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

FINDINGS

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WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 42, ISSUE 24.

Southeast Portland serial polluter Bullseye Glass will be using cadmium again very soon. 6

Everyone in Sonora drinks Tecate, not Corona. 35

An immigrant started the Portland State “Students for Trump” group. 7

Rwanda. 41

Gentrification “means fewer thugs in the neighborhood,” says one man running for City Council. 8 Anderson Paak got into music because his weed farming job didn’t work out. 31

ON THE COVER:

August von Trapp owns a cow in

Portland’s newest art gallery opens with a show featuring lots and lots of naked women. 44 They make cannabis-ﬁlled cigarettes now, and you can slide them into a normal pack and take them pretty much anywhere. 50

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Thanks, Obama! by Tripper Dungan.

There is a hobbit in Portland.

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, Maya McOmie Stage & Screen Editor Enid Spitz Projects Editor Matthew Korfhage Music Editor Matthew Singer Web Editor Lizzy Acker Books James Helmsworth

Visual Arts Jennifer Rabin Editorial Interns Karina Buggy, Jenna Mulligan CONTRIBUTORS Mike Acker, Dave Cantor, Nathan Carson, Peter D’Auria, 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 Henry Cromett, Gabi McKenzie, Skylar Nguyen

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Willamette Week APRIL 13, 2016 wweek.com

MAN VS. FOOD CHALLENGES

Gluttony—the new Portland [“I Ate the Whole Thing!, WW April 6, 2016]. Does every WW issue have to have an article about the inhalation of flesh? The sight of bearded, obese 20- and 30-yearolds is getting to be tiresome. Incidentally, the No. 1 cause of heat-trapping greenhouse gases is due to meat consumption—more than transportation and industry. So, go ahead, keep stuffing your face. Your children will suffer for it. —“NE Portlander” Matthew Korfhage, that was truly hilarious reading. Every word of your every bite. —Bart Stilt The country is in the middle of a obesity epidemic, especially with children. It is irresponsible of this paper to glorify overeating. —“CatNamedJava”

I worked at the Native American Youth and Family Center, which does a lot of good things for the Native community, as well as for the community in general [“Making Up the Numbers,” WW, April 6, 2016]. However, like any other organization, NAYA needs to aspire to the highest standards because it serves marginalized people who need stellar support and aboveboard representation. I hope this is an eye-opener that any organization is susceptible to ethics lapses that can tarnish the reputation and hurt the quality of services to our most underserved populations. ahead, —Ellen Goss

“Go keep stuﬃng your face. Your children will suﬀer for it.”

LIGHT-RAIL PLAN FOR TUALATIN

This will be a real boon for the mall! [“Portland’s Next Light-Rail Line,” WW, April 6, 2016.] Actually, in my experience, the majority of people who shop at Bridgeport Village don’t ride public transit—they’re afraid of the riffraff. I’ll be very surprised if the number of shoppers increases measurably. I wish it were going closer to Portland Community College Sylvania. —“FWIW” Just because the terminus is near a shopping mall doesn’t mean it’s intended to be used just to go to the mall. Not everyone on the Red Line is going to the airport. And plenty of us who live in this corridor would love better options for getting to downtown. —“Rickyfartin”

In Mayor Charlie Hales’ State of the City speech, he said Portland was in danger of becoming “a city where only 10 percent of homes are aﬀordable by the middle class.” Who’s going to live in those homes, then? Are all Portlanders rich except me? —Future Bum

Hales’ comment was part of a rhetorical flourish about how we don’t want Portland to turn into San Francisco, where that 10 percent stat has already come true. In the City by the Bay, they fill those unaffordable homes with unaffordable people: Everyone who lives in San Francisco is rich, and everyone else gets herded into shipping containers and sent to Taiwan to make iPhones. In-migration means Portland could go down the same road. What to do? Housing pressure is like global warming: There’s no single magic bullet to solve it, there are things we can do that each help a little bit, and everyone suspects all those things put together won’t be enough and we’re all gonna die. 4

Willamette Week APRIL 13, 2016 wweek.com

LAWSUIT TARGETS PPS PARTNER

This isn’t just about one failed alternative-education contract but part of the broader picture of what goes on every day at Portland Public Schools—programs that cost the district $10 million a year and accomplish little. —“tin”

CORRECTIONS

The late children’s TV show host Ramblin’ Rod Anders was mistakenly called Ramblin’ Red in last week’s Headout feature (“Some Drink to Remember,” WW, April 6, 2016). A sidebar accompanying the cover story on Oregon Treasurer and Portland mayoral candidate Ted Wheeler (“The Inheritance,” WW, March 30, 2016) incorrectly referred to the origin of the Wheeler Family Foundation. Ted Wheeler’s grandfather started the foundation, not his father. WW regrets the errors. LETTERS TO THE EDITOR must include the author’s street address and phone number for veriﬁcation. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Email: mzusman@wweek.com.

This column cannot do justice to the many solutions local officials are throwing at this problem. However, there’s one strategy they’re powerless to deploy. See, while San Francisco’s housing crisis is driven by jobs, ours is driven by the attractiveness of our quality of life. The mayor can’t say this, but we need to make Portland suck—or, at least, make it less appealing to the kind of person who can rent a $2,700 apartment without needing to find a job first. So, the next time you see a guy with that haircut that’s buzzed to nothing on the sides and slicked back super-straight on the top, go ahead and kick the living shit out of him. I’m kidding! Don’t do that. But if you want to go to the kind of restaurant that has “gravlax” and “syllabubs” on the menu and start offering to buy people’s children, I won’t argue. Meanwhile, we can move that favela on North Greeley Avenue to the Pearl District, and then talk to the Bureau of Environmental Services about getting those human feces back in the river. Together, we can Make Portland Shitty Again! QUESTIONS? Send them to dr.know@wweek.com

In honor of National Fair Housing Month | April 2016

We Are Fair Housing

, as housing providers to the people of Oregon, pledge the following:

1. To provide equal opportunities for rental housing to Oregon residents without regard to race, color, religion, national origin, sex, familial status, disability, source of income, marital status, sexual orientation, gender identity, or victims of domestic violence. 2. To be open and transparent in all our practices, investigations, and other activities related to fair housing laws. 3. To provide ongoing training and education in fair housing best practices to all our employees. 4. To address all fair housing complaints and, if fair housing laws are broken, to hold violators accountable. 5. To uphold all fair housing laws as our legal and moral obligation to all Oregonians. Signed, The Board of Directors of Multifamily NW representing Cascade Management, Tokola Properties, Greystar, Mainlander Property Management, Quantum Residential, American Property Management, Background Investigations, Bittner & Hahs, Capital Property Management, Guardian Real Estate Services, Home Forward, Income Property Management, Interstate Roofing, Kennedy Restoration, Princeton Property Management, Sterling Management Group, WPL Associates. This fair housing pledge represents a public commitment from management companies and housing providers that manage or own approximately 160,000 multifamily units or homes in Oregon. To learn more about our pledge and fair housing laws, please visit out website at multifamilynw.org. 16083 SW Upper Boones Ferry Road, Suite 105, Tigard, OR 97224 | ph: 503-213-1281 email: info@multifamilynw.org

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Report Says Oregon DOJ Probably Broke Federal Laws

Oregon Attorney General Ellen Rosenblum has finally issued the results of an outside investigation into the September 2015 use of a digital surveillance tool to profile use of the hashtag #BlackLivesMatter on social media. (Disclosure: Rosenblum is married to Richard Meeker, co-owner of WW’s parent company.) The man whose Twitter feed was profiled: Oregon Department of Justice civil rights chief Erious Johnson, who is one of only five African-Americans among the agency’s 258 lawyers. Investigator Carolyn Walker

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determined the agent who profiled Johnson, whom WW has previously identified as James Williams, probably broke state and federal laws, and knew little about those laws—even though his supervisors claimed they did. (Williams remains on leave.) In her conclusion, Walker wrote that the profiling of Johnson was an “isolated incident.” But David Rogers, director of the American Civil Liberties Union of Oregon, disagrees with that conclusion. Rogers says Walker’s report shows other agents lacked training, were ignorant of laws meant to protect citizens’ civil liberties, and weren’t properly supervised by managers. “DOJ is going to need some outside help,” Rogers says. “They are not going to be able to fix these issues on their own.”

Willamette Week APRIL 13, 2016 wweek.com

Portland Sets Aside $35,000 to Defend Fire Chief

Portland’s ﬁrst female ﬁre chief, Erin Janssens, is leaving her post this month, and the City Council is saying

Janssens

JAROD OPPERMAN

TONIGHT CATERING

MURMURS

goodbye by proclaiming April 13 a day to honor her. The city is also sticking taxpayers with a bill of up to $35,000 to defend Janssens in a Multnomah County Circuit Court lawsuit brought in October by a former subordinate. As WW reported in June, senior civilian ﬁre bureau employee Brian Alcid alleges Janssens grabbed his neck area and shook his head after a tense meeting in late 2013. A city investigation of the incident found Janssens had acted “discourteously,” but oﬃcials declined to discipline her. In response to Alcid’s lawsuit, the city inked a $35,000 contract with Pitzer Law to provide outside counsel for Janssens. She did not comment by press deadline.

Moss Study Could Be a National Breakthrough

The U.S. Forest Service researchers who discovered toxic levels of heavy metals in moss surrounding two Portland stained-glass factories have published their study in a national journal—where they describe a national breakthrough in spotting air pollution. The moss tests “are a screening tool that could revolutionize air-quality monitoring,” write Sarah Jovan and six other authors in the July issue of Science of the Total Environment. Meanwhile, the Southeast Portland company Bullseye Glass told state oﬃcials April 6 that it will resume using cadmium after installing a new air ﬁlter.

NEWS

WHAT YOU NEED TO KNOW THIS WEEK

The day by which the U.S. Drug Enforcement Administration hopes to decide whether to remove marijuana from the list of Schedule 1 drugs, according to a letter sent last week to U.S. senators, including Oregon’s Ron Wyden. Rescheduling would allow scientists to legally gather enough cannabis to study its medical uses.

TYLER GROSS

Portland City Hall’s Revolving Door

BY BE T H S LOV I C

bslovic@wweek.com

Portland’s elected auditor, Mary Hull Caballero, wants to toughen the city’s restrictions on city officials who leave their jobs, then become lobbyists at City Hall. Right now, former city bureau directors, elected leaders and at-will employees of elected leaders face a one-year ban on lobbying their old bosses or colleagues. But there’s an asterisk on that rule. The one-year ban applies only to subject areas the former city employee addressed “personally and substantially” while in city government. That’s a standard that’s hard to police, says Deborah Scroggin, an administrator in the auditor’s office who runs Portland’s 10-year-old lobbying registration program. “If the

KEN RUST What he did: Rust, then an 18-year veteran of Portland government, left his job in summer 2011 as Portland’s chief administrative officer. Where he went: In fall 2011 and winter 2012, he lobbied the city on behalf of an outfit called Columbia Biogas, which sought city funding for a privately operated green-energy plant in the Cully neighborhood. City attorneys ruled Rust violated no rules because he had not been involved “personally and substantially” in any deal with Columbia Biogas while he was a city employee. Rust returned to city government as chief financial officer in 2014. What he says: Rust declined to comment.

intent of the program is to preserve public trust in government,” says Scroggin, “we need to keep making the program as effective as possible.” A proposal the City Council will hear Wednesday, April 13, would extend the ban to two years and make it apply to any subject—not just those in which a former employee was directly involved. Already the proposal is facing opposition, notably from the office of Mayor Charlie Hales, whose employees will soon be job-hunting. Here are three examples of city employees whose later lobbying activity would be banned under the new rules that Caballero and Scroggin propose.

RAIHANA ANSARY What she did: Ansary worked as a policy coordinator on economic development issues for thenMayor Sam Adams for more than two years, until Adams left oﬃce in December 2012. Where she went: In March 2013, she became a lobbyist for the Portland Business Alliance. What she says: “Under the city’s existing ordinance, I was prohibited from lobbying on issues that I had worked on in Mayor Sam Adams’ oﬃce for one year after my employment ended with his administration,” Ansary says. “We were scrupulous in following this rule, and I excused myself from alliance meetings with Portland City Council members if issues that I had previously worked on in the mayor’s office arose in conversation.”

MIKE REESE What he did: Reese retired as Portland police chief in January 2015. Where he went: In January 2016, he became interim director of the Citizens Crime Commission, a nonproﬁt arm of the Portland Business Alliance that advocates for public safety on behalf of businesses. Reese is now a registered lobbyist for the organization. The new rules would bar him from lobbying until 2017, although some critics of the proposal would like to exempt nonproﬁts. What he says: Reese said he had not read the proposed changes and had no comment.

FOUR QUESTIONS FOR: Volodymyr Kolychev Last week, Volodymyr Kolychev hosted the first meeting of a group called “Students for Trump” at Portland State University. It quickly dissolved into heated shouting, as dozens of protesters arrived at the Smith Memorial Student Union to demonstrate against Republican presidential front-runner Donald Trump. But Kolychev, a 19-year-old economics major and first-generation Ukrainian immigrant, tells WW he considers the meeting a rousing success. He’s hosting another April 16. JENNA MULLIGAN. WW: Why did you start Students for Trump at PSU? Volodymyr Kolychev: I wanted to form a group and acquire friends in real life, outside of social media. I have a sticker on my laptop sort of signaling my political stance. I can’t go around saying, “Are you a right-winger, are you a right-winger?” so I have a sticker that says, “This Laptop Brought to You by Capitalism.” Did you expect backlash from left-wingers? We expected heavy backlash. That was sort of the other plot for this. They’ve shut down normal conservatives all the time. If this was Students for Cruz or Students for Kasich, they probably would have shown up and screamed at us, but it wouldn’t have been as interesting and it wouldn’t have been on this same level.

What were you trying to accomplish? There is this idea that all Trump supporters are violent bigots who go around punching people in the face, while the far-left guys are all nice and tolerant as they say. It did not seem to turn out this way. This meeting separated the aspiring bullshit commissars from the liberal Democrats. Is there hypocrisy in a ﬁrst-generation immigrant supporting Trump? Actually, I think a firstgeneration immigrant not supporting Trump is hypocritical. It’s really hard to get these visas; you have to go through all this work. The fact that someone who lives close to the U.S. could just waltz across the border—if illegal immigrants are able to break the law, it creates sentiment against all immigrants, and legal immigrants suffer from that.

Willamette Week APRIL 13, 2016 wweek.com

thomas teal

NEWS “I felt trapped and helpless. all I could thInk of was, how can I get out of there?” —Hunter Stewart

NO CONFIDENCE: Hunter Stewart says voters should think twice before supporting her father, Fred Stewart, for Portland City Council.

Family Values

CITY COUNCIL CANDIDATE FRED STEWART “PINNED” HIS 16-YEAR-OLD DAUGHTER AGAINST THE WALL—THEN SUED HER. By nig e l jaq ui ss

njaquiss@wweek.com

On Feb. 22, a Grant High School urban studies class attended a candidate debate for the Portland City Council seat currently held by Commissioner Steve Novick. Near the end of the two-hour debate, two Grant students, both editors of the school’s magazine, rose from their seats in Portland State University’s Smith Memorial Student Union and strode from the room. Their abrupt departure caused a stir. One of the students, Eliza Kamerling-Brown, told WW the students left in response to a comment made by candidate Fred Stewart. The comment? When asked what he hoped to accomplish if elected, Stewart, 51, who’s running on a public safety platform, said, “I just want to make the city of Portland a place where my daughter, Hunter, would be proud to live.” That remark troubled Kamerling-Brown. “In the time I’ve know Hunter, I’ve watched her work to overcome her relationship with her father,” KamerlingBrown says. “When I heard him invoke her name to promote his candidacy, I couldn’t stand to be in the room any longer.” 8

Willamette Week APRIL 13, 2016 wweek.com

Fred Stewart is a familiar face in city politics. A graduate of Cleveland High School, he has worked in the real estate and mortgage business for three decades in North and Northeast Portland. He was an early investor in real estate along North Mississippi Avenue and Northeast Alberta Street—although he lost those properties to foreclosure. Stewart ran unsuccessfully for the Legislature in 1992, was president of the King Neighborhood Association for 10 years, and served on a variety of volunteer commissions. In 2008, he ran for a vacant City Council seat, finishing third in a race won by Commissioner Nick Fish. Stewart jumped into the race against Novick in July 2015, and was later joined by architect Stuart Emmons and bookseller Chloe Eudaly. Stewart is running an aggressive social-media campaign, regularly posting on Facebook about fiscal accountability and law-and-order topics. He’s been outspoken at candidate forums and in interviews about the need to make Portland’s streets safer. Perhaps alone among candidates, he has exulted in the changes in North and Northeast Portland. “I love gentrification,” Stewart tells WW. “It means fewer thugs in the neighborhood.” When the Grant students walked out of the debate,

they did so because of an incident that took place Sept. 21, 2013. That day police were summoned to Stewart’s Northeast Portland home. He’d gotten into a dispute with his daughter, Hunter, then 16. When the disagreement escalated, a friend of Hunter Stewart’s, who was with her at the house, called the police. Amelia Morrison, the teenager who called police, told responding Officer Mike Chapin what she’d seen. Chapin wrote in his police report: “[Fred Stewart] became upset and was making a poking type motion with his finger around Hunter’s eye.…[T]hey began arguing with each other…and [Morrison] could see him pushing her up against the wall.” Fred Stewart, who, according to the police report, is 6 feet tall and 250 pounds—nearly a foot and 100 pounds larger than his daughter—acknowledged to police that he’d put his hands on his daughter, although he told the officer she pushed him first. “Fred stated that he pinned [Hunter] up against the wall (upper chest area) and she was just standing there screaming,” Chapin wrote. Chapin did not arrest Fred Stewart but took Hunter Stewart to her mother’s house elsewhere in Northeast Portland. (Stewart and his wife, Robin Raymond, divorced in 2002.) The next day, Hunter Stewart and her mother went to Central Precinct to get photos taken. “Stewart had some light bruising under the right side of her jaw line and a small red mark on her chin,” wrote the criminalist who took the photos, in a Sept. 22, 2013, police report. Hunter Stewart says her experience followed an already frayed relationship with her father, and it terrified her. “I felt trapped and helpless,” she says. “I could feel his temper escalating, and all I could think of was, how can I get out of there?” After that day, she continued her studies at Grant High. She says she struggled to put the incident behind her, often skipping classes. Fred Stewart’s recollection of the incident largely mirrors his daughter’s. “I was loud that day,” he says. “I’m sure her ears were ringing for a week. She was flat-out disrespectful.” His account of the incident differs from his daughter’s in one important way: “She hit me,” Fred Stewart says. “I didn’t tell the cop because I didn’t want her to get arrested, but if there’s anybody who should have been arrested, it was her.” (Fred Stewart’s girlfriend, Margaret Ibanez, who witnessed the incident, agrees with his version of events.) About a week after the incident, on Oct. 1, 2013, he filed a lawsuit in Multnomah County Circuit Court, accusing his ex-wife, Raymond, of slander, claiming she had falsely convinced Hunter Stewart he’d been physically abusive during their marriage, an allegation Hunter Stewart shared with police. Fred Stewart sought $4 million in damages, and soon added Hunter Stewart as a co-defendant. Raymond says she was stunned. “I was in shock at the audacity of the whole thing,” Raymond says. Fred Stewart then revised his claim, reducing the damages he was seeking to $7,500. He subsequently sought to dismiss the case altogether. Raymond’s attorney, Linda K. Williams, refused to allow that. On April 22, 2014, Judge Karin Immergut ruled that Fred Stewart’s lawsuit lacked merit and ruled in

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favor of Raymond and Hunter Stewart. Immergut ordered Fred Stewart to pay court costs, pay Raymond a prevailing-party fee of $550, and pay her attorney’s fees. He has not made those payments. In fact, records show he has filed for bankruptcy five times since 1991 and has not paid his property taxes since 2011. He has also consistently failed to make child support payments and was arrested in October 2013 because he was $9,000 in arrears. Fred Stewart attributes the bankruptcies to the messy divorce from Raymond, and blames the recession, which crippled his real estate business, for his inability to meet other obligations. Meanwhile, Fred Stewart says he doesn’t regret filing the lawsuit against his ex-wife. “A man’s reputation is all he’s got,” Stewart says. “I never wanted to sue Hunter, but it was the only way we could depose her under oath. I’m tired of being humiliated.” To escape the stress of her family life, Hunter Stewart immersed herself in journalism. During the summer between her junior and senior years, she interned at ProPublica, the Pulitzer

“I DON’T REGRET PINNING MY DAUGHTER AGAINST THE WALL.” —Fred Stewart

Prize-winning investigative journalism organization in New York. In her senior year, she served as co-editor of Grant Magazine, which won a Gold Crown Award for excellence from the Columbia Graduate School of Journalism. “In my five years of teaching journalism at Grant, Hunter is absolutely at the top the list,” says David Austin, a longtime Oregonian reporter who is now Multnomah County’s communications director. Hunter Stewart, 19, is now in college on the East Coast majoring in journalism and urban planning. She has earned a 4.0 GPA. “I want people to know who my father really is,” she says. “And I would hope that he looks in the mirror and gets the help he needs.” Hunter Stewart told her successors as editor of Grant Magazine about the issues with her father, which is why two of them walked out of the February debate. Raymond, Fred Stewart’s ex-wife, recently heard him on Oregon Public Broadcasting, talking about his strong interest in public safety. “It’s pretty ironic that he’s talking about making Portland’s streets safe,” Raymond says. “He couldn’t even make his daughter feel safe in his own house.” Fred Stewart says he’s done nothing wrong. “I don’t regret pinning my daughter against the wall,” he says. “If our only relationship is for you to disrespect me, I’d rather not have any relationship at all.” Willamette Week APRIL 13, 2016 wweek.com

JULIA HUTCHINSON

NEWS

Charity Goes South A LOCAL FOUNDATION GIVES BIG MONEY TO A GROUP BACKING ANTI-TRANSGENDER LAWS. BY R ACHEL MON A HA N

rmonahan@wweek.com

The M.J. Murdock Charitable Trust, one of the largest charities in the Pacific Northwest, gave $375,000 to a right-wing group that supports North Carolina’s anti-transgender legislation. In February, the Vancouver, Wash.-based Murdock Trust announced the grant to the Scottsdale, Ariz.,-based group called the Alliance Defending Freedom. The group is a conservative Christian nonprofit that backs passing laws across the nation to require transgender people to use public restrooms that match the gender on their birth certificates. The North Carolina law, the first in the nation to restrict people from using restrooms that align with their gender identity, has been widely pilloried as an attack on LGBTQ rights. In the past two weeks, the city of Portland and Portland Public Schools have both banned their employees from traveling to North Carolina on government business. Yet money to fund one of the most prominent groups supporting the North Carolina transgender law is coming in part from a foundation created by one of the giants of Oregon’s technology industry, Melvin J. “Jack” Murdock, who grew up in Portland and graduated from Franklin High School. In 1946, Murdock and Howard Vollum co-founded Tektronix in Beaverton. The company, which manufactures test and measurement devices, was Oregon’s most significant high-tech company for decades, spinning off a half-dozen other companies. Murdock’s foundation began making grants in 1975 and today, with assets of more than $1 billion, is one of the biggest sources of philanthropy in the Portland metro area, giving away $50 million annually. Two of the trust’s three current trustees are Oregonians: John Castles and Lynwood Swanson. The third, Jeffrey Grubb, lives in Vancouver. “The Trust’s mission,” says its website, “is to enrich the quality of life in the Pacific Northwest.” And the organization does give much of its money away to Northwest causes. In Oregon, many of its donations have gone to arts and educational institutions. 10

Willamette Week APRIL 13, 2016 wweek.com

But among the largest grants this year was $375,000 to the Alliance Defending Freedom. Murdock has given $975,000 in the past nine years to ADF. It’s not the first time Murdock Trust has ignited controversy with its gifts to conservative Christian groups. The Northwest Accountability Project, a Seattle-based, labor-backed nonprofit that watchdogs the funding of right-wing groups, has decried Murdock sending money to the Alliance Defending Freedom and other conservative groups. “While many think of the Murdock Trust as the Northwest’s arts and education foundation, the truth is that it’s become a major backer of controversial, extremist groups,” says Heather Weiner, a spokeswoman for the Northwest Accountability Project. Steve Moore, executive director of the trust, tells WW that the $375,000 grant to the ADF was earmarked for teaching schools how to follow the law when creating nondiscrimination and freespeech policies. Moore says the money did not go to crafting anti-LGBTQ legislation. “We ourselves do not expect to agree with everything that grant recipients do or say,” Moore says. “We respect the rights of organizations and individuals to disagree politically and engage in productive civil discourse.” Yet the Alliance Defending Freedom has for more than a year been leading the fight to restrict restroom use to people whose birth certificates match the gender on the door. The group, co-founded in 1994 by conservative radio host James Dobson, crafted model legislation in Colorado restricting lavatory use in schools. That bill has been used as a template in several states, including North Carolina. When North Carolina passed its legislation, ADF officials cheered. Jim Campbell, senior counsel for the alliance, tells WW in a statement that the bill increases safety for children. “Increasingly, laws allowing men to enter private facilities with young girls are being enacted,” claims Campbell, “which ignores basic physical privacy rights and is especially insensitive to those who have experienced sexual abuse and may undergo additional trauma when forced to be present with a member of the opposite sex in this setting. Laws like North Carolina’s Public Facilities Privacy and Security Act are thus becoming very important.”

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THE FIVE THINGS HOSPITALS DON’T WANT YOU TO KNOW ABOUT OBAMACARE. BY NI GEL JAQ UI SS

njaquiss@wweek.com

Here’s a quiz: What local company is sitting on the biggest pile of cash? Portland General Electric? Mentor Graphics? Nike? Actually, it’s none of those publicly traded companies. It’s a nonprofit. The state’s largest hospital system, Providence Health & Services, has stockpiled nearly $6 billion in cash reserves. That’s almost twice the amount of cash Nike reported in its most recent quarterly filing. It’s also a number that makes state Rep. Mitch Greenlick (D-Portland) angry. After a long career as a researcher at Kaiser Permanente and Oregon Health & Science University, Greenlick became the Legislature’s leading health care expert. What he sees today are Oregon’s hospitals banking windfall profits—even though they are nonprofits—and providing dramatically less charity care to the poor. “When I look at hospital reports,” Greenlick says, “charity care is essentially gone.” That’s significant, Greenlick and others say, because hospitals’ provision of charity care was the reason nearly every Oregon hospital was exempted from paying property and income taxes. Hospitals can thank Obamacare for the profitable situation they’re enjoying. The Affordable Care Act provided new coverage for millions of previously uninsured Americans, including hundreds of thousands of Oregonians. It also provided the state’s hospitals with a cash infusion of more than $1 billion.

Two years after the Affordable Care Act’s Medicaid expansion went into effect, many of Oregon’s 62 hospitals—60 of which are nonprofit—are making boatloads of money. The biggest winners: large urban hospitals like Providence, Legacy Health, and Adventist Health. Critics say the hospitals are using those profits to buy new assets, spiff up existing buildings, and lobby to protect their earnings—in other words, to benefit themselves rather than the community. “We’d like to see them lower prices, increase access and improve quality,” says Felisa Hagins, political director for Service Employees International Union Local 49. “That is not happening.” Andy Davidson, president of the Oregon Association of Hospitals and Health Systems, says the state’s hospitals have made a greater commitment to reinvesting their good fortune in free care than hospitals in other states. “We’re really proud of that,” Davidson says. But at least two groups in Oregon—county tax assessors and SEIU, which represents some hospital workers—are raising an uncomfortable question: If a nonprofit no longer provides much free care, is it still a charity? “When hospitals first started and nuns were providing medical services to the poor, that was charitable activity,” says Umatilla County Assessor Paul Chalmers. “I just find it hard to swallow that they still get a charitable deduction.” Here’s what changed. CONT. on page 14

Willamette Week APRIL 13, 2016 wweek.com

NUMBER OF PEOPLE ON MEDICAID IN OREGON SOARS

More people have insurance.

NOT long ago—as recently as 2013, in fact—15 percent of Oregonians lacked health insurance. When those uninsured citizens needed health care, they often went to emergency rooms. Most of them couldn’t pay, so hospitals absorbed the cost of treating them. Oregon is among 31 states that under Obamacare have expanded Medicaid. Oregon has done a better job than most. Cover Oregon, then- Gov. John

Millions of dollars through three-quarters of year 14

$478

Willamette Week APRIL 13, 2016 wweek.com

2013

626,000

Kitzhaber’s $300 million website, failed. Yet Kitzhaber ultimately accomplished one of his aims: Oregon signed up 430,000 new Medicaid enrollees in the past two years, a larger percentage increase than in all but four states. Now, only 6 percent of Oregonians lack insurance. “Oregon has one of the biggest drops of uninsured in the country,” says Lori Coyner, director of Medicaid for the Oregon Health Authority. “It’s an enormous change.”

$947

2013

1,056,000

S O U R C E : O R E G O N H E A LT H A U T H O R I T Y, K A I S E R F A M I LY F O U N D A T I O N .

CHARITY CARE AND BAD DEBT PLUMMET

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2016

2014

$334 2015

“OREGON HAS ONE OF THE BIGGEST DROPS OF UNINSURED IN THE COUNTRY.”

More insured Oregonians means less charity care. FROM a hospital’s point of view, new Medicaid recipients went from being nonpaying customers to paying customers. Big difference. Hospitals report financial results each quarter to the Oregon Health Authority. The most recent figures show that the total amount of care for which hospitals get no compensation has declined 65 percent in the past two years. “Hospitals are doing very well,” says Chuck Sheketoff, director of the Oregon Center for Public Policy. “Somebody should take a hard look at how much charity care they are providing.”

HOSPITALS are like grocery stores: lots of customers, thin profit margins. But by two key measures that hospitals report to the state each quarter—net patient revenue and operating margin—hospitals are far better off today than they were before the Affordable Care Act. There are a variety of ways to measure hospitals’ financial performance. Net revenue per patient is perhaps the most accurate. It’s simply the difference between how much a hospital receives per patient minus the cost of providing that care. At big urban hospitals, net patient revenue is up 25 percent since the 2014 Medicaid expansion went into effect.

Davidson, director of the state hospital association, notes that hospital profits are cyclical—there have been boom and bust periods for decades. He also points to major price concessions hospitals have made on Medicare reimbursement, which will collectively cost hospitals billions in coming years. But Dr. John Santa, who played a key role in the expansion of Oregon’s Medicaid program in the 1990s, questions whether there is any group, legislative or otherwise, that has the will to compel hospitals to share their gains with their communities. “Who’s out there regulating the system,” Santa asks, “to ensure windfall profits aren’t happening?”

REAL ESTATE BOOM: Hospital expansions include new Legacy labs on Northeast 2nd Avenue.

$49.5 MILLION $46.1 MILLION

$39.5 MILLION 3Q 2013

3Q 2014

3Q 2015

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2013

Legacy Good Samaritan has refurbished its emergency room on Northwest 23rd Avenue.

2014

W W S TA F F ; H E N R Y C R O M E T T

Oregon hospitals are making a lot of money.

QUARTERLY MEDIAN NET PATIENT REVENUE RISES AT BIG-CITY HOSPITALS

2015

Providence is spending $85 million to rehab St. Vincent Medical Center in Southwest Portland.

Hospitals are enjoying their cash windfalls—and investing aggressively.

THE term “nonprofit” may conjure up experimental theater groups, or labors of love like the Feral Cat Coalition. But most hospitals are nonprofits, even though many operate more like Fortune 500 corporations—competing aggressively and paying big salaries. Hospitals directly employ 60,000 people in Oregon and, according to the hospital association, support twice that many jobs indirectly. From humble beginnings, they have evolved into large, complex businesses and are the biggest part of health care, the state’s fastest-growing industry. Because they now have more paying customers, and they don’t pay taxes to government or dividends to shareholders, Oregon’s nonprofit hospitals are piling up money faster than they can spend it. Providence, which operates 33 hospitals in four states,

isn’t the only hospital system sitting on vast reserves. Legacy, a far smaller operation, also has a proportionally large amount of cash on hand—enough to fund operations for 180 days even if no patients walked in the door. In part because they get to hold on to their earnings, nonprofit hospitals accumulate cash at far greater rates than for-profit hospitals, which make up about 20 percent of all hospitals in the nation. Tenet Healthcare, based in Dallas, for instance, a publicly traded chain of 79 hospitals—more than twice as many as Providence has— ended last year with just $445 million in cash, less than 10 percent of Providence’s holdings. Providence pays its people well. The tax return Providence’s Oregon operation filed for last year shows that nine employees got paid more than $1 million and another

27 got more than $500,000—and nearly all of them were administrators. “Executive salaries at the nonprofit hospitals are outrageous,” Greenlick says. “There’s no other way to put it.” Oregon hospitals have been buying doctor groups and other health care assets—and expanding their footprints. Since Obamacare went into effect, for instance, OHSU paid $50 million to buy a chunk of Moda Health. Legacy agreed to buy Silverton Hospital and 50 percent of the health insurer PacificSource, built a new $20 million lab and shelled out $5.65 million for property in Northwest Portland. Providence announced an $85 million face-lift for St. Vincent Medical Center on Portland’s westside. CONT. on page 16 Willamette Week APRIL 13, 2016 wweek.com

Critics are asking if it’s time to end tax exemptions for hospitals.

TAX assessors across Oregon have noticed the same phenomenon. A nonprofit hospital buys a medical facility that was operating as a for-profit business. The for-profit entity changes the name on the door and keeps doing what it was doing before, with one big change—it no longer pays property taxes. Assessors have occasionally challenged nonprofit designations, winning some cases and losing others. In Josephine County, the tax assessor denied Asante’s request for a tax exemption on three physician groups the health care company purchased. But when Clackamas County earlier sought to deny Providence an exemption for an MRI facility it purchased, the Oregon tax court ruled the property should be tax exempt. The ruling frustrated Clackamas County Assessor Bob Vroman, who points out that Oregon law reserves charitable tax exemptions for facilities that are primarily used for charitable purposes. “We could agree that an organization offering care to anyone who walked in the door for free or reduced price might qualify for an exemption,” Vroman says. “But that wasn’t the case.” An SEIU researcher found that Providence, Legacy and Adventist don’t just own hospitals—they own 242 properties in Multnomah County that are exempt from property taxes, saving them more than

$20 million annually. It’s unknown how much income tax they save—but SEIU estimates it could be as much as $26 million a year. In 2015, the state’s tax assessors sponsored legislation that sought a clearer definition of what qualifies a hospital for a charitable deduction. Lawmakers listened politely, then sent the bill to a work group. “We definitely found out we had less clout than the hospitals,” says former Columbia County Assessor Tom Linhares, who lobbied for the assessors. Linhares and the assessors were tugging on Superman’s cape. They faced an army of more than a dozen hospital lobbyists and the Oregon Association of Hospitals and Health Systems, whose president, Davidson, is a savvy political insider with a long track record in Salem, Olympia, Wash., and Washington, D.C. The idea of taxing nonprofit hospitals isn’t new in Oregon: Then-House Speaker Vera Katz (D -Portland) considered the issue 30 years ago. Katz, who went on to serve as Portland mayor from 1993 to 2005, says she raised the issue as part of an examination of all tax exemptions. “There was a lot of money there, even before Obamacare,” Katz says. “There’s a lot more now. They should absolutely take a look at whether the hospitals still

deserve an exemption.” Although Oregon hospitals have benefited more from Obamacare than most, the situation is hardly unique to the state. Hospitals across the nation are experiencing record cash flows thanks to the Affordable Care Act. And authorities elsewhere are reconsidering charitable exemptions. Three Illinois hospitals lost their nonprofit status in 2011 for providing insufficient community benefit. In 2014, the California Legislature yanked the nonprofit status of one of the biggest health care companies operating in that state—Blue Shield of California. Although Blue Shield is a health insurer, not a hospital, tax advocates take heart from that change. The Oregon State Public Interest Research Group, a consumer-rights advocacy organization that has pushed for lower health insurance rates, is paying attention. “Hospitals are still charging everyone too much,” says Jesse Ellis O’Brien of OSPIRG. “We’d like to see them lower prices. Another option would be to change their tax status and start taxing them.” In 2014, SEIU threatened ballot measures that would have required a minimum amount of charity care, increased transparency, and limited executive pay. SEIU’s Hagins says hospital charges remain confusing and opaque and the public has a difficult time obtaining information about hospital quality and outcomes. “It’s really time for things to change,” Hagins says. SEIU is close to Gov. Kate Brown and House Speaker Tina Kotek (D-Portland), a favorable situation for its desire to rein in or redistribute hospital revenues.

and higher personal income taxes, have been shunted aside this year in favor of Initiative Petition 28, a proposed tax on corporations with sales of more than $25 million a year. That proposed corporate tax increase could result later this year in the most expensive ballot measure in Oregon history. Yet Oregon’s elected officials aren’t tapping hospitals’ windfall profits. “Questions around decreased charity care in light of fewer uninsured patients are legitimate,” says Kristen Grainger, a spokeswoman for Gov. Kate Brown. “It’s too soon to tell if Oregon needs to make changes, but any changes in Oregon must acknowledge the need for adequate resources for state and local government services.” House Speaker Tina Kotek says it may be time to dust off Oregon’s community benefit requirements. “With regard to hospital assets and property taxes, I would like to see consistent application of property tax exemptions in every county,” Kotek said in a statement, “and those exemptions should only apply to real property on which activities providing substantial community benefit are occurring.” Portland City Commissioner Amanda Fritz, a former psychiatric nurse, is more frank: She says hospitals should be taxed. “I think it’s a tremendous idea,” Fritz tells WW. “I’d be happy to work on it.” SEIU’s Hagins says it’s time for Oregon politicians to face down the charities that no longer provide significant charity. “If hospitals want to operate as nonprofits in Oregon and have a charitable mission, they have to live that mission,” Hagins says. “But our hospitals are falling short right now.”

It’s election season, and nearly every Democratic candidate running for office in Oregon is focused on one thing—raising new tax revenue. Two perennial ideas, sales taxes

Voodoo Accounting

THE COMPONENTS OF 2014 “COMMUNITY BENEFIT”

9% 12%

Other

Education

66%

13%

Medicare and Medicaid Discount

Charity Care

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ne of the arguments hospitals use to defend their nonprofit status is to tally up the millions in “community benefit” they offer. Hospital association director Andy Davidson says even under Obamacare, Oregon hospitals will continue to provide as much community benefit as ever. However, a look at the components of that “community benefit” is revealing. Here’s how it works. Hospitals have a list of prices for their services—sometimes called the “chargemaster.” Except nobody actually pays those fictional prices. Private insurers negotiate a volume discount. Government insurance payers—Medicare and Medicaid—which account for about 60 percent of hospitals’ revenues, pay significantly less than what hospitals say is the cost of providing service. Hospitals classify the difference between their costs and what they get from government insurers as “community benefit.” That frustrates state Rep. Mitch

Greenlick (D-Portland), chairman of the House Committee on Health Care, and other critics. Imagine a car dealership that lists a new Subaru for $30,000 but agrees to sell it for $20,000. That concession simply reduces the dealership’s revenue. But when a hospital agrees to accept less than it would like to get paid—$30,000 in this example—and accepts $20,000, the hospital calls the difference “community benefit,” and gets credit for that amount. When the Affordable Care Act passed, the idea was that hospitals would reinvest the windfall from newly insured patients into genuine community benefit—education and research. But Greenlick notes that most of the community benefit Oregon hospitals report—two-thirds of it in 2014—is just the “underpayment” for government reimbursements. At 529-bed Providence St. Vincent, of the $134 million in community benefit the hospital reported last year, just $17 million was charity care. Three-quarters of the $134 million total—$101 million—was what the hospital claims is underpayment

from federal reimbursements. Greenlick says that methodology, which all hospitals employ, is disingenuous. “It’s completely absurd,” Greenlick says. “Reimbursement from government payers is not really underpayment.” Brian Willoughby, community benefit manager for the Legacy system, disagrees. “If we are doing work for less than our costs, that’s a real number,” Willoughby says. Costs are different at each hospital, of course, and there is little transparency to allow consumers to determine whether costs are accounted for properly. Some observers think the voodoo accounting of community benefit could be the undoing of hospitals’ tax exemptions. “Hospitals have always had impressive buildings, and big profit margins have come and gone,” says Gary Young, director of the Northeastern University Center for Health Policy and Healthcare Research. “But what’s going to make people really angry is if the community benefit isn’t there. That could be the tipping point for policymakers.” NIGEL JAQUISS.

Willamette Week APRIL 13, 2016 wweek.com

Willamette Week Presents

Willamette Week’s Annual Summer Camp Guide is a great resource for Portland parents who are deciding where to send their children for summer activities. Day camps to overnight, arts, sports, music, and everything in between.

Your child will surely ﬁnd something fun to do in Portland!

For information about advertising in this section, Call Matt PLambeck 503-445-2757

ART + DESIGN �AMPS AGES 4-14

SUMMER CAMP

4 week long day camps. For all girls ages 8 - 17 Form a Band, Write a Song, Perform Live!

(tuition assistance available, no girl turned away due to lack of funds) For dates & registration visit www.girlsrockcamp.org/programs

Ages 8-18

MAKE ART, HAVE FUN All-Day, Week-long, June 27 - July 22. PA�IFI� NORTHWEST COLLEGE OF ART

July 11-28 Make a SFX Poster • Design a Comic Book Cover • Draw a Comic Strip

Willamette Week APRIL 13, 2016 wweek.com

971-227-1608

It is an experience of a lifetime!

2016 Summer Day Camp

Tryon Creek State Natural Area Half day for 4 - 6 yr olds Full day for 1st â&#x20AC;&#x201C; 5th graders

tryonfriends.org

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Summer Camp!

Ages

3-6!

Camp Vida 2016: Fur, Fins & Feathers June 20—August 26 www.portlandmontessori.org info@portlandmontessori.org

Horsemanship Day or Overnight Camp

For all Levels, Ages 5-18 Horse Care & Safety from Head to Tail 30 Years’ Experience June 20-24 • July 18-22 August 8-12 Horsemanship Certiﬁcate, Hands-on Experience, Games on Horses, Horse Crafts, Daily Riding Lessons, Swimming, Barn Sleep-Over & Cook out, plus much more!

503.743.3704 www.Fantasyfarms.net

Summer Camps at Marylhurst Creative Arts Day Camp

For kids with or without special needs $170 | July 11 - 14: ages 5 - 10 July 18 - 21: ages 11 - 17

Marylhurst Choir Camp For high school and community college students $150 | August 1 - 5

Learn more: MARYLHURST.EDU/camps16

Campus is located just 10 minutes of Portland between Lake Oswego and West Linn.

CRAFT SOMETHING WONDERFUL THE JORDAN SCHNITZER FAMILY

art

ADVENTURES SUMMER ART DAY CAMPS FOR PRE-K THROUGH PRE-COLLEGE

enroll now ocac.edu

OREGON COLLEGE OF ART AND CRAFT 20

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River Ranch Summer Pony Camps!

The oldest & best riding camp for young people.

Summer Pony Camps Ages 5-7 Weekly Sessions beginning June 13th Moderate Price • Safe & Fun • Small Groups

16000 NE Eilers Rd., Aurora, OR 97002 25 minutes from downtown Portland 503-678-5478 • RiverRanchHorses.com

Do you love to act, sing and dance? Do you want professional training in a fun, friendly and emotionally safe environment? Do you have Summer plans? Spend a week, or two, or three or four at the Columbia Gorge School of Theatre. Study Acting, Singing, Dancing, TV/Film Acting and the Biz with professionals from across the country! Be in a show and make new friends from around the world! Located at Lewis & Clark College • Scholarships Available

www.TheatreCamp.com

Come Join us this summer!

We help kids avoid brain drain and stay sharp with their math skills during active play! Classes: Gr 1-6/Math Gamers Active July 25-29 Uplands, Lake O Aug 8-12 CPRO, Newberg New! Gr 2-5/Measuring Baxter the Dog July 18-22 Taborspace, Portland Aug 1-5 CPRD, Newberg

503-880-4988 • www.mathgamers.net

Willamette Week APRIL 13, 2016 wweek.com

Girls. Power. Tools. $350 per week Scholarships available

July 18 - 22 for girls 11 - 16 July 25 - 29 for girls 8 - 12

Hammering. Drilling. Painting. Framing. Fun.

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

IS YOUR BRAIN IS MAKING YOU FAT? USING DEEP BRAIN STIMULATION TO TREAT OBESITY.

DR KIM BURCHIEL CEREMOD, INC.

YOUR CONNECTED HOME

WHAT DOES IT TAKE TO BUILD A HOME THAT TAKES CARE OF YOU?

AUBREY THELIN NEST LABS

More talks and speakers at techfestnw.com/speakers

1/2 DAY SUMMER CAMPS where tinkers & makers become innovators

PITCHFESTNW / DEMO ALLEY FEATURING THE LATEST IN VIRTUAL/AUGMENTED REALITY

PARTIES / NETWORKING

science, technology, engineering, art, & math

3D Printing Drawing & Drafting STEM Investigations Intro to Coding Ages 5-8 Ages 9-11

June 13-17 July 11-15

www.artofstem.com/registration

PH 503.206.6214 or info@artofstem.com Willamette Week APRIL 13, 2016 wweek.com

Willamette Week APRIL 13, 2016 wweek.com

STREET

Tilikum Crossing Looking good at the newish bridge. Photos by chr istin e don g www.wweek.com/street

Antoinette Antique & Estate Jewelry

Weâ&#x20AC;&#x2122;ve Moved! 7642 SW Capitol Hwy 503-348-0411 Willamette Week APRIL 13, 2016 wweek.com

“It was hard not to be an asshole.” page 31

STARTERS

BITE-SIZED PORTLAND CULTURE NEWS.

TEA PARTY: Saffron Colonial, Portland’s controversial “British colonial-themed” restaurant, changed its name after weeks of protests. “While it would have been nice to keep my branding and have an accurate descriptor of the cuisine, I recognize that this is taking the focus off of what I want to do with food,” owner Sally Krantz wrote to Eater. Krantz will now call the restaurant BORC, which stands for British Overseas Restaurant Corporation, “a tongue-in-cheek reference to the precursor to British Airways…on which many Expatriates traveled.” Krantz told Eater that she’s “sincerely hoping that this name change will allow us to focus on serving great food in a warm and positive environment.” Activists had no comment about the name change. INTO THE REVOLUTION: Inner Southeast concert venue Revolution Hall will finally get its anchor restaurant. The owners and chefs of Lake Oswego’s Tucci Italian restaurant and co-founders of former Pearl District French spot Fenouil will open a gigantic restaurant called Buckman Public House next to the concert venue. The restaurant will offer “interesting American small plates” across a broad range of cuisines. The restaurant is planned for fall 2016. >> Elysian Ballroom owner Michael Piper, meanwhile, will start a Continentalinfluenced eatery called Bistro Margot in the Southwest 11th Avenue West End space previously home to Italian-centric Marmo. It’ll keep Marmo’s signature marble bar. Piper also bought the spot next door, and will call it Margot to Go. He hopes to open by May. YOU CAN WAIT: For a band best known for a song called “I Can’t Wait,” Valerie Day and John Smith have kept fans waiting an awfully long time. Twenty-eight years after effectively retiring from pop, though, Nu Shooz is putting out its first album since Reagan was in office. The Portland New Wave R&B duo—which scored a Billboard hit and Grammy nomination in 1986 for the single “I Can’t Wait”—will release Bagtown in May. According to a press release, the album “turns back the clock to an earlier era of funk.” A release show is scheduled May 21 at Star Theater. DOUBLE THE HORROR: The Lovecraft dance club and venue on Southeast Grand Avenue is doubling in size. According to owner Jon Horrid, the club has received permission from the building’s landlord to expand into an adjacent workshop space, adding another 2,000 square feet. Horrid says he plans to fill the space with more seating, arcade games and decorations, including an 8-foot statue of Cthulhu, the iconic creature invented by the bar’s namesake, author H.P. Lovecraft. Horrid says he’s aiming to complete the addition in June, pending approval by inspectors. “It’s an opportunity to buy more shit and hang it on the wall,” says Horrid, who adds that he’s been scouring Etsy and eBay and “stockpiling lasers.” PINE STREET ROLLOUT: Much-anticipated downtown food court Pine Street Market is opening up shop—incrementally. Three of its eventual nine mini-restaurants are softly open as of Tuesday, April 12: Toro Bravo spinoff rotisserie chicken spot Pollo Bravo, Ken Forkish’s pizza-and-fancy-toast Trifecta Annex, and Asian fusion restaurant Common Law from Paley’s alum Patrick McKee. Olympia Provisions’ hot-dog spot is anticipated Thursday, and Salt & Straw’s soft serve is slated for Saturday. Barista’s Brass Bar, Marukin and Shalom Y’all are expected during the week of April 18. 26

Willamette Week APRIL 13, 2016 wweek.com

Headout

Lucy Lee Yim’s Selfie-Helpie workshop is at Conduit Dance Inc., 2505 SE 11th Ave., No. 120. 7-8:15 pm Wednesdays, April 13 and 20, May 4 and 11. All four classes $40, drop-in $12.

WHAT TO DO THIS WEEK IN ARTS & CULTURE

THURSDAY APRIL 14

Selﬁe Help

Lindi Ortega

[CANADIAN COUNTRY] The Canadian singer-songwriter falls into the same line of spunky country newcomers as Margo Price and Kacey Musgraves, injecting her songs with clever lyrics while remaining firmly planted in the tradition of the genre’s classic leading ladies. Faded Gloryville, her sixth album, was one of the most overlooked records of 2015. Mississippi Studios, 3939 N Mississippi Ave., mississippistudios.com. 9 pm. $25. 21+.

Selfies can save your life.

Old Town 42nd Birthday

Selfies, when you think about it, are the oldest, purest art form. The cave drawing of a face, the self-portrait, the autobiography. There’s nothing more human than total self-absorption, and with good reason. We are born alone, we die alone, and the only people we even have a chance of ever really getting to know are ourselves. Sure, the act of taking a selfie is scorned as a girl thing, silly and superficial, but actually, selfies are meditation, the kind of self-study that Ralph Waldo Emerson would have loved. Also, selfies can make you look good, unlike pictures taken by your mother while she’s screaming at you to smile. Here are some standard shots to practice. LIZZY ACKER.

[BEER] Making it to middle age is something to celebrate. And at 42 years old, Old Town Pizza is not only one of the oldest bars in Old Town, these days it’s one of the oldest in the city. The downtown spot will host food specials at 1974 prices (like 50-cent garlic knots), a new beer called Summer of ’74, and songs from 1974. Old Town Pizza, 226 NW Davis St., oldtownpizza.com.

FRIDAY APRIL 15 Paul McCartney

[RETRO POP] Rescued from obscurity by Kanye West, this lost relic of the hippie era has a few tunes you might be surprised to find you recognize. Moda Center, 1 N Center Court St., rosequarter.com. 8 pm. $45-$250. All ages.

SATURDAY APRIL 16 Jay Electronica

The Basic Empowerment Selﬁe

Hold the camera above your head at an angle and look up so you can see how cute your face is, and what an appropriate number of chins you have. Make a serious face or, if you’re a teen or a Kardashian, a duck face. Take your picture, apply filters until your zits look like freckles, and post on Instagram. Watch the compliments roll in. Feel good enough about yourself to get out of bed for one more day.

Activity Selﬁe

Sometimes, when you are out in the world, doing an amazing job of just being you, because you are a human and not a robot living on Mars, you want other people to acknowledge your existence. This is when you take a mountaintop selfie, a GoPro surfing selfie, a selfie on the Great Wall of China. Those likes? Those are the likes of people who see you and care that you are alive and, most likely, hope you remain that way.

The Blooper Selﬁe

Not all selfies can reflect positivity because, hey, sometimes life is garbage. So don’t limit yourself to happy selfies. Take a selfie after you’ve been sobbing for two hours or in front of your car while it is still smashed into that fire hydrant. Selfies of the bad times are for the world. Everyone feels better when they see another person’s misfortune.

The Sneaky Celebrity Selﬁe

It’s important celebrities think you are cool. Cool people do not ask celebrities to pose for a picture. Cool people know celebrities are busy. Cool people just snap a shot while the celebrity is looking the other way. Look, now you have proof that your life isn’t worthless because once a celebrity shared the same air as you.

The Selﬁe With Baby or Child

Your youth is lost forever. See those dark circles under your eyes? Those will only get worse. But a baby’s glow isn’t gone. A child hasn’t made the mistakes you’ve made. Steal one ounce of that infinite potential by posing a child next to you in a selfie. Someday both your bodies will be decomposed. You will be part of the sand on a hot, dry planet, and no one who knew you will even be alive. But it doesn’t matter. Taped to a wall, in a hovel, somewhere on the Arizona coastline, is your selfie. Selfies, my friend. Selfies last forever.

[RAP SCHOLAR] At this point, a real, live Jay Electronica show feels like a fleeting consolation prize for the fact that the New Orleans MC has yet to release a proper album after almost a decade of nextbig-thing hype. But there’s no denying his poetic gift. Dante’s, 350 W Burnside St., danteslive. com. 9:30 pm. $25. 21+.

SUNDAY APRIL 17 Sing-Along Sound of Music

[THE REAL VON TRAPPS] Rodgers & Hammerstein will shit edelweiss in their graves. The great-grandchildren of the real von Trapp family singers will lead a sing-along where you can watch the most successful movie musical of all time on a big screen. Pink Martini’s Thomas Lauderdale is rumored to be popping in at some shows. Cinema 21, 616 NW 21st Ave., cinema21.com. 2 pm.

MONDAY APRIL 18 Verselandia

[POETRY] For one night only, the baddest slam poets from across Multnomah County schools will go head-to-head in the traditional slam format: no props, music or costumes, original work only, and performed in front of a live audience and five judges—hosted by the Eddie Van Halen of slam, Anis Mojgani. Newmark Theatre, 1111 SW Broadway, portland5.com. 7 pm. $10.

Willamette Week APRIL 13, 2016 wweek.com

Shandong www.shandongportland.com

Shandong = WW Pick.

Highly recommended.

By Matthew Korfhage. www.shandongportland.com

Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.

THURSDAY, APRIL 14 Old Town 42nd Anniversary

Making it to middle age is something to celebrate. And at 42 years old, Old Town Pizza is not only one of the oldest bars in Old Town, these days it’s one of the oldest in the city. The downtown spot will host food specials at 1974 prices (like 50-cent garlic knots) a new beer called Summer of ’74, and songs from 1974. Head brewer Andrew Lamont will also host a beer tasting. Old Town Pizza, 226 NW Davis St., 503-200-5988. 6 pm. Free.

FRIDAY, APRIL 15 Bruery Terreux Tap Takeover

Celebrating Our 20th Year!

Now Serving Saturday and Sunday Brunch 10-2 accepting reservations for Mother’s Day brunch

Monday thru Friday Lunch 11-2 Life is Good 8051 SE 13th Ave at Spokane in Sellwood 503-233-4613

Bruery Terreux—the wild-and-sour wing of California’s The Bruery— will have a tap takeover at Cascade Barrel House, with a live tapping at 6 pm of a collaboration beer blend with Cascade. Expect also Terreux’s Filmishmish, Humulus Terreux, Oude Tart with Cherries, Sourrento, Blue BBLS, and White Chocolate (nonsour). Brewers will be on hand to buttonhole, should you like. Cascade Brewing, 939 SE Belmont St., cascadebrewingbarrelhouse.com. 6 pm. Free.

Pulp Free IPA Collab Release

Ben Edmunds (Breakside) and Mike Hunsaker (Fat Head’s)—two of the finest brewers anywhere near Portland—will collaborate to create their own “Pulp Free” take on the New England-style juicy IPA represented in town by Great Notion Brewing. The Growler Guys, 816 SE 8th Ave., Suite 109, 971-255-0715, thegrowlerguys. com. 6 pm-8 pm. Free.

1. Mad Greek Deli

1740 E Burnside St., 503-232-0274, madgreekdeli.com. Recently we tried (and failed) to eat a 10-pound sandwich here. Preferably during a Timbers game, get the muchsmaller version instead—a Greek delistyle sub, deep-laden with meat and cheese—plus Greek fries that are definitely not french fries. $.

2. Gastro Mania

1986 NW Pettygrove St., 503-689-3794, gastromaniapdx.com. Tiny spot Gastro Mania serves up octopus salad with a tenderness and spice-charred exterior as fine as most fine dining. But it costs a mere $8.50. $.

3. HunnyMilk

5222 NE Sacramento St., 503-320-7805, hunnymilk.com. Saturday-Sunday only. The weed brunches sell out fast, but this pop-up brunch always offers startling invention, with Dutch babies under creme brulee ice cream and an “open face croissant-donut sammy.” $$.

4. Paiche

4237 SW Corbett Ave., 503-403-6186, paichepdx.com. Chef Jose Luis de Cossio serves some of the most extraordinary food in Portland—including the brightest, most balanced and lovely ceviche we’ve had in this country. $$.

5. Wei Wei

7835 SE 13th Ave., 503-946-1732. Taiwan spot Wei Wei’s beef noodle soup ($13) is the beefiest beef noodle soup. And the most wonderful beef noodle soup we’ve had this year. $$.

Willamette Week APRIL 13, 2016 wweek.com

review emil y joan g r eene

food & drink

go bowling: This joint’s jook is its best dish.

Juked Me Out There’s big buzz around Jook Joint. I’m not feeling it. By Ma rtin Ciz m a r

mcizmar@wweek.com

You may not take Jook Joint’s chili oil in a little container to go. Chef Ryan Ostler wants all of his containers to be biodegradable, and he can’t find one that’s right for his housemade hot sauce. A quibble? Maybe, but tiny Mexican and Vietnamese spots have been humbly making in-house pastes of oil and chili forever. They’ll happily let you take a little plastic cup to go, so it can be applied prudently throughout your meal. And so went my first impression of Jook Joint, the muchhyped new Asian-barbecue fusion cart at the big downtown pod on Southwest 10th Avenue. This is a cart that makes upscale, “innovative” versions of traditional street foods, with premium ingredients and prices to match. In a week’s time, it went from “sleeper” in Portland Monthly to “the early breakout food cart star of 2016,” in the other weekly. A caution to those who might be tempted to take an early lunch and hop in line: It’s fine, but it’s no match for more traditional Asian fare or the best Texas barbecue, and the combination here brings out the best qualities of neither. Mostly, it’s the little things: The book-thick dough on the bao is too big and not especially pillowy, the bread on the banh mi is too old and crusty, the pickled veggies have a beautiful color but are drenched in a cidery flavor that masks their individual character, and the coconut-covered hush puppies ($4) travel poorly and aren’t worth a buck apiece. Many of those little faults are forgotten midway through the jook—aka congee, aka rice porridge—which takes on the smokiness of the chicken on top of it, along with the invisible prickle of lemongrass and ginger that keeps your spoon moving. I also enjoyed the papaya hot dog, whose shredded slaw played well against the curried-up link of Thai sausage. And on that heavy dish, the An Xuyen bun does its job well. But the banh mi were another story. Vietnamese sandwich shops tend to make those buns in-house, often on the hour, because their high-rise French dough ages very poorly. Here, they were purchased the same day but already crusty with age. They all but swallowed the meager serving of brisket, pork belly and “pulled chicken.” The pulled chicken especially was dry and totally lost. A little chili oil might have helped, but while still at the cart, I’d hesitated to dump too much on and lose any delicate flavors lurking in there. I needn’t have worried. Feel free to ladle it on. If you like spice, and you want chicken, and you’re eager to try a buzzing downtown cart, load ’er up. EAT: Jook Joint, 511 SW 10th Ave., 801-647-9408. 11 am-4 pm Monday-Friday (but sells out early some days).

Simple ApproAch

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

REVIEW COLOR OF LOVE: Red ramen at Marukin.

A bit behind Shigezo and Kizuki in putting a Portland charm on its bracelet, Marukin is nonetheless the first of the Japanese chains to truly fulfill the promise of the motherland, and this after a mere month in our country. The tiny ramen-ya makes its own distinctively chewy noodles daily in a kitchen the size of the dining room, and rotates a cast of seven broths throughout the week—along with a smattering of sides that may expand as the restaurant gets its legs under it. Pre-open hype has squeezed massive crowds through Marukin since its March opening, leaving little time to prep new items and delaying introduction of the full menu. And yet it’s all held up beautifully. Of the six meat broths (all $10, with trimmings), only the classic chicken-pork Tokyo shoyu is merely very good, paling in comparison only to the other stellar o pt i o n s. T h e r e d broths, meanwhile, are versions of the s u bt l e p a i t a n a n d tonkotsu so laden with chili oil they might as well be Korean. All come with slight variations of the same frills: eggs whose yolks are always just barely on the gummy side of molten, beautifully delicate chasyu pork coddled by a light BY M AT T H E W KO R F H AGE mkorfhage@wweek.com ribbing of fat, pickled bamboo strips divested of that stalk’s characteristic bitterness, sheets I would like to issue an apology to every other of nori, scallion strands and rich greens. ramen place in Portland, because I like you a The vegan broths—a tare-based shoyu and little bit less now. soymilk tonyu—don’t attain the heights of the It’s not you—it’s Marukin, the Tokyo-based meat. But this should be expected; it is not a ramen shop that just moved into a tight-quar- virtue of Noraneko and Boke that their vegan tered space next to Nong’s Khao Man Gai. broths are richer than the meat options. But tofu This isn’t the first time I’ve fallen in love aside, the fillings are exemplary at filling out the with a bowl of ramen in this town. Miho Izaka- umami notes, from a wealth of shiitake mushya’s, right when it opened, was smoky as Texas rooms and kelp to a pair of just-green tomato barbecue. The first couple years wedges bursting with brightness. Order this: of Biwa’s ramen was a prolonged Drinks are simple. Avoid the Miso ramen (Monday, honeymoon. And I will always $12 Logsdon and opt for a low-cost Thursday and Friday), paitan come back to the purity of Umai’s shio sake or draft Asahi—the broths (Tuesday and Saturday), tonkotsu shoyu (Wednesday shio, the sweet heat of Miradon’t need competition. Among and Sunday). All $10. kutei’s miso yuzu, and especially sides, the pork gyoza ($8) are king, the rich and perfect comforts of better than any I’ve had in town, Yuzu’s pork belly tonkotsu, until now my model crisp on the outside and bursting with meat, for what ramen in Portland could aspire to. lightly salted in dipping sauce. The curry ($4, $8) But after five visits to the fast-moving, util- is fiery and lovely, but mostly worth ordering in itarian-to-the-point-of-undecorated counter- its small size to fill out the meal with hearty rice service spot—it’ll probably be six by the time and flavor. The kara-age chicken ($8) is all light this article prints—Marukin has my heart. breading and pungent spice—preferable to the Marukin’s miso broth is almost bottomless in shrimp (also $8) that forgoes the heat. its depth and excitingly light, just salty enough One could quibble about cost and size for appetizto pull out the complexity of its pork-chicken ers, but sides are beside the point. At least one broth base and rich soy ferment. It is a roundness of each day is not merely wonderful but extraordinary. flavor that causes separation anxiety between And thankfully, there’s already another locaslurps. The tonkotsu shoyu is an echo chamber tion soon to open across the river at the perpetuof pork, milky with marrow-laden fattiness. And ally delayed Pine Street Market. In the ’80s, we that paitan shio—a fatty chicken broth that’s used to worry the Japanese were taking over like tonkotsu’s younger cousin, spiked with salt America. Now, so help me, I pray they do. burst—is a marvel of subtlety and light floral EAT: Marukin, 609 SE Ankeny St., 894-9021, notes, singing with whatever the bird ate.

RamenSama

Bold FlAvor vegan Friendly

open 11-10

everyday

500 NW 21st Ave, (503) 208-2173 kungpowpdx.com

Oregon’s Largest 2-Day Show!

APRIL15–16 15,16 APRIL $10 • Sat. 9-5, Sun. 10-4.

TOKYO-BORN MARUKIN IS AN UNBROKEN CHAIN OF RAMEN DELIGHTS.

marukinportland.com. 11 am-9 pm daily.

Willamette Week APRIL 13, 2016 wweek.com

MUSIC CO U R T E SY O F A N D E R S O N PA A K

PROFILE

California Kid HOW ANDERSON PAAK WENT FROM COMPTON TO MALIBU AND BECAME ONE OF THE YEAR’S BREAKOUT ARTISTS. BY M AT T H E W S I N G E R

msinger@wweek.com

Anderson Paak didn’t start quite from the bottom, but trying to launch a music career from a bedroom in Ventura, Calif., is close enough. So it’s understandable that when the 30-year-old singer and rapper talks about how his name wound up dotting the credits of Dr. Dre’s Compton album, it’s as though he’s describing an out-of-body experience, or something he wrote in a dream journal that miraculously materialized on his turntable overnight. “It’s crazy,” he says, his headshake of disbelief practically audible through the phone. “My wife got me the vinyl for Christmas. I put it on the record player, and I was just like, ‘What the fuck? I’m on the Dre album!’ You could’ve told me I would’ve been on any other record but that.” Overnight success never actually happens overnight, of course. But unless you’ve been attuned to the buzz within the L.A. music scene the past few years, the omnipresence of Paak’s up-all-night rasp on the most earth-shifting surprise release of 2015—he’s featured more than any other artist, including Kendrick Lamar—must seem a bit out of nowhere. That’s certainly how it felt for Paak. After multiple attempts to get Dre’s attention, he was called down to his studio for an informal audition last April, and all it took was one turn at the mic to earn himself a spot on the alleged final opus of gangsta rap’s greatest don. A year later, it’s still like it happened to someone else. Shoot, Paak had to get the album as a friggin’ Christmas gift, as if he weren’t all over the damn thing. Of course, for every Snoop Dogg and Eminem whose careers exploded off a nod from the Good Doctor, plenty of others have come away with little more than a bragging point to one day tell their incredulous grandchildren about. (Anyone heard from Hittman lately?) While Paak’s ceiling is yet to be determined, it’s already clear he’s not going to ride his co-sign into a black hole: He’s playing Coachella this month, and his new album, Malibu, got stamped with a “Best New Music” designation from Pitchfork when it came out in January. With or without Dre’s seal of approval, Paak’s star potential is obvious. A biracial kid with mixed musical interests, he’s cut from the same strip of denim as fellow SoCal futurist Miguel, with a sound that’s less a patchwork of styles than a reflection of the genre-agnostic way his generation hears the world—soul delivered with hip-hop intonation, rock-’n’-roll rawness and a tint of chronic-scented psychedelia. Calling him “the next Frank Ocean” is only a stretch in the sense that he might end up being the first Anderson Paak. Not too long ago, though, Paak wasn’t sure if music was a viable future for him. “There was a handful of years where I didn’t trust what I was doing,” he says. Born in sleepy Oxnard, Calif., and raised up the road in Ventura,

there weren’t many opportunities for him to validate his talent. He played drums in punk bands and DJed house parties and dances at the Boys and Girls Club, but mostly he stayed in his room, writing raps and making beats. A few years out of high school, married with a child on the way, Paak put his artistic ambitions on ice completely, taking a lucrative job on a pot farm in Santa Barbara. When that ended suddenly, he had no choice but to dig in and try to make the music thing work. “After having my son, things got more serious for me,” he says. “My perspective got a little more clear. My priorities started to get in place, and I developed more of a work ethic. I spent six months or so just recording, waking up early, taking it just like a job.”

“IT WAS HARD NOT TO BE AN ASSHOLE.” —Anderson .Paak After a period of couch-surfing, Paak landed a gig as the touring drummer for American Idol alum Haley Reinhart, helping him get back on his feet financially. He swapped his original alias, Breezy Lovejoy, for a jumbled version of his birth name, Brandon Paak Anderson—which he stylizes as “.Paak,” the period serving as a reminder to himself to “pay attention to detail”—and began living in the studio. In two years, he dropped a head-turning full-length, Venice, along with a pair of collaborative EPs and dozens of guest spots. The smooth-grooving single “Suede” got him through the door with Dre and onto Compton. After that, Paak’s phone started ringing much more frequently. Another big-league Compton rapper, the Game, tapped him for two songs on his latest album, and blogs that previously ignored Paak were suddenly declaring him a “savant.” “It was hard not to be an asshole,” he laughs. “A lot of the people coming up were people I wanted to work

with anyway, so I couldn’t front. I was like, ‘Let’s do it.’ It really helped with momentum, and to figure out what the next project was, which is Malibu.” While not technically his debut, Malibu has the tenor of an introduction, both to Paak’s blended vision of R&B and the singer himself. Within minutes of opener “The Bird,” he’s laid out the details of his childhood, spent in a “lonely castle” with a hard-working but flawed mother, a Whitney Houston-loving sister and a father who ended up “behind them bars” and eventually out of the picture completely. Autobiographical details spill out across the album, including his bout with homelessness and struggle to get his career off the ground, conveyed with rough, gospelish intonation that’s often hard to parse as singing or rapping. In its seamless threading of samples and live instrumentation, and free-flowing movement through hip-hop, funk and soul, it feels like a cousin to To Pimp a Butterfly, but more conversational. On closer “The Dreamers,” Paak offers his own assurance to kids growing up like him that “it’s gon’ be alright,” bringing it literally all back home: “I’m a product of the tube and the free lunch/ Living room, watching old reruns/ And who cares your daddy couldn’t be here?/ Mama always kept the cable on.” It’s a hard-won victory lap, the punctuation on a year that still doesn’t feel totally real. But Paak knows enough to not normalize success. He’s wary of fame—as he says at one point on Malibu, that’s what “killed all my favorite entertainers.” No matter how big he gets, though, that shouldn’t be a problem. Complacency isn’t really his thing. “I’m always going to be learning and feeling things out, and that’s what’s fun for me,” he says. “I don’t like getting too comfortable.” This article originally appeared in the Ventura County Reporter. SEE IT: Anderson .Paak & the Free Nationals play Roseland Theater, 8 NW 6th Ave., with BJ the Chicago Kid and Dave B, as part of the Soul’d Out Music Festival, on Saturday, April 16. 7 pm. Sold out. All ages. For more Soul’d Out concerts, see Music Listings. Willamette Week APRIL 13, 2016 wweek.com

Willamette Week APRIL 13, 2016 wweek.com

MUSIC = WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek. com/submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.

WEDNESDAY, APRIL 13 The Arcs, Mariachi Flor de Toloache

[BLACK KEY] The Arcs is arguably Dan Auerbach’s best creative outlet since his main band, the Black Keys, released Brothers back in 2010. It’s gritty, pan-fried, Southern-inspired blues rock with all the hooks you’d expect from the talented axman. The band’s debut effort, Yours, Dreamily, is a riff- and solo-rich record that reminds of the early Keys, back when Auerbach was the young LeBron James of rock ’n’ roll—just some kid from Akron trying to make a statement. Classic-rock purists, early soul fans and garage-rock diehards will all find something to love about the Arcs’ current form. MARK STOCK. Roseland Theater, 8 NW 6th Ave. 9 pm. $33. All ages.

SZA, Joya, Risky Star

[SHATTERING R&B] Jacked into the Top Dawg Entertainment crew that sports Kendrick Lamar on its roster, singer SZA sits easily alongside her labelmates, splicing together a raft of inﬂuences that swell far beyond the soul music she’s most associated with. A trail of EPs is leading up to SZA releasing full-length A later in the year, and if her preceding work is any indication—Kendrick guests on “Babylon” and Chance the Rapper shows up on “Child’s Play,” from a 2014 release—there’s going to be a mixed bag of sleek R&B production interspersed with some darker hip-hop moves and at least a few high-proﬁle guest spots. DAVE CANTOR. Wonder Ballroom, 128 NE Russell St. 8 pm. $23. All ages.

THURSDAY, APRIL 14 Gary Clark Jr.

Hieroglyphics, Bad Habitats, DJ Wicked

[THIRD EYE ALIVE] It’s not too much of a stretch to call Hieroglyphics the West Coast’s answer to Wu-Tang Clan. Formed out of the NorCal underground in the ’90s, the nine-member collective—spearheaded by Del the Funkee Homosapien, its most famous member—created a sprawling internal universe that seemed almost separate from hip-hop as a whole. Third Eye Vision, from 1998, is its 36 Chambers, the ﬁrst of three full-crew releases showcasing both the group’s individual strengths and its power as a whole, setting dexterous, trippy rhymes against jazzy boom-bap production. MATTHEW SINGER. Wonder Ballroom, 128 NE Russell St. 8 pm. $20. 21+.

FRIDAY, APRIL 15 Sharon Jones & the Dap Kings, Trombone Shorty & Orleans Avenue

[BRASS ACTS] Sharon Jones and pop-savvy Troy “Trombone Shorty” Andrews have their work cut out for them. Whereas the former is the unrelenting ﬁgurehead of Daptone, the record label charged with reviving ’70s-style soul, the latter has taken it upon himself to modernize the traditional brass of the Big Easy via his keen jazz ear. They’re both standouts, though, who use their tight-knit backing bands to indulge an array of evocative orchestrations designed to make you move, with trumpets and bright guitars sweet-talking electric rhythms. And in Jones’ case, it comes with honest-to-God social commentary of the sort that quickly solidiﬁed her last LP, Give the People What They Want, as a timeless classic. BRANDON WIDDER. Keller Auditorium, 222 SW Clay St. 8 pm. $65. All ages.

[REGGAE ICON] The last surviving member of reggae’s most important vocal group, the Wailers, Bunny Livingston splits the diﬀerence between Bob Marley’s spiritual uplift and Peter Tosh’s militarism. As with any reggae legend, you probably don’t need to search his discography passed doubt 1987 or so. But he remains an icon of his genre, and the chance to see him in person is truly a ﬂeeting privilege. Roseland Theater, 8 NW 6th Ave. 9 pm. $25 general admission, $40 reserved balcony seating. 21+.

Bilal, TopHat

[PSYCHEDELIC SOUL] Philadelphia singer-songwriter Bilal Sayeed Oliver often gets lumped in with the neo-soul movement, but in retrospect the guy was much more futurist than historical re-enactor. In a way, he’s the predecessor to R&B genre-busters like Anderson .Paak and Miguel. He’s never been the most proliﬁc artist—he’s released only ﬁve albums since 2001—but it could just be because he’s never found an ideal collaborator. If In Another Life is any indication, Bilal’s newfound partnership with producer Adrian Younge could prove fruitful: His Prince-ly voice and unique delivery pairs exceptionally well with Younge’s trademark dusty-soul production. To a degree, it’s the most “retro” he’s ever sounded, but it still sounds like little else. MATTHEW SINGER. Star Theater, 13 NW 6th Ave. 8 pm. $20 general admission, $30 VIP. 21+.

AU with Camus High School Choir, Edna Vazquez, Luz Elena Mendoza

[CHORAL MADNESS] A year ago, at the behest of arts-in-education organization Young Audiences of Oregon and SW Washington, AU’s Luke Wyland partnered with Camas High School choral director Ethan Chessin to develop a program of new music. It’s an ideal pairing, really, given that AU often reaches near-spiritual levels of transcendent ecstasy in its otherwise undeﬁnable sound. Tonight, Wyland and Chessin—along with Like a Villain’s Holland Andrews, members of Blue Cranes, Aan and the Crenshaw, and the choral program’s 155 singers—share the results, and while it’s going to be unpredictable, we have no qualms telling you it’s one of the must-see music events of the season. MATTHEW SINGER. Yale Union, 800 SE 10th Ave. 7 pm. $10 advance, $12 day of show. 21+.

CONT. on page 36

KYLE KEY

[NEW-SCHOOL BLUES] If there’s one constant with Gary Clark Jr., it’s his lack of cohesion. Part of that is due to just how capable a guitarist he is—he’s nimble, soulful and wellversed in how to traverse a mahogany neck—and his refusal to tread the same path as many blues guitarists before him. Take The Story of Sonny Boy Slim, his most recent album. The Austin native overlays his sharp guitar against hip-hop

beats and folk numbers alike, his falsetto beaming like a one-man church choir. While his genrejumping methods might be divisive, his guitar playing is anything but. BRANDON WIDDER. Roseland Theater, 8 NW 6th Ave. 8 pm. Free. Sold out. 21+.

Bunny Wailer and the Solomonic Orchestra, Imarhan, Rising Buffalo Tribe

Saturday, April 16, is Record Store Day. For a full list of local events, see wweek.com. Willamette Week APRIL 13, 2016 wweek.com

Willamette Week APRIL 13, 2016 wweek.com

MUSIC

DATES HERE

C O U R T E S Y O F R O G E R C LY N E A N D T H E P E A C E M A K E R S . C O M

W W S TA F F

PROFILE

Raising Arizona he hasn’t eaten Taco Bell in 20 years, he notes—and still hits all the high notes. The band is practiced. And the record has both verve and pacing. I’m perhaps biased, having seen the original Fizzy Fuzzy tour, where the band was sandBY M A RT I N C I Z M A R mcizmar@wweek.com wiched between Tonic and Dishwalla, and having covered Clyne during my time in PhoeThey say Roger Clyne could have been a superstar. nix, his hometown and the font of his borderHe had the makings—that jangly country-pop hopping mythology. But listen again and you’ll hear it’s pretty guitar, vivid imagery of banditos lurking behind the saguaros, sipping warm cans of Tecate. And that stacked—“Down Together,” “Girly” and “Mexvoice, relaxed and smooth with an ever-so-slight ico” could’ve joined “Banditos” in an alternate bite on the finish, like a good reposado. future where the band landed a Sublime-scale But Clyne, his fans will tell you, didn’t want following of soused partymoms and dudebros. Those folks are coming out. Clyne has a to be a superstar. Disenchanted with how the label handled the rollout of the second record cultish following across the country, with fans from his band, the Refreshments, he broke up who trade stories on message boards before the group, and relaunched a few years later with finally meeting up at Circus Mexicus, Clyne’s a new name and misannual party in Puerto sion. No more would Pe ñ a s c o, t h e l i t t l e “OVER THE LAST 20 YEARS, b e a c h t ow n o n t h e he be part of the label WE’VE BEEN BIGGER AND northern tip of the Sea game—it’d just be Clyne WE’VE BEEN SMALLER. of Cortez. That party and the band, playing 120 dates a year, bringdraws thousands who AND WE MIGHT BE BIGGER ing a Sonoran fiesta to spend the long weekAND SMALLER AGAIN.” end playing beer pong St. Louis and Seattle. and eating street tacos “The size of the thing was less important than the feel,” he says from between marathon Peacemakers sets, plus sets Scottsdale, Ariz., where he’s driving a buddy to from fellow post-grunge road warriors like find a Taco Bell. “We wanted the human touch.” Cracker. It’s basically a Corona commercial He found that touch with the Peacemakers, filmed at Burning Man, except everyone in who come through town this week to play 15 Sonora drinks Tecate. years’ worth of their own material along with “Art can lead to commerce,” Clyne says. “That’s the entirety of the Refreshments’ 1996 break- the decision we made to build community. We through, Fizzy Fuzzy Big & Buzzy. didn’t know how big it would be. Over the last 20 You remember the record—or at least the video years, we’ve been bigger and we’ve been smaller. of Clyne rolling around the desert in an old Jeep, And we might be bigger and smaller again.” wearing a straw cowboy hat and ski goggles, singHere, Clyne sounds very much like a leader ing “everybody knows the world is full of stupid as much as a rock singer—a man who’ll happily people.” Twenty years later, Clyne is proud of that shake some hands if he’s spotted at Por Que No album, but alienated from the process that made it. before the show at Hawthorne Theatre. “We were plugged into a system that really “Music, it’s an ancient communication form,” made the music a product,” he says. “It wasn’t good he says. “The tribe attracts the tribe. The vibe is for us, and it wasn’t good for our product. I liked the the same everywhere.” music we made, but the interface with the machine SEE IT: Roger Clyne and the Pacemakers play was really uncomfortable.” Hawthorne Theatre, 1507 SE Cesar E. Chavez As far as anniversary shows go, you really can’t Blvd., with Rootjack, on Friday, April 15. 8 pm. do much better. Clyne takes good care of himself— $20 advance, $25 day of show. 21+.

ROGER CLYNE TRADED FAME FOR CULTDOM. MAYBE IT’S BETTER THAT WAY.

Willamette Week APRIL 13, 2016 wweek.com

MUSIC SATURDAY, APRIL 16 Jay Electronica, the Has

[RAP SCHOLAR] Depending on your perspective, Jay Electronica is the epitome of either bloated hype or stiﬂed genius. The New Orleans MC is the most outspoken rapper of his generation never to release a proper album. In 2007, after releasing Act I: Eternal Sunshine (The Pledge)—a 15-minute “concept EP” featuring beats built from the soundtrack of Eternal Sunshine of the Spotless Mind—Electronica was widely considered to be on the verge of dropping an instant-classic LP. Nearly a decade later, nothing has come. He has grasped at relevancy through guest verses, singles and tour dates for the last nine years, and his poetic gift remains

unquestioned. But the hope of ever getting that elusive classic has begun to deﬂate. A real, live Jay Electronica show feels like a ﬂeeting consolation prize at this point. MATT SCHONFELD. Dante’s, 350 W Burnside St. 9 pm. $25. 21+.

SUNDAY, APRIL 17 Parov Stelar, Stelartronic, Anduze

[BIG-BAND BEAT] Despite essentially founding a genre that combines the worst elements of both EDM and that unlamented ’90s lounge revival, Parov Stelar has earned the beneﬁt of the doubt. The knob-twiddling Austrian jazzbo spent years on the periphery of Euro dance circles, pairing gramophone-era deep cuts to club beats before his current ubiquity, with tracks appearing on more

C O U R T E SY O F FAC E B O O K

INTRODUCING

Holy Grove WHO: Andrea Vidal (vocals), Trent Jacobs (guitar), Gregg Emley (bass) and Adam Jelsing (drums). FOR FANS OF: The Melvins, mosh pits, old Portland cemeteries. SOUNDS LIKE: A black hole of endless, heavy guitar, with deep, smoky female vocals as the light at the end of the riffage. Nobody in Holy Grove has ever had high expectations. So far, the band has been largely guided by a looseness that dates back to its spontaneous formation in 2012, when the members all met on Craigslist. But for the first time, they’re thinking of aiming for at least a little bit more. They just released their first album, and are set to go on a European tour this fall. “We want to get on the road and see where we can go,” says guitarist Trent Jacobs. “I don’t think anyone is trying to be a rock star, but we’re trying to do as much of it as we can.” Two years in the making, the self-titled album is the result of a laborious recording process with producer Billy Anderson, the Portland metal engineer whose credits include the Melvins, Swans and Sleep. It showcases the two things that set Holy Grove apart from other hard-rock bands: its ability to tread the waters between metal, psychedelic, hard rock and blues; and Andrea Vidal’s annihilatingly powerful vocals. “She can be sort of aggressive vocally, but she’s got that soul to her voice,” Jacobs says. “I think that’s especially rare these days with heavy bands.” Holy Grove’s songs are full of stomping beats, overdriven guitar and distinctly doomy lyrics, but Vidal’s soulful voice grounds the band, adding a welcome melodic accessibility to the music. Holy Grove dips its toes into the classic-rock lineage of bands like Deep Purple as well, without fully committing to any one genre. It is simply born out of people coming together with the simple intention of making music. Everything else is a bonus. “We’re all just people with day jobs trying to make the band work,” Jacobs says. “It’s an interesting time right now. We’ll do it as long as we’re all still having fun. If that’s 20 years, awesome. If that’s two more years, awesome.” SOPHIA JUNE. SEE IT: Holy Grove plays the High Water Mark, 6800 NE Martin Luther King Jr. Blvd., with Demon Eye and Disenchanter, on Friday, April 15. 9 pm. $10. 21+. 36

Willamette Week APRIL 13, 2016 wweek.com

DATES HERE

Bonnie Raitt, the California Honeydrops

[BLUES] On her previous album, 2012’s Slipstream, Bonnie Raitt returned to Bob Dylan’s songwriting well, assaying a pair of tunes from his 1997 return to songwriting, Time Out of Mind. This time around, on the new Dig in Deep, her attention-getting cover choices are a pair of ’80s tunes, one somewhat obscure—Los Lobos’ “Shakin’ Shakin’ Shakes”—and one, improbably, a big hit: INXS’s “Need You Tonight” Removed from its electro-funk origins and slathered with Raitt’s slide guitar, the latter song loses much of its appeal, but the album overall retains Raitt’s charm. JEFF ROSENBERG. Keller Auditorium, 222 SW Clay St. 7:30 pm. Sold out. All ages.

zling At the Octoroon Balls and classics by Dizzy Gillespie and Billy Strayhorn. They’ll also celebrate the resumption of relations with Cuba with music from Buena Vista Social Club and more. BRETT CAMPBELL. Alberta Rose, 3000 NE Alberta St. 7:30 pm Thursday, April 14. $40. Under 21 permitted with legal guardian.

Joy Spring: Celebrating Clifford Brown

[JAZZ TRIBUTE] American music has suffered many untimely losses, but few stung harder than trumpeter Clifford Brown’s death 60 years ago in a car crash at age 25. Not only was he poised to become the greatest trumpeter in bebop and one of jazz’s finest composers and improvisers, but his hard-

working, clean-living and generous personality won admirers everywhere he played. But not even Brown’s untimely demise can dim the joy in his finest music, performed in this tribute by acclaimed Seattle trumpeter Charlie Porter and Portland jazz veterans David Evans (saxophone), Dan Gaynor (piano), Tom Wakeling (bass) and Christopher Brown (drums). BRETT CAMPBELL. Alberta Abbey, 126 NE Alberta St. 7:30 pm Thursday, April 14. $25. All ages.

For more Music listings, visit

Weddings & Anniversaries Corporate Events

Frankie Cosmos, Eskimeaux

TUESDAY, APRIL 19 Lush, Tamaryn

[HEAVENLY NOBODIES] Of all the great 4AD bands of the late ’80s and early ’90s, Lush is the one that never quite got its due stateside. Maybe it’s because the London quartet didn’t really ﬁt squarely in one scene—they weren’t loud enough to be shoegaze, not “pop” enough to catch the Britpop wave. Led by guitarists-vocalists Miki Berenyi and Emma Anderson, Lush had an unimpeachable three-album run from 1992 to 1996, including the still near-perfect Spooky. Twenty years later, the band is back with a tour and upcoming foursong EP, Blind Spot. For its ﬁrst song released since the Clinton administration, “Out of Control” is both beautiful and familiar, a dash of Cocteau Twins mystery that’s softer than a kiss. MICHAEL MANNHEIMER. Crystal Ballroom, 1332 W Burnside St. 8 pm. $25 advance, $30 day of show. All ages.

CLASSICAL, JAZZ & WORLD The Harlem Quartet

[JAZZY STRINGS] A decade ago, Aaron Dworkin, who founded Detroit’s visionary Sphinx Organization—dedicated to fostering diversity in the classical music world—brought four winners of the organization’s annual competition together in a string quartet. They started promoting classical music in Harlem schools, then realized that to reach the kids, they needed to play American music. They added jazz to their repertoire, debuted at Carnegie Hall a few months later, signed to a record label, and by 2009 they were playing black music in the White House. They even recorded and toured with jazz eminence Chick Corea, whose music appears on their Portland program, along with Wynton Marsalis’ daz-

Accommodations for up to 155 Guests Only blocks from 7 miles of sandy beach Perfect for Every Occasion

MONDAY, APRIL 18 [DUSK POP] Eskimeaux is the stage name of Brooklyn’s Gabrielle Smith. Her highly acclaimed 2015 LP O.K. ended up on many music writers’ “best of” lists that year. Typically a solo act, Eskimeaux has moved into full-fledged band territory with newest release, Year of the Rabbit. It’s a less produced, more organic collection of subdued bedroom pop somewhat akin to Cate Le Bon. Fellow NYC act Frankie Cosmos joins the bill, riding a wave of recent praise for her low-fidelity postfolk offerings. MARK STOCK. The Analog, 720 SE Hawthorne Blvd. 6 pm. $12. All ages.

Rockaway Beach Civic Facility

PRIMER TOM CRAIG

than 700 compilations. On albums like latest release The Demon Diaries, his unmatched facility for blending tasteful samples with liverecorded instrumental interplay sparks an electro-swing Django would appreciate. JAY HORTON. Crystal Ballroom, 1332 W Burnside St. 8 pm. $30. All ages.

DATES HERE

Fundraisers Parties & Celebrations of all kind

A Paul McCartney Primer For Young People

276 HWY 101 S Rockaway Beach, OR. rockawaybeachor.us 503 355 2291

Who dis? That’s Paul McCartney. He was in a band called the Beatles, which was fairly popular in its day, despite having a pretty embarrassing name when you think about it. Back up, dog. A “band”? It’s what we used to call a group of musicians, before all music was made exclusively by superstar DJs. He played bass, sang and wrote the populist, lovey-dovey stuff. His arch-frenemy John was a little more aggro. One guy wrote twee spirituals, and the other guy wrote a song about an octopus. Octopuses are p tight. So what happened to this “band”? They broke up in 1970, and Paul started Wings with his wife. No one liked them at first, then everyone loved them. Then he went solo, did a Bond theme and somehow made bad songs with Stevie Wonder and Michael Jackson. Some will argue he’s the best Beatle. He’s great and all, but if John were still around, he wouldn’t be caught dead playing that dorky-looking viola bass. LMAO. What does he do now? He still tours and records but he mostly just kind of hangs around being old and famous, popping in on Saturday Night Live or at random convenience stores in Illinois. No one seems to enjoy being the world’s silly grandpa more than Sir Paul. He did collaborate with Kanye West last year. Oh, that dude? Those are the worst Kanye songs ever! Let that be a lesson that even the greatest geniuses run dry eventually. Thing is, if you’re a genius long enough, you don’t really owe the public anything. In 30 years, we’d be so lucky if Kanye were still on the road, playing “Gold Digger” for the 80 billionth time. We don’t really need to hear his song “Hey Jude” ever again, but Paul gives it to us anyway. It’s very nice of him—especially considering that the original Paul McCartney has been dead for 50 years. Wait, what? That’s a story for another time. MATTHEW SINGER. SEE IT: Paul McCartney plays Moda Center, 1 N Center Court St., on Friday, April 15. 8 pm. $45-$250. All ages. Willamette Week APRIL 13, 2016 wweek.com

MUSIC CALENDAR

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. For more listings, check out wweek.com.

LAST WEEK LIVE

Mississippi Studios

HENRY CROMETT

3939 N Mississippi Ave. Brent Amaker and the Rodeo, the Lonesome Billies, Roselit Bone

Moda Center

1 N Center Court St Paul McCartney

Panic Room

3100 NE Sandy Blvd JAMAFRICA

Roseland Theater 8 NW 6th Ave Soul’d Out Festival: Bunny Wailer

Star Theater

13 NW 6th Ave. Soul’d Out Festival: Bilal

The Analog Cafe

720 SE Hawthorne Blvd. Garcia Birthday Band

The Firkin Tavern

1937 SE 11th Ave The Wild War, Stiff Other Lip, Big Bad

The Know

RIDE OR DIE: Tinashe never wants to play Crystal Ballroom again. Not that she has anything against Portland’s springiest midsized theater in particular. It just seems like she doesn’t want to play any midsized theater ever again. Watching her put on what was essentially a scaled-down arena show April 7—fit with wardrobe changes, an LED screen and mild pyro—it’s clear the 23-year-old singer, dancer and former actress has much grander ambitions in mind. She has played big stages before, opening for Katy Perry and Nicki Minaj. Now, she wants them for herself. The potential is there, but it’s going to take some adjustments. To this point, Tinashe has made her name on billowing, late-night R&B—songs that slink in the shadows rather than project to the rafters. Her show at the Crystal felt like a test run for her bigger, louder, faster, brighter future. Accompanied by a keyboardist and overly busy drummer, the bowel-shifting bass rattled nearly all the subtle allure out of her older material. Surrounding herself with a crew of dancers that only exited the stage for a fleeting ballad or two ensured the show never lacked energy, but cramming 17 songs into a little over an hour left little room for her to forge a meaningful connection with the audience. If her aspirations weren’t clear enough, at one point she broke the set down, singing a medley of Janet Jackson and Selena Gomez accompanied only by piano. She’s got the voice, and the presence, to reach those rarefied heights. The only concern is what she might be giving up to get there. MATTHEW SINGER.

WED. APRil 13 Crystal Ballroom

1332 W Burnside St Soul’d Out Festival: George Clinton & Parliament Funkadelic, Othership Connection

Dante’s

350 West Burnside Soul’d Out Festival: Brothers Gow, Asher Fulero Band

Doug Fir lounge 830 E Burnside St. Hælos, Fog Father

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Suicide Boys

Jimmy Mak’s

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

Kelly’s Olympian

426 SW Washington St. High Five Danger, Castles, Stoner Control

laurelThirst Public House 2958 NE Glisan St Laura Veirs

Mississippi Pizza

3552 N Mississippi Ave Tallulah’s Daddy

Revolution Hall

1300 SE Stark St #110 Soul’d Out Festival: Thundercat

Roseland Theater

8 NW 6th Ave

The Arcs, Mariachi Flor de Toloache

Star Theater

13 NW 6th Ave. Pete Yorn

The Goodfoot

2845 SE Stark St Mike Coykendall, Sun Machine, Sean O’Neill; Tommy Alexander

The liquor Store 3341 SE Belmont St, Phone Call

The Old Church

1422 SW 11th Ave Emmett O’Hanlon; David Rothman

Valentines

232 SW Ankeny St The Debts, S.S. Curmudgeon, Rambush

Wonder Ballroom

128 NE Russell St. Soul’d Out Festival: SZA, Joya, Risky Star

THURS. APRil 14 Alberta Abbey

126 NE Alberta St Joy Spring: Celebrating Clifford Brown

Alberta Rose

3000 NE Alberta St The Harlem Quartet

Alberta Street Pub

1036 NE Alberta St The Talbott Brothers, LEO

Crystal Ballroom

1332 W Burnside St Soul’d Out Festival: Thomas Jack, The Human Experience

Willamette Week APRIL 13, 2016 wweek.com

Duff’s Garage

2530 NE 82nd Ave Blues Battalion

Hawthorne Theatre

The Goodfoot

2845 SE Stark St Lesser Bangs, Kina Lyn and Matt Franzen

1507 SE César E. Chávez Blvd. Otep; Tensor, Artifice, Farm Animals & Brave Hands (lounge)

The liquor Store

High Water Mark lounge

1422 SW 11th Ave Laura Gibson

6800 NE MLK Ave Control, Scard

Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

Kelly’s Olympian

3341 SE Belmont St, Fringe Class, Slutty Hearts, Bitch’n

The Old Church

Valentines

232 SW Ankeny St Lubec, Strange Wool, Two Moons

The Secret Society

116 NE Russell St Thursday Swing featuring Hot Club Time Machine, 12th Avenue Hot Club

Valentines

426 SW Washington St. Each Both, Brut, Riot AF

232 SW Ankeny St Funeral Gold, Bubble Cats, The Toads

landmark Saloon

White Eagle Saloon

4847 SE Division St, Leslie Lou and the Lowburners

Mississippi Pizza

3552 N Mississippi Ave Red Yarn, Mo Phillips, Johnny & Jason; Dylan DiSalvio Band

Mississippi Studios

836 N Russell St Salsa Konviviaal, DJ ME

Wonder Ballroom

128 NE Russell St. Soul’d Out Festival: Hieroglyphics

FRi. APRil 15

3939 N Mississippi Ave. Soul’d Out Festival: Lindi Ortega, Petunia & The Vipers, Mission Spotlight

Alberta Rose

Revolution Hall

1036 NE Alberta St Fever Feel, The Tamed West

1300 SE Stark St #110 Arlo Guthrie, Sarah Lee Guthrie

Roseland Theater

8 NW 6th Ave Soul’d Out Festival: Gary Clark Jr.

Star Theater

13 NW 6th Ave. Lady Rizo

3000 NE Alberta St Heather Nova, Chris Riffle

Alberta Street Pub

Crystal Ballroom

1332 W Burnside St Richard Cheese & Lounge Against The Machine

Dante’s

350 West Burnside

Hawthorne Theatre

High Water Mark lounge 6800 NE MLK Ave Holy Grove, Demon Eye, Disenchanter

Jimmy Mak’s

221 NW 10th Ave. Yachtsmen, Damon Castillo Band

Keller Auditorium

222 SW Clay St Soul’d Out Festival: Sharon Jones & the Dap Kings, Trombone Shorty & Orleans Avenue

Kelly’s Olympian

426 SW Washington St. Ghost Pathology, San Andrews, Big Mo, Lang, Samuel the 1st, Drew Locs

Mississippi Pizza

3552 N Mississippi Ave Virginia López Cuarteto Son Cubano; Sarah Gwen

The Analog Cafe

2958 NE Glisan St Eight Dollar Mountain, Ben Larsen, Austin Quattlebaum

Mississippi Pizza

3552 N Mississippi Ave Coastal Cascade; Karaoke From Hell; Toy Trains

Mississippi Studios

3939 N Mississippi Ave. Redwood Son, Jaime Wyatt, Rust on the Rails, McDougall

Panic Room

3100 NE Sandy Blvd Betties Spring Fling 2016

Roseland Theater

8 NW 6th Ave

Star Theater

The Firkin Tavern

1937 SE 11th Ave Folkslinger, The Mutineers

The Secret Society

720 SE Hawthorne Blvd. Dresden and the Angry Dolls; Dubz

The Know

2026 NE Alberta St Helvetia, Junior Rocket, Dogheart

MON, APRil 18 Dante’s

350 West Burnside Karaoke From Hell

High Water Mark lounge 6800 NE MLK Ave Leeches of Lore, A Volcano, EMS

Jimmy Mak’s

221 NW 10th Ave. Dan Balmer Trio

Mississippi Studios

3939 N Mississippi Ave. Young Hunter, Johanna Warren, Eleanor Murray

Star Theater

13 NW 6th Ave. Paul Allen’s Birthday with Breaker Breaker, Ilima & King Fader

The Analog Cafe

836 N Russell St Hayseed Dixie

720 SE Hawthorne Blvd. Frankie Cosmos, Eskimeaux

Wonder Ballroom

Valentines

2026 NE Alberta St Paul Collins Beat, Dany Laj and the Looks, Criminal Guitars

White Eagle Saloon

128 NE Russell St. moe., Chris Robinson Brotherhood

Yale Union

800 SE 10th St. AU with Camas High School Choir

SAT. APRil 16

Duff’s Garage

1507 SE César E. Chávez Blvd. Roger Clyne & The Peacemakers; Radio Hot Tub Presents Portland Nights, The Pining Hearts & Chocolate Cool But Rude (lounge)

laurelThirst Public House

13 NW 6th Ave. Break Science, Yak Attack

116 NE Russell St Melao De Cuba Salsa Orchestra; Everything’s Jake

1036 NE Alberta St Dave McGraw & Mandy Fer

2530 NE 82nd Ave Jeffery Brousard and the Creole Cowboys

Star Theater

4847 SE Division St, The Dalharts; Jon Koonce

13 NW 6th Ave. Soul’d Out Festival: Allen Toussaint Tribute with Willie West, Ural Thomas, Modern Nolatet

Doug Fir lounge

830 E Burnside St. The Quick & Easy Boys, Foxy Lemon, Balto

landmark Saloon

The Secret Society

3000 NE Alberta St Siren Nation presents Lady Sings The Blues: A Tribute To Billie Holiday

Filter, Orgy, Vampires Everywhere, Death Valley High, Demure

The Weather Machine, Cedar Teeth, Human Ottoman

Soul’d Out Festival: Anderson .Paak & The Free Nationals

Alberta Rose = WW Pick. Highly recommended.

Cambrian Explosion, The Mondegreens, Rogue Giant

2026 NE Alberta St Arctic Flowers, Negative Scanner, Dark/Light, Dr. Identity 116 NE Russell St Rich Layton & The Troublemakers; Redray Frazier, Tribe Mars; The Sportin’ Lifers

[APRIL 13-19]

Alberta Street Pub

Dante’s 350 West Burnside Soul’d Out Festival: Jay Electronica, the Has

Doug Fir lounge

830 E Burnside St. Ramble On (Led Zeppelin tribute), Mbrascatu

Duff’s Garage

2530 NE 82nd Ave Ken DeRouchie Band

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Enter Shikari; JP Hennessy (lounge)

Holocene

1001 SE Morrison St. Orquestra Pacifico Tropical, No La La, Michael Bruce, Daniela Karina

Jimmy Mak’s

221 NW 10th Ave. Portland Soul All-Stars

Keller Auditorium

232 SW Ankeny St Signal 14

White Eagle Saloon

836 N Russell St Jonathan Warren & The Billy Goats

SUN. APRil 17 Alberta Rose

3000 NE Alberta St GoGo Penguin, Ian Ethan Case

Crystal Ballroom

1332 W Burnside St Parov Stelar, Stelartronic, Anduze

Valentines

232 SW Ankeny St Quinn and Evan, Cop and Speeder, Pablo Gonzalez

TUES. APRil 19 Aladdin Theater

3017 SE Milwaukie Ave Joan Osborne

Hawthorne Theatre

1332 W Burnside St Lush

1507 SE César E. Chávez Blvd. Peelander-Z

Holocene

1001 SE Morrison St. Cakes Da Killa, SPF666, DJ II Trill

Keller Auditorium

222 SW Clay St Bonnie Raitt

Kelly’s Olympian

426 SW Washington St. Cathedral Park

landmark Saloon

4847 SE Division St, Western Centuries (formerly Cahalen Morrison and Country Hammer)

Mississippi Pizza

3552 N Mississippi Ave San Lorenzo; Emerson House Band

Mississippi Studios

426 SW Washington St. Cambrian Explosion, The Mondegreens, Rogue Giant

Panic Room

3100 NE Sandy Blvd Tribal Theory & Natural Remedy

Kelly’s Olympian

Rontoms

426 SW Washington St.

3341 SE Belmont St, Rentz Leinbach, Dim Wit, Strange Wool

Al’s Den

1200 SW Alder St. The Ensemble

Kelly’s Olympian

2Cellos

The liquor Store

First Presbyterian Church

3939 N Mississippi Ave. T Sisters, The Show Ponies

222 SW Clay St

The Know

600 E Burnside St

303 SW 12th Ave Ashleigh Flynn

Crystal Ballroom

Dante’s

350 West Burnside Purusa & Lakoda, Kaiya On The Mountain

Duff’s Garage

2530 NE 82nd Ave Martin Gerschwitz

Jimmy Mak’s

221 NW 10th Ave. Reed College Jazz Band; Mel Brown Septet

Mississippi Studios

3939 N Mississippi Ave. Mount Moriah, Margaret Glaspy

Roseland Theater 8 NW 6th Ave Flatbush Zombies

The Know

2026 NE Alberta St Divers, Steel Chains, Macho Boys, Wave Action

The liquor Store

3341 SE Belmont St, Snowblind Traveller, Fur Coats, Weezy Ford

Wonder Ballroom 128 NE Russell St. Boyce Avenue

MUSIC Where to drink this week.

THOMAS TEAL

BAR REVIEW

1. Teutonic Wine Co.

3303 SE 20th Ave., 503-2355053, teutonicwines.com. Some of the ﬁnest and most singular urban wine from riesling to complex pinot noir is now available in a handmade bar, and often served by its winemakers and owners to the soundtrack of ambient Stereolab or German butt rock.

GRAND OPENING

2. Tryst

19 SW 2nd Ave., 503-477-8637. Berbati’s old lobby is Voodoo Doughnut. Its Pan is a strip club. And now Berbati’s itself is Tryst, from longtime Old Town bar manager AdaZoe Freeman, with Asian fusion drinks and food—and good goddamn if that ginger ketchup with the furikake french fries isn’t the best fry sauce in town.

Saturday, April 16 featuring live music, food carts, beverages and discounts. Open 10am–10pm Event starting at 2pm

3. 23rd Avenue Bottle Shop

2290 NW Thurman St., mcmenamins.com. Not only are the cocktails very nice here—with a refreshing $5 special daily—there’s no corkage fee on bottles. That means Pabst tallboys are $1.10, cheaper than at Yamhill Pub, and import bottles are the price of a pint. Wow.

4. Pop Tavern

825 N Killingsworth St., 503-206-8483. Pop Tavern has a solid $5 tap list featuring Pfriem and the Commons, a $6.50 burger (with fries!) that’s meaty as hell, and a back patio. Like the bar equivalent of a good rug, Pop Tavern really ties the neighborhood together amid Ardor, Dynasty and Florida Room, so maybe you can say “Killingsworth” the same way you already say “Alberta.”

5. Pope House Bourbon Lounge

2075 NW Glisan St., 503-2221056, popehouselounge.com. The sun is intermittently back, and it’s patio whiskey season again—a ﬁne time for a $5 whiskeyvermouth Half Man cocktail at happy hour, or a $10 Old Fashioned one of our writers swears is precisely twice as good.

Come celebrate with us! 26 UP: It would be so easy to hate on Americano (2605 E Burnside St., americanopdx.com), the new vermouth and coffee bar from Hale Pele’s Blair Reynolds and Coco Donuts’ Ian Christopher. For one thing, it’s in the Burnside26 building—a gentrification flashpoint that kind of looks as if it were designed using a free Wordpress theme. And within, the cafe and bar looks like a cross between a hair salon and a Duran Duran album—sterile white-on-white, with a massive ornate mirror, marble horseshoe bar and ’80s-style pop-deco coffee art spanning an entire wall. Such an apparent ode to false luxury shouldn’t be any good, nor fun. But then you notice the sparkling gamay on the menu—a delightful quaff that might as well be Champagne jam—and the preponderance of wine bottles served for under $30. The vermouth and amaro selection— French, Italian and local—is impressive as hell. And those press pots are brilliant, made-to-order liquor, spice and fruit mixed with soda water and split among at least three people for $30, including a Starry Night made with blessedly old-fashioned Cocchi Vermouth di Torino, plus fresh strawberries and bourbon and quinquina, a wine aperitif made using cinchona bark. Elsewhere, you can build your own drink from espresso—housemade by Christopher—with tequila or whiskey, plus a choice of house bitters. The food menu, meanwhile, is a shotgun blast to the map, whether oyster-absinthe chowder or Louisville Hot Brown waffle. On our last visit, the bearded armada of bartenders—knowledgeable, competent, likable people—regaled the marble bar with only slightly off-color stories of ridiculously fancy places they’d worked in San Francisco, or perplexed travels to coffee countries where the locals drank only Nescafe. Americano may look like it belongs in an upscale shopping center, but its fine points are both more rarefied and more approachable than you’d expect, not to mention a hell of a lot smarter. MATTHEW KORFHAGE. The Liquor Store

3341 SE Belmont St, Spend The Night with Gunnar Haslan, Olin, Ben Tactic, Graintable

The Lovecraft Bar

WED. APRIL 13 Dig A Pony

736 SE Grand Ave. Marti

Holocene

1001 SE Morrison St. Soul Clap, Ben Tactic, Nathan Detroit

The Lovecraft Bar

421 SE Grand Ave Event Horizon (industrial, EBM, electro)

THURS. APRIL 14 Dig A Pony

736 SE Grand Ave. A Train (cumbia) Panic Room 3100 NE Sandy Blvd

Tetsuo: Ernie Yourgulez With OneWub! Feat. Alex Marine, Silpher, A1 Nutboy

The Lovecraft Bar

421 SE Grand Ave Shadowplay (EBM, goth, industrial, darkwave)

FRI. APRIL 15 Dig A Pony

736 SE Grand Ave. Jimbo (‘80s); Happy Hour with Sweaty Technique (‘60s pop, soul, rock)

Holocene

1001 SE Morrison St. Act Right with DJ Nathan Detroit, Maxx Bass, Dimitri

The Goodfoot

2845 SE Stark St Soul Stew with DJ Aquaman

421 SE Grand Ave Electronomicon with DJ Straylight

SAT. APRIL 16 Bossanova Ballroom

722 E Burnside St. DJ Bomb Shel (Bollywood EDM)

Dig A Pony

736 SE Grand Ave. Dirty Red (boogie)

The Goodfoot

2845 SE Stark St Tropitaal: A Desi-Latino Soundclash with DJ Anjali & the Incredible Kid

The Lovecraft Bar

421 SE Grand Ave Sabbath with Miz Margo (electro, deathrock)

2507 NW Nicolai Street, PortlaNd 503-477-6759 WWW.SlabtoWNcP.com

SUN. APRIL 17 Dig A Pony

736 SE Grand Ave. Emerson Lyon (early 2000s rap and R&B)

MON. APRIL 18 Dig A Pony

736 SE Grand Ave. Lamar (boogie, edits, modern dance)

The Lovecraft Bar

421 SE Grand Ave Morbid Mondays with Miz Margo

TUES. APRIL 19 Dig A Pony

736 SE Grand Ave. Atom 13 (miscellaneous)

The Lovecraft Bar

421 SE Grand Ave Mood Ring Dance Party

Willamette Week APRIL 13, 2016 wweek.com

O R E G O N

B A L L E T

T H E A T R E

P R E S E N T S

Avery Reiners. Photo by Tatiana Wills.

Apr. 14 - 23, 2016 | Newmark Theatre

Nicolo Fonte | Antonio Vivaldi, Max Richter, Ólafur Arnalds With Special Guest Artists Susan Banyas and Gregg Bielemeier Don’t miss the company premiere of Nicolo Fonte’s Beautiful Decay juxtaposing the fragility of age with the daring athleticism of youth. SUPPORTED IN PART BY

Willamette Week APRIL 13, 2016 wweek.com

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.

OPENINGS & PREVIEWS Hay Fever

It’s a carefree Saturday in June when unexpected visitors descend on the Bliss family’s English country home, where papa Bliss is attempting to finish writing his latest novel. Tea time with flappers goes to Wilde-like shit when the socializing devolves into melodrama and fainting. This 1920s comedy of manners by Noel Coward is the first spring show from Vancouver’s community theater. Magenta Theater, 1108 Main St., Vancouver. 7:30 pm Thursday-Saturday April 15-29; 2 pm Saturdays April 23 and 30. $18.

Newsies

Disney’s musical about underdogpaperboys-turned-journalism-vigilantes scooped the Tony’s in 2012. The touring cast of boy band look-alikes visits from Broadway, bringing hope for the future of American journalism and the trendiness of plaid. Keller Auditorium, 222 SW Clay St., 7:30 pm Tuesday-Friday; 2 and 7:30 pm Saturday; 1 and 6:30 pm Sunday, April 19-24. $50-$105.

Out at Sea and First Inaugural

The little white box of Blackfish Art Gallery turns into a makeshift theater with metal folding chairs for Readers Theatre Repertory’s Election Year Extravaganza. The black comedy Out at Sea is a political allegory, following three suave city dwellers who get stranded on a raft and resort to Trump-like lobbying in order to save their lives. First Inaugural is more obvious. It starts with Republican presidents’ most influential speeches and slowly progresses to propaganda from “a billionaire tycoon whose next address may be the Oval Office.” Not to point stubby fingers. Blackfish Gallery, 420 NW 9th Ave., 971-5703787. 8 pm Friday-Saturday, April 15-16. $8.

NEW REVIEWS A Doll’s House

You’re seated inside a humansized dollhouse with see-through walls in the newest production from Shaking the Tree. And it feels like you shouldn’t be there. From the living room, you witness a domestic scandal unfold in the turn-of-thecentury Norway home of an uptight lawyer named Torvald and his little wifey Nora. Unbeknownst to Torvald, Nora borrowed a huge sum of money and is being dogged by a greasy debt collector. Each room in their house is lit up a pop art color that would never hold up in late Ibsen’s Norway: Torvald’s study is blue, Nora’s room is pink, the dining room is purple and the entryway is red. As you peer around the stove to witness Torvald and Nora’s juiciest fight, Samantha Van Der Merwe’s genius staging makes you feel like a fly on the wall. While we’re used to seeing personal lives laid out for public consumption on reality TV, Ibsen’s feminist play was a scandal at the time of its premiere. It’s effective because it’s invasive, intimately revealing an unhappy marriage where the woman walks out (gasp). There’s nothing contrived from this cast of Portland veterans, including Jacob Coleman and Matthew Kerrigan. Madelyn Clement perfectly captures the anxiety of a woman hiding her biggest secret, with eye twitches, a forced smile and her constant fiddling with her wedding ring. This is playing house, grown up and gritty, and all the

COURTESY OF VONTRAPPS.NET

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.

more fun. SOPHIA JUNE. Shaking the Tree Theatre, 823 SE Grant St., 503235-0635. 7:30 pm Thursday-Sunday, April 14-May 7. $25.

Love and Information

More than 100 characters dash through 57 micro-vignettes about things like dating computers in British playwright Caryl Churchill’s 2012 play. Theatre Vertigo accomplishes this with a cast of 12 and no small amount of ingenuity in their tiny Shoebox Theater. On a pull-apart stage with a set that folds out from the walls, nameless characters wax philosophical about the meaning of God; they make awkward ﬁrst-date small talk; they tell secrets. Friend One doesn’t understand why Friend Two is dating a computer. “She’s just information!” exclaims One in exasperation. Two replies, nonplussed: “Aren’t we all?” The vignettes are hit-or-miss, some cleverly amusing and others painfully obvious or purely nonsensical. But taken as a whole, the play is a fairenough representation of a society suﬀering from information overload and seeking that titular holy grail, um…love? PENELOPE BASS. Shoebox Theater, 2110 SE 10th Ave. 7:30 pm Thursday-Saturday and 2 pm Sundays, April 8-May 7. $20.

The New Electric Ballroom

As Irish as theater comes and as talented as a Portland cast gets, Third Rail’s New Electric traps you inside the dingy cottage of three spinster sisters in a coastal fishing village. It also traps you inside a play of monologue after monologue and recurring speeches. That’s the point. The sisters spend every day re-enacting one fateful night when they biked to the new electric ballroom and had their sexual desires crushed by a traveling rock star. The birdlike Breda (Lorraine Bahr) and frumpy Clara (Diane Kondrat) take turns undressing on stage and dolling themselves up like they did when they were teens, all the while telling their tragic tales. This story time is perpetually interrupted by Todd Van Voris—one of Portland’s top talents—as the bumbling fishmonger. It looks like a quaint fairy tale about family, but then Breda mimes being fingered and Clara calls the Virgin Mary a bitch. This is a haddockscented Goldilocks and the Three Bears with a black Irish heart. ENID SPITZ. Imago Theater, 17 SE 8th Ave., 503-235-1101. 7:30 pm WednesdaySaturday and 2 pm Sundays, April 13-30. Under 30 $38. General $42.50.

ALSO PLAYING The Few

It’s 1999, at the height of Y2K panic, and a small-town Idaho newspaper created for long-haul truckers is failing. It doesn’t get much bleaker than that. Samuel D. Hunter’s play embraces loneliness through a no-fail combination of monologues about long-haul trucking, voicemails of people submitting their personal ads and characters affected by small-town conservatism and isolation. In both dialogue and set, the play succeeds in its preciseness. The thrust set, which is the inside of a trailer that holds the newspaper’s office, is decorated with old photographs of cats, postcards, dirty computer monitors, a Garfield coffee mug and pictures of longhaul trucks colored by kids. At points where the pauses between dialogue

CONT. on page 42

NO LONELY GOATHEADS: (From left) Soﬁa, August, Amanda and Melanie von Trapp.

PREVIEW

Auf Wiedersehen THE VON TRAPPS’ GREAT-GRANDCHILDREN SAY GOODBYE WITH A SOUND OF MUSIC SING-ALONG AT CINEMA 21.

They say that the first generation lives it, the second forgets it and the third brings it back. Sofia von Trapp is living proof of that. Von Trapp and her three siblings are greatgrandchildren of The Sound of Music’s Georg and Maria. The Portland-based quartet started touring internationally when Sofia’s younger brother, August, was just 7 years old. The von Trapps’ 15-year run ends in Portland this spring, culminating in a sing-along Sound of Music at Cinema 21 starting this Friday, and one last concert at Star Theater. It’s a tour that’s lasted over half of Sofia’s lifespan. “My oma [grandmother] is coming,” Sofia says, “She moved to Vermont from Germany, like my family did, but she still wears a dirndl.” The von Trapps did not actually escape with rucksacks over the Alps, she explains. They took the train to Italy and got into the U.S. on a work visa to play a show in Pennsylvania. After touring the States for about 20 years, Georg, Maria and their 10 (not seven) children settled in Vermont and established a home, which Sofia’s uncle still maintains as a tourist attraction. She and her siblings grew up in Montana, after her father fell in love with the Big Sky Country on a motorcycle trip through the Rocky Mountains. “I see my family’s story in three ways,” she says, “there’s what really happened, those stories passed down from our oma and opa. The Sound of Music is a condensed, American version. The four of us are this third generation of von Trapps, just doing our thing.” An international singing career was never the plan, Sofia says. “It wasn’t a thing where we were pushed into, or even encouraged to sing,” she says.

“Our parents can’t sing at all—I don’t even think they listen to music.” When their grandfather—Kurt in the movie, who was named Werner in real life—had a stroke, the young von Trapps recorded a song to cheer him up in the hospital. “We sent it to our opa, and people started saying how good it was,” Sofia says, then we got booked to open for George Winston at this really random festival in Montana. The next year, we were touring overseas. The Hidden City in Beijing. Opera houses in Europe. I was 13.” Now she’s 28. When the von Trapps met Thomas Lauderdale of Pink Martini on a 2011 trip to Portland, he was magnetic, says Sofia. That’s the reason they decided to make Portland their home base. “We completely fell in love with each other,” she says. “It’s like a match made in heaven. We had never heard of Pink Martini, then we sang at the Christmas tree lighting with them and he asked us back to record. Two weeks turned into two months, then two years.” Sofia’s two sisters are studying foreign policy and business at Portland State University, but none of the four has finished a degree or pursued any other career. “We met Pink Martini, and how can you not be swept away?” Sofia says. “We’ve been doing this for more than half our lives. Now we’re ready to do life.” If all else fails, August von Trapp has a cow in Rwanda to fall back on. “We did sing the national anthem for the president of Rwanda,” Sofia says. “And Paul [Kagame] gave my brother a cow. It’s still in Rwanda, just chillin’ out.” ENID SPITZ. SEE IT: The Sing-Along Sound of Music is at Cinema 21, 616 NW 21st Ave. 7 pm FridaySaturday, April 15-16, and 2 pm Saturday-Sunday, April 16-May 1. $15. Willamette Week APRIL 13, 2016 wweek.com

PERFORMANCE feel long, the set is endlessly interesting to notice. Val Landrum as QZ and Michael O’Connell as Bryan succeed in playing two people whose relationship has been twisted by loss and time. But it’s Caleb Sohigian’s Matthew who has the most dynamic character of the show, physically characterized with abrupt exits and by trailing oﬀ at the ends of his sentences, which he sometimes overplays for comedy. SOPHIA JUNE. CoHo Theater, 2257 NW Raleigh St., 2202646. 7:30 pm Thursday-Saturday and 2 pm Sunday, through April 16. $28.

The Miraculous Journey of Edward Tulane

Edward is a heady rabbit doll who goes on a 20-year journey of self-discovery and discovers the true meaning of friendship in this Oregon Children’s Theatre show. Edward’s odyssey takes him through piles of garbage, treacherous waterways, and eventually, “a hobo’s knapsack.” No shows 5 pm April 23 or 11 am April 24. Winningstad Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays; 11 am and 2 pm Sundays, through April 24. $14-$28.

The Twilight of the Golds

If your fetus will be a homosexual person some day, and you know this while it’s inside of you, what do you do? New Yorker Suzanne and her family debate this dilemma in the 1994 hot-button drama by Jonathan Tolins. The show ﬂopped on Broadway, but the TV-movie version starring Brendan Fraser and Rosie O’Donnell fared a bit better. North Portland’s small Twilight Theater gives abortion politics a go. Pay what you will 8 pm Thursday, April 14. Twilight Theater Company, 7515 N. Brandon Ave., 847-9838. 8 pm Friday-Saturday and 3 pm Sunday, through April 16. $15.

Othello

PETE YORN

WEDNESDAY, APRIL 13TH AT 6PM

Pete Yorn’s new album, ArrangingTime, plays with the elasticity of the years, running the gamut from elegiac folk to wasteland blues to upbeat, synth-kissed rock. Of course, some things never change. Yorn still plays the observer, stepping into characters, routing wistful poems and beatific visions through the weather-beaten voice of a man who’s seen a few things in his time.

THE CALIFORNIA HONEYDROPS

SUNDAY, APRIL 17TH AT 2PM

The California Honeydrops don’t just play music—they throw parties. Drawing on diverse musical influences from Bay Area R&B, funk, Southern soul, Delta blues, and New Orleans second-line, the Honeydrops bring vibrant energy and infectious dance-party vibes to their shows.

LIZ VICE

SHOEFITI

Gospel, soul, and R&B infused artist Liz Vice is from Portland, Oregon. The songs from the album feature dynamic, soulful vocals, with lyrics are classically influenced enough to feel timeless and reference her deep-rooted spirituality.

Inspired by the nineties indie rock scene, Shoefiti blends bright melodies and bursts of noisy harmonic frictions, adding a modern fuzzy sound to the whole.

SUNDAY, APRIL 17TH AT 4PM

TUESDAY, APRIL 19TH AT 6PM

PJ HARVEY

The Hope Six Demolition Project

$10.99 CD

PJ Harvey releases her ninth studio album, The Hope Six Demolition Project, documenting a unique artistic journey, which took her to Kosovo, Afghanistan and Washington, D.C. The album was recorded during a month-long residency, “Recording in Progress”, in early 2015 at Somerset House during which audiences were given the opportunity to observe Harvey at work with her band and producers in a purpose-built studio housed in the basement of the iconic London building.

Willamette Week APRIL 13, 2016 wweek.com

The new Post5 Theatre leaves the vision of former directors Cassandra and Ty Boyce far behind with its newest production, an allfemale Othello set in what looks like an Operation Desert Storm bunker. Drammy-winning makeup artist Caitlin Margo Fisher-Draeger directs 6-foot-plus actress Ithica Tell as the eponymous Moorish general. Tell seizes, sweats and smothers her wife on a splatter-painted stage that’s decorated with hazard signs, air intake fans, electrical boxes and naked light bulbs. Within the ﬁrst ﬁve minutes, Tell creates a homoerotic charge by embracing Joellen Sweeney (playing Desdemona) as Post5 mainstay Jessica Tidd blazes onstage as villainous Iago in combat boots and a septum piercing. This is Shakespeare with tattooed female soldiers who wield handguns and spend their time either fucking each other or fucking each other over.Extra show 7:30 pm Thursday, April 21. Post5 Theatre, 1666 SE Lambert St., 971-333-1758. 7:30 pm Friday-Sunday, April 1-23. $20.

The Pianist of Willesden Lane

Grammy-winner Mona Golabek plays Bach, Beethoven and Chopin on a concert grand, backed by 1930s portraits of her Jewish family in massive golden frames. She’s playing her own mother, the aspiring Jewish pianist Lisa Jura, who watched her dreams burn when the Nazis invaded her hometown and wiped out thousands of Jewish residences in a few hours during 1938’s Kristallnacht, the “Night of Broken Glass.” Part recital, part survival story, it’s about musical inspiration and 10,000 child refugees who were ﬁrst denied entry into England. Gerding Theater at the Armory, 128 NW 11th Ave., 4453700. 7:30 pm Tuesday-Friday; noon Thursdays; 2 and 7:30 pm Saturday-Sunday. April 8-May 1. $25-$75.

Road House: The Play

Portland’s improv queen, Shelley McLendon, reprises her popular revamp of the ‘80s classic, adding music and her Liberators-style comedy to a dive-y action thriller that starred Patrick Swayze as a rebel-without-a-cause bouncer in Missouri. Expect smaller biceps, but no less blood, from local comedians including Jed Arkley, Ted Douglass and co-writer Courtenay Hameister. The Siren Theater, 315 NW Davis St. 8 pm Friday-Saturday, April 1-16. $22.

COMEDY & VARIETY Curious Comedy Open Mic

Sign up start at 7:15, and every comic gets a tight three minutes onstage in this weekly show hosted by Andie Main. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Sundays. Free.

Curious Comedy Playground

It’s basically free time for comedians. Acts run the gamut, from improv to video and musical comedy, and you never know who’s coming out to play. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every ﬁrst, third and ﬁfth Thursday. Free.

Earthquake Hurricane

Some of WW’s favorite funny Portlanders showcase famous and not-so-famous, local and not-so-local comedians. Hosted by Curtis Cook, Alex Falcone, Anthony Lopez and Bri Pruett inside a pretty epic bike shop. Velo Cult Bike Shop, 1969 NE 42nd Ave., 922-2012. 9 pm every Wednesday. Free, $5 suggested donation. 21+.

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. 8pm Mondays. Free.

Friday Night Fights

Curious’ twice-monthly improv competition pits teams that won last week’s Thursday Night Throwdown against one another. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every first and third Friday. 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.

Pink Collar Comedy Tour

This all-female standup crew from New York bills itself on brazen honesty and estrogenthemed jokes. Portlander Belinda Carroll, a comedy producer w ith Portlandia and Grimm cre dits, joins for this show, which is also a benefit for Planned Parenthood. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 9:30 pm Saturday, April 16. $12 in advance, $20 day of show.

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+.

The first new wave Portland comic that moved to L.A., Ron Funches looks kind of like a dreadlocked teddy bear and giggles almost incessantly. He’s also proven himself fiercely hard-working and a tough act to follow. Five years ago he was a comedian’s comedian, known for open mics and a cameo as a baseball player on the Portlandia season one finale. Last year he dropped his debut album, The Funches of Us, and did a spot on Conan that included a bear hug. Aladdin Theater, 3017 SE Milwaukie Ave., 8 pm Saturday, April 16. Sold out.

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.

Supernova

percussionist juggles axes with us,” says founder Antoine Carabinier, who’s a veteran of Cirque du Soleil and the famous 7 Fingers circus company. As the penultimate show from Portland’s best dance programmer, White Bird, it looks like one hell of a close to an amazing season. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-248-4335. 7:30 pm TuesdayWednesday, April 19-20. $26-$72.

Table of Contents

“Unconventional workspace” is a 21st-century buzz term perhaps only rivaled in repulsiveness by “immersive performance experience.” Choreographer Heidi

Duckler is combining the two. Expect performers in business casual dancing on tabletops or sprawling on conference tables. The Portland-based contemporary choreographer, who’s known for interpretive dancing in an industrial Northwest lumberyard last year, pairs with CENTRL Office and jazz musician Tom Grant for this site-specific performance art. CENTRL Office, 1355 NW Everett St., 7:30 and 9 pm Friday-Saturday, April 15-16. $25.

For more Performance listings, visit

REVIEW D AV I D K I N D E R

Ron Funches

Brody’s students showcase their improv, sketch and standup skills— a different class each week. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Thursdays. $5.

DANCE Beautiful Decay

20-something ballerinas share the stage with sexagenarian dancers Gregg Bielemeier and Susan Banyas for Oregon Ballet Theatre’s final show in a season that’s been dominated by classics like The Nutcracker and Romeo & Juliet. Beautiful Decay is something different. Choreographer Nicolo Fonte’s new work mashes old and young together like conjoined twins. Shriveled flowers inspired Fonte to create a work about pretty things dying—beauty and age. Dancers flutter en pointe, then crouch like Gollum. This is the OBT debut for Bielemeier, and his first performance since double hip-replacement surgery. Newmark Theatre, 1111 SW Broadway. 7:30 pm Thursday-Friday; 2 and 7:30 pm Saturday; 2 pm Sundays, April 14-23. $29-$146.

Pearl Dive Project

“I’ve always wanted to be a dancer,” says Byron Beck, the 53-year-old Portland blogger and former Willamette Week editor known for his Queer Window column. “Never a choreographer,” he says, “because that shit is hard.” But Beck just choreographed an original work for one of Portland’s top dance companies, BodyVox. He is one of 11 “creatives” whom BodyVox commissioned for Pearl Dive Project, which might be the most experimental show in the 18-year-old company’s history. Pink Martini singer China Forbes also signed on for the project, along with Dharma Bums frontman Jeremy Wilson and Clark James, a director for M&Ms and Nike ads. Other guest choreographers range from Colombian landscape architects to a New York pianist and the conductor of Vienna’s Tonkünstler Orchestra. For the first time, BodyVox asked experts from other industries to choreograph new works. BodyVox Dance Center, 1201 NW 17th Ave., bodyvox.com. 7:30 pm ThursdayFriday, 2 and 7:30 pm Saturday, April 7-23.

Timber

Cirque Alfonse combines bearded acrobats, ax-juggling and logthrowing into a circus of Canadian lumberjacks. They’re not actually lumberjacks—they’re one of Canada’s top circus companies, but you could easily be fooled by the suspenders and facial hair. It’s an extravagant mix of live music, dance and stunts, and the company is comprised of family, with dad, a nephew and a brother-in-law joining the founding siblings. “Our

GHOST OF CASTRATIONS PAST: Seth Rue.

Blue Door, Black Lives The audience is “a bunch of white people,” says one of the many black characters in Blue Door. And he’s not wrong. The second show in Profile’s season dedicated to Pulitzer Prize nominee Tanya Barfield follows an insomnia-ridden professor who imagines meeting his dead ancestors. He’s searching for an answer: Did he run away from his blackness by entering the white world of academia? It begins with Lewis (Victor Mack), a philosophy and math professor, lying awake in a bed surrounded by chains, ears of corn, an African drum and a “White Only” sign. As Lewis talks about his life, he opens a metaphorical door to the past, allowing in a steady stream of visitors, all played by Seth Rue. The two-tiered thrust stage is painted black with white mathematical equations. Ropes are stretched diagonally from the ceiling, and a full moon hangs overhead. It is not realistic. The set looks like a dreamland dimension between sleep and waking, and it creates the perfect, surreal world where Lewis meets his relatives. But this isn’t Dickens, and the ghosts of the dead don’t appear floating in clouds of smoke. They arrive dressed in rags, a straw hat or a leather jacket and tell their stories like unwanted houseguests. Like a cynical standup comic, Lewis stays straight-faced as he delivers jokes about his experiences as a black professor. He was afraid of trees because trees are in rural areas, and rural areas tend to be racist. The deadpan lines provide a much-needed breather from more serious monologues, like when Lewis describes a student yelling the N-word in class or another professor staring at Lewis’ hands as if she were afraid of them. The visitors’ stories about racism are brutal. Lewis’ grandfather gets publicly castrated, then burned alive, and they just keep coming. No matter how hard he tries, Lewis is never free from the threat of a sleepless night. SOPHIA JUNE. Proﬁle Theatre’s season of Barﬁeld continues with a play that looks like Wonderland and tackles the KKK.

SEE IT: Blue Door is at Artists Repertory Theatre, 1516 SW Alder St., 503-242-0080. 11 am Wednesday, April 13; 7:30 pm Thursday-Saturday and 2 pm Sunday, through April 23. $38, $20 under 30. Willamette Week APRIL 13, 2016 wweek.com

VISUAL ARTS

Inventing Problems and Congratulating Myself for Solving Them

Sculptor Shelby Davis investigates the way that things intersect. Sometimes the materials are divergent, like the river of soft pewter that Davis inlays into a slab of unyielding concrete. In other pieces, meticulously finished wood planks pierce weathered hunks of gnarled wood painted to resemble concrete. The same material takes on different properties, and the point of intersection makes them alien to each other. Davis also uses humor as part of his visual language, so don’t be surprised to find a concrete casting of Romanesco broccoli, sitting like a curiosity atop one of the sculptures. Alexander Art Gallery at the Niemeyer Center, 19600 Molalla Avenue, Oregon City, 503-594-3032. Through April 29.

ARTIFACT

Photographer Delaney Allen captures a future race inhabiting a distant landscape. Allen shoots outdoors in the dark, aiming a floodlight at some of his subjects, which gives the impression that they have never been seen before, caught unsuspecting in the middle of the desert in the dead of night. In other photographs, Allen cloaks his figures in tribal textiles, covering most of their skin and faces until they are unrecognizable, shrouded in ceremonial mystery. There is a sharp contrast between what is hidden and what is exposed, and therein lies the tension of the series. Nationale, 3360 SE Division St., 503-477-9786. Through May 9.

Emily Counts

Esprit

Gallery owner Amy Adams has put together an astonishing collection of fetishistic pieces that relate to one another by their use of ordinary materials. Philadelphia Wireman, an artist who worked in the ‘70s, and whose identity remains unknown, wraps with wire everyday detritus— like lighters, wrappers and screws—creating charged tokens resembling African power objects. A series of memory jugs, created in the late nineteenth- and early twentieth-century, most likely by women as sculptural forms of scrapbooking, serve as a way to hold memories and time. The glass jugs, covered in putty and encrusted with objects as varied as toy guns, ceramic figurines, political buttons, keys, and seed pods, give us a sense of place and longing. Adams and Ollman, 209 SW 9th Ave., 503-724-0684. Through April 16.

A Marginal Tic

One of a gallery’s tasks is to help orient a visitor who comes in off the street, to help them understand what links the art inside the space, why the work is being shown together, and why they should care about it. Without any information

Ruth Gruber

The International Center for Photography (ICP) presented the Lifetime Achievement Award for photojournalism to Ruth Gruber on her 100th birthday. Now approaching her 105th birthday, a retrospective of her work, curated by the ICP, has made its way to our fair city. The exhibition unfolds the story of her serendipitous career, from her assignment to shoot the thenunknown Alaskan frontier, to being sent by the Department of the Interior on a secret mission to bring back a thousand refugees from Europe. She photographed everything along the way, often sneaking into places she wasn’t allowed. The most affecting photos from the exhibition are those that document the unfathomable conditions that the refugees were subjected to on their way to finding a permanent home. Though the images were captured 70 years ago, they are painfully relevant during the current refugee crisis. Oregon Jewish Museum and Center for Holocaust Education, 1953 NW Kearney St., 503226-3600. Through June 13.

Symbolic Autobiography

Photographer Ann Mansolino’s blackand-white portraits are not meant to capture something personal about her subjects, but to represent Mansolino’s own internal states of mind. In one photo, a woman stands in a field of stones so endless that it disappears into the horizon. The subject, her head cropped out of the frame (Mansolino obscures the faces of all of her subjects so as to de-emphasize the importance of the individual), stands in the close foreground burdened by her own heavy armload of stones. Through her subjects—usually women, sometimes herself—emotions are made manifest,

Temporal Ecologies

Crinkled open-mouthed paper bags grow like barnacles from the corners, walls, ceiling and floor of the Portland Building’s installation space. By using an everyday object like the ubiquitous brown paper bag, from which we have all eaten thousands of peanut butter and jelly sandwiches, artist Jenna Reineking gets us to see beyond its usual form and our associations with it. Reineking transforms it into a raw material, a building block for a new environment. Together, the humble sculpted bags look like hundreds of organisms, imbued with life by Reineking, that have the potential to spread through the gallery on their own. The Portland Building, 1120 SW 5th Ave., 823-4000. Through April 15.

2016 Contemporary Northwest Art Awards

part of Now I Am Myself.

embodied in physical form. And though the medium and large-format images are carefully staged, the backdrop of the outdoors lends them a naturalistic quality, leaving us free to lock into the feeling that Mansolino is trying to convey without distraction. Sage Gallery, 625 NW Everett St. No. 106, 541-2062560. Through April 28.

Recent Work

Some of Michael T. Hensley’s abstract paintings look like what you might expect to find inside Hensley’s head, if you were able to unzip it and have a peek. Frenetic graffiti-esque marks spanning the color palette shout over one another for attention. Other canvases are comparatively subdued, like whitewashed chaos, hinting at the muted madness underneath. The occa-

Willamette Week APRIL 13, 2016 wweek.com

FEATURE

Shape Shifting

Lauren Mantecón’s abstract paintings make you feel like you’re in the middle of an interplanetary dream. Faded orbs hover in the background while clusters of tiny dots, like constellations, pop with bright color in the foreground. Up close, you can see the wax and paint, and can even read the newsprint she uses to create texture, but view the work from the other end of the gallery and Mantećon has left you drifting out into the cosmos. She plays with the density of her surfaces, sometimes building up thick layers of material onto which she gouges quick hatch marks or meandering tributaries. In other pieces, Mantećon uses a wash of pigment so faint that the grain of the wood panel shows through. Mark Woolley Gallery, 700 SW 5th Ave. Suite 4110, 503-9984152. Through May 15.

A tilted monolith of concrete, wood, foam and metal greets you in the gallery of Portland Art Museum’s biennial awards exhibition for Northwest Art. Work from eight regional artists, in every medium from etched glass to neon, wait for you beyond. The photorealistic drawings of post-apocalyptic scenes by the collaborative duo known as Lead Pencil Studio are a standout, as are the haunting faceless figures, drawn on paper by Samantha Wall, that give the impression that they might dissolve at any moment should you stand in front of them too long. Portland Art Museum, 1219 SW Park Ave., 503-226-2811. A Golden Tear by Jamila Clarke, Through May 8.

COURTESy OF JAMILA CLARkE

In sculptor Emily Counts’ world, ceramic doesn’t behave as we are accustomed to seeing it. It snakes along the wall, threaded with rope, hanging in counterbalance to itself. It stacks, dripping with glaze, in towering monoliths. Links of glossy porcelain pierce earthy-textured hunks of stoneware. Counts plays with surface texture and finish, showing us how one material can feel airy, sievelike and semipermeable, while at the same time as solid and immutable as the earth. Counts, who also makes jewelry, employs jewelry-making techniques in her large- and small-scale works, which incorporate wood, concrete, bronze and cast glass to great aesthetic effect. Carl & Sloan Contemporary Gallery, 8371 N Interstate Ave No. 1, 360-6089746. Through April 17.

about the exhibition, or about the three artists whose work is on display, save for the title and materials list of each piece, the decontextualized collection of minimal 2-D and 3-D pieces in A Marginal Tic is inaccessible and unrelatable and it feels like the gallery deigns to have us. Fourteen30 Contemporary. 1501 SW Market St., 503-236-1430. Through April 23.

sional naïve doodle—discernable as a Christmas tree or a pyramid or a hand with six fingers—gives the work a childlike quality and a lack of self-consciousness. Hensley has established an unmistakable visual language all his own, and if you’ve seen it once, in his paintings or in one of his public murals around town, you will recognize it immediately. Mark Woolley Gallery, 700 SW 5th Ave. Suite 4110, 503-998-4152. Through May 15.

COURTESy OF BRIANA CEREzO

= WW Pick. Highly recommended. By JENNIFER RABIN. 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.

Now I Am Myself

For its grand opening, Wolff Gallery is presenting a group show of five female photographers whose portraits of themselves and other women subvert the male gaze. In so doing, the work excludes the dominant perspective, the lens through which representations of women have always been presented to us. That said—and here’s the tricky part—in order to change the culture, in order to shift the balance and give female artists their voice, it is imperative that we evaluate Now I Am Myself, not as work made by women, but as work made by artists. Wolff Gallery, 618 NW Glisan St., Suite R1, 971-413-1340. Through May 1.

For more Visual Arts listings, visit

UNTITled by brIana CErEzo

No Rococo Ejaculation For its inaugural show, Wolff Gallery invited five female photographers to make images of themselves and other women. Wolff co-curators Zemie Barr and Shannon O’Connor wanted to see what would happen if they eliminated the male gaze. The result is that the portraits and self-portraits in Now I Am Myself—images of women naked, bound, submerged, exposed, waiting and wanting to be looked at—feel quietly subversive because none of the subjects is sexualized. We have become so accustomed to seeing women depicted in a particular way that anything else takes getting used to. In the self-portrait Untitled by Briana Cerezo, the artist sits naked in a warehouse, the floor strewn with matches, shafts of sunlight piercing the air around her. She looks directly at us, without a trace of selfconsciousness, inviting our stare and curiosity. Jamila Clarke presents us with an image of a woman sitting alone at a kitchen table, her hands clasped over a pile of dirt, a mud-caked shovel lying across from her. It is a quiet image but a powerful one because it hints at loss and burial, but also at violence. And we are left to decide. Lauren Crow, whose work echoes that of Nan Goldin, gives us glimpses of achingly intimate moments in circuslike color. In Untitled (Vivian and Me), Crow lies naked in bed with another women, the two effortlessly draped over each other, their faces lit only by the screens of their phones—a portrait of two lovers for the digital age. When women make work about their bodies, it is often dismissed as “feminist art.” When photographer Kris Graves made The Testament Project, a portrait series of African-American men (shown in February at Blue Sky Gallery, where Barr is the exhibitions manager) in which he allowed his subjects to pose themselves in an effort to re-examine black masculinity, no one called the effort “masculinist art.” The show was lauded for challenging the dominant culture’s representation of a minority group. When Jeff Koons exhibited Made in Heaven, a series of billboard-sized photographs of Koons and his wife engaged in explicit sex acts—with titles like Blow Job-Ice and Dirty Ejaculation—no one spoke of the male gaze that he was so gleefully employing or made mention of his gender. Instead, critics wrote about the Baroque and Rococo influences in his work. So let’s agree not to be lazy about this. The photographers contributing to Now I Am Myself happen to be women making art about women and representation. But it’s important that we treat them not as female artists, but as artists—as we have treated Graves and Koons—and that we give their work the courtesy of being accepted or rejected on its own merits. Wolff succeeds at something that very few galleries manage, which is to curate a group show in which all the pieces feel like they are in conversation with one another. “We thought all of the work related to each other with a genuine sense of self-representation,” says O’Connor. The five artists selected use vulnerability and softness in their images to communicate strength. They shift the narrative, as Barr says, “from objectification to empowerment.” JENNIFER RABIN.

The new Wolff Gallery opens with five female photographers, not “feminist art.”

SEE IT: Now I Am Myself is at Wolff Gallery, 618 NW Glisan St., Suite R1, 971-413-1340. Through May 1.

BOOKS

TICKETS ON SALE NOW

= 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, APRIL 13

in the traditional slam format: no props, music or costumes; original work only; and performed in front of a live audience and five judges. Only one of these kids will walk home with the banner to hang from the rafters of their school—or I guess library? It will be hosted by the Eddie Van Halen of slam poetry, Anis Mojgani. Newmark Theatre, 1111 SW Broadway, 503-828-8285. 7 pm. $10.

Peter Rock

Audra and Vivian live a block away from Beezus and Ramona’s Klickitat Street, though their lives are a little less tidy. When Audra runs away, writing begins to appear in a notebook. She later returns, with a strange man, to collect Vivian. Klickitat is the first YA novel from Peter Rock, a creative writing professor at Ye Aulde Reede, whose My Abandonment told the true story of a father and his daughter living in a cave in Forest Park. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

Krista Tippett

Fifteen years ago, Krista Tippett started a radio show that sought to answer what is, in many ways, the only question: What does it mean to be human? That show, On Being, won a Peabody and has covered issues ranging from children’s relationships with God to voodoo to torture. In her book, Becoming Wise, Tippett mixes memoir and her years of expertise to continue her inquiry. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 800-878-7323. 7 pm. Free.

THURSDAY, APRIL 14 Jacqueline Winspear is one of the top prospectors in the goldmine that is World War II-related mystery fiction. In her newest, Journey to Munich, Winspear’s working-class sleuth Maisie Dobbs must—you guessed it—journey to Munich to pose as a POW’s family because those dang Nazis will only release him to them. Broadway Books, 1714 NE Broadway, 503-284-1726. 7 pm. $26.99 includes book.

COLE BENNETTS

Jacqueline Winspear

Thomas Jefferson Dreams of Sally Hemings

We’ve always known that the guys who wrote the Declaration of Independence weren’t really serious about the whole “created equal” thing. But in 1998, evidence came out that the very dude who penned said words, the very dude who thought really hard about banning slavery, Thomas Jefferson, impregnated one of his slaves, Sally Hemings. Stephen O’Connor’s novel reimagines the relationship as a somewhat steamy affair, asking if a relationship between the 46-year-old, soon-to-be-President Jefferson and the 16-year-old he owns as property was rape. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

FRIDAY, APRIL 15 Hope Jahren

Hope Jahren is one of the top geoscientists in the world—she won the James B. Macelwane medal in 2005, which is like the Oscars of geoscientists, or at least the ESPYs. She’s an expert in using isotope to date real old trees. But Jahren is probably better known as an advocate for women in science, speaking out on sexual harassment in the lab. Her new book, Lab Girl, is part memoir, part science book. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

MONDAY, APRIL 18 Verselandia

For one night only, the baddest slam poets from across Multnomah County schools will go head-to-head

Omar Musa

As a rapper and poet, Omar Musa has shared the stage with the likes of Gil Scott-Heron and Dead Prez. In Here Come the Dogs, a story about young men on Australia’s fringes, he mixes poetry and prose with dynamic results. Solomon and Jimmy are Samoan half-brothers who, with their Macedonian immigrant friend Aleks, trawl around their suburban neighborhood, playing basketball, drinking and looking for babes during a hot summer when just about anything could catch fire. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

SUNDAY AUGUST 28

The erection of Gov. Tom McCall’s “Thanks for Visiting Oregon” sign. The passage of the bill that ensures every Oregonian gets to chill on the beach. The establishment of Portland’s urban growth boundary. During his time as a reporter, first for the Oregon Statesman (now one-half of the Statesman Journal) and later the paragon of journalism that is KGW, Floyd McKay saw it all. In this new book, Reporting the Oregon Story, he waxes rhapsodic about his time covering Oregon. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

SATURDAY AUGUST 27

Floyd McKay

TUESDAY, APRIL 19 Richard Kadrey

In Richard Kadrey’s newest book, The Everything Box, a burglar named Coop stumbles across the titular box, a kind of doomsday device, which makes him a target for government agents, an angel and, of course, a doomsday cult. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 800-878-7323. 7 pm. Free.

Shawn Vestal

In Daredevils, Loretta, a 15-yearold Mormon kid living in Arizona, gets caught sneaking off to meet her non-Mormon boyfriend, so she’s married off to a much older man. But then he gets in trouble, so he moves her and the sister wives to Idaho. But then she escapes with another kid who loves David Bowie and Evel Knievel. It’s the latest from Shawn Vestal, longtime columnist for Spokane’s Spokesman-Review and a PEN Award-winner for his 2014 short-story collection, Godforsaken Idaho. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

DURAN DURAN / NATHANIEL ICE CUBE / RATELIFF STRFKR / & THE NIGHT SWEATS A$AP FERG / ANDREW W.K./ LIZZO THE COATHANGERS / KYLE CRAFT

TAME IMPALA / / WEEN DRIVE LIKE JEHU

UNKNOWN MORTAL ORCHESTRA PARQUET COURTS / SHEER MAG HOP ALONG / DIARRHEA PLANET / TENEMENT

WATERFRONT PARK PORTLAND, OR 21+

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For more Books listings, visit Willamette Week APRIL 13, 2016 wweek.com

COURTESY OF DISNEY ENTERPRISES INC

MOVIES = 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.

Kusama on page 46. PG-13. MERYL WILLIAMS. Kiggins, Laurelhurst.

Barbershop: The Next Cut

Notfilm

entered Calvin’s Barbershop in South Side Chicago, and along with shiny, bald additions like Common, J.B. Smoove and Nicki Minaj’s bosom, there’s a new “No Guns Allowed” sign on the wall. The third chapter in the saga of Calvin (played by the intrepid Ice Cube) and the adventures at his old-school barbershop takes a somewhat darker tone, framed by Cube’s personal ties to his Windy City hometown and its surge in gang violence. Unfortunately, the writing is too childlike to make an impact or come close to the subtle wit that brought up themes of masculinity, black America, and class conﬂict in the original Barbershop. I’m not sure which is less natural: hearing the characters exclaim, “#BarbershopSavesTheNeighborhood is trending on Twitter,” or Calvin calling a red bandanna “gang paraphernalia” when talking to his son about his new friends. LAUREN TERRY. PG-13. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, Division, Lloyd Center, Pioneer Place, Tigard.

Criminal

Kevin Costner’s latest attempt to follow Liam Neeson down the lucrative path of the reluctant, 60-year-old action hero. Expect equal parts gruﬀness and gunplay, as Gary Oldman and Tommy Lee Jones transfer a CIA agent’s consciousness into the head of Costner’s titular convict. Screened after deadline. See wweek.com for Chance Solem-Pfeifer’s review. R. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Fox Tower, Lloyd Center, Tigard.

Demolition

C+ After his wife is killed in a car crash, corporate millionaire Davis Mitchell (Jake Gyllenhaal) is forced to tear down his emotional barriers and face the realities of his once seemingly perfect life. Along his ruinous path to recovery, he forges a sordid friendship with vending machine customer service rep Karen Moreno (Naomi Watts) and her dejected son, Chris (Judah Lewis). Despite charming performances and gleaming moments of gallows humor, Jean-Marc Vallée’s Demolition gets a little carried away. At first, scenes of Gyllenhaal beating his refrigerator to death with a sledgehammer provide comic relief and emotional insight. When he orders a literal bulldozer on Amazon, the visual metaphor begins to dip into the absurd. And when he asks a distressed teenage boy to shoot him in the chest to test a bulletproof vest, the film crosses over into the ridiculous without ever fully becoming a comedy. That said, it’s intensely satisfying to watch people in suits break stuff. PG-13. CURTIS COOK. Cedar Hills, Clackamas, Bridgeport, City Center, Fox Tower.

The Invitation

B+ 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. See a Q&A with

CGI IS SO GOOD IT’S BAD IN THE NEW LIVE-ACTION JUNGLE BOOK.

B Nobel Prize-winning playwright Samuel Beckett made only one film. His dour, minimalist 1956 short was aptly named Film and starred aging silent film hero Buster Keaton in the role of O—the Object obsessively followed by E, which is better understood as the camera’s Eye. As Beckett had no technical experience, a master cast and crew were assembled, but even they couldn’t manage to translate his screenplay into something palatable to most audiences. A handful of critics, some French cinefiles and Tennessee Williams enjoyed Film upon release, but it is generally considered a disaster. Notfilm is a serious re-evaluation and in-depth study conducted by film restorationist Ross Lipman. His academic approach is thorough and his archival resources are beyond hope. Unfortunately, his narration is dry and the documentary runs an exhaustive two hours, as if all bonus footage was woven into the narrative instead of relegated to its rightful place on disc two. It is a fascinating study that would be of great use to students of film. PG-13. NATHAN CARSON. NW Film Center’s Whitsell Auditorium. 7 pm WednesdayThursday, April 13-14, and 4:30 pm

BY LAU R EN TER RY

503-243-2122

Although described as a live-action remake, the latest adaptation of Rudyard Kipling’s story about a child raised by wolves is almost completely computergenerated. The advanced stage we’ve reached with hyperrealistic photo rendering plunges this version of The Jungle Book into the “uncanny valley” of creepy almost-realness. Remember The Polar Express? The “valley of familiarity” theory says that we feel more empathy toward robots that look more human, up to a point. When the resemblance is too close, we freak out about death and the Singularity and stuff. Director Jon Favreau’s take lands in the uneasy canyon between the musical cartoon The Jungle Book from 1967, and the live-action, hot Mowgli angle in the 1994 version.

The real animals have almost as comforting an eﬀect as the thick, dark mustaches of Sam Neill and John Cleese. Shere Khan’s unenhanced stripes make you feel worse about deforestation than Mowgli’s well-being. Bonus: A cameo appearance proves those monkeys never went back into the Jumanji board.

Saturday, April 16. $9.

Take Me to the River

C- Take Me to the River begins as a familiar, almost cliché story about a gay teen and his parents going to Nebraska for a family reunion with the conservative, country-fried side of the family, but then it takes an unexpected turn. Ryder (Logan Miller), who is out to his supportive parents, is keeping his secret for the duration of the trip. These small-towners know there is something diﬀerent about their short shorts-wearing cousin from California, but they keep it to themselves. Until, that is, Ryder’s 9-year-old cousin runs back to the house screaming, blood on her skirt, after going out to the barn alone with him. First-time feature director Matt Sobel keeps an air of menace throughout the ﬁlm, though it is hampered by the caricatures that make up Ryder’s relatives. The further you get into Take Me to the River, the further it transforms from a potential coming-out movie into a series of progressively more awkward, uncomfortable scenes. By the time the credits roll, you’re pretty sure it went too far. PG-13. JOHN LOCANTHI. Living Room Theaters.

Too Late

C- For a private-eye yarn as old as the hills, Too Late arrives steeped in the trappings of post-modernity. There are endless digressions filled with pop-culture references, a jumbled chronology, and a lurid seediness that leaves every woman under retirement age dead or pantsless. Writer-director Dennis Hauck’s debut feature feels not just familiar, but utterly fake. John Hawkes does his best as a detective investigating the violent death of a young stripper he used to know, but even this sterling noir cast (Robert Forster, Dichen Lachman, Jeff Fahey) can’t sell the tone-deaf script or inexplicable emotive leaps. Telling the story in five continuous, uncut scenes seems a pointless exercise in cinematographic craft just for craft’s sake. Screened at the Hollywood Theatre in glorious 35 mm, Too Late looks breathtaking, but great film can’t save an awful movie. NR. JAY HORTON. Hollywood.

Willamette Week APRIL 13, 2016 wweek.com

CONT. on page 48

With the whimsical freedom of 2-D animation, the cartoon version could do pretty much whatever it wanted without coming off eerie. The sight of real-life Louis Prima dislocating his shoulders to jump-rope with his own arms would cause night terrors. Rudyard Kipling’s The Jungle Book, from 1994, uses almost exclusively real animals and no narration, leaving audiences with only the perpetually sweaty facial expressions of Jason Scott Lee to explain why a bear keeps following him around. The confusion still feels more natural than watching a lifelike monkey move his lips with the elocution of Christopher Walken, as in the newest film. To fully illustrate the idea of the uncanny valley through a zoological lens, I revised the theory’s graph to chart our comfort zone when it comes to seeing animals onscreen. Rudyard Kipling’s The Jungle Book, 1994

UNCANNY VALLEY

The Jungle Book, 1967

FAMILIARITY

D It’s been 14 years since we ﬁrst

The Uncanny Jungle

Steeped in jazz references and a swinging-’60s color palette, these characters make the Aristocats sound like tonedeaf Mormons. King Louie scats and Baloo clearly smokes more weed than Yogi and all the Berenstain Bears put together; the animals are at their least realistic and most entertaining.

Koko the gorilla puppet in Congo, 1995 Velociraptors in Jurassic World,

ORIGINAL GRAPH COURTESY OF MASAHIRO MORI

OPENING THIS WEEK

2015

Lester’s Possum Posse in A Goofy Movie, 1995

ANIMAL LIKENESS The Jungle Book, 2016

Directed by the light hand behind such nature-centric ﬁlms as Chef and Iron Man, this Book has the least amount of jungle. Like a zoo on the planet Pandora, its oversized, computergenerated animals look almost alive. The illusion isn’t strengthened by the choice to cast the horny computer from Her as a sexy digi-python.

Jason Alexander’s tail in Shallow Hal, 2001

SEE IT: The Jungle Book is rated PG. It opens Friday at most Portland-area theaters.

HOTSEAT

courtesy oF ALAmo DrAFthouse cInemA

That makes you a bad candidate for the cult in this film. It makes me a terrible candidate! I would be the one asking so many questions, and someone would whisper to another person, “Let’s just let her go. We’re never gonna get her where we need her to be.” Is there something inherently eerie about those large Los Angeles canyon homes? Yes. Because they’re situated on high cliffs, they have to essentially be built like fortresses. You need to be protected on the backside from falling into the abyss. And protected from the front too, so there’s a lot of gates and high hedges. That’s a very common feeling in the hills, and it’s part of what we were trying to poke at. As much as it’s attractive, wealth is super-scary because it can shelter you from the world and reality.

THE NATION’S ONLY COMPETITION FOR CANNABIS GROWN WITHOUT MINERAL SALT FERTILIZER, OR SYNTHETIC PESTICIDES/HERBICIDES/FUNGICIDES.

In the first two minutes, Will and his girlfriend Kira hit a coyote with their car. So much of the movie hingSElf-ExIlIng parTygoEr: Karyn Kusama. es on Will’s perspective: Why at the crucial moment of the mercy killing did you shoot from inside the car? One, I don’t really want to watch anybody beat anything to death. It’s interesting how much more sensitive people are to watching violence to an animal than a person. Second, it would be too expensive [to show that]. Third, when I was rehearsing the scene, the only place I could find an interesting shot from was inside the car. We could be with Kira and hear her breathing. It communicated the terribleness of what he had to do more profoundly than if we were front-and-center with him. The central gathering of The Invitation is a terrible party, and we suspect by the protago- How did the contrast between Will’s disnist’s depression beard that he may be causing turbed point of view and the ensemble cast trying to have a nice time play out on the set? the evening’s bad juju. Everyone got along so well Director Karyn Kusama’s that it was both incredibly fourth feature (Girlfight, gratifying and more than a Æon Flux, Jennifer’s Body) “It communicated the little bit spooky when we fixates on Will (Logan Marterribleness of what would actually start rolling. shall-Green), a divorced man he had to do.” It was like, “Oh my God, this attending his ex-wife’s dinis what great actors do. They ner party in the Hollywood —Karyn Kusma slip in and out of identities so Hills. A thriller ensues about quickly.” World Cup soccer cult proselytization and the faltering of old friendships, as The Invitation lays was happening, and Michiel [Huisman] brought in a little TV. There would be dueling competitions to pure-blooded claim to its psychological genre. Before the film’s opening in Portland, we talked make the best espresso. Men and women both parto Kusama about creepy California mansions, film- ticipated in a pull-up contest by the pool. But when ing a coyote murder and what it’s like to direct John we got to shooting, everybody flipped the switch into the anxiety of the night. Carroll Lynch. CHANCE SOLEM-PFEIFER.

Killer Party

THRILLER DIRECTOR KARYN KUSAMA NAILS THE GENRE WITH THE INVITATION.

WW: You’ve talked about being a selfexiling partygoer. How does that show up in the film? Karyn Kusama: Some of the central experiences of your life—like the birth of my son and the deaths of people I’ve loved very much— completely shape your psyche. When I imagine a world where we remove those depths and say, “All that pain, suffering, struggle—that’s actually not necessary,” that doesn’t sound like an answer to me. A world without that has really lost its meaning.

John Carroll Lynch is known for playing both good-natured folksiness [Fargo] and being totally terrifying [Zodiac]. How was directing him? It’s a bit like feeling like we’ve got a hall-of-famer in the house. Because he’s just that good. He kept revealing this surprising humanity that, I have to say, I initially wasn’t sure where I would find it [for the film]. John brought it to the table. We tried to approach the film with no villains and everyone needed to be allowed their personhood. John takes that philosophy to its furthest execution.

– BENEFITING –

B+ SEE IT: The Invitation is not rated. It opens Friday at Kiggins and Laurelhurst. Willamette Week APRIL 13, 2016 wweek.com

JACK ENGLISH

MOVIES Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Pioneer Place, Tigard.

Everybody Wants Some!!

A- Richard Linklater’s newest film doesn’t have a plot. But you’ll hardly realize it—and you probably won’t care. Everybody Wants Some!! says “fuck that” to Hollywood convention, which makes sense for the filmmaker who stunned the world with Boyhood’s artful filmmaking techniques that still broke the box office. This “fuck it” attitude also makes sense for a film that follows a college baseball team in 1980s Texas through the three days before school starts. R. SOPHIA JUNE. Cedar Hills, Bridgeport, Fox Tower.

Hello, My Name is Doris

CRIMINAL

STILL SHOWING 10 Cloverfield Lane

5th iL 1 aPr y a d Fri rts sta

BEER WINE PIZZA 4 SCREENS LAURELHURSTTHEATER.COM

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

C+ The motto of J.J. Abrams’ latest thriller is, basically, don’t text and drive. Also, don’t break up with your fiance, or else you’ll get in a terrible car accident, be abducted by a Lolita-inspired murderer and watch your whole family die in the alien apocalypse—in one night. Despite the clichés, Abrams shows for the first hour and 20 minutes that he’s almost capable of a smart psychological thriller. The last 10 minutes, however, confirm he’s not. PG-13. SOPHIA JUNE. Cedar Hills, Eastport, Clackamas, CineMagic, Bridgeport, Division, Lloyd Center, Pioneer Place, Tigard.

Anomalisa

B- It’s a little creepy watching a stopmotion puppet perform cunnilingus. R. Laurelhurst.

Batman v Superman: Dawn of Justice

D Batman and Superman are fighting, and it’s hard to choose a side. The new Superman is boring and out of place in the 21st century. Batman, on the other hand, has been reinvented as a huge dickhead. Played by Ben Affleck with a characteristic lack of gravitas, Batman walks around in a silly metal suit killing people. You know how Batman never kills people? He does now. Even when he doesn’t have to. He even tries killing Superman because, you know, “he might be bad later.” With nobody to root for, BvS:DoJ is just an unconscionably long slugfest simultaneously attempting too much and accomplishing almost nothing. PG-13. ALEX FALCONE. Bagdad, Cedar Hills, Eastport, Clackamas, Edgefield, Milwaukie, Oak Grove, Bridgeport, City Center, Division, Lloyd Center, Pioneer Place, Tigard, Roseway, St. Johns Cinemas.

The Big Short

A 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. Academy, Laurelhurst, Vancouver, Joy, Valley.

Born to Be Blue

B+ Rather than awkwardly cramming

WWEEKDOTCOM 48

Willamette Week APRIL 13, 2016 wweek.com

Chet Baker’s entire life into a ﬁlm, Robert Budreau focused on a period in the 1960s when Baker’s career saw a rebirth following his brief recovery from heroin addiction. It opens with black-and-white footage of Baker’s dark hallucinations and the temptations of sex and heroin, but those scenes are just the setup for a big f-you for anyone expecting another customary biopic. A little improvisation here works just ﬁne. R. CURTIS COOK. Living Room Theaters.

The Boss

B- After Tammy, pretty much anything written by Melissa McCarthy

and her husband-director, Ben Falcone was bound to be an improvement. This time, McCarthy stars as Michelle Darnell, a self-made tycoon whose confidence is rivaled only by the height of her turtlenecks. After getting caught doing a little insider trading, it’s bye-bye to the shirtless pilots of her private helicopter and hello to couchsurfing with her assistant, Claire (played by Kristen Bell). While joining Claire’s daughter at a Girl Scout-inspired Dandelion meeting on cookie sales, Michelle sees dollar signs around this unpaid sales force. Although crude in comparison to more polished McCarthy films, it is fair to say it is her funniest project without Paul Feig at the wheel. R. LAUREN TERRY. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Lloyd Center, Pioneer Place, Tigard, St. Johns Cinemas.

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. Academy, Laurelhurst.

City of Gold

B+ Jonathan Gold is one of food jour-

nalism’s only legitimate heroes, and certainly the only one with a Pulitzer on his metaphorical belt buckle. This new documentary by Laura Gabbert accompanies the legendary journalist as he tours the eateries and neighborhoods of L.A. Gold told WW, “I love the way it makes Los Angeles look. It’s a part of Los Angeles that doesn’t make it onto ﬁlm so often. In a way, it’s probably as much about the ecstasy of being in your car as the sun sets as it is about going to restaurants.” Read the full Q&A with Gold at wweek.com. MATTHEW KORFHAGE. NR. Cinema 21, City Center.

Deadpool

B Within the ﬁrst 10 minutes. the titular “merc with the mouth” 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, Bridgeport, City Center, Division, Fox Tower, Lloyd Center, Tigard.

The Divergent Series: Allegiant, Part 1 D Undistinguishable from its coun-

terparts, Part 1 ’s excessively dull proceedings are punctuated by generic action scenes in which the Bureau of Genetic Welfare uses a bunch of weirdo army shit to kidnap little kids and wipe their brains clean. If you are over 17, there is exactly zero reason for you to waste your money on this. PG-13. MIKE GALLUCCI. Cedar Hills,

B Enter the mind of Doris, where

20-something men with waxed chests rip off their shirts and slam her passionately against the wall. Until someone wakes her from the daydream. Doris is a whip-smart comedy that pokes fun at the ultra-curated youthful lifestyle, while avoiding the recent trope of seniors finding a place amid the nostalgic fascination of millennials. You can almost feel John trying not to laugh as he offers custom-blended artisanal cocktails to Doris during Friendsgiving at his place. PG-13. LAUREN TERRY. Cedar Hills, Clackamas, Hollywood, Living Room Theaters, Bridgeport, City Center.

Eddie the Eagle

C Based on Michael “Eddie the Eagle” Edwards’ rise to (sort of) Olympic fame, this is an underdog story with a twist: He never gets any cooler, and he doesn’t win the gold. 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. PG-13. LAUREN TERRY. Vancouver.

Embrace of the Serpent

A- Colonialism rears its ugly head in this Oscar-nominated ﬁlm, which follows a shaman, a German explorer and a native who’s assimilating into colonized culture as they journey through South American jungles in the early 1900s, searching for a plant with mysterious healing powers. NR. SOPHIA JUNE. Living Room Theaters.

Eye in the Sky

C+ The year’s ﬁrst movie on the ethics of drones, and the last ﬁlm featuring Alan Rickman, misses its mark. British Col. Katherine Powell (Helen Mirren) tracks infamous terrorists to a house in Nairobi, Kenya. To stop the suicide bombing they’re planning, Powell orders a Predator drone to destroy the house. The only problem is a small, hula-hooping neighbor girl. The plot arc is more of a plot sine wave. Every 15 minutes, the girl’s life seems doomed. Then some new circumstance delays the strike. This pattern is an exasperating running joke, with the withering Lt. Gen. Frank Benson (Rickman as a wandless Professor Snape in olive drab) throwing up his hands and staring down the people who just refuse to blow that little girl up already. It’s not Rickman’s fault (RIP) that his dry humor is out of place in a movie about the ethics of vaporizing people with missiles. R. ZACH MIDDLETON. Cedar Hills, Clackamas, Living Room Theaters, Bridgeport, City Center, Lloyd Center, Tigard.

Gods of Egypt

D It’s ancient Egypt like you’ve never seen it before: bigger, shinier and chock-full of deities punching each other. Shown but never explained: giant flying beetles; a 3,000-foot waterfall; removing and putting back somebody’s glowing blue brain; a flaming pyramid; ridable, giant firebreathing snakes; and why the characters are all so white. This is Egypt! PG-13. ALEX FALCONE. Avalon, Vancouver.

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 quip-heavy comedy. PG-13. JOHN LOCANTHI. Hollywood, Living Room Theaters, Vancouver.

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). R. ALEX FALCONE. Kennedy School, Vancouver.

I Saw the Light

B- I Saw the Light seeks to educate the world about the 1940s country singer who burned bright and too brieﬂy. You’d expect a story of a musician living life in the fast lane to be exciting, but The Light manages to make drinking and womanizing seem like a lecture on tax law. R. ALEX FALCONE. Clackamas, City Center, Fox Tower.

Kung Fu Panda 3

A- It’s been ﬁve years since Kung Fu Panda 2, and Jack Black hasn’t been in anything even close to that good since. PG. Academy, Avalon, Empirical, Kennedy School, Laurelhurst, Mt. Hood, Vancouver, Valley.

London Has Fallen

D About halfway through London Has Fallen, Gerard Butler’s grumbling, stabby Secret Service agent slowly digs his gigantic knife into the organs of Random Brown Villain No. 453 and implores him to “go back to Fuckheadistan.” The look of horror on the face of his BFF-in-chief, Aaron Eckhart as the U.S. president, is meant as part of a joke (he’s such a pussy!). Featuring Melissa Leo, Morgan Freeman and Jackie Earl Haley, for fuck’s sake, this sequel to Olympus Has Fallen is a huge-budget debacle that looks like a direct-to-video toss-away. The action sequences are at best shootouts and at worst look like cutscenes from an old Playstation game—with added gay panic and racism. It’ll undoubtedly inspire some jingoistic ﬁsts to pump. In fact, it might have inadvertently given the Trump campaign a new slogan for foreign policy: “Go back to Fuckheadistan.” R. AP KRYZA. Avalon, Clackamas, Division, Tigard.

Marguerite

A- A shrill French lady is so rich no one dares snuﬀ out her dreams of becoming an opera singer, in Xavier Giannoli’s portrait of splendor, a surprisingly humorous drama that’s all fur collars, stage lights and silk robes. R. MERYL WILLIAMS. Fox Tower.

Midnight Special

B The premise of a magical boy running from the government sounds trite. But add a clever, light-handed screenplay, take away the kitschy magic, and include a dark take on the increasing flow of data through satellites, and you’ve got a fresh, modern science-fiction film. Writerdirector Jeff Nichols (Mud) uses sparse dialogue to maintain an air of mystery around the calm, young Alton (Jaeden Lieberher), carefully using every word and glance to tell a little more about this electromagnetically charged child. PG-13. LAUREN TERRY. Cedar Hills, Clackamas, Cinema 21, Bridgeport, Lloyd Center.

My Golden Days

A A French New Wave drama as

clichéd as they come, My Golden Days is wrought with existential crises, rapid scene changes, split screens, shots of characters longingly gazing out the window or looking directly at the camera, as if to remind audiences that they are indeed watching a ﬁlm. But director Arnaud Desplechin, who created the ﬁlm as a prequel to his 1996 My Sex Life…Or How I Got Into an Argument, pairs these

clichés with a realistic story about the life of protagonist Paul Dédalus (Quentin Dolmaire) in France. R. SOPHIA JUNE. Fox Tower.

AP FILM STUDIES C O U R T E S Y O F C H R I S WA L A S

Hail, Caesar!

My Big Fat Greek Wedding 2

Fourteen years after the big fat wedding bells, Nia Vardalos and John Corbett are back, with a ton of familiar faces. Remember Joey Fatone of ’N Sync in the original? Neither did we. PG-13. Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, City Center, Division, Fox Tower, Tigard, St. Johns Theater.

The Preppie Connection

C+ Tobias, a non-rich outcast at a Connecticut private school, establishes a cocaine connection from Colombia in an effort to fit in with the preppies and, of course, to get the girl. While the film starts with a standard coming-of-age formula, it gets better as it gets grittier, ending with a not particularly poignant commentary on money and class. The backstory is interesting, and the actors are catalog-worthy. If only the producers had traded the overbearing narration for actual character development. R. EZRA JOHNSON-GREENOUGH. Cinema 21.

The Revenant

A- Leonardo DiCaprio ﬁnds his trap-

ping party on the receiving end of a bear attack. R. Academy, Empirical, Kennedy School, Laurelhurst, Mt. Hood, Valley.

Spotlight

A- Spotlight inverts the usual compari-

son: It’s a movie that feels like prestige television. Speciﬁcally, it feels like The Wire. R. Academy, Laurelhurst.

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. Academy, Avalon, Kennedy School, Laurelhurst, Mt. Hood, Vancouver, Valley.

THE FLY TRANSFORMATION DRAWINGS BY CHRIS WALAS

Brundlefly Is Us THE FLY’S GROTESQUE HUMAN TRAGEDY.

Where to Invade Next

B America hasn’t won a war in a while, Michael 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. R. JAMES HELMSWORTH. Laurelhurst.

Whiskey Tango Foxtrot

C+ Tina Fey stars in this light comedy about the war in Afghanistan, based on the book The Taliban Shuffle by Chicago Tribune writer Kim Barker, who was sent to cover Afghanistan with no prior experience in a war zone. Fey’s portrayal of Barker is the same as other characters you’re used to seeing from her, bumbling yet surprisingly competent, awkward in life, awkward in love. She’s funny for sure, but something just feels off with the 30 Rock-style humor interlaced with the horrific violence of Kabul circa 2004. Mix in some friend drama with Margot Robbie (The Wolf of Wall Street) and a really uncomfortable sexual encounter in which Bilbo Baggins puts his fingers in her mouth, and WTF ends up an awkward teenager of a movie, not sure who it is or why it feels the way it does. It’s occasionally brilliant but never seems comfortable. R. ALEX FALCONE. Academy, Laurelhurst, Bridgeport, Fox Tower, Valley.

Zootopia

B Leave it to Disney to sneak powerful,

adult messages into a PG-rated movie. A modern-day Morocco, the Zootopia of the title is a metropolitan melting pot, where predator and prey live in perfect, ﬁctional harmony. PG. AMY WOLFE. Cedar Hills, Eastport, Clackamas, CineMagic, Milwaukie, Moreland, Oak Grove, Bridgeport, City Center, Division, Lloyd Center, Pioneer Place, Tigard.

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BY A P KRYZA

apkryza@wweek.com

Special-effects guru Chris Walas is intimately familiar with the monsters packed in the closet of your mind. He’s the man who transformed furry little fuzzballs into grotesque monsters (and tossed them in a blender) in Gremlins, did uncredited work on Jabba the Hutt’s barge, helped melt the face off a Nazi in Raiders of the Lost Ark and brought to life the creepy-crawlies in the cult alien flick Enemy Mine. But Walas’ finest work is undoubtedly on display in David Cronenberg’s ghastly, horrifying 1986 remake of The Fly, which the Oscar-winning creature-effects legend is screening at the Hollywood this Saturday. The ’80s were a magical time for practical monster features. Films like The Thing, Aliens, Predator and An American Werewolf in London captured audiences’ imagination, and FX artists like Rick Baker rose to celebrity status. Hell, it was an era when practical effects were so well respected someone even made an action movie, F/X, based on a badass makeup artist. And a sequel, natch. So what’s so damned special about The Fly that makes it stick out in that crowded field and stand as perhaps the finest effects work produced in ’80s horror? Well, obviously, the monster. Over the course of the film, Jeff Goldblum’s Seth Brundle slowly transforms into the legendary Brundlefly in a multistage transformation that plays out like a Kafkaesque rapid-aging process. He spews enzymes. He breaks out in boils covered in goop. Eventually, he becomes more monster than man. Thanks both to Walas’ ingenious effects and Goldblum’s layered performance, the creature’s humanity is visible regardless of the thick layers of prosthetics.

Sure, he’s blurred and soaked in bile, but at no point do we forget that there’s a human underneath all that nastiness—a human we care about. He even has a loving partner, played by the great Geena Davis, who can see the man being enveloped by increased sensory abilities and enslaved by a libidinous urge to propagate his heretofore-unknown species. Brundle’s story is a body-horror reflection of a superhero origin, and we never lose sight of the humanity lurking in him, even as the character himself seems to. Walas went on to direct the unfairly maligned sequel, which starred Eric Stoltz and looked great but didn’t pack the same emotional punch (save for a scene with a dog that’s haunted me since I saw it as a kid). But how could it? The Fly is possibly the very best bodyhorror film ever made. It works because of the very human tragedy you can see peeking out, intentionally, from the grandiose macabre mosaic that Walas and Cronenberg created. Brundlefly is us. He’s human. He’s tactile. And he’s sympathetic. That’s fucking terrifying. SEE IT: Chris Walas presents The Fly at the Hollywood Theatre. 7:30 pm Saturday, April 16. ALSO SHOWING:

OMSI’s Reel Science series features Pan’s Labyrinth at an event that begins with a talk about lucid dreaming and concludes with you having pants-shittingly realistic nightmares because you learned about lucid dreaming before watching Pan’s Labyrinth. OMSI. 6:30 pm Wednesday, April 13. Holy shit! Short Circuit is 30 this year! Everybody needs to stop what they’re doing and lobby the city of Astoria to finally fulfill its duty of erecting a statue of Johnny Five. Dollars to doughnuts, he’s aged better than Corey Feldman, and we talk about Goonies all the goddamned time. Mission Theater. Opens Thursday, April 14. Holy shit! Top Gun is turning 30, too! No need to lobby anybody. That movie has already resulted in enough things being erected. Mission Theater. Opens Thursday, April 14. Lucía Puenzo’s XXY takes a hard look at the life of an intersexual teenager struggling with her identity in the face of strained relationships. 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday, 3 pm Sunday, April 15-17. Opera Theater Oregon—a group seeking to bring opera back into pop culture—hosts a benefit screening of the director’s cut of Milos Forman’s Amadeus. Clinton Street Theater. 1:30 pm Saturday, April 16. Willamette Week APRIL 13, 2016 wweek.com

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Smoke Break

TESTING J’S THAT LOOK LIKE CIGGIES. BY W M . W I L L A R D G R E E N E

ThePotlander.com

Willamette Week APRIL 13, 2016 wweek.com

W hen I first smoked weed, back when my tolera nce was low a nd glasswa re seemed unnecessary, I would roll the tip of an American Spirit between my fingers, emptying the strands of tobacco out the window or onto the pavement. Then I would stuff the hollowed paper with a pinch of crumbled weed and tear away the fi lter. The improvised joint offered an easy, discreet toke with some nicotine sizzle. Even smoking other smoke is enhanced by cannabis. The problem, of course, is that smok ing tobacco k i l l s. Resea rch h a s yet to conclusively link even heav y use of cannabis to lung damage, but studies have hinted that combining weed with tobacco actually amplifies damage from the latter. Whoops! I burned through half a pack a day for eight years before quitting at the onset of fatherhood. I don’t miss the shorter breath or the carcinogens, but I admit to fond recollection of the ethos cigarettes can imbue: dangled precariously from lips, emphatic gestures traced in wisps of smoke, the time afforded to sit and talk or watch the rain while the paper burns down, for there is nothing else to do on a smoke break except these things. Sure, there are joints. But they’re an inefficient use of bud, appear shady to passing police, and remain stigmatized. So once prohibition ended and the wheels of free-market economics began to turn, I’ve been wondering about the same question as a lot of other folks: When can I buy weed that smokes like a cigarette? Well, now you can. Two kinds, actually. We got the Sitkas in Vancouver, Wash. They’re from Seattle and come six to a pack in a fl imsy gold tin. The bud is less tightly packed than Oregon-grown Pachecos, but the flower

looked relatively intact within. The cancer sticks themselves are as lovingly designed as the tin: cool, off-white paper stacked on a black fi lter with a narrow gold band. The filter is porous for an even draw, but it’s also the ugliest part of the smoke. The cig burned down well, but the finishing flavor reminded me it was still a prepackaged joint. Considering what’s available in this city, weed-wise, smoking one of these is like cracking a can of San Marzano tomatoes when hand-picked heirlooms are just down the street. The labeling purports a “sativaforward blend,” and early puffs set off some jitters, possibly because my brain was crying, “NICOTINE!?!??!” In any case, I readied myself for a mindstorm. Instead, the hig h wa s ea sy breezy and lightly energizing, about the buzz I hoped for from a midday burndown. Pachecos is a fun word to say in a variety of accents. These coffin nails are the brainchild of Eco Firma Farms, and come in packs of three or five, priced just below $10 per cigarette. The labeling is neo-throwback and stylish, adorned with a leaf and gold stamping. Each smoky treat is tinted the color of biscotti with a short khaki filter and a double black-andgold band. The smokes are a tad shorter and stouter than Sitkas, and offer a hearty gram of densely packed flower and kief in four options: heavy-hitting Hammerhead, uplifting Stryder, lower-strength Mazzy, and Keen, which is composed primarily of CBD strains. We tried the Hammerhead and Mazzy, and the effects of both were apparent, but a low dose of CBD allowed for steady function. The caveat here is a gram of high-grade bud is a lot to puff in one sitting, even for those with high tolerance. Pachecos, like cannabis itself, are best shared, which is maybe a good thing. Perhaps new life can yet be breathed into the dying tradition of smoke breaks.

Willamette Week APRIL 13, 2016 wweek.com

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MATT PLAMBECK

Week of April 14

ARIES (March 21-April 19) “When I discover who I am, I’ll be free,” said novelist Ralph Ellison. Would you consider making that a paramount theme in the coming weeks? Will you keep it in the forefront of your mind, and be vigilant for juicy clues that might show up in the experiences headed your way? In suggesting that you do, I’m not guaranteeing that you will gather numerous extravagant insights about your true identity and thereby achieve a blissful eruption of total liberation. But I suspect that at the very least you will understand previously hidden mysteries about your primal nature. And as they come into focus, you will indeed be led in the direction of cathartic emancipation. TAURUS (April 20-May 20) “We never know the wine we are becoming while we are being crushed like grapes,” said author Henri Nouwen. I don’t think that’s true in your case, Taurus. Any minute now, you could get a clear intuition about what wine you will ultimately turn into once the grape-crushing stage ends. So my advice is to expect that clear intuition. Once you’re in possession of it, I bet the crushing will begin to feel more like a massage -- maybe even a series of strong but tender caresses. GEMINI (May 21-June 20) Your sustaining mantra for the coming weeks comes from Swedish poet Tomas Tranströmer: “I am not empty; I am open.” Say that aloud whenever you’re inclined to feel lonely or lost. “I am not empty; I am open.” Whisper it to yourself as you wonder about the things that used to be important but no longer are. “I am not empty; I am open.” Allow it to loop through your imagination like a catchy song lyric whenever you’re tempted to feel melancholy about vanished certainties or unavailable stabilizers or missing fillers. “I am not empty; I am open.” CANCER (June 21-July 22) According to my analysis of the astrological omens, you are close to tapping into hidden powers, dormant talents, and future knowledge. Truths that have been offlimits are on the verge of catching your attention and revealing themselves. Secrets you have been concealing from yourself are ready to be plucked and transformed. And now I will tell you a trick you can use that will enable you to fully cash in on these pregnant possibilities: Don’t adopt a passive wait-and-see attitude. Don’t expect everything to happen on its own. Instead, be a willful magician who aggressively collects and activates the potential gifts. LEO (July 23-Aug. 22) This would be a perfect moment to give yourself a new nickname like “Sugar Pepper” or “Honey Chili” or “Itchy Sweet.” It’s also a favorable time to explore the joys of running in slow motion or getting a tattoo of a fierce howling bunny or having gentle sex standing up. This phase of your cycle is most likely to unfold with maximum effectiveness if you play along with its complicated, sometimes paradoxical twists and turns. The more willing you are to celebrate life’s riddles as blessings in disguise, the more likely you’ll be to use the riddles to your advantage. VIRGO (Aug. 23-Sept. 22) Right about now you might be feeling a bit extreme, maybe even zealous or melodramatic. I wouldn’t be surprised if you were tempted to make outlandish expostulations similar to those that the poet Arthur Rimbaud articulated in one of his histrionic poems: “What beast must I worship? What sacred images should I destroy? What hearts shall I break? What lies am I supposed to believe?” I encourage you to articulate salty sentiments like these in the coming days -- with the understanding that by venting your intensity you won’t need to actually act it all out in real life. In other words, allow your fantasy life and creative artistry to be boisterous outlets for emotions that shouldn’t necessarily get translated into literal behavior. LIBRA (Sept. 23-Oct. 22) Adyashanti is my favorite mind-scrambling philosopher. One of his doses of crazy wisdom is just what you need to hear right now. “Whatever you resist you

become,” he says. “If you resist anger, you are always angry. If you resist sadness, you are always sad. If you resist suffering, you are always suffering. If you resist confusion, you are always confused. We think that we resist certain states because they are there, but actually they are there because we resist them.” Can you wrap your imagination around Adyashanti’s counsel, Libra? I hope so, because the key to dissipating at least some of the dicey stuff that has been tweaking you lately is to STOP RESISTING IT! SCORPIO (Oct. 23-Nov. 21) During every election season, media pundits exult in criticizing candidates who have altered their opinions about important issues. This puzzles me. In my understanding, an intelligent human is always learning new information about how the world works, and is therefore constantly evolving his or her beliefs and ideas. I don’t trust people who stubbornly cling to all of their musty dogmas. I bring this to your attention, Scorpio, because the coming weeks will be an especially ripe time for you to change your mind about a few things, some of them rather important. Be alert for the cues and clues that will activate dormant aspects of your wisdom. Be eager to see further and deeper. SAGITTARIUS (Nov. 22-Dec. 21) Friedrich Nietzsche published his first book, The Birth of Tragedy, in 1872, when he was 28 years old. In 1886, he put out a revised edition that included a preface entitled “An Attempt at Self-Criticism.” In this unprecedented essay, he said that he now found his text “clumsy and embarrassing, its images frenzied and confused, sentimental, uneven in pace, so sure of its convictions that it is above any need for proof.” And yet he also glorified The Birth of Tragedy, praising it for its powerful impact on the world, for its “strange knack of seeking out its fellow-revelers and enticing them on to new secret paths and dancing-places.” In accordance with the astrological omens, Sagittarius, I invite you to engage in an equally brave and celebratory re-evaluation of some of your earlier life and work.

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CAPRICORN (Dec. 22-Jan. 19) “Go back to where you started and learn to love it more.” So advised Thaddeus Golas in his book The Lazy Man’s Guide to Enlightenment. I think that’s exactly what you should do right now, Capricorn. To undertake such a quest would reap long-lasting benefits. Here’s what I propose: First, identify three dreams that are important for your future. Next, brainstorm about how you could return to the roots of your relationships with them. Finally, reinvigorate your love for those dreams. Supercharge your excitement about them. AQUARIUS (Jan. 20-Feb. 18) “What am I doing here in mid-air?” asks Ted Hughes in his poem “Wodwo.” Right about now you might have an urge to wonder that yourself. The challenging part of your situation is that you’re unanchored, unable to find a firm footing. The fun part is that you have an unusual amount of leeway to improvise and experiment. Here’s a suggestion: Why not focus on the fun part for now? You just may find that doing so will minimize the unsettled feelings. I suspect that as a result you will also be able to accomplish some interesting and unexpected work. PISCES (Feb. 19-March 20) How many fireflies would you have to gather together in order to create a light as bright as the sun? Entomologist Cole Gilbert estimates the number to be 14,286,000,000. That’s probably beyond your ability to accomplish, Pisces, so I don’t recommend you attempt it. But I bet you could pull off a more modest feat with a similar theme: accumulating a lot of small influences that add up to a big effect. Now is an excellent time to capitalize on the power of gradual, incremental progress.

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