43.23 - Willamette Week April 5, 2017 by Willamette Week Newspaper

SEE PAGE 32

Finally, Portland has good kebabs. P. 37

The last Radiohead hot takes not yet took. P. 39

For immigrants, the drug war never ends. P. 9

WILLAMETTE WEEK PORTLANDâ&#x20AC;&#x2122;S NEWSWEEKLY

This Land Is Your Land

BUT WILL IT STAY THAT WAY? WITH ITS FUTURE IN DOUBT, WE JOURNEY DEEP INSIDE THE ELLIOT STATE FOREST. PAGE 14 STORY AND PHOTOGRAPHY BY JOE RIEDL

WWEEK.COM

VOL 43/23 4.5.2017

Willamette Week APRIL 5, 2017 wweek.com

SAM GEHRKE

FINDINGS

PAGE 37

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 43, ISSUE 23.

Under Commissioner Amanda Fritz, one city bureau gave staffers credit cards but didn’t bother to track their spending. 6

A man choked to death trying to win eternal glory and a free Voodoo Doughnut that retails for $4.50. 34

The motorcycle club that served

Portland’s best fried chicken sandwich will be available for only a few more days. 37

as “security” at Rep. Greg Walden’s office didn’t ride their bikes there because it was “too cold.” 11 Somehow, the state managed to lose money letting loggers cut timber in a state forest. Rather than just not logging the forest, the state might sell it to loggers. 14

ON THE COVER:

The former Panic Room Caution: High Volume Bar has an uninspired new name. 49 Oregon has a climate suitable for growing heroin poppies. 58

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Photograph by Joe Riedl.

R.I.P. Travis Malouff.

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

Web Editor Sophia June Books Zach Middleton Visual Arts Jennifer Rabin Editorial Interns Jason Susim CONTRIBUTORS Dave Cantor, Nathan Carson, Pete Cottell, Peter D’Auria, Jay Horton, Jordan Michelman, Jack Rushall, Chris Stamm, Mark Stock PRODUCTION Creative Director Julie Showers Projects Art Director Alyssa Walker Designers Tricia Hipps, Rick Vodicka Photography Intern Samuel Gehrke Design/Illustration Interns Rosie Struve, Sonja Synak

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NOVICK’S IDEAS FOR CITY HALL

I agree with most of Steve Novick’s comments [“The Outsider,” WW, March 29, 2017]. He clearly recognizes the problems with bureau tunnel vision. It’s a shame he didn’t set the example of how to behave as a commissioner and look out for the city as a whole, instead of just trying to ram a transport tax down our throats. —“mwpdx” Novick, with all due respect, you were part of the problem. You insulted people. You changed direction more often than you changed underwear. The fact that you had never held public office was crystal clear in how you ran things. Look in the mirror, my friend, then write a story. —“babcock123” I still have Novick’s bumper sticker on the back of my car, from 2008. Whenever he’s ready, my sticker will still be there. —Bill Abendroth

PLEASE, NO MORE SWASTIKAS

implemented and carried out by white people. I’m sure the bigots who created these tags were thrilled to see your publication endorse such behavior and ideology. —Mamie Stevenson

WHAT SERVERS REALLY MAKE

I’m a server at one of the best restaurants in Portland and easily have $2,000 in sales a night, make easily $300 a night in tips, and have employer-provided health care [“Hot Tip,” WW, March 29, 2017]. I make around $50,000 a year. My bartender and managers make twice that much. So yes, this is a middle-class occupation with competitive adult wages. Anyone who says it’s not probably hasn’t worked in the industry, or wasn’t working at the same “You level (part-time barista jobs are changed not comparable—I know this from experience). direction Portland is definitely more more often lucrative than other places for the than you restaurant industry. changed —Amalia Katherine

underwear.”

I was disturbed to open your paper to find a swastika in my face [“Bad Words,” WW, March 29, 2017]. While I understand your interest in Portland’s graffiti, especially as it relates to our current political climate, I have no idea why you would need to include such an image. I would guess your readers know what a swastika looks like, and if they don’t, the real story lies in an education system that tends to sugarcoat history and the institutional violence

CORRECTION

In last week’s story on housemade cocktail bitters (“Please, Dear God, Stop Making Your Own Bitters,” WW, March 29, 2017), a quote was mistakenly attributed to Jacob Grier of Wayfinder bar. The quote was actually said by a bartender at Bible Club. WW regrets the error. LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Email: mzusman@wweek.com.

BY MA RT Y SMIT H

If we drivers are supposed to share the road with bikes, and it’s illegal to drive uninsured, why don’t bike riders have to carry insurance? They can cause accidents too. Plenty of bikes blow through stop signs and make illegal turns without signals. —Rob B.

Remember that guy from your freshman-year philosophy class who was always interrupting people to say things like, “Why can’t we have WHITE History Month?” or “How come there’s no MEN’S Studies program?” Don’t be that guy. The reason cars need insurance and bikes don’t is that they’re TWO TOTALLY DIFFERENT THINGS. At the risk of belaboring the obvious, it’s really easy to kill somebody (or fuck up their food cart) with a car, but the only person you can reliably kill with a bike is yourself (and even then, you usually need an assist from a motor vehicle). Now, I know what you’re saying, Rob: You were minding your own business, reveling in your proper use of turn signals, when a blackclad anarchist on a murdered-out 12-speed whizzed right in front of you doing 40 the wrong way on a one-way street. You slammed on your brakes. Maybe you 4

Willamette Week APRIL 5, 2017 wweek.com

spun out a little bit. It’s even theoretically possible (though I bet it didn’t happen) that this irresponsible cyclist caused you to hit another car, or a mailbox, or an oxcart loaded with caged chickens. If so, that’s pretty much the only way a cyclist can “cause” an accident with actual property damage or injury: by making a car swerve, brake or do something else such that the CAR does the actual damaging and/or injuring. I’m not saying your douchey cyclist wasn’t at fault. But the “swerve to avoid” family of accidents can be caused by pretty much anything—dogs, toddlers, squirrels, runaway baby carriages. God knows, Americans are a litigious breed, but even we seem to have made peace with the fact that our squirrels don’t carry liability insurance. My advice? Have another drink and forget about it. QUESTIONS? Send them to dr.know@wweek.com

Willamette Week APRIL 5, 2017 wweek.com

MURMURS

Troubled Portland Bureau Didn’t Track Credit-Card Spending

Portland Office of Neighborhood Involvement managers and staff have failed to account for $120,471.95 in credit-card expenditures since March 2016. In all, 33 ONI staffers have access to city-issued credit cards, as did former bureau director Amalia Alarcón de Morris, who resigned last month. City staffers are required to submit all receipts for purchases every month, but ONI as a bureau has failed to account for its staff’s spending in 11 of the past 12 months. Interim ONI director David Austin, who has been on the job since March 22, took the unusual step of asking all 33 staff members to turn in their credit cards April 4. Austin says there’s “no indication” of any spending improprieties at this point. “We knew there were some issues with the bureau,” he says. “This is not an exercise. This is the new order of the day.” In January, Mayor Ted Wheeler reassigned the troubled bureau from City Commissioner Amanda Fritz to Commissioner Chloe Eudaly. Fritz did not immediately respond to a request for comment.

Charges Reduced Over Glasses Removal

A City Hall protester charged with two felonies for removing a man’s eyeglasses and handing them to a security guard in a scuffle outside the Portland Building last week had his charges reduced April 3, after activist groups and news organizations, including WW, raised questions about the facts of the case. The arrested protester, Philip “Standard” Schaefer, 45, is a local poet and spokesman for the citizen advocacy group Empower Portland, which successfully lobbied

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the City Council earlier this month to change Portland Fire & Rescue’s policy toward embedding with Portland Police Bureau crowd-control officers. Schaefer came to police attention March 29, when he scuffled with a man who was trying to push past protesters and enter the Portland Building. The Multnomah County District Attorney’s Office reduced the initial charges of coercion and robbery in the second degree—the latter being a Measure 11 crime with a mandatory minimum sentence of 5 years, 10 months—to thirddegree robbery. Schaefer told WW he could not yet comment on his case.

House Bill Would Ban Poker Rooms

Portland poker rooms are under siege again, this time in Salem. As WW reported recently (“Burning Down the House,” WW, March 22, 2017), poker rooms in the city operate in violation of local and state laws. On March 29, the House Business and Labor Committee held a hearing on House Bill 2190, which would prohibit for-profit businesses from running poker games. The bill would shut down popular venues such as Portland Meadows and Final Table, the city’s largest poker clubs, and it drew testimony from a couple dozen interested parties. The bill remains in committee. Meanwhile, Portland Meadows and Final Table are preparing for a high-stakes hearing with the Portland Revenue Bureau on April 17. Joe Mabe, a lawyer representing those two businesses, told legislators that prohibition won’t work. “Instead of running for the hills and saying let’s just not allow it,” Mabe testified, “more regulation is welcomed, and needed.”

NEWS

WHAT YOU NEED TO KNOW THIS WEEK

IN HIS OWN WORDS

Camp Diaries

N ATA L I E B E H R I N G /A C L U

EARLY SIGNS POINT TO A SPIKE IN PORTLAND HOMELESSNESS IN THE PAST TWO YEARS. It’s been more than two years since Portland has seen an official census of homeless people living on the streets. That’s two years of wondering: Is the housing crisis causing more homelessness? The definitive answer comes as early as next month, when Multnomah County will release results of what’s known as the pointin-time count, a census of people living on the streets during one week in February. But already, there are early indications that a longtime social ill in Portland remains without solutions. RACHEL MONAHAN.

Francisco Rodriguez

I HAVE DACA, BUT THAT DIDN’T STOP TRUMP’S IMMIGRATION AGENTS FROM ARRESTING ME. My earliest memory is of the day I first came to Portland. I was 5 years old, and my family had just arrived from Michoacan, Mexico. The city seemed enormous—it seemed like every time you turned the corner, it kept growing. It feels like my life started on the day I came to Portland. Growing up, I was just like everyone else. I started school at Glenfair Elementary, and I went all the way through to Reynolds High School with the same kids I knew from kindergarten. We learned to read together. We bought Slurpees at the 7-Eleven together. We played disc golf in the park together. No one ever questioned my immigration status, so it took me years to realize that I had no legal status. My

Reports of homeless camps spike. Last week, Portlanders filed a record number of reports of homeless camps with the city. Jen Clodius, who tracks the data for the city’s Office of Management and Finance, says it’s not clear why the city saw a spike. March 20-26: 503 March 13-19: 402 March 6-12: 354 Feb. 27-March 5: 387

Reports of transient vehicles rise. Vehicles reported to Portland officials as housing people since June 13, 2016: 599 Vehicles reported to Portland officials as housing people in the week ending March 26, 2017: 108

Then almost three years ago, after President Obama enacted the Deferred Action for Childhood Arrivals program, I applied for it. DACA status would mean that I could attend school and work. I wouldn’t need to be afraid. Since then, I’ve taken classes at Mt. Hood Community College. I started volunteering at Glenfair Elementary, the same school I attended. I got a job as a teacher’s assistant where I work one-on-one with kids who need help, and I also work in the after-school program. I volunteered at the church my family had been attending for decades. Then last December, I was arrested for driving under the influence. I made several wrong decisions that night. But I have made several right

“When I think about everyone who fought for me,

Reports of used needles spike. Downtown Clean & Safe, the security and janitorial nonprofit run by the Portland Business Alliance, keeps a record of “sharps”—needles used to inject intravenous drugs—removed annually from public rights of way in downtown. That number nearly doubled in one year. Lynnae Berg, executive director of the group, attributes the rise not simply to an increasing number of homeless people but to heroin use “skyrocketing” nationwide. “It’s not just a Portland problem,” she says.

I am so moved and totally overwhelmed.”

JOE RIEDL

Needles recovered in 2015: 9,897 Needles recovered in 2016: 16,882

younger brother and sister, who are now 13 and 19, were born in the United States, and they’re U.S. citizens. But as high school graduation got closer and closer, I started to wonder about my future: What happens next? Suddenly, I felt different, and I was scared. I started to think it would be better if I stayed out of the spotlight. I thought twice about attending soccer games or neighborhood events—immigration agents could be there. For the most part, I didn’t tell my friends about my status—I was afraid their image of me would change somehow.

decisions since then. I am in treatment. I signed up for a diversion program, and I showed up for all my court dates. I was on my way to completing all the requirements to get this DUII expunged from my records. I started working a third job organizing a food pantry for low-income families. Around 7:30 on Sunday morning, March 26, when my whole family was sleeping, we were woken up by loud banging at the door. I got up, and my sister answered the door. Officers asked for me. My sister closed the door and came upstairs. I was getting dressed to go see

what they wanted when she said, “I think they’re immigration.” Before I opened the door, I turned around and looked at my whole family. They looked so afraid. I told them to stay calm and let me handle it and figure it out. Then I went outside. The next thing I knew, I was in handcuffs and inside their car. I thought, Where are we going? What’s happening? The ICE agents told me I would lose DACA and took me first to a facility in Portland, and then all the way to Tacoma, Wash. The funny thing is, even as this was happening, I still couldn’t imagine being deported. Life in Mexico feels totally foreign to me—I’m from Portland. I didn’t know it at the time, but while I was in the detention center, people came out from every part of my life to fight for my release. They called anyone who would listen, and my story started to spread quickly. Incredibly, a day and half after ICE detained me, I was released on bond. When I think about everyone who fought for me, I am so moved and totally overwhelmed. But I realize it’s about more than just me. The people who rallied or called on my behalf made it clear that they reject these policies that are tearing families apart. They know that no one who grew up here should be ripped away from their home. I still face deportation proceedings. The idea is still unimaginable to me because Portland is my home. And after seeing so many Oregonians fight for me, I know I’m right where I belong. Francisco Rodriguez wrote this essay for the American Civil Liberties Union. It is reprinted with permission from the ACLU of Oregon. Willamette Week APRIL 5, 2017 wweek.com

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W W S TA F F

NEWS

Deported for a Dime Bag A WASHINGTON COUNTY “DREAMER” FACES EXILE FOR TRYING TO SELL A $20 BAGGIE OF WEED.

BY R AC H E L M O N A H A N

rmonahan@wweek.com

A young immigrant is facing deportation for trying to sell a minuscule amount of marijuana three years ago. Federal immigration agents arrested Mexican immigrant Luis Gerado Zazueta, 21, at the Washington County Courthouse on March 23. U.S. Immigration and Customs Enforcement officials claimed he faced deportation for a serious drug offense. Zazueta’s actual crime? Trying to sell a $20 baggie of weed to a classmate on their morning walk to high school three years ago, according to the Washington County Sheriff’s Office report of the incident. In July 2014, Zazueta pleaded guilty to an attempt to commit a class B felony. Under Oregon law, that offense could have been expunged from his criminal record almost two years ago. Instead, Zazueta, who has lived in the Portland area since age 3, has become the latest casualty of the war on drugs, even as Oregon enjoys a legal cannabis sales boom following the 2014 passage of Measure 91, which legalized recreational marijuana. Zazueta is now awaiting deportation in Tacoma, Wash., after showing up to court March 23 on charges of driving while intoxicated. His court appearance was scheduled three days before his wedding day. He was about to marry a green-card holder, according to his attorney. (The marriage would not have affected his immigration status.) The DUII case hasn’t been heard by the court. Instead, Zazueta is being deported for the weed conviction. Zazueta arrived in Oregon before he was 3 years old, and under the Obama administration he registered for the Deferred Action for Childhood Arrivals program, a limited form of amnesty, his attorney Maria Zlateva says. He was one of at least three so-called “Dreamers” arrested in an immigration sweep of undocumented immigrants in the Portland area last month (“Dream Turned Nightmare,” WW, March 29, 2016). The arrest of people whose only immigration crime was coming to the U.S. as minors adds a new level of fear that the Trump administration is making good on the threat of mass deportations.

But immigration authorities explained away this arrest. “[Zazueta] was targeted for immigration enforcement based on a prior felony drug conviction. Mr. Zazueta was transferred to the Northwest Detention Center where he remains in ICE custody awaiting the outcome of removal proceedings,” said ICE spokeswoman Rose Richeson in a statement last week. Zazueta faces the double threat of the federal government’s continued view of marijuana as an illegal, dangerous drug and the Trump administration’s zealous enforcement of federal immigration laws. “It’s a sad testament to how the failed war on drugs continues to impact communities of color at disproportionate rates,” says Mat dos Santos, legal director of the American Civil Liberties Union of Oregon. “Ultimately we as a country have to rethink these policies and account for the fact

Eventually, Zazueta’s 19-year-old friend told an officer that he and Zazueta were walking to Westview when the friend “asked Luis for some marijuana and Luis said he did have a little,” the report states. “[The friend] said he paid Luis twenty dollars for the bag of marijuana,” the report notes. “[The friend] said after that they walked to school and walked around the halls until I found them and took them to the office.” What Zazueta did remains illegal despite voters’ legalization of recreational cannabis. But under Oregon law, a drug offense like Zazueta’s may be expunged, says defense lawyer Bear Wilner-Nugent. “As long as Mr. Zazueta does not have any other criminal convictions anywhere in the world,” Wilner-Nugent says in an email, “based on the review I have just completed of his Washington County criminal file, it is my professional

“EXPUNGEMENT DOESN’T WORK. IT DOESN’T EVER MAKE IT BETTER.” —Maria Zlateva, lawyer that young people make mistakes. We want them to learn from their mistakes and not to have their life completely ruined.” Zazueta’s case is also the latest illustrating how the end of cannabis prohibition in Oregon hasn’t ended the risks for small-time offenders. Last summer, WW reported that Native American teenager Devontre Thomas faced a year in prison for allegedly possessing a gram of cannabis at a Salem boarding school (“Shakedown,” WW, July 27, 2016). That prosecution drew widespread outrage, including from Oregon’s congressional delegation, and U.S. Attorney for Oregon Billy Williams dropped the federal charge a week later. Unlike Thomas’ case, Zazueta’s ended in a conviction. But his crime is similarly paltry. On April 24, 2014, a resident living near Westview High School in outer Northwest Portland snapped photos of an apparent drug deal between students, according to the sheriff’s report.

opinion that he is now eligible to have that conviction set aside (‘expunged’).” But the fresh start that would come with expungement wouldn’t apply to Zazueta, because he isn’t a U.S. citizen. Expunging a criminal conviction doesn’t affect ICE’s ability to find out about it or use it as grounds for deportation. Zazueta turned 18 six weeks before the marijuana arrest. That was an important factor in charging the crime, and meant he was no longer eligible for the DACA program and never will be, says Zlateva, who declined to make her client or his family available for an interview, citing widespread fears about retaliation by ICE. (Zazueta didn’t renew his DACA status after the 2014 marijuana conviction—a move that may have prevented his immediate deportation.) “It doesn’t matter who is president,” Zlateva says, noting that immigration authorities will count felony and most misdemeanor drug offenses against immigrants even if they are expunged. “Expungement doesn’t work. It doesn’t ever make it better.” Willamette Week APRIL 5, 2017 wweek.com

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IT ’ S H F R ES

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INDIVISIBLE OREGON

NEWS

EASY RIDER: A member of the High Desert Eagles chapter of the Oregon Veterans Motorcycle Association guards the office of U.S. Rep. Greg Walden on Feb. 28.

Mild Hogs A GROUP OF RETIRED BIKERS MOONLIGHTS AS SECURITY FOR REP. GREG WALDEN’S OFFICE. BY L E A H S OT T I L E

@Leah_Sottile

On a chilly morning in late February, a group of regular protesters showed up for their weekly demonstration outside the Bend, Ore., office of Republican U.S. Rep. Greg Walden. But when they arrived, they were met by a group of bikers holding American flags. The graying men were dressed head-to-toe in leather. Some wore handwritten name tags on their leather vests that read, “Volunteer Coordinator.” One smoked a cigar. They told protesters they were asked by Walden’s staff to stand guard. Walden’s spokesman and the High Desert Eagles chapter of the Oregon Veterans Motorcycle Association now agree on what happened: A congressional staffer expressed concern over unruly protesters to a veterans group, and that group called in the motorcycle club. Roger Sabbadini, a 70-year-old retired biology professor among the protesters, laughs at the idea that Walden’s staff needed protection. “If [a staffer] felt threatened by a bunch of granola-eating, Patagonia-wearing geezers,” he says, “she should have gone to the authorities.” Biker groups nationwide have long taken it upon themselves to act as “security” for various causes. Earlier this year, a group called Bikers for Trump vowed to “form a wall of meat” to ensure protesters didn’t interrupt President Donald Trump’s inauguration. The Feb. 28 incident in Bend is hardly on that scale. For one thing, Walden himself was on the other side of the country, in Washington, D.C. But the confrontation, which played out like an AARPage spinoff of Portland scuffles between right-wing groups and anarchists, shows the tensions among Walden’s constituents as he becomes a leading figure in the national Republican Party. Since early February, as Walden led the GOP’s failed effort to repeal and replace the Affordable Care Act, a group of 50 to 100 progressive retiree protesters has made a Tuesday morning ruckus at his Bend office. The demonstrations are held by members of Indivisible Bend and a seniors group called the Vocal Seniority (motto: “Raising Cane!”). The groups gather for one hour. They hold signs, wave

at cars, beat drums and deliver letters and petitions to Walden’s fourth-floor office. “There’s a moral obligation and a fiduciary responsibility of our representatives to hear our concerns,” says Sabbadini. Symeon North, a 44-year-old flower farmer and artist, arrived at the Feb. 28 protest expecting a cordial relationship with the congressman’s staff. “I walked up, and I was like ‘Oh, we have company,’” she says. “There was these dudes in black leather jackets. It was clearly meant to be intimidating.” The men were members of the Oregon Veterans Motorcycle Association’s High Desert Eagles chapter, a group of retiree bikers who host charity rides and often hold flags at soldiers’ funerals. North says the bikers confronted her and another woman when they tried to enter the brick building to deliver postcards to Walden’s office. A woman who arrived with the bikers blocked her. In a two-page statement in all-capital letters emailed to WW, Ken Dunn, president of the OVMA, says his group was called by “a female veteran” who “served in the Sandbox Wars in the Middle East” and now works in Walden’s office. That staffer is Margie Anderson, an Iraq vet hired in 2015 by Walden to work on veterans issues. Dunn says protesters crowding Walden’s office to deliver protest Valentines on Feb. 14 “proved very disturbing” for Anderson. “OVMA responded on Feb. 28 with approximately 12 volunteers who wanted to help our fellow veteran,” Dunn writes. “They went to Walden’s Bend office with USA flags and stood guard. They were on scene to prevent any crowding into Walden’s office suite.” Walden’s office saw the Feb. 14 protest as alarming, saying about 100 people stormed the hallways of the office building, yelling and chanting. After the event, staffers say Anderson spoke with a veterans mentor through Central Oregon Veterans Outreach, who contacted the bikers. “There was no one who was prevented from going into the building—certainly not by us and not by the veterans group,” says Walden spokesman Andrew Malcolm. Malcolm says he thinks protesters are making a fuss out of nothing: “Is it possible that someone is trying to manufacture controversy with you?” he asked. If anyone on Walden’s staff felt fear, Bend police never heard about it. Lt. Clint Burleigh of the Bend Police Department says his agency didn’t receive any calls from Walden’s office about the Feb. 14 protest. “I’ve never seen that before where people have come and been security” at a protest, he says. Ryan Lenz, a senior writer for the Southern Poverty Law Center’s Intelligence Project, says retiree motorcycle groups like the OVMA are very different thing from a biker gang. But the need for a staffer to call them for security is curious. “For a Republican lawmaker to feel they need protection from some out-of-control, bloodthirsty movement on the left seems to me to represent a degree of confusion about just what’s happening in this country,” Lenz says. “The groups that are targeted most right now in America are not conservative Americans.” After the lunchtime protest was over, the bikers dispersed (another member of the High Desert Eagles confirms they didn’t even ride motorcycles that day because it was too cold), but some took something of a victory lap on Facebook. “We…provided support and assurance of order against the onslaught of verbal abuse from the leftest [sic] demonstrators,” OVMA member Robert Eck wrote on the Oregon Tea Party Facebook page. “We need to project our force against the leftists that have infiltrated and now control Oregon.” Willamette Week APRIL 5, 2017 wweek.com

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THIS LAND IS Willamette Week APRIL 5, 2017 wweek.com

BUT WILL IT STAY THAT WAY? WITH ITS FUTURE IN DOUBT, WE JOURNEY DEEP INSIDE THE ELLIOT STATE FOREST. STO RY

AND

P H OTO G R A P H Y BY JOE RIEDL 503-243-2122

We were 6 miles deep in the Elliott State Forest, and so far from any marked trail I feared we would never find our way back.

An hour ago, we left a logging road and started climbing up and down steep canyons, crossing trickling streams of frigid, crystalline water. We passed fern fronds twice as long as my arm, and boulders so fuzzy with emerald moss that they looked like Oregon Ducks throw pillows. We were trying to find the oldest pocket of timber in the Elliott. We wanted to see this place before it was lost. No piece of public land in Oregon is as imperiled, or as hotly debated, as this one. CONT. on page 16

YOUR LAND Willamette Week APRIL 5, 2017 wweek.com

“I want to see this place before it’s all logged.”

The 93,000-acre state forest, hugging the Umpqua River a four-hour drive south from Portland, sits in the center of some of the richest timberland in the Coastal Range. Yet for decades the state has lost money while managing the harvest of fir trees here—and last fall, Oregon’s top officials announced a plan to sell it for $221 million to a timber company and the Cow Creek Band of Umpqua Tribe of Indians. Last week, State Treasurer Tobias Read, the swing vote in favor of the sale, bowed to heavy pressure from environmental advocates and issued a statement saying he sees “a path forward” to keeping the land in public hands (see sidebar, page 20). That decision is now scheduled for May—with people on both sides of the sale still lobbying Read, Gov. Kate Brown, and Secretary of State Dennis Richardson. (Brown, a Democrat, opposes the sale; Richardson, a Republican, favors it.) The Elliott has become a lightning rod in a growing national debate about the privatization of public lands. That’s an especially fraught debate in Oregon, where more than half the land is owned by the federal or state government. Plenty of Portlanders have talked about the Elliott this winter, often in righteous tones, without ever setting foot here. I was one of them. I want to see this place before it’s all logged, I decided last month, not realizing the Elliott has a long history of logging, and for nearly 100

Willamette Week APRIL 5, 2017 wweek.com

years has been the site of timber company clear cuts. I imagined the Elliott in black and white. But the people who spend their lives here taught me to see it in shades of green. Those are people like Joe Metzler, a retired Coast Guard helicopter rescue swimmer and president of his local Audubon Society chapter. Metzler has become the most visible advocate for the forest remaining public. He’s easily recognized in his bright red stockman-style hat, and eager to guide reporters into the woods. “There’s intrinsic value in the Elliott,” Metzler told me, as we jostled in his Toyota Tacoma along a deeply rutted road outside the town of Lakeview. “Just because you haven’t heard of it doesn’t mean you shouldn’t appreciate it.” Metzler was one of several people I spoke to during the past two weeks in Lakeview, Reedsport and the other timber towns surrounding the Elliott. These Oregonians see the Elliott as precious. But they also see it as an economic engine—one that has sat dormant for too long. Metzler agrees. Like many people living on the coast, he blames the state’s failure to turn a profit on the Elliott on the very environmental groups now working to save it. Those groups—the Center for Biological Diversity, Cascadia Wildlands and the Audubon Society of Portland— have repeatedly sued the state to limit timber harvests. Metzler sees that as essentially creating an economic incentive for the state to sell it to private owners. CONT. on page 18

HOME SWEET HOME: A scurrying, pregnant newt (above left) and a just-blossomed trillium (above right) are reasons the Elliott has tight environmental rules—and advocacy groups willing to sue to keep those rules in place.

YA HERD: Our first morning in the Elliott was spent wandering through Ash Valley at the forest’s northeast corner. Just before dawn, we stumbled upon a herd of elk gathered at a grassy clearing, relaxing and nibbling. We continued along and saw three more herds before 9 am.

UP A CREEK: With nearly 10 feet of rain a year in some parts of the Elliott, you don’t need to go far to find water. Whether it’s roaring down from high lakes to the Umpqua River, or meandering past the cairns constructed by hikers (far right), water is one of the main reasons public access is so important to locals. Willamette Week APRIL 5, 2017 wweek.com

“Those trees grew faster than the loggers were cutting them.”

“They had good intentions,” Metzler says, “but it backfired on them.” While we drove, I followed Metzler’s quick pointing finger, guiding me to conservation efforts the state has been leading, like the laying of timber and boulders in creeks for spawning coho salmon, and the preservation of many old-growth pockets, where bird species like the marbled murrelet nest on the massive branches. Those efforts could disappear if the state sells. But the Umpqua tribe says it plans to go above and beyond what the state did for conservation (see interview, page 21). Parking his pickup among the ferns, Metzler led me on a half-mile hike—or maybe more of a scramble, since we were mostly picking our way across precipitous ridges. He relayed the story of the Elliott as we trudged through mud and over downed trees. Then we emerged in Silver Grove. It felt like a temple. Shafts of sunlight filtered through the branches of trees that have stood in this grove for nearly 300 years. The air smelled of a fresh fir, woody and sweet. And the trees were huge: not as massive as California redwoods, but close, behemoths with trunks so large that three adults couldn’t stretch their arms around them. The Elliott State Forest isn’t simple, I realized. But it is still holy. In these pages, you’ll meet the people who live among the giants. You’ll learn why Tobias Read changed his mind. And through photos, I hope you’ll get a glimpse of this place—one that few Oregonians have visited, and that public officials must soon decide whether should continue to belong to us. “Public lands are the only place I can be myself,” Metzler observes. “They’re the greatest gift to the American people by the American people.”

ELLIE KEELAND Ellie Keeland, owner of Ellie’s Chainsaw Carving Art Gallery, off Oregon Route 38 in Reedsport, is fed up with land restrictions in the Elliott. “The environmentalists, those idiots, forced the loggers out,” she exclaims while counting her cash earnings for the day on a dusty workbench. Keeland grew up in California but has spent most of her time in Southern Oregon. She moved to the outskirts of the forest near Loon Lake and ran a lodge there with her husband. She remembers the forest vividly: “Those trees grew faster than the loggers were cutting them. This was a model forest!” Keeland doesn’t much care if the state or a private company owns the Elliott. She just wants the logging jobs back. “That timber is our green gold,” she says. “There’s a wealth of natural resources behind Reedsport, but no one can tap into it anymore.”

KEITH TYMCHUK

TRAIL BLAZING: Along the way to Silver Grove, Joe Metzler stopped at a Douglas fir with a small yellow plaque nailed to it. He explained it was an old surveying tool that would allow us to pinpoint exactly where we were.

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Keith Tymchuk served six terms as mayor of Reedsport, a coastal timber town with a population of 4,090 (and dropping) about a 30-minute drive north of the state forest. He’s untroubled by the idea of privatizing the Elliott. Tymchuk expects that potential buyer Lone Rock Timber Management Co. would both abide by state policies and offer free public access to the forest—as most private logging companies already do. “It’s a working forest,” he says. “It was designed to create funds while offering public access.” “But I’m a realist,” he adds, and for that reason “it’s difficult to see a solution where everyone is happy.” So he’s noncommittal toward any specific plan—he just wants the environmental lawsuits against logging to stop.

THE DOUG FIR: Metzler peered up at a Douglas fir, estimating it to be nearly 300 years old. This pocket of the forest, the Silver Grove, has remained untouched by loggers and fire for centuries.

Willamette Week APRIL 5, 2017 wweek.com

“Public lands are the only place I can be myself.”

OVERLOOKED: We drove along the outskirts of the Elliott, climbing up and up into the mountains, our view hindered by thick rows of firs. A clear cut finally revealed the mountainous range we occupied. Fog rolled in and out of ridges as the sun peaked through the clouds on a dark spring morning.

A READ IN THE WIND TEXT MESSAGES SHOW THE PRESSURE PLACED ON OREGON’S STATE TREASURER TO KEEP THE ELLIOTT A PUBLIC FOREST. BY N IGEL JAQU ISS

TIMBER COUNTRY: The state’s newest clear-cut operation showed signs of conservation, with tree buffer zones on ridges that didn’t carry water year-round. These and other conservation efforts aren’t required by state law but are frequently made in the Elliott.

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njaquiss@wweek.com

Last week, State Treasurer Tobias Read flipped. On Feb. 14, the Democrat had joined Secretary of State Dennis Richardson, a Republican, in voting to sell the Elliott State Forest. Their votes outnumbered that of the third member of the State Land Board, Gov. Kate Brown, who opposed the sale. But last week, Read announced he’d changed his mind and could now vote to keep the forest publicly owned, saying Brown had presented him with “a viable alternative.” Read says rather than caving to political pressure, he responded to Brown’s office showing him the state could find a financially responsible way to transfer ownership of the Elliott from one state entity to another.

Environmental leaders are skeptical of that explanation. They think pressure from Oregonians furious at his February vote for the Elliott sale made the difference. “His office was essentially locked down for a couple of weeks,” says Steve Pedery, conservation director of Oregon Wild. “The blowback was far more than he expected.” The support of the environmental lobby has always been crucial to Read. In November, the then-five-term state representative from Beaverton eked out a victory in the treasurer’s race against Republican Jeff Gudman, winning by just 3 percentage points. Read won with strong support from environmentalists, who’d applauded a 2015 bill he introduced that would have blocked future sales of state lands such as the Elliott. “Because the Treasurer is a member of the State Land Board, he will be in a position to make sure our state-owned lands are protected,” wrote Greg Macpherson, a former member of the PAC for the Oregon League of Conservation Voters, in an Aug. 14 email to voters.

But after Read voted to sell the forest, the OLCV’s political action committee erupted. “To say that we were shocked is an understatement,” the league’s PAC board wrote in a February statement. “Treasurer Read’s actions on February 14th—Oregon’s Birthday—are in stark contrast to his record as a legislator, as well as how he presented himself to the OLCV PAC Board during our endorsement process.” The group urged its followers to hammer Read on social media using the Twitter hashtags #betrayedmyvote and #earnitback. The response was savage. “We need to make sure he never gets re-elected to any public office again,” wrote Donald Fotentot in a typical Facebook comment. “Time to play hardball!” Oregon Wild, OLCV and other groups deluged Read’s office with calls, visits and emails. The league’s Facebook posts were shared 1,700 times. WW obtained text messages between Read’s chief of staff, Dmitri Palmateer, and OLCV executive director Doug Moore through a public records request. These messages display the tension, and the stakes for Read: Environmentalists could

run a Democratic opponent to his left in the 2020 primary. “I keep hearing rumors that you are looking to primary Tobias,” Palmateer wrote March 17. “I can’t believe that you’d actually engage in that conversation.” Moore replied to the accusation with a non-denial denial: “That’s crazy. I told people literally today that let’s talk about now not three years from now.” Palmateer didn’t buy that. “I’ve heard from three sources that OLCV is actively talking primary challenge,” he wrote. “Someone said you said if there was $1 million [available] you’d look to a recall.” “If bad things happen, he would probably see a challenge,” Moore conceded. On March 28, Read announced he was open to Brown’s proposal to keep the Elliott public. He says it was her proposal, rather than his position, that changed. “I’ve been consistent throughout,” he says. “I’ve always favored public ownership. Adding some urgency has produced more attention and diligence about how we do that.” The Land Board will next consider the Elliott on May 9.

M I C H A E L S U L L I VA N / T H E N E W S - R E V I E W

REX BYERS “Hell no, they shouldn’t sell!” says Rex Byers over the hum of a chain saw in the background. The wood carver at Ellie’s Chainsaw Carving Art Gallery says he hates the idea of the state selling the Elliott. “I’m no environmentalist,” he says, “but this forest is breathtaking.” Byers is a Southern Oregon native whose family members are employed by what remains of the state’s timber industry. He recalls fishing in the Millicoma River and hunting elk. He wants a public vote on the sale. He also wants an end to the environmental restrictions that have curtailed logging in the Elliott. “Don’t sell the forest,” Byers says. “Sell the timber.”

MICHAEL RONDEAU CEO of the Cow Creek Band of Umpqua Indians, Michael Rondeau says the sale of the Elliott to his tribe and a private timber company could have benefited his people immensely and in many different ways. “We saw this as a way to restore our land base,” he says. Rondeau says timber harvests could bring in much-needed revenue for tribal elders’ health care. “We see the forest in decay,” he says, and describes the sale as an opportunity to help conserve it. “The forest needs to be managed. We saw this as a path towards securing conservation efforts forever,” instead of just from administration to administration. And Rondeau says if the state decides ultimately to sell, the Cow Creek Band would keep the land open to the public. “Public access was a foundation which our proposal was built on,” says Rondeau. “We drink the water, we breathe the air. We have interest in conserving the land for future generations, just like we’ve been doing for thousands of years.”

Willamette Week APRIL 5, 2017 wweek.com

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Full S.T.E.A.M ahead with a fun and educational alsummer program. Programs are for 5-12 y/o and last from one week to the whole summer (6/22 -8/11). We will explore science, technology, engineering, art and math with fun, hands on projects and activities. Campers will enjoy plenty of outdoor time as well as field trips and special guests. Camp Cost: All Summer $2160 $ Per week 275 we work with DHS and provide a sliding scale to qualified families Please contact abby@penchild.org or 503.280.0534 x 13 to ask about rates or enroll. penchild.org/programs/school-age PCLC is a subsidary of Neighborhood House

TRY. LEARN. TRY AGAIN. Tinker Camp builds essential mindsets in children, like tenacity and courage, so they can become happy and successful in a STEM-intense future. We accomplish this by offering a material-rich open tinkering studio onto which we overlay a narrative. So, we trust and allow children to create their own experience around a story (like building a space ship or creating an arcade). This allows them to try, fail and iterate, a key component to the new national

science standards (NGSS). We teach skills (like using a saw) only when it is necessary to solve a problem. Instead, we try to encourage the core passion that can stay with a child all of their life and drive them into a highly skilled occupation that they love.

Four week-long camps starting on July 10th for kids entering 3rd grade through middle school.

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Let The Armory introduce you to the confidencebuilding fun of learning performance skills in a stimulating, supportive environment through the city’s flagship theater. Our teaching professionals, drawn from Portland’s theater elite, eagerly await the chance to share their experience with you. Full and partial scholarships are available through the website. Photo by Kate Szrom.

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OUR SUMMER CAMP ROCKS! 4 week long day camps starting June 26th. For ALL girls ages 8-17. Learn an instrument, form a band, write a song, and perform live! Partial scholarships available, no girl turned away due to lack of funds. For Dates & Registration visit www.girlsrockcamp.org/programs

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WHERE DID YOU GROW UP?

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LOOKS WE LOVE. PHOTOS BY CHR ISTIN E DON G

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E Z O BO Willamette Week APRIL 5, 2017 wweek.com

The Bump CRAZY CIRCUS YEARBOOKS

Specifically, the Mystery Girls’ Circus, a lovely art-filled companion piece to Geek Love printed in 1991 in a tiny edition, with multiple pages of 3-D art. “All the zoomy magic of the Mystery Girls’ Circus and Fun College,” the book begins, “derives from the splendid fact that two redheads are better than one.”

THE BEST THINGS YOU’LL FIND IN LEWIS & CLARK’S NEW EXHIBIT DEVOTED TO AUTHOR KATHERINE DUNN. BY M AT T H E W KO RFH AGE mkorfhage@wweek.com.

GEEKS BITING OFF CHICKEN HEADS

People love Geek Love. They love it in a way that takes over their lives. They love it in a way that has them hunched over their desks for hours drawing pictures of it. And, well, they sent some of their drawings to Dunn, who kept them: Colorful Mama Lil Binewski ready to bite the head off a chicken, and eerily beautiful evocations of the melancholy of conjoined twins.

Geek Love was the book written in Portland that most revealed the character of Portland—a big-hearted, heartsick place filled with darkness and obsessed with oddity. Katherine Dunn’s 1989 novel was the story of circus family the Binewskis—flipper-armed Arty and psychokinetic Chip, conjoined Elly and Iphy, resentful dwarf Oly—bred to be freaks by their family. The book made the careers of its publisher and its cover illustrator, and created a devoted fan base who may have thought they were otherwise alone. As director and Monty Pythoner Terry Gilliam said, it was “the most romantic novel about love and family I have read.” Dunn, a WW writer and columnist for many years, passed away last May. But she had already been working with the library at Lewis & Clark College to donate her meticulously kept records— correspondence with writers from Stephen King to Brett Easton Ellis, drafts of her book in progress, and the strange and variegated things the books’ eternal fans sent her through the mails. A selection from the Dunn collection, “The Horror of Normalcy: Katherine Dunn, Geek Love, and Cult Literature”— curated by English professor Michael Mirabile and Lewis & Clark student Sydney Owada—will be on display in the college’s library throughout August. Here’s what you can expect to find.

DEAD BABIES

See and marvel at the Binouski (as it was then spelled) family tree, as first incepted! Track the bonus dead babies, once conceived by Lil and Aloysius—the Foot and the Fist, for example, and Leona the lizard-tailed, and vegetal Apple drowned by her dad! Janus with a head emerging from his spine! Boneless Maple devoid of genitalia! And poor, poor Clifford, “born with his entire ventral side open like a tray full of organs.”

PLUSHIES

The fans didn’t just draw the Binewski family. They created them literally out of whole cloth, in the form of a creepy plushy Arty with his wittle fwipper fins, a weirdly Orientalist Arty doll, a version of the two-headed twins that’s both male and fanged, and a terrifying Oly complete with sculpted, crusted snot. 30

Willamette Week APRIL 5, 2017 wweek.com

FOREIGN GEEKS

Geek Love has been translated into Japanese, Catalan, Finnish, French, Polish and German (as Binewski: The Fall of a Radioactive Family). It was translated into Italian—not once but twice. “People talk about the depth of people’s fascination with Geek Love,” says Hannah Crummé, Lewis & Clark’s director of special collections. “What’s surprising is the breadth.”

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BRETT EASTON ELLIS ASS-KISSING

Easton Ellis was reportedly hurt by reviews of American Psycho, and received encouragement from Dunn— whose letter, he wrote, he “carried around with me for a week, stunned and blushing.”

SHADE ON JOYCE CAROL OATES

The great editor Gordon Lish didn’t edit Geek Love—but he did greenlight it. He and Dunn were likewise united in their seething hatred of famously prolific writer Joyce Carol Oates. “Terry says that you’re a sportswriter, a boxing writer, and that you might wish to dismantle Ms. Oates,” Lish writes in a letter collected here. Dunn responds in kind that she had a “bone to beat Oates with— her perpetual pissing from high places only bored me til she hit my turf.” Dunn then apologizes for her right-justified typewriter, which, she writes, she bought from “Republican dope growers of the anal attentive persuasion.”

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How often do you get to watch a book you love start three different ways? From abandoned subtitles (The Autobiography of a Bald, Albino, Hunchback, Pygmy Woman) to abandoned beginnings to the book (“My father’s name was Aloysius Binouski. He was raised in a carnival sideshow which he inherited at the age of twenty-two when his father died.”), you can look in on Dunn’s obsessive writing and rewriting of the book, in her own handwriting—watching as she scribbled in adjective after adjective onto her typewritten manuscripts, inventing the language of Geek Love draft by draft until each sentence became its own carnivalesque world. It is a place in which more is always more, and less is always less. GO: “The Horror of Normalcy: Katherine Dunn, Geek Love, and Cult Literature” is at Lewis & Clark College’s Watzek Library, 0615 SW Palatine Hill Road, 503-768-7259, lclark. edu. Through Aug. 31. Free.

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McMenamins GRAND LODGE is now HIRING!! line cooks, prep cooks, dishwashers, servers, hosts, bartenders, housekeepers, and more...! Come to our Hiring Event.

DOUGHNUT DEATH: A 42-year-old man died while trying to complete an eating challenge at Voodoo Doughnut’s Denver location April 2, as first reported by a Colorado TV station. Travis Malouff was attempting to eat a half-pound, 5-inch glazed doughnut in 80 seconds or less when he began choking. Sources said bystanders tried to perform the Heimlich maneuver on Malouff, who was pronounced dead of “asphyxia, due to obstruction of the airway.” Portland’s two Voodoo Doughnut locations offer the same eating challenge. The prize for completing the lethal challenge? A button, and the $4.50 doughnut for free. Voodoo Doughnut co-owner Tres Shannon did not respond to a request for comment. The manager at the Voodoo Doughnut in Denver also declined to comment.

THURS. APRIL 13th, 3pm to 7pm in Alice Inkley Room Location: McMenamins Grand Lodge 3505 Pacific Ave, Forest Grove, OR 97116 Come fill out an application. Managers will be available to talk to interested applicants! We have seasonal and long-term opportunities! McMenamins offers opportunity for growth and great benefits - including many company perks like discounts on hotel rooms. Qualified applicants must enjoy working in a busy customer service-oriented environment, a willingness to learn, and an open/flexible schedule (days, evenings, weekends, holidays, and open summertime schedule). Previous experience is a plus! E.O.E If you are unable to attend, you can also apply online at www.mcmenamins.com or pick up a paper application at the Grand Lodge (or any other McMenamins location).

GET FESTIVE: Alt-rock icon Beck, Iggy Pop, Nas and softrock prankster Father John Misty will headline the second annual MusicfestNW presents Project Pabst. Last year, MFNW—the long-running music festival owned by Willamette Week—merged with the titular beer company’s 2-year-old festival to create MFNWpPP, and sold out Tom McCall Waterfront Park. Other notable performers on this year’s lineup include returning indie-rock stalwarts Spoon, bizarre South African hip-hop duo Die Antwoord and singer-rapper Lizzo, who had to cancel her appearance at the festival last summer. Portland artists will include the Last Artful, Dodgr and reigning Best New Band winners Lithics, plus R.E.M./ Sleater-Kinney supergroup Filthy Friends. Tickets go on sale at 10 am Friday, April 7. MFNWpPP takes place at Waterfront Park on Aug. 26-27.

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THE KING LIVES: Portland will probably soon have a bar devoted to the King of Rock ’n’ Roll. Bar revivalists Marcus Archambeault and Warren Boothby—of Sandy Hut, the Alibi, Gold Dust Meridian and Double Barrel—are renovating former double-decker dive East End on Southeast Grand Avenue into an Elvis Presley-inspired bar, multiple sources say. In September 2016, Boothby and Archambeault registered a company called Elvis Room at the address, and the windows at the old East End, which closed after a fire in August 2014, have been papered over. Sources say Boothby and Archambeault have taken to calling the bar the “E Room,” and the upstairs bar will feature a white-on-white glam Graceland aesthetic, with downstairs being more of a dirty ’70s shagcarpet affair. Archambeault declined to comment. LOST VISION: DJ OG One, a longtime fixture of the Portland hip-hop scene and the official DJ for the Trail Blazers, is suffering from severely impaired eyesight following surgery for cancer. OG One, whose given name is David Jackson, says he was diagnosed with stage 3 colorectal cancer last October. He underwent surgery March 14 at Providence Portland Medical Center. While the surgery was successful in removing the cancer, when he regained consciousness, Jackson says his right arm had gone numb and he’d lost the ability to see. “I could hear voices,” he says, “but couldn’t see anything.” According to Jackson, an eye doctor told him the blindness was probably the result of his body position during surgery, which cut off blood flow to the nerves near his eyes. He’s since regained partial vision, though he can make out only vague shapes, and has yet to regain feeling in his arm.

Willamette Week APRIL 5, 2017 wweek.com

WEDNESDAY, APRIL 5

Desiigner Initially dismissed as Future’s nonunion equivalent, the rapper born Sidney Royel Selby III is steadily distinguishing himself on the strength of his lively personality, stuttering flow and zany ad-libs—and we probably shouldn’t say this out loud, but “Panda” knocks harder than anything his doppelgänger has done lately. Crystal Ballroom, 1332 W Burnside St., 503-225-0047, crystalballroompdx.com. 8 pm. $23 advance, $25 day of show. All ages.

German Sparkle Party In an event based mostly on nonsensical word associations, Belmont Station will host a ton of German beers, including Radeberger Pilsner and Kölsch, plus a special Rosenstadt Weizenbock and Heater Allen Helles Bock brewed only for the Station’s anniversary—plus, randomly, somebody putting sparkle threads in people’s hair. Belmont Station, 4500 SE Stark St., 503-232-8538, belmont-station.com. 5-8 pm.

THURSDAY, APRIL 6

Ronald K. Brown/Evidence For the last show in its series featuring prominent black choreographers, dance promoter White Bird is bringing Ronald K. Brown/Evidence to Portland. The New York company will perform several pieces from its long history of exploring the African diaspora through dance, including works set to Stevie Wonder, Belgian-Congolese musician Zap Mama, and the words of Martin Luther King Jr. Newmark Theatre, 1111 SW Broadway, whitebird.org. 7:30 pm. Also April 7-8. $26-$64.

Brewvana 6th Anniversary The people with the beer bus are holding still for a second at the new tripledecker Slabtown Breakside brewpub that's now home to an excellent hazy IPA. This means, for the most part, lots of beer, a photo booth Brewvana swears is infamous, and ice-sculpture carving. What’s beer without chain saws? Breakside Brewery, 1570 NW 22nd Ave., 503-729-6804. 5-9 pm. All ages.

FRIDAY, APRIL 7 Wham City Comedy Baltimore is a weird city full of weird people, including the comedy branch of the arts collective Wham City. Best known for its Adult Swim sketches, Wham City takes off-putting humor a step further than contemporaries like Tim and Eric with stuff that’s overtly disturbing— often in the form of sickly, violent creatures. Siren Thea t e r, 3 1 5 NW Davis St., sirentheater.com. 8 pm. $10 advance, $15 at the door.

Nike Hoop Summit March Madness is over, and the NBA playoffs have yet to begin. What’s a hardcore hoops head to do? In this period of basketball stasis, thank Chilly Tee Sr. for the 20th annual Nike Hoop Summit, which pits the nation's best high school seniors against the top young international players in an exhibition that’s twice as entertaining (and more competitive) than the All-Star Game. Moda Center, 1 N Center Court St., 503-235-8771, rosequarter. com. 7 pm. $10-$60.

COURTESY OF FAC E B O O K

Get Busy WHAT WE'RE EXCITED ABOUT

SATURDAY, APRIL 8

APRIL 5-11

Out From the Shadows III Creatures of the night, rejoice! This three-day festival spotlighting the emerging post-punk and darkwave scene returns with nearly two dozen acts from as far away as Norway and as close as the basement down the street. Hot tip: Make time for Salt Lake City’s Sculpture Club, which killed at Treefort this year. Tonic Lounge, 3100 NE Sandy Blvd., 503-238-0543, tonicloungeportland.com. 9 pm Thursday-Saturday, April 6-8. $10 per day, $23 three-day pass. 21+.

Sensory Gymnastics Guest curator Michele Fiedler’s last exhibit at Disjecta is a whopper of sensory overload and wrestling of meaning, with works from late Portland folk preservationist and animator Harry Smith, local music and art impresario Eric Mast, and interdisciplinary works from Puerto Rican international art star Radamés “Juni” Figueroa. Anyway, there are movies for blind people and an indoor treehouse. Disjecta, 8371 N Interstate Ave., 503-286-9449, disjectaarts.org. 6-10 pm. Free.

SUNDAY, APRIL 9 Mitski Couldn’t score Radiohead tickets? If you’re still in the market for smart, evocative pop music, here’s your next best option tonight. Mitski Miyawaki’s fourth album, Puberty 2—a multidimensional portrait of millennial malaise set to killer guitars—was one of last year’s biggest breakthroughs. You’ve heard “Paranoid Android” enough, anyway. Wonder Ballroom, 128 NE Russell St., 503-284-8686, wonderballroom.com. 8:30 pm. $15 advance, $17 day of show. All ages.

Chuck Palahniuk Chuck Palahniuk already had a comic book and a Fight Club 4 Kids trailer featuring crying children, so why the hell not a coloring book? Get a $20 ticket in advance, and it’ll net you a copy of Bait: Off-Color Stories for You to Color, Color which the famously fan-friendly Palahniuk will dutifully sign along with any other item of your choosing, which presumably could include parts of your body. Memento PDX, 3707 SE Hawthorne Blvd., 503-235-1257. 10 am. $20. Call for tickets.

MONDAY, APRIL 10 70 mm Weekend Christmas comes early for Portland film nerds, as the annual Hollywood Theatre 70 mm weekend returns with screenings of Tron (1982), Interstellar (2014) and Ivan Reitman’s Ghostbusters (1984). Getting tickets early is strongly recommended because these screenings are rightfully jam-packed. Hollywood Theatre, 4122 NE Sandy Blvd., 503-493-1128, hollywoodtheatre. org. $12. Screenings begin Friday, April 7.

Jay Som Everybody Works,, 22-year-old San Francisco native Melina Duterte’s new album under the name Jay Som, is one of the year’s early indie breakouts, a remarkably self-assured, one-woman production that sounds like Kevin Shields producing Carly Rae Jepsen. Doug Fir Lounge, 830 E Burnside St., 503-231-9663, dougfirlounge.com. 9 pm. $10 advance, $12 day of show. 21+. See profile, page 46.

TUESDAY, APRIL 11 Hari Kunzru In acclaimed novelist Hari Kunzru’s newest book, White Tears, two young, white New Yorkers record a man singing in the park and tell people it’s the lost recording of a famous blues musician. They’re forced to confront the possibility that they’ve seen a ghost after a record collector authenticates the track. Powell’s City of Books, 1005 W Burnside St., 800-878-7323, powells.com. 7:30 pm. Free. See review, page TK.

Ron Lynch You might not know what Ron Lynch looks like, but you almost certainly know what he sounds like. Having done voice-over work on Bob’s Burgers, Home Movies and Adventure Time, Lynch’s deadpan is probably a recurring voice in your internal monologue at this point, and it helps that he's even funnier in person than when he’s playing a pesky bureaucrat with a red Beavis haircut. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 503-477-9477, curiouscomedy.org. 7:30 pm. $10. All ages. Willamette Week APRIL 5, 2017 wweek.com

FOOD & DRINK = WW Pick. Highly recommended.

@WillametteWeek

@wweek

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

WEDNESDAY, APRIL 5 German Sparkle Party

In an event based mostly on nonsensical word associations, Belmont Station will host a ton of German beers, including Radeberger Pilsner and Kölsch, plus a special Rosenstadt Weizenbock and Heater Allen Helles Bock brewed only for the Station’s 20th anniversary—plus, randomly, somebody putting sparkle threads in people’s hair. It’s like a Tom Peterson haircut, but for beer raves. Belmont Station, 4500 SE Stark St., 503-232-8538. 5-8 pm.

THURSDAY, APRIL 6 Brewvana 6th Anniversary

The people with the beer bus are holding still for a second at the new triple-decker Slabtown Breakside brewpub that’s now home to an excellent hazy IPA. This means, for the most part, lots of beer, a photo booth Brewvana swears is infamous, and ice-sculpture carving. What’s beer without chain saws? Breakside Brewery, 1570 NW 22nd Ave., 503-7296804. 5-9 pm. All ages.

SATURDAY, APRIL 8 April Sours

Both days this weekend, Hoplandia will ﬁll its taps—16 of them at a time—with sour after sour, whether the excellent Sur Amarillo from To Ol, De Garde’s new Petit Blanc, Cascade’s Sang du Chêne, or Lost Abbey’s Cuvee de Tomme. It’s not a wealth of obscurities, but it’s a nice collection. No tix, just show up and drink. Hoplandia Beer, 8600 N Ivanhoe St., 971-271-7556. All day.

4th Annual Hopped Cider Fest

Reverend Nat’s, Portland’s original home to the many variegated possibilities of hopped cider, will host a festival devoted to at least 36 of the many variegated possibilities of hopped cider, from all over the country. $25 nets a glass and seven tasting tokens. Reverend Nat’s Cidery & Public Taproom, 1813 NE 2nd Ave., 503-567-2221. Noon-9 pm.

3. Bless Your Heart

Where to eat this week. 1. Sunset Fried Chicken

In Rachel’s Ginger Beer, 3646 SE Hawthorne Blvd., sunsetfriedchicken.com. Until April 25, enjoy quite possibly the ﬁnest fried chicken sandwich in town—a blessedly crisp OG sammie with dill pickle and acidsweet slaw. She’s a beauty. $.

2. Fukami

R E V NE S MIS A BEAT

In Davenport, 2215 E Burnside St., fukamipdx.com. Oh. Fuck. Every Sunday and Monday, reserve a place to get umpty plates of kaiseki-style Japanese food, from nettle salad to the ﬁnest sashimi in town. For these 19 courses, $95 isn’t a high price. $$$$.

126 SW 2nd Ave., 503-719-4221, byhpdx.com. Hot damn—real-deal East Coast hamburgers, whether Carolinastyle or straight-up double-cheese on a Martin’s potato roll. Life is good. And bless your heart. $.

4. Wares

2713 NE Sandy Blvd., 503-954-1172, warespdx.com. Smallwares is back, small, as Wares in the Zipper food mall: fried kale, chicken ramen, sichuan noodles and killer brunch congee. $$.

5. XLB

4090 N Williams Ave., 503-841-5373, xlbpdx.com. XLB took a second to get its bearings—but on our last visit, it served up dumplings bursting with beautifully savory soup, great mushroom bao and ﬁve-spice popcorn chicken. $$.

DRANK

Devils Bit (MCMENAMINS)

#wweek 36

Willamette Week APRIL 5, 2017 wweek.com

In ways largely unsung, McMenamins’ two distilleries at Cornelius Pass and Edgefield have been making some of the only nonwhite whiskies in the Portland area. The most notable of these is a flask of Devils Bit released each year on St. Patrick’s Day. For the 2017 release, McMenamins put out two versions— a port-finished four-year distilled at Cornelius Pass, and a four-malt whiskey from Edgefield, aged eight years in charred oak. Both cost the same, a steep $23 for 200 milliliters. The 97-proof four-year runs a bit hot—with a singing port note— but the Edgefield straight malt is a beautifully complicated sip with low, deep chocolate notes, a palpable graininess and a caramel finish. It’s a lovely whiskey, and much more American than Irish. Recommended. MATTHEW KORFHAGE.

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

REVIEW

Sha

www.sha

Shandong www.shandongportland.com

CONE HEADS: Spitz makes kebabs the traditional way.

Globalism Is Good SPITZ DÖNER KEBABS TODAY, SPITZ DÖNER KEBABS TOMORROW, SPITZ DÖNER KEBABS FOREVER. BY M A RT I N C I Z M A R

mcizmar@wweek.com

SAM GEHRKE

The kebab is edible multiculturalism. The Turkish street food came to Berlin along with a half-million immigrants, and is now a multibilliondollar business in Germany. Kebabs are standard street food across Europe—pretty much everyone who’s ever spent a long night drinking in Kreuzberg or smoking in Amsterdam has experienced the magic of spit-roasted lamb and beef served on flatbread with a lightly oiled salad and a bright tomato-based sauce. Muslim cooks didn’t mind serving drunk Europeans; drunk Eurotrash soccer fans didn’t mind doing business with brown people. For those of us who haven’t given up on the dream of globalism (read: gentrifying yuppie neolib scum), it’s nice to see a proper döner kebab in Portland thanks to California-based Spitz (like I said, gentrifying neolib scum!). Spitz was opened in Los Angeles a decade ago by two buddies with fond memories of chasing too many Pilsners with kebabs, subsequently expanding to under-kebabbed Salt Lake City, Minneapolis and, now, Portland. The stylish counter-service chainlet has street-styled interiors with graffitied walls and old vinyl tucked next to the bottles on the full bar, which specializes in fruited sangrias. Spitz is one of the only places in Portland slicing meat off slow-spinning cones and, for my money, is the best kebab spot in town. The heart of the menu is the Berlin döner ($9.75), made with thin slices of beef and lamb, chicken or a blend of beef, lamb and chicken that are shaved off the cone with a little crispness, sur-

rounded with a slaw of cabbage, carrots and sumac. Just add a dollop of tzatziki, then neatly and tightly wrap it into a kebab about the size of a road flare. There are various options on kebab fillings like pepperoncinis, feta or french fries, but my favorites are the spicy döner with fiery chili sauce and that classic with the house Berliner sauce—a harissa made in-house with poached garlic, tomatoes and chili paste. It’s on the salad-y side for a kebab, and you’ll probably want some fries on the side if you’re using it to sop up whiskey from the Old Gold next door. About that spit: It’s back there, roasting the meat cones custom-made for Spitz, but you won’t see it. That’s because co-founder Robert Wicklund made the conscious decision to hide the kitchen as part of making this an “elevated” take on the döner kebab. “There are some wonderful aromas that are created by cooking those cones,” Wicklund says. “But we actually got some feedback that you would leave smelling like those aromas, and we wanted a place you could go for lunch and then go back to the office. A lot of our decisions were based on ‘Can you eat this for lunch?’” You’ll also find unapologetic drunk food like the Street Cart fries ($8.50), which are smothered in garlic aioli, feta, onion, green pepper, tomato, olives and pepperoncinis—or the Berliner fries, which are sopped with red sauce and tzatziki. You can add meat for $3, and I recommend it. That combination of compressed meat, creamy tzatziki and earthy Berliner sauce is something I’ve long loved, and sought in this city. And so I say: thank you Turks, thank you Germans, thank you Angelenos. GO: Spitz, 2103 N Killingsworth St., 503-9543601, spitzpdx.com. 11 am-10 pm SundayThursday, 11 am-midnight Friday-Saturday.

The Sky is Falling Want to try what might just be the best fried chicken sandwich in town? You have a month. When Seattle-born Rachel’s Ginger Beer opened in the former Peet’s Coffee space on Southeast Hawthorne last November, it brought along Seattle’s Sunset Fried Chicken. I went for the first (and second) time last week—just after owner Monica Dimas announced she’s pulling the plug on the chicken after April. This makes me sad.

Sunset’s basic birdwich ($8) is made with buttermilkmarinated thighs that are juicy inside and crisp outside. The chicken is served on soft, buttery toasted Franz buns with dill pickles, a super-tangy cabbage slaw and a light layer of mayo. It’s incredibly dense with flavor, and if it isn’t the best fried chicken sammie in town, it’s second behind Basilisk. Go while you can. MC. GO: Rachel’s Ginger Beer, 3646 SE Hawthorne Blvd., sunsetfriedchicken.com. 11 am-11 pm daily.

Simple ApproAch

Bold FlAvor vegan Friendly

open 11-10

everyday

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

Fillmore Trattoria

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

1937 NW 23RD Place Portland, OR 97210

(971) 386-5935

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STREET Willamette Week APRIL 5, 2017 wweek.com

Willamette Week APRIL 5, 2017 wweek.com

MUSIC HOT TAKE

JEFF DREW

’Head Takes THE LAST RADIOHEAD OPINIONS LEFT TO GIVE. BY M AT T H E W S I N G E R , P E TE COTTELL AND

M A RT I N C I Z M A R

503-243-2122

Every generation wants its Beatles. That is to say, everyone wants a genius to call their own—that one artist we’ve universally agreed upon as the best, who has not just the critical accolades but the numbers to back it up. In the ’80s, depending on your perspective, it was either Michael Jackson, Prince or U2. Right now, it’s probably Beyoncé. And since Nirvana got to put out only three albums before Kurt Cobain rode shotgun off this mortal coil, the ’90s had Radiohead. Crazy to think, but the last time Portland hosted the singular British artrock troupe, on the OK Computer tour in 1996, Radiohead wasn’t quite the consensus Best Band of Their Generation yet, just the best of that particular moment. In the years since, it seems like everything there is to say about the band has already been said. Turns out, there are still a few takes left smoldering on the grill. No, we’re not going to try to go the “actually, Radiohead sucks” route, or mount an argument for Pablo Honey being their best record. But there are still a few things that need to be said. Here are five of them.

RADIOHEAD IS A LEGACY ACT NOW

Take that as a slur if you want. It’s really just the natural order of things. If you’re a band that manages to stick around for 20-plus years without ever falling off hard enough that you’re forced to “return to form,” you’re eventually going to become a victim of your own consistency. Radiohead has yet to make a bad record, but the reaction toward the last two, once the initial palpitations subsided, was basically, “Yeah, that sounds about right.” Meanwhile, the impending 20th anniversary of OK Computer has already got the Think Piece Industrial Complex revving its engines, and recent set lists look more like a band reviewing its career than touring behind a new album. I’m not saying they’re going to be hitting the casino circuit anytime soon, or they’re no longer capable of the thrilling innovations they made their name on—only that they’ve crossed the plateau where their past is going to loom larger than anything they do in the future. At any rate, it’s getting much easier to imagine their set at Oldchella 2035, when you lean over to your friend and say, “I didn’t think they were going to play ‘Fake Plastic Trees’ and then, bam, second encore!” MATTHEW SINGER.

ONLY ASSHOLES THINK KID A IS RADIOHEAD’S BEST RECORD

We get it—you’re “artsy.” You too felt the weight of expectations as they crushed Thom Yorke in the wake of OK Computer. You’re over “rock ’n’ roll” and believe the future of music lies elsewhere. These are all defensible arguments, but the fact you’re using Radiohead’s fourth-best record as your fulcrum immediately razes whatever high ground you stand on. “It’s a minimalist masterpiece!” you exclaimed. In that Kid A has two songs that barely even qualify as songs, I suppose you’re right. But have you experienced firsthand the synchronized convulsing that drugged-out festival crowds engage in when the band kick-starts the latter half of its set with “Idioteque”? Aphex Twin and Brian Eno—the IDM and ambient pioneers you inevitably glommed on to based on critics’ suggestions after Kid A “blew their minds” back in 2000— would look upon this level of wookery with shame. It’s assumed you’ve moved on to harder, more “challenging” shit like Lightning Bolt and Prurient by now. But if defending this album’s electronic gobbledygook is still your life’s work, give John Mayer’s cover of the title track a listen and have a seat when you realize how much better it is than the original. PETE COTTELL.

ATOMS FOR PEACE IS JUST AS GOOD AS LATE-PERIOD RADIOHEAD

The old joke about Radiohead is that Thom Yorke could record himself farting into a paper bag and critics would call it “genius.” He never actually did that, of course, but he did go out and recruit Flea for a side project. And indeed, it turned out to be a pretty brilliant maneuver. From a personnel standpoint, it felt like fan-trolling. Sure, he also enlisted producer Nigel Godrich, “the sixth Radiohead,” to play keys. But the Red Hot Chili Peppers guy? Why else did you wear that Kid A shirt every day in college if not to separate yourself from the troglodytes

blaring “Suck My Kiss” at keg parties? From Yorke’s perspective, though, when you’ve spent two decades mumble-moaning about the darkness of the soul, a funk-rock frat party must be a nice reprieve. Amok, the eventual Atoms for Peace album, isn’t exactly a funk album, but it is funky, in the twitchyglitchy sense, and much more successful in that regard than The King of Limbs from two years earlier. And when I saw the band at Coachella in 2010, Yorke actually looked like he was having fun, busting out his Elaine Benes-on-ayahuasca dance moves as Flea did his usual full-body air-humping while jamming a melodica. I like to imagine Yorke leaves him a voice mail every couple months, like, “Oi, mate, if Anthony ever gets sick, I’ve been practicing: Rama-dong-a-dong-a-dongbing-bong…” MATTHEW SINGER.

RADIOHEAD’S BEST DEEP CUT ISN’T EVEN A RADIOHEAD SONG

Radiohead’s success aligned perfectly with the ascent of the internet, and the combination of slow output, conspiracy mongering and out-of-nowhere releases has been fanboy fuel since day one. Driven by sites like Green Plastic and At Ease, a shadowy world of rarities and B-sides has been steadily propagating for three decades. This world felt stabbed in the heart when “True Love Waits,” every devoted fan’s “I know them better than you” card since the song trickled into live sets in about 1995, was finally released on last year’s A Moon Shaped Pool. It’s a fine song as far as Thom Yorke ballads go, but it barely holds a candle to the gloomy, angsty wailing he supplied for UNKLE’s “Rabbit in Your Headlights.” Conceived as a one-off project by DJ Shadow and Mo’ Wax records co-founder James Lavelle,

UNKLE’s 1998 debut, Psyence Fiction, was a dark and dystopian masterpiece stacked with blockbuster guest appearances that reaches its harrowing climax courtesy of Yorke. “Rabbit in Your Headlights” remains untouched as the peak of Radiohead’s dread-ridden, piano-driven outliers—even if it’s not a Radiohead song, per se. PETE COTTELL.

RADIOHEAD MADE THE INTERNET COOL

Everyone knows the internet was invented in 1973 by Al Gore. But it took Radiohead to take a then-obscure nerd technology and make it cool. Once upon a time, albums were circulated by compact discs, which were housed in plastic “jewel cases” with a little booklet that included notes thanking A&R guys, and sometimes lyrics or scribbles or band photo outtakes. The booklet for Radiohead’s second record, 1995’s The Bends, included what appeared to be a series of random letters and punctuation—http:// musicbase.co.uk/music/radiohead/. Young Radiohead superfans such as myself—Radiohead is a band that’s always lent itself well to obsession—realized this was a Hypertext Transfer Protocol all the kids in computer class were so stoked about, showing us how to go onto the information superhighway to see what was on the site. What was there? Nothing I can remember, and archive.org didn’t capture the page. I can find no traces of the content online, anywhere; I had to dig through crates to find my old first-edition CD to even be sure it existed. Is there anything cooler than a website the internet doesn’t even remember existed? No, there is not. MARTIN CIZMAR. SEE IT: Radiohead plays Moda Center, 1 N Center Court St., on Sunday, April 9. 7:30 pm. Sold out. All ages. Willamette Week APRIL 5, 2017 wweek.com

Willamette Week APRIL 5, 2017 wweek.com

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

WEDNESDAY, APRIL 5

SATURDAY, APRIL 8

Wire, Golden Retriever, Public Eye

Captured! by Robots, Spazztic Blurr, Rotting Slab, Snakes

THURSDAY, APRIL 6 Out from the Shadows III

[DARKWAVE GATHERING] See Get Busy, page 35. Tonic Lounge, 3100 NE Sandy Blvd., 503-238-0543. 9 pm through April 8. $10 per day, $23 three-day pass. 21+.

FRIDAY, APRIL 7 Cosmonauts, the Molochs, Melt

[GARAGE PSYCH] The Cosmonauts are space-themed workhorses. Coming from Orange County, one would think growing up surrounded by various levels of affluence would produce a “silver spoon” attitude toward making it big, but while their music embodies some of the best in slacker rock, their work ethic certainly does not. From playing numerous sets at SXSW and Burger Records showcases while continuing to tour indefinitely, it seems like the boys haven’t much time for stopping to smell the roses. At least in their newest video, for “Short Wave Communication,” founding member Derek Cowart takes some time to shoot the breeze with Shannon Lay of the band Feels, who contributes vocals on the track. It ends up being a reminder that it’s OK to set work aside and enjoy life for what it is. CERVANTE POPE. Bunk Bar, 1028 SE Water Ave., 503-328-2865. 9 pm. $10 advance, $12 day of show. 21+.

[RAGE OF THE MACHINES] On the one hand, it seems almost miraculous that a “robot band” gimmick could find enough of an audience to survive for 20 years. But then again, when you’re dealing with a bunch of nuts and bolts rather than sentient beings with fragile egos, it’s probably much easier to keep things together. That was basically the concept that birthed Captured! by Robots in 1996. According to lore, the band started after a musician named Jay Vance got fed up with his human bandmates and decided to build his own, only to have them revolt, enslave him, and go on the road for two decades. It’s a pretty ridiculous idea, but the fact that the guy for-real built his own rhythm section is certainly impressive. Initially, the whole thing was mostly played for laughs. But new album Endless Circle of Bullshit is something slightly more serious, a spasmodic grindcore tantrum raging against the current state of the country. Sorry, Anal Cunt, but it seems that not even your job is safe from the threat of automation. MATTHEW SINGER. Dante’s, 350 W Burnside St., (866) 777-8932. 9 pm. $10. 21+.

Vanessa Carlton, Tristen

[PIANO BARD] Vanessa Carlton’s journey from “A Thousand Miles”

Entrance, Hollow Sidewalks

[STONER BLUES] If there’s one dude who can command a stage almost entirely on his own, it’s Guy Blakeslee. Normally playing alongside the rest of his menagerie of talented musicians in the Entrance Band, Blakeslee’s solo work is equally captivating. With the release of his first album in a decade, Book of Changes, Blakeslee opens up a chapter of intimacy Entrance fans have never really heard from him before. A classic story of love and loss is told through what, for him, is an atypical folk-pop lens. For those of us who have wondered what’s been going on with our beloved Blakeslee over the past 10 years, Book of Changes tells it all, and

CONT. on page 42

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

[POST-PUNK PIONEERS] Television may get all the credit for goading early rock critics into using the term “angular,” but the legacy of London’s Wire traces a parallel line that’s been far more fruitful and influential in its breadth of tones and dynamics. The fact that Wire’s formula of shimmering guitar lines, krautrock rhythms and dense synth buildups still holds on its 15th record, the forthcoming Silver/Lead, should give hope to musicians of all stripes that doing one thing incredibly well can yield decades of greatness that’s often imitated but never replicated. PETE COTTELL. Dante’s, 350 W Burnside St., 503-226-6630. 9 pm. $20. 21+.

began with a step back from the epochal 2002 single. When a classical-trending pop keyboardist launches her career so dramatically—with a Grammy-nod-amassing beast that pushed her debut album platinum and shall haunt generations of piano teachers—there’s no obvious sophomore strategy beyond the eagerly awaiting arms of adult contemporary. One could hardly blame subsequent collections for veering minor-key or off-Broadway. Carlton’s fifth album, Liberman, named after her grandfather and supposedly inspired by one of his ’60s portraits, represents something of a comeback after five years’ recording silence. But, as if eager to dissuade fans still awaiting a return to her early Coldplayby-numbers, hook-driven simplicity, Carlton seems eager to bury all but the merest suggestion of drive-time ubiquity midst New Age morass. Absent the slightest trace of momentum, there’s just no point in announcing new paths, nor much virtue to be found from ennobled aimlessness, however admirable her reluctance to slavishly retrace her well-worn victory lap. JAY HORTON. Doug Fir Lounge, 830 E Burnside St., 503-231-9663. 9 pm. $25 advance, $27 day of show. 21+.

Moon Hooch, Animal Eyes, the Lucy Ring

[BUSKER DUB] The pervasive storyline following Moon Hooch is its rise from literal underground sensations, performing in New York subway stations, to the kind of indie breakthrough NPR salivates over. This is all true, but the pedalassisted tone-bending that the trio (two saxophonists, one drummer) brings to proper club performances is what truly leaves an impression. The songs quickly weave around conservatory-kid song structures stuffed with jazz and funk licks that crash headlong into dance rock and tongue-in-cheek EDM drops before you can assess what hit you. The sounds conjured by Moon Hooch on its recent Joshua Tree EP are as impossible as they are danceable, creating a strong case for Moon Hooch as prospective midlevel festival headliners now much too accomplished to ever revert back to playing in the subway. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 503-231-9663. 9 pm. $15 advance, $17 day of show. 21+.

Desiigner, Rob $tone, Ski Mask

the Slump God, 16YROLD

[HIP-HOP] When Desiigner made his television debut, performing his hit “Panda” on The Late Show With Stephen Colbert in 2016, it marked a major turning point in the 19-year-old rapper’s career. Kanye West had already signal-boosted the song, sampling it on The Life of Pablo, and signed the former Sidney Royel Selby III to his G.O.O.D. Music imprint. But critics had dismissed him as a one-hit wonder and Future knockoff. Watching him on TV, though, hitting his signature microphone toss and dabbing to a national audience, proved awe-inspiring. This was no one-hit wonder, but a star in the making. While his New English mixtape showed him working a darker aesthetic, his new single, “Outlet,” reverts back to the Desiigner we are starting to love, with a stuttering, double-time flow, zany ad-libs and a war cry for a hook. As big as “Panda” fever was, it’s starting to look like just the first bullet point on Desiigner’s growing lists of wins. ERIC DIEP. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 8 pm Wednesday, April 5. $23 advance, $25 day of show. All ages. Willamette Week APRIL 5, 2017 wweek.com

MUSIC tonight, he’ll be the one reading it aloud. CERVANTE POPE. High Water Mark Lounge, 6800 NE Martin Luther King Jr. Blvd., 503-286-6513. 9 pm. $13. 21+.

Weekly Jazz with alan Jones

Wednesdays starting in april

8pm

2393 ne Fremont @wweek

Dude York, PAWS, Talk Low

[’90s ROCK FOR NOW] Mostly hardstrummed guitar chords and kick drum, Dude York would certainly be playing bigger venues than the Analog Theater, if only it had been all born 10 years earlier. Being from Seattle, it’s odd the band isn’t more popular, even here. But the songs do feel out of touch with the rock tastes of 2017, mostly because they’re strong and convicted, lacking the Car Seat Headrest-style self-deprecation that’s regrettably replaced Weezer-style overconfidence in most contemporary guitar rock. Dude York’s musicians sing about how they feel—in one case on a song actually titled, “The Way I Feel”—without over-intellectualizing it or even trying to make it funny. It’s sad how incredibly refreshing that is. “All my friends are out there,” they sing on “Something in the Way,” “acting like they don’t care/But I just don’t wanna go.” Dude York may be throwing its own party instead of joining yours, indie bro, but trust me—next time, you’re better off going to it. ISABEL ZACHARIAS. The Analog Cafe, 720 SE Hawthorne Blvd., 503-206-7439. 6 pm. $10. All ages.

Jacques Greene, Suicideyear

S W NE

[DANCE] Montreal remixer Jacques Greene is no stranger to the club scene, touting a healthy DJing and production career that dates back to around 2010. In between reworking tracks from the likes of Radiohead and Shlohmo, Greene has turned out a handful of mixtapes and EPs, but the recent Feel Infinite marks the Canadian’s first full LP release under his own name. The record is an incredibly smooth assembly of house, R&B and electronic renderings built for the late-night dance floor, which should sound right at home in the tight and inviting confines of the Liquor Store. MARK STOCK. The Liquor Store, 3341 SE Belmont St. 9 pm. $15. 21+.

Marco Benevento, Wyndham, Lilah Larson

[JAZZ-POP ODDITIES] In the heart of New York’s Catskill Mountains, pianist-vocalist Marco Benevento runs a small recording studio called Fred Short. Packed with pianos, microphones and a dizzying array of electronics, the place is a dream factory that allows Benevento seemingly unlimited time to experiment with pop songwriting through the eyes of a constantly exploring jazz musician. Free from outside limitations, on his latest album, The Story of Fred Short, Benevento melds prepared piano and dark cymbal tones with vintage drum machines. A dark cloud of catchy songs with tones that you can’t quite put your finger on, it showcases a unique variety of jazz pop that should shine even brighter live. PARKER HALL. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 9 pm. $15 advance, $17 day of show. 21+.

SUNDAY, APRIL 9 Black Joe Lewis & the Honeybears, Dams of the West

[SOUL FUNK’S BRAND NEW BAG] No soul artist singing today really deserves a comparison to James Brown, but with Black Joe Lewis, it’s hard to deny the resemblance. Where Brown howled, “I feel good,” Lewis snarls, “Bitch, I love you,” with a conviction that’s impossible to fake. Lewis’s embrace of unprettiness, vulgarity and slang is a much more faithful homage to the spirit of vintage soul music than those sugary, throwbackobsessed neo-soul artists. Lewis, on the other hand, tells long, whimsical stories that groove hard and somehow always feel off the cuff. Compared to him, everyone else in this genre is phoning it in. ISABEL ZACHARIAS. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 9 pm. Sold out. All ages.

Willamette Week APRIL 5, 2017 wweek.com

PROFILE CARA ROBBINS

ALL IN

Bathroom Break Melina Duterte is frantic. She’s just rolled into the Toronto venue she’s playing tonight with her band, and seemingly everyone wants her attention: her two band members, a sound guy, me. She finally finds a quiet spot after dealing with all the inquiries. “OK, sorry,” says Duterte, who records as Jay Som, into a phone via FaceTime. “This is so stressful, but I think I’m ready. I’m in a bathroom.” The 22-year old San Francisco native recently released her stellar new album, Everybody Works, to such wide acclaim that it’s boosted her into overnight prominence—the kind that draws the masses from the ether with demands for her attention. She produced, recorded and performed the album entirely herself, save for a few vocal overdubs, and all within the confines of her bedroom. But to Duterte, it’s business as usual. “It’s kind of hard to talk about,” she says. “Everything happened so naturally. I’ve been playing music since I was 12 years old.” After self-releasing nine demos worth of songs online in a state of apathy, Duterte began working on her latest material with a renewed sense of confidence. She entered into a self-imposed boot camp of rehearsing specific instruments to fulfill the sonic requirements her ideas demanded. “I spent a lot of time playing drums,” she says. “I definitely knew how I wanted that part to sound, so I needed a lot of practice there. I’m always trying to improve on the sounds I’m making.” Hearing the finished product, it’s hard to believe it all came from someone’s modest bedroom. It’s a big-sounding album, and the drums are only part of the dynamic maelstrom. It’s as if Duterte borrowed My Bloody Valentine’s pedalboard to achieve the earworm pop appeal of Carly Rae Jepsen. The evolution of Everybody Works finds Duterte peacocking her skill at exemplifying a wide breadth of musical signatures. A bubbly, atmospheric haze on “Lipstick Stains” bleeds into a cacophonous avalanche of effervescent fuzz on “The Bus Song.” The dynamics of the two opening tracks alone could sustain a band through an entire career, let alone a single album, but Duterte then injects a laid-back, Phoenix-indebted groove so smooth and bouncy they could pass as hip-hop. She credits producer Chris Walla, formerly of Death Cab for Cutie, as a role model for his ability to capture a raw, DIY aesthetic before smoothing it to a shiny polish. But even when she’s not revolutionizing the practice of homerecording infectious pop albums, touring them and looking for a reliable WiFi location, Duterte still seeks out the quiet solitude of bathrooms. When asked how she’ll possibly manage to decompress after returning home from tour, she shrugs. “I don’t have any rituals, really,” she says. “I utilize hot water more frequently. Lots of hot baths and hot showers.” CRIS LANKENAU. Jay Som made 2017’s biggest bedroom album—but it’s not her favorite room in the house.

SEE IT: Jay Som plays Doug Fir Lounge, 830 E Burnside, with the Courtneys, on Monday, April 10. 9 pm. $10 advance, $12 day of show. 21+.

Mitski, Kadhja Bonet, Steady Holiday

[MILLENNIAL GUITARS] See Get Busy, page 35. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 8:30 pm. $15 advance, $17 day of show. All ages.

MONDAY, APRIL 10 Sohn, William Doyle

[ALT-ELECTRONIC] Christopher Taylor’s musical journey started on the run. In his late 20s, he uprooted his life in London, moved to Vienna and reinvented himself as electroR&B singer-producer Sohn. He harnessed the cavalcade of experiences preceding that chapter of his life on his debut album, 2014’s Tremors, and his career momentum has continued to snowball, right up through

the release of this year’s Rennen. The title, loosely translated from Dutch, means “to race,” but the tone of the album is anything but speedy. His restrained take on the singersongwriter style possesses whispers of gospel and blues, creating a intimate, melancholy atmosphere that forms the perfect soundtrack as winter months move into spring. WILLIAM VANCE. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 8:30 pm. $15 advance, $17 day of show. All ages.

TUESDAY, APRIL 11 Twin Peaks, Hinds

[LOVEY-DOVEY DUDE ROCK] Aside from really needing a more original name, Twin Peaks has carved out a unique place for itself in the nebu-

CONT. on page 45

CORBIN CORBIIN

INTRODUCING

Dim Wit

WHO: Jeff Tuyay (vocals, guitar), Tyler Verigin (drums). SOUNDS LIKE: A cauldron brewing art punk and strong emotion with a dash of jazz pop. FOR FANS OF: Pavement, Deerhoof, Modest Mouse. The Smiths were right—shyness is nice, at times, but it can definitely stop you from doing all the things in life you’d possibly like to. Thank goodness Jeff Tuyay, the songwriting force behind the duo Dim Wit, had a strong support system to pull him out of his shell. He credits his roommates, Tyler Verigin and Sarah Kue, of the now-defunct band Moon by You, for pushing him to bring the songs he’d been writing in his bedroom out into the open. “They kind of encouraged me to start a band,” Tuyay says. “Otherwise, I’d probably just be writing songs by myself that no one would hear.” Watching him and Verigin onstage now, as Dim Wit, wearing wild costumes and performing songs with titles like “Rim Job Resume” and “Carpool Tunnel Syndrome,” it’s hard to imagine Tuyay was ever nervous about playing in front of other people. Once again, it was Verigin who inspired the duo’s outrageous live show, suggesting the two assume alter egos to build their confidence. But the eclectic sound of Dim Wit originated in Tuyay’s bedroom. Self-Release, the pair’s debut, ranges stylistically from ’90s R&B to noisy shoegaze, though the most direct influences come from the bands Tuyay grew up listening to, namely Pavement and Modest Mouse. You can hear it in the band’s minimal yet complex instrumentation, and particularly in Tuyay’s songwriting, which confronts sadness through waggish humor. While it’s hard to tell from the goofy titles and upbeat rhythms, Dim Wit’s songs, at their core, are deeply heartfelt and emotional. Writing the album was a cathartic process for Tuyay, who has dealt with depression for years. “Without a sense of humor, I’d be in pretty bad shape, or possibly not even alive,” Tuyay says. “The world kinda really sucks a lot of the time, and there’s just so much fucked-up shit that I can’t help but laugh and cry about life’s absurdity.” CERVANTE POPE. SEE IT: Dim Wit plays the Know, 3728 NE Sandy Blvd., with the Coax, Devy Metal and Meringue, on Tuesday, April 11. 8 pm. $5. 21+. Willamette Week APRIL 5, 2017 wweek.com

Willamette Week APRIL 5, 2017 wweek.com

MUSIC lous ether of “indie rock.” First, it passes the “sincerity” litmus test, possessing the rough, lo-fi edge that’s become the genre’s currency of coolness. In fact, the culture of the band— 20-year-old men wearing denim snapbacks with the brims unbent, hands on their girlfriends’ waists— can overshadow the reality, which is that Twin Peaks, which started as a super-small DIY affair in Chicago, does some pretty incredible songwriting. Last year’s Down in Heaven was a surprise to everyone, departing smartly from the unleashed silliness of earlier releases and revealing a band capable of crafting sturdy, classic-sounding pop-rock songs with arresting mid-American romanticism. ISABEL ZACHARIAS. Doug Fir Lounge, 830 E Burnside St., 503-2319663. $18. All ages.

Brant Bjork, Royal Thunder, Black Wizard, Robots of the Ancient World

[DESERT DUDES] Since his days behind the kit of influential stonermetal outfit Kyuss, Brant Bjork has consistently swaggered across the lines between melodic post-Sabbath sludge, detuned doom riffage and straight 4/4 rockers. His 2016 release, Tao of the Devil, is a soulful display of what happens when retrorock boogie injected into monolithic stoner jams goes right, landing in a stoney space somewhere between Sleep and Eagles of Death Metal. PETE COTTELL. Hawthorne Theatre, 1507 SE Cesar E. Chavez Blvd., 503233-7100. 8 pm. $17 advance, $18 day of show. 21+.

King Gizzard & the Lizard Wizard, Orb

[SO PSYCH] With such an aggressive touring and recording schedule, you’d think psych-rock maestros King Gizzard and the Lizard Wizard would be exhausted. If the Aussie band is getting tired, it’s not showing yet, as the sprawling group is set to add two more albums to an already impressive discography later this year. A true strength-in-numbers act, the septet produces some of the most inventive, methodical and trippy rock out there. You don’t even need to get stoned for this one—the band’s wavy, hypnotic fuzz will do that for you. MARK STOCK. Revolution Hall, 1300 SE Stark St., 503-288-3895. 8 pm. Sold out. All ages.

CLASSICAL, JAZZ & WORLD Saving His Music, featuring Naomi LaViolette, Oregon Repertory Singers, Ethan Sperry and David Goodwin

Dave Holland Trio, featuring Kevin Eubanks

[STRING GROOVES] Less than a week after Dave Holland first heard iconic jazz bass player Ray Brown on vinyl, the British bassist sold his electric bass to buy an upright. And thank God for that. The warm sonic foundations laid down by the NEA Jazz Master, now a legend in his own right, have lifted everyone from Miles Davis to the most cutting-edge 21stcentury acrobats. Tonight, Holland performs a backbeat-laden set with Kevin Eubanks, whose electric guitar work propelled the Jay Lenoera Tonight Show band for 15 years. Known for capably blending fusioninfluenced sounds, the pair’s combined 10 strings should be a match made in musical heaven. PARKER HALL. Revolution Hall, 1300 SE Stark St., 503-288-3895. 8 pm Friday, April 7. $25-$55. All ages.

Oregon Symphony presents Mozart’s Requiem

[CLASSICAL SYMPHONIC] Folks, this is one of the big’uns. Billed on the Oregon Symphony’s website as “a performance to ponder the meaning of life,” Mozart’s Requiem was written literally from his deathbed, and though it remains unfinished, it stands as one of the towering masterworks by which classical snobs measure the quality of their local symphony at any given moment. Knowing this orchestra, no disappointments are forecast, and the featured vocalists toe that perfect line between undiscovered gem and rising star. National standout opera singer Sasha Cooke, fresh off her first Grammy, will be making her Oregon Symphony debut singing mezzo-soprano, while Katie Van Kooten will sing soprano, Jake Swanson tenor, and Andrew Foster-Williams bass-baritone. To top off the evening with a big, cheery cherry of death and existential dread, the Requiem will be played alongside Igor Stravinsky’s World War II-commemorative Symphony in Three Parts, making this an evening of delectable sadness you won’t want to miss. ISABEL ZACHARIAS. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-248-4335. 7:30 pm Saturday, April 8. Through April 10. $23-$105. All ages.

For more Music listings, visit

C O U R T E S Y O F B A N D C A M P. C O M

[MUSICAL LEGACY] When 64-yearold Wilsonville composer-pianist Steven Goodwin was diagnosed with early-onset Alzheimer’s three years ago, his family wanted to preserve his music. Unfortunately, many of his songs were never recorded or even notated, and he was losing the ability to perform or recall them. Enter veteran Portland pianist, singer and songwriter Naomi LaViolette, a friend

of the family who also accompanies the Oregon Repertory Singers, and who agreed to learn Goodwin’s music and write it down for posterity. After years of meetings and “filling in the musical potholes,” in Goodwin’s words, she recorded an album of Goodwin songs called The Nature of Love, which the family is releasing at this concert featuring LaViolette, the Oregon Repertory Singers and their director, Ethan Sperry, and David Goodwin. BRETT CAMPBELL. The Old Church, 1422 SW 11th Ave., 503222-2031. 7:30 pm Friday, April 7. $18 advance, $22 day of show. All ages.

NOBODY BEATS THE WIZ: King Gizzard & the Lizard Wizard plays Revolution Hall on Tuesday, April 11. Willamette Week APRIL 5, 2017 wweek.com

MUSIC

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J AY W I N N E B R E N N E R

PROFILE

YO U R LY K E E W PERK

Dad Rock Two years ago, Jenny Logan received a rather distressing email. All it said was, “Hi, how are you?” But coming from her father, that was cause enough for concern. “I was like, ‘Has your email been hacked?’” she says with a light chuckle. “‘What’s this about?’” Growing up, Logan had what could be described, in the mildest terms, as a strained relationship with her dad. When she was 13 years old, he pulled her out of school and placed her under what she calls a form of “house arrest.” He closely monitored everything she did, and even forbade her to speak; she still doesn’t quite know why. (He was later diagnosed with bipolar disorder.) After a year sequestered indoors, Logan escaped. She eventually ran off to New York, where she fell into the city’s music scene, and then to Portland, where she earned a law degree from Lewis & Clark College and helped co-found community radio station XRAY.FM. Though she’d corresponded sporadically with her father in the years since leaving home, when that first email arrived, it’d been a decade since Logan had heard from him. After some prodding, she learned why he was suddenly reaching out: He’d been diagnosed with a rare blood disorder, and doctors were giving him only months to live. And just like that, he was back in her life. It’s a lot for any musician to unpack on a single album. But on her new record, Logan gives it a try anyway. Released under the name Deathlist, the self-titled album finds her sifting through complex emotions in simple language and minimalist compositions. Until now, Logan has been primarily a musician in other people’s bands, most recently playing bass in Summer Cannibals. But for something so personal, she needed to go it alone. Other than a few drum tracks, she played everything herself. “It’s me trying to deal with what’s going on,” she says. “My dad’s in my life suddenly, and he’s dying, and I’m realizing I like him and care about him. Writing music is a way I process a lot of that stuff, so I started writing a lot of that stuff.” Against shadowy, lo-fi and often bass-driven arrangements, Logan struggles to process not just the damage wrought during her teenage years, but her compulsion to forgive and understand. “I will know you one day,” she sings on opener “Wait” over a fuzzy riff and crashing drums, her voice shrouded in ghostly reverb, “when all your life melts away.” That day has yet to come—despite his blood-disorder diagnosis, her father is still alive. But Logan has come to a few conclusions. And the most significant is that perhaps she and her father are not so different after all. “It’s been this weird mindfuck to see my dad and realize I identify with him a ton,” Logan says. “Not on any specific level, but in a way I can’t really articulate, it’s obvious we’re related.” MATTHEW SINGER. On her new album, Deathlist’s Jenny Logan tries to forgive—but not forget—her upbringing.

wweek.com

SEE IT: Deathlist plays the Know, 3728 NE Sandy Blvd., 503473-8729, with Bombay Beach and Point Juncture, WA, on Friday, April 7. 8 pm. Contact venue for ticket prices. 21+. 46

Willamette Week APRIL 5, 2017 wweek.com

MUSIC CALENDAR WED. APRIL 5 Ash Street Saloon

225 SW Ash St Amorphis, Swallow The Sun, Apophis Theory, Damage Overdose, Increate

Crystal Ballroom

1332 W Burnside St Desiigner

Dante’s

350 West Burnside Wire, Golden Retriever, Public Eye

Fremont Theater

2393 NE Fremont Street Alan Jones Sextet

Hawthorne Theatre

1507 SE César E. Chávez Blvd. The Tea Party

Holocene

1001 SE Morrison St. Powers, James Hersey

LaurelThirst Public House

2958 NE Glisan St The Way Downs; Anita Margarita & the Rattlesnakes

Mississippi Studios

3939 N Mississippi Ave. Susto, Cat Clyde

The Analog Cafe

720 SE Hawthorne Blvd. COURAGE MY LOVE

The Goodfoot

2845 SE Stark St Ben Larsen Trio

The Know

3728 NE Sandy Blvd. Guantanamo Baywatch, Nasalrod, Blesst Chest

The Lovecraft Bar 421 SE Grand Ave KrashKarma, Vajra Temple

The Secret Society 116 NE Russell St Tow’rs, Holly Ann

Twilight Cafe and Bar 1420 SE Powell Dirty Reggae Punx, Popshot, Manglor Mountain

THURS. APRIL 6

The Goodfoot

The Know

3728 NE Sandy Blvd. The Hugs, The Critical Shakes, Soccer Babes

The Lovecraft Bar

Holocene

1001 SE Morrison St. Bryson Cone, DNVN, Ripley Snell

LaurelThirst Public House

2958 NE Glisan St Kasey Anderson, Nathan Earle, Chris Margolin; Lewi Longmire & the Left Coast Roasters

Mississippi Studios

3939 N Mississippi Ave. Gold Casio, Kulululu

Roseland Theater 8 NW 6th Ave NF

225 SW Ash St Dwight Church, Dwight Dickinson, Eddie Kancer

Dante’s

350 West Burnside KARAOKE FROM HELL

The Tonic Lounge 3100 NE Sandy Blvd Out From The Shadows III Festival

Doug Fir Lounge

830 E Burnside St. Jay Som, The Courtneys

White Eagle Saloon

Duff’s Garage

836 N Russell St Metz & Guzman Birthday Bash with Rainbow Electric & Urban Shaman

2530 NE 82nd Ave Pete Anderson

Mississippi Pizza

3552 N Mississippi Ave Mr. Ben

Wonder Ballroom 128 NE Russell St. The Infamous Stringdusters

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

FRI. APRIL 7

The Goodfoot

2845 SE Stark St Sonic Forum

Ash Street Saloon 225 SW Ash St Michale Graves

Twilight Cafe and Bar

Bunk Bar

1028 SE Water Ave. Cosmonauts, the Molochs, Melt

Doug Fir Lounge

830 E Burnside St. Moon Hooch, Animal Eyes, the Lucy Ring

Duff’s Garage

2530 NE 82nd Ave Rick Emery

Hawthorne Theatre

1507 SE César E. Chávez Blvd. OG Maco

LaurelThirst Public House

2958 NE Glisan St Baby Gramps; Deadstring Family Band 3939 N Mississippi Ave. Dirty Revival and Midtown Social 1300 SE Stark St #110 Dave Holland Trio featuring Kevin Eubanks

Slim’s PDX

2530 NE 82nd Ave Whiskerman

MON. APRIL 10 Ash Street Saloon

116 NE Russell St Thursday Swing! Featuring Baby & The Pearl Blowers, The Pepper Grinders

Dante’s

Duff’s Garage

Wonder Ballroom

The Secret Society

Roseland Theater

830 E Burnside St. Ganja White Night

836 N Russell St Biddy on the Bench

421 SE Grand Ave Architect

Crystal Ballroom

Doug Fir Lounge

330 SW Murray Blvd, Beaverton, OR 97005 An Afternoon of Chamber Music

128 NE Russell St. Mitski

Revolution Hall

350 West Burnside DEVY METAL + VOLTURZ with Kozyul

Village Baptist Church

White Eagle Saloon

3341 SE Belmont St, LOSE YR MIND presents The Toads, 100 Watt Mind, Tallwomen

Ash Street Saloon

1332 W Burnside St Judah and The Lion

KindiePDX Family Music Showcase

The Liquor Store

Mississippi Studios

225 SW Ash St gazelle(s), The Upper Strata

LAST WEEK LIVE

2845 SE Stark St Jujuba

Alberta Street Pub

1036 NE Alberta St Matty Charles & Katie Rose, Rachel Mann

[APRIL 5-11]

For more listings, check out wweek.com.

THOMAS TEAL

= 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.

8 NW 6th Ave Tritonal

8635 N Lombard St. ECHoPURR, The Welfare State, Nuclear Green

The Analog Cafe

720 SE Hawthorne Blvd. NOTHINGTON; LINCOLN DURHAM, Onward Etc

The Firkin Tavern

1937 SE 11th Ave Santiam, Rocket 3, The Great Smoking Mirror

The Know

3728 NE Sandy Blvd. Bombay Beach, Point Juncture, WA, Deathlist

The Old Church

1422 SW 11th Ave Saving His Music featuring Naomi LaViolette, Oregon Repertory Singers, Ethan Sperry and David Goodwin

The O’Neil Public House 6000 NE Glisan St. Lesser Bangs

WESTEROS ROCKS: The Game of Thrones Live Concert Experience closed out its 24-city run April 2 in Portland, and it was a spectacle par excellence. Picture yourself at Moda Center. It’s a third full, dark, with three geometrically shaped stages and huge video screens pumping out high-def CGI graphics. An 80-piece orchestra in medieval garb is slamming away on classical and world music instruments in exclusively minor keys. The bass response is out of this fucking world, and there are 10 actual fire-spewing flame throwers; at one point, you literally feel the dragon’s breath as it melts you. A highly compressed, graphic video montage of the first six seasons roils your blood, pulls a tear from your eye. Cello solos steal the show, besting vocal, violin, woodwind and percussion, but it is also pretty fucking cool to hear a hammered dulcimer solo, backed by a full orchestra, under jumbotron vids. Ironically, though, the show reinforced and accentuated the irrelevance of the very musicians and soloists it was purportedly celebrating. Video cuts got the biggest applause of the night, and soloists frequently couldn’t compete with the TV. This was the music-licensing and soundtrack industry at its best and worst. “I also would like to point out that we’re working with a local orchestra and choir,” composer-conductor Ramin Djawadi said at the start of the show. “They sound absolutely amazing, thank you.” He never named the locals. Why would he? THACHER SCHMID. The Secret Society

116 NE Russell St The Barn Door Slammers; Stereo RV, Bo Baskoro, Brant Colella

The Tonic Lounge

3100 NE Sandy Blvd Out From The Shadows III Festival

Twilight Cafe and Bar 1420 SE Powell Street Tramps, The Night, Bad Sex

White Eagle Saloon

836 N Russell St Fergheart, Paul Trubachik, & Bill Wadhams at White Eagle; Makaena Durias (happy hour)

SAT. APRIL 8 Arlene Schnitzer Concert Hall

1037 SW Broadway Oregon Symphony presents Mozart’s Requiem

Ash Street Saloon

225 SW Ash St Bomb Squad, Millhous, Chartbusters, God Bless America

Dante’s

350 West Burnside

Captured! by Robots, Spazztic Blurr

Doug Fir Lounge 830 E Burnside St. Vanessa Carlton

High Water Mark Lounge 6800 NE MLK Ave Entrance

LaurelThirst Public House

2958 NE Glisan St Kris Deelane & the Hurt; Greydogz (all ages); Lavender Country, Mouth Painter

Marmoset Music

2105 SE 7th Ave, Ural Thomas and the Pain

Mississippi Studios

The Firkin Tavern

1937 SE 11th Ave The Doomies, Stochasm, Edward Mainwaring

The Goodfoot

2845 SE Stark St Object Heavy with Diggin’ Dirt

The Know

3728 NE Sandy Blvd. Moth Vision, Strange Babes (DJ sets)

The Liquor Store

3341 SE Belmont St, Jacques Greene, Suicideyear

The Lovecraft Bar 421 SE Grand Ave Volt Divers

The Secret Society

Slim’s PDX

116 NE Russell St Tropical Night feat. Dina y los Rumberos; The Jenny Finn Orchestra

Star Theater

3100 NE Sandy Blvd Out From The Shadows III Festival

3939 N Mississippi Ave. Stephen Ashbrook 8635 N Lombard St. Matthew Lindley/ Purusa/Tumbledown 13 NW 6th Ave. B. Dolan, DJ Abilities, Cas One vs. Figure

The Analog Cafe

720 SE Hawthorne Blvd. Dude York, PAWS, Talk Low

The Tonic Lounge

Twilight Cafe and Bar 1420 SE Powell End of Pipe, Faster Housecat

Wonder Ballroom 128 NE Russell St. Marco Benevento

SUN. APRIL 9 Ash Street Saloon 225 SW Ash St Stoning Giants

KAVA, Marshan Sounds, Jet Echo, Stereo No Aware; SHADOWS OF THE REVOLUTION, SIMPLY 8

Dante’s

The Know

350 West Burnside JACKYL

Fremont Theater

2393 NE Fremont Street Emily Arrow

LaurelThirst Public House

2958 NE Glisan St Julie & the WayVes (all ages); Open Mic hosted by Taylor Kingman; Freak Mountain Ramblers

Mississippi Studios

3939 N Mississippi Ave. Black Joe Lewis & the Honeybears, Dams of the West

Moda Center

1 N Center Ct St, Radiohead

Rontoms

600 E Burnside St The Wild Body, Fauna Shade (SEA), Fire Nuns

The Analog Cafe

720 SE Hawthorne Blvd.

3728 NE Sandy Blvd. Flesh World, Lavender Flu, Arctic Flowers

The Old Church 1422 SW 11th Ave The Lowest Pair

The O’Neil Public House

6000 NE Glisan St. Mrs. Doyle & the Teapots

The Secret Society

116 NE Russell St Young Elk, Falcon Heart, Andy Sydow, Livy Conner & Hammerhead

Twilight Cafe and Bar 1420 SE Powell Question Tuesday, Little Urban Achievers, The Whining Pussys, Mike Moldy & The Shenanigans, Schadenfreuders

Valentines

232 SW Ankeny St Biker Weed, Blink Machine, Roadkill, Whale Feather

Village Ballroom

700 NE Dekum St,

1420 SE Powell Ellis Pink, Emby Alexander, Mood Beach

White Eagle Saloon 836 N Russell St Reed Turchi

Wonder Ballroom

128 NE Russell St. SOHN, William Doyle

TUES. APRIL 11 Doug Fir Lounge 830 E Burnside St. Twin Peaks, Hinds

Fremont Theater

2393 NE Fremont Street The Oregon Bluegrass Association presents The Greg Blake Trio

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Brant Bjork, Royal Thunder, Black Wizard, Robots of the Ancient World

Mississippi Studios

3939 N Mississippi Ave. Sound and Vision with Jessica Dennison + Jones

Portland Abbey Arts

7600 N Hereford Ave. The April Round: Tevis Hodge Jr, Nick McCann, and Karen Lovely

Raven and Rose

1331 SW Broadway, Na Rósaí

Revolution Hall

1300 SE Stark St #110 King Gizzard & the Lizard Wizard, Orb

The Goodfoot

2845 SE Stark St Andy Coe Band

The Know

3728 NE Sandy Blvd. Dim Wit, the Coax, Devy Metal, Meringue

The Ranger Station

4260 SE Hawthorne Blvd. Bluegrass Tuesday

Twilight Cafe and Bar

1420 SE Powell Bryan McPherson, Davey Death Ray & Kenny Norris

Willamette Week APRIL 5, 2017 wweek.com

MUSIC COURTESY OF ALONZO MOURNING SICKNESS

NEEDLE EXCHANGE

Alonzo Mourning Sickness Years DJing: 17. Genres: Disco, funk, boogie, house, hip-hop, balearic, indie, soul. Catch me regularly at: Cruzroom every first and third Saturdays; Random Order every first Thursday; Killingsworth Dynasty every second Thursday for Deep Disco. Craziest gig: Northern Draw’s birthday at the Know. Supertalented lineup for that party, and I was just really honored to be a part of the festivities. A whole lot of love in the room that night. My go-to records: K.I.D., “Hupendi Muziki Wangu”; Social Lovers, “Can’t Let It Go”; the Grouch, “Hot Air Balloons”; Psychemagik, “Mink & Shoes (Dub).” Don’t ever ask me to play…: Anything. If you don’t like the song I’m playing, the good news is there will be a different one soon. Don’t like that one? Then you are likely a dork. NEXT GIG: Alonzo Mourning Sickness spins at Killingsworth Dynasty, 832 N Killingsworth St., on Thursday, April 13. White Owl Social Club 1305 SE 8th Ave East Taken by Force (rock ‘n roll)

FRI. APRIL 7 WED. APRIL 5 45 East

315 SE 3rd Ave Hannah Wants

Beulahland

118 NE 28th Ave Wicked Wednesday (hip-hop)

Ground Kontrol

511 NW Couch St. TRONix: DJ Metronome (techno)

The Lovecraft Bar 421 SE Grand Ave Event Horizon

Tube

18 NW 3rd Ave. Easy Egg

THURS. APRIL 6 Bit House Saloon 727 SE Grand Ave Wax Therapy Drum & Bass Night

Willamette Week APRIL 5, 2017 wweek.com

Black Book

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

Double Barrel Tavern 2002 SE Division St. DJ Easy Fingers

Ground Kontrol

511 NW Couch St. DJ Brokenwindow / Strategy

45 East

315 SE 3rd Ave Riot Ten

Bit House Saloon

727 SE Grand Ave NoFOMO (house, techno)

Black Book

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

Crystal Ballroom

Killingsworth Dynasty

1332 W Burnside St 80s Video Dance Attack 12th Anniversary Party

Lay Low Tavern

Hawthorne Eagle Lodge 3256

832 N Killingsworth St Goth Nite 6015 SE Powell Blvd. DJ Montel Spinozza

Moloko

3967 N. Mississippi Ave. Dig Deep: Sappho & Ceez Morales

The Lovecraft Bar

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

4904 SE Hawthorne Blvd. In The Cooky Jar (r&b, soul)

Jade Club

315 SE 3rd Ave Club Destiny Presents: LE1F (dj set)

Killingsworth Dynasty 832 N Killingsworth St LEZ DO IT

Where to drink this week. 1. The Know

HENRY CROMETT

BAR REVIEW

3728 NE Sandy Blvd., 503-473-8729, the knowpdx.com. Well, the restroom at the new Know—the Knew, perhaps?—might need a little more graffiti to feel the same. But “EAT SHIT, KYLE” is a good start.

2. Nyx

215 W Burnside St., nyxpdx.com. In the former Alexis, Nyx plays host to a crowd that looks more Brooklyn or Chicago than Portland—with hip-hop and sneakerheads worlds from the usual Old Town fratboys and fuccbois.

3. The Gold

2610 NW Vaughn St., 503-220-0283. The Gold smooshed together Slabtown Ribs and Acapulco’s Gold into a Tex-Mex bar with stiff-ass margaritas at $21 a pitcher. When the weather warms, where else would you be?

4. NightCap 2035 SE Cesar E. Chavez Blvd., 503-477-4252. Brunch spot by day, Trinket turns into a lovely dessert-and-liquor place by night—with Mumbai margaritas and salted honey pie.

5. Game Knight Lounge

3037 N Williams Ave., 503-236-3377, pdxgameknight.com. Well, the impossible happened: Somebody made a board game bar that’s actually usable as a real-deal hangout, with Candy Land for the kids while dad plays a first-edition Blood Bowl or epic Twilight Struggle.

Lay Low Tavern

6015 SE Powell Blvd. DJ Joey Prude

Quarterworld

4811 SE Hawthorne Blvd Glam Night

The Goodfoot

2845 SE Stark St First Friday Superjam (funk, soul, disco)

The Liquor Store

3341 SE Belmont St, Uplift

The Lovecraft Bar

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

The Paris Theatre

6 SW 3rd Ave Prince - A Memorial Dance Party

The steep and thorny way to heaven

SE 2nd & Hawthorne Brickbat Mansion: a tribute to 4AD w/ The Spider Ferns

Valentines

232 SW Ankeny St DJ Rockit (funk & hunk)

FADE AND SPARKLE: It’s opening night at 9 pm, and Tonic Lounge (3100 NE Sandy Blvd., 503-238-0543, tonicloungeportland.com) is sold out. It’s the most crowded I’ve seen the place—even for a long-running Sandy Boulevard venue where, in 2001, I saw Elliott Smith awkwardly standing next to Courtney Taylor-Taylor while Stephen Malkmus played. On March 23, Dead Meadow and Brian Jonestown Massacre’s Matt Hollywood are on the bill, seemingly half the musicians in town are in attendance, and something strange has happened: The Portland music scene has become deeply nostalgic for a club it never much liked to begin with. Blame Jon Taffer, I guess. After a failed Bar Rescue turned the place into the ill-fated Panic Room Caution: High Volume Bar, which briefly became Penis Room and then the Raven, the return of the not-so-storied Tonic Lounge name has taken on the character of a minor victory—a piece of beleaguered Old Portland rising from the sea. Recently taken over by the High Water Mark’s Eric Manfre and Chris Trumpower, Tonic Lounge has only a few cosmetic changes aside from a new sign with a funny hourglass insignia, and welcome additions like a fully covered patio and much better beer taps that include such heady modern innovations as Pfriem Pilsner. Those bar-rescued gray walls and carpet have weathered into themselves a bit, and a new sound system the bar picked up when it was the Raven is actually pretty decent. The club will briefly open for Friday and Saturday music shows only for a couple weeks—April 1 was a benefit for punk rocker Jonnycat—and then it’ll drift back into daily existence. Whether the excitement will last is hard to say—apparently only half as many people showed up for Dead Moon’s Fred and Toody Cole the following night. MATTHEW KORFHAGE. SAT. APRIL 8 45 East

315 SE 3rd Ave Ladies Night with Jack Novak

Bit House Saloon 727 SE Grand Ave Let Me Tell You

Black Book

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

Crystal Ballroom

1332 W Burnside St Come As You Are: 90’s Dance Flashback

Dig A Pony

736 SE Grand Ave. Shades - Queer Prom Night

Double Barrel Tavern 2002 SE Division St. DJ Blind Bartimaes

Ground Kontrol

511 NW Couch St. DJ Chip (r&b, hiphop)

Holocene

1001 SE Morrison St. Verified (rap, trap, club)

Killingsworth Dynasty 832 N Killingsworth St Electric Dreams (80’s)

Lay Low Tavern

Star Theater

Mississippi Studios

The Lovecraft Bar

6015 SE Powell Blvd. DJ Sean from Pork Magazine 3939 N Mississippi Ave. Jump Jack Sound Machine

The Liquor Store

3341 SE Belmont St, Jacques Greene, Suicideyear

The Lovecraft Bar

421 SE Grand Ave Musick For Mannequins w/ DDDJJJ666, Magnolia Bouvier & DJ Acid Rick (sexbeat, creep-o-rama, hunkwave)

Valentines

232 SW Ankeny St Devil’s Pie (hip hop, r&b, new jack swing)

Whiskey Bar

31 NW 1st Ave Christopher Lawrence Mission Trance

SUN. APRIL 9

421 SE Grand Ave Infinity Mirror (occult techno, esoteric ambiance)

MON. APRIL 10 Ground Kontrol

511 NW Couch St. Reaganomix: DJ Nate C. (80’s)

The Analog Cafe

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

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

TUES. APRIL 11 Kelly’s Olympian

426 SW Washington St. Party Damage: DJ Folk Lore

Sandy Hut

Lay Low Tavern

Tube

6015 SE Powell Blvd. DJ Atom 13

FEATURING LIVE PERFORMANCES FROM

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JOEL RAFAEL w/ JOHN TRUDELL’S BAD DOG

9PM

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13 NW 6th Ave. Church of Hive (goth)

Black Book

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

MUSIC MILLENNIUM PRESENTS

1430 NE Sandy Blvd. DJ Bad Wizard

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THE YOUTH MUSIC PROJECT BAND SATURDAY, APRIL 8TH AT 5PM

A supremely talented and fiercely dedicated band of students ages 16 to 17, they play popular music from several decades and genres, including songs by The Go-Go’s, Billy Idol, Steely Dan and The Beatles. Band members are interns at the Youth Music Project in West Linn, a non-profit offering private and group music lessons, and providing students with sophisticated, stateof-the-art performance and recording opportunities.

18 NW 3rd Ave. Tubesdays w/ DJ Jack

Willamette Week APRIL 5, 2017 wweek.com

PERFORMANCE K AT E S Z R O M

HOTSEAT

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

THEATER OPENINGS & PREVIEWS This Random World

Through a series of miraculously made and hopeless missed connections, This Random World examines the role of chance and fate in our lives. Portland Actors Conservatory is staging the play less than a year after it got some national critical attention at last year’s Humana Festival in Kentucky. As the title implies, the comedy/ drama is intended as a meditation on life’s randomness, so the plot weaves together several different storylines dealing with love and self-discovery. Portland Actors Conservatory, 1436 SW Montgomery St., pac.edu. 7:30 pm Thursday-Saturday, 2 pm Sunday, April 6-23. No show Sunday, April 16. $18.

ALSO PLAYING The Angry Brigade

Despite the fact that the eponymous leftist anarchist group orchestrated a series of bombings in London between 1970 and 1972, The Angry Brigade is more concerned with liberation from the mundane than the politics of terrorism. It’s a fast-moving play: The cast of four actors hurtles through an array of characters that range from absurdly hilarious to deeply compelling. The first half of the play follows Scotland Yard’s search for the Angry Brigade as the detectives become seduced by the philosophy of the enemy. The distinctly darker second half follows the Brigade themselves, four disillusioned college grads living in a bustedup flat. Like many of Third Rail’s plays this season, what makes The Angry Brigade so supremely imaginative is the creative team’s willingness to try and understand something simply for the purpose of experiential discovery, and not in the service of some end like morality. SHANNON GORMLEY. Imago Theatre, 17 SE 8 Ave., thirdrailrep.org. 7:30 pm Thursday-Saturday, 2 pm Sunday, through April 15. $25-$42.50.

Chapatti

Portland’s Irish theater company, Corrib, is bringing back their production of Chapatti. The play tells the stories of Betty, a cat lover, and Dan, a dog lover; two aging and lonely widowers who are brought together by a plan to bury a dead cat that was run over by a car. It might sound like little more than an average gooey rom-com with some quirky dark humor thrown in, but what made Corrib’s last production of it successful was the performances by Allen Nause and Jacklyn Maddux as Dan and Betty, both of whom will be reprising their roles. SHANNON GORMLEY. Artists Repertory Theatre, 1515 SW Morrison St., corribtheatre. org. 2 pm Wednesday, April 5, 7:30 pm Thursday-Saturday, April 13-15, 2 pm Sunday, April 16. $20-$25.

God of Carnage

When Alan and Annette Raleigh (Don Alder, Sarah Lucht) visit the home of Michael and Veronica Novak (David Sikking, Marilyn Stacey) to discuss a fight between their 11-year-old sons, it doesn’t take long for strained, awkward conversation (exemplified by Lucht’s brilliant facial expressions) to completely devolve into savagery—insults are hurled, hamsters are murdered, coffee tables are vomited upon. With each descent in civility, the characters become more dimensional, deserving of both sym-

pathy and loathing in turn. Adapted from the original French play, God of Carnage depicts us at our worst and, perhaps, most honest. PENELOPE BASS. Lakewood Theatre Company, 368 S State St., Lake Oswego, lakewood-center.org. 7:30 pm WednesdaySaturday, April 5-8, 2 pm Sunday, April 9. $30-$32.

Jaffa Gate & Noisemaker

Brand new theater company Northwest Theatre Workshop hopes to provide a launching pad for local playwrights to produce their newly written work. They’re starting off by staging two world premiers at once: Noisemaker and Jaffa Gate. Noisemaker starts with an intriguing premise: We learn through a drunken dialogue between a father (Joe Healy) and son (Murri Lazaroff-Babin) that there’s a dead body in their house, but we don’t know who it is or how they died. The relationship of the two men and another, Todd (Murren Kennedy), to the deceased unfolds as the play progresses and the three men deal with their grief. Then there’s Jaffa Gate, a narrative that features an occasionally confusing mix of sex and religion. Set in 1900 Palestine, three kidnapped travelers try to change the heart and mind of their captor with the Biblical story of King David and Bathsheba. Arguments over scripture might be a little esoteric in Portland— the kidnapped all subscribe to different Abrahamic religions. But Jaffa Gate also seems very earnestly concerned with the power of storytelling, which is a fitting value for a company focused on local emerging work. SHANNON GORMLEY. Shaking the Tree Warehouse, 823 SE Grant St., nwtw.org. Matinee and evening performances Thursday-Saturday, April 6-8. See website for full schedule. $25.

Lydia

Set in the living room of a Mexican American family, Lydia is a play full of not-so-quiet desperation: Ceci (Maya Malán-González) is a teenage girl who was left in a vegetative state by a car crash. Her oldest brother, Rene (Rega Lupo), has graduated high school and doesn’t have life plans other than living at home and getting into drunken fights. Ceci’s mom, Rosa (Nurys Herrera) works a day job, cares for Ceci, and does everything around the house. Rosa’s abusive husband Claudio (Tony Green) works a night job, and when he’s home, is either sleeping or sitting unresponsive in front of the TV with headphones on and a beer in his hand. The family seems like they’ve accepted their disarray, but Lydia (Marian Mendez), an illegal immigrant and the family’s new live-in maid and Ceci’s caregiver, is fearless in the face of issues that make everyone else uncomfortable. That fearlessness allows her to see and understand what other’s can’t, but it’s also what leads to the slow unraveling of the family. SHANNON GORMLEY. Milagro Theatre, 525 SE Stark St., milagro.org. 7:30 pm Thursday-Saturday, April 6-8. $20-$27.

Playhouse Creatures

Playhouse Creatures is set in 17th-century England, when actresses have just been given the freedom to participate in the theater. Their roles, previously played by young boys, are finally theirs to explore and to make their own. But something ugly is lurking behind the scenes, and we sense that these women aren’t free at all—still controlled by the men who fill the audience and ultimately run the show. CoHo Productions presents plays within a play that celebrate

Willamette Week APRIL 5, 2017 wweek.com

IN CHARACTER: Lauren Weedman as Tammy Lisa.

Birth in Reverse

LAUREN WEEDMAN’S LAST PLAY WASN’T WHAT SHE WANTED; THIS SHOW IS. BY SHA N N ON GOR MLEY

sgormley@wweek.com

We’ve taken some shots at Lauren Weedman before. Usually, in the context of her last one-woman show here in Portland, The People’s Republic of Portland. Weedman, who’s from Indiana and lives in L.A., shared quips and observations about the city, including stories about tattooed strippers, bearded baristas and kombucha. (Weedman went on to mount similar tour guides in Boise, Philadelphia and other cities.) She’s back in Portland to debut another show, Lauren Weedman Doesn’t Live Here Anymore, a country musical in which she imagines her alternate reality as Tammy Lisa, the name her birth parents gave her before putting her up for adoption. So when Weedman wanted the chance to fire back, WW agreed. WW: Was there something in particular that led you to reach out to us? Lauren Weedman: There was a listing for JAW Fest for my show, and it said, “Lauren Weedman is back to make fun of a city she doesn’t even know, or she’s not going to do that anymore, but maybe she’ll talk about her butt looking fat.” It was just like [sticks up her middle fingers]. I want to talk about People’s Republic, but I read an interview in which you said you starting doing one-woman shows because there weren’t parts for the kind of woman you wanted to be. I thought that put your work in an interesting context. When I was in theater with other people, I was either put in a comedy, which is fine, but I was never cast in dramas, and I was like, why can’t it be both? Though I know that my self-absorption is an ongoing joke. But I’ll think it’s not just about me. If you’re honest, it’s everybody’s truth. I feel like men in theater don’t get called “self-absorbed.” No fucking kidding! I remember in Seattle, when I first started doing [solo shows], people would comment about how I was willing to be ugly. Like why would that even be an issue?

That listing and both of your previous shows here in Portland were before my time, but I did read the reviews we ran. I didn’t read them, but I know they’re bad. But I may agree with some of it, too. The first time I did People’s Republic, it was not what I wanted it to be. So they could have been right. Why was it not what you wanted? It was just funny moments. I don’t know if “pandering” was the right word. But I’m still a theater artist, and I’m still trying to find a narrative. I think the real reason it affected me was that there were snarky reviews, was that I was married, and while I was doing the show, he was in the middle of this affair with our baby sitter. In every scene, there was a weird clue of what had been really happening. So whenever anyone’s like, “It’s fluffy,” I’m like, “I totally get you.” It was, ’cause it wasn’t done yet. But then you also did it in different cities. I normally tour shows, but now I’m a single mother. It’s pretty lazy; people like it because it’s about them. But I try to make it a little more complicated than that. I’m always talking about what’s going on with me, too. Can you talk about the Lauren/Tammy dynamic in your new show? I thought, I don’t want to lay myself out there anymore. I’m going to play a character. I’ve always had this self-hatred, like, “Turns out I’m a piece of shit.” Tammy Lisa is this embodiment of I’m not very bright, the theater I do is not very deep and that I’ve made awful decisions, that I’m just this fucked-up country white trash. Which is true, but it’s not the full thing. Putting the Lauren [character] in there made it all more complicated. SEE IT: Lauren Weedman Doesn’t Live Here Anymore plays at Portland Center Stage, 128 NW 11 Ave., pcs.org. 7:30 pm Tuesday-Sunday, through April 30. Additional show noon Thursday, April 6. No show Friday, April 7. $25$70.

REVIEW C O U R T E S Y O F M I S T E R T H E AT E R

the pageantry of the theater—the costuming, the practice and the passion—while also pointing the spotlight on relentless misogyny that still affects the careers of actresses today. Lorraine Bahr, Brenan Dwyer, Jackyln Maddux, Dainichia Noreault and McKenna Twedt each deliver unsettling combinations of confidence and self-loathing in the roles they choose to play, and the ones forced upon them. BRITANY ROBINSON. CoHo Theater, 2257 NW Raleigh St., cohoproductions.org. 7:30 pm Thursday-Saturday, April 6-8. $20-$28.

School Dance

In an attempt to appeal to teenagers as well as adults, Action/ Adventure is staging the American premiere of the surreal and campy School Dance. Matt (Pat Moran) disappears before his high school dance, and his best friends Luke (Jon Gennari) and Jonathan (Samson Syharath) embark on an adventure to make their friend visible again and teach him how to dance before the night is over. That adventure is full of surreal nonsense like a bike-riding montage set to “I Need A Hero,” and a visit to a parallel universe called “The Land of Invisible Teens” that’s haunted by Gizmo from Gremlins. But even though humor takes precedent in Action/Adventure’s production of the Australian script, School Dance is also full of weirdly touching moments of supportive friendship. SHANNON GORMLEY. Action/ Adventure Theatre, 1050 SE Clinton St., actionadventure.org. 8 pm Thursday-Sunday, April 6-9. $10-$15.

SECRET PLAN: (Clockwise from upper left) Bobbi Kaye Kupfner, Phillip J. Berns, Patricia Distler, Rian Turner, Crystal Lemons, William Ferguson, Montetré.

Cult Murder

Baltimore is a weird city full of weird people, including the three alt-comics of Wham City Comedy. A segment of the Wham City art collective (which also includes the musicians like Dan Deacon and Ed Schrader), the trio are probably best known for their Adult Swim sketches like their infomercial Live Forever As You Are Now With Alan Resnick. Their work has as a similar, slight off-vibe to Adult Swim contemporaries Tim and Eric, but Wham City takes uncomfortableness further by adding in stuff that’s just straight up disturbing: usually attacks by zombies or other non-specific, sickly looking and violent creatures. The Siren Theater, 315 NW Davis St., sirentheater.com. 8 pm Friday, April 7. $10 advance, $15 at the door.

Shows at Mister Theater can feel a little like a joke you’re not sure you’re in on. So far, the new theater’s plays have both been goofy adaptations of cult movies— first was Tommy Wiseau’s The Room, and now comes a stage adaptation of the movie adaptation of the board game Clue. But the plot is familiar even if you haven’t seen the 1985 Tim Curry movie. Six dinner guests are invited to a mansion under mysterious circumstances. Their host, Mr. Boddy (Philip Popiel), is eventually murdered during a 30-second blackout, and the rest of the play is spent trying to figure out who the killer is. The humor is deeply nonsensical. The guests pretend they’re eating fancy food off paper plates the maid, Yvette (Paige Gregory), gracelessly flops onto the table. In the second act, the actors playing the corpses of Mr. Boddy and the cook (RhyanMichele Hills) are swapped out for a teddy bear in a motorcycle jacket and a headless, stuffed chef’s jacket. Even though absurdity is the goal, it feels as if the show would benefit from a more carefully crafted production. When the guests break up into pairs to search the house, spotlights abruptly switch the scene from one search party to another. It’s a fairly common staging convention, but in Clue, it feels kind of choppy—the scene cuts happen before the jokes really have time to land. The casts’ comedic sensibilities hold the play together, though. One of the most charismatic performances comes at the end of the play when Wadsworth (played by Mister Theater co-founder Montetré) explains how the murder happened by acting out a sped-up version of the evening’s events. It could be really boring—he’s basically just recapping everything the audience has just seen—but it’s totally enthralling. The rest of the cast runs single file after Wadsworth as he leaps around the set, breaking up his speedball lines with impressions of the other characters. It’s moments like this that hint at the company’s potential. There’s already plenty of theater in Portland that’s campy in a cutesy way, but Mister Theater has a sense of the deeply bizarre. SHANNON GORMLEY.

For more Performance listings, visit

SEE IT: Clue plays at Mister Theater, 1847 E Burnside St., mistertheater.com. 8 pm Thursday-Saturday, 2 pm Sunday, through April 16. $12.

DANCE Ronald K. Brown/Evidence

For the last show in their series featuring prominent black American choreographers, White Bird is bringing Ronald K. Brown’s company to Portland. The New York-based choreographer has been creating critically acclaimed fusions of contemporary dance and forms of African dance for over 30 years, and the bill for their Portland is show is a sort of sampling of the company’s fruitful history of exploring the African diaspora across cultures. Along with an excerpt of “Life,” which is set to the words of of Martin Luther King Jr., the company will perform “On Earth Together” (set to Stevie Wonder) and “Why You Follow/Por Que Sigues” (set to Belgian-Congolese musician Zap Mama). Newmark Theatre, 1111 SW Broadway, whitebird.org. 7:30 pm ThursdaySaturday, April 6-8. $26-$64.

COMEDY Wham City Comedy

Mister Theater creates a stage version of a movie version of a board game.

Willamette Week APRIL 5, 2017 wweek.com

VISUAL ARTS C O U R T E S Y O F T H E PA U L K E E N E E S TAT E

Celebrating Oregon’s pesticide-free craft cannabis

looks specifically at how human physiology is affected by these assumptions, and how the gestures of the human body express systemic ideals more readily than words. Newspace Center for Photography, 1632 SE 10th Ave., 503-963-1935. April 7-May 27.

Bowed by the Wait of It All

2017

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SPEAKERS | VENDORS | AWARDS

BLUE DRESS BY PAUL KEENE, PART OF CONSTRUCTING IDENTITY

The Five Art Shows We’re Excited to See in April BY ISA B EL ZACHA R IAS

Let’s start here: I’m not a trained art critic. I’m an art-curious, a snack-positive First Thursday wanderer who, like many millennials, operates on an “everyone’s an artist” assumption. And if everyone’s an artist, then everyone’s a critic—so pass me that free cave-aged cheddar! This month, many of Portland’s art happenings explore how contemporary art interacts with its hyperdynamic, contentious and fast-paced social climate—and the idea that personal identity, which amounts to the way so-called ordinary people experience so-called ordinary lives, can always be examined in a way that makes it…art! So, my fellow consumers, I invite you this April to receive our city’s art scene knowing that it is, after all, for you—your fear, your frustration, your systemic oppression, or just your irreverent sense of humor. Here are the five shows I’m most excited to see this month.

Roboyat

W W E E K . C O M / C U LT I V AT I O N C L A S S I C 52

Willamette Week APRIL 5, 2017 wweek.com

An apparent play on words that got wildly out of hand, this hybrid of installation and performance art from brother-sister duo Geordie and Merridawn Duckler in an out-there, robotic homage to the Rubaiyat, a legendary collection of poetry by 12th-century Persian poet Omar Khayyam. This is one of those juicy bits of art that’s hard to describe, simply by virtue of how much there is to describe; the Ducklers promise a line of 500 robots, ranging in size from giant to itty-bitty, as well as text, wall panels, colored drawings, and assorted found objects. Blackfish Gallery, 420 NW 9th

Ave., 503-224-2634. Through April 29. Lecture and performance 7 pm Sunday, April 9.

Dominant Form

In a terribly timely manner, this exhibition of lens-based art addresses the oppressive nature of societal structures and value systems that are accepted as natural rather than made-up. (If that sounds like just a bunch of words to you, think: finance, labor, etiquette, and rules in general.) Featuring experimental photographers Cara Levine, Brendan Fernandes, Mary Ellen Strom and more, Dominant Form

This may only be a lowly MFA candidacy show, but the reach of its subject makes it more than worth mentioning. In it, sculptor Kayley Berezney responds to her metastatic breast cancer and its influence on her physical body. Focusing intentionally on the corporeal rather than the emotional, this arrangement of found objects like containers, rope, and styrofoam asks questions about cause and effect—how one’s physical and emotional realities are constantly reflecting each other and being informed by one another. Littman Gallery at PSU Smith Student Union, 1825 SW Broadway, No. 250, 503725–4452. April 17-27.

The Golden Age of Poster Design As it turns out, all the pieces of shit who work in “branding ” nowadays weren’t the first people vapid enough to mistake advertising for art. Deemed, horrifyingly, “the golden age of advertising,” the 1890s saw lithographic printing and graphic design move forward technologically in leaps and bounds, resulting in some exquisitely beautiful, fine-art level promotional posters and launching an international poster craze that’s hardly slowed down since. Is this art? Pittock Mansion, 3229 NW Pittock Dr., 503-823-3623. Through July 9.

Constructing Identity

Kara Walker’s collage-based, black-and-whitesilhouetteworks reflect on African-American racial identity and show a singular gift for magnet-like narrative pull. It’s still on display at the art museum and still required viewing for every white Portlander. Embracing both humor and violence, both whimsical caricature and deep historical suffering, viewers aren’t just challenged, but shown hard truths and made to feel personally at fault for them. Here, Walker’s work will be side by side with exclusively other African-American artists, including Portland painter Arvie Smith’s lush, emotive representations of oppression, dispossession and an unrelenting search for beauty in one’s self. Portland Art Museum, 1219 SW Park Ave., 503-226-2811. Through June 18.

BOOKS REVIEW

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

WEDNESDAY, APRIL 5 Javaka Steptoe

Javaka Steptoe brings to life the childhood of iconoclast painter Jean-Michel Basquiat in his new children’s book, Radiant Child: The Story of Young Artist Jean-Michel Basquiat. The book provides a more kid-friendly introduction to the frenetically painted, often frightening imagery produced by Basquiat, and earned a Caldecott Medal and Coretta Scott King Award. North Portland Library, 512 N Killingsworth St., 503-9885123. 10:30-11:30 am.

Hari Kunzru, WHITE TEARS

THURSDAY, APRIL 6 The Great Barrier Reef is a wasteland, honey bees are being raptured one colony at a time, and people are starting to itch—literally, if they shower in Flint—for a new planet. Amanda Hendrix and Charles Wohlforth argue in their new book, Beyond Earth, that Saturn’s moon Titan provides the best bet for life unsupported by Earth. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm.

FRIDAY, APRIL 7 Andrew McCarthy

Noble media journeyman Andrew McCarthy is debuting his first novel, Just Fly Away, relatively late in his life, after a breakout role as corpse reanimator Larry Wilson in the 1989 film Weekend at Bernie’s. The New York Times put it best when they described his previous book, a travel memoir, as being “a good book about a good man who’s trying good and hard.” Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323. 7 pm.

Omar El Akkad

Portlander Omar El Akkad’s debut novel, American War, inverts the Golden Rule by asking how Americans might feel if we treated ourselves the way we treat the rest of the world. It’s 2074, and Sarat Chestnut is forced to live with her family in a refugee camp under a sky thick with drones. She quickly realizes she can’t even trust the people she meets, as the camp has been infiltrated by deep state agents. Powell’s City of Books, 1005 W Burnside St., 800-8787323. 7:30 pm.

SUNDAY, APRIL 9 Chuck Palahniuk

Chuck Palahniuk already had a comic book and a Fight Club 4 Kids trailer featuring crying children, so why not a coloring book? Get a $20 ticket in advance, and it’ll net you a copy of Bait: OffColor Stories for You to Color, which the famously fan-friendly Palahniuk will dutifully sign along with any other item of your choosing, which presumably could include parts of your body. Memento PDX, 3707 SE Hawthorne Blvd., 503235-1257. 10 am.

MONDAY, APRIL 10 Siel Ju

A novel told in a series of stories, Cake Time follows a female narrator from when she had to catch a ride from the abortion clinic to make her AP exam, to her post-college dalliance at a swingers club. The book is the first novel from writer and poet Siel Ju, who will be joined in conversation by author Kevin Sampsell. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-8787323. 7:30 pm.

JAMIE DIAMOND

Beyond Earth

When it comes to race in America, it seems horror is all we’ve got— the only appropriate language. Jordan Peele’s mock-thrillhouse movie, Get Out, treats the all-smiles racial politics of liberal America as gothic burlesque, a slow-cracking Stepford porcelain. But in Hari Kunzru’s novel White Tears (Knopf, 288 pages, $26.95), it’s a malevolent ghost story, the kind you can’t quite tell straight. It starts out familiar. Stories like this always do. Charismatic trustafarian Carter teaches his music-obsessed friend Seth to listen “exclusively to black music because, he said, it was more intense and authentic than anything made by white people.” Though both are lily-pale themselves, white people are considered “the name of an army or a gang, some organization to which he didn’t belong.” Hell-bent on the real, Carter does like Kunzru the LCD Soundsystem song and throws Seth’s electronic equipment out the window—while still living on the money from Carter’s family, which seems to be run approximately like the mob. Meanwhile, Seth stalks the city with a field recorder. “I collected audio of thunderstorms,” he narrates, “music coming out of cars, the subway trains rumbling underfoot; it was all reality, a quality I had lately begun to crave, as if I were deficient in some necessary vitamin or mineral.” The novel exists in a sort of manic-obsessive space—perhaps even clinically so, Carter’s family hints—as the pair descend into the intense, feverish collecting of rare blues. Murmurs of menace well up as if from the sidewalk cracks. Amid Seth’s field recordings is the sound of an old man he doesn’t remember seeing, vocals that pair up exactly with strains of blues guitar he finds on another tape: Believe I buy me a graveyard of my own/ Put my enemies all down in the ground. By 100 pages into the novel, the ghost of old Charlie Shaw—at first they think they made him up, and then they aren’t so sure— comes to dominate the book. The narration takes on the character of a fever dream, either a haunting from the depths of history or Seth’s own insanity. People start turning up dead, or in a coma. Did Shaw ever make the recording? He seems to have disappeared from the public record, although the lines of that song keep folding through the book. Put me under a man called Captain Jack, blares a car stereo in Georgia. Wrote his name all down my back. The driver of that car lifts up his shirt, revealing a gaping wound. “Right through my motherfucking lung,” he says. Seth apologizes for appropriating the Shaw recording and putting it on the internet—and swears he’s here to make it right. Of course he is. The book pulls at the seams between mystery and confusion—even the reader’s own as to whether Kunzru, as a halfKashmiri British novelist, isn’t engaged in his own form of cultural tourism, running his fingers over America’s scars. But the language of the book is strong and deep, taking on the character of undertow. In the end, as the narrative unspools and twines together dark and ugly history, it doesn’t matter whether the old wounds and white guilt driving the book are symptoms of madness or the ghosts of history taking their revenge. It’s quite obviously both. MATTHEW KORFHAGE. GO: Hari Kunzru reads at Powell’s City of Books, 1005 W Burnside St., 800-878-7323, powells.com, on Tuesday, April 11. 7:30 pm. Free.

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MELINDA SUE GORDON

MOVIES GET YO UR R E PS IN

Evil Dead 2 (1987)

Sam Raimi’s less sloppy, less problematic quasiremake to the original has become an infinitely reproduced paragon of horror comedy. A bunch of wacky teens, including a young Bruce Campbell, head to the woods and discover an evil book that summons all kinds of demons. Mission Theater. April 9 and 11.

Slumber Party Massacre (1982)

Carli Rossi presents this month’s iteration of Queer Horror with Amy Holden Jones’ cult slasher parody featuring a group of teens who must escape a drillwielding maniac fresh out of prison. Hollywood Theatre. 9:30 pm Thursday, April 6.

Miller’s Crossing

Film Fanaticism

(1990)

Given that they all bombed when they were first released (see: Barton Fink), it’s never a bad idea to catch early Coen brothers on the big screen. Miller’s Crossing follows gangster Tom Reagan (Gabriel Byrne) playing off two rival gangs against each other over ne’er-do-well bookie Bernie Bernbaum (John Turturro). Laurelhurst. April 7-13.

Monty Python’s The Meaning of Life (1983)

Is Monty Python ultimately responsible for Anchormanstyle “reference humor”? If so, its crimes should never be forgotten. Clinton Street Theater. 7 pm Monday, April 10.

Touch of Evil

INTERSTELLAR

(1958)

A few weeks ago, incoming Portland noir expert Elliot Levine picked this Orson Welles classic as essential film noir viewing. A 4K restoration is coming to Vancouver’s Kiggins as part of its ongoing Noir Nights film and wine pairings, with Niche Wine Bar. Kiggins Theatre. 7:30 pm Monday, April 10.

ALSO PLAYING: Academy Theater: Gattaca (1997), April 7-13. Church of Film (Century Bar): Son of the White Mare (1981), 10 pm Monday, April 10. Clinton Street Theater: Manuel on the Island of Marvels (1984), 8 pm Wednesday, April 5. Hollywood Theatre: Invincible Armour (1977) 7:30 pm Tuesday, April 11. Mission Theater: The Sound of Music (1965), April 5 and 7-9. NW Film Center’s Whitsell Auditorium: Toute Une Nuit (1982), 7 pm Friday, April 7; Daughters of the Dust (1991), 4:30 pm Saturday-Sunday, April 8-9; Crooklyn (1994), 7 pm Sunday, April 9.

THE HOLLYWOOD’S 70 MM WEEKEND PRESENTS SCIENCE FICTION IN FILM’S MOST LUXURIOUS FORMAT. BY WALKER MACMURDO

wmacmurdo@wweek.com

Spartacus, Stanley Kubrick’s 1960 ancient historical epic, isn’t a particularly good movie. It follows its eponymous hero (Kirk Douglas), a slave who leads a doomed rebellion against an evil Roman Republic slowly sliding into tyranny. The film is more than three hours long, and much of it is consumed by extended shots at dusty army camps and long visits to the Senate house. Douglas is an uninspiring lead, hamming it up while slathered in enough bronzer to look like a giant raisin. The film’s homoerotic overtones have aged to goofy camp effect. Outside of Peter Ustinov’s Best Supporting Actor Oscar-winning comic performance as a slimy slave trader, watching Spartacus on TV or a laptop would be excruciating. But watching Spartacus on 70 mm film was one of the most memorable cinematic experiences of my life. In a December screening at the packed Hollywood Theatre, every detail exploded from the screen. The audience drank in Kubrick’s eccentric, meticulously constructed scenes of slaves toiling, children running around camps and senators debating in bathhouses. The film’s battles were as dense and luxuriant as every wrinkle creasing Douglas’ golden, gently sagging pecs. Spartacus is film made velvet when watched in its intended format, the visual equivalent of driving a sports car while devouring an ice-cream sundae. To put it plainly, if you give the slightest shit about movies and haven’t seen a film on 70 mm, you’re missing out. Which makes this weekend’s sci-fi program at the Hollywood a must-see experience. The 70 mm format is beloved by cinephiles because it’s the rarest and highest quality film experience that exists. With a wider aspect

ratio than both digital and 35 mm film, it boasts a resolution that blows modern technology out of the water, landing somewhere between 8 and 18K, depending on whom you talk to. “Last year, for our 90th birthday, we did a lot of the more classic 70 mm stuff—West Side Story, Lawrence of Arabia and 2001: A Space Odyssey—the movies people really associated with that format,” says Dan Halsted, head of programming at the Hollywood. “I wanted to show more genre titles available in the format, and I thought a sci-fi weekend would be cool.” Beginning Friday evening, 70 mm is back at the Hollywood. This program features two classics, Ivan Reitman’s Ghostbusters and Steven Lisberger’s Tron, and one of the rare contemporary features shot in 70 mm, Christopher Nolan’s Interstellar, in anticipation of Nolan’s new film, Dunkirk, which Halsted says will open in 70 mm at the Hollywood in July. “I wanted to do Interstellar, which came out before we had 70 mm,” says Halsted. “That was when I said, ‘All right, we have to install this and figure it out so we can’t ever let anything like this pass us by again.’ Which worked out, because we did it in time for [Quentin Tarantino’s 70 mm neo-Western] The Hateful Eight.” The Hollywood regained its 70 mm capability in 2015, after a pledge drive raised $15,000 to finance tracking down the rare parts needed for the film projectors. “[Seventy-millimeter film] hadn’t been shown here since the mid-’80s, and all the parts were gone,” explains Halsted. “So I had to go out and find them piece by piece from film collectors, technicians, weirdos that have stuff stored away in their basements. None of those parts have been manufactured since the ’60s, so it took a few months to find everything.”

The drive raised enough money for the Hollywood to retrofit its sound system to handle magnetic soundtracks, an analog audio format beloved by A/V geeks that often appears on older 70 mm prints (the prints of Tron and Ghostbusters feature magnetic soundtracks). “We installed extra speakers behind the screen because magnetic uses five screen channels,” adds Halsted. “There are maybe two dozen theaters across the country that can run 70. But only a couple of them, less than a dozen I’d guess, can run magnetic sound.” The Hollywood added extra screenings of all three of this weekend’s films after the first scheduled screenings presold out. Halsted believes the rest will sell out at the door as well. “I never expected people to be that excited about it,” he says. “When we brought it back for 2001: A Space Odyssey, we only booked one show, and it sold out right away. We booked five more shows for that weekend, and they all sold out. People fly in from around the world when we show 70.” “Seventy-millimeter is the polar opposite from how people are watching movies now,” says Halsted. “They’re watching them on their phone or laptop, and the movie has no impact on you whatsoever. People are not even paying attention to it, they’re doing five other things, they’re watching it over the course of multiple days. So, 70 mm makes a phenomenal presentation and experience where you’re fully immersed in the movie. It’s the best visual presentation you can have, digital can’t touch it, and the audio is the best.” SEE IT: Hollywood Theatre’s 70 mm weekend begins Friday, April 7. Visit hollywoodtheatre. org for movie times and tickets. Willamette Week APRIL 5, 2017 wweek.com

CO U R T E SY O F PA R A M O U N T P I C T U R E S

MOVIES 17

READERS’ POLL Final Voting phase goes live May 1st! GHOST IN THE SHELL

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Editor: WALKER MACMURDO. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: wmacmurdo@wweek.com. Fax: 243-1115. : This movie sucks, don’t watch it. : This movie is entertaining but flawed.

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: This movie is good. We recommend you watch it. : This movie is excellent, one of the best of the year.

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After the Storm

Initially, After the Storm has an interesting case of arrested development on its hands. Shinoda Ryota (Hiroshi Abe) is a oncebestselling novelist slumming it as a private detective, trying not to gamble away the alimony he owes. Too soon, though, the film gives up on his seedy universe and coops him up in an apartment with his ex-wife, mother and son. Hirokazu Koreeda’s script does offer some pearls of wisdom about families teasing and spurning each other. Ultimately, it hangs too much solely on the deadbeat Ryota. Like so many sad-bastard movies, it assumes he has a level of depth we never see. NR. CHANCE SOLEMPFEIFER. Living Room Theaters.

Alive and Kicking

Thanks to the internet and viral YouTube sensations, the world has been inundated with absurd dance crazes that come and go in the blink of an eye. While most fade away, others remain timeless. Alive and Kicking explores the rise, fall, ’90s revival and current world of swing dancing. Living dance legends like Frankie Manning share the screen with enthusiastic newcomers. This feel-good documentary tips its hat to swing dancing’s heyday and showcases modern dancers around the world who are still deeply passionate about everything from the Lindy hop to the Carolina shag. NR. CURTIS COOK. Kiggins Theatre.

BearCity 1 and 2 Double Feature

Local Business

Part of the Hollywood’s Queer Commons series, Doug Langway’s pair of comedy-dramas follows a young actor (Joe Conti) who moves to New York City and finds himself attracted to big, hairy gay men. NR. Hollywood Theatre. 7:30 pm Thursday, April 6.

Frantz

Wellness

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When Anna discovers a French soldier visiting the grave of her fiance, a German soldier killed in the Great War, she politely inquires why the enemy is standing in her territory. She learns the Frenchman was a friend of her fiance’s in Paris years earlier, and they soon form a bond. Celebrated director François Ozon (Swimming Pool) spent extra time working on Frantz, perhaps inspired by legendary director Ernst Lubitsch, who worked pri-

marily in black-and-white. Either way, the film is almost velvety in its textured monochrome, and the plot turns like a weathervane in the wind; it’s Ozon in top form. NR. ZACH MIDDLETON. Living Room Theaters.

Ghost in the Shell

Ghost in the Shell is a whodunit in a world without “who.” In the future, the Major wakes up on a lab table, terrified. Dr. Ouelet (Juliette Binoche) informs her that her “ghost”—the future’s term for the soul or spirit—was the only survivor of a major terrorist attack, and has been implanted in Scarlett Johansson’s robotic body. A year later, the Major is part of anti-terrorist force Section 9, tasked with hunting down mysterious cybercriminal Kuze (Michael Pitt), inexplicably hellbent on killing everyone involved with Hanka Robotics, the massive corporation that brought the Major back to life. Along for the ride is an excellent supporting cast, harassed operator Batou (Pilou Asbæk) and Yoda-esque Chief Aramaki (Takeshi Kitano), who would steal their scenes but for ScarJo’s subdued misery, a mix of survivor’s guilt and intense confusion. Though this film suffers from a pronounced case of Zack Snyder’s disease—the action is a blurry mess of jump cuts and extraordinarily annoying slo-mo flips—director Rupert Sanders has created one of the most overwhelming visual worlds in recent memory. Seemingly without repetition, the unnamed megalopolis of Ghost in the Shell overflows with building-sized hologram billboards, cybernetically augmented yakuza, dogs, and endless miles of tangled wires uploading consciousness directly into the internet. The shell of the film may be stock, PG-13 sci-fi action, but the ghost asks a question that becomes increasingly nagging with every new tech development: I have so much cool shit, but why can’t I feel anything? PG-13. WALKER MACMURDO. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Living Room Theaters, Lloyd, Oak Grove, St. Johns Pub and Theater, Tigard, Vancouver.

Going in Style

Zach Braff directs Morgan Freeman, Michael Caine and Alan Arkin in a movie about three old guys who rob a bank. Review to come next week. PG-13. Bridgeport, Cedar Hills, City Center, Division, Lloyd, Pioneer Place, Tigard, Vancouver.

HyperNormalisation

Two screenings of cult documentarian Adam Curtis’ massive 2016 indictment of pop culture. Curtis argues that, from the mid-1970s, a concerted effort has been made in elite American society to construct a media narrative that prioritizes fiction over truth. NR. NW Film Center’s Whitsell Auditorium. April 8-9.

Moving History: Portland Contemporary Dance Past and Present

An exploration of the history of Portland dance, with director Eric Nordstrom in attendance. NR. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, April 6.

Italian Film Festival of Portland

Without looking at the program, we assume the third installment of this showcase of 10 new films from contemporary Italian filmmakers includes such notable films as Its’a Me, Mario!, Too Many Mistresses, *Gesticulating Wildly* and You Call This a Fuckin’ Canoli? 5th Aveune Cinema. Screenings begin 6 pm Friday, April 7. See italianfilmfests. org/portland for a full schedule.

Size Matters

Screening as part of the Portland Latin American Film Festival, this new feature from Rafa Lara (who will attend) follows an “average” Mexican woman who attempts to seduce her playboy boss. NR. Hollywood Theatre. 7 pm Wednesday, April 5.

Smurfs: The Lost Village

Dear moviegoers: Sony thinks you’re dumb. How dumb? Dumb enough to buy a ticket to this animated debacle. Dumb enough not to care that the film’s story—which involves the blueberry-colored critters of the title squaring off against a self-conscious, balding wizard (Rainn Wilson)—dishes up the same hollow lessons about acceptance and teamwork irritatingly parroted by seemingly every children’s film in recent memory. Dumb enough not to care the movie is so unfunny it seems destined for Adam Sandler’s Netflix queue. Dumb enough not to be depressed by the fact that Ellie Kemper, Michelle Rodriguez, Julia Roberts and Mandy Patinkin all wanted some extra money so badly they lent their voices to this catastrophe. Dumb enough to take your kids to see the film, even though there’s a visually and emotionally sumptuous kid-friendly movie in theaters right now called Beauty and the Beast. But remember this, moviegoers: You deserve better than the Smurfs. So save your money and prove Sony wrong. PG. BENNETT CAMPBELL FERGUSON. Bridgeport, Cedar Hills, City Center, Division, Lloyd, Pioneer Place, Tigard, Vancouver.

Beauty and the Beast

Did we need this remake? Probably not. Is is pretty good? Yes. PG. Bagdad, Bridgeport, Cedar Hills, Cinemagic, City Center, Clackamas, Division, Eastport, Living Room Theaters, Lloyd, Milwaukie, Moreland, Oak Grove, Roseway, St. Johns Twin, Tigard, Vancouver.

The Boss Baby

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

A Dog’s Purpose

Filmgoers were barking mad when they thought the producers of A Dog’s Purpose had abused a canine on set. But this tale of doggy death and rebirth exploits every inch of furry adorability to blot out critical faculties and fan the sparks of true emotion. Who’s a good movie?! PG-13. Avalon, Vancouver.

Get Out

Yes, this movie is as good as everyone says it is, enough so that it makes you ask why other horror movies aren’t better. R. Bridgeport, City Center, Clackamas, Division, Eastport, Fox Tower, Hollywood, Lloyd, St. Johns Twin, Tigard, Vancouver.

Hidden Figures

Why does Kevin Costner get the biggest racism-busting line in a movie about underappreciated black women who contributed to NASA’s Apollo 11 trip to the Moon? PG. Fox Tower, Living Room Theaters, Vancouver.

I Am Not Your Negro

Raoul Peck develops an unfinished James Baldwin manuscript to eloquently tell the story of American racism. NR. Hollywood.

John Wick: Chapter 2

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

Kedi

Yes, the stars of this documentary about Turkish street cats are cute and furry. It’s a shame they all support Erdoğan’s constitutional takeover. NR. Cinema 21, Hollywood, Kiggins.

Kong: Skull Island

Following the original’s blueprint, Kong: Skull Island sends a boatload of explorers past the perma-storm covering that’s hidden the titular archipelago for millennia. The similarities end there. Shifting to Southeast Asia just after the fall of Saigon, Skull Island

replaces Age of Discovery heroics with wartime ambience. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

La La Land

*Sad_trombone.mp3*. PG-13. Fox Tower, Living Room Theaters, Valley.

The Last Word

The Last Word is a mechanical, formulaic salvation fantasy about a crappy woman (Shirley MacLaine) who gets to reinvigorate her life, served with a hefty dollop of whitesplaining via trite subplot. R. Bridgeport, City Center, Clackamas, Living Room Theaters.

The Lego Batman Movie

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

Life

More like Death, am I right, folks? R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

Logan

Turns out having Hugh Jackman and cute child Dafne Keen perform Mortal Kombat fatalities on robotarmed mercenaries is a cool idea for a movie. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, St. Johns Twin, Tigard, Vancouver.

Lovesong

A woman, neglected by her husband, goes on a road trip with her best friend. Years later, after a falling out, they try to rebuild their relationship. Not screened for critics. NR. Clinton Street Theater.

Manchester by the Sea

How do you start over when your transgressions refuse to stay buried? According to director Kenneth Lonergan, you don’t, and that denial is one of too many reasons Manchester by the Sea, while admirably toughminded, is also a drag. R. Academy, Laurelhurst.

Moana

If you were curious whether Dwayne “The Rock” Johnson could carry a tune, Moana is a ringing affirmative. PG. Academy, Avalon, Beaverton Wunderland, Empirical, Jubitz, Kennedy School, Valley, Vancouver.

Monster Trucks

Monster Trucks is really good for a children’s movie about a kid named Tripp (Lucas Till) who has a monster living in his truck. PG. Vancouver.

Moonlight

JAAP

I was just thinking about how good the camera work is in this movie this morning, if you still haven’t seen it, now’s your last chance. R. Academy, Laurelhurst.

Personal Shopper

Power Rangers

At once awful and awfully amusing, this ramshackle franchise reboot fuses bad acting, worse writing and enough spunk to make the whole thing seem charming in its monumental stupidity. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

Raw

Ostensibly about a young woman who develops an insatiable taste for human flesh, Raw is more visually stunning, deeply human coming-of-age story than vicious Eurohorror. R. Cinema 21.

The Red Turtle

The first non-Japanese animation from Studio Ghibli is a simple fable on paper, but this heart-rending depiction of a man stranded on a desert island and the giant turtle that torments him is a tour de force in visual storytelling. PG. Academy, Kiggins.

Rock Dog

This movie is about a dog who rocks. PG. Oak Grove.

Rogue One: A Star Wars Story

It’s looking like this movie is going to be in theaters forever. PG-13. Academy, Avalon, Empirical, Jubitz, Kennedy School, Laurelhurst, Valley, Vancouver.

The Sense of an Ending

This adaptation of Julian Barnes’ acclaimed novel is partially set in a British boarding school, which means that if a character doesn’t get buggered by the headmaster, you’re within your rights to ask for a refund. PG-13. Fox Tower.

Sing

If you’ve been yearning for Seth MacFarlane to play a mouse who sings like Sinatra, this is your movie. PG. Academy, Avalon, Kennedy School, Vancouver.

Split

James McAvoy stars as a guy with multiple-personality disorder who kidnaps a group of young girls, who must try to coax one of the good personalities to set them free. Is this problematic? PG-13. Clackamas, Vancouver.

T2: Trainspotting

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

Wilson

Though Wilson doesn’t fully capture the magic of the graphic novel on which it’s based, you’ll still find Woody Harrelson’s disheveled buffoonery charming. R. Bridgeport, Cinema 21, City Center, Clackamas.

The Zookeeper’s Wife

Is Jessica Chastain a good actor, or does she just look like a scary robot? PG-13. Bridgeport, Cedar Hills, Clackamas, Fox Tower.

For more Movies listings, visit

T2: Trainspotting

PREVIEW

Director Olivier Assayas’ second collaboration with Kristen Stewart (after Clouds of Sils Maria) follows a medium who tries to commune with her deceased twin while intermittently perusing Paris boutiques as a celebrity model’s assistant. It fuses at least two movie genres—a haunting thriller by way of the muted tone of a character study. R. Cinema 21.

COURTESY OF PUFFPDX.ORG

STILL SHOWING

SPIRIT ANIMAL

Don’t Pass on PUFF The Portland Underground Film Festival brings the weird and neglected to the Clinton.

It’s never been easier to make a low-budget, experimental film. In a way, that’s made it nigh impossible to get one actually seen. Once, directors’ bizarre, surreal statements made the rounds in niche theaters after generating buzz. Today, digital technology means anybody can make a film, and those budding filmmakers must compete for Vimeo views with thousands of others who shoot, edit and distribute strange pieces of art on their phones. That makes the Clinton Street Theater’s Portland Underground Film Festival, or PUFF, which kicks off this Friday, all the more essential. It sifts through the internet chaff—the only distribution venue for so many indie experiments—to bring a carefully curated series of shorts and features to the big screen. The festival includes features like Tel Aviv-set found-footage romance Spiral and the Portland-shot thriller 11:58, plus political, horror, comedy and abstract shorts. Student films, foreign oddities, passion projects, and works by first-time amateurs share the screen, under the sole criterion that they cost somewhere between “beer money” and $5,000. Is it a mixed bag? With 14 hours of footage, of course it is. This is, after all, a fest that includes some dude shooting snow from his window on an iPad. But that shouldn’t be a deterrent. This is the fest where three minutes of onscreen Google searches in the wake of Alton Sterling’s murder stands tall alongside PBR-drenched punkrock music videos, computer animation of the Painted Hills, a teenager’s David Lynch-inspired nightmare, and a comedy about bros getting high and finding their spirit animals. Discovery is half the joy. “Experimental work can open you up to thinking in different ways. Different synapses are firing,” says Lani Jo Leigh, who took over the historic Clinton five years ago and transformed it into Portland’s most bracingly diverse theater. “Getting shorts seen is next to impossible. Unique voices are getting silenced more and more, and we need to resist that.” Outside of short-run screenings of Oscar-nominated shorts, overshadowed blocks in festivals, and NW Film Center’s showcases, experimental film and shorts are doomed to obscurity. For every director who gets a break, there are millions hoping for just a dozen views. Does that mean PUFF—resurrected last year after a two-year hiatus in response to the demise of Experimental Film Festival Portland—is 14 solid hours of enlightenment? Well, no. But considering how quickly the films—the majority of them local—will probably get lost to time, having a program of hand-selected works in one place sure beats the hell out of scanning YouTube hoping to find something magical. You’re almost guaranteed to discover a gem in the fray, and unearthing those nuggets of greatness is the whole point. “Some of it may seem incomprehensible, and that’s OK too,” says Leigh. “The rawness and the unique ways of expressing things is what I find important. Trust me, you’ll like this!” AP KRYZA. SEE IT: The Portland Underground Film Festival begins at 5 pm Friday, April 7. See cstpdx.com for a full schedule and tickets. Willamette Week APRIL 5, 2017 wweek.com

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FINDINGS PART II WE KICK OFF HEMP HISTORY MONTH WITH A LIST OF THINGS LEARNED BY READING A BUNCH OF VINTAGE DRUG MAGAZINES. BY MA RTIN CIZMA R

Potlander newsletter Sign up to receive the latest cannabis news, events and more at wweek.com/follow-us

Given their elevation and climate, which mirror the “Golden Triangle” of Southeast Asia, Eastern Oregon and Washington are totally suitable places to grow heroin poppies. 1 In India, there are people who make charas, or hash resin, by handrubbing the mature plants to collect grams of goop without cutting the plant down. These people consider the idea of chopping plants down to get resin ridiculous, “like killing a valuable cow for an udder’s worth of milk.” 2

Sinsemilla Tips, the journal of professional marijuana growers, was published in Corvallis. This highly technical magazine cost the equivalent of $14 in today’s money. 3 Professional douchebag Geraldo Rivera set up

the publisher of Sinsemilla Tips for a hostile interview in which he asked how much of the weed was sold to kids. As it turned out, the cops who “busted” the publisher’s farm were later arrested for selling weed from the bust. 4

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A decade after Oregon decriminalized pot, disgraced former Democratic governor Neil Goldschmidt (later revealed to be a pedophile)

supported recriminalizing marijuana in Oregon because he was worried he’d lose the election to prohibitionist Republican Dave Frohnmayer (later president of the University of Oregon). 5 When Ken Kesey decided to hop off the Furthur bus and stay home instead of going to Woodstock, he planted a sign in the driveway to his family dairy farm that said, simply, “No!” 6 Hawaiian cannabis was the gold

standard in the 1980s, and the reason it was so sought-after was its supersativa hybrids, which were created with high-quality Asian genetics carried back by Vietnam veterans returning from the war. 7 The Matsés people of the Amazon get high using a drug called nu-nu, made with rustic tobacco that’s mixed with the ashes of mocambo bark. They ingest it by having someone blow it through a bamboo tube into their noses. 8 In Morocco, Majoun is a candied marijuana that’s commonly served as an edible to the whole family at local festivals. 9

1 “On the Opium Trail,” Head Monthly, May 1978

“Publisher’s Page,” Sinsemilla Tips, Volume 8 No. 4

“Home of the Gods,” High Times, January 1987

5 “Potline,” Sinsemilla Tips, Volume 8 No. 4

“Reader’s Rights,” Sinsemilla Tips, Volume 8 No. 4

“The Reluctant Guru,” High Times, December 1986

9 “The Kif-Smoker in Morocco,” Head Monthly, May 1978

mcizmar@wweek.com

“Aloha!!!” High Times, January 1987

“The Dream of Hunters,” High Times, December 1986

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MUSICIANS MARKET

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FOR FREE ADS in 'Musicians Wanted,' 'Musicians Available' & 'Instruments for Sale' go to portland.backpage.com and submit ads online. Ads taken over the phone in these categories cost $5.

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MEETINGS

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RENTALS

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NEWS • ARTS • CULTURE • BEER • WEED

WWEEK.COM

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CHATLINES

Jonesin’

by Matt Jones

“’SMarvelous”--’smeaningful to the theme, too. go wrong, Gargamel will never get it right”?

31 Adds some seasoning

62 Pinball foul

33 Frank Zappa’s son

66 “Fashion Emergency” model

35 Aquatic nymph 36 “Hot Fuzz” star Pegg

67 Slow mover 68 On-screen symbol 69 Employer of Serpico or Sipowicz

43 Stated as fact

71 Penny value

44 Get ___ (throw away)

Down

45 Bausch & ___ (lens maker) 46 Rigorous

2 One of a reporter’s W’s

49 “The Beverly Hillbillies” star Buddy

3 “Shoo” additions?

50 Like some kids’ vitamins

4 “You busy?” 5 Backtalk

51 Cranky sort

6 Athlete’s camera greeting

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22 Oil transport

40 “___ little teapot ...”

1 Branch offshoot

23 Casually uninterested

42 1980s actor Corey hawking some tart fruit candies?

5 Charlie of “Winning!” memes 10 All-out battles 14 “How awful!”

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53 Hiker’s path 56 Part of iOS

7 The Manning with more Super Bowl MVP awards

Vancouver 360-314-CHAT

15 Dance company founder Alvin

26 Puddle gunk 29 They directed “O Brother, Where Art Thou?”

47 Passport endorsements

30 1990 Stanley Cup winners

49 Goaded (on)

48 Doughnut shape

32 Gets warmer

52 “Spring forward” letters

17 Washington newspaper

34 Rough purchase at the dairy?

54 Teeming with testosterone

18 Take-away signs of happiness?

38 One of LBJ’s beagles

55 Grand Canyon pack animals

20 Lhasa ___ (Tibetan breed)

39 Anaheim Stadium player, once

57 Burgles

16 Creature created by George Lucas

59 “If something can

41 “Toy Story” kid

70 Road trip expenses

1 Outdo

Portland 503-222-CHAT

37 Clickable communication

58 Nocturnal rat catchers

8 “Electric” creature

60 ___-cones

9 Putin turndown

61 Kobe’s old team, on scoreboards

10 Sign your dog is healthy, maybe

63 Word before pick or breaker

11 Got up

64 Chaney of “The Wolf Man”

12 Seth of “Pineapple Express”

65 C7H5N3O6, for short

13 Some toffee bars 19 “___ bleu!” 21 Liven (up)

last week’s answers

23 NBA great Chris 24 Bartenders’ fruit 25 What a snooze button delays 27 Fashion status in various states? 28 Stuff in an orangelidded pot, traditionally

©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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CORRECTION: Does your future look familiar? That’s because we accidentally ran this week’s horoscope last week. We regret this error.

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Week of April 6

ARIES (March 21-April 19)

Be interested in first things, Aries. Cultivate your attraction to beginnings. Align yourself with uprisings and breakthroughs. Find out what’s about to hatch, and lend your support. Give your generous attention to potent innocence and novel sources of light. Marvel at people who are rediscovering the sparks that animated them when they first came into their power. Fantasize about being a curious seeker who is devoted to reinventing yourself over and over again. Gravitate toward influences that draw their vitality directly from primal wellsprings. Be excited about first things.

TAURUS (April 20-May 20)

Are you weary of lugging around decayed guilt and regret? Is it increasingly difficult to keep forbidden feelings concealed? Have your friends been wondering about the whip marks from your self-flagellation sessions? Do you ache for redemption? If you answered yes to any of those questions, listen up. The empathetic and earthy saints of the Confession Catharsis Corps are ready to receive your blubbering disclosures. They are clairvoyant, they’re non-judgmental, and best of all, they’re free. Within seconds after you telepathically communicate with our earthy saints, they will psychically beam you eleven minutes of unconditional love, no strings attached. Do it! You’ll be amazed at how much lighter and smarter you feel. Transmit your sad stories to the Confession Catharsis Corps NOW!

GEMINI (May 21-June 20)

Now is an excellent time to FREE YOUR MEMORIES. What comes to mind when I suggest that? Here are my thoughts on the subject. To FREE YOUR MEMORIES, you could change the way you talk and feel about your past. Re-examine your assumptions about your old stories, and dream up fresh interpretations to explain how and why they happened. Here’s another way to FREE YOUR MEMORIES: If you’re holding on to an insult someone hurled at you once upon a time, let it go. In fact, declare a general amnesty for everyone who ever did you wrong. By the way, the coming weeks will also be a favorable phase to FREE YOURSELF OF MEMORIES that hold you back. Are there any tales you tell yourself about the past that undermine your dreams about the future? Stop telling yourself those tales.

CANCER (June 21-July 22)

How big is your vocabulary? Twenty thousand words? Thirty thousand? Whatever size it is, the coming weeks will be prime time to expand it. Life will be conspiring to enhance your creative use of language . . . to deepen your enjoyment of the verbal flow . . . to help you become more articulate in rendering the mysterious feelings and complex thoughts that rumble around inside you. If you pay attention to the signals coming from your unconscious mind, you will be shown how to speak and write more effectively. You may not turn into a silver-tongued persuader, but you could become a more eloquent spokesperson for your own interests.

LEO (July 23-Aug. 22)

We all need more breaks from the routine -- more holidays, more vacations, more days off from work. We should all play and dance and sing more, and guiltlessly practice the arts of leisure and relaxation, and celebrate freedom in regular boisterous rituals. And I’m nominating you to show us the way in the coming weeks, Leo. Be a cheerleader who exemplifies how it’s done. Be a ringleader who springs all of us inmates out of our mental prisons. Be the imaginative escape artist who demonstrates how to relieve tension and lose inhibitions.

VIRGO (Aug. 23-Sept. 22

)

People in your vicinity may be preoccupied with trivial questions. What’s more nutritious, corn chips or potato chips? Could Godzilla kick King Kong’s ass? Is it harder to hop forward on one foot or backward with both feet? I suspect you will also encounter folks who are embroiled in meaningless decisions and petty emotions. So how should you navigate your way through this energydraining muddle? Here’s my advice: Identify the issues

that are most worthy of your attention. Stay focused on them with disciplined devotion. Be selfish in your rapt determination to serve your clearest and noblest and holiest agendas.

LIBRA (Sept. 23-Oct. 22)

I hope that by mid-May you will be qualified to teach a workshop called “Sweet Secrets of Tender Intimacy” or “Dirty Secrets of Raw Intimacy” or maybe even “Sweet and Dirty Secrets of Raw and Tender Intimacy.” In other words, Libra, I suspect that you will be adding substantially to your understanding of the art of togetherness. Along the way, you may also have experiences that would enable you to write an essay entitled “How to Act Like You Have Nothing to Lose When You Have Everything to Gain.”

SCORPIO (Oct. 23-Nov. 21)

If you have a dream of eating soup with a fork, it might mean that in your waking life you’re using the wrong approach to getting nourished. If you have a dream of entering through an exit, it might mean that in your waking life you’re trying to start at the end rather than the beginning. And if you dream of singing nursery rhymes at a karaoke bar with unlikable people from high school, it might mean that in your waking life you should seek more fulfilling ways to express your wild side and your creative energies. (P.S. You’ll be wise to do these things even if you don’t have the dreams I described.)

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SAGITTARIUS (Nov. 22-Dec. 21)

If you’re a Quixotic lover, you’re more in love with love itself than with any person. If you’re a Cryptic lover, the best way to stay in love with a particular partner is to keep him or her guessing. If you’re a Harlequin, your steady lover must provide as much variety as three lovers. If you’re a Buddy, your specialties are having friendly sex and having sex with friends. If you’re a Histrionic, you’re addicted to confounding, disorienting love. It’s also possible that you’re none of the above. I hope so, because now is an excellent time to have a beginner’s mind about what kind of love you really need and want to cultivate in the future.

CAPRICORN (Dec. 22-Jan. 19)

Your new vocabulary word is “adytum.” It refers to the most sacred place within a sacred place -- the inner shrine at the heart of a sublime sanctuary. Is there such a spot in your world? A location that embodies all you hold precious about your journey on planet Earth? It might be in a church or temple or synagogue or mosque, or it could be a magic zone in nature or a corner of your bedroom. Here you feel an intimate connection with the divine, or a sense of awe and reverence for the privilege of being alive. If you don’t have a personal adytum, Capricorn, find or create one. You need the refreshment that comes from dwelling in the midst of the numinous.

AQUARIUS (Jan. 20-Feb. 18)

You could defy gravity a little, but not a lot. You can’t move a mountain, but you may be able to budge a hill. Luck won’t miraculously enable you to win a contest, but it might help you seize a hard-earned perk or privilege. A bit of voraciousness may be good for your soul, but a big blast of greed would be bad for both your soul and your ego. Being savvy and feisty will energize your collaborators and attract new allies; being a smart-ass show-off would alienate and repel people.

PISCES (Feb. 19-March 20)

Here are activities that will be especially favorable for you to initiate in the near future: 1. Pay someone to perform a service for you that will ease your suffering. 2. Question one of your fixed opinions if that will lead to you receiving a fun invitation you wouldn’t get otherwise. 3. Dole out sincere praise or practical help to a person who could help you overcome one of your limitations. 4. Get clear about how one of your collaborations would need to change in order to serve both of you better. Then tell your collaborator about the proposed improvement with light-hearted compassion.

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