43.29 - Willamette Week, May 17, 2017 by Willamette Week Newspaper

JEFF MERKLEY

They’re U.S. senators. He’s a little monster. Can Ron Wyden and Jeff Merkley save the country? Page 13 BY AARON MESH

WWEEK.COM

VOL 43/29 5 . 1 7. 2 01 7

RON WYDEN

LI’L TRUMP

Willamette Week MAY 17, 2017 wweek.com

SAM GEHRKE

FINDINGS

PAGE 21

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 43, ISSUE 29.

Democrats are lining up to bump off staunch Trump ally Greg Walden. 7

If you’re a novice busker, you should stick to low-traffic areas and work on your schtick. 23

“Democrat” Kate Brown now wants to privatize state agencies to pay for the generous retirement packages promised to state employees. The retirees are OK with this so long as they get paid. 9

A local restaurant cleaning service doesn’t service “Orientals” because they’re “too dirty.” 24

A local woman claims her dogs accidentally ingested cannabis edibles on separate occasions, a week apart, in different places. 11

ON THE COVER:

Fleet Foxes felt it was “belittling” to have their music played for actual foxes. 31 Fifty years after it came out, The Outsiders is only now hitting its commercial peak . 47

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Illustration by Vicente Martí.

People in Oregon’s Trump country don’t like paying taxes, so now they don’t have any services.

STAFF Editor & Publisher Mark Zusman EDITORIAL News Editor Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Rachel Monahan, Corey Pein Copy Editors Matt Buckingham, Nicole Groessel Stage Editor Shannon Gormley Screen Editor Walker MacMurdo Projects Editor Matthew Korfhage Music Editor Matthew Singer

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ICE ARRESTED MY DAD

This is yet another maudlin article about illegal immigrants behaving irresponsibly and blaming U.S. immigration laws instead of themselves for their poor decisions [“Where Is Daddy?” WW, May 10, 2017]. Also, this article suggests [through reporting of legislative efforts] that if you illegally cross the border to the U.S., you are entitled to gain citizenship simply for the act of reproducing, something any idiot can do. This is what the diversity fanatics want, an end run around immigration laws. Imagine if they succeed. We already allow anchor babies, but if the parents are also automatically granted citizenship, there’s no impediment to just crossing over, having babies and— voilà!—you’re a citizen. —“GerMart”

a smoother re-entry and lower recidivism rate when they’re cut loose than those who don’t [“Calling Collect,” WW, May 10, 2017]. And yet, it creates a severe hardship for families even to talk to incarcerated loved ones. My neighbors’ son was depressed and suicidal while inside. His family was very worried about him. The DOC was pretty non-responsive, so the family called him every few days and agreed to reimburse twicemonthly calls for his therapist and girlfriend, to keep him going. It cost them tens of thousands of dollars to provide a basic lifeline to him. —“Seems2Me”

FAIR NIXES “STORY POLE”

Many tribal members were insulted and talked down to by supporters of raising this pole [Starters: “Hippies Listen to Natives,” WW, May 10, “This 2017]. We were told how to think, family was how to feel and how the real world I am a health care provider who has very intentionally worked in service torn apart works. These were not right-wing of the Latino and immigrant comTrump supporters. These were by one munity at a nonprofit clinic, and I progressive liberals that would join man.” am not sure why the reporter chose a March for Science, tout that “I’m this particular family to make this With Her,” promote Eat Local along particular point. with other very noble ideas. For Juan Carlos Andrade-Lopez’s children, —“Mayo Finch” the situation is no different from his simply being in jail—which is where a drunk driver belongs on Censorship is censorship, no matter how pure the first offense, to say nothing of the second. the motives. And if the Oregon Country Fair This family was torn apart by one man’s dan- board of directors is a public body, there has probably been a violation of the First Amendgerous irresponsibility, not immigration law. ment’s guarantee of free speech. —“Karlita” —“Alan Davey”

INMATES PAY HIGH PHONE RATES

The Oregon Department of Corrections gives a lot of lip service to the well-documented fact that inmates who keep in touch with their families and law-abiding friends while inside will have

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.

BY MA RT Y SMIT H

I’m losing the battle and the war in my never-ending conflict with sugar ants—you know, the super-small ones. I never had this problem in Seattle. Do ants prefer the climate in Portland? The more relaxed attitude? More importantly, how do I combat them? —Axel O.

Willamette Week MAY 17, 2017 wweek.com

Anyone who’s ever dropped a maraschino cherry on a warm day can attest to the unnerving swiftness with which ants conquer territory. Since I drink a lot of Manhattans—which (a) require maraschino cherries and (b) make you inclined to drop stuff—I’ve experienced it many times. Within a few short hours, the ants will have built a tiny natural-gas-fracking boomtown around their new resource. Let it go for a whole day and they’ll have created a whole civilization, with trade and the beginnings of written language. It’s creepy. All of which is to say that I share your pain, Axel. According to Oregon Department of Agriculture entomologist Josh Vlach, those “supersmall ones” are probably odorous house ants. Like human beings, odorous house ants are a nominally non-native species that, at this point, the Northwest has approximately zero chance of getting rid of. Also like human beings, they smell bad—squish a few and you’ll know what I’m talking about.

If your ants don’t stink when crushed, they could be the slightly larger pavement ants. It doesn’t really matter, because the treatment is the same in either case: baiting (aka poisoning) them with a borax-and-sugar solution. (Around here, the brand Terro seems to have a lock on that market.) Borax is harmless to people and pets (it’s used as a food additive in some countries), but deadly to ants. It’s like putting out chocolate if you had a bad infestation of dogs. Any time you find one of those maraschino-cherry boomtowns, remove the food source and replace with poison. “If you can be patient and kill the colony, you should have a decent period of being ant-free— maybe even a couple of months,” says Vlach. Ultimately, however, you’re still doomed: “Eventually they’ll be back because the environment is full of them.” QUESTIONS? Send them to dr.know@wweek.com

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Willamette Week MAY 17, 2017 wweek.com

MURMURS The fallout from Gov. Kate Brown’s termination of Oregon Lottery director Jack Roberts in April 2016 continues. Late last month, Roland Iparraguirre, who served as Roberts’ top deputy, filed a tort claim notice against the state. Iparraguirre resigned from the lottery last year and reached a settlement with the state in August 2016. But he now says the state violated the terms of that settlement by releasing to The Oregonian documents that placed him in a false light. “The State’s callous and reckless approach has resulted in serious damage to Mr. Iparraguirre’s reputation,” says the April 21 tort claim notice. Meanwhile, another former top lottery official, Trinh Tran, filed a lawsuit against the state April 17. Tran, who worked in procurement, and assisted Iparraguirre with the $225 million replacement of the lottery’s 12,000 video terminals, says senior lottery officials violated his civil rights and retaliated against him unfairly. In a lawsuit pending in Marion County Circuit Court, he is seeking $2.75 million in damages. The Oregon Department of Justice, which defends the state in court, doesn’t comment on pending litigation.

Climate-Change Tax Touted as $200 Million Boon

A proposed Portland tax on big businesses to fight climate change would raise $50 million a year for projects such as solar roofs and community food gardens in low-income neighborhoods, according to the group’s promotional literature obtained by WW. Last week, the paper broke the story that City Commissioner Chloe Eudaly had teamed up with environmental and social justice advocates to craft a 1 percent gross receipts tax on Portland revenues of businesses with more than $1 billion in annual sales nationally if they do at least $500,000 of business in the city (“Son of Measure 97,” WW, May, 10, 2017). Backers offered limited details last week,

Willamette Week MAY 17, 2017 wweek.com

V. K A P O O R

State Faces Lawsuits From Former Lottery Officials

HARDESTY

saying the tax would raise at least $10 million a year. But they circulated a flier that says the tax would raise even more—and with incentives could leverage $200 million a year for projects to reduce greenhouse gases. It also says the tax would apply chiefly to retailers (“McDonald’s, Starbucks, Walmart”) and has 68 percent voter support. Backers say revenue estimates are preliminary. “Nothing is confirmed,” says Jo Ann Hardesty, director of the NAACP of Portland and a spokeswoman for the initiative. The proposal could go to the City Council or Portland voters as soon as May 2018.

Foster Care Operator Heads to Criminal Trial

Mary Holden Ayala, who for years ran one of Oregon’s oldest and largest foster care agencies, Give Us This Day, is due to appear in U.S. District Court in Portland on May 30 to face federal embezzlement charges. Two years ago, WW reported Holden had allegedly neglected children in her care, failed to pay employees, and diverted much of the $1.5 million the state paid her agency annually to her own personal use (“Home Sweet Hustle,” WW, Sept. 16, 2015). The Oregon Department of Justice shut down Give Us This Day in 2015, and Gov. Kate Brown subsequently fired officials at the Oregon Department of Human Services who for years had turned a blind eye to Holden’s tactics. On May 9, after a lengthy investigation, U.S. Attorney for Oregon Billy Williams unsealed an indictment charging Holden with embezzling at least $800,000 and failing to file tax returns, among other charges.

Read more Murmurs and daily scuttlebutt.

NEWS

WHAT YOU NEED TO KNOW THIS WEEK

Which Way Out of This Mess? FOUR SECESSION CONCEPTS TO SAVE INDEPENDENT OREGON FROM THE UNFOLDING NATIONAL TRUMPOCALYPSE. AB

Washington, D.C., is being consumed by an impending constitutional crisis inflamed by President Donald Trump’s decision to fire FBI Director James Comey amid an investigation into the White House (see page 13). It seems like a good time for a refresher course in alternatives to the current political arrangement. Like, what if we just left? Here, in ascending order of plausibility, WW presents and evaluates three existing proposals to affirm the political independence Oregonians have always prized, plus one new brand-new option. COREY PEIN.

3. T HE L E FT COAST

2 . PACI F I CA

This map was proposed six years ago by Colin Woodard, the Maine author of American Nations: A History of the Eleven Rival Regional Cultures of North America. Woodard describes the sliver of the Left Coast, enclosed by the Cascade and Sierra mountain ranges, as “a hybrid of Yankee utopianism and Appalachian self-expression and exploration.” But it’s another political nonstarter. Who wants to show a passport just to visit Pendleton?

Last November, after President Trump’s election, two Portland activists submitted— then, following threats, quickly withdrew—a ballot measure calling for Oregon’s secession from U.S., and suggesting a merger with other Pacific states. Meanwhile, a “Calexit” ballot measure campaign stalled in April after news organizations started asking why the chief campaigner, Louis Marinelli, had recently moved to Russia. Theoretically, the legislatures of all three West Coast states could, with the approval of Congress, form a new unitary state. But the U.S. Constitution contains no provisions for states to withdraw from the union, so national independence would require a constitutional amendment, which in turn would need approval by a twothirds super-majority in Congress.

4 . CASCAD I A This is a “bioregion” map first created in 1988 by sociologist David McCloskey, who runs the Eugene nonprofit Cascadia Institute. The concept has been adopted by a subset of the eclectic Cascadian independence movement. The map crosses so many existing borders, it’s hard to fathom how the politics would shake out without some massive societal breakdown happening first, so… maybe sometime soon!

CA NV

1 . E V E RY T HI N G BUT T R UMP

U.S.A.

Here for the first time WW offers a novel compromise solution to the current national political crisis: Banish the Trumps. U.S. borders would remain unchanged except around EXC EPT Trump Tower in New York City and Mar-a-Lago in Palm Beach, Fla. These properties would be ceded to Melania Trump, who could reign as queen of Trumplandia while her husband completes his prison sentence. Upon Melania’s death, the properties would revert to U.S. sovereignty for conversion to affordable housing.

THE LINEUP

GREG WALDEN’S 2018 CHALLENGERS U.S. Rep. Greg Walden (R-Ore.) has long enjoyed a safe seat in Oregon’s 2nd Congressional District, which encompasses most of rural Oregon and stretches from the state’s northeast corner to its southwest corner. But the 10-term incumbent’s work on President Donald Trump’s health care proposal has opened the door to a challenge. In recent elections, Democrats have struggled to get 30 percent of the vote in a red district where Republicans outnumber Democrats 36 to 27 percent, or by about 45,000 voters. The opportunity: Non-affiliated voters and minor-party members compose a third of the district’s electorate, and more constituents in Walden’s district—129,000—gained new Medicaid coverage under Obamacare than in any other Republican-led district in the country. Here are four Democrats lining up to challenge Walden next year. NIGEL JAQUISS.

Michael Byrne A stonemason from Parkdale, near Walden’s Hood River home, Byrne supports Sen. Bernie Sanders (I-Vt.). He’s a newcomer, but fired up. “The dude has to go,” Byrne says. “I’m all in.”

Jim Crary

Rachel Scdoris-Salerno

Chris Van Dyke

A retired lawyer and oil company executive from Alaska, Crary moved to 51 acres east of Ashland in 2006. He ran against Walden in 2016, losing 72 to 28 percent. He’s filed to run again next year and is touring the district nearly full-time. “The Republicans’ ‘repeal and replace’ bill was huge,” Crary says. “One-third of the people in the district got coverage through Obamacare.”

A political newcomer, Scdoris-Salerno is a competitive dogsled racer and bicyclist who runs a business giving dogsled tours on Mount Bachelor and has lived off the grid since third grade. She announced May 16 she was entering the race.

The son of actor Dick Van Dyke served as Marion County district attorney, then as an executive at Nike and Patagonia before moving to the World Wildlife Fund and his own communications firm in Bend. Van Dyke hasn’t yet decided whether he’s running. “I am contemplating getting involved,” Van Dyke says. “I think Oregonians deserve better and will vote for change.”

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GOING COASTAL

Our guide tO the OregOn cOast publishes June 14. reserve yOur ad space tOday! cOntact advertising@wweek.cOm Or 503-243-2122 8

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FONZY NILS

NEWS

The Price Is Right GOV. KATE BROWN MIGHT SELL STATE AGENCIES TO PRIVATE BIDDERS TO KEEP OREGON AFLOAT. BY NIG E L JAQ UI SS

njaquiss@wweek.com

Late last month, Gov. Kate Brown announced a bold initiative: She plans to sell $5 billion worth of public assets to pay down part of Oregon’s $22 billion pension deficit. Without providing specifics, Brown said just about anything except state forests, parks and prisons could be had for the right price. According to sources familiar with the governor’s thinking and recent efforts in other states, that could include not only property but as many as four state agencies—overseeing everything from liquor and cannabis sales to keno machines and Portland’s light-rail system. It’s too early to know how much buyers might pay for Oregon agencies, but based on asset values bandied about elsewhere, it’s clear Brown would have to sell such crown jewels to approach $5 billion. The governor’s willingness to entertain such ideas is a departure from Democrats’ historical preference for focusing on new tax revenue. A review of the experiences of other states, however, shows Brown’s attempt will be challenging.

“Everybody thinks selling assets is a good idea—until you get to the specifics,” says state Sen. Mark Hass (D-Beaverton), chairman of the Senate Revenue Committee. But some key allies are ready to consider radical moves—particularly if they help salvage the retirements of public employees. “We’re comfortable with the general idea,” says Joe Baessler, political director of the Oregon American Federation of State County and Municipal Employees. “But it has to be a good deal for the state.” The issue Brown is trying to address is the $22 billion pension deficit. The state has promised retirees more money than it has to pay them, and the annual cost to state and local governments is escalating, hampering their ability to provide basic services. So Brown is looking for a novel solution. Selling public assets can be political minefield—witness the recent furor that caused the Oregon State Land Board to abort the proposed sale of the Elliott State Forest. But people who’ve studied Oregon’s financial woes say Brown’s approach makes sense. Tim Nesbitt, a former labor leader and adviser to Govs. Ted Kulongoski and John

Kitzhaber, says an asset sale is akin to selling a underused piece of land to pay off a mortgage. The agencies Brown might sell all come with big price tags—and political challenges. Brown spokesman Bryan Hockaday deferred comment on any specific assets until a panel provides specific recommendations in November. “Gov. Brown believes addressing the unfunded pension liability is an enormous challenge, but one that we must take on,” Hockaday says. “Gov. Brown has given the [Public Employees Retirement System] task force, whose members will be announced later this month, broad authority to look at every sizable state asset to use in buying down the PERS unfunded liability.” On May 15, however, Oregon Public Broadcasting, citing sources close to Brown, reported that the state-owned workers’ compensation insurer, SAIF Corp., and the Oregon Liquor Control Commission could go on the auction block. Neither of those agencies performs a core state function. Many states own neither an insurance company nor a monopoly on all liquor sales within their borders. States that do own workers’ compensation insurers, including Colorado and Montana, have considered selling them recently. SAIF would be an attractive asset: It has a large customer base, and its assets exceed its liabilities by $1.6 billion. But sales attempts in other states have stalled because any such change creates winners and losers, and the losers speak loudly. In Pennsylvania, which operates a highly regulated liquor control system similar to Oregon’s, lawmakers who have pushed to sell the monopoly to private companies say they could raise more than $1 billion. Again, however, the status quo has proven resilient. Oregon owns other monopolies that some states have either considered selling or sold in part. For instance, the state owns TriMet, a public corporation. The potential value of such an asset lies in the right to provide an exclusive service—mass transit—to a large number of customers. New Jersey and Massachusetts have considered privatizing parts of their transit systems recently—but such efforts have generated opposition, particularly from labor. TriMet’s union employees exert enormous power and would oppose a sale of any TriMet functions. “It would cause lots of problems for everybody,” says Shirley Block, president of Amalgamated Transit Union Local 757, which represents TriMet employees. “Privatization is wrong, and we’ve seen that over and over.” It’s been easier for states to privatize their lotteries, in part because they are less reliant on union labor. Illinois, Indiana and New Jersey have all struck deals in recent years that are structured as one-time payments of about $100 million, with a guaranteed increase in annual net revenue of $50 million to $100 million. The states retained ownership but contracted out most lottery functions. Brown isn’t looking at selling the Oregon Department of Transportation. But she could start selling its highways. States such as Indiana have sold highways to private investors for billions of dollars. In exchange, investors get to collect and keep tolls. Many states lease highway rest-stop space to McDonald’s, Dunkin’ Donuts, 7-Eleven or other contractors. That’s now a possibility here, too. Persuading Oregonians to accept private highways or the sale of any valuable asset could take a long time. State Sen. Tim Knopp (R-Bend), who, along with Sen. Betsy Johnson (D-Scappoose), has pushed hardest for the state to address its pension deficit, says time is something Oregon doesn’t have. Knopp wants meaningful reductions in pension costs now. “I don’t think we can wait,” he says. “We need to do something before this session ends.” Allen Alley, a former Republican candidate for governor and treasurer who has spent extensive time studying the state’s pension liabilities, says Brown’s plan won’t stop the bleeding, because Oregon governments still guarantee pensioners’ future payouts rather than offering a 401k-type plan that shifts risks to workers. “It’s political kabuki theater,” Alley says of the proposed asset sales. “She’s rearranging the deck chairs on the Titanic.” Willamette Week MAY 17, 2017 wweek.com

Willamette Week MAY 17, 2017 wweek.com

SUSAN BRAGDON

NEWS

THEY’RE GOOD DOGS, BUD: Susan Bragdon says Wally, left, and Fiona, right, both had close encounters of the cannabis kind.

Fiona’s Bad Trip CASES OF PET POISONING FROM POT INGESTION HAVE RISEN SINCE CANNABIS LEGALIZATION. BY E L I S E HE R R O N

eherron@wweek.com

Veterinarians in Portland are seeing a sharp increase in the number of pets that have become ill after ingesting cannabis. Susan Bragdon thinks her dogs were among those victims. “The worst was when her eyes rolled back into her head,” Bragdon recalls of nearly losing her rescue mutt, Fiona, last month. Bragdon noticed Fiona’s head was lolling, and the dog couldn’t stand half an hour after their walk near Reed College. She rushed to the vet in a panic. She says 12-pound Fiona grew cold in her lap on the way. What was happening to Fiona? The small dog was very, very stoned. Somewhere between Reed’s sports fields and Southeast Steele Street, Fiona stopped to “graze” on what Bragdon thought was normal field grass. But after pumping Fiona’s stomach, Dr. Chicory Eddy of the Powell Veterinary Center deduced the grass Fiona had gobbled up was of a more psychoactive sort—probably in a cannedible. After a four-hour lipid infusion and an overnight IV, Fiona returned to health. Bragdon says she’s been walking her dogs at Reed College for decades. She stopped immediately after Fiona’s brush with death, but her dogs’ misfortune continued. “Two weeks ago, we went to Sellwood Riverfront Park, a designated off-leash dog park,” she says, “and again, one of my little dogs got into edible cannabis. I no longer know if there is any safe, official, off-leash place for dogs to walk.” This time it was her other dog, Wally, who made the trip to the vet, only a week after Fiona’s fiasco. Either Bragdon’s small canines are Transportation Safety Administration drug-sniffers in training, or they are unusually unlucky. Regardless, their misfortune highlights what veterinarians say is a growing problem. Statistics provided by DoveLewis—Portland’s leading emergency animal hospital—show there has been a noteworthy uptick in consequential cases of pets ingesting cannabis since Oregon legalized recreational pot.

In 2015, the year recreational cannabis became legal in Oregon, DoveLewis treated 140 dogs for marijuana toxicity. That number climbed to 216 in 2016. That increase tracks with national trends showing more dogs getting poisoned by cannabis as marijuana prohibition ends in states across the U.S. Dr. Ahna Brutlag, a veterinary toxicologist in Minnesota who provides phone consultations for the national Pet Poison Helpline, says her organization had a 448 percent increase in marijuana-related calls since 2010. In the past decade, the hotline’s vets have managed more than 2 million poisoning cases of varying types—but pot has taken the lead.

supported by the Oregon Humane Society, the bill failed to get a hearing. The Oregon Humane Society’s attorney, Emily Davidsohn, says the group “would support legislation that protects the welfare of Oregon’s animals.” But according to members of the Legislature’s Joint Committee on Marijuana Regulation, nothing regarding pets ingesting pot is slated to be included in legislation this session. The Oregon Liquor Control Commission regulates recreational marijuana. Mark Pettinger, an agency spokesman, says the only pet-related discussions the OLCC has had are about the legality of licensing cannabis products for animals.

“I NO LONGER KNOW IF THERE IS ANY SAFE PLACE FOR DOGS TO WALK.” —SUSAN BRAGDON “Today, the majority of our cases involve pets ingesting edible marijuana products,” Brutlag says. “As many of these ‘medibles’ also contain chocolate, this can pose an additional risk for poisoning, especially for dogs and cats.” THC, the cannabinoid that has psychoactive effects, can be toxic to pets. The amount of THC allowed in edibles sold in Oregon jumped from 15 milligrams to 50 mg in January. There’s no immediate sign the increased potency has led to greater danger for pooches. In the five months since the change, DoveLewis treated 63 dogs for marijuana toxicity—a slower pace than last year. Some Oregon lawmakers are taking note. After reading a story similar to Fiona’s, state Sen. Alan Olsen (R-Canby) drafted Senate Bill 662—which would have made intentionally “causing an animal to ingest marijuana” a class B misdemeanor, punishable by a fine of up to $6,500. Though

Dr. Cornelia Wagner at Hawthorne Veterinary Clinic in Southeast Portland says her clinic’s cat and dog owners are increasingly testing some cannabis derivatives as remedies for their pets’ ailments. “We generally see good results with CBD/hemp products,” Wagner says, “with regard to arthritic pain in cats and dogs.” That’s very different from dogs consuming THC, which DoveLewis says can cause vomiting, stumbling, tremors, seizures and even comas. Pettinger says, however, that in the nuanced and politicized world of cannabis regulations, the OLCC is strictly focused on matters of human consumption. That means pet owners will just have to be vigilant. “Hershey’s doesn’t put on their label ‘Do not feed to dog,’ but it’s in our knowledge that chocolate is bad for dogs.” Pettinger says. “The same goes for weed.” Willamette Week MAY 17, 2017 wweek.com

Willamette Week MAY 17, 2017 wweek.com

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

* Ron Wyden and Jeff Merkley are U.S. senators, who aren’t traditionally called “congressmen.” But we got kind of attached to the movie joke.

TWO CONGRESSMEN AND A BABY *

THEY’RE U.S. SENATORS. HE’S A LITTLE MONSTER. CAN RON WYDEN AND JEFF MERKLEY SAVE THE COUNTRY? BY AA R ON MESH

Last week, President Donald Trump made a move that could end the FBI’s investigation of him. Oregon’s two U.S. senators say Trump only spurred them to further seek the truth. The sudden firing of the FBI director, James B. Comey, on May 9 presents a test of American institutions by a president who no longer feels bound by them. Trump, who has long expressed admiration for autocrats like Russian President Vladimir Putin and President Rodrigo Duterte of the Philippines, acted in their mold last week: He fired the man who was leading the investigation of his presidential campaign for potentially colluding with Russian agents to sway the 2016 election. Then he admitted on television that when he canned Comey, he was fed up with the FBI’s pursuit of “this Russia thing.” An FBI memo, revealed May 16 by The New York Times, says Trump asked Comey in February to end his inquiry into former national security adviser Michael Flynn’s contacts with Moscow. “I hope you can let this go,” the president allegedly said. For many in Washington, D.C., the firing of Comey amounted to a declaration by the president

amesh@wweek.com

that if he was in trouble with the law, he would just fire the lawman. It marked the most brazen interference with a high-level criminal investigation since President Richard Nixon fired the independent special prosecutor digging into Watergate. It raised new questions about Trump’s fitness for office and his independence from foreign agents—doubts given more credence by May 15 revelations that Trump disclosed classified intelligence in a meeting last week with Russian officials. And it adds to the evidence that the president, who gets his news—on a good day—from Fox and communicates through his stream-of-consciousness Twitter account, is warping the American government into a game show. Among those who will be tested by Trump’s chutzpah: U.S. Sens. Ron Wyden and Jeff Merkley. Since November, Wyden and Merkley have been among the most vocal Democrats regarding Trump’s ties to Russia. They both demanded an independent special prosecutor to examine the Trump campaign, raising the cry months before Comey’s firing. On the floor of Congress and in

town-hall meetings across Oregon, they have called for a grassroots rebellion against the president. Now, they are positioned to lead that movement. Wyden is a member of the Senate Select Committee on Intelligence—the body leading the inquiry into Russian interference in the 2016 presidential race. He and Merkley both could be part of closed-door conclaves of U.S. senators who, in coming weeks, will examine the evidence gathered by intelligence services against Trump and decide on next steps. In the wake of the Comey firing, Willamette Week asked the two senators to discuss the growing national crisis. In the following pages, you’ll read excerpts from our interviews with Wyden and Merkley, expansive conversations conducted in the days following Comey’s firing. Both men say Trump’s actions represent an unprecedented challenge to the rule of law, a signal of real interference by foreign powers, and a threat to American democracy. They also pledged they would rise to the occasion—and predicted that America would, too. CONT. on page 14

Willamette Week MAY 17, 2017 wweek.com

SEN. RON WYDEN HAS MORE QUESTIONS.

For 16 years, Wyden has used his seat on the Senate Select Committee on Intelligence to ask probing questions of the nation’s security state (“Tinker Tailor Senator Spy,” WW, Feb. 22, 2017). Since November, the senior senator from Oregon has been digging for answers about the scope of Russian interference in the 2016 presidential race, and what kind of conversations the Trump campaign had with Moscow. Trump’s attempt to reshape the FBI, even as its director asked for more resources to investigate the president’s ties to the Kremlin, has given Wyden the opportunity to once again make carefully worded queries of the nation’s intelligence agencies—this time, with an eye on the possibility of impeachment. “You guys are gluttons for punishment,” Wyden began his May 15 conversation with WW. “You want more on this. Ay yi yi.”

Do you believe the president’s remarks last week are grounds for impeachment? WW:

Sen. Ron Wyden: Let’s put it this way: There is a lot that Congress and the country need to learn. If you look at Donald Trump’s own words, his literal word-for-word sentence, he fired James Comey to end the Russia investigation. And it seems to me that when you have that, you’ve got to crack open the law book and see if the president’s admitted actions constitute crimes. And you know I feel very strongly about Jim Comey testifying in an open session as soon as possible. Of course, I’m going to ask him questions with respect to these purported conversations. I want to know: Did the president ask James Comey for a pledge of loyalty?

How urgent is the need for a special prosecutor? A special counsel is very much necessary. The American people want to know that you can move forward aggressively and get the facts this way. The firing of Director Comey and the timing of it was so inappropriate. The timing alone raises questions to me that should occur to anyone with a semblance of ethics. I’m exploring the idea of not going forward with a nominee to head the FBI, the new FBI director, until you get a special counsel.

“ 14

Willamette Week MAY 17, 2017 wweek.com

CRACK OPEN THE LAW BOOK AND SEE IF

THE PRESIDENT’S ADMITTED ACTIONS CONSTITUTE CRIMES.”

TWO CONGRESSMEN* AND A BABY

P H OTO I L L U S T R AT I O N B Y W W S TA F F

RON WYDEN “I’m interested in potential money laundering.” How much power do you and other Democrats really have to block anything at this point? I can count. I know who’s got a majority in the United States Congress. But I also know that people understand the unprecedented nature of this. The president urged the Russians to hack his opponent, said he loved WikiLeaks. The question isn’t whether Donald Trump actively encouraged the Russians to attack our democracy. He did that. That was an established fact. The real question here is whether he, or someone associated with him, also did that in private. And I think that is very much on the minds of the American people. I’ve had people at town hall meetings say, “I remember Donald Trump urged the Russians to hack his opponent.” When people come up to you at town hall meetings, including in counties Donald Trump won, it’s an indication people are following this. And I think sometimes people in D.C. forget that.

What’s your level of confidence in Senate Intelligence Committee Chairman Richard Burr? We obviously have had some strong differences of opinions on issues. I’ve made it clear that we’ve got to pick up the pace, that the American people can’t get their information from leaks and false tweets and the story of the day. I never talk about deliberations, and I think, with respect to the chairman, I’ll leave it at that.

What should an investigation look for? I have felt for a long time that right at the heart of this were “follow the money” issues, because there were so many reports about connections between the Russians and Trump associates. You have the first president in decades that won’t release his tax returns, and [he’s] saying in 2008, a time when it was hard for people to get money, that much of [his] portfolio consisted of Russian money. Where we are now: I am pushing very hard to get a U.S. Treasury agency that is accountable both to the Finance Committee and the Intelligence Committee, surrounding

financial documents that we need. I’m interested in potential money laundering, matters relating to shell corporations, and matters related to property transfers. I put a hold on the key person who’s been nominated to head the Treasury, and I am not going to release the hold until we get all of the documents.

What do you believe those documents may contain? I can’t get into anything with respect to committee business and what I think the documents may contain. What I can tell you is that I’m especially interested in matters relating to money laundering, illicit transfers, property transfers, shell corporations. I can’t get into what I think the documents might say. That’s not allowed under the committee rules.

Are there other moments in American history that remind you of this one? I’ve never seen anything like this. And the reason why is that presidents historically used communication to build trust as a political bully pulpit around issues. This president, with the way he tweets in the middle of the night, you have no idea what’s motivating him.

Do you find that your confidence in American institutions is shaken by this administration? Winston Churchill, according to some historians, said that the Americans always get it right after they’ve tried everything else. My dad and I talked a lot about this. I used it when I was warning about the fact that the public didn’t know really how the Patriot Act was secretly interpreted. In America, the truth always comes out, always comes out eventually. So that makes me a believer in the American experiment.

How do you respond to critics who say the Democrats’ fixation on Russia is losing touch once again with the daily concerns of Americans? If you look at my calendar, you can see that I’m spending an enormous amount of my time working on efforts to improve health care. I introduced a major prescription drug bill recently to lift the veil of secrecy on the middlemen who I think have been a big factor in driving up prescription drug prices. Whether it’s health care, infrastructure or closing tax loopholes in order to ensure that you can get tax relief for middle-class people, I’ve got a domestic agenda where we’re playing offense. That’s key, I think, for voters. Show that you can stop damaging stuff, stop policies that will harm America, and show that you can really deliver in areas that make people’s lives better. The American people understand that you’re supposed to do both. You’re supposed to hold off policies that will harm them and the institutions they rely on, and you’re supposed to play offense in areas that will help them. CONT. on page 17

Willamette Week MAY 17, 2017 wweek.com

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Willamette Week MAY 17, 2017 wweek.com

TWO CONGRESSMEN* AND A BABY

VICENTE MARTI

JEFF MERKLEY “WE’RE STARING INTO THE ABYSS.” SEN. JEFF MERKLEY IS AN UNLIKELY CHOICE FOR PEOPLE’S CHAMP. For five terms in the Oregon Legislature, Merkley was a competent but dull state representative who helped the Democratic Party gain back majorities and then served as House speaker. When he unseated thenU.S. Sen. Gordon Smith (R-Ore.) in 2008, he wasn’t even the preferred candidate of Portland progressives. (They backed the insurgent Steve Novick.) But Merkley’s endorsement of Sen. Bernie Sanders (I-Vt.) for president in 2016 earned him some cred within the party’s left wing. And since the election of President Donald Trump, Merkley has circled the White House like an angry horsefly. Last November, he called Steve Bannon and other Trump advisers “white supremacists” before that epithet was commonplace. In February, he aided Sen. Elizabeth Warren (D -Mass.) in reading into the Congressional Record Coretta Scott King’s letter describing the racial intimidation of black voters by Attorney General Jeff Sessions. And last month, he spoke for more than 15 hours in an unsuccessful bid to block Neil Gorsuch’s appointment to the U.S. Supreme Court. In a conversation with WW on May 12, he laid out his current thinking on our president and the fate of the nation.

WW: What’s

keeping you up at night? Sen. Jeff Merkley: We’re staring into the abyss. We’re on the edge of a constitutional crisis. The president has fired the person who is driving the only aggressive investigation into the conduct of the Trump campaign and the possibility of coordination or collusion with the Russians, and that’s unacceptable. If we’re going to have justice for all, and if no one’s above the law, then you can’t have a president crushing an investigation into his team.

What do you say to people who haven’t looked very closely at the details and say this is just more partisan political theater? Step into the shoes on the other side of the political equation. Ask yourself, how would you feel if a Democratic president derailed an investigation into the Democratic presidential team? That allows people to all be Americans in this. We are not Democrats and Republicans. This is a fight for the integrity of the foundation of our democratic republic. Elections are incredibly important to our “We the People” republic. A foreign power deliberately interfered in those elections. Russian interference occurred on a massive scale, and if any American cooperated, colluded or coordinated, it’s not just a crime against the Constitution. This is the worst sort of treason. That would be treasonous conduct, and we have to get to the bottom of it.

At this point, do you believe that treason occurred? I think there is a very good chance, better than even odds, that it has occurred, yes.

Let’s imagine for a moment that Trump advisers Paul Manafort and Roger Stone colluded with Russian officials. If Donald Trump was not personally involved in this, what significance does it have for the public? It means that the integrity of the election was violated, and it certainly decreases the legitimacy of this presidency even if Trump personally was not involved. The president is clearly extremely worried about an investigation. For him to take this action—to decide he’s going to derail the investigation—it shows how obsessed the president is about the possibility of an investigation uncovering information that would affect his presidency. CONT. on page 19 Willamette Week MAY 17, 2017 wweek.com

Willamette Week MAY 17, 2017 wweek.com

TWO CONGRESSMEN* AND A BABY

I’m not ready to call for impeachment at this moment. I am ready to say we must have a special prosecutor in place, chosen by the top career member of the Justice Department. What I hope happens in the next few days is that the Senate Republicans join us to fully question the attorney general, the deputy attorney general, and the former FBI director, [James] Comey. I hope that following that we can have an executive session of the Senate. The point of that is, without any cameras, without any press, we can have an honest conversation with each other about how important this is to the integrity of our government. All my effort at this point is directed toward, let’s get all the facts. If we find that members of the president’s team were in any way operating, with the knowledge of or at the request of the president, to coordinate or to amplify any of the Russian activity in the campaign, then that is 100 percent clear impeachable activity. And I will be calling for a fast and sure process in the House to conduct impeachment at that point.

Whoever conducts an investigation will be relying on facts gathered by the FBI. How comfortable are you trusting them? I don’t believe they necessarily have to go straight through the FBI. We know a lot about what the Russians did. We know that they created a false news operation. We know that they created an organization with a thousand people who were basically pretending to be Americans and weighing in on social media. We know that they amplified the impact of social media by using a botnet around the world to have robots that were responding and putting out comments to again amplify the effect and try to get stories onto the Facebook screen of Americans. We know that they hacked computers, we know that they released information from those hacks on a very timely basis to influence the campaign. And we know that there were a lot of conversations between members of the Trump team and the Russians. But we need to know if those conversations were tied in any way to this set of activities I have just described. If they were simply saying, for example, “What are the issues important to Russia, and how do we build a better relationship between our two nations?” there’s nothing wrong with that. But if there were conversations about the campaign and how to gain additional assistance in derailing Hillary Clinton’s team and her campaign, then that’s treasonous conduct. So that’s what we have to find out. A special prosecutor should have the powers, the team, the resources, the experience, the professionals to be able to get to the bottom of this.

Putting aside the knowns and the unknowns of the Russia investigation, is the president of sound mind? [Long pause] I am deeply disturbed by many of the actions he has taken and the manner he’s taken them in. I’ll leave it to psychologists to say if he’s of sound mind, but he often appears not to be on a stable foundation.

Some say the future of the country depends on eight or so Republican senators who have demonstrated some independence from the president: John McCain and Jeff Flake in Arizona, or Lindsay Graham in South Carolina. How much faith do you have in them? I believe there is a very good chance that [my] Republican colleagues are going to step forward—not to say that we have the hard facts and the president should resign, but to say there are enough disturbing known facts that a full, aggressive investigation is necessary for the integrity of our government.

VICENTE MARTI

Are you ready to call for impeachment proceedings at this point?

“

WE KNOW THAT THERE WERE A LOT OF CONVERSATIONS BETWEEN MEMBERS OF THE TRUMP TEAM AND THE RUSSIANS. IF THERE WERE CONVERSATIONS ABOUT DERAILING HILLARY CLINTON’S TEAM AND HER CAMPAIGN, THEN THAT’S TREASONOUS CONDUCT.”

This all seems very far away and out of our control. What can Oregonians do? Oregonians need to remind their legislators how incredibly important this is to the integrity of our government. Not only is it relevant to the pursuit of justice, but it is very relevant to whether we continue to have faith in our system to deliver government of, by and for the people.

Have you spoken with Rep. Greg Walden about his role in dismantling the Affordable Care Act? I have not talked to him about it.

What would you say to him? I would tell him about my town halls that I’ve had in his district where so many of his constituents are coming out in a pure panic over the Trumpcare

bill that came out of the House. You have a lot of lower-income folks living in rural Oregon who before Obamacare were deeply stressed that if a loved one got sick, they would not get the care that they need and that they might end up going bankrupt trying to get the care they need. One out of three individuals in his district is on the Oregon Health Plan. Of course, he knows this, and I know that he knows this.

So this country is divided, fracturing and often disengaged. What reason is there for optimism? I don’t think people are tuning out. At least what I see is the enormous energy of people tuning in, people who got complacent. Many things were in a better place, but that bred complacency that gave us Donald Trump. I see people highly, highly mobilized. The turnouts in my town halls are massive whether I’m in Democratic counties or Republican counties. So that’s a starting point. Willamette Week MAY 17, 2017 wweek.com

Willamette Week MAY 17, 2017 wweek.com

Stree t

“I moved to Portland to flee Seattle before it sinks into Puget Sound.” “I moved here from Colorado for tattooing. The art and music here were a big draw.”

WHERE ARE YOU FROM? OUR FAVORITE LOOKS THIS WEEK. “I’ve lived here all my life! I love it here because it’s environmentally friendly with good air and clean water, as well as being walkable and a community with nice people. I want to stay here to build my business and network before I’d even think of moving anywhere else.”

PHOTOS BY SAM GEHRKE

“I moved here to be with the one I love and reclaim a sense of earthly belonging.”

“I moved here to finish school at PSU and ended up staying. I’ve been here for five years now and have an awesome job.”

“I was ready to start a new branch in my life. I moved from Iowa because I needed a change.”

“I moved here from Miami for school and to get away from Miami.”

“My heart belongs, and thrives best, in the forest.”

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IS BACK!

VOTE May 1—31 wweek.com/BOP2017 Willamette Week MAY 17, 2017 wweek.com

T H ANK YO U

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Willamette Week MAY 17, 2017 wweek.com

The Bump MICHAEL WEINTROT

Busk A Move Too Many Zooz went from playing subway stations to backing up Beyoncé. We asked drummer DAVID PARKS for his advice on turning street performing into a real music career. BY M AT T H E W SI N G E R

msinger@wweek.com

COURTESY OF TOO MANY ZOOZ

It’s possible that former Portlander David Parks is the most successful busker in the world. First, he went viral when video of his group, the beat-heavy brass-and-drums trio Too Many Zooz, performing in a New York City subway station exploded on YouTube. Then he went on tour, ending up onstage and in the studio last year with Beyoncé, backing up the Queen of Pop on Lemonade and at the Country Music Awards. None of it was planned. Parks started out pounding shopping carts as a member of Satyricon regulars Hitting Birth in the early ’90s, while also “playing newspapers” alongside a guitarist outside Pioneer Courthouse Square. He moved to New York and formed Too Many Zooz with baritone saxophonist Leo Pellegrino and trumpeter Matt Doe. In 2014, Parks’ only goal, like most street performers, was to make a few extra bucks. Somehow, he has turned it into a legit career. How did he do it? If you ask him, a lot of it was serendipity. But if you’re an upstart musician looking to launch yourself from a street corner, he’s got a few tips.

DRUM MACHINE: David Parks busking in a New York subway station.

OH, THE ZOOMANITY: (From left) Too Many Zooz’ Matt Doe, Leo Pellegrino and David Parks.

DON’T WORRY ABOUT GETTING PAID. “Never think about the money. Focus on the performance and what you’re doing, because that’s the most important part—to appear to be having fun. And it’s hard to appear to be having fun if you’re worried about whether someone is going to give you money. In a nightclub, people are paying because they like you. They come there because they want to hear music. On the street, it’s all subjective.”

TREAT IT LIKE A LEGITIMATE PERFORMANCE. “Have a set time you’re going to start and stop. It’s a performance. You’re not just busking. You have to have some characterization to what you’re doing and block out everything, as if you were on a stage. Most performers aren’t going onstage thinking, ‘Each song has to pay me a certain amount.’ It gets too hammy that way. It’s about putting your art out there for people to either like or dislike, and then trying to figure out which parts people like the most and stop doing whatever that thing is they don’t like.”

PICK YOUR LOCATION BASED ON YOUR ABILITY.

“With any business—and it is a business—location is everything. In New York, we play Union Square. It’s the perfect collision. It’s a hub for street performers, so the cops aren’t going to bother you too much. And everyone in the

world is coming through there. We’re probably playing for 150,000 people an hour. But if you’re not to that level where you can hold the attention of a high-traffic area, I’d work on your game in other places. Because you’re also developing a reputation.”

DON’T BE URBAN WALLPAPER. “Busking is kind of like where graffiti is now. There’s people who do graffiti, and now there’s ‘graphic arts people.’ The street-performing thing is cooler when the acts are original, where they have a look and all that type of thing. If it’s just 100 guys playing guitar and doing Bob Dylan songs, that’s cool, but we really think it should be used as a springboard for new artists and new type of art, and performers who wouldn’t necessarily fit into the mainstream of things. And it all depends on where you’re at. Our act probably wouldn’t have worked so much in Colorado when we started. New York kind of contextualized it.”

BE COMMITTED. “It’s not for everyone. It can be really discouraging, because you are faced with people and their opinions. If you’re looking for a reflection of how good your art is, it might not be the thing for you. It can be really heartbreaking. There have been many times we’ve gone down and not made any money. For me, and the people I play with, we’re committed artists, period. So for us, that’s just a bad day, and we go back out.” SEE IT: Too Many Zooz plays Aladdin Theater, 3017 SE Milwaukie Ave., with Massacooramaan, on Saturday, May 20. 9 pm. $15 advance, $18 day of show. 21+.

Willamette Week MAY 17, 2017 wweek.com

STARTERS

JOE RIEDL

B I T E - S I Z E D P O RT L A N D C U LT U R E N E W S

KIM JONG GRILLIN’

HOODS ON: A local restaurant cleaning company has come under fire after refusing to service Asian restaurants. The situation started when Kim Jong Grillin’ chef Han Ly Hwang called Lake Oswego’s Hotshot Hood Cleaners to give him an estimate on cleaning the hood at his cart. “Sorry, Phong,” Hwang says he was told. “We don’t do Oriental restaurants. Too dirty.” Ginger Koch of Hotshot confirmed this policy. “We don’t service Orientals,” she told WW. “The grease they produce does not come off easily, does not clean easily because we don’t have the right chemicals.” Kyo Koo, chef at Beijing street food spot Danwei Canting, says he was also refused service by Hotshot. “He just said it in a semi-nice, kind of racist way,” Koo tells WW. “He wasn’t unpleasant. He’s obviously just kind of ignorant.” Oregon’s public accommodations law does not allow businesses to refuse service based on race, sexual orientation, ethnicity or national origin. ACE VS. THE INTERNET: Sandy Boulevard bar Paydirt is receiving threatening calls from all over the country, according to its co-owner, Ezra “Ace” Caraeff, and the bar staff. About five months ago, the bar put a little message at the bottom of their receipts: “Punch Steve Bannon. Get Free Whiskey for Life.” After an image of the receipt was posted on farright blogs May 14, the threats started pouring into the bar, prompting Caraeff to change the text of the receipts and shut down the bar’s social media accounts. “I have an inbox full of threatening email, so I decided to edit it until the Pepes chilled out,” Caraeff tells WW. “I just set our Twitter account to private because I couldn’t keep up with all the people saying they are going to burn me alive at the bar. Good times.” 20

READERS’ POLL

Vote for 2017 WINNERS May 1—31 wweek.com/BOP2017 24

Willamette Week MAY 17, 2017 wweek.com

ECLIPSE MANIA: On August 21 ,at 10:18 am, the U.S. will see a rare full solar eclipse. The sky will go dark for two entire minutes. Oregon’s small towns, which are in the path of the eclipse’s totality, are gearing up for the first coast-tocoast solar eclipse since 1918. One of these towns is Corvallis, where Oregon State University will host a three-day festival. You can now book a stay for the night in the residence halls. But you better book fast: Hotels around the state have been accused of canceling reservations and then upping rates for the weekend of the eclipse, while others have been booked for three years. Last month, Oregon State Parks opened an additional 1,000 camping spots for the eclipse. FURRY CONVENTION: Portland was invaded by alpacas last weekend. Around 500 fluffy alpacas and their owners gathered at the Portland Expo Center for the annual Alpaca Halter & Fleece Show May 13 and 14. Nearly 200 alpaca ranchers and farmers brought their cute, fluffy alpacas to town for a halter show, which was open to any member of the public who is deeply interested in alpacas. This amounts to the largest alpaca show in the country, according to organizers. “We get some alpaca people. We had some families come here, some young people were getting the chance to take taking selfies with alpacas, we get all kinds of people,” says Bud Syhorst, executive director of the show. “It’s not that cutthroat like in some other livestock industries.” WW visited the show and placed a video of all the best ones online at wweek.com.

WEDNESDAY, MAY 17

Brewshed Brewfest Brewers have a bit of a water fetish, which is probably why 30 different brewers are coming together for a beer benefit for the Oregon watershed. Cider Riot, Ex Novo, Wolves and People, Pfriem, Fort George and others will offer up their brews, including 17 made just for this event. McMenamins Kennedy School, 5736 NE 33rd Ave., 503-249-3983, mcmenamins. com/kennedy-school. 5:30-9:30 pm. $25 for 8 tasters and a glass, additional 4 ounce tastes $1.

(True) Tales with Don Frost A touring comedian for over a decade, Don Frost has seen a lot of shit—which makes the premise of his long-running showcase, where Frost and fellow Portland comedians tell the bizarre stories that inspired their jokes, a good fit for his material. This time, the lineup includes Amanda Arnold, who’s seen some shit, too—one of her older jokes is about getting an enema from her grandma. Helium Comedy Club, 1510 SE 10th Ave., 888643-8669, portland.heliumcomedy.com. 8 pm. $12. 21+.

THURSDAY, MAY 18

FRIDAY, MAY 19

Cascade Sour Flower Fest If all the Portland chefs are throwing flowers on their food for Instagram purposes, then fuck it: Flowers can go in the beer. The Cascade Barrel House will have a weekend of fl ower sours through Sunday—whether Little Beast’s chamomile-accented Bes or Cascade's own yarrow-flower Desert Bloom. Cascade Barrel House, 939 SE Morrison St., 503-265-8603, cascadebrewingbarrelhouse.com. Free.

CHRISTINE DONG

Alvvays Red Bull kicks off its 3 Days in Portland concert series with Canadian jangle giants Alvvays, whose self-titled debut still holds up in a big way. British “wonky-funk” pioneer NAO headlines the next night, while hometown hero Aminé closes out the mini-fest Saturday night at the Crystal. Wonder Ballroom, 128 NE Russell St., 503-284-8686, wonderballroom.com. 9 pm. $10 with Red Bull Sound Select promo code. 18+.

Get Busy

Welcome to Twin Peaks The meme-ification of all things Twin Peaks is fun and all, but it threatens to rob David Lynch's creation of its unsettling mystery. So let's hope tonight's showcase of Lynchian music—headed by local experimentalists WL and Stochastic Mettle Union, and timed to the premiere of the return season this Sunday— pursues the vital creepiness at the show’s h e a r t . Le t ' s g e t spooked. For real this time. Again. The Fixin' To, 8218 N Lombard St., 503-4774995, thefixinto.com. 8 pm. $7. 21+.

DON FROST

EVENTS WE'RE EXCITED ABOUT MAY 17-23

EveryBODY DIY Performance Art Strip Club Considering our fascination with strip clubs, pop-ups and body positivity, it was only a matter of time until they collided. Folks of all body types, gender preferences and experience levels are invited to show up to Dante’s for a night of patriarchysmashing nakedness that’s sure to turn out more than a few hopefuls who never knew they had it in them. Dante’s, 350 W Burnside St., 503-777-8932, danteslive.com. 9 pm. $15 for general admission; $25 for reserved seating. 21+.

SATURDAY, MAY 20

Nicole Byer Nicole Byer is better known for her sketch comedy than her standup. The Upright Citizens Brigade alum has worked on shows like Girl Code and had a webseries with Saturday Night Live’s Sasheer Zamata. But shameless antics—like drunkenly eating a burger while taking a shit—make pretty good standup material, too. Helium Comedy Club, 1510 SE 10th Ave., 888-643-8669, portland.heliumcomedy.com. 7:30 pm and 10 pm. $16-$23. 21+.

Pillorian After enduring the acrimonious breakup of local folk-metal heroes Agalloch, frontman John Haughm returns to the fore of Portland’s doom scene with his latest outfit, Pillorian, who will be celebrating the release of their brutally melodic debut, Obsidian Arc. See profile, page 29. Dante’s, 350 W Burnside St., 503-777-8932, danteslive. com. 9 pm. $10. 21+.

SUNDAY, MAY 21 Wild Combination: A Birthday Tribute to Arthur Russell The late avant-garde legend Arthur Russell made disco for the thinking person—strange, cerebral dance music that stimulated from the brain on down. Tonight, a lineup of Portland’s own creative body-movers, including Chanti Darling and producer Karl Kling, celebrates Russell’s singular vision on what would’ve been his 66th birthday. See feature, page 33. Holocene, 1001 SE Morrison St., 503- 239-7639, holocene.org. 7:30 pm. $8 advance, $10 day of show. 21+.

QDoc The one-of-a-kind Portland Queer Documentary Film Festival returns for its 10th year with a long weekend of new documentaries about the queer experience. The festival kicks off Thursday evening with a screening of Jennifer Kroot’s The Untold Tales of Armistead Maupin, a look at the life of the man behind the Tales of the City novels that chronicled 40 years of gay life in San Francisco, followed by an afterparty at Velo Cult. Hollywood Theatre, 4122 NE Sandy Blvd., 503-493-1128. Tickets and full schedule available at queerdocfest.org.

MONDAY, MAY 22 The Jesus & Mary Chain With 1985’s seminal Psychocandy, the brothers Reid famously replaced Phil Spector’s Wall of Sound with a wall of screeching distortion while still sounding like the work of a pilled-out girl-group. Damage and Joy, the JAMC’s first new studio offering in 19 years, retains all the druggy cacophony that fans have come to imitate and adore. Crystal Ballroom, 1332 W Burnside St., 503-225-0047, crystalballroompdx.com. 7 pm. Sold out. All ages.

The Last Dragon Mononymous stars Taimak and Vanity, Motown don Berry Gordy and director Michael Schultz came together to forge blaxploitation kung-fu cult classic The Last Dragon. Set in ‘80s New York, this film follows Leroy Green (Taimak) on the path to obtaining “the glow,” the final level of martial arts mastery. Clinton Street Theater, 2522 SE Clinton St., 503-2385588, cstpdx.com. 7 pm.

TUESDAY, MAY 23 Smino Associated with the new wave of rappers shape-shifting the Chicago hip-hop scene, St. Louis transplant Smino represents is the best of both cities that raised him. On his debut full-length, blkswn, you can hear the influence of Southern gospel and Kanye West, all held together by his warm, vibrant spirit. Peter’s Room at Roseland Theater, 8 NW 6th Ave., 971-230-0033, roselandpdx.com. 8 pm. $13. All ages.

Escape From New York One of your buddies is obsessed with this movie. Kurt Russell stars in this low-budget John Carpenter classic as Snake Plissken, a one-eyed prisoner sent into the post-apocalyptic maximum security prison of Manhattan to rescue the President of the United States. Mission Theater, 1624 NW Glisan St., 503223-4527, mcmenamins.com. Screens May 23-27. Willamette Week MAY 17, 2017 wweek.com

FOOD & DRINK

Lunch & Brunch Monday to Friday 11:30am-2:30pm

REVIEW THOMAS TEAL

#wweek

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

y p p a H Hour

WEDNESDAY, MAY 17 Brewshed Brewfest

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

Thirty brewers are coming together for a beer benefit for the Oregon watershed. Wolves and People, Pfriem, Fort George and others will offer up their brews, including 17 made just for this event. McMenamins Kennedy School, 5736 NE 33rd Ave., 503-249-3983, mcmenamins.com/kennedy-school. 5:30-9:30 pm. $25.

THURSDAY, MAY 18 Cascade Sour Flower Fest

The Cascade Barrel House will have a weekend of flower sours through Sunday—whether Little Beast’s chamomile-accented Bes or Cascade’s own yarrow-flower Desert Bloom, Cherry www.shandongportland.com Blossom beer or “Pistil Whipped.” Cascade Barrel House, 939 SE Morrison St., 503-265-8603, cascadebrewingbarrelhouse.com.

Shandong FRIDAY, MAY 19

Shandong www.shandongportland.com

Simple ApproAch

Bold FlAvor vegan Friendly

open 11-10

everyday

Beet Yer Heart Out

Chef Alan Torres of forthcoming Baoser will team with Dave Martinez of L.A. restaurants Elf Cafe and Soho House for a fivecourse “vibrant and lawless” vegetarian pop-up with Spanish drink pairings. Opaline’s, 221 SW Ankeny St., 503-477-8637, opalinescafe. com. 7 pm. $60.

SATURDAY, MAY 20 Thali Supper Club

Leena Ezekiel’s regional Indian food pop-up is back, featuring rarely seen dishes from different regions of India. This time, Thali Supper Club will feature local farm produce with only goods that can be purchased at the Portland Farmers Market. Tournant, 920 NE Glisan St., 503206-4463, 6:30 pm. $65. Tickets at thalisupperclub.com.

Where to eat this week. 1. El Brasero

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

Fillmore Trattoria

Italian Home Cooking Tuesday–Saturday 5:30PM–10PM closed Sunday & Monday

18288 Se Division St., Gresham, 503-669-1253. The people from the El Brasero cart on Hawthorne have a sit-down restaurant with some of the best barbacoa and consomé in town. $.

2. Big’s Chicken

5663 NE Glisan St., 503-477-5922, bigschicken.com. The parking-lot chicken from Laurelhurst Market is now here in the former Big-Ass Sandwiches space. $.

3. Kama’aina

1910 Main St., Suite A, Forest Grove, 503-430-0465, kamaainacfoh.com. Want truly great Hawaiian food near Portland? Go to Forest Grove. $$.

4. St. Jack

1610 NW 23rd Ave., 503-360-1281, stjackpdx.com. St. Jack now has $1 oysters till 5 pm, and till 6 pm you can get an amazing $6 fried chicken sandwich. $-$$$.

5. Danwei Canting

1937 NW 23RD Place Portland, OR 97210 26

Willamette Week MAY 17, 2017 wweek.com

(971) 386-5935

803 SE Stark St., 503-236-6050, danweicanting.com. The hot pepper chicken bath ($10) is easily the best version of this Sichuanese dish in town. $$.

#AUTHENTIC: Kali Wilgus and Liz “LC” Connelly at their pop-up

Flour Power

During an impromptu Christmastime road trip last year to Puerto Nuevo, Mexico, Kali Wilgus and Liz “LC” Connelly lost their minds over tortillas. “In Puerto Nuevo, you can eat $5 lobster on the beach, which they give you with this bucket of tortillas,” Connelly says. “They are handmade flour tortillas that are stretchy and a little buttery, and best of all, unlimited.” Connelly and Wilgus were so enamored with the tortillas, they tried to uncover the recipe. “I picked the brains of every tortilla lady there in the worst broken Spanish ever, and they showed me a little of what they did,” Connelly says. “They told us the basic ingredients, and we saw them moving and stretching the dough similar to how pizza makers do before rolling it out with rolling pins. They wouldn’t tell us too much about technique, but we were peeking into Order this: the windows of every kitchen, totally Bacon breakfast burrito, $8. fascinated by how easy they made it look. We learned quickly it isn’t quite that easy.” Connelly and Wilgus have turned their passion into new weekend spot Kooks Burritos, which has a concept that fits twee Portland: a breakfast burrito pop-up inside the hip Tight Tacos food cart in a Southeast Portland parking lot. “On the drive back up to Oregon, we were still completely drooling over how good [the tortillas] were, and we decided we had to have something similar in Portland,” Connelly says. “The day after we returned, I hit the Mexican market and bought ingredients and started testing it out. Every day I started making tortillas before and after work, trying to figure out the process, timing, refrigeration and how all of that works.” Well, she figured it out. Connelly rolls out the tortillas in front of you and cooks them on the cart’s flat-top griddle, bubbles forming through the uneven circle as the gentle smell of frying dough wafts from the cart. That tortilla is stretchy, pie-crust flaky, charkissed and stuffed with fixins authentic only to SoCal burrito joints: french fries, scrambled eggs, guacamole, cheese and your choice of bacon or carne asada. The result is as decadent as it sounds, the flake of the tortilla and soft crunch from the fries contrasting with the gooey goodness of the eggs, cheese and guac in a hangover-killing burrito. Served with Wilgus’ neon-green serrano salsa and neon-orange chile de árbol salsa, both spicy and bright, breakfast doubles as a ’grammable burrainbow. “The second we had the tortilla, we were like, ‘We’re doing this,’” Connelly says. Get up a little early this weekend, and you can do it, too. WALKER MACMURDO. Kooks Burritos serves decadent breakfast burritos wrapped in homemade tortillas.

GO: Kooks Burritos is at Tight Tacos food cart, 935 SE Cesar E. Chavez Blvd., 503-577-3521, kooksburritos.com. 8 am-noon Saturday-Sunday.

ROUNDUP PHOTOS BY NICK ZUKIN

Siete Estrellas 11945 SW Pacific Highway, No. 104, 503-747-0864. 8 am-10 pm daily.

MEAT STAR: Birria at Siete Estrellas

Birria Is the G.O.A.T. MOST MEXICAN IMMIGRANTS IN OREGON COME FROM THEIR COUNTRY’S WESTERN STATES, WHERE BARBECUE IS KING. Editor’s note: Nick Zukin owns a Mexican restaurant in Old Town called Mi Mero Mole, which does not serve birria. Despite his dedication to traditional Mexican cuisine, we don’t usually let him write about other south-of-the-border restaurants. But for Mexican Meat Month, we let him loose. BY NIC K Z U K I N

@extramsg

“Birria” refers, with all vulgarity intended, to “a piece of shit.” It’s the junk you throw away or wish you could get rid of—that broken-down car, your Comcast internet service, perhaps even a head of state. But, like so many other dishes around the world, sometimes the best food is made using ingredients people with more money refuse to eat—barbecue, burgers, pastrami, pho and feijoada all started as the leftovers with which the poor made do. Birria is Western Mexico’s barbecue, a humble dish that’s now a source of regional pride in Jalisco and Michoacán. Because most of Oregon’s Mexicans come from these western states, birria has been a local staple on taqueria and taco-truck menus for decades. Any meat, from pork to beef to lamb to rabbit, can become birria. But goat, that scavenger ruminant that has been sustaining humans for over 10,000 years, is appropriately the meat most associated with the dish. You’ll see it on menus in Portland as “chivo”—which means kid, or young goat—but beef is also common here. Birria started as a form of barbacoa: pit-cooked meat, though a more heavily seasoned version marinated in chilies and spices. Now, it is typically roasted in an oven. Like barbacoa, birria creates its own broth, which is usually served as a soup with tortillas and condiments on the side. However, it’s common as a taco filling or served on a plate with rice and beans, too. In the past few months, I’ve visited more than 40 Mexican restaurants and trucks to find the best birria in the metro area.

BEST OF THE BEST Amanecer 193rd Avenue and East Burnside Street, Gresham, 971-212-8021. Noon-11 pm Friday-Sunday.

This weekend-only taco truck in the parking lot behind a Gresham Mexican flea market serves some of Portland’s best barbacoa and birria. Ownership changed hands in April 2016, but it is every bit as good as it ever was. Amanecer offers beef birria and lamb barbacoa, with or without consomé, which can come with or without meat. The barbacoa is more lightly seasoned with only herbs and spices. The birria has chilies. Both consomés have chilies and are greasy in a good way. Tortillas are handmade, if a little thick. Tacos come with wonderfully caramelized grilled onions on the side, along with three excellent salsas. Arguably either of the dishes falls in the gray area between barbacoa and birria. Whichever one you choose, you’ll be eating at one of the best taco trucks in the Pacific Northwest.

Amanecer

Siete Estrellas has sat in a run-down strip mall under the radar for years except to jonesing tacoholics in deep Southwest Portland. The dish most food nerds geek out over is the sauce-smothered torta ahogada, one of the few available in the metro area. But the offmenu, available-anytime birria is another Jalisco special that’s probably even better. The broth is lava-red but surprisingly balanced. It’s rich and redolent with chilies, but not especially spicy. Tender chunks of beef hide under the surface. The portion is quite large. The soup comes with handmade tortillas and the best condiment platter in this survey: avocado, cilantro, lime, onion, oregano and toasted chile de árbol—the way they all should be.

STILL DAMN GOOD 4 Caminos 3503 E 4th Plain Blvd., Vancouver, 360-695-1797. 11 am-10 pm daily.

I went through a lot of bowls of mediocre Clark County birria before stumbling into 4 Caminos. It’s one of many Mexican restaurants along Vancouver’s best street for tacos, 4th Plain Boulevard between I-5 and I-205. I had previously eaten decent mariscos at 4 Caminos, but I had never tried the birria. Using goat in the soup provided a more profoundly meaty flavor than other versions that use beef. The flesh from various parts of the animal fell easily from the bone. The matron looked worried when she sat the plate of birria that looked nothing like chicken nuggets in front of a fat white guy, but I sucked those bones clean. She was pleased. The broth has a light chilies flavor with lots of cinnamon and other sweet spices. Cilantro, lime and onion come on the side. Sadly, the tortillas are commercial and do not do the dish justice. Better tortillas might have put 4 Caminos among the very best.

Javier’s Taco Shop 121 N Lombard St., 503-286-3186. Open 24 hours daily.

Javier’s was born from the same Southern California parentage as Muchas Gracias. You’ll see a burrito of steak and potatoes on the menu, some variation of carne asada fries, and other hints at Javier’s origin. But while Muchas Gracias seems to make its food worse and worse with each new location, Javier’s vies with Milwaukie’s Rigoberto’s for best SoCal transplant in the area. Javier’s birria might be good enough to give it the edge, especially since you can get it 24 hours a day.

TACOS

La Norteña

Ochoa’s Lupitas Tacos

While you can’t get a bowl of birria soup at these tiendas and taquerias, you can still get rico tacos to satisfy your carnivorous cravings.

This great little Mexican market makes fresh tortillas and offers hot food to go. You can order birria de chivo and barbacoa de res from the deli counter by the pound or in tacos. Despite those dishes being arguably overseasoned with lots of cinnamon and other spices, La Norteña is still one of my restaurant staff’s favorites.

This fabled truck in the ’burbs offers both birria de chivo and barbacoa de res, each similarly seasoned with cinnamon, cumin and other spices. Ochoa’s has great salsas, but industrial tortillas.

6109 SW 124th Ave., Beaverton, 503-469-9161, lanortenamarket.com. 7 am-10 pm daily.

4810 SW Western Ave., Beaverton, 503-841-4545, ochoaslupitastacos.wordpress.com. Noon-10 pm Monday-Tuesday and Thursday, 11 am-11 pm Friday-Saturday.

The birria has a kick. Your nose will run. Your lips will tingle. It’s spicy. And yet you won’t stop eating it until it’s gone. Javier’s version is made with all parts of the goat. Rib and other cuts containing copious melted connective tissue give the soup body and heartiness. If Javier’s offered good tortillas, this would be among the very best versions. (Note: The birria is a special, so call first.)

El Perico 12000 SW Allen Blvd., Beaverton, 503644-6270. 8 am-10 pm daily.

The intersection of Southwest Lombard Avenue and Allen Boulevard in Beaverton is a nexus of Latin American foods—Peruvian, Salvadoran and Mexican all in the same strip mall. El Perico has always seemed like more bar than restaurant, and with all the other tasty choices nearby, I’ve mostly bypassed it. But El Perico does have a non-bar side, where minors and families can feel comfortable eating. And the menu offers both barbacoa and birria. To my surprise, both were quite good. The barbacoa de res is enjoyable, but the birria de chivo is clearly better. The two soups don’t look that different. They’re both a deep red with chunks of meat poking up like icebergs from the broth. But bone-in goat makes for a more luscious and flavorful soup than boneless beef. It’s peppier, too, with more chilies and a strong aroma of clove. El Perico even offers handmade tortillas.

Taco Salsa

Taco Salsa 18727 E Burnside St., 503-661-5645. Call for hours.

If nothing else, the name of this taqueria gets straight to the point. But just because “Taco Salsa” sounds clumsy in English doesn’t mean the cooks aren’t graceful in the kitchen. Handmade tortillas, consistently well-made meats across the menu and one of the best salsa bars around suggest maybe Taco Salsa is just giving potential diners a heads-up to what it cares about. The birria de chivo can be ordered as a plate with rice and beans or as individual tacos, but the classic soup is the best way to go. It’s not one of the more robust broths, but the goat gives it a satisfying gaminess.

Tortilleria y Tienda de Leon

16223 NE Glisan Street, 503-255-4356, salsaslocas. com. 9 am-8 pm daily.

Guisados are available from the deli counter in tacos or by the pound. The rich and heavily spiced birria de res is available every day, and it’s one of the restaurant’s best guisados.

Willamette Week MAY 17, 2017 wweek.com

MUSIC PROFILE

= WW Pick. Highly recommended.

VELEDA THORSSON

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

WEDNESDAY, MAY 17 Kongos, Mother Mother

[BEAT BROS] South African alt-rock band Kongos is a band of four brothers, known for roaring, fervent, drum-heavy refrains and gravelly shout-singing. Utilizing elements of kwaito—a South African variant on house—and using instruments such as accordion and Burundi drums, the group sounds like few others in the world. Newest LP Egomaniac sees the brothers stepping into smoother, silkier terrain, while still maintaining thunderous energy. They might not be Hanson, but they do work together really well. MAYA MCOMIE. Hawthorne Theatre, 1507 SE César E. Chávez Blvd., 503-233-7100. 8 pm. $22 advance, $25 day of show. All ages.

Shannon and the Clams, Eat Skull

[DOO-WOP FUZZ] In a universe of bullshit, feel-good throwback acts, Oakland’s Shannon and the Clams are setting the bar for retro-minded rock’n’roll for everyone else. Half 1950s ooh-baby-baby pop, half early 2000s garage rock gnarl, their songs are so much more than charming—though the made-up, red-bolo-tie glamour of their usual costuming does instill a hazy, timewarp enchantment to their live shows. Ripping through surfy guitar licks and minor-key, stomp-clap melodies, redlipped front woman Shannon Shaw leads this wolf pack of boys, and all of them shake the whole time, committed to the sweat and the groove. ISABEL ZACHARIAS. High Water Mark Lounge, 6800 NE Martin Luther King Jr. Blvd., 503-286-6513. 9:30 pm. Sold out. 21+.

The Wild Reeds, Blank Range

[THREE-PART HARMONIES] The pristine vocal delivery of folk trio the Wild Reeds is so squeaky-clean you could tune your guitar to it. The Los Angeles band is signed to Nashville’s Dualtone Records, a welcoming place for similarly outspoken and gifted singers like Langhorne Slim and Shovels and Rope. A strong April release earlier this year called The World We Built demonstrates not only a mastery of harmony-rich Americana, but an audible appreciation of the framework established by heroines Neko Case and Patsy Cline. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 503288-3895. 9 pm. $13 advance, $15 day of show. 21+.

THURSDAY, MAY 18 Sama Dams, Korgy & Bass

[BEAT MUSIC] Whether tossing listeners new interpretations of the wobbly rhythms pioneered by hip-hop producer J Dilla, or showcasing an immense jazz-informed virtuosity over quick-changing loops, local duo Korgy & Bass wear their influences on their sleeves, merging musical traditions via a head-bobbing cloud of beat music. Tonight, drummer Barra Brown and bassist-beatsmith Alex Meltzer celebrate the release of their latest track, “Bitter Horizon,” a hip-hop-styled single which features vocalist Catherine Feeny and rapper Dusty Fox. PARKER HALL. Bunk Bar, 1028 SE Water Ave., 503-3282865. 9:30 pm. $8. 21+.

Fenech-Soler, Knox Hamilton

[INDIETRONICA] U.K. indie-electronica act Fenech-Soler’s newest LP, Zilla, bursts with danceable, pumping techno-pop that lives between EDM and indie synth-pop acts like Glass Animals. With influences spanning zouk, funk and glam, the band melds soothing vocals, layers of synth beats and jangly guitars into catchy, rhythmic tunes. The band had some setbacks in the past several

years, with Ben Duffy’s cancer diagnosis, followed by the departure of two of its four founding members. Operating now as a duo, Fenech-Soler’s electronic core remains intact and vital. MAYA MCOMIE. Doug Fir Lounge, 830 E Burnside St., 503-231-9663. 9 pm. $12 advance, $15 day of show. 21+.

The Frights, Hunny, King Shelter

[SURFWAVE] The last time the Frights came to town, they were still riding high on their 2016 debut You Are Going to Hate This. The band hasn’t released anything new since, but its dirty, doo-wop surf intermingles with ’50s-inspired country and rockabilly in a way that’s long-lasting. The appeal isn’t lost on them, going so far as to name this new excursion the Back in the Same Saddle Again. CERVANTE POPE. The Analog Cafe, 720 SE Hawthorne Blvd., 503-206-7439. 7 pm. $12 advance, $14 day of show. All ages.

Robbie Fulks

[BITTERSWEET TWANG] On last year’s Upland Stories, Robbie Fulks served up a sampler platter of modern country’s most vital elements, minus the glitz, glamor and gallantry that makes the genre gag-inducing to anyone unfamiliar with the “alt” qualifier often affixed to artists like Fulks. A rich palate drawn for years of hard livin’ gives Fulks a seamless songwriting edge as he shifts effortlessly between shuffling lullabyes (“Sweet As Sweet Comes”) and clawhammer banjo ditties (“America Is a Hard Religion”), creating a cohesive whole that’s hard to nail down to just one or two variants from the Americana playbook. PETE COTTELL. White Eagle Saloon, 836 N Russell St., 503-2826810 8 pm. $22 advance, $25 day of show. 21+.

3 Days in Portland: Alvvays, the Courtneys, Candace

[JANGLE GIANTS] It’s no surprise that Alvvays’ self-titled debut still holds up in a big way after two years of soundtracking every indie kid’s sunny backyard party and trip to the beach with the windows down and the stereo up. With a new album in the works, critics and fans wait with bated breath to see if the young Toronto group can keep it simple while retaining the bouyant charm and tasteful integration of the best ideas of the Smiths and the Sundays that caused such a pleasant stir the first time around. Tonight’s show kicks off Red Bull’s 3 Days in Portland concert series. PETE COTTELL. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 9 pm. $10 with Red Bull Sound Select promo code. All ages.

FRIDAY, MAY 19 Pete Yorn

[COLLEGE ROCK ALUM] Since dazzling critics with his 2001 Americana-pop masterpiece Musicforthemorningafter, Pete Yorn has been unfairly relegated to the status of a college radio also-ran who doesn’t know when to quit. Aside from co-writing Scarlett Johansson’s 2009 record, Break Up, Yorn has laid low and released a pair of decent AOR records, 2010’s self-titled release and 2016’s Arranging Time, both of which prove Yorn is perfectly comfortable living it up in the Venn Diagram overlap between Jeff Buckley and David Gray. He’ll be trotting out the classics in a solo acoustic setting this time around, which may be his effort to test the waters of the singer-songwriter world he’s already had one foot in from the get-go. PETE COTTELL. Hawthorne Theatre, 1507 SE César E. Chávez Blvd., (503) 233-7100. 9 pm. $30. 21+.

CONT. on page 32

Heavy Pressure A YEAR AFTER THE BREAKUP OF PORTLAND’S FINEST METAL BAND, CAN JOHN HAUGHM’S NEW PROJECT WITHSTAND THE WEIGHT OF EXPECTATION? BY PETE COTTELL

The only thing heavier than John Haughm’s music is the expectation surrounding it. As drummer and vocalist of folk-metal masterminds Agalloch, Haughm served as the metronome and muscle of one of the Pacific Northwest’s most inventive and admired metal acts of the past two decades. When the band abruptly split last May, there was much speculation as to why Agalloch would pull the plug when they were quite obviously still at their peak. Former Agalloch guitarist Don Anderson cited Haughm’s ambition as cause for the group’s undoing. “He’s getting tour offers from all over the world,” Anderson said in a 2016 interview with Billboard. “And we had to turn ‘em down. We never assumed or imagined there would be a day he would choose that over playing with his best friends that he’s been playing with forever, but I think when the band becomes the business, and when some members depend on it for their livelihood and you start playing gigs to pay rent, that is the beginning of the end because you’re not playing music to just play music.” While Anderson has resigned academic life in upstate New York, Haughm is doing everything he can to remain true to his roots while stepping out from Agalloch’s considerable shadow. Part of this has involved a steadfast insistence on no longer discussing the details of his previous gig, which is understandable. The other component of moving on is his latest project, Pillorian. Founded shortly after the dissolution of Agalloch, Haughm sees Pillorian as the best of both worlds. “I really like the aggression in Pillorian’s music,” Haughm writes via email. “I enjoy utilizing weird, alternate tunings and the unorthodox melodies that [guitarist] Stephen [Parker] brings to the sound. It pushes me to be even more creative with song structure and my own guitar work. I think we will step this up even more on future material.”

The brute force that opens Obsidian Arc, the group’s debut record, is a clear indicator that Haughm intends to hit the ground sprinting. Whereas Agalloch records dabbled in elongated build-ups interspersed with cloudy atmospheric passages and quirky Renaissance faire instrumentals, Pillorian goes straight for the throat, with blast beats, crunchy power chords and the minor-key arpeggios that Agalloch helped solidify as a calling card of the folk-metal genre. Fans expecting a recapitulation Ashes Against the Grain’s meandering ambience won’t be far from home, but Haughm has little intention of coddling them as they adjust to the raw power of Pillorian. “[Expectations] are there, of course,” writes Haughm. “But [they] don’t bother me. Pillorian was never meant to be a continuation of my previous band. It is a totally different entity and I think it will evolve even further away from the shadow of Agalloch with each new album we make.” Of course, the luxury of fronting a legendary metal group is access to a built-in and particularly rabid fanbase. While his work may not have made him a household name in mainstream circles, Agalloch’s relentless touring laid plenty of tracks for Pillorian to smoothly travel while promoting Obsidian Arc. With a band set on global domination at his back, Haughm is poised to overcome the personnel challenges that stalled so much of Agalloch’s momentum. Considering the first slew of dates they undertook, calling them a “Portland band” seems to be a stretch at this point. “There are positives and negatives in being a musician here like with any local scene,” Haughm writes. “As for Pillorian, we are a bit of an anomaly because we started our career with a show in Eugene, then did a 25-date European tour and a show in Seattle before playing in Portland. That’s not exactly how most new local bands start out.” SEE IT: Pillorian plays Dante’s, 350 W. Burnside St., with Usnea and Atriarch, on Saturday, May 20. 9 pm. $10. 21+. Willamette Week MAY 17, 2017 wweek.com

Willamette Week MAY 17, 2017 wweek.com

TOP

S H AW N B R A C K B I L L

MUSIC

FIVE FLEET FOXES BEEFS FATHER JOHN MISTY

Before reinventing himself as an ironic hippie lothario, Josh Tillman had the most thankless job in rock: playing drums for Fleet Foxes. (Think of a Fleet Foxes song. Are you hearing any percussion at all?) In a Reddit AMA last year, frontman Robin Pecknold confessed his relationship with Tillman had “fully deteriorated” even before Tillman quit in 2012. It’s unclear who’s at fault, but we’ll go with the guy who sings “Bedding Taylor Swift every night inside the Oculus Rift” on his new album.

2 SEATTLE ALTERNATIVE MEDIA When Fleet Foxes released its sophomore effort, Helplessness Blues, in 2011, the band’s hometown alt-weekly, The Stranger, took the obvious approach to covering the album—by playing it for actual foxes at the zoo and noting their reactions. Pecknold was not amused. He called the piece “belittling” and cited it as a reason why he briefly left Seattle for Portland that year. (He’s probably totally cool with this article, though, right?) 3 DAVID CROSBY To be fair, it’s pretty easy to end up in the Croz’s crosshairs: All it really takes is someone mentioning your name to him on Twitter. When a fan tweeted the rock curmudgeon to ask what he thought of Fleet Foxes frequently being compared to CSNY, Crosby responded, “Could use some better songs.” Which was a little weird, since he’d previously professed to be a fan of theirs. Maybe he confused them for the Lumineers? 4 MODERN INDIE ROCK Earlier this year, Pecknold and David Longstreth of Dirty Projectors got into a public conversation on Instagram about the current state of indie rock, with Pecknold writing, “Whitney, Mac DeMarco, Angel Olsen, Car Seat Headrest? Idk if any of that has ‘cutting edge’ written into the M.O., even if it’s fun to listen to.” Music Twitter scoffed at the notion of the dude in the bearded folk band criticizing other artists’ lack of innovation; Pecknold took to Reddit to explain his comment was being taken the wrong way. The fact that this was the talk of the blogs for a few days probably tells you all you need to know about indie rock in 2017. 5 WES BORLAND In an interview with Stereogum, Borland—you might remember him as the guy from Limp Bizkit who dressed and moved like Mr. Peepers in a Kabuki drama—responded to a question about whether his old band was good or bad for music by saying, “I think that Fleet Foxes is a negative influence on music.” When the kids at the Newport Folk Festival respond to “Mykonos” by lighting trash on fire and punching each other in the face, don’t say you weren’t warned. MATTHEW SINGER. SEE IT: Fleet Foxes plays Crystal Ballroom, 1332 W Burnside St., with Chris Cohen, on Thursday, May 18. 8 pm. Sold out. All ages. Willamette Week MAY 17, 2017 wweek.com

MUSIC Pinkish Black, the Ditch and the Delta, Diesto, SOL

3 Days in Portland: NAO, Harriet Brown, Chanti Darling

L.A. Takedown, Dear Nora

SATURDAY, MAY 20

[SYNTH METAL] It’s a testament to our modern times that a synthdrums duo obsessed with horror soundtracks could get signed by Relapse. No, I’m not talking about Zombi or Survive. Pinkish Black throbs like early Cure and pounds like Burning Witch. If dark, dynamic, synth-driven doom sounds like the perfect cocktail, look no further. Crossing paths like battleships in the night is the most exciting recent export from Salt Lake City, the Ditch and the Delta, a power trio that masters doom and sludgecore in an era when it seems everything has already been done. Its brand new LP, Hives in Decline, released just last week on local label Battleground Records, proves there is still room to maneuver in the most clogged of genres if you have heart and imagination. NATHAN CARSON. High Water Mark Lounge, 6800 NE Martin Luthing King Jr. Blvd., 503286-6513. 9 pm. $13. 21+.

[CINEMATIC INSTRUMENTALS] II, the new album from experimental cinematic-pop outfit L.A. Takedown, creates a sprawling, unpredictable universe all its own—imagine the Planet Earth soundtrack on weirdo nightclub drugs. At every turn, euphoria is cut with something sinister. Thick, beach-y guitar harmonies lead the way through the carefully curved, miniature narratives on each track, sometimes exploding in a wash of synth, at other times percussive and uneven. The instrumental new release will act as a perfect, unlikely complement to Portland indie-pop darlings Dear Nora, who have always aligned themselves with language, dressing frank narratives in no-nonsense guitar-rock clothing. Here’s an evening of experimenters on two ends of the spectrum. ISABEL ZACHARIAS. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 9 pm. $12 advance, $14 day of show. 21+.

Welcome to Twin Peaks: Vexations, WL, the Other Place, Stochastic Mettle Union

Too Many Zooz, Massacooramaan

[BRASS HOUSE] See the Bump, page 23. Aladdin Theater, 3017 SE Milwaukie Ave., 503-234-9694. 9 pm. $15 advance, $18 day of show. 21+.

3 Days in Portland: Aminé, A2, The Last Artful Dodgr

[POP-RAP PRODIGY] At his last hometown gig, Adam Aminé Daniel—Portland’s first viral rap star—proved he’s got the charisma to keep his career trajectory moving upward once the buzz from his breakout hit “Caroline” subsides. All he needs is the material. Headlining Roseland for the first time, he filled out his set with surprise cameos, Bob Marley and Frank Ocean covers and an extended riff on local high schools. (Benson, stand up!) Five months later, Aminé is once again returning home, riding his formal follow-up to “Caroline,” the sleek banger “Redmercedes.” While it hasn’t blown up in the same way, his ability to switch from Technicolor buoyancy to nocturnal cool without losing an ounce of charm certainly bodes well for the forthcoming album, whenever it gets released. MATTHEW SINGER. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 9 pm. $10 with Red Bull promo code. 18+.

Cassandra Jenkins, Shelley Short

[DREAMY AMERICANA] It’s hard to categorize Cassandra Jenkins’ debut album, Play Till You Win. At first glance, it’s a breathy, Cat Power-like take on dreamy, moody folk. But as you get deeper into it, the curious blend of ‘60s psychfolk, airy surf tones and twangy country becomes so intertwined

CONT. on page 35 COURTESY OF BIZ3

[TV PARTY] The meme-ification of all things Twin Peaks is fun and all, but the preponderance of James jokes threatens to rob David Lynch’s creation of its unsettling mystery. So let’s hope tonight’s showcase of Lynchian music pursues the vital creepiness at the show’s heart. We could all use a reminder that Lynch is one of the great welders of sound and image. Think Rebekah del Rio straight-up slaying Orbison in Mulholland Drive. Or Eraserhead’s lady in the radiator birthing nightmares with “In Heaven.” Or good old James Hurley crooning “Just You” to a future that would mock him for it. Let’s get spooked. For real this time. Again. CHRIS STAMM. The Fixin’ To, 8218 N. Lombard St., 503-477-4995. 8 pm. $7. 21+.

[FUNKY R&B] The second day of Red Bull Sound Select’s 3 Days in Portland mini-festival features a lineup of funky R&B musicians throwing the genre back to its jovial ’90s iteration. Replacing rapper Shamir, who cancelled last minute, NAO steps up to the plate with the self-described “wonky funk” she uses to brighten up London’s grey skies. She uses her sweet voice like another instrument thrown into her mix of electro-pop beats. With this slight and welcomed change in lineup also comes a change in the behindthe-scenes players, as Red Bull has since teamed up with Sankofa Collective Northwest, a local nonprofit support group for LGBTQ people of color, as well as the Ally Coalition. CERVANTE POPE. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 9 pm. $10 with Red Bull promo code. 21+.

SCARE TACTICS: H09909 Plays Holocene on Monday, May 22. 32

Willamette Week MAY 17, 2017 wweek.com

DATES HERE COURTESY OF AUDIKA RECORDS

HOTSEAT

Elsewhere in the Everyday ARTHUR RUSSELL WAS ONE OF MUSIC’S GREAT ENIGMAS. ONE LOCAL SCHOLAR BELIEVES BUDDHISM IS THE KEY TO FIGURING HIM OUT. BY M AT T H E W SI N G E R

msinger@wweek.com

Twenty-five years after his death, people are still trying to figure out Arthur Russell. A prominent figure of New York’s downtown art scene of the 1970s and ‘80s, Russell traversed several musical worlds in his lifetime—from chamber music to power pop to, most famously, avant-garde disco—and imbued everything he did with a singular sensibility that’s difficult to pin down. Of course, that hasn’t stopped fans from trying. This week, several Portland artists are gathering at Holocene to honor Russell on what would’ve been his 66th birthday. Among them is composer and scholar Matt Marble, who last year published a massive dissertation exploring the influence of Buddhism in Russell’s work. Willamette Week spoke to Marble about what he found in Russell’s archives, how his spirituality manifested in his music and his attempts to bring the temple into the club. Read an extended Q&A at wweek.com. Willamette Week: Arthur Russell is an artist with many potential entrance points for fans. What was yours? Matt Marble: I first heard Russell’s World of Echo when Audika Records re-released the album in 2005. Within seconds I was totally mesmerized—the gentle fluidity and virtuosity of Arthur’s cello, voice and electronic effects; the fusion of styles, from heavy metal to Indian raga, dance music to blues, minimalism and the avant-garde. Perhaps most of all, I was seduced by that breath of fresh air from some “imaginary, far-off” place. I never tire of it. In a general sense, what made Russell unique as a composer? His fluid fusion of musical styles. His gentleness and virtuosity as a cellist, vocalist, producer and composer. The fearlessness with which he retained his chameleon self. And that incantatory mood that one encounters in a disco single or an orchestral meditation, in a pop song or in the echo of his cello hymns. It’s the audibility of that “elsewhere” in the everyday, which he was always pursuing through music.

IS IT ALL OVER MY FACE?: Arthur Russell

What first attracted you to the Buddhist elements of his music? Music has always been a spiritual practice for me, personally. I am deeply inspired by esoteric traditions, and I seek out similar motivations in other artists. I had recognized hints of Buddhism in Arthur’s music—the lyrical imagery of animals and natural phenomena, the use of drone, abstract language, symbolism and experimentalism. I also heard and felt a thread connecting all the diverse styles of his output, and I presumed this thread to be a spiritual one. But it was Tim Lawrence’s book [Hold Onto Your Dreams] and Matt Wolf’s documentary [Wild Combination] that made this more explicit to me. At the same time, they left a lot unsaid. And then I really wanted to know more. How d i d y o u fi n d t h o s e e l e m e n t s m a n i f e st themselves in his compositional process? Is it possible to hear those elements as a layman? I do think it’s audible. But that’s also a very subjective thing to me. And I think there are different entryways for different people. There’s that Buddhist imagery throughout all of his work—tiger, rabbit, deer, moon, light, water—while some of his earliest scores are settings of Buddhist scripture to music, or musical applications of meditation and mantra. A lot of Russell’s experimental approaches to music, which are very audible, are directly tied to his Buddhist practice, while his archives overflow with pages and pages of the mind behind the music.

How did his spirituality manifest in Russell’s disco productions? Russell described disco clubs as “temples of music”—the music praised with high-end sound systems while diverse people commune in the ecstasy of celebratory music and dance. Recording as Loose Joints, Russell even invited club dancers into the studio to bring the club into the recording. While the music and lyrics were often inspired by Buddhist imagery, symbolism and philosophy—in tantric character, sexual and cosmic union fuse in Russell’s dance tracks as well as on the dance floor: “I wanna see all my friends at once/I’d do anything to get the chance to go bang/I wanna go bang.” Russell has become more of a celebrated figure in the decades since his death. But he was such a complex figure. Do you think we’re remembering him correctly? This question also made me think of a song lyric from Russell’s video collaboration with Phill Niblock, “Terrace of Unintelligibility”: “It’s an unfamiliar sight/In an unfamiliar place/Outside the mirror.” Who is Arthur Russell? How do you reduce a person to an easy description, when their whole life was devoted to transforming and transcending their self? Russell constantly changed musical genres and identities, while a single song could take on innumerable stylistic forms. But his music was really a lure for something much bigger. To me, the deeper impact of Russell’s music is in the spiritual and cosmic perspective that flows through it all and that guided his curious compositional process. At least, that’s what I’ve tried to communicate. SEE IT: Wild Combination: A Birthday Tribute to Arthur Russell is at Holocene, 1001 SE Morrison St., on Sunday, May 21. 7:30 pm. $8 advance, $10 day of show. 21+. See holocene.org for complete lineup.

#wweek

The Stray Birds Friday May 19 7PM

C I S U M fremonttheater.com

2393 NE Fremont Ave. Willamette Week MAY 17, 2017 wweek.com

@WillametteWeek

@wweek

R E V NE S MIS A BEAT

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Willamette Week MAY 17, 2017 wweek.com

MUSIC it’s hard to make out exactly what genre she’s working in. With a soft, whispered voice often described as “smoky” and “smoldering,” Jenkins’ intonations are ever gentle, even when the words are accusatory, tragic and aching. MAYA MCOMIE. Fremont Theater, 2393 NE Fremont Street, 503-946-1962. 9 pm. $12 advance, $14 day of show. All ages.

Portland Cello Project

[NOT YOUR MOTHER’S CELLO] Inspired by a recent Alaskan residency, shapeshifting local act Portland Cello Project plays new material before its beloved hometown as one of just two local shows scheduled for 2017. And while this one is already sold out, a Craigslist search is probably worth your while, as tonight’s bill includes longtime collaborator Annalisa Tornfelt as well as founding member and cello-bop purveyor Gideon Freudmann, among others. The PCP has been turning pop music on its head since 2006, with a signature chamber treatment of everything from Beck to Rihanna. Expect a more classic affair honoring the sounds of spring according to the Last Frontier. MARK STOCK Revolution Hall, 1300 SE Stark St #110, 503288-3895. 8 pm. Sold out. All ages.

SUNDAY, MAY 21 Michael Kiwanuka, Cloves

[SOUL] Michael Kiwanuka has been sneaking up the charts in his native England since touring with Adele in 2011. The soul artist made his major American landfall earlier this year when the HBO series Big Little Lies chose his rich

and rhythmic “Cold Little Heart” as its theme song. Kiwanuka is much more than a sound bite, however, and latest record Love & Hate proudly testifies to that. Kiwanuka’s resounding vocals and love of ample stage company— he’s often supported by a band featuring backup singers, horns and airy woodwinds—reminds of tried-and-true greats such as Marvin Gaye and Otis Redding. MARK STOCK. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 8:30 pm. Sold out. All ages.

MONDAY, MAY 22 Ho99o9

[PUNK RAP] Ho99o9 (pronounced Horror) live by a “punk is punk” mantra. It seeps through their attitude, lifestyle and mosh-pitinciting shows. For What makes TheOGM and Eaddy, two New Jersey natives transplanted to Los Angeles, so fascinating is the pleasure they take in disrupting the hip-hop norm. Their music is drenched in gore, sex and abrasive noise and sits at the intersection of several genres, from rap to thrash metal. It embodies the visceral listening experience they’ve created on United States of Horror, a 46-minute portrayal of black rage. To hear Ho99o9 tell it on the title track, they confront the cruel side of America and what it’s like to be a person of color fighting against police brutality and racism with a simple proclamation: “You want peace, you gotta be ready for war.” ERIC DIEP. Holocene, 1001 SE Morrison St., 503-239-7639. 8:30 pm. $13 advance, $15 day of show. All ages.

CONT. on page 36

STEVE GULLICK

PREVIEW

ANNOUNCING

GIVE! GUIDE 2017 CALL FOR NONPROFITS ! ! ! ! ! ! !

Jesus and Mary Chain, The Warlocks [THE GOSPEL OF SQUALL] With 1985’s seminal Psychocandy, the brothers Reid famously replaced Phil Spector’s Wall of Sound with a wall of screeching distortion, while still retaining the melodic aesthetic of girl-group pop. Their tenuous familial relationship made Jesus and Mary Chain releases something of an irregularity. But when they did come, each was not without at least a few bangers. The inclusion of Psychocandy’s “Just Like Honey” in the Scarlett Johansson/Bill Murray vehicle Lost In Translation introduced JAMC to a new generation and even prompted a live duet with ScarJo at the band’s Coachella gig a few years later at their first reunion concert. Damage and Joy, the band’s first new studio offering in 19 years, features all the cacophony and druggy-chic posing fans have come to adore and innumerable followers have tried to imitate. With contributions from Sky Ferreira and fellow Scot Isobel Campbell—formerly the “Belle” of Belle and Sebastian— Damage displays the primary modes of the Mary Chain across it’s 18 tracks, cherry-picking the sonic elements of their catalog’s best work and creating a shockingly vital statement combining driving fuzz with breezy euphoria. CRIS LANKENAU. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 7 pm. Sold out. All ages.

! ! ! ! ! ! !

A P P L I C AT I O N S O P E N

JUNE 1

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! ! ! ! ! ! !

COURTESY OF RCA RECORDS

MUSIC

LESS IS MORE: NAO Plays Wonder Ballroom on Friday, May 19.

Smino, Monte Booker, Jay2, Bari

CLASSICAL, JAZZ & WORLD

[HIP-HOP SOUL] St. Louis rapper Smino released his debut, Blkswn, on March 14, in honor of his hometown. He’s since established himself in Chicago with the Zero Fatigue collective, helmed by producer Monte Booker. Identified with the new wave of artists shape-shifting the Chicago scene, Smino’s music is the best of both cities that raised him—you can hear influences of Tef Poe’s outspokenness and Kanye West’s soulful collages, all held together by his warm, vibrant spirit. Blkswn is inventive for the 25-year-old rapper, with melody-driven songs like “Anita” and “Netflix & Dusse” pushing the boundaries of Chance the Rapper’s gospel-tinged style. Coming off last year’s excellent Blkjuptr EP—a project revolved around being culturally alienated in America—Smino remains one of 2017’s most promising breakouts. ERIC DIEP. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm. $13. All ages.

Larry Fuller Trio

TUESDAY, MAY. 23

[MADRIGALITY] An art form born half a millennium ago, the madrigal is sure having its Portland moment. This season alone has seen a half-dozen concerts wholly or partly devoted to the secular song form that arose in Renaissance Italy. One reason for this sudden uptick in interest is the 450th birthday of maybe the greatest of madrigal composers, Claudio Monteverdi. The Italian baroque master added instrumental accompaniment and helped transform the poetic songs into more dramatic expressions of deep emotion. Northwest Art Song brings six of Portland’s finest classical singers plus Seattle theorbo—it looks like a huge guitar—ace John Lenti, who plays with Portland Baroque Orchestra, to The Old Church, 1422 SW 11th Ave., 503-222-2031. 7:30 pm Wednesday, May 17. $5-$25. All

Mommy Long Legs, the Bedrooms, Mr. Wrong

[PUN ROCK] Funny bands are too often one-trick ponies that grate soon after first contact. But Seattle’s Mommy Long Legs manages to be hilarious without slipping into obnoxious gimmickry. OK, it might be obnoxious, but only in necessary and exciting ways. Take this beautiful couplet, which rivals anything in Mean Jeans’ dumb-smart discography: “You can take your money and put it in your asshole/You can take your condo and put it in your bungalow.” Is there a better distillation of the futile rage one feels when one’s neighborhood sprouts an army of brosephs? The quartet’s hilarious broadsides are matched by a perfectly scuzzed-and-fuzzed approach to poppy punk—it’s radical in all the best ways. CHRIS STAMM. The Liquor Store, 3341 SE Belmont St., 503-754-7782. 9 pm. $7. 21+.

[CLUB TUNES] On the surface, the romantic style of piano jazz performed by New Yorker Larry Fuller and his bass-drums trio feels like the same well-heeled take on the genre you might catch in any highfalutin hotel lounge. But when you listen deeper, you’ll find that Fuller is not only an expressive and emotional performer of the jazz world’s least-tired standards, but a big fan of the musical Easter egg. Virtuosic takes on songs like Clifford Brown’s “Daahoud” include various tongue-in-cheek references to historic soloists and melodies, with Fuller and band showcasing a poetic commentary on classic ideas that proves an absolute mastery of their art form. PARKER HALL. Classic Pianos, 3003 SE Milwaukie Ave, 503-2399969. 7:30 pm Wednesday, May 17. $20. 21+.

Northwest Art Song presents Monteverdi 450

ages.

FearNoMusic and Cascadia Composers present New Pearls from the Antilles

[CUBAN CONTEMPORARY CLASSICAL] Last fall, a delegation of Cascadia Composers

Willamette Week MAY 17, 2017 wweek.com

PROFILE JOSEPH LLANES

members took advantage of President Obama’s opening to Cuba to bring Oregon music to an esteemed Havana new-music festival, to be played by Cuban musicians for the first time. Now they’re returning the favor, with help from Portland new music ensemble FearNoMusic, inviting Cuban composers Guido López-Gavilán and José V. Gavilondo Peón to lead performances of their chamber music, along with half a dozen other contemporary Cuban classical compositions covering a wide range of styles. The Cubans—and everyone else—can hear Cascadia’s reciprocal concert the next night at Colonial Heights Presbyterian Church featuring new music by Oregon composers inspired by the sights and sounds of the Pacific Northwest. BRETT CAMPBELL. Temple Baptist Church, 1319 NE 7th Ave., 503-2335953. 8 pm Friday, May 19. $5-$20. All ages.

Pura Vida Orquesta

[LATIN TROPICALIA] Any Portlander lucky enough to have happened upon the Pura Vida Orquesta knows they’ve found a rare, precious corner of the city’s live music scene. The monstrous Latin dance sound of this 10- to 12-piece band can override anyone’s social anxieties, creating a space that’s boozy, dance-y, loose and insanely fun. More than just a refreshing change of pace from other weekend dance music options, the group has serious chops. The harmonies are tight, the brass is loud, the percussion is driving and layered. Above all, it’s delivered with absolute confidence—that inexplicable, infectious quality best described as “star power.” If you can’t salsa dance, down a few beers and let someone teach you. ISABEL ZACHARIAS. Mississippi Pizza Pub, 3552 N Mississippi Ave., 503-288-3231. 9 pm Saturday, May 20. Free. 21+.

Oregon Koto-kai

[TRADITIONAL JAPANESE KOTO] The Japanese koto is a long, horizontal, 13-stringed harp. It has a brighter and more percussive sound than most Western stringed instruments, but it could hardly be described as “abrasive.” In fact, the instrument— unfriendly to beginners and incredibly difficult to master—becomes soothing and ceremonial-sounding when played skillfully. Helmed by koto master Mitsuki Dazai, the Oregon Kotokai will play up to five kotos at once, hoping to both evoke childhood memories for those audience members with a Japanese background and give koto newcomers a sampling of the wide range of sounds this deeply dynamic, venerated and unique instrument can produce. ISABEL ZACHARIAS. The Jasmine Pearl, 724 NE 22nd Ave., 503-236-3539. 1:30 pm Sunday, May 21. $20. All ages.

Oregon Symphony presents Mahler’s Symphony No. 2

[CLASSICAL FINALE] The Oregon Symphony’s 2016-17 season ends with a resounding climax with this single 77-minute Mahler symphony, drafted in 1888 and revised by the composer in 1909. Though its themes are nothing lighter than life and death, Mahler himself felt that his music should not be explained so much as experienced. Soprano Tamara Wilson and mezzo-soprano Elizabeth DeShong will be joined by the Portland State University Choirs in a series of movements that wed placid melodies with macabre funeral marches—music of such duration and power that using the restroom beforehand is highly encouraged. It’s a fitting finale to an excellent season. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-2484335. Monday, May 22. $35-$150. All ages.

For more Music listings, visit

New Age Outlaw It’s an image straight out of the Museum of Country Music Stereotypes—a musician by the name of Outlaw, barreling through the dusty highways of Texas with his band amid a sleepless tour that may or may not bring in any cash. The stereotype starts to unravel inside the tour van. There, you’ll find the musician with his wife and 1-year-old kid, not some half-drunk, road-hardened troubadour. And when the band begins to play, the stereotype is gutted entirely, the machismo of traditional honky-tonk swapped for reflective West Coast Americana. Sam Outlaw is used to this scenario. Country purists continue to be dumbfounded by the Los Angeles singer-songwriter’s sound, which is plenty twangy but accented by sensitive lyrics, breezy California country-rock and even mariachi brass. In short, Outlaw has the line dancers in a real tizzy. The 34-year-old born Sam Morgan isn’t exactly a lifer. He played trumpet as a kid and dabbled in choir before latching onto records by Texas swing masters Asleep At The Wheel. He tried writing songs, but held onto his full-time gig in ad sales. “I held out until the very last minute,” Outlaw says of his plunge into music. “I watched a lot of friends in fairly big bands continue to be piss poor and live in shitty hotels and apartments.” Eventually, he borrowed money from his dad to complete his first record. Soon, he had a slot on famed Americana variety show Music City Roots in Nashville. “I can now attest that being poor and staying in shitty hotels as a musician is true,” he jokes. April saw the release of Outlaw’s sophomore record, Tenderheart. It arrived at an interesting time for country, when the mainstream continues to chase tail and swill beer while acts like Sturgill Simpson, Marlon Williams and Robert Ellis add nuance and regional identity. Outlaw occupies the latter category, honoring the traditionalism of Merle Haggard while importing eclectic folk elements that could only come from a cultural melting pot like Los Angeles. “Don’t get me wrong, I love pop,” Outlaw says. “Songs shouldn’t go much longer than three minutes. My biggest beef with most country music today is that it sucks.” Fortunately, Outlaw is having a say in changing that. Two albums in, he may not be rich, but he’s earned a significant following. He has the blessing of fellow Californian, roots legend Ry Cooder, who Outlaw collaborated with on his first album, Angeleno. He was the first American artist signed to lauded Canadian indie label Six Shooter Records. This year, Outlaw was even named for an Emerging Artist honor by the Americana Music Association. Despite his early hesitation, Outlaw is fully embracing his new career, and the accolades that come with it. “Some people are afraid to say they want to be successful,” he says. “But I want that.” MARK STOCK.

Sam Outlaw thinks country music sucks. He’s trying to change that.

SEE IT: Sam Outlaw plays Doug Fir, 830 E Burnside St., with Michaela Anne, on Tuesday, May 23. 9 pm. $12 advance, $13 day of show. 21+.

The Old Church Concert Hall Presents

Rick Shea & Christy McWilson

Marley’s Ghost

Friday, May 26 - 8pm

Saturday, May 27 - 8pm

with opener Matty Charles & Katie Rose with opener Zak Borden

Sir Richard Bishop

Nani and

with opener Robert Millis

Seffarine

Sunday, May 28 - 7:30pm

Wednesday, June 14 - 7:30pm

UPCOMING SHOWS 6/15 Portland Preview Astoria Music Festival, 6/16 Jason Webley, 8/12 Chris Thomas King

THEOLDCHURCH.ORG Willamette Week MAY 17, 2017 wweek.com

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MUSIC CALENDAR WED. MAY 17 Alberta Street Pub 1036 NE Alberta St Rio Grands

Classic Pianos

3003 SE Milwaukie Ave, Larry Fuller Trio

Holocene

[MAY 17-23]

For more listings, check out wweek.com.

LAST WEEK LIVE

1001 SE Morrison St. OHMME, Alina Bea, Amenta Abioto

W W S TA F F

= WW Pick. Highly recommended.

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

Landmark Saloon

4847 SE Division St, Darci Carlson; Jake Ray and the Cowdogs

White Eagle Saloon

836 N Russell St Jessi Adele & The Starling Curve, Miller and Sasser

Wonder Ballroom

128 NE Russell St. Michael Kiwanuka, Cloves

LaurelThirst Public House

MON. MAY 22

1332 W Burnside St Work for Art’s Battle of the Bands

2958 NE Glisan St Lewi Longmire & the Left Coast Roasters; Willa Rae & Minor Americana, Ashleigh Flynn, Sisterface

Doug Fir Lounge

Lombard Pub

1037 SW Broadway Oregon Symphony presents Mahler’s Symphony No. 2

Mississippi Studios

1332 W Burnside St The Jesus and Mary Chain

Crystal Ballroom

830 E Burnside St. Kikagaku Moyo

Fremont Theater

2393 NE Fremont Street Abacus

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Kongos, Mother Mother

High Water Mark Lounge

6800 NE MLK Ave Shannon and The Clams, Eat Skull

3416 N Lombard St Jacked Up

Holocene

The Analog Cafe

Landmark Saloon

Mississippi Pizza

3552 N Mississippi Ave Tallulah’s Daddy

Mississippi Studios

3939 N Mississippi Ave. The Wild Reeds, Blank Range

The Analog Cafe

720 SE Hawthorne Blvd. The Sinbound, The Hood and The Lyre, Ivan to the Moon; Band of Silver

The Goodfoot 2845 SE Stark St DoveDriver, JRC Trio

The Know

3728 NE Sandy Blvd. Intercision, Double Skeleton, Revolution Bummer, Anther

The Old Church

The Liquor Store

8 NW 6th Ave Smino, Monte Booker, Jay2, Bari

The Old Church

1422 SW 11th Ave An Evening With Holly Near with Jan Martinelli, Tammy Hall, and Tory Trujillo

The O’Neil Public House

6000 NE Glisan St. Scratchdog Stringband

The Secret Society

116 NE Russell St Thursday Swing featuring Pete Krebs and the Rocking K Ranch Boys, Pink Lady & John Bennet Jazz Band

Valentines

232 SW Ankeny St The Hyenas with DJ Gregarious

White Eagle Saloon 836 N Russell St Robbie Fulks

Wonder Ballroom

128 NE Russell St. 3 Days In Portland: Alvvays, the Courtneys, Candace

FRI. MAY 19

1422 SW 11th Ave Northwest Art Song presents Monteverdi 450

Aladdin Theater

Twilight Cafe and Bar

Bossanova Ballroom

1420 SE Powell Hudson Falcons, 42 Ford Prefect, UNITE

THUR. MAY 18 Alberta Rose Theater 3000 NE Alberta St Russell Howard

Alberta Street Pub

1036 NE Alberta St Burn It Backwards: The Music of Elliott Smith

Bunk Bar

1028 SE Water Ave. Sama Dams, Korgy & Bass

Crystal Ballroom

1332 W Burnside St Fleet Foxes

Dante’s

350 West Burnside Thieves of Sunrise

Doug Fir Lounge

830 E Burnside St. Fenech-Soler, Knox Hamilton

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Kranium

Mississippi Pizza

3552 N Mississippi Ave Mr. Ben

3341 SE Belmont St, Lower 48, Tribe Mars

2958 NE Glisan St Kory Quinn & the Quinntessentials; Tommy Alexander, Daniel Lee, Ryan Fauber

4847 SE Division St, Hearts Gone South and Zach Bryson

The Know

Landmark Saloon

LaurelThirst Public House

1001 SE Morrison St. Ho99o9

720 SE Hawthorne Blvd. The Frights, Hunny, King Shelter; Justin Symbol and the God Bombs, Partical Son, Die Robot

Holocene

4847 SE Division St, Casey Miller and The Barnyard Stompers

Crystal Ballroom

3939 N Mississippi Ave. Minden, Le Rev, Bryson Cone

3728 NE Sandy Blvd. Shovels, Face Transplant

1001 SE Morrison St. Heavy Breather Live

Arlene Schnitzer Concert Hall

3017 SE Milwaukie Ave Stephen Lynch 722 E Burnside St. Evergrey, Seven Kingdoms, Need, Ascendia

Doug Fir Lounge 830 E Burnside St. Matt Pryor & Dan Andriano

Fremont Theater

2393 NE Fremont Street Stray Birds

Hawthorne Theatre

1507 SE César Chávez Blvd. An Evening with Pete Yorn; Porter Ray (lounge)

High Water Mark Lounge

6800 NE MLK Ave Pinkish Black, the Ditch and the Delta, Diesto, SOL

Kenton Club

2025 N Kilpatrick St Chronoclops, PerfectMonster, TheMiseryMen, BloodMagick

Landmark Saloon

4847 SE Division St, The High Cotton Boys; Leslie Lou and The Lowburners

Roseland Theater

TAKE ME BACK TO THE DAY: Art Alexakis has his own definition of the words “we” and “us.” Kicking off a tour marking the 20th anniversary of So Much for the Afterglow at the Crystal Ballroom on May 11, the Everclear frontman was effusively thankful to the supporters who’ve stuck by the band. Sadly, Alexakis has torched every last bridge with the guys who helped him record the best-selling album in Portland history. Since his original bandmates left him, Alexakis has changed bassists like most people switch shoes—the Afterglow anniversary tour drummer is so new he doesn’t yet appear in the band photos on the Everclear website. If the techs aren’t new hires, they should be by the time the band hits Saskatoon and Casino Regina later this week. This show was plagued with some of the worst sound I’ve ever encountered at any large venue. After verbal cues failed during the titular opener and “Everything to Everyone,” Alexakis began hosting extended band meetings between songs. The only result of the confabs was a loss of momentum. The only songs it worked well for were “Nervous and Weird,” from the band’s indie debut, World of Noise, and “Local God,” a lo-fi, strummed-out Afterglow prototype recorded for the Claire Danes version of Romeo + Juliet. “My guitar is kinda pissing me off,” Alexakis finally announced toward the end of the show. At that point, there wasn’t much to do. The band chugged through “California King,” Afterglow’s angry but triumphant closer. After a rough show beset by terrible sound and frequent stoppages, the song’s boasts were offered at the pace of a funeral dirge and without much more enthusiasm. MARTIN CIZMAR. LaurelThirst Pub

2958 NE Glisan St The Fogies, Matthew Lindley, J. Moses & Ragged Sunday; Grasshopper

The Secret Society

116 NE Russell St Stunning Rayguns, The Hugs, High Diving Horses; The Sportin’ Lifers

The Tonic Lounge

Fremont Theater

2393 NE Fremont Street Cassandra Jenkins, Shelley Short

Kenton Club

3552 N Mississippi Ave Pura Vida Orquestra

3100 NE Sandy Blvd Black Marble, Draa, drowse, Dark Red Seed

2025 N Kilpatrick St The Reverberations, Paradise, The Verner Pantons

Slim’s PDX

Twilight Cafe and Bar

Landmark Saloon

Mississippi Pizza

8635 N Lombard St. Lucky Tigers, Lord Master, The Carotids

Star Theater

13 NW 6th Ave. Y&T

Temple Baptist Church

1319 NE 7th Ave., FearNoMusic & Cascadia Composers present New Pearls from the Antilles

The Analog Cafe

720 SE Hawthorne Blvd. The Rents; Keychain, Andrako, Ds8

The Firkin Tavern

1937 SE 11th Ave Mannequins in Cages, Sacred Tree, Salo Panto

The Fixin’ To

8218 N. Lombard St Welcome to Twin Peaks: Vexations, WL, the Other Place, Stochastic Mettle Union

The Know

3728 NE Sandy Blvd. The Night, Acid Teeth, Tacos!, Tiger Touch

The Old Church

1422 SW 11th Ave The Northwest Horn Orchestra Superhero Showdown

1420 SE Powell Hawking

White Eagle Saloon

4847 SE Division St, Joe Baker and The Kitchen Men

836 N Russell St Jennifer Knapp; Brooklyn Street

Landmark Saloon

Wonder Ballroom

LaurelThirst Public House

128 NE Russell St. NAO, Harriet Brown, Chanti Darling

SAT. MAY 20 Aladdin Theater

3017 SE Milwaukie Ave Too Many Zooz

Arlene Schnitzer Concert Hall

1037 SW Broadway Oregon Symphony presents Mahler’s Symphony No. 2

Crystal Ballroom

1332 W Burnside St 3 Days In Portland: Aminé, A2, the Last Artful, Dodgr

Dante’s

350 West Burnside Pillorian, Usnea

Doug Fir Lounge

830 E Burnside St. Shoot To Thrill (AC/DC tribute)

4847 SE Division St, Anna Hoone

2958 NE Glisan St Redray Frazier; Rose City Kings; Jawbone Flats (all ages)

The Analog Cafe

720 SE Hawthorne Blvd. Fortunate Youth, Josh Heinrichs, For Peace Band, Iya Terra

The Goodfoot

1001 SE Morrison St. Wild Combination: A Birthday Tribute to Arthur Russell

1937 SE 11th Ave The Welfare State, Sin City Ramblers, Essence 2845 SE Stark St Life During Wartime (Talking Heads tribute)

The Lovecraft Bar 421 SE Grand Ave Cult Of Volt

The Secret Society 116 NE Russell St Melao De Cuba Salsa Orchestra

Twilight Cafe and Bar

Mississippi Studios

White Eagle Saloon 836 N Russell St Reverb Brothers

Mississippi Studios

3939 N Mississippi Ave. Cassandra Jenkins

Revolution Hall

1300 SE Stark St #110 Portland Cello Project

Roseland Theater 8 NW 6th Ave Blue October

Star Theater

13 NW 6th Ave. Everyone Orchestra

Fremont Theater

2393 NE Fremont Street The Hapa Hillbillies

3552 N Mississippi Ave Bellows Bridge; Lawn Party 3939 N Mississippi Ave. Marv Ellis & We Tribe

830 E Burnside St. Handsome Ghost

The Firkin Tavern

1420 SE Powell The Misfortunes of Mr. Teal, LO-HI, Vegetable Revival Project, KING GHIDORA

Mississippi Pizza

Doug Fir Lounge

SUN. MAY 21 Arlene Schnitzer Concert Hall

1037 SW Broadway Oregon Symphony presents Mahler’s Symphony No. 2

Ash Street Saloon

225 SW Ash St The Ambulanters, Stochasm, The Hague, Science Slumber Party

Holocene

Landmark Saloon

4847 SE Division St, Petunia and the Vipers; The Dalharts

The Analog Cafe

720 SE Hawthorne Blvd. Frontier Ruckus

The Know

3728 NE Sandy Blvd. Vog, Product Lust, Bobby Peru

The Lovecraft Bar

421 SE Grand Ave Caustic Touch, Purity Of Essence; Deep Pill & Somali Extract

Twilight Cafe and Bar

1420 SE Powell Dr. Zilog, Noise Complaint, Champion, Psyclops

TUES. MAY 23 Arlene Schnitzer Concert Hall

1037 SW Broadway Jake Shimabukuro

Ash Street Saloon

225 SW Ash St Kevin Alan Gustafson, Sebastien Wen, Angelica Poversky, Nicholas Roberts

Doug Fir Lounge

830 E Burnside St. Sam Outlaw

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Destruction, Warbringer, Jungle Rot, Hellbender

Landmark Saloon

LaurelThirst Public House

4847 SE Division St, The Swinging Doors

Star Theater

3552 N Mississippi Ave Lost Creek; Karaoke from Hell

The Analog Cafe

3939 N Mississippi Ave. Matthew Logan Vasquez

The Jasmine Pearl Tea Company

2845 SE Stark St Jimmy Russell’s Party City 2034

2958 NE Glisan St Noah Tauscher; Freak Mountain Ramblers 13 NW 6th Ave. TAAKE 720 SE Hawthorne Blvd. Garcia Birthday Band

724 NE 22nd Ave, Oregon Koto-kai

The Know

3728 NE Sandy Blvd. Rotties, Cockeye, Bleak Cities

The Liquor Store

3341 SE Belmont St, Public Eye

Twilight Cafe and Bar

1420 SE Powell Within Reach, Decades In, Samsara, Silent Shores

Mississippi Pizza

Mississippi Studios

The Goodfoot

The Liquor Store

3341 SE Belmont St, Mommy Long Legs, the Bedrooms, Mr. Wrong

Twilight Cafe and Bar 1420 SE Powell Vigil Wolves, Lost in Society, Stay Wild

White Eagle Saloon

836 N Russell St This Years Model with My Siamese Twin

Willamette Week MAY 17, 2017 wweek.com

MUSIC

@wweek

COURTESY OF DJ SESQUI

NEEDLE EXCHANGE

Where to drink this week. 1.

Deadshot

Mondays at Holdfast, 537 SE Ash St., No. 102, 503-504-9448, holdfastdining.com.

Every Monday at prix-fixe spot Holdfast the lights get lower, the music gets louder, and the crowd feels hip—rolling in for crazy-good honeycombmadeleines and bespoke cocktails like the Casper’s Ghost ($12), a rhum-and-mezcal number spiked with bitter melon syrup.

S W E N

The Lay Low

6015 SE Powell Blvd., 503-774-4645.

If former dive bar Club 21 is now an outdoor graffiti museum on Sandy Boulevard, the old owners’ new Lay Low Tavern is like a museum devoted to Club 21, with seemingly every bartender, every piece of decor and the build-your-own-burger bar transported intact.

DJ Sesqui Years DJing: Crate digging and mixing since 1991. Genres: Rare funk, spiritual jazz, Afro-Latin, global electronica, modern soul/boogie and hip-hop. Where You Can Catch Me Regularly: I have co-hosted a weekly radio show called Astral Traveling every Sunday for the past six years on KBOO 90.7 FM.

THE SCHIZOPHONICS THURSDAY, MAY 18 AT 6PM

The Schizophonics have built up a formidable reputation in San Diego as an Explosive live act, tapping into the same unstoppable combination of rock ‘n’ roll energy and showmanship that fueled The MC5 in the heyday of the Grande Ballroom.

EYELIDS

SATURDAY, MAY 20 AT 3PM Eyelids have a collective history of playing for some of the most legendary indie songwriters, including luminaries like Robert Pollard (Guided By Voices), Stephen Malkmus (Pavement), Elliott Smith, The Decemberists, Sam Coomes (Quasi), Black Prairie, Jason Lytle (Grandaddy), Loch Lomond, Damien Jurado and Peter Buck (R.E.M.).

IZAAK OPATZ

W/ CAROLINE KEYS

SATURDAY, MAY 20 AT 6PM Izaak Opatz is a dyed in the wool mountain man from Montana, whose songs teeter on the edge of sentimental-songwriter’y-sad-n-lonely stuff. As an employee of the National Parks system, Opatz regularly spends weeks on end in the wilderness, alone with his thoughts and his guitar.

MICK WOLF

W/ WIDDERSHINS

THURSDAY, MAY 25 AT 6PM Mick Wolf W/Widdershins performs “Gothic Werefolk” a new musical genre blending a variety of folk styles with a Gothic theme! “Gothic Werefolk” is an often dark and mysterious trek through...strangely familiar music!

Craziest Gig: Well, after months of getting my mixes right, I threw a house party in ’93 at my residence in Redondo Beach, Calif. I was involved in this little scene called the Goodlife. My mentor, Cut Chemist, brought his crew, Rebels of Rhythm, as well as Unity Committee, Dark Leaf, members of Freestyle Fellowship and a bass player named Wil-Dog (from Ozomatli), who brought a singer named Macy Grey. We had instruments, turntables, mics—and tons of mushrooms. Also, one of my roommates was into the punk scene, so our backyard was filled with black-clad folks who peered through our windows to witness the multicultural musical chaos that was happening inside. Forever changed! My Go-To Records: “Celestial Blues by Gary Bartz & NTU Troop; “Everybody” by e.live; “Bass-meant” by Chase; “Bailame Como Quieras” by the Latin Brothers; “What U Waiting 4? (Jungle Fever Mix)” by Jungle Brothers. Don’t Ever Ask Me To Play…: I picked my poison of searching for more obscure and deeper cuts, so if you’re asking me for present-day top 40 stuff then it’s more likely I won’t have it. SEE IT: DJ Sesqui spins at Alberta Street Pub, 1036 NE Alberta St., with Los Estupidos, on Friday, May 27. 8:30 pm. $5. 21+. Moloko

3967 N. Mississippi Ave. Nik Nice & Brother Charlie (brazilian)

No Fun

WED. MAY 17 Dig A Pony

736 SE Grand Ave. Chazz Madrigal (soul, r&b)

Ground Kontrol

511 NW Couch St. TRONix: Proqxis (electronic)

Lay Low Tavern

6015 SE Powell Blvd. DJ Malty Stag & DJ Stonebunny

Sandy Hut

1430 NE Sandy Blvd. DJ Smooth Hopperator

The Liquor Store

3341 SE Belmont St, TOTEM, iLko, DJ Tenface & buBo

The Lovecraft Bar

421 SE Grand Ave Event Horizon (darkwave, industrial)

Tonic Lounge

3100 NE Sandy Blvd. Death Throes (death rock, post punk, dark wave)

Willamette Week MAY 17, 2017 wweek.com

Tube

18 NW 3rd Ave. Easy Egg

THU. MAY 18 Black Book

20 NW 3rd Ave Ladies Night (rap, r&b, club)

Dig A Pony

736 SE Grand Ave. Battles & Lamar (freestyle, electro, boogie)

Double Barrel Tavern 2002 SE Division St. DJ Easy Fingers

Killingsworth Dynasty 832 N Killingsworth St Post Punk Discotheque

Lay Low Tavern

6015 SE Powell Blvd. DJ Mudslide McBride

Mad Hanna

6129 NE Fremont St DJ Jokedo (eclectic electric)

1709 SE Hawthorne Blvd Questionable Decisions (lounge, soundtrack, jazz)

Sandy Hut

1430 NE Sandy Blvd. DJ Montel Spinozza

Spare Room

4830 NE 42nd Ave Gravitate

The Goodfoot

2845 SE Stark St Get On Up: Prince Remixed

The Lovecraft Bar

421 SE Grand Ave Shadowplay (goth, industrial, 80s)

Whiskey Bar

31 NW 1st Ave Mikey Lion, Deep Jesus

White Owl Social Club

1305 SE 8th Ave East Taken by Force (rock ‘n roll)

FRI. MAY 19 45 East

315 SE 3rd Ave Destructo

The Standard

14 NE 22nd Ave, 503-233-4181.

Some of the city’s best boozy slushies are back in action for a cool $5, the patio just got its roof blown off, and—guess what!—it’s sunny. Welcome back to Portland summer.

Ground Kontrol

115 NW 5th Ave., 503-796-9364, groundkontrol.com.

Ground Kontrol’s got a new expansion in the old Backspace, with 16 taps, more space and—gasp!—modern games. But the old room’s now being remodeled.

Nyx

215 W Burnside St., nyxpdx.com.

In the former Alexis, secondstory nightclub Nyx plays host to a crowd that looks more Brooklyn or Chicago than Portland—with hip-hop and sneakerheads worlds apart from the usual Old Town club crowd of frat boys and fuccbois.

Black Book

20 NW 3rd Ave The Cave (rap, r&b, club)

Crystal Ballroom

1332 W Burnside St 80s Video Dance Attack

Dig A Pony

736 SE Grand Ave. Jimbo (funk, rap, electro)

Ground Kontrol

511 NW Couch St. DJ EPOR

Holocene

1001 SE Morrison St. The Way Up (afro/caribbean dance party)

Killingsworth Dynasty 832 N Killingsworth St Strange Babes

Moloko

3967 N. Mississippi Ave. Sappho & Friends (disco)

Saucebox

214 N Broadway St Dan Hill Funk

The Goodfoot

2845 SE Stark St Soul Stew (funk, soul, disco)

The Liquor Store

3341 SE Belmont St, Ordinary Thing #1

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

BAR REVIEW

FORTUNE SURVIVOR: It’s easy to overlook literally all bars in the nebulous riverlands of far Southwest Portland—vestigial pockets of failed urbanity, bisected by highways whose bars were almost all roadside attractions like Hi Hat (RIP) and Henry Ford’s (RIP). But when the iconic nearby contemporaries began to disappear, Chinese spot Happy Fortune (10420 SW Barbur Blvd., 503-244-8356, happyfortuneportland.com) survived by shifting focus from dining to drinking while allowing its teeming lounge crowds to overtake the outsized and underserved restaurant. Despite boasting the best prices by far (a “happy meal” serves up a pint of PBR and shot of whiskey for $5.50) along a stretch of Southwest Barbur Boulevard overrun by claptrap weekly-rate motels, Happy Fortune juggles an oddly congenial hot pot of upscale transients, Lewis & Clark undergrads, amiable suburbanites drinking through the commute, and an enviable corps of die-hard regulars. The bar is open every day of the year, and patrons organize extensive potlucks on Thanksgiving and Christmas, and raise hell amid parking-lot fireworks on the Fourth of July. One customer built the front patio, another constructed the poolroom addition—extending the space footage by one-third—and a third painted the interiors. Favored barflies peddle craft specialties ranging from cocktail-replica candles (martini, margarita, Irish coffee) to miniature landscapes hand-painted on hollow eggshells. Even in this fractured stretch of Southwest Portland, assembling this vibrant, eclectic, fiercely loyal clientele—Mustache Mondays and Wednesday Ladies’ Nights—doesn’t take a Multnomah Village. JAY HORTON. The Lovecraft Bar

421 SE Grand Ave Darkness Descends (classic goth, dark alternative)

Tryst

19 SW 2nd Ave, DJ L-Dougie

Valentines

232 SW Ankeny St Decadent 80s

Whiskey Bar

31 NW 1st Ave Yheti, Chase Manhattan

SAT. MAY 20 45 East

315 SE 3rd Ave Chocolate Puma

Black Book

20 NW 3rd Ave The Ruckus (rap, r&b, club)

Dig A Pony

736 SE Grand Ave. Montel Spinozza (the noise, the funk)

Double Barrel Tavern 2002 SE Division St. DJ Joel Jett

Ground Kontrol

511 NW Couch St. DJ “Showtime” Dylan Reiff

Holocene

1001 SE Morrison St. Slay (hip-hop)

Whiskey Bar

31 NW 1st Ave Pacific Patterns

Killingsworth Dynasty 832 N Killingsworth St Max Capacity

SUN. MAY 21

Moloko

Black Book

Quarterworld

Century Bar

Sandy Hut

Dig A Pony

3967 N. Mississippi Ave. Montel Spinozza 4811 SE Hawthorne Blvd DJ ROCKIT (80s dance jamz) 1430 NE Sandy Blvd. DJ Dad Rock

20 NW 3rd Ave Flux (rap, r&b, club) 930 SE Sandy Blvd. DJ Deena B 736 SE Grand Ave. Emerson (hiphop, r&b)

Saucebox

Ground Kontrol

The Liquor Store

214 N Broadway St LeMove 3341 SE Belmont St, All Vinyl All Night w/ Eliot Lipp and Friends

The Lovecraft Bar

421 SE Grand Ave Sabbath (darkside of rock & electronic)

Tryst

19 SW 2nd Ave, DJ Mr Mumu

Valentines

232 SW Ankeny St Signal 26 (dub, bass, dancehall)

511 NW Couch St. Black Sunday: DJ Loraxe 3341 SE Belmont St, Love American Style

The Lovecraft Bar

421 SE Grand Ave Super Happy Dragonball Party (Jpop, Kpop, cosplay)

MON. MAY 22 Beech Street Parlor 412 NE Beech Street Mixed Messages

Dig A Pony

736 SE Grand Ave.

Oops (amazing jams)

Ground Kontrol

511 NW Couch St. Reaganomix: DJ Robert Ham

The Analog Cafe

720 SE Hawthorne Blvd. A Night For Dancers: Mambo/Salsa Social

The Lovecraft Bar

421 SE Grand Ave Black Mass (goth, new wave)

TUE. MAY 23 Dig A Pony

736 SE Grand Ave. AM Gold (greazy oldies)

Kelly’s Olympian

426 SW Washington St. Party Damage: DJ Poptart

Sandy Hut

1430 NE Sandy Blvd. DJ Sean Battles

The Lovecraft Bar

421 SE Grand Ave BONES (goth, wave)

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Tonic Lounge

3100 NE Sandy Blvd. Toxic Tuesdays (goth, postpunk, spooky)

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18 NW 3rd Ave. Tubesdays w/ DJ Jack

Willamette Week MAY 17, 2017 wweek.com

PERFORMANCE ROSEMARY RAGUSA

REVIEW

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

THEATER OPENINGS & PREVIEWS Catch Me If You Can

Back in the ‘80s, Beaverton High School’s theater productions were a pretty big deal. Helmed by esteemed Portland thespian James Erickson, their big scale plays included a production of Grease in which they drove a real car onto stage. Recently, the high school has been trying to bring the drama department back to its glory days with fundraisers that have gotten celebrity thespian shoutouts (last year, it was Olivia Newton John, and this year it was Hamilton writer Lin Manuel Miranda). For their spring show, they’re staging the Broadway musical Catch Me If You Can. Created by the songwriters and choreographer of Hairspray, Catch Me If You Can is based on the 1960s conman, Leonardo DiCaprio-starring movie of the same name. SHANNON GORMLEY. Beaverton High School, 13000 SW 2nd St., Beaverton. 7 pm WednesdaySaturday, 2 pm Saturday, through May 20. $10-$15.

Importance of Being Earnest

Oscar Wilde’s play is a staple in both drama clubs and literary departments: It’s witty, satirical but good-humored, and usually calls for turn-of-the-century period costumes. Still, the frequency with which Wilde’s marriage plot is staged challenges one’s ability to say that the play never gets old. For Artists Rep’s production, they’re mixing it up with an all-female cast. The cast is stacked with highly experienced and well-regarded Portland actors, but it will be interesting to see if the gender-bending goes beyond gimmickry. SHANNON GORMLEY. Artists Repertory Theatre, 1515 SW Morrison St., artistsrep.org. 7:30 pm Wednesday-Sunday, 2 pm Sunday, through June 11. Additional shows Wednesday, May 31 at noon, 7:30 pm Tuesday, June 6 and 2 pm Saturday, June 10. No show Saturday, June 3 and no 7:30 pm show Sunday, June 11. $25-$50.

The Language Archive

For almost a decade, Portland Playhouse has operated out of an old North Portland church. It’s a small, nontraditional space, which is why it’s currently undergoing some serious renovations. But the church has also become such a large part of the company’s character—the fact that it’s not really a theater requires some creative staging. While the church undergoes renovation, Portland Playhouse is holding its last show of the season in Coho Theater’s far more contemporary and traditional space. The plot of The Language Archive has the makings of a quirky rom-com: Protagonist George is a socially inept linguist who can speak a bunch of extinct languages, but doesn’t know how to communicate with his wife. SHANNON GORMLEY. Coho Theater, 2257 NW Raleigh St., portlandplayhouse.org. 7:30 pm WednesdaySaturday, 2 pm Sunday, May 17-June 11. No show Saturday, May 20. $25-$34.

ALSO PLAYING Medea

It seems callous to dub a tale as carnage-ridden as Medea “entertainment.” Yet that’s the only word that fittingly describes Imago’s production of the Greek tragedy. Working from Ben Powers’ modern adapta-

tion, Imago’s Medea honors Powers’ quest to strip away Medea’s more fanciful flourishes, and features a terrifying performance by Anne Sorce as the eponymous spurned wife-turned-child killer of the title. Sorce sells the theory behind her character’s self-immolating revenge: that Jason, her soon-to-be ex-husband, is not only a treacherous spouse, but a cog in a misogynistic societal machine that deserves to be upended in the grisliest manner possible. That means the gets bloody, but it also offers an exhilarating portrait of a woman whose wrath strips her of self-doubt and self-hatred, making her both evil and mesmerizing. BENNETT CAMPBELL FERGUSON. Imago Theatre, 17 SE 8th Ave., imagotheatre.com. 7:30 pm Thursday-Saturday, through May 20. $19-$39

Miss Julie

Late-1800s Sweden was not prepared for the attitude towards sex in Miss Julie: After it premiered, August Strindberg’s play was promptly banned throughout most of Europe. About an aristocratic woman who has an affair with a married servant, it portrayed a relationship that was lust-based and between a woman and a man of a lower social class—both things that Victorian audiences weren’t really cool with. But Shaking the Tree’s production is less interested in the play’s formerly lascivious reputation than its currently apt portrayal of class and power structures. SHANNON GORMLEY. Shaking the Tree Warehouse, 823 SE Grant St., shaking-the-tree.com. 7:30 pm Thursday-Sunday, May 5-June 10. No show Sunday, May 7 or Sunday, June 4.

Óye Oyá

Even though one of Óye Oyá’s most memorable scenes is a satirical song about bringing a corn-dog-style pizza franchise to Cuba, the entire play is moving, rousing and beautifully brash. Milagro’s original Spanish-language musical is the story of Felo (Jimmy García), a cafe owner in Cuba trying to send his daughter, Yenisel (Lori Felipe-Barkin), off to what he hopes will be a happier life in America. García brings poignant heft to the play’s meditation on parental sacrifices. But it’s the spunky and compassionate Yenisel who powers Óye Oya, along with a series of ebullient songand-dance numbers. That includes the performance of the pizza franchise song, in which the image of a pizza slice with a smiley face is projected across the set. It’s clearly meant to be a joke, but it’s also an embodiment of the play’s belief that both life and theater are sweetest when they’re experienced at full tilt. BENNETT CAMPBELL FERGUSON. Milagro Theatre, 525 SE Stark St., milagro.org. 7:30 Thursday-Saturday, 2 pm Sunday, through May 27. $20-$27.

The Talented Ones

At first, it seems like The Talented Ones is going to be an ordinary realist drama. A new play by Seattle’s Youssef El Guindi, The Talented Ones depicts a dinner party that husband and wife Cindy (Khanh Doan) and Omar (John San Nicolas) are hosting for Omar’s friend Rick (Heath Koerschgen). While they wait for Omar to show up, Cindy tells a flirty Rick that she and her husband are going through a rough patch. But the absurdly funny plot gets way weirder than a typical love-triangle dynamic: The first act ends after several bizarre twists and a few literal knife wounds. The Talented Ones is unflinchingly political—both first generation US. citizen, Cindy and Omar feel an immense pressure to make up for their

Willamette Week MAY 17, 2017 wweek.com

FRIENDS FOR DINNER: Jessica Tidd, Blake Stone, Jessica Hillenbrand

Shock Treatment THAT PRETTY PRETTY IS CAMPY, VIOLENT AND FEMINIST.

BY SHA N N ON GOR MLEY

sgormley@week.com

That Pretty Pretty; or, The Rape Play has barely begun, and there’s already the corpse of a Republican sprawled out on a hotel bed. Agnes (Jessica Tidd) and Valerie (Jessica Hillenbrand) are two ex-strippers who go to prolife conventions posing as prostitutes, kill the men who hire them and then write about it on their blog. They ’ve just shot Rodney (Blake Stone), and now they’ve propped up his corpse so Valerie can film Agnes moving his lips while voicing over “Holy fucking shit, I love fetuses.” It sounds excessive, and it is. With seriously dark humor, Sheila Callaghan’s 2009 play is a shock-drama parody and a critique of the way women are portrayed in pop culture: Valerie is an angry, man-hating lesbian; Agnes is a babyvoiced party girl; and they both strut around the stage in giant heels and skimpy outfits. The play unfolds in a series of strange, gender politics and shock-humor charged vignettes. The set is disorienting, too. Stage right, there’s the hotel bed. Stage left, there’s an office desk and a stripper pole. But most of the play happens in the setless center stage, so the scenes feel like moments outside of reality. For a while, the social commentary is the only clue to what’s really going on in the play. After Agnes and Valerie’s scene in the hotel room, Jane Fonda (Jacquelle Davis) jogs onto the stage wearing sweatbands and a blue leotard. It seems like a total non-sequitur until Jane tells the audience with a giant smile and perky posture, “I have loads of confidence, except when I feel abused; then I just lift my chin and take it.” In a weird, fugue-like structure, lines and even entire scenes are repeated. After the first of many Jane Fonda cameos, the scene where Valerie and Agnes murder Rodney replays. But

this time, it’s Owen and Rodney who murder Agnes. “ You aren’t really sisters, are you?” becomes “You aren’t really brothers, are you?” Valerie told Agnes it wasn’t worth having sex with Rodney before killing him because he had a “cashew dick,” and now Owen tells Rodney it wasn’t worth having sex with Agnes because “she’s selfish, comes too fast and she’s a liar.” But Agnes’ murder is far more violent than Rodney’s: After he shoots her, Owen stabs and beats Agnes’ corpse with a hammer, all while her dead body is face down in Rodney’s crotch. The fact that you have no idea what’s going to happen next—let alone why what’s already happened has happened—is part of what makes the play so engaging. It’s also carried along by the equally campy and overdramatic performances from all four actors, which manage to be deeply funny in a way that only makes the play seem more savage. Eventually, it all comes together. In an ingenuous scene, the structure of the play retroactively makes sense, while also leaving loose ends you’re forced to think about. At that point, the play still has another 30 minutes or so to go. After the mystery is gone, That Pretty Pretty begins to feel like it’s just belaboring one very specific point. Instead of making the plot seem more maze-like, the repeated phrases—about women who embody “dignity” by keeping their “chin up” when faced with anything from subtle misogyny to rape— begin to feel like they sum up the whole play. It’s a point worth belaboring. But if you’re going to keep thinking about a play, it helps to be left wondering. SEE IT: That Pretty Pretty; or, The Rape Play is at Defunkt Theatre, 4319 SE Hawthorne Blvd., defunkttheatre.com. 7:30 pm Thursday-Sunday, thrthrough June 10. $10-$25.

REVIEW PAT M O R A N

immigrant parents’ sacrifices with their success. Meanwhile, white guy Rick’s version of the good life just involves “ordinary shit done the right way”: A life with two cars and a couple kids. But even though it’s frank and unromantic, The Talented Ones’ worldview still manages to be kind of beautiful—knife wounds and all. SHANNON GORMLEY. Artists Repertory Theatre, 1515 SW Morrison St., artistsrep.org. 7:30 pm Wednesday-Sunday, 2 pm Sunday, through May 21. Additional show 2 pm Saturday, May 20. $25-$50.

DANCE Bob’s Buns! Buns! Buns!

Miss Kennedy’s Theater of Burlesque is bringing back its burlesque adaptation of Bob’s Burgers. It started with Bob falling into a post-food poisoning slumber, and the rest is a fever dream that excerpts moments from the show, striptease, cabaret style. It’s an unusual premise that’s intentionally ridiculous: One of the acts is a “giant dancing booty-shaking hamburger.” But even though Bob’s Buns! Buns! Buns! is admittedly a campy parody, Kennedy’s repertoire is hardly one of pure gimmicks. SHANNON GORMLEY. Star Theater, 13 NW 6 Ave., startheaterportland. com. 7:00 and 9:30 pm Thursday, May 18. $15-$25. 21+.

Monsters!

Prismagic’s next circus takes its narrative inspiration more from horror movies than big-top style antics. In Monsters!, two sisters navigate their haunted bedroom after monsters emerge from their wall. It’s an unexpected storyline for a circus, but that’s Prismagic’s thing: its acrobatics- and contortionist-focused shows have been about depression, magic bunnies and space adventures. SHANNON GORMLEY. Curious Comedy Theater, 5225 NE Martin Luther King Blvd., prismagic.org. 7:30 pm Wednesday, through May 24. $20 advance, $25 at the door.

COMEDY Nicole Byer

Even the best sketch comedians can be pretty terrible at standup. Nicole Byer is known better for her sketch comedy—the Upright Citizens Brigade alum was in the MTV show Girl Code, and had a web series, The Pursuit of Sexiness, with Saturday Night Live’s Sasheer Zamata. But shameless antics—like drunkenly eating a burger while taking a shit— make pretty good standup material, too. SHANNON GORMLEY. Helium Comedy Club, 1510 SE 10th Ave., portland.heliumcomedy.com. 8 pm Thursday, 7:30 and 10:00 pm FridaySaturday, May 18-20. $16-$23. 21+.

(True) Tales with Don Frost

Don Frost has a lot of stories. The Portland comedian has been touring for over a decade, so he’s seen some shit. Which makes the premise of his long-running showcase a good fit for his material: Frost and fellow Portland comedians tell the bizarre stories that inspired their jokes. This time he’ll be joined by Amanda Arnold, who’s seen some shit too (one of her older jokes is about getting an enema from her grandma), plus Todd Armstrong, Jacob Christopher, Crystal Kordowski and Raul Sanchez. SHANNON GORMLEY. Helium Comedy Club, 1510 SE 9th Ave., portland.heliumcomedy.com. 8 pm Wednesday, May 17. $12. 21+.

For more Performance listings, visit

TRYING TO FORGET: James Luster.

Unbuilding a Mystery Action/Adventure premieres two eerie plays.

Amaranthine Night begins with an ominous scene. An amnesiac, Joe (James Luster), walks into a bar. Everyone there seems to know Joe already, and the diabolical barkeep, Charlie (Tyne Zewadski Clifton), keeps cracking cold Yuenglings for him. For reasons unknown to the audience, Charlie and everyone else in the bar seem in intent on preventing Joe from regaining his memory. In its show Double Feature, Action/Adventure Theatre is staging two new plays, Amaranthine Night and Ghost Town. Both of the eerie one-acts share a single set: a modest bar with a neon beer sign. Off to the side of the stage, musician Robert Randall plays moody tunes throughout both plays. In Amaranthine Night, a coked-up realtor named John (Nathan Ayling) delivers the play’s wittiest lines. Meanwhile, John’s girlfriend, Dierde (Myia Johnson), is the sole character to actually try to help Joe remember why he’s doomed to repeat his mistakes. But most of the dialogue feels aimless: Questions are answered with questions, and most of what is said doesn’t do anything to advance the plot. The second play has a similar fate. Ghost Town attempts to retell Shirley Jackson’s “The Lottery” with some David Lynchinspired backwoodsy weirdness. This time, the bar is in rural Washington—the beer of choice is Olympia and cig-smoking tough girl Caroline (Johnson) mentions a jaunt to Seattle. Things get weirder and more intriguing when the bartender’s cousin, Shiloh (Brian Kuwabara), staggers in with a limp and a bite taken out of him. But even though he’s clearly a member of the local backwoods cult, he conceals his wound from everyone for no obvious reason. It’s another bleeding hole in a murky plot that goes nowhere—slowly. The cast members do their best with the material and give spirited performances. But by the time both hour-long tales reach their end, the plots have lost too much momentum for their resolution to feel satisfying. NATHAN CARSON. SEE IT: Double Feature plays at Action/Adventure Theatre, 1050 SE Clinton Street, actionadventure.org. 8:00 pm Thursday-Sunday, through June 4. $10-$18. Willamette Week MAY 17, 2017 wweek.com

VISUAL ARTS COURTESY OF PORTLAND ART MUSEUM

REVIEW

AMERICAN MODERNISM: The Aubrey Watzek House.

Alternate Timberline PORTLAND ART MUSEUM GOES BIG ON LEGENDARY LOCAL ARCHITECT JOHN YEON BY SHA N N ON GOR MLEY

TreaT yourself

wiTh a DubDubDeal! wweek.com/ dubdubdeals 46

Willamette Week MAY 17, 2017 wweek.com

sgormley@wweek.com

If John Yeon had his way, Timberline Lodge would be a very different place. In 1934, none of the 24-year-old Portland architect’s designs had ever been built. Somewhat presumptuously, he submitted a design for a ski lodge that the Depression-era Works Progress Administration planned to build. Yeon’s plan was too expensive, so the WPA went instead with L.A.-based Gilbert Stanley Underwood’s design for what is now Timberline Lodge. A model of the would-be Timberline Lodge is displayed near the beginning of the Quest for Beauty, the Portland Art Museum’s new retrospective of Yeon’s work. It’s a relief the WPA went with Underwood’s design: Yeon’s is a sleek, coldly modern structure with an odd, curved shape, resembling a building you’d come across in a bad dream. But that early misstep is in no way emblematic of the rest of Yeon’s career. Yeon wasn’t terribly prolific, but the buildings he did design were equally ambitious and warm, highly detailed and at the forefront of mid-century American modernism. His legacy as a landscape architect and conservationist is just as noteworthy. He designed the Shire, a natural viewing area of Multnomah Falls across the Columbia River. He orchestrated dune reconstruction along the Oregon Coast. He bought Chapman Point in Cannon Beach to preserve it from development. And he atoned for his early expensive design plans by pioneering the use of plywood as a cheap, external building material during the Depression. All of Yeon’s works are in Oregon, so it makes sense that Portland Art Museum is making a big deal out of Quest for Beauty. There are two parts to the exhibit: half of it shows work from Yeon’s private art collection, the other half displays models, blueprints and photographs of houses and landscapes that Yeon designed, including the ill-fated plan for Timberline. The immense scale of the exhibit is obvious from the main entrance, where there’s an enormous floor-to-ceiling photograph of Chapman Point. There’s also a large model of the 1937 Aubrey

Watzek House, the first of Yeon’s designs to actually get built, and one of his most spectacular. From there, the exhibit branches off. It’s unwieldy, and feels like two tenuously connected exhibits. Still, it would be a missed opportunity not to display pieces from his extensive collection. There are incense holders from China and Korea that are shaped like birds, baroque clocks and china plates painted with coat of arms. The section that displays Yeon’s own work would be a fulfilling exhibit on its own. It’s beautifully laid out and thoughtfully curated. Partitions depicting large-scale photos of Yeon’s work divide the space according to his stylistic range. Quest For Beauty presents a reasonably compelling case that Yeon not only deserves regional appreciation but status as a national visionary. A photograph of the West Hills Watzek House, with its cabin-like roof and Mount Hood in the background, is referred to as the epitome of American Modernism. Models of a plywood house demonstrate a window ventilation system that is basically early sustainable architecture, and his landscape-responsive designs are referred to as on-par with, but wholly distinguishable from, those of Frank Lloyd Wright. There are also photographs of the Columbia River Highway, which was designed by Yeon’s father, John B. Yeon. Not only would the younger Yeon go on to design roads himself, but you can see throughout his designs a desire to create something as simple yet expansive as a scenic highway. The best example of that desire might be the Jorgensen house. Located in the West Hills, it’s not his flashiest work. The design now seems ubiquitous and retro-modern: large, contemporary lodge windows and an expansive, single-level layout that contours the landscape, painted in a dark blue that harmonizes with the colors of the forest. Its most unusual feature is a long, covered walkway that connects the main house to the garage. The structure itself isn’t particularly spectacular. Combined with the view of the landscape, the walkway becomes opulent. It’s that sense for both scale and subtlety that Quest For Beauty doesn’t quite live up to. But, to be fair, that’s a pretty high standard. SEE IT: Quest for Beauty is at the Portland Art Museum, 1219 SW Park Ave., portlandartmuseum.org. Through Sept. 3. $15.99-$19.99.

= WW Pick. Highly recommended. BY ZACH MIDDLETON. 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, MAY 17 Michael Ruhlman

Let’s be honest: Even if you have cooked all the recipes in the cookbooks Michael Ruhlman has coauthored with superstar chefs, or have even eaten at some of those same chefs’ fine dining restaurants, chances are the majority of the food you eat comes from the grocery store. This fact seems to drive the James Beard Awardwinner’s newest book, Grocery, which mixes investigative journalism, social commentary and personal history into a muchanticipated interrogation of what we eat and how we can eat better in our existing paradigm. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm.

THURSDAY, MAY 18 Sung Yim and Kate Jayroe

Emerging writers Sung Yim and Kate Jayroe will read from recent works. Their poetry and essays have been featured in The James Franco Review, Contrary and Crab Fat Magazine, and their memoir, What About the Rest of Your Life, is coming out this fall. Kate Jayroe is active in Portland’s literary scene. She works with the Sewanee Writers’ Conference, serves as an editor for Portland Review and is a youth programs intern at Literary Arts. Daedalus Books, 2074 NW Flanders St, 503274-7742. 7 pm.

MONDAY, MAY 22 Elizabeth Woody with David Biespiel

Oregon’s eighth (and current) poet laureate Elizabeth Woody, will join poet David Biespiel as part of Portland’5 Centers for the Arts Poets on Broadway series. Woody, a member of the Confederated Tribes of Warm Springs, is Oregon’s first Native American poet laureate and is the author of four collections of poetry. David Biespiel is the author of 10 books, a contributor at publications that include the American Poetry Review, The New York Times and Slate, and is the recipient of a fellowship from The National Endowment for the Arts. Portland’5 Centers for the Arts, Brunish Theatre, 1111 SW Broadway, Portland, OR 97205, 503-381-8686. 7:30 pm.

Jeffrey Tambor

You don’t know Jeffrey Tambor? What, have you been taking stupid pills? With roles including talk show sidekick Hank Kingsley on The Larry Sanders Show, philandering real estate tycoon George Bluth on Arrested Development and most recently, aging trans parent Maura Pfefferman on the Amazon Original series Transparent, Tambor has always been one of the brightest stars of cult classic TV. Tambor will discuss that legacy as depicted in his new memoir, Are You Anybody?, with The Oregonian TV critic Kristi Turnquist. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd, Beaverton. 7 pm.

For more Books listings, visit

C O U R T E S Y O F WA LT D I S N E Y C O R P O R AT I O N

BOOKS

Golden Grease

WE TALKED TO S.E. HINTON ON THE 50TH ANNIVERSARY OF THE OUTSIDERS The Outsiders has stayed gold for 50 years. It’s always been the story of being doomed and unwanted and full of heart, which feels like most of life when you’re a teenager. S.E. Hinton was only 15 years old when she wrote the story of Oklahoma greasers rumbling on the streets with violent preppie Socs. But from its unlikely beginnings, the story kickstarted the entire young adult genre of books, as well as the careers of Tom Cruise, Rob Lowe and Matt Dillon after it was made into a 1983 movie directed by Francis Ford Coppola. Hinton, 68, and still an Oklahoman, will appear at the Beaverton Powell’s this Thursday for the book’s 50th anniversary. We talked with her about momming Rob Lowe and how it feels to read what you wrote when you were a teenager. MATTHEW KORFHAGE.

WW: You wrote the first version of The Outsiders when you were 15. How did you even find a publisher?

S.E. Hinton: I’d been writing for years. The Outsiders was the third I’d written, just the first I ever got published. It came about in a strange way. I was talking to a friend at school; she said her mother wrote children’s books. She told her mother I wrote, and her mother read it and liked it, gave it to another friend who was a published writer who sent me to an agent. I was a high school kid in Oklahoma. I didn’t know the difference between an agent, publisher or editor or anything, but I had a name and an address. Marilyn Marlow, at Curtis Brown Limited, said, “You’ve captured a certain spirit here.” It went real quickly for me, and it’s entirely due to Marilyn, at the end of my junior year and senior year. I had my contract in high school. I stayed with Marilyn Marlow as agent until her death 14 years ago.

This is a racy book. Was there a scandal about your age?

Hinton: Not too much. I got some fairly decent reviews. It built slowly over the years. It wasn’t like I got overwhelmed with a bunch of money or a bunch of fame. That grew really slowly. In the beginning sometimes it was banned—just from parents seeing the book’s cover and not reading the book. Teachers said to students, “Take the book home and read it.” Nowadays grandparents share it with their grandchildren.

You get credited as inventing the entire young adult genre of books. Hinton: When it came out in paperback, that’s how the young adult genre started. It came out

ROUND THE OUTSIDER: S.E. Hinton and some guy.

as a drugstore paperback, like Mickey Spillane. It didn’t sell. It came back from those places in droves. Publishers were gonna let it go out of print. But they realized in certain places it was selling real well. It turned out teachers were using it in classrooms for reluctant readers by word of mouth. They realized there was this market—there are novels you look at as YA, like Catcher in the Rye or A Tree Grows in Brooklyn, To Kill a Mockingbird. They were all published as adult books.

What’s the strangest thing a fan of the book has sent you?

Hinton: For a while the only thing people sent me were things to autograph and send back. I tried doing that. It turned my home into a post office and my husband into a mailman. Somebody today told me she was contemplating suicide when she first read it, and it made her have hope. I like the fact it has helped reluctant readers learn to like to read. It’s been a big part of my life, but the ones who say I changed their life frankly scare me. I say it’s the message, not the messenger. Don’t confuse me with the book.

Do people keep showing you “stay gold” tattoos?

Hinton: Oh yeah. People keep sending me pics of their tattoos. Some are elaborate, one was the whole opening paragraph on their arm. Some were very simple. There’s a place in the book where pony recites the poem, “Nothing Gold Can Stay,” by Robert Frost. At the end, Johnny says “Stay gold, Ponyboy, stay gold.” If I had only copyrighted that phrase. It’s all over. It’s on greeting cards, it’s everywhere.

Why does everybody have goofy names? Were these gangs people you knew?

Hinton: They weren’t gangs, it was social class warfare. I grew up in the greaser neighborhood, I was a tomboy, I had guy friends. But I got put in AP classes—college track in

those days—and I knew Socs. I didn’t base any one individual on anyone, but whatever character you write about becomes part of yourself.

How did the movie happen? Were you very involved?

Hinton: I was very involved. Francis [Ford Coppola] came to town to scout locations. I scouted locations with him. He wouldn’t shoot it here, but he asked whether I would help with the screenplay. I rehearsed with the boys, there were two weeks of rehearsal time. For the whole time, Francis paid me to be on set with him every day. Oh, my boys! I loved working with Francis. We went on to do Rumble Fish [with Matt Dillon]. I really bonded with my greaser boys—Tommy [C. Thomas Howell], the one who played Ponyboy. Rob [Lowe] came into town recently, and we visited the locations. Matt [Dillon] and I still get together when he’s in town.

Were you kind of a mom on set?

Hinton: I mommed them a lot—they were just boys. Tommy was 15. Rob had his 18th during the movie. Matt had just turned 18. I immediately made myself their mom. Rob called me Mom half the time. I had their backs, I was looking out for them.

You were really young when you wrote the book. Do you regret any parts?

Hinton: Oh no. I look back and there are parts that make me cringe as an adult writer. I could never be that un-self-conscious again. It was involving to teenagers, how emotionally over the top it is. At the time I didn’t know anybody else felt this way. I can think of parts I’m very proud of. Man, I used to be smart. The opening paragraph where Ponyboy declares himself a person who’s half imagination, half in the practical world? How he wanted to look like Paul Newman but wishes he had a ride home? I’m also very proud of the ending because it makes people go back and read it again. You know, the book sold better last year than any other year it’s been published. GO: S.E. Hinton appears Thursday, May 18, at Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd, Beaverton. 7 pm. Free. Willamette Week MAY 17, 2017 wweek.com

COURTESY OF 20TH CENTURY FOX

MOVIES GET YO UR R E PS IN

Escape From New York (1981) No matter who you are, one of your buddies is obsessed with this movie. Kurt Russell stars in this low-budget John Carpenter classic as Snake Plissken, a one-eyed prisoner sent into the post-apocalyptic maximum security prison of Manhattan to rescue the president of the United States. Mission Theater, May 23-27.

Killer of Sheep (1978/2007)

Shot on location, using non-professional actors and with a budget of $10,000, Charles Burnett’s look at the life of Stan (Henry G. Sanders) a Watts, Los Angeles slaughterhouse worker who wants more from his life, was almost lost, as the rights to the film’s soundtrack weren’t secured until 2007. Re-released 30 years later, it’s now considered a masterpiece of American neorealism. Hollywood Theatre, 7:30 pm, Wednesday, May 17.

ALIEN: COVENANT

The Last Dragon (1985)

With mononymous stars Taimak and Vanity of “Nasty Girl” Vanity 6 fame, Motown don Berry Gordy and director Michael Schultz came together to forge blaxploitation kung fu cult classic The Last Dragon. Set in ‘80s New York, this film follows Leroy Green (Taimak) on the path to obtaining “the glow,” the final level of martial arts mastery. Clinton Street Theater, 7 pm, Monday May 22.

Medicine for Melancholy (2008)

Did you love Moonlight as much as everyone else did? Here’s your chance to catch one of director Barry Jenkins’ earlier works. One day, Jo (Tracey Heggins) and Micah (Wyatt Cenac) hook up at a party in San Francisco. Later, they reconnect by chance and spend the day talking about the changing face of the gentrifying Bay Area. NW Film Center’s Whitsell Auditorium, 7 pm, Thursday, May 18.

Ugetsu (1953)

Kenji Mizoguchi’s ghost story was one of the films responsible for bringing Japanese cinema to western audiences. Set in late 16th century wartime, Potter Genjurō (Masayuki Mori) wants to profit from the chaos by raising prices, but his wife Miyagi (Machiko Kyō) warns him against it. He ignores her: spookiness ensues. NW Film Center’s Whitsell Auditorium, 5:30 pm, Friday, May 19.

ALSO PLAYING: 5th Avenue Cinema: Blue (1993), May 19-21. Clinton St: The Amazing Catfish (2013), 7 pm, Tuesday, May 23, The Little Girl of Hanoi (1975), 8 pm, Wednesday, May 23. Hollywood: Psychomania (1973), 7:30 pm, Tuesday, May 23. Mission: Willow (1988), May 17 and 20. Laurelhurst: One Flew Over the Cuckoo’s Nest (1975), May 17-18, Kindergarten Cop (1990), May 19-25. Academy: The Big Lebowski (1998), May 19-25. Mrs. Doubtfire (1993), May 17-18. NW Film Center’s Whitsell Auditorium: Chantal Akerman: My Mother Laughs (2013), 7:30 pm, Thursday, May 18, Bless Their Little Hearts (1984), May 20-21.

Aliens vs. Screener EVERY FILM IN THE ALIEN FRANCHISE, INCLUDING ALIEN: COVENANT, RANKED FROM BEST TO WORST. BY WALKER MACMURDO

wmacmurdo@wweek.com

This week, the newest film in the Alien franchise, Alien: Covenant, hits theaters. The sequel to 2012’s Prometheus, it follows a crew of colonists to an unnamed moon, who are saved from ravenous monsters by David (Michael Fassbender), a mysterious android who wishes to be more than human. To celebrate the almost 40-year-old franchise, we watched every movie set in the space-exploring, chest-bursting, acid-bleeding, strobe-lit universe of the Alien franchise in less than a week—even the Alien vs Predator flicks, which are dumb and bad in the most mundane way. Here they are, from best to worst.

ALIEN

(1979, directed by Ridley Scott) First and foremost, every one of these movies is about fucking. Created by surrealist H.R. Giger, the now legendary “xenomorph” is a giant fanged penis demon possessed with a smaller fanged penis that it plunges into the heads of the hapless space truckers of the Nostromo, a group of fully realized workmen and women who just wanted to haul their cargo of ore across the galaxy in the peace of cryosleep. But Scott’s treatise on gender politics goes farther than skull deep. You’ll notice that all of the horror and mayhem so masterfully captured in the beautifully claustrophobic Nostromo would be preventable but for the machinations of the Weyland-Yutani Corporation, whose icy servant Ash (Ian Holm)

Willamette Week MAY 17, 2017 wweek.com

undermines the film’s hero, Warrant Officer Ripley (Sigourney Weaver), by ignoring her attempts to quarantine Kane (William Hurt) when his throat gets occupied by the proboscis of the alien “facehugger.” Though this is a film rich with monstrous horror movie violence, its most shocking moment isn’t the chest-bursting scene, but Ash’s attempt to suffocate Ripley with a rolled up dirty mag.

ALIENS

(1986, directed by James Cameron) Scott’s ideas, particularly the corporate violence propagated by Paul Riser’s wonderfully slimy ‘80s suit Carter Burke, become a little more apparent in Cameron’s sequel. Loved at least as much as the first—though ignore anyone who tells you Aliens is superior—Ripley’s return to alien-infested planet LV-426 is pure energy: a compressed whirlwind of staccato gunfire, strobe lighting and screaming, punctuated with furtive glances between musclebound marines, Bill Paxton’s dudeisms and Ripley’s motherly doting over cute-kid Newt (Carrie Henn).

PROMETHEUS

(2012, directed by Ridley Scott) Scott must’ve come to Jesus in his autumn years, because 35 years later he uses Prometheus to explore questions of faith in the age of science through a crew of scientists traveling to a distant moon to find the origin of human life. Don’t you worry, there’s still a ton of gruesome penetrative imagery, and by this time the ideological palette is less phallic: you likely

forgot Shaw’s (Noomi Rapace) nasty, thrilling C-section, and the (spoiler) vagina monster it spawns. Though Prometheus’ rushed second and third acts abandon all of the hind-mindedness of the first, this film’s reputation unduly suffered from stratospheric expectations. Prometheus is overambitious, but it’s as good of a poor man’s Solaris as we’re going to get.

ALIEN: COVENANT

(2017, directed by Ridley Scott) On its way to planet Origae-6, a solar flare damages colonizing ship Covenant, killing its captain and waking the rest of its crew. While the ship’s pilot, Tennessee (Danny McBride), is out conducting repairs, he receives a signal from a nearby habitable moon, which newly in charge Oram (Billy Crudup) decides the crew should investigate to the protestations of 2IC Daniels (Katherine Waterston). Surprise! Things go to shit when two of 15 crew members inhale spores from alien fungus, rapidly spawning fleshy, apelike monsters who would make short work of everyone but for the efforts of ostensibly benevolent android David (Michael Fassbender), the only survivor from the events of Prometheus, who whisks the survivors to his creepy hidey-hole. The action in Covenant is bloody and kinetic, given more camera time than the series’ earlier films. However, Covenant lacks the expansiveness of its predecessor or the claustrophobia of the early films. The crew is at least six members too large, no one except scene-stealingly hilarious McBride having any room to breathe before being mauled to death. Scott’s also taken to recycling the series’ visual motifs and action sequences, Alien: Covenant’s final battle being a twist on Ripley’s confrontation with the queen in Aliens that trades exosuit for landing vehicle. Though it’s excellent fan service, Covenant does not deliver the beautiful horror of the Alien series’ best.

ALIEN: RESURRECTION

(1997, directed by Jean-Pierre Jeunet) Joss Whedon wrote a viciously misanthropic, pitch-black comedy that’s much smarter than it looks. Jeunet, who’d next direct Amile, sets it off with buckets of gore. It’s the future, and Ripley is now a superpowered misanthropic anti-hero who has realized that humanity, not the aliens, are her true enemy. She must lead a group of space smugglers—including Ron Perlman’s delightfully oafish bruiser Johner—out of an alien-infested military spaceship. Yes, this film is ugly—and its bland ending was marred by studio interference—but it’s great for a sloppy hybrid of Robocop and The Fifth Element.

ALIEN 3

(1992, directed by David Fincher) Ripley crash lands on a planet full of bald, religious convicts with cockney accents, and the resultant 2 hours is excruciatingly dull, joyless and nonsensical. Plagued with production problems and disowned by Fincher, you’re better off reading about what this film could’ve been on Wikipedia than watching it. SEE IT: Alien: Covenant opens at Bridgeport, Cedar Hills, Cinema 21, Cinemagic Theatre, City Center, Clackamas, Division, Eastport, Fox Tower, Hollywood, Living Room Theaters, Lloyd, Tigard, Vancouver.

COURTESY OF IFC FILMS

CHUCK Editor: WALKER MACMURDO. 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: wmacmurdo@wweek.com. Fax: 243-1115. : This movie sucks, don’t watch it. : This movie is entertaining but flawed. : This movie is good. We recommend you watch it. : This movie is excellent, one of the best of the year.

NOW PLAYING Chuck

From the opening scene onward, with Liev Schreiber’s titular pug prepping for barroom brawl vs. actual grizzly, Chuck tries desperately to be something more than just another boxing drama. Though it fails, damned if it doesn’t end up punching above its weight. As Schreiber’s swaggering voiceover reminds throughout, Chuck “The Bayonne Bleeder” Wepner, a hulking stiff whose preternatural talent for absorbing punishment kept him among the heavyweight division’s top tier, never took the sweet science any more seriously than family (Michael Rapaport), friends (Jim Gaffigan) and loved ones (Elisabeth Moss). The only ring scenes of significance—his 1975 title fight against an ascendant Muhammad Ali—end by the halfway point. By then, we’ve already been told Wepner’s last-second TKO will earn the outranked fighter a symbolic victory for sheer endurance against the champ, which should ring a little familiar for even the most sports-phobic moviegoer. Still, for all the meta trappings and haute-70s biopic panache from director Philippe Falardeau, there’s something sweetly old-fashioned about Chuck. While tastes may vary as to the adorability of an unrepentant coke-addled philanderer falling dick-first into salvation, the film never quite apologizes for a man who literally cannot learn a lesson until it’s been beaten into his head. Sweeping aside issues of moral culpability, Chuck nimbly dances around usual trouble spots to target the irony of modern celebrity culture: With the power of fame now trivial-

izing its origins, any bum who wants to be somebody can suddenly wake up a contender. R. JAY HORTON. Fox Tower.

Diary of a Wimpy Kid: The Long Haul

While it’s painful to recommend a film that expects audiences to be delighted by the sound of poo dropping into a toilet, this crudebut-charming kiddie road movie is hard to resist. Based on the ninth book in Jeff Kinney’s Wimpy Kid series, The Long Haul is a string of zany mishaps starring the Heffleys, a bickering family on a grueling road trip to a birthday party. Some of the obstacles they encounter along the way are wittily outlandish—there is a harrowing scene involving crazed birds lusting after a bag of off-brand Cheetos—while the struggles of the peppy-but-put-upon Heffley matriarch (Alicia Silverstone) to keep the family from splintering are depicted with a measure of seriousness. You can’t ignore the ugly stereotypes in this story, which include a nagging mother, a workaholic father (Tom Everett Scott) and two kids (Charlie Wright and Jason Drucker, who plays the titular wimpy kid) who are smartphone zombies. Yet the action moves at a satisfyingly brisk pace and even includes some genuinely heartfelt moments, like when the Heffleys belt out “Wannabe” with Spice Girls-worthy panache. The result is a rare children’s film that offers an ode to family without talking down to its young audience. PG. BENNETT CAMPBELL FERGUSON Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Pioneer Place, Tigard, Vancouver.

Experiments in Cinema: Julie Perini/Jodi Darby/Pam Minty

The final program in the Boathouse Microcinema’s inaugural spring season not only showcases the work from three Portland filmmakers, but also literally involves filmmaking. Found footage filmmaker Craig Baldwin shipped Boathouse 16mm clips of political leaders from the past, to be manipulated and reorganized together. Boathouse Microcinema, 7 pm, Wednesday, May 17.

The Lovers

Where we’d expect dialogue, The Lovers substitutes oboes and violins. The score is a glaring, recurring manifestation of the ache inside 50-something spouses Michael (Tracy Letts) and Susan (Lesley Fera). They have no words left for each other, and depression only leaves off where denial picks up. Most importantly, each lonely California suburbanite is cheating on the other with a needy, eccentric artist (Aidan Gillen and Melora Walters), and we’re dropped into this narrative mirror at ultimatum time: Either the marriage or the affairs must go. Quality sight gags punctuate the first act, mostly juxtaposing the stress of leading double lives with the mundanity of parking lots and conference calls. It’d be black comedy if writer-director Azazel Jacobs pushed a tone more, but this is more drab irony searching for chuckles. Soon, though, the anti-rhythm of what Michael and Susan leave unsaid becomes agonizing. The sparse script enables Letts, a renowned Chicago thespian, to fall into a pattern of understatementas-showboating. It’s as if the dialogue comes from a playwright who obsessed over minimalist realism but hasn’t interacted with people in a few years. It leads to a study of marriage and doesn’t say very much in the hopes we’ll hang on its every word. R. CHANCE SOLEM-PFEIFER. Regal Bridgeport, Regal Lloyd Center, Century Clackamas, Hollywood Theatre.

Snatched

Picture the worn-out gimmick of the hapless character on a mission, walking in slow motion while gangsta rap ironically scores their strut. Picture a film unimaginative enough to use that gag three separate times and you have Snatched. This spoof of Taken pairs today’s comedy firebrand Amy Schumer and yesterday’s icon Goldie Hawn as Emily and Linda, a vacationing mother and daughter fighting and fleeing their Colombian captors. The low bar for Snatched to reach is The Other Guys or The Heat, a two-headed parody committed to identifying and exploiting genre tropes. But the abduction movie doesn’t contain that much fodder for satire, and this bit of knock-off Paul Feig dallies in realism, teeing up contrived character flaws and discussing them ad nauseum. Sure, Emily utters the occasional spiky Schumerism —“You suck Mom’s dick,” she roasts her mama’s boy brother played by Ike Barinholtz—but most scenes feel designed and stretched for improv when no one appears to be improvising. Two summers ago, Schumer was ascendant with Trainwreck, riding the wave of her on-stage ethos. Here, she’s as good a partner to Hawn as an uninspired Chevy Chase, churning out half-done studio fare just in time for the appropriate holiday weekend. R. CHANCE SOLEM-PFEIFER. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Living Room Theaters, Lloyd, Oak Grove, Pioneer Place, St. Johns Twin Cinema & Pub, Tigard, Vancouver.

Truman

Winner of Spain’s Goya Award for best film, which is like an Oscar except served with a small tin of smoked mussels, Truman follows a Madrid man diagnosed with terminal cancer (Ricardo Darín), whose friend Tomas (Javier Cámara) returns to visit him from Toronto to help him find a new owner for his dog, Truman. 4NW Film Center’s Whitsell Auditorium, May 19-21.

STILL SHOWING All These Sleepless Nights

All These Sleepless Nights centers on the hedonistic trials of two Polish early-20-somethings—think Kids or Less Than Zero in Warsaw, with heartless breakups muffled by techno-electronica dance parties, and clever narrations full of unnecessary, cigarette-inspired metaphors not at all improvised. R. Fox Tower.

Beauty and the Beast

Did we need this remake? Probably not. Is is pretty good? Yes. PG. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Living Room Theaters, Lloyd, Tigard, Vancouver.

The Boss Baby

Somehow, this movie isn’t a terrifying monstrosity. PG. Beaverton, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Oak Grove, Tigard, Vancouver.

Buster’s Mal Heart

While it takes audacity to cram existentialism, human waste and dead frogs into a single movie, audacity is all this drivel has going for it. NR. Hollywood Theatre.

Chasing Trane

Search “John Coltrane live” on YouTube and enjoy the results while perusing the jazz great’s Wikipedia page. You’ll come away only marginally less informed about the man and his music than if you’d paid $8.50 for a ticket to this underwhelming documentary. NR. Cinema 21.

Citizen Jane: Battle for the City

Broaching the life of city planning warrior Jane Jacobs, Citizen Jane: Battle for the City attempts to relay the recent history of places where half the planet’s population lives. But the film’s focus sprawls like an unchecked suburb. Either Ken Burns needed to make this film over the

CONT. on page 50 Willamette Week MAY 17, 2017 wweek.com

MOVIES Colossal

Nacho Vigalondo’s new monster flick follows Anne Hathaway and Jason Sudeikis drunkenly rampaging through the friend zone as down-and-out yuppies whose angst somehow controls gigantic kaiju. PG. Cinema 21, City Center, Hollywood.

David Lynch: The Art Life

No one has ever accused David Lynch of being uninteresting, but Jon Nguyen’s new documentary about him certainly is. NR. Laurelhurst.

The Fate of the Furious

Sadly, Paul Walker was the key ingredient missing in the eighth iteration of the Fast and the Furious franchise. At least there’s still a bunch of cool explosions and shit. PG-13. Bridgeport, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Tigard, Vancouver.

Get Out

Yes, this movie is as good as everyone says it is, enough so that it makes you ask why other horror movies aren’t better. R. CineMagic Theatre, Eastport, Fox Tower.

Gifted

Every time I read the name of this movie, I think of that T-shirt you’d see at Spencer’s Gifts, emblazoned with a stick figure with three legs and the word “GIFTED,” implying the wearer has a large penis. PG-13. City Center, Division, Living Room Theaters, Oak Grove, Tigard.

Ghost in the Shell

Assertions that whitewashing and a reliance on futuristic effects makes this American remake of the animated 1995 manga classic a hollow, emotionless shell aren’t entirely wrong, but it’s still a rich and attention-grabbing action film powered by Scarlett Johansson’s dynamic lead performance. PG-13. Fox Academy, Avalon, Fox Tower, Jubitz, Kennedy School, Vancouver.

Going in Style

Zach Braff ’s Going in Style acts as a bitterly honest ode to aging, ageism and existentialism— themes that are always spry. What one might not expect is a plot that’s

fairly heinous, both morally and logistically, with characters who remain justified and likable throughout. PG-13. Clackamas, Oak Grove, Pioneer Place.

Guardians of the Galaxy Vol. 2

When the first Guardians debuted, its irreverent, hilarious, bizarro tone came out of nowhere, making audiences fall in love with Marvel’s D-list heroes at the confluence of Star Wars, The Ice Pirates and Buckaroo Banzai. Vol. 2 isn’t the jolt that the first one was, but between all the action and its surprisingly poignant finale, it’s a welcome addition. We’d follow this band of charismatic assholes anywhere at this point. PG-13. Bagdad, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Moreland, Oak Grove, Pioneer Place, Roseway, St. Johns Twin Cinema & Pub, Tigard, Vancouver.

Hidden Figures

Why does Kevin Costner get the biggest racism-busting line in a movie about under-appreciated black women who contributed to NASA’s Apollo 11 trip to the Moon? PG. Academy, Laurelhurst, Vancouver.

John Wick: Chapter 2

This may be the smartest, most beautifully shot film ever made that’s basically a montage of people getting shot in the head. R. Vancouver.

King Arthur: Legend of the Sword

Guy Ritchie has a gift for making fantasy warfare breathtakingly boring. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, St. Johns Pub and Theater, Tigard, Vancouver.

Kong: Skull Island

Following the original film’s blueprint, Kong: Skull Island sends a boatload of explorers past the perma-storm that’s hidden the titular archipelago for millennia. The similarities end there. Shifting to Southeast Asia just after the fall of Saigon, Skull Island replaces Age of Discovery heroics with wartime ambience. PG-13. Academy, Avalon, Joy, Kennedy School, Laurelhurst.

The Lego Batman Movie

Fast, funny and pleasingly drunk

on the joys of mockery, The Lego Batman Movie is as fun as the 2014 original but stars Will Arnett as a petulant, preening goofball who rocks out on an electric guitar and showers orphans with cool toys from a merch gun. PG. Academy, Clackamas, Vancouver.

Life

More like Death, am I right, folks? R. Academy, Jubitz, Vancouver.

Logan

Turns out having Hugh Jackman and cute child Dafne Keen perform Mortal Kombat fatalities on robotarmed mercenaries is a cool idea for a movie. R. City Center, Eastport, Fox Tower.

The Lost City of Z

This supremely entertaining tale of exploration and obsession unfolds in the early years of the 20th century to chronicle the storied search of Percy Fawcett (Charlie Hunnam) for an ancient city he believes lies hidden deep within the Amazon. With a buildup of suspense that would have made Hitchcock crack a sinister smile, and intoxicating images—men hacking their way through foliage with machetes, ramshackle boats floating toward elusive destinations—from director James Gray (Two Lovers), the movie hypnotizes completely. PG-13. Bridgeport, Eastport, Fox Tower, Hollywood, Vancouver.

Norman: The Moderate Rise and Tragic Fall of a New York Fixer

As a wannabe American-Israeli fixer, this is Richard Gere’s finest performance since Chicago. If you’re into pretty compelling nonsense, call anytime day or night; ask for Norman. R. Fox Tower.

A Quiet Passion

Any Emily Dickinson biopic would require patience, and Terence Davies’ A Quiet Passion demands more than its share. PG-13. Cinema 21, Kiggins.

Raw

Ostensibly about a young woman who develops an insatiable hunger for human flesh, Raw is more a visually stunning, deeply human coming-of-age story than a vicious Euro-horror film. R. Laurelhurst.

Smurfs: The Lost Village

Sony thinks moviegoers are dumb enough to pay money to see rote lessons in togetherness and acceptance acted out by tiny little blue people in blue pajamas. Save your money and buy some Haribo Sour Smurfs instead. PG. Avalon, Clackamas, Division, Kennedy School, Tigard, Vancouver.

T2: Trainspotting

It’s been 21 years since Trainspotting turned a blackly comic druggie caper into generational touchstone, and the follow-up posits that if you can survive the first rush of freedom and weather the inevitable hangover of crashing dreams, nostalgia becomes the last true habit R. Fox Tower.

Their Finest

COURTESY OF MARVEL/DISNEY

’Ello, love! It’s what seems to be the thousandth period romance this year, this time revolving around a screenwriter (Gemma Arterton) in the British film industry in 1940, marred by needless plot hiccups that make this film dissonantly depressing. R. City Center, Fox Tower.

Tracktown

Olympian Alexi Pappas’ autobiographical story of life as a runner in Eugene is great when revealing the alien lives of aspiring pro athletes, but less so when it tries to go romcom. Clinton St.

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Guardians of the Galaxy Vol. 2 50

Willamette Week MAY 17, 2017 wweek.com

PREVIEW C O U R T E S Y O F M O L LY K I N G

course of 12 hours, or it needed to call the Hudson and East rivers its borders. NR. Cinema 21.

TALL TALES: The Untold Tales of Armistead Maupin

Lost Generation QDoc returns May 18, and David Weissman’s new film, Conversations with Gay Elders, asks young queer people to acknowledge their history.

David Weissman had to learn how to ask the hard questions. The co-founder of the Portland Queer Documentary Festival (QDoc) and openly gay documentarian, is descended from Holocaust victims, Harvey Milk’s San Francisco and the AIDS crisis. He has little to say about his new film, Conversations with Gay Elders, which debuts this Sunday at the Hollywood Theatre. But the film speaks for itself: It features first-person accounts of survivors from the 1980s AIDS epidemic. “Part of the intention of my project is to serve as an intermediary between this generation and young gay men of now and the future,” says Weissman. “Because of the AIDS epidemic, there’s a loss of generations of storytellers. It hasn’t been easy to talk about, and it’s not an easy thing for younger people to ask about. I think older gay men feel invisible.” With Conversations, Weissman looks to instigate a dialogue between two queer demographics he sees as socially isolated. “I’m interested in the difficulties gay men have intersecting conversationally, generationally. Somebody may feel predatory or somebody may be worried about being preyed upon. There’s always some kind of anxiety.” As North America’s only queer documentary film festival, QDoc has always produced a bounty of unfamiliar historical storytelling. This year’s 11-film program begins Thursday with The Untold Tales of Armistead Maupin, telling the story of the former Southern segregationist turned gay rights pioneer and award-winning author behind the Tales of the City series. He will be present for the screening. However, one of the biggest stories at this year’s QDoc is that Weissman and fellow co-director Russ Gage are stepping back. They’re passing the baton to Deb Kemp and Molly King, lesbian women who will be taking over at the festival’s helm for the first time in its decade-long history. “Its really great that there’s new programming blood,” explains Weissman. “For a few years, Russ and I have been trying to figure out how to leave QDoc without it ending. Molly and Deb are young, and in some ways, they’re incredibly experienced beyond Russ and I.” Yet, the festival itself won’t look much different than year’s past in terms of its meat. “We don’t have open submissions, we’ve always been a curated festival,” Weissman continues. “Russ and I are well connected in the film world. We look for what comes out post-Sundance or Tribeca.” Confessions is unlikely to be Weissman’s creative swan song, but he hopes the film instigates a dialogue between strangers, rather than friends. “All they (Stonewall-era gay men) knew was that they had these feelings and for all they knew, they may have been the only gay person in the world,” says Weissman. “All these stories will be lost when this generation is no longer around.” JACK RUSHALL. SEE IT: QDoc runs May 18 through May 21 at the Hollywood Theatre. Conversations with Gay Elders screens noon, Sunday, May 21. See queerdocfest.com for tickets and full schedule.

SONJA SYNAK

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Some Monster of Kind WE’RE GROWING WEED ON THE ROOF OF OUR OFFICE FOR THE THIRD YEAR IN A ROW. PLAYTIME IS OVER.

TO PICK UP UP THE GUIDE TO PORTLAND’S POT SCENE. FIND IT AT: • Powell’s books • select news stands • select disPensaries

BY M A RT I N C I Z M A R

mcizmar@wweek.com

The first time we brought live cannabis plants into the WW office, there was awkward tittering. Weed wasn’t quite fully legal for another month or so, and many on our staff had never seen wee little clones up close. My, how fast things change. We’re just starting our third consecutive year of growing, and no one batted an eye at the 16 sacks of soil and gallons of weird fertilizer in the conference room. Truth be told, it’s a lot more discreet than the day we packaged judging kits for the Cultivation Classic and our entire 13,000-square-foot office smelled like a stash box. This year, our goal is to grow something worthy of entry in that competition. Year one, we just wanted the plants to survive and flower. We did that, but lost our entire crop to bud rot. Year two, we wanted to actually harvest a smokable product from our plants on the roof. We did, though the plants weren’t especially large and the flower itself wasn’t quite the fire bud we’d hoped. It’s year three, and playtime is over. We want big, bushy plants covered in tasty, resinous flowers. Here’s what we plan to do differently this year based on our two years of experience. Use these same tips if you’re playing at home.

BE CHOOSY ABOUT WHAT WE GROW. The first year, we just grew the first clones we were offered for free. They were an obscure SoCal strain called P91 and they were…fine. The strain was super-skunky with a strong cat-piss flavor and extreme sedative effect. We should have known this from the description, which called it

“smokable morphine,” but we were too excited to care. We learned our lesson: You’re going to spend a lot of time caring for these plants, so make sure they’re something you’ll love. Last year, we grew four different strains, including Texada Timewarp, which a grower friend sprouted from seeds I smuggled back from British Columbia, where it’s a popular outdoor strain. Sadly, the Texada Timewarp hates life indoors—only the clones from one of the four seeds survived the winter in veg, and it’s not looking great. We’re hoping a little fresh air can revitalize it, as these girls grow into monsters outdoors in colder, wetter climate than here.

START EARLIER.

By “earlier,” I mean weeks ago. The old rule of thumb, according to our former in-house consultant (read: Deadhead accounting guy), was the clones should be in the ground by 4/20. “I know it sounds weird,” he once told me. “But that’s actually just the right time.” But if you’re growing tomatoes (actual tomatoes, not grow-shop tomatoes), you know that chilly nights in this climate are very dangerous for young, spindly plants. Even though we have a large plant tent, for now we’re keeping our girls inside at night. In another week or so, they’ll go into the tent and into bigger pots.

GET BIGGER FABRIC POTS.

Speaking of pots—they’re key to getting bigger plants. For us, growing in regular ground-type dirt, such as a “garden,” isn’t an option. Even if you can do that, you might consider Smart Pots, the fabric pots we use, because in the cool, wet October days when the plants are finishing, you’ll be able to drag them under cover on damp CONT. on page 52 Willamette Week MAY 17, 2017 wweek.com

CONT. from page 51 BY N a t e Wa g g o n e r

nights. That’s also when thieves tend to come—nobody wants to rip off a plant that still needs food and water. Last year, we got 20-gallon Smart Pots. That’s pretty big, and our plants were pretty big, but they were far from the monsters we’ve seen our friends grow. So this year we got 45-gallon pots and 16 bags of Roots Organics soil blend to fill them, at a cost of about $350.

TOP THE PLANTS.

This is one of those super-old tricks our former consultant used, but we hadn’t tried until now. As the top flower on the cannabis plant grows up and up, it emits a hormone that tells the flowers below it not to compete and instead to stay in their place. The genetics are a factor, but when the plant gets to be about 3 feet tall, you cut off that top flower. The flowers underneath will grow taller and the plant will be bushier. We’ve never done this before, but we’ll try it this year, hopefully getting plants that are thick with resinous flowers and still short enough to cram into our tent on rainy October nights.

USE PLANT FOOD.

We’ve tried to stay as free of muss and/or fuss as we could while growing. Aside from a brief period during the first grow when an intern showed some extra initiative, we’ve given our plants only sunlight and water. That changes this year, because we’ve got organic plant food. “How organic do you want to go?” asked the helpful clerk. I didn’t care—I’d use a blend of MSG powder and groundup McDonald’s french fries if it would grow a big, tasty plant. Then I remembered I was at Roots, an organic-focused shop, and opted for the local product, Vital Earth’s bat guano.

USE MORE WATER.

SONJA SYNAK

It sounds obvious, but we’re pretty sure we left our plants thirsty in each of the first two years, stunting their growth as a result. Remember, as the folks at Roots told us, a large plant in a 45-gallon pot can use 2½ gallons of water on a hot August day. Last year, we invested in a hose long enough to reach the roof, making it easy to give the plants plenty of water. And so we shall.

Willamette Week MAY 17, 2017 wweek.com

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Jonesin’

CHATLINES

by Matt Jones

“Mystery Letter”--same letter, different means of wordplay.

completely vanished? [turn to a positive] 58 Chevre source 61 Like Consumer Electronics Show offerings 62 “In the Blood” band Better Than ___

40 Jake Shimabukuro instrument

65 Doctor’s order for the overly active, perhaps

41 It may get covered in throw pillows

3 Had an evening repast 4 Sonata automaker 5 Pissed-off expression 6 Energizes, with “up” 7 Dead set against 8 It may get dropped 9 Reno and Holder, briefly

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10 Beats by ___ Across

21 “Texas tea”

1 Iranian leader until 1979

22 Like England in the Middle Ages

5 Resort with hot springs

24 2016 Justin Timberlake movie

8 Wacky, as antics

27 Org. that awards Oscars

14 “... stay ___, and Wheat Chex stay floaty” (Shel Silverstein’s “Cereal”) 15 Thermometer scale 17 “In ___ of gifts ...” 18 Visually controlled tennis move? [go the opposite direction] 19 Keeps from leaving the house, at times

28 Pageant contestants’ accessories 31 Suddenly shut up when collecting pollen? [tilt uppercase on its side] 34 Summer on the Seine 35 Four-time Indy 500 winner Rick

36 Airport approximation, for short 39 Actor/sportscaster Bob and family, Stretch Armstrong-style? [flip over lowercase] 44 It’s the “K” in K-Cups

11 “Good King Wenceslas,” e.g.

47 Kagan of the Supreme Court 48 Metal-on-metal sound 49 Attacked in the groin, maybe 51 “___ Pepper’s Lonely Hearts Club Band” 52 Hawaiian foods 53 “Green-eyed monster” 55 Shad eggs 57 “___ Can Cook” (former cooking show)

16 Only three-letter chemical element 20 Brewer’s equipment 22 Rattle

25 Civil War soldier, for short

54 Annual reports,

46 “___ With Flowers”

56 2022’s Super Bowl

46 Drop out of the union

51 “The Faerie Queene” poet Edmund

43 Dr. ___ (sketchy scientist who’s a supporting character on “Archer”)

13 Plantain coverings

23 Put forth

50 The whole thing

42 Pantry stock

12 Tylenol rival

45 Cosmetics purveyor Adrien

49 Slashes

37 “Why don’t you make like a ___ and leave?”

64 Barrett who cofounded Pink Floyd

2 “Bali ___” (“South Pacific” song)

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33 Applied intense cold to

38 Some broadband connections

1 La preceder

Vancouver 360-314-CHAT

32 Infuse (with)

63 Absorb

Down

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30 “I dunno” gesture

59 “___ Gratia Artis” (MGM motto) 60 Body art piece last week’s answers

24 “One of ___ days ...”

26 Buckeyes’ initials 28 Rude expression 29 “Asteroids” game company

©2017 Jonesin’ Crosswords (editor@jonesincrosswords.com) For answers to this puzzle, call: 1-900-226-2800, 99 cents per minute. Must be 18+. Or to bill to your credit card, call: 1-800-655-6548. Reference puzzle #JONZ823.

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Willamette Week Classifieds MAY 17, 2017 wweek.com

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Week of May 18

ARIES (March 21-April 19)

“A two-year-old kid is like using a blender, but you don’t have a top for it,” said comedian Jerry Seinfeld. Would you like to avoid a scenario like that, Aries? Would you prefer not to see what happens if your life has resemblances to turning on a topless blender that’s full of ingredients? Yes? Then please find the top and put it on! And if you can’t locate the proper top, use a dinner plate or newspaper or pizza box. OK? It’s not too late. Even if the blender is already spewing almond milk and banana fragments and protein powder all over the ceiling. Better late than never!

TAURUS (April 20-May 20)

My pregnant friend Myrna is determined to avoid giving birth via Caesarean section. She believes that the best way for her son to enter the world is by him doing the hard work of squeezing through the narrow birth canal. That struggle will fortify his willpower and mobilize him to summon equally strenuous efforts in response to future challenges. It’s an interesting theory. I suggest you consider it as you contemplate how you’re going to get yourself reborn.

GEMINI (May 21-June 20)

I invite you to try the following meditation: Picture yourself filling garbage bags with stuff that reminds you of what you used to be and don’t want to be any more. Add anything that feels like decrepit emotional baggage or that serves as a worn-out psychological crutch. When you’ve gathered up all the props and accessories that demoralize you, imagine yourself going to a beach where you build a big bonfire and hurl your mess into the flames. As you dance around the conflagration, exorcise the voices in your head that tell you boring stories about yourself. Sing songs that have as much power to relieve and release you as a spectacular orgasm.

CANCER (June 21-July 22)

In normal times, your guardian animal ally might be the turtle, crab, seahorse, or manta ray. But in the next three weeks, it’s the cockroach. This unfairly maligned creature is legendary for its power to thrive in virtually any environment, and I think you will have a similar resourcefulness. Like the cockroach, you will do more than merely cope with awkward adventures and complicated transitions; you will flourish. One caution It’s possible that your adaptability may bother people who are less flexible and enterprising than you. To keep that from being a problem, be empathetic as you help them adapt. (P.S. Your temporary animal ally is exceptionally well-groomed. Cockroaches clean themselves as much as cats do.)

LEO (July 23-Aug. 22)

Lady Jane Grey was crowned Queen of England in July 1553, but she ruled for just nine days before being deposed. I invite you to think back to a time in your own past when victory was short-lived. Maybe you accomplished a gratifying feat after an arduous struggle, only to have it quickly eclipsed by a twist of fate. Perhaps you finally made it into the limelight but then lost your audience to a distracting brouhaha. But here’s the good news: Whatever it was -- a temporary triumph? incomplete success? nullified conquest? -- you will soon have a chance to find redemption for it.

VIRGO (Aug. 23-Sept. 22)

While shopping at a funky yard sale, I found the tornoff cover of a book titled You’re a Genius and I Can Prove It. Sadly, the rest of the book was not available. Later I searched for it in online bookstores, and found it was out of-print. That’s unfortunate, because now would be an excellent time for you to peruse a text like this. Why? Because you need specific, detailed evidence of how unique and compelling you are -- concrete data that will provide an antidote to your habitual self-doubts and consecrate your growing sense of self-worth. Here’s what I suggest you do: Write an essay entitled “I’m an Interesting Character and Here’s the Proof.”

LIBRA (Sept. 23-Oct. 22)

Leonardo da Vinci wrote a bestiary, an odd little book in which he drew moral conclusions from the behavior of animals. One of his descriptions will be useful for you to contemplate in the near future. It was centered on what he called the “wild ass,” which we might refer to as an undomesticated donkey. Leonardo said that this beast, “going to the fountain to drink and finding the water muddy, is never too thirsty to wait until it becomes clear before satisfying himself.” That’s a useful fable to contemplate, Libra. Be patient as you go in search of what’s pure and clean and good for you. (The translation from the Italian is by Oliver Evans.)

SCORPIO (Oct. 23-Nov. 21)

My friend Allie works as a matchmaker. She has an instinctive skill at reading the potential chemistry between people. One of her key strategies is to urge her clients to write mission statements. “What would your ideal marriage look like?” she asks them. Once they have clarified what they want, the process of finding a mate seems to become easier and more fun. In accordance with the astrological omens, Scorpio, I suggest you try this exercise -- even if you are already in a committed relationship. It’s an excellent time to get very specific about the inspired togetherness you’re willing to work hard to create.

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SAGITTARIUS (Nov. 22-Dec. 21)

In ancient Greek myth, Tiresias was a prophet who could draw useful revelations by interpreting the singing of birds. Spirits of the dead helped him devise his prognostications, too. He was in constant demand for revelations about the future. But his greatest claim to fame was the fact that a goddess magically transformed him into a woman for seven years. After that, he could speak with authority about how both genders experienced the world. This enhanced his wisdom immeasurably, adding to his oracular power. Are you interested in a less drastic but highly educational lesson, Sagittarius? Would you like to see life from a very different perspective from the one you’re accustomed to? It’s available to you if you want it.

CAPRICORN (Dec. 22-Jan. 19)

“You remind me of the parts of myself that I will never have a chance to meet,” writes poet Mariah GordonDyke, addressing a lover. Have you ever felt like saying that to a beloved ally, Capricorn? If so, I have good news: You now have an opportunity to meet and greet parts of yourself that have previously been hidden from you -- aspects of your deep soul that up until now you may only have caught glimpses of. Celebrate this homecoming!

AQUARIUS (Jan. 20-Feb. 18)

I predict that you won’t be bitten by a dog or embarrassed by a stain or pounced on by a lawyer. Nor will you lose your keys or get yelled at by a friend or oversleep for a big appointment. On the contrary! I think you’ll be wise to expect the best. The following events are quite possible: You may be complimented by a person who’s in a position to help you. You could be invited into a place that had previously been off-limits. While eavesdropping, you might pick up a useful clue, and while daydreaming you could recover an important memory you’d lost. Good luck like this is even more likely to sweep into your life if you work on ripening the most immature part of your personality.

PISCES (Feb. 19-March 20)

Time out. It’s intermission. Give yourself permission to be spacious and slow. Then, when you’re sweetly empty -- this may take a few days -- seek out experiences that appeal primarily to your wild and tender heart as opposed to your wild and jumpy mind. Just forget about the theories you believe in and the ideas you regard as central to your philosophy of life. Instead, work on developing brisk new approaches to your relationship with your feelings. Like what? Become more conscious of them, for example. Express gratitude for what they teach you. Boost your trust for their power to reveal what your mind sometimes hides from you.

Homework

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