42 17 willamette week, february 24, 2016 by Willamette Week Newspaper

LEAP DAY IS THE WORST DAY FOR WOMEN. P. 25

WHAT DID SHERIFF STATON KNOW? P. 7

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

WE DRANK EVERY IPA IN PORTLAND.

HERE’S THE

BEST. PAGE 12

WWEEK.COM

VOL 42/17 2.24.2016

JULES BAILEY’S GOD IS AN AWESOME GOD. P. 9

Willamette Week FEBRUARY 24, 2016 wweek.com

ELISE ENGLERT

FINDINGS

PAGE 25

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 42, ISSUE 17.

Blacks account for just 20 percent of the inmates booked into Multnomah County jail but 44 percent of the people who get tasered once they’re in jail. 7

One Portland church has glutenfree communion wafers. 9 “Injustice has been forced upon” a

Ja Rule was born on Rare Disease

Day. 25 There’s now a type of lip balm that will get you high. 26 Carly Rae Jepsen recorded the

Full House theme song for the reunion series. 29

former Olympic skier who now lives in a million-dollar home. 11

If you want xurros and xocoa, there is a place. 41

Hair of the Dog’s Blue Dot is objectively the second-worst glutenous IPA in Portland. 21

Every theater company in Portland is one big mistake from going under. 42

ON THE COVER: Illustrations by Tricia Hipps.

LEAP DAY IS THE WORST DAY FOR WOMEN. P. 25

WHAT DID SHERIFF STATON KNOW? P. 7

JULES BAILEY’S GOD IS AN AWESOME GOD. P. 9

WILLAMETTE WEEK

WE DRANK EVERY IPA IN PORTLAND.

HERE’S THE

BEST.

Photo by Julie Showers.

PAGE 12

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

A grumpy old lady who likes whiskey just wants to take a nap.

VOL 42/17 2.24.2016

STAFF Editor & Publisher Mark Zusman EDITORIAL News Editor Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Rachel Monahan, 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 Enid Spitz Editorial Interns Peter D’Auria, Karina Buggy, Sophia June CONTRIBUTORS Mike Acker, Dave Cantor, Nathan Carson, Alex Falcone, Shannon Gormley, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Mark Stock PRODUCTION Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Alyssa Walker Graphic Designers Rick Vodicka, Xel Moore Production Interns Bridget Baker, Tricia Hipps, Paige Ta, Michaela Fujita-Conrads

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Willamette Week FEBRUARY 24, 2016 wweek.com

SLEEPING ON THE SIDEWALK

“JESUS SHOULDN’T HAVE A NEW ZEALAND ACCENT.”

The article states that in 2005, the city of PortThere are zero resources to enforce any of the land began a 10-year plan to end homelessness. regulations tied to this policy—the city is already Eleven years later, the homeless population is woefully short of police officers, and they cer- larger than ever. I am curious as to what exactly tainly aren’t going to dedicate any of the few they the city was doing the past 11 years. have to this issue [“A Field Guide Large sums of money seem dedito Urban Camping,” WW, Feb. 17, cated to the problem every year and 2016]. obviously those dedicated funds have Imagine the impact of these to come from somewhere, but where policy changes when the “travelers” is the accountability for those funds? arrive this spring/summer, a popu—“ptdmom” lation that even homeless advocates will acknowledge do not want THE IMPACT OF NEW A FIELD GUIDE URBAN CAMP ING housing or services, just freedom to HOUSING panhandle (often aggressively) and I agree that evidence should trump do drugs. ideology [“Build More, Displace Less,” The North Park Blocks were a “I predict a WW, Feb. 17, 2016]. This study looks disaster last summer, and the city did permanent sound to me. But it doesn’t mean that nothing to control it. Now that they camp on Portland’s approach to adding housing are essentially advocating outdoor the North is good. camping, this same area is going to be We should still be very suspicious Park Blocks out of control in another few months of Portland development right now— by June.” when the weather warms up. some of the new neighborhoods have I predict a permanent camp on the North major livability problems. The Alphabet neighPark Blocks by June, with plenty of chaos, mess borhood could experience employed-person and probably violence. Leadership in this city is flight if crime doesn’t get better. only capable of handling “boutique” issues like —“Neighbor98” plastic-bag bans and bike lanes. —“Glenn View” We need common sense and basic laws of supply and demand. Ironically, many of the people Thanks for this story. I hope it will help us all professing the greatest sympathy for displaced have more compassion for people who are forced citizens and the homeless are the same people to live out-of-doors. who advocate for restricting development and I ride my bike on the local paths, and have density. watched with dismay as the homeless population —“FlavioSuave” has grown over the years. I am in favor of the new city policy to allow camping, because I think it is LETTERS TO THE EDITOR must include the author’s inhumane to shoo them from place to place. street address and phone number for veriﬁcation. The homeless situation is here to stay, and we Letters must be 250 or fewer words. need to figure out a way to deal with it. Submit to: 2220 NW Quimby St., Portland, OR 97210. Email: mzusman@wweek.com. —“Skepti-Cal” Bernie vs. Hillary: Who’s Winning City Hall? P. 7

WILLAMETTE WEEK

An Oral History of Nu Shooz’s “I Can’t Wait.” P. 27

P. 47

WWEEK.COM WWEEK.COM

VOL VOL42/XX 42/16 XX.XX.2016 2 . 17. 2016

IT’S LEGAL TO SLEEP ON THE SIDEWALK. SO WE DID—IN FRONT OF THE MAYOR’S HOUSE.

After seeing the recent horrifying video of that huge crane collapsing in Manhattan, I can’t help looking uneasily at all these cranes in the Pearl District. Are they safe? Will they kill me? Should I buy a metal hat? —Soft-Bodied Creature

This month, Bloomberg View named Oregon’s economy the nation’s healthiest. If you don’t feel rich, don’t worry—they weren’t talking about schmucks like you and me. “For investors, Oregon is a superior bet” was the takeaway quote, suggesting that the tophat guy from Monopoly will soon order even more high-rise construction in our city. Better start learning to love those cranes. Luckily, construction cranes—despite their delicate, rickety appearance—are rock solid, with an exemplary safety record, and the chances that one will fall on you are virtually nil. Psych! I’m totally kidding; they’re dangerous as fuck. Cranes may not be particularly vulnerable to earthquakes*, but (thanks mostly to human 4

Willamette Week FEBRUARY 24, 2016 wweek.com

error) they still cause more injuries and fatalities than any other type of construction equipment. Tower cranes alone (the giant T-shaped ones you’re worried about) log about 90 reported accidents each year. We tend not to hear about crane accidents unless they occur in our hometown, or someone happens to catch a spectacular video, but the annual body count for tower cranes is around 65 souls. Only about one-quarter of those 65 are ordinary civilians minding their own business (the rest are construction workers, which I guess is supposed to imply they were asking for it). Still, it’s probably a good idea to look up once in a while. I guess what I’m trying to say, Creature, is that a good metal hat never goes out of style. Not only do they keep your head safe in construction accidents, the leadlined ones block up to 99 percent of harmful mind-control rays! This week’s column was originally slated to run Feb. 10. Because of an editing error, a different column—also crane-related, but originally published in 2009—ran instead. (Welcome to the legal-marijuana era.) WW, like, regrets the error, man. QUESTIONS? Send them to dr.know@wweek.com

Willamette Week FEBRUARY 24, 2016 wweek.com

NEWS MURMURS W W S TA F F

Goodman Pitches Camps in Parking Garages

CHRISTOPHER ONSTOTT

You might not expect downtown property owner Greg Goodman to be enthused about Portland Mayor Charlie Hales’ latest proposal for homeless camping: using city-owned parking garages as campsites. But Goodman tells WW he helped bring the idea to City Hall. Hales announced plans earlier this month to legalize camping on city streets and property (“A Field Guide to Urban Camping,” WW, Feb. 17, 2016), and last week Hales staffer Josh Alpert said the city might set aside levels in SmartPark garages as home-

Camper at Eastbank Esplanade

less camp areas. Goodman says city officials told him the SmartPark at Southwest 1st Avenue and Jefferson Street would be the first location. He hopes the program will expand: “How difficult should it be for ‘the city that works’ to open up seven garages?”

School Bond Discovers Its Ceiling Is $556 Million

There’s a limit to local taxpayers’ generosity, after all. Portland Public Schools is likely to ask voters in November for a new bond of no more than $556.5 million to rebuild Benson, Lincoln and Madison high schools. New polling data from DHM Research shows voters balk at larger amounts and, when shown their annual payments, barely support that figure. Only 51 percent supported paying $400 a year for a home assessed at $200,000. That rate could give the district enough to pay off a $556.5 million bond over eight years, PPS projections from 2015 show. 6

Willamette Week FEBRUARY 24, 2016 wweek.com

Sarah Iannarone

Pollster Donates to Sarah Iannarone

The campaign finance disclosures from Portland mayoral candidate Sarah Iannarone piqued politicos’ interest Feb. 22, not only because one of Iannarone’s biggest donors was Nancy Hales, wife of Mayor Charlie Hales. Another contribution—$1,000 from Gina Davis—raises questions about the impartiality of Portland’s best-known polling firm. Gina Davis is the wife of Adam Davis, co-founder of Davis, Hibbitts & Midghall Research, which bills itself as an independent firm that does not support candidates. (Gina Davis also works at DHM Research.) Tim Hibbitts, another co-founder who’s now retired from the firm, says he is “surprised” by Gina Davis’ donation. Adam Davis says he’s now contributed to mayoral candidates Ted Wheeler and Jules Bailey to dispel any hint of favor.

Light Rail to Vancouver Rides Again

A bill currently working its way through the Oregon Legislature could offer TriMet a means to fund light rail to Vancouver, Wash.—and another version of the $3.2 billion highway and light-rail project called the Columbia River Crossing. Senate Bill 1510 gives TriMet new authority to borrow money for construction outside its service area. Critics of the Columbia River Crossing see the bill as a new method to fund the controversial project. (The last attempt to replace the existing I-5 Bridge between Portland and Vancouver died in 2014 after officials spent $200 million on planning.) Q “Ultimately,” says state Rep. Julie Parrish (R-West Linn), “this is a back door to the CRC and light rail across the Columbia River.”

“I didn’t have knowledge of the existence of this report until about 2½ weeks ago.”

TRENDING

Magnum Force BY NIG E L JAQ UI SS

—Multnomah CountyAVERAGE USE OF AVERAGE BOOKINGS Sheriff Dan Staton,

njaquiss@wweek.com

20%

Last August, Multnomah County Sheriff Dan Staton laid off an analyst in his office. Staton says he made the decision for financial reasons. But two former employees of the sheriff’s office tell WW they believe analyst Amanda Lamb actually lost her job because she had, only days earlier, produced a report showing that Staton’s corrections deputies used force disproportionately against black inmates in Multnomah County jails. The report on use of force in the jails was completed last summer but released only this month after media outlets filed public records requests. Staton, who’s been sheriff since 2009 and has made reducing racial disparities a top priority, claims he only recently learned of the document, even though his internal affairs director, research director and executive assistant were all heavily involved in its preparation. The report shows the sheriff’s office uses force on black inmates at a much higher rate than white inmates—and at a rate disproportionate to how many blacks are booked into the jails. It also shows two types of force—Taser probes and pepper spray—are used at an even higher rate against black inmates.

AVERAGE USE OF FORCE

7% 4%

20% 68%

33%

Black

TASER PROBE 10%

Hispanic

Other

PEPPER SPRAY

1% 7%

10%

46% 57%

7% 4%

33%

68%

White

AVERAGE BOOKINGS

in an interview with KGW-TV on Feb. 22 about a report showing a higher use of force against black inmates in county jails.

41%

44%

41%

S O U R C E : C O R R E C T I O N S U S E O F F O R C E A U D I T, M U LT N O M A H C O U N T Y S H E R I F F ’ S O F F I C E

White

Black

THE BIG NUMBER

Minimum number of days any Oregon law enforcement agency could withhold the name of an officer involved in a fatal shooting if the agency can convince a judge a “credible threat” against the officer exists, under new rules being mulled by the Oregon Legislature. Lawmakers have rushed to protect the identity of the Oregon State Police trooper who killed Arizona militant LaVoy Finicum on Jan. 26. But House Bill 4087 applies far beyond the Malheur National Wildlife Refuge case. Law enforcement watchdogs warn it’s a major step back in transparency after shootings by police—agencies would be allowed to request multiple 90-day extensions of the deadline to release an officer’s name. NIGEL JAQUISS.

Hispanic ONE

Q U E SOther TION

Do you support the bill to shield officers’ names? Why or why not? Would you support using the bill’s provisions to shield the names of Portland police officers who use deadly force? BY BETH SLOV IC Oregon Treasurer Ted Wheeler, candidate for Portland mayor: “I support HB 4087 because it requires court approval to protect an officer and the officer’s family if there is a credible threat against

them. For example, officers involved in the Harney County episode are now facing threats from a group that has already shown a disregard for the law and a propensity to use firearms to achieve their aims. It seems like

this law would be sensibly applied in a case like this. That said, I would not seek to exploit this law as mayor to shield officers from public accountability, which I see as a separate and important issue.”

David Schor, lawyer for the Oregon Department of Justice and candidate for Portland mayor: “I’m opposed to HB 4087. I don’t believe it serves the public interest to reduce transparency in our government, particularly when deadly force is involved.”

Jessie Sponberg, activist and candidate for Portland mayor: “HB 4087 honestly bothers me very much. The biggest disconnect between the police and

the community is accountability and transparency. This would be another tool to further insulate officers who are already too insulated. My campaign is built on the legacy

of Portlanders like James Chasse, Kendra James, James Perez, Aaron Campbell and others who have been killed by cops—and those are the souls I will take into office with me.”

Willamette Week FEBRUARY 24, 2016 wweek.com

NEWS

“My faith is a really big motivator for what I do.”

Jules for Jesus PORTLAND MAYORAL CANDIDATE JULES BAILEY IS YOUNG, PROGRESSIVE—AND AN EVANGELICAL CHRISTIAN. bslovic@wweek.com

The guitarist wore a scruffy beard, ponytail and patched-up denim jacket as he performed a soaring solo. In front of the strumming rocker, at the base of the stage, Jules Bailey threw his arms around his wife, Jessica, and 5-month old son, August, in a close embrace. Earlier, Bailey had swayed to the lyrics —“Blessed be the name of the Lord/ Blessed be your name” —bouncing baby August in his arms. Now the family stood in silent prayer, heads bowed. This was a typical Sunday morning at Bailey’s church, Imago Dei Community. Bailey, a Multnomah County commissioner who’s now running for Portland mayor, is in many ways a child of Southeast Portland, where he was raised and where he lived for much of his adult life. As a state legislator who represented inner Southeast Portland neighborhoods in the Oregon House from 2009 to 2014, Bailey championed bicycling, beer and biodiesel, among other causes appealing to his lefty constituents. “Jules had a very strong progressive bent on things, particularly energy and the environment,” says Salem lobbyist Len Bergstein. In one very specific way, Bailey, 36, is unlike many of his former neighbors and even members of his own family: He’s a Christian who attends church on Sundays at Imago Dei, a nondenominational, evangelical church in the Buckman neighborhood. In much of America, declaring a personal faith—specifically, born-again Christianity—is all but a requirement when running for elected office. But in Portland—a city where 42 percent of residents claim no religious affiliation—Bailey’s evangelical belief may be foreign to voters, and is seemingly at odds with his progressive persona. (His opponent Ted Wheeler occasionally attends Trinity Episcopal Cathedral, a citadel of West Hills WASPs.) To be sure, much of Imago Dei is awfully Portlandian. The altar is decorated with distressed wood, and the communion wafers are available gluten-free. But Imago Dei’s version of Christianity preaches co-habitation is a sin and marriage occurs only between a man and a woman. Bailey says he rejects those beliefs, as well as church doctrines that give men the primary role in spiritual leadership, but he continues to worship at Imago Dei, which he calls family. It’s one of the reasons he’s running for mayor. “My faith is a really big motivator for what I do,” he says. “It’s a big reason why I feel I have a calling to help. It’s a big reason why I talk about love in my speeches. I believe in that. But I’m not running to be a mayor for just one religion. I’m running to be a mayor for everybody.” cont. on page 10

e m i ly j o a n g r e e n e

By Be t h s lov i c

Finding Faith: Jules Bailey, a Multnomah County commissioner who’s running for Portland mayor, attends imago dei, an evangelical church in the Buckman neighborhood. he was baptized in 2010, around his 31st birthday. “i’m a little bit what you might call a statistical anomaly in terms of the lateness of finding faith,” he says. Willamette Week FEBRUARY 24, 2016 wweek.com

“I started committing myself to a faith community.”

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

Bailey says his conversion began on his 21st birthday, when his paternal grandmother, a bookkeeper from North Bend, gave him a Bible. “It was sort of like, ‘Gee, thanks, Grandma,’” Bailey says of the gift now. “It sort of set on my shelf for a while, and I didn’t really look at it. I had a lot of assumptions about what was in it.” Bailey’s parents had separated when he was about 5. He grew up shuttling between two homes about 20 blocks apart near Southeast Hawthorne Boulevard. Neither household practiced Christianity. Then, while a student at Lewis & Clark College, he picked up Fyodor Dostoyevsky’s The Brothers Karamozov, which draws on discussions of faith and God. “I thought, I don’t really understand this book at all,” Bailey says. “I need a better understanding of religious context to appreciate this. So I went back and read the Bible cover to cover as a contextual, literary exercise.” Bailey’s political science professor at Lewis & Clark, where Bailey graduated with a degree in international affairs and environmental studies in 2001, says he isn’t surprised that Bailey first approached the Bible intellectually. “That’s the kind of guy he is,” says Curtis

FAMILY PORTRAIT: Bailey with his wife, Jessica, and son, August.

Johnson, who calls Bailey one of the best students he ever taught. It wasn’t until Bailey reached Princeton, where he earned a master’s degree in public affairs and planning in 2007, that his intellectual interest transformed into religious devotion. He joined a Bible study group with other graduate students. In 2009, a year after he won his first election to the Oregon House, a friend introduced him to Imago Dei. Bailey says he was going through a rough personal period at the time, but he declined to discuss specifics. He filed for divorce from his first wife, Amy Liqiong Wong, on Dec. 23, 2009. At the time, Imago Dei met in Franklin High School’s auditorium. It was led, as it is today, by Pastor Rick McKinley, a bulky, bearded man with a Gothic cross inked on his inner right forearm. (“The pastor calls people ‘bro,’ sports a goatee and talks in a drowsy, stoned-frat-boy drawl,” WW wrote in a 2005 cover profile of one of McKinley’s parishioners, the evangelical author Donald Miller.) “The sermon really spoke to me,” Bailey recalls of an early experience at McKinley’s church. “I had definitely been going through a conversion experience, but it was really then that I started committing myself to a faith community.” Bailey’s parents didn’t learn about his Christianity until he invited them to his 2010 baptism. “I was surprised,” says Bob Bailey, his dad. “I didn’t even know he was interested, but I was proud of him. He came to that conclusion on his own.” 10

Willamette Week FEBRUARY 24, 2016 wweek.com

His mother, Ann Kopel, describes herself as an atheist. She says she was shocked by her son’s conversion. “Oh my God,” she said to herself at the time, “where did this come from?” Six years later, she understands. “It brings a coherence to his beliefs about how people ought to treat each other,” she says.

“This is a family.”

Step inside Imago Dei on a typical Sunday morning and you might momentarily think you’re at Revolution Hall, a nearby music venue. Parishioners clutch cups of coffee as they sway to rock music in the sanctuary. They come dressed in jeans and hoodies, and the religious art on the walls incorporates tattoo imagery. Yet the church also espouses traditional values about marriage, divorce and gender roles. Men lead the church, although elders believe men and women are equal. McKinley, the pastor, did not respond to an interview request. “We believe that Christ’s gifts are equally given to men and women to build up His Body,” the church website declares, “but that God has designated men to fulfill the primary role of spiritual leadership.” Marriage, the church says, “is a God-ordained, public covenant between a man and a woman.” Divorce is allowed only in cases of adultery, homosexual behavior, incest, bestiality or religious desertion by one spouse. And cohabitation is “an expression of sexual sin that seeks intimacy without commitment.” Bailey says he rejects these components of his church. “I worship a God of love, and I believe when two people love each other, it’s a reflection of God,” he says. “And I believe everybody should have the right to enjoy that love and that marriage.” It was the last precept, though, that pushed Bailey from the church for about a year in 2011. He and Jessica wanted premarital counseling, but the church declined to offer it to them because they were living together. He returned after numerous conversations with elders led him to believe there was room for his beliefs in the church, he says. “Families can have disagreements,” he says. “But at the end of the day, this is family.”

“I don’t think Portland is anti-religion.”

Even if Bailey doesn’t march in lockstep with his church, he’s definitely singing a different tune than many residents of the major U.S. city with the smallest percentage of people claiming formal religious attachments, according to 2015 figures from the Public Religion Research Institute. When Bailey grabs breakfast at Bijou Cafe or Nel Centro downtown—two spots popular among politicians—he does so to study the Gospel of John with friends from church. Ben Sand, one of those friends, says Bailey feels his faith deeply but would never project it on others. “He doesn’t wear it in a way that’s obnoxious,” he says. John Horvick, a pollster for DHM Research in Portland, says voters are unlikely to be concerned by Bailey’s faith, even if it’s unusual here. “I don’t think that would be perceived as a negative thing in Portland,” Horvick says. Bailey, for his part, says his faith is an asset, even in Portland. “I don’t think Portland is anti-religion,” he says. “I think Portland has a lot of really spiritual people who have beliefs or worship in their own way. I think people really want to know somebody is doing things for the right reasons and is really motivated by something that is greater than themselves.”

L O VAT T O

NEWS

Sharing the Dinero PORTLAND PUBLIC SCHOOLS PARENTS RALLY AROUND A PRIVATELY FUNDED SPANISH PROGRAM. BY R AC H E L M O N A H A N

rmonahan@wweek.com

Ovidio Garcia was indignant. Last week, the 47-year-old Nike footwear product director sat in front of the Portland School Board and railed against the possibility that Ainsworth Elementary could lose its Spanish immersion program, hurting Hispanic kids. “This program has 30 years of success, with a diverse population of children that are thriving, integrated in this school,” said Garcia, a former Olympic athlete who skied for Spain. The school in question? It’s among the richest in the city. And the Spanish program inside it is even more well-heeled. Ainsworth Elementary parents raise the most money of any elementary school in Portland Public Schools for extra staffing—a third of which, after the first $10,000, the school is required by the district to share with other, less well-funded schools. But the Spanish program at Ainsworth receives money from a separate nonprofit, which doesn’t share its funds and yet hires three interns from Spain and Latin America to work for a year in classrooms. Now the prospect that their privately funded program might move 3 miles west, and lose out on part of the fundraising powerhouse they’ve built, has Ainsworth parents turning against each other and furiously lobbying School Board members, who will ultimately decide the program’s fate. The remapping of school boundaries across Portland’s westside will test the willingness of Superintendent Carole Smith and the School Board to defy wealthy West Hills parents by making their children attend less posh schools. Smith is currently considering recommendations from an advisory committee that rejected a plan to move kids across the Willamette River from Skyline Elementary to

George Middle School in St. Johns (“Over the River,” WW, Dec. 23, 2015). But Ainsworth presents a thornier test—because its parents are among the wealthiest and best-connected in the city. Garcia and other Ainsworth parents argued Feb. 17 against moving the Spanish immersion program from Ainsworth to nearby East Sylvan, a building whose conditions inspired School Board member Pam Knowles to remark in 2010 that she “couldn’t believe we had students in the building, given the condition of the building.” Parents are skeptical of PPS’s promises that the building will now be suitable for kids, though Knowles says improvements have been made since 2010 and more are coming. “Obviously we’re going to do everything we need to do to the building to support the program,” she says. Ainsworth was Portland Public Schools’ first dual language program. It was designed to attract middle-class families who might otherwise opt for private schools. Low enrollment is no longer one of Ainsworth’s problems. Last year, PPS took a significant step toward transitioning the Ainsworth program away from serving predominantly English-speaking kids, setting aside one-third of spots in the program for native Spanish speakers. In all, 24 percent of 313 Spanish immersion students identify as Hispanic, PPS data show, though 94 percent of the families speak English at home. If enough Spanish immersion parents refuse to move their children to Ainsworth and instead enroll in the local neighborhood programs at Ainsworth or Chapman, the whole point of moving the program could be for naught. Garcia, who owns a million-dollar home in the Healy Heights neighborhood, told the School Board that changes were an “injustice that has been forced on us.” The debate throws a spotlight on privately funded programs in public schools that don’t share resources with other parts of the district. Ainsworth is hardly the only such program in Portland Public Schools. Parent-teacher associations, including those at Sunnyside and Richmond elementaries, have formed nonprofits to raise in excess of $75,000, opting to pay for

programs at the school rather than extra staff—which would have to be reported to the district and shared with lowerincome schools. The Spanish immersion private nonprofit, Apoyemos al Español, has raised up to $82,000 in recent years. Through the nonprofit, which serves the Spanish immersion programs at Ainsworth, West Sylvan Middle School and Lincoln High School, parents pay $5,000 a year for each intern, some of whom have completed teaching degrees in their home countries, and then host them in their homes for the year. The intern program—along with the way the school has divided resources—has caused controversy within Ainsworth. “These are two very different programs housed within its walls,” Elizabeth Heald, an Ainsworth parent, told the School Board last week, describing overcrowding in her children’s classrooms while Spanish immersion had aides and interns. The district is now examining whether the private nonprofit breaks the requirement to share fundraising between schools through what’s known as the equity fund. “We’re taking a close look at it,” says PPS spokesman Jon Isaacs. “We definitely believe if an organization is raising money for staff in a school, they should be contributing to an equity fund, and we’re reviewing whether there are similar fundraising organizations around the district.” Former Ainsworth parent Jim Jones, who set up the intern program, says PPS’s Michael Bacon worked closely with parents. “He was very excited to help us,” says Jones, noting the idea that the district could place interns in all Spanish immersion programs came up at the time but didn’t work out. “It would be awesome if PPS could figure out a way to expand the program.” But Debbie Armendariz, senior director of dual language immersion at PPS, says the number of native Spanish speakers in the program should be much higher. She’s hoping to focus the district’s dual language efforts on kids who don’t know any English. Armendariz says she would be happy if Ainsworth parents follow through with their threat to drop out of the Spanish immersion program if it moves. “There is an opportunity within their threat,” she says. “There are native speakers on the westside that need access to that program.” Willamette Week FEBRUARY 24, 2016 wweek.com

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Willamette Week FEBRUARY 24, 2016 wweek.com

WE DRANK EVERY IPA IN PORTLAND.

HERE’S THE

The hop war is over, and the bitter side lost.

We know because we gathered a group of judges to taste all 73 IPAs made within the city limits of Portland. When Portland beer geeks sampled the beers blind, it turned out they preferred brighter, juicier versions like those in the Northeast, which have only recently popped up in Portland. The five best IPAs in the city come from brand-new breweries, and most of those have been influenced by Heady Topper, Julius and Sculpin, beers that present hops as a reward rather than a challenge. For some, this will be a relief. While plenty of locals love the sizzle of 99 international bitterness units radiating off a pint of pine sap, you’ll find that plenty of saison sippers will tell you they hate hops, turned off by an astringent burn that reminds them of garbage water. We have to admit, we’ve been spoiling for this. When we released our inaugural Beer Guide in 2013, we said we were bored with the overly bitter recipes that had come to dominate locally. Our statement was controversial at the time, drawing fire from The Oregonian’s John Foyston and several local beer bloggers. You can understand why people would be defensive. BridgePort made the first widely available American IPA right here in town, and the style is still the flagship beer at most local breweries. Nationally, IPAs account for an astonishing 23 percent of all craft beer sold. Although there are no reliable statistics, industry insiders estimate hoppy beers make up half the craft-beer market in Oregon. And this state has perfected the old-school IPA you’ll find described in beer-judging handbooks—Barley Brown’s ultrabitter Pallet Jack won a gold medal at the Great American Beer Festival in 2013, while Breakside’s more restrained flagship IPA won in 2014. But things have changed. Thanks to message boards and beer traders, new ideas leap across the country in days. And they

have. The top five IPAs made in the city come from breweries that didn’t exist in 2013. The top two trace to Ohio, while Nos. 3 and 5 come from a local upstart heavily inspired by Vermont’s the Alchemist and Hill Farmstead, and use their Yankee yeast. Meanwhile, Hair of the Dog’s Blue Dot double IPA, once the city’s standard-bearer, landed near the bottom of the rankings. That’s not just our opinion. These results are the collective judgment of a panel of experts with excellent credentials—see page 19. The project was as fair as we could make it, using growlers acquired the day before the tasting from the brewery’s own taps—see our methodology on page 15. Because we realized the inherent folly of drinking 73 beers in a single afternoon and attempting to judge them, no matter how small the sips, we crosschecked the results with a public blind-tasting of the top 10 at FoPo hop haven N.W.I.P.A. The results were remarkably consistent. In the public tasting, where several hundred people showed up to drink unlabeled beers, the same beer came out on top, and the rest of the top five only shuffled places. What follows is a complete ranking of Portland-brewed IPAs. Chances are that many of the top beers on this list are unfamiliar, even to some beer geeks. If you like IPAs, get drinking—maybe you’re tolerating the bitterness only because you love the fruity, flowery flavor of hops. If you think you hate IPAs, get drinking. These light, bright New Portland IPAs aren’t what you remember from the height of the hop war. MARTIN CIZMAR.

I L L U S T R AT I O N S B Y T R I C I A H I P P S

BEST.

GO: Try the top five and get your copy of our 2016 Beer Guide on Wednesday, Feb. 24, at N.W.I.P.A. Full details on page 25.

Willamette Week FEBRUARY 24, 2016 wweek.com

HILARY SANDER

ALL THE IPAS HEAD OF THE HEAD: Fat Head’s Portland brewmaster Mike Hunsaker.

Semper FiPA Semper FiPA (FAT HEAD’S) Neighborhood: Pearl District ABV: 7.3 percent

Semper FiPA was born of a hop shortage. In 2015, Fat Head’s hop merchant didn’t have enough Simcoe and Citra hops for Fat Head’s to make its flagship Head Hunter IPA. So brewmaster Mike Hunsaker got creative, developing a recipe using a totally different hop bill to help the brewery limp through to the next harvest. “We obviously have to keep IPAs on tap,” Hunsaker says. “We needed an IPA that didn’t use the same hops we normally used.” That beer is now the best IPA in the city, and a convenient metaphor for the shift from hop-heavy to juicy and drinkable IPAs. Hunsaker uses a simple malt bill to create a light-bodied, citrusy berry brew, which gets its zesty flavors from Chinook, Equinox and Citra hops. The resulting beer is not as unfamiliar to Portlanders as the New England-style recipes Great Notion is making, but it’s definitely pushing toward a fresher, brighter flavor. Semper FiPA won both our blind tasting by experts and the public vote at N.W.I.P.A.—not bad considering Fat Head’s is the first outpost of an Ohio-based brewery that set up shop in the Pearl just 16 months ago. Fat Head’s has a stack of Great American Beer Festival medals, but that doesn’t necessarily get you street cred in proudly provincial Beervana. The company did nothing to adjust its branding or massive food menu to local tastes, let alone the Pearl’s tony vibe—it’s like Cleveland Browns superfan Big Dawg was dropped into an art gallery. Given the quality of the beer, it hasn’t had to adjust. “If you’re going to prove yourself, if you want to go to a new market and make your mark, you might as well go to the No. 1 beer city in America,” Hunsaker says. “It was gutsy. People were highly skeptical, like, ‘What are you 14

Willamette Week FEBRUARY 24, 2016 wweek.com

doing out here? You don’t belong here.’” But he was welcomed—especially by fellow Midwesterners like Upright’s Alex Ganum and Breakside’s Ben Edmunds. “There’s a huge amount of Midwestern brewers out here,” Hunsaker says. “So it was kind of welcoming that way.” Hunsaker started brewing in 2000, as a chemistry major who liked craft beer but couldn’t afford it. In 2009, the same year that Fat Head’s opened its brewery in Cleveland, he moved from his native Chicago to Virginia Beach for his first professional brewing job. He later “begged” Fat Head’s head brewer Matt Cole for a job and started working on the bottling line to get his foot in the door. He’d been brewing in Cleveland for just over a year when the brewery announced plans to expand in the West. All of the Fat Head’s beers on tap in the Pearl are made on premises, but some use recipes first developed by Cole in Cleveland. Not Semper FiPA, which is Hunsaker’s recipe and a tribute to his father, an ex-Marine who was exposed to Agent Orange in Vietnam and now has Parkinson’s disease. For every pint of Semper FiPA sold at the pub, $1 goes to the Michael J. Fox Foundation for Parkinson’s Research. “It’s a super-important beer for me,” Hunsaker says. “It’s dedicated to all the servicemen, because growing up in that service family, you get tied to it. It’s a name I always had in my head when I was home brewing.” SOPHIA JUNE. COMMENTS FROM BEER PANELISTS: “Fresh-hop aroma and a great mouthfeel.” “Smells like they just juiced a hop into the glass.” “Tropical fruit greatness.” “Excellent.”

IBUsive

(FAT HEAD’S) Neighborhood: Pearl District ABV: 7.3 percent

COMMENTS: “Tastes like hop, honey and lemon.” “A bigger style. I love the malt bill.” “Very fresh. Dank all the way.” “Juice ’n’ hops.”

R A C H A E L R E N E E L E VA S S E U R

Fat Head’s best-selling IPA, and Portland’s second-best IPA, is born of a true Portland-Ohio collaboration. IBUsive ranked fifth in our expert tasting, but second in our tasting at N.W.I.P.A. Our public tasting allocated 20 points to each taster’s first-place vote, 10 to their second-place vote and five points for third place. IBUsive trailed its brother, Semper FiPA, by only 35 points, while the two brews each received 800 more points than the third-place IPA. The recipe comes from the Cleveland Fat Head’s, but Hunsaker was given full creative free-

dom to make the recipe more Northwest-style. It turns out, this no longer means just adding hops. Hunsaker took out a couple malts and changed the mass temperature to create a lightbodied, dried-out, ultra-drinkable IPA. It earns its name with 79 IBU, but they come from a juicy blend of 80 percent Simcoe, with a sprinkle of Mosaic, Citra and Nugget hops. Hunsaker prefers early-harvest Simcoe, which is more tropical and less piney, giving his beer strong tropical and grapefruit notes. “We’ve tweaked it to mimic certain things I saw in this beer that I think needed to be more stylistic for this region,” he says. “It’s still Ohio’s recipe.” SOPHIA JUNE.

MASH TONNAGE: Great Notion’s James Dugan (left) and Andy Miller in their new brewhouse.

Juice Jr.

(GREAT NOTION)

Neighborhood: Alberta ABV: 6 percent Great Notion’s Andy Miller and James Dugan had been neighbors for years, but it took a home improvement project to turn these two homebrewers into business partners. “He didn’t like brewing with anybody,” Miller says of Dugan. “[My family and I] were doing a remodel on our house, and we had to move out for a while, so I moved my brewing system into his garage. We started brewing together, and that’s when we starting getting things dialed in.” They dialed well. The homebrew recipes the two perfected in Dugan’s Overlook garage have become the first offerings from the most exciting new brewpub Portland has seen in years. Both of Great Notion’s IPAs made the top five in our blind tasting—not bad considering the batch of Juice Jr. our tasters loved was the very first commercial beer they made. Great Notion took over the former Mash Tun space on Northeast Alberta Street last summer, but it took 140 days

to surface from the backlog of federal license applications. Miller and Dugan spent that time playing with the levers in the brewhouse, learning how to move water around. When the license finally came through, the ultra-crushable Juice Jr. was the first thing they made. It blew away our tasters, and looks poised to become the official IPA of New Portland. Luck? Maybe a little. But Juice Jr. and it’s cousin Ripe, which landed at No. 5, are also two of the most distinctive IPAs Portland has yet seen. Junior has a hazy gold glow, smells like fresh-squeezed juice and has a soft, super-citrusy flavor. It was made with yeast from Hill Farmstead—the Vermont brewery that makes six of the world’s 50 top-ranked beers on Beer Advocate, compared to the state of Oregon’s one—which they first propagated as homebrewers. Junior gets just enough hoppy bitterness to balance out the sweetness. Dugan uses the absolute minimum of bittering hops in the boil, then adds a massive dose

of dry hops after the beer is chilled. That process leaves it with a permanent haze, which puts off some Old Portland types, like the man who came strutting in, ordered a beer, drank it on the patio and demanded to speak with a brewer. “He comes up and says, ‘Man, I just wanted to talk to you because this isn’t going to work in Portland,’” Miller recalls. “‘Look at all this yeast in this beer! You’ve gotta drop this yeast out.’ I got James because I had kegs to wash and I didn’t want to get into it with him.” “It was interesting because he was basically telling us that this appearance wouldn’t work in Portland,” Dugan says. “I love hazy IPAs. The reason our IPAs are so hazy is from the massive amount of dry-hopping we’re doing. You get this interaction between the hops and the yeast that creates a permanent haze. That’s part of our signature.” So Dugan bought the customer a beer—or tried to. “I heard James say to him, ‘Here’s your $5, go sit on the back patio, close your eyes and drink the beer as it was meant to be enjoyed,” Miller says. “He wouldn’t take his $5, but he came back later to apologize.” There are plenty of other people who want the beer—so far, Great Notion’s biggest problem has been meeting demand with its seven-barrel system. It’s run out of IPAs at the pub and had customers turn around and leave for another bar. The shortage could get worse now that it has a crowler system that allows it to fill and seal 32-ounce to-go cans behind the bar, and with the introduction of Juice Box double IPA. That’s right, Junior has a big brother. Because of Great Notion’s tight brewing schedule, the city has yet to make his acquaintance. “Juice Box is 8.2 percent [ABV], but it drinks like it’s 6 percent,” Dugan says. “It’s a big beer, but it’s so juicy and easy to drink a pint of it. I loved it so much I could not stop making it.” MARTIN CIZMAR. COMMENTS: “Tastes like the best alcoholic fruit juice you could buy.” “Sweet fruit aroma, pleasant and balanced.” “Peach jam.” CONT. on page 17

Our Methodology There is no perfect way to rate 73 IPAs in a single afternoon. Wrangling so many beers is a logistical nightmare. Even with the hardiest tasters we could find, plus plenty of crackers and water, palate fatigue and intoxication inevitably affected the results after so many strong, bitter samples. Here’s what we did to make this tasting as fair as possible. A month before the tasting, we built a spreadsheet of every brewery in the city with notes on any IPA each was likely to have on tap at the time of our tasting. We included only beers with ABV between 4.5 and 7.5 percent, and excluded beers that used Belgian yeast, sour cultures or heavy fruit additions. Breweries like the Commons that don’t make IPAs were omitted. Breweries like Upright that very rarely make IPAs were contacted to see if they happened to have one available. Breakside’s much-beloved flagship IPA is made in a suburb called “Milwaukie” [sic], and was ineligible. Anticipating complaints about this, we included a growler purchased in Milwaukie as a control— it narrowly missed the top 10. The week before our tasting, we emailed and called breweries to ask whether they could provide us with one growler of any IPA they had on tap. About half the breweries graciously donated beer to the tasting, the rest we happily bought. We requested growlers instead of bottles or cans—Gigantic was the only brewery to insist on submitting bottles, which we allowed. Coalition’s Spacefruit also came in bottles because of a submission snafu. Every beer was acquired Wednesday, Jan. 27, or the morning of Jan. 28. All but one beer was acquired directly from the brewery’s tap room to assure the brewery itself had control over the quality. (The IPA from Humble, which does not have a taproom, was purchased at Chill N Fill in St. Johns.) All beers acquired Jan. 27 were stored in a cool, dark place overnight. We conducted our blind tasting Jan. 28 at our office on Northwest Quimby Street. The tasting began at noon and continued until 5:30 pm. Beers were served in flights of five in plastic cups marked with letters. The cups were rinsed and refilled between rounds to avoid waste. Tasters had access to saltines, oyster crackers and Juanita’s corn chips. There was no notable disparity in rankings based on when beers were sampled—among the top 10, one beer was in the third flight and one came in the 15th. Every taster kept a separate ballot and rated each beer on a 100-point scale. The top 10 beers advanced to a final round Feb. 6 at N.W.I.P.A. on Southeast Foster Road. There, the general public could sample 4 ounces of each and vote for their top three via smartphone. We allocated 20 points for every No. 1 vote, 10 points for every No. 2 vote and five points for every No. 3 vote to determine the order of the top 10. Willamette Week FEBRUARY 24, 2016 wweek.com

Willamette Week FEBRUARY 24, 2016 wweek.com

ALL THE IPAS

Ripe

At the end of 2014, Ex Novo went, well, ex novo, rebooting from scratch after a shaky start. The NoPo nonprofit hired brewer Jason Barbee away from the Deschutes Portland pub, and

In only six months, Montavilla has brewed 22 beers. The little brewery down the street from Roscoe’s, Beer Bunker and the Academy Theater has been moving through beers very quickly—it

Neighborhood: Boise-Eliot ABV: 6.6 percent

(CULMINATION)

(GREAT NOTION)

After putting in a decade as head brewer at Old Market, Culmination brewmaster Tomas Sluiter knew exactly what he didn’t want to do. “There was a set number of styles the owner wanted to brew,” Sluiter says of the 20-year-old brewery. But there was just the one 15-barrel system. Not only was the brewery tied up while making each batch, but the large batches might be stuck sitting for too long. “A lot of those kegs were outside their optimal drinking window before even being tapped,” Sluiter says. Sluiter’s plan? Go small. Culmination’s brew system is tiny—just five barrels. But instead of the usual two brew vessels, Culmination has five. This lets the brewers make many beers at the same time—up to seven a day. They also brew much more often, which keeps the beer fresh. Since their first beer in May, they’ve already kicked out 20 batches of their Phaedrus IPA. The beer’s first incarnation was solid, but nothing like the H-bomb of aroma and flavor it’s since become. Sluiter and his team of brewers working in tight collaboration—Conrad Andrus, Devin Benware, Shaun Kalis and Tony Lenoci—have more than doubled Phaedrus’ dry-hop load of Citra and Mosaic hops since they made the original recipe, with that powerful stew of tropicalia bolstered by Simcoe in the whirlpool. They’ve also begun using carbon dioxide bursts—a leaf blower that disperses hops throughout the beer to pull out even more flavor—and allowed the temperature to rise through part of the brewing process. They use light malts like Munich to avoid the oxidized flavor of old caramel familiar from those old-school IPAs left in the keg. And each time you tap it, the result is a dry, balanced IPA that’s a prime example of the new-school citric take on IPAs—clean, bright and terrifically fruity. MATTHEW KORFHAGE.

Why does the beer scene evolve so quickly these days? To hear Great Notion’s James Dugan tell it, message boards get the credit. Dugan, who was raised outside Philadelphia, spent a decade trading beer via BeerAdvocate.com before opening a brewpub with his North Portland neighbors, Alabama-bred Andy Miller and their financier, Paul Reiter. In that time, Dugan’s “wants” list changed a lot, mirroring the scene nationally, which went from worshiping at the altar of Pliny to chasing the freshest cans of Vermont’s Heady Topper. Great Notion’s Ripe uses yeast propagated from Heady Topper along with a light malt bill and Citra and Mosaic hops. It’s a pint-sized version of how the brewers’ tastes have evolved over a decade of geekery. “A lot of Portland IPAs are old-school and really influenced by Pliny the Elder, which is kind of the standard for the West Coast IPA,” Dugan says. “And it’s a fantastic beer.” “It was mind-blowing 10 years ago when I had it for the first time,” Miller says. “Mind-blowing.” “It was hugely inspiring,” Dugan says. “But a lot has changed,” Miller says. “A lot has changed,” Dugan says. “I’m of the opinion that a lot of the people who say they prefer the West Coast style just haven’t had the opportunity to try the Northeast-style IPAs, because they really offer up a flavor profile that’s juicy and have a mouthfeel that’s soft and pillowy, and it doesn’t have that biting bitterness.” “I’ve had a lot of people come in and say they don’t like IPAs, and they say, ‘This is the first IPA I’ve ever liked,’” Miller says. “My wife, in fact, is one of those people.” MARTIN CIZMAR.

COMMENTS: “Tropical fruit, Mosaic nonsense—good stuff.” “Grapefruit aroma, dry with some candied-orange undertones.”

COMMENTS: “Excellent. Cloudy.” “Perfect.” “Straight juice. A mild bitterness, but overall a winner.” “Strong hop aroma, good malt backbone—a kickass IPA.”

Neighborhood: Alberta ABV: 7 percent

W W S TA F F

Neighborhood: Kerns ABV: 6.5 percent

Flam Tap

(MONTAVILLA BREW WORKS)

Neighborhood: Montavilla ABV: 6.3 percent

W W S TA F F

Phaedrus

Eliot

(EX NOVO)

DAY DRINKERS: Our tasting panel in action.

the beers have gotten better and better ever since. One of the very first beers Barbee made at Ex Novo was Eliot IPA, named after the brewery’s neighborhood. “I tend not to be a big IPA drinker, “ Barbee says. “I find a lot of them too boozy, too heavy and too bitter.” And so Eliot is none of those things. It is a light, 6.6 percent alcohol IPA focused heavily on well-rounded hop flavor and aroma. “I think of hops as having high, middle and low notes,” Barbee says. And he believes a good IPA will showcase all three. In the current version of Eliot—which has evolved considerably over the past year—the high note comes from “super-tropical” Galaxy hops, and the middle note from citric Citra, Simcoe and Mosaic. The bass note is Columb u s, w h i c h B a r b e e favors for a “soft bitterness” that doesn’t linger. MATTHEW KORFHAGE. COMMENTS: “Wellrounded and well-made.” “Lacks juiciness but delivers on quality.”

was technically out of IPA when we showed up, but we managed to buy a growler of Flam Tap before it officially went on sale. Named for the 22nd rudiment that drummers learn—a nod to brewer Michael Kora’s 32 years as a drummer—Flam Tap fits this malthead brewmaster’s house style by employing five different malts, including Pilsner, pale and Vienna. The hop bill is heavy on Centennial, but also uses a hop blend called Falconer’s Flight to give it both a woody finish and citrus notes. Previously, Kora says, piney Cascade hops were in the spotlight, but now IPAs are lighter and more drinkable. With Flam Tap’s orange color and tasty aroma, Kora aims to honor the malty Midwest of his youth in southeast Michigan and his current home on the hop-heavy West Coast. SOPHIA JUNE. COMMENTS: “Nice bitter aspect. More new-school.” “Woody finish, great flavors of papaya and strawberry. Satisfying!” CONT. on page 18

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ALL THE IPAS

Pearl (10 Barrel Portland)

Pamplemousse

(LOMPOC) Neighborhood: North Williams ABV: 5.8 percent

Workhorse

JEREK HOLLENDER

(LAURELWOOD) Neighborhood: Rose City Park ABV: 7.5 percent Workhorse is a workhorse. It’s a high-production IPA that Laurelwood brewmaster Shane Watterson says the brewery pumps out in just 10 days per batch, twice as fast as some of the smaller brewers on this list. About 100 batches go out each year on Laurelwood’s 15-barrel system, up to one-quarter of the beer Laurelwood produces. The 22-ounce bottles you get at the grocery store are made in-house, but the six-packs have to be contract-brewed by Craft Brew Alliance. It’s a testament to Laurelwood that Workhorse still comes out as beautifully as it does at such volumes—a fact remarked on by multiple blind-tasters after the name of the beer was revealed. Tasters especially remarked on the IPA’s utter lack of flaws. For its blend of Citra, Galaxy and Simcoe, Laurelwood uses wort-hopping, an old German technique Watterson says offers a softer bitterness and helps retain the hop oils, then throws hops in the whirlpool. If Workhorse three years ago was at the forefront of aromatic, lessbitter local IPAs, it now tastes almost classic, a model for the direction IPAs have gone since they wandered out of the pine forest. MATTHEW KORFHAGE. COMMENTS: “Fruit, balanced hop.” “The Dank! Fuck, yes!” “First real IPA of the day.”

No one makes more IPAs than Lompoc, which through a series of collaborations has produced about 100 different versions in the past three years. When it came time for a new flagship IPA to lead the company’s line instead of the old-school C-Note, Lompoc’s head brewer, Bryan Keilty, looked to one of those collaborations. The beer was called White Album and was made with help from Fred Bowman, who co-founded Portland Brewing with Cascade’s Art Larrance and Jim Goodwin back in 1986. With Bowman’s advice, they concocted a wildly citrusy blend that disappeared within weeks, but which haunts us every time we walk through the door of the Lompoc pub, which happens to be around the corner from our office and offers $2.50 pints on Monday, our deadline day. Pamplemousse is the successor to White Album. Because Lompoc didn’t have enough of the hops in the original recipe under contract, they’ve had to tweak it. It gets just a little fresh grapefruit juice to accentuate the fruity hops. We’ve had enough pints to be totally unsurprised by its impressive finish. And we’ve also got big hopes for the future: “We’re working on new hop contracts, so I’m anticipating we’ll be able to tweak it and get even closer to the original recipe,” Keilty says. MARTIN CIZMAR. COMMENTS: “Pineapple. Great aroma, drinkable: Give me more.” “Juicy fruit, dry and light with a clean finish.” “Lacks nose.” “Great aroma.”

Replay

(WIDMER BROTHERS) Neighborhood: Boise-Eliot ABV: 4.5 percent

Neighborhood: Pearl District ABV: 7.6 percent Between Bend and Boise, Budweiser-owned craft label 10 Barrel has three pubs in two time zones. Portland is lucky we have Whitney Burnside working the kettles at the Pearl location. One of the most talented brewers in the city, Burnside has created a signature IPA that’s head and shoulders better than the company’s flagship Apocalypse. Pearl IPA was the first beer the offshoot pub released and remains one of the best. It’s a full-bodied classic IPA with clean edges. Comments: “Punchy.” “Tangerine balance.” “Very bitter.” “Old school.”

Ruse (Ruse)

Neighborhood: Kerns ABV: 6.6 percent Ruse’s Shaun Kalis works at Culmination, where he helps brew the fourth-best IPA in our tasting, Phaedrus. With his own label, Ruse, he uses a lot of the same techniques. But it’s a different beer from the super-tropical Phaedrus, a more classic IPA with a different set of hops—dry-hopping Citra and Centennial while throwing Mandarina Bavaria and Chinook into the boil and whirlpool. Comments: “Rich and full.” “Notes of candied fruit.” “Orange peel.” “Only negative is slightly tart.

Burnside (Burnside)

Neighborhood: Kerns ABV: 6.5 percent Brewer Jason McAdam calls Burnside’s flagship IPA “aggressive,” with Galena, Cascade, Amarillo and Meridian hops, and Pilsner, wheat and sweet Vienna malts. Multiple tasters wrote that the huge hop aroma up front belied what turned out to be a light-bodied, easy-drinking beer. Comments: “Dank, light-bodied and tropical.” “Dank, good body. A hint of cabbage but would repeat.”

Hopworks (Hopworks)

Neighborhood: Creston-Kenilworth ABV: 6.6 percent Hopworks’ best-selling flagship IPA was originally developed in 2007. It remains a classic IPA with Amarillo, Cascade, Centennial and Chinook hops and light caramel malts along with Munich. Head brewer-founder Christian Ettinger says the beer has only improved with the increased availability of organic hops, which are the only kind Hopworks uses. Comments: “Pine.” “Pine and fruit.” “Bitter.”

BMX (BackPedal)

Neighborhood: Pearl District ABV: 4.5 percent BackPedal is a brewery made by and for cyclists—so it makes sense its best IPA is a day-drinker’s dream, a 4.5 percent ABV session IPA that just barely made the cut for the tasting, stacked up with late-addition Simcoe, Centennial and Cascade hops. Reviewers didn’t know quite what to make of the slightly catty smell, but loved the finish. Comments: “Weird, but solid. A decent medium IPA.” “Strange aroma. Kinda great.”

Upheaval (Widmer Brothers)

Widmer’s Joe Casey has been brewing for 20 years. In that time, he has seen classic Northwest IPA brewing turn into an arms race to make the hoppiest and booziest. Replay, first brewed in early 2015, takes itself out of the hop race, instead focusing on simplicity. It’s made with caramel and wheat malts, and Alchemy, Chinook and Citra hops, plus a little X-431, a clean, new hop variety with citrus and floral notes, which Casey compares to Juicy Fruit gum. SOPHIA JUNE. COMMENTS: “Citrus, clean.” “Melon, ripe, spicy nose.” “Light and zesty.”

Neighborhood: Boise-Eliot ABV: 7 percent Upheaval is Widmer’s traditional Northwest IPA, filled with 2 pounds of hops per barrel, using Simcoe, Chinook, Willamette, Brewers Gold, Nelson Sauvin and its Alchemy blend along with wheat and caramel malts. Comments: “OK, but unexceptional.” “Dank, citrus, sweet.” “Christmas tree.”

Humble (Humble)

Neighborhood: University Park ABV: 6.3 percent Since 2011, nanobrewers Scott Davis and Chad Freitag have aimed to make simple, drinkable beers. They make very little beer at this operation, which is closer to a glorified homebrew setup than a typical commercial operation—in 2011, they

BEER GUIDE RELEASE PARTY Pick up a copy of

Beer Guide

at N.W.I.P.A. and sample the best five IPAs in Portland. N.W.I.P.A., 6350 SE Foster Road, 805-7342. 3 pm. 21+.

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proudly announced their status as Oregon’s smallest licensed brewery. Our panel ended up (mostly) enjoying a quality rarely praised in Portland IPAs: sweetness. Comments: “Peach jam.” “Strawberry jam.” “Sweet fruit aroma.”

Abominable (Hopworks)

Neighborhood: Creston-Kenilworth ABV: 7.3 percent Hopworks’ winter seasonal IPA has some caramel notes, a medium body, bold flavor and amber color, with a label built around a Yeti theme. It’s “ready to pounce on an unsuspecting drinker,” says brewer Christian Ettinger. Comments: “Nice bitter, fruity taste. Lingering.” “Pine and citrus.” “Good balance and a complementary malt bill.”

Orbiter (Ecliptic)

Neighborhood: Mississippi ABV: 7.4 percent John Harris brewed at McMenamins and developed some of Deschutes’ most famous brews, including Mirror Pond and Black Butte Porter (page 27), then brewed at Full Sail for 20 years. Ecliptic is his solo venture, and Orbiter is a classic Northwest IPA, full of Cascade, Centennial, Chinook and Columbus hops, with a medium body and caramel malt. Comments: “English-style, creamy.” “Full and bitter, with a clean finish.” Oniony, grainy, piney and resiny. “Not hoppy enough.” “Malty goodness, a perfect balance. Old school but nice.”

Super Dog (Lucky Lab Hawthorne)

Neighborhood: Buckman ABV: 6.5 percent Between its two brewing operations, Lucky Lab had a total of six IPAs in our tasting, more than any other brewery. The best was the Super Dog from the Southeast Hawthorne brewery, and the worst was Halt, also from Hawthorne, which ranked 56th. With a pound of dry hops per barrel and a 90-plus IBU, this very aggressive IPA fared better than most of its generation. Comments: “Resin.” “Too malty, but a nice mango rind aroma.” “Very big upfront.”

Shocks of Sheba (Fire on the Mountain)

Neighborhood: Rose City Park ABV: 6.3 percent Shocks of Sheba has remained mostly unchanged since this beloved wing shop started making its own house beers back in 2012. The brewery uses a mix of Cascade and Crystal hops to bitter, then dry-hops with Cascade to make a classic pine bomb. Comments: “A touch vegetal, but a true hop bomb.” “Good aroma—flavor bitterness.” “Very boozy.”

All Seeing (McMenamins Hillsdale)

Neighborhood: Hillsdale ABV: 6.6 percent McMenamins operates four separate breweries within city limits, all of which make IPAs. Hillsdale, the company’s original brewery, gets bragging rights this time. Hillsdale brewer Tyler Newton uses a stacked malt bill of pale, ESB, Munich and brown, then hops his beer with Chinook, Centennial and Simcoe. The result is a round, classic medium-bodied West Coast IPA. Comments: “Great Nose. Smells like a lawn mower.” “Has promise, but not winning anything.”

20th Anniversary (Lucky Lab Hawthorne)

Neighborhood: Buckman ABV: 5.7 percent Lucky Lab celebrated its 20th anniversary with this hop-heavy IPA, which dryhops the still-uncommon Glacier hops, first grown at Washington State University four years after Lucky Lab was founded. But the 20th anniversary brew still uses plenty of bittering, and comes in at a hefty 96 IBU. Some tasters loved the fruity notes on the beer; some declared it a possible flaw. Comments: “Fruity aroma, some butter.” “Apple, lingering bitterness.” “Stone fruit.”

Spacefruit (Coalition)

Neighborhood: Buckman ABV: 7 percent Not content merely to use citrusy hops, Coalition also added five different tropical-type fruits to Spacefruit. Some tasters picked up other notes as well. Comments: “Like nectarines buried in dirt.” “Catty, lightly fruity.”

El Torero (Alameda)

Neighborhood: Cully ABV: 7 percent Alameda’s flagship organic IPA turned in a solid finish—although it didn’t inspire strong feelings. Multiple reviewers praised the fruit-hoppy, malty IPA as being catty in a way they found pleasant. Comments: “Catty in a good way.” “Funky, catty aroma with a nice stone fruit note.”

Our Tasters I L L U S T R AT I O N S B Y D AV I D C H E L S E A

Gear Up (Hopworks)

Neighborhood: Creston-Kenilworth ABV: 6.6 percent Gear Up is the newest IPA from this bikey Southeast brewery, and is designed to offer up a, fruity blast, with more of a citrus and pine flavors that come from Chinook and Azacca hops. Comments: “Enjoy flavor, and good balance. Needs a good finish though, like sex.”

El Dorado (Hopworks)

Neighborhood: Creston-Kenilworth ABV: 6 percent A single-malt, single-hop IPA, showcasing El Dorado hops, which have tropical and pear notes. Comments: “Little aroma, very bitter.” “Well made, but mild and Englishy.”

Sarah Pederson Publican, owner of Saraveza on North Killingsworth.

Jim Bonomo Manager at Reverend Nat’s Hard Cider and former beer buyer at the Beermongers.

Cloud Ripper (StormBreaker)

Neighborhood: Mississippi ABV: 6.4 percent StormBreaker, which took over the Amnesia space off Mississippi last year, uses a hefty seven hops in this one, with a solid 78 IBUs’ worth of bittering upfront and a fruity dry-hop backload of Citra, Galaxy and Amarillo. Comments: “Uncomplicated, subdued hops.” “Great appreciation of drinkability.” “Spicy hops. Balanced.”

Don Scheidt Beer writer for Celebrator Beer News, the New School and WW.

Tiledriver Mosaic IPA (13 Virtues)

Neighborhood: Sellwood-Moreland ABV: 6 percent Originally created as a collaboration beer with Massachusetts’ Strange Brew, 13 Virtues’ Tiledriver pairs Columbus bittering hops with Mosaic to put in a respectable finish—although some reviewers thought it was a bit young. We suspect if their brand-new, classically dank Winter Sunshine IPA had been brewed a couple weeks earlier, 13 Virtues might have climbed higher on this list. Comments: “Vegetal, green, harsh, but not terrible.” “Wet laundry aroma. Solid but unremarkable.”

Jade Tiger (BTU)

Neighborhood: Rose City Park ABV: 6.8 percent The only Chinese restaurant-slash-brewpub in the country brought a resoundingly low-IBU brew with a hefty hop smell and peachy fruit notes. Multiple commenters noted they loved the aroma, but the beer didn’t quite live up to the promise in the nose. Comments: “Nice and balanced. Full on the tongue with a bitter finish.” “Peach.” “Floral, middle of road.”

Luscious Lupulin (Migration)

Neighborhood: Kerns ABV: 6.5 percent The brewers at Migration like to put together complicated high-wire acts balancing multiple varieties of hop and malt. For their flagship Luscious Lupulin, they used four different hops: Centennial, Simcoe, Crystal and Cluster. Commenters praised the balance, but said the result was middle of the road. Comments: “Tobacco florals. Don’t mind.” “Not bad, but unexceptional.”

C-Note (Lompoc)

Neighborhood: North Williams ABV: 6.9 percent Remember the IBU arms race? Back at the turn of the millennium, this shit was the 100-IBU aircraft carrier, mixing up a list of hops starting with C that continues to expand as new varieties come into favor. The classic caramel-malt profile mated with piney, bitter hops puts it out of fashion; but like military bases in Germany, it happily lives on, still classed as an imperial, despite its now-tame 6.9 percent ABV. The batch we got was a bit oxidized, and some suspected it sat too long. Comments: “Maybe a bit husky.” “Oxidized.” “Caramel.”

Jackson Wyatt Owner of N.W.I.P.A. beer bar on Southeast Foster.

Chance Penn Inventory control for Point Blank Distributing.

John Lovegrove Filmmaker and world record holder for the most breweries visited in a day.

Brendan Greenen Owner of Caps N’ Taps bottle shop and taproom in Camas.

“Baller” Chris Hanks Local beer geek who only drinks baller beers.

Kyle Stone-Chilla Manager of McMenamins 23rd Avenue Bottle Shop.

Parker Hall Willamette Week beer events columnist.

John Hall Homebrewer and beer judge.

CONT. on page 21

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ALL THE IPAS Galaxy (Unicorn Brewing)

Neighborhood: Sellwood ABV: 6.6 percent Galaxy contains Galaxy, obviously. Unicorn brewer Jason Webb, at the Portland U-Brew, has so many tiny brew systems, he can afford to experiment— including a recent focus on single-hop IPAs. Galaxy seems like it needs a little backup, and some detected near-Belgian yeast notes that departed from what one might expect from the style. Comments: “Bitter and yeasty.” “It’s not my style of IPA, but I’m not sure it’s anyone’s.”

Super Dog (Lucky Lab NW)

Neighborhood: Slabtown ABV: 6.4 percent This was the only true head-to-head between two breweries making the same recipe. On this one particular day in January, Hawthorne’s Lucky Lab bested Quimby’s on the Super Dog by 14 places. One reviewer called the batch “as bitter as a stripper’s asshole,” which may have accidentally revealed as much about the commenter as the beer. Comments: “Malt is buried by an invasion of hops. Hop booooomb!”

Seismic (Pints/Zoiglhaus)

Neighborhood: Lents ABV: 6.2 percent Best known for making German brews, Alan Taylor is looking a little right-coasty with his IPA lately: It’s both unfiltered and dry-hopped. Seismic also had its hop bill updated to include Columbus, Amarillo, Cascade and Simcoe. Most of our panel found it to be middle of the pack. Comments: “Perfumey hops—onion, allium, but a tad metallic in the finish.”

Invincible (Baerlic)

Neighborhood: Hosford-Abernethy ABV: 6.7 percent Ben Parsons and Richard Hall opened inner Southeast’s Baerlic just over a year ago. Their nut brown and cream ales have developed a following, but their Invincible IPA didn’t quite live up to its name. Comments: “Soured? What’s going on here?” “Fruity, with a malty finish.” “Vegetal.” “Lambic-like aroma.”

Gigantic (Gigantic)

Neighborhood: Reed ABV: 7.3 percent Gigantic is big in Japan—it’s tapped in at least one bar in Tokyo—and a maker of very big flavors, especially with its huge Most Premium Imperial Russian Stout. But though the IPA has a broad hop bill split among Cascade, Simcoe, Centennial and Crystal, some tasters found it a bit thin. Comments: “Watery. Needs a better mouthfeel.” “Stale something, but not bad.” “Bready finish.”

Shanghai’d (Old Town)

Neighborhood: King ABV: 6.5 percent Shanghai’d received the Gold Medal at the 2015 Great American Beer Festival for a balanced take on the milder, maltier English-style IPA. Either this batch wasn’t as good, or our tasters strongly preferred the hop-forward American style. Comments: “Maltier, weak aroma.”

Bristlecone (McMenamins Kennedy School)

Neighborhood: Concordia ABV: 6.7 percent

Leafhound (McMenamins Crystal)

Neighborhood: Downtown ABV: 6.7 percent Leafhound was perplexing to the room. The lemon, lime and grapefruit flavors in the Centennial and Meridian hops, backed up by bready malts, apparently made for an odd mismatch between flavor and aroma. Comments: “Doesn’t taste like it smells.” “Confusing.”

British Imperial (Rock Bottom)

Neighborhood: Downtown ABV: 5.4 percent It is safe to say our panel didn’t favor British IPAs. Comments: “Floral.” “Pear juice.” “Is this even an IPA?”

Bottle Shake (Labrewatory)

Neighborhood: Eliot ABV: 5.7 percent In January, 40 homebrewers showed up to Labrewatory, a brewery devoted to experimentation, with bottles of beer to share and some of their leftover hops. Brewmaster Charlie Johnson hosted 23 of their hops to make a onetime IPA with the biggest hop bill in town. It was a noble experiment. Comments: “Tastes like burnt tortilla chip.” “A new beer style: butter sour.” “Caramel and litter-grass.”

Irish Pale Ale (Kells)

Neighborhood: Northwest ABV: 6.2 percent This Irish pub’s best house beer is a traditional dry Irish stout. Comments: “Muddled.” “Tangy flavor.”

Everyday (Natian)

Neighborhood: Kerns ABV: 5.5 percent Natian’s goal with Everyday was to create an IPA that didn’t blow out your taste buds after one pint, which our panel may have appreciated if their taste buds weren’t already blown out. Comments: “Sweet garbage.” “Biscuit.”

Carrie’s Way (BackPedal)

Neighborhood: Pearl District ABV: 6.6 percent BackPedal opened in July, joining Hopworks as Portland’s other loosely bike-themed brewery. Comments: “Bready armpit.” “Could taste worse.”

Stumptown Candy Peel (BridgePort)

Orange Goblin (McMenamins Fulton) Neighborhood: Lair Hill ABV: 6.9 percent Great name, though. Comments: “Malt hits with a brick.” “SWEEEEEEEEET.”

Jaws (Splash Bar)

W W S TA F F

Woodboy Dry Hop (Sasquatch)

Pyramid (Pyramid)

Neighborhood: Northwest Industrial ABV: 6.3 percent Out of the three beers in the Pyramid/ Portland Brewing collection, the Pyramid IPA ranked first, although a few tasters thought some of the fruit notes were a little off. Five hops make up this readily available, classic Northwest IPA: Magnum, Calypso, Cascade, El Dorado and Willamette, backed up by two-row and Vienna malts. Comments: “Weird esters?” “Melony.” “Smells like tomato.” “Good, but flawed.”

Bombay (Old Market)

Neighborhood: Ashcreek ABV: 6.5 percent Old Market’s big, barnlike brewpub offers a burnt-orange, English-style IPA it claims comes from the original recipe British brewers shipped over to India. Comments: “Weird flavors. Green tea?” “Lingering bitterness.” “Drinkable.”

Boss (Laurelwood)

Neighborhood: Rose City Park ABV: 6.6 percent Laurelwood’s award-winning Workhorse was one of Willamette Week’s top 10 beers of 2013, and the same beer eased its way into the top 10 here. But the oldschool Boss—a discontinued OG IPA that makes occasional appearances back on the taps—didn’t fare as well. A couple panelists loved it, but the most common tasting note was “bell pepper.” Comments: “Green bell pepper in aroma and flavor. Weird.” “Middle of the road.” “Fruity and spicy—impressed.” “Peppery (bell).”

Neighborhood: Pearl District ABV: 5.5 percent “My, how the mighty have fallen,” said one of our tasters when this beer was identified. When it was conceived, this beer stood alongside Black Butte Porter and Widmer Hefe as one of Oregon’s defining brews. The history still matters, but so do our blind-tasters’ reactions. Comments: “Tastes like Parmesan, anger and disappointment.” “Bland flavors.” “Acetone.”

Hoppy Jalopy (Tugboat)

Neighborhood: Downtown ABV: 6.7 percent Tugboat has been refusing to filter its IPA since way before refusing to filter your IPA was cool. But the IPA in the keg at Portland’s crankiest and most literary of little breweries was not merely oldschool: It also tasted a little old. Comments: “Weird blueberry aroma— stale or oxidized.” “Blueberry Yoplait with wood-pencil shavings.” “Oxidized.”

Exit 7 Session (Gateway)

Neighborhood: Gateway ABV: 4.8 percent The “unramped” version of Gateway’s IPA seems to have missed its turnoff. Multiple tasters picked up the buttery taste of diacetyl, signaling issues with either yeast or bacteria. Comments: “Where are the hops?” “Diacetyl!” “Theater popcorn.”

Got Hops? (Lucky Lab NW)

Neighborhood: Slabtown ABV: 6.4 percent Of the three Northwest Lucky Lab beers we tasted, Got Hops? landed in the middle. For this ever-changing IPA, brewers get to choose hops while following Lucky Lab’s standard grain bill. This batch was greeted with a collective shrug, but no ill will. Perhaps uncoincidentally, it landed smack in the middle of Portland IPAs ranked, in 37th place out of 73. Comments: “No aroma—bland.” “There’s not too much to comment on.”

Neighborhood: Pearl District ABV: 6.5 percent This wasn’t the right setting for this beer. The best way to present Candy Peel, in our experience, is via a gravity bong that is also a regular bong. It’s called the Knockout bong, and you should watch our video on wweek.com. Comments: “Nail polish.” “Acetone.” “Bready finish.”

BridgePort (BridgePort)

Neighborhood: Pearl District ABV: 6 percent Was this beer brewed in Portland? That depends on your definition. Splash Bar makes its wort in New Zealand and ships it across the Pacific in bags, where it’s inoculated with yeast so it can ferment into beer in the tanks by the window. While D.J. Paul of the Brewpublic blog has praised Splash Bar’s beers, our tasters found it underwhelming. Comments: “Maybe a tad rotten.” “Smells like feet.”

Neighborhood: Hillsdale ABV: 6.8 percent This one proved divisive. Some thought the hops were getting in the way of the malt. Others thought the inverse, and there was too much malt. Yet another declared it the supreme balance of malt and hops. Comments: “Hop overload.” “Unique hop profile.” “Malt-sugar aroma. Sweetness under the hops.”

This upstart brewery housed in a Gateway garage has some work to do based on our results. But after meeting owner Joel Sheley, we’re rooting for him. Comments: “Butter.” “Buttered popcorn.” “Butter.”

Blue Dot (Hair of the Dog)

Chinook, Simcoe and Citra hops make up this classic IPA, which finished second of the four McMenamins brews. Comments: “Floral. Watery. Why?” “Smooth. Not awesome.”

Puddle Hopper (Rock Bottom)

Neighborhood: Downtown ABV: 6.5 percent An unimpressive IPA from a chain based in Tennessee. (The downtown brewpub has great happy-hour nachos, though.) Comments: “Apple-sweet taste.” “Spicy hops and a nice balance, but run-of-themill.” “Tastes like a can.”

Chopper (Lucky Lab NW)

Neighborhood: Slabtown ABV: 6.4 percent Lucky Lab’s Chopper finished last in the slew of beers from the Northwest location, which could be due to its reduced gluten levels. If there’s anything our tasters love, apparently, it’s gluten—see No. 73. Comments: “Something off in the smell, but it tastes fine.” “Like New Zealand beer.” “Watery.”

IPA (Portland Brewing)

Neighborhood: Northwest Industrial ABV: 6.5 percent With five hops and five malts, including Sterling hops for a spicy finish and chocolate malts, this IPA from an old-school Portland brewery narrowly bested its cousin, Thunderhead. Comments: “Smells like a warm-fermented Belgian.” “Low hop profile.” “Cidery.”

Thunderhead (Pyramid)

Neighborhood: Northwest Industrial ABV: 6.7 percent Thunderhead finished in last place among the Pyramid/Portland Brewing collection. Comments: “Banana.” “Banana.” “Belgian?”

Ultra Gnar Gnar (Base Camp)

Neighborhood: Buckman ABV: 6.7 percent Six different hop varieties plus speciality malted barley and oats make up this ultra-hoppy, ultra-bitter IPA. Comments: “Funky.” “Musty.” “Tastes like the ’90s.”

Fresh Squeezed (Deschutes Portland)

Neighborhood: Pearl District ABV: 6.4 percent The label of this well-stocked IPA shows drops of juice being squeezed from a hop. But if you squeeze a hop, juice will not come out, even if you use lots of Citra, Mosaic and Nugget hops. Comments: “Lacks hop character. Tastes like apricot juice.” “The hops don’t drive the flavor; the malt did.”

Hop Heaven (Columbia River)

Neighborhood: Hollywood ABV: 7.5 percent Despite five malts, five hop additions and two dry-hop blends, Hop Heaven is a bit shy on aromatics, packing most of its wallop in bitterness. Brewer Rick Burkhardt’s main focus at Columbia River remains English-style stouts, inspired by a youthful trip to England. Comments: “Butterscotch.” “Too bitter, not floral.” “All bitterness. Can’t taste much.”

Halt (Lucky Lab Hawthorne)

Neighborhood: Buckman ABV: 6.4 percent Halt was made to be a simple, malty, old-time Northwest IPA, a malt-balanced brew made with Cascade, Centennial and Northern Brewer hops. Our tasters caught off notes in the malt, however. Comments: “Candy-sweet.” “Green apple.” “Too sweet.” “Moldy basement flavor.”

Belma (Unicorn)

Neighborhood: Sellwood-Moreland ABV: 6.6 percent Last year, Cliff, Anne and Jason Webb founded a brewery inside Portland U-Brew called Unicorn Brewing Company. Don’t worry, you can still make appointments Friday through Sunday to learn how to make your own beer. But the rest of the week, the Webbs brew as Unicorn. Comments: “Soapy. Good for washing the dog.” “Oxidized.”

Savage Nimbus (StormBreaker)

Neighborhood: Boise-Eliot ABV: 8 percent Somehow, this one snuck in even though it was above our alcohol cutoff. Comments: “This is an IPA?”

The Business (Gigantic)

Neighborhood: Reed ABV: 6 percent Gigantic’s British American ale didn’t impress, but then again, no traditional British IPA did. At least the label is cool. Comments: “Too sweet. “Sea dirt.” “Not bitter enough.”

Galaxy Dry Hop Savage (StormBreaker)

Neighborhood: Boise-Eliot ABV: 8 percent Yes, but StormBreaker has a really nice patio. Comments: “Tastes like leather and caramel.”

“68” (Splash Bar)

Neighborhood: Pearl District ABV: 6.8 percent Did we mention that Splash Bar’s house beers are just $1 during happy hour? Comments: “Peanuts.” “Pork.” “Nope.”

Exit 7 Ramped (Gateway)

Neighborhood: Buckman ABV: 7 percent When Hair of the Dog’s sweet, piney Blue Dot hit the streets in 2005, it was hailed as the city’s thundering answer to Pliny the Elder. Times and tastes have changed. The consensus was that this batch must have been infected. (We picked up the beer from the brewery the night before the tasting, in a growler fresh from the brewery, and stored it in an editor’s fridge overnight along with other beers that fared better in this tasting.) Comments: “This beer tastes like it was left open outside.” “Infected.” “Cardboard mixed with vinegar.” “Toffee sweet.” “Cloudy, infected.”

Pine Drops (Deschutes Portland)

Neighborhood: Pearl District ABV: 6.5 percent The state’s largest and most admired craft brewery piled a mess of Chinook, Centennial and Equinox hops on top of Munich and Pilsner malts for Pine Drops, which joined Deschutes’ roster last spring. While Deschutes’ quality control is rightly admired, something went terribly wrong with the batch it delivered to our office. Comments: “Blue cheese.” “Smell is Godawful.” “Baby diapers.”

IPA No. 5 (Ground Breaker)

Neighborhood: Hosford-Abernethy ABV: 5.6 percent Yes, Portland’s gluten-free brewery placed dead last. Made with roasted chestnuts, lentils, Belgian-style candi sugar and Crystal and Santiam hops, IPA No. 5 sounds like a delicious meal, but can’t match the magic of barley. But you know what’s funny? This is one of the most acclaimed beers on this list, having taken a silver medal at the 2015 Great American Beer Festival in Denver. That means this beer is objectively excellent— for celiacs, anyway. Comments: “Rubber hose.” “I literally cannot drink this.”

Neighborhood: Gateway ABV: 5.7 percent

Willamette Week FEBRUARY 24, 2016 wweek.com

Available this weekend! The complete guide to beer in Portland W I LL AM E T TE WE E K’ S 2 0 1 6 PO R TL AN D

WE WENT TO EVERY BREWERY WITHIN AN HOUR OF PORTLAND. ALL 109 OF THEM. FREE

FREE at locations like these: NORTH/NORTHEAST PORTLAND New Seasons Grant Park 3210 NE Broadway Music Millenium 3158 E. Burnside New Seasons 5320 NE 33rd Gregory Heights Library 7921 NE Sandy Laurelwood 5115 NE Sandy PCC Cascade Library 705 N Killingsworth Saraveza 1004 N. Killingsworth Hop & Vine 1914 NE Killingsworth Great Notion 2204 NE Alberta Lucky Labrador 1700 N. Killngsworth Lompoc 5th Quadrant 3901 N. Williams

New Seasons 6400 N Interstate

Horse Brass 4534 SE Belmont

Kenton Library 8226 N Denver

Hopworks Brewery 2944 SE Powell

St. Johns Library 7510 N. Charleston

Laurelwood 6716 SE Milwaukie

SOUTHEAST PORTLAND Powell’s Books 3723 SE Hawthorne Oui Presse 1740 SE Hawthorne

Fubon Shopping Center 2850 SE 82nd Roscoe’s Pub 8105 SE Stark

NORTHWEST PORTLAND

DOWNTOWN Powell’s Books 1005 W Burnside Black Box Pioner Square Black Box SW 10th & Alder Black Box/Central Library SW 10th & Yamhill Black Box SW 5th & Yamhill Black Box SW 5th & Morrison

Lucky Labrador 915 SE Hawthorne

Willamette Week office 2210 NW Quimby

Central Library 801 SW 10th

New Seasons 4034 SE Hawthorne

Lucky Labrador 1945 NW Quimby

PSU Smith Center 724 SW Harrison

New Seasons 1954 SE Division

Trader Joe’s 2215 NW Glisan

PSU Bookstore 1715 SW 5th

New Seasons 1214 SE Tacoma

Northwest Library 2300 NW Thurman

The Beer Mongers 1125 SE Division

Food Front 2375 NW Thurman

Lompoc Hedgehouse 3412 SE Division

SOUTHWEST PORTLAND OHSU 1st ﬂoor coffee shop 3303 SW Bond Ave.

SW Community Center 6820 SW 45TH Hillsdale Library 1525 SW Sunset Blvd New Seasons 3495 SW Cedar Hills New Seasons Raleigh Hills 7300 SW Bvtn-Hillsdale Lewis & Clark Watzek Library 0615 SW Palatine Hill Lucky Labrador 7675 SW Capitol

SUBURBS Cedar Mill Library 12505 NW Cornell New Seasons 3495 Cedar Hills Blvd Beaverton New Seasons Mt Park 3 SW Monroe Parkway Lake Oswego Lake Oswego Library 706 4th St Lake Oswego

For a complete list of locations where WW’s 2016 Beer Guide is available, please go to wweek.com 22

Willamette Week FEBRUARY 24, 2016 wweek.com

STREET

NEWPORT WHO’S A TOURIST? WHO’S A COASTIE? P h otos by Rach ael Re ne e levasseu R www.wweek.com/street

ElliE Willamette Week FEBRUARY 24, 2016 wweek.com

“I squealed like my old 9-year-old self when I heard that Full House was an option.” page 29

STARTERS

BITE-SIZED PORTLAND CULTURE NEWS.

GOODBYE, GOSSIP: Gossip is no more. You may have already sensed it, considering the Portland dance-punk trio has been suspiciously quiet the past four years, but singer Beth Ditto confirmed the group’s breakup to Pitchfork in an interview about her new clothing line. Playing a blistering brand of soulful garage rock, the band, which formed in Olympia, Wash., and moved to Portland in 2003, released five albums, the last being 2012’s A Joyful Noise. Ditto launched her solo career in 2011 with a Madonna-indebted EP, and is working on a full-length. Drummer Hannah Blilie is a member of Portland throwback R&B group Chanti Darling, and guitarist Brace Paine is back in his home state of Arkansas, running his Fast Weapons label. We look forward to the Gossip reunion at Coachella 2020. THE VEST CAME BACK: Meshach Babcock got his vest back. Two weeks ago, the 23-year-old metal bassist from Oregon City found that the prized piece of clothing he lost three years earlier was now behind glass in a Ralph Lauren display at Macy’s flagship store in New York. Metal blogs picked up the story, then KATU and Rolling Stone. Babcock contacted Macy’s to negotiate its return—which the store agreed to do, provided he could authenticate ownership. On Feb. 18, Ralph Lauren gave the vest back, along with a leather jacket and some Macy’s gift cards. There is still no confirmation on how it even got there in the first place—a spokesman for Ralph Lauren would only say it was purchased from a third-party source.

VINTAGE PORTLAND: Ray’s Ragtime, the popular vintage store that has held on at Southwest 10th Avenue and Morrison Street for 30 years, is struggling Ray Tillotson and to stay alive. According the Dandy Warhols to owner Ray Tillotson, his rent was raised by the landlord, whom Tillotson says lives in San Francisco. At the same time, Tillotson, 68, became seriously ill. Now, due to unpaid back rent, the thrift store faces eviction. Last week, Ray’s started a GoFundMe campaign to try to keep the store in the same location. So far, it’s raised close to $4,000, which Tillotson says helps but will not cover what he owes. “I thought I could make it,” he says. “I probably should have closed when he raised the rent, but I couldn’t do it.” Ray’s Ragtime has long been a favorite shop among the local rock scene. “Courtney Love used to come in a lot,” Tillotson says. “Courtney [Taylor-Taylor] from the Dandy Warhols mentioned me in GQ this month, and on one website I am in the top 10 vintage stores in the country.” Tillotson had hoped to retire soon but doesn’t think that’s a possibility anymore. He plans to move the store to a new location, though he isn’t sure where yet. “It’s really disheartening for me,” Tillotson says. “Portland has stopped being nice to people.” 24

Willamette Week FEBRUARY 24, 2016 wweek.com

GOFUNDME

THE REAL AMERICA: Soon the Paciﬁc Northwest will have a place where you can buy kitschy signs and get mediocre American comfort food: Cracker Barrel Old Country Store is coming to a shopping center in Tualatin. According to Pamplin Media, Tualatin’s planning manager said Cracker Barrel submitted a land-use application in October as a step toward building a restaurant at Nyberg Rivers, the former home of Jiggles (“A Requiem for Jiggles,” WW, March 11, 2014).

HEADOUT

WEDNESDAY FEB. 24

WHAT TO DO THIS WEEK IN ARTS & CULTURE

Scarface

[GANGSTA ICON] With one of the most commanding cadences in hip-hop history, Scarface has been a master of ghetto poetics for 30 years, engineering the archetypal sound of the South in the ’90s as a member of Houston legends Geto Boys. But he might be making the most ruthless music of his career right now. Hawthorne Theatre, 1507 SE César E. Chávez Blvd., 233-7100. 7:30 pm. $25. 21+.

Beer Guide Release Party

[HOP-DRUNK] Our 2016 Beer Guide is at breweries, beer bars, Powell’s and special boxes. Check wweek.com to find out where to get it, or pick one up at N.W.I.P.A. to read while drinking the best five IPAs in Portland—which you probably haven’t tried yet!—as chosen by both an expert panel and hundreds of hop-loving Portlanders in a blind taste-off. N.W.I.P.A., 6350 SE Foster Road, 805-7342. 3 pm. 21+.

Leap Day is terrible. Unlike an extra hour in a day, no one wants an extra day in a year. An extra day of work, of paying bills, of the endless drudgery of the human condition. If you’re unlucky enough to be born on Leap Day, you are forced to pack four years’ worth of parties into one day. If you have a salaried job, you’re working for free. Also, it’s Rare Disease Day. But, like most days, Leap Day is even worse for women. Traditionally, Leap Day is the one day of the year women are “allowed” to propose to their boyfriends. Popular vintage Leap Year postcards depict women proposers as unattractive and violent. In this tradition, if the man says no, he has to buy the woman 12 pairs of gloves to hide the embarrassment of not having a wedding ring. There’s also a traditional Italian belief that calls Leap Years “doom years” because women are “erratic” during a Leap Year.

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

And it just goes on from there. Here are the worst Leap Days in women’s history. SOPHIA JUNE.

Cascade Sour Fruit Fest

[FRUIT-DRUNK] The greatest sour fruit beer maker in this nation—destination for beer tourists everywhere—becomes a destination for local beer tourists this week. Each day, from Feb. 24 to 28, Cascade will tap any of a vast array of fruit sours. Note: Seriously wild styles like the Manhattan 2014 bourbon barrel-aged, cherry-apricot quad blond tap Friday. Crowdpleasers like Key lime pie and strawberries and cream tap Saturday. Cascade Brewing, 939 SE Belmont St., 265-8603. Noon.

FRIDAY FEB. 26 Feb. 29, 1692: The first three arrest warrants for witchcraft are issued for women in Salem, Mass., leading to the Salem witch trials. One of the women, named Tituba, is accused of feeding a dog a “witch cake” four days before. Feb. 29, 1720: Queen Ulrika Eleonora of Sweden abdicates her throne to her husband, Frederick I. She wants to rule jointly with Frederick, but the Swedish parliament won’t allow it. Eleonora later speaks of giving up power as the greatest sacrifice of her life. Frederick I goes on to become the first monarch of Sweden to have an official mistress. Feb. 29, 1956: Infamous serial killer Aileen Wuornos is born. Wuornos goes on to murder seven men who allegedly raped or tried to rape her while she was working as a prostitute and is often referred to as the world’s first female serial killer. Feb. 29, 1960: The first Playboy Club opens in Chicago.

The Aces: National Forest Feb. 29, 1976: Ja Rule is born. Feb. 29, 2010: The romantic comedy Leap Year is released, in which Amy Adams plans to take advantage of the antiquated Leap Day tradition by proposing to her boyfriend on Feb. 29—in 2010. Spoiler alert: He ends up proposing to her, because only ugly, horrible, erratic women propose to their boyfriends.

Spend the day with the only people who have your back this Leap Day—if it’s your birthday. Enjoy one hour of complimentary bowling (shoe rental included!), private karaoke rooms, and pingpong at Punch Bowl Social, 340 SW Morrison St., 334-0360, punchbowlsocial.com, on Monday, Feb. 29. Free.

[COMEDY] Shelley McLendon and Michael Fetters as the titular Aces rarely flash into Portland’s comedy scene—but when they do, it is lucid. Their fifth sketch show goes backwoods, playing off camp tropes and shower jokes. The Siren Theater, 315 NW Davis St. 8 pm Friday-Saturday, through March 12. $15.

SATURDAY FEB. 27 Commons Dinner at Imperial

[HOTEL-DRUNK] The maker of our 2013 Beer of the Year, the Commons, is putting together a four-course, four-beer dinner with our 2015 Restaurant of the Year, Imperial. The meal will include an epic elk shank. What’s not to like? Imperial’s Pettygrove Room, 410 SW Broadway, 228-7222. 6:30 pm. $80, includes tip. Tickets at eventbrite.com. 21+.

MONDAY FEB. 29 Breakside Dinner at Kachka

[RUSSIAN, DRUNK] The maker of our 2016 Beer of the Year, Breakside, is putting together a five-course, five-beer dinner with our 2014 Restaurant of the Year, Kachka. The meal will include kvass-poached pork loin. What’s not to like? Kachka, 803 E Burnside St., 231-9663. $65, not including tip. Reserve at 235-0059 or reservations@ kachkapdx.com. 21+.

Willamette Week FEBRUARY 24, 2016 wweek.com

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Willamette Week FEBRUARY 24, 2016 wweek.com

FEATURE

OREGON’S FLAGSHIP BEER WAS DEVELOPED BY A CONSULTANT AND POPULARIZED BY WOMEN. BY PAR K E R H A L L

Deschutes started distributing through Admiralty Beverage, one of Portland’s original microbrew distributors. Admiralty decided Black Butte Porter would be Deschutes’ flagship beer. Fish: “Really, it started to grow when we got a phone call from Jim Kennedy at Admiralty Beverage saying there were some tavern owners who had been through Bend on holiday and wanted to sell our beer in their stores. We said, ‘Sure, we’d love to, but we don’t have any kegs.’ So we went out and got some old, beat-up kegs, and all of a sudden we were in the wholesale business.”

@pwhall

Gary Fish was thinking small when he opened a brewpub called Deschutes in 1988. The then-31-year-old Fish had been in Oregon for only six months, and didn’t intend to open one of the largest and most revered craft breweries in the United States. He just wanted to enjoy the beauty of Bend, open “a little pub” and “have a good life.” As a restaurateur with no experience brewing, Fish hired a consultant to create Deschutes’ first three beer recipes. He then hired a young brewer from Portland to make them. One of those three recipes created by the consultant was called Black Butte Porter. This Oregon-born porter became the first American dark beer to find widespread popularity in the U.S., and you can now find it everywhere from Sweden to Singapore. Black Butte’s velvety smoothness has notes of chocolate and roasted coffee, plus a hint of sugary caramel. Four years ago, when we picked a flagship beer for the state of Oregon to compete against California’s Sierra Nevada Pale Ale, Texas’ Shiner Bock and Vermont’s Magic Hat #9, Black Butte was our choice. And we would do the same today. Here’s the story of that beer.

Harris: “We brewed the consultant’s rough recipe for Black Butte, and I felt it was just way too light. I wanted to see a lot more roasted flavors in the beer, a lot more character in the beer, and so on. The consultant was like, ‘I’m leaving, so do whatever you want.’” Fish: “I was pretty well up to my eyeballs trying to keep the restaurant afloat, and managing everything else that was going on there. John really managed the responsibility of producing and improving the beers.” Harris: “I had been brewing at the Hillsdale brewpub of McMenamins until the previous spring. I had two years of experience. In 1988, that was, like, a lot. So I upped the chocolate malt and added a little more caramel malt, because it was more like a brown ale. I did those initial

Jeff Alworth, author of The Beer Bible and the Beervana beer blog: “Who knows how significant this decision turned out to be. Maybe if Gary had gone with the Golden, Deschutes would now be a modest-sized brewery. We only know the history as it was—Deschutes got off to a great start with Black Butte, was partly responsible for popularizing dark beers in Oregon, and launched itself on a trajectory to make it one of America’s largest craft breweries by 2009. History is a capricious lady.” Once the team at Admiralty got Black Butte Porter on the market, it became popular, especially with women. It quickly became a staple of the craft-beer industry, in large part because of women. Hodge: “At that time, a lot of the microbrew world was sort of misunderstood. The McMenamins had done a good job of getting people to fall in love with handmade beer, but what the Widmers and even more so the guys at Deschutes did was get people’s heads, hearts and minds around a truly full-bodied product.” Harris: “We thought all the guys would drink the porter and the women would drink the golden ale, and it was the reverse. All the women drank the porter and all the guys drank the golden ale.” Hodge: “What we found was that women had highly refined palates, and a lot of them had never had beer that really tasted that great.”

John Harris, original head brewer at Deschutes and founder of Portland’s Ecliptic Brewing: “Gary had hired a brewery consultant named Frank Appleton. Gary was a restaurateur, so he had the restaurant side all dialed up, but he had no idea about brewing.” Gary Fish: “Frank set up our brewing system and formulated the three original beers: Cascade Golden Ale, Bachelor Bitter and Black Butte Porter. In our original business plan, we were just a brewpub. But we did think there were three resorts that we wanted to wholesale beer to: Sunriver, Mount Bachelor and Black Butte Ranch. Naming them like that was a way of marketing them. When [people] came down the mountain after a day of skiing, they’d want to stop by our pub.”

that’s the double whammy. It was a category-breaker for a lot of people, and I credit Black Butte Porter with being that sort of leader in getting people to think outside of the fizzy yellow-beer category.”

COURTESY OF GARY FISH

An Oral History of Black Butte Porter

tweaks on the second batch, but we continued to tweak the recipe over the next couple years. I don’t think the beer has changed a whole lot since.”

Chris Hodge, the first employee at Admiralty Beverage and current CEO of Worthy Brewing in Bend: “I had basically spent four years prior to falling in love with Black Butte Porter drinking beers from Germany, Belgium and England, so my palate was accustomed to drinking the finer beers of the world. When I tasted Black Butte Porter, it was so reminiscent of all of the beers that I had fallen in love with.” Fish: “At the time, I remember sitting down with Jim [Kennedy], and he really loved the lighter beers. But he said, ‘Look, you’ve got this beer that I just love: Black Butte Porter. You can fight for your share of the muchlarger, lighter-colored beer pie, or you can go for the smaller pie and pretty much own the whole pie.’ That really set my kind of contrarian business ethic.” Chris Sarles, former president of Alehouse Distributing, which distributed Black Butte Porter in Washington, and current CEO of Oregon Fruit Products in Salem: “To say you are going to put your flag in the sand with a dark beer, certainly I know I scratched my head for a moment thinking, ‘All right, I’m in, but I am not sure there shouldn’t be a lighter-style beer too.’” Hodge: “In sales, you always want to have something that is different from the competition, and if it’s good,

Fish: “We would do festivals all the time, and all we would do is get people to come up, particularly women—talk about a group of people who thought they didn’t like dark beer—and they would order the lightest thing we had. We’d say, ‘I’ll give it to you, but first I want you to try this,’ and we’d hand them a sample of Black Butte Porter, and I would act like I was going to go pour their beer. We figGARY FISH ured we were at about 80 percent conversion rate, where they would drink it and say, ‘Hey, this is great, I’ll have one.’ It has really grown substantially because we tapped into that customer base.” Sarles: “It really became Black Butte Porter for dark ales and Widmer Hefeweizen for paler ales. For us, it was our one-two punch.” Deschutes started bottling Black Butte Porter in 1994, and it remains among the company’s best-sellers. Aside from small recipe tweaks, the beer remains unchanged to this day. Deschutes produced 310 barrels of beer in 1988; in 2015, it produced 343,689. Fish credits the perfect balance of the original recipe. Fish: “It really does have the depth and complexity for a very sophisticated beer palate. The more you let it sit in your mouth, the more the flavors sort of reveal themselves, really like a fine wine. Even though it is technically a very dry beer, it still comes off as slightly sweet. It’s not overly astringent or bitter. It’s mouth-filling and round, but it doesn’t lay heavily on your palate. I think we were able to accomplish those things in a way that has enabled that beer to transcend the time since it was originally created.” Willamette Week FEBRUARY 24, 2016 wweek.com

Willamette Week FEBRUARY 24, 2016 wweek.com

MUSIC PROFILE

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

msinger@wweek.com

COURTESY OF HAZEL AND PINE

CARLY RAE JEPSEN IS NOT A ONE-HIT WONDER AND NOT QUITE A SUPERSTAR. IS THERE A PLACE IN POP FOR THE GIRL NEXT DOOR? It’s a weird time to be Carly Rae Jepsen. Make no mistake, it’s a very good time to be her, too. She’s about to embark on her first tour since going from “the girl who sang ‘Call Me Maybe’” to career pop star on the strength of her pretty-much-perfect third album, Emotion. Save for that season when even your grandmother could complete the line “so here’s my number...,” she’s never been more visible than right now. But the opportunities afforded her lately have been—to borrow her enunciation—a little craaaaaaazy. A month ago, she got to live out her musical-theater dreams in front of the entire country, playing Frenchy in Fox’s Grease: Live. In February, she sang a Christine McVie song at an all-star Fleetwood Mac tribute concert. She’s on the soundtrack for the new Sims game, gibbering in nonsensical Simlish. Craziest of all, she recorded a new version of the Full House theme for the upcoming Netflix reboot, almost justifying the show’s existence on its own. (Almost.) Four years ago, Jepsen created a unifying cultural monolith. Now, it’s like she’s skipping backward through time, asserting herself into pop-culture milestones of the past like a bubbly, Canadian Forrest Gump. (Oh yeah, she also danced with Tom Hanks in one of her recent videos.) “It’s fairly surreal, still. I think I squealed like my old 9-year-old self when I heard that Full House was an But it’s left Jepsen in a curious position. As she preoption,” she says over the phone, ever chipper even while pares to go on the road, it’s unclear exactly how big she shivering through an apparently frigid day in New York actually is, and who is going to be in her audience. Tweens? City. “But that’s what keeps this career so fresh and excit- Bearded music writers, present company included? At a ing for me. None of it has totally sunk in as real life.” recent show in Dallas, a reviewer described the crowd as “a For someone whose future, for a minute there, seemed demographically peculiar blend of gay men…and families like it was going to be restricted to appearing on Now with small children.” He also noted that attendance was That’s What I Call the Late Aughts! compilations, Jepsen slight enough for the venue to close off the balcony. has achieved a kind of omnipresence. But here’s what’s For Jepsen’s part, none of this stuff—sales figtruly weird about Jepsen’s current moment: In the sheer ures, audience demographics—is anything she cares to commercial terms that are still used to measure success devote much time worrying about. in the mainstream pop world, everything she’s done since “I just wanted to make music that I loved and wanted to “Call Me Maybe” has been a disappointment. share,” she says. “To be honest, I probably never pay enough Kiss, the 2012 album Interscope rushed out after that attention to how anything is doing sales-wise, and I’m in a single went supernova, has sold only about 300,000 lucky enough place where that’s not my motivation.” copies. For comparison, the debut album Of course, that’s what one might expect her from Meghan Trainor, the singer whose to tell a journalist. But with her, it’s easy to “All About That Bass” grated its way into believe. In the modern pop battle royale, “I’ve realized I do the zeitgeist in 2014, went platinum where everyone is expected to have a less than a year after release. When well-defined public identity, Jepsen like some privacy to word got out that Jepsen was workhas positioned herself as “the Normal my life, and I do like to One”—which is to say, she’s basically ing on her follow-up with Pitchforkapproved producers such as Ariel have friendships based opted out of the game altogether. Rechtshaid and Dev Hynes, critics She’s never had a Twitter beef, has yet oﬀ nothing to do with eagerly awaited the results. Released to date anyone gossip blogs would care last August, Emotion was hailed as a about, and based on her Instagram, her my career.” major artistic leap, a confirmation of only “squad” is her scruffy, anonymous her promise and one of the best pure pop backing band. If she really were concerned albums of the decade. So far, it’s on pace to with how well Emotion was going to chart, sell worse than its predecessor. she probably would’ve lobbed a couple pre-release It’s a testament to how much those around Jepsen subtweets at Selena Gomez, or dumped her cinematograbelieve in her talent that she hasn’t yet been driven upstate pher boyfriend for one of the 5 Seconds of Summer dudes. and abandoned at the Home for Underperforming Major Instead, Jepsen gambled that a big-budget pop album Label Prospects. If you believe the press quotes from those in the social-media age could rise or fall on the music with the most investment in her career, this is all by design, alone. In the short term, it may have derailed any chance anyway—a means of getting her out of the shadow of her of her headlining stadiums or playing halftime at the Super biggest hit and moving toward something richer and more Bowl. But Emotion is undeniably the work of an artist who lasting, without any pressure to produce another smash. is going to be around awhile.

On her previous album—which she now regards with some detachment— that wasn’t entirely obvious, the confectionary genius of “Call Me Maybe” notwithstanding. Jepsen got knocked for coming across as too naive for her age, and the pervasive sugardisco production didn’t help. With Emotion, Jepsen has matured with, well, maturity. Getting famous at 26 allowed her to skip over the phase of asserting adulthood through aggressive sexuality, expressing instead a realization that hits everyone upon entering their 30s: that all those feelings we thought we left behind in our teenage years are never really going away. She crushes hard (“All That”), dreams of romantic escape (“Run Away With Me”), dumps one guy (“Boy Problems”) while beating herself up over another (“Your Type”), and details the specific distinction between love and “really, really, really, really, really, really like” (“I Really Like You”). But the emotions could never be confused for high school, even if Jepsen’s voice remains wideeyed and preternaturally youthful. Similarly, while her sound might be more “hip” this time out, that doesn’t mean “darker” nor “grittier,” only that the colors have changed shades. If Kiss had the palette of a mall candy store, Emotion glows neon. Unabashedly ’80s in character, the synths strobe and throb, the bass slaps and pops, a saxophone cries out through the night. It’s as if Debbie Gibson had the cachet to persuade peak Prince to get in the studio with her, and tooled every song to drill directly into the part of the brain that stores pure, unfiltered pleasure. That it didn’t sell is perhaps a referendum on the contemporary pop landscape, where consumers demand towering personalities to obsess over, not relate to. But while it’s temporarily put Jepsen in flux—transitioning from Canadian Idol to cult idol, playing for gay men who know exactly what she means when she sings, “I didn’t just come here to dance,” while little kids wait for the song about the phone number—defaulting on her commercial expectations may ultimately prove liberating. Going forward, she’s expressed a desire for her music to get “even weirder”; she describes the stuff she’s been working on lately as like “ABBA meets Feist.” Her destiny, it would seem, is closer to that of Robyn—another artist who scored a huge international hit, then retracted to a critical favorite making unusual, exciting records— than someone like Taylor Swift, who must project “Tay Tay” at all times if she wishes to maintain her superstar status. That might betray the younger Carly, who used to lead imaginary parades down her childhood street and dream of performing on the biggest stages. But it suits the 30-year-old Carly much better. “Who I’ve turned out to be, as I’ve gotten older, is more understated and a little less attention-seeking,” she says. “I’ve realized I do like some privacy to my life, and I do like to have friendships based off nothing to do with my career. And I do like to be able to be a little bit of a mystery when it comes to who I am. Because I don’t think any of us are just one thing. To have to pigeonhole yourself to pretend to be would be exhausting, at least for me.” SEE IT: Carly Rae Jepsen plays Wonder Ballroom, 128 NE Russell St., with Cardiknox and Fairground Saints, on Tuesday, March 1. 8 pm. $27.50 advance, $29.50 day of show. All ages. Willamette Week FEBRUARY 24, 2016 wweek.com

Willamette Week FEBRUARY 24, 2016 wweek.com

MUSIC Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.

WEDNESDAY, FEB. 24 Scarface, Cool Nutz, Bad Habitat

[GANGSTA ICON] With one of the smoothest and most commanding cadences in hip-hop history, Scarface has been mastering ghetto poetics for the better part of 30 years. Since the Houston native’s days in Geto Boys, he’s been known to craft callous, concrete narratives out of bass-driven, soul-sampled instrumentals. On his own, the rapper born Brad Jordan redefined the Southern rap landscape, engineering the archetypal sound of the South in the late ’90s and early aughts. In the past decade, Scarface hasn’t faltered. In fact, he might be producing the most ruthless music of his career—check “It’s Not a Game,” from 2008’s Emeritus, or even the John Legend-assisted “God,” from last year’s Deeply Rooted. Like any true gangster, Scarface has only grown stronger with age. MATTHEW SCHONFELD. Hawthorne Theatre, 1507 SE César E. Chávez Blvd., 233-7100. 7 pm. $20 advance, $25 day of show. 21+.

Sam Outlaw, Whitney Rose

[SOCAL COUNTRY] Sam Outlaw’s genre, like his moniker, may be a recent invention of the former marketing manager, but neither are exactly untrue. Two years ago, Sam Morgan borrowed his maternal grandparents’ surname for a deep dive down tastefully hooky Americana that splits the distance between Nashville and Laurel Canyon. While the best bits of Outlaw’s 2015 debut album, Angeleno, owe much to producer Ry Cooder and his accompanying studio dream team, there are glimpses enough of the tunesmith’s talent, layered beneath the pedal steel, to see why Cooder bothered considering how disastrously pastiche gags like “Jesus Take the Wheel (And Drive Me to a Bar)” sell the saddle, not the steak. JAY HORTON. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9:30 pm. $14 advance, $16 day of show. 21+.

Indigo Girls

[STORYTIME FOLK] Indigo Girls Amy Ray and Emily Saliers have been making music together since they were in high school, in the early 1980s. The folk songbirds’ 16th album, One Lost Day, tackles their everpresent themes of growing up and nostalgia with narrative lyrics, close harmonies and new access to a lower vocal range. The album is a love letter to the past 30 years, written with the perspective and effortless vocal blend that only comes from experience. SOPHIA JUNE. Revolution Hall, 1300 SE Stark St., No. 110, 971-808-5094. 8 pm. Sold out. 21+.

Kip Moore, the Cadillac Three

[BRO-MO] After lack of radio station interest sunk his 2014 single “Dirt Road”—a passingly heretical ditty about prizing fast times above the Good Book—Kip Moore not only disappeared the track list from his long-awaited sophomore album, but shelved every single song during a yearlong overhaul. While the perhaps overcautious revisions left eventual release (sigh) Wild Ones tailored to rousing inoffensiveness, there’s a relative adventurousness to the arrangements that spurs curiosity over just what country’s favorite rocker-costumed bad boy might’ve put on his apparent “black album.” Still, as his recent turn toward covering Jimmy Eat World should underline, there’s a reason Nashville’s formula endures. JAY HORTON. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm. $35-$50. All ages.

Parquet Courts, the Woolen Men

[POST-PUNK] Texas transplants Parquet Courts have kept a steady output since their exuberant breakthrough, Light Up Gold, in 2012, and its follow-up, Sunbathing Animal, which arrived two years later. They even chucked out an entire LP under the thinly veiled pseudonym Parkay Quarts, which contained perhaps their best song yet, “Uncast Shadow of a Southern Myth.” Late last year, they released a somewhat disposable, mostly instrumental EP that was a slight departure from the band’s rigorous, Fall-indebted post-punk, but the promising lead single off the forthcoming Human Performance seems to imply the group is on track and just saving all the best stuff for a proper album. CRIS LANKENAU. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $15 advance, $17 day of show. All ages.

THURSDAY, FEB. 25 Guantanamo Baywatch, Patsy’s Rats, Warpfire

[SURF ROCK] By now, you probably don’t need a recommendation to catch a Guantanamo Baywatch show. These guys have made themselves well known for ultra-surfy, ultra-sleazy guitar riffs and grating lo-fi vocals. But this show should be especially great, because they’re paired up with Patsy’s Rats, made up of Patsy Gelb and Christian Blunda of Mean Jeans, the newish, ultra-catchy, powerpop duo that’s been gaining some well-deserved attention of late, too. SHANNON GORMLEY. Bunk Bar, 1028 SE Water Ave., 328-2865. 9:30 pm. $8. 21+.

Keys N Krates

[MOOSE TRAP] That rare live electronica act equally committed to showcasing chops and fueling the party, the challenges endemic to drums-keyboard-DJ trio Keys N Krates’ eterna-tour seemingly trumped the Canadian trap-ists recording careerism. But the drips and drabs of floor-fillers released during the past five years built a certain momentum nonetheless. Three of the six tracks composing Midnite Mass, the band’s newly dropped third EP on Steve Aoki’s Dim Mak label, were previously released as singles. And if the newcomers don’t rival Katy B-assisted summer jam “Save Me” for sheer euphoria, nor hip-hop, horns-inflected “U Already Know” as snarky earworm, they’re far from filler. JAY HORTON. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 7 pm. $25. 18+.

FRIDAY, FEB. 26 Drew Holcomb & the Neighbors, Sean McConnell

[FOLK ROCK] You may have heard a Drew Holcomb song on How I Met Your Mother or Nashville or House, but the earnest Nashvillian’s music is not just regulated to poignant moments of onscreen character development. Holcomb’s seventh studio album, Medicine, represents everything that country-folk crossovers can be—rollicking yet soothing, commercial-sounding while also being deeply personal. HILARY SAUNDERS. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 9 pm. $15 advance, $18 day of show. Under 21 permitted with legal guardian.

Just People, Marv Ellis and We Tribe, Worth

[SMOOTH OPERATORS] Just People

want nothing to do with being put in a genre box. The sprawling band covers a wide spectrum, from soul to funk to rock and a lot of the hard-to-describe terrain in between. The sound is colorful yet cohesive, with an underlying coolness that’s tough to teach. The act’s most recent effort, Monolith, is a groove-heavy helping of guitar hooks, brass accents and soulful vocals. The live act is typically at least seven strong, so expect some great soundoff-type riffing. MARK STOCK. Doug Fir Lounge, 803 E Burnside St., 231-9663. 9 pm. $14 advance, $20 day of show. 21+.

PROFILE MEREDITH TRUAx

= WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines.

Dustbowl Revival

[BACKPORCH SWING] It’s easy to dismiss Dustbowl Revival as simply another roots band from some tornado state. But the eight-piece Americana group, who are actually based in Venice, Calif., combine bluegrass and swing to somehow evoke both 1920s hotels with crowded dance floors and the Oregon Country Fair. Latest album With a Lampshade On is full of fingerpicking solos, slithering horns and sing-along choruses, while mandolin, fiddle and tight harmonies evocative of a Gershwin showgirl choir round out the sound. SOPHIA JUNE. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12 advance, $14 day of show. 21+.

The Bloodtypes, the Birth Defects, Don’t

[BLOODLUST] The Bloodtypes really know how to stick to a theme. From their blood-splattered stage getups to their social-media presence to their name, the band makes a point of making its bloodlust known. It’s fitting for its brand of punk. The recently released sophomore album, Pull the Plug, is loud, fast, dark, goofy and a little over the top, and the band can whip out a catchy, ’80s synth-pop song just as effectively as a two-minute rager. SHANNON GORMLEY. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.

SATURDAY, FEB. 27 Basia Bulat, the Weather Station

[FOLK POP] Canadian singer-songwriter Basia Bulat plays a bunch of instruments not often found in folkpop music. She strums the autoharp and dulcimer, and also plucks a South American eight-string guitar called a charango. But even though these instruments often sound higher and thinner than what you find in threechord radio pop songs, Bulat’s alternating cooing and belting unite her diverse voicings. Bulat just released her fourth album, Good Advice (produced by My Morning Jacket’s Jim James), which integrates these instruments with a more mainstream structural approach. HILARY SAUNDERS. Doug Fir Lounge, 803 E Burnside St., 231-9663. 9 pm. $12 advance, 14 day of show. 21+.

Beacon, Natasha Kmeto

[NOIRTRONICA] Brooklyn duo Beacon crafts some of the cleanest, chilliest, darkest electronic pop out there. The slickness of its sound is perhaps no surprise, given that Thomas Mullarney III and Jacob Gossett are former Pratt Institute students. Latest release Escapements delivers tranceinducing layers of synth, samples and serene vocals. It’s cool to the touch, but thaws out thanks to an audible R&B undercurrent. Local powerhouse Natasha Kmeto imparts some bluesy soul to the pop-oriented bill. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12 advance, $14 day of show. 21+.

SUNDAY, FEB. 28 John Moreland, Lilly Hiatt

[MIDWEST MARVEL] Oklahoma folkie John Moreland has a heavy heart, but he’s never been one to hide it well. His most recent albums, particularly High on Tulsa Heat, wring sadness from

CONT. on page 33

Vince Staples SUNDAY, FEB. 28 Vince Staples has a low tolerance for stupid. If nothing else penetrates the 22-year-old rapper’s quiet disdain for the process of answering press questions, that much he’ll make clear—especially if you mention the minor controversy he stirred up online last year, when he dared to question the sanctity of ’90s hip-hop. His point—which he reiterates with the pointed enunciation of someone who’s sick of explaining himself—was that before the 2000s, rap didn’t dominate the cultural conversation like it does now, so the notion of the preceding decade being the form’s “golden age” is mostly just Gen-X nostalgia. It’s a valid argument. But of course, when the blogs got hold of it, the headline became, “Brash Millennial Disrespects Elders.” “I’ve never once said I didn’t appreciate or have reverence for anything that came before me,” Staples says from somewhere in Australia, where he’s on tour. “It’s just that people are stupid.” Staples may have never said he doesn’t respect the past, or the culture of hip-hop. But one thing that’s true about him—and part of what makes his own music so potent—is that he’s not in thrall to it, either. He says he had no rap idols growing up. A product of Long Beach, Calif., and a former Crip, he saw through the studio-gangster façade at a young age. Asked what compelled him to eventually get on the mic, he responds like a politician explaining an adolescent shoplifting charge: “Because I was a kid, and kids do what their friends do.” Now that he’s made rap a career, what motivates Staples is simply the desire “to make good music,” and what that means to him has little relationship to any obvious tradition. Summertime ’06, his debut double album, is gangsta rap insofar as it draws directly from his time as a teenage gangbanger. But the production, from Def Jam maestro No I.D. and others, has an eerie, dystopian feel, more Cormac McCarthy than Beats by Dre. Staples is a gifted lyricist, but his gift is not clever punch lines or cinematic storytelling. It’s his ability to lock eyes with the listener and drag them into his worldview. While Kendrick Lamar grapples with turning pain into hope, Staples deals in blunt-force realism: No abstract images or poetic metaphors, just the dead bodies in the alley as he saw them. Also, the dude is pretty damn funny. Speaking to him while he’s touring in another country perhaps isn’t the best way to draw that out. But on Twitter and the videos he’s done for GQ, the full view of Vince Staples comes into focus—that of an exceptionally sharp, somewhat insular kid, whose knack for seeing through the world’s bullshit extends to jokes ragging on Chris Paul and hiphop fashion trends. It’s tempting to wonder if his growing image as a dryly snarky talking head will dilute the unsettling power of his records. But maybe that’s just another stupid question. “I don’t care about fucking image. I make music, bro,” he says. “Black people are the only ones limited to do one thing. If it’s a black dude who’s a rapper, he has to be a criminal his whole life. We don’t look at the hardcore rock acts and all these other people to be that person 24-7. So I don’t think I have to fall into that bullshit, either.” MATTHEW SINGER. Vince Staples is the present and future of West Coast rap. But in his case, the past doesn’t much matter.

SEE IT: Vince Staples plays Hawthorne Theatre, 1507 SE Cesar E. Chavez Blvd., on Sunday, Feb. 28. 8 pm. Sold out. All ages. Willamette Week FEBRUARY 24, 2016 wweek.com

Willamette Week FEBRUARY 24, 2016 wweek.com

MUSIC every aspect the production, from his weathered vocals down to the faint droplets of pedal steel. But they also solidify his standing as one of today’s most gifted songwriters. Each record reflects the saltier, softer side of modern alt-country, proving his acoustic fingerpicking can be just as powerful as a well-timed chord when backed with emotive lyricism and a firm understanding of what lies at the core of the best country music. BRANDON WIDDER. Doug Fir Lounge, 803 E Burnside St., 231-9663. 9 pm. $12. 21+.

Kendl Winter

[AMERICANA] Olympia’s Kendl Winter is part of the Americana duo the Lowest Pair with Palmer T. Lee, as well as an established solo recording artist. As a guitarist and banjo player, Winter often writes heartbreaking folk songs inspired by old-time imagery and melodies. But Winter’s unmistakable sweet-with-a-squeak singing voice helps uplift even the saddest songs. Winter will be the songstress in residence at Al’s Den, during which she’ll be joined by friends and folkies from other Northwest groups like Trout Steak Revival, the Pine Hearts, Crow and the Canyon and more. HILARY SAUNDERS. McMenamins Al’s Den, 303 SW 12th Ave., 972-2670. 7 pm Feb. 28-March 5. Free. 21+.

TUESDAY, MARCH 1 Emmy the Great

[HEART BEATS] Emma-Lee Moss has evolved from a Leonard Cohen-quoting acoustic singersongwriter to using driving, electronic rhythmic beats reminiscent

DATES HERE of a less sensual Rhye. Her oncethick London accent is now more subtle, hidden underneath Lordestyle pop melodies. But everything that first made Emmy great is still there: dense lyrics, folk storytelling and tightly constructed harmonies, all of which you’ll find on her latest album, Second Love. In the seven years since the release of debut album First Love, Moss has deepened the richness of her voice, which now sounds drenched in experience. Nothing feels quite like your first love, but the next one is usually where you come into your own. Moss has done just that. SOPHIA JUNE. Bunk Bar, 1028 SE Water Ave., 328-2865. 9:30 pm. $12. 21+.

Red Bull Sound Select: Classixx, Eliot Lipp, Karl Kling

[DISCO HOUSE] Dance-tent demigods Classixx headline the latest installment of Red Bull’s cheap-o music series, along with eclectic DJ-on-the-rise Eliot Lipp and remix master Karl Kling, a member of Portland’s own Remix Artist Collective. Doug Fir Lounge, 803 E Burnside St., 231-9663. 9 pm. $3 with RSVP at redbullsoundselect.net. 21+.

CLASSICAL, JAZZ & WORLD PDX Jazz Fest: Brian Blade & The Fellowship Band, Alicia Olatuja

[DRUM SONGS] Renowned percussionist Brian Blade leads his fellowship band with a calming artistic power, bringing to life gentle and complex musical soundscapes that pass into inquiring ears

CONT. on page 35

COURTESY OF EASTGHOST

PREVIEW

EASTGHOST

Colossal: Celebrating This Moment in Electronic Music in Portland, OR

[MASSIVE EXPO] How does one quantify the staggering array of electronic musicians and producers working in Portland today? If you’re Holocene, you stage eight producers in a circus-tent environment, weaving in sets for approximately five hours. With laptops, quarter-inch cables, MIDI keyboards and decades of obscure hardware, Colossal celebrates a span of genres and styles represented in this historic moment, when 20-something producers using Ableton create alongside seasoned scene veterans, with radically perpendicular results in genre mutation. Whether it’s represented by the live performance of Apartment Fox, the genre-striding house of Acid Farm or local OG Strategy’s deconstruction of familiar dance tropes, the wealth of talented electronic musicians assembled in this city has exploded in recent years, despite minimal exposure and modest compensation compared to, say, Seattle. The artists behind the machines represent everything from ambient sound design (Visible Cloaks) and hybrid club music (Eastghost, Rafael), but all bring a certain populist sensibility to this umbrella of musical production. WYATT SCHAFFNER. Holocene, 1001 SE Morrison St., 239-7639. 7:30 pm Wednesday, Feb. 24. $10. 21+. Willamette Week FEBRUARY 24, 2016 wweek.com

Willamette Week FEBRUARY 24, 2016 wweek.com

MUSIC with the weight of a feather. One of the most passionate performers in the genre, Blade feels every note, an inquisitive musical thinker who is equally apt to ﬂoat like a butterﬂy as he is to sting like a bee. PARKER HALL. Revolution Hall, 1300 SE Stark St. 7 pm Wednesday, Feb. 25. $15-$45. Under 21 permitted with legal guardian.

PSU Orchestra

[CRYSTAL CLASSICAL] According to Tim Hills’ 1997 book, The Many Lives of the Crystal Ballroom, three months after it opened in 1914, the cops shut down what was then called Cotillion Hall for staying open after midnight, and threatened to arrest anyone dancing the tango. To avoid a seedy dance-hall image, owner Montrose Ringler soon sublet space to a youth orchestra and music academy, and around 1916 he became Portland’s ﬁrst dance-hall operator to present a full 15-piece orchestra to accompany its waltzes and fox trots. A century later, unampliﬁed classical orchestra music returns to the Crystal when the PSU Orchestra performs waltz-meister Johann Strauss’ overture to his The Bat (Die Fledermaus) operetta, Mahler’s aching Songs of a Wayfarer and a couple of short works by Frank Zappa, the rock composer most deeply involved in classical music. BRETT CAMPBELL. Crystal Ballroom, 1332 W Burnside St., 225-0047. 7:30 pm Thursday, Feb. 25. $15-$20. All ages.

PDX Jazz Fest: RW WORKz

[BEYOND BOP] Even if you stop counting after 1970, Reggie Workman’s credits are astounding, releasing a batch of jazz albums perched on the edge of freedom. But the bassist has been at it since then, and his latest endeavor, RW WORKz, includes a batch of younger performers, including Tapan Modak on tabla. The amorphous troupe—it’s occasionally counted saxophonist Odean Pope among its members—reaches toward a contemplative spot, a space folks like Pharoah Sanders are still searching for more than 50 years after beginning to get those explorations down on record. If the Friday gig isn’t enough, though, Workman’s also set to play Saturday as part of an Alice Coltrane celebration, along with Sanders. DAVE CANTOR. Alberta Abbey, 126 NE Alberta St., 897-7037. 10 pm Friday, Feb. 26. $15-$35. All ages.

PDX Jazz Fest: Marquis Hill

[FRESH CHOPS] Trumpeter Marquis Hill is a star on the rise. The recent winner of the prestigious Thelonious Monk Competition— which places him among the best on his instrument in the world— Hill plays modern jazz melodies with a melodic sort of technicality, the kind of elegant mastery that appeals to old and new ears alike. PARKER HALL. Jimmy Mak’s 221 NW 10th Ave. 7:30 pm Friday, Feb. 26. $20 general admission, $25 reserved seating. Under 21 permitted until 9:30 pm.

PDX Jazz Fest: Universal Consciousness with Pharoah Sanders

[ALICE’S WONDERLAND] Many casual fans forget, but Alice Coltrane contributed almost as much to jazz as her husband John, composing some of the most beautiful melodies in the history of the genre. Tonight, her son, saxophonist Ravi Coltrane, leads an all-star group, including pianist Geri Allen, bass legend Reggie Workman and special guest Pharoah Sanders—one of the most critically-hailed reed men to ever live—in celebration of all things Alice. PARKER HALL. Newmark Theatre, 1111 SW Broadway. 7 pm Saturday, February 27. $29$59. All ages.

Dianne Davies

[LIFE CYCLE] Superb Portland pianist Dianne Davies is best known

CONT. on page 36

ALBUM REVIEWS

Don’t FEVER DREAMS

(Self-Released)

[PUNK ’N’ ROLL] Don’t frontwoman Je n ny C o n n o r s h a s always had an awes ome voic e . B ut on the band’s sophomore album, Fever Dreams, h e r vo c a l s a r e p a rticularly boss, striking the exact midpoint between Courtney L o v e ’s u n i n h i b i t e d gruffness and the pout of Gwen Stefani. On “’89,” Connors keeps pace with the song ’s fast tempo without losing any swagger. On “Wrong Generation,” she coughs out the verses and gets wistful on the choruses. Perhaps her vocal performance was propelled by the band’s turned-up drive. Fever Dreams is faster and punchier than Don’t’s debut, Away Away. The drums pound and roll relentlessly, and the guitars are constantly on the verge of running off into a solo. The band speeds through the album’s eight songs in a mere 21 minutes, and takes zero downtime along the way. You could maybe count the slightly slowed-down “Love Lost” as a break, but even then, the guitar sounds like a revving engine. For those who are into gut-punching rock ’n’ roll, this is some satisfying shit. SHANNON GORMLEY. SEE IT: Don’t play the Know, 2026 NE Alberta St., with the Bloodtypes and the Birth Defects, on Friday, Feb. 26. 8 pm. $7. 21+.

Various Artists

MT. PORTLAND (Self-Released) [ COM P R OCK] T he regional compilation can be a dubious undertaking. It typically runs the risk of overestimating the potential broa d a ppe a l of its scene’s subtle charm. But Mt. Portland is more a recording project, by Portland’s Buzz or Howl Studios, wherein contributions were made via a free, onsite recording session from house engineer and owner Stan Wright. Since the influx of creative types to Portland over the last several years has made transplant-composed art-rock bands ever more prevalent, there’s no shortage of delightfully strange samplings here. Ah God’s sunny, pseudoephedrine haze “Diddy” is a stoned and steady standout, opening a playlist that never lags. Candace’s “These Days” could have been a Buzz Bin hit from early-’90s MTV. Minden offers up “The Promise,” a funky, hook-laden disco groove, and Mascaras’ “Kiksadi” is an instrumental psychedelic stomp with a rhythm section so relentless your arms get tired from just listening. Amazingly, there’s not a single weak link here, a credit to Wright’s ability to deftly capture the vast expanse of genres. If the message from the top of Mt. Portland is that we’re keeping it weird so well that we’re literally giving it away gratis, then Wright can expect the waitlist for a session at Buzz or Howl to grow exponentially. CRIS LANKENAU. SEE IT: The Mt. Portland release party is at Rontoms, 600 E Burnside St., with And And And, Joel Magid, Candace, Boone Howard and Michael Finn Duo, on Sunday, Feb. 28. 7:30 pm. Free. 21+. Willamette Week FEBRUARY 24, 2016 wweek.com

MUSIC for her stylish performances and her musical comedy act. But her life has been touched by tragedy, most poignantly the death of her older sister when Dianne was 11. Music has been a healing force throughout her life, and in this unusual show, Davies has assembled recent music by various Portland composers (Tristan Bliss, Jan Mittelstaedt, Gary Noland, Art Resnick, Michael Rudolph, Jeff Winslow, Nicholas Yandell) into a musical story, with each piece reflecting the emotional impact of an event or phase of her life, from tragic to triumphant. The show also features artwork (live and otherwise) by three Portland artists, dance and more. BRETT CAMPBELL. Lincoln Hall Room 75 at Portland State University, 1825 SW Broadway. 3 pm Sunday, Feb. 28. Free.

dates here

PDX Jazz Fest: John ScofieldJoe Lovano Quartet

[SIX STRINGS, ONE REED] Bass and drums act as the glue tonight, allowing saxophonist Joe Lovano to easily sync up with guitarist John Scofield. Two of the most groove-obsessed jazz icons alive today, Scofield and Lovano will solo one after the other in a powerhouse quartet, showcasing their skills as two of their instruments’ most prominent figureheads. PARKER HALL. Revolution Hall, 1300 SE Stark St. 7:30 pm Sunday, Feb. 28. $19$49. Under 21 permitted with legal guardian.

For more Music listings, visit

PROFILE

Nominate your favorites during our annual readers’ poll 3/2–3/30.

Black Violin’s Kev Marens (left) and Wilner Baptiste.

Black Violin FEB. 24 Wilner Baptiste grew up in Fort Lauderdale, Fla., but he spent his teenage years in two different worlds. After practicing viola in music classes, “I’d put my headphones on and listen to whatever record was happening at the time. We started off with hip-hop before we even picked up an instrument.” “We” is Baptiste, 34, and high-school classmate and violinist Kevin “Kev Marcus” Sylvester, who compose Black Violin, the duo that’s busting the barriers between hip-hop and classical, old and young and—no denying it—black and white. Only 4 percent of musicians in American orchestras are black or Latino, and less than 1 percent of the music played by those orchestras was written by minority composers. Enter Black Violin, whose members say they love classical music, but they live hip-hop. Reconnecting after college, the pair started adding beats to classical tunes and, conversely, covering pop musicians from Kanye West to Wiz Khalifa. In 2004, they brought their act to the toughest audience in America: Harlem’s renowned Apollo Theater. “I remember thinking before that first show, ‘Everyone else before us got booed. We got these violins. What’s gonna happen?’” Baptiste says. “The crowd went crazy. That’s validation. That’s all we needed right there.” The performance impressed Alicia Keys’ manager, leading to gigs opening for Aerosmith and Tom Petty and the Heartbreakers and collaborations with Wu-Tang Clan and Wyclef Jean. They even played President Obama’s second inauguration, and lately have been working with symphony orchestras. Released last year, the duo’s fourth album, Stereotypes, places its target right in the title. “Every time we step onstage,” Baptiste says, “we shatter every stereotype, every perception— violin, classical music, black man, whatever.” It seems to be working. “After a lot of our shows, kids will come by and tell us, ‘I’ve been playing violin for three or four years, and I started because of you,’” he says. “Before they came to one of our concerts, they never listened to classical music. It’s incredible to get kids to look at this art form in a different way.” BRETT CAMPBELL. Black Violin is introducing rap to classical music. But first, the duo had to survive the apollo.

Nomination Categories: Food & Drink Arts & Culture Health & Wellness Media & Personalities Local Businesses Night Life Outdoor Cannabis

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SEE IT: Black Violin plays Arlene Schnitzer Concert Hall, 1037 SW Broadway, on Wednesday, Feb. 24. 7:30 pm. $22-$32. All ages. 36

Willamette Week FEBRUARY 24, 2016 wweek.com

APRIL 25-26 | THE ARMORY TICKETS ON SALE NOW: TECHFESTNW.COM

TOPICS

• USING VR TO EXTEND YOUR BRAND • TECH FOR SOCIAL GOOD • WHAT’S GOING ON WITH THE SHARING ECONOMY? • ADVANCES IN HEALTH TECH • AUTONOMOUS VEHICLES, THREATENING OR FUN? • IOT - WHAT’S THE REAL MEANING OF THE INTERNET OF THINGS?

FUN!

PITCHFESTNW FOR STARTUPS / DEMO ALLEY FEATURING THE LATEST IN VIRTUAL / AUGMENTED REALITY / PARTIES / NETWORKING

Willamette Week FEBRUARY 24, 2016 wweek.com

MR. BONES FRIDAY, FEBRUARY 26TH AT 6PM On a surface level, Mr. Bones have a lot in common with peers in the garage rock scene—the lo-fi affectations, the post-culture attitudinizing, the ironic nostalgia for a decade they were barely conscious during. But at its core, ‘Bites’ is a depressing album, a distinctly Generation Y spin on traditional pop anguish that walks the thin line between past and present, with the future in its peripheral vision.

VIRTUAL ZERO

SUNDAY, FEBRUARY 28TH AT 6PM

Virtual Zero has a message, a meaning, and a purpose. To shed light on the dark world of mental illness, to give voices to those who feel otherwise invisible, and to speak out against ridicule and rejection. We are a band of nobodies out to show everyone what nobodies can do. Being thought of as a zero has only virtual meaning, it doesn’t accurately define you. If they call you a zero you are only a virtual zero. We make music for the underdogs in life.

presented by Bluegrass Situation & Union Wine

AOIFE O’DONOVAN WEDNESDAY, MARCH 2ND AT NOON

Aoife O’Donovan’s sophomore album, “In the Magic Hour” is a 10-song album full of the singer’s honeyed vocals mixed with gauzy, frictionless sounds: splashing cymbals, airy harmonies, the leisurely baritone musings of an electric guitar. Written in the wake of O’Donovan’s grandfather’s death, “In the Magic Hour” is her most introspective effort yet, an aching exploration of memory and mortality.

-RECORD RELEASE EVENT-

THAO & THE GET DOWN STAY DOWN FRIDAY, MARCH 4TH AT 6PM

Willamette Week FEBRUARY 24, 2016 wweek.com

MUSIC CALENDAR WED. FEB. 24 Alberta Street Pub 1036 NE Alberta St Young Elk

Arlene Schnitzer Concert Hall

1037 SW Broadway Black Violin

Dante’s

350 West Burnside SUPERSUCKERS with The Yawpers, and I Can Lick Any SOB in the House

Doug Fir Lounge 830 E Burnside St Earphunk

Duffs Garage

2530 NE 82nd Ave Tough LPyle; Zydeco Jam

Ash Street Saloon

Edgefield

Corkscrew Wine Bar

Goodfoot Pub & Lounge

225 SW Ash The Ginns

1665 SE Bybee Blvd Will Scriven

Doug Fir Lounge 830 E Burnside St Mike Love

Duffs Garage

2530 NE 82nd Ave Arthur Moore; Blues Jam

Edgefield

2126 S. W. Halsey ST. Jackalope Saints

Goodfoot Pub & Lounge 2845 SE Stark St Wil Blades Trio featuring special guest Skerik

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Scarface, Cool Nutz, Bad Habitat

Jade Lounge

2348 SE Ankeny Mathew Zeltzer Hosts

Jimmy Mak’s

221 NW 10th Ave West Coast Blues: Celebrating Wes, Jimmy, and Trane

McMenamins Al’s Den 303 SW 12th Ave PDX Jazz Fest Presents: Coltrane Tribute Series

Mississippi Studios

3939 N Mississippi Ave Sam Outlaw, Whitney Rose

Panic Room

3100 NE Sandy Blvd Sissy Spacek, Rohit, Purity of Essence, Prolix Destruct, Redneck

Revolution Hall

1300 SE Stark St., No. 110 Indigo Girls

Roseland Theater

8 NW 6th Ave Kip Moore, The Cadillac Three

The Know

2026 NE Alberta St ThirstyCity: FFU take over

The White Eagle 836 N Russell St Sean Rowe

Wonder Ballroom

128 NE Russell St. Parquet Courts, The Woolen Men

THURS. FEB. 25 Alberta Street Pub 1036 NE Alberta St Jasper T

Analog Cafe & Theater 720 SE Hawthorne Blvd Secrets

Ash Street Saloon 225 SW Ash Vandfald

Bunk Bar

1028 SE Water Ave. Guantanamo Baywatch, Patsy’s Rats, Warpfire

Clinton Street Theater 2522 SE Clinton St East Forest

Corkscrew Wine Bar 1665 SE Bybee Blvd Adlai Alexander Trio

Crystal Ballroom

1332 W Burnside St PSU Orchestra

2126 S. W. Halsey ST. Tony Smiley 2845 SE Stark St DeadPhish Orchestra

Holocene

1001 SE Morrison St SANKOFA: A Celebration of the African Diaspora

Jimmy Mak’s

221 NW 10th Ave Chuck Israels Sextet

LaurelThirst Public House

2958 NE Glisan St Lewi Longmire & the Left Coast Roasters

Edgefield

221 NW 10th Ave PDX Jazz Fest: Marquis Hill

Mississippi Studios

3939 N Mississippi Ave. Dustbowl Revival

Newmark Theatre

1111 SW Broadway Africa Brass Ensemble

Revolution Hall

1300 SE Stark St #110 Railroad Earth

Smart Collective

6923 SE Foster Rd. Fringe Class, Peridot, Pedestrian Death Gang

The Firkin Tavern

1937 SE 11th Ave Butter Fly//Stunning Rayguns//TBA

The Know

2026 NE Alberta St. The Bloodtypes, The Birth Defects, Don’t

The Secret Society

Revolution Hall

Twilight Cafe and Bar

Roseland Theater 8 NW 6th Ave Keys N Krates

Star Theater

13 NW 6th Ave RINGO DEATHSTAR, Future Death, Hollow Sidewalks, LiquidLight

Starday Tavern

6517 SE Foster Rd. Golden Handcuffs, The Toads

The Know

2026 NE Alberta St LORD BECKY

The White Eagle 836 N Russell St The Way Downs

Twilight Cafe and Bar

1420 SE Powell The Hague, Cool American, Signal Man, Hard Sulks

Wonder Ballroom 128 NE Russell St Jeff Austin Band

FRI. FEB. 26 Aladdin Theater

3017 SE Milwaukie Ave. Drew Holcomb & The Neighbors, Sean McConnell

Alberta Abbey

126 NE Alberta St. PDX Jazz Festival: RW WORKz

Alberta Street Pub 1036 NE Alberta St Weezy Ford

Ash Street Saloon

225 SW Ash Farnell Newton & the Othership Connection

Bunk Bar

1028 SE Water Ave. Fog Father /// Light Thieves /// Bud Wilson (Aan)

Dante’s

350 West Burnside SHARKMUFFIN with Water Water, and Thundering Asteroids

Doug Fir Lounge

830 E Burnside St. Just People, Marv Ellis and We Tribe, Worth

Duffs Garage

2530 NE 82nd Ave Blues for Bernie; Coldwater

LAST WEEK LIVE

Jimmy Mak’s

3939 N Mississippi Ave Denver 1300 SE Stark St #110 PDX Jazz Fest: Brian Blade & The Fellowship Band, Alicia Olatuja

[FEB. 24-MARCH 1]

2126 S. W. Halsey ST. The Resolectrics

116 NE Russell St Secret Society Soul Revue with Goldfoot, Quiet Type, La Rivera, DJ Klavical

Mississippi Studios

For more listings, check out wweek.com.

bRIDgET bAkER

= 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.

1420 SE Powell Saint Jack’s Parade(Release)/Recker/ DC Malone and the Jones

Vie de Boheme

1530 SE 7th Ave Ian Maksin + Goran Ivanovic

Wonder Ballroom 128 NE Russell St Papadosio

SAT. FEB. 27 Alberta Rose Theatre 3000 NE Alberta St Eilen Jewell

Arlene Schnitzer Concert Hall

1037 SW Broadway Return to the Cotton Club

Artichoke Music

STARMAN AND COFFEE: It felt like we got away with one, standing inside Bunk Bar on Feb. 19, watching the drummer from the calamitous and ever-buzzed-about band Foxygen take over a venue the size of a large living room. The dual projectors, throwing media on a handful of geometric-shaped screens, suggested the production value of a band on an international tour. Yet, there we were, jaws agape as Shaun Fleming, aka Diane Coffee, treated us to an arena-worthy set of hyperactive new soul. Fleming, a former child actor, has held onto all the stagecraft he learned as a kid. Over the course of the evening, he sang and slow-danced with crowd members, threw out winks like confetti and swapped his suit for a rhinestone jumper. His face was painted blue and gold and dusted in glitter. The set was sharp and filling, fleshed out by his five-piece band. They pulled equally from both of his records and made timely nods to Bowie, including a quick cover of “Suffragette City.” Much has been said of Foxygen, and having seen the band live a handful of times, I was expecting chaos. Yet, Diane Coffee walked that tightrope between tepid and wincingly awkward. It was highly flammable—in the form of raucous solos, bizarre rants and extremely animated stage mannerisms—but it never combusted. It was a doo-wop revival according to a high-functioning, neurotic, extremely talented quintet. MARK STOCK. The Secret Society Hawthorne Theatre

3130 SE Hawthorne Blvd Mindy Dillard

1507 SE 39th Suburban Vermin / As The Moon

Ash Street Saloon

Jade Lounge

225 SW Ash Ethereal Sea

Buffalo Gap

6835 SW Macadam Ave. JT Wise Band

Bunk Bar

1028 SE Water Ave. The Ghost Ease Live Album Release Show with Golden Hour

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd Norman Sylvester

Crystal Ballroom

1332 W Burnside St Galactic

Dante’s

350 West Burnside ORACLE RISING (Godsmack Tribute) & MIDLIFE CRISIS (Faith No More Tribute...

Doug Fir Lounge

830 E Burnside St. Basia Bulat, The Weather Station

Duffs Garage

2530 NE 82nd Ave Boyd Small; Kenny Ray

Edgefield

2126 S. W. Halsey ST. Moody Little Sister

Goodfoot Pub & Lounge 2845 SE Stark St The Goodfoot’s 15th Anniversary Party featuring Garcia Birthday Band

2348 SE Ankeny Hannah Lemons; JD Dawson’s Songwriters Showcase

Jimmy Mak’s

221 NW 10th Ave Orrin Evans Trio

Mississippi Studios

3939 N Mississippi Ave. Beacon, Natasha Kmeto

Mothership Music

3611 NE MLK Consumer, Dr. Amazon, Sea Charms

Newmark Theatre

1111 SW Broadway PDX Jazz Fest: Universal Consciousness with Pharoah Sanders

Roseland Theater

8 NW 6th Ave BRILLZ & Party Favor

Solaes Jazz Restaurant 1801 NE Alberta Street David Friesen

Star Theater

13 NW 6th Ave LUKE KAUFMAN with Matt Borden PROFESSIONAL BULL RIDERS AFTER PARTY

The Firkin Tavern

116 NE Russell St Redray Frazier, Lael Alderman, The Frequence

The White Eagle

2126 S. W. Halsey ST. Lynn Conover & John Mitchell

Hawthorne Theatre

836 N Russell St RILLA

1507 SE 39th Vince Staples

Twilight Cafe and Bar

Jade Lounge

1420 SE Powell The Ransom/The Food/ The Lovesores

Vie de Boheme

1530 SE 7th Ave Ken DeRouchie Band

SUN. FEB. 28 Aladdin Theater

3017 SE Milwaukie Ave HAPA

Alberta Rose Theatre

3000 NE Alberta St Hello Everybody: Music Together Teachers Concert and Scholarship Fundraiser 3:00 pm Show

Arlene Schnitzer Concert Hall

1037 SW Broadway Oregon Symphony Portland

Ash Street Saloon 225 SW Ash Cool Nutz

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd Ron Steen Jazz Jam

1937 SE 11th Ave Outer Space Heaters + The Punctuals + Blind Swords (Radio Hot Tub Showcase)

Corkscrew Wine Bar

The Know

Doug Fir Lounge

2026 NE Alberta St Something I’m Proud Of

Edgefield

1665 SE Bybee Blvd Accordion Songs with Jet Black Pearl 830 E Burnside St. John Moreland, Lilly Hiatt

2348 SE Ankeny Joshua Miley Marks

The Secret Society

Bunk Bar Water

The White Eagle

830 E. Burnside St Red Bull Sound Select: Classixx, Eliot Lipp, Karl Kling

116 NE Russell St The Bumper Jacksons, Pretty Gritty 836 N Russell St The Portland Sound

MON. FEB. 29

McMenamins Al’s Den

Analog Cafe & Theater

Mississippi Studios

Ash Street Saloon

303 SW 12th Ave. Kendl Winter

3939 N Mississippi Ave. Freakwater, Jaye Jayle, Drunken Prayer

Panic Room

3100 NE Sandy Blvd Demure / The Stein Project / The Adnas / The Wilder

Portland State University, Lincoln Hall, 1620 SW Park Avenue, Portland, Oregon 97201 Dianne Davies

Revolution Hall

1300 SE Stark St #110 PDX Jazz Fest: John Scofield-Joe Lovano Quartet

Rontoms

600 E Burnside St Mt. Portland Compilation Release

Scandals

1125 SW Stark St Laurent Nickel & the Stark Street Jazz All-Stars Laurent Nickel, Dan Balmer, Shelly Rudolph, Mike Horsfall, & Nick Saume

The Blue Room Bar 8145 SE 82nd Ave. Bill Coones Trio

720 SE Hawthorne Blvd From Indian Lakes 225 SW Ash Chris Carpenter & The Collective

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd Mac Potts

Dante’s

350 West Burnside Karaoke From Hell

Mississippi Studios

3939 N Mississippi Ave Bobby Long, Santi Elijah Holley

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

TUES. MARCH 1 Alberta Rose Theatre

3000 NE Alberta St Lorie Line

Ash Street Saloon 225 SW Ash Black Sand

Bossanova Ballroom

1028 SE Water Ave. Emmy the Great

Doug Fir Lounge

Duffs Garage

2530 NE 82nd Ave Big Bossa Jazz Jam

Edgefield

2126 S. W. Halsey ST. The Old Yellers

Goodfoot Pub & Lounge 2845 SE Stark St JIMMY RUSSELL’S PARTY CITY 2034 (Free)

Jimmy Mak’s

221 NW 10th Ave JSO Battle of the Bands

Landmark Saloon 4847 SE Division St Honky Tonk Union

LaurelThirst Public House 2958 NE Glisan St Jackstraw

Mississippi Studios

3939 N Mississippi Ave Martha Scanlan John Neufeld Duo

Roseland Theater 8 NW 6th Ave Shinedown

The White Eagle

836 N Russell St Somerset Meadow

Wonder Ballroom

128 NE Russell St Carly Rae Jepsen

722 E Burnside St Portland Blues & Jazz Dance Society

Willamette Week FEBRUARY 24, 2016 wweek.com

ACOUSTIC GUITAR SUMMIT Terry Robb, Mark Hanson, Doug Smith

FRIDAY, MAR 4 7:30PM FINGERSTYLE GUITAR | $18 / $22 DELGANI STRING QUARTET

FRIDAY, MAR 11 7:30PM CLASSICAL | $12 / $20 / $25 BODYVOX

FRIDAY, APR 1 7:30PM MODERN DANCE | $10 / $15 / $20 OREGON MANDOLIN ORCHESTRA

FRIDAY, APR 22 7:30PM CLASSICAL / BLUEGRASS | $15 / $20 TONY FURTADO

FRIDAY, MAY 6 7:30PM ROOTS / SLIDE GUITAR | $20 / $25 COLLEEN RANEY

FRIDAY, MAY 20 7:30PM CELTIC / SINGER SONGWRITER | $14 / $18

Call for tickets or visit www.brownpapertickets.com

Walters Cultural Arts Center

527 E. Main Streetâ&#x20AC;&#x201D;Hillsboro, OR Box Office: 503-615-3485 www.hillsboro-oregon.gov/Walters

Willamette Week FEBRUARY 24, 2016 wweek.com

Where to drink this week. 1. Cascade Brewing Barrel House

BRIDGET BAKER

BAR REVIEW

939 SE Belmont St., 265-8603, cascadebrewingbarrelhouse.com. Like the town of Astoria or relatives who are very rich, Cascade should always be visited at least once a year for hidden treasures. Well, this is that week. Through Monday, it’s pouring every crazy thing from its cellars.

2. Pilcrow

830 NW Everett St., 802-0755, worldfoodsportland.com. “Enjoy a glass of beer or wine while you shop!” reads the sign by the Pearl District World Foods’ little elbow of a grocery-store bar. It is perhaps the most wonderful sign in all of Portland.

3. Great Notion Brewing 2204 NE Alberta St., No. 101, 548-4491, greatnotionpdx.com. Great Notion is still a very young brewery. It’s also already one of the most exciting in town, with a pair of IPAs that take aromatic hops to a whole ’nother level. Never give an IBU.

4. No Fun

1709 SE Hawthorne Blvd., 236-8067, devilsdill.com. No Fun serves up Devil’s Dill sandwiches and, lately, the best damn karaoke night in town each Wednesday, with oﬀ-theclock members of local bands airing out their pipes.

5. Ben’s Bottle Shop

8052 E Mill Plain Blvd., Vancouver, 360-314-6021, bensbottleshop.com. Soon, you will want a Vancouver beer—beer unavailable in Oregon. If you would also like to watch a Blazers game and eat a huge burger, welcome to Valhalla.

XOCOLATA XURROS: When Portlanders bring worldly business concepts here, they’re typically adjusted to better adapt to the environment. Our Real Ales get hoppier, our pizza toppings get heavier and everything gets some kale. The new Spanish-style xurreria on Northeast Broadway is a rare exception. That spot, 180 (2218 NE Broadway, 180pdx.com), comes from Jose Chesa and Cristina Baez, owners of the excellent Spanish eatery Ataula in Northwest. Their new project is self-assuredly simple. It’s a barebones space, more kitchen than cafe, with high ceilings, concrete floors and 10 metal stools along chest-high counters. They serve several varieties of deep-fried dough, little cups of sauce-thick cocoa and coffee. The best are the churros rellenos, 4-inch stubs that come in pairs for $3, filled with chocolate, dulce de leche or creme brulee. They’re served on stainless-steel racks, and get even better when you dip them in xocolata, a thick sauce of rich, warm and only mildly sweet liquid cocoa ($4 for 4 ounces) served in a small mug à la Turkish coffee. It’s not a place you want to linger, but everything on the tiny menu is good. Everyone I know who’s been to both Spain and 180 has praised the shop’s authenticity. That’s a welcome change, even if the locals might eventually demand cushier seats and a cocktail version of the chocolaty beverage. MARTIN CIZMAR. Moloko

3967 N Mississippi Ave Monkeytek & Friends

SAT. FEB. 27 Analog Cafe & Theater

WED. FEB. 24 Dig A Pony

736 SE Grand Ave HOLLA ‘N OATES (shoutsraps, dad rock)

Holocene

1001 SE Morrison St Colossal: Celebrating This Moment in Electronic Music in Portland, Oregon

Lovecraft Bar

421 SE Grand Ave Psychopomp with Ogo Eion

Plew’s Brew’s

8409 N Lombard St Wiggle Room (electronica, disco, house, hip-hop, downtempo)

THURS. FEB. 25 Dig A Pony

736 SE Grand Ave THE AMBASSADOR (soul, Latin, Brazilian)

Lovecraft Bar

421 SE Grand Ave

Shadowplay (EBM, goth, industrial, darkwave)

Panic Room

3100 NE Sandy Blvd RCU Presents Tetsuo vs House Call: Jeromy Nail and More!

FRI. FEB. 26 Dig A Pony

736 SE Grand Ave COOKY PARKER (soul)

Holocene

1001 SE Morrison St Dr. Adam (hip-hop, house, R&B, remixes)

Euphoria Nightclub

315 SE 3rd Ave No Vacancy// 021feat. Vanilla Ace

720 SE Hawthorne Blvd ANDAZ Bhangra Bollywood Dance with DJ Anjali and The Incredible Kid

Dig A Pony

736 SE Grand Ave FREAKY OUTTY

Holocene

1001 SE Morrison St Main Squeeze with DJs Kiffo & Rymes (house, techno, disco)

Jo Bar & Rotisserie

715 NW 23rd Ave Saturday Night Spins (funk, soul, R&B, deep house)

Lovecraft Bar

SUN. FEB. 28 Dig A Pony

736 SE Grand Ave Do Right Sunday (rap, electro, R&B)

Lovecraft Bar

421 SE Grand Ave SOFTCORE MUTATIONS with DJ Acid Rick (hunkwave)

MON. FEB. 29 Dig A Pony

736 SE Grand Ave BROTHER CHARLIE (Brazilian)

TUES. MARCH 1 Lovecraft Bar

421 SE Grand Ave BONES with DJ Aurora (goth)

421 SE Grand Ave Darkness Descends

The Lost & Found DJ AM Gold (oldies)

Goodfoot Pub & Lounge

2845 SE Stark St SOUL STEW (funk, soul, disco, breakbeats)

Lovecraft Bar

421 SE Grand Ave Club Kai Kai Drag Dance Party

Willamette Week FEBRUARY 24, 2016 wweek.com

G R E G PA R K I N S O N P H OTO G R A P H Y

PERFORMANCE = WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: ENID SPITZ. Theater: ENID SPITZ (espitz@wweek.com). 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 Bad Kitty

Kitty just wants a good nip and a nap, but life’s clumps stink things up in this Oregon Children’s Theatre adaptation of the best-selling book series. Extra shows 11 am Saturday, March 12 and 26. Winningstad Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturday; 11 am and 2 pm Sunday, through March 27. $14-$28.

King Lear

Post 5’s ﬁrst season sans Boyces starts with madness. Shakespeare’s biggest dive into daddy issues follows the insecure Lear as he denounces his daughters and wanders, blind and mad, through a tempest. Shouldering the beast of a role is Drammy Lifetime Achievement Award-winner Tobias Andersen, joined by Portland’s powerful Ithica Tell. Directed by Rusty Tennant, who’s one third of the theater’s new management team. Post 5 Theatre, 1666 SE Lambert St., 971-2588584. 7:30 pm Friday-Sunday, Feb 26-March 19. $20.

The Revenge of the 47 Loyal Samurai Japanese kabuki theater is like a kimono—visually rich, often stiﬀ and takes a village to put on. PSU’s Japanese studies and theater schools team up for the ﬁrst-ever kabuki production at a U.S. university. PSU Lincoln Performance Hall, 1620 SW Park Ave., 725-3307. 7:30 pm Wednesday-Saturday and 2 pm Sunday, Feb. 26-March 5. $15.

The Screwtape Letters

Touring the country as Satan’s best psychiatrist, creator and star Max McLean stages a minimalist version of C.S. Lewis’ hellish tale. In it, Screwtape, looking like an extra from the new Sherlock Holmes, schemes with his minions to damn human souls. Newmark Theatre, 1111 SW Broadway Ave., 800-273-1530. 7:30 pm Tuesday-Wednesday, March 1-2. $39.50-$59.50.

NEW REVIEWS Each and Every Thing

Dan Hoyle’s one-man show about closing screens and catching up over coffee—even with a stranger—won standing-O approval for Portland Center Stage. Acting out connections with a Chicago drug dealer, his BFF Pratim or strangers in a Calcutta cafe, Hoyle plays over a dozen characters deftly and even sings a song about phone zombies and an ode to the newspaper (performed as a ’90s boy band slow jam). The stage is sparse—a chair, title placards, an acoustic guitar—so Hoyle’s quick-turn conversations shoulder the themes. After a digital detox retreat, Hoyle confesses, “It all sounds like a bunch of hippie shit,” but it’s Pratim’s kicker that sums up the show: “It’s so much better when you find a part of yourself in other people than when you find yourself.” And Hoyle opens that window—no screens required. MERYL WILLIAMS. Ellyn Bye Studio at the Armory, 128 NW 11th Ave. 7:30 pm Tuesday-Friday, noon Thursday, and 2 and 7:30 pm Saturday-Sunday, through March 27. $40. 16+.

Howie the Rookie

We’ve all been there: nodding along politely while someone who thinks they’re very cool recounts a drunken night you weren’t there for. Factory

Theater’s Howie the Rookie is 80 minutes of that painful morning-after story. The whole production could use the footnote, “You really had to be there.” A one-man show featuring a wavering Irish accent, multiple anecdotes about sex with “fat women,” and jumpy body movements, it asks too much of an audience that’s already working to decode the 23 characters and 21 obscure Irish terms in the playbill. SOPHIA JUNE. Shout House, 210 SE Madison St., 541-5810503. 8 pm Thursday-Sunday, Feb. 25-March 6. $20.

THE NEW GUARD: (From left) Paul Angelo, Rusty Tennant and Patrick Walsh.

Mothers and Sons

When Katharine Gerard, an icy WASP in her knee-length fur, ﬁnally cracks and demands why Cal Porter hasn’t seen some form of karmic punishment for his reproachful lifestyle in the dialogue-driven play by Tony-winning playwright Terrence McNally, the intake of breath inside the theater was audible. Twenty years after the her son died from AIDS, Katharine (JoAnn Johnson) makes a surprise visit to the home of his former lover, Cal (Michael Mendelson). Now married and the father of a son with his husband, Will (Ryan Tresser), Cal is unsure how—or if—to make amends. Directed by Jane Unger, the real-time show moves at a swift clip, with the fevered monologues and awkward silences equally enthralling. Its success comes from searing dialogue, deftly handled by a cast skilled at manipulating the subtlety of honest emotion. From meltdowns and biting wit to perfectlydelivered sarcasm, nothing seems forced. The verbal sparring between Johnson’s stalwart Katharine and Mendelson’s compassionate-yet-seething Cal is captivating. And the fun comes when Tresser’s straightforward Will attempts to unhinge Katharine in the politest manner possible. Extra shows 11 am Wednesday, Feb. 24 and 2 pm Saturday, March 5. PENELOPE BASS. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesday-Sunday and 2 pm Sunday, through March 6. $48.

ALSO PLAYING Blasted

PTSD, brutal sex and racism rocket to center stage in Dufunkt’s wonderful and gut-punching production of Sarah Kane’s first play. In it, the repulsively offensive journalist Ian rapes an unsuspecting ingénue named Cate in his Leeds hotel room, which is then stormed by a rebel soldier armed with a rifle. Scenes of anal rape, brutality and cannibalism earned Blasted harsh criticism and then strong praise from Harold Pinter— we’re with Pinter. Not recommended for audiences under 18. There will be a post-show discussion about PTSD and domestic violence on Saturday, March 12. No show Feb. 28. Back Door Theatre, 4321 SE Hawthorne Blvd., 481-2960. 7:30 pm Thursday-Sunday, Feb. 25-March 19. $10-$25.

Breaking Rank

Five female veterans from Portland share their experiences in and out of combat, and always surrounded by men. Some weathered combat zones and others sexual assault, some were enlisted and others oﬃcers and together they represent many arms: Navy, Air National Guard, Air Force, Army. Milagro Theatre, 525 SE Stark St., 459-4500. 7:30 pm Wednesday and Sunday, 2 pm Saturday, through March 5. $15.

Willamette Week FEBRUARY 24, 2016 wweek.com

CONT. on page 44

Under New Management POST5’S FORMER DIRECTORS MADE SWEEPING CHANGES, THEN DEPARTED TO SEATTLE. MEET RUSTY TENNANT, ONE OF THE PEOPLE GIVING THE COMPANY NEW LIFE. “I haven’t had a day off since Dec. 29,” says Rusty Tennant, one of Post5 Theatre’s new artistic directors. Since taking charge last October, Tennant and co-artistic directors Paul Angelo and Patrick Walsh haven’t just replaced Portland power couple Ty and Cassandra Boice. The trio remodeled Post5’s space, changed its business model, gave it a new slogan, and switched up the coming year’s lineup. The new Post5 debuts this weekend with King Lear, directed by Tennant. ENID SPITZ. WW: After running Post5 for years, Ty and Cassandra Boice moved to Seattle last year and you took over. The company has been radio silent for months. What’s going on in Sellwood? Rusty Tennant: We’ve taken a few months off to get through the transition and do a ton of renovation. Not with money capital—we don’t have that—but with sweat. We want to get it out there: There’s new leadership, it’s a new experience. So is this a brand-new Post5? You’ll recognize the faces from old shows, but it pretty much ends there. Same company, same building, but the bar turned into a black-box space to rent. There is a small satellite bar that fits 40 people. Upstairs, it’s a completely different world. The old slogan was “Come play with us,” and we want to elevate that to “Come grow with us.” Post 5 was fledgling, and it’s time to make it or break it. If we want to be legit and bring edgy theater to Sellwood, we have to up the game. How are you positioning Post5? Southern Portland needs an outlet for creative talent, an outlet for real gritty, edgy theater. Certainly there’s Clackamas, but that’s far away. Diversity is a huge part of what we want to showcase, and in King Lear, Tobias [Andersen] leads the way as an 80-year-old performer. To steal from Kevin Costner: “If we build it, they will come.”

What about the old Post5? Ty and Cass built something really great. Maybe it wasn’t managed in the way we would have managed it. It was a bit financially mismanaged, but they were in their mid- to late 20s. They were young and exuberant, and the choices they made were exciting…but there were too many big productions without any resources for funding. We were handed a season we didn’t know and, quite frankly, weren’t interested in. So we had to modify the season and cut four large-cast shows. That money we would have put into wood we can now use to pay people. The season that was proposed would have left us most assuredly bankrupt or in need of an enormous donation. Then, every theater here is one big mistake from going under. Is that a bigger problem in Portland’s theater scene? It’s no secret that Portland theater is funded by one person. It’s like an experiment: What happens in a small market if you give artists money and allow them to create? I’ve never been involved in this much theater—not in Michigan, L.A., Las Vegas, Dallas, New Orleans—because I wouldn’t be making the money that I make here. But to be involved at PCS, Artists Rep, Third Rail is tough. They hire strictly equity actors, except in special situations. They have a group of people they work with—I can read names or you can just look at their wall. How is your model for Post5 different? I love what PCS creates, but it all goes into the dumpster…it’s incredible waste. We’re not just going to throw thousands away. People are coming too see Todd Van Voris, Ithica [Tell] or Jessica Tidd onstage, not a set. My teacher once said that directing is, “If you give me chicken heat lamps and blank stage, what can I make?” We have slightly better down in Sellwood now, but we need to be smart. We are more conservative moving forward with the finances. What we’ve been dealing with thus far have been the forest fires. Now, we’re more dealing with the campfire. SEE IT: King Lear is at Post5 Theatre, 1666 SE Lambert St., 971-333-1758. 7:30 pm Friday-Sunday, through March 19. $20.

Willamette Week FEBRUARY 24, 2016 wweek.com

PERFORMANCE Havana in the 1950s evokes images of a modern-day Vegas, but not for Anslemo and Lala. The middle-class Cuban couple juggles money troubles and the impending revolution while trying to keep up appearances in this comedy by popular Cuban playwright Héctor Quintero. The play will be performed in Spanish—billed as the only foreign-language production in Portland this season—with English supertitles. Milagro Theatre, 525 SE Stark St., 236-7253. 7:30 pm Thursday-Saturday and 2 pm Sunday, Feb. 25-March 5. $25.

Forever

The Père Lachaise cemetery in Paris is famous as the final resting spot for some of history’s most famous artists, and it’s the jumping-off point for Pulitzer finalist Dael Orlandersmith’s one-woman show. Walking through the graves conjures up her memories of growing up with an alcoholic mother. The raw and emotional tellall won praise from The New Yorker when it opened off-Broadway last spring. Domestic trials, confessional monologues, pathos for the well-educated—PCS has a formula. That said, it normally adds up. Ellyn Bye Studio at the Armory, 128 NW 11 Ave., 445-7300. 7:30 pm Tuesday-Sunday, noon Thursday and 2 pm Saturday-Sunday. Feb. 24-March 20. $40. 16+.

Mr. Kolpert

If you like your comedy deafening, profane and in the vein of Zack and Miri Make a Porno, Mr. Kolpert has the blood spurts and c-words for you. When two young professionals invite a married couple for dinner, the night is awkward and deranged from the start—inappropriately slutty Sarah dresses like early Lady Gaga, her boyfriend Ralf spouts nonsensical chaos theory about coffee creamer and type A+ architect Bastian explodes in fits of domestic violence. But the shitstorm focuses on a chest at center stage, which Ralf claims holds the body of his wife’s co-worker, an Office Space-type bore named Mr. Kolpert. For 85-plus minutes, the small cast (visited by the undeniable Chip Sherman as the pizza man) screams every line of dialogue at a breakneck pace, pausing only to jump on furniture, bludgeon each other or throw tiramisu. They deserve recognition for going full monty. I wanted badly to like it, but this staging mixes the gore of Tarantino with the Three Stooges’ sensibilities, garnishes the mess with projectile vomiting and tops it off with full nudity. Third Rail’s been sitting on this script for a while, mustering the balls to stage it. Now that it’s arrived, balls to the wall can barely describe the show, which would benefit from a dash of nuance. There is a life lesson in there about the desensitization of modern society and our unquenchable thirst for overstimulation, but, like an arena concert, sometimes it’s hard to hear the music for all the noise.Imago Theatre, 17 SE 8th Ave., 235-1101. 7:30 pm Wednesday-Saturday and 2 pm Sunday, through Feb. 27. $42.50.

Much Ado About Nothing

North Portland’s intimate theater sets Shakespeare in Texas, with a contemporary soundtrack and extra slapstick sensibilities. Expect three hours of caterwauling comedy and seats close enough to see the actors’ laugh lines. Twilight Theater Company, 7515 N Brandon Ave., 847-9838. 8 pm Thursday-Saturday and 3 pm Sunday, through Feb. 27. $15.

Richard III

In Shakespeare’s second-longest show, Richard III (Samuel Summer) claws his way to power through murder and deception, like a Frank Underwood for the Middle Ages. Summer carries the show, bringing an eerie casualness to the role, especially as he lackadaisically leans against the venue’s bar. Tasked with delivering the majority of the lines, he uses his upper register and a modern speech rhythm to keep the dialogue engaging for the modern ear. The show succeeds in its minimal aesthetic; there are no set pieces and the characters are all dressed in a Spring Awakening meets Free People

style. But overacting and overstaging make Speculative Drama’s production feel longer than its two-and-a-halfhour runtime. SOPHIA JUNE. The Steep and Thorny Way to Heaven, SE 2nd Ave. and Hawthorne Blvd., thesteepandthornywaytoheaven.com. 7:30 pm Thursday-Saturday, through Feb. 27. $10-22.

Sense and Sensibility

The acting school mounts a new adaptation by Kate Hamill, who played the lead in the New York premiere in 2014. There’s not much twist here—no modernization, no zombies—nothing wrong with plain Jane. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm Thursday-Saturday and 2 pm Sunday, through Feb. 28. $10-$25.

The Set-Up

This 1920s boxing drama follows a black former prize-ﬁghter named Pansy Jones as he tries to shoulder back in to the middleweight arena. Staged in alternating scenes of music, poetry and physical theater, Cygnet’s production is a rhyming and artistic jazz-era Rocky, with race relations thrown in for an extra punch and a soundtrack by local jazz musician Adrian Baxter. Shaking the Tree Theatre, 823 SE Grant St., *235-0635. 7:30 pm Thursday-Saturday and 2 pm Sunday, Feb. 25-March 5. $25.

What Every Girl Should Know

1914. Catholic girls reformatory. Masturbation. There are things that every girl should know, and when a newcomer named Joan brings Margaret Sanger’s writings and birth control tips to three budding teens, she spurs an unholy mess. Triangle theater likes their plays to include penises, sparkles and politics—as many as possible, as often as possible. Planned Parenthood is pairing with the theater for a talkback after the show Sunday, Feb. 21. The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 7:30 pm Thursday-Saturday, through Feb. 27. $15-$35.

You For Me For You

If Kafka, Lewis Carroll and Dalí met in the woods, their collective diary might look like Junhee’s story in Mia Chung’s play about two North Korean sisters separated at the border when they try to escape starvation and censorship. But Junhee (Khanh Doan) is only half the story in Portland Playhouse’s deftly-staged show. The backdrop—a tiled world map on three sliding panels—splits to reveal an alternate stage. There, Junhee’s sister Minhee (Susan Hyon) escapes to New York City and is bluntly introduced to modern culture via customs and Costco sampling ladies (all played with oversized hilarity by Nikki Weaver) in a montage of skit-like scenes. As Junhee tries to ﬁnd her son, who’s been shipped to re-education school for possessing South Korean DVDs, she encounters a series of trippy trials. Paint these tree leaves; make this rice sing; save this man in a bear costume playing the accordion. Short scenes keep the show engaging, but there’s no lack of emotional heft thanks to Doan and Hyon’s convincing sisterhood and the thematic rain cloud of Communist oppression. The play’s one fault is its rushed resolution, when Minhee’s inevitable return to North Korea comes and goes too quickly for us to buy into—and that’s in a play where singing rice bags are fully believable. Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm Wednesday-Saturday and 2 pm Sunday, through Feb. 28. $32-$36.

The 25th Annual Putnam County Spelling Bee

Six awkward tweens vie for ﬁrst place in what’s become American pop culture’s most famous spelling bee. The Tony-winner is pure family theater, essentially a sing-along about how to come of age, cope with the ‘rents and take losing in stride. Annie Kaiser directs, reaching for another Drammy nod to follow last years’, and the adult cast is mainly children’s theater veterans, or newcomers making the jump from Lake Oswego’s small Lakewood Theatre. . Broadway Rose Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursday-

Willamette Week FEBRUARY 24, 2016 wweek.com

Saturday, 2 pm Saturday-Sunday, through Feb. 28. $20-$44.

COMEDY & VARIETY Aces National Forest

Shows starring Shelley McLendon and Michael Fetters as the titular Aces rarely flash into Portland’s comedy scene—but when they do, it is lucid. Their fifth sketch comedy show goes backwoods, playing off camp tropes and shower jokes. Get your ax to Chinatown. . The Siren Theater, 315 NW Davis St. 8 pm Friday-Saturday, through March 12. $15-$20.

Extra Cheese

Brodie Kelly’s weekly pizza party/ comedy showcase gives locals a tight 5 for standup, and coincides with happy hour: $2.50 pints. Hotlips Pizza, 2211 SE Hawthorne Blvd., 234-9999. 8:30 pm Mondays. Free.

Steve-O

Original Jackass cast member Steve-O (Stephen Gilchrist Glover to his mom and dad) is known for, among many things, having his own face tattooed on his back. Most recently, Steve-O has taken his outrageous behavior to the comedy stage. Here’s a dude who famously skated a half-pipe in his living room on an episode of MTV Cribs, so one can only imagine what he does on stage. MIKE ACKER. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, Feb. 25, 7:15 pm and 10:15 pm Friday-Saturday, Feb. 26-27. $22-$36. 21+.

Sunday School

Workshop students, veteran crews and groups that pre-register online perform long form improv every Sunday. Curious Comedy Theater,

5225 NE Martin Luther King Jr. Blvd., 477-9477. 6 pm Sundays. $5 suggested donation.

DANCE Romeo & Juliet

Ending OBT’s 15-year hiatus from the Montague-Capulet catfighting in James Canfield’s signature ballet, the ballet brings fair Verona back for a week of heartbreak and Prokofiev, with Xuan Cheng as Juliet and Peter Franc dancing Romeo. Keller Auditorium, 222 SW Clay St., 222-5538. 7:30 pm Thursday-Saturday and 2 pm Sunday, Feb. 27-March 5. $29-$146.

For more Performance listings, visit

REVIEW

Lewis Black

COURTESY OF COHO PROUCTIONS

Contigo Pan y Cebolla

Lewis Black can’t be credited with inventing political comedy, but he very well might have perfected it. A veteran of The Daily Show, author of three best-selling books and scenestealer in almost every movie he’s ever been in, Black’s ranting style of political humor has made him the gold standard in his chosen comedy mode. Black brings his tour to Portland for one night only; he probably has some thoughts on the current presidential election. MIKE ACKER. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 800-2731530. 8 pm Friday, Feb. 26. $25-$75.

Michael Che

From Daily Show correspondent to “Weekend Update” co-anchor, New York-based comic Michael Che is a rising star in the comedy world. Che has been recognized by Variety as one of the “top-10 comics to watch,” and performs a laid-back style of political satire. With a show at Dante’s, this very well could be the last time for Portlanders to catch Che before he starts playing theaters. MIKE ACKER. Dante’s, 350 W Burnside St., 226-6630. 9 pm Wednesday, Feb. 24. $20. 21+.

Midnight Mass

As Amy Miller nears her last supper in Portland before following the wave south to L.A., her late-night comedy special has one last, irreverent go at it. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. Midnight Saturday, Feb. 27. Free.

Open Court

This weekly, long-form improv show combines performers from many Portland theaters and troupes. Newbies are welcome and teams are picked at random, then coached by an improv veteran before taking the stage. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm Thursdays. $5.

Open Mic

Twice-weekly, Portland’s most prolific improv venue opens its stage to everyone for 3-minute bits. Sign up online day of before 1 pm. Brody Theater, 16 NW Broadway, 224-2227. 8:30 pm Tuesday-Wednesday. Free.

Playground

Pro and amateur comics can bring whatever improv, video, sketch or musical act they’re working on and try it out at this late-night playground, right after the weekly Open Court show. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm Thursdays. Free.

The Ranger Station Open Mic

Sign ups start at 8 pm for a weekly open mic night hosted by Victor Johnson, set in the whiskey-heavy bar WW once compared to “a Roosevelt-era public works cabin.” The Ranger Station, 4260 SE Hawthorne Blvd., 894-8455. 8:30 pm Wednesday. Free. 21+.

ALLEN NAUSE AND JACKLYN MADDUX

Must Love Dogs If the premise sounds like a squishy Diane Keaton movie that your grandma’s been waiting for—it is. Betty is a cat lady. Dan is a dog man. They meet in a scheme to hide a dead cat that’s been hit by a car in Corrib Theatre’s newest play. Chapatti, which takes its title from the name of Dan’s mutt, isn’t edgy. But this quiet portrait of loneliness, getting old and the role of pets in our lives is stunning and honest. In what feels like two separate solo shows, Betty (Jacklyn Maddux) and Dan (Allen Nause) slowly unfold their lives, speaking to the audience in perfect Irish accents. Narrating every emotion and even physical actions, their direct addresses let us in on each character’s secrets. On one side of the thrust stage is Dan, alone in his dark and empty bedroom with only a squeaky twin bed, a piano bench and his dog for company. He’s still mourning the death of his lover of 20 years and makes extensive plans to kill himself and join her in the afterlife. Finding a suitable home for Chapatti keeps Dan from following through, though. Nause—who served as Artists Repertory Theatre’s artistic director for 25 years—gives a haunting performance with sincere gestures that make Chapatti believable, even though we never see the titular pet. Nause captures suicidal distress with facial tics and real tears. Dan’s counterpart, Betty, is a cat lady in every way. On the other half of the stage, in a bright living room decorated with daffodils, she details the loveless marriage that ended in divorce and left her friendless. Betty wears oversized sweaters, doesn’t talk to many men and sings to her cats. But unlike Dan, she wants more out of life. Maddux draws surprising intrigue from her character, playing a wide-eyed Betty whose slouching gait turns into a proud glide when her friendship with Dan blooms. In the audience, you feel like her best friend as she spills nervous excitement like a giddy teenager. Because this is a quiet Irish play, it mines dead pets and suicide plans for plot points. But because it’s a quiet Irish play with Nause and Maddox as the leads, it can build even sexual tension out of dead pets, suicide plans and surprisingly steamy cups of tea. SOPHIA JUNE.

Chapatti might broach suicide, but it’s a warm and fuzzy show.

SEE IT: Chapatti is at CoHo Theater, 2257 NW Raleigh St., corribtheatre.org. 7:30 pm Thursday-Saturday and 2 pm Sunday, through March 13. $25.

VISUAL ARTS Studies

By 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.

Advice About Fire

At first, Amory Abbott’s series of charcoal drawings look like photo negatives. Look more closely at the ghostlike images of trees, and finely rendered details appear: charred bark, striations of gnarled wood, blades of grass in the foreground. Abbott created the series during an artist residency at Caldera in Sisters, Oregon, where the landscape is defined by wildfires. Abbott’s work captures both the devastation and the optimism of a burn by showing what was lost to the past and the new growth that succeeds it. JENNIFER RABIN. Stumptown Coffee Roasters, 128 SW 3rd Ave., 711-3391. Through March 8.

Contemporary Native Photographers and the Edward Curtis Legacy

Portland Art Museum’s curator of photography and the curator of Native American art have collaborated to recontextualize the work of Edward Curtis, an ethnologist who documented the Native tribes of North America a hundred years ago. Curtis’ iconic portraits are on display alongside the work of contemporary native artists Zig Jackson, Wendy Red Star and Will Wilson. Jackson uses humor and metacommentary in his blackand-white series. Red Star employs color, scale and interaction with museum visitors to highlight the traditions of Crow women, a matrilineal people whose lives were not captured by Curtis’ sepia portraits of male chiefs. Wilson’s breathtaking tintypes are digitally scanned and printed so that the original images can be oﬀered to his subjects with whom he collaborated on the portraits, something Curtis never did. JENNIFER RABIN. Portland Art Museum, 1219 SW Park Ave., 226-2811. $20. Through May 8.

Destino

Photographer Michelle Frankfurter followed Central American migrants as they hopped train cars and slept in squalor on their way to the U.S. border, in hopes of making better lives for themselves. Frankfurter documented it all for her series Destino because she wanted “to capture the experience of people who struggle to control their own destiny when confronted by extreme circumstances.” The intimate black-and-white photos oﬀer moments of strength and vulnerability, perseverance and weariness, sometimes in the same shot. Frankfurter uses the power of immersion photojournalism to shine a light on an important issue and reminds us that every issue, at its core, is simply a collection of personal stories. JENNIFER RABIN. Blue Sky Gallery, 122 NW 8th Ave., 225-0210. Through Feb. 28.

The Emotional Life of Objects

Every object has a story. For this joint exhibit at Bullseye, mixed media artists Silvia Levenson, Dante Marioni and Heidi Schwegler unpack the complexities of “objecthood” with pieces of crafted, repurposed and combined materials like metal and ceramic. The ﬁnished works shine light on how we look at objects, making us reconsider their emotional lives, from production and function to symbolic or cultural signiﬁcance. HILARY TSAI. Bullseye Projects, 300 NW 13th Ave., 227-0222. Through March 26.

The Human Hybrid

An unlikely mash-up of scientific journalism and high fashion, these collage works use anatomy drawings as a base. Then, artist Wangechi Mutu layers ink, cosmic paint splatters, textured fabrics and magazine cutouts to create bizarrely sexualized humanoids. Some are abstract, free-floating faces with exotic animal skin, human features and urban afros. Others are curvaceous figures labelled as though

they were medical diagrams. Tumors of the Uterus is the title of one, a grotesquely swollen uterus with runwayready eyes and lips. It’s body horror at its ﬁnest (or worst), but the artist’s use of medical jargon together with the female nude creates a push-pull between pain and glamour that is not often seen. HILARY TSAI. 511 Gallery, 511 NW Broadway, 226-4391. Through March 12.

Internalized Forms

The Sockeye ad agency studio may seem like an odd venue for a solo show, but its ﬁrst collaboration with Worksound International makes us hope there’s more to come. Jason Vance Dickason’s acrylic paintings are abstract with a cool, muted palette that hints at the sobriety of an internal oﬃce space. But imaginative shapes and swoops keep the work from appearing too clinical. Most visitors are drawn to the large-scale piece at the front entrance, but the real star is an untitled triptych that’s strategically placed on a blank wall and features dark, abstracted window blinds with just a touch of luminous sky peeking through. It’s ingenious how these architectural paintings hint at the space around them. HILARY TSAI. Sockeye, 240 N Broadway, Suite 301, 226-3843. Through Feb. 28.

Liz Robb Window Project

This is a good month for ﬁber art. And thanks to PDX Contemporary, you don’t even have to go inside a gallery to be knocked out by it. Liz Robb’s amorphous woolen forms hang in the window, viewable from the street at any hour. Robb created the sculptures during an artist residency in Iceland, using wool she purchased at gas stations and weaved on a hundred-yearold loom. Robb plays with the density of the materials, making shapes that manage to be both substantial and ethereal. JENNIFER RABIN. PDX Contemporary, 925 NW Flanders St., 227-5111. Through Feb. 27.

Pain Tero Flight: Contemporary Artists Consider Thomas Kinkade

The curators at Upfor Gallery presented eight multidisciplinary artists with the interesting task of making work in response to Thomas Kinkade’s legacy, the pastoral painter’s massproduced prints of kitschy saccharine canvases. It could’ve been a wonderful examination of the relationship between art and commerce, originals and copies. Instead, with confounding video installations and naive paintings alongside earnest landscapes, the show lacks cohesion, despite its thoughtful premise. The result was summed up perfectly by a First Thursday patron: “I really like the question, I just don’t like the answer.” JENNIFER RABIN. Upfor Gallery, 929 NW Flanders St., 227-5111. Through Feb. 27.

Rowland Ricketts

Some of Rowland Ricketts’ wallmounted squares of indigo fabric evoke abstract color fields, while others look like they were kissed by a cloud of calligrapher’s ink. They all show the incredible nuance of color that the artist is able to achieve through dyeing and weaving. Most notable is the fact that “daylight” is listed as one of the materials used to create each piece. This is a nod to the impermanence of the work, the fact that the colors and the fabric will begin to change and fade over the course of the exhibition in a room with floor-to-ceiling windows. This degradation is as important to Ricketts’ work as the growing, harvesting and fermenting of the indigo plants. It is not the final result, but the process of making that is the most lasting. JENNIFER RABIN. Museum of Contemporary Craft, 724 NW Davis St., 223-2654. $6. Through April 23.

Artists commonly make studies—smaller, rougher sketches for larger works—to test out line, composition and concept. The two curators of Nationale, a charming new gallery in the heart of the Division Street redevelopment, invited eight artists to create work related to this theme. Elizabeth Malaska responded with a small, grayscale painting of a woman’s hands adorned with ceremonial markings. Fredrik Averin made two collages of a man and a women midembrace, changing certain details to illustrate how even small modifications in a study can dramatically affect the image. Though each piece in the show has its own aesthetic and voice, they relate well to one another, creating a dialogue about what happens when you turn part of the process into the final product. JENNIFER RABIN. Nationale, 3360 SE Division St., 477-9786. Through Feb. 29.

The Testament Project

Photographer Kris Graves wants us to re-examine black masculinity. When he photographs his subjects, all AfricanAmerican men, he gives them control over how they want to be lit, how they want to pose, how they want to present themselves to the world. He allows them to deﬁne their own image, a seemingly small act that has larger implications in a culture that consistently misrepresents black identity. In addition to two portrait series, The Testament Project includes video interviews with Graves’ subjects, drawing attention to the individual eﬀects of institutionalized racism. JENNIFER RABIN. Blue Sky Gallery, 122 NW 8th Ave., 225-0210. Through Feb. 28.

a spectacular slap in the face. Tremblay weaves traditional Iroquois baskets out of exposed 16mm and 35mm film. Using different parts of the film stock, she creates both subdued forms and brightly colored confections. Throughout the elaborately looped vessels, images of Native children can be glimpsed next to frames from mainstream Hollywood films, asking questions about the difference between tradition and culture. JENNIFER RABIN. Froelick Gallery, 714 NW Davis St., 2221142. Through Feb. 27.

For more Visual Arts listings, visit

Unweaving the Colonial Discourse

If you think craft and conceptual art are on opposite sides of the great art chasm, Gail Tremblay’s show at Froelick will be

PREVIEW

It’s Lit

P H O T O S C O U R T E S Y O F L A U R S K E M P. C O M & R O G U E M I N X . C O M

= WW Pick. Highly recommended.

Fade to Light is Portland’s biggest fashion event until October.

Underneath the commercial titans Nike and Adidas, past the gleaming couture halls of Portland’s numerous Project Runway winners, there lies a group of mostly younger and very hungry designers. Some of them fall into the camp of “alternative fashion,” a not always endearing term used to describe looks influenced by rock ’n’ roll, punk, heavy metal and goth culture. Some are aspiring high-fashion designers, grinding away to make it to the big leagues. Some are men and women who just want to show off their clothes. Fade to Light—a “Multidimensional Fashion Event” that mixes film, music and performance art into the traditional fashion-show structure—has been quietly showcasing some of Portland’s best, lesser-known designers twice a year at the Crystal Ballroom since 2012. It’s back tonight, with a showcase of eight new collections. Following up successful shows at last fall’s Fade to Light are Rogue Minx and Altar PDX, two designers who lead the charge in upscale women’s streetwear. Rogue Minx’s Anna-Marie Cooper infuses a delicate Southern gothic aesthetic into classic rock-’n’-roll fashion—sleeveless shirts, mesh tops and (vegan) leather bottoms—to create airy, minimalist garments that retain their cigarettes-andbeer badassery. Last year, Altar PDX’s Cassie Ridgway was running hot off a line of custom-made swimwear and jewelry that used crystals, bone, silver and nature imagery to a distinctly Northwest gloom effect. If Rogue Minx is AC/DC and Altar PDX is Bauhaus, then Laurs Kemp is Lana Del Rey. Kemp,

resident designer for the new-to-downtown boutique Backtalk, brings a rainy L.A. day vibe to her boob-print crop tops and loose, floral jackets. That might mean West Daily’s ultra-minimalist collection of sustainable sweatshirts, unisex jackets and T-shirts is Mac DeMarco. If you are still squirming in your seat after watching Yeezy Season 3 for the 15th time, or want to get the lowdown on what Portland’s coolest are wearing (the crowd is its own show), Fade to Light is your introduction to the city’s fashion scene. Wear your nice T-shirt, the one without the hole in the armpit. WALKER MACMURDO. SEE IT: Fade to Light: A Multidimensional Fashion Event is at Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm Wednesday, Feb. 24. $15-$55. All ages.

Willamette Week FEBRUARY 24, 2016 wweek.com

BOOKS = WW Pick. Highly recommended. By JAMES HELMSWORTH. 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, FEB. 24 Paul Lisicky Sort of memoir and sort of not, Paul Lisicky’s The Narrow Door ﬁnds a world fragmented. It blends moments from two of his relationships, one with a woman writer and one with his poet exhusband (guess I know his type), both falling apart. So is the world around him: His memoir tracks the Deepwater Horizon oil spill, the Haitian earthquake and local disturbances. It’s the latest from the author of The Burning House and Famous Builder. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

FRIDAY, FEB. 26 John Perkins

Willamette Week Presents

What’s an economic hit man? The guy on the winning end of that old “guns and butter” paradigm? Nope. According to John Perkins, it’s doing what he did as an engineering consultant at Chas. T. Main: taking on loans for big construction projects, ensuring that the work for these projects went to American companies and using these loans to gain inﬂuence over the country’s natural resources and political moves. Like a white-collar, crimecommitting Usher, Perkins laid all that out in his ﬁrst book of Confessions. Now, in his second book, Perkins explains how hit manism is invading America. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30pm. Free.

SUNDAY, FEB. 28 Matt Ruff

march 11 / mississiPPi studios / 21+ / Free

When his father goes missing, Army veteran Atticus Turner and his Uncle George, author of (very “in this universe” real) The Safe Negro Travel Guide, travel from Chicago to New England to find him. In Matt Ruff ’s newest novel, Lovecraft Country, the Turner men find a country full of not just the racial horrors of mid-’50s America, but some otherworldly ones as well. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30pm. Free.

MONDAY, FEB. 29 Sara Majka The central story in Sara Majka’s collection of short stories, Cities I’ve Never Lived In, is itself a collection of stories, narrated by a recently divorced woman. But the real star of the show is distance—physical, emotional and even between our public and private selves. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

For more Books listings, visit 46

Willamette Week FEBRUARY 24, 2016 wweek.com

REVIEW

Monica Drake,

THE FOLLY OF LOVING LIFE Dirty old town. For all its famous bookstores and silent-reading nights and generalized middlebrow street cred, nobody ever gets Portland on the page. I say this as a books-section editor who receives at least one young-adult or romance novel set in Portland each week—written usually by someone not in Portland—where the city is used as unexamined shorthand for an “artsy place,” an accessory for a Jennifer Aniston type who also plays viola but can’t fit the damn thing in her trunk. And then there is Portland writer Monica Drake, whose first short story collection drops this week. The Folly of Loving Life (Future Tense Books, 262 pages, $15) feels much belated: Her first novel came out in 2007, and it was accompanied by a long foreword from Chuck Palahniuk about how good her short stories were. But it also feels like the book the city needs right now—an identity crisis gone citywide. The stories in Folly are linked, but only somewhat—tethered about as loosely as the lives they describe—mortared up by a series of existentially sad ”Neighborhood Notes.” Those two words are already a laugh line for anyone who’s haunted the website, which reads a lot like the PR office for Portland’s NIMBY army. “I could order Pad Thai by just shouting out to the world,” reads one of the notes. “This was the new Portland: crowded.” If Willy Vlautin’s terrain is the hard-luck horse-track alcoholics of North Portland, and Mitchell Jackson’s is hard-knocks Northeast, Monica Drake describes the Portland in which I spend the most time. It is a batshit place whose people are wounded by chemtrails, overeducated, “choking in beards,” and probably ill-employed. Its sidewalks are filled with van-dwellers in “Satan’s Pilgrims” shirts and sad dressers abandoned on the sidewalk and marked “FREE” as if that were an offer. “When you open a drawer you’ll see a pen and a book of matches,” Drake writes. “You’ll find an uncapped needle. You can use it. Go ahead. It’s fine. How do we know it’s fine to use? Because other people have.” It is a place where—as in her first novel, Clown Girl, set in “Baloneytown”—a police officer might take loving pity on a woman who works as a clown. It isn’t played only for laughs, although it is often very funny. Rather, reading these stories is a bit like finding a beautiful painting of a wound. But while the novels are more character studies, involutions of eccentricity, among the shorter narratives, here it is place that feels most freshly described: the art museum, the cul-de-sac neighborhoods whose roads are all named the same, The South Park Blocks, in the eyes of one character, are a “green zone, to his mind. Not in the military sense, but a place he could hide and hope.” After all, amid transient students and the homeless you aren’t expected to have friends. She even manages—in perhaps a literary first—to describe a bicyclist in a way that could possibly be romantic to someone without a helmet constantly getting stuck on their stretched earlobes: “I’m every car that’s ever idled, a motorcycle gulping its own exhaust, lurching toward open road,” narrates the bicyclist. “I’m paid to stand, and I get this feeling my body is waiting for my mind to figure out what I’m supposed to do with being alive.” Time was, you’d give a newcomer Palahniuk’s book Fugitives and Refugees to show them what living in this city is like. Maybe from now on you’ll give them this one, which in many ways mourns the loss of the city described there. GO: Monica Drake will read at her book-release party at Powell’s City of Books, 1005 W Burnside St., 226-4651, powells.com, on Monday, Feb. 29. 7:30 pm. Free.

MOVIES

88TH ANNUAL

OBSCURE AWARDS

= WW Pick. Highly recommended. 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.

AND THE AWARD FOR BEST BEAR ATTACK GOES TO... BY A LEX FA LCON E @a lex_fa lcone

As you’re probably aware, the Academy Awards telecast only shows you only a sliver of the awards given out. You get the glamor of Best Picture without having to see the nominees for Best Title Cards or Best Original Lighting Design. It can get obscure. So, to help you out, I’ve combed every industry rumor mill and back channel to advise you on your predictions for these lesser-known Oscars.

OPENING THIS WEEK Eddie the Eagle

C Based on Michael “Eddie the Eagle” Edwards’ (sort of) rise to Olympic fame, this is an underdog story with a twist: He never gets any cooler, and he doesn’t win the gold. As Britain’s first competitor in Olympic ski jumping, he qualified just by successfully landing a jump, which on its own can be a deadly feat without proper training. Though he finished last, his enthusiasm and goofy appearance won over audiences worldwide. Taron Egerton brings his own twitchy charm to the role of Eddie, scrunching up his face to get a better look through his thick glasses. A synthy musical score sets the tone during the 1988 Olympics in Calgary, but ’80s nostalgia and a lovable, bespectacled hero can’t save the cheesiness of coach Bronson Peary (Hugh Jackman) taking on a ski jump in jeans and a lit cigarette. Predictable training montages aside, this is a prime opportunity for Winter Olympics buffs to nerd out on high-definition wipeouts. PG-13. LAUREN TERRY. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, Division, Lloyd Center, Tigard.

Gods of Egypt

CGI Egyptian gods who don’t seem to care they’re immortal battle it out in a mega-budget movie starring an all-white cast of Egyptians led by Nikolaj CosterWaldau (Game of Thrones) and Gerard Butler (Olympus Has Fallen). Expect real big punching. Screened after deadline; visit wweek.com/movies for a review by Alex Falcone. PG-13. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard.

Triple 9

A car-torching, vault-obliterating, semiautomatic-toting heist ﬁlm for those yawning through Oscar fodder but not hardened enough for Deadpool’s viscera. If casting midprice genre vehicles were a board game, Triple 9’s ensemble would surely win the round: Woody Harrelson, Casey Aﬄeck, Kate Winslet. Screened after deadline. See wweek.com/movies for a review by Jay Horton. R. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Lloyd Center, Tigard.

39TH PORTLAND INTERNATIONAL FILM FESTIVAL 7 Letters

B [SINGAPORE] Seven shorts by different directors profile the 50th anniversary of Singapore’s independence and its cultural history. Segments follow characters suffering with dementia, ghosts of the recently deceased, and adoptive families questioning the previous histories of their children in styles ranging from stark black-and-white domestic dramas to a psychedelic musical fantasy. MIKE GALLUCCI. Empirical Theater; 8:30 pm Thursday, Feb. 25. Fox Tower; 12:30 pm Saturday, Feb. 27.

The Clan

B+ [ARGENTINA] A smashing pop soundtrack and darkly comic tone mark this serio-comedic crime drama about the heinous career of kidnapping and murder perpetrated by the Argentine Puccio family in the ’80s. Guillermo Francella shines as patriarch Arquímedes, using genteel humor to belie his lethal secrets as well as his volatile relationship with eldest son Alejandro (Peter

CONT. on page 48

MOST TERRIFYING BEAR ATTACK

Winner: Leonardo DiCaprio and CGI Bear, The Revenant The bear attack in The Revenant lasts longer than the entire documentary Grizzly Man. It’s brutal. At one point, the bear even looks at the camera and says, “It’s a living.” I know, I was surprised too. But DiCaprio wants an Oscar so bad he persuaded the Academy to add this category. Other nominees: Mark Ruffalo hugging his daughters, Infinitely Polar Bear; Chewbacca exacting revenge on those Stormtroopers, Star Wars Episode VII: The Force Awakens

TASTIEST LOOKING STEW

Winner: Pot of Stew, The Hateful Eight Three-racist-children-in-a-trenchcoat Quentin Tarantino created a really delicious-looking stew in The Hateful Eight, though of course you need to watch people eat it in Ultra Panavision to truly appreciate his genius. That would be enough to take this award, but QT goes further by making the stew a plot point! Samuel Jackson pontificates about how a chef’s stew tastes the same no matter what ingredients are used, and even though that definitely isn’t true, I think it’s enough to bring home the statuette. Other nominees: Bowl of Slop, The Revenant; Food That Magically Gets Bigger, Star Wars Episode VII: The Force Awakens Note: The Academy added this category for 2016 so it would have at least one brown nominee.

BEST VOMIT

Winner: Melissa McCarthy, Spy Fake vomit was a really crowded category this year. Watching movies in 2015 almost felt like all Hollywood was part of a 24-hour film festival and the prop everybody needed to use was upchuck. The vomit in Spy was great, but more importantly, it was vomited directly onto a recently deceased man. Other nominees: Amy Schumer, Trainwreck; The Audience, Entourage

BEST COMPLETELY UNORIGINAL SCREENPLAY

Winner: Star Wars Episode VII: The Force Awakens SWEVII: TFA barely beats out two other films for this coveted award, wherein a franchise is rebooted by making a film that is shockingly similar to the original. The films are also going head to head in other categories like the always contentious Best Performance by an Older Actor Who Isn’t Really Trying. Other nominees: Creed, Terminator Genisys

LEAST APPEALING SEXUAL ENCOUNTER

Winner: Dakota Johnson and Jamie Dornan, Fifty Shades of Grey Johnson and Dornan are stiff and wooden (but not in a good way). They get a little kinky (or what the MPAA refers to as “sexual content including…some unusual behavior”), but mostly they just seem like people who don’t like being close to each other. Other nominee(s): Leonardo DiCaprio and CGI Bear, The Revenant; Puppets voiced by David Thewlis and Jennifer Jason Leigh, Anomalisa

BEST ROAD-TRIP BUDDIES

Winner: Tom Hardy and Charlize Theron, Mad Max: Fury Road Hardy and Theron had more chemistry than 20 Johnson-Dornan pairings (for the math nerds, that’s 1,000 shades of Grey). Other nominees: Arlo and Spot, The Good Dinosaur; The Avengers if you got rid of Thor and Hawkeye, Avengers: Age of Ultron; Rooney Mara and Cate Blanchett, Carol

MOST TEARS SHED OVER FIRST WORLD PROBLEMS

Winner: “Being a Rich Kid in San Francisco Is So Hard,” Inside Out If the child soldiers in Beasts of No Nation ate broccoli on pizza and then didn’t make the hockey team, it would be the BEST DAY OF THEIR FUCKING LIVES. Other nominees: “I’m in Space and Have Nothing to Eat,” The Martian; “My Big Party Is Ruined Because My Husband Once Loved Someone Else,” 45 Years

BEST THEME IF YOU WANT TO WIN AN AWARD WINNER:

Winner: “Terrible Things Happening to Children” Kids in movies had a real hard time last year. Room trapped a kid in a box, and the son in Son of Saul died before the film starts. Spotlight went more obliquely at the theme with a bunch of adults investigating child abuse. And Inside Out involved that rich girl really going through hell when the moving van helping her gentrify San Francisco was a couple days late. Other nominees: Terrible Things Happening to Leonardo DiCaprio, White People in the Snow SEE IT: The Academy Awards is Sunday, Feb. 28, on ABC. 5:30 pm. Willamette Week FEBRUARY 24, 2016 wweek.com

MOVIES

Counting

C [UNITED STATES] Observational filmmaker Jem Cohen’s single-camera film captures beauty in the blighted concrete mazes of New York City, museums of London, and landmarks of Moscow and Turkey, completely dialogue-free. But the film is undermined by its self-indulgence—multiple, prolonged shots of jet wings from inside the cabin; slow-motion exposures of the same cat repeated; the director filming himself in the reflection of storefront windows. Without pursuing a concrete idea, Counting offers a lot to look at, but not much to take away. MIKE GALLUCCI. NW Film Center’s Whitsell Auditorium; 8:30 pm Thursday, Feb. 25, and 3 pm Saturday, Feb. 27. Fox Tower;

8:30 pm Friday, Feb. 26.

The Idol

B- [PALESTINE] Inspired by the true

story of Mohammed Assaf, the Arab Idol winner who hailed from the Gaza Strip, this film follows his story from childhood adventures with his smartass sister and makeshift band, to motivating tragedy and onto his big break. Although the Idol craze has faded in the West, it’s a refreshing reminder that no matter where you’re from, everyone can relate to the dream of becoming a rock star who makes his or her people smile. LAUREN TERRY. NW Film Center’s Whitsell Auditorium. 6 pm Thursday, Feb. 25.

The Invitation

B [UNITED STATES] This dinner-party thriller evokes the Manson murders in present-day L.A., where Will and Kira attend a grating dinner party thrown by Will’s ex-wife and her new husband—at Will’s former home. Will’s irking suspicions balloon into psychological thrills, neatly edited and dimly lit by director Karyn Kusama (Aeon Flux, Jennifer’s Body), with a not so subtle nod to Scientology, too. This film’s mind games play rough, though the action drags at times. PG-13. MERYL WILLIAMS. Cinema 21. 10:30 pm Friday, Feb. 26.

Man vs. Snake

C [TURKEY] Despite its stark realism—

shot with shaky camera, so you know it’s gritty—this Turkish coming-of-age drama is a classic story of a boy and his dog. Except the pooch is a fighting dog left for dead after getting mauled, and the prepubescent boy who finds him, befriends him and saves him is kind of an asshole. So much so that he decides to make the dog into a champion fighter again to impress a girl and best a rival. Fuck that kid. Being an asshole to your dog does not a compelling narrative make, no matter how gritty it looks. AP KRYZA. Empirical Theater; 8:30 pm Wednesday, Feb. 24. Fox Tower; 6 pm Friday, Feb. 26.

Sworn Virgin

B- [ALBANIA-GERMANY-ITALYKOSOVO-SWITZERLAND] A subdued and often beautiful look at repressive gender politics in rural Albania, Laura Bispuri’s film cuts between past and present in the life of Hana (Alba Rohrwacher), a young woman who swears eternal virginity and lives as a man after experiencing threats. We witness Hana’s evolution in flashback, while in the present she is living as Mark and tracking down her adoptive sister. The film presents a fascinating look at gender, and though it’s often a bit dull and completely whiffs the ending, its approach is a prime example of drawing robust characters without resorting to broad strokes. AP KRYZA. Fox Tower; 6:15 pm Wednesday, Feb. 24. NW Film Center’s Whitsell Auditorium; 8:30 pm Friday, Feb. 26.

A War

B- [DENMARK] Employing the shaky handheld camera visuals and natural lighting of a documentary, the film tells the story of a Danish army commander who is tried by his government for war crimes. With three young kids and a wife who needs his help at home, the commander is faced with a moral dilemma that challenges his sense of duty to his men, country and family. While the film is for the most part lively and well-crafted, the characters lose detail as the story blurs toward a conclusion. In the end, it’s left to the audience to make meaning of what’s just happened. PG-13. ZACH MIDDLETON. Roseway Theater; 5:45 pm Thursday, Feb. 25. Fox Tower; 8:30 pm Saturday, Feb. 27 and Living Room Theaters.

We Are Young, We Are Strong

C [GERMANY] This well-crafted but unmemorable feature dissects the tensions and post-unification economic decline that led mobs in the former East Germany to assault a Vietnamese immigrant community. Exploring the 1992 “Night of Fire” through three separate perspectives, the film humanizes participants and their circumstances, but the revelation that political rhetoric stoked the mobs’ hatred seems wearily familiar. JAY HORTON. Cinema 21; 5:45 pm Wednesday, Feb. 24. Roseway Theater; 8:30 pm Thursday, Feb. 25.

PHILIPPE ANTONELLO

B+ [UNITED STATES-CANADA-ITALYJAPAN] Like 2007’s The King of Kong, Man vs. Snake chronicles the presentday battle to be world champion of the 1982 arcade game Nibbler. Animated flashbacks are interspersed with talking heads and gameplay footage as original record-holder Tim McVey defends his title. The story is nothing new, with many of its beats lifted straight from King of Kong, but the characters and their struggles are always entertaining. Hyperactive Canadian pizza-delivery man Duane Richard is undeniable with his manic profanity and a hairstyle that goes from dreads to bowl cut in under two hours. MIKE GALLUCCI. Cinema 21. 10:30 pm Saturday, Feb. 27.

Sivas

STILL SHOWING 45 Years

A- Andrew Haigh’s rich, slow-moving

marital mystery, 45 Years, centers on gorgeous cinematography and masterful acting by Tom Courtenay and Charlotte Rampling as a buttoned-up, childless woman on the verge of celebrating her 45th wedding anniversary to a man she suddenly doesn’t know. R. LIZZY ACKER. Lake Theater, Living Room Theaters, Bridgeport, City Center.

The 5th Wave

D It’s the cookie-cutter story of a peppy teenage girl who is, obviously, Earth’s best hope. Sixteen-year-old Cassie (Chloë Grace Moretz from KickAss) is a normal adolescent until a group of faceless aliens start killing everybody for no reason. Cassie has to fight back, but only after she deals with her inevitable love triangle. PG-13. ALEX FALCONE. Clackamas, Bridgeport.

Anomalisa

B- It’s a little creepy watching a stopmotion puppet perform cunnilingus. Charlie Kaufman (Eternal Sunshine of the Spotless Mind) fills his movie with jarring moments when our childhood associations of stop-motion animation collide with this very grown-up story. It might be an animated favorite for the upcoming Oscars, but it’s also an early contender for feel-bad movie of 2016. R. RICHARD SPEER. Cinema 21.

The Big Short

A We’re in a bubble of movies about the financial crisis, but The Big Short is the first good one. It’s based on the book by Michael Lewis, who’s known for making complicated financial topics into compelling stories, and adapted by Adam McKay, who is known for Talladega Nights and the “More Cowbell” sketch. Surprisingly, this combo works. R. ALEX FALCONE. Cedar Hills, Hollywood, Lake Theater, Living Room Theaters, Bridgeport, City Center.

Brooklyn

A- Based on the novel by Irish author Colm Tóibín and adapted by Nick Hornby (High Fidelity, About a Boy), Brooklyn is just the sweetest thing. Saoirse Ronan (Atonement) makes an adorable couple with Emory Cohen (Smash), and I could watch them court for hours, especially their awkward dinners with Cohen’s Italian family. PG-13. ALEX FALCONE. Cedar Hills, Clackamas, Cinema 21, Lake Theater, Tigard.

Carol

A Todd Haynes’ newest feature is an

experience you remember mostly by token images—Cate Blanchett’s lacquered nails, Rooney Mara developing film in her shabby apartment kitchen, Blanchett’s lipstick stains on Mara’s nipples. A romance between a young salesgirl and older housewife set against the picture-book 1950s, Carol is an almost painfully beautiful adaptation of Patricia Highsmith’s novel, The Price of Salt. R. ENID SPITZ. Academy, Laurelhurst.

The Choice

D The best choice is not to see this Nicholas Sparks regurgitation about wavyhaired ladies’ man Travis (Benjamin Walker) and his new medical-student neighbor, Gabby (Teresa Palmer). PG-13. Clackamas, Bridgeport, Division.

Deadpool

B Within the first 10 minutes of Deadpool, the titular “merc with the mouth” graphically slaughters a baker’s dozen of goons to a soundtrack of “Shoop,” breaks the fourth wall by talking to the audience, punches multiple scrotums, drops more f-bombs than Tony Montana and takes a bullet directly up the butthole while giggling about it. Deadpool doesn’t reinvent the wheel. But it does teabag it. And sometimes that’s enough. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, CineMagic, Edgefield, Forest Theatre, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, St. Johns Theater.

ZOOLANDER 2 48

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PREVIEW COURTESY OF DRUNKSERIES.COM

Lanzani). The film asks you to pick a side, and it might be a surprising struggle, with the Puccios’ joys and sorrows laid out against their merciless extortion of innocents. MIKE GALLUCCI. NW Film Center’s Whitsell Auditorium. 8:30 pm Saturday, Feb. 27.

DREAD DRuNk

The Big Shorts Portland mounts its first-ever Indie Short Film Awards.

One year ago, local actor, producer and Swiffer pitchman Jerry Bell began monthly meet’n’-greets for Portland filmmakers, talent and techs. Thanks to the sold-out events’ habitués, this Thursday is Portland’s first annual, red-carpet Indie Short Film Awards. As Bell’s networking events won popularity, they morphed into screening nights for attendees’ own new works. While watching the mélange of commercials, music videos, featurettes, webisodes and documentaries, Bell was struck by how many high-quality projects flew beneath the cultural radar. “Toward the end of the ninth or 10th month, I came to see that a lot of people in the industry weren’t getting recognition. We have the Grimm TV show, we have Portlandia,” Bell says, “but 85 percent of the community are indie filmmakers who haven’t had an opportunity to be a part of that.” So this ceremony is his means of focusing attention where it’s deserved. “They make their films, send them off to festivals, and most of those are out-of-state,” Bell says. The 22 awards include all the traditional categories, alongside more distinct honors like community service and—perhaps uniquely—Best Production Assistant. Best Short Film is the equivalent of Best Picture at the Oscars, except the nominees aren’t overwhelmingly dramas. Best Director nominee Mike Prosser follows the madcap antics of naked canine Todd Robinson in Stray. Best Actress and Best Supporting Actress hopefuls Mia Allen and Kelsey Tucker wring romantic comedy from a nanny interview in No, Oui. In Dread Drunk, the fifth installment of Chris Wilson’s sloshed parody franchise, Wilson and Tim Feeney (Best Writing nominees) booze their way through writing an alien invasion screenplay later enacted by similarly impaired actors. “Portland tends to lean toward the quirky comedies,” Bell says. “I think that’s a cultural thing.” Beyond the actual trophies, winners receive benefits in their area of expertise. Best Costume wins free outfits from local costume designers; Best Cinematographer, free equipment rentals; actors, pro headshot packages. Screening in a packed Bossanova Ballroom may prove the most meaningful reward. Whether the projects are niche labors of love or already earning widespread acclaim (like the Secret Garden-as-teenvlog The Misselthwaite Archives), the ceremony offers creators a rare public showcase. For some, this is closure. Filmmaker Erich Demerath was invited to participate in New Amsterdam Vodka’s 2015 national competition, but had his Mississippi Studios documentary, Mississippi Rising, disqualified at the last moment due to murky technicalities. Portland’s Indie Short Film Awards are somewhat humbler, but after the frustrations of last year, Demerath says, “just to have the chance to win something is really satisfying.” JAY HORTON.

see it: The Portland Indie Short Film Awards are at Bossanova Ballroom, 722 E Burnside St., 7 pm Thursday, Feb. 25. Sold out.

ALISON COHEN ROSA

Gods of Egypt (XD-3D) (PG-13) 10:50AM 1:45PM 4:45PM 7:45PM 10:40PM Race (PG-13) 12:50PM 4:00PM 7:10PM 10:25PM Revenant, The (R) 12:45PM 4:20PM 8:10PM Lady In The Van, The (PG-13) 11:25AM 2:05PM 4:45PM 7:25PM 10:05PM Zoolander 2 (PG-13) 11:35AM 2:20PM 5:05PM 7:50PM 10:35PM Kung Fu Panda 3 (PG) 11:30AM 4:30PM 9:35PM Ride Along 2 (PG-13) 11:20AM 4:55PM 10:20PM Triple 9 (R) 11:00AM 1:50PM 4:50PM 7:40PM 10:30PM Witch, The (R) 11:55AM 2:30PM 5:00PM 7:30PM 10:00PM Star Wars: Episode VII - The Force Awakens (PG-13) 3:50PM 10:10PM Risen (PG-13) 11:10AM 1:55PM 4:35PM 7:15PM 9:55PM Star Wars: Episode VII - The Force Awakens (3D) (PG-13) 12:25PM 7:00PM

Oscar 2016: Room (R) 7:00PM

7:00PM 9:35PM

Eddie The Eagle (PG-13) 11:45AM 2:25PM 5:05PM 7:45PM 10:25PM Gods of Egypt (3D) (PG-13) 4:30PM 10:30PM Neerja (20th Century Fox) (NR) 1:00PM 3:40PM 6:20PM 9:00PM Deadpool (R) 11:00AM 12:20PM 1:40PM 3:00PM 4:20PM 5:40PM 7:00PM 8:20PM 9:40PM Gods of Egypt (PG-13) 1:30PM 7:30PM Kung Fu Panda 3 (3D) (PG) 3:50PM 8:40PM Kung Fu Panda 3 (PG) 11:00AM 1:25PM 6:15PM Hail, Caesar! (PG-13) 11:30AM 2:10PM 4:50PM 7:30PM 10:10PM How to Be Single (R) 11:20AM 2:00PM 4:40PM 7:20PM 10:00PM

Revenant, The (R) 11:20AM 2:50PM 6:20PM 9:50PM Ride Along 2 (PG-13) 4:35PM 10:00PM Zoolander 2 (PG-13) 11:45AM 2:25PM 5:05PM 7:55PM 10:30PM Race (PG-13) 12:45PM 4:00PM 7:10PM 10:30PM Triple 9 (R) 1:15PM 4:15PM 7:15PM 10:15PM Witch, The (R) 12:30PM 3:00PM 5:30PM 8:00PM 10:25PM Risen (PG-13) 11:10AM 2:05PM 4:50PM 7:40PM 10:25PM Star Wars: Episode VII - The Force Awakens (PG-13) 12:20PM 3:40PM 6:50PM 10:00PM Eddie The Eagle (PG-13) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM

Gods of Egypt (3D) (PG-13) 12:30PM 7:00PM Lady In The Van, The (PG-13) 11:00AM 1:55PM 4:55PM 7:45PM 10:35PM Deadpool (R) 11:15AM 12:10PM 1:00PM 2:00PM 2:55PM 3:50PM 4:45PM 5:40PM 6:35PM 7:30PM 8:25PM 9:20PM 10:20PM How to Be Single (R) 11:25AM 2:10PM 5:00PM 7:50PM 10:35PM Kung Fu Panda 3 (PG) 12:15PM 2:45PM 5:15PM 7:45PM 10:10PM Gods of Egypt (PG-13) 3:45PM 10:15PM Hail, Caesar! (PG-13) 11:05AM 1:45PM 7:20PM

Oscar Shorts 2016 (NR) 2:00PM 7:00PM Zoolander 2 (PG-13) 11:20AM 2:00PM 4:40PM 7:20PM 10:00PM Oscar 2016: Mad Max: Fury Road (R) 10:00PM Race (PG-13) 12:45PM 4:00PM 7:10PM 10:20PM Triple 9 (R) 11:15AM 2:00PM 4:45PM 7:30PM 10:15PM

HAIL, CAESAR!

The Finest Hours

Kung Fu Panda 3

rescue mission depicted in this ﬁlm was a proud moment in the history of the U.S. Coast Guard, The Finest Hours is for the wives. PG-13. Cedar Hills, Eastport, Clackamas.

Fu Panda 2, and Jack Black hasn’t been in anything even close to that good since. PG. Cedar Hills, Eastport, Clackamas, Milwaukie, Moreland, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard, St. Johns Cinemas.

C Although the death-defying

Hail, Caesar!

B+ From the opening scene, in which Capitol Pictures “fixer” Eddie Mannix (a gruff Josh Brolin) skips out of confession, it’s a quick 27-hour shitstorm through high drama as movie star Baird Whitlock (George Clooney) gets abducted. The Coens’ funniest film since The Big Lebowski combines a zany caper, a communist plot, ’50s studio politics and a touching story about one man’s calling in life into a cohesive, lighthearted and quipheavy comedy. It’s a neat package like only the Coen brothers can tie up. PG-13. JOHN LOCANTHI. Bagdad, Cedar Hills, Eastport, Clackamas, Living Room Theaters, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Tigard, St. Johns Cinemas.

The Hateful Eight

A- Quentin Tarantino’s new mystery

Western, The Hateful Eight is a spectacular bit of storytelling set against 70 millimeters of Wyoming grandeur, yet neat enough to ﬁt together like the gears in a Swiss watch. R. Academy, Empirical, Kiggins Theatre, Laurelhurst.

How to Be Single

D Dating is hard, not sure if you’ve heard. It’s especially hard for four single women in New York who are, like, diﬀerent kinds of single (Rebel Wilson, Leslie Mann, Dakota Johnson, Alison Brie). This movie is not aimed at me, a married man. It’s aimed at rich women in New York with perfect apartments and great jobs they never have to attend to. R. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Fox Tower, Lloyd Center, Tigard.

The Hunger Games: Mockingjay, Part 2

B Katniss Everdeen leads a group of rebels against the Capitol, which has been booby-trapped with hot oil, lasers, and an army of lizard people. PG-13. Academy, Avalon, Empirical, Kennedy School, Mt. Hood, Vancouver, Joy, Valley.

Joy

B+ Director David O. Russell takes his formula for American Hustle, wraps it in Christmastime and casts America’s ass-kicking sweetheart Jennifer Lawrence as the woman who invented the self-wringing Miracle Mop. PG13. Academy, Laurelhurst, Mt. Hood, Vancouver.

A- It’s been ﬁve years since Kung

The Martian

B- 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. PG-13. Cedar Hills, Empirical, Laurelhurst, Vancouver.

Pride and Prejudice and Zombies

C The Bennett sisters are played

by a handful of ingenues, including Lily James as Elizabeth and Bella Heathcote as Jane, all taking the time period too seriously to give comedic performances true to the story’s satirical tone. The ingredients are there: lingerie with leather holsters for blades, lush spans of English countryside, and closeups of snot oozing from a rotten nose. But the overall lack of enthusiasm takes the wind out of the sails of this zombie disaster. PG-13. LAUREN TERRY. Eastport, Clackamas, Pioneer Place.

Race

The Jesse Owens story long-jumps from biopic favorite to big-screen drama, with Degrassi veteran Stephan James as the African-American Olympian and Stephern Hopkins (24) in the director’s chair. Screened after deadline. PG-13. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Lloyd Center, Pioneer Place, Tigard.

The Revenant

A- In terms of pure spectacle and

cinematic beauty, Alejandro González Iñárritu’s The Revenant approaches masterpiece status. Fur trapper Hugh Glass (Leonardo DiCaprio) ﬁnds his trapping party on the receiving end of a bear attack that leaves him barely clinging to life. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Hollywood, , Bridgeport, City Center, Division, Evergreen, Fox Tower, Lloyd Center, Tigard.

Sisters

C+ Amy Poehler and Tina Fey as the titular sisters throw one last rager in their family house before their parents sell it. For the most part, it’s a straight-up party comedy and disappointingly standard. R. Academy, Kennedy School, Laurelhurst, Vancouver, Valley.

Son of Saul

A- Son of Saul may be the most visceral,

intimate take on the Holocaust ever made, and it’s the ﬁrst Hungarian movie

to win a Golden Globe. In it, Saul (Géza Röhrig) is a Hungarian Jew and member of the Sonderkommando, a special unit of Jewish prisoners assigned to cleaning up the remains of their own people. R. ZACH MIDDLETON. Cinema 21.

Spotlight

A- Spotlight inverts the usual comparison: It’s a movie that feels like prestige television. Speciﬁcally, it feels like The Wire. An Oscar favorite recounting how a Boston Globe investigative team uncovered an epidemic of pederast priests abetted by the archdiocese, it borrows the rhythms of a propulsive TV procedural and resists the temptation for self-congratulation. R. AARON MESH. Cedar Hills, Eastport, Lake Theater, Bridgeport, Fox Tower.

Busco Novio Para Mi Mujer (PG-13) 12:20PM 2:55PM 5:25PM 8:00PM 10:30PM Deadpool (R) 10:50AM ® 11:40AM ® 1:30PM ® 2:25PM ® 4:15PM ® 5:10PM ® 7:00PM ® 7:55PM ® 9:45PM ® 10:40PM ® Brooklyn (PG-13) 10:55AM 1:40PM 4:25PM 7:10PM 9:50PM Kung Fu Panda 3 (3D) (PG) 2:00PM 7:05PM 5th Wave, The (PG-13) 11:05AM 2:00PM 4:55PM 7:45PM 10:35PM Deadpool (R) 10:50AM 11:40AM 12:35PM 1:30PM 2:25PM 3:20PM 4:15PM 5:10PM 6:05PM 7:00PM 7:55PM 8:50PM 9:45PM 10:40PM Hail, Caesar! (PG-13) 2:10PM 7:35PM How to Be Single (R) 10:55AM 1:40PM 4:40PM 7:30PM 10:15PM Eddie The Eagle (PG-13) 11:00AM 1:45PM 4:35PM 7:20PM 10:05PM Gods of Egypt (PG-13) 12:05PM 3:10PM 6:15PM 9:20PM

Witch, The (R) 12:30PM 2:55PM 5:20PM 7:45PM 10:10PM Revenant, The (R) 11:30AM 3:00PM Risen (PG-13) 11:10AM 1:50PM 4:30PM 7:10PM 9:50PM Lady In The Van, The (PG-13) 11:15AM 1:50PM 4:25PM

FRIDAY

Star Wars: The Force Awakens

A- If there’s one thing we know about Star Wars fans, it’s that they’re as resistant to change as any religious zealot. And so, the best thing that can be said about The Force Awakens is that it’s almost old-fashioned. PG-13. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Lloyd Center, Pioneer Place, Tigard.

Touched With Fire

B- With the story of two modern artists who fall in love in a mental institution, writer-director Paul Dalio tries to combat the stigma of bipolar disorder. Instead of taking medication to contain their illness, Carla (Katie Holmes) and Marco (Luke Kirby) celebrate it. R. SOPHIA JUNE. Fox Tower.

Where to Invade Next

B America hasn’t won a war in a while, Moore posits, so why not use the military nearly 60 percent of our taxes support to invade a country we can get something useful from? In Italy, the film’s first stop, he documents the average Italian’s time off. In Portugal, he talks to cops who no longer bust drug offenders. In France, nutritious and delectable school lunches. But arguments about “Americanness” fall flat out of the mouths of lefties like Moore, and he glosses over some of the existential issues that those other countries face. R. JAMES HELMSWORTH. Cedar Hills, Bridgeport, Fox Tower.

Zoolander 2

D Ben Stiller’s sequel falters, as so many sequels do, when it tries to be little more than a repackaging of the original, with more celebrity cameos. Occasionally, there are inspired moments—the mid’90s Aqua Vitae commercial—but it ends up as 100 minutes of a movie trying to be dumber than a brain fart. PG-13. JOHN LOCANTHI. Cedar Hills, Eastport, Clackamas, Milwaukie, Oak Grove, Bridgeport, City Center, Division, Evergreen, Fox Tower, Lloyd Center, Tigard.

For more Movies listings, visit Willamette Week FEBRUARY 24, 2016 wweek.com

MOVIES W W S TA F F

AP FILM STUDIES

k Store e e W e t t me The Willa

TreaT yourself wiTh a DubDubDeal! Eating out? Low on cash? We’ve curated the best dining discounts to your favorite Portland Restaurants at dubdubdeals.com

JEAN CLAUDE VAN DAMMES

Beside Themselves MOON HAS ONE OF CINEMA’S BEST DUAL PERFORMANCES. THESE ARE THE WORST. BY A P KRYZA

apkryza@wweek.com

Duncan Jones’ 2009 sci-fi drama Moon is one of the 21st century’s most underrated films. Directed by Jones (David Bowie’s son), it’s a stripped-down, tragic and often funny tale of an astronaut, isolated and farming helium on the moon. To say that film is anchored by star Sam Rockwell is an understatement. He shares the screen with only a robot voiced by Kevin Spacey and, well, himself. When he discovers a downed vehicle containing what appears to be another version of him, Rockwell’s performance is one of the best dual roles of all time. Some actors have a knack for sharing the screen with themselves. Danny Kaye in The Wonder Man, Nicolas Cage in Adaptation and Armie Hammer in The Social Network—these actors make it look easy. But the fact is, if even Tom Hardy couldn’t pull it off in Legend, co-starring with yourself must be harder than it looks. Need proof ? Here are some of the worst dual performances of all time. (We’re leaving out comedy because, well, we don’t want to have to confine our discussion to movies with Eddie Murphy and Mike Myers in fat suits.)

Leonardo DiCaprio in The Man in the Iron Mask (1998)

DiCaprio’s probably going to win an Oscar this weekend for his snot-caked, masochistic performance in The Revenant. He suffered for that role. Audiences, meanwhile, suffered for this Dumas adaptation, in which he tried to ditch his teen-idol status and came off looking like a whiny fourth Hanson brother.

Lindsay Lohan in I Know Who Killed Me (2007)

Lohan’s breakout role was in the charming remake of The Parent Trap, so it only made sense that she be recast as twins later in her career. Only this time the twins are a pianist and a stripper who get their psyches mixed up after one of them is abducted by a serial killer. Probably because of cocaine. 50

Willamette Week FEBRUARY 24, 2016 wweek.com

Ewan McGregor and Scarlett Johansson in The Island (2005)

Michael Bay coaxes better performances out of butt cheeks and exploding cars than he does out of actors, and McGregor and ScarJo are no exceptions…at least their butt cheeks look great!

Christopher Reeves in Superman III (1983)

“I can give as good as I get,” Reeves’ Clark Kent confusingly tells the evil version of Superman before knocking that weirdly Capone-accented sonofabitch in a vat of acid. Reeves is his usual milquetoast nerdlinger as Kent. But as evil Supes, he mistakes scowling and bulging neck sinew for performance, making for one of the most unintentionally hilarious fight scenes ever filmed for a major movie. Jean Claude Van Damme in… a lot of movies When Van Damme played twin brothers Chad and Alex—one great with guns, one great at fighting, both capable of doing the splits—in the 1991 trash classic Double Impact, it was novel. When he played twins again in 1996’s Maximum Risk, it was maybe a coincidence (one of them was dead). In 2001’s Replicant, he’s a serial killer and his clone. And, wait, holy shit! Van Damme also interacts with his former self in Timecop. Damn—if there was a lifetime achievement award for being terrible beside yourself on screen, he would have, like, eight of them. And they’d all do the splits. SEE IT: Moon plays at the Academy Theater. Feb. 26-March 3. ALSO SHOWING:

Still the Coen brothers’ best ﬁlm, Fargo returns to theaters to celebrate 20 years of us wondering why it lost the Oscar to the fucking English Patient. Mission Theater. Feb. 24, 26-27 and 29. This weekend, Mad Max: Fury Road is up for a staggering 10 Oscars (spoiler alert, it’s gonna win a lot… of technical ones), but that masterpiece doesn’t cancel out the greatness of The Road Warrior. Hollywood Theatre. 7:30 pm Thursday-Friday, Feb. 25-26. Currently a mainstay in Portland theaters due to a combination of the film’s 25th anniversary and Portland’s hatred of small dogs, The Silence of the Lambs keeps the lotion flowing for another week. Mission Theater. 8:30 pm Saturday, Feb. 27.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St. DEADPOOL: THE IMAX EXPERIENCE Wed -Thu 1:10, 4:10, 7:10, 10:00 RACE Wed-Thu 12:00, 3:15, 6:40, 9:55 RISEN Wed-Thu 12:40, 4:30, 7:20, 10:10 DEADPOOL Wed-Thu 12:30, 3:40, 6:30, 9:30 HOW TO BE SINGLE Wed-Thu 1:00, 3:55, 7:25, 10:15 ZOOLANDER NO. 2 Wed-Thu 12:50, 4:20 HAIL, CAESAR! Wed-Thu 12:10, 3:30, 6:20 KUNG FU PANDA 3 Wed-Thu 11:55, 5:05 KUNG FU PANDA 3 3D Wed -Thu 2:30 THE REVENANT Wed Thu 11:45, 2:55 STAR WARS: THE FORCE AWAKENS Wed -Thu 3:25 STAR WARS: THE FORCE AWAKENS 3D Wed 12:10, 10:05 GODS OF EGYPT Thu-Fri-Sat-Sun 3:30, 9:40 GODS OF EGYPT 3D Thu-Fri-Sat-Sun 12:25, 6:35 TRIPLE 9 Thu-Fri-Sat-Sun 12:45, 3:50, 6:55, 9:50 EDDIE THE EAGLE Fri-Sat-Sun 12:35, 3:40, 6:45, 9:30

Regal Vancouver Plaza 10

7800 NE Fourth Plain Blvd. THE FOREST Wed -Thu 1:20, 3:25, 6:30, 9:50 CONCUSSION Wed -Thu 1:40, 4:25, 7:10, 9:50 JOY Wed-Thu 12:50, 6:10 POINT BREAK Wed-Thu 1:55, 4:30, 7:05, 9:35 ALVIN AND THE CHIPMUNKS: THE ROAD CHIP Wed-Thu 1:05, 3:15, 6:20, 9:00 SISTERS Wed Thu 1:30, 4:10, 6:45, 9:20 IN THE HEART OF THE SEA Wed-Thu 3:30, 9:05 CREED Wed-Thu 1:00, 4:05, 6:55, 9:45 THE GOOD DINOSAUR Wed-Thu 1:15, 3:45, 6:05, 8:50 THE HUNGER GAMES: MOCKINGJAY, PART 2 Wed Thu 12:45, 3:40, 6:35, 9:30 THE MARTIAN Wed -Thu 12:45, 3:50, 6:50, 9:15

Regal Division Street Stadium 13

Bagdad Theater

3702 SE Hawthorne Blvd., 503-249-7474 HAIL, CAESAR! Wed -Thu 12:30, 3:30, 7:00, 10:15

Cinema 21

616 NW 21st Ave., 503-223-4515 BROOKLYN Wed-Thu-FriSat-Sun-Mon-Tue 3:45, 6:30, 9:00 SON OF SAUL Wed Thu-Fri-Sat-Sun-Mon-Tue 4:15 ANOMALISA Wed-ThuFri-Sat-Sun-Mon-Tue 7:00, 9:15 AFERIM! Fri-Sat-SunMon-Tue 4:15, 6:45, 9:00

St. Johns Cinemas

8704 N Lombard St., 503-286-1768 KUNG FU PANDA 3 Wed -Thu 4:40, 7:00 HAIL, CAESAR! Wed-Thu 5:10, 7:30

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 DEADPOOL Wed-Thu 5:30, 7:45

Kiggins Theatre

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Hollywood Theatre

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16603 SE Division St. RACE Wed-Thu 12:20, 3:30, 6:40, 9:50 RISEN Wed Thu 11:35, 2:15, 4:55, 7:40, 10:20 THE WITCH Wed -Thu 11:55, 2:35, 5:05, 7:45, 10:25 DEADPOOL Wed-Thu 11:30, 12:30, 2:10, 3:20, 4:50, 7:30, 10:20 HOW TO BE SINGLE Wed-Thu 11:40, 2:20, 5:00, 7:45, 10:30 ZOOLANDER NO. 2 Wed-Thu 11:50, 2:25, 5:00, 7:35, 10:10 HAIL, CAESAR! Wed-Thu 12:25, 3:00 THE CHOICE Wed-Thu 3:40 KUNG FU PANDA 3 Wed Thu 2:00, 4:40, 7:15 KUNG FU PANDA 3 3D Wed -Thu 11:45, 9:40 RIDE ALONG 2 Wed-Thu 12:05, 2:30, 5:05, 7:40, 10:15 THE REVENANT Wed-Thu 11:30, 2:50, 6:15, 9:35 STAR WARS: THE

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GREAT JOURNEY WEST Wed-Fri 12:00 MYSTERIES OF THE UNSEEN WORLD Wed-Thu 12:00 JERUSALEM Thu 1:00 JOURNEY TO SPACE Fri-Sat-Sun 11:00 THE MARTIAN Sat 3:45 THE HATEFUL EIGHT Sat 6:15 THE MARTIAN 3D Sat 9:15 THE GOOD DINOSAUR Sun 4:00 THE HUNGER GAMES: MOCKINGJAY, PART 2 Sun 6:00

You were a good dog and wonderful companion. We will all miss you dearly. “WE DO IT MY WAY”: Mad Max 2: The Road Warrior is at the Hollywood Theatre. 7:30 pm Thursday-Friday, Feb. 25-26. Willamette Week FEBRUARY 24, 2016 wweek.com

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Higher Tea A FARMHOUSE B&B IS OFFERING BUD BRUNCHES AND CANNABIS-PAIRED TEA SERVICE. High tea doesn’t have to involve crumpets and irritatingly good posture. At a new bed-and-breakfast called North Fork 53, nestled in the mountains along the North Fork River between Highway 26 and the coastal town of Nehalem, the ritual is taking on a whole new meaning. The first Sunday of each month, North Fork 53 owners Brigham and Ginger Edwards will present high tea, featuring terpene-paired teas and local cannabis strains served alongside three courses of farm-fresh snacks. North Fork 53 was a dream three years in the making. While working unhappily at a Portland cannabis grow house, Brigham Edwards took a drive on Highway 53 to meet a woman he’d been chatting with on OkCupid. He ended up falling in love with both Ginger and the North Fork area. North Fork 53 is a picturesque retreat with hanging lights on the lattice-gate foliage, well-worn but well-preserved wooden buildings, and postcardperfect river views. When the community’s historian put it up for sale 18 months ago, the Edwardses, financed by his friends and family, bought the place. After nearly a year’s worth of renovations—mostly handled by area volunteers—and the addition of a commercial kitchen, North Fork 53 reopened in October 2015 and began taking guests. But Brigham Edwards’ other passion is a company called PNW Potions. When childhood friend

Jason Rypkema’s mother was diagnosed with cancer a while back, Rypkema turned to Edwards for help getting pain medication. Edwards’ first Rick Simpson oil gave her dry mouth overnight, so he went back to work. His next product, an infused tincture, gave Rypkema’s mother months of relief. After six months, Rypkema came onboard with PNW Potions—helping devise cannabis-infused sweet liquid droppers with additives like maca, ginseng and yerba mate. High tea is where it all comes together. Originally introduced as an afternoon meal for the British working man to eat while standing up, North Fork 53’s high tea features Jasmine Pearl Tea Company leaves and Gnome Grown Organics cannabis strains, each paired via terpene profile and aroma. Guests will have the option of lightly infusing their tea with PNW Potions, and will vape or smoke all three paired strains inside, at their table, while munching on three tiers of farm-fresh snacks from the garden out back. In keeping with what’s becoming tradition, none of the food will be served infused—the aroma of the smoke or vapor is vital to the process. The Edwardses also offer occasional “bud n brunches” and international dinners. The one Brigham Edwards likes to talk about is the Moroccan dinner North Fork 53 served on New Year’s Eve, which featured belly dancers. “The tribal belly dancers, the Bedouins, were an amazing quartet,” he recalls. “We felt their presence really compounded with the cannabis and chef Shimron Tubman’s courses into a mind melter.” TYLER HURST. GO: North Fork 53, 77282 Highway 53, Nehalem, northfork53.com, will hold its ﬁrst high tea March 6 and a Stoner Easter Egg Hunt Bud n Brunch on Easter Sunday, March 27. High tea $65, bud n brunch $80. Room rates are separate.

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CHATLINES

JONESIN’

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last week’s answers

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Week of February 25

ARIES (March 21-April 19) Just one species has a big enough throat to swallow a person whole: the sperm whale. If you happen to be sailing the high seas any time soon, I hope you will studiously avoid getting thrown overboard in the vicinity of one of these beasts. The odds are higher than usual that you’d end up in its belly, much like the Biblical character Jonah. (Although, like him, I bet you’d ultimately escape.) Furthermore, Aries, I hope you will be cautious not to get swallowed up by anything else. It’s true that the coming weeks will be a good time to go on a retreat, to flee from the grind and take a break from the usual frenzy. But the best way to do that is to consciously choose the right circumstances rather than leave it to chance. TAURUS (April 20-May 20) You have cosmic clearance to fantasize about participating in orgies where you’re loose and free and exuberant. It’s probably not a good idea to attend a literal orgy, however. For the foreseeable future, all the cleansing revelry and cathartic rapture you need can be obtained through the wild stories and outrageous scenes that unfold in your imagination. Giving yourself the gift of pretend immersions in fertile chaos could recharge your spiritual batteries in just the right ways. GEMINI (May 21-June 20) “Hell is the suffering of being unable to love,” wrote novelist J. D. Salinger. If that’s true, I’m pleased to announce that you can now ensure you’ll be free of hell for a very long time. The cosmic omens suggest that you have enormous power to expand your capacity for love. So get busy! Make it your intention to dissolve any unconscious blocks you might have about sharing your gifts and bestowing your blessings. Get rid of attitudes and behaviors that limit your generosity and compassion. Now is an excellent time to launch your “Perpetual Freedom from Hell” campaign! CANCER (June 21-July 22) “A vacation is what you take when you can no longer take what you’ve been taking,” said journalist Earl Wilson. Do you fit that description, Cancerian? Probably. I suspect it’s high time to find a polite way to flee your responsibilities, avoid your duties, and hide from your burdens. For the foreseeable future, you have a mandate to ignore what fills you with boredom. You have the right to avoid any involvement that makes life too damn complicated. And you have a holy obligation to rethink your relationship with any influence that weighs you down with menial obligations. LEO (July 23-Aug. 22) “Your illusions are a part of you like your bones and flesh and memory,” writes William Faulkner in his novel Absalom, Absalom! If that’s true, Leo, you now have a chance to be a miracle worker. In the coming weeks, you can summon the uncanny power to rip at least two of your illusions out by the roots -- without causing any permanent damage! You may temporarily feel a stinging sensation, but that will be a sign that healing is underway. Congratulations in advance for getting rid of the dead weight. VIRGO (Aug. 23-Sept. 22) “We are defined by the lines we choose to cross or to be confined by,” says Virgo writer A. S. Byatt. That’s a key meditation for you as you enter a phase in which boundaries will be a major theme. During the next eight weeks, you will be continuously challenged to decide which people and things and ideas you want to be part of your world, and which you don’t. In some cases you’ll be wise to put up barriers and limit connection. In other cases, you’ll thrive by erasing borders and transcending divisions. The hard part -- and the fun part -- will be knowing which is which. Trust your gut. LIBRA (Sept. 23-Oct. 22) When life gives you lemon juice from concentrate, citric acid, high-fructose corn syrup, modified cornstarch, potassium citrate, yellow food dye, and gum acacia, what should you do? Make lemonade, of course! You might wish that all the raw ingredients life sends your way would be pure and authentic, but sometimes the mix includes artificial stuff. No worries, Libra! I am confident

that you have the imaginative chutzpah and resilient willpower necessary to turn the mishmash into passable nourishment. Or here’s another alternative: You could procrastinate for two weeks, when more of the available resources will be natural. SCORPIO (Oct. 23-Nov. 21) Your Mythic Metaphor for the coming weeks is dew. Many cultures have regarded it as a symbol of life-giving grace. In Kabbalah, divine dew seeps from the Tree of Life. In Chinese folklore, the lunar dew purifies vision and nurtures longevity. In the lore of ancient Greece, dew confers fertility. The Iroquois speak of the Great Dew Eagle, who drops healing moisture on land ravaged by evil spirits. The creator god of the Ashanti people created dew soon after making the sun, moon, and stars. Lao-Tse said it’s an emblem of the harmonious marriage between Earth and Heaven. So what will you do with the magic dew you’ll be blessed with? SAGITTARIUS (Nov. 22-Dec. 21) It’s prime time for you to love your memory, make vivid use of your memory, and enhance your memory. Here are some hints about how: 1. Feel appreciation for the way the old stories of your life form the core of your identity and self-image. 2. Draw on your recollections of the past to guide you in making decisions about the imminent future. 3. Notice everything you see with an intensified focus, because then you will remember it better, and that will come in handy quite soon. 4. Make up new memories that you wish had happened. Have fun creating scenes from an imagined past. CAPRICORN (Dec. 22-Jan. 19) Most of us know about Albert Einstein’s greatest idea: the general theory of relativity. It was one of the reasons he won a Nobel Prize in Physics. But what was his second-best discovery? Here’s what he said it was: adding an egg to the pot while he cooked his soup. That way, he could produce a soft-boiled egg without having to dirty a second pot. What are the first- and second-most fabulous ideas you’ve ever come up with, Capricorn? I suspect you are on the verge of producing new candidates to compete with them. If it’s OK with you, I will, at least temporarily, refer to you as a genius. AQUARIUS (Jan. 20-Feb. 18) You may be familiar with the iconic children’s book Where the Wild Things Are. It’s about a boy named Max who takes a dream-like journey from his bedroom to an exotic island, where he becomes king of the weird beasts who live there. Author Maurice Sendak’s original title for the tale was “Where the Wild Horses Are.” But when his editor realized how inept Sendak was at drawing horses, she instructed him to come up with a title to match the kinds of creatures he could draw skillfully. That was a good idea. The book has sold over 19 million copies. I think you may need to deal with a comparable issue, Aquarius. It’s wise to acknowledge one of your limitations, and then capitalize on the adjustments you’ve got to make. PISCES (Feb. 19-March 20) “People don’t want their lives fixed,” proclaims Chuck Palahniuk in his novel Survivor. “Nobody wants their problems solved. Their dramas. Their distractions. Their stories resolved. Their messes cleaned up. Because what would they have left? Just the big scary unknown.” Your challenge in the coming weeks, Pisces, is to prove Palahniuk wrong, at least in regards to you. From what I can tell, you will have unprecedented opportunities to solve dilemmas and clean up messy situations. And if you take even partial advantage of this gift, you will not be plunged into the big scary unknown, but rather into a new phase of shaping your identity with crispness and clarity.

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Massage openings in the Mt. Tabor area. Call Jerry for info. 503-757-7295. LMT6111.

OVERWHELMED BY DEBT?

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