44 20 willamette week, march 14, 2018 by Willamette Week Newspaper

$45 MIL FOR A BROKEN PHONE.

HOT NEW HOT POT.

POEMS ABOUT FRANK OCEAN.

P. 28

P. 31

P. 8

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“THEY THEY LIE IN BED AND CRACK JOKES ABOUT THE BIBLE.” P. 39 WWEEK.COM

VOL 44/20 03.14.2018

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WE POLLED PEOPLE IN THE PORTLAND MUSIC SCENE.

HERE ARE THE LOCAL ACTS THEY SAY YOU'VE GOT TO HEAR. PAGE 13

Willamette Week MARCH 14, 2018 wweek.com

ABBY GORDON

FINDINGS

MAARQUII, PAGE 19

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 44, ISSUE 20.

College campuses are hotbeds of tolerance. 4

Thank “super-rich Mormon kids” for producing Sunbathe. 20

The NBA is investigating Mark Cuban’s allegedly “gropey” behavior at the Boiler Room. 6

Arnold Schwarzenegger predicted the Milkshake IPA . 28

Walmart will go to court to keep

from selling an Oregon man a gun. 7 City Council talks about a housing crisis, then rejects new housing. 11 Cumbia is a rhythm, not a genre, says Portland’s Best New Band. 14

ON THE COVER:

The author of I’m Ready to See Frank Ocean is terrified of meeting Frank Ocean. 31 The Lesbian Mafia got gentrified. 40

An Oregon man was once tracked by the Rajneeshee cult. In return, he made them tea. 41

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Willamette Week’s Best New Band, Savilá, photo by Abby Gordon. Lettering by Alé Carda.

In 2011, Portland police investigated a sexual assault complaint against billionaire Mark Cuban.

MASTHEAD EDITOR & PUBLISHER

Mark Zusman EDITORIAL

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DIALOGUE Last week, WW broke the story of a 2011 sexual assault allegation against Mark Cuban, the billionaire owner of the Dallas Mavericks (“Oh My F***ing Lord, WW, March 7, 2018). Cuban was never charged, and the alleged victim never contacted the media or sought compensation. But WW obtained a 50-page police report of the investigation. Here’s what our readers had to say about Cuban. Steve Tait, via Facebook: “I don’t like the guy. He’s arrogant. He’s power hungry. He acts too much like a bully. Maybe the sharks will eat him.” Nastala, via wweek.com: “I managed a few high-end downtown Portland restaurants in the late ’70s and early ’80s. Sexual abuse by powerful, wealthy males was rampant, and victims who actually reported were penalized through outright denials and intense personal diminishment. This story is a typical one.”

Smintheus, via wweek.com: “Cuban is doing what, in my experience, liars typically do when confronted with something they’ve done wrong—they try to convince you that they couldn’t possibly have done what they’re accused of doing.” Backroad to Nowhere, via Twitter: “The Sports Illustrated report makes even more sense now.” Jake Giddens, via Facebook: “The ‘I always show my ring finger in photos with women’ comment is what really makes it seem like he’s BSing the officer.” Grace Kelly, via Twitter: “Why am I not surprised? I guess that presidential run ain’t happenin’ anytime soon.” Maria Alisa, via Facebook: “The idea that this is physically impossible is so ludicrous.”

CORRECTIONS

AMB, via wweek.com: “He seemed awfully interested in getting the cop on his side.” Gifdsports, via Twitter: “It hasn’t been a good month for Mark Cuban…only a matter of time until these pictures from a 2011 alleged sexual assault investigation leak and make it on the internet.” Carin Love, via Facebook: “No one going to point out how police sat on this for seven years? Anyone?” Haggarded, via wweek.com: “Would need to hear the actual audio to better judge. Cuban sounds genuinely shocked at the allegations, but he could just be an amazing sociopathic liar.”

A recent story (“Border Patrol,” WW, Feb. 28, 2017) quoted a Southern Poverty Law Center reporter as saying that Oregonians for Immigration Reform sponsored a Whiteness History Month. The SPLC representative was wrong. OFIR did not sponsor the event. A story last week on Portland State University research incorrectly said that PSU changed a student’s failing grade after he said the research he was asked to do violated federal law. The university did not change his grade but allowed him to graduate. WW regrets the errors. LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Email: mzusman@wweek.com

Dr. Know BY MART Y SMITH

When I heard that a famous anti-feminist got shouted down at a Portland liberal arts college, I assumed it would be commie-hotbed Reed, not middle-of-the-road Lewis & Clark. Has L&C surpassed Reed as Portland’s king of political correctness? —Porch Swing Voter

Join the WW team! Do you have sales chops, organizational skills and a passion to be part of a dynamic team that produces the best local news and entertainment in Portland? We are looking to hire a new account executive to help local businesses engage with our readers via print, digital, social and events. Email resume and cover letter to mzusman@wweek.com We are an equal opportunity employer.

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In case you spent the last week doing something more useful than following America’s ongoing media conversation about politics—like, say, repeatedly digging a hole and filling it up again, or making your own gravel—here’s what you need to know: On March 5, the Lewis & Clark Law School chapter of the Federalist Society hosted a talk by Christina Hoff Sommers, a conservative writer on gender issues. The event was quickly disrupted by angry, sign-wielding students who consider her—at best—an apologist for institutional misogyny. This event prompted the usual handwringing from sources like the New York Times token conservative David Brooks: Our nation’s universities have become Orwellian indoctrination camps where free speech is trampled by the lockstep Birkenstocks of political correctness. (For today’s student activists, Brooks warns darkly, “reason [has] ceased to matter.”)

Let me just pause to say that while I did attend Reed, it’s been more than 20 years since I’ve even known what was going on there, much less attended classes. This makes me only slightly more qualified than David Brooks to opine on campus tolerance for dissent. Still, there’s a reason colleges get such a bad rap for repressing unpopular points of view: They’re pretty much the only institutions that make a habit of allowing invitations to speakers whose opinions they mostly disagree with. If Rachel Maddow got invited to speak at the annual Conservative Political Action Conference, I daresay she’d get shouted down, too. In this light, the fact that Sommers was invited at all shows a very non-PC openness to heterodoxy. Meanwhile, Reed has been so successful at stifling dissent I haven’t seen it in the news all week. Thus, I will assume its status as Portland’s leading Stalinist hellscape is still intact. QUESTIONS? Send them to dr.know@wweek.com

Willamette Week MARCH 14, 2018 wweek.com

@wweek

Revolutionhall.com Tickets on Sale 503-288-3895

S W E N

STEVE JENNINGS

MURMURS

CUBAN

NBA INVESTIGATING ALLEGATION AGAINST MARK CUBAN: A lot has happened since we reported last week on a 2011 sexual assault allegation against billionaire Dallas Mavericks owner Mark Cuban (“Oh My F***ing Lord,” WW, March 7, 2018). Most consequentially, The Oregonian found an employee of the Barrel Room, where the alleged assault occurred, whom police had never interviewed. That man reported Cuban was “gropey” and so drunk he was ejected from the club—but only after taking a photograph with a woman who “jumped away” from Cuban. The NBA announced it would open an investigation into the allegation against Cuban, who has adamantly denied any wrongdoing. Finally, Cuban’s most visible employee, Mavericks head coach Rick Carlisle, went to bat for the man who signs his paycheck, calling WW’s report “fake news.” OREGONIAN OWNERS EYEING WEB PAYWALL: Online readers of The Oregonian could soon run into a paywall on OregonLive. com. A representative of the newspaper’s owner, Advance Publications, discussed a possible paywall with Oregonian staffers at a meeting in Portland last month, according to three people familiar with the conversation. Last week, Ken Doctor of Neiman Labs reported that Advance is likely to test a paywall at one of its newspapers this year—but the New Jerseybased media giant won’t say which one. “If we decide to test anything,” said Advance Local CEO Randy Siegel, “it will be a dynamic meter in a single market, but a final decision won’t be made until much later this year.” 6

Willamette Week MARCH 14, 2018 wweek.com

HOUSING BUREAU SEEKS TO CLOSE TAX LOOPHOLE: The Portland Housing Bureau is looking to reform a tax-exemption program for low-income homeowners. The program currently transfers its tax breaks when a home is sold—meaning buyers who don’t qualify for the low-income subsidy still get it passed along (“How to Flip a Tax Break,” WW, Oct. 11, 2017). Next month, the bureau will take a code change before the City Council to institute a way to verify incomes for any buyers beginning July 1, 2018. The Housing Bureau is still determining whether the change will affect existing home owners or just new applications. This week, the City Council will vote on routine enforcement and may cancel the tax exemption for 15 homeowners currently enjoying the break. PORTLAND TRANSGENDER WOMAN SUES TINDER: A Portland transgender woman is suing Tinder on March 13 for deleting her dating app profile after she added details about her legal sex work and transgender identity to her profile’s bio. Ariel Hawkins says hours after she added the phrase “camgirl on the side. preop trans woman” to her profile, Tinder notified her via email that her account violated the app’s terms of service and her account had been deleted. “I wanted to just find love like everybody else,” Hawkins says. The company didn’t respond to Hawkins’ questions about why her account violated the app’s rules. Other transgender women have alleged on social media that Tinder deleted their profiles without explanation. Hawkins’ lawsuit, filed in Multnomah County Circuit Court, asks for a court order “prohibiting Tinder to continue discriminating against non-cisgender Oregon users.”

NEWS

WHAT YOU NEED TO KNOW THIS WEEK

Lawyers, Guns and Freddy’s Two Oregon men challenge retail stores’ refusal to sell them firearms. BY KAT I E SH E P H E R D

kshepherd@wqweek.com

Four Oregon lawsuits have made national headlines and challenged the ability of national retailers to restrict gun sales to people under 21. In all four cases, all filed in county circuit courts, 20-year-old Oregon men say stores violated their civil rights by refusing to sell them guns and ammo. The cases claim the stores’ policies violate state anti-discrimination laws that bar merchants from refusing service based on a number of protected classes, including age. (Oregon Labor Commissioner Brad Avakian has said he thinks the policies may violate state legal protections.) The two men share a law firm. “Our clients just want the discrimination laws applied fairly,” says Chris Cauble, one of the lawyers representing both men. “About 20 states include age in their public accommodation laws. It does not matter that they can buy guns somewhere else. That’s not a defense to discrimination.” Here’s how the two young men tried and failed to buy guns and ammunition in Oregon:

WHO

Tyler Watson, 20, of Gold Hill, Oregon

Airion Grace, 20, Washington County, Oregon

WHAT

Watson tried to buy a .22 caliber Ruger 10/22 rifle.

Grace tried to buy Grace tried to buy shotgun cartridges. shotgun cartridges.

WHEN WHERE

WHAT THE STORE HAS TO SAY

Feb. 24

Watson tried to buy a .22 caliber Ruger 10/22 rifle. March 3

March 6

Field & Stream store, owned by Dick’s Sporting Goods, Inc., in Medford, Oregon

Walmart in Grants Pass, Oregon

Bi-Mart in Hillsboro, Oregon

Fred Meyer in Hillsboro, Ore., three miles down the road from the Bi-Mart

Dick’s Sporting Goods did not return requests for comment.

Walmart gave the following statement:

Bi-Mart did not return requests for comment.

“In light of recent events, we reviewed our policy on firearm sales,” a Walmart spokesman said in a statement. “As a result, we raised the age restriction for the purchase of firearms and ammunition to 21 years of age. We stand behind our decision and plan to defend it. We will respond as appropriate with the Court.”

FOUR QUESTIONS FOR

CONTRIBUTION OF THE WEEK

DeRay Mckesson

$9,487.64 (in-kind donations)

Who got it? Former state Rep. Shemia Fagan, seeking to unseat incumbent state Sen. Rod Monroe (D -East Portland) in the Democratic primary in May.

A Black Lives Matter leader comes to Portland. Few people stir a reaction like DeRay Mckesson. Mckesson is from Baltimore, but his fame was born on the streets of Ferguson, Mo., in 2014, amid a police crackdown on black protests of the killing of Michael Brown. Since then, Mckesson has been an outsized figure in the Black Lives Matter movement, leading national discussions on police reform, closing the racial wealth gap, and improving adult literacy. He ran for Baltimore City Council in 2016, placing sixth, and now hosts a popular podcast— Pod Save America—on which he interviews activists and policy leaders. This week, he’s in Portland, speaking March 15 at an event hosted by the Oregon Justice Resource Center. Mckesson spoke to WW before his visit on how Black Lives Matter is changing in the Trump era. JAMAAL GREEN. WW: You’ve made social media central to your work. Why? DeRay Mckesson: I think that if it weren’t for Twitter, [Ferguson] Missouri would try to convince you that we didn’t exist. I never think about it as real life and then the internet. Online helps strengthen and broaden the work that we do offline. It’s a tool. Just like any tool. Some hammers are used to put nails in and build houses, and some hammers are used to kill

March 6

people. The pace at which information travels and people can organize is just different and unparalleled, which holds promise and peril. On the perilous end, we have the first social media president. Has Trump hurt or helped Black Lives Matter? I’m always nervous about glamorizing the source of trauma. I never talk about the organizing happening because Trump is president. We don’t live in a world of equity and justice yet, so until we live in that world, people will still be pushing, whether Trump is president or not. Trump has definitely raised the ante, not only because he’s attacked some people of color but because of the way he’s eroded the entire system. But the organizing is happening. Are you organizing differently to make sure your movement has staying power? The question is: What’s your goal? My goal isn’t to fight for 3,000 years. That’s one of the reasons why we didn’t immediately seek grant funding, because I wasn’t trying to build an organization that just existed for the purpose of existing—which is so many nonprofits out there. All these staff members, questionable impact, but they get by by being like, “But we’re doing the work.” There’s a type of organizing that says

that the only way you can build power is in the basement of a church every Wednesday. Then there’s a type of organizing that says there are many ways that we can build power. The internet is one of those ways, and the phone is another one of those ways, and Twitter is another one of those ways. There are a host of things that we can do.

Who gave it? The Oregon Trial Lawyers Association PAC, donating mainly in the form a staff member who is serving as Fagan’s campaign field director and catering for events.

You’ve started doing work around literacy in Baltimore. Is the goal to help people gain the skills necessary to grab power for themselves? So it’s not about grabbing power but understanding you already have it. And with literacy, it’s a little complicated. There’s so much shame involved with not being able to read when you’re an adult. If I had unlimited resources, we’d find and pay reading coaches who can teach in groups of one, two and three. We’d have a program from the juvenile jail and in the main jails and prisons in the city and just teach people how to read. Our focus right now is the racial wealth gap, mass incarceration and police. But I’m still fascinated by literacy. SEE IT: DeRay Mckesson speaks at First Congregational United Church of Christ, 1126 SW Park Ave., on Thursday, March 15. 7 pm. $25-$65.

Why is it interesting? It’s unusual for an institutional player as large as the trial lawyers to support someone challenging an incumbent in a Democratic primary. This race is unusual, however: Fagan and Kayse Jama, the other challenger to Monroe, have attracted endorsements from Democratic players. Monroe has been a target within his own party since he blocked tenant protections from passing the Senate last year. What does Fagan’s campaign say? “They are one of an number of progressive groups who are tired of business as usual,” says Fagan, who adds that trial lawyers weren’t happy with Monroe’s position on increasing jury awards for noneconomic damages.

Willamette Week MARCH 14, 2018 wweek.com

P H OTO M A N I P U L AT I O N B Y R O S I E S T R U V E . ORIGINAL IMAGE FROM A 1956 IBM ELECTRIC TYPEWRITER AD.

NEWS

Dumb Phones The state of Oregon’s new phone system doesn’t work—and it’s beginning to echo previous tech fiascos.

BY NIG E L JAQ UI SS

njaquiss@wweek.com

The state of Oregon has spent $46 million on a new phone system for more than 30,000 state employees in 400 offices. It doesn’t work. On March 12, for instance, a state employee tried to return a call to WW about the new system, but he found his desk phone inoperable—again. “No dial tone,” explained the employee, who spoke on background because he was not authorized to talk about the phones. He was forced to return WW’s call on his cell. Non-working phones have been a regular complaint at many state agencies over the past two years, although the trouble-plagued system has until now received little public attention. But on Jan. 26, the state issued a formal notice of default to IBM, the contractor that built and installed that new phone system, which is called Project MUSIC. (That stands for “mobilizing unified systems and integrated communications.”) “IBM has failed to provide the state with a stable, reliable managed communications solution,” wrote Lori Nordlien, a procurement officer at the state Department of Administrative Services wrote in a letter to the company. “IBM has materially failed to perform.” The default notice, which WW obtained via a public records request, could mark the beginning of legal action and is a sign of how unhappy the state is three years after signing a contract with IBM. The failure of something as seemingly routine as a phone system harks back to other high-profile state government technology debacles: the scandal-plagued state emergency radio system, known as the Oregon Wireless 8

Willamette Week MARCH 14, 2018 wweek.com

Interoperability Network, and of course Cover Oregon, the $300 million online health care exchange that failed in 2014, sparking more than two years of bitter legal wrangling with the contractor, software giant Oracle. Liz Craig, a spokeswoman for the Department of Administrative Services, says Project MUSIC is different from OWIN and Cover Oregon. “First, Project MUSIC is not building anything new. Rather, it is replacing existing hardware and connecting it to existing infrastructure,” Craig says. Second, she adds, DAS is using money already budgeted for the existing phone system. Lawmakers first got an inkling of troubles with the phone system last year, at an April 25, 2017, meeting of the Joint Ways and Means Subcommittee on General Government. State officials and an IBM official casually told lawmakers at the April 25 hearing that implementation of the new system had been halted for four months because of widespread “dissatisfaction” from state agencies. That news shocked and dismayed committee members. State Sen. Betsy Johnson (D-Scappoose) invoked OWIN and Cover Oregon, which she termed “catastrophic system failures.” “The worst thing in the [legislative] business is surprise,” Johnson told a senior IBM representative and the state’s chief information officer, Alex Pettit, that day. “This comes as an unwelcome surprise.” Pettit and the IBM official, Anthony Foster, told Johnson and her colleagues things would get better. They didn’t. The state of Oregon employs tens of thousands of people, many of whom use desk phones daily to serve the taxpaying public.

In 2015, state officials signed a contract with IBM to consolidate and modernize a mishmash of aging phone systems. The state faced a July 1, 2018, deadline to switch employees over from an existing contract with CenturyLink. The new system IBM pitched wasn’t cheap: The basic cost of designing it and supplying hardware was $39 million over 10 years. The Department of Administrative Services needed another $7 million for installation, bringing hard costs to $46 million. Annual maintenance will cost another $7 million or so a year. Rather than conventional, hard-wired phones, the state bought a system that would rely on the internet, using what’s called voice over internet protocol, or VOIP. (The state employs 50,000 people at more than 600 locations, but not all offices have the bandwidth for the new system.) VOIP systems are supposed to be cheaper to use and maintain and more flexible than conventional phones. If employees change locations, for instance, they can take their numbers with them; their phones can be integrated with their computers, and adding new lines is far easier. But from the beginning of installation in February 2016, documents show, state agencies experienced myriad problems, including dead phones, disappearing voicemail and poor sound quality. Early last year, the state and IBM agreed on a “stop work” trouble-shooting period from Jan. 27 through May 17, 2017. At that point, about 20,000—or two-thirds—of the phones had been converted to the new system. Despite a concentrated effort to bolster the system, it remained unstable, even as IBM raced to meet the July 1 deadline for getting all 30,000 lines up and running. On Jan. 22 of this year, the state experienced outages that affected workers across the state. A backup “failover” solution IBM built also did not work. That was the tipping point for Pettit, the state’s chief information officer. “We apologize for the continued disruptions,” Pettit wrote to all state agency directors Jan. 25, records show. “Put plainly, the outages and associated business impacts are unacceptable, and we have lost faith and confidence in the system.” The next day, Pettit’s agency notified IBM that the contractor was in default and gave the company 30 days to find a solution. It’s unclear what that solution will be. “Projects of this size and magnitude are bound to experience some difficulties,” says Craig, the DAS spokeswoman. “The contract we have in place provides remedy options for when obligations are not being met, which we have been using as necessary.” Gov. Kate Brown’s spokesman Chris Pair says Brown is keeping a close watch on Project MUSIC. “Many processes have been put in place to prevent another failure on the scale of Cover Oregon,” Pair says. “Gov. Brown expects the chief information office to continue this work to ensure IBM resolves the recent outages and honor the terms of their contract. If IBM is unable to resolve these issues, the governor has authorized the state CIO to exercise any and all options available to restore reliable phone service.” In response to WW’s written questions, IBM provided a statement but declined to comment further. “IBM will continue to provide the services that the state has contracted us for, and we are working with the Department of Administrative Services to resolve the state’s concerns,” said company spokesman Clint Roswell. “We are committed to the continued success of this project.” IBM said the same thing to lawmakers nearly a year ago. Ways and Means Committee members warned the company—and Pettit—they wanted no further surprises. But word of the default notice the state sent IBM has been slow to reach lawmakers. “Unfortunately, this is news to me,” replied state Rep. Greg Smith (R-Heppner), who co-chairs the Joint Ways and Means Subcommittee on General Government, when WW requested comment on the default notice. “I have not heard about this—and that’s discouraging.”

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April 5–6, 2018

Viking Pavilion, Portland State University Featuring 4 Speaker Themes:

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

NEWS

WE GO HIGH: Pearl District residents objected to a proposed 17-story apartment building that could block views of the Fremont Bridge.

No Foundation Economists say a Portland City Council rejection of new housing sends dangerous signals. BY R AC H E L M O N A H A N

rmonahan@wweek.com

For the past 12 years, a vacant lot in Portland’s Goose Hollow neighborhood once slated for development has remained untouched by shovels—a monument to the power of city government to obstruct development. In 2006, the Portland City Council overruled an approval by the Design Commission for a 21-story condo tower on the site. That was the last time the City Council voted to completely overrule the commission, a volunteer panel tasked with signing off on big construction projects. Until last week, anyway. On March 7, the City Council unanimously rejected a plan to develop a Pearl District parking lot into a 17-story building with 275 apartments near the Fremont Bridge. Neighbors, some concerned about their own views, had rallied against the project (“Sky Wars,” WW, Jan. 24, 2018). The vote was just one decision on a day of reckoning for the competing goals of dense housing stock and city’s aesthetic character. City leaders, who have talked for two years of a housing crisis, voted to preserve the status quo—at the expense of as many as 2,800 units of housing. The rejected projects, including a concept for waterfront skyscrapers designed by Japanese architect Kengo Kuma, will probably get another shot at approval. But observers say the chilling effect goes deeper. By overruling the Design Commission and bowing to the outcry of neighbors, the City Council leaves developers uncertain about the rules for winning approval of projects. “What I worry about is the message it sends to the development community,” says Michael Wilkerson, a senior economist at ECONorthwest. “If you’re expecting to go quickly through the design process, it can be slowed down and derailed.” It’s not clear why the City Council thinks the Fremont Place Apartments warranted overruling the already persnickety Design Commission. City commissioners last week said they weren’t convinced views needed to preserved, and instead pointed to protecting the bike and pedestrian path along the river. Commissioners declined to discuss details with WW, citing a legal prohibition on discussing

land-use decisions until they are final. Last week’s vote was preliminary—a final vote is in April. But the March 7 council votes showcase the influence of a pernicious but widely held belief in Portland that the city does not need to encourage market-rate housing even as it deals with a housing crisis for low-income Portland residents. “If you believe there is an emergency, the solution is to get more housing built,” says economist Joe Cortright. A recent building boom has helped slow rent increases. Two years ago, economists at ECONorthwest found only 1 percent of buildings in the metro area hadn’t had a rent increase that year. They now estimate 12 percent of buildings didn’t see rent go up in 2017. Economists say the crisis will only worsen for lower-income Portlanders if private development dries up, placing higher-income renters in competition with their lower-income neighbors. The vote also showed the influence of Commissioner Nick Fish, who for years oversaw the Housing Bureau and has served as a mentor for Mayor Ted Wheeler and Commissioner Chloe Eudaly in their first year. Fish sided with Commissioner Amanda Fritz, an opponent of tall buildings—and the rest of the council followed. But it also raises questions about Fish’s commitment to housing. In the midst of his re-election campaign, Fish sided with the voices who have been lobbying against development, including Stanley Penkin, president of the Pearl District Neighborhood Association, a longtime ally and donor to Fish’s campaign (he gave $500 in September). “I have never spoken to Stan Penkin about this project,” says Fish. “He has been very careful about not talking to me about that project.” When asked by WW to square his vote with a commitment to housing, Fish defended his decision. “This design can be better and more in the public interest,” he says. “We have every right to challenge developers to deliver a better product.” Wheeler tells WW he will seek a second look at the decision. Developers remain alarmed. “I have heard from multiple developers that they are hesitant to invest in the Portland central city since the City Council decision,” says Kurt Schultz, principal with SERA Architects. “It’s now too risky.”

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BEST NEW BAND SHOWCASE FRANKIE SIMONE•AMENTA ABIOTO AND BROWN CALCULUS

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Portland is starting to make noise again. Granted, from our point of view, it probably seems like we never stopped. Music has always been one of the city’s chief exports, and WW’s annual Best New Band poll proves the sheer number of musicians worth hearing in this town has hardly fallen off. Every year, we ask 200 of the most dedicated scenewatchers to name their favorite emerging acts, and every year, we get a fresh crop of over 400 bands, rappers, singers and producers to sift through. But if we’re being truthful, it’s been a while since the outside world paid much mind. Portland got famous as a rock-’n’-roll town, but as the cultural currency of bearded dudes with guitars declined, the music press turned its attention elsewhere. The bands kept playing, but beyond the city’s borders, it was hard to tell if anyone was listening. That’s beginning to change. In the past year, more and more Portland artists are popping up on the national radar. Aminé went gold rapping about Du’s Grill, while the Last Artful Dodgr is hanging out in recording studios with Mark Ronson and Christina Aguilera. The suddenly omnipresent Portugal the Man made one of 2017’s most inescapable hits, won a Grammy, and used their moment on the podium to shout out the Trail Blazers—and Satan. Slowly, the ears of the music world at large are turning back to Portland. And what they’re going to find is a place that sounds, and looks, much different than before. Specifically, they’re going to find the artists you’ll read about in the following pages. Our music scene was never as homogenous as the stereotype suggested. But it’s also never been so diverse, stylistically and demographically, as it is right now. In this year’s top three, you’ll find a Mexican-American trio exploring their identity through the rhythms of cumbia, a Native American woman drawing on grunge and dream pop to exorcise the pain of her ancestors and a Puerto Rican pop singer fighting homophobia with songs that may soon be rattling your radio. There’s a rapper flipping hip-hop’s gender norms on their head, an Afrocentric soul magician, and a spacy R&B duo whose music should be sold at health and wellness stores. And yes, there are still rock bands, reinvigorating the genre with brash, snotty energy. And that’s just what made the list. As we often say, this issue is not meant as the final word but rather a jumping-off point into the music being made right in your backyard. There’s never been a better time to dive in. —Matthew Singer, WW Music Editor

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ORIGINAL PORTRAITS BY ABBY GORDON

LETTERING BY JOURDAN SIMMONDS ★

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ABBY GORDON

(60.5 pts.)

COOLER CACTUS: From left, Savilá’s Brisa Gonzalez, Fabi Reyna and Papi Fimbres.

SOUNDS LIKE:

A utopian vision of society that moves to the rhythms of cumbia. NOTABLE VOTES:

Natasha Kmeto, XRAY.FM founder Jenny Logan,DJ Anjali and the Incredible Kid.

itting at a table that overlooks Northeast 60th Avenue, the three members of Savilá are carefully inspecting Angel Food and Fun. It’s the first time they’ve been back to the Mexican restaurant since its chef, Manuel Lopez, was forced to leave the country in December. The tortilla warmers have been replaced by plastic napkin holders, vocalist Brisa Gonzalez’s tacos are served with black beans instead of refried, and in the adjoining bar, there’s now a Corona mural and a Chinese altar. At first, the band seems skeptical of the changes. But the restaurant is still employee-owned, and in the shadow of Lopez’s absence, eating there has become a form of solidarity. “It’s kind of interesting,” says percussionist Papi Fimbres. “It feels a little bit like LA.” Fimbres should know—he grew up there. Coincidentally, the band also just returned from a short run of shows in Los Angeles. There, they shared stages with bands that, like them, are influenced by the rhythms of South American cumbia music. It was an eye-opening experience. “We didn’t know that we could find such kindred spirits,” says Gonzalez.

To be fair, Savilá aren’t exactly outsiders in the Portland music scene. Guitarist Fabi Reyna is a former member of Pacific Northwest surf-rockers La Luz and the founder of She Shreds, the country’s only woman-focused guitar magazine. Gonzales fronted the rock band Swan Island, and Fimbres is a key member of several Portland bands—to put it lightly—including fellow Best New Band finalists Máscaras and Sun Angle. But even though there are other bands in Portland drawing on the cumbia rhythm, according to Savilá, the culture is much different in LA—mostly because there, people know that cumbia is not necessarily a narrowly defined genre. In its most basic form, cumbia is a simple dance beat that originated in the mountains of Colombia. Spanish colonial rule spread the sound across the continent, and now, almost every country in South America has its own iterations. So to label Savilá simply a “cumbia band”—or to use any single identifier, really—is to turn a uniting factor into a dividing line. “It’s like saying ‘rock,’” Fimbres says. “There’s so many subgenres, so many different styles.”

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In truth, Savilá is a band that can’t be neatly packaged selves to be remarkably intricate, especially considering into a brand or traced to a curated set of influences. But they’re made by only three people. Reyna creates phantom rather than feeling like some inaccessible, abstract mass, basslines with a loop pedal, while Gonzalez adds to Fimtheir music feels like a warm embrace—the communal bres’ carefully constructed rhythms with maracas. Someequivalent of self-care. Their songs unfurl in rhythmic, how, it all coheres—everything melds into a groove so deep, organic layers driven by various Latin rhythms, includ- you can’t help but sink in, too. ing cumbia and salsa. Gonzalez sings in both English and “We all are sort of playing from our roots,” Gonzales Spanish, in a voice that sounds as if says. “Whatever you’re doing, the more she’s summoning a higher consciousyou do that work, the deeper you have ness, while Renya lets the cleanly to dig, the more you have to offer.” ★ picked tones of her guitar echo into the In the same way that it’s inaccurate sprawling void. to call their music “cumbia,” it’d be “It’s kind of like exploring,” Reyna overly simplistic to call Savilá “politisays of the Savilá sound, “exploring cal.” Though the collective introspec“We all are cultures, exploring the past, and potention of their music hints at some kind sort of playing of utopian vision, it would relegate tially the future of how people see our culture in the United States, and all this from our roots. their work to yet another reductive stuff that we don’t necessarily know.” category. But for the most part, Savilá The band officially formed in 2016, Whatever you’re seems willing to take up any responsiwhen Fimbres joined. But Gonzalez bilities thrust on them. doing, the more and Renya had been writing music “I definitely missed my culture when together years earlier. The pair first you do that work, I moved here,” says Fimbres. “There’s met in Austin, Texas. Gonzales was been a lot of brown people moving up playing a show with Swan Island when to Portland because it’s still ‘affordthe deeper Reyna, then 15, jumped onstage. “I able.’ It’s great that there’s this influx you have to dig, of all these other cultures coming up have a Polaroid from that night,” Reyna says. “We look like little babies. But because they can’t afford to live in the more you yeah, I was just rocking out.” It wasn’t other major cities. But still, at the same until Gonzales and Reyna ended up time, it’s like, where are we going to have to offer.” in Portland years later that a mutual house all these people? In these nasty friend reunited them and they began new apartments off of Burnside and —SAVILÁ’S BRISA GONZALEZ writing music together. “We’re both shit?” only-children, Mexican—we just have Savilá doesn’t pretend to have all the a lot in common,” says Gonzalez. “So answers. ★ I like to think that those kind of rela“For me, one of the most important tionships are unavoidable.” things about being in this band is that we For a while, the pair wrote songs get to create space with other people of without knowing if they’d ever record them or perform color and other women of color and meet under the same them live. They tried out dozens of drummers without any conversation,” Reyna says. “We need to use our voices. particular ambition to find someone permanent. But the That’s what we’re here to do.” SHANNON GORMLEY first time they played with Fimbres, something clicked. Already juggling several bands, Fimbres initially turned NEXT SHOW: May 19 at Aladdin Theater. down the offer to be Savilá’s third member. After a few months, though, he gave in. Fimbres’ drumming in Savilá is far more restrained than the frenetic pounding he employs in his other bands, slowed down by the band’s trancelike force. “This is the first time I’m in an all-Mexican band,” Fimbres says. “It’s so cool. I feel like there’s a root, there’s that connection within the three of us.” At the end of last summer, the band holed up in a friend’s studio in the woods outside Estacada to record their first album. Armed with tequila and ’shrooms, and nothing to interrupt them, they recorded most of the 10 songs in one take. The album release is slated for later this month, right before Savilá’s first full tour. For now, they’re keeping the unmastered recordings under wraps. But when played live, the songs reveal them-

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★ ★

ABBY GORDON

★

(58.5 PTS.)

atherine Paul has always had music to comfort her. She’s needed it often. Mazzy Star and Nirvana coming As an indigenous woman, she’s found herself together to exorcise the wounds constantly fighting inner battles, both those personal to of history. her and passed down through shared history. Music is where she’s found her strength. Suitably, her stage name, NOTABLE VOTES: Black Belt Eagle Scout, is a symbol of striving to be her Savilá’s Fabi Reyna, Wild Ones’ best self. Thomas Himes, Jeni Wren Stot“Identity is a big part of my music. It’s one of the only trup of the Gritty Birds podcast, reasons I play music,” Paul says. “There’s a lot of trauma Eleven PDX magazine founder within Native communities—genocide, displacement Dustin Mills. from the United States—and even growing up in this time, I end up being affected by it and needing to get it out of me. So I end up writing music as a way to try and be happy.” Raised on the Swinomish Indian Tribal Community reservation outside Anacortes, Wash., Paul grew up surrounded by music. It’s often how she engaged with her heritage. She was dancing and singing in powwows from a young age. Her father led a drum circle, and her grandmother was even known as “Lady of the Drum.” In third grade, Paul started learning piano, and played flute in her school band. It wasn’t until her teenage years that she picked up guitar and drums, drawing inspiration from the murky angst of Nirvana and the fiercely feminist bands of the riot grrrl movement. Around that time, Paul started writing her own music, channeling both traditional Native American and alt-rock influences, while processing the painful history embedded in her culture. But it’s not just generational demons she’s needed to exorcise. Over the course of a few months in 2016, Paul endured some harsh losses. Her relationship with the woman she thought would be “the mother of my children” deteriorated. Then, her mentor, Anacortes musician SOUNDS LIKE:

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and illustrator Geneviève Castrée, who was one of the first people to encourage Paul to pursue her own musical endeavors, succumbed to pancreatic cancer. Both losses hit her hard. “I just felt like I was living in hell,” Paul says, her voice softening to a pained lull. “I was waking up every day, crying in the shower. I needed to do something about it. So, I played music. Music makes me feel better.” In a classic case of transforming ache into art, Paul’s debut album, Mother of My Children, is a reflection of turmoil both personal and historical. Though she had long moved off the reservation, relocating to Portland in 2007 to study anthropology at Lewis and Clark College, it was important to her that she return home to make the album. She took a trip back for the holidays, holing up at Anacortes Unknown recording studio, and recorded the entire record in just a week. She recalls the process as tedious and exhausting, but ultimately rewarding. The end result is a tapestry of atmospheric grunge steeped in dreamy vocals, folk percussion and angry guitar riffs. She sang every note, wrote every lyric, and played every instrument herself. “It’s really important for me to be able to do it all myself. Especially as an indigenous woman.” she says. “It’s not something I feel like I have to prove. It’s more like, ‘This is mine, this is what I do.’” That sense of self-empowerment Paul finds in her music is what she wants instill in all women—namely, indigenous, queer women of color like herself. “There aren’t very many Native and indigenous women being recognized,” she says. “I want to be able to carve out a way for women like me to be able to have this platform, and know that they can be successful.” LAUREN KERSHNER. NEXT SHOW: March 29 at Revolution Hall.

★ ★

★

(53 PTS. ) SOUNDS LIKE:

That moment in the movie when the hero decides to stop taking the world’s bullshit and dance the hate away. NOTABLE VOTES:

Tender Loving Empire founder Jared Mees, rapper Rasheed Jamal, singer Reva Devito, Chanti Darling’s Chanticleer Tru.

★

ABBY GORDON

★ ★

★

f loving oneself is an act of political warfare, then Frankie Simone is leading the way into battle. The journey toward self-love and acceptance is always a hard one, and the energy Simone brings to her music comes from a place of both individual and shared suffering. As bright and confident as her brand of dance pop is, much of it is inspired by the pain she felt while coming out and learning about the history of hate directed at the LGBTQ community—and experiencing it for herself. For Simone, that pain is why learning to love herself, and accepting both the good and bad as part of the human experience, is vital for keeping her resilient in the face of oppression. She draws hope from the belief that if her music can help even one person, then she has accomplished what she set out to do. “I feel like this is my purpose in life,” she says. “This is my vehicle to share my voice in this way.” Simone is originally from San Clemente, Calif., and grew up singing disco hits with her mother and dancing to Celia Cruz, Hector Lavoe and Donna Summer. She’s always been a songwriter: As a child, she’d come up with little jingles and melodies, eventually expanding them into full songs using a loop pedal and keyboards and making beats with her voice. She also kept notebooks full of poems and lyrics that, years later, she would develop into songs for her upcoming debut EP, LOVE//WARRIOR. “Finally making what has been lingering around in notebooks into actual, full-on tangible songs is life-changing,” she says. “I feel like it’s been a long time coming for me, and I feel like I have a lot to say.” Simone still writes music constantly, and she tends to get a majority of her ideas at night while lying in bed, oftentimes waking her partner, dancer Che Che Luna, when she gets up to record a riff or a hook on her phone. “If I lose it,” she says with a laugh, “that could be the next song.” While the music that Simone has released thus far is what she describes as “shinier pop”—see the gorgeous and sunny “Living It Up in the Summer”—LOVE//WARRIOR promises to make some hard-hitting statements while at the same time setting dance floors on fire. If the EP’s lead single, “War Paint,” is any indication, in Simone’s world, any sound can make a beat, whether it’s simple hand-clapping, horn riffs or heavy breathing. Simone can sing over it all, saving the minimalist interludes for disarming LGBTQ stereotypes by juxtaposing them with bold statements of self-acceptance. “All the songs are different,” Simone says, “but they are stemming from this core belief that if we can find self-love, then we can heal the world around us, and heal our communities, and that just keeps expanding.” Simone is particularly excited to be releasing her first official music at a time when so many artists are out and unafraid to be who they are, citing Kehlani, SZA and Hayley Kiyoko as specific influences. While there have always been queer musicians, people are expressing themselves now in a way that lights a fire inside her, she says. Simone also finds inspiration in Portland. She moved here in 2014, after passing through on tour with the experimental dance group One Sea. Pop singers with radio-ready aspirations aren’t exactly what the city is known for. But Simone relishes being a unicorn in a community of creative people. And regardless of where her music takes her, she considers Portland home. “I feel like people are really real and honest about who they are,” she says. “That makes me want to stay.” CRYSTAL CONTRERAS. NEXT SHOW: March 17 at Mississippi Studios for WW’s Best New Band Showcase.

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 ABBY GORDON

(52 PTS.)

Best new bands Maloy's oﬀers a fabulous selection of antique and estate jewelry and fine custom jewelry, as well as repair and restoration services. We also buy. 18

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menta Abioto personifies “#blackgirlmagic.” ★ And she wants to make one thing perfectly clear: She got it from her mama. “I always talk about my dad as being influential because he’s the music maker, but I’m tired of that,” Abioto says. “My mom is an extraordinary ★ human with phenomenal artistic abilities, and she has always inspired and supported my dreams and the dreams of my sisters.” Abioto says she was never really pushed SOUNDS LIKE: to pursue music, but An eclectic black dream from growing up in the kind the Jazz Renaissance era, of home she did, it was hard reborn in modern times. for her not to be drawn in that NOTABLE VOTES: direction. With jazz, R&B and Freelance music critic Robvarious forms of African music ert Ham, S1 director Felisha reverberating around her as a Ledesma, Beacon Sound child, it makes sense that each owner Andrew Neerman. of those styles are mixed and matched within her songwriting—but, true to the magical aura that surrounds her, it’s not a simple genre mashup. Abioto’s mostly improvisatory performances feature her alone onstage, filtering her voice through loop pedals, creating a kind of mystical brand of neo-soul that also incorporates interpretive dance and elements of theater. The fact that she performs by herself is crucial. “I love making music with other people, but this is just the way that it’s happened,” Abioto says. “That’s partly my doing but partly because of the universe wanting me to do it myself. I feel freedom in isolation.” That self-reliant nature is one of the major aspects that’s stuck with her through her move from Memphis to Portland eight years ago. But Abioto says her greatest inspiration comes from being back around her family. She doesn’t make it back to Memphis often, but the city’s temperament, coupled with the presence of her relatives and more black people in general, is inspirational for her in ways she describes as being “night and day” to how she feels when she’s in Portland. But she doesn’t let Portland’s lack of Southern sensibility hinder her from finding ways to keep her music fresh. “I’ve incorporated new stuff into my music that people gravitate to,” she says. “It’s this more hip-hop, poppish stuff, in addition to all the loop stuff.” She’s also trying to write more rather than improvise. “I can do whatever I want since I don’t have any bandmates,” she says. “I’ve got that kind of freedom, but my music now is pretty structured.” Abioto says her ultimate dream is to do a track with Esperanza Spalding. Until that happens, she’ll continue to do everything that makes her and her music an unapologetic reflection of herself. At the top of that list is continuing to travel whenever she can, to experience new things and reconnect with her magical past. “I’ve left before and it was good for me, but coming back for me was good, too. I saw Portland in a different view,” she says. “I love Portland. I think it’s great, but it’s not everything.” CERVANTE POPE. NEXT SHOW: March 17 at Mississippi Studios for WW’s Best New Band Showcase.

★

✰ (45 PTS.)

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NEXT SHOW: March 18 at Mississippi Studios for XRAY.FM’s Birthday Bash.

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ABBY GORDON

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of former Best New Band winner Chanti Darling while filling notebooks with ideas for an eventual musical project of their own. Meeting Stilwell and Lorenzo, together known as JVNITOR, and hearing their dark, avant-garde but still danceable production, pushed Dickerson to finally turn those ideas into something real. “I come from this underground scene of queer culture, and partying in basements and abandoned warehouses,” Dickerson says, “and there was something so reminiscent of that scene, that gives me so much life, in the music they were playing for me.” That queer subculture, and the experiences within it, are reflected in Dickerson’s lyrics as well—and not all of them involve airing out strangers in public. Across the two EPs Maarquii and JVNITOR have collaborated on so far, Dickerson balances take-no-shit swagger with unguarded vulnerability, detailing broken relationships along with euphoric nights out. It’s a perspective still rare in the heteronormative world of hip-hop, and Dickerson acknowledges the importance of subverting traditional notions of sexuality and gender within rap. But please, leave your modifiers out of it. “I love that queer rappers are starting to be taken seriously. I think that’s really awesome and important. But I don’t think it’s fair to put us in this category that’s separate from hip-hop,” Dickerson says. “I’m not a ‘queer hip-hop artist.’ I’m a hip-hop artist.” MATTHEW SINGER.

ABBY GORDON

aarquii doesn’t suffer fuckboys gladly, and neither does MarWild nights out and the quise Dickerson. heartbreak after. “I was at a bar, I was really drunk on NOTABLE VOTES: tequila and talking to a friend on the Promoter Coco Madrid, phone, and this couple came outside and STYLSS founder Cory started harassing me. And I just cussed Haynes, WW contributor them out,” says the 26-year-old rapper, Cervante Pope. singer, dancer and former drag performer, recalling the origins of the Maarquii song ★ “Dam God.” “I was like, ‘Bitch, I’ll turn up at your funeral and fucking stomp on your grave!’” Still heated days later, Dickerson stormed into the studio with producers Derek Stilwell and Saint Michael Lorenzo, picked out the grimiest, most menacing beat they had and proceeded to go off once again—except this time, instead of threatening to merely sashay across the grave of the bitch in question, Dickerson promised to “pussy-pop in a headstand.” Given Dickerson’s drag background, it would be easy to think of Maarquii as a character Dickerson plays. But as Dickerson makes clear, the only difference between the person flipping out at the bar and the one growling threats on record is a matter of volume. “They’re essentially the same,” Dickerson says. “Maarquii is very raw and unfiltered in a way I can’t always be. But they’re essentially the same being, the same entity.” Dickerson started performing as Maarquii two years ago. At the time, Dickerson—who grew up identifying with female MCs like Lil Kim and Foxy Brown—was dancing as an adjunct member SOUNDS LIKE:

t’s almost as if Vaughn Kimmons and Andre Burgos were fated to make music together. “Shortly after we started hanging out, I found A warm, encouraging inner voice out she had a music project called Brown Alice,” rising from the fog of self-doubt, Burgos says of Kimmons. “I was making stuff under accompanied by some interstellar the name Brown Calvin at the time, so we were like, R&B beats. ‘We need to do something together.’” NOTABLE VOTES: Though they’ve been a band for only a little over a Drummer-about-town Papi year, the creative chemistry between the members Fimbres, Futro Collective’s Danny of Brown Calculus indeed seems like divine kismet. Diana-Peebles, Holocene booker The duo’s brand of R&B is part spiritual jazz mediGina Altamura. tation, part self-affirmation, with Burgos’ spacy, keyboard-driven beats pairing perfectly with Kimmons’ powerful voice and uplifting lyrics. Burgos and Kimmons first met at a concert a few years ago. Kimmons was playing in Brazilian pop outfit POPgoji at the time, having recently moved to Portland from Chicago. Burgos, who hails from Philadelphia, had been here since 2009. “I played some tracks for him. I don’t think he paid attention to the fact that it was me,” Kimmons says. “He was like, ‘Who is this? It sounds SOUNDS LIKE:

(43.5 PTS.) like a real singer!’ And I was like, ‘It’s me.’” After Kimmons joined another Burgos project, the hip-hop group Tribe Mars, the two finally got together for a separate collaboration. They listened to beats together, and Kimmons immediately homed in on Burgos’ weirdest track. “I remember she came back the next day and sang her parts over it,” Burgos says. “It finally felt like my music was complete.” There is something organic and magical about the combination of Burgos’ unspooling production and the enchanting, arresting nature of Kimmons’ vocals. With their first single, “Self-Care,” Kimmons says she wants to uplift people because, with music, she’s trying to lift herself up, too. “These songs, I write them to encourage myself,” Kimmons says. “Usually, when I’m feeling a way about something, or I’ve been thinking about why I react to something a certain way, it’s always that Gemini overthinking—these are the conversations I have in my head all the time. These lyrics come out because I’m like, ‘You got this! You can do this!’ I want everyone else to hear that, too.” JUSTIN CARROLL-ALLAN. NEXT SHOW: March 17 at Mississippi Studios for WW’s Best New Band Showcase. Willamette Week MARCH 14, 2018 wweek.com

★

★ ★

K AT I E M E A R E S

★

(43 PT S.)

SOUNDS LIKE:

Jenny Lewis moved to Portland because she was sick of the sunshine and wrote an album about how the Northwest bummed her out. NOTABLE VOTES:

The Ghost Ease’s Jem Murciano, Adam Gonsalves of Telegraph Mastering, PDX Pop Now co-founder Ross Beach.

hen “California” is used as an adjective, it’s meant to imply a feeling of carefree breeziness. That is certainly an accurate way to describe the music of Sunbathe on its surface. But you won’t need to dig very deep to discover the bummed-out disposition that lies beneath. “I don’t write a lot when everything is great,” says singer-guitarist Maggie May Morris. “It’s mostly about shitty love-life stuff and loneliness in general.” Though she’s technically from California, the Sacramento suburb of Roseville is far from what one imagines when listening to the laidback pop long associated with the Golden State. She describes the town as “pretty depressing and boring” and full of “super-rich Mormon kids.” “But that made me sit in my room and play music,” Morris says, “so it turned out fine.” Morris formed her first band, Tart Noir, after high school, with friend Pieter Hilton. Eventually, Hilton joined indie-pop orchestra Typhoon and moved to Portland, while Morris went off to finish college in San Francisco. She

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soon found herself at another lonely impasse. “After I finished college, my rent was going up, my cat died while I was on tour, and my band was breaking up,” Morris says. “Almost right there on the spot, Peter called me and said he had a room opening up in Portland and a job for me at his coffee cart. So it worked out well.” In Portland, Morris quickly found success with the dream-pop group Genders. But with Sunbathe, Morris has parlayed the healing from her emotionally turbulent past into bright, bouncy country pop. On the band’s selftitled debut, released last year, it’s easy to envision her melancholy twang emanating from a dusty old jukebox while you’re alone with your regrets at last call—but it’s hard to stay sad for too long when Morris’ lilting croon turns into a hopeful howl so quickly. “A lot of the time leading up to this record I feel like I haven’t really been connecting with people,” says Morris. “The subject matter is just general existential stuff. But I can’t help the melodies in my head being this poppy.” PETE COTTELL. NEXT SHOW: April 4 at Holocene.

(40.5 PTS. )

or Allison Faris, the definition of “heavy” has always been fluid.

Backed by a veritable Portland supergroup that includes members of Laura Palmer’s Though her group, Blackwater Holylight, Death Parade, Aan and former Best New is undeniably heavy, it wasn’t until the project Band finalist Cat Hoch, Blackwater Holylight came to fruition that her former sounds like a feminine rebuttal notions of the concept were recto the macho energy of space onciled with those of the present. rock and ’70s proto-metal— SOUNDS LIKE: “I’ve always been into heavier sinister, sweet and sludgy at the Ozzy Osbourne hooked music,” says Faris. “But when I same time. up with Stevie Nicks was in high school, I listened to The band may seem mellow and sired a coven of really shitty hardcore like Norma onstage, but don’t let that fool metalhead witches. Jean and Underoath—just a you into thinking they’re just NOTABLE VOTES: bunch of mallcore bullshit.” another gang of stoners hiding Musician Dewey After shedding her teenage behind a wall of fuzz and fog Mahood, Radiation scene-kid roots and moving to machines. Blackwater Holylight City’s Cameron Portland from her hometown of is as intense as they come, and Spies, Psychomagic’s Fort Collins, Colo., Faris signed Faris is ready to ride the wave Anthony Brisson. on as bassist of the psych-pop they’re on as hard as she can. outfit Grandparents. When the “I’m just gonna take this as group split in 2015, she saw the far as I can take this and work opportunity to overcome a selfmy ass off and see what hapdescribed “identity crisis” by fuspens,” she says, before adding ing her newfound love of psych with a laugh, “If I fail working with the ear-splitting volume of my ass off, I’ll just pursue my her youth. other life goal of dying early.” “I always loved watching PETE COTTELL. [heavier bands] perform and NEXT SHOW: April 12 at think, ‘Man, that looks so fun— Mississippi Studios. what a cool thing to be get onstage and just be massive,’” she says.

★

RAINA STINSON

(30.5 PTS.)

decade on as a band, Autonomics feels as if indication, Autonomics is closer than ever to hitthey’re still in their formative years. ting on a formula that works. The record careens That might be because fleeing their home of between unbuttoned rock ’n’ roll and anthemic Bend for the greener musical pastures of Port- punk, celebrating girls and drugged-out nights land eight years ago caused them to reconsider with punchy rhythms and raw production. It’s who they are. Or maybe it’s music that’s as therapeutic as it because the band has never is thrashing. And right now, that SOUNDS LIKE: really stopped tweaking kind of visceral catharsis is more Going out, getting hamtheir sound, hoping to land important than ever. mered, hugging your friends, on one that sticks. Autonomics is still in a state of forgetting your problems But there is one constant flux. Last October, the band lost and not worrying about the in the Autonomics milieu, their longtime bassist, Leikam’s hangover. and it’s probably their greattwin brother, Vaughn, to shifting NOTABLE VOTES: est trait—that is, their ability personal responsibilities. But the Oregon Public Broadcasting to make everything in the hard work they’ve put in over the music director Jarad Walker, world seem all right, if only last decade is starting to pay off, Drew Lazzara of the Haute for the moment. by way of radio play, heightened Garbage podcast. “We are escapists, but online streams and a new booknot in a ‘run away from your ing agency. problems’ kind of sense,” “A lot seems to be kind of falling says drummer Evan Leikam. into place right now, which is a “If someone has a shitty day, great feeling after grinding for so puts on one of our songs long,” Leikam says. “We’re realand feels just a little better, izing now that the grind never that’s a huge mark of sucreally stops, though—you just get cess for us.” better at it.” MARK STOCK. If last year’s high-water NEXT GIG: April 29 at mark, Debt Sounds, is any M AT H I E U L E W I S - R O L A N D

the Know.

Willamette Week MARCH 14, 2018 wweek.com

8pm DOORS

9pm SHOW

SATURDAY

March

FEATURING

Willamette Week MARCH 14, 2018 wweek.com

MIS SIS STU SIPPI DIO S

21+

K AT I E S U M M E R

✰ (28 PTS.)

SOUNDS LIKE: A sharpshooting MC

coming straight outta, um, Lake Oswego? NOTABLE VOTES: DJ Klyph, rapper Tope, Portland Mercury contributor Jenni Moore.

RILEY BROWN

(28 PTS.) ★ ★

ynne went viral twice in the past two years, and she has two things to thank for that. The first is her ability to deliver mile-aminute rhymes in a dizzying array of flows. The second is the way she looks. Twenty years after Eminem invaded suburban CD players across the nation, it’s still a shock to see someone with blond hair, blue eyes and legitimate rap skills. As Wynne herself said in one of those viral videos, “They can’t let it go that I look like I came out of Frozen.”

But Wynne is more than a gimmick. And she’s getting the chance to prove it. “When that video went viral,” she says of the clip, uploaded last August, of her freestyling over the beat to 21 Savage’s “Bank Account,” “my world changed, and a lot of doors opened up. I fly down to LA every few weeks and have started working with a bunch of different producers.” While simultaneously studying music at the University of Oregon, Wynne—who grew up in Lake Oswego, perhaps the diametric opposite of a rap hotbed—is currently trying to hone her craft beyond freestyling, and admits that “writing full songs and thinking about song structure is something I’m getting more accustomed to.” That learning curve accounts for the yearlong gap between Wynne’s most recent nonremix, a track called “CVTVLYST,” and her newest freestyle, over Lil Pump’s hit “Gucci Gang.” She promises more original material is on its way shortly—plus some other things she’s not yet at liberty to talk about. “I’m mostly just putting out new music, seeing where that takes me,” she says of her plans for the next year. “Trying to reach as many people as possible, and introducing the world to what I do.” PATRICK LYONS.

✰ ✰ DA N I E L S TA N TO N

wo years ago, Autistic Youth hit a wall. “I don’t think any of us are super-happy about After three albums and extensive touring, the the Portland explosion. We all grew up here and Portland garage-punk veterans were burned out—with remember when it was cheaper and whatnot,” the project, but not each other. So when the group Vicario says, before adding a silver lining. “Musireturned from a European tour, they decided to cally, though, our scene is thriving with people from pull the plug on their old band, LA or New York or whatever, exchange instruments and start and I think our scene is better SOUNDS LIKE: Parquet over. Reborn as Public Eye, the than it’s been in 10 years. So it’s Courts’ snotty little brothers quartet channeled their creative the good with the bad—although took their entire month’s supply frustration into a more focused I don’t think anyone playing in of Ritalin in one handful. and aggressive form of post-punk, those bands is living in a luxury NOTABLE VOTES: WW while maintaining Autistic Youth’s condo.” DONOVAN FARLEY. Music Editor Matthew Singer, ear for melody. Typhoon’s Toby Tanabe and NEXT SHOW: April 12 at “We wanted something totally Holocene. Dave Hall, music video director new, but with the same people Matthew Thomas Ross. because we vibe so well,” says frontman Nic Vicario. “It totally feels like we’re playing exactly what we want to be playing now.” Public Eye’s music manages to channel the exuberantly agitated energy of youth while also exuding the swagger that comes from a decade spent playing all over the world. Relaxing Favorites, the band’s debut, is chock-full of serrated guitar riffs that rip through speakers like a buzzsaw. The band’s tighter attack complements Vicario’s barbed lyrics, a good deal of which address the ongoing battle for Portland’s soul.

11. DEATHLIST (26.5 PTS.) SOUNDS LIKE: The skeletons in your closet refusing to let you sleep by throwing an all-night post-punk dance party in the basement. 12. KARMA RIVERA (25.5 PTS.) S O U N D S L I K E : Wandering into a house-party freestyle session and coming out with a black eye, fat lip and a NOW membership. 13. MR. WRONG (25 PTS.) SOUNDS LIKE: The ghosts of riot grrrl past conjured to the present to haunt a new generation of shitty men. 14. FLOATING ROOM (24 PTS.) SOUNDS LIKE: Stumbling upon an abandoned carnival on a foggy night, taking a ride on the Tunnel of Love and never being heard from again. 15. RITUAL VEIL (23.5 PTS.) SOUNDS LIKE: Going back in time to catch an early Depeche Mode show and falling in love with the opener instead. 16. MOOREA MASA & THE MOOD (23 PTS.) S O U N D S L I K E : Strolling barefoot through the park on a warm afternoon and hearing the sound of an old soul 45 wafting in on a summer breeze. 17. BRYSON CONE (22.5 PTS.) SOUNDS LIKE: The music Ariel Pink saves for when he’s getting it on—or crying alone on ‘shrooms. 18/19. FOUNTAINE (22 PTS.) SOUNDS LIKE: A rapper trying to pull the anime version of his life story out of his head and put it on wax. 18/19. AH GOD (22 PTS.) SOUNDS LIKE:All of Ty Segall’s side projects consolidated into one band and recorded on a broken boombox. 20. TRIBE MARS (21 PTS.) SOUNDS LIKE: An alternate timeline where the Roots spurn Jimmy Fallon to become the house band at the Goodfoot.

Willamette Week MARCH 14, 2018 wweek.com

STREET

“Ha ha, N*Sync! It was a show during their Bye Bye Bye Tour.”

“Shania Twain, baby!”

PHOTOS BY SAM GEHRKE

"Man, it was Santana way back when he was touring with Earth, Wind & Fire. It was an excellent first concert."

@samgehrkephotography

WHAT WAS THE FIRST CONCERT YOU ATTENDED? OUR FAVORITE LOOKS THIS WEEK. “Aw, man, ha ha, mine was Lil Wayne.”

(Left) "Mine was such a good one! Portugal the Man!" (Right) "Ahhh that's a good question… Reliant K a long, long time ago. Definitely was into that scene when I was younger."

“My first concert? Kanye West.” 24

Willamette Week MARCH 14, 2018 wweek.com

(Left) “Ben Harper & the Innocent Criminals. Not bad for a first one.” (Right) “My first was a Wailers concert. Minus Bob Marley, of course.”

STYLE COURTESY OF RISA BECK

Fillmore Trattoria

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

1937 NW 23RD Place Portland, OR 97210

Bridging the Gap

(971) 386-5935

BECK

Risa Beck connects the worlds of art and streetwear. BY M AUR I C E M E R R E L L

Members of Portland’s young art scene often show up to support its streetwear fashion folk, and viceversa. But the most fascinating things occur when the two worlds meld into one space. One artist blending both disciplines is Risa Beck. Inspired as a child by her father’s architectural background, Beck became inseparable from her sketch book by the third grade. “I’ve always been serious about details and design,” Beck says. “My mom says I’d become nearly obsessed with having a certain look and I would tell people I was going to be a fashion designer.” Beck continued to hone her eye for detail in college, earning degrees in both industrial design and architecture from the University of Oregon. While the conceptual design process became her focus in college, fashion was reduced to a hobby— until she met D’Wayne Edwards, founder of Pensole Academy. “D’Wayne came to talk about this program designed to break people into the footwear industry,” Beck says. “At the time, [the thought of ] working for Nike started to appeal to me, but I needed an education in footwear. I got accepted into Pensole, and it all happened at the perfect time for me.” Letting her traditional design background inform her creativity helped Beck cultivate her own style, one that she uses as both a footwear color designer at Nike and as an artist and illustrator. While her work within the Swoosh has taken her around the world, her contribution to Portland’s art scene has garnered global attention, too. As a member of the art collective Aesthete Society, Beck highlights creativity through the unexpected and fosters inviting spaces for the art community. “There’s opportunity to create things that Portland wasn’t always known for now,” she says. “Maybe I was caught up in my own thing when I was younger, but I don’t remember there being this strong of a network [between artists] like

what we have now. The community was much smaller, and the excitement wasn’t there.” Beck attributes the new spark of energy to the growing number of artists who are moving to Portland and mixing with the creative people who were already here. “I feel like there’s more opportunity and we’re no longer pulling from the same sources,” Beck says. “You have different perspectives and people blending their experiences to reflect new things.” Aesthete Society is a reflection of that new environment. Founded on the premise of creating experiences that showcase interactive art, fashion and beauty experiences, the group focuses on connecting mediums in unexpected ways. After doing two shows, the trio’s local notoriety turned into national attention after curating the Common Thread gallery at Pensole Academy during the inaugural Sneaker Week PDX. The gallery focused on connecting sneakers and the materials used to create them to the everyday, and on exploring the artistic level of detail it takes to create timeless silhouettes. For the event, Beck created 2-D renditions of iconic kicks, namely the Air Jordan 11, the Nike Air Max 1 and the Acronym x Nike Air Presto Mid. Normally creating in black-and-white, Beck’s white-andgold collection highlighted the brilliance of the sneakers themselves. “Anyone who knows me knows I love gold,” Beck says. “It stands on the edge of gaudy, but it was very intentional. The reception to it was crazy. As an artist, you put a lot of yourself into your pieces for people to judge your work, so the support was great.” So where does Beck see things going from here? “I can see the demand for higher quality in art in Portland,” Beck says, “and that’s not a bad pressure to have. It’s cool to see people from out of town come in and appreciate what’s happening here. I think there’s a lot artists here feeding the appetite of people who want to see cool new stuff.” MORE: See Risa Beck’s work at risabeck.com. Willamette Week MARCH 14, 2018 wweek.com

STARTERS BITE-SIZED PORTLAND C U LT U R E N E W S

MATT’S BBQ

SHOE THAI: Portland’s most famous Thai restaurant, Pok Pok, has filed for a liquor license to start a pub on the Nike campus in Beaverton. This news follows the opening of Pok Pok Wing in Portland’s Brooklyn neighborhood in 2016 and Pok Pok NW in Slabtown in 2017. Pok Pok’s Andy Ricker tells WW he isn’t allowed to talk about the project, but paperwork filed with the Oregon Liquor Control Commission shows Pok Pok Pub would seat 75 people and is intended for Nike clientele. Pok Pok Pub also filed a preliminary menu. At famously fitnessconscious Nike, the plans call for green papaya salad, shrimp dishes and no deepfried Ike’s fish-sauce wings. DRAG ACROSS AMERICA: On July 1, four local drag queens—Madame DuMoore, Pepper Pepper, Carla Rossi 26

Willamette Week MARCH 14, 2018 wweek.com

and Hydrangea Strangea— are departing on a bus tour of 20 U.S. states in hopes of registering 10,000 new voters between the ages of 18 and 30, a demographic significantly underrepresented at the polls. “We’re in a place of [political] apathy,” says Kyle Ashby, executive director of the Liberty Belles—a registered nonprofit organization. “We want to engage and meet people where they’re at, and we know that young people especially are obsessed with social media and fame. Drag queens are a part of that fame cycle.” Ashby says the Belles will stop in states with contentious races, where candidates of color and LGBTQIA candidates are in the running. And after each show, attendees will be encouraged to register to vote. Portlanders can catch the Belles’ first preview of their USO-style show April 8 at Darcelle’s. YALE GRADUATE: Last week, Yale Union announced its co-founder and executive director has been replaced. Curtis Knapp established the multimedia arts organization 10 years ago with Aaron Flint Jamison, and had served as executive director ever since. According to a press release posted on the organization’s Facebook page, Knapp resigned March 1, and has been replaced by Seattle curator Yoko Ott. Four months prior to the appointment, Yale Union hired Ott as a deputy director. Knapp did not respond to a request for comment, but Jamison tells WW that Knapp cited “personal reasons” for his resignation. FAY T H E L E V I N E , V I A A R T F O R U M

CHRISTINE DONG

MISSISSIPPI BBQ: Lauded cart Matt’s BBQ will move to a new location in the parking lot of beer bar Prost at 4237 N Mississippi Ave. In February, WW reported that our 2016 Cart of the Year would soon have to vacate its Northeast Martin Luther King Jr. Boulevard parking lot, after the landlord decided to lease to a plumbing supply company instead. But starting as soon as April 1, says pit master Matt Vicedomini, the cart WW called the best barbecue in town will be in its new location. Vicedomini plans to extend his hours to 9 pm to accommodate the beer bar, adding late-night options, such as smokedchicken tacos and pork steaks. But he also says the timing still depends on city permitting. “If you come into the parking lot and we’re not there,” Vicedomini says, “you know where we are.”

OTT

GET BUSY

March 14-20 WHERE WE’LL BE BURNING LEBRON J E R S E YS A N D D O I N G U N S P E A K A B L E T H I N G S F O R H A M I LT O N T I C K E T S T H I S W E E K .

H A M I LT O N O P E N S AT KELLER AUDITORIUM ON T U E S D AY, M A R C H 20.

WEDNESDAY, MARCH 14

THURSDAY, MARCH 15

I THINK I’M READY TO SEE FRANK OCEAN LAUNCH PARTY

NW DANCE PROJECT

In her new book, Portland poet Shayla Lawson effectively performs literary covers of Frank Ocean songs, using his lyrics as jumping-off points to expand the ideas contained within them. Tonight, she celebrates the book’s publication by reading the poems backed by her own band, the Oceanographers. Holocene, 1001 SE Morrison St., 503-239-7639, holocene.org. 8 pm. $8. 21+. See feature, page 31.

CORNELIUS Keigo Oyomada, aka Cornelius, is the Japanese Beck, a genre-obliterating cut-and-paste auteur with classic pop sensibilities. In 2017, he released his first solo album in 11 years, Mellow Waves, an uncharacteristically relaxed and dreamy set that nevertheless refuses to remain in one place very long. Revolution Hall, 1300 SE Stark St., 503-288-3895, revolutionhall.com. 9 pm. $20. All ages.

NW Dance Project has a knack for adapting classic stories into evocative, engrossing modern dance. This time, its source material is Ibsen’s feminist tragedy Hedda Gabler. That alone would be worthwhile, but it’s sharing the bill with another world premiere by Barcelona choreographer Cayetano Soto. Newmark Theater, 1111 SW Broadway, nwdanceproject.com. 7:30 pm. $34-$58.

BLAZERS VS. CAVALIERS Usually, a visit from the Cavs is exciting simply for the opportunity to watch LeBron James murderize our poor Blazers in person. This time, though, Portland owns the better record, Damian Lillard is playing out of his mind, and every game in the West matters. Prepare for war. Moda Center, 1 N Center Court St., 503-235-8771. 7 pm. $73-$2,223.

JAMES

FRIDAY, MARCH 16

SATURDAY, MARCH 17

KELLS SMOKER

WW’S BEST NEW BAND SHOWCASE

Want to watch Irish people and American people beat the tar out of each other, in celebration of the greatest of Irish-American holidays? The Kells Smoker amateur boxing competition comes but once a year, in a tent by Kells Irish. There will be blood. (Actually, there probably won’t be.) Kells Irish, 112 SW 2nd Ave., 503-227-4057, kellsportland.com. 7 pm. $30. 21+.

POP-TART POP-UP To benefit the American Civil Liberties Union, coffee and wine blog Sprudge will be hosting a Portland Pop-Tart Pop-up. With, like, a whole bunch of flavors of Pop-Tarts and really good coffee from Smalltime Roasters. Sprudge, 3640 SE Belmont St., sprudge. com. 10 am-3 pm.

SUNDAY. MARCH 18

SHAMROCK RUN

The future of Portland music looks and sounds much different from what came before. Puerto Rican pop warrior Frankie Simone, Afro-centric soul magician Amenta Abioto and spacy R&B duo Brown Calculus play our annual showcase of the city’s top emerging acts. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895, mississippistudios.com. 9 pm. Free. 21+.

Run off your St. Patrick’s Day hangover in anything from a 5k to a half marathon—or just partake in festive activities like bagpipes, kilts and, of course, a beer garden. Tom McCall Waterfront Park, shamrockrunportland.com. 7 am-1 pm. $15-$95.

REBUILDING SMALL TERRITORIES

In Iran, the new year starts in spring. The ’Couv’s best restaurant, Neapolitan-style Rally Pizza, is ringing in Persian New Year with Maysara wine and Persian foods, from kuku sabzi herb omelets to turmeric-fried fish and lamb pizza. Entrees run $11 to $18. Rally Pizza, 8070 E Mill Plain Blvd., Vancouver, Wash., 360-524-9000, rallypizza.com.

Two decades ago, hundreds of women displaced by conflict in Colombia decided to build their own town. Mexico’s Teatro tells their story through a halflecture, half-theatrical performance, in which they construct a miniature replica of the city out of cinder blocks and photographs. The Headwaters Theatre, 55 NE Farragut St., 503-404-2350, boomarts.org. 7:30 pm. Through March 18. $20.

PERSIAN NEW YEAR AT RALLY PIZZA

MONDAY, MARCH 19

TUESDAY, MARCH 20

BRUCE HOLBERT

HAMILTON

Bruce Holbert is the literary treasure of Eastern Washington. Did you know they even had one? His new novel, Whiskey,, about two brothers chasing down a daughter abducted by a religious cult, is dark, death-obsessed and funny as hell. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 503-228-4651, powells.com. 7:30 pm. Free.

Unsurprisingly, tickets for the Portland premiere of one of the most successful musicals of all time sold out almost immediately. But if you still really want see Lin-Manuel Miranda's hip-hop retelling of the founding of America, there’s a lottery for $10 tickets you can enter two days before each show. Keller Auditorium, 222 SW Clay St., 503-248-4335, portland.broadway.com. 7:30 pm. Through April 8. Sold out.

DANA BUOY The Portland-based Akron/Family member's new album, Ice Glitter Gold,, merges smoothgliding dance grooves with introspective lyrics and fuzzy psychedelic atmosphere. It's a dance record for the silent disco generation—the sound of going out and getting lost in your own head. The Know, 3728 NE Sandy Blvd., 503-473-8729, theknowpdx.com. 8 pm. Contact venue for ticket information. 21+.

PUSSY RIOT Whether you think of them as a band or a feminist performance-art troupe, Russia’s Pussy Riot are undeniably one of the world’s most radical cultural forces. If you snagged tickets for this insanely rare live appearance, don’t expect a normal concert. What should you expect? That’s anyone’s guess. Doug Fir Lounge, 830 E Burnside St., 503-231-9663, dougfirlounge.com. 8 pm. Through March 21. Sold out.

Willamette Week MARCH 14, 2018 wweek.com

FOOD & DRINK = WW PICK. H I G H LY R E C O M M E N D E D. By MATTHEW KORFHAGE. Email: dish@wweek.com. See page 3 for submission instructions.

WEDNESDAY, MARCH 14

Pie Cider on Pi Day What’s nerdier than hard cider? Pie cider on pi day—with three ciders infused with local pies on tap at Reverend Nat’s: a salted caramel apple from Pacific Pie, a gluten-free lemonvanilla from Pie Spot and a blackberry-raspberry from Lauretta Jean’s. Reverend Nat’s Hard Cider, 1813 NE 2nd Ave., 503-567-2221, reverendnatshardcider.com.

THURSDAY, MARCH 15

Irish Craft Ale Fest

As every year near St. Patty’s Day, Feckin will host a throwdown of Irish beers from local brewers—15 of them this time—plus bagpipes and Irish dancers and ax throwing. Because nothing goes better with beer than axes. Feckin Irish Brewing Co., 415 S McLoughlin Blvd., Oregon City, 503-305-5244, feckinbrew.com. Starts 3 pm Friday. Through March 18.

SUNDAY, MARCH 18

Persian New Year In Iran, the new year starts in spring. The ’Couv’s best restaurant, Neapolitan-style Rally Pizza, is ringing in Persian New Year with Maysara wine and Persian foods, from kuku sabzi herb omelets to turmeric-fried fish and lamb pizza. Rally Pizza, 8070 E Mill Plain Blvd., Vancouver, Wash., 360-524-9000, rallypizza.com.

TOP 5

HOT PLATES

Where to eat this week.

Chin’s Kitchen

4132 NE Broadway, 503-2811203, chinschinesekitchen. com. $-$$. Chin’s added new dishes at the lunar new year, including a mindshatteringly good pork-stuffed sweet-and-sour eggplant.

Kee’s Loaded Kitchen

Nimblefish

Bhuna

Bamboo Sushi

4709 NE Martin Luther King Jr. Blvd., 503-516-2078, facebook.com/KeesLoadedKitchen. $. Loaded is pure homestyle soul, from wings to ribs to banana custard. Check the menu on Facebook on Thursday to Sunday, then get there before it sells out.

1524 SE 20th Ave., 503-719-4064, nimblefishpdx.com. $$$. The former Fukami chef’s new Hawthorne sushi spot is a corker— with some of the best Edo-style fish and rice you can expect in Portland. Mondays at Culmination, 2117 NE Oregon St., 971-254-9114, facebook.com/bhunarestaurant. $$. At Culmination Brewing every Monday, chef Deepak Kaul serves Kashmiri dishes you won’t find anywhere else in town—including truly splendid greens and kohlrabi. 310 SE 28th Ave., 503-2325255, bamboosushi.com. $$-$$$. All of March, the Southeast Bamboo Sushi brings brunch, with kimchi fried-chicken waffles, smoked trout and a bloody mary with octopus-tentacle garnish.

Willamette Week MARCH 14, 2018 wweek.com

PINTLANDIA

Sweet and Lowbrow Are craft brewers making beer coolers for drunken bros? BY EZR A J OHN SON - GREEN OU GH

newschoolbeer.com

Craft beer used to be the province of D&D nerds and the future Zuckerbergs of the world, excited to have discovered something both delicious and niche. Eccentricity and geeking out over yeast strains and hop varieties was a plus. But the extreme beer trend of high-alcohol barleywines, bourbon barrel-aged stouts and triple IPAs made craft beer cool for bros who used to sip on Long Island iced teas. This broadening of the craft beer world helped the reception of the juicy-citrusytropical hazy New England-style IPAs welcomed into Portland via Northeast Alberta Street’s Great Notion Brewing. They eschew IPAs’ traditional bitterness for sweet fruit juice flavors, and led the way toward sweet flavors not normally associated with beer. The beer world has lately been overrun by novelty-seeking fads that have caused both beer traditionalists and outsiders to wonder what the fuck is going on. But two of the biggest ones have a common element: The beer is getting sweeter. Dessert beers, also called pastry stouts, are not new. But they are having a moment. These often (but not always) dark beers are made to taste like other popular treats such as desserts, candies and ice cream. Again, Great Notion Brewing is in on the fad, pushing a Peanut Brother imperial milk stout that tastes like sweetened peanut butter, while Corvallis’ Claim 52 made an IPA called Jolly AF brewed with sugar cookies. That Claim 52 IPA is also called a milkshake IPA because it was made using lactose—sugar derived from milk that is unfermentable and thus adds a sweetness and slick creamy mouthfeel. Not only are milkshake IPAs cloudy, they’re also even sweeter and fruited. It’s as if dessert beer and hazy IPA had a baby with the worst attributes of both. Still, if you want to give them a try for yourself, check out Riverbend Brewing’s grocery-store beer Hawaiian Crunk (made with passionfruit, orange and guava) or Everybody’s Brewing’s Takes 2 to Mango Finally, there’s glitter beer, which is apparently what happens when you put breweries in close proximity to strip clubs—the brewing equivalent of unicorn desserts. Technically, edible glitter should add nothing to the experience except catch your eye and leave some sparkles in your teeth. Look for Sasquatch Brewing’s Gold Dust Woman, or find Glitter Bomb Session IPA at Loowit Brewing in the ’Couv on May 10. My suspicion is that the novelty of these beers will wear off pretty quickly. I’m not saying they can’t be fun, but I am also worried craft beer is jumping the shark by brewing for an audience who normally would be enjoying a cotton candy-flavored vodka. Like those nightclub liquors, many of these “craft” beers are using artificial flavorings and extracts—the absence of which was the exact sort of thing that used to distinguish craft brewing from the megabreweries. I remember Arnold Schwarzenegger’s wise words: “Milk is for babies. When you grow up, you have to drink beer.” Now excuse me while I sip on my kettle-soured strawberry gose while yelling at the kids to get off my lawn. Pintlandia is a biweekly beer column. Ezra Johnson-Greenough is a beer geek, artist and festival organizer with a semi-professional drinking problem.

ABBY GORDON

REVIEW

MAKING IT STICK: Skewers three ways at Pot N Spicy.

HOT, HOT, HOT Tiny Pot N Spicy offers three new ways to eat Sichuan. BY M AT T H E W KO R F H AGE

mkorfhage@wweek.com

New Sichuan spot Pot N Spicy isn’t a restaurant. In an 82nd Avenue space as small as a Subway franchise, it’s instead somehow three restaurants at once—none of which quite existed in Portland before now. The bare-bones hallway of an eatery is located next door to what used to be the best hot pot in the city, Chongqing Huo Guo. Though most of Pot’s menu is devoted to hot pot, you’ll find nothing akin to the familiar Beijing- or Chongqingstyle pots here: no burners on the tables cooking bubbling broth, no plates full of raw meat meant to be cooked in the soup. Eating here is a little like looking at hot pot through a kaleidoscope: You can have it every single way you never thought of, but not the way you’re used to. These are the three restaurants you can visit.

The Family Trough

Most of the hot pots at Pot N Spicy aren’t even soup. Pot N Spicy is devoted to the dry hot pots of Northern Sichuan, seasoned like fiery, chili-red Chongqing broths, but without the soup base. Like pizza or Ethiopian injera, it’s a format custom-made for the family feed. For $23 to $28, a group of four can gorge themselves on massive and tongue-stabbingly spicy bowls of lotus root, mushrooms and cross sections of potato, plus a protein of choice: tofu, beef, tripe or a seafood medley. If you get the beef or tofu options—skip the chewy mussel and shrimp—it’s a hearty and satisfying meal. Both lotus and potato are left lightly crisp, their starches just barely broken down. Eat as a pair, and you’ll have enough leftovers to make a lunch for both of you.

The Hall of Skewers

Everything that can be eaten on a stick can be eaten on a stick at Pot N Spicy. Near the back of the restaurant is a wall of tubs, and each tub contains a porcupine of bamboo sticks. There are chicken wings and gizzard and thigh, beef

both meatballed and marinated, clam and octopus and squid and quail egg. For the vegetarian there are seaweed skewers and daikon skewers, skewers of taro and three kinds of mushroom. Somehow, napa cabbage is skewered. Each of the 30-some skewers is a mere dollar. If you order just a few, they’ll arrive in a little stainless-steel bucket filled with your choice of broth, whether curry or “BBQ” or chili-oil spicy. If you order six or more, they’ll come in a steaming bowl with free noodles. But the skewers are far better deep-fried in sweet-potato flour, and served with vinegar and chili sauces. If you are gluten-free, rejoice: You can get anything deep-fried here. Underneath that thin layer of crispness, quail eggs erupt with molten fat, while gizzard and liver bursts with exotic flavor. All things mushroom are heaven.

The Sichuan Noodle House

Last, Pot N Spicy contains a concise Sichuan menu with dishes otherwise unfound in town, in particular a lovely and acidic spicy lotus root salad ($4.99) that may be my favorite on the menu. Lightly cinnamony five-spice beef is offered both as a cold-cut dipping side ($8.99) and as the protein in a beefy udon-noodle soup ($7.99) whose broth swirls with red pepper oil. Those same noodles are brought to bear on a black-bean-sauce zha jiang mian available for an impossibly cheap $5.99. For the bold, there are chicken feet with pickled peppers and multiple preparations of spicy tripe. The restaurant’s gift for deep-fry is again showcased with a dark-meat Taiwanese popcorn chicken light enough it lives up to its name. I would return again and again to this last version of the restaurant, mixing its beef noodles and lotus root salad with deep-fried skewers as a parade of tiny delights, shot through with chili spice. GO: Pot N Spicy, 8230 SE Harrison St., No. 345, 503-788-7267, potnspicy.com. Noon-midnight daily. Willamette Week MARCH 14, 2018 wweek.com

Willamette Week MARCH 14, 2018 wweek.com

MUSIC HOTSEAT RENEE LOPEZ

Were you obsessed right off the bat? I was pretty fixated immediately because he’s such a strong narrative storyteller. I’ve always had a weakness for strong narrative musicians, like Joni Mitchell, Jeff Buckley and even Sia, because they tell such an acute story in their music. When I think of the first time I heard “American Wedding,” and I was watching him weave this story about two teenagers getting married— the fact that there’s so much nuance in that storytelling, when so much of our pop music is just invested in a very linear progression, I found that really moving and layered. You started this project during that period when no one was sure when or if another Frank Ocean project was going to happen. Did you buy into that at all, where you thought we might not hear anything from him again? Absolutely not, but I did like capitalizing on that being a major part of the conversation. What I thought was going to happen with the book is that it was going to be released in that space of time between Channel Orange and Blonde, when people were thinking nothing was coming out, and it was this way to put some kind of energy or conversation around the holding pattern. I also found that really interesting, because people seemed invested in the idea of him producing music, and the idea that he needed to produce something so quickly. I was interested in that as an idea—why do we put this pressure on this one particular person?

Oceanography In her new book, poet Shayla Lawson considers the life, lyrics and meaning of Frank Ocean. BY M AT T H E W S I N G E R

msinger@wweek.com

Shayla Lawson has never met Frank Ocean, but that doesn’t mean she hasn’t had a conversation with him. Several, in fact. In her new book, I’m Ready to See Frank Ocean, the Portland poet expands and rearranges the reclusive R&B star’s lyrics, using his words as a jumping-off point to discuss and broaden the ideas contained within them, while also adding her own perspective. It’s part poetry, part biography and part cultural critique—and also, in a way, a kind of literary cover album. “I’m fascinated by covers, and one of the things about covers I think is interesting is, you get these very different renditions, that you can tell an entirely different story using the same source material,” Lawson says. “I’m really fascinated by that, and I like to think of it as being a conversation with Frank Ocean.” Ahead of the book’s release party—in which Lawson will read the poems backed by her own band, the

Oceanographers—WW spoke with the writer about the roots of her fascination with the songwriter, and what she thinks will happen when and if she literally does see Frank Ocean. WW: Do you remember when you first heard Frank Ocean? Shayla Lawson: I was living in the Netherlands at the time, and I came across a Tyler the Creator song—I was listening to Odd Future first— and got really interested in Frank Ocean’s contribution to that project. I started reading more about him, and got really interested in his narrative, especially when Channel Orange came out and he came out as bisexual in the liner notes. That was a really pivotal moment. Rap itself has a really concrete relationship with misogyny, and then Odd Future is definitely a product of that. So it was really interesting to see the complexity of the conversation. It felt like a very millennial conversation to be having, to be inhabiting a lot of different spaces that seemed counterintuitive in terms of their connections.

In a literal sense, I take the title of the book to mean that you’re preparing yourself to see Frank Ocean live. Is that part of it? The title has a couple different meanings to me. Literally, I’ve never seen Frank Ocean perform. And also, that conversation of, “Frank Ocean, when you see this, when are you going to put out an album?” And third, I still struggle with the fact that I’m taking on someone else’s art and their name, and bringing it into my own. One of the reasons I felt a certain comfort—or a certain distance where I don’t feel like I’m taking someone’s personal story and exploiting it—is the fact that Frank Ocean is a pseudonym. I’m really interested in the idea of the ocean as a metaphor for the development of this character that became Frank Ocean. He took on the name post-Katrina when he moved to LA, and I think that’s the perspective of the title I’m most invested in— I’m actually ready to see this person thrive and flourish and create beautiful work. A lot of my relationship to doing this book is the idea of watching Trayvon Martin die—hearing Frank Ocean around the same time and thinking of what Trayvon Martin could have been if his life wasn’t interrupted. By killing our children, we lose the opportunity to see what they could create. Thinking about the life of this person who is young and creating things, and did we lose a whole catalog of music by losing Trayvon Martin, in the same way Frank Ocean lost a whole catalog of music to Katrina? I think about that a lot, in terms of where we are politically and what’s happening with black bodies. Do you have a perception of what it would be like if you actually do see him in person? I’m really terrified of meeting him. My fear is that he’ll hear about the book and be like, “What is that chick doing? This is unnecessary.” At this point, I have kind of a recurring fantasy where I go to visit some of my friends in LA, and we’re some kind of chic party, and I spy Frank Ocean, make eye contact with him. But that’s as far as my vision goes. I don’t have an idea of what would possibly happen. I just hope he’s not angry with me. SEE IT: The I Think I’m Ready to See Frank Ocean launch party is at Holocene, 1001 SE Morrison St., on Wednesday, March 14. 8 pm. $8. 21+.

Willamette Week MARCH 14, 2018 wweek.com

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

WEDNESDAY, MAR. 14

Cornelius, Rocketship [ECLECTIC PSYCH POP] See Get Busy, page 27. Revolution Hall, 1300 SE Stark St #110, 503-288-3895. 8 pm. $20. All ages.

THURSDAY, MAR. 15

Fozzy, Through Fire, Santa Cruz, Dark Sky Choir [ROCK-’N’-WRESTLING CONNECTION] It’s hard to imagine there are many fans of Atlanta’s Fizzy who aren’t, first and foremost, huge pro-wrestling fans. That isn’t meant as any kind of critique, it’s simply a statement of fact—the band’s frontman is Chris Jericho, six-time WWE World Champion and self-proclaimed “Ayatollah of Rock ’n’ Rolla.” (Full disclosure: I am, in fact, a big wrestling nerd.) He’s one of the form’s true artistes, one who’s managed to extend his career long past the typical expiration date through constant reinvention and a knack for gonzo self-promotion. (His next venture is a self-curated rock-and-wrestling cruise.) As an actual rock-’n’-roller, though, Jericho is considerably less interesting. He’s fronted Fozzy for almost two decades, and the band’s sound has stayed solidly within the soul patch-addled mainstream hardrock milieu of more popular acts like Chevelle and Shinedown. Judas, the group’s latest, is more of the same, and shows none of the performative brilliance or bonkers humor Jericho brings to the ring, despite the presence of a song titled “Drinkin’ With Jesus.” MATTHEW SINGER. Dante’s, 350 W Burnside St., 866-777-8932. 8 pm. $16. 21+.

Xylouris White, Secret Drum Band [FREE FORM] Xylouris White is a duo comprising Cretan lute player George Xylouris and Aussie drummer Jim White. Since 2013, the two have turned out jazz-informed experimental music built around equal parts traditional Greek music and progressive rock. It’s an oddball combination that doesn’t seem like it’d work, until you embrace the fidgety pulse of it all. The duo’s third album, Mother, came out at the beginning of the year and is a lively, unexpected treat. The bulging twang of the lute is set in motion by crafty percussion work and Xylouris’ well-timed vocal delivery. MARK STOCK. Holocene, 1001 SE Morrison St, 503-239-7639. 8 pm. $13 advance, $15 day of show. 21+.

Stone Temple Pilots, the Dirty Hooks [GRUNGE RESURRECTION] Stone Temple Pilots were in a state of limbo long before their original singer, Scott Weiland, died in 2015. Aside from their classic three-album run that bookended the ’90s grunge boom, efforts like 1999’s No. 4 and 2001’s Shangri-La Dee Da were hamfisted, pseudo-psychedelic attempts at reconciling the creative drive of the DeLeo brothers with the drug-addled heel-dragging of Weiland. After a short run with Linkin Park’s recently deceased frontman, Chester Bennington, STP

Willamette Week MARCH 14, 2018 wweek.com

has gone all-in on being a legacy act by employing a guy named Jeff Gutt, whom they found via a YouTube star search, to do his best Weiland impression. Their recent single, “Never Enough,” showcases Gutt’s impeccable ability to ape the upper register Weiland employed circa Purple, which should be a relief to fans who now consider the proto-nu-metal chortle of Core to be rather embarrassing in hindsight. PETE COTTELL. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 8 pm. Sold out. All ages.

Antibalas [AMERICAN AFROBEAT] On a relative scale, there are perhaps no artists who hold quite the same grip on their chosen genre as Fela Kuti does with Afrobeat. He invented it, mastered it and, even 20 years after his death, continues to cast such a long shadow that all his predecessors can hope to do is not embarrass him. Of the scant few Western bands daring to try their hand at replicating the Nigerian radical’s politically charged brand of funk, New York’s Antibalas has done the most to expand the music’s boundaries, tossing in bits of hip-hop, jazz and Latin music among the entrancing polyrhythms and hothouse horns. Last year’s Where the Gods Are in Peace, the first Antibalas album in five years and second for soul revivalist label Daptone, features mostly straightahead Afrobeat arrangements overlaid with protest-minded lyrics, with subtle psychedelic production flourishes to keep things interesting. Certainly, Kuti would approve. MATTHEW SINGER. Wonder Ballroom, 128 NE Russell St., 503284-8686. 7 pm. $20. 21+.

SATURDAY, MAR. 17

Carl Palmer’s ELP Legacy [PROG DRUM GOD] Few drummers have been as successful as Carl Palmer. He cut his teeth riding the wave of freak-rocker Arthur Brown’s success, then jumped ship with Brown’s organist to form the cult proto-metal group Atomic Rooster. After making waves with the debut Rooster album, Palmer was drafted out of the minor leagues, lending his chops and his name to the massively successful progressive-rock supergroup Emerson, Lake, and Palmer. That band had a run of platinum hits, including radio staples like “Lucky Man” and “Karn Evil 9.” His next supergroup, Asia, released the biggest album of 1982. At 68, Palmer is conjuring his ’70s heyday by leading the ELP Experience, a power trio that skims the synths off the ELP back catalog, replacing them with Paul Bielatowicz’s pyrotechnic guitar. NATHAN CARSON. Aladdin Theater, 3017 SE Milwaukie Ave, 503-234-9694. 8 pm. $39.50 advance, $42 day of show. All ages.

Willamette Week’s Best New Band Showcase: Frankie Simone, Amenta Abioto, Brown Calculus [PDX POP RIGHT DAMN NOW] See Get Busy, page 27. Mississippi Studios, 3939 N Mississippi Ave, 503-288-3895. 9 pm. Free. 21+.

Sorority Noise, Remo Drive, Foxx Bodies

[POST-DEPRESSION PUNK] Emo diehards have been plumbing the depths of Bandcamp for a suitable Brand New surrogate long before the group’s frontman, Jesse Lacey, was outed as an abuser this past year, and it feels like Sorority Noise has finally arrived as a more socially conscious heir to their throne. Bursting with tracks that pit frontman Cameron Boucher’s wellpublicized battle with grief and depression against massive and triumphant pop punk, the Philadelphia group’s 2017 album, You’re Not As ___ As You Think, is a genre-defining statement on both musical and lyrical levels. Boucher insists it’s OK not to be OK, and the songs he sets ablaze with these emotions are so anthemic it’s impossible not to believe him. PETE COTTELL. Analog Cafe, 720 SE Hawthorne Blvd., 503206-7439. 7 pm. Sold out. All ages.

SUNDAY, MAR. 18

Phillip Phillips, the Ballroom Thieves [SOUTHERN SOUL POP] With a name like “Phillip Phillips,” it isn’t hard to imagine the Georgia singersongwriter being an easy target for childhood ridicule. Well, look who’s laughing now. Phillips went on to win the 11th season of American Idol, and also broke the all to common cycle of reality contest winners who quietly disappear from the music world. He’s since released three albums infused with throaty, soulful vocals and Southerntinged pop. His latest, Collateral, is a blend of bluesy love songs and gritty dance grooves. LAUREN KERSHNER. Wonder Ballroom, 128 NE Russell St, 503-284-8686. 8:30 pm. $27.50 advance, $29.50 day of show. All ages.

MONDAY, MARCH 19

Dana Buoy, Cy Dune [PSYCH-POP] See Get Busy, page 27. The Know, 3728 NE Sandy Blvd., 503-473-8729. 8 pm. Contact venue for ticket information 21+.

TUESDAY, MAR. 20

Pussy Riot [THE MOST PUNK BAND] See Get Busy, page 27. Doug Fir Lounge, 830 E Burnside St., 503-231-9663. 8 pm. Through March 21. Sold out.

L.A. Salami, Cat Clyde [SNARKY FOLK] British folk singer L.A. Salami’s music is a reflection of the modern, post-internet psyche— plagued by anxiety, infected by too much pop culture, full of ideas about what might be wrong with humanity but somehow optimistic we can still right the ship. His singles from 2017, “I Can’t Slow Her Down” and “Terrorism! (The ISIS Crisis),” show Salami’s evolution beyond the spare sound of 2016’s Dancing With Bad Grammar, fleshing out his lone guitar noodling and sarcastic yet hopeful storytelling with more instrumentation and stronger production. His lyrics reference everyone from J Dilla and Samuel Beckett to Jeremy Corbyn, and his songs match up with the tongue-in-cheek tone of Courtney Barnett. This show will be fun, funny and, given Salami’s fashion sense, full of cool hats. JUSTIN CARROLLALLAN. Mississippi Studios, 3939 N Mississippi Ave, 503-288-3895. 9 pm. $12 advance, $14 day of show. 21+.

CONT. on page 34

C O U R T E S Y O F T H I S - A - WAY R E C O R D S

INTRODUCING

Shadowlands Who: Amy Sabin (keyboards, vocals), Jason Sartain (guitar, vocals), Jesse Elizondo (bass, vocals), Casey Logan (drums, vocals). Sounds like: Goths raging against the dying of the light. For fans of: Chelsea Wolfe, Johnny Jewel’s darker moments, Beach House, the Cure. Veterans of various Portland punk and garage bands, the musicians in Shadowlands took their time developing their new project, exploring various sonic themes before landing on their ominous and melodious brand of post-punk. “It was good for us to have that time to mess around and find our direction and let the sound really coalesce on its own,” says singer Amy Sabin. “We weren’t in any big hurry because we are truly doing this for ourselves. Of course, we want people to be into our music and be moved by it, but we really went into this with no expectations.” That patience pays off on the upcoming 002, a mature and foreboding collection of songs befitting the tumultuous times in which we currently find ourselves. Sabin’s lyrics tend to be deeply personal, and songs like lead single “Newborn” reflect Sabin’s misgivings about the future that awaits her husband, Shadowlands drummer Casey Logan, and their children. Despite the often heavy lyrical themes, the songs on the EP crackle and pop with a melodic anxiety that never feels overly heavy or bogged down under the weight of their subject matter. Album closer “Possession,” in particular, swells with a hopefulness that showcases the band’s ability to rise above both the bleakness of modern life and what one might typically expect from a postpunk band. Shadowlands owes much of their musical dexterity to their members closeness. Each musician is a skilled multi-instrumentalist—sometimes switching instruments midsong—and although Sabin is the primary songwriter, she says the band’s songs are very much the fruit of a collective effort. “Collabs are a huge part of what we do, and I feel like I’ve been really able to grow as a songwriter because I am so supported by them,” she says. “Plus, I’m an identical twin, so I think I’m used to always taking others’ perspectives into mind.” Shadowlands also draws a great deal of inspiration from the city in which they reside and count themselves lucky to be based in Portland, with a tight-knit scene around them and a label— This-a-Way Records, run by members of long-running local gloom-rockers the Prids—that has their back, something Sabin says helped her overcome her creative and social anxieties. “This-a-Way Records has created a community of bands that intentionally come together and create an atmosphere where the community can flourish,” she says. “It’s very encouraging and we appreciate it so much. We also just really appreciate these smaller venues that are really, really supportive of the bands and the community. I love it here despite all the changes. It’s still a really great city—a lot better than most.” DONOVAN FARLEY. SEE IT: Shadowlands plays Doug Fir Lounge, 830 E Burnside St., with Daydream Machine, the Orange Kyte and the Young Elders, on Saturday, March 17. 9 pm. $10 advance, $12 day of show. 21+. Willamette Week MARCH 14, 2018 wweek.com

MUSIC

DATES

FUTURE

SLAYER

RECENTLY ANNOUNCED CONCERTS YOU CAN STILL GET TICKETS TO. Bon Iver @ the Schnitz, May 24

Since Justin Timberlake swagger-jacked his sad-outdoorsman steez, it’s only fair that Justin Vernon conduct this tour rocking dried-ramen hair and a single hoop earring. Tickets on sale March 16.

2 Jeff Rosenstock @ Aladdin Theater, May 24 The Aladdin seems an odd space to experience Rosenstock’s bleeding-heart punk screeds. Hopefully, they won’t mind having a few chairs yanked out of the floor. Tickets on sale March 16. 3 Logic @ Moda Center, July 14 You can’t always get the G-Eazy you want. But if you try sometimes, you just might find, you get the Macklemore you need. Tickets on sale March 16. 4 Beach House @ Keller Auditorium, Aug. 10 A common slag on the Baltimore dream-pop duo is that they’ve written the same hazy, love-stoned song over and over again, but maybe the wired way to look at it is that they’ve been gradually writing the single greatest, haziest, most love-stoned song of all time. Tickets on sale now. 5 Slayer @ Sunlight Supply Amphitheater, Aug. 23 Slayer? Slayer. Slayer! Plus, a bunch of other heavy old-timers, including Anthrax and Testament. But also, Slayyyyyyeeerrrr! Tickets on sale now. MATTHEW SINGER.

CLASSICAL, JAZZ AND WORLD

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Willamette Week MARCH 14, 2018 wweek.com

SATURDAY, MAR. 17

Brahms’ Violin Concerto [CLASSICAL] The last time the Oregon Symphony performed Brahms’ lone, highly challenging violin concerto was with Joshua Bell, and those rather large shoes should be ably filled this weekend by Israeli violinist Vadim Gluzman. The evening begins with one of four of Dvořák’s tributes to Czech folklorist Karel Erben: The Water Goblin relates the gruesome tale of a creature that kidnaps a young girl and forces her into marriage beneath the surface of a lake. After giving birth to a child, she begs the goblin to allow her to visit her mother. He concedes, but once home, her mother won’t let her return to the unholy matrimony. In the end, the goblin presents their decapitated infant on the front steps. This dark tale was scandalous to some critics who favored symphonic music when the program was debuted in 1896. Portland—home of TV’s Grimm— ought to be able to handle it. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-248-4335. 7:30 pm. Through March 19. $24-$115. All ages.

Pacific Voices: Beijing Queer Chorus and Portland Gay Men’s Chorus [CROSS-CULTURAL QUEER CHORAL] When the Beijing Queer Chorus performs in China, many of its singers wear masks—not to make an artistic statement, but to protect their identities. Although China’s attitude toward sexual orientation has evolved in the decade since BQC was founded, it can still be dangerous to be out there, even if you can no longer be locked up for “hooliganism” or diagnosed as mentally ill. And actually, it hasn’t been that long since members of Portland’s own Gay Men’s Chorus also performed under aliases or withheld their real names from press coverage, out of similar fears. Both groups understand the different degrees of oppression that still afflict too many LGBTQ people in the world, and how singing together can help build solidarity and strength to resist and triumph. Along with singing original works in the realms of classical, folk, jazz and pop, and new translations highlighting various Pacific Rim cultures, choir members are participating in various community outreach activities and performances. And this summer, Portland’s Gay Men’s Chorus will be the first LGBTQ chorus to tour China. BRETT CAMPBELL. Kaul Auditorium (at Reed College), 3203 SE Woodstock Blvd, 503222-6000. 8 pm. Through Sunday. $16-$42. All ages.

MUSIC CALENDAR WED. MARCH 14 Crystal Ballroom

1332 W Burnside St Why Don’t We

Edgefield

2126 SW Halsey St, Troutdale Michael Berly and the Yellers (The Winery Tasting Room)

Holocene

1001 SE Morrison St “I Think I’m Ready to See Frank Ocean” Book Launch and Tribute Night

Jack London Revue 529 SW 4th Ave Paula Byrne Quartet

Mississippi Studios

3939 N Mississippi Ave Three For Silver vs. Human Ottoman

Revolution Hall

1300 SE Stark St #110 Cornelius, Rocketship

The Goodfoot

Bodysnatcher, Extortionist, So This Is Suffering; Good Riddance, Success, The Last Gang

The Goodfoot

2845 SE Stark St Brothers Gow

The Old Church 1422 SW 11th Ave Tara Velarde, Laryssa Birdseye, Anna Gilbert

The Secret Society

116 NE Russell St Thursday Swing featuring Reggie Houston’s B’ Swingsters, Pete Krebs and the Rocking K Ranch Boys

Twilight Cafe and Bar 1420 SE Powell Blvd Symptoms, Chris Hahn Band, Toxic Kid, The Doom Generation

Wonder Ballroom 128 NE Russell St Antibalas

Aladdin Theater

The Secret Society

Alberta Street Pub

Turn! Turn! Turn!

8 NE Killingsworth St The Stoney Moaners, Snailbones, Brides

THU. MARCH 15 Alberta Rose Theater 3000 NE Alberta St Sierra Hull

Alberta Street Pub

1036 NE Alberta St Barna Howard, Planes On Paper, Widower

Alberta Street Pub

1036 NE Alberta St Buddy Jay’s Jamaican Jazz Band

Crystal Ballroom

1332 W Burnside St Yonder Mountain String Band

Dante’s

350 W Burnside St Fozzy, Through Fire, Santa Cruz, Dark Sky Choir

Doug Fir Lounge

830 E Burnside St The Grizzled Mighty

Edgefield

2126 SW Halsey St Troutdale Jennifer Smieja (The Winery Tasting Room)

Hawthorne Theatre

1507 SE César E. Chávez Blvd Eden, Vérité

Holocene

1001 SE Morrison St Xylouris White, Secret Drum Band

Mississippi Studios

3939 N Mississippi Ave Darlingside

Ponderosa Lounge & Grill

10350 N Vancouver Way Jaycob Van Auken & The Long Drags

Roseland Theater

8 NW 6th Ave Stone Temple Pilots, the Dirty Hooks

Star Theater

13 NW 6th Ave Chrome, Soriah, Deathcharge

The Analog Cafe

720 SE Hawthorne Blvd

LAST WEEK LIVE

Village Ballroom 700 NE Dekum St Hot Jazz Dance

SAT. MARCH 17 Aladdin Theater

3017 SE Milwaukie Ave Carl Palmer’s ELP Legacy

Alberta Rose Theater 3000 NE Alberta St David Gans & Stephen Inglis, Kevin Burke

Alberta Street Pub

1036 NE Alberta St St. Patrick’s Day Party feat. thankusomuch, Ezra Bell, Amirah; The Junebugs

Arlene Schnitzer Concert Hall

1037 SW Broadway Brahms’ Violin Concerto

Artichoke Music Cafe

FRI. MARCH 16

2845 SE Stark St JoyTribe, Tim Karplus Band 116 NE Russell St Wednesday Night Zydeco feat. Too Loose

Bridge City Sinners, Beggars Canyon, Fake News, Juicy Karkass

[MARCH 14-20] ABBY GORDON

= 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.

3017 SE Milwaukie Ave Y&T 1036 NE Alberta St Nathan Earle

Bossanova Ballroom

722 E Burnside St Bloom, The Human Experience, saQi, Yaima, Kr3ture

Crystal Ballroom

1332 W Burnside St Umphrey’s McGee

Doug Fir Lounge 830 E Burnside St Red Baraat

High Water Mark Lounge

6800 NE MLK Ave DRUNKENPALM S, The Bedrooms

Holocene

1001 SE Morrison St Lane 8

Jack London Revue 529 SW 4th Ave Tezeta Band

Kelly’s Olympian

426 SW Washington St Cedars & Crows

Kenton Club

2025 N Kilpatrick St Sad Horse, The Bugs, Pelican Ossman, The Spreads

Mississippi Studios

3939 N Mississippi Ave The Suffers, the Bandulus

No Fun

1709 SE Hawthorne Blvd Wet Fruit, Dollar Coat, Ghost Ring

Ponderosa Lounge & Grill

10350 N Vancouver Way Ty Curtis

Revolution Hall

1300 SE Stark St #110 John Hiatt & The Goners

The Fixin’ To

8218 N Lombard St Stars of Cascadia, The Stubborn Lovers, The Pearls

The Secret Society

116 NE Russell St The Get Ahead, Kaiya On The Mountain, Maxwell Cabana; The Sportin’ Lifers feat. Erin Wallace

Turn! Turn! Turn!

8 NE Killingsworth St Fill Colons, Down Gown, There Is No Mountain

Twilight Cafe and Bar 1420 SE Powell Blvd

2007 SE Powell Blvd Beth Wood & Tom Faulkner

Artichoke Music Cafe 2007 SE Powell Blvd Beth Wood and Tom Faulkner in concert

Bluehour

250 NW 13th Avenue King Louis & Renato Caranto

Bunk Bar

1028 SE Water Ave Hibou, Charts

Catfish Lou’s

2460 NW 24th Avenue Franco Paletta & Friends

Crystal Ballroom

1332 W Burnside St Umphrey’s McGee

Doug Fir Lounge

830 E Burnside St Daydream Machine, Shadowlands

GUESS WHO’S COMING TO DINNER: Lorde remembers her first Portland show well. It was a little over four years ago, at Crystal Ballroom. Returning to headline at Moda Center on March 10, the 21-year-old pop prodigy recalled the details—how she was forced to perform in the midafternoon, how Vampire Weekend played after her and, especially, how much smaller the crowd was. But while last year’s Melodrama may have bumped her up a touring weight class, she assured fans her fundamental nature as a performer hasn’t changed. “My thing is to speak to people in a giant room like I’m just sitting down and having dinner with them,” she said. Indeed, in comparison to the dizzying spectacles that have hit town recently, the New Zealand-born singer’s first stab at an arena show resembled a one-woman theater production. Her only major set piece was a kind of glass shipping container, which alternately levitated and sunk into the floor, and her artful dancers registered as wisps. The spareness befit her music: Hits like “Tennis Courts” and “Royals” make better use of empty space than anything on radio. As a vocalist, Lorde’s strength is her directness—the most stunning moment of the night, a stripped-bare cover of Frank Ocean’s “Solo,” came off less like a vocal workout than a dramatic journal reading. That doesn’t mean she’s incapable of huge moments: “Green Light,” which closed the set, is exhilarating in a way few pop singles ever are. The only difference is that unlike many of her contemporaries, she’s bold enough to let the songs speak for themselves. MATTHEW SINGER.

2126 SW Halsey St Troutdale Na Rósaí; Outbound Traveler; The Hawthorne Roots

St. Mary’s Cathedral

Al’s Den at Crystal Hotel

High Water Mark Lounge

The Analog Cafe

Arlene Schnitzer Concert Hall

720 SE Hawthorne Blvd Sorority Noise, Remo Drive, Foxx Bodies

1037 SW Broadway Brahms’ Violin Concerto

The Firkin Tavern

2007 SE Powell Blvd Songs of Malvina Reynolds featuring Judy Fjell and Nancy Schimmel

Edgefield

6800 NE MLK Ave Kid Nomad

Imago Dei

1302 SE Ankeny St., 97214 Consonare Chorale

Jack London Revue 529 SW 4th Ave Trio Subtonic, Dan Balmer

Kaul Auditorium (at Reed College)

3203 SE Woodstock Blvd Pacific Voices: Beijing Queer Chorus and Portland Gay Men’s Chorus

Kelly’s Olympian

426 SW Washington St Gaea, Trevor Green, The Urban Shaman

Mississippi Studios

3939 N Mississippi Ave WW’s Best New Band Showcase

Muddy Rudder Public House 8105 Se 7th Ave Dan and Fran; Avery Levine and Friends

No Fun

1709 SE Hawthorne Blvd Devy Metal, Blue Crush

The Ed Bennett Trio 1716 NW Davis St Cappella Romana: The Akáthistos Hymn

1937 SE 11th Ave Heaven Skate, B. R. Mount

The Fixin’ To

Doug Fir Lounge

The Goodfoot

1001 SE Morrison St Bondax at Holocene

2845 SE Stark St Garcia Birthday Band

The Secret Society

116 NE Russell St Melao De Cuba Salsa Orchestra; James Mason & The Djangophiles

Turn! Turn! Turn!

8 NE Killingsworth St Rllrbll, Dramady, the Gutters, Wrymouth

Twilight Cafe and Bar 1420 SE Powell Blvd Undude, Fox Medicine, Jet Echo

Wonder Ballroom 128 NE Russell St Futuristic, IshDARR

SUN. MARCH 18 Aladdin Theater

Ponderosa Lounge & Grill

SouthFork

1036 NE Alberta St Lindsey Webster

4605 NE Fremont

Artichoke Music Cafe

8218 N Lombard St Geezer (Weezer tribute), Zombabes (Cranberries tribute)

3017 SE Milwaukie Ave Martin Sexton

10350 N Vancouver Way Britnee Kellogg

303 SW 12th Ave Anthony Presti

Alberta Street Pub

830 E Burnside St The Night Game

Holocene

Jack London Revue 529 SW 4th Ave Michal Angela

Kaul Auditorium (at Reed College) 3203 SE Woodstock Blvd Pacific Voices: Beijing Queer Chorus and Portland Gay Men’s Chorus

Mississippi Studios

3939 N Mississippi Ave XRAY.FM’s Birthday Bash: Maarquii + JVNITOR, Máscaras, the Bedrooms

Ponderosa Lounge & Grill

10350 N Vancouver Way Hawks and Doves

Rontoms

600 E Burnside St Rontoms Sunday Session: Minden, Water Slice, Spirit Award

Sunnyside Seventhday Adventist Church 10501 SE Market St Oregon Sinfonietta Performs Glière and Dvořák

The Old Church

1422 SW 11th Ave An Evening with Jesse Terry & Tyler Stenson; Jesse Terry, Tyler Stenson

The Secret Society

116 NE Russell St Sunday Supper Club feat. Cherry Blossom Rhythm Kings; The NotSo-Secret Family Show featuring Rainy Day Family with Mo Phillips, Tallulah’s Daddy

Doug Fir Lounge

830 E Burnside St Pussy Riot

Edgefield

TC O’Learys Pub at NE Alberta/30th

Mississippi Studios

2126 SW Halsey St Troutdale Groovy Wallpaper, Bre Paletta (The Winery Tasting Room)

2926 NE Alberta St The Lads

The Know

3728 NE Sandy Blvd Dana Buoy, Cy Dune

The Liquor Store

Twilight Cafe and Bar

3341 SE Belmont St Dark Rooms, Felisha Ledesma, Aaron Shepherd

Wonder Ballroom

1420 SE Powell Blvd Vendetta Red, Divided Heaven, He Is We, Question Tuesday/Proof

1420 SE Powell Blvd Lysolgang, Faster Housecat, Question Tuesday, Just Kitten 128 NE Russell St Phillip Phillips, the Ballroom Thieves

MON. MARCH 19 Aladdin Theater

3017 SE Milwaukie Ave Joanne Shaw Taylor

Alberta Street Pub 1036 NE Alberta St Shelly Rudolph

Arlene Schnitzer Concert Hall

1037 SW Broadway Brahms’ Violin Concerto

Church

2600 NE Sandy Blvd The English Language, Big White, Ghost Frog

Doug Fir Lounge

830 E Burnside St The Mowglis

Twilight Cafe and Bar

White Eagle Saloon 836 N Russell St Mary Gauthier

Wonder Ballroom 128 NE Russell St Andy Grammer

TUE. MARCH 20 Alberta Rose Theater 3000 NE Alberta St Jordan Rudess, Bach to Rock: A Musician’s Journey

Alberta Street Pub

1036 NE Alberta St Sarah Barlow; Two-Step Tuesdays feat. Matt Buetow & The Western Stars

2126 SW Halsey St, Troutdale Henry Hill Kammerer (The Winery Tasting Room) 3939 N Mississippi Ave L.A. Salami, Cat Clyde

No Fun

1709 SE Hawthorne Blvd Stochastic Mettle Union

Raven and Rose 1331 SW Broadway Na Rósaí

The Analog Cafe

720 SE Hawthorne Blvd The 131ers, The Holy Dark, Johnny Raincloud

The Fixin’ To

8218 N Lombard St Marriage + Cancer, Fucked & Bound, Stress Position

The Liquor Store

3341 SE Belmont St Phone Call, My Body, Super City

The Secret Society 116 NE Russell St Son Latino presents Salsa Social

Tonic Lounge

3100 NE Sandy Blvd LáGoon, Crimson Altar

Twilight Cafe and Bar 1420 SE Powell Blvd Whipstriker, Bewitcher, Cemetery Lust

For more listings, check out wweek.com.

Willamette Week MARCH 14, 2018 wweek.com

MUSIC COURTESY OF DANNY CORN

NEEDLE EXCHANGE

DANNY CORN Years DJing: Twenty-three? Twenty-four? Over half my life. It’s been a long time. Genres: Science fiction and fantasy—seriously, though, music that sounds like it’s from the future and/or can take you out of your body into another place. I tend to gravitate toward music that doesn’t fit into a genre easily, music that speaks more to a certain feeling or emotion. So whatever works. Where you can catch me regularly: I play first Saturday of the month at the Liquor Store with my homies Barisone and PRSN for our monthly Wake the Town. Each month, we feature an out-of-town guest, usually someone we all obsess over. As the season turns toward summer, find me on your favorite patio for day parties, which are my favorite. Craziest gig: I would have to say the Global Eclipse Festival this past year here in Oregon. I played two sets there, and they were both rammed with people. With between 40,000 and 60,000 attendees, I still don’t know how we pulled that one off. My go-to records: Mina, “Ringtone Riddim”; N.E.R.D. & Rihanna, “Lemon”; NYOP & Zora Jones, “Descent”; Ivy Lab, “Thirsty”; Falcons featuring GoldLink, “Boo You Know.” Don’t ever ask me to play…: Requests will only be considered if you ask while handing me a $100 bill when making them, and even then I probably still wouldn’t do it unless it made sense with what I was already doing. NEXT GIG: Danny Corn spins at the Liquor Store, 3341 SE Belmont St., for Wake the Town, on Saturday, April 7. 9 pm. $10. 21+.

Radio Bandelero (weird, vintage, international pop and soul)

Killingsworth Dynasty 832 N Killingsworth St Post-Punk Discotheque

WED. MARCH 14 District

220 SW Ankeny St Vitabot House Party: Ian Page, Tony Krave, J.T.R, & Jose Sosa

Ground Kontrol

511 NW Couch St TRONix: Popcorn (electronic)

Killingsworth Dynasty 832 N Killingsworth St Shaggy Planet with Matthias (boogie house, nu-disco, deep house)

Maxwell Bar

20 NW 3rd Ave Wu-Tang Wednesday

The Lovecraft Bar 421 SE Grand Ave

Willamette Week MARCH 14, 2018 wweek.com

No Vacancy Lounge Event Horizon with DJ Straylight (electro, EBM)

Tube

18 NW 3rd Ave Dubblife

Whiskey Bar

31 NW 1st Ave 1F Presents: Dancesafe Fundraiser featuring X-Press & Clokwork

THU. MARCH 15 Bit House Saloon

235 SW 1st Ave Toke Talks 2.0 Kick Off Party with DJs PlumbLyne and Kittin

The Lovecraft Bar

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

Tube

18 NW 3rd Ave DJ Jack

FRI. MARCH 16

727 SE Grand Ave Dub It Now featuring Von D, Alter Echo, E3/ PRSN

45 East

Dig A Pony

736 SE Grand Ave Battles & Lamar (boogie, hip-hop, R&B, electro)

736 SE Grand Ave

315 SE 3rd Ave Drezo

Dig A Pony

BAR REVIEW

THOMAS TEAL

BUZZ LIST W HE R E TO D R I N K TH IS W E E K .

Poison’s Rainbow

Grains of Wrath

Lombard House

Wildwood Saloon

Fido’s Bar

344 NE 28th Ave., 503-946-8080,facebook. com/prbarpdx. Modest Mouse frontman Isaac Brock’s bar is now open. There is amazing deep-dish Ranch Pizza. There are beaded lights and psychedelic chandeliers. There is booze.

230 NE 5th Ave., Camas, 360-210-5717, gowbeer. com. It’s on, motherfucker: Some of the best beers in the Portland area are already being made by former Fat Head’s brewer Mike Hunsaker. The food’s no slouch, either. It’s open by the end of this week.

7337 N Lombard St., 503539-5889. If you can’t make it to Camas, though, St. Johns’ friendliest beer pub will be the first to tap Grains of Wrath beers.

1955 W Burnside St., 503-228-8527. West Burnside dive Tony’s Tavern is gone, but its spirit lives on at the Wildwood with the addition of dollar hot dogs and some Jell-O shots.

7700 SW Dartmouth St., Tigard, 503-941-5757, ilovefidos.com. The “world’s first dog bar” is not utopia. But there is beer, and there are dogs. That they are separate should not blunt the simple fact that they are near.

BEER LAO: Get deep enough into Cully, and bars come only one way— cheap, boozy and loose. But family-friendly, bare-bones Cully Central (4579 NE Cully Blvd., 503-206-8911, facebook.com/cullycentral) is unique not just in its Northeast Portland neighborhood but in the city as a whole. For one thing, it’s a Lao beer bar. One of the bar’s three owners runs the Kuay Tiew food cart in Happy Valley, so the bar’s kitchen turns out dishes you can’t find anywhere else in Portland, in particular a lovely and subtle khao piek sen chicken noodle soup often eaten for breakfast in Laos, with thick and chewy rice noodles and a light cinnamon-and-pepper broth. The sweet, toasted-sesame sien savanh Lao jerky is just lightly caramelized without the aggressive chew of lesser versions. The Lao sausage is housemade, and if you order the fish-rich papaya salad “spicy,” it’ll burn your face off from the inside. But food aside, it’s a hang the neighborhood desperately needed, as evidenced by the already healthy crowds: The 12 taps include a Fort George hazy and Pelican’s Tsunami stout, and a rice-malty bottle of Beer Lao can be had for a mere $4. The rear patio is spacious, in anticipation of the eight food carts that’ll roll into the parking lot before summer. And in a sorely needed development in those parts, the bar bought the full Blazer package and plans to show all the games. Though the bar is mostly going to serve its neighborhood, my neighbor at the bar on my visit had traveled 70 blocks to get there. A second-generation Lao, she was digging into a plate of sticky rice and juicy pieng sien brisket dipped in sweet, spicy jaew chili sauce. “It’s the closest thing I can get to what my mom makes,” she said—which makes anything worth the trip. MATTHEW KORFHAGE.

Holocene

Double Plus Dance Party (‘80s, synth, goth, new wave, post-punk, electro)

DJ “Showtime” Dylan Reiff (open format)

Emerson (hip-hop, early aughts R&B)

Tube

Killingsworth Dynasty

832 N Killingsworth St HEAP, Coast2c AOYM DJs

Kelly’s Olympian

Killingsworth Dynasty

Moloko

Tube

1001 SE Morrison St Lane 8 832 N Killingsworth St Strange Babes (post-punk, new wave, no wave, minimal, Italo)

Maxwell Bar

20 NW 3rd Ave Bart Fitzgerald’s Decadence (hip-hop, disco, R&B)

No Vacancy Lounge 235 SW 1st Ave Swing City with Duke Skellington

Quarterworld

4811 SE Hawthorne Blvd Soul Spectrum (soul, hiphop)

The Goodfoot

18 NW 3rd Ave Dubblife

Valentines

232 SW Ankeny St Decadent 80’s: Purrfect Disco

Whiskey Bar

31 NW 1st Ave The Sesh: Demetre Baca, Robert Blanchard, Kevin Davis (deep house)

SAT. MARCH 17 45 East

315 SE 3rd Ave Figure

2845 SE Stark St Soul Stew with DJ Aquaman (funk, soul, disco, break beats)

Dig A Pony

The Lovecraft Bar

220 SW Ankeny St DJ Deli & DJ Jack

421 SE Grand Ave

736 SE Grand Ave Maxamillion (soul, rap)

District

Ground Kontrol 511 NW Couch St

3967 N. Mississippi Ave NorthernDraw

426 SW Washington St DJ Sweaty Techinque 18 NW 3rd Ave DJ Easy Egg

No Vacancy Lounge

235 SW 1st Ave, 97204 Sepiatonic, Montel & the Spinozzas, TAKIMBA

MON. MARCH 19 Dig A Pony

The Liquor Store

736 SE Grand Ave J. Free (early week mood enhancers)

Valentines

Star Bar

3341 SE Belmont St Flava D 232 SW Ankeny St Signal featuring PDX Mandem (dub, dancehall, roots)

Whiskey Bar

31 NW 1st Ave Great Dane, VNDMG, OCTABAN

SUN. MARCH 18 Dig A Pony

736 SE Grand Ave

639 SE Morrison St Metal Mondays with DJ Hellby (metal)

TUE. MARCH 20 Dante’s

350 W Burnside St Recycle (dark dance)

Tonic Lounge

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

Willamette Week MARCH 14, 2018 wweek.com

PERFORMANCE = W W P I C K . H I G H LY R E C O M M E N D E D. 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 Hamilton

Unsurprisingly, tickets for the Portland premiere of one of the most successful musicals of all time sold out almost immediately. But if you still really want to see LinManuel Miranda’s hip-hop retelling of the founding of America, there’s a lottery for $10 tickets you can enter two days before each show. Keller Auditorium, 222 SW Clay St., 503248-4335, portland.broadway.com. 7:30 pm. Through April 8. Sold out.

Rebuilding Small Territories

Two decades ago, hundreds of women displaced by conflict in Colombia decided to build their own town. Mexico’s Teatro tells their story through a half-lecture, half-theatrical performance in which they construct a miniature replica of the city out of cinder blocks and photographs. The Headwaters Theatre, 55 NE Farragut St., 503-404-2350, boomarts.org. 7:30 pm Friday-Saturday, 2 pm Sunday, March 16-17. $20.

Ten Minute Play Festival

Every couple of months, Monkey With a Hat On produces an eclectic mix of new short plays. The only rules are that the plays be 10 minutes long and relate to that festival’s intentionally vague theme. This time, it’s sports. Though that’s substantially less ambiguous than previous themes (one last year was simply “blue”), the resulting plays are still plenty wacky. Expect stories about racehorses, mascots and Wii Tennis. Clinton Street Theater, 2522 SE Clinton St., monkeywithahaton.com. 7 pm FridaySaturday, March 9-17. $5.

ALSO PLAYING Between Riverside and Crazy

New York playwright Stephen Adly Guirgis is one of theater’s most irreverent voices—his last play was called The Motherfucker With the Hat. His most recent play, and his first to win a Pulitzer, follows a family comprising a retired cop, his recently paroled son and a recovering addict named Oswaldo. Artists Repertory Theater, 1515 SW Morrison St., 503-241-1278, artistsrep.org. 7:30 pm WednesdaySunday, 2 pm Sunday, through April 1. $10-$50.

#wweek

y p p a H Hour 38

Willamette Week MARCH 14, 2018 wweek.com

Kodachrome

Written by Adam Szymkowicz and having its world premiere at Portland Center Stage, Kodachrome is an ensemble love story, a mischievous comedy and a supernatural dream. The play is set in Colchester, Conn., the cozy New England town where the play’s mysterious heroine, a woman known simply as “the Photographer” (Lena Kaminsky), lives. She is our tour guide, who leads us to Colchester’s modest landmarks, from a lonely public library to a restaurant called Harry’s Place. She draws our attention to a variety of romantic vignettes, which include a goofy tale of a perfume maker (John D. Haggerty) lusting after an apathetic waitress (Tina Chilip) and a moody subplot about a hardware store-owning widower (Ryan Vincent Anderson) tormented by his resurgent longing for his high school girlfriend. Riordan and her gifted crew make the town palpably

HAMILTON alluring. Occasionally, scenes that should have been played straight are milked for jokes that feel intrusive in a story that cries out for more sincerity. Equally problematic is the homogeneity of the play’s love stories: the shy outcast fretting over the inability to master the art of flirting in complete sentences. But none of that detracts from Kodachrome’s entrancing images or Kaminsky’s boundless charisma. BENNETT CAMPBELL FERGUSON. Portland Center Stage, 128 NW 11th Ave., pcs.org. 7:30 pm WednesdaySunday, 2 pm Saturday-Sunday, noon Thursday, through March 18. $25-$42.

Macbeth

Shaking the Tree is once again staging Shakespeare’s shortest, bloodiest and most quotable tragedy. It’s a perfect fit: The contemporary theater company thrives with macabre source material, and has a knack for making classics surprising with abstract, offbeat staging. Shaking the Tree Theatre, 823 SE Grant St., 503-235-0635, shaking-the-tree.com. 7:30 pm. Through March 17. $30.

Men on Boats

On the surface, Men on Boats seems a conventional play. Written by Jaclyn Backhaus, it’s a rollicking tale of the 1869 mission to explore the Colorado River, when a group of 10 intrepid adventurers, financed by the U.S. government, struck out to survey one of the last remaining pieces of the American frontier. But two sentences in the script’s casting notes transform the play into something different: “The characters in Men on Boats were historically cisgender white males. The cast should be made up entirely of people who are not.” The dialogue contains no sly comments about the casting note to push the audience in one direction, and there are no a winking nods of dramatic irony. Often, the expedition verges on the banal. One of the goals of the men is naming land masses. It’s 1869 and the tail end of the age of exploration. By this time, everything in America has been discovered, and most of it has been discovered many times over by many different peoples. However, that’s exemplary of what Men on Boats wants from its audience: The climax of the play occurs during discussions held after the curtain closes. R. MITCHELL MILLER. Imago Theatre, 17 SE 8th Ave., thirdrailrep. org. 7:30 pm Thursday-Saturday, 2 pm Sunday, through March 24. $45.

The Pride

The Olivier Award-winning play tells parallel stories of a relationship between the same two men set in two different time periods: 2008 and in 1958. It’s the kind of play that requires both boldness and tenderness from a production team, which Defunkt Theatre is more than capable of providing. Defunkt Theatre, 4319 SE Hawthorne Blvd., defunkttheatre. com. 7:30 pm Thursday-Saturday, through March 17. Pay what you will, $20 suggested.

COMEDY Capitol Steps

Capitol Steps are basically a preinternet-age version of The Daily Show. They’ve been creating political satire shows that are part standup, part sketch comedy since the ’80s. But even when they’re on tour, the troupe constantly updates their material to fit the current news cycle. Revolution Hall, 1300 SE Stark St., revolutionhall.com. 7 pm Sunday, March 18. $35-$65.

You’re Welcome

Hosted by three of the city’s funniest standup comedians, You’re Welcome is routinely awesome. But Marcus Coleman, Adam Pasi and Shain Brenden’s showcase is getting an extra boost this week with guest host Brandon Lyons. As usual, there will be sets by Portland comedians as well as one by the Bay Area’s Irene Tu. Mississippi Pizza, 3552 N Mississippi Ave., facebook.com/ywcomedyshow. 9:30 pm Wednesday, March 14. Free.

DANCE NW Dance Project

COURTESY OF SARAH BILLS

REVIEW

OFF THE BOOK: Rebecca Teran and Isaac Lamb.

Shades of Scarlet

A Portland playwright adapts The Scarlet Letter into a musical. BY BE N N E T T C A M P B E LL FERGUS O N

Tormented and Lost” reveals the sickly depths of Dimmsdale’s self-loathing, and “A Life Most Scarlet is an adaptation of The Scarlet Letter in Ordinary” gives Chillingsworth the chance to a very loose sense. For one, it’s a musical. In one unleash a show-stopping anthem that lays bare early scene, Hester Prynne (Rebecca Teran) and the genuine anguish behind his privileged wrath. the Rev. Arthur Dimmsdale (Isaac Lamb) sing a Equally compelling is Daniel Meeker’s lightduet about their secret passion for one another ing and scenic design, which capture Hester’s called “Fallen for You.” Later, they lie in bed isolation and the vindictive brutality of Puritan together and crack jokes about the Bible. society. In one scene, Hester is illuminated by a Written and composed by Portlander Michelle spotlight, while the rest of the cast is bathed in Horgen, Scarlet is now getting its world premiere blue light. The set has crimson walls flanked by at Portland Playhouse’s newly renovated theater. vertical wooden beams that look eerily like the The musical is packed with revisionist flour- bars of a jail cell. ishes, from a rambunctious drinking song called The scenes that explore Hester’s motives are “Before You Fall (for a Puritan Girl)” to a sympa- less perfect. Although we understand what drives thetic solo by Hester’s villainous husband, Roger Dimmsdale and Chillingsworth the instant they Chillingsworth (Darius appear onstage, it isn’t Pierce). As offbeat as that until late in Scarlet might sound, Scarlet feels that we finally combrazenly alive. It delivers prehend why Hester SCARLET’S GRUESOME a sensational rush of wit, insists on bearing romance and tragedy that CULMINATION ILLUSTRATES the community’s ire leaves you shaken in the THE HORROR OF MISOGYNY in silence. Offering a best way possible. more detailed portrait AND SEXUAL OPPRESSION of her inner life might The first act of Scarlet chronicles Hester’s arrival have moved the narON A VISCERAL LEVEL. in America. While waiting rative emphasis away for her husband to join her, f r o m D i m m s d a l e ’s she is drawn to the goofy, suffering and toward goodhearted Dimmsdale, Hester’s strength. who folds a coded flirtation with Hester into one Yet that missed opportunity doesn’t diminof his sermons. But when Hester becomes preg- ish the potency of the play’s gory climax, which nant, the mighty scorn of the Puritan community reveals how deeply bigotry has poisoned both is aroused with a vengeance. Hester is forced to Hester and Dimmsdale. bear the infamous red “A” for adultery on her Ultimately, Scarlet’s gruesome culmination dress and raise her daughter Pearl (Eva Hudson illustrates the horror of misogyny and sexual Leoniak) alone. oppression on a visceral level. It doesn’t tell you Each song in Scarlet is deployed to enhance Hester and Dimmsdale are right and their Purithe emotional horsepower of the story. The tan persecutors wrong: It simply ask us to feel songs are played live by a cello, a piano and an everything they feel. oboe. Horgen delivers lyrics and melodies that crystallize the internal anguish of each character. SEE IT: Scarlet is at Portland Playhouse, 602 NE Prescott St., portlandplayhouse.org. 7:30 “Borrow From Tomorrow” perfectly captures pm Wednesday-Sunday, 2 pm Saturday and Hester’s compassion and defiance, “Tortured, Sunday, through March 25. $34. Willamette Week MARCH 14, 2018 wweek.com

BOOKS = W W P I C K . H I G H LY R E C O M M E N D E D. BY MATTHEW KORFHAGE. 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.

WEDNESDAY, MARCH 14

REVIEW

Shayla Lawson

FRIDAY, MARCH 16

Nov’Ell Goes West

Two poets make a Nov’Ell tour. Eileen G’Sell, who teaches at Washington University in St. Louis, writes poetry steeped in bromides that become twisted up on themselves—a Wittgensteinian tangle of received wisdom. After all, she writes, “A cheap love/ for easy truths is hardly/going to kill you.” Meanwhile, WUStL alum Joanna Novak will read from her new, book-length poem collection, Noirmania, a dark and elliptical epic in Spenserian stanzas. Mother Foucault’s, 523 SE Morrison St., 503-236-2665, motherfoucaultsbookshop.com. 7 pm. Free.

Matthew Dickman and Emily Strelow

Of Oregon’s most famous twinbrother poets, Guggenheim winner Matthew Dickman is the more approachable one, with softer edges to his oblique verse, who grew up in a Felony Flats neighborhood where “men happen to the women/and the women happen to the children.” Emily Strelow’s debut novel takes place not in the urban wilds but the actual wilds of the Northwest—a multigenerational novel its jacket describes as being “alive with birdsong and gunsmoke.” Anyway, they’ll both be hanging out at Powell’s. Powell’s City of Books, 1005 W Burnside St., 503-228-4651, powells.com. 7:30 pm. Free.

MONDAY, MARCH 19

Bruce Holbert

Bruce Holbert is a literary treasure of Eastern Washington. Did you know they even had one? His new novel, Whiskey, about two brothers chasing down a daughter abducted by a religious cult, is dark, death-obsessed and funny as hell. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 503-228-4651, powells.com. 7:30 pm. Free.

TUESDAY, MARCH 20

Kathleen Dean Moore

Oregon State University philosopher Kathleen Dean Moore’s debut novel, Piano Tide, takes place in the remote Alaskan fishing village of Good River Harbor, where the town father sells off all the spruce and cedar and fish that are the town’s natural birthright—he also wants to sell the water and start a bear pit. Unsurprisingly for a book coming from a climate activist, some within the novel don’t like all this very much. Broadway Books, 1714 NE Broadway St., 503-284-1726, broadwaybooks. net. 7 pm. Free.

Willamette Week MARCH 14, 2018 wweek.com

The Dream of the ’90s Stray City savors every last drop of old Portland. BY SHA N N ON G ORML EY

sgormley@wweek.com

Halfway into Chelsey Johnson’s novel Stray City (Custom House, 432 pages, $25.99), the narrator does what everybody in late-’90s Portland did: She goes to see a friend’s band at Satyricon. The Old Town punk club has pillars blocking views of the band, and it smells like sour beer and cigarettes. But to 24-year-old Andrea Morales, it feels like it could last forever. “The walls were thick with show flyers and staples,” Johnson writes, “the palimpsest of a life lived at night, the place’s history ineradicably attached to it in traces and staples and the stubborn tissuey residue of skinned posters. Years accumulated—and stayed.” Of course, Satyricon didn’t last forever. It’s been demolished for more than half a decade. That tender irony is what makes former Portlander Johnson’s coming-of-age story tick: Stray City both exploits your nostalgia and diagnoses its futility. A Reed College dropout whose parents cut off her tuition when they found out she was gay, protagonist Andrea is securely in her element as Stray City begins. She is a member of Portland’s self-described Lesbian Mafia, a group of photographers, letterpress artists, strippers and members of a punk band called the Gold Stars. But that insular world is thrown off balance when Andrea secretly starts sleeping with a man named Ryan—and eventually becomes pregnant. Not only is she afraid of what her friends will think, she’s worried her Catholic parents will dismiss all of her past relationships as just a phase, a blip in an otherwise heteronormative life. Andrea is sure that her relationship with Ryan is temporary. But so is her vision of Portland. Stray City lets us savor every last drop of the old Portland, blurbed by Carrie Brownstein on the book’s jacket copy as a “ragtag yet shimmering world.” In an early chapter, when Andrea runs into her ex-girlfriend at a Gold Stars show, “she smelled warm and faintly like Old Spice deodorant. I found it off putting when we dated, the sweet muskiness haunting the armpits of all her shirts and dresses, but now it just smelled safe.” After the novel leaps forward a decade to the much-different Stumptown of 2009, it becomes clear nothing was ever safe: Andrea’s Portland has faded. Two years before Satyricon will close its doors, Lesbian Mafia family dinners still exist, but so do gentrification and jobs that provide health insurance. Johnson writes with such loving detail, it hardly feels as if she were building up our sentimentalism just to tear it down: Stray City longs for a bygone era, too. But as the book shows, those who hold on to the past just get left behind. SEE IT: ChelseyJohnson appears at Powell’s City of Books, 1005 W Burnside St., 503-228-4651, powells.com, on Tuesday, March 20. 7:30 pm. Free.

MOVIES GET YO U R REPS IN

Demon Lover Diary (1980) Sort of like a real-life Disaster Artist, Kelly Reichart’s documentary follows the making of a low-budget horror movie. It’s full of increasingly hard-to-believe antics: One of the directors cut his fingers off at work so he could get insurance money to pay for the movie, and somehow, the team knows Ted Nugent, who provides them with explosives. Hollywood, March 15.

Labyrinth (1986) As a kids movie, the David BowieJim Henson creation is slightly terrifying. As a campy movie for weird adults, it’s bizarrely entertaining. Mission, March 16-20.

SCREENER

CITIZENS CELEBRATE DEPARTURE OF RAJNEESHEES FROM THEIR TOWN AND THE RESTORATION OF THE ORIGINAL NAME OF ANTELOPE (FROM “CITY OF RAJNEESH”), 1985.

Cult Status

A new Netflix documentary series chronicles life under Rajneesh rule in Antelope, Ore. BY BE N N E T T C A M P B E LL FE RGUS O N

After the Rajneesh movement took over the Central Oregon town of Antelope in the 1980s, John Silvertooth wondered if the group’s reign over his community would ever end. “People kept telling me that it would, and I wanted to believe,” Silvertooth remembers, “but I didn’t really know that it would be over.” Eventually, the Rajneesh movement was crippled after being implicated in the 1984 poisoning of salad bars at restaurants in The Dalles—the largest bioterrorist attack in U.S. history. But Silvertooth, a former member of the Antelope City Council, returned to the town and ultimately served as mayor. He is also interviewed in the new Netflix documentary series Wild Wild Country, which starts streaming this week. The six-episode documentary was directed by Portlanders Chapman and Maclain Way, whose last Netflix documentary followed the Portland Mavericks. Wild Wild Country plunges into the saga of how the Rajneesh movement, which began in Mumbai, blossomed into a controversial phenomenon with tens of thousands of followers. WW talked to Silvertooth about life under Rajneesh rule and why he thinks that Ma Anand Sheela—the second-highest-ranking Rajneesh leader—was unfairly scapegoated. WW: You have said that when you were on the Antelope City Council during the Rajneesh era, you felt like a “potted plant.” What do you mean by that?

John Silvertooth: They were gonna take over the city, it was obvious to everybody that was coming. They had filed candidates and they had the votes and it didn’t take a genius to figure it out. The locals didn’t want to just hand the town over to them, because that would be like surrendering. The locals were having a hard time finding people to stand up and put their name on the ballot for the council seats. A guy who was working on it here, John Smith…he came here and asked me if I would put my name down, and they all expected that we were going to lose and that [the Rajneeshees] were going to take over everything, but they didn’t just want to hand it over. So I said, “OK, I’ll put my name down.” I wasn’t scared. What was it like meeting Ma Anand Sheela?

The party line is, blame her for everything—make her the scapegoat. I think she was in on that, the execution of that plan [to poison salad bars], hoping they could blame her and she would leave and then they could go back to business with new leadership and she could take all the bad energy away with her. That’s the way I see it. There’s a tendency to think that she’s “the bad one.” I don’t really think that she’s much different from the rest of them, honestly. How did you come to leave Antelope?

It was not possible to live a normal life here at that point. It was all consumed by this Rajneesh narrative. You couldn’t walk out the front door without reporters and

nut jobs of one stripe or another accosting you. It was like living in a fishbowl, I think they called it at the time. And it had been brought to my attention by somebody prominent in law enforcement that I was on the [Rajneshees’] list of enemies. I wasn’t at the top of the list, but I was on the list. All told, it seemed like it was smart to relocate. What was it like when you left Antelope for Eugene?

I thought I’d be out of the line of fire, but [the Rajneeshees] found me. They dropped by one afternoon and said they were in town and just thought they’d stop by and say hello. I had thought that I had been pretty discreet about relocating, so I just invited them in for tea and made them a cup of tea just like it was any day of the week. I think they were just trying to let me know, “We know where you are.” Is there something you hope people will learn about the Rajneesh era from the documentary?

It’s always “the Rajneeshees versus Oregon,” or “versus Antelope.” To me, what gets lost is that the Rajneeshees, 9 out of 10 of them, were victims. But it’ll happen again. People don’t seem to learn from history—you’d think they’d start learning from it, but they don’t. People look at facts and they see what they want to see. SEE IT: Wild Wild Country starts streaming on Netflix on Friday, March 16.

Le Révélateur (1968) Philippe Garrel’s experimental film follows a boy through a vibey, unsettling dreamscape. Church of Film’s screening will be all the more vibey and unsettling thanks to a psychedelic live score played by Hatse. Clinton, March 20.

Léon: The Professional

(1984)

Hey, remember when Natalie Portman played a 12-year-old assassin-in-training, deeply in love with a gruff, aging French hit man? Not creepy at all, France! Mission, March 14.

Strange Days

(1995)

When it was first released, Kathryn Bigelow’s sci-fi noir about an illegal dealer of VR experiences was a box-office flop. But now that its bleak futurism seems more and more like an impending reality, its been reclaimed as a cult classic. 5th Avenue, March 16-18.

ALSO PLAYING: Academy: Planet of the Apes (1968), March 14-15. Tank Girl (1995), March 16-22. Clinton: Steel Magnolias (1989), March 19. Hollywood: Bend It Like Beckham (2002), March 17-18. 9 to 5 (1980), March 19. Joy: Jesse James Meets Frankenstein’s Daughter (1966), March 14. Kiggins: The Quiet Man (1952), March 17. Laurelhurst: District 9 (2009), March 15. Mission: Big (1988), March 14. The Breakfast Club (1985), March 19-25. NW Film Center: Mary Poppins (1964), March 17. Kubo and the Two Stings (2016), March 18. Marcel Proust’s Time Regained (2016), March 18.

Willamette Week MARCH 14, 2018 wweek.com

MOVIES

THE LEISURE SEEKER Editor: SHANNON GORMLEY 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: sgormley@wweek.com. : 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 7 Days in Entebbe

7 Days in Entebbe is a film with high aspirations. Based on the true story of a 1976 Air France hijacking and subsequent seven-day captivity of 83 Israeli hostages, it has the potential for a serviceable hostage thriller. Instead, it squanders that energy on a geopolitical procedural and a strained parable about the Israel-Palestine conflict. Director José Padiha’s movie opens with German nationals Brigitte (Rosamund Pike) and Wilfried (Daniel Brühl) hijacking an Air France flight bound for Tel Aviv. They believe Israel is a fascist nation. “An action like this,” Wilfried says, “can inspire a new generation of followers.” They divert the plane to Entebbe, Uganda, where they will breathe and sleep in the airport for the next seven days. This should have been the movie, but it becomes an afterthought. The film transports us 4,000 miles away to Yitzhak Rabin and his cabinet who have just learned of the hostage situation. They smoke cigarette after cigarette and debate the proper reaction. All of the narrative tension is taken out of the hostage situation and relocated to these government offices, where it gasps and withers. PG-13. R. MITCHELL MILLER. Vancouver.

MORE MOVIE REVIEWS

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The Leisure Seeker

From the first few moments of The Leisure Seeker, it’s clear that it has little to add to the canon of road-trip movies. The wiggly, robin-egg-blue title card looks like something out of a Cheech & Chong movie. Then, from the RV passenger seat, Ella (Helen Mirren) asks her husband John (Donald Sutherland) what he thinks happens after death, a character-profiling exchange that wouldn’t make it out of a freshman creative writing workshop. Still, The Leisure Seeker is certainly less cynical than many onelast-ride movies about seniors (Last

Willamette Week MARCH 14, 2018 wweek.com

Vegas, The Bucket List, etc.), and international treasure Helen Mirren is a big reason why. She plays Ella’s exasperation with her husband’s rapidly deteriorating memory as prickly, selfish and real. And one scene in which Mirren acts alone with a glass of whiskey, a photo projector and a clothesline is evidence enough of why she is still one of the best in the game. Across from her, Sutherland shoulders a hopeless task: coming in and out of lucidity in a film that’s unsure whether to play John’s dementia for tears, laughs or nervous squirming. Ultimately, The Leisure Seeker falls into a pile of human-interest indies trying to tip the scales with charm and acting alone. This one doesn’t transcend its pitch. R. CHANCE SOLEM-PFEIFER. Living Room.

Love, Simon

Midway through this coming-of-age, coming-out movie, 17-yearold Simon Spier (Nick Robinson) frolics across a gleaming college campus while “I Want to Dance With Somebody” plays and a rainbow flag dangles in the background. It’s a wondrous scene, but it’s also a fantasy. Simon is still in high school, and his sexual orientation is a secret warily kept from his parents (Jennifer Garner and Josh Duhamel), although an email correspondence with an anonymous gay teen who calls himself “Blue” inspires Simon to try to kick down the closet door. Based on the young-adult novel Simon vs. the Homo Sapiens Agenda, Love, Simon is a romantic comedy that recalls John Hughes at his peak—Simon and his two best friends (played by Katherine Langford and Alexandra Shipp) goof off and frankly divulge their feelings to the beat of an infectious pop soundtrack. Yet beneath the film’s spunk and gloss is a story that makes you feel every surge of Simon’s emotions, including the giddy yearning he feels as he awaits Blue’s emails, the queasy anguish that strikes when his

dad cracks a homophobic joke and the exultation that washes over him when he realizes he deserves to be loved for nothing less than everything that he is. PG-13. BENNETT CAMPBELL FERGUSON. Bridgeport, Cascade, Clackamas, City Center, Division, Eastport, Living Room, Lloyd Center.

STILL SHOWING A Fantastic Woman

In this Chilean drama from Sebastián Lelio, Marina (Daniela Vega), a transgender woman whose older boyfriend, Orlando, dies, is met at every turn by police, doctors and Orlando’s family who have probing questions and make dark assumptions. It’s an affecting examination of posthumous rights and privileges for LGBT partners. But it never feels like a parable fashioned from headlines. Lelio aims deeper, imbuing his film with spectral hallucinations and apparitions of rage, disfigurement and grief. R. CHANCE SOLEM-PFEIFER. Cinema 21.

Black Panther

In the Marvel-ized Afrofuture of Black Panther, camo is replaced with kente cloth. There are sub-Saharan villages along with glossy skyscrapers, and the king’s guard is a team of bald female warriors with spears that collapse like lightsabers. It’s a well-crafted Marvel flick. It’s a satisfying sci-fi story. But Black Panther eschews genre conventions where it counts. Director Ryan Coogler (Fruitvale Station, Creed) takes Wakanda’s tech savvy to Star Trek proportions, complete with a morphing, vibranium-laced panther suit and glowing weaponry. Black Panther manages to satisfy the expectations viewers have of a visually spectacular superhero movie while still offering the intersectional makeover the genre needed. PG-13. LAUREN YOSHIKO. Bagdad Theater, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Moreland, Oak Grove, Pioneer Place, Roseway, St. Johns Twin Cinema & Pub, Tigard, Vancouver.

during the 1950s, we are immersed in the House of Reynolds Woodcock (Day-Lewis), a quietly eccentric couturier known for his daring and unique designs. Alma (Vicky Krieps) is his latest muse, a sweet-natured country girl who catches his eye and doesn’t want to let go. Although easily counted as another standout transformation by Day-Lewis into a persnickety, avantgarde dressmaker, if this is truly his last film, it is perhaps too mild an adieu from such a fierce actor. R. LAUREN YOSHIKO. Bridgeport, City Center, Fox Tower, Kiggins.

Red Sparrow

If you like pulpy spy movies and Jennifer Lawrence, Red Sparrow is probably suited to your tastes. Lawrence plays Dominika Egorova, a Russian ballerina. When injury ends her dancing career, her uncle Ivan (Matthias Schoenaerts) recruits her to become a “Sparrow,” a secret agent highly trained in the science of seduction. Even if you don’t enjoy Red Sparrow in the same way the filmmakers intended, it’s a solid spy movie if you want an excuse to turn off your brain for two hours and 20 minutes. R. R. MITCHELL MILLER. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Living Room Theaters, Lloyd, Oak Grove, Pioneer Place, St. Johns Twin Cinema & Pub, Tigard, Vancouver.

The Shape of Water

Guillermo del Toro (Pan’s Labyrinth) has created a film that is beautiful but cluttered, visionary but formulaic and sympathetic to its kind, lonely heroine, but unwilling to let her spearhead the story the way men have driven del Toro fantasies like Pacific Rim. That heroine is Eliza (Sally Hawkins), a mute janitor who works in a Baltimore laboratory where she cleans restrooms and, on occasion, the chamber where a dark-eyed, water-dwelling creature (Doug Jones) has been imprisoned. R. BENNETT CAMPBELL FERGUSON. Bridgeport, Cinema 21, City Center, Clackamas, Division, Hollywood, Kiggins, Living Room Theaters, Lloyd, Valley Cinema Pub.

Phantom Thread

Reported to be Daniel Day-Lewis’ final film, Paul Thomas Anderson’s latest movie is his gentlest yet. A love story of sorts set in London

For more Movies listings, visit

POTLANDER

Everybody’s Tokin’ at Me A TOKE TALKS 2.0 PREVIEW. BY M AT T STA N G E L

@mattstangel

The cannabis honeymoon is over. Weed is legal for adult use in nine states and the District of Columbia, and medical programs are available to Americans in 29 states. Meanwhile, according to recent polls by Gallup and The Wall Street Journal/NBC, between 60 and 64 percent of U.S. voters support cannabis legalization. The time is now to make good on America’s increasingly progressive perception of cannabis. But there’s a lot to consider while moving forward. Prohibition has stifled and slowed meaningful scientific progress upon which livable policy must be built, while the racially disproportionate enforcement of cannabis regulations has an ongoing impact on black and brown communities’ ability to participate in the emerging legal industry, and women are still under- and misrepresented in the cannabis sphere. Which brings us to Toke Talks 2.0, the TED Talks-styled educational cannabis series produced by the Oregon Cannabis Association. In addition to a dozen industry speakers—including opening remarks by U.S. Sen. Ron Wyden (D - Ore.)—the OCA has curated a number of installation-based learning experiences that organizers liken to OMSI After Dark for the stoner set. Extract and edibles brand conglomerate Sweet Cannabis will create a terpene learning station featuring its cannabis-derived and isolated terpenes—hosting an old-fashioned sniff-off in which folks can test their ability to parse the individual aromatic hydrocarbons that compose the signature scents and flavors of cannabis. Also on the science tip, Bandon organic cannabis producers Truly Oreganic will host a soil-building experience where folks can learn about natural, sustainable plant nutrition. Nearby, Phylos Bioscience’s Phylos Galaxy will be projected as an interactive, larger-than-life display of the world’s most comprehensive cannabis genetics database, visualized in clustered pinwheels of genomic similarity and variability. It’s also OK to shut off your brain and check out Jeremy Helms’ installation of plants playing synthesizers (yep, you heard right), or get lost in the infinity room presented by vape penners Quill—described as an oasis of mirrors, plants and fog machines where eventgoers can get away

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from the hubbub—with additional rest points, including a “CBD spa” by Cura Cannabis, where we’re told you just might be able to score a hand massage and other light pamperings. But the real stars of the show are the ideas. Headlining the one-off think tank of speakers is Lanese Martin of Oakland’s Hood Incubator, an organization focused on improving racial equity in California’s cannabis industry by creating and mapping black and brown onramps into the professional weed world. Ophelia Chong of Asian Americans for Cannabis Education will discuss racial identity as it relates to her life in and out of the cannabis industry, while themes of gender equity are at play with speakers such as Anja Charbonneau, creator of Broccoli, a for-women, by-women cannabis periodical styled after Charbonneau’s previous project, Kinfolk. In addition to equity-minded discussions, the event will address technological innovations in the industry. Mowgli Holmes, co-founder and CEO of the aforementioned Phylos Bioscience, will take the stage to talk about his efforts to create the world’s most comprehensive cannabis genetics database, the Phylos Galaxy, as well as make those findings publicly available through the Open Cannabis Project, thus protecting the industry from patent trolls who are attempting to (wrongfully) claim ownership of cannabis varietals at the genetic level. Meanwhile, Marco Malatrasi will discuss efforts to incorporate the Internet of Things into the commercial cannabis space, and Thomas Hayden from virtual reality experience studio 360 Labs will address the parallels between the VR and cannabis industries, as well as how the two intersect to provide high-resolution remote access to farms and cannabis facilities that don’t well lend themselves to visitors. In total, Toke Talks will offer a primer on the pressing issues that must be addressed to create a national industry that’s livable and fair to everyone, while surveying the ideas, policy and tech that will support these efforts. SEE IT: The Future of Cannabis Is Now: Toke Talks 2.0 is at Portland Center Stage, 128 NW 11th Ave., on Friday, March 16. 11 am. $30. See facebook.com/orcannassociation for a complete schedule.

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CAMERA ROLL:

WW photographer, Abby Gordon, spent time with the top six artists in our Best New Band poll. Each artist/group was photographed in a uniqe setting. Here are some of the outtakes.

Do You Do A Cool Thing? Do You Know Someone Who Does A Cool Thing?

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BROWN CALCULUS

It’s that time of year again! Get out your breathable shells and unzip those armpits. Wet on the outside, sweat on the inside. But at least you can take the plastic sheets off your windows. There’s no excuse for eating canned soup for dinner anymore. Watch out for jaywalkers with ice cream cones and people riding bikes on the wrong side of the street. It’s almost spring in Portland!

FORECAST

Banjo Teacher? Grave Digger? Zinester? Doggie Dentist? Bike Mechanic? Podcaster? Tagger? Wood Carver? Poet? Heavy Lifter? Record Store Owner? Palm Reader? Rebel With A Cause? Sign Painter? Girl Boss? Collector? Noise Maker?

email us!

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Every week, we will be highlighting a Portlander who is doing something worthy of a little attention. We want to share the many talents of our city and remind each other of how amazing we all are. Tell us a little bit about yourself and what you do. We’ll get back to you with 5 short questions to answer. We’re all neighbors. Let’s get acquainted.

I, Portlander. coming soon

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Across 1 1998 Apple rollout 5 #, outside of Twitter 10 Dog in early kiddie lit 14 “You’re in trouble!” 15 Buddy, slangily 16 Russian speed skater Graf who turned down the 2018 Winter Olympics 17 Request in exchange for some ones, maybe? 19 “Roseanne” of “Roseanne” 20 Confused

21 It’s sung twice after “que” 23 “Uh-huh” 24 Prepares leather 27 Bedtime, for some 29 Golden-coated horse 33 The Rock’s real ﬁrst name 36 66 and I-95, e.g. 37 Surveillance needs, for short 39 1966 Michael Caine movie 40 Pound sound 41 Io’s planet

43 “You’ve got mail!” company 44 “The Great Gatsby,” for one 46 Harry and William’s school 47 General feeling 48 Some circus performers 50 Split into splinters 52 Harnesses for oxen 54 Garden of Genesis 55 Scrooge’s outburst 57 Bacon portion 59 Search (through) 63 Shaped like a zero

65 Sand down some menswear? 68 NPR correspondent Totenberg 69 Wonderstruck 70 Bauxite, et al. 71 “Electric Avenue” singer Grant (who turned 70 in 2018) 72 “I Got Rhythm” singer Merman 73 Abbr. in a Broadway address Down 1 Greek vowel 2 Castle surrounder 3 Aﬃrmative responses 4 Snack notable for its residue 5 Retiring 6 Org. that honors sports legends 7 Author Kingsley 8 Bridge fastener 9 Looked closely 10 Convulsive sigh 11 Demand for your favorite band to perform at a county gathering? 12 Beast 13 Camping need 18 Palindromic address with an apostrophe 22 1978 Nobel Peace Prize co-winner Sadat 25 Preemie’s ward, for short 26 Rickman, in the “Harry Potter” ﬁlms 28 Buddy 29 “Guardians of the Galaxy” star Chris 30 Heart chambers

31 Walked away from the poker table with cards face down? 32 Leaves off 34 Mythical weeper (and namesake of element #41) 35 Caught lampreys 38 Took the wrong way? 41 People who cut you off in traffic, say 42 Oklahoma city near Oklahoma City 45 Shortest of the signs 47 Meat that somehow sparked a 2017 Arby’s craze 49 Pic taken alone, or together (as the name doesn’t suggest) 51 Extremely 53 Canonized figure 55 Fibula or ulna 56 Dedicated 58 Dullsville 60 Emotion that’s unleashed 61 Claim on property 62 Crafty website 64 Make some eggs? 66 Ma who says “baa” 67 Blanc with many voices last week’s answers

©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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Week of MARCH 15

ARIES (March 21-April 19)

The British science fiction TV show Dr. Who has appeared on BBC in 40 of the last 54 years. Over that span, the titular character has been played by 13 different actors. From 2005 until 2010, Aries actor David Tennant was the magic, immortal, time-traveling Dr. Who. His ascendance to the role fulfilled a hopeful prophecy he had made about himself when he was 13 years old. Now is an excellent time for you, too, to predict a glorious, satisfying, or successful occurrence in your own future. Think big and beautiful!

TAURUS (April 20-May 20)

New York City is the most densely populated city in North America. Its land is among the most expensive on earth; one estimate says the average price per acre is $16 million. Yet there are two uninhabited islands less than a mile off shore in the East River: North Brother Island and South Brother Island. Their combined 16 acres are theoretically worth $256 million. But no one goes there or enjoys it; it’s not even parkland. I bring this to your attention, Taurus, because I suspect it’s an apt metaphor for a certain situation in your life: a potentially rich resource or influence that you’re not using. Now is a good time to update your relationship with it.

GEMINI (May 21-June 20)

collaborating with saxophonist John Coltrane . . . and inhale the aroma of the earth as you stroll through groves of very old trees. Catch my drift, Libra? Surround yourself with soulful beauty -- or else! Or else what? Or else I’ll be sad. Or else you might be susceptible to buying into the demoralizing thoughts that people around you are propagating. Or else you may become blind to the subtle miracles that are unfolding, and fail to love them well enough to coax them into their fullest ripening. Now get out there and hunt for soulful beauty that awakens your deepest reverence for life. Feeling awe is a necessity for you right now, not a luxury.

SCORPIO (Oct. 23-Nov. 21)

In the Sikh religion, devotees are urged to attack weakness and sin with five “spiritual weapons”: contentment, charity, kindness, positive energy, and humility. Even if you’re not a Sikh, I think you’ll be wise to employ this strategy in the next two weeks. Why? Because your instinctual nature will be overflowing with martial force, and you’ll have to work hard to channel it constructively rather than destructively. The best way to do that is to be a vehement perpetrator of benevolence and healing.

SAGITTARIUS (Nov. 22-Dec. 21)

The iconic 1942 movie Casablanca won three Academy Awards and has often appeared on critics’ lists of the greatest films ever made. That’s amazing considering the fact that the production was so hectic. When shooting started, the script was incomplete. The writing team frequently presented the finished version of each new scene on the day it was to be filmed. Neither the director nor the actors knew how the plot would resolve until the end of the process. I bring this to your attention, Gemini, because it reminds me of a project you have been working on. I suggest you start improvising less and planning more. How do you want this phase of your life to climax?

In 1970, a biologist was hiking through a Brazilian forest when a small monkey landed on his head, having jumped from a tree branch. Adelmar Coimbra-Filho was ecstatic. He realized that his visitor was a member of the species known as the golden-rumped lion tamarin, which had been regarded as extinct for 65 years. His lucky accident led to a renewed search for the elusive creatures, and soon more were discovered. I foresee a metaphorically comparable experience coming your way, Sagittarius. A resource or influence or marvel you assumed was gone will reappear. How will you respond? With alacrity, I hope!

CANCER (June 21-July 22)

The Velcro fastener is a handy invention that came into the world thanks to a Swiss engineer named George de Mestral. While wandering around the Alps with his dog, he got curious about the bristly seeds of the burdock plants that adhered to his pants and his dog. After examining them under a microscope, he got the idea to create a clothing fastener that imitated their sticking mechanism. In accordance with the astrological omens, Capricorn, I invite you to be alert for comparable breakthroughs. Be receptive to help that comes in unexpected ways. Study your environment for potentially useful clues and tips. Turn the whole world into your classroom and laboratory. It’s impossible to predict where and when you may receive a solution to a longrunning dilemma!

If all goes well in the coming weeks, you will hone your wisdom about how and when and why to give your abundant gifts to deserving recipients -- as well as how and when and why to not give your abundant gifts to deserving recipients. If my hopes come to pass, you will refine your ability to share your tender depths with worthy allies -- and you will refine your understanding of when to not share your tender depths with worthy allies. Finally, Cancerian, if you are as smart as I think you are, you will have a sixth sense about how to receive as many blessings as you disseminate.

LEO (July 23-Aug. 22)

How adept are you at playing along the boundaries between the dark and the light, between confounding dreams and liberated joy, between “Is it real?” and “Do I need it?”? You now have an excellent opportunity to find out more about your capacity to thrive on delightful complexity. But I should warn you. The temptation to prematurely simplify things might be hard to resist. There may be cautious pressure coming from a timid voice in your head that’s not fierce enough to want you to grow into your best and biggest self. But here’s what I predict: You will bravely explore the possibilities for self-transformation that are available outside the predictable niches.

VIRGO (Aug. 23-Sept. 22)

Cultivating a robust sense of humor makes you more attractive to people you want to be attractive to. An inclination to be fun-loving is another endearing quality that’s worthy of being part of your intimate repertoire. There’s a third virtue related to these two: playfulness. Many humans of all genders are drawn to those who display joking, lighthearted behavior. I hope you will make maximum use of these qualities during the coming weeks, Virgo. You have a cosmic mandate to be as alluring and inviting as you dare.

LIBRA (Sept. 23-Oct. 22)

I suggest you gaze at exquisitely wrought Japanese woodcuts . . . and listen to jazz trumpeter Miles Davis

CAPRICORN (Dec. 22-Jan. 19)

AQUARIUS (Jan. 20-Feb. 18)

On May 29, 1953, Edmund Hillary and Tenzing Norgay climbed to the top of Mount Everest. They were celebrated as intrepid heroes. But they couldn’t have done it without massive support. Their expedition was powered by 20 Sherpa guides, 13 other mountaineers, and 362 porters who lugged 10,000 pounds of baggage. I bring this to your attention, Aquarius, in the hope that it will inspire you. The coming weeks will be an excellent time to gather more of the human resources and raw materials you will need for your rousing expedition later this year.

PISCES (Feb. 19-March 20)

Although her work is among the best Russian literature of the twentieth century, poet Marina Tsvetayeva lived in poverty. When fellow poet Rainer Maria Rilke asked her to describe the kingdom of heaven, she said, “Never again to sweep floors.” I can relate. To earn a living in my early adulthood, I washed tens of thousands of dishes in restaurant kitchens. Now that I’m grown up, one of my great joys is to avoid washing dishes. I invite you to think along these lines, Pisces. What seemingly minor improvements in your life are actually huge triumphs that evoke profound satisfaction? Take inventory of small pleasures that are really quite miraculous.

Homework

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