spokesman for spokeswoman Mary Fetsch says that that has disappeared completely from TriMet’s plans. the railroad, says trains stop across the This bridge was supposed to replace the Gideon pedes- a 10 percent reduction in anticipated nearby intersections for a number of trian bridge, a concrete span that once crossed over the federal funding for the project meant reasons, including regular operations Union Pacific freight tracks nearby. The Gideon bridge that some elements had to be cut from and mechanical problems. was demolished in late 2013, part of a slew of buyouts and the final design, including replacing the “ We’re greatly concerned about easement agreements paving the way for the construction Gideon bridge. safe behaviors at rail crossings,” said —Susan Pearce of the Orange Line. “We can only fund the scope agreed TriMet’s Fetsch, adding that the agency In fact, nothing has replaced it. to as part of the…contract,” Fetsch told is working with local governments and People who had used the bridge to cross over the milelong WW in an email. “The replacement bridge is not included the railroad to find ways to reduce the amount of time freight trains rolling into Union Pacific’s nearby Brooklyn in the project scope.” trains spend blocking intersections. The funding reduction resulted in the removal of a train yard are now climbing between train cars as they sit But neighbors remain convinced that without a stopped, blocking intersections near the new MAX station at number of projects like the replacement bridge, with some bridge, TriMet is asking for blood on the tracks. Southeast 12th Avenue and Clinton Street for up to 40 min- making it back into the Orange Line’s final plans. “We see this as a very urgent issue at the moment,” utes at a time. A 2010 TriMet spreadsheet shows elimination of a Pearce says, “but we can’t imagine why it wouldn’t be as Chris Eykamp, who lives nearby, says that TriMet’s new bridge to replace the Gideon crossing saved $1.65 million. urgent to others as it is to us.”

TRIMET’S NEW LIGHT-RAIL LINE TORE OUT A PEDESTRIAN BRIDGE. NEIGHBORS EXPECT BLOOD ON THE TRACKS.

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Willamette Week OCTOBER 7, 2015 wweek.com

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THE RECRUIT PORTLAND PUBLIC SCHOOLS BROUGHT ERICA JONES TO PORTLAND. IN LESS THAN A YEAR, SHE LOST HER JOB. HERE’S WHATWENT WRONG.

BY B ET H SLOV IC

bslovic@wweek.com

J O E F F D AV I S

Portland Public Schools hired Erica Jones to solve a problem. In less than a year, the school district decided she was the problem. Jones, 29, moved to Portland from Atlanta one year ago to teach third and fourth grade in the Portland Public Schools. The 2008 graduate of Spelman College was a catch for PPS: She was young, enthusiastic and, unlike most of the district’s teachers, black. She lasted just eight months. On April 21, 2015, the district put Jones on paid administrative leave—in effect firing her. What happened to Jones during her brief stint at North Portland’s Peninsula K-8 School isn’t a simple story. It’s messy, and there may never be a full picture of what took place. The district, citing employee privacy laws, declined to discuss Jones’ case. Peninsula’s principal, Silvia Asson, also declined to be interviewed. To its credit, PPS recognized a need for more black teachers and sent recruiters 2,000 miles to Atlanta, a city nearly as black as Portland is white. The district recruited Jones, paying her airfare and moving expenses, as part of a modest but aggressive effort to increase the number of African-American teachers in the district. CONT. on page 15

Willamette Week OCTOBER 7, 2015 wweek.com

THE RECRUIT

She’s one of 10 teachers Superintendent Carole Smith has paid to move from other cities since 2014 to bolster PPS’s minority faculty or fill other hard-to-hire positions. But Jones’ story shows how the district’s best intentions were easier to imagine than to execute. Ten percent of PPS’s students are black, but only 5 percent of its 3,400 teachers are. At Peninsula K-8 School, in the Kenton neighborhood, 16 percent of the 400 students identified as black last year, compared with about 7 percent of its teachers. “I don’t believe I was brought there to be like everyone else,” Jones says now. “I was there to expose kids to something different.” But Jones says PPS couldn’t handle the reality of the differences the district wanted to bridge. In a lengthy interview with WW, Jones, who speaks with a calm cadence punctured by occasional bursts of exasperation, has plenty of blame to spread around. She says she clashed with a principal who offered poor guidance, a few parents who couldn’t handle her straight talk, and an ineffective and inequitable system of student discipline that taught kids—all kids—there were no consequences for bad behavior. Erica Jones is just one teacher in a district that employs thousands. And it’s unclear how much of her story is the product of culture clash, personality conflicts or racial blind spots. If she shares in the blame, Jones doesn’t have the distance yet to admit it. She says her only mistake was believing PPS wanted her to succeed. “I shouldn’t have been as trusting,” she says. Today, Jones is back teaching on the East Coast. But the problems she encountered in Portland continue. And her story shows the muddled, on-the-ground results of the district’s good intentions. Here’s the story Jones told WW.

“I DON’T BELIEVE I WAS BROUGHT THERE TO BE LIKE EVERYONE ELSE. I WAS THERE TO EXPOSE KIDS TO SOMETHING DIFFERENT.” —Erica Jones

J O E F F D AV I S

CONT. on page 17

Willamette Week OCTOBER 7, 2015 wweek.com

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W W S TA F F

THE RECRUIT

ONE AND DONE: PPS recruited Erica Jones (right) to teach at Peninsula K-8 School in the Kenton neighborhood. She lasted less than a year.

Jones wasn’t expecting to travel across the county to Portland in 2014. She stumbled into her job at PPS. You have a lot of doubt when you go into education. Older people telling you, “Don’t do it.” The stress. The pay. I thought teaching was my calling. I was very passionate about it, even in high school, when I joined Future Educators of America. Most people who knew me then would be like, “I wouldn’t be surprised if you’re a superintendent in a few years.” I had just finished up the 2013-14 school year, teaching fourth grade in Georgia. I was at home cruising the Internet, when I found an ad for Portland Public Schools on Craigslist. They were going to be at a historically black colleges and universities job fair in downtown Atlanta a few days later. Then I found a website—“things you should know about Portland.” It said: “Portland is the whitest city in America. It rains all the time and people don’t use umbrellas.” At that point, I had been teaching for three years in a predominately African-American public school, where most of the students qualified for free or reduced-price lunch. I wanted something different. I had lived my whole life on the East Coast. I was in my 20s, and I wasn’t tied down. I dressed up and went to the job fair. I will give it to PPS. Their recruitment team does an excellent job of drawing you in. I met an African-American teacher from PPS at the job fair. She had worked in the district where I worked. She also knew one of my friends from Spelman. She told me an African-American kid could go through school in PPS and never have a teacher who looked like him. I thought, “I need to go and help.” You want to be Superman, of course. The financial incentives were attractive, too. They told me I’d make more money. There was no sales tax. And they would reimburse me for my travel expenses, including my flight and extra luggage. I met with one of PPS’s recruiters. She invited me to breakfast at the Flying Biscuit Cafe with other PPS employees. It was a hippie part of Atlanta. The neighborhood looked pretty much like Portland, they told me. I had my interview later that day. Two African-American teachers asked me to devise, on the spot, a lesson plan with three items—a textbook, an apple and a pencil. I told them I would teach force and motion. And since we know that they’re going to have a chair in the classroom, we could flip it over and use it as our incline.

“I THOUGHT TEACHING WAS MY CALLING. I WAS VERY PASSIONATE ABOUT IT.” —Erica Jones

CONT. on page 17

Willamette Week OCTOBER 7, 2015 wweek.com

THE RECRUIT

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Under Superintendent Smith, PPS has focused on keeping kids in classrooms by not suspending or expelling them for poor behavior. The district says the more often a student is suspended, the less likely he or she is to graduate. Jones experienced culture shock almost as soon as she arrived in Portland, in part because she wasn’t prepared for the district’s new approach to discipline. I arrived at Peninsula feeling like I was really going to make a difference in the lives of students of color. There were signs of PPS’s dysfunction from the beginning. When I got to my classroom, it still had stuff from the previous teacher. He had pictures of his wife still on the wall. That was weird to me, and it should have been my omen. It was like he had been disappeared. The first day of school was overwhelming. They had way more kids than they had anticipated. So I ended up having 30 kids in my class—a mix of third- and fourth-graders—and not enough seats. That had never happened to me in Georgia. But what really shocked me was the total disrespect I saw at school—from parents to the administration and from students to adults. I saw white kids yelling at their parents and their parents having complete meltdowns over it. Teachers overlooked a lot of bad behavior because of the district’s push to reduce discipline rates. Kids learned they could do whatever they wanted with little to no consequence. One day in September, there was a child of color, a first-grader, on his way out of the school. He was going off on the student management specialist, the teacher who’s supposed to handle behavior problems. Now, culturally, for me, we just don’t play that. There are no kids yelling at adults. So when the student management specialist walked off, I pulled the little boy to the side and said, “What’s the problem?” He tried to loud-talk me, and I let him know, “You don’t talk to me like that.” I was trying to deal with the student’s misbehavior right then and there, but it later became clear the student management specialist didn’t appreciate my approach. He thought I was too harsh, and I thought he was too weak. I quickly learned that students of color felt that their white peers could get away with more. Based on my observations, this appeared to be true.

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I had a white boy in my class whose behavior was erratic. One day he was acting out. He had this habit of trying to tell me what to do. I remember one of my African-American kids telling me, “Ms. Jones, it doesn’t make sense for you to send him to the office, because they’re just going to send him back, and he’s going to blame it on you.” I was like, “Oh no, no, no.” So I sent him there. It’s an honest shame the black boy knew what was going to happen. The other boy came right back to my classroom. For the rest of the year, when the white boy had fits, no one would help me. Jones discovered that parents in Portland had different expectations than Georgia parents. Her unvarnished feedback brought some complaints. At the beginning of October, I had an issue with one of the biracial kids in my class. He talked a lot. His father, who was also biracial, came to our open house at the end of September and wanted to know how his son was doing. I told him: “Honestly, he’s not doing any work. He talks a lot and he plays a lot, and I’m trying to figure out what we can do to help him.” He then sent the principal an email saying I didn’t have anything positive to say about his son. I’ve never had to sugarcoat in Georgia, but a lot of Portland parents want you to. The principal gave a lot of weight to parent complaints. She started to question me, and I started to question myself. “I want you to know that I do know you are doing good work in your room,” she emailed me Oct. 21. “I do not want to see it derailed.” It wasn’t until I had my conferences that I was told by my other parents, about 18 of them, that they were happy their kids were in my class. I shared that with the principal. The Portland Association of Teachers union has complained bitterly that Smith hasn’t given teachers alternative discipline tools. Jones says the problem felt even worse for her because of her race and culture. My principal was Latina, but I felt there was a bias against the way I communicated with students based on my culture as a black woman.

“BUT WHAT REALLY SHOCKED ME WAS THE TOTAL DISRESPECT I SAW AT SCHOOL—FROM PARENTS TO THE ADMINISTRATION AND FROM STUDENTS TO ADULTS. I SAW WHITE KIDS YELLING AT THEIR PARENTS AND THEIR PARENTS HAVING COMPLETE MELTDOWNS OVER IT.” —Erica Jones

CONT. on page 21 Willamette Week OCTOBER 7, 2015 wweek.com

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J O E F F D AV I S

THE RECRUIT

WHITEOUT: Erica Jones sought counseling because she felt overloaded by white culture: “In Portland, there’s therapy for that, and apparently the counselor I had had a good caseload. So there are a lot of people going to it.”

The principal, who was new to Peninsula last year, started having me come to her office regularly. Once she asked me, “Did you call a student a baby?” No, I said. A student was in the hallway acting up and I said, “How old are you? Are you 2? Or are you 9? Because your behavior should reflect that you’re 9. Do we need bottles? Do we need pacifiers?” The student management specialist was listening and went back and told the principal. She was like, “That’s considered belittling.” During my interview with the principal, I told her, “I am firm and stern, but students love me.” If you get an attitude with me, I will set you straight and keep it moving. Once I was at the school I remember telling her, “You guys in PPS talk about all this stuff that these kids of color go through being in this system, but you’re asking black teachers to come out here and deal with the same discrimination as the students.” The principal told me I was right. “I’m not even going to dispute that,” she said. Portland’s a chill town, and people use curse words all the time. But that didn’t work for me. I was already stereotyped as aggressive for being a black woman. Using that type of language wouldn’t have helped. I reached out to a mentor teacher, a white man with biracial children. I wanted a different perspective on how I could fit in at PPS. He came to my classroom once a week for an hour or two. He told me that for every negative thing I said, I needed to have three positive things. One day, I went to a professional development event my mentor organized. I overheard a conversation between two African-American teachers. One was talking about how the principal at her school was upset about how she talked to kids. Then the other teacher said that happened to her, too.

A black student is four times as likely as a white student to face suspension or expulsion in the Portland Public Schools, despite years of effort. Jones says she saw that disparity at Peninsula constantly. We asked her for examples. One day, a biracial boy in my class was about to fight another boy. A third-grade teacher, who is white, goes and stands in between them. She put her hands up, and he swiped her hand away. I saw him do it. So we wrote him up, and he was suspended for five days. I thought that was appropriate. Months later, I saw a different outcome for similarly bad behavior. A white student, a hefty 10-year-old, was not doing any of his cursive work. “I did this in third grade!” he said. “Well,” I said, “you do a lot of things over and over again in school because you’re practicing to become better at it.” He became rude, unruly and a distraction to the other children. His behavior was unpredictable. I told him he needed to take his work to the office. Well, he wouldn’t go, and as we waited near the door for someone to come get him, he kept pushing me. You know how if you’ve ever lost money in a vending machine, you push into it. He kept pushing into me. He was mouthing off at me and acting as if he were going to run out of the room. I was concerned for his safety and mine. I asked him to stop pushing me and gave him a warning. He backed up about seven steps, went into a karate stance and motioned two fingers at me as if to say, “Bring it on.” A student handed me my cellphone. I called the student management specialist, and he came and got the boy. He asked me to write a description of what happened. The specialist came back later in the day and

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THE RECRUIT said, “Did you feel threatened by the student?” I told him yes. I felt like I was really going to have to defend myself. He said, “OK, he’s definitely going to have some consequences.” The school ended up giving him a one-day inschool suspension. “The white boy did way more than I did,” the biracial boy told me after the incident. “Why is this kid allowed to be here when I got suspended for five days?” It’s hard to say what finally triggered the end of Jones’ employment at PPS. Jones says it was the incident with the white student, which continued to snowball. District officials won’t say. Whatever it was, by April PPS wanted her gone. By December, I still had no support for the student behavior problems in my classroom, I was under constant scrutiny, and I was trying to teach third- and fourth-graders multiple sub-

something principals have to do before they can try to fire you. Then, the next week, she did. At one of our meetings in February, I handed her a resignation letter. I was done. I said I would leave at the end of the year. Then in April, I got a phone call from the recruiter I had met in Atlanta. Would I reconsider re-signing if she moved me to another school that had more African-American teachers? She gave me a few days to think. I probably would have stayed, if she had come to ask for my answer herself. Instead, another AfricanAmerican woman from the central office came April 6. She was callous and rude. I told her, “I’m not interested.” I was already looking for jobs back east. Two weeks later, on April 20, a guardian of one of my students told me that the white boy who shoved me had made a threat when I was absent. “I’m so glad she’s not here,” he told other students. “I just want to kill her.”

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A black student is four times as likely as a white student to face suspension or expulsion in the Portland Public Schools, despite years of effort.

jects at the same time. I was also trying to put on a play for the lower grades to watch. There was a lot going on, and it was very stressful. And it wasn’t like I had a whole lot of friends or family in Portland. I started to have panic attacks in the middle of the night—shortness of breath. I was also having trouble with my sinuses. I was always sick, but I was still trying to come to work. I was getting ready to go home to Georgia for winter break. I was ready to leave Oregon and not come back. But I did come back. And that’s when my principal said she wanted to talk to me about my teacher evaluation. When I walked in, the principal let me read over her documents. I thought, “What in the world is this?” She wrote in there that four kids had left the school because of me. She said I was late for meetings. When I disputed that, she said, “Well, I can put in there that you were on your cellphone during meetings instead.” She was just looking for something to put in there. My doctor decided I needed to go see a counselor. I was having a mini-breakdown from—I’m just going to say it—dealing with so many white adults. So they sent me to therapy for it. In Portland, there’s therapy for that, and apparently the counselor I had had a good caseload. So there are a lot of people going to it. I went to the counselor weekly. It did make me feel a whole lot better. But things at work went from bad to worse. It was clear to me the principal no longer wanted me at her school. One week in January, she told me she didn’t want to put me on a plan of assistance, which is

I told PPS I didn’t feel safe with him in the class. The student management specialist investigated, and he told me the student was saying it “out of frustration.” On April 21, it was over. The same central office administrator said she was putting me on paid administrative leave until she could terminate me. She said, “It’s just not working out.” Too many parent complaints. She asked for my badge and my keys and said she was shutting down my PPS email account. The principal sent out an email to staff, and then she went to the kids. She said Ms. Jones wasn’t coming back. She said it was for personal reasons, which wasn’t true. I didn’t leave Portland until June. That whole time I was on paid leave. PPS never gave me a written explanation of what I had supposedly done wrong. They were supposed to have done that. It’s been months, and the teachers union is still asking for an explanation. And the little boy who was trying to fight me? He punched the substitute and got a three-day suspension. I got a job back on the East Coast. I’ve had only one panic attack since. I can sleep through the night. I had some great kids in Portland. I appreciate the meaningful connections I made with them and their parents. But, when I go back and think about my time in PPS, I think I should have reached out to the recruiter more and let her know what was happening. When I did see her those one or two times, she would ask me how things were going. “Oh, they’re fine,” I said.

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“He might as well be porking a chicken.” page 51

STARTERS

BITE-SIZED PORTLAND CULTURE NEWS.

TWO SLICES: Two Portland pizza spots named Slice are feuding over the use of the name. Slice Pizzeria owner Adam Huskey started his restaurant in October 2014 on Northeast 7th Avenue and Knott Street. Randy Swerdlick’s Slice opened last month in the Zipper food pod on Northeast Sandy. Huskey says he has repeatedly asked Swerdlick to stop using the name Slice, but Swerdlick “was a jerk about it. He knows I’m completely broke and I don’t have the ability to throw a bunch of money at him.” Swerdlick, who also owns Sandy Boulevard pawn shop the Jewelry Buyer, says that Huskey had registered his business with the state as Homeslice LLC, not Slice. Swerdlick believes the name legally belongs to him, and has twice thrown Huskey out of his store, saying he found his presence threatening. “He said, ‘We’re going to sue,’” says Swerdlick. “I said, ‘Fine, then sue.’”

C H R I S R YA N

THA DOGG UNCLE RETURNS: Hollywood Burger Bar—widely thought to be the model for Beezus and Ramona Quimby’s favorite restaurant, Whopperburger— closed Sept. 27 after 61 years in business. It will become Reo’s Ribs, owned by Snoop Dogg’s uncle and favorite rib-smoker, Reo Varnado, and his partner Myra Girod. Reo’s Ribs has moved a lot since originally opening in Aloha in 1999—most notably in 2012, after John’s Landing neighbors sued Varnado’s smokehouse for being smoky. Girod says the restaurant’s new neighbors so far have been a lot more welcoming. “Everyone’s been really nice,” she says, “really supportive. It’s a great location.” Reo’s is expected to open at the end of October.

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SHINOLA AIN’T SHIT: On Friday, Oct. 16, Detroit leather goods, watch and bicycle manufacturer Shinola (415 SW 13th Ave.) will celebrate the opening of its 10th store—the first in the Pacific Northwest—at West Burnside’s Black Box building. Named after an old-timey shoe polish immortalized by the colloquialism “You don’t know shit from Shinola,” Shinola prides itself on manufacturing all of its products in Detroit and sourcing many of its materials from American manufacturers. Shinola markets itself with an old-fashioned, all-American flair that would make our Founding Fathers proud. The leather goods run the gamut from wallets, journals and shaving kits to more contemporary offerings like laptop cases and backpacks, most priced in the low hundreds, with watches starting at $475. W W S TA F F

SIMPLISTIC APPROACH

PROS AND AMATEURS: Pretty much everyone who attended Willamette Week’s Beer Pro/Am festival Oct. 3 was a winner, in that they got to try a bunch of great beers and eat Chipotle burritos with guacamole. But since it was a competition, there were also actual winners. Placing ﬁrst in the Judges’ Choice category was 13 Virtues and Bill Schneller for their OG Stout, an imperial brown stout brewed with a 19th-century recipe. The People’s Choice winner was Coalition and Cullen Conway for Figtory! saison with roasted ﬁgs. WW’s own World Class Wreckin’ Bru Mango IPA did not place, but should be on tap at Lompoc Brewing next week.

WHITNEY SALGADO

WILLAMETTE WEEK

HEADOUT WHAT TO DO THIS WEEK IN ARTS & CULTURE

WEDNESDAY OCT. 7 HOW WE GOT ON [HIP-HOP THEATER] Local rapper Mic Crenshaw is sounddirecting Portland Playhouse’s season debut—a Straight Outta Compton-esque teen drama about the “golden age” of 1980s hip-hop. Narrated by a character named DJ “The Selector,” Idris Goodwin’s urban coming-of-age tale is like a history lesson on MTV, part music video and part exposé of kids with big dreams. Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm. $32.

SATURDAY OCT. 10 CORN CABARET + CONCERT [FALL FESTIVAL] Good news: When you get lost in the middle of Kruger’s haunted corn maze, there will be a circus tent with fire dancers, hula-hoopers and backwoods geetar-strummin’ from some bearded guys called Cedar Teeth to entertain you. Better news: Kruger’s has harvest beers on tap. Kruger’s Farm, 17100 NW Sauvie Island Road, 621-3489. 6:30 pm. $10, $5 for kids. URBAN BEER HUNT [DRINK AND RUN] Teams dressed in dirndls and lederhosen earn their beer by running a few miles around Ladd’s Addition and Buckman in search of the Urban Beer Trophy. Whoever can Google the scavenger hunt answers and drink their way through checkpoints wins $500. Bikes are off-limits. Start location will be announced to participants, urbanbeerhunt.com. Noon. $39.

SUNDAY OCT. 11 MUKJA! KOREAN FOOD FEST [KOREAN] This looks pretty much amazing. Second-gen Korean chefs such as Bo Kwon (Koi Fusion), Han Ly Hwang (Kim Jong Grillin’) and Peter Cho (Stray Dogs) team up with K-food enthusiasts like John Gorham and Brandon Kirksey of Seattle’s highend Girin restaurant for a hell of a dinner. Ecotrust, 907 NW Irving St., kfoodfest.com. 1-6 pm.

TUESDAY OCT. 12 WAYNE SHORTER QUARTET [SAX COLOSSUS] It’s a bold statement, but there are not many who would argue: Wayne Shorter is jazz music’s greatest living improviser. A big name in the who’s-who of 20th-century jazz ensembles, Shorter has been leading his own quartet on tenor sax for 15 years, and his sound is as clear as ever. Revolution Hall, 1300 SE Stark St., 288-3895. 7:30 pm. $35-$75. Under 21 permitted with legal guardian. HUDSON MOHAWKE, THE-DREAM [BEATS + VOCALS] Whoever dreamed up this double bill, pairing the ingenious, Kanyeaffiliated Scottish electronic producer with one of contemporary R&B’s most forward-thinking singer-songwriters, deserves a medal. Hawthorne Theatre, 1507 SE César E. Chávez Blvd., 233-7100. 8 pm. $15 advance, $22 day of show. All ages.

Willamette Week OCTOBER 7, 2015 wweek.com

FOOD & DRINK CHEAP EATS K AY L A S P R I N T

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

WEDNESDAY, OCT. 7 Cascade 5th Anniversary Celebration

Cascade Brewing celebrates ﬁve years with ﬁve days of awesome sour ales, most of which 5 years old. Cascade Brewing, 939 SE Belmont St., 265-8603. Noon. Free. Through Oct. 11.

SATURDAY, OCT. 10 Beers Made by Walking

Hike among Belmont Station, Horse Brass, Bazi Bierbrasserie and Likewise to try 18 beers and ciders inspired by nature walks in Forest Park. Belmont Station, 4500 SE Stark St., 232-8538. Noon.

NW Ciderfest

More than 30 cideries will convene for some of the city’s last decent outdoor drinkfest weather. Pioneer Courthouse Square, 701 SW 6th Ave., nwciderfest.org. 11 am-8pm Saturday, 11 am-6 pm Sunday. $25-$50.

SUNDAY, OCT. 11 Mukja Korean Food Festival

This food fest features Clarklewis/ Superhawk’s Kyo Koo, Kim Jong Grillin’s Han Ly Hwang, and even John Gorham. Kids under 13 free with ticket. Ecotrust, 907 NW Irving St., kfoodfest.com. 1 pm. $50-$75.

Peche Fest

Already one of our favorite festivals, this peach beer and cider fest will include a peach version of Breakside’s Passionfruit Sour, and barrel-aged farmhouses like de Garde’s Beaucoup Desay. Saraveza, 1004 N Killingsworth St., 2 pm. $10.

Where to eat this week. 1. Taylor Railworks

117 SE Taylor St., Suite 101, 208-2573, trwpdx.com. Former Little Bird chef Erik Van Kley’s new spot has great plates, including curry-fried chicken. $$$.

2. La Moule

2500 SE Clinton St., 971-339-2822, lamoulepdx.com. In the former Savoy, La Moule has the plumpest, butteriest mussels you’ve ever had. $$.

3. Renard

2039 SE Clinton St., 719-7529, renardpdx.com. Renard is the ﬁne French dining of decades past—French onion, steak bordelaise, coq au vin—gone comfy as an old chair. $$-$$$.

3. Fillmore Coffee (and Pizza) 7201 NE Glisan St., 971-236-7411, fillmorepdx.com. True Neapolitan-style pies at a coffee shop, including an excellent white pie with globs of ricotta. $$.

5. Farm Spirit

1414 SE Morrison St., farmspiritpdx.com. Aaron Adams’ prix-ﬁxe modernist vegan spot aspires to be the best vegan restaurant in the world— El Bulli but with plants. $$$$.

Willamette Week OCTOBER 7, 2015 wweek.com

PO’EST BOYS: Can’t aﬀord meat for a sandwich?

Bywater Grocery The po’boy was born of tough times. Specifically, a contentious streetcar strike in which organized labor set fire to the first streetcar that rolled with a scab conductor. A former streetcar worker-turned-food-stand operator pledged to serve the unpaid strikers—the poor boys—cheap protein on French bread loaves. The standout sandwich at the new Zipper food plaza’s Bywater Grocery is for even po’er boys. Bywater’s “Original” ($5.50-$8) takes a custom French loaf by Alessio—it has a few sesame seeds for texture and crushes flat, the way a po’boy should—and tops it with french fries and mayonnaise. Order this: The Original ($5.50) and At first, a mayonnaise and bread pudding ($4). french fry sandwich struck me as some sort of statement about rural Southern poverty. But, hot damn, it’s good. That loaf has a nice snap, and the simple toppings—pickles, lettuce, tomatoes and crunchy fries—fill it out nicely. I actually liked this ’wich better than the roast beef, which along with fried oysters is one of the traditional offerings on the menu. That sandwich ($9-$12) has stewy beef in a subtly sweet brown gravy. Bywater’s menu also includes two Creole rice dishes, but the jambalaya ($8) with chicken and andouille sausage was nothing to get excited about. The bread pudding ($4), on the other hand, is worth picking up from anywhere at the Zipper. It’s served in a slab that’ll easily serve two, with a crispy exterior, a warm and soft interior and a smoky sweet bourbon sauce. It’s a bargain— provided you can handle any more carbs after that french fry and mayonnaise sandwich. MARTIN CIZMAR. EAT: Bywater Grocery, 2713 NE Sandy Blvd., 971-220-2162, bywatergrocery.com. 11 am-8 pm Monday-Thursday, 11 am-9 pm Friday and Saturday.

DRANK

World Class Wreckin’ Bru (LOMPOC WITH WW) (Editor’s note: Because of WW’s involvement with this beer, the following review was commissioned from a notably independent beer writer.) When I heard that Willamette Week’s editorial staff was teaming up with Lompoc Brewing to make a hip-hop-themed IPA for their annual Pro/Am beer festival, I was at first surprised but then quickly settled into reluctance. The pairing makes equal parts sense and no sense, as if Donald Trump and Elizabeth Warren collaborated on a rap album. Portland’s Lompoc has cranked out more varieties of IPA than probably any other Oregon brewery in the past year, and WW headquarters is near the Lompoc Tavern. WW arts and culture editor Martin Cizmar does have the swagger of a Midwestern white boy who listened to many RZA albums, so I guess it all makes sense. In lieu of the Cristal barrels (is that Champagne even aged in barrels?) that Cizmar requested, they fermented the IPA with mangos that add a subtle tropical and creamy flavor. The beer is classic American IPA high on bitterness but also on malty body, a bit sweet but also a little muddled. I suspect it will improve as the beer clears up, dries out and smooths out its flow. EZRA JOHNSON-GREENOUGH.

Lunch & Brunch Monday to Friday 11:30am-3pm

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TELLIN IT: Steven Smith Teamaker’s new tea czar, making the Georgian Caravan tea he concocted with chef Vitaly Paley.

Tea Time TONY TELLIN CARRIES ON STEVEN SMITH’S LEGACY. BY M AT T H E W KO R F H AGE

mkorfhage@wweek.com

After the first sip, I couldn’t believe my mouth. The tea tasted just like French vanilla ice cream. “The heart of it is what they call a milk oolong,” says Tony Tellin, head teamaker at Steven Smith, in his tiny cupping lab on Northwest Thurman Street. “It’s got a buttery, milky, intense, fatty texture.” After happening across the Tazo tea office 19 years ago, Tellin spent almost half his life working alongside Portland-born tea legend Steven Smith, who founded both Stash and Tazo before starting his eponymous Teamaker company in 2006. But since Smith succumbed to cancer in March at age 65, Tellin has steered Smith’s tea. He’ll oversee a huge expansion this month, with a 10,000-square-foot production facility and tasting room opening in the Central Eastside, plans Smith began almost two years ago. Tellin, with a crisp-brimmed cap and apron, looks like a skater who grew up to be a carpenter. And he’s continued Smith’s tradition of innovation. After years of making special blends and teas for other companies—spiced black teas that Rogue can blend with beer, smoked peppermint tea for Feast— Tellin says his new Maker’s Series turns the tables. “Usually people say, ‘How can we incorporate your teas into our products?’” says Tellin. “This was more handcuffing people to a bench—yes, helping us make a tea, but also inspiring us.” His ice-cream oolong was a collaboration with Salt & Straw’s Tyler Malek, using bourbon vanilla beans, Spanish almonds, white jasmine blossoms and Indian sarsaparilla. Tellin melted sugar candy made by Malek over vanilla beans. The tea tastes so much like ice cream it’s like sleight of hand, both exciting and unnerving. Still, only about 200 people got to try the

tea when Steven Smith released the limitededition collaboration in July. “We sold out in three days,” says Tellin. But though the ice-cream oolong is unobtainable by everyone but Tellin—he’s got a little bag stashed away—more collaborations are on the way. On Oct. 1, Steven Smith released the second in the Maker’s Series, a woodshedsmoky, hibiscus-tart Georgian Caravan tea Tellin concocted with chef Vitaly Paley. In the old Slavic style, it comes with fresh huckleberry jam meant to mix as sweetener. Tellin doubled the batch to 475 boxes, in hopes the tea will be available for at least a week. Paley’s Georgian-born mother was the test audience, and she told them they got the Cyrillic label a little wrong. But she loved the tea so much she sent Paley down to get a box before it went on sale, saying it brought back fond memories of the old country. With jam blended in, Paley’s tea tastes like a continental breakfast in liquid form–tannic bittersweetness backed by sudden tartness, a pick-me-up for the icy depressives of Chekhov or Tolstoy. “It was a pretty spiritual experience,” Tellin says of watching Paley’s mother’s tea tasting. But the same could be said for Tellin’s turn as head teamaker. He spends a lot of time thinking about how best to carry on Smith’s legacy. “ We were talking about this yesterday,” Tellin says. “There are a lot of things we’ll have to do to keep up his quality expectations on all fronts. But the biggest one is, don’t work on deadlines. Do whatever you think it needs to make it the best you can.” Tellin is currently aging three holiday teas—a white tea scented with pear brandy, a spiced black tea aging in aquavit, a Moringa tea with vanilla and whiskey— but is still tweaking the recipes even with the tea in the barrels. And although he knows he’ll be working with Departure celebuchef Gregory Gourdet for his third tea collaboration, he’s in no hurry to set a date—he’d rather give Gourdet time to come up with ideas. “We’re strategic, but we don’t have the entire next three months mapped out,” Tellin says. “When Steve founded this company, when we started this company, the idea was to follow what you want to drink. And that’s what we do.”

Grand Opening! Oct. 9th, 10th & 11th 8 Food Carts • Free Tastings • Live Music Something for Everyone! 11 AM - 8 PM

SE 11th & Tacoma in Sellwood

Willamette Week OCTOBER 7, 2015 wweek.com

COURTESY OF K RECORDS

MUSIC

GIVE ME THE MESSAGE: Neo Boys circa the late ’70s.

The Boys Are Back NEO BOYS RECLAIM THEIR PLACE IN PORTLAND PUNK HISTORY. BY M AT T H E W S I N G E R

msinger@wweek.com

In 1970s Portland, it’s hard to imagine a band that had more going against it than Neo Boys. For one thing, all of the members were underage, as young as 13 when they started. Even if they had been old enough to play proper clubs, those venues weren’t exactly keen on booking acts that might attract a crowd of violent punk rockers looking for a place to riot. As musicians, the group was, shall we say, a bit raw, at least in the beginning. And on top of that, their name was a lie. The Boys were actually four girls—an anomaly in Portland, if not totally unheard of—which in those days didn’t help when it came to being taken seriously by the ruling rock-’n’-roll patriarchy. It would seem, then, that the band’s upcoming induction into the Oregon Music Hall of Fame would represent some level of victory—for punk, for women, for a group of teenagers who didn’t wait to grow up or perfect their instruments before making themselves heard. But while they appreciate the recognition, it’s coming, as it often has for Neo Boys, a little too late for their liking. “It felt like, ‘Oh, thanks,’” says drummer Pat Baum. “What about 35 years ago, when we were struggling and nobody would review our shows or give us any press?” Acknowledgement may have been slow to arrive for Neo Boys, who broke up in 1983. But over the past two years, history has finally come back around to them. In 2013, K Records released Sooner or Later, a two-disc retrospective containing almost everything the band recorded in its five years together. Suddenly, the local media that overlooked them for decades came knocking on their door—literally: Most of the interviews they’ve done since, including this one, have been conducted around singer Kim Kincaid’s diningroom table, at her home in Southeast Portland. It’s not an uncommon story, of course. In the digital era, many artists ignored in their time have been rediscovered, reissued and, in some cases, revived. But Neo Boys aren’t just some lost historical curiosity. They’re a true missing link—a band that, in its poetically political lyrics, cut a path toward riot grrrl, and helped establish the “do-it-yourself” ethos as a guiding principle for making music in the Pacific Northwest. On a pure songwriting level, the music is as sharp and inventive as anything from the era. It’s astonishing that it went mostly unheard for so long.

But time, along with everything else, wasn’t on Neo Boys’ side. A year after they split up, Satyricon opened, and the Portland punk scene that coalesced around it would become mythologized; everything that came before faded into prehistory. There is, however, something to be said for the vitality of music created almost entirely in secret, before any guidelines had been written and without the faintest notion that it might survive beyond the moment. And that, in retrospect, might have been the one thing they had in their favor. “In some ways, being in the dark ages, you got to invent it,” says bassist Kt (KAY-tee) Kincaid, Kim’s sister. “And in some ways, that was an advantage.”

“We didn’t really have a clue at all. It didn’t matter, though. That was the great thing about punk: You could do it anyway.” —Neo Boys’ Kt Kincaid

s far back as they can remember, the Kincaid sisters dreamed about having their own band. It wasn’t until glimpsing a photo of the Sex Pistols in a magazine, though, that actually doing it seemed a possibility. “When punk rock happened, we were like, ‘Now we can do it for real!’” says Kt Kincaid. “We didn’t really have a clue at all. It didn’t matter, though. That was the great thing about punk: You could do it anyway.” With guitarist Jennifer LoBianco and two other friends, the Kincaids formed their first band, Formica and the Bitches, in 1977. After the other two defected to London, the remaining members recruited Baum—who they’d often see at the Paramount Theater’s Catch a Rising Star showcases— shuffled the lineup and became Neo Boys, taking their name from a Patti Smith poem. It was a deliberate act of deception. “We didn’t want people to think we were girls before they saw us,” says Kt Kincaid. “We wanted to be judged on our credibility, rather than our sex.” That determination not to be marginalized pushed Neo Boys to work harder than many of their peers. While the early live recordings on Sooner or Later are decidedly rough—marked by wrong notes, questionable tuning and rhythms that wobble like a baby deer—those who

witnessed the group in its heyday recall a band of steely, intense focus. “They barely moved onstage,” writes Mark Sten in All Ages, his chronicle of Portland punk’s first wave (see Q&A, pg. 41). “They stood in place watching their instruments, and their determined precision gave the band a cool that was as profound as it was inadvertent.” And they progressed quickly as musicians, honing a sound more light, jangly and minimal than ragged and raging. As it turns out, the band evolved a little too quickly for some. “Within a year, they were way ahead of anything I could do,” LoBianco admits. She quit and moved to Hollywood, opening the door for the arrival of Meg Hentges. A skilled guitarist fresh off the bus from Missouri, Hentges brought added complexity to the group, not to mention groove— later songs like “Time Keeps Time” and “Cheap Labor” have an almost rockabilly swing, while “Under Control” could be the Minutemen. She upped everyone’s game, including Kim Kincaid’s, whose descriptions of working-class angst and gender inequality grew increasingly poignant, especially for someone not yet of voting age. By the early ’80s, Neo Boys were one of Portland’s most visible punk bands, opening for the likes of Television, Nico and X. Of course, what that mostly meant was, they played a circuit of art galleries, rental halls and short-lived all-ages venues. Like the rest of their peers, Neo Boys hardly ever left Portland. “It just wore you out after a while,” Kim Kincaid says. After Hentges left town in 1983, the other members didn’t have much motivation to find a replacement. They disbanded without having recorded a proper album, leaving an EP and a 7-inch single as the only hard proof that they had existed at all. “Today, they’re the biggest New Wave band that Portland forgot,” writes Sten in All Ages. “They were at the heart and center of their own era, but they’re not part of the heritage that survived.”

lmost as soon as they broke up, though, others took interest in preserving Neo Boys’ legacy. One in particular was K Records founder Calvin Johnson. An avowed fan, he befriended Pat Baum toward the end of the band’s run, and knew that, somewhere, there was a trove of demos and live material expanding on its paltry studio output. “I always felt like, ‘Where’s the rest of the songs?’” Johnson says. “There’s so much that isn’t available and needs to be documented.” Over three decades, he’d periodically nudge Baum about compiling what the band had, but it wasn’t until the mid-’90s that she first got around to pulling the tapes out of her parents’ basement. “The wheels moved very slowly,” Johnson says. “Everyone has lives, they’re all doing stuff. They’re not like me, sitting around and obsessing about music.” Another reason for the delay, though, was the band’s reluctance to excavate its own past. The members thought no one would care. As time went on, however, there were indications that Neo Boys had left a wider mark than previously thought. Hannah Lew of San Francisco post-punk outfit Grass Widow repeatedly cited them as an influence. In 2011, the Oregon Historical Society invited Kim and Kt Kincaid to give a speech at the opening of its Oregon Rocks exhibit. When Sooner or Later finally came out, musician Lesley Reece’s liner notes emphasized how crucial it was for her to see girls her own age not just singing but playing instruments, too: “How did they do that, start a band with other women, three of them not the singer? Maybe they thought the rules were stupid, too.” Whether or not it really means anything, with their induction into the Oregon Music Hall of Fame, Neo Boys are now formally aligned with the Wipers, Dead Moon and Poison Idea as a band that shaped the lineage of underground music in Portland. But perhaps even more than history’s view of the band, what’s changed is how the band sees itself. “I have to say that, having to listen and listen and listen to all these songs to have it ready to send to K, I felt proud at the end,” says Kt Kincaid. “You know, we did good.” SEE IT: The Oregon Music Hall of Fame induction and concert, featuring Storm Large, is at Aladdin Theater, 3017 SE Milwaukie Ave., on Saturday, Oct. 10. 7 pm. $25-$110. Under 21 permitted with legal guardian. Willamette Week OCTOBER 7, 2015 wweek.com

Willamette Week OCTOBER 7, 2015 wweek.com

MUSIC = WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called 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.

Dale Watson & His Lone Stars, Jenny Don’t & the Spurs

[HONKY TONK] A few years ago, I was sitting on a bus bench in Austin, waiting to be chauﬀeured into the Doritos-encrusted heart of South by Southwest, when the couple next to me pulled out a portable speaker and began playing honky-tonk so pure and antiquated it sounded like it was coming directly from an aged 45. They spent the trip downtown regaling me about Dale Watson, a true country troubadour with a snowy white quiﬀ that every Austinite eventually encounters, usually at Ginny’s Longhorn Saloon, where every Sunday he soundtracks a game of bingo determined not by pingpong balls but by the mercurial bowels of a live chicken. Even without the aid of pooping poultry, the hard-drinking, wide-smiling traditionalist country of Watson latest record, Call Me Insane, is as authentic as it comes. MATTHEW SINGER. Mississippi Studios, 3939 N Mississippi Ave. 9 pm. $15 advance, $18 day of show. 21+.

Thundercat, Mono/Poly

[ASTRO-FUTURISM] Steven Bruner came up playing bass for Suicidal Tendencies before plying his signature fretless grooves for L.A.’s Brainfeeder crew, where he adopted the Thundercat moniker. His contributions proved integral to Flying Lotus’ electro-acoustic odyssey Cosmogramma, and more recently, Kendrick Lamar’s rap epic To Pimp a Butterﬂy. With two LPs to his name, Thundercat’s solo work is leading a full fusion revival into 21st-century jazz funk, with six-string lead bass complemented by lyrics delivered in the key of life. His latest, a mini-album titled The Beyond/Where Giants Roam, dares to show the artist’s recent turmoil, using the avatar as a proggy triumph over personal loss and social injustice. WYATT SCHAFFNER. Star Theater, 13 NW 6th Ave. 9 pm. $15. 21+.

THURSDAY, OCT. 8 The Lone Bellow, Hugh Bob & The Hustle [HARMONIES GALORE] Together, Zach Williams, Brian Elmquist and Kanene Pipkin produce some of the greatest harmonies in folk pop today. Although often compared to contemporaries like the Lumineers, the Head and the Heart, or the Avett Brothers, the Lone Bellow distinguishes itself with the sounds of Southern soul gleaned from growing up south of the Mason-Dixon line. Then Came the Morning, only the band’s second LP—which, by the way, the National’s Aaron Dessner produced ever so slickly—even steers the band into gospel territory. HILARY SAUNDERS. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $17.50 advance, $20 day of show. Under 21 permitted with legal guardian

Battles

[TECH POP] The idea of a math-rock outﬁt having enough cachet to be considered a “supergroup” may be a tad silly to the uninitiated, but it may be time ﬁnally to humor your barista with the one-man looping project and give Battles a listen. Little understanding of this esoteric curio of a subgenre needs to be in place to enjoy its new record, La Di Da Di, though some explanation of how a humble trio of

dudes from bands you may remember from college (namely Helmet and Don Caballero) makes such a melodically dense racket with only six hands on deck might be required. You may see a laptop tucked away onstage, but don’t expect Williams and company to be checking their email onstage anytime soon. PETE COTTELL. Hawthorne Theatre, 1507 SE César E. Chávez Blvd. 8 pm. $18 advance, $20 day of show. All ages.

FRIDAY, OCT. 9 Alia Zin, Mic Capes, Blossom, Vinnie Dewayne [PDX RAP NOW] If Portland hip-hop is truly “having a moment,” it’s thanks in large part to the artists on this bill, all of whom have been making their presence felt on the live scene. Mic Capes and Vinnie Dewayne’s dispatches from the oft-overlooked corners of the city have garnered

The Dolomites, Eric Stern, Three For Silver

[FOLK-PUNK WITHOUT BORDERS] There’s multiculti, and then there’s the Dolomites. Since 1998, the Portlandbased project of onetime Gogol Bordello sideman Stevhen Koji Baianu has absorbed traditional sounds from all across the globe—from Japan to the Balkans, South America to Africa to eight-bit Jamaican dub—and spat it out as a sort of travelogue as narrated by Tom Waits, with accordion as the lead instrument. The Dolomites’ latest is The Japan Years: Volume I-III, an exploration of Japanese mythology via waltzes, ballads and bizarre dance numbers. It’s all over the place, yet once you immerse yourself, it’s a world you’ll want to spend some time in. MATTHEW SINGER. Mississippi Pizza, 3552 N Mississippi Ave. 9 pm. $7-$21. 21+.

Charlie Parr, Kory Quinn

[BLUEST OF GRASS] Portland’s been pretty lucky the past few years to have the likes of Charlie Parr visit so often.

CONT. on page 35

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WEDNESDAY, OCT. 7

plenty of press lately, but the one to watch here is Alia Zin, whose ﬁery sociopolitical manifestos touch on a variety of topics. Ash Street Saloon, 225 SW Ash St. 8 pm. $10. 21+.

FIVE THINGS NEIL YOUNG AND YOUNG THUG HAVE IN COMMON They’ve got the same voice, basically.

Neil Young sings like there’s a rusty door hinge opening in his throat, while Young Thug flows like an Auto-Tuned Gollum, and they both gleefully annoy purists.

2 They’ve both stumbled into beef. After characterizing the entire American South as a racist hill-town in “Southern Man,” Neil got himself called out by Lynyrd Skynyrd in “Sweet Home Alabama,” the racist hillbilly national anthem. Meanwhile, Young Thug is embroiled in a feud with his idol, Lil Wayne, after prematurely declaring himself the heir to Wayne’s alienrap throne and threatening to name his album Tha Carter VI before Wayne could release the long-delayed Tha Carter V. 3 They’re both crazy prolific. Neil has released a new album every two years on average since the late ’60s. Young Thug probably dropped another mixtape while you were reading this. 4 They’ve both been busted with drugs. Neil came onstage for his cameo in The Last Waltz displaying the most famous coke booger in history. Thugger was more discreet, catching a possession charge when police raided his home after he threatened to kill a mall cop. 5 They don’t have a single fuck to give between them. Neil records Monsanto dis records, hawks overpriced digital music players to old hippies and would put out, like, an industrial EDM album if the mood struck him. Thugger wears women’s clothes, titled a mixtape Black Portland despite being from Atlanta and raps about Pokémon. So, when’s the collab? Or at least the Neil Young Thug mash-up? MATTHEW SINGER. SEE IT: Neil Young plays Chiles Center at University of Portland, 5000 N Willamette Blvd., on Wednesday, Oct. 7. 7:30 pm. $65-$150. All ages. Young Thug plays Roseland Theater, 8 NW 6th Ave., with Tory Lanez and Rachel West, also on Oct. 7. 8 pm. $28. All ages. Willamette Week OCTOBER 7, 2015 wweek.com

Willamette Week OCTOBER 7, 2015 wweek.com

MUSIC LEANN MUELLER

DATES HERE

POMPADOUR AND CIRCUMSTANCE: Dale Watson plays Mississippi Studios on Wednesday, Oct. 7. The bluegrass statesman is a sight to behold, a hurricane of hair and glasses hunched over his trusty fretless banjo or 12-string guitar. What comes out is some of the most authentic, deft and transﬁxing Piedmont blues you’ve ever heard—never mind the era. Parr’s latest release is Stumpjumper, one of the few times he’s recorded with a backing band. Fret not: His bluesy prowess still hogs the spotlight, and for good reason. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $14. 21+.

Ariel Pink, the Black Lips, Nina Tarr

[ROCK-’N’-ROLL CIRCUS] After exploring Mature Themes and channeling a multiplicity of personalities on last year’s double LP Pom Pom, it is clear Ariel Pink is doing it for the kids. His art-damaged take on AM rock is somehow a synergistic element within Urban Outfitters, despite the obvious Zappa and Todd Rundgren influences. Once discovered via anonymous CD-ROM by Animal Collective 10 years ago, and now releasing records on the esteemed 4AD label, few outré artists have broken through like Pink. There’s no better band to complement Pink’s high-wire act than Atlanta’s finest scuzz-rockers, the Black Lips, whose longevity as a group is belied by their joie de vivre for jangly sing-alongs. Having scaled down the hijinks in favor of more nuanced songcraft, last year’s Billboard-charting Underneath the Rainbow shows the lads settling in as an ambassador of good vibes the world over. WYATT SCHAFFNER. Roseland Theater, 8 NW 6th Ave., 971230-0033. 9 pm. $21.50. All ages.

SATURDAY, OCT. 10 GZA

[SCIENCE RAP] The last time GZA—the Neil deGrasse Tyson of the Wu-Tang Clan—came through town, it was last summer, at the inaugural Project Pabst, where he performed all of his 1995 classic Liquid Swords (because, really, what else is GZA going to play?) backed by a full band, and was easily the highlight of the entire festival. And if he actually shows up tonight, he’ll almost certainly kill shit again. So: ﬁngers crossed! Analog Cafe, 720 SE Hawthorne Blvd. 9 pm. $30 advance, $35 day of show, $100 VIP. 21+.

Carnifex, Black Tongue, the Last Ten Seconds of Life, A World Without, Lorna Shore

[IMPACT FONT METAL] Carnifex has come a not-so-long way from its classic deathcore roots in the early 2000s. Combining the ultraslick, bounce-heavy chug popularized by Dying Fetus and Despised Icon with hardcore breakdowns, the past decade saw the deathcore genre splinter, with bands tending to either double down on the “death” or move closer to Slipknot-style radio rock. Carnifex is in the former camp. Its 2014 album, Die Without Hope, saw the San Diego quintet incorporate Meshuggah-inspired technical-

ity and European-style melodic guitar leads, while maintaining the chugand-breakdown formula that made it popular in the ﬁrst place. Who needs change when you have breakdowns? WALKER MACMURDO. Hawthorne Theatre, 1507 SE César E. Chávez Blvd. 6:30 pm. $15. All ages.

El Ten Eleven, Sego

[INSTRUMENTAL ROCK] Los Angeles duo El Ten Eleven was born in the fertile musical grounds of Silver Lake a little over a decade ago. Bassist Kristian Dunn and drummer Tim Fogarty have built a devoted following thanks to imaginative guitar work, fidgety percussion and well-orchestrated layering. While often labeled post-rock, the duo’s work is a bit more playful, informed as much by Mum as it is Mogwai or Battles. There’s an uplifting theme in El Ten Eleven’s core, and it comes off especially in the band’s fifth and newest LP, Fast Forward. Portlanders plotting their own bands should get a fine lesson in dense composition at this show. MARK STOCK. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $15 advance, $17 day of show. All ages.

SUNDAY, OCT. 11 PDX Legends of Hip-Hop

[PDX RAP THEN] While the announcement of Portland’s ﬁrstever oﬃcial Hip-Hop Day splintered the local hip-hop community, this celebration of 30 years of rap in the Rose City is certainly something everyone can get behind. The list of acts slated to perform is like a mid-sized festival, but the highlight is ‘80s pop-rap troupe the U-Krew, maybe the only local rap group to perform on Soul Train. Ash Street Saloon, 225 SW Ash St. 8 pm. $5. 21+.

The Districts, Sun Club

[TEEN DREAM] The story behind the Districts isn’t unique. Young frontman Rob Grote and company grew up in small-town Pennsylvania, formed a cover band in high school and ended up getting signed before college even started. Those teenage experiences—encounters with prepubescent jocks, off-the-cuff drinks, post-graduation uncertainty—lend themselves well to the group’s sophomore release, A Flourish and a Spoil. The ragged, languorous record builds on Grote’s dense inflections and the fullblooded approach to the band’s live sound, with a thick array of guitars for guidance and more insight than any 20-year-old probably ought to have. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $13. 21+.

Radioactivity, Low Culture, Divers

[TEXAS PUNK] A spinoﬀ of several revered Texas punk bands, the Marked Men, Radioactivity have a sound that’ll be familiar to anyone who has listened to basically anything else on the band’s label, the Portland-based Dirtnap Records— that is, buzzsaw-fast, heart-on-

sleeve melodic and totally fucking awesome. Panic Room, 3100 NE Sandy Blvd. 9 pm. $8. 21+.

Blues Traveler, Matt Jaffe

[SUCKIN’ ’N’ BLOWIN’] Gather around the campﬁre, children, I have a tale to tell. In the early-to-mid-’90s, there was a time when every music video on television featured a malefronted band singing on a stage and dancing in such a way that suggested light seizing. Do you know what “television” is, children? OK, well do you know what a “harmonica” is? A harmonica is an instrument small enough to ﬁt in your pocket, which is played by blowing and sucking air through its chambers. Once, a man named John Popper ruled the world with his harmonica. I know, it sounds almost too strange to be true. But it is true. It is so, so true. LIZZY ACKER. Revolution Hall, 1300 SE Stark St., No. 110, 288-3895. 8 pm. $30 advance, $35 day of show. 21+.

MONDAY, OCT. 12 Julia Holter

[EXPERIMENTAL POP] Can a pop singer also be an academic? Los Angeles singer-songwriter Julia Holter has dealt with this binary over the course of four proper full-lengths, incorporating elements of Greek tragedy and Broadway musicals into dense, gorgeous, experimental soundscapes that deﬁnitely still register as pop music. Holter’s astounding new album, Have You in My Wilderness, pushes the juxtaposition ever further. It’s both her most intimate and immediate set, mixing electric and acoustic instruments into a symphonic whir and pushing her voice above the fray. The new record even features Holter at her most “Running Up That Hill”ish, with a pair of singles in “Feel You” and the sax-featuring “Sea Calls Me Home” that work better on the dance ﬂoor than in the back of the library. MICHAEL MANNHEIMER. Bunk Bar, 1028 SE Water Ave., 328-2865. 9:30 pm. $12 advance, $15 day of show. 21+.

Gang of Four, the New Regime

[NOT GREAT MEN] More Gang of Four in rhythmic backbone and ideology than anything else, 2015’s What Happens Next transports the ensemble from its early-period glory to something that barely would have registered in the wake of punk’s relative commercial success. “England’s in My Bones” trucks with some of the slashing guitar that enabled “Entertainment” and “Solid Gold” to become templates for scores of bands. But with guitarist Andy Gill now being the only link to Gang of Four’s original lineup, occasional glints of that earlier era remain rare. When they do crop up, each moment is quickly subsumed by overproduction and an entirely diﬀerent sense of melody. DAVE CANTOR. Doug Fir Lounge, 830 E Burnside St, 231-9663. 9 pm. $25 advance, $27 day of show. 21+.

CONT. on page 39 Willamette Week OCTOBER 7, 2015 wweek.com

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MUSIC [SYNTH SOUL POP] Autre Ne Veut, the moniker of electro-pop singersongwriter Arthur Ashin, comes to Portland just 10 days after the release of his sophomore album, The Age of Transparency. Although Ashin’s work may sound like a heavy wash of layered synths closer to the “untz untz” of a club, the songs actually include existential lyrics and complex structures. In particular, The Age of Transparency delves into themes of honesty and truth in the digital age, while also integrating R&B and experimental sounds. HILARY SAUNDERS.. Star Theater, 13 NW 6th Ave., 248-4700. 8:30 pm. $15. 21+.

PROFILE WILK

Autre Ne Veut, Gems, Mazed

TUESDAY, OCT. 13 Chvrches, Mansionair

[SYNTH POP] Not a lot has changed for Chvrches between its 2013 debut and the new Every Open Eye— musically, at least. The Scottish trio appeared suddenly with The Bones of What You Believe, an album alight with bright hooks, precise beats and clipped, deceptively polite vocals holding surprisingly dark lyrics, and shot to stardom upon its release. Its sophomore effort follows the same formula, with billowing synths masking lead singer Lauren Mayberry’s hardened worldview. Endlessly confident and consistently infectious, Every Open Eye finds Chvrches if not laughing in the face of a sophomore slump, then at least grinning at it. KAITIE TODD. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. Sold out. All ages.

Hudson Mohawke, The-Dream

[CHYEAH & B] Every music fan has been to at least one show where the opening act completely upstaged the headliner. So let me get this out of the way real quick: You better show up on time tonight, because TheDream is about to turn all your shit up. Though Terius Nash’s best material is a few years behind him, he’s still a pop-R&B hitmaking machine—a dude who can claim “Umbrella” and “Single Ladies” on his songwriting résumé and still ﬂex because his most ecstatic moments come under his own pseudonym. The-Dream’s Love trilogy, released between 2007 and 2010, is near-perfect, ﬁlled with radio staples and should-be radio killers. Even though the punny title of 2013’s IV Play is a total misnomer—there is no foreplay for Nash, just completion—Nash is still a genius, and his “Yamaha” is probably the closest thing to vintage Prince we’ll get in our lifetime. Your move, Hudson. MICHAEL MANNHEIMER. Hawthorne Theatre, 1507 SE César E. Chávez Blvd., 2337100. 9 pm. $15 advance, $22 day of show. All ages.

CLASSICAL, JAZZ & WORLD Zakir Hussain and Dave Holland

[INDIAN JAZZ FUSION] This Kalakendra concert pairs two of the most accomplished living boundarycrossing improvisers, the India-born tabla virtuoso Zakir Hussain, who pioneered jazz-Indian fusion in his band Shakti, and the acclaimed English jazz bassist, bandleader and composer Dave Holland, who was a mainstay of Miles Davis’ early 1970s fusion bands. They team up with three other accomplished Indian jazzers—guitarist Sanjay Divecha, pianist Louiz Banks and singer Shankar Mahadevan—in a concert that melds two of the world’s great improvising traditions. BRETT CAMPBELL. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 800-2731530. 7:30 pm Wednesday, Oct. 7. $25-$100.

Vieux Farka Toure

[MALIAN GUITAR] Vieux Farka Touré was supposed to be a soldier. His father, Malian guitar player Ali Farka Touré, wanted him to carry on the family lineage as a member of their warrior tribe. With music in his bones, he took up the guitar in secret, learn-

CONT. on page 41

Hiatus Kaiyote FRIDAY, OCT. 9 When Hiatus Kaiyote arrived in Japan recently, the Australian future-soul quartet tweeted an exhausted post-travel selfie. Frontwoman Nai Palm—dressed in an Iggy and the Stooges T-shirt, sequined shrug and acid-washed jeans, with a black bandanna tied around her right ankle and enormous gold chandelier earrings half the size of her face—poses in the center of bassist Paul Bender, percussionist Perrin Moss and keyboardist Simon Mavin. “The way that I adorn myself is more of a physical representation of the things that I’m interested in, or the things that inspire me, or trinkets from the people that I adore,” Palm writes in an email somewhere between her band’s show in Yokohama and its next destination, San Diego. “The way I dress is a natural extension of the human that I am.” Palm maintains her flashy style onstage, often donning chunky chains, feathers, furs and other statement pieces, while she and the rest of Hiatus Kaiyote get down to their self-described “multidimensional, polyrhythmic gangster shit.” In the course of two records—2012’s Tawk Tomahawk, which featured the Grammynominated “Nakamarra,” and this year’s follow-up, Choose Your Weapon—the band has managed to blend a wide range of sonic identities into one coherent style. It’s easy to pick out influences from classic R&B—Palm credits Stevie Wonder, Rod Temperton and Burt Bacharach, in particular—but, like Palm’s prized accessories, the less obvious ones come from friends back in Melbourne, like the experimental vocalist Jaala, sexy beatmakers Silent Jay and Jace XL, and electronica group Kirkis. Structurally, Choose Your Weapon meanders through 18 tracks, blurring the lines between mixtape and album. Instrumentals like the two-part “Creations” serve as ethereal interludes that connect the spaces between singles like “Borderline With My Atoms” and the hip-hop inspired “The Lung.” Translating them live, the big, boisterous tracks, such as the percussive “Shaolin Monk Motherfunk,” have already become fan favorites, while others, like lead single “Breathing Underwater,” have turned into an inside joke among band members. “I get extra brownie points if I sing ‘Matt Damon’ at the start of the song,” Palm says. “But most of the time, I don’t have the balls.” So when Hiatus Kaiyote stops in Portland on its Live in 3-D tour—the band’s first gig in town—Palm hopes for some intense audience participation, if not some “Matt Damon” support chants. “My favorite part about playing American shows is how hyped the audiences are,” she says. “Their ability to interact with you as an artist while you’re performing feeds you and makes the show greater than you can expect it to be. Audience members don’t realize the power that they possess.” HILARY SAUNDERS. Style is the substance.

SEE IT: Hiatus Kaiyote plays Wonder Ballroom, 128 NE Russell St., with Coco Columbia, on Friday, Oct. 9. 9 pm. $20 advance, $23 day of show. 21+. Willamette Week OCTOBER 7, 2015 wweek.com

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ing the ins and outs of his father’s cathartic African dance music and enrolling in Mali’s Institut National des Arts. Eventually, Ali Farka Touré came around, recording some of his ﬁnal songs with his son before he passed away in 2006. The younger Farka Touré has since toured the world, bringing his authentic African music and six studio albums to the top of the world music charts. PARKER HALL. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm Wednesday, Oct. 7. $25 advance, $28 day of show. 21+.

DATES HERE

Wayne Horvitz Ensemble

[POETIC CHAMBER JAZZ] In this Creative Music Guild concert, Seattle pianist and jazz composer Wayne Horvitz combines members from his acoustic jazz band Sweeter Than the Day and his classically oriented Gravitas Quartet to perform Some Places Are Forever Afternoon, his new original chamber jazz suite of 11 compositions inspired by Montana poet and Seattle native Richard Hugo, interspersed with readings of the poems by Portlanders. BRETT CAMPBELL. Michelle’s Pianos, 600 SE Stark St., 295-1180. 8 pm Thursday, Oct. 8. $12 advance, $15 day of show.

The City of Tomorrow

[21ST-CENTURY WINDS] After winning one of classical music’s most prestigious prizes for emerging ensembles, the City of Tomorrow has recorded its ﬁrst album, this year’s Nature, and expanded its repertoire from midcentury modernist composers like Berio, Stockhausen and Donatoni to embrace more atmospheric young contemporary composers. These include Seattle’s Nat Evans (whose ethereal Music for Breathing, which has the band playing conch shells and stones, is featured in this concert) and Boston’s John Aylward, from whom it commissioned his ﬂuttery, pointillistic new Daedalus, also on the program.BRETT CAMPBELL. The Old Church, 1422 SW 11th Ave., 222-2031. 8 pm Thursday, Oct. 8. $15-$20.

Somi

[AFRO JAZZ] One of the breakout stars as a show-stealing opening act at this year’s Portland Jazz Festival returns with her own headlining gig, mixing jazz, soul, R&B and Afro-pop inﬂuences. Although she grew up in Chicago, singersongwriter-scholar Somi, a protégé of African jazz trumpeter Hugh Masekela, was deeply inﬂuenced by her parents’ East African heritage. An 18th month pilgrimage to Nigeria resulted in her breakthrough album, 2014’s Lagos Music Salon, and she’s worked with everyone from Angelique Kidjo to Paul Simon to Common to Mos Def, and even performed at the United Nations. BRETT CAMPBELL. Alberta Abbey, 126 NE Alberta St., 228-5299. 7:30 pm Friday, Oct. 9. $10-$24.

Wayne Shorter Quartet

[SAXOPHONE COLOSSUS] It’s a bold statement, but there are not many who would argue: Wayne Shorter is jazz music’s greatest living improviser. When he switched to soprano sax in the 1970s, his ﬂoating, passionate tone won him the DownBeat critics poll for 10 straight years. A big name in the who’s-who of 20th-century jazz ensembles—Art Blakey’s Jazz Messengers and Miles Davis’ Quintet, among others—Shorter has been leading his own quartet, long considered one of the ﬁnest groups ever to play the music, on tenor sax for 15 years. After receiving a Grammy Lifetime Achievement Award last December, his sound is as clear as ever. This is a mustsee musician if there ever was one. PARKER HALL. Revolution Hall, 1300 SE Stark St., No. 110, 2883895. 7:30 pm Tuesday, Oct. 13. $35-$75. Under 21 admitted with a parent or guardian.

For more Music listings, visit

Q&A: Mark Sten Mark Sten was at ground zero when punk hit Portland. He played in bands with Fred Cole long before there was a Dead Moon, and calls Greg Sage of the Wipers a longtime friend. In addition to his 15,000-piece record collection, he also cultivated an archive of local punk ephemera. After nearly four decades of gestation, these notes, handbills, photos, interviews and personal recollections coalesced into the fascinating, thorough and acerbic book All Ages: The Rise and Fall of Portland Punk Rock, 1977-1981. Self-published in blackand-white as a kind of high-quality monster zine, Sten describes the arc of the local punk scene from its fitful birth to its streaking zenith and eventual crumbling. WW visited Sten at his overgrown Southeast Portland home to discuss what caused the punk scene to disappear from memory. Read the full Q&A at wweek.com. NATHAN CARSON. Remembering Portland punk’s ﬁrst wave...or trying to, anyway.

WW: What is it about the glory days between 1977 and ’81 that makes that era worth remembering? Mark Sten: Any art form in its earliest incarnation has a vitality to it that never reappears. In other words, there’s a liveliness to an art form that has suddenly been discovered where young people realize what they can do had never been done before. It seems like almost all of the bands in All Ages are unremembered today. What is it that made the scene so ephemeral? Maybe being in Portland. It’s not a good place to launch a career from. A band from Los Angeles is simply going to stand a better chance of getting records out and getting publicity generated, certainly in that period. Portland’s maybe now on the map along with Asheville [N.C.] and Denver as being kind of hip. But at that point, there was nothing remotely hip about Portland. It doesn’t come across in the text that touring was of much importance to you or any of the bands in Portland at that time. No, it wasn’t. The one band that should and could have toured much more was the Neo Boys, because they were well-known up and down the I-5. But they really didn’t get out of town. I don’t know what to attribute that to besides inertia. The Wipers went down and played one show in Los Angeles in 1979. And that was a complete novelty. People would go to Seattle occasionally but only very occasionally. Nobody really was thinking in terms of getting out of town at that point. Which would be another decent reason why the scene stayed ephemeral. It just disappeared when it was over. Do you think punk is still viable or meaningful in 2015? If you’re 40. I’m willing to accept it has zero appeal for a 20-year-old. Let’s not say zero: The idea of punk absolutely attached itself to the culture as a whole. Whether people are listening to guitar music or not, it’s clearly a set of fashion presets that are not going away anytime soon. It may be dying off as a music, but it became one element in a multifaceted American popular culture landscape that seems permanent. Which is the last thing that we thought was going to happen in 1978. GO: The release party for All Ages, featuring a panel discussion with Mark Sten, Jerry A. of Poison Idea, Pat Baum of Neo Boys and others, is at Powell’s City of Books, 1005 W Burnside St., 800-8787323, powells.com. 7:30 pm Thursday, Oct. 8. Free. Willamette Week OCTOBER 7, 2015 wweek.com

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MUSIC CALENDAR WED. OCT. 7 Alberta Rose Theatre 3000 NE Alberta St An Evening with John McCutcheon

Alberta Street Pub

1036 NE Alberta St Two Step w/The Jack Dwyer Band

Analog Cafe & Theater 720 SE Hawthorne Blvd And So I Watch You From Afar, Mylets, Blis., & Bearcubbin

Arlene Schnitzer Concert Hall

1037 SW Broadway Zakir Hussain and Dave Holland

Chiles Center at University of Portland

5000 N Willamette Blvd. Neil Young

Crystal Ballroom

1332 W Burnside St Kaskade

Doug Fir Lounge 830 E Burnside St Vieux Farka Toure

Goodfoot Pub & Lounge 2845 SE Stark St The Wild Body

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Vacationer, Great Good Fine OK

Justa Pasta

1336 NW 19th Ave Anson Wright Duo

Mazza’s

3728 NE Sandy Blvd. Bo Ayars Piano Bar

McMenamins Al’s Den 303 SW 12th Ave Adam Sweeney and the Jamboree

Mississippi Studios

3939 N Mississippi Ave Dale Watson

Panic Room

3100 NE Sandy Blvd ANDY D / WHITECATPINK / G.I.N.A.H.

Roseland Theater

8 NW 6th Ave Young Thug

Star Theater

13 NW 6th Ave. Thundercat, Mono/Poly

The Blue Room Bar

8145 Open Mic at The Blue Room Bar- hosted by Brian Bays of Soul Progression

The Old Church

1422 SW 11th Ave. The City Of Tomorrow

Wonder Ballroom 128 NE Russell St Jr. Jr.

THURS. OCT. 8 Aladdin Theater

3017 SE Milwaukie Ave. The Lone Bellow, Hugh Bob & The Hustle

Alberta Rose Theatre 3000 NE Alberta St Colin James

Alberta Street Pub

1036 NE Alberta St Renegade Stringband

Analog Cafe & Theater 720 SE Hawthorne Blvd Sianvar, Oranges, She Preaches Mayhem, Artifice, & Four Young Strangers

Ash Street Saloon 225 SW Ash Mother Crone

Bunk Bar

1028 SE Water Ave Visceral Volume presents: Hammerhead, Qui, Drunk Dad

Kaul Auditorium at Reed College

3203 SE Woodstock Blvd. Choral Arts Ensemble

Dante’s

Kelly’s Olympian

Edgefield

3552 N Mississippi Ave The Dolomites, Eric Stern, Three For Silver

350 West Burnside THE GODDAMN GALLOWS with Dirty Kid Discount 2126 S. W. Halsey ST. Great Northwest Music Tour

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Battles

Kenton Club

2025 N Kilpatrick St Saint Jacks Parade

LaurelThirst Public House

2958 NE Glisan St Lewi Longmire & the Left Coast Roasters

Lincoln Hall at Portland State University

1620 SW Park Ave., Lincoln Recital Hall Room 25 Guy Mendilow Ensemble

Michelle’s Pianos

600 SE Stark St. Wayne Horvitz Ensemble

No Ho’s Hawaiian Café 4627 NE Fremont Street David Friesen

Ranger Station

4260 SE Hawthorne Blvd Open Mic- Hosted by Dave Kelsay

Rialto Corner Bar

529 SW 4th The Famous Haydell Sisters

Roseland Theater 8 NW 6th Ave ZZ Ward

The Secret Society 116 NE Russell St The Portland Lindy Society Presents Thursday Swing! Featuring The High Water Jazz Band, Everything’s Jake

The Spare Room Restaurant and Lounge

4830 NE 42nd Ave The Earnest Lovers with The Dalharts

Wonder Ballroom

128 NE Russell St The New Mastersounds

FRI. OCT. 9 Aladdin Theater

3017 SE Milwaukie Ave Roy Rogers & The Delta Rhythm Kings

426 SW Washington St Cult Choir

Mississippi Pizza

Ponderosa Lounge

10350 N Vancouver Way Pondo Presents Jackson Michelson w/ Special Guest Hang ‘Em High!

Revolution Hall

1300 SE Stark St #110 Hans Raj Hans

Roseland Theater

8 NW 6th Ave. Ariel Pink, The Black Lips, Nina Tarr

The Jack London Bar

529 SW 4th Avenue The Famous Haydell Sisters Jacked Up Variety Show

The Know

2026 NE Alberta St Animal Throat // The Never Said // Moon Tiger

The Old Church

1422 SW 11th Avenue Johnny Keener and the Bells with Future Historians and Lee Allstar

The Secret Society

116 NE Russell St Pete Krebs and his Portland Playboys; Urban Wildlife, Mission Spotlight, The Desert Kind

Twilight Cafe and Bar 1420 SE Powell 800 Octane/Burn the Stage/Black Karma Social Club

Warner Pacific College 2219 SE 68th Ave Celebration Concert ft. Local High Schools

Wonder Ballroom

128 NE Russell St Hiatus Kaiyote

SAT. OCT. 10 Aladdin Theater

3017 SE Milwaukie Ave The 9th Annual Oregon Music Hall of Fame Induction & Concert feat. Storm Large

Alberta Street Pub 1036 NE Alberta St The Big Ol’ Hearts

Analog Cafe & Theater

Ash Street Saloon

225 SW Ash Fun With Dynamite

Ash Street Saloon

225 SW Ash Street Alia Zin, Mic Capes, Blossom, Vinnie Dewayne

Blackwater Bar

Club 21

Brickhouse Bar and Grill

Doug Fir Lounge

830 E Burnside St. Patrick Watson, Blood & Glass

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Murs, Redpill, King Fantastic

Jimmy Mak’s

221 NW 10th Ave Soul Vaccination, with special guest Andy Stokes!

LAST WEEK LIVE

3939 N Mississippi Ave. Charlie Parr, Kory Quinn

Alberta Abbey

2035 NE Glisan St DR. BOOGIE w/ The Cry! & Criminal Guitars @ CLUB 21

[OCT. 7-13]

Mississippi Studios

720 SE Hawthorne Blvd GZA

126 NE Alberta St. Somi

For more listings, check out wweek.com.

E M I LY J O A N G R E E N E

= WW Pick. Highly recommended.

Editor: Matthew Singer. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at 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.

835 NE Broadway St. Just Cause Fest

109 W 15th St Dig Deep

Clinton Street Theater 2522 SE Clinton St Brad Creel & the Reel Deel

Dante’s

350 West Burnside J-Fell and 92.3 KGON presents BARRACUDA [tribute to Heart] and Petty Fever [tribute to Tom Petty]

CRITIC CONVERTED: There are some exceptional songs in the Titus Andronicus catalog, but the band’s ragged swagger always struck me as corny and overbearing, like an advertisement for the passion and grit of a better band. I finally found that band on Oct. 2. It is called Titus Andronicus. The New Jersey sextet’s maximalist tendencies can be bullying in recorded form, but what I’d previously perceived as an eagerness to impress revealed itself at Mississippi Studios as a need to connect by any means necessary. And yes, it was sometimes silly. There’s an undeniable whiff of vintage Meat Loaf (or, worse, curdled Green Day) when Titus Andronicus indulges in rock opera grandiosity, and stuff like the Springsteen nod (“tramps like us, baby we were born to die”) in “A More Perfect Union” will probably always just make me crave a date with the real Boss. It works, though. More than works: It fucking stuns. If I could isolate and describe the way frontman Patrick Stickles’ presence transforms such mannered lifts into ecstatic truth, I would use my newfound knowledge of ineffable magnetism to make myself famous, but I cannot quite figure out how Stickles wrestles such startling glory out of familiar gestures. Like a snake gliding past your feet on a paved hiking trail, Stickles’ strange animal energy turns passive pleasure into a fight-or-flight buzz. He knows this. And he has a preacher’s ability to absorb the charge and send it back out as a convincing entreaty: Feel this, feel me, commune, be alive. It is presence that begs us to be present, and it is a special and beautiful thing. CHRIS STAMM. Doug Fir Lounge

830 E Burnside St KEXP Celebrates PDX w/ Minden, Summer Cannibals and Boone Howard

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Carnifex, Black Tongue, The Last Ten Seconds of Life, A World Without, Lorna Shore; Kopecky (lounge)

Holocene

1001 SE Morrison St. Hoodboi, Gang$ign$, Quarry, Bennyrox, Tony TKO

Kelly’s Olympian

426 SW Washington St Rare Diagram, LEO, Split Screens (SF)

LaurelThirst Public House 2958 NE Glisan St Dusu Mali Band and Cosmic Rose

Lovecraft Bar

421 SE Grand Ave Volt Divers synth party!

Mcmenamin’s White Eagle Saloon 836 N Russell St J Wise Band

Norse Hall

111 NE 11th Ave Bite Size Tango

Panic Room

3100 NE Sandy Blvd NO PANTS RECORS FUNDRAISER SHOWCASE!!!

Roseland Theater 8 NW 6th Ave TRITONAL & CASH CASH

Star Theater

Dante’s

350 West Burnside DILANA with Special Guests

13 NW 6th Ave Abstract Earth Project Presents: Ott. with Plantrae

Doug Fir Lounge

The Firkin Tavern

2126 S. W. Halsey ST. Lewi Longmire

1937 SE 11th Ave The Welfare State/Rocket 3/The Toads

The Waypost

3120 N Williams Ave Wyldernesse + Good Enough for Grandpa + Clio WIlde

Twilight Cafe and Bar 1420 SE Powell Excruciator/Sabateur

Wilf’s Restaurant and Bar 800 NW 6th Avenue at Union Station An Evening with Peggy Lee and Frank Sinatra

Wonder Ballroom

128 NE Russell St. El Ten Eleven, Sego

SUN. OCT. 11 Aladdin Theater

3017 SE Milwaukie Ave David Nelson Band at Aladdin Theater w/ Moonalice

Alberta Rose Theatre 3000 NE Alberta St Taylor Davis

830 E Burnside St. The Districts, Sun Club

Edgefield

Holocene

1001 SE Morrison St DJ II Trill

Lovecraft Bar

421 SE Grand Ave UK82 punk night

McMenamins Al’s Den 303 SW 12th Ave Ben Larsen

Panic Room

3100 NE Sandy Blvd. Radioactivity, Low Culture, Divers

1028 SE Water Ave. Julia Holter

Dante’s

350 West Burnside Karaoke From Hell

Doug Fir Lounge 830 E Burnside St Gang of Four, The New Regime

Hawthorne Theatre 1507 SE 39th New Politics , The Griswolds

Holocene

1001 SE Morrison St Hinds, Public Access TV

3100 NE Sandy Blvd Radioactivity (mem of Marked Men), Low Culture, Divers

Vie de Boheme

1530 SE 7th Ave Oregon Guitar Trio

MON. OCT. 12

1332 W Burnside St. Chvrches, Mansionair

Doug Fir Lounge 830 E Burnside St Strange Talk

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Hudson Mohawke, TheDream

Kelly’s Olympian

LaurelThirst Public House

Mississippi Studios

Tonic Lounge

Crystal Ballroom

Lovecraft Bar

St Josef’s Winery

28836 S Barlow Rd St Josef’s Winery Grapestomping Festivalthe 33rd Annual

3017 SE Milwaukie Ave. Madisen Ward and the Mama Bear, Adam Shearer

426 SW Washington St Rose City Round : Nashville style writer’s round

4847 SE Division St Well Swung Single Release

1300 SE Stark St. #110 Blues Traveler, Matt Jaffe

Revolution Hall

TUES. OCT. 13 Aladdin Theater

Landmark Saloon

421 SE Grand Ave rock w/ Cory, dance w/ Cory, watch videos w/ Cory

Ash Street Saloon

225 SW Ash PDX Legends of Hip-Hop

DJ Chillbilly

Bunk Bar

3939 N Mississippi Ave Civil Twilight

Panic Room

3100 NE Sandy Blvd. Manilla Road, Spellcaster, Cemetery Lust, Magnabolt

2958 NE Glisan St Jackstraw

Ranger Station PDX

4260 SE Hawthorne Blvd Tuesday Bluegrass, w/ Members of Left Coast Country and Friends

Revolution Hall

1300 SE Stark St. #110 Wayne Shorter Quartet

Twilight Cafe

Star Theater

1420 SE Powell Blvd DR. BOOGIE w/ Daisy Deaths & Golden Handcuffs

Wonder Ballroom

13 NW 6th Ave. Autre Ne Veut, Gems, Mazed 128 NE Russell St IAMX

128 NE Russell St Max Schneider Live

Ash Street Saloon 225 SW Ash

Willamette Week OCTOBER 7, 2015 wweek.com

Pull up a chair.

AUTHORS

KIDS’ ACTIVITIES

LIVE MUSIC

BEER + CARTS

PRESENTS

WORDSTOCK PORTLAND’S BOOK FESTIVAL 80 authors, 40 events, 17 workshops, a book fair, and more! #WordstockPDX

Nov 7, 2015 9:00 a.m.–6:00 p.m. Portland Art Museum

15 all-day entry

Free for those 17 years and younger and students with high school ID.

Tickets and information at literary-arts.org/wordstock

F UN D I N G PA RTN E R S

LEAD SUPPORT

COMMU NIT Y PART NE RS

MEDIA SUPPORT

EVENT SPONSORS: Stoel Rives, The Standard IN-KIND SUPPORT: A to Z Wineworks, Widmer Brothers Brewing, Poetry Foundation, AHA!, Devil’s Foods Catering, PosterGarden, First Congregational United Church of Christ, Dennis Uniform, Provenance Hotels, Michelle’s Piano

FIND A PAPER Find all oF our WW Box locations at

wweek.com/findapaper

Willamette Week OCTOBER 7, 2015 wweek.com

MUSIC Where to drink this week.

K ay l a S p r i n t

BAR REVIEW

1. World Famous Cannabis Cafe

7958 SE Foster Road, 777-1667, usaworldfamouscannabiscafe.com. the reboot of Madeline Martinez’s accidentally worldfamous pot cafe is more like a spartan, small-town gathering space for smokers of all stripes than a pretentious multiuse den for dilettantes. Get hold of weed however you see fit, bring it here and smoke in warmth, dryness and peace.

2. Old Town Brewing

5201 NE Martin Luther King Jr. Blvd., 200-5988, otbrewing.com. there’s a good chance you know Old town better for its pizza. Best get reacquainted with its beer. the Shanghai’d ipa just got named the best damn English-style ipa in the country at the Great american Beer Fest.

3. Marthas

1300 SE Stark St., 421-9165, marthaspdx.com. portland’s second major bar to take over a former high school since the Kennedy School, Marthas at revolution Hall is a high-ceilinged space with modern furniture, pizza and barbecue tofu sandwiches. its small patio looks out on the vast expanse of the old Washington High School field.

4. Victoria Bar

4835 N Albina Ave., victoriapdx.com. Victoria Bar’s owners have merged the aesthetic of their freeway-offramp nightclubs (Jackknife, Dig a pony) and vegan whiskey patio bars (Bye and Bye, Sweet Hereafter) into a plausible template for citywide, uppermiddlebrow dominion.

5. Hamlet

232 NW 12th Ave., 241-4009, hamletpdx.com. Cathy Whims and ryan Magarian’s Hamlet is an unlikely utility bar at happy hour, with fine $8 cocktails and a $5 plate of thin-sliced la Quercia prosciutto piccante—a post-business or pre-dinner stop.

WEST JERSEY: How much to do you like the Gaslight Anthem and Fernet? If the answer is “sooo much” and you don’t have a favorite bar, consider checking out Paydirt (2724 NE Pacific St., 233-3655, paydirtbar.com). During my visit to the new spot from the owners of Old Gold— including former Mercury music editor Ezra “Ace” Caraeff—they played the Gaslight Anthem’s 2008 record, The ’59 Sound, straight through. Then, they played the Gaslight Anthem’s 2010 record, American Slang, also straight through. This big, open bar space exists partially to serve drinks to the new Zipper food pod, which sits snugly between I-84, Sandy Boulevard, a barbed-wired parking lot and a Pepsi warehouse. The tap list includes every bartender’s favorite liqueur, Fernet (“no, seriously, we have Fernet on tap. It’s glorious”), next to beers that are uncommon but not especially tasty (a catty fresh-hop from Corvallis’ Mazama, a corny lager from Lake Oswego’s Stickmen). On the outdoor patio, there’s a fire pit and freeway noise. Inside, Gaslight and more Gaslight. Oh, and a cocktail you should avoid. That’s the Catbird Seat ($8), a blend of vodka and raspberry apple cider that tastes like rubbing alcohol and Robitussin. My wife, not typically given to hyperbole, described it as “the worst drink ever, in the history of the world.” So get the Fernet on tap ($7 for 2 ounces) and settle in for “Here’s Looking at You, Kid.” MARTIN CIZMAR.

Lovecraft Bar

WED. OCT. 7 Lovecraft Bar

421 SE Grand Ave Event Horizon - Industrial EBM and electro night! DJs Straylight and Miss Q

Kelly’s Olympian

426 SW Washington St Hideous Racket with DJ Flight Risk

THURS. OCT. 8 Tonic Lounge

3100 NE Sandy Blvd PRESSHA INVADES HOUSE CALL OCT 8th

Lovecraft Bar

421 SE Grand Ave Shadowplay

FRI. OCT. 9 Moloko

3967 N. Mississippi ave The Diamond Stylus with King Tim 33 1/3

Lovecraft Bar

421 SE Grand Ave Musick for Mannequins DDDJJJ666 & Magnolia Bouvier 10pm

SUN. OCT. 11 Holocene Portland 1001 SE Morrison St DJ II Trill

MON. OCT. 12 Ash Street Saloon 225 SW Ash DJ Chillbilly

Lovecraft Bar

421 SE Grand Ave rock w/ Cory, dance w/ Cory, watch videos w/ Cory

421 SE Grand Ave NecroNancy gay goth party w/DJ ShaChristmas LaMiracle and Stormy

SAT. OCT. 10 Moloko

3967 N. Mississippi Ave DJ Cuica

Holocene

1001 SE Morrison St. Hoodboi, Gang$ign$, Quarry, Bennyrox, Tony TKO

Willamette Week OCTOBER 7, 2015 wweek.com

PERFORMANCE Falsettos

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). Comedy: MIKE ACKER (macker@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.

OPENINGS & PREVIEWS Cock

To launch its 16th season of groundbreaking dramatic works, Defunkt Theatre and veteran director Jon Kretzu present the Portland premiere of Mark Bartlett’s acclaimed relationship portrait Cock. Winner of the 2010 Olivier Award following its initial run at London’s Royal Court, the searing examination of conﬂicted sexuality breathes fresh life to the age-old romantic triangle through the story of a gay man unexpectedly fallen into heterosexual love yet unwilling to leave his boyfriend. JAY HORTON. Defunkt Theatre, 4319 SE Hawthorne Blvd., 481-2960. 7:30 pm Thursday-Sunday through Nov. 15. $10-$25.

Cocoon Storytelling, Episode 2: Fear

Young storytellers will share tales of fear in its many forms at this open mic-style showcase from Cocoon Youth Storytelling, a Portland nonproﬁt that leads classes and workshops to help teens to ﬁnd their voice. Completely volunteer run, the organization coaches 13- to 19-year-olds past stage fright. But at this month’s showcase they’ll reveal their other phobias. Cocoon promises drinks, treats, possibly foul language and confessions about questionable decisions for this all ages show. Hollywood Theatre, 4122 NE Sandy Blvd., 493-1128. 7 pm Sunday, Oct. 11. $10.

Dearly Departed

A hilariously mean-spirited and shallow brood of Deep South characters warily gather to mark the death of an unloved patriarch in David Bottrell and Jessie Jones’ early 90s tour de force. It won rave reviews oﬀ-Broadway and became a staple of community theater groups and major companies alike as a rare modern comedy that holds up beside classic farces. Although Bottrell and Jones did adapt their work for the successful 2001 feature Kingdom Come, the satire of white trash wasn’t quite recognizable as a family ﬁlm with LL Cool J, Vivica A. Fox and Whoopi Goldberg. Some projects are best left to the stage. JAY HORTON. Twilight Theater, 7515 N Brandon Ave., 8479838. 8 pm Thursday-Saturday and 3 pm Sundays through Oct. 25. $15.

Rope

Loosely inspired by actual events, this tale of two college students murdering a third for cold-blooded philosophical gambit is based off the Alfred Hitchcock film of the same name. Remembered primarily for the 1948 Jimmy Stewart feature in which director Hitchcock mused about a story told in lengthy takes, Rope premiered on the London stage nearly two decades earlier. While the film’s failed “real time” experiment distracted attention from the underlying material, critics praised Patrick Hamilton’s play for capturing a similar sense of continuous motion and also achieving engaging drama. Without Hitchcock’s dismissive approach, there’s a gripping, psychologically-incisive weight to the protagonists’ banter that feels generations ahead of its time. JAY HORTON. Bag and Baggage, 253 E Main St., Hillsboro, 345-9590. 7:30 pm Thursday-Saturday, 2 pm Sunday through Nov. 1. $25-$30.

Sex With Strangers

When a sudden snowstorm strands the dashing young Ethan at the secluded cabin of another writer, Olivia, physical intimacy seems guaranteed. As the writers unveil their publishing histories, the evening’s discourse threatens to reveal more than they intended. Brandon Woolley directs the Portland Center Stage production of Laura Eason’s 2014 oﬀ-Broadway smash hit, Sex with Strangers. It’s your classic rom-com,

with a few modern issues added in and based on the world’s oldest theme. Ages 16+. JAY HORTON. Portland Center Stage, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaySunday, noon Thursday and 2 pm Saturday-Sunday, Oct. 10-Nov. 22. $25-$50.

Tommy J and Sally

Race relations headline the Firehouse stage again, following the traditionally diverse venue’s multi-month hiatus from staging theater. In Mark Medoﬀ ’s (Children of a Lesser God) political drama Tommy J and Sally, Tom is a black intruder who holds Sally, a white, Jewish celebrity hostage in her home. Rather than violence, the play centers around witty banter and taut debates as Tom talks Sally’s ear oﬀ about the state of race relations in America. Put on by local African American theater company PassinArt, with the intent of inspiring community discussion, this show from director Andrea White will have two talk-back nights following the shows on Oct 17 and 18. Not recommended for children. Interstate Firehouse Cultural Center, 5340 North Interstate Ave. 7:30 pm FridaySaturday and 3 pm Sunday through Nov. 8. $25.

A tragi-comic musical follows a gay love triangle ravaging a very Jewish New York family. This 1992 Tony Award winner got buzz at it’s opening because the AIDS crisis was just making headlines. Marvin seems to have the perfect family life, but when he leaves his wife Trina for some guy named Whizzer, Trina reciprocates by getting with Mendel, the family’s psychiatrist, and everything goes akimbo with the lesbians next door and the couple’s young son. World Trade Center Theater, 121 SW Salmon St., 875-1149. 7:30 pm Thursday-Saturday through Oct. 10. $25-$35.

Mars Two

Action/Adventure, the hole in the wall theater on a mission to make stage accessible for TV and Netﬂix fans,

brings back the popular sci-ﬁ series Mars One for a second season. Over four weekends, they’ll stage four different “episodes” about a (possibly doomed) team of adventurers trying to colonize Mars. This is theater best enjoyed with buddies and beer, and the theater provides at least the latter. Action/Adventure Theatre, 1050 SE Clinton St. 8 pm Thursday-Sunday through Oct 25. $15.

Or,

Equal parts biography and ﬁction, Liz Duﬀy Adams’ Restoration era comedy Or, follows London playwright and poet Aphra Behn, who is determined to leave her life as a spy to pursue her dream of being a successful playwright. The parallels between Adams and Behn as powerful female writers are obvious, as are the play’s prevailing themes of love, poetry, theatre, sex and womanhood.

But that hefty subject matter stays light and engaging thanks largely to the talented cast, helmed by Maureen Porters’ Behn, who is equal parts witty and wise. Imago Theatre, 17 SE 8th Ave., 235-1101. 7 pm WednesdaySaturday, 2 pm Sunday through Oct. 10. $18-$42.50.

Passion Play Part III

Profile Theater is devoting an entire season to Pulitzer Prize-winner Sarah Ruhl’s three separate adaptations of the passion of the Christ, as put on by three very different communities: Elizabethan England, post-war Germany and Cold War-era South Dakota. The same actors play vastly different characters across the time-swept settings, JAY HORTON. Shaking the Tree Theater, 823 SE Grant St., 235-0635. 7:30 pm ThursdaySunday through Oct. 24. $25.

CONT. on page 48

PREVIEW MAX PUCCIARIELLO

= WW Pick. Highly recommended.

NEW REVIEWS The Turn of the Screw

What better time to hear the haunting tale of Henry James’s gothic English novella The Turn of the Screw than Halloween time? Shakespeare Project’s staging of Jeﬀrey Hatcher’s play brings the classic ghost story about a young governess who’s aﬄicted by visions back to life. With only a chair and staircase on stage, PSP’s minimalist staging doesn’t give the audience any distractions. The objective of this play is clear— to tell a creepy-crawly story. The tiny cast of Chris Harder and Dana Millican phenomenally play up all the ambiguities of James’s tour de force original. We never know whether we can trust the narrator, Millican’s troubled governess, and that’s why this terror is so brilliant. Even childhood innocence isn’t sacred, as Harder— beguiling in the role of ten-year-old Miles—questions what children say and need. This quality production is likely to seduce and possess you, so be forewarned. KATANA DUMONT. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm ThursdaySaturday and 2 pm Sunday through Oct. 18. $17.50.

ALSO PLAYING Adrift in Macao

Don’t be fooled by the guns, murder, and criminals, Adrift in Macao is a comedic musical. Set in China in 1952, the play opens on a dark and ominous night. An ensemble of sultry jazz instrumentals and a powerful fog machine help set the stage. The hysterical nature of the play relies heavily on exploiting the usual archetypes found in noir ﬁlms, from the seductive dame to the handsome and brooding gentleman framed for murder. KATANA DUMONT. Broadway Rose, 12580 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursday-Saturday, 2 pm SaturdaySunday through Oct. 25. $20-$42.

Anything Goes

Full of song-and-dance numbers and tap dancing spectacles, Cole Porter’s classic 1934 musical follows a stowaway on an ocean liner from New York to London who attempts to woo a nightclub singer away from the wealthy nobleman she’s engaged to. WALKER MACMURDO. Lakewood Center for the Arts, 368 S State St., Lake Oswego. Through Oct. 18. $20-$37.

STICKS, STONES AND BONES: Alchemia.

Moses Mixes Up Momix ALCHEMIA IS AN AGING CHOREOGRAPHER’S ATTEMPT AT IMMORTALITY, WITH ROCKS. Choreographer Moses Pendleton, 66, has one of the most unlikely processes when it comes to creating dances. But his company Momix is celebrating its 35th anniversary, headlining the Newmark Theatre, and sells out monthlong shows in Italy and China—so he’s obviously doing something right. “Being a daydreamer is a full-time job,” he says. Describing the new show Alchemia as an escapist fantasy that combines dancers with plants, animals and minerals, Pendleton categorizes his work as part gymnastics, part theater and all magic. “I try to create a world that takes you out of the world you’re in,” he says. “It’s like being a painter— I work at constructing an image. But then I apply music. Add fire, or cactus, or a rock!” The show is inspired by the ancient science of alchemy. “It’s the idea of mixing disparate objects and then spinning them,” Pendleton says. “When you move something quickly it can transform.” But if you think that sounds “woo-woo,” Pendleton insists his ethereal ideas translate to plain speak: “Alchemists were looking for a way to live longer. Our modern-day alchemists are Google and Microsoft—we’re still trying to find a fountain of youth.” Pendleton’s own inspiration seems lifetimes away from dance, though the Momix company has been his main business since he founded it in 1980. Every afternoon, he walks through the rows of thousands of sunflowers he planted near his New England home. He collects drying grape leaves that he finds on his way home, gathering them in

his hat. Then he spreads the crinkled leaves on his pristine, white dining-room tablecloth, films them in high-definition and makes prints from snapshots of the videos. Somehow, Pendleton’s mind translates those pictures into internationally famous dances. “The company is rehearsing alchemy in the studio while I’m back here in the lab, looking at new specimens,” he says. “There’s a good chance my findings will make their way into the next show. But I’m not with the dancers. I’m looking at grape leaves on the tablecloth.” To be fair, no one is in Pendleton’s New England “studio”—a refurbished barn–right now. Wind and 10 feet of snow flattened it in a storm this year, and the company is too busy touring the Czech Republic, Italy and now Portland anyway. But with eight shows that he regularly reprises around the world and at least two more in the pipeline, Pendleton isn’t slowing down. “I have no time to be bored,” he says. “Boredom is a state of searching, and you overcome it with creativity. Even after 35 years, I’m still experimenting.” He started rebuilding the barn studio Oct. 1 and plans to continue pushing dancers to the limits of their physical strength and imagination with his mind-boggling movement experiments—or whatever inspiration those grape leaves bring—for the indefinite future. ENID SPITZ. SEE IT: Alchemia is at the Newmark Theatre, 1111 SW Broadway, portland5.com/newmarktheatre. 7:30 pm Thursday-Saturday and 2 pm Saturday, Oct. 8-10. $26-$70.

Willamette Week OCTOBER 7, 2015 wweek.com

PERFORMANCE PREVIEW OWEN CAREY

Sherlock Holmes: The Final Adventure

Based on an original work compiled by William Gillette from Sir Arthur Conan Doyle’s The Final Problem and A Scandal In Bohemia, Rebecca Hoﬀman’s directorial debut at Magenta Theater isn’t as austere as its epic moniker, but this show is better for its lighthearted take on the classic. It starts with a John Barry bassline, 221B Baker Street has groovier furnishings, and the Great Detective’s familiar deerstalker is replaced with a wardrobe on the fringe of shagadelic. Hoﬀman smartly emphasizes the play’s comedy so that Ryan Thiessen’s maladjusted sleuth is triumphant. JAY HORTON. Magenta Theater, 606 Main St., Vancouver, 360-635-4358. 7:30 pm Wednesday-Saturday, 2 pm Saturday through Oct. 10. $15-$18.

Waiting for Godot

Blackout. The sound of marching. Then, a spotlight on a haggard man, sitting alone on a pile of rocks below a knotty tree. Before the lights even come up at Northwest Classical Theatre Collaborative’s staging of Samuel Beckett’s iconic Waiting for Godot, the production is captivating. As the man struggles to take oﬀ his boots, you can see faces lean in closer from their seats, hooked. The tragicomedy escalates with perfectly timed banter—if you can claim escalation in a play about two men endlessly waiting for an absent phantom named Godot. “It’s indescribable,” says Vladimir. And somehow, that’s exactly right. RACHEL SANDSTROM. Shoebox Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm ThursdaySaturday, 2 pm Sunday through Oct. 11. $25.

COMEDY & VARIETY David Huntsberger’s Junk Show

Performed for the ﬁrst time away from its regular L.A. home, the Junk Show features a collection of talented people from the worlds of animation, writing, short ﬁlm, music, magic and stand-up comedy and more, and is all about creativity, from the performers and the audience alike Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm Friday, Oct. 9.

Harland Williams

He went to jail for killing a diabetic police horse in Half Baked, he drank a bottle of urine in Dumb and Dumber and he lights up comedy clubs across the country. Harland Williams brings his unique comic touch to Portland, performing hilarious stand-up routines that have been featured on Letterman, The Tonight Show and Comedy Central. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, 7:30 pm & 10 pm Friday-Saturday and 7:30 pm Sunday, Oct. 8-11. $18$33. 21+.

Keith and The Girl Live Tour

Pioneering podcasters Keith Malley and Chemda Khalili are celebrating their beloved show’s 10-year anniversary with a show featuring comics Jerome Charles, Ray DeVito, Katharine Heller, Danny Hatch and Lauren Hennessy. Local comic Kristine Levine will be the special guest, and Greg Nibler and Sarah X Dylan from Funemployment Radio. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 4779477. 9:30 pm Saturday, Oct. 10. $21.50-$48.50.

Quirktastic

Always funny and always weird, Quirktastic is a monthly showcase that focuses on comedy that tends toward the quirky. Featuring sketch and musical comedy, standup and characters, Quirktastic will leave you with a warm and positive feeling. Hosted by Barbara Holm and Chris Khatami, this month’s show features local funny people Katie Rose Leon,

CONT. on page 49 48

Willamette Week OCTOBER 7, 2015 wweek.com

SHAKEOUT: Cuba Libre captures Castro’s “Special Period.”

Cuba Cracked Open

Sometimes things just happen at the perfect time. Like, say, the debut of a musical about Castro’s Cuba immediately following the normalization of U.S.-Cuba relations. Enter Cuba Libre. Directed by Artists Repertory Theatre’s artistic director, Dámaso Rodriguez, the bilingual world premiere tells the story of a fictional musician struggling through life during Cuba’s “Special Period”—Castro’s name for the era of economic desperation in his country after the Soviet Union fell. But it’s more than fiction for the show’s many collaborators. The idea for this show actually predates Cool Pope getting together two countries that used to point world-ending armaments at one another. In fact, it predates Rodriguez’s time with the company. He started putting the show together back when he lived in Los Angeles. After seeing Fela!—the “biomusical” about afrobeat legend Fela Kuti—a producer who knew that Rodriguez was Cuban-American suggested that he do something similar with Cuban timba music. While Cuban music doesn’t have the same larger-than-life inventor that Fela! had in Kuti, Rodriguez found something better: living stars who wanted to collaborate. Tiempo Libre, the Grammy-nominated group helmed by pianist Jorge Gómez, has a packed schedule between international tours and appearances on The Tonight Show and Dancing With the Stars. But when Rodriguez approached Gómez after attending a show, the musician agreed to work with him. Together they formed a trio with Cuban-American playwright Carlos Lacámara, who had previously written a trilogy of plays about Cuba. And Cuba Libre was born. When Rodriguez says Gómez is collaborating, he means it. Tiempo Libre has parked it in town for every rehearsal. Gómez is also pivotal to the narrative of the play. Cuba Libre’s protagonist is an amalgam of several Cuban musicians, including Gómez. Like Gómez, he’s married to his manager and struggled to survive during the Special Period. One scene finds him making a series of trades, underscored by congas, until his jacket becomes a truck. This kind of thing was common during the Special Period, when Cubans had to barter for even the most basic goods. Gómez candidly speaks out about how horrible Cuba was during that time, but Rodriguez takes a more measured approach. “The situation is a lot more complex than any one political viewpoint,” he explains. “It’s been complicated by a lot of time.” Broadcasting an overt political message is less critical than telling an intimate story about Cuba in this period that’s accessible, he says. While showy productions like Cuba Libre have so many collaborators it can be a logistical nightmare, Rodriguez says that rehearsing the show has been “an unusually joyful process.” He credits this to the deep personal investment that so many of the people working on it have —several actors in the show are also Cuban-American. It’s a story you might not see anywhere else. “You get a sense of the difference between a tourist visiting Cuba,” Rodriguez says, “and what it’s like to be a Cuban.” JAMES HELMSWORTH.

Cuba Libre is a biomusical by Cubans for Americans

SEE IT: Cuba Libre is at the Winningstad Theatre, 1111 SW Broadway, 248-4355, artistsrep.org. 7:30 pm WednesdaysSundays, 2 pm Sundays and noon Wednesday, Oct. 21. Through Nov. 15. $35-$56.

Caitlin Weierhauser, Dan Duarte and Randy Mendez. Ford Food and Drink, 2505 SE 11th Ave., 236-3023. 8 pm Saturday, Oct. 10.

DANCE Amore Italiano

OBT kicks oﬀ its 26th season with Canadian choreographer James Kudelka’s work inspired by Italian composer Carlo Gesualdo, a 16th century nobleman and murderer who is known for writing passionate works. Then, August Bournonville’s 1842 Napoli ballet tells the story of a young Italian girl who falls in love with a ﬁsherman. KAITIE TODD. Keller Auditorium, 222 SW Clay St., 248-4335. 7:30 pm ThursdaysSaturdays, Oct. 10-17 and 2 pm Sunday, Oct. 11. $29-$146.

Northern Lights

Savannah Fuentes, a Puerto RicanIrish ﬂamenco dancer from Seattle mixes dance and traditional song in her cante ﬂamenco performances. Almost once a season she visits Portland with shows like La Primevara Flamenco en Vivo and Como el Viento, each time bringing a new roster of musicians for her soundtrack. This time it’s Andalusian singer Juañarito, who is from a province in Spain known as the “cradle of Flamenco.” He got famous on the Spanish version of The Voice and this will be his American debut. Portland State University Room LH115, 1825 SW Broadway. 8 pm Saturday, Oct. 10. $15-$35.

For more Performance listings, visit

OWEN CAREY

REVIEW

PLAYING TO THE HOUSE: Joe Gibson (left) and Chip Sherman.

Looping Back One of the most interesting hip-hop crews in Portland is made up of a graying woman, a teen in her prep-school uniform, and a petite actor who’s known for doing drag. They’re spitting rhymes about hip-hop’s 1980s naissance, but not the popularized Compton street scene. How We Got On is set in a whitewashed Midwestern suburb called “The Hill” and follows three kids trying to find their voices through rap. “There are real identity struggles for people in a society where you have to check a box to identify your race on a job application,” says music director and local rapper Mic Crenshaw. “In 1988, I was a hip-hop fan coming of age,” he says. The show has two goals, says director Jen Rowe. “It’s educational for white audiences who weren’t privy to what was going on or had a negative connotation of rap.” For fans like Crenshaw who cut their teeth on rap, “It’s a nostalgic trip.” The production is impressive either way. Portland mainstay Ithica Tell is a faultless guide in the role of Selector. From the booth where she spins Public Enemy and MC Light, Tell flips seamlessly from explaining looping technology to voicing a chorus of characters. Chip Sherman takes a successful break from Shakespeare at Post5 Theatre to play Vic Vicious, the charismatic rapper bullied by his his alcoholic dad. Salt-N-Pepa and N.W.A. echo off the corrugated iron set, and the three teens rap as much as they speak. But even if you can suspend your disbelief, it’s hard to forget you’re in a renovated church in Northeast, and there’s a silent auction of New Seasons gift cards and yoga classes in the lobby. That’s what makes How We Got On one of the more important hip-hop jams you’ll see this fall. It’s a lot like Mic Crenshaw— spanning the divide between arts advocacy and black activism. “Black culture in Portland isn’t housed in locations with addresses,” he says. “It’s housed in consciousness. If you’re not from a particular experience, you have questions. If you don’t have questions, that’s a problem.” Like the opening rap battle, How We Got On is mostly about getting that back-and-forth going. ENID SPITZ.

Portland Playhouse opens with a black rap bildungsroman.

SEE IT: How We Got On is at Portland Playhouse, 602 NE Prescott St.. 7:30 pm Wednesdays-Fridays, 2 pm Sundays and 7:30 pm Saturday, Oct. 10 and 24. Through Oct. 25. $32-$36. Willamette Week OCTOBER 7, 2015 wweek.com

VISUAL ARTS By MEGAN HARNED & ENID SPITZ. 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: espitz@wweek.com.

Adam Sorensen

Adam Sorensen’s new compositions are sparser than the uncanny Day-Glo landscapes of his that Juxtapoz and Hi-Fructose magazines popularized in 2012, but you’ll still see familiar formations of rock, foliage and atmosphere. Sorenson claims that he paints because it’s a “familiar and recognizable” platform, but the technicolor landscapes of rocky crags with nary a soul in sight look more like post-apocalyptic visions than anything you’ll recognize from life. Taking a traditional genre in unexpected directions, his claim, “I work primarily in a reactive sense” seems more true. These landscapes look more like a virtual reality tour of Earth in the year 2099. Through Oct. 31. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Art of Darkness & Light

White masks, blank female figures and life-size bodies sprouting tree branches from their limbs populate Kimberly Bookman’s mixedmedia show. The artist has a bone to pick with the writers and historians who’ve documented women, exploiting female characters “to satisfy the lust of men.” In hopes of inspiring and educating modern women, she tells the tragic stories of classic saints, witches and virgins through sculpture. They are haunting—her ghostly, life size interpretations of saints and witches look like massive dolls who were left in the woods and started growing foliage out of their heads. She warns that her work is disturbing, but that’s exactly the point. Through Oct. 27. Multnomah Arts Center, 7688 SW Capitol Highway, 823-2787.

Class Aves

For the past 15 years, Christopher Shotola-Hardt has been painting birds on canvas—a heron under the St. Johns Bridge on a tall and think panel, tiny oil paintings of finches, a wide swath of blue canvas covered in ravens. But Class Aves goes beyond flat surfaces, including things like a Plexiglas bird feeder filled with beads and nailed to the wall, an antique wooden birdhouse on a pedestal in the center of the room and a scroll of poetry that trails from the wall across the floor and ends in a pile of rocks. In response to the paintings, Merridawn Duckler wrote six poems inspired by Shotola-Hardt’s avian works, which are printed on paper with burnt edges and hung in between the canvases that inspired them. Through Oct. 31. Blackfish Gallery, 420 NW 9th Ave., 224-2634.

Convergence

In 2011, a group of local independent artists including Marlie Ranslam, Eileen “Ikie” Nolan Kressel, Judy Shaw, Karen Story, Kay Danley, Karrie Amiton and Nancy Freeman formed Bridge City Artists as a collective to build community support. In memory of Nancy Freeman, the artists will display their printmaking, encaustic works, paintings and mixed media in an amalgamation of their diverse styles, aptly titled, Convergence. Through Oct 31. Stonehenge Studios, 3508 SW Corbett Ave., 224-3640.

Dark Matter

Anticipating the shorter days and longer nights of winter, Jeffrey Thomas solicited a diverse body of works exploring the theme of darkness from artists who work in a variety of media. This dark and foreboding exhibition champions a world assembled out of shadows and contrasts and promises art that’s either about the bleak, black and sinister or somehow uses darkness as a medium itself. Through Nov. 7. Jeffrey Thomas Fine Art, 2219 NW Raleigh St., 5443449.

Dynamic Horizons Ltd: Intangibles

Dynamic Horizons Ltd. is a premium

trend startup debuting a new line of ephemeral wearable technology. Intangibles, designed by Tabitha Nikolai, deSolid State, Matt Dan and Jason N. Le, meditates on the future of gadgets as they grow more intimately on and into us, à la Cronenberg. Through Oct. 31. Composition Gallery, 625 NW Everett St., No. 102, 375-2159.

Eyebeam in Objects

Eyebeam, a New York nonprofit art and technology center, commissioned a group of experimental artists who working in various tech-related forms—from conceptual to sound arts—turn technology-related ideas into physical objects. Inspired by the question: What meaning do material objects have in a world that’s so addicted to the internet and data? The exhibition Includes work by Chloë Bass, Zach Blas, London journalist James Bridle, bio-hacker Heather Dewey-Hagborg, game designer Zach Gage, Brian House and Addie Wagenknecht. Some artists, like Gage, focus on words. He composed poetry out of Google’s auto-generated suggestions. Other, like Bass, chose video. Her “peephole” gives viewers a glimpse of two original videos. And House’s piece projects telegraph sounds that mimic human speech patterns. Expect big screen TVs and headphones on Upfor’s walls just as much as the paintings you’d expect at a gallery show. Through Oct. 31. Upfor Gallery, 929 NW Flanders St., 227-5111.

as well as the viewer and collector, through tasteful Baldessari references. But his Decorating with Mao series are the creme de la crap, with their punching up at those of us willing to reduce propaganda and pop art to ornamentation. As though mass visual adoration isn’t terrifying in its own right, and all too common. Through Oct. 31. Augen Gallery, 716 NW Davis St., 546-5056.

Pythagorean Eyes: On Integrating Polar Curves

Michael Schultheis isn’t an artist first and foremost, but his massive

canvases depicting mathematical scribbles and deconstructed Venn diagrams in rich autumn colors are enthralling enough to make you think otherwise. The runner was hit by a car and had a near-death experience, so he decided 5 years ago to pursue the things he’d always dreamt of doing. The happy result (in addition to his cello lessons) is a collection of oil paintings that look like Albert Einstein’s interpretation of the monarch butterfly migration: burnt orange geometric shapes swarm together on deep blue backgrounds that are printed with thin white equa-

tions in swirly handwriting. Schultheis explained that he wanted to take the common concept of a Venn diagram and explode it into many dimensions. He combines traditional colors and media with the wild shapes of abstract art and comes up with something completely new and refreshing. Through Oct. 30. Froelick Gallery, 714 NW Davis St., 222-1142.

For more Visual Arts listings, visit

REVIEW C O U R T E S Y O F A L LY S O N M I T C H E L L A N D K A T H A R I N E M U L H E R I N G A L L E R Y, T O R O N T O

= WW Pick. Highly recommended.

idealSTATE

Vanessa Van Obberghen explores the sinister side of our idealistic expectations and their historical ramifications. Through charts and stereotypical imagery stemming from colonial and postcolonial frameworks of the “other,” Obberghen inverts the viewer experience by making them the subject of observation, instead of observers themselves. This suggests Obberghen expects the audience to belong to those historically white groups that pointed to and defined the worlds they “discovered,” so leave your white guilt at home. Opening reception 6 pm Friday, Oct. 9. Through Nov. 14. Worksound International, 820 SE Alder St., worksoundinternational.com.

Jessica Jackson Hutchins: Confessions

Confessions is as intimate as it sounds, a two-gallery show by internationally-known, Portland-based artist Jessica Jackson Hutchins that tries to explain the very nature of art itself. What is collecting, what is curating, and what might be just hoarding? Once something is labelled as “art,” a whole new roster of questions arise—how should art be cared for and preserved? In an attempt to tackle these big questions and confess some of the faults of artists as a whole, Hutchins displays a series of interpretive objects—like a chair painted with multi-colored brushstrokes—at both the Cooley Gallery and the Lumber Room. The exhibition is organized by Portland collector Sarah Miller Meigs and Cooley Gallery curator and director Stephanie Snyder, working closely with Jessica Jackson Hutchins to develop one interrelated exhibition that expresses the distinctiveness of each space. Through Nov. 8. The Lumber Room, 419 NW 9th Ave.; Cooley Gallery, 3203 SE Woodstock Blvd.

Jim Riswold: Tips for Artists Who Don’t Want to Sell

Fuck Hitler, amirite? And Mao Zedong and Kim Jong-un and a whole host of totalitarian mass murderers. Jim Riswold gives them the ol’ bird and a heavy dose of mockery in his current show at the Augen gallery. He makes fun of himself for making this work irreverent of history and tragedy,

Willamette Week OCTOBER 7, 2015 wweek.com

ladies sasquatch by allySon mITcHEll

Goodbye Grrrl Twenty-three years after the release of Bikini Kill’s selftitled EP, the Pacific Northwest is ablaze with a riot grrrl revival. There was Riot Grrrl burlesque at the Lovecraft, a sing-along at the Time-Based Art Festival, and Kathleen Hanna’s sold-out show at Revolution Hall in April. But as Hanna said then, she’s not so eager for a revival as she is to see how punk-rock feminism inspires future movements. That’s the intention of Alien She, a Carnegie Mellon exhibit wrapping its West Coast tour with two shows in Portland. The concurrent displays at Portland’s Museum of Contemporary Craft and Pacific Northwest College of Art are part history lesson, part feminist art show. Walking into the Museum of Contemporary Craft, you’re halted by L.J. Roberts’ 10 foot-tall net of bright-pink yarn that’s hung to look like a wire cage. Allyson Mitchell’s Ladies Sasquatch is a towering, hairy beast that mocks the male inclination to dominate space. At PNCA’s 511 Gallery, there is a detailed library of printed ephemera—pamphlets and posters from the archives of activists.

Alien She memorializes the riot grrrl movement.

This is a didactic homage to the past. But looking at Alien She as a purely nostalgic show is a naive mistake given Portland’s ongoing DIY, punk and feminist culture. “Feminism is always relevant,” says Astria Suparak, who co-curated the show with Ceci Moss. “It was important to us to showcase riot grrrl’s reach, especially how it filtered into multiple approaches, mediums and identities.” Combining archives and new works, Suparak and Moss’ exhibit makes the riot grrrl movement a living entity. “Some of the projects in Alien She were designed to change over the course of the tour,” Suparak says. “We wanted to leave room for other voices and experiences.” Portland is a fitting terminus for the show. Split between an educational institution and a contemporary craft museum, the riot grrrl aesthetic is poised to undergo a reincarnation. “Start something that speaks to your generation,” Hanna said. “Start something smarter and better.” ANDRE FILIPEK. SEE IT: Alien She is at 511 Gallery, 511 NW Broadway, 226-4391, and the Museum of Contemporary Craft, 724 NW Davis St., 223-2654. Through Jan. 9.

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

WEDNESDAY, OCT. 7 Bitch Planet Release Party

For the last year, Portland graphic novelist Kelly Sue DeConnick has been releasing Bitch Planet, a story of a misogynistic dystopia where noncompliant women are sent to a prison oﬀ-world. What with the potential defunding of Planned Parenthood, it might not be that far oﬀ. In her new volume, issues #1-5 are collected. Floating World Comics, 400 NW Couch St., 241-0227. 6 pm. Free.

The Invincible Iron Man Signing

Artist David Marquez previously helped revamp an old favorite as an artist on Miles Morales: The Ultimate Spiderman, which recast the web slinger as a mixed-race kid from Brooklyn. Now he’s at it again with The Invincible Iron Man, which ﬁnds Mr. Stark in a slimmed-down suit and sparking with Mary Jane Watson. Things from Another World, 2916 NE Broadway, 284-4693. 7 pm. Free.

THURSDAY, OCT. 8 All Ages: The Rise and Fall of Portland Punk Rock, 1977-1981

Mark Sten talks Portland punk (see page 41). Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Ann Leckie & Greg Bear

In the genderless hivemind overtaking the universe, one voice speaks up. No, it’s not a Republican at liberal arts college, it’s Breq, in Ann Leckie’s Imperial Radch series, which has won pretty much every science ﬁction award, including the Hugo and Nebula. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.

Cartoons for Victory Release

World War II was a total war, and cartoons were no less a part of the war eﬀort, with Mickey and the gang doing their part to get everybody psyched to beat Hitler’s stupid face in. Comic historian Warren Bernard has compiled some of these cartoons into a book, Cartoons for Victory. Floating World Comics, 400 NW Couch St., 241-0227. 5 pm. Free.

FRIDAY, OCT. 9 David Brock

No, he’s not the lead singer from Gwar (RIP Dave Brockie), he’s David Brock, founder of lefty media watchdog Media Matters. His new book, Killing the Messenger, explores how the two butt cheeks of the American political ass will slap against each other in the lead-up to the 2016 election. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Ghost Hunter’s Guide to Portland and the Oregon Coast

In Jeﬀ Dwyer’s new book, you can learn where to ﬁnd local spirits that aren’t alcohol. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.

SATURDAY, OCT. 10 Patrick Wensink

Dyson, Ohio, has problems. The ﬁctional setting of Patrick Wensink’s Fake Fruit Factory is dealing with a dropping population, a satellite that might hit it, a reality show about boring cities that’s coming to town and a goddamn mummy. Steering the ship is 28-year-old mayor Bo Rutili. Mother Foucault’s Bookshop, 523 SE Morrison St., 236-2665. 7 pm. Free.

Ruth Reichl

Ruth Reichl once ran Gourmet magazine. When Condé Nast closed it, she turned to cooking as therapy. My Kitchen Year is her book of recipes. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 1 pm. Free.

Tom DeLonge Signing

Hey, Mom, there’s something at Powell’s. Hope it’s not Blink-182’s Tom DeLonge. Wait, it is. Powell’s City of Books, 1005 W Burnside St., 228-4651. 4 pm. $17.99.

SUNDAY, OCT. 11 #Girlboss

Sophia Amoruso has lived the American Dream. She went from juvenile delinquent to kajillionaire by convincing people to buy something totally pointless—in her case, Nasty Gal clothing. But you can do it too, or something, if you read her book, #Girlboss, the latest in a series of books that claim to offer affirmations and alternatives to the status quo, while ultimately substantiating success as a purely financial notion. If you’re going to lean into something, make sure it’s money. Powell’s City of Books, 1005 W Burnside St., 228-4651. 2 pm. Free.

For more Books listings, visit

REVIEW

Margaret Atwood, THE HEART GOES LAST M a r g a r et At w o o d d o e s n ’t really like humans, it seems. In her recent MaddAddam trilogy, humans were obsolete, earth-wrecking rapists (not technically untrue). And in her latest novel, The Heart Goes Last (Nan A. Talese, 320 pages, $26.95), a robot-infused story about a woman and a man trying to survive in a broken-down America, there’s not a single character who seems worth You can have sex in a car, you can have it in a bar. saving. By the end, even the teddy bears seem sinister. The book begins in the notso-distant future, a crime-soaked hellscape where the protagonists are reduced to living in their car, hiding from criminals and having uncomfortable sex in the back seat. Charmaine tends bar at a watering hole with a corner called the “Fuck Tank,” where local prostitutes do their business. So when Charmaine sees an ad for a new community where everyone gets a house and a job and a real bed with sheets, she persuades Stan to sign up with her. Of course, what appears too good to be true is definitely too good to be true. The Heart Goes Last is Atwood at her most ambivalent. Even though in some ways it’s a classic Atwood dystopia a la The Handmaid’s Tale, this book is really more about sex and marriage and freedom, which means some Atwoodians might be disappointed. There are fewer crazy creatures and wonderful names for things—though stay tuned for the Possibilibots, a great word to say out loud. The narration bounces back and forth between Charmaine and Stan as they navigate the boredom, aggravation, imprisonment and identity crises that often come with marriage. Such interior themes can feel a bit distant in Atwood’s straight-ahead style. “When he crawls on top of her that night,” she writes, “and tries a few new gambits, hoping for more than her limited repertoire of little gasping breaths followed by a sigh, she starts to giggle and says he’s tickling. Which is not very fucking encouraging. He might as well be porking a chicken.” It’s not poetry, but it’s entertaining. Ultimately Atwood’s characters are bound by their ideas of who they are, more than they are bound by the variety of prisons they put themselves in. The concept is neither new nor particularly earthshattering, and this will not go down as one of Atwood’s better works. But as always, she remains thoroughly readable and enjoyable— Heart is something to tide you over while you wait for her next The Handmaid’s Tale or Oryx and Crake or other new apocalypse. I doubt her opinion of people will get any better. LIZZY ACKER. SEE IT: Margaret Atwood is at Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 800-878-7323, on Tuesday, Oct. 13. 7 pm. Free.

Willamette Week OCTOBER 7, 2015 wweek.com

MOVIES PREVIEW

= WW Pick. Highly recommended.

99 Homes

Movies about the ﬁnancial crisis are starting to trickle in, and 99 Homes joins in with a thriller about foreclosure (yes, really). It follows a dreamy family man (played dreamily by Andrew Garﬁeld) evicted from his Florida home by a creepy businessman (played creepily by Michael Shannon). Screened after deadline. See wweek. com for Alex Falcone’s review. R. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Bridgeport, Evergreen.

Big Stone Gap

“Small town. Big heart.” That’s all you need. But if you think you want more: Jane Krakowski plays Sweet Sue, Ashley Judd plays Ave Maria, and Whoopi Goldberg plays someone named Fleeta Mullins in her ﬁrst feature ﬁlm since Teenage Mutant Ninja Turtles. Not screened for critics. PG-13. Cedar Hills, Clackamas, Bridgeport, City Center, Fox Tower.

Freeheld

After a late-stage lung cancer diagnosis, a New Jersey police officer (Julianne Moore) fights to guarantee her pension benefits go to her domestic partner (Ellen Page). Based on a true-life battle for equality and featuring a new Miley Cyrus single, this film is nothing if not pop-culture current and star-filled. Screened after deadline. See wweek.com for Amy Wolfe’s review. PG-13. Cinema 21.

He Named Me Malala

Fifteen-year-old Malala Yousafzai became an unlikely household name in 2014, when she spoke out about girls’ education in Pakistan, prompting Taliban shooters to attack her school bus as it drove through Pakistan’s Swat Valley. Following a storm of international media coverage, Yousafzai became the youngest-ever Nobel Peace Prize laureate. Unsurprisingly, Fox Searchlight decided that’s all lucrative feature-ﬁlm fodder. Even less surprisingly, it’s been labeled with gag-worthy terms like “a profoundly moving portrait” (from The Wall Street Journal) and also criticized for seeming scripted and romanticized. Screened after deadline. PG-13. Cedar Hills, Bridgeport, Fox Tower.

Manufactured Landscapes

A The literary definition of the “sublime” comes to mind when watching this film: something that is terrifying, yet enchanting in a way we don’t understand. This documentary doesn’t find the beauty in ugly things; it presents the whole picture and let’s us decide how to feel. We see eerie images of our industrial impact through the lens of Edward Burtynsky, a realist photographer fascinated by the manmade landscapes of today’s extraction sites and Third World manufacturers. Director Jennifer Baichwal uses footage of him on location as he photographs, adding humanity as we see the workers move about their days at the factories and shipyards. The film isn’t damning or advocating anything; Burtynsky sees the industrial landscape as “a way we relate to ourselves.” The images incite an overwhelming sense of awe, at the sheer magnitude of sorted towers of metal and plastic refuse, the surreal beauty of the scenes captured in the photos, and the unsettling reality that we don’t want to give up the things that brought us to this point. NR. LAUREN TERRY. NW Film Center’s Whitsell Auditorium. 7 pm Wednesday, Oct. 7.

Only Angels Have Wings

B This 1939 ﬁlm about daring aviators is considered one of direc-

tor Howard Hawks’ best films, and not just because it contains the first major screen appearance from a freshfaced Rita Hayworth. Set in a South American port, Cary Grant stars as Geoff Carter, a pilot who manages a small air freight service that passes through the Andes Mountains. Geoff is chiseled and brusque, giving a cold shoulder to Bonnie Lee (Jean Arthur), a vivacious entertainer who falls for him almost immediately after her ship is docked at the port. As numerous former lovers, including the lovely Judy (Rita Hayworth), come in and out of the port, Bonnie wonders if Geoff can only be loyal to the skies. It’s a dangerous game navigating the small planes through lush rainforest canopies, and the tension still resonates today as we hold our breath, waiting for the hum of engines as Geoff guides planes through the foggy peaks via radio. NR. LAUREN TERRY. NW Film Center’s Whitsell Auditorium.

COURTESY OF

OPENING THIS WEEK

PA I G E P OW E L L

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.

Pan

What does one do after directing Atonement, Pride & Prejudice and Hanna? Rewind. But in this case, director Joe Wright remakes one of the most iconic children’s stories as a modern-day action ﬂick about little orphan Peter, who stumbles upon Neverland, battles Hugh Jackman;s Blackbeard with the help of Rooney Mara (we won’t bother pointing out that she’s not the most ethnic pick for Princess Tiger Lily) and transforms into the badass Pan. Screened after deadline. PG. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove,Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Tigard, Wilsonville, Sandy.

The Trials of Spring

A Documenting the struggles of women activists during and after the Egyptian Revolution of 2011, Mimi Reticker’s ﬁlm is a riveting display of history unfolding and hope collapsing. Cynical without succumbing to despair and compassionate without being overly sentimental, Reticker honors her subjects by giving them the space to speak for themselves. This is the empowered position that women fought for and largely failed to win in the tumultuous years after Hosni Mubarak’s resignation, when military leaders battled Islamist opposition for control of the government. Reticker could have easily extracted a neat little story about noble deﬁance from her raw material, but The Trials of Spring is more vital than that. It is an act of solidarity, a clear channel for these women’s shouts of anger, cries of pain and faith. CHRIS STAMM. NW Film Center’s Whitsell Auditorium, 7 pm Sunday, Oct. 11.

STILL SHOWING Ant-Man

B+ Ant-Man is a largely self-contained, breezy, hilarious and gorgeous heist film that manages a feat few recent superhero films do: It stands up well on its own. If it were a comic book, it wouldn’t be the kind you put in a Mylar bag. It’d be one that you read with greasy fingers and childlike relish. PG13. AP KRYZA. Eastport, Evergreen.

Coming Home

B A Chinese political prisoner (Chen Daoming) returns home after the end of the Cultural Revolution only to ﬁ nd his wife (Gong Li) has suﬀ ered a traumatic brain injury and doesn’t recognize him. He tries every trick he can think of to jog her memory, including reading thousands of letters he wrote from prison that were never delivered. Coming Home is beautiful, but ultimately feels disjointed. The

CONT. on page 54

WILD RIDE: A print from Paige Powell’s art exhibit The Ride, opening Nov. 5 at the Portland Art Museum.

A Film for the Genius Child ONE OF BASQUIAT’S GIRLFRIENDS FINALLY MADE HER HOME VIDEOS INTO A DOCUMENTARY. BY EN ID SPITZ

espitz@wweek.com

Jean-Michel Basquiat was a genius—just ask anyone who knew him. That might be because he was one of the most prolific, social and controversial artists in New York City in the 1980s, a part of Andy Warhol’s elite inner circle who’s still called out in songs by Jay Z, Macklemore and ASAP Rocky. It might be because he overdosed on heroin at age 27, before the world could watch him burn out. Tamra Davis’ 2010 documentary, Jean-Michel Basquiat: The Radiant Child, starts with the Langston Hughes poem Genius Child: “This is a song for the genius child.... Nobody loves a genius child. Kill him—and let his soul run wild.” Davis met Basquiat when he visited California in 1982 to show at Larry Gagosian’s West Hollywood gallery. “He didn’t know anybody, and he couldn’t drive, so it was my job to show him around,” she says. The two became close—Davis proudly cites herself as one of Basquiat’s many women, alongside pre-famous Madonna—and when he joked that she should make a movie about him, Davis actually started filming. She didn’t share that footage for almost 30 years. “Even though he was dead, it didn’t feel right,” she says. “So many of his friends had taken things he gave them and sold them. He felt very betrayed.” Davis eventually decided she had the rare power to tell Basquiat’s story in his own words. “It turns out this is some of the only footage of him,” she says. “I felt it was more important to give him a voice.” Basquiat allowed Davis the rare privilege of filming him intimately. He refused interviews and wouldn’t let the press film him working, but in Radiant Child we see Basquiat making frantic brushstrokes to a deafening soundtrack of Ravel’s Boléro or sitting on the couch, talking about Cheez Doodles. “There was hardly a time when he didn’t have a pencil in his hand,” Davis says, and her film is an impressive gallery that shows Basquiat’s art next to works by his heroes:

van Gogh, Picasso, Charles Darwin. Those stills are spliced with footage of the artist—barely 21—talking about how he preferred to paint in isolation or weighed down with female admirers at elite parties, or arm in arm with Warhol. Racism rears its head, too. Suzanne Mallouk describes the young Basquiat coming home in tears after a stint at an electrician’s shop: “He said: ‘I can’t be humiliated. We went to this rich lady’s Park Avenue apartment, and she treated me like a slave.’” And we see cops looming over a faceless black figure in his Defacement, painted after six NYPD officers beat Michael Stewart to death for doing graffiti in a First Avenue subway station. “[Basquiat] thought that could have been him,” says Mallouk. “And it could have been.” One wonders if he was manic. Basquiat’s life seems like a tornado—hundred-dollar bills littering his apartment, TVs constantly playing cartoons, Jimi Hendrix blasting from huge speakers. After back-toback nights at dance clubs, he’d barricade himself in his studio for days. “We joked that you can date his work by the different sneakers he wore,” says curator Diego Cortez in the film, because Basquiat threw his pieces on the floor and walked on them as he moved from canvas to canvas in a multitasking frenzy. When the price of his paintings skyrocketed from $200 to $3 million, he horrified friends by doing all this in Armani suits worth thousands. By the time he overdosed in 1988, Basquiat was an international phenomenon, a cult-figure chimera who critics pegged as a one-hit wonder. “He wanted to be Picasso,” Davis says. “He wanted the respect of being known as an artist. Instead, he got press only focused on his personality and presence. He didn’t burn out, but he wasn’t patient enough to realize that you just have to stick around.” Davis’ film is a talented portrait of a demigod, but the reason it’s hard to peel yourself away from the screen isn’t the film’s merits. It’s Basquiat’s addicting character. “Everybody has a story about JeanMichel,” says Davis. “You couldn’t meet him without being enthralled.” A SEE IT: Jean-Michel Basquiat: The Radiant Child is at NW Film Center’s Whitsell Auditorium, 934 SW Salmon St., nwﬁlm.org. 2 pm Sunday, Oct. 11, and 7 pm Wednesday, Oct. 21. $9. Willamette Week OCTOBER 7, 2015 wweek.com

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ﬁ rst third is about Chen trying to escape prison and get back to his family, and it’s intense. The middle focuses on loving tricks, and that part’s light and airy. Then the ﬁ nal third is beautifully sad as the two settle into a life together. All three parts are good but together don’t quite meld into a coherent movie. PG-13. ALEX FALCONE. Fox Tower.

The Diary of a Teenage Girl

A Minnie (Bel Powley) begins

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an aﬀair with her mom’s (Kristen Wiig) boyfriend, Monroe (Alexander Skarsgård). She’s 15. But this isn’t some Nightline investigation. Minnie wants to have sex, so she does. Minnie wants to do drugs and does (there’s a joint roller listed in the credits). Sometimes bad things happen, but they’re all Minnie’s choice. I guess this is growing up. R. JAMES HELMSWORTH. Academy, Laurelhurst.

Fantastic Four

sons. As the ﬁlm progresses, the boys decide the woman isn’t their mother at all and resort to increasingly desperate measures to discover the truth. The setup is simple, but it’s riddled with morbid pleasures—seething claustrophobia, sharp shifts in perspective and Wuest’s malicious performance. You may see the twist coming early, but it’s the turns Goodnight Mommy takes to get there—delving into body horror, psychological terror, creepy-kid tropes, and the looming threat of violence—that set it in a ghastly class all its own. R. AP KRYZA. Cinema 21.

Grandma

C+ Like a feminist companion piece to last year’s Bill Murray feature St. Vincent, Paul Weitz’s Grandma tells the tale of Elle (Lily Tomlin), who takes her neglected granddaugh-

ter (Julia Garner) under her wing when the teenager comes asking for money for an abortion. An outof-work poet and widow who just broke up with her young girlfriend (Judy Greer), Elle sees the situation as a chance to bond with her entitled granddaughter. So she takes the girl on a journey through L.A., visiting people from her past to raise funds for the procedure. Tomlin is great as the wise but stubborn Elle, doling out f-bombs and sagelike lessons in equal measure, but despite ﬂashes of genuine emotion, Grandma eventually buckles under its heavyhandedness. It would have made a great play. Instead, it’s an all right movie with a fantastic central performance. R. AP KRYZA. Cedar Hills, Clackamas, Hollywood, City Center, Fox Tower, Tigard.

CONT. on page 55

REVIEW COURTESY OF SONY PICTURES

SOCIAL MEDIA

MOVIES

D While neither Avengers: Age

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of Ultron nor Ant-Man were total failures, they were, at least, fun. Fantastic Four is decidedly not fun and—with the exception of largely decent casting and some genuinely compelling ﬂashbacks—a total failure. PG-13. CASEY JARMAN. Vancouver.

Finders Keepers

A When Shannon Whisnant found

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John Wood’s mummifi ed foot in the meat smoker he bought at a North Carolina storage unit sale, news outlets were quick to jump on the story with smirking, exploitative coverage. The stereotype of the backwards, toothless rural Appalachian white dude is inexplicably still fair game for the entertainment industry. Finders Keepers chronicles the custody battle over the mummifi ed foot. We watch both the media and Whisnant and Wood themselves fan the fl ames of controversy: In one of the most macabre scenes, Wood sits on a German late-night talk show with his own mummifi ed foot on his lap, wearing a wide-eyed, druginduced smile. But Finders Keepers acknowledges and then thankfully moves past the low-hanging gutbusters in this story, delving deep into the humanity—not just the media caricatures—at the center of this controversy. Themes of death, addiction and longing for fame weave seamlessly through the fi lm, and what was once funny and lighthearted becomes heart-wrenching and beautiful. This is what documentary fi lmmaking should be. R. ZACH MIDDLETON. Hollywood.

The Gift

C The Gift is that rare mass-marketed psychological thriller that’s less concerned with scares than nuanced interiority. It’s as ominous, thoughtful and ultimately meaningless as any of the elaborate gifts left at the sparkling new home of Simon (Jason Bateman) and Robyn (Rebecca Hall). Following his dream job, the couple leaves Chicago for Simon’s hometown of Los Angeles, where a chance encounter with a forgotten schoolmate leads “Gordo the Weirdo” (writer-director Joel Edgerton) to aggressive eﬀorts at rekindling a friendship Simon insists never existed. R. JAY HORTON. Academy, Laurelhurst, Valley.

Goodnight Mommy

B+ There’s a twist at the cold heart

of German directors Severin Fiala and Veronika Franz’s Goodnight Mommy that most viewers will probably see coming, but that doesn’t kill any of the tension in this deeply troubling horror show. While the deliberate pace and grim content might be off-putting to some, fans of buildup will be held in a vise grip until the gut-wrenching finale. Set in an isolated lake house, the film centers on twin brothers Lukas and Elias, whose mother (Susanne Wuest) comes home from facial reconstruction surgery with a head wrapped in bandages and a newfound malevolence toward her

Willamette Week OCTOBER 7, 2015 wweek.com

DON’T LOOK BACK: Joseph Gordon-Levitt.

A Fine Line The Walk treads lightly on 9/11.

Three spectacles take place on top of one another in The Walk. First, there’s the visual of the Twin Towers themselves, 14 years after their tragic demolition. Then there’s the phenomenon of Philippe Petit’s illegal tightrope walk between their rooftops, 41 years after the stunt. Finally, there’s the technological feat that makes possible reviving the other two onscreen. With a premise so full of potential pitfalls, pulling off a moving film about Petit’s walk sounds next to impossible. But for better or worse, director Robert Zemeckis has never been too concerned about what’s possible. Pushing the technical limitations of filmmaking and the audience’s suspension of disbelief are the twin hallmarks of his career. For 30 minutes at its apex, his Walk is a graceful, confident and breathless enough balancing act that only an antiquated term can describe it—“movie magic.” That amazing half-hour is preceded by some insufferable fluff, though. A painfully silly shot of Joseph Gordon-Levitt standing next to the Statue of Liberty’s flame and gesturing toward the Twin Towers starts the film. With a barely passable French accent, Gordon-Levitt’s Petit takes us back to a whimsical black-and-white Paris, where freckled kids tip street performers with marbles and pretty girls play twee Leonard Cohen covers on acoustic guitars. This is Zemeckis’ optimism through the lens of Petit’s own sentimentality, and it’s a painful combination. But in the film’s second half, the cartoonish Paris melts into a moody New York City with surprising ease. By Hollywood blockbuster standards, it becomes almost meditative. No one dies in The Walk—the only violent moment is when Petit steps on a nail—but watching one man risk his life (in glorious 3-D) is twice the thrill of the latest Avengers film’s apocalyptic action. The events of Sept. 11 are—thankfully—not explicitly referenced in Zemeckis’ film, but Petit’s plan was every bit as audacious as the attack in 2001. There are parallels, tensions and some temporal displacement between the images we see onscreen and the ones lodged in our brains from that ugly day and the dark years that followed. But the film’s greatest feat is letting the Twin Towers stand for something else entirely, if only for a couple of hours. CASEY JARMAN. B SEE IT: The Walk is rated PG. It opens Friday at most Portlandarea theaters.

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Hitman: Agent 47

The Man From U.N.C.L.E.

voice-over (accompanied by some third-rate CGI, which plays a larger role in the ﬁlm than most characters) that begins the movie, the Hitman program was a government experiment to create super-soldiers, super-strong and devoid of human emotions like fear and love. Based on the ﬁlm, its makers seem like graduates of this program since they don’t understand human emotion. R. JAMES HELMSWORTH. Vancouver, Valley.

Impossible: Rogue Nation and thought, “I can’t wait to see another spy thriller with too much punctuation based on a ’60s TV show,” then fear not. The film feels a lot like writer-director Guy Ritchie’s amazing heist flick Snatch: innovative action sequences, unflappable characters and lots of jazzy flute riffs. PG-13. ALEX FALCONE. Academy, Laurelhurst, Movies on TV, Vancouver, Joy Cinema, Valley.

D- According to the extensive

Hotel Transylvania 2

Adam Sandler’s hotel is a ﬂourishing tourist destination for humankind in this follow-up to the 2012 nonsucky kid ﬂick. But when his halfhuman grandson is waxing a little too normcore, Drac decides the kid needs monster training. PG. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Tigard, Wilsonville, Sandy.

Inside Out

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 writerdirector Pete Docter, (Up). 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. PG. ALEX FALCONE. Cedar Hills, Empirical, Living Room Theaters, Vancouver.

The Intern

B+ Nancy Meyers’ latest ﬁlm successfully tells a funny, intergenerational story without relying on health scare or a youthful makeover for Ben (Robert De Niro). As an active widower and retiree in need of something to keep himself busy, Ben applies to a senior internship program at “About the Fit,” a Topshop-like online clothing site founded by the dedicated Jules Ostin (Anne Hathaway). Besides taking place in a squeaky-clean, caucasian version of Brooklyn, this movie doesn’t shy away from the less-glamorous details of being a female CEO in a society that is still playing catch-up, at one point showing condescending glances from Jules’ fellow mothers at her daughter’s school. De Niro does a terriﬁc job embodying the amused patience his generation must adopt to survive in a millennial’s world. He wears a suit every day out of habit, but his unquestioning admiration of Jules’ tenacity is a refreshingly modern concept, serving as a reminder that the timeless art of being a gentleman begins with respect. PG-13. LAUREN TERRY. Cedar Hills, Eastport, Clackamas, Mill Plain, Living Room Theaters, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Tigard, Wilsonville, Sandy, St. Johns Theater.

B+ If you walked out of Mission:

The Martian

B- Take the buzz surrounding The

Martian with a boulder of salt. It’s just a pretty good sci-fi yarn based on Andy Weir’s book that stumbles on its own ambition. When a massive storm hits the Martian exploration project and Watney’s team leaves him for dead, the skilled botanist realizes that the only way to avoid starvation and space madness is to “science the shit” out of his situation. So he begins cultivating food in space and trying to reach NASA. Evoking Ron Howard’s Apollo 13 more than Scott’s own (unfairly) maligned Prometheus, The Martian is nowhere near as grim as a space survivalist film could be. As always, Scott’s direction is spot-on, especially in terms of pure visual spectacle. The opening space storm is explosive, and the sequences of Watney taking his Mars rover out cruising are grandiose, meticulous landscape visions. Alas, Scott’s hand is almost always too cold when it comes to working with a human touch. As a result, The Martian feels like the two Ridley Scotts— one a gifted craftsman and one who made fucking Robin Hood— clashed in the writing room and compromised by splicing together two very different films. PG-13. AP KRYZA. Bagdad, Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, Edgefield, Lake, Moreland, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Tigard, Wilsonville, Roseway, Sandy, St. Johns Cinemas.

Meet the Patels

B- Ravi Patel has American dreams

of finding his soulmate in a moment of serendipity, but he also has Indian parents who want to find him an appropriate Indian bride. In this romantic-comedy-documentary, Ravi shows his foray into the world of arranged dating, and we get a look into the Indian-American experience. Through home videos and animated depictions, this reallife dating show brings us around the world on Ravi’s arranged dates with prospective matches, bringing up the challenge all first generations face when resolving the pressure the preserve their family’s culture. Yet after learning how names, castes and hometowns align in a perfect pair, Ravi’s journey for an American happy ending is eclipsed by the fascinating intricacies of Indian matchmaking. PG. LAUREN TERRY. Fox Tower.

Mission: Impossible: Rogue Nation

A None of this ﬁlm’s merits is unique to the Tom Cruise-led series, but they add up to something that’s top-of-class for the genre. It’s not sappy. It’s a tight action movie focused on talented people working together for the good (or harm? You have no idea!) of the world. PG-13. ALEX FALCONE. Academy, Avalon, Kennedy School, Laurelhurst, Tigard, Valley.

Mistress America

B- Greta Gerwig’s newest collaboration with director Noah Baumbach has depreciated every day since I saw it. It’s a buddy movie about two intolerably self-centered women in New York. One is introverted college student Tracy (Lola Kirke from Gone Girl), who cares exclusively about getting published in a campus literary magazine and mumbling. The other is social butterﬂy Brooke (Gerwig from Frances Ha), who seems like Jenna from 30 Rock without the success. While the quasi-intellectual banter is fun, I just can’t get too excited about whether or not two people I do not like are going to fulﬁll their terrible dreams. PG-13. ALEX FALCONE. Living Room Theaters.

Pawn Sacrifice

B Pawn Sacrifice chronicles legendary American chess grandmaster Bobby Fischer (Tobey Maguire) through his rise from poor Jewish kid in Brooklyn to international chess superstar in the 1960s, culminating in his victory over Soviet Boris Spassky (Liev Schreiber) in the 1972 world championship in Reykjavik, Iceland. Ostensibly a film about chess, the pawns in Pawn Sacrifice act more as props in a film primarily about the declining mental state of Fischer, whose meteoric rise in the world of international chess belied his mental descent into intense paranoia and anti-Semitism. Maguire is excellent as the infamously difficult Fischer, gliding between the public braggadocio of an elite athlete and the clomping, angry and detached obsessiveness of someone whose degenerating mental health was largely glossed over for fear of spoiling his skill. With all these pieces in play, director Edward Zwick plays a smooth game. PG-13. WALKER MACMURDO. Clackamas, Bridgeport, City Center, Fox Tower, Movies on TV.

The Perfect Guy

David M. Rosenthal gives us the newest attempt at psychological thrillers about men who turn out to be—mother of all surprises—imperfect. We’ll probably choose between the JLo renditions, Enough and The Boy Next Door, and save our money for Mace. Not screened for critics. PG-13. Eastport, Clackamas, Bridgeport, Division, Movies on TV.

Phoenix

A Since its debut at the Toronto

International Film Festival last summer, the nominations keep

CONT. on page 56

Martian, The (XD-3D) (PG-13) 12:40PM 3:55PM 7:15PM 10:30PM Maze Runner: The Scorch Trials (PG-13) 1:00PM 4:10PM 7:20PM 10:25PM Pan (3D) (PG) 11:35AM 11:35AM ® 2:20PM 2:20PM ® 5:05PM 5:05PM ® 7:50PM 7:50PM ® 10:35PM 10:35PM ® War Room (PG) 10:55AM 1:45PM 4:35PM 7:25PM 10:20PM Martian, The (PG-13) 11:45AM 3:05PM 6:25PM 8:10PM 9:45PM Pan (PG) 11:00AM 1:45PM 4:30PM 7:15PM 10:00PM Walk, The (3D) (PG) 10:55AM 4:45PM 10:35PM Walk, The (PG) 1:50PM 7:40PM Visit, The (2015) (PG-13) 12:15PM 2:55PM 5:25PM 7:55PM 10:25PM Perfect Guy, The (PG-13) 2:50PM 8:00PM Sicario (R) 10:55AM 1:45PM 4:45PM 7:40PM 10:35PM Black Mass (R) 11:00AM 1:55PM 4:45PM 7:40PM 10:35PM

Everest (3D) (PG-13) 10:55AM 4:45PM 10:35PM Big Stone Gap (PG-13) 11:25AM 1:55PM 4:25PM 7:00PM 9:35PM Martian, The (3D) (PG-13) 11:00AM ® 11:00AM 1:25PM 2:25PM ® 2:25PM 4:50PM 5:45PM ® 5:45PM 9:05PM ® 9:05PM 99 Homes (R) 11:10AM 1:55PM 4:40PM 7:30PM 10:15PM Everest (PG-13) 1:50PM 7:40PM Intern, The (PG-13) 11:00AM 1:50PM 4:40PM 7:35PM 10:30PM Ladrones (PG-13) 11:20AM 2:05PM 4:35PM 7:10PM 9:40PM Hotel Transylvania 2 (PG) 11:05AM 1:30PM 4:05PM 6:40PM 9:10PM Green Inferno, The (R) 12:10PM 5:30PM 10:30PM Hotel Transylvania 2 (3D) (PG) 12:20PM 2:50PM 5:20PM 7:45PM 10:10PM

Maze Runner: The Scorch Trials (PG-13) 12:55PM 4:00PM 7:05PM 10:10PM Pan (3D) (PG) 12:25PM 3:15PM 6:05PM 8:55PM Walk, The (PG) 1:55PM 7:45PM Martian, The (PG-13) 12:20PM 2:10PM 5:30PM 7:00PM 8:50PM Pan (PG) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM Sicario (R) 11:05AM 2:00PM 4:50PM 7:40PM 10:30PM Walk, The (3D) (PG) 11:00AM 4:45PM 10:30PM Rudrama Devi (Blue Sky) (3D) (NR) 3:05PM 9:55PM Rudrama Devi (Blue Sky) (NR) 11:40AM 6:30PM Intern, The (PG-13) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM

Big Stone Gap (PG-13) 12:15PM 2:40PM 5:05PM 7:30PM

Martian, The (PG-13) 1:10PM 4:30PM 8:10PM 10:15PM Maze Runner: The Scorch Trials (PG-13) 11:25AM 12:55PM 2:35PM 4:05PM 5:45PM 7:10PM 8:55PM 10:15PM Walk, The (PG) 1:45PM 7:35PM Martian, The (3D) (PG-13) 11:00AM 12:00PM 2:20PM 3:30PM 5:50PM 6:50PM 9:20PM Pan (3D) (PG) 1:50PM 10:15PM Visit, The (2015) (PG-13) 11:55AM 2:25PM 5:00PM 7:25PM 10:00PM Walk, The (3D) (PG) 10:50AM 4:40PM 10:30PM Pan (PG) 11:00AM 4:40PM 7:30PM Sicario (R) 1:00PM 4:00PM 7:05PM 10:05PM

Black Mass (R) 12:45PM 3:55PM 6:55PM 9:55PM

10:00PM Black Mass (R) 11:00AM Martian, The (3D) (PG-13) 10:50AM 11:30AM 1:10PM 2:50PM 3:40PM 4:30PM 6:10PM 7:50PM 9:30PM 10:20PM 99 Homes (R) 11:00AM 1:45PM 4:30PM 7:15PM 10:00PM Everest (3D) (PG-13) 1:55PM 7:40PM Hotel Transylvania 2 (3D) (PG) 5:25PM 10:05PM Hotel Transylvania 2 (PG) 12:45PM 3:05PM 7:45PM Everest (PG-13) 4:50PM 10:40PM He Named Me Malala (PG-13) 10:50AM 1:10PM 3:30PM 5:50PM 8:10PM 10:30PM

Everest (3D) (PG-13) 10:55AM 4:45PM 10:30PM Lost in Hong Kong (Well Go USA) (NR) 11:05AM 2:05PM 4:55PM 7:40PM 10:25PM 99 Homes (R) 11:10AM 2:00PM 4:50PM 7:40PM 10:30PM Everest (PG-13) 1:50PM 7:35PM Hotel Transylvania 2 (PG) 2:15PM 4:45PM 7:15PM Intern, The (PG-13) 12:30PM 3:40PM 6:45PM 9:50PM Green Inferno, The (R) 11:30AM 2:10PM 4:50PM 7:20PM 10:00PM Hotel Transylvania 2 (3D) (PG) 11:45AM 9:45PM

FRIDAY Willamette Week OCTOBER 7, 2015 wweek.com

MOVIES

Shaun the Sheep Movie

A- In a vibrant return to traditional clay animation, Shaun the Sheep Movie tells a fresh story with the familiar painstaking imagery that makes Aardman Studios the “English Pixar.” PG. LAUREN TERRY. Academy,

Laurelhurst, Vancouver, Valley.

Sicario

A How do you like your tension?

Relentless? Then you’re in luck, my friend, because Sicario is like a broken elevator; it never lets up. OK, that joke doesn’t work, but the crime thriller starring Emily Blunt (The Devil Wears Prada) does. She’s a talented FBI agent specially recruited into a task force fi ghting a brutal (and questionably legal) war against Mexican drug cartels. She spends the whole movie confused and on edge while taking orders from the mysterious Benicio Del Toro (Snatch), who manages to act without ever fully opening his eyes or mouth. As the real mission of the task force slowly takes shape, so do beautiful sweeping helicopter shots of the border zone and heartbreaking vignettes of all the people aff ected by drug war. It’s a powerful fi lm even if you never have anybody to root for. R. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Bridgeport, City Center, Division, Evergreen, Fox Tower, Hilltop, Lloyd Center, Movies on TV, Tigard, Wilsonville, Sandy.

Sleeping With Other People

C Remember the ﬁrst person you slept with? You’re still holding a torch for them, right? No? Then you aren’t Jake (Jason Sudeikis). After a hot and steamy night with Lainey (Alison Brie) on the roof of a Columbia dorm, he reconnects with her 12 years later at a support group for people with sex addictions. He’s now a serial cheater, while she keeps sabotaging relationships by sleeping with her gyno (Adam Scott). So they decide to use each other as a test case: Can they hang out with someone without trying to bonk them? Almost. R. JAMES HELMSWORTH. Bridgeport, Fox Tower.

Southpaw

B- There’s no way to describe Southpaw without making it sound like a list of boxing-movie clichés, because that’s exactly what it is. Director Antoine Fuqua borrows liberally from the pugilistic playbook here, putting Jake Gyllenhaal’s light-heavyweight champion through the ringer in a familiar tale of redemption. Even a rookie could see Forest Whitaker’s no-nonsense trainer and Eminem’s hype song coming from a mile away. R. MICHAEL NORDINE. Eastport, City Center, Movies on TV.

Straight Outta Compton

C Telling the greatest story in the

history of popular music wasn’t going to be easy. Especially since it attempts to follow three main story lines, as Dre, Cube and Eazy-E all get major play, with DJ Yella and MC Ren rightly relegated to bit-player status. And even more especially since it’s co-produced by the star subjects, who all want to manage their own images and follow their own arcs. It’s a fairly faithful telling of the story, but it’s not the movie N.W.A. deserved. R. MARTIN CIZMAR. Fox Tower.

or downs, just a fragmented Richard Gere searching for the words. Gere’s George waits in one of many offices, unable to obtain welfare benefits due to personal weakness and systemic bureaucracy alike. His lone pal, played by the captivating Ben Vereen, rattles on about love and family, but rather than offering his own insight, George can only stare into the distance. The hidden camera never cuts away from George, always leering, allowing him not a moment’s privacy, and you’re forced to fill the void in his eyes with some level of empathy. This demands a lot from the viewer, and while the appeal may not prove universal, I’ll be damned if you don’t feel a thing or two. NR. ERIC MILLMAN. Living Room Theaters.

Trainwreck

C Amy Schumer is the absolute tops, but Trainwreck isn’t worth the ticket price. Amy Schumer stars as Amy, a version of herself as a magazine writer instead of a comedy writer. R . ALEX FALCONE. Bridgeport, City Center, Fox Tower.

Vacation

D+ You can look forward to the same opening tune of Lindsey Buckingham’s “Holiday Road,” but this spin on 1983’s National Lampoon’s Vacation replaces the original’s irreverent, campy charm with puke scenes and punch lines that rely on the comedic value of a child saying “vagina” as Rusty Griswold (Ed Helms), all grown up, tries to refresh his relationship with his wife (Christina Applegate) and kids by re-creating his family’s road trip to Walley World. R. LAUREN TERRY. Vancouver.

The Visit

B- M. Night Shyamalamadingdong has lost the luster of his early career, so it’s no surprise he’s making little $5 million found-footage horror movies. But this entry into cheapshaky horror movies doesn’t add much to the genre. The Visit is told from the points of view of an unbelievably precocious 15-year-old who’s making a documentary about her ﬁ rst trip to meet her estranged grandparents, and her 12-year-old brother, whose rapping is so bad it makes me want bad things to happen to him much faster than they do. The movie is packed full of jump scares and gross-outs (vomit, poop, old people naked) and a cast of people you’ve probably never heard of. The ﬁ lm’s got some tense scenes, but the humor, even though it’s unintentional, makes it hard to stay in the moment. “Little kid, will you climb into the oven please?” We’ll give it to M. Night, he does make us feel trapped in an uncomfortable spot. PG-13. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Fox Tower, Hilltop, Lloyd Center, Movies on TV, Tigard, Wilsonville, Sandy.

A Walk in the Woods

B+ Robert Redford as Bill Bryson

embarks on a hike of the Appalachian Trail, joined by his estranged friend Stephen Katz (Nick Nolte). The pair of older men, unﬁt for the strenuous trek, meet skeptical glances from fellow hikers and wheeze as troops of Boy Scouts trot past. Nolte is bloated and gravelly as ever, but as morbidly amusing as his physical comedy comes oﬀ, the screenplay sets up honest, candid conversations between two men coming to grips with their mortality. Director Ken Kwapis mixes in stunning shots of the pristine forests and seemingly mile-deep ravines, so awe-inspiring that, like Bryson and Katz, one is reminded that the need for validation is not at all the meaning of life. R. LAUREN TERRY. Bridgeport.

Time Out of Mind

A- I was ready to dismiss this portrait of homelessness as Oscar-baiting trash, but Oren Moverman’s understated ﬁlm about a father’s struggle with mental illness avoids your typical narrative trickery. No revelatory ups

AP FILM STUDIES RICK VODICKA

coming for this concise, moving neonoir set in postwar Germany. Nelly (Nina Hoss) has just returned from a concentration camp, her face disﬁgured beyond recognition. “I no longer exist,” she says after seeing her unfamiliar reﬂection, but we’re hooked into her twisted search for what remains of her sense of self. PG-13. LAUREN TERRY. Laurelhurst.

For more Movies listings, visit

Willamette Week OCTOBER 7, 2015 wweek.com

Black Capes Matter BLADE’S BLACK LEAD IS A RARE SUPER SPECIMEN. BY A P KRYZA

apkryza@wweek.com

Quick! Name your favorite black movie superhero. Anthony Mackie as Captain America’s sidekick? Halle Berry as barely there Storm in X-Men? Maybe will.i.am in X-Men Origins: Wolverine (don’t pick will.i.am). No, you probably picked Blade. Correct answer. Wesley Snipes beats Will Smith’s Hancock, Halle Berry’s Catwoman and Shaq in a Tin Man suit—because they’re basically the only competition. Holy shit, that is depressing. Racial exclusion in superhero movies isn’t anything new, but now that capes are the norm in cineplexes and nothing has changed, it’s even more ridiculous. When you look at the demographics of superhero universes, they make George Lucas’ galaxy far, far away seem like the U.N. That puts Blade in an interesting place: Is Blade—a half-man, half-vampire on a quest to kill all bloodsuckers—a hero, or a black hero? That’s up for debate at the Hollywood’s screening this Wednesday, where the Movies in Black & White panel will include past WW Funniest Five comedian Nathan Brannon, author Jemiah Jefferson and Vampire Masquerade Ball’s Lady Raven. Brannon argues that Blade becomes a black hero only by virtue of being such a rarity. “A lot of the stuff he does is just what a hero would do. He’s not so much saving the black community, but when you’re in a minority group you automatically become that group’s representative,” he says. “There aren’t a lot of black lead actors, let alone superheroes. So by default, he’s a black superhero.” It might seem a bit goofy to talk so seriously about such a ridiculous film as Blade. The 1998 flick is a hodgepodge of horror and action that seems like two movies stapled together. One is a self-serious Eurotrash vampire’s attempt to resurrect blood gods. The other is an exploitative action flick in which Snipes slices his way through crowds while growling nonsense like, “Some muthafuckas are always trying to ice-skate uphill.” It’s brilliant in its tackiness. It’s also one of the better action flicks of its era. But in that era, superheroes were a niche market.

Fast-forward nearly two decades, and superheroes are a multibillion-dollar industry. Yet it’s a sea of white faces that makes it seem like Xavier’s School for Gifted Youngsters was located in 1950s Mississippi. There are a few exceptions. Marvel gave us Don Cheadle’s War Machine, Mackie’s Falcon, and Samuel L. Jackson’s Nick Fury (who was originally white) and will debut Black Panther in 2018…20 years after Blade. Meanwhile, the disastrous Fantastic Four drew fire for casting Michael B. Jordan as the usually white Johnny Storm. The biggest problem is something we too often forget: These are stories conceived with kids in mind. Kids look for familiar things in their heroes— physical traits and morals they identify with. That means young black audiences have to look back 20 years to an R-rated, hyperviolent vampire movie to find an African-American lead hero. Then they have to deal with the fact that “it’s open season on suckheads” is his best line. Blade is great. But the fact that it’s probably the best black superhero movie, simply by default, is a travesty. SEE IT: Blade is at the Hollywood Theatre. 7 pm Wednesday, Oct. 7. ALSO SHOWING:

The Joy calls 1972’s Italian trashfest Frankenstein ’80 one of the sleaziest and most gruesome updates ever. Well, if that’s not a ringing endorsement... Joy Cinema. 9:15 pm Wednesday, Oct. 7. More than the most terrifying horror film, the Beatles’ A Hard Days Night mines the screams of teenage girls for gold. Clinton Street Theater. 7 pm Thursday, Oct. 8. A Nightmare on Elm Street is one of its era’s finest horror offerings. And among the genre’s best. Hollywood Theatre. Oct. 9-12. Stanley Kubrick’s The Shining begins its domination of Portland theaters this October. A dark theater is the greatest place to introduce newbies to the virtues of redrum. Academy Theater. Oct. 9-15. In the Shaw Brothers classic Five Element Ninjas, warriors with the powers of gold, wood, water, earth and fire go on a rampage. Hollywood Theatre. 7:30 pm Tuesday, Oct. 13.

Green Goddess Green Sky Collective Homegrown Apothecary Pure Green

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

MOVIES

COME PLAY WITH US: The Shining screens at Academy Theater on Oct. 9-15.

Regal Lloyd Center 10 & IMAX 1510 NE Multnomah St. PAN Fri-Sat-Sun 01:00, 07:15 PAN 3D Fri-Sat-Sun 03:55, 10:05 BOLSHOI BALLET: GISELLE Sun 12:55

Regal Tigard 11

11626 SW PaciямБc Highway. PAN Fri-Sat-Sun-Mon-TueWed 05:00 PAN 3D Fri-SatSun-Mon-Tue-Wed 01:45, 07:55 THE WALK Fri-SatSun-Mon-Tue-Wed 04:30 THE WALK 3D Fri-Sat-SunMon-Tue-Wed 01:15, 07:35

Regal Division Street Stadium 13

16603 SE Division St. PAN Fri 12:00, 03:45, 06:45, 09:30 PAN 3D Fri 12:30, 04:15, 07:15, 10:00

Regal Movies on TV Stadium 16

WWEEKDOTCOM WWEEKDOTCOM 58

Willamette Week OCTOBER 7, 2015 wweek.com

2929 SW 234th Ave. LADRONES Fri-Sat-SunMon-Tue-Wed 11:55, 02:25, 04:55, 07:30, 10:15 PAN Fri-Sat-Sun-Mon-Tue-Wed 01:00, 07:00 PAN 3D FriSat-Sun-Mon-Tue-Wed 04:10, 09:50 THE WALK Fri-Sat-Sun-Mon-Tue-Wed 04:00, 10:20 THE WALK 3D Fri-Sat-Sun-Mon-Tue-Wed 12:45, 07:15 THE MARTIAN Sat-Sun-Mon-Tue-Wed 12:35, 03:50, 07:10 THE MARTIAN 3D Sat-SunMon-Tue-Wed 11:45, 03:00, 06:40, 09:55, 10:25 HOTEL TRANSYLVANIA 2 Sat-SunMon-Tue-Wed 11:50, 02:10, 04:30, 05:10, 06:50, 09:30 HOTEL TRANSYLVANIA 2 3D Sat-Sun-Mon-Tue-Wed 12:30, 02:50, 07:30, 10:00 THE GREEN INFERNO SatSun-Mon-Tue-Wed 01:10, 05:00, 07:40, 10:20 THE INTERN Sat-Sun-MonTue-Wed 12:20, 04:20, 07:20, 10:10 BLACK MASS Sat-Sun-Mon-Tue-Wed 12:25, 04:15, 07:05, 10:00 EVEREST Sat-Sun-MonTue-Wed 10:15 EVEREST 3D Sat-Sun-Mon-Tue-Wed 12:15, 04:25, 07:25 MAZE RUNNER: THE SCORCH TRIALS Sat-Sun-Mon-TueWed 12:05, 03:45, 06:45, 09:45 SICARIO Sat-SunMon-Tue-Wed 12:10, 03:40, 06:30, 09:35 THE PERFECT GUY Sat-Sun-Mon-Tue-Wed 07:45, 10:10 THE VISIT SatSun-Mon-Tue-Wed 12:00, 02:30, 04:50, 07:50, 10:25 WAR ROOM Sat-Sun-MonTue-Wed 12:50, 04:05, 06:55, 09:40 PIXELS SatSun-Mon-Tue-Wed 01:00, 04:40

Avalon Theatre & Wunderland

3451 SE Belmont St., 503-238-1617 PIXELS Fri-Sat-Sun-Mon-TueWed 05:00, 08:45 MINIONS Fri-Sat-Sun-Mon-Tue-Wed 01:00, 01:30, 03:15, 05:20, 07:00 JURASSIC WORLD Fri-Sat-Sun-Mon-Tue-Wed 02:55, 07:10, 09:30

Bagdad Theater

3702 SE Hawthorne Blvd., 503-249-7474 THE MARTIAN Fri-Sat-SunMon-Tue-Wed 12:00, 03:15, 07:00, 10:45

Cinema 21

616 NW 21st Ave., 503-223-4515 GOODNIGHT MOMMY FriSat-Sun-Mon-Tue-Wed 04:00, 06:45, 09:00 MERU Fri-Sat-Sun-Mon-TueWed 04:15, 06:30, 08:30 FREEHELD Fri-Sat-Sun-MonTue-Wed 04:15, 07:00, 09:15

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 FRIDAY THE 13TH Fri-SatSun-Mon-Tue-Wed 09:45 MISSION: IMPOSSIBLE ROGUE NATION Fri-SatSun-Mon-Tue-Wed 09:15 JURASSIC WORLD Fri-SatSun-Mon-Tue-Wed 07:15 PHOENIX Fri-Sat-SunMon-Tue-Wed 06:30 THE DIARY OF A TEENAGE GIRL Fri-Sat-Sun-Mon-Tue-Wed 09:00 THE MAN FROM U.N.C.L.E. Fri-Sat-Sun-MonTue-Wed 06:45 THE END OF THE TOUR Fri-Sat-SunMon-Tue-Wed 07:00 THE GIFT Fri-Sat-Sun-MonTue-Wed 09:25 MINIONS Fri-Sat-Sun 02:00, 04:40 SHAUN THE SHEEP MOVIE Sat-Sun 01:30

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 THE MARTIAN Fri-Sat-SunMon-Tue-Wed 05:30, 08:20

St. Johns Cinemas

8704 N Lombard St., 503-286-1768 THE MARTIAN Fri-Sat-SunMon-Tue-Wed 04:00, 07:00, 07:55, 10:00 EVEREST FriSat-Sun-Mon-Tue-Wed 05:15

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 THE MARTIAN Fri-Sat-SunMon-Tue-Wed 04:10, 07:00, 09:50

Regal City Center Stadium 12

801 C St. PAN Fri-Sat-Sun 11:45, 05:15 BIG STONE GAP Fri-Sat-Sun 11:00, 01:25, 03:50, 06:15, 08:45 PAN 3D Fri-Sat-Sun 02:30, 08:00 THE WALK Fri-Sat-Sun 02:20, 08:20 THE WALK 3D Fri-Sat-Sun 11:25, 05:15

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474 JURASSIC WORLD Fri-SatSun-Mon-Tue-Wed 07:40 YOUNG FRANKENSTEIN Fri-Sat-Sun-Mon-Tue-Wed 02:45, 10:15 MINIONS FriSat-Sun-Mon-Tue-Wed 05:30

Empirical Theatre at OMSI

1945 SE Water Ave., 503-797-4000 WALKING WITH DINOSAURS 3D Fri-Sat-Sun 12:00 SECRET OCEAN Fri-SatSun 11:00, 02:00 JOURNEY TO SPACE Fri-Sat-Sun 01:00, 03:00 GREAT WHITE SHARK Fri 04:00 JURASSIC WORLD Fri 07:00 INSIDE OUT Sat-Sun 04:00 MINIONS Sat 04:00 FLIGHT OF THE BUTTERFLIES 3D Sat-Sun 10:00

Regal Fox Tower Stadium 10

846 SW Park Ave. BIG STONE GAP Fri-SatSun-Mon-Tue-Wed 12:00, 02:15, 04:30, 07:00, 09:20 HE NAMED ME MALALA Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:10, 04:20, 06:40, 09:00

Regal Pioneer Place Stadium 6

340 SW Morrison St. PAN Fri-Sat-Sun-Mon-TueWed 01:00, 07:00 PAN 3D Fri-Sat-Sun-Mon-Tue-Wed 04:00, 10:00

Century 16 Cedar Hills

3200 SW Hocken Ave. PAN Fri-Sat-Sun-MonTue-Wed 11:00, 01:50, 04:40, 07:30, 10:20 PAN 3D Fri-Sat-Sun-Mon-TueWed 12:25, 03:15, 06:05, 08:55 MAZE RUNNER: THE SCORCH TRIALS Fri-SatMon-Tue-Wed 12:25, 03:30 EVEREST Fri-Sat-Mon-TueWed 04:50, 10:40 EVEREST 3D Fri-Sat-Mon-Tue-Wed 01:55, 07:40 BLACK MASS Fri-Sat-Mon-Tue-Wed 11:00 HOTEL TRANSYLVANIA 2 Fri-Sat-Mon-Tue-Wed 12:45, 03:05, 07:45 HOTEL TRANSYLVANIA 2 3D FriSat-Mon-Tue-Wed 05:25, 10:05 THE INTERN FriSat-Mon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:20 SICARIO Fri-Sat-Mon-TueWed 11:05, 02:00, 04:50, 07:40, 10:30 THE WALK Fri-Sat-Mon-Tue-Wed 01:55, 07:45 THE WALK 3D FriSat-Mon-Tue-Wed 11:00,

04:45, 10:30 THE MARTIAN Fri-Sat-Mon-Tue-Wed 12:20, 02:10, 05:30, 07:00, 08:50 THE MARTIAN 3D Fri-SatMon-Tue-Wed 10:50, 11:30, 01:10, 02:50, 03:40, 04:30, 06:10, 07:50, 09:30, 10:20 HE NAMED ME MALALA Fri-Sat-Mon-Tue-Wed 10:50, 01:10, 03:30, 05:50, 08:10, 10:30 BIG STONE GAP Fri-Sat-Mon-Tue-Wed 12:15, 02:40, 05:05, 07:30, 10:00 99 HOMES FriSat-Mon-Tue-Wed 11:00, 01:45, 04:30, 07:15, 10:00 RUDHRAMADEVI Fri-SatMon-Tue-Wed 11:40, 06:30 RUDHRAMADEVI 3D Fri-SatMon-Tue-Wed 03:05, 09:55 FOX SPORTS 1 PRESENTS: USA V MEXICO Sat 06:30 BOLSHOI BALLET: GISELLE Sun 12:55 BBC LAST NIGHT OF THE PROMS 2015 Wed 07:00

Regal Cinemas Bridgeport Village Stadium 18 & IMAX

7329 SW Bridgeport Road BIG STONE GAP Fri-Sat-Sun 01:15, 03:50, 06:45, 09:20 PAN Fri-Sat-Sun 12:45, 07:05 PAN 3D Fri-Sat-Sun 03:45, 09:55

Academy Theater

7818 SE Stark St., 503-252-0500 THE MAN FROM U.N.C.L.E. Fri-Sat-Sun-Mon-Tue-Wed 11:20, 09:30 THE DIARY OF A TEENAGE GIRL FriSat-Sun-Mon-Tue-Wed 04:40, 09:40 SHAUN THE SHEEP MOVIE Fri-Sat-SunMon-Tue-Wed 12:15, 04:50 MISSION: IMPOSSIBLE ROGUE NATION Fri-SatSun-Mon-Tue-Wed 02:10, 06:45 MINIONS Fri-SatSun-Mon-Tue-Wed 02:20, 04:25, 06:30 JURASSIC WORLD Fri-Sat-Sun-MonTue-Wed 11:45, 07:00 THE SHINING Fri-Sat-Sun-MonTue-Wed 01:45, 08:40 MOST LIKELY TO SUCCEED Fri 07:00

Valley Theater

9360 SW Beaverton-Hillsdale Highway, 503-296-6843 JURASSIC WORLD Fri-SatSun-Mon-Tue-Wed 06:30 THE MAN FROM U.N.C.L.E. Fri-Sat-Sun-Mon-Tue-Wed 09:05 AVENGERS: AGE OF ULTRON Fri-Sat-Sun 03:10 SHAUN THE SHEEP MOVIE Fri-Sat-Sun-Mon-Tue-Wed 06:00 JAZBAA Fri-SatSun-Mon-Tue-Wed 07:55 MINIONS Fri-Sat-Sun-MonTue-Wed 07:00 MISSION: IMPOSSIBLE ROGUE NATION Fri-Sat-Sun-Mon-Tue-Wed 08:50 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION FRIDAY-THURSDAY, OCT. 9-15, UNLESS OTHERWISE INDICATED

K ATA N A D U M O N T

END ROLL

Portland Disappoints Redman at Dope Cup (and He’s Telling Method Man) On Sunday, Oct. 4, upward of 1,000 people lined up around the block at Refuge PDX in Southeast Portland waiting to get into the sold-out Dope Cup—a traveling cannabis competition and sampling event put on by Dope Magazine, held for the fi rst time in Oregon. “Dope Cup is a way to bring in the whole community and be able to make sure that everybody has a chance to connect,” says Dope Magazine co-founder and CEO David Tran. “This is the real celebration of what has really progressed here in Oregon, the last few days.” The selection of samples was overwhelmi ng a nd i ncluded ever y kind of cannabis product imaginable, from cannabisinfused chocolate and tea and medicated hot cocoa to booths offering generously loaded bowls and dabs. Attendees with a Judge Pass—$99 compared to the $25 generaladmission ticket–could cast their vote for the coveted People’s Choice award. Trophies were awarded for highest THC flower, best topical product, best CBD edible, best drink, best sweet and best savory edible. Besides the cannabis cornucopia, the main draw of the event was a performance by rapper Redman. And he did not disappoint. At about 10:20 pm, Redman came onstage sporting a “Dope Man” cap, causing the crowd to go crazy. He treated the audience to a premiere performance of “Dope Man,” a song he dropped last month. Determined to take it back to retro hip-hop, Red-

man performed a medley of ’90s songs such as “Jump Around” by House of Pain and some of his iconic songs like “I Get So High” and “Pick It Up.” But things got awkward when Redman asked if everyone knew the lyrics to Method Man’s “Da Rockwilder,” and the audience responded with mild enthusiasm. “I expect everyone in this audience to make my homeboy proud that y’all know his lyrics,” Redman said. “I need y’all to make as much noise as you can for as long as you can and show all these other states that fucking Oregon is the fucking third state to pass the fucking law and beat California.” Despite his attempts, only a handful of people actually knew the song’s lyrics. “I’m telling Method Man,” taunted Redman. After Redman’s performance, most of the energy of Dope Cup dissipated. The winners were announced, though many of them didn’t hear their names called and never made it to the stage. The People’s Choice award went to Dundee’s Chalice Farms for its Mango Kush, and the party ended at midnight as attendees gathered in front of food vendors outside. Walking through the crowd, one could hear the dazed and confused ramblings of satisfied Dope Cup participants. “So who won the dopest cup?” someone asked. “How many dabs did you take?” And of course: “That shit was dope.” KATANA DUMONT

Cannabis news, culture & reviews from Portland.

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MATT PLAMBECK

Week of October 8

ARIES (March 21-April 19): If I warned you not to trust anyone, I hope you would reject my simplistic fear-mongering. If I suggested that you trust everyone unconditionally, I hope you would dismiss my delusional naiveté. But it’s important to acknowledge that the smart approach is far more difficult than those two extremes. You’ve got to evaluate each person and even each situation on a case-by-case basis. There may be unpredictable folks who are trustworthy some of the time, but not always. Can you be both affably openhearted and slyly discerning? It’s especially important that you do so in the next 16 days. TAURUS (April 20-May 20): As I meditated on your astrological aspects, I had an intuition that I should go to a gem fair I’d heard about. It was at an event center near my home. When I arrived, I was dazzled to find a vast spread of minerals, fossils, gemstones, and beads. Within a few minutes, two stones had commanded my attention, as if they’d reached out to me telepathically: chrysoprase, a green gemstone, and petrified wood, a mineralized fossil streaked with earth tones. The explanatory note next to the chrysoprase said that if you keep this gem close to you, it “helps make conscious what has been unconscious.” Ownership of the petrified wood was described as conferring “the power to remove obstacles.” I knew these were the exact oracles you needed. I bought both stones, took them home, and put them on an altar dedicated to your success in the coming weeks. GEMINI (May 21-June 20): George R. R. Martin has written a series of fantasy novels collectively called A Song of Ice and Fire. They have sold 60 million copies and been adapted for the TV series Game of Thrones. Martin says the inspiration for his master work originated with the pet turtles he owned as a kid. The creatures lived in a toy castle in his bedroom, and he pretended they were knights and kings and other royal characters. “I made up stories about how they killed each other and betrayed each other and fought for the kingdom,” he has testified. I think the next seven months will be a perfect time for you to make a comparable leap, Gemini. What’s your version of Martin’s turtles? And what valuable asset can you turn it into? CANCER (June 21-July 22): The editors of the Urban Dictionary provide a unique definition of the word “outside.” They say it’s a vast, uncomfortable place that surrounds your home. It has no ceiling or walls or carpets, and contains annoying insects and random loud noises. There’s a big yellow ball in the sky that’s always moving around and changing the temperature in inconvenient ways. Even worse, the “outside” is filled with strange people that are constantly doing deranged and confusing things. Does this description match your current sense of what “outside” means, Cancerian? If so, that’s OK. For now, enjoy the hell out of being inside. LEO (July 23-Aug. 22): We all go through phases when we are tempted to believe in the factuality of every hostile, judgmental, and random thought that our monkey mind generates. I am not predicting that this is such a time for you. But I do want to ask you to be extra skeptical toward your monkey mind’s fabrications. Right now it’s especially important that you think as coolly and objectively as possible. You can’t afford to be duped by anyone’s crazy talk, including your own. Be extra vigilant in your quest for the raw truth. VIRGO (Aug. 23-Sept. 22): Do you know about the ancient Greek general Pyrrhus? At the Battle of Asculum in 279 BCE, his army technically defeated Roman forces, but his casualties were so substantial that he ultimately lost the war. You can and you must avoid a comparable scenario. Fighting for your cause is good only if it doesn’t wreak turmoil and bewilderment. If you want to avoid an outcome in which both sides lose, you’ve got to engineer a result in which both sides win. Be a cagey compromiser. LIBRA (Sept. 23-Oct. 22): If I could give you a birthday present, it would be a map to your future treasure. Do you know which treasure I’m referring to? Think about it as you fall asleep on the next eight nights. I’m sorry I can’t simply provide you with the instructions you’d need to locate it. The cosmic powers tell me you

have not yet earned that right. The second-best gift I can offer, then, will be clues about how to earn it. Clue #1. Meditate on the differences between what your ego wants and what your soul needs. #2. Ask yourself, “What is the most unripe part of me?”, and then devise a plan to ripen it. #3. Invite your deep mind to give you insights you haven’t been brave enough to work with until now. $4. Take one medium-sized bold action every day. SCORPIO (Oct. 23-Nov. 21): Galway Kinnell’s poem “Middle of the Way” is about his solo trek through the snow on Oregon’s Mount Gauldy. As he wanders in the wilderness, he remembers an important truth about himself: “I love the day, the sun . . . But I know [that] half my life belongs to the wild darkness.” According to my reading of the astrological omens, Scorpio, now is a good time for you, too, to refresh your awe and reverence for the wild darkness -- and to recall that half your life belongs to it. Doing so will bring you another experience Kinnell describes: “an inexplicable sense of joy, as if some happy news had been transmitted to me directly, by-passing the brain.” SAGITTARIUS (Nov. 22-Dec. 21): The last time I walked into a McDonald’s and ordered a meal was 1984. Nothing that the restaurant chain serves up is appealing to my taste or morality. I do admire its adaptability, however. In cow-loving India, McDonald’s only serves vegetarian fare that includes deep-fried cheese and potato patties. In Israel, kosher McFalafels are available. Mexicans order their McMuffins with refried beans and pico de gallo. At a McDonald’s in Singapore, you can order McRice burgers. This is the type of approach I advise for you right now, Sagittarius. Adjust your offerings for your audience. CAPRICORN (Dec. 22-Jan. 19): You have been flirting with your “alone at the top” reveries. I won’t be surprised if one night you have a dream of riding on a Ferris wheel that malfunctions, leaving you stranded at the highest point. What’s going on? Here’s what I suspect: In one sense you are zesty and farseeing. Your competence and confidence are waxing. At the same time, you may be out of touch with what’s going on at ground level. Your connection to the depths is not as intimate as your relationship with the heights. The moral of the story might be to get in closer contact with your roots. Or be more attentive to your support system. Or buy new shoes and underwear.

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AQUARIUS (Jan. 20-Feb. 18): I haven’t planted a garden for years. My workload is too intense to devote enough time to that pleasure. So eight weeks ago I was surprised when a renegade sunflower began blooming in the dirt next to my porch. How did the seed get there? Via the wind? A passing bird that dropped a potential meal? The gorgeous interloper eventually grew to a height of four feet and produced a boisterous yellow flower head. Every day I muttered a prayer of thanks for its guerrilla blessing. I predict a comparable phenomenon for you in the coming days, Aquarius. PISCES (Feb. 19-March 20): The coming days will be a favorable time to dig up what has been buried. You can, if you choose, discover hidden agendas, expose deceptions, see beneath the masks, and dissolve delusions. But it’s my duty to ask you this: Is that really something you want to do? It would be fun and sexy to liberate so much trapped emotion and suppressed energy, but it could also stir up a mind-bending ruckus that propels you on a healing quest. I hope you decide to go for the gusto, but I’ll understand if you prefer to play it safe.

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